Twilight Zone: The Movie (1973) Movie Script

What way? What way? DRlVER [SlNGlNG]:
Boy, look at the clothes Oh, yeah. [TAPE SCRATCH lNG] PASSENGER: l think your tape got eaten.
DRlVER: Oh, Jesus. Jesus. That was good. PASSENGER:
Yeah. They're great, Creedence. DRlVER:
This thing's brand-new. -How about the radio?
DRlVER: Radio doesn't work. You can't get anything out here.
No entertainment. Now there's no entertainment.
Damn it! Well, guess we just have to
talk to each other, huh? We talked to each other already. -Yeah, l know where you're from.
-Hey, hey, hey. -Wanna see something real scary?
-Sure. -l love this, okay?
-Yeah, what? -We're driving, right?
-Yeah. lmagine not running out of gas.
We have plenty of gas, all right? -Yeah.
-Oh, my God. What are those gravel beds up ahead? They're gonna fly up
and knock out our lights. Uh-oh. PASSENGER: Hey, come on.
DRlVER: Blackness. Oh, my goodness. Why, there could be nuns ahead.
We wouldn't even see them. lsn't this amazing? Look. PASSENGER:
l don't know whether it's too safe-- DRlVER: l used to play chicken
and see how far we could drive... . ..without someone going, "Stop." PASSENGER:
l don't know, l think you better-- DRlVER:
Who's chicken, huh? -ls that a bear up there, huh?
PASSENGER: Turn the lights on. [DRlVER LAUGHlNG] Huh? Uh-oh. More pebbles.
Oh, my goodness. lt looks like they're out permanently
this time. Ha, ha, ha. PASSENGER: This is dangerous.
DRlVER: No, the road's straight. lt's kind of scary.
What is that up ahead? PASSENGER:
Something might come up ahead-- DRlVER:
A big, huge squirrel. Ha, ha, ha. Chicks love that. -That's scary enough.
DRlVER: l know, l like it. -Hey, you like trivia?
-Yeah. -Okay, wanna play TV theme songs?
PASSENGER: Sure. -You know how to play?
-Well... . l'll hum a theme song.
lf you guess it, you get to hum one. lf l guess it, l get to have it back. -Okay.
-lf you get three in a row, you win. -Okay, l'm good at that.
-Okay? Okay, l'll start. [HUMMlNG] Wanna hint? -Sea Hunt.
-Sea Hunt, go. All right. [HUMMlNG] -Perry Mason.
-You got it. [HUMMlNG] Bonanza. All right. [HUMMlNG] -Real McCoys.
-No. [SlNGlNG]
Fred Gwynne was in it -Beverly Hillbillies.
-No. -Car 54.
-That's it. -Thanks for the Fred Gwynne.
-Absolutely. How about this one? [HUMMlNG] Know it? [SlNGlNG]
Look at that fossil It's stuck over there in the tar Look at that old man
He looks like an old ape -What is it?
-l don't know. DRlVER [SlNGlNG]: Look at that old bone
It could be worth a bucks -What is it?
-l don't know. Look at those two apes
This must be where they live Look at that city, let's continue to dig -What is it?
-l don't know. It's National Geographic,
National Geographic. Okay, all right. -Okay, l got one for you.
DRlVER: Okay. [PASSENGER HUMMlNG] [BOTH HUMMlNG] Yes. What is it? l don't know, but you're doing it great. DRlVER:
Sounds like it was on CBS. l don't know. DRlVER: Give me a hint.
-Book him, Danno. -Book him, Danno.
DRlVER: Book him, Danno. Book him. One more hint.
What was its locale? PASSENGER: Surfboards.
An island in the Pacific Ocean -Gilligan's Island.
PASSENGER: With Jack Lord -Hawaii Five-0.
-Yes. Oh, Jesus, l thought l was good at this. Did you ever watch The Twilight Zone? [HUMMlNG "TWlLlGHT ZONE THEME"] Oh, God. Remember the Twilight Zone
with Burgess Meredith? Remember? He loved to read. And there was a nuclear war
and he had no friends. -He's in the library--
-Oh, with the glasses. Yes. He was the last man,
he broke his glasses. -Yeah.
-Freaked me out. When l was 7, l bought another pair
just in case that would happen. Oh, those shows. They were so good. -They were so scary.
-Yeah, they were great. Remember
where the guy had the stopwatch? Somebody gave him a stopwatch,
he was this real obnoxious guy. He took the stopwatch, he hit it. -Everybody else in time froze but him.
-That's an Outer Limits. -That was a Zone.
-That's Outer Limits. That was a Zone. They had one about mannequins
that turned into humans. They were allowed to go out
for two weeks. One came back and
it was over two weeks. The other mannequins
turned her into plastic. -Boy, they were scary. They were great.
-l loved it. Hey. -You wanna see something really scary?
-You bet. -Really?
-Yeah. Okay, this is really, really scary, now. l trust you. Okay, pull the car over. Pull the car over? Oh. -You wanna see?
-Show me while l driving. l can't.
lt'll only take a couple of seconds. -All right, two seconds, okay?
-Okay. -What is it?
-Pull it over. -l'll show you.
-All right. Okay. Scare me. -Are you ready?
-Okay, go ahead. What are you doing? [SCREAMlNG AND BlTlNG] [DRlVER GROAN lNG] NARRATOR: You unlock this door
with the key of imagination. Beyond it is another dimension. A dimension of sound. [GLASS BREAKlNG] A dimension of sight. A dimension of mind. You're moving into a land
of both shadow and substance... [CLOCK TlCKlNG] ...of things and ideas. You've just crossed over
into the Twilight Zone. You're about to meet an angry man,
Mr. William Conner... ...who carries on his shoulder
a chip the size of the national debt. This is a sour man, a lonely man... ...who's tired of waiting for the breaks
that come to others but never to him. Mr. William Connor... ...whose own blind hatred
is about to catapult him... ...into the darkest corner
of the Twilight Zone. RAY:
Hey. Hey. Bill. [PEOPLE CHATTERlNG] [MUSlC PLAYlNG] [SlGHS] -How you doing?
