The Twilight Zone (1959–1964): Season 4, Episode 8 - Miniature - full transcript

( 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.

( adding machines clacking)

( electronic bell chimes)

( whistles twice)



CHARLEY. CHARLEY!

RECESS.

OH, UH, THANK YOU.

I JUST WANT TO FINISH UP HERE.

YOU TRYING TO MAKE
US LOOK BAD, CHARLEY?

WHAT DO YOU MEAN?

NOW, JUST WHAT DO YOU
THINK I MEAN? FORGET IT.

COME ON, WE'RE GOING TO BE LATE.

LOOK AT HIM.

LITTLE GOODY TWO-SHOES.

OH, I'M SORRY, EXCUSE ME.

Guide: NOW WE'RE
GOING TO TAKE A LOOK

AT ONE OF THE WORLD'S GREATEST
EXAMPLES OF PRIMITIVE ART.

SOME OF THE PIECES...
THE SHIELDS, FOR EXAMPLE...



ARE HUNDREDS OF YEARS OLD,

BUT SOME WERE MADE
AS RECENTLY AS 1950.

NOW, THE REASON
FOR THIS IS THAT, UH,

SOME PARTS OF AFRICA ARE
STILL LARGELY UNEXPLORED

AND, THEREFORE, UNSPOILED LAND.

SOME NATIVES IN THE INTERIOR

HAVE NEVER SEEN A WHITE MAN,

AND THEY'LL LIVE AND
DIE WITHOUT REALIZING

THE WORLD EXTENDS

BEYOND THE LIMITS
OF THEIR JUNGLE.

OH, UH, UH, BY THE WAY,

YOU KNOW THESE NATIVES SPEAK

OVER 500 DIFFERENT LANGUAGES?

HOWEVER, UH,

YOU LADIES OF THE ART
APPRECIATION SOCIETY

WILL NOTICE THAT THEIR
ART HAS A GREAT UNITY.

EACH PIECE HERE HAS BEEN
CARVED FOR A SPECIFIC PURPOSE.

NOW, THIS ONE...
CAN YOU ALL SEE IT?

NOW, THIS WAS MADE

TO FRIGHTEN AWAY
THE EVIL SPIRITS.

( crowd chuckles
softly) AND THIS ONE

AS A PROTECTION AGAINST DISEASE.

NOW, IN MY HAND HERE...

I HAVE A PESTLE, YOU SEE.

AND THAT IS A MORTAR...

( piano playing faintly)

TO THE AVERAGE PERSON,

A MUSEUM IS A
PLACE OF KNOWLEDGE,

A PLACE OF BEAUTY AND
TRUTH... AND WONDER.

SOME PEOPLE COME TO STUDY,
OTHERS TO CONTEMPLATE,

OTHERS TO LOOK FOR
THE SHEER JOY OF LOOKING.

CHARLEY PARKES
HAS HIS OWN REASONS.

HE COMES TO THE MUSEUM
TO GET AWAY FROM THE WORLD.

IT ISN'T REALLY THE
60-CENT CAFETERIA MEAL

THAT HAS DRAWN
HIM HERE EVERY DAY.

IT'S THE FACT THAT HERE IN
THESE STRANGE, COOL HALLS,

HE CAN BE ALONE
FOR A LITTLE WHILE...

REALLY AND TRULY ALONE.

ANYWAY, THAT'S HOW IT
WAS BEFORE HE GOT LOST

AND WANDERED INTO
THE TWILIGHT ZONE.

( piano playing Mozart's
"Piano Sonata in A Major")

UH, E-EXCUSE ME.

OH, YES, SIR?

I GUESS THIS MAY SOUND SILLY,

BUT HOW DO THEY MANAGE THAT?

HOW DO THEY MANAGE WHAT?

IN THERE, IN THE GLASS CASE.

OH, WELL... WELL, I
COULDN'T SAY EXACTLY.

I KNOW THEY USE
MAGNIFYING GLASSES,

LITTLE TINY TOOLS,
SINGLE-HAIR BRUSHES,

THINGS LIKE THAT.

BUT MOSTLY THEY
KEEP AT THEIR JOB

UNTIL THEY GET THINGS RIGHT.

BUT HOW DO THEY
GET THE GIRL TO MOVE?

TRANSISTORS?

HOW'S THAT?

THE GIRL PLAYING THE PIANO.

OH, IT STOPPED NOW.

I DON'T THINK I...
I'LL SHOW YOU.

SHE WAS PLAYING JUST
A FEW SECONDS AGO.

IT WAS, UH, UH,
SOMETHING LIKE THIS.

( whistllNG melody)

♪ DUM, TA, DA, DUM, TA... ♪

DID YOU HEAR IT?

NOW, LOOK, MISTER,
I DON'T LIKE JOKES...

NOT WHEN I'M ON DUTY, ANYWAY.

OH, I'M NOT JOKING.

WELL, THEN YOU'RE
HEARING THINGS.

