November 21, 2023 • 32 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.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:06):
A World of Difference, starring LukePerry with Stacy Keach as your narrator,
was adapted for radio by Dennis Etchersonand written for the Twilight Zone by Richard
Matheson. Heard in the cast wereElizabeth Laedo, Christian Stolte, David Darlow,
Doug James, Jeff Lupeton, SarahWellington, Maggie Carney, Carl Lamari,
Roger Wolski, Vince Amari, AmandaAmari, Sarah Court and Annas Veruzza.
(00:32):
To learn more about the Twilight Zoneradio dramas and to obtain audio cassettes
and CDs of these programs, visitour website at twilight Zone Radio dot com.
The producers of the Twilight Zone wishedto thank CBS Enterprises, Carol Serling,
Dennis Etchison, Dick Bresha Associates,Claire Simon, Casting, Terry Jennings,
(00:53):
Exim Satellite Radio, Sirius Satellite Radio, our sponsors and our radio affiliates
for helping make this series is possible. This copyrighted radio series is produced and
directed by Carl Lamari and Roger Wolskifor Falcon Picture Group, Doug James Peaking.
(01:23):
There is a fifth dimension beyond thatwhich is known to man. It
is a dimension as vast as spaceand as timeless as infinity. It is
the middle ground between light and shadow, and it lies between the pit of
man's fears and the summit of hisknowledge. This is the dimension of imagination.
It is an area which we callthe twilight zone. Hey, there
(01:57):
will lawn in, miss Regan Reagan. Yeah, that's a good one.
Yeah, I want to open thegate. Yeah, I guess it is
a good one. Want to letme in on it? Let you in
on what you called me? Will? Yeah? So, so my name's
Harold. You know that. Sincewhen? How long you've been working here?
(02:19):
Oh? Long time? All thattime, I've always been Harold.
Some people call me Shorty, butnever will and I'm Arthur. My wife
calls me Ardie sometimes. But ifyou want to be Harold, that's okay
by me. Oh, I getit. You want I should call you
Arthur from now on instead of misterReagan. You've got it. I guess
that makes us even will I mean, Harold, do your favor? What's
(02:40):
that? Leave the parking lot open, then take the rest of the day
off. Okay, I'll bite whatfor? He must be tired. Didn't
get much sleep last night. Huh, have some breakfast, a cup of
coffee. See if that helps helps? What to get your head on straight?
You can open the gate now,Harold or whatever your name is.
Sure you say salt morning, Sally? Oh, good morning, mister Curtis.
(03:14):
I just got here myself. Ihope I'm not late. No,
no, I thought i'd better getan early start. I have to leave
about three, you do. Mywife and I haven't gotten a thing for
Tina's birthday yet. That's right,the party Saturday afternoon, isn't it If
my daughter can last that long?Excited, she sure is. It's all
she can think about. Are themats and contracts ready right here? I
(03:35):
finished them before I left last night. Good, I'll look them over in
my office. Well back to thegrindstone, Yes, sir, oh,
I almost forgot. Would you callthe airline for me? See if you
can get those reservations changed from Mondayto Saturday. Will do straining at the
least to get out of town.You bet. It's the first real vacation
Maryan and I have had in years, So I figured why lose a whole
(03:59):
weekend for starting out? I don'tblame you. Saturday night. It's San
Francisco. Here we come. Holdall calls for a few minutes. Wall,
I want to tell my wife suddenly, sir, hope her mother can
take Tina after the party. Oh, for heaven's sake, Sally, Sally,
(04:21):
I can't get a dial tone?What's he doing? I don't know?
This isn't in the script. Sally, I said, who are you?
What are all you people doing inhot Where did Sally go? What
happened to the wall? And Isaid, God, all right, everybody
(04:46):
take five? Will somebody please tellme what is going on? Reality the
quality of being real or having anactual existence, interest to philosophers throughout the
ages. The definition comes from theDictionary and it directly concerns one Arthur Curtis,
(05:08):
thirty six years old and a successfulbusinessman, or so he believes.
Mister Curtis is about to discover thatthe line between reality and unreality can be
very thin. Indeed, in fact, under certain conditions, it may be
less than thin. It may beinvisible, at least in the twilight Zone.
(05:34):
And now the Twilight Zone and ourstory A World of Difference, starring
Luke Perry with Stacy Keach as yournarrator. I asked you a question,
all of you, What are youdoing here? Get out of my office?
Come on, Jerry, that's notmy name. Is it so hard
(05:56):
to make a phone call? Losethe ad libs? Who are you?
Remember? Marty Fisher, your friendlyneighborhood TV director? What are you talking
about? I soon they forget Sally? What is all this? Something go
wrong? Mister Reagan? Why areyou sitting there like that with your feet
up? Take them off the desk? At once I thought we were on
a break. We are. Whydon't you go to your dressing room while
(06:18):
I talk to Jerry? Sure,Marty, call me when you're ready watch
the cables, miss Lawson, Ofcourse I will. Kelly, you think
I'd never been on a set before? What are all these lights for?
I can hardly see? Pretty hardto shoot without him? Jerry? This
isn't exactly varite? That camera?What's it for? Will somebody please tell
(06:39):
me? I'm warning you? Jerry? Oh? And who do you think
you are? That's funny? Iwas about to ask you the same thing.
Why don't you wise up and cutthe dramatics? Dramatics? They won't
take much more of this. You'revery close to the edge, the edge
of what. I like that.You're really into it. What is it
the method? I don't think so, not the method. Who'd you study
(07:01):
with? Sandy Meisner? Right?No, wait a minute, Stella Adler.
Well, I used to be atthe institute too, and the first
rule is don't break characters. Sowhat do you say? Shall we take
it again? I don't understand whatyou're saying. It's a gag, just
a little gag, you know,these New York actors? All right,
get him some coffee, Kelly,Yeah, coffee over here? Please?
(07:21):
Black coming right out? Okay,Jerry, let's forget about it. Get
your scene done. The front officedoesn't like it when they're overscheduled, over
schedule, not this show. Thenlet's try it again. Back to the
set. Set listen, I wentout on a limb for you. The
whole agency did what agency? Justdo your lines? Are we ready?
(07:43):
Here? We're ready now? Jerry? All right, one more time.
You're gonna call your wife, tellher to meet you at three point fifteen?
