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1
00:00:02,002 --> 00:00:06,005
[eerie music]
2
00:00:06,089 --> 00:00:08,465
(male narrator)
THERE IS A FIFTH DIMENSION
3
00:00:08,550 --> 00:00:10,759
BEYOND THAT WHICH
IS KNOWN TO MAN.
4
00:00:10,844 --> 00:00:13,846
IT IS A DIMENSION
AS VAST AS SPACE
5
00:00:13,930 --> 00:00:16,765
AND AS TIMELESS
AS INFINITY.
6
00:00:16,850 --> 00:00:20,436
IT IS THE MIDDLE GROUND
BETWEEN LIGHT AND SHADOW,
7
00:00:20,478 --> 00:00:22,688
BETWEEN SCIENCE
AND SUPERSTITION.
8
00:00:22,772 --> 00:00:25,858
AND IT LIES BETWEEN
THE PIT OF MAN'S FEARS
9
00:00:25,942 --> 00:00:28,861
AND THE SUMMIT
OF HIS KNOWLEDGE.
10
00:00:28,945 --> 00:00:31,447
THIS IS THE DIMENSION
OF IMAGINATION.
11
00:00:31,489 --> 00:00:35,617
IT IS AN AREA
WHICH WE CALL THE TWILIGHT ZONE.
12
00:00:48,131 --> 00:00:52,342
MAPLE STREET, U.S.A.
LATE SUMMER.
13
00:00:52,427 --> 00:00:56,889
A TREE-LINED LITTLE
WORLD OF FRONT-PORCH GLIDERS, BARBECUES,
14
00:00:56,973 --> 00:01:00,642
THE LAUGHTER OF CHILDREN,
AND THE BELL OF AN ICE-CREAM VENDOR.
15
00:01:03,521 --> 00:01:06,523
AT THE SOUND OF THE ROAR
AND THE FLASH OF LIGHT,
16
00:01:06,608 --> 00:01:11,361
IT WILL BE PRECISELY
6:43 P.M. ON MAPLE STREET.
17
00:01:11,446 --> 00:01:14,782
[strange whirring]
18
00:01:28,463 --> 00:01:30,672
WHAT WAS THAT,
A METEOR?
19
00:01:30,715 --> 00:01:32,508
YEAH, THAT'S WHAT
IT LOOKED LIKE.
20
00:01:32,550 --> 00:01:34,927
I DIDN'T HEAR ANY
CRASH THOUGH, DID YOU?
21
00:01:35,011 --> 00:01:38,388
NO, I DIDN'T
HEAR ANYTHING EXCEPT A ROAR.
22
00:01:38,473 --> 00:01:40,557
STEVE, WHAT WAS THAT?
23
00:01:40,642 --> 00:01:43,685
I GU ESS IT WAS
A METEOR, HONEY. IT CAM E AWFU L CLOSE, DIDN'T IT?
24
00:01:43,728 --> 00:01:48,607
TOO CLOSE FOR MY MONEY.
MUCH TOO CLOSE.
25
00:01:52,487 --> 00:01:56,740
(narrator)
THIS IS MAPLE STREET ON A LATE SATURDAY AFTERNOON.
26
00:01:56,825 --> 00:02:01,370
MAPLE STREET
IN THE LAST CALM AND REFLECTIVE MOMENT
27
00:02:01,454 --> 00:02:04,039
BEFORE THE MONSTERS CAME.
28
00:02:31,067 --> 00:02:33,152
OPERATOR. OPERATOR!
29
00:02:36,906 --> 00:02:38,991
OPERATOR!
30
00:02:47,083 --> 00:02:49,960
STEVE, THE POWER'S OFF.
I HAD THE SOUP ON THE STOVE
31
00:02:50,044 --> 00:02:51,920
AND THE STOVE J UST
STOPPED WORKING.
32
00:02:52,005 --> 00:02:55,966
IS YOUR PHON E
ALL RIGHT? I CAN'T GET ANYBODY ON M IN E.
33
00:02:56,050 --> 00:02:59,011
(man)
OUR ELECTRICITY ISN'T GOOD. IS THE POWER OFF?
34
00:02:59,095 --> 00:03:02,764
(woman)
OUR RADIO'S GONE DEAD.
35
00:03:04,184 --> 00:03:05,934
I'LL CUT ACROSS
THE BACKYARD.
36
00:03:06,019 --> 00:03:09,229
SEE IF THE POWER
IS STILL ON ON FLORAL STREET.
37
00:03:12,984 --> 00:03:15,319
DOESN'T MAKE SENSE.
38
00:03:15,403 --> 00:03:19,323
WHY SHOU LD THE POWER
GO OFF ALL OF A SU DDEN AND THE PHONE LIN E?
39
00:03:19,407 --> 00:03:21,950
MAYBE SOME KIND OF
AN ELECTRICAL STORM OR SOMETHING.
40
00:03:22,035 --> 00:03:24,494
NOW, THAT DON'T
SEEM LIKELY.
41
00:03:24,579 --> 00:03:27,831
THE SKY'S AS BLU E
AS ANYTHING. NOT A CLOU D, NO LIGHTNING, NO TH U N DER.
42
00:03:27,916 --> 00:03:29,833
HOW COULD IT
BE A STORM?
43
00:03:29,918 --> 00:03:32,502
CAN'T GET A THING
ON THE RADIO. NOT EVEN ON THE PORTABLE.
44
00:03:32,587 --> 00:03:35,130
WHY DON'T WE GO
DOWNTOWN AND CHECK WITH THE POLICE?
45
00:03:35,215 --> 00:03:37,799
THEY'LL PROBABLY
THINK WE'RE CRAZY OR SOMETHING.
46
00:03:37,842 --> 00:03:40,969
A LITTLE POWER FAI LU RE AND
EVERYBODY GETS FLUSTERED AND EVERYTHING.
47
00:03:41,054 --> 00:03:43,222
IT ISN'T JUST A POWER
FAILURE, CHARLIE.
48
00:03:43,306 --> 00:03:47,226
IF IT WERE, WE'D STILL BE
ABLE TO GET A BROADCAST ON THE PORTABLE.
49
00:03:47,310 --> 00:03:50,812
I'LL TAKE A RU N DOWNTOWN.
MAYBE I CAN GET IT STRAIG HTEN ED OUT.
50
00:03:58,696 --> 00:04:00,781
[engine won't turn over]
51
00:04:19,008 --> 00:04:22,427
I DON'T U N DERSTAND IT.
IT WAS WORKING F IN E BEFORE.
52
00:04:22,512 --> 00:04:23,804
ARE YOU OUT OF GAS?
