The Twilight Zone 1x30 - A Stop at Willoughby

7/22/2019 The Twilight Zone 1x30 - A Stop at Willoughby

1/28

'g

'g&

,E

s&

;

*


2/28

1. rNT. CONFERENCEOOM DAY]This is a big, sumptuous, paneled room with a Iong, 1ow slungtable in the center surrounded by ad agency execs'2. HIGH ANGLE SHOTLOOKINGDOWNAt the men around the table. slJow PAN DOWN ntil we'relookj-ng across and down the table at eye level of the menaround it .3. REVERSEANGLE LOOKING TOWARDTHE HEAD OF TABLEAt Misrel l , the president of the ad agency' a fat andoverpowering man of giant stature with small piggish eyes' aperpetually angry and dour face, a challenging took thatnever l-eaves. PAN DOWNTHE TABLE at the faces of the mensj-t t ing there quiet ly and f inally winding up on GartWilt iairs, a tal l-, at iract ive man in a Brooks Brothers suitwho drums on the tab1e nervously, checks an expensive lookingwatch, then rises.4. TRACKSHOT OVERWITH HIMTo a telephone which he picks up, seems to cup.in his hand tokeep the others from overhearing his conversation. He'Sobviously distraught beyond any kind of descript ion now. Hisface look.s pinched and straj-ned. He talks quiet ly into thephone.

WILLIA},ISI want Jake Ross's secretary!(he waits impatient ly, conscious ofMisrel l s tar ing at him)

MISRELL'S VOICE(from opposite side of room)Wil l iams, we're st i l l waj- t ing f o r yourMr. Ross!WILLIAMS(with a forced smil-e, over hisshoulder) )I 'm try ing to get him now' s ir .

( then into phone)This Jake Ross's secretary? Joanie! Whereis he? I know he's out to lunch. Butthere was a conference call-ed here at twoo'c lock. I t is now two-thir ty ' now whereis he!(he wets his I ips, forces hisvoice down an octave)A11 r ight , check around.(MORE(coNTTNUED


3/28

z.CONTINUED:

WILLIAMS (cont 'd)Calt Sardi 's East or the Colony and tel- Ihim to get his keister back here in ahurry !He slams down the receiver then f ixes his face into asrniI5-ng, nonchalant mask and returns to the table.5. TRACK SHOTWITH HIMAs he wal-ks over to the table, sits down, again smi-l ingtoward l, lr. Misre11.6. CLOSESHOTMISRELLwho stares back at him, total ly unsmil j-ng.

MISRELLWell? Where is your protege with thethree-miI1ion-dol-lar automobile account?

WILLIAMSHe's due at any moment ' s i r . Probably abig lunch crowd or something-MISRELLDon' t be an idiot . More l ikely a bj-gmart ini , or three or four of 'em. He wastoo young to put on this account - I tol-dyou that , wi l l iams. He's much too youngto put on this large and important anaccount-

There's a knock on the door.7 . I.{OVINGSHOTWITH WILLIAMSAs he springs to his feet and hurries over to the big' doubleconference room doors. He opens it up. A young secretaryhands him an envelope which he l i teraI ly pu11s out of herhand, slams the door behind him, r ips open the envelope, andstarts to read.8. EXTREMELY IGHT CLOSESHOT WILLIAMS' FACEAs suddenly he looks white, stares up over the letter brief lytoward Misrel1.9. CLOSESHOTMISRELLReacting.


4/28

3.

10. CLOSESHOTWTLLIAMSAs his eyes sIowly go downward and the letter in his handdrops to his side. He carries it very slowly over to thetable and stands there at the far end.11. REVERSEANGLE LOOKINGOVERHIS SHOULDERDown the length of the table at Misrel- l who very slow1y drumson the tab]e in a methodical, tapping that permeates thesilence of the room.

MISRNLLWelI? We have now been here thirty-fourminutes, Mr. Wi l l iams.WTLLTAMS

(Iooks up from the let ter,takes a deep breath)This is a communication from Jake Ross.},IISRELLWould you be so kind as to share itscontents wi-th us?

12. MED. CLOSESHOTWILLIAMSAs he looks down at the letter, spreads it out on the top ofthe table, then looks up from i t .

WILLIAMSI can teII you the sense of it veryquickly, Mr. Misrel1. This is Jake Ross'sresignation. He's moving over to anotheragency.13. CLOSESHOTMISRELLAs his face seems to freeze.

MISR-ELLAnd?14. CI,OSESHOT WILLTAMSAs his face seems to freeze.

WILLIAMSAnd he's taking the autornobil-e accountwith hi-m.


5/28

A

15. PAN SHOT DOWN HE FACES OF THE MENAt the table as each seems to catch his breath and then lookfrom Misrell and with great compassion and concern overtoward Will iams.

MISPdLLDid you hear what r said, Wil- l iams? Thataccount represented a gross bil l ing ofsomething in the neighborhood of threemit l ion dollars a year. And how manytimes have you Promised it to me?WILLIAMS(clears his throat and for amoment can' t get a word out)This is as much of a shock to me as it is

to you, Mr. Misre11.MISFGLL( roaring)Don' t con me, Wil l iams! I t was your petproject t Your pet project ! Then i t wasyour idea to give j-t to that ] i t t lecollege greeny! Now get with i t ,wi l l iams. Get with i t , boy!

