The Twilight Zone (1959–1964): Season 3, Episode 26 - Little Girl Lost - full transcript
Awakened in the middle of the night by the cries of his daughter, a father enters the girl's room to find that she has vanished - even though he can still hear her crying out for help.
( theme music playing)
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.
( heavy thud)
( girl sobbing)
Girl: MOMMY!
I'LL GET IT.
MOMMY!
MOMMY!
YOU'RE GOING?
I'M JUST PUTTING MY SLIPPERS ON.
MOMMY!
ALL RIGHT,
SWEETHEART, I'M COMING.
( dog barks)
HUSH UP, MAC.
( barks)
SHH!
( Mac whimpering)
WHAT'S THE MATTER, BABY?
WHAT'D YOU DO, FALL OFF?
COME ON.
WELL, WHAT'D YOU
DO, ROLL UNDERNEATH?
DADDY!
ALL RIGHT, HONEY.
I'M RIGHT HERE.
NOW, COME ON OUT.
COME ON, YOU JUST CRAWLED
UNDERNEATH THE BED.
TINA.
( Tina crying)
ALL RIGHT, HONEY,
COME ON, TAKE MY HAND.
COME ON.
WHAT IN THE...?
DADDY.
ALL RIGHT, JUST A MINUTE.
Woman: CHRIS, WHAT IS IT?
I DON'T KNOW.
MISSING: ONE
FRIGHTENED LITTLE GIRL.
NAME: BETTINA MILLER.
DESCRIPTION: SIX YEARS OF
AGE, AVERAGE HEIGHT AND BUILD,
LIGHT-BROWN HAIR, QUITE PRETTY.
LAST SEEN: BEING TUCKED IN BED
BY HER MOTHER A FEW HOURS AGO.
LAST HEARD: "AY, THERE'S
THE RUB," AS HAMLET PUT IT.
FOR BETTINA MILLER CAN
BE HEARD QUITE CLEARLY,
DESPITE THE RATHER CURIOUS
FACT THAT SHE CAN'T BE SEEN AT ALL.
PRESENT LOCATION: LET'S
SAY FOR THE MOMENT...
IN THE TWILIGHT ZONE.
WHAT'S THE MATTER?
SHE'S NOT HERE.
WHAT DO YOU MEAN SHE'S NOT...
LOOK FOR YOURSELF.
TINA?
MOMMY!
I TURNED ON THE LIGHT.
OH, NO, NO, IT'S CRAZY.
IT JUST SOUNDS AS IF SHE'S...
MOMMY, PICK ME UP.
( Tina crying)
CHRIS, WHERE IS SHE?
I DON'T KNOW.
WELL, WHAT ARE WE GOING TO DO?
I DON'T KNOW, HONEY,
BUT WE'RE NOT GOING TO PANIC.
( silence)
TINA!
( Mac barking)
( Mac whimpering)
( barking)
( sustained barking)
SHUT UP, MAC!
BILL?
BILL, THIS IS CHRIS.
CAN YOU COME OVER TO
THE HOUSE RIGHT AWAY?
I'M SORRY, BILL, THIS
IS AN EMERGENCY.
TINA HAS DISAPPEARED.
NO, NO, SHE HASN'T
BEEN KIDNAPPED.
TINA IS... TINA IS HERE...
BUT SHE'S NOT.. HERE.
BILL, FOR CRYING OUT LOUD,
WILL YOU GET OVER HERE?!
HURRY.
( shrieks)
( barking)
SHOULDN'T WE...
WAKE HER?
BILL'S COMING OVER, HONEY.
BILL?
WELL, HE'S A PHYSICIST.
MAYBE HE CAN HELP US OUT.
I DON'T KNOW, I COULDN'T
THINK OF ANYTHING ELSE.
OH, GOD, WHERE IS SHE?
( barking)
WHERE IS SHE?
LISTEN, I'D BETTER GO
AND LET THAT DOG IN
BEFORE HE WAKES UP
THE WHOLE NEIGHBORHOOD.
HONEY, I'M GOING TO CHECK
UNDERNEATH THE HOUSE.
( panting and whimpering)
MAC, COME HERE.
COME HERE!
( barking)
COME HERE, MAC.
( hollow barking)
( barking echoing)
( faint whimpering)
HE'S GONE.
No...
THEY'RE NOT UNDER THE HOUSE.
( doorbell ringing)
WHAT'S WRONG, CHRIS?
LISTEN, TINA WOKE US
UP WITH HER CRYING.
SO I WENT INTO THE BEDROOM
AND I COULDN'T FIND HER.
