1
00:00:01,501 --> 00:00:05,337
[eerie music]

2
00:00:05,422 --> 00:00:07,589
(male narrator)
THERE IS A FIFTH DIMENSION

3
00:00:07,674 --> 00:00:10,092
BEYOND THAT WHICH
IS KNOWN TO MAN.

4
00:00:10,176 --> 00:00:13,012
IT IS A DIMENSION
AS VAST AS SPACE

5
00:00:13,054 --> 00:00:16,015
AND AS TIMELESS
AS INFINITY.

6
00:00:16,057 --> 00:00:19,518
IT IS THE MIDDLE GROUND
BETWEEN LIGHT AND SHADOW,

7
00:00:19,602 --> 00:00:21,895
BETWEEN SCIENCE
AND SUPERSTITION.

8
00:00:21,980 --> 00:00:24,898
AND IT LIES BETWEEN
THE PIT OF MAN'S FEARS

9
00:00:24,983 --> 00:00:28,193
AND THE SUMMIT
OF HIS KNOWLEDGE.

10
00:00:28,236 --> 00:00:30,863
THIS IS THE DIMENSION
OF IMAGINATION.

11
00:00:30,905 --> 00:00:35,534
IT IS AN AREA
WHICH WE CALL THE TWILIGHT ZONE.

12
00:00:48,840 --> 00:00:52,259
A COMMONPLACE,
IF SOMEWHAT GRIM, UNSOCIAL EVENT

13
00:00:52,343 --> 00:00:54,261
KNOWN AS A
"NECKTIE PARTY."

14
00:00:54,345 --> 00:00:57,765
THE GUEST OF DISHONOR,
A COWBOY NAMED JOE CASWELL,

15
00:00:57,849 --> 00:00:59,933
JUST A MOMENT
AWAY FROM A ROPE,

16
00:01:00,018 --> 00:01:02,644
A SHORT DANCE SEVERAL
FEET OFF THE GROUND.

17
00:01:02,729 --> 00:01:05,731
AND THEN THE DARK
ETERNITY OF ALL EVIL MEN.

18
00:01:05,815 --> 00:01:10,152
MR. JOE CASWELL,
WHO WHEN THE GOOD LORD PASSED OUT A CONSCIENCE,

19
00:01:10,236 --> 00:01:12,571
A HEART OF FEELING
FOR FELLOW MEN,

20
00:01:12,655 --> 00:01:15,783
MUST HAVE BEEN
OUT FOR A BEER AND MISSED OUT.

21
00:01:15,867 --> 00:01:19,661
MR. JOE CASWELL
IN THE LAST QUIET MOMENT

22
00:01:19,746 --> 00:01:22,456
OF A VIOLENT LIFE.

23
00:01:26,961 --> 00:01:30,672
REVEREN D.
NO NEED, I AIN'T INTERESTED IN PRAYERS.

24
00:01:30,757 --> 00:01:34,343
AND YOUR IMMORTAL
SOU L, CASWELL?

25
00:01:34,427 --> 00:01:36,512
ARE YOU
INTERESTED IN THAT?

26
00:01:36,596 --> 00:01:40,516
IT'S MY MORTAL N ECK
THAT CONCERNS ME NOW.

27
00:01:40,600 --> 00:01:46,188
AND IT'S GONNA BE YOUR
PLEASURE TO SEE THAT IT'S STRETCH ED A COUPLE FEET.

28
00:01:47,857 --> 00:01:49,691
S I NCE THAT BOOK
AIN'T GOING TO H ELP,

29
00:01:49,776 --> 00:01:53,153
MIGHT AS LEAVE
MAKE IT SHORT AND GET IT OVER WITH.

30
00:01:53,238 --> 00:01:55,114
J U DG E?

31
00:01:55,156 --> 00:01:57,783
YOU GOT ANYTHING
TO SAY? IT'S YOUR RIGHT, YOU KNOW.

32
00:01:59,410 --> 00:02:02,454
THAT'S MY RIGHT,
IS IT, J U DG E?

