The Treasure of the Sierra Madre Page #5

Synopsis: Fred C. Dobbs and Bob Curtin, both down on their luck in Tampico, Mexico in 1925, meet up with a grizzled prospector named Howard and decide to join with him in search of gold in the wilds of central Mexico. Through enormous difficulties, they eventually succeed in finding gold, but bandits, the elements, and most especially greed threaten to turn their success into disaster.
Director(s): John Huston
Production: WARNER BROTHERS PICTURES
  Won 3 Oscars. Another 12 wins & 5 nominations.
 
IMDB:
8.3
Metacritic:
99
Rotten Tomatoes:
100%
NOT RATED
Year:
1948
126 min
3,436 Views


Hog, am I?

Maybe you don't know,

but I'd be within my rights...

if I demanded half again

as much as you get.

How come?

There's no denying I put up

the lion's share of the cash.

So you did, Dobbsie,

and I always meant to pay you back.

In any civilized place the biggest investor

gets the biggest return, don't he?

That's one thing in favor of the wilds.

Not that I intended to demand it,

but I'd be within my rights if I did.

Next time you call me a hog

just remember...

what I could've done if I'd wanted to.

I think it'd be wise not to put things

strictly on a money basis.

Here you are, Dobbs.

What I owe you with interest.

I just don't like being called a hog,

that's all.

[Animals grunting]

[Tense instrumental music]

Don't scare me like that.

I might have let you have it.

DOBBS:
Out for a midnight stroll?

Tiger around,

I went to check on the burros.

DOBBS:
So?

HOWARD:
What's the matter?

- I think I'll see if the burros are all right.

- Go ahead. Help yourself.

[Slow instrumental music]

- What's up?

- Nothing's up.

Where is Dobbs?

Poking around in the dark out there.

He's sure taking a long time out there.

I think I'll go have a look-see.

Where's Curtin?

He's out there somewhere.

Said he was gonna have a look-see.

[Suspenseful instrumental music]

It's my turn again but I won't take it...

if you stop worrying

about your goods and go to bed.

We got work to do tomorrow.

Can't catch me sleeping.

Don't you ever believe that.

I'm not that dumb.

The day you try to put anything

over on me...

it'll be a costly one for both of you.

Any more lip out of you

and I'll up and let you have it.

If you know what's good for you, you

won't monkey around with Fred C. Dobbs.

You ought to see Dobbs.

He's talking to himself a mile a minute.

Something's eating him all right,

I don't know what.

He's just spoiling for trouble.

"We're running short of provisions,

Dobbsie.

"How about you going to the village?"

Who does Howard think he is,

ordering me around?

What's that, Dobbs?

DOBBS:
Nothing.

HOWARD:
Look out.

It's a bad sign when a guy talks to himself.

Yeah? Who else am I gonna talk to?

Certainly not you or Curtin.

DOBBS:
Fine partners you are.

HOWARD:
Something up your nose?

Blow it out, it'll do you good.

Don't think you two

are putting anything over on me.

HOWARD:
Take it easy.

DOBBS:
I know your game.

HOWARD:
You know more than I do.

Why am I elected to go to the village

instead of you or Curtin?

Don't think I don't see through that.

You two are together against me.

The two days I'd be gone...

would give you lots of time

to discover where my goods are.

If you fear along those lines...

why don't you take your goods with you?

And run the risk of having them

taken from me by bandits?

If you run into them,

you'd be out of luck anyway.

They'd kill you for the shoes on your feet.

So that's it. Everything's clear now.

You're hoping bandits will get me.

That would save you a lot of trouble,

wouldn't it?

And your consciences

wouldn't bother you none neither.

All right, Dobbs, forget about it.

[Somber instrumental music]

DOBBS:
Just like I thought.

CURTIN:
What's the idea?

DOBBS:
Put your hands up.

I've a good mind to haul off

and pump you up, chest and belly alike.

Would you mind telling me

what this is about?

It won't get you anywhere playing dumb.

Well, I'll be.

CURTIN:
So that's where your goods are?

HOWARD:
What's the trouble here?

Seems like I accidentally stumbled

on Dobbsie's treasure.

Accidentally? Why were you trying

to pry up that rock?

I saw a gila monster crawl under it.

Brother, I got to hand it to you.

You can certainly pick up a good story

when you need one.

Okay, I'm a liar.

There isn't a gila monster under there.

Let's see you stick your hand in

and get your goods out.

CURTIN:
Go ahead.

DOBBS:
Sure I will.

But you try any bad moves...

Don't worry. I'll stay right where I am.

I want to see this.

Reach in and get your goods.

