All language subtitles for Route66 - S02E11 (The Thin White Line)

(jazz music)

(jazzy dance music)

(people chatting)

- If any guy's got
it coming, he does.

- You know it, definitely.

- Big slob.

"Get me a beer, boy," he says.

My father lets me use his
hotel suite, I throw a party,

he comes uninvited, steals
my girl right outta my arms

and then, "Get me a beer,
boy," just like that.

- Well this'll
fix him, but good.

In a few minutes, he'll
be a walkin' zombie,

talkin' gibberish and
makin' silly noises,

stuff like that.

- You sure?

- Why, sure I'm sure!

Of course, some wacky
things can happen.

- Look, maybe we'd better not.

- Aw, come on, Howard,

you're not gonna
chicken out on me now.

Look, I've watched Dr.
Anderson administer this stuff

a dozen times, I've even acted
as guinea pig for him myself.

First he'll start yawning,

and then he'll go ape
for a while, like I said.

When it wears off he
won't know what hit him.

- It couldn't happen
to a nicer guy.

- Right.

And,

just to make sure.

(jazz music)
(people chatting)

- One spiked beer, comin' up.

Hey, Duke, here's your drink.

- Later.

- Duke, I, I thought
you wanted a cold beer.

- Later, boy.

Can't you see I'm busy
dancin' with our girl?

Later.

- Hey, that's not meant for you.

- But I'm a terrible
opportunist.

(laughing)

- That wasn't meant for you.

(sighing)
(smacking lips)

- There!

- I saw you heist
a beer, I saw ya,

I saw ya.
- Delicious.

- Wouldn't save your buddy a
swallow now, though, would ya?

- Just keep your eye
on the kitchen door

and when our gracious host
comes through with a tray, grab.

- Oh, thanks, you're a champ.

(laughing)

(jazz music)
(people chatting)

- I'm sorry.

I can't seem to stop yawning.

- Thanks a heap.

- (laughing) I'm sorry.

- Well, you can't get that
off that easily, dreamboat.

We'll dance those
yawns away, come on.

- Why don'tcha try your
sleepwalkin' in the bedroom?

- Sorry.

- Are you all right, Tod?

- Yeah.

- Would you excuse
me for a minute?

- Yeah, yeah.

- Need character references,
what's this all about, anyway?

- We're just
curious, that's all.

- Well, he's a very nice guy.

He's a dreamboat.

And a gentleman.

- Yeah, yeah, sure, but
is he a stable individual?

- What do you
mean, is he stable?

A party full of kooks and he
asks me if my date's stable.

- Well is he?
- Stable?

Well, he and Buz are hired men
for a construction company.

Every day they
work 22 stories up.

Is that stable enough for you?

(guests chatting)

Come on, now, level
with me, what gives?

- It was just a gag.

Ray and I--

- Harold.

Harold, come here.

Look.

(guests laughing and chatting)
(jazz music)

He's one of those phlegmatic
cats, out cold already.

- I was scared, really scared.

- Listen, are you two gonna
tell me what this is all about?

- Do you know what this girl
is talkin' about, Harold?

- Haven't got the slightest.

(guests laughing and chatting)
(jazz music)

(fist thudding)

(Tod yelling)

(screaming)

(people talking)

(yelling)

(lamp clattering)
(guest screaming)

- Tod!

(dramatic music)

Come on, let me through.

Come on, will ya,
lemme through here!

(dramatic music)

(shoes swishing on ice)

(splashing)

(dramatic music)

- It was just a gag, Dr.
Anderson, just a gag.

- Of all the idiotic,
dangerous pranks.

Gimme the police.

- Wait a minute, wait a minute.

What do you need the police for?

- Please try to understand,

in some individuals, as little
as one millionth of an ounce

of these experimental
chemotherapy compounds

can induce a
full-blown psychosis.

Hello, this is Dr.
Bernard Anderson.

I wanna report that a Mr., uh...

- Tod Stiles.

- You stupid--

- Buz, please!

- Just a minute.

- [Buz] Stupid, stupid.

- Mr. Tod Stiles.

He's in an induced
psychotic state.

He's at large
somewhere in the city

and he's potentially dangerous
to others and to himself.

- [Man] Okay, chief,
there you go--

- Is that Tod
Stiles, S-T-I-L-E-S?

Where are you calling
from, Dr. Anderson?