33
00:02:02,539 --> 00:02:06,875
THE YOU NG FELLOW I PUT
A HOLE IN HAD TOO MUCH MOUTH, NOT ENOUGH BRAI NS.

34
00:02:06,960 --> 00:02:11,130
I'D I NVITE HIM OUT
AGAIN TOMORROW IF I HAD IT TO DO ALL OVER AGAIN.

35
00:02:11,172 --> 00:02:13,465
YOU SHOT MY SON
IN THE BACK, CASWELL.

36
00:02:13,550 --> 00:02:16,969
AND THAT'S A LONG COU NTRY
M I LE FROM AN I NVITATION TO A SHOWDOWN.

37
00:02:17,053 --> 00:02:20,347
NOW, THAT'S ALL
YOU GOT TO SAY, I GOT THIS TO ADD.

38
00:02:20,431 --> 00:02:22,641
I'D LIKE IT
TO TAKE AWHILE.

39
00:02:22,684 --> 00:02:24,893
I'D LIKE YOU TO
FEEL IT, CASWELL.

40
00:02:24,978 --> 00:02:30,232
THE MORE YOU KICK, THE
MORE J USTICE IF IG U RE THERE IS IN THE WORLD.

41
00:02:30,316 --> 00:02:33,235
WELL, I'LL DO A
J IG FOR YOU, PAPPY,

42
00:02:33,319 --> 00:02:36,196
JUST LIKE A PU PPET.

43
00:02:36,281 --> 00:02:38,907
HOW ABOUT IT,
CAN'T WE GET IT OVER WITH?

44
00:02:38,992 --> 00:02:44,413
I CAN TELL YOU THIS, CASWELL.
YOU'RE AN EVI L PERSON. YOU'RE A DISEASE.

45
00:02:44,497 --> 00:02:48,167
AND WHEN WE HANG YOU,
IT'S A SERVICE.

46
00:02:48,209 --> 00:02:52,045
ALL RIGHT, GET ON
WITH THE JOB.

47
00:03:21,367 --> 00:03:24,077
OH, MY DEAR GOD.

48
00:03:24,162 --> 00:03:26,705
WHAT HAPPENED TO HIM?

49
00:03:47,435 --> 00:03:50,604
TRY TO RELAX.
YOU'RE GOING TO BE ALL RIGHT.

50
00:03:50,688 --> 00:03:53,190
I'LL EXPLAIN TO YOU
WHAT'S HAPPENED.

51
00:03:56,736 --> 00:03:59,655
[raspy voice]
WHERE AM I?

52
00:03:59,739 --> 00:04:01,990
YOU'RE A LONG
WAY FROM HOM E, OLD FRI EN D.

53
00:04:02,075 --> 00:04:05,077
A VERY LONG WAY.

54
00:04:05,161 --> 00:04:07,913
[raspy voice]
WHERE?

55
00:04:07,956 --> 00:04:10,332
YOU'RE IN NEW YORK CITY,

56
00:04:10,416 --> 00:04:14,628
EIGHTY YEARS FROM
THE LAST MOM ENT OF YOUR RECOLLECTION.

57
00:04:14,712 --> 00:04:18,090
HOW? HOW?

58
00:04:18,132 --> 00:04:21,009
[gasping]

59
00:04:24,389 --> 00:04:29,351
BY THIS. THIS IS
A TIME MACHINE.

60
00:04:29,435 --> 00:04:34,481
WHAT'S HAPPENED TO YOU
I NVOLVES PRI NCI PLES WHICH YOU WOULDN'T UNDERSTAND.

61
00:04:34,565 --> 00:04:40,279
FOR THE MOM ENT,
I DON'T KNOW WHAT YOUR PAST WAS,

62
00:04:40,363 --> 00:04:43,156
BUT YOU'VE GOT A MOST
DISTING U ISH ED FUTU RE.

63
00:04:43,241 --> 00:04:47,202
YOU'RE THE FIRST
TIME TRAVELER IN THE H ISTORY OF MAN.

64
00:04:47,287 --> 00:04:51,206
AND I'M GOING
TO INTRODUCE YOU TO A WHOLE NEW WORLD.

