Original subtitles

(dramatic instrumental music)

(dramatic instrumental music)

- Hamar!

Wasn't much Hamar, was it?

He didn't have the word from God on what's right

He didn't have the word from God on what's right

and what's wrong.

and what's wrong.

Is that why he hated him because he didn't know your rules?

- Going three shifts, starting Monday.

- Going three shifts, starting Monday.

Get a generator, we'll rig some lights down here.

Get a generator, we'll rig some lights down here.

- Hamar!

- Be less expensive to lose a few days.

- We have a contract we'll abide by,

- We have a contract we'll abide by,

now go to three shifts.

- [Nola] What have you done to him?

- [Nola] What have you done to him?

Where is he?

- [Hamar] Not now.

- [Nola] Now, now.

How did you do it?

How did you do it?

Cops, threats, the payoff?

- What does it matter?

- What does it matter?

- [Nola] "Just keep away from my sister" you said.

"You're inferior" you said.

"You don't measure up, you've got no right to love her."

"You don't measure up, you've got no right to love her."

- He didn't love you, Nola.

- How do you know, brother dear?

- How do you know, brother dear?

How do you know?

- He took $500.

- He took $500.

500, that's the cheapest yet.

500, that's the cheapest yet.

- Why don't you let me live?

Why don't you let me be free?

Why don't you let me be free?

- I just bought your freedom.

- I just bought your freedom.

Tod.

Tod.

- Pay you back?

- Pay you back?

Pain for pain, humiliation for humiliation.

(dramatic instrumental music)

(dramatic instrumental music)

- Let me try and mouth to mouth her.

- Let me try and mouth to mouth her.

You have to open your eyes sooner or later.

You have to open your eyes sooner or later.

You're breathing, you're conscious

You're breathing, you're conscious

and the world's still here, so you might as well face it.

and the world's still here, so you might as well face it.

'Cause you're stuck with it, just like all the rest of us.

'Cause you're stuck with it, just like all the rest of us.

- What a stupid, nonsensical...

- What a stupid, nonsensical...

Nola?

Nola?

- Pain for pain, Hamar.

- Pain for pain, Hamar.

(somber instrumental music)

(somber instrumental music)

(gentle instrumental music)

(gentle instrumental music)

- Oughta be ashamed of yourself.

- Oughta be ashamed of yourself.

(doorbell buzzing)

(doorbell buzzing)

- [Nola] Yes?

- [Linc] It's Linc.

- [Linc] It's Linc.

(playful instrumental music)

(playful instrumental music)

(doorbell buzzing)

(doorbell buzzing)

- [Nola] Patience!

- [Linc] Fortitude!

- Enter.

- About time.

- I was in the all together.

- I was in the all together.

- Spare me the details.

Here.

- Oh, how glad, what is it?

- Oh, how glad, what is it?

- Stinkweed, I think.

It was growing out in front all alone.

It was growing out in front all alone.

- Oh, and you picked it for me?

- For you.

- I'll cherish it.

- Do that.

- Do that.

Where's the coffee?

Where's the coffee?

- And did I promise you coffee?

- You did.

- You did.

Coffee, bacon, eggs, biscuits.

"Sunday morning breakfast" you said.

"Sunday morning breakfast" you said.

"The whole works" you said.

- Oh, it's just been one of those days.

- Oh, it's just been one of those days.

- Well I was promised food and I demand satisfaction.

- Well I was promised food and I demand satisfaction.

- Oh have pity, I'm new at this business.

- [Linc] You know, you've been in here two weeks.

Don't you think it's time to finish unpacking?

- Oh at home, sir,

- Oh at home, sir,

where I was imprisoned by my brother,

where I was imprisoned by my brother,

I had a personal maid laying out my wardrobe,

I had a personal maid laying out my wardrobe,

and a cook for preparing my meals,

and a butler serving them.

and a butler serving them.

- [Linc] I thought I took you away from all that?

- Oh, I'm useless, Linc.

- Oh, I'm useless, Linc.

Useless and helpless.

But I'll learn, I'm learning.

But I'll learn, I'm learning.

- [Linc] I know.

Now why don't you slip into something,

Now why don't you slip into something,

we'll try the cafeteria?

- And after breakfast, we'll go to the park.

- [Linc] Now just a minute--

- [Linc] Now just a minute--

- And then a swim, and then lunch.

- You're a human eating machine.

- You're a human eating machine.

(gentle instrumental music)

(gentle instrumental music)

- Thank you, Linc, thank you.

