November 21, 2023 • 38 mins
Most of the stations aired two episodes each week, usually on the weekends and many times back to back.Many of the stories are based on Rod Serling's scripts from the original Twilight Zone series, and are slightly expanded and updated to reflect contemporary technology and trends and the lack of a visual component. In addition to adapting all of the original episodes aired on the TV series, the radio series has also adapted some Twilight Zone TV scripts which were never produced, scripts from other Serling TV productions, and new stories written especially for the radio series.
Taking Serling's role as narrator is Stacy Keach. Different Hollywood actors, such as Blair Underwood and Jim Caviezel, take the lead role in each radio drama. In addition, several stars who appeared on the original TV series, such as H.M. Wynant, Orson Bean and Morgan Brittany, appear, although purposely not in the roles they originated on television. The series features a full cast, music and sound effects and is produced in the flavor of classic radio dramas but using today's technology.
In addition to being an homage to the original Twilight Zone TV series, the radio dramas pay tribute to the era of classic radio drama, including allusions to radio dramas such as Gunsmoke, the presence of radio legend Stan Freberg in many episodes, and the sons (Stacy Keach, Ed Begley Jr.) of radio drama personalities Stacy Keach Sr. and Ed Begley as stars in the series.
Taking Serling's role as narrator is Stacy Keach. Different Hollywood actors, such as Blair Underwood and Jim Caviezel, take the lead role in each radio drama. In addition, several stars who appeared on the original TV series, such as H.M. Wynant, Orson Bean and Morgan Brittany, appear, although purposely not in the roles they originated on television. The series features a full cast, music and sound effects and is produced in the flavor of classic radio dramas but using today's technology.
In addition to being an homage to the original Twilight Zone TV series, the radio dramas pay tribute to the era of classic radio drama, including allusions to radio dramas such as Gunsmoke, the presence of radio legend Stan Freberg in many episodes, and the sons (Stacy Keach, Ed Begley Jr.) of radio drama personalities Stacy Keach Sr. and Ed Begley as stars in the series.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:09):
You unlocked this door with the keyof imagination. Beyond it is another dimension,
a dimension of sound, a dimensionof sight, a dimension of mind.
You're moving into a land of bothshadow and substance of things and ideas.
You've just crossed over into the twilightzone. Why are you driving so
(00:44):
slowly? Miller? Sorry, sir. The traffic is unusually heavy today.
I can see that, But Cassiusspeed it up a bit. I wish
I could, mister Gordon. Eversince we crossed the bridge, it's been
bumper to bumper. Well and tryingto alternate wrote this is the alternate,
sir, but it doesn't look verypromising. I'm going to be late.
She doesn't like it when I'm late. No, sir, I'd better call
(01:07):
home a capital idea. It's busyagain, Yes, sir, there's something
wrong with this phone. The batteriesare going hey wire. Would you like
to try mine? Sir? Yes, yes, pass it back to me.
I'll die if you like. Whatnumber? You know? The number
(01:27):
my apartment, of course, I'llgive it here. Very good, sir.
Who is she talking to? Perhapsshe's calling your office or this phone
isn't working either. What did youdo, sir? Throw it out the
(01:49):
window. She plastic contraption. Butit was an excellent phone, sir.
You bought it for me last week, and I'll buy you another one.
Now get me home, Yes,sir, it may I suggest the ice
bucket is full. There's a bottleof your favorite Scotch. Not at this
hour. It it had only slowme down, have enough trouble keeping up
with hers. It is quite oh, Flora, Please don't be cross with
(02:15):
me to night. I'll be home, DearS, I swear to you're just
as soon as I can, ofcourse you will, sir, Such a
lovely girl. I'm very fortunate,you know, most suddenly a man of
my years, if I may sayso. Missus Gordon is very lucky too.
I'm sure she appreciates how lucky.Yes, yes, I'm sure she
(02:37):
must. But sometimes I wonder whatit's like for her alone all day at
her age. Poor thing. Anotherone. Hmmm, hello, concierge,
(03:05):
Yeah, this is missus Gordon.Could you send up some chili, cheese,
fries and a coke. I'm starving. Just put it on the tab,
don't worry. Harmon'll pay you.See. We were going out to
dinner, but now i don't knowif he's ever going to get here picture
(03:25):
of an unlikely lady in waiting andher night in not so shining shining armor.
An aging man who leads his life, as the Roe said, in
quiet desperation, because Harmon Gordon isa slave of love and has been,
most unfortunately for him ever since hisheart was captured by a woman some forty
(03:46):
years his junior. And because ofthis, he runs when he should walk,
He surrenders when simple pride dictates heshould take a stand. He pines
away for the lost morning of hislife when he should be enjoying the evening.
In short, mister Harmon Gordon maynot know it yet, but what
he seeks most desperately is a fountainof youth. And who's to say he
(04:09):
won't find it? Because this justhappens to be in the Twilight Zone.
And now the Twilight Zone and ourstory A short Drink from a Certain Fountain
starring Adam West, with Stacy Keachas your narrator. Flora Flora, dare
(04:43):
over here, Romeo, Oh thereyou are, darling. What happened to
you? Please accept my apologies.The traffic was backed up all the way
from the office how come I'm notsurprised you'd be late for your own funeral?
And what did you do today?Go shopping? Oh? I had
a ball, an absolute swinging time. I only asked him passing my dear
(05:03):
because I'm concerned. Oh, let'ssee, I had breakfast, and then
I had lunch, and then Ifired that stupid maid, and then I
waited for you. Whether you realizeit or not, big boy, that
routine gets old, fast, veryold. I'm truly sorry. All in
all, Harmon, it was oneof those days that makes you want to
jump off a bridge earth to Harmon, do you read me? There's still
(05:26):
time if you care to go outand do what. Dinner at the tavern?
Whoop de dooo? I thought youliked the food there. How about
the Rainbow room? Well, Isuppose if you prefer it is awfully noisy
here, at least we could hearsome music. You want music, but
I've bought you all the latest recordings. I want live music any kind.
(05:48):
I don't care, as long asI can dance dance. Matter of fact,
I feel like dancing right now?You do? Will you dance with
me? Harmon? Well, Isuppose, come on, baby, let's
see what you've got. Let metake off my hat and coat. Oh
(06:09):
come on, loosen up, letit move. You feel that beat.
I'm I'm trying, dear, moveit, Harmon, I'm doing my best.
What's wrong with you? I can'tkeep up? Shake your booty?
Now, move your arms like this, Flora, Please be more careful.
(06:30):
It was just a piece of glass. It was a very old piece of
glass, worth what eighty nine cents? Hardly? This was a Wedgewood big
deal. I'll buy you six morejust like it. I'll even have the
concierge gift wrapping for our anniversary.Then we can sit around and play old
records. Sounds like a hot nightto me. What's that tune you like?
(06:56):
Come to the church in the wildwood? O? Real toe tapper?
Forgetting that I'm no longer a varsityand were you ever? Furthermore,
if my doctor had witnessed that littleburst of activity just now, that's always
your excuse. It's not an excusemy heart. If you keep telling me
about your heart and all your achesand pains, Harmon, I'm gonna run
(07:18):
out and get sick. Would youmind putting that cigarette out? Dear?
