"[eerie music]" "(male narrator) THERE IS A FIFTH DIMENSION" "BEYOND THAT WHICH IS KNOWN TO MAN." "IT IS A DIMENSION AS VAST AS SPACE" "AND AS TIMELESS AS INFINITY." "IT IS THE MIDDLE GROUND BETWEEN LIGHT AND SHADOW" "BETWEEN SCIENCE AND SUPERSTITION" "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 CALL THE TWILIGHT ZONE." "[coin clinks] [someone dials a phone] [sighs]" "[busy signal]" "TELEPHON E--YOU HAVE A TELEPHON E?" "THANK YOU." "[dialing again] [busy signal]" "OH, THIS IS MADN ESS." "IT'S IMPOSS I BLE TO MAKE A CALL IN NEW YORK." "YOU CAN SAY THAT AGAIN." "THANK YOU." "THIS IS AN OUTRAG E!" "HE'S MAKING ANOTHER CALL!" "IT'S ONLY HIS F I FTH." "HE DOESN'T EVEN TALK." "HE JUST DIALS." "MAYBE HE'S GOT A DIALECT, HUH?" "(male narrator) MR. ROGER SHACKLEFORTH" "AGE, YOUTHFUL TWENTIES." "OCCUPATION, BEING IN LOVE." "NOT JUST IN LOVE, BUT MADLY, PASSIONATELY" "ILLOGICALLY, M ISERABLY, ALL-CONSUM INGLY IN LOVE" "WITH A YOUNG WOMAN NAMED LEILA" "WHO HAS A VAGUE RECOLLECTION OF HIS FACE" "AND EVEN LESS THAN A PASSING INTEREST." "IN A MOMENT YOU'LL SEE A SWITCH," "BECAUSE MR. ROGER SHACKLEFORTH" "THE YOUNG GENTLEMAN SO MUCH IN LOVE" "WILL TAKE A SHORT, BUT VERY MEANINGFUL JOURNEY" "INTO THE TWILIGHT ZONE." "[busy signal]" "OH, I S IMPLY CAN'T STAND THIS!" "I MUST GET IN THERE NEXT." "I WILL BUY YOUR PLACE." "A DOLLAR." "OH!" "SOLD." "THANK YOU." "S I R. A DOLLAR FOR YOUR PLACE." "THANK YOU." "MADAM E. A DOLLAR FOR YOUR PLACE." "WHY SHOU LD FIRST PLACE BE THE SAM E AS THE THIRD?" "TWO DOLLARS." "TWO DOLLARS?" "VERY GOOD." "THERE YOU ARE." "THANK YOU." "[phone rings]" "HELLO." "HELLO, LE I LA DARLING, IT'S ROG ER." "OH." "HELLO, ROG ER." "[sigh]" "WHAT IS IT?" "MAY I COME TO SEE YOU?" "U H, NO, NO, I CAN'T." "I COULDN'T BEAR TO SEE ANYBODY." "I'M A MESS." "OH, YOU COULD N EVER BE A MESS." "LISTEN, DARLING, I HAVE TO SEE YOU." "ROG ER, IT'S IMPOSS I BLE." "I MUST SEE YOU, DARLING, M UST!" "FU RIOUSLY, F I ERCELY M UST!" "[whispers] I LOVE YOU." "ROG ER, YOU'VE GOT TO STOP THIS." "YOU'RE ACTING LIKE A BABY." "I CAN'T SEE YOU NOW, AND THAT'S THAT." "WELL, THEN, TALK TO ME." "SAY SOMETHING, SAY ANYTHING!" "SAY SOMETHING?" "ALL RIGHT, ROG ER, I'LL SAY SOMETHING." "WHY DON'T YOU TAKE A FLYING J U M P AT THE MOON?" "THERE NOW, YOU'VE F IN ISH ED, HAVEN'T YOU?" "NO, SHE H U NG U P ON ME." "I'VE GOT TO CALL HER BACK." "NO, I HAVE AN EM ERG ENCY." "WELL, SO HAVE I." "IT WON'T DO ANY GOOD TO CALL." "I U N DERSTAND YOUR PROBLEM." "I HEARD IT TH ROUG H THE DOOR." "HERE'S THE WAY TO SOLVE YOUR PROBLEM." "LOOK, GO AND SEE THIS MAN RIGHT NOW." "BELIEVE ME, THERE