Original subtitles

[eerie music]

(male narrator) 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.

YOU'RE LOOKING AT A TABLEAU OF REALITY.

THINGS OF SUBSTANCE, OF PHYSICAL MATERIAL.

A DESK, A WINDOW, A LIGHT.

THESE THINGS EXIST AND HAVE DIMENSION.

NOW, THIS IS ARTHUR CURTIS, AGE 36, WHO ALSO IS REAL.

HE HAS FLESH AND BLOOD, MUSCLE AND M IND.

BUT IN JUST A MOMENT, WE WILL SEE HOW THIN A LINE SEPARATES THAT WHICH WE ASSUME TO BE REAL

WITH THAT MANUFACTURED INSIDE OF A M IND.

GOOD MORNING, MR. CU RTIS.

AH, GOOD MORNING, SALLY.

I THOUGHT I'D BETTER GET ANEARLY START. I GOTTA LEAVE ABOUT 3 :00.

MY WIFE AND I HAVEN'T GOTTEN A THING FOR TI NA'S B I RTH DAY PARTY YET.

THAT'S RIGHT. IT'S SATU RDAY AFTERNOON, ISN'T IT?

YEAH, IF MY DEAR DAUG HTER CAN HOLD OUT THAT LONG.

IS SHE EXCITED?

THAT'S ALL SH E CAN TALK ABOUT.

THAT'S ABOUT NORMAL.

ARE THE MATSON CONTRACTS READY, YET?

SURE. IF IN ISH ED THEM LAST NIGHT BEFORE I LEFT.

HERE THEY ARE.

THANKS. WELL, TO THE GRIN DSTON E. OH, UH, I ALMOST FORGOT.

COULD YOU CALL AND SEE I F YOU CAN CHANG E THE PLAN E RESERVATIONS TO SATU RDAY NIGHT?

OF COURSE. STRAINING AT THE B IT, HUH?

IT'S THE FIRST REAL VACATION MARIAN AND I HAVE HAD IN YEARS,

SO WE F IG U RED WHY LOSE THE WHOLE WEEKEN D BEFORE STARTING OUT.

I DON'T BLAME YOU, MR. CU RTIS.

SO, UH, SATU RDAY NIGHT, IT'S SAN FRANCISCO, HERE WE COME.

[whistling Coming Through the Rye]

OH, FOR H EAVEN'S SAKE.

(Man) CUT!

COME ON, J ERRY.

IS IT SO HARD TO MAKE A PHONE CALL?

HEY.

HEY!

REMEMBER ME, JERRY?

MARTY F ISH ER.

YOUR FRI EN DLY N EIGH BORHOOD MOVIE DI RECTOR.

SALLY, WHAT--

WHAT'S THE MATTER, MR. RAIGAN?

WHERE ARE YOU GOING?

I'M WARNING YOU, JERRY. THEY WON'T TAKE IT ANYMORE.

WISE UP, BOY. YOU'RE ON THE EDG E.

JERRY?

IT'S OKAY, MARTY. JUST A LITTLE GAG.

WE'LL TRY IT AGAIN, SHALL WE, J ERRY?

WE'LL PICK IT UP FROM THE PHONE CALL.

YOU'RE PHONING YOUR WIFE TO TELL HER TO MEET YOU DOWNTOWN AT 3 : 1 5, RIGHT?

WHAT ARE YOU TALKING ABOUT?

WHERE AM I?

WHAT IS THIS, SOME KIND OF A JOKE OR SOMETHING?

I DON'T KNOW YOU.

I DON'T KNOW ANY OF YOU.

DON'T LET HIM GET AWAY.

MARTY, I SWEAR THE AG ENCY HAD NO IDEA THAT RAIGAN WAS--

JUST KEEP HIM HERE, SAM.

SURE, SURE. I'LL PHON E-- I'LL PHONE BRIN KLEY.

IS THERE A TELEPHONE IN HERE?

