All language subtitles for Route66 - S01E23 (Most Vanquished, Most Victorious)

(car honks)

- Still can't believe it.

- You'll never know unless
you ring the doorbell.

- I guess I better get
the car out of the alley.

Coming?

Look, what if it's true?

What do I say to her
after all this time?

- Well, if it's true,

you won't have to
think what to say.

And if it's not true, well,
you'll handle that too.

Besides, I think I better
stick with the ship.

The local sharks
look a little hungry.

I've seen characters
like those strip a car

in three minutes, flat.

- Maybe I better not go in until
we find out what they want.

- Well, they don't know
what they want just yet.

They'll probably kill some time

and take a look
at the cool crate.

Pick a fight, maybe.

It depends on what
kind of action

they're getting on the block,

and whether they think
I'm a pushover or not.

In any case, those
guys don't think fast.

Not in broad daylight.

And not without a
council meeting,

so take your time.

(door buzzer)

(door buzzer)

- Excuse me, I must
have the wrong address.

- The correct address.

You're Mr. Stiles.

The letter reached
you, thank God.

- Look, a woman inside.

How do I know she's
my Aunt Kitty?

- Why don't you just come in?

- Are you the man she married?

- I'm a doctor.

When she wrote, she
said it was urgent,

but she neglected
to say how urgent.

She's dying.

- I've been lying here,

trying not to die
until you came.

(clock chimes)

That clock.

You remember that,
don't you, Tod?

It was your father's.

It used to stand in
the reception hall.

Remember?

Next to the marble
vase with ferns in it?

Under the skylight?

- I'm sorry, I didn't
know you were still alive.

- In the bureau.

Over there.

The top drawer.

The picture.

I was never much of a
beauty, but I was young.

Your father took it.

- Our first summer at Montauk.

- Your first.

My last.

- Yeah, I know.

- When you're 19,

life is something in
three quarter time.

You're never wrong.

I went away.

With a man.

I couldn't write.

You're the only person
in the whole world

who can do this for me.

And you must, you must
promise me before I die.

Promise me, Tod.

You must.

- Do what?

- Find Carol for me.

Find her.

Bring her back to me.

(screams)

- Doctor!

- Tod.

You're the only one
who can do this for me.

Promise me.

- I'll try, Aunt Kitty.

Who's Carol?

- It'll rest for at
least three hours.

Another sedative
to dull the pain.

You prefer another doctor?

- I asked you a
question, who's Carol?

- I think I'm a good doctor.

I asked myself, am I
interested in health,

or in fighting disease?

Is it the person I care
about, or the contest?

I say to you, with
me, it's the person.

Carol is her daughter.

- But why me?

After 20 years, why's she
asking me to find her daughter

I didn't even know she had?

Why not the police, or the
bureau of missing persons,

or a neighbor, anybody?

Why me?

- This is the most
personal thing in her life.

The only thing she's got left.

She only stayed alive
waiting for you,

and what she's asked you to do.

- Do you know where
I can find her?

- There's a man named Briggs.

On Rowan Avenue.

Carol was interested in him.

(clock chimes)

Try and be back
by tomorrow night.

I can't promise to keep her
around alive beyond that,

no matter how hard she
tries to wait for you.

(sharks laugh and
make engine noises)

- Better look out
for those turns.

- You live around here?

Do you know a girl
named Carol Chamberlain?

- Do we know her?

(laughter)

- Manuel, doesn't he bother you?

He sits in your car,
doesn't he bother you?

- Doesn't bother me, I'm a
man that doesn't bother easy.

- Maybe you don't know much.

Now, a pig, nothing
bothers a pig.

Because he don't know much.

But a man, he gets bothered.

- Not me.

- And now what do you say?

- I'm bothered.

- You know, I think
you're too pretty.

Maybe you need a scar
like Cazador, huh?

- You Cazador?

- Every man should have a scar.

- Well, I got one that makes
that look like nothing.

Police booth.

- Hey!

- You like that?

Alright, you tell those two
slobs, take those jackets off.

Go on, tell them, tell them!

(yells)

(yells)

Tod, there's some gas
in the trunk, get it.

Alright, throw those
jackets over there.

Go on, move.

Get up, come on, get up.

Alright, soak them
and burn them, Tod.

Now, down the street.

Move out!

(yells)

Start the car.

(car engine starts)

Now next time you pull a
knife on somebody, remember!

(door buzzer)

- What's the most ice
cream you ever ate?

- I don't know.

A pint.

- When I was six, Aunt Kitty
treated me to all I could eat.

One quart, one pint.

And she held my head
while I got sick.

