WEBVTT

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<v Speaker 1>You unlock this door with the key of imagination. Beyond

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<v Speaker 1>it is another dimension, a dimension of sound, a dimension

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<v Speaker 1>of sight, a dimension of mind. You're moving into a

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<v Speaker 1>land of both shadow and substance, of things and ideas.

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<v Speaker 1>You've just crossed over into the Twilight Zone.

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<v Speaker 2>As we draw closer to the end of our journey

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<v Speaker 2>through the Fifth Dimension, each episode feels like another reminder

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<v Speaker 2>that even the longest roads eventually run out. One hundred

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<v Speaker 2>and forty three stories, and somehow it's still feels like

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<v Speaker 2>we only just stepped across the threshold, and here on

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<v Speaker 2>the outskirts of the Twilight Zone, I find myself wondering

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<v Speaker 2>is this an experience meant to end where rod Sailing

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<v Speaker 2>left it? Or is it something that wants to keep

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<v Speaker 2>going even after the final episode fades out? A question

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<v Speaker 2>about endings, a question about carrying on and tonight, that

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<v Speaker 2>question sits at the heart of our story. Because we

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<v Speaker 2>meet Jordan Herrick, a journalist, walking into a house filled

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<v Speaker 2>with Egyptian relics and the scent of something ancient. We're

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<v Speaker 2>stepping into a tale about longevity, about the moment life

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<v Speaker 2>stretches beyond its natural borders, and as he approaches the

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<v Speaker 2>swimming pool where his interviewee is emerging. An elderly woman

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<v Speaker 2>rushes towards her and a warning that feels less like

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<v Speaker 2>scolding and more like dread thought.

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<v Speaker 3>I told you to stay in your room. I'm not

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<v Speaker 3>going to stand by. And what should happen this time?

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<v Speaker 4>You will because I say you.

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<v Speaker 2>Tonight we ask the question what is the cost of

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<v Speaker 2>living past a point where life should end? And in

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<v Speaker 2>a universe built on balance, what must be traded to

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<v Speaker 2>stay young forever? But we'll also touch upon how the

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<v Speaker 2>story you're about to hear echoed a tragic truth behind

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<v Speaker 2>the camera. So as Jordan Herrick steps into the twilight zone,

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<v Speaker 2>so the way, except we know something that he doesn't.

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<v Speaker 2>He's about to meet the Queen of the Nile.

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<v Speaker 1>Jordan Herrick, syndicated columbers to whose work appears in more

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<v Speaker 1>than one hundred news page by nature of cynic disbeliever,

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<v Speaker 1>Caught for the moment by a lovely vision. He knows

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<v Speaker 1>the vision he's seen is no dream. She is Pamela Morris,

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<v Speaker 1>renowned movie star whose name is a household word and

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<v Speaker 1>whose face is non millions. But mister Herrick does Matt

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<v Speaker 1>now is that he has also just looked into the

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<v Speaker 1>face of The Twilight.

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<v Speaker 2>Zone, first broadcast on March sixth, nineteen sixty four, written

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<v Speaker 2>by Charles Beaumont and Jerry Sol and directed by John Brown.

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<v Speaker 2>Now usually I mention the writer fas, but tonight I'm

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<v Speaker 2>going to begin with the director for reasons that will

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<v Speaker 2>soon become clear. Tonight we say goodbye to one of

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<v Speaker 2>the Twilight Zone's true architects of atmosphere, John Bram, a

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<v Speaker 2>man who came back for every season of The Twilight Zone.

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<v Speaker 2>His work on the series wasn't just prolific, it was

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<v Speaker 2>consistently quite strong. When Bram was behind the camera, you

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<v Speaker 2>could feel it. So before we move on, it's only

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<v Speaker 2>right to give him a proper send off, a final

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<v Speaker 2>role corps of the worlds that he shaped in the

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<v Speaker 2>fifth Dimension. So if you'll indulge me, here's the full

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<v Speaker 2>roster of John Bram's episodes. In season one, Time Enough

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<v Speaker 2>at Last Judgment Night, the four of Us are Dying,

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<v Speaker 2>Mirror Image and a Nice Place to Visit in season two,

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<v Speaker 2>Mister Dingle, the Strong and shadow Play. In season three,

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<v Speaker 2>Person or Person's Unknown, young Man's Fancy, Season four, The

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<v Speaker 2>New Exhibit, and season five You Drive, and Now Queen

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<v Speaker 2>of the Nile. By the time that John Bram arrived

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<v Speaker 2>at The Twilight Zone, he had already carved out a

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<v Speaker 2>reputation for moody expressionist thrillers. The Lodger, Hangover Square films

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<v Speaker 2>with the shadows were almost as important as the people,

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<v Speaker 2>and television became his home. In the nineteen fifties and sixties.

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<v Speaker 2>He directed well over one hundred episodes across the era's

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<v Speaker 2>great suspense anthologies Alfred Hitchcock Presents, Thriller and of course

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<v Speaker 2>The Twilight Zone. And he had a great gift for atmosphere,

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<v Speaker 2>the tilted angles, the heavy blacks, the sense that something

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<v Speaker 2>just out of frame was breathing. But after that astonishing run,

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<v Speaker 2>the work did began to slow down, and his final feature,

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<v Speaker 2>Hot Rods to Hell, came out in nineteen sixty seven,

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<v Speaker 2>and after a few more television assignments, he quietly stepped

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<v Speaker 2>away from the industry. No memoirs, no rediscovery, no festival retrospectives.

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<v Speaker 2>He simply retired, and he spent his final years in Malibu,

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<v Speaker 2>living a life far quieter than the feverish worlds he

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<v Speaker 2>once conjured on screen For a man who had brought

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<v Speaker 2>such worlds to life. It was a gentle exit, a

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<v Speaker 2>fade out, rather than a final twist. Yet his legacy

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<v Speaker 2>is anything but quiet. He helped to define the look

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<v Speaker 2>of televised suspense and then slipped away into the California Son.

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<v Speaker 2>So John Brown, for your contributions to the Twilight Zone,

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<v Speaker 2>we salute you. Now at this point I would have

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<v Speaker 2>normally already spoken about our episode writer, but I want

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<v Speaker 2>to backtrack for a moment to Rod Sailing's opening narration,

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<v Speaker 2>because by this point in the series, the Rod Sailing

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<v Speaker 2>that I love, the one who steps into the scene

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<v Speaker 2>and interacts with the world and feels like a mysterious

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<v Speaker 2>presence inside the fiction is mostly a memory. And if

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<v Speaker 2>you're new to the show, what I mean is this,

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<v Speaker 2>In those first three seasons, Sailing didn't just inter pu episodes,

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<v Speaker 2>he inhabited them. He's the man quietly reading the newspaper

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<v Speaker 2>in the Potomac Club in back there. He's the silhouette

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<v Speaker 2>drifting into frame in eye of the beholder. And these

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<v Speaker 2>moments are part of what makes Rod Sailing such an

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<v Speaker 2>enigma on screen. Narrators wins unusual at the time, Alfred

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<v Speaker 2>Hitchcock did it every week. But Hitchcock was always Hitchcock, rye, sardonic,

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<v Speaker 2>a little buffoonish. He was a host. But Rod's sailing

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<v Speaker 2>was something else entirely. And in his book Sailing, a

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<v Speaker 2>Journey into the Twilight Zone with TV's Face, visionary writer

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<v Speaker 2>Alan Seppenwall quotes well Tom Elliott, and Tom says, I

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<v Speaker 2>always wonder how much was intentional by him creating himself

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<v Speaker 2>as this figure where you don't know if he's a

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<v Speaker 2>god or a guide or some kind of magical person.

