The Eye of the Beholder: A Twilight Zone Episode by Rod Serling, Exams of Voice

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TEE (^) TTrILTGET ZONE

Season Two

"The Eye^ of^ the Beholder"

Teleplay (^) by

ROD SERI.TNG

Air Date: (^) Novenber (^) 11, 1960

(Production (^) note: Throughout t.he play (^) until- otherwise indicated, al-1 characters with the exception of ,,lanet are played (^) either in the shadows or the camera is on their back, but never are actually seen face^ first.^ ) The^ CAMERASTARTS^ A Si,Ow-56fu.y in over toward a^ bed^ which,^ besides^ a^ bedstand, is the only furniture in^ an otherwise^ bare^ and^ antiseptic- looking room. CAI,IERASTOPS on an ANTGLESHOT LOOKING DOWNat Janet Tyler, whose face is entirely swathed^ in^ a^ bandaged mask, with only a little slit left open for the mouth.^ She remains motionless. Even her hands are Iimp, unprotesting extensions of^ herself,^ as^ if^ they^ too^ were^ resigned^ to^ a life of silent darkness. There's^ the^ noise^ of^ a^ door^ swinging open and then the very^ slight sound^ of^ glass^ medicine^ bottles rf!d.LLJ-J-rr9 f 'r.inn \Jl,t rd fL!d.v. rr rFr.nJ. lrg r--h^-^^^rJc1rl.r4uvL,r €-^^!aus *'.rnsLu^ toward the sound:

CUT TO:

3. Med.^ long^ shot acloss^ the^ room^ A^ nurse^ has^ just^ entered and is^ placing^ the^ tray^ down^ near^ the^ door.^ The^ position^ of the bedlight throws the far end of the room^ in^ shadowsr so that all we can see of the nurse is that of angular, tall- silhouette, her^ face^ invisible.^ Her^ voice,^ when^ she^ speaks, has a brittle and professional^ quality,^ unemotional and^ with a suq'qestion of boredom.
4. Standard opening with^ human sun. PAN DOWNTO OPENING SCENE
5. TNT. EOSPITAL ROOD{NIGET

Nurse?

Prnrrahl-g!vqYrr (^) u \zn1lI' vu honey.

T^J-D (^) rL.: | *.irrrvrrL (^) ^l^r

a/avJ v nh:nrrivrrsrr:r 4rrt:,nrr i nrn qoJ- i- inrr OF PI,AY.

dTA}IET

N('RSE

your sleeping medicine,

JA!{EE

: I ro.arlrr?

NI'RSE

It's nine-thirty.

4. Dif,ferent angJ.e ilanet As her head turns to look^ up^ toward the ceiling.

iIE}TET What (^) about the Cav?

NURSE What (^) about it?

TANET Was it a beautiful day? was the sun out? Was it warm?

JAIIET(very^ softly)

Oh. i guess it's... f guess it's pretty

bad, isn't it?

8. Different angre shooting over the nurse's shoulder toward

dlanet

NT'RSE I've seen worse.

iIA}IET But it's pretty (^) bad, isn't it? I know it's pretty (^) bad. Ever since I can remember...ever (^) since f was a littIe girl...people (^) have turned away from me. The very first thing I can remember is a little child screaming when she looked (^) at me.

9. Extrenely (^) tight profile (^) ehot of her (^) bandaged faee As she once (^) again turns away. Her voice is (^) soft, but there is a sense (^) of desperation, of misery, of anguish (^) that creeps in.

JAT{ET (CONT'D)

f never wanted (^) to be beautiful. f never wanted (^) to look like a painting. f never (^) even. wanted (^) to be l_oved. (a pausel I just^ wanted... I just^ wanted people not to (^) scream when (^) thev looked at

(now the bandaged face (^) turns once again toward the nurse) When, (^) nurse? When will they (^) take the bandaqes off this time?

10. Different (^) angle the back of ttre nurse As she (^) once again leans over, puts (^) the thermometer in Janet's mouth, (^) then turns, but so close (^) to the camera that we are shooting her (^) body below the face. (^) She passes (^) the camera and moves again (^) to the opposite (^) side of the room and into the shadows. The (^) camera remains (^) on this shot.

