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1
00:00:02,002 --> 00:00:05,170
[eerie music]
2
00:00:05,255 --> 00:00:07,506
(male narrator)
THERE IS A FIFTH DIMENSION
3
00:00:07,590 --> 00:00:10,050
BEYOND THAT WHICH
IS KNOWN TO MAN.
4
00:00:10,135 --> 00:00:12,803
IT IS A DIMENSION
AS VAST AS SPACE
5
00:00:12,846 --> 00:00:15,889
AND AS TIMELESS
AS INFINITY.
6
00:00:15,974 --> 00:00:19,685
IT IS THE MIDDLE GROUND
BETWEEN LIGHT AND SHADOW,
7
00:00:19,769 --> 00:00:21,895
BETWEEN SCIENCE
AND SUPERSTITION.
8
00:00:21,980 --> 00:00:24,898
AND IT LIES BETWEEN
THE PIT OF MAN'S FEARS
9
00:00:24,983 --> 00:00:27,818
AND THE SUMMIT
OF HIS KNOWLEDGE.
10
00:00:27,902 --> 00:00:30,738
THIS IS THE DIMENSION
OF IMAGINATION.
11
00:00:30,822 --> 00:00:34,992
IT IS AN AREA
WHICH WE CALL
THE TWILIGHT ZONE.
12
00:00:47,422 --> 00:00:50,340
YOU'RE LOOKING AT
A TABLEAU OF REALITY.
13
00:00:50,425 --> 00:00:53,010
THINGS OF SUBSTANCE,
OF PHYSICAL MATERIAL.
14
00:00:53,053 --> 00:00:55,095
A DESK, A WINDOW, A LIGHT.
15
00:00:55,180 --> 00:00:57,723
THESE THINGS EXIST
AND HAVE DIMENSION.
16
00:01:00,518 --> 00:01:05,230
NOW, THIS IS ARTHUR CURTIS,
AGE 36, WHO ALSO IS REAL.
17
00:01:05,315 --> 00:01:08,192
HE HAS FLESH AND BLOOD,
MUSCLE AND M IND.
18
00:01:08,276 --> 00:01:12,905
BUT IN JUST A MOMENT, WE WILL
SEE HOW THIN A LINE SEPARATES
THAT WHICH WE ASSUME TO BE REAL
19
00:01:12,989 --> 00:01:15,574
WITH THAT MANUFACTURED
INSIDE OF A M IND.
20
00:01:16,993 --> 00:01:18,827
GOOD MORNING,
MR. CU RTIS.
21
00:01:18,912 --> 00:01:21,080
AH, GOOD MORNING, SALLY.
22
00:01:21,164 --> 00:01:23,916
I THOUGHT I'D BETTER
GET ANEARLY START.
I GOTTA LEAVE ABOUT 3 :00.
23
00:01:24,000 --> 00:01:26,877
MY WIFE AND I HAVEN'T
GOTTEN A THING FOR TI NA'S
B I RTH DAY PARTY YET.
24
00:01:26,920 --> 00:01:29,129
THAT'S RIGHT.
IT'S SATU RDAY
AFTERNOON, ISN'T IT?
25
00:01:29,214 --> 00:01:31,215
YEAH, IF MY DEAR DAUG HTER
CAN HOLD OUT THAT LONG.
26
00:01:31,257 --> 00:01:32,591
IS SHE EXCITED?
27
00:01:32,675 --> 00:01:33,926
THAT'S ALL SH E
CAN TALK ABOUT.
28
00:01:34,010 --> 00:01:35,469
THAT'S ABOUT NORMAL.
29
00:01:35,553 --> 00:01:37,221
ARE THE MATSON
CONTRACTS READY, YET?
30
00:01:37,305 --> 00:01:40,766
SURE. IF IN ISH ED THEM
LAST NIGHT BEFORE I LEFT.
31
00:01:40,850 --> 00:01:42,851
HERE THEY ARE.
32
00:01:42,936 --> 00:01:47,481
THANKS. WELL,
TO THE GRIN DSTON E.
OH, UH, I ALMOST FORGOT.
33
00:01:47,565 --> 00:01:51,568
COULD YOU CALL AND SEE I F
YOU CAN CHANG E THE PLAN E
RESERVATIONS TO SATU RDAY NIGHT?
34
00:01:51,653 --> 00:01:53,779
OF COURSE.
STRAINING AT
THE B IT, HUH?
35
00:01:53,863 --> 00:01:56,490
IT'S THE FIRST REAL
VACATION MARIAN AND
I HAVE HAD IN YEARS,
36
00:01:56,574 --> 00:01:59,243
SO WE F IG U RED WHY
LOSE THE WHOLE WEEKEN D
BEFORE STARTING OUT.
