Twilight Zone ep014 - A Short Drink From a Certain Fountain

Summary

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Podcast Summary

Podcast: Harold's Old Time Radio
Episode: Twilight Zone ep014 – “A Short Drink From a Certain Fountain”
Date: August 25, 2025
Host: Harold's Old Time Radio
Main Cast: Adam West (Harman Gordon), Stacy Keach (Narrator), Meg Tholkin (Flora Gordon), Christian Stolte (Raymond Gordon), Doug James and Lynn Foley
Adapted by: Dennis Etchison from Rod Serling’s script

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Episode Overview

This episode features a radio adaptation of “A Short Drink From a Certain Fountain,” an original story from The Twilight Zone. The drama explores the deep fears and desires surrounding aging, love, and the quest for youth, told through the troubled marriage of the much-older Harman Gordon and his young, restless wife, Flora. Desperate to bridge the age gap and save his marriage, Harman makes the fateful decision to experiment with his scientist brother’s age-reversing serum—with unforeseen and ironic consequences.

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Key Themes & Discussion Points

1. Opening: The Twilight Zone Premise (00:09)

• Stacy Keach (Narrator): Introduces the show’s setting: “You unlock this door with the key of imagination… You’ve just crossed over into the Twilight Zone.”

2. Introducing the Gordons: Age, Insecurity, and Tension (00:42–03:35)

• Harman Gordon is anxious about being late for his wife Flora, revealing his insecurity about living with a much younger woman.
• Flora Gordon is flippant and dissatisfied, her youthful energy clashing with Harman's tired routine.
• Narrator: “An aging man who leads his life... in quiet desperation... a slave of love… ever since his heart was captured by a woman some 40 years his junior... What he seeks most desperately is a fountain of youth.” (03:26)

3. Domestic Strife: Generation Gap and Resentment (04:45–13:11)

• Flora’s Discontent: Desires excitement, adventure, and resents Harman’s lethargy. “That routine gets old fast. Very old.” (05:11)
• Harman’s Plea: He apologizes and tries to connect, but Flora mocks his frailty and sentimentality.
• Memorable exchange:
  • Flora: “You better watch yourself, honey. If you ever take me to a swinging weekend in Egypt, I might just run away with a mummy. Know what I mean?” (08:32)
  • Harman: “There are things here that mean a great deal to me.” (07:47)

4. Desperation and Science: The Plea to Raymond (13:11–19:01)

• Harman calls his brother Raymond, a research doctor, for help late at night.
• Scene with test monkeys hints at youth and dominance in social structures, setting up the plausibility of the serum.

Notable Quote:

• Raymond: “She’s turned you into a fucking frightened, quaking damned fool who dotes on her, gives in to her whims and runs after her like a poodle.” (15:14)

5. The Forbidden Experiment: Harman’s Begging (16:31–19:01)

• Harman pleads with Raymond to test the rejuvenation serum on him.
• Raymond’s Objection: Warns of lethal risks, unknown consequences, saying human trials are “20 years away” and “we don’t know what we’re doing.”

Crisis Moment:

• Harman: “Then it’s the same as a death sentence.” (18:45)
• Raymond: “I wouldn’t try experimenting on a strange bum picked up off the street, let alone my own brother. The answer is a firm, irrevocable. No. No.” (18:47)

6. Ultimatum and Suicide Threat (19:11–21:51)

• Harman threatens suicide if he is not helped, expressing existential despair about love and aging:

  • Harman: “Do you know what it’s like to believe your life is over? And then suddenly one day she… to walk into a room and feel it begin all over again?” (20:02–20:31)

• Raymond relents, unable to refuse his brother’s desperation.

7. The Injection: Hope and Uncertainty (22:13–24:16)

• Harman is injected with the serum under dire warnings. First effects expected within six hours.

  • Raymond: “God help me, but you don’t leave me much choice.” (22:44)

• Harman is told to rest and await changes; the morning brings dramatic transformation.

8. Transformation: Youth Regained, But... (25:20–31:01)

• Raymond returns: Harman is visibly younger, looking 30 years old, full of energy.

  • Flora: “You look so. So young. What have you done to yourself?” (27:22)
  • Harman: “Like $10 million, tax-free, that’s how I feel.” (27:42)

• Process goes awry: Harman continues to regress, appearing younger by the minute—“If I keep going at this rate, I may get drafted again.” (29:27)

9. Ironic Justice: Regression Beyond Repair (31:06–35:47)

• Regression reaches infancy; Harman becomes a baby. Flora is horrified as the responsibility of care falls on her.

  • Raymond, to Flora: “Now it’s something else. Something very different. Take a good long look.” (34:09)

  • Flora: “You’re out of your mind if you think I’m gonna spend the rest of my life taking care of that grubby, thumb-sucking little baby in there.” (34:46)

  • Raymond: “That’s precisely what you’re going to do. Short of that… you leave the premises as you came, unadorned. The furs, the jewelry and everything else my brother gave you that remains here.” (34:52)

• Raymond delivers poetic justice: “He’ll be growing older, and so will you. Until you’re both truly old. A little poetic justice. Don’t you think that now you should finally have to drink from the same cup?” (35:47)

10. Final Narration: Twilight Zone Reflection (37:11)

• Narrator (Stacy Keach): “Harman Gordon is sleeping. He’s taking a little nap. He’ll wake up soon and impatiently demand a lollipop... Youth is like that. It demands.... the oppressed has become the persecutor, and youth has taken over. It’s simply the way the calendar crumbles in the Twilight Zone.”

