WEBVTT

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You unlock this door with the key
of imagination. Beyond it is another dimension,

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a dimension of sound, and a
dimension of sight, a dimension of

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mind. You're moving into a land
of both shadow and substance, of things

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and ideas. You've just crossed over
into the twilight zone. Not always,

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but often, when we arrive in
the fifth dimension, we are allowed,

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as certain pause to acclimatize to our
new surroundings, to meet at least one

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or some of our characters before their
world is turned upside down. But tonight

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that is not the case. No
sooner have the opening credits ended than Rod

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Selling's urgent opening narration begins. Portrait
of a nervous man, Oliver Pope by

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name, office manager by profession,
a man be set by life's problems,

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his job, his salary, the
competition to get ahead. Obviously, mister

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Pope's mind is not on his driving. As you see from the surroundings,

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this isn't a beautifully constructed studio backlot
drenched by water cannons and artfully lit.

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This isn't some mock up of an
idealized white picket fence American street. This

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is an American street, and the
series of events that unfolds in front of

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us is as stark and coldly violent
as the Twilight Zone has ever been.

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A businessman turned killer and a rainsoaked
street in the early evening of Just Another

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Day, during Just Another drive home
from the office, the victim of Kit

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on a bicycle lying injured, near
death. But mister Pope hasn't time for

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the victim. Is only concern is
for himself. Oliver Pope hit and run

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driver just arrived at a crossroad in
his life, and he's chosen the wrong

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turn. The hit occurred in the
world he knows, but the run will

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lead him straight into the Twilight Zone. First broadcast on January said, nineteen

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sixty four, Written by Elhamner Junior
and directed by John Brown. First,

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let us address our Rod sailing in
the scene moment when the episode begins.

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Rod is speaking over the scene that
is playing out in front of us,

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very much in the same way as
he used to with season one, just

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pure voiceover. But by the time
the camera whippans over to him, he's

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clearly not standing in the street where
we've just seen the car driving. He

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stood in front of a very fake
looking hedge. And I think this is

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one where if they weren't going to
commit to having him on the same street

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as the car, then maybe we
should have kept this one to a straight

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voiceover. But that said, what
I do love here is the seriousness with

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which Rod's sailing meets this moment,
because of course he knows that this isn't

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some whimsical tale or real world thing
wrapped in a fantasy. This is a

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boy being injured in the street,
injuries that will subsequently take his life,

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and Rod's urgent and earnest narration treats
that with the seriousness that it deserves.

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Our writer tonight is of course ERL
Hamner Junior, and we won't talk too

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much about him in this episode because
he is still very much in the middle

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of his eight episode run, with
three more episodes from him that are still

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left to corn. But Tonight's director
is a very notable one in the Twilight

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Zone. But we won't talk too
much about him either because this isn't quite

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his swan song episode, so we'll
give him as due when that time comes

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as well. It is, of
course the great John Brahm, a Twilight

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Zone director who managed the feat of
directing an episode in every season. Now,

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when you look and his resume,
he wasn't quite one of the Twilight

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Zones moodiest directors like say Douglas Hayes, who directed things like The After Hours

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and I of the Beholder. A
John Brahm episode tended to be a bit

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more straight ahead, but he could
still direct quite atmospheric fare like Mirror Image

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other New Exhibit, so it was
in his skill set. This episode,

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however, has quite a unique look
for a Twilight Zone, and I would

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say that it is almost a complete
lack of moodiness and due to the outside

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locations and the indoor ones that we
subsequently see, it has a very clinical

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look to it. And we'll come
back to this later on. So we

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have rather sped into this episode like
our main character Oliver Pope. So just

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to recap, we meet Pope driving
his car fast along the street. He

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hits a boy who is riding his
bike, causing him to fall to the

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floor. A woman sees this going
on and comes to the boy's aid,

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and although Oliver did briefly get out
of the car, he doesn't stick around

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to help. He gets in his
car and drives away. So the look

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of these scenes where Pope is speeding
around do look very different for the Twilight's

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Own episode. We are very used
to these studio backlots, which have really

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added a certain look to the show
over the years, and I actually really

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loved that look. But you can't
really do a car scene like this one

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on those kind of sets. So
they went out on location, and Martin

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Graham's junior right in unlocking the door
to a television classic that the third day

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of filming was in location in Culver
City, and Cayuga Productions had to purchase

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business paymits to be able to film
there, and police officers were provided to

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maintain local traffic, and the police
also granted permission for them to film outside

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the police station later on. And
for this hit and run scene, they

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filmed at the corner of Victory Park
in Culver City. And if you were

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lucky enough for your house to appear
on screen, Cayugo would come knocking on

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your door and pay you the princely
sum of twenty five dollars for having your

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house in the episode. So after
the collision, when Oliver gets home,

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does he break down with remorse?
Does he tell his wife that this terrible

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thing has happened? No, not
quite the office, Sally, I know

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that Pete al he's after my job. He didn't impress me. Is that

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kind of fell at all? Please? Why do you have to disagree with

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everything I say? Now, Allie, you're just tired and cross. So

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Pope has done this thing, but
all that he's concerned about when he gets

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home is what's going on at the
office. Now, he was clearly distracted

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before when he was driving, and
maybe these things at the office were the

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things that were causing him distraction.
But the fact is he's just hit a

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boy with his car and that should
be where his focus is. But as

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we've just heard, it isn't.
So it seems that mister Pope is an

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extremely self obsessed man. But it
doesn't take long from when he gets home

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for things to take a very strange
turn with his car. At first,

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it manifests with light of the car
blinking on and off by themselves, something

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that could quite easily be an electrical
fault, but through the episode we'll see

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that that's not the case. There
was an accident this evening at the corner

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of Third and Park. Could you, well, I am a friend of

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the fair Eyes, could you tell
me how is the boy yes, terrible.