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<v Speaker 2>Hearing Queen of the Nile. Though, we get a different

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<v Speaker 2>kind of sailing moment, which I suppose is iconic in

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<v Speaker 2>its own way, the whip panther sailing standing against the backdrop,

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<v Speaker 2>designed to mimic the scene that we've just watched. And

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<v Speaker 2>in Unlocking the Door to a Television Classic, Martin Graham's

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<v Speaker 2>Junior shed some light on how this particular bit of

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<v Speaker 2>stagecraft came together, and Martin Graham's Junior writes, since Sailing

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<v Speaker 2>could not be on the set for each episode as

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<v Speaker 2>they were being produced, many of his on screen narrations

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<v Speaker 2>were done in batches, with the camera panning to a

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<v Speaker 2>stop as he delivered his lines. In the editing room,

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<v Speaker 2>the film editor would put the two films together, giving

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<v Speaker 2>a seamless appearance that the camera simply spun round to

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<v Speaker 2>the other end of the room, where Sailing supposedly had

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<v Speaker 2>been standing during the entire scene. So back in our story,

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<v Speaker 2>after Pamela Morris drives off from here tip in the pool,

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<v Speaker 2>a pool that you may recognize from several other episodes

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<v Speaker 2>of the Twilight Zone, Jordan Herrick begins to question her

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<v Speaker 2>miss marks.

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<v Speaker 4>Uh, just how old are you? I must say, mister Herrick,

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<v Speaker 4>You are a very direct man. You're not offended. Why

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<v Speaker 4>should I be?

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<v Speaker 5>I have my producers, directors, you have your editors, and

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<v Speaker 5>they're all very demanding people. Besides, a woman in my

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<v Speaker 5>position can't afford to have any secrets.

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<v Speaker 4>Well, I'm certainly relieved to hear that. I was afraid

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<v Speaker 4>you'd be offended. You have nothing to be afraid of you. Yeah,

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<v Speaker 4>that's better.

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<v Speaker 5>Now, why don't you tell me how old you think

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<v Speaker 5>I am?

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<v Speaker 4>Oh? No, that's hardly fair. Oh dude, come on now,

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<v Speaker 4>well you're very beautiful. That wasn't the question. You don't

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<v Speaker 4>look any older now than you did in that painting

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<v Speaker 4>over there.

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<v Speaker 2>The mystery of Pamela Morris' age is what drives this story,

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<v Speaker 2>and she deflects the question by saying how young she

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<v Speaker 2>was in a particular picture, that she's been in the

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<v Speaker 2>business a long time, and this echoes the career of

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<v Speaker 2>the woman who played her. Anne Blythe was thirty six

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<v Speaker 2>at the time of making the episode, and she is

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<v Speaker 2>one of the last luminous links to Hollywood's Golden Age.

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<v Speaker 2>A performer who could move from operatic soprano to film

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<v Speaker 2>nouar menace without even breaking stride, and with her unmistakable

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<v Speaker 2>blue eyes and her voice trained for the concert hall,

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<v Speaker 2>she grew into one of the most versatile talents of

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<v Speaker 2>the nineteen forties and fifties. She was born Anne Marie

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<v Speaker 2>Blythe on August sixteenth, nineteen twenty eight, in Mount Cisco,

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<v Speaker 2>New York, and raised in New York City by her

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<v Speaker 2>mother after her parents divorced, But her talents began to

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<v Speaker 2>block from early. By nine, she was performing with the

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<v Speaker 2>San Carlo Opera Company, and not long after that she

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<v Speaker 2>was a regular voice on radio. Broadway came calling in

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<v Speaker 2>nineteen forty one when she was cast in Watch on

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<v Speaker 2>the Rhyme, a performance that caught the attention of Hollywood

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<v Speaker 2>talent scouts, which then brought her to Universal Pictures. When

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<v Speaker 2>Michael Caters used her for Mildred Pearce in nineteen forty five,

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<v Speaker 2>Blythe was just sixteen years old, yet she delivered one

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<v Speaker 2>of the great villainous turns of the era as Vida Piers,

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<v Speaker 2>the poisonous social climbing daughter who makes Joan Crawford's life

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<v Speaker 2>awaking nightmare, and the role earned her an Academy Award

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<v Speaker 2>nomination and proved she was far more than just a

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<v Speaker 2>pretty face now. Unfortunately, a serious back injury sidelined her

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<v Speaker 2>for a time, but she retained with remarkable rain through

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<v Speaker 2>the late forties and fifties. She moved effortlessly between genres

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<v Speaker 2>dark dramas like Another Part of the Forest, heartfelt domestic

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<v Speaker 2>stories like Our Very Own, and the Grand MGM musicals,

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<v Speaker 2>where her operatic training finally took center stage. Rose Marie

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<v Speaker 2>the Student Prince Kismet. Her final major film, The Helen

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<v Speaker 2>Morgan Story in nineteen fifty seven, paired her with Paul

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<v Speaker 2>Newman in a tragic biographical drama that showed just how

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<v Speaker 2>deep her dramatic instinct tried. But as the studio system faded,

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<v Speaker 2>she shifted gracefully into television and theater, and that's when

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<v Speaker 2>she enters the Twilight Zone. And it's a role that

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<v Speaker 2>plays perfectly to her strengths elegance, poise, but just a

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<v Speaker 2>hint of something dangerous beneath the surface off screen. Blythe

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<v Speaker 2>chose a quieter, steadier life than many of their contemporaries.

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<v Speaker 2>She married doctor James McNulty in nineteen fifty three, raised

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<v Speaker 2>five children, and they stayed together until he passed more

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<v Speaker 2>than fifty years later. Now, unfortunately, when I began work

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<v Speaker 2>on this episode and was still with us, but during

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<v Speaker 2>that time we've lost Anne at the age of ninety eight.

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<v Speaker 2>But before she died, she was the earliest surviving Academy

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<v Speaker 2>Award nominee, and although she had long retired from acting,

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<v Speaker 2>she was also one of the last surviving performers from

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<v Speaker 2>the Golden Age of Hollywood. So and blithe, thank you

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<v Speaker 2>for being gone, Queen of the Nile Raper.

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<v Speaker 1>You must feel very proud have a daughter as famous

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<v Speaker 1>as Paula Mars.

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<v Speaker 4>Mather never did wholly approve of my career.

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<v Speaker 3>Believe me, mister Herrick, I had a little choice in

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<v Speaker 3>the meadow.

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<v Speaker 4>She thinks I'm too headstrong, dedicated. It's the work you

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<v Speaker 4>still are well?

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<v Speaker 6>She always as beautiful as she is right now, all

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<v Speaker 6>this a mother's loyalty.

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<v Speaker 4>As a matter of fact, mister Herrick, it is.

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<v Speaker 1>The truth as from the mother I learned the real

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<v Speaker 1>age of the daughter.

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<v Speaker 4>Isn't it relative? And besides, didn't I promise to reveal

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<v Speaker 4>old to you, mister Herrick.

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<v Speaker 5>Mister Herrick, mother, would you mind seeing if Charlotte has

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<v Speaker 5>things under control in the kitchen?

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<v Speaker 4>Please don't met her missus draper goodbye, mister Herrick, forgive her.

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<v Speaker 4>She's getting old.

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<v Speaker 2>Does a moment early on when Pamela introduces her mother

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<v Speaker 2>to Jordan, and it's one of those deceptively small scenes

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<v Speaker 2>that tells you far more than the script is willing

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<v Speaker 2>to say out loud. There's an unmistakable friction between them,

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<v Speaker 2>attention that see. Yaelovski, who plays Pamela's mother, plays with haunted,

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<v Speaker 2>brittle fragility, as if every word costs her something, and

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<v Speaker 2>Anne Blythe meets that energy with poised in patience, the

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<v Speaker 2>smile of someone who's been managing this situation for far

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<v Speaker 2>too long. And what makes this scene so effective is

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<v Speaker 2>at this point we genuinely don't know where the danger

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<v Speaker 2>is coming from. Is Pamela hide and something, is the

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<v Speaker 2>mother unwell or is the mother the only person in

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<v Speaker 2>the room who actually understands the stakes. The episode lets

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<v Speaker 2>that uncertainty breathe. It doesn't rush to explain, It lets

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<v Speaker 2>the unease settle in the corners of the frame, and

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<v Speaker 2>the staging is perfect, love Sky hovering just a little

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<v Speaker 2>too close, her eyes never leaving Pamela, Pamela's tone shifting

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<v Speaker 2>ever so slightly when she speaks to her, and it's

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<v Speaker 2>a beautifully calibrated moment of creeping dread where the audience

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<v Speaker 2>can feel that something is wrong, but the shape of

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<v Speaker 2>that wrongness hasn't revealed itself yet. And it's one of

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<v Speaker 2>the highlights of this episode for me, because it's the

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<v Speaker 2>first time we sensed the story's true gravity, not in

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<v Speaker 2>the glamour, not in the mythology, but in this strained,

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<v Speaker 2>unsettling relationship between two women bound together by something far darker.