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Notable Quotes and Memorable Moments

• “You unlock this door with the key of imagination... You’ve just crossed over into the Twilight Zone.”
  —Narrator (Stacy Keach), 00:09

• “I could forgive her her appetites, Harmon... But I cannot forgive her for what she’s done to you. She’s turned you into a fucking frightened, quaking damned fool...”
  —Raymond Gordon, 15:14

• “You can't imagine what it's like. I feel... light all over. I could breathe again. No fatigue, no heavy, dull tiredness. I feel as if I'd been lugging a case of concrete on my back and somebody just cut it away.”
  —Harman Gordon, 29:52

• “You’re out of your mind if you think I’m gonna spend the rest of my life taking care of that grubby, thumb-sucking little baby in there.”
  —Flora Gordon, 34:46

• “Don’t you think that now you should finally have to drink from the same cup?... Youth always defeats age and then despises it for losing...”
  —Raymond Gordon, 35:47

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Important Timestamps

• 00:09 – Classic Twilight Zone opening monologue.
• 03:26 – Narrator contextualizes Harman’s desperation for youth.
• 13:11 – Harman calls his brother to plead for help.
• 15:14 – Raymond’s brutal assessment of Flora’s impact.
• 18:45 – Harman's plea: "Then it's the same as a death sentence."
• 22:13 – The injection is administered.
• 27:22 – Harman’s dramatic transformation is recognized.
• 29:27 – Harman continues to rapidly regress in age.
• 34:46 – Flora is told her new responsibility is caring for infant Harman.
• 37:11 – Final Twilight Zone narration and moral reflection.

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Tone & Style

• Dialogue-driven drama: Fast-paced, caustic exchanges between Harman, Flora, and Raymond.
• Darkly ironic: The “fountain of youth” brings poetic comeuppance rather than happiness.
• Narrative voice: Stacy Keach delivers classic, wry Twilight Zone prose.

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Summary Takeaway

A deeply incisive Twilight Zone story about how the yearning to recapture lost youth, when granted without wisdom or restraint, can yield cruel and unexpected consequences. Harman’s desperation turns the promise of renewal into a tragic reversal, forcing both husband and wife to confront the full consequences of their choices—reminding listeners that neither youth nor love is free from the passage of time.

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Transcript

[Narrator (Stacy Keach)]

You unlock this door with the key of imagination. Beyond it is another dimension a dimension of sound, a dimension of sight, a dimension of mind. You're moving into a land of both shadow and substance, of things and ideas. You've just crossed over into the twilight zone.

[Harman Gordon]

Why are you driving so slowly, miller?

[Miller (Driver)]

Sorry, sir. The traffic is unusually heavy today.

[Harman Gordon]

I can see that, but can't you speed it up a bit?

[Miller (Driver)]

I wish I could, Mr. Gordon. Ever since we crossed the bridge, it's been bumper to bumper.

[Harman Gordon]

Well, then try an alternate route.

[Miller (Driver)]

This is the alternate route, sir, but it doesn't look very promising.

[Harman Gordon]

Oh, I'm going to be late. She doesn't like it when I'm late.

[Miller (Driver)]

No, sir.

[Harman Gordon]

I better call home. A capital idea. It's busy again.

[Miller (Driver)]

Yes, sir.

[Harman Gordon]

There's something wrong with this phone. The batteries are going haywire.

[Miller (Driver)]

Would you like to try mine, sir?

[Harman Gordon]

Yes. Yes. Yeah, pass it back to me.

[Miller (Driver)]

I'll dial if you like. What number?

[Harman Gordon]

You know the number. My apartment, of course. I'll give it here.

[Miller (Driver)]

Very good, sir.

[Harman Gordon]

Who is she talking to?

[Miller (Driver)]

Perhaps she's calling your office.

[Harman Gordon]

Or this phone isn't working either.

[Miller (Driver)]

What did you do, sir?

[Harman Gordon]

Throw it out the window? Cheap plastic contraption.

[Miller (Driver)]

But it was an excellent phone, sir. You bought it for me last week.

[Harman Gordon]

Then I'll buy you another one. Now get me home.

[Miller (Driver)]

Yes, sir. May I suggest the ice bucket is full? There's a bottle of your favorite scotch.

[Harman Gordon]

Not at this hour. It'll only slow me down. Have enough trouble keeping up with her as it is. Quite. Oh, flora, please don't be cross with me tonight. I'll be home, dearest, I swear to you, just as soon as I can.

[Miller (Driver)]

Of course you will, sir.

[Harman Gordon]

Such a lovely girl. I'm very fortunate, you know. Most certainly a man of my years.

[Miller (Driver)]

If I may say so. Mrs. Gordon is very lucky, too. I'm sure she appreciates how lucky.

[Harman Gordon]

Yes, yes, I'm sure she must. But sometimes I wonder what it's like for her alone all day at her age. Poor thing. Thing.

[Flora Gordon]

Hello, concierge? Yeah, this is Mrs. Gordon. Could you send up some chili cheese fries and a coke? Starving. Just put it on the tab. Don't worry, Harmon will pay. You see, we were going out to dinner, but now I don't know if he's ever gonna get here.

[Narrator (Stacy Keach)]

Picture of an unlikely lady in waiting and her knight in not so shining, shining armor. An aging man who leads his life, as thoreau said, in quiet desperation. Because harman gordon is a slave of love and has been most unfortunately for him, ever since his heart was captured by a woman some 40 years his junior. And because of this, he runs. When he should walk, he surrenders. When simple pride dictates he should take a stand, he pines away for the lost morning of his life when he should be enjoying the evening. In short, Mr. Harmon Gordon may not know it yet, but what he seeks most desperately is a fountain of youth. And who's to say he won't find it? Because this just happens to be in the twilight zone.

