Original subtitles

[eerie music]

(male narrator) 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.

[thunder]

EXCUSE ME.

HM?

U H, THE BUS TO CORTLAN D.

WHAT ABOUT H ER?

WELL, IT WAS DU E A HALF AN HOUR AGO.

YU P, HALF HOUR AGO.

[sighs]

WHEN WILL IT BE I N?

HARD TO SAY. BEEN RAINING HARD.

ROAD'S SLICK. MAYBE A BRI DG E OR TWO OUT.

THAT'LL PLAY HARD WITH THE SCH EDU LE.

WELL, WHEN DO YOU THINK IT WILL BE I N?

SHE'LL BE IN WHEN SHE'LL BE IN.

THAT'S ALL.

I TOLD YOU THAT THE LAST TIME YOU ASKED.

THE LAST TIME I ASKED?

THE LAST TIME I ASKED WAS RIGHT NOW.

LOOK, ALL I WANT FROM YOU IS A CIVI L ANSWER.

YOU'RE GETTING A CIVI L ANSWER.

THE TROU BLE IS EVERY TEN MINUTES YOU'RE U P HERE REQU I RING ON E.

SITUATIONS JUST DON'T CHANGE THAT RAPIDLY

AND YOU WANT TO KNOW ABOUT THE CORTLAND BUS.

IT WAS LATE WHEN YOU ASKED A HALF HOUR AGO

LATE WHEN YOU COME BACK 1 5 M INUTES LATER

AND IT'S LATE NOW.

AND ALL THE ASKING IN THE WORLD

AIN'T GOING TO PUSH IT NON E.

BUT THIS IS THE FIRST TIME I'VE BEEN UP HERE--

THE VERY FIRST TIME.

E ITHER YOU NEED YOUR EYES,

NOW WHAT'S THE MATTER?

NOTHING.

NOTHING'S THE MATTER.

(male narrator) M ILLICENT BARNES, AGE 25, YOUNG WOMAN WAITING FOR A BUS

ON A RAINY NOVEMBER NIGHT.

NOT A VERY IMAGINATIVE TYPE IS MISS BARNES.

NOT GIVEN TO UNDUE ANXIETY OF FEARS OR FOR THAT MATTER

EVEN THE MOST TEMPORAL FLIGHTS OF FANCY.

LIKE MOST YOUNG CAREER WOMEN,

SHE HAS A GENERIC CLASSIFICATION

AS A "GIRL WITH A HEAD ON HER SHOULDERS."

ALL OF WHICHIS MENTIONED NOW BECAUSE IN JUST A MOMENT

THE HEAD ON MISS BARNES'S SHOULDERS

WILL BE PUT TO A TEST.

CIRCUMSTANCES WILL ASSAULT HER SENSE OF REALITY

AND A CHAIN OF NIGHTMARES

WILL PUT HER SANITY ON A BLOCK.

M ILLICENT BARNES, WHO IN ONE M INUTE WILL WONDER

IF SHE'S GOING MAD.

[suspense music]

WELL, SHALL WE RU N TH ROUG H IT AGAIN, MISS?

OH, NO THANK YOU.

I WAS JUST NOTICING

IT ISN'T VERY MUCH BUT,

BUT THAT BAG--

WHAT ABOUT IT?

WELL, IT'S J UST LIKE M IN E.

IT'SIDENTICAL, EVEN TO THE BROKEN HAN DLE.

WHAT IS THIS, SOME KIND OF A GAME?

WHAT?

THAT IS YOUR BAG-- YOU CHECKED IT.

OH, NO, THAT ISN'T MY BAG.

IT LOOKS J UST LIKE MY BAG, BUT MY--

[suspense music]

WELL, HOW--?

WILL YOU GO OVER THERE AND S IT DOWN?

YOU'RE E ITHER WALKING IN YOUR SLEEP

OR H U NG OVER OR SOMETHING.

