[Sweeping instrumental music]
[Sweeping instrumental music continues]
[Epic instrumental music]
[Suspenseful instrumental music]
TELLER: Nice fat deposit. You're sure in the right business, Sally.
Thank you.
SALLY: Good morning.
KATE: Deposit.
[Suspenseful instrumental music]
TELLER: Another nice deposit.
TELLER: You and Sally are in the right business.
KATE: I'm in a hurry, please.
[Suspenseful instrumental music resumes]
MAN: Hi, Kate.
[Man makes kissing sounds]
[Suspenseful instrumental music continues]
[Woman laughing]
KATE: Have you cleaned up the house across the way?
ANNE: I haven't had time yet.
You should always do that one first.
KATE: Anne!
KATE: Come here.
KATE: Did you ever see that kid out there before?
I think maybe he was in the bar last night.
KATE: Send Joe in.
ANNE: Joe.
SALLY: Hello, Pretty Boy.
[Suspenseful instrumental music resumes]
JOE: Call me, Kate? KATE: Yeah. Take a look out the window.
KATE: There's a kid who's been following me all the way to the bank and back.
[Suspenseful instrumental music continues]
JOE: Come here, you young squirt, come here.
You want me?
JOE: What's the idea of throwing that stone?
Any law against throwing stones?
JOE: You're tough? Come here!
JOE: What are you hanging around here for, anyway?
CAL: Would she talk to me? JOE: Kate?
JOE: What for? What do you want?
Just wanna talk to her.
- What do you want, you? - Nothing.
You live around here?
- In Monterey? - Salinas.
JOE: What's your name?
JOE: You're not talking? Now, look...
why are you following Kate around?
What's the idea, squirt?
Any law against following around the town...
madam, whatever you call her?
I don't know if there's any law against it, but she don't like it.
She owns that house over there, too, don't she?
JOE: But don't you go hanging around there, squirt. You're too young.
JOE: Now come on. Now beat it.
Is that her real name?
Huh?
- Kate. Is that her real name? - Sure, as far as I know. Why?
What's her last name?
Nobody's got any last name around here, kid. Why?
[Intense instrumental music]
You tell her I hate her.
[Intense instrumental music continues]
I should have gone right on in there.
Should have gone right on in there and talked to her.
[Soft instrumental music]
Cal wasn't home all night. Boy, is he gonna catch it from Dad.
- You know what the girls in class call him? - No, what?
The Prowler.
- I'll tell him that. - You better not, Aron.
ABRA: Promise me. ARON: Why not?
ABRA: Please don't. I don't want you...
ARON: Hi, Cal. CAL: Hi.
ABRA: Hello, Cal.
Excuse me for talking.
We're going down to see the icehouse that Dad's gonna buy.
- Do you want to come? - What icehouse?
The one he's buying to freeze the vegetables with.
ARON: He's been talking about it every night for the last week.
Is Dad gonna be there?
ARON: Why sure, he's gonna buy it.
CAL: I'll skip it.
You're gonna have to see him sometime, Cal.
ARON: Come on. CAL: Hey, Aron.
Yeah?
CAL: Why don't you ask me where I've been?
Would you tell me?
CAL: No. ARON: Then what's the use of my asking?
- Is Dad mad at me? - Well, you were out all night.
He was worried.
Yeah, I bet.
You gonna come or not?
Okay. I'll see you at supper.
He's coming.
[Abra laughing]
You see, Will, I got the idea from an article I read.
They dug up a mastodon somewhere in Siberia.
Been in the ice for thousands of years and the meat was still good.
Mastodon?
What have you got to say for yourself?
This is my son, Cal.
When you were his age, I imagine you thought it only right...
to let your father know before you stayed out all night.
Or at least to offer some kind of apology when you did come home.
ADAM: Well, times change.
As I was saying, a mastodon is a kind of elephant.
Hasn't lived on the Earth for a long while.
- And the meat was still fresh? - Sweet as a pork chop.
You're more excited about this than you've been for a long time.
Now, I seem to be, don't I?
See, Will, I've been sort of in a rut out there in the ranch.
- Sixteen, 17 years, I've kept out of things. - I know.
But now I feel that if I could only do something...
some little thing for, before I die, some little thing for progress...
for people, maybe. Call it anything you want.
I might make up for all the years I've been lying fallow.
So, lately I've been reading up all I can about refrigeration.
And I can't get it out of my head that you can keep anything good...
as long as you can get it cold enough. Like that mastodon there.