[Miller (Driver)]

And now, the twilight zone and our story, a short drink from a certain fountain. Starring adam west. With stacy keach as your narrator.

[Harman Gordon]

Flora. Flora dare.

[Flora Gordon]

Over here, romeo.

[Harman Gordon]

Oh, there you are, darling.

[Flora Gordon]

What happened to you?

[Harman Gordon]

Please accept my apologies. The traffic was backed up all the way from the office.

[Flora Gordon]

How come I'm not surprised you'd be late for your own funeral.

[Harman Gordon]

And what did you do today? Go shopping again?

[Flora Gordon]

Oh, I had a ball. An absolute swinging time.

[Harman Gordon]

I only ask in passing, my dear, because I'm concerned.

[Flora Gordon]

Oh, let's see. I had breakfast, and then I had lunch. And then I fired that stupid maid. And then I waited for you. Whether you realize it or not, big boy, that routine gets old fast. Very old.

[Harman Gordon]

I'm truly sorry.

[Flora Gordon]

Well, all in all, harmon, it was one of those days that makes you want to jump off a bridge. Earth to harmon. Do you read me?

[Harman Gordon]

There's still time, if you care to go out.

[Flora Gordon]

And do what?

[Harman Gordon]

Dinner at the tavern.

[Flora Gordon]

Whoop de do.

[Harman Gordon]

I thought you liked the food there.

[Flora Gordon]

How about the rainbow room?

[Harman Gordon]

Well, I suppose, if you prefer. It is awfully noisy there.

[Flora Gordon]

At least we could hear some music.

[Harman Gordon]

You want music? But I bought you all the latest recordings.

[Flora Gordon]

I want live music, any kind. I don't care, as long as I can dance.

[Harman Gordon]

Dance?

[Flora Gordon]

Matter of fact, I feel like dancing right now.

[Harman Gordon]

You do?

[Flora Gordon]

Will you dance with me, harmon?

[Harman Gordon]

Well, I. I suppose.

[Flora Gordon]

Come on, baby, let's see what you've got.

[Harman Gordon]

Let me take off my hat and coat.

[Flora Gordon]

Oh, come on, loosen up. Let it move. You feel that beat?

[Harman Gordon]

I'm trying, dear.

[Flora Gordon]

Move it, Harmon.

[Harman Gordon]

I'm doing my.

[Flora Gordon]

What's wrong with you?

[Harman Gordon]

I can't keep up.

[Flora Gordon]

Shake your booty. Now move your arms like this.

[Harman Gordon]

Flora, please be more careful.

[Flora Gordon]

It was just a piece of glass.

[Harman Gordon]

It was a very old piece of glass.

[Flora Gordon]

Worth what, 89 cents?

[Harman Gordon]

Hardly. This? This was a wedge wood.

[Flora Gordon]

Big deal. I'll buy you six more just like it. I'll even have the concierge gift wrap them for our anniversary. Then we can sit around and Play old records. Sounds like a hot night to me. What's that tune you like? Come to the Church in the Wildwood. Oh, a real toe tapper.

[Harman Gordon]

You keep forgetting that I'm no longer a varsity end.

[Flora Gordon]

Were you ever?

[Harman Gordon]

Furthermore, if my doctor had witnessed that little burst of activity just now.

[Flora Gordon]

That's always your excuse.

[Harman Gordon]

It's not an excuse. My heart.

[Flora Gordon]

If you keep telling me about your heart and all your aches and pains, Harmon, I'm gonna run out and get sick.

[Harman Gordon]

Would you mind putting that cigarette out, dear? I've asked you not to smoke.

[Flora Gordon]

Why not? Bad for your heart.

[Harman Gordon]

You might start a serious fire.

[Flora Gordon]

Honey, baby, one of these fine late evenings. That's exactly what I'm gonna do. Torch this whole mausoleum.

[Harman Gordon]

There are things here that mean a great deal to me.

[Flora Gordon]

Like what? That eyesore I knocked over.

[Harman Gordon]

It was. It was my mother's.

[Flora Gordon]

Oh, spare me.

[Harman Gordon]

It was worth very little except for the sentimental value. That's a word you may not understand, Florida sentiment. It means the capacity to love.

[Flora Gordon]

Listen, big boy, if I don't fill the bill anymore, just say it loud and clear. In case you Forgot, there are 14 flights a day to Reno and I'd love to be on any one of them. But if I am, you're gonna pay big time.

[Harman Gordon]

Flora, darling, I'm not angry. I simply wish that. Well, that you'd be a little more careful and considerate.

[Flora Gordon]

Somebody should have wished that five years ago when you and I signed the papers. I knew you were old, Harmon, but I didn't know how old. You better watch yourself, honey. If you ever take me to a swinging weekend in Egypt, I might just run away with a mummy. Know what I mean?

[Harman Gordon]

I'll just. Just wash up a bit and we can go out to dinner.

[Flora Gordon]

Oh, you do that. We'll make it your night, baby. We'll go someplace wild like the Elk's Lodge.

[Harman Gordon]

Flora. Flora, darling, what's happened to us?

[Flora Gordon]

That's it, Flora. I told you I don't want to talk about it anymore.

[Harman Gordon]

But, Flora, dear, I told you I was tired before we left.

[Flora Gordon]

Flora, dear, I told you I was tired. You're always tired.

[Harman Gordon]

It's not something I can control. These pills I take.

[Flora Gordon]

I didn't ask you to run the mile. I just asked you to go dancing or to the movies or someplace. Any place but here.

[Harman Gordon]

We went dancing on Monday evening. We've been to the movies twice this week. I only thought.

