1
00:00:01,418 --> 00:00:03,462
[Eerie music]

2
00:00:09,968 --> 00:00:12,888
(Narrator) You're tra vel/ng
through another dimension.

3
00:00:12,971 --> 00:00:15,724
A dimension not only of
sight and sound, but of mind.

4
00:00:15,807 --> 00:00:17,559
A journey into a wondrous land

5
00:00:17,643 --> 00:00:19,853
whose boundaries
are tha t of ima Gina t/on.

6
00:00:19,937 --> 00:00:21,522
Tha t's the signpost up ahead.

7
00:00:21,605 --> 00:00:23,690
Your next stop,
the twilight zone.

8
00:00:28,820 --> 00:00:31,615
[Pleasant music]

9
00:00:47,005 --> 00:00:48,966
[Woman laughing]

10
00:01:00,978 --> 00:01:02,396
[Laughing]

11
00:01:09,820 --> 00:01:12,030
[Woman screams playfully]

12
00:01:16,577 --> 00:01:18,412
Good morning, Mr. Templeton.

13
00:01:18,495 --> 00:01:20,914
Our new guest this week, Marty.

14
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His name is what?

15
00:01:22,374 --> 00:01:24,626
Page, sir. Mr. Edward page.

16
00:01:24,710 --> 00:01:26,128
Page.

17
00:01:26,211 --> 00:01:27,963
Page, page.

18
00:01:28,046 --> 00:01:29,923
(Templeton) Ha 8 he
been here before?

19
00:01:30,007 --> 00:01:31,383
(Marty) No, sir. He '8 new.

20
00:01:32,884 --> 00:01:34,386
These new, too?

21
00:01:34,469 --> 00:01:36,805
Yes, sir. Every
hour on the hour.

22
00:01:44,438 --> 00:01:47,566
Mrs. Templeton is not
very discreet these days,

23
00:01:47,649 --> 00:01:49,318
is she?

24
00:01:49,401 --> 00:01:52,613
Well, her discretion
was an early fatality.

25
00:01:52,696 --> 00:01:54,531
It didn't last very long.

26
00:01:54,615 --> 00:01:57,284
Perhaps she's
waiting for the day

27
00:01:57,367 --> 00:01:58,660
when these won't do

28
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what they're designed to do.

29
00:02:00,996 --> 00:02:03,749
Perhaps I'm waiting
for that day, too.

30
00:02:03,832 --> 00:02:06,335
Mr. Templeton, you
shouldn't say that.

31
00:02:06,418 --> 00:02:09,004
Oh, don't distress
yourself, old friend.

32
00:02:09,087 --> 00:02:11,465
When a man my age
marries a woman her age,

33
00:02:11,548 --> 00:02:13,592
he gets exactly
what he deserves.

34
00:02:18,597 --> 00:02:20,641
I'm old, Marty.

35
00:02:20,724 --> 00:02:23,393
(Marty) Oh, Mr. Templeton,
you could never be old.

36
00:02:23,477 --> 00:02:25,520
Old and getting older

37
00:02:25,604 --> 00:02:29,691
every minute that we
stand here speaking.

38
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They say, or at least
they've said it

39
00:02:33,362 --> 00:02:34,946
in most of my plays,

40
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that when a man achieves years

41
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he achieves reason
and contentment.

42
00:02:42,788 --> 00:02:44,081
I haven't.

43
00:02:44,164 --> 00:02:45,707
Mr. Templeton, may I suggest

44
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that possibly this isn't the day

45
00:02:47,793 --> 00:02:49,336
for you to go down there?

46
00:02:49,419 --> 00:02:51,505
Perhaps I should
telephone the theater

47
00:02:51,588 --> 00:02:54,341
and explain that you
can't start rehearsals.

48
00:02:54,424 --> 00:02:58,512
Well, thank you, Marty,
but I'll go down there.

49
00:02:58,595 --> 00:03:02,683
I shall rehearse this
play and it will open.

50
00:03:02,766 --> 00:03:05,936
I shall cover up the
years with makeup,

51
00:03:06,019 --> 00:03:09,106
and I shall stand
in the right places

52
00:03:09,189 --> 00:03:11,692
and hope to say the right lines

53
00:03:11,775 --> 00:03:15,278
and, when it's over,
they'll all say to me,

54
00:03:15,362 --> 00:03:18,490
"you were wonderful,
Mr. Templeton."