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So we now know that this hit
and run could tend fatal and Oliver

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Pope turns in for the night.
So while he lays there and contemplates what

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he's done, let's meet the man
who played them. Oliver Pope is played

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by a With Andrews, and of
course you will remember him from his superably

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slimy and sinister tain as Carling in
Theater from the Sun way back in season

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one. And he was born in
nineteen fourteen in Griffin, Georgia, the

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son of a minister, and the
acting bug hit early and by the age

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of twelve he was already on the
stage, and by the time he was

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in his early twenties he was on
Broadway, and then by nineteen thirty six

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he was starting to hit the screen
with small parts. But it was the

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nineteen fifties where his career really began
to gather steam in shows like suspense and

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craft television theater. In fact,
there really are too many appearances to mention,

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because Andrews truly was a hard working
actor of the day and very prolific,

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and the late fifties saw him lean
into big screen work as well as

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on the small screen. He was
one of those actors who would effortlessly straddle

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those two worlds now I MDB describes
him as someone who would often be cast

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as jovial grandfather types or genial small
town businessman. But I think, as

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evidenced in his two Twilight Zone appearances, he had a great knack for villainy

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too. His Season one performance as
Carling is a masterclass in getting under your

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skin, and in Stuart Stanyard's book
Dimensions Behind the Twilight Zone, Stanyard asks

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El Hamner, how did you feel
about the casting on you Drive? And

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Hamner says, I thought the casting
was wonderful. The gentleman whose name is

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Edward Andrews was perfect in the part. He was a little bit overly fastidious.

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He put you off just a little
bit to the degree you could hate

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him for running over a small kid, and then you could sympathize with the

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car. The car was the hero
of the piece, and I think that's

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the key with Andrews. He could
just push his performance in the right way

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to make himself unlikable in a way
that was really quite uncomfortable. So Oliver

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Pope's slumber that night was disturbed by
his car flashing its lights and beeping its

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horn in the garage, and the
next day, when reading the paper,

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his wife points out that the little
boy who was hit by the car is

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unlikely to live, but also that
there was a witness to the incident,

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all of which shakes Oliver up enough
to make him stay home from work,

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and the car, upon hearing this, starts to create a racket, which

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then causes Oliver's wife Liz to say
she's going to take it out to be

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fixed, but when she goes out
in it, it stops at a busy

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intersection, leaving her stranded. Yes, yes, third in park. Well,

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I don't know what's the matter.
It just stopped and it will start

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again. Look, could you please
send a tofak right away. I'm in

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the middle of the street. So
while Lillian tries to get help, let's

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meet the woman who played her.
Lilian Pope is played by Helen Westcott and

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she was born in nineteen twenty eight, and like her co star, she

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took the show business at an early
age as well, when she began performing

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with her mother in a vaudeville act
at the age of four years old.

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Now, her father was an up
and coming contract actor at Warner Brothers,

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but unfortunately he died far too soon
at the age of thirty one following a

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horse polo accident. Helen, however, was able to secure work in a

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couple of Warner Brothers pictures herself,
but then took some time out to complete

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her education, and the nineteen forties
and early nineteen fifties saw her working non

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stop in pictures and acting across from
the like Sir Gregory, Peck and Abbott

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and Costello. But like many of
her generation, when television became a more

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common household thing, she made that
transition herself throughout the late fifties and became

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a hard working actor of the day, up to a point in shows like

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Playhouse ninety. But we actually catch
her here quite late in her acting career,

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and she only has six roles after
this one. Her next role wasn't

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actually for five years and took place
in nineteen sixty nine. Then she had

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a handful of roles in nineteen seventy
and seventy one, and then finally her

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last performance in nineteen seventy seven.
And perhaps her absence from the screen was

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because she did have a love for
stage acting and was active on stage in

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the late sixties and seventies, but
sadly she passed away from cancer in nineteen

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ninety eight at the age of seventy. So we find out that Lilian leaves

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the car at the garage to be
fixed and then comes home. I'll get

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hello, yes, yes, speaking, No, I didn't pick it up

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right, yes, yes, I
know where it is. It's right here.

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Didn't one of your men deliver it? No? No, no,

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no, I don't understand it either, But I'd like you to understand one

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thing. Don't bother to send me
a bill. You didn't have the car

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down there long enough to even look
it over. Let me think about that.

