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1
00:00:01,001 --> 00:00:06,255
[eerie music]
2
00:00:06,339 --> 00:00:08,382
(male narrator)
THERE IS A FIFTH DIMENSION
3
00:00:08,466 --> 00:00:10,968
BEYOND THAT
WHICH IS KNOWN TO MAN.
4
00:00:11,052 --> 00:00:13,971
IT IS A DIMENSION
AS VAST AS SPACE
5
00:00:14,055 --> 00:00:16,890
AND AS TIMELESS
AS INFINITY.
6
00:00:16,975 --> 00:00:20,561
IT IS THE MIDDLE GROUND
BETWEEN LIGHT AND SHADOW
7
00:00:20,603 --> 00:00:22,896
BETWEEN SCIENCE
AND SUPERSTITION
8
00:00:22,939 --> 00:00:26,066
AND IT LIES BETWEEN
THE PIT OF MAN'S FEARS
9
00:00:26,109 --> 00:00:28,819
AND THE SUMMIT
OF HIS KNOWLEDGE.
10
00:00:28,903 --> 00:00:31,613
THIS IS THE DIMENSION
OF IMAGINATION.
11
00:00:31,698 --> 00:00:35,075
IT IS AN AREA
WHICH WE CALL THE TWILIGHT ZONE.
12
00:00:41,082 --> 00:00:43,709
[trumpet playing]
13
00:00:59,434 --> 00:01:03,937
(male narrator, off)
JOEY CROWN, MUSICIAN WITH AN ODD, INTENSE FACE,
14
00:01:04,022 --> 00:01:08,025
WHOSE LIFE IS A QUEST
FOR IMPOSSIBLE THINGS.
15
00:01:08,109 --> 00:01:10,235
LIKE FLOWERS IN CONCRETE,
16
00:01:10,320 --> 00:01:12,821
OR LIKE TRYING TO PLUCK
A NOTE OF MUSIC OUT OF THE AIR
17
00:01:12,906 --> 00:01:16,450
AND PUT IT UNDER
GLASS TO TREASURE.
18
00:01:19,329 --> 00:01:21,455
[music stops,
applause]
19
00:01:52,112 --> 00:01:54,655
HI, JOEY!
20
00:01:54,697 --> 00:01:57,157
HI, BARON!
21
00:01:57,242 --> 00:01:58,742
LISTEN, I, UH--
22
00:01:58,827 --> 00:02:00,536
I BROUGHT ALONG
MY BABY,
23
00:02:00,620 --> 00:02:02,955
I THOUGHT
YOU MIGHT NEED SOMEBODY WITH A HORN.
24
00:02:03,039 --> 00:02:05,332
UH, NOT TONIGHT, JOEY.
25
00:02:05,416 --> 00:02:07,501
THE LAST TIME YOU
PLAYED TRUMPET FOR ME,
26
00:02:07,585 --> 00:02:08,252
YOU LOUSED IT UP.
27
00:02:10,004 --> 00:02:11,505
I HAD TO SHARE
YOU WITH A BOTTLE.
28
00:02:11,589 --> 00:02:14,675
A BOTTLE? ME?
29
00:02:14,717 --> 00:02:16,677
I FORGOT WHAT
THE STUFF TASTES LIKE.
30
00:02:16,761 --> 00:02:19,054
SIX, SEVEN MONTHS,
I'M WAY UP ON THE WAGON.
31
00:02:19,139 --> 00:02:20,514
SURE, JOEY, SURE.
32
00:02:20,598 --> 00:02:25,352
WHAT AM I?
SOME KIND OF KOOK?
33
00:02:25,395 --> 00:02:29,231
LOOK, BARON, I KNOW
WHAT THAT STUFF DOES TO ME, BUT--
34
00:02:29,315 --> 00:02:30,983
I AIN'T AN OLD MAN.
35
00:02:31,067 --> 00:02:32,901
ME AND THE HORN,
WE GOT A LOT OF YEARS LEFT.
36
00:02:32,986 --> 00:02:34,736
I COULD BE A
NUMBER ONE BOY.
37
00:02:34,821 --> 00:02:39,199
WHAT AM I GONNA DO?
CHUCK IT AWAY ON SOME BUM HAB IT?
38
00:02:39,242 --> 00:02:40,617
LISTEN, I--
39
00:02:40,702 --> 00:02:42,786
IT'S A PRETTY
MELLOW HORN.
40
00:02:42,871 --> 00:02:44,746
I GOT SOME NICE
MUSIC IN HERE.
41
00:02:44,831 --> 00:02:47,249
YOU KNOW YOURSELF,
WHEN I PICK IT UP AND I BLOW IT,
42
00:02:47,333 --> 00:02:48,709
I CAN MAKE 'EM CRY!
