The Twilight Zone (1959–1964): Season 4, Episode 5 - Mute - full transcript
The orphaned daughter of telepathic parents must learn to speak and deal with a world she cannot communicate in.
( eerie music)
YOU UNLOCK THIS DOOR
WITH THE KEY OF IMAGINATION.
BEYOND IT IS
ANOTHER DIMENSION...
A DIMENSION OF SOUND,
A DIMENSION OF SIGHT,
A DIMENSION OF MIND.
YOU'RE MOVING INTO A LAND OF
BOTH SHADOW AND SUBSTANCE,
OF THINGS AND IDEAS.
YOU'VE JUST CROSSED
OVER INTO THE TWILIGHT ZONE.
SO...
"THE UNDERSIGNED,
"HAVING ACCEPTED THE
FOLLOWING PROPOSITIONS:
"A, THAT PRIOR TO THE
INCEPTION OF LANGUAGE,
"MAN COMMUNICATED
BY TELEPATHIC MEANS;
"AND B, THAT THIS ABILITY
NOT ONLY STILL EXISTS
"BUT CAN BE REDEVELOPED
TO ITS FORMER EFFECTIVENESS;
"DO HEREBY AGREE TO
THE FOLLOWING PRECEPTS.
"ONE, THAT WE SHALL
HENCEFORTH DEDICATE
"OUR PROFESSIONAL
AND PRIVATE LIVES
"TO THE STUDY OF
MENTAL TELEPATHY
"AND WHATEVER
EXTRASENSORY FUNCTIONS
"MAY BE SUPPLEMENTAL TO IT.
"TWO, THAT THE FINDINGS OF
THE STUDY SHALL BE APPLIED
"NOT ONLY TO OURSELVES,
BUT TO ALL OUR CHILDREN.
"THREE, THAT EACH FAMILY UNIT
"SHALL RESIDE IN A LOCATION
"CALCULATED TO PREVENT
"THE INTERFERENCE OF SOCIETY.
"FOUR, THAT MONTHLY
CORRESPONDENCE
"SHALL BE EXCHANGED
"UNTIL SUCH TIME AS
THEY WILL ESTABLISH
"A JOINT COLONY
"IN WHICH COMMUNICATION
OF EVERY SORT
SHALL BE EXCLUSIVELY MENTAL."
THERE ARE SURE TO BE
OTHER DETAILS, OF COURSE,
BUT FOR NOW, THIS SHOULD
SUFFICE TO GET US STARTED.
COMMENTS?
MORE THAN SUFFICIENT, I THINK.
MOST SPECIFIC.
KARL?
IT IS WHAT WE AGREED UPON.
THAT SOUNDS VERY
MUCH LIKE DISAPPROVAL.
NO, NO, NO. NOT AT ALL.
I WILL BE PLEASED TO SIGN.
YOU ARE CERTAIN NOW?
THIS SHOULD NOT BE ENTERED INTO
UNLESS WITH ABSOLUTE ASSURANCE.
HE IS ASSURED, HOLGER.
HIS APPARENT
UNCERTAINTY IS ONLY...
A SYMPATHETIC
REFLECTION OF MY OWN.
YOU ARE STILL UNCERTAIN?
NOT IN THE GENERAL
CONCEPT, HOLGER.
I AGREE WITH IT, BELIEVE IN IT.
IT IS YET THAT I WONDER,
DO WE HAVE THE RIGHT TO IMPOSE
THIS STUDY ON OUR CHILDREN,
EVEN THOSE UNBORN?
YOU SPEAK AS IF WE PLAN
TO HARM OUR CHILDREN.
ISN'T IT RATHER THAT WE HOPE
TO BESTOW UPON THEM
A GIFT BEYOND PRICE?
OF COURSE THAT
IS OUR HOPE, BUT...
WE OFFER THEM NO
CHOICE IN THE MATTER.
IS THAT JUST?
I TOO AM A MOTHER, MARIA,
DEVOTED TO THE
WELFARE OF MY CHILD,
YET I AM CONVINCED IT IS JUST.
IT IS MORE THAN JUST.
IT'S INEVITABLE.
DESTINY DEMANDS IT.
DID YOU AND HOLGER DECIDE
DEFINITELY NOT
TO STAY IN EUROPE?
YES.
THERE'S A HOUSE IN PENNSYLVANIA
WHICH WAS LEFT TO
HOLGER BY AN UNCLE.
WE PLAN TO LIVE IN IT.
OH, EXCELLENT.
WHAT TOWN IS THIS?
GERMAN CORNERS.
WHAT YOU'RE WITNESSING
IS THE CURTAIN-RAISER
TO A MOST EXTRAORDINARY PLAY:
TO WIT THE SIGNING OF A PACT,
THE COMMENCEMENT OF A PROJECT.
THE PLAY ITSELF
WILL BE PERFORMED
ALMOST ENTIRELY OFFSTAGE.
THE FINAL SCENES ARE TO
BE ENACTED A DECADE HENCE
AND WITH A DIFFERENT CAST.
THE MAIN CHARACTER OF
THESE FINAL SCENES IS ILSE,
THE DAUGHTER OF PROFESSOR
AND MRS. NIELSEN, AGE TWO.
AT THE MOMENT, SHE
LIES SLEEPING IN HER CRIB,
UNAWARE OF THE SINGULAR DRAMA
IN WHICH SHE IS TO BE INVOLVED.
TEN YEARS FROM THIS MOMENT,
ILSE NIELSEN IS TO KNOW
THE DESOLATING TERROR
OF LIVING SIMULTANEOUSLY
IN THE WORLD AND
IN THE TWILIGHT ZONE.
( phone rings)
( phone rings)
( phone rings)
YEAH?
Sheriff Wheeler? YEAH.
This is Tom Poulter.
The Nielsen house is burning.
WHAT?
There's a fire at
the Nielsen house.
Big fire... hurry.
RIGHT.
WHAT IS IT?
FIRE AT THE NIELSEN HOUSE.
DID IT JUST START?
I HOPE SO. IF IT
DIDN'T... MAX, IT'S HARRY.
THERE'S A FIRE AT
THE NIELSEN HOUSE.
CALL THE VOLUNTEERS.
GET THE TRUCK OUT.
I'LL BE THERE IN
10 OR 15 MINUTES.
GOT IT?
I TOLD THEM WHEN
THEY FIRST CAME HERE
THEY SHOULDN'T LIVE
SO FAR OUT OF TOWN,
BUT THEY WANTED THEIR PRIVACY.
THAT GIRL... THAT LOVELY GIRL...
( sirens blaring)
( bell clangs)
WE'LL NEVER PUT THAT OUT.
NEVER MIND THE HOUSE. KEEP
THE WOODS FROM CATCHING.
COME ON, LET'S CHECK OUT BACK.
THEY'RE DONE FOR.
POOR KID.
Poulter: HARRY,
OVER HERE, QUICK!
DO YOU THINK SHE'S...
IS SHE BURNED?
Wheeler: SHE'S ALIVE.
ARE YOU ALL RIGHT?
Poulter: SHE'S IN SHOCK, HARRY.
GET A BLANKET ON HER.
BAD OFF.
CAN'T TALK, CAN'T
CRY, CAN'T DO NOTHING.
SHE'S NOT BURNED, THOUGH.
HOW COULD SHE GET OUT
WITHOUT BEING BURNED?
I DON'T KNOW.
IS SHE HURT?
NOT PHYSICALLY.
I THINK SHE'S IN SHOCK.
WE'D BETTER GET HER TO BED.
WE'LL HAVE TO USE SALLY'S...
THE OTHER BEDROOM, CORA.
ALL RIGHT.
CORA.
OH, I'M SORRY.
SHE'S BEAUTIFUL.
SHE LOOKS JUST LIKE SALLY.
DOESN'T SHE?
YOU WANT SOMETHING TO EAT?
NO, I HAVEN'T GOT TIME.
THOUGHT I'D TAKE SOME
COFFEE TO THE BOYS.
ARE HER PARENTS...?
NO WAY OF KNOWING.
CAN'T GET CLOSE
TO THE HOUSE YET.
IT'S BURNING TOO HARD.
WELL, HOW...?
TOM POULTER FOUND HER OUTSIDE.
OUTSIDE?
WE DON'T KNOW HOW SHE GOT THERE.
I EXPECT HER PARENTS
ARE DEAD, THOUGH.
IT'S AN AWFUL FIRE.
POOR CHILD.
THERE'S SOMETHING
WRONG WITH HER.
I KNOW SHE'S NOT DEAF OR
DUMB OR RETARDED OR ANYTHING.
BEFORE SHE FELL ASLEEP, I
TRIED TO GET HER TO TALK.
SHE DIDN'T SAY A
WORD. NOT A WORD.
EVEN IN SHOCK,
THE POWERS OF SPEECH
AREN'T COMPLETELY GONE.
