The Twilight Zone (1959–1964): Season 2, Episode 3 - Nervous Man in a Four Dollar Room - full transcript

( eerie music)

YOU'RE TRAVELING THROUGH
ANOTHER DIMENSION...

A DIMENSION NOT ONLY OF
SIGHT AND SOUND, BUT OF MIND.

A JOURNEY INTO A WONDROUS
LAND OF IMAGINATION.

NEXT STOP, THE TWILIGHT ZONE.

( phone ringing)

YEAH?

OH, HELLO, GEORGE. I
BEEN EXPECTING YOUR CALL.

YEAH, I BEEN SITTING
HERE WAITING FOR YOU.

YEAH, IT'S KIND OF A
HOT NIGHT OUT, AIN'T IT?

YEAH, WELL, THAT'S WHAT I WANT
TO TALK TO YOU ABOUT, GEORGE.



I WAS WONDERING WHAT
YOU HAD IN MIND TONIGHT.

NOW... NOW, WAIT
A MINUTE, GEORGE.

NOW, I BEEN SITTING HERE
THREE, FOUR HOURS NOW.

I BEEN ROASTING TO
DEATH OUT THERE AND...

WELL, I LIKE TO GO OUT
OF MY MIND, GEORGE...

GEORGE?

GEORGE, LOOK, WILL
YOU... GEORGE, WILL...

GEORGE, WILL YOU LET ME...

WILL YOU LISTEN TO ME,
GEORGE? WILL YOU LISTEN TO ME?

NOW, LOOK, I'M NOT TRYING
TO COP OUT, GEORGE.

I AM NOT TRYING TO COP OUT.

I'D JUST LIKE TO KNOW WHAT
YOU HAD IN MIND, THAT'S ALL.

YOU KNOW I GOT A TENDENCY
TOWARD NERVES, GEORGE,

AND, WELL, YOU CAN SIT IN A
HOTEL ROOM ONLY SO LONG AND...



WELL, IT'S SUCH A HOT
NIGHT OUTSIDE, GEORGE.

GEORGE, LOOK, I'M NOT
COMPLAINING, GEORGE.

YOU KNOW I'M NOT
COMPLAINING, GEORGE.

I'M GOING TO DO THE JOB,
WHATEVER IT IS. YOU KNOW THAT.

YOU GOT A NUMBER
ONE BOY HERE, GEORGE.

I'M GOING TO DO THE JOB, BUT...

GEORGE?

HEY, GEORGE?

GEORGE?

THIS IS MR. JACKIE
RHOADES, AGE 34,

AND, WHERE SOME MEN
LEAVE A MARK OF THEIR LIVES

AS A RECORD OF THEIR
FRAGMENTARY EXISTENCE ON EARTH,

THIS MAN LEAVES A BLOT... A
DIRTY, DISCOLORED BLEMISH

TO DOCUMENT A CHEAP AND
UNDISTINGUISHED SOJOURN

AMONGST HIS BETTERS.

WHAT YOU'RE ABOUT
TO WATCH IN THIS ROOM

IS A STRANGE MORTAL COMBAT
BETWEEN A MAN AND HIMSELF.

FOR, IN JUST A MOMENT,
MR. JACKIE RHOADES,

WHOSE LIFE HAS BEEN GIVEN
OVER TO FIGHTING ADVERSARIES,

WILL FIND HIS MOST FORMIDABLE
OPPONENT IN A CHEAP HOTEL ROOM

THAT IS, IN REALITY,

THE OUTSKIRTS OF
THE TWILIGHT ZONE.

( knocking on door)

YEAH?

YEAH? WHO IS IT?

GEORGE.

HOW ARE YOU, GEORGE?

I'M IN THE PINK.

HOW ARE YOU, JACKIE?

OH, I'M ALL RIGHT,
GEORGE. I'M ALL RIGHT.

I'M JUST A LITTLE NERVOUS
ABOUT THE ACTION TONIGHT.

I WAS...

IT'S A GORGEOUS PLACE
YOU GOT HERE, JACKIE.

WELL, FOUR BUCKS A NIGHT,
YOU CAN'T GO WRONG, YOU KNOW.

FOUR BUCKS A NIGHT.

NO, YOU CAN'T GO WRONG,

BUT YOU COULD GET
ROASTED TO DEATH,

OR POISONED BY SMALL CREATURES.

