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Route 66: 1x18 Sleep On Four Pillows (2/3)
Route 66

Some establishing shots to show that this house we're visiting is very rich and fancy.  It's on a hill and there are tennis courts.

A car pulls up and looks very official.

These two, Private Detective and his Assistant we'll call them, bicker about the younger one's trench coat collar being turned up.

The Assistant apologizes and fixes his collar so he looks less like a caricature of a private detective from TV.  I see what you're doing here, Silliphant.

The private investigator asks if the younger man knows the company motto.
"No one can hide from a bear." 
"A Bear man." 

PIThe younger man goes to follow him, but he's instructed to wait with an arrogant finger pointed to the front walk.  The music tells us this private investigator is comically pompous.

Aw.  Forced to wait outside on the stoop like a naughty puppy.

A bunch of white guys are standing around in the hall and the private investigator looks on them with disinterest!

Then the help helps Mr. Bear take off his coat.

Meanwhile, Senator Jan's Mother is on the phone to her husband demanding he come home.  She has some important bill going through in Sacramento, and she won't get back in time if Jan doesn't show up! 

Private Investigator Man (Mr. Bear, of Bear Agency) listens to the phone call.

Mrs. Emmerson finally hangs up and has time for the investigator. 

Mrs. Emmerson says that they'll spare no expense to get their daughter back safe and sound!  Mr. Bear says that no paper will be un-turned.  There will be a paper trail, and he will follow it to Jan.  His technique cannot fail!  They run through some generic investigation stuff.  She's not been abducted and she's out there using public transport like the hoi polloi.  Better find her quick before she gets some kind of commoner disease.

Mrs. Emmerson shows us that she's your typical distant, distracted parent, and from Mr. Emmerson's unwillingness to come home we gather he's the typical Cat's in the Cradle type too. 

Then Jan's nurse/handmaid lady, Stella, comes in, and she is very Italian.  Mrs. Emmerson walks off to discuss paying ransom demands.

Mr. Bear demands Stella not go to pieces.  He needs to know all about Jan's friends.  

Mr. Bear looks horrified.  Or crazed.  It's funny! 

We skip forward an indeterminate amount of time to Jan in a phone booth.  She asks for Stella Lombardi.

Stella listens while Jan tells her she's all right, and asks her to play along and keep quiet for awhile longer.

"Okay!"  For some reason, Stella agrees. 

An obvious
bifauxnen shows up wearing a hat, glasses, and carrying some packages.  (Okay, the trope is probably a little closer to Sweet Polly Oliver, but I love that word.  "Bifauxnen."  It's just fun to say.)

Tod and Buz are having a relaxing night in the junior executive's barracks or whatever it is, done up in Japanese style.  Buz answers a knock at the door.

He lets Jan in.  They're quite surprised to see her.  She tracked them down... somehow!  Maybe there's only one all-male junior executive suite in town. 

Agahst that they've been invaded.

She says she needed a place to hide, and they said no women, so she bought a suit and hat.  She's giving
Strangelove a run for her money for loveliest girl in a suit ever.

Tod says, "As they say, clothes don't make the man."  Buz demands "Why us?"  Well, because otherwise there wouldn't be a show, and you'd be working as a waiter or something. 

Jan says she thinks she might cry!  And she doesn't know why Buz makes her cry, when she's normally so happy and never cries.  It's because Buz is a jerk.  It is the running theme that holds the season together.

And Tod's about had enough of this.  He's also looking at Buz like it's all his fault.  

Buz now says that it might be because she thinks of him as an older brother.  There is never a hint of unsavoriness when they deal with young ladies, which is very chivalrous and lovely.  Buz seems to genuinely feel that he's in a big brother protector sort of role (not out of character for him, I mean, check his whole relationship with Tod), while Tod... Tod starts fretting about how the Taliban are going to drag them all out into the street and stone them or Jan's dad is going to show up and have them tossed in prison and how it all looks so you know where his mind is.  This doesn't seem to enter Buz's head because he's caring about her very purely, while Tod is apparently busy reminding himself that she's underaged and he could go to prison.  Seriously, Tod, way to creep up the place.  What happened to Mr. Takes Long Midnight Strolls With Innocent Shopkeepers' Daughters in Nowhere, Mississippi?

While we're speaking of sexy sex, compare Tod now with Tod in "Black November".  It seems unbelievable that an attractive guy like him would still be a virgin at 23 or whatever (unless that was his choice and that's fine) but he gets so much more ... well, it's a silly thing to equate it with "becoming a man" but he's no longer this silent person standing next to Buz and always being told to stay out of fights.  Maybe it's almost being killed on a weekly basis, I suppose that would toughen anyone up.  But there's such new-found confidence.  I like to think he finally lost his V-card somewhere in the first handful of episodes. ;)

Or they were like, "Wait, we better make him more interesting" and so they gave him more lines and here we are. 

There's discussion of where she can brush her teeth.  Buz tells her the bathroom is out the door and down the hall.  But there's no ladies room!  Oh noes.   Jan says someone can stand guard.

Tod says that when the men are kept waiting, they get very disgruntled.  Tod and Buz sound like they're speaking from experience. Prima donna Tod has apparently hogged the bathroom of a morning, or perhaps Buz, trying to get that single lock of hair to fall carelessly over his forehead. 

