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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
00:01:17,801 --> 00:01:19,635
GOOD MORNING,
MR. CU RTIS.
21
00:01:19,720 --> 00:01:21,888
AH, GOOD MORNING, SALLY.
22
00:01:21,972 --> 00:01:24,724
I THOUGHT I'D BETTER
GET ANEARLY START. I GOTTA LEAVE ABOUT 3 :00.
23
00:01:24,808 --> 00:01:27,685
MY WIFE AND I HAVEN'T
GOTTEN A THING FOR TI NA'S B I RTH DAY PARTY YET.
24
00:01:27,728 --> 00:01:29,937
THAT'S RIGHT.
IT'S SATU RDAY AFTERNOON, ISN'T IT?
25
00:01:30,022 --> 00:01:32,023
YEAH, IF MY DEAR DAUG HTER
CAN HOLD OUT THAT LONG.
26
00:01:32,065 --> 00:01:33,399
IS SHE EXCITED?
27
00:01:33,483 --> 00:01:34,734
THAT'S ALL SH E
CAN TALK ABOUT.
28
00:01:34,818 --> 00:01:36,277
THAT'S ABOUT NORMAL.
29
00:01:36,361 --> 00:01:38,029
ARE THE MATSON
CONTRACTS READY, YET?
30
00:01:38,113 --> 00:01:41,574
SURE. IF IN ISH ED THEM
LAST NIGHT BEFORE I LEFT.
31
00:01:41,658 --> 00:01:43,659
HERE THEY ARE.
32
00:01:43,744 --> 00:01:48,289
THANKS. WELL,
TO THE GRIN DSTON E. OH, UH, I ALMOST FORGOT.
33
00:01:48,373 --> 00:01:52,376
COULD YOU CALL AND SEE I F
YOU CAN CHANG E THE PLAN E RESERVATIONS TO SATU RDAY NIGHT?
34
00:01:52,461 --> 00:01:54,587
OF COURSE.
STRAINING AT THE B IT, HUH?
35
00:01:54,671 --> 00:01:57,298
IT'S THE FIRST REAL
VACATION MARIAN AND I HAVE HAD IN YEARS,
36
00:01:57,382 --> 00:02:00,051
SO WE F IG U RED WHY
LOSE THE WHOLE WEEKEN D BEFORE STARTING OUT.
37
00:02:00,093 --> 00:02:02,303
I DON'T BLAME YOU,
MR. CU RTIS.
38
00:02:02,387 --> 00:02:06,307
SO, UH, SATU RDAY NIGHT,
IT'S SAN FRANCISCO, HERE WE COME.
39
00:02:16,777 --> 00:02:20,655
[whistling Coming
Through the Rye]
40
00:02:40,467 --> 00:02:43,094
OH, FOR H EAVEN'S SAKE.
41
00:02:44,596 --> 00:02:46,889
(Man)
CUT!
42
00:03:21,466 --> 00:03:24,051
COME ON, J ERRY.
43
00:03:29,099 --> 00:03:32,143
IS IT SO HARD
TO MAKE A PHONE CALL?
44
00:03:43,613 --> 00:03:45,656
HEY.
45
00:03:45,741 --> 00:03:47,033
HEY!
46
00:03:48,410 --> 00:03:50,161
REMEMBER ME, JERRY?
47
00:03:50,245 --> 00:03:52,747
MARTY F ISH ER.
48
00:03:52,831 --> 00:03:56,208
YOUR FRI EN DLY
N EIGH BORHOOD MOVIE DI RECTOR.
49
00:04:00,000 --> 00:04:01,834
SALLY, WHAT--
50
00:04:01,918 --> 00:04:03,711
WHAT'S THE MATTER,
MR. RAIGAN?
51
00:04:08,550 --> 00:04:13,679
WHERE ARE YOU GOING?
52
00:04:13,764 --> 00:04:16,349
I'M WARNING YOU, JERRY.
THEY WON'T TAKE IT ANYMORE.
53
00:04:16,433 --> 00:04:18,434
WISE UP, BOY.
YOU'RE ON THE EDG E.
54
00:04:18,518 --> 00:04:19,977
JERRY?
55
00:04:20,062 --> 00:04:22,605
IT'S OKAY, MARTY.
JUST A LITTLE GAG.
56
00:04:22,648 --> 00:04:24,649
WE'LL TRY IT AGAIN,
SHALL WE, J ERRY?
