All language subtitles for Route66 - S02E24 (Even Stones Have Eyes)

("Route 66" by Nelson Riddle)

(crane creaking)

(motors revving)

- Hey!

On your date tonight with
Donna, you want company?

- Are you kidding?

Two's company, three's a crowd.

- I got a date with Betty.

I want to know if
you want to double?

- What's the matter, are you
afraid to be alone with her?

Okay, can be arranged.

- Help!
(pipes clanking)

(thumping)

Grab my wrist, man!

(emergency horn blaring)

(solemn music)

(crowd chattering)

(engine revving)

(siren roaring)

He's been out a long time.

- Skin's split, but I don't
think there's a fracture.

I'll bet you money they find
I'm right when they x-ray him.

- Hurry it up, huh, buddy!

- What happened to the day?

- How you feel?

- We're moving, aren't we?

- We're in an ambulance on
the way to the hospital.

You owe me ten year's growth.

- I can't see you.

- That was quite a rap
you took on the head.

- I know my eyes are open,

but I can't see you.

(dramatic music)

(intense music)

(bell chimes)

- There doesn't seem to be
any injury to the eye itself,

or to the optic nerve.

Neurological is negative,
so are the brain wave tests.

You've consulted an eye
surgeon, emotional evaluation.

Medically, Mr. Murdock
should be able to see.

- Except that I don't see.

- Well, that's the fact
that overrules medicine.

- Well, then this isn't
a permanent condition?

- I don't know.

I can't think of any
treatment I could advise.

- Doc, I'm, um, I'm not
a man for blindness.

- Past twelve years,

I've seen two other
cases just like this one.

Where a blow to the
head didn't even

split the skin caused blindness.

First case, a certain
morning, a blind man woke up,

shouted to his wife
to close the curtains

because the sun was too bright.

- How long did it take?

- Other case, the man was
in school, studying braille,

looked up and said, "What
are all these dots?"

- How long did it take?

- This instance, four weeks.

The other, six years.

Every case is different.

- So what do we do now, doctor?

- I'm a man who put in
twelve hours in this place,

now I'm going home.

My wife will say to
me, how'd things go?

And I'll say to her,

"Brought a boy in,

"there's nothing wrong with him,

"except that he was blind,

"and there's nothing
I could do for him."

Then I'll eat my dinner.

- I want out.

- I'm only saying that you
should continue to live.

(items crashing)

- Out, let me out,

I want out, please!

- I know if I use the word
lucky in this connection,

you're gonna laugh.

But in a way, you are lucky.

One of the best
schools for the blind

is right here in this state.

When you're ready,

I mean when you're
ready, they'll help.

Until then, Mr. Stiles,
he's gonna depend on you,

or whoever else there is.

This man is going
to continue to live.

He must function as
a living human being.

That's all there is to it.

(dramatic music)

Good luck.

(car door slams)

- Thanks, James.

Now if you'll point me
in the right direction,

towards the door.

- Four steps.

- I haven't lost my memory.

- Protect yourself from
the clinches, champ.

- That Sylvie always did
wear too much perfume.

Well, Mr. Stiles, shall
I, uh, lead the way?

- After you, champ.

(slow music)

Want a drink?

- Sure, why not?

Let's get blotzed.

As a matter of fact, Mr.
Stiles, let's get blind.

What's the matter, do
object to the word blind?

Well, it's a fact, a blind fact.

You're stuck, aren't you, Tod?

Go, and you desert a friend.

Stay, and you're
a seeing eye dog,

with two legs less than
the standard model.

When's your birthday?

I'll buy you a leash.

Thanks.

Blah.

I never knew it smelt like that.

Make ya a bet there are
no blind alcoholics.

(Buz laughs)

- Did I miss a punch line?

- Last night when I
took Donna home, I said,

"I'll see you
tomorrow for dinner."

- Buz.
- See,

that's the important
word, you see.

The fact is, I'm not
gonna see her for dinner.

I'm not gonna see her, period.

- Look.
- I've got an exclusive

for you, a message
bounced off a satellite.

Comes a time, you ready?

Comes a time, day or night,
and I'll find a time.

You can't dog me every minute,

and you can't stay
awake forever.

I'll be alone, and I'll use
a window, or a, or a roof.

I'll find a way,

and I'll take this useless
carcass and I'll kill it.

(suspenseful music)

You got some ice
for this, bartender?

(frightening music)

- I think maybe it's time
for something to eat.

- Yeah, that's the
way it is with us.

People, in order to be
alive, you gotta eat.

(Buz sniffles)

- I'll be right back.
- Yeah.

(door thuds)

(screen door slams)

(slow somber music)

(Buz sighs)

Dear God,

I don't even know
if you can hear me.

In all my life, I never asked
you for a lousy single thing.

But I'll make a deal with you,

I'll split my eyes with you.

