The Twilight Zone (1959–1964): Season 2, Episode 17 - Twenty Two - full transcript
While in the hospital recovering from overwork, Liz Powell keeps dreaming about going down to the hospital morgue.
( eerie music)
YOU'RE TRAVELING
THROUGH ANOTHER DIMENSION
A DIMENSION NOT ONLY OF
SIGHT AND SOUND, BUT OF MIND
A JOURNEY INTO A WONDROUS LAND
WHOSE BOUNDARIES
ARE THAT OF IMAGINATION.
THAT'S THE SIGNPOST UP AHEAD.
YOUR NEXT STOP,
THE TWILIGHT ZONE.
( clock ticks)
( whimpering)
( gasps)
( ticking continues)
( squeaky footsteps approach)
( footsteps fade)
ROOM FOR ONE MORE, HONEY.
( screams)
( screaming)
THIS IS MISS LIZ POWELL.
SHE'S A PROFESSIONAL DANCER
AND SHE'S IN THE HOSPITAL
AS A RESULT OF OVERWORK
AND NERVOUS FATIGUE
AND AT THIS MOMENT,
WE HAVE JUST FINISHED
WALKING WITH HER IN A NIGHTMARE.
IN A MOMENT, SHE'LL WAKE UP
AND WE'LL REMAIN AT HER SIDE.
THE PROBLEM HERE IS
THAT BOTH MISS POWELL
AND YOU WILL REACH A POINT
WHERE IT MIGHT BE
DIFFICULT TO DECIDE
WHICH IS REALITY AND
WHICH IS NIGHTMARE:
A PROBLEM UNCOMMON PERHAPS
BUT RATHER PECULIAR
TO THE TWILIGHT ZONE.
HIYA, KITTEN.
YOU LOSE YOUR WAY, BARNEY?
HEY, YOU'RE LOOKING
GREAT, KITTEN.
YOU'RE LOOKING JUST GREAT.
IT'S BEEN A LONG
TIME BETWEEN TALKS.
LOOK WHAT I BROUGHT YOU, HONEY.
I HAD IT BLOWN UP.
WHY, WE'LL GET IT
BLOWN UP REAL BIG
AND WE'LL PUT IT IN
FRONT OF THE CHI-CHI
WHEN YOU OPEN THERE.
WHERE YOU BEEN, BARNEY?
WELL, I...
YOU KNOW HOW I FEEL
ABOUT HOSPITALS, KITTEN...
THEY KIND OF DEPRESS ME.
YOU OUGHT TO TRY IT IN HERE
LYING ON YOUR BACK
FOR COUPLE OF WEEKS, BARNEY.
PRETTY SOON YOU FEEL LIKE
YOU'RE LYING ON A GLASS SLIDE
AND ALL THOSE CREEPS ARE LOOKING
AT YOU THROUGH A MICROSCOPE
AND THE ONLY TIME THE SUN
SHINES IS WHEN IT'S VISITING HOURS.
GEE, KITTEN, WHAT A MIND
YOU'VE GOT... WHAT A MIND.
THAT'S WHAT BUGS
YOU, ISN'T IT, BARNEY?
MY MIND.
YOU THINK I LEFT IT IN A BUS
STATION SOMEPLACE, DON'T YOU?
WELL, IF YOU KEEP ON
TALKING NUTSY LIKE THIS
I GOT TO THINK THERE'S
SOMETHING WRONG, KITTEN.
BARNEY, YOU GOT TO BELIEVE ME.
YOU'RE THE ONLY ONE.
YOU'RE REALLY THE ONLY ONE
I THOUGHT WOULD BELIEVE ME.
WHEN YOU DIDN'T SHOW UP...
WHEN YOU DIDN'T EVEN CALL
I GOT THIS WILD IDEA
THAT YOU'D GIVEN ME UP
THAT YOU FIGURED I WAS
SOME KIND OF A CUCKOO
WHO'D LEFT THE WORLD BEHIND.
OH, NO.
BUT BARNEY, YOU
GOT TO BELIEVE ME.
YOU'RE THE ONLY ONE.
THEY AREN'T DREAMS.
THEY HAPPEN... JUST
LIKE I SAY THEY HAPPEN.
I KNOW, KITTEN, I KNOW.
BARNEY, DON'T.
DON'T WRITE ME OFF, WILL YOU?
YOU GOT TO BELIEVE ME.
( door opens)
Man: WELL, GOOD AFTERNOON.
OH, I WAS JUST LEAVING, DOC.
NO NEED... I'LL
JUST BE A MOMENT.
WELL, MISS POWELL, YOU'RE
LOOKING AS BEAUTIFUL AS EVER.
I WAS JUST TELLING HER
THE SAME THING MYSELF.
I'M BARNEY KAVENER, LIZ'S AGENT.
HOW DO YOU DO?
HOW DO YOU DO?
YOU MAKE AN OLD DOCTOR
WISH HE WERE A YOUNG INTERN.
( staccato laugh)
YOU MAKE ME WISH THE SAME THING.
