Original subtitles

[upbeat orchestral music]

[upbeat orchestral music]

- You know, there are easier ways to make a living,

white collar, gray flannel.

white collar, gray flannel.

- Come off it.

I mean, this is man's work: sweat, dirt, hearty appetite,

I mean, this is man's work: sweat, dirt, hearty appetite,

blue skies overhead, smell of fresh air from the stockyards.

blue skies overhead, smell of fresh air from the stockyards.

- You give it real snob appeal.

- Hah.

- Hah.

Well, there's somethin' about a new hunk o' road,

that says go, go, go to my metabolisch.

that says go, go, go to my metabolisch.

- My humanities professor used to say,

- My humanities professor used to say,

"Human survival depends

on modification and control of our environment."

on modification and control of our environment."

Man is by nature an industrious creature,

Man is by nature an industrious creature,

always building better mousetraps.

- Well, in the survival department, I'm an expert.

- Well, in the survival department, I'm an expert.

Where I come from, the mice build better mice.

Look out.

Look out.

[upbeat orchestral music]

[upbeat orchestral music]

[moves into dramatic orchestral music]

[moves into dramatic orchestral music]

[car horn honking]

[car horn honking]

Hey, man, you're holdin' up the traffic.

Hey, man, you're holdin' up the traffic.

[car horn honking several times]

[car horn honking several times]

Come on, come on.

Turn it in to the greasemonkeys.

[car horn honking several times]

[car horn honking several times]

[engine starting and running]

[engine starting and running]

[dramatic orchestral music]

[dramatic orchestral music]

Come on, get down off there.

Come on, get down off there.

- Get 'im!

- Come on, out, move!

- Come on, out, move!

This is no public road!

Come on, out.

- Look, we're supposed to go to work here!

- Look, we're supposed to go to work here!

- Hold it.

- Hold it.

Let 'em alone.

Put 'em to work.

Put 'em to work.

- Put 'em to work?

- If they can put that kind of energy

- If they can put that kind of energy

in the right direction,

maybe we get this project finished on time.

maybe we get this project finished on time.

[heavy equipment operating in the distance]

[heavy equipment operating in the distance]

And, uh, see if you can have someone get that loader

in to the greasemonkeys.

in to the greasemonkeys.

- Say, tell me,

- Say, tell me,

who was the character with the status symbol.

Is that the boss man's favorite uncle?

Is that the boss man's favorite uncle?

- That was the boss man, John Rados.

He's probably cut more dirt outta this country,

He's probably cut more dirt outta this country,

than any other man living.

- All by himself with his little loader, hmm?

- All by himself with his little loader, hmm?

- Ah, don't let them fool ya,

he's a great old man, self-made.

he's a great old man, self-made.

He still likes to push these rigs around,

and keep in touch with his men.

and keep in touch with his men.

In my book, he can't do any wrong.

You two got any experience beside troublemaking?

You two got any experience beside troublemaking?

- No, we're just here to make your life miserable.

- No, we're just here to make your life miserable.

- Now, listen, sonny, let's get one thing straight--

- Cool it, cool it.

- Cool it, cool it.

Friends of the family.

Dig?

[upbeat orchestral music]

[upbeat orchestral music]

[Buz whistles]

[Buz whistles]

[dramatic orchestral music]

[dramatic orchestral music]

- Got trouble?

- Got trouble?

- You kidding?

- You kidding?

When'd the old man use this truck last?

Smuggle gin during Prohibition?

- Could be.

- Could be.

He's for progress and against expenditure.

- Well, he's building roads, not running for governor.

- Well, he's building roads, not running for governor.

- I'll tell him you said so.

Hey, I'm no mechanic, but maybe I can help.

Hey, I'm no mechanic, but maybe I can help.

- It's all yours.

All I expect is a good first gear, and...

All I expect is a good first gear, and...

[car tires screeching]

And a little zetz now and then.

And a little zetz now and then.

[small engine starts]

[woman laughing]

[woman laughing]

- Sorry, friend, I didn't know you were in the way.

- Sorry, friend, I didn't know you were in the way.

- Sure, sure.

- Take an extra half-hour for lunch.

- Take an extra half-hour for lunch.

Anybody says anything, tell 'em to see me.

- And who are you?

- And who are you?

- Nick Rados.

The old man is my old man.

[woman laughing]

- Hi. [car door closes]

- Hi. [car door closes]

- Hi.

