(foreboding music)
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(Melancholy music)
- This is the Mayor, Mr. Griffin and Mr. Morelli
of the American Embassy.
The bodies are being brought down.
- All dead?
- The man and the two children
must have been killed instantly.
The woman was still alive when they found her.
(ominous music)
(shouting in a foreign language)
- There is no food around here,
no food crops,
and nobody to help him.
The mountain people have all been warned about him.
(mysterious music)
(shouting in a foreign language)
(gunshots firing)
(stealthy music)
(shouting in a foreign language)
(gunshots firing)
(woman grunting)
(dreadful music)
(moves into suspenseful music)
(body thuds)
(man coughs)
(body thuds)
(gunshot fires)
- [Satan] Run, Langdon.
Run if you can.
- Don't shoot.
I'm not armed.
- [Satan] What difference, Langdon?
- I'm sick!
I'm dying.
- [Satan] Langdon, bleeding for pity.
Langdon the traitor.
Langdon the murderer, rapist, thief.
Langdon, the evil man.
The recognized evil man.
- Please.
I'm too weak to try to run.
I'll do anything you ask.
Just don't kill me.
- [Satan] What have you got to offer?
(Langdon cries)
- No!
Please, no!
I, I, I never meant to hurt anybody.
I'm scared.
You can't kill me.
Not like a wild animal.
I'm a human being!
Just like you are!
- [Satan] Shut up!
Would you serve me, Langdon, without question,
loyally, for the rest of your life?
- I swear.
- No need for that.
I always take a man at his word.
(sinister music)
(snake hisses)
You really are sick, you know.
That fruit you just ate is extremely toxic.
As a matter of fact, you should be dead,
and it's a wonder you're not.
Starving is such a retched business, isn't it?
Retched,
painful,
dirty.
Dirty.
(unfriendly music)
When was the last time you had some fresh meat to eat?
Your friend isn't coming, Langdon.
She died of bullet wounds a while ago,
leaving a trail of canned beans and dried fish behind her,
but then she wasn't really your friend, was she?
In a way though, she did come through for you.
In a way.
Come now, it's good meat.
Probably better than anything you ever tasted.
Eat, my boy.
Eat.
(wicked music)
(unpleasant music)
(snake hisses)
- Oh Lord, our God, your days are without end.
Your mercy is too many to count.
Cause us never to forget
that our life is short and uncertain.
Let your Holy spirit lead us through this world
in holiness and justice
all the days of our lives.
After we have served you on earth
in the comfort of our faith,
and in perfect charity to all men,
may we joyfully come to your kingdom,
for Jesus Christ, our Lord.
(shocking music)
- Are you quite comfortable, Langdon?
- [Langdon] Leave me alone.
- I know just how you feel, my boy.
Believe me, even I don't enjoy everything I have to do.
But we have our rules, the same as everyone else.
- [Langdon] Can't I have a moment's peace?
- Hardly.
It's one thing to be melancholy, dear boy,
but quite another to be inane.
I think you'll find this new situation quite interesting.
In fact, I think I will too.
(knocking on the door)
- [Servant] Mr. Earl is here, mistress.
- Yeah, I'm ready.
- [Woman On PA] Dr. Perfilio Santos wanted
in Surgery B immediately.
Dr. Perfilio Santos, please.
Telephone call for Dr. Goris at main lobby desk.
Dr. Goris, telephone call.
- Believe me, Mrs. Rogers,
I'm as surprised and shocked as you are.
There was not the slightest basis
for suspecting that there was anything wrong.
That is why I would like your permission
to have an autopsy performed on the,
on your husband.
- [Julia] I would like to see my husband.
- Of course.
We haven't moved him from his room.
- I want to see his face.
(trembling music)
- [Langdon] What happened to his face?
- [Satan] Mangled beyond recognition
in an industrial accident.
He's had a number of operations.
I've been helping here and there.
Now Langdon.
(sinister music)
- Just what the hell are you trying to pull, doctor?
- Ask Dr. Pelio to come here immediately.
- Phil?
Get these bandages off his face.
- He can't be alive.
- You do it, right now.
(perplexed music)
- Phillip.
(doctor grunts)
(dramatic music)
(body thuds)
- Don't touch him!
(troubled music)
Get help, quick!
(afflicted music)
Doctor!
(woeful music)
(moves into mysterious music)
(moves into amorous music)
- Philip?
(desirable music)
Philip?
- I think I'm rediscovering the nicest part of the house.
