All language subtitles for Route66 - S02E03 (Goodnight Sweet Blues)

(blues music)

- Goodbye Pittsburgh. Hello...

- Hello world!

- Hey, get this!

(tires squeal)

- This one's on me, I've had it

with these cookie drivers, too.

Now, listen here, oh I'm sorry.

- [Jennie] Please help me, I...

- [Buz] What can I do, I
mean, can I call somebody or?

- [Jennie] Nobody. Got nobody.

- Hey Tod? Get to a phone,
get an ambulance quick!

- My pill box, it's in my purse.

- How many do you
take? One or two or?

Here ya go.

- Thank you, thank you so much.

- Are you alright? Are
you in pain or something?

- It's goin' away.

How 'bout you? Yours gone yet?

That mad on you had when you
opened the door. (laughs)

- Oh yeah, I'm sorry I...

- You should have seen
the sparks coming off you.

Fairly sizzling.

In fact, you looked like you
could belt the whole universe.

- Well, I coulda.

- That music.

- Oh yeah, I'll turn it off.

- No, no, no sugar. It's pretty.

But I thought I was the
only one hearing it.

But if you hear
it too that means

I'll be around a while longer.

I think I'm goin' to faint.

Don't be frightened son, don't
be frightened, it's alright.

If the Lord's callin' me home,

it's a good of way to
go as any, with music.

- Tod! Hurry it up!

(melancholy music)

- [Jennie] Thank you, doctor!

- You're welcome Mrs. Henderson.

- Thank you. But isn't there
anything else we can do?

- Nothing.

- But don't you think we could--

- Nothing. Just try
to keep her happy.

Well, goodbye, doctor.

- Goodbye, doctor.

(door shuts)

- Wally?

- Yes, Jennie?

Well now, how does it feel

having the best
cardiologist in town?

- What's the story?

- Well, the outlook
is fair. Only fair.

Doctor Sigrist has studied
your case very carefully

and he seems to feel
that, well that...

- How long have I got?

- You don't put your questions
very scientifically, Jennie.

- Then give me an
unscientific answer.

How long have I got?

- I'm not evading,
Jennie, it's just that,

I really can't say but
this is your fourth attack

in the last year.

- A month?

- Oh sure.

- Could be a week. Or
maybe the next minute, huh?

(melancholy music)

- Cora has your new medicine

and I'll drop back
again tonight.

- Thank you. Goodbye
now, Wally dear.

(upbeat jazz music)

- Well, that's a happy sound.

- Yeah, maybe it
means she's okay.

- You can go in now, boys.

Goodbye, doctor.

- Goodbye, Cora.

(knocks)

- [Cora] Jennie?
- Come on in.

Well, you two boys
must be mind readers.

- How come?

- I was just laying
here thinking

I wish I could find
those two nice young men

to send them thank yous
for their kindness.

- You don't have to
thank us, Mrs. Henderson.

- You can call me that to my
back, to my face it's Jennie.

- Okay, Jennie.

- And face to face, I
do thank both of you.

- Well, what did the doctor say?

- The doctor? He said
that I was doing fine.

I'm coming along just fine.

- I better straighten
the kitchen.

- It's a great dixieland.

You know, there used
to be a reed man

that used to play with
the old bassy band,

had a sound just like
that, name of Mobley.

- You a musician?

- Who me? No.

I'm just a buff.

- What's that in English?

- An aficionado.

- That's not English.

- A buff is a fan, a jazz
hound. I dig the stuff.

- You do?

- Oh yeah, can't keep
me away from it, right?

- Well, you may
not be a musician,

but you sure got a musicians ear

cause that was Snooze Mobley.

- You're kidding. That's...

(laughs) I didn't know he
played with the Dixieland group.

- Well son, that was the
first job Snooze ever played.

In fact, it was everybody's
first job in that band.

Mine too, I'm on the other side.

- (laughs) Yeah? Do you mind?

- Be my guest.

♪ I'm coming, Virginia

- Not bad. And if I look dreamy,

it's not because I'm sitting
here pleased with myself,

but the pretty things them
boys play behind my vocals,

oh it was something,
how they played.

