All language subtitles for Route66 - S01E30 (Incident on a Bridge)

(elegant jazz music)

(boat horn blows)

(elegant jazz music)

(tinny swing music)

- Want me to wind it up again?

- Nah, never mind.

We get the idea.

Almost worn clean through.

- It's the only one she had.

- Is that what clued ya in?

- That was part of it, yeah.

- You say she carried it

way up there?

- Yeah.
- Why?

I mean, if she was tryin'
to get away from him,

why didn't she drop that thing

so she could run faster?

Well?

- I don't know.

- How 'bout you, do you know?

- We never got close
enough to ask her.

- Are you boys, uh,
hidin' somethin'?

I mean, was it like you
say or is there more?

- Look, Lieutenant, he took
her up toward the catwalk

before we could catch him,

then the train came through
and we lost sight of them.

It's funny what I thought
when that happened.

Afterwards, when
they disappeared.

- Yeah?

- I thought about Jack
and the Beanstalk.

I thought maybe he
just took her with him

and they climbed up that ladder

and they kept climbing

till they vanished
into thin air.

- I, I'll try that theory
on the Commissioner.

- They're gone, aren't they?

And that's all that's left.

- Clear case.

Murder, suicide.

Dvorovoi shoved her off,

then jumped in afterwards.

Uh, get 'em to send a
grappling barge around, Eddie.

And, uh, tell Harrison
I want a diver.

- [Eddie] Maybe he
didn't go into the soup.

Maybe he jumped over here.

- What, on the tracks?
- Yeah.

- Well there are the tracks.

Show me the killer.

- I mean in a train, you know?

Maybe he jumped in the train.

It was a freight, a
long one you said.

- Well that catwalk's at least

10 stories high.

Are you tryin' to
tell me that he jumped

from up there

onto a moving train?

- When you got 2,000
volts waitin' for ya

if you get caught, yeah,

you might try.

- Well my guess is he
took a dive in the river.

Eh, we'll touch
all bases anyway.

Yeah, run a check
on that freight.

- [Eddie] Right.

- Look, uh, how well
did ya know him?

- Last week.

- Ooh, authorities, huh?

- Look, you can't
measure everything

with a clock or a calendar.

Either you dig it or
you don't, Lieutenant.

- Now look, this is a
homicide and a kidnapping,

so don't play cute with me.

What, are you tryin' to tell me

that you were pals
with this freak?

- Look, Lieutenant,
we're tryin' to tell you

what might have
happened, that's all.

- Okay.

So tell me.

- We don't believe
Dvorovoi's dead.

Or Anna either.

Maybe if I start
at the beginning

and tell ya our part in
it, you'll understand.

(sweeping instrumental music)

We came to Cleveland
last Thursday

over the central viaduct,

the Flats below and
around around us.

Every kind of industry
you can think of

all going full blast.

It made me feel small somehow.

And I said so to Buz.

(gentle instrumental music)

You know, the more
we travel around,

the further away
the horizon looks

and the taller the
buildings seem.

You think it would be
the other way around.

- It's just the opposite.

The more we travel around,

the bigger we get.

Sooner or later, if we
keep rollin' like this,

we'll be giants

'cause you gotta
match the scene.

(gentle instrumental music)

- I remember that
remark especially.

Because we were
about to meet a man

who thought he was a giant.

Orlov.

And a real giant
of another sort.

Dvorovoi.

(gentle instrumental music)

I guess you could
say that for us,

all this really started
when we checked in

at the sand and gravel yard.

We already signed on at the
home office in Pittsburgh

for a three-week swing.

78.32 a week, and
glad to get it.

(sweeping instrumental music)

Mr. Volovich?

- Yeah, I Volovich.

- Stiles.

Murdock.

- Here we are.

- You two?

You the two I got
the start order on?

- Yeah.

- It don't make sense.

This is job for, uh,

for gorillas.

- Don't knock it.

Us gorillas, we
gotta stick together.

(chuckles softly)

- You make joke, huh?

Why you want to work here?

- Well we travel around
a lot, Mr. Volovich.

We take whatever
we can get, okay?

- Okay.

It's your muscle.

Where do you stay?

- Well we just got here.

