Of Mice and Men Page #4

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
4,399 Views


- Why both the ends is the same?

- It's just the way they make 'em.

You sure she didn't come in the barn,

like she come in here?

No, she never.

Give me a good whorehouse every time.

A guy can go in, get drunk,

get it all out of his system

all at once, and no messes.

- George.

- Yeah?

How long is it gonna be

till we get the little place

and live off the fat of the land?

Gotta get some money together first.

I know a little place where you can get

cheap, but they ain't giving it away.

Tell about that place.

It's ten acres.

It's got a windmill. Got a little shack

on it, and a chicken run.

Got rabbits, George?

I could easily build a few hutches

and you could feed 'em alfalfa.

You're damn right.

You're goddamn right I could.

But, George, tell about the house.

Well, we have a little house,

and we have a room to ourself.

And we have a little, fat, iron stove, and

in the winter we keep a fire going in it.

And rabbits, George. And that... But

I tend 'em. How do I tend them rabbits?

Well, you go out to the alfalfa field.

You have a sack.

You fill up that sack and you bring it

in and you put it in the rabbit cage.

You have a few pigeons

that fly around the windmill,

like they done when I was a kid.

And it'd be our home.

Nobody could can us.

We don't like a guy,

we just say "Get the hell out."

If a friend come, we'd have an extra bunk.

We'd say "Why don't you spend

the night?" and, by God, he would.

We'd have a dog and a couple of cats,

but you got to make sure

them cats don't get them rabbits.

But... you just let them try.

I'm gonna break them goddamn cats'

necks. I smash them cats with a stick.

You know a place like this?

Suppose I do. What's it to you?

How much they want for a place like that?

- Could get it for 600 bucks.

- 600.

Old people that owns it is broke.

I ain't much good with only one hand.

That's why they give me a job sweeping.

And they give me $250 cos I lost my hand.

And I got 50 more saved

in the bank right now.

That's, uh... 300.

And I got 50 more coming

at the end of the month.

Suppose I went in with you fellas.

That'd be $350 that I'd put in.

Now, let me tell you something.

I could cook,

and I could tend the chickens,

and I could hoe in the garden. Huh?

- Now, how would that be?

- OK.

I got to think about that.

We was gonna do it by ourselves.

We were gonna do it by ourselves.

Well, now, wait a minute.

I'll tell you what.

I'd make a will and leave my share

to you guys in case I kick off.

I ain't got no relatives or nothin'.

You fellas got any money?

Maybe we can do it now.

- We got ten bucks between us.

- We got ten bucks.

- Ten bucks.

- Yeah.

You seen what they done to my dog?

They said he wasn't no good no more.

I wish somebody'd shoot me

when I ain't no good,

but they won't do that.

They'll can me, and I ain't

gonna have no place to go.

Look, if me and Lennie work a month

and we don't spend nothin',

we'll have 100 bucks.

And you got 350?

Yeah, and you can have every cent of it.

That'd be 450.

Jesus Christ, I bet we could get it for that.

You two could get her started.

I'd work and make up the rest.

I'm gonna take that goddamn pup.

Sure, sure, sure.

You know what I'm gonna do?

I'll write those two old people

that we'll take it.

Candy will send $100 to hold it?

I sure will. I'll have 30 more dollars

the time you guys is ready to quit.

I get to tend the rabbits.

Tell him, George. Tell him he can't do it.

I'll get to hoe in the garden,

even if I ain't no good at it?

- They got a nice stove there?

- Yeah, yeah. They got a real nice stove!

But I bet that pup will like it there.

We're gonna do it, goddamnit. We can fix

up that little old place and live there.

When we gonna do it?

One month. Right smack in one month.

Now, don't tell nobody about it.

- Just us three and nobody else.

- Don't tell nobody.

George, I ought to have

shot that dog myself.

I should not let no stranger shoot my dog.

- Shut up. I'm tired of...

- I just asked you!

You've been asking me too often

and I'm damn sick of it.

If you can't look after

your goddamn wife,

what do you expect me

to do about it, huh?

- Lay off me.

- Didn't mean nothing by it.

- I said lay off.

- Just thought you might have seen her.

- Tell her to stay home.

- You keep out of this.

You goddamn punk.

You're yellow as a frog belly.

You may be the best welterweight

in the country,

but I'll kick your goddamn head in.

What the hell you laughing about?

Huh? You!

Come on, you big bastard, get up.

No big son of a b*tch

is gonna laugh at me. Get up.

- I'll show you who's yellow.

- You got no cause for...

Get up!

- Come on, Curley!

- Get up and fight.

- He didn't do nothing. Leave him alone.

- I didn't.

Cut it out, Curley.

- Fight back.

- Make him stop.

Get him, Lennie.

Get him, Lennie! Get him!

Get him off of me! Get him off of me!

Lennie.

Slim, help me.

- Lennie.

- Oh, God!

Lennie! Lennie!

Lennie! Let go!

Lennie! Let go of his hand.

Let go.

Jesus.

You told me to, George. You told me to.

I know, I know.

Take it easy now. Calm down.

We gotta get him to a doctor.

Carlson, get the wagon hitched up. We'll

take him into Soledad to get him fixed up.

I didn't wanna hurt him.

I didn't wanna hurt him.

I know. I know.

It ain't your fault, Lennie.

This punk had it coming to him.

Slim, is Curley's old man

gonna can us now?

Hey, you hear me?

Huh? Hey!

- You hear me?

- Huh?

I think you got your hand

caught in a machine.

Now, if you don't tell nobody

what happened, we ain't going to.

But you just tell,

and try to get this guy canned,

we're gonna tell everybody

what really happened.

- You got that? Huh?

- Uh-huh.

George, you and Whitt,

give me a hand. Come on.

Lift him up. That's it.

Candy, get the door.

Whitt, you go on into town with Carlson.

George.

Jesus, you look like hell.

Do... do I still get to tend the rabbits?

Sure, you ain't done nothing wrong.

Thanks a lot. I didn't want no trouble.

It's all right. I know you didn't.

Come on. You be quiet

so I can clean you up. OK?

OK?

Hi, boys.

It's hot out here. Not cool like in the barn.

I said it's hot out here!

Why don't you go back to your house

now? We don't want no trouble.

I ain't giving you no trouble.

Think I don't like to talk

to somebody every once in a while?

You got a husband. Go talk to him.

Sure, I got a husband.

Swell guy, ain't he?

Say, what happened to Curley's hand?

He got his hand caught in a machine.

Baloney! What you think

you're selling me?

How'd you get them bruises on your face?

- Who, me?

- Yeah, you.

Got his hand caught in a machine.

Yeah, OK.

Lennie.

I'm gonna go into town with the guys.

- Can I stay here?

- Yeah, yeah.

Just stay here for a while

and then go back to the bunkhouse.

OK.

Come on, George.

Don't you get in no trouble.

You ain't got no right

to come into my room.

Ain't nobody got a right

to be in here but me.

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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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