Route66 - S04E17 (Cries of Persons Close to One) subtitles – 100+ languages (SRT)

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Original subtitles

(dramatic music)

- [Linc] Do you know on August the 18th?

- August the 18th?

- That was the day we had two breakfasts.

We were up the whole night,

so we had one breakfast about 4:30 in the morning,

and another one about 10 o'clock in the morning.

- [Tod] Mm-hmm.

- And it was my time to pay for the breakfast.

So I just naturally paid for both breakfasts that day.

- Yeah?

- Well, I was thinking, you bought breakfast this morning,

so instead of lunch,

why I don't I just maybe have some scrambled eggs?

- Instead of lunch?

- Sure, you owe me a breakfast, not a lunch.

- Tell you what I'm gonna do.

I'm gonna be a big sport.

I'll let you order a hamburger.

I'll buy you lunch.

- Well, then you'll still owe me a breakfast.

- Mm-Hmm.

And you'll owe me a lunch.

- Well, I'll have to think about it.

I'm not sure I like being in debt to you.

- You don't trust me?

(dramatic music)

- Good morning.

- [Gaybee] Mm-Hmm.

- Did the right thing to leave him here last night.

He was gonna hurt somebody.

He's gonna get himself into some real trouble,

that's for sure.

That receipt correct?

Why don't you just sit down over there?

I'm sure your incarceration, brief as it was,

has done fine things for your character,

and turned you into a better citizen overnight.

So, we're about to let you out.

You married to him?

- I just go wherever he goes.

- You must like to travel.

- I known him all my natural life.

His family own that piece of land

next to where my family lived.

John was there before I was even born.

I always knew him.

I been in 20, 30 jails just like this one waitin' for him.

I've seen that I-feel-sorry-for-you look on faces before.

Nobody sees his real pain.

They never saw that.

I just had to say it once.

- Do you find everything in order?

Do you find the objects which are supposed to be here,

and do you testify that these objects are your true property

and belong to you by right and by law?

If so, please put the things back in the bag

with your own hands.

Will you sign right here, please?

No, that's printing.

We have to have a legal signature, in handwriting.

That's the law.

Gotta have an official signature

before I can turn over property.

That's all right, she could do it for you.

(dramatic music)

Well, I guess that's all right.

- All right.

You understand you won't stop anywhere.

You'll keep on moving,

I'll be right behind you.

When you reach beyond the town limits, you're on your own.

(dramatic music)

- Two hamburgers to go, please,

and two black coffees.

- [Linc] Man, you can get hurt real easy that way.

- It's okay, man, ain't no harm done.

- You ever seen an in like that in your whole life?

- How do?

- Didn't I tell you?

Just looking at this place from the road,

didn't I tell you it was very nicely decorated?

- Yes, he did.

He did indeed.

Now you have two hungry men.

We'd like a couple of hamburgers, and two coffees,

and a couple of pieces of pie.

- And two car hops,

providing the other one's as pretty as you.

- Well, then you oughta order the boll weevil

- What's the boll weevil?

- Specialty of the house.

That's a double king size hamburger so big

it takes two girls to carry it.

- I'll take that.

- Yeah, that's because I'm paying for it.

- We call it the boll weevil

'cause you're sure to caught into it.

- Oh!

- You all right?

- [Gaybee] Hey, come on.

- [Man] You okay?

- [Man] Hey, you all right?

- [Man] Hey, kiss it, that'll make it better.

- [Gaybee] Listen, get out.

I want you to leave.

(fabric ripping)

- Hey, what are you doin' buddy?

You crazy?

(dramatic music)

- [Man] Who hit him?

Smashed him.

- [Man] Did we do anything or say anything

to make you act like that?

- Go on, break it up, fellas.

Go on now.

(dramatic music)

Would you like us to help you get him back in the car?

- [Gaybee] Yes.

- Do you have any blankets back there?

- Yes.

- You go get 'em ready for him.

