[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.
(male presenter, off) 1 2:00 NOON.
AN ORDINARY SCENE, AN ORDINARY CITY.
LUNCHTIME FOR THOUSANDS OF ORDINARY PEOPLE.
TO MOST OF THEM, THIS HOUR WOULD BE A REST.
A PLEASANT BREAK IN THE DAY'S ROUTINE.
TO MOST, BUT NOT ALL.
TO EDWARD HALL, TIME IS AN ENEMY.
AND THE HOUR TO COME
IS A MATTER OF LIFE AND DEATH.
HEY, MISTER.
WHAT'S THE MATTER? ARE YOU SICK?
NO.
WE'VE BEEN EXPECTING YOU, MR. HALL.
GO RIGHT IN.
HELLO, MR. HALL.
WHAT'S THE MATTER? ARE YOU ILL?
NO.
I'M JUST TIRED.
WELL, YOU'D BETTER REST.
OVER HERE, MR. HALL.
SIT DOWN.
I THOUGHT YOU SAID YOU WERE TIRED.
I AM. I'M THE TIREDEST MAN IN THE WORLD.
YOU WANT TO KNOW HOW MANY HOURS I'VE BEEN AWAKE?
87 HOURS.
ALMOST FOUR DAYS AND NIGHTS.
AND YOU CAN'T GO TO SLEEP, IS THAT IT?
NO, DOCTOR. NOT CAN'T, I MUSTN'T!
I MUSTN'T GO TO SLEEP BECAUSE IF I DO I'LL NEVER WAKE UP.
THANKS.
MM-HM.
YOU M IND IF I WALK AROUND A BIT?
IT'S THE ONLY WAY I CAN STAY AWAKE.
STAND ON YOUR HEAD IF YOU THINK IT WILL HELP.
WHAT'S FUNNY?
YOU ARE. ARE YOU SURE YOU'RE A PSYCHIATRIST?
WHY DO YOU ASK?
I EXPECTED SOMETHING DIFFERENT.
LIKE AN OLD MAN WITH A WHITE BEARD
AND A GERMAN ACCENT?
MAYBE.
I KNOW.
THAT'S WHAT EVERYBODY EXPECTS,
AND THEY'RE ALWAYS DISAPPOINTED.
YOU KNOW, I'VE OFTEN THOUGHT OF WEARING A DISGUISE.
YEAH, NOW,
FEEL MORE COMFORTABLE?
LOOK, DOCTOR.
YOU CAN'T HELP ME.
I'M JUST WASTING YOUR TIME.
YOU'RE SURE OF THAT?
YEAH.
THEN WHY'D YOU COME TO ME?
IT WAS FRED JACKSON'S IDEA, MY REGULAR DOCTOR.
I KNOW, HE CALLED ME.
WHAT DID HE SAY?
NOT MUCH.
YOUR NAME, EDWARD HALL.
AGE, 35, OCCUPATION, DRAFTSMAN.
SINGLE, HEART CONDITION, NO HISTORY OF MENTAL DISEASES.
THAT'S IT.
ARE YOU GOING TO TELL ME THE REST?
[sighs]
NO. NO, FORGET IT.
OKAY.
MR. HALL.
DO YOUREALLY THINK RUNNING AWAY
WILL DO YOU ANY GOOD?
NOW DON'T GET ME WRONG.
SOMETIMES RUNNING AWAY IS THE BEST ANSWER.
BUT I DON'T KNOW THAT YOURS IS THAT SORT OF PROBLEM.
MAYBE IT IS, MAYBE IT ISN'T.
YOU DO WHAT YOU LIKE.
YOU PROMISE YOU WON'T PUT ME IN A STRAITJACKET?
I DON'T PROMISE ANYTHING.
OKAY.
OKAY. IT DOESN'T MAKE ANY DIFFERENCE.
[sighs]
CAN I OPEN THIS?
QUITE A DROP.
UH, MR. HALL, I'LL, UH--
I'LL HAVE TO CLOSE THE WINDOW.
I ONLY WANTED SOME AIR.
WELL, I'LL, UH,
TURN THE CONDITIONER UP.
IT WORKS BEST WITH THE WINDOWS CLOSED.
DID YOU THINK I'D JUMP?
YOU M IGHT HAVE.
NOT A CHANCE. I WANT TO LIVE.
THAT'S MY PROBLEM.
OH?
ALL RIGHT, MR. HALL, SUPPOSE YOU TELL ME
ALL ABOUT IT. EVERYTHING.
START ANYWHERE.
OKAY, BUT I'M WARNING YOU
YOU'RE GONNA THINK I LOST MY MARBLES.
