November 21, 2023 • 40 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.
(00:10):
There is a fifth dimension beyond thatwhich is known to man. It is
a dimension as vast as space andas 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 his knowledge. This is the dimension of imagination.
It is an area which we callthe twilight zone. Let's get going,
(00:41):
Yeah, wasting too much time already? Can we turn this place into a
courtroom? Long enough? Barmen,give me a drink? Coming right up,
hey, barman for me one two? While you're at it. Quarters
back in session. Put that bottleaway. You heard the judge. No
(01:02):
drinking while the circuit court's here.Everybody sit down. In the case of
Joe Caswell, will a defendant standhe means you stand up? I heard
him, Sheriff. You don't talkuntil the judge tells you to now then,
(01:26):
Joe Caswell, in the shooting ofGeorge Bamber's son, will you carry
a Colt forty five same as thewhole and will Bamber's back? And there
was an empty shell in your gun. He was spoiling for a fight.
You're a dirty liar. My boywasn't even armed. If he hadn't called
(01:47):
me out, he'd still be breathing, and I'd be halfway to Cheyenne.
Hear that judge sit down, George, but he meets quiet. This trial
is over now, Seeing as howthere were no eye witnesses. I can't
say who started it and who deservedwhat. But there's no way this is
self defense. And it's not thefirst time you've been in circuit court.
(02:09):
I've seen you too many times,Caswell, fighting, thieving, drunken,
disorderly, running horses off, somebodyspread and most of the time folks end
up dead. Too many times,mister, You've had your chance and then
some Well, this is the endof the trail. Do you have anything
to say before I pass sentence?I never backed down from any man,
(02:31):
no matter who he is. JoeCaswell, I hereby find you guilty of
murder and sentence you to death byhanging such sentence to be carried out.
It's sun up tomorrow. May Godhave mercy on your soul. Courts adjourned
till next month. Yeah, thisway, caslow it and I guess I'll
(02:58):
just see you in Hell. We'llhave a drink on it, you and
me drink yep. I'm mighty thirstymyself. I was here first. No,
you weren't take your turn. Boys, everybody gets served, now,
Who's next? Prelude to a commonplace, if somewhat grim, unsocial event known
(03:30):
as a necktie party. The yearis eighteen eighty. The guest of Dishonored
a cowboy named Joe Caswell. Nowjust a few hours away from a date
with a rope, He's headed fora short dance to be performed several feet
off the ground before moving on tothe dark eternity that awaits evil men.
(03:50):
Mister Joe Caswell, who, whenthe Good Lord passed out a conscience,
a heart, and a regard forothers, must have gone off for a
beer and missed his mister jos Well, whose time is about to run out.
In the Twilight Zone and now theTwilight Zone and our story execution starring
(04:20):
Don Johnson with Stacy Keach as yournarrator. This'll do right here that where
(04:43):
you hold himself? Sure it will, he ain't that much. Give me
the road boys right here, throwit over the top branch. Yeah,
hold his horse steady. I madethem out real good. Yeah, Dad,
it's a big one too. Youdid fine. Boys. No though
(05:08):
I walked through the valley of theshadow of death. Reverend, shut up,
Caswell. I shall fear no evil, no need, Reverend. I
ain't interested in any prayers and yourimmortal soul? Are you interested in that?
It's my immortal neck I'm concerned aboutnow. It's your pleasure to see
(05:29):
that it gets stretched a couple offeet. And since that book of yours
ain't gonna stop it from happening,i'd as leaf make this short and get
it over with. Go ahead,then I'm finished, Judge. You got
any last words, Caswell, whatwould you like to hear? That's up
to you. Then I'd like tosay something about the young man I put
(05:50):
a hole in. Yes, hehad too much mouth and not enough brains.
Why i'd invite him out again Thismorning? I had to do it
all over again. You shot myson in the back, Caswell. Which
is a long country mile from aninvitation to a showdown. If that's all
(06:10):
you got to say, I gotthis to add. I'd like it to
take a while. I'd like youto feel it, Caswell. The more
you kick, the more justice Ifigured there is in the world. I'll
do a jig for you. Papa, just like a puppet with my hands
tied behind my back. Out ofthat now, can we get it over
(06:33):
with? All right? Put thenoose around his neck? On set smoke,
Caswell? Why bother? I wouldn'tget to finish it anyway? All
right, then that's it by theauthority invested in me. Hurry up.
(07:00):
I'll tell you this, Caswell.I've been a judge for thirty five years,
and the one question that always restsheavy in my gut is whether any
human being has the right to condemnanother. Maybe this is what should come
from God. But in your case, in your case, Caswell, you're
(07:20):
an evil man, plain and simple. You're a disease. When we hang
you, it's a service to humanity. I have no doubt, no doubt
at all. Gentlemen, do yourjob. Go ahead. You heard him?
(07:42):
Oh go on, horse? Whatin the where's where'd he go?
You was here? And then justlike baddy, Oh my dear god,
I tie the rope around his neck. He was tired. I swear I
know you did. I saw it. Then then where is he? That's
(08:05):
a good question. What what happenedto him? Yeah? What? What?
(08:43):
Stay down? Who are you?Just try to relax. You're going
to be all right. Where amI? A long way from home,
old friend, A very long way. Ain't out doors no more? No,
you sure aren't. My name's doctorMannon. You're in my lab in
(09:05):
New York. How did I gethere? That? I'm afraid will take
some explaining. Is it day ornight? That hardly matters. The truth
is it's more than a full centuryafter your last moment of consciousness. But
how by this? An invention ofmine? I wasn't sure it would work,
(09:35):
but now I have the proof Igot you out here. I suggest
you stay where you are. You'rein no condition to go anywhere. Just
yet. Can I get you anything? A drink of water? That's a
contraption, A time machine, prettybig for a clock. I wouldn't expect
(10:03):
you to understand what's happened involves principlesof physics. You know nothing about a
few minutes ago you were inside thismachine. Where's my horse? Well,
it's just large enough for a man. It brought you here from where you
(10:24):
were. You mean Montana territory?Yes, yes, I suppose that's right.