WHY DON'T YOU S IT DOWN?

I ASKED YOU IF THERE WAS A PHON E--

IF I HAVE TO CALL BRIN KLEY ON THIS, YOU'RE DEAD.

J ERRY, WHY DON'T YOU LISTEN TO ME FOR ONE MINUTE, WILL YOU?

I DON'T KNOW WHAT'S THE MATTER WITH YOU.

CALL AN AM BU LANCE. MAKE IT FAST.

SHALL I USE THE STAG E PHON E?

NO. IF HE F IN DS OUT, THERE'S NO TELLING WHAT H E'D DO. GO ON.

J ERRY, LET'S GO TO YOUR DRESSING ROOM.

WHERE'S THE N EAREST PHON E?

J ERRY.

MY NAME IS ARTH U R CU RTIS.

ARTH U R CU RTIS?

LU NCH, ONE HOUR.

MAY I HAVE IN FORMATION, PLEASE?

WOULD YOU GET ME THE TELEPHONE NUMBER OF ARTH U R CU RTIS?

22437 VENTN ER ROAD

IN WOODLAND H I LLS, PLEASE?

VENTN ER. V-E-N-T-N-E-R.

WHAT? OH, NO, NO. YOU'RE M ISTAKEN.

OF COURSE THERE'S A PHONE THERE.

NO, LISTEN, IT'S MY OWN HOM E. I'M ARTH U R CU RTIS. I--

WELL, I-I CAN'T SEEM TO REMEMBER IT AT THE MOM ENT. WILL YOU--

NO, NO, IT'S NOT AN U N LISTED NUMBER. I--

I DON'T THINK.

WILL YOU PLEASE TRY AGAIN, OPERATOR?

I KNOW THERE'S A PHONE THERE.

(Fisher) JERRY?

YOU'RE WRONG, OPERATOR.

PLEASE, CON N ECT ME WITH YOUR SU PERVISOR. WHAT ARE YOU DOING?

J ERRY, I WANNA TALK TO YOU IN YOUR DRESSING ROOM. YOU'RE NOT WELL.

I'M GETTING OUT OF HERE. I'M GOING HOM E.

J ERRY!

[tires screeching]

ARE YOU OUT OF YOUR MIND?

J ERRY, IF YOU'RE DRU N K AGAIN, SO--

TAKE YOUR HAN DS OFF ME.

LOOK, I DON'T CARE IF THEY BOU NCE YOU.

I DON'T CARE IF YOU NEVER WORK AGAIN THE REST OF YOUR MISERABLE LIFE.

BUT YOU'RE GON NA PAY ME WHAT THE J U DG E TELLS YOU TO PAY ME,

OR, SO H ELP ME, I'LL PUT YOU SO FAR BEH IN D BARS THEY'LL N EVER F IN D YOU AGAIN.

M RS. RAIGAN?

I'M NOT MRS. RAIGAN ANYMORE.

I'M SORRY. CAN I TALK TO YOU IN PRIVATE?

I HAVEN'T THE TIME. HE'S COMING WITH ME.

HE'LL BE BACK FOR THE AFTERNOON SHOOTING.

THAT'S NOT EXACTLY WHAT I HAD IN MIND. I'VE CALLED AN AM BU LANCE.

JERRY'S HAVING A NERVOUS BREAKDOWN.

AM BU LANCE?

I'M NOT JOKING, M RS. RAIGAN.

[engine starting]

[tires screeching]

OKAY, MARTY, I CALLED THE HOSP ITAL.

I'LL DRIVE.

I'LL DRIVE, J ERRY.

I SAID I'LL DRIVE. YOU'D THINK YOU'RE GONNA KI LL US.

J ERRY, I'M GON NA BLEED YOU. I'M GON NA BLEED YOU DRY.

NOW LISTEN TO ME, WHOEVER YOU ARE.

I DON'T KNOW WHO YOU THINK I AM, BUT YOU'RE WRONG! YOU'RE WRONG!