43
00:02:52,755 --> 00:02:54,006
WHAT DO
YOU SAY, BARON?
44
00:03:08,104 --> 00:03:10,105
DON'T DO IT.
45
00:03:10,190 --> 00:03:12,941
FOR OLD TIMES,
JOEY, HUH?
46
00:03:13,026 --> 00:03:15,277
FOR OLD TIMES
WHEN YOU HAD IT.
47
00:03:15,361 --> 00:03:16,820
A MAGIC HORN.
48
00:03:16,905 --> 00:03:19,406
HARRY JAMES
AND MAX KAMINSKY,
49
00:03:19,449 --> 00:03:23,243
AND BUTTERFIELD,
A LITTLE B IT OF ALL OF 'EM, BABY!
50
00:03:23,286 --> 00:03:25,329
YOU TRADED IT OFF
FOR SOME BAD HOOCH
51
00:03:25,413 --> 00:03:27,748
AND YOU GOT TOOK.
52
00:03:27,790 --> 00:03:30,876
YOU GOT THE CRUMMY
END OF THE STICK! WHY, JOEY, WHY?
53
00:03:34,589 --> 00:03:37,007
BECAUSE I'M SAD,
54
00:03:37,091 --> 00:03:39,092
BECAUSE I'M NOTHING,
55
00:03:39,177 --> 00:03:42,596
BECAUSE I'LL LIVE AND DIE
IN A CRUMMY ONE-ROOMER
56
00:03:42,680 --> 00:03:45,933
WITH DIRTY WALLS
AND CRACKED PIPES.
57
00:03:45,975 --> 00:03:48,936
I'LL NEVER EVEN
HAVE A GIRL.
58
00:03:49,020 --> 00:03:50,437
I'LL NEVER BE ANYBODY.
59
00:03:50,521 --> 00:03:53,148
HALF OF ME
IS THIS HORN.
60
00:03:53,233 --> 00:03:56,318
I CAN'T EVEN
TALK TO PEOPLE, BARON,
61
00:03:56,402 --> 00:03:59,780
'CAUSE THIS HORN,
THAT'S HALF MY LANGUAGE.
62
00:04:03,284 --> 00:04:05,953
BUT WHEN I'M DRUNK, BARON,
63
00:04:06,037 --> 00:04:09,373
OH, WHEN I'M DRUNK, BOY,
64
00:04:09,457 --> 00:04:13,335
I DON'T SEE
THE DIRTY WALLS OR THE CRACKED PIPES,
65
00:04:13,419 --> 00:04:15,045
I DON'T KNOW
THE CLOCK'S GOING,
66
00:04:15,129 --> 00:04:17,965
THAT THE HOU RS
ARE GOING BY,
67
00:04:18,007 --> 00:04:19,800
'CAUSE THEN I'M GABRIEL.
68
00:04:22,303 --> 00:04:26,390
OH, I'M--I'M GABRIEL
WITH A GOLDEN HORN.
69
00:04:26,474 --> 00:04:30,310
AND WHEN I PUT IT
TO MY LIPS, IT--
70
00:04:30,395 --> 00:04:32,980
COMES OUT JEWELS.
71
00:04:33,022 --> 00:04:36,733
IT COMES OUT A SYMPHONY--
72
00:04:36,818 --> 00:04:38,986
COMES OUT THE SMELL OF--
73
00:04:39,028 --> 00:04:43,365
OF FRESH FLOWERS IN SUMMER.
74
00:04:43,449 --> 00:04:46,576
COMES OUT BEAUTY.
75
00:04:46,661 --> 00:04:48,120
BEAUTY.
76
00:04:58,881 --> 00:05:02,092
WHEN I'M DRUNK, BARON.
77
00:05:02,176 --> 00:05:04,177
ONLY WHEN I'M DRUNK.
78
00:05:26,034 --> 00:05:29,870
JUST PLAIN ORDINARY NOTHING.
79
00:05:29,912 --> 00:05:31,538
OH, MAN, I'M--
80
00:05:31,622 --> 00:05:33,540
I'M TIRED
OF HANGING AROUND.
81
00:05:48,056 --> 00:06:02,194
[melancholy melody]
82
00:06:07,450 --> 00:06:08,825
[high squeaky note]
83
00:06:08,910 --> 00:06:13,038
[repeats melody]
84
00:06:18,503 --> 00:06:20,504
[high squeaky note]
85
00:06:23,925 --> 00:06:28,595
(male narrator)
JOEY CROWN, MUSICIAN WITH AN ODD, INTENSE FACE,
86
00:06:28,638 --> 00:06:31,098
WHO IN A MOMENT
WILL TRY TO LEAVE THE EARTH
87
00:06:31,140 --> 00:06:33,433
AND DISCOVER
THE MIDDLE GROUND,
88
00:06:33,476 --> 00:06:37,813
THE PLACE WE CALL
THE TWILIGHT ZONE.
