Original subtitles

[eerie music]

(male presenter, off) THERE IS A FIFTH DIMENSION

BEYOND THAT WHICHIS KNOWN TO MAN.

IT IS A DIMENSION AS VAST AS SPACE

AND AS TIMELESS AS INFINITY.

IT IS THE MIDDLE GROUND BETWEEN LIGHT AND SHADOW,

BETWEEN SCIENCE AND SUPERSTITION,

AND IT LIES BETWEEN THE PIT OF MAN'S FEARS

AND THE SUMMIT OF HIS KNOWLEDGE.

THIS IS THE DIMENSION OF IMAGINATION

IT IS AN AREA WHICH WE CALL THE TWILIGHT ZONE.

WELL, HELLO THERE.

HOW ARE YOU?

YOU'RE NEW HERE, AREN'T YOU?

YOU'RE VIS ITING, IS THAT IT?

JUST VIS ITING SOMEON E IN THE BU I LDING?

YOU'RE A QU I ET ON E, AREN'T YOU?

NOT MUCH TO SAY, IS THAT IT?

WELL, I'M KIND OF AN EXPERT ON CH I LDREN.

QU I ET ONES, NO ISY ONES. ALL KINDS.

I TEACH SCHOOL.

I KNOW.

I KNOW ALL ABOUT YOU.

YOU DO?

WELL, HOW ABOUT A CU P OF HOT CHOCOLATE?

THAT'S THE FIRST THING I USUALLY MAKE

WHEN I COME HOM E FROM SCHOOL.

A CU P OF N ICE HOT CHOCOLATE.

I KNOW.

BUT YOU DON'T LIKE MARSH MALLOWS, DO YOU?

[suspense music]

YOU'RE RIGHT, I DON'T.

I DON'T EITHER.

HERE WE ARE.

WE OUGHT TO TELL YOUR MOTH ER WHERE YOU ARE.

WE WOULDN'T WANT HER TO BE WORRI ED.

THAT WON'T BE N ECESSARY.

WELL, I'LL J UST PUT THE M I LK ON.

I'M IN NO HURRY.

(male presenter, off) MONTH OF NOVEMBER, HOT CHOCOLATE

AND A SMALL CAMEO OF A CHILD'S FACE

IMPERFECT ONLY IN ITS SOLEMNITY.

AND THESE ARE THE IMPROBABLE INGREDIENTS TO A HUMAN EMOTION.

AN EMOTION, SAY, LIKE FEAR.

BUT IN A MOMENT, THIS WOMAN, HELEN FOLEY,

WILL REALIZE FEAR.

SHE WILL UNDERSTAND WHAT ARE THE PROPERTIES OF TERROR.

A LITTLE GIRL WILL LEAD HER BY THE HAND

AND WALK WITH HER INTO A NIGHTMARE.

THERE YOU ARE.

I HOPE IT ISN'T TOO RICH.

NO, IT'S F IN E. I'M GLAD IT ISN'T TOO HOT.

I DON'T MUCH LIKE VERY HOT THINGS.

I DON'T BLAME YOU.

OF COURSE YOU DON'T.

YOU GOT BU RNT ONCE.

THAT SCAR, RIGHT BELOW YOUR ELBOW.

[suspense music]

YOUREMEMBER?

OF COURSE I REMEMBER.

HOW DID IT HAPPEN?

WELL, ACTUALLY, I DON'T REMEMBER.

A LOT OF THINGS I DON'T RECALL

AT A CERTAIN AG E.

SOMETHING HAPPENED TO ME THEN.

I'M NOT SURE EXACTLY WHAT IT WAS.

THERE ARE SOME THINGS I'M RATHER VAG U E ABOUT.

I KNOW THAT.

I KNOW THAT VERY WELL.

I KNOW ALL ABOUT YOU.

DON'T YOUREMEMBER?

YES, I REMEMBER THAT YOU SAID THAT.

DO PEOPLE LOOK FAMILIAR TO YOU SOMETIMES?

WHAT DO YOU MEAN?

