Original subtitles

[eerie music]

(male presenter, off) THERE IS A FIFTH DIMENSION,

BEYOND THAT WHICH IS KNOWN TO MAN.

IT IS A DIMENSION AS VAST AS SPACE

AND AS TIMELESS AS INFINITY.

IT IS THE MIDDLE GROUND BETWEEN LIGHT AND SHADOW,

BETWEEN SCIENCE AND SUPERSTITION,

AND IT LIES BETWEEN THE PIT OF MAN'S FEARS

AND THE SUMMIT OF HIS KNOWLEDGE.

THIS IS THE DIMENSION OF IMAGINATION.

IT IS AN AREA WHICH WE CALL THE TWILIGHT ZONE.

OH, MY DARLING.

TONY, NOW YOU ARE GOING,

BUT I SHALL HAVE A MEMORY OF YOU FOR MY EYES,

THOUGHTS OF YOU FOR MY MIND

AND A TOUCH OF YOU FOR ALL OF ME.

I'LL NEVER FORGET YOU.

(male presenter, off) PICTURE OF A WOMAN LOOKING AT A PICTURE.

MOVIE GREAT OF ANOTHER TIME.

ONCE-BRILLIANT STAR

IN A FIRMAMENT NO LONGER A PART OF THE SKY,

ECLIPSED BY THE MOVEMENT OF EARTH AND TIME.

BARBARA JEAN TRENTON, WHOSE WORLD IS A PROJECTION ROOM,

WHOSE DREAMS ARE MADE OUT OF CELLULOID.

BARBARA JEAN TRENTON, STRUCK DOWN BY HIT-AND-RUN YEARS

AND LYING ON THE UNHAPPY PAVEMENT,

TRYING DESPERATELY TO GET

THE LICENSE NUMBER OF FLEETING FAME.

MISS TRENTON?

[projector whirring]

MISS TRENTON?

MISS TRENTON!

WHAT IS IT, SALLY?

[shouts startIed and gasps]

I--I BROUGHT YOU--

I BROUGHT YOU A SNACK, MISS TRENTON.

THANK YOU. JUST PUT IT DOWN THERE.

YES, MA'AM.

[doorbell rings]

HELLO, SALLY.

HELLO.

IS MISS TRENTON I N?

YES, S I R.

IN THERE FOR A CHANG E?

YES, S I R.

MR. WE ISS, I'M VERY WORRI ED ABOUT H ER.

I'M WORRI ED ABOUT--

I'LL TALK TO H ER.

YOU DON'T UNDERSTAND, MR. WE ISS.

IT'S GETTING MUCH WORSE.

WELL, SHE'S BEEN IN THERE TOO MUCH.

I THINK IT'S BEG IN NING TO DISTU RB YOU, TOO.

I'LL SEE WHAT I CAN DO.

ALL RIGHT.

[movie soundtrack playing]

[orchestral flourish]

DAN I EL, F IX YOURSELF A DRINK.

IT'S 1 1 :00 IN THE MORNING.

SO, IT'S 1 1 :00 IN THE MORNING.

(Daniel) SO, IT'S 1 1 :00 IN THE MORNING

AND THE SUN IS OUT.

IT'S A BEAUTIFUL DAY IN BEVERLY HILLS.

THERE'S NO SMOG, IT'S 84 DEG REES [birds chirp]

AND IT IS LOVELY.

WHAT EVER WOULD I DO WITHOUT YOUR DAI LY WEATHER REPORTS?

QU ESTION IS WHAT DO YOU DO WITH THEM?

S IT HERE IN THIS AIR-CON DITION ED CAVE

SHOWING ONE PICTURE AFTER ANOTH ER.

LET'S SKI P IT.

BARB I E, IT'S NO GOOD, HONEY.

NONE OF THIS IS ANY GOOD.

IF YOU WON'T F IX YOURSELF A DRINK, S IT DOWN AND BE QU I ET.

YOU KNOW, YOU HAVE A HAB IT OF LOOKING PO ISED, READY TO SPRING.

WHAT WAS THE PICTURE?

TWO OF THEM.

A FAREWELL WITHOUT TEARS,

COSTARRING J ERRY HEARN DAN.

NOT COSTARRING, DARLING, HE WAS MY LEADING MAN.

1 933.

AND A NIGHT IN PARIS.

1 934.

I KNOW IT WAS 1 934.

WHAT ARE YOU NOW? FATHER TIME?

