Terror in a Texas Town Page #3

Synopsis: Sven Hanson is one of a number of farmers whom Ed McNeil wants to run off their land (because he knows there's oil on it). When Hanson is murdered by McNeil's gunman, Johnny Crale, Hanson's friend Pepe Mirada hides his knowledge of the murderer's identity in order to protect his family. When Hanson's son George arrives and takes up his father's cause, not only Mirada but also Johnny Crale begin to reevaluate their attitudes.
Genre: Drama, Western
Director(s): Joseph H. Lewis
Production: United Artists
 
IMDB:
6.9
NOT RATED
Year:
1958
80 min
82 Views


All right, I will stay in the hotel.

But I understand justice, too.

I think I will get it.

So, I suppose this will

is registered in Austin.

The Swede's staying here in the hotel.

Looks to me like

he's just thickheaded enough...

to want to start some trouble.

Have you had legal training, Sheriff?

- No, sir.

- Then don't give me legal advice.

What are you sweating like that for?

Somebody frightened you?

No, sir, Mr. McNeil...

but you've got to understand

my position in this matter.

It's a very touchy situation.

I could get caught in the middle.

I can't afford that.

And I can't afford you

unless you stop this public shivering.

Now get out of here. I'm busy.

Swedes in this country.

They keep popping up like jackrabbits.

This one's younger, McNeil, and smarter.

I want to see him.

Sure.

Come in.

McNeil wants to see you.

Why?

Business.

You work for him?

In a way.

Then you knew about my father's land

when you talked to me?

I'm afraid I did.

Mr. Hansen.

My name is Ed McNeil.

This is my secretary, Mona Stacey.

I want to tell you how personally saddened

I was by your father's death.

Sit down, won't you?

I posted a $500 reward

for any information leading to an arrest.

I do not think

you will have to pay that reward.

I do not think there's going to be any arrest.

- What are you drinking?

- Nothing. Thank you.

Crale tells me that you've been asking

about your father's farm.

I presume you naturally thought

you had an interest in the place.

That's why you came here, isn't it?

Do I have to give you reasons for what I do?

No, of course not.

But you did think you were going to

inherit the place? Am I correct?

I have inherited it.

Let's get the facts straight.

I hold prior right, by land grant,

to all of this property.

About 20 years ago, when this country

was first settled, the squatters moved in.

Some of them failed,

sold their farms and went on.

Your father was unfortunate enough

to buy one of these...

which they had no right to sell.

I'm a man who understands...

the position these poor people

find themselves in.

So, instead of evicting them...

I've been paying them

to get off my property.

Wouldn't you say that's

being about as fair as a man can be?

If what you say is true,

then what you are doing is fair.

And since what I'm saying is true,

I've made out a release for you.

All you have to do is sign it,

and I will have $300 placed to your order.

I have $300.

I also have a farm.

Have you seen that land?

It's not worth $300. It isn't worth $200.

Then I know I could not allow you

to pay me for it.

I could not accept more for a thing

than it is worth.

Young man, you're a foreigner.

You're making a fresh start in a new land.

Let me ask you something.

Are your papers in order?

I think if they're not in order, the proper

authorities will know about it soon enough.

And even if they are in order,

they will also know.

What gives you that idea?

You are going to tell them about

all this that is going on, are you not?

Then I withdraw my offer.

Don't come back saying you changed your

mind. I promise you, I won't change mine.

I don't think we will

have any trouble about that.

He looks like he's my problem now.

But not in the way you think.

Another killing at this moment

might prove most inopportune.

I want him on the train tonight.

I don't care how you get him there,

just so long as he stays alive.

I never like to do half a job

when a whole job's easier.

But I'm always willing

to make an exception for a partner.

Because, that's what I think we're gonna be.

Hello, boy.

Are you going to live here?

Yes, I am.

But not right now.

Tell me something. Did you know the man

who used to live here?

He was my friend.

- You are neighbors.

- My house is over there.

Beside the railroad track.

Are you the man

who makes everybody move away?

