Original subtitles

(slow orchestral music)

(velvety horn music)

- Pick up the kid.

- You gonna go through that again?

(slow orchestral music)

(slow orchestral music)

You and little boys, you kill me.

- What was that all about?

- They didn't stop to pick me up before.

- Fortunes of the road.

(laughing)

- You're a tough little kid, huh?

- Street fighter.

- Yeah (chuckling).

How much further you going?

Well, where did you come from?

- I guess maybe he's a bank robber on the prod.

(laughing)

- Say, tell me, do your folks

know you're out on this road alone hitchhiking?

- My folks.

- What's the matter, did ya have a fight with 'em?

- I don't have any folks.

- Come on, everybody's got somebody.

- Not me.

I'm an orphan.

- Well that makes three of us, and in the same car.

No kidding, I was an orphan most of my life.

Grew up in an orphanage.

I mean, I ran away three times before I was 15.

My buddy here, Tod, he was a little better off than us.

Was raised in a house with all that sort of jazz.

Didn't become an orphan 'til later on in life.

- It's the second time I'm running away.

I'm not gonna run away three times,

'cause this time they won't get me back.

- What's the matter?

- The state orphanage back in Carson City?

- I asked you what's the matter.

- We gotta take him back.

(yelling)

- [Boy] Let me go!

- You're gonna make this kid think we're a couple of rats.

- [Boy] Help!

You let me go!

(slow orchestral music)

Let me go!

Let me go.

- I want you to know, I think this is a lousy thing to do.

(slow orchestral music)

- Listen, Buz, it can't be that bad.

- What do you know about orphan asylums?

When's the last time you ever lived in one?

- Look, it has to be done.

Now don't make it any tougher than it is.

- Look, how'd you like to be locked up, and for nothin'?

- Locked up?

- Yeah, locked up.

I mean, what do you call it?

- Buz, this is a 10 year old boy,

he has to be cared for.

- Cared for. - That's right, cared for.

- By them? Not in the one I was in.

- You can beef all you want to,

but they took you off the streets

and they put a roof over your head

and clothes on your back and sent you to school.

- And any robot could've done the same thing

exactly the same way.

- All I know is they cared enough about ya

to keep you alive.

- Well I could've died for all they cared,

that's how much you know about it.

(slow orchestral music)

Why don't you ask the boy what he wants, huh?

- Because he is just a boy, that's why.

- Yeah but that doesn't make you his lord and master.

- It makes me responsible.

Think about it, Buz, a 10 year old boy

on the road all by himself.

Where does he sleep?

Where does he get something to eat?

When it's cold and dark and he's scared,

who does he turn to?

Ow!

(boy yelling)

- Let me alone!

Let me alone!

(boy yelling)

- You wanna use your fists, okay.

But let me tell you something,

I'll fight just as hard as you will

because no matter what you think, I think I'm right.

(slow orchestral music)

- [Boy] Let me alone!

No!

(slow orchestral music)

(slow orchestral music)

- "I don't even know if I'm right,

"but I couldn't do it.

"I don't wanna be around a guy who could.

"Buz Murdock."

(slow orchestral music)

- Be right back.

- What a pretty little jail.

- Well Liz I do declare, you're actin' like you're homesick.

- Oh, she's got that old homemaker's edge.

She'd just like to settle down anywhere

long enough to put up her little white curtains,

that's fact.

- Nevermind that pretty little jail.

Look at all those pretty little cowboys.

Wave to the cowboys, girls.

- Don't they all look like they got money in their pockets?

- You hope.

- Hey now, there you go, Liz.

There's a real good reason to stay out of the jail.

All those nice cowboys.

- If I know cowboys, by tomorrow night,

there'll be more of 'em in that jail than out of it.

My father was a cowboy.

My mother used to always say,

"Liz, you wanna marry a cowboy?

"Get yourself locked up.

"Cowboy in jail is in the way of feelin'

"real sorry for himself

"and that's when any man is most likely to get married."

(laughing)

- Hey, you ain't gonna take those beautiful girls

away from us, are ya?

- Oh, you can see 'em over at Frank Tubas tonight.

They'll all be there, dancin' their little hearts out

for one and all. (laughing)

- I knew he didn't look like a mean man.

- So long fellas!

Well, here are the permits, baby.

Hang on to 'em.

(women saying goodbye)

- Bring all your money, too.

See you later.

(upbeat orchestral music)

(velvety horn music)

- Take over, baby, while papa finishes off

our arrangements with Mr. Tubas.

Hannah'll get you bedded down, girls.

I'll see you later.

I want 'em to smell sweet tonight.

I want 'em to take a bath,

and I want it to be 98% perfume and 2% water.

- Hey, Jake, how many baths do you have to take

before you smell like a human being?

