The Twilight Zone (1959–1964): Season 3, Episode 14 - Five Characters in Search of an Exit - full transcript
An army major awakens in a small room with no idea of who he is or how he got there. He finds four other people in the same room, and they all begin to question how they each arrived there, and more importantly, how to escape.
[theme music playing]
(narrator)
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.
YOUR NEXT STOP,
THE TWILIGHT ZONE.
[metallic echoing]
[laughing]
THE FLEET'S IN. NO, NO,
IT ISN'T THE FLEET, IS
IT? IT'S THE ARMY.
THE ARMY'S IN.
HOORAY FOR THE ARMY!
GET THE TROOPS
OUT OF THE HOT SUN.
TA-RA-RA-BOOM-DE-AY!
YOUR ORDERS, COLONEL,
GENERAL, WHATEVER YOU ARE.
I'M A MAJOR.
DON'T FRET. ADVANCEMENT
COMES QUICKLY, EVEN IN
THE PEACETIME ARMY.
TODAY, A MAJOR.
TOMORROW, A BRIGADIER.
MAJOR TO BRIGADIER,
THAT'S NOT BAD.
YOU'RE GENEROUS,
OLD SPORT. YOU-YOU'RE
REALLY VERY GENEROUS.
PROBLEM?
PROBLEM? NO.
NO, NO PROBLEM.
IT'S JUST THAT --
JUST THAT WHAT?
A COUPLE OF VERY
UNIMPORTANT ITEMS
SEEM TO HAVE
ELUDED ME LIKE,
WHO I AM.
YOU SAID YOU
WERE A MAJOR.
HEY, WAIT A MINUTE.
WAIT A MINUTE.
WHO ARE YOU?
WHAT ARE YOU
DOING HERE?
IS THERE A CIRCUS
AROUND HERE SOMEWHERE?
A CIRCUS?
YEAH.
YEAH, THERE MUST
BE A CIRCUS.
A CLOWN. A CIRCUS?
AN OFFICER. A WAR!
THAT'S LOGIC, ISN'T IT?
BUT IT DOESN'T
FIGURE AT ALL.
NOT AT ALL.
WHY NOT?
BECAUSE THERE IS NO
CIRCUS, AND THERE
IS NO WAR.
YOU'RE JUST LIKE
THE REST OF US.
THE REST OF US?
[bagpipe playing]
WHAT'S GOING ON HERE?
WHERE ARE WE?
WHAT ARE WE?
WHO ARE WE?
WHO ARE WE?
NONE OF US KNOWS, MAJOR.
WE DON'T KNOW WHO WE ARE.
WE DON'T KNOW
WHERE WE ARE.
EACH OF US WOKE
UP ONE MOMENT.
HERE WE WERE
IN THE DARKNESS.
HOW COULD THAT HAPPEN?
THAT'S THE QUESTION
WE ASKED OURSELVES.
A QUESTION WITH
NO ANSWER, MAJOR.
NAMELESS THINGS
WITH NO MEMORY.
NO KNOWLEDGE OF
WHAT WENT BEFORE.
NO UNDERSTANDING
OF WHAT IS NOW.
NO KNOWLEDGE
OF WHAT WILL BE.
HOW LONG WILL
WE BE HERE?
THAT'S A VERY
GOOD QUESTION.
THAT'S THE BEST
QUESTION OF ALL.
BUT NOBODY
KNOWS THE ANSWER.
(narrator)
CLOWN, HOBO,
BALLET DANCER,
BAGPIPER,
AND AN ARMY MAJOR.
A COLLECTION
OF QUESTION MARKS.
FIVE IMPROBABLE ENTITIES
STUCK TOGETHER INTO
A PIT OF DARKNESS.
NO LOGIC, NO REASON,
NO EXPLANATION.
JUST A PROLONGED NIGHTMARE
IN WHICH FEAR, LONELINESS AND
THE UNEXPLAINABLE WALK HAND
IN HAND THROUGH THE SHADOWS.
IN A MOMENT WE'LL START
COLLECTING CLUES AS TO THE
WHYS, THE WHATS AND THE WHERES.
WE WILL NOT
END THE NIGHTMARE.
WE'LL ONLY EXPLAIN IT.
BECAUSE THIS IS
THE TWILIGHT ZONE.
[thumping]
VERY ACTIVE CHAP.
GOT TO FUNCTION.
COMPULSIVE WORKER.
YOU'RE A BIG-TIME
PSYCHOLOGIST, HUH?
I'MA CLOWN, WHICH
IS NEITHER HERE,
THERE OR ANYPLACE.
I COULD BE A CERTIFIED
PUBLIC ACCOUNTANT,
A FINANCIER,
A LEFT-HANDED PITCHER
WHO THROWS ONLY CURVES.
WHAT DIFFERENCE
DOES IT MAKE?
J WE'RE HERE
BECAUSE WE'RE HERE J7
#Z BECAUSE WE'RE HERE J7
#Z BECAUSE WE'RE HERE J7
YOU'RE WASTING YOUR TIME.
YOU KNOW THAT, DON'T YOU?
YOU'RE AN IDIOT.
AN ENERGETIC IDIOT,
BUT AN IDIOT.
I WANT OUT OF HERE.
I'M NOT SATISFIED
TO SIT AROUND HERE
HEAVING DEEP SIGHS.
I WANT OUT OF HERE!
YOU'VE GOT
NO MONOPOLY
ON THAT, MAJOR.
WE ALL WANT
OUT OF HERE.
