Desert Fury Page #4

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
112 Views


Because I wanted to know you better.

You don't pull your punches do you.

I've heard you don't pull yours.

You're alright.

A funny kid, but you're alright.

Thanks.

Can I drop you off anywhere?

Well, that would be a big help. Take

me as far as the Halverston ranch.

Alright.

That Cop you were with today. What did

he tell you when you asked who I was?

Nothing.

Look, I know Cops. What did he say?

He told me not to get interested.

You're not paying much

attention to him, are you.

No.

You know what you're getting into?

Because unless you get out of here

right now, you're going to find out.

Is that you, Eddie?

Get out of that light. I could

pick you off like a clay-pigeon.

Where you been?

I didn't hear you go out.

Oh, I didn't know.

I thought...

Get in the house, Johnny.

Get out of here... leave him alone.

Get in the house.

He's right. Maybe you'd better go.

Maybe you'd better not come back.

Why not?

Because I'm not the kind of guy for you.

You'll get your brains knocked out, kid.

You'll wish you'd never seen me.

You'll remember what I said.

I'll remember.

She carried the bags down to the car,

and when I saw she was really going.

I asked her if there was anything I

could tell you. But she wouldn't answer.

She just got into the car and went.

Alright, Rosa. She'll be back.

Back so soon?

Yes, mother.

You couldn't leave, could you darling.

No, mother.

Yes, mother. No, mother.

What is it, baby?

What is this? Is it the way I

spoke to you before? I'm sorry.

No, it's...

I don't know, Fritzi.

What?

I can't explain it.

I just started to cry. That's all.

It must have been the storm.

When you were a kid, you were afraid of

storms. I would have to sleep with you.

You alright, now?

Yes, I'm alright now.

If you want to, I'll...

No.

I'm alright.

Sure.

We'll do a lot of things tomorrow.

Do some shopping, see a show.

I don't think I want to.

Do you have to go?

Yes. Don't you want me to?

No.

I mean...

I don't know what I mean.

The storm is almost over.

You'll be able to sleep now.

Goodnight, baby.

Goodnight, Fritzi.

Want some more coffee, Eddie?

I'll get it for you.

It's nice out here.

I must be getting old.

Sitting in the sun.

That's what you are supposed to do.

Rest. Sun.

First thing you know,

you'll be ready for anything.

Down to L.A. Pick up the boys.

You must get fed up

playing nursemaid to me.

We've been together a long time.

[ Car horn ]

Hi.

Hello, kid.

Hello.

How about coffee?

Bring three cups, Johnny.

You remember Johnny?

Yes, I remember him.

I'm supposed to apologize to you for

talking to you the way I did last night.

How do you want it?

You've got a funny way of apologizing.

I'm working up to it, gradually.

Just go and get the coffee.

Excuse me.

My manners stink.

You get home alright?

Yes, I got home alright.

Sit down.

Thank you.

What about you?

What do you mean?

How do you live? What do you do?

Nothing much.

Do you like it out here?

I'm used to it.

Mother brought me here when I was a kid.

We come from New Jersey.

My father was a bootlegger.

He was killed. I don't remember him.

I do.

You knew him?

Yeah

We were in the same racket.

Did you know Fritzi?

A long time ago.

She ran a speakeasy after...

After your old man died.

Tell me, what was Fritzi like then?

I didn't know her very well.

You two don't get on together, do you.

Okay, skip it.

It's none of my business.

But it is your business.

Don't make that mistake, kid.

I didn't mean it that way.

I wasn't trying to commit you.

Don't. It won't do you any good.

I didn't come here to do myself

any good or to be told off, either.

Nobody is telling you off.

And nobody's going to.

I don't like your brand

of hospitality, Mr Bendix.

Wait a minute.

Push Johnny around if he likes it.

But I don't. Not from you or anybody.

Take it easy... don't go.

I came here without being asked.

I can leave the same way.

Hello child bride.

Hello, Tom.

Sore at me?

Of course not.

You did the only thing you could.

I'm not so sure.

I always wanted a ranch, only

I don't know about your cooking.

Soda?

Yes, please.

Maybe I should have taken the

offer anyway. Why?

What were you doing at the

Halverston ranch the other night?

I was minding my own business.

I was too.

Cruising the highway

out by the state bridge.

About the time you came out of the

private road and headed for town.

Don't go out there again, Paula.

Now wait a minute, Tom.

I mean what I say, Paula.

When you tangle with

someone like Bendix.

You just don't pick up your jacks

afterwards and go home.

I'm telling you to stay away from there.

But what's it got to do with you?

Or have you changed your

mind about wanting the ranch?

After a crack like that, I ought

to let you jump in over your head.

But first I'll tell you

something you should know.

I can't stop you.

I told you I was detailed to the

Bendix case. So what?

They brought her body down

to us at the county seat. I saw it.

I've a good memory.

Somebody you knew?

No. She was a nobody.

But when I saw you for the first time,

I remembered all over again.

And I tried to tell it

to you at the bridge

You look like her, Paula.

I look...?

Too much like her.

I see.

Thanks, Tom. Thanks

for a very good turn.

The drink is on me.

Hello, Paula.

Hello, Eddie.

I've been waiting for you to come back.

Eddie.

Yeah?

I know something now

that I didn't know before.

I know something too. I've missed you.

I was surprised how much.

Get in.

After the way that you and Johnny

treated me, I don't think I should.

Alright, I was wrong.

I'm sorry. Now get in the car.

I don't think she wants to, bud.

I don't think it's your business.

You know, its a funny thing.

You keep wishing for something to

happen, then it falls in your lap.

Like What?

Busting you on the nose.

Blow.

Get out the car.

Listen, Copper.

Eddie... hold it.

Why don't you ask the girl?

Do you want to go with him, Paula?

Yes.

I'll go fix a fence.

I know why you acted the

way you did the other day.

Why you brushed me off.

Yeah.

I look like here, don't I?

A lot like her.

I don't like smart dames.

Maybe you'd better not stay

long this time, either.

Alright, if you say so.

You can't say so, can you.

Come on in. I'll show you the house.

Who does your housework?

Johnny.

Oh.

Johnny.

A little messy, isn't it?

It's a nice day.

You ought to let it in.

I like sunlight in its place. Outside.

I guess you're right.

It is kind of messy.

Johnny's got behind with the dishes.

Yeah.

A quiet sleeper, aren't you.

You got a sharp eye.

Yeah, I sleep quiet.

I curl up like a kitten.

You might help.

Okay.

Those are loaded clips.

I know it.

I was afraid you were going to

throw them in the fireplace.

You carry a gun?

The carpet-sweeper is in the

kitchen closet if you want it.

It's alright.

You're a strange combination.

You recognize an automatic clip and

you play house like you meant it.

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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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