Original subtitles

[eerie music]

(male narrator) YOU'RE ABOUT TO ENTER ANOTHER DIMENSION

A DIMENSION NOT ONLY OF SIGHT AND SOUND, BUT OF M IND

A JOURNEY INTO A WONDROUS LAND OF IMAGINATION.

NEXT STOP, THE TWILIGHT ZONE.

(male narrator) THE HOME OF MR. GREGORY WEST--

ONE OF AMERICA'S MOST NOTED PLAYWRIGHTS.

THE OFFICE OF MR. GREGORY WEST.

MR. GREGORY WEST--

SHY, QUIET, AND AT THE MOMENT, VERY HAPPY.

MARY-- WARM, AFFECTIONATE.

YOUREALLY SHOU LD BE WORKING, YOU KNOW.

YOU'RE NAGGING ME.

I'M ONLY THINKING OF POSTERITY.

THINK OF ME I NSTEAD.

DON'T I ALWAYS?

YES, YOU DO.

DRY ENOUGH?

WE'LL LET THE MASTER DECI DE.

PERFECT, AS ALWAYS.

ARE YOU DESCRI BING YOURSELF, MR. WEST?

LET THE M ISTRESS DECI DE.

SHE'S DECI DED.

AND THE FINAL INGREDIENT:

MRS. GREGORY WEST.

[front door opening]

[door closing]

(Mrs. West) GREGORY?

[glass breaks]

[knocking]

G REG, NOT AGAIN.

I HAVE TO.

GREGORY, I'M HOME, DARLING.

NO, GREG.

WHAT ELSE CAN I DO?

ARE YOU WORKING?

ARE YOU SO AFRAI D?

[knocking]

I HOPE I'M NOT INTERRUPTING YOU.

DARLING, I'LL ONLY BE A MOM ENT.

I JUST WANT TO COME IN AND-- KISS YOU.

WELL, I DIDN'T EXPECT YOU-- [cIears throat]

WHAT'S THE MATTER, DEAR?

SOMETHING WRONG?

HOW COME YOU'RE HOM E SO EARLY, DEAR?

DIDN'T YOU LIKE THE MOVIE?

NO. NOT VERY MUCH.

I JUST DECI DED I'D COME HOME EARLY.

HAVE YOU, UH, BEEN BUSY?

OH, YES, YES, I GOT QU ITE A BIT DONE.

DID YOU?

OH, I SEE YOU DROPPED A GLASS.

OH, YES.

YOU LOOKING FOR SOMETHING, DEAR?

OH, NO. I JUST THOUGHT I'D SEE

IF YOUR ROOM NEEDED TO BE CLEAN ED.

I DON'T THINK SO.

WHAT ARE YOU DOING, DEAR?

HONEY, WHAT ARE YOU DOING?

H M M?

OH, I, UH...

CHECKING THE WALL.

OH.

WHAT'S THAT?

OH!

MY SCISSORS.

G REGORY?

M M-H M M?

YOU WOULDN'T BY ANY CHANCE

HAVE A SECRET DOOR IN HERE, WOULD YOU?

A SECRET DOOR?

THAT'S WHAT I SAID, DARLING, SECRET DOOR.

NOW, WHAT ON EARTH WOULD I WANT

WITH A SECRET DOOR IN HERE?

YES. WHATEVER ON EARTH FOR?

[sighs]

ARE YOU ALL RIGHT, VICTORIA?

H M M? OH, WELL, I DON'T KNOW.

I'M NOT TOO SURE.

REALLY?

I THINK I MAY BE SU FFERING FROM HALLUCI NATIONS.

OH, YOU POOR DEAR.

IT'S THE STRANG EST THING

BUT I WAS JUST STANDING OUTSIDE THIS WIN DOW

ONLY A MOM ENT AGO RIGHT HERE.

YOU WERE?

YES, I WAS.