37
00:01:59,285 --> 00:02:01,495
I DON'T BLAME YOU,
MR. CU RTIS.
38
00:02:01,579 --> 00:02:05,499
SO, UH, SATU RDAY NIGHT,
IT'S SAN FRANCISCO,
HERE WE COME.
39
00:02:15,969 --> 00:02:19,847
[whistling Coming
Through the Rye]
40
00:02:39,659 --> 00:02:42,286
OH, FOR H EAVEN'S SAKE.
41
00:02:43,788 --> 00:02:46,081
(Man)
CUT!
42
00:03:20,658 --> 00:03:23,243
COME ON, J ERRY.
43
00:03:28,291 --> 00:03:31,335
IS IT SO HARD
TO MAKE A PHONE CALL?
44
00:03:42,805 --> 00:03:44,848
HEY.
45
00:03:44,933 --> 00:03:46,225
HEY!
46
00:03:47,602 --> 00:03:49,353
REMEMBER ME, JERRY?
47
00:03:49,437 --> 00:03:51,939
MARTY F ISH ER.
48
00:03:52,023 --> 00:03:55,400
YOUR FRI EN DLY
N EIGH BORHOOD
MOVIE DI RECTOR.
49
00:03:59,614 --> 00:04:01,448
SALLY, WHAT--
50
00:04:01,532 --> 00:04:03,325
WHAT'S THE MATTER,
MR. RAIGAN?
51
00:04:08,164 --> 00:04:13,293
WHERE ARE YOU GOING?
52
00:04:13,378 --> 00:04:15,963
I'M WARNING YOU, JERRY.
THEY WON'T TAKE
IT ANYMORE.
53
00:04:16,047 --> 00:04:18,048
WISE UP, BOY.
YOU'RE ON THE EDG E.
54
00:04:18,132 --> 00:04:19,591
JERRY?
55
00:04:19,676 --> 00:04:22,219
IT'S OKAY, MARTY.
JUST A LITTLE GAG.
56
00:04:22,262 --> 00:04:24,263
WE'LL TRY IT AGAIN,
SHALL WE, J ERRY?
57
00:04:24,347 --> 00:04:26,640
WE'LL PICK IT UP
FROM THE PHONE CALL.
58
00:04:26,724 --> 00:04:30,477
YOU'RE PHONING YOUR WIFE
TO TELL HER TO MEET YOU
DOWNTOWN AT 3 : 1 5, RIGHT?
59
00:04:30,561 --> 00:04:33,397
WHAT ARE YOU
TALKING ABOUT?
60
00:04:35,066 --> 00:04:36,775
WHERE AM I?
61
00:04:38,695 --> 00:04:42,072
WHAT IS THIS,
SOME KIND OF A
JOKE OR SOMETHING?
62
00:04:54,919 --> 00:04:57,004
I DON'T KNOW YOU.
63
00:05:00,008 --> 00:05:01,967
I DON'T KNOW ANY OF YOU.
64
00:05:06,931 --> 00:05:08,849
DON'T LET HIM GET AWAY.
65
00:05:08,933 --> 00:05:11,518
MARTY, I SWEAR
THE AG ENCY HAD NO
IDEA THAT RAIGAN WAS--
66
00:05:11,602 --> 00:05:13,270
JUST KEEP HIM
HERE, SAM.
67
00:05:13,354 --> 00:05:15,731
SURE, SURE. I'LL PHON E--
I'LL PHONE BRIN KLEY.
68
00:05:24,240 --> 00:05:25,741
IS THERE A
TELEPHONE IN HERE?
69
00:05:25,825 --> 00:05:27,367
WHY DON'T YOU S IT DOWN?
70
00:05:27,452 --> 00:05:29,244
I ASKED YOU
IF THERE WAS
A PHON E--
71
00:05:29,329 --> 00:05:31,788
IF I HAVE TO CALL
BRIN KLEY ON THIS,
YOU'RE DEAD.
72
00:05:31,831 --> 00:05:34,708
J ERRY, WHY DON'T YOU
LISTEN TO ME FOR ONE
MINUTE, WILL YOU?
73
00:05:34,792 --> 00:05:36,793
I DON'T KNOW WHAT'S
THE MATTER WITH YOU.
74
00:05:39,714 --> 00:05:41,465
CALL AN AM BU LANCE.
MAKE IT FAST.
75
00:05:41,507 --> 00:05:43,550
SHALL I USE
THE STAG E PHON E?
76
00:05:43,634 --> 00:05:46,011
NO. IF HE F IN DS OUT,
THERE'S NO TELLING
WHAT H E'D DO. GO ON.
77
00:05:46,095 --> 00:05:47,846
J ERRY, LET'S GO
TO YOUR DRESSING ROOM.