I better start talking
about something else

or I'll be crying in a minute.

(snaps) Good for you.

- [Tod] What's the matter?

- I don't want you
boys to think I'm rude,

but when I get to talking on
jazz music I forget everything.

I don't even know your names.

- To my face they
call me Murdock,

behind my back they call me Buz.

- Tod Stiles.

- Tod. Buz. You boys
from around here?

- No, as a matter of fact, we
were just leaving town when--

- When I almost creased you.

You know, maybe it wasn't
just my bad driving.

Could've been the good
Lord had it in mind

for us to meet today

and I'm thankful He saw
fit to make it a near miss.

- Amen.

- Sit down.

You fellas travel a lot?

- That's what we do the most of,

at least until we
hit the next job.

- What kind of job?

- Any kind, anything we can do.

- Sounds like easy
come, easy go.

- Not exactly. You see, well,

we're sort of looking for a
place where we really fit.

A kind of a niche for
ourselves, you know?

But until then I
guess we'll just

sorta keep looking and moving.

- Could be the
Lords will at that.

Your family don't
mind you traveling?

- No family.

- I know what you mean.

My husband, Charles,
God rest his soul,

has been gone 12 years now.

No children. No
relatives. Nobody.

Guess the only memory
I have is Charlie's

and the six fellas that
played in the band.

And it's been 30 years
since I saw them.

- But they're still your family?

- Oh yes, precious, time has
nothing to do with who you love

they've never left me.

The way they played and
the spirit they had,

30 years, 300 years,
I'll never forget them.

- [Buz] Who else
was in that group?

- There was two you
may have heard of,

two that've become
famous that is.

Snooze Mobley and A.C. Graham.

- Was A.C. the
drummer in that band?

- Yep. And I hear
he's in New York now

goin' big in studios
and television.

Yes, Snooze and A.C.
have got it made.

- Snooze is a crazy name!

- Yeah, but it fits him.

He always looked like
he was almost asleep.

- That's right. That's him.

That's a picture
there on the mantle.

Will you get it for me, sugar?

- This one?
- Uh-Huh.

- Which one was the leader?

- Leader? The trumpet man,
his name was Lover Brown.

And was he ever woman simple.

- Real chaser, huh?

- Chaser? He didn't stop there.

He not only chased 'em, he
married 'em! Lots of 'em!

And him, he was the scholar
of the group, and for real,

name was Horace Wilson. He
finally become a lawyer.

This one, he's now in
Philly, he and his banjo.

And as far as I'm concerned
Philly can have him.

- Why didn't you
like him, Jennie?

- Oh well, I guess you
can't get six outta six

and Hank Plummer was
mean, just plain mean.

The only mean one in the group,

but when he was sitting
in with the band

that's when he fit in

cause nobody could
play a banjo like him.

And here, here's the King.

King Loomis was his name.

The only man I knew who
couldn't play sittin' down.

He used to stand there
like he was saying,

pay attention cause
now I'm gonna show you

how this thing really
should be played.

Then he'd point that horn
to the moon and really go.

What a shame. Would you please?

Together we was
like one big family.

It wasn't always goodie two
shoes and sweetness and light,

cause we had our scraps
and plenty of 'em,

but they were still my family

and, oh, wouldn't I love to
see them all together again,

just one more time.

Boys, do you believe the Lord
works in mysterious ways,

His wonders to perform?

I do. I believe it.

And I believe the Lord
sent you two boys to me

to do something for me I
couldn't do for myself,

but the two of you could.

- Now, what would that be?

- Would you boys help me bring
my family together just once?

- You mean the band?

- That's right. I'm not
asking favors, it's a job

and I'm willing to
pay you what you ask.

- Uh, Jennie, wait a minute.

- Look it would, it
would take a lot of money

to try to locate six musicians

who are scattered
all over the country.

- Honey, I'm loaded.

I've saved my money
and I haven't pampered
myself until now.

The one thing I want
most in this world

is to see these six guys
right here in this room,

playing for me.

- There's 30 years, Jennie,

you know, who knows what's
happened to them by now.

- Jennie, don't get
your hopes up too high.