53
00:04:23,888 --> 00:04:25,180
I JUST F I LLED IT UP.
54
00:04:25,265 --> 00:04:27,015
WELL, WHAT
DOES IT MEAN?
55
00:04:27,058 --> 00:04:29,935
IT'S AS I F
EVERYTHING STOPPED.
56
00:04:30,019 --> 00:04:32,354
MAYBE WE'D BETTER
WALK DOWNTOWN.
57
00:04:32,438 --> 00:04:34,106
WELL, LET'S BOTH
GO, CHARLIE.
58
00:04:34,190 --> 00:04:35,691
YEAH.
59
00:04:38,027 --> 00:04:41,280
MR. BRAN D,
YOU BETTER NOT.
60
00:04:41,364 --> 00:04:42,739
WHY NOT?
61
00:04:42,824 --> 00:04:45,742
THEY DON'T
WANT YOU TO.
62
00:04:45,827 --> 00:04:47,536
WHO DOESN'T
WANT US TO?
63
00:04:47,620 --> 00:04:50,122
TH EM.
64
00:04:50,206 --> 00:04:51,623
TH EM?
65
00:04:51,708 --> 00:04:53,417
WHO ARE THEM?
66
00:04:53,501 --> 00:04:57,045
WHOEVER WAS IN THAT THING
THAT CAME BY OVERH EAD.
67
00:04:57,130 --> 00:05:01,800
WHOEVER WAS IN THE THING
THAT CAME OVER. I DON'T THINK THEY WANT US TO LEAVE HERE.
68
00:05:07,390 --> 00:05:09,975
WHAT DO YOU
M EAN, TOM MY? WHAT ARE YOU TALKING ABOUT?
69
00:05:10,059 --> 00:05:13,061
THEY DON'T WANT US TO
LEAVE. THAT'S WHY THEY SHUT EVERYTHING OFF.
70
00:05:13,146 --> 00:05:15,814
WHAT MAKES YOU SAY THAT?
WHERE DID YOU GET THAT IDEA?
71
00:05:15,898 --> 00:05:17,941
ISN'T THAT THE
CRAZI EST THING YOU'VE HEARD?
72
00:05:18,026 --> 00:05:20,652
IT'S ALWAYS THAT WAY
IN EVERY STORY I'VE EVER READ
73
00:05:20,737 --> 00:05:23,405
ABOUT A SH I P LAN DING
FROM OUTER SPACE.
74
00:05:23,489 --> 00:05:26,825
FROM OUTER SPACE, YET?
SAL, YOU BETTER TAKE HIM U PSTAIRS, PUT HIM TO BED.
75
00:05:26,909 --> 00:05:30,162
HE'S BEEN READING TOO MANY
COM IC BOOKS OR SEEING TOO MANY MOVIES.
76
00:05:30,246 --> 00:05:33,123
TOM MY, YOU STOP
THAT KIND OF TALK. COME ON, LET'S GO.
77
00:05:33,207 --> 00:05:36,752
GO AHEAD, TOM MY.
WE'LL BE RIGHT BACK AND THEN YOU'LL SEE.
78
00:05:36,794 --> 00:05:40,464
IT WASN'T A SH I P.
IT WAS A METEOR OR SOMETHING.
79
00:05:40,548 --> 00:05:44,259
LIKELY AS NOT, THAT'S THE CAUSE
OF THE POWER FAI LU RE AND ALL THE REST OF IT.
80
00:05:44,302 --> 00:05:48,930
M ETEORS CAN DO
CRAZY THINGS LIKE, LIKE SU N SPOTS.
81
00:05:48,973 --> 00:05:52,184
SURE THAT'S
THE KIND OF THING, LIKE SU N SPOTS.
82
00:05:52,268 --> 00:05:55,437
THEY RAISE CAI N
WITH RADIO RECEPTION ALL OVER THE WORLD.
83
00:05:55,480 --> 00:06:00,108
THIS THING BEING SO CLOSE,
THERE'S NO TELLING THE SORT OF STUFF IT CAN DO.
84
00:06:00,151 --> 00:06:02,861
YOU GO AHEAD, STEVE.
YOU AND CHARLIE GO INTO TOWN,
85
00:06:02,945 --> 00:06:05,530
SEE IF THAT ISN'T
WHAT'S CAUSING IT ALL.
86
00:06:07,617 --> 00:06:09,951
MR. BRAN D?
87
00:06:10,036 --> 00:06:11,953
MR. BRAN D, PLEASE
DON'T LEAVE HERE.
88
00:06:12,038 --> 00:06:14,873
YOU M IGHT NOT EVEN
BE ABLE TO GET TO TOWN.
89
00:06:14,957 --> 00:06:17,459
IT WAS THAT
WAY IN THE STORY. NOBODY COULD LEAVE.
90
00:06:17,543 --> 00:06:19,127
NOBODY EXCEPT--
91
00:06:19,170 --> 00:06:20,962
EXCEPT WHO?
92
00:06:21,047 --> 00:06:23,548
EXCEPT THE PEOPLE
THEY'D SENT DOWN AHEAD OF THEM.
93
00:06:23,633 --> 00:06:28,011
THEY LOOKED JUST LIKE
HUMANS. AND IT WASN'T U NTI L THE SH I P LAN DED THAT--
94
00:06:28,096 --> 00:06:31,473
TOM MY, PLEASE, SON.
HONEY, DON'T TALK LIKE THAT.
95
00:06:31,516 --> 00:06:35,060
IT'S THE CRAZI EST THING I'VE
EVER HEARD OF. THE KI D TELLS A COM IC BOOK PLOT
96
00:06:35,144 --> 00:06:37,062
AND WE STAND
HERE LISTENING.
97
00:06:37,146 --> 00:06:39,314
WAIT A MINUTE.
WAIT A MINUTE.
98
00:06:39,357 --> 00:06:41,566
GO AHEAD, TOM MY.
WHAT KIND OF A STORY WAS IT?
99
00:06:41,651 --> 00:06:44,069
WHAT ABOUT THE PEOPLE
THEY SENT AHEAD?
100
00:06:44,153 --> 00:06:46,655
THAT WAS THE WAY
THEY PREPARED THINGS FOR THE LAN DING.
101
00:06:46,739 --> 00:06:50,075
THEY SENT FOUR PEOPLE.
A MOTHER AND A FATH ER AND TWO KIDS
102
00:06:50,159 --> 00:06:53,412
WHO LOOKED J UST
LIKE HUMANS, BUT THEY WEREN'T.