I've asked you not to smoke.Why not bad for your heart. You
might start a serious fire, honey, baby, one of these fine late
evenings. That's exactly what I'm gonnado. Charge this whole mausoleum. There
(07:42):
are things here that mean it's agreat deal to me. Like what that
I saw I knocked over. Itwas it was my mother's. Oh spare
me. It was worth very littleexcept for the sentimental value. That's a
word you may not understand, Flora. Sentiment. It means the capacity to
(08:03):
love. Listen, big boy,if I don't fill the bill anymore,
just say it loud and clear.In case you forgot. There are fourteen
flights a day to Reno, andI'd love to be on any one of
them. But if I am,you're gonna pay big time. Flora Darling,
I am not angry. I simplywish that well, if you'd be
a little more careful and considerate.Somebody should have wished that five years ago
(08:28):
when you and I signed the papers. I knew you were old, Harmon,
but I didn't know how old.You better watch yourself, honey.
If you ever take me to aswinging weekend in Egypt, I might just
run away with a mummy know whatI mean. I'll just just wash up
a bit and we can go outto dinner. Oh, you do that.
We'll make it to your night,baby. We'll go someplace wild like
(08:52):
the elkslotch Flora, Flora, darling, what's happened to us? That's it,
(09:13):
Flora, I told you. Idon't want to talk about it anymore.
But Flora, dear, I toldyou I was tired before we left,
floriad I told you I was tired. You're always tired. It's not
something I can control, these pillsI take. I didn't ask you to
run the mile. I just askedyou to go dancing, or two of
the movies, or someplace, anyplace but here. We went dancing on
(09:37):
Monday evening. We've been to themovies twice this week. I only thought
thought, what that you could takemy mind off what a miserable bore you
are. Well, let me tellyou something, honey. I only thought
that, well, just one evening, only one we could quietly watch television
or read or have a conversation.It's a fine art, you know,
(10:01):
the two of us with no oneelse around, something to bring us closer
together. And you think that's allthat takes. This is so like you
the Late Late Show, after wehave a game of chess. That's not
what I mean. Sounds really greatfor senior citizens at the Old Folks Home.
But for your information, sweetie pie, I don't have my reservation there
(10:22):
yet they won't let me in.I still have my own teeth, Flora.
Try to be reasonable, Paul,and don't tell me how you pick
me out of a chorus line andintroduce me to the finer things in life.
Your idea of the finer things isto hold hands in church and listen
to the organ music. For youknow that isn't true. Take my advice,
(10:43):
get yourself a nice glass of warmmilk and curl up with an almanac,
whatever it takes to get you throughthe night. Because this time it
ain't me, Babe, forgive me. I know it's late, But is
(11:09):
doctor Gordon still in the lab?He is mass page one place. This
is his brother calling. Yes,all white now then Leonard, Yes,
which monkey would you say is dominantin this group? I guess the largest.
(11:31):
Look again, the largest monkey isseated in the corner of the cage
doing absolutely nothing. It doesn't seemvery dominant, now, does he You're
right. Now, Notice the smallone in the center of the group,
the young one. He has thefood and water to himself. No one's
challenging his position. But doesn't thatgo against the normal rules of social organization?
(11:54):
Not where they young are concerned.And the cause of this new high
hierarchy Leonard is the Gordon vaccine.He's been injected for three weeks running.
Now his appearance has changed, andthe others can see it. They may
not understand, but they respect it. They have to. They share a
responsibility for his well being. Isee, doctor Gordon. The implications.
(12:20):
I mean, if this process couldbe extended to other species, other social
structures, the results would be injust a moment. Yes, Julie,
I thought I told you no morecalls. I'm sorry, sir, but
it's your brother. He asked meto ring through Harmon. Well what do
you know? Put him on?Yes, sir, go ahead with Harmon.
(12:41):
Is that you? I hope I'mnot interrupting. Are you all right?
You sound a bit under the weather? Fine, Look, Raven,
I was just wondering if if youcould come over this evening tonight. Well,
I don't know. I was justtraining a new assistant. How about
lunch tomorrow. I'm afraid that onetoo. I know it's late, but
(13:03):
i'd like to see you. Whyso mysterious if it's something to do with
your health. No, no,no, everything's all right, everything's fine.
It's just that well, i'd liketo talk to you. I see
Raymond. Please please come over.I'm my wits end. I must talk
to you very well. Then,Thank you, Raymond. You don't know
(13:24):
how much this means to me.Relax, old boy. I'll be there
as soon as I lock up.What is it, doctor, Nothing serious,
I hope. No, No,nothing serious. But if I'm not
mistaken, there may be a slightproblem of social organization in my own family.
(13:46):
Drink all right? Perfect? Good? Yes? Good? You look
tired, Harmon do I yes,Harmon, tired and depressed. Now do
you want to tell me about it? Or shall we sit here and play
twenty questions for the rest of theevening? Been pretty rush the last week
or so? Flora asleep? Yes, yes, she went to bed about
(14:09):
an hour ago, she asked.She asked to be remembered. Oh,
she'll be remembered. I'm not sure. I like the sound of that.
Merely an observation. You know youreally ought to get to know her better,
Raymond. She's really a fine girl. Did I say otherwise? Harmon?
No? But I know you twohaven't been exactly close as a brother
(14:33):
and sister in law should be.Harmon. Would you do me a favor?
Anything? Two favors? Actually?First of all, don't sell me
on Flora. Don't even try.You know what I think of her.
And this isn't backbiting. Now.This is what I've told her to her
face, so I have no compunctionsabout saying it aloud, saying what let
me finish. I could forgive herher appetites, Harmon. I could forgive
(14:58):
the fact that she's made out ofa asbestos and doesn't have a heart in
her body. You're being unfair,but I cannot forgive her for what she's
done to you. She's turned youinto a frightened, quaking, damned fool
who dotes on her, gives intoher whims, and runs after her like
a poodle. That's item one,Raymond. Please. My second favorite is
simply that from now on, afteryou've had your battles, you not call
(15:22):
me at odd hours of the night. I don't do this often, once
is often twice is endless harmon.We're very close as brothers go, don't
you think so? Yes, despitethe difference in our ages. Maybe that's
why you've always been my big brother. And you know there isn't anything in
(15:43):
this world that I wouldn't do foryou if it's in my power. But
you can't expect me to run overhere like a Saint Bernard. Every time
you get frozen halfway up the mountain. You make me ashamed, don't be.
She's a predatory little alley cat andshe's always been that way. I
knew it the first time I sawher. But I can give you only
(16:03):
so much solace, so much sympathy, and then it begins to stick in
my craw Now what is it youwant tonight? Just just someone to while
away the hours with you? Oris there something more specific? The thing
you've been working on at the institute? Go on the cellular injection. You've
(16:25):
been successful with them, haven't you. Oh no, you're out of your
mind, desperate. I am outof my mind. I'm assuredly not,
but you must be. If you'rethinking you've made animals younger, I've read
your paper. You've injected them withyour fluid and they've become young again.
Isn't that true? Animals? Indeed, guinea pigs, white mice, hamsters.
(16:49):
You've been able to reach you fina glands, organs, sometimes the
entire cellular structure. But we haven'teven scratched the surface yet. Harmon.
We're stumbling along in the dark.I want you to win. Check me
and I repeat. You must beout of your mind. We don't have
a remote idea of what's involved here. The research is very impressive, all
(17:11):
right. We've managed to rejuvenate ahandful of small animals and rodents, but
we're twenty years away from trying thison human beings. Why are you serious.