He rises from his seat and goes to the window, his jowled,f leshy face screwed up like a l i t t le baby about to cryi nowhe whirls around toward wil-I iarns, points a f j-nger at him.MISRELL (cont 'd)So what 's 1ef t , WJ-I l iams? Not only hasyour pet project backf i red but i t 'ssprouted wings and left the premises!I '11 tel l you what 's lef t to us i -n myview! A deep and abiding concern aboutyour judgment in men!

16. PAN SHOT DOWN HE FACES OF THE MENEach of whom look down at their hands i-n a vast ' bi t j-ngembarrassment.I7 . CLOSESHOTWILLIAI4SAs he closes his eyes for a moment, feels the sweat on hisforehead and then unconsciously massages his stomach as anulcer deep inside lights a match to his insides.


6/28

5.

18. CLOSESHOTMTSRELLAs he returns to the table, pounds the f lats of his handsdown on it .

I,lISRELLThis is a push business, Wi} l - iams ! Apush, push, push business. Push anddrive, but personal ly . You don' t delegateresponsi-bi l i t ies to l i t t le boys.19. CLOSESHOTWILLIAI '{SAs he looks s ick.

I , I ISRELL'S VOICEYou should know it more than anvone e1se.

The CAMERADOLLIES in for an EXTREMELYTTGHT, TrGHT CLOSESHOT of MISRELL'S FACE shooting at just the NOSE and LITTLEOVAL MOUTH hat goes up and dor.rn and up and down.MTSRELLa push, push, push business, Wil l iams.f t 's push, push, push al l the way. A11the time. Right on down the line-

20. EXTREMELYTIGHT CLOSE SHOTWILLIA.I{SAs suddenly he can' t s tand it any longer and shouts out .

WILLTAMSFat boy, why don' t you shut your mouth!2I.-25. SERTES OF ABRUPTCUTSFROMFACE TO FACEOf the men at the table, then Misrel_L, then Wit l iams whosuddenly exhales and realizes that the voice that suddenlyexploded in the room like shrapnel was his own!25A. TNSERT COFFEECUPDrops to f loor.26. DIFFERENT ANGLE WILLIAI\.ISAs he closes his eyes for a moment, grabs at his stomach veryt ight ly as once again the ulcer makes an assault on him, thenhe turns and walks quiet ly out of the room.CUT TO:


7/28

6.

27. EXT. CONFERENCE OOMA LINE OF DESKSTWOSECRETARIESWHISPER TO ONE ANOTHERAS HE GOES PAST THEM.28. TRACKSHOTWTLLTAMSAS HE CONTINUESTO W.LLKTHROUGH HE OFFICE.CUT TO:29. TNT. DTFFEF.NNT FFTCEAREAWil l - iams's secretary, He1en, s j- ts at a desk and looks up asWil- l iams approaches. She forces a smile.

HELENMessages on the desk, boss. And hotcoffee out here. Can I bri-ng you some?

He shakes his head and starts toward the door.HELENWant anything at al- l?

He turns from the door and stares at her.WILLIAMSYeah. A sharp razor and a chart of thehuman anatomy showing where al l thearter ies are!

He goes into the off ice and slams the door behind him.30. INT. WILLIAI , IS'S OFFTCEFluorescent tube l ight ing is on a1f around the room and thefirst thing he does is f l ick off the switch putt ing the roominto a semi-darkness. Then he walks over to a big, modern,expensj-ve-looking desk, looks brief ly at the picture of abeautiful woman on it , then sits down behind the desk andstares down at nothing. Over this tableau we hear theNarrator 's voice.

NARRATOR'S OTCEThis is Gart Wil l iams, d9e thir ty-eight ,a man protected by a suj-t of armor al lheld together by one bolt . Just a momentd9o, someone removed the bolt and Mr.Wil l iams's protect ion feII away from himand lef t him a naked target . He's beencannonaded this afternoon bv al1 theenemies of his t i fe. His iniecur i tv hasshel led him;(MORE(CoNTTNUED


8/28

t .CONTINUED:

NARRATOR'S VOICE (cont 'd)his sensit iv i ty has straddLed hin withhumj- l iat ion; his deep-rooted disqui-etabout his own worth has zeroed in on him,landed on target, and bl-own him apart -l1r . Gart Wil l iams, ad agency exec, who injust a moment will move into the TwilightZone in a desperate search for survival!FADE TO BLACKOPENING BILLBOARDFIRST COMMERCIALFADE ON:31. INT. COMMUTERTRAIN INIGHT] LONG SHOT DOWNLENGTH OF ONEOF CARSA conductor comes i-nto the frame from behind the cameracollect j-ng the t ickets of the few passengers who remaj-n.DOLLY IN with him toward Wil l iams who sits by himself at thefar end of the car. Conductor takes his t icket , punches i t .32. TWO SHOT TH E TWO MEN

CONDUCTOR ONEHow are you tonight , Mr. Wit l iams?WILLIA},IS( looks up, t iredly, with a wry

grin)In the absolute Pink!He turns and looks out toward the wintry, dark landscape.