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<v Speaker 2>So why don't we meet the lady who played Pamela's mother.

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<v Speaker 2>Celia Luvsky was born Cecilia Josephina Luvsky in Vienna in

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<v Speaker 2>eighteen ninety seven, the daughter of a Czech opera composer

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<v Speaker 2>and cellist, and she trained at the Austrian Royal Academy

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<v Speaker 2>of Arts and Music and began a career on the

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<v Speaker 2>European stage, moving in avant garde circles in Vienna and Berlin,

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<v Speaker 2>before history and politics pushed her life in a different

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<v Speaker 2>direction and it path crossed with a young actor named

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<v Speaker 2>Peter Lourie, and she became a crucial figure in his

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<v Speaker 2>early career, helping to connect him with director Fritz Lang,

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<v Speaker 2>an introduction that led to m and launched Laurie to

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<v Speaker 2>international fame, and she followed him through exile from Nazi

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<v Speaker 2>Germany to Paris, London, and eventually Hollywood, where they married

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<v Speaker 2>during the production of Hitchcock's The Man Who Knew Too

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<v Speaker 2>Much in nineteen thirty four, though they later divorced. Both

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<v Speaker 2>of their careers were now fairly rooted in the New

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<v Speaker 2>World and in Hollywood. Lovsky reinvented herself as a character

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<v Speaker 2>actress with her distinctive accent, sharp features, and regal bearing,

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<v Speaker 2>and she became a go to presence for roles that

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<v Speaker 2>required age, authority or an air of old world mystery

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<v Speaker 2>across more than forty films and a couple of one

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<v Speaker 2>hundred television appearances. She played aristocrats, matriarchs, mystics, and women

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<v Speaker 2>who seemed to carry centuries in their eyes. And though

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<v Speaker 2>she's only in this episode briefly, she gives her performance

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<v Speaker 2>a real wait. Her fear feels real and lived in

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<v Speaker 2>her knowledge ancient, and her scenes add a tragic mystery

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<v Speaker 2>to the episode's glamour and horror. But perhaps her most

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<v Speaker 2>iconic role arrived a few years later in Star Trek

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<v Speaker 2>in nineteen sixty seven, she appeared as to Power in

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<v Speaker 2>the episode A Mock Time, the Vulcan matriarch who presides

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<v Speaker 2>over Spock's marriage ritual, and it's one of the foundational

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<v Speaker 2>depictions of Vulcan culture in Star Trek, and Luvsky's performance

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<v Speaker 2>is a huge part of why it works. And Lusky

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<v Speaker 2>continued to work steadily into the nineteen seventies, often cast

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<v Speaker 2>as women whose faces seemed to remember another century, and

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<v Speaker 2>she made one of our last major impressions in Soilent

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<v Speaker 2>Green in nineteen seventy three, and Celia died in Los

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<v Speaker 2>Angeles in nineteen seventy nine at the age of eighty two,

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<v Speaker 2>so during their interactions so far, Pamela and Jordan's tone

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00:19:17.279 --> 00:19:21.920
<v Speaker 2>may be light and flirtatious, but Jordan is still a journalist,

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<v Speaker 2>a journalist who is looking for answers. So while he

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<v Speaker 2>isn't exactly grilling Pamela, he is gently digging away at

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<v Speaker 2>the mystery of her age.

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<v Speaker 1>Well, you are thirty eight, How could you possibly have

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<v Speaker 1>started a movie.

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<v Speaker 2>Made in nineteen thirty five?

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<v Speaker 4>You know, I can't believe that Jordan Herrick being taken

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<v Speaker 4>in by the printed word, Tony, do you always believe

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<v Speaker 4>everything you read? The movie was Trail's West, Darling. It

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<v Speaker 4>couldn't have been me.

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<v Speaker 5>That would have been ten years old, don't you see?

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<v Speaker 5>It's an old mistake. I've run across as before.

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<v Speaker 1>According to our files, your coastar on that picture was

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00:19:57.279 --> 00:19:58.039
<v Speaker 1>John Bradley.

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00:19:58.200 --> 00:20:00.960
<v Speaker 4>You were in love with him, ever even met him?

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00:20:01.880 --> 00:20:03.920
<v Speaker 4>Your files are never and it does happen, you know,

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00:20:05.440 --> 00:20:08.480
<v Speaker 4>nineteen thirty five. You know, I don't think i'd even

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00:20:08.480 --> 00:20:11.079
<v Speaker 4>seen a movie yet. We were poor.

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<v Speaker 5>We lived in Ioware. My father's business was failing. I

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00:20:15.119 --> 00:20:18.000
<v Speaker 5>wasn't until nineteen forty that I set out for Hollywood.

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00:20:18.680 --> 00:20:22.559
<v Speaker 5>Starstruck Girl in my teens, following the Trail blazed by

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00:20:22.680 --> 00:20:24.039
<v Speaker 5>so many other hopefuls.

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00:20:25.519 --> 00:20:27.519
<v Speaker 4>I was lucky, you must have been.

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00:20:28.559 --> 00:20:31.240
<v Speaker 2>So we start to see Pamela laying out the fair

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00:20:31.400 --> 00:20:36.279
<v Speaker 2>threads of air trap, not overtly, not aggressively, but with

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00:20:36.359 --> 00:20:40.559
<v Speaker 2>a kind of elegant subtlety. She's planting the little pieces

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00:20:40.559 --> 00:20:43.880
<v Speaker 2>of bait for Jordan to pick up. And Anne Blyge

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00:20:43.920 --> 00:20:49.200
<v Speaker 2>plays this beautifully, because what blitherers doing here is acting

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00:20:49.720 --> 00:20:54.000
<v Speaker 2>someone who is acting. Pamela isn't simply being charming, she

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00:20:54.160 --> 00:20:59.720
<v Speaker 2>is performing charm. She isn't being vulnerable, She's performing vulnerability.

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00:21:00.559 --> 00:21:05.160
<v Speaker 2>Every gesture, every softened glance, every shift in tone is

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00:21:05.279 --> 00:21:10.359
<v Speaker 2>part of a carefully engineered persona designed to draw Jordan closer.

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00:21:11.440 --> 00:21:15.839
<v Speaker 2>Sometimes she leans into flirtation, but sometimes she lets a

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00:21:15.920 --> 00:21:21.039
<v Speaker 2>hint of fragility slip, and sometimes she plays the enigmatic

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00:21:21.160 --> 00:21:25.839
<v Speaker 2>starlet who just needs a little understanding, and a blythe

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00:21:25.880 --> 00:21:29.160
<v Speaker 2>calibrates all of this with precision. You can see the

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00:21:29.240 --> 00:21:33.920
<v Speaker 2>gears turning behind her eyes, even as Jordan can't, and

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00:21:33.960 --> 00:21:36.799
<v Speaker 2>it's one of those moments where the audience is allowed

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00:21:36.799 --> 00:21:40.720
<v Speaker 2>to feel the seduction before they fully understand the danger.

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00:21:41.440 --> 00:21:45.400
<v Speaker 2>A performance within a performance, and one of the reasons

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00:21:45.400 --> 00:21:49.000
<v Speaker 2>why this part of the episode still works so well,

316
00:21:49.400 --> 00:21:52.680
<v Speaker 2>but by the time she plans a kiss on Jordan's lips,

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00:21:53.279 --> 00:21:56.400
<v Speaker 2>we're starting to get the idea that this may be

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00:21:56.640 --> 00:21:59.839
<v Speaker 2>the kiss of death, and when he is accosted by

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<v Speaker 2>Pamela's mother, the mystery deepens further.