THERE ISN'T ANY SOUND
MECHANISM IN THAT PIANO,

AND THE DOLL WAS
CARVED OUT OF WOOD,

A SINGLE BLOCK OF WOOD.

NOW WHO'S JOKING?

SEE FOR YOURSELF.

WELL, I'M, UH, SORRY.

I COULD HAVE SWORN...

PROBABLY SOME KID WITH
ONE OF THOSE POCKET RADIOS.

THEY SNEAK THEM
IN ONCE IN A WHILE.

BUT I SAW HER MOVE.

AT LEAST, I THINK I DID.

YOU KNOW BETTER NOW, DON'T YOU?

YES, I KNOW BETTER NOW.

THANK YOU. UH, I'M SORRY
TO HAVE BOTHERED YOU.

NO BOTHER.

YOU'RE FEELING ALL
RIGHT NOW, AREN'T YOU?

YES, UH... JUST A
LITTLE EMBARRASSED.

WELL, IS THERE ANYTHING
I CAN DO FOR YOU?

UH, NO, I HAVE TO
BE GETTING BACK...

OH, WELL, THANKS FOR YOUR TIME.

DON'T MENTION IT.

( adding machines clacking)

( adding machines stop)

( adding machines
start clacking again)

COME IN.

SIT DOWN, MR. PARKES.

I'M SORRY I'M LATE, SIR.

WELL, I'M SURE YOU
HAVE A GOOD EXCUSE.

WELL, NO, SIR, I DON'T.

I JUST LET THE TIME SLIP BY.

I... I DON'T KNOW
HOW IT HAPPENED.

YOU KNOW, PARKES,

THIS IS THE FIRST SIGN OF
HUMANITY YOU'VE SHOWN

IN ALMOST FOUR YEARS.

I BEG PARDON?

WELL, UP UNTIL NOW,
YOU'VE COME AND GONE

LIKE SOME KIND OF WIND-UP TOY.

YOU'RE NEVER EARLY.
YOU'RE NEVER LATE.

YOU'RE ALWAYS
KEEPING TO YOURSELF.

DON'T YOU LIKE US, PARKES?

UH, WELL, I NEVER
THOUGHT ABOUT IT, SIR.

WELL, THINK ABOUT IT NOW.

DO YOU LIKE YOUR FELLOW WORKERS?

WELL, I SUPPOSE SO.

YOU SUPPOSE SO?

WELL... I NEVER
THOUGHT ABOUT IT, SIR.

I DON'T DISLIKE THEM.

YOU KNOW, I'M
AFRAID, MR. PARKES,

THAT ISN'T GOOD ENOUGH.

AN OFFICE, UH, IS LIKE
A TEAM, A PLATOON.

EITHER IT WORKS
TOGETHER OR IT DOESN'T.

HERE, IT DOESN'T, AND
THE REASON IS YOU.

I KNEW YOU WERE A SQUARE
PEG WHEN I HIRED YOU,

BUT YOU WERE BRIGHT,

AND WELL, I THOUGHT WE'D
WEAR THOSE EDGES OFF.

WE HAVEN'T. NONE OF THEM.

YOU'RE STILL A SQUARE PEG.

YOU UNDERSTAND ME?

YES, SIR, I THINK I DO.

I WAS GOING TO USE THE EXCUSE
OF YOUR BEING LATE, BUT I CAN'T.

THE FACT IS THAT
I'M LETTING YOU GO

BECAUSE YOU JUST DON'T FIT IN.

I UNDERSTAND, SIR.

UH, PARKES.

YES, SIR?

I KNOW THIS ISN'T ANY
OF MY BUSINESS, BUT...

DON'T YOU THINK IT'S ABOUT TIME

YOU GAVE UP LIVING
WITH YOUR MOTHER?

WELL, SHE NEEDS ME.

WHY? IS SHE ILL?

NO, NOT ACTUALLY ILL.

YOU SEE, MY FATHER
DIED SOME TIME AGO,

AND MY SISTER'S
MARRIED, AND, UH...

WELL, SHE NEEDS ME.

I SEE.

WELL, YOU'RE WELCOME
TO STAY ON A FEW WEEKS IF...

UH, NO, SIR, THAT'S VERY
NICE OF YOU, BUT I'LL MANAGE.

THANK YOU.

YOU CAN PICK UP YOUR
CHECK TOMORROW.

THANK YOU.

HE HAD NO RIGHT.

HE HAD EVERY RIGHT, MOTHER.

HIRING AND FIRING
PEOPLE IS HIS JOB.

BUT WHY YOU?

I TOLD YOU; HE
DIDN'T THINK I FIT IN.

WHAT'S THAT MEAN?

IT HAS SOMETHING TO DO
WITH BEING ON THE TEAM.

THAT'S RIDICULOUS.

WHAT ARE YOU GOING TO DO?

I'M GOING TO PHONE THAT MAN

AND FIND OUT JUST WHY

YOU'RE BEING PERSECUTED.

MOTHER, PLEASE DON'T.

IT WON'T DO ANY GOOD.

OH, CHARLEY, WHAT'S
GOING TO BECOME OF YOU?