How did you know that? Gotall your lines down? What's your
script? What are you talking about? Easy? Jerry, don't burn yourself
out places. Everyone breaks over.Where am I in your office? It's
morning? You just got here.This can't be my office. It only
(08:05):
looks like my office. The windowisn't even real. What's he doing?
The city outside? It's a painting? What is this a joke? Jerry?
Jerry? What are you people watchingme for? I don't know you.
I don't know any of you.Don't let him get away. He's
not going anywhere, he's not onhis mark. Maybe you can shoot around
(08:28):
him for a while. I don'twant to shoot around him, Sam.
We've got seven pages to do beforelunch. He'll come through, Marty.
We never had any trouble with himbefore. What's he doing now? This
scene? I told you get readyto follow him? Roll? Sound and
action still dead cut? Where areyou going? Jerry? Stop calling me
(08:50):
that it's not my name? Sure, sure, if that's what you want.
Is there another telephone in here?Sit down, Jerry, one that
works? Jerry? If I haveto phone Brinkly on this, you're dead.
Do whatever you like. Just leaveme alone. You don't look so
good. How do you feel?I felt fine when I got here.
Please sit down? What's that onyour face? Sweat Kelly. Yeah,
(09:15):
call for an ambulance and make itfast, Yes, sir, Shall I
ask the front office to authorize it? Of course not if they find out,
there's no telling what they'd do.Suspend production? Probably go on go
right away, Jerry. Let's goto a dressing room. You can lie
down. Where's the nearest telephone,Jerry, we're trying to help you.
My name is Arthur Curtis. Takeyour hands off me. I'm getting out
of here. Did you hear that, Arthur Curtis? Is this a real
(09:41):
telephone? Looks like it? Allright? Everybody? One hour for lunch?
Is it hooked up? Should bethe number? What's the number?
Search me? Operator number? Please? I I don't know. I can't
think. I'll connect you with information, yes, please directory information? Hello?
(10:05):
Would you give me the number ofArthur Curtis two two four three seven
Vetnor Road, Woodland Hills, checkingon Vetnor V E N T N E
R. I have no listing fora Curtis at that address. What you
must be mistaken, Jerry. Listen, it's my own home. I'm Arthur
(10:26):
Curtis. I just can't remember thenumber at the moment. Will you?
It's an unlisted number. It's notan unlisted number, at least I don't.
I don't think it is. Look, would you try again? I
know there's a phone there. I'msorry, sir, Jerry. Put the
phone down. You're wrong operator.Connect me with your supervisor. Let's go
(10:48):
to your dressing room. Listen,give me the phone. What are you
doing? You're not yourself, You'resick. Get your hands off me.
I'm trying to help well. Idon't need it. I'm getting out of
here. Where are you going home? Jerry? Somebody stop him? Hey
(11:09):
watch it, lady. Are youout of your mind? If you're drunk
again, Jerry, let go ofme. Look, I don't care if
they bounce you. I don't careif you never work again for the rest
of your worthless life. You're goingto pay me what the judge tells you
to pay me, or so helpme. I'll put you so far behind
bars they'll never find you again.There you are, missus Reagan. I
(11:33):
am not missus Reagan anymore. Sorry? Could I speak to you in private?
I haven't the time. It's aboutJerry. He's coming with me.
He'll be back in time for theafternoon filming. That isn't exactly what excuse
me, but I need your car. What do you think you're doing?
You're not driving. I've just calledfor an ambulance. Jerry's having a nervous
breakdown. How convenient for him?Would you two get out of the way
(11:56):
please, I'm not joking. MissFrom now on, if you won't move,
slide over. I don't have timeto argue. I said, get
in. If you have to,I'm getting out of this place. You
pig headed better fasten your seat belt, float out. Don't touch the wheel.
I'll do more than touch it.I'm not going to let you crash
(12:18):
this car. It's mine. Nowget your hands off the brink there now.
Will you let me drive? I'mwarning you, you're warning me.
Give me those keys now stop.Please, whoever you are, I said,
I'll drive. If you want tokill yourself, you'll have to wait
first. I'm going to bleed you, Jerry. I'm going to bleed you,
(12:41):
dry every bank account, every residual. Don't listen. I don't know
who you think I am, butyou're wrong. You're wrong. My name
is Curtis, Arthur Curtis, andI don't have the slightest idea what you're
talking about right now, I'm goingto cut the history onics. If you
think you can chisel your way outof pain with a cheap trick like this,
I'm gonna turn the key again andI'm driving to my home in Woodland
(13:05):
Hills. Once we get there,you can have your car back. Do
you understand I told you to cutthe act? No act. My name
is Arthur Curtis. My wife's nameis Marion. I have a daughter named
Tina, and I live at twotwo four three seven Ventnor Road in Woodland
Hills. I mean it, Jerry. My name is Arthur Curtis. My
(13:26):
wife's name is I said cut cut. I don't understand. I've made this
turn twice. Now let me knowwhen the grand tour is over, will
you? I I don't know whereI am, and yet I I must.
(13:52):
This is my neighborhood. I livehere, do you? I have
for years, ever since I boughtthe house. But my read it it's
just not here. What do youwant, Jerry? An Academy award?
I've told you. My name isOh can it? Will you? Who
are you trying to convince? Youmay as well give it up. You
never had a less receptive audience Whydo you refuse to listen to me?
(14:13):
Go ahead, then play it out. Make a complete idiot of yourself.
I couldn't care less. I'm tryingto find my house. Is that so
hard to comprehend? Well, you'renot going to no matter how hard you
try. And why is that simple? Because there's no such thing as ventnor
road. Keep quiet, I'm tryingto think. And what's more, there
(14:35):
never was accept in your dreams.What's in the glove box? That's none
of your business. This is mycar. Now there must be a map.
Let me have it. Please getyour hands out of there. I'm
just trying to Tina. There sheis. Who's Tina? My daughter?
Another little secret you never told meabout? When did that happen? See
her skipping down the sidewalk? Oh, spare me, Hi, honey,
(15:03):
over here, it's daddy. Thisis too much. You're going to get
us both arrested. Tina, Honey, come here. I didn't have anything
to do with this, remember that, Tina. Thank god, we won't.
But you're not Tina. Sorry,little girl. I thought you scared
me. You're a bad man.Get in put that dress? I thought
(15:31):
she was, I said, getin, or would you rather go to
jail for attempted kidnapping. You shouldhave let me drive in the first place.