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<v Speaker 4>You must never see her again.

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<v Speaker 3>Why not?

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00:22:07.960 --> 00:22:11.839
<v Speaker 4>She's older than you think. Yes, she told me how

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00:22:11.880 --> 00:22:12.440
<v Speaker 4>old she was.

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<v Speaker 3>Yes, I know.

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<v Speaker 5>Thirty eight.

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00:22:17.240 --> 00:22:18.200
<v Speaker 4>Well isn't that true?

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<v Speaker 3>Mister Herricue wouldn't believe me if I told you how

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00:22:22.960 --> 00:22:24.680
<v Speaker 3>old I think she is?

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00:22:25.440 --> 00:22:26.079
<v Speaker 4>Do you think?

330
00:22:26.680 --> 00:22:27.200
<v Speaker 5>Don't you know?

331
00:22:28.599 --> 00:22:32.720
<v Speaker 4>No? Not really, But you're her mother.

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00:22:34.640 --> 00:22:40.799
<v Speaker 6>No, I'm not her mother, I'm her daughter.

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<v Speaker 2>So this revelation that Viola is actually Pamela's daughter does

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00:22:50.559 --> 00:22:54.519
<v Speaker 2>nothing to deter Jordan from returning later for his date

335
00:22:54.599 --> 00:22:58.519
<v Speaker 2>as Pamela. After all, what is the most likely that

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00:22:58.599 --> 00:23:02.160
<v Speaker 2>Pamela does somehow low younger than her mother, or that

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00:23:02.319 --> 00:23:07.119
<v Speaker 2>Viola is old and losing her mind, which, of course

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00:23:07.400 --> 00:23:11.039
<v Speaker 2>is the narrative that Pamela tries to push. But while

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00:23:11.119 --> 00:23:14.480
<v Speaker 2>Jordan goes to get ready for his date, let's meet

340
00:23:14.480 --> 00:23:17.880
<v Speaker 2>the man who played them, Lee Phillips, who was born

341
00:23:18.039 --> 00:23:22.079
<v Speaker 2>Leon Friedman in New York in nineteen twenty seven is

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00:23:22.119 --> 00:23:26.160
<v Speaker 2>one of those familiar faces from mid century television who

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00:23:26.240 --> 00:23:31.400
<v Speaker 2>quietly became something even more influential behind the camera. For

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00:23:31.480 --> 00:23:35.079
<v Speaker 2>Twilight Zone fans, he has the distinction of appearing in

345
00:23:35.119 --> 00:23:39.440
<v Speaker 2>two very different episodes. He appeared in Passage on the

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00:23:39.519 --> 00:23:43.079
<v Speaker 2>Lady Ann in season four, and now he returns in

347
00:23:43.160 --> 00:23:47.039
<v Speaker 2>Queen of the Nile and Phillips began his career as

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00:23:47.079 --> 00:23:50.799
<v Speaker 2>an actor fast on Broadway and then in Hollywood. His

349
00:23:50.920 --> 00:23:55.000
<v Speaker 2>most notable film role came opposite Lana Tayner in Peyton Place,

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<v Speaker 2>and he went on to appear in films such as

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<v Speaker 2>Middle of the Night, as well as television staples including

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00:24:01.880 --> 00:24:06.079
<v Speaker 2>The Fugitive, The Outer Limits, Route sixty six, Perry Mason,

353
00:24:06.599 --> 00:24:10.640
<v Speaker 2>Wagon Train, and Combat. But by the mid nineteen sixties,

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00:24:10.720 --> 00:24:15.240
<v Speaker 2>Phillips began moving away from acting and into directing, and

355
00:24:15.279 --> 00:24:18.759
<v Speaker 2>that became the longer, more defining chapter of his career.

356
00:24:19.839 --> 00:24:23.119
<v Speaker 2>He directed episodes of Peyton Place and The Dick Van

357
00:24:23.240 --> 00:24:29.240
<v Speaker 2>Dyke Show, and he later worked across television movies, mini series, mysteries, dramas,

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00:24:29.240 --> 00:24:33.359
<v Speaker 2>and comedies. So while many viewers remember him as an actor,

359
00:24:33.960 --> 00:24:37.480
<v Speaker 2>the industry came to know him as a dependable and

360
00:24:37.680 --> 00:24:42.920
<v Speaker 2>versatile director, someone who could move comfortably between the Internet,

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00:24:43.039 --> 00:24:48.640
<v Speaker 2>character drama and larger network productions, and he continued directing

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<v Speaker 2>into the nineteen nineties, and he died in nineteen ninety

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<v Speaker 2>nine at the age of seventy two. Now, during Jordan's

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00:24:57.000 --> 00:25:00.480
<v Speaker 2>date with Pamela that evening, he tells her what mother,

365
00:25:00.960 --> 00:25:04.240
<v Speaker 2>or as we now suspect, her daughter, said to him.

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00:25:04.720 --> 00:25:07.640
<v Speaker 2>Pamela responds with the ease of someone who has told

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00:25:07.720 --> 00:25:11.599
<v Speaker 2>this story many times before, spinning a tale about the

368
00:25:11.640 --> 00:25:15.400
<v Speaker 2>old woman never been quite right since Pamela's father died,

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00:25:16.160 --> 00:25:19.880
<v Speaker 2>and it works because it plays on a cruelly believable

370
00:25:19.920 --> 00:25:25.440
<v Speaker 2>assumption that an elderly woman's warning can be dismissed as confusion.

371
00:25:26.359 --> 00:25:30.240
<v Speaker 2>And in a situation this fantastical, it is far easier

372
00:25:30.279 --> 00:25:33.960
<v Speaker 2>to believe Viola is losing her grip than to believe

373
00:25:34.000 --> 00:25:39.000
<v Speaker 2>that Pamela Morris is somehow outliving her own child. But

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00:25:39.079 --> 00:25:42.680
<v Speaker 2>Jordan's no pushover. He may be drawn in by Pamela,

375
00:25:43.079 --> 00:25:46.160
<v Speaker 2>but he is still a journalist, and a good journalist

376
00:25:46.279 --> 00:25:49.680
<v Speaker 2>follows the loose thread, so he puts in a call

377
00:25:50.079 --> 00:25:51.799
<v Speaker 2>to his editor, Listen.

378
00:25:51.599 --> 00:25:53.559
<v Speaker 1>I wanted to do something for me get out the

379
00:25:53.599 --> 00:25:57.319
<v Speaker 1>file on a picture called Queen of the Nile. Which one?

380
00:25:57.880 --> 00:25:59.079
<v Speaker 4>What do you mean which one?

381
00:25:59.240 --> 00:26:02.039
<v Speaker 7>You're a little young for this. They made two of them,

382
00:26:02.079 --> 00:26:06.240
<v Speaker 7>the first one silent. I think, oh, nineteen twenty, maybe

383
00:26:06.240 --> 00:26:06.759
<v Speaker 7>a little later.

384
00:26:07.039 --> 00:26:07.920
<v Speaker 4>Oh, I get them both.

385
00:26:07.960 --> 00:26:09.400
<v Speaker 1>I'll hang on a right.

386
00:26:10.400 --> 00:26:11.039
<v Speaker 7>Hey you there?

387
00:26:11.519 --> 00:26:12.400
<v Speaker 4>Yeah? Uh.

388
00:26:12.440 --> 00:26:13.720
<v Speaker 7>What was the name of the girl who starred in

389
00:26:13.720 --> 00:26:17.960
<v Speaker 7>the original Constance Taylor? Anyway, she started most of it.

390
00:26:18.200 --> 00:26:20.440
<v Speaker 7>There was some kind of an accident during the last

391
00:26:20.480 --> 00:26:24.400
<v Speaker 7>day of shooting, cave in in a tomb in Egypt somewhere.