- [Doctor] The Marriott Motor
Hotel, city line, Monument.

- Give me a full description
of the suspect, doctor.

Height, weight, color,
age, identifying marks

and all particulars, please.

- They need a description.

- He's about 6'1"--
- 6'1".

- 185 pounds.
- 185 pounds.

- Light brownish hair.
- Light brownish hair.

- Green eyes and
loaded with freckles.

- Green eyes, uh,
lots of freckles.

- Okay, Doctor.

(distorted voice on radio)

- Attention all cars.

Be on alert for the
following described.

White male, American.

Tod Stiles, 6'1", 185 pounds.

Light brown hair, green
eyes, heavily freckled.

In middle 20s.

Last seen running from
city line in Monument.

This man is in a psychotic state

and reported to be dangerous.

City line in Monument, Ed.

- [Man On Radio]
Come in, five one--

- 22, 22, proceed
to Marriott Hotel

at city line in Monument,
meet a Dr. Bernard Anderson.

(siren wailing)

- Is that all you can tell me?

- When I got out to
the fountain, uh,

I don't know, he,
he disappeared,

he could've gone in a million
different directions, he,

I don't know, he was just gone.

- Uh huh.

Doctor, what about this
experimental stuff?

How does it work, uh, what
can we expect from him?

- Anything, everything.

A whole range of human emotions.

- Well there must be
some kind of pattern.

Some basic pattern.

- Yes, there is a basic pattern.

Even in microscopic doses,

these compounds can
induce hallucinations,

psychotic state,
both temporary, but,

roughly comparable to
those of schizophrenia.

- Mm hmm, I see.

- Well I don't!

I mean, what's goin' on here?

These, these two idiots here,

give my buddy a glass of drugs,

makes him go out of his mind,

and you stand here and you talk
and you talk and you talk--

- Well what do you
suggest we do, I--

- Stop talkin' and
get out and look!

- How?

- I don't know,

just get out and look.
- Where?

- Where, that's for you to know.

- Well that's what I'm trying
to find out, where and how.

- I'm sorry, go ahead, will ya?

- All right, Doctor, go ahead.

- Phase one has
already taken place.

Yawning, intense drowsiness.

Sleep, a minute,
an hour, depending.

Then, um--

- Explosions-ville.

- Yes, in this case,
but not as a rule.

Possibly you had just angered
him, a, a grievance, a,

an imagined grievance
of some kind.

- [Ray] It's possible.

- It's very possible.

- What did I do?

- Look, you and you and you,
shut up, all three of you.

Just shut up!
- Murdock.

- Stiles should now be in the
swiftly transitory phase two.

Patients describe this
as a state of confusion,

a feeling of helplessness.

A sleepwalking, a nightmare,

lost in a great, mysterious
cob-webbed world.

- But doctor, you
said transitory.

- Yes.

- Well, transitory to what?

- Trouble.

While in this state, the uh,

really dangerous phases begin.

First the patient
becomes euphoric, high.

A giant, 10 feet tall.

Unpredictable.

Uncontrollably happy.

At one with the world.

- How long does that,

that high stage last?

- Good question.

Total effect of the
compound will last

from six to eight hours,
depending on the individual.

And upon the amount
administered.

- Six to eight hours?

You've gotta find
him before then.

- Well, we hope to.

- In any event, I'd
better be with you,

to administer the antidote.

This will cut short
the effect, and

greatly ease any after-effects.

- Well, it's a big town, doctor.

What happens if
we don't find him?

After the high
period, what then?

- What goes up must come down.
- Depression?

- First, paranoia, intense,
terrible unreasoning terror.

Then depression.

In my own experience,
I found that--

- You say, in your
own experience?

- All of us working in the
field have undergone at least 20

and many as 40 sessions
with the compound.

And in the final
phase of depression,

all of us, even the most stable,

have turned
potentially suicidal.

(dramatic music)

(trippy music)

(tires squealing)

- What are you trying to
do, get yourself killed?ú

(trippy music)

(ominous music)

(laughing)

(cans clattering)

(ominous music)

- [Man With Flashlight] Hey!

What are you doing down there?

(dramatic music)

(trippy music)

(footsteps echoing)

(dramatic music)

(panting)

(heart beating)

(heart beating
rapidly and loudly)

(heat beating quietly)

(watch ticking loudly)

(clock ticking)

(clocks ticking and chiming)

(hammer ringing)

- Red hots, get
your red hots here.