- [Julia] You never used to think that.
You used to make a joke of all the trouble I went through
having it done.
- Come sit by me.
(treasured music)
It's not too cold for you?
- No.
- [Philip] You've had a pretty rough time of it,
haven't you?
- I never expected you to say anything like that.
- [Philip] I've been away a long time.
You should expect to be surprised.
I do.
- I don't know you anymore.
- Are you sorry?
- No.
I've never been afraid of you before.
- You are getting chilly.
(charming music)
- [Earl] You might've given me some idea
of what you were gonna do.
- You were always a little squeamish, Earl.
It would've showed.
- [Earl] I see, it's a one-man operation now.
- Is that new to you?
- [Earl] Not like this, Phil.
These people were your partners.
Sure, you've always had control, but they trusted you.
- They put their trust in figures and ironclad notes.
And they came out of it a lot richer
and a lot greedier too.
- Phil, I don't,
I don't know that I want to go along with this.
- What do you really want then?
Peace of mind?
A clear conscience?
- Why not?
- Have you got a clear conscience, Earl?
What do you think I oughta do about Julia?
- I don't know what you mean.
There aren't many women
who could've stood by you all this time.
- You're right.
You see, that's the point.
Things aren't gonna get any better,
and there's not a thing that she or I can do about it.
- So what are you gonna do,
just throw her out like your board of directors?
- Would you like that?
- All right, Phil.
Come out with it.
If you're implying that there's ever been anything
between Julia and me--
- Earl, I'm just trying to make things easy for you.
- [Earl] Easy?
- Easy.
Julia knows what a disaster our marriage has been,
but she's not the kind to let go or walk away.
Principles.
She's not going to just wake up one morning
and realize that it's you she's wanted all along.
If I threw her out,
neither one of us would ever see her again.
- Why should you care?
- I don't want to hurt her any more than I have to.
If she can make a good life for herself with you,
why shouldn't she have a chance for it?
So why don't you and I kind of help her along, Earl?
(trembling music)
- Well here's Tom Milton.
Remember him?
You inhabited him in '54, '55 I think.
You know, I can't for the life of me
remember what I did with him.
I'll have to look it up.
Actually, Langdon,
since I happened to be in the neighborhood,
I thought I'd look you up
and have a little therapy session with you.
You know, bringing you back with your own face
was an irresistible temptation,
but it may turn out to be an awful mistake.
- What have I done?
- Nothing yet.
But having a face of your own
is encouraging you to think about personal identity.
And you know we can't have that.
- I take no pleasure in it.
- Naturally not.
But your mind wanders.
Why do you think I keep bringing you back like this?
Apart from the pleasure you get out of it.
- To awaken the latent evil
in the people that I come in contact with.
- Good.
I knew you'd be sharp enough to grasp that.
It isn't as easy as it might seem
to find qualified agents.
Human nature is so ambiguous
that the propagation of evil
is left entirely to chance.
There's been a great deal said
about the scarcity of truly good men.
Why, truly evil men are just as hard to find.
Do you realize, Langdon,
that if you really put your mind to it,
you could be a saint?
For our side, of course.
- Nothing seems worth doing.
- [Satan] You want to die.
Is that it?
- Yes.
- What fantasies people pick up!
This is all there is, you know.
You are to stop thinking of yourself as a man
groping towards some sort of fulfillment
within a measured span of time,
because surely you can see that you stopped be mortal
some 20-odd years ago.
- [Langdon] What am I?
- Well, you're in transition.
You're still part man, becoming hopefully a quality,
a pure moral force, so to speak.
- I am a man!
Damned maybe, but still a man,
who knows shame and sorrow and revulsion and regret!
(dramatic music)
- You have no idea how distasteful I find this.
I wish there was some subtler and equally effective way
of making a point with you.
Do try to remember, Langdon.
I find you quite useful,
but I don't want you to be anybody,
not anybody at all.
The pain you feel is almost like pressure on the kidney.
If you vex me further, I can be much more imaginative.
(malevolent music)
- Can I get you a drink?
- Earl stopped in this afternoon.
- [Philip] I figured he would.
- He told me,
he said you had a talk about me.
- Yes?
- What did you tell him?
- I think you know what I told him, Julia.
- Just what do you take me for?
- What was his attitude?
- I don't know what you mean.
- [Philip] Did he seem interested in the idea?
(slapping)
- [Julia] What was the point of telling him all those lies?
What are you trying to do to me?