RAY: l'm okay. l can't stay long. My wife's relatives from Florida
are coming over for dinner. Great, huh? Hey, girl. Another beer over here. Bill, you look kind of cranky this evening. Yeah, l'm pissed, all right. Uh-oh. BlLL: Remember the guy Goldman?
-You didn't get promoted? They gave it to that Jew bastard. [SlGHS] Why don't you come over here
and cheer me up? l need it. Just drink your beer. [LAUGHS] What about you?
You wanna cheer me up? Don't touch me. "Don't touch me." Okay. l think she likes you, Bill. [BOTH LAUGH] l can't believe it, you know. l can't. -Bill, drink your beer. Relax.
-What do you mean, "relax"? They give Goldman my promotion,
you tell me to relax? You know what that
would have meant to me? An extra $6000 a year that l'd earn. You know them kikes. They get more money. You know that. How long has Goldman been there? So, what if he's been there
longer than me? So what? l'm better.
l worked hard for that promotion. They give it to some Jew. l mean, what else do the hell they want?
They own everything as it is. Come on, Bill,
the Jews don't own everything. The Arabs won't let them. [BOTH LAUGHlNG] Arabs, what the hell is that?
Just a nigger wrapped up in a sheet. [LAUGHS] -He's on a roll now.
BlLL: l'm gonna tell you something. What's the matter with this country?
lt's getting tougher to earn a living. And you know why? l'll tell you why. Because of the Jews... . ..because of the blacks,
because of the Orientals. -You're ranting.
BlLL: Yeah, l'm ranting, why not? Who owns my house? Jap bank.
l'll tell you something else. Niggers live not more
than six blocks from my house. Six blocks. Excuse me, mister. Have you got a problem? Yeah, l got a lot of problems. Look, l really don't care
what you gentlemen think... . long as we don't have to listen to it. lt's okay, no problem. My friend's a little upset, that's all.
He got some bad news today. Yeah. -You trying to get us killed?
-l just finished telling you. .. . ..that some Jew got my job.
Niggers live in my neighborhood. You embarrassed? You wanna leave?
You want me to hold it down, what? -Just--
-Don't give me that. l'm gonna tell you something.
l love this country. .. . ..and l fought for it in Korea. -And my country paid me to kill gooks.
-Hey, hey. But those same gooks
now own my house. l needed that job. l really needed that promotion. l was counting on the extra money.
l don't understand, the Jews are rich. What the hell do they want
with my job anyway? Hey, Bill, l know Goldman.
You can't exactly call him rich. You don't understand
what l'm talking about, do you? l'm trying to tell you
that l'm better than a Jew. l'm better
than some African spear-chucker. l'm better than some gook,
because l'm an American. l'm an American.
Does that mean anything? -Hold it down, huh?
-No, you hold it down. -How about "please, hold it down"?
-How about please, hold this? -Hey, Bill, wait a minute.
BlLL: Oh, for-- RAY:
Bill. Yeah, l'm real sorry about your boy, man. [SPEAKlNG GERMAN] Ha, what? Ha, ha, ha. Huh? Wait a minute. Hey. Hey, that's my wallet.
Hold it, that's my wallet. That's a credit card, for Christ's sake. Now, look, that's my license,
that's my wallet, that's my credit card. Huh? Hey, guys, give me a break, huh? Wait a minute. Hey, wait. Wait a minute.
Wait a minute! -Halt.
-Halt. Halt. [GRUNTlNG] [WHlSTLlNG] [MEN SPEAKlNG lN GERMAN] [POLlCE SlREN WAlLlNG] Lady. .. . me, please. l've been-- l've been shot. l don't know where l am.
l need some-- Can you help me, lady?
Look, this here, they. ... l've been shot at. l don't. . . . l don't know what's happening to me. [YELLlNG lN GERMAN] Please, lady. Shh. [YELLlNG lN GERMAN] They were the ones that shot me. [SCOWLlNG] [MEN YELLlNG] [MAN SCREAMlNG] [MAN SPEAKlNG GERMAN] [GUNSHOT] BlLL:
No, no. [GUNSHOT] No, no. no! [GUNSHOT] No. [GUNSHOT] No, no. [GUNSHOT] No, no, no. [GUNSHOT] No! No, look--! [SCREAMlNG] We got you now, nigger. This nigger's got a gold watch. You stole this, didn't you, boy? Where am l? l didn't do anything.
What are you doing to me? Hang the coon son of a bitch. Are you crazy? You're insane. You're all crazy. You're insane-- MAN: Burn that nigger.
BlLL: What the hell's wrong with you? MAN: Okay, look out.
BlLL: l didn't do anything wrong. What are you doing to me? MAN: Shut up, nigger.
BlLL: l'm a white man. What the hell's the matter with you?
l'm white. [SCREAMlNG] MAN:
The nigger's getting away. [DOGS BARKlNG] MAN:
This way, boys. [GUNSHOTS] [YELLS] [GUNSHOTS] [DOGS YELPlNG] [CRlCKETS CH lRPlNG] [MEN CHATTERlNG lNDlSTlNCTLY] [SNAKE H lSSlNG] [MEN SPEAKlNG lN FORElGN LANGUAGE] [MUSlC PLAYlNG ON RADlO] Charlie's out there, man. l know it. Be cool, man.
Don't get your nuts in a bunch. He's right, man. Something's moving. Yeah, l don't want no VC
up my ass, man. Hey. -Hey.
-Shut up. Hey. l'm an American. l'm an American. Help me. [WATER SPLASHlNG] Hey. No. [GUNSHOTS] [BlRD SQUWAKlNG] l told you guys we shouldn't have
shot Lieutenant Neiderneyer. Shh. [EXPLOSlON] Oh, oh. Oh, God. Oh, no. No, no, no. MAN:
Halt! [MEN YELLlNG lN GERMAN] [GUNSHOTS] Hey, take it easy, will you?
One of your men just shot me in the leg. Take it easy there, will you?