None of this would have happened.Why are you stopping? Because this
is the end of the line here. Don't tell me you're going to play
(15:54):
surprised. But I've never seen thishouse before. You just won't quit,
will you. That's Brinkley's car outfront. What does he want? Who's
Brinkley? Pound of flesh? Probablywell, he'll have to wait his turn
coming. I can't stay here.I have to go. I said i'd
get you back for the afternoon shooting. I mean home. You are home?
(16:15):
Who's home? Move it? Buster? Or would you rather sit out
here? Fine with me? Suityourself, but I promise you you'll regret
it. Where are we? Comeon inside? Fix yourself a drink,
a little hair of the dog.Maybe that'll do it. Jerry, who
(16:37):
are you? Better? Be niceto Sam? He's still the vice president
of your agency. Where have youbeen? I'm not sure did Sam call
you more than an hour ago?Said he had left the studio, walked
out, stumbled, is more likeit? What's all this about the studio?
First things first, Jerry, comeinto the study. Why Norah.
We need to do some damage control. We sure do. Can't this weight.
(17:00):
I've waited long enough. I wantmy money now before he goes off
on his next binge. Now,Look, I've explained to this woman that
I'm not who you all seem tothink I am. Frankly, I don't
know what to think. But ifwe don't smooth this over right now today,
the network won't renew your contract andthat will cost us all money.
My name is Curtis, I live. Jerry. Stop it stop? What
(17:22):
would you rather lie to you?You don't seem to realize the position you're
in. Where do you hide thecheck book these days? I beg your
pardon. I'll find it if Ihave to tear the house down. Excuse
me, I have to get outof here, Jerry, Jerry, I'm
going to lay it on the line. If you lose this part, we'll
have to drop you as a client. We can't cover for you anymore.
(17:44):
It's beyond that, way, beyondit. I'm sorry, but you're mistaken,
all right. Look, they canshoot around you today. I'll tell
them you came down with something.They won't buy it, but we'll do
our best to make it stick.But come tomorrow, you've got to be
there, Jerry, bright and earlywith bells on. I don't know what's
going on. God help me.I don't know what's going on. You
(18:07):
said that, Jerry. Enough isenough. I tell you I found it.
Get over here, now leave mealone. Please? All right,
he doesn't look so good. Maybewe should take him to Cedars. You're
going to sign this check, Jerry, right now, before you can pull
anything else. Go on, pickup the pen. That's it. Then
(18:32):
we'll see about the state of yourprecious health. Please, I'm asking you,
and i'm telling you, sign it. Jerry. I want what you
owe me. His hands are shaking. Oh no, he's not going to
get out of it that easily.I'll fill in my name in the amount.
Just sign Gerald Reagan G E RA L D. That's not my
name R A I G A Nin case you've forgotten how to spell too.
(18:56):
But I've never heard that name beforein my life. Maybe he should
lie down. Would you both backoff? This has gone far enough.
I am not Gerald Reagan. Myname is Arthur Curtis. Do you hear
me? Arthur Curtis? I workfor Wait a minute, I'll prove it
operator. I'd like to number forDavis, Morton and Company one eight nine
(19:19):
Brand Street, Los Angeles. Yes, I'll hold, but make it fast,
will you? Of course there isI should know. I worked there.
Look, I've been with them forseven years. Don't tell me that,
don't hear? Lean on me,Sarah Bernhardt. Look at his eyes.
(19:40):
I don't think he's faking it awfullygood timing. If you ask me,
help me to get him to theother room. What what is happening
to me? H? What areyou doing? Just closing the blinds?
(20:07):
Don't bother. I was hoping you'dcatch a few winks feeling better. You
don't believe me, do you?It doesn't matter what I believe. You've
been overworked trying to wrap the season. Must have been a terrible strain the
season. I take it that's supposedto mean something to me. If it
doesn't, we're all in trouble.Would you like anything some lunch? If
(20:30):
Nora won't make it, I'll orderout. No thanks, I don't have
much of an appetite. You needhelp, Jerry. It's not in my
province, but I've known you along time and I hate for this to
happen. It's not necessary, youknow, it really isn't. Can't you
see what's happened? Why don't youtell me? You know what? This
is a script for what? It'sall right here take a look. Cast
(20:55):
of characters. Arthur Curtis thirty six, a young business exit, happily married.
Let me see that. Curtis livesin Woodland Hills, California, with
his wife and young daughter. Wheredid you get this? It's yours from
the dresser here where you left itafter studying your lines last night. Go
on, keep reading. He ismarried to Mary and Curtis thirty three,
(21:18):
a charming young woman typical of thatefficient breed which can manage a house and
family and still have ample time forring a bell? Who wrote this?
That's neither here nor there are somehack Probably the point is the only information
you have about Arthur Curtis is what'swritten here. That's crazy, Jerry,
I really do understand. Sometimes I'dlike to escape myself, get away from
(21:41):
this turmoil, the long hours,the early calls, to a simpler,
sweeter existence. It's only natural you'retelling me it was all a delusion,
that I'm really somebody named Gerald Reagan, a dissolude, pitiful, a sweet,
unhappy man, a square peg ina round hole. Whenever should have
(22:02):
moved to Hollywood, burdened with thatharpie in there, Jerry Reagan, who
wanted to be a serious actor once, trying to make a living and find
a little happiness, that's all.No, I won't accept that. The
life I remember it was real.I wish it were. For your sake,
(22:23):
I wish it were. I haveto go, Jerry, and report
into the agency, try to restand forget about the series. You won't
have to go back. I justspoke to the studio a few minutes ago.
They're canceling production production on what Youmay as well give me the script.
I'll toss it for you. Itdoesn't matter now. I'm sorry.
(22:45):
But Arthur Curtis is dead. Well, what's his story? I don't think
it's a story. Not this time? All better? Or should I fix
him some milk and cookies? He'shad it withdrawn from the playing field,
(23:10):
and I can't say I blame him. Go on, then get out of
here. I'll whip him in hisshape if he thinks a little breakdown is
going to let him off the hook. Wait, Jerry, well, what
do you know? It walks outof my way? Yes, sir,
what is it? Jerry, I'vegot to go back. I told you
it's too late for that. It'sfinished. No, I've got to get
(23:30):
back to my office here. Ifyou mean the set, they're probably tearing
it down already, and as faras I'm concerned, but they mustn't,
don't you see. I'll never getback if they tear down the only connection
I have to Jerry, knock itoff. I can't do that. Jerry,
(23:53):
careful, Jerry, that's my carname? Open the gate. Oh
(24:14):
that's you, mister Reagan. I'min a hurry. Oh sure, sure,
nice car. What happened to yourWow? Harold? Well see your
name is not on the list anymore. I mean, Reagan's not that other
one you gave me. What didyou say? It was, Curtis something?