[Flora Gordon]

Thought what? That you could take my mind off what a miserable bore you are. Well, let me tell you something.

[Harman Gordon]

Honey, I only thought that. Well, just one evening. Only one. We could quietly watch television or read or have a conversation. It's a fine art, you know. The two of us with no one else around. Something to bring us closer together.

[Flora Gordon]

And you think that's all it takes? This is so like you. The Late, Late Show. After we have a game of chess.

[Harman Gordon]

That's not what I mean.

[Flora Gordon]

Sounds really great for senior citizens at the old folks home. But for your information, sweet, I don't have my reservation there yet. They won't let me in. I still have my own teeth.

[Harman Gordon]

Flora, try to be reasonable.

[Flora Gordon]

And don't tell me how you picked me out of a chorus line and introduced me to the finer things in life. Your idea of the finer things is to hold hands in church and listen to the organ music.

[Harman Gordon]

Flora, you know that isn't true.

[Flora Gordon]

Take my advice. Get yourself a nice glass of warm milk and curl up with an almanac. Whatever it takes to get you through the night. Because this time it ain't me. Babe.

[Harman Gordon]

Forgive me. I know it's late, but is Dr. Gordon still in the lab? He is. May I speak to him, please? This is his brother calling. Yes, I'll wait.

[Raymond Gordon]

Now then, Leonard.

[Assistant/Colleague]

Yes?

[Raymond Gordon]

Which monkey would you say is dominant in this group?

[Assistant/Colleague]

I guess the largest.

[Raymond Gordon]

Look again. The largest monkey is seated in the corner of the cage doing absolutely nothing. Doesn't seem very dominant now, does he?

[Assistant/Colleague]

You're right.

[Raymond Gordon]

Now, notice the small one in the center of the group.

[Assistant/Colleague]

The young one.

[Raymond Gordon]

He has the food and water to himself. No one's challenging his position.

[Assistant/Colleague]

But doesn't that go against the normal.

[Raymond Gordon]

Rules of social organization? Not where the young are concerned. And the cause of this new hierarchy, Leonard, is the Gordon vaccine. He's been injected for three weeks running. Now, his appearance has changed and the others can see it. They may not understand, but. But they respect it. They have to. They share a responsibility for his well being.

[Assistant/Colleague]

I see. Dr. Gordon, the implications. I mean, if this process could be extended to other species, other social structures, the results would be.

[Narrator (Stacy Keach)]

Just a moment.

[Raymond Gordon]

Yes? Julie? I thought I told you no more calls.

[Flora Gordon]

I'm sorry, sir, but it's your brother. He asked me to ring through.

[Raymond Gordon]

Harmon? Well, what do you know? Put him on.

[Flora Gordon]

Yes, Sir. Go ahead. Mr. Gordon?

[Raymond Gordon]

Raymond Harmon, is that you?

[Harman Gordon]

I hope I'm not interrupting.

[Raymond Gordon]

Are you all right? You sound a bit under the weather.

[Harman Gordon]

Fine. Look, Raymond, I was just wondering if. If you could come over. This evening.

[Raymond Gordon]

Tonight? Well, I don't know. I was just training a new assistant. How about Lunch tomorrow?

[Harman Gordon]

I'm afraid that won't too. I. I know it's late, but. But I'd like to see you.

[Raymond Gordon]

Why so mysterious? If it's something to do with your health.

[Harman Gordon]

No, no, no, everything's all right. Everything's fine. It's just that. Well, I'd like to talk to you.

[Raymond Gordon]

I see.

[Harman Gordon]

Raymond, please, please come over. I'm at my wits and I must talk to you.

[Raymond Gordon]

Very well, then.

[Harman Gordon]

Thank you. Raymond. You don't know how much this means to me.

[Raymond Gordon]

Relax, old boy. I'll be there as soon as I lock up.

[Assistant/Colleague]

What is it, doctor? Nothing serious, I hope.

[Raymond Gordon]

No, no, nothing serious. But if I'm not mistaken, there may be a slight problem of social organization in my own family.

[Harman Gordon]

Drink all right?

[Raymond Gordon]

Perfect.

[Harman Gordon]

Good. That's good.

[Raymond Gordon]

You look tired, Harmon.

[Harman Gordon]

Do I?

[Raymond Gordon]

Yes, Harmon. Tired and depressed. Now, do you want to tell me about it or shall we sit here and play 20 questions for the rest of the evening?

[Harman Gordon]

Been pretty rushed the last week or so.

[Raymond Gordon]

Flora asleep?

[Harman Gordon]

Yes, yes, she went to bed about an hour ago. She asked. She asked to be remembered.

[Raymond Gordon]

Oh, she'll be remembered.

[Harman Gordon]

I'm not sure I like the sound of that.

[Raymond Gordon]

Merely an observation.

[Harman Gordon]

You know, you really oughta. Oughta get to know her better, Raymond. She's really a fine girl.

[Raymond Gordon]

Did I say otherwise, Harmon?

[Harman Gordon]

No, but I know you two haven't been exactly close as a brother and sister in law should be.

[Raymond Gordon]

Harmon, would you do me a favor?

[Harman Gordon]

Anything.

[Raymond Gordon]

Two favors, actually. First of all, don't sell me on Flora. Don't even try. You know what I think of her. And this isn't backbiting now. This is what I've told her to her face, so I have no compunctions about saying it aloud.

[Harman Gordon]

Saying what?

[Raymond Gordon]

Let me finish. I could forgive her her appetites, Harmon. I could forgive the fact that she's made out of asbestos and doesn't have a heart in her body.

[Harman Gordon]

You're being unfair.