(door buzzer)

Is Davey Briggs home?

- I'm Davey Briggs.

- [Tod] I'm looking
for Carol Chamberlain.

- Carol isn't here.

- How do I know that?

I'm Carol's cousin.

- Come in.

I haven't seen Carol for
almost six months now.

- Was this the way
you spotted her?

- I didn't have that then,

or, believe me, I
would have spotted her

even in the middle
of Cassiopeia Sigmas.

But the unromantic
facts are, she found me.

- Okay, where is she?

- I wish I knew.

Lately, I've had the feeling

that something was
wrong with her.

If I could get around, I'd be
out looking for her myself.

- You said before,
she found you.

- What does that mean?

- Well, he said that
she picked him up.

- A man like me.

A hermit with a pair
of useless legs.

How could I attract any girl,
much less someone like Carol?

She came to visit me
every day for 10 weeks.

The most wonderful,
happiest weeks of my life.

I used to sit there at
that window by the hour,

just watch traffic,
wait for the mailman,

or the boy from the market
with my grocery order.

Just sit there and wait
for it to get dark.

Carol used to catch
the bus from Gardena.

Right down there,
on East City Place.

One night, she waved to me.

I waved back.

The next night, she
came up the hill.

I couldn't believe it.

There was a knock on the door.

I opened it.

My name's Carol
Chamberlain, she said.

I've been admiring your view.

You must have the loveliest
view in Southern California.

May I look?

Please?

She looked.

You should have seen her face.

It was as though the
lights on the gas tank

on Boil Heights were
the moons of Saturn.

Then she noticed my books,

the books on trigonometry and
astronomy and all the rest.

You look at the
stars, she asked.

I try, I said.

But with the naked eye you
can only see about 3,000

at any one time.

Why don't you get a
telescope, she asked.

Well, on my
disability allowance,

you're lucky to pay the
rent eat meat twice a week.

She bought me this.

I tried not to accept it,

but Carol has a way of giving
that makes you want to accept.

You know, I've never seen
anybody look more alive

than when she sees happiness
in another person's eyes.

Before I knew Carol, I
was imprisoned by myself.

Like someone locked in
a room full of mirrors.

Each one reflecting
only himself.

Carol changed those
mirrors into windows,

through which I could see

the beauty and
suffering of others.

You're fortunate to have a
girl like Carol for a cousin.

- How come, if you were
so worried about her,

you never called
where she worked?

In Gardena?

- I can't afford a phone.

- Now, you said
there was a postman.

Can you afford a stamp?

- I did write.

But there was never an answer.

- Where?

- Let me see.

She used to mention a place
called Potter's on Ventura.

- This Potter's, what
did she do there?

- I don't know.

She never said,
and I never asked.

- Thanks.

(upbeat jazz music)

(cheering and whistles)

- Bar or table?

- We're looking for someone.

A girl named Carol.

- It's a big, wide world.

- Carol Chamberlain.

- She doesn't work here.

- But you recognize the name.

- She left, a couple
of months ago.

- Madeline, Betty,
Jaynie, Maria,

are all just dying
to have a nice drink

with a couple nice
boys like you two.

Just take your pick.

- Didn't she say
where she was going?

- We've got a real
nice table for you,

right up there by the stage.

You'll just love
Betty and Maria.

- Look, I don't want a table.

Do you have any idea
where I can find her?

- Who are you guys?

- I'm looking for
Carol Chamberlain.

She's a cousin of mine, okay?

- Sure, sure, cousin.

So don't tell me.

I can smell vice squad
all over you guys.

Well let me tell you,
this is Potter's.

And at Potter's, all
you get is a drink.

Carol we ain't got
on the premises.

So you're going to stand
there and block traffic,

or you're going to sit down?

- Look, all my friend wants is
a little inside information.

Like, where's a certain
girl that used to work here.

- This is a very
respectful club.

We don't give out not addresses.

So, come one, make
up your minds.

Either come in and
have a drink, or out.

- Well, maybe you can think
of a third alternative.

- I don't understand
that kind of fancy talk.

Alice, what's he trying to say?

- He wants to talk
to you in the alley.

- Oh.

Fella, now you're talking
my kind of language.

Be right back.

Alice, honey, don't steal
nothing while I'm gone.

Come on.

- Why?

It doesn't make any sense.

- Whether I take
him or he takes me,

maybe he'll soften and
tell me where Carol is.

- [Hank] Hey, you coming?

- [Tod] Yeah!

- [Hank] How about you?

- Well, I can take
it or leave it,

but this is his fight, not mine.

- And his idea too, check?

- What do you want,
a written release?