BARB I E--

LOOK, I FAI LED TO M ENTION THIS BEFORE :

I HATE CLIN ICAL TI PTOEING.

YOU DON'T LIKE WHAT I DO, DON'T KNOCK WHAT I DO.

BARB I E, I HAVE TO KNOCK WHAT YOU DO,

AND I HAVE TO GET CLIN ICAL

WHEN I SEE YOU BOTTLE YOURSELF IN THIS ROOM AND STOP THE CLOCK.

YOU PUT IT BACK 1 5, 20, 25 YEARS.

YOU DO THIS EVERY DAY. NOW, HONEY, THAT'S S ICK.

THAT IS REALLY SICK.

IS THAT ALL?

NO, IT ISN'T.

I'VE SET UP AN APPO I NTM ENT FOR YOU TODAY

OVER AT I NTERNATIONAL.

AT I NTERNATIONAL?

YES.

A PART, DAN NY?

SOU N DS LIKE A GOOD ON E, TOO.

WELL--OH, DARLING.

YOU KNOW SOMETHING?

IN EVER DID GET ALONG WITH MARTY SALL

WHEN I WAS U N DER CONTRACT THERE.

HE'S MUCH OLDER NOW.

I THINK YOU'LL F IN D THAT HE'S MELLOWED.

OH, YOU KNOW, HE SAID I WAS

THE MOST DI FF ICU LT STAR H E'D EVER WORKED WITH.

DAN NY, YOU'RE A NICE GUY AND A LOYAL FRI EN D.

AND IN MY SELF ISH, DEVIOUS WAY,

I'M VERY MUCH IN LOVE WITH YOU.

OH, DAN NY.

I HOPE IT'S A MUSICAL.

OH, I'D LOVE TO DANCE AGAIN.

[laughing]

OR A LOVE STORY. OH, I'D GIVE ANYTHING

TO PLAY LOVE SCENES LIKE I SAW THIS MORNING.

SCENES WITH J ERRY HEARN DAN.

YOU KNOW, WE DID THREE PICTURES TOGETHER.

"I HAVE A MEMORY OF YOU FOR MY EYES.

"THOUGHTS OF YOU FOR MY M IND

AND THE TOUCH OF YOU FOR ALL OF ME"

OR SOMETHING LIKE THAT.

AND THEN WE DID A NIGHT IN PARIS TOGETHER.

BARBARA, YOU WERE MUCH YOU NG ER THEN.

GO TO THE DEVIL.

NOW, BARBARA, HONEY, THIS IS 1 959.

IT'S 25 YEARS FFOM NIGHT IN PARIS

AND 26 YEARS S I NCE YOU MADE FAREWELL WITHOUT TEARS.

THAT ROOM ACROSS THE HALL IS DARK,

IT'S DAM P, IT'S FU LL OF COBWEBS.

SNAP OUT OF IT. SNAP OUT OF THIS KICK.

GET YOUR WAR PAI NT ON AND I'LL MEET YOU

OVER AT SALL'S OFF ICE AT 3 :00, OKAY?

OKAY, DAN NY.

SEND THEM IN.

NICE TO SEE YOU AGAIN, BARBARA.

HELLO, MARTY.

IT'S BEEN A LONG TIME.

YES.

S IT DOWN.

YOU KNOW DAN NY, OF COURSE.

YES. H E'S TOLD YOU ABOUT THE PART?

WELL, UH, NOT EXACTLY.

I THINK IT F ITS YOU. IT'S NOT A BIG PART,

BUT I THINK IT'LL BE A NICE SHOWCASE FOR YOU.

NOT BIG, BUT A NICE SHOWCASE?

OH, COME ON, BE MORE SPECIF IC.

YOU, OF ALL PEOPLE, MARTY,

SHOU LD KNOW WHAT I DEMAND IN A PART.

WHY IS IT WE ALWAYS SEEM TO FIGHT, BARBARA?

DOESN'T THAT ALWAYS SEEM TO BE THE CASE? WE BEG IN BY FIGHTING.

I'M STILL WAITING TO HEAR ABOUT THE PART.

RAISE THE VE I L.

YOU PLAY A MOTH ER.

HOW OLD A MOTH ER?

H M M, FORTYISH, BUT VERY VI BRANT, VERY MUCH ALIVE.

AS OPPOSED TO WHAT?

A CORPSE?!