SECONDED. BUT YOU'RE
WASTIN' YOUR TIME, MAJOR.
EACH OF US HAS GONE
AROUND LIKE A BLOODHOUND.
NOSE TO WALL,
NOSE TO FLOOR.
WHAT'S UP THERE?
YOU NAME IT.
SKY, ARTIFICIAL LIGHT,
FLUORESCENT LAMP,
AN ILLUMINATED
MICROSCOPE. YOU NAME IT.
ONE GUESS IS AS
GOOD AS THE OTHER.
MAYBE WE'RE ON
ANOTHER PLANET.
OR MAYBE WE'RE
ON A SPACESHIP
GOING TO ANOTHER PLANET.
MAYBE WE'RE
ALL INSANE.
OR MAYBE THIS
IS A MIRAGE,
AN ILLUSION.
WE'RE DEAD, AND
THIS IS LIMBO.
WE DON'T REALLY EXIST.
WE'RE DREAM FIGURES FROM
SOMEBODY ELSE'S EXISTENCE.
OR WE'RE EACH OF
US HAVING A DREAM,
AND EVERYONE ELSE IS
PART OF THE OTHER
PERSON'S DREAM.
YOU CALL IT.
YOU CAN HAVE IT.
THAT'S THE ONE THING
WE HAVE AN ABUNDANCE
OF: POSSIBILITIES.
AN INFINITE NUMBER
OF POSSIBILITIES.
HOW ABOUT GETTING
OUT OF HERE?
ANYBODY EXAMINED
THAT POSSIBILITY?
HAVE YOU, MAJOR?
WE'RE TRAPPED DOWN
HERE. THERE'S NO
WAY OUT, MAN.
THIS IS A NIGHTMARE.
IT MUST BE A NIGHTMARE.
IS INDEED,
BUT WHOSE?
YOURS? MINE?
THE SCOTSMAN,
THE BALLET DANCER?
JUST WHOSE
NIGHTMARE IS IT?
SOMEONE KNOWS
WE'RE HERE.
HOW SO?
THEY HAVE TO. YOU'VE
ALL BEEN HERE AWHILE.
POSSIBLY A LONG WHILE.
SOMEONE MUST FEED YOU.
SOMEONE MUST GIVE
YOU WATER.
WELL? SOMEONE MUST
BRING FOOD DOWN.
THERE'S BEEN NO
FOOD OR WATER.
BUT WE'LL STARVE
TO DEATH, OR WE'LL
DIE OF THIRST.
DO YOU FEEL
HUNGRY, MAJOR?
OR THIRSTY?
OR HEAT OR
COLD OR FATIGUE
OR DISCOMFORT?
OR ANYTHING?
DO YOU FEEL
ANYTHING, MAJOR?
NO, NO, I DON--
I DON'T FEEL ANYTHING,
BUT IT IS UNDERSTANDABLE
THAT I DON'T FEEL
HUNGRY OR THIRSTY.
THIS IS--
THIS IS SHOCK. OR
THE AFTERMATH OF SHOCK.
NONE OF US
FEEL ANYTHING.
NONE OF US HAVE
FELT ANYTHING SINCE
WE'VE BEEN HERE.
AND WE'VE BEEN HERE
FOR AN ENDLESS TIME.
THIS IS INCREDIBLE!
THIS IS REALLY INCREDIBLE!
HAVE YOU SHOUTED?
ENDLESSLY.
WELL, HAVE YOU-HAVE YOU
POUNDED ON THE WALLS?
I MEAN, LOUD?
HAVE YOU TAKEN OFF
YOUR SHOE AND POUNDED
ON THE WALLS?
HAVE YOU DONE THAT?
OFTEN.
HAVE YOU LOOKED ALL
AROUND? HAVE YOU
FELT THE WALLS?
MAYBE THERE'S
A BUTTON OR
A LEVER,
OR MAYBE THERE'S A
PANEL OF SOME KIND.
MAYBE THERE'S
A CONTROL BUTTON.
FOR A WHILE.
FOR A LONG WHILE,
THAT'S ALL WE DID.
HUNTED AND SEARCHED,
PEERED AND
LOOKED AND FELT.
THEN WE DISCOVERED
THAT THIS WAS THE
UNIVERSE RIGHT HERE.
FOR OUR PURPOSES,
THIS /S THE UNIVERSE.
THIS LITTLE ROOM.
[church bell tolling]
WHAT WAS THAT?
WHAT WAS THAT NOISE?
A GIANT BELL OR
SOMETHING. THAT'S
WHAT IT SOUNDS LIKE.
HEY!
HEY, UP THERE!
LET US OUT!
LET US OUT
OF HERE. PLEASE!
[church bell tolling]
PLEASE, MAJOR,
DON'T BE AFRAID.
IT'S HARD IN
THE BEGINNING,
BUT AFTER A WHILE--
GIRL, WHY DON'T
YOU DANCE FOR US?
IT MAKES
THE TIME PASS.
I'LL PLAY FOR YOU.
THE MAJOR'S NEVER
SEEN YOU DANCE.
[bagpipe playing]
THE MAJOR DOESN'T
WANT TO SEE HER DANCE.
THE MAJOR IS NOT INTERESTED!
ALL THE MAJOR WANTS
TO DO IS GET OUT OF HERE!
(hobo)
TOO HIGH.
NOTHING!
THROUGH THE WALL!
DID YOU EVER THINK
OF THAT?
THAT'S VERY BRIGHT!
TERRIBLY INGENIOUS!
HIGHLY IMAGINATIVE!
INCREDIBLY INVENTIVE!
