WEBVTT

1
00:00:07.280 --> 00:00:10.800
<v Speaker 1>You unlock this door with the key of imagination. Beyond

2
00:00:10.839 --> 00:00:14.839
<v Speaker 1>it is another dimension, a dimension of sound, and a

3
00:00:14.960 --> 00:00:19.719
<v Speaker 1>dimension of sight, a dimension of mind. You're moving into

4
00:00:19.800 --> 00:00:23.559
<v Speaker 1>a land of both shadow and substance, of things and ideas.

5
00:00:23.640 --> 00:00:46.399
<v Speaker 1>You just crossed over into the twilight zone.

6
00:00:47.560 --> 00:00:51.840
<v Speaker 2>In sixteen seventy four, Marjorie Halcrowes Kind of Chanside in

7
00:00:51.880 --> 00:00:57.640
<v Speaker 2>Scotland died and was buried in a shallow grave by

8
00:00:57.679 --> 00:01:01.000
<v Speaker 2>a grave digger who planned to read that night to

9
00:01:01.039 --> 00:01:04.680
<v Speaker 2>steal her jury. But when he returned to do the

10
00:01:04.799 --> 00:01:09.519
<v Speaker 2>dastardly deed, he attempted to cut off her finger and

11
00:01:09.640 --> 00:01:15.319
<v Speaker 2>steal her ring. But she woke up. But not only

12
00:01:15.319 --> 00:01:19.040
<v Speaker 2>did she wake up, she went on to live for

13
00:01:19.200 --> 00:01:23.280
<v Speaker 2>many more years and even gave birth to two sons

14
00:01:23.319 --> 00:01:27.400
<v Speaker 2>in that time. In the eighteen fifties, a young girl

15
00:01:27.519 --> 00:01:33.120
<v Speaker 2>visiting family in South Carolina died of diphtheria, and this

16
00:01:33.319 --> 00:01:37.200
<v Speaker 2>was a time when containment of the disease was paramount,

17
00:01:38.040 --> 00:01:42.000
<v Speaker 2>so she was intered in the family mausoleum to stop

18
00:01:42.040 --> 00:01:46.840
<v Speaker 2>the spread of the disease from her corpse. Some years later,

19
00:01:47.719 --> 00:01:50.719
<v Speaker 2>when one of the family's sons was killed in the

20
00:01:50.719 --> 00:01:55.000
<v Speaker 2>American Civil War, the door of the tomb was opened

21
00:01:55.640 --> 00:01:58.920
<v Speaker 2>in order that he could be laid to rest there,

22
00:02:00.120 --> 00:02:05.280
<v Speaker 2>and what they found was the girl's tiny skeleton lay

23
00:02:05.319 --> 00:02:10.879
<v Speaker 2>on the floor just behind the door. The British Medical

24
00:02:10.960 --> 00:02:15.120
<v Speaker 2>Journal of eighteen seventy seven document a case in Naples

25
00:02:15.759 --> 00:02:20.000
<v Speaker 2>where a woman was buried in a communal grave. At

26
00:02:20.000 --> 00:02:24.759
<v Speaker 2>that time, people couldn't necessarily afford to have their own graves,

27
00:02:25.280 --> 00:02:29.039
<v Speaker 2>so multiple people would be buried in the same one.

28
00:02:29.159 --> 00:02:32.719
<v Speaker 2>The woman was laid to rest, but some days later,

29
00:02:33.479 --> 00:02:37.159
<v Speaker 2>when the grave was opened to receive another body, they

30
00:02:37.240 --> 00:02:40.840
<v Speaker 2>found that the closer had covered this poor woman, had

31
00:02:40.879 --> 00:02:44.560
<v Speaker 2>been torn to pieces, and that she had even broken

32
00:02:44.680 --> 00:02:50.000
<v Speaker 2>her limbs trying to escape from her tomb. So cases

33
00:02:50.039 --> 00:02:54.639
<v Speaker 2>of people being buried alive were more uncommon. In eighteen

34
00:02:54.759 --> 00:02:59.759
<v Speaker 2>ninety six, T. M. Montgomery, who supervised thisintainment and moving

35
00:02:59.800 --> 00:03:05.520
<v Speaker 2>of remains at the Fort Randall Cemetery, reported that nearly

36
00:03:05.599 --> 00:03:10.560
<v Speaker 2>two percent of those exhumed were no doubt victims of

37
00:03:10.719 --> 00:03:17.240
<v Speaker 2>premature burial. Undoubtedly, as is the way with people, these

38
00:03:17.280 --> 00:03:21.599
<v Speaker 2>stories grow with the retelling, and truth gets mixed up

39
00:03:21.599 --> 00:03:29.360
<v Speaker 2>with fiction and becomes legend, which also becomes inspiration. So

40
00:03:29.439 --> 00:03:33.080
<v Speaker 2>keep that in mind when we place a call to

41
00:03:33.159 --> 00:03:34.280
<v Speaker 2>miss Elva Keene.

42
00:03:44.479 --> 00:03:44.719
<v Speaker 3>Hello.

43
00:03:45.599 --> 00:03:49.719
<v Speaker 2>If you are of a nervous disposition, perhaps for the

44
00:03:49.759 --> 00:03:53.360
<v Speaker 2>next hour you should take the phone off the hook. Hello,

45
00:03:53.719 --> 00:03:58.879
<v Speaker 2>because like Elva Keen, you might just receive a night call.

46
00:04:00.120 --> 00:04:03.599
<v Speaker 1>Elva Keen lives alone in the outskirts of London Flats,

47
00:04:04.159 --> 00:04:07.840
<v Speaker 1>a tiny rural community in Maine. Up until now, the

48
00:04:07.960 --> 00:04:10.639
<v Speaker 1>pattern of miss Keane's existence has been that of lying

49
00:04:10.639 --> 00:04:13.240
<v Speaker 1>in her bed or sitting in a wheelchair, reading books,

50
00:04:13.599 --> 00:04:18.160
<v Speaker 1>listening to her radio, eating, napping, taking medication, and waiting

51
00:04:18.199 --> 00:04:22.279
<v Speaker 1>for something different to happen. Miss Keane doesn't know it yet,

52
00:04:22.360 --> 00:04:25.560
<v Speaker 1>but her period of waiting has just ended, for something

53
00:04:25.600 --> 00:04:28.240
<v Speaker 1>different is about to happen to her, has in fact

54
00:04:28.279 --> 00:04:32.439
<v Speaker 1>already begun to happen via two most unaccountable telephone calls

55
00:04:32.439 --> 00:04:35.720
<v Speaker 1>in the middle of a stormy night, telephone calls rooted

56
00:04:35.759 --> 00:04:38.319
<v Speaker 1>directly through the Twilight's on.

57
00:04:41.639 --> 00:04:46.160
<v Speaker 2>Face. Broadcast on February seventh, nineteen sixty four, written by

58
00:04:46.240 --> 00:04:52.680
<v Speaker 2>Richard Matheson and directed by Jacques Tornaire, So quite an

59
00:04:52.720 --> 00:04:56.360
<v Speaker 2>expository open a narration by Rod sailing this time and

60
00:04:56.399 --> 00:04:59.720
<v Speaker 2>with the use of the pretty much ever present whippan

61
00:05:00.279 --> 00:05:03.120
<v Speaker 2>that seems to be a part of every opening narration. Now,

62
00:05:03.759 --> 00:05:07.680
<v Speaker 2>again we aren't treated to Rod sailing in the scene here,

63
00:05:08.360 --> 00:05:10.800
<v Speaker 2>but I do like it for what it is. This

64
00:05:10.959 --> 00:05:14.319
<v Speaker 2>is an episode that is about suspense, and I think

65
00:05:14.399 --> 00:05:16.240
<v Speaker 2>this sets things up quite nicely.

66
00:05:17.639 --> 00:05:17.720
<v Speaker 4>So.

67
00:05:17.839 --> 00:05:22.319
<v Speaker 2>This episode originally was set to air on November twenty second,

68
00:05:22.439 --> 00:05:26.279
<v Speaker 2>nineteen sixty three, but like all programming on that date,

69
00:05:26.720 --> 00:05:31.920
<v Speaker 2>it was canceled for news coverage of President Kennedy's assassination,

70
00:05:33.160 --> 00:05:35.959
<v Speaker 2>and our writer tonight with his second to last can

71
00:05:36.000 --> 00:05:40.040
<v Speaker 2>you Believe it? His second to last Twilight Zone is

72
00:05:40.079 --> 00:05:44.480
<v Speaker 2>of course Richard Matheson. Now, the main piece of trivia

73
00:05:44.600 --> 00:05:47.319
<v Speaker 2>around this episode is that not only is it based

74
00:05:47.319 --> 00:05:51.079
<v Speaker 2>on a Richard Matheson short story, but it was originally

75
00:05:51.120 --> 00:05:55.920
<v Speaker 2>featured in the November nineteen fifty three issue of Beyond magazine,

76
00:05:56.480 --> 00:06:00.759
<v Speaker 2>and it was originally called Sorry Right Number, which was

77
00:06:00.759 --> 00:06:03.360
<v Speaker 2>a play on the title of the famous radio play

78
00:06:03.839 --> 00:06:08.680
<v Speaker 2>Sorry Wrong Number, which starred Twilight Zone alumni Agnes Moorehead

79
00:06:09.240 --> 00:06:12.639
<v Speaker 2>as a bedridden woman who overhears a Mader plot on

80
00:06:12.720 --> 00:06:16.560
<v Speaker 2>a cross line. Now, Mattison wasn't particularly fond of the

81
00:06:16.639 --> 00:06:19.879
<v Speaker 2>title Sorry Right Number, and when it was republished in

82
00:06:20.000 --> 00:06:24.480
<v Speaker 2>his short story collection Shock. It was retitled to Long

83
00:06:24.560 --> 00:06:28.959
<v Speaker 2>Distance Call, but of course there's already been a Twilight

84
00:06:29.040 --> 00:06:33.439
<v Speaker 2>Zone episode called long Distance Call, that Ultra Dark season

85
00:06:33.439 --> 00:06:39.519
<v Speaker 2>two episode starring Bill Murmey. And Tonight's director is Jacques Tornaire,

86
00:06:39.600 --> 00:06:42.399
<v Speaker 2>who was born in nineteen oh four in Paris, France,

87
00:06:43.000 --> 00:06:46.480
<v Speaker 2>and he ventured to Hollywood with his father, the renowned

88
00:06:46.560 --> 00:06:52.759
<v Speaker 2>director Maurice Tornaire, about nineteen thirteen. Now initially working as

89
00:06:52.800 --> 00:06:56.519
<v Speaker 2>a script clerk and editor for his father's films, Jacques

90
00:06:56.560 --> 00:06:59.879
<v Speaker 2>gradually transitioned to direct in short films under the suit

91
00:07:00.199 --> 00:07:04.279
<v Speaker 2>him of Jack Turner in both France and the United States,

92
00:07:05.199 --> 00:07:07.800
<v Speaker 2>and he made his mark in Hollywood as the second

93
00:07:07.959 --> 00:07:12.240
<v Speaker 2>unit director for David O'selznik's A Tale of Two Cities

94
00:07:12.279 --> 00:07:17.000
<v Speaker 2>in nineteen thirty five, a project that introduced him to

95
00:07:17.160 --> 00:07:21.480
<v Speaker 2>Val Luton, and when Luton was appointed to head RKO's

96
00:07:21.560 --> 00:07:25.439
<v Speaker 2>new horror unit in nineteen forty two, he chose Jacques

97
00:07:25.480 --> 00:07:29.959
<v Speaker 2>as his first director, resulting in the critically acclaimed and

98
00:07:30.000 --> 00:07:35.279
<v Speaker 2>commercially successful Cat People in nineteen forty two. Now, I

99
00:07:35.319 --> 00:07:38.040
<v Speaker 2>think when we speak about Cat People these days as

100
00:07:38.079 --> 00:07:42.040
<v Speaker 2>a master class in suspense, it's the producer Val Luton

101
00:07:42.079 --> 00:07:45.279
<v Speaker 2>whose name is usually attached to it, but it was

102
00:07:45.360 --> 00:07:50.439
<v Speaker 2>Jacques Tornaire who was behind the camera, and Jacques's directorial

103
00:07:50.480 --> 00:07:56.279
<v Speaker 2>prowess spanned various genres, consistently demonstrating his mastery of mood

104
00:07:56.279 --> 00:08:00.720
<v Speaker 2>and atmosphere. Despite an initial attempt at acting in Hollywood,

105
00:08:01.160 --> 00:08:04.879
<v Speaker 2>he returned to directing with his debut All That's Not

106
00:08:05.040 --> 00:08:09.639
<v Speaker 2>Worth Love, a French language movie, and then he relocated

107
00:08:09.720 --> 00:08:15.160
<v Speaker 2>permanently to Hollywood, and his diverse filmography includes second unit

108
00:08:15.199 --> 00:08:19.639
<v Speaker 2>work on Marie Antoinette and stars in My Crown, a

109
00:08:19.720 --> 00:08:26.360
<v Speaker 2>western featuring his former high school classmate Joel McCrae. Now reportedly, unfortunately,

110
00:08:26.439 --> 00:08:30.959
<v Speaker 2>Jacques's career was marred by alcoholism, which caused significant production

111
00:08:31.120 --> 00:08:35.240
<v Speaker 2>problems on some of his projects, which caused his career

112
00:08:35.320 --> 00:08:39.000
<v Speaker 2>to wane in the late nineteen fifties. And this is

113
00:08:39.039 --> 00:08:42.399
<v Speaker 2>of course speculation, but it's possibly why we have him

114
00:08:42.440 --> 00:08:46.200
<v Speaker 2>directing an episode of The Twilight Zone here his one

115
00:08:46.240 --> 00:08:50.840
<v Speaker 2>and only, because he's quoted as saying, largely, I hate

116
00:08:50.879 --> 00:08:55.120
<v Speaker 2>to in television. It's horrible, It's against everything I believe in.

