All language subtitles for Route66 - S02E25 (Love is a Skinny Kid)

("Route 66" by Nelson Riddle)

- After you finish the lube
job, pump the tires up, okay?

- Okay.

- When you figure?

- [Mechanic] Oh a couple
hours, that's all.

- [Tod] About 2:00 or 2:30?

- [Mechanic] Three
at the latest.

- [Tod] Where's a good
place to have lunch?

- Down the street
a couple blocks

and to your right, Martha's.

- Thanks.

Well, we have three
hours to kill.

The question is, do we kill
it, or does it kill us?

(crowd murmuring)

(suspenseful music)

(loud machinery thumping)

- Howdy.

- How much to run this?

(paper rustling)

Half a page, tomorrow's
paper, Mr. Palmer.

- Who are you?

- Miriam's friend.

- Miriam Moore?

Miriam's dead, dead and buried.

- Yes, or no?

- Half a page, huh?

Well, there's one thing sure,

if you're gonna stay
around here for this,

event that you want advertised,

you sure can't stay around
here with that mask on.

- Why not?

- Why not, (chuckling)
because you scare people,

that's why not.

- Come look outside, Mr. Palmer.

Make them take off their
masks and I'll take off mine.

How much, please?

- The business man's lunch,

do you get all of
this for $1.19?

- Here she comes.

I almost dropped my tray
the first time she went by.

- Or, do you just get the soup
and a salad and the entree?

- [Buz] You mean she's not a
real red-blooded Kilkennean,

is that what you're saying?

- I never heard anyone
called Kilkennians before.

You get the soup and a
salad and a fruit cocktail

and the entree and
two vegetables,

and whole truth and nothing
but the truth, for $1.19.

Anyway, she's not from here.

- Hey, when is Halloween,
isn't it later on in the year,

when the pumpkins pop?

- [Waitress] Like about
six months from now.

- Why do you
suppose a girl would

walk around wearing a
kooky mask like that?

(crowd muttering angrily)

- Ah no, can't you leave one
tornado for the weather bureau?

Keep the soup warm.

- Carry your bag?

- What do you think
this is, Halloween?

- Circus just left town, boys.

Cut out, okay?

- [Masked Girl] I
don't need your help.

- Oh come on, uh, Rosy,

what do you think
we're paying you for?

Keep circulating and
show off the mask.

Walk it up big and
scare the people.

It's a publicity stunt for a
new picture coming into town

called The Teenage
Ghoul from Fujiyama.

Hope you see it fellas,
it's a great little show.

(grunting)

(suspenseful music)

(crowd chattering)

- Now what name's
she registered under?

Didn't you tell her
a name like that

isn't about to fool anybody?

You did, huh?

And she said, "Is there
any local ordinance

"against girls being
named Jane Doe,

"or against wearing masks?"

She asked that?

Okay, okay, did she say what
she's doing in Kilkenny?

Well she sure as shootin'
ain't gonna tell you

how long she's gonna stay.

As long as it takes, huh?

Paid through tomorrow night?

Check or, new bills.

Well if she goes
out, you call me.

All right now, quiet.

Tommy, three witnesses said
you struck the first blow.

Miss Thomas was standing not
10 feet away and she said

she distinctly heard
this young fellow,

real courteous, she said he was.

No need to start a ruckus,

he was just telling you
about some new movie.

- That's right, The
Teenage Ghoul from ...

- Fujiyama.
- Fujiyama!

It's the only Japanese picture
made entirely in the USA.

- And you just hauled
off and belted him.

And you had to
toss one at Tommy.

Now if anybody's gonna get
locked up, it's you and Tommy.

Unless everybody
wants to shake hands

and forget the whole thing.

(door opening)

- Now, Jim, don't say
I'm disturbing the peace

or inciting to riot
if I run this ad.

I've already given my her
word, and I've taken the money.

So this ad runs tomorrow.

I don't care what you say.

- The trouble with you is, Jase,

you just can't figure
out any more crusades,

not since we put that storm
drain in on Franklin Avenue.

Now I just, well, want to
look at it, that's all.

See what she's up to.