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Was that the mechanic they said they
lost the car? Can imagine the

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nerve of that guy. It's not
lost, is right here. So will

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you please explain to me how did
it get here? They didn't deliver it,

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They didn't drive itself on. Don't
answer that? Why not? So

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a car having a mind of its
own or some sort of sentience is something

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that was seen quite often in fiction
at this point, in films like Christine

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or the Hairby series, but then
it wasn't actually so common before that faced

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Hairbee movie. The Love bog in
nineteen sixty eight. There were a few

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films that featured cars with somewhat censuring
characteristics, although not necessarily a fully independent

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mind. One notable example is the
nineteen sixty four film The Yellow Rolls Royce,

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where a Rolls Royce car plays a
central role in connecting the stories of

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various characters, but it doesn't possess
a mind of its own the way Harby

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does in The Love Pug. And
then in nineteen sixty three there is the

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film The Great Race, which features
a car named the Leslie Special that has

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a distinct personality and plays a significant
role in the story. But this too

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doesn't really have an independent mind,
So the Lovebug is often credited as the

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face to depict a car with a
fully developed independent mind and personality. But

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television played its part in the two
One notable example is a show called My

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Mother the Car, a sitcom that
airds between nineteen sixty five and nineteen sixty

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six, amazingly only for one season, and in this series, a man

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named Dave Crabtree discovers that his mother
has been reincarnated as a talking nineteen twenty

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eight Porter touring car. The car
communicates with him through the car radio and

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hilarity ensues. Everybody knows in the
second life, we all come back sooner

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or later as anything from as it
can't do anything else where. You all

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may think my story is more fiction
than it's fast, but believe it or

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not, my mother did she come
back? I team that's what she helps

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me through everything I do, and
I'm bless. So the Twilight Zone actually

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pre date that sitcom classic, so
it's really quite ahead of the cave in

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this type of story. So where
did it all come from? Well,

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in the Twilight Zone, companion El
Hamner says, all mechanical things frustrate me.

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I'm afraid of and inept with all
mechanical devices. It's kind of a

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love hate relationship. I drive a
Corvette, which I love because it is

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so at odds with the image of
John Boy Walton as an old man,

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and of course it's a stunning machine. But at the same time I do

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not trust it. It seems to
have a life of its own, and

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sometimes when it will not start,
I suspect it's because it has some personal

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grudge against me. So back to
our episodes, because all of that hasn't

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gone into wake one of his colleagues
comes to the house to see him.

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Well, what brings you out here, Pete? Well, he didn't show

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up at the office. I thought
i'd clear up that in basket of years.

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You keep your hands off of my
desk. I've got some very important

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correspondence in that basket. It's not
anymore. I took care of it.

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Your letters, sir, all answered
and waiting for your signature. Oh answer,

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Alli, I'm sorry, Ali.
I only wanted to do you a

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favorite. You can do me a
favor. Quit bucking for my job.

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Huh. I'm sure that most of
you will recognize that Pete is played by

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Kevin Hagen, who, after appearing
in the fair season episode Elegy Buck,

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ends his Twilight Zone appearances by now
appearing in season five. And what we're

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seeing here is that even with all
this going on, against the backdrop of

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having fatally hurt this child, Oliver
Pope is really just not a good man

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at all. He chooses this moment
to reprimand a colleague who was trying to

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help him. And if you thought
you couldn't dislike Oliver Pope anymore, he

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has even more nastiness up his sleeve, because when Pete leaves his house.

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The witness who saw the collision mistakenly
points Pete out as the perpetrator, and

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he's arrested. So is this the
thing that forces all of a pope to

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00:22:00.839 --> 00:22:04.480
come clean? No, it isn't. Now there isn't a great deal of

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00:22:04.519 --> 00:22:10.960
trivia about this episode, so we
will begin to take the road to its

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00:22:11.039 --> 00:22:18.079
conclusion. After a couple more incidents
with the car, Oliver all but dismantles

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00:22:18.119 --> 00:22:22.799
some parts of it, and he
thinks he's put an end to its problems.

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Now, don't you stay down there
work and if you get tired to

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come out home? All right?
Bill? All right, aren't you going

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to drive? Well? I thought
I would take the bus. Why well,

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I don't trust that car. I
mean it's falling apart. Were you

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just going to leave it in the
garage? No? No, I thought

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I'd put an ad in the paper. Somebody will take it off our hands.

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Hi buy them bye Alli. So, walking to work the next day,

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Oliver believes that his problems are over, but the car starts to follow

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him, and this is quite impressively
On and in the Twilight Zone, companion

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William Frug explains to Mark Zickrey we
had a man under the dashboard with a

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tiny periscope that stuck up through the
hood of the car, and he drove

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with special controls. I remember watching
it because I was on location when it

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first filmed, and I was astonished
this car would come driving by, and

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it was spooky because you couldn't see
this little periscope sticking up. Now,

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eventually, at the end of the
episode, Oliver falls to the floor,

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but instead of killing him, the
car drives right up to his face,

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but then pulls back. And they
achieved this by simple reverse photography. And

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it's after this happens that Oliver is
forced to hand himself in to the police.

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Bad people or people who have done
bad things getting there come up once.

