WEBVTT

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<v Speaker 1>A living man, A living man. I want to be

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<v Speaker 1>a living man.

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<v Speaker 2>In all, Tonight's Twilight Zone poses an unusual question, does

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<v Speaker 2>a different kind of Twilight Zone call for a different

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<v Speaker 2>kind of Twilight Zone podcast? Because how exactly am I

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<v Speaker 2>supposed to present you with a selection of dialogue from

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<v Speaker 2>an episode that barely has any dialogue at all? And

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<v Speaker 2>how do I compare the work of a writer and

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<v Speaker 2>director with their orther contributions to the series when they

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<v Speaker 2>didn't actually make any Because this was never meant to

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<v Speaker 2>be an episode of the Twilight Zone in the first place.

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<v Speaker 2>Most episodes of the show stand alone as something uniquely

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<v Speaker 2>Twilight Zone, and yes, a handful of them are adaptations

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<v Speaker 2>of earlier works, but none of them arrived with quite

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<v Speaker 2>the literary baggage of the story we're discussing tonight. In fact,

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<v Speaker 2>one of the other anthology giants of that era, Alfred

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<v Speaker 2>Hitchcock Presents, got there first, adapting this tale of full

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<v Speaker 2>five years before Rod Sailing ever introduced it. Ladies and gentlemen, tonight,

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<v Speaker 2>we're reminded that the twist that sudden Bend in the

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<v Speaker 2>Road is older than the Twilight Zone itself. So let's

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<v Speaker 2>step back in time and across a few borders, because

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<v Speaker 2>there have been many occurrences at owl Creek Bridge, first

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<v Speaker 2>printed on July thirteenth, eighteen ninety, written by Ambrose Biers

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<v Speaker 2>and printed in the San Francisco Examiner. It's hard to

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<v Speaker 2>imagine in this day and age that a story with

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<v Speaker 2>such a long after life began its journey in the

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<v Speaker 2>pages of a newspaper. But that's that's exactly how an

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<v Speaker 2>occurrence at al Creek Bridge first entered the world. And

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<v Speaker 2>when we peel back those pages and look a little deeper,

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<v Speaker 2>it becomes clear that it isn't just the twist and

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<v Speaker 2>the tale that makes Bias's story feel like a kind

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<v Speaker 2>of proto Twilight Zone. It's also the man who wrote it.

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<v Speaker 2>Ambrose Bius was born in eighteen forty two in a

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<v Speaker 2>log cabin in Ohio, the tenth of thirteen children, all

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<v Speaker 2>of them given names beginning with the letter A. His

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<v Speaker 2>family was poor, but they valued books, and that early

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<v Speaker 2>encouragement set him on the path to writing. At fifteen,

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<v Speaker 2>he left home to work as a printer's devil at

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<v Speaker 2>an abolitionist newspaper, sharpening both his craft and his political awareness.

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<v Speaker 2>But it's what happened next that begins to draw the

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<v Speaker 2>faced real parallels with rod Sailing. Because Ambrosebius's fiction is

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<v Speaker 2>inseparable from his military service. When the American Civil War

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<v Speaker 2>broke out, he enlisted at nineteen and spent the next

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<v Speaker 2>four years in some of the conflict's most brutal campaigns.

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<v Speaker 2>He served as a topographical engineer a map maker, which

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<v Speaker 2>meant he was often at the front line sketching the

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<v Speaker 2>landscape under fire. He witnessed horrors that reshaped him and

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<v Speaker 2>suffered a severe head wound that nearly killed him. By

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<v Speaker 2>the time the war ended, Bias had lost any patience

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<v Speaker 2>for romantic notions of heroism. His writing became steeped in cynicism,

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<v Speaker 2>the kind of cynicism aired through first hand experience of

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<v Speaker 2>how quickly life can be over, and that worldview saturates

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<v Speaker 2>his stories. D you writers painted war in noble colors,

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<v Speaker 2>be a stripped at bear. In this particular story, his

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<v Speaker 2>refusal to grant his protagonist a heroic escape, choosing instead

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<v Speaker 2>to reveal a brutal, instantaneous death, is a direct expression

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<v Speaker 2>of that post war disillusionment. It's the same unflinching honesty

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<v Speaker 2>that would later define rod Sailing's own work. Two men

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<v Speaker 2>decades apart, shaped by war into writers who could no

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<v Speaker 2>longer look away from the truth. Now An Occurrence at

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<v Speaker 2>Alcreek Bridge first appeared in the San Francisco Examiner in

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<v Speaker 2>eighteen ninety, reaching a wide audience almost immediately. A year later,

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<v Speaker 2>it was collected together with other stories in a collection

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<v Speaker 2>called Tales of Soldiers and Civilians, And then as the

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<v Speaker 2>years went on, it became one of the most anthologized

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<v Speaker 2>works in American literature, a staple of classrooms, textbooks, and

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<v Speaker 2>short story collections. So before we visit this story in

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<v Speaker 2>a multitude of different forms, let's get a flavor of

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<v Speaker 2>how Ambrose Biers originally wrote it. Peyton Farquhar, planter, patriot,

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<v Speaker 2>and soon to be casualty of the American Civil War,

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<v Speaker 2>stands on Alcreek Bridge, his wrists bound, a rope cinched

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<v Speaker 2>around his neck, Union soldiers poised to hang him above

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<v Speaker 2>the river below. And in this moment, where he has

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<v Speaker 2>stood waiting for death, the world sharpens. His heartbeat ticks

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<v Speaker 2>like a clock, sunlight flickers, and the man who once

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<v Speaker 2>lived in comfort now finds himself balanced on a plank,

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<v Speaker 2>one step from oblivion. But the path to this point

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<v Speaker 2>began days earlier, when a weary soldier rode up to

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<v Speaker 2>Farquhar's plantation, wearing the gray of the Confederacy. He spoke

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<v Speaker 2>of Union troops repairing Alkrek Bridge and hinted carefully that

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<v Speaker 2>a determined man might cripple the enemy with a single spark.

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<v Speaker 2>What Farquhar didn't know was that this visitor was a

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<v Speaker 2>Union scout in disguise, dangling temptation like bait. Farquhar, hungry

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<v Speaker 2>for glory, took it, and that night he crept toward

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<v Speaker 2>the bridge, but found only soldiers waiting for him. So,

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<v Speaker 2>now stood on the bridge, the plank drops, the rope

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<v Speaker 2>snaps tight, and suddenly he plunges into the river, breaking free,

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<v Speaker 2>racing through the forest with a clarity that borders on

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<v Speaker 2>the supernatural, He runs toward home, toward the vision of

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<v Speaker 2>his wife waiting for him. He reaches for her, and

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<v Speaker 2>the world collapses. Because Peyton Farquhar never escaped. His heroic

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<v Speaker 2>flight was only the final frantic dream of a dying mind,

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<v Speaker 2>and on Alcreek Bridge, in the last instant of his life,

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<v Speaker 2>he discovered a truth that fits neatly into the fifth dimension.

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<v Speaker 2>But what the short story has, and what the Twilight

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<v Speaker 2>Zone version does not is a deeper insight into who

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<v Speaker 2>Farquhah actually was. Bias makes it quite plain Farquhar was

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<v Speaker 2>a wealthy Alabama planter, a slave owner, a secessionist, and

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<v Speaker 2>a man who longed for the glory of war but

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<v Speaker 2>never quite managed to join the fight. So this version

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<v Speaker 2>of Farquhar isn't quite the tragic every man that some

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<v Speaker 2>adaptations often present him. As he was a man undone

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<v Speaker 2>by his own illusions. Now, this is a story that

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<v Speaker 2>I personally have not been too familiar with, so I

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<v Speaker 2>have scouted opinion on what it's really all about, and

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<v Speaker 2>it seems that at the heart of the story, at

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<v Speaker 2>its core, and a carnce at our creek bridge, is

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<v Speaker 2>about self deception, the lies that we tell ourselves about

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<v Speaker 2>who we are. Farquah imagines himself a hero destined for

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<v Speaker 2>some noble act in war, but Beer shows us something

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<v Speaker 2>far harsher, a man clinging to a fantasy of himself

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<v Speaker 2>that never truly existed. His escape is that fantasy made real.

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<v Speaker 2>For a heartbeat, the life he wished he'd lived, the

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<v Speaker 2>courage he wished he'd had, and the ending he believed

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<v Speaker 2>he deserved, and then Beas snaps us back to reality

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<v Speaker 2>when he snaps Peyton Farquah's neck and reminds us that

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<v Speaker 2>war doesn't honor our illusions, it cuts straight through them.

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<v Speaker 2>So that's where it all began. But before we get

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<v Speaker 2>to our ultimate destination, there are some other stops along

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<v Speaker 2>the way.

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<v Speaker 3>Suspence and the producer of radio is outstanding theater of thrills,

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<v Speaker 3>the master of mystery and adventure, William and Robson.

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<v Speaker 4>Every year, thousands of short stories roll out from a

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<v Speaker 4>multitude of typewriters and march across the pages of our

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<v Speaker 4>magazines and books toward well deserved oblivion. Few are memorable.

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<v Speaker 4>Fewers still are classics. They passed the time and are

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<v Speaker 4>forgotten even before the paper in which they are written

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<v Speaker 4>is reduced to blackened ash. But occasionally a story has

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<v Speaker 4>written that is a true classic, an unforgettable tale. Listen

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<v Speaker 4>to such a one now, as Victor Joy stars in

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<v Speaker 4>Ambrose Bierce's Weird and Wonderful Story of the Civil War.

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<v Speaker 4>An Occurrence at Our Creek Bridge, a tale well calculated

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<v Speaker 4>to keep you in.

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<v Speaker 2>Suspense before they ever came to television. The thing that

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<v Speaker 2>made an occurrence at our Creek Bridge. Such a natural

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<v Speaker 2>fit for radio was its focus on what was happening

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<v Speaker 2>inside Peyton Farquhar's mind. Ambrose Bius fills the story with

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<v Speaker 2>heightened sounds, sharp sensory details, and that eerie slow motion

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<v Speaker 2>quality of a man on the edge of death, and radio,

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<v Speaker 2>especially in its golden age, had all the tools to

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<v Speaker 2>be able to present that. Using voices, music, and sound effects,

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<v Speaker 2>Producers could drop listeners straight into a character's head, so

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<v Speaker 2>it's no surprise that the story became a favorite for

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<v Speaker 2>anyone looking to deliver a tight psychological thriller. One of

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<v Speaker 2>the first major adaptations aired on the Columbia Workshop back

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<v Speaker 2>in nineteen thirty six, so even that early on, it

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<v Speaker 2>was clear that the story's suspense and that devastating twist

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<v Speaker 2>worked beautifully when everything was carried by sound, no visuals,

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<v Speaker 2>no special effects, just a listener's imagination doing the heavy lifting.