IT'S AS THOUGH SHE
DOESN'T KNOW HOW TO TALK.
BE CAREFUL.
Ilse: MOTHER?
MOTHER?
MOTHER!
WHERE ARE YOU, MOTHER?
ARE YOU NEAR ME, FATHER?
MOTHER!
FATHER!
WHERE ARE YOU?
Ilse: NO... NO!
THEY'RE DEAD!
THEY'RE DEAD!
ILSE!
ILSE, WHAT IS IT?
( gasps)
I'M NOT GOING TO HURT YOU, ILSE.
WHAT'S THE MATTER, DARLING?
THEY'RE DEAD.
THEY'RE DEAD!
THEY'RE DEAD! THEY'RE DEAD!
AND THERE'S NO WAY OF GETTING
IN TOUCH WITH HER RELATIVES?
EVERYTHING BURNED.
TOM POULTER SAID
THE NIELSENS GET
THREE LETTERS FROM EUROPE
THE END OF EACH MONTH.
MAYBE THEY'RE FROM RELATIVES.
WE CAN WAIT TILL THE
NEXT BATCH ARRIVES
AND WRITE TO THE
THREE ADDRESSES.
WHAT'LL WE DO WITH
THE GIRL UNTIL THEN?
WELL, WE'LL HAVE
TO KEEP HER HERE.
ONLY BE FOR A WEEK OR SO, CORA.
UNLESS THE GIRL CAN
TELL US SOMETHING.
NOPE.
YOU DON'T THINK
SHE CAN TALK, EITHER?
I TRIED EVERYTHING I
COULD TO GET HER TO.
THAT EXPLAINS IT.
WHAT?
THE TIMES MISS FRANK AND I TRIED
TO TALK THE NIELSENS INTO
PUTTING THE GIRL IN SCHOOL,
THE ANSWER WAS ALWAYS NO.
MAYBE THERE'S SOMETHING
PHYSICALLY WRONG WITH HER.
WELL, WE'LL HAVE DOC
STEIGER CHECK HER OVER.
I DON'T THINK HE'LL
FIND ANYTHING.
I JUST CAN'T UNDERSTAND IT.
THEY WERE EDUCATED PEOPLE.
THEY DIDN'T EVEN TEACH THEIR
OWN DAUGHTER HOW TO TALK.
THEY WERE STRANGE
PEOPLE, TOO, CORA.
THEY HARDLY EVER
SPOKE THEMSELVES.
WE SHOULD PUT THE GIRL IN SCHOOL
WHILE WE'RE WAITING
FOR THOSE LETTERS...
TEACH HER HOW TO TALK, ANYWAY.
WELL, NOT RIGHT AWAY.
SHE HAS TO START SOONER
OR LATER, DOESN'T SHE?
HARRY, SHE JUST
LOST HER PARENTS.
I DIDN'T MEAN TOMORROW
OR THE NEXT DAY.
YOU KNOW, IT'S A CRIME,
A GIRL THAT AGE
NOT BEING EDUCATED,
NOT EVEN KNOWING HOW TO TALK.
HER FATHER A PROFESSOR, TOO...
KEEPING HIS OWN
CHILD IN IGNORANCE.
WELL, SOMETHING'S
GOT TO BE DONE.
SOMEBODY'S GOT TO UNDO
WHAT HER PARENTS DID TO HER.
( garbled voice)
I'M NOT SURPRISED...
THEIR DECISION TO
LIVE OUT OF TOWN.
( garbled voices)
WHY WOULDN'T THEY
TEACH HER HOW TO TALK?
( garbled voice)
AND THERE'S NO REASON
WHY SHE CAN'T TALK.
I DON'T UNDERSTAND IT.
( garbled voice)
HE SAYS HE JUST
CAN'T UNDERSTAND IT.
THERE'S NOTHING WRONG WITH HER.
HE... HE CHECKED EVERYTHING.
( garbled voices)
( Cora sighs)
WHAT IS IT, ILSE?
YOU CAN TELL US, DARLING.
NOBODY'S GOING TO
BE ANGRY WITH YOU.
DON'T BE AFRAID OF US, ILSE.
DON'T BE AFRAID OF US.
( garbled voice)
CORA, LEAVE HER ALONE!
WELL, I CAN'T JUST IGNORE HER.
SHE'S BEEN HERE OVER A WEEK NOW.
WHAT'S THE USE?
THERE'S JUST NO WAY
OF GETTING THROUGH TO HER.
WELL, I HAVE TO KEEP ON TRYING.
ILSE.
DIDN'T THEY EVER TALK TO YOU?
I WISH I COULD MAKE
YOU UNDERSTAND.
( knocking)
SHE WAS SWIMMING IN THE LAKE...
( screaming)
IT'S... IT'S ALMOST AS
IF YOU UNDERSTAND.
BYE, HON.
BYE-BYE. SEE YOU AT LUNCH.
( phone rings)
HELLO?
YES, HE IS.
HARRY.
YEAH?
YEAH, TOM.
ALL RIGHT, I'LL BE RIGHT OVER.
THE LETTERS FROM EUROPE ARE IN.
I'LL SEE YOU IN A LITTLE WHILE.
NOW THEY'LL COME AND GET ME...
TAKE ME TO THE OTHER
CHILDREN WHO ARE THE WAY I AM.
DID YOU GET THEM?
WHAT?
THE LETTERS.
TOM POULTER COULDN'T
LET ME HAVE THEM.
IT'S AGAINST THE LAW.
HE'S GOT TO SEND THEM BACK.
ALL HE COULD DO WAS LET ME
COPY OFF THE RETURN ADDRESSES.
I'M GOING TO WRITE TO THEM NOW.
IT'S ALL RIGHT, ILSE.
YOU RUN ALONG NOW.
SUPPOSE YOU HAVE TO WRITE THEM.
WHAT DO YOU MEAN?
THANKS.
NOTHING.
WHA... WHAT ARE
YOU SAYING TO THEM?
ABOUT THE FIRE,
THE NIELSENS DYING,
ASKING THEM IF THEY'RE
RELATED TO THE GIRL
OR KNOW WHERE ANY
OF HER RELATIVES ARE.
WELL...
WHAT IF HER RELATIVES
AREN'T ANY BETTER FOR HER
THAN HER PARENTS WERE?
WHAT ARE YOU TALKING ABOUT?
IT'S MY DUTY TO
FIND HER RELATIVES.
WHO THEY ARE OR WHAT THEY
ARE IS NONE OF MY BUSINESS.
THE WELFARE OF A CHILD
IS EVERYBODY'S BUSINESS!
WE ARE NOT IN A
POSITION TO DECIDE.
WE'RE IN A POSITION
JUST TO SEND HER AWAY,
JUST GET RID OF HER.
THEN MAYBE SHE WON'T EVER TALK.
MAYBE SHE'LL GO THROUGH LIFE
JUST BEING AFRAID OF SHADOWS!
CORA... I UNDERSTAND.
SALLY GONE AND ANOTHER
CHILD IN THE HOUSE...
BUT SHE'S NOT OUR CHILD, CORA.
WE HAVE NO RIGHTS
WHERE SHE'S CONCERNED.
THERE'S SOMETHING
WRONG WITH HER.
OUR JOB IS TO MAKE
EVERY EFFORT...
IS THAT WHY YOU WANT
TO GET RID OF HER?
( clears throat)
I DON'T HAVE TO
ANSWER THAT, DO I, CORA?
NOW THEY'LL COME AND GET ME.
( engine starts)
ILSE!
ILSE!
( car horn honks)
( tires screech)
( car horns honking)
( tires screech)
THEY'LL NEVER FIND ME NOW.
NEVER! NEVER!
OH, PLEASE, HELP ME!
I'M HERE, ILSE NIELSEN!
HELP ME, PLEASE!
( crowd murmuring)
( softly): LEAVE HER ALONE.
LEAVE HER ALONE.
( loudly): LEAVE HER ALONE!
TWILIGHT ZONE WILL CONTINUE
AFTER STATION IDENTIFICATION.
( doorbell buzzes)
NOW, WHO COULD THAT BE?
PROBABLY MISS FRANK.
WELL, AREN'T YOU
GOING TO LET HER IN?
YES, CORA, I ASKED HER TO COME.
( doorbell buzzes)
HELLO, MISS FRANK.
MRS. WHEELER.
WON'T YOU COME IN? THANK YOU.
Harry: AFTERNOON, MISS FRANK.
GLAD YOU COULD COME.
Miss Frank: I THOUGHT
IT WAS MY DUTY.
DON'T PUT ME IN SCHOOL, PLEASE.
WON'T YOU SIT DOWN?
Harry: CORA!
AS I TOLD YOU A FEW DAYS AGO,
I'VE WRITTEN TO THESE
PEOPLE IN EUROPE
FOUR OR FIVE WEEKS AGO.