Who was he?

- Rados Junior.

Sent me to the showers.

Who do you suppose she is?

- You ever hear of Nefertiti?

- You ever hear of Nefertiti?

- Yeah, she runs a pizza house in Dallas.

- Yeah, she runs a pizza house in Dallas.

- The wife of an Egyptian pharaoh.

- The wife of an Egyptian pharaoh.

I saw a head of her once.

Just stood and stared at it for an hour.

Just stood and stared at it for an hour.

Flipped.

- Well, why don't you just stay here and look.

- You don't speak Egyptian.

- You don't speak Egyptian.

- But my language is universal.

- What would you say to joining me in a bara hazri?

- What would you say to joining me in a bara hazri?

- I don't think I understand.

- I don't think I understand.

- Well, Hindu is as close as I can come to Egyptian.

- He's trying to impress you with his worldliness.

- He's trying to impress you with his worldliness.

- But why Egyptian?

- But why Egyptian?

I'm Serbian.

- Well, your eyes, your mouth, the line o' your face,

- Well, your eyes, your mouth, the line o' your face,

it's Nefertiti in the flesh.

- Well, without my white robe and my hair showing,

- Well, without my white robe and my hair showing,

the Egyptians would have considered me

little more than a barbarian.

little more than a barbarian.

- Don't knock it.

In my old neighborhood,

In my old neighborhood,

that was considered a very high class word.

- He's coming over, Ara, wants to see you.

- He's coming over, Ara, wants to see you.

You've met my sister.

- Sister?

I'm really beginning to appreciate this family.

I'm really beginning to appreciate this family.

I'm Tod Stiles.

I'm Tod Stiles.

- You're still wet.

- You're still wet.

- Occupational hazard.

- You could collect workman's compensation.

- You could collect workman's compensation.

- You could collect workman's compensation.

- I already have.

- Thank you.

- Thank you.

- With pleasure, princess.

- Wouldn't it be easier to give me my own account?

- Wouldn't it be easier to give me my own account?

- Then I would never see you.

Isn't it enough?

You can have more.

You can have more.

- It's fine.

Two things a man has to know how to do these days.

Two things a man has to know how to do these days.

Write and shovel dirt.

- But, Ara, I thought maybe we would have lunch together.

- But, Ara, I thought maybe we would have lunch together.

- Some other time, papa, I'll be home for supper.

- Some other time, papa, I'll be home for supper.

Bye, nice meeting you.

I hope your compensation was satisfactory.

I hope your compensation was satisfactory.

[car engine starts]

[car engine starts]

- You two, my house, supper, tonight.

- You two, my house, supper, tonight.

- I beg your pardon.

- I beg your pardon.

- My house, eight o'clock, supper.

- My house, eight o'clock, supper.

- I don't dig you, Mr. Rados.

Our workday ends at five o'clock.

Our workday ends at five o'clock.

- Are you going to turn down a free meal,

just to eat in one of those greasy spoons downtown?

just to eat in one of those greasy spoons downtown?

just to eat in one of those greasy spoons downtown?

I have many of my men come to my home for supper.

I have many of my men come to my home for supper.

They all feel it is an honor.

They all feel it is an honor.

I do all the cooking myself, very fine Serbian food.

I do all the cooking myself, very fine Serbian food.

All you can eat.

All you can eat.

Well?

- Okay.

[dramatic orchestral music]

[John laughing]

[John laughing]

- In the old days, there weren't no such thing as engineers.

- In the old days, there weren't no such thing as engineers.

- In the old days, there weren't no such thing as engineers.

You carried the plans around in your hip pocket.

Now you got project engineers, office engineers,

Now you got project engineers, office engineers,

greenhouse engineers.

greenhouse engineers.

That's the trouble with the world: too much thinking,

not enough doing.

not enough doing.

Isn't that right, sonny?

- Well, everybody's got their own style,

- Well, everybody's got their own style,

but I guess you got a point there.

- My father has a point in everything he does.

- My father has a point in everything he does.

- For every cause there's an effect, Mr. Rados, good or bad.

- For every cause there's an effect, Mr. Rados, good or bad.

There's something to be said for analysis and preparation.

There's something to be said for analysis and preparation.

- Oh, then you say it, huh?

- Oh, then you say it, huh?

'Cause you are educated.

Me? I'll just be content with success.