57
00:04:24,733 --> 00:04:27,026
WE'LL PICK IT UP
FROM THE PHONE CALL.
58
00:04:27,110 --> 00:04:30,863
YOU'RE PHONING YOUR WIFE
TO TELL HER TO MEET YOU DOWNTOWN AT 3 : 1 5, RIGHT?
59
00:04:30,947 --> 00:04:33,783
WHAT ARE YOU
TALKING ABOUT?
60
00:04:35,452 --> 00:04:37,161
WHERE AM I?
61
00:04:39,081 --> 00:04:42,458
WHAT IS THIS,
SOME KIND OF A JOKE OR SOMETHING?
62
00:04:55,305 --> 00:04:57,390
I DON'T KNOW YOU.
63
00:05:00,394 --> 00:05:02,353
I DON'T KNOW ANY OF YOU.
64
00:05:07,317 --> 00:05:09,235
DON'T LET HIM GET AWAY.
65
00:05:09,319 --> 00:05:11,904
MARTY, I SWEAR
THE AG ENCY HAD NO IDEA THAT RAIGAN WAS--
66
00:05:11,988 --> 00:05:13,656
JUST KEEP HIM
HERE, SAM.
67
00:05:13,740 --> 00:05:16,117
SURE, SURE. I'LL PHON E--
I'LL PHONE BRIN KLEY.
68
00:05:24,626 --> 00:05:26,127
IS THERE A
TELEPHONE IN HERE?
69
00:05:26,211 --> 00:05:27,753
WHY DON'T YOU S IT DOWN?
70
00:05:27,838 --> 00:05:29,630
I ASKED YOU
IF THERE WAS A PHON E--
71
00:05:29,715 --> 00:05:32,174
IF I HAVE TO CALL
BRIN KLEY ON THIS, YOU'RE DEAD.
72
00:05:32,217 --> 00:05:35,094
J ERRY, WHY DON'T YOU
LISTEN TO ME FOR ONE MINUTE, WILL YOU?
73
00:05:35,178 --> 00:05:37,179
I DON'T KNOW WHAT'S
THE MATTER WITH YOU.
74
00:05:40,100 --> 00:05:41,851
CALL AN AM BU LANCE.
MAKE IT FAST.
75
00:05:41,893 --> 00:05:43,936
SHALL I USE
THE STAG E PHON E?
76
00:05:44,020 --> 00:05:46,397
NO. IF HE F IN DS OUT,
THERE'S NO TELLING WHAT H E'D DO. GO ON.
77
00:05:46,481 --> 00:05:48,232
J ERRY, LET'S GO
TO YOUR DRESSING ROOM.
78
00:05:48,316 --> 00:05:49,525
WHERE'S THE
N EAREST PHON E?
79
00:05:49,609 --> 00:05:50,860
J ERRY.
80
00:05:50,944 --> 00:05:53,320
MY NAME IS
ARTH U R CU RTIS.
81
00:05:55,282 --> 00:05:56,991
ARTH U R CU RTIS?
82
00:06:05,792 --> 00:06:08,210
LU NCH, ONE HOUR.
83
00:06:24,311 --> 00:06:26,103
MAY I HAVE
IN FORMATION, PLEASE?
84
00:06:29,065 --> 00:06:32,067
WOULD YOU GET ME
THE TELEPHONE NUMBER OF ARTH U R CU RTIS?
85
00:06:32,110 --> 00:06:35,237
22437 VENTN ER ROAD
86
00:06:35,280 --> 00:06:38,073
IN WOODLAND
H I LLS, PLEASE?
87
00:06:38,116 --> 00:06:42,620
VENTN ER. V-E-N-T-N-E-R.
88
00:06:44,122 --> 00:06:46,791
WHAT? OH, NO, NO.
YOU'RE M ISTAKEN.
89
00:06:46,875 --> 00:06:49,126
OF COURSE THERE'S
A PHONE THERE.
90
00:06:49,211 --> 00:06:52,004
NO, LISTEN,
IT'S MY OWN HOM E. I'M ARTH U R CU RTIS. I--
91
00:06:52,088 --> 00:06:55,758
WELL, I-I CAN'T SEEM
TO REMEMBER IT AT THE MOM ENT. WILL YOU--
92
00:06:55,801 --> 00:06:58,928
NO, NO, IT'S NOT AN
U N LISTED NUMBER. I--
93
00:06:58,970 --> 00:07:00,805
I DON'T THINK.