78
00:05:47,930 --> 00:05:49,139
WHERE'S THE
N EAREST PHON E?
79
00:05:49,223 --> 00:05:50,474
J ERRY.
80
00:05:50,558 --> 00:05:52,934
MY NAME IS
ARTH U R CU RTIS.
81
00:05:54,896 --> 00:05:56,605
ARTH U R CU RTIS?
82
00:06:05,406 --> 00:06:07,824
LU NCH, ONE HOUR.
83
00:06:23,925 --> 00:06:25,717
MAY I HAVE
IN FORMATION, PLEASE?
84
00:06:28,679 --> 00:06:31,681
WOULD YOU GET ME
THE TELEPHONE NUMBER
OF ARTH U R CU RTIS?
85
00:06:31,724 --> 00:06:34,851
22437 VENTN ER ROAD
86
00:06:34,894 --> 00:06:37,687
IN WOODLAND
H I LLS, PLEASE?
87
00:06:37,730 --> 00:06:42,234
VENTN ER. V-E-N-T-N-E-R.
88
00:06:43,736 --> 00:06:46,405
WHAT? OH, NO, NO.
YOU'RE M ISTAKEN.
89
00:06:46,489 --> 00:06:48,740
OF COURSE THERE'S
A PHONE THERE.
90
00:06:48,825 --> 00:06:51,618
NO, LISTEN,
IT'S MY OWN HOM E.
I'M ARTH U R CU RTIS. I--
91
00:06:51,702 --> 00:06:55,372
WELL, I-I CAN'T SEEM
TO REMEMBER IT AT THE
MOM ENT. WILL YOU--
92
00:06:55,415 --> 00:06:58,542
NO, NO, IT'S NOT AN
U N LISTED NUMBER. I--
93
00:06:58,584 --> 00:07:00,419
I DON'T THINK.
94
00:07:00,503 --> 00:07:02,712
WILL YOU PLEASE
TRY AGAIN, OPERATOR?
95
00:07:02,797 --> 00:07:04,589
I KNOW THERE'S
A PHONE THERE.
96
00:07:04,674 --> 00:07:06,550
(Fisher)
JERRY?
97
00:07:06,634 --> 00:07:08,969
YOU'RE WRONG, OPERATOR.
98
00:07:09,053 --> 00:07:12,222
PLEASE, CON N ECT ME
WITH YOUR SU PERVISOR.
WHAT ARE YOU DOING?
99
00:07:12,265 --> 00:07:16,309
J ERRY, I WANNA TALK TO YOU
IN YOUR DRESSING ROOM.
YOU'RE NOT WELL.
100
00:07:16,394 --> 00:07:19,479
I'M GETTING OUT OF
HERE. I'M GOING HOM E.
101
00:07:19,564 --> 00:07:21,523
J ERRY!
102
00:07:32,326 --> 00:07:34,828
[tires screeching]
103
00:07:45,506 --> 00:07:48,508
ARE YOU OUT
OF YOUR MIND?
104
00:07:48,593 --> 00:07:50,510
J ERRY, IF YOU'RE
DRU N K AGAIN, SO--
105
00:07:50,595 --> 00:07:52,095
TAKE YOUR
HAN DS OFF ME.
106
00:07:52,180 --> 00:07:54,931
LOOK, I DON'T CARE
IF THEY BOU NCE YOU.
107
00:07:54,974 --> 00:07:58,810
I DON'T CARE IF YOU NEVER
WORK AGAIN THE REST OF
YOUR MISERABLE LIFE.
108
00:07:58,895 --> 00:08:01,771
BUT YOU'RE GON NA
PAY ME WHAT THE J U DG E
TELLS YOU TO PAY ME,
109
00:08:01,856 --> 00:08:05,525
OR, SO H ELP ME, I'LL PUT YOU
SO FAR BEH IN D BARS THEY'LL
N EVER F IN D YOU AGAIN.
110
00:08:05,610 --> 00:08:08,361
M RS. RAIGAN?
111
00:08:08,446 --> 00:08:11,698
I'M NOT MRS.
RAIGAN ANYMORE.
112
00:08:11,782 --> 00:08:14,951
I'M SORRY.
CAN I TALK TO
YOU IN PRIVATE?
113
00:08:14,994 --> 00:08:16,953
I HAVEN'T THE TIME.
HE'S COMING WITH ME.
114
00:08:17,038 --> 00:08:19,164
HE'LL BE BACK FOR
THE AFTERNOON SHOOTING.
115
00:08:19,248 --> 00:08:22,792
THAT'S NOT EXACTLY
WHAT I HAD IN MIND.
I'VE CALLED AN AM BU LANCE.