No.

But you say you are going to live here.

You must be the man

who makes everybody move away.

No, you are all mixed up.

You see, the man who used to live here...

the man who was killed, he was my father.

Senor Hansen? Your papa?

Yes. I am George Hansen.

- My name is Pepe Mirada.

- I am very glad to know you, Pepe.

We have this cow, senor.

The cow of your father.

When the trouble came, we took this cow.

Not to steal, of course. To take care.

This is good, no?

That is good.

Of course, now you come back...

we give the cow back.

Maybe later,

but do you have a cow of your own?

No, senor. But we have this goat.

A very fine goat.

You just keep that cow.

Especially if she's giving milk.

Lots of milk, senor.

Why don't you come visit us?

I would like to.

Right now?

Right now.

I'll show you.

My father spent 30 years at sea.

Most of them on whale ships.

He must have kept this as a souvenir.

If a man knows how to throw one of these,

he can do a lot of damage.

Could it kill a man?

We heard the shot

and when Pepe and I got there...

it was stuck in the ground,

as though he had tried to throw it.

That is all we know.

I brought it home to remember him by.

Would you care for a glass of wine?

Yes, I would.

Have you killed any whales, senor Hansen?

I have killed many whales.

- Show us how you do it.

- I was talking to him, Pepe.

- Girls don't know anything about whales.

- Wait a minute.

Girls know something

about almost everything.

Perhaps even more than you and I.

Now, you watch.

You must hold it this way. You see?

With this, you do not kill a whale.

This is just to hook onto him.

Then you kill him with a lance.

- Four of them, Papa.

- Con permiso. Excuse me.

Is your name Jose Mirada?

Yes.

We've got a message for you.

Can you guess what it is?

No, senor.

You're leaving town, Jose. By Sunday.

By Sunday?

No, senor, that is not possible.

You see, we have the problem of...

Can't you try to make it possible?

Try it as a favor to me, amigo?

Of course I will try.

I do not like

to make disappointments for you.

But there is the question of my wife.

You see, any day now she...

Any day now, your wife could be a widow.

Why do you keep thinking of yourself?

Why don't you try to do something for me?

What are you doing here?

- Visiting a friend. What are you doing?

- I'm trying to help a friend.

Sunday, Jose.

Remember.

But my wife is going to have a baby

any day now.

- Maybe even today.

- Congratulations.

Sunday.

I know what he said.

- You have come to see us on a sad day.

- I am sorry.

- How long have you lived here?

- Lived here?

My people have always lived here.

How many hundreds of years...

A long time.

Can you tell me, Mr. Mirada,

why is it that McNeil wants all this land?

No, senor.

If we only knew that...

we might have the answer

to our own problem.

I have looked at my father's place.

I have seen your land.

A man can raise a crop here,

but he would never get rich.

And yet, one man wants it all. Why?

This is a mystery, amigo. I know nothing.

- And the other ranchers?

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Dalton Trumbo

James Dalton Trumbo (December 9, 1905 – September 10, 1976) was an American screenwriter and novelist who scripted many award-winning films including Roman Holiday, Exodus, Spartacus, and Thirty Seconds Over Tokyo. One of the Hollywood Ten, he refused to testify before the House Un-American Activities Committee (HUAC) in 1947 during the committee's investigation of communist influences in the motion picture industry. He, along with the other members of the Hollywood Ten and hundreds of other industry professionals, was subsequently blacklisted by that industry. His talents as one of the top screenwriters allowed him to continue working clandestinely, producing work under other authors' names or pseudonyms. His uncredited work won two Academy Awards: for Roman Holiday (1953), which was given to a front writer, and for The Brave One (1956) which was awarded to a pseudonym of Trumbo's. When he was given public screen credit for both Exodus and Spartacus in 1960, this marked the beginning of the end of the Hollywood Blacklist for Trumbo and other screenwriters. He finally was given full credit by the Writers' Guild for all his achievements, the work of which encompassed six decades of screenwriting. more…

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Submitted on August 05, 2018

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