65
00:04:51,291 --> 00:04:55,377
AND YOU'RE GON NA
TELL ME ABOUT AN OLD ON E.

66
00:05:19,402 --> 00:05:24,323
(scientist)
AT 8: 1 5 THE SUBJECT APPEARED DESPERATELY TIRED,

67
00:05:24,407 --> 00:05:27,075
SO I PUT HIM TO BED.

68
00:05:27,160 --> 00:05:30,245
AFTER TWO HOURS
I'VE DISCOVERED THE FOLLOWING :

69
00:05:30,330 --> 00:05:32,831
HIS NAME IS
JOSEPH CASWELL.

70
00:05:32,915 --> 00:05:37,836
HE TELLS ME HE WAS A
TRAI L BOSS ON A CATTLE RANCH IN THE TERRITORY OF MONTANA.

71
00:05:39,255 --> 00:05:41,923
HIS LAST MOM ENT
OF RECOLLECTION

72
00:05:42,008 --> 00:05:46,845
WAS NOVEM BER 1 4, 1 880.

73
00:05:46,888 --> 00:05:51,558
HE SAYS HE WAS
RI DING H ERD WH EN SU DDEN LY HE BLACKED OUT.

74
00:05:51,642 --> 00:05:55,854
HE AWOKE TO F IN D
HIMSELF ON THE COT OF MY LABORATORY.

75
00:05:55,938 --> 00:06:00,359
HE FELT NO
SENSATIONS AND--

76
00:06:00,401 --> 00:06:06,239
ONLY IN THE LAST FEW MOM ENTS
DID HE SEEM TO HAVE ANY GRASP OF WHAT HAS OCCU RRED.

77
00:06:32,683 --> 00:06:36,269
THERE'S ONE
DISTU RBING PO I NT.

78
00:06:36,354 --> 00:06:40,565
THERE ARE THE MARKS OF
A ROPE ETCH ED DEEPLY INTO HIS N ECK.

79
00:06:40,650 --> 00:06:43,985
HE HAS NO
EXPLANATION FOR THIS.

80
00:06:44,070 --> 00:06:47,739
AND I HAVE ONE
OTHER OBSERVATION HARDLY SCI ENTIF IC.

81
00:06:49,492 --> 00:06:51,660
I DON'T LIKE HIS LOOKS.

82
00:06:51,744 --> 00:06:56,248
I DON'T LIKE THE
EYES OR THE FACE OR THE EXPRESS ION.

83
00:06:56,290 --> 00:07:00,127
I GET A FEELING
OF DISQU I ET, I--

84
00:07:00,211 --> 00:07:04,172
I GET A FEELING THAT
I'VE TAKEN A 1 9TH CENTURY PRI M ITIVE

85
00:07:04,257 --> 00:07:08,885
AND PLACED HIM IN
A 20TH CENTURY J U NG LE.

86
00:07:11,139 --> 00:07:15,517
AND H EAVEN
H ELP WHOEVER G ETS IN HIS WAY.

87
00:07:15,601 --> 00:07:18,270
[door opens]

88
00:08:11,157 --> 00:08:15,243
THAT'S F I RE RIGHT
OUT OF THE AIR.

89
00:08:15,328 --> 00:08:18,663
I THOUGHT YOU
WERE TIRED.

90
00:08:18,748 --> 00:08:20,749
I AM.

91
00:08:20,833 --> 00:08:23,418
THERE'S PLENTY
OF TIME TO SLEEP.

92
00:08:23,503 --> 00:08:25,545
AND PLENTY OF
TIME FOR THAT.

93
00:08:25,630 --> 00:08:29,382
NOW I WANNA LOOK AT
THAT WORLD OUT THERE.

94
00:08:35,556 --> 00:08:39,267
I WANNA SEE IF THERE ARE
THINGS OUT THERE LIKE YOU DESCRI BED TO ME.

95
00:08:39,352 --> 00:08:41,520
CARRIAG ES WITHOUT
HORSES AND BU I LDINGS--

96
00:08:41,604 --> 00:08:43,897
THEY'RE OUT
THERE, CASWELL.