103
00:07:08,344 --> 00:07:11,680
WELL, I GU ESS WHAT WE NEED
TO DO IS RU N A CHECK OF THE N EIGH BORHOOD
104
00:07:11,722 --> 00:07:14,766
AND F IN D OUT WHICH ONES
OF US ARE REALLY HUMAN.
105
00:07:20,648 --> 00:07:24,776
THERE'S NO USE
STANDING AROUND MAKING BUM JOKES ABOUT IT.
106
00:07:27,321 --> 00:07:30,782
WON DER IF FLORAL STREET'S
GOT THE SAME KIND OF DEAL WE HAVE.
107
00:07:30,867 --> 00:07:34,453
WHERE'S PETE VAN HORN?
HAS HE COME BACK, YET?
108
00:07:34,537 --> 00:07:37,289
[car trying to start]
109
00:07:37,373 --> 00:07:39,875
(woman)
DOES YOUR CAR START, LES?
110
00:07:39,917 --> 00:07:41,710
NO DICE.
111
00:07:41,794 --> 00:07:44,588
[tries again]
112
00:07:48,885 --> 00:07:51,094
WELL, I DON'T
KNOW WHAT'S WRONG.
113
00:07:51,179 --> 00:07:52,971
NOTHING SEEMS
TO BE WORKING.
114
00:07:53,055 --> 00:07:55,474
CAN'T EVEN GET
THE CAR STARTED.
115
00:07:55,558 --> 00:07:58,310
[car engine starts]
116
00:08:04,233 --> 00:08:06,401
CAR STARTED SOMEHOW.
117
00:08:06,444 --> 00:08:08,069
HE GOT H IS
CAR STARTED.
118
00:08:17,079 --> 00:08:20,248
HOW COME HIS CAR J UST
U P AND STARTED LIKE THAT?
119
00:08:20,291 --> 00:08:22,209
ALL BY ITSELF.
120
00:08:22,293 --> 00:08:25,587
HE WASN'T ANYWHERE
N EAR IT. IT J UST STARTED BY ITSELF.
121
00:08:27,715 --> 00:08:31,760
HE NEVER DID COME OUT
TO LOOK AT THAT THING THAT FLEW OVERH EAD.
122
00:08:31,802 --> 00:08:33,845
HE WASN'T
EVEN INTERESTED.
123
00:08:33,930 --> 00:08:35,972
HE ALWAYS WAS
AN ODDBALL.
124
00:08:36,057 --> 00:08:39,809
HIM AND HIS WHOLE
FAM I LY. REAL ODDBALL.
125
00:08:39,894 --> 00:08:42,562
NOW, WHY DIDN'T
HE COME OUT WITH THE REST OF US TO LOOK?
126
00:08:42,647 --> 00:08:44,856
WHAT DO YOU SAY
WE GO ASK HIM?
127
00:08:47,777 --> 00:08:49,361
(Brand)
WAIT A MINUTE.
128
00:08:49,445 --> 00:08:51,279
WAIT A MINUTE!
129
00:08:51,364 --> 00:08:54,157
NOW, LET'S
NOT BE A MOB.
130
00:09:00,790 --> 00:09:03,625
I JUST DON'T
U N DERSTAND IT.
131
00:09:03,709 --> 00:09:06,545
I TRI ED TO START IT.
IT WOULDN'T START.
132
00:09:06,629 --> 00:09:08,797
YOU SAW ME.
ALL OF YOU SAW ME.
133
00:09:08,881 --> 00:09:11,383
[engine cuts out]
134
00:09:18,015 --> 00:09:21,518
I DON'T UNDERSTAND.
135
00:09:21,602 --> 00:09:26,231
I SWEAR I J UST
DON'T UNDERSTAND. WHAT'S HAPPENING?
136
00:09:26,315 --> 00:09:30,569
WELL, MAYBE YOU BETTER
TELL US. THERE'S NOTHING WORKING ON THIS STREET.
137
00:09:30,653 --> 00:09:34,489
NOTHING. NO LIGHTS,
NO POWER, NO RADIO.
138
00:09:34,532 --> 00:09:37,158
NOTHING EXCEPT
ONE CAR. YOURS.
139
00:09:37,201 --> 00:09:39,077
HOW DO YOU F IG U RE
IT STARTED, LES?
140
00:09:39,161 --> 00:09:41,079
HOW DO YOU
EXPLAIN THAT?
141
00:09:41,163 --> 00:09:45,542
WAIT A MINUTE, NOW.
JUST KEEP YOUR DISTANCE. ALL OF YOU.
142
00:09:45,626 --> 00:09:47,919
OKAY, SO I'VE GOT A CAR
THAT STARTS BY ITSELF.
143
00:09:48,004 --> 00:09:50,213
WELL, IT'S A FREAK
THING, I ADM IT IT.
144
00:09:50,298 --> 00:09:52,591
WHAT'S IT MAKE ME, A
CRI M I NAL OR SOMETHING?
145
00:09:52,675 --> 00:09:55,093
I DON'T KNOW WHY IT
STARTS, IT JUST DOES.
146
00:09:55,177 --> 00:09:57,345
WHAT'S THIS ALL
ABOUT, STEVE?
147
00:09:57,430 --> 00:09:59,556
WE'RE ON A
MONSTER KICK, LES.
148
00:09:59,640 --> 00:10:03,393
SEEMS THE GEN ERAL
I M PRESS ION NOW HOLDS THAT MAYBE THERE'S A FAM I LY
149
00:10:03,477 --> 00:10:06,229
THAT ISN'T WHAT
WE THINK THEY ARE.
150
00:10:06,314 --> 00:10:10,066
MONSTERS FROM OUTER
SPACE OR SOMETHING DIFFERENT THAN US.
151
00:10:10,151 --> 00:10:13,570
F I FTH COLU M N ISTS
FROM THE VAST BEYON D.
152
00:10:13,654 --> 00:10:18,908
NOW, DO YOU KNOW ANYBODY THAT
MIGHT F IT THAT DESCRI PTION AROUND HERE ON MAPLE STREET?
153
00:10:18,993 --> 00:10:21,119
THIS IS A GAG
OR SOMETHING?
154
00:10:21,203 --> 00:10:23,455
WHAT IS THIS?
A PRACTICAL JOKE OR SOMETHING?
155
00:10:23,539 --> 00:10:26,374
[car engine starts]
156
00:10:34,008 --> 00:10:37,761
THAT'S SU PPOSED
TO I NCRI M I NATE ME, HUH?
157
00:10:37,845 --> 00:10:41,306
THE CAR STARTS
AND STOPS AND THAT REALLY DOES IT, HUH?