116
00:08:22,835 --> 00:08:25,128
JERRY'S HAVING
A NERVOUS BREAKDOWN.
117
00:08:25,171 --> 00:08:27,964
AM BU LANCE?
118
00:08:28,049 --> 00:08:30,467
I'M NOT JOKING,
M RS. RAIGAN.
119
00:08:30,510 --> 00:08:32,636
[engine starting]
120
00:08:32,678 --> 00:08:35,805
[tires screeching]
121
00:08:35,890 --> 00:08:38,600
OKAY, MARTY, I
CALLED THE HOSP ITAL.
122
00:08:49,737 --> 00:08:51,404
I'LL DRIVE.
123
00:08:51,489 --> 00:08:53,365
I'LL DRIVE, J ERRY.
124
00:08:53,449 --> 00:08:56,076
I SAID I'LL DRIVE.
YOU'D THINK YOU'RE
GONNA KI LL US.
125
00:08:56,160 --> 00:08:59,371
J ERRY, I'M GON NA
BLEED YOU. I'M GON NA
BLEED YOU DRY.
126
00:08:59,455 --> 00:09:01,581
NOW LISTEN TO ME,
WHOEVER YOU ARE.
127
00:09:01,666 --> 00:09:04,668
I DON'T KNOW WHO YOU
THINK I AM, BUT YOU'RE
WRONG! YOU'RE WRONG!
128
00:09:04,752 --> 00:09:06,711
MY NAME IS CU RTIS,
ARTH U R CU RTIS.
129
00:09:06,796 --> 00:09:09,548
AND I HAVEN'T THE
SLIGHTEST IDEA WHAT
YOU'RE TALKING ABOUT.
130
00:09:09,632 --> 00:09:11,550
I'M GONNA DRIVE TO MY
HOME IN WOODLAND H I LLS.
131
00:09:11,634 --> 00:09:13,885
WHEN WE GET THERE,
YOU CAN HAVE YOUR
CAR BACK.
132
00:09:13,970 --> 00:09:17,264
YOU THINK YOU CAN CH ISEL
YOUR WAY OUT OF PAYING ME
WITH A CH EAP TRICK--
133
00:09:17,348 --> 00:09:21,184
MY NAME IS ARTH U R CU RTIS.
MY WIFE'S NAME IS MARIAN.
I HAVE A DAUG HTER NAMED TI NA.
134
00:09:21,227 --> 00:09:25,063
WE LIVE AT 22437
VENTN ER ROAD IN
WOODLAND H I LLS.
135
00:09:25,147 --> 00:09:26,565
I'M WARNING YOU, J ERRY.
136
00:09:26,649 --> 00:09:28,441
MY NAME IS
ARTH U R CU RTIS!
137
00:09:28,526 --> 00:09:31,278
[tires screeching]
138
00:09:38,119 --> 00:09:40,412
NO, HE ISN'T DRUNK,
MR. BRIN KLEY.
139
00:09:40,496 --> 00:09:44,291
I-I-I COULD TELL
YOU HE'S CRACKED.
HIS MIND IS GON E.
140
00:09:44,375 --> 00:09:47,794
HE SWEARS H E'S
ARTH U R CU RTIS.
SWEARS IT.
141
00:09:49,505 --> 00:09:52,382
THAT'S RIGHT.
ARTH U R CU RTIS,
142
00:09:52,425 --> 00:09:55,844
THE CHARACTER
HE'S PLAYING
IN THE PICTURE.
143
00:10:16,866 --> 00:10:19,784
YOU'LL LET ME KNOW
WHEN THE GRAND TOU R
IS OVER, WON'T YOU?
144
00:10:19,869 --> 00:10:21,494
I CAN'T UNDERSTAND. I--
145
00:10:21,579 --> 00:10:25,165
I DON'T KNOW
WHERE I AM AND
YET IMUST--
146
00:10:25,249 --> 00:10:27,000
I LIVE HERE.
147
00:10:27,084 --> 00:10:29,419
WHAT DO YOU WANT, JERRY?
AN ACADEMY AWARD?
148
00:10:29,462 --> 00:10:30,754
I TOLD YOU,
MY NAME IS--
149
00:10:30,796 --> 00:10:33,006
CUT IT OUT.
150
00:10:33,090 --> 00:10:35,925
YOU NEVER HAD A LESS
RECEPTIVE AUDIENCE.
151
00:10:36,010 --> 00:10:38,303
YOU DON'T UNDERSTAND.
152
00:10:38,387 --> 00:10:40,347
YOU GO AHEAD.
153
00:10:40,431 --> 00:10:44,601
PLAY IT OUT.
DO WHAT YOU PLEASE.
I COULDN'T CARE LESS.
154
00:10:48,939 --> 00:10:53,610
THAT'S RIGHT.