WE JUST HAVEN'T HAD ANY ANSWER.
WE DON'T KNOW WHAT
WE'RE GOING TO DO WITH HER.
WHILE WE'RE DECIDING,
SHE OUGHT TO START
GETTING AN EDUCATION.
SHE MOST CERTAINLY SHOULD.
IT WAS POSITIVELY
CRIMINAL OF HER PARENTS
NOT TO HAVE STARTED
HER EDUCATION YEARS AGO.
THE SMUGNESS OF THEM.
THE INSUFFERABLE DISDAIN.
"WE DO NOT WISH OUR DAUGHTER
TO GO TO YOUR SCHOOL."
JUST LIKE THAT.
IN MANY WAYS,
THE FIRE WAS A
BLESSING OF HER LIFE.
WHAT?
I'M NOT REFERRING
TO HER LACK OF
EDUCATION, MRS. WHEELER.
BUT TO CALL SUCH A
HIDEOUS THING A BLESSING.
I'M SURE I DIDN'T MEAN IT
THAT WAY, MRS. WHEELER.
THE FIRST THING SHE MUST LEARN
TO DO, OF COURSE, IS TALK.
IF I MAY SEE HER NOW?
I'LL GET HER.
SHE'S A VERY SHY
LITTLE GIRL, MISS FRANK.
SHE'LL... NEED UNDERSTANDING.
SHE SHALL RECEIVE
IT, MRS. WHEELER.
COME HERE, ILSE.
WELL,
I THINK WE'RE GOING
TO GET ALONG JUST FINE,
YOU AND I.
DON'T LET HER TOUCH ME.
PLEASE.
NO, NOT HER.
NO.
IT'LL BE FUN, DARLING.
DON'T BE AFRAID.
COME ON.
GOOD MORNING, MRS. WHEELER.
WE WERE JUST ABOUT TO START.
GOOD MORNING, MISS FRANK.
I DO HOPE EVERYTHING
WILL BE ALL RIGHT.
ILSE'S... DON'T BE AFRAID.
NOW, YOU JUST LEAVE
HER HERE, MRS. WHEELER.
SHE'LL FEEL AT HOME IN NO TIME.
WELL, I WAS WONDERING
IF I JUST COULDN'T STAY
FOR A LITTLE WHILE.
AS LONG AS YOU'RE
HERE, SHE'LL BE UPSET.
SHE CAN'T BEGIN TO ADJUST
UNTIL SHE'S ALONE WITH US.
BELIEVE ME, IT'S THE ONLY WAY.
ALL RIGHT.
GOOD-BYE, DEAR.
I'LL PICK YOU UP AFTER SCHOOL.
DON'T BE AFRAID.
SHE'S GOING TO BE
FINE, MRS. WHEELER.
WE'LL TAKE GOOD CARE OF HER.
RIGHT UP FRONT, NOW, ILSE.
CLASS... THIS IS ILSE NIELSEN.
WE'RE GOING TO HAVE TO BE
VERY PATIENT WITH HER,
BECAUSE HER PARENTS
NEVER TAUGHT HER
HOW TO SPEAK.
SHE DOESN'T UNDERSTAND
ONE WORD OF ENGLISH.
BUT WE'RE GOING TO HELP
HER LEARN, AREN'T WE?
Children: YES.
WE ARE GOING TO WORK WITH HER
UNTIL SHE'S EXACTLY
LIKE EVERYBODY ELSE.
AREN'T WE, CLASS?
Children: YES, MISS FRANK.
NOW, ILSE, CAN YOU
SAY YOUR NAME, ILSE?
TRY TO SAY IT.
YOUR NAME, CHILD.
ILSE.
ILSE.
ILSE.
TRY TO SAY IT, CHILD.
YOUR NAME.
YOU'LL LEARN.
"THIS IS A BOAT.
A BOAT SAILS ON THE OCEAN."
OCEAN.
OCEAN.
"THE MEN WHO LIVE...
"WHO LIVE... AND
WORK ON THE BOAT
ARE CALLED SAILORS."
HE'S TRYING TO TELL ABOUT THE
BOAT, BUT THE BOAT ISN'T WORDS.
IT ISN'T WORDS.
WHY DON'T THEY LEARN
THE WAY FATHER TAUGHT ME?
YOU MUST PAY ATTENTION, ILSE.
IF YOU DO NOT PAY ATTENTION,
YOU WILL NEVER LEARN.
( garbled voice)
I SAID, "GET UP, ILSE."
UP.
NOW, WE'LL TRY AGAIN.
SAY YOUR NAME... ILSE.
YOUR NAME... ILSE.
ILSE NIELSEN.
DO YOU UNDERSTAND?
I WILL HELP YOU TO UNDERSTAND.
I WILL SAY YOUR NAME FOR YOU.
( garbled): ILSE, ILSE.
CLASS, TELL ILSE HER NAME.
ON THE COUNT OF THREE.
ONE, TWO, THREE.
Children: ILSE.
( reverberating):
ILSE, ILSE, ILSE...
( bell rings)
DON'T PUSH, CHILDREN.
BE CAREFUL, BE CAREFUL.
I WANT YOU TO KNOW
YOU'RE NOT FOOLING
ME FOR ONE MOMENT.
I KNOW EXACTLY WHAT YOU ARE.
I KNOW, BECAUSE MY
FATHER TRIED TO FORCE ME
INTO THE SAME THING
WHEN I WAS YOUR AGE,
AND AFTER MANY YEARS
OF CONCENTRATED EFFORT,
I OVERCAME THAT SICKNESS
WHICH MY FATHER HAD FORCED ON ME
AS I AM GOING TO HELP
YOU OVERCOME IT, ILSE.
IT'S TRUE, ISN'T IT?
THEY'VE BEEN TRAINING
YOU TO BE A MEDIUM,
TRYING TO DISTORT
YOUR INNOCENT MIND
TO COMMUNICATE WITH THE DEAD.
YOU'VE BEEN TRAINED TO
BE A MEDIUM, HAVEN'T YOU?
HAVEN'T YOU?
NO, IT ISN'T TRUE.
THAT'S NOT WHAT THEY
WERE TRAINING ME FOR.
YOU UNDERSTAND ME.
YOU KNOW WHAT I THINK.
DON'T YOU SEE, ILSE?
YOU'VE PROVEN MY POINT.
YOU'VE PROVEN IT TO ME.
YOU ARE A MEDIUM.
NO, I'M NOT. YOU'RE WRONG.
I'M NOT A MEDIUM.
( footsteps)
I WAS WONDERING... MRS. WHEELER.
OH, ILSE, WAS IT SO BAD?
NO, SHE'S COMING ALONG NICELY.
OH, SHE WAS A
LITTLE TIMID AT FIRST,
BUT SHE'S LEARNING.
SHE'S MOST DEFINITELY LEARNING.
I'M SO GLAD.
WE'LL SEE HER
TOMORROW MORNING, THEN.
YES.
GOOD-BYE, MISS FRANK.
COME ALONG, DEAR.
THE NEXT DAY AND THE
NEXT DAY AND THE NEXT DAY.
( horn honking)
PLEASE, SIR.
WHERE COULD WE FIND AUTHORITY?
AUTHORITY?
( chuckles)
YES, UH... HOW DO YOU SAY IT?
THE CONSTABLE, THE...
SHERIFF.
OH, YES, YES.
THE SHERIFF.
TURN AROUND.
BITTE?
TURN AROUND.
THAT BUILDING.
OH.
DANKE.
UH... THANK YOU.
CONSTABLE.
( chuckles)
I FEEL SO GUILTY, KARL.
WHAT ELSE COULD WE DO?
WE SIMPLY COULD NOT
GET AWAY ANY SOONER.
WE HAVE OUR OWN RESPONSIBILITY
TO THE PROJECT.
I KNOW, BUT ALMOST THREE MONTHS
SINCE WE LAST HEARD
FROM HOLGER AND FANNY.
IF THEY ONLY HADN'T CHOSEN
SUCH A FAR-REMOVED
LOCATION FOR THEIR WORK.
THEY ARE AMERICANS, KARL.
WE COULD NOT HAVE EXPECTED THEM
TO RESIDE IN EUROPE.
DO YOU STILL THINK
THAT SOMETHING BAD
HAS HAPPENED TO THEM?
WHY ELSE WOULD THEY
HAVE FAILED TO WRITE?
I HOPE YOU ARE WRONG.
THAT LOVELY CHILD.
AND SUCH A TALENT.
THEIR PROGRESS WITH
HER HAS BEEN PHENOMENAL.
IT IS ALMOST AS IF...
AS IF SHE WAS BORN TELEPATHIC.
I THINK THAT OF
ALL THE CHILDREN,
SHE HAD THE MOST POTENTIAL.
YUCK.
( phone rings)
HELLO?
