All language subtitles for The Twilight Zone s01e33 Mr. Bevis.eng

[eerie music]

(male narrator)
YOU ARE ABOUT TO ENTER ANOTHER DIMENSION

A DIMENSION NOT ONLY OF SIGHT
AND SOUND, BUT OF M IND

A JOURNEY INTO A WONDROUS
LAND OF IMAGINATION.

NEXT STOP, THE TWILIGHT ZONE.

[organ grinder plays
East Side, West Side]

[humming]

(male narrator)
IN THE PARLANCE OF THE 20th CENTURY,

THIS IS AN ODDBALL.

HIS NAME IS JAMES B.W. BEVIS

AND HIS TASTES LEAN TOWARD
STUFFED ANIMALS, ZITHER MUSIC

PROFESSIONAL FOOTBALL,
CHARLES DICKENS, MOOSE HEADS,

CARNIVALS, DOGS, CHILDREN
AND YOUNG LADIES.

MR. BEVIS IS ACCIDENT-PRONE,
A LITTLE VAGUE,

A LITTLE DISCOMBOOBERATED,
WITH A LIFE THAT POSSESSES

ALL THE SECURITY
OF A FLOATING CRAP GAME.

BUT THIS CAN BE SAID
OF OUR MR. BEVIS:

WITHOUT HIM, WITHOUT HIS
WARMTH, WITHOUT HIS KINDNESS,

THE WORLD WOULD BE
A CONSIDERABLY POORER PLACE,

ALBEIT PERHAPS
A LITTLE SANER.

[whistling]

HEY.

[cIicking teeth]

[whistIing]

HI, M ICH ELLE.

GOOD MORNING,
MR. BEVIS.

WHY NOT, MR. BEVIS?

WHY NOT?

OKAY.

HEY!

HEY! HEY!

[Iaughing]

HEY, TONY.

LOVELY MORNING,
AIN'T IT?

THANKS, TONY.

(male narrator)
SHOULD IT NOT BE OBVIOUS BY NOW,

JAMES B.W. BEVIS
IS A FIXTURE

IN HIS OWN PRIVATE,

OPTIM ISTIC, HOPEFUL
LITTLE WORLD.

A WORLD WHICH
HAS LONG CEASED BEING SURPRISED BY HIM.

[whistles]

HEY, COME ON!
COME ON!

[engine starting]

[backfiring]

JAMES B.W. BEVIS--

ON WHOM DAME FORTUNE
WILL SHORTLY TURN HER BACK

BUT NOT BEFORE
SHE GIVES HIM A PASTE IN THE MOUTH.

MR. JAMES B.W. BEVIS,
JUST ONE BLOCK AWAY

FROM THE TWILIGHT ZONE.

WILL YOU PLEASE
TELL THE GENTLEMAN

WHO OCCU P I ES THIS--
THIS M USEU M AND LIVESTOCK EXH I B IT

I SHOU LD LIKE
TO SEE HIM

WHEN HE F I NALLY DE IG NS
TO REPORT FOR WORK.

[ticking]

[tsk, sighs]

HI, EARL. HI, DWAYN E.

HI, MAU DE.

MORNING.

HI, MARGARET.

U H, MR. BEVIS

MR. PECKIN PAUG H
WANTS TO SEE YOU.

OH.

THANKS.

(Peckinpaugh)
I'LL BE BRIEF, BEVIS.

YOU KEEP A LEDGER
LIKE AN APE.

YOUR DESK IS AN AFFRONT
TO ANY ORDERLY SYMMETRY.

YOUR ECCENTRICITIES ARE
BEYOND ANY UNDERSTANDING.

YOUR BRINGING ZITHER MUSIC
TO PLAY DURING THE AFTERNOON.

YOUR HIRING
CHRISTMAS CAROLERS

TO SERENADE THE OFFICE
DURING OUR BUSIEST HOUR--

THANKS.

THE SACK, MR. BEVIS?

THE SACK.