I'd have to check the coordinates.But you have a most distinguished future.
You're the first time traveler in thehistory of man. I'm going to
(10:45):
introduce you to a new world,and you're going to tell me all about
the old one firsthand. Now,let's loosen your collar and see about that
drink of water. Continuation of theprevious entry. I offered the subject food
(11:31):
and water, especially the latter.He seems quite parched. His clothing appears
to be authentic in every detail,including the leather chaps and cowboy boots.
After several attempts at conversation, heappeared desperately tired, and I showed him
(11:52):
to the bed in my inner office. But I managed to learn the following.
His name is Joseph cas Well.He claims to be a trail boss
on a cattle ranch in the territoryof Montana. His last moment of consciousness
was on November fourteenth, eighteen eightyeight. He says he was on his
(12:13):
horse when he suddenly blacked out.He awoke to find himself on the cop
in my laboratory after I had carriedhim out of the machine. He claimed
to remember no other sensations, andhe has no real grasp of what has
occurred. There's one disturbing point.The marks of a rope are etched deeply
(12:56):
into his neck. He offers noexplanation for this, And I have one
other observation, hardly scientific. Idon't like his looks. I don't like
the face, or the eyes,or the expression. The overall appearance is
disquieting, even disturbing. I can'tescape the feeling that I've taken a nineteenth
(13:22):
century primitive and transported him to amodern day jungle. Heaven help whoever gets
in his way. That's all fornow. Who you're talking to, No
one, don't lie. I heardyou. This small device is called a
(13:48):
digital recorder. I speak into it, and it records my voice. A
way to make notes, you mightsay, without pen and paper. Yeah,
here, I'll show you. There'sone disturbing point. The marks of
a rope are hitched deeply into hisneck. He offers no explanation. See,
(14:16):
that's my voice stored in the machine. He did some What else you
got in the air? You shouldrest? Huh? Yeah, bed's might
soft, though, Yeah, itwould be better if you don't touch anything.
Sure, doc, I smelled smoke, spare some tobacco? What?
(14:39):
Oh? Of course, look atthat fire right out of the air,
just a cigarette lighter. It's notmagic, I assure you. Look huh
(15:00):
on off, huh mighty slick heretake it go on else. I thought
you were tired. Plenty of timeto sleep, plenty. I want to
take a look at the world outthere. See things like you showed me
(15:20):
those picture books, carriages without horses, and buildings that go up in the
sky. Oh they're out there,cares well, things you've never seen before.
And let's get to it. Don'thurry, it'll all take them getting
used to things you can't imagine.I'm ready, all right. What are
(15:45):
you doing? Just pulling the cordon the drapes so you can get a
better view. Huh tada? Nowlook out the window. What is that?
New York City? Just as Itold you, make the noise stop?
(16:10):
Did you ever settle down? Mustbe quite a shock for you.
Where'd all those lights come from?That is what night looks like now in
the big city. But not everything'schanged, like what ideas Caswell, concepts
like right and wrong? I knowabout that, do you. I had
(16:34):
a deputy sheriff in Dodd City tryto beat the difference into me with a
wet rope. I know all aboutright and wrong? And what about justice?
Caswell, what about that. I'msupposed to know about justice more than
most men. Probably right and wrong. They could try to beat into you,
but justice. Those marks came atthe end of a rope, didn't
(16:59):
they worry about my neck? That'swhere you were when I reached back in
time. You were at the endof a rope. Weren't you six or
eight feet off the ground? AndI got to you and that one fraction
of a second before your neck wasbroken. When you're dangling at the end
of a rope, it don't matterwhether you're one foot off the ground or
(17:21):
one hundred. You're just hanging there. Seems like it ain't ever going to
end. You were hanged because youkilled someone, weren't you? The whole
territory full of them. I stoppedcounting after twenty twenty men. Yeah,
they all had it coming. Inthat case. I'm going to have to
(17:45):
send you back back to where youbelong to the very same moment if I
can, and that'll be justice.Huh. I died once already, mister.
I've been to hell. You triedsometime get your head putting a noose
and when they run the horse outfrom under you in that rope, pulls
you up and you hang there withyour feet kicking and your hands tied behind
(18:07):
your back and the pain. Thenyou tell me about justice and the victims
you killed, Caswell, those twentymen, they died with no pain.
You're just talking words now, victimsand justice and right and wrong. Well,
they sound good in a nice warmroom, on a full stomach.
They sound nice and they go downeasy. But you try them on a
(18:30):
nice cold mesa where another man's breadand another man's jacket are all that's left
between you and staying alive. Ortry him in a dirty town where you
got to walk backwards from morning tillnight because ten men got a target picked
out between your shoulder blades, andfor every one of them, there's a
whole lot more with the same idea. No, you get in that machine
(18:53):
and go back to where I was, and then you talk about your law
and your order and your justice.The words will sound plenty different, that
may be, but I've made mydecision. I'm sending you back. Oh
yeah, huh, I know you'rekind, clean face, Johnny cum Lately
(19:14):
Dandy's would ride around the trains,rolling nice and easy over the graves of
men like me. Stand back.You think I'm scared of a little gun
like that, I had me acold forty five with a whole lot of
notches on the grip. Get inthat machine. Now, you don't tell
me what to do. I hateyour kind. I'm warning you. Yeah,
(19:37):
well I'll do more than that.Now, take that pop gun clean
away from you because you don't havethe guts to use it. Don't shoot
(19:59):
every on me. That's what Ithink of your note taking machine. You
stay down, if you know what'sgood for you. I'm gonna go out
and get some of that northern hospitality. And I don't like his looks.