Harry: It's me, Cora YES, DEAR?
( laughs)
WELL, WHAT IS IT, HARRY?
( laughs)
HARRY.
The ones from
Europe are here, Cora.
Did you hear me?
( weakly): YEAH.
I'm going to have to bring
them over to the house.
We'll be over in a little while.
( phone clicks)
( vehicle approaching)
IF WE'D ONLY HEARD FROM YOU...
BUT NOT A WORD.
YOU CAN UNDERSTAND
WHY WE FELT FREE
TO START ADOPTION PROCEEDINGS.
WE UNDERSTAND
COMPLETELY, SHERIFF.
HOWEVER, AS I'VE SAID,
WE RECEIVED NO LETTERS.
JUST DON'T UNDERSTAND IT.
WELL...
HOLGER AND FANNY DEAD.
I STILL CAN'T BELIEVE IT.
HOW HORRIBLE.
EVEN MORE HORRIBLE, THE
THOUGHT OF ILSE EXPOSED
TO PEOPLE WHO DO NOT UNDERSTAND.
CORA, THIS IS PROFESSOR
WERNER, MRS. WERNER.
MY WIFE.
MRS. WHEELER.
HOW DO YOU DO?
WON'T YOU COME IN?
THANK YOU.
THEY SAY THEY NEVER RECEIVED
THOSE LETTERS I WROTE TO THEM.
OH?
THAT'S ODD.
WON'T YOU SIT DOWN?
THANK YOU.
SHE BURNED THOSE LETTERS, MARIA.
YES, I KNOW.
HOW TERRIBLY SHE SUFFERS.
FRAU WERNER, YOU
CAME A LONG WAY.
YES, WE DID.
ARE WE GOING TO TELL
THEM ANYTHING ABOUT ILSE?
NOT UNLESS WE HAVE TO.
MAY WE SEE ILSE?
WELL, I'M GOING TO PICK HER
UP AT SCHOOL IN A LITTLE WHILE.
SCHOOL?
THEY SHOULD NEVER
HAVE SENT HER TO SCHOOL.
ILSE?
ILSE NIELSEN.
STAND UP.
STAND UP, ILSE.
COME FORWARD.
FACE THE CLASS.
STRAIGHTEN UP.
SHOULDERS BACK.
NOW, WHAT IS YOUR NAME?
YOUR NAME.
WHAT IS YOUR NAME?
CLASS... WE WILL DO AGAIN
WHAT WE'VE BEEN DOING
FOR THE PAST WEEK.
ON THE COUNT OF
THREE, THINK ILSE'S NAME.
DON'T SAY IT ALOUD.
READY?
ONE, TWO, THREE.
Children: ILSE,
ILSE, ILSE, ILSE,
( distorted): ILSE,
ILSE, ILSE, ILSE...
HERE THEY COME.
ILSE... THIS IS PROFESSOR
AND FRAU WERNER.
HELLO, YOUNG LADY.
ILSE, YOU MUST CONCENTRATE.
YOUR FATHER WAS
IN CONTACT WITH US.
Karl ( garbled): OUR CHILDREN ONCE
WERE BEING TRAINED JUST LIKE YOU.
THEY'RE IN GERMANY.
ILSE, YOU REMEMBER
THE PAKT, ELKENBERGS...
US, THE KALDERS, YOUR
FATHER AND YOUR MOTHER.
Karl ( garbled): DUSSELDORF,
TEN YEARS AGO.
THE PACT, THE PROJECT
ABOUT MENTAL TELEPATHY.
GERMANY, TEN YEARS AGO.
THE PACT... TELEPATHY.
THE WERNERS ARE
FROM EUROPE, ILSE.
THEY WERE FRIENDS
OF YOUR PARENTS.
ILSE... THINK!
ILSE, WHERE IS YOUR MIND?
Karl ( garbled):
YOUR MIND, ILSE.
CONCENTRATE!
MY... NAME... IS ILSE.
MY NAME... IS ILSE.
MY NAME... IS ILSE.
MY NAME... IS ILSE.
MY NAME IS ILSE!
DON'T CRY, BABY.
DON'T CRY.
I'M HERE, I'M HERE.
Cora: DON'T CRY,
DARLING, I'M WITH YOU.
I'M WITH YOU.
YOU CAN'T TAKE HER AWAY FROM ME!
CORA!
NO!
I WON'T LET THEM.
I LOVE HER.
AND SHE LOVES ME,
AND SHE NEEDS ME.
( Cora and Ilse crying)
Cora: YOU HAVE NO RIGHT.
YOU HAVE NO RIGHT.
YOU HAVE NO RIGHT!
I WANT TO APOLOGIZE AGAIN
FOR MY WIFE AND MYSELF.
WE THOUGHT... WE UNDERSTAND.
NATURALLY, YOU WOULD THINK
THAT WE HAVE COME
TO TAKE ILSE BACK WITH US.
HOWEVER, AS I'VE SAID,
WE HAVE NO LEGAL
POWER TO DEMAND HER...
BEING NO RELATION.
GOOD-BYE, SHERIFF.
GOOD-BYE. GOOD LUCK.
UH... AND THANKS AGAIN.
YOUR BUS OUGHT TO BE ALONG
IN FIVE OR TEN MINUTES.
I HOPE WE HAVE MADE NO MISTAKE
LETTING THEM KEEP HER,
EVEN THOUGH THE
NIELSENS DID GIVE US
THE LEGAL RIGHT TO...
I DON'T THINK SO, KARL.
TO TAKE HER TO THE
OTHER CHILDREN NOW
WOULD BE TERRIBLE FOR HER.
HER FACILITY IS GONE.
EVEN WITH WORK, IT
MIGHT NOT RETURN.
I SUPPOSE.
BUT ALL THOSE YEARS HOLGER
AND FANNY SPENT ON HER...
WASTED.
WASTED?
IF THEY HAD NOT MADE
HER MIND SO RECEPTIVE,
HOW COULD THEY HAVE LED HER
OUT FROM THE BURNING HOUSE,
EVEN THOUGH THEY WERE TRAPPED?
BUT THE LOSS, THE
LOSS... IT ISN'T RIGHT.
THERE IS NO RIGHT
OR WRONG TO IT, KARL.
THEY ALL MEANT WELL.
NO ONE WANTED
ANYTHING BUT TO HELP HER.
BUT TO LOSE EVERYTHING?
SHE HAS NOT LOST EVERYTHING.
SHE HAS GAINED SOMETHING, KARL.
GAINED?
WE ALWAYS KNEW
THAT HOLGER AND FANNY
DID NOT REALLY CARE FOR HER.
MARIA.
THEY WERE NOT UNKIND.
THEY GAVE HER WHAT AFFECTION
THEY HAD IN THEM TO GIVE.
BUT THE PROJECT
ALWAYS CAME FIRST.
YOU KNOW THAT, KARL.
FOR THEM, ILSE WAS
LESS A DAUGHTER
THAN SHE WAS AN
EXPERIMENT IN FLESH.
SHE'S GOING TO BE ALL RIGHT.
FOR NOW, SHE'S LOVED,
AND THAT IS SO MUCH MORE
IMPORTANT THAN TELEPATHY.
ISN'T IT?
YES, LIEBCHEN.
MUCH MORE IMPORTANT.
IT HAS BEEN NOTED IN A
BOOK OF PROVEN WISDOM
THAT PERFECT LOVE
CASTETH OUT FEAR.
WELL, IT'S UNLIKELY
THAT THIS OBSERVATION
WAS MEANT TO INCLUDE
THAT SPECIFIC FEAR
WHICH FOLLOWS THE LOSS OF
EXTRASENSORY PERCEPTION.
THE PRINCIPLE REMAINS, AS
ALWAYS, BEAUTIFULLY INTACT.
CASE IN POINT: THAT
OF ILSE NIELSEN,
FORMER RESIDENT
OF THE TWILIGHT ZONE.
MR. RICHARD MATHESON
LETS HIS TYPEWRITER
PAY US A RETURN VISIT NEXT
TIME OUT ON TWILIGHT ZONE
WITH A STORY
CALLED "DEATH SHIP."
NOW THIS ONE IS FOR
SCIENCE FICTION AFICIONADOS,
GHOST STORY BUFFS
AND ANY AND ALL
WHO FILE AWAY CLUES
WITH AN EYE TOWARD
OUTGUESSING THE WRITER.
NEXT ON TWILIGHT ZONE,
MISTERS JACK KLUGMAN,
ROSS MARTIN AND FRED
BEIR TAKE AN EXTENDED TRIP
THROUGH SPACE ON A DEATH SHIP.
CAPTAIN.
SOMETHING GLITTERED DOWN THERE.
WHAT IS IT?
SOMETHING DOWN THERE?
MASON THINKS SO.
THERE WAS SOMETHING.
WE STAY TOGETHER.