I LET THE DOG IN AND
HE WENT UNDER THE BED
AND HE'S GONE, TOO.
( heavy breathing)
LET'S MOVE THE BED.
OH, BILL, WHERE IS SHE?
I'M ABOUT TO LOSE MY MIND.
HOLD ON, RUTH.
SHE'S BREATHING NORMALLY,
SHE MUST BE ALL RIGHT.
NOW WAIT A SECOND.
WE'D BETTER MARK
WHERE THE LEGS GO.
HERE.
STILL THERE?
YES.
NOW, YOU'VE FELT ALL OVER HERE?
YES.
AND?
NOTHING.
OKAY.
WHAT ARE YOU LOOKING FOR?
THE OPENING MAYBE.
THE OPENING TO WHAT?
I'M NOT SURE, RUTH.
( Tina crying)
YOU'RE...!
IT'S AS IF YOU WERE
GOING TO STEP ON HER.
NO.
ARE YOU SURE THAT
YOU FELT ALL OVER HERE?
WELL, MAYBE NOT
EVERY SINGLE INCH!
TAKE IT EASY. TAKE IT EASY.
I JUST DON'T GET IT.
NOW, WAIT.
NOW, WAIT.
( gasps)
( sighs wearily)
WHAT IS IT?
THE OPENING.
THE...?
TO WHAT?
( distant barking)
I THINK...
TO ANOTHER DIMENSION.
ANOTHER WHAT?
I DON'T KNOW IF I'M RIGHT,
BUT I CAN'T THINK
OF ANYTHING ELSE.
TINA MUST HAVE
FALLEN OUT OF BED,
ACCIDENTALLY
ROLLED UNDER IT AND...
GONE THROUGH.
AND THAT'S WHERE
MAC WENT, TOO, HUH?
PROBABLY SENSED IT.
ANIMALS ARE SHARPER ABOUT
THESE THINGS THAN HUMANS.
( Mac barking)
HE KNEW SHE WAS IN THERE AND...
WENT AFTER HER.
THEN WHY CAN'T WE?
NO.
WE DON'T KNOW WHAT'S IN THERE.
MY DAUGHTER'S IN THERE!
I KNOW THAT, RUTH, BUT WE CAN'T.
BILL, FOR CRYING OUT
LOUD, SHE'S RIGHT HERE!
ALL WE HAVE TO DO IS REACH IN
AND PULL HER OUT.
IF IT WAS AS SIMPLE AS THAT,
WHY HASN'T MAC FOUND HER YET?
NOPE... IF IT'S WHAT I THINK,
IT'S KIND OF A... GAP OPENING
ON ANOTHER DIMENSION.
PROBABLY THE FOURTH DIMENSION.
IT JUST WOULDN'T BE LAID OUT
LIKE OUR WORLD, CHRIS.
WELL, THERE MUST BE
SOMETHING WE CAN DO.
( sighs)
HAVE YOU GOT A... A CRAYON,
A PIECE OF CHALK?
HERE.
ALL RIGHT, NOW LET'S JUST
SEE HOW BIG THIS THING IS.
BILL, I JUST DON'T UNDERSTAND...
UNDERSTAND IT.
( sighs)
THE THIRD DIMENSION
IS... JUST A... STEP
BELOW THE FOURTH, CHRIS.
IT'S A BIG STEP, GRANTED,
BUT IT'S JUST ONE STEP.
NOW, EVERY POINT IN OUR SPACE
IS PART OF A
PERPENDICULAR LINE IN THE...
FOURTH DIMENSION.
SO?
SO... ALTHOUGH ALL THE LINES
FORMING THE FOURTH DIMENSION
ARE PERPENDICULAR TO
EVERY POINT IN THE THIRD,
THEY'RE NOT NECESSARILY
PARALLEL TO US.
BUT IF ENOUGH OF
THE LINES ARE PARALLEL
IN BOTH DIMENSIONS
IN A GIVEN AREA,
IT MIGHT CREATE... AN OPENING.
WHAT, HAS THIS OPENING
ALWAYS BEEN HERE?
IT MIGHT HAVE BEEN.
( sighs)
I DOUBT IT, THOUGH.
( sighs)
BELIEVE ME, I'M
NO EXPERT ON THIS.
WHO IS?
( deep exhale)
BUT I SUSPECT THAT...
JUNCTURES BETWEEN DIMENSIONS
ARE FREAKS OF
NATURE THAT HAPPEN...
WHO KNOWS HOW OFTEN.
RARELY, I'D SAY.
I HOPE.
THERE IT IS.
SHH.
WHAT'S THE MATTER?