YOU ASK WHERE
VENTN ER ROAD IS.
155
00:10:58,324 --> 00:11:00,533
TI NA.
156
00:11:09,460 --> 00:11:11,169
TINA.
157
00:11:11,253 --> 00:11:13,421
MOM MY!
158
00:11:23,557 --> 00:11:29,479
GET IN. WOULD YOU
RATHER GO TO JAIL
FOR ATTEMPTED ASSAULT?
159
00:11:32,400 --> 00:11:35,568
GET IN.
160
00:11:55,840 --> 00:11:59,008
THAT'S THE ON E, MOM MY.
THAT'S THE ON E, MOM MY.
161
00:11:59,093 --> 00:12:02,512
HE'S THE ONE
THAT GRABBED ME.
HE SCARED ME.
162
00:12:12,231 --> 00:12:14,441
I WON DER WHAT
BRIN KLEY WANTS.
163
00:12:14,525 --> 00:12:16,985
YOUR BLOOD PROBABLY.
164
00:12:18,779 --> 00:12:21,197
WELL, HE'LL HAVE
TO WAIT HIS TURN.
165
00:12:21,240 --> 00:12:26,745
WELL? COME ON. I SAID
I'D HAVE YOU BACK FOR
THIS AFTERNOON'S SHOOTING.
166
00:12:26,829 --> 00:12:28,830
GET OUT, J ERRY.
167
00:12:31,500 --> 00:12:32,876
WHERE ARE WE?
168
00:12:32,960 --> 00:12:35,044
COME ON.
COME ON.
169
00:12:35,129 --> 00:12:36,755
I GOTTA GET HOM E.
170
00:12:36,839 --> 00:12:40,467
YOU ARE HOME.
NOW, LET'S GO.
171
00:13:03,115 --> 00:13:04,949
[door closing]
172
00:13:06,327 --> 00:13:08,286
J ERRY, WHERE
HAVE YOU BEEN?
173
00:13:08,370 --> 00:13:11,122
SAM PHON ED ME OVER
AN HOUR AGO. SAID
YOU LEFT THE STU DIO.
174
00:13:11,207 --> 00:13:12,415
COME ON.
175
00:13:12,500 --> 00:13:14,167
CAN'T THIS WAIT, NORA?
176
00:13:14,251 --> 00:13:16,169
NO. IT CAN'T.
IT'S WAITED
LONG ENOUGH.
177
00:13:16,253 --> 00:13:18,838
I WANT MY MONEY
BEFORE HE GOES OFF
ON HIS NEXT BING E.
178
00:13:18,923 --> 00:13:22,592
AND I'M GOING
TO GET IT. NOW.
179
00:13:22,676 --> 00:13:26,930
NOW, LOOK, I TRI ED
TO EXPLAIN TO THAT,
THAT WOMAN
180
00:13:26,972 --> 00:13:30,517
THAT I'M NOT WHO YOU ALL
SEEM TO THINK I AM. MY NAME
IS CU RTIS. I LIVE I N--
181
00:13:30,601 --> 00:13:34,771
J ERRY, STOP IT.
YOU DON'T SEEM TO REALIZE
THE POS ITION YOU'RE IN.
182
00:13:38,609 --> 00:13:41,277
WHERE DO YOU H I DE
THE CHECKBOOK?
183
00:13:43,197 --> 00:13:46,616
I'LL F IN D IT IF I HAVE
TO TEAR THIS HOUSE APART.
184
00:13:50,120 --> 00:13:52,622
J ERRY, I'LL HAVE
TO LAY IT RIGHT
ON THE LIN E.
185
00:13:52,665 --> 00:13:55,333
IF YOU LOSE THIS
ASSIGN MENT, WE'LL
HAVE TO DROP YOU.
186
00:13:55,417 --> 00:13:58,294
WE CAN'T COVER UP
FOR YOU ANYMORE. IT'S
BEYON D THAT, WAY BEYON D.
187
00:13:58,337 --> 00:14:00,171
I'M SORRY, BUT
YOU'RE M ISTAKEN--
188
00:14:00,256 --> 00:14:02,841
NOW, LOOK!
189
00:14:02,925 --> 00:14:06,719
ALL RIGHT.
THEY CAN SHOOT
AROUND YOU TODAY.
190
00:14:06,804 --> 00:14:09,848
I'LL TELL THEM
YOU'RE...S ICK.
191
00:14:09,932 --> 00:14:13,184
THEY WON'T BUY IT,
BUT I'LL MAKE IT
STICK SOMEHOW.
192
00:14:13,269 --> 00:14:17,564
BUT YOU'VE GOT TO BE THERE
TOMORROW, BRIGHT AND EARLY.
