Of Mice and Men Page #5

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
4,579 Views


- I... I seen your light.

- Yeah, well, I got a right to have a light.

Now, I ain't wanted in those bunkhouses

and you ain't wanted in my room.

- Why ain't you wanted?

- Because I'm black.

They say I stink. Well, I'll tell you,

all of y'all stink to me.

Everybody went into town.

- Well, what you want?

- Nothing. I see... I...

I seen your light.

Well, come on in and sit awhile if you

won't get out of here and leave me alone.

Goddamn your soul.

All the boys go into town?

All but old Candy. He just sat in

the bunkhouse, figuring about the rabbits.

What rabbits you talkin' about?

The rabbits we're gonna get,

and I get to tend 'em.

You're nuts. You're crazy as a wedge.

I don't blame that guy you travel with

for keeping you out of sight.

No, every word is the truth.

You can ask George.

You travel around with George, don't you?

Sure. Me and George

go everywhere together.

And sometimes he talk to you

and you don't understand

what the hell he's talking about.

Ain't that so?

How long do you think it's gonna be

before them puppies are old enough

to take away from its mother?

Boy, I tell you.

A guy can talk to you and be sure

you ain't gonna go blabbing. Uh-uh!

Just talking

and you don't understand nothing.

It don't make no difference if you

don't hear or understand, you just...

...talking.

Just talking.

Just being with another guy.

That's all.

Suppose...

George don't come back no more.

What you do then?

What?

I said suppose George

go into town tonight

and you never heard of him no more.

George would never do nothing like that.

Well, suppose he get hurt

or killed and he can't come back.

George can't get killed

cos George is careful.

Well, just suppose. Suppose he don't

come back. What you do then?

I don't know.

Gee, why are you doing anyways?

- That ain't true. George ain't hurt.

- Shall I tell you what'd happen?

They'd take you to the booby hatch

and lock you up with a collar, like a dog.

- Who'll hurt George?

- Just supposin'.

George ain't hurt. He's all right.

He's gonna come back.

- Then what you supposing for?

- Oh, I...

Ain't nobody talk no hurt to George.

Just keep calm.

Now, now, George ain't hurt.

Ain't nobody talk no hurt

to George. George'll be back.

All right, all right, all right. Just sit down.

Calm down.

Go on.

Maybe you can see now.

You got George.

Suppose you ain't got nobody.

Suppose you can't go into the bunkhouse

and play rummy because you's black.

Suppose you have to sit out here

with the mules and read books.

Books ain't no good.

A guy goes nuts, he ain't got nobody.

I tell ya, a guy gets too lonely,

he gets sick.

Maybe George come back already.

Maybe I better go see.

I... I didn't mean to scare you.

George gonna come back all right.

I was just talking about myself, that's all.

We're gonna get a little place of land

and rabbits and windmill.

You're nuts.

Lennie!

- That's George. George is back.

- Yeah.

I'm in here, George.

You shouldn't be in here.

Yeah, well, I told him,

but he come on in anyway.

- Why didn't you kick him out?

- Well, I...

I guess I didn't care much.

Come on.

Night.

George, I thought

you were gonna stay in town.

- Well, why'd you think that?

- That n*gger told me.

He tell you got hurt.

Hey!

Did you see Curley in town?

No.

He went into town.

His old man went into town, too.

Yeah.

I couldn't even play my records tonight.

I got no records left. I had four.

"Am I Blue", "Little by Little", "Button Up

Your Overcoat" and "Ten Cents a Dance".

Curley got mad at me after supper,

broke all my records.

I know how you got them bruises

on your face.

And how Curley got his hand busted.

He got his hand caught in a machine.

Yeah. All right.

If you say so.

Someday I'm going into town,

and no one's ever gonna see me again.

Not Curley, not his old man,

not a damn one of you bindle stiffs!

George, she's crying.

George, why is she crying?

I don't know.

- I finished the letter.

- Oh, that's good. Good, that's good.

Maybe we should send

the binding money?

No, no. Let's wait

till we hear back from 'em.

- Well, I hope they ain't already sold it.

- Oh, don't you worry about that.

George, I'll tell you what. I'd feel

a lot better sending the money now.

Well, let me think about it.

You know, I could hardly sleep last night,

thinking about us getting that farm.

We'll be there before you know it.

Come on, Crooks, put it in.

Oh, good shot.

That's the way.

Still in there.

Why did you get killed?

You ain't seen so little as the mice.

George is never gonna let me tend

my rabbits if he finds out you got killed.

Come on, George.

Put that ringer on.

One of 'em got very close.

- OK, Slim, come on.

- Shut up, Smiley.

- Ringer time.

- Ringer time.

What you got there, sonny boy?

George says I ain't got

nothing to do with you.

George giving you orders

about everything?

I ain't gonna talk to you or nothing.

The guys got

a horseshoe tournament going on.

None of them guys is gonna leave.

Why can't I talk to you?

I never get to talk to nobody.

I get awful lonely.

I ain't supposed to talk to you.

You can talk to people,

but I can't talk to nobody but Curley,

or else he gets mad.

How'd you like not to talk to anybody?

What you got covered up there?

I...

That's the pup.

That's the little pup.

Why, it's dead.

But I was just playin' with him.

Don't you worry none.

He's just a mutt.

You can get another one, easy.

Well, it ain't that so much, but George

ain't gonna let me tend them rabbits now.

- Why don't he?

- Well, he said when...

I did any bad things, then I wouldn't

be able to tend them rabbits.

Don't you worry about talking to me.

Listen to the guys yell.

They ain't gonna leave till it's over.

I ain't supposed to talk to you. George

said he'd give me hell. He told me this.

Well, what's the matter with me?

Ain't I got a right to talk to nobody?

George says you get

the people in a mess.

Oh, nuts.

What kinda harm am I doing to you?

I tell ya, I ain't used to living like this.

I could've made something outta myself.

Maybe I will yet.

A show come through Salinas,

and I met one of the actors.

He says I could go with the show.

My old lady wouldn't let me,

but this guy says I coulda.

If I went, I wouldn't be

living like this. You bet.

Say, we were supposed to get

a little place and then get rabbits.

Another time, I met a guy -

he was in the pictures.

Went out to the

Riverside Dance Palace with him.

He says he was gonna put me

in the movies.

He says I was a natural.

As soon as he got back to Hollywood

he was gonna write to me about it.

I never did get that letter.

I always thought my old lady stole it, too.

She said no.

So, um... I married Curley.

Met him out at the Riverside Dance Palace

that same night.

- Are you listenin'?

- Sure.

I ain't told this to nobody before.

And maybe I oughtn't to.

I don't like Curley.

He ain't a nice fella.

I could've been in the movies.

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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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