We haven't had a
chance to look around.

- A clean towel each morning,

one change of linen on Monday,

and all the borscht you can eat.

You stay my place
on Russian Hill.

You pay only, uh,

15 a week.

- Apiece?

- For both.

- That's much better.

- Okay, we'll try not
to eat too much borscht.

(truck rumbles and hisses)

- Where is he?

- What's he done?

- He bothered her again.

- Come on.

- Hey!

- This time I'll teach him good.

(machinery churns and rumbles)

(machinery switch thumps)

Dvorovoi!

I warned you.

Don't talk to her,
don't look at her,

don't touch her.

Just lookin' at you revolts her.

I'll teach you to
leave her alone.

(groaning)

- Look, look, look.

Hey, look, look.

Hey.

(groaning)

- Volovich wasn't
kiddin', was he?

Gorillas.

(moaning)

- He's tryin' to kill him.

(grunting)

- Yeah.

Hey.

Okay, big buddy, lunch break.

- No help.

I want no help.

He will

get

tired before me

and, and,

and then

I.

(panting)

(chuckling)

(dramatic instrumental music)

- Hey!
- Hey, I say when.

- When.
(groaning)

(exciting instrumental music)

(tense instrumental music)

(exciting instrumental music)

- Get out.

You're through here.

You're fired, you're evil.

- What?

- You pack your clothes
and leave my house.

Today.

Now.

- I'll take care of
him with a pitchfork.

- You're a real killer,
aren't you, Jack?

- He didn't mean a
pitchfork in Dvorovoi.

He meant in the
fence of my house.

And he didn't mean to
kill him on the conveyor.

Just teach him,

to give him a good scare.

No, tell them,
Nikolai, tell them.

- Why should I
tell them anything?

Who are they?

- Look, uh, this is
all movin' pretty fast

for a couple of country boys.

Now what's all this jazz about
a pitchfork in the fence?

- Dvorovoi, that is
the name he brings.

In the old country, a
dvorovoi is an evil spirit.

It comes from nowhere.

Like this one I send away now,

and it brings the dark with it,

and the evil.

My grandfather and Nikolai's,

they knew how to
handle dvorovoi.

They stick a
pitchfork in the fence

around the house.

That keeps them out.

- I don't believe any
of that stuff, see?

But I'll do it anyway,

just to show the neighborhood
that I got rid of him.

But if he ever comes back,

if he should ever
look at Anna again,

I'll get rid of him my way.

(dramatic instrumental music)

- [Tod Voiceover] Just then,
watching Dvorovoi walk away,

and listening to
Volovich and Orlov,

I felt that something
had torn loose,

something no longer planned,

something already
out of control,

pulling all of us towards some
unspeakable and savage end.

I wonder what would've happened

if Buz and I had left
right then and there.

I wonder if things
might've been any different

if we hadn't stayed.

(somber instrumental music)

What must have gone
on in Dvorovoi's mind

as he walked up from the
Flats to Russian Hill,

past St. August's Church

and down St. Tikhon Street
to Volovich's house.

I guess we'll never know.

People in the neighborhood
who saw him that morning,

going in to pack,

going in to get his few
things and his one suitcase,

told the others later on

that he walked like a dead man.

Was it at this
moment when he knew

he could never again
see Anna if he left?

Or was it later he decided to do

what he finally did?

(melancholic instrumental music)

Only one thing is clear.

Anna was terrified of him.

The loneliness and
desolation of her life

were beyond belief.

Though she herself
must have been unaware

of just how lonely and
desolate it really was.

From six each morning
until late every night,

she cleaned and
cooked and laundered

and tended house

for her father, a young brother,

and whatever borders Volovich
managed to bring home.

She lived by the clock,

seven days a week,
52 weeks a year

as far back as she
could remember.

There are those in the
neighborhood who ask

what else should a woman expect?

I guess, in her own way,

she never let herself
think too much

about anything else,

never dared to look
out at the world

beyond Russian Hill.

She'd adjusted.

(door clicks)

(melancholic instrumental music)

- If,

if someone would hear me,

if someone would listen

from these walls, the stairway,

I would tell them I
do not want to leave.

I am sick to leave.