94
00:07:00,889 --> 00:07:03,098
WILL YOU PLEASE
TRY AGAIN, OPERATOR?
95
00:07:03,183 --> 00:07:04,975
I KNOW THERE'S
A PHONE THERE.
96
00:07:05,060 --> 00:07:06,936
(Fisher)
JERRY?
97
00:07:07,020 --> 00:07:09,355
YOU'RE WRONG, OPERATOR.
98
00:07:09,439 --> 00:07:12,608
PLEASE, CON N ECT ME
WITH YOUR SU PERVISOR. WHAT ARE YOU DOING?
99
00:07:12,651 --> 00:07:16,695
J ERRY, I WANNA TALK TO YOU
IN YOUR DRESSING ROOM. YOU'RE NOT WELL.
100
00:07:16,780 --> 00:07:19,865
I'M GETTING OUT OF
HERE. I'M GOING HOM E.
101
00:07:19,950 --> 00:07:21,909
J ERRY!
102
00:07:32,712 --> 00:07:35,214
[tires screeching]
103
00:07:45,892 --> 00:07:48,894
ARE YOU OUT
OF YOUR MIND?
104
00:07:48,979 --> 00:07:50,896
J ERRY, IF YOU'RE
DRU N K AGAIN, SO--
105
00:07:50,981 --> 00:07:52,481
TAKE YOUR
HAN DS OFF ME.
106
00:07:52,566 --> 00:07:55,317
LOOK, I DON'T CARE
IF THEY BOU NCE YOU.
107
00:07:55,360 --> 00:07:59,196
I DON'T CARE IF YOU NEVER
WORK AGAIN THE REST OF YOUR MISERABLE LIFE.
108
00:07:59,281 --> 00:08:02,157
BUT YOU'RE GON NA
PAY ME WHAT THE J U DG E TELLS YOU TO PAY ME,
109
00:08:02,242 --> 00:08:05,911
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
00:08:05,996 --> 00:08:08,747
M RS. RAIGAN?
111
00:08:08,832 --> 00:08:12,084
I'M NOT MRS.
RAIGAN ANYMORE.
112
00:08:12,168 --> 00:08:15,337
I'M SORRY.
CAN I TALK TO YOU IN PRIVATE?
113
00:08:15,380 --> 00:08:17,339
I HAVEN'T THE TIME.
HE'S COMING WITH ME.
114
00:08:17,424 --> 00:08:19,550
HE'LL BE BACK FOR
THE AFTERNOON SHOOTING.
115
00:08:19,634 --> 00:08:23,178
THAT'S NOT EXACTLY
WHAT I HAD IN MIND. I'VE CALLED AN AM BU LANCE.
116
00:08:23,221 --> 00:08:25,514
JERRY'S HAVING
A NERVOUS BREAKDOWN.
117
00:08:25,557 --> 00:08:28,350
AM BU LANCE?
118
00:08:28,435 --> 00:08:30,853
I'M NOT JOKING,
M RS. RAIGAN.
119
00:08:30,896 --> 00:08:33,022
[engine starting]
120
00:08:33,064 --> 00:08:36,191
[tires screeching]
121
00:08:36,276 --> 00:08:38,986
OKAY, MARTY, I
CALLED THE HOSP ITAL.
122
00:08:50,123 --> 00:08:51,790
I'LL DRIVE.
123
00:08:51,875 --> 00:08:53,751
I'LL DRIVE, J ERRY.
124
00:08:53,835 --> 00:08:56,462
I SAID I'LL DRIVE.
YOU'D THINK YOU'RE GONNA KI LL US.
125
00:08:56,546 --> 00:08:59,757
J ERRY, I'M GON NA
BLEED YOU. I'M GON NA BLEED YOU DRY.
126
00:08:59,841 --> 00:09:01,967
NOW LISTEN TO ME,
WHOEVER YOU ARE.
127
00:09:02,052 --> 00:09:05,054
I DON'T KNOW WHO YOU
THINK I AM, BUT YOU'RE WRONG! YOU'RE WRONG!
128
00:09:05,138 --> 00:09:07,097
MY NAME IS CU RTIS,
ARTH U R CU RTIS.
129
00:09:07,182 --> 00:09:09,934
AND I HAVEN'T THE
SLIGHTEST IDEA WHAT YOU'RE TALKING ABOUT.