CONDUCTOR NECold winter this year. Seems to getdarker earl i-er than it ever has.WILLIAMS( nods )That 's the way of the world. The rj-ch getricher and the days get shorter!

The conductor chuckles, st j-cks the t j-cket into the slot inthe back of the seat facing Wil l j-ams' then continues out ofthe car.33. CLOSESHOTWILLIAMSAs he leans back in the chair . His face looks t i red and wan.He takes a deep breath and c loses his eyes.

(CONTTNUED


9/28

B.CONTINUED:In hi-s subconscious he heard the voice f irst of Misrel-I andthen other voices that sprj-ng up f rom his subconscj-ous. Overthe t ight , c lose shot of his face the voices come inf i l tered, discordantly loud, real and yet somehow a stepbeyond reality.

MISRELI 'S VOICEIt 's a push, push, push business,Wil l - ians. I t 's an absoluteJ-y push, push,push business. I t 's a push, push, pushbusj-ness. You got to get with i t , boy.I t 's a push, push, push busj-ness. You gotto get with i t , boy. I t 's a push, push,push business. You got to get with i t ,boy.34. DIFFERENT TIGHT ANGLEWILLIAI,ISS FACEAs his eyes go open and he shouts out.

WILLIAI.{SThat 's enough!35. REVERSEANGLE LOOKTNGOVERHIS SHOULDER T WOMANN FRONTOF HIMWho turns around, wj-de-eyed, and stares at him.36. DTFFERENTANGLE WTLLTAUSAs he turns away from her to stare out the window of thetrain.37 . ANGLE SHOT OVER HIS SHOIJLDERAt the wintry landscape outside in the darkness. His eyescLose as he leans his head out the window and after a momentlets his head rest on the back of the seat , his eyes closed.The sound of the train comes up to provide a hummj-ng clicketyclack sound as the CAI{ERAMOVES N for an angle shot lookingdown from over the head of wil l iams as he fa1Is asleep.Gradually the sound of the train takes on a dj-f ferent tone.It 's j-mperceptibl-e at f irst and then very obvj-ous, almost asif the train were going through a tunnel and there was aDechoy ef fect . Lj-ghts shoot by playing on Wil l iams's face andon the interior of the train. The CAI,IERASTARTS A SLOWpANDOwNunt i l j - t 's direct ly in f ront of wi l l iams, shoot ing onhfun. Then the CAMERAPULLS BACK to reveal an absolutely emptycar and suddenly the entj-re car is suffused by sunlight andthen the train is suddenly coming to a stop. DOLLY IN FORCLOSESHOT OF WILLIAI4S as his eyes open and suddenly blink.He takes a deep breath, looks at his watch, then looks outthe window.


10/28

q

3B. DIFFERENTANGLEWILLIAMS'S FACEAs he suddenly starts j-n amazement. SLOWPAN SHOT up from himto a SHOTOUT THE wINDOw. Outside it is suddenly bri-ght andsunny and obviously suilrmer. The train has stopped in front ofa smal1 raj- lroad stat ion with a big sign which reads"Wi1Ioughby. "39. CLOSESHOT WILLIA},ISAS AGAIN HE STARTS AND STARES.40. LONGSHOT LOOKINGOUT THE WINDOWOf the train stat ion. There are horse-drawn carriages. womenwith parasols and long dresses. Men in obvj-ous nineteenth-century costume. Lit t l-e boys with knickers run back andforth. One carr ies a f j -shing pole.4I. DIFFERENT ANGLE IOOKING DOWN HE STREETAs seen f rom the t rain car. A bandstand, carr iags, al- I theaccoutrements to a quiet suilrmer day of almost a century ago.42. CLOSESHOT wILLIAI '{SAs his eyes scan the scene. He shakes his head inbewilderment, amazement.43. DIFFERENT A}TGLEOF HIM INSIDE TRAINAs he rises, walks halfway down the car, staring out of thewindows as he walks.44. LONG SHOT OVERHIS SHOULDERAs the far door of the car opens. A conductor comes in, thisone in old-fashioned dress. He smiles at Wil-I iams and cal-l-sout in a trainman' s voi-ce.

CONDUCTOR WOWilloughby. Thi-s stop is Wil loughby!He starts to walk past Wil l- iams who grabs him.

WILLIAI',ISWhat do you mean, Wil loughby? Where'sWil loughby?CONDUCTOR WO(grins and winks)wi l loughby? That 's Wil l -oughby r ightouts ide.

( CoNTTNUED


11/28

10.CONTINUED:

wil l iams whirls around to stare out the window again, thenturns toward the conductor.WILLIAMSwait a mj-nute. . .wait a minute, what 'sgoing on? There's no place cal l -edWil loughby on this 1ine. And look at i touts ide. The sun is out . I t 's . . . i t 'ssummer.CONDUCTOR WO( smiles )That 's what she is, mj-d-July! And a realwarm one, too.

He starts to walk past and again Wil-I iams has to grab him andstop him.WILLIAMSWait a minute. . . i t 's November. What 'sgoing on anyaray? It 's November! What isthis place? Where are we? What 'shappened?

45 . DIFFERENT ANGLE THE CONDUCTORAs he releases himsel-f and continues to walk down the car.46. REVERSEANGLE LOOKTNGOVER HTS SHOULDERToward Will iams who stands there staring after him.47. REVERSE }IGLE LOOKINGTOWARD ONFUCTOR ILLIAI{S'S P.O.V.