We're dealing in the basic building blocksof life, Harmon. We don't
have the remotest idea of how muchdamage might result in the long term.
We don't know what we're doing tothe basic metabolism of the body or the
(17:32):
mind. God only knows what effectthis has on the brain. Harmon.
We're winging this and we've killed asmany as we've saved. You said you
do anything for me, anything withinreason. This is within reason. I'm
close to the end of my rope. Rammond I've reached a point where it
really matters very little to me ifI ever die, surely not, I
(17:53):
want you to test this serum onme. Sure of that? An't bear
getting any older. Aside from thispronounced death wish of yours, how would
you like to spend the rest ofyour life as a mutated freak, or
a blithering idiot, or a mindlessshell. This is not only possible harm,
(18:14):
and it's highly probable we couldn't controlan experiment with a human being.
It'd be catch as ketch. CanI not only would take the risk,
I'd welcome it. The answer isno, you don't know what you're saying,
nor do you, and it's thesame as a death sentence, exactly
(18:37):
right. I wouldn't try experimenting ona strange bum picked up off the street.
Let alone, my own brother,please. The answer is a firm,
irrevocable no. In that case,I bet you good night, Raymond,
and I thank you for coming.I trust you can let yourself out.
(19:00):
Are you going out onto the balcony? I'd like to be alone,
Harman, I said, I'd liketo be alone to collect my thoughts.
Bear this in mind. As aphysician, I can attest to the effects
on the human body of landing ona concrete sidewalk after a five hundred foot
fall. It isn't pretty, anddoes a man? Can you attest the
effects on the human heart when aman is deeply, dedicatedly totally in love
(19:26):
with a woman who can't stand theside of them, the sound of them,
the look of them. Have youany idea what kind of life this
is for me? I know whatkind of life it could be and should
be. You're a bright, charming, wealthy, discerning guy, and you've
been warped and hammered out of shapeby a flashy little piece of baggage who
(19:48):
isn't fit to wait on your table. Whatever she is and whatever she isn't,
She's the only thing on God's earththat I care about. What it's
like to believe your life is overand then suddenly one day to walk into
a room and feel it begin allover again, To see the sun in
(20:08):
the sky even though it's the deadof winter, To lie awake at night
flushed with anticipation for a brand newday because she will be there. Don't
do this to yourself. Listen tome. This is important. It matters.
Ever since I was a young man. I wish for someone who'd let
(20:30):
me show her the world, discoverit with me, because without anyone to
share it with, the world mightas well be buried under six feet of
snow. Someone who'd be their ray. That's all I wouldn't ask much in
return, a kind word once ina while. She still has a love
of life, believe me, onlyI can no longer share it with her
(20:53):
because I'm old now and getting older. The days run away and leave me
further and behind, and now it'stoo late. I beg if you,
Ray, if you've ever cared forme, your brother, give me this
one last chance, give me achance to save myself. And if I
(21:17):
don't, then you can conduct onefinal experiment. We'll find out who can
reach the sidewalk first, a manin an elevator or a free falling body.
Oh my dear God, you're serious. Good night, Raymond. I'm
getting tired. Now, let methink about this. Give me an hour
or two. Will you be up? Are you coming back? I have
(21:41):
to think first. Tell me you'llwait to hear from me. Give me
your word, all right, butdon't belong soon. Now I'll need to
rest. Would you like me tosit down, Yes, roll up your
(22:03):
sleeve, easily done. I wantto thank you for coming back. Don't
thank me yet. I have toswab your arm. You'll feel a slight
sting there. That's it. That'sit, all of it. It doesn't
take much. A few ccs andI may expect what you may expect a
miracle, but it's unlikely you'll getit. I want you to go to
(22:26):
bed, don't go to work tomorrow. Tell Flora you're taking the day off.
I'll be back first thing in themorning. I'm keeping a very close
check on you for the next fewdays. And when might I expect some
change? Usually within six hours.That's when the first physical changes occur as
to mental changes. None of therats or guinea pigs have articulated to us
(22:49):
the exact feeling. Hum, I'llbe the first. You'll be the first
making the assumption, of course,that you'll be alive. Oh, I'll
be alive, all right. Doyou want to know something. I shall
not only survive. I'm going tobecome young again. I feel it,
(23:11):
I sense it. I wonder ifshe has any idea what she's wrought.
Even the thinnest suspicion. Don't blameher. It was my decision. I
make a promise to you, brotherthat if you don't survive, or if
you're damaged in any way, I'mgoing to take it out of her skin,
piece by piece. She's going todonate a pint of blood for everyone
(23:33):
she's bled out of you. Thisis no medical hypothesis. It's an oath.
Relax, well you, I'm fine. Go to bed now, Harmon.
I'll see you in the morning.Oh that you Harmon? Yes,
Flora, go back to sleep.What are you doing in front of the
(23:56):
mirror? Just looking myself? Dear, Well, don't do that. You'll
have a nightmare. Time to callit a day. Lover, boy,
are you gonna stay up all night? I like the sound of that.
Up all night, you know,I just my don't take all the covers
when you get in bed. I'mtrying to sleep, of course you are,
(24:19):
Flora. Pleasant dreams. I'm comingmorning, Flora. Why if it
isn't the quack himself? What doyou want? Where's Harmon? He was
(24:41):
last seen pound and a pillow?Some fun of you? Ask me?
Is he all right? What isthis? Esp or? Something? I
asked you? A question, howis he? He's okay, boring but
okay. I want to see him. Then walk right in that room over
there and blow a bugle. Maybethat'll get him going. He needs his
(25:03):
sleep. I'll wait for him toget up. You do that, take
off your stethoscope and make yourself athome. You haven't talked to him this
morning. I haven't talked to anyone, not until you started pounding on the
door. Do you know what timeit is? What about last night?
Did you talk to him last night? What difference does it make? He
never has more than two words tosay, but he sounded lucid to you.
(25:29):
Look, Polly, I'm not thenight nurse. I think you're in
the wrong ward. Besides that,you bore me almost as much as Harmon.
Now listen to me, little,get your hands off of me,
Frankenstein. Harmon, how do youfeel? Ugh, I'm not sure,
Harmon? How do you feel?Poor little Harmon? Is that you?
(25:56):
Harmon? Take your hands away fromyour face? Let's hope with the curtain
and throws some light on the subject. Your face? What's wrong with it?
Look at your your reflection in thewindow glass. Hmmm, oh well,
what do you know? Incredible?What a good night's sleep will do
for a man, isn't it absolutelyincredible? Harmon? Harmon? What's happened
(26:22):
to you? To the bags underyour eyes? The lines? Are you
wearing makeup or something? Makeup?No makeup, my dear, just a
few hours of sound, refreshing sleep. You look you look different, do
I? You look wonderful? Youlook so so young? What have you
(26:47):
done to yourself? Ask my brotherover there. Don't ask his brother.
His brother doesn't know. How doyou feel? Harmon? How do I
feel like ten million dollars tax free? That's how I feel. You know
what I'm gonna do for you,Ray, I'm going to let you take
me on a tour. They canwrite you up in all the medical journals
(27:07):
that won't be necessary. But firstyou'll have to give me four weeks.