89
00:06:54,622 --> 00:06:56,456
BACK AGAIN, HUH, JOEY?
90
00:06:56,541 --> 00:06:58,333
HI, NATE.
91
00:06:58,418 --> 00:07:03,296
THIS TIME
I'M SELLING IT.
92
00:07:03,381 --> 00:07:05,173
EIGHT AND A HALF.
93
00:07:05,258 --> 00:07:09,553
EIGHT AND A
HALF--? ALRIGHT.
94
00:07:09,637 --> 00:07:11,388
EIGHT AND A HALF.
95
00:07:11,472 --> 00:07:13,765
SIGN IT.
96
00:07:13,850 --> 00:07:17,060
I GOT ENOUGH
INSTRUMENTS NOW TO EQUIP SOUSA'S BAND.
97
00:07:17,145 --> 00:07:20,439
I NEED ANOTHER BUGLE
LIKE I NEED MY TAXES RAISED.
98
00:07:33,536 --> 00:07:36,079
[cash register rings]
99
00:08:09,739 --> 00:08:12,616
DON'T WORRY,
I AIN'T GETTIN' THAT PRICE SO FAST.
100
00:08:14,327 --> 00:08:17,037
I GOT AN OVERHEAD
TOO, YOU KNOW!
101
00:08:17,121 --> 00:08:21,041
GUYS LIKE YOU, YOU
DON'T UNDERSTAND THAT.
102
00:08:21,083 --> 00:08:24,377
WHAT KIND
OF RESPONSIBILITIES SOMEBODY LIKE YOU GOT, HM?
103
00:08:24,462 --> 00:08:26,213
NOTHIN', NOTHIN' AT ALL.
104
00:08:30,134 --> 00:08:31,968
YEAH.
105
00:08:32,053 --> 00:08:33,887
NOTHIN'.
106
00:08:33,971 --> 00:08:35,222
NOTHIN' AT ALL.
107
00:08:35,306 --> 00:08:38,600
NO RESPONSIBILITIES.
108
00:08:38,684 --> 00:08:40,227
NO NOTHING.
109
00:08:53,908 --> 00:08:57,160
[truck horn blares]
110
00:09:29,193 --> 00:09:31,319
LOOK, OFFICER,
I ASSURE YOU,
111
00:09:31,404 --> 00:09:33,488
I'M NOT WHAT YOU
WOULD CALL DRUNK, YOU SEE.
112
00:09:33,573 --> 00:09:36,700
YOU CAN ASK
OFFICER FLAHERTY WHO'S USUALLY ON THIS BEAT.
113
00:09:36,784 --> 00:09:38,410
WHY, HE'LL TELL YOU
114
00:09:38,494 --> 00:09:40,161
I'M NOT
THE KIND OF GUY THAT RUNS AROUND--
115
00:10:00,224 --> 00:10:02,309
EXCUSE ME, BUDDY,
YOU HAPPEN TO HAVE A--?
116
00:10:09,775 --> 00:10:12,193
EXCUSE ME, PAL,
YOU HAPPEN TO HAVE A MATCH?
117
00:10:12,278 --> 00:10:14,321
I SAID YOU HAPPEN
TO HAVE A MATCH.
118
00:10:24,165 --> 00:10:25,665
MOVIES BETTER
THAN EVER?
119
00:10:27,752 --> 00:10:29,794
LOOK, LADY,
[unintelligible],
120
00:10:29,879 --> 00:10:32,422
BUT, YOU SEE,
I KNOW THE GIRL THAT USUALLY WORKS HERE, GRACIE.
121
00:10:32,506 --> 00:10:34,424
I WAS GONNA TELL
HER WHAT HAPPENED TO ME.
122
00:10:34,508 --> 00:10:36,051
THIS BIG TRUCK
AND I, WE TANGLED,
123
00:10:36,135 --> 00:10:39,012
AND THE FIRST THING
I KNEW I WAS--
124
00:10:39,096 --> 00:10:43,933
LOOK, AT LEAST YOU CAN
BE A LITTLE COURTEOUS, I MEAN--
125
00:10:44,018 --> 00:10:45,518
LOOK AT ME!
126
00:11:05,039 --> 00:11:06,581
NOW, LOOK.
