All language subtitles for The Twilight Zone (1959) - S02E09 - The Trouble with Templeton (1080p BluRay x265 ImE)

[THEME MUSIC PLAYING]

NARRATOR: You're traveling
through another dimension.

A dimension not only of
sight and sound, but of mind.

A journey into a wondrous land

whose boundaries are that of imagination.

That's the signpost up ahead.

Your next stop, the Twilight Zone.

[PLEASANT MUSIC]

[WOMAN LAUGHING]

[LAUGHING]

[WOMAN SCREAMS PLAYFULLY]

Good morning, Mr. Templeton.

Our new guest this week, Marty.

His name is what?

Page, sir. Mr. Edward Page.

Page.

Page, Page.

TEMPLETON: Has he been here before?

MARTY: No, sir. He's new.

Oh.

These new, too?

Yes, sir. Every hour on the hour.

Hm.

Mrs. Templeton is not
very discreet these days,

is she?

Well, her discretion
was an early fatality.

It didn't last very long.

Perhaps she's waiting for the day

when these won't do

what they're designed to do.

Perhaps I'm waiting for that day, too.

Mr. Templeton, you shouldn't say that.

Oh, don't distress yourself, old friend.

When a man my age
marries a woman her age,

he gets exactly what he deserves.

I'm old, Marty.

MARTY: Oh, Mr. Templeton,
you could never be old.

Old and getting older

every minute that we stand here speaking.

They say, or at least they've said it

in most of my plays,

that when a man achieves years

he achieves reason and contentment.

I haven't.

Mr. Templeton, may I suggest

that possibly this isn't the day

for you to go down there?

Perhaps I should telephone the theater

and explain that you
can't start rehearsals.

Well, thank you, Marty,
but I'll go down there.

I shall rehearse this
play and it will open.

I shall cover up the years with makeup,

and I shall stand in the right places

and hope to say the right lines

and, when it's over,
they'll all say to me,

"You were wonderful, Mr. Templeton."

Then the stage manager will see to it

that I'm properly delivered to you

so that you can properly
deliver me back here

so that I can go back there

and do it all over again next night.

I won't see, nor particularly care,

about what's going on outside there,

or anywhere in this house.

All I want will be to go to bed, Marty.

That's the best place for
me. Bed, sleep, oblivion.

Now, sir, you shouldn't talk like that.

Oh, it doesn't matter. I
don't love her anymore.

-I don't remember when I did.
-[SOFT MUSIC]

You know, I can't recall

one single, separated, contented moment.

I haven't had many
contented moments in my life.

But I do recall some.

Long ago.

Laura.

The freshest, most radiant
creature God ever created.

Eighteen when I married her, Marty.

Twenty-five when she died.

[MUSIC PLAYS SOFTLY]

Why did he have to take her?

MARTY: Please, Mr. Templeton, sir,

don't do this to yourself.

You know, there are some moments in life

that have an indescribable
loveliness to them.

Those moments with Laura,

are all I have left now.

Do you understand that, Marty?

Yes, Mr. Templeton. I believe I do, sir.

But it…

Don't distress yourself, old friend.

I'm all right.

I'm quite all right.

NARRATOR: Pleased to
present for your consideration

Mr. Booth Templeton,

serious and successful star
of over 30 Broadway plays,

who is not quite all right today.

Yesterday and its
memories is what he wants,

and yesterday is what he'll get.

Soon his years and his
troubles will descend on him

in an avalanche. In
order not to be crushed,

Mr. Booth Templeton will escape
from his theater and his world,

and make his debut on another stage

in another world that
we call the Twilight Zone.

[CHEERFUL MUSIC]

MAN: You're late, Booth.

After twelve.

The boy wonder won't like it, kiddo.

Who is the boy wonder?

Arthur Willis, directing.

No, no, no. You must be mistaken.

Dothmeager's our director.

Was. Canned him last night.

What?

We need someone with more pep, zip.

Not my racket,

but I know what's good and what's bad

as well as the next guy.

And I wanted to drop by this morning

and let everybody know

that I'm personally
interested in this thing.

Art Willis is okay with you, isn't he?

Well, I've heard of him, of course

but I, I don't actually know him

uh, Mr. Uh, I'm Sid Sperry. Remember?

My money is backing this play.