Red hot?

- Water.

- Water?

You want water?

Pray for rain.

- The world's full of wise guys!

Guys that push and shove
on the dance floor.

- Right, pal.

You're, you're absolutely right.

- Water.

- Sure, pal.

Sure.

Here ya are.

Ice cold, and fresh
from the spring.

- More, please.

- Sure, pal, sure.

All you want.

(laughing)

(trippy music)

(dramatic music)

(siren wailing)

- [Uniform Cop In Front
Of Car] Lieutenant Walker?

- Anything?

- No, you?

- He's some place within
this 20 square blocks.

He's gotta be.

Now this is where
he was last seen,

approximately 15 minutes ago.

Here we are.

Checked the cabs in this area.

No pick-ups reported.

Checked the bus schedules,

this time of night, the
buses run only once an hour.

Now we know he's on foot.

The way I figure it out,

we divide the zone up into 10...

(traffic drowns
out other sounds)

- You the guy that
put the call in?

- You from the papers?

- No, I'm just a friend of his.

- Oh, I told the
police everything.

- Well, I know, but--
- Well, whaddya want from me?

I told the police everything.

- I know but, well,

well, was he all
right, was he in pain?

What did he look like?

- (laughing) What
did he look like?

He looked like a kook,
that's what he looked like.

- Did he say anything?

- I don't know, I was too
scared to listen good.

- Well, why, what did he do?

- What did he do?

You see here?

That's where my Adam's
apple used to be.

I tell you that guy's
a psycho, a killer.

- [Cop] Murdock!

- Believe me, with
that guy loose,

there ain't nobody safe
in his bed tonight.

(jazz music)

- (laughing) You've
been drinking.

- Sh.

(laughing)

(bar patrons chatting)
(jazz music)

(laughing)

- Hiya, people. (laughing)

John, I'd know you anywhere!

- My name is Joe.

- The world's full of
Joes and I love 'em all.

Shake, friend Joe.

- What were you tryin'
to do, when you come in?

Bust a door off?

(glassware clattering)

(dramatic music)

- The Earth turns.

I just offered you the
bright side of friendship.

There's also the dark side.

Choose!

(ominous music)

- What can I do for you, friend?

(laughing)

- I've been wandering
a vast arid desert

between heaven and hell, and
I've got a gigantic thirst!

What do you suggest for it, Joe?

- In this trap?

Beer.

- Beer. (laughing)

Oh, that's wonderful! (laughing)

It's marvelous!

I'll have a beer. (laughing)

With a martini chaser.

What'sa matter, friend Joe?

- Nothin', nothin', beer,
with a martini chaser.

(ice rattling)

That'll be two bucks, friend.

- Help yourself.

(sighing)

(laughing)

I give you a toast.

A toast to friendship.

Here's to friends
both near and far,

here's to woman,
man's guiding star,

here's to friends
I've yet to meet,

here's to those
hero here I greet.

Here's to childhood,
youth, old age,

here's to prophet,
barred and sage,

here a health to everyone,
peace on earth and heavens won.

(speaking foreign language)

Skol!

L'chaim!

(speaking foreign language)

Vivat.

Salute.

Salud.

Votre sante.

Delicious.

(laughing)

Again.

- Again?

- Again.

Only this time make
it a Manhattan chaser.

- A Manhattan chaser?

- Two cherries! (laughing)

Friend Joe, you're
staring again.

- Sorry, friend.

- What can I play
for you, Shakespeare?

- Lover.

- You know it.

(piano music)

- God love the cheerful giver.

(laughing)

(sighing)

(laughing)

Here's a toast to music.

And the night shall
be filled with music,

and the cares that
invest the day

shall fold their
tents like the Arabs

and silently steal
away, Longfellow.

Delicious.

(laughing)

Again. (laughing)

(trippy music)

(jazz music)

(glass shards clattering)

(laughing)

And now!

A toast to ...

I seem to have
run out of toasts.

What'll we toast to, friend Joe?

- Closing time.

- (laughing) Here's a--
- Something for the poor, sir.

- Hey!
- Something for the poor.

Come on, oh come on
and help them Ed,

you know me--
- Hey, hey, hey!

I told you, Maggie, I told
you for the last time,

I don't want you comin' in here,

this time I want you out--
- Stop it!