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Is the Twilight Zone stock in trade. Not every episode is like that,

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but it is a common trope in
the show. Consider Walter Bedecker in

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00:24:10.039 --> 00:24:15.359
Escape Clause, doomed to live an
eternity in jail as an immortal for killing

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his wife until he decides to use
his escape clause and promptly dies in his

243
00:24:22.200 --> 00:24:27.359
cell. You could argue that he's
quite deserving of his fate, but then

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we see Franklin Gibbs in the fever
being terrorized by a slot machine for the

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crime of, I guess, just
not being a terribly nice guy. The

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00:24:38.839 --> 00:24:45.599
justice of the Twilight Zone can at
times seems somewhat imbalanced and prone to being

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fatal. Even when that feels a
little bit over the top, cosmic justice

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is meted out on a regular basis. The Twilight Zone will take an eye

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for an eye when it sees fit
to do so. Now, Mark Zickre

250
00:25:02.559 --> 00:25:07.920
in The Twilight Zone Companion says that
he doesn't think this is a particularly effective

251
00:25:07.960 --> 00:25:12.599
episode, and I don't really disagree
with that, But if I like something

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00:25:12.640 --> 00:25:18.279
about it, it's that it could
have quite easily been as simple as the

253
00:25:18.359 --> 00:25:22.039
man kills the boy with the car, so the car kills the man.

254
00:25:22.920 --> 00:25:26.799
But that's not quite what it is. In the closing narration, Rod Sailing

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00:25:26.880 --> 00:25:33.000
refers to the conscience of the car, and that's exactly what it has.

256
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The vehicle has the conscience that Pope
should have. It's saying to him,

257
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look what you made me. Do
you have to own up to this?

258
00:25:41.359 --> 00:25:45.759
It plays a news report to Pope
over the radio, not to drive him

259
00:25:45.799 --> 00:25:52.119
mad, but to make him take
responsibility. And at the end, when

260
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the car could have quite easily killed
him. It doesn't. It just gives

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00:25:56.240 --> 00:26:02.440
them a warning shot if you don't
know, this is what's going to happen

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00:26:02.519 --> 00:26:07.759
to you. So Pope owns up. Now. This episode is often talked

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00:26:07.759 --> 00:26:11.680
about in the same breath as a
thing about machines because of the sentient car

264
00:26:11.720 --> 00:26:17.759
aspect, and when you stack them
up against each other, you see just

265
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how imbalanced the twilight done can be. In that episode, Bartler Finchley isn't

266
00:26:23.200 --> 00:26:29.799
a very nice man, but does
he deserve death by car? Probably not.

267
00:26:30.880 --> 00:26:36.200
But here Pope kills a child then
not only tries to get away with

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it, but will quite happily see
another man take the fall for it.

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Whether you agree with capital punishment or
not, I think we can all see

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that if death is to be meeted
out here in balance, it's probably not

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00:26:51.920 --> 00:26:57.119
Bartlet Finchley who should be on the
receiving end. So I kind of admire

272
00:26:57.200 --> 00:27:04.000
that al Hamner has gone for a
slightly more sophisticated, nuanced story here than

273
00:27:04.079 --> 00:27:08.720
simply killing Pope with the car.
So when we stand back and look at

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the episode, it's one that feels
quite cold. We have the brightness of

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00:27:15.519 --> 00:27:22.599
these outdoor shots and then we have
Oliver Pope's very clinical looking house. It's

276
00:27:22.640 --> 00:27:26.200
not a warm place to be at
all, and while that does save a

277
00:27:26.319 --> 00:27:30.759
papers because he's not a very warm
human being, it does make the episode

278
00:27:30.880 --> 00:27:37.960
quite uninteresting visually, but also the
subject matter is quite grim and in a

279
00:27:38.079 --> 00:27:44.279
sense quite realistic. We see the
collision for the most part at the beginning

280
00:27:44.319 --> 00:27:48.839
of the episode, and this isn't
dressed up in fantasy. When I first

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00:27:48.960 --> 00:27:55.200
saw it, I was reminded of
British public information films from the seventies that

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00:27:55.279 --> 00:28:00.519
have become quite infamous now. They
were designed to scare kids away from doing

283
00:28:00.559 --> 00:28:07.279
things like going on building sites or
playing near water where they could drown,

284
00:28:07.680 --> 00:28:14.160
and these videos didn't pull their punches. You had actors like Donald Pleasant narrating

285
00:28:14.319 --> 00:28:19.160
films where kids were being killed over
and over by drowning, and sometimes these

286
00:28:19.200 --> 00:28:26.960
films showed this subject in very graphic
detail, so there was a kind of

287
00:28:26.119 --> 00:28:32.519
stark reality to them, which I'm
reminded of. Here, I am the

288
00:28:32.599 --> 00:28:37.440
spirit of dark and lonely water,
ready to trap the unwary, the show

289
00:28:37.519 --> 00:28:41.839
off, the fool, and this
is the kind of place you'd expect to

290
00:28:41.880 --> 00:28:48.240
find me, But no one expects
to find me here. It seems toward

291
00:28:48.400 --> 00:28:53.440
me, but that call is deep. The boy is showing off. The

292
00:28:53.519 --> 00:29:03.160
bank is slippery. The show offs
are easy, but the unwary ones are

293
00:29:03.240 --> 00:29:10.599
easiest too. This branch is weak, rotten. It will never take his

294
00:29:10.759 --> 00:29:18.799
way. Only a fool would ignore
this. But there's one born every minute.