YOU MUST BE GREAT
AT FUNERALS, LAUGHING BOY.
WE'RE A LITTLE FEISTY
TODAY, AREN'T WE?
WE ARE NOT FEISTY.
WE ARE JUST A LITTLE TIRED
OF TEN PEOPLE AN HOUR
WALKING AROUND OUR BED
LIKE WE WERE SOME KIND
OF A FREAK OR SOMETHING.
WHY DON'T YOU GUYS
GET OFF THE DIME?
THERE'S NOTHING WRONG WITH ME.
THERE MOST ASSUREDLY
ISN'T, MISS POWELL.
THAT'S WHAT WE'VE
BEEN TRYING TO TELL YOU.
YOU'RE IN EXCELLENT
PHYSICAL CONDITION
A LITTLE OVERTIRED, THAT'S ALL
A LITTLE OVERWORKED, PERHAPS.
I GUESS A DANCER'S LIFE
ISN'T THE EASIEST, IS IT?
WELL, TALENT LIKE THIS
MAKES IT LOOK EASY, DOC.
I'VE BEEN THIS LITTLE
LADY'S AGENT FOR 12 YEARS
AND I'M HERE TO TELL
YOU THAT SHE'S THE BEST
LITTLE STRIPPER... DANCER.
DANCER THAT EVER
CAME DOWN THE PIKE.
( staccato laugh)
JUST LISTEN TO
HIM LAUGH, BARNEY.
BOY, HE'S GREAT FOR YOUR MORALE.
WELL, DOC, WHAT'S IT
GOING TO BE TONIGHT?
A BIG DISCUSSION ABOUT
FREUD AND DREAMS?
YOU DON'T SEEM INTERESTED
IN DREAMS, MISS POWELL.
IN THIS STORY, YOU RECOUNT
YOU KEEP REJECTING THE
FACT THAT IT IS A DREAM.
YOU KNOW IT.
AS A MATTER OF
FACT, I DON'T KNOW IT.
I KNOW QUITE THE REVERSE.
I SAY IT IS A DREAM.
NOW, LET'S RUN THROUGH IT AGAIN.
YOU SAY IT ALWAYS HAPPENS
IN PERFECT CHRONOLOGY.
YOU WAKE UP.
YOU FEEL THIRSTY.
YOU REACH FOR THE GLASS.
YOU HEAR THE CLOCK
TICKING LOUDLY.
VERY LOUDLY.
IT UNNERVES YOU.
THE GLASS SLIPS OUT OF YOUR
HAND AND BREAKS ON THE FLOOR.
AND THEN I HEAR THE
FOOTSTEPS OUTSIDE.
FOOTSTEPS?
WHOSE FOOTSTEPS?
MISS POWELL SEEMS TO FEEL
THEY'RE THE
FOOTSTEPS OF A NURSE.
THEY ARE THE
FOOTSTEPS OF A NURSE.
I HEAR THEM.
THEY COME DOWN THE CORRIDOR
AND STOP OUTSIDE MY DOOR.
I JUMP OUT OF BED.
NOW, MISS POWELL...
I OPEN THE DOOR AND I SEE THIS
NURSE GOING INTO AN ELEVATOR.
I FOLLOW HER.
THE ELEVATOR GOES DOWN
TO THE BASEMENT FLOOR.
DOWN AT THE END OF THE
HALL THERE'S A ROOM: ROOM 22.
WHAT KIND OF ROOM?
IT'S THE HOSPITAL
MORGUE MR. KAVENER.
MISS POWELL SEEMS TO FEEL
THE NURSE COMES
OUT OF THE MORGUE
LOOKS STRAIGHT
AT HER AND SAYS...
"ROOM FOR ONE MORE, HONEY."
THAT'S WHAT SHE SAYS, BARNEY
"ROOM FOR ONE MORE"
AND THEN SHE POINTS
TO THAT ROOM...
THAT ROOM WHERE
ALL THE STIFFS ARE.
ODD DREAM, WOULDN'T
YOU SAY, MR. KAVENER?
THAT'S A WEIRDO, DOC.
THAT'S A VERY WEIRD DREAM.
IT ISN'T A DREAM.
MISS POWELL CLAIMS
IT'S ONE OF OUR NURSES
ASSIGNED TO THE BASEMENT FLOOR.
HOW SHOULD I KNOW
IF IT'S ONE OF YOUR
NURSES OR NOT?
ALL I KNOW IS THIS DAME
COMES OUT OF THAT ROOM
LOOKS AT ME AND SAYS
"ROOM FOR ONE MORE, HONEY."
YOU BRING HER IN HERE.
I'LL POINT HER OUT.
BOY, WILL I POINT HER OUT.
I KNOW HER FACE AS
WELL AS I DO MY OWN.
VERY WELL.
LET'S SEE.
THIS IS MISS JAMESON.
SHE'S THE NIGHT NURSE
ASSIGNED TO THE
BASEMENT FLOOR...
THE ONLY NURSE I
MIGHT ADD, MISS POWELL.