A toast to you, Lady Charity.

He who bestows his
goods upon the poor

shall gain as much
and 10 times more.

Turn her loose.

- Lady Charity?

This old con artist
is Tambourine Maggie.

She's been hustlin' this
neighborhood for years.

- Turn her loose, friend Joe!

- All right.

All right.

But she's a no-good phony.

- God bless ya, sir,
God bless ya. (laughing)

- Is it for a mission in India?

An orphanage in Tibet?

Medicine for darkest Africa?

- You ain't puttin' me on, Jack?

- No.

Tell me.

Please tell me.

- Well it's, it's like you said.

Yeah, like you said.

Medicine for darkest Africa.

That's it.

Medicine for darkest Africa.

God bless ya, sir.

God bless--
- And now,

by the faith, hope and
charity, these three,

the greatest of
these is charity.

Tonight we give to people
less, less, and less fortunate

than ourselves.

Tonight we give them medicine--

- Hallelujah!

- Give.

- Sure, Mac.

(fist thudding)

- I'm going to give
you one more chance

to be charitable.

(Tod hums "Bringing
in the Sheaves")

- Oh, God bless you
and keep you, sir,

God bless you--

- Wait!

We must give friend Joe
a chance to contribute.

Friend Joe?

(till ratcheting)

(laughing)

- She's a phony.

She's takin' us all
for prize suckers.

She's a phony!

(till ratcheting)

Here, here, take it.

Take it all!

And I hope the
medicine they never get

cures everybody in Africa.

- Here, Lady Charity.

- Wait!

- Thank you.

From all of us, to
you, Lady Charity.

- (sobbing) Oh, God bless you.

God bless you.

- No.

("Bringing in the Sheaves")

God bless you, Lady Charity.

(Lady Charity weeping)

- I swear,

every cent

every cent for charity.

God bless y'all!

- Hmm, well,

I know there ain't nobody in
the joint left with a red cent,

so, the house is buying.

(bar patrons clamoring)

- Too much.

Just too much.

- From the song
of the same name.

- I thought I'd seen it all,
had it all, until tonight.

Can't explain.

You bring life into
this crummy joint.

And love.

You knock me out, you really do.

- Romero reporting in.

I'm at Chestnut and Second.

What?

I don't believe it.

I don't believe it.

Who?

All right, give it
to me once again.

Where is it?

13th and Chancellor.

Yeah, okay, I got it.

- What was that all about?

- Tambourine Maggie, an old
witch who works a charity hustle

just walked into
a station downtown

with a tambourine
loaded with greenbacks

and said she wanted to give
all the money to charity.

- So what?
- Medicine for the

dear dying people
in darkest Africa.

- I don't get it.

- Well she said that that money
was given to her by a saint.

A freckle-faced,
green-eyed saint.

Johnny's place.

(dramatic music)

- I don't care what you say.

That kid ain't no psycho.

He had more brains, more
chutzpah, more moxie,

than any guy who ever
bellied up to this plank.

And that's sayin'
somethin', Mister.

Now, look, it's
past closing time--

- Now, try to get this through
that thick skull of yours,

will you?

He's in danger.

And every minute that
passes, that danger grows.

Now we're concerned for him,
we're trying to help him.

That man's a doctor and the
other's his best friend.

- And you're a cop.

- All right, let's try
it again. (sighing)

Where is he?

- I told ya, he took off.

- Where?

- I told ya, with Red.

- Where does she live?

- I told ya, I don't know.

- Well how long has
this Red worked for you?

- [Joe] Two years.

- And you don't know
where she lives?

- That's what I said.

- You're a liar!

- And you're a cop.

- All right, let's go.

(lock clicking)

(dramatic music)

- All right, Joe.

No more time, Joe.

No more question-and-answer
games, just answers.

Where, Joe?

(glass shards clattering)

Where, Joe?

(knocking at door)
- Murdock!

(knocking at door)
(glass shards clattering)

Murdock, open this door!

- Joe, this is your
last chance, where?

- [Romero] Murdock,
open the door!

- 900 Maple, Apartment C.

- Murdock!
(knocking at door)

- Thanks, Joe.

For the help.

(glass shards crunching)

(glass shards clattering)

(Tod and Red laughing)

(glass shards clattering)

- [Red] You're too much.

You really are.

(Tod shivering)
What's the matter, dove?

- I feel cold.