- Good afternoon, Abra. - Good afternoon, Mr. Trask.
ABRA: Hello, Mr. Hamilton. WILL: Hello.
ADAM: Hello, Son. ARON: Hi, Dad.
Now my son, Aron, that is, thinks I may have a good idea here.
Dad wrapped a head of lettuce in wax paper...
and kept it in our icebox for over three weeks...
and it still came out fresh and good. Right?
Quite right, Son.
- Dad, is it all right if we look around? - 'Course, Aron. Belongs to us now.
Do you know where the biggest market for vegetables is in the winter?
WILL: Where? ADAM: New York City.
And they can't raise them there.
But the railroad had promised me those fruit cars.
Don't you have anything to say to me, Cal?
CAL: Yeah. ADAM: It's about time. Well?
I read in the Monterey newspaper...
that if we get into this war...
there are gonna be some fortunes made.
But you're gonna make them in beans and corn, and stuff like that.
- You don't need all this ice. - You're perfectly right.
Beans are up to 3 cents.
You wanna make a profit, you plant beans.
CAL: And they keep, too, don't they?
But I'm not particularly interested in making a profit, Cal.
[Serious instrumental music]
ADAM: Look here, Will.
I'm not an inventor nor a scientist...
but I know I have an idea here.
WILL: I come from a family of inventors. People full of ideas like this one.
I'm the only one that didn't have an idea...
and the only one that ever made a dime.
WILL: You wanna make a profit, you plant beans.
ADAM: Put out that cigarette! That place is full of sawdust!
- Come on, Adam, he's just thoughtless. - Thoughtless? He's inconsiderate.
I don't know. I'm at my rope's end with that boy.
I don't understand him. I never have.
ADAM: Aron I've understood since he was a child.
ABRA: Help me up.
ABRA: He doesn't like anybody, does he? ARON: Who, Dad?
ABRA: No, Cal.
It's dark in here and spooky.
Why is he so alone all the time?
ARON: He wants to be.
ABRA: Nobody wants to be alone all the time.
ARON: Dad's made a wonderful buy, hasn't he? We'll freeze vegetables.
It'll really give him something to live for now.
What's the matter, Abra, don't you like Cal?
ABRA: I don't know him very well. ARON: I love him.
ABRA: Well, naturally, he's your brother. He's scary.
- Scary? - When he looks at you.
Sort of like an animal.
I don't know, he scares me.
Aron, when are we gonna get married?
Just as soon as I get through with that darned school.
ABRA: I wish it was right now.
[Both laughing]
ARON: So do I. ABRA: Do you?
[Aron laughing]
Abra.
- When we get... - I love you, Aron.
When we get married, it's going to be perfect.
Everything about it is going to be perfect.
[Abra humming softly]
[Abra and Aron humming]
You're gonna make a wonderful mother, Abra.
- I hope so. - You are.
A perfect one.
You don't remember your mother at all, do you, Aron?
No, she died right after Cal and I were born.
Must be hard never to have had a mother.
- What's that? - Look, what's he doing up there?
- Crazy guy. - He's watching us.
ARON: No, he isn't. ABRA: Yes, he is, too.
ABRA: Let's move over here. Aron.
[Tense instrumental music]
ARON: He's not watching us. ABRA: I feel as if he can still see us.
ABRA: I love you, Aron.
Really, I do. Really.
ARON: Sure. I love you, too.
[Tense instrumental music intensifies]
ADAM: Cal, stop! Stop that, Cal!
ADAM: What are you doing? Stop it!
ADAM: "Blessed is he whose transgression is forgiven...
"whose sin is covered.
ADAM: "Blessed is the man unto whom the Lord imputeth not iniquity...
"and in whose spirit there is no guile."
And you are forgiven, Cal.
I think there is no iniquity in your actions...
only something I do not know.
Why did you push that ice down?
CAL: I don't know.
Was it...
Was it vengeance? Anger?
Fear that I would punish you for not coming home last night?
What was it?
CAL: I wanted to see it slide down the chute.
- Perhaps you had better read from here on. - I'll read it, Dad.
No, it's for Cal to read.
Start at the fifth verse.
Verse 5.
"I acknowledge my sin unto thee, and mine iniquity have I not hid.
"I said, I will confess my transgressions unto the Lord...
"and thou forgavest the iniquity of my sin. Selah."
ADAM: Go on.
Six.
And I suggest a little slower, Cal.
