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1
00:00:01,376 --> 00:00:04,087
[theme music playing]
2
00:00:09,760 --> 00:00:12,846
(narrator)
YOU'RE TRAVELING
THROUGH ANOTHER DIMENSION.
3
00:00:12,930 --> 00:00:16,350
A DIMENSION NOT ONLY
OF SIGHT AND SOUND,
BUT OF MIND.
4
00:00:16,391 --> 00:00:20,103
A JOURNEY INTO A WONDROUS
LAND WHOSE BOUNDARIES
ARE THAT OF IMAGINATION.
5
00:00:20,187 --> 00:00:22,356
YOUR NEXT STOP,
THE TWILIGHT ZONE.
6
00:01:24,960 --> 00:01:27,087
[metallic echoing]
7
00:01:30,799 --> 00:01:34,469
[laughing]
8
00:01:34,553 --> 00:01:38,473
THE FLEET'S IN. NO, NO,
IT ISN'T THE FLEET, IS
IT? IT'S THE ARMY.
9
00:01:38,557 --> 00:01:41,268
THE ARMY'S IN.
HOORAY FOR THE ARMY!
10
00:01:41,310 --> 00:01:45,188
GET THE TROOPS
OUT OF THE HOT SUN.
TA-RA-RA-BOOM-DE-AY!
11
00:01:46,982 --> 00:01:50,152
YOUR ORDERS, COLONEL,
GENERAL, WHATEVER YOU ARE.
12
00:01:50,235 --> 00:01:52,362
I'M A MAJOR.
13
00:01:52,446 --> 00:01:55,824
DON'T FRET. ADVANCEMENT
COMES QUICKLY, EVEN IN
THE PEACETIME ARMY.
14
00:01:55,907 --> 00:01:59,202
TODAY, A MAJOR.
TOMORROW, A BRIGADIER.
15
00:01:59,286 --> 00:02:02,164
MAJOR TO BRIGADIER,
THAT'S NOT BAD.
16
00:02:02,247 --> 00:02:05,834
YOU'RE GENEROUS,
OLD SPORT. YOU-YOU'RE
REALLY VERY GENEROUS.
17
00:02:05,917 --> 00:02:07,961
PROBLEM?
18
00:02:08,003 --> 00:02:10,464
PROBLEM? NO.
NO, NO PROBLEM.
19
00:02:10,505 --> 00:02:11,673
IT'S JUST THAT --
20
00:02:11,757 --> 00:02:13,216
JUST THAT WHAT?
21
00:02:13,300 --> 00:02:15,385
A COUPLE OF VERY
UNIMPORTANT ITEMS
22
00:02:15,469 --> 00:02:18,972
SEEM TO HAVE
ELUDED ME LIKE,
WHO I AM.
23
00:02:19,014 --> 00:02:20,807
YOU SAID YOU
WERE A MAJOR.
24
00:02:20,849 --> 00:02:23,852
HEY, WAIT A MINUTE.
WAIT A MINUTE.
25
00:02:23,935 --> 00:02:26,563
WHO ARE YOU?
WHAT ARE YOU
DOING HERE?
26
00:02:26,647 --> 00:02:29,232
IS THERE A CIRCUS
AROUND HERE SOMEWHERE?
27
00:02:29,316 --> 00:02:30,859
A CIRCUS?
28
00:02:33,945 --> 00:02:35,656
YEAH.
29
00:02:35,739 --> 00:02:37,824
YEAH, THERE MUST
BE A CIRCUS.
30
00:02:37,908 --> 00:02:41,036
A CLOWN. A CIRCUS?
31
00:02:41,119 --> 00:02:43,705
AN OFFICER. A WAR!
32
00:02:46,166 --> 00:02:48,168
THAT'S LOGIC, ISN'T IT?
33
00:02:50,504 --> 00:02:52,839
BUT IT DOESN'T
FIGURE AT ALL.
34
00:02:52,923 --> 00:02:56,343
NOT AT ALL.
35
00:02:56,426 --> 00:02:58,512
WHY NOT?
36
00:02:58,595 --> 00:03:02,265
BECAUSE THERE IS NO
CIRCUS, AND THERE
IS NO WAR.
37
00:03:04,518 --> 00:03:06,353
YOU'RE JUST LIKE
THE REST OF US.
38
00:03:06,395 --> 00:03:08,271
THE REST OF US?
39
00:03:08,355 --> 00:03:11,775
[bagpipe playing]
40
00:03:37,008 --> 00:03:38,719
WHAT'S GOING ON HERE?
41
00:03:38,802 --> 00:03:42,639
WHERE ARE WE?
WHAT ARE WE?
42
00:03:42,723 --> 00:03:45,475
WHO ARE WE?
43
00:03:49,229 --> 00:03:51,148
WHO ARE WE?
44
00:03:51,231 --> 00:03:55,652
NONE OF US KNOWS, MAJOR.
WE DON'T KNOW WHO WE ARE.
45
00:03:55,736 --> 00:03:58,447
WE DON'T KNOW
WHERE WE ARE.
46
00:03:58,530 --> 00:04:01,450
EACH OF US WOKE
UP ONE MOMENT.
