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1
00:00:02,002 --> 00:00:04,294
[eerie music]
2
00:00:04,379 --> 00:00:07,798
(male presenter, off)
THERE IS A FIFTH DIMENSION,
3
00:00:07,882 --> 00:00:10,217
BEYOND THAT WHICH
IS KNOWN TO MAN.
4
00:00:10,301 --> 00:00:13,429
IT IS A DIMENSION
AS VAST AS SPACE
5
00:00:13,513 --> 00:00:16,306
AND AS TIMELESS
AS INFINITY.
6
00:00:16,391 --> 00:00:19,810
IT IS THE MIDDLE GROUND
BETWEEN LIGHT AND SHADOW,
7
00:00:19,894 --> 00:00:22,229
BETWEEN SCIENCE
AND SUPERSTITION,
8
00:00:22,313 --> 00:00:25,816
AND IT LIES BETWEEN
THE PIT OF MAN'S FEARS
9
00:00:25,900 --> 00:00:28,610
AND THE SUMMIT
OF HIS KNOWLEDGE.
10
00:00:28,695 --> 00:00:31,280
THIS IS
THE DIMENSION OF IMAGINATION.
11
00:00:31,364 --> 00:00:34,742
IT IS AN AREA
WHICH WE CALL THE TWILIGHT ZONE.
12
00:00:44,044 --> 00:00:45,961
OH, MY DARLING.
13
00:00:46,046 --> 00:00:49,631
TONY, NOW
YOU ARE GOING,
14
00:00:49,716 --> 00:00:55,095
BUT I SHALL HAVE
A MEMORY OF YOU FOR MY EYES,
15
00:00:55,180 --> 00:00:57,598
THOUGHTS OF YOU
FOR MY MIND
16
00:00:57,682 --> 00:01:02,436
AND A TOUCH OF YOU
FOR ALL OF ME.
17
00:01:02,520 --> 00:01:06,023
I'LL NEVER FORGET YOU.
18
00:01:06,107 --> 00:01:10,069
(male presenter, off)
PICTURE OF A WOMAN LOOKING AT A PICTURE.
19
00:01:10,153 --> 00:01:12,529
MOVIE GREAT
OF ANOTHER TIME.
20
00:01:12,614 --> 00:01:14,490
ONCE-BRILLIANT STAR
21
00:01:14,574 --> 00:01:17,159
IN A FIRMAMENT NO
LONGER A PART OF THE SKY,
22
00:01:17,243 --> 00:01:20,496
ECLIPSED BY
THE MOVEMENT OF EARTH AND TIME.
23
00:01:20,580 --> 00:01:24,500
BARBARA JEAN TRENTON,
WHOSE WORLD IS A PROJECTION ROOM,
24
00:01:24,584 --> 00:01:27,169
WHOSE DREAMS ARE MADE
OUT OF CELLULOID.
25
00:01:27,253 --> 00:01:32,341
BARBARA JEAN TRENTON,
STRUCK DOWN BY HIT-AND-RUN YEARS
26
00:01:32,425 --> 00:01:35,177
AND LYING ON THE
UNHAPPY PAVEMENT,
27
00:01:35,261 --> 00:01:37,012
TRYING DESPERATELY
TO GET
28
00:01:37,097 --> 00:01:39,848
THE LICENSE NUMBER
OF FLEETING FAME.
29
00:01:57,367 --> 00:01:59,201
MISS TRENTON?
30
00:02:03,373 --> 00:02:04,623
[projector whirring]
31
00:02:09,087 --> 00:02:10,212
MISS TRENTON?
32
00:02:16,052 --> 00:02:17,594
MISS TRENTON!
33
00:02:24,727 --> 00:02:26,019
WHAT IS
IT, SALLY?
34
00:02:26,104 --> 00:02:28,647
[shouts startIed
and gasps]
35
00:02:28,731 --> 00:02:30,482
I--I
BROUGHT YOU--
36
00:02:30,567 --> 00:02:32,943
I BROUGHT
YOU A SNACK, MISS TRENTON.
37
00:02:33,027 --> 00:02:35,988
THANK YOU.
JUST PUT IT DOWN THERE.
38
00:02:36,072 --> 00:02:38,073
YES, MA'AM.
39
00:02:50,044 --> 00:02:52,337
[doorbell rings]
40
00:02:59,721 --> 00:03:01,013
HELLO, SALLY.
41
00:03:01,097 --> 00:03:02,139
HELLO.
42
00:03:02,223 --> 00:03:03,348
IS MISS TRENTON I N?
43
00:03:03,433 --> 00:03:04,641
YES, S I R.
44
00:03:04,726 --> 00:03:06,143
IN THERE FOR A CHANG E?
45
00:03:06,227 --> 00:03:07,853
YES, S I R.
46
00:03:07,937 --> 00:03:11,732
MR. WE ISS, I'M VERY
WORRI ED ABOUT H ER.
47
00:03:11,816 --> 00:03:13,275
I'M WORRI ED ABOUT--
48
00:03:13,359 --> 00:03:15,110
I'LL TALK TO H ER.
49
00:03:15,153 --> 00:03:17,654
YOU DON'T UNDERSTAND,
MR. WE ISS.
50
00:03:17,739 --> 00:03:19,198
IT'S GETTING
MUCH WORSE.
51
00:03:19,282 --> 00:03:21,200
WELL, SHE'S BEEN
IN THERE TOO MUCH.
52
00:03:21,284 --> 00:03:23,535
I THINK IT'S
BEG IN NING TO DISTU RB YOU, TOO.