130
00:09:10,018 --> 00:09:11,936
I'M GONNA DRIVE TO MY
HOME IN WOODLAND H I LLS.
131
00:09:12,020 --> 00:09:14,271
WHEN WE GET THERE,
YOU CAN HAVE YOUR CAR BACK.
132
00:09:14,356 --> 00:09:17,650
YOU THINK YOU CAN CH ISEL
YOUR WAY OUT OF PAYING ME WITH A CH EAP TRICK--
133
00:09:17,734 --> 00:09:21,570
MY NAME IS ARTH U R CU RTIS.
MY WIFE'S NAME IS MARIAN. I HAVE A DAUG HTER NAMED TI NA.
134
00:09:21,613 --> 00:09:25,449
WE LIVE AT 22437
VENTN ER ROAD IN WOODLAND H I LLS.
135
00:09:25,533 --> 00:09:26,951
I'M WARNING YOU, J ERRY.
136
00:09:27,035 --> 00:09:28,827
MY NAME IS
ARTH U R CU RTIS!
137
00:09:28,912 --> 00:09:31,664
[tires screeching]
138
00:09:38,505 --> 00:09:40,798
NO, HE ISN'T DRUNK,
MR. BRIN KLEY.
139
00:09:40,882 --> 00:09:44,677
I-I-I COULD TELL
YOU HE'S CRACKED. HIS MIND IS GON E.
140
00:09:44,761 --> 00:09:48,180
HE SWEARS H E'S
ARTH U R CU RTIS. SWEARS IT.
141
00:09:49,891 --> 00:09:52,768
THAT'S RIGHT.
ARTH U R CU RTIS,
142
00:09:52,811 --> 00:09:56,230
THE CHARACTER
HE'S PLAYING IN THE PICTURE.
143
00:10:17,252 --> 00:10:20,170
YOU'LL LET ME KNOW
WHEN THE GRAND TOU R IS OVER, WON'T YOU?
144
00:10:20,255 --> 00:10:21,880
I CAN'T UNDERSTAND. I--
145
00:10:21,965 --> 00:10:25,551
I DON'T KNOW
WHERE I AM AND YET IMUST--
146
00:10:25,635 --> 00:10:27,386
I LIVE HERE.
147
00:10:27,470 --> 00:10:29,805
WHAT DO YOU WANT, JERRY?
AN ACADEMY AWARD?
148
00:10:29,848 --> 00:10:31,140
I TOLD YOU,
MY NAME IS--
149
00:10:31,182 --> 00:10:33,392
CUT IT OUT.
150
00:10:33,476 --> 00:10:36,311
YOU NEVER HAD A LESS
RECEPTIVE AUDIENCE.
151
00:10:36,396 --> 00:10:38,689
YOU DON'T UNDERSTAND.
152
00:10:38,773 --> 00:10:40,733
YOU GO AHEAD.
153
00:10:40,817 --> 00:10:44,987
PLAY IT OUT.
DO WHAT YOU PLEASE. I COULDN'T CARE LESS.
154
00:10:49,325 --> 00:10:53,996
THAT'S RIGHT.
YOU ASK WHERE VENTN ER ROAD IS.
155
00:10:58,710 --> 00:11:00,919
TI NA.
156
00:11:09,846 --> 00:11:11,555
TINA.
157
00:11:11,639 --> 00:11:13,807
MOM MY!
158
00:11:23,943 --> 00:11:29,865
GET IN. WOULD YOU
RATHER GO TO JAIL FOR ATTEMPTED ASSAULT?
159
00:11:32,786 --> 00:11:35,954
GET IN.
160
00:11:56,226 --> 00:11:59,394
THAT'S THE ON E, MOM MY.
THAT'S THE ON E, MOM MY.
161
00:11:59,479 --> 00:12:02,898
HE'S THE ONE
THAT GRABBED ME. HE SCARED ME.
162
00:12:12,617 --> 00:12:14,827
I WON DER WHAT
BRIN KLEY WANTS.
163
00:12:14,911 --> 00:12:17,371
YOUR BLOOD PROBABLY.
164
00:12:19,165 --> 00:12:21,583
WELL, HE'LL HAVE
TO WAIT HIS TURN.
165
00:12:21,626 --> 00:12:27,131
WELL? COME ON. I SAID
I'D HAVE YOU BACK FOR THIS AFTERNOON'S SHOOTING.
