Repeat Performance

On New Year's Eve 1946, Sheila stands over Barney's dead body with a gun in her hand. She panics and flees to a party, seeking help from friends. There, William suggests she should see John Friday, a theatrical producer, for advice.

At the party, William advises Sheila to consult John Friday, a theatrical producer who might understand what happened. He hints the past could be altered if she follows his plan. This suggestion seeds the journey through the timeline.

She goes to Friday's apartment and ascends the stairs, wishing she could relive 1946. William suddenly disappears, and Sheila is transported back to New Year's Day 1946. The new timeline begins as she arrives in Friday's world.

In Friday's apartment, she decides not to perform in Paula Costello's Saying Goodbye in London, a choice that leaves Friday baffled. The decision marks an early interference with the original timeline. The new timeline starts diverging from the first.

She returns to her apartment and joins a New Year's Day breakfast with Barney and friends, including Friday. Sheila warns William to avoid Eloise Shaw, who is fated to be committed to an asylum. The morning scene blends domestic warmth with unstable timelines.

Paula Costello crashes the breakfast and flirts with Barney, triggering a sharp argument with Sheila. Barney leaves to go out drinking, escalating the tension between the couple. Paula's arrival threads a dangerous new pattern into the relationship.

The next morning, Barney comes home drunk, and Sheila begins to question whether fate can really be altered. The sense of choice clashes with the inevitability hinted by the earlier events. The fragile new timeline starts to show its cracks.

To keep Barney from Paula's influence, Sheila travels with him to California. There, Barney reads Paula's new play Saying Goodbye, which Sheila recalls performing in the original timeline. She refuses to perform again and angers Barney, prompting Friday's intervention.

During rehearsals, Barney arrives with Paula, and Sheila presses to rewrite the final act to alter the ending. Friday arrives and persuades her to perform, linking the lovers' fate to the stage. The tension between art, love, and fate mounts.

The play continues its yearly run in New York, while Barney and Paula's affair deepens. At a Thanksgiving party, Barney drinks, insults Sheila, and kisses Paula on the balcony. He loses his balance and crashes near the railing, leaving him paralyzed.

Barney's injury forces Sheila to quit the production and devote herself to his recovery. The crisis deepens their dependence on one another and slows the play's momentum. The personal tragedy underscores how choices ripple across all timelines.

Eloise tells Sheila that William has been committed to an asylum. William recalls Sheila's earlier insistence on reliving 1946 and remembers that he walked out of the asylum on New Year's Eve. His memory hints that time travel is real, but fate remains stubborn.

On Christmas Eve, Sheila returns to reprise her stage role, leaving Barney alone with the housemaid. Paula arrives at their apartment, and Barney contemplates leaving with her for London. Sheila faces the threat of losing Barney to Paula again.

On New Year's Eve, Sheila finishes her performance and asks Friday to accompany her to the apartment. She receives a note from Barney saying he left for Paula and can walk again with a cane. On a ship, Barney confronts Paula in her stateroom, but she rejects him.

Barney returns to the apartment and confronts Sheila, intent on killing her. As he raises his fist, William shoots him dead, and is arrested by the police. William recognizes that while some actions can be altered, the end results remain the same.