WTLLIAMSPlease. . .please, what 's going on? Whereis Wil loughby?48. MED. CLOSE SHOT THE CONDUCTORAs he smiles again but this t ime with a touch of seriousnesson his face and a kind of mvsterious t i-1t of his head. Hewinks.

CONDUCTOR WOWil loughby, s ir? That 's Wil loughby r ightouts ide. Wil loughby. Ju1y. Summer. I t 's1888. I t 's a lovely l i t t Ie v i I Iage.(and then the smile fades andthere's something intense inhJ-s voice )You ought to try i t sometime!(MORE(CoNTTNUED)


12/28

11.CONTINUED:

CONDUCTOR WO (cont 'd)Peaceful , rest ful , where a man can s lowdown to a walk and l ive his l i fe ful lmeasure !( then he turns and cal ls outagain )Wil loughy. This stop is Wil loughby.He continues out the opposite door.49. DIFFERENT ANGLE WILLIAI,ISAs he races down the length of the car to fol low theconductor. He yanks open the door.CUT TO:50. SHOT OVER HTS SHOULDEROF THE PLATFORI4BETWEENCARSWhich is empty, and beyond it a window leading to the nextcar whj-ch is also empty of anyone.51. CLOSESHOTWILLIAMSAs he turns around and is t ight on camera. His face istwisted and torn with confusion. His mouth opens as if toprotest or question or plead for someone to give himunderstandi-ng and clarity. Suddenly the train lurches and hefa1ls agaj-nst the side of the door, clutching it for support.Then very slowly he turns and wal-ks back to his seat.52 . TRACK SHOT WTTH HTM AS HE WAIKSAnd sits down. He looks out of the wi-ndow.53. MOVTNGSHOT FROM NSTDE THE TRATNAs the train moves and l-eaves the town and stat ion behind.The CA-MERA OLLIES IN FOR EXTREMELYTIGHT CLOSE SHOT OFWfLLfAl4S as he stares out the window and then suddenly theli-ght pattern changes. The i-nterior l ights of the train takeover and it is now dark and wj-ntry and there are other peoplein the car. The conductor that r,ee've seen in the beginningcomes by.

CONDUCTOR NEWestport-Saugatuck next stop.(he pauses by wi l l iams)Have a good sleep, Mr. Wj-I l iams?WILLIAMS(starts and looks up at him)Yeah.(af ter a pause, quiet ty)Yeah, I had a good sIeep.(MORE

(CoNTTNUED


13/28

12.CONTINUED:

WILLIAMS (cont 'd)a good sleep with an idiot ic dream.Idiot ic.(he turns to stare out thewindow)At least . . .at least I guess i t 's idiot ic .( then he turns to look uptoward conductor)Ever hear of a town named Willoughby?CONDUCTOR NE(screws up his facethoughtful ly )Wj-I loughby? Wil loughby where?WILLIA},ISWil loughby, Connect j -cut , I guess. OrWil loughby, New York.CONDUCTOR NE(shakes hj-s head thought ful ly)No, not on this run.(he moves)There's no Wil loughby on the l ine.( then he cont inues onf yel l ing)Westport-Saugatuck next stop. Westport-Saugatuck.

He disappears through the car door as the CAI',IERA AM OVER toWj-l1iams. He rises very s1owIy to his feet, picks up hisbriefcase, starts out the car as we!f lorsso],VE To:54. EXT. SUBURBANRANCHHOME INIGHT] SPRAWLTNG ERYPRETENTIOUSLOOKING MODERNHOMEDISSOLVETO:55. INT. LIVING ROOM-DENWill iams stands by a small- bar pouring hi-mse1f a largehighball. He st irs the ice and very ref lect j-vely takes a sipof it . He turns as the l ight from the hal1 outside issuddenly ushered into the room with the door opening.56. I{ED. CLOSE SHOT MIRRORBEHTNDTHE BARFramed there is the ref lect ion of Wil- l- iams's wife, Jane. Shestands there frozen in place in the doorway looking across athim, accusing. This is a beaut i ful woman. But beaut i ful l ikeal-abaster - just as co1d, just as br i t t le, just as lacking inemotion. She walks slowly across the room toward him.


14/28

13.

57 . DIFFERENT ANGLE THE TWOOF THE}'IJANEAnd what are your plans this evening? Toget quiet ly plastered and then sing oldcol lege songs?WILLIA}4S(smiles at her a l i t t le wanly)I t 's been one of those daYs-JANEr know al l - about i t . Bob Blair 's wifecal led me. She sai-d he'd been in themeet ing with you. You got. . .you gothysterical or something. She called tof ind out how you were.

58. MED. CLOSESHOTWILLIAI '{SAs he turns away, smiles.

WILLIAMSThey were all very solicitous - aI l- theboys at the meeting.(he looks down into his glassand j iggles the ice)That free-f lowing compassion that isactual ly rel ief ! I 'm the v ict j -m - notthem! They've mistaken an intake ofbreath for an outpouring of sympathy!

