Route66 - S03E21 (In the Closing of a Trunk) subtitles – 100+ languages (SRT)

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Original subtitles

[somber instrumental music]

[car engine rumbles]

[car door slams]

[thud]

[mysterious instrumental music]

[car door slams]

[car engine rumbles]

[dramatically mysterious music]

[fishing pole clicks repeatedly]

[dramatically mysterious instrumental music]

[whoosh]

[dramatically exciting music]

[thud]

[somber instrumental music]

[dramatic music]

- I got 27 years of hatin' inside that trunk,

just waitin' to be let out.

You believe me boy, it'll get to her.

[sobbing]

[trunk clanks]

- Don't fight it, don't fight it.

Don't fight it, don't fight it.

[sobbing] [trunk slams]

Oh forgive me Papa.

It's got to be this way.

[sobbing]

[dramatic cadence]

[somber instrumental music] [sobbing]

- [Todd] Why?

With my brain on fire and my heart between my teeth.

All my physical senses exalted in this moment.

Is this What dying is?

[boat horn sounds] A final rush of memory,

each person, each incident.

One particular telephone pole flashing past

as you streak away on a runaway express train.

My first sight of Alma Hawkes,

it was last Wednesday.

[seagulls squawking]

[somber instrumental music]

Excuse me.

- Good thing people's heads close

while they're still babies,

otherwise everybody on Lobos Isle'd be lined up

instead of those few,

just waitin' for a chance to peek into her head.

- Who's head?

- Alma Hawkes.

Oh, that's Alma down there on the bow.

- Is she a local celebrity or something?

- Son, on this island, your kids get onry,

you just say "Alma Hawkes" at 'em and they do

like you tell 'em.

And I mean right now.

She's about as welcome as a July hurricane.

- What's her claim to fame?

- Just up and killed her pa, that's all,

with a short gaff.

No reason anyone's ever been able to figure out.

Finished 'em off without a word.

27 years they put her away, and here she comes again.

[somber instrumental music]

[mysterious music]

[boat horn sounds]

[somber instrumental music]

[boat horn sounds]

[bus engine rumbles]

[brakes squeal]

[somber instrumental music]

She sure give you the once over.

- Does she have any place to go

or anybody to take her there?

- Uh, we'll run the boat back over to the mainland

at five, I'll be at the fish house.

- Hey!

Can I give you a lift?

I'm parked right over there.

- You know who I am?

- Yeah, Arty told me your name.

Mine's Stiles.

- Stiles.

Is that a first name?

- Todd.

[luggage thuds]

[engine rumbles]

- The jetty, then south along the beach.

We used to catch tarpon right off that jetty,

six and seven feet long.

Mullet's the best bait for tarpon.

You know, you can write on a tarpon's scale in ink

and it'll never wear off.

In the summer, this was always so alive,

here on Lobos Island.

Parties in all the weekend houses.

All the people would come down from Houston and Dallas.

My house is up ahead.

[somber instrumental music]

- You're not gonna stay here?

- Even if it were just one board standing.

- [Todd] What about the gas and lights and water?

- It'll come in time.

- It's all boarded up.

- There's a wood stove inside.

Those boards across the door,

well, that's what I'll burn tonight.

And tomorrow, well, new day.

- Well, I only have to make three trips

to the mainland a day.

I've got time on my hands,

so I'll come over tomorrow, help you get the place running.

[boards ripping]

- Thank you, son.

[boards ripping]

[door creaks]

[mysterious instrumental music]

[somber instrumental music]

- Not even any curiosity, Mattie?

- I don't feel no debt.

Think she'd have better manners than to come back here.

- Manners, now there's a word for Alma Hawkes.

First look I ever had at her,

lying there all bundled up in pink, I said to Jim,

"Jim, that girl'll bust your heart someday."

But people aren't cats.

You can't thin out a litter to please yourself.

- What if she wants to see me?

- Oh, she'll wanna see you alright, boy.

Been on her mind all these years.

I should show you some of them mushy letters she wrote

first few years she was gone.

- Well, she gonna have to find me first.

[seagulls squawking]

You think anybody'll tell?

- Only word anybody got for her is "goodbye."

"Goodbye Alma, good riddance."

Nobody'll tell.

[thwack]

- [Man #1] You got closest look, what'd ya think?

- [Captain] She's still mighty pretty.

- [Man #2] Emily got a good look at her

down at the toll gate.

Emily says that was a wig she was wearin'.

- Didn't look like no wig to me.

- You think you know better than Emily about women's hair?

- I know what I seen.

I say she's still mighty pretty.

- Why not?

They don't work 'em much in prison.

Three squares a day, place to sleep.

Nothin' to nibble at you.

Maybe you make a basket now and then,

make a pair of shoes.

Good life.

