Route66 - S03E08 Welcome to the Wedding) subtitles – 100+ languages (SRT)

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Original subtitles

[lively orchestral music]

- Listen, we better break up.

Emily, you stay here, Buz, you take this one,

I'll go down to the far end.

Wait a minute, I don't know what she looks like.

What's she look like?

- Oh, well--

- Short. - Blonde.

- Short. - Brunette?

[lively, pleasant music]

Come on.

[lively, pleasant music]

Girl.

- All girl.

[lively, pleasant music]

Congratulations.

[lively, pleasant music]

- An hour and a half to kill.

- It's not too hard, I kill years.

Ya still not gonna let me contact 'em?

- I'm not supposed to let you contact anybody.

- You're supposed to have some human feeling, you know.

- My human feeling is to do the job the right way.

[loudspeaker mumbles announcements]

- Last night, I had trouble breathing.

I could tell if the air wasn't going out,

it just sat right there in the cell with me.

- Thanks.

- I kept breathin' the same stuff over and over,

till I got most of the oxygen out of me.

- All air is the same.

- Yeah, outside, it is.

Thank you.

You breathe some of the stuff I been breathing,

over and over, for the last 22 years,

and you get to be an expert on the subject.

This is good air we're breathin', now.

- Breathe deep then, it's free.

- Listen, why don't you do what I'm asking you to do,

and why don't let me go to the phone, talk to my brother,

and let him know I'm here.

- When you get to where you're going,

they'll give you a little piece of paper to fill out,

who your relatives are, who can come to see you.

Then, they'll send him a letter

telling him what the visiting days are.

- I mean, he can be here in 10 minutes.

- I'm supposed to keep you away from the public, period.

[loudspeaker mumbles announcements]

- When I killed those two people, I was 17 years old,

and all the newspapers wrote stories

about what a vicious killer I was.

Everybody had deep feelings about it,

but I didn't have any feelings at all about what I had done.

I kept looking,

I kept trying to see what it was

I was supposed to feel.

You see...

What to feel, that's my big question.

[loudspeaker mumbling announcements]

I had no mother and father, at that time.

I had one brother.

That's the one I was talking about now,

and he never once came to see me,

he held my crime against me, and I don't know why.

I mean, I was put in prison to be punished

according to the laws of the land,

but I can't find one law that takes off his obligations

to be, well, to forgive and to be friendly to me.

See, he's my only blood relation,

and I thought if I could see him,

and I could talk to him about myself,

then he would tell me something about myself

that would explain my differences with him,

and with society.

- Differences of opinion?

- Well, I don't believe I'm a monster.

I do not believe that,

and I just want to see my brother,

and tell him that face-to-face, that's all.

17 years...

Since I'm 17 years old, he's never come to see me.

- What makes you think he'll come to see you, now?

- Well, that's why I wanna let you talk to him,

and, let me, maybe, be talk to him.

'Cause then,

well, it's like my personal voice in his personal ear,

and then let me see him turn his back on me, after that.

I mean, what am I asking for?

I wanna sit down with him, and I wanna talk to him,

and I want him to tell me how I should feel,

and then, maybe, I would feel something.

But, I just don't feel anything.

I must have some feelings.

[melancholic orchestral music]

[dramatic flourish]

[lively, pleasant music]

- Miss Helen Nunnelly?

[lighthearted, pleasant music]

My error.

But, if I have to make a mistake,

I hope you're the kind of mistake I keep right on making

the rest of my life.

[lighthearted, pleasant music]

Excuse me.

[lighthearted, pleasant music]

I hope I don't give you the impression

that I'm the kind of a fella

that goes running around railroad stations

pretending he's looking for a girl named Miss Helen Nunnelly

in order to meet some girl

who's not Miss Helen Nunnelly.

- Well, I try not to jump to conclusions.

- I really am looking for a girl.

- So was the wolf in Little Red Riding Hood.

- There ya go, leaping before ya look.

- Well, if there's another explanation--

- Precisely why I'm here.