Me? I'll just be content with success.

[John laughing]

[John laughing]

- Excuse me, I'm going out for some air.

- Excuse me, I'm going out for some air.

- Yeah, I think I'll get some air, too.

- Yeah, I think I'll get some air, too.

- Yeah, I think I'll get some air, too.

Great cook, Mr. Rados.

Why don't you tell Mr. Rados

about the time you almost got pressed into the asphalt

about the time you almost got pressed into the asphalt

on that interchange job in LA.

[romantic orchestral music]

[romantic orchestral music]

It's a nice view.

It's a nice view.

- Depends on what you see.

- I'm lookin' at you.

- I'm lookin' at you.

- The night has a thousand eyes.

All of them are looking at me.

All of them are looking at me.

- What do they see?

- What do they see?

- A nice young Serbian girl eating crow with a silver spoon.

- A nice young Serbian girl eating crow with a silver spoon.

- [laughs] I hear a sour note in that song.

- [laughs] I hear a sour note in that song.

- I didn't ask you to listen.

- Well, I'm a music lover, I'd like to hear the rest of it.

- Well, I'm a music lover, I'd like to hear the rest of it.

- And I didn't invite you to dinner.

- And I didn't invite you to dinner.

- Look, correct me if I'm wrong, but your father said

- Look, correct me if I'm wrong, but your father said

it was an honor to break bread with him.

it was an honor to break bread with him.

- He says a lot of things.

I think you do, too.

I think you do, too.

Good night.

[dramatic orchestral music]

[dramatic orchestral music]

[small electric motor running]

[small electric motor running]

- You like that, huh?

It is a Burgundian gargoyle, a waterspout.

It is a Burgundian gargoyle, a waterspout.

- It's beautiful.

It's a symbol of death, isn't it?

It's a symbol of death, isn't it?

- I don't know about symbols.

- I don't know about symbols.

It is a piece of wood, that is all.

- You said you wanted to talk to us.

- You said you wanted to talk to us.

It wasn't about gargoyles.

- About hands.

- About hands.

Hands that can do what mine cannot.

Hands that can do what mine cannot.

- We're listening.

[lathe slows and stops]

[lathe slows and stops]

My, my daughter is a moody girl.

My, my daughter is a moody girl.

You have seen that.

You have seen that.

She was sick for a long time.

She, she feels badly toward me

She, she feels badly toward me

for some things that I have done.

for some things that I have done.

- Well, what does that got to do with us?

- Well, what does that got to do with us?

- Well, she seems to like you boys.

- [laughs] Not in my book.

- [laughs] Not in my book.

- She has been different with you than with the others.

- She has been different with you than with the others.

This time she came to supper.

This time she came to supper.

- I,

I still don't get it.

- Take her out.

- Take her out.

Show her a good time.

Help her to laugh again, to forget.

Help her to laugh again, to forget.

I pay all expenses.

I pay all expenses.

I make it worth your while.

There could be a good future for both of you in my company.

There could be a good future for both of you in my company.

- Wait a minute, wait a minute.

- Wait a minute, wait a minute.

Do I read you right?

You wanna buy your daughter a playmate.

You wanna buy your daughter a playmate.

- You could do worse, no?

- Come on, Tod.

- Come on, Tod.

- No, wait!

I broke up an affair that was bad for her.

I broke up an affair that was bad for her.

I was wrong, I know that now,

I was wrong, I know that now,

but she can't get over it, can't forget.

but she can't get over it, can't forget.

- You're not gonna do it.

- Get out, Nick!

- Get out, Nick!

- I'm not gonna let you do it!

- You don't tell me what you're going to let me do!

- Doesn't Ara have enough?

- Doesn't Ara have enough?

Do you have to

degrade her, too? - Shut up, Nick!

- You can't buy her back, papa.

- You can't buy her back, papa.

- You don't know anything.

Now you get out of here with your insolence!

Now you get out of here with your insolence!

[dramatic orchestral music]

[dramatic orchestral music]

- Thanks for the dinner.

- Thanks for the dinner.

It was a real honor.

- I don't know, I just don't like it.

- I don't know, I just don't like it.

He just came on too strong for someone who's just sorry.

- It's old-world pride.

- It's old-world pride.

- But to buy entertainment for a girl

who could call her shots with almost any cat in town?

who could call her shots with almost any cat in town?