Flora and I are going to takea little ocean trip. Would you like
that, my dear? Oh?An ocean trip? Oh? You bunny
rabbit? You o harmon, darling? When do we go? I've given
it some thought. I think weought to check out whatever sales tonight.
(27:29):
Unless you'd rather fly, honey,baby, I am flying boatplane? Who
cares? Oh? I don't knowwhat's happened to you, but I'll clue
you, big daddy. I don'teven care. Whatever it is, I
like it, I like it verymuch. I don't think you'd better plan
on any trips at least for awhile. Yet. Oh, blow it
(27:49):
at your black bag. I'm gonnaget fixed up for you, Honey.
Don't go away, I'll be rightback. Where do you want to go?
Australia, Fiji, the Hawaiian Islandswhere you name it, honey,
and I'm there. I'm serious,harmon. You can't go running off,
not now. Just look at it, my reflection in the glass. Please
(28:11):
sit down. No, wait whatI don't believe it. I'm still changing.
My hair is black again, jetblack. And what's this? A
little mustache? And it's black too. I want Flora to see it,
not just yet, but this isastounding. I haven't worn a mustache since
(28:32):
since you were thirty years old,which is precisely the age you look now,
at least at this moment. Thisis fantastic. This is absolutely fantastic.
I'm getting younger every twenty minutes.When I woke up this morning,
I look forty five. Now Ilook thirty. If I keep going at
this rate, I make it draftedagain. That is eh, what's the
(28:59):
matter? You get it? That'sjust it I do. If you keep
going at this rate, I thinkwe're in deep trouble, Raymond, this
is behind conception. You can't imaginewhat it's like. I feel light all
over. I could breathe again.No fatigue, no heavy, dull tiredness.
I feel as if as if I'dbeen lugging a case of concrete on
my back and somebody just cut itaway. Let me see your face.
(29:22):
I don't know whether you realize thisor not, but you've just altered not
only my face, but the faceof mankind. You've written a whole new
chapter in medical history. I said, show me your face. Uh,
where's my mustache? What's going on? I wish I knew? But more
(29:44):
than that, I wish I knewwhen it would stop, or if it
will. Why don't I make ussome coffee now and we could harmon?
Harmon? You've changed again. Iknow I'm even younger. What's going on?
What is going on here? Raymon? Is serting again? I feel
it, I feel it happening inside. I still feel it. You'd better
(30:10):
get back to bed. Yes,yes, I think I will. I
think I'll go back to bed now, Harmon, I want you to tell
me what's going on. I don'tlike it. I don't like it one
bit. Let me go. Please, what's happening to you? Your robe?
It's too big? Why, Harmon, take your hands away from your
face. You've got to tell mewhat? No, Flora, Oh no,
(30:34):
let him alone, Flora, lethim have some privacy. Well are
you gonna tell me? Now?Sit down, Flora? What is it?
(30:57):
What's happened? Been working on aresearch project? What kind of project?
A cellular serum? Up until lastnight, I had only tested it
on animals. Harmon insisted I tryit on him. What does it do?
As far as I can tell,it stops the body's aging process.
(31:17):
Beyond that, it will, insome cases rejuvenate cells and tissues. In
Layman's terms, it might make aperson younger, younger, let me have
one of those cigarettes? Will youhow much younger? We were never able
to ascertain how much once the serumtook effect, or how long the process
(31:42):
would take. But now I believewe know. I don't understand. I
suppose there are variables to consider.But in the case of Harmon. The
process took approximately ten hours. Youmean it's over. That's right, The
changes have finally stopped. I wantto see him. You shall, but
you're not to wake him. He'sin shock, and this sleep is precisely
(32:07):
what he needs. I want tosee him right now? Do you suddenly
so solicitous? Very touching? Don'tyou try to stop me? Flora?
As of right now, as ofthis very moment, you'll have some adjustments
to make. What are you talkingabout? I want to see Harmon from
this point onward. You'll have toreadjust your entire life. This is some
(32:31):
kind of trick. I want tosee my husband. Look at me and
listen, let me go. Harmonis sleeping, but when he wakes up,
he's going to need your help.Help, what kind of help?
Let me see him. I'll letyou see him, but I think you'd
best get oriented first. I don'tneed anything from you. Oh are you
(32:59):
beginning to understand? What is thatin there? The ground rules have changed.
The world no longer begins and endswith Flora. It isn't just Flora's
wishes, Flora's temperament, Flora's capacityfor anger, Flora's needs. Now it's
something else something very different. Takea good long look. I don't want
(33:22):
to. That's very nice, butyou have no choice. You've got a
responsibility, and you're going to honorit. You're going to take care of
Harmon. Now he's going to needyou rather desperately. Now, look at
what's sleeping in your bed. Ohyeah, and they're a little fellow.
(33:43):
Go back to sleep. The worldisn't such a bad place, you'll see.
Ah. Oh, Flora. Ifyou're leaving, my dear, make
note of the fact that the clothesyou have on are all that you take
with you. If you think I'mgoing to spend the rest of my life
taking care of that grubby, thumbsuckinglittle baby in there, that's precisely what
(34:07):
you're going to do. Short ofthat, Flora, my dear, you
leave the premises as you came,unadorned, the furs, the jewelry and
everything else my brother gave you thatremains here. You can't make me stay
here, and neither can he.There's another fish in this ocean, mister,
(34:28):
Indeed there are, but you're notmarried to them. You happen to
be married to my brother. That'scrazy, Not crazy, Flora, bizarre
perhaps, but very much a fact. And if I find out that he's
left alone with maids, governesses,nurses, you're going to find yourself back
on the chorus line. What doyou understand, Flora. He's to get
(34:50):
attention now, the attention he deserves. I don't mean intermittent, sporadic moments
between nightclubs and beauty parlors. Imean morning till night. Won't he won't
he grow? Yes, as ofright now, he will grow a little
bit older each day, just asany little boy. It isn't fair,
(35:15):
isn't it the two poles of lifewhere respect is most needed, But it's
the second one that's often short changed. You'll experience the process together. He'll
be growing older and so will you, until you're both truly old. A
little poetic justice. Don't you thinkthat now you should finally have to drink
(35:37):
from the same cup, that youshould have to watch his youth encroach on
your age? And the most anguishedpart of it, and the most illogical,
is that youth always defeats age andthen despises it for losing, never
realizing, my dear, never givingit a thought that when tomorrow comes,
there's always someone younger just outside thedoor, waiting to come in, forever
(36:01):
waiting to come in. But everything'severything's on his side. Now, you
see, my dear, as onegets older, see how wise they get
(36:23):
ssh Harmon Gordon is sleeping, He'staking a little nap. He'll wake up
soon and impatiently demand a lollipop ora stuffed toy or some other form of
attention. Youth is like that,it demands. If you don't believe it,
ask Flora. Ask her any dayof the ensuing weeks of her life
as she takes notes during the comingyears and realizes that the worm has turned,
(36:47):
the oppressed has become the persecutor,and youth has taken over. It's
simply the way the calendar crumbles inthe Twilight Zone. Hi, this is
Carla Mauri, producer of the TwilightZone Radio dramas. I'd like to take
(37:07):
a moment to tell you about ourofficial website at twilight zon Radio dot com,
where you'll get the latest news andinformation on these Twilight Zone Radio dramas.
