Oklahoma! Page #8

Synopsis: In Oklahoma, several farmers, cowboys and a traveling salesman compete for the romantic favors of various local ladies.
Genre: Comedy, Drama, Musical
Director(s): Fred Zinnemann
Production: ByExperience
  Won 2 Oscars. Another 1 win & 4 nominations.
 
IMDB:
7.2
Rotten Tomatoes:
96%
APPROVED
Year:
1955
145 min
2,358 Views


Now... Now, here's

my niece's hamper.

- (MURMURING)

- I took a peek inside a while ago,

and I must say

it looks mighty tasty.

- What do I hear, gents?

- Two bits.

- Four bits.

- What you say, six?

- MAN:
One dollar.

- More like it. Do I hear two?

- A dollar and a quarter.

- (CROWD MURMURING)

MAN:
Two dollars.

MAN #2:
Two-fifty.

- Three dollars.

- And two bits.

MAN #3:

Three dollars and four bits.

- MAN #4:
Four dollars.

- And two bits.

Four dollars and a quarter.

Ain't I gonna hear any more?

Curly?

(MURMURING)

I got a bid of four and

a quarter from Jud Fry.

You gonna let him have it?

Andrew.

- Four and a half.

- Four and a half! Going for...

Four seventy-five.

Four seventy-five.

Come on, gentlemen.

Schoolhouse ain't built yet.

Got to get a nice "chimbley. "

Five dollars.

- Five dollars! Going for...

- And two bits.

Too rich for my blood.

Can't afford no more.

Five and a quarter.

Ain't got nearly enough yet.

Not for cold duck and stuffing,

- and that lemon meringue pie.

- Six dollars.

- Six dollars!

- And two bits. And two bits.

My, you're stubborn, Jud.

Mr. Carnes is a richer man than you

and I know he likes custard

with raspberry syrup.

- Oh, let it go.

- Anybody gonna bid any more?

No, they all dropped out.

Can't you see?

- You got enough, Aunt Eller.

- MAN:
Yeah, let's get on.

- I got the money.

- Hold on, you.

- I ain't said "going, going"...

- Say it!

Going to Jud

for six dollars and two bits.

Going.

- Going.

- (CROWD MURMURING)

- Who'd you say was getting Laurey?

- Jud Fry.

- And for how much?

- Six and a quarter.

I don't reckon that's quite

enough, do you, Aunt Eller?

More than you got.

Got a saddle here. Cost me $30.

You can't bid saddles.

You gotta bid cash.

Thirty-dollar saddle must be

worth something to somebody.

I'll give you 10 dollars.

Don't be a fool, boy. You can't

earn a living without a saddle.

- You got cash?

- Right in my pocket.

Let's don't waste time.

How high you going?

Higher than you, no matter what.

- Aunt Eller, I'm bidding all of this 10

dollars. - Ten dollars! Going, going...

Ten dollars and two bits.

Curly?

- Most of you boys know my horse, Blue.

- (CROWD MURMURING)

He's kind of a nice horse.

He's gentle. He's well broke.

Don't sell Blue, Curly.

it ain't worth it.

I'll give you $25 for him.

Sold.

Aunt Eller, that makes the bid 35.

Curly, you're crazy.

But it's all for the

schoolhouse, ain't it?

- Going for 35...

- Hold on. Hold on now.

I'm not finished bidding yet.

You just sold everything you

got in the world, didn't you?

You can't sell your clothes

'cause they ain't worth nothin'.

You can't sell your gun

'cause you're gonna need it.

Yes, sir, you're gonna need it bad.

Well, I'm just as good as

Curly at gettin' what I want.

I'm gonna bid everything

I got in the world.

Forty-two dollars and 31 cents.

(CROWD GASPS)

Anybody want to buy a gun?

I bought it brand-new last

Thanksgiving. It's worth a lot.

- Curly...

- MAN:
Give you 18 for it, Curly.

Sold.

Aunt Eller, that makes the bid $53.

anybody going any higher?

Sold!

(LAUGHTER)

Going, going, gone.

Well, what's the matter

with you folks?