117
00:08:55.759 --> 00:08:58.480
<v Speaker 2>If you don't bring some of your individuality and some

118
00:08:58.519 --> 00:09:01.080
<v Speaker 2>of your experience and censer activity to bear on a

119
00:09:01.120 --> 00:09:05.120
<v Speaker 2>subject you don't get more than a mechanical result. But

120
00:09:05.200 --> 00:09:08.600
<v Speaker 2>whether he hated doing television or not, if this episode

121
00:09:08.639 --> 00:09:12.039
<v Speaker 2>shows us anything, it's that Jacques still had a talent

122
00:09:12.120 --> 00:09:15.879
<v Speaker 2>for atmosphere and suspense, which we'll come back too later

123
00:09:15.960 --> 00:09:20.399
<v Speaker 2>on Now. Apparently it was Richard Matheson who wanted him

124
00:09:20.440 --> 00:09:23.960
<v Speaker 2>to direct this one, and in the Twilight Zone companion,

125
00:09:24.080 --> 00:09:27.440
<v Speaker 2>Richard Matheson says there was some doubt at the time

126
00:09:27.480 --> 00:09:30.519
<v Speaker 2>as to whether to use Tonair because they thought he

127
00:09:30.600 --> 00:09:34.840
<v Speaker 2>was a movie director and couldn't handle the scheduling. As

128
00:09:34.879 --> 00:09:39.000
<v Speaker 2>it turned out, he to my knowledge, shot the shortest

129
00:09:39.039 --> 00:09:42.600
<v Speaker 2>shooting schedule for a half hour. I think it was

130
00:09:42.639 --> 00:09:46.519
<v Speaker 2>twenty eight hours. And then in Unlocking the Door to

131
00:09:46.600 --> 00:09:50.039
<v Speaker 2>a Television Classic, Martin Graham's Junior reprints part of an

132
00:09:50.080 --> 00:09:54.480
<v Speaker 2>interview with Tom Weaver where Richard says I was a

133
00:09:54.480 --> 00:09:57.240
<v Speaker 2>fan of his from way back. I wrote letters to

134
00:09:57.360 --> 00:10:00.799
<v Speaker 2>Val Luton when I was seventeen about cap People. I'd

135
00:10:00.840 --> 00:10:03.399
<v Speaker 2>always been a tremendous fan of Tournier. As a matter

136
00:10:03.440 --> 00:10:07.639
<v Speaker 2>of fact, even before Comedy of Terrors, I had talked

137
00:10:07.639 --> 00:10:10.120
<v Speaker 2>with Bag Granitt about hiring him to do one of

138
00:10:10.159 --> 00:10:13.759
<v Speaker 2>my Twilight zones. They said the one reason they didn't

139
00:10:13.799 --> 00:10:17.240
<v Speaker 2>want him was because he was a movie director and

140
00:10:17.320 --> 00:10:20.879
<v Speaker 2>it would take him too long. Well, they hired him anyway,

141
00:10:21.440 --> 00:10:25.000
<v Speaker 2>and Tornair was so organized that he shot the shortest

142
00:10:25.000 --> 00:10:29.600
<v Speaker 2>twilight zone shooting. So after she was rudely awakened in

143
00:10:29.639 --> 00:10:32.639
<v Speaker 2>the night by a couple of phone calls, Elvia Keene

144
00:10:32.720 --> 00:10:34.799
<v Speaker 2>is laying in bed trying to make sense of it

145
00:10:34.840 --> 00:10:38.919
<v Speaker 2>all when she is visited by her nurse, Margaret, who

146
00:10:39.000 --> 00:10:42.039
<v Speaker 2>drives up to the house. Now, one of the things

147
00:10:42.080 --> 00:10:45.519
<v Speaker 2>I noticed when I watched this episode is how isolated

148
00:10:45.639 --> 00:10:50.840
<v Speaker 2>Elvia Keane's house actually looks when Margaret drives up to it.

149
00:10:50.840 --> 00:10:52.759
<v Speaker 2>It seems to be at the end of a long,

150
00:10:52.919 --> 00:10:56.840
<v Speaker 2>dirty road, and depending on what media you are watching

151
00:10:56.879 --> 00:11:00.440
<v Speaker 2>this on, because of the black and white visuals, they

152
00:11:00.480 --> 00:11:03.679
<v Speaker 2>can obscure that there is actually a front lawn on

153
00:11:03.720 --> 00:11:07.000
<v Speaker 2>the house, but the shot just makes it appear as

154
00:11:07.039 --> 00:11:10.440
<v Speaker 2>if it's in the middle of nowhere, just surrounded by debt.

155
00:11:11.320 --> 00:11:14.480
<v Speaker 2>And this sense of isolation is a crucial element of

156
00:11:14.480 --> 00:11:20.480
<v Speaker 2>the story, adding layers of tension and vulnerability. Elva Keane's

157
00:11:20.519 --> 00:11:23.600
<v Speaker 2>house is truly in the middle of nowhere, and she

158
00:11:23.759 --> 00:11:26.559
<v Speaker 2>is a mobile if there is a threat on the

159
00:11:26.639 --> 00:11:30.080
<v Speaker 2>other end of the phone, all she can do is

160
00:11:30.120 --> 00:11:33.200
<v Speaker 2>sit and wait for it to arrive. Now, if you

161
00:11:33.279 --> 00:11:36.240
<v Speaker 2>record the short story on which this is based early on,

162
00:11:36.279 --> 00:11:39.679
<v Speaker 2>we hear that this is tracking very close to that story,

163
00:11:40.240 --> 00:11:43.480
<v Speaker 2>even to the point of the dialogue being almost weird

164
00:11:43.519 --> 00:11:44.840
<v Speaker 2>for weird at times.

165
00:11:45.200 --> 00:11:48.159
<v Speaker 3>Oh, Miss Hinch, this is elba Kean speaking.

166
00:11:48.559 --> 00:11:50.720
<v Speaker 5>Yes, Miss King, can I help you you care?

167
00:11:51.399 --> 00:11:55.000
<v Speaker 3>Last night, about two am, my telephone rang. I answered it,

168
00:11:55.039 --> 00:11:58.080
<v Speaker 3>but no one spoke. I didn't even hear the receiver

169
00:11:58.240 --> 00:12:03.440
<v Speaker 3>being put down, not even the tone, just silence. Well, miss,

170
00:12:03.480 --> 00:12:05.519
<v Speaker 3>and the same thing happened a few moments later.

171
00:12:06.039 --> 00:12:08.799
<v Speaker 5>Well, I'll tell you, Miss King, that storm last night

172
00:12:08.879 --> 00:12:11.840
<v Speaker 5>just about ruined our service. We've been flooded with complaints

173
00:12:11.879 --> 00:12:15.480
<v Speaker 5>about fallen wires and bad connections. I'd say you're pretty

174
00:12:15.519 --> 00:12:17.080
<v Speaker 5>lucky your telephone is working at all.

175
00:12:17.600 --> 00:12:19.519
<v Speaker 3>Would do say then, that someone was trying to call

176
00:12:19.639 --> 00:12:22.080
<v Speaker 3>me and the connection was bad because of the storm.

177
00:12:22.360 --> 00:12:23.159
<v Speaker 6>That's as good.

178
00:12:22.960 --> 00:12:26.919
<v Speaker 5>An explanation as any. Right now, Miss King, I'm sorry.

179
00:12:27.039 --> 00:12:29.200
<v Speaker 5>I wish I could be of more help, but oh

180
00:12:29.440 --> 00:12:31.080
<v Speaker 5>the way things are right now.

181
00:12:31.360 --> 00:12:34.159
<v Speaker 2>So in this all female cast, we only really have

182
00:12:34.320 --> 00:12:39.000
<v Speaker 2>a couple of supporting characters. One of them is Margaret

183
00:12:39.159 --> 00:12:42.679
<v Speaker 2>Elva King's care or housekeeper, whatever you want to call her,

184
00:12:43.200 --> 00:12:46.279
<v Speaker 2>and she's played by Nora Marlow, who we have actually

185
00:12:46.320 --> 00:12:49.559
<v Speaker 2>seen before in the Twilight Zone, although you will be

186
00:12:49.600 --> 00:12:53.120
<v Speaker 2>forgiven for not remembering it because she was in the

187
00:12:53.200 --> 00:12:57.840
<v Speaker 2>episode back there as the chamber made and I suppose

188
00:12:57.919 --> 00:13:00.639
<v Speaker 2>she had a kind of presence to her. Would mean

189
00:13:00.679 --> 00:13:03.360
<v Speaker 2>that she was often cast in these kind of parts.

190
00:13:03.960 --> 00:13:06.279
<v Speaker 2>If you look down here resume, you will see that

191
00:13:06.480 --> 00:13:10.120
<v Speaker 2>often she has cast as a maid, or a hostess

192
00:13:10.639 --> 00:13:15.039
<v Speaker 2>or a nurse, those kind of service or caring roles.

193
00:13:16.080 --> 00:13:19.799
<v Speaker 2>And Nora was born in nineteen fifteen in Worcester, Massachusetts,

194
00:13:20.399 --> 00:13:23.799
<v Speaker 2>and her television and film career began in the early fifties.

195
00:13:24.799 --> 00:13:27.320
<v Speaker 2>And it started, as it would mean to go on,

196
00:13:28.039 --> 00:13:31.440
<v Speaker 2>with a role as a nurse in nineteen fifty five's

197
00:13:31.480 --> 00:13:36.440
<v Speaker 2>I'll Cry Tomorrow starring Susan Hayward. Then she was a

198
00:13:36.440 --> 00:13:39.799
<v Speaker 2>maid in An Affair to Remember in nineteen fifty seven,

199
00:13:40.679 --> 00:13:44.039
<v Speaker 2>and while she was mostly a one and done supporting player,

200
00:13:44.559 --> 00:13:48.639
<v Speaker 2>occasionally she would take more long term roles, and perhaps

201
00:13:48.720 --> 00:13:53.120
<v Speaker 2>her most famous role is in Elhamner Juniors show The Waltons,

202
00:13:53.679 --> 00:13:58.000
<v Speaker 2>where she played missus Flossi Brimmer in twenty seven episodes

203
00:13:58.039 --> 00:14:01.960
<v Speaker 2>between nineteen seventy three and nineteen teen seventy seven, which

204
00:14:02.080 --> 00:14:04.159
<v Speaker 2>was to be her last credited part.

205
00:14:17.240 --> 00:14:23.159
<v Speaker 5>Oh m hm.

206
00:14:29.840 --> 00:14:35.080
<v Speaker 3>Hello, Oh h what.

207
00:14:47.440 --> 00:14:48.000
<v Speaker 7>Who's there?

208
00:14:52.080 --> 00:14:53.039
<v Speaker 3>Who's on the line?

209
00:14:54.080 --> 00:14:55.240
<v Speaker 7>Oh?

210
00:14:55.279 --> 00:14:55.799
<v Speaker 5>Who is it?

211
00:14:56.159 --> 00:15:01.879
<v Speaker 3>Oh?

212
00:15:01.960 --> 00:15:04.039
<v Speaker 7>Who's there? Hello?

213
00:15:05.799 --> 00:15:06.360
<v Speaker 5>Hello?

214
00:15:08.279 --> 00:15:12.000
<v Speaker 2>Now note the lack of music here. Like he doesn't

215
00:15:12.039 --> 00:15:17.919
<v Speaker 2>cat people, Tournair employs silence as his secret weapon. No music,

216
00:15:18.399 --> 00:15:24.279
<v Speaker 2>no jump scares, just a barely audible, unsettling voice making

217
00:15:24.519 --> 00:15:31.080
<v Speaker 2>unintelligible noises until it says hello, and then torna Air

218
00:15:31.159 --> 00:15:35.240
<v Speaker 2>pulls back to a beautifully composed wide profile shot of

219
00:15:35.320 --> 00:15:40.720
<v Speaker 2>elve Kene's bed, again highlighting how isolated and alone she

220
00:15:40.960 --> 00:15:44.120
<v Speaker 2>is now. As we know, for the most part, this

221
00:15:44.279 --> 00:15:48.559
<v Speaker 2>episode is very faithful to Richard Matheson's short story until

222
00:15:48.600 --> 00:15:52.279
<v Speaker 2>the end, and what both share is that the voice

223
00:15:52.279 --> 00:15:55.360
<v Speaker 2>on the phone starts out just as a mumbling or

224
00:15:55.399 --> 00:15:59.600
<v Speaker 2>a memo, and as it goes on it becomes easier

225
00:15:59.600 --> 00:16:03.440
<v Speaker 2>to understand. It's as if that this person who has

226
00:16:03.559 --> 00:16:07.519
<v Speaker 2>risen from the dead needs to learn again how to speak,

227
00:16:08.360 --> 00:16:12.240
<v Speaker 2>and the effect here in the episode is wonderfully creepy.

228
00:16:13.080 --> 00:16:18.080
<v Speaker 2>Just this barely audible disembodied sound, another example of how

229
00:16:18.159 --> 00:16:21.799
<v Speaker 2>torn are used understatement to maximum effect.

230
00:16:22.840 --> 00:16:26.120
<v Speaker 5>Miss Keane, are you sure it was someone saying hello?

231
00:16:26.559 --> 00:16:27.159
<v Speaker 5>It could have been.

232
00:16:27.320 --> 00:16:30.279
<v Speaker 3>I tell you it was someone, the same one who

233
00:16:30.360 --> 00:16:33.120
<v Speaker 3>kept listening to be saying hello over and over again

234
00:16:33.200 --> 00:16:36.639
<v Speaker 3>without answering back, the same one who kept making those

235
00:16:36.720 --> 00:16:37.679
<v Speaker 3>horrible noises.

236
00:16:37.919 --> 00:16:40.320
<v Speaker 5>You have no idea whether it was a man or

237
00:16:40.360 --> 00:16:40.759
<v Speaker 5>a woman.

238
00:16:41.279 --> 00:16:43.919
<v Speaker 3>I've already told you there's no way of knowing it

239
00:16:44.039 --> 00:16:45.840
<v Speaker 3>might be either one.

240
00:16:46.000 --> 00:16:48.960
<v Speaker 5>And you're positive it wasn't someone on your party line?

241
00:16:49.519 --> 00:16:51.399
<v Speaker 3>Or don't you think I don't know the people on

242
00:16:51.440 --> 00:16:52.200
<v Speaker 3>my pardet line?

243
00:16:52.480 --> 00:16:56.000
<v Speaker 5>Oh? Sure you do, miss Keane, Of course you do. Well,

244
00:16:56.159 --> 00:16:58.879
<v Speaker 5>I'll I'll have a man check your line as soon

245
00:16:58.919 --> 00:17:02.159
<v Speaker 5>as possible. Ah, The crews are pretty busy right now

246
00:17:02.240 --> 00:17:03.440
<v Speaker 5>on a kind of a storm.

247
00:17:03.559 --> 00:17:06.799
<v Speaker 3>But but what am I to do with this person

248
00:17:06.920 --> 00:17:07.519
<v Speaker 3>calls again?

249
00:17:07.880 --> 00:17:10.039
<v Speaker 5>Try to get their name if you can. If you

250
00:17:10.119 --> 00:17:12.279
<v Speaker 5>do that, why we can take immediate action.