NI'RSE Maybe (^) tomorrow. Maybe the next day. You've been waiting (^) so long now... j-t really doesn't make too much difference whether it's two davs (^) or weeks (^) now, does it?

11. Reverse (^) angle looking back over to ttre bed

Janet's head moves (^) from side to side, shaking her heaci "no." The nurse looks (^) down at her watch then once again moves (^) away from the camera (^) over to the bed, takes the thermometer (^) out,

shakes it, then in identical fashion to before, passes^ the camera and goes^ out of the room.

CUT TO:

L2. NTT. EOSPITAI. CORRIDOR NIGBT

This is a 1ong, bare, almost cavernousr tunnel-like^ ha11way. The lights are dim and, once again, the people^ who pass^ under them - a doctor, another nurse, a patient^ -^ are in^ shadows and we cannot see their faces. A few doors down from^ Janet's room is^ a kind^ of reception^ desk.^ A^ nurse^ sits^ there,^ her back to camera.

13. Long Ehot down the conidor looking^ torard^ reception deEk As Janet's nurse comes from behind the^ camera^ and^ starts walking toward the desk.

1II. MED. I.ONG SgOT I}TTERCOM

On the reception desk as the CAMERAMOVESTOWARDfT, staying on the back of Janet's nurse.

15. Close shot nurse's handAs she flicks a button on the intercom.

NT'RSE Dr. Bernardi. Evening report^ on Patient (^) 307. Resting comfortably. No temperature change.

DOCTOR'S VOrCE (over (^) intercom) Thank you,^ nurse.^ f'11^ be^ down^ later.

The nurse flicks off the button.

NT'RSE T}TO Ever see her face? 307?

NURSE Indeed I have. If j-t^ were^ mj-ne,^ I'd bury myself in a grave^ someplace. Poor thing. Some people^ want^ to live no matter what I (a pause) Cnt r n'i rr: ror i o?

A pack of cigarettes passes^ in front of the camera. Janet's nurse's hand moves toward the pack^ and takes out a cigarette, then moves out of the frame. There's the sound of^ a^ match i'rcinoUgaltv sf rrrr:kD LI UVA r-\J. (^) ,. (^) t +l"anL-IMI C,- :loud\ of smoke exhaled into the air. The CAMERAMOVESAROUNDSO thAt it^ iS^ SHOOTINGTHROUGH THE SMOKEacross the desk, down toward the corridor^ and Janet.'s room. At this moment we^ FREEZE FRAME. Two nurses walking (^) down the corridor away from the camera stop and become immobile, and over this tableau we^ hear^ Serling's^ voice.

iTAl{ET I thought it was. f (^) couLdn't be sure, though.

DOCTOR (running (^) a hand (^) through his coll-ar) Very warm. You (^) can take my word for it. We'11 have (^) those bandages off you (^) very shortly. (^) I expect you're uncomfortable.

.IA}IET

f'm (^) used to bandages (^) on my face.

DOCTOR

I've no doubt. (^) This is (^) vour...ninth visit here? fs (^) it the ninth?

iTANET Tho al orzonf h (a pause (^) as she turns her bandaged (^) face toward him) Sometimes f think (^) f've lived my whole life inside a (^) dark cave. The walls are gauze.^ And (^) the wind (^) that blows in from (^) the mouth of (^) the cave always smells (^) of ether and (^) disinfectant. (a (^) pause) There's (^) a kind of a comfort (^) though, rlnnl-nrsvvsv!, l-nwv (^) rrVJ-O$'litrina^ fi- n fhi^tnl-S CaVe. (^) It t S so wonderfully private. (she (^) turns her head dwd,v^..^--\ l No one (^) cln ever see me. (another (^) pause) It's hopeless, (^) isn't it, doctor? I'11 never l-ook (^) any dif ferent.

DOCTOR (putting (^) her wrist down) That's (^) hard to say. Up (^) to now you haven't (^) responded to (^) the medication or to the shots or any (^) of the proven techniques. Frankly, you've (^) stumped us, (^) Miss Tyler. Nothing we've (^) done so far (^) has made any difference (^) at al-I. But we're (^) hopeful of what (^) this Iast treatment (^) may have accomplished. There's no (^) te11ing, of course - not tilI we get^ the (^) bandages off. Unfortunately your^ case is one that can't be handled with plastic (^) surgery. Bone (^) structure, flesh (^) type...many factors prohibit (^) this kind of approach.