- Well, I'd be delighted to entertain

any new evidence to the contrary.

- See, Helen Nunnelly is a real girl.

Helen Nunnelly is a real-life American girl,

somewhat like you,

who lives in Chicago and who's coming to Cleveland

to attend the wedding of her cousin.

- It all begins to fall into place.

- Now, Helen Nunnelly has another cousin named Emily,

who's going to this wedding with my best friend,

and they thought, since I wasn't otherwise engaged,

it might me all the requirements

if I took Cousin Helen Nunnelly to the selfsame wedding.

Am I makin' myself clear?

- Oh, crystal.

- Now, as soon as she got here, on that very train,

which we almost missed

because I had to get a half-day off work,

and a lotta things kept happening,

but I'm here, and she's not.

- And, in the meantime,

like a squirrel who gathers nuts in the fall,

when there's a lots of nuts,

as against the winter, the bleak, cold winter,

when perhaps days may pass

without a little nut to tuck in his cheek,

you'd like to note down my name and address,

for some future occasion.

- Exactly.

- Well, I wouldn't dream of giving you my name.

Poor Miss Nunnelly gave you hers,

and look at how you bandy that about.

You think you'd recognize her off the beach?

- I never thought of that.

- Never?

[lighthearted, pleasant music]

- [Man] I dunno.

- Well, how's that?

- Now what?

- Well, I guess the wedding goes on without Cousin Helen.

- Well, we could check with the motel.

Maybe she called or something,

while we were on the way down here.

- All it's gonna do is cost us a dime to find out.

[loudspeaker mumbling announcements]

- Oh yes, who's it from?

Oh, yes, please read it to me.

A telegram.

Oh, thank you, thank you very much.

She's going to catch the next train.

Oh, hey Mister, what time is the next train?

- Coming or going?

- [Blonde Man] Coming from Chicago.

- Well, there's another section

of the one that just came in,

it should be here in about 20 minutes.

- Maybe that's what she meant.

- She said the next train, though.

- Well, the next scheduled arrival from Chicago

is due in three hours and 12 minutes.

- Thanks.

Well, ya think she's on the second section?

- Well, we can find that out if we hang around

for another 20 minutes.

What worries me is,

will the wedding hang around for another 20 minutes.

- Well, what worries me is,

will the wedding hang around for another three hours?

- Alright, so they have the wedding just a few hours later.

- Oh, no.

- Well, what I mean is, if it were my wedding,

and my cousin were comin' from Chicago

to be my maid of honor,

and she were late, or missed her train, or something,

or somebody told me,

I'd wait three hours for her to get here.

- What have ya got to lose.

Why don't you two go over there and stall for 20 minutes,

and I'll wait here for the second section.

Now, she's not on it, I'll call ya.

Then, I can come over,

and we can all stall for three hours.

- I feel like crying.

- Oh, you better save your tears, baby,

we may need them a little later on.

- Hey, good luck.

[lively, pleasant music]

Hello?

May I speak to Mister Murdock, please.

- Who is that, Macy's?

- [Blonde Man On Phone] Murdock, Buz Murdock.

- I'm sorry, there's a lot of noise here.

- Have they had the wedding yet?

- [Man On Phone] No sir.

You can still get here for the wedding.

They're holding up for somebody who isn't here yet.

- Can ya give a message to Mister Murdock for me?

Yeah, that's M-U-R-D-O-C-K.

- [Man On Phone] M-U-R-D-O-C-K.

- Yeah, that's right.

- Yes sir.

If you wait a minute, I'll see if I can find him.

- No, just give him a message for me.

Tell him he's gotta hold the fort for three more hours.

Thanks.

[loudspeaker mumbling announcements]

You been followin' me for 15 minutes.

- That's right.

- I don't know you.

- That's right.

- What do you want?

- I can show you better than I can tell you.

- What's over there?

- Station master's office.

- [Blonde Man] What's in the station master's office?

- I can show you better than I can tell you.

[suspenseful orchestral music]

Do you have any ID on you?