AND YOU'LL NEVER GU ESS

WHAT I SAW TH ROUG H THAT WIN DOW--

OR AT LEAST YOU'LL N EVER GU ESS WHAT I THOUGHT I SAW.

I COULDN'T POSS I BLY GU ESS.

I THOUGHT I SAW A WOMAN IN YOUR ARMS.

DID YOU?

YES. ISN'T THAT J UST TOO RI DICU LOUS?

YES, YES, IT IS.

OH, WELL, LISTEN--

WOULDN'T YOU LIKE TO HAVE ME DESCRIBE HER TO YOU?

WELL...

OH, LET ME, LET ME.

SHE HAD MASSES OF BLON DE HAIR

AND SHE WORE ONE OF THOSE FRU M PY LITTLE BLOUSES

WITH A TACKY LITTLE BROOCH AT THE BOSOM

AND ONE OF THOSE DREADFUL PEASANT SKI RTS.

BUT THE FU N NY THING WAS THAT SHE HAN DED YOU A DRINK.

[both Iaughing]

OH, SUCH DETAI L. IT'S QU ITE REMARKABLE.

YES. ISN'T IT?

OF COURSE, IF I'D THOUGHT ABOUT IT

I WOULD HAVE REALIZED HOW RI DICU LOUS IT WAS.

I WOULD HAVE REALIZED

IF I HAD THOUGHT ABOUT IT FOR A MINUTE

THAT A MAN OF YOUR EXTRAORDINARY TASTE

COULDN'T POSSIBL Y BE INTERESTED

IN SUCH A DRAB UG LY LITTLE CREATU RE.

OH, SHE'S NOT SO DRAB.

AHA.

DI DN'T THINK I'D BE HOM E SO EARLY, DID YOU?

DI DN'T THINK I'D BE HOM E THE WHOLE AFTERNOON, DID YOU?

THOUGHT YOU HAD ME FOOLED, DIDN'T YOU?

LET ME TELL YOU SOMETHING,

I'VE HAD MY EYE ON YOU FOR SOME TIME NOW.

DI DN'T THINK I SUSPECTED THE REAL REASON

FOR WHY YOU WERE ALWAYS SEN DING ME OUT OF THE HOUSE,

DID YOU?

"I MUST BE ALON E TO WORK," YOU SAID,

THE GREAT AND FAMOUS PLAYWRIGHT,

THE GREAT AND FAMOUS PH I LAN DERER!

NOW, VICTORIA, IT'S SO S IMPLE.

WHERE IS SH E?

I CAN EXPLAIN EVERYTHING.

DO YOUREMEMBER MY PLAY, FURY IN THE NIGHT?

[groaning] OH, YES.

DEAR, DO YOU REMEMBER IT?

YOUREMEMBER THE CHARACTER PH I LI P WAI NWRIGHT?

G REGORY, J UST TELL ME ONE THING.

WHAT'S HER NAME?

WHAT?

WHAT'S HER NAME?

MARY! BUT THAT DOESN'T--

"MARY!" HOW COMMON.

PLEASE, VICTORIA--

JUST S IT DOWN HERE AND LET ME EXPLAIN.

I'M LISTENING.

YOU KNOW HOW SOMETIMES I'VE TOLD YOU

THAT F ICTIONAL CHARACTERS COME ALIVE SO VIVI DLY

THEY MAKE DECISIONS OF THEIR OWN?

A PLAYWRIGHT MAY HAVE WORKED OUT

SOME KIND OF MOVE FOR THEM

BUT THEY REFUSE TO DO IT.

THEY WI LL NOT ACCEPT ANYBODY'S-- THEY BECOME SO STRONG

THAT SOMETIMES THEY TAKE OVER THE WHOLE STORY!

I HARDLY SEE THAT THIS HAS ANYTHING...

PLEASE BEAR WITH ME, VICTORIA.

I'VE BORNE WITH YOU FOR YEARS.