[thwack]

- Emily says it's a wig.

Read a book once about bein' in prison.

Lose the hair,

no vitamins.

- They got all kinds of vitamins, I don't care

what the book says.

They feed 'em real good, steaks and all.

Where you think your tax money goes?

To buy Alma Hawkes and others like her steaks.

- Mattie here was wonderin'

supposin' she was to ask around.

Would anybody point him out to her,

say, "That's your boy, Miss Hawkes?"

- Else wise, why'd she come back?

- See Mattie, she can ask and she can look

from here to Nuevo Loredo.

She ain't gonna find no lovin' son.

- She already got herself a likely candidate.

Spotted 'em on the ferry boat first thing.

My deckhand, Stiles.

- You know, Mattie, he does favor you.

Same complexion, same build, same age.

- How would she know what I'm supposed to look like?

She ain't seen me since that first week I was born.

- Alright.

We'll give her a son.

That's what she come for.

We give her Stiles.

- I don't know, Kyle.

He's a pretty steady young fella.

I doubt if he'd go along with any shenanigans.

- You don't suppose I'm gonna tell 'em the real reason,

do ya?

- We won't give her nothin'.

Sooner she finds out she ain't welcome,

the sooner she leaves.

- Might as well send Mattie over to her.

Gonna send her a son, send her the real thing.

- I don't wanna ever see her.

- We give her the wrong son.

Then, when she gets set, thinks how sweet life is,

we pull the plug.

- I don't mind holdin' my silence, Kyle.

Nobody wants her around.

But this idea,

I don't know, it's pretty cold blooded.

I don't care what she's done, she's still a mother.

- You think I forgot what she done to my brother?

27 years,

she got off easy.

Maybe she thinks she paid her debt to society,

but she hasn't paid me.

[dramatic instrumental music]

You butter up Stiles.

Tell 'em ol' man Hawkes invites him to come fishin',

this afternoon.

[dramatic cadence]

[mysterious instrumental music]

[water splashing]

- You send out some special kinda message, Mr. Hawkes,

to make the fish strike your line?

We're not 15 feet apart, we got the same equipment,

the same bait, the same water.

How do the fish know the amateurs from the professionals?

You'd think they'd prefer the amateurs.

- Out there, what do you see?

- One big pool of frustration.

- To you, that's just gulf water.

Fact is,

little ways out there is the first sand bar.

Runs parallel to shore all the way into Mexico.

20 yards further out is the second bar.

Beyond that, a third.

[fishing line releases]

So, I just drop her where she counts.

Man's got to look deep if he wants to see.

Take this mornin', when Alma landed.

From where you stood, just a poor woman

shut out by a hard shell community,

with no mercy in it's soul.

Now, I'm not faultin' you.

I can understand how it must look to an outsider.

But you got to look deeper.

You gotta appreciate the bitterness

and the scandal that went before.

Alma's my niece.

Was my baby brother Jim she killed.

Her own father.

- Arty told me something about it.

But he didn't say anything about a reason.

- She never give no reason, even at the trial.

Claimed she,

she couldn't remember doin' it.

Claimed she didn't know why.

Now, you and me, we know better than that, boy.

You kill a man, you know it.

You know why.

It was a summer like all the others.

The inn was full up.

A lot of beaches along here.

You could see the old people walkin' and collectin' shells.

And the honeymooners, whisperin' and touchin' and gigglin'.

And the high flyers from Houston, soakin' up the sun

and turnin' cartwheels, and lookin' for trouble.

By the time Alma knew she was gonna have a baby,

they were all gone.

By the time we knew it, it was spring again.

My brother did what he had to do.

He took her in to see Doc Rogers on the mainland.

Made all the arrangements.

Right after she had the baby,

Alma came back and thanked him.

She just walked in and hit 'em.

20, 30 times with a gaff.

Then, she put 'em in a trunk and tried to ship it

off the island.

Said she couldn't remember doin' that either.

Like these sandbars, boy,

they just keep buildin' and buildin'.

That's how folks on Lobos feel about Alma.

That bitterness just keeps buildin',

and that resentment.

Still, what kind of world would it be

if we never tried to forget and forgive.

To lay it right out for ya boy, I,

I just can't stand the sight of her.

I see her, I see my brother,

the way he was piled up there when she got done with 'em.

I try.

All these years, I try,

'cause she's my flesh and blood too,

but I can't look at her.

It takes an outsider.

Somebody like you to start the ball rollin'.

- Frankly, Mr. Hawkes, when you invited me out here

fishing today, I thought it was to tell me,

"Stop helping her or you'll fire me off the ferry boat."

- Boy, you don't know Kyle Hawkes.

There is one thing, though.

Her son.

She's just livin' to find him.

That's why she come back.

Trouble is, he ran away years ago.

