Terror in a Texas Town Page #4

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


- Nobody knows nothing.

Somebody, somewhere, must know why.

I am going to find that man.

- Mr. Holmes?

- That's right.

My name is George Hansen.

I think you knew my father.

I knew your father. He was a fine man.

Thank you. I've been talking to people

here and there...

about what happened to him.

About what's happening to us all,

and it seems...

that you are the man who is trying

to hold these people together.

Trying. But that's all. It can't be done.

Trying. But that's all. It can't be done.

People are just like any other kind of animal.

When they get scared, they scatter.

Including myself.

Excuse me, I'm busy.

Don't you understand?

If only the men would stick together,

then maybe we would have a chance.

A chance at what?

The trouble with the people around here

is all they do is talk.

I've had enough talk.

I'd a sight rather fight all alone

than count on other people helping me.

- By then it will be too late.

- I'll take my chances.

You feel the same way, Mr. Johnson?

It's like I say,

it's not as much up to me as my wife.

I can't just think of myself.

- I will have whiskey.

- Yes, sir.

- Ma'am, would you have a drink with me?

- I'll be glad to.

I didn't know you were still here.

Yes. I am still here.

Is there some reason I should not be?

I guess not. It's a funny town, that's all.

People disappear or get shot

or get run out, almost every day.

Let's drink to both of us getting out of here,

just as quick as the good Lord will let us.

I would rather drink to you.

Because I am not

getting out of this town. Not ever.

You do not like it here, do you?

I hate it.

Then why don't you get out?

You know why as well as I do.

Go ahead. Have another one.

All right, I will.

Tell me a thing.

What kind of work does he do?

Why is it that every time

a man gives a girl two fast drinks...

he thinks she'll tell him

everything she knows?

I am sorry.

I guess that is what I was hoping for.

Pour. I could do this all afternoon and

never even give you the time of day.

Maybe. But not if we were drinking aquavit.

We're not drinking whatever it is,

we're drinking whiskey.

No matter how much I drink,

I'll tell you only one thing.

Stay away from him.

Why?

He's mean.

He killed my father, didn't he?

Naughty, naughty. Try again.

Why do you stay with a man like this?

I stay with him because I'm what I am.

I stay with him

because no other man would have me.

I stay with him because as low as I am,

I can turn around and see him...

and remember there's somebody lower.

Look at me.

Can't you see what's written here?

Can't you see a thousand days and nights

that never were love...

and never could be...

and never can be?

Molly...

You listen to me.

I have been all over the world.

I have known all kinds of men,

all kinds of women.

But I never knew one who could not change,

if he wanted to.

That's big talk.

- I am telling you the truth.

- The truth about what?

I just said "the truth."

That is not so difficult to understand.

You're standing in my place.

Nice music.

You like our music here?

I asked you a question.

Do you like our music?

Keeno.

What do you think of a fella

who don't like our music?

The way I got it figured,

a fella shouldn't have to stay anywhere...

where he don't like the music.

Right, Keeno?

A fella shouldn't stay anywhere

where he don't like the music.

How do you like this for service?

Got your stuff all set to put on the train.

Even got you a ticket right out of the state.

You better take it back to my room.

You ain't got no room no more.

Ain't that right, Johnny?

That's right.

You know what I better do?

I better count the towels.

See how many he's trying to get off with.

Where'd you get that, Swede?

No towels yet. What've we got here?

Look what he's got.

Molly, try this on.

If you like it, I might buy it for you.

- Why don't you make them stop it?

- Sure.

- Put it back.

- How much you take for it?

Just put it back.

I don't see anything so special about this.

Looks just like any

old piece of merchandise to me.

If it was mine, I'd be glad to sell.

Right, boys?

- Sure would.

- I'd give it away.

Come on, Swede, you can tell me,

is there something special about it?

It belonged to my mother.

One day, it will belong to my wife.

In that case, we might as well

just split it up between them right here.

Half and half.

- You got to stop them or they'll kill him.

- Sure.

When you're through with him,

put him on the train.

What did they do to you?

The hotel, last night...

- A fight?

- Yeah.

Then why do you come from that way?

They put me on a train.

First time it slowed down, I roll off.

Let me fix you up.

You stay here with us, amigo.

Things will clear up soon.

- No. I shall get back into town.

- You going to fight some more?

No, Pepe. I'm not exactly anxious

to fight some more.

But also, I'm not anxious to lose my farm.

This farm is not possible to be saved.

Pretty soon, we lose them. All of us.

You know something, Mirada?

There is only one reason

why we must lose our farms.

There is only one reason

why my father was killed.

- Do you know what that reason is?

- No, senor.

It is because of fear.

It is because people are afraid.

We could turn this valley inside out

if only people were not afraid.

Which fear do you speak of, senor?

- Being afraid to talk.

- To talk about what, senor Hansen?

Mrs. Mirada...

I cannot help thinking that somebody knows

why my father was killed...

and will not tell.

I also think that they know who killed him,

and also will not tell that.

Senor Hansen, you have been our friend.

Your papa was also our friend.

But we have been bad friends.

This is my fault,

so I will tell it to you myself.

Jose, he wished to say it all the time.

There is oil in this place.

Oil?

It leaks down the side of my new well.

I tell this thing to your papa.

Then, the one with the black gloves

rides up and shoots him.

All your papa has is the harpoon.

We see this, Pepe and I.

- We see it and are afraid to tell.

- I was afraid.

I was afraid for the baby.

So, we have spoilt our honor for this fear.

That doesn't matter.

What matters is that you do tell now.

I think something...

I think that when the people

know there is oil in the valley...

then they will fight.

Can I be of any help?

Then I must be getting back.

Is it all right if I tell the sheriff

this other thing?

About my father?

You tell them

Jose Mirada is no longer afraid.

I will.

Papa, why can't I help, too?

No, Pepe.

This moment, your mama does not love us.

She loves only the baby.

Sure you can get the preacher

to open the church?

He will. Leave it to me.

I'm the deacon. I can call a meeting

to tell the town it's floating on oil.

- How soon?

- We ought to have them ready by 8:00.

I'll have them ring the bell

as soon as I can get a man there.

I'll go and call Barnaby and Johnson.

If Mirada's gonna identify the killer,

maybe he shouldn't ride into town alone.

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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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