Of Mice and Men

Synopsis: Two traveling companions, George and Lennie, wander the country during the Depression, dreaming of a better life for themselves. Then, just as heaven is within their grasp, it is inevitably yanked away. The film follows Steinbeck's novel closely, exploring questions of strength, weakness, usefulness, reality and utopia, bringing Steinbeck's California vividly to life.
Genre: Drama
Director(s): Gary Sinise
Production: Metro-Goldwyn-Mayer Pictures
  1 nomination.
 
IMDB:
7.5
Rotten Tomatoes:
96%
PG-13
Year:
1992
115 min
4,161 Views


Come on!

Come on. Keep moving.

Come on.

Keep looking.

Stay down.

Attaboy. Attaboy, sniff it out.

Pick it up, boy. Pick it up.

Come on. Come on.

Lennie.

Get down.

Hurry up.

Get up there.

- George?

- What d'you want?

Where are we going?

To get away from here.

I'm all wet.

Come on, let's take off your coat.

Come on.

Come on.

Just lay down and get some rest.

George?

Go to sleep, Lennie.

I'm sleeping, George.

- George, where are we going?

- We're going to a ranch to work.

Come on. You get off here.

George, wake up.

You're in Soledad.

We're going to the Tyler ranch.

You gotta get off here.

The ranch is down the road.

- How far?

- Just down the road a stretch.

- Where the hell is it?

- George?

- Yeah?

- Where are we going?

Jesus Christ, you're a crazy bastard.

I forgot, George.

I tried not to, then I forgot.

I spend all my time telling you things,

then you forget 'em.

I remember about the rabbits.

The hell with them rabbits.

That's all you can remember.

OK, listen. This time don't forget.

We went into Murray and Ready's.

- They give us work cards and bus tickets.

- George, I remember that now.

But George, I ain't got mine.

I must've lost it.

I got both of 'em. You think I'd let you

carry your own work card?

I thought I had it in my own pocket.

What did you take out of that pocket?

There's nothing in the pocket, George.

I know it ain't. You got it in your hand.

Now, what you got in your hand?

George, that's just my mouse.

But I didn't kill it, George.

Honest, I found it dead.

Oh, jeez.

- Give it here.

- George, leave me have it.

Give it here. What do you want

with a dead mouse anyway?

I was just petting it with the fingers

while we was walking along.

Yeah, well, you ain't petting no mice

when you walk with me.

You gonna give me that mouse,

or am I gonna have to sock you?

Come on.

Blubbering like a baby, a big guy like you!

Lennie, I ain't taking it

away for meanness.

That mouse ain't fresh, Lennie.

Get another mouse that's fresh,

I'll let you keep him.

I don't know where

there is no other mouse.

The lady used to give me some,

but that lady ain't here no more.

Lady?

Don't you even remember

who that lady was?

That's your Aunt Clara.

She stopped giving 'em to you.

You was always killing 'em

by petting 'em too hard.

I'll tell you what I'll do.

First chance I get, I'll get you a puppy.

Huh? That'd be better than mice.

You could pet 'em harder.

OK?

Huh?

Hey.

Hey! Hey!

Son of a b*tch!

What did you say, George?

I said "son of a b*tch".

The bus driver lied to us. Just too

damn lazy to stop at the ranch gate.

- Son of a b*tch!

- Son of a b*tch!

Jesus Christ, George, I said it too.

- Yeah, I heard you.

- George, we wasn't supposed to say that.

Yeah, why not?

Aunt Clara don't like it.

Yeah, well, she's dead.

Lennie.

Don't drink so much.

Hey.

That's good, George. You have a drink.

You have a good, big drink.

It's nice here.

I think we'll just spend the night

and go to the ranch tomorrow.

Ain't we gonna get no supper?

Yeah, sure we are.

I got three cans of beans in my bindle.

I like beans with ketchup.

I like beans with ketchup.

We ain't got any.

Go on. Go get some wood

so we can build a fire.

- We got enough beans here for four men.

- I like 'em with ketchup.

We ain't got any.

Goddamnit!

Whatever we ain't got,

that's what you want.

George?

George?

- What d'you want?

- George, I was only fooling.

I don't... I don't want no ketchup.

If it was here, you could have some.

George, I wouldn't eat no ketchup.

I'd leave it all for you

and you could cover your beans with it.

I wouldn't touch none of it.

When I think of the swell time

I could have without you, phew, I go nuts.

I never get any peace.

If I was alone, I could live so easy.

I could get a job and work and no trouble.

And when the end of the month come,

I could take my 50 bucks,

I could go into town,

I could get whatever I want.

I could stay in a cathouse all night.

What do I got?

I got you.

You can't keep a job.

Lose me every job I get.

Keep me shovin' all over

the country, all the time.

That ain't the worst.

You get in trouble. You do bad things

and I got to get you out all the time!

Crazy son of a b*tch, you keep me

in hot water all the time.

George, you... you want I should

go away and leave you alone?

Where the hell would you go?

I could go...

I could go off in them hills there

and find a cave.

Yeah? How'd you eat?

You ain't got sense enough

to find nothin' to eat.

I find things. I don't need

this nice food with ketchup.

George, if you don't want me,

I go off in them hills and get a cave.

And I wouldn't get no mice

stole off me either.

Jesus Christ, your Aunt Clara wouldn't

like you running off by yourself.

Hey!

Well, go get some wood

so we can build a fire afore it gets dark.

- George?

- What?

Tell me like you done before.

- Tell you what?

- About the...

- About the rabbits.

- Not tonight.

Come on, George. Tell like you done

before. Please? Please? Please?

You get a kick out of that, don't you?

OK.

I will.

Guys like us that work on ranches

are the loneliest guys in the world.

They ain't go no family

and they don't belong no place.

- They got nothin' to look ahead to.

- But not us, George. Tell about us now.

Well, we ain't like that.

We got a future.

We got somebody to talk to

that gives a damn about us.

If them other guys gets in jail,

they can rot for all anybody cares.

But not us, George, because I...

See, I got you to look after me,

but you got me to look after.

But, George, tell about how it's gonna be.

OK.

Someday...

we're gonna have us

a little house and a couple of acres,

- and a cow and a pig and chickens.

- Pig and chic...

We gonna live off the fat of the land,

and have rabbits.

And have rabbits.

- George, tell what we got in the garden.

- OK.

Then tell about the rabbits in winter,

and about the stove and, uh...

- how thick the cream was on the milk.

- Yeah.

- Go ahead, tell it.

- Why don't you do it? You know all of it.

George, no! George, no,

it's not the same when I tell it.

That's not the same.

Tell, um, what...

how I get to tend the rabbits.

We're gonna have a big vegetable patch

and we're gonna have a rabbit hutch.

- And down in the flat, we'll have a...

...little field of alfalfa for the rabbits.

- And I get to tend the rabbits.

- Yeah, you get to tend the rabbits.

When it rains in the winter,

we'll just say

"The hell with going to work,"

and we'll just build a fire in the stove,

and we'll just sit there

and we'll listen to the rain.

Lennie, I want you to look around here.

If you get in any trouble,

I want you to come right here.

- You hide over here in the brush.

- Hide in the brush.

You hide in the brush until I come

for you. Can you remember that?

Sure I can, George.

Hide in the brush till you come for me.

If you do get in trouble,

I ain't gonna let you tend the rabbits.

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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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