- About four months ago
you let an airline pilot pick you up at the Savoy Bar.
Now that bothered you a lot, didn't it?
- You hadn't spoken to me in months.
You didn't care whether you lived or died.
You didn't care what happened to me.
How was I supposed to feel?
- Just the way you did feel, Julia.
The trouble is you've never been able
to forgive yourself for it.
- How long have you known?
- What difference does it make?
- Philip, suddenly I don't understand you at all.
- Earl is as close to being what he seems to be
as anyone you've ever known.
With him you'd never have to wonder where you stood.
And that's what you've always wanted, isn't it?
- [Julia] And it's not supposed to matter
whether I love him or not!
- What do you want, Julia?
Love you've had.
Why don't you settle for something you can live with?
- [Julia] Who are you?
- As far as you're concerned
I am and can only be
whoever or whatever you think I am.
- Philip.
I need you.
I don't want to lose you,
whoever, whatever you are.
(car horn honks)
(lofty organ music)
(Philip grunts)
- What's the matter?
Are you ill?
(terror-stricken music)
(snapping) (Philip screams)
(man screams)
(singing in a foreign language)
(horrifying music)
(moves into suspenseful music)
(moves into menacing music)
(Philip gasps)
(train whistle blows)
(body thudding)
(ominous music)
- Philip, is that you?
(knocking on the door)
Philip, let me in, please.
- [Philip] I'm very tired, Julia.
I'll talk to you later, all right.
- Is there anything wrong?
- [Philip] No.
- There must've been some kind of weapon used.
Nobody could've done that with his bare hands!
- I don't know, Lieutenant.
Even a weapon has to be handled.
What kind of a weapon would you need
to rip out a man's heart with a single blow?
- You're not sure it was a single blow.
- I wouldn't swear to it, no,
not on something as mutilated as that,
but I would guess he was hit no more than three times.
Once on the head and twice across the body,
with the force of a jackhammer, and that's not all.
We picked up bits of tissue from his heart, lungs,
digestive tract
that looked as if they came out of a meat grinder.
- No.
- Well how else can you explain the way he's been acting?
- All right.
He's having a hard time fitting into things.
Do you really think sending him away again will help him?
- I'm only suggesting that he needs psychiatric help.
- That amounts to the same thing.
Don't you see?
He needs us.
He needs me,
not some stranger poking around in his mind
the way they did with his body.
He's all alone,
and he doesn't want to beg for anything.
That's why I said all those things to you yesterday.
- I wish that were true.
- It is true!
- Maybe he's lonely in a way,
but I can't reach him,
and I don't think you can.
He's grown hard, mean even.
He can hurt you, Julia.
- And we can't risk that, can we?
- He's my brother.
- That's hard to believe too.
- Julia, I'd make very sure of my own feelings
if I were you.
- What?
- Why has he become so important to you?
Only a week ago you weren't sure you wanted to stay.
What's he done to you?
Or is it something that you've done to yourself?
- So now we're both dangerous.
- Nobody's harmless, even to himself.
Are you sure you're helping him this way?
- No.
Are you sure you're helping me?
(smooth jazz music)
Did I wake you?
- I guess you did.
I didn't hear you come in.
- Beware the Coloradans bearing gifts.
- What's the occasion?
- An attack of guilt probably.
I've spent the entire day indulging myself,
drove around, shopped,
ate a fantastically expensive lunch,
went to a movie.
Open it.
The cook said you haven't had anything to eat all day.
You must be starved.
- [Philip] Not really.
- Dinner should be about ready.
I'll go see.
- Julia.
Thank you.
(sensitive music)
- Love me.
(romantic music)
(moves into scary music)
Philip, what are you doing?
I don't...
Philip, please!
Philip?
(knocking on the door)
Philip?
(knocking on the door)
Philip, let me in!
- Go away, Julia!
Go away for your own good!
- Philip, please let me in!
(knocking on the door)
Philip!
(knocking on the door)
Philip, please let me in!
(troubled music)
(knocking on the door)
(speaking in a foreign language)
(mysterious music)
(car horns honking)
(speaking in a foreign language)
(shouting in a foreign language)
(whistle blowing)
(tense music)
(shouting in a foreign language)
(Philip screams)
(gunshot fires)
(Philip grunting)
(punching)
(shouting in a foreign language)
(Philip shouts)
(punching)
(Philip grunts)
(siren wailing)
(perplexed music)
- Mateo?
Is that you?
(monstrous music)
Who are you?