295
00:29:21.119 --> 00:29:25.400
Under the water. There are traps, old cars, bedsteads, weeds,

296
00:29:26.119 --> 00:29:34.000
hidden depths. It's the perfect place
for an accident. Oh wait,

297
00:29:36.920 --> 00:29:42.000
Simpson, children, I have no
power over them. Cast your mind back

298
00:29:42.119 --> 00:29:48.039
to the second episode One for the
Angels, in which a little girl is

299
00:29:48.119 --> 00:29:52.599
hit by a car as well and
hair life hangs in the balance, and

300
00:29:52.680 --> 00:29:59.480
then compare the presentation. In you
Drive, we see the violence of the

301
00:29:59.519 --> 00:30:04.920
incident itself, and we also see
that it happens on very real streets.

302
00:30:06.400 --> 00:30:11.400
And then as we go through the
episode, we are accompanied by Oliver Pope,

303
00:30:11.039 --> 00:30:17.680
a man without remorse or conscience or
warmth. Then in One for the

304
00:30:17.720 --> 00:30:23.319
Angels, the incident happened off screen. We're on this beautiful studio backlot set

305
00:30:23.799 --> 00:30:29.759
where even the streets where poor people
live have a kind of warmth to them

306
00:30:30.279 --> 00:30:36.039
and a beautiful sense of Americana and
mister Death himself, the one who has

307
00:30:36.039 --> 00:30:41.720
come to take away lou Buckman and
possibly the little girl. Business like as

308
00:30:41.759 --> 00:30:47.160
he is, is still quite a
likable fellow. So One for the Angels

309
00:30:47.319 --> 00:30:52.559
is wrapped up in whimsy and fantasy
from the outset, and even given the

310
00:30:52.599 --> 00:30:59.039
backdrop of death, it's quite comforting. But there's nothing at all comforting about

311
00:30:59.039 --> 00:31:03.920
this one. So is this why
while there are some things I admire about

312
00:31:03.960 --> 00:31:10.759
this one, I don't find it
that enjoyable to watch. As well as

313
00:31:10.839 --> 00:31:17.240
Rod Sailing's well documented method of putting
social justice through a filter of science fiction

314
00:31:17.359 --> 00:31:22.400
or fantasy, maybe we've become accustomed
to the harsh, unfair realities of life

315
00:31:23.400 --> 00:31:29.599
being put through that fantasy filter as
well. I think everyone's mileage on that

316
00:31:29.680 --> 00:31:36.640
will be different, So we'll put
that thought in the box marked considerations rather

317
00:31:36.720 --> 00:31:41.480
than one marked judgment. Because as
I watched this episode more and more in

318
00:31:41.559 --> 00:31:48.759
preparation for this I did begin to
appreciate it a little bit more to some

319
00:31:48.960 --> 00:31:52.880
degree, but it's hard to imagine
that it will be an episode that I

320
00:31:52.880 --> 00:31:57.319
would have a hankering to watch one
day and put it on my television,

321
00:31:59.079 --> 00:32:04.799
Perhaps because of the harsh realities that
we see here. Oliver Pope just isn't

322
00:32:04.839 --> 00:32:12.559
someone who we want to invite into
our homes. Too often, all persons

323
00:32:12.599 --> 00:32:17.319
attempting to conceal criminal acts involving their
cars are hereby widely check first to see

324
00:32:17.319 --> 00:32:22.839
that underneath that chrome there does not
like a conscience, especially if you're driving

325
00:32:22.839 --> 00:32:29.960
along a rain soaked highway in the
twilights on you. So there we go.

326
00:32:30.079 --> 00:32:35.599
You drive definitely not one that I
think features in many people's top fives

327
00:32:35.680 --> 00:32:39.920
or top tens or even top twenties. But are the things to appreciate.

328
00:32:40.000 --> 00:32:45.400
Well, let's go over to our
friends in the after hours club to see

329
00:32:45.839 --> 00:32:51.039
what they think. So I put
it out for vote, and surprisingly,

330
00:32:51.279 --> 00:32:55.400
thirteen percent put it in the top
tier. So it just goes to show

331
00:32:55.440 --> 00:33:00.839
that every episode is good for someone. Two percent said it was middle tier,

332
00:33:01.559 --> 00:33:06.920
and then bottom tier is thirty five
percent. So then we open up

333
00:33:06.960 --> 00:33:09.759
the floor to the members of the
after hours club and see what they think.

334
00:33:09.960 --> 00:33:15.759
And my good friend uncommon Nasa says, this is one of my least

335
00:33:15.799 --> 00:33:21.599
favorite episodes of the entire series.
It just feels off in tone and is

336
00:33:21.759 --> 00:33:25.960
just too dark. Thank you,
NASA. You know I get that that's

337
00:33:27.000 --> 00:33:32.039
exactly what I was talking about with
the kind of public information type of darkness

338
00:33:32.079 --> 00:33:37.519
to it. Good friend Jason Schwartz
says this one, this one used to

339
00:33:37.599 --> 00:33:40.880
be lower my list, but it's
just so odd compared to other teasy episodes

340
00:33:42.400 --> 00:33:46.119
that I couldn't stop thinking about it
and started to like it. Not top