(telephone ringing)

Get that, Les.

- Sheriff's office, Burns.

Yeah?

Well, yeah, thanks;
I'll tell him.

Just left the Inn, walking
west on Maple, Pete says.

- Jed,
- Yes, sir?

- Get over to Maple
Street, she's walking west.

- All right, Miss Crohnmiller,

we're on our way
to pick her up now.

- I didn't say arrest
her, just watch her.

All right boys, well,

- Nothin' personal, feller,
I just run outta guys to hit.

See around here, I
done hit all the guys.

- They give cats
scratching posts;

you oughta get yourself one.

- You gonna shake Tommy's hand?

- I don't even know him.

- Well, you hit him.

- Well, that's because I
haven't run outta guys to hit,

you know, I mean, around here,

I already haven't hit all
the guys, like old Tom-Tom.

How long you figure,
Tom-Tom, it would take,

I mean, to hit all the guys?

- Now, now, stop it!

(telephone ringing)

- Sheriff's office,
Burns speaking.

Yeah, I'll tell him.

Martha says to tell you they

stop serving the business
man's lunch at one,

that's 10 minutes.

- Why don't you shake hands
with this Neanderthal,

and we'll get outta here?

- Car's not ready till three.

- Okay, don't shake his hand.

But one peep outta any of ya,
in you go, the whole crowd.

Let me see that ad,
Jase, let me see it.

Okay, get out.

A commemorative ceremony
for Miriam Moore, why?

- She didn't say.

- You're all invited to
a commemorative ceremony

for Miriam Moore this
morning at ten o'clock,

4220 West Maple Street.

- That makes it
tomorrow morning.

In front of Lydia
Manning's house.

- What kind of torture
is that for poor Lydia?

Go on, I said get out of here.

Go on.

(pensive music)

(dramatic music)

(flames crackling)

Any time today, John,
that's convenient,

drop by and sign the papers.

- What papers?

- The complaint.

- There will be no complaint.

Tell her to go away.

If she does, we'll forget it,
we'll forget it ever happened.

- Well now, I don't know,
Lydia, it's not all that simple.

- I want her to leave.

That's all that I want.

(suspenseful music)

- [Les] Okay folks,
come on, let's go.

Go on home.

There ain't nothin'
more to see here.

Come on.

- Who is Miriam Moore?

- I don't like you, Jack.

- Why did you ask about Miriam?

- Why do people
collect butterflies?

- But you don't even live here.

- That's right, I'm just
a visiting lube job.

What do yo know about her?

- She's been dead 10 years.

Let the dead rest in peace.

- I can still smell it.

- Mm-Hmm.

- No, I mean the hate.

That girl, she hates so hard
it came right through the mask.

You know what I mean?

- No, I'm not sure that I do.

- I guess you gotta be around
it the way I used to be.

It's like malaria.

Get one sniff of it and
it comes right back.

You know, you can forget
anything, except hate.

- What about the little item
that makes the world go around?

- Love?

Love's a skinny kid that
can catch cold and die,

from just standing
outside a locked door,

begging to come in.

But hate now, that's
a tiger in the hole.

Hot or cold, busts in, jumps
out a piece, never grows back.

- Okay fellas, move it out.

(pensive music)

- First that mask comes off,
if I have to rip it off myself.

Then we're gonna take
some mug shots of you.

Then we're gonna run
ourselves some prints.

Send a set to Dallas and
another to Washington,

find out who you are.

It's my guess you escaped
from some mental institution.

That where you heard
about Lydia's daughter?

- You can't hold her, Jim.

Not unless you charge
her and book her.

Not without a complaint.

- Jase, so help
me, I always said,

you run with underdogs,
someday you'll get bit.

- [Masked Girl] I'm
grateful to you, Jase,

but please stay out of it.

I don't need your help,
and I don't want it.

- Oh, you know Jase Palmer, huh?

- [Masked Girl] I know you too,
Jim, and you, Les, and Jed.

I know you all.

- Who are you?

(soft music)

- You can take your pictures
and your fingerprints.

Send them to Dallas,
send them to Mars.

But don't hold your breath
while you wait for an answer.