(dramatic music)

Drunk too.

(dramatic music)

- What are you thinkin'?

- I don't know what to think.

What's drunkenness or if he's hurt.

You going far?

- About 50 miles down the road he has a fight.

He's a prize fighter.

- Well, maybe I'd let a doctor look at him.

- When's the fight?

- Tonight.

- Well, if he has a concussion, and he gets hit some more,

it can be very bad.

- All right, when we get to that motel

I'm sure they'll be able to show me to a doctor.

- Sure.

- Do you think he's all right?

- [Tod] I think so, he's more drunk than hurt.

- Thank you very much.

Which road do I take to go to Maury?

- Oh, you just go straight on 19.

You turn left as you go out,

and then you just intersect 19

about a half a mile down.

- Thank you.

I don't suppose you'll be going that way, would you?

Thank you.

- I'll drive you, my friend will follow.

What's the name of the motel?

- [Gaybee] We're just The Voyager.

- [Linc] I'll see you at The Voyager motel.

(dramatic music)

- [Carhop] Cancel boll weevil!

(dramatic music)

- Take a memo, friend.

Next time you go off on your own,

don't expect Jack to come tumbling after.

You wanna go out on a limb all by your lonesome, great,

but don't use my friendship to make me feel like a heel

if I don't wanna come after you.

- Neither of 'em have any kin,

they just keep movin' and travellin' and gettin' nowhere.

He's supposed to get 165 dollars for this fight

he came down here for,

and if he doesn't make this fight, that's it.

Even their rooms at this motel

are part of the pay he's fightin' for.

- What kind of a fight pays 165 dollars?

- There's a company down here that brings fighters in.

It's part of their employee relation setup.

That's all they have, Todd, is that 165 dollars,

and the man is hurt, and man is just down to the bottom.

- The bottom of the bottle.

- Well, I've gotta help him.

- But did he see a doctor?

So what did the doctor say?

- [Linc] He doesn't want him to fight.

- Well, what do you propose doin' about that?

- Well, I'm gonna go see the fight people with her,

see if you can get a postponement.

- And after that, how long do you wanna stay?

- Two or three days.

Just till he gets back on his feet again.

- Today's Wednesday.

Thursday, Friday, Saturday.

We leave Sunday, right?

- Okay.

- How do?

He's sleeping now from what the doctor's gave him.

I could go and see those men now if you think so.

I'm glad you could see your way clear to comin'.

When I saw your face at the drive in,

I knew how angry he was.

I was gonna say to friend, don't bother comin',

but that wasn't the way it was.

See, when you got nothin',

well you, you're not in any position

to turn down help from anyone.

(dramatic music)

(engine starting)

(dramatic music)

- [Newton] Set up a dozen rows on the infield.

- [Gaybee] Mr. Newton.

- Yes?

- [Gaybee] We were told at the factory

that your the man that's in charge of the fight tonight.

- That's right.

- Oh, Mr. Case.

He's very kind enough to drive me down here,

and I'm Gaybee Grant,

and I'm here on behalf of John Frank.

The prize fighter, you know.

- Oh yes.

- Well, you know what,

he fought in New Brussels three nights ago,

and then last night in Eatonville,

and we just drove down here.

Now, that's two fights and 900 miles within a week.

- If the man's not in good condition,

I don't want him to fight.

- He's in very good condition.

- [Worker] Mr. Newton, it doesn't look like there's enough

for 12 rows.

- Be right with you.

- [Linc] Would it be possible for him to postpone fighting

for two or three days?

- I understood the question when the lady asked me.

No, it would not be possible.

Mr. Frank's not the only fighter fighting.

Arrangements have been made by many people.

Several hundred people are coming here tonight.

Now, the man can either fight, or he can't.

He will fight, or he won't.

Whichever it is, you just tell me,

and I'll make my arrangements accordingly.

- He'll fight tonight.

- Listen.

- I'm not gonna try to make you understand.