NO. MARBLES CAN BE FOUND, MR. HALL.
GO ON.
DID YOU EVER LOOK AT THIS PICTURE?
I MEAN, REALLY LOOK AT IT?
(Doctor) I THINK SO, WHY?
HAS IT EVER MOVED?
NO.
NOT TO MY KNOWLEDGE, ANYWAY.
I CAN MAKE IT MOVE.
CAN YOU?
YES.
BUT NOT REALLY.
WHEN I WAS A KID, WE HAD A PICTURE LIKE THIS IN OUR HOUSE.
NOT THE SAME THING EXACTLY, BUT PRETTY CLOSE.
A BOAT.
(Hall) MY MOTHER USED TO TELL ME TO LOOK AT IT.
SHE SAID IF I LOOKED AT IT LONG ENOUGH IT WOULD MOVE.
ALL I HAD TO DO WAS KEEP LOOKING AT IT.
I DIDN'T BELIEVE HER, BUT THE IDEA FASCINATED ME.
ONE NIGHT I SPENT A WHOLE HOUR JUST STARING AT THAT SILLY BOAT.
AND DID IT MOVE?
YES.
NOW, YOU UNDERSTAND, THERE'S NOTHING STRANGE ABOUT THAT.
IT WAS AN OPTICAL ILLUSION.
YEAH, I KNOW.
EXCEPT THAT AFTER A WHILE, I COULDN'T CONTROL IT.
EVERY TIME I LOOKED AT THAT BOAT, THE SAILS WOULD FILL,
AND THEY WOULD BEGIN TO DIP.
I JUST COULDN'T STOP IT.
IMAGINATION IS STRONG IN A GROWING BOY.
YEAH, I REALIZE THAT.
I REALIZED IT EVEN THEN.
BUT THE POINT IS,
I GOT JUST AS SCARED AS IF IT WERE REALLY HAPPENING.
THE M IND IS EVERYTHING.
IF YOU THINK YOU'VE GOT A PAIN IN YOUR ARM,
AND THERE'S NO PHYSICAL REASON FOR IT,
IT HURTS JUST THE SAME, DOESN'T IT?
GRANTED.
IS THAT HOW YOU MANAGE TO STAY AWAKE?
HOW ELSE?
HOW MANY GRAINS A DAY?
I DON'T KNOW.
I HAVEN'T GOT MUCH LONGER ANYWAY.
YOU WANT TO HEAR THE REST OR NOT?
YES.
WHEN I WAS 1 5, I DEVELOPED A RHEUMATIC HEART.
THEY SAID I'D NEVER REALLY GET WELL.
THAT I'D HAVE TO TAKE IT EASY.
NO STRENUOUS EXERCISE.
NO LONG WALKS,
NO STAIRS, NO SHOCKS.
AVOID ANY KIND OF SHOCK, THEY SAID.
THEY FORGOT ABOUT MY IMAGINATION.
THREE YEARS AGO, A WOMAN WAS KILLED BY A MAN
WHO WAS HIDDEN IN THE BACKSEAT OF HER CAR.
YOU MAY HAVE READ ABOUT IT. I DID.
ANYWAY, IT STARTED ME THINKING.
MAYBE SOMEBODY WAS HIDING IN THE BACKSEAT OF MY CAR.
MAYBE ONE NIGHT DRIVING OVER LAUREL CANYON,
I'D LOOK UP IN THE REAR-VIEW M IRROR.
AND I'D SEE SOMEBODY OR SOMETHING
COMING UP OUT OF THE DARKNESS.
I HAD TO DRIVE THE CANYON TWICE A DAY.
IT'S A ROUGH ROAD.
ONE SLIP AND YOU'RE OVER THE EDGE.
ONE NIGHT, LIKE EVERY OTHER NIGHT, I HEADED FOR HOME.
SUDDENLY, I FELT UNCOMFORTABLE,
AS IF I WEREN'T ALONE IN THE CAR.
IT WAS RIDICULOUS, BUT I COULDN'T SHAKE THE SENSATION.
I KEPT THINKING THERE'S SOMEBODY BACK THERE.
I'LL LOOK IN THE REAR-VIEW MIRROR AND I'LL SEE HIS FACE.
THEN I'LL SEE HIS HANDS REACHING UP,
HERE'S THE IMPORTANT THING, DOCTOR.
I KNEW INTELLECTUALLY THAT I WAS ALONE.
BUT I ALSO KNEW THAT MY IMAGINATION
WOULD MAKE ME SEE SOMETHING IF I THOUGHT ABOUT IT LONG ENOUGH.
[eerie music]
[honking horn]
[brakes screech]
OF COURSE, THERE WASN'T ANYONE ELSE IN THE CAR.