- What do you say we go into
Waco and have an early dinner,

you know, one of those
thick Texas steaks?

Hey, where's the key?

- It's in the dash.

- Aren't you interested in
seeing who's behind the mask?

- I'm interested in going
into Waco for dinner, so.

(car motor starting)

I have an idea.

Why don't you hop in and
we'll catch up to her,

and get out and go
up to her and say,

we can't stay for
the rally tomorrow,

how about giving you
a little preview now?

- This isn't just
for kicks you know.

Miriam Moore, remember
what that girl

with the baby in her arms said,

"Let the dead rest in peace?"

Okay, so amen.

That's the one I
want to know about.

Not the dead one, that
one, the live one.

- Yeah, why?

- Well, remember what
I said about hate?

I mean, the way it pulls at me?

To me it's a sphere.

Whenever I spot
somebody carrying one,

I gotta go over and
take it away from them,

or I gotta find out why I can't.

- That's a sure way to
get yourself stabbed.

- Don't ask me why, but
it helps, it helps me.

If I can dig what's
bugging somebody,

if I can grab that sphere, it
makes things better for me.

Maybe then I'll stop
busting up china shops

or belting guys like
that slop Tommy.

I mean, why am I always

swinging first and
thinking later, you know?

- You know, I betcha Martha

serves a pretty
good dinner at that.

Got a great idea, why don't
we stay over in Kilkenny?

Just till tomorrow night, say?

- Two days, $7.00 a day,
$14.00; there's your money.

Here's your bag,
we're all filled up.

- Alfred, Lydia called
you, didn't she?

I told you before,
I don't need you.

- I understand about the mask.

It was just something to
start them talking, right?

Kind of a grand-stand play
to grab the spotlight.

- I thought I recognized her.

She sprinkled the salt on when
they plowed Carthage under,

and she taught Madame
Defarge knitting.

Come on, forget her.

(children shouting at play)

- Hello,

- Brushes I got,
magazines I don't read.

- How long have you lived here?

- You from the welfare?

- There was a girl, Miriam, you
know the name, Miriam Moore?

- My kid's sleeping in there.

I gotta get these seeds
in before he wakes up.

If I'm lucky, maybe they'll
grow before he can dig 'em up.

Place needs flowers.

I don't know why
I'm kidding myself.

Ground like this, nothing grows.

- Buttercups, marigolds,
cosmos, even roses.

There was a rose
bush, over there.

When Miriam lived here.

- We've been here six years,
the Murphys before us,

and nothing grows.

- Over there.

(baby crying)

- Oh what's the
use, he's hungry.

(pensive music)

(bell ringing)

- Are you looking for someone?

- It's all new.

- I've met most of
the parents, but I--

Are you Mary Wilson's sister?

- When Miriam sat here,
there was a crack right here,

and the initials H.
L. in the corner.

Who was H. L.?

Miriam never knew.

- [Teacher] The
building is what state?

- [Student] Tall, T-A-L-L.

- The rock is what, Donald?

- Hard, H-A-R-D.

- The cup is what, Miriam?

(children laughing)

Shall I repeat the question?

The cup is, what?

- What kind of cup?

(children laughing)

- Just a plain
cup, a coffee cup.

What shape is it?

If I'm not disturbing
your daydreams.

- What part of the
cup do you mean?

(children laughing)

- The mouth of the
cup, is it round,

is it square, what is it?

- Well, it's a lot
of straight lines.

Little tiny lines
that we can't see.

All caught in a circle.

All moving, never stopping.

- The cup is what, class?

- [All] Round, R-O-U-N-D.

- You will stay
after school, Miriam.

You will write
"The cup is round."

100 times on the blackboard.

(children laughing)

(slow sad music)

- You stood her in this corner

and let the lashes
whip across her back.

She told me the lashes
would never heal.

Why, because she was too bright?

- She was a willful child.

Everyone knew she was--

- She was what?

- Why, you're the
one with the mask.

I've heard about you.

- She was what?

- Well, I don't know who
you are, or what you want,

but I will tell you this much,

her own mother
had her committed.

That should make it clear
enough, even to you.