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<v Speaker 2>But the real champion of this story on radio was

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<v Speaker 2>writer and director William N. Robson, and he created a

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<v Speaker 2>script that became the go to version for several years,

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<v Speaker 2>and his first take aired on the adventure series Escape

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<v Speaker 2>in nineteen forty seven with Harry Bartel as Peyton.

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<v Speaker 5>Fark.

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<v Speaker 2>Then the story migrated over to the legendary anthology series Suspense,

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<v Speaker 2>which used Robson's script again and again, and at least

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<v Speaker 2>three different productions went out over the years, featuring big

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<v Speaker 2>names like Victor Jori in nineteen fifty six, Joseph Cotton

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<v Speaker 2>in nineteen fifty seven, and Vincent Price in nineteen fifty nine.

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<v Speaker 2>And if you listen back to the prelude to our

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<v Speaker 2>creak Bridge episode that I put out last November, that's

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<v Speaker 2>the version you can hear. So when a story gets

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<v Speaker 2>five major network productions over more than two decades, clearly

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<v Speaker 2>it's hit a nerve. However, there did need to be

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<v Speaker 2>some changes made to make it fit on the radio. Now,

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<v Speaker 2>internal dialogue is fine on the radio, and you can

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<v Speaker 2>use things like a narrator, as the suspense version does,

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<v Speaker 2>but it's still tough to have a radio play which

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<v Speaker 2>is purely the internal, unspoken thoughts of one person. Now,

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<v Speaker 2>if you think back to the Vincent Price version of

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<v Speaker 2>the play, there are a couple of things of notes.

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<v Speaker 2>First is the use of this.

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<v Speaker 6>Music cue the nuts given again, I'll try once more.

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<v Speaker 6>That does it? You must breathe when you come to

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<v Speaker 6>the surface. You must breathe quickly for the heaven hanger,

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<v Speaker 6>and they fail to drown you. You can't let them

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<v Speaker 6>shoot you deep breath.

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<v Speaker 7>You dive deeply, but above the ringing in your ears,

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<v Speaker 7>you hear the volley of the rifles. As you rise

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<v Speaker 7>towards the surface, you meet shining bits of metal, singularly flattened,

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<v Speaker 7>the distorted and spent bullets oscillating slowly downward.

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<v Speaker 3>Pasture.

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<v Speaker 7>One catches in your collar and it feels uncomfortably warm.

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<v Speaker 7>You snatch it out, and this great piece of yeke

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<v Speaker 7>lib remande, of the gray uniform and the soldier who

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<v Speaker 7>is responsible for you being here.

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<v Speaker 2>Now, that piece of music is called time Suspense, and

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<v Speaker 2>it's from Bernard Herman's set of musical cues called the

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<v Speaker 2>outer Space Suite. And these short pieces of music are

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<v Speaker 2>dotted throughout the Twilight Zone, but not just the Twilight Zone. Now.

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<v Speaker 2>I do vaguely remember talking about these in the early

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<v Speaker 2>days of the Twilight Zone podcast. But basically, the Outer

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<v Speaker 2>Space Suite is Bernard Herman's way of creating a set

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<v Speaker 2>of cues for CBS radio in the nineteen forties, music

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<v Speaker 2>that evoked certain feelings but was also universal enough that

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<v Speaker 2>it could be inserted into several different types of stories.

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<v Speaker 2>They were mood pieces, and because Herman wrote these for

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<v Speaker 2>the CBS Music Library, producers could use them whenever they

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<v Speaker 2>needed that kind of eerie atmosphere, and they did constantly.

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<v Speaker 2>So shows like The Twilight Zone reached for these cues

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<v Speaker 2>again and again because they instantly created certain types of mood. So,

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<v Speaker 2>in a strange way, the Outer Space Suite became a

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<v Speaker 2>kind of unofficial soundtrack for this era of American science fiction.

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<v Speaker 2>But the second thing of note about the radio version

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<v Speaker 2>is that it features a character who wasn't in the

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<v Speaker 2>original story.

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<v Speaker 7>I thought you were dead?

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<v Speaker 1>Who me did?

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<v Speaker 8>Oh?

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<v Speaker 7>You thought jeffro was dead. You knew he had consumption

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<v Speaker 7>when you sold him. You knew it couldn't last long,

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<v Speaker 7>and he wasn't earning his keep. His wife and his

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<v Speaker 7>daughter carried on some at first, but after a while

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<v Speaker 7>they calmed down, and last you heard, Jeffrow was dead.

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<v Speaker 5>You thought I did moss back right? Well, don't you

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<v Speaker 5>know what done happened to me? I'm free. I'm free

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<v Speaker 5>at last. Yes, I'm free, and I expect pretty soon

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<v Speaker 5>my woman and my little girl, when I come along

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<v Speaker 5>and enjoin men how is there, Massquak, Why as they were?

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<v Speaker 9>Oh?

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<v Speaker 7>Yes, yes, yes, indeed they both find Jeffroy Jeter. Don't

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<v Speaker 7>I don't know how to say this, but I really

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<v Speaker 7>was sorry about having to tell you. But there wasn't

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<v Speaker 7>anything else.

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<v Speaker 5>One understands, mass spok. Why don't you fear it? No mind?

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<v Speaker 5>I don't forgive you long ago? Don't the Lord toss

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<v Speaker 5>to forgive those who trespasses against us? And don't the

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<v Speaker 5>Lord promise us we shall be free? Don't you worry

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<v Speaker 5>none about it?

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<v Speaker 6>Massock?

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<v Speaker 5>Hey, Hannah, quite quiet, Chigar, I must raise it back

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<v Speaker 5>in the breath.

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<v Speaker 2>So in this radio version, Jestro is introduced, partly for

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<v Speaker 2>practical reasons. Far Qua needs someone to talk to otherwise

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<v Speaker 2>the adaptation becomes a mind talking to himself for.

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<v Speaker 1>Half an hour.

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<v Speaker 2>But Jethro's presence in the story does something far more revealing, too,

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<v Speaker 2>because it builds upon what we learned in the original

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<v Speaker 2>story about Farquhar and his allegiances, his ownership of slaves

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<v Speaker 2>and a kind of fairther solidifies him as a man

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<v Speaker 2>who's actually earned a bit of cosmic justice.

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<v Speaker 8>Now.

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<v Speaker 2>Blowing up Owl Creek Bridge in wartime is one thing.

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<v Speaker 2>It's brutal, but it's part of the machinery of conflict.

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<v Speaker 2>But what's harder to stomach is the way that Farquhar

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<v Speaker 2>treats Jethro. At first, he's genuinely pleased to see him,

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<v Speaker 2>and then he casually drops this grotesque apology, Oh, I'm

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<v Speaker 2>sorry for selling you Jethro delivered with the emotional weight

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<v Speaker 2>of someone apologizing for misplacing a book, and through his

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<v Speaker 2>own internal monol, we learn that he sold Jethro while

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<v Speaker 2>still keeping his wife and child enslaved. One moment, he's

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<v Speaker 2>grateful for Jethro's help, and the next he snaps back

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<v Speaker 2>to the language of ownership, calling him insolent, And even

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<v Speaker 2>after Jethro helps him, he still refers to him as

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<v Speaker 2>a wall gathering black who talks crazy in his internal monologue,

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<v Speaker 2>so we truly get to see the man beneath this

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<v Speaker 2>romanticized fasad that he is set up for himself. What

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<v Speaker 2>the radio version solidifies is that while Farquhar thinks himself

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<v Speaker 2>as the hero of this story, he's actually the villain.

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<v Speaker 2>But it also gives a hint as to the truth

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<v Speaker 2>of what happened In the biggest story. Jethro was thought

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<v Speaker 2>to have been dead so Farquhar. Seeing him gives us

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<v Speaker 2>a strong suspicion that maybe he is too.

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<v Speaker 3>He runs across the lawn, arms outstretched.

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<v Speaker 7>Haeydon, my dear, your back, just as you promised you'll

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<v Speaker 7>be for this moment.

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<v Speaker 3>You have endured the agonies of this day.

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<v Speaker 7>And where those agonies multiplied a thousand times, they would

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<v Speaker 7>be small price for the benison of this breast, the

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<v Speaker 7>sanctuary of these arms, the security of these lips. You

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<v Speaker 7>stepped forward, the folge of wife and your embrace.

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<v Speaker 10>The rope stretched tight sang like a bowstring. Peyton Farquhar

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<v Speaker 10>was dead. His body with a broken neck, swung gently

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<v Speaker 10>from side to side beneath the timbers of owl Creek Bridge.

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<v Speaker 2>So as we stand on our creek bridge and look

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<v Speaker 2>at yet another version of Peyton Farquhar hanging on it

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<v Speaker 2>below us, let us look ahead to see whether the

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<v Speaker 2>next version of him will fare any better.

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<v Speaker 9>Good evening, and welcome to Alfred Hitchcock Presents. Please excuse

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<v Speaker 9>me if I speak rapidly. I have a very short fuse.

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<v Speaker 9>Tonight's Play is a period piece which takes place during

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<v Speaker 9>the War between the States, when space travel was limited

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<v Speaker 9>to this primitive means I shall be in orbit during

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<v Speaker 9>the next minute, so I'm afraid I shall miss the commercial. However,

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<v Speaker 9>my sponsor has arranged matters so that as I go

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<v Speaker 9>through the sky, I shall spell out his product.

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<v Speaker 1>He Figure Him Best.

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<v Speaker 2>Broadcast on December twentieth, nineteen fifty nine. Written by Harold

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<v Speaker 2>Swanton and based on the story by Ambrose Bears and

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<v Speaker 2>directed by Robert Stephenson. In the same year that The

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<v Speaker 2>Twilight Zone debuted, Alfred Hitchcock Presents was already in its

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<v Speaker 2>fifth year, and episode fifteen of the fifth season was

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<v Speaker 2>an adaptation of an occurrence at owl Creek Bridge, and

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<v Speaker 2>while it might not be as critically lauded as its

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<v Speaker 2>Twilight Zone counterpart, it is a solid and enjoyable piece

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<v Speaker 2>of television. And behind the camera was Robert Stevenson, who

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<v Speaker 2>would go on to direct a number of Disney hits

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<v Speaker 2>which included Mary Poppins and Bed Knobs and Broomsticks. In

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<v Speaker 2>front of the camera in the Peyton Farquar role was

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<v Speaker 2>Ronald Howard. Not that Ronald Howard, no, this one. Was

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<v Speaker 2>a British born actor who worked solidly through the forties

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<v Speaker 2>to the seventies in film and television, and he was

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<v Speaker 2>also joined by pre Twilight Zone James Cobairn. Now, in

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<v Speaker 2>this version of the story, that are several things that

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<v Speaker 2>I think are meant to soft from the character of

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<v Speaker 2>Peyton farquhas somewhat from the previous versions. In this one.