Where are you taking me? Huh? Look, l want to speak
to a commanding officer. l demand to speak
to the commanding officer, you hear me? l demand to speak
to the commanding officer. No, no. No. No! No! No! No! Stop. No! [WATER SPLATTERlNG] Ray? Ray. Ray! Larry. lt's me. Larry. Larry! Larry, help. Ray, it's me. Hey, Larry. Ray, it's me. Ray, help. Larry. [CAR RUMBLlNG] Ray. lt's me, it's me. lt's me, it's me. Help! Ray, help. lt's me. Ray. Ray, help. lt's me. lt's me. lt's me. NARRATOR:
It is sometimes said... ...that where there is no hope,
there is no life. Case in point: The residents of Sunnyvale Rest Home,
where hope is just a memory. But hope just checked in to Sunnyvale... ...disguised as an elderly optimist... ...who carries his magic
in a shiny tin can. Vitamin A is for the scalp,
the hair, vision and teeth. Vitamin B is for the, uh, hair
and mucous membrane. Vitamin C is for the circulatory system. Very important for that part. And let's not forget calcium
for good strong bones and teeth. Before we get to that, though. . . . .. l always recommend
a little lemon juice in the diet. -Yes, l take lemon juice, yeah.
GREY: Good diet, healthy senior citizens. Now to E. This is an important one. lf you've enjoyed healthy sex
throughout your life. . . [CROWD CHUCKLlNG] . ..there's no reason why you can't
continue to enjoy well into your 80's. WOMAN: What about the men, though?
GREY: l have some special exercises for you. -That's Leo Conroy.
GREY: You can do in your chairs. AGEE:
That's his kid. He's in real estate. GREY:
Well, the first, lean down over your lap. That's right. Arms hanging loosely. Good. Now roll your spine up. Good. [CHlLDREN LAUGH lNG
AND CHATTERlNG] You said maybe this week
l could come visit. Come visit. l wish you could, Pop,
but it's bad timing this week. We really have to be going now. -l understand.
-Maybe next week, Pop. We're gonna be late for the game.
Jeff has to. . . . Bye-bye, Pop. So long. Every second Saturday he carries
those cases down to his kid's car. And every second Saturday... . ..he carries them back upstairs again
and unpacks. GREY:
Stretch. Breathe. MAN [ON TV]: The answer is, "lt's been
nicknamed 'Scourge of the Sons of Han'... ...because of perennial flooding." Don't say it, Agee. l'm thinking. [CHlLDREN LAUGH lNG
AND CHATTERlNG] What is the Yellow River? Those damn kids. They've been told not to play around here.
Old people need their rest. But they're just playing, Mr. Conroy.
No harm done. DEMPSEY: l wish l could go out there
and play with them. Why don't you, Mrs. Dempsey? Because, Mr. Bloom. . . . ..she is old. You're never too old to play, Mr. Conroy. You see, when l rest, l rust. ls this your first time
in an old-age home, Bloom? No, actually, Mr. Conroy,
l've been in six or eight of them. Tell me, Mrs. Dempsey. . . . ..if you could go out there
and play with those children tonight. . . . ..what would you want to play? Well, l used to love all kinds of games,
especially jacks. l used to be elementary-school
jack champion. MAN [ON TV]: "He and his '500 hats'
lived in the kingdom of Didd." Don't say it, Agee. l'm thinking. But if l could tell my body
now what to do, l would dance. -Bartholomew Cubbins.
-Einstein. WOMAN [ON TV]:
Who is Bartholomew Cubbins? MAN [ON TV]:
Good for you. Bartholomew Cubbins.
And you have $1 40 now. l would be honored if you would
dance with me, Mrs. Dempsey. l would love-- Oh, oh, my back. DEMPSEY:
l would like to run again. Paul, this is Amadeus.
Remember how to use him? Oh, what l wouldn't give
just to be hitting puberty again. Oh, oh. Remember this, Mrs. Dempsey? [SlNGlNG]
Not last night, but the night before Twenty-four robbers
Came knocking at my door -As I ran out, they ran in
-As I ran out, they ran in -And this is what they said to me
-And this is what they said to me Stop. You've had a full life, sweetheart.
Don't go sloppy on me now. And put on the shoes, huh? A good Jew only goes barefoot
when someone has died. -l'm not that kind of Jew.
-Well, l am, put them on. Mr. Weinstein,
what were you like as a boy? Oh, l loved to climb, anything.
Like a cat, l could climb. -l always wanted to be Douglas Fairbanks.
-Oh, you still do, Mr. Agee. l broke more bedsprings and bones. . . . jumping from my dresser to the bed
and out the window. [ALL LAUGHlNG] Me, l like being old. My son has promised
to have me frozen. You're already frozen, popsicle-head. [ALL LAUGHlNG] And what about you, Mr. Bloom?
What did you play? -My game was kick the can.
-Oh, that was a boys' game. -My late husband, Jack Dempsey--
-Not the fighter? Oh, oh, not the fighter, not the fighter. Jack Dempsey was the most gentle man
who ever walked on the earth. Jack Dempsey loved that game. -He absolutely loved--
-Oh, what is the point of all this talk? Why are you dredging all this up?
lt isn't healthy. [SINGING] Birdie with the yellow bill
Hopped upon my windowsill -Cocked his eye and said:
-Cocked his eye and said: -Ain't you shamed, sleepyhead?
-Ain't you shamed, sleepyhead? -Marbles, now there was a game, huh?
-Yeah. Life was so simple and gentle
when l was a little girl. People took care of me. But they take care of you here. Miss Cox takes great care of you. Doesn't let you do a thing. Oh.. . But l had lots of friends and toys. -Toys, you want toys?
-Mm-hm. Toys. Why, they have toys here
to last you the rest of your life. -l love toys.
-And friends? Oh, yes, friends. Why, Mr. Bloom here
is trying to make friends. Trying to stir them all up,
aren't you, Bloom? That day we stop playing
is the day we start getting old. Started watching the clock. Waiting for the days to hurry up and end. Counting the years. We always had something
to look forward to. Right. Another dawn, another day,
another summer. Another game of kick the can. [CHUCKLlNG] Oh, ha, ha, ha. BLOOM:
Kick the can. [ALL LAUGHlNG] -So who's playing?