IS NO OTHER WAY." "THAT MAN WILL H ELP YOU." "NO" "NO, EXCUSE ME." "GO AND SEE HIM NOW" "AND YOUR PROBLEMS WILL BE SOLVED." "THANK YOU, THANK YOU." "IT'S AN EM ERG ENCY!" "[slams door]" "[loud bell rings]" "ALL RIGHT, ALL RIGHT." "STOP SKU LKING AROUND!" "I--I WASN'T SKU LKING." "I JUST DIDN'T KNOW I F, UH" "COM MON ENOUGH DISEASE, NOT KNOWING I F." "S IT DOWN ON THAT P I LE OF BOOKS THERE." "DO I KNOW YOU?" "NO, S I R." "AS A MATTER OF FACT" "THEN YOU HAVEN'T COME FOR A BOTTLE OF THE GLOVE CLEAN ER?" "G LOVE CLEAN ER?" "NO." "AS A MATTER OF FACT" "WELL, PERHAPS ANOTHER TIME." "AS A MATTER OF FACT..." "YOU KEEP SAYING THAT!" "COME TO THE PO I NT!" "I DON'T KNOW WHY I CAME AT ALL." "YOU SEE, A MAN GAVE ME YOUR CARD, A STRANGER." "OH, YES, SATISF I ED FORM ER CUSTOM ER, MOST LIKELY." "BUT I DON'T KNOW WHY I CAM E." "I WAS S ITTING THERE" "OF COURSE YOU KNOW WHY YOU CAME!" "YOU WANT WHAT I'VE GOT!" "BUT I DON'T KNOW WHAT YOU'VE GOT." "O I NTM ENTS, SALVES, POWDERS, SOVERE IG N REM EDI ES," "N ECTARS, LOTUS BLOSSOMS, TOXI NS, TON ICS," "ANTI-TOXI NS, DECOCTIONS, CONCOCTIONS AND POTIONS" "ALL GUARANTEED." "OH." "I DON'T NEED ANYTHING LIKE THAT." "WELL, YOU M UST, YOU'RE HERE." "YES, BUT I DON'T NEED ANY MEDICIN E." "YOU CERTAIN LY NEED SOMETHING." "YOU LOOK FEVERISH." "OH, WELL, IT'S SORT OF..." "YOU KNOW..." "NOTHING." ""NOTHING" I DON'T SU PPLY." ""SOMETHING" IS MY SPECIALTY." ""ANYTHING" IS WHAT YOU CAN GET HERE." "YOU'RE AM B ITIOUS, IS THAT IT?" "YOU WANT SUCCESS, MONEY, ADM I RERS," "THE WORLD AT YOUR FEET." "NO, THAT'S NOT IT AT ALL." "POWER!" "YOU WANT POWER." "NO, YOU DON'T UNDERSTAND." "ALL I WANT IS LE I LA." "LE I LA?" "YES, IF I HAVE LE I LA" "I CAN DO ALL THE REST MYSELF." "LE I LA." "I MIGHT HAVE KNOWN." "ALL HE WANTS IS LE I LA." "I OFFER HIM PRACTICALLY ANYTHING" "AND ALL HE WANTS IS LE I LA." "AND I GU ESS THERE'S NOTHING" "YOU CAN DO ABOUT THAT!" "THAT'S THE S IMPLEST OF ALL" "THE ELEM ENTARY PARLOR TRICK OF MY SCI ENCE." "YOU DISAPPO I NT ME." "NO, YOU DON'T UNDERSTAND." "YOU SEE, I'M IN LOVE" "WITH SOMEBODY NAM ED LE I LA" "BUT SHE'S NOT IN LOVE WITH ME, AND..." "I DON'T KNOW WHY I'M TELLING YOU THIS." "I DO." "I CAN ARRANG E IT SO SHE'LL LOVE YOU." "HOW?" "I PROMISE YOU" "SHE'LL NEVER LEAVE YOUR SIDE." "WHEN SHE ISN'T TELLING YOU SHE LOVES YOU," "SHE'LL BE GAZING AT YOU LOVING LY." "SHE WON'T EVEN EAT BEFORE YOU DO" "AND NOTHING WILL BE TOO MUCH" "FOR YOU TO ASK OF H ER." "SHE'LL WORSH I P YOU, SHE'LL BEG FOR KISSES" "AND WEEP FOR JOY AT YOUR TOUCH." "AND IF IN PASSING TIME" "YOU SHOU LD PERHAPS LOOK AT ANOTHER GIRL" "OR