That kind of old-world stuff goes pretty far back.

That kind of old-world stuff goes pretty far back.

- Well, maybe in his clumsy way,

he's just trying to soften her up.

he's just trying to soften her up.

- Look, he may be Mr. Success Incorporated,

- Look, he may be Mr. Success Incorporated,

but I seen that look on too many lost souls,

pitching for a decent meal,

panic written all over their faces,

but they don't want food,

but they don't want food,

they want salvation, or a bottle,

or any kinda painkiller that might be handy.

or any kinda painkiller that might be handy.

Well, I don't wanna get involved in somebody else's misery.

Well, I don't wanna get involved in somebody else's misery.

- Then don't.

- Then don't.

Me, I wouldn't mind squiring her around at no charge.

Me, I wouldn't mind squiring her around at no charge.

[knocking at the door]

Hello.

- I think it was inexcusable

of the two of you to leave without saying good night.

of the two of you to leave without saying good night.

- We thought you went to bed.

- I never go to bed before three or four.

- I never go to bed before three or four.

Where's Buz?

Where's Buz?

- Shhh. He isn't nocturnal, like us.

- Oh. Would you mind waking him?

- Oh. Would you mind waking him?

- Isn't the odd man out?

- Isn't the odd man out?

- I'm sure you'll find someone to keep you company.

- I'm sure you'll find someone to keep you company.

- The Lord High Executioner couldn't have done

- The Lord High Executioner couldn't have done

a cleaner job.

- I came to see you.

- Well, uh, come on in.

- Well, uh, come on in.

- You come out.

- So?

- So?

- Found you interesting, and wanted to see you again.

- Look, you cut me up pretty good.

- Look, you cut me up pretty good.

You wanna chew up the pieces?

- Let's forget the sour notes.

- Let's forget the sour notes.

I feel like singing sweet and pure.

- Wanna take a ride?

- Wanna take a ride?

- Let's walk, it's a slow kind of a night.

- Let's walk, it's a slow kind of a night.

- [laughs] Okay, let's walk.

- [laughs] Okay, let's walk.

- Do you think the moon influences people?

- I don't know, I never thought about it.

- You don't want to walk?

- You don't want to walk?

- Sure, why not?

- I embarrassed you by coming here.

- I don't embarrass easy.

- I don't embarrass easy.

- Have you ever been to Greece?

- No.

- No.

- You remind me of a boy I met there,

- You remind me of a boy I met there,

in an amphitheater in Epidaurus.

After mother died, we spent the summer there,

After mother died, we spent the summer there,

painting the landscapes.

Oh, it was beautiful, no ugliness,

Oh, it was beautiful, no ugliness,

not in line, color, form, or sentiment.

not in line, color, form, or sentiment.

[dramatic orchestral music]

- You all right?

- You all right?

- I shouldn't have come here.

I shouldn't have bothered you.

[car engine starting]

[car engine starting]

[car driving away, tires squealing slightly]

[car driving away, tires squealing slightly]

[upbeat orchestral music]

[upbeat orchestral music]

[upbeat orchestral music]

[upbeat orchestral music]

- That's strange.

Now, that girl looks like somebody

Now, that girl looks like somebody

you didn't wanna get involved with.

- Yeah, there is a resemblance.

- Yeah, there is a resemblance.

- How'd you know she was gonna be here.

- I called her from the motel this morning.

- I called her from the motel this morning.

[romantic orchestral music]

[romantic orchestral music]

- Question.

Why do you paint clouds yellow?

Why do you paint clouds yellow?

- Because they're lemons.

What do you think of it?

What do you think of it?

- Well, I like the way it kind of, uh,

jumps out at you.

jumps out at you.

- Very unsatisfactory answer.

- Well, it does something for me.

- Well, it does something for me.

It gives me a good feeling, here.

[Ara laughing]

[Ara laughing]

- No, art isn't just a source of pleasure.

- No, art isn't just a source of pleasure.

That's like describing love as just a source of advantage.

That's like describing love as just a source of advantage.

- Isn't it?

- Art is imagination, and imagination is faith, see?

- Art is imagination, and imagination is faith, see?

- Not exactly.

I'm kind of a realist.

I'm kind of a realist.

- The painter is like Moses,

seeing God in the burning bush,

seeing God in the burning bush,

instead of the gardener burning leaves.

instead of the gardener burning leaves.

Look.