[laughing]
WITH WHAT?
WITH OUR HANDS?
WITH OUR FINGERNAILS?
WITH THIS!
WITH THIS!
[clanks]
[sobbing]
PLEASE, MAJOR.
AFTER A WHILE,
IT'LL BE A LOT EASIER.
PERHAPS THERE ARE
A LOT OF DUNGEONS
LIKE THIS.
MAYBE WE'VE JUST NEVER
HEARD OF THEM BEFORE.
PERHAPS THEY'RE
FOR THE UNLOVED.
PERHAPS THAT'S
WHO WE ARE.
THE UNLOVED.
WE MUST HAVE NAMES.
WE'RE PEOPLE.
AND-AND THAT MEANS
WE BELONG SOMEWHERE.
THERE MUST BE OTHERS
WHO CARE ABOUT US.
BECAUSE
SOMEWHERE, SOMEHOW,
WE HAVE A LIFE
THAT HAS BEEN CUT
AWAY FROM US.
WE'VE GOT TO GET IT
BACK, EACH ONE OF US.
WE'LL DIG A TUNNEL.
I KNOW WHERE WE
ARE. IT SUDDENLY
OCCURS TO ME.
(ballerina)
WHERE ARE WE?
WHY, MY DEAR YOUNG LADY,
HOW-HOW UNOBSERVANT
WHEN THE WHOLE THING
ALL FITS TOGETHER.
PLEASE, TELL ME
WHERE WE ARE.
LADIES AND GENTLEMEN,
IT SEEMS VERY APPARENT,
IT SEEMS QUITE
UNEQUIVOCALLY,
WE,
ALL OF US,
WE ARE IN HELL.
GOD HELP US.
WE ARE IN HELL.
[clown laughs]
NEVER SAY DIE,
THAT ONE.
HE'LL COME TO
IT EVENTUALLY,
JUST AS WE DID.
LET HIM BE.
LET HIM HAVE
HIS FUN.
AT LEAST HE'S TRYING.
HE IS, INDEED!
HE'S BEEN TRYING
FOR SEVERAL HOURS NOW.
IT'S METAL, I THINK.
WE'LL HAVE TO THINK
OF SOMETHING ELSE.
DO! DO! PERHAPS
WE COULD PRETEND
THAT WE'RE ACROBATS.
ALLEY OOP!
AND OVER THE TOP!
WAIT A MINUTE.
OH, COME, NOW.
THIS IS BECOMING
A LITTLE RIDICULOUS.
WHY NOT?
WHY NOT WHAT?
WHAT YOU SAID.
ACROBATICS.
A FIGURE OF SPEECH,
MY DEAR. NOT MEANT
TO BE TAKEN SERIOUSLY.
I GRANT YOU THAT
WE HAVE SOMEHOW FORFEITED
SOME OF OUR HUMAN DIGNITY,
BUT WE ARE NONETHELESS
GOVERNED BY HUMAN FRAILTY,
NOT THE LEAST
OF WHICH IS GRAVITY.
PERHAPS YOU KNOW
SOME ACROBATICS
I'M QUITE UNAWARE OF.
I SEE WHAT
SHE'S GETTING AT.
DON'T ANY OF
YOU SEE IT?
ONE ON TOP OF THE
OTHER, STANDING ON
EACH OTHER'S SHOULDERS.
HOW ABOUT THAT?
ISN'T THAT THE WAY
THEY DO IT IN CIRCUSES?
I'LL ASK HIM
WHEN HE COMES IN.
I ASSURE YOU THAT,
THOUGH I MAY WEAR
THE COSTUME OF A CLOWN,
I HAVE NO RECOLLECTION
WHATSOEVER OF HAVING
BEEN ONE.
IT IS TRUE WE DON'T
FEEL HUNGER OR THIRST,
BUT PAIN IS QUITE
ANOTHER THING.
AND A DROP FROM
20 FEET UP DOWN TO
THIS HARD FLOOR,
THAT IS A SENSATION
I WOULD AS LEAVE
DO WITHOUT.
IT'S A CHANCE.
BEGGING YOUR PARDON,
MA'AM, BUT NO, THANK YOU.
BUT SHE'S RIGHT.
ITIS A CHANCE.
NOW, COME ON!
WE'LL GO ON THE
FIRST PERSON,
SO I-I'LL START.
THE CLOWN ON
MY SHOULDERS,
AND THE TRAMP
AND THE BAGPIPER,
AND THEN THE GIRL.
NOW, HOW ABOUT IT?
WE'D NEVER REACH IT.
(hobo)
WE COULD TRY.
WHO-WHO'S TO SAY WE
WOULDN'T REACH IT?
WE'RE NOT SURE
HOW HIGH IT IS.
THAT'S THE POINT.
WE WOULD BE EXERTING
OURSELVES FOR NOTHING.
NOW, ALL SIT DOWN
AND WE'LL HAVE A
LITTLE ENTERTAINMENT.
COME ON.
LET'S TRY IT.
COME ON, CLOWN!
ON MY SHOULDERS!
OBSERVATION: THINGS
WERE FAR MORE SIMPLE
BEFORE YOU ARRIVED.
HOWEVER, I GO
WITH THE MAJORITY.
(bagpiper)
ALL RIGHT, MISS.
IT'S UP TO YOU.
CAN YOU SEE THE TOP?
IS THERE A LEDGE
OR ANYTHING?
IT'S SEVERAL MORE
FEET TO THE TOP.
COME ON.
TAKE YOUR TIME.
YOU CAN MAKE IT.