392
00:26:25.000 --> 00:26:26.839
<v Speaker 4>I never found her, never found her.

393
00:26:27.240 --> 00:26:29.480
<v Speaker 7>Oh, it was the end of a very promising career.

394
00:26:30.119 --> 00:26:33.000
<v Speaker 7>As a matter of fact, I met Constance Taylor when

395
00:26:33.039 --> 00:26:36.319
<v Speaker 7>I was about your age. She was an extraordinary woman.

396
00:26:36.960 --> 00:26:40.079
<v Speaker 7>How do you mean extraordinary? Well, she was ageless. She'd

397
00:26:40.119 --> 00:26:42.640
<v Speaker 7>been reigning beauty in the days of the floor Dora girls.

398
00:26:43.119 --> 00:26:46.079
<v Speaker 7>That was a little before your time, Georgie. She was

399
00:26:46.200 --> 00:26:50.160
<v Speaker 7>real Femvee Todd. She'd been married half a dozen times.

400
00:26:50.240 --> 00:26:51.440
<v Speaker 7>For the accident in Egypt.

401
00:26:51.920 --> 00:26:54.480
<v Speaker 4>This sounds like Pamela Mars, the same, same.

402
00:26:54.279 --> 00:26:57.000
<v Speaker 7>History, very much the same. As matter of fact, Yeah,

403
00:26:57.200 --> 00:26:58.519
<v Speaker 7>you got a picture of this tailor girl?

404
00:26:59.079 --> 00:27:01.319
<v Speaker 4>Yeah? All right, Compare it to a picture of.

405
00:27:01.319 --> 00:27:05.519
<v Speaker 2>Pamela Morris, and there it is. Pamela Morris has been

406
00:27:05.559 --> 00:27:10.799
<v Speaker 2>reinventing herself every few years, faking her own death and

407
00:27:10.839 --> 00:27:14.519
<v Speaker 2>then reappearing as a fresh new star. And it's an

408
00:27:14.519 --> 00:27:18.920
<v Speaker 2>elegant little system until she gets careless because starring in

409
00:27:19.000 --> 00:27:21.920
<v Speaker 2>two versions of Queen of the Nile may have been

410
00:27:22.039 --> 00:27:25.759
<v Speaker 2>one resurrection too many. Now, if we go looking for

411
00:27:25.920 --> 00:27:29.079
<v Speaker 2>real world parallels to Queen of the Nile, stories of

412
00:27:29.119 --> 00:27:32.240
<v Speaker 2>people claiming to be younger than they are, or or

413
00:27:32.319 --> 00:27:36.759
<v Speaker 2>stretching their lives beyond what seems possible, those stories are

414
00:27:36.799 --> 00:27:41.240
<v Speaker 2>out there. Human beings have always been obsessed with cheating time,

415
00:27:41.920 --> 00:27:44.200
<v Speaker 2>and history is full of people who have tried to

416
00:27:44.240 --> 00:27:48.319
<v Speaker 2>live forever, or at least pretend that they have now.

417
00:27:48.359 --> 00:27:50.599
<v Speaker 2>Over in the After Hours Club, one of the members,

418
00:27:50.640 --> 00:27:54.240
<v Speaker 2>Tom Phillips, made me aware of the story of Mele Oberon.

419
00:27:54.359 --> 00:27:57.319
<v Speaker 2>So thank you, Tom, because if you're looking for a

420
00:27:57.359 --> 00:28:01.759
<v Speaker 2>real world analog to Pamela Morris, a glamorous actress whose

421
00:28:01.799 --> 00:28:06.599
<v Speaker 2>public identity was a carefully maintained illusion, you don't have

422
00:28:06.680 --> 00:28:10.720
<v Speaker 2>to look to myth, legend or ancient Egypt. You only

423
00:28:10.759 --> 00:28:13.880
<v Speaker 2>have to look to Hollywood in the nineteen thirties and

424
00:28:14.000 --> 00:28:19.000
<v Speaker 2>forties and a woman named mel Oberon, and her life

425
00:28:19.119 --> 00:28:21.960
<v Speaker 2>is one of the most striking examples of a performer

426
00:28:22.039 --> 00:28:25.519
<v Speaker 2>who lived inside a fiction of age, identity, and origin.

427
00:28:26.160 --> 00:28:29.759
<v Speaker 2>Born in Bombay in nineteen eleven to a mother of

428
00:28:29.839 --> 00:28:33.480
<v Speaker 2>mixed Sri Lankan and Marie heritage, she grew up in

429
00:28:33.519 --> 00:28:35.799
<v Speaker 2>a world where the truth of her background would have

430
00:28:35.839 --> 00:28:38.799
<v Speaker 2>barred her from the very career she dreamed of, so

431
00:28:38.920 --> 00:28:42.880
<v Speaker 2>when she arrived in England and later Hollywood, the studios

432
00:28:42.920 --> 00:28:47.240
<v Speaker 2>built her a new biography, one that erased her heritage,

433
00:28:47.839 --> 00:28:52.519
<v Speaker 2>rewrote her childhood, and shaved years off her age. She

434
00:28:52.559 --> 00:28:57.640
<v Speaker 2>became mele Oberon, Tasmanian born aristocrat, a woman with a

435
00:28:58.079 --> 00:29:03.880
<v Speaker 2>conveniently vague past and a perfectly marketable complexion. Her real

436
00:29:03.960 --> 00:29:09.559
<v Speaker 2>mother was publicly recast as her maid, her birthplace was

437
00:29:09.599 --> 00:29:14.640
<v Speaker 2>relocated thousands of miles away, and her age was quietly

438
00:29:14.680 --> 00:29:19.319
<v Speaker 2>adjusted to keep her eternally young, and she maintained this

439
00:29:19.400 --> 00:29:24.000
<v Speaker 2>illusion for decades. Even later in life, she denied her

440
00:29:24.039 --> 00:29:28.200
<v Speaker 2>true heritage, and denied her true birthplace, and denied the

441
00:29:28.240 --> 00:29:30.759
<v Speaker 2>age that would have placed her well beyond the engineer

442
00:29:30.880 --> 00:29:35.160
<v Speaker 2>roles that she continued to play. Photographers were instructed to

443
00:29:35.200 --> 00:29:39.559
<v Speaker 2>avoid certain angles because of scarring from a childhood accident.

444
00:29:40.000 --> 00:29:44.039
<v Speaker 2>Publicists were told never to mention her early years. Her

445
00:29:44.240 --> 00:29:50.119
<v Speaker 2>entire persona was a kind of Hollywood immortality, not eternal life,

446
00:29:50.720 --> 00:29:54.119
<v Speaker 2>but eternal youth. And it wasn't until after her death

447
00:29:54.119 --> 00:29:58.720
<v Speaker 2>in nineteen seventy nine that the truth fully emerged and

448
00:29:58.759 --> 00:30:05.039
<v Speaker 2>the carefully constructed mythology finally dissolved. So thank you Tom

449
00:30:05.240 --> 00:30:06.480
<v Speaker 2>for that piece of trivia.

450
00:30:07.480 --> 00:30:14.440
<v Speaker 6>Well it's all true, mister Herrick, it's away true, but

451
00:30:14.680 --> 00:30:23.559
<v Speaker 6>don't show it to it leave here at once, he says. Fellah, yes, yes, please,

452
00:30:23.640 --> 00:30:29.519
<v Speaker 6>mister Herrick. You don't know how it is. She had

453
00:30:29.559 --> 00:30:31.079
<v Speaker 6>many different names.

454
00:30:31.319 --> 00:30:35.440
<v Speaker 4>But she herself hasn't changed in forty years. Forty years.

455
00:30:36.799 --> 00:30:41.839
<v Speaker 6>At least seventy years, the total sum of my life.

456
00:30:43.720 --> 00:30:47.680
<v Speaker 4>Can you imagine what it was like to see it all, this.

457
00:30:47.960 --> 00:30:53.680
<v Speaker 3>So fresh and beautiful, while my merrored image grew see

458
00:30:53.720 --> 00:30:55.039
<v Speaker 3>it and yellow with age.

