Christian Horn (Cliff Robertson) on his first trip in the Twilight Zone |
“A Hundred Yard Over the Rim”
Season Two, Episode 59Original Air Date: April 7, 1961
Christian Horn: Cliff Robertson
Joe: John Crawford
Mary Lou: Evans Evans
The Doctor: Ed Platt
Charlie: John Astin
Martha Horn: Miranda Jones
Woman: Jennifer Bunker
Man: Ken Drake
Sheriff: Robert McCord
Director: Buzz Kulik
Producer: Buck Houghton
Production Manager: Ralph W. Nelson
Director of Photography: George T. Clemens
Art Direction: George W. Davis and Philip Barber
Set Decoration: Henry Grace and H. Web Arrowsmith
Assistant Director: Darrell Hallenbeck
Editor: Leon Barsha
Sound: Franklin Milton and Bill Edmondson
Music: Fred Steiner
And Now, Mr. Serling:
“Next
week you’ll ride up front in this wagon on a trek west. Your itinerary is across the Great Plains,
over the Rockies, to a point in New Mexico.
And you’ll ride alongside Mr. Cliff Robertson in a strange tale of a
handful of American pioneers who made a detour in time and found themselves one
afternoon on the fringe of the future.
Our story is called ‘A Hundred Yards Over the Rim’ and believe me, it’s
quite a view. I hope we’ll see you
there.”Rod Serling’s Opening Narration:
“The year is 1847. The place is the territory of New Mexico. The people are a tiny handful of men and women with a dream. Eleven months ago they started out from Ohio and headed west. Someone told them about a place called California. About a warm sun and a blue sky. About rich land and fresh air. And at this moment, almost a year later, they have seen nothing but cold, heat, exhaustion, hunger, and sickness. This man’s name is Christian Horn. He has a dying eight year-old son and a heartsick wife. And he’s the only one remaining who has even a fragment of the dream left. Mr. Chris Horn…who’s going over the top of a rim to look for water and sustenance. And in a moment will move into…the Twilight Zone.”
1847. A band of tired,
hungry travelers stop to rest somewhere in New Mexico in the middle of a desert
that asks for no sympathy and gives none.
This group of dirty but otherwise decent, civilized nomads is fronted by
a man named Christian Horn. Horn and his
group set out from Ohio eleven months previous and still have not reached their
final destination of California. They
haven’t eaten in days and are short on water. Horn brings with him his wife, Martha, and an
eight year-old son who has grown deathly ill.
Once they are stopped
several of the travelers approach Chris.
They tell him that they are hungry and desperate and scared. They have decided that they want to go
back. Chris tells them that they will
surely die if they turn back now. They
say they will die if they spend one more day in this desert. Chris promises them that he will find water
and sets out to look for it. He wanders
over a hill and is startled at what he finds on the other side. He looks back to his wagons and his friends
but they are gone. He looks forward and
sees a sight unknown to him: power lines and a paved highway.
He wanders into the
road as an eighteen-wheeler comes blasting around the corner of a mountain. Chris jumps out of the way and lands face
down in a ditch on top of his rifle causing it to fire a shot that grazes his
wrist. He gets up and continues down the
road and comes to a café. Outside of
the café is a man who introduces himself as “Joe.” He owns the café with his wife, Mary
Lou. Joe initially thinks the man is
dressed up as part of a gag or a costume party but realizes after speaking with
him that perhaps he is not well. He
takes Chris inside and asks his wife to look at the wound on Chris’s
hand. She bandages it and gives him
penicillin to prevent infection. After
some conversation as to who he is and what brought him here Chris sees a
Calendar and realizes that he is in the year 1961.
Later, Joe calls a
doctor to come over and examine Chris. The
doctor examines Chris in a backroom of the diner and then comes out to speak
with Joe and Mary Lou. He tells them
that although Chris’s story is certainly impossible aside from this Chris seems
like a perfectly rational, harmless individual.
But he still decides that Chris should be taken into custody and looked
at by a psychiatrist and phones the sheriff.
Chris emerges from the back room holding an encyclopedia in his
hands. He has discovered that his son
will one day become a famous doctor who will save many people’s lives. He thanks everyone for their kindness but
says that he needs to get back to where he came from. The doctor attempts to stop him but
fails. Chris races back up the hill from
which he came as a police cruiser trails closely behind him. While running he drops his rifle on the
ground. He reaches the top of the hill
and is relieved to see his friends resting peacefully on the other side. He looks back but sees only desert, no signs
of power lines or highways anywhere. He
walks up to his wife and hands her the bottle of penicillin tablets and tells her
to give them to their son. He remembers
that Joe mentioned a water spring close by.
