The Chase Page #4

Synopsis: Most everyone in town thinks that Sheriff Calder is merely a puppet of rich oil-man Val Rogers. When it is learned that local baddie Bubber Reeves has escaped prison, Rogers' son is concerned because he is having an affair with Reeves' wife. It seems many others in town feel they may have reasons to fear Reeves. Calder's aim is to bring Reeves in alive, unharmed. Calder will have to oppose the powerful Rogers on one hand and mob violence on the other, in his quest for justice.
Genre: Crime, Drama, Thriller
Director(s): Arthur Penn
Production: Columbia Pictures
 
IMDB:
7.3
Rotten Tomatoes:
80%
APPROVED
Year:
1966
134 min
940 Views


What the devil's the matter with you?

Who wants a drink?

Who wants to dance with me?

Oh, come on, honey, let's dance.

I need a partner.

Sweetheart, let's dance.

- How about you, honey?

- Mary.

- Nobody dance, I dance by myself.

- Mary.

Mary.

Honey, you're drunk.

And nobody's gonna dance with you

when you're all tanked up.

So why don't we just go upstairs

and lie down and sleep it off.

You'd like that, wouldn't you?

No, sir, loving husband,

I don't close my eyes.

This portion of the news, Spotlight

on Texas, is brought to you by...

What the devil are you doing

in here all evening?

At Confederate Soldier,

everybody knows you can...

Oh, my God.

You're trying to find out if your old pal

Bubber Reeves is back.

Oh, honey, I told you to stop

worrying about it.

Be quiet, Emily.

- We'll protect him, won't we, Damon?

- We sure will.

Now, listen, if he comes around here

and tries to bother you...

...I'll just pull out my pistol

and go, "Bang, bang!"

Bang, bang!

Bang, bang, bang!

- not 2000, but for only $662.

Old Edwin.

Old Edwin's a fox.

He's not studying

about Bubber Reeves.

He's sitting there watching them little

girls dancing with them little boys.

God knows what goes on over there.

Stop looking at them little girls.

You like them younger and younger,

don't you, honey?

- I sure do.

- Come on.

Don't you, son?

Don't you like them younger

and younger?

I wasn't thinking about things like that.

I was thinking about myself then.

All the things I wanted

and believed would happen.

Here we go. My husband,

the Saturday-night philosopher.

Hi, Archie!

Welcome to the party.

Hi, Archie.

Give me a kiss.

Old Archie's come to help protect

Edwin from Bubber.

I don't need anybody to protect me,

I've told you a dozen times.

Yes, you do.

Who's afraid of Bubber Reeves

Bubber Reeves, Bubber Reeves?

My Edwin!

Oh, baby, I wouldn't hurt you.

You know that.

- Bang, bang!

- Bang, bang!

Bang.

Put that away, you crazy fool!

You wanna kill somebody?

Get him out of here!

I don't want him in my house!

You get him out,

if you're man enough.

Oh, take it easy, little buddy.

If Bubber Reeves comes around,

just take out your pistol and shoot.

No, he can't do that.

He don't have no pistol.

Hey, you don't have no pistol, boy?

Here, take mine.

I don't want your pistol, Damon.

- We heard a shot!

- What happened?

We heard a pistol shot.

What's going on?

We were just playing a game.

Pretending we were looking

for old Bubber Reeves.

- Lem got carried away.

- Why don't you get carried away.

I'll pretend I'm Bubber Reeves,

and you come looking for me.

Why don't you go hide,

and maybe I will.

I'm Bubber Reeves.

Get me!

Wow! Look at that.

Look at that!

I think I'm gonna go hide myself too

so she can come find me.

I think you ought to stay here with me.

What you doing, Edwin?

Nothing. Thinking.

Let's us dance.

Let's show Damon and Emily.

I don't dance, Mary.

You know that.

Look at that.

Emily likes to dance,

and Damon likes to dance.

They call it that.

Listen, Edwin,

I got something to tell you.

My husband and your wife

are having an...

I don't like men who slap women.

You don't like men who

do anything to women.

A lot of the kids are really rich.

New money, of course.

An old saying,

"New money dances itself away...

...while old money

waits for them to weary."

Is that so?

I never heard that saying before.

It's nice.

The rich ain't serious anymore.

Don't have to be.

Not like us.

People say you're rich, Billy.

People's the biggest liars on earth.

Caught you in the act.

- Having a party?

- Yes, sir.

I caught him out here smooching.

What do you think of that?

Well, folks don't seem to think much...

...of married couples changing

partners these days.

Of course, Mrs. Briggs and I

are old-fashioned.

Edwin...

...I've often wondered if Val Rogers...

...knows about his son and Anna.

Do you think he does?

How should I know, Mr. Briggs?

Mr. Rogers doesn't confide in me.

Well...

...somebody ought to tell him...

...if only for the boy's sake.

Bubber Reeves running around loose,

God knows where.

Why don't you tell him.

I think he might appreciate it.

Edwin.

Brewster's sister told me

he's in the house.

Would you go ask him to come out?

I wanna talk to him.

Brewster!

Hey, Calder wants to see you.

- Hope I'm not busting up your party.

- Anytime, Calder.

Lem, could a traveling

jewelry salesman...

...by the name of McCormack

been on his way here to see you?

- No, I never heard of him. Why?

- He's dead.

- Dead?

- Yeah.

Do you think he was killed?

- Yeah.

- Come on.

Come on, let's have a party!

- Have a drink with us, Calder.

- I don't believe I will now.

No, he don't drink

with poor folks, honey.

I sure do wish that I knew your secret

charms for Val Rogers.

I bet you do.

You stop around one day,

and I'll give you a lesson.

Do you think Bubber Reeves

killed this McCormack?

- Nope.

- Don't worry, Edwin, we'll protect you.

Calder, why don't you stay

and help us protect him.

All you need to come to my party

is a pistol, and you got one.

With all the pistols you got there,

I don't believe there's room for mine.

Don't you understand, Emily?

He's got to put a guard at that motel...

...to be sure Mr. Jake and Miss Anna

aren't interrupted.

How much did Mr. Val

pay you for that, boy?

You know, every year

on my birthday, I think:

"Calder, give yourself a present

and take a sock at Damon Fuller."

And this year, about eight days from

now, I think I'm gonna treat myself.

Hey, Calder!

If he comes back

and you need deputies...

...every man here would be glad

to help.

We don't need your help, Lem.

The state says anybody

can own a gun...

...and most of you got two,

but deputies you ain't.

So you just stay drunk

and forget about it.

You see, I don't drink, myself.

Except possibly the occasional

bottle of beer.

- That's good.

- And I respect the law.

Well, that makes two of us in town.

He's not always

a sweet-tempered man.

No, he isn't.

Hi.

Anna?

Anna?

Anna?!

Anna?!

What's the matter?

I fell asleep.

You're early.

- Hey, you're shaking.

- No, look what I have.

- For a whole year?

- No, for tonight.

You've got the jitters.

- Was it bad at home?

- No, no worse.

Like always.

I can't take much more of it.

Now, how many times did I say that?

Every Saturday night.

You're the only woman I ever knew

who never has to talk.

First thing I ever noticed about you.

Even when you were a little girl.

I got a present for you.

Well, open it, darling.

How much did they cost?

Five hundred dollars?

- Eight hundred? Nine hundred?

- Why do you have to know?

Two thousand.

Jake, where am I gonna wear them?

You keep giving me things like that.

They're just gonna sit in a rotten

drawer, and I'll stare at them.

I didn't marry first, Anna, you did.

I didn't marry first, you did.

Oh, Jake, I heard you.

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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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