WHAT ABOUT TONIGHT,
GEORGE? WHAT'S THE JOB?

DOES IT MAKE ANY DIFFERENCE?

DIFFERENCE?

NO, NO, NO. IT DON'T
MAKE NO DIFFERENCE.

I WAS JUST WONDERING.

I JUST WONDERED WHAT YOU
HAD IN MIND. THAT WAS ALL.

WHAT WOULD YOU
LIKE TO DO, JACKIE?

WHAT'S YOUR HEART'S DESIRE?

OH, YOU'RE KIDDING ME, GEORGE.

YOU'RE PULLING MY LEG.

I KNOW YOU. YOU'RE
PULLING MY LEG.

WELL, IF IT WAS UP
TO ME, I'D... I'D, UH...

WELL... IF IT WAS
UP TO ME, GEORGE,

I'D LIKE SOME DECENT
ODDS FOR A CHANGE.

I DON'T MIND A LITTLE
SHAKEDOWN... A LITTLE BUNCO...

BUT IT'S JUST THAT I'M
GETTING ALL THE HARD STUFF.

YOU KNOW I ALMOST GOT
PICKED UP THE LAST TWO TIMES.

REMEMBER THE HEIST?

THAT KIND OF STUFF
AIN'T FOR ME, GEORGE.

EXCEPT THEY PICK ME UP
ONE MORE TIME, GEORGE,

IT'S THREE STRIKES AND OUT.

I'M LONG GONE, AND FOR GOOD.

BOY, IT'S SO HOT IN
HERE, AIN'T IT, GEORGE?

AIN'T IT HOT?

ANYBODY EVER TELL
YOU WHAT YOU LOOK LIKE?

YOU LOOK LIKE A MAN TRYING
TO CATCH A SUBWAY AT 5:00.

YOU ALWAYS LOOK LIKE
SOMEBODY'S SQUEEZING YOU

THROUGH A DOOR.

WHAT DO YOU DO TO
SLEEP AT NIGHT, JACKIE,

HIDE IN THE LOCKED CLOSET?

NOW, LOOK, GEORGE,
I'M NOT KNOCKING YOU,

AND I DON'T SEE WHY

YOU ALL THE TIME GOTTA KNOCK ME.

ALL I'M ASKING FROM YOU IS...

GEORGE, WHAT'S THE JOB
I'VE GOT TO DO TONIGHT?

ALL RIGHT, I'LL
TELL YOU, JACKIE.

TONIGHT, I'M GOING
TO LET YOU BE A MAN.

I'M GOING TO LET YOU
SHOW SOME MUSCLE

FOR A CHANGE.

NO SHAKEDOWNS, NO
DELIVERIES TO A FENCE...

NOTHING LITTLE, JACKIE.

NOT TONIGHT.

TONIGHT, JACKIE, YOU'RE
GETTING UP IN THE WORLD.

NOW, THERE'S AN OLD MAN

RUNS A LITTLE BAR ON 38th STREET

BETWEEN LEXINGTON AND SIXTH.

HE'S A FEISTY OLD BUM. HE'S
ALWAYS GIVING US TROUBLE.

HE DON'T WANT TO PAY
OFF FOR THE JUKEBOXES,

HE DON'T WANT TO
PAY FOR PROTECTION.

WE LECTURE HIM ALL THE TIME,

BUT HE SPITS IN OUR EYE.

SO, TOMORROW MORNING,

THEY FIND THE OLD GLEEP
SPRAWLED ACROSS HIS BAR.

AND THEN ALL THE
REST SWING IN LINE.

NOW, THAT'S SIMPLE, JACKIE.

EVEN YOU CAN UNDERSTAND.

KILL HIM?

YOU WANT ME TO KILL HIM?

YOU'RE THE ONE, JACKIE.

BUT, GEORGE, I CAN GET SENT UP
FOR JUST CARRYING THAT THING.

GEORGE, THIS ONE AIN'T FOR ME.

LISTEN, YOU'RE IN HOCK TO
ME FOR YOUR COLLAR BUTTONS,

SO DON'T TELL ME WHAT'S
FOR YOU AND WHAT ISN'T.

BUT I NEVER DONE ANYTHING
LIKE THIS BEFORE, GEORGE.

I'M STRICTLY BREAKING
AND ENTERING.

I'M NICKELS AND DIMES.