53
00:03:23,620 --> 00:03:24,995
I'LL SEE
WHAT I CAN DO.
54
00:03:25,079 --> 00:03:26,163
ALL RIGHT.
55
00:03:33,171 --> 00:03:37,382
[movie soundtrack playing]
56
00:03:37,467 --> 00:03:42,638
[orchestral flourish]
57
00:03:46,100 --> 00:03:48,894
DAN I EL, F IX
YOURSELF A DRINK.
58
00:03:48,978 --> 00:03:50,812
IT'S 1 1 :00
IN THE MORNING.
59
00:03:50,855 --> 00:03:52,856
SO, IT'S 1 1 :00
IN THE MORNING.
60
00:03:52,941 --> 00:03:55,067
(Daniel)
SO, IT'S 1 1 :00 IN THE MORNING
61
00:03:55,151 --> 00:03:57,819
AND THE
SUN IS OUT.
62
00:03:57,862 --> 00:04:00,739
IT'S A BEAUTIFUL DAY
IN BEVERLY HILLS.
63
00:04:00,823 --> 00:04:04,034
THERE'S NO SMOG,
IT'S 84 DEG REES [birds chirp]
64
00:04:04,118 --> 00:04:06,078
AND IT IS LOVELY.
65
00:04:06,162 --> 00:04:08,038
WHAT EVER WOULD I DO
WITHOUT YOUR DAI LY WEATHER REPORTS?
66
00:04:08,122 --> 00:04:09,706
QU ESTION IS
WHAT DO YOU DO WITH THEM?
67
00:04:09,791 --> 00:04:11,750
S IT HERE IN THIS
AIR-CON DITION ED CAVE
68
00:04:11,834 --> 00:04:13,585
SHOWING ONE PICTURE
AFTER ANOTH ER.
69
00:04:13,670 --> 00:04:14,962
LET'S SKI P IT.
70
00:04:15,046 --> 00:04:16,338
BARB I E, IT'S
NO GOOD, HONEY.
71
00:04:16,381 --> 00:04:18,340
NONE OF THIS
IS ANY GOOD.
72
00:04:18,424 --> 00:04:20,884
IF YOU WON'T F IX
YOURSELF A DRINK, S IT DOWN AND BE QU I ET.
73
00:04:20,969 --> 00:04:24,346
YOU KNOW, YOU HAVE A
HAB IT OF LOOKING PO ISED, READY TO SPRING.
74
00:04:24,389 --> 00:04:25,514
WHAT WAS
THE PICTURE?
75
00:04:25,598 --> 00:04:27,015
TWO OF THEM.
76
00:04:27,100 --> 00:04:29,184
A FAREWELL
WITHOUT TEARS,
77
00:04:29,227 --> 00:04:31,186
COSTARRING J ERRY HEARN DAN.
78
00:04:31,229 --> 00:04:34,523
NOT COSTARRING,
DARLING, HE WAS MY LEADING MAN.
79
00:04:34,565 --> 00:04:36,108
1 933.
80
00:04:36,192 --> 00:04:38,443
AND A NIGHT
IN PARIS.
81
00:04:38,528 --> 00:04:40,529
1 934.
82
00:04:40,613 --> 00:04:43,282
I KNOW IT
WAS 1 934.
83
00:04:43,366 --> 00:04:45,325
WHAT ARE
YOU NOW? FATHER TIME?
84
00:04:46,494 --> 00:04:47,995
BARB I E--
85
00:04:48,079 --> 00:04:49,746
LOOK, I FAI LED TO
M ENTION THIS BEFORE :
86
00:04:49,831 --> 00:04:51,623
I HATE
CLIN ICAL TI PTOEING.
87
00:04:51,708 --> 00:04:53,625
YOU DON'T LIKE
WHAT I DO, DON'T KNOCK WHAT I DO.
88
00:04:53,710 --> 00:04:56,086
BARB I E, I HAVE TO
KNOCK WHAT YOU DO,
89
00:04:56,170 --> 00:04:58,213
AND I HAVE TO
GET CLIN ICAL
90
00:04:58,298 --> 00:05:00,132
WHEN I SEE YOU BOTTLE
YOURSELF IN THIS ROOM AND STOP THE CLOCK.
91
00:05:00,216 --> 00:05:02,384
YOU PUT IT BACK
1 5, 20, 25 YEARS.
92
00:05:02,427 --> 00:05:04,803
YOU DO THIS EVERY
DAY. NOW, HONEY, THAT'S S ICK.
93
00:05:04,887 --> 00:05:06,930
THAT IS
REALLY SICK.
94
00:05:07,015 --> 00:05:08,056
IS THAT ALL?
95
00:05:08,141 --> 00:05:09,766
NO, IT ISN'T.
96
00:05:09,851 --> 00:05:11,476
I'VE SET UP
AN APPO I NTM ENT FOR YOU TODAY
97
00:05:11,561 --> 00:05:13,312
OVER AT I NTERNATIONAL.
98
00:05:13,396 --> 00:05:14,396
AT I NTERNATIONAL?
99
00:05:14,480 --> 00:05:15,480
YES.
100
00:05:15,565 --> 00:05:16,857
A PART, DAN NY?
101
00:05:16,941 --> 00:05:18,483
SOU N DS LIKE
A GOOD ON E, TOO.
102
00:05:18,568 --> 00:05:21,194
WELL--OH, DARLING.
103
00:05:21,279 --> 00:05:22,779
YOU KNOW SOMETHING?
104
00:05:22,864 --> 00:05:24,239
IN EVER
DID GET ALONG WITH MARTY SALL
105
00:05:24,324 --> 00:05:25,615
WHEN I WAS U N DER
CONTRACT THERE.