(melancholic instrumental music)

This house,

the walls,

the stairway,

my room,

I will miss,

I will miss bitterly.

(melancholic instrumental music)

Who cares if

my windows are broken

or the wallpaper is stained

from old rainstorms?

There is

beauty here.

I am sick to leave.

(melancholic instrumental music)

Why do we live, do you know?

(melancholic instrumental music)

Wall,

stairway,

do you know?

(melancholic instrumental music)

I will tell you.

To keep hope inside,

always to keep hope burning.

Things will be better.

We live for this.

We say it every day,

and we never forget it.

(melancholic instrumental music)

Things will be better.

(melancholic instrumental music)

Goodbye.

I go now.

(melancholic instrumental music)

Always I will

remember this place.

(melancholic instrumental music)

And Anna.

(melancholic instrumental music)

(dramatic instrumental music)

(fluttering instrumental music)

(child shouting)

(fluttering instrumental music)

(rattling)

(melancholic instrumental music)

(church bell tolls)
(dramatic instrumental music)

(jagged instrumental music)

- [Lt. Hodges] You should've
called us right after the fight

in the sand and gravel yard.

- My buddy just told you,

Orlov goaded him on,

chose him up, started
the whole thing.

Dvorovoi was angry, that's all.

Haven't you ever been angry
at anybody, Lieutenant?

- Yeah, right now.

But that doesn't mean
I do what Dvorovoi did.

(tires crunch)

Now look, my guess is
that he grabbed her, see?

And they went in together.

Now he was a pretty chunky guy,

so they hit it heavy,

clear down to the bottom.

Right in the mud, I figure.

Now they're either stuck in that

or caught up on
somethin' down there,

a cable maybe.

Anyway, go down, look it over.

- You can't see your hand
down there, Lieutenant.

It's thicker than fudge.
- Well eat your way

down there then!

Where's, where's Harrison?

I wanted that barge here
today, not next winter.

- [Diver] Where'd
they go off from?

Side or the top?

- Look, I told the lieutenant
I didn't see 'em jump.

- We stopped the train
80 miles south from here.

The sheriff in Harrisville's
checkin' the lineman now.

Apparently the
freight slowed down

in three places between
Harrisville and here.

They're gonna call
us on the car radio

as soon as they've
searched the train.

- That's not the
answer, Simmons,

you know that as
well as I do, no.

The answer is out there

in the Cuyahoga River.

Okay.

Now,

he, uh, broke up the pitchfork

and headed up St.
Tikhon Street, huh?

And then what?

- I better tell him
more about that.

It's about the records and,

and how that happened.

Tod was working
through the lunch hour,

tryin' to pick up some overtime,

and I had gone out
for our laundry,

and came back to drop it off

before I went back
to the gravel yard.

That's when I got
a double zinger.

I heard the record
coming from Anna's house,

and it hit me how
out of place it was

here in this neighborhood.

And I saw Dvorovoi.

He hadn't gone away after all.

(sophisticated jazz music)

He didn't have a
suitcase with him,

so I figured he must've
found another place to stay,

somewhere close, I
remember thinking,

so he could be near Anna.

Call me a kook, but I
felt sorry for the guy.

If they saw him
back on the block,

it might be rough, I thought,

so I'd tell him he better leave.

Then I remembered the
times I'd hung outside

some chick's place,

wantin' to be noticed.

So I figured

he's a big boy,
he can handle it,

and I went inside to
find out about the music.

(sophisticated jazz music)

Hi.

What's the name of this song?

I, uh, I heard the beat.

I thought I was, uh, missing

some kind of a
bash or something.

(sophisticated jazz music)

Oh, nobody bothered to
introduce us last night

when we met.

I'm Buz Murdock.

The room at the end of
the hall on the left,

the last one, the little
one over the staircase.

Uh, what's the song?

(banging)

- [Boy] Lunch ready, Anna?

- What's the name of the song?

(sophisticated jazz music)

(record player thumps)

It's a great arrangement.

It must be your favorite song.

You must, you must
really dig it.

It's, uh, it's worn.

- It's the only one she has.

She got it at the store

for saving navels,

box tops.

- What do ya like?