[wallet thunks]

Thank you.

Mister Lezama is being transferred

from one prison to another,

in my custody.

We've got an hour and a half between trains,

and he's got a brother in this city who he wants to see.

What we want from you is to go to this brother's address

and bring him back.

- Why don't ya call him?

- 'Cause I'd have no guarantee what number I'd be calling.

It may be anybody.

It's a number.

Maybe there's a brother there, maybe somebody else,

to help him escape.

- You see, I'm considered very dangerous,

because I killed two people,

and I'm serving two 99-year sentences,

one after the other, so...

Nobody trusts me.

- Can't ya have any visitors in jail?

- Yeah, he has the same visiting privileges

everybody else has.

- Well then, why doesn't he wait

until he gets to wherever he's going?

Why does his brother have to come down here?

- He'll tell ya, if he wants to.

- What you dressed like that for?

- Why?

- Oh, I see, you're allowed to be private, but I'm not.

- What difference does it make?

- Look, why I wanna see my brother

is a private family matter,

and I don't wanna talk to you about it.

- I'm goin' to a wedding.

- Well, thank you, at least you gave me an answer.

But, I'm not gonna answer you.

Now, you either do it, or you don't do it,

but no questions answered, please.

- Okay, the answer's no.

[door creaks]

I'm sorry,

but I don't want to get involved in something

I don't know anything about.

- Enjoy yourself.

Give my regards to the bride and groom,

and tell them that a man

who's gonna spend the rest of his life in prison

wishes them the best of luck,

but don't spoil it for 'em.

Don't spoil it for 'em by tellin' 'em

what you just did, now.

- What I just did?

- Don't tell them just because I wouldn't discuss

a private family matter with you

that you refused to do a simple favor.

- Oh, now just a minute, friend.

- I hope you're pleased with yourself.

I really mean that.

I hope you got a lot of kicks out of frustrating me

because I wouldn't satisfy your curiosity.

Well...

I come in contact with more curiosity than yours

every single day.

Every time a guard passes my cell,

he looks in it,

to satisfy his curiosity about what I'm doing.

Now, just think of that.

In a place...

Where the walls are 112 feet high

and 40 feet thick...

All the doors have holes in them.

But...

All night long, [chuckles]

All night long, they keep a light burning

to satisfy their curiosity about what I do at night.

Even when I sleep,

people can look in on me to satisfy their curiosity

about how I sleep.

And, every once in a while, they take me out,

and they question me for hours.

They think I know something that they wanna know, and don't,

and I tell them nothing.

Because, within their walls, I build walls of my own.

I build walls of my mind.

I build walls that they can't see through.

You see?

They shut me in, and I shut them out.

Now...

If you think I can keep myself to myself

under those circumstances,

do you think that I am going to tell you

anything I don't want to tell you about myself?

And, what...

What do you got to offer in exchange for my privacy?

What?

20 minutes from your little life.

[dramatic orchestral music]

- Gimme the address.

[dramatic orchestral music]

- Put down his name and address.

[dramatic orchestral music]

Put down his birthday...

[dramatic orchestral music]

For identification.

[dramatic orchestral music]

- Do you have a car?

- [Blonde Man] No.

- Why don't you take a taxi?

Give him the two dollars and I'll pay ya later.

- 'S alright.

- [Mister Lezama] Mister--

- I'll take a taxi, I won't waste your time.

- I just wanted to say

that if I seem crude in offering you money,

you'll have to forgive me,

it's just that I'm a self-educated man.

[dramatic orchestral music]

[dramatic flourish]

[pleasant jazzy music] [people chatting]

- [Man] People miss weddings, it happens all the time.

The only people who can't miss a wedding

are the people who are getting married.

- I don't care.

- Now, everybody is very tense, and I think--

- I think everyone wouldn't be very tense,

if we got this wedding over with the way we planned it.

- The whole thing is bad luck.

You can't postpone a wedding.

Started something, finish it.

Finish it the way ya started it.

- Dad, there are enough opinions.