I CAN'T HEAR HER ANYMORE.
WHAT?
OH, NO!
TINA!
TINA!!
( wailing)
( sobbing)
HOLD IT DOWN.
START MOVING AROUND.
HUH?
MOVE AROUND. MOVE AROUND.
( Tina sobbing)
SHH!
( Tina sobbing)
OH, WHAT IN HEAVEN'S NAME...
START LOOKING FOR HER.
WHERE?
ANYWHERE... THE WHOLE HOUSE.
( Tina sobbing)
( Tina crying)
( Tina crying)
( faint sobbing)
( Tina crying)
Bill: IN HERE!
( Tina crying)
I WANT MY DOLLY.
WHAT IS THIS?!
CHRIS, I TOLD YOU WHAT I THINK.
BUT IF SHE WENT INTO
THIS OTHER DIMENSION
IN THE BEDROOM, AND
IF SHE'S STILL ASLEEP,
THEN WHAT IS SHE DOING HERE?
CHRIS...
IF SHE'S BEYOND OUR WORLD,
HER MOVEMENTS MIGHT SEEM TO US
TO BE COMING FROM
ALL OVER THE PLACE.
ACTUALLY, SHE MIGHT BE
JUST TURNING IN HER SLEEP.
( Mac barking)
CALL THE DOG.
HUH?
CALL THE DOG, HURRY.
MAC.
HERE, MAC.
( whistles)
COME ON, BOY.
( loud barking)
THAT'S IT, THAT'S A BOY.
MAC... WHERE ARE
YOU TAKING ME, MAC?
MAC, DON'T.
TELL HER TO GO WITH THE DOG.
GO ON.
TINA!
MOMMY!
GO WITH MAC, BABY.
GO WITH HIM.
WHERE ARE YOU?
I'M HERE, BABY.
Bill: NEVER MIND.
JUST TELL HER TO GO
WITH THE DOG... HURRY!
SWEETIE, GO WITH
MAC, RIGHT AWAY.
WILL HE TAKE ME WHERE YOU ARE?
YES, BABY, HE WILL.
ALL RIGHT, MOMMY.
LET'S GO.
CALL THE DOG AGAIN.
MAC, HERE, BOY, HERE.
OH, BILL, CAN'T WE TRY...
IT'LL HAVE TO BE THE DOG.
WE CAN'T TAKE THE
CHANCE OF GOING IN THERE.
MAC, HERE, BOY!
HERE, MAC!
( panting)
HOLD IT.
( panting)
HE'S DOING IT.
MAN, WHAT A MUTT.
COME ON, BOY.
COME ON, MAC, HERE, BOY.
TINA!
MOMMY!
COME ON, MAC.
COME ON OUT, BOY.
( Tina sobbing)
TINA!
( Tina crying)
MAC, BRING HER OUT!
DADDY, WHERE ARE YOU?
WE'RE HERE, BABY!
WE'RE HERE. WE'RE RIGHT HERE!
I CAN'T SEE YOU.
MAC, BRING HER OUT.
WHY DOESN'T HE DO IT?
MAYBE HE CAN'T.
NO!
TINA.
TINA, TAKE MY HAND.
CHRIS, DON'T DO IT.
MY HAND, HONEY.
TAKE AHOLD OF IT.
HERE.
HERE.
I CAN'T SEE IT, DADDY.
HERE, HONEY.
CHRIS!
( echoing): CAN YOU HEAR ME?
Bill: WE'RE RIGHT
HERE, PAL. DON'T MOVE.
I'VE GOT TO.
DON'T MOVE AN INCH.
I'VE GOT TO FIND HER.
LET HER COME TO YOU, CHRIS.
CALL HER.
TINA.
DADDY, WHERE ARE YOU?
I'M RIGHT HERE.
COME TO THE SOUND OF MY VOICE.
Bill: THAT MIGHT
NOT WORK, CHRIS.
GET MAC TO BRING
HER TO YOU AND HURRY.
TINA?
WHERE ARE YOU, DADDY?
I'M RIGHT HERE, BABY.
IS-IS... IS MAC WITH YOU?
YES, BUT WHERE ARE YOU?
I'M HERE, BABY!
GRAB ONTO MAC'S COLLAR.
YOU HEAR ME?
( Mac whimpering)
Bill: HURRY UP, CHRIS.
GRAB ONTO HIS COLLAR.
YOU GOT IT?
YES.
GET A GOOD GRIP.
YES, DADDY, BUT... DON'T LET GO.
MAC.
( whistling echoes)
HERE, BOY!
( barking echoes)
BRING HER HERE.
DADDY... HOLD ON TO HIM TIGHT.