I CAN'T REACH IT.
IT'S JUST A
LITTLE ABOVE ME.
TRY. STRETCH.
STRETCH A LITTLE.
ALL OF US STRETCH.
TRY. YOU'VE
GOT TO TRY.
[bell tolling]
HOW IS YOUR LEG?
[-1-1 THINK
I STRAINED IT, BUT
I'LL BE ALL RIGHT.
HOW MUCH FARTHER?
MOW MUCH MORE WOULD
IT HAVE TAKEN?
I COULD ALMOST FEEL IT.
YOU WERE
ALMOST THERE.
A MISS IS AS
GOOD AS A MILE.
NOT IN THIS CASE.
A MISS BY TWO
OR THREE INCHES,
THAT'S HARDLY A MILE.
OH. HERE'S WHAT
WE'LL DO NEXT.
THE-THE SAME THING
WITHOUT THE GIRL.
THE CLOWN
ON THE BOTTOM.
THEN THE TRAMP.
THEN THE BAGPIPER.
THEN I CLIMB UP.
A ROPE AROUND THE
HAFT OF THIS SWORD.
FLING IT OVER
THE LEDGE AND LET
IT HOOK ON THE EDGE.
VERY INGENIOUS!
BUT HADN'T ONE OF
US BETTER RUN OVER
TO THE HARDWARE STORE
AND PICK UP THE ROPE?
HE'S RIGHT.
WE HAVE NO ROPE.
BUT STRIPS OF CLOTH.
PART OF ANYTHING
WE'RE WEARING.
NOW, COME ON! IT'S
A CHANCE! HERE!
ALL RIGHT.
SIX YARDS OF
EXCELLENT MATERIAL.
COURTESY OF
PAGLIACCI, OR WHATEVER I AM.
THIS TIME
WE MAKE IT.
A ROPE AROUND THE
HAFT OF THIS SWORD.
FLING IT OVER THE EDGE
AND LET IT HOOK RIGHT
ON THE LEDGE.
I'M UP AND AWAY.
THEN WHAT?
WE'LL WORRY ABOUT
THAT WHEN IT HAPPENS.
SOMEHOW I'LL GET
YOU OUT OF HERE,
BUT NONE OF US GETS
OUT UNTIL ONE OF
US GETS OUT.
NOW, THAT IS A LOGIC
THAT YOU CAN LIVE WITH.
WELL, WHAT'S THERE?
WHAT DO YOU SEE?
MAJOR, WHERE ARE WE?
[screams]
BRAVE MAN.
NOT A VERY BRIGHT ONE.
HE'LL COME BACK FOR US.
I KNOW HE WILL.
HE MAY BE BACK,
BUT IT WON'T BE
TO GET US.
HE MAY HAVE BEEN
RIGHT AT THAT.
HE MAY HAVE
BEEN VERY RIGHT.
THIS MAY BE HELL.
I FOUND THIS IN
THE SNOW. SOMEONE
MUST HAVE DROPPED IT.
OH. THANK YOU, DEAR.
JUST DROP THAT
IN THE BARREL OVER
THERE, WILL YOU?
YOU DON'T HAVE
VERY MANY, DO YOU?
OH, DEAR, NO,
NOT NEARLY ENOUGH.
IT'S FOR THE ORPHANS,
YOU KNOW. BUT IT'S EARLY,
AND WE'VE ONLY JUST STARTED.
[bell ringing]
DOLLS FOR CHRISTMAS!
DOLLS FOR CHRISTMAS!
DOLLS FOR CHRISTMAS!
DOLLS FOR CHRISTMAS!
OPEN YOUR HEARTS,
DEAR PEOPLE!
(narrator)
JUST A BARREL.
A DARK DEPOSITORY
WHERE ARE KEPT
THE COUNTERFEIT
MAKE-BELIEVE PIECES
OF PLASTER AND CLOTH
WROUGHT IN THE DISTORTED
IMAGE OF HUMAN LIFE.
BUT THIS ADDED
HOPEFUL NOTE.
PERHAPS THEY ARE UNLOVED
ONLY FOR THE MOMENT.
IN THE ARMS OF CHILDREN
THERE CAN BE NOTHING
BUT LOVE.
A CLOWN, A TRAMP,
A BAGPIPE PLAYER,
A BALLET DANCER
AND A MAJOR.
TONIGHT'S CAST
OF PLAYERS ON
THE ODD STAGE
KNOWN AS THE
TWILIGHT ZONE.
(male presenter)
ROD SERLING, CREATOR
OF THE TWILIGHT ZONE,
WILL TELL YOU ABOUT
NEXT WEEK'S STORY
AFTER THIS MESSAGE.
AND NOW, MR. SERLING.
NEXT WEEK, MR. DEAN STOCKWELL
MAKES HIS JOURNEY INTO
THE TWILIGHT ZONE
PLAYING THE ROLE OF
A PLATOON LIEUTENANT
ON CORREGIDOR
DURING THE LAST
FEW HOURS OF
WORLD WAR II.
WHAT HAPPENS TO HIM PROVIDES
THE BASIS OF A WEIRD, AND YET,
WE THINK, HAUNTING EXCURSION
INTO THE SHADOWLAND
OF IMAGINATION.
ON THE TWILIGHT ZONE NEXT
WEEK, MR. DEAN STOCKWELL STARS
IN THE QUALITY OF MERCY.
[eerie music]
THIS IS JAMES ARNESS.
