Of Mice and Men Page #2

Synopsis: Two traveling companions, George and Lennie, wander the country during the Depression, dreaming of a better life for themselves. Then, just as heaven is within their grasp, it is inevitably yanked away. The film follows Steinbeck's novel closely, exploring questions of strength, weakness, usefulness, reality and utopia, bringing Steinbeck's California vividly to life.
Genre: Drama
Director(s): Gary Sinise
Production: Metro-Goldwyn-Mayer Pictures
  1 nomination.
 
IMDB:
7.5
Rotten Tomatoes:
96%
PG-13
Year:
1992
115 min
4,506 Views


I'm not gonna get into any trouble.

OK.

I can remember, by God.

Let's get some rest.

It'll be nice sleeping here,

just looking up at the leaves.

George?

What do you want?

I... I think we should get

them different color rabbits.

Sure.

Red rabbits and blue rabbits

and green rabbits.

- Leave 'em alone.

- Be quiet, dogs. Be quiet, goddamnit.

Be quiet!

Shut up, Smiley! Shut up.

Smiley, down.

- You fellas looking for something?

- Yeah. We come here to work.

- Where's the boss?

- He's up at the ranch house.

I'm Candy. Come on,

I'll take you up there.

He was expecting you last night.

He was sore as hell that

you wasn't here to go out this morning.

He come in

when we was having breakfast.

He said "Goddamnit,

where the hell is them new men?"

And he gives the stable buck hell too.

You see, the stable buck's a n*gger.

Ah! There he goes.

He got a crooked back

where a horse kicked him one day.

The boss gives him hell

every time he gets mad.

But the stable buck...

The stable buck

don't give a damn about that.

Boss's office in here.

Come in.

These guys just came.

I wrote Murray and Ready...

for two men to work this morning.

Where's your work slips?

Is my slip in there?

It wasn't Murray and Ready's fault.

Says right here you were supposed

to be ready to work this morning.

Bus driver lied to us.

We had to walk ten miles.

I don't give a damn about that.

- What's your name?

- George Milton.

- What's yours?

- His name's Lennie Small.

- Where you boys been working?

- Up around Weed.

- What about you?

- Yeah, him too.

He's not much of a talker, is he?

No, no, he ain't. But he's a hell

of a good worker. He's strong as a bull.

Strong as a bull?

Uh, he can do anything

you tell him. He's a...

He's a good skinner. He can wrestle

grain bags, drive a cultivator.

Cultivator. Ah, but...

I ain't sayin' he's bright - he ain't.

But he's a... he's a damn good worker.

Say... what you selling?

What's your stake in this guy?

Are you taking his pay from him?

Hell, no.

He's my cousin.

I told his old lady I'd take care of him.

He got kicked in the head

by a horse when he was a kid.

All right.

But you'd better not try

to put anything over on me.

Now catch your grain teams after dinner.

Well, I wasn't kicked in the head

with no horse, George.

Be a damn good thing if you was.

Save everybody a hell of a lot of trouble.

You... you said I was your cousin.

Well, that was a lie. If I was

a relative of yours, I'd shoot myself.

Come on, I'll show you the bunkhouse.

Come on. Come on, boy.

Come on, come on.

You can take these two bunks right here.

That's a hell of an old dog.

Yeah.

And he's getting older too.

I had him since he was a pup.

God, he was a great sheepdog

when he was younger.

Hey... what the hell is this?

Says "Positively kills lice,

roaches and other scourges".

What the hell kind of beds

are you giving us?

Now, wait a minute there, young fella.

Wait a minute.

Let me see what you're talking about.

Oh, yeah, yeah. Now I remember.

Last guy that had this bunk

was a blacksmith.

He'd squirt this stuff around

even if there was no bugs.

He used to... he used to wash

his hands even after he ate.

Candy!

- You seen my old man?

- Yeah, he's up at the house.

- You the guys the old man's waiting for?

- Yeah, we just came in.

- Let the big guy talk.

- Suppose he don't wanna talk?

What the hell you gettin' into this for?

We travel together.

- Oh. Oh. So it's that way.

- Yeah, it's that way.

And you won't let

the big guy talk, is that it?

We just come in.

Yeah, well, next time

you answer when you're spoken to.

Say, what the hell?

Lennie didn't do nothing to him.

That's the boss's son.

Curley's pretty handy with his fists.

- Done a lot of fighting in the ring.

- What's he got against Lennie?

Well, I'll tell you what.

Curley's like a lot of little guys.

Hates big guys. Kinda like

he's mad at 'em cos he ain't a big guy.

Yeah, yeah. Well, he better

make no mistake about Lennie.

Lennie ain't handy. This Curley's gonna

get hurt if he messes around with Lennie.

Yeah, well.

Hey, come here. I wanna show

you something. Come on.

Come on, boy. Come here, come here.

I wanna show you something.

- You see that glove on his left hand?

- Yeah.

- Well, that glove's full of Vaseline.

- What the hell for?

Curley says he's keeping

that hand soft for his wife.

That's a real nice thing to tell around.

Come on, boy. Come on.

Lennie.

- Look. See that guy?

- Yeah.

- The one that was just in here?

- Yeah.

He figures he got you scared. He's gonna

take a sock at you first chance he gets.

George, I don't want no trouble.

Don't let him sock at me.

Just try to keep away from him, will ya?

If he comes in the bunkhouse again,

move to the other side of the room.

George... George,

you ain't mad at me, are you?

No, I ain't mad. Just try to keep away

from Curley. Don't let him pull you in.

Sure. George, I wasn't gonna say a word.

You get in any trouble,

you remember what I told you.

If I get in any trouble,

I don't get to tend them rabbits.

No, that's not what I mean.

Remember where we slept

last night, down by the river?

I'm looking for Curley.

He was here a minute ago, but he went.

Oh.

Sometimes Curley's in here.

He ain't now.

Well, if he ain't,

I guess I better look someplace else.

If I see him, I'll tell him

you was lookin' for him.

Nobody can't blame a person for looking.

See ya around.

- She's pretty.

- Lennie...

- Don't you think she's pretty?

- Listen to me, goddamnit!

- Don't you even look at her.

- But...

I don't care what she says

or does, she's a rat-trap.

But I wasn't doing nothing.

When she was shoving her legs around,

you weren't looking the other way neither.

Keep away from her.

I don't like this place.

- You the new guys?

- Yeah.

I'm Slim. You're gonna be on my team.

I'm George Milton.

This here's Lennie Small.

- You travel around together?

- Yeah.

There ain't many guys travel

around together. I don't know why.

Maybe everybody in the whole damn

world's scared of each other.

Maybe.

So, you ever bucked barley before?

Hell, yes. I ain't nothin' to scream about,

but... Lennie's strong as a bull.

Good.

I got a pair of punks on my team, they

don't know a barley bag from a blue ball.

These guys just came.

I meant to ask you, Slim.

How many puppies your b*tch have?

Well, she slung eight of 'em.

I drowned four right off.

She couldn't feed that many.

I just kept the biggest.

Candy's dog is old and no good.

You oughta get Candy to shoot that dog.

Then you could give him one of the pups.

All right.

George, ask that man,

can I have one of his pups?

Yeah, I will. Don't worry.

Come on, get up.

You done real good today, Lennie.

You done real good.

OK, I'll ask him now.

- Slim.

- Yeah?

George, can I have this white one?

Well, if that's the one you want.

Can he stay here and hold it awhile?

Sure.

Lennie, you can't take

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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…

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