All language subtitles for Route66 - S02E29 (Between Hello and Goodbye)

(sirens)

(dramatic music)

(motorcycle engine)

(slow carnival music)

- Chris!

- Chris!

(waves crashing)

- Chris!

- Chris!

(silence)

- [Tod voiceover] I stand
frozen, immobilized.

Unbelieving.

Within the eternity of
one terrible second,

caught between this
moment and last week.

Remembering Wednesday
night, and what she said

the first time I ever saw her.

"What is beauty without
ugliness," she said.

"Yesterday without today.

Hello without goodbye."

Wednesday night.

The first time I saw her.

Strange, I remember
every word she said

but not the name of the place,

not the song they were playing
or what I was drinking.

(trumpet and jazz music)

- Let's go sack Troy.

All out of wooden nickels?

- It's horses.

You sack Troy with wooden
horses, not wooden nickles.

- It's kind of a game.

You substitute one
cliche for another,

the unexpected for the expected.

It helps.

What am I drinking?

- How about some liniment?

- For wooden horses?

(chuckles)

On the rocks, please.

You play fast, don't you?

- When you send a guy to the
cigarette machine, honey,

you're not sending
him to Siberia.

Like he comes back, you know?

And he stays back.

She's a kook, kid.

But she's my kook.

And who wants to make
trouble over a kook, right?

- Achilles, meet Hector.

- See, she's flipped out.

- Achilles had a bad heel.

- But he slew Hector, didn't he?

- What are you drinking?

- Liniment.

- Hector, I think the lady's
trying to say goodnight.

- So? Goodnight.

- I tried to tell him nicely,

I asked him, what's
beauty without ugliness?

What's yesterday without today?

What's hello without goodbye?

Goodbye, Hector.

- Come on, Chris.

Hey kid, we could
do this two ways.

Right here where we
break up the furniture,

and somebody whistles
cop and we all got grief.

Or outside, nice and
quiet, where like

only one of us has grief.

- There's another way.

You could just leave.

(furniture crashing)

(laughing)

(light happy music)

- Woah, Harry!

Okay, take it away!

Sawfish, Harry!

There's always something special
about that first paycheck

on a new job, isn't there?

Maybe it's the money, you think?

- I'm sorry about what
happened to you last night.

- Well how'd you
know about that?

Did I make the
papers or something?

- Chris told me.

- You know Chris?

- She's my sister.

- Talk about a small world.

- You remember
yesterday when you were

feeding the porpoises,
you asked me

where could you
hear a good trumpet?

- And you said Charlie's Cellar.

They also play great harp there

if you happen to fall
in with the wrong crowd.

- Well I told Chris
you'd be there.

I guess I shouldn't have.

- Now you see, if you'd taken me

instead of sending
me off by myself.

- I'm sorry, Tod.

- Some other time, okay?

- You can tell me.

Was she unspeakable?

- Well let's just say

she dropped the "garde"
off avant-garde.

You know, you oughta
have a talk with her.

- I've given up.

- Although I can't say
it wasn't fascinating.

- I'd better get these
checks distributed.

(melancholy music)

(light carnival music)

- Why shouldn't you be
out here throwing me fish?

Who makes these
decisions, do you know?

(doorbell rings)

(doorbell rings twice)

(sultry music)

- Border patrol.

We're looking for wetbacks.

Are there any more
at home like you?

- I may still be a little
wet behind the ears

but it's nothing a long,
hot summer won't cure.

Why me?

- Another moon, another partner.

- Look again, total eclipse.

- Oh, we're bitter, aren't we?

- Baffled.

- Great.

(alarm rings)

You see, the inside of
a clock, outside now.

You can study the pieces,

all the little bits and parts.

But now that you see them,

do you know any more
about the nature of time

than you did before?

Or the nature of me?

(phone rings)

Is booked!

- Hello.

Hello?

(phone rings)

Hello.

Hello operator,
this is Tod Stiles.

You can put him on.

Oh, you already are on.

How you doing, tiger?

What girl?

Oh, you heard her, huh.

Well, you know as
much about it as I do.

Listen, the reason I called you

is to tell you I'm
gonna stick around LA

'til you get over
that virus of yours.

From outer space, that's
where she came from.

I talked to the doc today,

he figures you've got a good
three weeks on your back.

Yeah, I know it's
gonna be expensive.

Yeah, she swings
with both fists.