Because you stink, Jake.

(slapping)

- Jake!

- Stay outta this, Hannah.

I didn't ask for conversation, did I?

- I was only kidding.

- Seen you a lot funnier than that, kid.

Now I wasn't thinkin' about those cowboys, girls.

I was thinkin' how your poor old mothers

would be disappointed in me if they thought

I was neglecting to provide their daughters

with clean, wholesome environment.

(slow orchestral music)

(upbeat orchestral music)

(people talking)

- Hey, mister, I'm lookin' for a job.

- Hey Chuck, fella here lookin' for work.

He'll be with you in a minute.

- Thank you.

- You pretty good with figures?

I mean real good, like lightening.

- No, but I have a buddy that...

No.

No.

- You afraid of work?

- Oh, no.

- I pay 12 a day.

You can start today, work through the auction,

and two days after that.

Just go out that door, turn right, up the stairs,

through the auction ring, out the last door

you come to and holler for Alley.

- Alright, thank ya.

- You got a place to stay yet?

- No.

- Tell Alley.

You wanna eat, there's a cafeteria across the hall.

Tell him I signed ya on, you won't need any cash.

We'll take it out of your pay later.

(laughing)

What's your name?

- Buz Murdock.

- That's Buz Murdock.

He's workin' for us, put him on salary.

- Murdock.

(cattle mooing)

- Hey, Alley.

- [Man] Alley, Alley, Alley.

- [Alley] Who wants me?

Hi, what do you want?

- Chuck says I work here.

- Well come on down and work.

- He says you can tell me where I can find a place to live.

- You wanna take all your money with ya

or leave some behind?

- Take some, leave some.

- You can get a trailer for three and a half a day,

it's clean.

Go down the highway here about a half a mile on your left.

Might tell 'em you work here

and you won't have to shell out any in advance.

(cattle running)

- Hey, those cattle don't go in that pen.

Get 'em out of there.

(upbeat orchestral music)

(slow orchestral music)

- Oh! (laughing)

Sorry.

- It's alright, it's always a pleasure

running into a lovely lady.

(slow orchestral music)

How to be at home at trailer, it's nice.

I like it.

- They're only artificial, you know,

I move around a lot.

Real ones would die.

- Well they look as nice as real.

- Well they're company.

I suppose a

child is the best company.

Or a pet, a dog or a cat.

But artificial flowers are more than you'd think.

Wake up in the morning and look out the window and

everything is strange and unknown.

And there are your flowers.

Just the way they were yesterday,

only a hundred miles away.

- I know what you mean.

Just took a look at that trailer.

Well, it's not much and I'm not complaining but,

well it's not what I call home.

- Letters help.

Don't you keep in touch with your family?

- Um, I don't have a family.

- That's a special kind of loneliness.

- That's right.

- Are you in any particular kind of hurry?

- No, I'm not in any particular kind of hurry.

- Well I'd like to offer you a cup of coffee.

- And I'd like that.

- And,

you got a button missing off your shirt.

- That's right.

I can bring this back later, I mean I can change.

- You don't have to take it off.

Here, chew this.

It's just bread.

It's my grandmother's superstition.

If you're sewing up something and somebody's wearing it,

you sew up their brains, too.

Unless they're chewing something.

- I just feel peculiar.

I didn't know sewing a button could be so personal.

- Didn't your mother ever sew a button on for you?

- Well, not exactly.

I mean, my folks have been dead

for as long as I can remember.

- Oh.

- At the orphan home when something was torn,

or you needed a button, at night when you were asleep,

somebody would come along and pick up all the clothes

and they'd be all done in the morning.

I mean, for all you knew, it could've been done by,

by elves or somethin'.

(slow orchestral music)

Well, thanks.

- It was my pleasure.

(slow orchestral music)

- Just about the same age yours would be.

Wouldn't you say?

(slow orchestral music)

- I'm off it.

- You wanna bet?

That's a nice looking boy you were talkin' to out there.

- Let's talk business, Jake.

- Alright.

I had to twist Tubas' arm a little,

but we got one and a half percent

and the handle on the crap table.

We got three percent of the 21,

and we got half a one percent on the One Arm Bandits.

- That's not bad.

- Yeah, but we gotta work for it.

You keep those kids in line, Hannah.

I want you on their backs all the time.

- They handle themselves alright.

- They get soft once in a while,

like in Bright City.

They were starin' the guys away from the crap table.

Not this time.

Oh no.

No entangling alliances.

I want you to break 'em before that happens.

You figurin' goin' to church next Sunday?

- Maybe.

- I figured you'd be in a church goin' mood

the minute I saw you talkin' to that boy.

He's a nice kind of boy.