NO ONE TAKES ANY RISKS.
THAT'S AN ORDER, MASON.
YOU UNLOCK THIS DOOR
WITH THE KEY OF IMAGINATION.
BEYOND IT IS
ANOTHER DIMENSION...
A DIMENSION OF SOUND,
A DIMENSION OF SIGHT,
A DIMENSION OF MIND.
YOU'RE MOVING INTO A LAND OF
BOTH SHADOW AND SUBSTANCE,
OF THINGS AND IDEAS.
YOU'VE JUST CROSSED
OVER INTO THE TWILIGHT ZONE.
SO...
"THE UNDERSIGNED,
"HAVING ACCEPTED THE
FOLLOWING PROPOSITIONS:
"A, THAT PRIOR TO THE
INCEPTION OF LANGUAGE,
"MAN COMMUNICATED
BY TELEPATHIC MEANS;
"AND B, THAT THIS ABILITY
NOT ONLY STILL EXISTS
"BUT CAN BE REDEVELOPED
TO ITS FORMER EFFECTIVENESS;
"DO HEREBY AGREE TO
THE FOLLOWING PRECEPTS.
"ONE, THAT WE SHALL
HENCEFORTH DEDICATE
"OUR PROFESSIONAL
AND PRIVATE LIVES
"TO THE STUDY OF
MENTAL TELEPATHY
"AND WHATEVER
EXTRASENSORY FUNCTIONS
"MAY BE SUPPLEMENTAL TO IT.
"TWO, THAT THE FINDINGS OF
THE STUDY SHALL BE APPLIED
"NOT ONLY TO OURSELVES,
BUT TO ALL OUR CHILDREN.
"THREE, THAT EACH FAMILY UNIT
"SHALL RESIDE IN A LOCATION
"CALCULATED TO PREVENT
"THE INTERFERENCE OF SOCIETY.
"FOUR, THAT MONTHLY
CORRESPONDENCE
"SHALL BE EXCHANGED
"UNTIL SUCH TIME AS
THEY WILL ESTABLISH
"A JOINT COLONY
"IN WHICH COMMUNICATION
OF EVERY SORT
SHALL BE EXCLUSIVELY MENTAL."
THERE ARE SURE TO BE
OTHER DETAILS, OF COURSE,
BUT FOR NOW, THIS SHOULD
SUFFICE TO GET US STARTED.
COMMENTS?
MORE THAN SUFFICIENT, I THINK.
MOST SPECIFIC.
KARL?
IT IS WHAT WE AGREED UPON.
THAT SOUNDS VERY
MUCH LIKE DISAPPROVAL.
NO, NO, NO. NOT AT ALL.
I WILL BE PLEASED TO SIGN.
YOU ARE CERTAIN NOW?
THIS SHOULD NOT BE ENTERED INTO
UNLESS WITH ABSOLUTE ASSURANCE.
HE IS ASSURED, HOLGER.
HIS APPARENT
UNCERTAINTY IS ONLY...
A SYMPATHETIC
REFLECTION OF MY OWN.
YOU ARE STILL UNCERTAIN?
NOT IN THE GENERAL
CONCEPT, HOLGER.
I AGREE WITH IT, BELIEVE IN IT.
IT IS YET THAT I WONDER,
DO WE HAVE THE RIGHT TO IMPOSE
THIS STUDY ON OUR CHILDREN,
EVEN THOSE UNBORN?
YOU SPEAK AS IF WE PLAN
TO HARM OUR CHILDREN.
ISN'T IT RATHER THAT WE HOPE
TO BESTOW UPON THEM
A GIFT BEYOND PRICE?
OF COURSE THAT
IS OUR HOPE, BUT...
WE OFFER THEM NO
CHOICE IN THE MATTER.
IS THAT JUST?
I TOO AM A MOTHER, MARIA,
DEVOTED TO THE
WELFARE OF MY CHILD,
YET I AM CONVINCED IT IS JUST.
IT IS MORE THAN JUST.
IT'S INEVITABLE.
DESTINY DEMANDS IT.
DID YOU AND HOLGER DECIDE
DEFINITELY NOT
TO STAY IN EUROPE?
YES.
THERE'S A HOUSE IN PENNSYLVANIA
WHICH WAS LEFT TO
HOLGER BY AN UNCLE.
WE PLAN TO LIVE IN IT.
OH, EXCELLENT.
WHAT TOWN IS THIS?
GERMAN CORNERS.
WHAT YOU'RE WITNESSING
IS THE CURTAIN-RAISER
TO A MOST EXTRAORDINARY PLAY:
TO WIT THE SIGNING OF A PACT,
THE COMMENCEMENT OF A PROJECT.
THE PLAY ITSELF
WILL BE PERFORMED
ALMOST ENTIRELY OFFSTAGE.
THE FINAL SCENES ARE TO
BE ENACTED A DECADE HENCE
AND WITH A DIFFERENT CAST.
THE MAIN CHARACTER OF
THESE FINAL SCENES IS ILSE,
THE DAUGHTER OF PROFESSOR
AND MRS. NIELSEN, AGE TWO.
AT THE MOMENT, SHE
LIES SLEEPING IN HER CRIB,
UNAWARE OF THE SINGULAR DRAMA
IN WHICH SHE IS TO BE INVOLVED.
TEN YEARS FROM THIS MOMENT,
ILSE NIELSEN IS TO KNOW
THE DESOLATING TERROR
OF LIVING SIMULTANEOUSLY
IN THE WORLD AND
IN THE TWILIGHT ZONE.
( phone rings)
( phone rings)
( phone rings)
YEAH?
Sheriff Wheeler? YEAH.
This is Tom Poulter.
The Nielsen house is burning.
WHAT?
There's a fire at
the Nielsen house.
Big fire... hurry.
RIGHT.
WHAT IS IT?
FIRE AT THE NIELSEN HOUSE.
DID IT JUST START?
I HOPE SO. IF IT
DIDN'T... MAX, IT'S HARRY.
THERE'S A FIRE AT
THE NIELSEN HOUSE.
CALL THE VOLUNTEERS.
GET THE TRUCK OUT.
I'LL BE THERE IN
10 OR 15 MINUTES.
GOT IT?
I TOLD THEM WHEN
THEY FIRST CAME HERE
THEY SHOULDN'T LIVE
SO FAR OUT OF TOWN,
BUT THEY WANTED THEIR PRIVACY.
THAT GIRL... THAT LOVELY GIRL...
( sirens blaring)
( bell clangs)
WE'LL NEVER PUT THAT OUT.
NEVER MIND THE HOUSE. KEEP
THE WOODS FROM CATCHING.
COME ON, LET'S CHECK OUT BACK.
THEY'RE DONE FOR.
POOR KID.
Poulter: HARRY,
OVER HERE, QUICK!
DO YOU THINK SHE'S...
IS SHE BURNED?
Wheeler: SHE'S ALIVE.
ARE YOU ALL RIGHT?
Poulter: SHE'S IN SHOCK, HARRY.
GET A BLANKET ON HER.
BAD OFF.
CAN'T TALK, CAN'T
CRY, CAN'T DO NOTHING.
SHE'S NOT BURNED, THOUGH.
HOW COULD SHE GET OUT
WITHOUT BEING BURNED?
I DON'T KNOW.
IS SHE HURT?
NOT PHYSICALLY.
I THINK SHE'S IN SHOCK.
WE'D BETTER GET HER TO BED.
WE'LL HAVE TO USE SALLY'S...
THE OTHER BEDROOM, CORA.
ALL RIGHT.
CORA.
OH, I'M SORRY.
SHE'S BEAUTIFUL.
SHE LOOKS JUST LIKE SALLY.
DOESN'T SHE?
YOU WANT SOMETHING TO EAT?
NO, I HAVEN'T GOT TIME.
THOUGHT I'D TAKE SOME
COFFEE TO THE BOYS.
ARE HER PARENTS...?
NO WAY OF KNOWING.
CAN'T GET CLOSE
TO THE HOUSE YET.
IT'S BURNING TOO HARD.
WELL, HOW...?
TOM POULTER FOUND HER OUTSIDE.
OUTSIDE?
WE DON'T KNOW HOW SHE GOT THERE.
I EXPECT HER PARENTS
ARE DEAD, THOUGH.
IT'S AN AWFUL FIRE.
POOR CHILD.
THERE'S SOMETHING
WRONG WITH HER.
I KNOW SHE'S NOT DEAF OR
DUMB OR RETARDED OR ANYTHING.
BEFORE SHE FELL ASLEEP, I
TRIED TO GET HER TO TALK.
SHE DIDN'T SAY A
WORD. NOT A WORD.
EVEN IN SHOCK,
THE POWERS OF SPEECH
AREN'T COMPLETELY GONE.
IT'S AS THOUGH SHE
DOESN'T KNOW HOW TO TALK.