Look, don't worry.

You know what moonlighting is?

Handling two jobs?

Well I'm holding down yours
at Pacific Ocean Park,

and starting tonight I'm showing
estates in Beverly Hills.

No, in a bar.

I was sitting there and she
rang the bell, round one.

I'll be over to see you
the first chance I get.

In the meantime, is
there anything you want?

Her name is Chris, and I'll
do you a big favor, buddy.

I won't introduce you.

Goodnight, Buz.

Now about us.

Forget it.

- It's a package
deal, my friend.

It's already been
delivered on your doorstep.

One minute love, the
next minute a left hook.

How long it lasts, who knows.

All sailors pray for
wind, but I found you

and I'll hold on to you

until I've destroyed you,
or you've destroyed me.

- Mirrors.

You've seen them in
our park, Doctor.

The distortion mirrors.

Mirror, mirror on the wall,

where did all of the
old reflections go?

I was, I was walking
the checks around,

I passed all those shiny faces.

I always walk past them

on my way to the
International Promenade.

There's, there's no
other way to get there.

And I peeked into them.

No one doesn't, even me.

And there I went,
skinny, fat, tall, short.

A whole ballet company.

Then I, I danced offstage

and left them behind.

A terrible thing happened.

I was, I was still
being reflected

no matter where I looked.

From walls, from gates, fences.

And I was, I was so tall.

So wide, so thick.

I was immense.

I was so immense.

But so light, as if
I'd swallowed helium.

Then I began to drift away.

And you know how
frightened I am of heights.

The thought of being
alone in mid-air.

I guess that's when
I started to scream,

that's when I grabbed the
gate and wouldn't let go.

- It doesn't bother you to
talk about it now, does it?

- Oh, of course not.

I know that I'm not going
to float out of this office.

- What if you had floated away?

- No, please.

- Where do you suppose
you'd have gone?

Catalina, Honolulu?

Inland?

- I don't know.
- Pick a place.

- I don't want to pick a place,
I don't want to float away.

- That'll be all
for today, Claire.

- We have still 12 minutes.

- It's been a good session.

Let's rest on it.

Think about it.

Both of us.

- As you say.

- Oh, and another thing.

I want to see your
sister next Monday.

Bring her in when you come.

- Doctor, I begged her.

I told her how
important it is to me.

I've explained it as all a
part of my personal history,

so she shouldn't be afraid.

It's for me, not for her.

- Call her now.

I'll talk to her.

- Lots of luck.

(phone dial clicking)

Chris, did I wake you?

No, I'm not being sarcastic.

When do you ever get up
before cocktail time?

I, uh, didn't mean that.

I'm at the doctor's.

He's simply insisting that
you come in with me on Monday.

But Chris, you have to.

Well, because he'll, he'll
never ever understand me

if he can't relate
me to other people.

I've told him about
you, but well Chris,

you're, you're hard
to believe sometimes.

The things you do.

Chris, please.

Don't make me give you reasons.

IF you love me, you'll
do it, ask no questions.

Yes, I will put it that way.

- Let me talk to her.

(hanging up phone)

She's not easy.

- She didn't hang up?

- We'll keep trying.

Next time, Monday.

- Alright, Doctor.

(slow music)

- It's quite difficult
at first, Mr. Stiles,

to look a client
straight in the eye

when he asks you the
purchase price and say,

with a perfectly casual
air but with just that

appropriate hint of urgency,

"It's only 147 thousand,
can you believe it?"

And they'll carry
part of the papers.

But in Beverly Hills,
Mr. Stiles, that is dirt.

It is just dirt.

Actually, when you
suggest to your prospects

that the property will
only be on the market

a week or two, you're
telling the absolute.

Only last week I was
showing a little place

up Benedict Canyon, charming
little Hawaiian Regency.

And only 175, when
Mr. Cartwright

sold it right out from under me.

To a couple from
Arkansas, can you imagine?

No children, three dogs.

Dalmatians.

- Well I've been
practicing, Mrs. Thomas,

and I can now say
100 thousand dollars

just like rolling off a log.

I'm even pretty cool at 125, but

I think I'm going to need
a little more insulation

before I can say 100 and
a half, or 200 thousand

and make it sound as though
we're giving the house away.

- I have the fullest
confidence in you, Mr. Stiles.

(sultry music)

May we help you?