DON'T LET GO.
I WON'T, BUT WHERE
ARE YOU, DADDY?
YOU'LL BE WITH ME
IN A MINUTE, HONEY.
NOW JUST HANG ON.
COME ON, MAC.
COME ON, BRING HER HERE.
IS HE BRINGING YOU, TINA?
YES.
ALL RIGHT, HANG ON
TIGHT, SWEETHEART.
DON'T LET GO.
I WON'T, BUT WHERE
ARE YOU, DADDY?
YOU'LL BE WITH ME
IN A MINUTE, HONEY.
NOW JUST HANG ON TIGHT.
COME ON, BOY.
MAC, BRING HER TO ME.
COME ON, MAC.
Bill: HURRY, CHRIS!
THAT'S A BOY. ATTABOY.
COME ON.
Ruth: CAN YOU SEE HER?
I DON'T KNOW.
WAIT A MINUTE.
YES.
HERE, BOY.
COME ON, BOY.
THAT'S RIGHT.
BRING HER TO ME.
THAT'S RIGHT.
COME CLOSER NOW.
OKAY, I GOT HIM!
I GOT TINA!
Bill: ALL RIGHT, NOW
HOLD ON... HOLD ON TIGHT.
YOU GOT A GOOD GRIP?
I MEAN A GOOD ONE.
YEAH, BUT WHAT ARE
YOU GOING TO DO?
TINA!
MOMMY. MOMMY.
OH, DARLING.
SHE'S FINE.
OH, I GOT TO GET HER
OUT OF THIS ROOM.
MOMMY! MOMMY!
OH, MAN.
WHAT HAPPENED?
I PULLED YOU OUT.
HOW COULD YOU SEE ME?
HALF OF YOU WAS STILL HERE.
YOU MEAN TO SAY
YOU HAD HOLD OF
ME ALL THIS TIME?
THAT'S RIGHT.
OH, BILL.
YOU KNOW, I DIDN'T
EVEN FEEL YOU.
SAY, LISTEN, WHY DIDN'T YOU
WANT ME TO REACH IN THERE?
AND HOW COME I KEPT
TELLING YOU TO HURRY?
YEAH.
( solid banging)
THAT'S WHY.
IT WAS CLOSING UP ALL
THE TIME YOU WERE IN THERE.
ANOTHER FEW SECONDS
AND HALF OF YOU WOULD HAVE
BEEN HERE AND THE OTHER HALF...
THE OTHER HALF, WHERE?
THE FOURTH DIMENSION, THE FIFTH?
PERHAPS.
THEY NEVER FOUND THE ANSWER.
DESPITE A BATTERY OF
RESEARCH PHYSICISTS EQUIPPED
WITH EVERY DEVICE KNOWN TO
MAN... ELECTRONIC AND OTHERWISE...
NO RESULT WAS EVER ACHIEVED.
EXCEPT PERHAPS A
LITTLE MORE RESPECT FOR
AND UNCERTAINTY ABOUT
THE MECHANISMS OF
THE TWILIGHT ZONE.
ROD SERLING, CREATOR
OF THE TWILIGHT ZONE,
WILL TELL YOU ABOUT NEXT
WEEK'S STORY AFTER THIS MESSAGE.
AND NOW MR. SERLING.
NEXT WEEK WE AGAIN BORROW
FROM THE CONSIDERABLE
TALENTS OF CHARLES BEAUMONT,
AND WE TAKE A FAST
TRACK ON THE WILD SIDE.
PICTURE IF YOU WILL A MAN WHO
WAKES UP IN A STRANGE WORLD,
KNOWS EVERYONE,
KNOWS EVERY PLACE,
FEELS EVERY MUCH AT HOME.
THE STRANGENESS
COMES FROM THE FACT
THAT NO ONE KNOWS HIM.
TRY THIS ON FOR SIZE ON
THE NEXT TWILIGHT ZONE.
IT'S CALLED "PERSON
OR PERSONS UNKNOWN."
HABIT IS SOMETHING YOU
DO WHEN PLEASURE IS GONE,
AND CERTAINLY THIS IS
NOT THE WAY TO SMOKE.
I PREFER TO SMOKE CHESTERFIELDS
AND GET THE RICH TASTE
OF 21 GREAT TOBACCOS.
BLENDED MILD, NOT FILTERED MILD.
SMOKE FOR PLEASURE,
SMOKE CHESTERFIELDS.
THIS IS JAMES ARNESS.
YOU KNOW IT'S ONLY A SHORT
HOP FROM THE TWILIGHT ZONE
TO DODGE CITY AND GUNSMOKE,
SATURDAY NIGHTS OVER
MOST OF THESE 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.
