Convicts Page #3

Synopsis: In 1902 Texas, 13-year-old Horace goes to work on old Soll's farm to earn enough money to buy a headstone for his father's grave. Unfortunately for Horace, Soll's senility, ill health, and obsession with the convict labor he uses to work the farm, make it unlikely that Horace will ever be paid the $12.50 Soll owes him for 6 months work.
Genre: Drama
Director(s): Peter Masterson
Production: MGM
 
IMDB:
5.9
NOT RATED
Year:
1991
93 min
184 Views


- Yes, sir.

- Get it for me.

- Yes, sir.

- I'm going hunting.

- Yes, sir.

I wouldn't go hunting today if

I was you. It's Christmas Eve.

I don't care the hell what

day it is, I'm going hunting.

Yes, sir.

- Where is Jackson?

- I don't know, sir.

I'll put the lazy son of a b*tch back on

the chain gang if he ain't careful, you hear?

Bastard.

Ben, get out here. Martha, come here.

Merry Christmas.

- What's this?

- Christmas gift.

That's Confederate money.

Ain't gonna buy you nothing.

Better hold on to it. Never can tell.

Who the hell are you?

Horace Robedaux, sir.

- How old are you?

- Thirteen, sir.

- Now, whose boy are you?

- Why, you know who he is, Mr. Soll.

- His daddy is dead, sir.

- Let him answer.

- Your daddy's dead?

- Yes, sir.

What was his name?

Paul Horace Robedaux, sir.

I knew the bastard. He

wasn't worth killing.

He was my brother's lawyer.

He helped my brother cheat me.

How did you get out here?

Mr. Albert Thornton is his uncle.

He come out here in the fall...

to help him with the store when

the crops come in. You know that.

- Where's Albert?

- He's in town.

- What the hell's he doing in town?

- He talked to you about it.

Thing's are so slow in

the store here now...

and the few customers there

are, the boy can take care of.

I don't want him here. I don't want

Paul Horace Robedaux's boy on this place.

Take him to my brother's place. He'll

take care of him. I don't want him.

- Your brother's in New Orleans.

- Take him back to town, god damn it.

He didn't mean that. He's just drunk.

He say anything when he's drunk.

He be over his drunk tomorrow.

- Now, who the hell are you?

- Horace, sir.

Oh, yes.

What was your daddy's name?

Paul Horace. Paul Horace Robedaux.

- I knew him. He's dead.

- Yes, sir.

- I have a brother. You ever meet him?

- No, sir.

He has a place next to mine,

only we don't get along here.

Mean, no-good bastard.

You know what my daddy said

to me just before he died?

No, sir.

He called me and said,

"Everybody else out of the room.

"Soll," he said, "sit down.

"Now watch out for that

son of a b*tch Tyre.

"He'll steal you blind.

He's a rattlesnake.

"He has venom in his fangs."

That's what his own

daddy thought about him.

- You want some whiskey?

- No, sir.

I was just about to come up to

the house looking for you, sir.

You said if I come up there

in a bit, you'd pay me.

Pay you for what?

For working for you, sir.

You work for me?

Yes, sir. Here in your store.

- How old are you?

- Thirteen.

Then you should pay me for

letting you work out here.

You should pay me for letting

you learn how to run a store.

Yes, sir. I suppose so.

But you agreed.

I agreed to nothing.

Yes, sir. You did. You said

you'd pay me 50 cents a week.

And I've been here six months

and you ain't paid me nothing yet.

You owe me $12.50.

You said you'd pay me that on

Christmas Eve. And that's today.

- Before that you said you'd pay me...

- Hold on.

I must've been drunk.

I remember you now, boy.

You came out here to earn the money

for your daddy's tombstone, right?

Yes, sir.

Your daddy was no good, Albert says.

Mistreated your

mother. Died a drunkard.

"Why does he want to put a tombstone

on the bastard's grave?" I asked him.

"That's how the boy is,"

he says. "He's strange."

"He'll get over that," I says.

"Some woman will help

him get over that."

You ever had a woman?

No, sir.

We're gonna have to do

something about that.

- Chewing tobacco?

- Yes, sir.

Come on. Give me a chew. Right here.

My daddy, God rest his soul in

peace, turned out to be a prophet.

But my brother Tyre is a liar,

a thief, and he's a killer.

I hope his soul rots in hell forever.

He got a b*tch of a daughter, too.

She's up there at my house

now and I know what she wants.

To know how I made out my will.