THIS IS THE SIXTH
JOB I'VE LOST THIS YEAR, MARGARET.

WELL, THE BEST-LAI D
PLANS OF M ICE AND M EN... AND BEVIS.

I'LL H ELP
YOU PACK, MR. BEVIS.

I WAS BU I LDING THIS
FOR ONE OF THE KIDS.

IT'S OLD IRONSIDES--
THE CONSTITUTION.

WELL, SHE WON'T
GET LAU NCH ED TODAY.

OLD IRONSIDES
WILL GET LAU NCH ED.

YOU'LL GET ANOTHER JOB.

YOU ALWAYS HAVE.

THE ONLY JOB I'VE HELD
FOR MORE THAN SIX MONTHS

WAS DU RING THE SECON D
WORLD WAR WHEN I WAS IN THE NAVY.

HERE. THIS IS ME
NEXT TO THE FANTAI L.

OH, HE'S FAT,
ISN'T H E?

THAT'S THE
BOS'N'S MATE.

THIS IS THE FANTAI L.

[loud crashing]

[tires screeching]

YOURS?

DOES IT DO
THIS OFTEN?

WELL, IT NEVER
HAS BEFORE.

IT'S ALWAYS
BEEN KIND OF LIKE AN OLD FRI END TO ME.

WELL, I'LL PHON E
FOR THE TOW TRUCK.

DO THAT.

OFFICER, YOU WOULDN'T
BE INTERESTED

IN PU RCHASING
A RICKEN BACKER, WOULD YOU?

IT'S A LATE '24.

NO, THANKS.

I KINDA GOT
MY EYE ON A '27 MAXWELL.

BUT I'M GON NA
WAIT U NTI L THE N EW MODELS COME OUT

BECAUSE THAT WAY
I CAN GET A BETTER DEAL.

OFFICER, DID YOU EVER
HAVE ONE OF THOSE DAYS?

NOT LIKE THIS.

(Bevis)
HI, BU D.

OH. HELLO,
M RS. CH ETFIELD.

THAT'S RIGHT, BEVIS.

YOU'RE BEING EVICTED.

SIX WEEKS IN ARREARS
ON YOUR RENT

AND THAT'S IT, AS FAR
AS I'M CONCERN ED.

(bartender)
YOU SAID YOU WANTED SOMETHING

TO FORTI FY A MAN IN THE
DARKEST HOUR OF HIS LIFE.

ARE THEM IT?

[sIurring]
"THOSE" ARE IT.

YOU CAN'T USE "TH EM"
IN THE NOM I NATIVE CASE.

LIVE AND LEARN, HUH?

YEP, LIVE AND LEARN.

BARTEN DER!

YOU ALL
RIGHT, BU D?

WOULD YOU
KINDLY TELL ME

WHAT ARE
THEING REDI ENTS OF THIS DRINK?

YOU SAID YOU WANTED
TO GET FORTIF I ED, PAL.

I PUT
EVERYTHING IN THERE BUT ATOM IC EN ERGY.

DOES THAT EXPLAIN WHY
I CAN SEE HIM IN THE M I RROR

BUT I CAN'T SEE HIM
IN THE BOOTH?

SEE WHO?

"WHOM." OBJ ECTIVE CASE.

(man)
QU ITE RIGHT, MR. BEVIS--

WHOM. OBJ ECTIVE CASE.

WELL, MR. BEVIS,
WE MEET AT LAST, EH?

THAT'S VERY N ICE.

AND WHO MIGHT YOU BE?

WHOM. OBJ ECTIVE CASE.

THE NAME,

FOR PURPOSES
OF IDENTIFICATION,

IS J. HARDY H EM PSTEAD.

I'M YOUR
GUARDIAN ANGEL.

THIS IS MY FRI EN D,
MR. J. HARDY H EM PSTEAD.

SEE WHAT HE'S HAVING.

HIM?

AND A HAPPY
THANKSG IVING TO YOU.

WELL, CH EERS,
MR. H EM PSTEAD

AND TO
BETTER DAYS.