-What? Starting up a game of kick the can.
Who's playing? Bloom. . . . ..when was the last time you fell down
and couldn't get up by yourself, huh? How dare you ask them to go out
and risk the little bit of life they have left? Life is risk, Mr. Conroy. l'm not asking anybody to do anything
that l'm not willing to do. Well, l agree with that. Maybe if we played kick the can... DEMPSEY:
Oh, oh. . ..we'd get a little hold of that magic
we all been missing. DEMPSEY:
You're right. A little hold on youth. Look, their bones are old
and will break if they try to run. Their hearts are old, their lungs are old. Oh, Miss Cox would never allow us
to go out there and play, Mr. Bloom. lt's against the rules. -Rules? Did rules ever stop a child?
ALL: No. You gonna let rules stop you
from the chance of being young again? DEMPSEY:
Oh, no, no, no. No, l don't think so. [CHUCKLES] You see, this old man
still has a little magic left in him. And if you believe.. . . .. l can promise to make you all
feel like children again. [DEMPSEY CLAPS] You're making promises they can't keep. -Mrs. Dempsey, l wanna see you dance.
DEMPSEY: Oh, l'd love that. And l wanna see you climb,
Mr. Weinstein. Like a catsel l'll climb. BLOOM:
We'll break the rules. What can they take away from us
we haven't already lost? When were you thinking of playing,
Mr. Bloom? Tonight, tonight, tonight. Don't bother to wake me up. [BLOOM CHUCKLES] [DOOR CREAKlNG] [AGEE SNORlNG] lt's time. AGEE:
lt smells like midnight, as l recall. [DEMPSEY LAUGHlNG] I feel vee ahn alter nahr. [METAL CLlNKS] One, two, three, four, five, six. . . ., eight, nine, ten. -l see you, Agee.
-Tallyho. AGEE:
Tallyho. Mr. Bloom is anucha mole. -Oh, l think Mr. Bloom kicked the can.
-Paul kicked the can. WElNSTElN: Mr. Bloom is it.
DEMPSEY: Mr. Bloom is it again. l'm it again, l'm it again. ALL:
Olly, olly oxen free. Olly, olly oxen free. -Olly, olly oxen free.
-Olly, olly oxen free. [lN H lGH-PlTCHED VOlCES]
Olly, olly oxen free. -Olly, olly oxen free.
-Olly, olly oxen free. Damn kids. Olly, oxen free. Olly, oxen free. Olly, olly oxen... . Oh, my God. -Gladys?
-ls that you, Harry? Such a little measkite. Oh, Look how short l am. Play, play. You wanted to play, go play. AGEE:
Beware the thrust of my steel. A-ha, a-ha! Beware of the Black Pirate. Parry, repent. Parry, repent. [SINGING] Birdie with a yellow bill
-Birdie with a yellow bill -Hopped upon my windowsill
-Hopped upon my windowsill -Cocked his shiny eye and said:
-Cocked his shiny eye and said: -"Ain't you ashamed, you sleepyhead?"
-"Ain't you ashamed, you sleepyhead?" [BOTH LAUGHlNG] -l'll be the boy and l'll catch you.
-No, Mr. Agee, you stay away. -Not now.
-No, Mr. Agee. l love your scent.
lt's like everlasting youth. [WElNSTElN YELLlNG
AND LAUGHlNG] AGEE: l'm going to scream
to the whole world. Agee, get away from my wife. [ALL YELLlNG AND LAUGHlNG] Charge. [SlNGlNG]
Not last night, but the night before Twenty-four robbers
Came knocking at my door As I ran out, they ran in May l have your dance? Sir, l don't wish to appear ungrateful. . . . ..but why didn't you come too? l found out long, long time ago. . . . .. l wanted to be my own true age... . ..and try and keep a young mind. Your wish has come true. You're children again. -You've got your whole life before you.
-But my life was hard. l had a swell life. l could do 60 years standing on my head. l'm cold. Where are we going to spend the night?
Who's gonna take care of us? WElNSTElN:
No problem for us. We'll just knock
on our son's door and say: "Let us in, Murray. We're your parents." Now, wait a minute. Let's think this over. l mean,
we're talking about being young again. We're talking about sex. But Jack Dempsey isn't here.
l'll never meet him. My ring. My wedding ring. lt fell off. [AGEE GASPS] Oh, please.
l didn't ask to be young again. All l wanted to do is dance. l can be old and dance. l'm not going to school again. l remember the night
when my father died. We laid him out
and sent all the children outside. l saw Halley's comet fly over. l don't wanna lose all the people
that l loved again. l was too young to see Halley's comet. l was going to see it
when l was 80 years old. Well, that's only two birthdays away,
Mrs. Dempsey. Would you like to see it at 8 or 80? Thank you. Well, you can always go inside
and go back to bed. Maybe if you old folks
had a little of that magic still left in you. .. . could wake up
back in your old nice bodies.. . . ..but with fresh young minds. Fresh young minds. Young minds. Fresh young minds. -Fresh young minds.
BLOOM: Yeah. [SNORlNG] Harry, wait. AGEE: Wait a minute, wait a minute.
l like being young. Popsicle-head. [SPEAKS YlDDlSH] There are kids in the beds. -There are kids here.
-Kids, kids, kids. [CHUCKLlNG] Kids. Yeah. Yeah. What are you talking about? -There were kids in the beds.
COX: Kids in the beds. Well, they, uh.. . . There were kids in the beds. ALL:
Good evening, Miss Cox. Well, they're old now. Tallyho. Welcome to Sherwood, milady. What, Sir Guy? No greetings from you? What are you doing in here,
you little ragamuffin? How dare you come in here. . . . this hour of the night
and frighten these people? Please... . ..take me with you. l wanna go too. You can't come with me, Leo. You'll have to stay with yourself. There's a destiny that shapes our ends,
rough-hewn though it may be. l'm sorry. Well, let's away. But l'm. . . . l'm ready now. l'm ready. AGEE: lt's wonderful being young again.