He turns (^) away. The CAMERAARCSAROUNDwith him so (^) that he's never full (^) on camera.

DOCTOR(CONT'D)

four el_eventh visit.

A pause.^ He moves over (^) to the table, taps (^) on it tentacively.

L7. (^) Close shot his fingers (^) As they tap.

18. Angle shot looking (^) across dlanet toward (^) the slouched figrure of the (^) doctor There's a silence (^) and finally Janet (^) breaks ii.

dIAI{ET No nore after (^) this, ale there? No roore tries.

DOCTOR Eleven is the mandatorv (^) number of o:zfiori - - -7il-.il,^., mar'r1- a .4v vr.r^ qY^ u^ / No more are permitted (^) after eleven.

fiAI{ET Now what?

D@TOR

WeII you're (^) kind of jumping (^) the (^) 9uo, Miss Ty1er. (^) You may very wetl have responded (^) to these last injections. Therers no way (^) of telling till we get (^) those bandages (^) off.

TIANEf But if I havenft (^) responded - (^) then what?

DOCTOR

There are alternatives.

JA}IEI Like?

The doctor starts to (^) turn. wE cur ABRUPTLYBEFOREHE GETS To trAT-tr TTJtr T-AMtrPA TA.

DOCTOR

Don't you^ know?

iTA}IET (very (^) softly) I know.

DOCTOR (approaching (^) the bed) fou realize, (^) of course, Miss Tyler, why these (^) rules are in effect? (MORE)

DOCTOR

You're not alone, Miss Tyler. you realize that, don't you? (^) You're hardly (^) aione. There are many others who (^) share your (^) misfortune. People who (^) look much as you (^) do. One of the al-ternatives... should this last treatment prove^ unsuccessful.. .weI1, this is simply (^) to allow you (^) to move into a special (^) area in which people of your^ own kind (^) have been conqreqated.

JE}IET Peop1e of my own kind! (a pause) Congregated, (^) doctor? You don't mean congregated, you (^) mean segregated. You mean imprisoned. (^) You're talking about (^) a qhetto^ now. (and-then (^) plaintive, anguished, and more As e r:rv-vL (^) i I she (^) shriekS this (^) out) A ghetto^ designed for freaks!

DOCEOR ( shouting) Miss Tyler! The (^) State is noE. unsympathetic. Your presence here (^) in this hospital attests to (^) this. ft's doing all it can for you. But you're not being rational, Miss Ty1er. You can't expect to live any kind of life (^) amonqst... (again (^) he gropes, (^) but picks (^) it up quickly) Amongst (^) normal people.

CUT TO:

2t. Close shot ,f,anet The (^) bandages twitch as if, underneath, her face were contortinq.

iIA}IET I could try. f could wear a mask (^) or this bandage. I wouldn't (^) bother anyone. I'd just^ go^ my own way. I'd take a job.^ Any job. (her (^) voice breaks again ) Who are you people (^) anyway? What is this State? [aJ[g p:lroc^ rln^ :l^ I^ f he

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" "-Etrd-i

n"-

t

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traditions? The peopLe^ who (^) are different have to stay away from other people^ who are normal. The State isn't God, doctor.

!v.

DOCTOR (firmly (^) and obviously concerned) Miss Tyler,^ please^!

.JN{ET .--_'-The^ State^ is^ not^ God.^ It^ hasn't^ the right to penalize^ people^ for an accident of birth. It hasn't the right to make ugliness a (^) crime-

DocTOR ( shout ing ) Miss Tyler, (^) I must ask you (^) to stop this kind of talk immediatelyl Now, Miss Tyler, nowl

The CAMERAMOVES BACK over to a (^) SHOT OF JANET, who gets (^) out of bed and stands there for (^) a moment motionless with (^) her head down' then very slowly, (^) a hand (^) out in front of her, she moves across the room over to a window. (^) She touches it, then puts (^) her bandaged cheek against it.

CUT TO:

22. Reverse angle looking at her through (^) the glass (^) One hand moves down the pane^ unti] it reaches the (^) open section at the bottom. She moves her hand back and forth.

i'A}IET ( softly) I feel the night out there. I feel the air. I can smel-I the flowers. ( she (^) turns slowly to face (^) the doctor. Both hands go (^) up t.o touch the (^) bandage, in a very smal1, still voice) Please take this (^) off me. (^) P]ease take this off me. (then (^) screaming) Take this off me!

