A businessman sitting in his office inexplicably finds that he is on a production set and in a world where he is a movie star. Uninterested in the newfound fame, he fights to get back to his home and family.
Arthur Curtis is sitting his office chatting with secretary about plans for his daughter's birthday party and that he and his wife will be flying off for a couple of days of rest and relaxation. Suddenly he hears someone yell "cut" and he realizes he on a movie sound stage. He can't understand what has happened to him. Everyone refers to him as Gerry Reagan, but he insists that he is Arthur Curtis. He runs off but can't find any of the familiar landmarks he knows such as his house or his place of work. He is desperate to return to the world of Arthur Curtis but that window of opportunity may be closing on him.Written by
When Gerry's ex-wife demands he give her a check, she spells out the last name as "Raigan". This isn't the expected way to spell it, which may have been deliberate, so as to not associate the character with Ronald Reagan, who was at the time the President of the Screen Actors Guild. See more »
When Arthur/Gerry is trying to make the first phone call, right before he dials the third number, the shadow of the fake wall can be seen sliding. See more »
You're looking at a tableau of reality, things of substance, of physical material: a desk, a window, a light. These things exist and have dimension. Now this is Arthur Curtis, age thirty-six, who also is real. He has flesh and blood, muscle and mind. But in just a moment we will see how thin a line separates that which we assume to be real with that manufactured inside of a mind.
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What if all the world is, indeed, a stage? That's what this episode is all about. Howard Duff is playing two parts. One is a fading actor and the other a businessman with a family. He comes to realize he is part of a movie. He must battle against an overzealous director who knows his inconsistent past and the demands of his business. He strives for normalcy but is circumvented at every turn. The set/office becomes the haven but as with most sets, it gets torn down. There is such a hope for reclamation. The man moves toward the inevitable. Yet, in the end, he decides, and sets up the Serling epitaph. How are we to see the ending. That is if do or don't accept free will. It's an intriguing idea which has been done again many times.
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