GO BACK OVER THERE AND S IT DOWN

AND BREATH E TH ROUG H YOUR NOSE

AND LET ME READ MY MAGAZIN E.

WHEN THE CORTLAND BUS COMES

THERE'LL BE A LOU D SOU N D OF AN ENG IN E, A DOOR OPENING,

PEOPLE WILL COME IN HERE.

THEN YOU'LL KNOW THE BUS IS HERE.

BUT I DIDN'T CHECK MY BAG.

AND ANYWAY, WHEN I SAW THAT, MY BAG--

ALL YOU ALL RIGHT, MISS?

YES, OF COURSE I'M ALL RIGHT.

I'M PERFECTLY ALL RIGHT.

WHY? DON'T I LOOK ALL RIGHT?

YOU LOOK F IN E. YOU LOOK JUST F IN E.

IT'S JUST THAT WHEN YOU WERE IN HERE BEFORE--

BEFORE?

WHAT DO YOU MEAN BEFORE?

I'VE NEVER BEEN IN HERE BEFORE.

HONEY, YOU WERE JUST IN HERE

A FEW MINUTES AGO.

ME?

I'VE NEVER BEEN IN HERE BEFORE.

WHAT'S THE MATTER WITH THIS PLACE ANYWAY?

SOMEBODY KEEPS TAKING MY BAG

SOMEBODY SAYS I KEEP ASKING ABOUT THE BUS

AND YOU SAY I'VE BEEN IN HERE BEFORE.

JUST TAKE IT EASY. EVERYTHING'S GOING TO BE ALL RIGHT.

OF COURSE EVERYTHING'S GOING TO BE ALL RIGHT!

NOTHING WRONG TO BEG IN WITH.

THE ONLY THING WRONG WITH YOU PEOPLE

IS YOU NEED SOME SLEEP OR SOMETHING.

[gasps]

[suspense music]

LET ME GET YOU A COLD CLOTH, HONEY.

I DON'T THINK YOU'RE WELL.

NO, I DON'T NEED THAT.

NO, I'LL BE ALL RIGHT.

I M UST BE OVERTIRED

BUT I'LL BE ALL RIGHT.

[thunder]

EXCUSE ME.

YES?

I WON DER I F YOU SAW SOMEON E S ITTING IN MY SEAT.

I DON'T THINKS SO, MISS. I WASN'T LOOKING VERY CLOSE.

[mumbIing] WHAT'S THE TROU BLE?

NO, NO TROU BLE.

I JUST THOUGHT I SAW SOMEBODY I KNEW.

IN HERE?

THANK YOU.

I'M SORRY TO HAVE DISTU RBED YOU.

(Millicent) WHAT'S THE MATTER WITH ME?

WHAT ON EARTH IS THE MATTER WITH ME?

WHAT'S HAPPENING?

DELUSIONS, THAT'S WHAT THEY ARE.

THEY'RE DELUSIONS.

I MUST BE SICK.

I MUST BE RUNNING A FEVER.

I'M NOT EVEN WARM.

I DON'T HAVE ANY FEVER. NO FEVER AT ALL.

(man) EXCUSE ME, MISS.

YES.

OH.

YES, WHAT IS IT?

YOUR BAG, I THINK YOU DROPPED IT.

OH, THANK YOU.

THE BUS IS LATE, ISN'T IT?

IT SEEMS SO.

OVER A HALF AN HOUR LATE.

YOU DO MEAN THE BUS TO CORTLAN D, DON'T YOU?

THAT'S THE ON E.

I WAS SU PPOSED TO BE IN SYRACUSE TONIGHT BY 1 0 :00.

THE PLAN ES WERE ALL GROU N DED

SO I TOOK A CAB FROM BING HAMTON.

IT SKI DDED INTO A TREE

A FEW M I LES OUTSIDE OF HERE.

I HAD TO WALK INTO TOWN TO GET HERE.

FORGIVE ME, MISS, YOU'RE NOT I LL, ARE YOU?

OH, I DON'T KNOW WHAT'S WRONG WITH ME.