What do you want here?
(foreboding music)
If it's Mateo you are looking for,
he won't be here til morning.
(spooky music)
And if you've come to steal,
you're wasting your time.
I know you're there.
(creepy music)
(siren wailing)
Are they looking for you?
It's not a bad place to hide,
unless they saw you come in.
(labored breathing)
(troubled music)
- Phil?
- What does it mean, Earl?
Where is he?
- Operator, I would like to call
police headquarters, please.
- I'm assuming that this is still somewhere in this area.
I've stripped eight precincts of every man they can spare.
We have sealed off all possible exits from the district.
We've started a house to house search.
- What about the Army?
- They're on alert,
but they won't come in until we ask for them.
I'm not going to have a panic if we can help it.
As you all know,
no specific description of the fugitive has been issued,
except for that he's male of medium build
with a heavily scarred and mutilated face.
Frankly, that's all I'm prepared to believe at this point.
- I thought you might want to look at this, sir.
Pictures of a window in the house of Philip Rogers,
a well-known American businessman.
The man had an argument with his wife
and locked himself in.
Apparently, this is how he got out
sometime during the night.
Notice that there are no tool marks or abrasions of any kind
on the iron bars,
which means that Rogers or whoever bent those bars
did it with his bare hands.
(questioning music)
- I'm making some soup.
I can't offer you anything else.
Mateo hasn't come in yet.
- I don't know him.
- I thought not.
- Why did you help me?
- The odor of blood was very strong on you
when you came in last night.
I can still smell it.
I know it well.
- And that's why you helped me?
- I did not help.
I just left you alone.
I will do as much for a stray dog.
- You don't belong here?
- No.
My nephew Mateo is the caretaker here.
I'm just visiting him.
Speaking of belonging,
the police are liable to be here soon,
and they may wonder what someone like you, a foreigner,
is doing in a place like this.
- Yes, I guess they would.
- I see.
- What?
- That it makes little difference to you
whether you are lost or saved,
for all you want is to make an end.
- No one is ever saved.
- You are an optimist.
If things were as simple as that,
there would be no need for life to run so long.
- Who are you?
- Who I am now is of no great interest to anyone.
My name is Sabasass Nar
- The bandit?
- You have a long memory.
Yes.
Sabasas Nan the bandit.
- They didn't hang you then?
- No.
They kept me in prison for 30 years,
hoping that I would die quietly,
but after a while it was no longer important,
only I remembered,
and I remember it as though it all happened yesterday.
- What about the others,
the ones who followed you?
- Many of them are dead.
The others believe I died long ago.
It is better that they do.
I do not have much time left.
- Time for what?
- To do what remains to be done.
- You two-faced old bastard!
You haven't given up, have you?
You're still rooting around
for that blood-soaked soul of yours.
You old fool, it's gone!
And you'll never find it again
if you live to be 1,000.
- You're quite wrong.
That is the one thing we never lose,
not even if we long to be rid of it.
And he who gave it to you remains forever part of it.
That is why you are in such agony.
- [Newscaster] Philip Rogers,
a well-known businessman of the city,
is connected with the killings.
Rogers is 35 years old, five feet nine inches tall,
of medium build.
- I have nothing more to say.
I'm interested in locating my husband,
not in having him hunted down like a criminal.
- No one has even implied that he is one, Mrs. Rogers.
But surely you can understand
that we are obliged to take certain measures
in the interest of public safety.
- We do want to find your husband, Mrs. Rogers,
and perhaps it's in his best interest that we do.
- I'm not a complete fool, Inspector.
Philip, where...
- Langdon.
Joseph Langdon.
- I'm in no position to say.
I never saw Langdon.
We shipped the old files back to the States years ago.
- Surely it must be possible to send his file back here
with photographs.
- What for, Inspector?
Joseph Langdon is dead.
Not only is that a matter of record,
you were one of those who witnessed his death.
- I thought I did.
I saw him hit.
I saw him fall down a ravine 100 feet high.
- 24 years ago.
The man you're holding is 35.
He wasn't even in his teens at the time.
Just what are you trying to prove?
- I don't know.
- The man you have is Philip Rogers.
He has personal records that go back to the day he was born.
There's a perfectly valid explanation
for his change in appearance.
His wife, his brother, his friends all know who he is.
On the other hand, even if Langdon were alive today,
he'd be well over 50,
and he wouldn't look at all like that.
It just doesn't add up.
- Sorry to have wasted your time, Colonel.