251
00:17:12.440 --> 00:17:18.000
<v Speaker 2>You see. Yes, So, as Elva Keine tries to get

252
00:17:18.039 --> 00:17:20.960
<v Speaker 2>to the bottom of what's going on, let's meet the

253
00:17:21.039 --> 00:17:25.759
<v Speaker 2>woman who played often we talk about our multiple episode

254
00:17:25.799 --> 00:17:30.440
<v Speaker 2>Twilight Zone leading men like merediths and Clubmen, And while

255
00:17:30.440 --> 00:17:33.839
<v Speaker 2>we certainly give Gladys Cooper credit for Nothing in the Dark,

256
00:17:34.559 --> 00:17:37.559
<v Speaker 2>I feel like a contribution as a whole is sometimes

257
00:17:37.680 --> 00:17:42.279
<v Speaker 2>not quite considered in the same way. Perhaps it's because

258
00:17:42.279 --> 00:17:45.160
<v Speaker 2>his second episode, Passage on the Lady Anne, is a

259
00:17:45.240 --> 00:17:48.680
<v Speaker 2>season four one, which tend to slip through the cracks

260
00:17:48.720 --> 00:17:53.240
<v Speaker 2>quite often in people's analysis of the show. And then

261
00:17:53.240 --> 00:17:56.279
<v Speaker 2>we have Night Call here which is well regarded, what

262
00:17:56.440 --> 00:18:00.799
<v Speaker 2>sits in season five, where everyone's appreciation of this season

263
00:18:00.880 --> 00:18:04.319
<v Speaker 2>seems to be quite different. But all this to say,

264
00:18:04.400 --> 00:18:07.599
<v Speaker 2>this is the third and final episode of Gladys Cooper's

265
00:18:07.640 --> 00:18:11.400
<v Speaker 2>three episode Twilight Zone run now in Passage on the Lady,

266
00:18:11.400 --> 00:18:13.599
<v Speaker 2>and she is a bit more of a supporting player,

267
00:18:13.640 --> 00:18:17.079
<v Speaker 2>but she's definitely the lead in her other two episodes,

268
00:18:18.039 --> 00:18:21.119
<v Speaker 2>So she is an important Twilight Zone player. And she

269
00:18:21.160 --> 00:18:23.200
<v Speaker 2>did all of this while she was in her early

270
00:18:23.240 --> 00:18:26.559
<v Speaker 2>to mid seventies, and her career would go on for

271
00:18:26.599 --> 00:18:29.920
<v Speaker 2>another seven years from here. In the same year as

272
00:18:29.960 --> 00:18:33.279
<v Speaker 2>this episode, she played one of her most memorable roles,

273
00:18:33.759 --> 00:18:37.640
<v Speaker 2>Miss Higgins, in My Fair Lady, and she continued taking

274
00:18:37.720 --> 00:18:40.599
<v Speaker 2>guest roles in television shows like The Girl from Uncle,

275
00:18:41.279 --> 00:18:44.480
<v Speaker 2>even taking a recaring part in the British TV show

276
00:18:44.519 --> 00:18:48.880
<v Speaker 2>Doctors in nineteen seventy one, where she played Harriet Vay

277
00:18:49.039 --> 00:18:52.559
<v Speaker 2>for ten episodes, and then finally a guest spot in

278
00:18:52.640 --> 00:18:57.279
<v Speaker 2>the Roger Moore and Tony Curtis it C show The Persuaders,

279
00:18:57.559 --> 00:19:01.839
<v Speaker 2>also in nineteen seventy one. So Gladys Cooper truly did

280
00:19:01.960 --> 00:19:05.000
<v Speaker 2>wait until the end, because sadly she passed away on

281
00:19:05.079 --> 00:19:09.960
<v Speaker 2>November seventeenth, nineteen seventy one, at the age of eighty two. Now,

282
00:19:10.000 --> 00:19:14.039
<v Speaker 2>considering that she wrote her self titled biography in nineteen

283
00:19:14.200 --> 00:19:17.079
<v Speaker 2>thirty one, it's good to know that there was still

284
00:19:17.200 --> 00:19:20.839
<v Speaker 2>another forty years of story that was left to be written.

285
00:19:21.279 --> 00:19:25.039
<v Speaker 2>And it's rumored that on her deathbed she said, if

286
00:19:25.039 --> 00:19:27.960
<v Speaker 2>this is what pneumonia does to one, I really don't

287
00:19:28.000 --> 00:19:31.720
<v Speaker 2>think I shall bother to have it again. So for

288
00:19:31.839 --> 00:19:35.920
<v Speaker 2>your services to the Twilight Zone and film and television

289
00:19:36.279 --> 00:19:41.400
<v Speaker 2>from its inception day, Gladys Cooper, Commander of the Order

290
00:19:41.480 --> 00:19:44.240
<v Speaker 2>of the British Empire, we salute you.

291
00:19:45.359 --> 00:19:45.559
<v Speaker 8>Now.

292
00:19:45.559 --> 00:19:48.400
<v Speaker 2>This is actually going to be quite a short episode

293
00:19:48.440 --> 00:19:51.519
<v Speaker 2>of the twilight Zone podcast because there's really not too

294
00:19:51.599 --> 00:19:54.960
<v Speaker 2>much trivia about this one, and I think there's not

295
00:19:55.079 --> 00:19:57.839
<v Speaker 2>much point in just recapping the story. We know how

296
00:19:57.880 --> 00:20:02.519
<v Speaker 2>it goes, the multiple phone and Miss Elva becoming more

297
00:20:02.559 --> 00:20:06.240
<v Speaker 2>and more distressed as she goes on. But where there

298
00:20:06.279 --> 00:20:10.559
<v Speaker 2>is a genuine point of interest is the ending. So

299
00:20:10.680 --> 00:20:14.319
<v Speaker 2>let's do a little compare and contrast, because the short

300
00:20:14.359 --> 00:20:19.720
<v Speaker 2>story ending goes like this. In the black silence of

301
00:20:19.759 --> 00:20:25.319
<v Speaker 2>her bedroom, a crippled maiden lady lay waiting her nurse

302
00:20:25.359 --> 00:20:29.000
<v Speaker 2>would not remain for the night. Her nurse had patted

303
00:20:29.000 --> 00:20:33.920
<v Speaker 2>her and scolded her and ignored her. She was waiting

304
00:20:34.039 --> 00:20:39.079
<v Speaker 2>for a telephone call. She could have disconnected the phone,

305
00:20:39.240 --> 00:20:44.680
<v Speaker 2>but she had not the will. She lay there, waiting, waiting,

306
00:20:45.880 --> 00:20:51.440
<v Speaker 2>thinking of the silence of the ears that had not heard,

307
00:20:52.240 --> 00:20:57.359
<v Speaker 2>seeking to hear again, of sounds bobbling and muttering, the

308
00:20:57.480 --> 00:21:02.200
<v Speaker 2>fierce stumbling attempts at speech by one who had not spoken,

309
00:21:03.160 --> 00:21:03.759
<v Speaker 2>how long?

310
00:21:04.880 --> 00:21:11.279
<v Speaker 8>Of hallo, hallo?

311
00:21:12.559 --> 00:21:18.839
<v Speaker 2>Face greeted by one long silent of where are you?

312
00:21:21.000 --> 00:21:26.319
<v Speaker 2>Of that which made her lie so rigidly, The clicking

313
00:21:26.400 --> 00:21:30.960
<v Speaker 2>and the operator speaking her address, of the telephone ringing,

314
00:21:31.759 --> 00:21:36.279
<v Speaker 2>a pause, ringing, the rustle of a nightgown in the dark,

315
00:21:37.400 --> 00:21:44.759
<v Speaker 2>The ringing stopped listening, and the telephone slipping away from

316
00:21:44.799 --> 00:21:51.279
<v Speaker 2>the white fingers, the eyes staring, the thin heart beats

317
00:21:51.759 --> 00:22:00.880
<v Speaker 2>slowly pulsing outside, the cricket rattling night inside, the word

318
00:22:01.079 --> 00:22:06.720
<v Speaker 2>still sounding in her brain, giving terrible meaning to the heavy,

319
00:22:07.480 --> 00:22:09.319
<v Speaker 2>choking silence.

320
00:22:17.200 --> 00:22:22.400
<v Speaker 3>Hello, miss Alva, I'll be right.

321
00:22:22.759 --> 00:22:29.279
<v Speaker 2>Over, And then the television episode ends like this.

322
00:22:30.079 --> 00:22:34.640
<v Speaker 3>It's him, Miss King was the matter? It's him?

323
00:22:34.720 --> 00:22:35.000
<v Speaker 7>Ryan?

324
00:22:35.359 --> 00:22:43.920
<v Speaker 3>Who what are you talking about? Ryan? My Fuanca you're

325
00:22:45.799 --> 00:22:54.400
<v Speaker 3>He died a week before we were in erried. We

326
00:22:54.400 --> 00:23:01.559
<v Speaker 3>were in a car together. I insisted upon driving. I

327
00:23:01.599 --> 00:23:05.480
<v Speaker 3>was always insisted upon everything, determined to have my own

328
00:23:05.519 --> 00:23:12.920
<v Speaker 3>way dominating him. He always did what I said always.

329
00:23:18.039 --> 00:23:23.160
<v Speaker 3>I lost control of the car. I drove straight into

330
00:23:23.160 --> 00:23:37.279
<v Speaker 3>a tree, brown went right through the wind shoe. He's

331
00:23:37.319 --> 00:23:51.279
<v Speaker 3>cut to pieces. I was crippled, and now he's trying

332
00:23:51.319 --> 00:23:58.680
<v Speaker 3>to reach me. Now he's trying to reach me.

333
00:24:00.079 --> 00:24:09.599
<v Speaker 9>M talk him.

334
00:24:09.640 --> 00:24:27.759
<v Speaker 3>I won't be lonely anymore. M Brian, Brian, are you there, Brian, Brian,

335
00:24:27.839 --> 00:24:36.000
<v Speaker 3>if you're there, speak to me. It's ever elver. Please

336
00:24:36.039 --> 00:24:36.559
<v Speaker 3>speak to me.

337
00:24:36.599 --> 00:24:37.039
<v Speaker 6>It's over.

338
00:24:37.839 --> 00:24:42.720
<v Speaker 3>Please say you said leave you alone.

339
00:24:43.640 --> 00:24:51.119
<v Speaker 1>I always do what you say, Brian.

340
00:24:51.240 --> 00:24:54.240
<v Speaker 3>I didn't know it was you, I thought, Bron. Please

341
00:24:54.480 --> 00:24:57.279
<v Speaker 3>please don't leave me, please speak to me.

342
00:24:58.160 --> 00:25:00.640
<v Speaker 2>But there is also another version, and then I think

343
00:25:00.799 --> 00:25:04.720
<v Speaker 2>is worthy of a mention, not because it's wildly different.

344
00:25:05.559 --> 00:25:10.480
<v Speaker 2>It basically uses the television ending, but because of who

345
00:25:10.680 --> 00:25:11.200
<v Speaker 2>is in it.

346
00:25:12.680 --> 00:25:29.359
<v Speaker 10>Oh, someone calling at this hour? Hello, I'm sorry I

347
00:25:29.359 --> 00:25:31.599
<v Speaker 10>didn't hear the thunder.

348
00:25:33.400 --> 00:25:36.599
<v Speaker 7>Hello. Hello.

349
00:25:38.240 --> 00:25:41.039
<v Speaker 2>Now, if you don't recognize that voice playing Alva Keine,

350
00:25:41.039 --> 00:25:45.200
<v Speaker 2>it's actually Twilight z Own alumni Marriott Hartley, who, if

351
00:25:45.200 --> 00:25:49.720
<v Speaker 2>you remember, played Sandra Horn to heartbreaking effect in the

352
00:25:49.799 --> 00:25:55.039
<v Speaker 2>underappreciated The Long Morrow from season five, and she actually

353
00:25:55.079 --> 00:25:58.160
<v Speaker 2>does a really good job of playing Alva Quene. She

354
00:25:58.240 --> 00:26:01.640
<v Speaker 2>doesn't seem quite as crotchety is the gladys Cuper version,

355
00:26:02.119 --> 00:26:05.599
<v Speaker 2>and overall comes across as a bit more sympathetic. So

356
00:26:05.680 --> 00:26:08.359
<v Speaker 2>it's not as easy to imagine a being this controlling

357
00:26:08.480 --> 00:26:12.720
<v Speaker 2>woman that she says she is or was in the episode,

358
00:26:13.440 --> 00:26:15.359
<v Speaker 2>but I think overall it still works.

359
00:26:16.359 --> 00:26:18.759
<v Speaker 7>Oh, this is ridiculous. Now that I want you to

360
00:26:18.839 --> 00:26:28.039
<v Speaker 7>call Brian, Brian, are you there? Can you hear me?

361
00:26:29.559 --> 00:26:34.400
<v Speaker 10>It's Elva Elva.

362
00:26:35.200 --> 00:26:41.799
<v Speaker 7>Oh Brian, Brian, My dear Brian, where are you? Where

363
00:26:41.839 --> 00:26:46.200
<v Speaker 7>are you? Brian? Can't you hear me at all? Brian?

364
00:26:47.839 --> 00:26:51.359
<v Speaker 7>Are you there, Brian. If you are, please speak, it's Elva. Elva.

365
00:26:52.000 --> 00:26:55.440
<v Speaker 7>You can speak to me now. I I didn't know

366
00:26:55.519 --> 00:26:59.359
<v Speaker 7>it was you. I thought, Brian, Please, I know you're there.

367
00:26:59.400 --> 00:27:05.079
<v Speaker 7>It's Elva. Talk to me, Brie. Please, I beg you.

368
00:27:03.440 --> 00:27:06.200
<v Speaker 5>You shirt.

369
00:27:09.799 --> 00:27:17.079
<v Speaker 7>You alone? No, but I didn't mean I.

370
00:27:18.880 --> 00:27:19.559
<v Speaker 1>Alwes.

371
00:27:19.839 --> 00:27:23.319
<v Speaker 8>Do what you say.