I-- I REALLY DON'T.

WELL, IS THERE SOMETHING I CAN DO?

WELL, I DON'T KNOW.

IT'S JUST THAT ALL SORTS OF QU EER THINGS

HAVE BEEN HAPPENING TO ME.

I'VE BEEN SEEING THINGS.

SEEING THINGS?

WHAT SORT OF THINGS?

I'M NOT SURE I SHOU LD TELL YOU.

YOU'D PROBABLY WANT TO MOVE TO ANOTHER PART OF THE ROOM

OR CALL THE POLICE OR AN AM BU LANCE OR SOMETHING.

WELL, WHY DON'T YOU TELL ME.

MAYBE I CAN H ELP.

I NCI DENTALLY, MY NAME IS G RI NSTEAD, PAU L GRI NSTEAD.

I'M FROM BING HAMTON.

HOW DO YOU DO?

I'M M I LLICENT BARN ES.

AT LEAST I WAS M I LLICENT BARN ES.

I'M A PRIVATE SECRETARY.

I QU IT MY JOB HERE ON TH U RSDAY

AND I'VE GOT ANOTH ER JOB IN BU FFALO.

THAT'S WHERE I'M GOING TONIGHT, TO BU FFALO.

EVERYBODY KEEPS TELLING ME THAT I'VE BEEN HERE BEFORE.

THAT MAN WHO TAKES THE TICKETS--

HE SAYS I KEEP ASKING ABOUT THE BUS.

AND THE WOMAN IN THE POWDER ROOM

SAYS I'VE BEEN IN THERE BEFORE, AND I HAVEN'T.

AND MY BAG HERE,

[gasps] MY BAG!

THERE IT IS.

OH.

OH, THANK GOD.

FOR A MINUTE I THOUGHT

EVERYTHING WAS STARTING ALL OVER AGAIN.

THAT MAN SAID I CHECKED IT AND I HADN'T.

BUT THERE WAS A BAG, ALMOST I DENTICAL TO M IN E

IN THE BAGGAG E ROOM.

AND THEN WHEN I CAM E OUT OF THE POWDER ROOM

IT WASN'T THERE.

GO ON.

WELL, IT SOU N DS VERY STRANG E BUT,

WHEN I CAME OUT OF THE POWDER ROOM

I LOOKED IN THE M I RROR

AND I COULD SEE THE WHOLE WAITING ROOM

IN THE M I RROR, AND I--

WELL, WHAT DID YOU SEE, MISS BARN ES?

I SAW MYSELF S ITTING RIGHT HERE ON THIS BENCH.

IT'S DELUS IONS.

YES.

YES, THAT'S WHAT IT MUST BE.

DELUS IONS, SOME SORT OF DELUS IONS.

BUT I'M NOT S ICK.

I DON'T HAVE A TEM PERATU RE.

I'M NOT RU N NING A FEVER.

BUT IT'S NOT JUST SEEING THINGS THAT DON'T EXIST.

WHY DID THAT MAN AND THAT WOMAN SAY THAT THEY HAD SEEN ME BEFORE?

I DON'T KNOW.

THIS ON E'S TOUG H TO F IG U RE OUT.

WELL, WHAT'S HAPPENING TO ME? WHAT-- WHAT'S WRONG?

I'M NOT SOME SORT OF KOOK,

I'VE NEVER HAD ANY TROU BLE LIKE THIS BEFORE,

I MEAN, TROU BLE WITH MY MIND.

OF COURSE YOU HAVEN'T.

THERE'S AN EXPLANATION SOM EPLACE.

THERE'S A REASON.

MAYBE--

MAYBE WHAT?

MAYBE THERE'S SOMEONE HERE WHO RESEM BLES YOU.

THAT COULD BE IT.

OR MAYBE SOMEONE IS PLAYING

SOME KIND OF A JOKE OR SOMETHING.

OH, IS THAT POSS I BLE?