47
00:04:01,533 --> 00:04:04,161
HERE WE WERE
IN THE DARKNESS.
48
00:04:04,244 --> 00:04:05,746
HOW COULD THAT HAPPEN?
49
00:04:05,829 --> 00:04:08,665
THAT'S THE QUESTION
WE ASKED OURSELVES.
50
00:04:08,749 --> 00:04:12,294
A QUESTION WITH
NO ANSWER, MAJOR.
51
00:04:12,377 --> 00:04:15,756
NAMELESS THINGS
WITH NO MEMORY.
52
00:04:15,839 --> 00:04:19,176
NO KNOWLEDGE OF
WHAT WENT BEFORE.
53
00:04:19,259 --> 00:04:22,262
NO UNDERSTANDING
OF WHAT IS NOW.
54
00:04:23,680 --> 00:04:26,266
NO KNOWLEDGE
OF WHAT WILL BE.
55
00:04:34,274 --> 00:04:36,693
HOW LONG WILL
WE BE HERE?
56
00:04:36,777 --> 00:04:39,321
THAT'S A VERY
GOOD QUESTION.
57
00:04:39,404 --> 00:04:42,449
THAT'S THE BEST
QUESTION OF ALL.
58
00:04:44,534 --> 00:04:48,038
BUT NOBODY
KNOWS THE ANSWER.
59
00:04:50,290 --> 00:04:53,335
(narrator)
CLOWN, HOBO,
60
00:04:53,418 --> 00:04:55,462
BALLET DANCER,
61
00:04:55,545 --> 00:04:57,214
BAGPIPER,
62
00:04:57,297 --> 00:04:59,633
AND AN ARMY MAJOR.
63
00:04:59,674 --> 00:05:02,302
A COLLECTION
OF QUESTION MARKS.
64
00:05:02,344 --> 00:05:06,807
FIVE IMPROBABLE ENTITIES
STUCK TOGETHER INTO
A PIT OF DARKNESS.
65
00:05:06,848 --> 00:05:09,851
NO LOGIC, NO REASON,
NO EXPLANATION.
66
00:05:09,935 --> 00:05:12,479
JUST A PROLONGED NIGHTMARE
67
00:05:12,562 --> 00:05:17,025
IN WHICH FEAR, LONELINESS AND
THE UNEXPLAINABLE WALK HAND
IN HAND THROUGH THE SHADOWS.
68
00:05:17,108 --> 00:05:22,155
IN A MOMENT WE'LL START
COLLECTING CLUES AS TO THE
WHYS, THE WHATS AND THE WHERES.
69
00:05:22,197 --> 00:05:25,408
WE WILL NOT
END THE NIGHTMARE.
WE'LL ONLY EXPLAIN IT.
70
00:05:25,492 --> 00:05:28,745
BECAUSE THIS IS
THE TWILIGHT ZONE.
71
00:05:37,838 --> 00:05:41,007
[thumping]
72
00:06:05,615 --> 00:06:09,119
VERY ACTIVE CHAP.
GOT TO FUNCTION.
COMPULSIVE WORKER.
73
00:06:09,202 --> 00:06:11,621
YOU'RE A BIG-TIME
PSYCHOLOGIST, HUH?
74
00:06:11,705 --> 00:06:15,792
I'MA CLOWN, WHICH
IS NEITHER HERE,
THERE OR ANYPLACE.
75
00:06:15,876 --> 00:06:19,212
I COULD BE A CERTIFIED
PUBLIC ACCOUNTANT,
A FINANCIER,
76
00:06:19,296 --> 00:06:21,965
A LEFT-HANDED PITCHER
WHO THROWS ONLY CURVES.
77
00:06:22,048 --> 00:06:24,301
WHAT DIFFERENCE
DOES IT MAKE?
78
00:06:24,384 --> 00:06:27,888
J WE'RE HERE
BECAUSE WE'RE HERE J7
79
00:06:27,929 --> 00:06:29,973
#Z BECAUSE WE'RE HERE J7
80
00:06:30,056 --> 00:06:34,311
#Z BECAUSE WE'RE HERE J7
81
00:06:34,394 --> 00:06:36,980
YOU'RE WASTING YOUR TIME.
YOU KNOW THAT, DON'T YOU?
82
00:06:37,063 --> 00:06:38,648
YOU'RE AN IDIOT.
83
00:06:38,732 --> 00:06:42,319
AN ENERGETIC IDIOT,
BUT AN IDIOT.
84
00:06:42,402 --> 00:06:44,321
I WANT OUT OF HERE.
85
00:06:44,404 --> 00:06:47,324
I'M NOT SATISFIED
TO SIT AROUND HERE
HEAVING DEEP SIGHS.
86
00:06:47,407 --> 00:06:49,659
I WANT OUT OF HERE!
87
00:06:49,743 --> 00:06:51,953
YOU'VE GOT
NO MONOPOLY
ON THAT, MAJOR.
88
00:06:52,037 --> 00:06:54,247
WE ALL WANT
OUT OF HERE.