372
00:27:25.079 --> 00:27:27.599
<v Speaker 2>At the beginning of the show, I discussed the historical

373
00:27:27.680 --> 00:27:32.640
<v Speaker 2>prevalence of premature burial, and this issue became so concerning

374
00:27:33.279 --> 00:27:37.119
<v Speaker 2>that it led to the invention of various devices, such

375
00:27:37.160 --> 00:27:41.480
<v Speaker 2>as coffins equipped with breathing tubes and bells, designed to

376
00:27:41.559 --> 00:27:46.480
<v Speaker 2>aid people buried alive in surviving and elating others. And then,

377
00:27:46.519 --> 00:27:49.960
<v Speaker 2>with the advent of the telephone, some people went as

378
00:27:50.039 --> 00:27:55.000
<v Speaker 2>far as installing telephones in family crypts, and it's this

379
00:27:55.200 --> 00:27:59.519
<v Speaker 2>concept that saved as inspiration for Richard Matheson when he

380
00:27:59.720 --> 00:28:04.319
<v Speaker 2>riged wrote the story. Consider the scenario where you receive

381
00:28:04.400 --> 00:28:07.279
<v Speaker 2>a phone call from someone who had been recently laid

382
00:28:07.319 --> 00:28:11.200
<v Speaker 2>to rest prematurely because they've had a phone installed in

383
00:28:11.240 --> 00:28:14.920
<v Speaker 2>their crypt, and initially their speech may be unclear due

384
00:28:14.920 --> 00:28:18.720
<v Speaker 2>to the effects of their recent apparent death, but as

385
00:28:18.759 --> 00:28:24.640
<v Speaker 2>time progresses, they become increasingly coherent, revealing that they are

386
00:28:24.720 --> 00:28:28.200
<v Speaker 2>in fact the individual you believe to be dead, But

387
00:28:28.400 --> 00:28:32.640
<v Speaker 2>isn't so to make this a Twilight Zone twist instead

388
00:28:32.640 --> 00:28:36.279
<v Speaker 2>of the callers simply being someone mistakenly thought to be dead,

389
00:28:36.960 --> 00:28:41.160
<v Speaker 2>imagine receiving a call from someone who is dead now

390
00:28:41.160 --> 00:28:44.400
<v Speaker 2>when it was looking around for a general feel about

391
00:28:44.440 --> 00:28:50.079
<v Speaker 2>this one, Most people praise Gladys Cooper's performance, and most

392
00:28:50.160 --> 00:28:54.480
<v Speaker 2>people enjoy the creeping suspense of the episode, but it's

393
00:28:54.519 --> 00:28:59.079
<v Speaker 2>the ending that seems to split people the most. So again,

394
00:28:59.240 --> 00:29:03.279
<v Speaker 2>it's inspired by true stories of premature burials and the

395
00:29:03.400 --> 00:29:06.559
<v Speaker 2>lengths that people went to to stop themselves from being

396
00:29:06.640 --> 00:29:11.440
<v Speaker 2>buried alive, and in the short story that evolves into

397
00:29:11.519 --> 00:29:17.640
<v Speaker 2>someone dead contacting someone living seemingly at random. But when

398
00:29:17.640 --> 00:29:21.480
<v Speaker 2>he adapted it for television, Matheson has to add a

399
00:29:21.519 --> 00:29:24.839
<v Speaker 2>bit of meat to the bones, so he adds into

400
00:29:24.880 --> 00:29:28.559
<v Speaker 2>the Twilight Zone version that the person who is contacting

401
00:29:28.640 --> 00:29:32.799
<v Speaker 2>Miss Elva is here deceased partner in unlocking the Door

402
00:29:32.839 --> 00:29:36.240
<v Speaker 2>to a television classic. Martin Graham's Junior features a quote

403
00:29:36.279 --> 00:29:40.400
<v Speaker 2>from Richard Matheson in which he said, the idea just

404
00:29:40.400 --> 00:29:43.640
<v Speaker 2>occurred to me that some disabled old lady was getting

405
00:29:43.640 --> 00:29:47.039
<v Speaker 2>phone calls from a dead man. I ended the story

406
00:29:47.079 --> 00:29:50.519
<v Speaker 2>with a very dark note where he says I'll be

407
00:29:50.680 --> 00:29:53.880
<v Speaker 2>right over, which leaves the reader with the feeling of

408
00:29:54.000 --> 00:29:57.039
<v Speaker 2>just what is coming over to her house. But it's

409
00:29:57.079 --> 00:30:00.200
<v Speaker 2>a flat ending. I thought the new ending I put

410
00:30:00.240 --> 00:30:02.799
<v Speaker 2>on it for the twilight tone was a lot better.

411
00:30:03.680 --> 00:30:07.519
<v Speaker 2>I thought it made much more sense because her personality

412
00:30:07.599 --> 00:30:10.480
<v Speaker 2>was so abrasive that for it to turn out that

413
00:30:10.599 --> 00:30:12.920
<v Speaker 2>she had caused this man to die in the first place,

414
00:30:13.480 --> 00:30:16.160
<v Speaker 2>and now she wanted them more than ever. And he

415
00:30:16.319 --> 00:30:19.559
<v Speaker 2>just said, you told me not to come over. I

416
00:30:19.599 --> 00:30:23.240
<v Speaker 2>always do what you say. I thought that was much stronger.

417
00:30:23.799 --> 00:30:27.079
<v Speaker 2>It made much more of a character study. I think

418
00:30:27.119 --> 00:30:29.480
<v Speaker 2>everyone's mileage with this one is going to be a

419
00:30:29.480 --> 00:30:32.240
<v Speaker 2>bit different. And I have to say I actually preferred

420
00:30:32.279 --> 00:30:35.799
<v Speaker 2>the short story version. I think there's a simplicity to

421
00:30:35.880 --> 00:30:38.759
<v Speaker 2>that one. In that classic twist in the tail mode,

422
00:30:39.359 --> 00:30:43.119
<v Speaker 2>it's the escaped lunatic holding a severed head on top

423
00:30:43.160 --> 00:30:46.279
<v Speaker 2>of the car that you're being told to walk away from.

424
00:30:46.599 --> 00:30:51.079
<v Speaker 2>That classic punchy horror ending that is half chills or

425
00:30:51.240 --> 00:30:55.039
<v Speaker 2>half delight at being scared by it. But it actually

426
00:30:55.039 --> 00:30:58.640
<v Speaker 2>also works on a couple of levels. On the one hand,

427
00:30:59.039 --> 00:31:01.839
<v Speaker 2>it's just a tail well told, but if you want

428
00:31:01.839 --> 00:31:05.000
<v Speaker 2>to take it fairther, there is a subtext there that

429
00:31:05.079 --> 00:31:08.200
<v Speaker 2>you can latch onto if you want to. In the

430
00:31:08.240 --> 00:31:12.240
<v Speaker 2>twilight years of her life, Elva Keen is alone, She's

431
00:31:12.279 --> 00:31:16.880
<v Speaker 2>in ill health. Death is not far away. You could

432
00:31:16.920 --> 00:31:21.279
<v Speaker 2>even say it's stalking her. With every phone called, her

433
00:31:21.319 --> 00:31:26.720
<v Speaker 2>voice becomes clearer, it becomes more pronounced, until it finally says,

434
00:31:27.480 --> 00:31:30.880
<v Speaker 2>I'll be right over. The voice is not only from

435
00:31:30.920 --> 00:31:35.559
<v Speaker 2>a dead person, but it represents the approaching death of

436
00:31:35.599 --> 00:31:39.200
<v Speaker 2>Elvia Keen. But in changing it to what we get

437
00:31:39.240 --> 00:31:42.240
<v Speaker 2>in the episode, it becomes about a relationship that she

438
00:31:42.400 --> 00:31:46.160
<v Speaker 2>had with a partner where she mistreated him, and we

439
00:31:46.279 --> 00:31:48.759
<v Speaker 2>have to kind of catch up on that in the

440
00:31:48.799 --> 00:31:51.920
<v Speaker 2>space of a few lines at the end. It's a

441
00:31:51.960 --> 00:31:55.039
<v Speaker 2>partner that we'd not heard a thing about up until now.

442
00:31:55.440 --> 00:31:58.160
<v Speaker 2>And I just don't feel it's as elegant as that

443
00:31:58.279 --> 00:32:02.599
<v Speaker 2>original story that said it's not a deal breaker. I

444
00:32:02.680 --> 00:32:06.119
<v Speaker 2>still think it's a fine tale in its current form,

445
00:32:06.160 --> 00:32:09.920
<v Speaker 2>and it completes Gladys Cupa's Twilight Zone trilogy of death.

446
00:32:10.799 --> 00:32:14.279
<v Speaker 2>Her first episode, Nothing in the Dark, tells us that

447
00:32:14.400 --> 00:32:18.119
<v Speaker 2>death need not be a scary thing. It's just part

448
00:32:18.200 --> 00:32:22.559
<v Speaker 2>of the process. Her second episode, passage on the Lady Anne,

449
00:32:23.160 --> 00:32:25.519
<v Speaker 2>shows us a group of people who, knowing when their

450
00:32:25.559 --> 00:32:30.799
<v Speaker 2>time is up, face death with love and togetherness. And finally,

451
00:32:31.559 --> 00:32:35.160
<v Speaker 2>night Call is the ante. Nothing in the dark here.

452
00:32:35.839 --> 00:32:39.799
<v Speaker 2>Death is scary, it's lonely, and it's on its way,

453
00:32:41.000 --> 00:32:42.839
<v Speaker 2>or at least it was in the short story.

454
00:32:43.000 --> 00:32:46.720
<v Speaker 1>According to the Bible, God created the heavens and the earth.

455
00:32:47.559 --> 00:32:50.160
<v Speaker 1>It is men's prerogative and woman's to create their own

456
00:32:50.200 --> 00:32:54.599
<v Speaker 1>particular and private hell. Case point miss elvi Qin, who

457
00:32:54.640 --> 00:32:57.160
<v Speaker 1>in every sense has made her own bed and now

458
00:32:57.279 --> 00:33:00.240
<v Speaker 1>must lie in it, sadder but wiser by the end

459
00:33:00.240 --> 00:33:04.839
<v Speaker 1>of a rather painful lesson and responsibility transmitted from the

460
00:33:04.880 --> 00:33:07.599
<v Speaker 1>Twilight Zone.

461
00:33:08.839 --> 00:33:11.920
<v Speaker 2>Okay, that was Night Call. Kind of felt a bit

462
00:33:12.039 --> 00:33:15.680
<v Speaker 2>short that one, although it turned out to be a

463
00:33:15.720 --> 00:33:20.559
<v Speaker 2>bit longer than I expected. Bought man. The trivia at

464
00:33:20.559 --> 00:33:23.279
<v Speaker 2>this late stage just doesn't seem to be as much

465
00:33:23.319 --> 00:33:25.720
<v Speaker 2>for a lot of these episodes. Now, occasionally it's not

466
00:33:25.799 --> 00:33:27.839
<v Speaker 2>too bad, but then you get one like this where

467
00:33:28.440 --> 00:33:32.200
<v Speaker 2>there isn't a huge amount, but hopefully you enjoyed what

468
00:33:32.319 --> 00:33:36.079
<v Speaker 2>we had. Now, let's go over to our friends in

469
00:33:36.119 --> 00:33:39.440
<v Speaker 2>the After Hours Club, which is the Patreon of the

470
00:33:39.480 --> 00:33:44.559
<v Speaker 2>twilight Zone podcast at patreon dot com slash twilight Zone podcast,

471
00:33:45.200 --> 00:33:47.920
<v Speaker 2>where the members of the club vote on whether it's

472
00:33:47.920 --> 00:33:52.680
<v Speaker 2>a top, middle or bottom tier episode. Now, this one

473
00:33:52.720 --> 00:33:57.680
<v Speaker 2>was kind of tight, So bottom tier four percent, middle

474
00:33:57.720 --> 00:34:02.440
<v Speaker 2>tier forty seven percent, and top tier forty nine percent,

475
00:34:02.599 --> 00:34:06.480
<v Speaker 2>So a pretty even split between middle and top tier.

476
00:34:06.559 --> 00:34:08.360
<v Speaker 2>And you know, I can kind of see it. You know,

477
00:34:08.440 --> 00:34:11.679
<v Speaker 2>if someone said to me that it was middle tier,

478
00:34:11.760 --> 00:34:13.679
<v Speaker 2>I wouldn't fight them on it. If someone said it

479
00:34:13.719 --> 00:34:15.920
<v Speaker 2>was top tier, I wouldn't fight them on that either,

480
00:34:16.000 --> 00:34:18.679
<v Speaker 2>So I can kind of see both points of view

481
00:34:18.719 --> 00:34:23.800
<v Speaker 2>on that. Now our members also leave their comments. Aaron

482
00:34:23.880 --> 00:34:27.400
<v Speaker 2>Lawrence said top tier, great acting from an all female

483
00:34:27.480 --> 00:34:31.400
<v Speaker 2>cast and an almost night gallery creepy twist at the end.

484
00:34:32.119 --> 00:34:35.920
<v Speaker 2>Thank you, Aaron. Then Matt Walder says bad ending. Aside,

485
00:34:35.920 --> 00:34:38.719
<v Speaker 2>this is one of the creepiest Twilight Zone episodes in

486
00:34:38.760 --> 00:34:43.159
<v Speaker 2>my opinion, alongside The After Hour's Mirror Image and The Hitchhiker.

487
00:34:43.800 --> 00:34:46.519
<v Speaker 2>I wish there were a few more episodes in this tone,

488
00:34:47.000 --> 00:34:51.800
<v Speaker 2>especially as a horrifying growing up upper middle tier. Thank you, Matt.

489
00:34:52.519 --> 00:34:56.679
<v Speaker 2>John Hayes says night Call is a fascinating concept of

490
00:34:56.719 --> 00:35:00.400
<v Speaker 2>a deceased loved one speaking to the living similar long

491
00:35:00.480 --> 00:35:04.239
<v Speaker 2>distance call, well in more ways than one. John actually

492
00:35:04.320 --> 00:35:07.519
<v Speaker 2>with the original name, but as good as glad as

493
00:35:07.559 --> 00:35:10.840
<v Speaker 2>Cooper is, she must carry the entire episode, unlike her

494
00:35:10.920 --> 00:35:14.679
<v Speaker 2>other episode where she worked off Robert Redford Middle Tier.

495
00:35:14.960 --> 00:35:18.840
<v Speaker 2>Thank you John, our old friend Chad Boyken from job

496
00:35:18.960 --> 00:35:22.199
<v Speaker 2>A house Press. Now, I don't want to give the

497
00:35:22.239 --> 00:35:27.239
<v Speaker 2>game away or I've heard rumblings. Of course, Chad is

498
00:35:27.280 --> 00:35:31.079
<v Speaker 2>the author of the Twilight Zone high Q. But yeah,

499
00:35:31.159 --> 00:35:33.719
<v Speaker 2>I've heard rumblins from Joba house Press that there might

500
00:35:33.760 --> 00:35:38.280
<v Speaker 2>be something interesting in the future coming down the pipeline

501
00:35:38.280 --> 00:35:41.519
<v Speaker 2>that will be of interest to us Twilight Zone fans.

502
00:35:42.239 --> 00:35:45.400
<v Speaker 2>Chad says, points for the creepiness and suspense. But I

503
00:35:45.519 --> 00:35:47.880
<v Speaker 2>do what you tell me, and you told me to

504
00:35:47.880 --> 00:35:51.039
<v Speaker 2>stop calling before you figured out who I was, so

505
00:35:51.159 --> 00:35:54.400
<v Speaker 2>I can't talk to you anymore despite you telling me

506
00:35:54.480 --> 00:35:57.039
<v Speaker 2>to talk to you now, meaning I am now not

507
00:35:57.159 --> 00:36:00.880
<v Speaker 2>doing what you say. Okay, this get on complicated, Chad,

508
00:36:00.920 --> 00:36:05.199
<v Speaker 2>despite ostensibly always doing what you say, is a nonsense

509
00:36:05.280 --> 00:36:08.079
<v Speaker 2>ending for me. Also, the come uppings for the old

510
00:36:08.079 --> 00:36:10.519
<v Speaker 2>woman seems to be because she was a sayt of it,

511
00:36:10.599 --> 00:36:13.920
<v Speaker 2>even killed the guy. This is a misogynistic message to

512
00:36:14.039 --> 00:36:16.880
<v Speaker 2>fall short of the general equity and the humanism the

513
00:36:16.960 --> 00:36:21.360
<v Speaker 2>series are its best demonstrated. So mixed bag. Great acting,

514
00:36:21.440 --> 00:36:25.800
<v Speaker 2>great atmosphere and menace, some real horror elements, but there

515
00:36:25.840 --> 00:36:28.440
<v Speaker 2>are too many bugs in the software. Thank you, Chad.