- Nobody understood her.

Not her mother, not
the town, nobody.

But you should have.

You were her teacher.

- I did the best I could.

- Did you?

- What could I do?

- Stop the children
from laughing at her!

Gone against the
crowd, not with them.

Gone to the Board of
Education and said, look,

you've got a budget
for retarded children,

special classes for
the halt and the lame,

but what do you have for a child

who's just bored
with two-plus-two?

- What right have you
to take me to task?

- The authorities came to
you as a competent witness.

To ask you, is she
crazy, is she insane.

What did you say?

What did you say?

(dramatic music)

- [Miriam] I am a
witch; I must be burned.

- [Janie] You're not a witch,
you're my friend, Miriam.

- I command you, tie me hard.

Daddy, can you see me?

I can't see you.

- You said this was only a game!

- Ow!

(suspenseful music)
(flames crackling)

- Help, someone help us!

- Mama, mama please!

(weeping) Mama, mama please!

I'll be good, I promise.

I'll never do
anything bad again.

Please don't send me away.

- Be careful now, her
arm's awful badly burned.

- Please, please
don't send me away.

- Sh, you'll wake the neighbors.

If you're real good,
they're all too busy.

- Please don't send me away.

Mama! Mama!

(suspenseful music)

- Why are you doing this to me?

- Why can't you
even say my name?

- Miriam.

- Thank you, mother.

(crickets chirping)

- You know, you could
starve on a diet like yours.

- I'm not hungry.

(frogs croaking)

- Do you know
anything about frogs?

- No.

- Well, one summer,

late one night, Central Park,

I'm with this girl,
and these guys,

maybe eight or nine of them,

came out from behind the bushes

with knives and chains,
and started towards us.

We heard these whistles, like
all the cops in Manhattan,

and this gang cuts out.

We turn around, look for
the cops, to thank them.

There's no cops.

It was, of course, the frogs.

Well, how do you
say, "Thanks, frog?"

So I, well, I
studied about them.

Figured it was the
least I could do.

And you know, I found out

that we've had frogs
for 200 million years,

even before there
were birds, all kinds.

Spring peepers and eastern
spadefoots and leopards.

Oh yeah, the kind that

whistled that night in
Central Park, red spotter.

This batch out
here, Texas toads.

You can tell by their
trill if you listen.

Also by the high
pitch, you hear?

- Why would you care
enough to follow me?

- The male frogs,

well, they do all the talking.

Female frog, she
doesn't have a voice.

Except for one cry.

Help.

Yeah, we've been
keeping an eye on you.

All day.

The park, right over there,

we took your suitcase
in the bus terminal and

well, we're gonna see to it

that you get a decent meal
and someplace to sleep.

Okay?

- I don't know.

- You know, there's
only one thing

a person can do all by
himself without any help.

That's die.

Is that what you want?

(soft music)

- Not till tomorrow.

- Sheriff, they gave up trying
to find a place in town.

Settled down outside
the city limits.

Built a campfire, ain't that
against some county ordinance?

No Sheriff, I ain't
hounding them, just asking.

But if she were to come in
town tomorrow like she said,

wouldn't that be
disturbing the pe--

(radio clicking)

Sheriff, you hear me?

Sheriff, Sheriff,
do you hear me?

- Well you don't have to
worry about being robbed,

the Sheriff never let you
out of his sight, here.

Pick a color.

- Green.

- You sleep in the car.

- What was it?
- Blue.

- How can you win
a game that way?

- He trusts me.

- You better sock in, you've
got a big day tomorrow.

- Coffee?

- You oughta be able to give
her some pointers for tomorrow.

After all, you're the boy
that put the V in vendetta.

- She could teach me.

I never could stay
mad all day long.

She's carrying a whole
town on her back.

Who knows for how long.

- The way I figure it, anybody
that fascinated by hate

oughta have an equal
capacity for love.

- Yeah, why?

- Cause and effect, that's why.

Now, you take love, that's
the other side of hate.

So the reason we look for love

is to protect
ourselves from hate.

- Well if that's true, then
the reason we look for hate

is to protect yourself
from love, right?