Was hardly 15.

Haven't heard sign of 'em since.

Now,

it strikes me,

way folks feel about Alma, she needs the one thing

that'll put her back on her feet.

She needs her son.

I got you in mind, boy.

- Aw, now wait a minute, Mr. Hawkes.

- What's the harm?

You'll only be here for another month.

Until you leave, let her think what she wants to think

as long as it makes her happy.

- Forget it Mr. Hawkes.

- I'll sort of feed ya information.

Things about Alma and my brother,

and how her own son was until he left.

- If she's been in prison 27 years,

she's learned to look a fact in the face.

She should be told.

Her son's gone.

A lot of people's sons are gone.

- You gonna tell her?

You gonna be the one to drive in that last nail?

[splashes]

We may resent Alma comin' back, remindin' us

of the shameful thing she done.

But we ain't cruel.

We care.

Even if it don't look that way, boy, we care.

[dramatic cadence]

[somber instrumental music]

- Miss Hawkes?

Hi, these ought to do it.

Oh, I left the putty in the car, would you get it?

[seagulls squawking]

[scraping]

Thanks.

Did they get the water hooked up yet?

- You know what today is?

- Nope. [scraping]

- March the 16th.

- Well, that's one of the comforts of Lobos Island.

That's why I took the job here.

I never know what day it is.

I don't read the newspapers, I don't watch television,

I don't listen to the radio, I ignore calendars and clocks.

I came here for the winter to ruminate and vegetate.

Maybe figure out who I am and what I am.

So, I don't know, I don't care what day it is.

- Tomorrow's your birthday.

- Aw, I was born March the 12th, not March the 17th.

That's one thing I do know.

[scraping] - Take it from me,

I know.

They're connecting the gas this afternoon.

You know, I don't even know what your favorite cake is.

- Miss Hawkes, - Chocolate?

- I think we ought to get this straight now.

- I don't blame you for calling me Miss Hawkes.

All this time, the things they must have said about me.

Haven't you ever wondered about your father?

- My father and I were very close.

- He came back?

- Aw look, Miss Ha-- - Of course

he wouldn't have come back.

How would he have known?

Still he, he might have read the papers.

No, no, he wouldn't have come back.

Not after he read what I did to Papa.

I'm glad you don't hate him.

He was tall,

tall like you.

And he gave off light.

I know that sounds silly.

But I want you to understand.

It's terribly important to me that

you understand what kind of a boy he was

and why I loved him.

I told him, "You look like you swallowed the sun,

"because light, light shines from inside you."

His eyes were on fire and his skin aglow.

And he was so alive.

Later when I tried to explain to Papa what had happened,

I said, "Can you stop the moon from reflecting the sun?

"When I was with him, he made me bright."

Papa kept insisting, "Bright?

"Stupid you mean.

"If you're so bright, you're so bright what's his name?

"Where can we find him?"

I don't know why I never asked his name

or where he came from.

I guess I was just happy to have him find me.

And me to find him.

You can say what you want to, but I'd know you anywhere,

as his son and mine.

I've lived every tick of the clock for this moment.

My son,

my son.

- My mother's name was Martha.

I was born March the 12th, 1936.

4:30 in the morning at the Leroy Sanitarium

in New York City.

Delivering physician, Dr. Richard Bishop.

Weighed eight pounds, 12 ounces.

Length, 22 inches.

- I uh,

I understand.

I know how impossible it is to

accept the idea of having a mother who did what I did.

But all that's over.

It's been chopped out of me.

In the nights in my cell, I'd imagine I was being sliced up

like you slice up a sea worm for bait,

until all the old pieces were cut away and I grew again,

fresh and new.

I know why you took a false name and went away.

I don't blame you.

But you came back, just as I did.

Give me a chance to make up for all the hurt

I've caused you.

Give me the time to prove to you how much I can love you.

Let me try, Mattie, please.

- Mattie?

- Don't go away, Mattie.

- I'll be back.

- Is chocolate alright?

A double layer cake with one candle?

To celebrate a new lifetime, starting now.

Year one?

- Yeah, chocolate's fine.

Mattie.

[thud]

[crash] That was from me.

Now get up, I got one for ya from Mama.

- What are you drinkin'?

- I'll get to you in a minute.

- Give 'em a double.

- What kind of people are you anyway?

- You gotta knock on somethin', knock on me.

- No wonder you're the king of the fisherman.

You know just how to bait a hook, don't you?

- Mattie, tell 'em.

- He ain't gonna drink that.

How'd you like to walk around with a sinker on every finger?

And a net draggin' at your feet?

Look, Kyle here, he cut them sinkers off.

He turned me loose of that net.

He give me a roof, a clean bed,

and my self respect.

I can still remember the day he almost skinned

old man Thompson alive for callin' me,

what he went and called me.