YOUR NEXT STOP,
THE TWILIGHT ZONE.
( heavy thud)
( girl sobbing)
Girl: MOMMY!
I'LL GET IT.
MOMMY!
MOMMY!
YOU'RE GOING?
I'M JUST PUTTING MY SLIPPERS ON.
MOMMY!
ALL RIGHT,
SWEETHEART, I'M COMING.
( dog barks)
HUSH UP, MAC.
( barks)
SHH!
( Mac whimpering)
WHAT'S THE MATTER, BABY?
WHAT'D YOU DO, FALL OFF?
COME ON.
WELL, WHAT'D YOU
DO, ROLL UNDERNEATH?
DADDY!
ALL RIGHT, HONEY.
I'M RIGHT HERE.
NOW, COME ON OUT.
COME ON, YOU JUST CRAWLED
UNDERNEATH THE BED.
TINA.
( Tina crying)
ALL RIGHT, HONEY,
COME ON, TAKE MY HAND.
COME ON.
WHAT IN THE...?
DADDY.
ALL RIGHT, JUST A MINUTE.
Woman: CHRIS, WHAT IS IT?
I DON'T KNOW.
MISSING: ONE
FRIGHTENED LITTLE GIRL.
NAME: BETTINA MILLER.
DESCRIPTION: SIX YEARS OF
AGE, AVERAGE HEIGHT AND BUILD,
LIGHT-BROWN HAIR, QUITE PRETTY.
LAST SEEN: BEING TUCKED IN BED
BY HER MOTHER A FEW HOURS AGO.
LAST HEARD: "AY, THERE'S
THE RUB," AS HAMLET PUT IT.
FOR BETTINA MILLER CAN
BE HEARD QUITE CLEARLY,
DESPITE THE RATHER CURIOUS
FACT THAT SHE CAN'T BE SEEN AT ALL.
PRESENT LOCATION: LET'S
SAY FOR THE MOMENT...
IN THE TWILIGHT ZONE.
WHAT'S THE MATTER?
SHE'S NOT HERE.
WHAT DO YOU MEAN SHE'S NOT...
LOOK FOR YOURSELF.
TINA?
MOMMY!
I TURNED ON THE LIGHT.
OH, NO, NO, IT'S CRAZY.
IT JUST SOUNDS AS IF SHE'S...
MOMMY, PICK ME UP.
( Tina crying)
CHRIS, WHERE IS SHE?
I DON'T KNOW.
WELL, WHAT ARE WE GOING TO DO?
I DON'T KNOW, HONEY,
BUT WE'RE NOT GOING TO PANIC.
( silence)
TINA!
( Mac barking)
( Mac whimpering)
( barking)
( sustained barking)
SHUT UP, MAC!
BILL?
BILL, THIS IS CHRIS.
CAN YOU COME OVER TO
THE HOUSE RIGHT AWAY?
I'M SORRY, BILL, THIS
IS AN EMERGENCY.
TINA HAS DISAPPEARED.
NO, NO, SHE HASN'T
BEEN KIDNAPPED.
TINA IS... TINA IS HERE...
BUT SHE'S NOT.. HERE.
BILL, FOR CRYING OUT LOUD,
WILL YOU GET OVER HERE?!
HURRY.
( shrieks)
( barking)
SHOULDN'T WE...
WAKE HER?
BILL'S COMING OVER, HONEY.
BILL?
WELL, HE'S A PHYSICIST.
MAYBE HE CAN HELP US OUT.
I DON'T KNOW, I COULDN'T
THINK OF ANYTHING ELSE.
OH, GOD, WHERE IS SHE?
( barking)
WHERE IS SHE?
LISTEN, I'D BETTER GO
AND LET THAT DOG IN
BEFORE HE WAKES UP
THE WHOLE NEIGHBORHOOD.
HONEY, I'M GOING TO CHECK
UNDERNEATH THE HOUSE.
( panting and whimpering)
MAC, COME HERE.
COME HERE!
( barking)
COME HERE, MAC.
( hollow barking)
( barking echoing)
( faint whimpering)
HE'S GONE.
No...
THEY'RE NOT UNDER THE HOUSE.
( doorbell ringing)
WHAT'S WRONG, CHRIS?
LISTEN, TINA WOKE US
UP WITH HER CRYING.
SO I WENT INTO THE BEDROOM
AND I COULDN'T FIND HER.
I LET THE DOG IN AND
HE WENT UNDER THE BED
AND HE'S GONE, TOO.