Plus, at twilight Zone Radio dotcom you can digitally download three free
episodes or any of our episodes foronly a dollar ninety five each. In
(37:28):
this age of ever changing technology.We've decided to make these episodes instantly available
to you by making the Twilight ZoneRadio Dramas a digital download only series.
This means that this series will nolonger be offered on CD. The CD
collections at our website are now beingoffered while supplies last at buy one,
get one free, so be sureto get your favorites before they're sold out.
(37:52):
Be sure to visit us often,and I'll see you in the Zone.
A Short Drink from a Certain Fountainstarring Adam West with Stacy Keach as
your narrator, was adapted for radioby Dennis Etchison and based on a script
(38:14):
by Rod Serling from an idea byLou Holtz. Heard in the cast were
Meg Falcon, Christian Stolty, DougJames, and Lynn Foldy. To learn
more about the Twilight Zone Radio Dramasand to obtain audio cassettes and CDs of
these programs, visit our website attwilight Zone Radio dot com. This copyrighted
radio series is produced and directed byCarl Lamari and Roger Wolsky for Falcon Picture
(38:38):
Group. Doug James speaking
You unlocked this door with the keyof imagination. Beyond it is another dimension,
a dimension of sound, a dimensionof sight, a dimension of mind.
You're moving into a land of bothshadow and substance of things and ideas.
You've just crossed over into the twilightzone. Why are you driving so
(00:44):
slowly? Miller? Sorry, sir. The traffic is unusually heavy today.
I can see that, But Cassiusspeed it up a bit. I wish
I could, mister Gordon. Eversince we crossed the bridge, it's been
bumper to bumper. Well and tryingto alternate wrote this is the alternate,
sir, but it doesn't look verypromising. I'm going to be late.
She doesn't like it when I'm late. No, sir, I'd better call
(01:07):
home a capital idea. It's busyagain, Yes, sir, there's something
wrong with this phone. The batteriesare going hey wire. Would you like
to try mine? Sir? Yes, yes, pass it back to me.
I'll die if you like. Whatnumber? You know? The number
(01:27):
my apartment, of course, I'llgive it here. Very good, sir.
Who is she talking to? Perhapsshe's calling your office or this phone
isn't working either. What did youdo, sir? Throw it out the
(01:49):
window. She plastic contraption. Butit was an excellent phone, sir.
You bought it for me last week, and I'll buy you another one.
Now get me home, Yes,sir, it may I suggest the ice
bucket is full. There's a bottleof your favorite Scotch. Not at this
hour. It it had only slowme down, have enough trouble keeping up
with hers. It is quite oh, Flora, Please don't be cross with
(02:15):
me to night. I'll be home, DearS, I swear to you're just
as soon as I can, ofcourse you will, sir, Such a
lovely girl. I'm very fortunate,you know, most suddenly a man of
my years, if I may sayso. Missus Gordon is very lucky too.
I'm sure she appreciates how lucky.Yes, yes, I'm sure she
(02:37):
must. But sometimes I wonder whatit's like for her alone all day at
her age. Poor thing. Anotherone. Hmmm, hello, concierge,
(03:05):
Yeah, this is missus Gordon.Could you send up some chili, cheese,
fries and a coke. I'm starving. Just put it on the tab,
don't worry. Harmon'll pay you.See. We were going out to
dinner, but now i don't knowif he's ever going to get here picture
(03:25):
of an unlikely lady in waiting andher night in not so shining shining armor.
An aging man who leads his life, as the Roe said, in
quiet desperation, because Harmon Gordon isa slave of love and has been,
most unfortunately for him ever since hisheart was captured by a woman some forty
(03:46):
years his junior. And because ofthis, he runs when he should walk,
He surrenders when simple pride dictates heshould take a stand. He pines
away for the lost morning of hislife when he should be enjoying the evening.
In short, mister Harmon Gordon maynot know it yet, but what
he seeks most desperately is a fountainof youth. And who's to say he
(04:09):
won't find it? Because this justhappens to be in the Twilight Zone.
And now the Twilight Zone and ourstory A short Drink from a Certain Fountain
starring Adam West, with Stacy Keachas your narrator. Flora Flora, dare
(04:43):
over here, Romeo, Oh thereyou are, darling. What happened to
you? Please accept my apologies.The traffic was backed up all the way
from the office how come I'm notsurprised you'd be late for your own funeral?
And what did you do today?Go shopping? Oh? I had
a ball, an absolute swinging time. I only asked him passing my dear
(05:03):
because I'm concerned. Oh, let'ssee, I had breakfast, and then
I had lunch, and then Ifired that stupid maid, and then I
waited for you. Whether you realizeit or not, big boy, that
routine gets old, fast, veryold. I'm truly sorry. All in
all, Harmon, it was oneof those days that makes you want to
jump off a bridge earth to Harmon, do you read me? There's still
(05:26):
time if you care to go outand do what. Dinner at the tavern?
Whoop de dooo? I thought youliked the food there. How about
the Rainbow room? Well, Isuppose if you prefer it is awfully noisy
here, at least we could hearsome music. You want music, but
I've bought you all the latest recordings. I want live music any kind.
(05:48):
I don't care, as long asI can dance dance. Matter of fact,
I feel like dancing right now?You do? Will you dance with
me? Harmon? Well, Isuppose, come on, baby, let's
see what you've got. Let metake off my hat and coat. Oh
(06:09):
come on, loosen up, letit move. You feel that beat.
I'm I'm trying, dear, moveit, Harmon, I'm doing my best.
What's wrong with you? I can'tkeep up? Shake your booty?
Now, move your arms like this, Flora, Please be more careful.
(06:30):
It was just a piece of glass. It was a very old piece of
glass, worth what eighty nine cents? Hardly? This was a Wedgewood big
deal. I'll buy you six morejust like it. I'll even have the
concierge gift wrapping for our anniversary.Then we can sit around and play old
records. Sounds like a hot nightto me. What's that tune you like?
(06:56):
Come to the church in the wildwood? O? Real toe tapper?
Forgetting that I'm no longer a varsityand were you ever? Furthermore,
if my doctor had witnessed that littleburst of activity just now, that's always
your excuse. It's not an excusemy heart. If you keep telling me
about your heart and all your achesand pains, Harmon, I'm gonna run
(07:18):
out and get sick. Would youmind putting that cigarette out? Dear?
I've asked you not to smoke.Why not bad for your heart. You
might start a serious fire, honey, baby, one of these fine late
evenings. That's exactly what I'm gonnado. Charge this whole mausoleum. There
(07:42):
are things here that mean it's agreat deal to me. Like what that
I saw I knocked over. Itwas it was my mother's. Oh spare
me. It was worth very littleexcept for the sentimental value. That's a
word you may not understand, Flora. Sentiment. It means the capacity to
(08:03):
love. Listen, big boy,if I don't fill the bill anymore,
just say it loud and clear.In case you forgot. There are fourteen
flights a day to Reno, andI'd love to be on any one of
them. But if I am,you're gonna pay big time. Flora Darling,
I am not angry. I simplywish that well, if you'd be
a little more careful and considerate.Somebody should have wished that five years ago
(08:28):
when you and I signed the papers. I knew you were old, Harmon,
but I didn't know how old.You better watch yourself, honey.
If you ever take me to aswinging weekend in Egypt, I might just
run away with a mummy know whatI mean. I'll just just wash up
a bit and we can go outto dinner. Oh, you do that.