89
00:06:54,331 --> 00:06:57,751
SECONDED. BUT YOU'RE
WASTIN' YOUR TIME, MAJOR.
90
00:06:57,834 --> 00:07:01,254
EACH OF US HAS GONE
AROUND LIKE A BLOODHOUND.
91
00:07:01,338 --> 00:07:04,674
NOSE TO WALL,
NOSE TO FLOOR.
92
00:07:07,218 --> 00:07:09,179
WHAT'S UP THERE?
93
00:07:09,262 --> 00:07:10,931
YOU NAME IT.
94
00:07:10,972 --> 00:07:15,477
SKY, ARTIFICIAL LIGHT,
FLUORESCENT LAMP,
95
00:07:15,560 --> 00:07:18,855
AN ILLUMINATED
MICROSCOPE. YOU NAME IT.
96
00:07:18,939 --> 00:07:22,609
ONE GUESS IS AS
GOOD AS THE OTHER.
97
00:07:22,651 --> 00:07:26,029
MAYBE WE'RE ON
ANOTHER PLANET.
98
00:07:26,112 --> 00:07:28,531
OR MAYBE WE'RE
ON A SPACESHIP
99
00:07:28,615 --> 00:07:30,951
GOING TO ANOTHER PLANET.
100
00:07:32,953 --> 00:07:36,206
MAYBE WE'RE
ALL INSANE.
101
00:07:36,289 --> 00:07:40,293
OR MAYBE THIS
IS A MIRAGE,
102
00:07:40,377 --> 00:07:43,129
AN ILLUSION.
103
00:07:44,547 --> 00:07:47,717
WE'RE DEAD, AND
THIS IS LIMBO.
104
00:07:47,801 --> 00:07:52,555
WE DON'T REALLY EXIST.
WE'RE DREAM FIGURES FROM
SOMEBODY ELSE'S EXISTENCE.
105
00:07:52,639 --> 00:07:55,016
OR WE'RE EACH OF
US HAVING A DREAM,
106
00:07:55,100 --> 00:07:57,894
AND EVERYONE ELSE IS
PART OF THE OTHER
PERSON'S DREAM.
107
00:07:57,978 --> 00:08:00,313
YOU CALL IT.
YOU CAN HAVE IT.
108
00:08:00,397 --> 00:08:03,984
THAT'S THE ONE THING
WE HAVE AN ABUNDANCE
OF: POSSIBILITIES.
109
00:08:04,025 --> 00:08:07,570
AN INFINITE NUMBER
OF POSSIBILITIES.
110
00:08:07,654 --> 00:08:09,823
HOW ABOUT GETTING
OUT OF HERE?
111
00:08:09,864 --> 00:08:12,409
ANYBODY EXAMINED
THAT POSSIBILITY?
112
00:08:12,492 --> 00:08:14,536
HAVE YOU, MAJOR?
113
00:08:14,619 --> 00:08:17,580
WE'RE TRAPPED DOWN
HERE. THERE'S NO
WAY OUT, MAN.
114
00:08:17,664 --> 00:08:20,834
THIS IS A NIGHTMARE.
115
00:08:20,875 --> 00:08:23,003
IT MUST BE A NIGHTMARE.
116
00:08:23,044 --> 00:08:27,507
IS INDEED,
BUT WHOSE?
YOURS? MINE?
117
00:08:27,590 --> 00:08:29,759
THE SCOTSMAN,
THE BALLET DANCER?
118
00:08:29,843 --> 00:08:32,429
JUST WHOSE
NIGHTMARE IS IT?
119
00:08:32,512 --> 00:08:34,764
SOMEONE KNOWS
WE'RE HERE.
120
00:08:34,848 --> 00:08:36,975
HOW SO?
121
00:08:37,058 --> 00:08:40,687
THEY HAVE TO. YOU'VE
ALL BEEN HERE AWHILE.
POSSIBLY A LONG WHILE.
122
00:08:40,729 --> 00:08:44,607
SOMEONE MUST FEED YOU.
SOMEONE MUST GIVE
YOU WATER.
123
00:08:44,691 --> 00:08:48,528
WELL? SOMEONE MUST
BRING FOOD DOWN.
124
00:08:48,611 --> 00:08:51,031
THERE'S BEEN NO
FOOD OR WATER.
125
00:08:51,114 --> 00:08:54,367
BUT WE'LL STARVE
TO DEATH, OR WE'LL
DIE OF THIRST.
126
00:08:54,451 --> 00:08:58,288
DO YOU FEEL
HUNGRY, MAJOR?
OR THIRSTY?
127
00:08:58,371 --> 00:09:01,750
OR HEAT OR
COLD OR FATIGUE
OR DISCOMFORT?
128
00:09:01,833 --> 00:09:06,129
OR ANYTHING?
DO YOU FEEL
ANYTHING, MAJOR?
129
00:09:06,212 --> 00:09:10,717
NO, NO, I DON--
I DON'T FEEL ANYTHING,
BUT IT IS UNDERSTANDABLE
130
00:09:10,800 --> 00:09:13,136
THAT I DON'T FEEL
HUNGRY OR THIRSTY.