97
00:08:43,981 --> 00:08:46,274
THINGS THAT YOU'VE
N EVER SEEN BEFORE.

98
00:08:46,359 --> 00:08:49,027
THINGS YOU
CAN'T I MAG IN E.

99
00:08:52,198 --> 00:08:55,659
[engines humming,
horns honking]

100
00:08:57,411 --> 00:09:00,956
[sirens wailing
and engines throbbing]

101
00:09:09,048 --> 00:09:11,550
BUT SOME THINGS
DON'T CHANG E.

102
00:09:11,592 --> 00:09:14,803
IDEAS, CONCEPTS,

103
00:09:14,887 --> 00:09:17,973
THINGS LIKE
RIGHT AND WRONG.

104
00:09:18,057 --> 00:09:22,060
I KNOW ALL ABOUT
RIGHT AND WRONG.

105
00:09:22,144 --> 00:09:25,397
ONCE THERE WAS A DEPUTY
SH ERI FF IN DODG E CITY.

106
00:09:25,481 --> 00:09:30,610
TRI ED TO BEAT THE DIFFERENCE
BETWEEN THEM INTO MY BACK WITH A WET ROPE.

107
00:09:30,695 --> 00:09:33,905
I KNOW ALL ABOUT
RIGHT AND WRONG.

108
00:09:33,990 --> 00:09:37,325
AND WHAT ABOUT
J USTICE, CASWELL?

109
00:09:37,410 --> 00:09:39,953
WHAT ABOUT J USTICE?

110
00:09:41,914 --> 00:09:46,001
AM I SU PPOSED TO
KNOW ABOUT J USTICE?

111
00:09:46,085 --> 00:09:48,753
MORE THAN MOST
M EN, PROBABLY.

112
00:09:50,590 --> 00:09:53,842
RIGHT AND WRONG,
THEY CAN TRY TO BEAT INTO YOU.

113
00:09:56,220 --> 00:09:58,430
BUT J USTICE, CASWELL,

114
00:09:58,514 --> 00:10:00,807
THIS CAME AT THE EN D
OF A ROPE, DIDN'T IT?

115
00:10:00,891 --> 00:10:03,476
THAT'S WHERE YOU WERE
WHEN I REACHED BACK INTO TIME.

116
00:10:03,561 --> 00:10:06,104
YOU WERE AT THE EN D
OF A ROPE, WEREN'T YOU, CASWELL?

117
00:10:06,147 --> 00:10:09,899
SIX OR EIGHT FEET OFF
THE GROU N D, AND I GOT TO YOU IN THAT FRACTION OF A MOM ENT

118
00:10:09,984 --> 00:10:13,111
BEFORE YOUR
N ECK WAS BROKEN.

119
00:10:13,154 --> 00:10:15,947
WHEN YOU'RE DANG LING
AT THE END OF A ROPE IT DON'T MATTER

120
00:10:16,032 --> 00:10:19,993
WH ETHER YOU'RE
ONE FOOT OFF THE G ROU N D OR ONE H U N DRED.

121
00:10:20,077 --> 00:10:21,620
YOU KI LLED SOMEON E.

122
00:10:21,704 --> 00:10:24,664
A WHOLE TERRITORY FU LL.

123
00:10:24,749 --> 00:10:27,250
I STOPPED
COUNTING AFTER 20.

124
00:10:34,300 --> 00:10:36,843
WELL?

125
00:10:38,387 --> 00:10:41,056
I'M GOING TO HAVE
TO SEND YOU BACK.

126
00:10:42,141 --> 00:10:43,516
BACK?

127
00:10:43,601 --> 00:10:45,226
BACK TO WHERE
YOU BELONG.

128
00:10:45,311 --> 00:10:49,314
BACK TO THAT VERY
MOM ENT, IF I CAN.

129
00:10:49,357 --> 00:10:52,275
AND THAT'S SU PPOSED
TO BE J USTICE, HUH?

130
00:10:54,028 --> 00:10:58,365
I DIED ONCE
ALREADY, MISTER. I BEEN TO H ELL.