I don't have time for this.Hey? Did you get fired real?
Sorry to hear it, or maybeyou quit? Either way, I'm
not supposed to stand back. Huh. I was just saying what n Hey,
(24:52):
you can't do that. Put thatdown? What do you think you're
doing? What'd you say? Ba'syour feet? That's my sofa? Yeah,
Where are you taking it back toprops? You can't. Yeah,
I got a work order right hereto strike the set? You mean my
office? Which office? The lowbuilding with the rose bushes? One to
eight nine? Nah? This isfrom stage twenty three? Which way is
(25:15):
that? It's over there? Hangit right at the commissary. Take the
wall down, not yet? Getthe desk and chairs? Where do you
want them? Hold on, holdon, pardon me, mister Reagan.
Don't touch the desk yet or thechair. No, I'll come. I
have to get something. Oh sure, go ahead, it'll take us a
(25:37):
while, too bad? Uh?Nice set, real nice, kind of
sorry to see it go Sally?Are you still here? No matter?
I don't know where to start.There must be a way, there has
(25:59):
to be, mister Reagan. Whoit's Kelly? I thought I saw you
come in. What happened to mybooks? Books? Oh? Sent back
to prompts by now? And mypapers and file cabinets, even the photos
on the desk There were pictures ofmy family, my wife and daughter.
Were they you mean they were real? Give me a few minutes and maybe
(26:23):
I can track them down. Dothey have to do this? I'm afraid
so the studio needs the space.My career, a whole life packed up
while you're out and shipped off togod knows where. I had no idea.
I thought it would last. Nothinglasts in this town. You know
(26:45):
that. But I thought you thoughtyou were different, the exception to the
rule. Well, I don't blameyou. It's easy to fall into that.
You see what happens to everyone else, but you never think it'll happen
to you. Human nature, Iguess. But you know the next thing
will come along, and what willthat be? Beats me, but it
always does. You have to havea little faith. And the things we
(27:07):
collect over the years and leave behind, uh, somebody else will get some
use out of it. It wasnever really ours in the first place,
was it? Can't exactly take itwith you? No, No, I
guess you can. They're ready totake the walls down now. You might
want to sit somewhere else. Ithought, if I got here in time,
thought, what nothing, you goon, I'll be out of here
(27:32):
in a minute, just following orders, mister Reagan. Nothing personal, No,
nothing personal at all. Mary,don't leave me, don't leave me
here, mister Curtis, sound,mister Curtis, Oh there you are.
(27:55):
I thought you'd gone home? Whatsomebody's here to see you? Go ahead?
Missus gutches Arthur, Marian, Honey, I don't understand you don't Where
have you been? I've been phoningall day, Marian? Is it really
you? Well? Who else wouldit be? Honestly? Sally kept saying
(28:18):
you were out out? What doesthat mean? She couldn't imagine where you'd
gone. She didn't see you leave. I had some business to attend to.
I got lost on the way back, you did? How do you
mean? It doesn't matter? I'mback now. Oh just let me sit
down for a second. These newshoes. Why where's your sofa? I
(28:38):
won't need it anymore, Marian.Let's get out of here. But I
just got here. I didn't thinkyou'd mind. I thought you might want
to have dinner on the way home. That sounds wonderful. Oh, and
I wanted to tell you I gotsomething for Tina's party, that doll she's
so crazy about. Now, Marian, let's go right now, Artie,
(29:00):
Are you all right? Yes?I am. Now you're looking a little
tired. A hard day. VeryWhere were you? It's a long story,
mister, cutis Sally? What isthe matter with you? Dear,
You look as if you've seen aghost leaving now. Did you make that
call to the airlines? Yes,sir, they send the tickets over this
(29:22):
afternoon. I have them right here. Let me see plane tickets for our
trip. Are they all right?Yes, they're perfect. Ready to strike
the office. Get those lamps andtables out of there, Bocade, Honey,
you look so peculiar. Is somethingthe matter? Can you hear that?
Here? What over here? Boys? Please, Marian, let's go
(29:45):
on a vacation right away. Let'snot wait. What is wrong with you?
Nothing, sweetheart? Just let mehold you. I don't want to
lose you. Not much chance ofthat. Oh, alretie, I've never
seen you like this. We'll takeTina to your mother's and go right to
the airport. But I'm not packed. We'll pick up what we need when
we get there. Oh, Marian, it's very very important. Well,
(30:06):
if it matters that much to you, I suppose, then let's go now
either, mister Brinkley, have youbroken it down yet? Not just about
to? Has Reagan been here?It was a minute ago where the office
set and he's not there now.Nope, you didn't see him leave.
(30:29):
I didn't. And you guys seewhere Reagan went. Nope, I'm sure
didn't. Would you look in hisdressing room? Sure thing? Well,
not his dressing room. Then Iwonder where he's gone. Wherever it is,
I hope he finds what he's lookingfor, like twenty three Party at
(30:56):
eighty five, Last Call Light,twenty three, San Francisco. Reality the
quality of being real or having anactual experience. Words of definition from a
(31:18):
book we call the dictionary. Wordsthat fail to recognize man's gift for creating
realities of his own. Realities,perhaps beyond the measurement of science, and
yet actual in their own right,realities existing in that vast and timeless middle
ground between light and shadow, thedimension of imagination, also known as the
(31:44):
Twilight Zone. More from the TwilightZone. After this, you are about
to enter another dimension, a dimensionnot only of sight and sound, but
of mind. A journey into awondrous land of imagine nation. Next stop,
the Twilight Zone. Hi, thisis Stacy Keach. I'd like to
(32:05):
take a moment to tell you aboutour Twilight Zone website at twilight Zone Radio
dot com. At twilight Zone Radiodot com you'll find the latest information on
these twilight Zone Radio dramas, includingbehind the scenes photographs, plus the newest
product releases, trivia contests, waysto contact us, other Twilight Zone related
info and merchandise, plus links toother fascinating websites. So make your next
(32:29):
stop twilight Zone radio dot com.Visit twilight Zone radio dot com to purchase
these twilight Zone Radio dramas on cassetteand CD, or call toll free one
eight six six nine eight nine Zone. That's one eight six six nine eight
nine nine six six three
A World of Difference, starring LukePerry with Stacy Keach as your narrator,
was adapted for radio by Dennis Etchersonand written for the Twilight Zone by Richard
Matheson. Heard in the cast wereElizabeth Laedo, Christian Stolte, David Darlow,
Doug James, Jeff Lupeton, SarahWellington, Maggie Carney, Carl Lamari,
Roger Wolski, Vince Amari, AmandaAmari, Sarah Court and Annas Veruzza.