166
00:12:27,215 --> 00:12:29,216
GET OUT, J ERRY.
167
00:12:31,886 --> 00:12:33,262
WHERE ARE WE?
168
00:12:33,346 --> 00:12:35,430
COME ON.
COME ON.
169
00:12:35,515 --> 00:12:37,141
I GOTTA GET HOM E.
170
00:12:37,225 --> 00:12:40,853
YOU ARE HOME.
NOW, LET'S GO.
171
00:13:03,501 --> 00:13:05,335
[door closing]
172
00:13:06,713 --> 00:13:08,672
J ERRY, WHERE
HAVE YOU BEEN?
173
00:13:08,756 --> 00:13:11,508
SAM PHON ED ME OVER
AN HOUR AGO. SAID YOU LEFT THE STU DIO.
174
00:13:11,593 --> 00:13:12,801
COME ON.
175
00:13:12,886 --> 00:13:14,553
CAN'T THIS WAIT, NORA?
176
00:13:14,637 --> 00:13:16,555
NO. IT CAN'T.
IT'S WAITED LONG ENOUGH.
177
00:13:16,639 --> 00:13:19,224
I WANT MY MONEY
BEFORE HE GOES OFF ON HIS NEXT BING E.
178
00:13:19,309 --> 00:13:22,978
AND I'M GOING
TO GET IT. NOW.
179
00:13:23,062 --> 00:13:27,316
NOW, LOOK, I TRI ED
TO EXPLAIN TO THAT, THAT WOMAN
180
00:13:27,358 --> 00:13:30,903
THAT I'M NOT WHO YOU ALL
SEEM TO THINK I AM. MY NAME IS CU RTIS. I LIVE I N--
181
00:13:30,987 --> 00:13:35,157
J ERRY, STOP IT.
YOU DON'T SEEM TO REALIZE THE POS ITION YOU'RE IN.
182
00:13:38,995 --> 00:13:41,663
WHERE DO YOU H I DE
THE CHECKBOOK?
183
00:13:43,583 --> 00:13:47,002
I'LL F IN D IT IF I HAVE
TO TEAR THIS HOUSE APART.
184
00:13:50,506 --> 00:13:53,008
J ERRY, I'LL HAVE
TO LAY IT RIGHT ON THE LIN E.
185
00:13:53,051 --> 00:13:55,719
IF YOU LOSE THIS
ASSIGN MENT, WE'LL HAVE TO DROP YOU.
186
00:13:55,803 --> 00:13:58,680
WE CAN'T COVER UP
FOR YOU ANYMORE. IT'S BEYON D THAT, WAY BEYON D.
187
00:13:58,723 --> 00:14:00,557
I'M SORRY, BUT
YOU'RE M ISTAKEN--
188
00:14:00,642 --> 00:14:03,227
NOW, LOOK!
189
00:14:03,311 --> 00:14:07,105
ALL RIGHT.
THEY CAN SHOOT AROUND YOU TODAY.
190
00:14:07,190 --> 00:14:10,234
I'LL TELL THEM
YOU'RE...S ICK.
191
00:14:10,318 --> 00:14:13,570
THEY WON'T BUY IT,
BUT I'LL MAKE IT STICK SOMEHOW.
192
00:14:13,655 --> 00:14:17,950
BUT YOU'VE GOT TO BE THERE
TOMORROW, BRIGHT AND EARLY. YOU'VE GOT TO CONVI NCE THEM--
193
00:14:18,034 --> 00:14:21,203
I DON'T KNOW WHAT'S
GOING ON. I DON'T NOW WHAT'S GOING ON.
194
00:14:21,287 --> 00:14:23,038
(Nora)
ALL RIGHT, GET OVER HERE.
195
00:14:23,081 --> 00:14:24,623
NORA, DON'T.
196
00:14:24,707 --> 00:14:26,750
LOOK, YOU STAY
OUT OF THIS.
197
00:14:26,834 --> 00:14:28,919
CAN'T YOU SEE
THAT HE'S UPSET?
198
00:14:29,003 --> 00:14:32,214
YOU'RE GONNA TO SIGN THIS
CHECK. YOU'RE GON NA SIGN IT RIGHT NOW.
199
00:14:32,257 --> 00:14:34,132
G ERALD RAIGAN.
200
00:14:34,217 --> 00:14:39,721
G-E-R-A-L-D
R-A-I-G-A-N!