We'll make it to your night,baby. We'll go someplace wild like
(08:52):
the elkslotch Flora, Flora, darling, what's happened to us? That's it,
(09:13):
Flora, I told you. Idon't want to talk about it anymore.
But Flora, dear, I toldyou I was tired before we left,
floriad I told you I was tired. You're always tired. It's not
something I can control, these pillsI take. I didn't ask you to
run the mile. I just askedyou to go dancing, or two of
the movies, or someplace, anyplace but here. We went dancing on
(09:37):
Monday evening. We've been to themovies twice this week. I only thought
thought, what that you could takemy mind off what a miserable bore you
are. Well, let me tellyou something, honey. I only thought
that, well, just one evening, only one we could quietly watch television
or read or have a conversation.It's a fine art, you know,
(10:01):
the two of us with no oneelse around, something to bring us closer
together. And you think that's allthat takes. This is so like you
the Late Late Show, after wehave a game of chess. That's not
what I mean. Sounds really greatfor senior citizens at the Old Folks Home.
But for your information, sweetie pie, I don't have my reservation there
(10:22):
yet they won't let me in.I still have my own teeth, Flora.
Try to be reasonable, Paul,and don't tell me how you pick
me out of a chorus line andintroduce me to the finer things in life.
Your idea of the finer things isto hold hands in church and listen
to the organ music. For youknow that isn't true. Take my advice,
(10:43):
get yourself a nice glass of warmmilk and curl up with an almanac,
whatever it takes to get you throughthe night. Because this time it
ain't me, Babe, forgive me. I know it's late, But is
(11:09):
doctor Gordon still in the lab?He is mass page one place. This
is his brother calling. Yes,all white now then Leonard, Yes,
which monkey would you say is dominantin this group? I guess the largest.
(11:31):
Look again, the largest monkey isseated in the corner of the cage
doing absolutely nothing. It doesn't seemvery dominant, now, does he You're
right. Now, Notice the smallone in the center of the group,
the young one. He has thefood and water to himself. No one's
challenging his position. But doesn't thatgo against the normal rules of social organization?
(11:54):
Not where they young are concerned.And the cause of this new high
hierarchy Leonard is the Gordon vaccine.He's been injected for three weeks running.
Now his appearance has changed, andthe others can see it. They may
not understand, but they respect it. They have to. They share a
responsibility for his well being. Isee, doctor Gordon. The implications.
(12:20):
I mean, if this process couldbe extended to other species, other social
structures, the results would be injust a moment. Yes, Julie,
I thought I told you no morecalls. I'm sorry, sir, but
it's your brother. He asked meto ring through Harmon. Well what do
you know? Put him on?Yes, sir, go ahead with Harmon.
(12:41):
Is that you? I hope I'mnot interrupting. Are you all right?
You sound a bit under the weather? Fine, Look, Raven,
I was just wondering if if youcould come over this evening tonight. Well,
I don't know. I was justtraining a new assistant. How about
lunch tomorrow. I'm afraid that onetoo. I know it's late, but
(13:03):
i'd like to see you. Whyso mysterious if it's something to do with
your health. No, no,no, everything's all right, everything's fine.
It's just that well, i'd liketo talk to you. I see
Raymond. Please please come over.I'm my wits end. I must talk
to you very well. Then,Thank you, Raymond. You don't know
(13:24):
how much this means to me.Relax, old boy. I'll be there
as soon as I lock up.What is it, doctor, Nothing serious,
I hope. No, No,nothing serious. But if I'm not
mistaken, there may be a slightproblem of social organization in my own family.
(13:46):
Drink all right? Perfect? Good? Yes? Good? You look
tired, Harmon do I yes,Harmon, tired and depressed. Now do
you want to tell me about it? Or shall we sit here and play
twenty questions for the rest of theevening? Been pretty rush the last week
or so? Flora asleep? Yes, yes, she went to bed about
(14:09):
an hour ago, she asked.She asked to be remembered. Oh,
she'll be remembered. I'm not sure. I like the sound of that.
Merely an observation. You know youreally ought to get to know her better,
Raymond. She's really a fine girl. Did I say otherwise? Harmon?
No? But I know you twohaven't been exactly close as a brother
(14:33):
and sister in law should be.Harmon. Would you do me a favor?
Anything? Two favors? Actually?First of all, don't sell me
on Flora. Don't even try.You know what I think of her.
And this isn't backbiting. Now.This is what I've told her to her
face, so I have no compunctionsabout saying it aloud, saying what let
me finish. I could forgive herher appetites, Harmon. I could forgive
(14:58):
the fact that she's made out ofa asbestos and doesn't have a heart in
her body. You're being unfair,but I cannot forgive her for what she's
done to you. She's turned youinto a frightened, quaking, damned fool
who dotes on her, gives intoher whims, and runs after her like
a poodle. That's item one,Raymond. Please. My second favorite is
simply that from now on, afteryou've had your battles, you not call
(15:22):
me at odd hours of the night. I don't do this often, once
is often twice is endless harmon.We're very close as brothers go, don't
you think so? Yes, despitethe difference in our ages. Maybe that's
why you've always been my big brother. And you know there isn't anything in
(15:43):
this world that I wouldn't do foryou if it's in my power. But
you can't expect me to run overhere like a Saint Bernard. Every time
you get frozen halfway up the mountain. You make me ashamed, don't be.
She's a predatory little alley cat andshe's always been that way. I
knew it the first time I sawher. But I can give you only
(16:03):
so much solace, so much sympathy, and then it begins to stick in
my craw Now what is it youwant tonight? Just just someone to while
away the hours with you? Oris there something more specific? The thing
you've been working on at the institute? Go on the cellular injection. You've
(16:25):
been successful with them, haven't you. Oh no, you're out of your
mind, desperate. I am outof my mind. I'm assuredly not,
but you must be. If you'rethinking you've made animals younger, I've read
your paper. You've injected them withyour fluid and they've become young again.
Isn't that true? Animals? Indeed, guinea pigs, white mice, hamsters.
(16:49):
You've been able to reach you fina glands, organs, sometimes the
entire cellular structure. But we haven'teven scratched the surface yet. Harmon.
We're stumbling along in the dark.I want you to win. Check me
and I repeat. You must beout of your mind. We don't have
a remote idea of what's involved here. The research is very impressive, all
(17:11):
right. We've managed to rejuvenate ahandful of small animals and rodents, but
we're twenty years away from trying thison human beings. Why are you serious.
We're dealing in the basic building blocksof life, Harmon. We don't
have the remotest idea of how muchdamage might result in the long term.
We don't know what we're doing tothe basic metabolism of the body or the
(17:32):
mind. God only knows what effectthis has on the brain. Harmon.
We're winging this and we've killed asmany as we've saved. You said you
do anything for me, anything withinreason. This is within reason. I'm
close to the end of my rope. Rammond I've reached a point where it
really matters very little to me ifI ever die, surely not, I
(17:53):
want you to test this serum onme. Sure of that? An't bear
getting any older. Aside from thispronounced death wish of yours, how would
you like to spend the rest ofyour life as a mutated freak, or
a blithering idiot, or a mindlessshell. This is not only possible harm,
(18:14):
and it's highly probable we couldn't controlan experiment with a human being.