OH, AREN'T
YOU DRINKING?

NOW THEN, YOU WERE
SAYING YOU WERE MY-- WHAT WAS IT?

YOUR GUARDIAN ANGEL.

MR. BEVIS,

HERE'S THE WAY
THE COOKI E CRU M BLES.

SEVERAL H U N DRED YEARS AGO

ONE OF YOUR ANCESTORS

PERFORM ED AN ACT
OF GREAT COU RAG E.

PART OF HIS REWARD
WAS TO HAVE A GUARDIAN ANGEL

ASSIGN ED TO ONE
OF HIS DESCEN DANTS

IN EACH GEN ERATION.

CU RRENT SU BJ ECT:
JAMES B.W. BEVIS--

THAT'S YOU.

MR. BEVIS,
IN THE PAST FEW GENERATIONS

I'VE HAN DLED
SOME EXTREM ELY SOLI D CITIZENS

AMONG YOUR PROG EN ITORS.

FOR I NSTANCE,

MAG ELLAN BEVIS--

AN INTREPID EXPLORER
OF THE 1 6th CENTURY.

PARNELL BEVIS--

A MEMBER OF THE
BRIT'SH PARLIAMENT

WHO FOUGHT FOR HOME RULE
AGAINST INSURMOUNTABLE ODDS.

AND MORE RECENTLY,
GUNNER LOU BEVIS

THE FIRST MARINE
TO HIT THE BEACH AT NICARAGUA.

THAT'S U NCLE LOU I E!

I TELL YOU WHAT,
LOOK, LOOK

LOOK, I'LL CLOSE MY
EYES REAL TIG HT AND YOU DISAPPEAR

AND THEN GO AWAY AND
HAU NT SOMEBODY ELSE.

I AM NOT A FIGMENT
OF YOUR IMAGINATION.

AS OF NOW, YOU ARE
BEING WATCH ED OVER

BY THE
SAME GUARDIAN ANGEL, J. HARDY H EM PSTEAD,

YOUR OBEDI ENT SERVANT.

WATCH ED OVER?

WATCHED OVER--

ASS ISTED BY
M I NOR M I RACLES FROM TIME TO TIME

GIVEN SMALL
H EAVEN LY AI DS

WHEN THE
S ITUATION CALLS FOR THEM.

GETTING IT, MR. BEVIS?

WATCH ED OVER.

NOW TODAY YOU HAD

A VERY
UNCOMFORTABLE TIME.

YOU WERE FIRED

FROM WHAT WAS
YOUR 1 1 TH JOB IN 1 8 MONTHS.

MR. PECKIN PAUG H DIDN'T
LIKE ZITHER MUSIC.

I CAN'T SAY
I BLAME HIM FOR THAT

BUT THAT'S
NEITHER HERE NOR THERE.

I CAN RECONSTITUTE
THE WHOLE DAY, MR. BEVIS,

SO THAT ITS F I NAL UPSHOT

WILL BE EXACTLY OPPOS ITE
TO WHAT IT WAS.

SO LET'S GO BACK
TO THIS MORNING

AND START ALL
OVER AGAIN, HM?

YOU MEAN, I
CAN HAVE THE DAY TO LIVE OVER AGAIN

AND IT WON'T BE
THE WAY IT WAS?

DEF IN ITELY NOT.
WE'D CHANG E SOME ASPECTS.

IN EVITABLY, WE'D
HAVE TO CHANG E

CERTAIN CHARACTERISTICS
OF YOUR OWN.

YOUR CLOTH ES,
FOR I NSTANCE, MR. BEVIS.

ARE YOU SERIOUS?

I LOOK LIKE
AN U N DERTAKER!

THAT MAY WELL BE.

BUT IF YOU
WANT THE DAY TO END DIFFERENTLY

YOU'RE GOING
TO HAVE TO BE DIFFERENT YOURSELF.

LET'S GO.
THERE ISN'T MUCH TIME.