THIS IS--
131
00:09:13,219 --> 00:09:15,805
THIS IS SHOCK. OR
THE AFTERMATH OF SHOCK.
132
00:09:15,889 --> 00:09:18,266
NONE OF US
FEEL ANYTHING.
133
00:09:18,349 --> 00:09:20,977
NONE OF US HAVE
FELT ANYTHING SINCE
WE'VE BEEN HERE.
134
00:09:21,061 --> 00:09:23,146
AND WE'VE BEEN HERE
FOR AN ENDLESS TIME.
135
00:09:23,229 --> 00:09:26,441
THIS IS INCREDIBLE!
136
00:09:26,524 --> 00:09:29,569
THIS IS REALLY INCREDIBLE!
137
00:09:29,611 --> 00:09:31,154
HAVE YOU SHOUTED?
138
00:09:31,237 --> 00:09:33,198
ENDLESSLY.
139
00:09:33,281 --> 00:09:37,577
WELL, HAVE YOU-HAVE YOU
POUNDED ON THE WALLS?
I MEAN, LOUD?
140
00:09:37,660 --> 00:09:41,164
HAVE YOU TAKEN OFF
YOUR SHOE AND POUNDED
ON THE WALLS?
141
00:09:43,917 --> 00:09:45,251
HAVE YOU DONE THAT?
142
00:09:45,293 --> 00:09:47,128
OFTEN.
143
00:09:47,212 --> 00:09:50,632
HAVE YOU LOOKED ALL
AROUND? HAVE YOU
FELT THE WALLS?
144
00:09:50,715 --> 00:09:52,842
MAYBE THERE'S
A BUTTON OR
A LEVER,
145
00:09:52,926 --> 00:09:55,261
OR MAYBE THERE'S A
PANEL OF SOME KIND.
146
00:09:55,303 --> 00:09:57,430
MAYBE THERE'S
A CONTROL BUTTON.
147
00:09:57,472 --> 00:10:01,768
FOR A WHILE.
FOR A LONG WHILE,
THAT'S ALL WE DID.
148
00:10:01,851 --> 00:10:04,270
HUNTED AND SEARCHED,
149
00:10:04,312 --> 00:10:07,107
PEERED AND
LOOKED AND FELT.
150
00:10:07,190 --> 00:10:12,112
THEN WE DISCOVERED
THAT THIS WAS THE
UNIVERSE RIGHT HERE.
151
00:10:12,195 --> 00:10:16,282
FOR OUR PURPOSES,
THIS /S THE UNIVERSE.
THIS LITTLE ROOM.
152
00:10:20,286 --> 00:10:23,206
[church bell tolling]
153
00:10:25,583 --> 00:10:27,460
WHAT WAS THAT?
154
00:10:27,502 --> 00:10:29,963
WHAT WAS THAT NOISE?
155
00:10:30,004 --> 00:10:34,050
A GIANT BELL OR
SOMETHING. THAT'S
WHAT IT SOUNDS LIKE.
156
00:10:34,134 --> 00:10:37,053
HEY!
157
00:10:37,137 --> 00:10:39,806
HEY, UP THERE!
158
00:10:39,889 --> 00:10:42,517
LET US OUT!
159
00:10:42,600 --> 00:10:45,645
LET US OUT
OF HERE. PLEASE!
160
00:10:45,728 --> 00:10:50,859
[church bell tolling]
161
00:10:54,154 --> 00:10:57,323
PLEASE, MAJOR,
DON'T BE AFRAID.
162
00:10:57,365 --> 00:10:59,534
IT'S HARD IN
THE BEGINNING,
163
00:10:59,617 --> 00:11:01,536
BUT AFTER A WHILE--
164
00:11:01,619 --> 00:11:04,330
GIRL, WHY DON'T
YOU DANCE FOR US?
165
00:11:04,372 --> 00:11:06,166
IT MAKES
THE TIME PASS.
166
00:11:06,249 --> 00:11:07,709
I'LL PLAY FOR YOU.
167
00:11:07,792 --> 00:11:10,837
THE MAJOR'S NEVER
SEEN YOU DANCE.
168
00:11:10,920 --> 00:11:13,381
[bagpipe playing]
169
00:11:21,681 --> 00:11:25,602
THE MAJOR DOESN'T
WANT TO SEE HER DANCE.
THE MAJOR IS NOT INTERESTED!
170
00:11:25,685 --> 00:11:28,688
ALL THE MAJOR WANTS
TO DO IS GET OUT OF HERE!
171
00:11:32,025 --> 00:11:34,194
(hobo)
TOO HIGH.
172
00:11:34,277 --> 00:11:36,196
NOTHING!
173
00:11:39,490 --> 00:11:42,202
THROUGH THE WALL!
DID YOU EVER THINK
OF THAT?
174
00:11:42,285 --> 00:11:46,039
THAT'S VERY BRIGHT!
TERRIBLY INGENIOUS!
175
00:11:46,080 --> 00:11:49,250
HIGHLY IMAGINATIVE!
INCREDIBLY INVENTIVE!
