Musician Joey Crown is down on his luck. A recovered alcoholic, he can't find work because no one trusts him. Broke, he hocks his trumpet but then steps in front of truck which knocks him onto the sidewalk. He awakens in a strange world where no one can see him and he presumes he's died. He eventually bumps into someone who can in fact see him, a fellow horn player who tells him that it's still within Joey's power to decide on life or death. Written by
Joey can't see himself in the mirror in front of the theater, but we see his reflection in the ticket booth window when he goes over to talk to the ticket girl between walking over to the mirror. While looking at the mirror in front of the theater there Joey doesn't see his reflection, but we see his shadow. When Joey is in the bar we see the reflection of his face and hand in the glass of the jukebox. Of course, all of this is explained away by the Angel Gabriel when he tells Joey he is in another place where he is alive and everybody around him is a ghost. See more »
Joey Crown, musician with an odd, intense face, whose life is a quest for impossible things like flowers in concrete or like trying to pluck a note of music out of the air and put it under glass to treasure.
[continued narration subsequent to extensive character dialogue]
Joey Crown, musician with an odd, intense face, who, in a moment, will try to leave the Earth and discover the middle ground - the place we call The Twilight Zone.
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While "The Twilight Zone" had many memorable episodes, few can touch this one for its subtlety and beauty. This is a prime example of what Rod Serling could do when he wasn't trying to be preachy or commercial.
An alcoholic trumpeter, sensing all of his chances are used up, attempts to kill himself, and runs into a seeming kindred soul. Within this seemingly simple plot, Serling's script comes up with some incredibly moving language (Klugman's monologue at the beginning is still one of my favorites), and the actors don't disappoint. Jack Klugman is magnificent as the lost soul, and John Anderson (as the kindred soul) is low-key but equally effective in his own way. Take these and some lovely direction (love the framing of Anderson's exit shot), and you'll find one of the series' best episodes.
If you get the chance, don't miss this one!
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