Yes, sir, if I had a son, that's the kind

of boy I'd want him to be.

- Don't needle me.

- I want you to drink a little, kid.

You're a prude when you're sober.

It doesn't do business any good, either.

(slow orchestral music)

Who are you kiddin' Hannah?

Every time you get mixed up with one of those kids,

you can't get through it without drinkin'.

(slow orchestral music)

(slow orchestral music)

- Hey.

Hey!

You're a good looking boy.

Lock my door for me, will ya?

Thanks.

Nasty old man.

- Come on.

(knocking)

This fella says he's a friend of yours.

- It's alright.

- [Man] The way he's been asking questions,

I thought he was a process server or something.

- Come on in.

Home sweet home.

- I'd figured you'd be with a work horse,

so I ask around.

Every body said the auction.

- Sit down.

- Oh I just wanted to look in on ya.

- Sure.

There's a job down at the auction center.

They need somebody who's good with figures.

- Yeah, I got it.

I went in today, askin' about you and

the guy said, "are you the buddy who's good with figures?"

- Friendship, it's not like the wonderful

one-horse shay.

Doesn't fall apart all at once.

- Yeah.

- Sit down and have a cup of coffee.

- Oh thanks.

You're welcome to share this place if you want.

- I got a place down the road.

I wasn't sure how you'd feel.

Look,

do you wanna talk about the boy?

- I still feel the same way about that.

- Is it worth the friendship?

- It's a matter of principle you know?

- Yeah.

Yeah, it's a matter of principle alright.

(slow orchestral music)

(velvety horn music)

(car horn honking)

- Hi.

- Hi.

I was driving by.

Thought I could give you a lift.

- Thanks, I'll be out in a minute.

- Birthday present?

- Lady next door.

- (chuckles) Figures.

- It's not what you think,

she's old enough to be my mother.

Give me a minute.

(knocking)

(knocking)

I guess it's a little early in the morning for her to be up.

- Is that the lady next door?

- Yeah, why?

- [Tod] Get in.

- Look, you know, if I'm holdin' you up,

this ride was your idea.

- [Tod] Get in.

(slow orchestral music)

(upbeat orchestral music) (cattle mooing)

(man on intercom bidding out cattle)

- 31 and a half.

They go to Jim Cummings up in,

oh, I got a new boy, I forgot about it.

He's just out of college, you'd think he'd catch on.

They go to Jim Cummings up in Bakersfield.

Be patient with us a little boys.

We'll get to him.

He's doing alright.

Just stay with it.

Okay, let 'em in boys.

Oh, we got a deal here,

picture boy, take a look here.

Yearlings, and they weigh about 800.

- Hi.

- Hi.

Oh hey, I'm almost done.

- No, that's alright.

Somebody'll be done in a minute.

- Oh Alley, this is Tod Stiles.

Alley Golden.

- Hi. - Hi.

Well there's a lot of action in there.

- Oh this is nothin'.

It keeps buildin' as it goes on.

- I don't see how it can get anymore frantic than that.

- Night life.

That's the action at this auction.

Either one of you boys been over to Frank Tubas' yet?

They've got these girls over there.

(whistles) Man.

Jake Hunter's Girls is what they call themselves.

And I wanna tell you somethin':

old Jake's gonna have to keep a close watch on these gals.

That is, if he's under the impression

they all belong to him.

(chuckles)

Pretty girls, too.

Yes, sir, I'll bet you every one of these old boys

that's sittin' around here will be over there tonight.

You boys plan on goin' over?

- Well I don't know about anybody else but,

I've got some plans.

- I might look in, just to see what's goin' on.

- Hey listen, will you do me a favor later on?

Drive me to Reno?

- Yeah, sure.

- Thanks.

See you later.

- Nice fella.

Works his day's work.

But he stays off to himself all the time.

Like he's got somethin' on his mind.

- Such as?

- Like I said, he didn't say.

- Hamburger, pie, and coffee.

(slow orchestral music)

- Well, you know, I figure a plant,

what's it got out of life?

You have to give it a chance like,

bring it to someone who'll enjoy it.

(slow orchestral music)

Thanks.

(knocking)

You give me something, I give you somethin'.

Can I come in and talk to you?

Word of honor.

I'm not trying to be fresh or anything.

I'd just like to talk to ya.

- It'll die, you know.

Sit down.

- I bet you got a green thumb.

- I'll water it enough and set it in the sun,

that's all I promise.

Coffee?

- Yeah, please.

- I...

I've got a son somewhere,

about your age.

Last time I saw him he was

six years old.

He was a fine boy with

dark hair like his fathers.

- What's the matter?

- Why?

- Well, you act a little nervous.

- Loneliness comes over you like drowning waves.

What do you want from me?