I MEAN, WHEN YOU PASS PEOPLE ON THE STREETS

OR SEE THEM IN A BANK

OR THEY WALK BY YOU

DO THEY LOOK FAM ILIAR TO YOU?

SOMETIMES.

TODAY?

YES, TODAY.

DID SOMEONE GO BY YOU TODAY

WHO LOOKED FAMILIAR?

NO.

REALLY?

IT'S NOT POLITE TO CONTRADICT PEOPLE.

I TOLD YOU THAT I DIDN'T.

DID YOUREMEMBER?

YES.

YES, THERE WAS SOMEON E.

OUTSIDE THE SCHOOL WHEN YOU WERE CROSSING THE STREET

THERE WAS A MAN IN A CAR.

THERE WAS A MAN IN A CAR.

HE STOPPED FOR A RED LIGHT.

I LOOKED AT HIM TH ROUG H THE WIN DSH I ELD.

AND YOURECOG N IZED HIM.

NO.

NO, I DIDN'T RECOG N IZE HIM.

WELL, H E-- HE LOOKED SO--

SO FAMILIAR TO YOU.

HE MADE YOU FRIGHTEN ED, DI DN'T H E?

OF COURSE HE DID.

WHAT ARE YOU TALKING ABOUT?

I KNOW HE LOOKS FAMILIAR

AND I KNOW HE FRIGHTENS ME JUST LIKE HE FRIGHTENS YOU.

WHO ARE YOU?

WHAT'S YOUR NAME? WHERE ARE YOU FROM?

I LIVE AROUND HERE AND I HAVE A N ICKNAM E.

PEOPLE CALL ME MARKI E.

THAT'S NOT MY REAL NAME

BUT THAT'S WHAT PEOPLE CALL ME.

MARKI E! DID YOU HEAR?

YES, I HEARD! MARKI E.

IT'S A VERY PRETTY NAME.

IS THAT ALL YOU'VE GOT TO SAY?

IT'S A VERY CUTE NAME.

WHAT MORE DID YOU WANT ME TO SAY?

NOTHING.

I JUST THOUGHT--

FEELING WARM?

YES.

IT IS A BIT WARM, DON'T YOU THINK?

I DON'T THINK SO.

I THINK IT'S VERY COM FORTABLE.

[door closes]

SOM EON E'S COMING!

WE'RE NOT THE ONLY PEOPLE ON THE FLOOR.

I KNOW THAT BUT, WHOEVER'S COMING IS COMING HERE.

I'M GOING OUT THE BACK DOOR.

I DON'T WANT TO BE HERE.

HONEY, THERE'S NOTHING TO BE AFRAI D OF.

YES, THERE IS. GOOD-BYE.

I'LL COME BACK LATER.

[knock at door]

YES?

(man) MISS FOLEY?

MISS HELEN FOLEY?

YES, WHO IS IT?

IT'S PETER SELDEN, MISS FOLEY.

I DON'T KNOW WHETHER YOU REMEMBER ME OR NOT

BUT I KNEW YOUR MOTHER VERY WELL.

DO YOUREMEMBER ME?

YOU DO LOOK FAMILIAR.

DI DN'T I SEE YOU--

IN FRONT OF THE SCHOOL?

YES, THAT'S RIGHT.

I WAS STOPPED FOR A RED LIGHT.

I THOUGHT YOU LOOKED AT ME A LITTLE ODDLY.

DO YOU MIND IF I COME IN FOR A MOM ENT?

NO, PLEASE DO.

BEEN A LOT OF YEARS, MISS FOLEY.

1 8 OR 1 9 TO BE EXACT.

WON'T YOU S IT DOWN?

THANK YOU.

I'VE GOT YOU STU M PED, HUH? IT'S NO WON DER.

YOU WERE A LITTLE G I RL AT THE TIME.

COULDN'T HAVE BEEN MORE THAN 1 0 OR 1 1.

I USED TO WORK FOR YOUR MOTH ER.

SELDEN.

ANY BELLS YET? PETER SELDEN.