YOU KNOW, IT'S ONLY A SHORT
HOP FROM THE TWILIGHT ZONE
70 DODGE CITY AND GUNSMOKE.
SATURDAY NIGHTS OVER
MOST OF THESE STATIONS.
(narrator)
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.
YOUR NEXT STOP,
THE TWILIGHT ZONE.
[metallic echoing]
[laughing]
THE FLEET'S IN. NO, NO,
IT ISN'T THE FLEET, IS
IT? IT'S THE ARMY.
THE ARMY'S IN.
HOORAY FOR THE ARMY!
GET THE TROOPS
OUT OF THE HOT SUN.
TA-RA-RA-BOOM-DE-AY!
YOUR ORDERS, COLONEL,
GENERAL, WHATEVER YOU ARE.
I'M A MAJOR.
DON'T FRET. ADVANCEMENT
COMES QUICKLY, EVEN IN
THE PEACETIME ARMY.
TODAY, A MAJOR.
TOMORROW, A BRIGADIER.
MAJOR TO BRIGADIER,
THAT'S NOT BAD.
YOU'RE GENEROUS,
OLD SPORT. YOU-YOU'RE
REALLY VERY GENEROUS.
PROBLEM?
PROBLEM? NO.
NO, NO PROBLEM.
IT'S JUST THAT --
JUST THAT WHAT?
A COUPLE OF VERY
UNIMPORTANT ITEMS
SEEM TO HAVE
ELUDED ME LIKE,
WHO I AM.
YOU SAID YOU
WERE A MAJOR.
HEY, WAIT A MINUTE.
WAIT A MINUTE.
WHO ARE YOU?
WHAT ARE YOU
DOING HERE?
IS THERE A CIRCUS
AROUND HERE SOMEWHERE?
A CIRCUS?
YEAH.
YEAH, THERE MUST
BE A CIRCUS.
A CLOWN. A CIRCUS?
AN OFFICER. A WAR!
THAT'S LOGIC, ISN'T IT?
BUT IT DOESN'T
FIGURE AT ALL.
NOT AT ALL.
WHY NOT?
BECAUSE THERE IS NO
CIRCUS, AND THERE
IS NO WAR.
YOU'RE JUST LIKE
THE REST OF US.
THE REST OF US?
[bagpipe playing]
WHAT'S GOING ON HERE?
WHERE ARE WE?
WHAT ARE WE?
WHO ARE WE?
WHO ARE WE?
NONE OF US KNOWS, MAJOR.
WE DON'T KNOW WHO WE ARE.
WE DON'T KNOW
WHERE WE ARE.
EACH OF US WOKE
UP ONE MOMENT.
HERE WE WERE
IN THE DARKNESS.
HOW COULD THAT HAPPEN?
THAT'S THE QUESTION
WE ASKED OURSELVES.
A QUESTION WITH
NO ANSWER, MAJOR.
NAMELESS THINGS
WITH NO MEMORY.
NO KNOWLEDGE OF
WHAT WENT BEFORE.
NO UNDERSTANDING
OF WHAT IS NOW.
NO KNOWLEDGE
OF WHAT WILL BE.
HOW LONG WILL
WE BE HERE?
THAT'S A VERY
GOOD QUESTION.
THAT'S THE BEST
QUESTION OF ALL.
BUT NOBODY
KNOWS THE ANSWER.
(narrator)
CLOWN, HOBO,
BALLET DANCER,
BAGPIPER,
AND AN ARMY MAJOR.
A COLLECTION
OF QUESTION MARKS.
FIVE IMPROBABLE ENTITIES
STUCK TOGETHER INTO
A PIT OF DARKNESS.
NO LOGIC, NO REASON,
NO EXPLANATION.
JUST A PROLONGED NIGHTMARE
IN WHICH FEAR, LONELINESS AND
THE UNEXPLAINABLE WALK HAND
IN HAND THROUGH THE SHADOWS.
IN A MOMENT WE'LL START
COLLECTING CLUES AS TO THE
WHYS, THE WHATS AND THE WHERES.
WE WILL NOT
END THE NIGHTMARE.
WE'LL ONLY EXPLAIN IT.
BECAUSE THIS IS
THE TWILIGHT ZONE.
[thumping]
VERY ACTIVE CHAP.
GOT TO FUNCTION.
COMPULSIVE WORKER.
YOU'RE A BIG-TIME
PSYCHOLOGIST, HUH?
I'MA CLOWN, WHICH
IS NEITHER HERE,
THERE OR ANYPLACE.
I COULD BE A CERTIFIED
PUBLIC ACCOUNTANT,
A FINANCIER,
A LEFT-HANDED PITCHER
WHO THROWS ONLY CURVES.
WHAT DIFFERENCE
DOES IT MAKE?
J WE'RE HERE
BECAUSE WE'RE HERE J7
#Z BECAUSE WE'RE HERE J7
#Z BECAUSE WE'RE HERE J7
YOU'RE WASTING YOUR TIME.
YOU KNOW THAT, DON'T YOU?
YOU'RE AN IDIOT.
AN ENERGETIC IDIOT,
BUT AN IDIOT.
I WANT OUT OF HERE.
I'M NOT SATISFIED
TO SIT AROUND HERE
HEAVING DEEP SIGHS.
I WANT OUT OF HERE!
YOU'VE GOT
NO MONOPOLY
ON THAT, MAJOR.
WE ALL WANT
OUT OF HERE.
SECONDED. BUT YOU'RE
WASTIN' YOUR TIME, MAJOR.
EACH OF US HAS GONE
AROUND LIKE A BLOODHOUND.