176
00:11:49,334 --> 00:11:51,544
[laughing]
177
00:11:51,628 --> 00:11:55,131
WITH WHAT?
WITH OUR HANDS?
178
00:11:55,215 --> 00:11:56,633
WITH OUR FINGERNAILS?
179
00:11:56,716 --> 00:11:58,343
WITH THIS!
180
00:12:01,221 --> 00:12:02,889
WITH THIS!
181
00:12:04,182 --> 00:12:06,059
[clanks]
182
00:12:12,899 --> 00:12:14,609
[sobbing]
183
00:12:19,447 --> 00:12:21,783
PLEASE, MAJOR.
184
00:12:21,866 --> 00:12:24,619
AFTER A WHILE,
IT'LL BE A LOT EASIER.
185
00:12:26,663 --> 00:12:31,251
PERHAPS THERE ARE
A LOT OF DUNGEONS
LIKE THIS.
186
00:12:31,292 --> 00:12:35,213
MAYBE WE'VE JUST NEVER
HEARD OF THEM BEFORE.
187
00:12:38,508 --> 00:12:42,637
PERHAPS THEY'RE
FOR THE UNLOVED.
188
00:12:42,720 --> 00:12:45,515
PERHAPS THAT'S
WHO WE ARE.
189
00:12:45,598 --> 00:12:47,684
THE UNLOVED.
190
00:12:55,858 --> 00:13:00,488
WE MUST HAVE NAMES.
WE'RE PEOPLE.
191
00:13:00,571 --> 00:13:04,367
AND-AND THAT MEANS
WE BELONG SOMEWHERE.
192
00:13:04,450 --> 00:13:08,538
THERE MUST BE OTHERS
WHO CARE ABOUT US.
193
00:13:08,621 --> 00:13:12,292
BECAUSE
SOMEWHERE, SOMEHOW,
194
00:13:12,333 --> 00:13:15,461
WE HAVE A LIFE
THAT HAS BEEN CUT
AWAY FROM US.
195
00:13:15,545 --> 00:13:19,340
WE'VE GOT TO GET IT
BACK, EACH ONE OF US.
196
00:13:19,424 --> 00:13:21,676
WE'LL DIG A TUNNEL.
197
00:13:32,145 --> 00:13:35,648
I KNOW WHERE WE
ARE. IT SUDDENLY
OCCURS TO ME.
198
00:13:35,732 --> 00:13:37,400
(ballerina)
WHERE ARE WE?
199
00:13:37,483 --> 00:13:42,530
WHY, MY DEAR YOUNG LADY,
HOW-HOW UNOBSERVANT
200
00:13:42,613 --> 00:13:46,993
WHEN THE WHOLE THING
ALL FITS TOGETHER.
201
00:13:49,662 --> 00:13:52,498
PLEASE, TELL ME
WHERE WE ARE.
202
00:13:52,582 --> 00:13:57,086
LADIES AND GENTLEMEN,
IT SEEMS VERY APPARENT,
203
00:13:57,170 --> 00:14:00,256
IT SEEMS QUITE
UNEQUIVOCALLY,
204
00:14:00,340 --> 00:14:01,841
WE,
205
00:14:01,924 --> 00:14:04,260
ALL OF US,
206
00:14:04,344 --> 00:14:07,013
WE ARE IN HELL.
207
00:14:07,055 --> 00:14:09,766
GOD HELP US.
208
00:14:09,849 --> 00:14:12,477
WE ARE IN HELL.
209
00:14:25,406 --> 00:14:28,534
[clown laughs]
210
00:14:28,576 --> 00:14:31,371
NEVER SAY DIE,
THAT ONE.
211
00:14:31,412 --> 00:14:34,624
HE'LL COME TO
IT EVENTUALLY,
JUST AS WE DID.
212
00:14:34,707 --> 00:14:38,294
LET HIM BE.
LET HIM HAVE
HIS FUN.
213
00:14:38,378 --> 00:14:40,797
AT LEAST HE'S TRYING.
214
00:14:40,880 --> 00:14:44,467
HE IS, INDEED!
HE'S BEEN TRYING
FOR SEVERAL HOURS NOW.
215
00:14:44,550 --> 00:14:57,980
IT'S METAL, I THINK.
216
00:14:58,064 --> 00:15:00,274
WE'LL HAVE TO THINK
OF SOMETHING ELSE.
217
00:15:00,358 --> 00:15:04,612
DO! DO! PERHAPS
WE COULD PRETEND
THAT WE'RE ACROBATS.
218
00:15:04,695 --> 00:15:06,739
ALLEY OOP!
219
00:15:06,823 --> 00:15:08,908
AND OVER THE TOP!
220
00:15:08,991 --> 00:15:11,911
WAIT A MINUTE.
221
00:15:13,121 --> 00:15:15,998
OH, COME, NOW.
222
00:15:16,082 --> 00:15:18,167
THIS IS BECOMING
A LITTLE RIDICULOUS.
223
00:15:18,251 --> 00:15:19,502
WHY NOT?
224
00:15:19,585 --> 00:15:20,837
WHY NOT WHAT?
225
00:15:20,920 --> 00:15:23,214
WHAT YOU SAID.