(20:26):
I don't like the face, orthe eyes, or the expression. The
overall appearance is disquieting, even disturbing. I can't escape the feeling that I've
taken a nineteenth century primitive and transportedhim to a modern day jungle. Heaven
help whoever gets in his way?Paper eating in paper? Hey cab,
(21:12):
I need a cab. It yourright, sir, on pretzels, too
much noise? Look at that guy? Who's he think he is? Hey
man, nice costume, Get outof my way. Who are you a
strut store? Cowboy, Hey,move it, pal, Look at his
(21:36):
eyes? What's wrong with him?Another crazy? I gotta get away?
Are you still there? Honey?We can talk it over, can't we?
Honey? Don't you hang up onme? Don't you dare you?
(21:56):
Rat? Let me in? Letme in. I'm making a call.
Do you mind get out? Takeyour hands off me right now? Okay,
okay, I'm going. Why areyou nuts? I can't think?
What all that noise? What happenedthat man? He threw me out of
(22:21):
the phone booth? He looks dangerous. I'm calling the cop. Stop it,
stop it. There was an overtimeon your call. Leased upon this
twenty five cents? Who's talking tome? Who's talking to me? Where
are you? Shut up? Shutup? Let me out. Hey,
(22:48):
that guy wrecked the phone boom.That's vandalism. Set him, not me.
Somebody get the police out of myway. Hey, Ati, another
(23:18):
draft over here coming right up?Hey there, cowboy, you're from the
village people? Hey, wanted tobeat pal? Make it stop? Something
wrong? Too much noise? Toomuch noise? You mean the music?
(23:40):
Whoa? Now? What are youdoing? Put the gun away? I
said, make it stop? Somethingtells me to better excuse me, audience.
We need some pressure. Yeah,that's it. It's gonna be inexpensive.
(24:00):
Pal, what that'll cost? Youknow plenty? It was too loud.
He Look, buddy, I don'twant any trouble, but if you
don't pay for it, I'm gonnahave to. It's worth a bundle too.
So whatever cash you got on you, you know, credit card and
no checks though, give me adrink, easy pal, right now?
(24:26):
Sure you want the bottle? Hereyou go? Something wrong? No,
nothing pound, not a thing good. With that gun sitting there, you
could tell me it was high noonon the fourth of July and we were
fishing for whales off a canoe,and I'd say you was right as rain.
How's a whiskey? I can giveyou the good stuff if you want.
(24:48):
What is that thing? That thingin the corner, where'd the music
come from? It's a jukebox,just plain old jukebox. You've been in
stir, buddy, stir up theriver? What river? The big house?
Jail? Yeah, I've been injail lots of times, matter of
(25:12):
fact, but I got out.You sure did this last time. Now
I'm trying to remember. Well,you take your time. Now there's no
pressure. Matter of fact, whydon't you just moze on out, have
yourself a nice hot bath. Yougot baths not here, but but you
(25:32):
can get one almost anywhere. Trythe Carlton Arms. Rooms don't cost much.
I just need sleep, That's whatI need. There, you go,
some quiet and some shut eye.Sure, I understand it's crazy out
there that it is, all thosethose things running around. Which things is
(25:56):
that now? With the wheels thecarriage is with no horses you mean cars,
I may call that noise worse thana herd of cattle. There's too
many of them nowadays, that's forsure. It's like like thunder all the
time, and lights everywhere you look, going on and off. And well,
(26:18):
that's life in a big city.You know what you want to do?
Move out of Manhattan, go onupstate in the country where you can
get some peace. Yeah, catcha train. Like to do that myself
one of these days. Where's thestation? Well you can go out of
pen or Grand Central, But firsttake my advice, get some sack time,
(26:41):
have yourself a good night's sleep.Things a look better in the morning.
I already tried that. Take abottle with you on the house.
Take two will help you sleep.Go on, now, carry these home?
And what's that? Where a wall? Just a flat screen TV?
(27:03):
You know what that is, don'tyou? Looks like a winder? Yeah,
that's what it is. A window. You can see whatever you like.
Take your pick. Got all kindsof channels here here, I'll give
you a demonstration. What do youwant to watch? You like this show?
It's okay by me. I'll turnit up for you. Not too
(27:23):
loud. All right, andre I'mgiving you a chance to draw. You
better make your move, missed.What'd you do that for? He drew
first? All right, cowboy,that's it. You gotta pay me for
(27:44):
the TV too. Police, Pleasestop that man. He's got a gun.
Hey, get on the streets.Keep away. Did you see that?
(28:07):
But I shot the tactic? Wait, hair comes about to be still
stop him? You hold it rightthere. He's going I said, hold,
let me be hold up. Putyour hands in the air. I
was just trying to get him,not going anywhere. Hands where I can
(28:30):
see it. This is Hendrix andhe back up Central Puck West You the
sheriff, that's right. Pardon thespread up. You ain't taking me in
your hands behind your back? Thistime. Put your hands behind your phone.
Stop. Don't resist the wreck,easy horse. This place is worse
(28:53):
than Montana Territory. Let's go,you know, evening, sir, evening.
(29:26):
I'll get the door for you.Thanks, uh sir? Yeah?
