[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.
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.