106
00:05:25,700 --> 00:05:27,200
HE'S MUCH
OLDER NOW.
107
00:05:27,285 --> 00:05:28,869
I THINK YOU'LL F IN D
THAT HE'S MELLOWED.
108
00:05:28,953 --> 00:05:30,704
OH, YOU KNOW,
HE SAID I WAS
109
00:05:30,788 --> 00:05:34,291
THE MOST DI FF ICU LT
STAR H E'D EVER WORKED WITH.
110
00:05:34,375 --> 00:05:39,504
DAN NY, YOU'RE
A NICE GUY AND A LOYAL FRI EN D.
111
00:05:39,589 --> 00:05:41,631
AND IN
MY SELF ISH, DEVIOUS WAY,
112
00:05:41,716 --> 00:05:43,425
I'M VERY
MUCH IN LOVE WITH YOU.
113
00:05:46,971 --> 00:05:48,472
OH, DAN NY.
114
00:05:48,556 --> 00:05:50,182
I HOPE IT'S
A MUSICAL.
115
00:05:50,266 --> 00:05:52,351
OH, I'D LOVE
TO DANCE AGAIN.
116
00:05:52,435 --> 00:05:56,146
[laughing]
117
00:05:56,230 --> 00:05:58,607
OR A LOVE
STORY. OH, I'D GIVE ANYTHING
118
00:05:58,691 --> 00:06:01,026
TO PLAY LOVE
SCENES LIKE I SAW THIS MORNING.
119
00:06:01,110 --> 00:06:03,278
SCENES WITH
J ERRY HEARN DAN.
120
00:06:03,321 --> 00:06:05,697
YOU KNOW,
WE DID THREE PICTURES TOGETHER.
121
00:06:05,782 --> 00:06:08,617
"I HAVE A MEMORY
OF YOU FOR MY EYES.
122
00:06:08,701 --> 00:06:10,452
"THOUGHTS OF YOU
FOR MY M IND
123
00:06:10,536 --> 00:06:11,995
AND THE
TOUCH OF YOU FOR ALL OF ME"
124
00:06:12,080 --> 00:06:14,122
OR SOMETHING
LIKE THAT.
125
00:06:14,207 --> 00:06:16,291
AND THEN WE
DID A NIGHT IN PARIS TOGETHER.
126
00:06:16,376 --> 00:06:18,251
BARBARA, YOU WERE
MUCH YOU NG ER THEN.
127
00:06:20,880 --> 00:06:22,339
GO TO THE DEVIL.
128
00:06:22,423 --> 00:06:25,884
NOW, BARBARA,
HONEY, THIS IS 1 959.
129
00:06:25,968 --> 00:06:28,011
IT'S 25 YEARS
FFOM NIGHT IN PARIS
130
00:06:28,096 --> 00:06:30,680
AND 26 YEARS
S I NCE YOU MADE FAREWELL WITHOUT TEARS.
131
00:06:30,765 --> 00:06:32,808
THAT ROOM ACROSS
THE HALL IS DARK,
132
00:06:32,892 --> 00:06:34,810
IT'S DAM P,
IT'S FU LL OF COBWEBS.
133
00:06:34,894 --> 00:06:36,978
SNAP OUT OF IT.
SNAP OUT OF THIS KICK.
134
00:06:37,021 --> 00:06:38,980
GET YOUR
WAR PAI NT ON AND I'LL MEET YOU
135
00:06:39,065 --> 00:06:40,982
OVER AT
SALL'S OFF ICE AT 3 :00, OKAY?
136
00:06:41,067 --> 00:06:43,193
OKAY, DAN NY.
137
00:06:48,491 --> 00:06:49,699
SEND THEM IN.
138
00:06:58,126 --> 00:07:00,335
NICE TO SEE YOU
AGAIN, BARBARA.
139
00:07:00,420 --> 00:07:01,920
HELLO, MARTY.
140
00:07:02,004 --> 00:07:03,588
IT'S BEEN
A LONG TIME.
141
00:07:03,673 --> 00:07:05,006
YES.
142
00:07:05,049 --> 00:07:06,716
S IT DOWN.
143
00:07:06,801 --> 00:07:09,344
YOU KNOW DAN NY,
OF COURSE.
144
00:07:09,429 --> 00:07:12,681
YES. H E'S
TOLD YOU ABOUT THE PART?
145
00:07:12,765 --> 00:07:15,100
WELL, UH,
NOT EXACTLY.
146
00:07:18,062 --> 00:07:20,272
I THINK IT F ITS YOU.
IT'S NOT A BIG PART,
147
00:07:20,356 --> 00:07:23,525
BUT I THINK IT'LL BE
A NICE SHOWCASE FOR YOU.
148
00:07:23,568 --> 00:07:25,527
NOT BIG, BUT A
NICE SHOWCASE?
149
00:07:25,611 --> 00:07:27,946
OH, COME ON,
BE MORE SPECIF IC.
150
00:07:28,030 --> 00:07:29,531
YOU, OF ALL
PEOPLE, MARTY,
151
00:07:29,615 --> 00:07:31,533
SHOU LD KNOW WHAT
I DEMAND IN A PART.
152
00:07:34,287 --> 00:07:37,372
WHY IS IT WE
ALWAYS SEEM TO FIGHT, BARBARA?
153
00:07:37,457 --> 00:07:40,542
DOESN'T THAT ALWAYS
SEEM TO BE THE CASE? WE BEG IN BY FIGHTING.
154
00:07:40,626 --> 00:07:43,295
I'M STILL
WAITING TO HEAR ABOUT THE PART.