YOU'VE GOT TO CONVI NCE THEM--
193
00:14:17,648 --> 00:14:20,817
I DON'T KNOW WHAT'S
GOING ON. I DON'T
NOW WHAT'S GOING ON.
194
00:14:20,901 --> 00:14:22,652
(Nora)
ALL RIGHT,
GET OVER HERE.
195
00:14:22,695 --> 00:14:24,237
NORA, DON'T.
196
00:14:24,321 --> 00:14:26,364
LOOK, YOU STAY
OUT OF THIS.
197
00:14:26,448 --> 00:14:28,533
CAN'T YOU SEE
THAT HE'S UPSET?
198
00:14:28,617 --> 00:14:31,828
YOU'RE GONNA TO SIGN THIS
CHECK. YOU'RE GON NA
SIGN IT RIGHT NOW.
199
00:14:31,871 --> 00:14:33,746
G ERALD RAIGAN.
200
00:14:33,831 --> 00:14:39,335
G-E-R-A-L-D
R-A-I-G-A-N!
201
00:14:39,378 --> 00:14:43,923
THAT'S NOT MY NAME!
NOW, LISTEN, THIS
HAS GONE FAR ENOUGH!
202
00:14:44,008 --> 00:14:48,094
I'M NOT GERALD RAIGAN.
I DON'T KNOW ANY OF YOU.
203
00:14:48,178 --> 00:14:50,847
MY NAME IS
ARTH U R CU RTIS.
DO YOU HEAR ME?
204
00:14:50,931 --> 00:14:53,683
ARTH U R CU RTIS,
AND I WORK FOR--
205
00:15:00,524 --> 00:15:02,942
I'D LIKE TO HAVE
A TELEPHONE NUMBER
206
00:15:03,027 --> 00:15:05,111
OF THE DAVIS
MORTON COM PANY.
207
00:15:05,195 --> 00:15:07,697
ONE-EIGHT-NINE
208
00:15:07,781 --> 00:15:11,701
BRAND STREET,
LOS ANGELES.
209
00:15:14,204 --> 00:15:17,206
OF COURSE THERE IS!
210
00:15:17,249 --> 00:15:19,208
I WORK THERE!
211
00:15:19,293 --> 00:15:23,212
I'VE WORKED THERE FOR
THE LAST SEVEN YEARS!
212
00:15:23,255 --> 00:15:25,590
HELLO? HELLO!
213
00:16:18,811 --> 00:16:22,271
FEELING BETTER?
214
00:16:22,356 --> 00:16:25,274
YOU DON'T
BELIEVE ME,
DO YOU?
215
00:16:25,359 --> 00:16:30,279
I BELIEVE YOU'VE
BEEN OVERWORKED,
U N DER A TERRI BLE STRAI N.
216
00:16:30,322 --> 00:16:33,366
YOU NEED H ELP, J ERRY.
217
00:16:33,450 --> 00:16:35,201
H ELP?
218
00:16:37,246 --> 00:16:41,374
IT'S NOT IN MY
PROVI NCE, BUT I'VE
KNOWN YOU A LONG TIME.
219
00:16:41,458 --> 00:16:43,459
CAN'T YOU SEE
WHAT'S HAPPENED?
220
00:17:20,497 --> 00:17:24,167
"CAST OF CHARACTERS.
ARTH U R CU RTIS, 36.
221
00:17:24,251 --> 00:17:27,837
"A YOUNG BUSINESS
EXECUTIVE, HAPPILY MARRIED.
222
00:17:27,921 --> 00:17:32,592
"CURTIS LIVES IN
WOODLAND HILLS WITH
HIS WIFE AND CHILD. HE--
223
00:17:32,676 --> 00:17:35,845
"MARIAN CU RTIS, 33.
A CHARMING YOU NG WOMAN.
224
00:17:35,929 --> 00:17:38,181
"TYPICAL OF THAT
EFFICIENT BREED
225
00:17:38,265 --> 00:17:41,350
WHICH CAN MANAGE
A HOUSE AND FAMILY
AND STILL HAVE AMPLE--"
226
00:17:41,435 --> 00:17:44,020
STOP IT!
227
00:17:55,532 --> 00:17:58,910
THE ONLY IN FORMATION
YOU HAVE ABOUT
ARTH U R CU RTIS
228
00:17:58,994 --> 00:18:00,536
IS WRITTEN
IN THIS SCRI PT.
229
00:18:00,621 --> 00:18:01,954
NO.
230
00:18:04,208 --> 00:18:07,126
J ERRY, SOMETIMES I'D
LIKE TO ESCAPE MYSELF
231
00:18:07,211 --> 00:18:11,297
AWAY FROM THIS TU RMO I L
232
00:18:11,381 --> 00:18:15,093
TO SOME S IMPLER EXISTENCE.