55
00:03:18,573 --> 00:03:21,034
Then the stage manager
will see to it

56
00:03:21,118 --> 00:03:23,412
that I'm properly
delivered to you

57
00:03:23,495 --> 00:03:26,748
so that you can properly
deliver me back here

58
00:03:26,832 --> 00:03:28,667
so that I can go back there

59
00:03:28,750 --> 00:03:31,336
and do it all over
again next night.

60
00:03:31,420 --> 00:03:32,587
I won't see,

61
00:03:32,671 --> 00:03:34,131
nor particu larly care,

62
00:03:34,214 --> 00:03:36,341
about what's going
on outside there,

63
00:03:36,425 --> 00:03:37,968
or anywhere in this house.

64
00:03:38,051 --> 00:03:40,846
All I want will be
to go to bed, Marty.

65
00:03:40,887 --> 00:03:44,433
That's the best place
for me. Bed, sleep, oblivion.

66
00:03:44,516 --> 00:03:46,935
Now, sir, you
shouldn't talk like that.

67
00:03:47,018 --> 00:03:51,398
Oh, it doesn't matter. I
don't love her anymore.

68
00:03:51,481 --> 00:03:53,608
I don't remember
when I did. [Softmusio]

69
00:03:53,692 --> 00:03:55,736
You know, I can't recall

70
00:03:55,819 --> 00:04:01,491
one single, separated,
contented moment.

71
00:04:01,575 --> 00:04:06,580
I haven't had many
contented moments in my life.

72
00:04:06,663 --> 00:04:09,875
But I do recall some.

73
00:04:09,958 --> 00:04:11,710
Long ago.

74
00:04:17,090 --> 00:04:19,384
Laura.

75
00:04:19,468 --> 00:04:24,306
The freshest, most radiant
creature god ever created.

76
00:04:24,389 --> 00:04:27,350
18 when I married her, Marty.

77
00:04:27,434 --> 00:04:29,144
25 when she died.

78
00:04:29,227 --> 00:04:31,897
[Music plays softly]

79
00:04:31,980 --> 00:04:33,690
Why did he have to take her?

80
00:04:33,774 --> 00:04:35,650
(Marty) Pl ea se,
Mr. Templ e ton, sir,

81
00:04:35,734 --> 00:04:37,319
don't do this to yourself.

82
00:04:37,402 --> 00:04:40,614
You know, there are
some moments in life

83
00:04:40,697 --> 00:04:46,328
that have an indescribable
loveliness to them.

84
00:04:46,411 --> 00:04:49,498
Those moments with Laura,

85
00:04:49,581 --> 00:04:52,334
are all I have left now.

86
00:04:52,417 --> 00:04:54,753
Do you understand that, Marty?

87
00:04:54,836 --> 00:04:56,880
Yes, Mr. Templeton.
I believe I do, sir.

88
00:04:56,963 --> 00:04:58,423
But it...

89
00:04:58,507 --> 00:05:00,717
Don't distress
yourself, old friend.

90
00:05:00,801 --> 00:05:02,344
I'm all right.

91
00:05:02,427 --> 00:05:04,721
I'm quite all right.

92
00:05:04,805 --> 00:05:08,058
(Narrator, off) Pleased to present
for your cons/dera t/on

93
00:05:08,141 --> 00:05:10,185
Mr. Booth Templeton,

94
00:05:10,268 --> 00:05:13,939
serious and successful star
of over 30 broad way pla ys,

95
00:05:14,022 --> 00:05:16,566
who is not quite
all right today.

96
00:05:16,650 --> 00:05:19,778
Yes terda yand its memories
is what? t he wants,

97
00:05:19,861 --> 00:05:22,447
and yes terda y
is what? t he'll get.

98
00:05:22,531 --> 00:05:25,242
Soon his years and his
troubles will descend on him

99
00:05:25,325 --> 00:05:28,203
in an avalanche.
In order not to be crushed,

100
00:05:28,286 --> 00:05:31,832
Mr. Booth Templeton will escape
from his theater and his world,

101
00:05:31,915 --> 00:05:33,875
and make his debut
on another stage

102
00:05:33,959 --> 00:05:38,672
in another world that
we call the twilightzone.

103
00:05:42,843 --> 00:05:44,970
[Cheerful music]

104
00:06:06,074 --> 00:06:07,450
(Man) You're la te, booth.

105
00:06:07,534 --> 00:06:09,077
After 12:00.