155
00:07:45,298 --> 00:07:46,715
RAISE THE VE I L.
156
00:07:53,389 --> 00:07:54,431
YOU PLAY A MOTH ER.
157
00:07:54,515 --> 00:07:57,726
HOW OLD
A MOTH ER?
158
00:07:57,768 --> 00:08:02,147
H M M, FORTYISH,
BUT VERY VI BRANT, VERY MUCH ALIVE.
159
00:08:06,152 --> 00:08:08,487
AS OPPOSED
TO WHAT?
160
00:08:08,571 --> 00:08:10,071
A CORPSE?!
161
00:08:10,114 --> 00:08:12,824
I DON'T
PLAY MOTH ERS, MR. SALL.
162
00:08:12,909 --> 00:08:15,118
I NEVER HAVE,
AND I WON'T START NOW.
163
00:08:15,203 --> 00:08:18,914
I ALSO DON'T TAKE
B IT ROLES, AND YOU SHOU LD KNOW THAT!
164
00:08:18,998 --> 00:08:21,249
COME ON, DAN NY.
LET'S GO.
165
00:08:21,334 --> 00:08:23,251
(Sall)
I'M SORRY, BARBARA.
166
00:08:23,336 --> 00:08:25,003
I DIDN'T KNOW
YOU WERE STILL SO PARTICULAR.
167
00:08:25,087 --> 00:08:26,838
WELL, NOW YOU DO.
168
00:08:26,923 --> 00:08:29,007
AT LEAST I WOULD
THINK YOU'D LOOK AT THE PART.
169
00:08:29,091 --> 00:08:30,592
IT'D BE A SH EER
WASTE OF MY TIME.
170
00:08:30,676 --> 00:08:32,260
MAYBE WE SHOU LD
GET THE SCRI PT,
171
00:08:32,303 --> 00:08:34,596
LOOK AT IT,
SEE WHAT IT'S ALL ABOUT.
172
00:08:34,680 --> 00:08:37,891
YOU LOOK AT IT AND SEE
WHAT IT'S ALL ABOUT AND YOU PLAY THE PART.
173
00:08:37,975 --> 00:08:41,186
I NEVER DID LIKE
THIS TASTELESS, CRU DE MAN
174
00:08:41,270 --> 00:08:42,771
WHEN I WAS U N DER
CONTRACT HERE
175
00:08:42,813 --> 00:08:44,773
AND I DON'T LIKE
HIM ANYMORE NOW
176
00:08:44,857 --> 00:08:46,566
WHEN HE OFFERS ME
FAST BIT PARTS.
177
00:08:46,651 --> 00:08:50,445
ALL RIGHT, MISS--
MISS PRI MA DON NA.
178
00:08:50,530 --> 00:08:53,031
YOU, I GOT
N EWS FOR.
179
00:08:53,115 --> 00:08:55,951
YOU MAY THINK
YOU ARE STILL THE NUMBER-ONE LADY
180
00:08:56,035 --> 00:08:58,370
ON THE TOP OF THE
H EAP, BUT YOU'VE GOT IT WRONG.
181
00:08:58,454 --> 00:09:01,206
YOU'RE J UST
AN AGING BROAD WITH A SCRAPBOOK.
182
00:09:01,290 --> 00:09:02,707
LOOK, MARTY--
183
00:09:02,792 --> 00:09:04,209
ANY PART
YOU GET AT THIS STU DIO
184
00:09:04,293 --> 00:09:05,961
WON'T HAVE TO GO
TH ROUG H AN AG ENT.
185
00:09:06,045 --> 00:09:07,420
WE CAN SET
IT UP TH ROUG H THE COM M U N ITY CH EST
186
00:09:07,505 --> 00:09:09,297
BECAUSE IT'LL
BE CHARITY!
187
00:09:19,600 --> 00:09:20,642
SALL?
188
00:09:22,103 --> 00:09:23,478
REMIND ME SOMEDAY
189
00:09:23,521 --> 00:09:25,063
WHEN YOU'VE GON E
OVER THE H I LL
190
00:09:25,147 --> 00:09:27,148
AND YOU'RE DOWN ON
YOUR HAN DS AND KN EES,
191
00:09:27,233 --> 00:09:29,484
REMIND ME TO GIVE YOU
A SWI FT KICK IN THE TEETH
192
00:09:29,527 --> 00:09:32,279
SO THAT YOU KNOW
EXA CTL Y HOW IT FEELS!
193
00:09:43,249 --> 00:09:44,749
BARB I E?
194
00:09:44,834 --> 00:09:46,251
WHAT?
195
00:09:46,335 --> 00:09:48,587
YOU WERE RIGHT
ABOUT HIM.
196
00:09:48,671 --> 00:09:51,756
HE'S A PETTY
LITTLE MAN.
197
00:09:51,841 --> 00:09:53,592
A MEAN TEM PER
AND A DIRTY MOUTH.
198
00:09:53,676 --> 00:09:55,844
YOU SHOU LDN'T PAY
ANY ATTENTION TO HIM.
199
00:09:55,928 --> 00:09:57,929
YOU TALKING
ABOUT MARTY SALL?
200
00:09:58,014 --> 00:09:59,097
YES.
201
00:09:59,181 --> 00:10:01,016
HE DOESN'T EXIST.
202
00:10:01,058 --> 00:10:03,768
THAT STU DIO
DOESN'T EXIST.
203
00:10:03,853 --> 00:10:07,105
NOT ANYMORE,
NOT THE WAY IT IS NOW.