Says a million things if you let it.

Says a million things if you let it.

Amoebas, earthquakes,

Amoebas, earthquakes,

warm summer days, rainbow dragons.

There was a man, a painter,

There was a man, a painter,

and all nature was a work of art to him.

and all nature was a work of art to him.

And one day a seagull flew into his line of vision,

and he worried that the seagull

and he worried that the seagull

would get his wings all smeared with paint.

would get his wings all smeared with paint.

If only I could have that kind of faith.

If only I could have that kind of faith.

- You're kinda smearing my wings with paint.

- You're kinda smearing my wings with paint.

- It's very becoming.

- It's very becoming.

- Why'd you run away last night.

- It was late.

- It was late.

I was being foolish.

I was being foolish.

- You said I reminded you of someone else.

- You said I reminded you of someone else.

- I don't wanna talk about past things,

or dark things, or unhappy things.

or dark things, or unhappy things.

I wanna talk about life, and joy, strength, and hope.

I wanna talk about life, and joy, strength, and hope.

I wanna talk about life, and joy, strength, and hope.

Those are my gods, I want to worship them.

Those are my gods, I want to worship them.

[romantic orchestral music]

- Okay, let's worship.

- Okay, let's worship.

- I like you, I like your face, and I like your eyes,

- I like you, I like your face, and I like your eyes,

they're very clear, and very knowing.

[dramatic orchestral music]

[dramatic orchestral music]

- Great day for water skiing.

- I'm busy.

- I'm busy.

- You know, a lot of your problems disappear,

if you just get out

and batter your head against a cold surf.

and batter your head against a cold surf.

- But some people, it's money that solves their problems.

- But some people, it's money that solves their problems.

They'll do anything for it.

- Then you'll get this shade right in there.

- Then you'll get this shade right in there.

And, if you want it lighter, you add--

Hi.

- You said you wanted to see

- You said you wanted to see

the Modigliani exhibit this afternoon.

- Oh, I forgot.

- Oh, I forgot.

I'm sorry.

- Oh, that's okay,

I got a buddy that's waitin' to go water skiing.

I got a buddy that's waitin' to go water skiing.

- I'll meet you in the car, Ara.

You go there.

You go there.

- Okay.

Bye.

Get the rest of my stuff, will you, Nick?

Get the rest of my stuff, will you, Nick?

Get the rest of my stuff, will you, Nick?

- You're a pretty ugly boy, you know that?

- You're a pretty ugly boy, you know that?

- You're off base.

I don't read you.

I don't read you.

- I thought you'd back away,

like the others my father picked up,

like the others my father picked up,

but I should've known,

you grow up in the streets like an animal,

you think like an animal.

- You're off base, sonny.

- I'm on your back, friend,

- I'm on your back, friend,

and that's where I'm gonna stay

'til you clear out and leave her alone.

'til you clear out and leave her alone.

- You got it all figured out, huh?

- You got it all figured out, huh?

- Whatever my father tries to do, crude as it is,

it's out of love, not profit.

it's out of love, not profit.

Now, I'll tell ya once, simple and clear.

You stay away from Ara, or I'll put you away.

You stay away from Ara, or I'll put you away.

[cymbal crash]

[cymbal crash]

[jazz drums being played]

[jazz drums being played]

[jazzy dance music]

[crowd chattering and clapping rhythmically]

[crowd chattering and clapping rhythmically]

[eerie orchestral music]

[eerie orchestral music]

[suspenseful orchestral music]

[suspenseful orchestral music]

[suspenseful orchestral music]

[car horn honks]

[car horn honks]

[car horn honks twice]

[car horn honks twice]

[car horn honks]

[car horn honks]

[door opening]

[door opening]

[dramatic orchestral music]

[dramatic orchestral music]

- Listen, you can almost hear the loom.

- Ara, what is it, what's the matter?

- Ara, what is it, what's the matter?

- It's called Las Hilanderas, The Weavers.

- It's called Las Hilanderas, The Weavers.

Do you see the tapestry in the background?

Do you see the tapestry in the background?

A young Greek girl named Arachne

A young Greek girl named Arachne

is having a spinning contest with a goddess.

is having a spinning contest with a goddess.

That's where mother got my name.

She used to tell Nick and me the story,

She used to tell Nick and me the story,

when we were children.

So long ago.

She was such a lovely, gentle woman.