NOSE TO WALL,
NOSE TO FLOOR.
WHAT'S UP THERE?
YOU NAME IT.
SKY, ARTIFICIAL LIGHT,
FLUORESCENT LAMP,
AN ILLUMINATED
MICROSCOPE. YOU NAME IT.
ONE GUESS IS AS
GOOD AS THE OTHER.
MAYBE WE'RE ON
ANOTHER PLANET.
OR MAYBE WE'RE
ON A SPACESHIP
GOING TO ANOTHER PLANET.
MAYBE WE'RE
ALL INSANE.
OR MAYBE THIS
IS A MIRAGE,
AN ILLUSION.
WE'RE DEAD, AND
THIS IS LIMBO.
WE DON'T REALLY EXIST.
WE'RE DREAM FIGURES FROM
SOMEBODY ELSE'S EXISTENCE.
OR WE'RE EACH OF
US HAVING A DREAM,
AND EVERYONE ELSE IS
PART OF THE OTHER
PERSON'S DREAM.
YOU CALL IT.
YOU CAN HAVE IT.
THAT'S THE ONE THING
WE HAVE AN ABUNDANCE
OF: POSSIBILITIES.
AN INFINITE NUMBER
OF POSSIBILITIES.
HOW ABOUT GETTING
OUT OF HERE?
ANYBODY EXAMINED
THAT POSSIBILITY?
HAVE YOU, MAJOR?
WE'RE TRAPPED DOWN
HERE. THERE'S NO
WAY OUT, MAN.
THIS IS A NIGHTMARE.
IT MUST BE A NIGHTMARE.
IS INDEED,
BUT WHOSE?
YOURS? MINE?
THE SCOTSMAN,
THE BALLET DANCER?
JUST WHOSE
NIGHTMARE IS IT?
SOMEONE KNOWS
WE'RE HERE.
HOW SO?
THEY HAVE TO. YOU'VE
ALL BEEN HERE AWHILE.
POSSIBLY A LONG WHILE.
SOMEONE MUST FEED YOU.
SOMEONE MUST GIVE
YOU WATER.
WELL? SOMEONE MUST
BRING FOOD DOWN.
THERE'S BEEN NO
FOOD OR WATER.
BUT WE'LL STARVE
TO DEATH, OR WE'LL
DIE OF THIRST.
DO YOU FEEL
HUNGRY, MAJOR?
OR THIRSTY?
OR HEAT OR
COLD OR FATIGUE
OR DISCOMFORT?
OR ANYTHING?
DO YOU FEEL
ANYTHING, MAJOR?
NO, NO, I DON--
I DON'T FEEL ANYTHING,
BUT IT IS UNDERSTANDABLE
THAT I DON'T FEEL
HUNGRY OR THIRSTY.
THIS IS--
THIS IS SHOCK. OR
THE AFTERMATH OF SHOCK.
NONE OF US
FEEL ANYTHING.
NONE OF US HAVE
FELT ANYTHING SINCE
WE'VE BEEN HERE.
AND WE'VE BEEN HERE
FOR AN ENDLESS TIME.
THIS IS INCREDIBLE!
THIS IS REALLY INCREDIBLE!
HAVE YOU SHOUTED?
ENDLESSLY.
WELL, HAVE YOU-HAVE YOU
POUNDED ON THE WALLS?
I MEAN, LOUD?
HAVE YOU TAKEN OFF
YOUR SHOE AND POUNDED
ON THE WALLS?
HAVE YOU DONE THAT?
OFTEN.
HAVE YOU LOOKED ALL
AROUND? HAVE YOU
FELT THE WALLS?
MAYBE THERE'S
A BUTTON OR
A LEVER,
OR MAYBE THERE'S A
PANEL OF SOME KIND.
MAYBE THERE'S
A CONTROL BUTTON.
FOR A WHILE.
FOR A LONG WHILE,
THAT'S ALL WE DID.
HUNTED AND SEARCHED,
PEERED AND
LOOKED AND FELT.
THEN WE DISCOVERED
THAT THIS WAS THE
UNIVERSE RIGHT HERE.
FOR OUR PURPOSES,
THIS /S THE UNIVERSE.
THIS LITTLE ROOM.
[church bell tolling]
WHAT WAS THAT?
WHAT WAS THAT NOISE?
A GIANT BELL OR
SOMETHING. THAT'S
WHAT IT SOUNDS LIKE.
HEY!
HEY, UP THERE!
LET US OUT!
LET US OUT
OF HERE. PLEASE!
[church bell tolling]
PLEASE, MAJOR,
DON'T BE AFRAID.
IT'S HARD IN
THE BEGINNING,
BUT AFTER A WHILE--
GIRL, WHY DON'T
YOU DANCE FOR US?
IT MAKES
THE TIME PASS.
I'LL PLAY FOR YOU.
THE MAJOR'S NEVER
SEEN YOU DANCE.
[bagpipe playing]
THE MAJOR DOESN'T
WANT TO SEE HER DANCE.
THE MAJOR IS NOT INTERESTED!
ALL THE MAJOR WANTS
TO DO IS GET OUT OF HERE!
(hobo)
TOO HIGH.
NOTHING!
THROUGH THE WALL!
DID YOU EVER THINK
OF THAT?
THAT'S VERY BRIGHT!
TERRIBLY INGENIOUS!
HIGHLY IMAGINATIVE!
INCREDIBLY INVENTIVE!
[laughing]
WITH WHAT?
WITH OUR HANDS?
WITH OUR FINGERNAILS?
WITH THIS!