I did not make my own decision

on what I thought would be right to do,

but on what I thought he'd think would be the right thing.

- I don't understand you.

Once you're in the room,

and the doctor said what could happen to him,

didn't you hear?

What for?

- 165 dollars.

Don't fuss yourself, mister.

It's just another kind of life you don't understand.

Just as you have no kind of idea

what kind of man John Frank is.

No idea at all.

(dramatic music)

(bell dinging) (dramatic music)

- It's waiting for you.

We made it for you.

Your name is on it.

Henry Frank.

No?

(dramatic music)

Either you're Henry Frank or you're not.

If you're not, all you have to do

is tell us who you are.

- My name...

My name...

(dramatic music)

- Hey buddy.

(dramatic music)

Just gonna tell ya to do yourself a favor

and go back to bed.

I don't wanna fight you.

I don't know you well enough.

(dramatic music)

- Oh, afternoon.

- Do you mind if I go inside?

- Well, there isn't anything in there

but a blackboard and small chairs and desks.

Children have gone home.

- That's all right.

- There's no reason why you can't go in.

You with this other fella?

- No.

- I suppose so many come and see us

because they wanna see the inside of a school room again.

We see so many of 'em.

I imagine they got a hunger to be young again,

or some other unknown reason.

Thank you.

Tell him to put the door to when he comes out.

Goodnight.

- C-A-T,

and D-O-G.

All by yourself,

and you only 24 years old.

Now, if you just sign your name in writin'

and you come down to sit in your seat,

I'm gonna sign you a perfect day.

Did you understand the question?

Or are you a fake?

Now ain't the fact of the matter?

You are a fake!

You don't know how.

You're 24 years old,

and you don't know how to write your own name.

John, you a jackass.

You don't even know how to spell that.

How long you've been watching me?

When I was a little child,

I'd eat as a little child,

and I slept as a little child,

and like a child, I was,

I was pure in my soul,

and rejoiced in my heart.

You can sit behind that little desk all you want to.

You don't fool me, you're the teacher.

I know you are the teacher here.

- No, I just walked in, just like you.

- Behind that desk is where you belong!

What's the matter with you?

Don't you wanna do your job?

Don't you wanna teach me anything?

- You sit down, and we'll talk about all of those things.

- I can't talk.

I don't know how to talk.

What's the matter with you?

Are you hopelessly stupid?

Don't you understand that I can't talk

like ordinary people,

unless I, I fill myself up with liquor?

If I am sober,

words come up out of my throat

and they get stuck in my mouth,

I make sounds like an animal.

When I am sober.

(mumbles)

If you'd listen, you'd understood

that I was trying to say words if you'd listen.

You didn't have to tell my Pa to take me out of school.

I wasn't hopeless just like you said.

Don't you understand I was trying to speak?

I...

I not yet learned

how to be drunk.

- Listen, they have new ways of teaching now.

Now, I don't wanna fight you.

- Did I ever commit such a terrible sin

that that life that was given to others

must be denied to me?

All my life!

I swear to you I'm not stupid.

I've taught myself,

and I know some words.

I know words that got one letter in 'em,

and I know some words with two letters in 'em,

and I know some words with

three letters in 'em.

(dramatic music)

See.

(mumbles)

- Let's see what we can do about gettin' you home.

(dramatic music)

- I was never so glad to see the calvary in my life.

What are you doing with him?

I've been looking all over him for over an hour.

The girl's out of her head with worry.

- Well, our friend decided to go for a walk.

Like so many of the younger generation, he lacks stamina.

- He's supposed to fight tonight.

- Do you wanna bet?

Did you know he could only talk if he was drunk?

- Yeah, she told me he stammers when he's sober.

(dramatic music)

Take him home, I guess, she's pretty worried waitin'.

- [Tod] Where are you goin'?

- Well, they're out one fighter.

I don't think they'd mind

gettin' a substitute in good condition.

Considering.

- Oh, buddy, you're gonna get in deep trouble,

movin' before you think.