EVEN DO A LITTLE MORE THAN LOOK" "SHE'LL FEEL H U RT, BUT SHE'LL FORGIVE YOU" "AND LOVE YOU JUST THE SAM E." "FRANKLY, YOU'D GET THE SAME SHAKE" "FROM A COCKER SPAN I EL." "BUT THAT'S WON DERFU L!" "THAT'S ALL IN THE WORLD I WANT" "MY LE I LA'S LOVE." "HIS LE I LA'S LOVE." "IF IT ISN'T HIS LE I LA'S LOVE" "IT'S HIS DOROTHY'S LOVE," "HIS RH EA'S LOVE, OR HIS GWEN'S LOVE." "TELL ME, ARE YOU SURE YOU WOULDN'T BE INTERESTED" "IN THE GLOVE CLEAN ER, AS I CALL IT?" "THERE ARE MANY NAMES FOR IT" "I NCLU DING "THE ERADICATOR."" "BUT "G LOVE CLEAN ER"" "IS A N ICE, NON DESCRI PTIVE TITLE." "CLEAN, COLORLESS, TASTELESS" "U N I DENTIF IABLE AND SURE." "I'M NOT INTERESTED IN GLOVE CLEAN ERS." "WHY NOT?" "IT'S SURE, IT'S SWI FT, LEAVES NO TRACES." "IT'S PERFECT FOR ITS PU RPOSE." "I DON'T THINK YOU'RE MAKING ANY SENSE." "MY BOY, THAT'S ALL I MAKE." "WHICHIS WHY I'M SUCH A LON ELY MAN." "YOU'RE SURE YOU DON'T WANT TO TRY" "THE GLOVE CLEAN ER?" "IT'S VERY EXPENS IVE." "PERHAPS YOU CAN'T AFFORD IT." "FOR I NSTANCE THIS LITTLE BOTTLE COSTS $1,000." "$1,000?" "ARE ALL YOUR PRICES LIKE THAT?" "SOME ARE, SOME AREN'T." "YEAH, BUT THAT THING" "THAT'S GON NA MAKE LE I LA LOVE ME." "OH, THAT." "THAT'S ONLY A DOLLAR." "A DOLLAR?" "LOVE POTIONS ARE MY CH EAPEST ITEM." "AND THEY'RE OVERPRICED AT THAT." "A DOLLAR FOR MY LE I LA'S LOVE?" "IT WON'T H U RT H ER?" "IF ANYBODY GETS H U RT, IT'LL BE YOU." "BUT I DON'T EXPECT YOU TO BELIEVE ME." "PUT IT IN ANYTHING" "HER DRINK, J U ICE, SOU P, COFFEE, WATER, ANYTHING." "YOU'LL GET EXACTLY WHAT YOU SAY YOU WANT." "WELL, I DON'T REALLY BELIEVE THIS BUT I'LL TRY IT." "WHY, I'LL TRY ANYTHING." "THANKS, PROFESSOR." "YOU KNOW, IF THIS WORKS, I'LL BE" "(both) THE HAPP I EST MAN IN THE WORLD." "[doorbell buzzes]" "HELLO, LE I LA." "ROG ER, I TOLD YOU I WAS BUSY TONIGHT." "WELL, JUST A MINUTE, JUST A LITTLE MINUTE." "FLOWERS, SEE?" "THAT'S VERY N ICE, ROG ER, THANK YOU." "NOW IF YOU'LL JUST RU N ALONG." "I COULDN'T HAVE LASTED THE EVENING" "WITHOUT SEEING YOU, LE I LA." "YOU DON'T KNOW WHAT IT'S LIKE TO LOVE SOMEBODY" "TO LOVE ANYBODY SO MUCH AND SO DESPERATELY." "LOOK, CHAM PAG N E" "JUST ENOUGH FOR TWO GLASSES." "THAT'S NOT ASKING MUCH." "JUST SPARE ME FIVE MINUTES" "AND HAVE ONE DRINK WITH ME." "ROG ER, YOU ARE ACTING LIKE A CLOD" "A SILLY, STU P I D, SOPHOMORIC CLOD." "I LOVE YOU." "STOP SAYING THAT." "I" "ALL RIGHT." "ONE DRINK." "FIVE MINUTES, AND THEN YOU GO." "I'VE GOT TO PUT ON MY DRESS." "IT'S LIKE..." "IT'S LIKE M I LLEN N I U M." "WELL, LET'S GET THIS OVER WITH." "WELL, YOUR TIME'S UP." "THANK YOU VERY MUCH" "FOR THE FLOWERS