MY NAME IS CU RTIS, ARTH U R CU RTIS.

AND I HAVEN'T THE SLIGHTEST IDEA WHAT YOU'RE TALKING ABOUT.

I'M GONNA DRIVE TO MY HOME IN WOODLAND H I LLS.

WHEN WE GET THERE, YOU CAN HAVE YOUR CAR BACK.

YOU THINK YOU CAN CH ISEL YOUR WAY OUT OF PAYING ME WITH A CH EAP TRICK--

MY NAME IS ARTH U R CU RTIS. MY WIFE'S NAME IS MARIAN. I HAVE A DAUG HTER NAMED TI NA.

WE LIVE AT 22437 VENTN ER ROAD IN WOODLAND H I LLS.

I'M WARNING YOU, J ERRY.

MY NAME IS ARTH U R CU RTIS!

[tires screeching]

NO, HE ISN'T DRUNK, MR. BRIN KLEY.

I-I-I COULD TELL YOU HE'S CRACKED. HIS MIND IS GON E.

HE SWEARS H E'S ARTH U R CU RTIS. SWEARS IT.

THAT'S RIGHT. ARTH U R CU RTIS,

THE CHARACTER HE'S PLAYING IN THE PICTURE.

YOU'LL LET ME KNOW WHEN THE GRAND TOU R IS OVER, WON'T YOU?

I CAN'T UNDERSTAND. I--

I DON'T KNOW WHERE I AM AND YET IMUST--

I LIVE HERE.

WHAT DO YOU WANT, JERRY? AN ACADEMY AWARD?

I TOLD YOU, MY NAME IS--

CUT IT OUT.

YOU NEVER HAD A LESS RECEPTIVE AUDIENCE.

YOU DON'T UNDERSTAND.

YOU GO AHEAD.

PLAY IT OUT. DO WHAT YOU PLEASE. I COULDN'T CARE LESS.

THAT'S RIGHT. YOU ASK WHERE VENTN ER ROAD IS.

TI NA.

TINA.

MOM MY!

GET IN. WOULD YOU RATHER GO TO JAIL FOR ATTEMPTED ASSAULT?

GET IN.

THAT'S THE ON E, MOM MY. THAT'S THE ON E, MOM MY.

HE'S THE ONE THAT GRABBED ME. HE SCARED ME.

I WON DER WHAT BRIN KLEY WANTS.

YOUR BLOOD PROBABLY.

WELL, HE'LL HAVE TO WAIT HIS TURN.

WELL? COME ON. I SAID I'D HAVE YOU BACK FOR THIS AFTERNOON'S SHOOTING.

GET OUT, J ERRY.

WHERE ARE WE?

COME ON. COME ON.

I GOTTA GET HOM E.

YOU ARE HOME. NOW, LET'S GO.

[door closing]

J ERRY, WHERE HAVE YOU BEEN?

SAM PHON ED ME OVER AN HOUR AGO. SAID YOU LEFT THE STU DIO.

COME ON.

CAN'T THIS WAIT, NORA?

NO. IT CAN'T. IT'S WAITED LONG ENOUGH.

I WANT MY MONEY BEFORE HE GOES OFF ON HIS NEXT BING E.

AND I'M GOING TO GET IT. NOW.

NOW, LOOK, I TRI ED TO EXPLAIN TO THAT, THAT WOMAN

THAT I'M NOT WHO YOU ALL SEEM TO THINK I AM. MY NAME IS CU RTIS. I LIVE I N--

J ERRY, STOP IT. YOU DON'T SEEM TO REALIZE THE POS ITION YOU'RE IN.

WHERE DO YOU H I DE THE CHECKBOOK?

I'LL F IN D IT IF I HAVE TO TEAR THIS HOUSE APART.

J ERRY, I'LL HAVE TO LAY IT RIGHT ON THE LIN E.