She was such a lovely, gentle woman.

So full of life.

So full of life.

- Come on, I'll take you home.

- Come on, I'll take you home.

- Arachne won the contest,

but the goddess got so angry, so jealous that,

but the goddess got so angry, so jealous that,

so jealous that she turned Arachne into a spider.

so jealous that she turned Arachne into a spider.

Turned her into a spider,

Turned her into a spider,

so that she would be the eternal spinner,

so that she would be the eternal spinner,

spinning our fate for us.

spinning our fate for us.

Buz,

hold me.

hold me.

- Shh. Everything's all right, it's all right.

- Shh. Everything's all right, it's all right.

- Mother.

Oh, mother.

How soft and tender her voice was in the stillness.

How soft and tender her voice was in the stillness.

"But you see, little Ara, my darling,

"But you see, little Ara, my darling,

"the truth is that no one spins our fate for us.

"the truth is that no one spins our fate for us.

"God says,

"that whether life is a shroud,

"that whether life is a shroud,

"or a cocoon,

"every father's daughter must weave her own."

"every father's daughter must weave her own."

But that isn't true.

You see that, don't you?

You see that, don't you?

The spider,

I can't stop it.

I can't stop it, Buz.

I can't stop it, Buz.

[Ara crying]

[Ara crying]

[romantic orchestral music]

[romantic orchestral music]

[romantic orchestral music]

I,

I think I love you.

I think I love you.

[sinister orchestral chord]

[sinister orchestral chord]

[mysterious orchestral music]

[mysterious orchestral music]

[sinister orchestral chord]

[sinister orchestral chord]

[car starts]

[car starts]

[eerie orchestral music]

[eerie orchestral music]

[rotary phone dialing]

[rotary phone dialing]

[crunchy chewing]

[crunchy chewing]

- [Tod On Phone] Hello?

- It's me, Tod.

- It's me, Tod.

- [Tod On Phone] Hi, what's up?

- [Tod On Phone] Hi, what's up?

- Nothing, nothing at all, I just felt like calling.

- Nothing, nothing at all, I just felt like calling.

- [Tod On Phone] You what?

- [Tod On Phone] You what?

- I'll see you in a while.

[dramatic orchestral music]

[dramatic orchestral music]

[sinister orchestral chord]

[sinister orchestral chord]

[diesel engine starting]

[diesel engine starting]

[diesel engine revving]

[heavy equipment approaching]

[heavy equipment approaching]

[engine roaring loudly]

[engine roaring loudly]

[engine idling]

- I told you I'd be on your back.

- I told you I'd be on your back.

- And I told you, you were outta line!

- Shut up!

- You come off awful strong from up there!

- You come off awful strong from up there!

- Well, like my old man says,

the tools that can do what the hands can't.

the tools that can do what the hands can't.

My hands weren't made for striking out against the world.

My hands weren't made for striking out against the world.

I'm one of the lonely ones, a wanderer inside my head.

I'm one of the lonely ones, a wanderer inside my head.

I'm one of the lonely ones, a wanderer inside my head.

Playboy.

A poet.

A part-time brother, and a fine, great foreman of nothing!

A part-time brother, and a fine, great foreman of nothing!

I can't escape that.

Not like Ara.

Not like Ara.

- I know there's somethin' the matter with her, but--

- Dying at 24-years-old is very wrong!

- Dying at 24-years-old is very wrong!

[dramatic orchestral chord]

[dramatic orchestral chord]

How do ya like the deal now, huh?

How do ya like the deal now, huh?

Go on, take her out, show her a good time,

Go on, take her out, show her a good time,

she hasn't got long.

[dramatic orchestral music]

[dramatic orchestral music]

My mother died of the same thing.

Clinical, mechanical voices,

Clinical, mechanical voices,

hands and tools digging into her head,

hands and tools digging into her head,

but only succeeding in cutting away a year,

but only succeeding in cutting away a year,

a year she might have had

a year she might have had

to toy gently with her antiques.

to toy gently with her antiques.

Dreams of lost youth.

Ara's gonna have that year,

free and clear to spend in any way she wants it,

free and clear to spend in any way she wants it,

free and clear to spend in any way she wants it,

and not degraded by a drunken, old man's crude attempt

and not degraded by a drunken, old man's crude attempt

to buy her happiness in the arms of a tramp.

to buy her happiness in the arms of a tramp.