( heavy breathing)
LET'S MOVE THE BED.
OH, BILL, WHERE IS SHE?
I'M ABOUT TO LOSE MY MIND.
HOLD ON, RUTH.
SHE'S BREATHING NORMALLY,
SHE MUST BE ALL RIGHT.
NOW WAIT A SECOND.
WE'D BETTER MARK
WHERE THE LEGS GO.
HERE.
STILL THERE?
YES.
NOW, YOU'VE FELT ALL OVER HERE?
YES.
AND?
NOTHING.
OKAY.
WHAT ARE YOU LOOKING FOR?
THE OPENING MAYBE.
THE OPENING TO WHAT?
I'M NOT SURE, RUTH.
( Tina crying)
YOU'RE...!
IT'S AS IF YOU WERE
GOING TO STEP ON HER.
NO.
ARE YOU SURE THAT
YOU FELT ALL OVER HERE?
WELL, MAYBE NOT
EVERY SINGLE INCH!
TAKE IT EASY. TAKE IT EASY.
I JUST DON'T GET IT.
NOW, WAIT.
NOW, WAIT.
( gasps)
( sighs wearily)
WHAT IS IT?
THE OPENING.
THE...?
TO WHAT?
( distant barking)
I THINK...
TO ANOTHER DIMENSION.
ANOTHER WHAT?
I DON'T KNOW IF I'M RIGHT,
BUT I CAN'T THINK
OF ANYTHING ELSE.
TINA MUST HAVE
FALLEN OUT OF BED,
ACCIDENTALLY
ROLLED UNDER IT AND...
GONE THROUGH.
AND THAT'S WHERE
MAC WENT, TOO, HUH?
PROBABLY SENSED IT.
ANIMALS ARE SHARPER ABOUT
THESE THINGS THAN HUMANS.
( Mac barking)
HE KNEW SHE WAS IN THERE AND...
WENT AFTER HER.
THEN WHY CAN'T WE?
NO.
WE DON'T KNOW WHAT'S IN THERE.
MY DAUGHTER'S IN THERE!
I KNOW THAT, RUTH, BUT WE CAN'T.
BILL, FOR CRYING OUT
LOUD, SHE'S RIGHT HERE!
ALL WE HAVE TO DO IS REACH IN
AND PULL HER OUT.
IF IT WAS AS SIMPLE AS THAT,
WHY HASN'T MAC FOUND HER YET?
NOPE... IF IT'S WHAT I THINK,
IT'S KIND OF A... GAP OPENING
ON ANOTHER DIMENSION.
PROBABLY THE FOURTH DIMENSION.
IT JUST WOULDN'T BE LAID OUT
LIKE OUR WORLD, CHRIS.
WELL, THERE MUST BE
SOMETHING WE CAN DO.
( sighs)
HAVE YOU GOT A... A CRAYON,
A PIECE OF CHALK?
HERE.
ALL RIGHT, NOW LET'S JUST
SEE HOW BIG THIS THING IS.
BILL, I JUST DON'T UNDERSTAND...
UNDERSTAND IT.
( sighs)
THE THIRD DIMENSION
IS... JUST A... STEP
BELOW THE FOURTH, CHRIS.
IT'S A BIG STEP, GRANTED,
BUT IT'S JUST ONE STEP.
NOW, EVERY POINT IN OUR SPACE
IS PART OF A
PERPENDICULAR LINE IN THE...
FOURTH DIMENSION.
SO?
SO... ALTHOUGH ALL THE LINES
FORMING THE FOURTH DIMENSION
ARE PERPENDICULAR TO
EVERY POINT IN THE THIRD,
THEY'RE NOT NECESSARILY
PARALLEL TO US.
BUT IF ENOUGH OF
THE LINES ARE PARALLEL
IN BOTH DIMENSIONS
IN A GIVEN AREA,
IT MIGHT CREATE... AN OPENING.
WHAT, HAS THIS OPENING
ALWAYS BEEN HERE?
IT MIGHT HAVE BEEN.
( sighs)
I DOUBT IT, THOUGH.
( sighs)
BELIEVE ME, I'M
NO EXPERT ON THIS.
WHO IS?
( deep exhale)
BUT I SUSPECT THAT...
JUNCTURES BETWEEN DIMENSIONS
ARE FREAKS OF
NATURE THAT HAPPEN...
WHO KNOWS HOW OFTEN.
RARELY, I'D SAY.
I HOPE.
THERE IT IS.
SHH.
WHAT'S THE MATTER?
I CAN'T HEAR HER ANYMORE.
WHAT?
OH, NO!
TINA!
TINA!!