Are you a tenant me? Ihaven't seen you before. I just have
to drop something off. Which floorwhat? Most of the offices are closed
now? Oh oh yeah, yeah, I know that except for doctor Manyon.
(29:52):
Right. He likes to work late, stays all night sometimes, Manion.
Yeah, yeah, that's it.I have to drop something off doctor
Manion. He's still here? Maybemaybe not? What does that mean?
Never can tell. He could havegone down the backstairs with a try.
How's that, I say, I'llsee if he's still here. Third floor.
(30:15):
You can't miss it. Thanks,Yeah, worth a trial? Right,
(30:42):
didn't even lock his door? Comeon, come on, where's the
cash box? Maybe in the backoffice. Gotta be a wall safe somewhere.
(31:12):
What the jeez? Somebody else hadthe same idea. This guy has
been beat up. Good if hedies, I ain't gonna take the rap
for this. Doc, Hey,doc, Doc, Doc, wake up,
(31:40):
you gotta help me. I can'tmake it here. Just move away
from the body, cowboy? Whoare you? Me? Who are you?
Buffalo Bill? Help me lift himup so we can bring him around.
Forget it. He's all right.We just had a little scuffle as
all well. He's stone cold now, doc he God told you forget it?
(32:06):
What are you doing here? Ithought the place was empty? What
do you want? Same thing asyou. I'm gonna help myself to whatever
I can. But it looks likeyou got here before me. With the
place being dark, I figured i'dbe all alone. You checked the desk?
Did you get out? My my? What big muscles you have?
(32:29):
I'm shivering in my boots? Getout? I said, not so fast?
What's that? What's it look likeyou'd pull on me? If I
feel like it? What are yougonna do about it? How about this?
(32:53):
I'm waiting what you got there,cap Pistol? No more shows now.
As I was saying, I don'texpect to keep so much cash in
here. But he must have asafe you know where it is. I
asked you a question, cowboy,What's what's all this on the wall?
(33:19):
Some kind of electrical stuff? He'sa doctor? Oh yeah, that means
he's rolling. And I told youto get out all right do you ask
for it? Missed? Shouldn't drawa gun unless you know how to use
it. I didn't even need Igot my head, sure, cowboy.
(33:49):
Once they chook the life? Howdo you like this? Wouldn't have court
around your feel good? Please?Can't fight if you can't breathe in your
times? Just about run out sweetdreams, cowboy, Now get my gun.
(34:22):
Go down the backstairs. Wait aminute, didn't see that. What's
in there? Some kind of secretchamber. Maybe that's where he keeps this
dough. Hey, hey, openthe door, hold it. He's back.
(35:22):
What hell? That's not him?No, it's not. Then who
cut him down? Hurry up?Cut him down? I got it?
Sure, help him, yes,sir, here, use my knife.
Let him down easy, But don'tmatter. Now his neck's broke. But
(35:45):
that ain't Joe Caswell, No,sir, assur ain't the man we hanged?
Man? Who is it? Lookat his clothes? What kind of
clothes are they? I don't know, some kind of city get up,
fancy shoes and all. Then whois he? It's not Caswell, Reverend.
(36:07):
It's a stranger, someone I've neverseen before. Me neither. I
put the noose around his neck myselfaround Caswell's name. I don't know who
this is. What kind of devil'swork is this? I don't know if
it is the devil's work. Didwe hang an innocent man? Then?
(36:31):
I hope not. I pray toGod not. Amen with the body across
one of the horses will take himback to town for now. Yes,
sir, this is November fourteenth,in the year of Our Lord, eighteen
(37:07):
eighty the aftermath of a Montana necktieparty. The victim's name Paul Johnson,
a minor league criminal from the cityof New York and the taker of another
human life. No comment on hispeculiar death save this. Justice can span
years and there's no statute of limitationson retribution. It can happen in an
(37:29):
instant or across centuries, which isreally the same thing. In the Twilight
Zone. More from the Twilight Zoneafter this, Hi, this is Carla
Mauri, producer of the Twilight ZoneRadio dramas. I'd like to take a
(37:52):
moment to tell you about our officialwebsite at Twilightzonradio dot com, where you'll
get the latest news and information onthese Twilight Zone Radio dramas. Plus at
twilight Zone Radio dot com. Youcan digitally download three free episodes, or
any of our episodes for only adollar ninety five each. In this age
of ever changing technology, we've decidedto make these episodes instantly available to you
(38:16):
by making The Twilight Zone Radio dramasa digital download only series. This means
that this series will no longer beoffered on CD. The CD collections at
our website are now being offered whilesupplies last at buy one, get one
free, so be sure to getyour favorites before they're sold out. Be
sure to visit us often, andI'll see you in the Zone. Execution,
(38:57):
starring Don Johnson with Stacy Keach asyour narrator, was ad apted for
radio by Dennis Echison and written forthe Twilight Zone by Rod Serling, based
on a story by George Clinton Johnson. Heard of the cast were joeby Serney,
Terry Berner, David Darlow, NormWoodell, Richard Henzel, Rick Arthur,
Rick Peoples, Brandon ELL's, OksanaFedinusian d J. Howard, Sarah
(39:19):
Cort, Carla Mauri, and KarenAnglin. The producers of the Twilight Zone
wished to thank CBS Enterprises and theRod Serling Estate for making this series possible.
This copyrighted radio series is produced anddirected by Carla Mauri for Falcon Picture
Group and Westwood One. Sound designand custom folly effects for the Twilight Zone
(39:39):
by Serny American creatives Bob Benson,Craig Lee, Matt Sorrow, Tim Sarney,
and Todd Byer. To learn moreabout the Twilight Zone Radio dramas and
to contact us, visit our officialwebsite at twilight Zone radio dot com.