He Starts to pour himself another drink. She crosses over andgrabs his arm, looking straight into hj-s face, her own facewhite and taut.JANEWould you spare me your l- i t t le homil iesnow and just give me a l i t t le simple andfrank and honest answer. Did you wreck acareer this afternoon? Did you throw awaya job?WILLIA},ISIt appears not. Mr. Misrel- l phoned beforeI lef t the of f ice. He has found it inthat giant, oversized heart of his toforgive. This somewhat obese, graciousgentleman wil l al low me to continue inhis employ s imply because he's such ahuman-type fel lah-(a pause)(MORE

(coNTTNUED


15/28

14.CONTINUED:

WILLIAMS (cont 'd)With a smal l , ins igni f icant , parenthet icaddit ional reason - that i f f were to goto competit ive agency, I might possiblytake a lot of business with me!JANE

Go on.WILLIAI',IS( shrugs )That 's i t . That 's al l of i t .( he carries his dri-nk acrossthe room and sits down in achair )I 'm t i red, Janie. I 'm t i red, and I 'msick.JANE(from across the room)

Then you're in the r ight ward! Wespecial ize in people who are sick andt i red too, Gart . f 'm sick and t i red of ahusband who l j-ves in a kind of permanentsel f -pi ty ! A husband with a heartbleeding sensit ivity he unfurls l ike af lag whenever he decj-des that thecompetit ion is too rough for him.59. CLOSESHOTWILLIAI,ISAs his head goes up and he stares across the room at her.

WILLIAMSSome people aren' t bui l t for compet i t ion,Janie.(he ri-ses and walks halfwayover to her)Or big pretent ious houses that they can' taf ford. Or r j -ch communit ies they don' tfeel comfortable in. Or country clubsthat they wear around thej-r necks l-ike abadge of status-JANE

(on her feet , shouts at hin)And you woul-d prefer-WILLTAMS(outshouting her now)I woul-d prefer, though never askedbefore, a jobr any job - any job at al l -where I could be myself !(MORE

(CONTTNUED


16/28

15.CONTTNUED:WfLLIAI{S (cont 'd)Where I wouldn't have to cl imb on a stageand go through a masquerade every morningat nine and mouth al l the dialogue andplay the executive and make bel-ieve f 'mthe bright young man on his way up.Because I 'm not that person, Janie.You've tried to make me that person, butthat isn' t me.(now his voice is quieter as heturns away from her)That i -sn' t me at al l . I 'm. . . I 'm a notvery young, soon to be o]d, veryuncompetit j-ve, rather dul_l_, quiteuninspj-red, average type of guy-(he whi-rl-s around toward her)With a wife who has an appetite!JANE

And where would you be if i t weren't formy appetitee60. CLOSESHOTWILLIAI.{SAs hj-s eyes drop. He walks over to the chair and sits down.

WILLIAMSf know where I 'd l_ike to be.JANE(chalIenging, her voj-ce br i t t leand shr i I I )

And where would that be?He looks up at her. The CAMERAMOVES N VERY CLOSE TO HISFACE.

WILLIAMSA place called Wil loughby. A lirt1e townthat I chartered inside my head. A placeI manufactured in a dream.(he looks away from her now,speaks sof t ly andref lect ively, almost as i f tohinself )An odd dream. A verv odd dream.wil loughby. It was summer. Very warm. Thekids were barefooted. One of them carrieda f ishing po1e. And the main st reetlooked li-ke. . . l-ooked like a Currler andIves paint ing. Bandstand, o1d-fashionedstores, bicycles, wagons.(he looks toward her again)I 've never seen such a. . .such a sereni tv.(MoRE

( CoNTTNUED


17/28

76.CONTINUED:WfLLfAIiIS (cont 'd )It was the way people must have lived ahundred years ago.(a pause as he looks awayagain)Crazy dream.

61. MOVTNG HOT JANEAs she walks over to him.62. ANGLE SHOT LOOKTNGUP AT HERHer face is distorted wj-th an impatience, a frustrat ion, adeep-rooted and abiding lack of respect for the man, inaddit ion to the sense of impotence on her part. She turns andstarts out of the room.63. DTFFERENTANGLE THE ROOI\,IAs wil- l- iams rises.

WILLIAI,ISJani-e-She stops at the door, her back to him.64. REVERSEANGLE LOOKTNGOVERHER SHOULDERToward hin. His voice is soft and with a strange quality ofhunger and yearni-ng.

WILLIAMSYou should have seen thisplace. . . this. . . this Wil loughby. Janie, i twasn' t just a pIace. . .or a t ime.. .(a pause)f t was l ike. . .a doorwav that leads tosanity. A soundproof w6rld where shoutsand cr ies can' t be heard.65. CLOSESHOT JANE

JA}iE(her words l ike pieces of ice)Nothing serious, Gart . I t 's just that youwere born too late. That 's the problem.You were born too late. And your taste isa l i t t le cheap! You're the kind of manwho could be satisf ied with a sunmerafternoon and an ice wagon pu1led by ahorse . My ni-stake, pdf . My error. Mymj-serable tragic error.(MORE

( CoNTTNUED


18/28

Ll .CONTINUED:

JANE (cont 'd)To ge t married to a man whose big dreamin t i te is to be Huckleberry Finn! Thatis what you want, isn' t i t?66. EXTREMELY IGHT CLOSESHOTWILLIAMS

WILLIAI.{SSomething l ike that . A P1ace. . .at ime.. .where a man can l ive his l i fe ful l -measure.(he turns away thoughtful lY,sof t ly )That 's what he sai-d. That 's whatthat . . . that conductor said. A place wherea man can l ive his l i fe fuI l measure!DISSOLVETO:67. rNT. TRArN [NTGHT] CLOSESHOTWTLLTAMSSitt ing in his customary seat. Over his shoulder we see thelandscape outside cloaked by wintry night, occasional- l ightsf lashing by. He st i rs when he hears the conductor 's voice.