OH, THAT'S TOO FANTASTIC

AND THAT DOESN'T EXPLAIN ABOUT THE BAG.

AND ANYWAY, IF THERE IS SUCH A PERSON, WHERE IS SH E?

WHERE IS THIS PERSON?

[bus engine]

(man) BUS TO CORTLAND.

SYRACUSE, BU FFALO,

NOW ARRIVING.

LET ME TAKE THAT FOR YOU.

LOOKS H EAVY.

OH, THANK YOU.

YOU'RE VERY KIND.

YOU'RE EASY TO BE KIND TO.

NO, I MEAN, MORE THAN JUST KIND.

WE BETTER GET ON THE BUS.

I'LL TAKE YOUR BAG.

ALL RIGHT.

[gasps]

MISS BARN ES!

M I LLICENT.

WHAT'S THE MATTER?

WAIT A MINUTE.

ON OUR WAY.

YOU AND THE LADY COMING OR AREN'T?

NO, WE'LL WAIT FOR THE NEXT ON E.

NEXT ONE AIN'T DU E TILL 7 :00 IN THE MORNING.

YOU'VE GOT A LONG WAIT.

THAT'S ALL RIGHT.

OKAY.

I'M SHUTTING OFF SOME OF THESE LIGHTS.

"WHEN NOT IN USE, TURN OFF THE J U ICE."

THAT'S WHAT I ALWAYS SAY.

I BEST BE GETTING HOM E.

OH, I SURE HOPE SHE FEELS BETTER.

THANK YOU.

YOU'VE BEEN VERY N ICE.

OH, IT'S ALL RIGHT

BUT OFFHAN D, MISTER

I'D SAY SHE NEEDED SOME LOOKING AFTER.

YOU KNOW WHAT I MEAN.

YOU FEELING BETTER?

THE BUS.

IT HAD TO LEAVE.

THERE'LL BE ANOTH ER BEFORE TOO LONG.

YOU DIDN'T GET ON.

I'M THIS LATE ALREADY.

A FEW MORE HOURS WON'T MAKE ANY DIFFERENCE.

I'VE BEEN THINKING ABOUT SOMETHING.

IT'S VERY ODD, BUT,

I'VE BEEN REMEMBERING.

REMEMBERING WHAT?

ABOUT SOMETHING I READ OR HEARD ABOUT A LONG TIME AGO.

ABOUT DIFFERENT PLAN ES OF EXISTENCE.

ABOUT TWO PARALLEL WORLDS

THAT EXIST SIDE BY SIDE

AND EACH OF US HAS A COU NTERPART

IN THIS WORLD

AN D, AND SOMETIMES TH ROUG H SOME FREAK

TH ROUG H SOMETHING U N EXPLAINABLE

THIS COU NTERPART--

AFTER THE TWO WORLDS CONVERG E--

COMES INTO OUR WORLD

AND IN ORDER TO SU RVIVE

IT HAS TO TAKE OVER.

TAKE OVER?

REPLACE US.

MOVE US OUT SO THAT IT CAN LIVE.

THAT'S A LITTLE M ETAPHYS ICAL FOR ME.

I REMEMBER READING IT SOMEWHERE.

EACH OF US HAS A TWI N IN THIS OTHER WORLD,

AN I DENTICAL TWI N.

MAYBE THAT WOMAN I SAW--

M I LLICENT, THERE'S ANOTHER EXPLANATION.

THERE HAS TO BE.

ONE THAT COMES WITH MORE REASON.

I CAN'T EXPLAIN IT

BUT I KNOW THAT'S WHAT'S HAPPENED.

THIS OTHER WOMAN, MY COU NTERPART--

FORGET ABOUT IT, PLEASE.

DON'T THINK ABOUT IT.

I JUST THOUGHT OF SOMETHING.

I'VE GOT A GOOD FRI EN D WHO LIVES IN TU LLY.

I'LL CALL HIM.

MAYBE HE'LL BRING H IS CAR DOWN HERE FOR US.

