Manual Daisy Moomers Disaster

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Whilst on holiday in South Wales with his family, a young boy comes across Daisy Moomer. Who has had a disaster. Discover what that disaster was and how​.
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He has one interest in life, and that's Walter Bedeker. One preoccupation: the life and well-being of Walter Bedeker. One abiding concern about society: that if Walter Bedeker should die, how will it survive without him? Cadwallader, an impeccably-dressed , j ovial fat man who also happens to be the Devil. An escape clause is provided , however; if at any time he tires of life , all he need do is summon Cadwallader. Soon after the deal is struck, Bedeker realizes he's been taken.

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Nothing can harm him , true-but nothing thrills him either. He throws himself in front of subway trains and buses , drinks poison, all without the slightest ill effect. Finally he decides to jump off the top of his apartment building. In trying to stop him , his wife accidentally falls off the building to her death. He receives a shock of a different kind , however, when the judge sentences him to life imprisonment without chance of parole. Cadwallader appears and grants him a reprieve , in the form of a fatal heart attack.

Case in point: Walter Bedeker, lately deceased, a little man with such a yen to live. Good work , Rod Serling. Wilson : Pat O 'Malley Mr. Occupation: vice-president, ad agency, in charge of media.

This is not just a Sunday drive for Martin Sloan. He perhaps doesn't know it at the time-but it's an exodus. Somewhere up the road he's looking for sanity. And somewhere up the road, he'll find something else. Soon he realizes that he has somehow gone back in time. He confronts his parents but only succeeds in convincing them he's a lunatic.

Later, Martin's father, who has gone through Martin's wallet and now realizes Martin is his son , tells him he must leave , that there is "only one summer to every customer.

Daisy's Destruction Was Found

And perhaps across his mind there'll flit a little errant wish, that a man might not have to become old, never outgrow the parks and the merry-go-rounds of his youth. A nd he'll smile then too because he'll know it is just an errant wish, some wisp of memory not too important really, some laughing ghosts that cross a man's mind-that are a part of the Twilight Zone.


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Feeling an overwhelming sense of nostalgia , it struck me that all of us have a deep longing to go back-not to our home as it is today, but as we remember it. It was from this simple incident that I wove the story 'Walking Distance'. Ronnie Howard later of the long-running Happy Days was also cast , as a neighborhood child.

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Louis were magically transformed into the homes of Homewood. From an outside firm , a gorgeously detailed carousel was rented and set up on a backlot park. Says Buck Houghton , "There was a fortunate conspiracy of all sorts of arts and crafts that came to bear on that picture : the good fortunes of casting , the good fortunes of direction.

Gig Young was just superb. The sets were absolutely magnificent for a half-hour show. There were a lot of good vibes coming out of the material as you encountered it, all the way up and down the line. It's a beauty.

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Nowhere is this delineation so clear as in Martin's entrance into the past. Rather than using a time machine , Serling and Stevens employ a visual allusion to Through the Looking Glass. In the present, Martin heads down a dirt road toward his home town. The camera pans over to a mirror in which we see his reflection.

This cuts to a reflection of Martin in a drugstore mirror in the past, just as he enters. A similar device was used for the return to the present. Martin jumps on a spinning merry-go-round which cuts to a record spinning in a jukebox in the present-day version of the same drug store. Serling realized that the harsh , hard-edged style of writing he'd used in "Where Is Everybody? Instead , he used a style that was wistful , nostalgic. A longing for the past fills this episode , and that longing is communicated more through words than action.

Nowhere is Serling's command of the language more in evidence. There's no room , there's no place. Do you understand that? Why not? That little boy, the one I know, the one who belongs here , this is his summer, just as it was yours once-don't make him share it. I've been living at a dead run and I was tired. Then one day, I knew I had to come back here. Maybe you haven't been looking in the right place. Try looking ahead. Then , too , there is Serling's closing narration , perhaps the most touching and beautifully written of any episode of The Twilight Zone.

Bernard Herrmann , with movie credits including The Ghost and Mrs. Listening to this score , composed specifically for this episode, it is hard to believe any composer-particularly one with such distinguished credits in feature films-would bother to take such pains. Following the production and sale of the pilot , but before regular production of the series began , network vice-president William Dozier was given several of Serling's Twilight Zone scripts to read. Buck Houghton explains where the trouble came in : "The pilot could have happened. This was about a guy in a space machine who got claustrophobia to a point where he thought he was the only man in the world.

That was one of the two or three Twilight Zones that could have happened. The next script that Bill Dozier read was 'Walking Distance,' about a guy who walks into his own home town hale and hearty and comes back with a limp that he got as a child, and Dozier said , 'Bullshit! This doesn't work. Who the fuck's going to believe this , Rod? It's like the one I'm writing , in which a guy falls in love with a girl and , sure enough , she's a mechanical girl , just like it says on the label. Is this what this is all going to be about?

He'd been convinced to jump off the deep end and he was with it.

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So when sponsors started to say, 'Hey, what's this? This is a man who's begun his dying early-a long, agonizing route through a maze of bOllles. Al Denton, who would probably give an arm or a part of his soul to have another chance, to be able to rise up and shake the dirt from his body and the bad dreams that infest his consciousness. Its function: perhaps to give Mister Al Denton his second chance. Al Dentonon ce a feared gunslinger, now the town drunk-is forced to draw against Hotaling , a sadistic bully.

But on that same day, Henry J. Fate rides into town. Somehow, Fate's glance gives Denton's hand a life of its own , and Denton gets off two miraculous shots, disarming his tormentor and regaining the respect of the town. His dignity renewed , he swears off liquor. But all too soon , he finds himself in the same trap that drove him to the bottle in the first place: his newly-won reputation causes a young hotshot to challenge him to a duel.

The moment his opponent enters the saloon, Denton downs the potion-and sees the other man doing exactly the same thing! The two shoot the guns out of each other's hands, each sustaining an injury that will never allow him to shoot again. Denton, freed of ever having to face down another man , tells his adversary that they've both been blessed.

Henry Fate, dealer in utensils and pots and pans, liniments and potions.

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A fanciful lillle man in a black frock coat who can help a man climbing out of a pit-or another man from falling into one. Because, you see, Fate can work that way. Originally, his idea for the story was something entitled "You Too Can be a Fast Gun , " about a meek schoolteacher who achieves his wish to be a gunfighter by way of a magic potion , but eventually Serling rethought the story and opted for something a little less superficial. Denton on Doomsday" explores a theme that writers would touch on often on The Twilight Zone, that of a person magically granted a second chance.

Years before , Duryea had made his reputation in films playing thoroughly detestable weasel types. Allen Reisner, director of "The Time Element, " skillfully guided this episode away from the cliched and maudlin , and as a result Serling's story emerges as truly poignant. The present. Man on a sidewalk named Lew Bookman, age sixtyish. Occupation: pitchman. Lew Bookman, a fixture of the summer, a rather minor component to a hot July, a nondescript, commonplace little man whose life is a treadmill built out of sidewalks. And in just a moment, Lew Bookman will have to concern himself with survival-because as of three o'clock this hot July afternoon he'll be stalked by Mr.

A persuasive man , Bookman succeeds in convincing Death to let him stay on Earth until he has had a chance to do his masterpiece , the Big Pitch-"one for the angels. Realizing he must now take someone in Bookman's place , Death arranges for a truck to hit Maggie , a neighborhood child. The substitution is proceeding nicely ; all that remains is that Death must be in the dying girl's room at precisely midnight to claim her. Bookman , determined that Death not take Maggie , makes a pitch so enthralling that Death misses his deadline.

The child is saved.