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Route 66: 1x16 Fly Away Home (Part One) 2/3
Route 66

Operation: Get Some continues.  They've followed Christina back to the Ramada where she's staying.

Tod is the getaway driver.  Tod tells Buz to go in the lobby and try to pick her up, but please be quick about it, since it's two in the morning and they have to be at work at seven.  Buz is a little nervous.

I love Tod's expression. 

So Buz goes inside and intercepts her.  He says he didn't miss a minute of her set from nine to one!  They sat there for five hours?  That is dedication.  Were I Tod, I'd have said "Enjoy!" and gone to get my own fun.  Or gone home to sleep and made him call a cab.

Christina is flattered and polite. 

He asks about a night cap!

She politely declines.  He grabs her arm to keep her there.

Christina says that men like him usually come to her dressing room bearing gifts and that they're all equally presumptuous and identically assured of success, because they think women like her are "guilty until proven innocent".

Buz asks if it they got off to that bad of a start!

"No start at all."

Rejected!  He slinks off.

Tod and Buz arrive promptly at the airfield the next day, and Skeet the mechanic calls them over.

Tod says it's seven.

Skeet's being kind of a jerk and says "Not in Tokyo."

Tod says it's too early for "funnies" and they didn't get much sleep because his friend has mommy issues and/or a taste for elegant older women who sing all night.

"Are those to the Corvette?" Skeet asks, about Tod's keys, and when Tod says yes, Skeet tells him to use them to go far, far away.

Buz had his heart broken last night and had to have it replaced. He is now a super robot man, with valves and gauges where love should be.  He's looking at Tod for a cue, in case Tod wants him to hit Skeet.

Tod wants to know where Mrs. Windus is, because Skeet is being a jerk.

Skeet says that Mrs. Windus is in town.  And it's nothing personal, it's just that Mrs. Windus asked Summers about training Tod, and he said no!  And when Summers says no... it means negative.

Buz tries to be clever.  "Two negatives make a positive."  Sometimes when Buz speaks, you just want to go "Aw, bless" in a Stephen Fry voice. 

Tod says it's not Summers's outfit, and Mr. Windus will sort it out.  Mr. Windus is probably dead.  I mean, the way Summers is now lord of the manor, and has his own harem of middle-aged women, Dora's extreme reaction to his crash?

Ah, Skeet confirms it.  "Mr. Windus was killed last January."

The camera zooms in on Tod.  "Killed?"

The mechanic explains that he was dusting with sulfur and static electricity made it catch fire and... so yeah.

Tod says whoops!  Because he kept asking Dora when she expected Mr. Windus back. Tod didn't know Windus was dead, we'll excuse that, as most sensible people would.

But the script isn't done with it.  This whole "Tod is overcome with shame and is contrite" bit comes across as too belabored, because Tod is sorry about the wrong thing.  The mechanic comforts him "It's all right, you didn't know" and Tod looks all sad and ashamed.  Tod insists he has to speak to her to apologize for assuming her husband was still alive!  Yeah, okay, a normal person would probably say "It's been awhile, how's your husband!" but it's not a faux-pas that'll earn him a one-way ticket to fiery perdition.  Getting bratty with someone who's obviously currently involved in a potential tragedy is a bigger breach of etiquette. 

The mechanic says Mrs. Windus won't want to hear Tod's apology, because she hasn't let her husband go.  

He shows them a plane that Mrs. Windus insists they will finish for Mr. Windus one of these days.

Tod says "Sounds like she could really use some help."  Then he debates whether he could get Summers to teach him, or one of the other pilots. 

The mechanic says there's only two, and that's the way Summers likes it.  (So the two would be Summers and some guy we're never going to see in this episode? Or is it all metaphorical and the second pilot is the late Mr. Windus?)

Buz asks if Summers is afraid of a little competition.  I love Buz's mind.  He's got these two ladders, right, and on one he puts men according the usual tribal, primate instinct: he figures out where he is in the pack hierarchy, who he can and can't punch, basically.  On the other ladder he puts women that he'd like to sleep with.  And he acts like this is how everyone else's minds work as well.  Of course he would think that Summers is trying to keep any young studs from disrupting his place as alpha male!

Skeet is amused by the thug from the big city.  He asks if they know where "Camel Back Rock" is.  Tod makes an affirmative noise.  Of course, who doesn't? 

You can see his abs.  I mean... isn't Mrs. Windus's plight horrible.  How about them airplanes.  What?

Skeet says that he's out there all alone waiting for the wind to die down.  Because he wants to be alone and that's the way Summers is going to keep it. 

Tod and Buz head to Camel Back Rock! 