HE MIGHT EVEN DRIVE US INTO SYRACUSE.

I'LL CALL HIM.

ALL RIGHT, M I LLICENT? SHALL I CALL MY FRI EN D?

U NASKED, I'LL TELL YOU WHAT I THINK.

I'D SAY SHE'S GOT A LEAK IN HER ATTIC.

PARALLEL PLAN ES.

COUNTERPARTS FROM ANOTHER LIFE. [guffaws]

YOU GOT A THING ABOUT S ICK PEOPLE? IS THAT IT?

POOR, POOR KI D.

I DON'T KNOW WHAT'S GOING TO HAPPEN.

GO CALL YOUR FRI EN D.

HM?

YOUR FRI END IN TU LLY WITH THE CAR.

I DON'T HAVE ANY FRI END IN TU LLY.

SHE NEEDS H ELP, MEDICAL H ELP.

IF IG U RED IT WOULD BE EASIER THIS WAY.

IF IG U RED SH E'D COME ALONG.

POOR KI D.

CAN I USE IT?

GO AHEAD.

WHO'RE YOU GOING TO CALL?

THE POLICE, I GU ESS.

I THINK THEY'RE THE ONES THAT COULD H ELP US.

TO TELL YOU THE TRUTH, SH E KIND OF GIVES ME THE WI LLI ES.

I'D AS LEAVE SHE LEFT HERE SOMEHOW.

[suspense music]

WHERE ARE YOU?

WHERE DID YOU GO?

WHAT DO YOU WANT?

(Millicent) WHERE ARE YOU?

M I LLICENT.

ARE YOU ALL RIGHT?

YES.

I'M ALL RIGHT.

HOW ABOUT GETTING SOME FRESH AIR?

ALL RIGHT.

[screams]

(man) DID YOU GET HER OFF ALL RIGHT?

YEAH. THEY'RE GONNA TAKE HER TO THE HOSP ITAL FOR OBSERVATION.

WHAT WAS SH E TALKING ABOUT? SOMETHING ABOUT ANOTHER LIFE.

I DON'T KNOW. THAT'S PART OF HER I LLN ESS, I GU ESS.

[sighs] YOU SAID THE NEXT BUS IS AT 7 :00?

YOU GOT ABOUT FOU R AND A HALF HOURS, PAL.

YOU CAN TAKE A SNOOZE ON THAT BENCH.

YOU'LL BE ALL ALONE, NO NOISE WHATSOEVER.

THIS PLACE IS LIKE A TOM B BETWEEN NIGHT AND MORNING.

MAYBE I WILL GET SOME SLEEP.

[suspense music]

HEY.

HEY!

WHERE ARE YOU?

(male narrator) OBSCURE AND METAPHYSICAL EXPLANATION

TO COVER A PHENOMENA.

REASONS DREDGED OUT OF THE SHADOWS

TO EXPLAIN AWAY THAT WHICH CAN NOT BE EXPLAIN ED.

CALL IT PARALLEL PLANES OR JUST INSANITY.

WHATEVER IT IS, YOU FIND IT 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.

AND NOW, MR. SERLING.

NEXT WEEK, ON TWILIGHT ZONE, WE PUT YOU ON A FRONT PORCH.

SUMMER EVENING, TREE LIN ED STREET,

TYP ICAL SMALL TOWN. AND THEN WE PULL THE RUG

FROM U N DER YOUR FEET AND WE THROW A NIGHTMARE AT YOU.

CLAU DE AKI NS, JACK WESTON AND BARRY ATWATER ARE YOUR N EIGH BORS

JUST AT THAT MOM ENT WH EN THE MONSTERS ARE DUE ON MAPLE STREET.

DON'T CH ICKEN OUT. SEE YOU NEXT WEEK.

(male presenter, off) KIMBERLY CLARK INVITES YOU TO WATCH STEVE MCQUEEN

IN WANTED DEAD OR ALIVE.

SATURDAY NIGHTS OVER MOST THESE SAME STATIONS.