PH I LI P WAI NWRIGHT WAS THE FIRST ONE OF MY PLAY CHARACTERS

TO EVER BEHAVE LIKE THAT.

NO MATTER WHAT I HAD PLAN N ED FOR HIM,

HE BALKED, HE REFUSED.

HE WOULDN'T ACCEPT ANY OF MY DECIS IONS.

HE BECAME ALIVE-- WITH A WILL OF HIS OWN!

DO YOU UNDERSTAND?

I UNDERSTAND THAT YOU ARE TRYING TO CHANG E THE SU BJ ECT.

I'M NOT!

THIS IS THE SUBJECT.

PHILIP WAINWRIGHT BECAME ALIVE!

ONE NIGHT, WHILE I WAS WORKING HERE--

RIGHT UP HERE IN MY OFF ICE--

PH I LI P WAI NWRIGHT WALKED IN TH ROUG H THAT DOOR.

OH, GREG, NOW, REALLY.

VICTORIA, YOU'VE GOT TO BELIEVE ME!

HE WALKED IN RIGHT TH ROUG H THAT DOOR.

HE CAME IN HERE, AND HE SAT DOWN

IN THAT CHAIR...

ALIVE...

A REAL FLESH AND BLOOD MAN!

AND I CREATED HIM.

OH, MY.

WHAT ARE YOU DOING?

I AM AFRAI D THAT PSYCH IATRY IS NEXT ON THE AG EN DA.

YOU'VE GOT TO BELIEVE M E, VICTORIA.

CHARACTERS IN MY PLAYS DO COME ALIVE.

I'VE SEEN THEM, TALKED TO THEM.

I'VE EVEN SHAKEN HAN DS WITH THEM.

YOU EVEN MADE LOVE TO THEM, REMEMBER?

YES... I MEAN NO!

LOOK, YOU KNOW HOW I WORK.

I DICTATE DIALOG AND STAG E BUS IN ESS

INTO THE TAPE RECORDER.

I DESCRI BE ANY CHARACTER I WANT

AND IF I DO IT WELL ENOUGH, THEY COME TO LIFE--

TO LIFE, VICTORIA.

AND I DON'T EVEN HAVE TO DESCRI BE THE CHARACTERS

IN MY PLAYS ANYMORE.

I CAN DESCRI BE ANY CHARACTER I WANT!

YOU SHOU LD BE PUT AWAY.

NOW, YOU SAID THAT YOU SAW MARY HERE, RIGHT?

OH, I SAW HER HERE, ALL RIGHT.

THEN HOW DID SHE GET OUT?

THAT'S WHAT I'M TRYING TO F IN D OUT.

SHE COULD NOT HAVE GONE OUT TH ROUG H THE WIN DOW.

YOU KNOW THERE ARE NO SECRET DOORS IN HERE.

BUT I'M GOING TO SHOW YOU HOW SHE GOT OUT OF HERE

BECAUSE I WANT YOU TO UNDERSTAND.

I TAKE MY SCISSORS,

I SN I P OFF THE PART OF THE TAPE

ON WHICH SHE IS DESCRI BED,

I ROLL THE TAPE INTO A LITTLE BALL,

I THROW IT INTO THE F I REPLACE,

SHE'S GONE!

U NCREATED.

I'M GOING TO HAVE YOU COM M ITTED.

YOU'VE GOT TO BELIEVE ME.

WHAT DO YOU THINK YOU'RE DOING?

NOW, JUST A MINUTE.

I'M TRYING TO SAVE OUR MARRIAG E.

DON'T WASTE YOUR TIME.

I COULD DESCRI BE A DOG OR A CAT OR ANY CHARACTER YOU WANT

BUT I'M SURE YOU WOULD PREFER TO SEE MARY

AND I'VE CREATED MARY SO MANY TIMES,

THAT SHE'LL BE MUCH MORE AVAI LABLE.

I'LL JUST BET SHE IS.