Hon, look, now, they way my father feels.

- I'm sorry, the way your father feels.

You're father's not getting married, I'm getting married.

If you wanna look at the way someone feels,

look at the way I feel.

- Hon, now look, this isn't going to help anything.

It won't hurt you to give in.

- You young people are different than we were.

- When we set a wedding for noon,

people got married at noon.

- Well, I think it's more important

not to keep all of the guests waiting for just one guest.

- [Woman] But, it's not just one guest--

- Of course, it's not one guest,

it's my maid of honor,

and she wouldn't get married without me,

I can tell you that.

- How do you know whether she'd wait for you or not?

She isn't even engaged.

The fact is, you're here, I'm here,

my mother and my father are here,

but where is your maid of honor?

That's the question.

- She's on a train, getting here as fast as she can,

that's where she is.

- What about the train

that would have gotten her here on time?

Dad, we got enough trouble without any more opinions,

as it is.

- Reverend. - Where are we going?

[pleasant jazzy music] [people chatting]

- Reverend, after everybody else gets through arguing,

they're gonna turn to you.

Now, what I'd like to do is get in a little lobbying

on behalf of the missing maid of honor.

Reverend, let me give you four or five good reasons

why we should wait.

[dramatic orchestral music]

[doorbell buzzes]

[dramatic orchestral music]

[doorbells buzzes]

[dramatic orchestral music]

[knuckles rapping]

[dramatic orchestral music]

- Lookin' for a man named Stanley Lezama.

Can you tell me your date of birth?

- What are ya, a nut or something?

- Look it's important I know your birthday.

- March 8th, 1915.

- Hey, your brother wants to talk to you.

- Where is he?

- I'll take ya to him.

You're not surprised, are ya?

- Eight, 10 times now,

people have been sent here for my brother to talk to me.

Guards from the prison, chaplain once.

A couple times, cons who were in with him and got out.

I expect to hear from him all the time,

anywhere and everywhere.

No, I'm not surprised.

[door clunks]

[dramatic flourish]

Went to put the jacket on.

That your cab? - Yeah.

- If you're payin', we'll go in my car.

Well, how am I gonna get back here,

if I don't go in my car?

[expectant orchestral music]

[loudspeaker mumbling announcements]

[expectant orchestral music]

[knuckles rapping]

[expectant orchestral music]

[chair clatters] [dull thud]

[dramatic flourish]

[gunshots bang] [dramatic orchestral music]

[dramatic flourish]

[dramatic, percussive music]

- Get the keys to the cuff out of his right-hand pocket.

Go on.

[dramatic, percussive music]

Now, uncuff me.

[dramatic, percussive music]

[cuff snicks]

Now, get the other one.

[dramatic, percussive music]

[cuff snicks]

Now, give me the key.

[dramatic, percussive music]

Now, put a cuff on that hand.

[chair clatters] [cuff grinds]

[dramatic, percussive music]

Okay, move here.

Come on, cuff yourself right here.

Right there, slowly.

[cuffs snick]

Steady, there.

[dramatic, percussive music]

Alright.

[dramatic orchestral music]

[melancholic orchestral music]

Can ya get up?

[melancholic orchestral music]

[suspenseful orchestral music]

[gunshot bangs]

[dramatic flourish]

I couldn't leave him behind,

because they might have traced me through him.

[dramatic orchestral music]

Alright now, unlock the cuffs.

[cuffs snick]

[dramatic orchestral music]

And, give me the key.

[dramatic orchestral music]

Now, take me where the car is parked.

[dramatic orchestral music]

You'd be very foolish, if you made me kill you, you know.

You're a young man on the way to enjoy a wedding.

All you'll have to do to stay alive

is just take me where the car is parked.

[dramatic flourish]

[dramatic, percussive music]

[fist thuds]

[dramatic flourish]

[suspenseful orchestral music]

- Bang, bang.

Bang, bang, bang.

[suspenseful orchestral music]

[loudspeaker mumbling announcements]

[suspenseful orchestral music]

I wanna explain my logic to you.