- Thank you, Linc, thank you.

- For breakfast, lunch, the park and swimming?

- Yes.

- Yes.

And for showing me how to begin again.

And for showing me how to begin again.

For getting me away from him.

For finding me this place and for moving me in here.

For finding me this place and for moving me in here.

For getting one key from the landlady.

For getting one key from the landlady.

For giving it to me.

For all of that.

And, one forlorn flower.

And, one forlorn flower.

I thank you.

- My pleasure.

- Fun today, Linc, fun.

Tomorrow, I'll finish fixing up this place

Tomorrow, I'll finish fixing up this place

and tomorrow I'll look for work

and tomorrow I'll be just like everybody else.

and tomorrow I'll be just like everybody else.

But today, fun, okay?

But today, fun, okay?

What?

- Fun.

- Tell Davidson that completion by the 15th

- Tell Davidson that completion by the 15th

means completion by the 15th, not the morning of the 16th.

means completion by the 15th, not the morning of the 16th.

You take these contracts with you,

wave them in his face, make some noise.

Have some scotch.

Have some scotch.

- Thank you.

- What do you do when the project's finished?

- Move on.

- Move on.

- Where to?

- I haven't really given it much thought.

- I haven't really given it much thought.

- Do you have any obligations to anyone?

- Not in the sense you mean.

- Not in the sense you mean.

- No family?

- No.

- I have.

I've raised it ever since it needed a glass of milk

and a night light.

and a night light.

I suppose you know where she's living now.

I suppose you know where she's living now.

She comfortable?

She comfortable?

- Yes, I think so.

- Yes, I think so.

- Your friend has taken on a great responsibility.

Nola's a special person.

Nola's a special person.

Well maybe he means well.

Well maybe he means well.

Maybe it'll do her good to be on her own,

in her own city, maybe.

in her own city, maybe.

- Don't forget the presentation ceremony this afternoon.

- No matter where she lives or what she does,

- No matter where she lives or what she does,

she's still my obligation.

She's still my sister.

She's still my sister.

And if your friend uses her,

And if your friend uses her,

if your friend picks up one fine day and takes off

into the wild blue yonder,

into the wild blue yonder,

I'll reach out for him like an arm of a steel crane.

I'll reach out for him like an arm of a steel crane.

- Four o'clock.

- Yeah.

- Yeah.

- Have a nice Sunday.

- Have a nice Sunday.

(somber instrumental music)

(somber instrumental music)

- Hello Mrs. Case.

- Tod Stiles. - Yes ma'am.

- Tod Stiles. - Yes ma'am.

- I knew you right away, the freckles.

- I knew you right away, the freckles.

- Linc didn't tell me you were coming.

- Linc didn't tell me you were coming.

- He doesn't know.

I want to surprise him.

I want to surprise him.

- Okay, we'll surprise him together.

How long have you been here?

How long have you been here?

- About 10 minutes.

- Let's get you checked in.

- Let's get you checked in.

Bellman?

Mrs. Case would like to register.

- Yes, sir.

Good evening, Mrs. Case.

- Good evening.

- Good evening.

I'm putting you to a lot of trouble.

- It's delightful trouble.

- It's delightful trouble.

Let's give Mrs. Case a very nice room.

Let's give Mrs. Case a very nice room.

- Yes, sir.

- Yes, sir.

This is a very lovely room, Mrs. Case.

- Thank you.

- Thank you.

I just woke up with a feeling that I had to see Linc.

I just woke up with a feeling that I had to see Linc.

I called the station and made a reservation

I called the station and made a reservation

and here I am.

and here I am.

- You Cases are impulsive people.

- When Linc came home, he was suddenly just there,

fleshy pale from the hospital,

fleshy pale from the hospital,

and then he was gone again.

and then he was gone again.

I didn't tell Linc I was coming because...

I didn't tell Linc I was coming because...

'cause I was afraid he'd find an excuse

for me not to come.

(jovial instrumental music)

(jovial instrumental music)

(jovial instrumental music)

(Nola screaming in delight)

(Nola screaming in delight)

(both sighing)

(both sighing)

- I used to play here when I was a child.

- [Linc] Yeah?

- [Linc] Yeah?

- Uh huh.

- Oh, what sort of girl are you?

- Oh, what sort of girl are you?

- Oh, I don't see myself.

Oh yes I do.

Oh yes I do.

That one over there.

- Not that one?

- Oh, that's me.

- [Linc] Why are you so alone?