- Well I,

I don't want anything, I guess I just wanna talk.

I mean, I understand about loneliness.

- Don't pity me.

- I was talkin' about my own loneliness.

- I gave you a stinking artificial plant.

What do you want?

The story of my life?

The story of my life is that I lead a stinking life.

Might I drink?

- You don't need my permission.

- I don't like to drink alone.

- Sure, go ahead.

- Please, sit down.

(slow orchestral music)

- What?

- Hunger.

- What's the matter?

- My...

My son would be

just about your age now.

The last time I saw him he was

two hours old.

They took him away.

That isn't right.

I gave him away.

According to the

manners of society,

I wasn't entitled to raise him.

So I...

I gave him away to a

home with a mother and a father.

He'd be just about your age now.

- Well I guess you had to.

- I appreciate your gift,

but I don't know what to do with it.

- Well, I'd like for you to keep it.

- I'm going to keep it but,

I don't know what to do with it.

I appreciate it too deeply.

Thank you.

(slow orchestral music)

If you don't mind, I...

But it would be very nice

for you to leave now.

- Look, I'm gonna be here for a couple of days anyway and,

well I'd like to come back and talk again.

I mean, like, maybe tonight?

I mean, I just wanna talk, that's all.

I understand about your loneliness,

and I think you need somebody to talk to,

and I need somebody to talk to about myself.

(chuckling)

- Poor baby.

Poor baby.

Don't you understand, I didn't have to give him away.

I...

I just...

Didn't wanna be bothered

with a baby at that time.

(crying) (sorrowful orchestral music)

Oh baby.

Poor baby.

(orchestral music crescendoing)

(slow orchestral music)

- She's not home, Buz.

- She's home, I left her sleeping.

She needed some sleep.

- She's not home.

- Are you trying to tell me somethin'?

- Yeah.

I'm trying to tell ya somethin'.

- Well then just tell me.

Oh I know, she's an older woman,

you think I got a crush on her

and you're trying to protect me against myself.

Well thanks.

In the first place, you haven't the foggiest

idea how I feel, and in the second place,

I don't feel the way you think I feel.

And in the third place, it's none of your business.

- [Tod] Listen--

- Oh I know your attitude.

Send her back to the orphan asylum.

(knocking)

Mrs. Ellis,

I brought you some dinner.

(knocking)

Mrs. Ellis?

- She's not home.

- How would you know?

- I know.

I want a favor Buz, one favor.

Because no matter how mad two friends get at each other,

there has to be something left of the friendship.

One favor has to be left, anyway.

- What do you want?

- Come with me without questions.

- Somethin' happen to her?

She tried to kill herself,

'cause if that's what it is, I wanna know.

- Nothing like that.

- Alright, let's go.

(upbeat jazzy music)

(upbeat jazzy music)

- [Tod] Buy you a drink, lady?

- Any nice young man can have a drink

with Hannah Ellis any ti--

(upbeat jazzy music)

Sorry to see you here, young man.

Sorry to have you see me here.

I don't drink with friends in public.

I drink only with

strangers in public.

Don't pity me.

(upbeat jazzy music)

- Outside.

Outside.

(people cheering)

You couldn't tell me what it was all about, could ya?

Do you think I care what she does?

Okay, so she leads a hard life

and maybe she's a front for a schiller

at a crap table, so what?

- Oh you're such a nice guy,

you're gonna be so big about it.

- You couldn't tell me what it was, could ya?

You had to bring me face to face with her

and make her ashamed. - Let's go.

- And I'll tell you one more thing.

I'm gonna go in there tomorrow

and I'm gonna apologize to her

and if she needs my help, I'm gonna give it to her.

- You're gonna help, how? - That's right.

- You're gonna buy her a little house in the country

some place and then introduce her to all your

fancy country club friends?

You're gonna help her.

You got enough trouble helping yourself.

You're a sentimental slob

and you go all soft inside and you think

that's nice and kind.

(hitting)

(tussling)

(hitting)

(tussling)

(heavy breathing)

- Alright?

- Alright?

- Alright.

- Alright.

- That was a crazy fight.

- Come on.

Let's drive you to your trailer.

(slow orchestral music)

- One minute.

(slow orchestral music)

Some things, I guess, you just have to leave behind.

(slow orchestral music)

(knocking)

(knocking)

(slow orchestral music)

- I wouldn't let you drink through this one alone.

I don't like to think of myself this way, but,

I'm only 98% louse.

Two more lousy percent and I'd have it made.

(slow orchestral music)

(glasses clinking)

(slow orchestral music)

(slow orchestral music crescendoing)

(upbeat jazzy music)

- [Narrator] This has been a Screen Gems

film presentation from Columbia Pictures,

Herbert B. Leonard, executive producer.