- Where would we start to look?

- I know where two
of them are right now

and I have a few
leads on the others.

Won't you do it for me, please?

(jazz music)

- Thank you! Thank you!

In one week from today--

- A week?

- A week? Jennie,
that's not enough time!

- Of course it is!

Didn't the Lord make the
heaven and earth in seven days?

Well, that's a lot of time.

I can't count on Him giving
me more time than that.

And I know you can do it,

I just know both of
you boys can do it.

Who needs that old record?

One week from today they're
gonna be playing here for real

and I tell you, it's gonna
be fabulous! (laughs)

(upbeat music)

(bar patrons chattering)
(piano music)

- Excuse me?

- Wait a minute.

- I'm looking for Hank
Plummer, he's a banjo man,

he's working somewhere
on this street,

but I don't know where.

- Mike?

It's a friend of Hank Plummers.

- Wait a minute, I'm
not a friend of his!

I don't even know
what he looks like!

(music drowns out voice)

- More? Hey, Mike!

- Will ya wait a minute?

Look, Hank Plummer
isn't a friend of mine,

I don't even know
what he looks like!

I just have to find him.

- Hey, you see this?
Hank Plummer, his mark,

that's why I hired Mike.

- Hits pretty good
for an old man, huh?

- What?

- Look, you know where he is?

- Some joint in town. Where
ever the mood hits him.

Is there anything
else I can do for you?

- No. Thanks for everything,
I'll do the rest myself.

(upbeat jazz music)

(patrons chatter)

- [Hank] Hey, Jack!

- Yeah?

- I hear you lookin'
for somebody.

- That's right. Hank Plummer.

- What do you want with him?

- Well, it's personal. Do you
know where I can find him?

- Yeah, he's right
here. It's me.

- Oh no. He's a much older
man, he used to play banjo

with the Memphis Naturals.

- That's my father. He's dead.

- Oh, I'm sorry.
Well, that's that.

- Now what in the world
do you want with him?

- Well, an old friend of
his asked us to find him,

she's very sick, we're trying
to put together the old group,

one last time.

- She? Is that Jennie?

- Well, how'd you know that?

- Is she still in Pittsburgh?

- That's right.

- Well, uh, okay. I'll
send for my old man.

What's the matter with you?

- Just like that?
- Yeah, just like that.

- It's too easy, I don't know.

- Well, when is this gig?
- Next Friday.

- That's cool. Thanks
for the message.

(upbeat music)

(fast paced swing music)

- Snooze! Snooze!

Hey, Snooze!

Did you talk to Ryan?

Gonna be able to make it Friday?

Crazy!

(rhythmic clapping)

- Well, let me see.

I have three dates on Friday
and a film on Saturday.

Is she really bad?

- Yeah.
- Oh. Hey, Saul?

- Yeah, Ace?

- Are you busy
Friday and Saturday?

- I sure am. Promised the
kids I'd take 'em fishing.

- Man you've got to
cover some dates for me.

- What dates?

- Not for kicks, I have
a friend that's very sick

and I have to be out of town.

- Oh, alright, you've got it.

- Thanks, buddy.

- If us drummers like,
can't protect each other,

like, who will?

(drum sting)

- Solid.
- That's great, Ace!

(knocks)

- Come in!

Do I know you?

- Well, you used to.

- When?

- It was a long time ago.

About that long ago.

- Little Hank?

- That's right.

I'm four days
early for this gig,

and I drove all the
way from Philly,

and I wanted to
know if it was okay

if I sat in for my old man?

- You play banjo?

- Well, I used to, but
I switched to guitar,

but I can switch back again.

- I thought I heard
somebody come in.

- Hank, this is Cora.
She lives next door.

- Hi.
- Hello.

- What's the matter?

- Big Hank wouldn't come?

- He's gone, Jennie,
five, six years ago.

He wouldn't have come if he
was alive, you know that.

- Oh, you musn't
talk ill of the dead.

- I don't go out of my way to,

but I've learned to call people
as they are, dead or alive.

I know who my friends are,
my father was no friend.

But you were.

- You was five years old
the last time I saw you.