516
00:36:29.239 --> 00:36:32.599
<v Speaker 2>Champagne Drum says, quite a standard episode, but overall well

517
00:36:32.639 --> 00:36:35.039
<v Speaker 2>done and the lady does a great job. Nothing to

518
00:36:35.119 --> 00:36:39.360
<v Speaker 2>criticize or necessarily remember. A bit quaint seeing a phone

519
00:36:39.480 --> 00:36:43.360
<v Speaker 2>used as a plot character. Also, party line is mentioned.

520
00:36:43.880 --> 00:36:46.400
<v Speaker 2>I actually grew up with da in the eighties in

521
00:36:46.519 --> 00:36:51.599
<v Speaker 2>rural Canada. Thank you, Champagne Drum. Michael Fahnback says top

522
00:36:51.639 --> 00:36:55.320
<v Speaker 2>tier for me. Love the atmosphere and setting. I don't

523
00:36:55.320 --> 00:36:58.119
<v Speaker 2>love the reason the corpse gives for not sticking around.

524
00:36:58.679 --> 00:37:00.800
<v Speaker 2>And it's sad to know that Glad Cooper got a

525
00:37:00.800 --> 00:37:04.599
<v Speaker 2>brief glimmer of hope only to be returned to her loneliness.

526
00:37:05.320 --> 00:37:08.280
<v Speaker 2>The one consolation is she could go back to his

527
00:37:08.400 --> 00:37:12.079
<v Speaker 2>grave and try to ask him to reconsider. Who knows,

528
00:37:12.719 --> 00:37:17.239
<v Speaker 2>maybe he'll hear her. Thank you, Michael. Our friend cerebral

529
00:37:17.280 --> 00:37:20.360
<v Speaker 2>p says definitely a middle of the top tier. It's

530
00:37:20.400 --> 00:37:22.000
<v Speaker 2>geared the hell out to me as a kid on

531
00:37:22.079 --> 00:37:26.519
<v Speaker 2>late night TV, still chilling to this day. Another example

532
00:37:26.559 --> 00:37:29.000
<v Speaker 2>of Matheson at his best and a treat to see

533
00:37:29.079 --> 00:37:33.000
<v Speaker 2>television work by Jacques Tournaire, though it would be interesting

534
00:37:33.039 --> 00:37:36.559
<v Speaker 2>to see the use of Matheson's original short story ending,

535
00:37:37.119 --> 00:37:40.559
<v Speaker 2>perhaps better suited for a night gallery in an alternate world.

536
00:37:41.199 --> 00:37:45.480
<v Speaker 2>Thank you, Cerebral p Our friend Dalshadzma says, I don't know.

537
00:37:45.840 --> 00:37:48.320
<v Speaker 2>Gladys Cooper is great, of course, and there are some

538
00:37:48.440 --> 00:37:52.039
<v Speaker 2>nice creepy moments, particularly in the progression of the phone

539
00:37:52.079 --> 00:37:56.480
<v Speaker 2>calls from static to a ghostly where are you? It's

540
00:37:56.519 --> 00:38:00.760
<v Speaker 2>Elvia's domineering attitude and here fiance submission to it that

541
00:38:00.920 --> 00:38:04.159
<v Speaker 2>causes his death. And we still see examples that here

542
00:38:04.199 --> 00:38:09.239
<v Speaker 2>domineering ways continue so that it feels like long overdue justice.

543
00:38:09.280 --> 00:38:13.320
<v Speaker 2>When here leave me Alone, command condemns her to loneliness,

544
00:38:13.880 --> 00:38:17.360
<v Speaker 2>but it's never quite worked for me. Is Brian's spiteful

545
00:38:17.400 --> 00:38:21.519
<v Speaker 2>seeking revenge? If not, if he genuinely wants to talk

546
00:38:21.559 --> 00:38:25.119
<v Speaker 2>to Elva, I can't imagine that one panicked command would

547
00:38:25.119 --> 00:38:29.000
<v Speaker 2>deter him. That and the telephone wire in the grave

548
00:38:29.199 --> 00:38:32.519
<v Speaker 2>which has always seemed a bit silly, puts it solidly

549
00:38:32.679 --> 00:38:36.599
<v Speaker 2>in the middle tier for me. You know, yeah, there's

550
00:38:36.599 --> 00:38:40.719
<v Speaker 2>a few. I mean the the wire landing on a grave. Wow,

551
00:38:40.920 --> 00:38:44.039
<v Speaker 2>what are the chances of that? Our old friend Joe Mayer,

552
00:38:44.199 --> 00:38:48.920
<v Speaker 2>fellow Twilight Zone podcaster, says this is a largely enjoyable episode,

553
00:38:49.440 --> 00:38:52.719
<v Speaker 2>mostly because it is always a pleasure to watch an

554
00:38:52.760 --> 00:38:55.800
<v Speaker 2>actor like Gladys Cooper do so much with such a

555
00:38:55.840 --> 00:38:59.159
<v Speaker 2>simple premise. I think this is one of those episodes

556
00:38:59.239 --> 00:39:03.480
<v Speaker 2>that is aided by Sailing's monologues. In the beginning, he

557
00:39:03.599 --> 00:39:07.360
<v Speaker 2>tells us that Elva is waiting for something new. However,

558
00:39:07.880 --> 00:39:10.360
<v Speaker 2>we learn that she has spent her life developing a

559
00:39:10.440 --> 00:39:16.280
<v Speaker 2>closed system of existence, one from which spontaneity simply can't emerge.

560
00:39:16.800 --> 00:39:20.559
<v Speaker 2>In fact, it's so closed that it requires the Twilight

561
00:39:20.639 --> 00:39:25.679
<v Speaker 2>Zone to create even a slight opening. Many people understandably

562
00:39:26.320 --> 00:39:30.480
<v Speaker 2>focus on the rather sad ending, and with good reason. However,

563
00:39:31.079 --> 00:39:33.320
<v Speaker 2>this is one of the handful of episodes where the

564
00:39:33.360 --> 00:39:37.239
<v Speaker 2>Twilight Zone is actually trying to do some good. It

565
00:39:37.320 --> 00:39:40.599
<v Speaker 2>created this new space for her to enjoy her final years,

566
00:39:41.239 --> 00:39:44.360
<v Speaker 2>but she was still so stubborn that she was even

567
00:39:44.400 --> 00:39:48.440
<v Speaker 2>able to close that off. Sailing's final words about God,

568
00:39:48.599 --> 00:39:51.440
<v Speaker 2>Heaven and Earth are a nice closing nod to this

569
00:39:51.639 --> 00:39:56.400
<v Speaker 2>idea that ordered undiscipline in life are important, but we

570
00:39:56.480 --> 00:40:01.199
<v Speaker 2>miss valuable opportunities in life if we don't. Least Cracker Door,

571
00:40:02.039 --> 00:40:05.159
<v Speaker 2>The episode falls to the middle tier for me because

572
00:40:05.199 --> 00:40:08.519
<v Speaker 2>the way she executes her stubbornness telling Robert to stop

573
00:40:08.559 --> 00:40:11.519
<v Speaker 2>calling when she doesn't know it's him, is actually a

574
00:40:11.559 --> 00:40:15.559
<v Speaker 2>bit too reasonable. Who would falter for that? They go,

575
00:40:15.719 --> 00:40:18.639
<v Speaker 2>Thank you, Joe. You can see why he is a

576
00:40:18.679 --> 00:40:23.519
<v Speaker 2>great podcaster. Joshua Heired says one I try to watch

577
00:40:23.559 --> 00:40:26.639
<v Speaker 2>at night to maximize the creepy factor, but in the

578
00:40:26.679 --> 00:40:29.320
<v Speaker 2>same way the black Leather Jackets feels more like the

579
00:40:29.360 --> 00:40:33.519
<v Speaker 2>Outer Limits. This feels more like Alfred Hitchcock Presents than

580
00:40:33.559 --> 00:40:38.480
<v Speaker 2>Twilight Zone. I have had endless fun doing the Hello

581
00:40:38.639 --> 00:40:41.639
<v Speaker 2>I always do what you say to my wife. Though

582
00:40:42.079 --> 00:40:46.239
<v Speaker 2>an enjoyable mid tier story, Thank you, Joshua. Jordan Dollock

583
00:40:46.280 --> 00:40:49.119
<v Speaker 2>says the comparison to Sorry Right Number is one I

584
00:40:49.159 --> 00:40:52.559
<v Speaker 2>hadn't considered but is very apt. I've had a hard

585
00:40:52.599 --> 00:40:55.400
<v Speaker 2>time getting into this one, but I should probably give

586
00:40:55.440 --> 00:40:59.639
<v Speaker 2>it a more attentive viewing. Thank you, Jordan. Our old

587
00:40:59.679 --> 00:41:03.280
<v Speaker 2>friend Vera b. Says this is a top tier episode

588
00:41:03.400 --> 00:41:06.920
<v Speaker 2>until the very end. The direction is reminiscent of Sorry,

589
00:41:07.000 --> 00:41:10.360
<v Speaker 2>Wrong Number. It's one of the few truly scary Twilight

590
00:41:10.480 --> 00:41:14.440
<v Speaker 2>Zone episodes, but the way it ended, while tragic, just

591
00:41:14.519 --> 00:41:18.519
<v Speaker 2>mister Mark for me, very high mid tier. Thank you, Vera.

592
00:41:19.679 --> 00:41:23.719
<v Speaker 2>Our friend Whitley Bieler says, poor Alva Keene, she will

593
00:41:23.719 --> 00:41:26.239
<v Speaker 2>certainly regret the actions of her past for the rest

594
00:41:26.239 --> 00:41:29.639
<v Speaker 2>of her life. It's a good thing she's already so old.

595
00:41:30.400 --> 00:41:34.320
<v Speaker 2>This mostly two person play is pretty creepy, especially when

596
00:41:34.360 --> 00:41:37.880
<v Speaker 2>Elva answers the phone. It's also got a mean twist.

597
00:41:38.159 --> 00:41:41.840
<v Speaker 2>Gladys Cooper is great as Elva. There's also some nice

598
00:41:41.840 --> 00:41:45.920
<v Speaker 2>spooky directions from Jacques tornare Definitely top tier for me.

599
00:41:46.559 --> 00:41:49.800
<v Speaker 2>I'd put it in my personal favorite top thirty episodes.

600
00:41:50.360 --> 00:41:53.519
<v Speaker 2>Thank you, Whitney. Our friend Mark D says this is

601
00:41:53.559 --> 00:41:56.400
<v Speaker 2>a personal favorite of mine. I just love the dark

602
00:41:56.440 --> 00:42:00.639
<v Speaker 2>and stormy nights story and Gladys Cooper is stella as always.

603
00:42:00.679 --> 00:42:05.119
<v Speaker 2>Thank you Mark. And finally, our old friend Uncommon Nasa says,

604
00:42:05.559 --> 00:42:08.199
<v Speaker 2>I don't know if it's mathematically top tier for me,

605
00:42:08.840 --> 00:42:11.119
<v Speaker 2>it'd be at the bottom of the top tier. But

606
00:42:11.239 --> 00:42:15.440
<v Speaker 2>it's a great episode. It's shot really crisply. I think

607
00:42:15.440 --> 00:42:19.280
<v Speaker 2>the direction and cinematography of a semi bottle episode really

608
00:42:19.320 --> 00:42:23.960
<v Speaker 2>stands out, certainly one of the better overtly creepy episodes.

609
00:42:24.559 --> 00:42:28.480
<v Speaker 2>Love seeing the old style phone service and thank you

610
00:42:28.559 --> 00:42:32.320
<v Speaker 2>for that uncommon NASA. So as we are in the

611
00:42:32.360 --> 00:42:36.039
<v Speaker 2>final stretch of the podcast, I think, you know, like

612
00:42:36.119 --> 00:42:38.039
<v Speaker 2>I've always said, it's still going to take a while,

613
00:42:38.039 --> 00:42:40.079
<v Speaker 2>it's going to be over a year. I would imagine

614
00:42:40.559 --> 00:42:42.000
<v Speaker 2>it's going to be nice to get a bit of

615
00:42:42.039 --> 00:42:45.599
<v Speaker 2>conversation going on these last episode. So to try and

616
00:42:45.639 --> 00:42:50.639
<v Speaker 2>help that along, I'm going to go back to commenting

617
00:42:50.800 --> 00:42:54.519
<v Speaker 2>on any clips that I receive. So with that in mind,

618
00:42:54.719 --> 00:42:58.920
<v Speaker 2>why don't we take a listen to Nick Wakeling, who

619
00:42:58.960 --> 00:43:01.480
<v Speaker 2>has some thoughts on Nate Call.

620
00:43:01.880 --> 00:43:06.360
<v Speaker 4>Hi Tom. It's Nick calling from Melbourne, Australia. Longtime listener

621
00:43:06.360 --> 00:43:10.280
<v Speaker 4>and a first time caller and I moved to comment

622
00:43:10.320 --> 00:43:14.719
<v Speaker 4>on the Towilet Zone episode Night call Back in nineteen

623
00:43:14.760 --> 00:43:17.920
<v Speaker 4>eighty four. As a teenager, I saw this episode on

624
00:43:18.039 --> 00:43:23.239
<v Speaker 4>TV and it had a significant impact on me, and

625
00:43:23.679 --> 00:43:26.079
<v Speaker 4>so much so that obviously led to me, like so

626
00:43:26.119 --> 00:43:32.280
<v Speaker 4>many other listeners chasing twilet zoning down the proverbial rabbit hole,

627
00:43:33.039 --> 00:43:36.039
<v Speaker 4>and to think if I had seen another Toilet Zone

628
00:43:36.079 --> 00:43:39.800
<v Speaker 4>episode of less equality, I may not have become a

629
00:43:39.840 --> 00:43:43.360
<v Speaker 4>fan of this great show. Over the years, I've bought

630
00:43:43.880 --> 00:43:48.679
<v Speaker 4>videovercook tapes as well as the DVD series, and been

631
00:43:48.719 --> 00:43:51.880
<v Speaker 4>listening to this program for many years for the work

632
00:43:51.920 --> 00:43:56.960
<v Speaker 4>that you do. Seen many episodes numerous times, but have

633
00:43:57.000 --> 00:44:00.280
<v Speaker 4>not seen Nightcall in forty one years, and so I

634
00:44:00.320 --> 00:44:03.199
<v Speaker 4>first watched it, and in fact, I've been waiting to

635
00:44:03.239 --> 00:44:06.280
<v Speaker 4>see this episode when you reached it as part of

636
00:44:06.519 --> 00:44:11.159
<v Speaker 4>your programming. It'd be interesting to see if forty one

637
00:44:11.280 --> 00:44:13.920
<v Speaker 4>years later the show has the same impact as it

638
00:44:13.960 --> 00:44:17.320
<v Speaker 4>did on me as a teenager. Keep up the great work,

639
00:44:17.559 --> 00:44:19.760
<v Speaker 4>and we all appreciate the work that you do for

640
00:44:19.840 --> 00:44:20.480
<v Speaker 4>our community.

