Nadine

Synopsis: Working in an Austin, Texas, beauty parlour in 1954, Nadine Hightower endeavours to retrieve some 'art studies' she injudiciously had taken. Her visit to the photographer leaves him dead and her in possession of highly valuable plans of a proposed new road. With both the police and the murderous villains after her she enlists the help of her (almost) ex-husband Vernon, the none too successful owner of the Bluebonnet Bar. Fortunately the thugs are as much no-hopers as the Hightowers.
Director(s): Robert Benton
Production: Twentieth Century Fox Home Entertainment
  1 win & 1 nomination.
 
IMDB:
5.5
Rotten Tomatoes:
45%
PG
Year:
1987
83 min
163 Views


1

(SINCE I FOUND YOU PLAYING)

No use lookin'

for a cheap joint, honey

Wastin' my time and money

Those days are through

Since I found you

Just a little love

in the morning light

Now I got the feeling

that just one night won't do

Since I found you

Since I found you, honey,

I found love

You're the only one

that I'm dreamin' of

I don't miss doin'

what I used to do

I don't miss nothin'

since I found you

I don't miss nothin'

since I found you

No more walkin' down

lonely street

Wearin' holes

in both of my feet

And feelin' blue

Since I found you

Don't really matter

what the boys are doin'

All I really care about

is you and me stayin' true

Since I found you

Since I found you, honey,

I found love

You're the only one

that I'm dreamin' of

I don't miss doin'

what I used to do

I don't miss nothin'

since I found you

I don't miss nothin'

since I found you

(GLASS SHATTERING)

Yeah?

Mr. Escobar?

Hi, uh, it's me,

Nadine Hightower.

I really hate

to bother you.

I just want to

ask a favor of you.

Listen, if it's money,

I can't help you.

Uh, no, sir, no, sir.

(STUTTERING) It's not.

Could I come in and talk

to you for just a minute?

Honey, I'd love to,

but I got an important

client on his way over.

Oh, this'll only take

a minute.

It's about those photos

that you took of me.

Art studies.

Those were art studies.

Yes, sir.

But to tell you the truth,

they were

lots more artistic

than I bargained for.

And the thing is,

I'd like to have

those photos back.

Did you get paid?

Yes, sir. $22.

Did I touch you?

Did I lay a hand on you?

Well, no, sir.

Then you got no gripe

with me, young lady.

Now if you'll excuse me,

I gotta go.

Mr. Escobar!

Now, that day

at the Five and Dime,

when you come up to me

and told me

you was a close

personal friend

of Hugh Hefner,

and then you asked me

to take those photos,

I mean, those art studies.

To tell you the truth,

the only reason I said yes

was because you told me that

Playboy was bound to pay me

lots of money.

Now I'll pay you back

however much you're out.

I'll give your wife free

manicures for the rest

of her life.

How about that?

I'll do anything.

I mean, almost anything.

Will you quit that?

I'm not leavin' until I get

those photos back, and

that's that!

Okay, come on in, then!

Come on, damn it!

Lucky for you, I'm about

to become a very rich man.

(KNOCKING ON DOOR)

Damn.

You wait in the back.

Don't come out till

I holler.

Okay?

In the back?

Yeah. All right, I'm comin'!

I'm comin'!

(ESCOBAR GROANING)

(GASPING)

Lady, I got...

Oh, my God.

Mr. Escobar.

Oh, my God!

Oh, my God!

(KNOCKING ON DOOR)

CHARLEY:
Mr. Escobar?

It's Charley Draper,

Photo Supply House.

I got that carton of

developer you asked for.

I'm real sorry about this.

CHARLEY:

Mr. Escobar?

Oh, hey,

are you the janitor?

JANITOR:
Yeah.

What's the problem?

I got this

package for Mr. Escobar, and

I can't get nobody to answer.

Hang on. I got the key.

You can leave it inside.

(DOORKNOB CLICKING)

Hey, hey!

Call the police!

There's been

a murder up here!

MAN:
What's goin' on?

Hey! Somebody

call the police!

There's been

a murder up here!

MAN:
Right up there?

(PEOPLE CLAMORING)

(POLICE SIREN WAILING)

(TIRES SCREECHING)

(PEOPLE CHATTERING)

(CAR TIRES SCREECHING)

Hey! He's upstairs!