ACROBATICS.
226
00:15:23,297 --> 00:15:26,175
A FIGURE OF SPEECH,
MY DEAR. NOT MEANT
TO BE TAKEN SERIOUSLY.
227
00:15:26,259 --> 00:15:30,179
I GRANT YOU THAT
WE HAVE SOMEHOW FORFEITED
SOME OF OUR HUMAN DIGNITY,
228
00:15:30,263 --> 00:15:33,349
BUT WE ARE NONETHELESS
GOVERNED BY HUMAN FRAILTY,
229
00:15:33,433 --> 00:15:36,477
NOT THE LEAST
OF WHICH IS GRAVITY.
230
00:15:36,561 --> 00:15:39,439
PERHAPS YOU KNOW
SOME ACROBATICS
I'M QUITE UNAWARE OF.
231
00:15:39,522 --> 00:15:42,483
I SEE WHAT
SHE'S GETTING AT.
232
00:15:42,567 --> 00:15:44,944
DON'T ANY OF
YOU SEE IT?
233
00:15:44,986 --> 00:15:49,449
ONE ON TOP OF THE
OTHER, STANDING ON
EACH OTHER'S SHOULDERS.
234
00:15:49,532 --> 00:15:52,785
HOW ABOUT THAT?
ISN'T THAT THE WAY
THEY DO IT IN CIRCUSES?
235
00:15:52,827 --> 00:15:56,164
I'LL ASK HIM
WHEN HE COMES IN.
236
00:15:56,247 --> 00:15:59,542
I ASSURE YOU THAT,
THOUGH I MAY WEAR
THE COSTUME OF A CLOWN,
237
00:15:59,625 --> 00:16:02,545
I HAVE NO RECOLLECTION
WHATSOEVER OF HAVING
BEEN ONE.
238
00:16:02,628 --> 00:16:05,047
IT IS TRUE WE DON'T
FEEL HUNGER OR THIRST,
239
00:16:05,131 --> 00:16:07,633
BUT PAIN IS QUITE
ANOTHER THING.
240
00:16:07,717 --> 00:16:10,386
AND A DROP FROM
20 FEET UP DOWN TO
THIS HARD FLOOR,
241
00:16:10,470 --> 00:16:14,098
THAT IS A SENSATION
I WOULD AS LEAVE
DO WITHOUT.
242
00:16:15,141 --> 00:16:16,767
IT'S A CHANCE.
243
00:16:16,851 --> 00:16:19,395
BEGGING YOUR PARDON,
MA'AM, BUT NO, THANK YOU.
244
00:16:19,479 --> 00:16:22,315
BUT SHE'S RIGHT.
ITIS A CHANCE.
245
00:16:22,398 --> 00:16:25,985
NOW, COME ON!
WE'LL GO ON THE
FIRST PERSON,
246
00:16:26,068 --> 00:16:29,530
SO I-I'LL START.
THE CLOWN ON
MY SHOULDERS,
247
00:16:29,614 --> 00:16:32,658
AND THE TRAMP
AND THE BAGPIPER,
248
00:16:32,742 --> 00:16:35,578
AND THEN THE GIRL.
249
00:16:35,661 --> 00:16:37,830
NOW, HOW ABOUT IT?
250
00:16:40,500 --> 00:16:42,418
WE'D NEVER REACH IT.
251
00:16:42,502 --> 00:16:44,587
(hobo)
WE COULD TRY.
252
00:16:44,670 --> 00:16:47,256
WHO-WHO'S TO SAY WE
WOULDN'T REACH IT?
253
00:16:47,340 --> 00:16:49,759
WE'RE NOT SURE
HOW HIGH IT IS.
254
00:16:49,842 --> 00:16:53,554
THAT'S THE POINT.
WE WOULD BE EXERTING
OURSELVES FOR NOTHING.
255
00:16:53,638 --> 00:16:56,682
NOW, ALL SIT DOWN
AND WE'LL HAVE A
LITTLE ENTERTAINMENT.
256
00:16:56,766 --> 00:16:59,393
COME ON.
LET'S TRY IT.
257
00:16:59,477 --> 00:17:02,605
COME ON, CLOWN!
ON MY SHOULDERS!
258
00:17:02,688 --> 00:17:08,444
OBSERVATION: THINGS
WERE FAR MORE SIMPLE
BEFORE YOU ARRIVED.
259
00:17:11,030 --> 00:17:14,325
HOWEVER, I GO
WITH THE MAJORITY.
260
00:17:28,714 --> 00:17:31,592
(bagpiper)
ALL RIGHT, MISS.
IT'S UP TO YOU.
261
00:17:31,676 --> 00:17:35,388
CAN YOU SEE THE TOP?
IS THERE A LEDGE
OR ANYTHING?
262
00:17:35,471 --> 00:17:37,139
IT'S SEVERAL MORE
FEET TO THE TOP.
263
00:17:37,223 --> 00:17:40,142
COME ON.
264
00:17:40,226 --> 00:17:42,353
TAKE YOUR TIME.
YOU CAN MAKE IT.