Tooth brushing is the last straw for Tod, who gives up and goes to sulk long-sufferingly in the background.  Buz demands that tomorrow Jan go out and face the world like everyone else has to.

"But I need three days!"

Now Buz gives up.  Fine, she can stay.

Jan rambles about God making the world in six days and maybe she can make a miracle in three.  Or something. 

The next morning!  The alarm clock goes off.

A pair of crafty scissors sneaks in from the left.

Then Buz grabs the alarm clock and shoves it into Tod's ear.  This is a nice bit of continuity, since Tod has previously been established as difficult to wake up.  What's more surprising is while this clock is ringing piercingly, Jan stays asleep, even though she's about ten feet away and the walls are literally paper-thin. 

Still asleep! 

Buz goes to stare at her.

Buz says she "gets you", in the "kid sister department."

As mentioned previously, Tod is thinking of her in any way but as a kid sister.  He says "I just thought of something!"  Just now?  Really? "She's a minor... they've got laws against things like that."  Tod is worried that everyone will assume that Tod and Buz tag-teamed her or something.  Unless back then there really was a law against sleeping in the same room as an under-aged person of the opposite sex.

Buz says that she'll grow out of being a minor pretty quickly, and what is the harm in giving a kid shelter for the night?  Tod is convinced, however, that they're going to San Quentin.  Later we do see that the police and citizenry are concerned about random dresses they find laying in the street, so maybe 1962 LA was a touch theocratic hellhole.  I kind of doubt it, though.

A police car pulls up to a rubbish tip!

Now the private investigator, Mr. Bear, and his comic relief sidekicks pull up.  Trivers slams on the brakes and sends Mr. Bear flying off the back seat.  There may have been prudish, Victorian laws to keep men from accidentally seeing a flash of ankle, but seat belt laws were not on the books yet. 

When he gets back up, Mr. Bear demands to know how long it has been since Trivers read the manual that tells agents how to drive inconspicuously and not almost kill their bosses.  He laments that his young agents have been watching "too much television" with its "flamboyant examples of private detectives".  Mr. Bear, I dub thee Meta Detective. 

Detective?  Mr? Bear and Trivers head across the street.   Every time he walks he gets this quasi-marching music.  It is hilarious. 

It's the suitcase that was stolen in the first act, complete with teddy bear.

Mr. Bear correctly deduces that it was a purse snatch and a dump of the suitcase that had nothing of value in it.

He says if this was a kidnapping, the kidnapper would have let her keep her personal items to keep her calm.  Thus, she was the victim of a random robbery after running away from home.   Apparently he's better at this than the best the LAPD has to offer.  (There's a pretty rich white girl missing, surely they've got their best on the job.  Surely.)

Like this fellow, who still thinks they're looking into a kidnapping.

Mr. Bear is unconvinced.  Job done, the music pipes him back over to his car.  Meta Detective away!

Tod and Buz are standing guard and trying to keep a whole line of angry men out of the restroom. 

A whole line of angry men.

They make up some excuse about a plumber.

The boys continue making clumsy excuses.  The Meta Detective and his Marching Pipes are funnier.   I have to ask, if this place only allows men and, as Tod explicitly says, there is no ladies room, why is there a sign that says "MEN"?  Why not just "RESTROOM" or "SHOWERS" or something?  

The cheesy font hurts my eyes.  If they were actually in Japan, it would say this:

Or there'd just be the standard stylized silhouette of a dude. 

Tempers are flaring!  Also, Tod and Buz are apparently complete prudes.  They've both changed an article of clothing so they're no longer completely in their pajamas.  Look at the line of men in their bathrobes and pajamas -- it doesn't seem like any of them care overmuch.  Tod, however, has put on a pair of proper pants, and Buz put on a regular shirt.  Later we see that they've got even more proper school/work clothes, so they literally put on different pants and shirts to go stand outside the bathroom.  If that's the way they go through clothing, it's no wonder they have to stick stuff on the luggage rack.  The inside of the trunk is probably stuffed full of outfits, Vince Noir style.  ("Do you need this tie?"  "The tie is a multi-purpose accessory!  Belt, schoolboy, Rambo."  "What about this Jacobian ruff?")

Finally Jan sneaks out.

Tod and Buz have dressed for the day, and Tod says he's not going to play this game much longer.  He still thinks they're going to be arrested by the morality police, like the city is under a dictatorship run by fundamentalists.

Jan is waiting by the car.  Tod insists she not take off her sunglasses and not smile. 

Jan says that boys smile!

Tod says that when boys smile, they don't look like she does when she smiles.  Has he ever looked at Buz wearing one of his dazzling, sparkle-eyed grins?  I think that might make him a believer.

Jan remembers she's left her dress and nylons hanging in their room so Buz runs off.  Tod says the deal is off.  Because she's a minor.  Seriously, Tod, the Taliban live far away.  You'll be fine.

Buz comes back and he's got nylons, shoes, and a dress stuffed into his coat.

Tod is giving him a weird look as he pulls a bunch of Jan's things from inside his clothes. 

Buz hands over her girly things and tells her that she has to change into them at the earliest opportunity!  Aw.  She's really rocking that suit.  Her and Janelle Monáe.

Jan says no, because her life is in danger from whoever is hunting her father.  Tod and Buz can't actually cut out the subplot of the week and go on their way, so they all pile in the car. 

Next Part: 
Sleep on Four Pillows 3/3


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