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<v Speaker 2>He is actually a widower whose pregnant wife died not

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<v Speaker 2>too long ago, and we get the impression that he

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<v Speaker 2>sets himself up for the mission to destroy our Creek

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<v Speaker 2>Bridge because there's nothing a home for him anymore. He

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<v Speaker 2>wants to do something to feel useful, important, that.

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<v Speaker 8>Country's foreman with pedul troops. You told me so yourself.

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<v Speaker 8>The answer much too great for me to let you

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<v Speaker 8>take a risk. Sorried you did your part of Chiloh,

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<v Speaker 8>and Melita needs you worse than we do, by the

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<v Speaker 8>ways you know about this, Oh dear, you never let

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<v Speaker 8>me explain.

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<v Speaker 4>You didn't tell her.

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<v Speaker 1>Don't you think you owe to her?

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<v Speaker 8>Don't you think you oweered that much? But do you

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<v Speaker 8>think you'll do in case? You're both taking wish you

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<v Speaker 8>work takes off for maybe one ta What about Blizzy?

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<v Speaker 1>What about that young one of you?

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<v Speaker 8>Or she's carrying used to be her? Times almost here

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<v Speaker 8>warre it. Time's come and gone. What do you mean

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<v Speaker 8>she died a week ago? The baby too.

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<v Speaker 1>Okay, I'm sorry.

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<v Speaker 8>I don't just see.

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<v Speaker 1>I'll have to do something.

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<v Speaker 8>I can't just live out the war in the empty house.

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<v Speaker 8>I better take a riancy road.

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<v Speaker 3>There's a trail that leads off it through the piney

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<v Speaker 3>woods that.

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<v Speaker 8>You want to be killed.

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<v Speaker 1>Because you would be you know, and done.

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<v Speaker 2>Like his Twilight Zone counterpart, in this version, Barqua isn't

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<v Speaker 2>hanged until halfway through the episode, and we get the

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<v Speaker 2>full backstory of how he ended up at Owl Creek.

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<v Speaker 2>But when he is hanged and the rope breaks this

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<v Speaker 2>time round again, he flees from the soldiers trying to

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<v Speaker 2>shoot him. But instead of having him make towards home

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<v Speaker 2>on his own, like in the original story and in

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<v Speaker 2>the Twilight Zone version, he too meets up with someone else.

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<v Speaker 2>This time he meets up with Josh. Now you'll remember

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<v Speaker 2>in the radio version, far Koor meets up with Jethrow,

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<v Speaker 2>a slave who he used to own.

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<v Speaker 8>Josh, you're alive, Milburn down. We thought you went with

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<v Speaker 8>any greet the six. Yes, Josh, you gotta hide me, Gosh, please,

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<v Speaker 8>they're coming for me. They want to kill me. Men

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<v Speaker 8>wanted to kill each other? That most nonsensical idea I

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<v Speaker 8>ever heard of. Men wanted to kill all the time?

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<v Speaker 11>What for?

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<v Speaker 8>No gosh please, they're right over there. Nobody's gonna kill

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<v Speaker 8>nobody if I get anything to say about it.

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<v Speaker 1>You come along with me, mister Parker. Never mind, just

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<v Speaker 1>follow me now.

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<v Speaker 2>The Alfred Hitchcock version tiptoes around the prickly subject of

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<v Speaker 2>slave ownership. There is a woman servant at the house

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<v Speaker 2>who we think is probably a slave because of the

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<v Speaker 2>time period, and we get the impression that Josh too

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<v Speaker 2>was likely enslaved, but the episode never explicitly talks about

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<v Speaker 2>these things again, maybe in a bid to make this

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00:26:03.519 --> 00:26:09.359
<v Speaker 2>version of Farquha a bit less harsh than the radio version. However,

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<v Speaker 2>when Farquah does get home, we get that familiar scene

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<v Speaker 2>where he sees his wife, but because we already know

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<v Speaker 2>that his wife is dead, it more or less gives

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<v Speaker 2>away the surprise that Farquha is dead too, So while

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<v Speaker 2>this does warners of the twist, before we actually get

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<v Speaker 2>to the twist, there is a really good moment where

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<v Speaker 2>although Farquah is happy to see his wife, there's a

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<v Speaker 2>moment of confusion. Then realization on his face that if

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<v Speaker 2>he's here, then perhaps he too is dead. And then

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<v Speaker 2>we cut to the noose tightening around his neck.

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<v Speaker 8>And listen, all right, you put on that.

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<v Speaker 2>So now, with three versions of Peyton Farquhar hanging on

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<v Speaker 2>the bridge below us, let's take a step closer to

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<v Speaker 2>our ultimate destination. First released in nineteen sixty one, based

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<v Speaker 2>on a short story by Ambrose Biers and written and

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<v Speaker 2>directed by Robert Enrico. So before we get into this version,

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<v Speaker 2>I have to thank friend of the show Ben for

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<v Speaker 2>providing me with a copy of the original film, and

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<v Speaker 2>friend of the show Travis for providing me with copies

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<v Speaker 2>of the music. And here we are. Before it ever

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<v Speaker 2>became a Twilight Zone episode and a carernce at ou

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<v Speaker 2>Creek Bridge had already lived a full life as a

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<v Speaker 2>French short film. In nineteen sixty one, director Robert Enrico

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<v Speaker 2>adapted the Ambrose Biist story as a standalone piece of

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<v Speaker 2>French cinema titled La Riviere to hebou the al River.

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<v Speaker 2>It wasn't made for television, and it certainly wasn't made

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<v Speaker 2>with American audiences in mind. And it was actually one

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<v Speaker 2>of a small trilogy of Ambrose bias stories that Enrico

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<v Speaker 2>was exploring at the time. Now, the film itself is

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<v Speaker 2>almost entirely wordless, and then Rico leans on natural sound,

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00:29:06.079 --> 00:29:10.759
<v Speaker 2>stark imagery, and long stretches of silence to pull us

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<v Speaker 2>into Farquard's experience. It has that distinctly European early sixties sensibility, slow,

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<v Speaker 2>poetic and unafraid to let the moment breathe. And before

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<v Speaker 2>anybody at CBS ever saw it, the film had already

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<v Speaker 2>won Award to Can and went on to win an

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00:29:31.039 --> 00:29:35.880
<v Speaker 2>Academy Award for Best Short Subject, and in France it

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<v Speaker 2>was regarded as a serious piece of filmmaking, not a

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<v Speaker 2>curiosity within a show like The Twilight Zone. And then

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00:29:44.599 --> 00:29:48.400
<v Speaker 2>Rico later grouped it with his other short Bias adaptations

404
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<v Speaker 2>into a feature length anthology, which translates as in the

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00:29:53.079 --> 00:29:57.559
<v Speaker 2>Midst of Life, which only deepened its reputation as a

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<v Speaker 2>work of quiet anti war reflex So by the time

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00:30:02.000 --> 00:30:06.920
<v Speaker 2>it eventually reached American television, it was already well celebrated

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<v Speaker 2>in its own right. So the big question is how

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<v Speaker 2>does the film version differ from the Twilight Zone version. Well,

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<v Speaker 2>fasd off, it's slightly longer, at twenty six minutes and

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<v Speaker 2>thirty eight seconds versus the Twilight Zone which comes in

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<v Speaker 2>around twenty four to eighty five, which includes the opening

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<v Speaker 2>and closing credits plus road sailings intro. But what that

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00:30:33.559 --> 00:30:36.799
<v Speaker 2>extra time amounts to on screen in the film version

415
00:30:36.960 --> 00:30:40.759
<v Speaker 2>is probably what you would expect, longer scenes of far

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<v Speaker 2>Quar running while escaping. But the biggest difference is that

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<v Speaker 2>while the film is almost entirely wordless, it isn't completely wordless.

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00:30:51.720 --> 00:30:55.960
<v Speaker 2>In this version there is some internal dialogue from the

419
00:30:56.000 --> 00:30:59.759
<v Speaker 2>far Quark character that doesn't make its way into the

420
00:30:59.759 --> 00:31:04.880
<v Speaker 2>two Wirelight Zone version for obvious reasons. It's in French.

421
00:31:06.519 --> 00:31:06.720
<v Speaker 1>Now.

422
00:31:06.799 --> 00:31:10.880
<v Speaker 2>Thankfully, this episode of the Twilight Zone podcast really has

423
00:31:10.960 --> 00:31:13.200
<v Speaker 2>been a team effort, and I have to thank my

424
00:31:13.319 --> 00:31:18.960
<v Speaker 2>French correspondent Emmanuel for translating these for me. So, at

425
00:31:19.000 --> 00:31:23.359
<v Speaker 2>five minutes and forty five seconds into the film, Peyton

426
00:31:23.480 --> 00:31:27.200
<v Speaker 2>Farqua is standing on the bridge with a noose around

427
00:31:27.240 --> 00:31:39.319
<v Speaker 2>his neck. Get quar Bison, How slowly it moves? What

428
00:31:39.480 --> 00:31:44.519
<v Speaker 2>a lazy current. Then at seven forty nine, just as

429
00:31:44.519 --> 00:31:46.240
<v Speaker 2>he is about to behind.

430
00:31:47.359 --> 00:31:52.960
<v Speaker 12>She shall use set to cases or did I.

431
00:31:58.000 --> 00:32:08.240
<v Speaker 2>If I could free up my hands, I might be

432
00:32:08.319 --> 00:32:11.640
<v Speaker 2>able to free myself from the noose and jump into

433
00:32:11.680 --> 00:32:16.119
<v Speaker 2>the river. By diving, I could escape the bullets, swim

434
00:32:16.200 --> 00:32:22.279
<v Speaker 2>to the shore, reach the woods, flee. Then at twelve ten,

435
00:32:22.759 --> 00:32:25.119
<v Speaker 2>after he is dropped from the bridge and is in

436
00:32:25.200 --> 00:32:28.039
<v Speaker 2>the water and the soldiers are shooting.

437
00:32:27.640 --> 00:32:34.119
<v Speaker 12>At him, chills rukerries, you agree, at Batikuria person.