641
00:44:20.920 --> 00:44:24.400
<v Speaker 2>Nick, thank you so much, and I really appreciate you

642
00:44:24.639 --> 00:44:29.159
<v Speaker 2>holding on to watch Nag Call again so you could

643
00:44:29.199 --> 00:44:32.440
<v Speaker 2>watch it in tandem with the podcast. Like I said,

644
00:44:32.519 --> 00:44:34.480
<v Speaker 2>I feel like this one was a little late, but

645
00:44:35.440 --> 00:44:37.760
<v Speaker 2>you know, I guess that's the way it goes sometimes.

646
00:44:38.079 --> 00:44:42.320
<v Speaker 2>But you bring up a good point about how the

647
00:44:42.559 --> 00:44:47.480
<v Speaker 2>first episode of the Twilight Zone we watch it really

648
00:44:47.519 --> 00:44:51.239
<v Speaker 2>could go either way. I mean, for the most part,

649
00:44:51.679 --> 00:44:54.280
<v Speaker 2>it's probably going to be a positive experience. But could

650
00:44:54.320 --> 00:44:56.679
<v Speaker 2>you imagine if the first ones you saw were like

651
00:44:57.280 --> 00:45:00.239
<v Speaker 2>the Bard and I Dream of Genie or something. I know,

652
00:45:00.679 --> 00:45:03.000
<v Speaker 2>if that double Bill was on, you will probably never

653
00:45:03.039 --> 00:45:07.440
<v Speaker 2>watch the watch the show again. So that's a really

654
00:45:07.480 --> 00:45:09.519
<v Speaker 2>good point you bring up, Nick, So thank you so

655
00:45:09.639 --> 00:45:13.280
<v Speaker 2>much for writing in, and I hope you enjoyed at

656
00:45:13.360 --> 00:45:17.960
<v Speaker 2>checking out. Night Call again. Okay, we heard him at Christmas.

657
00:45:18.199 --> 00:45:22.000
<v Speaker 2>Let's hear him again. It's Josh Chambers with some thoughts

658
00:45:22.119 --> 00:45:22.880
<v Speaker 2>on Night Call.

659
00:45:23.280 --> 00:45:28.239
<v Speaker 11>Greetings Tom, and to all my Twilight Zone friends, a

660
00:45:28.320 --> 00:45:32.800
<v Speaker 11>hearty hello and happy twenty twenty five. So Night Call

661
00:45:33.239 --> 00:45:36.000
<v Speaker 11>all the elements of a classic horror film, told simply

662
00:45:36.119 --> 00:45:40.079
<v Speaker 11>and economically about twenty five minutes. We have the requisite

663
00:45:40.119 --> 00:45:42.920
<v Speaker 11>dark and stormy night. We have an infirm and elderly

664
00:45:42.960 --> 00:45:47.360
<v Speaker 11>woman with mobility issues, alone and afraid. He introduced the

665
00:45:47.360 --> 00:45:50.199
<v Speaker 11>device of the distant voice becoming more distinct, and we're

666
00:45:50.239 --> 00:45:54.000
<v Speaker 11>all in for the ride. I think Richard Matheson's script

667
00:45:54.039 --> 00:45:58.360
<v Speaker 11>here gives us some real chiller moments and some legitimate pathos,

668
00:45:58.800 --> 00:46:01.559
<v Speaker 11>but not too much so that we aren't shattered by

669
00:46:01.559 --> 00:46:04.960
<v Speaker 11>that conclusion. I think we can all admit we're enjoying

670
00:46:04.960 --> 00:46:09.159
<v Speaker 11>a bit of schadenfreude. That was miss Keane's punishment warranted.

671
00:46:09.760 --> 00:46:13.880
<v Speaker 11>Perhaps I don't think the punishment isn't so much terror,

672
00:46:14.800 --> 00:46:18.719
<v Speaker 11>but it's more the sadness factor. She's finally understanding the

673
00:46:18.800 --> 00:46:24.920
<v Speaker 11>unintended consequences of her words many many years later. Not

674
00:46:25.000 --> 00:46:29.039
<v Speaker 11>so much about story, pretty simple, almost campfire story, but

675
00:46:29.119 --> 00:46:31.440
<v Speaker 11>it did come with some some fun production elements and

676
00:46:31.519 --> 00:46:36.039
<v Speaker 11>some notes here the stock music. Obviously, it's season five,

677
00:46:36.119 --> 00:46:39.599
<v Speaker 11>it has to be stocked for the most part. Unlike

678
00:46:39.719 --> 00:46:42.480
<v Speaker 11>other season five episodes where it really sticks out, and

679
00:46:43.119 --> 00:46:47.480
<v Speaker 11>I mean it caused my ear to return to previous

680
00:46:47.480 --> 00:46:51.559
<v Speaker 11>episodes and many times far superior episodes, I didn't mind

681
00:46:51.599 --> 00:46:55.760
<v Speaker 11>it here. It didn't stick out. I mean, it was familiar,

682
00:46:55.800 --> 00:47:01.000
<v Speaker 11>but it wasn't obtrusive. Seem to have a problem with

683
00:47:01.159 --> 00:47:06.039
<v Speaker 11>accents now, I mean, unless I'm mistaken. The episode is

684
00:47:06.079 --> 00:47:10.119
<v Speaker 11>set in Maine, and I don't hear any New England accents.

685
00:47:10.519 --> 00:47:14.960
<v Speaker 11>Everyone seems to have congregated there except actual New Englanders.

686
00:47:15.880 --> 00:47:17.480
<v Speaker 11>But I'll forget the die like this was when it

687
00:47:17.519 --> 00:47:23.840
<v Speaker 11>especially comes to Gladys Cooper and just what a phenomenal actress,

688
00:47:23.960 --> 00:47:26.760
<v Speaker 11>and it was interesting. I just happened to do a

689
00:47:26.760 --> 00:47:30.719
<v Speaker 11>little Google and found out she was appointed Dame Commander

690
00:47:31.599 --> 00:47:34.760
<v Speaker 11>the Order of the British Empire in nineteen sixty seven,

691
00:47:35.280 --> 00:47:38.320
<v Speaker 11>at the tender age of seventy nine. So what a

692
00:47:38.360 --> 00:47:43.679
<v Speaker 11>storied career and just bless her soul. Was anyone else

693
00:47:43.719 --> 00:47:47.480
<v Speaker 11>wondering why there was a night call in the middle

694
00:47:47.559 --> 00:47:50.039
<v Speaker 11>of the day. I thought that was a little strange,

695
00:47:50.079 --> 00:47:53.079
<v Speaker 11>but okay, that's all right, got to keep the tension going.

696
00:47:55.159 --> 00:47:58.400
<v Speaker 11>Another funny moment happened when I mean the static and

697
00:47:58.440 --> 00:48:00.840
<v Speaker 11>the mumbles on the line finally give way to clearly

698
00:48:00.840 --> 00:48:04.039
<v Speaker 11>definable words. My wife and I both turned to each

699
00:48:04.079 --> 00:48:07.039
<v Speaker 11>other and cracked a few linel ritchie jokes. I hope

700
00:48:07.039 --> 00:48:10.840
<v Speaker 11>you did too. Oh, speaking of that phone, some of

701
00:48:10.920 --> 00:48:14.039
<v Speaker 11>us are old enough to remember mixing letters and numbers

702
00:48:14.079 --> 00:48:17.960
<v Speaker 11>together to reach somebody, definitely in the States. Not sure

703
00:48:18.159 --> 00:48:22.239
<v Speaker 11>how that worked across the pond, Tom, but k L

704
00:48:22.440 --> 00:48:25.960
<v Speaker 11>five two three six eight today would be one of

705
00:48:26.000 --> 00:48:29.400
<v Speaker 11>those Hollywood five five five phone numbers, you know. Two

706
00:48:29.440 --> 00:48:32.920
<v Speaker 11>doors away from Marty mcflys, Squeeze Jennifer, maybe a blockover

707
00:48:32.960 --> 00:48:36.519
<v Speaker 11>from Jim Rockford's place on the beach. It's just always

708
00:48:36.559 --> 00:48:41.280
<v Speaker 11>fun to see those those pop up in films. And

709
00:48:41.320 --> 00:48:44.039
<v Speaker 11>when what was the kl exchange short for claw tu

710
00:48:45.920 --> 00:48:50.840
<v Speaker 11>the world will never know? Oh. In the cemetery, I

711
00:48:50.920 --> 00:48:55.480
<v Speaker 11>this is where I just could not stop laughing. The typeface, font,

712
00:48:55.519 --> 00:48:58.119
<v Speaker 11>whatever you want to call it, on the headstones. It

713
00:48:58.199 --> 00:49:03.239
<v Speaker 11>seemed to be the same serve that provided the tombstones

714
00:49:03.280 --> 00:49:06.960
<v Speaker 11>for Plan nine from Outer Space, the Edward D. Wood

715
00:49:07.000 --> 00:49:10.639
<v Speaker 11>Junior Classic. It's just too funny. But for all the

716
00:49:11.039 --> 00:49:14.639
<v Speaker 11>little things like that that had me laughing, I truly

717
00:49:14.679 --> 00:49:18.599
<v Speaker 11>think at its core, this is a very fine you know,

718
00:49:18.920 --> 00:49:23.239
<v Speaker 11>it's upper tier, lower upper tier, and not just for

719
00:49:23.440 --> 00:49:25.599
<v Speaker 11>season five, you know, I think I think we tend

720
00:49:25.599 --> 00:49:28.280
<v Speaker 11>to have that measurement, you know. Oh it's good for

721
00:49:28.320 --> 00:49:32.119
<v Speaker 11>season five, but I think across all the seasons this

722
00:49:32.159 --> 00:49:35.719
<v Speaker 11>one really worked, and especially the way they ended it.

723
00:49:36.480 --> 00:49:41.159
<v Speaker 11>Rod's closing narration and that gorgeous shot of the wheelchair

724
00:49:41.960 --> 00:49:45.320
<v Speaker 11>and the easy chair sort of facing off. That's just

725
00:49:45.360 --> 00:49:49.880
<v Speaker 11>a visual chef's kiss and it's quite a memorable entry

726
00:49:50.760 --> 00:49:55.079
<v Speaker 11>in our favorite anthology series. Thanks again for keeping this going, Tom,

727
00:49:55.599 --> 00:49:56.440
<v Speaker 11>and take care.

728
00:49:56.960 --> 00:49:59.559
<v Speaker 2>Thank you Josh for your comments about Night Cole. I've

729
00:49:59.559 --> 00:50:03.199
<v Speaker 2>got to pick up on something you said about, you know,

730
00:50:03.280 --> 00:50:06.840
<v Speaker 2>the phone numbers where it was combined with letters, so

731
00:50:06.920 --> 00:50:11.599
<v Speaker 2>you would have these companies spelling out words to make

732
00:50:11.639 --> 00:50:15.320
<v Speaker 2>their phone numbers memorable. Now, obviously I spent a lot

733
00:50:15.360 --> 00:50:18.360
<v Speaker 2>of time in the States when I was younger, and

734
00:50:20.239 --> 00:50:24.519
<v Speaker 2>also caught a lot of American television over here, and

735
00:50:24.559 --> 00:50:27.880
<v Speaker 2>it was it was just something that never happened in England.

736
00:50:27.960 --> 00:50:31.800
<v Speaker 2>I guess we just didn't really. I mean, I think

737
00:50:31.840 --> 00:50:36.320
<v Speaker 2>I saw some phones with the letters printed like underneath

738
00:50:36.360 --> 00:50:39.280
<v Speaker 2>the numbers and so on, but it just never really

739
00:50:39.400 --> 00:50:42.320
<v Speaker 2>was a thing here. So I think the first time

740
00:50:42.360 --> 00:50:45.400
<v Speaker 2>I heard a TV advertisement saying like call five five

741
00:50:45.559 --> 00:50:49.599
<v Speaker 2>five movie or whatever, it was like, what what are

742
00:50:49.639 --> 00:50:52.199
<v Speaker 2>they doing? You know, I didn't really know what it was,

743
00:50:52.320 --> 00:50:56.920
<v Speaker 2>but obviously over time I did, so I think it was, yeah,

744
00:50:56.960 --> 00:51:00.960
<v Speaker 2>an American thing is it never really caught on over here.

745
00:51:01.480 --> 00:51:05.880
<v Speaker 2>So that was Josh voice actor, extraordinary. Thank you Josh.

746
00:51:06.119 --> 00:51:09.719
<v Speaker 2>And next up we have our old friend Joe Brown.

747
00:51:09.800 --> 00:51:10.719
<v Speaker 2>Take it away, Joe.

748
00:51:11.000 --> 00:51:14.320
<v Speaker 12>Hey, time, Joe Brown here, just calling in with some

749
00:51:14.400 --> 00:51:15.960
<v Speaker 12>thoughts about Night Call.

750
00:51:17.199 --> 00:51:18.440
<v Speaker 8>You know, when the episode starts.

751
00:51:18.480 --> 00:51:21.079
<v Speaker 12>One of the things I noticed that the French director

752
00:51:21.199 --> 00:51:24.519
<v Speaker 12>Jacques Tornay is the director in this episode, and you

753
00:51:24.519 --> 00:51:27.079
<v Speaker 12>can tell right away the atmosphere that he has set.

754
00:51:27.679 --> 00:51:30.440
<v Speaker 8>It's a stormy night when the.

755
00:51:30.360 --> 00:51:34.119
<v Speaker 12>Maid shows up, the housekeeper i should say, arrives. The

756
00:51:34.119 --> 00:51:36.639
<v Speaker 12>car's got leaves all over it. You could tell that

757
00:51:36.760 --> 00:51:39.679
<v Speaker 12>she comes the next morning after the storm. That they

758
00:51:39.800 --> 00:51:43.199
<v Speaker 12>dressed the set so it looks like a continuation of

759
00:51:43.239 --> 00:51:46.079
<v Speaker 12>the night before. I thought that was a really cool touch,

760
00:51:46.119 --> 00:51:50.800
<v Speaker 12>and also mentioned that the dirt roads that the housekeeper

761
00:51:50.840 --> 00:51:54.039
<v Speaker 12>had to travel on to arrive at Elvi Keane's house,

762
00:51:55.199 --> 00:51:57.199
<v Speaker 12>you know. And then when we see through the first

763
00:51:57.199 --> 00:52:01.159
<v Speaker 12>part of the episode, it establishes that she's alone, and

764
00:52:02.280 --> 00:52:05.480
<v Speaker 12>you know, she's obviously elderly, she has no spouse because

765
00:52:05.480 --> 00:52:08.239
<v Speaker 12>it's not really mentioned, you know. And then we start

766
00:52:08.239 --> 00:52:10.960
<v Speaker 12>getting these phone calls and we start trying to figure out,

767
00:52:10.960 --> 00:52:12.960
<v Speaker 12>all right, who's calling Elva in the middle of the night.

768
00:52:13.440 --> 00:52:16.280
<v Speaker 12>She doesn't know, we as the viewer, don't know, and

769
00:52:16.360 --> 00:52:20.199
<v Speaker 12>she tries these different approaches. She tries to be nice.