- [Nola] Well I feel terribly sorry for myself.

- [Nola] Well I feel terribly sorry for myself.

- [Linc] Why?

- My mother and dad have gone away for the summer,

- My mother and dad have gone away for the summer,

to the old country, Norway.

- They'll be back.

- They'll be back.

- No they won't.

They'll have an accident.

I'll wait for them all summer but they'll never come home.

I'll wait for them all summer but they'll never come home.

- Well you don't stay sad forever.

- Well you don't stay sad forever.

- Of course not.

- Of course not.

- Happy people make happy faces.

- How's that?

- Terrible.

- Terrible.

- And this?

- Much better.

Boy, it's just my luck to become involved

with a maker of funny faces.

with a maker of funny faces.

- Involved?

Is that the word?

- Let's say interested.

- Let's say interested.

- I see.

Interested.

Did they have slides and swings in Leander

when you were a little boy?

when you were a little boy?

- No, we used to swing on a big tire hooked up to a tree.

- No, we used to swing on a big tire hooked up to a tree.

Then there was a slide in the schoolyard,

Then there was a slide in the schoolyard,

big metal thing with steps like grills.

big metal thing with steps like grills.

- Which little boy are you?

- Ah, that one,

the one on top.

- [Nola] Be careful, you might fall.

- [Nola] Be careful, you might fall.

- [Linc] I do, many times.

- Do you always climb right back up again?

- Do you always climb right back up again?

- I try.

- Do you cry?

- Sometimes, if nobody's watching.

- Why does it make a difference if somebody's watching?

- Why does it make a difference if somebody's watching?

- Why does it make a difference if somebody's watching?

- Because they'll say, I told you so, runt,

I told you so.

- Will you cry for me sometimes?

- Will you cry for me sometimes?

- Sorry, no tears in stock.

- Sorry, no tears in stock.

- Happy?

- Happy.

- Oh listen, we mustn't be too happy.

My brother's going to break us up.

My brother's going to break us up.

He's going to threaten you or buy you or destroy you.

He's going to threaten you or buy you or destroy you.

- Don't you know I'm indestructible?

- Don't you know I'm indestructible?

- I'm not, Linc.

I'm not.

I'm not.

(somber instrumental music)

(somber instrumental music)

- [Linc] He can't touch you, Nola.

- [Linc] He can't touch you, Nola.

- I'm afraid.

I am so afraid.

I am so afraid.

- Come on, trust me, I'll catch you, come on.

- Come on, trust me, I'll catch you, come on.

Come on, Nola.

Come on, I'll catch you.

Come on, I'll catch you.

(uplifting instrumental music)

(uplifting instrumental music)

(Nola sobbing)

(gentle instrumental music)

(gentle instrumental music)

(whimsical instrumental music)

(whimsical instrumental music)

Now you look lovely.

Now you look lovely.

- You're a real doll.

- Let me guess, you're going to work?

- Let me guess, you're going to work?

- A remarkable deduction.

- Work, play.

- Work, play.

What Hamar Neilsen gives he takes away.

- Let us remember, Tarzan to render unto Hamar Neilsen

- Let us remember, Tarzan to render unto Hamar Neilsen

that which is Hamar Neilsen's.

that which is Hamar Neilsen's.

Do you give back what you take away?

- I go swimming.

- I go swimming.

- Deep water.

- Good swimmer.

- Good swimmer.

(gentle instrumental music)

(gentle instrumental music)

- Gracie Stonehill's dad said,

- Gracie Stonehill's dad said,

"Gracie, I told you you couldn't live with that man,

"Gracie, I told you you couldn't live with that man,

"I told you it'd never work."

And Gracie said, "But Dad, we've been married 18 years."

And Gracie said, "But Dad, we've been married 18 years."

And she turned right around and marched back home.

And she turned right around and marched back home.

By that time, Fred Osbourne had sobered up

By that time, Fred Osbourne had sobered up

and they came over to our place.

Fred celebrated the reunion

Fred celebrated the reunion

by having another drink too many,

and Gracie went back to pop again.

(both laughing)

She keeps shuttling back and forth like a freighter train.

She keeps shuttling back and forth like a freighter train.

(both laughing)

(both laughing)

- Oh, I'm so glad you're here, Ma,

you look wonderful.

- No.

- No.

I got old.

We all get old.

We all get old.

The house needed new roofing.

Your father went out, got the long ladder

Your father went out, got the long ladder

and went up to do the job.