106
00:06:09,160 --> 00:06:11,580
The boy wonder
won't like it, kiddo.

107
00:06:11,663 --> 00:06:13,582
Who is the boy wonder?

108
00:06:13,665 --> 00:06:15,333
Arthur Willis, directing.

109
00:06:15,417 --> 00:06:17,085
No, no, no.
You must be mistaken.

110
00:06:17,168 --> 00:06:18,670
Dothmeager's our director.

111
00:06:18,753 --> 00:06:20,255
Was. Canned him last night.

112
00:06:20,338 --> 00:06:21,840
What?

113
00:06:21,923 --> 00:06:23,717
We need someone
with more pep, zip.

114
00:06:23,800 --> 00:06:25,343
Not my racket,

115
00:06:25,385 --> 00:06:27,262
but I know what's good
and what's bad

116
00:06:27,345 --> 00:06:28,889
as well as the next guy.

117
00:06:28,972 --> 00:06:30,724
And I wanted to
drop by this morning

118
00:06:30,807 --> 00:06:32,434
and let everybody know

119
00:06:32,517 --> 00:06:35,270
that I'm personally
interested in this thing.

120
00:06:35,353 --> 00:06:38,565
Art Willis is okay
with you, isn't he?

121
00:06:38,648 --> 00:06:40,609
Well, I've heard
of him, of course

122
00:06:40,692 --> 00:06:42,611
but I, I don't actually know him

123
00:06:42,694 --> 00:06:43,904
uh, Mr. Uh,

124
00:06:43,987 --> 00:06:47,240
I'm sid sperry. Remember?

125
00:06:47,324 --> 00:06:49,451
My money is backing this play.

126
00:06:49,534 --> 00:06:51,578
Oh, yes, of course, Mr. Sperry.

127
00:06:51,661 --> 00:06:54,372
I'm rather forgetful about
names. Always have been.

128
00:06:54,456 --> 00:06:56,124
It's okay.

129
00:06:56,207 --> 00:06:58,710
Just so long as you
don't forget your lines.

130
00:06:58,793 --> 00:07:00,253
[Chuckles]

131
00:07:07,218 --> 00:07:09,054
(Man) I sa y this once,

132
00:07:09,137 --> 00:07:11,348
just once.

133
00:07:11,431 --> 00:07:14,267
And onl y once.

134
00:07:14,351 --> 00:07:16,061
But/ say/t now

135
00:07:16,144 --> 00:07:18,980
and expect each
and every one of you

136
00:07:19,064 --> 00:07:20,732
to understand it.

137
00:07:20,815 --> 00:07:24,361
Michael Franz
is producing this play.

138
00:07:24,444 --> 00:07:26,947
Mr. Coombs has written it.

139
00:07:27,030 --> 00:07:30,742
You ha ve been hired
to act in it,

140
00:07:30,825 --> 00:07:33,078
and I have been contracted

141
00:07:33,161 --> 00:07:34,287
to direct it.

142
00:07:34,371 --> 00:07:36,206
So make no mistake

143
00:07:36,289 --> 00:07:38,667
about what we are here to do,

144
00:07:38,750 --> 00:07:42,253
and make no mistake about me.

145
00:07:42,337 --> 00:07:46,800
(Willis) I will direct this
pla y my wa ya tall times.

146
00:07:46,883 --> 00:07:48,927
Is that clear?

147
00:07:51,554 --> 00:07:52,681
Like that.

148
00:07:52,764 --> 00:07:54,349
Like that very much.

149
00:07:54,432 --> 00:07:57,519
In control, that boy,
right from the start.

150
00:07:57,602 --> 00:07:59,145
Give us a good play.

151
00:07:59,229 --> 00:08:01,231
Us, mister...?

152
00:08:01,314 --> 00:08:02,524
Sperry, Templeton.

153
00:08:02,607 --> 00:08:03,692
Sperry.

154
00:08:03,775 --> 00:08:04,818
Yes, Mr. Sperry.

155
00:08:04,901 --> 00:08:06,111
I, I apologize.

156
00:08:06,194 --> 00:08:07,696
That was impolite of me.

157
00:08:07,779 --> 00:08:11,282
I won't forget again.

158
00:08:11,366 --> 00:08:15,120
(Willis) Call his
home! Call his home!

159
00:08:15,203 --> 00:08:17,539
Valencia.

160
00:08:17,622 --> 00:08:22,002
Never mind.