YOU PUT ME IN AN
ALLEY, I DO A MUG JOB,

BUT I GOT TO DO IT FROM BEHIND.

I GOT NO GUTS, GEORGE.

YOU KNOW THAT,
GEORGE. I GOT NO GUTS.

WHY DON'T YOU GET A
COUPLE OTHER GUYS, HUH?

GET A COUPLE OF TORPEDOES?

'CAUSE EVERY TORPEDO I GOT IN
THE LINE IS GONNA GET PICKED UP

THE MINUTE THEY
FIND THAT OLD GLEEP.

BECAUSE YOU'RE NOT
GOING TO GET PICKED UP

BECAUSE YOU'RE NICKEL-AND-DIME
AND EVERYBODY KNOWS IT.

YOU NEVER DID A JOB LIKE THIS

BECAUSE YOU NEVER
COULD DO A JOB LIKE THIS,

AND THAT'S WHY YOU'RE
GONNA DO THIS ONE, JACKIE.

AND THAT'S HOW YOU'RE
GOING TO GET AWAY WITH IT.

BUT, GEORGE, I GOT NO GUTS.

GET GUTS, JACKIE! I
DON'T CARE WHERE FROM.

YOU GET THEM UNDER THE BED,
YOU BUY THEM FROM A VENDOR,

YOU GROW THEM IN A POT.

I DON'T CARE, BUT YOU GET THEM,

AND YOU DO THE JOB.

NOW, HE CLOSES THAT BAR AT 2:00.

YOU BE THERE WHEN
HE'S ABOUT TO LOCK UP,

AND YOU DO IT.

AND I'LL BE BACK
HERE AT 2:30, JACKIE.

AND IF I FIND OUT

THAT YOU WELSHED
ON ME, JACKIE...

THAT YOU CHICKENED
OUT... YOU'RE DEAD.

HEY... GEORGE.

HEY, GEORGE!

GEORGE!

GEORGE! PLEASE, GEORGE!

LOOK AT YOU.

LOOK AT YOU. WHAT'S THE BEEF?

GO OUT AND GET
RID OF AN OLD MAN.

SOME DOPEY OLD MAN.

HE'S GOING TO BE 90 YEARS
OLD, MAYBE 100 YEARS.

THAT'S WHAT HE IS... SOME
DOPEY OLD MAN... A GLEEP.

HEY, THAT'S WHAT GEORGE
CALLED HIM... A GLEEP.

THAT'S WHAT GEORGE
CALLED HIM... A GLEEP.

BOY, I WISH I COULD TRADE YOU,
AND I COULD USE ANOTHER MODEL.

AW, IT'S NOT YOUR FAULT.

IT'S NOT MY FAULT.

IT'S JUST THE
BREAKS, THAT'S ALL.

WHY AM I SCARED?

WHY AM I, ALL THE TIME, SCARED?

I'M ALL THE TIME SCARED.

OH, MAN, I'VE HAD A LONG HAUL.

HOW MANY NIGHTS IN A TANK?

HOW MANY NIGHTS IN STIR?

HOW MANY NIGHTS IN A CHEAP,
LOUSY LITTLE ROOM LIKE THIS?

FOUR BUCKS A NIGHT
TO ROAST TO DEATH.

NAIL BITER.

SCARED, NERVOUS
LITTLE NAIL BITER.

HEY, GEORGE! YOU AIN'T NO
JUDGE OF PEOPLE, GEORGE!

YOU OUGHT TO PEEL CANTALOUPES!

YOU OUGHT TO STICK WITH
APPLES AND ORANGES, GEORGE,

BECAUSE YOU AIN'T
NO JUDGE OF PEOPLE!

JACKIE RHOADES THE KILLER!

( laughing)

HEY, JACKIE RHOADES, KILLER!

I KNOW YOU, JACKIE
RHOADES. YOU AIN'T NO KILLER.

BUT YOU GOT TO KILL TONIGHT.

KILL OR BE KILLED.

SO YOU DO THE JOB AND
YOU'RE DEAD ANYWAY,

BECAUSE YOU KNOW YOU
NEVER GOT AWAY WITH ANYTHING.

YOU LIVE TILL TOMORROW,
AND THAT'S HOW IT ENDS.

BOY, I WISH I COULD
TRADE YOU IN.

NO MATCHES.

CIGARETTES AND NO
MATCHES, THAT'S ME ALL OVER.