And you don't have to read the verse numbers.
"For this shall every one that is godly pray unto thee.
"And surely in the floods of great waters...
"they shall not come nigh unto him. Selah."
Seven.
Not the numbers, Cal.
"Thou art my hiding place, thou shalt preserve me from trouble...
"thou shalt compass me about with songs of deliverance. Selah."
- Eight. - You have no repentance! You're bad!
Through and through, bad.
ARON: Excuse me. I'll go out and wait for Abra.
CAL: You're right. I am bad. I knew that for a long time.
I didn't mean that, Cal. I spoke in anger.
CAL: Well, it's true.
CAL: Aron's the good one.
I guess there's just a certain amount...
of good and bad you get from your parents...
- and I just got the bad. - That's not true.
Cal, listen to me.
You can make of yourself anything you want.
It's up to you. A man has a choice.
That's where he's different from an animal.
You don't listen. You'll never remember.
My mother...
she's not dead and gone to heaven...
is she?
Why do you ask that?
She's not dead at all.
She's not buried in the East like you said, either.
She's alive.
ADAM: What makes you think so? CAL: I heard from a guy.
ADAM: Who? CAL: I don't know his name.
CAL: He was just passing through.
How come you told Aron and me she died?
- I thought it would save you pain. - Pain?
If she was still alive, where do you think she'd be?
I have no idea. She went East.
CAL: How do you know?
When she left the ranch we lived on when you and Aron were born...
I heard she went East.
What was she like? Was she bad?
I guess she...
I never really knew what she was like. She wasn't like other people.
There was something she seemed to lack.
Kindness, maybe. Conscience.
I never knew what she was after.
CAL: How come she left you? ADAM: I never knew that, either.
She was so full of hate.
- Hate for you? - For everything.
You won't tell Aron that she didn't die?
No.
Must not do anything to hurt Aron.
Where'd you get that scar you got on your shoulder, Father?
I've told you, Cal.
It's an old wound I got in the Indian campaigns.
- Why do you ask that now? - What'd she look like? Was she pretty?
She had the most lovely hands.
Like ivory.
She took such good care of them.
Her mother had arthritis.
She was always afraid it would come to her in her hands.
Talk to me, Father.
I got to know who I am. I got to know who I'm like.
I got to know...
Where is she?
I'm telling you, truthfully, Cal...
after she left, I never heard from her.
ADAM: Cal, wait. I want to talk more with you.
If you leave this room now we may never be able to talk again.
You coming home tonight, Cal?
What's the difference? You're home. You're the one he wants.
Good evening, Cal.
High strung. Very high strung.
Good evening, Abra. Where is my chess victim?
ARON: He's waiting for you. ALBRECHT: Good.
What do you suppose he meant by that?
JOE: Go on, beat it!
Your wife has called up three times.
DRUNK: My wife's a... JOE: I know she is. Now beat it.
[Cheerful instrumental music playing]
WOMAN 1: Joe!
All right, fella, you've run out of money.
WOMAN 2: Mr. Hawks.
BARTENDER: What do you want? CAL: I want...
BARTENDER: What do you want to drink? CAL: Beer.
MAN: Hey!
MAN: Where's my drink? ANNE: All right.
That's not very neat, is...
It's okay.
- You'd better get out of here. - How come?
You're the one who followed Kate this morning.
- It's a free country, isn't it? - It's a free country.
Only, Joe said if I saw you again, I was supposed to tell him.
You can tell him if you want to.
You're just a kid, ain't you?
CAL: I'm older than you are. ANNE: Sure, but that isn't...
MAN: Hey! ANNE: All right.
Kid, please...
you oughtn't to go around throwing stones and things.
That isn't nice. And drinking beer.
ANNE: There's Joe.
ANNE: Look, kid, please go. You don't want to get yourself hurt.
You could tell him now, if you want to. There's your chance.
You sure have got a nerve, haven't you?
CAL: Do you know Kate? ANNE: This is Kate's place.
- She's treating you okay? - Sure.
I gotta go now, kid.
Is she nice?
Don't let Joe see you, please.
She doesn't treat you rough or anything, does she?
Please, kid, I gotta go now. It was nice meeting you.
Isn't there anything nice about her at all?
What's the matter, kid?
She had pretty hands. Did you see them?
ANNE: Hands?
Did you look at them?
No, I don't think I ever saw them. She always wears gloves.
Where is she?
- You mean now? - Yeah.