161
00:08:22,085 --> 00:08:24,796
Some of us are young.

162
00:08:24,879 --> 00:08:28,216
Some of us are old.

163
00:08:28,299 --> 00:08:30,218
But neither sta te
precl udes any of us,

164
00:08:30,301 --> 00:08:31,886
young or old,

165
00:08:31,970 --> 00:08:33,888
from ignoring
the basic cooperation

166
00:08:33,972 --> 00:08:35,473
tha t will be necessary here.

167
00:08:35,515 --> 00:08:37,308
When I direct,

168
00:08:37,392 --> 00:08:39,477
there are no
significant personal/ties

169
00:08:39,561 --> 00:08:41,021
in the cast ofanyplay,

170
00:08:41,104 --> 00:08:43,481
but there are three
significant dates

171
00:08:43,565 --> 00:08:47,027
in the life of a play,

172
00:08:47,110 --> 00:08:52,282
the first day of rehearsal,
opening night, closing night.

173
00:08:52,365 --> 00:08:55,160
The last two are related
and dependent upon the first.

174
00:08:55,243 --> 00:08:57,245
Therefore, the first day
of rehearsal

175
00:08:57,328 --> 00:08:58,872
is an extremely important day.

176
00:08:58,955 --> 00:09:00,123
When I call rehearsal

177
00:09:00,206 --> 00:09:01,624
for 72:00, Templeton,

178
00:09:01,708 --> 00:09:03,168
I meant 12:00 for everyone,

179
00:09:03,251 --> 00:09:04,711
young and old.

180
00:09:04,794 --> 00:09:06,337
Everyone to be in his place

181
00:09:06,421 --> 00:09:08,673
and ready to work
a t 72:00 sharp.

182
00:09:08,757 --> 00:09:12,135
Are you ready
to work with us, Templeton?

183
00:09:16,097 --> 00:09:18,224
I asked you a question.

184
00:09:18,308 --> 00:09:21,728
I expect an answer.

185
00:09:21,811 --> 00:09:22,979
Answer me!

186
00:09:23,063 --> 00:09:24,439
Answer me, Templeton!

187
00:09:24,522 --> 00:09:26,066
Speak up, Templeton! Speak up!

188
00:09:27,859 --> 00:09:29,778
(Willis)
Come ba ok here, Templeton.

189
00:09:29,861 --> 00:09:32,447
Booth! Come ba ck!

190
00:09:32,530 --> 00:09:35,533
Templeton! Come back here!

191
00:09:36,576 --> 00:09:38,119
[Applause]

192
00:10:27,585 --> 00:10:30,088
[Suspense music]

193
00:10:38,096 --> 00:10:42,100
(Templeton) Booth
Templeton in the great seed?

194
00:10:42,183 --> 00:10:45,436
7927's big hit?

195
00:10:47,230 --> 00:10:49,941
1927.

196
00:10:50,024 --> 00:10:52,527
That's more than 30 years ago.

197
00:10:59,826 --> 00:11:02,871
Barney flueger.

198
00:11:02,954 --> 00:11:04,122
Barn ey!

199
00:11:20,805 --> 00:11:23,141
(Man) Hey, Mr. Templeton.

200
00:11:25,143 --> 00:11:26,477
What year is this?

201
00:11:26,561 --> 00:11:27,937
1927.

202
00:11:28,021 --> 00:11:29,814
Say, you're not
trying to kid me,

203
00:11:29,898 --> 00:11:31,149
are you, Mr. Templeton?

204
00:11:31,232 --> 00:11:32,650
Most assuredly I'm not.

205
00:11:32,734 --> 00:11:34,485
Your wife just phoned

206
00:11:34,569 --> 00:11:36,321
and said for you to meet her

207
00:11:36,404 --> 00:11:38,114
a t Freddie ia ccino 's.

208
00:11:38,198 --> 00:11:39,824
My wife?

209
00:11:39,908 --> 00:11:41,743
But Laura's dead.

210
00:11:41,826 --> 00:11:43,661
Well, she's the
best-looking ghost

211
00:11:43,745 --> 00:11:45,079
I ever saw, Mr. Templeton.

212
00:11:45,163 --> 00:11:47,290
No offense, of course.

213
00:11:47,373 --> 00:11:48,875
Where's Laura?

214
00:11:48,958 --> 00:11:51,419
Where did you say
she's waiting for me?