LOOK AT HER.
WELL, MISS POWELL?
IS THIS YOUR PHANTOM LADY?
NO, THIS WOMAN IS
TALL AND SHE'S GOT
THIS CRAZY KIND OF
A SMILE ON HER FACE.
THAT WILL BE ALL, THANK YOU.
WELL, MISS POWELL, IT
OBVIOUSLY IS A DREAM.
IF IT WERE A NURSE
IN OUR HOSPITAL
IT WOULD HAVE TO
BE THAT YOUNG LADY
AND SINCE IT IS NOT
YOU'LL HAVE TO ADMIT
IT'S VERY UNLIKELY
THAT THE WOMAN YOU SAW
COULD HAVE COME
OUT OF THE MORGUE.
I KNOW WHAT I SAW.
I KNOW WHAT I DID.
I'LL TELL YOU WHAT, MISS POWELL
TO PROVE MY POINT
LET'S TRY SOMETHING DIFFERENT.
LIKE WHAT?
YOU SAY IT ALWAYS HAPPENS
IN SUCH PURE CHRONOLOGY...
THAT YOUR ACTIONS
ARE ALWAYS THE SAME.
TONIGHT WHEN YOU'RE DREAMING
OR AS YOU SAY, WHEN
YOU'RE WAKING UP
DON'T REACH FOR THE GLASS.
SEE IF BREAKING
THE ROUTINE OF IT
WON'T STOP IT FROM HAPPENING.
Barney: NOW, THAT SOUNDS
LIKE A GROOVY IDEA, DOC.
WHY DON'T YOU
TRY IT, KITTEN, HUH?
WHY DON'T YOU TRY IT?
BARNEY, WILL YOU TELL HIM?
WHEN THE SAME
THING HAPPENS TO YOU
FOR SIX NIGHTS IN A ROW!
OVERWORK, FATIGUE, TIREDNESS...
A NIGHTMARE AT THIS POINT
WOULD NOT BE
ABNORMAL, MR. KAVENER.
A NIGHTMARE IN THIS
CASE WOULD BE THE NORM.
WELL, MISS POWELL
LET'S SEE WHAT
THIS EVENING BRINGS
SHALL WE?
YEAH, WELL, I...
I GOT TO BE RUNNING
ALONG, KITTEN.
NOW, YOU STAY HIP
TO WHAT THE DOC
HERE IS TELLING YOU.
I'M SURE GLAD TO
SEE YOU FEELING...
LOOKING SO GOOD AGAIN.
THANKS A HEAP, BARNEY.
YOU KNOW, YOU
COULDN'T BOOST MORALE
IF IT WEIGHED A
QUARTER OF A POUND
AND YOU HAD A DERRICK.
THANKS FOR COMING OVER.
YOU MUST DO IT AGAIN SOMETIME
ONLY MAKE IT NEXT
YEAR, WILL YOU?
OH, KITTEN, BABY.
GET OUT, WILL YOU, BARNEY?
SURE, LIZ... SURE.
REMEMBER ABOUT
TONIGHT, MISS POWELL.
WHEN YOU FEEL A COMPULSION
TO REPEAT THE NIGHTMARE...
DON'T DO IT.
NOW, RELAX.
GET TO SLEEP.
I THINK WE'RE ON OUR
WAY TO RECOVERY.
WE'RE JUST DELIGHTED
THAT WE FEEL THAT WAY.
( clock ticks loudly)
( whimpering)
( gasps)
( clock continues ticking)
( lighter clatters on floor)
( ticking grows louder)
( glass shatters)
( squeaky footsteps approach)
( footsteps fade)
ROOM FOR ONE MORE, HONEY.
( screams)
( moaning)
DON'T LEAVE HER
UNTIL SHE'S ASLEEP.
WELL, I THINK SHE'LL SLEEP NOW.
GOOD.
THAT'S ODD.
NOW, THAT'S REALLY ODD.
WHAT IS, DOCTOR?
THIS AFTERNOON WHEN
I WAS TALKING TO HER
SHE WAS TELLING ME
ABOUT THIS... THIS DREAM.
WHAT ABOUT IT?
FOLLOWING SOMEONE
DOWN THE CORRIDOR
GETTING INTO THE ELEVATOR
GOING DOWN TO THE MORGUE.
MORGUE?
YES.
SHE'S NEVER BEEN THERE BEFORE.
PATIENTS AREN'T ALLOWED THERE.
AND YET, WHEN SHE
TELLS ME THE STORY
SHE MENTIONS ROOM 22.
ROOM 22?
WELL, IF SHE'D NEVER BEEN THERE
HOW WOULD SHE KNOW?
HOW WOULD SHE?
EVERYTHING PACKED?
THAT DOES IT.
YOUR AGENT IS HERE. HE SAID
TO PHONE DOWN TO THE LOBBY
WHEN YOU'RE READY.
HE'LL MEET YOU AT THE ELEVATOR.
MY CUP RUNNETH OVER.
IS THERE A BACK
DOOR TO THIS PLACE?
