The Furies Page #5

Synopsis: The 1870s, New Mexico territory: T.C. Jeffords is a cattle baron who built his ranch, the Furies, from scratch. He borrows from banks, pays hired hands with his own script ("T.C.'s"), and carries on low-level warfare with the Mexicans who settled the land but are now considered squatters. He has enemies, including Rip Darrow, a saloon owner who's father T.C. took land from. His headstrong daughter, Vance, has a life-long friend in one of the Mexicans, her heart set on Rip, and dad's promise she'll run the Furies someday. Her hopes are smashed by Rip's revenge, a gold-digger who turns T.C.'s head, and T.C.'s own murderous imperialism. Is Vance to be cursed by fury and hatred?
Director(s): Anthony Mann
Production: Paramount Pictures
 
IMDB:
7.4
NOT RATED
Year:
1950
109 min
341 Views


of the ways of politics.

You can hoot and holler that.

What's that?

Uh, my favorite.

Cognac in orange juice.

- Try it, my dear.

- No, thank you.

The oranges will be piling up by the crate.

I telegraphed Bailey in San Francisco.

Any libation any of my folks want.

That's what my folks is gonna get.

Why, Temple, how wonderfully

thoughtful of you.

I'm tired. I think I'll turn in.

- Good night.

- Good night, dear.

Good night, my dear.

I'm afraid this house

isn't like the houses you're used to.

I only hope you'll be comfortable.

My dear, it seems like home already.

Flo, scratch my sixth lumbar vertebra.

Say, Flo, did I ever tell you how I got this?

Remember?

I met up with a party of Osages?

- Yes, Temple. I know. You told me.

- Oh, yeah. I told ya.

Ah, that feels good.

- That's it, Pop.

- All right, Son.

Here. Your payment.

If it makes any difference, Miss Vance,

you gave me T.C. S for the last load.

The boss told me this time to -

to make sure and got the cash.

You'll take these T.C.s.

But the boss - he says he was

most particular- he -

Yes, Miss Vance. Yes, ma'am.

Pop, you must be getting feeble.

She rode you right down.

- Any other remarks, Son?

- No, Pop.

- Come along.

- Yes, Pop.

The last transaction with Bailey

showed about...

seven and one-third percent profiit?

Not about seven and a third. Exactly.

I mean, you do a perfect job of calculating.

- I mean -

- My dear, do come in.

Scotty's been making

a wonderfully brave attempt...

to show me the way

a ranch is run, but to no avail.

I don't see how you do manage all this.

- And as for blaming you-

- What blame?

For the squatters' return to The Furies.

I told Temple that's no fiit work for a lady-

burnings and the like.

I told him you're not to be blamed

one bit for your failure.

- Thanks.

- My dear...

I had a wonderful notion.

I had a notion you'd have

a wonderful notion.

To aid you.

I thought I'd write -

I thought I'd have Temple write

to Mr. Bailey...

to send an experienced manager

to take the burden from you.

- Why?

- My dear...

it's a sacrilege that so lovely a creature

as you has been kept at The Furies -

that you haven't been granted your opportunity

to make the grand tour of Europe -

Paris, Vienna, Budapest -

I like it here just fiine.

You're such a brave creature.

- And believe me, I do understand.

- That's more than I do.

I, too, have had my full portion

of unfortunate romance.

So I know exactly.

The wisest way is to forget Rip Darrow

and the way you've been tormented.

The wisest way is to take a long trip.

Ah, that's what I like to see -

you two hennir away together.

Come on, Flo.

This'll be fiit to watch.

- MartyJaeger's breaking in that bay cayuse.

- Yes, Temple.

It'll be all right, my dear.

You'll see.

The bay's got an iron mouth!

- Father.

- Yes, Daughter?

Nothing.

Ah, mayhap you're right, Flo.

She has been gettirmoody

the past few weeks.

- Mayhap a change for her-

- Ah, Temple, you're so understanding.

I'm sorry about showing the books,

Miss Vance...

but she and I got to talking, and...

fiirst thing I know,

the safe was open, the books out.

I mean -

I know just what you mean.

# It was in the merry month of May #

- I just don't know how to fiight her.

It's like hitting the wind.

It freezes me.

I always thought I'd enjoy

seeing you broke to halter.