Back in 1961 Joe has
discovered Chris’s rifle but only now it looks old and rusted, as if it has
been lying in the desert for a hundred years.
In 1847 Chris tells his
people that there is water nearby. He looks
lovingly at his wife and promises her that everything is going to be fine from now
on. He takes the reins of his wagon and
they start off again.
Rod Serling’s Closing Narration:
“Mr. Christian Horn. One of the hardy breed of men who headed west during a time when there were no concrete highways or the solace of civilization. Mr. Christian Horn and family and party, heading west after a brief detour…through the Twilight Zone.”
With
“A Hundred Yards Over the Rim” The
Twilight Zone ventured back into the realm of time travel which it would do
again many times before the end of its five season run. As with the majority of the time travel
episodes there is no machinery involved here in escorting Christian Horn
through time. He simply discovers,
through contrasting imagery, that he has crossed over into another time. “Walking
Distance,” “The Last Flight,” and “Back There”—to name but of few of the myriad time travel episodes—all use this same formula. On The
Twilight Zone the attention was always focused on the psychological transformation
of the characters and not so much on the transformation of the world around
them. For instance, almost all of the
time travel episodes on the show deal within a time frame that the audience can
recognize. Either the characters travel
from the then present 1960’s into the past or vice versa. They rarely travel into the future which
would distract the viewer visually from the characters. Thus, time travel was used not as a device
for scientific exploration but simply as a way to explore the human condition
like any other genre of fiction. It’s
interesting to note that the majority of the time travel episodes on the series
featured likeable protagonists, ones that the audience would root for. And it’s usually at a time when their lives
are in some sort of turmoil as Chris’s is here.
Returning
to direct his fourth episode of the show is Buzz Kulik. Kulik had an acute sensibility for directing
episodes with an ethereal quality to them.
His credits so far on the show were “King Nine Will Not Return,”” The
Trouble with Templeton,” and “Static,” all from Season Two. I should point out that these episodes all
deal with time travel in some way. He
would go on to direct nine episodes in all including the haunting Season Three
classic “A Game of Pool.” His camera
work is minimal. He instead relies on
atmosphere to be the predominant influence in his episodes. Here he lets the desert play second fiddle to
Cliff Robertson. Although Robertson’s
trip from 1847 to 1961 is both instantaneous and unexplainable, both to himself
and the viewer, Kulik subliminally attributes the time warp to the desert and
all its mysticism. His work outside the Zone includes a debut stint in the live
play productions of the 1950’s and 60’s, episodes of Perry Mason, Gunsmoke, Climax!, Rawhide, and Have Gun—Will Travel, and a lengthy career as a director of high
quality made for television films, most notably 1971’s Brian’s Song starring James Cann and Billy Dee Williams.
It’s
interesting to note that this episode was filmed back to back with The Rip Van Winkle Caper which aired the
week after. The episodes were both shot
not in New Mexico or Death Valley as the scripts would lead you to believe but
outside of Lone Pine, California. Many
of the same set pieces were used in both episodes including the truck which nearly
runs Cliff Robertson down (thanks to Martin Grams, Jr.’s book The Twilight Zone: Unlocking the Door to a
Television Classic for this info).
Although
Cliff Robertson only appears in two episodes of The Twilight Zone he would forever be associated with the program
because his performances are so strong.
Here he portrays a tired and desperate Christian Horn, a man haunted by
fatigue, hunger, responsibility, and a diminishing hope for the future. When he shows up at Joe’s Airflite Café in 1961 he
has to struggle not only with the fact that he is in a completely foreign place
and time but also with the fact that his rescuers believe he is insane. In Season Three’s “The Dummy” he has to prove
his sanity to others once again as a ventriloquist who believes that his puppet
is alive. It’s one of the most memorable
performances in the show’s history. Robertson
was a very intense individual and was known as a method actor who would often
bring his character’s troubles with him offstage. The top hat that he sports in this episode
was his idea even though Buzz Kulick is said to have hated it. Today he is best remembered for his
performance as a young John F. Kennedy (he was reportedly Kennedy’s preferred
choice for this role) in the 1963 film P.T.