WITH THIS!
[clanks]
[sobbing]
PLEASE, MAJOR.
AFTER A WHILE,
IT'LL BE A LOT EASIER.
PERHAPS THERE ARE
A LOT OF DUNGEONS
LIKE THIS.
MAYBE WE'VE JUST NEVER
HEARD OF THEM BEFORE.
PERHAPS THEY'RE
FOR THE UNLOVED.
PERHAPS THAT'S
WHO WE ARE.
THE UNLOVED.
WE MUST HAVE NAMES.
WE'RE PEOPLE.
AND-AND THAT MEANS
WE BELONG SOMEWHERE.
THERE MUST BE OTHERS
WHO CARE ABOUT US.
BECAUSE
SOMEWHERE, SOMEHOW,
WE HAVE A LIFE
THAT HAS BEEN CUT
AWAY FROM US.
WE'VE GOT TO GET IT
BACK, EACH ONE OF US.
WE'LL DIG A TUNNEL.
I KNOW WHERE WE
ARE. IT SUDDENLY
OCCURS TO ME.
(ballerina)
WHERE ARE WE?
WHY, MY DEAR YOUNG LADY,
HOW-HOW UNOBSERVANT
WHEN THE WHOLE THING
ALL FITS TOGETHER.
PLEASE, TELL ME
WHERE WE ARE.
LADIES AND GENTLEMEN,
IT SEEMS VERY APPARENT,
IT SEEMS QUITE
UNEQUIVOCALLY,
WE,
ALL OF US,
WE ARE IN HELL.
GOD HELP US.
WE ARE IN HELL.
[clown laughs]
NEVER SAY DIE,
THAT ONE.
HE'LL COME TO
IT EVENTUALLY,
JUST AS WE DID.
LET HIM BE.
LET HIM HAVE
HIS FUN.
AT LEAST HE'S TRYING.
HE IS, INDEED!
HE'S BEEN TRYING
FOR SEVERAL HOURS NOW.
IT'S METAL, I THINK.
WE'LL HAVE TO THINK
OF SOMETHING ELSE.
DO! DO! PERHAPS
WE COULD PRETEND
THAT WE'RE ACROBATS.
ALLEY OOP!
AND OVER THE TOP!
WAIT A MINUTE.
OH, COME, NOW.
THIS IS BECOMING
A LITTLE RIDICULOUS.
WHY NOT?
WHY NOT WHAT?
WHAT YOU SAID.
ACROBATICS.
A FIGURE OF SPEECH,
MY DEAR. NOT MEANT
TO BE TAKEN SERIOUSLY.
I GRANT YOU THAT
WE HAVE SOMEHOW FORFEITED
SOME OF OUR HUMAN DIGNITY,
BUT WE ARE NONETHELESS
GOVERNED BY HUMAN FRAILTY,
NOT THE LEAST
OF WHICH IS GRAVITY.
PERHAPS YOU KNOW
SOME ACROBATICS
I'M QUITE UNAWARE OF.
I SEE WHAT
SHE'S GETTING AT.
DON'T ANY OF
YOU SEE IT?
ONE ON TOP OF THE
OTHER, STANDING ON
EACH OTHER'S SHOULDERS.
HOW ABOUT THAT?
ISN'T THAT THE WAY
THEY DO IT IN CIRCUSES?
I'LL ASK HIM
WHEN HE COMES IN.
I ASSURE YOU THAT,
THOUGH I MAY WEAR
THE COSTUME OF A CLOWN,
I HAVE NO RECOLLECTION
WHATSOEVER OF HAVING
BEEN ONE.
IT IS TRUE WE DON'T
FEEL HUNGER OR THIRST,
BUT PAIN IS QUITE
ANOTHER THING.
AND A DROP FROM
20 FEET UP DOWN TO
THIS HARD FLOOR,
THAT IS A SENSATION
I WOULD AS LEAVE
DO WITHOUT.
IT'S A CHANCE.
BEGGING YOUR PARDON,
MA'AM, BUT NO, THANK YOU.
BUT SHE'S RIGHT.
ITIS A CHANCE.
NOW, COME ON!
WE'LL GO ON THE
FIRST PERSON,
SO I-I'LL START.
THE CLOWN ON
MY SHOULDERS,
AND THE TRAMP
AND THE BAGPIPER,
AND THEN THE GIRL.
NOW, HOW ABOUT IT?
WE'D NEVER REACH IT.
(hobo)
WE COULD TRY.
WHO-WHO'S TO SAY WE
WOULDN'T REACH IT?
WE'RE NOT SURE
HOW HIGH IT IS.
THAT'S THE POINT.
WE WOULD BE EXERTING
OURSELVES FOR NOTHING.
NOW, ALL SIT DOWN
AND WE'LL HAVE A
LITTLE ENTERTAINMENT.
COME ON.
LET'S TRY IT.
COME ON, CLOWN!
ON MY SHOULDERS!
OBSERVATION: THINGS
WERE FAR MORE SIMPLE
BEFORE YOU ARRIVED.
HOWEVER, I GO
WITH THE MAJORITY.
(bagpiper)
ALL RIGHT, MISS.
IT'S UP TO YOU.
CAN YOU SEE THE TOP?
IS THERE A LEDGE
OR ANYTHING?
IT'S SEVERAL MORE
FEET TO THE TOP.
COME ON.
TAKE YOUR TIME.
YOU CAN MAKE IT.
I CAN'T REACH IT.
IT'S JUST A
LITTLE ABOVE ME.
TRY. STRETCH.
