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[HARMONICA PLAYING HOME ON THE RANGE]

43, 8-1445.

HOLSTER-- 38 CALIBER REVOLVER

21...

44, L-2-3-5...

45, 4-3-175...

[RUMBLING]

[THUD]

YOU, UH...

HAD THAT NIGHTMARE AGAIN?

YEAH...

BUT THIS ONE WAS DIFFERENT...

DIFFERENT AND WORSE.

THEY'RE COMING BACK AGAIN EVERY NIGHT.

AND I CAN'T STAND IT, CHIEF.

THERE'S SOMETHING ABOUT THIS OCEAN

I CAN'T STAND.

YOU WON'T HAVE TO MUCH LONGER.

YOU'LL BE DISCHARGED IN A WEEK. WE ALL WILL.

YOU KNOW, WHEN THEY LET ME OUT OF THE HOSPITAL, THEY...

SAID, "LIEUTENANT, YOUR WOUNDS ARE ALL HEALED.

YOU'RE SOUND IN BODY AND MIND."

BUT MY HEAD IS--

LET'S FACE IT, I'M NOT WELL!

Man: MORNING, SIR.

GOOD MORNING, GRAY.

NICE DAY.

EVANS REPORTS A FOG ROLLING IN.

HAVE THE STABLE SADDLE UP BLACKIE.

I'LL WANT HIM AFTER BREAKFAST.

OH, AND TELL THE CHIEF I'LL GO OVER THE PERSONNEL REPORTS

WITH HIM AT 1400.

AYE, AYE, SIR.

GOOD MORNING, CHIEF.

GOOD MORNING, SIR.

[MACHINE RUNNING]

[MACHINE RUNNING]

EVE...

CAN WE GET MARRIED?

SURE. DIDN'T I SAY YES A LONG TIME AGO?

NO, NO, I MEAN RIGHT NOW, TONIGHT.

ALL RIGHT, SCOTT...

ANYTIME.

I'LL ALWAYS LOVE YOU,

SO I GUESS IT DOESN'T MATTER HOW SOON WE BEGIN TOGETHER.

BE ALL RIGHT IF I PICK YOU UP AT 8:00 TONIGHT?

YES.

AND I THINK YOU'D BETTER WEAR A DRESS JUST THIS ONCE.

ASHAMED OF ME ALREADY, HUH?

SURE, BUT I LOVE YOU. CHAPLAIN DOESN'T, THOUGH, AND...

I THINK HE MIGHT LIKE A DRESS.

YOU'RE NOT GOING RIGHT AWAY.

[FOOTSTEPS]

Scott: I HAVE TO RELIEVE CHIEF WERNECKE.

HELLO, MARY.

WHAT'S THIS ABOUT MY HUSBAND?

I'M ON MY WAY TO RELIEVE HIM FOR CHOW.

OH, DON'T BE IN A RUSH. IT'LL DO HIM GOOD TO MISS A MEAL.

HONESTLY, I'LL BE GLAD WHEN HE'S DISCHARGED

JUST SO I CAN THIN HIM DOWN A LITTLE BIT.

WE'RE GOING TO BE MARRIED.

WELL, I SHOULD THINK YOU WOULD BE!

I MEAN TONIGHT.

THE SOONER THE BETTER!

WHAT IS THIS, A CONSPIRACY?

I'LL TELL YOU WHAT I'LL DO.

I'LL WASH YOUR HAIR FOR YOU THIS AFTERNOON.

I BOUGHT SOME NEW FANCY SHAMPOO STUFF.

WHAT HAVE YOU GOT THERE? CHOCOLATE CAKE.

WELL, HOW ABOUT A PIECE?

NO, THIS IS FOR OLEY. YOU SHOULD SEE THE SHIP MODEL HE MADE FOR MY YOUNGSTERS.

BUT THIS IS A CELEBRATION.

I KNOW, BUT THIS IS FOR OLEY.

I'LL BAKE YOU A CAKE FOR YOUR WEDDING.

OLEY! CHOCOLATE CAKE!

YOU'RE NOT NERVOUS, ARE YOU?

NO...NO, BUT THIS ISN'T THE WAY WE PLANNED IT, IS IT?

I WAS GOING TO BE THROUGH WITH THE THOMPSON BOAT,

AND YOU WERE GOING TO BE THROUGH WITH THE SERVICE.

YOU SAID YOU'D HELP ME WITH THIS AWFUL BOOKKEEPING,

GET RID OF THAT STACK OF PAPERS AND...

AND THEN...

WHEN EVERYTHING WAS ALL CLEAR,

WE'D BE MARRIED...

AND HAVE A LONG, LONG HONEYMOON

OUT ON CEDAR ISLAND...

JUST YOU AND ME...

AND NO WORRIES.

AND WHEN WE WERE READY...

BOTH OF US READY,

WE'D COME BACK HERE AND WORK TOGETHER.

AND IT WOULD STILL BE LIKE A HONEYMOON.

WE'RE GOING TO DO ALL THAT.

WE'LL JUST BE MARRIED A LITTLE SOONER, THAT'S ALL.

GOSH, I WISH DAD WAS ALIVE RIGHT NOW.

HE TAUGHT US LOTS OF THINGS BESIDES BOAT BUILDING.

I EVEN WISH MY BROTHER BILL WAS HERE.

HE WAS ALWAYS BETTER AT THESE ACCOUNTS THAN I AM.

IF THERE WAS A REASON, SCOTT,

IF ONE OF US WERE GOING AWAY TOMORROW

FOR A LONG TIME...

BUT THERE ISN'T A REASON...

IS THERE?

NO.

NO, THERE'S NO REASON.

OF COURSE YOU'RE RIGHT.

I...

I WANT EVERYTHING TO BE PERFECT, TOO.

AFTER ALL, A COUPLE MORE WEEKS CAN'T MAKE ANY DIFFERENCE.

BEFORE WE GET MARRIED,

I'LL HAND YOU MY DISCHARGE PAPERS.

FOR HEAVEN'S SAKE, DON'T GIVE ANY MORE PAPERS TO ME.

I'LL DROP OVER TONIGHT,

AND WE'LL CLEAN UP THAT MESS TOGETHER. GOOD-BYE.

BYE.

AND TELL THE CHAPLAIN

I'LL HAVE A WHITE SATIN DRESS MADE SPECIALLY FOR HIM.

WHAT DO YOU DO HERE EVERY DAY?

I'M GATHERING WOOD, SOME FIREWOOD.

THAT ISN'T FORBIDDEN, IS IT?

I WOULDN'T USE THAT WOOD.

WHY NOT?

BECAUSE IT BELONGS TO THIS...

IF YOU'RE SO AFRAID OF GHOSTS, LIEUTENANT,

WHAT ABOUT THAT JACKET YOU'RE HOLDING?

WHAT DO YOU MEAN ABOUT...

GHOSTS?

I WAS MERELY SUGGESTING

THAT YOU MIGHT BE AFRAID OF THEM.

BUT I'M NOT, I...

I WAS JUST WONDERING ABOUT THIS...

OLD WRECK.

THAT'S INTERESTING.

WHAT IS?

THAT A PERSON LIKE YOU SHOULD BE AFRAID.

BUT I--

IT'S OBVIOUS, LIEUTENANT--

YOUR OBJECTION TO MY TAKING THE WOOD FROM THIS OLD WRECK,

THE WAY YOU LOOKED AT THAT LIFE JACKET

AS IF IT WERE SOMETHING OUT OF A BAD DREAM.