AND THE CHAM PAG N E." "NOW, GOODBYE, ROG ER." "EXCELLENT CHAM PAG N E, WASN'T IT?" "IT'LL PASS." "WHAT ARE YOU LOOKING AT ME LIKE THAT FOR?" "WELL, PERHAPS IT'S MY LAST LOOK." "ALL RIGHT, YOU'VE HAD IT." "ONE LAST LITTLE KISS?" "ROG ER, PLEASE, LET'S NOT PROLONG THIS ANY LONG ER." "I HAVEN'T THE TIME." "NOW PLEASE GO." "NOW!" "I DON'T LOVE YOU." "I DON'T WANT YOU HERE." "I DON'T EVEN LIKE YOU AT THE MOM ENT." "NOW PLEASE GO!" "OH!" "HERE." "THAT'S THE BEST I CAN DO." "AND THAT TOOK ALL MY STRENGTH." "ROG ER..." "WAIT A MINUTE." "PERHAPS I AM BEING CRU EL." "I DON'T MEAN TO BE." "I KNOW." "ROG ER!" "LET ME--MAKE IT A LITTLE N ICER." "WHAT'S HAPPENING?" "WHAT DIFFERENCE?" "COME HERE, BABY." "[shrieks]" "LE I LA, COULDN'T YOU PLEASE S IT IN A CHAIR?" "OH, YES, MY DARLING H USBAN D." "OH, I'M SORRY IF IT BOTH ERS YOU," "IT'S JUST THAT I LOVE TO KN EEL AT YOUR FEET." "WELL, KN EEL IN A CHAIR." "OKAY." "WHICH CHAIR, DARLING?" "U H, ANY CHAIR, IT DOESN'T MATTER." "DARLING, DO YOU WANT YOUR SLI PPERS NOW?" "NO, THEY MAKE MY FEET HOT." "OH, WELL, IF YOUR FEET ARE HOT NOW" "I COULD SOAK MY HAN DS INICE WATER" "AND THEN CARESS THEM." "NO, NO, MY FEET ARE F IN E." "ALL RIGHT." "DARLING, DON'T YOU WANT TO SMOKE YOUR P I PE?" "NO, IT B ITES MY TONG U E." "IT'S NOT BROKEN IN VERY WELL." "OH, WELL, I'D BE HAPPY" "TO BREAK IT IN FOR YOU." "I COULD SMOKE IT ALL DAY WHILE YOU'RE AT THE OFF ICE" "AND THEN WH EN YOU CAME HOM E" "THANKS, LE I LA, BUT NO THANKS." "YOU'RE WELCOM E." "OH, DARLING" "OH, DARLING, I'M SORRY." "I'LL GET A CIGARETTE FOR YOU" "IN JUST A MINUTE." "JUST ONE MINUTE." "THERE." "I SHOU LD HAVE PUT CIGARETTES" "IN THAT BOX BY YOUR CHAIR." "HERE." "THERE WE GO." "THANK YOU." "WOULD YOU LIKE ME TO RU B YOUR BACK, DARLING?" "YOU JUST F IN ISH ED RU BBING MY BACK." "I KNOW, BUT I ADORE TOUCHING YOU" "AND I'D BE GLAD TO RU BIT AGAIN." "NO, THANKS, LE I LA." "AM I DISTU RBING YOUR READING?" "NO, NO." "DID I DISTU RB YOU BY ASKING YOU" "IF I WAS DISTU RBING YOU?" "[impatientIy] NO." "NO, NO, DEAREST, NOT AT ALL." "OH, ROG ER." "I LOVE YOU, ROG ER." "I'M SO HAPPY YOU'RE YOU." "YOU'RE JUST PERFECT." "I LOVE TO SAY "I LOVE YOU."" "I LOVE TO LOVE YOU." "LE I LA, I'VE GOT TO GO OUT." "OUT." "I'VE GOT AN APPO I NTM ENT." "I ALMOST FORGOT." "DARLING..." "WILL YOU BE LONG?" "I DON'T KNOW." "I MAY BE LATE." "WOULD YOU LIKE ME TO GO, TOO?" "NO!" "NO, I WON'T BE LATE." "WHY DON'T YOU STAY HERE AND H UG MY JACKET OR SOMETHING?" "IS ANYTHING WRONG, ROG ER, DARLING?" "NO, DEAREST, I'VE GOT AN APPO I NTM ENT." "WHILE YOU'RE GON E," "MY LOVE WILL GROW AND GROW" "AND