What do you remember?

- Everything. I've
never forgotten you.

- Hey, don't tell me
this boy was around

at the time of the
Memphis Naturals?

- No, ten years after
the band broke up.

His father, Big Hank,
come to Pittsburgh

with this little
boy under his arm.

- Where was your mother?

- I don't even remember.

I guess she stood the old
man as long as she could

then she took off and my father,

like he wasn't there either,
you know what I mean?

- Yes, he used to bring
the boy to the club

with him when he was working.

Imagine a five year old
running loose at that hour.

One night I trooped down
and Big Hank, as usual,

was shooting dice with
the other musicians

so I asked him if I could
take the boy home with me

while he was playin' Pittsburgh
and he said, oh sure.

- That wasn't what
he said. I was there.

He said, don't bother me when
I got the dice and I'm hot.

Didn't he?

So, Jennie took
me home with her.

I stayed with her
for three months.

And that was the only
time in my whole life

that anybody ever care
whether I was fed,

or washed or put
to bed at night.

- Come on, you were
such a night owl,

I never could get you to sleep.

- Sure you could.

There used to be this
tune you used to sing

and I used to drift
off just like a baby.

- What tune? I don't remember.

(guitar strums)

♪ Rock me

♪ Rock me in your arms to sleep

- I couldn't have sung that!

- Oh, but you did.

♪ Rock me

♪ Rock me in your arms to sleep

- That's lullaby kinda tune.

It don't fit
lullaby for a child.

♪ When I feel your
arms around me

♪ Oh, I sleep so deep

♪ Good night, sweet blues

- Only lullaby I knew.

- Go, Jennie Mama, please?

♪ Lock me

♪ Lock me in your arms so tight

♪ Lock me

♪ Lock me in your arms so tight

♪ When I feel your
arms around me

♪ Oh I sleep just right

♪ Good night, sweet blues

- Who's he looking for?

- Somebody, name of Brown.

- You mean Lover Brown?

- Yeah, that's right,
do you know him?

- Intimately, the hard way.

- I got this address here from
the local musicians union,

but it doesn't seem to appear
on any of the mailboxes.

- Oh, Mr. Brown, he's
moved up in the world.

He's now resides at the mansion.

(laughter)
- The mansion? What mansion?

- At the junctions
of Route 4 and 22.

- Thanks a lot, let's go.

- Okay my man. Oh
say, tell Mr. Brown,

Raymond Saunders sends
his best regards,

also, Mrs. Saunders send
her best regards also.

- Right.

- Okay my man, take it easy now.

(engine starts)
(jazz music)

- This is Mr. Brown's mansion.

- What is this?

(slow jazz music)

(church music)

(slow jazz music)

- Sick sister, huh?

- We will now continue
presentation of Plantiff's day,

you may proceed Mr. Wilson.

- If it'll please the court,

I find that I am forced
to request a recess,

it's a personal
matter, your honor,

may I explain?

- Council may approach the
bench, you too, Mr. Dayton.

- How are you feeling, Jennie?

Oh that's fine.

Chicago's hot, where's Buz?

Saint Louis? (sighs) No
trace of King yet, huh?

Well I'm at the courthouse
now, keep your fingers crossed.

Yeah, Jenny, I'm
praying too. Bye.

- Any objection to
that Mr. Dayton?

- Not at all, your honor.
Perfectly agreeable.

- Oh, let's see. Today is
Thursday, Monday morning?

- Oh, that'll be just fine, sir.

- Court stands adjourned until
nine o'clock Monday morning.

(gavel pounds)

Horace, please accept
my personal sympathy.

- Oh, thank you, John.

(airplane engine)

- [Intercom] Flight 247
now boarding gate seven,

north concourse, please.

Flight 247 now boarding north
concourse gate seven please.

- Is that us?

- No, we still got 10
minutes. You nervous?

- Well, a little, the thought
of seeing so many friends

after all these years, Jennie...

You know the mark of a
working bass player? Calluses.

I'm afraid I've lost mine.

- Well, just the
same, Mr. Wilson,

no other bass player'd
do for Jennie.