It'd be catch as ketch. CanI not only would take the risk,
I'd welcome it. The answer isno, you don't know what you're saying,
nor do you, and it's thesame as a death sentence, exactly
(18:37):
right. I wouldn't try experimenting ona strange bum picked up off the street.
Let alone, my own brother,please. The answer is a firm,
irrevocable no. In that case,I bet you good night, Raymond,
and I thank you for coming.I trust you can let yourself out.
(19:00):
Are you going out onto the balcony? I'd like to be alone,
Harman, I said, I'd liketo be alone to collect my thoughts.
Bear this in mind. As aphysician, I can attest to the effects
on the human body of landing ona concrete sidewalk after a five hundred foot
fall. It isn't pretty, anddoes a man? Can you attest the
effects on the human heart when aman is deeply, dedicatedly totally in love
(19:26):
with a woman who can't stand theside of them, the sound of them,
the look of them. Have youany idea what kind of life this
is for me? I know whatkind of life it could be and should
be. You're a bright, charming, wealthy, discerning guy, and you've
been warped and hammered out of shapeby a flashy little piece of baggage who
(19:48):
isn't fit to wait on your table. Whatever she is and whatever she isn't,
She's the only thing on God's earththat I care about. What it's
like to believe your life is overand then suddenly one day to walk into
a room and feel it begin allover again, To see the sun in
(20:08):
the sky even though it's the deadof winter, To lie awake at night
flushed with anticipation for a brand newday because she will be there. Don't
do this to yourself. Listen tome. This is important. It matters.
Ever since I was a young man. I wish for someone who'd let
(20:30):
me show her the world, discoverit with me, because without anyone to
share it with, the world mightas well be buried under six feet of
snow. Someone who'd be their ray. That's all I wouldn't ask much in
return, a kind word once ina while. She still has a love
of life, believe me, onlyI can no longer share it with her
(20:53):
because I'm old now and getting older. The days run away and leave me
further and behind, and now it'stoo late. I beg if you,
Ray, if you've ever cared forme, your brother, give me this
one last chance, give me achance to save myself. And if I
(21:17):
don't, then you can conduct onefinal experiment. We'll find out who can
reach the sidewalk first, a manin an elevator or a free falling body.
Oh my dear God, you're serious. Good night, Raymond. I'm
getting tired. Now, let methink about this. Give me an hour
or two. Will you be up? Are you coming back? I have
(21:41):
to think first. Tell me you'llwait to hear from me. Give me
your word, all right, butdon't belong soon. Now I'll need to
rest. Would you like me tosit down, Yes, roll up your
(22:03):
sleeve, easily done. I wantto thank you for coming back. Don't
thank me yet. I have toswab your arm. You'll feel a slight
sting there. That's it. That'sit, all of it. It doesn't
take much. A few ccs andI may expect what you may expect a
miracle, but it's unlikely you'll getit. I want you to go to
(22:26):
bed, don't go to work tomorrow. Tell Flora you're taking the day off.
I'll be back first thing in themorning. I'm keeping a very close
check on you for the next fewdays. And when might I expect some
change? Usually within six hours.That's when the first physical changes occur as
to mental changes. None of therats or guinea pigs have articulated to us
(22:49):
the exact feeling. Hum, I'llbe the first. You'll be the first
making the assumption, of course,that you'll be alive. Oh, I'll
be alive, all right. Doyou want to know something. I shall
not only survive. I'm going tobecome young again. I feel it,
(23:11):
I sense it. I wonder ifshe has any idea what she's wrought.
Even the thinnest suspicion. Don't blameher. It was my decision. I
make a promise to you, brotherthat if you don't survive, or if
you're damaged in any way, I'mgoing to take it out of her skin,
piece by piece. She's going todonate a pint of blood for everyone
(23:33):
she's bled out of you. Thisis no medical hypothesis. It's an oath.
Relax, well you, I'm fine. Go to bed now, Harmon.
I'll see you in the morning.Oh that you Harmon? Yes,
Flora, go back to sleep.What are you doing in front of the
(23:56):
mirror? Just looking myself? Dear, Well, don't do that. You'll
have a nightmare. Time to callit a day. Lover, boy,
are you gonna stay up all night? I like the sound of that.
Up all night, you know,I just my don't take all the covers
when you get in bed. I'mtrying to sleep, of course you are,
(24:19):
Flora. Pleasant dreams. I'm comingmorning, Flora. Why if it
isn't the quack himself? What doyou want? Where's Harmon? He was
(24:41):
last seen pound and a pillow?Some fun of you? Ask me?
Is he all right? What isthis? Esp or? Something? I
asked you? A question, howis he? He's okay, boring but
okay. I want to see him. Then walk right in that room over
there and blow a bugle. Maybethat'll get him going. He needs his
(25:03):
sleep. I'll wait for him toget up. You do that, take
off your stethoscope and make yourself athome. You haven't talked to him this
morning. I haven't talked to anyone, not until you started pounding on the
door. Do you know what timeit is? What about last night?
Did you talk to him last night? What difference does it make? He
never has more than two words tosay, but he sounded lucid to you.
(25:29):
Look, Polly, I'm not thenight nurse. I think you're in
the wrong ward. Besides that,you bore me almost as much as Harmon.
Now listen to me, little,get your hands off of me,
Frankenstein. Harmon, how do youfeel? Ugh, I'm not sure,
Harmon? How do you feel?Poor little Harmon? Is that you?
(25:56):
Harmon? Take your hands away fromyour face? Let's hope with the curtain
and throws some light on the subject. Your face? What's wrong with it?
Look at your your reflection in thewindow glass. Hmmm, oh well,
what do you know? Incredible?What a good night's sleep will do
for a man, isn't it absolutelyincredible? Harmon? Harmon? What's happened
(26:22):
to you? To the bags underyour eyes? The lines? Are you
wearing makeup or something? Makeup?No makeup, my dear, just a
few hours of sound, refreshing sleep. You look you look different, do
I? You look wonderful? Youlook so so young? What have you
(26:47):
done to yourself? Ask my brotherover there. Don't ask his brother.
His brother doesn't know. How doyou feel? Harmon? How do I
feel like ten million dollars tax free? That's how I feel. You know
what I'm gonna do for you,Ray, I'm going to let you take
me on a tour. They canwrite you up in all the medical journals
(27:07):
that won't be necessary. But firstyou'll have to give me four weeks.
Flora and I are going to takea little ocean trip. Would you like
that, my dear? Oh?An ocean trip? Oh? You bunny
rabbit? You o harmon, darling? When do we go? I've given
it some thought. I think weought to check out whatever sales tonight.
(27:29):
Unless you'd rather fly, honey,baby, I am flying boatplane? Who
cares? Oh? I don't knowwhat's happened to you, but I'll clue
you, big daddy. I don'teven care. Whatever it is, I
like it, I like it verymuch. I don't think you'd better plan
on any trips at least for awhile. Yet. Oh, blow it
(27:49):
at your black bag. I'm gonnaget fixed up for you, Honey.
Don't go away, I'll be rightback. Where do you want to go?
Australia, Fiji, the Hawaiian Islandswhere you name it, honey,
and I'm there. I'm serious,harmon. You can't go running off,
not now. Just look at it, my reflection in the glass. Please
(28:11):
sit down. No, wait whatI don't believe it. I'm still changing.