YOU EVEN LOOKED AT ME AS IF I WERE A GHOST.

WELL, WHAT ARE YOU ANYWAY?

OH, REALLY, LIEUTENANT.

OH, I'M SORRY, I...

I DIDN'T MEAN THAT.

EXCUSE ME, I'M STUPID.

WILL YOU LET ME CARRY YOUR WOOD?

YOU KNOW WHERE I LIVE?

NATURALLY, I'M SUPPOSED TO KNOW EVERYTHING AROUND HERE.

EVERYTHING, LIEUTENANT?

NO, NOT EVERYTHING, BUT HOUSES

AND PEOPLE WHO LIVE IN THEM, THINGS LIKE THAT.

THAT'S NOT HARD, IS IT?

NO, IT ISN'T.

THE HARD THING, I GUESS,

IS TO KNOW YOURSELF.

YES, THAT IS DIFFICULT.

ANYWAY, WHAT'S THE USE?

THANKS VERY MUCH, LIEUTENANT BURNETT.

I HOPE I DIDN'T TAKE YOU TOO FAR OUT OF YOUR WAY.

NOT AT ALL. HOW DID YOU KNOW MY NAME?

I SEE YOU RIDE BY ON THE BEACH EVERY DAY.

YOU CERTAINLY TOOK YOUR TIME DECIDING TO TALK TO ME.

BRING THE WOOD IN HERE.

I'LL BUILD UP THE FIRE AND MAKE SOME TEA.

WILL YOU GIVE ME A HAND?

THIS IS A PIECE OF A RUDDER,

A RUDDER FROM A LIFEBOAT.

WHEN THE GHOSTS GET TOO INSISTENT,

YOU HAVE TO GET RID OF THEM.

BUT HOW?

AS LONG AS YOU STRUGGLE AGAINST THEM, YOU NEVER WILL.

THEY'LL TORMENT YOU CONSTANTLY.

BUT IF YOU STOP FIGHTING THEM,

GIVE IN...

THEY'LL SOON GO AWAY.

GIVE IN?

WHAT HAPPENS TO YOU?

YOU FIND A KIND OF PEACE.

YOU DON'T CARE ANYMORE.

I OUGHT TO KNOW.

FROM WHAT I'VE HEARD, IT HASN'T BE EASY.

EASY?

IT'S NOT HARD TO GUESS, YOU WERE TORPEDOED.

IT WAS PRETTY BAD...

VERY BAD.

BUT HAVE YOU EVER HAD EVERYTHING,

AND THEN SUDDENLY HAD NOTHING,

NOTHING BUT GHOSTS?

OHH...WHY SHOULD I BORE YOU WITH THIS?

YOU'RE NOT. I THINK I UNDERSTAND.

WE'RE PRETTY MUCH ALIKE, AREN'T WE?

YES...

YES, PERHAPS WE ARE.

YOU'RE THE FIRST ONE WHO SEEMS TO KNOW WHAT I FEEL.

I OUGHT TO.

YES, I--

OH, THIS IS RIDICULOUS.

YOU'D BETTER GO NOW, LIEUTENANT...GO ON.

YES, I...

GOOD-BYE, MRS. BUTLER.

TOD, THIS IS LIEUTENANT BURNETT

FROM THE COAST GUARD STATION.

HE HELPED ME CARRY SOME WOOD.

OH, GOOD.

Mrs. Butler: LIEUTENANT, THIS IS MY HUSBAND TOD BUTLER.

I'M GLAD TO KNOW YOU, MR. BUTLER.

I...I GOT A KID OUT AT THE STATION

WHO'S NUTS ABOUT ART,

HE TELLS ME YOU'RE THE GREATEST PAINTER IN THE WORLD.

HMM. I USED TO BE A PAINTER.

I'VE, UH, OFTEN SEEN YOU WALKING ON THE BEACH.

UNFORTUNATELY, LIEUTENANT, I CAN'T SAY THE SAME.

WON'T YOU SIT DOWN?

WELL, THANK YOU, I WAS JUST LEAVING.

THAT'S TOO BAD. VISITORS ARE RARE.

YES. SOMETIMES WE DON'T SEE

A LIVING SOUL FOR WEEKS.

BEFORE YOU GO, LIEUTENANT,

LET'S REALLY MEET EACH OTHER.

ORDINARILY, 2 PEOPLE JUST LOOK

AND EACH KNOWS WHAT THE OTHER'S LIKE.

THESE DAYS WITH ME IT'S DIFFERENT.

I HAVE TO REPLACE THAT LOOK WITH A LOT OF BORING QUESTIONS.

ARE YOU A YOUNG MAN, LIEUTENANT?

YES, OF COURSE YOU ARE. I CAN TELL BY YOUR VOICE.

BORN IN THE MIDDLE WEST.

AND TALL, ABOUT 6'3" I'D SAY.

AND WHAT COLOR HAIR?

DARK.

Tod: DARK.

GOOD-LOOKING YOUNG MAN LIKE YOU

MUST FIND DUTY IN THIS PLACE RATHER UNROMANTIC.

YES...

I'M AFRAID YOU'LL CONTINUE TO FIND IT UNROMANTIC,

WON'T HE, PEGGY?

JOIN US IN A DRINK, LIEUTENANT?

PEGGY.

Burnett: I'M SORRY, BUT I'M LATE ALREADY. I...

I'M DUE BACK AT THE STATION.

Tod: WELL, THAT'S TOO BAD.

COME BACK AND SEE US SOON.

NICE TO SEE PEOPLE ONCE IN AWHILE.

I'LL TRY, MR. BUTLER,

BUT, YOU SEE, I HAVEN'T MUCH FREE TIME.

NOT MUCH FREE TIME.

BESIDES, IT'S RATHER BORING

TO SPEND IT WITH A BLIND MAN, EH?

OH, NO, NO. IT'S NOT THAT.

I'LL COME AND SEE YOU AS SOON AS I CAN.

WHEN?

WELL, I DON'T KNOW.

TOMORROW.

WELL, THAT'S MORE LIKE IT. I'LL BE EXPECTING YOU.

IT MIGHT BE LATE.

THAT'S ALL RIGHT. YOU'RE WELCOME ANY TIME.

REMEMBER WE ALWAYS HAVE A DRINK AROUND HERE.

GOOD-BYE.

NICE YOUNG FELLOW.

DON'T YOU THINK SO?

YES, HE IS.

I LIKE HIM.

LITTLE DULL, THOUGH.

STRONG OUTDOOR TYPE.

YOU LIKE THAT, DON'T YOU, PEG?

YOU ALWAYS ADMIRED VIRILITY.

AND SOMEHOW I CAN'T PICTURE YOU LIVING OUTDOORS,

HAVE TO COME IN SOMETIMES,

HAVE TO TALK.

I CAN'T PAINT ANYMORE,

BUT I CAN STILL TALK... CAN'T I?

TOD, WHY DON'T YOU SELL THE PAINTINGS?

WHAT GOOD ARE THEY IN THAT COBWEBBY OLD CLOSET?

YOU KNOW THEY'D BRING A LOT OF MONEY,

AND THEN WE COULD GET OUT OF HERE,

GO ANYWHERE...

HAVE SOME FUN AGAIN.

WHERE WOULD WE GO?

ONE PLACE IS PRETTY MUCH LIKE ANOTHER TO ME.

THEY ALL HAVE A DARK VELVETY HUE.

AND YOU, MY LOVE, DON'T CARE WHERE YOU ARE

AS LONG AS YOU'RE WITH ME.