- Oh, now I'm gonna be
more nervous than ever.

- Tell me something.

Was it, was the group really
as good as Jennie remembers?

- If we'd stayed together,

we would have been recognized
as one of the best.

- [Tod] Why'd you break up?

- Personality conflicts.

We were six entirely different
individuals, Mr. Stiles,

what kept us
together was Jennie.

Nothing that she ever said
in so many words, but,

Jennie radiated something
that was contagious.

You know, she used to
sit on that tall stool

in front of the band every night

and off to the side and
she looked only at us.

She never looked
at the audience.

She couldn't have been
more than 19, maybe 20.

I don't think Jennie ever
knew whether there was a crowd

or whether the house was empty.

Didn't seem to matter to her.

And then we'd get into a
new town, tired, cranky

and irritable at one another,

we'd start to play, and
differently at first,

and suddenly and this happened
every night, mind you,

we'd look up and there was
that sweet, smiling face

beaming at us.

Not just a silly
easy-to-please sort of thing,

Jennie noticed every single
phrase each of us played

and when it wasn't so good,
well, she'd sort of laugh

as if to say, well if at first.

And then when it
was really good,

a delight would
just beam all over.

Yes, she gave out
something to us, you see,

and we had to give
something back in return.

We gave back the
best there was in us.

And then after she left, well,

it's awful soft.

- So her first night on the
band she comes home with,

I think it's only fair
that I tell you boys

that I am the daughter
of a minister,

so lets nobody waste no
time in that department.

(laughter)

- Well, I had to say something,
you know how musicians are!

(laughs)
(trumpet plays)

- Oh, that's got to be
Lover Brown, it's got to be.

- Have no fear, fellas,
Lover Brown is here.

- Aah!
- A.C.

- Lover, how you doing?

Snooze, how are ya?

Oh, ya got to be young Hank.
(rhythmic tapping)

- Oh, Lover Brown, bless you!

- Oh, bless you, honey!

- You are a sight for sore eyes.

Who's the gentleman?

- Oh, that gentleman,
that's my manager.

You know, can't go
anywhere without him.

You know how it is
when you become a star,

you have accountants
and managers.

- And wardens and guards,

you old goddaff,
you've been bigavized.

- Yeah.

- You know, come
there hearafter,

you're gonna be in big trouble,

but in the meanwhile, suppose
you play me a fast one.

- You said the word.
(trumpet plays)

(band plays)

(claps)

(phone rings)

- Hello?

Buz? How's it going?

Did you find the King?

Oh, but you do
have a lead on him.

Good, now listen,
when you find him,

treat his majesty
with respect, ya hear?

And don't let him
scare you none,

just cause he's
the king of Loomis.

And Buz, hurry home, please?

(melancholy music)

- G'morning, sir, I was
told I can find a man here

that works on the mall by
the name of King Loomis.

- Somebody gave
you a wrong stear.

This mall's a public
place. Nobody works here.

(music trills)

- Shine, mister?

- That's the whole story, King.

All of the other guys should
be there by now, all of them.

So, if you wrap up that jazz

we can get there before
the afternoon's over.

- I'm not going with you.

Can't go, that's all.

- Can't? You mean you just
don't give a flying yap,

is that it?

- Geez, I care very
much about Jennie.

Please, you give her
my deepest affection.

- Oh yes, love and kisses from
a distance, that's it, huh?

- You don't understand.

For me to go there now,
it's asking too much.

- No, I don't understand.

You think it was easy
for those other guys

to just pick up and
go just like that?

Everybody's got
responsibilities, obligations.

A.C. and Snooze and Horace

and Lover had to lie
his way outta jail,

so what's asking too much?

Oh boy, this is
a very funny bit.

You know, I was the
one that told Jennie

that after 30 years
people change.

But I gotta tell ya something,

out of all the guys in the
band you're the last guy

that I thought would
end up just not caring.

- You're asking me to do the
one thing that'll destroy me.

The one thing.

Drinking, that
didn't destroy me.

Bad luck, bad health
didn't destroy me.

My wife, my family, they
left me and they should have.

Even that didn't destroy me.