265
00:18:38,284 --> 00:18:40,328
I CAN'T REACH IT.
266
00:18:40,411 --> 00:18:42,705
IT'S JUST A
LITTLE ABOVE ME.
267
00:18:42,788 --> 00:18:45,791
TRY. STRETCH.
268
00:18:45,875 --> 00:18:50,546
STRETCH A LITTLE.
ALL OF US STRETCH.
269
00:18:50,630 --> 00:18:53,007
TRY. YOU'VE
GOT TO TRY.
270
00:18:53,090 --> 00:18:55,343
[bell tolling]
271
00:19:10,608 --> 00:19:12,735
HOW IS YOUR LEG?
272
00:19:12,818 --> 00:19:18,324
[-1-1 THINK
I STRAINED IT, BUT
I'LL BE ALL RIGHT.
273
00:19:18,407 --> 00:19:21,994
HOW MUCH FARTHER?
MOW MUCH MORE WOULD
IT HAVE TAKEN?
274
00:19:23,496 --> 00:19:26,082
I COULD ALMOST FEEL IT.
275
00:19:26,165 --> 00:19:27,583
YOU WERE
ALMOST THERE.
276
00:19:27,667 --> 00:19:29,335
A MISS IS AS
GOOD AS A MILE.
277
00:19:29,377 --> 00:19:31,212
NOT IN THIS CASE.
278
00:19:31,295 --> 00:19:34,173
A MISS BY TWO
OR THREE INCHES,
THAT'S HARDLY A MILE.
279
00:19:35,591 --> 00:19:38,344
OH. HERE'S WHAT
WE'LL DO NEXT.
280
00:19:38,427 --> 00:19:42,223
THE-THE SAME THING
WITHOUT THE GIRL.
281
00:19:42,306 --> 00:19:44,767
THE CLOWN
ON THE BOTTOM.
282
00:19:44,850 --> 00:19:47,395
THEN THE TRAMP.
THEN THE BAGPIPER.
283
00:19:47,478 --> 00:19:49,605
THEN I CLIMB UP.
284
00:19:49,689 --> 00:19:51,857
A ROPE AROUND THE
HAFT OF THIS SWORD.
285
00:19:51,899 --> 00:19:54,568
FLING IT OVER
THE LEDGE AND LET
IT HOOK ON THE EDGE.
286
00:19:54,652 --> 00:19:58,239
VERY INGENIOUS!
BUT HADN'T ONE OF
US BETTER RUN OVER
287
00:19:58,322 --> 00:20:00,616
TO THE HARDWARE STORE
AND PICK UP THE ROPE?
288
00:20:00,700 --> 00:20:02,702
HE'S RIGHT.
WE HAVE NO ROPE.
289
00:20:02,785 --> 00:20:05,496
BUT STRIPS OF CLOTH.
PART OF ANYTHING
WE'RE WEARING.
290
00:20:05,579 --> 00:20:08,374
NOW, COME ON! IT'S
A CHANCE! HERE!
291
00:20:09,333 --> 00:20:11,001
ALL RIGHT.
292
00:20:13,295 --> 00:20:16,882
SIX YARDS OF
EXCELLENT MATERIAL.
293
00:20:16,966 --> 00:20:20,511
COURTESY OF
PAGLIACCI, OR WHATEVER I AM.
294
00:20:21,721 --> 00:20:24,390
THIS TIME
WE MAKE IT.
295
00:20:24,473 --> 00:20:27,727
A ROPE AROUND THE
HAFT OF THIS SWORD.
296
00:20:27,768 --> 00:20:31,731
FLING IT OVER THE EDGE
AND LET IT HOOK RIGHT
ON THE LEDGE.
297
00:20:31,814 --> 00:20:33,733
I'M UP AND AWAY.
298
00:20:33,774 --> 00:20:35,484
THEN WHAT?
299
00:20:35,568 --> 00:20:38,904
WE'LL WORRY ABOUT
THAT WHEN IT HAPPENS.
300
00:20:38,946 --> 00:20:41,157
SOMEHOW I'LL GET
YOU OUT OF HERE,
301
00:20:41,240 --> 00:20:44,577
BUT NONE OF US GETS
OUT UNTIL ONE OF
US GETS OUT.
302
00:20:44,660 --> 00:20:49,749
NOW, THAT IS A LOGIC
THAT YOU CAN LIVE WITH.
303
00:22:07,743 --> 00:22:09,411
WELL, WHAT'S THERE?
304
00:22:09,495 --> 00:22:12,248
WHAT DO YOU SEE?
305
00:22:12,331 --> 00:22:16,252
MAJOR, WHERE ARE WE?
306
00:22:16,335 --> 00:22:18,170
[screams]
307
00:22:28,013 --> 00:22:30,266
BRAVE MAN.
308
00:22:30,349 --> 00:22:33,018
NOT A VERY BRIGHT ONE.
309
00:22:33,102 --> 00:22:35,271
HE'LL COME BACK FOR US.
310
00:22:35,354 --> 00:22:37,356
I KNOW HE WILL.
311
00:22:37,398 --> 00:22:40,943
HE MAY BE BACK,
BUT IT WON'T BE
TO GET US.