770
00:52:20.239 --> 00:52:22.679
<v Speaker 12>I mean, obviously the first time is like hello, Hello,

771
00:52:23.119 --> 00:52:26.480
<v Speaker 12>she's stern, she's concerned. Then one other times she answers

772
00:52:26.519 --> 00:52:29.800
<v Speaker 12>and she tries to be nice on the phone, emotional

773
00:52:29.840 --> 00:52:32.320
<v Speaker 12>on the phone, different ways to try to get whoever

774
00:52:32.360 --> 00:52:32.760
<v Speaker 12>it is.

775
00:52:32.679 --> 00:52:35.159
<v Speaker 8>To call her to answer.

776
00:52:36.519 --> 00:52:38.039
<v Speaker 12>And then you know, I think it does a real

777
00:52:38.119 --> 00:52:41.079
<v Speaker 12>good job of setting up a loneliness feeling with Elva,

778
00:52:41.840 --> 00:52:45.519
<v Speaker 12>you know, her being elderly and in this home. And

779
00:52:46.280 --> 00:52:49.719
<v Speaker 12>I think that what it's doing is that it further

780
00:52:49.920 --> 00:52:53.280
<v Speaker 12>establishes when the housekeeper says, hey, just leave the receiver off.

781
00:52:53.719 --> 00:52:56.480
<v Speaker 12>Elva does that, but she can't leave it off. And

782
00:52:56.519 --> 00:52:59.079
<v Speaker 12>I believe that's for two reasons. She can't leave the

783
00:52:59.159 --> 00:53:03.360
<v Speaker 12>receiver off because obviously she thinks the phone calls are

784
00:53:03.400 --> 00:53:05.199
<v Speaker 12>going to come in again. But I think deeper than that,

785
00:53:06.000 --> 00:53:10.039
<v Speaker 12>it gives her a sense if somebody wants her, tries

786
00:53:10.079 --> 00:53:11.119
<v Speaker 12>to get a hold of her.

787
00:53:10.960 --> 00:53:12.679
<v Speaker 8>And she feels like she's needed again.

788
00:53:13.119 --> 00:53:16.679
<v Speaker 12>So it kind of diminishes that loneliness that she's been experiencing.

789
00:53:17.079 --> 00:53:20.679
<v Speaker 12>I mean, the housekeeper is a paid attendant, so the

790
00:53:20.760 --> 00:53:25.199
<v Speaker 12>housekeeper does give Elva some kind of comfort or person

791
00:53:25.239 --> 00:53:27.480
<v Speaker 12>to talk to. But here's someone that she doesn't know,

792
00:53:28.000 --> 00:53:31.119
<v Speaker 12>and I think her anxiety starts to increase over this.

793
00:53:32.320 --> 00:53:34.880
<v Speaker 12>And then I think what they also do is, you know,

794
00:53:34.920 --> 00:53:36.679
<v Speaker 12>a person might say, well, why can't she just leave

795
00:53:36.719 --> 00:53:39.719
<v Speaker 12>the receiver off the phone. Well, they use the dial

796
00:53:39.760 --> 00:53:42.519
<v Speaker 12>tone trope to say the noise is so bad that

797
00:53:43.159 --> 00:53:46.199
<v Speaker 12>she puts the receiver back on because of the dial tone.

798
00:53:46.800 --> 00:53:49.760
<v Speaker 12>But I think it's really because the dial tones is

799
00:53:49.800 --> 00:53:52.639
<v Speaker 12>for the viewer, But really she wants that phone to ring.

800
00:53:53.840 --> 00:53:56.960
<v Speaker 12>So then when the phone does ring and she finally

801
00:53:57.119 --> 00:54:01.280
<v Speaker 12>establishes there's a man on the other line, and then

802
00:54:01.360 --> 00:54:05.039
<v Speaker 12>she realizes when they go to the cemetery after being

803
00:54:05.079 --> 00:54:08.440
<v Speaker 12>told that the wire is down. The questions that started

804
00:54:08.440 --> 00:54:11.199
<v Speaker 12>to come in my mind was, you know, has Brian

805
00:54:11.400 --> 00:54:14.199
<v Speaker 12>always wanted to call Elva and being connected with her

806
00:54:14.239 --> 00:54:18.400
<v Speaker 12>since his passing, because the tombstone says nineteen thirty two,

807
00:54:18.480 --> 00:54:22.000
<v Speaker 12>Well that's twenty nine years before or twenty or thirty

808
00:54:22.079 --> 00:54:26.599
<v Speaker 12>years before the episode was created. So has Brian been

809
00:54:26.639 --> 00:54:29.079
<v Speaker 12>waiting for an opportunity to get in touch with Elva?

810
00:54:30.400 --> 00:54:30.719
<v Speaker 8>Has she?

811
00:54:31.320 --> 00:54:33.880
<v Speaker 12>Obviously she's concerned and is always in the back of

812
00:54:33.920 --> 00:54:36.480
<v Speaker 12>her mind, But it's strange when she explains that the

813
00:54:36.480 --> 00:54:39.519
<v Speaker 12>housekeeper this is a this is something that she has

814
00:54:39.599 --> 00:54:42.239
<v Speaker 12>dreaded her whole life and doesn't talk about it a

815
00:54:42.280 --> 00:54:42.800
<v Speaker 12>whole lot.

816
00:54:44.079 --> 00:54:46.760
<v Speaker 8>So when I think.

817
00:54:46.519 --> 00:54:52.519
<v Speaker 12>About the episode, is it a good Twilight Zone. I'm

818
00:54:52.519 --> 00:54:55.079
<v Speaker 12>not so sure it is Twilight Zone. I think it's

819
00:54:55.119 --> 00:54:59.760
<v Speaker 12>more of a horror story type situation that might be

820
00:54:59.760 --> 00:55:04.079
<v Speaker 12>better her on thriller with Boris Carloff, or you know,

821
00:55:04.840 --> 00:55:10.239
<v Speaker 12>maybe maybe even something ghostly like Alfred Hitchcock presents twilight Zone.

822
00:55:10.320 --> 00:55:11.920
<v Speaker 8>Yet, we could put it in that bucket.

823
00:55:12.239 --> 00:55:14.719
<v Speaker 12>But I'm not so sure that it is a Twilight

824
00:55:14.840 --> 00:55:17.719
<v Speaker 12>Zone episode by what we've come to known as the

825
00:55:17.760 --> 00:55:21.360
<v Speaker 12>Twilight Zone, because really, is there justice being served for

826
00:55:21.440 --> 00:55:24.559
<v Speaker 12>Elva to get these phone calls because she was a

827
00:55:24.599 --> 00:55:28.199
<v Speaker 12>domineering person. I mean she even stated she was driving

828
00:55:28.239 --> 00:55:31.039
<v Speaker 12>the car when he died in nineteen thirty two. I

829
00:55:31.039 --> 00:55:33.920
<v Speaker 12>mean during those years, the man usually drove the car

830
00:55:34.199 --> 00:55:36.639
<v Speaker 12>and for Elva to take over and drive the vehicle,

831
00:55:37.000 --> 00:55:39.599
<v Speaker 12>that's saying that she's really in control of that relationship.

832
00:55:39.599 --> 00:55:42.440
<v Speaker 12>But is this something that she has to endure? Because

833
00:55:42.519 --> 00:55:45.400
<v Speaker 12>Rod even says in the end, you know, Elva has

834
00:55:45.400 --> 00:55:47.159
<v Speaker 12>made her bed and now she must sleep in it.

835
00:55:47.840 --> 00:55:51.400
<v Speaker 12>So is that the story be careful or is that

836
00:55:51.480 --> 00:55:53.920
<v Speaker 12>the message be careful of what you know, how your

837
00:55:53.960 --> 00:55:57.519
<v Speaker 12>behaviors are, because we reap what we sew. Maybe it is,

838
00:55:58.039 --> 00:56:01.760
<v Speaker 12>but I thought it was a first class a horror

839
00:56:01.840 --> 00:56:05.440
<v Speaker 12>story or a ghost story. As far as Twilight zones,

840
00:56:05.920 --> 00:56:07.159
<v Speaker 12>I put it up in the mid tier.

841
00:56:07.840 --> 00:56:11.599
<v Speaker 2>Thanks Tom, Thank you Joe. Some good good stuff to

842
00:56:12.440 --> 00:56:19.519
<v Speaker 2>latch onto them. So yeah, the isolation really was a

843
00:56:19.559 --> 00:56:21.679
<v Speaker 2>big part of it for me this time, and I

844
00:56:21.719 --> 00:56:25.480
<v Speaker 2>think my takeaway from it, maybe I'm getting this more

845
00:56:25.559 --> 00:56:31.920
<v Speaker 2>from the short story, like I mentioned, was really a

846
00:56:32.039 --> 00:56:38.320
<v Speaker 2>kind of sad commentary on what it is to die alone,

847
00:56:38.320 --> 00:56:40.800
<v Speaker 2>because in a sense, we all die alone, but a

848
00:56:40.840 --> 00:56:46.239
<v Speaker 2>lot of the times we see, you know, people around

849
00:56:46.360 --> 00:56:51.360
<v Speaker 2>us go and then we all left. And yeah, sorry

850
00:56:51.360 --> 00:56:55.119
<v Speaker 2>to get some modeling on this one, but but the

851
00:56:55.199 --> 00:56:59.519
<v Speaker 2>phone call was yes, it was a dead person calling,

852
00:56:59.719 --> 00:57:03.480
<v Speaker 2>but it was really a representation of you know, death

853
00:57:03.559 --> 00:57:09.239
<v Speaker 2>is coming, you're alone, it's on its way, and it'll

854
00:57:09.239 --> 00:57:12.760
<v Speaker 2>be right over, you know, eventually. And I think that's

855
00:57:12.840 --> 00:57:17.519
<v Speaker 2>probably why I prefer the short story end, and because

856
00:57:18.599 --> 00:57:23.159
<v Speaker 2>the TV version, I don't know you can kind of

857
00:57:23.199 --> 00:57:28.039
<v Speaker 2>get that theme maybe, But I think Joe alluded to

858
00:57:28.119 --> 00:57:30.440
<v Speaker 2>it before Joe Mayo when he said, well, you know,

859
00:57:30.480 --> 00:57:34.480
<v Speaker 2>it's perfectly understandable then if someone is calling you and

860
00:57:34.559 --> 00:57:36.559
<v Speaker 2>you don't know who it is, and it's like a

861
00:57:36.599 --> 00:57:39.239
<v Speaker 2>weird voice. Of course you're going to tell them to

862
00:57:39.280 --> 00:57:44.119
<v Speaker 2>stop calling, so it doesn't really scan that. It's like, well,

863
00:57:44.360 --> 00:57:46.480
<v Speaker 2>you've made your own bed, now you have to lie

864
00:57:46.480 --> 00:57:49.320
<v Speaker 2>in it, because she was just telling a corpse not

865
00:57:49.400 --> 00:57:52.039
<v Speaker 2>to call her. And then there's this whole thing like

866
00:57:52.159 --> 00:57:56.440
<v Speaker 2>Al mentioned about the while landing on the grave. So

867
00:57:56.559 --> 00:57:59.480
<v Speaker 2>these things kind of unravel a bit. But I do

868
00:57:59.599 --> 00:58:04.559
<v Speaker 2>generally still enjoy it, and it is in that area

869
00:58:04.599 --> 00:58:09.119
<v Speaker 2>between bottom top tier or top middle tier. But I

870
00:58:09.119 --> 00:58:11.440
<v Speaker 2>think you make a great point about is it really

871
00:58:11.480 --> 00:58:16.000
<v Speaker 2>Twilight Zone. Yes, there's precedent for this, you know, with

872
00:58:16.119 --> 00:58:20.039
<v Speaker 2>things like the thirty five and Grave. Just a spooky story,

873
00:58:20.480 --> 00:58:26.800
<v Speaker 2>but it's probably not bringing us the elements of some

874
00:58:26.920 --> 00:58:29.599
<v Speaker 2>of the best Twilight zones, I think, and that that

875
00:58:29.840 --> 00:58:33.639
<v Speaker 2>uniquely Twilight Zone thing. So I get completely where you're

876
00:58:33.679 --> 00:58:37.280
<v Speaker 2>coming from. Thanks for that, Joe. Okay. And finally we

877
00:58:37.400 --> 00:58:40.400
<v Speaker 2>go over to our old friend Harold Clark calling in

878
00:58:40.559 --> 00:58:42.639
<v Speaker 2>from Budha, Texas.

879
00:58:42.960 --> 00:58:45.920
<v Speaker 6>Hey there, Tom Harrow Clark reporting in from but to Texas,

880
00:58:45.960 --> 00:58:47.039
<v Speaker 6>talking about night call.

881
00:58:48.679 --> 00:58:51.119
<v Speaker 9>So, you know, as I've gotten.

882
00:58:50.840 --> 00:58:55.440
<v Speaker 6>Older, when I watch twilights on episodes again, I'm trying

883
00:58:55.480 --> 00:58:58.880
<v Speaker 6>to define the meaning, you know, you know, I do

884
00:58:58.960 --> 00:58:59.519
<v Speaker 6>try and put.

885
00:58:59.440 --> 00:59:02.400
<v Speaker 9>On my spirits, your glasses to see if there's anything there.

886
00:59:02.440 --> 00:59:04.639
<v Speaker 6>But you know, there are some episodes that you know,

887
00:59:04.760 --> 00:59:07.760
<v Speaker 6>you put the spiritual glasses on and there's there's nothing.

888
00:59:09.000 --> 00:59:12.039
<v Speaker 6>That doesn't mean that the episode's bad or if there's not,

889
00:59:12.599 --> 00:59:16.360
<v Speaker 6>you know, just other lessons to be learned, such as, uh,

890
00:59:16.440 --> 00:59:18.599
<v Speaker 6>you know, will the real Martian please stand up?

891
00:59:19.199 --> 00:59:19.320
<v Speaker 5>Uh?

892
00:59:19.480 --> 00:59:20.880
<v Speaker 9>You know, try to.

893
00:59:20.880 --> 00:59:23.320
<v Speaker 6>Find some sort of spiritual parallel. But it's just a

894
00:59:23.320 --> 00:59:26.599
<v Speaker 6>fun episode. So you know I did that with night

895
00:59:26.679 --> 00:59:30.920
<v Speaker 6>coll you know, watching it and trying to figure out, well,

896
00:59:30.960 --> 00:59:33.960
<v Speaker 6>you know what, you know, what can we pull out

897
00:59:33.960 --> 00:59:34.719
<v Speaker 6>of this episode?

898
00:59:34.760 --> 00:59:37.199
<v Speaker 9>You know, where's the you know, where's the meat on

899
00:59:37.280 --> 00:59:37.719
<v Speaker 9>the bone.