BE CAREFUL.
Ilse: MOTHER?
MOTHER?
MOTHER!
WHERE ARE YOU, MOTHER?
ARE YOU NEAR ME, FATHER?
MOTHER!
FATHER!
WHERE ARE YOU?
Ilse: NO... NO!
THEY'RE DEAD!
THEY'RE DEAD!
ILSE!
ILSE, WHAT IS IT?
( gasps)
I'M NOT GOING TO HURT YOU, ILSE.
WHAT'S THE MATTER, DARLING?
THEY'RE DEAD.
THEY'RE DEAD!
THEY'RE DEAD! THEY'RE DEAD!
AND THERE'S NO WAY OF GETTING
IN TOUCH WITH HER RELATIVES?
EVERYTHING BURNED.
TOM POULTER SAID
THE NIELSENS GET
THREE LETTERS FROM EUROPE
THE END OF EACH MONTH.
MAYBE THEY'RE FROM RELATIVES.
WE CAN WAIT TILL THE
NEXT BATCH ARRIVES
AND WRITE TO THE
THREE ADDRESSES.
WHAT'LL WE DO WITH
THE GIRL UNTIL THEN?
WELL, WE'LL HAVE
TO KEEP HER HERE.
ONLY BE FOR A WEEK OR SO, CORA.
UNLESS THE GIRL CAN
TELL US SOMETHING.
NOPE.
YOU DON'T THINK
SHE CAN TALK, EITHER?
I TRIED EVERYTHING I
COULD TO GET HER TO.
THAT EXPLAINS IT.
WHAT?
THE TIMES MISS FRANK AND I TRIED
TO TALK THE NIELSENS INTO
PUTTING THE GIRL IN SCHOOL,
THE ANSWER WAS ALWAYS NO.
MAYBE THERE'S SOMETHING
PHYSICALLY WRONG WITH HER.
WELL, WE'LL HAVE DOC
STEIGER CHECK HER OVER.
I DON'T THINK HE'LL
FIND ANYTHING.
I JUST CAN'T UNDERSTAND IT.
THEY WERE EDUCATED PEOPLE.
THEY DIDN'T EVEN TEACH THEIR
OWN DAUGHTER HOW TO TALK.
THEY WERE STRANGE
PEOPLE, TOO, CORA.
THEY HARDLY EVER
SPOKE THEMSELVES.
WE SHOULD PUT THE GIRL IN SCHOOL
WHILE WE'RE WAITING
FOR THOSE LETTERS...
TEACH HER HOW TO TALK, ANYWAY.
WELL, NOT RIGHT AWAY.
SHE HAS TO START SOONER
OR LATER, DOESN'T SHE?
HARRY, SHE JUST
LOST HER PARENTS.
I DIDN'T MEAN TOMORROW
OR THE NEXT DAY.
YOU KNOW, IT'S A CRIME,
A GIRL THAT AGE
NOT BEING EDUCATED,
NOT EVEN KNOWING HOW TO TALK.
HER FATHER A PROFESSOR, TOO...
KEEPING HIS OWN
CHILD IN IGNORANCE.
WELL, SOMETHING'S
GOT TO BE DONE.
SOMEBODY'S GOT TO UNDO
WHAT HER PARENTS DID TO HER.
( garbled voice)
I'M NOT SURPRISED...
THEIR DECISION TO
LIVE OUT OF TOWN.
( garbled voices)
WHY WOULDN'T THEY
TEACH HER HOW TO TALK?
( garbled voice)
AND THERE'S NO REASON
WHY SHE CAN'T TALK.
I DON'T UNDERSTAND IT.
( garbled voice)
HE SAYS HE JUST
CAN'T UNDERSTAND IT.
THERE'S NOTHING WRONG WITH HER.
HE... HE CHECKED EVERYTHING.
( garbled voices)
( Cora sighs)
WHAT IS IT, ILSE?
YOU CAN TELL US, DARLING.
NOBODY'S GOING TO
BE ANGRY WITH YOU.
DON'T BE AFRAID OF US, ILSE.
DON'T BE AFRAID OF US.
( garbled voice)
CORA, LEAVE HER ALONE!
WELL, I CAN'T JUST IGNORE HER.
SHE'S BEEN HERE OVER A WEEK NOW.
WHAT'S THE USE?
THERE'S JUST NO WAY
OF GETTING THROUGH TO HER.
WELL, I HAVE TO KEEP ON TRYING.
ILSE.
DIDN'T THEY EVER TALK TO YOU?
I WISH I COULD MAKE
YOU UNDERSTAND.
( knocking)
SHE WAS SWIMMING IN THE LAKE...
( screaming)
IT'S... IT'S ALMOST AS
IF YOU UNDERSTAND.
BYE, HON.
BYE-BYE. SEE YOU AT LUNCH.
( phone rings)
HELLO?
YES, HE IS.
HARRY.
YEAH?
YEAH, TOM.
ALL RIGHT, I'LL BE RIGHT OVER.
THE LETTERS FROM EUROPE ARE IN.
I'LL SEE YOU IN A LITTLE WHILE.
NOW THEY'LL COME AND GET ME...
TAKE ME TO THE OTHER
CHILDREN WHO ARE THE WAY I AM.
DID YOU GET THEM?
WHAT?
THE LETTERS.
TOM POULTER COULDN'T
LET ME HAVE THEM.
IT'S AGAINST THE LAW.
HE'S GOT TO SEND THEM BACK.
ALL HE COULD DO WAS LET ME
COPY OFF THE RETURN ADDRESSES.
I'M GOING TO WRITE TO THEM NOW.
IT'S ALL RIGHT, ILSE.
YOU RUN ALONG NOW.
SUPPOSE YOU HAVE TO WRITE THEM.
WHAT DO YOU MEAN?
THANKS.
NOTHING.
WHA... WHAT ARE
YOU SAYING TO THEM?
ABOUT THE FIRE,
THE NIELSENS DYING,
ASKING THEM IF THEY'RE
RELATED TO THE GIRL
OR KNOW WHERE ANY
OF HER RELATIVES ARE.
WELL...
WHAT IF HER RELATIVES
AREN'T ANY BETTER FOR HER
THAN HER PARENTS WERE?
WHAT ARE YOU TALKING ABOUT?
IT'S MY DUTY TO
FIND HER RELATIVES.
WHO THEY ARE OR WHAT THEY
ARE IS NONE OF MY BUSINESS.
THE WELFARE OF A CHILD
IS EVERYBODY'S BUSINESS!
WE ARE NOT IN A
POSITION TO DECIDE.
WE'RE IN A POSITION
JUST TO SEND HER AWAY,
JUST GET RID OF HER.
THEN MAYBE SHE WON'T EVER TALK.
MAYBE SHE'LL GO THROUGH LIFE
JUST BEING AFRAID OF SHADOWS!
CORA... I UNDERSTAND.
SALLY GONE AND ANOTHER
CHILD IN THE HOUSE...
BUT SHE'S NOT OUR CHILD, CORA.
WE HAVE NO RIGHTS
WHERE SHE'S CONCERNED.
THERE'S SOMETHING
WRONG WITH HER.
OUR JOB IS TO MAKE
EVERY EFFORT...
IS THAT WHY YOU WANT
TO GET RID OF HER?
( clears throat)
I DON'T HAVE TO
ANSWER THAT, DO I, CORA?
NOW THEY'LL COME AND GET ME.
( engine starts)
ILSE!
ILSE!
( car horn honks)
( tires screech)
( car horns honking)
( tires screech)
THEY'LL NEVER FIND ME NOW.
NEVER! NEVER!
OH, PLEASE, HELP ME!
I'M HERE, ILSE NIELSEN!
HELP ME, PLEASE!
( crowd murmuring)
( softly): LEAVE HER ALONE.
LEAVE HER ALONE.
( loudly): LEAVE HER ALONE!
TWILIGHT ZONE WILL CONTINUE
AFTER STATION IDENTIFICATION.
( doorbell buzzes)
NOW, WHO COULD THAT BE?
PROBABLY MISS FRANK.
WELL, AREN'T YOU
GOING TO LET HER IN?
YES, CORA, I ASKED HER TO COME.
( doorbell buzzes)
HELLO, MISS FRANK.
MRS. WHEELER.
WON'T YOU COME IN? THANK YOU.
Harry: AFTERNOON, MISS FRANK.
GLAD YOU COULD COME.
Miss Frank: I THOUGHT
IT WAS MY DUTY.
DON'T PUT ME IN SCHOOL, PLEASE.
WON'T YOU SIT DOWN?
Harry: CORA!
AS I TOLD YOU A FEW DAYS AGO,
I'VE WRITTEN TO THESE
PEOPLE IN EUROPE
FOUR OR FIVE WEEKS AGO.
WE JUST HAVEN'T HAD ANY ANSWER.