You name it, and I'll
buy ya a stack of them.

- She doesn't know.

- Well, listen to
the radio, and, uh,

make a list.

Really, it's my pleasure.

- The radio's broken.

- Does he do all the
talking in the family?

- Only when Papa's at work.

- I, I asked you, Anna.

- She can't talk.

(melancholic instrumental music)

- Anna Volovich was a mute.

Right away, I started
feeling sorry for her,

standing there in the middle

of that old-fashioned
dining room,

holding a broom in one hand

like it was part of her,

and the record in
her other hand.

But I'll tell ya something,

I couldn't see any self-pity
in her eyes, Lieutenant.

Not a bit.

(melancholic instrumental music)

Look, Anna.

Tomorrow's Saturday.

It's an early day for us.

I'll drive downtown and buy ya

the whole music store.

I'll buy ya some, um,

some rhythm and blues,
and some, uh, swing,

and some Dixieland
and some vocals

and I'll even get
ya some symphonies.

That's to go with
your long hair.

How 'bout that?

- Papa won't like it.

He only lets her play
the record once a day,

from twelve o'clock
to one o'clock,

when he's not here.

And Nikolai will be very angry.

- Nikolai, who's Nikolai?

- Nikolai will
marry Anna someday,

maybe.

- Does he mean Orlov?

That big slob that
works down at the yard?

Look, no strings.

I'd just like ya to have 'em.

I don't care what
Papa says, or Nikolai.

Besides, that's, that's
tomorrow's problem.

(bittersweet instrumental music)

That was Friday.

But I still remember
Dvorovoi's face,

like I'm seeing it right now.

And it sure wasn't
the face of a killer.

It was the face of truth,

a man who cared about people,

a man busting inside

from keeping his
feelings locked in,

a man who loved.

(church bell tolls)
(sad instrumental music)

Sunday was a holy
day on Russian Hill.

Willow Sunday,

with the kids
carrying candles home

in what they call catkins
blessed by the priests.

Maybe if the timing
had been different,

if Anna hadn't come home
just in from church,

maybe if Tod and I
had been by ourselves

when Orlov arrived,

none of it would have happened.

I don't know.

She was like a kid with
a dozen candied apples

just from looking at the
records we'd brought her.

But she never got to play them.

Not one of them.

(record cracks)

- You don't care who
stays under your roof.

Any old trash in the street.

Long as you can collect
your $15 a week.

I warned you not to bring
that monkey-man here.

Now ya bring these two.

They come with records

to turn Anna's head
and make her foolish.

You'll leave her alone.

She's mine!

No!
(record shatters)

(dramatic instrumental music)

No!

- Don't interfere.

He will be her husband.

- That doesn't
give him the right

to push her around.

(exciting instrumental music)

(melancholic instrumental music)

(dramatic instrumental music)

(gentle instrumental music)

- Three of ya, huh?

And you let him walk away.

- But who will marry her now?

With Nikolai gone,

who will marry her now?

- Orlov, uh, broke
your daughter's record.

Then Dvorovoi
broke Orlov's neck.

Is that how you
want it to stand?

- I can't live forever.

Who will take care of her
and Mikhail when I go?

- Maybe you can help
sort this out, huh?

- One minute he was there,

the next minute he was gone.

So sudden, so

quiet.

- And you go along with
Volovich's statement

that he did it because
Orlov broke the records

you brought her?

- What difference does
it make why he did it?

- We gotta know what we're
dealin' with here, don't we?

There are killers, and killers.

Now if he's a psycho,

and who else would kill a
man over an 89-cent record,

we've gotta know that.

Once a madman's
loose on the street

and he's tasted blood,

there's no tellin' how
many people he'll kill

before we run him down.

- Lieutenant,
Dvorovoi is no madman.

My guess is he did to
try and set Anna free.

- Set her free from what?

- From human bondage.

From cooking 9,000 more meals,

from, from wringing
sheets with her hands,

and making beds for people
she doesn't even know.

From living in a dump like this

where nobody will give her
a 1.85 to fix her radio,

or let her play the
only record she has

except from 12 to one.

To set her free from nowhere.

From you, Mr. Volovich,

and the whole stinkin' household

you, you head up.