IF YOU LOSE THIS ASSIGN MENT, WE'LL HAVE TO DROP YOU.

WE CAN'T COVER UP FOR YOU ANYMORE. IT'S BEYON D THAT, WAY BEYON D.

I'M SORRY, BUT YOU'RE M ISTAKEN--

NOW, LOOK!

ALL RIGHT. THEY CAN SHOOT AROUND YOU TODAY.

I'LL TELL THEM YOU'RE...S ICK.

THEY WON'T BUY IT, BUT I'LL MAKE IT STICK SOMEHOW.

BUT YOU'VE GOT TO BE THERE TOMORROW, BRIGHT AND EARLY. YOU'VE GOT TO CONVI NCE THEM--

I DON'T KNOW WHAT'S GOING ON. I DON'T NOW WHAT'S GOING ON.

(Nora) ALL RIGHT, GET OVER HERE.

NORA, DON'T.

LOOK, YOU STAY OUT OF THIS.

CAN'T YOU SEE THAT HE'S UPSET?

YOU'RE GONNA TO SIGN THIS CHECK. YOU'RE GON NA SIGN IT RIGHT NOW.

G ERALD RAIGAN.

G-E-R-A-L-D R-A-I-G-A-N!

THAT'S NOT MY NAME! NOW, LISTEN, THIS HAS GONE FAR ENOUGH!

I'M NOT GERALD RAIGAN. I DON'T KNOW ANY OF YOU.

MY NAME IS ARTH U R CU RTIS. DO YOU HEAR ME?

ARTH U R CU RTIS, AND I WORK FOR--

I'D LIKE TO HAVE A TELEPHONE NUMBER

OF THE DAVIS MORTON COM PANY.

ONE-EIGHT-NINE

BRAND STREET, LOS ANGELES.

OF COURSE THERE IS!

I WORK THERE!

I'VE WORKED THERE FOR THE LAST SEVEN YEARS!

HELLO? HELLO!

FEELING BETTER?

YOU DON'T BELIEVE ME, DO YOU?

I BELIEVE YOU'VE BEEN OVERWORKED, U N DER A TERRI BLE STRAI N.

YOU NEED H ELP, J ERRY.

H ELP?

IT'S NOT IN MY PROVI NCE, BUT I'VE KNOWN YOU A LONG TIME.

CAN'T YOU SEE WHAT'S HAPPENED?

"CAST OF CHARACTERS. ARTH U R CU RTIS, 36.

"A YOUNG BUSINESS EXECUTIVE, HAPPILY MARRIED.

"CURTIS LIVES IN WOODLAND HILLS WITH HIS WIFE AND CHILD. HE--

"MARIAN CU RTIS, 33. A CHARMING YOU NG WOMAN.

"TYPICAL OF THAT EFFICIENT BREED

WHICH CAN MANAGE A HOUSE AND FAMILY AND STILL HAVE AMPLE--"

STOP IT!

THE ONLY IN FORMATION YOU HAVE ABOUT ARTH U R CU RTIS

IS WRITTEN IN THIS SCRI PT.

NO.

J ERRY, SOMETIMES I'D LIKE TO ESCAPE MYSELF

AWAY FROM THIS TU RMO I L

TO SOME S IMPLER EXISTENCE.

YOU'RE TELLING ME THAT THIS IS A DELUS ION.

THAT I'M REALLY G ERALD RAIGAN, A DRUNKEN--

GERALD RAIGAN, A SWEET, UNHAPPY MAN,

BU RDEN ED WITH THAT HARPY.

JERRY RAIGAN, TRYING TO FIND A LITTLE HAPPINESS, THAT'S ALL.

NO. IT'S REAL.

IT'S REAL.

I WISH IT WERE.

FOR YOUR SAKE, I WISH IT WERE.

I'VE GOT TO GO, J ERRY.

TRY AND GET SOME REST.

FORGET ABOUT THE PICTURE. YOU DON'T HAVE TO F IN ISH IT.