(00:32):
To learn more about the Twilight Zoneradio dramas and to obtain audio cassettes
and CDs of these programs, visitour website at twilight Zone Radio dot com.
The producers of the Twilight Zone wishedto thank CBS Enterprises, Carol Serling,
Dennis Etchison, Dick Bresha Associates,Claire Simon, Casting, Terry Jennings,
(00:53):
Exim Satellite Radio, Sirius Satellite Radio, our sponsors and our radio affiliates
for helping make this series is possible. This copyrighted radio series is produced and
directed by Carl Lamari and Roger Wolskifor Falcon Picture Group, Doug James Peaking.
(01:23):
There is a fifth dimension beyond thatwhich is known to man. It
is a dimension as vast as spaceand as timeless as infinity. It is
the middle ground between light and shadow, and it lies between the pit of
man's fears and the summit of hisknowledge. This is the dimension of imagination.
It is an area which we callthe twilight zone. Hey, there
(01:57):
will lawn in, miss Regan Reagan. Yeah, that's a good one.
Yeah, I want to open thegate. Yeah, I guess it is
a good one. Want to letme in on it? Let you in
on what you called me? Will? Yeah? So, so my name's
Harold. You know that. Sincewhen? How long you've been working here?
(02:19):
Oh? Long time? All thattime, I've always been Harold.
Some people call me Shorty, butnever will and I'm Arthur. My wife
calls me Ardie sometimes. But ifyou want to be Harold, that's okay
by me. Oh, I getit. You want I should call you
Arthur from now on instead of misterReagan. You've got it. I guess
that makes us even will I mean, Harold, do your favor? What's
(02:40):
that? Leave the parking lot open, then take the rest of the day
off. Okay, I'll bite whatfor? He must be tired. Didn't
get much sleep last night. Huh, have some breakfast, a cup of
coffee. See if that helps helps? What to get your head on straight?
You can open the gate now,Harold or whatever your name is.
Sure you say salt morning, Sally? Oh, good morning, mister Curtis.
(03:14):
I just got here myself. Ihope I'm not late. No,
no, I thought i'd better getan early start. I have to leave
about three, you do. Mywife and I haven't gotten a thing for
Tina's birthday yet. That's right,the party Saturday afternoon, isn't it If
my daughter can last that long?Excited, she sure is. It's all
she can think about. Are themats and contracts ready right here? I
(03:35):
finished them before I left last night. Good, I'll look them over in
my office. Well back to thegrindstone, Yes, sir, oh,
I almost forgot. Would you callthe airline for me? See if you
can get those reservations changed from Mondayto Saturday. Will do straining at the
least to get out of town.You bet. It's the first real vacation
Maryan and I have had in years, So I figured why lose a whole
(03:59):
weekend for starting out? I don'tblame you. Saturday night. It's San
Francisco. Here we come. Holdall calls for a few minutes. Wall,
I want to tell my wife suddenly, sir, hope her mother can
take Tina after the party. Oh, for heaven's sake, Sally, Sally,
(04:21):
I can't get a dial tone?What's he doing? I don't know?
This isn't in the script. Sally, I said, who are you?
What are all you people doing inhot Where did Sally go? What
happened to the wall? And Isaid, God, all right, everybody
(04:46):
take five? Will somebody please tellme what is going on? Reality the
quality of being real or having anactual existence, interest to philosophers throughout the
ages. The definition comes from theDictionary and it directly concerns one Arthur Curtis,
(05:08):
thirty six years old and a successfulbusinessman, or so he believes.
Mister Curtis is about to discover thatthe line between reality and unreality can be
very thin. Indeed, in fact, under certain conditions, it may be
less than thin. It may beinvisible, at least in the twilight Zone.
(05:34):
And now the Twilight Zone and ourstory A World of Difference, starring
Luke Perry with Stacy Keach as yournarrator. I asked you a question,
all of you, What are youdoing here? Get out of my office?
Come on, Jerry, that's notmy name. Is it so hard
(05:56):
to make a phone call? Losethe ad libs? Who are you?
Remember? Marty Fisher, your friendlyneighborhood TV director? What are you talking
about? I soon they forget Sally? What is all this? Something go
wrong? Mister Reagan? Why areyou sitting there like that with your feet
up? Take them off the desk? At once I thought we were on
a break. We are. Whydon't you go to your dressing room while
(06:18):
I talk to Jerry? Sure,Marty, call me when you're ready watch
the cables, miss Lawson, Ofcourse I will. Kelly, you think
I'd never been on a set before? What are all these lights for?
I can hardly see? Pretty hardto shoot without him? Jerry? This
isn't exactly varite? That camera?What's it for? Will somebody please tell
(06:39):
me? I'm warning you? Jerry? Oh? And who do you think
you are? That's funny? Iwas about to ask you the same thing.
Why don't you wise up and cutthe dramatics? Dramatics? They won't
take much more of this. You'revery close to the edge, the edge
of what. I like that.You're really into it. What is it
the method? I don't think so, not the method. Who'd you study
(07:01):
with? Sandy Meisner? Right?No, wait a minute, Stella Adler.
Well, I used to be atthe institute too, and the first
rule is don't break characters. Sowhat do you say? Shall we take
it again? I don't understand whatyou're saying. It's a gag, just
a little gag, you know,these New York actors? All right,
get him some coffee, Kelly,Yeah, coffee over here? Please?
(07:21):
Black coming right out? Okay,Jerry, let's forget about it. Get
your scene done. The front officedoesn't like it when they're overscheduled, over
schedule, not this show. Thenlet's try it again. Back to the
set. Set listen, I wentout on a limb for you. The
whole agency did what agency? Justdo your lines? Are we ready?
(07:43):
Here? We're ready now? Jerry? All right, one more time.
You're gonna call your wife, tellher to meet you at three point fifteen?
How did you know that? Gotall your lines down? What's your
script? What are you talking about? Easy? Jerry, don't burn yourself
out places. Everyone breaks over.Where am I in your office? It's
morning? You just got here.This can't be my office. It only
(08:05):
looks like my office. The windowisn't even real. What's he doing?