And if you're gonna say
we're fired, forget it.

'Cause you haven't got the guts.

'Cause you don't wanna
lose that $15 a week

we pay you for that
closet you set us up in.

- You sure sound like the
attorney for the defense,

like you're in favor
of what happened.

- Yeah, well, I'm, I'm
sick about what happened.

I'm sick and I'm shook.

But you keep askin' why

and I'm tellin' ya why.

Dvorovoi was, was tryin'
to help Anna bust out,

even if it meant
sacrificing Orlov's life.

And his own.

Let's face it, when
he killed Orlov,

he killed himself, too.

- That's for sure.

All the bases are covered.

The roads out, the bus depot,

terminal, docks, the airports.

We'll nail him, Mr. Volovich.

That's a promise.

Now word of advice.

Don't put your sympathies in
the wrong cheering section.

We're all of us dead
for a long time,

and nobody, but nobody,

has the right to hurry
any of us on our way.

(dramatic instrumental music)

No matter what the reason is.

(melancholic instrumental music)

(people chattering)

(speaking foreign language)

(people chattering)

- [Mr. Volovich]
Where is your sister?

Where is your sister?

- In her room.

- But why?

Why has she stopped serving?

- She went up a
long time ago, Papa.

She locked the door.

- You tell her to get
right back down here.

- She won't, Papa.

She was crying.

- Mikhail, don't anger me.

Tell her to come down now.

Right now.

- Yes, Papa.

(people chattering)

(swinging jazz music)

(door rattles)

(knocking)

- Anna.

(knocking)

Anna!

(knocking)

Anna!
(knocking)

How can you shame us like this?

(knocking)
Anna.

(pounding)
(swinging jazz music)

Nikolai was right.

This is your fault.

Turning her head, spoiling her.

(swinging jazz music)

- [Buz] Do you mind if we
keep that open, Mr. Volovich?

- I warn you!

- She can't talk back,

and tonight, especially tonight,

with everybody burying the dead,

she needs a voice.

(sweet instrumental music)

(fleshy slap)

- This is my fault.

I've spoiled you,

given you too good a home.

Other girls your age
work in factories all day

and still do the
house and the children

and the cooking at night.

But out of my pity for you,

and my shame for your,

your deformity,

I made it too easy for you.

Well,

now we shall have more
discipline in this house.

No more music for one thing

because the devil himself,
Anna, is in that record.

Now you stand away

and you give me that record

and that machine,

or I will smash it right
here in front of you.

(gentle jazz music)

Pack your things.

Leave this house now.

Right now.

If you don't, I call the police.

- This is your house,

and Anna's your daughter,

and we don't have
any rights here,

but before we go I wanna
tell you something.

The only thing Anna has
to take her out of here,

to let her escape even
for a few minutes,

is the sound of music.

In a whole wide
world of glib people,

she has to stay silent.

And you call that a deformity.

I say it can teach her to search

for the heart of things,

the secrets the rest
of us never hear

because we're all
too busy talking.

So you go ahead, Mr. Volovich,

you break that record just the
way Orlov smashed the others.

We won't break your neck.

We don't have to.

'Cause any man that would
do a thing like that

is already dead.

You keep listening, Anna.

Don't ever stop listening.

- Goodbye.

I'm sorry we can't do more.

(easy-listening jazz music)

- I go downstairs now.

You and I, Anna, we settle this

when everyone go home.

We settle it my way.

We throw the devil and his music

out of this house.

(easy-listening jazz music)

(record scratches)

(quietly dramatic
instrumental music)

- [Tod Voiceover] We
left the Volovich house

some time after
10 to find a motel

till morning.

We planned to pick up our
checks at the gravel yard

as soon as they opened
for business the next day,

and then move on.

It was just a
little after 10:30,

we heard the first
news bulletin.

- [Radio Announcer] We
interrupt this program

to bring you a
special news bulletin.

Anna Volovich, age 24,
of 4213 St. Tikhon Street

here in Cleveland

is reported to have
vanished tonight

under mysterious circumstances.

Confined to her room

and grieving over the slaying
of her fiancee this Sunday,

the girl disappeared tonight

from a house full of
neighborhood mourners

without anyone seeing her go.