131
00:10:58,449 --> 00:11:00,033
NOW I'M BACK.

132
00:11:00,117 --> 00:11:02,661
AND THOSE 20 MEN THAT
YOU KI LLED, CASWELL?

133
00:11:02,703 --> 00:11:04,704
THEY DIED WITH
NO DISCOM FORT?

134
00:11:04,789 --> 00:11:07,582
MISTER, Y-YOU'RE
JUST TALKING WORDS.

135
00:11:07,667 --> 00:11:10,126
J USTICE, RIGHT
AND WRONG.

136
00:11:11,712 --> 00:11:14,255
THEY SOU N D GOOD IN
THIS NICE WARM ROOM

137
00:11:14,340 --> 00:11:16,758
WITH A N ICE
FU LL STOMACH,

138
00:11:16,842 --> 00:11:19,344
JUST A FEW FEET AWAY
FROM A SOFT BED.

139
00:11:21,555 --> 00:11:24,265
THEY SOU N D NICE AND
THEY GO DOWN EASY!

140
00:11:30,189 --> 00:11:34,442
BUT YOU JUST TRY 'EM
ON AN ICE-COLD MESA

141
00:11:34,527 --> 00:11:38,405
WHERE ANOTHER MAN'S BREAD
OR ANOTHER MAN'S JACKET

142
00:11:38,489 --> 00:11:41,866
STANDS BETWEEN YOU
AND STAYING ALIVE.

143
00:11:47,832 --> 00:11:51,793
YOU GET IN THIS MACHINE
OF YOURS AND YOU GO BACK TO WHERE I WAS,

144
00:11:51,877 --> 00:11:55,714
AND YOU TALK ABOUT
YOUR LAW AND YOUR ORDER AND YOUR J USTICE.

145
00:11:55,798 --> 00:11:58,299
THEY'RE GONNA
SOUND DIFFERENT!

146
00:12:00,636 --> 00:12:04,013
MISTER, I KNOW
YOUR KIND.

147
00:12:05,850 --> 00:12:10,270
YOUR CLEAN-FACED, YOUR
JOH N NY-COM E-LATELY DAN DIES.

148
00:12:10,354 --> 00:12:14,441
YOU COME OUT IN YOUR
WARM TRAI NS ROLLING OVER THE GRAVES OF MEN LIKE ME!

149
00:12:14,525 --> 00:12:17,068
I JUST HATE
YOUR KIND!

150
00:12:40,009 --> 00:12:43,303
[tape recorder rewinding]

151
00:12:49,268 --> 00:12:53,021
[over tape recorder]
AND I HAVE ONE OTHER OBSERVATION HARDLY SCIENTIFIC.

152
00:12:53,105 --> 00:12:55,815
I DON'T LIKE
HIS LOOKS.

153
00:12:55,900 --> 00:13:00,612
I DON'T LIKE THE
EYES OR THE FACE OR THE EXPRESSION.

154
00:13:00,654 --> 00:13:05,033
I GET A FEELING
THAT I'VE TAKEN A 1 9TH CENTURY PRIM ITIVE

155
00:13:05,117 --> 00:13:10,079
AND PLACED HIM IN
A 20TH CENTURY JUNGLE.

156
00:13:12,124 --> 00:13:16,336
AND HEAVEN
HELP WHOEVER GETS IN HIS WAY.

157
00:13:30,893 --> 00:13:33,978
[car horn honking]

158
00:13:48,869 --> 00:13:51,371
[horns honking]

159
00:14:16,313 --> 00:14:28,283
[horn honking]

160
00:14:32,538 --> 00:14:35,039
[tires screeching]

161
00:14:47,845 --> 00:14:51,264
[ringing]

162
00:14:57,313 --> 00:15:01,441
[ringing continues]

163
00:15:08,324 --> 00:15:10,491
(operator)
THERE IS OVERTIME.

164
00:15:10,576 --> 00:15:13,912
PLEASE DEPOSIT 25 CENTS.

165
00:15:13,996 --> 00:15:16,998
HELLO? HELLO?

166
00:15:17,082 --> 00:15:20,793
THERE IS OVERTIME.
PLEASE DEPOSIT 25 CENTS.