MAN ON TV:
And now,

Search for Tomorrow.

MICHELLE:

I think Roger's gonna

have an affair with Vanessa.

VERA:
Are you crazy?

Vanessa's got

the hots for Brad.

You're late, Nadine.

You got about

umpteen calls

from Vernon.

(WOMAN CHATTERING ON TV)

VERA:
Well?

"Well" what?

Are you gonna tell Vernon

you're pregnant?

Vera, I don't want

to talk about this

right now.

He is the daddy.

That just happens to be

a biological accident,

that's all.

Hon, that man

is your husband.

Ex-husband.

That's just as much

your fault as it is his.

Vernon loves you.

Vernon don't love

nothin' but himself

and that damn

Blue Bonnet bar of his.

That man is flat-out

irresponsible,

and I do not intend on

lettin' Doris Isabelle...

Doris Isabelle?

I'm namin' her after

Mama's favorite sisters.

What do you think?

(SIGHS)

Nadine, I love you like

you was my own flesh

and blood.

But I do not intend to stand

around and see that baby get

born without a daddy.

Then you sure better

rustle up somebody

real fast

on account

it ain't gonna

be Vernon Hightower.

(CRICKETS CHIRPING)

Oh, you won't forget

about the garbage?

Of course not.

Are you sure

you don't mind closin' up?

Get outta here

and have a good time.

MICHELLE:
Bye-bye.

Bye-bye.

MAN:
Good evening,

ladies and gentlemen.

The top story

on the 6:
00 news tonight

involves the brutal slaying

of an Austin photographer,

Raymond Escobar.

Mr. Escobar was stabbed

to death in his studio

on East 6th Street

this afternoon.

The studio seems to have

served as a love nest

for Mr. Escobar

and the woman

who killed him.

Our reporter talked

to deputy sheriff,

Leon Rusk,

at the scene

of the crime.

What makes you suspect

the killer is a woman?

Well, we have

several leads

that point to the fact that

the killer's undoubtedly

a woman.

For one thing,

we found traces of

lipstick and cheap perfume

on the collar

of the deceased.

(KNOCKING ON DOOR)

REPORTER:

We now take you

back to the studio.

I knew sooner or later

you was gonna come

out of there.

What do you want, Vernon?

Now, did you,

or did you not sign

them divorce papers? Hmm?

You gotta be kiddin' me?

'Cause if you didn't, I swear,

I'm gonna strangle you

on the spot.

Don't provoke me, Vernon.

I got enough on my mind...

Damn it, woman,

I'm tryin' to get the

Blue Bonnet refinanced.

If you ask me,

the Blue Bonnet's nothin'...

I didn't ask you.

Fine!

Now, there is no way they're

ever gonna let me have

that money

unless you sign that paper

saying you agree to

the divorce

and promise to make

no claim on the Bonnet.

Do you see the keys

to a brand new

Buick convertible

with white sidewall tires,

radio and air conditioner?

'Cause when you see the keys

to that car in my hand,

you'll see my name on those

divorce papers and not until.

Now, you got that, slick?

Come here.

Don't mess with me...

You just come here

for a minute.

I'm warnin' ya!

You know I'm mighty

stronger than you are!

You see that Chevy? Hmm?

You see

that busted headlight?

You see that bailin' wire?

Now, you think

I'd be drivin' around

in a wreck like that

if I could afford

a brand new Buick?

And who might that be?

That happens

to be Renee Lomax.

She's the

Uvalde High School

Pecan Queen of 1947.

Vernon, darlin'?

Uh-oh, whoa, whoa.

I'm not in the

"Vernon darlin'"

business anymore.

Remember?

Vernon, darlin',

what if I was to sign

those papers of yours?

I told you before,

I'm not payin' for

any brand new Buick.

What if I was to forget

about the Buick altogether?

All right,

what's the deal?

I'd just like you to run

a little errand with me,

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Robert Benton

Robert Douglas Benton is an American screenwriter and film director. He won the Oscars for Best Adapted Screenplay and Best Director for Kramer vs. Kramer and won a third Oscar for Best Original Screenplay for Places in the Heart. more…

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Submitted on August 05, 2018

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