127
00:11:06,666 --> 00:11:08,667
NOW, LISTEN.
128
00:11:10,544 --> 00:11:12,796
SOMEBODY'S TRYING
TO PULL A GAG.
129
00:11:15,716 --> 00:11:19,135
SOMEBODY'S TRYING
TO SHAKE ME UP.
130
00:11:19,220 --> 00:11:21,137
NOW, LOOK, MISS.
131
00:11:21,222 --> 00:11:24,766
PLEASE, SOMETHING'S
GOING ON, SOMEBODY TRYING TO PULL--
132
00:11:28,979 --> 00:11:31,106
LOOK, FELLOW,
YOU HAPPEN TO HAVE A LIGHT?
133
00:11:31,190 --> 00:11:32,524
[relieved]
OH.
134
00:11:55,089 --> 00:11:58,508
I'M DEAD.
135
00:11:58,592 --> 00:12:01,678
THAT'S IT.
136
00:12:01,762 --> 00:12:03,763
I'M JUST PLAIN
OLD DECEASED.
137
00:12:09,645 --> 00:12:11,187
HEY, I'M A GHOST.
138
00:12:11,272 --> 00:12:14,023
YOU KNOW, THAT TRUCK
MADE IT AFTER ALL.
139
00:12:14,108 --> 00:12:15,650
I'M HAUNTING YOU.
140
00:12:15,735 --> 00:12:17,652
I'M A GH--BOOJIE, BOOJIE!
141
00:12:24,285 --> 00:12:26,453
WELL, AT LAST.
142
00:12:26,537 --> 00:12:28,037
FOR THE FIRST TIME
143
00:12:28,122 --> 00:12:31,666
IN THE VERY SHORT
LIFE OF JOEY CROWN--
144
00:12:31,751 --> 00:12:34,043
HE WAS SUCCESSFUL
AT SOMETHING.
145
00:12:48,434 --> 00:12:53,229
CHARLIE'S OFF, HUH?
146
00:12:53,314 --> 00:12:58,026
YOU DON'T HEAR
ME EITHER, DO YOU?
147
00:12:58,110 --> 00:13:00,153
NOBODY HEAR ME?
148
00:13:00,196 --> 00:13:03,031
ANYBODY SEE ME?
149
00:13:06,494 --> 00:13:08,578
I USED TO COME
IN HERE A LOT.
150
00:13:08,662 --> 00:13:11,915
OF COURSE, I DON'T
RECOGNIZE ANY OF YOU PEOPLE.
151
00:13:11,999 --> 00:13:14,793
NONE OF YOU OF
COURSE WOULDA NOTICED ME.
152
00:13:18,923 --> 00:13:22,509
I MEAN, UH--YOU DON'T
HEAR ME EITHER, DO YOU?
153
00:13:22,551 --> 00:13:24,594
I'M NOT THE KIND
OF GUY YOU WOULD NOTICE.
154
00:13:30,684 --> 00:13:32,352
WELL, CHARLIE,
EVERY NOW AND THEN
155
00:13:32,436 --> 00:13:34,354
HE USED TO GIVE
ME A DRINK ON THE HOUSE.
156
00:13:38,192 --> 00:13:43,279
HE WAS A NICE GUY, CHARLIE.
157
00:13:43,364 --> 00:13:44,823
YOU KNOW WHAT
HE DID ONE TIME?
158
00:13:48,369 --> 00:13:50,286
YOU KNOW WHAT HE DID?
159
00:13:54,124 --> 00:13:56,417
CHARLIE WENT OUT AND--
160
00:13:56,502 --> 00:14:00,296
AND BOUGHT AN OLD
TOM MY DORSEY RECORD FROM WAY BACK--
161
00:14:00,381 --> 00:14:03,091
WHEN I WAS
PLAYI NG WITH HIM--
162
00:14:03,175 --> 00:14:04,968
AND ON THIS
RECORD THERE WAS A--
163
00:14:05,052 --> 00:14:09,430
THERE WAS
A LONG SINGER WITH ME ON THE HORN.
164
00:14:09,515 --> 00:14:12,934
OLD CHARLIE GOES
AND ORDERS IT.
165
00:14:13,018 --> 00:14:16,479
LIKE A BIG
SURPRISE FOR ME.
166
00:14:16,564 --> 00:14:18,940
PUTS IT
ON THE JUKE.
167
00:14:19,024 --> 00:14:22,443
[tsk]
WOULD YOU BELIEVE IT?
168
00:14:24,446 --> 00:14:27,323
A NICE THING
LIKE THAT FROM OLD CHARLIE.
169
00:14:31,579 --> 00:14:33,288
WHEN I WAS ALIVE.