204
00:10:07,189 --> 00:10:10,358
THIS IS
THE WORLD, DAN, RIGHT IN HERE.
205
00:10:10,401 --> 00:10:12,360
FROM NOW ON,
206
00:10:12,403 --> 00:10:16,114
I KEEP
THE DRAPES DRAWN AND DOORS LOCKED.
207
00:10:16,198 --> 00:10:19,284
I DON'T WANT ANY OF
THE OUTSIDE WORLD COMING IN.
208
00:10:19,368 --> 00:10:20,952
NOT THE MARTY SALLS
209
00:10:21,037 --> 00:10:23,079
OR THE MOVIES
WITHOUT SENTIMENT,
210
00:10:23,164 --> 00:10:24,914
ACTORS IN U N DERSH I RTS,
211
00:10:24,999 --> 00:10:27,876
ROCK AND
ROLL, JUKEBOXES,
212
00:10:27,918 --> 00:10:29,377
NOT ANY OF IT.
213
00:10:29,462 --> 00:10:31,046
WH ETHER YOU
LIKE IT OR NOT,
214
00:10:31,088 --> 00:10:32,547
THAT'S THE WAY
THINGS ARE,
215
00:10:32,632 --> 00:10:33,882
THAT'S THE
WAY IT IS.
216
00:10:33,966 --> 00:10:35,425
WHAT DO YOU DO?
217
00:10:35,509 --> 00:10:37,010
SHUT YOUR EYES,
SAY IT DOESN'T EXIST
218
00:10:37,094 --> 00:10:38,762
BECAUSE YOU
CAN'T SEE IT?
219
00:10:38,846 --> 00:10:41,389
IT DOESN'T
HAVE TO EXIST IF I SHUT MY EYES.
220
00:10:41,474 --> 00:10:44,100
IF I SHUT MY EYES,
IT ALL DISAPPEARS.
221
00:10:44,185 --> 00:10:48,146
IF I WISH HARD ENOUGH,
I CAN WISH IT ALL AWAY.
222
00:10:48,230 --> 00:10:52,817
AS OF THIS MOM ENT--
RIGHT NOW, DAN NY--
223
00:10:52,902 --> 00:10:55,612
THESE ARE
THE 1 930s AGAIN
224
00:10:55,696 --> 00:10:58,657
WITH ALL
THE CHARM AND ROMANCE
225
00:10:58,741 --> 00:11:00,784
ALL THE GAI ETY.
226
00:11:00,868 --> 00:11:03,662
THAT WAS
A CAREFREE WORLD, DAN NY,
227
00:11:03,746 --> 00:11:06,081
AND I'M GON NA
MAKE IT THAT WAY AGAIN.
228
00:11:06,123 --> 00:11:08,625
YOU CAN'T!
IT'S NOSTALG IC,
229
00:11:08,709 --> 00:11:11,586
IT'S N ICE, BUT
IT'S NOT TRU E. IT'S PHONY.
230
00:11:11,629 --> 00:11:13,672
IT DOESN'T HAVE
TO BE PHONY.
231
00:11:13,756 --> 00:11:17,926
IF I WISH HARD ENOUGH,
IT DOESN'T HAVE TO BE PHONY.
232
00:11:20,012 --> 00:11:23,515
DARLING, WE'LL
GIVE A PARTY.
233
00:11:23,599 --> 00:11:25,517
WE'LL I NVITE
ALL MY FRIENDS.
234
00:11:25,601 --> 00:11:27,519
YOU TELL THEM
I'M STILL HERE
235
00:11:27,603 --> 00:11:29,354
AND WHAT IT'S
LIKE HERE.
236
00:11:29,438 --> 00:11:31,690
TELL J ERRY HEARN DAN
237
00:11:31,774 --> 00:11:34,609
STEVE BLACK,
PAU L NADER--
238
00:11:34,694 --> 00:11:36,945
TELL THEM, DAN NY.
239
00:11:36,987 --> 00:11:39,781
BARBARA, THIS
IS RI DICU LOUS.
240
00:11:39,865 --> 00:11:41,408
HAVE YOU FORGOTTEN?
241
00:11:41,492 --> 00:11:43,702
PAU L NADER'S
BEEN DEAD FOR FIVE YEARS.
242
00:11:43,786 --> 00:11:45,954
J ERRY HEARN DAN
LIVES IN CH ICAGO.
243
00:11:46,038 --> 00:11:48,373
STEVE BLACK HASN'T
BEEN AROUND FOR 1 5 YEARS.
244
00:11:48,457 --> 00:11:50,208
AND IF I COULD GET
TH EM, WHAT KIND OF A PARTY
245
00:11:50,292 --> 00:11:51,835
DO YOU THINK I CAN
I NVITE THEM HERE?
246
00:11:51,919 --> 00:11:53,878
DON'T YOU U N DERSTAND
WHAT YOU'RE DOING?
247
00:11:53,963 --> 00:11:56,005
YOU'VE BU I LT YOURSELF
A GRAVEYARD HERE.
248
00:11:56,090 --> 00:11:58,258
YOU KEEP WISHING FOR
THINGS THAT ARE DEAD!
249
00:12:21,991 --> 00:12:24,993
[romantic music pIaying]
250
00:12:25,077 --> 00:12:26,911
(JERRY)
ALL FOR YOU.
251
00:12:26,996 --> 00:12:29,247
WITH LOVE,
FROM ME.
252
00:12:49,310 --> 00:12:50,935
SALLY, IS
SHE ALL RIGHT?
253
00:12:51,020 --> 00:12:53,688
I WISH I COULD
TELL YOU, MR. WE ISS,
254
00:12:53,773 --> 00:12:56,191
BUT I
DON'T SEE HER ANYMORE.