[Raymond Gordon]

But I cannot forgive her for what she's done to you. She's turned you into a fucking frightened, quaking damned fool who dotes on her, gives into her whims and runs after her like a poodle. That's item one.

[Harman Gordon]

Raymond, please.

[Raymond Gordon]

My second favor is simply that from now on, after you've had your battles, you not call me at odd hours of the night.

[Harman Gordon]

I don't do this often.

[Raymond Gordon]

Once is often, twice is endless. Harmon, we're very close, as brothers go. Don't you think so?

[Harman Gordon]

Yes. Despite the difference in our ages.

[Raymond Gordon]

Maybe that's why You've always been my big brother. And you know there isn't anything in this world that I wouldn't do for you if it's in my power. But you can't expect me to run over here like a Saint Bernard every time you get frozen halfway up the mountain.

[Harman Gordon]

You make me ashamed.

[Raymond Gordon]

Don't be. She's a predatory little alley cat. And she's always been that way. I knew it the first time I saw her. But I can give you only so much solace, so much sympathy, and then it begins to stick in my craw. Now, what is it you want tonight? Just. Just someone to while away the hours with you. Or is there something more specific?

[Harman Gordon]

The things you've been working on at the institute.

[Raymond Gordon]

Go on.

[Harman Gordon]

The cellular injections. You've been successful with them, haven't you?

[Raymond Gordon]

Oh, no. You're out of your mind.

[Harman Gordon]

Desperate. I am out of my mind. I'm assuredly not.

[Raymond Gordon]

But you must be if you're thinking.

[Harman Gordon]

You'Ve made animals younger. I've read your paper. You've injected them with your fluid and they've become young again. Isn't that true?

[Raymond Gordon]

Animals indeed. Guinea pigs, white mice, hamsters.

[Harman Gordon]

You've been able to rejuvenate glands, organs, sometimes the entire cellular structure.

[Raymond Gordon]

But we haven't even scratched the surface yet, Harman. We're stumbling along in the dark.

[Harman Gordon]

I want you to inject me.

[Raymond Gordon]

And I repeat, you must be out of your mind. We don't have a remote idea of what's involved here.

[Harman Gordon]

The research is very impressive.

[Raymond Gordon]

Alright. We've managed to rejuvenate a handful of small animals and rodents, but we're 20 years away from trying this on human beings.

[Harman Gordon]

Why?

[Raymond Gordon]

Are you serious? We're dealing in the basic building blocks of life, Harmon. We don't have the remotest idea of how much damage might result in the long term. We don't know what we're doing to the basic metabolism of the body or the mind. God only knows what effect this has on the brain. Harmon, we're winging this. And we've killed as many as we've saved.

[Harman Gordon]

You said you'd do anything for me.

[Raymond Gordon]

Anything. Within reason.

[Harman Gordon]

This is within reason. I'm close to the end of my rope, Raymond. I've reached a point where it really matters very little to me if I live or die.

[Raymond Gordon]

Surely not.

[Harman Gordon]

I want you to test this serum on me. Short of that, I can't bear getting any older.

[Raymond Gordon]

Aside from this, this pronounced death wish of yours, how would you like to spend the rest of your Life as a mutated freak, or a blithering idiot. Or a mindless shell. This is not only possible, Harmon, it's highly probable we couldn't control and experiment with a human being. It'd be human, catch as catch can.

[Harman Gordon]

I not only would take the risk, I'd welcome it.

[Raymond Gordon]

The answer is no.

[Harman Gordon]

You don't know what you're saying.

[Raymond Gordon]

Nor do you.

[Harman Gordon]

Then it's the same as a death sentence.

[Raymond Gordon]

Exactly right. I wouldn't try experimenting on a strange bum picked up off the street, let alone my own brother. Please. The answer is a firm, irrevocable. No. No.

[Harman Gordon]

In that case, I bid you good night, Raymond. And I thank you for coming. I trust you can let yourself out.

[Raymond Gordon]

Where are you going?

[Harman Gordon]

Out onto the balcony. I'd like to be alone.

[Raymond Gordon]

Harmon.

[Harman Gordon]

I said I'd like to be alone. To collect my thoughts.

[Raymond Gordon]

Bear this in mind. As a physician, I can attest to the effects on the human body of landing on a concrete sidewalk after a 500 foot fall. It isn't pretty.

[Harman Gordon]

And as a man, can you attest the effects on the human heart? When a man is deeply, dedicatedly, totally in love with a woman who can't stand the sight of him. The sound of them, the look of them. Have you any idea what kind of life this is for me?

[Raymond Gordon]

I know what kind of life it could be and. And should be. You're a bright, charming, wealthy, discerning guy. And you've been warped and hammered out of shape by a flashy little piece of baggage who isn't fit to wait on your table.

[Harman Gordon]

Whatever she is and whatever she isn't, she's the only thing on God's earth that I care about. Do you know what it's like to believe your life is over? And then suddenly one day she. To walk into a room and feel it begin all over again? To see the sun in the sky even though it's the dead of winter. To lie awake at night, flushed with anticipation for a brand new day. Because she will be there.

[Raymond Gordon]

Don't do this to yourself.

[Harman Gordon]

Listen to me. This is important. It matters. Ever since I was a young man, I wish for someone who'd let me show her the world, discover it with me. Because without anyone to share it with, the world might as well be buried under six feet of snow. Someone who'd be there, Ray. That's all. I wouldn't ask much in return. A kind word once in a while. She still has a love of life, believe me. Only I can no longer share it with her. Because I'M old now and getting older. The days run away and leave me further and further behind. And now it's too late. I beg of you, Ray, if you've ever cared for me, your brother, give me this one last chance. Give me a chance to save myself.

[Raymond Gordon]

And if I don't?