438
00:32:40.000 --> 00:32:43.240
<v Speaker 2>This eye is gray. I once read that gray eyes

439
00:32:43.240 --> 00:32:49.960
<v Speaker 2>were particularly piercing. All elite soldiers have gray eyes. When

440
00:32:49.960 --> 00:32:54.079
<v Speaker 2>you put Ambrose Biersa's original story side by side with

441
00:32:54.279 --> 00:32:58.759
<v Speaker 2>Robert Enrico's French adaptation, what you really see are two

442
00:32:58.880 --> 00:33:05.119
<v Speaker 2>artists approach the same idea from different angles, one through language,

443
00:33:05.759 --> 00:33:11.039
<v Speaker 2>the other through pure image. Because Bis's story is sharp,

444
00:33:11.200 --> 00:33:17.079
<v Speaker 2>it's ironic, and it dissects Peyton Farquhar on the page,

445
00:33:17.680 --> 00:33:20.000
<v Speaker 2>he gives us a man who is not the hero

446
00:33:20.559 --> 00:33:25.079
<v Speaker 2>that he imagines himself to be. We're told about his background,

447
00:33:25.200 --> 00:33:30.519
<v Speaker 2>his pretensions, his romanticized view of the war. So Bis

448
00:33:30.680 --> 00:33:35.319
<v Speaker 2>lets us inside Farquar's head, and that's where the story lives,

449
00:33:36.000 --> 00:33:39.400
<v Speaker 2>in the gap between the man's fantasy and the cold

450
00:33:39.480 --> 00:33:45.400
<v Speaker 2>reality waiting for him on the bridge. Enrico's film, on

451
00:33:45.440 --> 00:33:48.960
<v Speaker 2>the other hand, strips almost all of that away. It

452
00:33:49.000 --> 00:33:53.160
<v Speaker 2>is nearly wordless, and instead of irony, it gives us

453
00:33:53.200 --> 00:33:58.799
<v Speaker 2>atmosphere instead of internal monologue. It gives us the physical world,

454
00:33:58.839 --> 00:34:02.960
<v Speaker 2>the water, the tree, the sound of birds, the rhythm

455
00:34:02.960 --> 00:34:07.279
<v Speaker 2>of footsteps on wooden planks. And where Baist tells us

456
00:34:07.319 --> 00:34:12.679
<v Speaker 2>what Farquhar thinks of himself, Enrico simply shows us what

457
00:34:12.880 --> 00:34:17.039
<v Speaker 2>he sees. The film is more of a sensory experience,

458
00:34:17.800 --> 00:34:22.400
<v Speaker 2>a dream that you drift into without realizing it. And

459
00:34:22.480 --> 00:34:27.960
<v Speaker 2>because it's so quiet, so visually hypnotic, the twist lands

460
00:34:27.960 --> 00:34:31.639
<v Speaker 2>in a very different way, and it's not necessarily someone

461
00:34:31.760 --> 00:34:37.199
<v Speaker 2>facing their cosmic justice like the original version of Peyton Farquhar.

462
00:34:38.039 --> 00:34:42.639
<v Speaker 2>So tonally, these two pieces are very different Biasa's story

463
00:34:42.719 --> 00:34:47.360
<v Speaker 2>has a clear anti romantic edge, a war veteran's disdain

464
00:34:47.519 --> 00:34:50.960
<v Speaker 2>for the myths that people build around the war, whereas

465
00:34:51.079 --> 00:34:55.000
<v Speaker 2>Enrico's film, I don't personally think carries that kind of

466
00:34:55.039 --> 00:34:59.760
<v Speaker 2>a message. It's less about the Civil War specifically, and

467
00:34:59.840 --> 00:35:03.199
<v Speaker 2>more about the fragility of life, the way that the

468
00:35:03.320 --> 00:35:07.719
<v Speaker 2>mind reaches for beauty. In its final moments, the film

469
00:35:07.840 --> 00:35:12.599
<v Speaker 2>doesn't judge Farquhar like the literary and radio versions do

470
00:35:13.400 --> 00:35:17.800
<v Speaker 2>it simply observes him, and that is where the most

471
00:35:17.800 --> 00:35:22.639
<v Speaker 2>striking difference lies. For me, Biers presents Farquhar as something

472
00:35:22.679 --> 00:35:26.960
<v Speaker 2>close to a villain, a man blinded by ego entitlement

473
00:35:27.440 --> 00:35:32.280
<v Speaker 2>and this romanticized view of conflict. The radio version pushes

474
00:35:32.320 --> 00:35:37.360
<v Speaker 2>this even fairther, painting him as cruel and selfish, someone

475
00:35:37.400 --> 00:35:40.239
<v Speaker 2>with little regard for the human lives that he buys

476
00:35:40.280 --> 00:35:44.559
<v Speaker 2>and sells. But in Enrico's film and later in the

477
00:35:44.599 --> 00:35:49.880
<v Speaker 2>Twilight Zone, all of that political and moral context is

478
00:35:49.920 --> 00:35:53.639
<v Speaker 2>stripped away. We're told not in of Farquhar as a

479
00:35:53.679 --> 00:35:56.679
<v Speaker 2>slave owner. Now, if you know the history of the

480
00:35:56.719 --> 00:36:00.639
<v Speaker 2>American Civil War, you might recognize the un uniforms of

481
00:36:00.679 --> 00:36:04.639
<v Speaker 2>the soldiers who execute him, But beyond that, he's a

482
00:36:04.679 --> 00:36:05.400
<v Speaker 2>blank slate.

483
00:36:06.000 --> 00:36:06.519
<v Speaker 8>Who is he?

484
00:36:07.039 --> 00:36:10.400
<v Speaker 2>What has he done? Is he guilty of something terrible

485
00:36:10.960 --> 00:36:13.280
<v Speaker 2>or simply a man caught in the wrong place at

486
00:36:13.280 --> 00:36:17.800
<v Speaker 2>the wrong time. So while both versions followed the same structure,

487
00:36:18.360 --> 00:36:24.159
<v Speaker 2>the hanging, the escape, the final reveal, they're doing different things.

488
00:36:24.960 --> 00:36:30.960
<v Speaker 2>Baist gives us a psychological critique of Farquar. Enrico gives

489
00:36:31.000 --> 00:36:35.079
<v Speaker 2>us a poetic meditation. One is about the stories that

490
00:36:35.119 --> 00:36:39.679
<v Speaker 2>we tell ourselves about who we are. The other is

491
00:36:39.719 --> 00:36:43.360
<v Speaker 2>about the sensations that we cling to when the world

492
00:36:43.440 --> 00:36:54.159
<v Speaker 2>is slipping away.

493
00:36:56.400 --> 00:36:57.400
<v Speaker 7>What wat.

494
00:37:12.880 --> 00:37:13.000
<v Speaker 5>So?

495
00:37:13.119 --> 00:37:13.320
<v Speaker 1>Now?

496
00:37:13.320 --> 00:37:17.239
<v Speaker 2>There are four versions of Peyton Farco are hanging below us,

497
00:37:18.119 --> 00:37:24.280
<v Speaker 2>necessary casualties to ghettos, to our ultimate destination, the Twilight Zone.

498
00:37:25.079 --> 00:37:28.599
<v Speaker 13>Tonight of presentation so special and unique that for the

499
00:37:28.599 --> 00:37:30.760
<v Speaker 13>first time in the five years we've been presenting the

500
00:37:30.800 --> 00:37:34.079
<v Speaker 13>Twilight Zone, we're offering a film shot in France by others.

501
00:37:34.599 --> 00:37:37.159
<v Speaker 13>Winner of the Canned Film Festival in nineteen sixty two

502
00:37:37.559 --> 00:37:40.760
<v Speaker 13>as well as other international awards. Here is a haunting

503
00:37:40.840 --> 00:37:44.079
<v Speaker 13>study of the incredible from the past master of the Incredible,

504
00:37:44.280 --> 00:37:48.360
<v Speaker 13>Ambrose Bierce. Here is the French production of an Occurrence

505
00:37:48.360 --> 00:37:49.400
<v Speaker 13>at All Creek.

506
00:37:49.199 --> 00:37:53.760
<v Speaker 2>Bridge, first broadcast on February twenty eight, nineteen sixty four,

507
00:37:54.280 --> 00:37:58.079
<v Speaker 2>Written by Robert Enrico and based on a story by

508
00:37:58.159 --> 00:38:03.719
<v Speaker 2>Ambrose Bias and directed by Robert Enrico. Now the most

509
00:38:03.760 --> 00:38:08.239
<v Speaker 2>comprehensive telling about how this short French film became an

510
00:38:08.280 --> 00:38:13.679
<v Speaker 2>episode of this iconic American television show. You need look

511
00:38:13.719 --> 00:38:17.039
<v Speaker 2>no further than, of course, Unlocking the Door to a

512
00:38:17.039 --> 00:38:21.480
<v Speaker 2>television classic by Martin Graham's Junior. And there are also

513
00:38:21.559 --> 00:38:25.920
<v Speaker 2>some details in The Twilight Zone Companion by Mark Zickrey III.

514
00:38:26.559 --> 00:38:30.400
<v Speaker 2>So as I previously mentioned, the original film was well received,

515
00:38:30.960 --> 00:38:34.000
<v Speaker 2>and Martin Graham's junior quote some of the reviews in

516
00:38:34.559 --> 00:38:38.719
<v Speaker 2>Unlocking the Door to a television classic. One reviewer called

517
00:38:38.760 --> 00:38:44.800
<v Speaker 2>it stunning and a hallucinatory film, praising its dreamlike photography

518
00:38:45.480 --> 00:38:50.039
<v Speaker 2>and its surreal recreation of Civil War imagery, and another

519
00:38:50.119 --> 00:38:54.119
<v Speaker 2>critic marveled at its sensory detail. They said that the

520
00:38:54.159 --> 00:38:58.599
<v Speaker 2>photography caresses the trees and the water with lovely effect.

521
00:38:59.239 --> 00:39:03.559
<v Speaker 2>The soundtrack heightened the innocent cries of bairds and chaps

522
00:39:03.599 --> 00:39:07.599
<v Speaker 2>of the cricket. In its original form, the film won

523
00:39:07.679 --> 00:39:10.920
<v Speaker 2>first prize for Short Subjects at the nineteen sixty two

524
00:39:11.039 --> 00:39:15.239
<v Speaker 2>cant Film Festival, and the following year it took home

525
00:39:15.280 --> 00:39:19.719
<v Speaker 2>the Academy Award for Best Live Action Short Film. And

526
00:39:19.760 --> 00:39:24.119
<v Speaker 2>this is where Rod Sailing enters the picture. In April

527
00:39:24.119 --> 00:39:28.840
<v Speaker 2>of nineteen sixty three, Winsor Lewis of Kapagarev Productions wrote

528
00:39:28.880 --> 00:39:32.960
<v Speaker 2>to Sailing inviting him to a private screening of the

529
00:39:33.000 --> 00:39:38.400
<v Speaker 2>original French film. Sailing accepted, and after seeing it, he

530
00:39:38.559 --> 00:39:42.400
<v Speaker 2>was immediately taken with what he'd watched In a letter

531
00:39:42.480 --> 00:39:45.960
<v Speaker 2>back to Lewis, he called it one of the finest

532
00:39:46.000 --> 00:39:49.599
<v Speaker 2>produced and directed items I've seen in a good long time,

533
00:39:50.039 --> 00:39:54.480
<v Speaker 2>and this admiration led to Rod Sailing wanting the film

534
00:39:54.920 --> 00:39:59.239
<v Speaker 2>for the Twilight Zone, which meant navigating the labyrinth of

535
00:39:59.440 --> 00:40:06.039
<v Speaker 2>CBS budgets, writes, negotiations, and of course, the question of cost.