233
00:18:15,177 --> 00:18:18,054
YOU'RE TELLING ME THAT
THIS IS A DELUS ION.
234
00:18:18,138 --> 00:18:20,640
THAT I'M REALLY
G ERALD RAIGAN,
A DRUNKEN--
235
00:18:20,724 --> 00:18:22,975
GERALD RAIGAN,
A SWEET, UNHAPPY MAN,
236
00:18:23,060 --> 00:18:27,146
BU RDEN ED WITH
THAT HARPY.
237
00:18:27,231 --> 00:18:32,568
JERRY RAIGAN,
TRYING TO FIND A LITTLE
HAPPINESS, THAT'S ALL.
238
00:18:32,611 --> 00:18:35,905
NO. IT'S REAL.
239
00:18:37,074 --> 00:18:38,241
IT'S REAL.
240
00:18:38,325 --> 00:18:41,327
I WISH IT WERE.
241
00:18:41,411 --> 00:18:44,622
FOR YOUR SAKE,
I WISH IT WERE.
242
00:18:47,960 --> 00:18:50,336
I'VE GOT TO GO, J ERRY.
243
00:18:50,420 --> 00:18:53,297
TRY AND GET SOME REST.
244
00:18:53,382 --> 00:18:56,259
FORGET ABOUT THE
PICTURE. YOU DON'T
HAVE TO F IN ISH IT.
245
00:18:56,343 --> 00:18:59,679
I JUST SPOKE
TO THE STU DIO
A FEW MINUTES AGO.
246
00:18:59,763 --> 00:19:02,265
THEY'RE CANCELING
PRODUCTION.
247
00:19:04,685 --> 00:19:08,646
ARTH U R CU RTIS IS DEAD.
248
00:19:08,730 --> 00:19:10,439
I'VE GOTTA GET BACK.
249
00:19:10,524 --> 00:19:13,025
IT'S TOO LATE, J ERRY.
IT'S F IN ISH ED.
250
00:19:13,110 --> 00:19:14,861
I'VE GOTTA GET
BACK TO MY OFF ICE.
251
00:19:14,945 --> 00:19:16,946
YOUR OFF ICE?
IF YOU MEAN THE SET,
252
00:19:16,989 --> 00:19:19,448
THEY'RE PROBABLY
TEARING IT DOWN RIGHT NOW.
253
00:19:19,533 --> 00:19:22,118
THEY CAN'T.
254
00:19:22,161 --> 00:19:24,287
THEY CAN'T!
255
00:19:45,184 --> 00:19:47,059
JERRY!
256
00:20:16,673 --> 00:20:19,800
[tires screech]
257
00:20:35,234 --> 00:20:37,652
[muffled voices]
258
00:20:45,369 --> 00:20:46,702
WAIT!
259
00:20:46,745 --> 00:20:47,870
MR. RAIGAN!
260
00:20:47,955 --> 00:20:49,538
YOU CAN'T DO THIS.
261
00:20:49,581 --> 00:20:52,041
WE'RE JUST FOLLOWING
ORDERS, MR. RAIGAN.
262
00:21:14,064 --> 00:21:20,152
DON'T LEAVE ME HERE.
263
00:21:41,758 --> 00:21:44,302
HONEY?
264
00:21:47,097 --> 00:21:48,973
MARIAN.
265
00:21:50,225 --> 00:21:54,270
[sighs]
OH, MARIAN.
266
00:21:54,313 --> 00:21:57,273
WELL, MY GOODN ESS.
I'VE BEEN PHONING
YOU ALL DAY LONG.
267
00:21:57,357 --> 00:21:58,983
WHERE HAVE YOU BEEN?
268
00:21:59,067 --> 00:22:01,694
BEEN?
269
00:22:01,778 --> 00:22:04,488
SALLY KEPT SAYING YOU
WERE OUT. SHE DIDN'T
SEE YOU GO OUT--
270
00:22:04,573 --> 00:22:06,032
LET'S GET OUT OF HERE.
271
00:22:06,116 --> 00:22:08,367
ARTY! ARE YOU
ALL RIGHT?
272
00:22:08,452 --> 00:22:09,702
WELL, SURE.
273
00:22:09,786 --> 00:22:11,329
WHERE WERE YOU?
274
00:22:11,413 --> 00:22:15,041
MR. CURTIS?
ARE YOU LEAVING NOW?
275
00:22:15,125 --> 00:22:17,126
YES.
276
00:22:17,169 --> 00:22:20,463
I HAVE YOUR TICKETS
FOR SATU RDAY NIGHT.
HERE YOU ARE.
277
00:22:20,505 --> 00:22:23,090
F IN E. THANKS.