I DON'T PLAY MOTH ERS, MR. SALL.

I NEVER HAVE, AND I WON'T START NOW.

I ALSO DON'T TAKE B IT ROLES, AND YOU SHOU LD KNOW THAT!

COME ON, DAN NY. LET'S GO.

(Sall) I'M SORRY, BARBARA.

I DIDN'T KNOW YOU WERE STILL SO PARTICULAR.

WELL, NOW YOU DO.

AT LEAST I WOULD THINK YOU'D LOOK AT THE PART.

IT'D BE A SH EER WASTE OF MY TIME.

MAYBE WE SHOU LD GET THE SCRI PT,

LOOK AT IT, SEE WHAT IT'S ALL ABOUT.

YOU LOOK AT IT AND SEE WHAT IT'S ALL ABOUT AND YOU PLAY THE PART.

I NEVER DID LIKE THIS TASTELESS, CRU DE MAN

WHEN I WAS U N DER CONTRACT HERE

AND I DON'T LIKE HIM ANYMORE NOW

WHEN HE OFFERS ME FAST BIT PARTS.

ALL RIGHT, MISS-- MISS PRI MA DON NA.

YOU, I GOT N EWS FOR.

YOU MAY THINK YOU ARE STILL THE NUMBER-ONE LADY

ON THE TOP OF THE H EAP, BUT YOU'VE GOT IT WRONG.

YOU'RE J UST AN AGING BROAD WITH A SCRAPBOOK.

LOOK, MARTY--

ANY PART YOU GET AT THIS STU DIO

WON'T HAVE TO GO TH ROUG H AN AG ENT.

WE CAN SET IT UP TH ROUG H THE COM M U N ITY CH EST

BECAUSE IT'LL BE CHARITY!

SALL?

REMIND ME SOMEDAY

WHEN YOU'VE GON E OVER THE H I LL

AND YOU'RE DOWN ON YOUR HAN DS AND KN EES,

REMIND ME TO GIVE YOU A SWI FT KICK IN THE TEETH

SO THAT YOU KNOW EXA CTL Y HOW IT FEELS!

BARB I E?

WHAT?

YOU WERE RIGHT ABOUT HIM.

HE'S A PETTY LITTLE MAN.

A MEAN TEM PER AND A DIRTY MOUTH.

YOU SHOU LDN'T PAY ANY ATTENTION TO HIM.

YOU TALKING ABOUT MARTY SALL?

YES.

HE DOESN'T EXIST.

THAT STU DIO DOESN'T EXIST.

NOT ANYMORE, NOT THE WAY IT IS NOW.

THIS IS THE WORLD, DAN, RIGHT IN HERE.

FROM NOW ON,

I KEEP THE DRAPES DRAWN AND DOORS LOCKED.

I DON'T WANT ANY OF THE OUTSIDE WORLD COMING IN.

NOT THE MARTY SALLS

OR THE MOVIES WITHOUT SENTIMENT,

ACTORS IN U N DERSH I RTS,

ROCK AND ROLL, JUKEBOXES,

NOT ANY OF IT.

WH ETHER YOU LIKE IT OR NOT,

THAT'S THE WAY THINGS ARE,

THAT'S THE WAY IT IS.

WHAT DO YOU DO?

SHUT YOUR EYES, SAY IT DOESN'T EXIST

BECAUSE YOU CAN'T SEE IT?

IT DOESN'T HAVE TO EXIST IF I SHUT MY EYES.

IF I SHUT MY EYES, IT ALL DISAPPEARS.

IF I WISH HARD ENOUGH, I CAN WISH IT ALL AWAY.

AS OF THIS MOM ENT-- RIGHT NOW, DAN NY--

THESE ARE THE 1 930s AGAIN

WITH ALL THE CHARM AND ROMANCE

ALL THE GAI ETY.

THAT WAS A CAREFREE WORLD, DAN NY,

AND I'M GON NA MAKE IT THAT WAY AGAIN.

YOU CAN'T! IT'S NOSTALG IC,

IT'S N ICE, BUT IT'S NOT TRU E. IT'S PHONY.

IT DOESN'T HAVE TO BE PHONY.

IF I WISH HARD ENOUGH, IT DOESN'T HAVE TO BE PHONY.

DARLING, WE'LL GIVE A PARTY.

WE'LL I NVITE ALL MY FRIENDS.

YOU TELL THEM I'M STILL HERE

AND WHAT IT'S LIKE HERE.

