All language subtitles for The Twilight Zone s01e29 Nightmare as a Child.eng

[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

BY THE NEWEST COFFEE
SENSATION ON THE MODERN SCENE.

NEW AROMA ROAST
SANKA COFFEE.

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