459
00:30:56.599 --> 00:31:00.480
<v Speaker 4>How old is she really? She's age less now.

460
00:31:00.480 --> 00:31:03.200
<v Speaker 2>The Scarab beetle was one of the most powerful symbols

461
00:31:03.240 --> 00:31:08.079
<v Speaker 2>in ancient Egypt. To the Egyptians, this small creature wasn't

462
00:31:08.119 --> 00:31:11.839
<v Speaker 2>just an insect. It was a living emblem of creation

463
00:31:12.039 --> 00:31:15.599
<v Speaker 2>and rebirth. They watched the dung beetle roll its sphere

464
00:31:15.640 --> 00:31:20.279
<v Speaker 2>across the sand burier, and later saw young beetles emerge

465
00:31:20.279 --> 00:31:24.200
<v Speaker 2>as if from nowhere. It looked like life being created

466
00:31:24.359 --> 00:31:28.440
<v Speaker 2>out of nothing, and that simple observation became a metaphor

467
00:31:28.680 --> 00:31:32.960
<v Speaker 2>for the rising Sun. The god Kepri, who renewed the

468
00:31:33.000 --> 00:31:37.839
<v Speaker 2>world each morning, was often depicted as a scarab, pushing

469
00:31:37.880 --> 00:31:41.000
<v Speaker 2>the sun across the sky, just as the beetle pushed

470
00:31:41.039 --> 00:31:44.440
<v Speaker 2>its ball across the earth, And when you look at

471
00:31:44.519 --> 00:31:48.599
<v Speaker 2>Queen of the Nile, the symbolism becomes almost too perfect.

472
00:31:48.960 --> 00:31:52.519
<v Speaker 2>The scarab was a sacred emblem of balance, of death

473
00:31:52.559 --> 00:31:55.799
<v Speaker 2>giving way to life, of the sun, dying each night

474
00:31:55.960 --> 00:32:00.200
<v Speaker 2>and rising again each morning, and Pamela Morris embodied a

475
00:32:00.240 --> 00:32:04.160
<v Speaker 2>twisted version of that cycle, a life renewed not through

476
00:32:04.160 --> 00:32:09.000
<v Speaker 2>divine order, but through predation, a rebath that comes at

477
00:32:09.039 --> 00:32:12.960
<v Speaker 2>the cost of others. The Egyptians saw the scarab as

478
00:32:12.960 --> 00:32:17.160
<v Speaker 2>a reminder that creation and renewal were part of the

479
00:32:17.319 --> 00:32:23.119
<v Speaker 2>universe's rhythm, but Pamela represents what happens when someone tries

480
00:32:23.160 --> 00:32:28.960
<v Speaker 2>to break that rhythm and claim eternity. For themselves. My friends,

481
00:32:29.000 --> 00:32:33.079
<v Speaker 2>we are almost at the conclusion of our episode, but

482
00:32:33.200 --> 00:32:36.160
<v Speaker 2>tonight we have to say goodbye to one of the

483
00:32:36.200 --> 00:32:42.039
<v Speaker 2>Twilight Zone's true shining lights, the great Charles Beaumont. Now,

484
00:32:42.039 --> 00:32:46.480
<v Speaker 2>while the episode is credited to Beaumont, Mark Zickrey spoke

485
00:32:46.519 --> 00:32:50.480
<v Speaker 2>to Jerry Saul in The Twilight Zone Companion, who explains

486
00:32:50.519 --> 00:32:54.119
<v Speaker 2>what did happen, and he says he was in bad

487
00:32:54.160 --> 00:32:57.160
<v Speaker 2>shape at this time. It was I who suggested it.

488
00:32:57.599 --> 00:33:00.599
<v Speaker 2>I had a scarabring many years ago. I knew that

489
00:33:00.680 --> 00:33:04.599
<v Speaker 2>the scarab was the symbol of fertility and immortality in

490
00:33:04.680 --> 00:33:09.240
<v Speaker 2>Egyptian times. So I said, Chuck, let's have this woman

491
00:33:09.279 --> 00:33:13.839
<v Speaker 2>where this scarab ring it gives her immortality. After about

492
00:33:13.880 --> 00:33:17.079
<v Speaker 2>half an hour we had the story worked out. I

493
00:33:17.240 --> 00:33:19.799
<v Speaker 2>just went home and did it, sent it in and

494
00:33:19.839 --> 00:33:22.359
<v Speaker 2>they shot it exactly the way I wrote it. And

495
00:33:22.440 --> 00:33:26.000
<v Speaker 2>Martin Graham's junior also chimes in in unlocking the door

496
00:33:26.039 --> 00:33:30.119
<v Speaker 2>to a television classic. He says, while Charles Beaumont is

497
00:33:30.200 --> 00:33:33.799
<v Speaker 2>credited on the screen for writing the teleplay every word,

498
00:33:33.880 --> 00:33:37.559
<v Speaker 2>that the script was composed by Jerry Saul. Beaumont was

499
00:33:37.680 --> 00:33:41.119
<v Speaker 2>very ill by this time, and Saul insisted on leaving

500
00:33:41.119 --> 00:33:44.519
<v Speaker 2>his name off the script, so Beaumont and later his

501
00:33:44.640 --> 00:33:50.200
<v Speaker 2>widow would receive the residuals so wonderful gesture by Jerry Saul.

502
00:33:50.640 --> 00:33:53.599
<v Speaker 2>But if you've been with us throughout Charles Beaumont's work,

503
00:33:53.680 --> 00:33:56.599
<v Speaker 2>you'll know that the shadow of his illness has been

504
00:33:56.640 --> 00:34:01.000
<v Speaker 2>with us for some time, an ever present specter, slowly

505
00:34:01.079 --> 00:34:04.960
<v Speaker 2>dimming one of the Twilight Zone's brightest minds. And while

506
00:34:05.039 --> 00:34:07.599
<v Speaker 2>Queen of the Now carries his name, the truth is

507
00:34:08.119 --> 00:34:12.360
<v Speaker 2>we've been losing Boumon, piece by piece, story by story.

508
00:34:13.199 --> 00:34:16.400
<v Speaker 2>He may have sparked the idea with Jerry Saul, but

509
00:34:16.519 --> 00:34:19.360
<v Speaker 2>by this point we have to acknowledge that the script,

510
00:34:19.880 --> 00:34:25.760
<v Speaker 2>the craft, the structure, the execution is really souls. But

511
00:34:25.880 --> 00:34:29.400
<v Speaker 2>even so, we can't let Charles Beaumont slip away from

512
00:34:29.440 --> 00:34:34.320
<v Speaker 2>these airwaves without pausing to say something far more important.

513
00:34:35.039 --> 00:34:39.280
<v Speaker 2>Thank you, Thank you Charles for the never ending dream

514
00:34:39.400 --> 00:34:43.559
<v Speaker 2>where the amusement parks, screaming never stops, and the catgirl

515
00:34:43.639 --> 00:34:47.320
<v Speaker 2>waits for a heart to finally quit beating, For the

516
00:34:47.400 --> 00:34:51.920
<v Speaker 2>silent eternity of three astronauts touching down on an Earth

517
00:34:51.960 --> 00:34:56.400
<v Speaker 2>that isn't Earth, where the people are frozen like marble

518
00:34:56.480 --> 00:35:01.280
<v Speaker 2>statues trapped in a permanent, beautiful grave yard of their

519
00:35:01.280 --> 00:35:06.199
<v Speaker 2>own desires. You gave us the history professor who never ages,

520
00:35:06.400 --> 00:35:09.519
<v Speaker 2>carrying the dust of three thousand years in his eyes,

521
00:35:10.239 --> 00:35:14.320
<v Speaker 2>proving that living forever is just another way to die.