Summers is lounging in the shadow of the plane's wings. 

Summers is lounging in the shadow of the plane's wings. 

Tod comes up.  There's a long silence. 

Tod says he bets Summers would let him stand there ten minutes before he said anything! 

Summers says he's just paging through Thomas Carlyle.  He quotes a bit, says it's very apt, and shuts the book.

"Why won't you teach me?" Tod demands. 

Summers closes the book twice in a row.  "It doesn't matter."

Tod says it does to him, and Buz wanders over in case there's a fight.  He shows us his pecs through his shirt. Tod says it may sound silly, but since Mr. Windus taught him to fly, he'd like to work for the man's widow.  He actually says "corny", which, due to the march of time, is now corny in and of itself. 

Buz asks Tod why he's trying so hard to "ride a broomstick over some cabbage patch with a squadron of witches" or something.  Again, the linguistic Rorschach.  Pin the tail on the semantics. 

Look, I just got this book called
The Craft of Translation, and I think it's going to help us deal with Buz moving foward.

Summers is not impressed.

Summers says the wind is dying down, so he's going to take off. 

Another car drives up to join the party.

Summers watches.

A young woman gets out of the car.  "Bet she gets a musical cue," I thought, and then she started walking and the Saxophone of Lust played a few notes.  Of course.  How would we know she was attractive if the soundtrack didn't whistle on our behalf?  Maybe it's the "Hollywood Homely" phenomenon.  The Saxophone of Lust - the Sex Sax? sorry, sorry - is the bishie sparkle of old timey media.

She recognizes Tod from way back and says "I used to dream about you."

The return of Tod's lascivious face.

Let's see it a bit more.  He last used it on Sultry Spice in "Layout at Glen Canyon".  Note that he did not use it on Katy of "The Quick and the Dead" - he only uses it when he's spied something very delicious and he'd like to take a quick bite out of it.  With Katy, he was ready to marry her.

Summers watches them get reacquainted. 

Vicky says that Summers cannot teach Tod!

Tod says "Wait a minute!"

Then Vicky says that Summers is the reason her father is dead, and the boys stare at him.

Summers glares back.  You wanna fight?  He asks them to move their cars so he can take off.

This frame has a high density of cars and attractive people posed against cars, so it stays. 

Fly away, Summers!

Ah, now we see the cracks in his rock of Gibraltar.  He goes to see his ex-wife's show.

He starts to push open the doors, but they're automatic and open for him.  He's disoriented!  And drunk.  I figured he'd be one of those implacable drunks, but he staggers a little.

Christina is choosing an outfit.

One of the short-skirted waitresses directs Summers to her dressing room.  Do they know who he is, or do they just point whatever drunken man who asks toward her dressing room and let him surprise her alone?

He walks in and she's ecstatic.

She insists "I knew!"

He says he's not here for -

- and then he can't talk any more because she's kissing him.

Oh yes, he missed this.

He finally pushes her away long enough to tell her that she should leave him alone.  He doesn't want her in his life!  He's tried to run away but she keeps following him.

Christina says she'll follow him for the rest of her life!

Now he insists he doesn't love her, and he's got heavy survivor's guilt. 

So he says he came to beg her to get away, because everything near him is destroyed!  It's not that I don't sympathize with him, I mean, he's clearly irrational because he's been deeply affected by his experiences... but the impish part of me has to wonder if he's ever tried just sitting quietly in a study or something.  I mean, you go out and do the most dangerous and most Manly work you can, like crop dusting, and people can and will die.  What if he took a job in a department store for awhile?  He could empirically test his fears - see if people start dropping dead in the haberdashery.  If they do, he might have a problem.

Christina gets her cue.  She tells him to wait for her!  She hasn't really been listening while he's been talking, and if she has, she doesn't quite understand the enormity of what he's saying.  The guy needs a therapist, but she's blithely imagining how wonderful their lives will be from now on.

He says "Don't ever try to see me again!" and leaves.

And Christina is sad.

Summers makes his way through the crowded bar.

Buz is in the audience again and sees him go.

There's only fifteen minutes left and Tod hasn't gotten in a plane yet.  Do we really have time for another song?  Oh, wait.  It's a two-parter.  I guess we do.

The lyrics are somewhat applicable, so we watch Buz's reactions as she sings, and he figures out she's still in love with Summers.

*hand sneaks over to turn on iTunes*  Buz can keep watching this lady, that's fine, but I need something a bit more lively.

The exact moment Buz realizes she's still in love with Summers, because of how much emotion is in her voice!

Next Part: Fly Away Home (Part One) 3/3


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