Every now and then she says, "Who you

gonna leave all this to, Uncle Soll?"

- Can you write?

- Yes, sir.

Get a pencil and a piece of

paper. Take down what I tell you.

Everything.

All my land. Everything.

- Ready?

- Yeah.

"I, Soll Gauthier...

"on my oath...

"I leave my land, my houses..."

Who am I gonna leave it to?

Everybody who's kin to me is dead

except Tyre and two ugly old daughters.

You have a brother?

No, sir. I have a sister.

Get down on your knees, and

thank God you got no brother.

'Cause they steal everything you got.

They cut your heart out

and smile all the while.

Thank you, God. We thank you, God.

- Thank you, God.

- Yeah.

You're a good boy.

Come on.

I'm going hunting. Come on with me.

Give me the gun. There's

a damn bear over there.

- No, sir. There's no bear...

- Yeah, there is, too.

And I'm gonna kill

the son of a b*tch.

- I kill it?

- I don't know, sir.

Go see. Go on.

See.

I get it?

Is Sarah Duncan still on the place?

- Sarah who?

- Sarah Duncan.

Is she the one you

asked Ben about earlier?

Ben who?

Ben Johnson. Lives up at the store.

I don't know if I

asked him that or not.

She's a small woman.

No more than five feet.

Where's her house? It was

out this way someplace.

- Well, it's not out here now.

- It's not.

If she's the one you asked

Ben about, she's dead.

- She is?

- Yup.

Nobody out here now

but you, me, and Ben...

and Martha, the convicts

and the guards...

and the Overseer and Jackson.

Who the hell is Jackson?

Well, he's the one who stays

up at the house with you.

What kind of tombstone you have

in mind for your daddy's grave?

Just a small one.

What the hell you

want a small one for?

See the one I put

on my daddy's grave?

It's the biggest goddamn

tombstone ever made.

It's got angels all over it.

Two women crying.

Come here.

Look. See, there's eight

tombstones on that graveyard.

- Now which do you like best?

- There are no tombstones over there.

You don't see any tombstones?

No, sir. There are none there.

Who the hell took them away?

Who the hell stole them?

Damn convicts. They steal everything.

Even the tombstone

off my daddy's grave.

No, sir. That's the convicts'

grave. That's not your graveyard.

- Where the hell's my graveyard?

- That's over yonder.

Yeah? Then let's go

find the goddamn place.

What are you shooting at now, sir?

Convicts. I'm gonna kill

all of them convicts.

I'm gonna have a sure enough

convict graveyard out here.

Shoot you a convict?

Go on.

Steady.

- How many we kill?

- I don't know, sir.

- A lot?

- Yeah, I guess so, sir.

Uncle Soll?

What y'all shooting at?

First he said he was shooting

at bears, and then convicts.

There ain't any bears or convicts.

Tried to keep him from laying on the

cold damp ground, but he wouldn't listen.

Mr. Soll.

Get up now. You'll catch

your death, Mr. Soll.

Damn convicts take all them

tombstones off the graves.

Now they're coming to kill me.

Stay with him while I go get Jackson.

- Get up, Sherman.

- He ain't fooling.

He's sick. He ought to

go back to the bunkhouse.

Him go back when we

Rate this script:0.0 / 0 votes

Horton Foote

Albert Horton Foote Jr. (March 14, 1916 – March 4, 2009) was an American playwright and screenwriter, perhaps best known for his screenplays for the 1962 film To Kill a Mockingbird and the 1983 film Tender Mercies, and his notable live television dramas during the Golden Age of Television. He received the Pulitzer Prize for Drama in 1995 for his play The Young Man From Atlanta and two Academy Awards, one for an original screenplay, Tender Mercies, and one for adapted screenplay, To Kill a Mockingbird. In 1995, Foote was the inaugural recipient of the Austin Film Festival's Distinguished Screenwriter Award. In describing his three-play work, The Orphans' Home Cycle, the drama critic for the Wall Street Journal said this: "Foote, who died last March, left behind a masterpiece, one that will rank high among the signal achievements of American theater in the 20th century." In 2000, he was awarded the National Medal of Arts. more…

All Horton Foote scripts | Horton Foote Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Convicts" Scripts.com. STANDS4 LLC, 2024. Web. 27 Nov. 2024. <https://www.scripts.com/script/convicts_5912>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is the "climax" of a screenplay?
    A The highest point of tension in the story
    B The final scene
    C The opening scene
    D The introduction of characters