215
00:11:51,502 --> 00:11:56,549
At Freddie iaccino's,
just around the corner.

216
00:11:56,633 --> 00:11:58,593
[Pleasant music]

217
00:12:12,565 --> 00:12:14,609
[Pleasant music]

218
00:12:35,588 --> 00:12:36,589
[Buzz]

219
00:12:44,055 --> 00:12:45,098
Hello, booth.

220
00:12:45,181 --> 00:12:48,309
Freddie.

221
00:12:48,393 --> 00:12:49,769
Yeah, what?

222
00:12:49,852 --> 00:12:51,521
It is you.

223
00:12:51,604 --> 00:12:53,147
You're alive.

224
00:12:53,231 --> 00:12:56,150
[Chuckles] Sure, what
did you expect?

225
00:12:56,234 --> 00:12:58,278
[Knocking at door]

226
00:12:58,361 --> 00:13:00,154
Can't be too careful these days.

227
00:13:00,238 --> 00:13:03,074
All the time somebody's
wanting a raid or something.

228
00:13:03,157 --> 00:13:05,410
[Band playing upbeat tune]

229
00:13:11,541 --> 00:13:12,834
[Loud crowd chatter]

230
00:13:20,133 --> 00:13:22,218
What'll it be tonight,
steaks or chops?

231
00:13:22,302 --> 00:13:23,928
What?

232
00:13:24,012 --> 00:13:26,931
Well, your wife's
having the Kansas City.

233
00:13:34,272 --> 00:13:35,815
She isn't at our usual table.

234
00:13:35,898 --> 00:13:37,608
She's over there.

235
00:13:48,036 --> 00:13:49,370
Well?

236
00:13:49,454 --> 00:13:51,080
What?

237
00:13:51,164 --> 00:13:52,957
Steaks or chops?

238
00:13:53,041 --> 00:13:55,501
No, nothing. Nothing
to eat tonight, Freddie.

239
00:13:55,585 --> 00:13:57,295
We're not staying very long.

240
00:13:57,337 --> 00:13:58,963
[Laughter]

241
00:13:59,047 --> 00:14:01,466
Oh, Barney, you're a scream.

242
00:14:01,549 --> 00:14:02,800
Oh, hi.

243
00:14:02,884 --> 00:14:05,053
Hi, booth. We didn't wait.

244
00:14:05,136 --> 00:14:06,220
Barn ey.

245
00:14:06,304 --> 00:14:07,847
Barney flueger.

246
00:14:07,930 --> 00:14:09,182
The same.

247
00:14:09,265 --> 00:14:10,516
To know him is to love him.

248
00:14:10,600 --> 00:14:11,726
Sit down, old man.

249
00:14:11,809 --> 00:14:13,061
I'll be right back.

250
00:14:13,144 --> 00:14:15,438
Laura. Laura, darling.

251
00:14:15,521 --> 00:14:17,231
Booth, my goodness.

252
00:14:17,315 --> 00:14:20,651
Come on, sit down. [Chuckles]

253
00:14:20,735 --> 00:14:22,612
The Kansas City's great tonight.

254
00:14:22,695 --> 00:14:27,075
It's juicy.

255
00:14:27,158 --> 00:14:30,328
See? I told you.

256
00:14:30,411 --> 00:14:32,163
Laura, I...

257
00:14:32,246 --> 00:14:33,331
What's the matter?

258
00:14:33,414 --> 00:14:34,499
You look worried.

259
00:14:34,582 --> 00:14:35,750
Hm?

260
00:14:35,833 --> 00:14:36,918
Booth, how many times

261
00:14:37,001 --> 00:14:38,211
ha vei told you

262
00:14:38,294 --> 00:14:39,670
to take your makeup off

263
00:14:39,754 --> 00:14:41,339
before you come in here.

264
00:14:41,422 --> 00:14:43,091
Makeup?

265
00:14:46,427 --> 00:14:47,720
Laura. Lau ra, darling,

266
00:14:47,804 --> 00:14:49,097
let's go some place else.

267
00:14:49,180 --> 00:14:50,723
Somewhere where it's quieter.

268
00:14:50,807 --> 00:14:52,558
Where there aren't
so many people.

269
00:14:52,642 --> 00:14:54,102
Why?

270
00:14:54,185 --> 00:14:57,063
Well, I want to talk
to you, Laura.

271
00:14:57,146 --> 00:15:00,274
Well, I want to have
a good time.