255
00:12:59,236 --> 00:13:02,113
SOMETIMES HER BED'S
NOT EVEN SLEPT IN.
256
00:13:02,198 --> 00:13:04,949
SHE JUST STAYS
IN THAT ROOM ALL THE TIME,
257
00:13:05,034 --> 00:13:07,619
DAY AND NIGHT.
258
00:13:07,703 --> 00:13:11,206
A COUPLE OF TIMES
WHEN I'VE GON E IN THERE--
259
00:13:11,290 --> 00:13:12,874
I TELL YOU,
I DON'T WANT YOU TO THINK
260
00:13:12,958 --> 00:13:15,210
I'VE GON E
OUT OF MY MIND OR SOMETHING--
261
00:13:15,294 --> 00:13:19,464
BUT I SWEAR TO YOU,
I SEE HER UP ON THAT SCREEN.
262
00:13:19,548 --> 00:13:21,132
NOW, SALLY,
DON'T, PLEASE.
263
00:13:21,217 --> 00:13:23,218
DON'T UPSET YOURSELF.
264
00:13:23,302 --> 00:13:25,637
THERE'LL BE
A GENTLEMAN BY IN A LITTLE WHILE--
265
00:13:25,721 --> 00:13:27,222
A MR. HEARN DAN.
266
00:13:27,264 --> 00:13:28,973
J ERRY HEARN DAN?
267
00:13:29,058 --> 00:13:30,767
WHO PLAYED
OPPOS ITE MISS TRENTON?
268
00:13:30,851 --> 00:13:32,644
HE'S IN TOWN ON
A BUS IN ESS TRI P,
269
00:13:32,728 --> 00:13:35,104
AND I THOUGHT
IT MIGHT BE GOOD FOR HER TO SEE HIM.
270
00:13:35,189 --> 00:13:37,065
TAKE HIM INTO
THE STU DY WH EN HE COMES.
271
00:13:40,820 --> 00:13:42,529
[knock at door]
272
00:13:42,613 --> 00:13:43,947
(Daniel)
BARBARA, IT'S ME, DANNY.
273
00:13:44,031 --> 00:13:45,198
CAN I COME
IN, PLEASE?
274
00:13:45,282 --> 00:13:47,450
DAN NY, PLEASE
GO AWAY!
275
00:13:47,535 --> 00:13:49,285
OH, BARBARA, PLEASE.
276
00:13:49,370 --> 00:13:51,079
I'VE GOT SOMETHING
IMPORTANT TO TELL YOU.
277
00:14:00,965 --> 00:14:02,423
WHAT'S THE MATTER?
278
00:14:02,508 --> 00:14:04,175
DON'T LIKE
THE MERCHAN DISE?
279
00:14:04,260 --> 00:14:05,969
THE MERCHAN DISE
IS BEAUTIFUL
280
00:14:06,053 --> 00:14:07,637
BUT IT LOOKS
A LITTLE TIRED,
281
00:14:07,721 --> 00:14:09,597
LIKE IT HASN'T SLEPT
IN A COUPLE OF WEEKS
282
00:14:09,640 --> 00:14:11,850
AND COULD USE SOME
FRESH AIR AND SU N.
283
00:14:11,934 --> 00:14:14,435
IT'S QU ITE HAPPY.
THANK YOU FOR THE WEATHER REPORT
284
00:14:14,478 --> 00:14:16,437
AND THE DOOR'S
THE SAME ONE YOU CAME IN.
285
00:14:16,522 --> 00:14:18,314
A FRI EN D'S COMING
TO SEE YOU TODAY.
286
00:14:18,399 --> 00:14:19,983
FRI EN D?
287
00:14:20,067 --> 00:14:21,484
OH, I THOUGHT
ALL MY FRIENDS WERE DEAD,
288
00:14:21,569 --> 00:14:23,111
RETIRED OR FORGOTTEN.
289
00:14:23,153 --> 00:14:24,612
YOU TOLD ME
THAT YOURSELF.
290
00:14:24,697 --> 00:14:26,281
AH, BUT
THIS ON E'S AN OLD FRI EN D.
291
00:14:26,365 --> 00:14:28,116
HE'S IN TOWN AND
H E'D LOVE TO SEE YOU.
292
00:14:28,158 --> 00:14:30,618
TELL HIM I'M NOT
RECE IVING THIS YEAR.
293
00:14:32,580 --> 00:14:34,581
IT'S JERRY
HEARNDAN, BARBARA.
294
00:14:35,833 --> 00:14:37,208
J ERRY?
295
00:14:38,627 --> 00:14:41,212
J ERRY!
296
00:14:41,297 --> 00:14:42,547
WHERE IS H E?
297
00:14:42,631 --> 00:14:44,132
HE'S IN TOWN
ON BUS IN ESS.
298
00:14:44,216 --> 00:14:46,050
I HAPPENED
TO MEET HIM AT THE HOTEL.
299
00:14:46,135 --> 00:14:48,469
HE ASKED ABOUT YOU,
ASKED IF HE COULD COME TO SEE YOU
300
00:14:48,554 --> 00:14:49,888
AND I TOOK
THE LI BERTY.
301
00:14:49,972 --> 00:14:52,348
OH, IMUST
LOOK AWFU L.
302
00:14:52,433 --> 00:14:53,892
OH, DARLING,
303
00:14:53,976 --> 00:14:55,184
WHEN HE GETS HERE,
304
00:14:55,269 --> 00:14:56,644
TAKE HIM INTO
THE STU DY.