I WANT TO THANK YOU

FOR TAKING THIS
TROUBLE WITH ME

MR. H EM PSTEAD,
WHOEVER YOU ARE.

[organ grinder plays
East Side, West Side]

HEY!

[dog barks
and growIs]

HI, M ICH ELLE.

GOOD MORNING.

U H-U H-U H.

THAT NONSENSE IS
FOR THE OLD BEVIS.

YOU ARE THE
N EW BEVIS.

[sighs]

COMING, MR. H EM PSTEAD?

OH, YES, YES.

I'M COMING, MR. BEVIS.

M RS. CH ETFIELD--

GOOD MORNING THERE,
MR. BEVIS.

LOOK, ABOUT THE RENT--

I FOU N D IT
IN THE BOX.

THREE WEEKS
IN ADVANCE.

YOU'RE A WON DERFU L,
WON DERFU L ROOM ER, MR. BEVIS.

OKAY THERE, BOYS!
LET'S GO!

I'M READY, PASS
IT RIGHT OVER HERE.

YES, RIGHT THERE,
RIGHT IN THERE.

RIGHT THERE...

HEY, TONY!
[Iaughs]

HOW ARE YOU, TONY?

WELL, WHERE'S MY APPLE?

FOR FREE,
I GIVE-A NOBODY NOTHING.

BANANAS!

BANANAS!

WHAT ARE YOU
LOOKING FOR?

MY CAR,
MY RICKEN BACKER.

CORRECTION. YOU
DON'T DRIVE A RICKEN BACKER.

THAT'S YOUR CAR.

THAT LITTLE THING?

WELL, GEE, DO
YOU THINK IT F ITS?

MR. BEVIS,
LIVE IT UP, WILL YOU?

BUT HAVE
YOU EVER DRIVEN A 1 924 RICKEN BACKER?

MY DEAR BEVIS,

I'VE DRIVEN
A CHARIOT WITH 1 1 HORSES.

I'M THE GUY RESPONS I BLE
FOR BEN-H U R WINNING.

AND THE OLD RICKEN BACKER
WENT OUT WITH THE OLD BEVIS.

YOU'RE A DIFFERENT
PERSON NOW!

NO MORE BOW TI ES.

NO MORE
ZITHER MUSIC.

NO MORE CH RISTMAS
CAROLERS IN THE OFF ICE.

THOUGH THE
LATTER I DIOSYNCRASY

M ET WITH SOME APPROVAL
FROM THE ORGAN IZATION.

SHALL WE, MR. BEVIS?

[tires screech]

SORRY, PAL.

YOU'LL GET ON TO IT.

LOOK, SOMEBODY
CLEARED OFF MY DESK.

NOTHING OF THE KIND.

YOU'LL SEE.

'MORNING. 'MORNING.

MAU DE.

'MORNING. 'MORNING.

MARGARET?

GOOD MORNING,
MR. BEVIS.

WHAT HAPPENED
TO THE CLOCK I WON AT THE CARN IVAL?

WHERE'S THE SH I P
I WAS BU I LDING?

WHAT SH I P?

I DON'T KNOW
WHAT YOU'RE TALKING ABOUT.

AH!

GOOD MORNING, BEVIS.

ASSOCIATES--
ASSOCIATES, ONE MOM ENT.

I WANT YOU ALL TO SHARE
THIS BIT OF GOOD N EWS.

AS OF THIS MOM ENT,
MR. JAMES B.W. BEVIS

HAS BEEN GIVEN
A RAISE IN SALARY.

$1 0 A WEEK, STARTING
FROM THIS VERY MOMENT.

AND I MIGHT ADD,
YOUR WORK HAS BEEN ADM I RABLE.

S I NCE YOU'VE
BEEN HERE FOR 1 1 MONTHS

I THINK IT'S TIME
YOU GOT A RAISE.

A RAISE,
MR. PECKIN PAUG H?

QU ITE RIGHT, BEVIS.
QU ITE RIGHT.