GIVE ME THE KEY, GREGORY.

HER NAME--IS MARY.

SHE'S 30 YEARS OLD...

FIVE FEET SIX I NCH ES TALL,

N ICELY BU I LT,

BLON D HAIR,

FAIR COM PLEXION,

A S IMPLE, U NASSU MING FEMALE,

BUT WITH THAT QUALITY OF IN N ER LOVELIN ESS

THAT BRINGS REAL BEAUTY TO A WOMAN.

A TEN DER, G ENTLE WOMAN...

AN UNDERSTANDING WOMAN.

SHE'S DRESSED IN A SOFT BLOUSE...

OLD-FASH ION ED BROOCH...

FU LL SKI RT.

HER HAIR...

IS ATTRACTIVELY ARRANG ED.

SHE'S COMING UP THE FRONT WALK.

SHE'S CROSSING THE PORCH.

SHE'S OPENING THE FRONT DOOR.

[front door opening]

SHE'S CLOSING IT.

[door closing]

SHE'S WALKING ACROSS THE HALL...

[footsteps approaching]

GOOD AFTERNOON, M RS. WEST.

THERE'S NOTHING TO BE AFRAI D OF, MRS. WEST.

DO YOU BELIEVE ME NOW, VICTORIA?

I'LL TELL YOU WHAT I BELIEVE.

I BELIEVE THIS IS SOME SORT OF F I EN DISH PLOT.

YOU LET HER OUT OF HERE TH ROUG H A SECRET DOOR,

THEN YOU TELL ME THIS RI DICU LOUS STORY

ABOUT BRINGING CHARACTERS TO LIFE.

THEN YOU LOCK THE DOOR

AND PRETEN D TO BRING H ER BACK TO LIFE.

THEN SHE COMES IN THE FRONT DOOR

AND TRI ES TO MAKE ME BELIEVE THAT--

YOU'RE TRYING TO DRIVE ME I NSAN E.

YOU WANT TO HAVE ME COM M ITTED.

YOU WERE GOING TO HAVE ME COM M ITTED.

YOU WANT TO HAVE ME COM M ITTED

SO THAT YOU CAN GET ALL OF OUR PROPERTY

SO THAT YOU CAN SHARE OUR PROPERTY WITH...

I JUST WANTED TO SHOW YOU.

IS THAT WHY YOU BROUGHT ME-- JUST TO SHOW H ER?

NOW, PLEASE TRY TO UNDERSTAND, MARY.

AFTER ALL, VICTORIA IS MY WIFE.

NOT ANY LONG ER, I'M NOT.

NOT AFTER THIS DIABOLIC CONSP I RACY.

CAN'T I DO ANYTHING RIGHT?

NO.

YOU HAVEN'T ANSWERED ME, GREG.

YOU DON'T REALLY BELIEVE THAT I WANT TO HAVE--

YES.

HERE WE GO AGAIN.

YOU LET ME OUT OF HERE, YOU MONSTER.

G REGORY WEST, YOU LET ME OUT OF HERE

OR I'M GOING TO SCREAM.

I PROMISE YOU, I'M GOING TO SCREAM.

WHAT FOR?

AGAIN?

WHY DO YOU DO THIS TO ME, GREG?

OH, I'M SORRY, MARY, BUT...

WHAT ELSE CAN I DO?

I JUST GOT HERE, GREG.

WHAT ELSE CAN I DO?

THAT'S ALL YOU EVER SAY.

YOU WOULDN'T BELIEVE ME, HUH?

YOU JUST GOT TO MAKE ME SHOW YOU, HUH?

YOU'VE GOT TO MAKE ME FORCE POOR MARY TO LEAVE AGAIN.

VICTORIA...

SOMETIMES I WON DER.

DON'T BRING ME BACK AGAIN.

NOW, MARY...

J UST... DON'T.

I CAN'T BEAR IT ANY LONG ER.

OH...