WE DON'T KNOW WHAT
WE'RE GOING TO DO WITH HER.
WHILE WE'RE DECIDING,
SHE OUGHT TO START
GETTING AN EDUCATION.
SHE MOST CERTAINLY SHOULD.
IT WAS POSITIVELY
CRIMINAL OF HER PARENTS
NOT TO HAVE STARTED
HER EDUCATION YEARS AGO.
THE SMUGNESS OF THEM.
THE INSUFFERABLE DISDAIN.
"WE DO NOT WISH OUR DAUGHTER
TO GO TO YOUR SCHOOL."
JUST LIKE THAT.
IN MANY WAYS,
THE FIRE WAS A
BLESSING OF HER LIFE.
WHAT?
I'M NOT REFERRING
TO HER LACK OF
EDUCATION, MRS. WHEELER.
BUT TO CALL SUCH A
HIDEOUS THING A BLESSING.
I'M SURE I DIDN'T MEAN IT
THAT WAY, MRS. WHEELER.
THE FIRST THING SHE MUST LEARN
TO DO, OF COURSE, IS TALK.
IF I MAY SEE HER NOW?
I'LL GET HER.
SHE'S A VERY SHY
LITTLE GIRL, MISS FRANK.
SHE'LL... NEED UNDERSTANDING.
SHE SHALL RECEIVE
IT, MRS. WHEELER.
COME HERE, ILSE.
WELL,
I THINK WE'RE GOING
TO GET ALONG JUST FINE,
YOU AND I.
DON'T LET HER TOUCH ME.
PLEASE.
NO, NOT HER.
NO.
IT'LL BE FUN, DARLING.
DON'T BE AFRAID.
COME ON.
GOOD MORNING, MRS. WHEELER.
WE WERE JUST ABOUT TO START.
GOOD MORNING, MISS FRANK.
I DO HOPE EVERYTHING
WILL BE ALL RIGHT.
ILSE'S... DON'T BE AFRAID.
NOW, YOU JUST LEAVE
HER HERE, MRS. WHEELER.
SHE'LL FEEL AT HOME IN NO TIME.
WELL, I WAS WONDERING
IF I JUST COULDN'T STAY
FOR A LITTLE WHILE.
AS LONG AS YOU'RE
HERE, SHE'LL BE UPSET.
SHE CAN'T BEGIN TO ADJUST
UNTIL SHE'S ALONE WITH US.
BELIEVE ME, IT'S THE ONLY WAY.
ALL RIGHT.
GOOD-BYE, DEAR.
I'LL PICK YOU UP AFTER SCHOOL.
DON'T BE AFRAID.
SHE'S GOING TO BE
FINE, MRS. WHEELER.
WE'LL TAKE GOOD CARE OF HER.
RIGHT UP FRONT, NOW, ILSE.
CLASS... THIS IS ILSE NIELSEN.
WE'RE GOING TO HAVE TO BE
VERY PATIENT WITH HER,
BECAUSE HER PARENTS
NEVER TAUGHT HER
HOW TO SPEAK.
SHE DOESN'T UNDERSTAND
ONE WORD OF ENGLISH.
BUT WE'RE GOING TO HELP
HER LEARN, AREN'T WE?
Children: YES.
WE ARE GOING TO WORK WITH HER
UNTIL SHE'S EXACTLY
LIKE EVERYBODY ELSE.
AREN'T WE, CLASS?
Children: YES, MISS FRANK.
NOW, ILSE, CAN YOU
SAY YOUR NAME, ILSE?
TRY TO SAY IT.
YOUR NAME, CHILD.
ILSE.
ILSE.
ILSE.
TRY TO SAY IT, CHILD.
YOUR NAME.
YOU'LL LEARN.
"THIS IS A BOAT.
A BOAT SAILS ON THE OCEAN."
OCEAN.
OCEAN.
"THE MEN WHO LIVE...
"WHO LIVE... AND
WORK ON THE BOAT
ARE CALLED SAILORS."
HE'S TRYING TO TELL ABOUT THE
BOAT, BUT THE BOAT ISN'T WORDS.
IT ISN'T WORDS.
WHY DON'T THEY LEARN
THE WAY FATHER TAUGHT ME?
YOU MUST PAY ATTENTION, ILSE.
IF YOU DO NOT PAY ATTENTION,
YOU WILL NEVER LEARN.
( garbled voice)
I SAID, "GET UP, ILSE."
UP.
NOW, WE'LL TRY AGAIN.
SAY YOUR NAME... ILSE.
YOUR NAME... ILSE.
ILSE NIELSEN.
DO YOU UNDERSTAND?
I WILL HELP YOU TO UNDERSTAND.
I WILL SAY YOUR NAME FOR YOU.
( garbled): ILSE, ILSE.
CLASS, TELL ILSE HER NAME.
ON THE COUNT OF THREE.
ONE, TWO, THREE.
Children: ILSE.
( reverberating):
ILSE, ILSE, ILSE...
( bell rings)
DON'T PUSH, CHILDREN.
BE CAREFUL, BE CAREFUL.
I WANT YOU TO KNOW
YOU'RE NOT FOOLING
ME FOR ONE MOMENT.
I KNOW EXACTLY WHAT YOU ARE.
I KNOW, BECAUSE MY
FATHER TRIED TO FORCE ME
INTO THE SAME THING
WHEN I WAS YOUR AGE,
AND AFTER MANY YEARS
OF CONCENTRATED EFFORT,
I OVERCAME THAT SICKNESS
WHICH MY FATHER HAD FORCED ON ME
AS I AM GOING TO HELP
YOU OVERCOME IT, ILSE.
IT'S TRUE, ISN'T IT?
THEY'VE BEEN TRAINING
YOU TO BE A MEDIUM,
TRYING TO DISTORT
YOUR INNOCENT MIND
TO COMMUNICATE WITH THE DEAD.
YOU'VE BEEN TRAINED TO
BE A MEDIUM, HAVEN'T YOU?
HAVEN'T YOU?
NO, IT ISN'T TRUE.
THAT'S NOT WHAT THEY
WERE TRAINING ME FOR.
YOU UNDERSTAND ME.
YOU KNOW WHAT I THINK.
DON'T YOU SEE, ILSE?
YOU'VE PROVEN MY POINT.
YOU'VE PROVEN IT TO ME.
YOU ARE A MEDIUM.
NO, I'M NOT. YOU'RE WRONG.
I'M NOT A MEDIUM.
( footsteps)
I WAS WONDERING... MRS. WHEELER.
OH, ILSE, WAS IT SO BAD?
NO, SHE'S COMING ALONG NICELY.
OH, SHE WAS A
LITTLE TIMID AT FIRST,
BUT SHE'S LEARNING.
SHE'S MOST DEFINITELY LEARNING.
I'M SO GLAD.
WE'LL SEE HER
TOMORROW MORNING, THEN.
YES.
GOOD-BYE, MISS FRANK.
COME ALONG, DEAR.
THE NEXT DAY AND THE
NEXT DAY AND THE NEXT DAY.
( horn honking)
PLEASE, SIR.
WHERE COULD WE FIND AUTHORITY?
AUTHORITY?
( chuckles)
YES, UH... HOW DO YOU SAY IT?
THE CONSTABLE, THE...
SHERIFF.
OH, YES, YES.
THE SHERIFF.
TURN AROUND.
BITTE?
TURN AROUND.
THAT BUILDING.
OH.
DANKE.
UH... THANK YOU.
CONSTABLE.
( chuckles)
I FEEL SO GUILTY, KARL.
WHAT ELSE COULD WE DO?
WE SIMPLY COULD NOT
GET AWAY ANY SOONER.
WE HAVE OUR OWN RESPONSIBILITY
TO THE PROJECT.
I KNOW, BUT ALMOST THREE MONTHS
SINCE WE LAST HEARD
FROM HOLGER AND FANNY.
IF THEY ONLY HADN'T CHOSEN
SUCH A FAR-REMOVED
LOCATION FOR THEIR WORK.
THEY ARE AMERICANS, KARL.
WE COULD NOT HAVE EXPECTED THEM
TO RESIDE IN EUROPE.
DO YOU STILL THINK
THAT SOMETHING BAD
HAS HAPPENED TO THEM?
WHY ELSE WOULD THEY
HAVE FAILED TO WRITE?
I HOPE YOU ARE WRONG.
THAT LOVELY CHILD.
AND SUCH A TALENT.
THEIR PROGRESS WITH
HER HAS BEEN PHENOMENAL.
IT IS ALMOST AS IF...
AS IF SHE WAS BORN TELEPATHIC.
I THINK THAT OF
ALL THE CHILDREN,
SHE HAD THE MOST POTENTIAL.
YUCK.
( phone rings)
HELLO?
Harry: It's me, Cora YES, DEAR?
( laughs)
WELL, WHAT IS IT, HARRY?