She starts to clutch and scrabble at the banddg€, screaming as she does so.

ABRUPT CUT TO:

23. IllT. CORRIDOR ROO['{ TIIDICATOR ON TIALIJ O\ZER RECEPTTON DESK

A light (^) "307" flashes (^) over and over again. In the b.g. we hear cJanet's screaming voice pleading for (^) the removal- (^) of the bandage. The nurse passes the camera hurriedly. (^) CAI.{ERAPA}IS AROUNDSO THAT IT IS LOOKING at her as she races down (^) the corridor toward qTanet's^ room.

ABRUPT CUT TO:

L-.

set perched^ on the far end of the counter which fronts (^) the reception desk.

ORDERLY Leader's speak:-ng tonight. (^) Goes on in (^) iust a few minutes.

He rises, flicks on the (^) set, then lights a cigarette.

29. Top hat shot ttre match As it goes^ into the ashtray. Directly across on a direct line is the front of the television set which shows an extremely long (^) shot of a desk with an official seal behind it. A man sits behind it, (^) too far off to distinguish cieariy beyond (^) a general (^) outline. An off-camera voice announces portentouslv.

A}INOI'NCER And now, Iadies (^) and gentlemen, (^) our Leader.

There is cheering and offstage applause, (^) and we (^) now hear the stentorian tones^ of^ the^ qentleman^ rust announced.

I.EJADER'S VOICE Good evening, .l-adies and gentlemen. Tonight f shall talk to you^ about glorious (^) conformity.. .about the delight and the ultimace pieasure^ of our unified society. You recall, of course, that directionl-ess, unproductive, over- sentimentali zed era of man's history when^ it was assumed that dissent was^ some kind of natural and healthy (^) adjunct to society. We also recall (^) that during this period^ of time (^) there was (^) a strange over-sentimentalized concept that it mattered not that people were different, that ideas were (^) at variance with one another, (^) that a world could exist in some kind of crazy, patchwork^ kind of makeup, with foreign elements glued^ together in a crazy quilt.^ We realize, of courseT oowT that,..

His voice continues (^) underneath as the CAMERAMOVESAWAY from hiM (^) and SHOOTSDOWNTHE HAIL. The (^) LEADER'S VOICE conlinueS through the bandage-removal scene.

30. Different angle the door of dlanet's rooro

DISSOLVE TO:

31. IlW. EOSPTTAI' ROO['{NIGEI

Janet now sits in a chair in the center of the room. A single orrcrhoacl I i oht (^) has been turned on SO that She alOne is

illuminated almost as if by a spotlight. There's a low murmur

of voices underneath as other shadowy figures in the room

walk back and forth in front of her, their shadows playing

briefly on her bandaged face as they move. Behinci this scene,

intermittently, we can hear the voice of the Leader on the

television sel outside. Then the voices of the doctor and

the people in the room die off. The doctor's body steps in

frOnt Of the camera. CAMERAPANSDOWNto a SHOTOF HIS RIGHT

HAND. It holds a scissors.

DOCTOR

Now f have to ask you once again,

Miss Ty1er. I must insist that you

promise to remain rational. No

tantrums. No temperament. And no

vioLence, You understand?

Janet nods.

DOCTOR (^ CONT'D)

Now f'11 telI you precisely (^) what I'm going (^) to do. I'm going (^) to cut the bandage at a point^ on the left side of your (^) head. I'11 start to unwind the bandage very gradually. (^) The process (^) has (^) to be slow (^) so that you can become accustomed (^) to the light. As you^ know, the injections may have had an effect on your vision. Now as I unwrap, I want you (^) to keep your eyes open and I want you (^) to describe to me the different (^) shading of light as you^ perceive^ it as each (^) layer of bandaqe comes off.

.'AI{ET ( softly) A11 riqht.

32. Different angle prof,ile (^) shot ,Janet We see the doctor's body from the neck down, (^) the scissors now held in front of n1m.

DOCTOR Now if you make any movement (^) or if you (^) start getting emotional on (^) us, Miss Tyler, I'rTr going to have to have the nurses hold you^ down and have the anesthetist put^ you^ under sedation. Is that understood?