- Well, nowadays a
man's got to be careful

about assault and battery,

and guys who whistle
for the cops.

- Look, why don't
you just tell us

where we can find
Carol Chamberlain,

and that way nobody
need get any lumps.

- I ain't hit nobody
since last Thursday.

Man, I'm long overdue.

This punk of high ain't
even gonna work up a sweat.

How about you come in and fill?

Fill a lax, huh?

- Well, my money's still on him.

Come on, come on, come on,
what are you trying to do?

Can't you see he's out cold?

- Yeah.

I don't know what's
happening to me.

All I feel is anger.

Some terrible kind of anger.

- 20 years caught up
with you, huh Tod?

Don you understand, you
can't let that kind of stuff

eat you up inside, you
gotta learn to live with it.

Come on, let's get
your face cleaned up.

- No.

Not until he tells
me where Carol is.

- 3219 Ben Loehman Place.

Apartment 23.

It's my place.

Wait for me.

- She just got out of a cab.

(knock on door)

- Hank sends his regards.

Any time you want
a job at the club,

throwing people out, you got it.

Coffee.

- We sort of just made
ourselves to home.

- Well, that smells good.

I'll have some.

Well, when you find
her, let me know, okay?

- You mean you don't
know where she is?

- Where's anybody?

- Hey, I think I'll
keep you around.

You've got a way
with a coffee bean.

- Then why did you
give us your key

and tell us to wait here?

- You're her cousin.

I don't know where she's got to,

and I don't have that
much closet space, so...

You take these along with you.

And when you see Carol,

tell her I only wore the
satin a couple of times,

but I had it cleaned,
and it's as good as new.

How about putting a hit on this?

You want to find her, why
don't you ask her mother?

She lives over on Elmo.

- She doesn't know either.

- Well, beats me.

One night she's at work,
next night, no show.

That was, well, like I told
you, a couple of months ago.

Not a word since.

I got some more of her things.

Whenever she worked late,
she used to stay with me.

- Did she leave
a telephone book,

anything with some
names and numbers in it?

- Carol?

Carol didn't have to call
anybody, they'd call her.

- Well, there must have
been somebody special.

I could talk to him,
maybe he could tell me.

- Why are you so
determined to find her?

Somebody leave her some
money or something?

- It's a family situation.

- Ah.

Well, rotsa ruck.

My money's on Carol.

She could be anywhere;
Rio, Mexico City.

I wouldn't put it past her.

I sure hope so.

She's got it coming.

She deserves to find a live one.

Always wasting her time
on misfits and underdogs.

Like she was sick or
something, you know?

I mean, two guys
come into the place,

and one's a real
good-looking John,

money written all over him.

And the other's
some kind of freak

with a wild look in his eye
and lint in his pockets.

She goes for the
freak every time.

Maybe she's finally got smart
and latched onto a live one.

Sure hope so.

Hey, underneath the
sink there's a bottle,

and it's not full of detergent.

How about breaking
it out, you and me,

while your friend goes
flying down to Rio

to find my pal Carol?

- Can I take a rain check?

- Not in dry season.

And this has been a dry season.

- Some of the guys,
some of the guys

with the wild look in their eye

and the lint in their
pocket, name me a few.

- You're not kidding, are you?

- No, I'm not kidding.

- You think maybe something
might have happened to her?

- A girl is missing
for two months.

Nobody seems to know.

What do you think?

- I don't know what to think.

Well, let's see.

Men she knew.

I mean, cared something about.

There's Jamie Thomas,
he drives a cab.

- Where?

- Santa Monica.

And Billy Fielding, he works
in a restaurant downtown,

Pershing Square Restaurant.

And Carol was always
talking about some young man

in her neighborhood,
Juan Domingo.

Some kind of artist.

I know she was posing for him.

- Posing?

- That's the kicker:
only her face.

- You can stay if you want to.

- I want to, but I won't.

That's life.

- You are Juan Domingo?

- Yes.

- We've been chasing all over
the place, looking for you.

- My mother could
have told you, I --

- Yeah, that you're
at art school,

But nobody knew where
you were painting.

Palos Verdes, Malibu,
Pershing Square.

I'm looking for
Carol Chamberlain.

Somebody told me you
could help me find her.

- Are you from the police?

- No.

- I have nothing to hide, even
if you are from the police.

I told them everything.

Still, they don't believe me.

They think I'm, they simply
think I'm inventing it all

out of revenge.

What they did to my paintings.

Who are you, really?

- Carol's cousin.

- Then I'm sorry, truly sorry.

You see?

She has become the sum
of everything I paint.

A single point of
beauty in all I see.