Doug James speaking successful
There is a fifth dimension beyond thatwhich is known to man. It is
a dimension as vast as space andas 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 his knowledge. This is the dimension of imagination.
It is an area which we callthe twilight zone. Let's get going,
(00:41):
Yeah, wasting too much time already? Can we turn this place into a
courtroom? Long enough? Barmen,give me a drink? Coming right up,
hey, barman for me one two? While you're at it. Quarters
back in session. Put that bottleaway. You heard the judge. No
(01:02):
drinking while the circuit court's here.Everybody sit down. In the case of
Joe Caswell, will a defendant standhe means you stand up? I heard
him, Sheriff. You don't talkuntil the judge tells you to now then,
(01:26):
Joe Caswell, in the shooting ofGeorge Bamber's son, will you carry
a Colt forty five same as thewhole and will Bamber's back? And there
was an empty shell in your gun. He was spoiling for a fight.
You're a dirty liar. My boywasn't even armed. If he hadn't called
(01:47):
me out, he'd still be breathing, and I'd be halfway to Cheyenne.
Hear that judge sit down, George, but he meets quiet. This trial
is over now, Seeing as howthere were no eye witnesses. I can't
say who started it and who deservedwhat. But there's no way this is
self defense. And it's not thefirst time you've been in circuit court.
(02:09):
I've seen you too many times,Caswell, fighting, thieving, drunken,
disorderly, running horses off, somebodyspread and most of the time folks end
up dead. Too many times,mister, You've had your chance and then
some Well, this is the endof the trail. Do you have anything
to say before I pass sentence?I never backed down from any man,
(02:31):
no matter who he is. JoeCaswell, I hereby find you guilty of
murder and sentence you to death byhanging such sentence to be carried out.
It's sun up tomorrow. May Godhave mercy on your soul. Courts adjourned
till next month. Yeah, thisway, caslow it and I guess I'll
(02:58):
just see you in Hell. We'llhave a drink on it, you and
me drink yep. I'm mighty thirstymyself. I was here first. No,
you weren't take your turn. Boys, everybody gets served, now,
Who's next? Prelude to a commonplace, if somewhat grim, unsocial event known
(03:30):
as a necktie party. The yearis eighteen eighty. The guest of Dishonored
a cowboy named Joe Caswell. Nowjust a few hours away from a date
with a rope, He's headed fora short dance to be performed several feet
off the ground before moving on tothe dark eternity that awaits evil men.
(03:50):
Mister Joe Caswell, who, whenthe Good Lord passed out a conscience,
a heart, and a regard forothers, must have gone off for a
beer and missed his mister jos Well, whose time is about to run out.
In the Twilight Zone and now theTwilight Zone and our story execution starring
(04:20):
Don Johnson with Stacy Keach as yournarrator. This'll do right here that where
(04:43):
you hold himself? Sure it will, he ain't that much. Give me
the road boys right here, throwit over the top branch. Yeah,
hold his horse steady. I madethem out real good. Yeah, Dad,
it's a big one too. Youdid fine. Boys. No though
(05:08):
I walked through the valley of theshadow of death. Reverend, shut up,
Caswell. I shall fear no evil, no need, Reverend. I
ain't interested in any prayers and yourimmortal soul? Are you interested in that?
It's my immortal neck I'm concerned aboutnow. It's your pleasure to see
(05:29):
that it gets stretched a couple offeet. And since that book of yours
ain't gonna stop it from happening,i'd as leaf make this short and get
it over with. Go ahead,then I'm finished, Judge. You got
any last words, Caswell, whatwould you like to hear? That's up
to you. Then I'd like tosay something about the young man I put
(05:50):
a hole in. Yes, hehad too much mouth and not enough brains.
Why i'd invite him out again Thismorning? I had to do it
all over again. You shot myson in the back, Caswell. Which
is a long country mile from aninvitation to a showdown. If that's all
(06:10):
you got to say, I gotthis to add. I'd like it to
take a while. I'd like youto feel it, Caswell. The more
you kick, the more justice Ifigured there is in the world. I'll
do a jig for you. Papa, just like a puppet with my hands
tied behind my back. Out ofthat now, can we get it over
(06:33):
with? All right? Put thenoose around his neck? On set smoke,
Caswell? Why bother? I wouldn'tget to finish it anyway? All
right, then that's it by theauthority invested in me. Hurry up.
(07:00):
I'll tell you this, Caswell.I've been a judge for thirty five years,
and the one question that always restsheavy in my gut is whether any
human being has the right to condemnanother. Maybe this is what should come
from God. But in your case, in your case, Caswell, you're
(07:20):
an evil man, plain and simple. You're a disease. When we hang
you, it's a service to humanity. I have no doubt, no doubt
at all. Gentlemen, do yourjob. Go ahead. You heard him?
(07:42):
Oh go on, horse? Whatin the where's where'd he go?
You was here? And then justlike baddy, Oh my dear god,
I tie the rope around his neck. He was tired. I swear I
know you did. I saw it. Then then where is he? That's
(08:05):
a good question. What what happenedto him? Yeah? What? What?
(08:43):
Stay down? Who are you?Just try to relax. You're going
to be all right. Where amI? A long way from home,
old friend, A very long way. Ain't out doors no more? No,
you sure aren't. My name's doctorMannon. You're in my lab in
(09:05):
New York. How did I gethere? That? I'm afraid will take
some explaining. Is it day ornight? That hardly matters. The truth
is it's more than a full centuryafter your last moment of consciousness. But
how by this? An invention ofmine? I wasn't sure it would work,
(09:35):
but now I have the proof Igot you out here. I suggest
you stay where you are. You'rein no condition to go anywhere. Just
yet. Can I get you anything? A drink of water? That's a
contraption, A time machine, prettybig for a clock. I wouldn't expect
(10:03):
you to understand what's happened involves principlesof physics. You know nothing about a
few minutes ago you were inside thismachine. Where's my horse? Well,
it's just large enough for a man. It brought you here from where you
(10:24):
were. You mean Montana territory?Yes, yes, I suppose that's right.