167
00:15:42,733 --> 00:15:46,027
[swing music playing]

168
00:15:51,408 --> 00:15:52,825
WHAT'LL IT BE?

169
00:15:52,910 --> 00:15:55,787
[swing playing
on jukebox]

170
00:16:03,629 --> 00:16:07,006
[music stops]

171
00:16:11,178 --> 00:16:14,681
EXPENS IVE EVENING FOR
YOU, PAL. THAT'S GONNA COST.

172
00:16:14,765 --> 00:16:16,015
HEAR ME?

173
00:16:16,100 --> 00:16:18,017
THERE'S SO MUCH NO ISE.

174
00:16:18,102 --> 00:16:20,812
LOOK, BUDDY, IF YOU
DON'T PAY FOR IT, I'M GONNA HAVE TO.

175
00:16:20,854 --> 00:16:24,273
SO LET'S HAVE
NO TROU BLE, HUH? IF YOU GOT ANY--

176
00:16:25,776 --> 00:16:27,318
U H, EASY, PAL, EASY.

177
00:16:27,403 --> 00:16:29,988
JUST BRING ME
ONE OF THOSE.

178
00:16:42,668 --> 00:16:44,419
WELL?

179
00:16:44,503 --> 00:16:48,047
NOTHING, PAL,
NO ARG U MENT. NO ARG U MENT.

180
00:16:48,132 --> 00:16:51,259
WHAT IS THAT?
WHERE DOES THE MUSIC COME FROM?

181
00:16:51,343 --> 00:16:56,014
THAT THING? THAT'S
A JUKEBOX, JUST A PLAIN OLD JUKEBOX.

182
00:16:56,098 --> 00:16:58,599
YOU BEEN IN STI R, BUDDY?

183
00:16:58,684 --> 00:17:01,894
NO, IT'S, IT'S J UST
THAT I NEED SOME SLEEP.

184
00:17:01,979 --> 00:17:06,190
AND THOSE, THOSE THINGS
THAT ARE RU N NING AROUND!

185
00:17:06,233 --> 00:17:08,026
THINGS?

186
00:17:08,110 --> 00:17:11,112
THOSE-THOSE CARRIAG ES
WITHOUT HORSES,

187
00:17:11,196 --> 00:17:14,782
AN D-AND THE LIGHTS
GOING ON AND OFF.

188
00:17:14,867 --> 00:17:19,287
AND THE NO ISE,
IT'S-IT'S LIKE TH U N DER ALL THE TIME.

189
00:17:19,371 --> 00:17:21,789
BUDDY, WHY DON'T
YOU GO HOME AND SACK DOWN, HUH?

190
00:17:21,874 --> 00:17:24,042
AND GET A GOOD
NIGHT'S SLEEP.

191
00:17:24,084 --> 00:17:27,295
TAKE A COUPLE OF BOTTLES
WITH YOU. THAT'S WHAT YOU NEED IS SLEEP.

192
00:17:27,379 --> 00:17:29,922
HERE, TAKE THESE
HOME WITH YOU.

193
00:17:33,052 --> 00:17:35,636
WELL, DON'T-DON'T
YOU KNOW WHAT THAT IS?

194
00:17:38,182 --> 00:17:40,308
IT'S A WIN DOW.

195
00:17:40,392 --> 00:17:43,853
HERE, WE'LL-WE'LL GIVE
YOU A DEMONSTRATION, HUH?

196
00:17:58,660 --> 00:18:01,120
ALL RIGHT, HOM BRE,

197
00:18:01,205 --> 00:18:04,123
YOU GOT YOUR
CHANCE TO DRAW.

198
00:18:04,208 --> 00:18:06,542
NOW, YOU BETTER
MAKE YOUR MOVE.

199
00:18:11,715 --> 00:18:14,258
ALL RIGHT, COWBOY,
YOU GOTTA PAY FOR THIS.

200
00:18:14,301 --> 00:18:17,178
POLICE! POLICE!

201
00:18:17,262 --> 00:18:19,472
POLICE!

