You're tra vel/ng through another dimension.
A dimension not only of sight and sound, but of mind.
A journey into a wondrous land
whose boundaries are tha t of ima Gina t/on.
Tha t's the signpost up ahead.
Your next stop, the twilight zone.
Good morning, Mr. Templeton.
Our new guest this week, Marty.
His name is what?
Page, sir. Mr. Edward page.
Page.
Page, page.
Ha 8 he been here before?
No, sir. He '8 new.
These new, too?
Yes, sir. Every hour on the hour.
Mrs. Templeton is not very discreet these days,
is she?
Well, her discretion was an early fatality.
It didn't last very long.
Perhaps she's waiting for the day
when these won't do
what they're designed to do.
Perhaps I'm waiting for that day, too.
Mr. Templeton, you shouldn't say that.
Oh, don't distress yourself, old friend.
When a man my age marries a woman her age,
he gets exactly what he deserves.
I'm old, Marty.
Oh, Mr. Templeton, you could never be old.
Old and getting older
every minute that we stand here speaking.
They say, or at least they've said it
in most of my plays,
that when a man achieves years
he achieves reason and contentment.
I haven't.
Mr. Templeton, may I suggest
that possibly this isn't the day
for you to go down there?
Perhaps I should telephone the theater
and explain that you can't start rehearsals.
Well, thank you, Marty, but I'll go down there.
I shall rehearse this play and it will open.
I shall cover up the years with makeup,
and I shall stand in the right places
and hope to say the right lines
and, when it's over, they'll all say to me,
"you were wonderful, Mr. Templeton."
Then the stage manager will see to it
that I'm properly delivered to you
so that you can properly deliver me back here
so that I can go back there
and do it all over again next night.
I won't see,
nor particu larly care,
about what's going on outside there,
or anywhere in this house.
All I want will be to go to bed, Marty.
That's the best place for me. Bed, sleep, oblivion.
Now, sir, you shouldn't talk like that.
Oh, it doesn't matter. I don't love her anymore.
I don't remember when I did.
You know, I can't recall
one single, separated, contented moment.
I haven't had many contented moments in my life.
But I do recall some.
Long ago.
Laura.
The freshest, most radiant creature god ever created.
18 when I married her, Marty.
25 when she died.
Why did he have to take her?
Pl ea se, Mr. Templ e ton, sir,
don't do this to yourself.
You know, there are some moments in life
that have an indescribable loveliness to them.
Those moments with Laura,
are all I have left now.
Do you understand that, Marty?
Yes, Mr. Templeton. I believe I do, sir.
But it...
Don't distress yourself, old friend.
I'm all right.
I'm quite all right.
Pleased to present for your cons/dera t/on
Mr. Booth Templeton,
serious and successful star of over 30 broad way pla ys,
who is not quite all right today.
Yes terda yand its memories is what? t he wants,
and yes terda y is what? t he'll get.
Soon his years and his troubles will descend on him
in an avalanche. In order not to be crushed,
Mr. Booth Templeton will escape from his theater and his world,
and make his debut on another stage
in another world that we call the twilightzone.
You're la te, booth.
After 12:00.
The boy wonder won't like it, kiddo.
Who is the boy wonder?
Arthur Willis, directing.
No, no, no. You must be mistaken.
Dothmeager's our director.
Was. Canned him last night.
What?
We need someone with more pep, zip.
Not my racket,
but I know what's good and what's bad
as well as the next guy.
And I wanted to drop by this morning
and let everybody know
that I'm personally interested in this thing.
Art Willis is okay with you, isn't he?
Well, I've heard of him, of course
but I, I don't actually know him
uh, Mr. Uh,
I'm sid sperry. Remember?
My money is backing this play.
Oh, yes, of course, Mr. Sperry.
I'm rather forgetful about names. Always have been.
It's okay.
Just so long as you don't forget your lines.
I sa y this once,
just once.
And onl y once.
But/ say/t now
and expect each and every one of you
to understand it.
Michael Franz is producing this play.
Mr. Coombs has written it.
You ha ve been hired to act in it,
and I have been contracted
to direct it.
So make no mistake
about what we are here to do,
and make no mistake about me.
I will direct this pla y my wa ya tall times.
Is that clear?
Like that.
Like that very much.
In control, that boy, right from the start.
Give us a good play.
Us, mister...?
Sperry, Templeton.
Sperry.
Yes, Mr. Sperry.
I, I apologize.
That was impolite of me.
I won't forget again.
Call his home! Call his home!
Valencia.
Never mind.
Some of us are young.
Some of us are old.
But neither sta te precl udes any of us,
young or old,
from ignoring the basic cooperation
tha t will be necessary here.
When I direct,
there are no significant personal/ties
in the cast ofanyplay,
but there are three significant dates
in the life of a play,
the first day of rehearsal, opening night, closing night.
The last two are related and dependent upon the first.
Therefore, the first day of rehearsal
is an extremely important day.
When I call rehearsal
for 72:00, Templeton,
I meant 12:00 for everyone,
young and old.
Everyone to be in his place
and ready to work a t 72:00 sharp.
Are you ready to work with us, Templeton?
I asked you a question.
I expect an answer.
Answer me!
Answer me, Templeton!
Speak up, Templeton! Speak up!
Come ba ok here, Templeton.
Booth! Come ba ck!
Templeton! Come back here!
Booth Templeton in the great seed?
7927's big hit?
1927.
That's more than 30 years ago.
Barney flueger.
Barn ey!
Hey, Mr. Templeton.
What year is this?
1927.
Say, you're not trying to kid me,
are you, Mr. Templeton?
Most assuredly I'm not.
