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After a carefree man loses his job, his car and his home in the same day, he meets up with his "guardian angel" who tells him they will start the day over again as a success.
Friday June 03rd, 1960
Mr. Bevis loses his job, wrecks his car and gets evicted from his apartment, all in one day. He then meets up with his guardian angel, J. Hardy Hempstead who assists him. Bevis starts the day over, except now he is a success at work, his rent is paid on time and his car is now a sports car instead of a jalopy. However, in order to keep this new life, Bevis must make some changes: No loud clothes, no zither music and no longer can he be the well-liked, neighborhood goofball. Realizing these are the things that truly make him happy, he asks to get his old life back...Read the full recap
This is one of a few episodes that feature a different opening title sequence the camera zooms in on a large, live human eye with narration.
Rod Serling originally intended this episode as a pilot for a series entitled Bevis. He envisioned Burgess Meredith in the title role, but when Meredith turned it down, Serling decided to film it as a one-shot Twilight Zone episode with Orson Bean as Bevis.
Charles Lane is best known for his role as Homer Bedloe, the scheming railwayman in TV's Petticoat Junction and for his appearance in the movie classic It's A Wonderful Life as Mr. Potter's tax collector.
Florence MacMichael also appeared in Mister Ed as Winnie Kirkwood, [1963-1966].
Henry Jones was a veteran actor on hundreds of TV shows and movies and won a Tony award in 1958 for Best Supporting or Featured Actor (Dramatic) for Sunrise at Campobello.
Orson Bean is a veteran actor who may be best known for his role in Dr. Quinn, Medicine Woman as Loren Bray.
Vito Scotti returns in "The Gift" and had a reoccurring role in The Flying Nun as Officer Plamento.
William Schallert is a veteran character actor who had roles in The Many Loves of Dobie Gillis as teacher, Mr. Leander Pomfritt but is best known in The Patty Duke Show as Martin Lane.
Narrator: In the parlance of the twentieth century, this is an oddball. His name is James B.W. Bevis, and his tastes lean toward stuffed animals, zither music, professional football, Charles Dickens, moose heads, carnivals, dogs, children, and young ladies. Mr. Bevis is accident prone, a little vague, a little discombooberated, with a life that possesses all the security of a floating crap game. But this can be said of our Mr. Bevis: without him, without his warmth, without his kindness, the world would be a considerably poorer place, albeit perhaps a little saner. Should it not be obvious by now, James B.W. Bevis is a fixture in his own private, optimistic, hopeful little world, a world which has long ceased being surprised by him. James B.W. Bevis, on whom Dame Fortune will shortly turn her back, but not before she gives him a paste in the mouth. Mr. James B.W. Bevis, just one block away from the Twilight Zone.
James B.W. Bevis: Bartender?
Bartender: You alright, buddy?
James B.W. Bevis: Would you kindly tell me what are the 'ingredients' of this drink?
Bartender: Well, you said you wanted to get fortified, pal. I put everything in there but atomic energy.
James B.W. Bevis: Does that explain why I can see him in the mirror but I can't see him in the booth?
Bartender: See who?
James B.W. Bevis: Whom, objective case.
J. Hardy Hempstead: Quite right, Mr. Bevis. Whom, objective case.
Narrator: Mr. James B.W. Bevis, who believes in a magic all his own. The magic of a child's smile, the magic of liking and being liked, the strange and wondrous mysticism that is the simple act of living. Mr. James B.W. Bevis, species of twentieth-century male, who has his own private and special Twilight Zone.
Upon first meeting Hempstead in the bar, Mr. Bevis asks "And who might you be?" Hempstead corrects him, saying "Whom. Objective case." In fact, Mr. Bevis already had it right.
When all of the neighborhood children push Bevis's car for him, one of them looks directly into the camera.
In the early scene when Bevis tumbles down the stairs of his apartment, a little boy watches and then holds his hands over his eyes. In the next shot, the boy is shown walking outside, but then the camera cuts and he is shown back inside, his hands still over his eyes.