IT WAS ALL IN MY M IND.
WHAT DIFFERENCE DID THAT MAKE? I CRASHED ANYWAY.
I WAS LUCKY.
THE SHOCK SHOULD HAVE KILLED ME.
I COULDN'T SURVIVE ANOTHER ONE, THE DOCTOR SAID.
I COULD BE SURE OF THAT.
AND HAS THERE BEEN ANOTHER ONE?
NO.
BUT THERE WILL BE, JUST AS SOON AS I FALL ASLEEP.
THE GIRL WILL BE IN THIS DREAM AGAIN.
AND IT'LL BE THE LAST SHOCK.
WHEN I WAS A KID, I USED TO DREAM IN SEQUENCE.
REMEMBER THE ADVENTURE SERIALS
THEY USED TO HAVE IN MOVIE THEATERS?
IT WAS LIKE THAT.
EVERY DREAM WAS A CHAPTER.
I'D ALWAYS REMEMBER BECAUSE WHEN I WOKE UP,
I'D WRITE DOWN WHAT HAPPENED.
IT'S CRAZY, HUH?
NOT NECESSARILY.
IT COULD SIMPLY BE THAT THE DREAMS CONFORMED TO THE NOTES,
NOT THE OTHER WAY AROUND.
THEN YOU DON'T THINK IT'S POSSIBLE TO DREAM IN EPISODES?
I DON'T SAY IT'S IMPOSSIBLE.
IT ISN'T. BELIEVE ME.
FOR A LONG TIME, I DIDN'T DREAM AT ALL.
THEN A WEEK AGO, IT STARTED.
I WENT TO BED AT AROUND 1 1 :30.
I WASN'T TOO TIRED, BUT I NEEDED THE REST BECAUSE OF MY HEART.
I DON'T KNOW WHEN I FELL ASLEEP, BUT ALL OF A SUDDEN,
I WASN'T AT HOME ANYMORE.
I WAS AT AN AMUSEMENT PARK.
[merry-go-round music pIaying]
[maniacal laughter]
(Hall) IT WAS THE KIND OF PLACE YOU SEE ONLY IN NIGHTMARES,
EVERYTHING WARPED AND TWISTED OUT OF SHAPE,
BUT IT WAS REAL, TOO. VERY REAL.
(Barker) HURRY, HURRY, HURRY,
THIS IS WHERE YOU GET THOSE BIG PRIZES.
SIX SHOTS FOR A DIME.
HIT THE BULL'S-EYE AND YOU GET A KEWPIE DOLL.
HOW ABOUT IT? COME ON.
TEN CENTS. TEN PENNIES.
(Barker 2) HURRY HURRY, HURRY, FRIENDS,
THE SHOW IS ABOUT TO BEGIN.
SEE HER DANCE. SEE HER WIGGLE.
THE MOST SENSATIONAL
AND ELECTRIFYING EXHIBITION SINCE LITTLE EGYPT.
YOU'RE NOT GONNA BE ABLE TO SEE ANYTHING
STANDING OUT THERE. YOU'VE GOTTA GET DOWN CLOSER.
RIGHT DOWN CLOSE. THAT'S IT, NOT TOO CLOSE.
LET'S NOT TRAMPLE EACH OTHER.
NOW, YOU SAY YOU WANT FAT ONES? WE GOT 'EM.
YOU SAY YOU WANT THIN ONES? WE'VE GOT THEM.
BLONDS, BRUNETTES, REDHEADS, AND BELIEVE ME, FOLKS,
IF THEY AIN'T UP HERE, THEY AIN'T WORTH LOOKING AT.
AND NOW, TO GIVE YOU A LITTLE DEMONSTRATION
OF WHAT YOU'RE GOING TO SEE ON THE INSIDE,
MAYA, THE CAT GIRL!
COME ON, BABY.
WE KNOW YOU'RE MODEST,
BUT WHY SHOULD THE FOLKS OUT THERE
TAKE MY WORD FOR IT?
[sIow percussion music]
[maniacaI Iaughter]
(Hall) I DIDN'T KNOW WHO THE GIRL WAS.
I'D NEVER SEEN HER BEFORE.
BUT AS MUCH AS I WAS DRAWN TO HER,
I KNEW I HAD TO GET AWAY FROM HER.
THERE WAS SOMETHING ABOUT HER EYES.
SOMETHING DEEP INSIDE THOSE DARK CAT'S EYES.
MAYA.
WHY DID YOU DO THAT?
WHY DID I DO WHAT?
RUN AWAY.
I FELT LIKE IT.