.,}}IET ( falteringly) T nrrrmi qa^ T r.zan I^ I

DOCTOR

All right then.

There's (^) a silence.

JAI{ET

No. No, (^) thank you. (^) No mirror.

Again she l-ooks (^) up as if trying (^) to scan (^) the faces of the others in the room.

35. Pan shot past (^) ttre faces (^) Of the anesthetist, (^) and (^) two nurses in the shadows (^) as they watch (^) motionlessly (^) and iensely.
36. Different (^) angle (^) dlanet As seen (^) from the back (^) of her head. The (^) doctor once again (^) reaches (^) for the last (^) of the bandages.

DOCTOR

Now I'm going (^) to remove the last bandage, (^) Miss Tyler. (^) And f want you to remember this please. (^) Miss (^) Tyler? Are you (^) listening?

iIA}IE:t' Yes, (^) f'm listening.

D@TOR

We have (^) done all we (^) coul_d. ff we were successful (^) - (^) all well- (^) and good. There are no problems. (^) ff, however, this final (^) treatment (^) has not achi-eved the desired (^) results, keep (^) in mind that you^ can (^) sti1l l_ive (^) a 1ons and fruitful life (^) among people (^) of your own kind. As (^) soon as we (^) discover these results, we'11 (^) either (^) release you...or...

He pauses^ for (^) a moment.

37. Anottrer pan (^) shot past (^) the shadowy faces (^) of the other people (^) in the rgom, (^) winding (^) up on a sHor oF (^) JANET'S thinly bandaged face through (^) which we (^) can now see (^) the outline of her (^) features, eyes, (^) nose, mouth, (^) but no definitive portrait of a face.

Doctor?

.TA}IET

DOCTOR

Yes.

.TA}IET If I'm (^) stilI...if (^) I'm still terriblv ugfy, is (^) there (^) any other al_ternative? Cou1d I. (^).. could I (^) be put (^) away?

DOCTOR

Under (^) certain ci_rcumstances, (^) Miss Tyler...the (^) State (^) does provide (^) for (MORE)

!\J r

DOCTOR (^ CONT'D) extermination (^) of undesirables. There are many^ factors to be considered, though, that (^) bear on the decision. Under (^) the circumstances, considering your (^) age...your general physical condition...f doubt very much if we could permit^ anything but your transfer to a communal group^ of people with your. (^). .your disability.

JA}IET

You'11- make me qo^ then?

DOCTOR

That will probably (^) be the case. A right, (^) Miss Ty1er. Remain very quiet please. (^) Keep your (^) eyes open.

38. Different angle (^) from behind ttre doctor As he reaches forward and starts (^) to unwind the l-ast bandage. The first strip of bandage comes off the top of her forehead, another 'l :rrar ro\ro:'l 'i nrr har fnroho-eA rnnt-l.rar 'l = (^) .r i rr q{.
    • -* -..-.r..ry d.rl(J LlrEl^ .ra!€I^ UnCOVef^ In.., the upper part of her (^) eyebrows and eyes.

DOCTOR (^ CONT'D) AII right, Miss Ty1er. Now here comes the last of it. I wish vou everv good (^) luckl

Again he reaches over and starts f-o unwind as we

CUT TO:

39. Shadowy faces of ttre other people^ in ttre room

There's a moment's absolute silence, then one of the nurses iets out a gasp.^ Another involuntarily throws a hand ancr arm across her^ face^ to blot out what^ is obviouslv an incredible qrrani-!I/vv (^) rnl o

40. FJ.ash close shot doctor's (^) hand As he drops (^) the scissors and they land on the floor. He then steps back into the shadows to stand cl-ose to the others.

DOCTOR'S VOICE No chanse! No chanse at (^) all I

{1. Closeup .fanet She raises her head. If she is not startlingly beautifulr w€^ have missed our point^ entirely.