158
00:10:41,390 --> 00:10:43,308
REALLY DOES IT?
159
00:10:43,392 --> 00:10:46,519
WELL, I DON'T U N DERSTAND IT
ANY MORE THAN ANY OF YOU DO.
160
00:10:49,398 --> 00:10:53,735
LOOK, YOU ALL KNOW ME.
WE'VE LIVED HERE FOR FIVE YEARS, RIGHT IN THIS HOUSE.
161
00:10:53,778 --> 00:10:56,905
WE AREN'T ANY
DIFFERENT FROM YOU. ANY DIFFERENT AT ALL.
162
00:10:56,989 --> 00:10:59,115
THE WHOLE
THING IS J UST--
163
00:10:59,200 --> 00:11:01,326
REALLY, THE WHOLE
THING IS JUST WE I RD.
164
00:11:01,410 --> 00:11:04,996
WELL, IF THAT'S THE CASE,
LES GOODMAN, THEN EXPLAIN WHY YOU--
165
00:11:05,081 --> 00:11:06,790
EXPLAIN WHAT?
166
00:11:06,874 --> 00:11:09,250
LET'S JUST FORGET IT.
167
00:11:09,335 --> 00:11:14,673
WAIT A MINUTE.
LET HER TALK. GO AHEAD, EXPLAIN WHAT?
168
00:11:14,757 --> 00:11:17,676
WELL, SOMETIMES I
STAY UP LATE AT NIGHT
169
00:11:17,760 --> 00:11:20,095
AND A COUPLE
OF TIMES--
170
00:11:20,179 --> 00:11:22,597
WELL, A COUPLE OF TIMES
I'VE COME OUT ON MY PORCH
171
00:11:22,682 --> 00:11:25,433
AND I'VE SEEN
LES GOODMAN HERE
172
00:11:25,518 --> 00:11:27,686
IN THE WEE HOURS
OF THE MORNING
173
00:11:27,770 --> 00:11:32,315
STANDING IN HIS YARD
JUST LOOKING UP AT THE SKY.
174
00:11:32,400 --> 00:11:35,026
THAT'S RIGHT. J UST,
JUST LOOKING UP AT THE SKY
175
00:11:35,111 --> 00:11:38,488
AS THOUGH HE
WERE WAITING FOR SOMETHING.
176
00:11:38,572 --> 00:11:41,533
AS THOUGH HE WERE
LOOKING FOR SOMETHING.
177
00:11:41,617 --> 00:11:43,910
YOU KNOW, REALLY
THIS IS FOR LAUGHS.
178
00:11:45,413 --> 00:11:47,789
YOU KNOW WHAT
I'M GU I LTY OF?
179
00:11:47,873 --> 00:11:50,709
I'M GU I LTY
OF I NSOM N IA.
180
00:11:50,793 --> 00:11:54,546
NOW, WHAT'S THE
PENALTY FOR THAT?
181
00:11:54,630 --> 00:11:58,133
WELL, YOU HEARD
WHAT I SAID. I SAID IT WAS I NSOM N IA.
182
00:11:58,175 --> 00:12:00,552
I SAID IT WAS I NSOM N IA!
183
00:12:00,636 --> 00:12:04,639
YOU SCARED, FRIGHTEN ED
RABB ITS, YOU.
184
00:12:04,682 --> 00:12:07,058
YOU'RE S ICK PEOPLE,
DO YOU KNOW THAT?
185
00:12:07,143 --> 00:12:09,644
YOU'RE S ICK PEOPLE,
ALL OF YOU.
186
00:12:09,687 --> 00:12:13,648
AND YOU DON'T EVEN KNOW
WHAT YOU'RE STARTING HERE BECAUSE LET ME TELL YOU,
187
00:12:13,733 --> 00:12:17,736
LET ME TELL YOU,
YOU'RE STARTING SOMETHING HERE THAT--
188
00:12:17,820 --> 00:12:20,238
THAT'S WHAT YOU SHOU LD
BE FRIGHTEN ED OF.
189
00:12:20,322 --> 00:12:24,200
AS GOD IS MY WITN ESS,
YOU'RE LETTING SOMETHING BEG IN HERE THAT'S--
190
00:12:24,285 --> 00:12:26,077
THAT'S A NIGHTMARE.
191
00:13:15,211 --> 00:13:18,296
IT JUST DOESN'T SEEM RIGHT
KEEPING A WATCH ON THEM.
192
00:13:18,380 --> 00:13:20,757
THEY'RE OUR N EIGH BORS.
193
00:13:20,841 --> 00:13:25,386
WE'VE KNOWN THE GOODMANS
EVER S I NCE THEY CAME HERE. WE'VE BEEN GOOD FRIENDS.
194
00:13:26,889 --> 00:13:29,724
LOOK, THAT DON'T
PROVE A THING.
195
00:13:29,767 --> 00:13:33,269
ANY GUY WHO'D SPEND H IS
TIME LOOKING UP AT THE SKY EARLY IN THE MORNING,
196
00:13:33,354 --> 00:13:35,980
THERE'S SOMETHING
WRONG WITH THAT KIND OF A PERSON.
197
00:13:36,065 --> 00:13:40,068
SOMETHING THAT
AIN'T LEG ITI MATE.
198
00:13:40,152 --> 00:13:45,323
U N DER NORMAL CI RCU MSTANCES
LET IT GO BY, BUT THESE AREN'T NORMAL CI RCU MSTANCES.
199
00:13:45,407 --> 00:13:47,492
LOOK AT THAT STREET.
200
00:13:47,576 --> 00:13:49,828
NOTHING BUT CAN DLES.
201
00:13:49,912 --> 00:13:53,331
IT'S LIKE GOING BACK
INTO THE DARK AG ES OR SOMETHING.
202
00:13:53,415 --> 00:13:58,419
STAY RIGHT WHERE
YOU ARE, STEVE. WE DON'T WANT ANY TROUBLE.
203
00:13:58,462 --> 00:14:02,841
BUT THIS TIME, ANYONE WHO SETS
FOOT ON MY PORCH, THAT'S WHAT HE'S GONNA GET. TROU BLE.
204
00:14:02,925 --> 00:14:04,425
LOOK, LES, I'M--
205
00:14:04,510 --> 00:14:06,261
I'VE ALREADY
EXPLAIN ED TO YOU PEOPLE.
206
00:14:06,345 --> 00:14:09,430
I DON'T SLEEP VERY WELL
AT NIGHT SOMETIMES,
207
00:14:09,515 --> 00:14:13,977
SO I GET UP, I GO OUT,
I TAKE A WALK, I LOOK U P AT THE SKY,
208
00:14:14,061 --> 00:14:15,770
I LOOK AT THE STARS.