109 and as a developmentally challenged young man in Charly (1968), Ralph Nelson and Stirling Silliphant’s screen
adaptation of Daniel Keyes’s 1959 novel Flowers
for Algernon. Robertson won an Academy Award for this performance. He also enjoyed a reoccurring role as the
villain Shame on ABC’s live action Batman
series from 1966 to 1968. During the
last ten years or so of his life Robertson enjoyed a renewed celebrity for his
role as Uncle Ben in Sam Raimi’s
Spiderman films. He died in 2011.
This episode also
featured a young John Astin in a bit role several years before he was cast as
Gomez Addams in The Addams Family series.
“A Hundred Yards Over
the Rim” is a simple story but one with a lot of heart and a great performance
from its leading star. It’s an
atmospheric episode and one that might take a while to grow on people as it did
with me. But I can recommend it as a
good example of what this show did best: taking an ordinary individual and
placing them in an extraordinary situation.
The outcome of a person’s trip into the Twilight Zone depended entirely
on the person. If they were a kind,
decent individual then their trip would go well and if they weren’t then it
would not. Fortunately for Christian he
is a genuinely decent character who the audience can relate to and sympathize with
so he makes it through his trip unscathed and with a renewed outlook on life.
Earl E. Mayan illustration for "Beyond the Rim" from "Rod Serling's Twilight Zone Revisited" (Grosset & Dunlap, 1964) |
-Buzz Kulik also directed Season Two’s “King Nine Will Not Return,” “The Trouble with Templeton,” “Static,” and “The Mind and the Matter.” He directed the Season Three episodes “A Game of Pool” and “A Quality of Mercy.” He directed Season Four’s “Jess-Belle” and “On Thursday We Leave for Home.”
-John Astin appeared in two episodes of Rod Serling's Night Gallery, "Pamela's Voice" and "Hell's Bells," and directed three segments, "The House," "A Fear of Spiders," and "The Dark Boy."
-“A Hundred Yards Over the Rim” was adapted into a Twilight Zone Radio Drama starring Jim Caviezel.
-"A Hundred Yards Over the Rim" was adapted into a short story (as "Beyond the Rim") by Walter B. Gibson for Rod Serling's Twilight Zone Revisited (Grosset & Dunlap, 1964).
-The Airflite Cafe is still standing today, although it hasn't been in operation in many years. Check out these cool photos taken by Lee Wallender
Thanks for reminding me of this wonderful episode! For some reason, I seem to recall very good music. Am I thinking of the right one? Is this a Goldsmith score?
ReplyDeleteFred Steiner did the music for this one. I'm not really familiar with his work but he only did a handful of original scores for the show. But the score here seems to fit the episode well.
ReplyDeleteFred Steiner wrote the theme songs for "Perry Mason" and the Rocky and Bulwinkle cartoon series.
DeleteWas the appearance of the truck with same decals used in Rip Van Winkle Caper intended as a brief crossover? I image a truck driver who almost ran someone down would stop to check on the individual. Howver, a truck with felons fresh off a gold heist would have kept on going as this truck did in this episode.
ReplyDeleteHey, good eye, Quinn. I don't think it was intended as a crossover as each episode was intended to be its own unique story. The show did take full advantage of MGM's famously expansive prop department and numerous props, vehicles, wardrobes, etc. were used countless times on the show. It's a really interesting theory though. Thanks for the comment!
ReplyDeleteRod Serling should have done better research on this story. "A Hundred Yards Over The Rim" is set in 1847; and we are told that the settlers are in "The Territory of New Mexico". But in 1847, the area that later became New Mexico was still part of the Republic of Mexico; it wasn't annexed (for which read "stolen") by the United States until the following year, and wasn't organized into the Territory of New Mexico until 1850. Also, in 1847, the Mexican-American War was in full swing (it was the year of the Battle of Buena Vista), and I doubt that settlers from back East would have chosen a route that would have taken them straight through a war zone. All that Serling would have needed to do to resolve this problem was move the story ahead a few years. All of this said, "A Hundred Yards Over The Rim" is one of my favorite "Twilight Zone" episodes, largely because of Cliff Robertson's wonderful performance. His utter disorientation at being suddenly hurled from 1847 to 1961 is conveyed more convincingly than any similar reactions that I've ever seen in any other time-travel story. Between this episode and "The Dummy", Robertson had a pair of performances on "The Twilight Zone" of which any actor could be immensely proud.
ReplyDelete