WHEN YOU GET BACK... [laughs nervously]" "U H..." "HI, THERE, PROFESSOR." "AH, YES, I'VE BEEN EXPECTING YOU." "YOU HAVE?" "YES, I RATHER THOUGHT" "YOU'D LIKE TO HEAR HOW THINGS TURN ED OUT." "I KNOW HOW THINGS TURN ED OUT." "THAT POTION SURE WORKS." "I KNOW, I KNOW." "HOW ARE THINGS WITH YOU?" "THINGS HAVEN'T CHANG ED WITH ME IN YEARS." "PRETTY UG LY S ITUATION WE'VE GOT..." "WITH CH I NA, DON'T YOU THINK?" "YOU DON'T LOOK SO GOOD, EITHER." "ME?" "OH, I'M F IN E, F IN E." "I JUST DROPPED AROUND TO TELL YOU" "THAT THINGS ARE F IN E." "I'M GLAD TO HEAR IT." "AH, GLOVE CLEAN ER, HUH?" "SAY, DO YOU SELL MUCH OF THAT STUFF?" "NOW AND AGAIN." "BY THE WAY, WHAT'S IN IT?" "NO TRACE, NO ODOR, NO TASTE." "NO WAY TO DETECT ITS PRESENCE." "AND IT'S SURE." "$1,000." "THAT'S WHAT YOU CAME FOR, ISN'T IT?" "ME?" "NO, NOT AT ALL." "PAIN LESS?" "IT'S PERFECT FOR ITS PU RPOSE." "THE ONLY THING OF ITS KIND IN THE WORLD." "I NTERESTING." "SHE LOVES YOU AS I SAID SHE WOULD," "DOESN'T SH E?" "A CONSTANT LOVE." "AND NOTHING YOU" "CAN DO TO H ER WILL CHANG E IT." "SHE WORSH I PS AND ADORES YOU" "AND HANGS ON YOUR EVERY WORD." "YES, YES, SHE DOES." "$1,000." "I AM GOING OUT OF MY EVERLOVING MIND." "I CAN'T STAND IT ANYMORE!" "NATU RALLY." "ISN'T THERE SOME WAY WE CAN QU I ET IT DOWN?" "NO." "ISN'T THERE SOME POTION THAT'LL TRANSFER SOME OF THIS LOVE" "TO SOMEONE ELSE?" "LIKE A COCKER SPAN I EL?" "NOT A CHANCE." "SHE'S YOURS." "SHE'S SO NICE TO ME." "SHE'S SO VERY GOOD." "I KNOW." "THE GLOVE CLEAN ER IS THE ONLY WAY." "WELL, I CAN'T DO THAT." "U H, THERE M UST BE ANOTHER WAY." "THIS IS THE WAY." "THE ONLY WAY." "$1,000." "YOU DON'T KNOW WHAT IT'S LIKE." "ALL THE TIME-- LOVE, LOVE, LOVE." "I DO KNOW WHAT IT'S LIKE." "HOW DO YOU THINK" "I CAME TO I NVENT THE GLOVE CLEAN ER?" "BUT THAT'S ALL MY SAVINGS!" "I KNOW." "IT'S ALWAYS THAT WAY." "NO TRACE, NO ODOR, NO TASTE." "NO WAY TO DETECT." "ALL RIGHT." "AH, ALL MADE OUT, EH?" "ONE THING IMUST CAUTION YOU ABOUT." "YOU MUST USE IT IMMEDIATELY, HEAR ME?" "AND YOU M UST USE IT ALL." "WHY, WILL IT SPO I L?" "NO, BUT YOU WI LL." "ONCE YOU DELAY, YOU'RE LOST." "IF YOU FAI L THE FIRST TIME YOU TRY TO USE IT" "YOU'LL NEVER HAVE COU RAG E TO USE IT AGAIN." "NEVER." "GOODBYE, PROFESSOR." "FAREWELL." "ALWAYS THE SAME WAY." "FIRST THE STI M U LANT..." "THEN THE CHASER." "MY DARLING!" "WOO!" "PARTY." "I THOUGHT WE OUGHT TO HAVE A PARTY." "AFTER ALL, IT ISN'T EVERYBODY THAT'S BEEN MARRI ED" "SIX MONTHS LIKE THIS." "DARLING, WHAT A LOVELY SURPRISE." "WHEN YOU WENT OUT YOU SAID YOU MIGHT BE LATE," "AND I NSTEAD YOU COME BACK WITH CHAM PAG N