209
00:14:15,855 --> 00:14:18,273
THAT'S EXACTLY
WHAT HE DOES.
210
00:14:18,315 --> 00:14:20,525
THIS WHOLE THING IS
SOME KIND OF MADN ESS.
211
00:14:20,609 --> 00:14:24,946
THAT'S EXACTLY WHAT
IT IS, MRS. GOODMAN. SOME KIND OF MADN ESS.
212
00:14:24,989 --> 00:14:27,699
(Charlie)
YOU BEST WATCH WHO YOU'RE SEEN WITH, STEVE,
213
00:14:27,783 --> 00:14:31,953
TILL WE GET THIS ALL
STRAIG HTEN ED OUT. YOU AIN'T ABOVE SUSP ICION YOURSELF.
214
00:14:32,037 --> 00:14:37,458
OR YOU, CHARLIE.
OR ANY OF US IT SEEMS FROM AG E EIGHT ON UP.
215
00:14:37,501 --> 00:14:39,502
WHAT I WANNA KNOW IS
WHAT ARE WE GONNA DO.
216
00:14:39,587 --> 00:14:41,296
JUST STAY AROUND
HERE ALL NIGHT?
217
00:14:41,380 --> 00:14:43,506
THERE'S NOTHING
ELSE WE CAN DO.
218
00:14:43,591 --> 00:14:46,384
ONE OF THEM'LL TI P
THEIR HAN D. THEY GOT TO.
219
00:14:46,468 --> 00:14:50,555
THERE'S SOMETHING YOU CAN DO,
CHARLIE. YOU CAN GO I NSIDE AND KEEP YOUR MOUTH SHUT.
220
00:14:50,639 --> 00:14:53,808
YOU CAN QU IT S ITTING THERE
LIKE A SELF-APPO I NTED HANGING J U DG E
221
00:14:53,851 --> 00:14:56,477
AND JUST CLI M B INTO
BED AND FORGET IT.
222
00:14:56,562 --> 00:15:00,189
YOU SOU N D PRETTY ANXIOUS
TO HAVE THAT HAPPEN, STEVE.
223
00:15:00,274 --> 00:15:04,319
I GU ESS WE OUGHTTA
KEEP AN EYE ON YOU, TOO.
224
00:15:04,403 --> 00:15:08,656
YEAH, I THINK MAYBE
EVERYTHING MIGHT AS WELL COME OUT NOW.
225
00:15:08,699 --> 00:15:11,409
YOUR WIFE'S BEEN DOING
A LITTLE TALKING, STEVE,
226
00:15:11,493 --> 00:15:14,329
ABOUT SOME OF THE ODD
THINGS YOU'VE BEEN DOING.
227
00:15:14,371 --> 00:15:16,331
YEAH?
228
00:15:16,373 --> 00:15:20,418
WELL, GO AHEAD, DON.
TELL US WHAT SHE SAID.
229
00:15:20,502 --> 00:15:23,421
GO AHEAD. WHAT'S
MY WIFE SAID? LET'S GET IT ALL OUT.
230
00:15:23,505 --> 00:15:25,423
LET'S PICK OUT
EVERY I DIOSYNCRASY
231
00:15:25,507 --> 00:15:28,343
OF EVERY MAN,
WOMAN AND CH I LD ON THIS WHOLE STREET.
232
00:15:28,427 --> 00:15:32,347
AND THEN WE MIGHT AS WELL
SET UP SOME KIND OF A KANGAROO COU RT.
233
00:15:32,389 --> 00:15:36,267
NOW, HOW ABOUT A F I RING SQUAD
AT DAWN, CHARLIE, TO GET RI D OF ALL THE SUSPECTS?
234
00:15:36,352 --> 00:15:40,021
NARROW THEM DOWN FOR YOU.
MAKE IT EASIER. HUH? RIGHT, DON?
235
00:15:40,105 --> 00:15:44,442
WELL, THERE'S NO NEED
GETTING SO UPSET, STEVE. IT'S JUST THAT--
236
00:15:44,526 --> 00:15:47,362
MYRA'S TALKED ABOUT
HOW THERE'S BEEN PLENTY OF NIGHTS
237
00:15:47,404 --> 00:15:49,364
YOU SPENT HOURS DOWN
IN YOUR BASEM ENT
238
00:15:49,448 --> 00:15:53,117
WORKING ON SOME KIND
OF RADIO OR SOMETHING.
239
00:15:53,202 --> 00:15:57,121
WELL, NONE OF US
HAVE EVER SEEN THAT RADIO.
240
00:16:05,714 --> 00:16:08,800
GO AHEAD, STEVE.
241
00:16:08,884 --> 00:16:12,553
WHAT KIND OF RADIO
SET YOU WORKING ON?
242
00:16:12,638 --> 00:16:16,891
I NEVER SEEN IT.
NEITHER HAS ANYONE ELSE.
243
00:16:16,976 --> 00:16:21,145
WHO TALKS TO YOU
ON THAT RADIO SET, AND WHO DO YOU TALK TO?
244
00:16:21,230 --> 00:16:24,565
WELL, I'M SURPRISED
AT YOU, CHARLIE.
245
00:16:24,650 --> 00:16:27,402
HOW COME YOU'RE SO
DENSE ALL OF A SU DDEN?
246
00:16:27,486 --> 00:16:31,990
WHO DO I TALK TO?
I TALK TO MONSTERS FROM OUTER SPACE.
247
00:16:32,074 --> 00:16:36,327
I TALK TO THREE-H EADED
G REEN MEN WHO FLY OVER HERE IN WHAT LOOK LIKE METEORS.
248
00:16:36,412 --> 00:16:38,663
PLEASE, STEVE, PLEASE.
249
00:16:38,747 --> 00:16:42,667
IT'S JUST A-A HAM
RADIO SET, THAT'S ALL.
250
00:16:42,751 --> 00:16:44,627
I BOUGHT THE BOOK
FOR HIM MYSELF.
251
00:16:44,712 --> 00:16:47,505
IT'S JUST A
HAM RADIO SET.
252
00:16:47,589 --> 00:16:51,175
A LOT OF PEOPLE HAVE THEM.
I'LL SHOW IT TO YOU. IT'S DOWN IN THE BASEM ENT.
253
00:16:51,260 --> 00:16:54,012
NO. NO, WE WON'T
SHOW THEM ANYTHING.