Beware the thrust of my steel. Tallyho. Watch out. He'll get it. Bring them in.
We'll put the tomatoes on the fence. Today, we go to the lake. We've been saying for years
that we'd go and see that lake. Let's ask Murray to come along. Let's ask Mr. Conroy.
He could bring his grandchild. MR. WElNSTElN: Children love water.
-Mr. Agee? Mr. Agee? Has anyone seen Mr. Agee? Hannah? BLOOM [SlNGlNG]:
While you're sittin' around mopin' Sittin' around mopin' Just listen to me I'm sure that you will agree Age means nothing to me -Mr. Bloom?
-ln person. Oh, how wonderful.
We were expecting you. Excuse me, ladies and gentlemen,
our new guest has arrived. NARRATOR:
Portrait of a woman in transit. Helen Foley. Age: 27. Occupation: schoolteacher. Up until now, the pattern of her life
has been one of unrelenting sameness... ...waiting for something
different to happen. Helen Foley doesn't know it yet,
but her waiting has just ended. Okay, l give up. Where am l? Well, you're not lost. lt looks like you missed a turnoff
at Cliffordville. Right there. Yeah, okay. Half a mile down is a gas station.
That's Beaumont. You hang a left, go four blocks.
The highway cuts in front of it. Now, you'll probably get-- [SWOOSHlNG] Hey, kid. Easy on the machinery. lt doesn't work right. Kid, l don't build the games.
l just keep the quarters. Why don't you stick another quarter in?
Maybe it'll work better. The highway splits outside of town.
lt goes off. ... [STATlC ON TV] MAN [ON TV]:
His uppercut misses, then a right-- Walter, the kid is screwing up the TV. -Hey, it's his quarter. The TV's free.
-Yeah? l got 20 bucks on this. Lots of luck. So where you headed? -Hey, Willoughby.
-Nice town. -You got a job set up there or what?
-No, not really. COUNTERMAN: Where you from?
-Homewood. [PHONE RlNGlNG] COUNTERMAN: Mm. Nice town.
-lf you say so. COOK:
Hello? Yeah. Hey, Walter. lt's your wife. Your wife. Thanks. MAN [ON TV]
lt's not a damaging punch. [BEEPlNG AND SWOOSHlNG] MAN [ON TV]:
Cannot hurt him. There's a left hand-- And Bradley-- -Okay.
-Hey, hey, Charlie. Hey, come on, man, take it easy. Take it easy. CHARLlE:
That's it. That's enough. What's going on here? COUNTERMAN:
Hey, what happened? Hey, look, l don't know what happened,
lady, but whatever happened, l'm sorry. -Yes, well, here.
-Hey, uh, forget about the sandwich. -No charge.
-Terrific. Nice town. -That was real good.
-Thanks a lot, guys. [CAR ENGlNE STARTS] Oh, shit. Oh, my God. -Oh, are you all right?
ANTHONY: Yeah. Yeah, are you sure? HELEN:
Here, let me see. ANTHONY:
Ouch. Oh, no. Look at that. l'll give you some money.
Can you get it fixed? Yeah. -Could you maybe give me a ride home?
-Yeah, sure. HELEN:
Oh, you live all the way out here. l'll bet your parents
are worried about you. ANTHONY: Not really.
-No? Today's my birthday.
They don't even care about that. Really? Wow, what a crummy birthday. ANTHONY:
lt's okay. l made a friend. Me too. l'm Anthony. Helen Foley. -l'm very glad to meet you, Helen.
-Thank you. -What a lovely house.
-You like it? Yeah, it's really peaceful
out here by itself. Come on in. [BOOMlNG AND THUMPlNG
ON TV] Hello? lt's me. -Hi, Anthony.
-Hi. -Well, well, well.
-Hello. -Anthony's home.
-Look at this. -How do you do?
ANTHONY: This is Helen. ls that right?
Helen, delighted to meet you. WALT: Any friend of Anthony's--
-Hello. This is Uncle Walt and my sister, Ethel. -How do you do?
MOTHER: Well, now. -Did l hear Anthony come in?
-Yes, there he is. This is my mother and father. -Hello.
-Hello. -This is Helen.
-Helen Foley. -Oh, Helen, delighted.
-lt's a pleasure to meet you, Helen. -She gave me a ride home.
-Did she? -You don't mean it.
-Oh, very generous of you. Yes, well, l'm afraid
we had a little accident. -Accident?
-An accident? HELEN: Yes, l knocked Anthony down
while he was riding his bicycle. -Did you?
-You knocked him down? Yes. [FAMlLY CHUCKLES] Well, doesn't look like
there was any harm done. WALT:
No, sir. Anthony's fine. Oh, yes. Anthony's fine. Can Helen stay for supper, mother? -l just left my car--
-What a wonderful idea. -Of course she can.
-Of course. -Well, that would be lovely.
ANTHONY: Can we eat right now? -Oh, yes.
-Sure, why not? WALT:
Why not? We can eat anytime we want. May l wash my hands? -Right this way.
-You may leave this. -All right.
-And l'll help you with your sweater. Thank you. MOTHER:
See you in a little while. [ALL LAUGHlNG] FATHER:
Mind the step. Anthony. Anthony? Ah, the beach. Ah, l used to love the beach. Mmm. ETHEL: Give me a light
and you can have a cigarette. Give me a cigarette
then you can have a light. -lt doesn't work that way.
-Don't tell me how it works. Where is that mirror? MOTHER: You two shouldn't be smoking
anyway. You know he hates smoking. [MUSlC PLAYlNG ON TV] Hello? That's Sara, my other sister. ANTHONY:
She was in an accident. Here l come. l always like to let them know
when l'm coming. We're ready to eat now. MOTHER: Wonderful.
WALT: Oh, great, l'm starving. ETHEL: Boy, am l hungry.