536
00:40:07.039 --> 00:40:07.199
<v Speaker 14>Now.

537
00:40:07.239 --> 00:40:10.360
<v Speaker 2>At first it seemed like the deal would be impossible.

538
00:40:10.960 --> 00:40:15.840
<v Speaker 2>CBS wasn't willing to spend much, and Sailing reluctantly wrote

539
00:40:16.239 --> 00:40:19.159
<v Speaker 2>that he had given up the whole affair, but with

540
00:40:19.280 --> 00:40:23.840
<v Speaker 2>real regret because the network simply wouldn't pay what the

541
00:40:23.920 --> 00:40:28.119
<v Speaker 2>distributors were asking. But then things shifted and a few

542
00:40:28.159 --> 00:40:32.360
<v Speaker 2>weeks later Rod Sailing reached out again, this time with

543
00:40:32.480 --> 00:40:37.639
<v Speaker 2>a concrete offer twenty thousand dollars for one network broadcast,

544
00:40:38.280 --> 00:40:41.960
<v Speaker 2>with the option for a second airing to be renegotiated

545
00:40:42.079 --> 00:40:46.400
<v Speaker 2>later on, and CBS authorized him to make the deal

546
00:40:47.039 --> 00:40:51.800
<v Speaker 2>and the French producers agreed at thirty five milimeter print

547
00:40:51.920 --> 00:40:55.559
<v Speaker 2>was shipped to MGM Studios, where William Frug, the show's

548
00:40:55.599 --> 00:41:00.639
<v Speaker 2>producer at the time, screened it with CBS executives, and

549
00:41:00.719 --> 00:41:03.920
<v Speaker 2>Frug later recalled his fierce reaction to the film to

550
00:41:04.039 --> 00:41:07.679
<v Speaker 2>Mark Zickery and the Twilight Zone companion, and he says

551
00:41:08.239 --> 00:41:12.000
<v Speaker 2>it was almost entirely silent. There were maybe half a

552
00:41:12.039 --> 00:41:15.599
<v Speaker 2>dozen lines in it, and those one brief ballad in English.

553
00:41:15.599 --> 00:41:20.360
<v Speaker 2>Of all things. CBS was very reluctant a French film

554
00:41:20.400 --> 00:41:23.920
<v Speaker 2>on television. Who ever heard of such a thing? But

555
00:41:24.000 --> 00:41:28.360
<v Speaker 2>I convinced them with that one airing, we immediately took

556
00:41:28.440 --> 00:41:32.320
<v Speaker 2>care of the whole year's overage. It brought us out

557
00:41:32.440 --> 00:41:36.320
<v Speaker 2>at the end of the year under budget, so an

558
00:41:36.320 --> 00:41:40.440
<v Speaker 2>occurrnce at Alcreek Bridge didn't just become a Twilight Zone episode.

559
00:41:40.920 --> 00:41:44.360
<v Speaker 2>It was the Twilight Zone episode that allowed the show

560
00:41:44.719 --> 00:41:49.320
<v Speaker 2>to come in under budget in season five, and once

561
00:41:49.360 --> 00:41:52.360
<v Speaker 2>the rights were secured, the French film was edited down

562
00:41:52.840 --> 00:41:57.320
<v Speaker 2>to fit within the series timeslot, and CBS engineers tested

563
00:41:57.400 --> 00:42:01.280
<v Speaker 2>the darker, more impressionistic scenes to make sure they would

564
00:42:01.320 --> 00:42:06.519
<v Speaker 2>broadcast properly. Separate tracks of dialogue, music and effects were

565
00:42:06.559 --> 00:42:10.199
<v Speaker 2>supplied by the French producers and the Twilight Zone team

566
00:42:10.360 --> 00:42:14.760
<v Speaker 2>recut the film. They even altered the gunshot sounds to

567
00:42:14.840 --> 00:42:18.719
<v Speaker 2>make them feel more like cannon fire, preserving the film's

568
00:42:18.800 --> 00:42:20.840
<v Speaker 2>dreamlike tone.

569
00:42:21.559 --> 00:42:30.199
<v Speaker 1>A living man, A living man, I want to Be

570
00:42:30.280 --> 00:42:34.400
<v Speaker 1>a Living Man Now.

571
00:42:34.440 --> 00:42:38.280
<v Speaker 2>One of the most striking and unusual aspects of the

572
00:42:38.280 --> 00:42:42.119
<v Speaker 2>French film and the Twilight Zone episode, and something that

573
00:42:42.239 --> 00:42:45.400
<v Speaker 2>sets it apart from all the other adaptations that we've

574
00:42:45.440 --> 00:42:50.239
<v Speaker 2>looked at tonight is its music. Because this score wasn't

575
00:42:50.320 --> 00:42:54.159
<v Speaker 2>farmed out to a studio composer. It was created by

576
00:42:54.199 --> 00:42:57.960
<v Speaker 2>a gentleman called Henry Lena, who would later become a

577
00:42:58.079 --> 00:43:02.599
<v Speaker 2>celebrated film editor and Mark Graham's junior quotes him in

578
00:43:02.719 --> 00:43:06.239
<v Speaker 2>Unlocking the Door to a television classic. He says, when

579
00:43:06.239 --> 00:43:10.480
<v Speaker 2>I was young, I studied music. With my background, I

580
00:43:10.599 --> 00:43:13.880
<v Speaker 2>myself compose the music you hear in the short film.

581
00:43:14.360 --> 00:43:18.480
<v Speaker 2>My music was in part the success of the film A.

582
00:43:18.679 --> 00:43:28.519
<v Speaker 1>Living Man, A Living Man, I would be a living

583
00:43:28.679 --> 00:43:30.880
<v Speaker 1>man now.

584
00:43:31.000 --> 00:43:34.519
<v Speaker 2>One thing that is present in both versions. If you

585
00:43:34.599 --> 00:43:37.760
<v Speaker 2>watch the scene where the soldiers are running on the bridge,

586
00:43:38.519 --> 00:43:41.679
<v Speaker 2>you will see that actually the film is not in

587
00:43:41.719 --> 00:43:46.039
<v Speaker 2>slow motion. The actors are just actually miming being in

588
00:43:46.119 --> 00:43:46.719
<v Speaker 2>slow motion.

589
00:43:47.800 --> 00:43:47.960
<v Speaker 1>Now.

590
00:43:48.000 --> 00:43:51.360
<v Speaker 2>Of course, it wouldn't be The Twilight Zone without Rod

591
00:43:51.400 --> 00:43:56.519
<v Speaker 2>Sailing's introduction, and because of the very unique nature of

592
00:43:56.559 --> 00:44:00.559
<v Speaker 2>this film, it wasn't the version of Rod Sailing that

593
00:44:00.679 --> 00:44:05.000
<v Speaker 2>I often describe as being part of the fiction. This

594
00:44:05.199 --> 00:44:09.320
<v Speaker 2>was Rod Sailing giving his respect and introducing the film

595
00:44:09.800 --> 00:44:13.920
<v Speaker 2>to the American audience, and Martin Graham's junior in Unlocking

596
00:44:14.000 --> 00:44:17.800
<v Speaker 2>the Door to a television classic, had an alternate opening

597
00:44:17.880 --> 00:44:21.679
<v Speaker 2>narration by Rod Sailing or tread Tonight on the Twilight

598
00:44:21.800 --> 00:44:25.920
<v Speaker 2>Zone a special event, a program made outside of the

599
00:44:26.039 --> 00:44:30.079
<v Speaker 2>United States that seems to us to be so different,

600
00:44:30.719 --> 00:44:34.880
<v Speaker 2>so effective, and so meaningful that we offer it to

601
00:44:34.960 --> 00:44:39.639
<v Speaker 2>you now. And when the episode aired on February twenty eighth,

602
00:44:39.760 --> 00:44:44.840
<v Speaker 2>nineteen sixty four, the critics were enthusiastic. Variety praised it

603
00:44:45.000 --> 00:44:49.480
<v Speaker 2>as a fascinating and Dearie Ambrose bist tale that fits

604
00:44:49.559 --> 00:44:54.960
<v Speaker 2>perfectly into the Twilight Zone format, and another reviewer noted

605
00:44:55.000 --> 00:44:58.679
<v Speaker 2>that its unusual camera technique made it feel as though

606
00:44:59.000 --> 00:45:01.159
<v Speaker 2>it had been filmed one hundred years ago.

607
00:45:02.199 --> 00:45:02.360
<v Speaker 5>Now.

608
00:45:02.440 --> 00:45:06.079
<v Speaker 2>Due to how the contract was written, CBS was only

609
00:45:06.119 --> 00:45:11.239
<v Speaker 2>allowed to broadcasts the original airing and the single repeat,

610
00:45:11.800 --> 00:45:15.840
<v Speaker 2>and after that the rights reverted to the French distributors,

611
00:45:16.679 --> 00:45:21.559
<v Speaker 2>and when CBS later purchased the Twilight'sonne library, this episode

612
00:45:21.679 --> 00:45:25.800
<v Speaker 2>was excluded from syndication and it became one of those

613
00:45:26.400 --> 00:45:30.519
<v Speaker 2>lost episodes, ones that fans desperately want to get in

614
00:45:30.559 --> 00:45:34.480
<v Speaker 2>their collection. Now, Thankfully, it seems that at some point

615
00:45:34.599 --> 00:45:38.000
<v Speaker 2>some deal was made because the episode is included in

616
00:45:38.079 --> 00:45:41.800
<v Speaker 2>the DVD and Blu Ray sets. But whether it's actually

617
00:45:41.840 --> 00:45:45.480
<v Speaker 2>shown on American television anymore, you'll have to let me know.

618
00:45:46.400 --> 00:45:46.559
<v Speaker 1>Now.

619
00:45:46.559 --> 00:45:49.199
<v Speaker 2>It's normally at this point where I'll let you know

620
00:45:49.280 --> 00:45:52.360
<v Speaker 2>what I think of the episode, but I think because

621
00:45:52.360 --> 00:45:55.360
<v Speaker 2>of the unique format of this episode of the Twilight

622
00:45:55.440 --> 00:46:00.360
<v Speaker 2>Zone podcast, I'll save those thoughts for later on now.