254
00:16:54,096 --> 00:16:57,140
IF THEY WANNA LOOK I NSIDE
OUR HOUSE, LET THEM GET A SEARCH WARRANT.
255
00:16:57,224 --> 00:16:58,975
LOOK, BUDDY, YOU
CAN'T AFFORD TO--
256
00:16:59,059 --> 00:17:02,145
CHARLIE, DON'T YOU TELL
ME WHAT I CAN AFFORD.
257
00:17:02,229 --> 00:17:04,772
AND STOP TELLING ME
WHO'S DANG EROUS AND WHO ISN'T,
258
00:17:04,857 --> 00:17:07,316
AND WHO'S SAFE
AND WHO'S A MENACE.
259
00:17:07,401 --> 00:17:10,486
AND YOU WITH HIM,
TOO, ALL OF YOU.
260
00:17:10,571 --> 00:17:14,449
YOU'RE ALL STANDING
OUT HERE ALL SET TO CRUCI FY SOMEBODY.
261
00:17:14,533 --> 00:17:17,201
YOU'RE ALL SET
TO F IN D A SCAPEGOAT.
262
00:17:17,286 --> 00:17:21,039
YOU'RE ALL DESPERATE
TO PO I NT SOME KIND OF A FING ER AT A N EIGH BOR.
263
00:17:21,123 --> 00:17:24,625
WELL, BELIEVE ME, FRIENDS,
THE ONLY THING THAT'S GONNA HAPPEN
264
00:17:24,710 --> 00:17:28,296
IS THAT WE'RE GON NA
EAT EACH OTHER UP ALIVE.
265
00:17:36,597 --> 00:17:39,474
[footsteps approaching]
266
00:18:11,131 --> 00:18:13,716
IT'S THE MONSTER.
IT'S THE MONSTER.
267
00:18:24,728 --> 00:18:26,771
HERE, WE MAY NEED THIS.
268
00:18:26,855 --> 00:18:30,525
WHAT, A SHOTG U N? WI LL
SOMEBODY THINK? WHAT GOOD IS A SHOTG U N?
269
00:18:30,567 --> 00:18:33,277
NO MORE TALK, STEVE.
YOU'RE GONNA TALK US RIGHT INTO A GRAVE.
270
00:18:33,362 --> 00:18:36,322
YOU'D LET WHATEVER'S
OUT THERE WALK RIGHT OVER US WITH YOU.
271
00:18:36,406 --> 00:18:39,117
WELL, SOME OF US WON'T.
272
00:18:41,578 --> 00:18:44,080
[gunshot]
273
00:18:45,958 --> 00:18:48,709
[dog barking]
274
00:19:01,390 --> 00:19:03,307
IT'S PETE VAN HORN.
275
00:19:03,392 --> 00:19:05,685
PETE VAN HORN.
276
00:19:05,769 --> 00:19:09,897
WELL, HE WAS JUST GOING OVER
TO THE NEXT BLOCK TO SEE I F THE POWER WAS ON.
277
00:19:09,982 --> 00:19:12,233
CHARLIE, YOU KI LLED HIM.
278
00:19:12,317 --> 00:19:14,652
HE'S DEAD.
279
00:19:16,613 --> 00:19:18,990
I DIDN'T KNOW
WHO HE WAS.
280
00:19:19,074 --> 00:19:22,160
I MOST CERTAIN LY
DI DN'T KNOW WHO HE WAS.
281
00:19:24,037 --> 00:19:26,831
WELL, HE CAME OUT
OF THE DARKN ESS.
282
00:19:26,915 --> 00:19:29,584
HOW WAS I SU PPOSED
TO KNOW WHO HE WAS?
283
00:19:32,588 --> 00:19:37,008
STEVE? YOU KNOW
WHY I SHOT HIM.
284
00:19:37,092 --> 00:19:40,261
HOW WAS I SU PPOSED
TO KNOW HE WASN'T A MONSTER OR SOMETHING?
285
00:19:40,345 --> 00:19:43,347
I WAS ONLY TRYING
TO PROTECT MY HOM E.
286
00:19:43,432 --> 00:19:46,684
I DIDN'T KNOW IT
WAS SOMEBODY WE KNEW.
287
00:19:46,768 --> 00:19:48,436
I DIDN'T KNOW.
288
00:19:48,478 --> 00:19:51,022
LOOK! CHARLIE?
289
00:19:51,106 --> 00:19:55,151
CHARLIE, THE
LIGHTS JUST WENT ON IN YOUR HOUSE.
290
00:19:55,235 --> 00:19:59,197
WHY DID THE LIGHTS
GO ON IN YOUR HOUSE?
291
00:19:59,281 --> 00:20:03,701
WHAT ABOUT IT, CHARLIE?
HOW COME YOU'RE THE ONLY ONE WITH LIGHTS NOW?
292
00:20:03,785 --> 00:20:08,706
THAT'S WHAT I'D LIKE
TO KNOW. YOU WERE SO QU ICK TO KI LL, CHARLIE.
293
00:20:08,790 --> 00:20:11,209
AND SO QUICK
TO TELL US WHO WE HAD TO LOOK OUT FOR.
294
00:20:11,293 --> 00:20:16,297
MAYBE YOU HAD TO KI LL.
MAYBE PETE WAS TRYING TO TELL US SOMETHING.
295
00:20:16,381 --> 00:20:19,050
MAYBE PETE LEARN ED
SOMETHING AND CAM E BACK TO TELL US
296
00:20:19,134 --> 00:20:22,053
WHO IT WAS AMONGST US
WE HAD TO LOOK OUT FOR.
297
00:20:22,137 --> 00:20:24,388
NO, NO, IT'S
NOTHING OF THE SORT.
298
00:20:24,473 --> 00:20:26,974
I DIDN'T KNOW
THE LIGHTS WERE ON. I SWEAR I DIDN'T.
299
00:20:27,059 --> 00:20:29,143
SOMEBODY'S PULLING
A GAG OR SOMETHING.
300
00:20:29,186 --> 00:20:33,147
A GAG? A GAG? CHARLIE,
THERE'S A MAN LYING DEAD IN THE STREET
301
00:20:33,232 --> 00:20:36,442
AND YOU KI LLED HIM.
DOES THAT LOOK LIKE A GAG TO YOU?
302
00:20:49,039 --> 00:20:52,250
LOOK. LOOK, I SWEAR
IT ISN'T ME!
303
00:20:52,334 --> 00:20:54,752
I SWEAR IT ISN'T!
I KNOW WHO IT IS!
304
00:20:54,836 --> 00:20:56,545
I KNOW WHO
THE MONSTER IS!