341
00:33:46.200 --> 00:33:51.759
tier, but it's moved out of
my lower into the mid I agree with

342
00:33:52.000 --> 00:33:57.920
uncommon NASA though it's very dark,
a realistic kind of dark. Thank you,

343
00:33:58.039 --> 00:34:01.920
Jason. Jordan Dollar says a lot
of the fifth season seems to have

344
00:34:02.039 --> 00:34:07.000
counterparts earlier in the series. I
think this is a counterpart to a thing

345
00:34:07.079 --> 00:34:13.480
about machines. Something doesn't seem normal
with this episode, and I can't quite

346
00:34:13.559 --> 00:34:17.519
put my finger on it. The
episode feels slow to me. One thing

347
00:34:17.559 --> 00:34:22.320
that does stick out and makes things
a little more lively is the amount of

348
00:34:22.360 --> 00:34:28.199
outdoor filming this episode has for the
show. With so much work done on

349
00:34:28.239 --> 00:34:31.599
the soundstage, it's nice to get
the value of work done on location.

350
00:34:32.679 --> 00:34:37.599
I can't say that I think the
episode is bad. It's just a bit

351
00:34:37.719 --> 00:34:42.679
dull. Perhaps in other hands,
the story would have had more excitement to

352
00:34:42.760 --> 00:34:45.719
offer. I think that's a very
fair assessment, Jordan. Thank you.

353
00:34:46.559 --> 00:34:52.039
Jay Howard says this episode has been
in the pop lexicon since its premiere.

354
00:34:52.519 --> 00:34:57.000
Everyone knows there's something on the wing
of the plane. This is classic Shatner.

355
00:34:57.880 --> 00:35:01.880
This is classic Shatner, classic Math, and of course classic Twilight Zone.

356
00:35:01.920 --> 00:35:07.599
Thank you, Jay. I think
I think maybe that was posted on

357
00:35:07.639 --> 00:35:10.800
the wrong one, but I appreciate
that. Thank you. Sean Bogg says,

358
00:35:12.760 --> 00:35:16.280
I think this is an underrated and
excellent episode as far as I'm aware.

359
00:35:16.360 --> 00:35:21.679
It is the only episode that deals
with the inner turmoil caused by guilt.

360
00:35:22.440 --> 00:35:25.320
Ollie gets away with his crime,
and it seems likely he would never

361
00:35:25.360 --> 00:35:30.800
be found out, but his car, which I see as a metaphor for

362
00:35:30.880 --> 00:35:35.719
his conscience, will not keep quiet. The more he tries to ignore and

363
00:35:35.800 --> 00:35:40.000
avoid it, the more it haunts
him, until he finally realizes the only

364
00:35:40.039 --> 00:35:45.719
way forward is to come clean.
I know it's not as visually memorable as

365
00:35:45.800 --> 00:35:52.000
Nightmare of twenty thousand Feet and doesn't
have Shattner's celebrity status, but with poles

366
00:35:52.039 --> 00:35:55.880
open on both episodes right now,
I can't help but compare the two and

367
00:35:57.000 --> 00:36:02.280
actually find this story more compelling.
I think you make a good comment there

368
00:36:02.599 --> 00:36:12.280
Sean about it is like separating out
the conscience into a separate entity, really,

369
00:36:12.320 --> 00:36:16.280
and the entity makes sense it being
the car that was involved in the

370
00:36:16.320 --> 00:36:20.719
collision. So great stuff, thank
you, Sean. Joe Brown says,

371
00:36:20.880 --> 00:36:23.960
I like this episode a law Ed
Andrews does a great job of playing his

372
00:36:24.159 --> 00:36:30.280
character with an over the show the
mentality he knows he shouldn't have left the

373
00:36:30.360 --> 00:36:35.320
scene, and each day the guilt
is rising, the car decides to take

374
00:36:35.440 --> 00:36:40.239
matters into its own hands. One
of the things I liked was filming outdoors,

375
00:36:40.800 --> 00:36:44.840
and it made it seem like it
wasn't in the back lot, but

376
00:36:44.960 --> 00:36:49.639
on an actual street in any town, USA. It seemed more real that

377
00:36:49.719 --> 00:36:52.960
way. I don't think this episode
gets a lot of love, but I

378
00:36:53.079 --> 00:37:00.679
enjoyed it absolutely. Joe, that
reality gives a really different kind of flavor

379
00:37:00.480 --> 00:37:06.880
for the Twilight Zone. My old
friend al Shardsma says it's hard as in

380
00:37:06.920 --> 00:37:10.440
the right place, and Edward Andrews
does a convincing job as Oliver, but

381
00:37:10.519 --> 00:37:15.639
it doesn't work for me. It
is both too dark, as Nasa says,

382
00:37:15.159 --> 00:37:20.639
and too silly with the car chase
at the end, too reminiscent of

383
00:37:20.639 --> 00:37:24.599
a thing about Machines. I like
most of Eilhamner's episodes, but this one

384
00:37:24.760 --> 00:37:30.119
is a clunker. Bottom tier,
but not the bottom of the bottom tier,

385
00:37:30.800 --> 00:37:35.119
so Jason Schwartz says with another comment, I rewatched this one when I

386
00:37:35.159 --> 00:37:37.360
go home from work. I actually
like this one a lot more than I

387
00:37:37.440 --> 00:37:40.920
remembered. I'd still go mid tier, but it's at the top of the

388
00:37:40.920 --> 00:37:45.239
mid tier for me. The direction
is different and the lighting is so different

389
00:37:45.840 --> 00:37:51.519
than other Twilight zones. And the
best part about to think about Machines is

390
00:37:51.559 --> 00:37:55.360
the car, and this episode is
all car. Thank you, Jason.