But I don't enjoy it, not a whit.

- Turn to her.

- No.

- Now.

Now look at her, Vance.

You're not fiighting Bailey or the Anaheim Bank,

and you're not up against the wind.

- You're fiighting a woman, that's all.

Well, git 'r go,

where'd you latch onto that 'un?

I thought only a hereabout ranahan

knew about that!

I'll tell you a secret, sir.

I heard it for the fiirst time today.

I heard it, and I learned it.

- I was in hopes it would please you, sir.

- All right.

- It was when I embraced her

##In my arms ##

##I thought she had ##

#Ten thousand charms #

# Her caress was soft

and her kisses sweet #

# Say we'll get married #

# Next time we meet #

# Oh, curse your gold #

#And your silver too #

# God pity the girl #

#That don't prove true #

# I'll travel west #

#Where the bullets fly #

#And I'll stay on the trail #

#Till the day I die ##

- Vance.

- What are you doing here?

I come out here when I'm restless.

It's the Darrow Strip, isn't it?

Or is it because we rode here,

you and I, that night we met?

Take your choice.

Either way, it shows

you have a haunted streak.

That's good to know.

What are you doing here?

I ride out here

whenever I'm restless too.

That was honest.

That's a dainty little Derringer.

May I see it?

- Real dainty.

Don't return here, Mr. Darrow.

I'll kill you if you do.

Vance.

Mr. Darrow?

You're really on the prod.

Like the cattle,

all set to stampede.

All set.

You'd like me to take you

in my arms, wouldn't you?

Sleep well.

What are you up to in here?

Waiting for a chance to see you,

to talk to you alone.

All right.

Sure been actir woman-y

this past month.

- Flo's a friend of mine.

- I hadrt mentioned Flo.

And a good friend of yours too,

if you'd only know it.

Fine, fiine. I'll light the candles

on her birthday.

What is it she gives you, T.C.?

All your life you've had a craving to fiind

a woman and a lady in the same body.

That's it, isn't it?

Elegance and refiinement.

You found the lady in my mother,

but she wasrt woman enough for you, was she?

- That's enough of that kind of talk!

- It's more than enough!

What's come over you,

backbitir guests under your own roof?

- My roof?

- Stop talkir such dip!

I don't know whose roof it'll turn out to be.

We've no cash. People are beginning

to mistrust the T.C.'s.

And Old Anaheim's sitting in his bank

ready to knife us!

Can't talk like that in her room.

You gotta gab dip, do it out here,

not in there. It ain't fiittir.

Go ahead, wreck yourself.

But don't wreck The Furies with you!

The Furies is mine.

I hooked it together,

and I'll crank it apart if it so pleases me.

- What are you laughing at?

- You.

It's been so long since you were mad enough

to bellow, I thought you were getting puny.

Me, puny?

Yeah, don't think a good bellow

ain't real pleasurable.

Daughter, when you gets an idea

you stampede like a herd.

I told you once -The Furies is yours

to use and boss with me in my lifetime.

And it's all yours after that,

the whole shebang.

That is my word to you.

Have I ever broken it?

How long will she stay?

When we hang the latch string out at

The Furies, we put no time limit on it, do we?

- No.

- Well, I'll tell you this.

She's fiixir to visit San Francisco

before much longer.

Good.

I'll help her pack.

Temple.

I've been waiting, Temple.

Oh, yeah.

I clean forgot.

You don't mean to ride

in this rain.

Oh, my dear,

I'm not one who'll melt away.

Are you so sure?

- What are you doing in her room?

- My dear, do come in.

It was so good of you

to have Chiquita prepare me this tea.

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Charles Schnee

For the American producer (1920-2009), see Charles Schneer.Charles Schnee (6 August 1916 Bridgeport, Connecticut - 29 November 1963 Beverly Hills, California) gave up law to become a screenwriter in the mid-1940s, crafting scripts for the classic Westerns Red River (1948) and The Furies (1950), the social melodrama They Live By Night (1949), and the cynical Hollywood saga The Bad and the Beautiful (1952), for which he won an Academy Award. He worked primarily as a film producer and production executive during the mid-1950s (credits include Until They Sail), but he eventually turned his attention back to scriptwriting. more…

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Submitted on August 05, 2018

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