623
00:46:00.440 --> 00:46:03.679
<v Speaker 2>Undoubtedly there will be other versions of an accair in

624
00:46:03.760 --> 00:46:07.320
<v Speaker 2>Satau Creek Bridge out there, but this was never meant

625
00:46:07.400 --> 00:46:10.679
<v Speaker 2>to be a definitive list of all of them. It

626
00:46:10.840 --> 00:46:13.880
<v Speaker 2>was more to cover the ones that are relevant to

627
00:46:14.000 --> 00:46:17.960
<v Speaker 2>the Twilight Zone. So with that in mind, as one

628
00:46:18.039 --> 00:46:21.639
<v Speaker 2>more vasion of Farquhar joins his or the cells below

629
00:46:21.679 --> 00:46:25.559
<v Speaker 2>the bridge, that is still one more who is yet

630
00:46:25.599 --> 00:46:28.199
<v Speaker 2>to step in to the hangman's noose.

631
00:46:31.679 --> 00:46:35.960
<v Speaker 15>You have just witnessed a military execution. Death is a

632
00:46:36.000 --> 00:46:39.599
<v Speaker 15>dignitary who, when he comes announced, is to be received

633
00:46:39.599 --> 00:46:44.679
<v Speaker 15>with formal manifestations of respect, even by those most familiar

634
00:46:44.760 --> 00:46:49.280
<v Speaker 15>with him. This particular execution occurred on Owl Creek Bridge

635
00:46:49.679 --> 00:46:54.119
<v Speaker 15>in northern Alabama during the War between the States. You

636
00:46:54.199 --> 00:46:56.320
<v Speaker 15>might find it in the works of that past master

637
00:46:56.400 --> 00:47:01.440
<v Speaker 15>of the incredible Ambrose Biers, but it's proper home is

638
00:47:01.480 --> 00:47:10.000
<v Speaker 15>in the Twilight Zone. The Twilight Zone and our story

639
00:47:10.599 --> 00:47:15.280
<v Speaker 15>an occurrence at owl Creek Bridge starring Christian Statty with

640
00:47:15.360 --> 00:47:16.880
<v Speaker 15>Stacy Keatsch as your narrator.

641
00:47:19.280 --> 00:47:21.719
<v Speaker 2>It wouldn't be one of these deep dives if we

642
00:47:21.840 --> 00:47:26.199
<v Speaker 2>didn't pay a visit to Twilight Zone Radio, the series

643
00:47:26.239 --> 00:47:31.519
<v Speaker 2>that could be astonishingly imaginative when tackling the most difficult

644
00:47:31.559 --> 00:47:36.960
<v Speaker 2>Twilight Zone stories to adapt. An ol Creek Bridge is

645
00:47:37.000 --> 00:47:41.159
<v Speaker 2>certainly one of those. Now I won't linger too long here,

646
00:47:41.199 --> 00:47:45.079
<v Speaker 2>but there are some fascinating choices in how the radio

647
00:47:45.239 --> 00:47:50.320
<v Speaker 2>drama both pays tribute to the television version and expands

648
00:47:50.360 --> 00:47:54.159
<v Speaker 2>the story to fill that forty five minute running time

649
00:47:54.519 --> 00:47:58.760
<v Speaker 2>that these productions tend to have. So let's start with

650
00:47:58.880 --> 00:48:05.719
<v Speaker 2>Peyton Farqua himself. After Bias's original story and the suspense

651
00:48:05.880 --> 00:48:12.519
<v Speaker 2>radio version, the next few adaptations softened him considerably. By

652
00:48:12.559 --> 00:48:16.039
<v Speaker 2>the time he reaches the Twilight Zone, most of the

653
00:48:16.159 --> 00:48:20.360
<v Speaker 2>rougher edges have been sanded away. Gone is the more

654
00:48:20.480 --> 00:48:26.000
<v Speaker 2>callous self mythologizing figure that Bias wrote, and for me

655
00:48:26.119 --> 00:48:31.559
<v Speaker 2>at least, that shift dramatically reframes what the story is about.

656
00:48:32.320 --> 00:48:32.480
<v Speaker 5>Now.

657
00:48:32.519 --> 00:48:37.599
<v Speaker 2>The Twilight Zone radio version steps back somewhat from that softening.

658
00:48:38.400 --> 00:48:43.199
<v Speaker 2>It reintroduces the idea of who Farqua really was and

659
00:48:43.320 --> 00:48:47.800
<v Speaker 2>what his position in this conflict actually meant, but it

660
00:48:47.880 --> 00:48:51.280
<v Speaker 2>also acknowledges that life and death can be full of

661
00:48:51.400 --> 00:48:56.840
<v Speaker 2>gray areas. For example, in this version, the soldier preparing

662
00:48:56.960 --> 00:49:00.400
<v Speaker 2>to hang him seems to take a certain place pleasure

663
00:49:00.440 --> 00:49:04.880
<v Speaker 2>in the act taunting him beforehand, and it's a moment

664
00:49:04.920 --> 00:49:10.159
<v Speaker 2>that pushes Farqua into an exclamation that I'm sure you'll recognize.

665
00:49:11.079 --> 00:49:15.480
<v Speaker 15>He gives a signal to the sergeant. The sergeant steps aside,

666
00:49:16.199 --> 00:49:19.719
<v Speaker 15>the blank tilts, and down you go.

667
00:49:24.960 --> 00:49:27.480
<v Speaker 14>No, never having been hanged myself, I can't give you

668
00:49:27.519 --> 00:49:30.280
<v Speaker 14>any information on what your final moments on this earth.

669
00:49:30.119 --> 00:49:30.840
<v Speaker 5>Might feel like.

670
00:49:31.719 --> 00:49:35.079
<v Speaker 14>But I can't tell you I've seen more than a

671
00:49:35.119 --> 00:49:38.239
<v Speaker 14>few of these, and I'm sorry to have to tell

672
00:49:38.280 --> 00:49:40.719
<v Speaker 14>you it doesn't look any too pleasant.

673
00:49:42.719 --> 00:49:44.320
<v Speaker 1>Anything to say about.

674
00:49:44.039 --> 00:49:58.480
<v Speaker 16>That, well, well, I am a living man.

675
00:49:59.159 --> 00:49:59.519
<v Speaker 14>How's that?

676
00:50:00.639 --> 00:50:01.519
<v Speaker 1>Speak up, Peyton?

677
00:50:01.559 --> 00:50:05.280
<v Speaker 14>If you got any famous last words, we should hear them. Otherwise,

678
00:50:05.320 --> 00:50:06.519
<v Speaker 14>they won't be famous.

679
00:50:08.199 --> 00:50:11.280
<v Speaker 11>I am a living man.

680
00:50:13.800 --> 00:50:19.000
<v Speaker 14>Not for much longer, No, sir, not for much longer.

681
00:50:20.920 --> 00:50:24.519
<v Speaker 2>It makes sense to restore some of those Harsher traits

682
00:50:24.639 --> 00:50:29.920
<v Speaker 2>because radio simply can't replicate the dreamlike visual quality of

683
00:50:29.960 --> 00:50:34.519
<v Speaker 2>the French film or the Twilight Zone episode. They tell

684
00:50:34.639 --> 00:50:37.880
<v Speaker 2>us farc our sense as are heightened, but it just

685
00:50:37.960 --> 00:50:42.800
<v Speaker 2>doesn't land the same way. So instead the drama leans

686
00:50:42.840 --> 00:50:49.039
<v Speaker 2>into character and conflict. Unlike the old suspense version, this

687
00:50:49.320 --> 00:50:54.320
<v Speaker 2>Farquhar doesn't make his imagine journey home alone.

688
00:50:58.880 --> 00:50:59.880
<v Speaker 11>So how much further?

689
00:51:03.639 --> 00:51:05.719
<v Speaker 16>What much further to?

690
00:51:05.800 --> 00:51:11.079
<v Speaker 11>Where where am I your home? Mister Farquhar? How much further?

691
00:51:12.360 --> 00:51:16.559
<v Speaker 17>A little, a little further? Just keep along this road.

692
00:51:16.800 --> 00:51:20.480
<v Speaker 17>I'm sorry, I'm somewhat confused.

693
00:51:21.000 --> 00:51:23.840
<v Speaker 11>Hardly surprising. You've just woken up, mister Farquhar.

694
00:51:24.119 --> 00:51:25.039
<v Speaker 16>You know my name?

695
00:51:25.960 --> 00:51:28.840
<v Speaker 11>Mmm, you're mister Peyton Farquhar.

696
00:51:29.800 --> 00:51:31.119
<v Speaker 16>How do you know my name?

697
00:51:32.079 --> 00:51:34.760
<v Speaker 11>You told me right after I found you on the

698
00:51:34.800 --> 00:51:40.320
<v Speaker 11>bank of the river, the bank, the Southern bank. When

699
00:51:40.360 --> 00:51:43.400
<v Speaker 11>I discovered you, you were digging your fingers into the sand,

700
00:51:43.599 --> 00:51:47.400
<v Speaker 11>throwing it over yourself in handfuls, and almost blessing it.

701
00:51:48.440 --> 00:51:50.760
<v Speaker 16>That doesn't sound like the sort of thing i'd do.

702
00:51:51.679 --> 00:51:58.440
<v Speaker 11>You don't remember. No, well, it's what you did. You

703
00:51:58.480 --> 00:52:03.360
<v Speaker 11>said it reminded you of diamonds, rubies, emeralds. I said

704
00:52:03.400 --> 00:52:07.000
<v Speaker 11>that I got the impression there was nothing beautiful. You

705
00:52:07.199 --> 00:52:11.800
<v Speaker 11>didn't think it resembled naturally. I was quite convinced at

706
00:52:11.840 --> 00:52:13.679
<v Speaker 11>that moment that you were insane.

707
00:52:14.239 --> 00:52:18.719
<v Speaker 17>No offense, sir, sounds like a very natural reaction. I

708
00:52:18.760 --> 00:52:20.559
<v Speaker 17>would have come to the same conclusion.

709
00:52:21.000 --> 00:52:24.159
<v Speaker 11>Well, sir, I've been from one end of this great

710
00:52:24.239 --> 00:52:28.119
<v Speaker 11>land to the other, and I've met many madmen, but

711
00:52:28.239 --> 00:52:32.880
<v Speaker 11>never a madman with such a poetic grasp of the language.

712
00:52:33.079 --> 00:52:36.119
<v Speaker 11>That was when I knew you were just too interesting

713
00:52:36.199 --> 00:52:37.519
<v Speaker 11>to leave where I found you.

714
00:52:38.679 --> 00:52:39.639
<v Speaker 1>I do remember.

715
00:52:40.280 --> 00:52:44.960
<v Speaker 16>I was so content there, more than I've ever been

716
00:52:45.039 --> 00:52:48.320
<v Speaker 16>in my right then and there.

717
00:52:48.800 --> 00:52:52.159
<v Speaker 17>I had no wish to perfect my escape. I was

718
00:52:52.199 --> 00:52:55.039
<v Speaker 17>happy to remain in that enchant and spot until they

719
00:52:55.079 --> 00:52:55.840
<v Speaker 17>recaptured me.

