There is a fifth dimension
beyond tha t which is known to man.
It is a dimension as vastas space
and as timeless as infinity.
It is the middle ground between lightand shadow,
between science and s upers ti tion.
And it lies between the pit of man's fears
and the summit of his knowledge.
This is the dimension of ima Gina tion.
It is an area which we call the twilightzone.
You're looking a t a tableau of reality.
Things of substance, of physical ma terial.
A desk, a windovl/, a light.
These things exist and ha ve dimension.
Novl/, this is Arthur Curtis, age 36, who also is real.
He has flesh and blood, muscle and mind.
But in justa moment, we will see how thina line separa tes tha t which we assume to be real
with tha t ma nufa c tured ins ide of a mind.
Good morning, Mr. Curtis.
Ah, good morning, Sally.
I thought I'd better get an early start. I gotta leave about 3:00.
My wife and I haven't gotten a thing for Tina's birthday party yet.
That's right. It's Saturday afternoon, isn't it?
Yeah, if my dear daughter can hold out that long.
Is she excited?
That's all she can talk about.
That's about normal.
Are the matson contracts ready, yet?
Sure. I finished them last night before I left.
Here they are.
Thanks. Well, to the grindstone. Oh, uh, I almost forgot.
Could you call and see if you can change the plane reservations to Saturday night?
Of course. Straining at the bit, huh?
It's the first real vacation Marian and I have had in years,
so we figured why lose the whole weekend before starting out.
I don't blame you, Mr. Curtis.
So, uh, Saturday night, it's San Francisco, here we come.
Oh, for heaven's sake.
Cu t!
Come on, Jerry.
Is it so hard to make a phone call?
Hey.
Hey!
Remember me, Jerry?
Marty Fisher.
Your friendly neighborhood movie director.
Sally, what...
What's the matter, Mr. Raigan?
Where are you going?
I'm warning you, Jerry. They won't take itanymore.
Wise up, boy. You're on the edge.
Je rr y?
It's okay, Marty. Just a little gag.
We'll try it again, shall we, Jerry?
We'll pick it up from the phone call.
You're phoning your wife to tell her to meet you downtown at 3:15, right?
What are you talking about?
Where am I?
What is this, some kind of a joke or something?
I don't know you.
I don't know any of you.
Don't let him get away.
Marty, I swear the agency had no idea that raigan was...
Just keep him here, Sam.
Sure, sure. I'll phone... I'll phone Brinkley.
Is there a telephone in here?
Why don't you sit down?
I asked you if there was a phone...
If I have to call Brinkley on this, you're dead.
Jerry, why don't you listen to me for one minute, will you?
I don't know what's the matter with you.
Call an ambulance. Make it fast.
Shall I use the stage phone?
No. If he finds out, there's no telling what he'd do. Go on.
Jerry, let's go to your dressing room.
Where's the nearest phone?
Jerry.
My name is Arthur Curtis.
Arthur Curtis?
Lunch, one hour.
May I have information, please?
Would you get me the telephone number of Arthur Curtis?
22437 ventner road
in woodland hills, please?
Ventner. V-e-n-t-n-e-r.
What? Oh, no, no. You're mistaken.
Of course there's a phone there.
No, listen, it's my own home. I'm Arthur Curtis. I...
Well, I-I can't seem to remember it at the moment. Will you...
No, no, it's not an unlisted number. I...
I don't think.
Will you please try again, operator?
I know there's a phone there.
Je rr y?
You're wrong, operator.
Please, connect me with your supervisor. What are you doing?
Jerry, I wanna talk to you in your dressing room. You're not well.
I'm getting out of here. I'm going home.
Jerry!
Are you out of your mind?
Jerry, if you're drunk again, so...
Take your hands off me.
Look, I don't care if they bounce you.
I don't care if you never workagain the rest of your miserable life.
But you're gonna pay me what the judge tells you to pay me,
or, so help me, I'll put you so far behind bars they'll never find you again.
Mrs. Raigan?
I'm not Mrs. Raigan anymore.
I'm sorry. Can I talk to you in private?
I haven't the time. He's coming with me.
He'll be back for the afternoon shooting.
That's not exactly what I had in mind. I've called an ambulance.
Jerr y's ha ving a ner vous brea k do wn.
Ambulance?
I'm not joking, Mrs. Raigan.
Okay, Marty, I called the hospital.
I'll drive.
I'll drive, Jerry.
I said I'll drive. You'd think you're gonna kill us.
Jerry, I'm gonna bleed you. I'm gonna bleed you dry.
Now listen to me, whoever you are.
I don't know who you think I am, but you're wrong! You're wrong!
My name is Curtis, Arthur Curtis.
And I haven't the slightest idea what you're talking about.
I'm gonna drive to my home in woodland hills.
When we get there, you can have your car back.
You think you can chisel your way out of paying me with a cheap trick...
My name is Arthur Curtis. My wife's name is Marian. I have a daughter named Tina.
We live at 22437 ventner road in woodland hills.
I'm warning you, Jerry.
My name is Arthur Curtis!
No, he isn't drunk, Mr. Brinkley.
I-I-I could tell you he's cracked. His mind is gone.
He swears he's Arthur Curtis. Swears it.
That's right. Arthur Curtis,
the character he's playing in the picture.
You'll let me know when the grand tour is over, won't you?
I can't understand. I...
I don't know where I am and yet I must...
I live here.
Whatdo you want, Jerry? Anacademya ward?
I told you, my name is...