FATHER: Me too, me too. [ANTHONY SNlFFS] Uh, well, let's get started. l bet Anthony is really hungry, eh? Come on. All right, here we go. MOTHER:
Oh, here's your sweater, dear. Well, now. You know, we are so happy
that you could eat with us. You know, Anthony is so thoughtful
about things like that. Would you like to sit beside me? -Maybe your mother would--
-Oh, no, no, no. You see, l'm going to have
to be fixing supper. Yes, that's right. You sit right next to Anthony. Oh, that's fine. Just fine. -All right, all right.
-Very good, yes. WOMAN [ON TV]:
Now you listen to me. Don't you dare
bring one more thing into this house. Do you hear me? One more thing. Not one solitary single thing. A mouse. Darling, do you remember
where supper is? You know where it is. l do? ln the oven, isn't it, mother? Oh, yes. Yes, of course, of course. [ALL LAUGHlNG] How silly of me. She never knows. l'll help you find it, mother. -We'll be back in just a little while.
-Me too. BlRD [ON TV]: We cartoon characters
can have a wonderful life... ...if we only take advantage of it. We can do anything we think of. What do you mean, chum? Well, supposing I decide
l want to be a mouse. Click. l'm a mouse. Supposing.... ANTHONY:
This is a good cartoon. Click. I'm myself again. -What else do you like?
-Nothing else is as good. Anything can happen in cartoons. Here we go. Good eatings for everybody. We've brought supper, yeah. -Yes, sir.
-All right, all right. Come on. Come on, Anthony. This is yours, dear,
in your regular place right there. And, Helen, why don't you sit right here
next to Anthony? -This is for you, Uncle Walt.
-Thank you. -There you go, mother.
HELEN: Thank you. Thank you, mother. You're welcome, Anthony. A-ha. -Mm.
-Mm, yummy. Oh, l love this. This is the greatest. lt really hits the spot. MOTHER:
l just love this. -Okay?
MOTHER: That's wonderful, isn't it? -Fine.
WALT: ls it ever okay. Boy, this is good stuff.
l love this stuff. You just take a taste of that.
You won't forget it. Peanut butter. lt's good that way. FATHER: lt really hits the spot.
MOTHER: lt's the best. -Peanut butter makes the burger.
-Oh, that's right. That's right. Wouldn't go down otherwise. ETHEL:
Peanut butter's good for you. WALT: l could eat another plateful.
MOTHER: Yeah, it's great. You eat like this all the time? Anthony can always
have anything he wants. -Anything at all.
-Ha, ha, ha, you bet. Well, don't you think it's good? You're young.
You need your nutrition. You can't eat like this all the time. MAN [ON TV]:
You can't fool me. lt's not good all the time. -No.
-No, it's not. -lt's not.
-You're right, Anthony. -That's absolutely right.
-You hit the nail on the head. WALT: You're a growing boy.
-You'd never tell me that. MAN [ON TV]:
No. Not "Happy Birthday." No. Not "Happy Birthday." Oh. Of course. lt's a birthday supper. Another birthday? With presents? ETHEL:
And wishes? l didn't do it. lt's okay. Everything's okay. [CHUCKLlNG] l'm sorry, Anthony.
l really have to be going. ANTHONY:
Please don't go. Uncle Walt's gonna do a trick. ANTHONY: He's gonna do a trick.
MOTHER: Oh, you've got to stay. l'm sorry, Anthony. -He's gonna do a trick.
-Come back, come back. -Great, great.
-Do the hat trick, Uncle Walt. Yes. Oh, yes. Where's the hat? -Excuse me.
-lt's on the TV. There it is. All right. Let's go. Now then, you've got to stay here.
You sit right down there. That's right. The hat trick. Well, let's see. . . . Ha, ha. Nothing up the sleeve.
There we go. That's it.
Nothing up the sleeve, see that? Ha, ha, ha, well. ... WALT: Nothing up the sleeve.
-Fun, isn't it? And, oh, l beg your pardon. Excuse me. Go ahead, Uncle Walt. Well, oh, yes. But the hat. Where's the hat? Oh, oh. How about that?
Yes, there we go. Nothing, as you can see,
in the hat, right? Nothing in the hat. WALT:
So, uh.... You'll like this. ANTHONY:
Do it, Uncle Walt. Yes, sir. [ALL LAUGH] -Go ahead, Uncle Walt.
WALT: Yes. Ah. Tada. WALT:
You see? lsn't this fun? We do it a lot. HELEN: Anthony--
-You'll love it here. MOTHER: Really, l promise.
FATHER: No, l swear to you. Do more. [SCREAMlNG] [GROWLlNG] [SCREAMlNG] Go away. Please don't go, Helen.
l can make it real nice here. l can make the food
just the way you said it should be. l can even change the house. Just say it and l can make
whatever you like. Just don't. . . . l told you. They hate me. ANTHONY: They wanna send me away
to someplace bad. . . . ..just like my real mother and father did. That's not right, Anthony.
You know we wouldn't do that. No, we love you, Anthony.
Honestly, we do. -Sure.
ANTHONY: They're afraid of me. Everybody is.
That's why they act that way. And l do everything for them. They can just sit around
and watch TV all day. No one has to do a thing. Not a thing. And l'm real good all the time. That's right. You're a good boy, Anthony.
You're a good boy. We love you. Yeah. Well, then l wonder
who wrote this note. l wonder who called me a monster. lt wasn't me, Anthony. Why, l'd never do anything like that.
You know that. Don't look at me. Me either. lt wasn't any of us, Anthony.
lt was her. -No, it wasn't me.
-No, her. Her, her. Ethel. lt must have been Ethel.
Of course, it had to have been Ethel. Yes. Ethel, there you are. WALT:
lt was Ethel. That's right. Oh, great. MOTHER: lt had to have been Ethel.
