Desert Fury Page #2

Synopsis: Fritzi Haller is a powerful casino owner in Chuckawalla, Nevada. Her daughter Paula (having quit school) returns at the same time as racketeer Eddie Bendix, who left under suspicion of murdering his wife. Paula and Eddie become involved; each for their own reasons, Fritzi, Paula's old beau Tom, and Eddie's pal Johnny try to break up the relationship. Then Eddie's past catches up with him in an unexpected way.
Director(s): Lewis Allen
Production: Paramount Pictures
 
IMDB:
6.7
Rotten Tomatoes:
50%
APPROVED
Year:
1947
96 min
119 Views


I'm not ashamed of you.

Do you want me to be?

No.

Fritzi, I'm so much older than they are.

Oh, you just think you are.

They're just babies. They

don't know what they want.

And you do?

Yes.

Mind telling me?

I'm going to stay here.

And do what?

Work with you at the Purple Sage.

Now you listen to me.

If you even go near

that place, and I'll...

Here I go. Blowing up again.

Talk about it later, huh baby?

We'll talk about it now.

Alright, if that's the way you

want it. The answer is "no".

That's not what I have in mind for you.

What do you have in mind for me, Fritzi?

What put the idea in your head?

Tell me, Fritzi.

You tell me!

Alright. Because that's what you do.

I used to work in a silk mill

at Patterson, New Jersey.

I used to make eight bucks a week.

You wouldn't like that.

I had one pair of shoes and one dress.

My father was a drunk and

my mother didn't care.

For me, it was any

way out, but for you...

Fritzi, people come to you.

They do as you say.

And that's for you?

Yes, that's for me.

You're crazy, baby.

You'd come running to me

at the first sign of trouble.

Try it and see.

I don't have to. I know.

Look, if something's eating you,

tell me. I'll handle as I always do.

This is one time you're

not handling anything.

It's my life and I'm going to

work it out in my own way.

Eddie.

Yeah?

You got to cut it out.

You got to get it off your mind.

You know how?

She's probably in the

back. Shall I find her?

There's no hurry. Let's see

what kind of a layout she has.

Place your bets.

No more bets.

Good evening, Mr Bendix.

Well, hello, Mr Bendix.

Hi, Chuck.

Hello, Johnny.

Change the dice.

You're kidding aren't you, Mr Bendix?

Come on, give me the dice.

Eight is the point. The point is eight.

Alright, folks.

Hold it, Mr Bendix.

Sorry, Miss Paula.

It's good money.

Not at this table it isn't.

You don't want to get me fired, do you?

Fritzi won't fire you.

You've got too much on her.

I'm sorry. Those are her orders.

Here you are, Miss Haller.

Shoot for me.

Everybody down and tight.

Alright, coming out, big six and eight.

A six and a two. She made it.

Let it ride. Keep shooting, Miss Haller.

Try your luck again. Here we go.

Everybody down in time. Coming out.

Eleven!

The dice are hot.

It rides again.

You bring me luck.

Coming out. Everybody down.

Coming out. Here we go.

Six!

Six is the point. The point is six.

Coming out again. Everybody in time.

And she made it the, the hard way.

Keep shooting.

Coming out again. Everybody in time.

I didn't know you had the talent, Paula.

It comes quite naturally.

Hello, Fritzi.

Hello, Eddie.

I told her how you felt, Fritzi.

I asked her to shoot for me.

So I was told.

Any objections?

The same old Johnny.

It's a pretty big loss to take.

I can stand it.

Give me the dice, Chuck.

Coming out. Okay,

everybody down in time.

An ace and a deuce. The man missed it.

You're good, aren't you, Mr Bendix?

I'm perfect, Chuck.

You did that deliberately.

Don't be silly. Only a sucker

would do a thing like that.

I'd like a drink and

a little talk with you.

You can have them both in my office.

And I'll see you at home.

So long, Lucky. See you around.

Nice looking place you got here.

Why not? I practically live here.

And a nice-looking daughter.

And a nice-looking daughter.

To what?

The good old days.

What was good about them?

Nothing.

That ain't true. The people

were good. They had guts.

Like your old man.

My old man.

You never got married again, Fritzi?

No. Did you? No.

You did pretty good on your own.

Not much. Small fry.

Miners, railroad workers,

broken-down cowboys.

You're the one that did good.

Yeah.

I did good.

A guy like you figured to.

I just wiped that out of my eye.

That kid of yours... your daughter.

What about her?

She likes to gamble. It's in her blood.

Yeah. Like her old man.

Show her a pair of dice...

She doesn't look like you.

I thought you wanted to talk.

She reminds me of someone I knew.

I thought so too at first,

then I got a better look...