I DO SEEM TO RECALL.

I'D HEARD THAT YOU--

WELL, AFTER THE-- TRAG IC THING HAPPENED

YOU WERE ILL FOR A LONG TIME.

WERE YOU EVER ABLE TO RECALL

EXACTLY WHAT IT WAS THAT--

WELL, WHAT I MEAN IS, MISS FOLEY,

YOU DREW A BLAN K AFTER THAT EVENING.

I WON DER IF IT EVER CAME BACK TO YOU.

OH, ONLY VAG U E, DISJO I NTED THINGS. THAT'S ALL.

YOU WERE IN THE ROOM WHEN IT HAPPENED.

WHAT HAPPENED?

I SU FFERED A KIND OF A SHOCK.

A TRAU MA, THE DOCTORS CALLED IT.

AND AFTER I RECU PERATED, I MOVED TO CH ICAGO

AND I LIVED WITH AN AU NT.

I'VE ONLY BEEN BACK HERE A YEAR OR SO. I TEACH SCHOOL NOW.

YES, I HEARD THAT.

WELL, I WAS J UST PASSING TH ROUG H TOWN ON BUS IN ESS

AND SOMEON E PO I NTED YOU OUT TO ME

AND I WANTED TO STOP AND JUST SAY HELLO.

YOU SAY YOU WORKED FOR MY MOTH ER?

YES, I WORKED FOR H ER ALMOST A YEAR.

I DON'T SEEM TO RECALL.

I HANDLED SOME OF HER INVESTMENTS FOR HER

AT THE TIME.

SELDEN, YOU SAY?

THAT'S RIGHT, SELDEN.

WELL, IT'S WON DERFU L TO SEE YOU GROWN UP THE WAY YOU HAVE.

JUST AS BEAUTIFUL AS YOU WERE

WHEN YOU WERE A LITTLE GIRL.

I HAD QU ITE A CRUSH ON YOU.

I LIVED IN THE SAM E APARTM ENT BU I LDING.

I HEARD YOU SCREAMING THAT NIGHT.

I WAS THE FIRST ONE TO--

TO FIND HER.

TRAGIC, TERRIBLE THING

YOUR MOTHER BEING KI LLED LIKE THAT.

AND THEY NEVER FOU N D THE MAN WHO DID IT, DID THEY?

U H, NO, I DON'T THINK THEY DID.

THOUGH I CAN'T BE SURE.

THERE ARE SO MANY THINGS I DON'T REMEMBER

THAT HAPPENED AT THAT TIME.

ALL I REMEMBER IS

A KIND OF VAGUE, NIGHTMARISH THING.

WAKING UP IN MY BED HEARING MY MOTH ER SCREAM AND--

AN D--

AND SEEING

THIS PERSON.

THIS PERSON, DID YOU SEE HIS FACE?

U H, NO, I, I DON'T REALLY--

I DON'T REALLY KNOW. I'M NOT SURE.

THAT'S ONE OF THE THINGS I'VE FORGOTTEN

OR AT LEAST PUSHED OUT OF MY M IND.

ARE YOU HERE FOR A WHILE, MR. SELDEN?

NO, I WAS J UST PASSING TH ROUG H.

YES, YOU SAID THAT.

I FORGOT.

WOULD YOU LIKE A CU P OF COFFEE OR COCOA?

NO, THANK YOU.

[suspense music]

WHAT'S THE MATTER, MISS FOLEY?

THAT'S ODD.

I THOUGHT SH E'D F IN ISH ED HER COCOA AND,

HERE IT IS, UNTOUCHED.

IT IS ODD.

SHE'S AN ODD LITTLE THING H ERSELF.

WHO?

LITTLE GIRL WHO WAS HERE.

STRANG EST LITTLE THING.

SO SOLEM N AND WISE AND,

THE ONLY WAY I CAN DESCRI BE H ER.

WELL, I GU ESS I'D BETTER BE GOING.

HAVE TO ASK H ER HOW SHE DOES THE TRICK--

S IT THERE S I PPING COCOA

AND LEAVE A FU LL CU P.