- Back in her office, probably. - Where's that?
Back that way.
Will you show me?
[Cheerful instrumental music continues playing]
Look, kid, please don't start any trouble.
I'm not gonna start any trouble. Come on.
We... You can just point the door to me, and I'll go there.
No, honest.
This is a tough place. I can't lose this job.
- I'm not very good at it, anyway. - You won't lose it.
If I step out of line Kate will throw me out on my ear.
Come on, will you?
CAL: You can just show me where the door is.
Come on.
Be a sport.
Come on.
ANNE: [Whispering] There's the door.
CAL: Thank you. You can go back now.
ANNE: What are you gonna do?
ANNE: Please, kid, don't make any trouble.
[Cal shushing]
CAL: I'm not gonna make any trouble. I'm gonna wait till you're gone. Okay?
[Suspenseful instrumental music]
[Kate moaning softly]
Will you let me talk to you? Please.
I gotta talk to you.
Joe!
KATE: Get out of here! Joe! Tex!
[Dramatic instrumental music]
KATE: Call the sheriff! Get him out!
KATE: Call the sheriff! Get him out of here!
CAL: I want to talk to her!
[Dramatic instrumental music]
I want to talk to you!
CAL: Please, talk to me!
CAL: Talk to me, please! Mother!
Is there any law against a guy trying to see his own mother?
No, I guess there isn't.
Here.
Put this on your cheek. Here.
[Man singing drunkenly]
Drink some coffee.
How did you find out about Kate, anyway?
That guy I saw you talking to in the bar the other night?
The one they call "Rabbit."
I thought so. He never was any good.
I remember when he used to work on your father's ranch.
Well, he won't be around anymore, Cal. He's left town for good.
[Man continues singing]
- What do you hang around bars for? - Any law against hanging...
Yes, there is! I'm the law.
Get that through your head.
SAM: Shut up!
[Man stops singing]
Does Adam know that you...
roam around over here at night?
Adam's an old friend of mine, you know, Cal, from...
way back in his ranch days.
I was afraid when you moved here last year...
that you might find out something about Kate.
But then she was over here on the Bay...
and you were way over on the other side of the mountains in Salinas.
So I figured it'd be all right.
CAL: You think he'll ever find out about her?
He'd never come over here.
Here. You might as well look at this now.
It's a picture of your father and your mother on their wedding day.
You're the first person I've ever showed it to.
CAL: I knew it.
I knew it was true.
When that old guy told me in the bar, I knew it.
[Man resumes singing drunkenly]
How did you know it was true?
'Cause she ain't no good and I ain't no good.
I knew there was a reason why I wasn't.
CAL: I hate her.
CAL: And I hate him, too.
Come on, I'll take you home.
CAL: You don't have to drive me home!
SAM: I know I don't have to take you home!
SAM: Here.
SAM: A little bit of the hair of the dog that bit you.
Come on now.
[Somber instrumental music]
How did Dad meet her?
Where did she come from?
Nobody ever knew where she come from, really.
There were a lot of drifters in those days.
CAL: Of all the people.
How come he married her?
You have no idea how pretty she was, Cal.
Young and full of spirit.
And your father hadn't been off the ranch much, you know.
He's not a worldly man.
[Somber instrumental music continues]
- Did she shoot him? - Yes, she did.
How come?
I don't know.
Did he do something to her?
CAL: Did he hurt her? SAM: No.
It wasn't in him to hurt her.
After she left him, he died. He walked around, but he died.
He must have done something to hurt her.
SAM: No. No, sir.
SAM: He gave her everything that any woman could ask for.
You see, your father has more kindness...
and more conscience than any man that I've ever known.
[Somber instrumental music continues]
He's a good man, Cal. Don't sell him short, boy.
[Adam humming]
It's going to work.
If only I can keep them cold enough long enough.
[Sentimental instrumental music]
It's going to work.
All right, there she is. Let's try it. Step back, girls.
CAL: All right, bring her on. Come on.
CAL: Now do you think it'll work?
[AII agreeing]
[Sweeping instrumental music]
- Good morning, Mr. Trask. - Good morning.
Somebody swiped our coal chute right off the wagon.
ADAM: Dear, dear. Times are getting pretty lawless.
ADAM: It's this war in Europe.
ADAM: There's a wave of lawlessness spreading through the country.
Anyway, somebody swiped our chute.
MAN: Is that where you're loading? ADAM: Yes.
We'll move on, then. Good day, Mr. Trask.