If you don't, we'll think you're yellow,

won't we, Howard?

They never let go, do they, Howard,

once they grab onto you?

You can cut them in two and the head

will still hang on till sundown, I hear.

By that time the victim

doesn't usually care 'cause he's dead.

CURTIN:
Isn't that right, Howard?

HOWARD:
I reckon.

CURTIN:
Why don't you stick your hand in

and get your treasure?

Couldn't be because you're scared...

after the way you've been shooting

your mouth off?

Show us you ain't yellow.

I'd hate to think my partner

had a yellow streak up his back.

I'll kill you, you dirty, thieving...

Okay, Howard, I got him covered.

Another bad move out of you

and I'll blow you to kingdom come.

Howard, turn that rock over, will you?

[Tense instrumental music]

[Lieutenant speaking Spanish]

[Crowd clamoring]

[Lieutenant continues yelling in Spanish]

The federales are very efficient.

Yeah. Bandidos, eh?

Yeah, seems between them

they had a diamond ring...

pearl earrings, a lot of money

and a railway ticket...

with the date of the Aguascalientes

train robbery on it.

They've been here several days,

drinking, shooting...

The villagers are afraid

to go out of their huts.

Where are they taking them now?

To the cemetery.

[Curtin greets shopkeeper in Spanish]

[Speaking Spanish]

The federales

don't operate in our American way.

They're not fingerprint experts,

but they can follow any trail.

Against them, no hideout is any use.

They know all the tricks of the bandits.

You can bet your sweet soul

they'll trace down...

every last one of that group

that attacked the train.

It'll take time,

months maybe, but they'll do it.

[Continues speaking Spanish]

Not many Americans get around this way.

You're the first

I've bumped into in a long time.

CURTIN:
That so?

- Mighty rugged country hereabouts.

- Yeah.

My name's Cody.

I'm from Texas.

Curtin.

- What's your game?

- I'm a hunter.

COD Y:
Professional?

CURTIN:
Yeah.

COD Y:
What all do you hunt?

Tiger cats, anything of commercial value.

How long did you say

you'd been in these mountains?

A few months.

Ever seen anything

that looked like pay dirt?

No.

I've a hunch there's loads of the real goods

up in those mountains.

No, I know

the whole landscape around here.

If there'd been gold,

you can bet I'd have seen it.

There's nothing doing here for gold.

I can look at a hill five miles away...

and tell you if it carries

an ounce or a shipload.

If you haven't found anything...

I'll come with you, put your nose in it.

There's indications in the valley,

lots of indications.

By tracing the rocks,

I find they come from a ridge...

washed down by the tropical rains.

CURTIN:
You don't say so.

COD Y:
Yes, I say so.

[Gun firing]

So much for those bandits.

You gotta hand it to the Mexicans

when it comes to swift justice.

Once the federales get their mitts

on a criminal...

they know what to do.

They hand him a shovel, tell him to dig.

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John Huston

John Marcellus Huston (; August 5, 1906 – August 28, 1987) was an Irish-American film director, screenwriter and actor. Huston was a citizen of the United States by birth but renounced U.S. citizenship to become an Irish citizen and resident. He returned to reside in the United States where he died. He wrote the screenplays for most of the 37 feature films he directed, many of which are today considered classics: The Maltese Falcon (1941), The Treasure of the Sierra Madre (1948), The Asphalt Jungle (1950), The African Queen (1951), The Misfits (1961), Fat City (1972) and The Man Who Would Be King (1975). During his 46-year career, Huston received 15 Oscar nominations, won twice, and directed both his father, Walter Huston, and daughter, Anjelica Huston, to Oscar wins in different films. Huston was known to direct with the vision of an artist, having studied and worked as a fine art painter in Paris in his early years. He continued to explore the visual aspects of his films throughout his career, sketching each scene on paper beforehand, then carefully framing his characters during the shooting. While most directors rely on post-production editing to shape their final work, Huston instead created his films while they were being shot, making them both more economical and cerebral, with little editing needed. Most of Huston's films were adaptations of important novels, often depicting a "heroic quest," as in Moby Dick, or The Red Badge of Courage. In many films, different groups of people, while struggling toward a common goal, would become doomed, forming "destructive alliances," giving the films a dramatic and visual tension. Many of his films involved themes such as religion, meaning, truth, freedom, psychology, colonialism and war. Huston has been referred to as "a titan", "a rebel", and a "renaissance man" in the Hollywood film industry. Author Ian Freer describes him as "cinema's Ernest Hemingway"—a filmmaker who was "never afraid to tackle tough issues head on." more…

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Submitted on August 05, 2018

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