Not a man, or a woman, or a kid on this island

ever called me anything but Mattie Hawkes from then on.

He's been my Pa, and my Ma, and the Grandpa I lost

all account of that crazy woman.

Just 'cause she whelp me, that don't mean nothin'.

It don't give her no rights.

You got to earn them rights a day at a time,

like Kyle here, like he done for me.

He raised me up, not her.

So, what she come back for?

Stir things up again?

Remind everyone?

Make 'em look at me like they did afore he cleaned up

on old man Thompson?

Alright,

you can come at me again, Todd,

see if you can get in another punch like that first one.

Only this time, you're gonna know you had yourself a fight.

'Cause I ain't got no mind ever to go to that woman

and say, "Here I am Ma.

"Here's your lovin' son, Mattie."

[somber instrumental music]

- Make a wish.

[dramatic cadence]

[sewing machine chugs]

[knocking on the door]

- Come in, Mattie.

I thought it was Mattie.

- There's been a real bad mix up, Alma.

I turned up another Mattie for ya.

- I don't understand.

- This boy here, he just come in on a boat from New Orleans,

says his name's Mattie.

Said he was born here on Lobos Island.

I got to thinkin', could be this is your son.

- I got my son.

[sewing machine chugs] - Well now,

we can't be too sure Alma.

I don't know about that.

The sheriff called this mornin' from the mainland.

Said he's got a young fellow over there at Point Concord

named Mattie too.

Said he'd try to run 'em over, maybe tomorrow,

and let you take a look at 'em.

I mean, that's three Mattie's in less than a week.

- But you know who he is.

It's Todd.

Todd is Mattie.

- Well, we can't be sure Alma.

You see that boy of yours, he ran away

when he was real young.

I didn't wanna say anything in the first few days

you was back,

knowin' how you feel

about findin' your boy.

But this fellow here seems to know

quite a bit about the family.

- What was my mother's name?

- [Kyle] Go ahead.

- Harriet.

- Well, anybody knows that.

- How 'bout that boy Todd?

I mean, Mattie.

He knows?

- Of course he knows.

But he keeps sayin' he doesn't.

He's too ashamed to admit about things.

But he's not denying it so much anymore.

Takes time.

- Tell her some more boy.

Tell her about my house, how it was

hen you was a boy.

- Well, uh,

there was that one wall with the special paper

all the way from Dallas.

Them red roses.

- You remember that paper Alma?

How your Ma loved it?

- You coached him.

You're doing this deliberately just to get back at me, Kyle.

I know you.

- I'm only tryin' to help.

Come along boy.

Nobody can say you didn't try.

Not your fault if she turns her back on you.

[sewing machine chugs]

[somber instrumental music]

- I sent for it last week.

Please look at it.

Go ahead.

It's a copy of my birth certificate.

Miss Hawkes, I'm leaving just as soon as I can sort out

my own responsibility in this.

- No, no, no,

I won't believe it.

I can't believe it.

- Look Miss Hawkes, I'm sick about everything--

- Miss Hawkes?

Mother, mother.

- I never would have done it except

I thought it might help.

- No no.

[knocking on door]

[thud]

[mysterious instrumental music]

[creaks]

[screams]

[mysterious instrumental music]

[whoosh]

[dramatic instrumental music]

[thud]

[mysterious instrumental music]

[sobbing]

Don't fight it, don't fight it.

[trunk slams] [sobbing]

Uncle Kyle!

[sobbing] Uncle Kyle!

Uncle Kyle!

I put Papa into the trunk, in the trunk [sobbing].

Father kept saying, "You're no good like your mother was."

He said, "Maybe she ran off, but you won't.

"Oh no, you won't."

When I was a little girl, he'd lock me in the closet.

Mama would try to get me out.

But she was afraid of him.

And then she went away.

Papa became worse.

You remember, Uncle Kyle, how much worse he got?

And then, when he found out how I was,

when he found out about me and the boy,

he grabbed my arm, "Please Papa, not the closet,

"not the closet, it's bad for my baby.

"Don't scare my baby."

"Lock your shame in there," he said.

"Have your baby in the dark with the lid clamped down

"on both of you."

"Please."

He pushed me down [sobbing].

I could hear my baby.

I could feel it screaming for life, for light.

"Papa, I'll kill you!

"I'll kill you, father, I'll kill you."

I promised my baby, [sobbing] "I'll kill him

"when it's done, I'll kill him, I'll kill him."

[sobbing]

[ambulance siren wails]

[somber instrumental music]

[chain clinks] [boat horn sounds]

[dramatic cadence]

[jazzy instrumental music]

- [Announcer] This has been a Screen Gems Film Presentation,

Herbert B. Leonard, executive producer.

[END CREDITS]