202
00:18:20,682 --> 00:18:22,934
[car horn honking]

203
00:18:25,979 --> 00:18:28,606
[horns honking]

204
00:18:28,649 --> 00:18:31,150
[brakes screeching]

205
00:18:31,235 --> 00:18:33,111
[woman screams]

206
00:18:33,153 --> 00:18:35,238
[whistle blowing]

207
00:18:39,076 --> 00:18:41,744
[people yelling]

208
00:18:41,829 --> 00:18:44,789
[siren blaring]

209
00:18:55,551 --> 00:18:59,053
[panting]

210
00:19:01,807 --> 00:19:03,683
MISTER, YOU--

211
00:19:05,644 --> 00:19:07,478
MAN, YOU--

212
00:19:07,521 --> 00:19:10,356
H ELP ME, PLEASE!

213
00:19:10,440 --> 00:19:13,192
H ELP ME!

214
00:19:27,457 --> 00:19:30,626
I THOUGHT THE
PLACE WAS EM PTY.

215
00:19:32,838 --> 00:19:36,048
JUST MOVE AWAY
FROM THE DESK, COWBOY.

216
00:19:36,133 --> 00:19:38,176
WHAT DO YOU WANT?

217
00:19:38,218 --> 00:19:41,762
WHAT DO I WANT?
WHAT DO YOU WANT, BU FFALO B I LL?

218
00:19:41,847 --> 00:19:45,141
WELL, THAT'S WHAT I WANT.
WHATEVER IS AROUND LOOSE.

219
00:19:48,812 --> 00:19:52,106
WELL, IT LOOKS LIKE
YOU GOT HERE BEFORE ME.

220
00:19:52,191 --> 00:19:54,942
SAVED ME A LITTLE
TROU BLE. THANKS.

221
00:19:55,027 --> 00:19:57,069
BUT I'M HERE NOW.

222
00:19:57,154 --> 00:19:59,739
YOU KNOW, I
USUALLY GO TO BED THIS EARLY.

223
00:19:59,823 --> 00:20:02,909
SO WITH THE PLACE
BEING DARK, IF IG U RED I'D BE ALL ALON E.

224
00:20:02,993 --> 00:20:05,077
YOU CHECKED
THE DESK, DID YOU?

225
00:20:06,788 --> 00:20:09,540
I GU ESS HE DON'T KEEP
MUCH CASH AROUND HERE.

226
00:20:09,625 --> 00:20:12,627
IF IG U RED MAYBE
A KEY TO A DRAWER OR SOMETHING.

227
00:20:15,672 --> 00:20:21,052
SEE? I EXPECT HE'S GOT
A WALL SAFE OR SOMETHING AROUND HERE, DON'T YOU?

228
00:20:21,136 --> 00:20:24,096
HEY, COWBOY, I
ASKED YOU A QU ESTION.

229
00:20:24,181 --> 00:20:27,850
DON'T YOU F IG U RE
HE'S GOT A WALL SAFE OR SOMETHING AROUND HERE?

230
00:20:40,864 --> 00:20:43,032
[groans]

231
00:21:45,595 --> 00:21:49,223
[electronic whirring]

232
00:21:49,308 --> 00:21:53,060
[electronic beeping]

233
00:21:55,689 --> 00:21:59,191
[whirring increases in pitch]

234
00:22:26,011 --> 00:22:28,012
[muffled]
HEY! H ELP!

235
00:22:28,096 --> 00:22:30,681
H ELP, SOMEBODY!
H ELP ME GET OUT!

236
00:22:30,766 --> 00:22:35,686
H ELP, H ELP.
H ELP ME. SOMEBODY!

237
00:22:35,771 --> 00:22:38,731
H ELP ME! H ELP ME!

238
00:22:50,202 --> 00:22:53,204
CUT HIM DOWN,
HURRY UP. CUT HIM DOWN.

239
00:22:53,288 --> 00:22:55,539
THAT AIN'T
JOE CASWELL.

240
00:22:55,582 --> 00:22:58,042
THAT AIN'T THE
GUY WE HANG ED.