- Could be.

- I bet you she
never loved anybody.

Of course she hasn't.

She's so hooked on
getting back at people

that she has lost
herself somewhere.

She's fallen out of the armor,

like the hermit
crab that got lost.

But the armor, that
keeps marching,

and the sword, that
keeps swinging.

That's the trouble with
fighting a war, you see,

you get so wrapped up fighting,

that you forget
how to make peace.

- Well, maybe we
oughta leave her alone.

We don't really know her story.

- If somebody had said these
things to me, maybe ...

Who cares about her story?

Tomorrow she's gonna
tear up the town.

Well, maybe they deserve
it, maybe they don't.

And that's okay too, just so
she's not kidding herself.

Just so she doesn't blame
them for whatever it was

that made her come back
here, wearing that mask.

She's got no alibis,
that's all, no reasons why,

things to blame,
environment, heredity,

all that trauma jazz, and

lousy education and lousier
luck and parents that don't dig.

All excuses.

Excuses.

Maybe nobody ever told her that,

when the doctor slaps
you and you scream,

you're on the scene.

We're free.

From that moment on,
the choice is ours.

(slow sad music)

- Goodnight, Buz.

(softly sobbing)

(fast, suspenseful music)

- Hello, Jim.

- Ten o'clock.

If you ask me, Jase, you'll be

the most disappointed one in
town if she don't show up.

- She'll be here.

- Miriam?

(baby cooing softly)

- Mr. Manning, we've never met.

- Hello.

- Dr. Brewster.

- Miriam?
- That's right.

- We didn't know as much
then as we do today.

I thought it was
for your own good.

- You certified me
insane for my own good?

Mr. Stevenson.

- I advised her
I was against it.

- Is that why it was you
that sent me the clipping?

- It was your mother's wish.

As your attorney I--

- They're all outside,
the whole town.

Got 'em all sittin' at our door.

So, what are you waiting for?

Look at 'em.

- Is that all you can say?

Nothing about me, how
I've been, what I am?

Mr. Manning, did she
ever tell you about

the day I was discharged
from the hospital?

How I stood outside the gate
waiting to come home with her?

Remember, Mr. Stevenson,
you were there too,

with another couple.

All the papers had been signed.

They wanted a child.

You didn't.

- I didn't want to
impose another man's
child on you, John.

- You know, this Christmas,
when all the anger had left me,

I sent a telegram, just to
say that I was all right.

And that's when
the clipping came.

From the obituary in
Mr. Palmer's paper.

Saying that I died in
the asylum when I was 15.

- I'm so glad you've
come here, I'm so glad.

Now, you go out there and
tell them about your mother.

About how she married a dreamer.

A poor little nothing.

Music teacher,
couldn't even feed her.

How she wanted better things,
how she burned for 'em.

How she fought for
'em, how she got 'em.

- I can still see that clipping.

John Manning and his bride

flew back from their
honeymoon in Honolulu

to order me a big tombstone,

to be placed next to my daddy's,

even though I was
supposed to have been

buried in the asylum grounds.

Honor thy mother and thy father;

why isn't there
another commandment,

honor thy son and thy daughter?

- I'm tired of feeling guilty.

So let's get it
over with, Miriam.

Let's go out there, you and me.

We'll just shout it all to
'em, spread it all over,

let them look at me,
let them laugh at me.

- I don't want to hurt you.

I did, I came back
here to hurt you.

But I don't any more.

I met two boys who
said some things

that made me see an image of
myself that I don't want to be.

Not any more.

- Tell 'em. Miriam,
tell 'em all about it.

- Not any more, Mama!

- Tell 'em!
- No!

- If you won't
tell them, I will.

Listen to me, everybody.

I declared her
dead, my own baby.

Tell 'em, Miriam.

Tell them, tell them,
tell them, Miriam.

Tell them.

Miriam!

Miriam!

(screaming) Miriam!

Miriam! Miriam!

Miriam! Miriam!

(musical fanfare)

("Route 66" by Nelson Riddle)

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

from Columbia Pictures.

Herbert B. Leonard,
executive producer.

(musical fanfare)