305
00:20:56,630 --> 00:20:59,090
I KNOW WHO IT IS THAT
DOESN'T BELONG AMONG US!
306
00:20:59,174 --> 00:21:01,008
I SWEAR I KNOW
WHO IT IS!
307
00:21:01,093 --> 00:21:04,595
ALL RIGHT, CHARLIE,
LET'S HEAR IT.
308
00:21:04,680 --> 00:21:05,930
WHAT ARE YOU
WAITING FOR?
309
00:21:06,014 --> 00:21:07,932
COME ON,
CHARLIE, COME ON.
310
00:21:08,016 --> 00:21:10,017
WHO IS IT,
CHARLIE? TELL US!
311
00:21:10,102 --> 00:21:13,604
IT'S THE KI D!
IT'S TOM MY! HE'S THE ONE!
312
00:21:13,689 --> 00:21:15,564
WELL, THAT'S NOT TRU E.
313
00:21:19,987 --> 00:21:21,737
IT ISN'T SO.
314
00:21:24,950 --> 00:21:26,742
HE'S A LITTLE BOY.
315
00:21:26,827 --> 00:21:30,538
IT WAS THIS KI D WHO KNEW
WHAT WAS GOING TO HAPPEN.
316
00:21:30,622 --> 00:21:32,957
HE WAS THE
ONE WHO KNEW.
317
00:21:33,041 --> 00:21:35,459
HOW DID HE KNOW?
HOW COULD HE HAVE KNOWN?
318
00:21:35,544 --> 00:21:37,211
(Man)
MAYBE TOMMY'S AN ALIEN.
319
00:21:37,296 --> 00:21:39,297
WHAT'S THE MATTER
WITH YOU PEOPLE? NOW STOP!
320
00:21:39,381 --> 00:21:41,632
(Woman)
HOW DID YOU KNOW?
321
00:21:41,717 --> 00:21:44,051
[all yelling at once]
322
00:21:46,054 --> 00:21:48,055
(man)
DON'T LET HIM GET TO THE HOUSE.
323
00:21:48,140 --> 00:21:50,474
(Woman)
YOU'RE RIGHT, IT'S HIM.
324
00:21:50,559 --> 00:21:55,062
IT ISN'T THE KI D.
IT'S BOB WEAVER'S HOUSE.
325
00:21:55,147 --> 00:21:59,275
IT ISN'T BOB WEAVER'S
PLACE. IT'S DON'S HOUSE.
326
00:21:59,359 --> 00:22:00,568
IT'S THE WI LLIAMS' HOUSE.
327
00:22:00,652 --> 00:22:01,902
IT'S THE KI D,
I TELL YOU.
328
00:22:01,987 --> 00:22:03,446
IT'S CHARLIE,
HE'S THE ON E.
329
00:22:08,910 --> 00:22:10,077
STOP!
330
00:22:14,750 --> 00:22:16,125
[screaming]
331
00:22:16,209 --> 00:22:17,793
IT'S STEVE!
332
00:22:17,878 --> 00:22:19,170
STOP IT!
333
00:22:19,254 --> 00:22:21,464
FOOLS!
334
00:22:21,548 --> 00:22:24,425
[gunshots]
335
00:22:24,468 --> 00:22:27,094
[screaming]
336
00:22:32,642 --> 00:22:35,603
[gunshots]
337
00:22:36,980 --> 00:22:39,357
[glass breaking]
338
00:22:42,110 --> 00:22:44,653
(man)
UNDERSTAND THE PROCEDURE NOW?
339
00:22:44,738 --> 00:22:47,031
JUST STOP A FEW
OF THEIR MACHINES
340
00:22:47,115 --> 00:22:50,493
AND RADIOS
AND TELEPHONES AND LAWN MOWERS.
341
00:22:50,577 --> 00:22:52,703
THROW THEM INTO
DARKNESS FOR A FEW HOURS
342
00:22:52,788 --> 00:22:55,998
AND THEN S IT BACK
AND WATCH THE PATTERN.
343
00:22:56,083 --> 00:22:58,626
AND THIS PATTERN IS
ALWAYS THE SAME?
344
00:22:58,668 --> 00:23:00,878
WITH FEW VARIATIONS.
345
00:23:00,962 --> 00:23:04,173
THEY PICK THE MOST
DANG EROUS EN EMY THEY CAN F IN D,
346
00:23:04,257 --> 00:23:06,217
AND IT'S THEMSELVES.
347
00:23:06,301 --> 00:23:09,720
ALL WE NEED DO IS
S IT BACK AND WATCH.
348
00:23:09,805 --> 00:23:14,475
THEN I TAKE IT THIS PLACE,
THIS MAPLE STREET IS NOT U N IQU E.
349
00:23:14,559 --> 00:23:19,563
BY NO MEANS.
THEIR WORLD IS FU LL OF MAPLE STREETS
350
00:23:19,648 --> 00:23:23,651
AND WE'LL GO FROM ONE
TO THE OTHER AND LET TH EM DESTROY THEMSELVES.
351
00:23:23,735 --> 00:23:27,571
ONE TO THE OTH ER.
ONE TO THE OTH ER.
352
00:23:27,656 --> 00:23:30,449
ONE TO THE OTH ER.
353
00:23:32,911 --> 00:23:35,871
(narrator)
THE TOOLS OF CONQUEST DO NOT NECESSARILY COME
354
00:23:35,956 --> 00:23:39,333
WITH BOMBS
AND EXPLOSIONS AND FALLOUT.
355
00:23:39,418 --> 00:23:43,838
THERE ARE WEAPONS THAT
ARE SIMPLY THOUGHTS, ATTITUDES, PREJUDICES,
356
00:23:43,880 --> 00:23:47,091
TO BE FOUND ONLY
IN THE M INDS OF MEN.
357
00:23:47,175 --> 00:23:50,845
FOR THE RECORD,
PREJUDICES CAN KILL
358
00:23:50,887 --> 00:23:53,556
AND SUSPICION
CAN DESTROY.
359
00:23:53,640 --> 00:23:56,434
AND A THOUGHTLESS,
FRIGHTENED SEARCH FOR A SCAPEGOAT
360
00:23:56,518 --> 00:23:58,936
HAS A FALLOUT
ALL OF ITS OWN
361
00:23:59,020 --> 00:24:02,773
FOR THE CHILDREN AND
THE CHILDREN YET UNBORN.
362
00:24:02,858 --> 00:24:08,195
AND THE PITY OF IT IS
THAT THESE THINGS CANNOT BE CONFINED
363
00:24:08,280 --> 00:24:11,949
TO THE TWILIGHT ZONE.