No matter where I go, I do
not need any other model,

or any other inspiration.

Only Carol.

- Look, Juan, I'm
running out of time.

Where is she?

- How can you be her
cousin and ask that?

How can you not know?

- Not know what?

- No one will ever see Carol
again, except as I paint her.

Except as I remind the
world how beautiful she was.

This is why I do not
believe you are her cousin,

or else you would know.

Carol is dead.

- She can't be.

Her mother asked me to find her.

- Who are you?

Why do you lie?

I myself told Mrs.
Chamberlain what happened.

I, myself.

- [Tod] Get out of the way.

- She's under sedation.

You can't go in there now,

she won't be out of
it for half an hour.

- What kind of a woman is she?

She set us out
looking for Carol,

and all the time she
knew she was dead.

- You weren't looking
for just a girl

when she sent you out
searching for Carol.

You were looking for the truth.

I'm not so sure you found it.

The facts, maybe,
but not the truth.

- We found the truth, alright.

We have a half hour, so how
about it, we go get Cazador?

- [Buz] We go get Cazador.

- A half hour, doctor.

(dog barking)

- Cazador!

Cazador!

Cazador!

Cazador!

We're going to wipe this
yard up with you, Cazador.

You're going to dance for me
the way you made Carol dance.

- We'll see.

We'll see who's
going to dance, okay?

- Back to back.

Keep circling.

- I'm Carol
Chamberlain's cousin.

I want you to get
the full picture.

I want you to remember
every bit of it.

Juan Domingo told me the story.

About the paintings he
worked on for four years.

26 paintings, he said
they were beautiful.

I don't know, I didn't
see them, but Carol did.

And she thought they were.

How about that?

Out of this stinking
neighborhood,

he created something beautiful.

- We'll get this guy first.

The one who likes
to burn jackets.

We'll fix him fine, huh?

The other guy, the talker,
we can save him for last.

- About the paintings, Cazador.

They meant a
scholarship for Domingo,

and a ticket out of here,

and you couldn't
stand that, could you?

- I wanted to have some fun.

Went to Domingo's to
get the pictures, so?

- And he was painting
Carol when you got there.

Then you got your brainstorm,
didn't you, Cazador?

- Good idea, huh?

Well, why shouldn't
she dance for us?

She danced for a
club, why not for us?

- She danced.

She made a deal.

You were supposed to
lay off the paintings,

but you wretch don't know what
it is to keep a deal, do you?

- Then you tore up all
those pictures, didn't you?

Four years of hard work.

- What about Carol?

She thought you were
human beings, not animals,

what about her, Cazador?

- Cops say they know
it was an accident.

She was crazy.

She runs, she tries to
pick up a knife, she falls.

She's crazy.

- Now you're going to dance.

You're going to dance for me.

Alright, dance.

Dance!

Dance!

Dance!

Alright, dance!

Faster!

- Stiles!

Stiles!

Your aunt is calling for you.

Hurry.

- That was a cruel
thing, Aunt Kitty.

It was a cruel thing
you asked me to do.

You knew she was dead.

- If I told you yesterday,

when you came 20
years a stranger,

what would you have known
about my life, or Carol's?

Just words.

What would they have told you?

Now you know.

You've seen, felt, in
one day, in one night,

what all her days
and nights were like.

One long journey into
despair and death.

Because of me.

- That isn't what I saw.

I saw she made things
shiny, the worst things.

I saw she left behind good
feelings and inspiration.

- She deserves so much.

So much more than
I could give her.

You ask why I sent for you?

To confess.

- Confess?

- To say to you, the
son of my brother,

what I should have
said to him years ago.

I'm sorry I ran away.

I'm sorry I didn't
listen to you.

Oh, my brother.

Darling, darling brother.

I was too proud, too stubborn,

to admit I was wrong.

So, I sank lower and lower,

dragging Carol with me.

All the time, she could
have been with you, darling.

In a decent environment.

And you, you could
have grown up together.

Helped each other.

She could have
been as fine a girl

as you are a man.

- Aunt Kitty, listen to me.

If I live a hundred years,
I'll never be half the man

to match the woman Carol was.

She was special.

You hear me, Aunt Kitty?

She was something special.

Besides, who am I to
hear a confession?

I'm not fit to hear
anybody's confession.

- You are the son of my brother.

The man of the family.

That's why I ask you, Tod,

share this misery with me.

Take it from me.

Make it part of your life.

Only...

change it for the good.

If you do,

Carol and I will
never leave you.

We'll stay with you always.

(engine starts)

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

from Columbia Pictures.

Herbert B. Leonard,
executive producer.