DO YOU?

WELL, DO YOU?

NO, TOD, IT DOESN'T MATTER.

MY PEG...

I HAVE TO DEFEND MYSELF.

[THUNDER]

DON'T YOU KNOW WHO'S OUTSIDE?

TOD BUTLER, THE PAINTER.

AND HE'S HERE TO SEE YOU.

HAVE HIM COME IN.

MR. BUTLER!

WATCH YOUR STEP. THERE'S MUD HERE.

SORRY TO BREAK IN ON YOU LIKE THIS, LIEUTENANT.

THAT'S ALL RIGHT. WHAT CAN I DO FOR YOU?

I NEED SOME HELP. YES?

YOU SEE, LIEUTENANT, I LOSE MY SENSE OF DIRECTION IN THE RAIN.

USUALLY, I COMPENSATE FOR MY EYES WITH MANY THINGS--

THE FEEL OF THE WIND, THE SUN ON MY FACE,

THE EARTH UNDER MY FEET.

AND YOUR CANE, I SUPPOSE, IS A BIG HELP?

NOT REALLY.

PEOPLE ALWAYS EXPECT A BLIND MAN TO CARRY A CANE,

AND I HATE TO DISAPPOINT THEM.

IT'S ONE OF THOSE RACETRACK THINGS...

I REALLY CARRY IT TO SIT ON.

THE RAIN DOES BOTHER ME, AND I NEED YOUR HELP GETTING HOME.

WELL, THAT'S QUITE A DISTANCE FOR YOU TO WALK

IN THIS KIND OF WEATHER.

IT WASN'T RAINING WHEN I STARTED.

BUT YOU CAME PREPARED

WITH THAT RAINCOAT.

IN THIS CLIMATE AT THIS TIME OF YEAR, ONE CAN EXPECT ANYTHING.

BUT YOU GOT HERE.

YES. FRANKLY, LIEUTENANT, THIS WAS MY DESTINATION.

I'D LIKE YOU TO DRIVE ME HOME

AND HAVE A DRINK AND MAYBE STAY FOR DINNER.

WELL, I'M AFRAID I COULDN'T DO THAT.

I, UH...

I HAVE AN APPOINTMENT IN TOWN.

I'M SORRY.

MRS. BUTLER WILL BE DISAPPOINTED.

YOU MADE A GREAT IMPRESSION ON HER--

YES, A VERY GREAT IMPRESSION.

SO, NATURALLY, I'M INTERESTED IN YOU, TOO.

LOOK HERE, MR. BUTLER...

WHAT EXACTLY ARE YOU UP TO?

I HAVE VERY FEW FRIENDS HERE, LIEUTENANT.

I'D LIKE TO KNOW YOU BETTER.

WELL, THAT'S VERY FLATTERING,

BUT, UH...

DO YOU THINK MRS. BUTLER EXPECTS ME?

OF COURSE.

AND I REALLY DO NEED YOUR HELP TO GET HOME.

ALL RIGHT, LET'S GO.

BUT I'M NOT SURE ABOUT DINNER.

DO YOU PLAY CHESS, LIEUTENANT?

CHESS?

YES.

WELL, I PLAYED SOME IN THE HOSPITAL,

BUT I'D BE GLAD TO TAKE YOU ON.

GOOD. WE'LL HAVE A LOT OF FUN.

KIRK...

TELL THE CHIEF I'M GOING WITH MR. BUTLER

AND I'LL BE BACK SOON.

TELL WERNECKE HELLO FOR ME.

YES, SIR.

Burnett: THE ONLY OTHER BLIND MAN I EVER KNEW

WAS A SHIPMATE OF MINE.

WE WERE IN THE HOSPITAL TOGETHER.

AT FIRST IF I HADN'T GIVEN HIM A HAND,

HE WOULDN'T HAVE BEEN ABLE TO FIND HIS OWN BED.

THAT WAS AT FIRST. LITTLE BY LITTLE, THINGS CHANGE.

ONE GETS USED TO IT. BRANDY, LIEUTENANT?

NO, THANKS.

YOU DON'T DRINK?

OH, ONCE IN AWHILE, BUT I CAN TAKE IT OR LEAVE IT.

FORTUNATE. DID YOU ENJOY YOUR DINNER?

OF COURSE. IT WAS DELICIOUS.

MY COMPLIMENTS, MRS. BUTLER.

Tod: PEGGY WOULD'VE BEEN TERRIBLY DISAPPOINTED IF YOU HADN'T HAVE STAYED.

SHE SELDOM COOKS A REAL DINNER THESE DAYS.

YOU MUST HAVE MADE AN IMPRESSION.

THE LIEUTENANT'S JUST BEING POLITE,

AND I'M SURE HE WOULD HAVE HAD A MUCH BETTER TIME IN TOWN.

HAVE YOU A CIGARETTE, TOD?

HERE, MRS. BUTLER. HAVE ONE OF MINE.

THIS, UH, SHIPMATE OF MINE WAS BLIND,

BUT...HE COULD SEE THE DIFFERENCE

BETWEEN LIGHT AND DARK.

TOD CAN'T. THE NERVE'S CUT.

THAT'S RIGHT.

BUT I STILL GET PLENTY OUT OF LIFE.

YOU MUST MISS YOUR PAINTING, THOUGH.

PAINTING? NO! I MISS NOTHING!

I'M SORRY.

DIDN'T MEAN TO BE SO VIOLENT.

I--I MUST REVISE THAT STATEMENT.

THERE'S SOMETHING I DO MISS VERY MUCH--

DEEP-SEA FISHING.

FISHING?

YES, LIEUTENANT. IT'S TERRIFIC.

I LOVE TO FEEL THAT FIRST NIBBLE...

AND THE STRIKE.

YOU'VE GOT HIM HOOKED.

HE TRIES TO GET AWAY, BUT YOU HOLD HIM...

FAST, HARD, RELENTLESS.

PEGGY, REMEMBER THAT BIG TARPON I CAUGHT OFF THE KEY?

BUT WHAT AM I DROOLING ABOUT?

NOBODY EVER ASKS ME ANYMORE.

I CAN'T GO BY MYSELF.

FUNNY. I USED TO HAVE SO MANY FISHING PALS.

WELL, PUT YOURSELF IN THEIR PLACE.

A MAN WHO CAN'T SEE THE DIFFERENCE

BETWEEN LIGHT AND DARK.

SUPPOSE THERE WERE AN ACCIDENT.

YOU WOULDN'T EVEN KNOW WHICH WAY TO SWIM TO SHORE.

SORRY YOU CAUGHT ON, LIEUTENANT.

I WAS HOPING I MIGHT TALK YOU INTO A FISHING TRIP.

I DON'T LIKE TO PUT YOU OUT, LIEUTENANT,

BUT DIDN'T YOU SAY YOU HAD TO GO ON DUTY AT 9:00?

THAT'S RIGHT. WHAT TIME IS IT?

WHY DO YOU WEAR A WATCH?

OH, FORCE OF HABIT.

I LIKE THE SOUND OF IT. IT'S COMPANY.

BESIDES, SO MANY PEOPLE ASK ME WHAT TIME IT IS.

WELL, I-- I REALLY MUST GO.

IT'S TOO BAD YOU HAVE TO GO

JUST AS WE'RE BEGINNING TO BE FRIENDS.

I'M STILL IN THE COAST GUARD.

I'LL SEE YOU OUT.

GOOD-BYE, MR. BUTLER. THANKS FOR A FINE EVENING.