THAT'S JACKIE RHOADES,
THE HALFWAY BOY.

THAT'S THE STORY OF MY LIFE.

( gasps)

HELLO, JACKIE.

( shrieking)

COME BACK HERE!

YOU'RE NOT RUNNING
OUT ON ME THIS TIME!

( whimpers)

YOU TALKING TO ME?

YOU TALKING TO ME?

WHO YOU...? YEAH, SURE YOU ARE.

NOW ME AND THE MIRROR,
WE'RE HAVING A TALK.

I'VE HAD IT, HUH?

ALL MY MARBLES ARE GONE.

THIS IS HOW IT HAPPENS.

THIS... YEAH, THIS
IS HOW IT HAPPENS,

BUT YOU AIN'T LOST
YOUR MARBLES YET,

AND I MEAN TO SEE
THAT YOU KEEP THEM.

WHO ARE YOU?

I'M YOU, JACKIE, AND YOU'RE ME.

HOW'S THAT?

YOU'RE ME AND I'M YOU?

OH, THIS IS CRAZY.

THIS IS REALLY CRAZY.

THIS IS CRAZY! CRAZY!

JACKIE, I'M PART OF YOU, JACKIE.

ANOTHER PART OF YOU.

DON'T YOU EVEN REMEMBER ME?

YOU USED TO KNOW ME
A LONG TIME AGO, JACKIE.

A VERY LONG TIME AGO,
YOU WERE UP FOR GRABS.

YOU COULD HAVE GONE
ONE WAY OR THE OTHER.

YOU COULD HAVE GONE
MY WAY OR YOUR WAY.

YOU WENT YOUR WAY.

YOU KNOW WHAT
THAT MEANS, JACKIE?

NO, I DON'T.

YOUR WAY: A CHEAP, WEAK, SCARED

HALF VULTURE, ALL MOUSE.

THAT'S WHAT YOU ARE, JACKIE.

ALL RIGHT, SO KNOCK ME.

SO I'M THIS AND I'M THAT,
AND I'M THIS AND I'M THAT.

LOOK, HERE, BUDDY,
WHATEVER I AM,

I GOT FLESH AND
BONES AND I BREATHE.

AND. IN JUST A COUPLE
OF HOURS FROM NOW,

I'M GOING TO PUT THE
FINGER ON SOMEBODY!

SO, HA-HA!

WHAT DO YOU DO
FOR A LIVING, HUH?

HAUNT PEOPLE IN MIRRORS, HUH?

LISTEN TO ME, BOY. LISTEN TO ME.

I'M HAVING AN ARGUMENT
WITH A BIG PIECE OF GLASS.

LISTEN, GLASS, I'M LEAVING.

SEE, I'M PULLING OUT.

I'M PULLING OUT.

I'VE HAD IT WITH YOU.

I'M A MOUSE, HUH?

WELL, YOU'RE NOTHING!

JACKIE... ( gasps)

( grunting)

JACKIE.

NOW, JACKIE... ( gasping)

( cries out)

JACKIE, DON'T PASS
OUT ON ME NOW.

JACKIE, WE'VE GOT A
BIG NIGHT AHEAD OF US.

WHERE YOU GOING?

WHAT'S IT TO YOU?

EVERYTHING.

EVERYTHING YOU DO
IS EVERYTHING TO ME.

CAN'T YOU GET THAT?

OH, YEAH, YEAH, NOW I GET IT.

I'M TALKING TO MYSELF.

THAT'S JUST WHO
YOU ARE TALKING TO...

PART OF YOURSELF... THE
PART YOU NEVER LET COME OUT.

NOW, LISTEN, BUDDY.

YOU GOT NO INVITATION
TO COME OUT NOW,

SO YOU CAN GO RIGHT
BACK WHERE YOU CAME FROM.

WHO NEEDS YOU?

YOU DO. YOU'VE ALWAYS NEEDED ME.

WAIT A MINUTE.

NOW I GET IT.

YEAH, NOW I GET IT.

YOU'RE CHICKEN, TOO.

YOU'RE SCARED I'LL
GET CAUGHT SAME AS ME.

YOU'RE SCARED
THIS IS THE LAST JOB,

SO YOU MAKE A BIG
NOISE LIKE A CONSCIENCE

SO THE BIG MAN DON'T SAY

YOU BEEN GOOFING
OFF ALL MY LIFE.

