Of Mice and Men Page #3

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


that pup out of here.

- It's too young to leave the mother.

- I ain't going to, George.

Come on.

Ma-ma-ma-ma-ma.

That's it, take it easy.

- You talking today?

- Nah, he ain't. He's too busy working.

- Is he a good worker?

- Best I ever had.

- What about his partner?

- What about him?

Is he a good worker?

My old man wants to know.

Yeah, he's a good worker.

Ha! Giddap.

Come on, Violet. Come on, girl.

George, this mule has a sore foot.

Lead her back to the stable

- and ask Crooks to give you another one.

- Sure.

- Go on, girl.

- Come on, girl. Come on.

Go on, now.

Jake!

Come on, girl. Come on.

Attagirl. Come on.

Come on, now. Come on.

Come on. Come on!

Crooks!

Can I help?

No.

I'm looking for Crooks.

This mule's got a hurt foot.

He ain't here.

Nobody's here but me.

And now you.

I feel so lazy today.

You feel lazy?

No.

I could take a nap right here.

It's nice and cool here in the barn,

and quiet.

Everybody out in the fields

working in the hot sun.

Here we are in a cool barn.

I got a hurt foot too.

I got mad at Curley last night, kicked at

him and missed - kicked a chair instead.

Let go of that old mule and talk to me.

Are you from far away?

Pretty far.

How far is far away?

What's the town you came from?

You wouldn't know it if I told you.

You got a sweetheart back there?

No.

Did you ever have a sweetheart?

No.

You never had a sweetheart?

No.

You're kidding me.

A good-looking guy like you

must have had a million sweethearts.

Your name's George, ain't it?

- What the hell you doing out here?

- Nothing. Just trying to keep cool.

- I ain't talking to you.

- Who you talking to?

- I'm talking to him.

- His name's George.

I know what his name is.

What are you doin' out here?

- Minding my own business.

- Yeah.

The last guy I caught out in the barn,

I beat the hell out of him

and kicked him off my ranch.

- Get on back to the house.

- You don't own me, Curley.

Shut up.

Get back in the house.

...very high. About 10,000, 12,000 feet.

How do you like your pup, Lennie?

I like that puppy. It's white, like I wanted.

- Lennie.

- Yeah.

- I told you not to bring that pup in here.

- George, I ain't got no pup in here.

George, give... give... Give it to me!

George, give it to me.

George, I didn't mean no harm.

George, please,

I'll take it back to the barn.

I just want to feel him a little bit.

All right.

Don't you take him out no more.

Jesus.

He's still just like a kid, ain't he?

Either of you guys got a slug of whisky?

- I got a gut ache.

- I ain't. I'd drink it myself if I had.

I ain't got no gut ache.

Come here.

God Almighty,

that dog of yours stinks, Candy.

He's got no teeth.

He's all stiff from rheumatism.

He ain't no good to ya.

Hell, he ain't no good to hisself.

Why don't you just shoot him, Candy?

Well!

I couldn't do that.

I had him too long.

I herded sheep with him.

That poor old dog

just suffers hisself all the time.

No. No.

Look.

Take him out and shoot him

right in the back of the head.

Right there.

Hell, he'd never even know what hit him.

Aw...

I couldn't do that.

I had him too long.

I'll shoot him for ya.

Then it won't be you that done it.

- No.

- Slim's b*tch has got a litter right now.

I'll bet you Slim would give you

one of her pups to raise.

Sure. You can have

any one of them pups you want.

No, no, no.

Carlson's right, Candy.

That dog ain't no good to hisself.

Hey, Slim. Read this.

"Dear Editor, I read your magazine

for six years. It's the best in the market."

"I like stories by Peter Rand."

- What you want me to read that for?

- Go on. Read the name at the bottom.

- "Yours for success, William Tanner."

- You met Bill Tanner?

Yeah. Bald-headed guy,

drove a cultivator.

That's him.

Candy, if you want me to, I'll put

that old dog out of his misery right now.

Won't hurt him at all.

- Let's wait till tomorrow.

- I don't see why. Let's get it over with.

We can't sleep

with that stinking dog in here.

All right.

Take him.

Come on, boy. Come on.

He won't even feel it.

Come on, boy. Come on.

Carlson...

- Get a shovel.

- Yeah.

Candy.

You can have any one

of them pups you want.

Uh... Does anybody

wanna play a little rummy?

Yeah.

You deal.

Hey, hey.

Hey, hey.

- Slim?

- Yeah.

I can't keep up with that guy. It'll kill me.

All right.

- Jack!

- Yeah.

Take Mike's place.

- Aw, Slim.

- Just for a while.

Mike, you take Jack's place.

You're on there.

So how long you and Lennie

been together, George?

A long time. A real long time.

Really? Seems kinda funny,

you two traveling around together.

What's funny about it?

Well, a cuckoo like him

and a smart guy like you.

Well, I ain't so smart or I wouldn't be

bucking barley for my 50 bucks a month.

I guess you're right.

How'd you two meet up?

Well, I knew his Aunt Clara.

She took him when he was a boy.

She raised him up.

When she died,

Lennie just come along with me working.

Uh-huh.

I used to play jokes on him cos he's

too damn dumb to take care of himself.

He'd do any damn thing I told him.

Put that on back in here.

One day, a bunch of guys standing

around on the Sacramento River,

I turns to him and

I says "Jump in, Lennie."

And he jumps.

Couldn't swim a stroke. He damn near

drowned before we could get to him.

He was so damn nice to me for pulling

him out, he forgot I told him to jump in.

He's a nice fella.

A guy don't need no sense

to be a nice fella.

Yeah.

He gets in trouble all the time

cos he's so goddamn dumb.

Like what happened up north in Weed.

What'd he do in Weed?

He seen this girl,

in a red dress,

and the dumb bastard that he is, he just...

He wants to touch everything he likes,

so he reaches out to touch this red dress.

So the girl starts screaming,

and that gets Lennie all mixed up,

so he holds on and he won't let go,

cos that's the only thing

he can think to do.

So what happened?

Well, she runs off

across the field, screaming.

So me and Lennie take off running.

Pretty soon we hear a bunch of

guys with dogs coming after us.

Had to hide in the irrigation ditch

until it was safe to get away.

He didn't hurt the girl none?

Hell, no. He just scared her.

Well... he ain't mean.

I can tell a mean guy a mile off.

Milton!

I ain't payin' you to stand around.

- Get back to work.

- He just come over for a drink of water.

You get back to work. You get

these men moving. They're way behind.

You men get moving here. Let's go.

Goddamnit, stop that racket!

Lennie.

I told you not to bring that pup in here.

I ain't got no pup.

- Any of you boys seen my wife?

- She ain't been here.

- Where the hell's Slim?

- Went out to the barn.

Carlson, do you think he's gonna find

Slim in the barn with his wife?

Better not tangle with Slim.

Curley's lookin' for a fight.

I gotta see this. Come on.

No, I'll stay here. Thanks.

- Was Curley's wife in the barn?

- If she was, I didn't see her.

George.

Both the ends is the same.

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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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Submitted on August 05, 2018

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