DON'T YOU THINK WE MIGHT DISPOSE

OF THE "MISTER" SORT OF THING?

WHY NOT CALL ME TOD?

WHAT DO YOU SAY, SCOTT?

ALL RIGHT, TOD. GOOD-BYE.

YOU'RE WRONG, SCOTT, BUT SO WRONG.

OH, NO, I'M NOT.

YOU SAW WHAT HAPPENED WITH THE LIGHTER.

YES, OF COURSE I DID. TOD'S EYES SEEM PERFECTLY NORMAL,

BUT HE CAN'T SEE BECAUSE THE OPTIC NERVE WAS CUT.

HOW DO YOU KNOW IT WAS CUT?

BECAUSE I DID IT. YOU?

WE USED TO... DRINK A LOT.

WE LIVED IN A SORT OF STRANGE STATE OF EXCITEMENT--

ALWAYS OFF BALANCE, HIGH-PITCHED, TENSE...

ALWAYS JUST AT THE BREAKING POINT.

WHEN TOD'S DRUNK, THERE'S NO TELLING HOW HE'LL REACT.

HE CAN BE UNBELIEVABLY FIERCE AND BRUTAL OR...

TENDER.

TOO TENDER.

IT WAS ONE OF THOSE NIGHTS I HIT HIM.

THERE WAS BROKEN GLASS.

WELL, THERE IT IS...

AND HERE WE ARE-- YOU AND I.

HE'S BLIND, AND I...

WELL, NOW YOU KNOW WHY I DON'T WANT TO SEE YOU HERE.

TOD'S LYING WHEN HE SAYS HE LIKES FISHING OR ANYTHING ELSE.

THERE'S ONLY ONE THING IN THE WORLD

THAT INTERESTS HIM, AND THAT'S ME.

OF COURSE, IT WAS AN ACCIDENT.

I--I DIDN'T MEAN TO.

PERHAPS IT WASN'T REALLY MY FAULT.

WHEN YOU DO SOMETHING LIKE THAT, YOU HAVE TO PAY FOR IT.

DO YOU LOVE HIM? LOVE HIM?

I...HATE HIM.

OH, LET'S NOT TALK ABOUT THAT.

YOU'RE WRONG, SCOTT, AND TOMORROW

YOU'LL HAVE FORGOTTEN ALL ABOUT ME.

YOU'RE NICE.

IT'S BEEN GOOD TO KNOW YOU.

MISS GEDDES TO SEE YOU, SIR.

Scott: HAVE HER COME IN.

THANK YOU, JIMMY. OK.

HELLO. HELLO.

SINCE YOU DIDN'T SHOW UP LAST NIGHT,

I THOUGHT YOU MIGHT NOT MIND HELPING ME

WITH SOME OF THESE THINGS THAT LOOK IMPORTANT.

HOW ARE YOU?

I'M ALL RIGHT.

NOW, FIRST...

OH, YES. HERE IT IS.

DO I HAVE TO PAY THIS INVOICE TO GET THE 10-DAY DISCOUNT,

OR DO I WAIT FOR THE STATEMENT AT THE END OF THE MONTH?

WELL, YOU WOULDN'T EXPECT A BEACH COWBOY LIKE ME

TO KNOW MUCH ABOUT INVOICES, WOULD YOU?

I'M SORRY. THAT...THAT ISN'T MUCH HELP, IS IT?

YOU NEEDN'T BE SORRY.

I DESERVE IT FOR LYING TO YOU.

I DIDN'T REALLY WANT HELP WITH THESE.

WHEN YOU DIDN'T COME BY LAST NIGHT,

I GOT TO THINKING AND DECIDED I'D BEEN WRONG.

IF YOU WANT TO GET MARRIED,

I'VE GOT ON A DRESS.

BY...WHAT LINE OF REASONING

DID YOU ARRIVE AT THAT DECISION?

WELL, MARY WERNECKE SAID...

I JUST DID, THAT'S ALL.

MARY WERNECKE, EH?

I THOUGHT SO.

YOU KNOW, YOU PEOPLE ARE ALL TRYING TO TAKE CARE OF ME,

BUT NOBODY TRIES TO UNDERSTAND WHAT...

WELL, YOU THINK I'M SICK.

THAT'S IT, ISN'T IT?

WHY, YES, I GUESS IT IS.

ARE YOU REALLY SICK?

I'M ALL RIGHT.

IT'S... IT'S JUST THAT...

WELL, I THOUGHT IF WE GOT MARRIED...

WELL, IT DOESN'T MAKE ANY DIFFERENCE WHAT I THOUGHT.

IT WAS A SILLY IDEA ANYWAY.

MAYBE IT WASN'T.

OH, YES, IT WAS. YOU DON'T KNOW.

AS A MATTER OF FACT, IT'S...

SILLY FOR ME TO EVEN THINK OF GETTING MARRIED.

WELL, IN THAT CASE,

I CERTAINLY DON'T KNOW WHAT I'M DOING HERE.

[DOOR CLOSES]

[GULLS CRYING]

WHAT ARE YOU DOING HERE?

NOTHING.

IT'S QUITE A HIDEOUT.

THAT'S WHAT I THOUGHT. IT WAS A SECRET OF MINE.

I COME HERE TO BE ALONE-- TO GET AWAY FROM THAT HOUSE.

NOW IT ISN'T A SECRET ANYMORE.

ARE YOU SORRY?

NO.

NO, I'M NOT SORRY.

YOU SAID WE'RE SOMETHING ALIKE.

I THINK YOU DESERVE TO SHARE THIS OLD WRECK.

HOW DO YOU LIKE IT?

WELL, IT'S NOT VERY SHIPSHAPE.

IT'S COZY.

I SHOULD THINK THERE MIGHT BE A FEW RATS AROUND HERE, THOUGH.

I NEVER THOUGHT OF THAT!

SCOTT, I...

I'VE BEEN THINKING.

YOU MUSTN'T SEE ME ANYMORE. I...

I'M NO GOOD FOR YOU.

I CAN'T GO ON INFLICTING MY UNHAPPINESS ON YOU.

THANK HEAVENS HE MISSED IT.

HE SAW IT, ALL RIGHT. WHY SHOULD HE PRETEND TO BE BLIND?

TO HOLD YOU. YOU SAID YOURSELF

YOU'D HAVE TO PAY FOR WHAT YOU THINK YOU DID.

FOR A PAINTER LIKE TOD TO MAKE BELIEVE HE'S BLIND--

TO GIVE UP HIS WORK FOR ANY REASON-- IS INCONCEIVABLE.

WELL, I CAN BELIEVE ANYTHING ABOUT HIM.

LOOK AT THE WAY HE TREATS ME.

HE INSISTS I COME TO THE HOUSE, BE HIS FRIEND,

AND THEN HE MAKES FUN OF ME--AND YOU--

JUST AS IF HE WERE WATCHING US.

THAT'S HIS WAY-- THE WAY OF AN INSANELY POSSESSIVE MAN,

A MAN WITHOUT EYES, TO KEEP A CHECK ON ME... AND ON YOU.

HE KNOWS WE'RE HERE. THEN WHY DID HE GO ON?

PEGGY...

IF I COULD PROVE TO YOU THAT TOD REALLY WASN'T BLIND,

WOULD YOU LEAVE HIM?

OF COURSE.

YOU WOULD?

Peggy: WELL, YES, OF COURSE I WOULD.

[TYPING SLOWLY]

HELLO, SCOTT.