I'll take one, just one,

and stick it in the center
of my head like cyclopes.

Please God, I want
to see (cries).

(dramatic music)

(slow mellow music)

What do you see?

- Ah, it's beautiful,
Buz, really beautiful.

There must be 500 acres
all covered with trees.

We just passed a chapel.

- What do you suppose
they pray for?

- Catalog said they had
cottages, and sunny classrooms,

and a recreation hall,
on a private lake,

and a swimming pool.

You can't see it all from
here, it must be spread out.

- The way you describe it,

I wonder why more people
don't poke their eyes out.

(intense music)

What's the matter, didn't
you think that was funny?

- Buz, I'd like you
to meet Bob Tindal,

he's our Arts and
Crafts Instructor.

- How do you do?
Now, let me see.

Oh yes, Cotton Guidry.
- Hi there, Buz.

- He's our Mobility Instructor.

- How are you?
- He moves around all right.

Now, let's see.

Edith Counts, she's
Home Economics.

- How are you?

- And our next
gentleman is Dr. Johns,

he's himself in Psychology.

- How are you, Buz?
- How do you do?

- Now then, you're
gonna have the pleasure

of meeting Edith's husband.

That's David Counts,

and he's our Braille Instructor.

- How you do, Mr. Murdock?
- How do you do?

- Now, let me see.

Lesley Blakesly, she is
our Psychologist Counselor.

- Hello, Mr. Murdock.
- She'll counsel you plenty.

- How do you do?

- Hal Ferenback, let me see,

Typing, Script, and
other Special Activities.

And last but not
least, Mary Ruth Price,

Home Economics.

- How do you do, Mr. Murdock?
- How do you do?

- Miss Price is your
Cooking Teacher.

- Cooking, you kidding?

- Don't you want to be able
to cook your own breakfast,

without having to
depend on anyone else?

- Well, I don't, I
don't have that problem.

You see, I have a
house full of servants,

and all I have to
do is look hungry

and the cook shoves
a steak in the oven.

- Well, cooking might be one
way you could earn a living.

We know a chef that
makes 25,000 a year,

and I'm awful sure he can
drink one of our boards.

- Well, I might be known as
the only cook who has a cook.

(everyone chuckles)

(door squeaks)

- [Mr. Robinson] Hello?

- I'm here.

- Oh, good.

Now there's one more
person I want you to meet.

- Celia?

- Yes.

- Now this young lady
you're shaking hands with

is Celia Monteros.

- How do you do?
- How do you do?

- Miss Monteros
has been assigned

to guide you through the
early stages of your training.

- Are you blind
too, Miss Monteros?

- Yes, why?
- The blind leading the blind,

that's the picture
around here, huh?

- Yes.
- Just thought I'd mention it,

that's all.

- Well, we've
noticed it ourselves.

- I'll hand him back to you
in a few moments, Celia.

I could go on giving
you orientation lectures

for a couple of weeks I
suppose, but what good.

You begin by beginning.

Outside that window
is a whole world.

As things stand,
you can't enter it.

As things stand, your
blindness is a prison.

With training, the
limitations of blindness

can be pushed back
farther than you know.

But there are two
parts to the training;

what we do,

what you do.

Buz,

the blind are people.

Some are good, some are not.

Some are brave,

and others like the rest of us,

stumbling around in
their own darkness.

We don't try to
make any one over.

We try to make anyone
who comes here capable,

to earn a living, to feed
and dress themselves,

avoid accidents,
to make money and

pay taxes.

The beggar in the street,

he's self made.

Not the people here.

A man must want what
we have to give him.

He must want it so much,

he's willing to go through the
pain of being his own mother

when he get gets
born all over again.

Your friend is waiting
outside to say goodbye to you.

- What do you mean, goodbye?

- Well, he can't take
your training for you.

What's he gonna do?

Hang around here while
you do what you have to?

Is your blindness supposed
to be his prison too?

- That's not fair.

I never meant it that way.

- I didn't think you did.

I'm just calling it
to your attention.

That's what you were
doing without wanting to.

- Okay, okay.

- Celia, he's all yours.

(violin music)

(door squeaks)

(feet shuffling)

(car door shuts)

- Hi.
- Hi.

- Could we have a couple
of minutes, privately?

- Oh, of course.

Now you just stay
put, Mr. Murdock.

When you want me,
I'll come to you.

(Tod clears throat)

- Great conversationalists,
aren't we?

- I'm not gonna be very
far away, you know?

You can get me on a
10 cent phone call,

any time you say.

- I don't want you wrapping
yourself up on account of me.

- If that crane had knocked
my skull instead of yours,

where would you be heading?

- Okay, you made your point.

- I've been sitting here
figuring how to act.

I wondered if I should write,

how you'd feel about somebody
reading your letters to you.