( wailing)
( sobbing)
HOLD IT DOWN.
START MOVING AROUND.
HUH?
MOVE AROUND. MOVE AROUND.
( Tina sobbing)
SHH!
( Tina sobbing)
OH, WHAT IN HEAVEN'S NAME...
START LOOKING FOR HER.
WHERE?
ANYWHERE... THE WHOLE HOUSE.
( Tina sobbing)
( Tina crying)
( Tina crying)
( faint sobbing)
( Tina crying)
Bill: IN HERE!
( Tina crying)
I WANT MY DOLLY.
WHAT IS THIS?!
CHRIS, I TOLD YOU WHAT I THINK.
BUT IF SHE WENT INTO
THIS OTHER DIMENSION
IN THE BEDROOM, AND
IF SHE'S STILL ASLEEP,
THEN WHAT IS SHE DOING HERE?
CHRIS...
IF SHE'S BEYOND OUR WORLD,
HER MOVEMENTS MIGHT SEEM TO US
TO BE COMING FROM
ALL OVER THE PLACE.
ACTUALLY, SHE MIGHT BE
JUST TURNING IN HER SLEEP.
( Mac barking)
CALL THE DOG.
HUH?
CALL THE DOG, HURRY.
MAC.
HERE, MAC.
( whistles)
COME ON, BOY.
( loud barking)
THAT'S IT, THAT'S A BOY.
MAC... WHERE ARE
YOU TAKING ME, MAC?
MAC, DON'T.
TELL HER TO GO WITH THE DOG.
GO ON.
TINA!
MOMMY!
GO WITH MAC, BABY.
GO WITH HIM.
WHERE ARE YOU?
I'M HERE, BABY.
Bill: NEVER MIND.
JUST TELL HER TO GO
WITH THE DOG... HURRY!
SWEETIE, GO WITH
MAC, RIGHT AWAY.
WILL HE TAKE ME WHERE YOU ARE?
YES, BABY, HE WILL.
ALL RIGHT, MOMMY.
LET'S GO.
CALL THE DOG AGAIN.
MAC, HERE, BOY, HERE.
OH, BILL, CAN'T WE TRY...
IT'LL HAVE TO BE THE DOG.
WE CAN'T TAKE THE
CHANCE OF GOING IN THERE.
MAC, HERE, BOY!
HERE, MAC!
( panting)
HOLD IT.
( panting)
HE'S DOING IT.
MAN, WHAT A MUTT.
COME ON, BOY.
COME ON, MAC, HERE, BOY.
TINA!
MOMMY!
COME ON, MAC.
COME ON OUT, BOY.
( Tina sobbing)
TINA!
( Tina crying)
MAC, BRING HER OUT!
DADDY, WHERE ARE YOU?
WE'RE HERE, BABY!
WE'RE HERE. WE'RE RIGHT HERE!
I CAN'T SEE YOU.
MAC, BRING HER OUT.
WHY DOESN'T HE DO IT?
MAYBE HE CAN'T.
NO!
TINA.
TINA, TAKE MY HAND.
CHRIS, DON'T DO IT.
MY HAND, HONEY.
TAKE AHOLD OF IT.
HERE.
HERE.
I CAN'T SEE IT, DADDY.
HERE, HONEY.
CHRIS!
( echoing): CAN YOU HEAR ME?
Bill: WE'RE RIGHT
HERE, PAL. DON'T MOVE.
I'VE GOT TO.
DON'T MOVE AN INCH.
I'VE GOT TO FIND HER.
LET HER COME TO YOU, CHRIS.
CALL HER.
TINA.
DADDY, WHERE ARE YOU?
I'M RIGHT HERE.
COME TO THE SOUND OF MY VOICE.
Bill: THAT MIGHT
NOT WORK, CHRIS.
GET MAC TO BRING
HER TO YOU AND HURRY.
TINA?
WHERE ARE YOU, DADDY?
I'M RIGHT HERE, BABY.
IS-IS... IS MAC WITH YOU?
YES, BUT WHERE ARE YOU?
I'M HERE, BABY!
GRAB ONTO MAC'S COLLAR.
YOU HEAR ME?
( Mac whimpering)
Bill: HURRY UP, CHRIS.
GRAB ONTO HIS COLLAR.
YOU GOT IT?
YES.
GET A GOOD GRIP.
YES, DADDY, BUT... DON'T LET GO.
MAC.
( whistling echoes)
HERE, BOY!
( barking echoes)
BRING HER HERE.
DADDY... HOLD ON TO HIM TIGHT.
DON'T LET GO.
I WON'T, BUT WHERE
ARE YOU, DADDY?