272
00:15:00,358 --> 00:15:01,984
Oh, yoo-hoo!

273
00:15:02,068 --> 00:15:04,237
Could you get me
another of these, please?

274
00:15:04,320 --> 00:15:05,738
Thank you.

275
00:15:05,822 --> 00:15:09,659
But I have to talk
to you, Laura.

276
00:15:09,742 --> 00:15:11,285
Well?

277
00:15:13,788 --> 00:15:15,206
Oh, Laura, darling.

278
00:15:15,289 --> 00:15:16,541
I'm here.

279
00:15:16,624 --> 00:15:18,418
I don't know for how long,

280
00:15:18,501 --> 00:15:20,128
or even how I got here,

281
00:15:20,211 --> 00:15:22,088
or, or who put me
here, but I'm here

282
00:15:22,171 --> 00:15:24,132
and I want to make
good use of the time.

283
00:15:24,215 --> 00:15:26,968
I want to have
you alone to myself.

284
00:15:27,051 --> 00:15:30,596
Booth, don't be dull.

285
00:15:30,680 --> 00:15:33,683
(Barney) Aren't you
going to eat, old chap?

286
00:15:33,766 --> 00:15:35,309
(Barney) New ban d's swell.

287
00:15:35,393 --> 00:15:37,895
Lau ra, lau ra. Barn ey...

288
00:15:37,979 --> 00:15:39,689
(Barney) You better order.

289
00:15:39,772 --> 00:15:41,065
Yeah. He's right, honey.

290
00:15:41,149 --> 00:15:42,400
Listen to me, you two...

291
00:15:42,483 --> 00:15:44,068
Oh, it's so hot tonight.

292
00:15:44,152 --> 00:15:47,029
Hey, George, bring
him one of these.

293
00:15:47,113 --> 00:15:49,657
I'll be glad to get
into a cold tub.

294
00:15:49,740 --> 00:15:51,576
Booth, will you tell me why,

295
00:15:51,659 --> 00:15:54,620
on this glad, green earth,
you're wearing an overcoat

296
00:15:54,704 --> 00:15:56,080
for on a night like this?

297
00:15:56,164 --> 00:15:57,582
Will you tell me now, booth?

298
00:15:57,665 --> 00:15:59,167
I'm Ean, really.

299
00:15:59,250 --> 00:16:00,835
(Templeton) I'm not so certain

300
00:16:00,918 --> 00:16:03,463
that it is a glad, green earth.

301
00:16:03,546 --> 00:16:06,215
Oh, lau ra, lau ra, darling.

302
00:16:06,299 --> 00:16:07,758
Barn ey.

303
00:16:07,842 --> 00:16:09,594
I'm not so certain
of this earth,

304
00:16:09,677 --> 00:16:11,429
or of anything in it, right now.

305
00:16:11,512 --> 00:16:13,264
I... oh, please, listen to me.

306
00:16:13,347 --> 00:16:14,807
Listen to me, won't you?

307
00:16:14,891 --> 00:16:17,059
Laura, Laura,
something's happened.

308
00:16:17,143 --> 00:16:19,687
Something very strange.

309
00:16:19,770 --> 00:16:22,732
Please try to understand.

310
00:16:22,815 --> 00:16:24,859
This... this isn't makeup.

311
00:16:24,942 --> 00:16:27,028
I've grown older, darling.

312
00:16:27,111 --> 00:16:28,821
In another world, many,

313
00:16:28,905 --> 00:16:30,823
for many, many lonel y years,

314
00:16:30,907 --> 00:16:34,410
I've had onl ya memory
of you to live on.

315
00:16:34,494 --> 00:16:35,828
You, too, barn ey.

316
00:16:35,912 --> 00:16:37,371
Why, you were

317
00:16:37,455 --> 00:16:40,374
my one and onl y best friend.

318
00:16:40,458 --> 00:16:45,838
But both of you have been
only memories for a long time.

319
00:16:45,922 --> 00:16:49,383
And now, tonight,

320
00:16:49,467 --> 00:16:54,388
or today, or, whatever it is,

321
00:16:54,472 --> 00:16:59,435
and wherever I am in,
in space or time,

322
00:16:59,519 --> 00:17:01,562
I have you back again.

323
00:17:01,646 --> 00:17:03,898
You're alive.

324
00:17:03,981 --> 00:17:06,651
You didn't die.

325
00:17:06,734 --> 00:17:08,486
Life is going on here.