241
00:22:58,085 --> 00:23:01,128
LOOK AT HIS CLOTH ES.
WHAT KIND OF CLOTH ES ARE THEY?

242
00:23:05,717 --> 00:23:07,802
WHO IS IT?

243
00:23:07,886 --> 00:23:13,140
THIS IS NOT
CASWELL, REVEREN D. IT'S A STRANG ER.

244
00:23:18,271 --> 00:23:22,233
WHAT KIND OF
DEVIL'S WORK IS THIS?

245
00:23:22,275 --> 00:23:24,402
I DON'T KNOW.

246
00:23:26,279 --> 00:23:29,407
I DON'T KNOW I F
IT IS DEVIL'S WORK.

247
00:23:29,491 --> 00:23:33,619
DID WE HANG AN
IN NOCENT MAN, THEN?

248
00:23:33,703 --> 00:23:35,621
I HOPE NOT.

249
00:23:35,705 --> 00:23:39,041
I PRAY TO GOD NOT.

250
00:23:43,171 --> 00:23:45,506
(narrator)
THIS IS NOVEMBER 1 880,

251
00:23:45,590 --> 00:23:48,509
THE AFTERMATH OF
A NECKTIE PARTY.

252
00:23:48,593 --> 00:23:51,804
THE VICTIM'S NAME,
PAUL JOHNSON, A M INOR LEAGUE CRIM INAL

253
00:23:51,888 --> 00:23:54,640
AND THE TAKER OF
ANOTHER HUMAN LIFE.

254
00:23:54,724 --> 00:23:57,476
NO COMMENT ON HIS
DEATH SAVE THIS.

255
00:23:57,561 --> 00:24:00,104
JUSTICE CAN SPAN YEARS.

256
00:24:00,188 --> 00:24:03,023
RETRIBUTION IS NOT
SUBJECT TO A CALENDAR.

257
00:24:03,108 --> 00:24:07,027
TONIGHT'S CASE IN POINT
IN THE TWILIGHT ZONE.

258
00:24:13,827 --> 00:24:16,537
ROD SERLING,
THE CREATOR OF TWILIGHT ZONE

259
00:24:16,621 --> 00:24:20,791
WILL TELL YOU ABOUT NEXT
WEEK'S STORY AFTER THIS WORD FROM OUR ALTERNATE SPONSOR.

260
00:24:22,669 --> 00:24:24,670
AND NOW, MR. SERLING.

261
00:24:24,754 --> 00:24:26,505
THE MAN WHO LIVES
IN THIS TEN EM ENT

262
00:24:26,590 --> 00:24:28,966
IS AN AGING FIGHTER
NAM ED BOLI E JACKSON.

263
00:24:29,050 --> 00:24:33,637
OVER THE H I LL AT AG E 36.
FROM LEAVING TOO MUCH OF HIMSELF IN TOO MANY ARENAS

264
00:24:33,680 --> 00:24:36,682
FOR TOO MANY YEARS
BEFORE TOO MANY SCREAMING PEOPLE.

265
00:24:36,766 --> 00:24:41,520
AND NEXT WEEK HE LOOKS
FOR A M I RACLE, AND H E F IN DS IT IN A LITTLE BOY.

266
00:24:41,605 --> 00:24:44,482
ON THE TWILIGHT ZONE
NEXT WEEK, THE BIG TALL WISH.

267
00:24:44,524 --> 00:24:46,525
SOMETHING VERY,
VERY SPECIAL.

268
00:24:46,610 --> 00:24:48,319
I HOPE WE'LL
SEE YOU THEN.

269
00:24:49,821 --> 00:24:53,157
[eerie music]

270
00:25:30,612 --> 00:25:32,905
BE SURE TO THE SEE THE
FUN-FILLED FAMILY LIFE

271
00:25:32,989 --> 00:25:36,367
OF ONE OF AMERICA'S
GREATEST ENTERTAINERS, THE DAN NY THOMAS SHOW.

272
00:25:36,451 --> 00:25:39,370
MONDAY NIGHTS OVER
MOST OF THESE STATIONS.

273
00:25:39,420 --> 00:25:43,970
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