But for me to play for
Jennie and those guys,

that will destroy me.

I was good. Very good once.

I ain't picked up
a horn in, hmm,

don't even own the horn anymore.

When the liquor was getting to
me, I pawned everything I had

to buy a bottle
and another bottle.

The horn was the
last thing to go.

It's hanging in the
window of a pawn shop

right around the corner
from where I live.

You know every morning
when I come to work,

I walk seven blocks
out of my way

just so I don't see that
horn hanging in that window.

- I'm sorry, King,
it's just that,

well, I know it'll
break Jennie's heart

if I show up empty handed.

- No lip left.

By the time I learned to
stay away from the bottle,

oh I whipped it, I whipped it,

one day at a time,
but I whipped it.

But by then it was too
late for anything else.

But, how, how, how's
a man going to play

without being in
shape, without a lip?

No, mister, you forget it.

I need every bit of the strength
I've got just to survive.

Jennie'll understand that.

- Sure, she'll understand
better than anybody.

You see it's taken all her
strength to survive too,

just long enough to see the
six of you one more time.

Okay, King.

- A man's got his pride.

- Sure, sure. You're entitled.

- Oh, what the.
Mister it's a lie.

I've been lying to you, lying
to Jennie, lying to myself.

It ain't pride, mister.

I'm, I'm just so afraid
to touch that horn.

(slow music)

- Yeah, is there
anything you need?

(upbeat music)

(clapping)

- Now, don't you
fret, Buz, darling,

Jennie knows you did your best.

Great! Just great!

Lover? You know you got
that, what the French call...

- Je ne sais quoi?

- That's what you've
got! That's true, Snooze?

- Mm-hmm.

- I just asked for
a simple answer,

you didn't have to make
a whole speech out of it.

You know, you're gettin'
to be such a blabber mouth

in your old age. (laughs)

- Hello, Jennie.

- King.

Thanks, Lord, now
my joy is complete.

- Hey, Big, there's old King!

- How about that, man?

- Hey.

- King, how ya
doing? Hank Junior.

- Hello, how are you?

- Pleasure, how ya feeling?

- Hello, King.

(band members chatter)

- You had no right to do that.

Here, take it back.

- It's not mine, King.

You can take it back to the
hawk shop if you want to.

- You had no right.

- Did you even open the case?

- No I didn't open
it, I told you,

I'm even afraid to
look at that horn.

Jennie, I came here to see you,

I can't play anymore. I can't.

I hope you don't ask me.

- Oh King, you know
I would never ask you

to do anything you
didn't want to do.

But I'm glad you're here.

The six of you. All six of ya.

At last, my family is
back with me again, now.

God bless you, Buz.

And you too, Tod.

And thank you, dear Lord.

(bass plays)

- Jump in, A.C., water's fine.

(band members join)

- Madame, if you will.

♪ Rock me

♪ Rock me in your arms to sleep

♪ Darling, you said it

♪ Rock me

♪ Rock me in your arms to sleep

♪ I may yet lose my mind

♪ Cause when I feel
your arms around me

♪ Oh I sleep so deep

♪ Good night, sweet blues

- Go, dear boy.

♪ Lock me

♪ Lock me in your arms so tight

- You know, I once
had eyes for you.

- Now she tells me.

♪ Lock me

♪ Lock me in your arms so tight

- Wait for me, I'll
be out in five months.

- Mare bagatelle.

♪ When I feel your
arms around me

♪ Oh I sleep just right

♪ Good night, sweet blues

Night me, honey!

♪ Been waiting for you

♪ Pacin' the floor

♪ Haven't slept a wink cause you

♪ Waiting for you

♪ Drop to the door and say

- Darling, did you
wait up for me?

- Waited up for all of you.

♪ You better rock me

♪ Rock me in your arms to sleep

Look out, walls of Jericho.

♪ Rock me

♪ Rock me in your arms to sleep

♪ Cause

(bass plays solo)

- Jennie, Mama?

- Play it out good, 'til
the end, like she did.

(trombone plays)

(band plays)

(upbeat jazz music)

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

from Columbia Pictures.

Herbert B. Leonard,
executive producer.