CONDUCTORNE'S VOICEwil loughby?CAMERAPULLS BACK FOR TWO SHOT

WILLTAI.{SWhat?CONDUCTOR NELast week you asked me about a towncal led wi l loughby, Mr. wi l I iams.(he scratches hi-s jaw)I l-ooked it up. Every old timetabl-e Icould f ind.(he shakes his head)No such place as far as I could see.WILLIAI,IS(forc ing a smile)Thanks. I t was a dream, that 's af I .CONDUCTOR NE(contj-nuing on down the car)Probablv was.

lcair ing out)Next stop, Stamford. Stamford, next stop.


19/28

1a

68. DIFFERENTANGLEWILLIAMSAs he puts his head back, sighs deeply, looks out the windowbrief ly and c loses his eyes. In the background we hear theconductor 's voj-ce once again cal l ing out .

CONDUCTORNE'S VOICEStamford next stop. Stamford.69. EXTREMELY IGHT CLOSESHOT WTLLTAMS'SFACE [DAY]As once again the conductor 's voice segues into that of theother conductor and gradually gets louder.

CONDUCTORWO'S VOICEwil loughby. Next stop, Wil loughby.Once again Wil l j-arns's eyes open wide. He springs to his f eetand stares out the window. Once again the car is of an oId-fashioned variety and empty save for the conductor whoapproaches hirn walking down the aisle.

CONDUCTOR WOWil loughby, s ir .70. DTFFERENT NGLE

WILLIAMSwil loughby?He turns to stare out the window again.7L . LONG SHOT OVER HIS SHOULDEROF RAILROAD STATTONAND TOWNBEYONDThis t ime a band plays in the bandstand at the far end of thestreet and there's the sound of laughLert horses, an organgrinder - al l of them fusing together to provide a kind ofsoft symphony.72. MOVINGSHOTWILLIA}4SAs he goes out of the car to the train platform.13. REVERSEANGLE LOOKINGUP AT HIMFrom outside as he stops there. The conductor passes behindhim headj-ng f or the next car.

CONDUCTORWOwil loughby. A11 out for Wi l loughby.


20/28

10

74. ZOOMARNTO WILLIA}4S S FACEAs he stands there transf ixed, obviously on a thin l ine nowbetween disbelief and resolve. He makes a motion as if to getof f the t rain, then stops, looks down to the ground, thenhe's thrown off balance by the sudden jerk of the trainstart ing.75. MOVTNG HOT THE TRATNWith Wil l iams standing on the platform. The moment ofdecision has passed and he has obviously retreated.76. DIFFERENT ANGLE THE TRAIN PLATFORMAs Wil l iams turns away, stands there for a moment as thetrain picks up speed, sIowly raises his head to look into thetrain car f rom which he's come.77. LONGSHOTHrS P.O.V. [NrcHT]Once again j-t is f i l- led with people and is no longer old-f ashi-oned.78 . DIFFERENT ANGLE WILLIAI\,ISAs he whirls around to stare out from the platform to theouts ide.79. SHOT OVERHTS SHOULDERof the landscape going by. once again it is wintry and dark.BO. CLOSESHOTWILLIAIUSAs he closes his eyes, swallows and is beset not only bybewilderment, but by an odd, hauntj_ng sense of having lostanother chance.81. MOVINGSHOTWITH HIMAs he goes into the car and to his seat. He ]ooks out at thepassing landscape and then at the ref lect j-on of himserf inthe gl-ass. His l ips move and after a moment we can hear whathe's sayi-ng.

WI],LTAMS(sof t ly , to himself ) )Wil loughby, Next t ime. . .next t ime. . . I 'mgoing to get of f t(he turns to face the camera,his face determj-ned and grim)I 'm going to get of f at WilLoughby!


21/28

zu-

FADE TO BLACKACT TWOFADE ON:82. INT. WTLLIAI{S'S OFFICE [DAy] EXTREMELY TIGHT ANGLE SHOTOF A TELEPHONE RECEIVERfn front of Wil l iams's face. We hear the f i l tered butstr ident voice of Misrel l .

MISRELLWhat we need here, Wil l iams, is a showwith zazz! An entertainer with moxie!We've got to take the audience by theears and give 'em a yank! Jar 'em! Rock'em! Give them the o1d push, push, push!

WILLIAMS(closing his eyes) )I understand, Mr. Mj-srel l .83. PAN SHOT DOWNWILLIAI,TS'S BODYAfter f irst seeing his face convul-se in sudden agonizJ_ngpain. Now his r ight hand moves insj-de his shir t to touch hisstomach as the ufcer once again rakes over his inside.