170
00:14:38,252 --> 00:14:40,044
[fast trumpet
band music]
171
00:14:59,273 --> 00:15:00,398
[thud]
172
00:15:00,482 --> 00:15:03,192
[perfect trumpet music]
173
00:15:38,771 --> 00:15:42,482
HEY, DON'T STOP,
IT'S--IT'S COMING OUT BEAUTIFUL.
174
00:15:42,566 --> 00:15:43,608
THANKS.
175
00:15:43,692 --> 00:15:44,817
THAT'S ALRIGHT.
176
00:15:47,363 --> 00:15:49,322
YOU SAID THANKS.
177
00:15:49,406 --> 00:15:51,240
THANKS.
178
00:15:51,325 --> 00:15:53,076
YOU HEAR ME?
179
00:15:53,160 --> 00:15:54,827
I HEAR YOU.
180
00:15:54,870 --> 00:15:56,996
YOU SEE ME?
181
00:15:57,081 --> 00:15:58,581
VERY CLEARLY.
182
00:15:58,666 --> 00:16:00,333
OH, YOU'RE A
GHOST TOO, HUH?
183
00:16:00,376 --> 00:16:02,585
[chuckIes]
NOT REALLY.
184
00:16:02,670 --> 00:16:04,379
I AM. I
STEPPED IN FRONT
185
00:16:04,463 --> 00:16:06,673
OF A RATHER LARGE
VEHICLE THIS MORNING,
186
00:16:06,757 --> 00:16:10,093
I [unintelligible],
BELIEVE ME.
187
00:16:10,177 --> 00:16:13,429
YOU WANNA BLOW THIS
A WHILE, JOEY?
188
00:16:13,514 --> 00:16:16,182
YEAH.
189
00:16:16,266 --> 00:16:19,060
YEAH, I'D LIKE TO.
190
00:16:19,144 --> 00:16:20,603
YOU MIND?
191
00:16:20,688 --> 00:16:23,106
WHATEVER YOU LIKE.
192
00:16:25,401 --> 00:16:28,194
JOEY? YOU
CALLED ME JOEY.
193
00:16:28,278 --> 00:16:30,238
JOEY CROWN,
THAT'S THE NAME, ISN'T IT?
194
00:16:30,322 --> 00:16:32,407
YEAH, THAT'S
MY NAME BUT--
195
00:16:32,491 --> 00:16:34,367
WE AIN'T NEVER
BEEN INTRODUCED.
196
00:16:34,410 --> 00:16:36,285
NOT FORMALLY
BUT I KNOW WHO YOU ARE.
197
00:16:36,370 --> 00:16:39,455
YOU PLAY
A NICE TRUMPET.
198
00:16:39,540 --> 00:16:41,624
I KNOW,
I'M AN EXPERT ON TRUMPETS.
199
00:16:41,709 --> 00:16:44,877
YOU AIN'T NO SLOUCH
ON IT, THAT'S FOR SURE.
200
00:16:44,962 --> 00:16:48,006
WELL, GO AHEAD.
201
00:16:49,383 --> 00:16:50,591
OKAY.
202
00:16:52,928 --> 00:16:56,639
[previous melancholy tune]
203
00:17:12,156 --> 00:17:14,782
[previousIy squeaky
high note, perfect]
204
00:17:22,875 --> 00:17:24,667
HOW COME
YOU KNOW WHO I AM?
205
00:17:24,752 --> 00:17:27,462
YOU SAY YOU'RE
NOT A GHOST, YOU'RE NOT DEAD.
206
00:17:27,546 --> 00:17:30,465
NO, I'M NOT DEAD.
207
00:17:30,549 --> 00:17:32,091
NEITHER ARE YOU, JOEY.
208
00:17:37,473 --> 00:17:40,099
I'M NOT?
209
00:17:40,142 --> 00:17:41,392
BY NO MEANS.
210
00:17:44,521 --> 00:17:47,482
BUT--WHAT ABOUT
THE PEOPLE IN THE BAR?
211
00:17:47,566 --> 00:17:48,941
THE GIRL IN
THE TICKET BOOTH
212
00:17:49,026 --> 00:17:50,568
AND THE PEOPLE
IN THE STREETS?
213
00:17:50,652 --> 00:17:52,570
THEY ARE DEAD.
214
00:17:52,654 --> 00:17:55,865
THEY'RE THE GHOSTS, THEY
JUST DON'T KNOW IT, THAT'S ALL.
215
00:17:55,949 --> 00:17:59,786
SOMETIMES TO MAKE IT EASIER,
WE HAVE TO WORK IT THAT WAY.