It's this war in Europe.
[Soft instrumental music]
Cal!
Do you know where Aron is?
He's out in the fields. He's checking.
Can I do something for you?
ADAM: No. There were just some matters I want to talk over with him.
ADAM: What have you got there?
CAL: I figured it would save some time. So I...
It's very ingenious, Cal. Very ingenious. Did you think of it?
Yep.
I'm very pleased with the way you're taking hold...
and are working so well, Cal.
Thanks. Thanks, Dad.
ADAM: Think you better have your lunch now. It's time.
Hi, Cal.
- Aron's out in the field. - I brought his lunch.
- Okay, I'll take it to him. - Cal.
[Soft instrumental music continues]
Lydia, vamoose.
He'll be here in a minute.
I've been fixing Aron's lunch. I'll fix yours, too, if you like, after this.
No, thanks.
Would you be eating with her if I weren't here?
Who?
No, I didn't ask her to come up here.
Girls follow you around, don't they?
- Does she bother you? - She doesn't bother me.
Who is she?
I never saw her before in my life.
I'll bet.
You're really working at this lettuce business, aren't you, Cal?
ABRA: Do you think it'll turn out all right?
Your father will lose quite a lot of money if it doesn't.
Just about all he's got.
I like your father.
Do you?
I threw away about $3,000 once.
CAL: Yeah?
ABRA: When I was 13. CAL: You threw it away?
It was a diamond ring worth about that.
At least, my father told me that's what he paid for it.
I threw it in the river. Made Dad terribly angry.
[Abra laughing]
I reckon it would.
But I forgave him. And it's been all right ever since.
CAL: You forgave him? ABRA: Yes.
You forgave him 'cause you threw a ring of his worth $3,000 into the river?
ABRA: That's right. CAL: You forgave him?
ABRA: [Laughing] That's right.
CAL: Is there an egg in this basket?
You see, I thought he didn't love me. That made me feel awful.
Girls love their fathers terribly.
CAL: Do they?
My mother died when I was 13...
and Dad got married again soon after that. Did you know that?
CAL: No, I didn't know that.
Are you interested in hearing about me?
Yeah.
When Dad got married again, it made me sick.
I just hated everybody.
I used to sit and just glare at people...
or I wouldn't even answer when they spoke to me.
- Why you telling me all this? - I want to.
I was that way for months. I just hated everybody.
I thought nobody in the world loved me.
ABRA: And it was awful.
Then I found this ring that Dad gave my new mother...
- so I took it and threw it in the river. - Good.
[Abra laughing]
ABRA: I thought you'd like that.
CAL: Did he ever find it? ABRA: Never.
They tried.
CAL: What'd they do to you?
Dad punished me. Not badly, I guess.
But I felt he shouldn't have punished me at all.
I felt he should have loved me more because I did it.
But he didn't.
ABRA: Isn't it funny?
I'm grown up now...
but I still understand kids better than I do grownups.
You're not so grown-up.
ABRA: I'm very grown-up.
That's a matter of opinion.
I'm very grown-up.
More so than Dad, because I forgave him for not understanding.
And the minute I forgave him in my mind...
I felt better.
[Soft instrumental music]
ABRA: Now we get along fine.
ABRA: We love each other. Not like we did when I was 13...
but enough so we can live together till I get married.
He's just my father now. Nothing to rave about.
I still don't like her much, but then, she's a woman.
[Intense instrumental music]
My, that girl just hates me, doesn't she?
You better tell her I'm your brother's girl.
I don't have to explain anything to anybody.
I'll go now and leave the field to her.
My, your hair's in a mess.
ARON: Dad, what's that?
ADAM: That's something Cal rigged up. It's a good idea.
Aron! I brought your lunch.
ARON: Looks like a coal chute.
Coal chute?
ARON: Okay, woman, where's the beans?
ADAM: Cal!
What makes you think you have the right to come and take something like this?
You probably lost those men their jobs. Now, you take it back.
He's praising Cal and Cal is lapping it up.
Aron! Look, have one of those made of wood.
- It'll save a lot of time. - Yes, sir!
- Good waste of time and money. - And lettuce.
CAL: What'd you say? MAN: I said, it's a good idea if it works.
It's gonna work, 'cause it's gotta work.
It's gotta work, 'cause I said so.
If it don't work, it ain't that kid's fault.
I never saw anybody work so hard in my life.
Let's go, Pete. Now, Leonard!