Cut it out.
You never had a less receptiveaudience.
You don't understand.
You go ahead.
Play it out. Do what you please. I couldn't care less.
That's right. You ask where ventner road is.
Tina.
Mommy!
Get in. Would you ra ther go to jail for a ttempted assa ul t?
Get in.
That's the one, mommy. That's the one, mommy.
He's the one that grabbed me. He scared me.
I wonder what Brinkley wants.
Your blood probably.
Well, he'll have to wait his turn.
Well? Come on. I said I'd have you back for this afternoon's shooting.
Get out, Jerry.
Where are we?
Come on. Come on.
I gotta get home.
Youare home. Noi/I/, let's go.
Jerry, where have you been?
Sam phoned me over an hour ago. Said you left the studio.
Come on.
Can't this wait, Nora?
No. It can't. It's waited long enough.
I want my money before he goes off on his next binge.
And I'm going to get it. Now.
Now, look, I tried to explain to that, that woman
that I'm not who you all seem to think I am. My name is Curtis. I live in...
Jerry, stop it. You don't seem to realize the position you're in.
Where do you hide the checkbook?
I'll find it if I have to tear this house apart.
Jerry, I'll have to lay it right on the line.
If you lose this assignment, we'll have to drop you.
We can't cover up for you anymore. It's beyond that, way beyond.
I'm sorry, but you're mistaken...
Now, look!
All right. They can shoot around you today.
I'll tell them you're... sick.
They won't buy it, but I'll make it stick somehow.
But you've got to be there tomorrow, bright and early. You've got to convince them...
I don't know what's going on. I don't now what's going on.
All right, get over here.
Nora, don't.
Look, you stay out of this.
Can't you see that he's upset?
You're gonna to sign this check. You're gonna sign it right now.
Gerald raigan.
G-e-r-a-I-d r-a-i-g-a-n!
That's not my name! Now, listen, this has gone far enough!
I'm not Gerald raigan. I don't know any of you.
My name is Arthur Curtis. Do you hear me?
Arthur Curtis, and I work for...
I'd like to have a telephone number
of the Davis Morton company.
One -e I gh t-nine
brand street, Los Angeles.
Of course there is!
I work there!
I've worked there for the last seven years!
Hello? Hello!
Feeling better?
You don't believe me, do you?
I believe you've been overworked, under a terrible strain.
You need help, Jerry.
Help?
It's not in my province, but I've known you a long time.
Can't you see what's happened?
"Cast of characters. Arthur Curtis, 36.
"A young business executive, ha ppil y married.
"Curtis lives in woodland hills with his wife and child. He...
"Marian Curtis, 33. A charming young woman.
"Typical of that efficient breed
which can manage a house and famil y and still ha veample... ”
Stop it!
The only information you have about Arthur Curtis
is written in this script.
Jerry, sometimes I'd like to escape myself
away from this turmoil
to some simpler existence.
You're telling me that this is a delusion.
That I'm really Gerald raigan, a drunken...
Gerald raigan, a sweet, unhappy man,
burdened with that harpy.
Jerry ra igan, trying to find a little happiness, tha t's all.
No. It's real.
It's real.
I wish it were.
For your sake, I wish it were.
I've got to go, Jerry.
Try and get some rest.
Forget about the picture. You don't have to finish it.
I just spoke to the studio a few minutes ago.
They're canceling production.
Arthur Curtis is dead.
I've gotta get back.
It's too late, Jerry. It's finished.
I've gotta get back to my office.
Your office? If you mean the set,
they're probably tearing it down right now.
They can't.
They can't!
Je rr y!
Wait!
Mr. Raigan!
You can't do this.
We're just following orders, Mr. Raigan.
Don't leave me here.
Honey?
Marian.
Oh, Marian.
Well, my goodness. I've been phoning you all day long.
Where have you been?
Been?
Sall y kept sa ying you were out. She didn't see you go out...
Let's get out of here.
Arty! Are you all right?
Well, sure.
Where were you?
Mr. Curtis? Are you Lea ving now?
Yes.
I have your tickets for Saturday night. Here you are.
Fine. Thanks.
All right. Let's get those lamps and tables out of here.
Honey, what's the matter?
Please.
Honey, let's not wait. Let's go on our vacation right away.
Hey. What's wrong?
Nothing, darling. I just don't want to lose you.
Has raigan been here?
Yea h, he was here a minuteago.
You didn't see him leave?
No, ididn't. Hey, any of you guys see raigan leave?
No, we didn't.
Would you take a look in his dressing room?
Yeah. Sure.
He's not in his dressing room.
Wonder where he is.
The modus opera ndi for the departure from life
is usuall ya pine box of such and such dimensions,
and this is the ul tima te in real! Ty.
But there are other ways for a man to exit from life.
Take the case of Arthur Curtis, age 36.
His departure was along a highwa y
with an exit sign tha t reads ”this way to escape."
Arthur Curtis, en route to the twilightzone.
Rod serl ing, the orea Tor of twilight zone
will tell you about next week's storyafter this word from our al terna te sponsor.
And noi/I/, Mr. Serl/ng.
Next week, the culprit is Charles beaumont,
the gentleman responsible for a story unlike any you've ever seen.
You talk of immortality,
the business of being able to live for as long as one wants.
Well, next week you'll see Kevin McCarthy at the tail-end of a life
that's gone on for two thousand years.
The pla yis called long live Walter Jameson
on the twilight zone.
Every year the red cross needs money.
This year ain't no different.