326
00:17:08,569 --> 00:17:11,239
It's just as if you never died.

327
00:17:11,322 --> 00:17:12,865
Either of you.

328
00:17:16,661 --> 00:17:18,496
You do understand, don't you?

329
00:17:18,579 --> 00:17:20,915
Oh, sure.

330
00:17:24,502 --> 00:17:26,546
Laura, do you understand?

331
00:17:26,629 --> 00:17:28,089
Sure.

332
00:17:28,172 --> 00:17:32,885
Come on, let's have
a good time, huh?

333
00:17:32,969 --> 00:17:35,179
Laura.

334
00:17:35,263 --> 00:17:39,267
Why are you so different?

335
00:17:39,350 --> 00:17:41,477
Well, that's the way
I am, booth.

336
00:17:41,561 --> 00:17:46,524
That's the way it is.

337
00:17:46,607 --> 00:17:48,276
I mean, what did you expect?

338
00:17:48,359 --> 00:17:53,281
Yes, old chap,
what did you expect?

339
00:17:55,491 --> 00:17:58,452
I don't know.

340
00:17:58,536 --> 00:17:59,704
But you were my love.

341
00:17:59,787 --> 00:18:01,664
Everywhere, at all times.

342
00:18:01,747 --> 00:18:04,959
Why, we couldn't walk a
street or sit in a restaurant

343
00:18:05,042 --> 00:18:06,460
without everybody know/ng

344
00:18:06,544 --> 00:18:07,753
tha t we were in love.

345
00:18:07,837 --> 00:18:10,756
Are you finished?

346
00:18:10,840 --> 00:18:14,844
I don't like what you've become.

347
00:18:16,554 --> 00:18:20,391
[Laughing]

348
00:18:20,474 --> 00:18:24,270
[Both laughing]

349
00:18:24,353 --> 00:18:25,771
Shut up.

350
00:18:25,855 --> 00:18:28,149
Shut up, both of you! Shut up!

351
00:18:28,232 --> 00:18:30,318
Laura, Laura, come with me.

352
00:18:32,028 --> 00:18:37,074
You're a silly
old fool of a man.

353
00:18:40,620 --> 00:18:42,747
That's for me.
[Cheerful Charleston]

354
00:18:52,590 --> 00:18:53,799
Stop it! Stop it!

355
00:18:53,883 --> 00:18:55,509
[Slap]

356
00:18:55,593 --> 00:18:58,387
Why don't you go back
where you came from?

357
00:18:58,471 --> 00:19:00,765
We don't want you here.

358
00:19:34,215 --> 00:19:35,716
[Music and chatter stops]

359
00:19:55,194 --> 00:19:57,071
[Meows]

360
00:19:59,657 --> 00:20:01,492
[Cat yowling]

361
00:20:01,534 --> 00:20:03,828
[Pleasant music]

362
00:20:08,499 --> 00:20:10,084
(Man) Oh, yeah, come on...

363
00:20:10,167 --> 00:20:12,253
(Templeton) No, no,
please, please.

364
00:20:12,336 --> 00:20:13,421
(Man) Oh, come on.

365
00:20:13,504 --> 00:20:15,214
[Laughs]

366
00:20:28,018 --> 00:20:29,645
[Suspense music]

367
00:20:57,757 --> 00:21:00,760
Did it happen or...? [Panting]

368
00:21:08,100 --> 00:21:13,063
"What to do
when booth comes back."

369
00:21:17,151 --> 00:21:18,736
"Table in speakeasy.

370
00:21:18,819 --> 00:21:21,113
"Enter booth as Laura
throws back her head

371
00:21:21,197 --> 00:21:22,656
"and laughs too shrilly.

372
00:21:22,740 --> 00:21:28,496
'You're a scream,
Barney. A real... "'

373
00:21:28,579 --> 00:21:29,872
"barn ey, 'th e Sam e.

374
00:21:29,955 --> 00:21:31,624
"'To know him is to love him.

375
00:21:31,707 --> 00:21:33,459
Sit down, old chap."'

376
00:21:42,259 --> 00:21:47,431
"Laura, 'why don't you go
back where you came from?

377
00:21:47,515 --> 00:21:51,852
We don't want you here."'

378
00:21:51,936 --> 00:21:54,104
acting.

379
00:21:54,188 --> 00:21:58,359
They were acting for me.