[Band playing fanfare]
Good luck, Adam.
[Train whistle blowing]
[Band continues playing fanfare]
Do you know the principle of the internal combustion engine?
No, I'm afraid not. Will, I'll never be able to...
WILL: Sure you will. You just listen to Roy.
WILL: He's been to the automobile school in Chicago.
Mr. Trask has just revolutionized the entire vegetable market.
- Wait till those cars get to New York. - Don't you worry.
It's about time he owned his own automobile...
and about time he learned to drive it.
- Now don't you think so, Roy? - I'll do my best.
ADAM: Now pay strict attention, boys.
[Horn honking]
ROY: Don't touch that!
ROY: Wait till it's explained to you.
ADAM: No, now for heaven's sake, don't touch anything, anybody.
The power of the explosion is exerted on a piston...
and through connecting rod and crankshaft...
through transmission, thence to rear wheels.
ROY: Got that so far? WILL: Sure, he's got that.
Now, we go on to the operation of the automobile.
This here's the ignition key.
ROY: Would you mind putting out that cigarette, please.
Turn this doohickey here to the left. That puts her on battery.
- See where it says "bat"? - Yes.
ADAM: Bat, short for battery. ROY: That's right. Good boy.
Thank you. Thank you very much.
First you gotta retard the spark.
If you don't retard the spark, she'll probably kick your blasted arm off.
Now remember that.
This here is the spark.
You push her way up. Listen.
- This here's the gas. You push her... - Down.
- You had lessons before. - No, I just saw you do it.
ROY: You're a smart old buzzard. ADAM: Thank you very much.
- Keep your eyes open, don't you? - Try to.
Now, this here is the crank.
See this wire sticking out of the radiator? That's the choke.
Now watch careful. Grab hold of the crank like this.
Push in till she catches.
See how my thumb is turned down?
I noticed that. Why do you do that?
If you put her around this way with my thumb around her...
she'd probably knock my blasted thumb off.
Dear, dear. First you lose your blasted arm and then you lose your blasted thumb.
ADAM: That's wrong way around. ROY: How's that?
He made a joke. I never did see him so happy.
You pull out this choke turn her around to suck gas in.
Then you give her a hard spin.
ROY: She caught, first time! ADAM: Caught on what?
ROY: Advance the spark and retard the gas.
Reach over real quick and switch to mag. That's magneto.
So, there you are.
Isn't that wonderful?
Of course, it isn't exactly going anywhere, is it?
That's the easy part.
- Adam. - I want you all to repeat after me.
Spark up, gas down.
Switch to bat.
Crank to compression, thumb down.
You get that? Let's have it again.
Spark up, gas down.
- What's the matter? - Big snow slide.
Closed the pass and stopped the cars about 100 miles out.
Can see water running out of the cars.
[Tense instrumental music]
It's still a good idea. Cold can preserve things.
Someday, somebody'll prove it.
CAL: It was your idea. ADAM: No!
It was presumptuous of me to think it would be I.
Guess we bit off more lettuce than we could chew.
What do you know about that? I thought he'd really be hurt.
You don't understand him.
MAN: You can't go in there. CAL: I gotta see Will Hamilton.
MAN: He won't be through for an hour. They just started.
- Let me see him. - There's a war in Europe.
These boys are trying to get themselves in shape. So beat it.
INSTRUCTOR: Right, left.
[Rhythmic piano music]
Now, deep knee bends, follow me.
[Bell ringing]
- What's that? - That's the fire bell.
We better have a look.
- It may be the Germans. - Fire, Germans, who cares? I surrender.
CAL: Howdy, Mr. Albrecht. ALBRECHT: Hello, Cal.
- Mr. Hamilton. - There's a fire somewhere.
- No. I rang the bell. - You rang it?
Yeah. I had to see you.
You know, you're crazy. You're really crazy.
I knew it when you pushed that ice down the chute.
Let's get out of here before they start up that piano again.
There must be some easier way to stop the Germans than this, anyway.
- You see, I gotta make some money. - Sure, everybody's got to.
CAL: Remember, you said that if you wanna make money...
you ought to raise beans?
Yeah, beans are up 3.5 cents now.
Now, the way I figure it, it's like you said.
The country's gonna get into war, isn't it?
WILL: I don't see any way out.
CAL: War's good for business. WILL: The best there is.
See, that's why I wanna go into beans.
See, I gotta get enough money to give my father back what he lost.
WILL: I see.