391
00:37:55.880 --> 00:38:00.519
I think I agree in that the
more I watched it, the more actually

392
00:38:00.559 --> 00:38:02.719
did like it a bit more.
I would probably put it as mid tier

393
00:38:02.760 --> 00:38:07.840
as well, but more bottom mid
tier for me. Michael Fairnback says,

394
00:38:07.960 --> 00:38:10.639
even though it's not a great episode, I'm inclined to just edge it into

395
00:38:10.679 --> 00:38:16.679
the middle tier because there's something unsettling
throughout it. Our good friend Roger Moore

396
00:38:16.760 --> 00:38:22.360
says, I've tried watching this episode
many times and I always fall asleep.

397
00:38:22.559 --> 00:38:25.840
All you top tier voters, please
don't hate me. I've managed to watch

398
00:38:25.880 --> 00:38:30.920
it wide awake once or twice.
Higher side of the bottom tier thank you.

399
00:38:31.039 --> 00:38:37.119
Roger cerebral P says, this episode
is trapped in the twilight zone of

400
00:38:37.119 --> 00:38:40.840
the bottom tier. I appreciate the
message, but it plays like a public

401
00:38:40.920 --> 00:38:45.360
service announcement. I guess you and
me had the same thought, and they

402
00:38:45.400 --> 00:38:50.119
go on to say, especially in
the final shot of Oliver entering the police

403
00:38:50.119 --> 00:38:54.079
station, I keep trying to like
this one, but always find myself turning

404
00:38:54.119 --> 00:38:59.960
it off. Thank you, cerebral
P. And then finally, our friend

405
00:39:00.119 --> 00:39:04.000
Joe Mayer says, I've been trying
to put my finger on why this episode

406
00:39:04.039 --> 00:39:07.760
has always left me wanting, and
I think the best I can come up

407
00:39:07.800 --> 00:39:13.159
with is that it's all tension and
very little drama, if that makes sense.

408
00:39:14.000 --> 00:39:16.199
If we were going to draw the
story on a vision board, it

409
00:39:16.239 --> 00:39:22.159
would look like a fairly straight line. Even when the coworker gets arrested.

410
00:39:22.760 --> 00:39:27.960
There's just not enough movement in the
feeling of the story to create an emotional

411
00:39:28.000 --> 00:39:32.280
connection with the audience. Dear,
I say, this episode might have benefited

412
00:39:32.760 --> 00:39:37.559
from being an hour long episode.
Thank you very much, Joe. So

413
00:39:37.679 --> 00:39:44.280
that is our Patreon comments now over
in the after hours club on Patreons,

414
00:39:44.400 --> 00:39:47.320
things are going to change up a
little bit as we head into our final

415
00:39:47.440 --> 00:39:53.159
run. Now, I was considering
winding it down, but I've been contacted

416
00:39:53.159 --> 00:39:58.199
by a lot of people to say
they enjoyed the programming on this so much.

417
00:39:59.000 --> 00:40:01.840
They enjoy my interactions with my co
hosts. I've got a couple of

418
00:40:01.880 --> 00:40:07.599
great co hosts over there, Chris
and Emmy, and they would just hate

419
00:40:07.599 --> 00:40:08.960
to see it go away. So
I am going to carry it on.

420
00:40:09.159 --> 00:40:13.039
Boy, I'm going to evolve the
content again. You know, you've got

421
00:40:13.079 --> 00:40:15.679
to freshen things up every now and
again. Now, Emmy and I have

422
00:40:15.800 --> 00:40:22.599
been covering the twenty nineteen Twilight Zone
again, going back to those episodes,

423
00:40:22.719 --> 00:40:27.519
and we've only got a couple of
episodes to go of that before we're at

424
00:40:27.519 --> 00:40:31.199
the very end of it. So
the kind of reevaluation of twenty nineteen and

425
00:40:31.280 --> 00:40:35.800
twenty twenty is on there at the
moment. But when we get to that,

426
00:40:36.559 --> 00:40:40.400
we are going to do something called
the twilight Zone Podcast after show.