( laughs)
HARRY.
The ones from
Europe are here, Cora.
Did you hear me?
( weakly): YEAH.
I'm going to have to bring
them over to the house.
We'll be over in a little while.
( phone clicks)
( vehicle approaching)
IF WE'D ONLY HEARD FROM YOU...
BUT NOT A WORD.
YOU CAN UNDERSTAND
WHY WE FELT FREE
TO START ADOPTION PROCEEDINGS.
WE UNDERSTAND
COMPLETELY, SHERIFF.
HOWEVER, AS I'VE SAID,
WE RECEIVED NO LETTERS.
JUST DON'T UNDERSTAND IT.
WELL...
HOLGER AND FANNY DEAD.
I STILL CAN'T BELIEVE IT.
HOW HORRIBLE.
EVEN MORE HORRIBLE, THE
THOUGHT OF ILSE EXPOSED
TO PEOPLE WHO DO NOT UNDERSTAND.
CORA, THIS IS PROFESSOR
WERNER, MRS. WERNER.
MY WIFE.
MRS. WHEELER.
HOW DO YOU DO?
WON'T YOU COME IN?
THANK YOU.
THEY SAY THEY NEVER RECEIVED
THOSE LETTERS I WROTE TO THEM.
OH?
THAT'S ODD.
WON'T YOU SIT DOWN?
THANK YOU.
SHE BURNED THOSE LETTERS, MARIA.
YES, I KNOW.
HOW TERRIBLY SHE SUFFERS.
FRAU WERNER, YOU
CAME A LONG WAY.
YES, WE DID.
ARE WE GOING TO TELL
THEM ANYTHING ABOUT ILSE?
NOT UNLESS WE HAVE TO.
MAY WE SEE ILSE?
WELL, I'M GOING TO PICK HER
UP AT SCHOOL IN A LITTLE WHILE.
SCHOOL?
THEY SHOULD NEVER
HAVE SENT HER TO SCHOOL.
ILSE?
ILSE NIELSEN.
STAND UP.
STAND UP, ILSE.
COME FORWARD.
FACE THE CLASS.
STRAIGHTEN UP.
SHOULDERS BACK.
NOW, WHAT IS YOUR NAME?
YOUR NAME.
WHAT IS YOUR NAME?
CLASS... WE WILL DO AGAIN
WHAT WE'VE BEEN DOING
FOR THE PAST WEEK.
ON THE COUNT OF
THREE, THINK ILSE'S NAME.
DON'T SAY IT ALOUD.
READY?
ONE, TWO, THREE.
Children: ILSE,
ILSE, ILSE, ILSE,
( distorted): ILSE,
ILSE, ILSE, ILSE...
HERE THEY COME.
ILSE... THIS IS PROFESSOR
AND FRAU WERNER.
HELLO, YOUNG LADY.
ILSE, YOU MUST CONCENTRATE.
YOUR FATHER WAS
IN CONTACT WITH US.
Karl ( garbled): OUR CHILDREN ONCE
WERE BEING TRAINED JUST LIKE YOU.
THEY'RE IN GERMANY.
ILSE, YOU REMEMBER
THE PAKT, ELKENBERGS...
US, THE KALDERS, YOUR
FATHER AND YOUR MOTHER.
Karl ( garbled): DUSSELDORF,
TEN YEARS AGO.
THE PACT, THE PROJECT
ABOUT MENTAL TELEPATHY.
GERMANY, TEN YEARS AGO.
THE PACT... TELEPATHY.
THE WERNERS ARE
FROM EUROPE, ILSE.
THEY WERE FRIENDS
OF YOUR PARENTS.
ILSE... THINK!
ILSE, WHERE IS YOUR MIND?
Karl ( garbled):
YOUR MIND, ILSE.
CONCENTRATE!
MY... NAME... IS ILSE.
MY NAME... IS ILSE.
MY NAME... IS ILSE.
MY NAME... IS ILSE.
MY NAME IS ILSE!
DON'T CRY, BABY.
DON'T CRY.
I'M HERE, I'M HERE.
Cora: DON'T CRY,
DARLING, I'M WITH YOU.
I'M WITH YOU.
YOU CAN'T TAKE HER AWAY FROM ME!
CORA!
NO!
I WON'T LET THEM.
I LOVE HER.
AND SHE LOVES ME,
AND SHE NEEDS ME.
( Cora and Ilse crying)
Cora: YOU HAVE NO RIGHT.
YOU HAVE NO RIGHT.
YOU HAVE NO RIGHT!
I WANT TO APOLOGIZE AGAIN
FOR MY WIFE AND MYSELF.
WE THOUGHT... WE UNDERSTAND.
NATURALLY, YOU WOULD THINK
THAT WE HAVE COME
TO TAKE ILSE BACK WITH US.
HOWEVER, AS I'VE SAID,
WE HAVE NO LEGAL
POWER TO DEMAND HER...
BEING NO RELATION.
GOOD-BYE, SHERIFF.
GOOD-BYE. GOOD LUCK.
UH... AND THANKS AGAIN.
YOUR BUS OUGHT TO BE ALONG
IN FIVE OR TEN MINUTES.
I HOPE WE HAVE MADE NO MISTAKE
LETTING THEM KEEP HER,
EVEN THOUGH THE
NIELSENS DID GIVE US
THE LEGAL RIGHT TO...
I DON'T THINK SO, KARL.
TO TAKE HER TO THE
OTHER CHILDREN NOW
WOULD BE TERRIBLE FOR HER.
HER FACILITY IS GONE.
EVEN WITH WORK, IT
MIGHT NOT RETURN.
I SUPPOSE.
BUT ALL THOSE YEARS HOLGER
AND FANNY SPENT ON HER...
WASTED.
WASTED?
IF THEY HAD NOT MADE
HER MIND SO RECEPTIVE,
HOW COULD THEY HAVE LED HER
OUT FROM THE BURNING HOUSE,
EVEN THOUGH THEY WERE TRAPPED?
BUT THE LOSS, THE
LOSS... IT ISN'T RIGHT.
THERE IS NO RIGHT
OR WRONG TO IT, KARL.
THEY ALL MEANT WELL.
NO ONE WANTED
ANYTHING BUT TO HELP HER.
BUT TO LOSE EVERYTHING?
SHE HAS NOT LOST EVERYTHING.
SHE HAS GAINED SOMETHING, KARL.
GAINED?
WE ALWAYS KNEW
THAT HOLGER AND FANNY
DID NOT REALLY CARE FOR HER.
MARIA.
THEY WERE NOT UNKIND.
THEY GAVE HER WHAT AFFECTION
THEY HAD IN THEM TO GIVE.
BUT THE PROJECT
ALWAYS CAME FIRST.
YOU KNOW THAT, KARL.
FOR THEM, ILSE WAS
LESS A DAUGHTER
THAN SHE WAS AN
EXPERIMENT IN FLESH.
SHE'S GOING TO BE ALL RIGHT.
FOR NOW, SHE'S LOVED,
AND THAT IS SO MUCH MORE
IMPORTANT THAN TELEPATHY.
ISN'T IT?
YES, LIEBCHEN.
MUCH MORE IMPORTANT.
IT HAS BEEN NOTED IN A
BOOK OF PROVEN WISDOM
THAT PERFECT LOVE
CASTETH OUT FEAR.
WELL, IT'S UNLIKELY
THAT THIS OBSERVATION
WAS MEANT TO INCLUDE
THAT SPECIFIC FEAR
WHICH FOLLOWS THE LOSS OF
EXTRASENSORY PERCEPTION.
THE PRINCIPLE REMAINS, AS
ALWAYS, BEAUTIFULLY INTACT.
CASE IN POINT: THAT
OF ILSE NIELSEN,
FORMER RESIDENT
OF THE TWILIGHT ZONE.
MR. RICHARD MATHESON
LETS HIS TYPEWRITER
PAY US A RETURN VISIT NEXT
TIME OUT ON TWILIGHT ZONE
WITH A STORY
CALLED "DEATH SHIP."
NOW THIS ONE IS FOR
SCIENCE FICTION AFICIONADOS,
GHOST STORY BUFFS
AND ANY AND ALL
WHO FILE AWAY CLUES
WITH AN EYE TOWARD
OUTGUESSING THE WRITER.
NEXT ON TWILIGHT ZONE,
MISTERS JACK KLUGMAN,
ROSS MARTIN AND FRED
BEIR TAKE AN EXTENDED TRIP
THROUGH SPACE ON A DEATH SHIP.
CAPTAIN.
SOMETHING GLITTERED DOWN THERE.
WHAT IS IT?
SOMETHING DOWN THERE?
MASON THINKS SO.
THERE WAS SOMETHING.
WE STAY TOGETHER.
NO ONE TAKES ANY RISKS.
THAT'S AN ORDER, MASON.