WELL, HE SEEMS LIKE
QUITE A DEVOTED MAN.
OH, HE'S DEVOTED...
TO TEN PERCENT COMMISSION
AND 12 HOURS' SLEEP EVERY NIGHT.
WELL, ARE WE READY TO LEAVE?
ALL READY, DOCTOR.
READY AND OVERDUE.
LET ME TAKE THAT FOR YOU.
SEND ME A POSTCARD
FROM MIAMI BEACH, WILL YOU?
SURE.
MISS POWELL... THEY WERE DREAMS.
JUST A PART OF YOUR FATIGUE.
YOU WERE SUSCEPTIBLE TO NERVES.
THAT'S WHAT HAPPENS WHEN
A MIND IS OVERWROUGHT.
IT PLAYS TRICKS.
I DON'T WANT TO SEE YOU
BACK HERE AGAIN, MISS POWELL.
THE NEXT TIME I SEE YOU,
I'LL BE AT A RINGSIDE TABLE
AND I'D APPRECIATE,
UH... A SUBTLE WINK.
( chuckles)
MISS POWELL?
YEAH. YEAH, I'M READY.
YOU'RE ALL SET, MISS POWELL.
THAT'S THE NONSTOP TO MIAMI
DEPARTING FROM AREA C IN
APPROXIMATELY FIVE MINUTES.
YOUR SEAT ASSIGNMENT'S
ON THE ENVELOPE THERE.
THANK YOU VERY MUCH.
DID ANYONE EVER TELL YOU
THAT YOU HAVE EYES
LIKE A TARANTULA?
OH, I'M SORRY, MISS.
I DIDN'T MEAN TO STARE.
FORGET IT.
IS THAT AREA C OUT THERE?
YES, MA'AM.
FLIGHT 22 IS LOADING NOW
AND YOU CAN GET ABOARD ANYTIME.
UH...
IS THERE ANYTHING
WRONG, MISS POWELL?
WHAT FLIGHT?
22... NONSTOP TO MIAMI
RIGHT OUT THROUGH THAT DOOR...
YOU CAN BOARD NOW.
THANK YOU.
THANK YOU VERY MUCH.
Passenger Porter, please report
to ticket confirmation
desk immediately.
Passenger Porter, please report
to ticket confirmation
desk immediately.
( clock ticking)
IT'S THAT... THAT CRAZY FEELING.
I'M THIRSTY.
I'M THIRSTY BUT...
BUT I'M AWAKE.
IT'S THAT SAME
FEELING BUT I'M AWAKE.
THIS ISN'T A DREAM.
THIS COULDN'T BE A DREAM.
( clock ticks very loudly)
( Powell screams)
( ticking grows louder)
I THINK YOU'D BETTER
HURRY UP A LITTLE, MISS.
THAT'S YOUR FLIGHT
READY FOR DEPARTURE OUT THERE.
ROOM FOR ONE MORE, HONEY.
( screams)
( screaming)
( airplane engines start)
( roaring of plane engine)
THIS COULDN'T BE A DREAM.
IT'S NOT A DREAM.
IT'S NOT A DREAM.
IT JUST COULDN'T BE... NOT NOW.
IT JUST COULDN'T BE.
( sirens sound)
MISS ELIZABETH POWELL,
PROFESSIONAL DANCER.
HOSPITAL DIAGNOSIS:
ACUTE ANXIETY BROUGHT ON
BY OVERWORK AND FATIGUE.
PROGNOSIS: WITH REST AND
CARE, SHE'LL PROBABLY RECOVER
BUT THE CURE TO SOME
NIGHTMARES IS NOT TO BE FOUND
IN KNOWN MEDICAL JOURNALS.
YOU LOOK FOR IT UNDER
"POTIONS FOR BAD DREAMS"
TO BE FOUND IN
THE TWILIGHT ZONE.
Announcer: ROD SERLING,
CREATOR OF THE TWILIGHT ZONE
WILL TELL YOU ABOUT
NEXT WEEK'S STORY
AFTER THIS WORD FROM
OUR ALTERNATE SPONSOR.
AND NOW, MR. SERLING.
NEXT WEEK YOU'LL FIND
EACH OF YOUR NAMES
ON THE PASSENGER
MANIFEST OF THIS JET AIRCRAFT
THAT TRAVELS FROM
LONDON TO NEW YORK CITY.
YOU'LL SIT IN THESE SEATS
AND YOU'LL GO THROUGH AN
EXPERIENCE UNIQUE BEYOND WORDS
AND TENSE BEYOND ANYTHING
I BELIEVE YOU'VE EVER SEEN.
YOU'LL BE DEPARTING NEXT
WEEK AT ABOUT THIS TIME
IN A VEHICLE WE CALL
"THE ODYSSEY OF FLIGHT 33."
BUT PREPARED FOR A STOP
MIDWAY IN THE TWILIGHT ZONE.
Announcer: BE SURE AND SEE THE
COLGATE-PALMOLIVE COMPANY'S
NEW COMEDY SHOW MY SISTER EILEEN
WEDNESDAY NIGHT ON MANY
OF THESE SAME STATIONS.