I'd have to check the coordinates.But you have a most distinguished future.
You're the first time traveler in thehistory of man. I'm going to
(10:45):
introduce you to a new world,and you're going to tell me all about
the old one firsthand. Now,let's loosen your collar and see about that
drink of water. Continuation of theprevious entry. I offered the subject food
(11:31):
and water, especially the latter.He seems quite parched. His clothing appears
to be authentic in every detail,including the leather chaps and cowboy boots.
After several attempts at conversation, heappeared desperately tired, and I showed him
(11:52):
to the bed in my inner office. But I managed to learn the following.
His name is Joseph cas Well.He claims to be a trail boss
on a cattle ranch in the territoryof Montana. His last moment of consciousness
was on November fourteenth, eighteen eightyeight. He says he was on his
(12:13):
horse when he suddenly blacked out.He awoke to find himself on the cop
in my laboratory after I had carriedhim out of the machine. He claimed
to remember no other sensations, andhe has no real grasp of what has
occurred. There's one disturbing point.The marks of a rope are etched deeply
(12:56):
into his neck. He offers noexplanation for this, And I have one
other observation, hardly scientific. Idon't like his looks. I don't like
the face, or the eyes,or the expression. The overall appearance is
disquieting, even disturbing. I can'tescape the feeling that I've taken a nineteenth
(13:22):
century primitive and transported him to amodern day jungle. Heaven help whoever gets
in his way. That's all fornow. Who you're talking to, No
one, don't lie. I heardyou. This small device is called a
(13:48):
digital recorder. I speak into it, and it records my voice. A
way to make notes, you mightsay, without pen and paper. Yeah,
here, I'll show you. There'sone disturbing point. The marks of
a rope are hitched deeply into hisneck. He offers no explanation. See,
(14:16):
that's my voice stored in the machine. He did some What else you
got in the air? You shouldrest? Huh? Yeah, bed's might
soft, though, Yeah, itwould be better if you don't touch anything.
Sure, doc, I smelled smoke, spare some tobacco? What?
(14:39):
Oh? Of course, look atthat fire right out of the air,
just a cigarette lighter. It's notmagic, I assure you. Look huh
(15:00):
on off, huh mighty slick heretake it go on else. I thought
you were tired. Plenty of timeto sleep, plenty. I want to
take a look at the world outthere. See things like you showed me
(15:20):
those picture books, carriages without horses, and buildings that go up in the
sky. Oh they're out there,cares well, things you've never seen before.
And let's get to it. Don'thurry, it'll all take them getting
used to things you can't imagine.I'm ready, all right. What are
(15:45):
you doing? Just pulling the cordon the drapes so you can get a
better view. Huh tada? Nowlook out the window. What is that?
New York City? Just as Itold you, make the noise stop?
(16:10):
Did you ever settle down? Mustbe quite a shock for you.
Where'd all those lights come from?That is what night looks like now in
the big city. But not everything'schanged, like what ideas Caswell, concepts
like right and wrong? I knowabout that, do you. I had
(16:34):
a deputy sheriff in Dodd City tryto beat the difference into me with a
wet rope. I know all aboutright and wrong? And what about justice?
Caswell, what about that. I'msupposed to know about justice more than
most men. Probably right and wrong. They could try to beat into you,
but justice. Those marks came atthe end of a rope, didn't
(16:59):
they worry about my neck? That'swhere you were when I reached back in
time. You were at the endof a rope. Weren't you six or
eight feet off the ground? AndI got to you and that one fraction
of a second before your neck wasbroken. When you're dangling at the end
of a rope, it don't matterwhether you're one foot off the ground or
(17:21):
one hundred. You're just hanging there. Seems like it ain't ever going to
end. You were hanged because youkilled someone, weren't you? The whole
territory full of them. I stoppedcounting after twenty twenty men. Yeah,
they all had it coming. Inthat case. I'm going to have to
(17:45):
send you back back to where youbelong to the very same moment if I
can, and that'll be justice.Huh. I died once already, mister.
I've been to hell. You triedsometime get your head putting a noose
and when they run the horse outfrom under you in that rope, pulls
you up and you hang there withyour feet kicking and your hands tied behind
(18:07):
your back and the pain. Thenyou tell me about justice and the victims
you killed, Caswell, those twentymen, they died with no pain.
You're just talking words now, victimsand justice and right and wrong. Well,
they sound good in a nice warmroom, on a full stomach.
They sound nice and they go downeasy. But you try them on a
(18:30):
nice cold mesa where another man's breadand another man's jacket are all that's left
between you and staying alive. Ortry him in a dirty town where you
got to walk backwards from morning tillnight because ten men got a target picked
out between your shoulder blades, andfor every one of them, there's a
whole lot more with the same idea. No, you get in that machine
(18:53):
and go back to where I was, and then you talk about your law
and your order and your justice.The words will sound plenty different, that
may be, but I've made mydecision. I'm sending you back. Oh
yeah, huh, I know you'rekind, clean face, Johnny cum Lately
(19:14):
Dandy's would ride around the trains,rolling nice and easy over the graves of
men like me. Stand back.You think I'm scared of a little gun
like that, I had me acold forty five with a whole lot of
notches on the grip. Get inthat machine. Now, you don't tell
me what to do. I hateyour kind. I'm warning you. Yeah,
(19:37):
well I'll do more than that.Now, take that pop gun clean
away from you because you don't havethe guts to use it. Don't shoot
(19:59):
every on me. That's what Ithink of your note taking machine. You
stay down, if you know what'sgood for you. I'm gonna go out
and get some of that northern hospitality. And I don't like his looks.