380
00:21:58,442 --> 00:22:01,779
They wanted me to
go back to my own life,

381
00:22:01,862 --> 00:22:04,114
and live it.

382
00:22:12,456 --> 00:22:14,291
Templeton.

383
00:22:20,089 --> 00:22:22,091
One question.

384
00:22:22,174 --> 00:22:26,637
Are you in or are you out?

385
00:22:44,780 --> 00:22:47,825
I am definitely in.

386
00:22:47,908 --> 00:22:50,494
And it is definitely
Mr. Templeton,

387
00:22:50,578 --> 00:22:54,748
especially to one
so young as you.

388
00:22:54,832 --> 00:22:56,667
Now, wait a minute.

389
00:22:56,750 --> 00:22:59,336
Excuse me, Mr. Sperry,
but I never allow anyone

390
00:22:59,420 --> 00:23:01,881
not directly connected
with the production

391
00:23:01,964 --> 00:23:03,257
to atten d my reh earsals.

392
00:23:03,340 --> 00:23:04,675
I insist upon that.

393
00:23:04,758 --> 00:23:06,468
Just who do you think you are?

394
00:23:06,552 --> 00:23:08,971
Sidney. Run along.

395
00:23:12,850 --> 00:23:15,978
Now, then, shall
we start rehearsal?

396
00:23:16,061 --> 00:23:17,980
I'd like that, Mr. Templeton.

397
00:23:18,063 --> 00:23:22,276
I've just had a most remarkable
experience, young man.

398
00:23:22,359 --> 00:23:25,863
I couldn't possibly
expect you to comprehend it,

399
00:23:25,946 --> 00:23:28,490
but I'm going to tell you
about it anyway,

400
00:23:28,574 --> 00:23:30,034
someday.

401
00:23:30,117 --> 00:23:32,703
You know, you were right.

402
00:23:32,786 --> 00:23:34,872
The first day of rehearsal

403
00:23:34,955 --> 00:23:38,834
is the most important
date in the life of a play.

404
00:23:45,215 --> 00:23:47,301
(Narrator, off)
Mr. Booth Templeton,

405
00:23:47,384 --> 00:23:49,637
who shared with most
human beings the hunger

406
00:23:49,720 --> 00:23:51,388
to recapture the past moments.

407
00:23:51,472 --> 00:23:53,265
The ones tha t soften
with the years.

408
00:23:53,349 --> 00:23:55,100
But, in his case,

409
00:23:55,184 --> 00:23:57,394
the characters
of his past blocked him out

410
00:23:57,478 --> 00:23:59,146
and sent him back
to his own time,

411
00:23:59,229 --> 00:24:00,898
which is where we find him now.

412
00:24:00,981 --> 00:24:02,900
Mr. Booth Templeton,

413
00:24:02,983 --> 00:24:06,236
who had a round-trip ticket
into the twilight zone.

414
00:24:12,034 --> 00:24:15,537
(Male presenter, off) Rod serl/ng,
the crea Tor oftwilight zone,

415
00:24:15,621 --> 00:24:17,581
will tell you
about next week's story

416
00:24:17,665 --> 00:24:20,918
after this word
from our al terna te sponsor.

417
00:24:21,001 --> 00:24:22,920
And now, Mr. Serl/ng.

418
00:24:23,003 --> 00:24:25,923
In this $28 a day hotel suite

419
00:24:26,006 --> 00:24:29,343
live three human beings
who have larceny in them

420
00:24:29,426 --> 00:24:31,929
from their toes to where
they part their hair.

421
00:24:32,012 --> 00:24:35,683
Amongst the loot of one
evening's caper is this camera,

422
00:24:35,766 --> 00:24:39,144
which they soon discover
has most unique properties.

423
00:24:39,228 --> 00:24:40,938
It takes pictures of the future.

424
00:24:41,021 --> 00:24:42,940
Stick around
for the development,

425
00:24:43,023 --> 00:24:45,275
next week, on the twilightzone.

426
00:25:28,694 --> 00:25:32,322
(Male presenter, off) See the
newandy Griffith show each week

427
00:25:32,406 --> 00:25:34,616
over most of these sta t/ons.

428
00:25:34,700 --> 00:25:37,161
Consul t local listings.

429
00:25:55,426 --> 00:25:55,427
- - isn't it wonderful how the beautiful
ladies on TV do their housework?

430
00:25:55,428 --> 00:25:56,428
- - [Cheerful music]