- You're kidding.

- No.

It's like the angel of death

just flew between me
and the life-giving sun.

Suddenly I feel cold.

- You gotta be kidding.

You've got enough booze in you
to start your own atomic war.

(Red giggling)

I made a funny, though.

- Sure, my own atomic war.

I feel like it's
already started.

- It'll pass.

I'll snap into something
more comfortable.

Crack us open another
little bottle of champagne.

You're too much.

(Tod shivering)

(Tod shivering and whimpering)

Now that didn't
take long, did it?

(eerie music)

You like?

(eerie music)

(champagne splashing
and bubbling loudly)

(glass shards clattering)

What is it?

Dove?

(demonically laughing)

(Tod yelling)

(dramatic music)

(Tod sobbing)

(dramatic music)

- Car 12, car 12, calling in.

- [Dispatcher] Go ahead, car 12.

- Front and Florence
Street, under bridge.

Believe have spotted
psycho suspect Stiles.

Will keep him
under surveillance.

- [Dispatcher] Okay,
radio, assistance on way.

(dramatic music)

- Easy, Stiles.

Just take it easy, boy.

I'm your friend now,
Stiles, just take it easy.

I'm your friend now,
Stiles, just take it easy.

Come here, Stiles,
just, take it easy.

Just take it easy, boy.

Easy, Stiles.

Easy, okay, okay boy?

Just take it easy.

Nobody's gonna hurt ya, Stiles.

Just take it easy.

(dramatic music)

- I know you.

You're tryin' to kill me.

(dramatic music)

(gunshots booming)

(tires squealing)
(metal crashing)

(dramatic music)

- Where is it?

- The upper arm.

(gasping) This is car 22.

All police cars assist
officer, please.

Come in, please.

A psycho runnin'
loose with a gun

and this stupid thing goes dead.

Where's Murdock?
- I dunno.

- Murdock!

Murdock!

(dramatic music)

(seabirds calling)
(dramatic music)

(trippy music)

- Tod?

Tod!

Tod?

Don't.

Please, don't, huh?

Please don't, buddy, I love ya.

- [Tod] I wanna die.

- No no, no you don't.

- I wanna die.

Don't come near me!

I'm gonna die.

- No no, wait, wait.

Tell me about it, explain
it to me, why, why?

- Consider, Buz.

The two greatest adventures

for mortal man:

being born and dying.

Now I want to
experience the second.

I believe the greater
of those adventures

is death.

- Well come on,
you, you're young,

you've got a whole
life ahead of you.

- No.

In this night I, I
lived a lifetime.

A hundred lifetimes.

I saw God.

And the devil.

Locked in mortal combat.

Infinitely vivid.

Incredibly detailed.

I lived my whole life!

Back to the very

moment of my birth.

For me,

only one great
adventure remains.

- Wait a minute, wait a minute.

Listen, now please
try to understand,

you don't know
what you're doing.

Tod, you remember the party?

Try to remember the party,
the drink that you heisted,

the beer, remember?

Tod?

Tod, for God's sake,
listen to me, will ya?

Try to understand.

Those screwball-loose kids,
they put somethin' in your beer.

Some kind of stuff, that makes
a guy go temporarily insane.

Please, buddy, just give
yourself a little time,

that's all.

It'll pass, I promise you.

I promise you, it'll pass.

Wait a minute, wait, wait.

Remember you talked
about the battle

between God and the devil?

You want the devil to win?

(dramatic music)

God doesn't want you to die.

He wants you to live.

He wants you to enjoy
the, the good, sweet air

and the sky and the sun,
and the life he gave ya.

God wants you to live,
he wants you to live.

(dramatic music)

(Tod yelling)

(sweet orchestral music)

- 20 hours' sleep?

You're lucky, I haven't had
more than four hours a night

since I left med school.

Perfect.

How you feelin', Tod?

- Perfect.

- Patient dismissed.

Come on, I walk ya out.

- [Loudspeaker]
Dr. Vincent Bell.

- Thanks.
- Take care of yourself.

- Bye, Doc, thanks.

- What was it you said?

The good sweet air,
the newborn day,

the sun, the sky,

and the life he gave us.

(orchestral music swelling)

(jazz music)

- [Voiceover] This
has been a Screen Gems

film presentation from
Columbia Pictures,

Herbert B. Leonard,
executive producer.

(orchestral music)