522
00:35:14.760 --> 00:35:17.360
<v Speaker 2>You gave us the small time hood who thought he'd

523
00:35:17.400 --> 00:35:22.119
<v Speaker 2>made a big girl's roulette wheels a perfect winning streak,

524
00:35:22.800 --> 00:35:26.119
<v Speaker 2>only to realize that a heaven where you get everything

525
00:35:26.159 --> 00:35:30.199
<v Speaker 2>you want is actually hell. The man on death throat,

526
00:35:30.280 --> 00:35:33.840
<v Speaker 2>trapped in a recurring nightmare, screaming to the jury that

527
00:35:33.920 --> 00:35:38.480
<v Speaker 2>they're just figments of his imagination. The drifter stepping into

528
00:35:38.559 --> 00:35:43.760
<v Speaker 2>dead gangster's shoes and stepping directly to his fatal destiny.

529
00:35:44.760 --> 00:35:48.920
<v Speaker 2>Charles Beaumont saw the future. He saw the corporate machine

530
00:35:49.480 --> 00:35:52.719
<v Speaker 2>trying to pace the same face on everyone. When he

531
00:35:52.840 --> 00:35:56.719
<v Speaker 2>warned us in number twelve, looks just like Hugh, the

532
00:35:56.840 --> 00:36:00.960
<v Speaker 2>beauty is the trap and the conformity is the knife.

533
00:36:01.480 --> 00:36:04.880
<v Speaker 2>He gave us Talkie Tina whispering from the dark stairs.

534
00:36:05.599 --> 00:36:08.599
<v Speaker 2>My name is Talkie Tina, and you better be nice

535
00:36:08.599 --> 00:36:11.840
<v Speaker 2>to me. They called him the magic Man, and it

536
00:36:11.960 --> 00:36:15.719
<v Speaker 2>wasn't just a nickname. But the fire ben too hot,

537
00:36:16.360 --> 00:36:20.280
<v Speaker 2>and the clock ran too fast. But the light never

538
00:36:20.320 --> 00:36:24.760
<v Speaker 2>went out, and the star didn't dim. It exploded, and

539
00:36:24.840 --> 00:36:28.400
<v Speaker 2>it lit up twenty two corners of the fifth dimension,

540
00:36:29.079 --> 00:36:32.800
<v Speaker 2>and those shadows remain on our screens to this day.

541
00:36:33.760 --> 00:36:38.239
<v Speaker 2>Charles Beaumont, thank you for being our magic man.

542
00:36:39.480 --> 00:36:41.559
<v Speaker 4>Don't you think it's time we had it? In that

543
00:36:42.840 --> 00:36:43.639
<v Speaker 4>honest talk?

544
00:36:45.360 --> 00:36:45.800
<v Speaker 1>What is it?

545
00:36:45.880 --> 00:36:55.000
<v Speaker 4>You want money? No, just the truth, and you shall

546
00:36:55.039 --> 00:36:55.239
<v Speaker 4>have it.

547
00:36:57.960 --> 00:37:01.800
<v Speaker 2>Jordan finally confronts Pamela, and in that moment she's painted

548
00:37:01.960 --> 00:37:07.079
<v Speaker 2>into a corner, the glamour slips, the facade cracks, and

549
00:37:07.119 --> 00:37:11.039
<v Speaker 2>she can no longer deny the evidence he's uncovered, and

550
00:37:11.119 --> 00:37:14.880
<v Speaker 2>her response is as smooth as it is chilling, with

551
00:37:15.000 --> 00:37:17.559
<v Speaker 2>the same effortless charm she used to draw him in.

552
00:37:18.239 --> 00:37:22.199
<v Speaker 2>She slips a sedative into his drink, guiding him gently

553
00:37:22.559 --> 00:37:29.000
<v Speaker 2>towards helplessness, and once he's weakened, the performance ends. Pamela

554
00:37:29.039 --> 00:37:33.360
<v Speaker 2>retrieves the scarab, that ancient emblem of rebait and renewal,

555
00:37:33.920 --> 00:37:37.840
<v Speaker 2>and places it on Jordan's chest, and what follows next

556
00:37:38.000 --> 00:37:42.760
<v Speaker 2>is probably the episode's most unsettling image. The scarab begins

557
00:37:42.800 --> 00:37:46.719
<v Speaker 2>its work draining his vitality until the man who walked

558
00:37:46.719 --> 00:37:51.599
<v Speaker 2>into her home full of curiosity and confidence, is reduced

559
00:37:51.599 --> 00:37:55.000
<v Speaker 2>to a lifeless husk. It's the moment that the truth

560
00:37:55.119 --> 00:37:59.400
<v Speaker 2>of Pamela Morris is finally laid bare and the cost

561
00:37:59.440 --> 00:38:04.199
<v Speaker 2>of her attache or beauty becomes horrifyingly clear. So all

562
00:38:04.239 --> 00:38:07.599
<v Speaker 2>that's left for us to do is to conduct the

563
00:38:07.639 --> 00:38:12.039
<v Speaker 2>post morton. I've had quite a journey with Queen of

564
00:38:12.119 --> 00:38:16.400
<v Speaker 2>the Nile. I think that three principal performances are strong

565
00:38:16.519 --> 00:38:20.639
<v Speaker 2>and taken on their own. They're probably the episode's greatest asset.

566
00:38:21.719 --> 00:38:25.239
<v Speaker 2>But the sad irony is that this episode, written by

567
00:38:25.320 --> 00:38:29.360
<v Speaker 2>Jerry Saul after a brief conversation with Charles Beaumont, yet

568
00:38:29.480 --> 00:38:33.960
<v Speaker 2>credited to Beaumont, feels like the shadow of something Beaumont

569
00:38:34.039 --> 00:38:39.440
<v Speaker 2>himself wrote in Fall. Long Live Walter Jamison. Long Live

570
00:38:39.519 --> 00:38:44.199
<v Speaker 2>Walter Jamison is Beaumont at full power in twenty two minutes.

571
00:38:44.679 --> 00:38:48.159
<v Speaker 2>It gives us a tragedy in which every character is

572
00:38:48.239 --> 00:38:54.119
<v Speaker 2>wounded by Jamison's immortality. Jamison himself is half enthralled by

573
00:38:54.159 --> 00:38:58.880
<v Speaker 2>eternal life and half imprisoned within it, unable to surrender

574
00:38:58.960 --> 00:39:02.920
<v Speaker 2>what has alreadyllowed him out. The father of his latest

575
00:39:02.960 --> 00:39:06.159
<v Speaker 2>bride is confronted with the terror of age in his

576
00:39:06.239 --> 00:39:10.199
<v Speaker 2>own reflection, while the bride herself watches the man she

577
00:39:10.320 --> 00:39:15.440
<v Speaker 2>loves collapse into dust, struck down by a former wife

578
00:39:15.519 --> 00:39:19.559
<v Speaker 2>left embittered by time. That is real pathos in all

579
00:39:19.599 --> 00:39:23.760
<v Speaker 2>of that, something Queen of the Nile never quite finds.

580
00:39:24.400 --> 00:39:29.920
<v Speaker 2>Pamela Morris, by contrast, seems to want immortality simply because

581
00:39:29.960 --> 00:39:33.239
<v Speaker 2>she wants it. She drains the life from her victims

582
00:39:33.280 --> 00:39:36.679
<v Speaker 2>in order to remain young, But the episode never really

583
00:39:36.760 --> 00:39:41.199
<v Speaker 2>let us understand what that immortality means to her beyond

584
00:39:41.239 --> 00:39:45.199
<v Speaker 2>her appetite for it. She functions less as a tragic

585
00:39:45.280 --> 00:39:50.519
<v Speaker 2>figure than as a straightforward predator. Perhaps that's fine, sometimes

586
00:39:50.519 --> 00:39:54.239
<v Speaker 2>a monster can simply be a monster, or perhaps that

587
00:39:54.400 --> 00:39:58.519
<v Speaker 2>is the point. The cost of her immortality has been

588
00:39:58.639 --> 00:40:03.639
<v Speaker 2>her humanity. She simply doesn't care, But making her a

589
00:40:03.719 --> 00:40:07.559
<v Speaker 2>female actress in an industry obsessed with youth feels like

590
00:40:07.599 --> 00:40:13.800
<v Speaker 2>an obvious target that is missed. Beaumont had already explored beauty, conformity,