216
00:17:59,870 --> 00:18:02,955
WE LET THEM GO ON IN
A LIFE THAT THEY'RE FAMILIAR WITH.
217
00:18:03,040 --> 00:18:05,625
THEY NEVER KNOW
FOR A LONG WHILE.
218
00:18:05,667 --> 00:18:08,336
BUT THAT'S WHY
THEY COULDN'T HEAR YOU.
219
00:18:08,420 --> 00:18:11,714
YOU'RE THE ONE
THAT'S ALIVE.
220
00:18:11,799 --> 00:18:14,300
BUT LIKE I SAID,
I STEPPED OFF A CURB--
221
00:18:14,343 --> 00:18:16,469
THAT YOU DID.
222
00:18:16,553 --> 00:18:19,055
RIGHT NOW YOU'RE IN
A KIND OF A LIMBO, JOEY.
223
00:18:19,139 --> 00:18:21,015
YOU'RE NEITHER
HERE NOR THERE.
224
00:18:21,100 --> 00:18:22,809
YOU'RE IN THE MIDDLE.
225
00:18:22,851 --> 00:18:24,894
BETWEEN THE TWO.
226
00:18:24,978 --> 00:18:29,190
THE REAL
AND THE SHADOW.
227
00:18:29,274 --> 00:18:31,109
WHICH DO YOU
PREFER, JOEY?
228
00:18:34,196 --> 00:18:36,906
WHICH DO I PREFER?
229
00:18:36,990 --> 00:18:38,783
YOU KNOW SOMETHING?
230
00:18:38,867 --> 00:18:41,369
I ALWAYS FELT
I WAS GETTING DEALT FROM THE BOTTOM.
231
00:18:41,453 --> 00:18:46,833
OR MAYBE, MAYBE
I JUST FORGOT HOW MUCH THERE WAS FOR ME.
232
00:18:46,875 --> 00:18:48,876
AND MAYBE I
FORGOT ABOUT--
233
00:18:48,961 --> 00:18:51,420
ABOUT THE MUSIC THAT
I COULD MAKE ON THIS HORN.
234
00:18:51,505 --> 00:18:53,756
AND HOW NICE
IT SOUNDED.
235
00:18:53,841 --> 00:18:55,675
AND GOING
INTO CHARLIE'S--
236
00:18:55,759 --> 00:18:57,468
AND TALKING
TO PEOPLE--
237
00:18:57,553 --> 00:19:00,513
AND MAYBE GOING TO
A MOVIE NOW AND THEN, HUH?
238
00:19:00,556 --> 00:19:03,182
YOU KNOW, I NEVER WON
A BEAUTY CONTEST BUT--
239
00:19:03,267 --> 00:19:07,770
YOU KNOW, I HAD FRIENDS,
I MEAN, I HAD GOOD ONES. GOOD ONES.
240
00:19:07,855 --> 00:19:12,567
YEAH, SOMEWHERE ALONG
THE LINE I JUST FORGOT ALL THE GOOD THINGS.
241
00:19:12,651 --> 00:19:16,028
THAT'S WHAT HAPPENED.
I JUST FORGOT.
242
00:19:16,071 --> 00:19:18,698
YOU'VE GOT
A CHOICE, YOU KNOW.
243
00:19:18,740 --> 00:19:20,741
A CHOICE?
244
00:19:20,826 --> 00:19:24,203
THERE'S STILL TIME.
245
00:19:24,246 --> 00:19:26,455
WELL, IF I'VE
GOT A CHOICE,
246
00:19:26,540 --> 00:19:29,375
I MEAN, IF I'VE
GOT A CHOICE--
247
00:19:29,418 --> 00:19:31,085
THEN I WANNA GO BACK.
248
00:19:31,170 --> 00:19:35,548
UNDERSTAND? I
WANNA GO BACK!
249
00:19:35,591 --> 00:19:37,216
ALL RIGHT.
250
00:19:37,301 --> 00:19:38,926
YOU GO BACK.
251
00:19:41,889 --> 00:19:43,389
BUT JOEY,
252
00:19:43,473 --> 00:19:46,309
NO MORE STEPPING
OFF CURBS.
253
00:19:46,393 --> 00:19:49,145
TAKE WHAT YOU GET
AND YOU LIVE WITH IT.
254
00:19:49,229 --> 00:19:52,565
SOMETIMES IT'S
SWEET FROSTING, NICE GRAVY.
255
00:19:52,608 --> 00:19:56,986
SOMETIMES IT'S SOUR, IT
GOES DOWN HARD, BUT YOU LIVE WITH IT.
256
00:19:57,070 --> 00:20:00,990
YEAH, IT'S A NICE
TALENT YOU GOT.