I JUST SPOKE TO THE STU DIO A FEW MINUTES AGO.

THEY'RE CANCELING PRODUCTION.

ARTH U R CU RTIS IS DEAD.

I'VE GOTTA GET BACK.

IT'S TOO LATE, J ERRY. IT'S F IN ISH ED.

I'VE GOTTA GET BACK TO MY OFF ICE.

YOUR OFF ICE? IF YOU MEAN THE SET,

THEY'RE PROBABLY TEARING IT DOWN RIGHT NOW.

THEY CAN'T.

THEY CAN'T!

JERRY!

[tires screech]

[muffled voices]

WAIT!

MR. RAIGAN!

YOU CAN'T DO THIS.

WE'RE JUST FOLLOWING ORDERS, MR. RAIGAN.

DON'T LEAVE ME HERE.

HONEY?

MARIAN.

[sighs] OH, MARIAN.

WELL, MY GOODN ESS. I'VE BEEN PHONING YOU ALL DAY LONG.

WHERE HAVE YOU BEEN?

BEEN?

SALLY KEPT SAYING YOU WERE OUT. SHE DIDN'T SEE YOU GO OUT--

LET'S GET OUT OF HERE.

ARTY! ARE YOU ALL RIGHT?

WELL, SURE.

WHERE WERE YOU?

MR. CURTIS? ARE YOU LEAVING NOW?

YES.

I HAVE YOUR TICKETS FOR SATU RDAY NIGHT. HERE YOU ARE.

F IN E. THANKS.

(man) ALL RIGHT. LET'S GET THOSE LAMPS AND TABLES OUT OF HERE.

HONEY, WHAT'S THE MATTER?

PLEASE.

HONEY, LET'S NOT WAIT. LET'S GO ON OUR VACATION RIGHT AWAY.

HEY. WHAT'S WRONG?

NOTHING, DARLING. I JUST DON'T WANT TO LOSE YOU.

HAS RAIGAN BEEN HERE?

YEAH, HE WAS HERE A M INUTE AGO.

YOU DIDN'T SEE HIM LEAVE?

NO, I DIDN'T. HEY, ANY OF YOU GUYS SEE RAIGAN LEAVE?

(man) NO, WE DIDN'T.

WOULD YOU TAKE A LOOK IN HIS DRESSING ROOM?

YEAH. SURE.

HE'S NOT IN HIS DRESSING ROOM.

WON DER WHERE HE IS.

(narrator) THE MODUS OPERANDI FOR THE DEPARTURE FROM LIFE

IS USUALLY A PINE BOX OF SUCH AND SUCH DIMENSIONS,

AND THIS IS THE ULTIMATE IN REALITY.

BUT THERE ARE OTHER WAYS FOR A MAN TO EXIT FROM LIFE.

TAKE THE CASE OF ARTHUR CURTIS, AGE 36.

HIS DEPARTURE WAS ALONG A HIGHWAY

WITH AN EXIT SIGN THAT READS "THIS WAY TO ESCAPE."

ARTHUR CURTIS, EN ROUTE TO THE 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, THE CU LPRIT IS CHARLES BEAU MONT,

THE GENTLEMAN RESPONS I BLE FOR A STORY U N LIKE ANY YOU'VE EVER SEEN.

YOU TALK OF IMMORTALITY,

THE BUS IN ESS OF BEING ABLE TO LIVE FOR AS LONG AS ONE WANTS.

WELL, NEXT WEEK YOU'LL SEE KEVIN MCCARTHY AT THE TAI L-END OF A LIFE

THAT'S GONE ON FOR TWO THOUSAND YEARS.

THE PLAY IS CALLED LONG LIVE WALTER JAMESON

ON THE TWILIGHT ZONE.

[eerie music]

EVERY YEAR THE RED CROSS NEEDS MONEY.

THIS YEAR AIN'T NO DIFFERENT.