It is feared she may
be the second victim

of the same slayer who
killed her fiancee,

Vladis Dvorovoi, the Mad
Monkey-Man of Russian Hill.

More details on the regular
eleven o'clock news edition.

And now back to the
music of Nelson Little.

- [Tod Voiceover] That's
when we turned around

and drove back to the
Flats, Lieutenant,

and call you to ask
if there was anything

we could do to help.

(gentle instrumental music)

- I wish I could give
you a mountaintop

way up high

so you could play your music

whenever you wanted to,

as loud as you wanted to.

But

all I can offer you is this.

Did I hurt you?

You see, I had to
grab your hand,

I had to grip you tight.

I was afraid you would run

like you did in front
of the church on Sunday.

I had to bring you here.

You see,

my life is finished.

I have killed.

If I could die as easily
as goin' to sleep,

I would just

lie down and die.

But

so I'll,

I'll run and keep running

till somebody catches me

and does me the final
favor and kills me.

Oh.

I'm, I'm sorry, I

forgot how I must look to you.

You see, I couldn't
go and leave you

in that house.

All alone.

Please,

take this.

It'll take you to New York.

There's a school there.

They'll teach you how to
speak with your hands.

It's the, the Landing
Institute on 28th Street.

Please.

And, and then they'll
find work for you and,

and other friends
that you can speak to.

(melancholic instrumental music)

You must have a
great deal to say

after so long a silence.

(melancholic instrumental music)

I did hurt you.

And

you're not frightened?

No, no, you keep it.

I have no use for it.

You will see, Anna,

it will be easy for you.

You, you'll learn how to
speak with your hands.

Already you've learned how
to speak with your eyes.

They've come alive.

What you must remember of Sunday

is not the memory
of the killing,

of the evil of what I did,

but what may come of it

that is good.

That is the only way

that a wrong

could be righted.

And remember of me

that I cared for you,

not as a man ordinarily
cares for a woman,

but

for what I see hidden in you.

Remember it was not
your lips that I loved

but the smile I know

that they held.

And it wasn't your eyes

but

the, the light that I know will

come to shine through them.

And that, that's all that,
that I wanted to say.

(bittersweet instrumental music)

Goodbye, Anna.

(bittersweet instrumental music)

No, Anna.

(bittersweet instrumental music)

Don't make me run away from you.

(bittersweet instrumental music)

Go back, Anna, go back.

(bittersweet instrumental music)

(tense instrumental music)

(siren wails)
(tense instrumental music)

- Even though you told us

to stay out of it, Lieutenant,

we didn't stop to analyze
which was the right side

and which was the wrong side.

All we knew was that we
cared about what happened

to Dvorovoi and to Anna.

We cared enough to
stay out all night

and keep looking.

(siren wails)
(tense instrumental music)

(gun bangs)

(tense instrumental music)

(gun bangs)

(tense instrumental music)

(guns bang)

(dramatic instrumental music)

(horn blares)

(dramatic instrumental music)

(horn blares)

(bridge rumbles)

(horn blares)

(train bell rings)
(train rumbles)

(sweet instrumental music)

That was the last we saw
of Dvorovoi and Anna.

(bittersweet instrumental music)

When the train had
finally passed,

we climbed the ladder,

but there was no sign
of either one of 'em.

Just Anna's phonograph
and the record.

- I got the linesman's report.

Nothin'.

No sign of 'em.

Of course, that
doesn't mean anything.

They could've hopped off

at any one of the
three slower points.

I have the local sheriffs
searching the areas.

- Okay, okay, you
stick with that.

But for my money,

we're gonna come up with
'em right out there.

Now don't you get it?

The phonograph.

There's your
answer, right there.

You heard Stiles' story.

She wouldn't take
a step without it.

No, if they'd gone
for the train,

she'd have taken it with her.

- I don't know, Lieutenant.

The way she was
running after him,

I had the feeling she
didn't need anything anymore

except him.

(bittersweet, dramatic
instrumental music)

(elegant jazz music)

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

from Columbia Pictures.

Herbert P. Leonard,
executive producer.

(sweeping instrumental music)