TELL J ERRY HEARN DAN

STEVE BLACK, PAU L NADER--

TELL THEM, DAN NY.

BARBARA, THIS IS RI DICU LOUS.

HAVE YOU FORGOTTEN?

PAU L NADER'S BEEN DEAD FOR FIVE YEARS.

J ERRY HEARN DAN LIVES IN CH ICAGO.

STEVE BLACK HASN'T BEEN AROUND FOR 1 5 YEARS.

AND IF I COULD GET TH EM, WHAT KIND OF A PARTY

DO YOU THINK I CAN I NVITE THEM HERE?

DON'T YOU U N DERSTAND WHAT YOU'RE DOING?

YOU'VE BU I LT YOURSELF A GRAVEYARD HERE.

YOU KEEP WISHING FOR THINGS THAT ARE DEAD!

[romantic music pIaying]

(JERRY) ALL FOR YOU.

WITH LOVE, FROM ME.

SALLY, IS SHE ALL RIGHT?

I WISH I COULD TELL YOU, MR. WE ISS,

BUT I DON'T SEE HER ANYMORE.

SOMETIMES HER BED'S NOT EVEN SLEPT IN.

SHE JUST STAYS IN THAT ROOM ALL THE TIME,

DAY AND NIGHT.

A COUPLE OF TIMES WHEN I'VE GON E IN THERE--

I TELL YOU, I DON'T WANT YOU TO THINK

I'VE GON E OUT OF MY MIND OR SOMETHING--

BUT I SWEAR TO YOU, I SEE HER UP ON THAT SCREEN.

NOW, SALLY, DON'T, PLEASE.

DON'T UPSET YOURSELF.

THERE'LL BE A GENTLEMAN BY IN A LITTLE WHILE--

A MR. HEARN DAN.

J ERRY HEARN DAN?

WHO PLAYED OPPOS ITE MISS TRENTON?

HE'S IN TOWN ON A BUS IN ESS TRI P,

AND I THOUGHT IT MIGHT BE GOOD FOR HER TO SEE HIM.

TAKE HIM INTO THE STU DY WH EN HE COMES.

[knock at door]

(Daniel) BARBARA, IT'S ME, DANNY.

CAN I COME IN, PLEASE?

DAN NY, PLEASE GO AWAY!

OH, BARBARA, PLEASE.

I'VE GOT SOMETHING IMPORTANT TO TELL YOU.

WHAT'S THE MATTER?

DON'T LIKE THE MERCHAN DISE?

THE MERCHAN DISE IS BEAUTIFUL

BUT IT LOOKS A LITTLE TIRED,

LIKE IT HASN'T SLEPT IN A COUPLE OF WEEKS

AND COULD USE SOME FRESH AIR AND SU N.

IT'S QU ITE HAPPY. THANK YOU FOR THE WEATHER REPORT

AND THE DOOR'S THE SAME ONE YOU CAME IN.

A FRI EN D'S COMING TO SEE YOU TODAY.

FRI EN D?

OH, I THOUGHT ALL MY FRIENDS WERE DEAD,

RETIRED OR FORGOTTEN.

YOU TOLD ME THAT YOURSELF.

AH, BUT THIS ON E'S AN OLD FRI EN D.

HE'S IN TOWN AND H E'D LOVE TO SEE YOU.

TELL HIM I'M NOT RECE IVING THIS YEAR.

IT'S JERRY HEARNDAN, BARBARA.

J ERRY?

J ERRY!

WHERE IS H E?

HE'S IN TOWN ON BUS IN ESS.

I HAPPENED TO MEET HIM AT THE HOTEL.

HE ASKED ABOUT YOU, ASKED IF HE COULD COME TO SEE YOU

AND I TOOK THE LI BERTY.

OH, IMUST LOOK AWFU L.

OH, DARLING,

WHEN HE GETS HERE,

TAKE HIM INTO THE STU DY.

I'VE GOT TO DO MY FACE, CHANG E.

H E'D LOVE YOU IF YOU CAME DOWN IN SACKCLOTH, BUT GO AHEAD.

I'LL HURRY.

IT'S BEEN A LONG TIME, BARBARA J EAN.

A LOT OF WATER OVER THE DAM.

YES.

ISN'T IT ODD

WE ALWAYS PICTURE PEOPLE THE WAY THEY WERE,

N EVER AS THEY REALLY ARE?