IT MEANS MORE THAN
THAT TO ME, JACKIE.

YOU THINK I CAN KEEP QUIET NOW

WHILE YOU GO OUT AND
GET US BOTH KILLED?

KILLED?

THAT'S RIGHT. YOU
SAID SO YOURSELF...

YOU NEVER GOT AWAY WITH NOTHING,

AND YOU KNOW YOU
WON'T GET AWAY WITH THIS.

AND I GOT A RIGHT TO LIVE.

YOU HAD THE SAME
CHANCES AS ME... NO CHANCE.

SO, IF I'M WRONG
AND YOU'RE RIGHT,

THEN HOW COME EVERY MOVE
I MADE TURNED OUT WRONG?

HOW ABOUT THAT, HUH?

BECAUSE, EVERY TIME I
TRIED TO TALK TO YOU,

YOU LISTENED TO SOMEBODY ELSE.

THAT WAS YOUR MISTAKE.

OKAY, WISE GUY,
YOU KNOW SO MUCH,

THEN HOW COME YOU
DON'T KNOW THE BIG THING?

BIG THING?

DON'T YOU EVER LOOK IN A MIRROR?

I WAS A RUNT. I WAS
A SKINNY LITTLE RUNT.

WHEN YOU WANT TO
JOIN A STREET GANG,

YOU GOT TO GO ALONG WITH THEM.

YOU BACK DOWN, THEY
GIVE YOU BUSINESS.

THEY CALL YOU A CHICKEN,

AND YELL, "YOU AIN'T GOT IT!"

YEAH, YOU WENT ALONG WITH THEM.

AND YOU MADE ME GO ALONG, TOO.

THE FIRST TIME, WE
WERE TEN YEARS OLD.

REMEMBER THAT?

THE CLASS PICNIC?

THE TEACHER HAD A LOCKET,
AND THE CATCH BROKE,

AND SHE LAID IT DOWN,

AND SOME OF THE BIG
KIDS DARED YOU TO SWIPE IT.

WELL, I DIDN'T WANT TO SWIPE IT.

I TOLD YOU, I WAS A RUNT.

THEY DARED ME.

AND, A YEAR LATER,
THEY DARED YOU

TO BREAK INTO THAT
GROCERY STORE WITH THEM,

AND YOU WENT ALONG,

AND YOU DRAGGED ME ALONG, TOO,

AND WE GOT CAUGHT.

AND YOU SPENT THE NEXT 11 MONTHS

IN REFORM SCHOOL, AND SO DID I.

WHAT DID THAT PROVE, JACKIE?

YAK, YAK, YAK, YAK.
TALK MY EAR OFF.

NO WONDER I CUT YOU DOWN.

YOU'RE WALKING ON YOUR
LOWER LIP ALL THE TIME.

WHAT DO YOU WANT FROM ME ANYWAY?

YOU KNOW WHAT I WANT.

NO, I DON'T

BUT I'LL TELL YOU
WHAT I DO KNOW...

I GOT TO GO OUT AND DO A JOB.

I GOT TO KNOCK OFF AN
OLD GLEEP ON 38th STREET.

AND, IF I DON'T
DO IT BY 2:00 A.M.,

YOU CAN TAKE WHAT'S LEFT OF ME

AND SCRAPE IT OFF THAT
MIRROR WITH A SPOON!

I AIN'T GOT MUCH
TIME. I GOT TO GO NOW.

YOU GOT LESS TIME
THAN YOU THINK.

BUT YOU NEVER HAD
TIME. YOU DIDN'T HAVE TIME

WHEN THAT PAROLE
OFFICER TRIED TO HELP YOU.

YOU COULD HAVE LISTENED TO HIM,

BUT YOU JOINED ANOTHER GANG.

SIX MONTHS LATER,
YOU WERE IN JAIL AGAIN,

AND THAT PAROLE
OFFICER COULDN'T HELP YOU

ANY MORE THAN
JANEY REARDON COULD.

JANEY REARDON.

JANEY REARDON.

JANEY REARDON.

SHE WAS A NICE KID.

SHE WAS A BEAUTIFUL WOMAN.

SHE TRIED TO SET YOU STRAIGHT.

I LOVED HER, JACKIE.

I LOVED JANEY REARDON.

YOU LOVED HER?

YOU GOT A NERVE.