YOU'RE TRAVELING
THROUGH ANOTHER DIMENSION
A DIMENSION NOT ONLY OF
SIGHT AND SOUND, BUT OF MIND
A JOURNEY INTO A WONDROUS LAND
WHOSE BOUNDARIES
ARE THAT OF IMAGINATION.
THAT'S THE SIGNPOST UP AHEAD.
YOUR NEXT STOP,
THE TWILIGHT ZONE.
( clock ticks)
( whimpering)
( gasps)
( ticking continues)
( squeaky footsteps approach)
( footsteps fade)
ROOM FOR ONE MORE, HONEY.
( screams)
( screaming)
THIS IS MISS LIZ POWELL.
SHE'S A PROFESSIONAL DANCER
AND SHE'S IN THE HOSPITAL
AS A RESULT OF OVERWORK
AND NERVOUS FATIGUE
AND AT THIS MOMENT,
WE HAVE JUST FINISHED
WALKING WITH HER IN A NIGHTMARE.
IN A MOMENT, SHE'LL WAKE UP
AND WE'LL REMAIN AT HER SIDE.
THE PROBLEM HERE IS
THAT BOTH MISS POWELL
AND YOU WILL REACH A POINT
WHERE IT MIGHT BE
DIFFICULT TO DECIDE
WHICH IS REALITY AND
WHICH IS NIGHTMARE:
A PROBLEM UNCOMMON PERHAPS
BUT RATHER PECULIAR
TO THE TWILIGHT ZONE.
HIYA, KITTEN.
YOU LOSE YOUR WAY, BARNEY?
HEY, YOU'RE LOOKING
GREAT, KITTEN.
YOU'RE LOOKING JUST GREAT.
IT'S BEEN A LONG
TIME BETWEEN TALKS.
LOOK WHAT I BROUGHT YOU, HONEY.
I HAD IT BLOWN UP.
WHY, WE'LL GET IT
BLOWN UP REAL BIG
AND WE'LL PUT IT IN
FRONT OF THE CHI-CHI
WHEN YOU OPEN THERE.
WHERE YOU BEEN, BARNEY?
WELL, I...
YOU KNOW HOW I FEEL
ABOUT HOSPITALS, KITTEN...
THEY KIND OF DEPRESS ME.
YOU OUGHT TO TRY IT IN HERE
LYING ON YOUR BACK
FOR COUPLE OF WEEKS, BARNEY.
PRETTY SOON YOU FEEL LIKE
YOU'RE LYING ON A GLASS SLIDE
AND ALL THOSE CREEPS ARE LOOKING
AT YOU THROUGH A MICROSCOPE
AND THE ONLY TIME THE SUN
SHINES IS WHEN IT'S VISITING HOURS.
GEE, KITTEN, WHAT A MIND
YOU'VE GOT... WHAT A MIND.
THAT'S WHAT BUGS
YOU, ISN'T IT, BARNEY?
MY MIND.
YOU THINK I LEFT IT IN A BUS
STATION SOMEPLACE, DON'T YOU?
WELL, IF YOU KEEP ON
TALKING NUTSY LIKE THIS
I GOT TO THINK THERE'S
SOMETHING WRONG, KITTEN.
BARNEY, YOU GOT TO BELIEVE ME.
YOU'RE THE ONLY ONE.
YOU'RE REALLY THE ONLY ONE
I THOUGHT WOULD BELIEVE ME.
WHEN YOU DIDN'T SHOW UP...
WHEN YOU DIDN'T EVEN CALL
I GOT THIS WILD IDEA
THAT YOU'D GIVEN ME UP
THAT YOU FIGURED I WAS
SOME KIND OF A CUCKOO
WHO'D LEFT THE WORLD BEHIND.
OH, NO.
BUT BARNEY, YOU
GOT TO BELIEVE ME.
YOU'RE THE ONLY ONE.
THEY AREN'T DREAMS.
THEY HAPPEN... JUST
LIKE I SAY THEY HAPPEN.
I KNOW, KITTEN, I KNOW.
BARNEY, DON'T.
DON'T WRITE ME OFF, WILL YOU?
YOU GOT TO BELIEVE ME.
( door opens)
Man: WELL, GOOD AFTERNOON.
OH, I WAS JUST LEAVING, DOC.
NO NEED... I'LL
JUST BE A MOMENT.
WELL, MISS POWELL, YOU'RE
LOOKING AS BEAUTIFUL AS EVER.
I WAS JUST TELLING HER
THE SAME THING MYSELF.
I'M BARNEY KAVENER, LIZ'S AGENT.
HOW DO YOU DO?
HOW DO YOU DO?
YOU MAKE AN OLD DOCTOR
WISH HE WERE A YOUNG INTERN.
( staccato laugh)
YOU MAKE ME WISH THE SAME THING.
YOU MUST BE GREAT
AT FUNERALS, LAUGHING BOY.