Oh, yes, of course, Mr. Sperry.

I'm rather forgetful about
names. Always have been.

It's okay.

Just so long as you
don't forget your lines.

[CHUCKLES]

MAN: I say this once, just once.

And only once.

But I say it now

and expect each and every one of you

to understand it.

Michael Franz is producing this play.

Mr. Coombs has written it.

You have been hired to act in it,

and I have been contracted to direct it.

So make no mistake

about what we are here to do,

and make no mistake about me.

WILLIS: I will direct this
play my way at all times.

Is that clear?

Like that.

Like that very much.

In control, that boy,
right from the start.

Give us a good play.

Us, Mister…?

Sperry, Templeton.

Sperry.

Yes, Mr. Sperry.

I… I apologize.

That was impolite of me.

I won't forget again.

WILLIS: Call his home! Call his home!

Valencia.

Never mind.

Some of us are young.

Some of us are old.

But neither state precludes any of us,

young or old,

from ignoring the basic cooperation

that will be necessary here.

When I direct,

there are no significant personalities

in the cast of any play,

but there are three significant dates

in the life of a play,

the first day of rehearsal,
opening night, closing night.

The last two are related
and dependent upon the first.

Therefore, the first day of rehearsal

is an extremely important day.

When I call rehearsal

for twelve o'clock, Templeton,

I meant twelve o'clock for
everyone, young and old.

Everyone to be in his place

and ready to work at twelve o'clock sharp.

Are you ready to work with us, Templeton?

I asked you a question.

I expect an answer.

Answer me!

Answer me, Templeton!

Speak up, Templeton! Speak up!

No.

WILLIS: Come back here, Templeton.

Booth! Come back!

Templeton! Come back here!

[APPLAUSE]

[SUSPENSE MUSIC]

TEMPLETON: Booth
Templeton in The Great Seed?

1927's big hit?

1927.

That's more than 30 years ago.

Barney Flueger.

Barney!

MAN: Hey, Mr. Templeton.

What year is this?

1927.

Say, you're not trying to kid me,

are you, Mr. Templeton?

Most assuredly I'm not.

Your wife just phoned

and said for you to meet her

at Freddie Iaccino's.

My wife?

But Laura's dead.

Well, she's the best-looking ghost

I ever saw, Mr. Templeton.

No offense, of course.

Where's Laura?

Where did you say she's waiting for me?

At Freddie Iaccino's,
just around the corner.

[PLEASANT MUSIC]

[PLEASANT MUSIC]

[BUZZ]

Hello, Booth.

Freddie.

Yeah, what?

It is you.

You're alive.

[CHUCKLES] Sure, what did you expect?

[KNOCKING AT DOOR]

Can't be too careful these days.

All the time somebody's
wanting a raid or something.

[BAND PLAYING UPBEAT TUNE]

[LOUD CROWD CHATTER]

What'll it be tonight, steaks or chops?

What?

Well, your wife's having the Kansas City.

She isn't at our usual table.

She's over there.

Well?

What?

Steaks or chops?

No, nothing. Nothing
to eat tonight, Freddie.

We're not staying very long.

[LAUGHTER]

Oh, Barney, you're a scream.

Oh, hi.

Hi, Booth. We didn't wait.

Barney.

Barney Flueger.

The same.

To know him is to love him.

Sit down, old man.

I'll be right back.

Laura. Laura, darling.

Booth, my goodness.

Come on, sit down. [CHUCKLES]

The Kansas City's great tonight.

It's juicy.

See? I told you.

-Laura, I…
-What's the matter?

You look worried.

Hm?

Booth, how many times have I told you

to take your makeup off

before you come in here.

Makeup?

Laura. Laura, darling,

let's go someplace else.

Somewhere where it's quieter.

Where there aren't so many people.

Why?

Well, I want to talk to you, Laura.

Well, I want to have a good time.

Oh, yoo-hoo!

Could you get me
another of these, please?

Thank you.

But I have to talk to you, Laura.

Well?

I… Oh, Laura, darling.

I'm here.

I don't know for how long,

or even how I got here,

or, or who put me here, but I'm here

and I want to make good use of the time.

I want to have you alone to myself.

Booth, don't be dull.

BARNEY: Aren't you
going to eat, old chap?

BARNEY: New band's swell.