42. Different angle from (^) behind Janet

As she slowly rises. Her hands (^) come up from her side to touch her face, then remain there as her head bends over and she buries her face in her hands. fn the silence we hear one rasping sob that is finally and painfully controiled. Then she l-ooks up, scanning the faces that (^) confront her, then

-L9.

ttADER'S VOrCE (CONT'D) They will^ scream at you^ and rant and rave and conjure up some dead and decadent picture^ of an ancient time when (^) they said that all men are created equai I But to them equality was an equality of opportunity, an equality of status, 3rI equality of aspiration! And then, in what must surely be the pinnacle^ of insanity, the absolute in j-nconsistency,^ they would have had (^) us believe that this equality did not apply to form, to creed. They permitted^ a polyglot, accident-bred, mongrel-like mass of diversification to blanket the earth, to infiltrate and weaken! (now he shrieks) Wel-l-, w€ know now that there must be a single purposel^ A single norml A single approach I A single entity of peoplesl (^) A single virtuel A single morali-ty! A single f rame of reference! A single philosophy^ of government! (shrieking (^) again) we (^) cannot permit...we (^) must not permit the encroaching sentimEnEElity of a past (^) age Lo weaken (^) our resolve. We must cut out ali that is different like (^) a cancerous qrowth^!

56. Running shot ,.Tanet As (^) she races down the corridor.

57.-59. Dif,ferent angles (^) television screens As she runs by them. Each with a different (^) angle of the face of the Leader as he continues to speak, his voice droning, unintelligible, vuL^ hrrf ncrsivE!oro sf^ ugrrLanf o.ll\r-n^ ^-^,..r,.-'r':/\J!a-(LraJ-Iw f :kinoLq^rrlv onvrr ae^ build of excitement.

60. Different angrle Janet As she stops in the middle of an empty hal} and looks l-eft, right, in front and then back.

CUT TO:

51.-63. Interspersed ehots of the teLevision screen

As each shot shows it in larger and larger perspective.^ The face of the Leader is increciibly ugly as it^ shouts^ down^ at her.

5{. Zoom in^ to cloee shot (^) 'Janet's back^ As^ her^ hands^ go^ to the sides of her^ head,^ as^ if^ trvinq to^ shut^ out^ the^ noises.

65. Long angle shot looking down As she races down the Iast corridor and turns a corner then stops dead. WHIP PAN UP TO GIANT TELEVTSION SCREEN. The Leader's face^ fills^ it^ up anfvlrLa!sJyr i ral rz (^) JU!gA,lttIlrgq-ra=mi^ nn (^) I r=n{-LAIt LrIr9ti nrr a^nfUUITLvILJIIV. nrf i nr-r

LJ.

66. crose shot (^) rranet's hand As she instinctivery reaches (^) for an ashtray near a bench which is aqainst (^) one waLl.

67.^ DIFFEREITT A}IGI"E

As she picks^ ic up and fiings it (^) across the corridor.

68. Extrenely tight close (^) shot television screen The ashtray hits the face of the Leader (^) head on and splinters the set, and from the broken, smoking (^) remnant of the machiner w€ hear the voice of (^) the Leader.

LEADER'S VOICE (^ CONT'D)

It is essential in this society that we not only have a norm, but that we conform to that norm. Di-fferences weaken us. Variations destroy us. An incredible permissiveness^ to deviation from this norm is what has ended nations and brought them to their knees. Conformity we must worship and hold sacred. Conformitv is the key to survival.

ThorlrE rrnivv!vs na nar^.:vs!D-L>L:) (^) ^!^ d.> wEi

CUT TO:

69. Different (^) angle Janet As she races down the corridor past (^) the screen.
70. CLoee shot double doors Unlab1ed, (^) ds Janet runs in (^) and smashes throuqh them.

7L. IITT. ROOL{MED. SEOT

Janet bursts in and recoils in shock (^) and horror at (^) something she sees o.s. She shrieks and slides slowly down to the ground in a huddled heap and begins to (^) cry. The CAMERAMOVESDOWN. The legs^ and feet of whatever monstrosity she has seen move into f.g.^ Janet is terrified. Then the doctor enters from another direction^ and bends down to her soothinqlv.

DOCTOR Don't be afraid, Miss (^) Tyler. This is a representative (^) of the group you're to l-j-ve with. Oddly (^) enough, you've come right (^) to him. (^) Come on now - (^) he won't hurt (^) vou.

He lifts the terrified qirl^ to her feet.

72. eLOSEUP .,IAI.IET

Forces herself to look (^) at the newcomer, her face full (^) of revulsion.