HOW COULD YOU LOVE ANYBODY?

YOU'RE JUST A PIECE OF GLASS.

I COULD LOVE, JACKIE.

I COULD LOVE.

I NEEDED HER, JACKIE.

SO DID YOU.

I TRIED TO TELL YOU HOW
MUCH WE NEEDED HER,

BUT YOU GRADUATED FROM THE GANG

INTO THE SHAKEDOWN RACKETS.

BIG SHOT, HUH?

TWO YEARS WE SPENT
IN THE PEN ON THAT ONE.

AND, WHEN WE GOT OUT,

JANEY REARDON HAD GOTTEN MARRIED

AND MOVED AWAY.

SHE WALKED OUT
OF YOUR LIFE, JACKIE.

OUT OF OUR LIFE!

YOU CHEATED ME OUT OF HER.

DON'T TELL ME YOUR
TROUBLES. IT'S NOTHING TO ME.

DAMES I CAN TAKE OR LEAVE ALONE.

DAMES YOU CAN
TAKE OR LEAVE, HUH?

THAT'S A STATEMENT
FOR THE PRESS.

YOU WOULDN'T WANT TO HAVE
A GIRL, WOULD YOU, JACKIE?

SOMEBODY SWEET AND PRETTY.

SOMEBODY WHO WOULD LOVE YOU.

SOMEBODY WHO'D BE
KIND AND GENTLE WITH YOU.

YOU DON'T NEED
THAT, DO YOU, JACKIE?

WHY DON'T YOU CUT IT OUT?

WILL YOU DO THAT?

WILL YOU KNOCK IT OFF?

WHAT DO YOU WANT FROM ME ANYWAY?

I'M ASKING YOU, WHAT
DO YOU WANT FROM ME?

I'M STILL WAITING TO HEAR.

WHAT DO YOU WANT?

I WANT TO TAKE OVER, JACKIE.

I WANT TO CALL THE SHOTS.

I WANT YOU TO LET ME OUT.

I WANT A CHANCE TO LIVE.

I WANT TO LIVE WITH ALL THE GUTS

AND GOODNESS YOU LEFT BEHIND.

I WANT TO LIVE THE
DREAMS YOU DREAMED

AND NEVER HAD THE GUTS TO LIVE.

FAT CHANCE, BUSTER.
BIG FAT CHANCE.

I'M ME AND YOU'RE YOU!

AND THAT'S NO
STATEMENT FOR THE PRESS.

THAT'S THE GOODS.

I'M GOING OUT AND KNOCK
ME OFF AN OLD MAN NOW,

AND I'M GOING TO CUT ME

A NICE SLICE OF CABBAGE
FOR MY TROUBLES.

I'M CALLING THE SHOTS!

AND NEITHER YOU OR ANYBODY ELSE

IS TELLING JACKIE
RHOADES WHAT TO DO!

NEITHER YOU OR ANYBODY ELSE!

( phone rings)

YEAH?

OH... YEAH, GEORGE.

UH... GEORGE, I'M DOING
WHAT YOU TOLD ME, GEORGE.

I'M JUST ON MY WAY OUT NOW.

YEAH, GEORGE. I'M JUST LEAVING.

YEAH. HONEST, GEORGE. HONEST.

I'M... I'M... I'M ON MY WAY NOW.

YEAH. YEAH, I'M... I'M...

I'M GOING TO LEAVE
RIGHT NOW, GEORGE.

I'LL MEET YOU BACK
HERE AT 2:30, OKAY?

YEAH. I'LL MEET YOU
RIGHT BACK HERE, GEORGE.

OKAY.

HEY!

HEY, THERE.

HEY, WHERE ARE YOU?

HEY, GLASS, COME ON OUT HERE.

COME ON. DO YOUR JOB NOW.

HEY, COME ON, I WANT TO SEE
HOW I LOOK, GLASS. COME ON.

IT DON'T MAKE ANY
DIFFERENCE, JACKIE,

BECAUSE YOU'RE
NOT GOING ANYWHERE.

YOU GO OUT THAT
DOOR, YOU'RE FINISHED.

WE'RE BOTH FINISHED.

THAT'S THE DOOR TO NOWHERE.

JACKIE, JACKIE, LET ME OUT!

I WANT TO TAKE OVER.

I GOT TO TAKE OVER!

I WANT A DECENT
JOB, SOME FRIENDS.