WE'RE A LITTLE FEISTY
TODAY, AREN'T WE?
WE ARE NOT FEISTY.
WE ARE JUST A LITTLE TIRED
OF TEN PEOPLE AN HOUR
WALKING AROUND OUR BED
LIKE WE WERE SOME KIND
OF A FREAK OR SOMETHING.
WHY DON'T YOU GUYS
GET OFF THE DIME?
THERE'S NOTHING WRONG WITH ME.
THERE MOST ASSUREDLY
ISN'T, MISS POWELL.
THAT'S WHAT WE'VE
BEEN TRYING TO TELL YOU.
YOU'RE IN EXCELLENT
PHYSICAL CONDITION
A LITTLE OVERTIRED, THAT'S ALL
A LITTLE OVERWORKED, PERHAPS.
I GUESS A DANCER'S LIFE
ISN'T THE EASIEST, IS IT?
WELL, TALENT LIKE THIS
MAKES IT LOOK EASY, DOC.
I'VE BEEN THIS LITTLE
LADY'S AGENT FOR 12 YEARS
AND I'M HERE TO TELL
YOU THAT SHE'S THE BEST
LITTLE STRIPPER... DANCER.
DANCER THAT EVER
CAME DOWN THE PIKE.
( staccato laugh)
JUST LISTEN TO
HIM LAUGH, BARNEY.
BOY, HE'S GREAT FOR YOUR MORALE.
WELL, DOC, WHAT'S IT
GOING TO BE TONIGHT?
A BIG DISCUSSION ABOUT
FREUD AND DREAMS?
YOU DON'T SEEM INTERESTED
IN DREAMS, MISS POWELL.
IN THIS STORY, YOU RECOUNT
YOU KEEP REJECTING THE
FACT THAT IT IS A DREAM.
YOU KNOW IT.
AS A MATTER OF
FACT, I DON'T KNOW IT.
I KNOW QUITE THE REVERSE.
I SAY IT IS A DREAM.
NOW, LET'S RUN THROUGH IT AGAIN.
YOU SAY IT ALWAYS HAPPENS
IN PERFECT CHRONOLOGY.
YOU WAKE UP.
YOU FEEL THIRSTY.
YOU REACH FOR THE GLASS.
YOU HEAR THE CLOCK
TICKING LOUDLY.
VERY LOUDLY.
IT UNNERVES YOU.
THE GLASS SLIPS OUT OF YOUR
HAND AND BREAKS ON THE FLOOR.
AND THEN I HEAR THE
FOOTSTEPS OUTSIDE.
FOOTSTEPS?
WHOSE FOOTSTEPS?
MISS POWELL SEEMS TO FEEL
THEY'RE THE
FOOTSTEPS OF A NURSE.
THEY ARE THE
FOOTSTEPS OF A NURSE.
I HEAR THEM.
THEY COME DOWN THE CORRIDOR
AND STOP OUTSIDE MY DOOR.
I JUMP OUT OF BED.
NOW, MISS POWELL...
I OPEN THE DOOR AND I SEE THIS
NURSE GOING INTO AN ELEVATOR.
I FOLLOW HER.
THE ELEVATOR GOES DOWN
TO THE BASEMENT FLOOR.
DOWN AT THE END OF THE
HALL THERE'S A ROOM: ROOM 22.
WHAT KIND OF ROOM?
IT'S THE HOSPITAL
MORGUE MR. KAVENER.
MISS POWELL SEEMS TO FEEL
THE NURSE COMES
OUT OF THE MORGUE
LOOKS STRAIGHT
AT HER AND SAYS...
"ROOM FOR ONE MORE, HONEY."
THAT'S WHAT SHE SAYS, BARNEY
"ROOM FOR ONE MORE"
AND THEN SHE POINTS
TO THAT ROOM...
THAT ROOM WHERE
ALL THE STIFFS ARE.
ODD DREAM, WOULDN'T
YOU SAY, MR. KAVENER?
THAT'S A WEIRDO, DOC.
THAT'S A VERY WEIRD DREAM.
IT ISN'T A DREAM.
MISS POWELL CLAIMS
IT'S ONE OF OUR NURSES
ASSIGNED TO THE BASEMENT FLOOR.
HOW SHOULD I KNOW
IF IT'S ONE OF YOUR
NURSES OR NOT?
ALL I KNOW IS THIS DAME
COMES OUT OF THAT ROOM
LOOKS AT ME AND SAYS
"ROOM FOR ONE MORE, HONEY."
YOU BRING HER IN HERE.
I'LL POINT HER OUT.
BOY, WILL I POINT HER OUT.
I KNOW HER FACE AS
WELL AS I DO MY OWN.
VERY WELL.
LET'S SEE.
THIS IS MISS JAMESON.
SHE'S THE NIGHT NURSE
ASSIGNED TO THE
BASEMENT FLOOR...
THE ONLY NURSE I
MIGHT ADD, MISS POWELL.
LOOK AT HER.
WELL, MISS POWELL?
IS THIS YOUR PHANTOM LADY?