720
00:52:57.480 --> 00:53:01.880
<v Speaker 11>Recaptured. Eh, you haven't mentioned that before. You're a man

721
00:53:01.920 --> 00:53:02.199
<v Speaker 11>on the.

722
00:53:02.239 --> 00:53:07.800
<v Speaker 17>Run, then forgive me, miss. I'm sorry, I don't seem

723
00:53:07.840 --> 00:53:09.119
<v Speaker 17>to be able to recall your name.

724
00:53:10.199 --> 00:53:10.840
<v Speaker 11>It'll come to.

725
00:53:10.840 --> 00:53:15.480
<v Speaker 2>You this time. He isn't accompanied by an enslaved person,

726
00:53:16.199 --> 00:53:21.119
<v Speaker 2>but he is joined by mysterious figure. And this figure

727
00:53:21.199 --> 00:53:24.480
<v Speaker 2>gives off a hint of the devil as played by

728
00:53:24.559 --> 00:53:28.880
<v Speaker 2>Sebastian Cabot in a nice place to visit. But he's

729
00:53:28.960 --> 00:53:34.199
<v Speaker 2>actually something entirely new to this adaptation. But if you

730
00:53:34.239 --> 00:53:38.079
<v Speaker 2>want to remain unspoiled about who he actually is, then

731
00:53:38.119 --> 00:53:41.559
<v Speaker 2>skip ahead for a couple of minutes, because I'm about

732
00:53:41.599 --> 00:53:42.280
<v Speaker 2>to reveal it.

733
00:53:42.440 --> 00:53:42.760
<v Speaker 1>Now.

734
00:53:43.400 --> 00:53:48.440
<v Speaker 16>This is it. We're here, this is the path to

735
00:53:48.559 --> 00:53:49.119
<v Speaker 16>my home.

736
00:53:51.639 --> 00:53:56.280
<v Speaker 11>Excellent, Well, I suppose this is where we part company,

737
00:53:56.320 --> 00:54:04.159
<v Speaker 11>mister Farquhar. May I say, it's a rare pleasure.

738
00:54:02.400 --> 00:54:06.280
<v Speaker 17>You are You wouldn't care to come in? I'm sure

739
00:54:06.280 --> 00:54:08.079
<v Speaker 17>the servants could prepare you a meal.

740
00:54:10.360 --> 00:54:14.239
<v Speaker 11>That won't be necessary, my friend, I have many miles

741
00:54:14.239 --> 00:54:19.800
<v Speaker 11>still to travel, but your journey is almost at an end.

742
00:54:20.360 --> 00:54:26.679
<v Speaker 16>Yes, well, goodbye, mister. I'm sorry.

743
00:54:26.760 --> 00:54:29.639
<v Speaker 17>I thought I could recall your name, but it just

744
00:54:29.760 --> 00:54:30.320
<v Speaker 17>escapes me.

745
00:54:32.159 --> 00:54:33.440
<v Speaker 11>Call me Ambrose.

746
00:54:34.280 --> 00:54:36.519
<v Speaker 16>I wish you well, Ambrose.

747
00:54:37.159 --> 00:54:42.119
<v Speaker 12>And you, mister Peyton Farquhar, and you, as we discover,

748
00:54:42.679 --> 00:54:47.400
<v Speaker 12>the mind calls himself Ambrose. And at first I wasn't

749
00:54:47.480 --> 00:54:50.960
<v Speaker 12>quite sure how I felt about that, because it clearly

750
00:54:51.039 --> 00:54:54.719
<v Speaker 12>isn't meant to be the historical ambrose Bi as maybe

751
00:54:55.159 --> 00:54:58.719
<v Speaker 12>suggesting that this is the true event that he later

752
00:54:58.800 --> 00:55:04.639
<v Speaker 12>wrote about, because how could it be. Farqua is already

753
00:55:04.679 --> 00:55:08.400
<v Speaker 12>dead at this point, and everything that we're hearing is

754
00:55:08.480 --> 00:55:14.360
<v Speaker 12>happening inside the collapsing theater of his mind. But the

755
00:55:14.360 --> 00:55:17.719
<v Speaker 12>more I thought about it, the more I warmed to

756
00:55:17.760 --> 00:55:21.920
<v Speaker 12>the idea and maybe got onto what they were actually doing.

757
00:55:22.639 --> 00:55:26.079
<v Speaker 12>Because just as there is Rod sailing the man, there

758
00:55:26.159 --> 00:55:29.320
<v Speaker 12>is also the Rod sailing, who is the presence within

759
00:55:29.360 --> 00:55:34.119
<v Speaker 12>the Twilight Zone, the guide, the observer, the entity with

760
00:55:34.280 --> 00:55:37.800
<v Speaker 12>one foot in reality and one foot in the fiction.

761
00:55:38.880 --> 00:55:40.199
<v Speaker 12>And the way I see it, this.

762
00:55:40.400 --> 00:55:45.199
<v Speaker 2>Version imagines an ambrose Bius who occupies a similar space,

763
00:55:45.920 --> 00:55:49.920
<v Speaker 2>a kind of ambrose biis shaped echo in the Twilight Zone,

764
00:55:50.800 --> 00:55:54.280
<v Speaker 2>And given how much Bias and Sailing shared in their lives,

765
00:55:54.880 --> 00:55:58.519
<v Speaker 2>especially the way there war was shaped their writing, it

766
00:55:58.639 --> 00:56:04.079
<v Speaker 2>feels kind of fitting that ambrose Bius occupies that place here.

767
00:56:04.840 --> 00:56:08.639
<v Speaker 2>So overall, it's another strong entry into the Twilight Zone

768
00:56:08.760 --> 00:56:13.599
<v Speaker 2>radio series, and it expands on the television episode, restoring

769
00:56:13.719 --> 00:56:17.440
<v Speaker 2>some of the grit of the original story, and it

770
00:56:17.519 --> 00:56:21.360
<v Speaker 2>gives us a version of al Creek Bridge that exists

771
00:56:21.559 --> 00:56:28.199
<v Speaker 2>nowhere else. A hybrid part bis part sailing part something

772
00:56:28.559 --> 00:56:30.239
<v Speaker 2>entirely of its own.

773
00:56:31.320 --> 00:56:36.920
<v Speaker 1>Let me take you in. There's a whole world.

774
00:56:38.079 --> 00:56:51.920
<v Speaker 16>Second, he's dead.

775
00:56:52.000 --> 00:56:53.639
<v Speaker 5>Captain did work.

776
00:56:54.880 --> 00:56:56.800
<v Speaker 16>That's the last execution for today.

777
00:56:57.960 --> 00:57:02.760
<v Speaker 1>Get him down, you.

778
00:57:02.719 --> 00:57:06.800
<v Speaker 7>Know, Levine. For a moment there, I thought that rope

779
00:57:06.840 --> 00:57:07.559
<v Speaker 7>wasn't gonna hold.

780
00:57:07.960 --> 00:57:10.199
<v Speaker 14>That's strong enough, and it did its job.

781
00:57:11.480 --> 00:57:15.480
<v Speaker 11>Do you ever wonder what goes on inside a man's

782
00:57:15.519 --> 00:57:17.920
<v Speaker 11>head in those last seconds before death?

783
00:57:18.199 --> 00:57:22.079
<v Speaker 14>Like I said before clements, I don't give a damn,

784
00:57:22.960 --> 00:57:23.840
<v Speaker 14>and neither said you.

785
00:57:43.039 --> 00:57:46.559
<v Speaker 15>And the currents at out Creek Bridge in two forms,

786
00:57:47.280 --> 00:57:49.480
<v Speaker 15>as it was dreamed and as it was.

787
00:57:49.519 --> 00:57:50.360
<v Speaker 1>Lived and died.

788
00:57:51.400 --> 00:57:54.559
<v Speaker 15>This is the stuff of fantasy, the threat of imagination,

789
00:57:55.360 --> 00:58:01.039
<v Speaker 15>the ingredients of the Twilight Zone.

790
00:58:03.920 --> 00:58:07.760
<v Speaker 2>As we stand on ol Creek Bridge with five versions

791
00:58:07.800 --> 00:58:12.239
<v Speaker 2>of Peyton Farquhar swinging below us, it's been interesting to

792
00:58:12.360 --> 00:58:16.360
<v Speaker 2>reflect on how they all got there. But I suppose

793
00:58:16.440 --> 00:58:20.239
<v Speaker 2>what matters most, at least for us, is the place

794
00:58:20.400 --> 00:58:24.599
<v Speaker 2>that this story holds in the legacy of the Twilight Zone.

795
00:58:25.360 --> 00:58:29.800
<v Speaker 2>And that legacy feels especially poignant when you remember where

796
00:58:29.840 --> 00:58:34.239
<v Speaker 2>we are in the show's history. This episode arrived in

797
00:58:34.400 --> 00:58:38.280
<v Speaker 2>season five, a time when some of the old God

798
00:58:38.360 --> 00:58:42.239
<v Speaker 2>of the show had moved on and new writers and

799
00:58:42.360 --> 00:58:48.119
<v Speaker 2>directors were stepping in to fill the gaps. Rod Sailing himself,

800
00:58:48.679 --> 00:58:51.320
<v Speaker 2>after carrying so much of the weight of the show

801
00:58:51.400 --> 00:58:55.639
<v Speaker 2>on his shoulders, was beginning to feel those creative wells

802
00:58:55.760 --> 00:58:59.559
<v Speaker 2>run a little dry. At the time, it was uncertain

803
00:58:59.639 --> 00:59:03.559
<v Speaker 2>where The Twilight Zone would continue into a sixth season,

804
00:59:04.320 --> 00:59:08.400
<v Speaker 2>but it was a possibility, and if it did, it

805
00:59:08.440 --> 00:59:12.480
<v Speaker 2>would have to evolve. It would have to widen its scope,

806
00:59:13.039 --> 00:59:17.079
<v Speaker 2>reach beyond the familiar stable of creators, and bring in

807
00:59:17.199 --> 00:59:20.199
<v Speaker 2>voices who hadn't been part of the journey so far.