LITTLE MARKI E.

MARKI E?

THAT'S HER N ICKNAM E.

SHE WOULDN'T TELL ME HER REAL NAME.

LITTLE MARKI E, THAT'S WHAT SH E CALLS H ERSELF.

THAT WAS YOUR N ICKNAM E, MISS FOLEY

WHEN YOU WERE A LITTLE GIRL.

THEY CALLED YOU MARKI E.

[Markie softly sings] ? TWINKLE TWINKLE LITTLE STAR

? HOW I WONDER WHAT YOU ARE

? UP ABOVE THE WORLD SO HIGH

? LIKE A DIAMOND IN THE SKY

? TWINKLE TWINKLE LITTLE STAR

HOW I WONDER WHAT YOU ARE ?

[Markie sings] ? TWINKLE TWINKLE LITTLE STAR

? HOW I WONDER WHAT YOU ARE

? UP ABOVE THE WORLD SO HIGH

LIKE A DIAMOND IN THE SKY ?

SOMETHING WRONG? [singing continues]

OH, NO NOTHING'S WRONG.

EXCEPT IT'S QU ITE CO I NCI DENTAL.

THIS LITTLE THING CAM PING ON MY DOORSTEP

AND HAVING THE SAME NAME I DID. [singing continues]

AND THAT'S ODD, TOO.

THINGS ARE COMING BACK TO ME.

I WAS CALLED MARKI E.

I HAVEN'T THOUGHT OF THAT IN YEARS.

THAT'S WHAT PEOPLE CALLED ME, WASN'T IT?

[Markie continues singing]

I'M SURE THAT, GIVEN TIME

YOU'LL REMEMBER A LOT OF THINGS.

DI DN'T THE DOCTORS TELL YOU

THAT MEMORY OF THINGS WOULD COME BACK?

THEY DIDN'T KNOW.

FU LL OF TALENTS, OUR LITTLE MARKI E.

HOW DO YOU MEAN?

I MEAN HER SINGING.

[singing continues]

I DON'T HEAR ANYTHING.

HAS SHE STOPPED?

I MEAN THA T.

WHAT?

HER SINGING. CAN'T YOU HEAR HER SINGING?

NO.

I, I GU ESS YOUR EARS ARE BETTER THAN M IN E.

[Markie, singing]

[singing stops]

SHE'S STOPPED NOW.

LOOK, THERE'S SOMETHING I WANT TO SHOW YOU.

I CAN'T U N DERSTAND YOU'RE NOT HEARING H ER.

IT WAS SO PLAIN.

IT'S A SNAPSHOT YOUR MOTHER GAVE ME OF YOU

WHEN YOU WERE A LITTLE G I RL, SEE?

YOU WERE AN EXCEPTIONALLY BEAUTIFUL CH I LD.

AND YOU LOOK SO LIKE YOUR MOTH ER.

ESPECIALLY NOW.

SO MUCH LIKE YOUR MOTH ER.

I DON'T UNDERSTAND.

WHAT, MISS FOLEY?

WHAT DON'T YOU UNDERSTAND?

[suspense music]

[indistinct voices of man and woman arguing]

[little girl screams]

[Markie sings] ? TWINKLE, TWINKLE, LITTLE STAR,

? HOW I WONDER WHAT YOU ARE.

UP ABOVE THE WORLD SO HIGH ?

[Markie continues singing]

HAS THAT MAN LEFT?

HE LEFT SOME TIME AGO, MARKI E.

IT'S RATHER LATE, YOU KNOW, IT'S PAST YOUR BEDTIME.

DON'T YOU THINK YOU OUGHT TO GO HOME? YOUR MOTHER WILL BE WORRI ED.

NO. SHE WON'T BE WORRI ED. I DON'T HAVE A MOTH ER.

NOT ANYMORE.

DO YOUREMEMBER NOW ABOUT MARKI E?

DO YOU, H ELEN?

YES, I REMEMBER.