201
00:14:39,764 --> 00:14:44,309
THAT'S NOT MY NAME!
NOW, LISTEN, THIS HAS GONE FAR ENOUGH!
202
00:14:44,394 --> 00:14:48,480
I'M NOT GERALD RAIGAN.
I DON'T KNOW ANY OF YOU.
203
00:14:48,564 --> 00:14:51,233
MY NAME IS
ARTH U R CU RTIS. DO YOU HEAR ME?
204
00:14:51,317 --> 00:14:54,069
ARTH U R CU RTIS,
AND I WORK FOR--
205
00:15:00,910 --> 00:15:03,328
I'D LIKE TO HAVE
A TELEPHONE NUMBER
206
00:15:03,413 --> 00:15:05,497
OF THE DAVIS
MORTON COM PANY.
207
00:15:05,581 --> 00:15:08,083
ONE-EIGHT-NINE
208
00:15:08,167 --> 00:15:12,087
BRAND STREET,
LOS ANGELES.
209
00:15:14,590 --> 00:15:17,592
OF COURSE THERE IS!
210
00:15:17,635 --> 00:15:19,594
I WORK THERE!
211
00:15:19,679 --> 00:15:23,598
I'VE WORKED THERE FOR
THE LAST SEVEN YEARS!
212
00:15:23,641 --> 00:15:25,976
HELLO? HELLO!
213
00:16:19,197 --> 00:16:22,657
FEELING BETTER?
214
00:16:22,742 --> 00:16:25,660
YOU DON'T
BELIEVE ME, DO YOU?
215
00:16:25,745 --> 00:16:30,665
I BELIEVE YOU'VE
BEEN OVERWORKED, U N DER A TERRI BLE STRAI N.
216
00:16:30,708 --> 00:16:33,752
YOU NEED H ELP, J ERRY.
217
00:16:33,836 --> 00:16:35,587
H ELP?
218
00:16:37,632 --> 00:16:41,760
IT'S NOT IN MY
PROVI NCE, BUT I'VE KNOWN YOU A LONG TIME.
219
00:16:41,844 --> 00:16:43,845
CAN'T YOU SEE
WHAT'S HAPPENED?
220
00:17:20,883 --> 00:17:24,553
"CAST OF CHARACTERS.
ARTH U R CU RTIS, 36.
221
00:17:24,637 --> 00:17:28,223
"A YOUNG BUSINESS
EXECUTIVE, HAPPILY MARRIED.
222
00:17:28,307 --> 00:17:32,978
"CURTIS LIVES IN
WOODLAND HILLS WITH HIS WIFE AND CHILD. HE--
223
00:17:33,062 --> 00:17:36,231
"MARIAN CU RTIS, 33.
A CHARMING YOU NG WOMAN.
224
00:17:36,315 --> 00:17:38,567
"TYPICAL OF THAT
EFFICIENT BREED
225
00:17:38,651 --> 00:17:41,736
WHICH CAN MANAGE
A HOUSE AND FAMILY AND STILL HAVE AMPLE--"
226
00:17:41,821 --> 00:17:44,406
STOP IT!
227
00:17:55,918 --> 00:17:59,296
THE ONLY IN FORMATION
YOU HAVE ABOUT ARTH U R CU RTIS
228
00:17:59,380 --> 00:18:00,922
IS WRITTEN
IN THIS SCRI PT.
229
00:18:01,007 --> 00:18:02,340
NO.
230
00:18:04,594 --> 00:18:07,512
J ERRY, SOMETIMES I'D
LIKE TO ESCAPE MYSELF
231
00:18:07,597 --> 00:18:11,683
AWAY FROM THIS TU RMO I L
232
00:18:11,767 --> 00:18:15,479
TO SOME S IMPLER EXISTENCE.
233
00:18:15,563 --> 00:18:18,440
YOU'RE TELLING ME THAT
THIS IS A DELUS ION.
234
00:18:18,524 --> 00:18:21,026
THAT I'M REALLY
G ERALD RAIGAN, A DRUNKEN--
235
00:18:21,110 --> 00:18:23,361
GERALD RAIGAN,
A SWEET, UNHAPPY MAN,
236
00:18:23,446 --> 00:18:27,532
BU RDEN ED WITH
THAT HARPY.
237
00:18:27,617 --> 00:18:32,954
JERRY RAIGAN,
TRYING TO FIND A LITTLE HAPPINESS, THAT'S ALL.