For the first time, I was afraid for him.

You're still very young, Linc.

You're still very young, Linc.

Your eyes are still that young blue.

Your eyes are still that young blue.

- Hey!

(Nola laughing)

- Oh, you wouldn't want a girl to freeze to death.

- Oh, you wouldn't want a girl to freeze to death.

Oh, did I interrupt something?

- [Mrs. Case] I've been filling Linc in

on the hometown gossip.

on the hometown gossip.

- Oh, I told your mother all of our gossip.

I mean about my brother and the river

I mean about my brother and the river

and my nosedive, the whole bit.

Right, Mrs. Case?

Right, Mrs. Case?

- [Mrs. Case] Yes.

- So, tell me, what do you think?

- So, tell me, what do you think?

- [Mrs. Case] About what?

- Well, about me.

I didn't expect you to form an opinion

by looking at my teeth.

by looking at my teeth.

Well, let's be honest, Mrs. Case.

Well, let's be honest, Mrs. Case.

Didn't you come here to look me over

to see if I was suitable for old Linc?

to see if I was suitable for old Linc?

- You're wrong.

- Oh, coincidence?

- Oh, coincidence?

- I didn't know anything about you until this afternoon.

- I didn't know anything about you until this afternoon.

- Didn't this goof ever write to you about me?

- I'm not much of a corresponder.

- I'm not much of a corresponder.

- Well not a word?

Not a syllable?

Not a syllable?

- His letters aren't very newsy.

He should have told me about you though.

He should have told me about you though.

You're beautiful.

You're beautiful.

Would you children excuse me please?

I'm very tired.

I'm very tired.

- Mom?

I'll walk you up.

- That's not necessary.

- That's not necessary.

- She didn't mean anything.

- I know that.

Tell me Linc, is it alright that I'm here?

Tell me Linc, is it alright that I'm here?

- Of course, I'm very glad.

- Really?

- Really?

- Really.

- I'm sorry.

I've had Hamar looking over my shoulder all my life.

I've had Hamar looking over my shoulder all my life.

Am I forgiven?

Am I forgiven?

- Never.

- Now, I've got someplace to go,

- Now, I've got someplace to go,

and I need an escort.

Go get dressed.

- I'm elected?

- You're not elected, darling, you're chosen.

- You're not elected, darling, you're chosen.

- And Hamar Neilsen has led in civic enterprise.

- And Hamar Neilsen has led in civic enterprise.

- And Hamar Neilsen has led in civic enterprise.

His many good works have contributed mightily

His many good works have contributed mightily

to the growth of this city

through his imaginative leadership,

through his imaginative leadership,

his many good and worthwhile public and private causes.

his many good and worthwhile public and private causes.

(crowd cheering and applauding)

(crowd cheering and applauding)

And so it gives me great pleasure

to present this Annual Better City Commission award

to present this Annual Better City Commission award

to you, Hamar Neilsen.

to you, Hamar Neilsen.

(crowd applauding and cheering)

- Thank you very much.

- Who's the man, Mommy?

What did he do?

What did he do?

- I don't know, honey.

I couldn't hear a thing.

I couldn't hear a thing.

- Gentlemen, I have many a graphed copy

of Mr. Neilsen's comments on civic responsibility

of Mr. Neilsen's comments on civic responsibility

and civic leadership.

They're marked for immediate release.

- When does Mr. Neilsen expect to have the new locks

- When does Mr. Neilsen expect to have the new locks

completed on the river?

- On schedule, always on schedule.

- On schedule, always on schedule.

Excuse me.

- [Photographer] Could we see the plaque please?

- [Photographer] Could we see the plaque please?

- [Photographer] Mr. Neilsen, could we have your sister

in on this one please?

in on this one please?

- Of course.

Congratulations Hamar, I'm sorry I missed the ceremony

Congratulations Hamar, I'm sorry I missed the ceremony

but after all, you didn't invite me.

- I didn't think you were interested.

- I didn't think you were interested.

- Well of course I am.

- [Photographer] This way, Miss Neilsen, please.

- [Photographer] This way, Miss Neilsen, please.

- Well how goes it with you and him?

- Well how goes it with you and him?

- How appropriate that you should be honored

- How appropriate that you should be honored

near dear Ole Bull, our Norwegian ancestor,

near dear Ole Bull, our Norwegian ancestor,

spiritual father to us all, patriot, fighter,

spiritual father to us all, patriot, fighter,

maker of beautiful music.

Is that you, Hamar?