WELL, MR. PECKIN PAUG H--

YES, BEVIS?

BUT MR. PECKIN PAUG H, WHAT
ABOUT THE ZITHER MUSIC?

WHAT ABOUT
THE CH RISTMAS CAROLS?

I DON'T KNOW
WHAT YOU'RE TALKING ABOUT.

MR. BEVIS,
YOU NO LONG ER HAVE AN I NTEREST

IN ZITHER MUSIC
OR CH RISTMAS CAROLERS

OR ANY OF
THAT NONSENSE.

OH.

"OH," WHAT, BEVIS?

NOTHING, NOTHING,
MR. PECKIN PAUG H.

AH.

IT--IT LOOKS... N U DE!

IT DOESN'T LOOK DECENT.

I'M GOING TO GO
GET A LITTLE AIR.

I GOT A RAISE.

THINGS ARE
REALLY LOOKING UP FOR YOU, AREN'T THEY?

YEAH, I GU ESS
THEY ARE.

WHERE ARE
YOU GOING?

OH, I'M GOING TO GO OUT
AND GET A LITTLE AIR.

OR I MAY GO
OVER TO MY PLACE

AND PLAY FOOTBALL
WITH THE KIDS IN THE STREET.

MR. BEVIS.

YEAH?

THEY WON'T
PLAY WITH YOU.

U H, NOT ANYMORE.

YOU'RE NOT
THE SAME BEVIS.

I SEE.

BEVIS!

WHAT DO YOU SAY
WE LEVEL, HM M?

NOW, WHAT IS IT
THAT YOUREALLY WANT?

YOU KNOW,
FOR A FELLOW LIKE YOU

A $1 0 RAISE IS THE MOST
THAT EVEN I CAN GET FOR YOU.

TO USE THE
VERNACU LAR, BEVIS

FRANKLY, I
DON'T DIG YOU.

I'M USED TO BEVISES
WITH BIG DREAMS

G IGANTIC HOPES,
FANTASTIC ASP I RATIONS--

MAG ELLAN BEVIS,
SAI LING AROUND THE HORN ;

PARN ELL BEVIS, STANDING
ALONE IN PARLIAM ENT

TH U N DERING OUT
HIS CONVICTIONS ;

G U N N ER LOU BEVIS,
SEMPER FIDELIS.

"OVER THE TOP, BOYS.

"NOBODY LIVES FOREVER.

LET'S GO!"

LOOK, MR. H EM PSTEAD,

I DON'T LIKE
TO APPEAR U NG RACIOUS

BUT, WELL,
THE THINGS I LIKE

THE THINGS I BELIEVE I N,
I KNOW THEY'RE ODD

BUT THEY ARE WORTH
CONSIDERABLY MORE

THAN $1 0 A WEEK.

SO I'M TO TAKE IT
THAT YOU PREFER THE BOW TI E

AND OLD IRONSIDES, HMM?

I'M AFRAI D THAT SEEMS
TO BE THE CASE.

YOUREALIZE IT'S GOING
TO BE THE WAY IT WAS--

NO JOB, NO CAR,
NO PLACE TO LIVE?

WELL, IT'S BEEN
THAT WAY BEFORE.

[deep sigh]

IT'S COM PLICATED,
IS IT?

HARDLY.

TAKE A GOOD LOOK.

WON'T BE AROUND
VERY LONG.

THE CARS WI LL
HOOK BUM PERS

JUST AS IT
WAS ORDAIN ED THEY SHOU LD.

BETTER GET IT
OVER WITH.

HERE COMES PECKIN PAUG H.

THIS TIME HE WON'T BE
TALKING ABOUT A RAISE.

IT DOESN'T MAKE A B IT
OF DIFFERENCE.

NOT A BIT OF DIFFERENCE.

(Peckinpaugh)
WOULD YOU KINDLY TELL THE GENTLEMAN

WHO OCCUPIES THIS MUSEUM
AND LIVESTOCK EXHIBIT

THAT I SHOULD LIKE
TO SEE HIM

WHEN HE FINALLY
DEIGNS TO REPORT TO WORK.