(20:26):
I don't like the face, orthe eyes, or the expression. The
overall appearance is disquieting, even disturbing. I can't escape the feeling that I've
taken a nineteenth century primitive and transportedhim to a modern day jungle. Heaven
help whoever gets in his way?Paper eating in paper? Hey cab,
(21:12):
I need a cab. It yourright, sir, on pretzels, too
much noise? Look at that guy? Who's he think he is? Hey
man, nice costume, Get outof my way. Who are you a
strut store? Cowboy, Hey,move it, pal, Look at his
(21:36):
eyes? What's wrong with him?Another crazy? I gotta get away?
Are you still there? Honey?We can talk it over, can't we?
Honey? Don't you hang up onme? Don't you dare you?
(21:56):
Rat? Let me in? Letme in. I'm making a call.
Do you mind get out? Takeyour hands off me right now? Okay,
okay, I'm going. Why areyou nuts? I can't think?
What all that noise? What happenedthat man? He threw me out of
(22:21):
the phone booth? He looks dangerous. I'm calling the cop. Stop it,
stop it. There was an overtimeon your call. Leased upon this
twenty five cents? Who's talking tome? Who's talking to me? Where
are you? Shut up? Shutup? Let me out. Hey,
(22:48):
that guy wrecked the phone boom.That's vandalism. Set him, not me.
Somebody get the police out of myway. Hey, Ati, another
(23:18):
draft over here coming right up?Hey there, cowboy, you're from the
village people? Hey, wanted tobeat pal? Make it stop? Something
wrong? Too much noise? Toomuch noise? You mean the music?
(23:40):
Whoa? Now? What are youdoing? Put the gun away? I
said, make it stop? Somethingtells me to better excuse me, audience.
We need some pressure. Yeah,that's it. It's gonna be inexpensive.
(24:00):
Pal, what that'll cost? Youknow plenty? It was too loud.
He Look, buddy, I don'twant any trouble, but if you
don't pay for it, I'm gonnahave to. It's worth a bundle too.
So whatever cash you got on you, you know, credit card and
no checks though, give me adrink, easy pal, right now?
(24:26):
Sure you want the bottle? Hereyou go? Something wrong? No,
nothing pound, not a thing good. With that gun sitting there, you
could tell me it was high noonon the fourth of July and we were
fishing for whales off a canoe,and I'd say you was right as rain.
How's a whiskey? I can giveyou the good stuff if you want.
(24:48):
What is that thing? That thingin the corner, where'd the music
come from? It's a jukebox,just plain old jukebox. You've been in
stir, buddy, stir up theriver? What river? The big house?
Jail? Yeah, I've been injail lots of times, matter of
(25:12):
fact, but I got out.You sure did this last time. Now
I'm trying to remember. Well,you take your time. Now there's no
pressure. Matter of fact, whydon't you just moze on out, have
yourself a nice hot bath. Yougot baths not here, but but you
(25:32):
can get one almost anywhere. Trythe Carlton Arms. Rooms don't cost much.
I just need sleep, That's whatI need. There, you go,
some quiet and some shut eye.Sure, I understand it's crazy out
there that it is, all thosethose things running around. Which things is
(25:56):
that now? With the wheels thecarriage is with no horses you mean cars,
I may call that noise worse thana herd of cattle. There's too
many of them nowadays, that's forsure. It's like like thunder all the
time, and lights everywhere you look, going on and off. And well,
(26:18):
that's life in a big city.You know what you want to do?
Move out of Manhattan, go onupstate in the country where you can
get some peace. Yeah, catcha train. Like to do that myself
one of these days. Where's thestation? Well you can go out of
pen or Grand Central, But firsttake my advice, get some sack time,
(26:41):
have yourself a good night's sleep.Things a look better in the morning.
I already tried that. Take abottle with you on the house.
Take two will help you sleep.Go on, now, carry these home?
And what's that? Where a wall? Just a flat screen TV?
(27:03):
You know what that is, don'tyou? Looks like a winder? Yeah,
that's what it is. A window. You can see whatever you like.
Take your pick. Got all kindsof channels here here, I'll give
you a demonstration. What do youwant to watch? You like this show?
It's okay by me. I'll turnit up for you. Not too
(27:23):
loud. All right, andre I'mgiving you a chance to draw. You
better make your move, missed.What'd you do that for? He drew
first? All right, cowboy,that's it. You gotta pay me for
(27:44):
the TV too. Police, Pleasestop that man. He's got a gun.
Hey, get on the streets.Keep away. Did you see that?
(28:07):
But I shot the tactic? Wait, hair comes about to be still
stop him? You hold it rightthere. He's going I said, hold,
let me be hold up. Putyour hands in the air. I
was just trying to get him,not going anywhere. Hands where I can
(28:30):
see it. This is Hendrix andhe back up Central Puck West You the
sheriff, that's right. Pardon thespread up. You ain't taking me in
your hands behind your back? Thistime. Put your hands behind your phone.
Stop. Don't resist the wreck,easy horse. This place is worse
(28:53):
than Montana Territory. Let's go,you know, evening, sir, evening.
(29:26):
I'll get the door for you.Thanks, uh sir? Yeah?
Are you a tenant me? Ihaven't seen you before. I just have
to drop something off. Which floorwhat? Most of the offices are closed
now? Oh oh yeah, yeah, I know that except for doctor Manyon.