- [Colonel] Not at all.
- You didn't say much in there.
- I'm not going to suggest that you should take a long rest,
if that's what you're driving at.
- Maybe I should.
I never put much faith in hunches before,
and I can't question the facts.
Why am I so sure that that man is Joseph Langdon?
(troubled music)
- [Satan] This is all so pointless, Langdon.
- Let me die then.
- I can't.
And won't.
Look at it this way.
I have commitments that go back to the beginning of time.
- To hell with that.
My life is all I'll ever know of time.
Do what you like with me.
I'm not afraid of you anymore.
- What incredible arrogance!
Just who do you think you are?
What makes you think you can ever get away
from the man who placed his soul at my feet
and prayed for a bag full of rotting meat?
- You gave me the idea.
You said I was still becoming and had a choice.
- It was a mistake, but not a disastrous one.
I've been making things easy for you.
I've given you something to resist, haven't I?
A convenient scapegoat for these recent
transports of self-indulgence.
Well no more, Langdon.
The next time you have a transformation,
it'll be entirely your doing.
Do bear that in mind.
You will not have another one
unless you bring it on yourself.
(wicked music)
(crowd shouting)
- It won't be any better tomorrow.
You really want to go through with this?
- Yes.
- You let Earl and me go ahead.
You can meet us later.
- No.
I'm staying with you.
- Give me a few moments.
(speaking in a foreign language)
(crowd shouting)
(speaking in a foreign language)
(crowd shouting)
(speaking in a foreign language)
(crowd shouting)
(menacing music)
(Julia screams)
- Get a doctor, quick.
- No, I'm not hurt.
I'm okay.
(perplexed music)
(punching)
- [Man With Glasses] Mr. Rogers, I'll call you.
- Where are we going?
- We're not going back to the house.
- Why not?
- Oh Philip, it wouldn't be safe.
You saw those people back there.
They've already convicted you.
- Hiding isn't going to do me any good, Julia.
- Well anything's better than
just sitting in that house waiting.
Earl found a place in a quiet part of town.
We can stay there for a while.
We're leaving the country, Philip.
- Was this your idea, Earl?
- No.
I'll go along with whatever you want.
- It was my idea.
Earl made the arrangements.
Tomorrow night we're driving out to Corbonne across the bay.
There'll be a fishing boat waiting for us.
I won't let them take you, Philip.
I've waited too long for you.
- What do you make of it?
- Probably the smart thing to do
would be to forget it all together.
By the way, we decided not to book the man who owns that.
He won't leave.
Who was Joseph Langdon?
- A U.S. Army deserter
convicted of collaborating with the Japanese
while a prisoner of war in World War Two.
Also torturing and informing on his comrades in arms.
He escaped from the American stockade here
and joined some native wartime contacts in the mountains,
but he was too much even for them.
Murder,
pillage, rape,
very often for no comprehensible reason.
Finally, he was alone.
We tracked him down
and killed him,
or so we thought.
- His body wasn't recovered.
- [Inspector] No.
He was hit at least a half dozen times
and fell off a high cliff into a river.
We had divers looking for his body for almost a week,
but they found nothing.
- I wonder what he was like.
- Educated, softly spoken.
It was very hard to dislike him
if you knew nothing about him,
but there was a hard, cold hatred inside him
which no one could account for,
or bothered to.
After our meeting with the military attache the other day,
I went to see a friend at army intelligence.
He dug this up for me.
(phone rings)
Inspector de Santos here.
Yes, Mr. Rogers.
We've been waiting to hear from you.
Are they still in the house?
- I left them less than an hour ago.
Inspector, I hope you understand my position.
- Your brother and Mrs. Rogers
will not know of our presence here,
unless some imminent danger
to either of both of them arises.
- I'm rather concerned about Mrs. Rogers.
- So are we.
Come on.
(worried music)
- You should be asleep.
You won't be much help if you don't get some rest.
(concerned music)
- Will you stay with me, Philip?
Will you promise not to leave me?
- You shouldn't have waited for me.
There was nothing left to wait for.
- I did think that.
Then you came back and changed everything.
- There's no such thing as a dead end.
You can always get out
the way you came.
- You didn't.
You came back to me
and you kept coming back.
- To use you.
- That's just another way of saying that you need me.
That's all I want, Philip.
(gentle music)
That you need me as much as I need you.
(passionate music)
Tell me you love me, Philip.
(amorous music)
(Philip grunts)
(worried music)
Philip?
Philip!