AND THE TIME YOU BU RNT YOUR ARM?

DO YOU?

YOU GOT A NASTY BU RN RIGHT BELOW THE ELBOW.

[suspense music]

WHO ARE YOU? WHAT'S YOUR NAME?

I WANT YOU TO TELL ME WHO YOU ARE.

TELL ME WHO YOU ARE

AND WHERE YOU'RE FROM AND WHAT YOUR NAME IS

AND TELL ME NOW, UNDERSTAND?

I WANT YOU TO TELL ME WHO YOU ARE!

YOU DON'T KNOW?

YOU DON'T HAVE ANY IDEA?

AND YOU WERE DOING SO WELL, H ELEN.

YOU WERE STARTING TO REMEMBER THINGS.

REMEMBER WHAT THINGS?

FAMILIAR?

IT'S SU PPOSED TO BE ME WHEN I WAS YOUR AG E.

BUT IT'S NOT ME, MARKI E.

IT'S A SNAPSHOT OF YOU.

YOU STILL DON'T UNDERSTAND, DO YOU?

U N DERSTAND WHAT?

THAT I'M YOU, H ELEN.

U N DERSTAND NOW? I'M YOU-- I AM YOU.

I'M YOU WHEN YOU WERE 1 0 YEARS OLD

WHEN YOU WERE CALLED MARKI E.

I'M YOU, HELEN, I'M YOU WHEN YOU LIVED WITH YOUR MOTHER

IN THE APARTMENT HOUSE.

I'M YOU WHEN YOU WERE ASLEEP

IN YOUR BED THAT NIGHT

AND THE MAN CAME INTO THE HOUSE.

AND HE WAS ARGU ING WITH MOTHER DOWNSTAIRS

AND SHE TRIED TO GET AWAY

AND SHE RAN INTO YOUR ROOM

AND THE MAN CAUGHT HER AND HE CHOKED HER.

HELEN, REMEMBER?

HE CHOKED HER.

THEN HE PICKED UP SOMETHING HEAVY

AND HE HIT HER ON THE HEAD.

THEN SHE FELL.

AND THEN YOU SCREAMED.

AND THE MAN LOOKED AT YOU.

THE MAN LOOKED AT YOU.

THEN YOU SCREAMED SO LOUD, HELEN.

YOU SCREAMED SO LOUD.

[gasp] [suspense music]

I WANT TO BRING YOU U P TO DATE.

YOU'VE BEEN LIVING WITH IG NORANCE TOO LONG.

PLEASE.

I WANT TO IMPART SOME INFORMATION

BECAUSE IT'S OBVIOUSLY COMING BACK TO YOU ANYWAY

AND I WANT TO BE THE VERY FIRST.

THAT NIGHT, IT WAS ME IN YOUR BEDROOM.

I KI LLED YOUR MOTH ER.

THERE WAS TROUBLE WITH THE BOOKS.

I WAS PLEADING WITH HER TO COVER FOR ME

BUT YOUR MOTH ER, REST HER SOU L

WAS A PARTICU LARLY RIG I D, STRAIG HT LACED WOMAN

WHO WAS GOING TO IN FORM ON ME.

WHEN SHE RAN INTO YOUR BEDROOM I HAD TO FOLLOW H ER.

ODDLY ENOUGH, H ELEN, I'D HAVE HAD TO COME AFTER YOU NEXT.

BUT YOUR SCREAMS BROUGHT PEOPLE THERE

AND I HAD TO GET OUT IN A HURRY.

IT WASN'T UNTIL LATER THAT I LEARNED

THAT YOU HAD NO RECOLLECTION

OF WHO WAS IN THE BEDROOM.

YOU BLACKED OUT THE WHOLE I NCI DENT.

BUT YOU WEREN'T N EG LECTED, H ELEN.

I'VE BEEN KEEPING TABS ON YOU.

CH ICAGO, COLLEG E, HERE.

I'VE BEEN KEEPING TABS ON YOU

BECAUSE I KNEW ONE DAY

THE P I ECES WOULD F IT TOGETHER

THAT YOU'D START TO REMEMBER THINGS.