MISRELL'S VOICENow it 's got to be br ight , Wil l iams.Br ight with patter. Dancing. Comedy. Andeverything push, push, push, push. That 'sthe kind of show the cl ient '11 l- ike.

84. MED. CLOSE SHOT WTLLIAMSWILLIAIVISI understand, Mr. Misrel l . f understand-MISRELL'S VOICETomorrow morning, Wil l iamst Understand? Iwant at least a prel iminary idea for the

show. You know what I want - just a roughformat with some specifics as to how weintegrate the commercials within the bodyof the show.85. DIFFERENT ANGLE WILLIA-I'{S

WTLLIAMSI '11 do what I can.


22/28

2r.

86. CLOSE SHOT PHONERECEIVERMTSRELL'SVOICEDo more than you can. With me, Wil l iarns?Aspire ! Dream big and then get behi_nd it .

Push, push, push, push.Wi-Iliams moves the phone away from him during the speech sothat we are on the telephone l i -stening to "push, push, push,push. "87. DIFFERENTANGLEWILLIAMSAs he lays down the receiver and once again his hand massageshis stomach. He looks pale and sick and inundated by pain.The phone rings. He picks it up. We hear a f i l tered voiceblabbering at him. The words unintel l igble, but the sense ofthe urgency very much in evidence.

WILLIAT'IS(trying to interject at oddmoments) )Wel l , I haven' t seen the rat ings on theshow. . .no. . .no. . .wel_l i t was the t i_meslot the sponsor wanted-Another phone rings.

WILLIAI{S( into the f i rst phone) )HoId on just a second, wi l l you.(he pushes a but ton and talksj-nto the other l ine)Yes? They were what? Wait a second.(he shouts out)Helen?

88. LONGSHOTTHE DOORAs the secretary appears.

WTLLIAMSWhat f i lm outf i t did the commercial_s onthe Bradbury account? The negatives arealL scratched. They' re screaming bloodymurder at me.

HELENI ' l - l - have to check i t , s i r . Mr. Mj_sre1lwould l ike to see you.The voj-ce on the phone suddenly comes in roud and strident.

(CoNTTNUED)


23/28

zz.CONTINUED:

WILLIAI,ISI 'm going to have to check i- t out f or youhere-HELENMr. Misrel l , s i r .

The voice conti-nues on the line-HELENMr. Wj-l1iams, Mr. Misrel-1 seemed ratherinsistent-

89. CLOSESHOTWILLIA},ISAs his face suddenly seems very pale. The voices continue toprobe at him.90. I.{OVINGSHOTWITH HIMAS he crosses the room almost l ike Some kind of automaton/walks into the small pr5-vate bathroom adjoining the off i-ce,stands in front of the mirror. The camera moves up for a shotof the ref lect ion of his off ice over his shoulder. The phoneson the desk jabber and ring, jabber and ring.91. REVERSEANGLELOOKINGTOWARDWILLIAMS'S FACEAs he stares at himself . A11 the time the phones and voicesseem to reach a crescendo and screech at him.CUT TO:92. SHOT OF MISRELL'S FACE IN THE I' I IRRORThe f l-eshy jowled features, the piggish eyes, the l ips thatmove up and down, uP and down.

MISRSLL(in the mirror) )Push, push, Push, Wil l iams. Push, Push,push, Wil l iams. Push, Push, Push,Wil l iams.93. PROFILE SHOTWILLIAI{SAs his features contort and suddenly he takes the f lats ofboth hands and smashes the mirror, breaking it into a hundredpJ-eces. At this moment all noise stops and there is dead andutter s i lence.-


24/28

23.

94. MED. CLOSE SHOTWILLIAMSAs he turns to face the camera, his mouth twitching, his eyesshut .

WILLIAMSNo more! No more - in God's name.. .nomore!95. TRACK SHOT WILLIAI',ISAs he runs across the room, f l icks of f the l ights, leansagainst the wall- for a moment. Then he turns and retraces hissteps back to the desk, picks up the phone, dials a number.

WILLIAMSI 'd l ike Westport , Connect icut , please.Capital 1-9899. Yes, please.( he waj-ts for a moment )Janie, this is Gart , honey. Stay there'wil l- you please? I just want you to staythere. I 'm coming home.( a pause as he l- -stens to herobviously arguing)Janie. . .Janie, please l is ten. . .( then shout ing)Janie! I 've had it . Understand? I 've hadit . I can' t go on for another day. Ican' t go on for another hour. This is i tr i -ght now. I 've got to get out of here.

(another pause)Janie.(c1ose to tears)Janie, help me, wj- l l you. Please. . .pleasehelp me. Janie?(a pause)Janie?He cl- icks the receiver then l istens to what is obviously adead line. He sl-owly replaces the receiver and, massaging hisstomach, he stares at the telephone.DISSOLVETO:96. rNT. TRArN INTGHT] MED. CLOSESHOTWil- l iams in his seat . The conductor passes him, punches hist icket.

CONDUCTOR NEYou're going home early tonight , huh, Mr.Wil l iams?