305
00:14:56,729 --> 00:14:58,688
I'VE GOT TO DO
MY FACE, CHANG E.
306
00:14:58,772 --> 00:15:01,482
H E'D LOVE YOU IF YOU
CAME DOWN IN SACKCLOTH, BUT GO AHEAD.
307
00:15:01,567 --> 00:15:02,567
I'LL HURRY.
308
00:15:18,709 --> 00:15:21,085
IT'S BEEN
A LONG TIME, BARBARA J EAN.
309
00:15:21,170 --> 00:15:22,962
A LOT OF WATER
OVER THE DAM.
310
00:15:24,673 --> 00:15:25,673
YES.
311
00:15:29,595 --> 00:15:31,262
ISN'T IT ODD
312
00:15:31,347 --> 00:15:33,389
WE ALWAYS
PICTURE PEOPLE THE WAY THEY WERE,
313
00:15:33,474 --> 00:15:35,725
N EVER AS THEY
REALLY ARE?
314
00:15:35,809 --> 00:15:39,020
FU N NY. I THOUGHT
YOU'D BE IN HERE
315
00:15:39,104 --> 00:15:43,441
IN AN
OFFICER'S U N I FORM, OR WH ITE TI E, TAI LS,
316
00:15:43,525 --> 00:15:45,860
WITH A
CHAM PAG N E GLASS.
317
00:15:45,903 --> 00:15:47,904
THAT'S HOW I
THOUGHT YOU'D BE.
318
00:15:47,988 --> 00:15:50,198
THAT WAS 20
YEARS AGO.
319
00:15:54,578 --> 00:15:56,704
I EVEN HAD
SOME CRAZY IDEA
320
00:15:56,789 --> 00:15:59,248
THAT WE'D DO
ANOTHER PICTURE TOG ETHER AGAIN.
321
00:15:59,333 --> 00:16:02,293
NO, BARB I E,
I GAVE THAT U P LONG AGO.
322
00:16:02,378 --> 00:16:04,545
THAT WENT
DOWN THE DRAI N WITH MY YOUTH.
323
00:16:04,630 --> 00:16:07,382
YOU DON'T
ACT ANYMORE?
324
00:16:07,424 --> 00:16:09,467
WHAT DO
YOU DO?
325
00:16:09,551 --> 00:16:10,885
[chuckIes]
326
00:16:10,970 --> 00:16:12,428
I RU N A STRING
OF SU PERMARKETS
327
00:16:12,513 --> 00:16:13,972
OUTSIDE OF CH ICAGO.
328
00:16:14,056 --> 00:16:15,807
A STRING
OF SU PERMARKETS?
329
00:16:15,891 --> 00:16:17,016
M M-H M M.
330
00:16:17,101 --> 00:16:18,893
OUTSIDE OF CH ICAGO?
331
00:16:18,936 --> 00:16:20,812
THAT'S N ICE.
332
00:16:28,404 --> 00:16:30,113
HE'S THE ONE
I EXPECTED.
333
00:16:32,950 --> 00:16:37,328
HE'S THE ONE I
WANTED TO HAVE COME AND SEE ME.
334
00:16:37,413 --> 00:16:39,330
BUT H E'S
DEAD NOW.
335
00:16:39,415 --> 00:16:40,665
DEAD LIKE ALL
THE OTH ERS.
336
00:16:40,749 --> 00:16:43,668
BARB I E. BARB I E, PLEASE.
337
00:16:43,752 --> 00:16:45,294
GO A WA Y,
BOTH OF YOU!
338
00:16:45,379 --> 00:16:47,088
PLEASE GO AWAY!
339
00:16:47,172 --> 00:16:49,298
[crying]
GO AWAY!
340
00:16:54,096 --> 00:16:56,180
GOODBYE,
BARBARA J EAN.
341
00:16:56,265 --> 00:16:59,225
GOODBYE, MY DEAR.
342
00:17:55,824 --> 00:17:59,035
[movie soundtrack pIaying]
343
00:18:13,926 --> 00:18:17,261
THERE YOU
ARE, J ERRY.
344
00:18:17,346 --> 00:18:21,682
THERE YOU ARE.
345
00:18:21,767 --> 00:18:24,769
YOU LOOK SO YOU NG.
346
00:18:24,853 --> 00:18:28,189
SO WON DERFU LLY YOU NG.
347
00:18:28,273 --> 00:18:30,775
WHO'S THE STRANG E
OLD MAN HERE A WHILE AGO
348
00:18:30,859 --> 00:18:32,235
WHO SAID
HE WAS YOU?
349
00:18:34,863 --> 00:18:36,864
J ERRY--
350
00:18:36,949 --> 00:18:40,118
I WISH
I COULD BE THERE WITH YOU.
351
00:18:40,202 --> 00:18:44,747
I WISH I COULD
BE UP THERE WITH YOU.
352
00:18:44,832 --> 00:18:47,875
I WISH.
353
00:18:47,960 --> 00:18:50,878
OH, HOW I WISH.
354
00:18:50,963 --> 00:18:53,047
I WISH.
355
00:18:57,052 --> 00:18:59,220
MISS TRENTON?
356
00:18:59,263 --> 00:19:02,223
I'VE BROUGHT
YOU A LITTLE SNACK, DEAR.
357
00:19:04,935 --> 00:19:07,061
WOULDN'T YOU
LIKE SOME COFFEE?
358
00:19:16,071 --> 00:19:19,407
[projector whirring]
359
00:20:05,245 --> 00:20:07,038
WHO SHUT IT OFF?
360
00:20:07,122 --> 00:20:09,040
I--I DID.