Ain't nobody gonna

cheer or nothin'?

(CHEERING)

Ah, ah, ah, ah.

Now, come on, you two.

Shake hands.

That's better.

- Curly?

- What?

Can I show you something?

Excuse us, Laurey?

You ever seen one of these?

Just what is it?

It's something special.

(INAUDIBLE)

You just put it up to your eye and

you look through it, like that.

Curly! Curly!

- What you doing?

- Nothin'.

What do you want to squeal

at a man like that for?

You scared the livin' lights

out of me.

Well, then stop lookin'

at them old French pictures.

And ask me for a dance. You brung

me to the party, didn't you?

All right, all right, you silly old

woman. I'll dance with you.

Sam, pick that banjo to pieces.

(BAND PLAYS)

Now that I got that $50,

you name the day.

- August 15.

- Why August 15?

'Cause that was the

first day I was kissed.

Was it? I didn't remember that.

You wasn't there.

Now, lookee here. We gotta

have a serious talk.

Now that you're engaged to me,

you gotta stop havin' fun.

I mean, with other fellas.

You'll have to be

a little more standoffish

When fellers offer you a buggy ride

I'll give a imitation of a crawfish

And dig myself a hole

where I can hide

I heared how you was

kickin' up some capers

When I was off in Kansas City, Mo

No!

I heared some things

you couldn't print in papers

From fellers who been

talkin' like they know

Foot!

I only did the kind of things I oughta

Sorta

To you I was as faithful as can be

For me

Them stories 'bout the way

I lost my bloomers

Rumors

A lot of tempest in a pot of tea

The whole thing don't

sound very good to me

Well, you see...

I go and sow my last wild oat

I cut out all shenanigans

I save my money

don't gamble or drink

In a back room down at Flannigan's

I give up lots of other things

That a gentleman never mentions

Before I give up any more

I wanna know your intentions

With me it's all or nothin'

Is it all or nothin' with you

It can't be in between

It can't be now and then

No half-and-half romance will do

I'm a one-woman man

home-lovin' type

All complete with slippers and pipe

Take me like I am or leave me be

If you can't give me all

give me nothin'

And nothin's what

you'll get from me

Not even somethin'

Nothing's what you'll get from me

- It can't be in between

- Uh-uh.

It can't be now and then

No half-and-half romance will do

Would you build me a

house all painted white

Cute and clean and

pretty and bright

Big enough for two

but not for three

Supposing that we

should have a third one

He better look a lot like me

The spittin' image

He better look a lot like me

With you it's all or nothin'

All for you and nothin' for me

But if a wife is wise

She's gotta realize

That men like you are wild and free

So I ain't gonna fuss

ain't gonna frown

Have your fun

Go out on the town

Stay up late and don't

come home till 3:00

And go right off to sleep

if you're sleepy

No use waitin' up for me

Aw, Ado Annie

No use waitin' up for me

Come on and kiss me

(CHATTERING, LAUGHING)

Why'd you drive off

and leave me like that?

Like I said, didn't want

to be late for the party.

You didn't want to be with me, you mean,

not a minute more than you had to.

I ain't good enough for you, am I?

I'm a hired hand.

I got dirt on my hands. Pig slime.

I ain't fit to touch, am I? You're better.

Oh, you're so much better.

Well, we'll see how much

better you are, Miss Laurey,

and you won't be so free and easy

and highfalutin with your airs.

- You such a fine lady!

- Are you makin' threats to me?

Are you trying to tell me if I don't

allow you to slobber over me like a hog,

why, you're gonna do

something about it?

Well, you ain't

a hired hand for me no more.

You can just pack up

your duds and scoot.

Don't you as much as set foot

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Sonya Levien

Sonya Levien (born Sara Opesken; 25 December 1888 – 19 March 1960) was a Russian-born American screenwriter. She became one of the highest earning female screenwriters in Hollywood in the 1930s and would help a number of directors and film stars transition from silent films to talkies. In 1955 she received an Academy Award for her screenplay Interrupted Melody. more…

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Submitted on August 05, 2018

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