The city outside? It's a painting? What is this a joke? Jerry?
Jerry? What are you people watchingme for? I don't know you.
I don't know any of you.Don't let him get away. He's
not going anywhere, he's not onhis mark. Maybe you can shoot around
(08:28):
him for a while. I don'twant to shoot around him, Sam.
We've got seven pages to do beforelunch. He'll come through, Marty.
We never had any trouble with himbefore. What's he doing now? This
scene? I told you get readyto follow him? Roll? Sound and
action still dead cut? Where areyou going? Jerry? Stop calling me
(08:50):
that it's not my name? Sure, sure, if that's what you want.
Is there another telephone in here?Sit down, Jerry, one that
works? Jerry? If I haveto phone Brinkly on this, you're dead.
Do whatever you like. Just leaveme alone. You don't look so
good. How do you feel?I felt fine when I got here.
Please sit down? What's that onyour face? Sweat Kelly. Yeah,
(09:15):
call for an ambulance and make itfast, Yes, sir, Shall I
ask the front office to authorize it? Of course not if they find out,
there's no telling what they'd do.Suspend production? Probably go on go
right away, Jerry. Let's goto a dressing room. You can lie
down. Where's the nearest telephone,Jerry, we're trying to help you.
My name is Arthur Curtis. Takeyour hands off me. I'm getting out
of here. Did you hear that, Arthur Curtis? Is this a real
(09:41):
telephone? Looks like it? Allright? Everybody? One hour for lunch?
Is it hooked up? Should bethe number? What's the number?
Search me? Operator number? Please? I I don't know. I can't
think. I'll connect you with information, yes, please directory information? Hello?
(10:05):
Would you give me the number ofArthur Curtis two two four three seven
Vetnor Road, Woodland Hills, checkingon Vetnor V E N T N E
R. I have no listing fora Curtis at that address. What you
must be mistaken, Jerry. Listen, it's my own home. I'm Arthur
(10:26):
Curtis. I just can't remember thenumber at the moment. Will you?
It's an unlisted number. It's notan unlisted number, at least I don't.
I don't think it is. Look, would you try again? I
know there's a phone there. I'msorry, sir, Jerry. Put the
phone down. You're wrong operator.Connect me with your supervisor. Let's go
(10:48):
to your dressing room. Listen,give me the phone. What are you
doing? You're not yourself, You'resick. Get your hands off me.
I'm trying to help well. Idon't need it. I'm getting out of
here. Where are you going home? Jerry? Somebody stop him? Hey
(11:09):
watch it, lady. Are youout of your mind? If you're drunk
again, Jerry, let go ofme. Look, I don't care if
they bounce you. I don't careif you never work again for the rest
of your worthless life. You're goingto pay me what the judge tells you
to pay me, or so helpme. I'll put you so far behind
bars they'll never find you again.There you are, missus Reagan. I
(11:33):
am not missus Reagan anymore. Sorry? Could I speak to you in private?
I haven't the time. It's aboutJerry. He's coming with me.
He'll be back in time for theafternoon filming. That isn't exactly what excuse
me, but I need your car. What do you think you're doing?
You're not driving. I've just calledfor an ambulance. Jerry's having a nervous
breakdown. How convenient for him?Would you two get out of the way
(11:56):
please, I'm not joking. MissFrom now on, if you won't move,
slide over. I don't have timeto argue. I said, get
in. If you have to,I'm getting out of this place. You
pig headed better fasten your seat belt, float out. Don't touch the wheel.
I'll do more than touch it.I'm not going to let you crash
(12:18):
this car. It's mine. Nowget your hands off the brink there now.
Will you let me drive? I'mwarning you, you're warning me.
Give me those keys now stop.Please, whoever you are, I said,
I'll drive. If you want tokill yourself, you'll have to wait
first. I'm going to bleed you, Jerry. I'm going to bleed you,
(12:41):
dry every bank account, every residual. Don't listen. I don't know
who you think I am, butyou're wrong. You're wrong. My name
is Curtis, Arthur Curtis, andI don't have the slightest idea what you're
talking about right now, I'm goingto cut the history onics. If you
think you can chisel your way outof pain with a cheap trick like this,
I'm gonna turn the key again andI'm driving to my home in Woodland
(13:05):
Hills. Once we get there,you can have your car back. Do
you understand I told you to cutthe act? No act. My name
is Arthur Curtis. My wife's nameis Marion. I have a daughter named
Tina, and I live at twotwo four three seven Ventnor Road in Woodland
Hills. I mean it, Jerry. My name is Arthur Curtis. My
(13:26):
wife's name is I said cut cut. I don't understand. I've made this
turn twice. Now let me knowwhen the grand tour is over, will
you? I I don't know whereI am, and yet I I must.
(13:52):
This is my neighborhood. I livehere, do you? I have
for years, ever since I boughtthe house. But my read it it's
just not here. What do youwant, Jerry? An Academy award?
I've told you. My name isOh can it? Will you? Who
are you trying to convince? Youmay as well give it up. You
never had a less receptive audience Whydo you refuse to listen to me?
(14:13):
Go ahead, then play it out. Make a complete idiot of yourself.
I couldn't care less. I'm tryingto find my house. Is that so
hard to comprehend? Well, you'renot going to no matter how hard you
try. And why is that simple? Because there's no such thing as ventnor
road. Keep quiet, I'm tryingto think. And what's more, there
(14:35):
never was accept in your dreams.What's in the glove box? That's none
of your business. This is mycar. Now there must be a map.
Let me have it. Please getyour hands out of there. I'm
just trying to Tina. There sheis. Who's Tina? My daughter?
Another little secret you never told meabout? When did that happen? See
her skipping down the sidewalk? Oh, spare me, Hi, honey,
(15:03):
over here, it's daddy. Thisis too much. You're going to get
us both arrested. Tina, Honey, come here. I didn't have anything
to do with this, remember that, Tina. Thank god, we won't.
But you're not Tina. Sorry,little girl. I thought you scared
me. You're a bad man.Get in put that dress? I thought
(15:31):
she was, I said, getin, or would you rather go to
jail for attempted kidnapping. You shouldhave let me drive in the first place.