591
00:40:14.119 --> 00:40:17.920
<v Speaker 2>and image in Number twelve Looks Just Like You, So

592
00:40:18.039 --> 00:40:21.119
<v Speaker 2>those themes were already alive in the culture, and this

593
00:40:21.159 --> 00:40:24.239
<v Speaker 2>would have been a good place to revisit them. But

594
00:40:24.360 --> 00:40:28.320
<v Speaker 2>they don't, and as a result, the episode ends up

595
00:40:28.360 --> 00:40:33.360
<v Speaker 2>feeling like Jordan's corpse after the Scarab has fed on it, drained,

596
00:40:33.920 --> 00:40:37.000
<v Speaker 2>with only the shape left behind. Now, no one is

597
00:40:37.079 --> 00:40:42.079
<v Speaker 2>especially to blame for that. Beaumont's contribution was unfortunately minimal,

598
00:40:42.480 --> 00:40:45.719
<v Speaker 2>and as we've previously mentioned, Jerry Salta in the script

599
00:40:45.760 --> 00:40:49.400
<v Speaker 2>around quickly and then generously allowed Beaumont to receive the

600
00:40:49.480 --> 00:40:53.280
<v Speaker 2>credit so that his family could benefit. And there's so

601
00:40:53.400 --> 00:40:56.559
<v Speaker 2>much decency in that gesture that it becomes difficult to

602
00:40:56.599 --> 00:41:00.840
<v Speaker 2>be too harsh on the finished episode. And I think

603
00:41:00.880 --> 00:41:04.519
<v Speaker 2>as I've watched it again and again to prepare for this,

604
00:41:05.239 --> 00:41:08.920
<v Speaker 2>some of the perceived floors have melted away. Sometimes a

605
00:41:09.000 --> 00:41:12.840
<v Speaker 2>story can just be a story. There's no responsibility there

606
00:41:12.880 --> 00:41:16.840
<v Speaker 2>to always have that subtext. And taken on those terms,

607
00:41:16.960 --> 00:41:19.679
<v Speaker 2>it's a decent enough watch and one that I came

608
00:41:20.199 --> 00:41:23.239
<v Speaker 2>to quite like. But I suppose the saddest part of

609
00:41:23.239 --> 00:41:26.400
<v Speaker 2>it for me is it's not the final Charles Beaumont

610
00:41:26.440 --> 00:41:29.800
<v Speaker 2>credit that I would have wished for. But there is

611
00:41:29.840 --> 00:41:33.679
<v Speaker 2>a strange consolation in that this isn't the sounds of

612
00:41:33.719 --> 00:41:39.079
<v Speaker 2>a great talent fading. It's just an echo cast by circumstance,

613
00:41:39.920 --> 00:41:43.960
<v Speaker 2>and perhaps that is its strange value set beside the

614
00:41:44.000 --> 00:41:47.719
<v Speaker 2>work Beaumont truly made his own. It reminds us how

615
00:41:47.760 --> 00:41:52.480
<v Speaker 2>brightly he could burn. If this episode is a dim Twilight,

616
00:41:53.239 --> 00:41:57.440
<v Speaker 2>it only throws his real brilliance into sharper relief, like

617
00:41:57.519 --> 00:42:02.079
<v Speaker 2>the last light on the horizon, proving how glorious the

618
00:42:02.199 --> 00:42:05.199
<v Speaker 2>now vanished so on once was you.

619
00:42:05.199 --> 00:42:06.280
<v Speaker 4>Must be mister Jetson.

620
00:42:07.000 --> 00:42:08.960
<v Speaker 1>Yes, I call the other day.

621
00:42:09.400 --> 00:42:11.199
<v Speaker 4>And I told you to come out when you could.

622
00:42:12.079 --> 00:42:13.079
<v Speaker 4>Did you think I forget?

623
00:42:13.920 --> 00:42:14.119
<v Speaker 5>Yeah?

624
00:42:14.840 --> 00:42:16.320
<v Speaker 4>We love coffee in the living room.

625
00:42:16.679 --> 00:42:20.880
<v Speaker 1>Everybody knows Pamela Morris, the beautiful and eternally young movie star,

626
00:42:21.880 --> 00:42:24.719
<v Speaker 1>or does she have another name, even more famous, an

627
00:42:24.719 --> 00:42:28.320
<v Speaker 1>Egyptian name from centuries past. It's best not to be

628
00:42:28.440 --> 00:42:32.239
<v Speaker 1>too curious, as you wind up like Jordan Herrick, a

629
00:42:32.280 --> 00:42:35.599
<v Speaker 1>pile of dust and all clothing discarded in the endless

630
00:42:35.599 --> 00:42:38.079
<v Speaker 1>eternity of the Twilight Zone.

631
00:42:40.280 --> 00:42:43.400
<v Speaker 2>So there we go. Queen of the Nile another episode

632
00:42:43.480 --> 00:42:46.480
<v Speaker 2>of our list. I think we might only have thirteen

633
00:42:46.599 --> 00:42:50.760
<v Speaker 2>to go after this. I'm not too sure, but if

634
00:42:50.800 --> 00:42:52.880
<v Speaker 2>you want to get your thoughts about Queen of the

635
00:42:53.000 --> 00:42:58.039
<v Speaker 2>Nile onto the next podcast, then maybe send me some thoughts.

636
00:42:58.119 --> 00:43:00.960
<v Speaker 2>By the fifth of August to Tom at the twilight

637
00:43:01.039 --> 00:43:04.079
<v Speaker 2>Zone podcast dot com and I will put your thoughts

638
00:43:04.119 --> 00:43:07.239
<v Speaker 2>onto the show. So if you head my catch up

639
00:43:07.280 --> 00:43:10.039
<v Speaker 2>episode last time, you know that I'm headed to Binghamton

640
00:43:10.079 --> 00:43:12.960
<v Speaker 2>in August where I will be delivering an episode of

641
00:43:13.000 --> 00:43:17.679
<v Speaker 2>the twilight Zone podcast live looking at the episode the

642
00:43:17.800 --> 00:43:20.920
<v Speaker 2>Masks and that will be on stage there. So if

643
00:43:20.920 --> 00:43:23.840
<v Speaker 2>you're going to Binghamton, make sure you seek me out

644
00:43:23.880 --> 00:43:26.159
<v Speaker 2>because I would love to meet you and I really

645
00:43:26.159 --> 00:43:28.239
<v Speaker 2>can't wait. So if you want to get your tickets,

646
00:43:28.679 --> 00:43:31.639
<v Speaker 2>go to Rodsailing dot com and tell them that the

647
00:43:31.679 --> 00:43:35.639
<v Speaker 2>twilight Zone Podcast sent you. Okay, so that's enough for me.

648
00:43:35.800 --> 00:43:38.719
<v Speaker 2>Let's go over to rod Sailing to find out what's

649
00:43:38.760 --> 00:43:39.679
<v Speaker 2>coming up next.

650
00:43:39.880 --> 00:43:42.800
<v Speaker 1>And now, mister Serling, next time art we do a

651
00:43:42.800 --> 00:43:44.880
<v Speaker 1>little biting of the hand that feeds and we tell

652
00:43:44.880 --> 00:43:47.119
<v Speaker 1>you a delightfully and that has to do with television.

653
00:43:47.159 --> 00:43:50.000
<v Speaker 1>Not normal television, mind you, but a wacky tale about

654
00:43:50.000 --> 00:43:52.679
<v Speaker 1>a TV set that predicts the future. It's written by

655
00:43:52.679 --> 00:43:55.880
<v Speaker 1>Martin Glosmith and stars three eminently talented people who make

656
00:43:55.920 --> 00:43:58.719
<v Speaker 1>their first visit to the Zone, John Bondeo, William Demmerz

657
00:43:58.800 --> 00:44:01.840
<v Speaker 1>and Sterling Holloway. And then Twilights next time, what's in

658
00:44:01.880 --> 00:44:02.360
<v Speaker 1>the box