(CoNTTNUED


25/28

24.CONTINUED:

Wil l iams nods and doesn' t say anything. The conductorcontinues on down the aisle, punching tickets. wil l iams movesin his seat, stares out through the window, impatient ly,nervously checks his watch, then looks out the window again,r lses to peer more c losely out of the glass, then s i ts downagain. His f ingers twitch convulsj-veIy. He starts to take outa cigarette then looks up at a sj-gn over the door.97. CLOSESHOf THE STGN"No Smoking"98. ANGLE SHOT LOOKfNG DOWNFROI',I HE SIGN TOWARDWILLIA.I{SWho starts to put the cigarettes away in his pocket thendrops them.99. TOP HAT SHOT FROMACROSSTHE ATSLE LOOKINGSTRAIGHTTOWARD HE FLOOR BY WILLIA.I'{SAs he bends down to pick up the c igaret tes. The conductor 'svoice is heard.

CONDUCTORNE'S VOICEStamford next stop. Stamford.1OO. EXTREMELY IGHT CLOSESHOT CTGARETTESSuddenly bathed j-n sunl-ight. PAN SHOT UP untj- l we 're on aLONGANGLELOOKfNG UP at Wil l iams's face as suddenly it isbathed in sunlight. He has a smile that j-s almost ethereal.

CONDUCTORWO'S VOICEWilloughby next stop. Wil loughby!101. DIFFERENTANGLEWILLIAIqSAs he jumps to his feet and shouts.

WILLIAI.,ISWil loughby! That 's where I get of f .Wi l loughbyt That 's my stat ion!CONDUCTOR WO( just coming alongside, smj-Iesand winks ) )Yes, s j-r . That 's your stat ion,wil loughby.


26/28

25.

TO2. EXT. TRAIN STATIONLooking toward the car that wil l iams is in as we can see himwalking through the doors to the platform then down the stepsand toward the camera. Two boys pass carrying f ishing rods.

BOY ONEHi, Mr. Wil l iams.BOY TWOHi, Mr. Wil l iams.

103. CLOSESHOTWILLIAMSFi-rst , myst i - f ied, then over joyed.

WILLIA}ISHi, boys. Catch some big ones today, huh?I think tomorrow I '11 join you.

BOY ONEPlenty of room! And lotsa f i-sh.They continue on.104. LONG SHOT I{AN ON A WAGONAs he waves.

MANHi, Mr. Wi l l iams. Welcomet

WILLIAMSThank you. Thank you. . . I 'm. . . I 'm glad tobe here.105. I"IOVINGSHOTWILLIAMSAs he goes beyond the stat ion, heading toward the mainstreet. we can see and hear people greeting him and welcominghim.106. DIFFERENTANGLEWILLIAMSAs he walks toward the camera and is suddenly surrounded bypeople, aI1 in per iod dress, who walk with him.107. ANGLE SHOT LOOKINGAT CLOCK N STOREWINDOWAs wil l- iams passes. There in the window is a grandfatherC1OCK. ThC CAUERAMOVES N VERY TIGHT on it unt i] we See thependulum going back and forth. CAMERACONTINUESTO DOLLY inon the pendulum.


27/28

26.

108. DIFFERENTANGLE THE PENDULUMAs it swings.LAP DISSOLVE TO:109. EXT. FrELD INTGHT] CLOSEON LANTERNThat swings back and forth in the same cadence as thegrandfather clock. fhe CAI'{ERA ovES unti l i t is shooting downon the body of Gart Wil l iams who lies face up in the snow, awhite coated intern leaning over him and beyond the interntwo trainmen, one of whom hol-ds the lantern. The internrises, motions to another attendant. They l i f t the body ofWil l iams to a stretcher and start to carry i t out of thescene.

TRAINMAN ONEJust jumped off the t rain, did he?CONDUCTORShouted somethin' about Wil loughby, ranout to the plat form and that 's the last Iseen him. Doctor said he musta diedinstant ly . They' re gonna take him intotown for an autopsy. Funeral parlor theresent the ambulance.TRATNMANONEPoor f el- Iah.

110. ANGLE SHOT LOOKING DOWNON THE INTERN AND THE ATTENDANTCarrying the body over to a wai-t ing ambulance.111. DTFFERENTANGLE LOOKING TOWARD HE REAR END OF THEA},IBLTLANCEIts back door is wide open. The stretcher is l i f ted gentlyand through into the back. Then the attendant closes both thedoors and the CAMERAZOOI,IS N for a CLOSE SHOT of thelettering on the back of the doors which reads, "WILLOUGHBYAND SON, FUNERAL HOME." CAI.{ERA TAYS on this shot for a long,long moment, then the ambulance's engine is started, throwninto gear and it moves and it moves off into the darkness.The CAMERASLOWLYPANS UP toward the sky as we hear theNarrator 's Voice.

NARRATOR'S OICEMr. Gart Wil l j-ans, who sought respitefrom torment under a gravestone; whoclimbed on a world that went by too fastand then. . . jumped off .(MORE)(CoNTTNUED


28/28

27.CONTINUED:NARRATOR'S OICE (cont 'd)Mr. Gart Wil l iams, who might now telf uswhat awaj- ts us in the beyond. . .becausethis, too, is a part of . . .The fwi l ightZone!

FADE TO BLACK.

Date post:	10-Feb-2018
Category:	Documents
Upload:	constantinos-kotrofos
View:	221 times
Download:	0 times

The Twilight Zone 1x30 - A Stop at Willoughby

Documents