238
00:18:32,997 --> 00:18:36,291
NO. IT'S REAL.
239
00:18:37,460 --> 00:18:38,627
IT'S REAL.
240
00:18:38,711 --> 00:18:41,713
I WISH IT WERE.
241
00:18:41,797 --> 00:18:45,008
FOR YOUR SAKE,
I WISH IT WERE.
242
00:18:48,346 --> 00:18:50,722
I'VE GOT TO GO, J ERRY.
243
00:18:50,806 --> 00:18:53,683
TRY AND GET SOME REST.
244
00:18:53,768 --> 00:18:56,645
FORGET ABOUT THE
PICTURE. YOU DON'T HAVE TO F IN ISH IT.
245
00:18:56,729 --> 00:19:00,065
I JUST SPOKE
TO THE STU DIO A FEW MINUTES AGO.
246
00:19:00,149 --> 00:19:02,651
THEY'RE CANCELING
PRODUCTION.
247
00:19:05,071 --> 00:19:09,032
ARTH U R CU RTIS IS DEAD.
248
00:19:09,116 --> 00:19:10,825
I'VE GOTTA GET BACK.
249
00:19:10,910 --> 00:19:13,411
IT'S TOO LATE, J ERRY.
IT'S F IN ISH ED.
250
00:19:13,496 --> 00:19:15,247
I'VE GOTTA GET
BACK TO MY OFF ICE.
251
00:19:15,331 --> 00:19:17,332
YOUR OFF ICE?
IF YOU MEAN THE SET,
252
00:19:17,375 --> 00:19:19,834
THEY'RE PROBABLY
TEARING IT DOWN RIGHT NOW.
253
00:19:19,919 --> 00:19:22,504
THEY CAN'T.
254
00:19:22,547 --> 00:19:24,673
THEY CAN'T!
255
00:19:45,570 --> 00:19:47,445
JERRY!
256
00:20:17,059 --> 00:20:20,186
[tires screech]
257
00:20:35,620 --> 00:20:38,038
[muffled voices]
258
00:20:45,755 --> 00:20:47,088
WAIT!
259
00:20:47,131 --> 00:20:48,256
MR. RAIGAN!
260
00:20:48,341 --> 00:20:49,924
YOU CAN'T DO THIS.
261
00:20:49,967 --> 00:20:52,427
WE'RE JUST FOLLOWING
ORDERS, MR. RAIGAN.
262
00:21:14,450 --> 00:21:20,538
DON'T LEAVE ME HERE.
263
00:21:42,144 --> 00:21:44,688
HONEY?
264
00:21:47,483 --> 00:21:49,359
MARIAN.
265
00:21:50,611 --> 00:21:54,656
[sighs]
OH, MARIAN.
266
00:21:54,699 --> 00:21:57,659
WELL, MY GOODN ESS.
I'VE BEEN PHONING YOU ALL DAY LONG.
267
00:21:57,743 --> 00:21:59,369
WHERE HAVE YOU BEEN?
268
00:21:59,453 --> 00:22:02,080
BEEN?
269
00:22:02,164 --> 00:22:04,874
SALLY KEPT SAYING YOU
WERE OUT. SHE DIDN'T SEE YOU GO OUT--
270
00:22:04,959 --> 00:22:06,418
LET'S GET OUT OF HERE.
271
00:22:06,502 --> 00:22:08,753
ARTY! ARE YOU
ALL RIGHT?
272
00:22:08,838 --> 00:22:10,088
WELL, SURE.
273
00:22:10,172 --> 00:22:11,715
WHERE WERE YOU?
274
00:22:11,799 --> 00:22:15,427
MR. CURTIS?
ARE YOU LEAVING NOW?
275
00:22:15,511 --> 00:22:17,512
YES.
276
00:22:17,555 --> 00:22:20,849
I HAVE YOUR TICKETS
FOR SATU RDAY NIGHT. HERE YOU ARE.
277
00:22:20,891 --> 00:22:23,476
F IN E. THANKS.
278
00:22:23,561 --> 00:22:27,021
(man)
ALL RIGHT. LET'S GET THOSE LAMPS AND TABLES OUT OF HERE.
279
00:22:27,106 --> 00:22:29,566
HONEY, WHAT'S THE MATTER?
280
00:22:29,650 --> 00:22:32,610
PLEASE.