- [Photographer] Miss Neilsen,

would you look at the plaque please?

would you look at the plaque please?

- Are you the new Ole Bull?

- Are you the new Ole Bull?

- Do you love him?

- Do you love him?

- Remember when you had the cyclone fences

erected around the pool so that children

erected around the pool so that children

couldn't fish there anymore?

couldn't fish there anymore?

- Does he love you?

- How's this, boys?

And then you had barricades erected by the side of the lake

so the teenagers couldn't park there anymore.

so the teenagers couldn't park there anymore.

Why, you're the man who eliminated lovers lane.

Why, you're the man who eliminated lovers lane.

- Right, fun's over.

- Hold on, Hamar.

- Hold on, Hamar.

Did you build those fences to keep the public out

Did you build those fences to keep the public out

or to keep me in?

(somber instrumental music)

(somber instrumental music)

- No, wrong time, wrong place, wrong enemy.

- No, wrong time, wrong place, wrong enemy.

- Wrong place, right enemy.

- Alright fellas, that's it, break it up.

- Alright fellas, that's it, break it up.

Thank you very much, the party's over.

- You're not Ole Bull, Hamar.

- You're not Ole Bull, Hamar.

You can fight and you can struggle

and you can build your locks and your buildings,

and you can build your locks and your buildings,

but there's no music in you.

There's no music in anything you touch.

There's no music in anything you touch.

(somber instrumental music)

(somber instrumental music)

- [Linc] Ma?

- [Mrs. Case] Come in, Linc.

- [Mrs. Case] Come in, Linc.

- Wanted to see me?

- Yes, I wanted to show you.

- Yes, I wanted to show you.

I took all the family pictures,

all the photographs and I pasted them up.

all the photographs and I pasted them up.

They're mostly of you,

you as a baby, you in school playing ball

you as a baby, you in school playing ball

with your dad.

Oh and, those crazy shots you developed

Oh and, those crazy shots you developed

when you fixed up the darkroom in the cellar.

when you fixed up the darkroom in the cellar.

Maybe someday you'll want to give this album to your wife.

Maybe someday you'll want to give this album to your wife.

She might like to have it, some woman would.

She might like to have it, some woman would.

- You keep it, Ma.

(phone ringing)

(phone ringing)

- Yes?

Talking.

Talking.

I'll take the call now.

I'll take the call now.

Linc, I put a call through to your dad,

he's gonna be on the,

he's gonna be on the,

hello Tom, hello.

Just fine.

No problems with the train, the trip was wonderful.

No problems with the train, the trip was wonderful.

Beautiful.

Beautiful.

Everything's so green up here.

Just a minute, dear.

Just a minute, dear.

I want you to say hello to him, Linc.

I want you to talk to your father.

I want you to talk to your father.

Yes dear, I'm here.

Yes dear, I'm here.

That's nice.

Give the Johnsons my regards.

Give the Johnsons my regards.

Don't forget you're having dinner with Susan tomorrow.

Don't forget you're having dinner with Susan tomorrow.

Linc?

(door thudding)

(woeful instrumental music)

(woeful instrumental music)

Linc's wonderful.

Linc's wonderful.

He looks good.

He looks good.

No, he's not here, he had to work tonight.

No, he's not here, he had to work tonight.

He wanted me to say hello for him.

He wanted me to say hello for him.

You understand?

You understand?

Yes, Tom, yes.

Yes, Tom, yes.

Linc says hello.

Linc says hello.

(somber instrumental music)

(somber instrumental music)

(doorbell buzzing)

(doorbell buzzing)

- [Linc] How'd the big day go?

- Big day, no big deal.

- Big day, no big deal.

- [Linc] That's too bad, try again tomorrow?

- [Linc] That's too bad, try again tomorrow?

- Tomorrow and tomorrow.

- [Linc] Okay, come on.

Mom's waiting back at the hotel,

I'll buy you a fantastic dinner and regale you with wine,

distract you--

distract you--

- I bumped into an old friend of mine today.

She said, "I hear your boyfriend's mother's in town,

She said, "I hear your boyfriend's mother's in town,

"wedding bells, huh?"

I said, no, no wedding bells.

I said, no, no wedding bells.

She nudged me and said she'd keep my secret,

She nudged me and said she'd keep my secret,

wedding bells.

Oh take me out, Linc, just you and me please.

Oh take me out, Linc, just you and me please.