NO, THIS WOMAN IS
TALL AND SHE'S GOT
THIS CRAZY KIND OF
A SMILE ON HER FACE.
THAT WILL BE ALL, THANK YOU.
WELL, MISS POWELL, IT
OBVIOUSLY IS A DREAM.
IF IT WERE A NURSE
IN OUR HOSPITAL
IT WOULD HAVE TO
BE THAT YOUNG LADY
AND SINCE IT IS NOT
YOU'LL HAVE TO ADMIT
IT'S VERY UNLIKELY
THAT THE WOMAN YOU SAW
COULD HAVE COME
OUT OF THE MORGUE.
I KNOW WHAT I SAW.
I KNOW WHAT I DID.
I'LL TELL YOU WHAT, MISS POWELL
TO PROVE MY POINT
LET'S TRY SOMETHING DIFFERENT.
LIKE WHAT?
YOU SAY IT ALWAYS HAPPENS
IN SUCH PURE CHRONOLOGY...
THAT YOUR ACTIONS
ARE ALWAYS THE SAME.
TONIGHT WHEN YOU'RE DREAMING
OR AS YOU SAY, WHEN
YOU'RE WAKING UP
DON'T REACH FOR THE GLASS.
SEE IF BREAKING
THE ROUTINE OF IT
WON'T STOP IT FROM HAPPENING.
Barney: NOW, THAT SOUNDS
LIKE A GROOVY IDEA, DOC.
WHY DON'T YOU
TRY IT, KITTEN, HUH?
WHY DON'T YOU TRY IT?
BARNEY, WILL YOU TELL HIM?
WHEN THE SAME
THING HAPPENS TO YOU
FOR SIX NIGHTS IN A ROW!
OVERWORK, FATIGUE, TIREDNESS...
A NIGHTMARE AT THIS POINT
WOULD NOT BE
ABNORMAL, MR. KAVENER.
A NIGHTMARE IN THIS
CASE WOULD BE THE NORM.
WELL, MISS POWELL
LET'S SEE WHAT
THIS EVENING BRINGS
SHALL WE?
YEAH, WELL, I...
I GOT TO BE RUNNING
ALONG, KITTEN.
NOW, YOU STAY HIP
TO WHAT THE DOC
HERE IS TELLING YOU.
I'M SURE GLAD TO
SEE YOU FEELING...
LOOKING SO GOOD AGAIN.
THANKS A HEAP, BARNEY.
YOU KNOW, YOU
COULDN'T BOOST MORALE
IF IT WEIGHED A
QUARTER OF A POUND
AND YOU HAD A DERRICK.
THANKS FOR COMING OVER.
YOU MUST DO IT AGAIN SOMETIME
ONLY MAKE IT NEXT
YEAR, WILL YOU?
OH, KITTEN, BABY.
GET OUT, WILL YOU, BARNEY?
SURE, LIZ... SURE.
REMEMBER ABOUT
TONIGHT, MISS POWELL.
WHEN YOU FEEL A COMPULSION
TO REPEAT THE NIGHTMARE...
DON'T DO IT.
NOW, RELAX.
GET TO SLEEP.
I THINK WE'RE ON OUR
WAY TO RECOVERY.
WE'RE JUST DELIGHTED
THAT WE FEEL THAT WAY.
( clock ticks loudly)
( whimpering)
( gasps)
( clock continues ticking)
( lighter clatters on floor)
( ticking grows louder)
( glass shatters)
( squeaky footsteps approach)
( footsteps fade)
ROOM FOR ONE MORE, HONEY.
( screams)
( moaning)
DON'T LEAVE HER
UNTIL SHE'S ASLEEP.
WELL, I THINK SHE'LL SLEEP NOW.
GOOD.
THAT'S ODD.
NOW, THAT'S REALLY ODD.
WHAT IS, DOCTOR?
THIS AFTERNOON WHEN
I WAS TALKING TO HER
SHE WAS TELLING ME
ABOUT THIS... THIS DREAM.
WHAT ABOUT IT?
FOLLOWING SOMEONE
DOWN THE CORRIDOR
GETTING INTO THE ELEVATOR
GOING DOWN TO THE MORGUE.
MORGUE?
YES.
SHE'S NEVER BEEN THERE BEFORE.
PATIENTS AREN'T ALLOWED THERE.
AND YET, WHEN SHE
TELLS ME THE STORY
SHE MENTIONS ROOM 22.
ROOM 22?
WELL, IF SHE'D NEVER BEEN THERE
HOW WOULD SHE KNOW?
HOW WOULD SHE?
EVERYTHING PACKED?
THAT DOES IT.
YOUR AGENT IS HERE. HE SAID
TO PHONE DOWN TO THE LOBBY
WHEN YOU'RE READY.
HE'LL MEET YOU AT THE ELEVATOR.
MY CUP RUNNETH OVER.
IS THERE A BACK
DOOR TO THIS PLACE?
WELL, HE SEEMS LIKE
QUITE A DEVOTED MAN.
OH, HE'S DEVOTED...