- Well, I don't like the idea
of anybody reading my mail,

but I'd rather have somebody
read it than not get it, so.

- Okay.

What I want to know,

are you all right?

(slow violin music)

- Yeah sure, I'm, I'm all right.

- I mean your attitude.

- My attitude?

(Buz sighs)

So they teach me to
walk with a cane.

Walk where?

To the corner to sell papers.

So they teach me to type.

Type what?

Envelopes, two cents a piece.

I'm still a man that
lives in the dark.

I go to sleep in the dark,

and I wake up in the dark.

That's my attitude.

- If I could give you
one of my eyes, I would.

- When I'm all through here,

when I've gotten all the
training and the rest,

we're splitting up.

I mean,

I don't want you wrapping
yourself up on account of me.

- Well, we'll cross that
bridge when we come to it.

- I mean that.
- Okay, okay.

Stay in there, champ.

(car door bangs)

(engine revs)

(slow mellow music)

- There's no one around,

and I don't want you
to be self-conscience.

I want to teach you something.

I want to try to teach you,

to teach your
fingertips how to see.

What's the matter?

- I don't know.

I just feel,

funny about it.

- This is my face.

My eyes,

my nose,

my cheeks.

Well, you're not really looking.

May I touch your face?

Your eyes are large,

eyebrows finely drawn,

full forehead,

strong nose,

high cheek bones,

mouth, wide.

Whew, strong face.

Hair, that's mans hair.

I see you about

six feet tall.

You weigh about 180.

Strong features.

I think you're very handsome.

You have dark eyes?

Dark hair?

Huh, well.

Now you see the way you do it.

Now I know what you look like.

- It's very personal.

- Oh yes, it is.

Do you want to try?

Oh, I'm sorry.

I wanted you to know
what I looked like.

Another time.

Oh, it's time for you
to get to the dispensary

for your physical.

- Now, come on,
where did you go?

- Would you like to
try it on your own?

It's 300 steps,
straight down this path,

and 10 steps to the left,

five more to the right,

you'll be right outside
the infirmary door.

- (Laughs) You're
kidding, aren't you?

- Don't you think
you can make it?

- All right, we'll
give it a try.

(suspenseful music)

- You've got a cane
in your hand, Buz.

Stick it out.

Remember, there's a whole world

waiting at the end of that cane.

Buildings, and people, and cars,

and sidewalks, and steps,
and holes in the ground,

all waiting to bump
you and trip you.

Pick yourself up!

There's no disgrace
involved, we all do it!

Pick yourself up!

(cane whooshing)

300 steps right down this path,

and 10 steps to the left,

and five steps
more to the right,

and you'll be right
in front of the door.

Move more slowly.

You've got all the
time in the world.

- B, D, E,

F, O, R,

and this little baby here is X.

- That's good, Buz, very good.

You have fine touch.

Now, let's see if you
can make this out.

- Two --

(fire crackling)

- This is where you are now.

This is the recreation hall.

Everything else

leads away from here.

Do you feel it?

Ratio is one inch

to 40 feet.

You must fix that very
firmly in your mind.

I can't concentrate today.

Would you like to take a walk?

- Sure, I'm a little
restless myself.

(slow mellow music)

(cane clicking)

(birds chirping)

(slow romantic music)

- You're so silent.

What are you remembering?

- A girl walking.

Wheels turning.

Light.

New Snow.

An old tree.

Red, green, blue, pink.

Brown dirt.

Freckles.
(Celia laughs)

- Buz --

there are special
joys in this darkness.

The faces of my parents,

ageless, timeless.

I see them as I remember them,

not a day older.

Nothing grows older.

And voices and sounds
are previous now.

And music,

music is so private,

and speaks only to you.

And ugliness is forgotten,

the memory blots it out.

And everything you taste
and smell will be different.

Wind and flowers, and coffee,

and wind and bread,

and the feel of the

rain and the sun on your mouth.

- Can I?

Can I touch you?

I think I know how to look now.

(slow violin music)

- The others have two eyes,

we have 10.

- You're beautiful.

(bright uplifting music)

- Hello?

- Good time for a talk?

- It's a private time,

if that's what you have in mind.

- Something like that.

I think I

ought to tell you

that I've fallen in
love with Buz Murdock.

Not politely and
formally, in love, but

head over heels,
upside down in love.

- [Mr. Robinson] Do you want me

to assign another instructor?

- No --

I just thought
you might want to.

- How does he feel about you?

- Well, he's just

begun to feel again
about anything.

- Just the same,

you have hopes.

- I have hopes.

- No, I don't think we ought
to assign him to anyone else.

("Moonlight Sonata"
by Beethoven)

(door squeaks)

- Hey, what did you do
with the shoe shine rag?

- On the back of
the closet door.

(rag snapping)

You know, there are
two sounds I love;

The sound of a razor
against my beard,

and the sound of a shoe shine.