364
00:24:15,287 --> 00:24:18,080
(male presenter)
ROD SERLING, THE CREATOR
365
00:24:18,165 --> 00:24:22,376
WILL TELL YOU ABOUT NEXT
WEEK'S STORY AFTER THIS WORD FROM OUR ALTERNATE SPONSOR.
366
00:24:23,795 --> 00:24:25,880
AND NOW, MR. SERLING.
367
00:24:25,964 --> 00:24:29,258
NEXT WEEK MR. RICHARD MATH ESON
LEN DS US HIS F IN E WRITING TALENTS
368
00:24:29,342 --> 00:24:33,304
WHEN WE BRING YOU A U N IQU E
AND MOST ARRESTING STORY OF A MOVIE ACTOR
369
00:24:33,388 --> 00:24:37,725
WHO F IN DS HIMSELF ON THAT TH IN
LINE BETWEEN WHAT IS REAL AND WHAT IS A DREAM.
370
00:24:37,809 --> 00:24:40,436
MR. HOWARD DU FF STARS
IN WORLD OF DIFFERENCE,
371
00:24:40,520 --> 00:24:44,106
WHICH I THINK YOU'LL DISCOVER
IS A TELEVIS ION PLAY OF DIFFERENCE, TOO.
372
00:24:44,191 --> 00:24:47,151
THAT'S NEXT WEEK.
A JOU RN EY INTO THE TWILIGHT ZONE.
373
00:24:47,235 --> 00:24:48,986
THANK YOU AND GOOD NIGHT.
374
00:24:51,573 --> 00:24:54,950
[eerie music]
375
00:25:31,821 --> 00:25:34,114
(male presenter)
BE SURE TO SEE THE FUN-FILLED
376
00:25:34,199 --> 00:25:37,576
OF ONE OF AMERICA'S
GREATEST ENTERTAINERS, THE DAN NY THOMAS SHOW.
377
00:25:37,661 --> 00:25:40,663
MONDAY NIGHTS OVER
MOST OF THESE STATIONS.
378
00:27:17,886 --> 00:27:21,639
THE TWILIGHT ZONE IS
BROUGHT TO YOU TONIGHT
379
00:27:21,723 --> 00:27:25,809
BY THE NEWEST COFFEE
SENSATION ON THE MODERN SCENE.
380
00:27:25,894 --> 00:27:29,897
NEW AROMA-ROAST
SANKA COFFEE.
381
00:27:32,651 --> 00:27:33,817
(man)
N.
382
00:27:33,902 --> 00:27:34,818
(woman)
E.
383
00:27:34,903 --> 00:27:35,903
W.
384
00:27:35,987 --> 00:27:37,988
S.
385
00:27:38,073 --> 00:27:40,407
(both chanting)
N-E-W-S. WE'VE GOT NEWS FOR YOU.
386
00:27:40,492 --> 00:27:43,452
(man chanting)
THERE'S A GREAT NEW COFFEE WAITING FOR YOU.
387
00:27:43,536 --> 00:27:45,412
BRAND NEW SANKA
388
00:27:45,497 --> 00:27:47,581
THE FLAVOR'S RICH.
AROMA, TOO.
389
00:27:47,624 --> 00:27:49,792
AROMA-ROAST SANKA
390
00:27:49,876 --> 00:27:52,002
RICH NEW AROMA. OH!
391
00:27:52,087 --> 00:27:54,088
RICH NEW FLAVOR. AH!
392
00:27:54,130 --> 00:27:56,340
SIP SERENE
THERE'S NO CAFFEINE
393
00:27:56,424 --> 00:27:58,467
THE ONLY COFFEE ON
THE MODERN SCENE
394
00:27:58,551 --> 00:28:00,761
THAT GETS THE BEST
OF THE COFFEE BEAN.
395
00:28:00,845 --> 00:28:02,596
AROMA FLAVOR
396
00:28:02,639 --> 00:28:04,348
BUT NOT CAFFEINE.
397
00:28:04,432 --> 00:28:08,352
RICH NEW
AROMA-ROAST SANKA
398
00:28:08,436 --> 00:28:10,688
THE COFFEE THE MODERN
WORLD DESERVES.
399
00:28:10,772 --> 00:28:12,940
THE COFFEE THAT CAN'T
GET ON YOUR NERVES.
400
00:28:13,024 --> 00:28:15,150
GLORY BE
IT'S CAFFEINE FREE
401
00:28:15,235 --> 00:28:17,194
THE PERFECT COFFEE
FOR MODERN LIVING.
402
00:28:17,278 --> 00:28:19,488
DRINK ALL YOU WANT
WITHOUT M ISGIVING.
403
00:28:19,572 --> 00:28:22,616
RICH NEW
AROMA-ROAST SANKA
404
00:28:22,701 --> 00:28:27,204
AROMA, FLAVOR. STILL
97% CAFFEINE FREE.
405
00:28:27,288 --> 00:28:29,540
WILL WONDERS
NEVER CEASE?
406
00:28:29,624 --> 00:28:31,458
SANKA
407
00:28:59,237 --> 00:29:01,989
AND THE PERFECT COFFEE
ON THE MODERN SCENE.
408
00:29:02,073 --> 00:29:04,533
BRAND NEW
AROMA-ROAST SANKA.
409
00:29:04,617 --> 00:29:07,369
GIVES YOU ALL THE BEST
OF THE COFFEE BEAN.
410
00:29:07,454 --> 00:29:10,080
THE BEST AROMA,
THE BEST FLAVOR,
411
00:29:10,165 --> 00:29:13,167
AND BEST OF ALL
NO CAFFEINE.
412
00:29:13,251 --> 00:29:17,880
YES, THE HONEST-TO-GOODNESS
AROMA, THE FULL-TIME HARDY FLAVOR.
413
00:29:17,964 --> 00:29:20,424
ALL THE BEST
OF THE COFFEE BEAN.
414
00:29:20,508 --> 00:29:23,927
AND GREATEST OF ALL,
YOU CAN DRINK ALL YOU WANT.
415
00:29:24,012 --> 00:29:28,932
NEW AROMA-ROAST
SANKA IS STILL 97% CAFFEINE FREE.
416
00:29:29,017 --> 00:29:30,768
SANKA COFFEE,
417
00:29:30,852 --> 00:29:34,396
AROMA, FLAVOR,
BUT NOT CAFFEINE.
418
00:29:34,481 --> 00:29:37,357
GO AHEAD,
INDULGE YOURSELF.
419
00:29:37,407 --> 00:29:41,957
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