Tomorrow I'll look again and tomorrow you can work,

Tomorrow I'll look again and tomorrow you can work,

but tonight, fun, okay?

but tonight, fun, okay?

Fun.

- My mother's expecting us.

- She's your mother.

- She's your mother.

- That's right.

- Oh I'm sorry.

- Oh I'm sorry.

I didn't mean it the way it sounded.

I didn't mean it the way it sounded.

It's just that it's been quite a day.

I took a typing test and I couldn't type.

Filing, I couldn't file.

Filing, I couldn't file.

I couldn't do anything, just like always.

I couldn't do anything, just like always.

- [Linc] Why not?

- I hear a voice in my head.

- I hear a voice in my head.

It tells me to be precise, be exact,

It tells me to be precise, be exact,

be accurate.

be accurate.

It tells me to punch the clock,

accept my responsibilities, be virtuous.

accept my responsibilities, be virtuous.

And I listen to the voice

And I listen to the voice

and then I know it's his voice, Hamar's.

and then I know it's his voice, Hamar's.

And if I listen, I become what he wants me to be.

And if I listen, I become what he wants me to be.

And if I listen, I become what he wants me to be.

I become like him.

He wins.

And I fail.

I fail everything because of him.

I fail everything because of him.

- I heard my father's voice all my life,

- I heard my father's voice all my life,

telling me to do this, do that,

telling me to do this, do that,

be the kind of a guy he wanted me to be.

be the kind of a guy he wanted me to be.

I never heard myself.

He never let me listen to my own voice.

He never let me listen to my own voice.

You know where I found it?

Halfway around the world in a stinking decaying jungle.

Halfway around the world in a stinking decaying jungle.

I heard my voice, thinking my thoughts,

I heard my voice, thinking my thoughts,

telling me what I wanted for the first time.

telling me what I wanted for the first time.

And now I never hear his voice.

I've won.

- I'm going to lose.

- I'm going to lose.

- You're going to win.

Just listen for your own voice.

Just listen for your own voice.

- I'm afraid of what it might say.

- I'm afraid of what it might say.

- [Linc] Listen for it.

I'll call you in the morning, okay?

- Okay.

(smooth, jazzy music)

(audience applauding)

- [Man] More, more.

- [Man] More, more.

- [Man] Hit it Mike.

(smooth, jazzy music)

- [Man] My name's--

- [Man] My name's--

- [Nola] I don't care.

- You're beautiful.

- You're beautiful.

Knocked me out.

Knocked me out.

- Just keep quiet.

I don't want to hear you or anything.

I don't want to hear you or anything.

- You're at the wrong place if you want quiet.

- You're at the wrong place if you want quiet.

- You're at the wrong table if you want to talk.

- You're at the wrong table if you want to talk.

(somber instrumental music)

(somber instrumental music)

- When will I see you again?

- When will I see you again?

- Just do me a favor and don't talk.

- Just do me a favor and don't talk.

Hamar?

Hamar?

Hamar?

Hamar!

(laughing)

(laughing)

- What's so funny, Nola?

- What's so funny, Nola?

- Oh, you look so strange, big brother.

Shadows glimmering all about you.

Shadows glimmering all about you.

Are you Dracula?

Are you Frankenstein's monster?

Do you drink blood?

(laughing)

(laughing)

- How do I call you, Nola?

- How do I call you, Nola?

- Drunk enough, drunk enough.

(laughing)

Is that a song title?

Is that a song title?

Oh, help me up.

Oh, help me up.

That's a good big brother.

That's a good big brother.

- Come on, I'll take you home.

- Home?

- Home?

But surely this is it.

But surely this is it.

And our home shall be left in perpetuity

And our home shall be left in perpetuity

for the use of our beloved son Hamar,

and our beloved daughter Nola.

and our beloved daughter Nola.

I read the will.

This is my home.

(laughing)

Help me upstairs, please.

He said he'd help me to be independent.

He said he'd help me to be independent.

He said he'd help me to hear my own little voice

He said he'd help me to hear my own little voice

telling me what to do with my life.

telling me what to do with my life.

I didn't tell him that I've already heard the little voice,

I didn't tell him that I've already heard the little voice,

really heard it, many times.

really heard it, many times.

- Mm hmm, what does it say?

- Mm hmm, what does it say?

- Kill Hamar.

- It's late, Nola.

Kill me tomorrow, I need my rest tonight.

Kill me tomorrow, I need my rest tonight.

- I told him I wanted to live my own life.

- I told him I wanted to live my own life.

I told him I wanted to be free.