COME ON IN.

[CONTINUES TYPING]

MY WIFE'S GONE TO TOWN TO DO SOME ERRANDS.

DID YOU TYPE ALL THOSE PAGES?

NO. I HAVE TO RELY ON PEGGY FOR THAT.

AS A MATTER OF FACT, I HAVE TO RELY ON PEGGY FOR ALMOST EVERYTHING.

WHAT ARE YOU WRITING?

OH, NOTHING.

NOTHING.

IT'S JUST TO PASS TIME.

I HAVE TO RIDE UP BY THE CLIFFS. WOULD YOU LIKE TO GO WITH ME?

WHY, I'D LOVE IT! IT'D BE WONDERFUL...

LIKE MAKING A TRIP TO ANOTHER COUNTRY.

NOTHING LIKE A CHANGE OF SCENERY, HUH?

THAT'S RIGHT.

YOU KNOW, SCOTT, MORE AND MORE I REALIZE

THAT A MAN'S EYES ARE JUST THE TOOLS OF HIS BRAIN.

AND IF HE LOSES HIM,

IT'S A QUESTION OF FINDING SOMETHING TO TAKE THEIR PLACE.

[LOCKS DOOR]

NOW YOU KNOW ALL OUR SECRETS,

BUT I GUESS THEY'RE SAFE WITH YOU.

HERE, I'LL...I'LL WALK ALONG WITH YOU.

NO, NO, NO. YOU RIDE.

I'LL CATCH HOLD OF THE SADDLE.

WHAT COLOR IS YOUR HORSE, SCOTT?

BLACK. BLACK, EH?

GOOD HORSE? FAST?

YES. GOOD. GO AHEAD.

I'LL KEEP UP WITH YOU.

AREN'T YOU TIRED?

NOT THE LEAST BIT.

ARE WE FAR FROM THE EDGE?

NOT VERY. ABOUT HOW FAR?

OH, ABOUT 50 YARDS.

DON'T YOU THINK IT'S ABOUT TIME

YOU PUT THAT IMAGINATION OF YOURS TO WORK?

SURE. I CAN VERY WELL SEE THE COLOR OF THE WATER.

THE SUN'S A LITTLE PALE TODAY,

AND THE WATER'S GRAY INSTEAD OF ITS USUAL BLUE.

OFF HERE, THE DUNES ARE BATHED IN A ROSY GLOW.

PERFECT SETTING FOR AN ORIENTAL FAIRY TALE.

YOU WANT TO STOP HERE, OR SHALL WE GO ON?

OH, LET'S GO ON, BUT NOT TOO CLOSE TO THE EDGE.

[CHILDREN LAUGHING AND TALKING ON BEACH]

[DOG BARKING]

WE'RE ON THE EDGE OF THE CLIFF, AREN'T WE, SCOTT?

YOU KNOW VERY WELL WHERE WE ARE, DON'T YOU?

I KNOW I'M STILL ON THE CLIFF.

JUST EXACTLY WHERE, I DON'T KNOW, OF COURSE.

[CLICKS TO HORSE]

WELL, THIS IS WHERE I LEAVE YOU.

WHERE ARE YOU GOING?

I'M GOING TO THE VILLAGE.

YOU DON'T NEED ME. YOU CAN FIND YOUR WAY.

OH.

SURE. I'LL BE ALL RIGHT.

THANK YOU, SCOTT.

IT WAS A WONDERFUL WALK.

TOD!

[GULLS CRYING]

Boy: YOU GUYS GET SOME WATER TO THROW ON HIM.

YOU KNOW, IT MUST BE PRETTY RUGGED WHEN A PAINTER GOES BLIND.

I REMEMBER WHEN HE WENT BLIND.

OUR SCHOOLTEACHER SAID YOU COULDN'T HOLD A GREAT TALENT DOWN,

AND HE'D FIND SOMETHING ELSE TO DO.

I WONDER IF HE'S DEAD.

Man: THAT WILL KEEP HIM ASLEEP FOR SEVERAL HOURS.

WHEN HE WAKES UP, HE'LL PROBABLY BE IN SOME PAIN,

BUT THE NURSE WILL GIVE HIM ANOTHER SHOT.

NOW, DON'T WORRY ABOUT A THING.

HE'S PRETTY BADLY BRUISED, BUT THAT'S ALL.

I'D LIKE TO WRITE OUT A PRESCRIPTION. OVER THERE, DOCTOR.

I WAS SO SURE THAT...

THAT HE WASN'T BLIND.

I WANTED TO MAKE HIM ADMIT IT...

SO YOU COULD BE FREE.

Doctor: MRS. BUTLER.

Doctor: MISS JENNINGS WILL STAY HERE TONIGHT.

WILL YOU GO TO TOWN AND GET THE MEDICINE?

Peggy: OF COURSE, DOCTOR. THAT'S FINE.

YOUR HUSBAND HAS GREAT COURAGE, MRS. BUTLER.

BORIC ACID SOLUTION OR POWDER?

SOLUTION--4%.

I... [CHUCKLES]

I REMEMBER LAST TIME YOU CALLED ME--

RIGHT AFTER THAT FIGHT HE HAD WITH YOUNG BILL GEDDES.

Peggy: WHEN WILL YOU BE BACK, DOCTOR?

WHEN I FINALLY GOT TO SEE BILL GEDDES,

I REALIZED I SHOULD HAVE GONE TO HIM FIRST.

BILL IS CERTAINLY NO WEAKLING, BUT YOUR HUSBAND--

Peggy: WHEN WILL YOU BE BACK, DOCTOR?

I'LL LOOK IN AGAIN TOMORROW MORNING.

BILL LEFT HOME RIGHT AFTER THAT.

HE SEEMED TERRIBLY ANXIOUS TO GET IN THE ARMY.

I WONDER WHY, MRS. BUTLER.

Peggy: I'M SURE I DON'T KNOW.

I BELIEVE I'LL TAKE A LAST LOOK

AT THOSE BANDAGES BEFORE I GO.

NOW, IT'S NOTHING AT ALL, I TELL YOU. NOTHING AT ALL.

TOD'S HAD THIS SORT OF THING BEFORE, AND HE WILL AGAIN.

SCOTT.

[CAR ENGINE STARTS]

[CAR DRIVES AWAY]

[HAMMERING]

HI, LIEUTENANT.

YOU WON'T FIND MISS EVE.

SHE AIN'T HOME.

SHE'S GONE TO THE CITY.

MRS. WERNECKE'S INSIDE, THOUGH.

THANKS.

[SEWING MACHINE WHIRRING]

[BOYS ALL TALKING AT ONCE]

EVE'S NOT HERE.

IF YOU DON'T STOP THAT,

I'M GOING TO TAKE YOU ALL HOME

AND PUT YOU TO BED RIGHT NOW!

YOU'LL SEE.

MRS. WERNECKE.

[STOPS SEWING MACHINE]

YOU AND THE CHIEF ARE OLD FRIENDS OF EVE'S.

YOU MUST HAVE KNOWN HER BROTHER BILL.

WHY, OF COURSE, LIEUTENANT.

OTTO'S KNOWN THEM EVER SINCE THEY WERE CHILDREN.

HE USED TO WORK FOR THEIR FATHER.

WELL, PERHAPS YOU COULD TELL ME SOMETHING.

I...I HEARD SOME PEOPLE TALKING.

WAS THERE EVER ANYTHING BETWEEN BILL AND PEGGY BUTLER?