281
00:22:32,695 --> 00:22:37,073
HONEY, LET'S NOT WAIT.
LET'S GO ON OUR VACATION RIGHT AWAY.
282
00:22:37,158 --> 00:22:39,784
HEY. WHAT'S WRONG?
283
00:22:39,869 --> 00:22:43,621
NOTHING, DARLING.
I JUST DON'T WANT TO LOSE YOU.
284
00:22:51,547 --> 00:22:53,465
HAS RAIGAN BEEN HERE?
285
00:22:53,549 --> 00:22:55,800
YEAH, HE WAS HERE
A M INUTE AGO.
286
00:22:55,885 --> 00:22:57,886
YOU DIDN'T
SEE HIM LEAVE?
287
00:22:57,970 --> 00:23:00,764
NO, I DIDN'T. HEY,
ANY OF YOU GUYS SEE RAIGAN LEAVE?
288
00:23:00,848 --> 00:23:02,474
(man)
NO, WE DIDN'T.
289
00:23:02,558 --> 00:23:04,559
WOULD YOU TAKE A LOOK
IN HIS DRESSING ROOM?
290
00:23:04,602 --> 00:23:06,352
YEAH. SURE.
291
00:23:20,785 --> 00:23:24,245
HE'S NOT IN
HIS DRESSING ROOM.
292
00:23:25,873 --> 00:23:28,333
WON DER WHERE HE IS.
293
00:23:33,756 --> 00:23:38,343
(narrator)
THE MODUS OPERANDI FOR THE DEPARTURE FROM LIFE
294
00:23:38,427 --> 00:23:42,138
IS USUALLY A PINE BOX OF
SUCH AND SUCH DIMENSIONS,
295
00:23:42,223 --> 00:23:44,849
AND THIS IS
THE ULTIMATE IN REALITY.
296
00:23:44,934 --> 00:23:48,645
BUT THERE ARE
OTHER WAYS FOR A MAN TO EXIT FROM LIFE.
297
00:23:48,729 --> 00:23:52,440
TAKE THE CASE OF
ARTHUR CURTIS, AGE 36.
298
00:23:52,483 --> 00:23:55,485
HIS DEPARTURE
WAS ALONG A HIGHWAY
299
00:23:55,569 --> 00:24:00,448
WITH AN EXIT SIGN THAT
READS "THIS WAY TO ESCAPE."
300
00:24:00,491 --> 00:24:05,286
ARTHUR CURTIS, EN ROUTE
TO THE TWILIGHT ZONE.
301
00:24:13,170 --> 00:24:15,880
(male presenter)
ROD SERLING, THE CREATOR OF
302
00:24:15,965 --> 00:24:21,010
WILL TELL YOU ABOUT NEXT
WEEK'S STORY AFTER THIS WORD FROM OUR ALTERNATE SPONSOR.
303
00:24:21,095 --> 00:24:23,513
AND NOW, MR. SERLING.
304
00:24:23,597 --> 00:24:26,224
NEXT WEEK, THE CU LPRIT
IS CHARLES BEAU MONT,
305
00:24:26,308 --> 00:24:29,686
THE GENTLEMAN RESPONS I BLE
FOR A STORY U N LIKE ANY YOU'VE EVER SEEN.
306
00:24:29,770 --> 00:24:31,980
YOU TALK OF IMMORTALITY,
307
00:24:32,064 --> 00:24:34,983
THE BUS IN ESS OF BEING ABLE
TO LIVE FOR AS LONG AS ONE WANTS.
308
00:24:35,067 --> 00:24:38,361
WELL, NEXT WEEK YOU'LL SEE
KEVIN MCCARTHY AT THE TAI L-END OF A LIFE
309
00:24:38,445 --> 00:24:40,905
THAT'S GONE ON FOR
TWO THOUSAND YEARS.
310
00:24:40,990 --> 00:24:44,492
THE PLAY IS CALLED
LONG LIVE WALTER JAMESON
311
00:24:44,577 --> 00:24:46,327
ON THE TWILIGHT ZONE.
312
00:24:48,539 --> 00:24:52,292
[eerie music]
313
00:25:29,038 --> 00:25:32,040
EVERY YEAR
THE RED CROSS NEEDS MONEY.
314
00:25:32,082 --> 00:25:33,750
THIS YEAR AIN'T
NO DIFFERENT.
315
00:25:33,800 --> 00:25:38,350
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