[Harman Gordon]

Then you can conduct one final experiment. We'll find out who can reach the sidewalk first. A man in an elevator or a free falling body.

[Raymond Gordon]

Oh, my dear God, you're serious.

[Harman Gordon]

Good night, Raymond. I'm getting tired now.

[Raymond Gordon]

Let me think about this. Give me an hour or two. Will you be up?

[Harman Gordon]

Are you coming back?

[Raymond Gordon]

I have to think first. Tell me you'll wait to hear from me. Give me your word.

[Harman Gordon]

All right, but don't be long. Soon now, I'll need to rest. Would you like me to sit down?

[Raymond Gordon]

Yes. Roll up your sleeve.

[Harman Gordon]

Easily done. I want to thank you for coming back.

[Raymond Gordon]

Don't thank me yet. I have to swab your arm. You'll feel a slight sting.

[Harman Gordon]

Is that what you tell your patients sometimes? That's what the school nurse used to say when we were boys, remember? This won't hurt. Just a little sting.

[Raymond Gordon]

I remember.

[Harman Gordon]

Then she'd give us each a lollipop.

[Raymond Gordon]

No candy this time. I'm all out.

[Harman Gordon]

Do it now, Raymond.

[Raymond Gordon]

God help me, but you don't leave me much choice. There.

[Harman Gordon]

That's it.

[Raymond Gordon]

That's it.

[Harman Gordon]

All of it.

[Raymond Gordon]

It doesn't take much. A few ccs and I may expect. What you may expect a miracle. But it's unlikely you'll get it. I want you to go to bed. Don't go to work tomorrow. Tell Flora you're taking the day off. I'll be back first thing in the morning. I'm keeping a very close check on you for the next few days.

[Harman Gordon]

And when might I expect some. Some change?

[Raymond Gordon]

Usually within six hours. That's when the first physical changes occur. As to mental changes, none of the rats or guinea pigs have articulated to us the exact feeling.

[Harman Gordon]

I'll be the first.

[Raymond Gordon]

You'll be the first? Making the assumption, of course, that you'll be alive.

[Harman Gordon]

Oh, I'll be alive, all right. Do you want to know something? I shall not only survive. I'm going to become young again. I feel it. I sense it.

[Raymond Gordon]

I wonder if she has any idea what she's wrought. Even the thinnest suspicion.

[Harman Gordon]

Don't blame her. It was my decision.

[Raymond Gordon]

I make a promise to you, brother, that if you don't survive or if you're damaged in any way, I'm going to Take it out of her skin piece by piece. She's going to donate a pint of blood for everyone she's bled out of you. This is no medical hypothesis. It's an oath.

[Harman Gordon]

Relax, will you? I'm fine.

[Raymond Gordon]

Go to bed now, Harmon. I'll see you in the morning.

[Harman Gordon]

Oh.

[Flora Gordon]

That you, Harbin?

[Harman Gordon]

Yes, Flora. Go back to sleep.

[Flora Gordon]

What are you doing in front of the mirror?

[Harman Gordon]

Just looking at myself, dear.

[Flora Gordon]

Well, don't do that. You'll have a nightmare. Time to call it a day, lover boy. Are you gonna stay up all night?

[Harman Gordon]

I like the sound of that. Up all night. You know, I just might.

[Flora Gordon]

Don't take all the covers when you get in bed. I'm trying to sleep.

[Harman Gordon]

Of course you are, Flora. Pleasant dreams.

[Flora Gordon]

I'm coming.

[Raymond Gordon]

Morning, Flora.

[Flora Gordon]

Why, if it isn't the quack himself. What do you want?

[Raymond Gordon]

Where's Harmonious?

[Flora Gordon]

He was last seen pounding a pillow. Some fun, if you ask me.

[Raymond Gordon]

Is he all right?

[Flora Gordon]

What is this? ESP or something?

[Raymond Gordon]

I asked you a question. How is he?

[Flora Gordon]

He's okay. Boring, but okay.

[Raymond Gordon]

I want to see him.

[Flora Gordon]

Then walk right in that room over there and blow a bugle. Maybe that'll get him going.

[Raymond Gordon]

He needs his sleep. I'll wait for him to get up.

[Flora Gordon]

You do that. Take off your stethoscope and make yourself at home.

[Raymond Gordon]

You haven't talked to him this morning?

[Flora Gordon]

I haven't talked to anyone. Not until you started pounding on the door. Do you know what time it is?

[Raymond Gordon]

What about last night? Did you talk to him last night?

[Flora Gordon]

What difference does it make? He never has more than two words to say.

[Raymond Gordon]

But he sounded lucid to you.

[Flora Gordon]

Look, pally, I'm not the night nurse. I think you're in the wrong ward. Besides that, you bore me almost as much as Harmonious.

[Raymond Gordon]

Now listen to me, you little.

[Flora Gordon]

Get your hands off of me, Frankenstein.

[Raymond Gordon]

Harmon, how do you feel?

[Harman Gordon]

I'm not sure.

[Flora Gordon]

Harman, how do you feel? Poor little Harmon. Is that you, Harmon?

[Raymond Gordon]

Take your hands away from your face.

[Harman Gordon]

Let's open the curtains and throw some light on the subject.

[Flora Gordon]

Your face.

[Harman Gordon]

What's wrong with it?

[Raymond Gordon]

Look at your. Your reflection in the window glass.

[Harman Gordon]

Oh, well, what do you know? Incredible what a good night's sleep will do for a man. Isn't it? Absolutely incredible?

[Flora Gordon]

Harmon. Harmon, what's happened to you to the bags under your eyes, the lines? Are you wearing makeup or something?