(Philip roars)
(troubled music)
- Now!
(punching)
(tense music)
(gunshot fires)
- No!
No!
(gunshots firing)
- Hold your fire!
(dramatic music)
Take two men outside and follow him.
Keep your distance.
Don't try to take him,
but find out where he goes and report to me.
- Yes, sir.
- Julia?
- [Mateo] You did not tell me that you had a visitor
around here some nights ago.
- He was nobody of any importance.
- It was the American killer.
The police let him go today for lack of evidence,
but you know he was here that night, don't you?
- He was of no importance.
- No?
Brubed and his cousin saw him leaving
with dried blood all over his clothes.
He's a rich man.
How much did he give you to keep quiet?
- He gave me nothing.
He was tired and he needed a place to sleep.
- You old liar.
I took you in when no one would help you.
I let you stay,
gave you whatever food and money I could spare.
Me, with a sick wife and four children to worry about.
- He gave me nothing.
- It wouldn't help you to be stubborn, old man.
(knocking on the door)
Who is it?
(knocking on the door)
Who's out there?
Speak up!
(knocking on the door)
- [Sabasas] He won't talk to you.
- Get away from there!
- He needs me!
Please, Mateo, let him in!
(punching)
(Philip growls)
No!
Leave him alone!
He means no harm.
He's just afraid,
like you.
He won't give you away.
I promise you.
- Mrs. Rogers, it's imperative that we know
as much about your husband as you can tell us.
It's imperative that we know what happened last night.
Did he say anything that might help us locate him?
- I'm sorry, Inspector.
I can't permit you to continue.
- You'll let us know as soon as her condition improves?
- Yes, but I cannot tell you when that will be.
I'll come by and see her again before I leave.
I'd get some rest if I were you, Mr. Rogers.
- I'm okay.
(weighty music)
Julia?
(calm music)
(moves into afflicted music)
- Is he dead?
- No, he's breathing easily, but he's badly hurt.
(concerned music)
- [Philip] You better get a doctor.
- [Sabasas] Yes, I was just waiting for you to change.
- You know?
- [Sabasas] What do you do?
- I don't know.
I'm tired of running, but it's all I can do.
They can't kill me.
(gloomy music)
- What is your name?
- Joseph Langdon.
(gentle music)
My name is Joseph Langdon.
- You have a name and a face.
You speak, you think, and there is an awful pain inside you.
Whatever else you might be, you are still a man.
There is a clinic nearby.
I'll bring a doctor here.
Stay out of sight when I come back with him.
- What for?
- I will help you find a place to hide for a while,
until you know what you must do.
- It's no good.
Somebody tried to help me once.
I destroyed her.
- You cannot harm me.
You see, I want nothing from you.
(uneasy music)
Don't worry, they won't see us.
We are too big to notice.
I have a good feeling.
I think I'll have a better day today
than I have had in a long time.
(ominous music)
(speaking in a foreign language)
(troubled music)
- Describe this place to me, quickly.
- There's a hill to the right of us, tall grass to the left.
The road turns left on the side of the hill.
- [Sabasas] Walk into the grass now.
- You can't come with me.
- You will never find your way out of here.
I will be your eyes.
Do what I tell you, now!
- Move!
(gunshots firing)
(dreadful music)
Push them back!
(inspector shouts) (gunshots firing)
Cease firing!
Langdon, there is no way out of there!
Come out and give yourself up!
(suspenseful music)
Come out and be found out!
- [Langdon] It's no good.
- No.
There's a way, the valley.
They can't reach us.
- Langdon, this is your last chance!
- They're not going to give themselves up.
If we wait any longer, we lose them.
Fire!
(gunshots firing)
(tragic music)
(flames crackling)
- No, we're going back!
(tense music)
Don't shoot, we're coming out!
(perplexed music)
Don't shoot!
(dramatic music)
No!
(gunshots firing)
(dreadful music)
(punching)
(soldier screams)
(gunshots firing)
(punching)
(gunshots firing)
- Please.
Take me to him.
(gunshots firing)
- No.
(sinister music)
- Langdon.
Langdon.
(suffering music)
Pray for me, Langdon.
(dramatic music)
Pray for me.
(weighty music)
(gunshot fires)
(Langdon screams)
(snake hisses)
- [Satan] Cowardly, sniveling fools.
I accept forgiveness of no one.
No one!
I alone am answerable for what I am.
I will not serve!
But I also am,
and will not be overcome.
(resolute music)