257
00:20:01,074 --> 00:20:04,744
TO MAKE MUSIC,
TO MOVE PEOPLE.
258
00:20:04,828 --> 00:20:08,915
MAKE 'EM WANNA LAUGH,
MAKE 'EM WANNA CRY.
259
00:20:08,999 --> 00:20:11,500
THEY CAN TAP THEIR FEET.
260
00:20:11,585 --> 00:20:14,462
MAKE 'EM WANNA DANCE.
261
00:20:14,546 --> 00:20:18,841
THAT'S AN EXCEPTIONAL
TALENT, JOEY.
262
00:20:18,926 --> 00:20:20,134
DON'T WASTE IT.
263
00:20:24,848 --> 00:20:27,600
SEE YOU AROUND, JOEY.
264
00:20:27,643 --> 00:20:29,769
HEY!
265
00:20:29,811 --> 00:20:30,937
HEY, MISTER!
266
00:20:31,021 --> 00:20:32,396
WHAT IS IT, JOEY?
267
00:20:32,481 --> 00:20:33,481
I DIDN'T GET
YOUR NAME!
268
00:20:33,565 --> 00:20:35,066
HOW'S THAT?
269
00:20:35,150 --> 00:20:36,859
YOU R NAME!
I DIDN'T GET YOU R NAME!
270
00:20:38,946 --> 00:20:40,529
MY NAME?
271
00:20:40,614 --> 00:20:41,822
CALL ME GABE.
272
00:20:43,450 --> 00:20:44,533
GABE?
273
00:20:44,618 --> 00:20:46,786
GABE!
274
00:20:46,828 --> 00:20:48,329
SHORT FOR GABRIEL.
275
00:20:51,708 --> 00:20:53,084
GOODBYE, JOEY.
276
00:21:05,347 --> 00:21:07,807
[distant trumpet playing]
277
00:21:22,406 --> 00:21:23,489
[truck horn blares]
278
00:21:23,532 --> 00:21:24,907
[tires screech]
279
00:21:24,992 --> 00:21:27,994
[thud]
[woman screams]
280
00:21:28,036 --> 00:21:29,370
[murmurs]
281
00:21:33,375 --> 00:21:35,001
(driver)
I DIDN'T SEE YOU, PAL.
282
00:21:35,043 --> 00:21:36,877
YOU STEPPED
RIGHT OUT IN FRONT OF ME.
283
00:21:36,962 --> 00:21:38,337
LUCKY I ONLY
GRAZED YOU.
284
00:21:38,422 --> 00:21:39,755
OH, THAT'S OKAY,
NO HARM DONE.
285
00:21:39,840 --> 00:21:42,383
YEAH, NOW LOOK.
286
00:21:42,467 --> 00:21:45,094
I AIN'T HAD
AN ACCIDENT FOR 14 YEARS,
287
00:21:45,178 --> 00:21:47,847
AND I'D BE OBLIGED
TO YOU IF YOU, UH--
288
00:21:47,889 --> 00:21:51,100
WELL, YOU KNOW,
NO DOCTORS, NO INSURANCE COMPANIES,
289
00:21:51,184 --> 00:21:54,228
NOTHING LIKE
THAT, HUH?
290
00:21:54,313 --> 00:21:56,480
BE A NICE
GUY, HUH, PAL?
291
00:21:59,693 --> 00:22:03,362
[thud and engine
revvs, becomes distant]
292
00:22:09,786 --> 00:22:14,123
[trumpet playing pleasantly]
293
00:22:39,941 --> 00:22:43,986
YOU PLAY
IT BEAUTIFULLY.
294
00:22:44,071 --> 00:22:46,280
THANKS.
295
00:22:46,365 --> 00:22:48,282
I GAVE IT UP
THIS MORNING BUT--
296
00:22:48,367 --> 00:22:50,159
I'M TAKING HER BACK.
297
00:22:50,243 --> 00:22:55,247
THE BUGLE AND ME,
TILL DEATH DO US PART.
298
00:22:55,332 --> 00:22:57,500
I'M NEW HERE.
299
00:22:57,584 --> 00:23:01,670
I'VE--I'VE NEVER EVEN
BEEN IN NEW YORK BEFORE.
300
00:23:01,755 --> 00:23:04,757
I JUST MOVED IN.
301
00:23:04,800 --> 00:23:06,008
MY NAME IS NAN.
302
00:23:06,093 --> 00:23:08,844
HI. I'M JOEY.
303
00:23:08,929 --> 00:23:10,221
JOEY CROWN.
304
00:23:13,266 --> 00:23:15,476
WILL YOU--PLAY
SOME MORE?
