Stopped at a gas station outside of his boyhood hometown, burnt-out executive Martin Sloan decides to explore the town, which surprisingly has not changed at all in twenty-some years.

Carl Lanser finds himself on a transatlantic voyage of the cargo liner S.S. Queen of Glasgow, in 1942, not knowing much about himself or how he got there, but knowing volumes about submarine warfare.

Rod Serling does an admirable job translating the original story by Henry Kuttner and C. L. Moore to the small screen. The story’s two main incidents (the scissors and the shoes) come through with little change. In this version, the curious shopkeeper has become a street vendor, and the man who’s interested in the vendor’s goods is now a darker lowlife than the original newspaperman. Also, the science fiction aspect has been replaced by psychic precognition, solidly in the realm of fantasy, but not quite into weird fiction.

World War I pilot Terry Decker flies through a white cloud and emerges 42 years later, landing at an American Air Force Base in France, at which point he proves that a Nieuport 28 biplane is capable of doing a causal loop just as well as he can do an Immelmann Turn.

Back in the 1880s, just after a man without conscience is dropped from a lone tree with a rope around his neck, a scientist pulls him into 20th-century New York City.

Serling wrote this script based on a George Clayton Johnson’s bare bones, present-tense treatment for a TV script, complete with an indication of where the commercial break should go. For this episode, Serling filled in the flesh and cut the fat from a bare bones, present-tense treatment by George Clayton Johnson. The treatment appeared in Johnson’s 1977 retrospective collection of scripts and stories, and in Volume 9 of Serling’s collected Twilight Zone scripts, Johnson commented that “Rod took my idea and went off to the races with it. He had a remarkable knowledge of what would and wouldn’t work on television, and he took everything that wouldn’t work out of ‘Execution’. He worked like a surgeon; a little snip here, a complete amputation over there, move this bone into place, graft over that one. When he was done, my little story had grown into a television script that lived and breathed on its own.” Serling also added a nice twist at the end that, for us, warranted the TV episode an Eloi Honorable Mention.
Rod Serling wrote this script based on a 1960 Twilight Zone episode of the same name, but I’m uncertain whether the story was published before Johnson’s 1977 retrospective collection.

On a snowy November evening during his train commute home from New York City, John Daly falls asleep and, perhaps in a dream, sees a simpler life with bands playing in the bandstand, people riding penny farthings through the park, and kids fishin’ at their fishin’ holes the 1888 summertime of idyllic Willoughby.

The trouble with aging actor Booth Templeton is that he sees life as useless even decades after his young wife died. The answer to his trouble may lie in the people he meets—including his dead wife, Laura!—in what appears to be his hangouts from some thirty years ago. Actual time travel or something more fantastical? You be the judge.

Petty thieves Chet and Paula Diedrich are frustrated, angry, and in a bickering mood when they find nothing but cheap junk in the 400-lbs. of stuff they lifted from a curios store in the middle of the night, . . . until that boxy looking camera with the indecipherable label—dix à la propriétaire—produces a photo of the immediate future.

An engineer in the 1960s slips back to the night of Lincoln’s assassination.

Back in the Old West, just after outlaw Jason Black is dropped from a lone tree with a rope around his neck, two scientists pull him into the 20th century. The story isn’t your typical short story; instead, it’s a treatment that Johnson presented to Rod Serling for a Twilight Zone episode that aired on 1 April 1960.