ALL RIGHT, WHAT ARE YOU SO NOSY ABOUT?

YOU REMIND ME OF YOUR FATHER. GET OUT! GET OUT!

NOW, WHEN YOU GET OUT THERE, DO BE QUIET!

YOU KNOW HOW I FOUND OUT?

OTTO TOLD ME.

ONE DAY, OTTO TOLD ME THAT HE SAW BILL DOWN ON THE BEACH,

AND WHEN HE ASKED HIM WHAT HE WAS DOING ON THE BEACH,

BILL SAID THAT HE WAS GATHERING FIREWOOD.

NOW, YOU TELL ME... WHAT ON EARTH

WOULD BILL BE DOING DOWN ON THE BEACH GATHERING FIREWOOD

WHEN HE'S GOT ALL THAT HE NEEDS

RIGHT OUT THERE IN THAT CARPENTER SHOP?

Boys: I WANT SOME CANDY! GIVE US SOME CANDY!

MRS. BUTLER'S HERE, AND SHE WANTS TO SP--

Peggy: YOU HAVE SUCH DARLING LITTLE BOYS, MRS. WERNECKE.

JUST FOLLOW ME INTO THE KITCHEN. NEVER MIND THAT CANDY.

INTO THE KITCHEN, ALL OF YOU.

Boys: I WANT SOME CANDY!

[DOOR CLOSES]

YOU'RE PRETTY WELL ACQUAINTED WITH THIS HOUSE, AREN'T YOU?

I'VE BEEN HERE BEFORE.

SUCH A LOVELY PLACE.

A CANARY AND EVERYTHING.

[CANARY TRILLING]

SO DOMESTIC AND SO DULL.

PEGGY...

WAS THERE ANYTHING BETWEEN YOU AND BILL?

CIGARETTE?

YOU'D BETTER COME OVER AND SEE TOD.

I THINK HE SUSPECTS SOMETHING.

YOU STILL HAVE TO EXPLAIN WHY YOU, UH...

PUSHED HIM OVER THE CLIFF.

ANSWER ME, PEGGY.

WAS THERE ANYTHING BETWEEN YOU AND BILL?

OH, FOR HEAVEN'S SAKE, SCOTT. WHAT OF IT?

YOU'RE NOT MY HUSBAND.

PEGGY...

YOU'RE NOTHING BUT A...

GO ON. SAY IT.

I'M A TRAMP.

YOU JUST FINDING THAT OUT?

OH, POOR BILL.

I CAN'T BEAR TO SEE A PICTURE HANGING CROOKED.

WELL?

YOU GOING TO SEE TOD?

YES.

I'LL SEE TOD.

OH, DON'T MISUNDERSTAND.

IT'S FOR YOUR SAKE, NOT MINE.

THAT'S WHY I CAME IN...

WHEN I SAW YOUR JEEP OUTSIDE.

OH, HELLO, MR. WERNECKE.

OH. HELLO, MRS. BUTLER.

Peggy: WE'LL BE EXPECTING YOU, SCOTT.

Scott: I'VE GOT TO TELL YOU EXACTLY HOW IT HAPPENED, TOD.

I COULD HAVE WARNED YOU WHEN YOU GOT NEAR THE EDGE,

BUT I LET YOU GO ON BECAUSE I WAS SO CONVINCED THAT YOU WEREN'T BLIND...

AT LEAST, NOT SO BLIND THAT YOU COULDN'T SEE WHERE YOU WERE GOING.

IT BECAME AN OBSESSION THAT I JUST COULDN'T CONTROL.

WELL, WHY DON'T YOU SAY SOMETHING, TOD?

I DON'T THINK YOU'RE EVEN LISTENING.

I AM.

I AM, AND I BELIEVE YOU.

YOU MADE IT VERY APPARENT BEFORE WE STARTED

THAT YOU THOUGHT I COULD SEE.

THAT REMARK OF YOURS ABOUT A "CHANGE OF SCENERY" WAS VERY OBVIOUS.

[PUMPING WATER]

AS A MATTER OF FACT, I'M NOT SORRY IT HAPPENED.

NOW WE CAN REALLY BE FRIENDS AND SEE EACH OTHER OFTEN

WITHOUT A LOT OF NOTIONS THAT HAVE TO BE CONCEALED.

I FEEL BETTER SINCE WE'VE HAD THIS TALK.

YES. I FEEL BETTER, TOO.

SCOTT, COME IN HERE A MINUTE, WILL YOU?

I WANT TO SHOW YOU SOMETHING.

THESE ARE YOUR PAINTINGS?

WHAT'S LEFT OF THEM.

MAY I LOOK AT THEM?

Tod: OF COURSE. I WANT YOU TO.

PLEASE PUT THEM BACK IN THE RIGHT ORDER.

I HAD TO SELL QUITE A FEW OF THEM AT FIRST.

PAY THE DOCTORS AND WIPE OUT OLD DEBTS.

THESE MUST BE WORTH A FORTUNE NOW THAT YOU'RE--

SINCE YOU'RE CONVINCED I'M BLIND,

GO AHEAD AND SAY IT.

BUT YOU'RE RIGHT.

NOW THAT I CAN'T PAINT ANYMORE, THIS STUFF OF MINE

GETS MORE VALUABLE EVERY DAY.

THERE'S AN OLD SAYING IN MY TRADE:

"A MAN NEVER GETS RICH UNTIL HE'S DEAD."

I ASSURE YOU, A BLIND PAINTER'S

JUST THE SAME AS A DEAD ONE.

I'M SURE THE LIEUTENANT DOESN'T CARE ABOUT LOOKING AT PAINTINGS,

PARTICULARLY IN THIS BAD LIGHT.

IS IT THAT LATE? I WAS UNDER THE IMPRESSION

THERE WAS STILL BRIGHT SUNSHINE.

WHY DO YOU KEEP THEM HERE?

SOMEONE MIGHT BREAK IN THE HOUSE AND STEAL THEM.

NO. EVERY ART DEALER KNOWS MY PAINTINGS.

THEY'D NEVER ACCEPT ONE WITHOUT ASKING ME.

SOME NAIVE PERSON MIGHT TRY TO SELL ONE,

BUT HE'D NEVER GET AWAY WITH IT.

THEY'RE SAFE HERE JUST AS LONG AS I'M ALIVE.

I WOULD LIKE TO SHOW THEM TO YOU SOMETIME

IN A GOOD LIGHT.

I'D LIKE THAT, TOD,

BUT YOU KNOW I DON'T UNDERSTAND MUCH ABOUT PAINTING.

THERE'S NOTHING TO UNDERSTAND.

HASN'T ANYTHING TO DO WITH THE BRAIN. IT'S THE EYE.

A PAINTING'S LIKE A WOMAN.

SHE EITHER THRILLS YOU OR SHE DOESN'T.

WELL, IN THAT CASE, IT'S EASY.

FOR INSTANCE,

YOU KNOW, I NEVER REALLY STARTED TO PAINT WELL

UNTIL JUST BEFORE THE LIGHTS WENT OUT.

BUT I THINK THIS IS ONE OF MY BEST.

SOMETHING ABOUT THE EFFECT OF THE HAIR,

THE SKIN TEXTURE.

OF COURSE, NUDES WERE NEVER MY STRONG SUIT.

BUT HERE I HAD A PARTICULARLY BEAUTIFUL SUBJECT.

AS YOU CAN SEE, THIS IS A PORTRAIT OF PEGGY.

EXCUSE ME, TOD. I THINK YOU HAVE THE WRONG PAINTING.