Laura, Laura. Barney…

BARNEY: You better order.

Yeah. He's right, honey.

Listen to me, you two…

Oh, it's so hot tonight.

Hey, George, bring him one of these.

I'll be glad to get into a cold tub.

Booth, will you tell me why,

on this glad, green earth,
you're wearing an overcoat

for on a night like this?

Will you tell me now, Booth?

I mean, really.

TEMPLETON: I'm not so certain

that it is a glad, green earth.

Oh, Laura, Laura, darling.

Barney.

I'm not so certain of this earth,

or of anything in it, right now.

I… Oh, please, listen to me.

Listen to me, won't you?

Laura, Laura, something's happened.

Something very strange.

Please try to understand.

This… This isn't makeup.

I've grown older, darling.

In another world, many,

for many, many lonely years,

I've had only a memory of you to live on.

You, too, Barney.

Why, you were my
one and only best friend.

But both of you have been
only memories for a long time.

And now, tonight,

or today, or, whatever it is,

and wherever I am in, in space or time,

I have you back again.

You're alive.

You didn't die.

Life is going on here.

It's just as if you never died.

Either of you.

You do understand, don't you?

Oh, sure.

Laura, do you understand?

Sure.

Come on, let's have a good time, huh?

Laura.

Why are you so different?

Well, that's the way I am, Booth.

That's the way it is.

I mean, what did you expect?

Yes, old chap, what did you expect?

I… I don't know.

But you were my love.

Everywhere, at all times.

Why, we couldn't walk a
street or sit in a restaurant

without everybody knowing

that we were in love.

Are you finished?

I don't like what you've become.

[LAUGHING]

[BOTH LAUGHING]

Shut up.

Shut up, both of you! Shut up!

Laura, Laura, come with me.

No.

You're a silly old fool of a man.

-That's for me.
-[CHEERFUL CHARLESTON]

Stop it! Stop it!

[SLAP]

Why don't you go back
where you came from?

We don't want you here.

[MUSIC, CHATTER STOP]

[MEOWS]

[CAT YOWLING]

[PLEASANT MUSIC]

MAN: Oh, yeah, come on…

TEMPLETON: No, no, please, please.

MAN: Oh, come on.

[LAUGHS]

[SUSPENSE MUSIC]

Did it happen or…? [PANTING]

"What to do when Booth comes back.

"Table in speakeasy."

"Enter Booth as Laura
throws back her head"

"and laughs too shrilly."

"'You're a scream, Barney. A real…'"

"Barney, the same."

"To know him is to love him."

"'Sit down, old chap.'"

"Laura, 'Why don't you go
back where you came from?"

We don't want you here.'"

Acting.

They were acting for me.

They wanted me to go back to my own life,

and live it.

Templeton.

One question.

Are you in or are you out?

I am definitely in.

And it is definitely Mr. Templeton,

especially to one so young as you.

Now, wait a minute.

Excuse me, Mr. Sperry,
but I never allow anyone

not directly connected
with the production

to attend my rehearsals.

I insist upon that.

Just who do you think you are?

Sidney. Run along.

Now, then, shall we start rehearsal?

I'd like that, Mr. Templeton.

I've just had a most remarkable
experience, young man.

I couldn't possibly expect
you to comprehend it,

but I'm going to tell
you about it anyway,

someday.

You know, you were right.

The first day of rehearsal

is the most important
date in the life of a play.

NARRATOR: Mr. Booth Templeton,

who shared with most
human beings the hunger

to recapture the past moments.

The ones that soften with the years.

But, in his case,

the characters of his
past blocked him out

and sent him back to his own time,

which is where we find him now.

Mr. Booth Templeton,

who had a round-trip
ticket into the Twilight Zone.

PRESENTER: Rod Serling,
the creator of Twilight Zone,

will tell you about next week's story

after this word from
our alternate sponsor.

And now, Mr. Serling.

In this $28 a day hotel suite

live three human beings
who have larceny in them

from their toes to
where they part their hair.

Amongst the loot of one
evening's caper is this camera,

which they soon discover
has most unique properties.

It takes pictures of the future.

Stick around for the development,

next week, on The Twilight Zone.

PRESENTER: See the new
Andy Griffith Show each week

over most of these stations.

Consult local listings.