YOU DIDN'T FIND ME NICE TO LOOK AT?
YEAH, MAYBE TOO NICE.
AREN'T YOU SUPPOSED TO BE BACK THERE
ENTERTAINING THE CUSTOMERS?
I'M FREE. FOR THE NIGHT.
ARE YOU ALONE?
YES.
THEN COME WITH ME.
YOU WANT TO. DON'T YOU, EDWARD?
HOW DO YOU KNOW MY NAME?
OH, I KNOW A LOT OF THINGS. I'M MAYA.
DON'T BE AFRAID.
I'M NOT.
THEN COME.
YOU ARE AFRAID.
ONLY BECAUSE THIS ISN'T HAPPENING.
THIS IS A DREAM.
I'M NOT HERE, I'M AT HOME, ASLEEP
AND YOU'RE PART OF THAT DREAM.
I KNOW THAT.
YOU DO?
OF COURSE.
COME.
[eerie music]
COME.
TAKE ME IN THERE, EDWARD.
IT'S DARK INSIDE.
SOFT AND COOL AND DARK.
PLEASE?
HOW CAN I ARGUE WITH A DREAM?
[eerie music and maniacal laughter]
WE'VE BEEN EXPECTING YOU, MR. HALL.
WHAT?
YOU CAN KISS ME NOW.
WHAT IF I DON'T WANT TO?
OH, YOU WANT TO.
LOOK, WHO'S DREAM IS THIS, ANYWAY?
[screaming in terror]
[maniacaI Iaughter]
(Hall) THAT'S WHEN I KNEW SHE WAS TRYING TO KILL ME.
AND YOU WOKE UP THEN?
YES.
MY HEART WAS BEATING FAST.
I HAD TO LIE STILL FOR AN HOUR WAITING FOR IT TO SETTLE DOWN.
THE DOCTOR SAID I ALMOST HAD IT.
TELL ME, DO YOU KNOW WHO THE GIRL WAS?
NO IDEA.
SHE LOOKED FAM ILIAR, BUT I KNOW I'VE NEVER SEEN HER BEFORE,
EXCEPT MAYBE ON THE STREET OR SOMETHING.
BUT YOU'RE SURE SHE WANTED TO KILL YOU?
YEAH.
GO ON.
THE NEXT NIGHT I PUT OFF GOING TO SLEEP UNTIL 1 :00.
BUT IT DIDN'T MATTER.
THE DREAM WAS OUT OF CONTROL.
I WAS BACK IN THE AMUSEMENT PARK.
[panting] I WAS RUNNING.
(Maya) EDWARD.
EDWARD!
GET AWAY FROM ME.
THERE'S NOTHING TO BE AFRAID OF, EDWARD.
IT'S ONLY A DREAM.
I'VE GOT A HEART CONDITION.
I CAN'T STAND ALL THIS EXCITEMENT.
THAT'S SILLY. THERE ISN'T ANY EXCITEMENT.
YOU SAID SO YOURSELF.
YOU'RE AT HOME, ASLEEP IN BED.
NOW YOU CAN DO ALL THE THINGS YOU CAN'T DO WHEN YOU'RE AWAKE.
THAT'S NOT TRUE. THE DOCTOR SAID--
LOOK EDWARD, [rattIing]
[peopIe shouting excitedIy]
LOOK, EDWARD, LOOK.
[roller coaster rattling]
COME ON, EDWARD, IT'S FUN!
COME ON.
(Hall, off) I DIDN'T WANT TO GO ANYWHERE NEAR THAT ROLLER COASTER,
BUT I COULDN'T HELP MYSELF
I HAD TO FOLLOW HER,
EVEN THOUGH I KNEW EXACTLY WHAT IT WOULD MEAN,
I HAD TO FOLLOW HER.
[Iaughing] HOLD ON, EDWARD. [eerie music]
STOP IT! STOP IT!
THEY CAN'T. IT'S TOO LATE.
I'VE GOT TO GET OFF! I'VE GOT TO GET OFF!
JUMP, EDWARD, JUMP!
(Maya) JUMP, EDWARD, JUMP!
(Doctor) AND IS THAT IT?
YEAH, THAT'S IT.
IF I GO TO SLEEP I'LL GO RIGHT BACK TO THE ROLLER COASTER.
MAYA WILL REACH ME.
SHE'LL PUSH ME.
AND THAT'LL BE THE END OF ME.
ON THE OTHER HAND, IF I STAY AWAKE ANY LONGER,
THE STRAIN WILL BE TOO MUCH FOR MY HEART.
AND THAT'LL BE THE END OF ME.
HEADS, YOU WIN. TAILS, I LOSE.