361
00:20:09,124 --> 00:20:10,958
AN HOUR AGO.
362
00:20:11,001 --> 00:20:14,545
AND THEN
I CALLED YOU.
363
00:20:14,630 --> 00:20:16,130
HAVE YOU LOOKED
IN HER ROOM?
364
00:20:16,215 --> 00:20:17,965
THAT'S THE FIRST
PLACE I CHECKED.
365
00:20:18,050 --> 00:20:21,719
THEN I WENT
TO EVERY ROOM IN THE HOUSE.
366
00:20:21,803 --> 00:20:27,600
SHE'S NOT HERE.
367
00:20:30,145 --> 00:20:32,521
AT LEAST
NOT IN THE WAY THAT--
368
00:20:32,606 --> 00:20:34,482
SHE'S NOT HERE
THE WAY YOU AND I ARE.
369
00:20:39,655 --> 00:20:41,239
YOU'RE GON NA
RU N IT, MR. WE ISS?
370
00:20:43,867 --> 00:20:45,868
YES, SALLY.
371
00:20:45,953 --> 00:20:48,120
I'M GONNA RU N IT.
372
00:20:48,205 --> 00:20:50,665
[suspenseful soundtrack]
373
00:21:07,182 --> 00:21:09,892
[laughter and chatter]
374
00:21:36,169 --> 00:21:38,963
DARLINGS, IT'S
SO GOOD TO SEE YOU.
375
00:21:39,047 --> 00:21:41,048
WE'RE ALL HAVING
DINNER BY THE POOL.
376
00:21:41,133 --> 00:21:42,633
PLEASE, EVERYONE OUTSIDE.
377
00:21:42,718 --> 00:21:43,884
OH, STEVE.
378
00:21:43,969 --> 00:21:45,219
PAUL.
379
00:21:45,304 --> 00:21:47,096
JERRY.
380
00:21:51,977 --> 00:21:53,436
BARB I E!
381
00:21:53,520 --> 00:21:55,187
PLEASE! COME
BACK, BARBARA!
382
00:21:57,190 --> 00:21:59,066
BARB I E, IT'S
M E, DAN NY.
383
00:22:15,417 --> 00:22:17,126
BARBIE, COME BACK!
384
00:22:17,210 --> 00:22:18,419
PLEASE, BARBIE!
385
00:22:18,503 --> 00:22:20,087
BARB I E!
386
00:22:20,130 --> 00:22:22,006
COME BACK, BARB I E!
387
00:23:42,587 --> 00:23:44,463
TO WISH ES, BARB I E,
388
00:23:46,007 --> 00:23:48,843
TO THE
ON ES THAT COME TRU E.
389
00:23:48,927 --> 00:23:51,929
(male presenter, off)
TO THE WISHES THAT COME TRUE--
390
00:23:52,013 --> 00:23:54,932
TO THE STRANGE,
MYSTIC STRENGTH OF THE HUMAN ANIMAL
391
00:23:55,016 --> 00:23:56,725
WHO CAN TAKE
A WISHFUL DREAM
392
00:23:56,810 --> 00:23:58,978
AND GIVE IT
A DIMENSION OF ITS OWN.
393
00:23:59,062 --> 00:24:02,773
TO BARBARA JEAN TRENTON,
MOVIE QUEEN OF ANOTHER ERA,
394
00:24:02,858 --> 00:24:07,027
WHO HAS CHANGED THE
BLANK TOMB OF AN EMPTY PROJECTION SCREEN
395
00:24:07,070 --> 00:24:09,029
INTO A PRIVATE WORLD.
396
00:24:09,072 --> 00:24:12,324
IT CAN HAPPEN--IN
THE TWILIGHT ZONE.
397
00:24:16,037 --> 00:24:19,290
(male presenter, off)
ROD SERLING, THE CREATOR OF TWILIGHT ZONE,
398
00:24:19,374 --> 00:24:21,500
WILL TELL YOU ABOUT
NEXT WEEK'S STORY
399
00:24:21,585 --> 00:24:24,378
AFTER THIS WORD FROM
OUR ALTERNATE SPONSOR.
400
00:24:24,463 --> 00:24:27,089
AND NOW, MR. SERLING.
401
00:24:27,174 --> 00:24:30,926
NEXT WEEK, WE I NVITE YOU
TO TAKE A STRANG E JOU RN EY BACK IN TIME
402
00:24:31,011 --> 00:24:35,181
WITH MR. GIG YOU NG,
WHO TRI ES TO MAKE THE EXODUS OF ALL MEN
403
00:24:35,265 --> 00:24:37,683
IN THEIR DESPERATE
ATTEM PT TO RELIVE THE PAST.
404
00:24:37,767 --> 00:24:41,937
WE OFFER A
MOST B IZARRE STORY CALLED WALKING DISTANCE.
405
00:24:42,022 --> 00:24:44,315
WE HOPE YOU'LL BE
AROUND TO SHARE IT WITH US.
406
00:24:44,399 --> 00:24:46,484
THANK YOU.
AND GOOD NIGHT.
407
00:24:49,654 --> 00:24:51,113
[eerie music]
408
00:25:29,402 --> 00:25:33,155
(male presenter, off)
KIMBERLY CLARK INVITES YOU TO WATCH
409
00:25:33,240 --> 00:25:35,950
STEVE MCQUEEN
IN WANTED DEAD OR ALIVE.
410
00:25:36,034 --> 00:25:39,161
SATURDAY NIGHTS OVER
MOST OF THESE SAME STATIONS.
411
00:25:39,211 --> 00:25:43,761
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