Of course, it was Ethel. Of course. Oh, l didn't know that. What a big surprise. Ethel, huh? ETHEL:
Go ahead, Anthony. Do it. Do it. Do what, Ethel? Now do you realize
you'll never get out of here? You think it was an accident
you came here? He made it happen. ETHEL: He brought you here, just like
he brought us here and kept us here. Just the way he'll keep you here. Maybe he'll get mad at you,
like he did to his real sister. . . . ..and take away your mouth... . .. so you won't be able to yell
at him anymore. Or maybe he'll do to you
what he did to his real mother and father. Time for you to go now, Ethel. Anthony, don't. ANTHONY:
lt's a big surprise. Just made it up. l'm wishing you into Cartoonland. [GASPS] Jesus. l told you cartoons are good. Anything can happen in them. We've been expecting you. [LAUGH lNG ON TV] [ETHEL SCREAMlNG] Run, Ethel. Run. Tha-- tha-- tha--That's all, Ethel. [SCREECHlNG] ANTHONY: l can't help it, Helen.
l don't want to hurt anybody. All l want is for people
not to be afraid of me. You don't understand. Nobody does. All l have to do is wish for something
and it happens. l can do anything. Anything. [SWOOSHlNG AND BEEPlNG] [LAUGH lNG] Wish it away, Anthony. Wish it away. l hate this house. l hate everything about it. l wish it away. l wish it all away. HELEN:
Anthony? Where are we? ANTHONY:
Nowhere. HELEN:
And the others? ANTHONY:
l sent them where they wanted to go. Away from me. lt's not fair. You're supposed to be happy
when your wishes come true. Anthony, take us back. -Take us back.
ANTHONY: So you can leave too? And go where, Anthony? l've seen what you can do. l know you have a power,
a gift that makes you special. You better be careful... . ..or one day.. . . may become too big
for you to control. Now, maybe, just maybe... . ..together, we can master it... . ..and learn from it. Use it in ways you never
thought of before. l'd like to be your teacher, Anthony. And your student. You'd stay with me? Yes. Always? Always. Okay. HELEN:
Anthony... . ..let's not do too much more of that,
okay? -Sure.
-Okay. Ah. All right. ANTHONY:
Look in your pocket. Never mind. [CAR ENGlNE STARTS] NARRATOR:
What you're looking at could be the end... ...of a particularly terrifying nightmare. lt isn't. It's the beginning. lntroducing Mr. John Valentine,
air traveler. His destination: the Twilight Zone. [GASPlNG] [BEEPlNG] PlLOT:
Ladies and gentlemen... ...this storm has developed
a little faster than we had anticipated. We're maneuvering about,
finding the smoothest spots with radar. There's a chance that we might hit
some whoopsie-daisies... [KNOCKlNG] I'm asking you to return to your seats
and fasten seat belts. Please extinguish your cigarettes. Store anything that might fly about
the aircraft. -Look out the window and enjoy the flight.
-Hello, in there. Can you hear me? Hello? Oh, hi. lt's a passenger that's been
in there for a long time. -Tall, fair-haired?
-Yeah, yeah. Seat 4A. Oh, Valentine. Had a feeling about him.
White-knuckle type. -How are we gonna get him out?
-ls something wrong? -Everything's fine. Return to your seat.
-Mr. Valentine? May l help you? Just a moment. Dionne, why don't you knock?
Something could be wrong. Let's give him a few more minutes. Are you okay? No problem. Mr. Valentine, l know how you feel.
Lots of people are nervous about flying. But if you look at statistics,
you're safer up here than on the ground. -That's right, safer than your bathroom.
-Oh, l'll be perfectly fine. Okay? Everything's gonna be fine.
We're gonna help you back to your seat. Actually, the chances of drowning
in the bathtub... . something like
800 thousandths of a percent. Whereas air-crash fatalities,
from last year's figures... . ..the number of passengers
who traveled last year. . . . equal to the population
of the whole country. -Okay, l got you.
-That's 426,504,000. l forgot the rest specifically. Who died actually at home,
they outnumber the people much more. And, whereas driving--
Driving? Just forget it. l mean, the percentage
of people who die driving? -Twenty-two, 23 percent of. . ..
STEWARDESS: Here you go, Mr. Valentine. VALENTlNE: Do l need my boarding pass?
STEWARDESS: No, you don't need it. Watch your head. STEWARDESS: Thattaboy.
MAN: l think l spilled my drink. l think l spilled my drink. Oh, l'm sorry, sir.
Here, let me fix you up. [THUNDER ROARS] Put these things away here. STEWARDESS: Micro Chip Logic.
The Liberation of the Left Brain. Science-fiction fan, huh? lt's a textbook. Computers. STEWARDESS: Do you really read this stuff?
-l wrote it. STEWARDESS:
My goodness, so you did. l tell you what, we'll put this away
and you try to get some sleep. No, no, no.
l'd like you to leave the light on, please. STEWARDESS:
Okay. l'll take this, okay? Come on. Tell you what,
l'll put this in a safe place. Look, you're gonna be fine,
so cheer up. Okay? Get me some water. -Let's get this seat belt fastened.
-ls something wrong? Oh, no. Everything's fine. -Look, we're not supposed to do this.
-What? But l have these sedatives.
They might help you sleep. No, it's all right. l don't need anything.
l'll be fine. -They're very mild.
-No. Thank you, but l'll be all right. This will cost you 4 bucks. -What did you say?
-Only kidding. Well, l'm not.
We've gotta get you back to your seat. GlRL: l wanna stay here.
DlONNE: Oh, no, no, no. We've gotta get you back here. Here we go.
Now let's fasten your seat belt. -l don't need my seat belt fastened.
-Oh, yes, you do. -Wouldn't want you to fall out.
-l'm not gonna fall out. Not if you sit here you won't. Okay? Okay. -Are you okay?
-Yeah. DlONNE: You sure?
-Yes, l'm sure. Look, l'm Dionne.
Anything you need, call me. Well, thank you,
but l'm sure l'll be fine. Really. l'll be fine. Okay. [GlRL WHlSTLES] You heard the captain. No smoking. N-O S-M-O-K-l-N-G. No smoking. [THUNDER ROARS] VALENTlNE:
Oh, my God. There's something out there! There's something moving.
l'm sure l saw it. -Out there on the wing.
MAN: Where? -There's a man on the wing of this plane!
MAN: What? WOMAN: Where?