[Harman Gordon]

Makeup? No makeup, my dear. Just a few hours of sound, refreshing sleep.

[Flora Gordon]

You look. You look different.

[Harman Gordon]

Do I?

[Flora Gordon]

You look wonderful. You look so. So young. What have you done to yourself?

[Harman Gordon]

Ask my brother over there.

[Raymond Gordon]

Don't ask his brother. His brother doesn't know. How do you feel, Harmonious?

[Harman Gordon]

How do I feel? Like $10 million, tax free, that's how I feel. You know what I'm gonna do for you, Ray? I'm going to let you take me on a tour. They can write you up in all the medical journals.

[Raymond Gordon]

That won't be necessary.

[Harman Gordon]

But first you'll have to give me four weeks. Flora and I are going to take a little ocean trip. Would you like that, my dear?

[Flora Gordon]

Oh, an ocean trip. Oh, you boy bunny rabbit, you. Oh, Harmon, darling, when do we go?

[Harman Gordon]

I've given it some thought. I think we ought to check out whatever sails tonight. Unless you'd rather fly, Honey.

[Flora Gordon]

Baby, I am flying. Boat, plane, who cares? Oh, I don't know what's happened to you, but I'll clue you, big daddy. I don't even care. Whatever it is, I like it. I like it very much.

[Raymond Gordon]

I don't think you'd better plan on any trips, this least for a while yet.

[Flora Gordon]

Oh, blow it out your black bag. I'm gonna get fixed up for you. Honey, don't go away. I'll be right back.

[Harman Gordon]

Where do you want to go? Australia, Fiji, The Hawaiian Islands? Where?

[Flora Gordon]

You name it, honey, and I'm there.

[Raymond Gordon]

I'm serious, Harmon. You can't go running off. Not now.

[Harman Gordon]

Just look at it. My reflection in the glass.

[Raymond Gordon]

Please sit down.

[Harman Gordon]

No, wait. What? I don't believe it. I'm still changing. My hair is black again. Jet black. What's this? A little mustache. And it's black, too. I want Flora to see it.

[Raymond Gordon]

Not just yet.

[Harman Gordon]

But this is astounding. I haven't worn a mustache since.

[Raymond Gordon]

Since you were 30 years old. Which is precisely the age you look now. At least at this moment.

[Harman Gordon]

This is fantastic. This is absolute, absolutely fantastic. I'm getting younger. What? Every 20 minutes. When I woke up this morning, I look 45. Now I look 30. If I keep going at this rate, I may get drafted again. What's the matter? Don't you get it?

[Raymond Gordon]

That's just it. I do. If you keep going at this rate, I think we're in deep trouble.

[Harman Gordon]

Raymond, this is beyond conception. You can't imagine what it's like. I feel. I feel lost. Light all over. I could breathe again. No fatigue, no heavy, dull tiredness. I feel as if. As if I'd been lugging a case of concrete on my back and somebody just cut it away.

[Raymond Gordon]

Let me see your face.

[Harman Gordon]

I don't Know whether you realize this or not, but you've just altered not only my face, but the face of mankind. You've written a whole new chapter in medical history.

[Raymond Gordon]

I said, show me your face.

[Flora Gordon]

Face.

[Harman Gordon]

Where's my mustache? What's going on?

[Raymond Gordon]

I wish I knew. But more than that, I wish I knew when it would stop or if it will.

[Flora Gordon]

Why don't I make us some coffee now and we can. Harmon. Harmon, you've changed again.

[Harman Gordon]

I know. I'm. I'm even younger.

[Flora Gordon]

Oh. What's going on? What is going on here, Raymond?

[Harman Gordon]

It's starting again. I feel it. I feel it happening inside. I still feel it.

[Raymond Gordon]

You'd better get back to bed.

[Harman Gordon]

Yes. Yes, I think I will. I think I'll go back to bed now.

[Flora Gordon]

Harmon, I want you to tell me what's going on. I don't like it. I don't like it one bit.

[Harman Gordon]

Let me go, please.

[Flora Gordon]

What's happening to you? Your robe. It's too big. Why? Harmon, take your hands away from your face. You've got to tell me what.

[Harman Gordon]

No.

[Flora Gordon]

Flora. Oh, no.

[Raymond Gordon]

Let him alone. Flora. Let him have some privacy.

[Flora Gordon]

Well, are you gonna tell me now?

[Raymond Gordon]

Sit down. Flora.

[Flora Gordon]

What is it? What's happened?

[Raymond Gordon]

I've been working on a research project.

[Flora Gordon]

What kind of project?

[Raymond Gordon]

A cellular serum. Up until last night, I had only tested it on animals. Harman insisted I try it on him.

[Flora Gordon]

What does it do?

[Raymond Gordon]

As far as I can tell, it stops the body's aging process. Beyond that, it will, in some cases, rejuvenate cells and tissues. In layman's terms, it might make a person younger.

[Flora Gordon]

Younger?

[Raymond Gordon]

Let me have one of those cigarettes, will you?

[Flora Gordon]

How much younger?

[Raymond Gordon]

We were never able to ascertain how much once the serum took effect, or how long the process would take. But now I believe we know.

[Flora Gordon]

I don't understand.

[Raymond Gordon]

I suppose there are variables to consider, but in the case of Harman, the process took approximately 10 hours.

[Flora Gordon]

You mean it's over?

[Raymond Gordon]

That's right. The changes have finally stopped.

[Flora Gordon]

I want to see him.

[Raymond Gordon]

You shall. But you're not to wake him. He's in shock, and his sleep is precisely what he needs.

[Flora Gordon]

I want to see him right now.