THAT'S WHY I CAME BACK.

I HAD TO COME BACK

TO TAKE CARE OF U N F IN ISH ED BUS IN ESS.

YOU'RE THE ONLY PERSON WHO KNOWS

HOW YOUR MOTHER DIED.

WILL SHE BE ALL RIGHT, DOC?

I'VE GIVEN H ER A SEDATIVE.

DO YOU HAVE EVERYTHING YOU NEED, LI EUTENANT?

YEAH, I THINK SO. IT ALL TI ES IN TOGETHER.

SHE'S A FORTU NATE WOMAN.

SH E'D BE A HOM ICI DE VICTI M

IF SHE WERE LESS FORTU NATE.

WHAT ABOUT THAT CH I LD SHE KEEPS TALKING ABOUT?

THE CH I LD IS H ER.

AT LEAST, SHE CONJ U RED U P THE CH I LD.

IT WAS A PART OF HER BU RI ED DEEP I NSIDE--

A MEMORY, A RECOLLECTION

AND WHEN IT DID THAT F I NALLY HAD TO COME OUT

IT TOOK THE FORM OF H ERSELF AS A CH I LD.

WE I RD. REALLY WE I RD.

THE HUMAN I MAG I NATION IS OFTEN WE I RD.

SOMETIMES IT M EANS SALVATION.

(girl) ? TWINKLE, TWINKLE, LITTLE STAR,

? HOW I WONDER WHAT YOU ARE

? UP ABOVE THE WORLD SO HIGH, LIKE A DIAMOND IN THE SKY

? TWINKLE, TWINKLE, LITTLE STAR,

HOW I WONDER WHAT YOU ARE. ?

HELLO.

HELLO, LITTLE ON E.

YOU WANT TO KNOW SOMETHING?

WHAT?

YOU'VE GOT A LOVELY SM I LE. DON'T EVER LOSE IT.

THANK YOU.

MY DOLLY HAS A SM I LE, TOO.

YOU BOTH HAVE LOVELY SM I LES.

[soft sweet music]

(male presenter, off) MISS HELEN FOLEY, WHO HAS LIVED IN NIGHT

AND WHO WILL WAKE UP TO MORNING.

MISS HELEN FOLEY

WHO TOOK A DARK SPOT FROM THE TAPESTRY OF HER LIFE

AND RUBBED IT CLEAN, THEN STEPPED BACK A FEW PACES

AND GOT A GOOD LOOK A T THE TWILIGHT ZONE.

(male presenter, off) ROD SERLING, THE CREATOR OF TWILIGHT ZONE

WILL TELL YOU ABOUT NEXT WEEK'S STORY AFTER THIS WORD FROM OUR ALTERNATE SPONSOR

AND NOW, MR. SERLING.

THIS OLD FASH ION ED RAI LROAD CAR

IS ABOUT AS EXTI NCT AS THE DI NOSAU R

BUT NEXT WEEK IT TAKES US TO A LITTLE VI LLAG E THAT'S NOT ONLY A PLACE

BUT A STATE OF MIND. IT'S THE TRANSPORTATION

TO WHAT WE THINK IS ONE OF THE MOST U N IQU E STORI ES

WE'VE EVER PRESENTED. NEXT WEEK, MR. JAMES DALY,

A STOP AT WILLOUGHBY. WE HOPE YOU'LL STOP WITH HIM. THANK YOU AND GOOD NIGHT.

(male presenter, off) BE SURE TO SEE THE FUN FILLED FAMILY LIFE

OF ONE OF AMERICA'S GREATEST ENTERTAINERS, THE DAN NY THOMAS SHOW.

MONDAY NIGHTS, OVER MOST OF THESE STATIONS.

(male presenter, off) THE TWILIGHT ZONE IS BROUGHT TO YOU TONIGHT BY

BY THE NEWEST COFFEE SENSATION ON THE MODERN SCENE.

NEW AROMA ROAST SANKA COFFEE.