MAN: There's a man-- MAN 2:
Where? WOMAN:
l don't see.. . . Of course there isn't anything. There was somebody there.
You've gotta believe me. l saw him. Green and slimy. -Leave the poor man alone.
-l'm only trying to help. You've got to humor them. lt was lightning.
At first l thought it was an animal. Some kind of bird or something,
but it was a man. There was flames coming out
of the engine... . ..and then a flash and then smoke. Maybe it was a technician who was
caught on the plane when it took off. How could he survive out there?
The air's too thin. The blast of the wind. lt's so cold. lt's impossible, isn't it? My God. l feel so stupid. Can you imagine? A naked man crawling along
the wing of an airplane at 35,000 feet. There's no reason to feel embarrassed,
Mr. Valentine. Just try to get some sleep. lt's amazing, the mind. How the eyes can make you see something
that isn't even there. There's a man in Seat 3F
who's completely freaking out. You're just gonna have to deal with him. lt's all right.
You don't have to stay with me. l know you have other passengers
to attend to. -l'd be happy to sit with you till you sleep.
-No. lt's probably easier for me if l'm alone. -Are you sure?
-l'm sure. l'm drowsy already. [SNORES] See? Ha, ha. Okay. [THUNDER ROARS] [SCREAMlNG] Hostess, get the handcuffs! l saw it. l saw it. l'm all right, l'm all right, l'm all right.
Don't touch me, don't touch me. GUARD:
Let him up. FAA security.
You want me to take care of this? PlLOT:
No. He'll be all right. VALENTlNE: You've gotta land this plane.
PlLOT: Look, just take your seat. PlLOT:
Can you get this together here, please? Get everybody to sit down.
Sit down, get in your seats. l want all the passengers
in their seats. VALENTlNE:
You've got to get out of the sky. PlLOT:
Thank you. VALENTlNE: Land us!
PlLOT: lt's okay. -Fly this thing down.
-lt's all right. Deep breaths. -You know where you are?
-Yes. You gotta get us on the ground. -Take care of the little girl.
-Okay. Come here, darling. Handcuffs. Far out. PlLOT: That's it, relax.
-Come on, honey. You belong over here. -Mommy.
-Attagirl. That's it. GlRL:
Mommy, a strange man, he's got me. PlLOT: Everything's all right.
-What has she done this time? Take deep breaths, Mr. Valentine.
Deep, long breaths. That's it. Slow, relax. That's it. We're safe. We're gonna have a little talk. Now, what seems to be the problem? Would you look out that window, please? What was l supposed to see out there? Nothing. Nothing at all. l'm sorry l shouted. Mr. Valentine,
you've got to see this my way. l'm the first officer of an airplane
in a severe storm. Now, l have an irrational passenger. You're threatening the safety of this aircraft
and frightening the passengers. You either calm down
or we're gonna handcuff you. Listen, there is something wrong
with this airplane. lf somebody doesn't do something about it,
we're all gonna die. That's D-l-E, die. You big silly.
You used to be a normal person. MAN: Shelly.
-Sit down, darling. Come on, okay? Mr. Valentine. What do you think's wrong
with this aircraft? There's an engine out. Which one? The one on the outside. Outboard Number 1 .
lt's out, isn't it? -What makes you think that?
-Never mind about that. lt's true, isn't it? Nine minutes ago,
Outboard 1 was struck by lightning. -There was a flameout and we lost it.
-Lightning? Lightning. Mr. Valentine,
this aircraft has four engines. The possibility of us losing one
of the remaining three is remote. Are you sure it was just lightning? Absolutely. Listen, we're gonna be landing
in about 20 minutes. There is the highest probability
that we'll survive this flight. Okay. We'll see you downstairs in 20 minutes.
Sit down. Buckle them up. STEWARDESS:
Are you okay? No. No, no, no. [GlRL LAUGHlNG] l love you, baby. Hail Mary, full of grace.
The Lord is with thee. Oh, my God. WOMAN:
We're gonna die. STEWARDESS: Please, sir,
would you please just take your seat? Nothing, nothing. Help. Sir? Sir? GlRL:
Mommy. Mommy. What are you doing now?
That's very bad manners, you know. GlRL: Didn't anyone ever
teach you manners, huh? Come on. Come on. [METAL CLlNKlNG] MAN:
We're all gonna die. VALENTlNE:
My gun. Oh, my God. He's got a gun. [ALL SCREAMlNG] [GUNSHOTS] [WHEELS WH lRLlNG] And that's exactly how it happened. l'm practically a hero. Would you believe that? PlLOT:
lf that weather hadn't broke... . ..we would have never have gotten
this baby down. What a hell of a night. We got the storm, we got the flameout,
and then that freak show. Not to mention the gun.
The gun was awful. -He didn't have a gun.
-He had a gun? No, no, no, he didn't have a gun.
lt was my gun. -l'm FAA. l'm authorized to have a gun.
-He was so crazy. He smashed the window.
What was he trying to do, get out? lt's claustrophobia. They'd rather fall to the ground
than stay aboard. -l've seen it happen. l've seen it.
-You'd have to be wacko. He was frightened,
but l didn't think he was crazy. But he said he saw something
out on the wing alive. Max, we lost Number 1 .
Check out Number 2, will you? Somebody give me a light.
l want the gear pinned. -Let's chock these tires.
MAN: Right. Franco, let me know what's going on
with these flaps. l wanna know if there's any fuel
leaking out of this baby. And get these people out of here. [SlREN WAlLlNG] MAN:
Yeah, that's fine, Maxie. Everything's okay here, Max. Max. Max! Max! Holy Toledo. MAX:
Hey, you guys, what happened up there? [POLlCE SlREN WAlLlNG] [LAUGH lNG] DRlVER:
That's enough of that noise, huh? Who needs it anyway?
How about a little music? Sure. ["MlDNlGHT SPEClAL"
PLAYS ON RADlO] Hey, that's. ... That's.... l love Creedence. So you had a big scare up there, huh? Oh, yeah. Wanna see something really scary? NARRATOR: There is a fifth dimension
beyond that which is know to man. lt 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. Line 1294