FORGIVE ME, MARY

BUT SHE IS MY WIFE.

WHERE IS SH E?

I TOLD YOU.

WH-WHERE IS SH E?

YOU STILL DON'T BELIEVE ME, HUH?

G REGORY, WHERE DID SHE GO?

I TOLD YOU!

I...

U NCREATED H ER.

OH, DEAR.

NOW, DON'T YOU WORRY.

WE WON'T LET IT HAPPEN ANYMORE.

I PROMISE YOU, I WON'T DO IT AGAIN.

THE ONLY REASON I DID IT THE FIRST TIME

WAS THAT, WELL, I WAS LON ELY.

DON'T YOU SEE, VICTORIA?

YOU'RE SO PERFECT

YOU'RE SO IMPECCABLE, YOU'RE SO FLAWLESS, AND...

WELL, I JUST FELT INFERIOR.

I WOULDN'T HAVE CREATED MARY.

I DIDN'T CREATE H ER TO I NSU LT YOU.

I WAS LON ELY, THAT WAS ALL.

I WANTED SOMEBODY TO TALK TO.

OH...

SOM EONE THAT I'D FEEL COM FORTABLE WITH.

NOT LIKE A WORM.

WELL, YOU UNDERSTAND, DON'T YOU?

OH, YES, I UNDERSTAND.

OH, F IN E.

WE'LL WORK IT OUT. WE'LL WORK IT OUT SOMEHOW.

IT'S JUST THAT I, I FEEL SO I NADEQUATE

COM PARED WITH YOU.

OF COURSE, THAT'S REALLY MY FAU LT.

I GU ESS I SHOU LD HAVE...

NOW, DON'T TRY TO STOP ME, GREGORY.

WHERE ARE YOU GOING?

I'M GOING TO THE NEAREST LAWYER

AND I'M GOING TO HAVE YOU PUT AWAY

FOR THE REST OF YOUR U N NATU RAL LIFE--

AWAY FROM TAPE RECORDERS AND FROM ME.

I'M GOING TO LIVE ALL BY MYSELF

IN PERFECT PEACE AND HARMONY IN THIS HOUSE

FREE OF YOUR DISEASED M IND.

NO, VICTORIA!

YES, VICTORIA.

(Greg) A GIANT RED-EYED ELEPHANT IS STANDING IN MY HALLWAY,

AND WILL NOT LET HER PASS.

OH, DON'T BE RI DICU LOUS.

[screams]

G REGORY, WOULD YOU PLEASE

GET THAT ELEPHANT OUT OF MY HALL.

WILL YOU STAY?

YES.

[elephant crying out]

YOU ARE STARK STARING RAVING MAD.

YOU SHOU LDN'T SAY THOSE KIND OF THINGS.

THEN YOU'LL STAY, HM?

YOU DON'T SERIOUSLY THINK

YOU'RE GOING TO KEEP ME

IN THIS HOUSE NOW, DO YOU?

YOU WANT ME TO DO IT AGAIN?

NO!

NO, NO, I--I, UH,

I'LL STAY HERE FOR THE MOM ENT.

BUT BELIEVE ME, THE FIRST OPPORTU N ITY I GET,

I'M GOING TO HAVE YOU PUT AWAY.

BELIEVE ME.

I BELIEVE YOU.

WELL, I GU ESS THERE'S NOTHING ELSE TO DO.

HOW LONG HAS THAT BEEN THERE?

OH, EVER S I NCE YOU AND I WERE, U H... MARRI ED.

WHAT IS THAT?

WHAT IS THIS SU PPOSED TO MEAN?

NOW, VICTORIA, SHALL I PUT THIS BACK IN THE SAFE

OR SHALL I THROW IT IN THE F I RE?

G REGORY, YOU'RE NOT SERIOUSLY TRYING TO MAKE ME BELIEVE--

I AM TELLING YOU, VICTORIA.

LOOK AT YOURSELF.