[Raymond Gordon]

Do you? Suddenly. So solicitous. Very touching.

[Flora Gordon]

Don't you try to stop me, Flora.

[Raymond Gordon]

As of right now, as of this very moment, you'll have some adjustments to make.

[Flora Gordon]

What are you talking about? I want to see Harman.

[Raymond Gordon]

From this point onward, you'll have to readjust your entire life.

[Flora Gordon]

This is some kind of trick. I want to see my Husband.

[Raymond Gordon]

Look at me and listen.

[Flora Gordon]

Let me go.

[Raymond Gordon]

Harmon is sleeping, but when he wakes up, he's going to need your help.

[Flora Gordon]

Help? What kind of help? Let me see him.

[Raymond Gordon]

I'll let you see him, but I think you'd best get oriented first.

[Flora Gordon]

I don't need anything from you.

[Raymond Gordon]

Are you beginning to understand?

[Flora Gordon]

What is that in there?

[Raymond Gordon]

The ground rules have changed.

[Miller (Driver)]

The rules.

[Raymond Gordon]

The world no longer begins and ends with Flora. It isn't just Flora's wishes, Flora's temperament, Flora's capacity for anger, Flora's needs. Now it's something else. Something very different. Take a good long look.

[Flora Gordon]

I don't want to.

[Raymond Gordon]

That's very nice, but you have no choice. You've got a responsibility and you're going to honor it. You're going to take care of Harman now. He's going to need you rather desperately. Now look at what's sleeping in your bed. There, there, little fellow. Go back to sleep. The world isn't such a bad place, you'll see. Oh, Flora. If you're leaving, my dear, make note of the fact that the clothes you have on are all that you take with you.

[Flora Gordon]

You're out of your mind if you think I'm gonna spend the rest of my life taking care of that grubby, thumb sucking little baby in there.

[Raymond Gordon]

That's precisely what you're going to do. Short of that, Flora, my dear, you leave the premises as you came, unadorned. The furs, the jewelry and everything else my brother gave you that remains here.

[Flora Gordon]

You can't make me stay here and neither can he. There's other fish in this ocean, mister.

[Raymond Gordon]

Indeed there are. But you're not married to them. You happen to be married to my brother.

[Flora Gordon]

That's crazy.

[Raymond Gordon]

Not crazy, Flora. Bizarre, perhaps, but very much a fact. And if I find out that he's left alone with maids, governesses, nurses, you're going to find yourself back on the chorus line.

[Flora Gordon]

What?

[Raymond Gordon]

Do you understand, Flora? He's to get attention now. The attention he deserves. I don't mean intermittent sporadic moments between nightclubs and beauty parlors. I mean morning till night.

[Flora Gordon]

Won't he. Won't he grow.

[Raymond Gordon]

Yes, as of right now, he will grow a little bit older each day, just as any little boy. It is a fair, isn't it? The two poles of life were responding is most needed. But it's the second one that's often shortchanged. You'll experience the process together. He'll be growing older, and so will you. Until you're both truly old. A little poetic justice. Don't you think that now you should finally have to drink from the same cup? That you should have to watch his youth encroach on your age? And the most anguished part of it, and the most illogical, is that youth always defeats age and then despises it for losing. Never realizing, my dear, never giving it a thought, that when tomorrow comes, there's always someone younger just outside the door, waiting to come in. Forever waiting to come in.

[Flora Gordon]

But everything's. Everything's on his side now.

[Raymond Gordon]

You see, my dear, as one gets older, see how wise they get.

[Harman Gordon]

Shh.

[Narrator (Stacy Keach)]

Harman Gordon is sleeping. He's taking a little nap. He'll wake up soon and impatiently demand a lollipop or a stuffed toy or some other form of attention. Youth is like that. It demands. If you don't believe it, ask Flora. Ask her any day of the ensuing weeks of her life as she takes notes during the coming years and realizes that the worm has turned, the oppressed has become the persecutor, and youth has taken over. It's simply the way the calendar crumbles in the Twilight Zone.

[Miller (Driver)]

More from the Twilight Zone after this.

[Narrator (Stacy Keach)]

You are about to enter another dimension, a dimension not only of sight and sound, but of mind. A journey into a wondrous land of imagination. Next stop, the Twilight Zone. Hi, this is Stacy Keach. I'd like to take a moment to tell you about our Twilight zone website at twilightzoneradio.com at twilightzoneradio.Com you'll find the latest information on these Twilight Zone radio dramas, including behind the scenes photographs, plus the newest product releases, trivia contests, ways to contact us, other Twilight Zone related info and merchandise, plus links to other fascinating websites. So make your next stop twilightzoneradio.com Visit.

[Raymond Gordon]

Twilightzoneradio.Com to purchase these Twilight Zone radio dramas on cassette and CD or call toll free 1-866-989-zone. That's 1-866-9663.

[Miller (Driver)]

A short drink from a Certain fountain, starring Adam west with Stacy Keach as your narrator, was adapted for radio by Dennis Etchison and based on a script by Rod Serling from an idea by Lou Holtz. Heard in the cast were Meg Tholkin, Christian Stolte, Doug James and Lynn Foley. To learn more about the Twilight Zone radio dramas and to obtain audio cassettes and CDs of these programs, visit our website at twilightzoneradio.com the producers of the Twilight Zone wish to thank CBS Enterprises, Carol Serling, Dennis Etchison, Dick Brescia Associates Claire Simon Casting Paul Patch, Terry Jennings, the American Forces Radio and Television Service, our sponsors and our radio affiliates for helping make this series possible. This copyrighted radio series is produced and directed by Carl Amari and Roger Wolsky for Falcon Picture Group. Doug James Speaking.