If she's gonna die,

then let her do it with some kind of dignity.

then let her do it with some kind of dignity.

- Are you through?

- Only if you are.

- Only if you are.

- Well, I'm not.

You stink!

You stink!

Sitting up there

on your self-righteous, two-bit tank of misery.

The way I understand the world,

The way I understand the world,

nobody's got the right

to tell anybody else how to live or die.

to tell anybody else how to live or die.

So, you go right ahead, and,

and jam down on that nervous foot of yours,

'cause you're not tellin' me anything!

'cause you're not tellin' me anything!

[dramatic orchestral music]

[dramatic orchestral music]

[eerie orchestral chord]

[eerie orchestral chord]

[intense orchestral music]

[intense orchestral music]

- Your son, he told me.

- Your son, he told me.

- It hurts to know, doesn't it?

- Supposin' she had found out by mistake,

- Supposin' she had found out by mistake,

don't you think your lying and cheating

woulda hurt her more?

- She won't find out!

- Look.

You invited me into this.

You invited me into this.

I didn't ask to be into it, but now I'm involved,

I didn't ask to be into it, but now I'm involved,

and I care what happens to Ara,

and I care what happens to Ara,

and I say, stop calling all the shots for 'er.

and I say, stop calling all the shots for 'er.

- She must not be told.

- And you're takin' the choice out of 'er hands.

- Look, I'm her father, it's my right!

- Look, I'm her father, it's my right!

- Nobody's got that right!

- Nobody's got that right!

- She's soft,

soft earth,

like her mother.

like her mother.

She knew.

My Olivera knew.

My Olivera knew.

Days before the operation,

crying like a child,

knowing that death was coming,

knowing that death was coming,

she went to pieces.

- Is that what you're afraid of?

That Ara doesn't have the courage?

That Ara doesn't have the courage?

That she won't be able to face it?

- I couldn't stand to go through that again!

- I couldn't stand to go through that again!

- You couldn't?

Well, just who are you protecting?

Well, just who are you protecting?

Ara or yourself?

Your daughter is a human being, Mr. Rados,

Your daughter is a human being, Mr. Rados,

a woman with heart and feelings,

a woman with heart and feelings,

and she's got a right to know

there's something wrong with her.

there's something wrong with her.

- She was only a baby, when her mother died.

- She was only a baby, when her mother died.

She thinks it's just a pressure that will go away.

She thinks it's just a pressure that will go away.

- They operated on your wife,

they must've thought she had a chance.

they must've thought she had a chance.

Why not Ara?

- Not enough of a chance, not enough!

- Not enough of a chance, not enough!

- Oh, and what are you and that son of yours,

some kind of gods?

some kind of gods?

- Life and death, and you make all the decisions.

- Life and death, and you make all the decisions.

- Don't judge me, boy.

I believed them before, those doctors,

I believed them before, those doctors,

those engineers with their big words

those engineers with their big words

that nobody understands.

If I cut too deep into a mountain,

If I cut too deep into a mountain,

I can fill it,

I can fill it,

I can reinforce it.

But them, what can they do?

Can they bring a wife and a daughter back to life?

Can they bring a wife and a daughter back to life?

Can they give a man back the chance to know them?

Can they give a man back the chance to know them?

To love them?

To love them?

I need time.

Time!

[suspenseful orchestral music]

[suspenseful orchestral music]

- Ara?

Ara.

Ara.

Ara.

[intense, upbeat orchestral music]

[intense, upbeat orchestral music]

- Ara, I thought you were asleep.

- What are you doing?

- What are you doing?

- Maybe I'm too self-critical, but I hate them.

- Maybe I'm too self-critical, but I hate them.

I'm a miserable painter.

- Let me see them.

- No, you can't.

- No, you can't.

- Please let me see them, Nick.

- They're ugly and crude.

I don't want anyone to see them.

I don't want anyone to see them.

- They're mine.

I painted them.

[upbeat orchestral music]

[upbeat orchestral music]

[eerie orchestral music]

[dramatic orchestral music]

[dramatic orchestral music]

[somber orchestral music]

[somber orchestral music]

- She's resting comfortably.

- She's resting comfortably.

Don't you think you've prolonged

this sufficiently, Mr. Rados?

I'd like to make arrangements to put her in the hospital.

I'd like to make arrangements to put her in the hospital.

Well, I'll be in my office.