YOU'LL BE WITH ME
IN A MINUTE, HONEY.
NOW JUST HANG ON.
COME ON, MAC.
COME ON, BRING HER HERE.
IS HE BRINGING YOU, TINA?
YES.
ALL RIGHT, HANG ON
TIGHT, SWEETHEART.
DON'T LET GO.
I WON'T, BUT WHERE
ARE YOU, DADDY?
YOU'LL BE WITH ME
IN A MINUTE, HONEY.
NOW JUST HANG ON TIGHT.
COME ON, BOY.
MAC, BRING HER TO ME.
COME ON, MAC.
Bill: HURRY, CHRIS!
THAT'S A BOY. ATTABOY.
COME ON.
Ruth: CAN YOU SEE HER?
I DON'T KNOW.
WAIT A MINUTE.
YES.
HERE, BOY.
COME ON, BOY.
THAT'S RIGHT.
BRING HER TO ME.
THAT'S RIGHT.
COME CLOSER NOW.
OKAY, I GOT HIM!
I GOT TINA!
Bill: ALL RIGHT, NOW
HOLD ON... HOLD ON TIGHT.
YOU GOT A GOOD GRIP?
I MEAN A GOOD ONE.
YEAH, BUT WHAT ARE
YOU GOING TO DO?
TINA!
MOMMY. MOMMY.
OH, DARLING.
SHE'S FINE.
OH, I GOT TO GET HER
OUT OF THIS ROOM.
MOMMY! MOMMY!
OH, MAN.
WHAT HAPPENED?
I PULLED YOU OUT.
HOW COULD YOU SEE ME?
HALF OF YOU WAS STILL HERE.
YOU MEAN TO SAY
YOU HAD HOLD OF
ME ALL THIS TIME?
THAT'S RIGHT.
OH, BILL.
YOU KNOW, I DIDN'T
EVEN FEEL YOU.
SAY, LISTEN, WHY DIDN'T YOU
WANT ME TO REACH IN THERE?
AND HOW COME I KEPT
TELLING YOU TO HURRY?
YEAH.
( solid banging)
THAT'S WHY.
IT WAS CLOSING UP ALL
THE TIME YOU WERE IN THERE.
ANOTHER FEW SECONDS
AND HALF OF YOU WOULD HAVE
BEEN HERE AND THE OTHER HALF...
THE OTHER HALF, WHERE?
THE FOURTH DIMENSION, THE FIFTH?
PERHAPS.
THEY NEVER FOUND THE ANSWER.
DESPITE A BATTERY OF
RESEARCH PHYSICISTS EQUIPPED
WITH EVERY DEVICE KNOWN TO
MAN... ELECTRONIC AND OTHERWISE...
NO RESULT WAS EVER ACHIEVED.
EXCEPT PERHAPS A
LITTLE MORE RESPECT FOR
AND UNCERTAINTY ABOUT
THE MECHANISMS OF
THE TWILIGHT ZONE.
ROD SERLING, CREATOR
OF THE TWILIGHT ZONE,
WILL TELL YOU ABOUT NEXT
WEEK'S STORY AFTER THIS MESSAGE.
AND NOW MR. SERLING.
NEXT WEEK WE AGAIN BORROW
FROM THE CONSIDERABLE
TALENTS OF CHARLES BEAUMONT,
AND WE TAKE A FAST
TRACK ON THE WILD SIDE.
PICTURE IF YOU WILL A MAN WHO
WAKES UP IN A STRANGE WORLD,
KNOWS EVERYONE,
KNOWS EVERY PLACE,
FEELS EVERY MUCH AT HOME.
THE STRANGENESS
COMES FROM THE FACT
THAT NO ONE KNOWS HIM.
TRY THIS ON FOR SIZE ON
THE NEXT TWILIGHT ZONE.
IT'S CALLED "PERSON
OR PERSONS UNKNOWN."
HABIT IS SOMETHING YOU
DO WHEN PLEASURE IS GONE,
AND CERTAINLY THIS IS
NOT THE WAY TO SMOKE.
I PREFER TO SMOKE CHESTERFIELDS
AND GET THE RICH TASTE
OF 21 GREAT TOBACCOS.
BLENDED MILD, NOT FILTERED MILD.
SMOKE FOR PLEASURE,
SMOKE CHESTERFIELDS.
THIS IS JAMES ARNESS.
YOU KNOW IT'S ONLY A SHORT
HOP FROM THE TWILIGHT ZONE
TO DODGE CITY AND GUNSMOKE,
SATURDAY NIGHTS OVER
MOST OF THESE STATIONS.