THIS IS A PICTURE OF SOME ROSES

AND A NEWSPAPER.

PEGGY.

Peggy: YES, TOD?

WHERE'S YOUR PORTRAIT?

I DON'T KNOW.

YOU'RE THE ONLY ONE IN THIS HOUSE WHO CAN SEE.

YOU KNOW I NEVER GO INTO THAT CLOSET WITHOUT YOU, TOD.

ALL RIGHT.

ALL RIGHT.

THANK YOU FOR YOUR INTEREST, SCOTT.

I WOULD LIKE YOU TO SEE THEM SOMETIME.

WELL, I HOPE I HAVEN'T--

NOT AT ALL. COME BACK SOON.

I'LL DO THAT. GOOD-BYE.

GOOD-BYE, MRS. BUTLER.

GOOD-BYE, LIEUTENANT.

[DOOR CLOSES]

WHERE IS IT?

IT'S MY PORTRAIT.

IT'S MY WORK. IT'S THE BEST THING I'VE EVER DONE.

I WANT IT, I NEED IT, AND I'M GOING TO GET IT!

WHERE IS IT?

I'LL GET IT.

I WISH I'D NEVER HEARD OF PAINTING

OR ARTISTS.

[SLAP]

[SLAP]

[WAVES CRASHING]

I KNEW YOU'D COME.

I KNEW YOU'D BE HERE.

ARE YOU ALL RIGHT?

NOW I AM.

Boys: HI, EVE! HI! HI! HI, EVE...

HI, FELLAS.

OH, EVE, WE'RE HAVING SO MUCH FUN DECORATING THE STATION

FOR THE FAREWELL PARTY.

NOW, DON'T GET INTO ANY TROUBLE.

THEY'RE WAXING THE MESS HALL FLOOR AND EVERYTHING.

WHY DON'T YOU COME DOWN AND HELP US?

THOSE BIG LUGS HAVEN'T GOT ONE OUNCE OF ARTISTIC SENSE.

[CRASH]

NOW, IF YOU BREAK ANYTHING, I'M GONNA WARM YOUR PANTS!

I CAN'T, MARY.

I'M JUST BEGINNING TO GET THIS BUSINESS STRAIGHTENED OUT.

YOUR BUSINESS IS DOWN AT THE STATION.

NOW LISTEN, MARY.

I TRIED THAT ONCE, AND I'LL BE DARNED IF I KNOW WHY,

BUT HE HASN'T BEEN AROUND SINCE.

IF HE WANTS TO SEE ME, HE CAN COME HERE.

THE THEORY THAT MAN IS INHERENTLY GOOD IS BUNK,

PURE BUNK.

EACH INDIVIDUAL POSSESSES A SPLIT PERSONALITY,

WHICH...

UH, THAT'S PRETTY DULL STUFF, ISN'T IT?

YES, IT IS.

THANKS.

THAT BAD?

MM-HMM.

OH, WHAT'S THE USE OF KIDDING?

I CAN'T WRITE.

AT THE RISK OF REPEATING MYSELF,

IF YOU'D SELL THE PAINTINGS,

YOU WOULDN'T HAVE TO WORRY ABOUT WRITING.

PEG, I'VE NEVER BEEN ABLE TO MAKE YOU UNDERSTAND

THAT THOSE PAINTINGS ARE MY EYES.

EVERYTHING I SAW IN LIFE,

I SET DOWN ON CANVAS.

IF I LET THEM GO, I LOSE THE LAST CONNECTION

FROM THE PAST-- STRONG AND ALIVE.

I DO UNDERSTAND. BUT IT'S HIGH TIME

YOU WERE BECOMING PRACTICAL.

PEG, WILL YOU CUT IT OUT? I TELL YOU NO!

TOD.

YOU'RE TIRED. RELAX.

YOU CAN WRITE. YOU CAN DO ANYTHING.

PRETTY COLD, PEG. PRETTY COLD.

COULD YOU POSSIBLY BE THINKING

OF LIEUTENANT SCOTT BURNETT?

I LIKE SCOTT.

I LIKE HIM BECAUSE HE'S GOOD AND STRAIGHT.

THAT'S WHY HE'S DANGEROUS.

PEGGY, I'M GONNA KEEP YOU.

NO MATTER WHAT I HAVE TO DO,

I'M GONNA KEEP YOU AS LONG AS I LIVE.

NO OTHER MAN CAN EVER TAKE MY PLACE.

REMEMBER THAT.

THAT'S BETTER.

[ICE RATTLING IN GLASS]

WHAT DOES THAT REMIND YOU OF?

NEW YORK.

WE DID HAVE OUR GOOD TIMES TOGETHER, DIDN'T WE, PEG?

YES, AND WE COULD AGAIN.

REMEMBER THOSE CHAMPAGNE PARTIES WE USED TO HAVE

ALL BY OURSELVES?

ON THE FLOOR IN FRONT OF A BIG FIRE.

AND WHEN WE HAD ALL THE CHAMPAGNE WE WANTED,

YOU TALKED AND TALKED.

AND SOMETIMES FIGHT.

[CHUCKLES]

AND I'D FALL ASLEEP IN YOUR ARMS.

AND WHEN I OPENED MY EYES IN THE MORNING,

THERE YOU'D BE STANDING

WITH MY BREAKFAST TRAY.

[SIGHS]

I WAS SO PROUD OF YOU--

THE GREAT TOD BUTLER,

FIERY AMERICAN PAINTER,

WHO APPROACHED HIS CANVASES

LIKE A PRIZEFIGHTER.

I WAS YOUNG THEN, TOD.

YOU'RE SO OLD NOW?

I MIGHT AS WELL BE.

PEGGY, DID IT EVER OCCUR TO YOU THAT TO ME,

YOU'LL ALWAYS BE YOUNG, BEAUTIFUL?

NO MATTER HOW OLD YOU GROW,

I'LL ALWAYS REMEMBER YOU AS YOU WERE

THE LAST DAY I SAW YOU--

YOUNG, BEAUTIFUL,

BRIGHT, EXCITING.

NO ONE WHO CAN SEE CAN SAY THAT TO YOU.

PEG, YOU'RE SO BEAUTIFUL.

SO BEAUTIFUL OUTSIDE,

SO ROTTEN INSIDE.

YOU'RE NO ANGEL.

NO. I GUESS WE'RE TWO OF A KIND.

THAT'S WHY WE'RE SO RIGHT FOR EACH OTHER.

[DOOR OPENS]

Scott: TOD, I'VE GOT A BOAT FOR THIS AFTERNOON.

WOULD YOU LIKE TO GO FISHING WITH ME?

YES.

I'LL BE DELIGHTED.

WE'LL GO NOW.

Tod: YOU GOT TACKLE OF YOUR OWN, SCOTT?

IF YOU HAVEN'T, I'VE GOT PLENTY.

Tod: GOT BAIT, I PRESUME.

OH, BLOWING OUTSIDE.

YOU CERTAINLY PICKED A FINE DAY FOR IT.

FISH PROBABLY WON'T BITE AT ALL.

WELL, LET'S GO.

[WIND BLOWING]

[CAR DRIVING AWAY]

TOD! TOD!

TOD! TOD!

TOD!

[CLANGS]

6-3-3-1.

CHIEF WERNECKE,

THIS IS PEGGY BUTLER.

MY HUSBAND...

LIEUTENANT BURNETT AND MY HUSBAND--

WELL, NO. YOU KNOW WE DON'T HAVE ANY BOATS

ON THIS STATION.