- Something with fifteen rooms
and at least three acres?

I won't pay less than
two or more than three.

- Well, now.

Our Mr. Stiles is
free at the moment.

- Mrs. Thomas...

- I prefer to take my own car.

- Our most
distinguished listings.

If you have any
questions, just call me.

Happy hunting.

- Is there any other kind?

(upbeat music)

- Cat got your toe?

- Whose car?

- A friend.

Town jumps with friends.

They've all got keys
out for approval.

A girl can open anything.

- Okay, Pandora.

- End of interrogation?

- Just one more.

Why way up here?

- Why, these are the Big
Rock Candy Mountains.

Don't you have a sweet tooth?

- Last night when you
left, I couldn't forget

something you said when
you were closing the door.

From Faust, wasn't it?

- Why not usually so smart,

Faust he knows.

- "Then to the passing
moment would I cry,

linger a while,
thou art so fair."

That made me remember
something else,

what you said in the
bar Wednesday night.

"What's hello without goodbye?"

What do you want,
Chris, the in-between,

the hello, or the goodbye?

- Cigarette, please.

- I don't mind getting
hurt, that's the price.

I know you've launched
a few thousand ships,

but I've paid a few pipers too.

I learned one rule:
it has to be worth it.

- Dealer's choice.

(sultry music)

- Hi.

- We're all in
aquariums, aren't we?

Now and then, we bump our
noses against the glass.

It hurts, we dart away, hide

somewhere on the
bottom under a rock,

to let our noses heal.

All the time we're hiding,
there's that feeling of terror.

It was glass, wasn't it?

A boundary we couldn't
break through.

And wasn't that a face we
saw staring in, watching us?

But whose face, whose?

You understand what I'm saying?

- No.

- It's Chris.

Her face, laughing.

- Stay out of it, Claire.

- And watch her
destroy somebody else?

No, not anymore!

I have to make a stand sometime.

Listen to me, Tod.

She's like a, a
broken hourglass.

Her sands run fast.

Married at 17, divorced at 18.

Married 11 days later,
divorced again at 20.

That's when she told
me, "From now on,

men are butterflies to be
pinned in a velvet case."

- My eyes are wide open.

- Full of sand.

- We have no secrets,
everything's out front.

- What do you know about her?

About our family
or what happened?

- She told me.

- I can imagine what she said.

- Lots of money, maids
on every floor, right?

- Yes.

- Stuffed toys in a
nursery, life-sized ones.

Fillets for breakfast.

- Did she tell you
about my father?

- Claire, lots of men walk out.

It's rough, but you and Chris

don't have a monopoly
on broken homes.

- For a dancer!

Long blonde hair
below her shoulders,

not a brain in her head.

He left us for her!

- I don't know what the beef is,

but why don't we try
and straighten it out?

Like tonight at dinner,
the three of us, okay?

- I hate her.

- I don't believe that.

- I wish she was never born.

Do you hear me, I
wish she was dead!

(dramatic music)

(Mrs. Thompson
speaking on phone)

- Oh, good afternoon,
may I help you?

- Very much.

- Renting or buying
or just shopping?

I'm sorry, we don't handle
any professional suites.

I suggest you try our
Sunset Boulevard branch,

they have all the
office listings.

- I think of real estate as
something to dig graves in.

Now if I'd say that to Andy,
an analyst I know in Brentwood,

he would have launched
into a two-hour discourse

about me and the death fantasy.

That's why all my friends are
plumbers and baseball players.

Death fantasy.

I'm concerned about Claire.

- Claire Richards?

- A patient of mine.

Maybe too concerned.

Whenever I get
tense, I shoot pool.

I've killed a lot of
eight-balls in my time.

Tell me about Chris.

- Well I thought you said
Claire was your patient.

- Let's talk Chris.

Claire does.

More than she talks
about herself.

I want to check out an image
I've been forming, okay?

- Well I guess Chris and
I have what you'd call

a doomed relationship.

But so is a meteor.

See Doctor, she has me
talking the same way.

She's the sort of girl
men dream about, you know?

- You've got to
remember, Mr. Stiles,

to be a little less
general with me.

I have several male patients

who wish they could dream
about girls like Chris.

Does she ever talk about me?

- Yeah, she calls
you the High Priest

of Psychic Vivisection.

(chuckles)

She talks that way,
just last night.

Yeah, here's an example.