STRETCH A LITTLE.
ALL OF US STRETCH.
TRY. YOU'VE
GOT TO TRY.
[bell tolling]
HOW IS YOUR LEG?
[-1-1 THINK
I STRAINED IT, BUT
I'LL BE ALL RIGHT.
HOW MUCH FARTHER?
MOW MUCH MORE WOULD
IT HAVE TAKEN?
I COULD ALMOST FEEL IT.
YOU WERE
ALMOST THERE.
A MISS IS AS
GOOD AS A MILE.
NOT IN THIS CASE.
A MISS BY TWO
OR THREE INCHES,
THAT'S HARDLY A MILE.
OH. HERE'S WHAT
WE'LL DO NEXT.
THE-THE SAME THING
WITHOUT THE GIRL.
THE CLOWN
ON THE BOTTOM.
THEN THE TRAMP.
THEN THE BAGPIPER.
THEN I CLIMB UP.
A ROPE AROUND THE
HAFT OF THIS SWORD.
FLING IT OVER
THE LEDGE AND LET
IT HOOK ON THE EDGE.
VERY INGENIOUS!
BUT HADN'T ONE OF
US BETTER RUN OVER
TO THE HARDWARE STORE
AND PICK UP THE ROPE?
HE'S RIGHT.
WE HAVE NO ROPE.
BUT STRIPS OF CLOTH.
PART OF ANYTHING
WE'RE WEARING.
NOW, COME ON! IT'S
A CHANCE! HERE!
ALL RIGHT.
SIX YARDS OF
EXCELLENT MATERIAL.
COURTESY OF
PAGLIACCI, OR WHATEVER I AM.
THIS TIME
WE MAKE IT.
A ROPE AROUND THE
HAFT OF THIS SWORD.
FLING IT OVER THE EDGE
AND LET IT HOOK RIGHT
ON THE LEDGE.
I'M UP AND AWAY.
THEN WHAT?
WE'LL WORRY ABOUT
THAT WHEN IT HAPPENS.
SOMEHOW I'LL GET
YOU OUT OF HERE,
BUT NONE OF US GETS
OUT UNTIL ONE OF
US GETS OUT.
NOW, THAT IS A LOGIC
THAT YOU CAN LIVE WITH.
WELL, WHAT'S THERE?
WHAT DO YOU SEE?
MAJOR, WHERE ARE WE?
[screams]
BRAVE MAN.
NOT A VERY BRIGHT ONE.
HE'LL COME BACK FOR US.
I KNOW HE WILL.
HE MAY BE BACK,
BUT IT WON'T BE
TO GET US.
HE MAY HAVE BEEN
RIGHT AT THAT.
HE MAY HAVE
BEEN VERY RIGHT.
THIS MAY BE HELL.
I FOUND THIS IN
THE SNOW. SOMEONE
MUST HAVE DROPPED IT.
OH. THANK YOU, DEAR.
JUST DROP THAT
IN THE BARREL OVER
THERE, WILL YOU?
YOU DON'T HAVE
VERY MANY, DO YOU?
OH, DEAR, NO,
NOT NEARLY ENOUGH.
IT'S FOR THE ORPHANS,
YOU KNOW. BUT IT'S EARLY,
AND WE'VE ONLY JUST STARTED.
[bell ringing]
DOLLS FOR CHRISTMAS!
DOLLS FOR CHRISTMAS!
DOLLS FOR CHRISTMAS!
DOLLS FOR CHRISTMAS!
OPEN YOUR HEARTS,
DEAR PEOPLE!
(narrator)
JUST A BARREL.
A DARK DEPOSITORY
WHERE ARE KEPT
THE COUNTERFEIT
MAKE-BELIEVE PIECES
OF PLASTER AND CLOTH
WROUGHT IN THE DISTORTED
IMAGE OF HUMAN LIFE.
BUT THIS ADDED
HOPEFUL NOTE.
PERHAPS THEY ARE UNLOVED
ONLY FOR THE MOMENT.
IN THE ARMS OF CHILDREN
THERE CAN BE NOTHING
BUT LOVE.
A CLOWN, A TRAMP,
A BAGPIPE PLAYER,
A BALLET DANCER
AND A MAJOR.
TONIGHT'S CAST
OF PLAYERS ON
THE ODD STAGE
KNOWN AS THE
TWILIGHT ZONE.
(male presenter)
ROD SERLING, CREATOR
OF THE TWILIGHT ZONE,
WILL TELL YOU ABOUT
NEXT WEEK'S STORY
AFTER THIS MESSAGE.
AND NOW, MR. SERLING.
NEXT WEEK, MR. DEAN STOCKWELL
MAKES HIS JOURNEY INTO
THE TWILIGHT ZONE
PLAYING THE ROLE OF
A PLATOON LIEUTENANT
ON CORREGIDOR
DURING THE LAST
FEW HOURS OF
WORLD WAR II.
WHAT HAPPENS TO HIM PROVIDES
THE BASIS OF A WEIRD, AND YET,
WE THINK, HAUNTING EXCURSION
INTO THE SHADOWLAND
OF IMAGINATION.
ON THE TWILIGHT ZONE NEXT
WEEK, MR. DEAN STOCKWELL STARS
IN THE QUALITY OF MERCY.
[eerie music]
THIS IS JAMES ARNESS.
YOU KNOW, IT'S ONLY A SHORT
HOP FROM THE TWILIGHT ZONE
70 DODGE CITY AND GUNSMOKE.
SATURDAY NIGHTS OVER
MOST OF THESE STATIONS.