- [Linc] I've got to.

- What for?

- Well, for 165 dollars, among other things.

(dramatic music)

(background noise drowns out dialog)

- [Tod] Well, you look like a fighter.

- Kid Case.

- This is Linc Case, Perry.

Case, this is Perry.

- [Linc] How are ya?

- Works in a factory.

- Tod Stiles.

- [Perry] Hi.

- I thought you both might

like to see who you were fighting.

Well, go ahead and talk.

I got things to do.

Oh, here's tonight's program.

Might like it as a souvenir.

- Do a lot of fightin'?

- Well, not much.

You?

- I like to pick up the extra money.

Listen, I like to win.

I get in the ring and I fight hard, you know.

A lot of guys want you to take it easy.

You get in there and you go all out and get sore,

so take it easy.

After it's all over, we shake hands,

we're all friends again.

But you fight, you fight.

Okay?

See the fights.

- What do you suppose he was trying to tell me?

- Offhand, I'd say he was trying to tell you

he was gonna kill you,

but he wanted to tell you before hand

so he wouldn't have it on his conscience.

They have you billed as the ex-ranger Ripper.

- What are you worried about, buddy?

Didn't you ever seen those old fight movies?

The manger says, kid, keep your chin down,

and your left up, and they can't hurt us.

(dramatic music)

(clock ticking)

- Hey.

Baby.

Gaybee.

I got to fight.

- Go back to sleep.

- I got to fight.

- It's all right.

Go back to sleep.

- Nine o'clock.

- You're not fighting tonight.

Somebody else is gonna fight instead of you.

- What?

- He's doing it for you,

and after the fight, you're gonna get the money,

just like you fought.

- No!

I do my own fightin'.

He ain't got no right.

(dramatic music)

- Tank.

Tank.

Now don't grieve me.

You been hurt, you can't fight tonight.

Do you understand?

You have been hurt!

Tank.

(audience cheering)

(punches thudding)

(yelling)

(bell dinging)

- I think he's losin' his edge.

He's gettin' tired of hittin' me whenever he wants to.

- Don't talk, save your breath.

- My nose broken, you think?

- Where?

No, I don't think so.

Just bruised.

- I tell you what I'm gonna do.

I'll buy you breakfast for a month

if you'll trade places with me.

That boy can hit.

- What do you want me to tell ya?

Hit him back.

(buzzing)

(bell dinging)

(punches thudding)

(audience cheering)

- You, you,

you ain't gonna bury me.

(bell dinging)

(dramatic music)

(groaning)

- I tell you to go to get some rest,

then I saw you out there tonight.

You're a fool, son,

and my experience is there's no point

trying to tell a fool what to do.

That's all I can do.

Goodnight.

- Come on, we,

we have to go home.

Wha...

What's the matter?

- I just had enough.

I cannot stand no more watchin'

the world beatin' you down into the ground

'til you can't get up never again.

I can't stand watching you trying to die.

Well, then what?

You get into a fight, somebody shoots you.

You lay there dead, and I'm alone.

I might as well be alone now.

- There you are.

You're a brave boy.

You didn't fight too bad out there,

but you ain't never gonna make your living as a fighter.

You know that, don't you?

- Yeah.

I just wanna tell you something.

You're about the most selfish human being I've ever seen.

You can't read or write,

but you don't take the time to learn.

You have trouble talking, and all you do is worry about it,

and worry about it, and worry about it.

But you don't worry about what happens

to people who love ya, or who might wanna help,

how they feel.

You just worry about yourself and not that girl.

You don't even hear her cryin'.

And she's just cryin' because of you,

because of the pain you give her.

You don't even care.

Not every hand's against ya.

(dramatic music)

- My...

Name...

My...

Name...

Is...

My name is John...

Frank.

And I...

I love you.

(dramatic music)

(lively music)

- [Announcer] A Screen Gems presentation.

Herbert B. Leonard, executive producer.