I can't drive, I need a driver, that's you.

And, in case you think it's worth the risk

to try to jump me...

I won't shoot you, necessarily,

I'll shoot whatever target there is.

That means man, woman or child, ya understand?

You try to make a move, and I'll kill someone.

- What are you?

- What do you mean, what am I?

I'm a human being.

- You haven't got the feelings of a human being.

- That's true, I don't.

I'm human, but without feeling.

[loudspeaker mumbling announcements]

[phone dings]

[dial scrapes] [loudspeaker mumbling]

[phone buzzes]

- [Man On Phone] Hello?

- This is Stanley's friend,

the one that's been out of town.

Are you the man that runs a travel agency?

- [Man On Phone] Yes.

- Well, I'm planning to take a little trip,

and I'd like to get some tickets and a passport.

- [Man On Phone] Call me back in an hour.

- Yeah, but listen--

[receiver clicks]

[loudspeaker mumbling announcements]

[receiver thunks]

[loudspeaker mumbling announcements]

[door thunks]

Better take me to the car.

[dramatic flourish]

[suspenseful orchestral music]

It's alright, you keep the change.

Just get the car, alright?

Get the car.

[suspenseful flourish]

[suspenseful orchestral music]

Read what it says there, about the definition of a monster.

- Monster, an animal or plant

departing greatly in form or structure

from the usual type of the species.

- That's what the judge at my trial called me.

So, when I went to prison,

I went to the library and I looked it up.

And, it said,

departing greatly in form or structure

from the usual type of a species.

Well, I have two eyes, I have two hands,

I have one brain, and I have a heart that beats normally,

so why do they call me a monster?

They say I'm missing certain feelings.

Oh, once I talked to a psychiatrist.

He said, "Don't you realize if someone else kills somebody,

"that they feel remorse?"

I said, I don't know.

I don't know what remorse is.

I never had any feelings, I was born without 'em.

He says, "Oh no, nobody's born without feelings."

I said, then what happened to mine, then?

I can never remember having them.

D'ya know what he said?

"Maybe you lost them."

I said, fine.

Someday, I'll go back and find them.

And, d'ya know what he did?

He laughed.

Turn the next page, and see what it says there.

- What is laughing?

- Well, what is laughing?

Can you tell me?

What does it mean to really laugh?

I've asked a lot of people,

I never met one person who could tell me.

I write everything in here.

I write questions, and answers.

Everything.

[tires squealing]

Carl, you keep the car there, turn the motor off,

and bring me the key,

because I haven't made up my mind where to go yet.

Thank you.

[car honking]

Now, get in the front.

Shut the door.

[doors thunk]

I wanna straighten you out on something.

You know the man Stanley, the one I sent you to get,

the one I had to shoot?

Well, if you still think I have a brother,

I don't have a brother.

Stanley worked for me, for money.

Just about a year ago,

I found out I was gonna be transferred,

so I had one of the guards give me the train's timetable.

He thought it was funny,

but I found out I had an hour-and-a-half layover

in Cleveland.

Then, I sent out word that I had money put away

in two different places.

Later on, I sent out word again,

telling where the small part was,

and Stanley, well,

Stanley was working for me

because he wanted to get his hands on the big money.

Now, does that make you feel better?

Does it?

To realize he wasn't my brother?

Here.

You just drive me around

till I decide exactly where we wanna go.

[suspenseful orchestral music]

[engine purrs]

[suspenseful orchestral music]

[dramatic flourish]

[dramatic orchestral music]

- Check it, will ya, Frank?

- Well?

- Not very much.

Lezama took everything he thought'd help us.

- Laundry marks, fingerprints?

- Those, he did not take.

Here's the ID on the custody officer.

So, we know that other body belongs to somebody who,

on the face of it, had no business in here.

- Well, if we can run down who he is,

that might tell us something.

- [Detective] I called the prison,

they're sending us copies of Lezama's picture by messenger.

- [Detective] That'll help.