None of this would have happened.Why are you stopping? Because this
is the end of the line here. Don't tell me you're going to play
(15:54):
surprised. But I've never seen thishouse before. You just won't quit,
will you. That's Brinkley's car outfront. What does he want? Who's
Brinkley? Pound of flesh? Probablywell, he'll have to wait his turn
coming. I can't stay here.I have to go. I said i'd
get you back for the afternoon shooting. I mean home. You are home?
(16:15):
Who's home? Move it? Buster? Or would you rather sit out
here? Fine with me? Suityourself, but I promise you you'll regret
it. Where are we? Comeon inside? Fix yourself a drink,
a little hair of the dog.Maybe that'll do it. Jerry, who
(16:37):
are you? Better? Be niceto Sam? He's still the vice president
of your agency. Where have youbeen? I'm not sure did Sam call
you more than an hour ago?Said he had left the studio, walked
out, stumbled, is more likeit? What's all this about the studio?
First things first, Jerry, comeinto the study. Why Norah.
We need to do some damage control. We sure do. Can't this weight.
(17:00):
I've waited long enough. I wantmy money now before he goes off
on his next binge. Now,Look, I've explained to this woman that
I'm not who you all seem tothink I am. Frankly, I don't
know what to think. But ifwe don't smooth this over right now today,
the network won't renew your contract andthat will cost us all money.
My name is Curtis, I live. Jerry. Stop it stop? What
(17:22):
would you rather lie to you?You don't seem to realize the position you're
in. Where do you hide thecheck book these days? I beg your
pardon. I'll find it if Ihave to tear the house down. Excuse
me, I have to get outof here, Jerry, Jerry, I'm
going to lay it on the line. If you lose this part, we'll
have to drop you as a client. We can't cover for you anymore.
(17:44):
It's beyond that, way, beyondit. I'm sorry, but you're mistaken,
all right. Look, they canshoot around you today. I'll tell
them you came down with something.They won't buy it, but we'll do
our best to make it stick.But come tomorrow, you've got to be
there, Jerry, bright and earlywith bells on. I don't know what's
going on. God help me.I don't know what's going on. You
(18:07):
said that, Jerry. Enough isenough. I tell you I found it.
Get over here, now leave mealone. Please? All right,
he doesn't look so good. Maybewe should take him to Cedars. You're
going to sign this check, Jerry, right now, before you can pull
anything else. Go on, pickup the pen. That's it. Then
(18:32):
we'll see about the state of yourprecious health. Please, I'm asking you,
and i'm telling you, sign it. Jerry. I want what you
owe me. His hands are shaking. Oh no, he's not going to
get out of it that easily.I'll fill in my name in the amount.
Just sign Gerald Reagan G E RA L D. That's not my
name R A I G A Nin case you've forgotten how to spell too.
(18:56):
But I've never heard that name beforein my life. Maybe he should
lie down. Would you both backoff? This has gone far enough.
I am not Gerald Reagan. Myname is Arthur Curtis. Do you hear
me? Arthur Curtis? I workfor Wait a minute, I'll prove it
operator. I'd like to number forDavis, Morton and Company one eight nine
(19:19):
Brand Street, Los Angeles. Yes, I'll hold, but make it fast,
will you? Of course there isI should know. I worked there.
Look, I've been with them forseven years. Don't tell me that,
don't hear? Lean on me,Sarah Bernhardt. Look at his eyes.
(19:40):
I don't think he's faking it awfullygood timing. If you ask me,
help me to get him to theother room. What what is happening
to me? H? What areyou doing? Just closing the blinds?
(20:07):
Don't bother. I was hoping you'dcatch a few winks feeling better. You
don't believe me, do you?It doesn't matter what I believe. You've
been overworked trying to wrap the season. Must have been a terrible strain the
season. I take it that's supposedto mean something to me. If it
doesn't, we're all in trouble.Would you like anything some lunch? If
(20:30):
Nora won't make it, I'll orderout. No thanks, I don't have
much of an appetite. You needhelp, Jerry. It's not in my
province, but I've known you along time and I hate for this to
happen. It's not necessary, youknow, it really isn't. Can't you
see what's happened? Why don't youtell me? You know what? This
is a script for what? It'sall right here take a look. Cast
(20:55):
of characters. Arthur Curtis thirty six, a young business exit, happily married.
Let me see that. Curtis livesin Woodland Hills, California, with
his wife and young daughter. Wheredid you get this? It's yours from
the dresser here where you left itafter studying your lines last night. Go
on, keep reading. He ismarried to Mary and Curtis thirty three,
(21:18):
a charming young woman typical of thatefficient breed which can manage a house and
family and still have ample time forring a bell? Who wrote this?
That's neither here nor there are somehack Probably the point is the only information
you have about Arthur Curtis is what'swritten here. That's crazy, Jerry,
I really do understand. Sometimes I'dlike to escape myself, get away from
(21:41):
this turmoil, the long hours,the early calls, to a simpler,
sweeter existence. It's only natural you'retelling me it was all a delusion,
that I'm really somebody named Gerald Reagan, a dissolude, pitiful, a sweet,
unhappy man, a square peg ina round hole. Whenever should have
(22:02):
moved to Hollywood, burdened with thatharpie in there, Jerry Reagan, who
wanted to be a serious actor once, trying to make a living and find
a little happiness, that's all.No, I won't accept that. The
life I remember it was real.I wish it were. For your sake,
(22:23):
I wish it were. I haveto go, Jerry, and report
into the agency, try to restand forget about the series. You won't
have to go back. I justspoke to the studio a few minutes ago.
They're canceling production production on what Youmay as well give me the script.
I'll toss it for you. Itdoesn't matter now. I'm sorry.
(22:45):
But Arthur Curtis is dead. Well, what's his story? I don't think
it's a story. Not this time? All better? Or should I fix
him some milk and cookies? He'shad it withdrawn from the playing field,
(23:10):
and I can't say I blame him. Go on, then get out of
here. I'll whip him in hisshape if he thinks a little breakdown is
going to let him off the hook. Wait, Jerry, well, what
do you know? It walks outof my way? Yes, sir,
what is it? Jerry, I'vegot to go back. I told you
it's too late for that. It'sfinished. No, I've got to get
(23:30):
back to my office here. Ifyou mean the set, they're probably tearing
it down already, and as faras I'm concerned, but they mustn't,
don't you see. I'll never getback if they tear down the only connection
I have to Jerry, knock itoff. I can't do that. Jerry,
(23:53):
careful, Jerry, that's my carname? Open the gate. Oh
(24:14):
that's you, mister Reagan. I'min a hurry. Oh sure, sure,
nice car. What happened to yourWow? Harold? Well see your
name is not on the list anymore. I mean, Reagan's not that other
one you gave me. What didyou say? It was, Curtis something?