TO TEN PERCENT COMMISSION
AND 12 HOURS' SLEEP EVERY NIGHT.
WELL, ARE WE READY TO LEAVE?
ALL READY, DOCTOR.
READY AND OVERDUE.
LET ME TAKE THAT FOR YOU.
SEND ME A POSTCARD
FROM MIAMI BEACH, WILL YOU?
SURE.
MISS POWELL... THEY WERE DREAMS.
JUST A PART OF YOUR FATIGUE.
YOU WERE SUSCEPTIBLE TO NERVES.
THAT'S WHAT HAPPENS WHEN
A MIND IS OVERWROUGHT.
IT PLAYS TRICKS.
I DON'T WANT TO SEE YOU
BACK HERE AGAIN, MISS POWELL.
THE NEXT TIME I SEE YOU,
I'LL BE AT A RINGSIDE TABLE
AND I'D APPRECIATE,
UH... A SUBTLE WINK.
( chuckles)
MISS POWELL?
YEAH. YEAH, I'M READY.
YOU'RE ALL SET, MISS POWELL.
THAT'S THE NONSTOP TO MIAMI
DEPARTING FROM AREA C IN
APPROXIMATELY FIVE MINUTES.
YOUR SEAT ASSIGNMENT'S
ON THE ENVELOPE THERE.
THANK YOU VERY MUCH.
DID ANYONE EVER TELL YOU
THAT YOU HAVE EYES
LIKE A TARANTULA?
OH, I'M SORRY, MISS.
I DIDN'T MEAN TO STARE.
FORGET IT.
IS THAT AREA C OUT THERE?
YES, MA'AM.
FLIGHT 22 IS LOADING NOW
AND YOU CAN GET ABOARD ANYTIME.
UH...
IS THERE ANYTHING
WRONG, MISS POWELL?
WHAT FLIGHT?
22... NONSTOP TO MIAMI
RIGHT OUT THROUGH THAT DOOR...
YOU CAN BOARD NOW.
THANK YOU.
THANK YOU VERY MUCH.
Passenger Porter, please report
to ticket confirmation
desk immediately.
Passenger Porter, please report
to ticket confirmation
desk immediately.
( clock ticking)
IT'S THAT... THAT CRAZY FEELING.
I'M THIRSTY.
I'M THIRSTY BUT...
BUT I'M AWAKE.
IT'S THAT SAME
FEELING BUT I'M AWAKE.
THIS ISN'T A DREAM.
THIS COULDN'T BE A DREAM.
( clock ticks very loudly)
( Powell screams)
( ticking grows louder)
I THINK YOU'D BETTER
HURRY UP A LITTLE, MISS.
THAT'S YOUR FLIGHT
READY FOR DEPARTURE OUT THERE.
ROOM FOR ONE MORE, HONEY.
( screams)
( screaming)
( airplane engines start)
( roaring of plane engine)
THIS COULDN'T BE A DREAM.
IT'S NOT A DREAM.
IT'S NOT A DREAM.
IT JUST COULDN'T BE... NOT NOW.
IT JUST COULDN'T BE.
( sirens sound)
MISS ELIZABETH POWELL,
PROFESSIONAL DANCER.
HOSPITAL DIAGNOSIS:
ACUTE ANXIETY BROUGHT ON
BY OVERWORK AND FATIGUE.
PROGNOSIS: WITH REST AND
CARE, SHE'LL PROBABLY RECOVER
BUT THE CURE TO SOME
NIGHTMARES IS NOT TO BE FOUND
IN KNOWN MEDICAL JOURNALS.
YOU LOOK FOR IT UNDER
"POTIONS FOR BAD DREAMS"
TO BE FOUND IN
THE TWILIGHT ZONE.
Announcer: ROD SERLING,
CREATOR OF THE TWILIGHT ZONE
WILL TELL YOU ABOUT
NEXT WEEK'S STORY
AFTER THIS WORD FROM
OUR ALTERNATE SPONSOR.
AND NOW, MR. SERLING.
NEXT WEEK YOU'LL FIND
EACH OF YOUR NAMES
ON THE PASSENGER
MANIFEST OF THIS JET AIRCRAFT
THAT TRAVELS FROM
LONDON TO NEW YORK CITY.
YOU'LL SIT IN THESE SEATS
AND YOU'LL GO THROUGH AN
EXPERIENCE UNIQUE BEYOND WORDS
AND TENSE BEYOND ANYTHING
I BELIEVE YOU'VE EVER SEEN.
YOU'LL BE DEPARTING NEXT
WEEK AT ABOUT THIS TIME
IN A VEHICLE WE CALL
"THE ODYSSEY OF FLIGHT 33."
BUT PREPARED FOR A STOP
MIDWAY IN THE TWILIGHT ZONE.
Announcer: BE SURE AND SEE THE
COLGATE-PALMOLIVE COMPANY'S
NEW COMEDY SHOW MY SISTER EILEEN
WEDNESDAY NIGHT ON MANY
OF THESE SAME STATIONS.