[suspenseful flourish]

[melancholic orchestral music]

- Here, I'll give ya the key in a minute.

This is where ya take me.

See the circle there, that's where we are now, 'kay?

[suspenseful orchestral music]

[key snicks]

[paper rattles]

[suspenseful orchestral music]

[trunk thunks]

[suspenseful orchestral music]

[door thunks]

[suspenseful orchestral music]

[dramatic flourish]

[suspenseful orchestral music]

I'm takin' $9,000 dollars, here,

but that's only a small part of it.

There's over $100,000 hidden someplace else.

Here.

[suspenseful orchestral music]

[key snicks] [cuff rattles]

[suspenseful orchestral music]

[hand smacks]

[dramatic flourish]

Don't ya think I understand how the world works?

Nature, cruel nature, I lamented.

The hawk mangles the sparrow,

the fig eats the asp, and the tapeworm devours man,

and that's they way it is.

We'll make a truce, you and I.

You let me live, and I'll let you live.

Now, that's not a threat or a promise,

that's just simple arithmetic.

That's the one-and-one

that adds up to the rest of your life.

Here.

You just take me to where the map shows.

[suspenseful orchestral music]

[engine revs]

[suspenseful orchestral music]

Alright, now cuff yourself.

[suspenseful orchestral music]

[cuff grinds]

[suspenseful orchestral music]

[door thunks]

[suspenseful orchestral music]

Where's that wedding you're going to?

Ya wanna know something?

Once, when I was a boy, I was about 15 years old,

I went to a movie,

and the movie had a wedding scene,

and I sat through that scene eight or nine times.

I've really been to a real wedding in my life.

[suspenseful flourish]

Easy.

[suspenseful orchestral music]

[percussive, dramatic music]

Alright, easy does it.

[percussive, dramatic music]

[suspenseful orchestral music]

[people chatting] [suspenseful music]

[suspenseful flourish]

You don't mind him bringing a friend, do you?

- No, I think it's very nice.

- Thank you.

I don't want to impose,

because I come from another country,

so I don't know your country, or the customs.

But, he knows my country, a little.

- Is it very different?

- Yes, it is.

- Nobody ever gets married, there.

- You're teasing me.

- Am I teasing?

- No, he's telling the truth.

- See, where I come from,

they keep the women in an entirely different place.

Sometimes, we see them.

Sometimes, they pass, far off.

[people chatting]

Isn't that so.

- Yes, that's so.

[people chatting]

- You speak English very well.

- Do I?

- I couldn't even tell any accent.

- I was younger, until I was 17 years old,

I studied your country very hard,

because I thought that I might live here,

but circumstances have changed all that.

You're very happy, aren't you?

- Of course, I'm very happy.

[people chatting]

- Is that the man you're going to marry?

He makes you smile.

Suppose I told you he's gonna die?

- Die?

What do you mean, die?

- Die means not to move, not to breathe.

Well, look at him.

Look at his face.

Now, don't you see death there, don't you feel it?

- Leave her alone.

- What kind feelings do you have, if you can't feel death?

- I said, leave her alone.

- What is it?

- Nothing, he was joking.

- Joking?

- That's right, I was joking.

See, in my country, we do that to test the bride,

to see if she really cares for her husband.

- Then, people in your country

are very cruel and inhuman.

- In my country, we all become monsters.

- Yes, anyone who would do that is a monster.

[dramatic flourish]

[dramatic orchestral music]

- I think we better go.

- I'll take ya to the car.

[suspenseful orchestral music]

[suspenseful violin flourish]

[suspenseful orchestral music]

[dramatic flourish]

[suspenseful orchestral music]

[clasp snicks]

[suspenseful orchestral music]

- Was that too tight, huh?

[suspenseful orchestral music]

I was born in this house.

[melancholic orchestral music]

[sighs] It belonged to my father, and...

Year after year,

my mother used to try to get him to put it in her name.

[melancholic orchestral music]

And,finally, she wore him down.

[melancholic orchestral music]

He did...

Then he died, and...