I told him I wanted to be free.

He took me to that little apartment.

He took me to that little apartment.

He said that he'd love me and care for me.

He said that he'd love me and care for me.

- [Hamar] Bet he did.

- [Hamar] Bet he did.

- I think he lied.

I think he's going to leave me in that apartment

I think he's going to leave me in that apartment

with the want ads on the floor

with the want ads on the floor

and the unmade bed.

- Then tell him it's over, Nola.

- Then tell him it's over, Nola.

Tell him it's not what you want.

Tell him it's not what you want.

- If I don't want that,

then I have to have this.

then I have to have this.

- Well what do you want me to do?

- Well what do you want me to do?

- You ruined my life doing things for me.

- You ruined my life doing things for me.

- Shall I tell him you've come home?

- Shall I tell him you've come home?

- Who do you think brought me here just now?

- Who do you think brought me here just now?

Who do you think got me drunk?

Who do you think threw me out of the apartment?

Who do you think threw me out of the apartment?

- You're lying, Nola.

- You're lying, Nola.

- Am I?

How do you know?

Maybe it's all true.

Maybe it's all true.

You're my big brother, you've cared for me

You're my big brother, you've cared for me

since I was a child.

since I was a child.

You have your obligations.

(somber instrumental music)

(somber instrumental music)

- Very well.

- [Nola] Oh, ask you to interfere, did I?

No I didn't.

- Do I have any choice?

- I'm drunk, Hamar.

How do I know about your choices?

Perhaps someday I shall kill you.

Perhaps someday I shall kill you.

(phone ringing)

(phone ringing)

- Door was open.

- Door was open.

- Do you know where Nola is?

- Yeah, she's home.

- Yeah, she's home.

- I just called there.

- No she's home with me.

- No she's home with me.

- [Linc] Let her go.

- [Linc] Let her go.

- Not your concern, Case.

She's gone.

- She can still be somebody.

- She can still be somebody.

- Move on, Case.

- Move on, Case.

Leave my sister alone.

- [Linc] She's a friend.

- In what way?

What have you given her?

- Things you can't.

- Things you can't.

Like sympathy, compassion, affection.

- Love, marriage?

- Love, marriage?

Isn't it true you plan to leave in a car

and leave her with the key to an apartment and a job

and leave her with the key to an apartment and a job

she can't handle?

- And now you're here to pay me off to do just that, right?

- And now you're here to pay me off to do just that, right?

How much will it be.

Nola told me the last offer was $500.

Nola told me the last offer was $500.

- You're worth a thousand.

- You're worth a thousand.

I'm going to work.

- [Linc] I'll see you there.

- [Linc] I'll see you there.

- You're fired.

- I'll see you there anyway.

- I'll see you there anyway.

- It's up to you.

- It's up to you.

I'd advise you not to try to see Nola again,

and I've left some instructions with the police.

and I've left some instructions with the police.

- In one hour, by the river.

- In one hour, by the river.

- No doubt.

- Linc.

- Mrs. Case, your son is going forth to slay the dragon

- Mrs. Case, your son is going forth to slay the dragon

and free the beautiful maiden.

and free the beautiful maiden.

- You're going to fight Mr. Neilsen?

- You're going to fight Mr. Neilsen?

Why, Linc?

Tell me why.

- He wants it that way.

- No, no, he accepts it that way.

- No, no, he accepts it that way.

You want it.

You want it.

(somber instrumental music)

(somber instrumental music)

- I want Nola to be free.

- I want Nola to be free.

In a war you either kill the enemy or you run away.

In a war you either kill the enemy or you run away.

- Is running so good?

- Is running so good?

Is it so satisfying that you want Nola to run too?

Is it so satisfying that you want Nola to run too?

I'll tell your father, I'll say Linc has left home

I'll tell your father, I'll say Linc has left home

I'll tell your father, I'll say Linc has left home

because he's afraid that if he stays he'll kill you.

because he's afraid that if he stays he'll kill you.

- I'm going after Hamer Neilsen, not Dad.

- I'm going after Hamer Neilsen, not Dad.

- Is that so, Linc?

Is that really so?

Is that really so?

- [Linc] Neilsen!

Neilsen!

- I don't have time for games, Case,

here I am.

here I am.

(dramatic instrumental music)

(dramatic instrumental music)

(both grunting and groaning)

What are you winning?

What are you winning?

Was beating me some kind of magic?

Was beating me some kind of magic?

Are you gonna live happily ever after?

