Nadine Page #6

Synopsis: Working in an Austin, Texas, beauty parlour in 1954, Nadine Hightower endeavours to retrieve some 'art studies' she injudiciously had taken. Her visit to the photographer leaves him dead and her in possession of highly valuable plans of a proposed new road. With both the police and the murderous villains after her she enlists the help of her (almost) ex-husband Vernon, the none too successful owner of the Bluebonnet Bar. Fortunately the thugs are as much no-hopers as the Hightowers.
Director(s): Robert Benton
Production: Twentieth Century Fox Home Entertainment
  1 win & 1 nomination.
 
IMDB:
5.5
Rotten Tomatoes:
45%
PG
Year:
1987
83 min
162 Views


(CAR ENGINE STARTING)

(SIGHING)

(SNIFFLING)

It don't do no

good to cry whatsoever,

so you might as well quit.

(SIGHS)

It does you no good to

talk to yourself either.

(SCREAMING)

(THUNDER RUMBLING)

(FROGS CROAKING)

BUFORD:
Reverend,

I told you the last time

you were in this place

that I would not,

I repeat, not tolerate

any handlin' of snakes

on this premises.

(SNAKES RATTLING)

What the holy hell

is this?

Sir, we'd surely be grateful

if you wasn't to make

them mad.

What I mean is, that way

they ain't gonna be no

use to anybody.

Listen to me, you pinhead.

I'm gonna keep this box

right here in my office

under lock and key

until you pissants

are out of town.

Now get out!

(SNAKES RATTLING)

Miss Hightower,

I'm Buford Pope.

Would you please come in?

(DOOR CLOSING)

I want to apologize

for bringin' you here in

this crude and vulgar way,

but how come a nice

girl like you would let

a low-life like Ray Escobar

take some indecent pictures

of her?

Believe me,

I'm startin'

to regret it.

Nadine... You don't mind

if I call you Nadine,

do you?

Nadine, I've got reason to

believe that you were at

Ray Escobar's today,

lookin' for

these photographs.

I've also got

reason to believe

that you've come across

somethin' else while

you were there.

And I'm just about positive

that whatever it was that

you found,

it belongs to me.

Now, is it possible

that you have

that somethin' else

we're talkin' about on you?

Well, I might.

Floyd?

(SNAKES RATTLING)

Nadine,

we've got ourselves

a little problem.

(DOGS BARKING)

(DOORBELL RINGING)

(MUSIC PLAYING)

Why, you miserable

son of a b*tch.

You got some nerve

showin' up here.

If I wasn't otherwise

occupied right now,

I'd come out there,

and I'd whip your butt.

I swear... Dwight,

I don't see

why you're so hot under

the collar there, pard...

You owe me $450,

not countin' legal fees

of $370 and change.

You're lucky I don't

get the sheriff on you.

Yeah, Dwight?

I'm your own family.

Don't that count

for somethin'?

We are third cousins

once removed, period.

My mother

does not remember ever

layin' eyes on your daddy.

Well, I just thought

I'd come by to tell you

that your third cousin

once removed is gonna

be a jillionaire.

I just thought

you might want

to know that.

Vernon, you don't

have diddly-squat.

You owe me

$820 plus interest,

the bank is about to foreclose

on that chicken sh*t bar

of yours,

and now you're talkin'

about bein' a jillionaire.

Har-de-har-har.

(GRUNTS)

Where'd you

get this thing?

You wouldn't happen to have

a cold beer in the icebox,

would you?

I'll lay odds you didn't get

a hold of this by legal means.

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Robert Benton

Robert Douglas Benton is an American screenwriter and film director. He won the Oscars for Best Adapted Screenplay and Best Director for Kramer vs. Kramer and won a third Oscar for Best Original Screenplay for Places in the Heart. more…

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Submitted on August 05, 2018

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