IT'S QUITE A CHOICE, HUH, DOCTOR?
WHERE ARE YOU GOING?
OUT, TO GET SOME FRESH AIR.
I WOULDN'T ADVISE IT.
WHAT DO YOU ADVISE? A STRAITJACKET?
SO LONG, DOC.
YOU CAN'T DO ANYTHING MORE FOR ME.
MAYA!
WHAT'S THE MATTER, HALL?
IT'S HER.
MY RECEPTIONIST?
I'M SORRY, BUT HER NAME DOESN'T HAPPEN TO BE MAYA.
[disturbing music]
[screaming]
MISS THOMAS?
YES, DOCTOR?
WOULD YOU COME HERE, PLEASE?
I'M AFRAID HE'S DEAD.
BUT HE CAME IN JUST A M INUTE AGO.
I KNOW.
WHEN HE CAME IN, I TOLD HIM TO SIT DOWN AND HE DID.
IN LESS THAN TWO SECONDS HE WAS ASLEEP.
AND THEN HE GAVE THAT SCREAM YOU HEARD.
HEART ATTACK?
PROBABLY.
WELL, I GUESS THERE ARE WORSE WAYS TO GO.
AT LEAST HE DIED PEACEFULLY.
(male presenter, off) THEY SAY A DREAM TAKES ONLY A SECOND OR SO,
YET IN THAT SECOND, A MAN CAN LIVE A LIFETIME.
HE CAN SUFFER ANDIE,
AND WHO'S TO SAY WHICHIS THE GREATER REALITY?
THE ONE WE KNOW OR THE ONE IN DREAMS?
BETWEEN HEAVEN, THE SKY, THE EARTH,
IN 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.
(male presenter, off) AND NOW, MR. SERLING.
ONCE UPON A TIME, THERE WAS A SHIP SAILING
FROM LIVERPOOL, ENGLAND TO NEW YORK.
IT NEVER GOT THERE AND ONE MAN ON BOARD KNEW WHY.
NEXT WEEK WE TELL THIS MAN'S STORY.
THE DISTINGUISHED ACTOR NEHEM IAH PERSOFF
PLAYS THE ROLE OF CARL LANSER,
A HAUNTED MAN IN A HAUNTING STORY
CALLED "JUDGMENT NIGHT."
THIS SHIP SAILS NEXT WEEK AND WE HOPE YOU'LL SEE IT OFF.
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 DANNY THOMAS SHOW, MONDAY NIGHTS OVER MOST OF THESE STATIONS.
(male presenter, off) THE TWILIGHT ZONE BROUGHT TO YOU
OASIS FILTERED CIGARETTES.
THE TOBACCO IS SOOTHED WITH THE SOFTEST TASTE OF ALL
AND MENTHOL MISTING MAKES IT SO.
THIS IS AN OASIS. COOL. REFRESHING.
THIS IS AN OASIS, TOO.
JUST AS THE MIST OF MORNING DEW REFRESHES A FLOWER
AND KEEPS IT FRESH ALL DAY, SO DOES THE TOBACCO OASIS
IS MISTED, GENTLY MISTED ALL OVER WITH MENTHOL.
THE TOBACCO IS SOOTHED FOR THE SOFTEST TASTE OF ALL
AND MENTHOL MISTING MAKES IT SO.
THAT'S OASIS, THE ONLY FILTERED CIGARETTE
THAT'S OASIS COOL, OASIS MILD, OASIS FRESH.
(jingle) ? TRYING OASIS, TRYING OASIS MOST REFRESHING CIGARETTE
(male presenter, off) THE TWILIGHT ZONE, BROUGHT TO YOU TONIGHT
BY THE COFFEE WITH THE BEST OF THE COFFEE BEAN
AROMA, FLAVOR, BUT NOT CAFFEINE.
NEW AROMA-ROAST SANKA COFFEE.
[soft music] (male presenter, off) AND THE PERFECT COFFEE ON THE MODERN SCENE
BRAND NEW AROMA-ROAST SANKA
GIVES YOU ALL THE BEST OF THE COFFEE BEAN.
THE TRUEST AROMA, THE FINEST FLAVOR,
AND NO CAFFEINE.
YES, THE TRUEST AROMA, THE FINEST FLAVOR,
SO GREAT, SO WONDERFULLY RICH,
AND BEST OF ALL, YOU CAN DRINK AS MANY CUPS AS YOU WANT.
INDULGE YOURSELF, IT'S SO GOOD,
AND SANKA IS STILL 97 PER CENT CAFFEINE FREE.
SANKA COFFEE. AROMA, FLAVOR AND NO CAFFEINE.
HOW DO THEY DO IT?