FU N NY. I THOUGHT YOU'D BE IN HERE

IN AN OFFICER'S U N I FORM, OR WH ITE TI E, TAI LS,

WITH A CHAM PAG N E GLASS.

THAT'S HOW I THOUGHT YOU'D BE.

THAT WAS 20 YEARS AGO.

I EVEN HAD SOME CRAZY IDEA

THAT WE'D DO ANOTHER PICTURE TOG ETHER AGAIN.

NO, BARB I E, I GAVE THAT U P LONG AGO.

THAT WENT DOWN THE DRAI N WITH MY YOUTH.

YOU DON'T ACT ANYMORE?

WHAT DO YOU DO?

[chuckIes]

I RU N A STRING OF SU PERMARKETS

OUTSIDE OF CH ICAGO.

A STRING OF SU PERMARKETS?

M M-H M M.

OUTSIDE OF CH ICAGO?

THAT'S N ICE.

HE'S THE ONE I EXPECTED.

HE'S THE ONE I WANTED TO HAVE COME AND SEE ME.

BUT H E'S DEAD NOW.

DEAD LIKE ALL THE OTH ERS.

BARB I E. BARB I E, PLEASE.

GO A WA Y, BOTH OF YOU!

PLEASE GO AWAY!

[crying] GO AWAY!

GOODBYE, BARBARA J EAN.

GOODBYE, MY DEAR.

[movie soundtrack pIaying]

THERE YOU ARE, J ERRY.

THERE YOU ARE.

YOU LOOK SO YOU NG.

SO WON DERFU LLY YOU NG.

WHO'S THE STRANG E OLD MAN HERE A WHILE AGO

WHO SAID HE WAS YOU?

J ERRY--

I WISH I COULD BE THERE WITH YOU.

I WISH I COULD BE UP THERE WITH YOU.

I WISH.

OH, HOW I WISH.

I WISH.

MISS TRENTON?

I'VE BROUGHT YOU A LITTLE SNACK, DEAR.

WOULDN'T YOU LIKE SOME COFFEE?

[projector whirring]

WHO SHUT IT OFF?

I--I DID.

AN HOUR AGO.

AND THEN I CALLED YOU.

HAVE YOU LOOKED IN HER ROOM?

THAT'S THE FIRST PLACE I CHECKED.

THEN I WENT TO EVERY ROOM IN THE HOUSE.

SHE'S NOT HERE.

AT LEAST NOT IN THE WAY THAT--

SHE'S NOT HERE THE WAY YOU AND I ARE.

YOU'RE GON NA RU N IT, MR. WE ISS?

YES, SALLY.

I'M GONNA RU N IT.

[suspenseful soundtrack]

[laughter and chatter]

DARLINGS, IT'S SO GOOD TO SEE YOU.

WE'RE ALL HAVING DINNER BY THE POOL.

PLEASE, EVERYONE OUTSIDE.

OH, STEVE.

PAUL.

JERRY.

BARB I E!

PLEASE! COME BACK, BARBARA!

BARB I E, IT'S M E, DAN NY.

BARBIE, COME BACK!

PLEASE, BARBIE!

BARB I E!

COME BACK, BARB I E!

TO WISH ES, BARB I E,

TO THE ON ES THAT COME TRU E.

(male presenter, off) TO THE WISHES THAT COME TRUE--

TO THE STRANGE, MYSTIC STRENGTH OF THE HUMAN ANIMAL

WHO CAN TAKE A WISHFUL DREAM

AND GIVE IT A DIMENSION OF ITS OWN.

TO BARBARA JEAN TRENTON, MOVIE QUEEN OF ANOTHER ERA,

WHO HAS CHANGED THE BLANK TOMB OF AN EMPTY PROJECTION SCREEN

INTO A PRIVATE WORLD.

IT CAN HAPPEN--IN THE TWILIGHT ZONE.

(male presenter, off) 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, WE I NVITE YOU TO TAKE A STRANG E JOU RN EY BACK IN TIME

WITH MR. GIG YOU NG, WHO TRI ES TO MAKE THE EXODUS OF ALL MEN

IN THEIR DESPERATE ATTEM PT TO RELIVE THE PAST.

WE OFFER A MOST B IZARRE STORY CALLED WALKING DISTANCE.

WE HOPE YOU'LL BE AROUND TO SHARE IT WITH US.

THANK YOU. AND GOOD NIGHT.

[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.