HI, HARRY. HI, GWEN.

HI, MAU DE. HARRI ET.

HI, MARGARET.

MR. BEVIS,
MR. PECKIN PAUG H WANTS TO SEE YOU.

OH.
THANKS.

YOU FEEL FORTIF I ED
NOW, PAL?

I CERTAIN LY DO.

YOU KNOW, I LOST
MY JOB TODAY.

AND MY CAR,

AND I WAS EVICTED.

BUT YOU KNOW WHAT?

I LOVE ZITHER MUSIC
AND MODEL SH I PBU I LDING

AND IF YOU CAN'T BRING KIDS

INTO AN OFF ICE AT CH RISTMASTIME

TO SING CAROLS

THEN WHAT'S THE PO I NT
OF BEING ALIVE?

BEATS ME.

WELL, THERE IS
NO POINT.

[shouts]
NO POINT AT ALL!

NOW, I'M GONNA GO OUT

AND TRY TO F IN D MYSELF
ANOTHER JOB,

AND I'M GONNA F IN D MYSELF
AN APARTM ENT,

AND THEN I'M GONNA START
F IN ISHING OLD IRONSIDES

FOR A LITTLE KI D,
EIGHT YEARS OLD, WITH A DIRTY FACE

WHO HAPPENS TO LOVE
MODEL SH I PBU I LDING

JUST THE SAME AS I DO.

$5.00, PAL.

STILL WITH ME, HUH,
MR. H EM PSTEAD?

OFFICER, OFFICER, U M...

YOUR CAR, MISTER?

WELL, I-I-I...

WE TAKE A DI M VI EW
OF PARKING

IN FRONT
OF A HYDRANT.

STILL WITH ME, HUH,
MR. H EM PSTEAD?

(Hempstead)
STILL WITH YOU, MR. BEVIS.

STILL WITH YOU.

[backfires]

(male narrator)
MR. JAMES B.W. BEVIS,

WHO BELIEVES IN A MAGIC
ALL HIS OWN

THE MAGIC OF A CHILD'S SMILE.

THE MAGIC OF LIKING
AND BEING LIKED.

THE STRANGE
AND WONDROUS MYSTICISM

THAT IS A SIMPLE ACT
OF LIVING.

MR. JAMES B.W. BEVIS,
SPECIE OF 20th CENTURY MALE,

WHO HAS HIS OWN PRIVATE
AND SPECIAL TWILIGHT ZONE.

(male presenter)
ROD SERLING, THE CREATOR OF TWILIGHT ZONE,

WILL TELL YOU ABOUT
NEXT WEEK'S STORY

AFTER THIS WORD FROM
OUR ALTERNATE SPONSOR.

AND NOW,
MR. SERLING.

NEXT WEEK,
YOU'LL SEE OU R FRIENDS HERE,

ALONG WITH AN N E FRANCIS
AND ELIZABETH ALLEN

IN ONE OF THE
STRANG EST STORI ES

WE'VE YET PRESENTED
ON THE TWILIGHT ZONE.

IT'S CALLED
THE AFTER HOURS

AND CONCERNS
THE SHADOWY TIME

WHEN NORMAL PEOPLE
GO BACK TO THEIR HOM ES

AND CONCU RRENTLY,
WHAT HAPPENS TO THOSE

WHO ARE PERHAPS
NOT QU ITE SO NORMAL

OR PERHAPS
NOT QU ITE SO HUMAN.

I NTRIG UING? I THINK
YOU'LL F IN D IT SO,

NEXT WEEK,
ON THE TWILIGHT ZONE.

[eerie music]

(male presenter, off)
KIMBERLY CLARK INVITES YOU

TO WATCH
STEVE MCQUEEN

IN WANTED DEAD OR ALIVE.

SATURDAY NIGHTS OVER
MOST OF THESE SAME STATIONS.

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