427
00:40:42.320 --> 00:40:45.599
Now, what that will entail is
I will obviously do the twilight Zone podcast,

428
00:40:46.159 --> 00:40:51.079
but then over on Patreon, Emmy
and I will kind of carry on

429
00:40:51.159 --> 00:40:53.400
the conversation if you like, you
know, it won't be stepping through the

430
00:40:53.480 --> 00:40:59.159
story beat by beat. It will
be discussing the episode in a bit of

431
00:40:59.159 --> 00:41:04.480
a different way. We will take
some of these comments made by people on

432
00:41:04.519 --> 00:41:08.480
the Patreon as talking point and pick
those apart a bit more. So it's

433
00:41:08.519 --> 00:41:13.440
going to be a bit extra about
the episode that we've just talked about and

434
00:41:13.519 --> 00:41:19.320
expand the conversation even fairther. So
that's at the two dollars level over there,

435
00:41:19.440 --> 00:41:22.360
but there's also going to be new
ways to subscribe to that. If

436
00:41:22.360 --> 00:41:25.079
you don't want to do it on
Patreon, then you're going to be able

437
00:41:25.119 --> 00:41:31.480
to subscribe to that on Apple Podcasts
and Speaker as well. Now I haven't

438
00:41:31.519 --> 00:41:36.519
got that completely figured out yet,
so I will put links out when I

439
00:41:36.639 --> 00:41:39.280
have, but there's going to be
a few different ways to get it now.

440
00:41:39.599 --> 00:41:45.280
Chris and I have been covering Night
Gallery and we've actually completed Night Gallery

441
00:41:45.320 --> 00:41:52.119
now. So what we've decided to
do is there hasn't been a modern day

442
00:41:52.159 --> 00:41:57.480
remake of Night Gallery or reboot,
whatever you want to call it. But

443
00:41:58.320 --> 00:42:02.719
Gmo del Toro, who is a
big Night Gallery fan, created his show

444
00:42:02.760 --> 00:42:09.159
on Netflix called The Cabinet of Curiosities, and really speaking, it's Night Gallery

445
00:42:09.159 --> 00:42:14.960
and everything but name. It's definitely
his love Letter to the Night Gallery.

446
00:42:15.320 --> 00:42:17.079
Now, that is quite short,
and it's only going to take Chris and

447
00:42:17.119 --> 00:42:22.239
I four episodes to cover that.
So after we've finished that, we're going

448
00:42:22.320 --> 00:42:27.960
to move on to the show that
Since the day I started the Twilight Zone

449
00:42:28.000 --> 00:42:32.400
podcast, people have asked me,
are you ever going to cover the Outer

450
00:42:32.519 --> 00:42:37.679
Limits? Now, my good friend
Victor Gamboa does a great job of covering

451
00:42:37.679 --> 00:42:42.880
the Outer Limits over in the Outer
Limits podcast, and I wouldn't do it

452
00:42:42.920 --> 00:42:46.679
in that way because he's already got
that covered, but in a more kind

453
00:42:46.719 --> 00:42:53.239
of discussion format, something a bit
different to differentiate itself from that. Chris

454
00:42:53.239 --> 00:42:58.440
and I are going to do it
in that more conversational way, the way

455
00:42:58.480 --> 00:43:02.760
we've been covering the Night Gallery.
So it's going to be Cabinets of curiosities

456
00:43:04.079 --> 00:43:07.840
and then the Outer Limits that we're
going to be covering over there on Patreon,

457
00:43:07.920 --> 00:43:12.599
and that is at the three dollar
level. Now the five dollar level

458
00:43:12.840 --> 00:43:16.159
is more or less stained as it
is, and that is commentaries of episodes

459
00:43:16.199 --> 00:43:21.719
that I have already covered, but
I'm going to throw in occasionally. I'm

460
00:43:21.719 --> 00:43:25.400
going to change it up and not
to a commentary because both Night Gallery and

461
00:43:25.920 --> 00:43:30.880
the nineteen eighties Twilight Zone. A
lot of those episodes were based on existing

462
00:43:31.000 --> 00:43:36.960
short stories, and I've decided I'm
going to dig into some of those short

463
00:43:37.000 --> 00:43:40.360
stories and I'm going to read them
on the Patreon so people have a bit

464
00:43:40.400 --> 00:43:45.920
of compare and contrast for those so
bit of a mixture at the five dollars

465
00:43:45.960 --> 00:43:50.960
tier. So it's all change over
there. You can go to Patreon dot

466
00:43:50.960 --> 00:43:57.400
com slash twilight Zone podcast to become
a member of the after hours club,

467
00:43:57.440 --> 00:44:02.119
and I would appreciate your patronage very
very much. Rod Serling, creator of

468
00:44:02.119 --> 00:44:07.800
the twilights on, will tell you
about next week's story after this message.

469
00:44:07.880 --> 00:44:10.880
If you want to get your thoughts
onto the show, send me a clip

470
00:44:12.000 --> 00:44:16.119
of about five minutes or less to
Tom at the twilight Zone podcast dot com

471
00:44:16.559 --> 00:44:22.480
about an episode that we've covered or
our next episode, and let's go over

472
00:44:22.599 --> 00:44:27.400
to Rod Sailing to find out what
that is. And now, mister Thirling

473
00:44:27.639 --> 00:44:31.440
next time The Twilight Zone a rather
probing study ice, irony and the ionosphere.

474
00:44:31.880 --> 00:44:37.239
A short title The Longmorrow. It
starts Robert Lansing and Marriette Hartley,

475
00:44:37.239 --> 00:44:40.159
and it tells the story of an
incredible trip into space with the sole occupant

476
00:44:40.199 --> 00:44:44.719
of the craft living in to spend
an animation. This one is for space

477
00:44:44.719 --> 00:45:02.840
addicts and the romantically inclined, and
the Twilight Zone, the Long Morrow