The Twilight Zone (1959–1964): Season 2, Episode 9 - The Trouble with Templeton - full transcript
Booth Templeton is a renowned stage actor who has reached a stage in his personal life where he has idealized his past. In particular he has fond memories of his first wife, Laura. After a stressful encounter at the theater, he walks out of the stage door and finds himself in 1927 where he joins his wife and best friend, Barney Fluegler, for dinner. It all reminds him that his past was not as rosy as he may have remembered it.
( 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
WHOSE BOUNDARIES
ARE THAT OF IMAGINATION.
THAT'S THE SIGNPOST UP AHEAD.
YOUR NEXT STOP,
THE TWILIGHT ZONE.
( woman laughing)
( laughing)
( screams playfully)
GOOD MORNING, MR. TEMPLETON.
OUR NEW GUEST
THIS WEEK, MARTY...
HIS NAME IS WHAT?
PAGE, SIR.
MR. EDWARD PAGE.
PAGE.
PAGE, PAGE.
HAS HE BEEN HERE BEFORE?
NO, SIR. HE'S NEW.
OH.
THESE NEW, TOO?
YES, SIR.
EVERY HOUR ON THE HOUR.
HMM.
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
PARTICULARLY 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.
( music plays softly)
WHY DID HE HAVE TO TAKE HER?
PLEASE, MR. TEMPLETON, 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 CONSIDERATION
MR. BOOTH TEMPLETON,
SERIOUS AND SUCCESSFUL STAR
OF OVER 30 BROADWAY PLAYS,
WHO IS NOT QUITE
ALL RIGHT TODAY.
YESTERDAY AND ITS
MEMORIES IS WHAT HE WANTS,
AND YESTERDAY IS WHAT 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 TWILIGHT ZONE.
YOU'RE LATE, 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.
( chuckles)
Man: I SAY THIS ONCE, JUST ONCE.
AND ONLY ONCE.
BUT I SAY IT NOW
AND EXPECT EACH
AND EVERY ONE OF YOU
TO UNDERSTAND IT.
MICHAEL FRANZ IS
PRODUCING THIS PLAY.
MR. COOMBS HAS WRITTEN IT.
YOU HAVE 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 PLAY
MY WAY AT ALL 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.
Willis: CALL HIS
HOME! CALL HIS HOME!
VALENCIA.
NEVER MIND.
SOME OF US ARE YOUNG.
SOME OF US ARE OLD.
BUT NEITHER STATE
PRECLUDES ANY OF US,
YOUNG OR OLD,
FROM IGNORING THE
BASIC COOPERATION
THAT WILL BE NECESSARY HERE.
WHEN I DIRECT,
THERE ARE NO
SIGNIFICANT PERSONALITIES
IN THE CAST OF ANY PLAY,
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 12:00, TEMPLETON,
I MEANT 12:00 FOR EVERYONE,
YOUNG AND OLD...
EVERYONE TO BE IN HIS PLACE
AND READY TO
WORK AT 12:00 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!
NO... COME BACK HERE, TEMPLETON.
BOOTH!
COME BACK!
TEMPLETON! COME BACK HERE!
( applause)
BOOTH TEMPLETON
IN THE GREAT SEED?
1927's BIG HIT?
1927.
THAT'S MORE THAN 30 YEARS AGO.
BARNEY FLUEGER.
BARNEY!
Man: 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
AT FREDDIE IACCINO'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.
( buzzer sounding)
HELLO, BOOTH.
FREDDIE.
YEAH, WHAT?
IT IS YOU.
YOU'RE ALIVE.
( chuckles): SURE.
WHAT DID YOU EXPECT?
( knocking at door)
CAN'T BE TOO CAREFUL THESE DAYS.
ALL THE TIME SOMEBODY'S
WANTING A RAID OR SOMETHING.
( band playing upbeat tune)
( loud crowd chatter)
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.
( laughter)
OH, BARNEY, YOU'RE A SCREAM.
OH, HI.
HI, BOOTH.
WE DIDN'T WAIT.
BARNEY.
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.
HMM?
BOOTH, HOW MANY
TIMES HAVE I TOLD YOU
TO TAKE YOUR MAKEUP OFF
BEFORE YOU COME IN HERE.
MAKEUP?
LAURA... LAURA, DARLING,
LET'S GO SOMEPLACE 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?
I... 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 BAND'S SWELL.
LAURA, LAURA... BARNEY...
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 MEAN, REALLY.
Booth: I'M NOT SO CERTAIN
THAT IT IS A GLAD, GREEN EARTH.
OH, LAURA, LAURA,
DARLING... BARNEY...
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 LONELY YEARS...
I'VE HAD ONLY A MEMORY
OF YOU TO LIVE ON.
YOU, TOO, BARNEY.
WHY, YOU WERE MY ONE
AND ONLY 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... 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 KNOWING
THAT WE WERE IN LOVE.
ARE YOU FINISHED?
I DON'T LIKE WHAT YOU'VE BECOME.
( laughing)
( both laughing)
SHUT UP.
SHUT UP, BOTH OF YOU! SHUT UP!
LAURA, LAURA, COME WITH ME.
NO.
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.
( music stops)
( meows)
( cat yowling)
OH, YEAH, COME ON...
NO, NO, PLEASE, PLEASE.
OH, COME ON... ( laughs)
DID IT HAPPEN?
( panting)
"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...'"
"BARNEY: 'THE SAME.
"'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 ATTEND MY REHEARSALS.
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 THAT
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.
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.
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 TWILIGHT ZONE.