Your wife just phoned
and said for you to meet her
a t Freddie ia ccino 's.
My wife?
But Laura's dead.
Well, she's the best-looking ghost
I ever saw, Mr. Templeton.
No offense, of course.
Where's Laura?
Where did you say she's waiting for me?
At Freddie iaccino's, just around the corner.
Hello, booth.
Freddie.
Yeah, what?
It is you.
You're alive.
Sure, what did you expect?
Can't be too careful these days.
All the time somebody's wanting a raid or something.
What'll it be tonight, steaks or chops?
What?
Well, your wife's having the Kansas City.
She isn't at our usual table.
She's over there.
Well?
What?
Steaks or chops?
No, nothing. Nothing to eat tonight, Freddie.
We're not staying very long.
Oh, Barney, you're a scream.
Oh, hi.
Hi, booth. We didn't wait.
Barn ey.
Barney flueger.
The same.
To know him is to love him.
Sit down, old man.
I'll be right back.
Laura. Laura, darling.
Booth, my goodness.
Come on, sit down.
The Kansas City's great tonight.
It's juicy.
See? I told you.
Laura, I...
What's the matter?
You look worried.
Hm?
Booth, how many times
ha vei told you
to take your makeup off
before you come in here.
Makeup?
Laura. Lau ra, darling,
let's go some place else.
Somewhere where it's quieter.
Where there aren't so many people.
Why?
Well, I want to talk to you, Laura.
Well, I want to have a good time.
Oh, yoo-hoo!
Could you get me another of these, please?
Thank you.
But I have to talk to you, Laura.
Well?
Oh, Laura, darling.
I'm here.
I don't know for how long,
or even how I got here,
or, or who put me here, but I'm here
and I want to make good use of the time.
I want to have you alone to myself.
Booth, don't be dull.
Aren't you going to eat, old chap?
New ban d's swell.
Lau ra, lau ra. Barn ey...
You better order.
Yeah. He's right, honey.
Listen to me, you two...
Oh, it's so hot tonight.
Hey, George, bring him one of these.
I'll be glad to get into a cold tub.
Booth, will you tell me why,
on this glad, green earth, you're wearing an overcoat
for on a night like this?
Will you tell me now, booth?
I'm Ean, really.
I'm not so certain
that it is a glad, green earth.
Oh, lau ra, lau ra, darling.
Barn ey.
I'm not so certain of this earth,
or of anything in it, right now.
I... oh, please, listen to me.
Listen to me, won't you?
Laura, Laura, something's happened.
Something very strange.
Please try to understand.
This... this isn't makeup.
I've grown older, darling.
In another world, many,
for many, many lonel y years,
I've had onl ya memory of you to live on.
You, too, barn ey.
Why, you were
my one and onl y best friend.
But both of you have been only memories for a long time.
And now, tonight,
or today, or, whatever it is,
and wherever I am in, in space or time,
I have you back again.
You're alive.
You didn't die.
Life is going on here.
It's just as if you never died.
Either of you.
You do understand, don't you?
Oh, sure.
Laura, do you understand?
Sure.
Come on, let's have a good time, huh?
Laura.
Why are you so different?
Well, that's the way I am, booth.
That's the way it is.
I mean, what did you expect?
Yes, old chap, what did you expect?
I don't know.
But you were my love.
Everywhere, at all times.
Why, we couldn't walk a street or sit in a restaurant
without everybody know/ng
tha t we were in love.
Are you finished?
I don't like what you've become.
Shut up.
Shut up, both of you! Shut up!
Laura, Laura, come with me.
You're a silly old fool of a man.
That's for me.
Stop it! Stop it!
Why don't you go back where you came from?
We don't want you here.
Oh, yeah, come on...
No, no, please, please.
Oh, come on.
Did it happen or...?
"What to do when booth comes back."
"Table in speakeasy.
"Enter booth as Laura throws back her head
"and laughs too shrilly.
'You're a scream, Barney. A real... "'
"barn ey, 'th e Sam e.
"'To know him is to love him.
Sit down, old chap."'
"Laura, 'why don't you go back where you came from?
We don't want you here."'
acting.
They were acting for me.
They wanted me to go back to my own life,
and live it.
Templeton.
One question.
Are you in or are you out?
I am definitely in.
And it is definitely Mr. Templeton,
especially to one so young as you.
Now, wait a minute.
Excuse me, Mr. Sperry, but I never allow anyone
not directly connected with the production
to atten d my reh earsals.
I insist upon that.
Just who do you think you are?
Sidney. Run along.
Now, then, shall we start rehearsal?
I'd like that, Mr. Templeton.
I've just had a most remarkable experience, young man.
I couldn't possibly expect you to comprehend it,
but I'm going to tell you about it anyway,
someday.
You know, you were right.
The first day of rehearsal
is the most important date in the life of a play.
Mr. Booth Templeton,
who shared with most human beings the hunger
to recapture the past moments.
The ones tha t soften with the years.
But, in his case,
the characters of his past blocked him out
and sent him back to his own time,
which is where we find him now.
Mr. Booth Templeton,
who had a round-trip ticket into the twilight zone.
Rod serl/ng, the crea Tor oftwilight zone,
will tell you about next week's story
after this word from our al terna te sponsor.
And now, Mr. Serl/ng.
In this $28 a day hotel suite
live three human beings who have larceny in them
from their toes to where they part their hair.
Amongst the loot of one evening's caper is this camera,
which they soon discover has most unique properties.
It takes pictures of the future.
Stick around for the development,
next week, on the twilightzone.
See the newandy Griffith show each week
over most of these sta t/ons.
Consul t local listings.
- - isn't it wonderful how the beautiful ladies on TV do their housework?