Well, I'll be in my office.

[door closes]

[door closes]

- When she wakes up,

- When she wakes up,

I will tell her,

and she can decide if she wants to do it.

and she can decide if she wants to do it.

[suspenseful orchestral music]

[suspenseful orchestral music]

- Buz?

Papa.

I had a nightmare.

- You used to come to me at night,

- You used to come to me at night,

so long ago,

so long ago,

crying, frightened.

crying, frightened.

- Those were sweet moments, papa.

- Those were sweet moments, papa.

- I told you there was nothing in the dark to hurt you.

- I told you there was nothing in the dark to hurt you.

No ghosts, no goblins.

No ghosts, no goblins.

- I wasn't really frightened, papa.

- I wasn't really frightened, papa.

I just wanted to be near you.

I just wanted to be near you.

I know that they were only the things you see in dreams.

I know that they were only the things you see in dreams.

Like spiders.

I'm not frightened now, papa.

I'm not frightened now, papa.

Nick didn't have to burn my paintings.

Nick didn't have to burn my paintings.

I think I knew what was coming all along.

I think I knew what was coming all along.

Death isn't a spider, or a terrible old man with a scythe.

Death isn't a spider, or a terrible old man with a scythe.

Just a gentle,

smiling woman,

like mother,

waiting somewhere.

Papa.

[dramatic orchestral music]

[dramatic orchestral music]

Papa,

will I have to have an operation like mother's?

will I have to have an operation like mother's?

- Yes, Ara, but only if you want.

- Yes, Ara, but only if you want.

I cut out their strength, your mama's,

I cut out their strength, your mama's,

Nicky's.

And then I dug into your heart.

Always the blade, cutting, digging.

Always the blade, cutting, digging.

- It's all right, papa.

- Ara, I...

I wanted to tell you that I loved you, but to work,

I wanted to tell you that I loved you, but to work,

only my hands and my money could talk.

I...

I even tried to buy someone

I even tried to buy someone

to give you back the love that I took away.

to give you back the love that I took away.

[sinister orchestral chord]

- Buy someone?

What do you mean by that, papa?

- Ara, I would have done anything!

- Ara, I would have done anything!

- Buz?

- Buz?

- I only wanted you to be happy again.

- I only wanted you to be happy again.

To smile at me!

- Oh, papa!

[John crying]

[John crying]

- Ara, no, wait!

- Ara, no, wait!

[Ara crying]

[Ara crying]

[intense, upbeat orchestral music]

[intense, upbeat orchestral music]

Ara!

Ara!

Ara, oh!

Ara!

Bring her back!

Bring her back!

Bring her back.

- Ow.

- Ow.

[small waves crashing on the coastline]

[small waves crashing on the coastline]

[dramatic orchestral music]

[dramatic orchestral music]

- Ara.

Ara, will you listen to me, please?

Ara, will you listen to me, please?

- How much did he pay you?

- How much did he pay you?

- I don't know what he said, but you got it all wrong.

- I don't know what he said, but you got it all wrong.

- Don't lie to me!

Pity, apologies would be better than to go on lying.

Pity, apologies would be better than to go on lying.

- Ara, I'm here because I want to be, and no other reason.

- Ara, I'm here because I want to be, and no other reason.

- Do you love me?

Can you say that, too?

- No, I can't say it, but

who around here has given me any time

to think about love?

to think about love?

What do you think love is?

Something like an old coat

you throw around your shoulders,

you throw around your shoulders,

just because it happens to get cold?

- Please.

- Please.

Go away.

- Ara.

Those gods of yours?

Life, joy,

Life, joy,

strength, hope.

They're my gods, too.

Remember?

Remember?

[romantic orchestral music]

[romantic orchestral music]

- Help me, Buz, help me find them again.

- Ara, look, look.

- Ara, look, look.

It says a million things, if you'll only let it.

Earthquakes,

Earthquakes,

dragon rainbows,

warm summer days.

- And amoebas?

- Come on.

[dramatic orchestral music]

[dramatic orchestral music]

["Route 66 Theme" by Nelson Riddle & His Orchestra]

["Route 66 Theme" by Nelson Riddle & His Orchestra]

- [Announcer] This has been a Screen Gems film presentation,

Herbert B. Leonard, executive producer.

Herbert B. Leonard, executive producer.

[END CREDITS]

[END CREDITS]