- Yeah, a little elbow grease.

If you rub hard enough,

you can make them really
shine out like a new diamond.

- I want to tell you something,

but I don't want
you to get angry.

- Go ahead, I'm listening.

- Well, as if you
didn't know it,

Celia Monteros is
in love with you.

Well, that's the message.

Beginning, middle, and end.

I thank you for
your kind attention.

- I don't understand
what your message means.

- It means that somebody
is in love with you.

And raises a normal question,

are you in love with somebody?

- What I feel and who I feel
about is none of your business.

- Well, that's true,

any place but here, not here.

This is where the blind
protect the blind.

- From what?

- From a kind of
unnecessary hurt.

- I'm dating the girl,
how does that hurt her?

What do you do when you
date a girl around here,

break the house rules?

- I told you she's
in love with you.

- No, she's not!

- Well, if you don't know that,

then you're the only one around
here that doesn't know it.

I want you to answer
me a question.

Not to me, but to you.

After she finds out that
her feeling is all one way,

then where does she hide?

This is a small community,

and where does she
hide her hurt pride?

Or do you plan to leave
her any pride at all?

(slow forlorn music)

(doors thumps)

(water splashing)

- Listen --

Again, now.
- What?

- Splash, fish jumped.

(frog croaking)

For those who love,

live under private skies.

Where stars have mouths,

and even stones have eyes.

(Buz sighing)

- Celia --

um, I'm gonna leave.

I figure I've gone
as far as I can go,

and, well, I get restless,

you know, I got to move.

And my buddy, Tod,

he'd carry me.

With him, I was thinking I'd
go back east to New York.

I'll find some place there.

- Does it have to
do with me, Buz?

- Oh, no, no.

It has nothing to do with you.

I was thinking,

you know, the doctor that
told me about my eye sight,

he said could come back
just like that, you know.

Like those two cases
he told me about.

Well, I figured if that's the
way it's gonna happen with me,

then I'm wasting my
time here, you know.

- I don't believe you.

- What do you want?

That's the way I am,
that's the way it is.

- That's not the way you are!

- Look, you made a
mistake about me!

That's all, you'll get over it!

- What kind of mistake?

- Who I am, and the kind
of person that I am!

I mean, you really don't really
know how you feel about me!

- I love you.
- No!

- I love you!

- Celia, no, just
don't say that.

It's not right.

- It may not be right for you,

but it's right for me.

- Listen, I,

I'm gonna be gone
in the morning.

- Because of me?

- It's got nothing
to do with you.

- Because of me!

Buz, listen, don't
you understand?

If you don't finish here,

then there's nothing for you.

(paper crunching)
Read, read!

There's beauty and light and
poetry in your hand, read!

You can now!

If you leave now,
you never will.

Buz, how ever you feel about me,

don't run away now.

You need a year here.

- Well, maybe.

I'll see how I feel about it.

It's not the only
school in the country.

- Buz, please.

I won't come near you.

I won't talk to you.

I'll get you another instructor.

- Celia, this has got
nothing to do with you.

- Don't lie!

Don't lie!

- Celia --

Celia, don't run!

(panicked music)

(footsteps running)

(water splashing)

(Celia grunting)

(Celia screams)

(Celia panting)

(calm mellow music)

(both panting)

(enlightened music)

(Buz cries)

Don't cry, baby.

It's all right.

I didn't want to hurt you,

but I had to.

- I never could have made
it without you, baby.

I drew my strength from you.

- I didn't want to hurt you.

- How could you hurt me, girl?

How could you hurt me
because you love me?

- Don't cry.

- Don't you understand?

I'm crying because I can see.

Celia, I can see.

I'm looking at you,

your tears.

I can see tears.

I can touch tears.

I'm crying because
I can see the tears,

and I'm crying.

- So long, Buz, old boy.
- Thanks.

- Bye.
- Thanks.

Mary.
- Bye, Buz.

- You.
- Good luck, old man.

- Keep playing that piano, huh.

- Davy.
- I know.

- Good luck, Buz.
- All right.

- So long, bud.
- Good luck to you, Buz.

- Good bye, honey
- Good luck, Buz.

It's been nice having you.

- Been swell having you, Buz.
- Thanks.

Bye.
- Bye.

- That's for you, thanks.

- The best of everything.
- Thank you.

Thanks for everything.
- Good luck, Buz.

- Thanks.

I guess we'll see
each other again.

- Well, I won't be here.

I passed my entrance exams,

and I'm entering the
University of Texas.

- Ah, that's, that's
great, just great.

I'll see you there then,

and I'll get to dance the first
dance with you at your prom.

- I accept.

(slow mellow music)

(car door shuts)

(engine revs)

I'll be seeing you.

("Route 66" by Nelson Riddle)

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

from Columbia Pictures.

Herbert B. Leonard,
Executive Producer.