Are you gonna live happily ever after?

- Maybe she will.

- [Tod] Linc!

Linc!

- Lay off, it's not over yet.

- Look!

- Look!

- Nola!

- Nola!

Nola, it's all done, do you hear me?

Nola, it's all done, do you hear me?

It's all done.

(somber instrumental music)

(somber instrumental music)

How can I stop her?

How can I stop her?

- Can't.

- Well it's a mistake, she's throwing it all away.

- Always that way,

- Always that way,

it's always the same.

- [Linc] Always?

- Always.

- Well where's she going?

- Away from you.

- Away from you.

Away from me.

Been running ever since she was a child,

ever since our parents died.

- [Linc] Well why didn't you ever try and stop her?

- [Linc] Well why didn't you ever try and stop her?

- I don't know how.

- You make it easy for her to run.

You take the blame for her actions,

You take the blame for her actions,

the responsibility, even the beatings.

You let her make a cripple out of herself

You let her make a cripple out of herself

and an enemy out of you.

- She's a vulnerable kid.

- She's a vulnerable kid.

- [Tod] And she'll stay that way with your help.

- [Tod] And she'll stay that way with your help.

- Well maybe someday the boy in the car

- Well maybe someday the boy in the car

will be somebody who'll want to take care of her,

will be somebody who'll want to take care of her,

love her.

And maybe someday she'll let him.

- Nobody'll take her the way she is.

- Nobody'll take her the way she is.

Don't help her this time.

Don't take the beating for her.

Don't take the beating for her.

- What if she asks me?

What if it in her own way she pleads with me?

What if it in her own way she pleads with me?

What then?

(gentle instrumental music)

- Come back, Ma, don't go home yet.

- Come back, Ma, don't go home yet.

I want more time with you, please?

- Train's gonna rumble out of here in 10 minutes.

- Train's gonna rumble out of here in 10 minutes.

I'm gonna be on it.

I'm gonna be on it.

- Why?

- You wouldn't want to hear.

- You wouldn't want to hear.

- [Linc] I do, Ma.

- It's a question of loyalty.

- It's a question of loyalty.

I thought if I talked to you,

maybe you'd soften up and maybe I could make you understand

maybe you'd soften up and maybe I could make you understand

about your dad.

- He wanted me to be what I wasn't.

- He wanted me to be what I wasn't.

- You've made him your enemy.

- You've made him your enemy.

I guess it's easier to make war on an enemy,

I guess it's easier to make war on an enemy,

than to make peace with yourself.

Time to do.

- Stay, please?

- Stay, please?

- I can't, Linc.

- Ma, I love you,

- Ma, I love you,

but he wants much more than I can give him.

but he wants much more than I can give him.

- He's lived a man's life, Linc.

- He's lived a man's life, Linc.

He accepted a man's responsibility.

He took care of me and you.

He worked as hard as he could,

loved as much as he could,

loved as much as he could,

understood as deeply as he could.

understood as deeply as he could.

Grownups are equals,

Grownups are equals,

equal to love, to forgive, to understand.

equal to love, to forgive, to understand.

If you ever grow up, you'll forgive your dad,

If you ever grow up, you'll forgive your dad,

like he's forgiven you,

like he's forgiven you,

like I forgive you.

like I forgive you.

(gentle instrumental music)

(gentle instrumental music)

Goodbye, Linc.

- Ma?

Goodbye, Ma.

I want to call Leander, Texas please.

Klondike 5-2-3-6-8, area code 3-1-1.

Klondike 5-2-3-6-8, area code 3-1-1.

Klondike 5-2-3-6-8, area code 3-1-1.

I want to talk to Mr. Thomas Case.

Hello?

Hello?

Hello, Dad?

It's Linc.

Linc.

No, nothing's wrong.

No, nothing's wrong.

Just wanted to call to say that Mom is on her way home.

Just wanted to call to say that Mom is on her way home.

Sure I'm talking to you.

Sure I'm talking to you.

It's just that...

Nevermind, I know, Dad.

Yeah, I know.

Um, Dad?

Um, Dad?

Ah, please, Dad.

Dad?

Dad?

Dad, please don't cry.

Dad?

Dad?

Dad, please?

Dad, please?

(uplifting instrumental music)

(uplifting instrumental music)

(smooth, jazzy music)

(smooth, jazzy music)

- [Narrator] A Screen Gems presentation,

Herbert B. Leonard, executive producer.

Herbert B. Leonard, executive producer.