My hair is black again, jetblack. And what's this? A
little mustache? And it's black too. I want Flora to see it,
not just yet, but this isastounding. I haven't worn a mustache since
(28:32):
since you were thirty years old,which is precisely the age you look now,
at least at this moment. Thisis fantastic. This is absolutely fantastic.
I'm getting younger every twenty minutes.When I woke up this morning,
I look forty five. Now Ilook thirty. If I keep going at
this rate, I make it draftedagain. That is eh, what's the
(28:59):
matter? You get it? That'sjust it I do. If you keep
going at this rate, I thinkwe're in deep trouble, Raymond, this
is behind conception. You can't imaginewhat it's like. I feel light all
over. I could breathe again.No fatigue, no heavy, dull tiredness.
I feel as if as if I'dbeen lugging a case of concrete on
my back and somebody just cut itaway. Let me see your face.
(29:22):
I don't know whether you realize thisor not, but you've just altered not
only my face, but the faceof mankind. You've written a whole new
chapter in medical history. I said, show me your face. Uh,
where's my mustache? What's going on? I wish I knew? But more
(29:44):
than that, I wish I knewwhen it would stop, or if it
will. Why don't I make ussome coffee now and we could harmon?
Harmon? You've changed again. Iknow I'm even younger. What's going on?
What is going on here? Raymon? Is serting again? I feel
it, I feel it happening inside. I still feel it. You'd better
(30:10):
get back to bed. Yes,yes, I think I will. I
think I'll go back to bed now, Harmon, I want you to tell
me what's going on. I don'tlike it. I don't like it one
bit. Let me go. Please, what's happening to you? Your robe?
It's too big? Why, Harmon, take your hands away from your
face. You've got to tell mewhat? No, Flora, Oh no,
(30:34):
let him alone, Flora, lethim have some privacy. Well are
you gonna tell me? Now?Sit down, Flora? What is it?
(30:57):
What's happened? Been working on aresearch project? What kind of project?
A cellular serum? Up until lastnight, I had only tested it
on animals. Harmon insisted I tryit on him. What does it do?
As far as I can tell,it stops the body's aging process.
(31:17):
Beyond that, it will, insome cases rejuvenate cells and tissues. In
Layman's terms, it might make aperson younger, younger, let me have
one of those cigarettes? Will youhow much younger? We were never able
to ascertain how much once the serumtook effect, or how long the process
(31:42):
would take. But now I believewe know. I don't understand. I
suppose there are variables to consider.But in the case of Harmon. The
process took approximately ten hours. Youmean it's over. That's right, The
changes have finally stopped. I wantto see him. You shall, but
you're not to wake him. He'sin shock, and this sleep is precisely
(32:07):
what he needs. I want tosee him right now? Do you suddenly
so solicitous? Very touching? Don'tyou try to stop me? Flora?
As of right now, as ofthis very moment, you'll have some adjustments
to make. What are you talkingabout? I want to see Harmon from
this point onward. You'll have toreadjust your entire life. This is some
(32:31):
kind of trick. I want tosee my husband. Look at me and
listen, let me go. Harmonis sleeping, but when he wakes up,
he's going to need your help.Help, what kind of help?
Let me see him. I'll letyou see him, but I think you'd
best get oriented first. I don'tneed anything from you. Oh are you
(32:59):
beginning to understand? What is thatin there? The ground rules have changed.
The world no longer begins and endswith Flora. It isn't just Flora's
wishes, Flora's temperament, Flora's capacityfor anger, Flora's needs. Now it's
something else something very different. Takea good long look. I don't want
(33:22):
to. That's very nice, butyou have no choice. You've got a
responsibility, and you're going to honorit. You're going to take care of
Harmon. Now he's going to needyou rather desperately. Now, look at
what's sleeping in your bed. Ohyeah, and they're a little fellow.
(33:43):
Go back to sleep. The worldisn't such a bad place, you'll see.
Ah. Oh, Flora. Ifyou're leaving, my dear, make
note of the fact that the clothesyou have on are all that you take
with you. If you think I'mgoing to spend the rest of my life
taking care of that grubby, thumbsuckinglittle baby in there, that's precisely what
(34:07):
you're going to do. Short ofthat, Flora, my dear, you
leave the premises as you came,unadorned, the furs, the jewelry and
everything else my brother gave you thatremains here. You can't make me stay
here, and neither can he.There's another fish in this ocean, mister,
(34:28):
Indeed there are, but you're notmarried to them. You happen to
be married to my brother. That'scrazy, Not crazy, Flora, bizarre
perhaps, but very much a fact. And if I find out that he's
left alone with maids, governesses,nurses, you're going to find yourself back
on the chorus line. What doyou understand, Flora. He's to get
(34:50):
attention now, the attention he deserves. I don't mean intermittent, sporadic moments
between nightclubs and beauty parlors. Imean morning till night. Won't he won't
he grow? Yes, as ofright now, he will grow a little
bit older each day, just asany little boy. It isn't fair,
(35:15):
isn't it the two poles of lifewhere respect is most needed, But it's
the second one that's often short changed. You'll experience the process together. He'll
be growing older and so will you, until you're both truly old. A
little poetic justice. Don't you thinkthat now you should finally have to drink
(35:37):
from the same cup, that youshould have to watch his youth encroach on
your age? And the most anguishedpart of it, and the most illogical,
is that youth always defeats age andthen despises it for losing, never
realizing, my dear, never givingit a thought that when tomorrow comes,
there's always someone younger just outside thedoor, waiting to come in, forever
(36:01):
waiting to come in. But everything'severything's on his side. Now, you
see, my dear, as onegets older, see how wise they get
(36:23):
ssh Harmon Gordon is sleeping, He'staking a little nap. He'll wake up
soon and impatiently demand a lollipop ora stuffed toy or some other form of
attention. Youth is like that,it demands. If you don't believe it,
ask Flora. Ask her any dayof the ensuing weeks of her life
as she takes notes during the comingyears and realizes that the worm has turned,
(36:47):
the oppressed has become the persecutor,and youth has taken over. It's
simply the way the calendar crumbles inthe Twilight Zone. Hi, this is
Carla Mauri, producer of the TwilightZone Radio dramas. I'd like to take
(37:07):
a moment to tell you about ourofficial website at twilight zon Radio dot com,
where you'll get the latest news andinformation on these Twilight Zone Radio dramas.
Plus, at twilight Zone Radio dotcom you can digitally download three free
episodes or any of our episodes foronly a dollar ninety five each. In
(37:28):
this age of ever changing technology.We've decided to make these episodes instantly available
to you by making the Twilight ZoneRadio Dramas a digital download only series.
This means that this series will nolonger be offered on CD. The CD
collections at our website are now beingoffered while supplies last at buy one,
get one free, so be sureto get your favorites before they're sold out.
(37:52):
Be sure to visit us often,and I'll see you in the Zone.
A Short Drink from a Certain Fountainstarring Adam West with Stacy Keach as
your narrator, was adapted for radioby Dennis Etchison and based on a script
(38:14):
by Rod Serling from an idea byLou Holtz. Heard in the cast were
Meg Falcon, Christian Stolty, DougJames, and Lynn Foldy. To learn
more about the Twilight Zone Radio Dramasand to obtain audio cassettes and CDs of
these programs, visit our website attwilight Zone Radio dot com. This copyrighted
radio series is produced and directed byCarl Lamari and Roger Wolsky for Falcon Picture
(38:38):
Group. Doug James speaking
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