278
00:22:23,175 --> 00:22:26,635
(man)
ALL RIGHT. LET'S GET THOSE
LAMPS AND TABLES OUT OF HERE.
279
00:22:26,720 --> 00:22:29,180
HONEY, WHAT'S THE MATTER?
280
00:22:29,264 --> 00:22:32,224
PLEASE.
281
00:22:32,309 --> 00:22:36,687
HONEY, LET'S NOT WAIT.
LET'S GO ON OUR VACATION
RIGHT AWAY.
282
00:22:36,772 --> 00:22:39,398
HEY. WHAT'S WRONG?
283
00:22:39,483 --> 00:22:43,235
NOTHING, DARLING.
I JUST DON'T WANT
TO LOSE YOU.
284
00:22:51,161 --> 00:22:53,079
HAS RAIGAN BEEN HERE?
285
00:22:53,163 --> 00:22:55,414
YEAH, HE WAS HERE
A M INUTE AGO.
286
00:22:55,499 --> 00:22:57,500
YOU DIDN'T
SEE HIM LEAVE?
287
00:22:57,584 --> 00:23:00,378
NO, I DIDN'T. HEY,
ANY OF YOU GUYS SEE
RAIGAN LEAVE?
288
00:23:00,462 --> 00:23:02,088
(man)
NO, WE DIDN'T.
289
00:23:02,172 --> 00:23:04,173
WOULD YOU TAKE A LOOK
IN HIS DRESSING ROOM?
290
00:23:04,216 --> 00:23:05,966
YEAH. SURE.
291
00:23:20,399 --> 00:23:23,859
HE'S NOT IN
HIS DRESSING ROOM.
292
00:23:25,487 --> 00:23:27,947
WON DER WHERE HE IS.
293
00:23:33,370 --> 00:23:37,957
(narrator)
THE MODUS OPERANDI FOR
THE DEPARTURE FROM LIFE
294
00:23:38,041 --> 00:23:41,752
IS USUALLY A PINE BOX OF
SUCH AND SUCH DIMENSIONS,
295
00:23:41,837 --> 00:23:44,463
AND THIS IS
THE ULTIMATE
IN REALITY.
296
00:23:44,548 --> 00:23:48,259
BUT THERE ARE
OTHER WAYS FOR A MAN
TO EXIT FROM LIFE.
297
00:23:48,343 --> 00:23:52,054
TAKE THE CASE OF
ARTHUR CURTIS, AGE 36.
298
00:23:52,097 --> 00:23:55,099
HIS DEPARTURE
WAS ALONG A HIGHWAY
299
00:23:55,183 --> 00:24:00,062
WITH AN EXIT SIGN THAT
READS "THIS WAY
TO ESCAPE."
300
00:24:00,105 --> 00:24:04,900
ARTHUR CURTIS, EN ROUTE
TO THE TWILIGHT ZONE.
301
00:24:12,784 --> 00:24:15,494
(male presenter)
ROD SERLING,
THE CREATOR OF
TWILIGHT ZONE
302
00:24:15,579 --> 00:24:20,624
WILL TELL YOU ABOUT NEXT
WEEK'S STORY AFTER THIS WORD
FROM OUR ALTERNATE SPONSOR.
303
00:24:20,709 --> 00:24:23,127
AND NOW, MR. SERLING.
304
00:24:23,211 --> 00:24:25,838
NEXT WEEK, THE CU LPRIT
IS CHARLES BEAU MONT,
305
00:24:25,922 --> 00:24:29,300
THE GENTLEMAN RESPONS I BLE
FOR A STORY U N LIKE ANY
YOU'VE EVER SEEN.
306
00:24:29,384 --> 00:24:31,594
YOU TALK OF IMMORTALITY,
307
00:24:31,678 --> 00:24:34,597
THE BUS IN ESS OF BEING ABLE
TO LIVE FOR AS LONG AS
ONE WANTS.
308
00:24:34,681 --> 00:24:37,975
WELL, NEXT WEEK YOU'LL SEE
KEVIN MCCARTHY AT THE
TAI L-END OF A LIFE
309
00:24:38,059 --> 00:24:40,519
THAT'S GONE ON FOR
TWO THOUSAND YEARS.
310
00:24:40,604 --> 00:24:44,106
THE PLAY IS CALLED
LONG LIVE WALTER JAMESON
311
00:24:44,191 --> 00:24:45,941
ON THE TWILIGHT ZONE.
312
00:24:48,153 --> 00:24:51,906
[eerie music]
313
00:25:28,652 --> 00:25:31,654
EVERY YEAR
THE RED CROSS
NEEDS MONEY.
314
00:25:31,696 --> 00:25:33,364
THIS YEAR AIN'T
NO DIFFERENT.
23693
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