She caught me looking
at my wristwatch,

so she slipped it off and
dropped it into her purse.

She said, "Let's you
and I talk as though

there were ten centuries
of rain on the roof."

Another time she said "I'm
an eye, an enormous eye.

Everything I see is
unspeakably magnified."

- When did she say that?

- I don't really remember.

- The father, does she
ever talk about him?

- Yeah, it's funny, she seems
to have flipped over him,

but Claire, to hear
Claire talk you'd think

he was some kind of a monster.

- If you ever get
tense, call me.

We'll shoot some pool.

- Down here, just off your
drawing room, is your lanai.

Actually, you won't have
to do a thing to the place.

The former owner
completely redecorated

before he placed the
property on the market.

Now just through that door
is your swimming pool.

We'll see that next.

It's Olympic-sized.

The average thickness of
the walls in this home is--

Claire.

This is Cristal Sinclair.

- Why don't you just
take a gun and shoot him?

What's he asking for the place?

- Chris, why don't you--

- Now he can hate you on
three different levels

in two dozen rooms,
from the deep end

of the Olympic-sized pool.

No doubt heated,
possibly even scented.

- Mark, take me out of here.

- Nobody's leaving but you.
(slap)

- You come near me, I'll
tear your heart out.

- She's got a great
little sense of humor.

- Women like you are
responsible for women like me.

You push your men into 200
thousand dollar tombs, why?

Monuments to your importance.

So make him buy
it for you, honey.

Go ahead and martyr him.

Give him a good
excuse to hate you.

Let him hate the
700 dollar lamps

and the 200 dollar ashtrays,
and the silver service,

and the Spode, and the
servants with the fancy olives

super giant sized.

Make him grumble,
but make him pay.

Then he'll begin to contemplate.

Oh, how he will contemplate.

He'll pour his sad, sad
story into some perfumed ear.

Like this one, honey.

And then what'll you
do with your Spode

and your fancy olives and
your 700 dollar lamps?

(laughing wildly)

- Mark!

(sultry music)

- Hi.

You've worked enough
for the day, honey.

Wait til you see the
new bar I've discovered

just this side of Santa Barbara.

Tod!

(banging)

Tod, please.

You don't know
what you're doing,

I can't stand being shut in!

(screaming)

(car driving away)

Tod!

Tod!

Let me out!

Let me out!

(sobbing)

(eerie music)

No potatoes, Martha, thank you.

Please Mommy, please
don't make me.

I can't eat.

Daddy, I told you
I didn't want to

come down for dinner tonight.

I don't want to say why.

But you know why.

You both know why.

Don't lie to me anymore.

I heard you on the phone.

The men will be
here in the morning

as soon as John
drives me to school,

won't they Daddy?

I saw the list.

All the things divided up.

Everything in the
library, in the game room,

goes in one van, your van.

The living room, the
furniture here in this room,

all the bedroom things,
my own four-poster,

my dolls, my clothes, go
in another van, your van.

But what do you think I feel?

How can you both
sit there and eat?

Well I don't want to be divided.

Do you hear me, I don't
want to be divided!

(sobbing)

Go away, Daddy.

I don't want to
hear anybody's side.

Will that stop the men
from coming tomorrow,

because somebody has a side?

Oh, Daddy.

Why do you have to
love somebody else?

Wasn't Mommy enough?

Wasn't I enough?

(screaming)

(sobbing)

Too late, Daddy.

You'll be sorry when I'm dead.

- Chris, it's Tod.

(eerie music)

(dramatic music)

(car horn honking)

(sirens)

(slow carnival music)

- Chris!

Chris!

Chris!

Chris!

(silence)

- [Tod voiceover] I stand
frozen, immobilized.

Unbelieving.

Within the eternity
of one terrible second

caught between this
moment and last week,

remembering Wednesday
night and what she said

the first time I ever saw her.

- Chris!

- Claire!

Listen to me, Claire!

You can't kill Chris!

Do you hear me, Claire?

There is no such girl
as Cristal Sinclair!

You wanted me to find out,

that's why you
handed me the phone.

There was no answer on the line.

No Chris, just ringing!

No Chris!

We'll talk about it.

Just you and I, Claire.

Just you and I now.

Not Chris anymore.

Please, Claire.

- You can make it.

(upbeat jazz music)

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

from Columbia Pictures.

Herbert B. Leonard,
executive producer.