(29:52):
Right. He likes to work late, stays all night sometimes, Manion.
Yeah, yeah, that's it.I have to drop something off doctor
Manion. He's still here? Maybemaybe not? What does that mean?
Never can tell. He could havegone down the backstairs with a try.
How's that, I say, I'llsee if he's still here. Third floor.
(30:15):
You can't miss it. Thanks,Yeah, worth a trial? Right,
(30:42):
didn't even lock his door? Comeon, come on, where's the
cash box? Maybe in the backoffice. Gotta be a wall safe somewhere.
(31:12):
What the jeez? Somebody else hadthe same idea. This guy has
been beat up. Good if hedies, I ain't gonna take the rap
for this. Doc, Hey,doc, Doc, Doc, wake up,
(31:40):
you gotta help me. I can'tmake it here. Just move away
from the body, cowboy? Whoare you? Me? Who are you?
Buffalo Bill? Help me lift himup so we can bring him around.
Forget it. He's all right.We just had a little scuffle as
all well. He's stone cold now, doc he God told you forget it?
(32:06):
What are you doing here? Ithought the place was empty? What
do you want? Same thing asyou. I'm gonna help myself to whatever
I can. But it looks likeyou got here before me. With the
place being dark, I figured i'dbe all alone. You checked the desk?
Did you get out? My my? What big muscles you have?
(32:29):
I'm shivering in my boots? Getout? I said, not so fast?
What's that? What's it look likeyou'd pull on me? If I
feel like it? What are yougonna do about it? How about this?
(32:53):
I'm waiting what you got there,cap Pistol? No more shows now.
As I was saying, I don'texpect to keep so much cash in
here. But he must have asafe you know where it is. I
asked you a question, cowboy,What's what's all this on the wall?
(33:19):
Some kind of electrical stuff? He'sa doctor? Oh yeah, that means
he's rolling. And I told youto get out all right do you ask
for it? Missed? Shouldn't drawa gun unless you know how to use
it. I didn't even need Igot my head, sure, cowboy.
(33:49):
Once they chook the life? Howdo you like this? Wouldn't have court
around your feel good? Please?Can't fight if you can't breathe in your
times? Just about run out sweetdreams, cowboy, Now get my gun.
(34:22):
Go down the backstairs. Wait aminute, didn't see that. What's
in there? Some kind of secretchamber. Maybe that's where he keeps this
dough. Hey, hey, openthe door, hold it. He's back.
(35:22):
What hell? That's not him?No, it's not. Then who
cut him down? Hurry up?Cut him down? I got it?
Sure, help him, yes,sir, here, use my knife.
Let him down easy, But don'tmatter. Now his neck's broke. But
(35:45):
that ain't Joe Caswell, No,sir, assur ain't the man we hanged?
Man? Who is it? Lookat his clothes? What kind of
clothes are they? I don't know, some kind of city get up,
fancy shoes and all. Then whois he? It's not Caswell, Reverend.
(36:07):
It's a stranger, someone I've neverseen before. Me neither. I
put the noose around his neck myselfaround Caswell's name. I don't know who
this is. What kind of devil'swork is this? I don't know if
it is the devil's work. Didwe hang an innocent man? Then?
(36:31):
I hope not. I pray toGod not. Amen with the body across
one of the horses will take himback to town for now. Yes,
sir, this is November fourteenth,in the year of Our Lord, eighteen
(37:07):
eighty the aftermath of a Montana necktieparty. The victim's name Paul Johnson,
a minor league criminal from the cityof New York and the taker of another
human life. No comment on hispeculiar death save this. Justice can span
years and there's no statute of limitationson retribution. It can happen in an
(37:29):
instant or across centuries, which isreally the same thing. In the Twilight
Zone. More from the Twilight Zoneafter this, Hi, this is Carla
Mauri, producer of the Twilight ZoneRadio dramas. I'd like to take a
(37:52):
moment to tell you about our officialwebsite at Twilightzonradio dot com, where you'll
get the latest news and information onthese Twilight Zone Radio dramas. Plus at
twilight Zone Radio dot com. Youcan digitally download three free episodes, or
any of our episodes for only adollar ninety five each. In this age
of ever changing technology, we've decidedto make these episodes instantly available to you
(38:16):
by making The Twilight Zone Radio dramasa digital download only series. This means
that this series will no longer beoffered on CD. The CD collections at
our website are now being offered whilesupplies last at buy one, get one
free, so be sure to getyour favorites before they're sold out. Be
sure to visit us often, andI'll see you in the Zone. Execution,
(38:57):
starring Don Johnson with Stacy Keach asyour narrator, was ad apted for
radio by Dennis Echison and written forthe Twilight Zone by Rod Serling, based
on a story by George Clinton Johnson. Heard of the cast were joeby Serney,
Terry Berner, David Darlow, NormWoodell, Richard Henzel, Rick Arthur,
Rick Peoples, Brandon ELL's, OksanaFedinusian d J. Howard, Sarah
(39:19):
Cort, Carla Mauri, and KarenAnglin. The producers of the Twilight Zone
wished to thank CBS Enterprises and theRod Serling Estate for making this series possible.
This copyrighted radio series is produced anddirected by Carla Mauri for Falcon Picture
Group and Westwood One. Sound designand custom folly effects for the Twilight Zone
(39:39):
by Serny American creatives Bob Benson,Craig Lee, Matt Sorrow, Tim Sarney,
and Todd Byer. To learn moreabout the Twilight Zone Radio dramas and
to contact us, visit our officialwebsite at twilight Zone radio dot com.
Doug James speaking successful
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