808
00:59:20.800 --> 00:59:24.039
<v Speaker 2>And it actually documented in Unlocking the Doors to a

809
00:59:24.079 --> 00:59:29.159
<v Speaker 2>television classic that had the Twilight Zone continued into season six,

810
00:59:29.880 --> 00:59:34.840
<v Speaker 2>then Rod Sailing was considering using the other two Robert

811
00:59:34.960 --> 00:59:41.639
<v Speaker 2>Enrico ambrose Bius adaptations as Twilight Zone episodes. Now, I

812
00:59:41.679 --> 00:59:44.719
<v Speaker 2>should say here before we get any deeper, that as

813
00:59:44.760 --> 00:59:48.119
<v Speaker 2>a British viewer, I come to this story without the

814
00:59:48.159 --> 00:59:53.000
<v Speaker 2>same cultural weight that the American Civil War carries for

815
00:59:53.159 --> 00:59:56.639
<v Speaker 2>many of you as listeners, and I tend to meet

816
00:59:56.719 --> 01:00:01.199
<v Speaker 2>the story more on its surface, respond to the themes

817
01:00:01.280 --> 01:00:05.559
<v Speaker 2>and the craft of it rather than the historical baggage

818
01:00:05.599 --> 01:00:09.119
<v Speaker 2>behind it. I tend to take it as it lands

819
01:00:09.119 --> 01:00:12.320
<v Speaker 2>on the page or the screen, and the meaning that

820
01:00:12.400 --> 01:00:16.840
<v Speaker 2>I draw from it is shaped more by instinct rather

821
01:00:17.000 --> 01:00:22.880
<v Speaker 2>than inherited historical context. So if my interpretations of this

822
01:00:23.000 --> 01:00:28.239
<v Speaker 2>feel wildly off, then that's probably why. So going back

823
01:00:28.280 --> 01:00:32.719
<v Speaker 2>to its legacy as part of the Twilight Zone, maybe

824
01:00:32.800 --> 01:00:37.679
<v Speaker 2>Al Creek Bridge was simply a lucky acquisition, a cost

825
01:00:37.719 --> 01:00:41.199
<v Speaker 2>saving measure that happened to fall into the lap of

826
01:00:41.280 --> 01:00:46.039
<v Speaker 2>road sailing. But maybe it was also a signal I

827
01:00:46.119 --> 01:00:49.440
<v Speaker 2>hint that if the show had carried on, it might

828
01:00:49.559 --> 01:00:54.440
<v Speaker 2>have to grow in unexpected directions, that the borders of

829
01:00:54.480 --> 01:00:59.039
<v Speaker 2>the Fifth Dimension were ready to stretch a little further.

830
01:01:00.000 --> 01:01:04.199
<v Speaker 2>And with that comes something that we Twilight's own fans

831
01:01:05.000 --> 01:01:10.519
<v Speaker 2>always seem to wrestle with change. In the too long

832
01:01:10.599 --> 01:01:14.159
<v Speaker 2>stretch of time I've spent working on this episode, I've

833
01:01:14.199 --> 01:01:18.480
<v Speaker 2>heard whispers of opinion drifting in from friends of the show,

834
01:01:19.159 --> 01:01:23.119
<v Speaker 2>and we'll hear more from them in the next episode.

835
01:01:23.239 --> 01:01:27.599
<v Speaker 2>But even in passing, I've noticed that reactions run the

836
01:01:27.679 --> 01:01:32.719
<v Speaker 2>full spectrum, from outright dismissal to people who consider it

837
01:01:33.199 --> 01:01:38.039
<v Speaker 2>a quiet classic, and I actually find myself sympathetic to

838
01:01:38.159 --> 01:01:43.079
<v Speaker 2>both sides. While not fully settling in to either camp.

839
01:01:43.760 --> 01:01:46.079
<v Speaker 2>I do have to admit that I don't feel the

840
01:01:46.119 --> 01:01:48.639
<v Speaker 2>same affection for this piece that I do for a

841
01:01:48.679 --> 01:01:54.400
<v Speaker 2>Beaumont or a Matheson, or a specially a road sailing episode.

842
01:01:54.519 --> 01:01:58.679
<v Speaker 2>Because I've admired those writers from when this journey began.

843
01:02:00.000 --> 01:02:04.320
<v Speaker 2>Admiration has only deepened as we've traveled together through the

844
01:02:04.360 --> 01:02:11.280
<v Speaker 2>Fifth dimension. Their quaks, their rhythms, their fingerprints, They've become

845
01:02:11.440 --> 01:02:14.599
<v Speaker 2>second nature to all of us, and we love them

846
01:02:14.639 --> 01:02:18.480
<v Speaker 2>because there are is so when we're handled a story

847
01:02:18.559 --> 01:02:22.119
<v Speaker 2>that was never meant to be a Twilight Zone with

848
01:02:22.320 --> 01:02:27.360
<v Speaker 2>none of our usual creative family involved, that same affection

849
01:02:27.800 --> 01:02:32.719
<v Speaker 2>just isn't there. So is it in my top twenty, No,

850
01:02:32.840 --> 01:02:37.119
<v Speaker 2>it's not. Is it in my top one hundred? Well,

851
01:02:37.159 --> 01:02:39.519
<v Speaker 2>I would need to sit down and make that list,

852
01:02:39.719 --> 01:02:44.719
<v Speaker 2>but probably not, because the shared journey with its creators,

853
01:02:45.360 --> 01:02:49.400
<v Speaker 2>the thing that binds us to so many episodes, just

854
01:02:49.519 --> 01:02:52.800
<v Speaker 2>isn't part of this one. And yet there is a

855
01:02:52.840 --> 01:02:57.679
<v Speaker 2>strange contradiction at the heart of that, because while it

856
01:02:57.760 --> 01:03:02.440
<v Speaker 2>might sit low in my rankings, taken on its own terms,

857
01:03:02.559 --> 01:03:07.159
<v Speaker 2>it is a remarkably high quality piece. It's beautiful to

858
01:03:07.239 --> 01:03:10.960
<v Speaker 2>look at and with the politics of the original more

859
01:03:11.039 --> 01:03:15.440
<v Speaker 2>or less slipped away, and by using almost no dialogue,

860
01:03:16.039 --> 01:03:20.199
<v Speaker 2>it delivers to me at least a message that feels timeless,

861
01:03:21.000 --> 01:03:23.920
<v Speaker 2>that we walk past the beauty of this world every

862
01:03:24.039 --> 01:03:28.119
<v Speaker 2>day without seeing it, and only in our final moments

863
01:03:28.719 --> 01:03:32.039
<v Speaker 2>do we realize how much of our time we've spent

864
01:03:32.159 --> 01:03:36.639
<v Speaker 2>on the wrong things. The true treasures were the ones

865
01:03:36.679 --> 01:03:43.280
<v Speaker 2>we overlooked, the small wonders, the quiet moments, the relationships

866
01:03:43.320 --> 01:03:48.039
<v Speaker 2>we assumed would always be waiting for us. It may

867
01:03:48.039 --> 01:03:51.239
<v Speaker 2>not have been born as a Twilight Zone, but the

868
01:03:51.280 --> 01:03:54.920
<v Speaker 2>original story of al Creek Bridge is part of the

869
01:03:55.000 --> 01:04:01.599
<v Speaker 2>Twilight Zone. DNA Ambrose Biers like Sale was a writer

870
01:04:01.880 --> 01:04:05.639
<v Speaker 2>forged in war, and while it might not necessarily have

871
01:04:05.719 --> 01:04:08.480
<v Speaker 2>been the message that he wanted to convey in that

872
01:04:08.599 --> 01:04:12.920
<v Speaker 2>original story, what the Twilight Zone version ends up being

873
01:04:13.000 --> 01:04:16.679
<v Speaker 2>for me is a piece that says, why are we

874
01:04:16.760 --> 01:04:20.480
<v Speaker 2>killing each other when the world is so full of beauty?

875
01:04:21.239 --> 01:04:24.000
<v Speaker 2>So you can take that message, or you can take

876
01:04:24.079 --> 01:04:28.079
<v Speaker 2>whatever message speaks to you, or you can enjoy it

877
01:04:28.119 --> 01:04:32.320
<v Speaker 2>as a haunting, beautifully crafted piece of fiction with a

878
01:04:32.400 --> 01:04:36.239
<v Speaker 2>twist in the tail, And really, what could be more

879
01:04:36.280 --> 01:04:38.159
<v Speaker 2>Twilight Zone than that?

880
01:04:40.239 --> 01:04:44.760
<v Speaker 13>An occurrence at our Creek Bridge in two forms, as

881
01:04:44.800 --> 01:04:46.239
<v Speaker 13>it was dreamed and as it was.

882
01:04:46.239 --> 01:04:47.239
<v Speaker 1>Lived and died.

883
01:04:48.440 --> 01:04:51.239
<v Speaker 13>This is the stuff of fantasy, the threat of imagination,

884
01:04:52.199 --> 01:04:54.760
<v Speaker 13>the ingredients of the Twilight Zone.

885
01:04:56.000 --> 01:04:58.679
<v Speaker 2>My apologies to everyone that you have had to wait

886
01:04:58.760 --> 01:05:02.119
<v Speaker 2>so long for this episod, but I've made my excuses

887
01:05:02.159 --> 01:05:05.280
<v Speaker 2>many times, and I won't and I won't make them again.

888
01:05:05.440 --> 01:05:08.320
<v Speaker 2>But hopefully this is a signal that we are going

889
01:05:08.360 --> 01:05:11.199
<v Speaker 2>to be back on track. What us back on track?

890
01:05:11.639 --> 01:05:14.760
<v Speaker 2>As this podcast tends to get so, as you know,

891
01:05:14.960 --> 01:05:18.559
<v Speaker 2>I've now split off the feedback section into its own episode,

892
01:05:18.719 --> 01:05:20.760
<v Speaker 2>and there is a lot of talk about this one,

893
01:05:20.920 --> 01:05:24.679
<v Speaker 2>which you'll be hearing next time. But before we get

894
01:05:24.719 --> 01:05:27.760
<v Speaker 2>to that, why don't we go over to Rod's Sailing

895
01:05:28.320 --> 01:05:30.280
<v Speaker 2>to find out what's coming up next?

896
01:05:30.880 --> 01:05:34.679
<v Speaker 13>And now, mister Serling, Twilight Zone regular Charles Bauw Mind

897
01:05:34.840 --> 01:05:37.280
<v Speaker 13>brings us our next offering a tale of agent youth

898
01:05:37.320 --> 01:05:40.440
<v Speaker 13>and a beautiful woman. Our star is and blythe our

899
01:05:40.480 --> 01:05:43.320
<v Speaker 13>story Queen of the Nile. They say that beauty is

900
01:05:43.320 --> 01:05:45.519
<v Speaker 13>only skin deep, and when a surface is scratched, what

901
01:05:45.599 --> 01:05:47.800
<v Speaker 13>you might conceivably find underneath something.

902
01:05:47.639 --> 01:05:48.679
<v Speaker 1>Quite apart from beauty.

903
01:05:49.199 --> 01:05:51.559
<v Speaker 13>This is a rather intriguing basis of our next presentation

904
01:05:51.599 --> 01:05:54.360
<v Speaker 13>on the Twilight Zone. Miss and blythe and Queen of

905
01:05:54.400 --> 01:05:54.880
<v Speaker 13>the Nile