312
00:22:41,026 --> 00:22:43,737
HE MAY HAVE BEEN
RIGHT AT THAT.
313
00:22:43,821 --> 00:22:46,407
HE MAY HAVE
BEEN VERY RIGHT.
314
00:22:46,490 --> 00:22:48,617
THIS MAY BE HELL.
315
00:22:55,791 --> 00:22:58,961
I FOUND THIS IN
THE SNOW. SOMEONE
MUST HAVE DROPPED IT.
316
00:22:59,044 --> 00:23:01,297
OH. THANK YOU, DEAR.
317
00:23:01,380 --> 00:23:05,134
JUST DROP THAT
IN THE BARREL OVER
THERE, WILL YOU?
318
00:23:05,217 --> 00:23:07,261
YOU DON'T HAVE
VERY MANY, DO YOU?
319
00:23:07,344 --> 00:23:09,930
OH, DEAR, NO,
NOT NEARLY ENOUGH.
320
00:23:10,014 --> 00:23:14,310
IT'S FOR THE ORPHANS,
YOU KNOW. BUT IT'S EARLY,
AND WE'VE ONLY JUST STARTED.
321
00:23:14,393 --> 00:23:16,395
[bell ringing]
322
00:23:16,478 --> 00:23:19,315
DOLLS FOR CHRISTMAS!
323
00:23:19,398 --> 00:23:24,737
DOLLS FOR CHRISTMAS!
DOLLS FOR CHRISTMAS!
324
00:23:24,820 --> 00:23:27,072
DOLLS FOR CHRISTMAS!
325
00:23:27,114 --> 00:23:29,617
OPEN YOUR HEARTS,
DEAR PEOPLE!
326
00:23:41,295 --> 00:23:43,422
(narrator)
JUST A BARREL.
327
00:23:43,464 --> 00:23:46,175
A DARK DEPOSITORY
WHERE ARE KEPT
THE COUNTERFEIT
328
00:23:46,258 --> 00:23:48,469
MAKE-BELIEVE PIECES
OF PLASTER AND CLOTH
329
00:23:48,552 --> 00:23:51,430
WROUGHT IN THE DISTORTED
IMAGE OF HUMAN LIFE.
330
00:23:51,513 --> 00:23:54,099
BUT THIS ADDED
HOPEFUL NOTE.
331
00:23:54,141 --> 00:23:57,186
PERHAPS THEY ARE UNLOVED
ONLY FOR THE MOMENT.
332
00:23:57,269 --> 00:24:00,356
IN THE ARMS OF CHILDREN
THERE CAN BE NOTHING
BUT LOVE.
333
00:24:00,439 --> 00:24:03,108
A CLOWN, A TRAMP,
A BAGPIPE PLAYER,
334
00:24:03,192 --> 00:24:05,444
A BALLET DANCER
AND A MAJOR.
335
00:24:05,486 --> 00:24:08,447
TONIGHT'S CAST
OF PLAYERS ON
THE ODD STAGE
336
00:24:08,489 --> 00:24:11,742
KNOWN AS THE
TWILIGHT ZONE.
337
00:24:15,412 --> 00:24:18,958
(male presenter)
ROD SERLING, CREATOR
OF THE TWILIGHT ZONE,
338
00:24:19,041 --> 00:24:22,586
WILL TELL YOU ABOUT
NEXT WEEK'S STORY
AFTER THIS MESSAGE.
339
00:24:23,837 --> 00:24:26,048
AND NOW, MR. SERLING.
340
00:24:26,131 --> 00:24:30,010
NEXT WEEK, MR. DEAN STOCKWELL
MAKES HIS JOURNEY INTO
THE TWILIGHT ZONE
341
00:24:30,094 --> 00:24:32,888
PLAYING THE ROLE OF
A PLATOON LIEUTENANT
ON CORREGIDOR
342
00:24:32,972 --> 00:24:36,016
DURING THE LAST
FEW HOURS OF
WORLD WAR II.
343
00:24:36,100 --> 00:24:40,813
WHAT HAPPENS TO HIM PROVIDES
THE BASIS OF A WEIRD, AND YET,
WE THINK, HAUNTING EXCURSION
344
00:24:40,896 --> 00:24:43,148
INTO THE SHADOWLAND
OF IMAGINATION.
345
00:24:43,232 --> 00:24:46,068
ON THE TWILIGHT ZONE NEXT
WEEK, MR. DEAN STOCKWELL STARS
346
00:24:46,151 --> 00:24:49,405
IN THE QUALITY OF MERCY.
347
00:24:52,032 --> 00:24:55,494
[eerie music]
348
00:25:18,767 --> 00:25:21,770
THIS IS JAMES ARNESS.
349
00:25:21,854 --> 00:25:25,941
YOU KNOW, IT'S ONLY A SHORT
HOP FROM THE TWILIGHT ZONE
70 DODGE CITY AND GUNSMOKE.
350
00:25:26,025 --> 00:25:28,360
SATURDAY NIGHTS OVER
MOST OF THESE STATIONS.
25376
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