305
00:23:17,938 --> 00:23:19,355
SURE.
306
00:23:19,439 --> 00:23:21,107
I'LL PLAY
WHATEVER YOU LIKE
307
00:23:21,191 --> 00:23:24,110
FOR AS LONG
AS YOU LIKE.
308
00:23:24,194 --> 00:23:26,487
YOU KNOW, YOU
MAY LIKE IT HERE.
309
00:23:26,571 --> 00:23:27,738
IT'S NOT A BAD TOWN.
310
00:23:27,823 --> 00:23:33,369
OH, I'M SURE
IT ISN'T.
311
00:23:33,453 --> 00:23:36,038
MAYBE--
312
00:23:36,123 --> 00:23:38,082
MAYBE YOU COULD
SHOW ME SOME OF IT.
313
00:23:42,421 --> 00:23:43,587
ME?
314
00:23:47,134 --> 00:23:49,468
SURE. I'D LOVE TO. I--
315
00:23:49,553 --> 00:23:51,971
WELL, I COULD SHOW
YOU THE BATTERY AND--
316
00:23:52,013 --> 00:23:54,306
I COULD SHOW YOU
CENTRAL PARK,
317
00:23:54,391 --> 00:23:56,684
I COULD SHOW
YOU 52ND. STREET!
318
00:23:56,768 --> 00:24:00,146
WE COULD GO IN AND
LISTEN TO SOME GOOD JAZZ! AND, UH--
319
00:24:00,230 --> 00:24:03,399
(male narrator)
JOEY CROWN, WHO MAKES MUSIC.
320
00:24:03,483 --> 00:24:06,485
AND WHO DISCOVERED
SOMETHING ABOUT LIFE
321
00:24:06,570 --> 00:24:10,072
THAT IT CAN BE
RICH AND REWARDING AND FULL OF BEAUTY.
322
00:24:10,157 --> 00:24:12,867
JUST LIKE
THE MUSIC HE PLAYED.
323
00:24:12,951 --> 00:24:17,246
IF A PERSON WOULD
ONLY PAUSE TO LOOK AND TO LISTEN.
324
00:24:17,330 --> 00:24:23,210
JOEY CROWN, WHO GOT
HIS CLUE IN THE TWILIGHT ZONE.
325
00:24:28,633 --> 00:24:31,343
(male announcer)
ROD SERLING, THE CREATOR OF TWILIGHT ZONE,
326
00:24:31,428 --> 00:24:33,387
WILL TELL YOU ABOUT
NEXT WEEK'S STORY
327
00:24:33,472 --> 00:24:37,099
AFTER THIS WORD FROM
OUR ALTERNATE SPONSOR.
328
00:24:37,184 --> 00:24:39,351
AND NOW,
MR. SERLING.
329
00:24:39,436 --> 00:24:40,686
NEXT WEEK,
YOU'LL MEET
330
00:24:40,770 --> 00:24:42,146
THE OCCUPANT
OF THIS DESK
331
00:24:42,230 --> 00:24:44,565
WHOSE NAME IS
JAMES B.W. BEVIS,
332
00:24:44,649 --> 00:24:47,026
A WARM AND WINNING
TWENTIETH CENTURY ODDBALL
333
00:24:47,068 --> 00:24:49,111
ABOUT A MILE AND A
HALF FROM THE NORM.
334
00:24:49,196 --> 00:24:51,405
HE LIKES THINGS LIKE
ZITHER MUSIC, LITTLE KIDS,
335
00:24:51,490 --> 00:24:53,532
AND STUFF LIKE THIS.
336
00:24:53,575 --> 00:24:56,118
ORSON BEAN
STARS NEXT WEEK ON THE TWILIGHT ZONE
337
00:24:56,203 --> 00:24:58,370
AS M R. BEVIS.
AND HENRY JONES
338
00:24:58,455 --> 00:25:00,206
PLAYS HIS GUARDIAN ANGEL.
339
00:25:00,290 --> 00:25:01,749
HE'S THIS KIND
OF ODDBALL.
340
00:25:04,211 --> 00:25:05,878
[curtain music]
341
00:25:44,167 --> 00:25:46,794
(male presenter, off)
KIMBERLY CLARK INVITES YOU
342
00:25:46,878 --> 00:25:48,295
TO WATCH
STEVE MCQUEEN
343
00:25:48,380 --> 00:25:50,673
IN WANTED DEAD OR ALIVE.
344
00:25:50,757 --> 00:25:53,884
SATURDAY NIGHTS OVER
MOST OF THESE SAME STATIONS.
345
00:25:53,934 --> 00:25:58,484
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