She died.

So, I got the house.

[melancholic orchestral music]

[deep sigh]

Some people need a large place to sleep in.

I'm fine in mine.

I grew up in a cell.

Night after night, I used to lie down in the bunk,

and pull the smallness in around me.

[melancholic orchestral music]

And, I used to put myself in the position

that faced away from the door,

so if anybody looked in to...

Satisfy their curiosity,

I presented my back to 'em as an insult.

[melancholic orchestral music]

After a while,

I arranged for Stanley to come and live in this house.

[melancholic orchestral music]

I used to think about him walking around in it.

He knew that the rest of the money was here, somewhere.

[suspenseful orchestral music]

And, I used to lie there, in my cell.

I used to walk about the house with him, in my mind.

[suspenseful orchestral music]

He searched, and I lay there in my cell...

[suspenseful orchestral music]

And walked about the house with him.

[suspenseful orchestral music]

Once, he went out in the garage,

and he stood there, and he looked around,

and he looked up.

[suspenseful orchestral music]

All he saw was the rafters.

He'd look down, and all he saw was the concrete floor.

Then, he looked around, and all he saw was the walls.

Then, he left.

See, Stanley was the kind of man,

he never really saw, he never really looked.

[suspenseful orchestral music]

And, I counted on that,

'cause the money was in the garage, all the time.

It was up in the rafters.

They were hollow, and it was inside.

The money wasn't even covered on top.

Stanley might have been a rich man,

if he would have climbed up a ladder.

Every time he took his car in or out of the garage,

we walked under the money.

Night after night, I used to lie in my cell...

And I used to watch him, in my mind.

Sometimes...

I'd move from room to room...

In back of him, like his shadow.

And, he was obsessed with the search.

That's why I knew he'd come to me,

whenever I got word to him.

Not only for the money,

but for all the work he had put in trying to find out

where it was.

[engine purrs]

[suspenseful flourish]

[dramatic, percussive music]

[door thunks]

[dramatic, percussive music]

[doorbell buzzing]

[dramatic, percussive music]

[doorbell buzzing]

[dramatic, percussive music]

[doorbell buzzing]

[dramatic, percussive music]

[doorbell buzzing]

[dramatic, percussive music]

[doorbell buzzing]

[dramatic, percussive music]

[doorbell buzzing]

[dramatic, percussive music]

[handle clicking]

[dramatic, percussive music]

[shells clinking]

[door handle clicking]

[suspenseful orchestral music]

[shells clatter]

[door handle clicking]

[suspenseful orchestral music]

[door creaks]

[suspenseful orchestral music]

[gunshots bang]

[dramatic flourish]

[melancholic orchestral music]

[coughing softly]

[melancholic orchestral music]

- This was his, too,

it's diary of things he thought about.

I never killed anyone except for logical reasons.

I never had feelings to go by,

so I couldn't kill no matter what I felt,

only what I thought was good for me to do.

When I was in jail, I thought I'd feel something again,

if only I got out.

I'm out.

No more walls, outside.

Now, why can't I feel something?

The boy hates me.

What is hate?

Outside, men are coming to kill me.

What do I feel?

I have my passport, I can go anywhere.

I'm free.

No, not free.

Not to feel is to be a monster.

[melancholic orchestral music]

[people chatting]

Doctor Livingston, I presume?

- I plead guilty.

- My name is Tod Stiles, and I think we're in a hurry.

[pleasant orchestral music]

[people chatting] [pleasant music]

- I thought I'd never make it.

- Welcome to the wedding.

- [Minister] Dearly beloved,

we are gathered together in the sight of God,

and in the presence of these witnesses

to join together this man and this woman

in the bonds of holy matrimony.

If there be any here present who knows any just cause

why they may not lawfully be joined together,

let him speak now.

[pleasant orchestral music]

[dramatic flourish]

[lively, pleasant music]

- [Announcer] This has been a Screen Gems film presentation,

Herbert B. Leonard, executive producer.

[dramatic flourish]

[END CREDITS]