MAN: SEE THE NEW ANDY
GRIFFITH SHOW EACH WEEK
OVER MOST OF THESE STATIONS.
CONSULT LOCAL LISTINGS.
YOU'RE TRAVELING THROUGH
ANOTHER DIMENSION...
A DIMENSION NOT ONLY OF
SIGHT AND SOUND, BUT OF MIND.
A JOURNEY INTO A WONDROUS LAND
WHOSE BOUNDARIES
ARE THAT OF IMAGINATION.
THAT'S THE SIGNPOST UP AHEAD.
YOUR NEXT STOP,
THE TWILIGHT ZONE.
( woman laughing)
( laughing)
( screams playfully)
GOOD MORNING, MR. TEMPLETON.
OUR NEW GUEST
THIS WEEK, MARTY...
HIS NAME IS WHAT?
PAGE, SIR.
MR. EDWARD PAGE.
PAGE.
PAGE, PAGE.
HAS HE BEEN HERE BEFORE?
NO, SIR. HE'S NEW.
OH.
THESE NEW, TOO?
YES, SIR.
EVERY HOUR ON THE HOUR.
HMM.
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
PARTICULARLY 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.
( music plays softly)
WHY DID HE HAVE TO TAKE HER?
PLEASE, MR. TEMPLETON, 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 CONSIDERATION
MR. BOOTH TEMPLETON,
SERIOUS AND SUCCESSFUL STAR
OF OVER 30 BROADWAY PLAYS,
WHO IS NOT QUITE
ALL RIGHT TODAY.
YESTERDAY AND ITS
MEMORIES IS WHAT HE WANTS,
AND YESTERDAY IS WHAT 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 TWILIGHT ZONE.
YOU'RE LATE, 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.
( chuckles)
Man: I SAY THIS ONCE, JUST ONCE.
AND ONLY ONCE.
BUT I SAY IT NOW
AND EXPECT EACH
AND EVERY ONE OF YOU
TO UNDERSTAND IT.
MICHAEL FRANZ IS
PRODUCING THIS PLAY.
MR. COOMBS HAS WRITTEN IT.
YOU HAVE 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 PLAY
MY WAY AT ALL 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.
Willis: CALL HIS
HOME! CALL HIS HOME!
VALENCIA.
NEVER MIND.
SOME OF US ARE YOUNG.
SOME OF US ARE OLD.
BUT NEITHER STATE
PRECLUDES ANY OF US,
YOUNG OR OLD,
FROM IGNORING THE
BASIC COOPERATION
THAT WILL BE NECESSARY HERE.
WHEN I DIRECT,
THERE ARE NO
SIGNIFICANT PERSONALITIES
IN THE CAST OF ANY PLAY,
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 12:00, TEMPLETON,
I MEANT 12:00 FOR EVERYONE,
YOUNG AND OLD...
EVERYONE TO BE IN HIS PLACE
AND READY TO
WORK AT 12:00 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!
NO... COME BACK HERE, TEMPLETON.
BOOTH!
COME BACK!
TEMPLETON! COME BACK HERE!
( applause)
BOOTH TEMPLETON
IN THE GREAT SEED?
1927's BIG HIT?
1927.
THAT'S MORE THAN 30 YEARS AGO.
BARNEY FLUEGER.
BARNEY!
Man: 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
AT FREDDIE IACCINO'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.
( buzzer sounding)
HELLO, BOOTH.
FREDDIE.
YEAH, WHAT?
IT IS YOU.
YOU'RE ALIVE.
( chuckles): SURE.
WHAT DID YOU EXPECT?
( knocking at door)
CAN'T BE TOO CAREFUL THESE DAYS.
ALL THE TIME SOMEBODY'S
WANTING A RAID OR SOMETHING.
( band playing upbeat tune)
( loud crowd chatter)
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.
( laughter)
OH, BARNEY, YOU'RE A SCREAM.
OH, HI.
HI, BOOTH.
WE DIDN'T WAIT.
BARNEY.
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.
HMM?
BOOTH, HOW MANY
TIMES HAVE I TOLD YOU
TO TAKE YOUR MAKEUP OFF
BEFORE YOU COME IN HERE.
MAKEUP?
LAURA... LAURA, DARLING,
LET'S GO SOMEPLACE 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?
I... 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 BAND'S SWELL.
LAURA, LAURA... BARNEY...
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 MEAN, REALLY.
Booth: I'M NOT SO CERTAIN
THAT IT IS A GLAD, GREEN EARTH.
OH, LAURA, LAURA,
DARLING... BARNEY...
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 LONELY YEARS...
I'VE HAD ONLY A MEMORY
OF YOU TO LIVE ON.
YOU, TOO, BARNEY.
WHY, YOU WERE MY ONE
AND ONLY 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... 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 KNOWING
THAT WE WERE IN LOVE.
ARE YOU FINISHED?
I DON'T LIKE WHAT YOU'VE BECOME.
( laughing)
( both laughing)
SHUT UP.
SHUT UP, BOTH OF YOU! SHUT UP!
LAURA, LAURA, COME WITH ME.
NO.
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.
( music stops)
( meows)
( cat yowling)
OH, YEAH, COME ON...
NO, NO, PLEASE, PLEASE.
OH, COME ON... ( laughs)
DID IT HAPPEN?
( panting)
"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...'"
"BARNEY: 'THE SAME.
"'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 ATTEND MY REHEARSALS.
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 THAT
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.
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.
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 TWILIGHT ZONE.
MAN: SEE THE NEW ANDY
GRIFFITH SHOW EACH WEEK
OVER MOST OF THESE STATIONS.
CONSULT LOCAL LISTINGS.