900
00:59:38.119 --> 00:59:42.920
<v Speaker 6>And you know, I thought, you know, it could be

901
00:59:43.360 --> 00:59:45.639
<v Speaker 6>maybe you can have a discussion about you know, addiction

902
00:59:45.960 --> 00:59:49.920
<v Speaker 6>or something like that, because you know, she's well addiction

903
00:59:50.079 --> 00:59:54.039
<v Speaker 6>or obsession. You know, she's obsessed with this phone, you know,

904
00:59:54.320 --> 00:59:56.800
<v Speaker 6>and and you know people are telling her, hey, just

905
00:59:56.840 --> 00:59:59.000
<v Speaker 6>take take the phone off the hook, and then you

906
00:59:59.039 --> 01:00:02.440
<v Speaker 6>know you won't have this worry, you know, so you

907
01:00:02.440 --> 01:00:05.280
<v Speaker 6>could dive into there. I mean that's you know, that's

908
01:00:05.360 --> 01:00:08.480
<v Speaker 6>kind of a similar idea to uh, you know, Nightmare.

909
01:00:08.599 --> 01:00:10.960
<v Speaker 9>You know, twenty thousand feet with you know, just you.

910
01:00:10.920 --> 01:00:13.079
<v Speaker 6>Know, keep the keep the shade closed, and then you

911
01:00:13.119 --> 01:00:15.599
<v Speaker 6>don't have to worry about it, you know. But again,

912
01:00:15.639 --> 01:00:18.599
<v Speaker 6>I'm sitting here watching this episode, and I mean, at

913
01:00:18.599 --> 01:00:21.360
<v Speaker 6>the end of the day, I'm like, I don't I

914
01:00:21.440 --> 01:00:24.079
<v Speaker 6>don't know if it says much of anything other than

915
01:00:24.920 --> 01:00:26.519
<v Speaker 6>you know, being maybe just a.

916
01:00:28.159 --> 01:00:29.760
<v Speaker 8>I don't more.

917
01:00:30.599 --> 01:00:33.199
<v Speaker 6>It felt more like a spooky ghost story kind of,

918
01:00:34.760 --> 01:00:36.159
<v Speaker 6>and you know, at the end, you.

919
01:00:36.239 --> 01:00:39.480
<v Speaker 9>Just get some goofball twist. I say, goofball, but you know,

920
01:00:39.519 --> 01:00:39.880
<v Speaker 9>you get.

921
01:00:39.800 --> 01:00:43.559
<v Speaker 6>A twist that you don't really have any context for

922
01:00:43.760 --> 01:00:48.000
<v Speaker 6>until like really four minutes left in the episode, you know.

923
01:00:48.079 --> 01:00:49.559
<v Speaker 9>I mean it's you don't know.

924
01:00:50.159 --> 01:00:53.079
<v Speaker 6>You know, you don't know anything about her past, and

925
01:00:53.159 --> 01:00:55.360
<v Speaker 6>you know, she mentions just a little bit, you know,

926
01:00:55.480 --> 01:00:59.280
<v Speaker 6>about driving and all this stuff, and you know, okay,

927
01:00:59.400 --> 01:01:02.239
<v Speaker 6>but you know, I mean, she's not the worst person

928
01:01:02.280 --> 01:01:04.760
<v Speaker 6>on the face of the earth, you know. So you know,

929
01:01:04.800 --> 01:01:06.760
<v Speaker 6>when you talk about the whole idea of this cosmic

930
01:01:06.920 --> 01:01:10.000
<v Speaker 6>justice happening and now she's all alone and it's made

931
01:01:10.000 --> 01:01:10.760
<v Speaker 6>her own hell.

932
01:01:10.639 --> 01:01:14.480
<v Speaker 9>I'm like, I don't know. I mean, you know, and.

933
01:01:15.920 --> 01:01:19.519
<v Speaker 6>You know the reasoning behind the husband, you know, you know,

934
01:01:20.519 --> 01:01:23.760
<v Speaker 6>basically saying, oh, well you said this, you said this before,

935
01:01:23.920 --> 01:01:26.599
<v Speaker 6>so hey, I'm going to follow you. I can't hear

936
01:01:26.639 --> 01:01:31.840
<v Speaker 6>anything you're saying now. Sorry blah blah blah blah blah.

937
01:01:31.960 --> 01:01:33.000
<v Speaker 9>I don't know, you know.

938
01:01:33.159 --> 01:01:38.519
<v Speaker 6>So for me, this is this is lower your bottom tier,

939
01:01:38.519 --> 01:01:41.079
<v Speaker 6>I should say. I mean, it's just one of those

940
01:01:41.119 --> 01:01:43.400
<v Speaker 6>episodes where you walk away from it and you go, well,

941
01:01:44.920 --> 01:01:46.880
<v Speaker 6>you know what, what what is.

942
01:01:46.840 --> 01:01:48.360
<v Speaker 9>There to talk about?

943
01:01:48.559 --> 01:01:50.880
<v Speaker 8>Now? You know.

944
01:01:52.639 --> 01:01:55.559
<v Speaker 6>They do they do mention about you know, they have

945
01:01:55.639 --> 01:01:57.880
<v Speaker 6>the interaction between you know, the old woman and the

946
01:01:58.000 --> 01:02:02.360
<v Speaker 6>and the telephone you know operator, and then then the housekeeper,

947
01:02:02.400 --> 01:02:06.039
<v Speaker 6>and there's this there's a little bit about you know, ah,

948
01:02:06.079 --> 01:02:08.920
<v Speaker 6>you know, nobody believes you know, everybody thinks I'm an

949
01:02:08.920 --> 01:02:09.480
<v Speaker 6>old biddy.

950
01:02:09.800 --> 01:02:10.000
<v Speaker 8>You know.

951
01:02:10.159 --> 01:02:13.760
<v Speaker 6>Now, you know that's something you know that you can

952
01:02:13.880 --> 01:02:17.239
<v Speaker 6>kind of grasp on to, you know, the idea of

953
01:02:17.280 --> 01:02:20.400
<v Speaker 6>you know, not believing someone just because you think, ah,

954
01:02:20.639 --> 01:02:22.320
<v Speaker 6>you know, they're too old, they're senile.

955
01:02:22.400 --> 01:02:23.000
<v Speaker 9>Things like that.

956
01:02:23.039 --> 01:02:26.880
<v Speaker 6>I mean, that's that's something. But they just didn't, I

957
01:02:26.920 --> 01:02:28.840
<v Speaker 6>don't know, they just didn't really flesh that out.

958
01:02:28.880 --> 01:02:29.079
<v Speaker 9>Now.

959
01:02:30.880 --> 01:02:33.880
<v Speaker 6>What this did remind me of is a movie that

960
01:02:34.000 --> 01:02:38.199
<v Speaker 6>came out in twenty twenty called The Vast of Night.

961
01:02:40.239 --> 01:02:44.400
<v Speaker 6>So it's a quick, little it's a super The budget

962
01:02:44.440 --> 01:02:46.480
<v Speaker 6>on the film I think was like seven hundred thousand

963
01:02:46.519 --> 01:02:52.079
<v Speaker 6>dollars or something. But cinematography is fantastic. It's a great

964
01:02:52.079 --> 01:02:56.239
<v Speaker 6>little story hour and a half, breezy, little, breezy little story.

965
01:02:57.199 --> 01:02:59.440
<v Speaker 6>Don't read anything about it. I mean, it's a it's

966
01:02:59.519 --> 01:03:03.599
<v Speaker 6>a it's a science fiction, you know movie. That's about

967
01:03:03.719 --> 01:03:08.840
<v Speaker 6>all I'll say. But but it brings up some you know,

968
01:03:08.920 --> 01:03:12.199
<v Speaker 6>that movie brings up some points to go, ah, let's

969
01:03:12.239 --> 01:03:16.320
<v Speaker 6>talk about this, you know, and and you know about

970
01:03:16.360 --> 01:03:19.039
<v Speaker 6>you know, maybe old people and the perception of this

971
01:03:19.159 --> 01:03:20.880
<v Speaker 6>and the perception of that.

972
01:03:20.880 --> 01:03:22.159
<v Speaker 9>That movie gives.

973
01:03:21.920 --> 01:03:24.840
<v Speaker 6>You a little bit more you know too uh to

974
01:03:25.320 --> 01:03:29.559
<v Speaker 6>dive into. So anyway, that's uh, that's what I got,

975
01:03:29.639 --> 01:03:32.239
<v Speaker 6>Like said, night Call. You know, it's just one of

976
01:03:32.239 --> 01:03:37.960
<v Speaker 6>those forgettable episodes. It's a you know, I mean this

977
01:03:37.960 --> 01:03:40.360
<v Speaker 6>this almost felt like it should be like a night

978
01:03:40.400 --> 01:03:41.280
<v Speaker 6>Gallery episode.

979
01:03:41.639 --> 01:03:43.920
<v Speaker 9>I don't watch a whole lot of night Galleries.

980
01:03:43.480 --> 01:03:46.360
<v Speaker 6>But from what I understand, they could be whatever link

981
01:03:46.440 --> 01:03:49.840
<v Speaker 6>they want, and this could have been a this could

982
01:03:49.840 --> 01:03:53.519
<v Speaker 6>have been a five minute story, you know, you know,

983
01:03:53.639 --> 01:03:56.519
<v Speaker 6>to have the little twist and okay, here you go,

984
01:03:56.599 --> 01:03:59.199
<v Speaker 6>but nah, I don't know, it felt like a little

985
01:03:59.559 --> 01:04:02.840
<v Speaker 6>it's dragged a little bit, you know, for twenty two minutes,

986
01:04:02.880 --> 01:04:04.880
<v Speaker 6>and again you get most of the story in the

987
01:04:04.960 --> 01:04:09.079
<v Speaker 6>last literally last four minutes. So eh, not one of

988
01:04:09.159 --> 01:04:11.719
<v Speaker 6>my favorites, but you know, it is what it is.

989
01:04:11.920 --> 01:04:15.079
<v Speaker 6>So anyway, curious to hear what everybody else has to say,

990
01:04:15.119 --> 01:04:16.840
<v Speaker 6>and we will talk at you later.

991
01:04:17.960 --> 01:04:20.360
<v Speaker 2>Thank you, Harold. I think you're tapping into something that

992
01:04:20.400 --> 01:04:23.440
<v Speaker 2>we've been building towards with a lot of this feedback.

993
01:04:23.480 --> 01:04:26.360
<v Speaker 2>You know, a lot of people are just generally happy

994
01:04:26.400 --> 01:04:29.880
<v Speaker 2>with an atmospheric kind of episode, but when we start

995
01:04:29.960 --> 01:04:33.039
<v Speaker 2>to pick it apart a bit, it just doesn't quite

996
01:04:33.119 --> 01:04:36.000
<v Speaker 2>fit with you know, you're talking about the cosmic justice.

997
01:04:36.039 --> 01:04:39.559
<v Speaker 2>It doesn't really kind of have that elegance to it

998
01:04:39.559 --> 01:04:43.920
<v Speaker 2>that the best twilight zones do, where you know, people

999
01:04:44.000 --> 01:04:47.840
<v Speaker 2>get their come up and some sometimes it's someone who

1000
01:04:48.599 --> 01:04:52.119
<v Speaker 2>doesn't look like they really deserve something to happen to them,

1001
01:04:52.159 --> 01:04:55.360
<v Speaker 2>but it's, you know, just a lesson on maybe that

1002
01:04:55.440 --> 01:04:59.559
<v Speaker 2>life is unpredictable sometimes and so on, and you're trying

1003
01:04:59.559 --> 01:05:03.239
<v Speaker 2>to unpick this, but nothing really quite makes sense, and

1004
01:05:03.280 --> 01:05:09.000
<v Speaker 2>I think, you know, when we think of the comments

1005
01:05:09.039 --> 01:05:13.880
<v Speaker 2>that people like the two Joes, al Shehadzman and so

1006
01:05:13.960 --> 01:05:17.639
<v Speaker 2>on has said, and Chad as well, you know, it

1007
01:05:17.960 --> 01:05:21.840
<v Speaker 2>just doesn't quite hang together in that way. And again,

1008
01:05:21.880 --> 01:05:24.199
<v Speaker 2>I don't want to repeat myself, but I kind of will.

1009
01:05:25.360 --> 01:05:28.960
<v Speaker 2>I think the short story. I don't know whether it

1010
01:05:29.079 --> 01:05:34.199
<v Speaker 2>was actually Matheson's design that it be, you know about

1011
01:05:34.400 --> 01:05:39.760
<v Speaker 2>these calls being representative of the approaching death of Alva Keene,

1012
01:05:41.000 --> 01:05:44.599
<v Speaker 2>but it's certainly my interpretation of it. And while I

1013
01:05:44.599 --> 01:05:49.760
<v Speaker 2>wouldn't strictly call it Twilight Zone, it at least made

1014
01:05:49.800 --> 01:05:55.639
<v Speaker 2>sense within its own thing. You know that randomly the

1015
01:05:55.719 --> 01:05:59.400
<v Speaker 2>wire had landed on a grave and not the grave

1016
01:05:59.480 --> 01:06:02.280
<v Speaker 2>of the the guy who was killed in a car

1017
01:06:02.440 --> 01:06:06.400
<v Speaker 2>thirty years ago or something. You know, we'll believe that

1018
01:06:06.480 --> 01:06:09.280
<v Speaker 2>a guy called her who was dead, but we won't

1019
01:06:09.320 --> 01:06:13.119
<v Speaker 2>believe that the while I'll landed on that particular grave.

1020
01:06:13.239 --> 01:06:16.079
<v Speaker 2>But you know, that's the way it goes. But I've

1021
01:06:16.159 --> 01:06:19.679
<v Speaker 2>enjoyed the conversation, I've enjoyed everyone's clip, So I thank

1022
01:06:19.760 --> 01:06:23.199
<v Speaker 2>you all for doing it. Like I said, I think

1023
01:06:23.239 --> 01:06:27.800
<v Speaker 2>we might have about eighteen episodes to go. If you've

1024
01:06:27.960 --> 01:06:31.400
<v Speaker 2>always wanted to say something on the twilight Zone Podcast.

1025
01:06:32.440 --> 01:06:35.199
<v Speaker 2>Then now is the time to do it, really, So

1026
01:06:35.280 --> 01:06:37.599
<v Speaker 2>let's see if we can keep this conversation going. And

1027
01:06:37.719 --> 01:06:41.800
<v Speaker 2>thank you to my four night callers tonight. There you go,

1028
01:06:42.199 --> 01:06:44.239
<v Speaker 2>and if you want to get your thoughts onto the show,

1029
01:06:44.280 --> 01:06:46.679
<v Speaker 2>then send a clip of about five minutes or less

1030
01:06:46.679 --> 01:06:50.599
<v Speaker 2>to Tom at the twilight Zone podcast dot com. Now,

1031
01:06:50.679 --> 01:06:53.119
<v Speaker 2>normally I would send you over to Rod's Sailing to

1032
01:06:53.199 --> 01:06:57.639
<v Speaker 2>find out what is coming up next, but unfortunately there

1033
01:06:57.679 --> 01:07:00.920
<v Speaker 2>isn't a sailing close out on this one. But the

1034
01:07:00.960 --> 01:07:04.039
<v Speaker 2>episode that we'll be looking at is from Agnes with

1035
01:07:04.199 --> 01:07:05.880
<v Speaker 2>Love and I'll speak to you then