E AND FLOWERS!" "G LASSES." "CAN'T HAVE A PARTY WITHOUT GLASSES." "IT'S JUST LIKE THE FIRST TIME." "ONLY THIS TIME YOU DON'T HAVE TO BEG TO STAY." "YEAH, LATER." "LISTEN, WHY DON'T YOU S IT OVER THERE" "AND I'LL BRING IT TO YOU." "OVER THERE." "ALRIGHT." "OH, DARLING, WOULD YOU LIKE TO HAVE CAN DLELIGHT?" "IT'S SO ROMANTIC." "LET'S HAVE CAN DLELIGHT, HUH?" "SURE." "SURE." "CAN DLELIGHT, SH MAN DLELIGHT, ANYTHING." "OH, DARLING, IT'S SO WON DERFU L BEING MARRI ED TO YOU." "I'VE NEVER BEEN SO COMPLETELY HAPPY" "IN MY WHOLE LIFE." "I'VE LIVED JUST TO LOVE YOU." "ONLY YOU." "THAT'S N ICE." "SWEETEST, HOW DID YOU HAPPEN" "TO THINK OF THE CHAM PAG N E?" "IT JUST CAM E TO ME." "I REMEMBER THE FIRST TIME" "YOU BROUGHT ME CHAM PAG N E" "HOW YOU LOOKED." "YOUR EYES WERE F I LLED WITH LOVE." "AND YOU WATCH ED ME DRINK, AND SO SADLY" "BECAUSE YOU THOUGHT IT WAS GOING TO BE" "OUR LAST DRINK, REMEMBER?" "I REMEMBER." "LOVER, LOVER, MARSH MALLOW, COME HERE." "COME S IT NEXT TO YOUR LE I LA." "COME ON." "OH!" "THERE YOU GO." "OH!" "BABY BU N NY." "I'VE GOT N EWS FOR YOU, SWEET LITTLE RABB IT." "RABB IT." "OH!" "OH, DARLING, WE WON'T WORRY ABOUT IT." "WE DON'T NEED CHAM PAG N E." "WE'VE GOT EACH OTH ER." "IT'S ALL RIGHT." "I COULDN'T HAVE DONE IT." "I COULDN'T HAVE GONE TH ROUG H WITH IT." "I COULD NEVER HAVE GONE TH ROUG H WITH IT." "JUST THINK OF IT, DARLING." "THIS IS ONLY THE BEG IN NING." "WE'LL BE LIKE THIS FOR THE REST OF OUR LIVES." "WON'T WE?" "THE REST OF OUR LIVES." "(male narrator) MR. ROGER SHACKLEFORTH," "WHO HAS DISCOVERED AT THIS LATE DATE" "THAT LOVE CAN BE AS STICKY AS A VAT OF MOLASSES," "AS UNPALATABLE AS A HUNK OF SPOILED YEAST," "AND AS ALL-CONSUM ING AS A SIX-ALARM FIRE" "IN A BAMBOO AND CANVAS TENT." "CASE HISTORY OF A LOVER BOY" "WHO SHOULD NEVER HAVE ENTERED THE TWILIGHT ZONE." "(male announcer) ROD SERLING, THE CREATOR OF TWILIGHT ZONE," "WILL TELL YOU ABOUT NEXT WEEK'S STORY" "AFTER THIS WORD FROM OUR ALTERNATE SPONSOR." "AND NOW, MR. SERLING." "NEXT WEEK, YOU'LL STAND IN THIS ALLEY" "AT THE SHOU LDER OF JACK KLUG MAN," "WHO PLAYS THE ROLE OF A TRUMPET PLAYER" "WHO HAS RU N OUT OF MUSIC AND RU N OUT OF DREAMS." ""PO IG NANT" IS THE BEST WORD FOR MR. KLUG MAN'S PERFORMANCE." "NEXT WEEK ON THE TWILIGHT ZONE, A PASSAGE FOR TRUMPET." "I THINK THEY'RE U N USUAL NOTES IN DEED." "WE HOPE YOU'LL BE LISTENING TO THEM." "THANK YOU AND GOOD NIGHT." "[curtain music]" "(male presenter, off) BE SURE TO SEE THE FUN-FILLED FAMILY LIFE" "OF ONE OF AMERICA'S GREATEST ENTERTAINERS." "THE DAN NY THOMAS SHOW." "MONDAY NIGHTS OVER MOST OF THESE STATIONS."