NOW HOLD ON A MINUTE, PLEASE.

MISS BUTLER, I'LL SEE WHAT I CAN DO.

[CLANGS]

GIVE ME THE GEDDES BOAT YARD.

8-5.

HELLO, EVE? OTTO.

THE LIEUTENANT AND TOD BUTLER

HAVE GONE ON SOME KIND OF A CRAZY FISHING TRIP.

YEAH. I DON'T KNOW WHAT IT'S ALL ABOUT,

BUT THERE MIGHT BE SOME TROUBLE.

WHY'D YOU INVITE ME ON THIS TRIP?

YOU KNOW IT'S NO DAY FOR FISHING.

'CAUSE I'VE GOT SOMETHING TO SETTLE.

WHY DID YOU COME?

'CAUSE IT'S TIME FOR A SHOWDOWN,

AND THIS IS THE PERFECT SPOT FOR IT.

WHAT'S ON YOUR MIND?

TOD, I CAN'T STAND THE WAY YOU TREAT PEGGY ANY LONGER.

YOU MAKE A SLAVE OUT OF HER.

YOU BEAT HER, YOU MISTREAT HER,

AND SOMEDAY, YOU'RE GONNA KILL HER!

YOU FINISHED? YES.

LET ME EXPLAIN A FEW THINGS ABOUT PEGGY.

YOU'VE GOT TO SET PEGGY FREE.

I LOVE HER!

I DON'T INTEND TO SET HER FREE.

THEN YOU WON'T GO BACK TO SHORE.

PERHAPS NEITHER ONE OF US WILL GET BACK TO SHORE.

THAT'S ALL RIGHT. YOU WON'T GIVE HER UP?

DEFINITELY NOT!

SCOTT!

SCOTT!

SCOTT!

SCOTT!

[PIANO PLAYING]

[PIANO PLAYING ENDS]

PARDON ME.

CHIEF, I HAVE A LITTLE PACKING TO DO.

I'LL BE IN THE OFFICE IF YOU NEED ME.

ALL RIGHT, SIR. I WONDER WHAT'S HOLDING UP THE MISSIS.

HI, EVE. JUST GET HERE?

HI, JIMMY. YES, I JUST GOT HERE.

HOW ABOUT THE NEXT DANCE, EVE?

[PIANO PLAYING]

YOU TRIED TO KILL ME!

THE BOY DOESN'T MATTER.

YOU JUST USED HIM TO DO IT.

BUT I LICKED YOU. I LICKED YOU BOTH.

I DIDN'T WANT IT TO HAPPEN. I TRIED TO STOP HIM.

YOU TRIED TO STOP HIM WHEN YOU THOUGHT IT WAS TOO LATE,

WHEN YOU THOUGHT I WAS FINISHED!

DON'T TRY TO GET AWAY. I CAN SCENT EVERY MOVE YOU MAKE.

I CAN SCENT YOU LIKE AN ANIMAL.

TOD, IF YOU--

MY EYES DON'T SEE, BUT I HAVE HANDS AND EARS AND A NOSE.

I CAN EVEN SMELL YOUR HATE. I LIKE THAT.

IT'S NOT MUCH DIFFERENT FROM YOUR LOVE.

IT IS LOVE!

YES, IT IS. FOR WHOM?

FOR TOD BUTLER, WHO KEPT YOU WITH HIM IN THE DARK

OR FOR THAT PRETTY LIEUTENANT WHO OFFERED YOU THE SUN

AND THE MOON?

TOD, PLEASE LISTEN.

I HAVE LISTENED TO YOU ENOUGH.

I LISTEN TO YOU TIPTOEING INTO THE DARK

AND SIGHING IN YOUR SLEEP.

YOU THINK I NEED EYES TO TELL ME YOU WANT TO GET RID OF ME?

YOU MURDEROUS LITTLE SNEAK!

TOD.

SO, YOU WANT TO BE FREE?

YOU'LL GET AWAY WHEN I CHOOSE TO LET YOU GO,

AND I'M NOT READY YET-- NOT QUITE!

TOD, WHAT ARE YOU DOING?

"GOT TO SET PEGGY FREE," HE SAID.

"I LOVE HER."

HE LOVES YOU.

WHAT DOES HE KNOW ABOUT LOVING A WOMAN LIKE YOU?

NOTHING!

SCOTT?

I HEARD YOU WERE GOING AWAY,

AND IT SEEMED STUPID NOT TO SAY GOOD-BYE.

I FOLLOWED YOU HERE BECAUSE I DIDN'T THINK I'D GET THE CHANCE.

I HAD TO FINISH SOME PACKING.

THEN...THEN YOU REALLY ARE GOING.

YES.

I FINALLY REALIZE YOU'RE SICK.

I DON'T BELIEVE I AM ANYMORE...

JUST RIDICULOUS.

WELL, IF YOU KNOW WHAT'S THE MATTER,

THEN WHY ARE YOU RUNNING AWAY?

I'M NOT RUNNING AWAY, I'M JUST GOING.

IT'S TOO LATE FOR ANYTHING ELSE.

I FEEL KIND OF SILLY, TOO, YOU KNOW.

A LOT'S BEEN GOING ON AROUND HERE

THAT EVERYBODY KNEW ABOUT BUT ME.

HOW DO YOU LIKE MY DRESS?

[TELEPHONE RINGS]

EVE.

[RING]

BURNETT SPEAKING.

WELL, SPE--

YOU'RE IN DANGER? WHAT KIND OF DANGER?

ALL RIGHT.

ALL RIGHT, I'LL BE RIGHT OVER.

WAS THAT--

THAT WAS PEGGY, AND I'M GOING.

NOW, GET THIS THROUGH YOUR THICK, LITTLE SKULL--

I'VE GOT TO GO. I'VE GOT TO FIND OUT

ABOUT MYSELF ONCE AND FOR ALL.

WHAT'S WRONG?

I HAD TO CALL YOU FOR HELP.

TOD'S WILD. HE'S INSANE.

WHAT DO YOU WANT ME TO DO?

HE'S GOT SOME CRAZY IDEA,

I DON'T KNOW WHAT, BUT I'M AFRAID.

YOU GOT TO STOP HIM. YOU GOT TO DO SOMETHING.

THE PAINTINGS.

TOD!

TOD!

TOD, WHAT ARE YOU DOING?

I'M BURNING MY BRIDGES, MY FRIEND.

[YELLS]

Peggy: WHY ARE YOU DOING THIS?

PEGGY. LET ME GO.

CAN'T YOU SEE WHAT HE'S DOING? LET GO!

Peggy: I'VE GOT TO SAVE THE PAINTINGS!

LET ME GO, I TELL YOU.

LET ME GO!

WHY, TOD?

I HAD TO DO IT.

THOSE PAINTINGS MEANT EVERYTHING TO ME.

BUT THEY BECAME AN OBSESSION.

THEY HAD TO BE DESTROYED.

NOW I'M FREE.

I HAVE NEW WORK TO DO.

I'VE THINGS TO SAY...

MANY THINGS.

AND PEGGY'S FREE.

I CLUNG TO HER AS I DID TO THE PAINTINGS,

TO THE PAST.

I MADE HER LIVE IN IT WITH ME.

I HAD NO RIGHT TO DO THAT.

PEGGY...

TAKE ME TO THE CAR, PEG.

YOU CAN DRIVE ME TO NEW YORK,

AND THEN YOU CAN DO AS YOU PLEASE.

TOD.