REGAL, BEAUTIFUL.

YOU COULD HAVE ANY MAN IN THE WORLD THAT YOU WANTED.

HAVEN'T YOU EVER WON DERED

HOW YOU HAPPENED TO GET STUCK WITH ME?

WELL, I'M TELLING YOU.

YOU'RE AN I M PECCABLE, FLAWLESS--

YOU'RE JUST THE SORT OF WIFE THAT--

I ALWAYS USED TO THINK I WANTED

MORE THAN ANYTHING ELSE IN THE WORLD.

IS THIS ANOTHER ONE OF YOUR TAWDRY LITTLE TRICKS?

NOW, WHY DO YOU THINK I GOT SO UPSET

WHEN YOU CAME BACK HERE A WHILE AGO?

NOT BECAUSE OF MARY, BUT BECAUSE YOU CAME BACK

AGAINST MY WI LL FOR THE FIRST TIME.

FOR THE FIRST TIME.

DO YOU THINK YOU'RE FRIGHTENING ME?

NO, I GU ESS NOT.

YOU'RE BEYON D THAT.

I MADE YOU TOO STRONG.

I FORGOT TO ADD A LITTLE-- HUMAN FRAI LTY.

WELL, I ASKED FOR IT.

I'LL PUT THIS BACK IN THE SAFE.

I'VE GOT...

G REGORY.

WOULD YOU LIKE TO KNOW

WHAT I THINK OF YOUR CH I LDISH NONSENSE, HM M?

TH IS.

VICTORIA!

OH, GREG...

G REG, I FEEL SO STRANG E. I--

YOU, YOU DON'T MEAN THAT YOU WERE TELLING ME THE TRUTH?

YOU WERE RIGHT.

VICTORIA!

NOW, I TOLD H ER, I TOLD H ER.

SHE J UST WOULDN'T LISTEN TO ME.

HER NAME...

HER NAME IS M RS. VICTORIA WEST.

SH E...

WHY NOT LEAVE WELL ENOUGH ALON E?

HER NAME...

IS MARY.

M RS. MARY WEST.

SHE'S 30...

FIVE FEET, SIX I NCH ES TALL...

BLON DE HAIR...

N ICELY BU I LT...

CLEAR COM PLEXION.

SH E'S... A PLAIN, U NASSU MING FEMALE

WITH THAT IN N ER QUALITY OF LOVELIN ESS

THAT MAKES A WOMAN TRU LY BEAUTIFUL.

SHE IS DRESSED IN A SOFT, P IN K BLOUSE

OLD-FASH ION ED BROOCH, FLOWING SKI RT.

HER HAIR IS ATTRACTIVELY ARRANG ED.

SHE IS IN H ER H USBAN D'S STU DY

PREPARING HIM A DRINK.

(male narrator) WE HOPE YOU ENJOYED TONIGHT'S ROMANTIC STORY

ON THE TWILIGHT ZONE.

AT THE SAME TIME, WE WANT YOU TO REALIZE

THAT IT WAS, OF COURSE, PU RELY F ICTIONAL.

IN REAL LIFE, SUCH RIDICULOUS NONSENSE COULD NEVER--

(Greg) ROD!

[clucking tongue]

YOU SHOU LDN'T.

I MEAN, YOU SHOULDN'T SAY SUCH THINGS AS

"NONSENSE" AND "RI DICU LOUS."

WELL, THAT'S THE WAY IT GOES.

(male narrator) LEAVING MR.GREGORY WEST--

STILL SHY, QUIET, VERY HAPPY

AND, APPARENTLY, IN COMPLETE CONTROL

OF THE TWILIGHT ZONE.

[eerie music]

KI M BERLEY CLARK I NVITES YOU

TO WATCH STEVE MCQU EEN

IN WANTED DEAD OR ALIVE.

SATURDAY NIGHTS OVER MOST OF THESE SAME STATIONS.