I GOT A JOB. I GOT FRIENDS.

I GOT EVERYTHING I WANT.

YOU GOT NOTHING. YOU GOT
NOTHING BUT A PAIN INSIDE.

YOU GOT NO FRIENDS. YOU
GOT NOTHING! YOU ARE NOTHING!

IT'S TIME TO BE SOMETHING.

JACKIE, LET ME OUT.

LET ME TAKE OVER, JACKIE.

THIS IS YOUR LAST CHANCE.

ALL RIGHT, I'LL LET
YOU OUT OF THERE.

COME ON OUT OF THERE, WISE GUY.

COME ON OUT!

WHAT A PHONY.

WHAT A PHONY.

YOU'RE A LIAR!

( gasps)

( laughing hysterically)

GET UP, LITTLE MAN.

I'M GOING TO TAKE YOUR
SKIN OFF FOOT BY FOOT.

NOBODY WENT TO THE OLD
MAN'S BAR TONIGHT, JACKIE.

NOBODY AT ALL.

AT LAST REPORTS, HE
WAS IN EXCELLENT HEALTH...

THANKS TO YOU.

THANKS TO YOU, YOU
RAUNCHY LITTLE WELSHER.

WELL, WHAT DO YOU GOT TO
SAY FOR YOURSELF, CRUMB, HUH?

WHAT HAVE YOU GOT
TO SAY FOR YOURSELF?

WHAT HAVE I GOT TO SAY
FOR MYSELF, GEORGE?

NOT MUCH.

JUST TWO WORDS: I RESIGN.

THAT'S IT, GEORGE.

I RESIGN.

YOU WHAT?

I RESIGN.

YOU CAN HAVE YOUR GUN BACK,

PLUS THE FOLLOWING.

MOVE OUT, GEORGE.

AND DON'T EVER COME
BACK... FOR ANYTHING.

ROOM CLERK, THIS IS JACKIE...

THIS IS JOHN RHOADES, ROOM 14.

I'M CHECKING OUT.

NO, I'M NOT COMING BACK.

NO, AS A MATTER OF
FACT, NOTHING'S ALL RIGHT.

THE ROOM'S TOO HOT,
TOO SMALL AND TOO DIRTY.

IT'S JUST THE PLACE FOR
BUMS, BUT NOT FOR ME.

HEY, HEY, WHAT'S TO DO NOW?

WHAT'S TO DO NOW?

NOW WE GO LOOK FOR A JOB.

NOW MAYBE WE GET MARRIED.

NOW MAYBE WE STOP
BITING OUR NAILS.

EXIT MR. JOHN RHOADES,
FORMERLY A REFLECTION IN A MIRROR,

A FRAGMENT OF SOMEONE
ELSE'S CONSCIENCE,

A WISHFUL THINKER
MADE OUT OF GLASS,

BUT NOW MADE OUT OF FLESH,

AND ON HIS WAY TO JOIN
THE COMPANY OF MEN.

MR. JOHN RHOADES, WITH
ONE FOOT THROUGH THE DOOR

AND ONE FOOT OUT
OF THE TWILIGHT ZONE.

MAN: ROD SERLING THE
CREATOR OF TWILIGHT ZONE,

WILL TELL YOU ABOUT
NEXT WEEK'S STORY

AFTER THIS WORD FROM
OUR ALTERNATE SPONSOR.

AND NOW, MR. SERLING.

THESE ARE FAMILIAR
ITEMS, I'M SURE...

TELEVISION SET, ELECTRIC
RAZOR, CLOCK, TYPEWRITER...

THE NORMAL, EVERYDAY
ACCOUTREMENTS

THAT ARE PART AND PARCEL
OF 20th CENTURY PROGRESS.

BUT, NEXT WEEK, YOU'LL SEE THEM
UNDER DIFFERENT CIRCUMSTANCES,

AND IN A TOTALLY
DISSIMILAR GUISE.

THEY'LL BE MACHINES, BUT
THEY'LL ALSO BE MONSTERS.

OUR STORY IS CALLED A
THING ABOUT MACHINES,

AND IT WILL BE HERE
WAITING FOR YOU

IN THE TWILIGHT ZONE.

MAN: SEE THE NEW ANDY
GRIFFITH SHOW EACH WEEK

OVER MOST OF THESE STATIONS.

CONSULT LOCAL LISTINGS.