I don't have time for this.Hey? Did you get fired real?
Sorry to hear it, or maybeyou quit? Either way, I'm
not supposed to stand back. Huh. I was just saying what n Hey,
(24:52):
you can't do that. Put thatdown? What do you think you're
doing? What'd you say? Ba'syour feet? That's my sofa? Yeah,
Where are you taking it back toprops? You can't. Yeah,
I got a work order right hereto strike the set? You mean my
office? Which office? The lowbuilding with the rose bushes? One to
eight nine? Nah? This isfrom stage twenty three? Which way is
(25:15):
that? It's over there? Hangit right at the commissary. Take the
wall down, not yet? Getthe desk and chairs? Where do you
want them? Hold on, holdon, pardon me, mister Reagan.
Don't touch the desk yet or thechair. No, I'll come. I
have to get something. Oh sure, go ahead, it'll take us a
(25:37):
while, too bad? Uh?Nice set, real nice, kind of
sorry to see it go Sally?Are you still here? No matter?
I don't know where to start.There must be a way, there has
(25:59):
to be, mister Reagan. Whoit's Kelly? I thought I saw you
come in. What happened to mybooks? Books? Oh? Sent back
to prompts by now? And mypapers and file cabinets, even the photos
on the desk There were pictures ofmy family, my wife and daughter.
Were they you mean they were real? Give me a few minutes and maybe
(26:23):
I can track them down. Dothey have to do this? I'm afraid
so the studio needs the space.My career, a whole life packed up
while you're out and shipped off togod knows where. I had no idea.
I thought it would last. Nothinglasts in this town. You know
(26:45):
that. But I thought you thoughtyou were different, the exception to the
rule. Well, I don't blameyou. It's easy to fall into that.
You see what happens to everyone else, but you never think it'll happen
to you. Human nature, Iguess. But you know the next thing
will come along, and what willthat be? Beats me, but it
always does. You have to havea little faith. And the things we
(27:07):
collect over the years and leave behind, uh, somebody else will get some
use out of it. It wasnever really ours in the first place,
was it? Can't exactly take itwith you? No, No, I
guess you can. They're ready totake the walls down now. You might
want to sit somewhere else. Ithought, if I got here in time,
thought, what nothing, you goon, I'll be out of here
(27:32):
in a minute, just following orders, mister Reagan. Nothing personal, No,
nothing personal at all. Mary,don't leave me, don't leave me
here, mister Curtis, sound,mister Curtis, Oh there you are.
(27:55):
I thought you'd gone home? Whatsomebody's here to see you? Go ahead?
Missus gutches Arthur, Marian, Honey, I don't understand you don't Where
have you been? I've been phoningall day, Marian? Is it really
you? Well? Who else wouldit be? Honestly? Sally kept saying
(28:18):
you were out out? What doesthat mean? She couldn't imagine where you'd
gone. She didn't see you leave. I had some business to attend to.
I got lost on the way back, you did? How do you
mean? It doesn't matter? I'mback now. Oh just let me sit
down for a second. These newshoes. Why where's your sofa? I
(28:38):
won't need it anymore, Marian.Let's get out of here. But I
just got here. I didn't thinkyou'd mind. I thought you might want
to have dinner on the way home. That sounds wonderful. Oh, and
I wanted to tell you I gotsomething for Tina's party, that doll she's
so crazy about. Now, Marian, let's go right now, Artie,
(29:00):
Are you all right? Yes?I am. Now you're looking a little
tired. A hard day. VeryWhere were you? It's a long story,
mister, cutis Sally? What isthe matter with you? Dear,
You look as if you've seen aghost leaving now. Did you make that
call to the airlines? Yes,sir, they send the tickets over this
(29:22):
afternoon. I have them right here. Let me see plane tickets for our
trip. Are they all right?Yes, they're perfect. Ready to strike
the office. Get those lamps andtables out of there, Bocade, Honey,
you look so peculiar. Is somethingthe matter? Can you hear that?
Here? What over here? Boys? Please, Marian, let's go
(29:45):
on a vacation right away. Let'snot wait. What is wrong with you?
Nothing, sweetheart? Just let mehold you. I don't want to
lose you. Not much chance ofthat. Oh, alretie, I've never
seen you like this. We'll takeTina to your mother's and go right to
the airport. But I'm not packed. We'll pick up what we need when
we get there. Oh, Marian, it's very very important. Well,
(30:06):
if it matters that much to you, I suppose, then let's go now
either, mister Brinkley, have youbroken it down yet? Not just about
to? Has Reagan been here?It was a minute ago where the office
set and he's not there now.Nope, you didn't see him leave.
(30:29):
I didn't. And you guys seewhere Reagan went. Nope, I'm sure
didn't. Would you look in hisdressing room? Sure thing? Well,
not his dressing room. Then Iwonder where he's gone. Wherever it is,
I hope he finds what he's lookingfor, like twenty three Party at
(30:56):
eighty five, Last Call Light,twenty three, San Francisco. Reality the
quality of being real or having anactual experience. Words of definition from a
(31:18):
book we call the dictionary. Wordsthat fail to recognize man's gift for creating
realities of his own. Realities,perhaps beyond the measurement of science, and
yet actual in their own right,realities existing in that vast and timeless middle
ground between light and shadow, thedimension of imagination, also known as the
(31:44):
Twilight Zone. More from the TwilightZone. After this, you are about
to enter another dimension, a dimensionnot only of sight and sound, but
of mind. A journey into awondrous land of imagine nation. Next stop,
the Twilight Zone. Hi, thisis Stacy Keach. I'd like to
(32:05):
take a moment to tell you aboutour Twilight Zone website at twilight Zone Radio
dot com. At twilight Zone Radiodot com you'll find the latest information on
these twilight Zone Radio dramas, includingbehind the scenes photographs, plus the newest
product releases, trivia contests, waysto contact us, other Twilight Zone related
info and merchandise, plus links toother fascinating websites. So make your next
(32:29):
stop twilight Zone radio dot com.Visit twilight Zone radio dot com to purchase
these twilight Zone Radio dramas on cassetteand CD, or call toll free one
eight six six nine eight nine Zone. That's one eight six six nine eight
nine nine six six three
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