Nobody is asking you.

Alright, now we talk.

I got a visit today from the Sheriff.

Yeah?

I didn't like it.

Nobody likes Sheriffs.

Call him off. Me?

Play straight. Call him off.

Why?

Because I say so.

Well, maybe for old time's sake.

Do I owe you anything from the old days?

No... but I don't want

anybody bothering me.

Take it easy, Eddie. Maybe she's...

Shut up!

What's the matter, Eddie?

I don't like anybody taunting me.

Alright, I sent him.

Oh... excuse me. I thought you'd gone.

I said I'd see you at home.

I was waiting for you.

I want to go home with you.

I'll be outside.

Its alright.

Just one more thing. Did you tell

him to ask me all those questions?

Questions?

About my wife. The accident.

The way she died.

No I didn't. It must have been his idea.

Well this is my idea.

Don't ever do it again. Just don't.

Eddie, you can't blame me.

You blow into town the way you do.

I told that Cop that I

came here to be alone.

The word says you got

squeezed out of Vegas.

Any time Eddie wants to go

to the post, he's tagged.

I don't know how to figure.

I got a pretty good set up here.

Maybe you ought to move in.

Maybe I want to go back

to pitching pennies, too.

I want nothing from you, Fritzi. I want

nothing from nobody. Just be left alone.

The way you left me alone?

That's how he's been, Fritzi.

Ever since...

That's how I've been!

Do like I tell you, Fritzi.

Don't ask for trouble.

Sure she does.

Look at her now.

Like you talk to me, mother.

That's the way he talked to you.

"Do like I tell you, Fritzi."

Go home.

Yes, mother.

Hi, Hank.

Hiya, Paula.

Come on, Tom.

I'm ready, fellahs.

Ride him, Tommy!

Ride him, Tom!

Stay with him, Tom.

Attaboy, Tom. Come on!

You alright?

Okay.

What got broke, Tom?

You or the horse?

A few more tries and

the pony can ride me.

Yeah?

Leave him alone... Paula.

There ain't one of you drugstore cowboys

ever seen a day you could ride with him.

I'm going over to the bunk house.

Leave him alone. When this happens, he

don't want no-one around him, even me.

Is he really that good, Pat?

Ain't he ever told you?

Tom doesn't talk much about himself.

No. He was the best.

What happened to him?

He was wrestling a steer and slipped.

Now he's all busted up inside.

He's not thinking of going

back to the rodeo, is he?

All the time.

I say to him:
okay, make a comeback. You

can never be as good as you used to be.

And I say once a man's a champ,

second-best is no good.

He's probably over there with

the pain eating his insides out.

Best thing for a guy like Tom...

Is to get himself a little ranch

like he's always talking about.

I think maybe you could talk to him now.

Thanks, Pat.

Feeling better?

Yeah.

What are you thinking, Tom?

Thinking I just ain't got

what it takes anymore.

I think you have.

You're just saying that. You don't know.

I know you.

Thanks.

Feel like riding?

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Robert Rossen

Robert Rossen (March 16, 1908 – February 18, 1966) was an American screenwriter, film director, and producer whose film career spanned almost three decades. His 1949 film All the King's Men won Oscars for Best Picture, Best Actor and Best Supporting Actress, while Rossen was nominated for an Oscar as Best Director. He won the Golden Globe for Best Director and the film won the Golden Globe Award for Best Picture. In 1961 he directed The Hustler, which was nominated for nine Oscars and won two. After directing and writing for the stage in New York, Rossen moved to Hollywood in 1937. There he worked as a screenwriter for Warner Bros. until 1941, and then interrupted his career to serve until 1944 as the chairman of the Hollywood Writers Mobilization, a body to organize writers for the effort in World War II. In 1945 he joined a picket line against Warner Bros. After making one film for Hal Wallis's newly formed production company, Rossen made one for Columbia Pictures, another for Wallis and most of his later films for his own companies, usually in collaboration with Columbia. Rossen was a member of the American Communist Party from 1937 to about 1947, and believed the Party was "dedicated to social causes of the sort that we as poor Jews from New York were interested in."He ended all relations with the Party in 1949. Rossen was twice called before the House Un-American Activities Committee (HUAC), in 1951 and in 1953. He exercised his Fifth Amendment rights at his first appearance, refusing to state whether he had ever been a Communist. As a result, he found himself blacklisted by Hollywood studios as well as unable to renew his passport. At his second appearance he named 57 people as current or former Communists and his blacklisting ended. In order to repair finances he produced his next film, Mambo, in Italy in 1954. While The Hustler in 1961 was a great success, conflicts on the set of Lilith so disillusioned him that it was his last film. more…

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