I'VE WORKED SO HARD
TRYING TO BRING YOU UP RIGHT.

WHAT HAVE I DONE WRONG?

HAVE I BEEN TOO STRICT?

NO, MOTHER.

OR TOO LENIENT?

MAYBE THAT'S IT.

MAYBE IF I'D LET YOUR
FATHER PUNISH YOU

THE WAY HE WANTED TO.

IT'S ALL RIGHT, MOTHER.

IT'S JUST A MINOR SETBACK.

OH, YOU SAY THAT EVERY TIME.

WHY CAN'T YOU KEEP A JOB, SON?

WHY DO YOU ALWAYS END UP

MAKING EVERYONE
FEEL UNCOMFORTABLE

AROUND YOU?

I DON'T KNOW.

I SUPPOSE THEY BLAME ME.

WELL, I'M NOT KEEPING YOU HERE.

YOU'RE FREE TO GO.

I KNOW THAT, MOTHER.

NOTHING IN THE WORLD
WOULD MAKE ME HAPPIER

THAN TO SEE YOU SETTLE DOWN

WITH A NICE GIRL, RAISE A FAMILY

AND LIVE A NORMAL LIFE.

PLEASE, DON'T CRY.

I CAN'T HELP IT.

I HATE TO SEE YOU HURT, SON.

I'M NOT HURT.

WELL, YOU SHOULD BE.

GETTING FIRED.

IT WOULD HAVE
KILLED YOUR FATHER.

IT WOULD HAVE KILLED HIM.

I'LL GO TO THE EMPLOYMENT
BUREAU TOMORROW.

( sniffling)

WHERE ARE YOU GOING?

TO MY ROOM.

CHARLEY, WILL YOU
PLEASE BRING ME

MY HEART MEDICINE, DEAR?

CHARLEY, WHY WERE YOU LATE
GETTING BACK TO THE OFFICE?

I WAS, UH, DETAINED.

WHAT'S THAT SUPPOSED TO MEAN?

NOTHING. I WAS
DETAINED, THAT'S ALL.

CHARLEY, DO YOU FEEL ALL RIGHT?

YES, MOTHER.

( whistling Mozart)

WHAT'S THAT YOU'RE WHISTLING?

PARDON?

YOU WERE WHISTLING. WHAT WAS IT?

UH, I DON'T REMEMBER.

MOTHER!

NOW, YOU LIE DOWN, CHARLEY,

AND TAKE A LITTLE NAP.

ALL RIGHT.

MOTHER, PLEASE.

WHY? I'M ONLY TRYING TO HELP.

I KNOW IT, MOTHER,
AND I APPRECIATE IT,

BUT I PREFER TO
UNTIE MY OWN SHOES.

I'LL BRING YOU SOME COCOA.

THANK YOU.

( sonata playing)

( whistling sonata)

BACK AGAIN, HUH?

YES.

( Mendelssohn's
"Spring Song" playing)

( song fades out)

( playing piano)

( another melody playing)

CHARLEY, YOUR
BREAKFAST IS GETTING COLD.

YOU SEE?

LATE FOR HIS MEALS,

AWAKE EVERY NIGHT
TOSSING AND TURNING.

I TELL YOU, I'M HALF
DEAD FROM WORRY.

MAMA... HE'S SICK.

I KNOW HE IS.

SOUNDS TO ME LIKE
HE'S GOT HIMSELF A GIRL.

Mother: DON'T BE SILLY.

WHAT'S SO SILLY ABOUT IT?

I MEAN, CHARLEY'S A
GOOD-LOOKING GUY.

A LITTLE PECULIAR,
MAYBE, BUT, UH...

I ONLY MEANT IF HE
HAD A GIRL, HE'D TELL ME.

ISN'T THAT RIGHT, MYRA?

SURE.

AND HE HASN'T TOLD
ME, SO IT'S NOT POSSIBLE.

OKAY, OKAY.

I'M NOT ONE OF THOSE
MOTHERS WHO TRY

TO KEEP THEIR CHILDREN
WITH THEM ALL THE TIME.

ASK MYRA.

PASS THE BUTTER, PLEASE.

CHARLEY!

YOUR BREAKFAST IS ON
THE TABLE GETTING COLD.

I'M SORRY.

HEY, HIYA, CHARLEY BOY.

HELLO, BUDDY, HOW ARE YOU?

COULDN'T BE BETTER,
BUDDY, COULDN'T BE BETTER.

MYRA, YOU'RE LOOKING GOOD.

WELL, I WISH I COULD SAY
THE SAME FOR YOU, CHARLEY.

I HAVEN'T BEEN
SLEEPING TOO WELL.

BECAUSE OF WHAT, THE JOB?

YES, I SUPPOSE SO.

IT'S BEEN TERRIBLY HARD ON HIM

WALKING AROUND EVERY
DAY IN THE HOT SUN.

BOY, THAT CAN GET YOU DOWN.

CHARLEY... YES?

WE'VE GOT A SURPRISE FOR YOU.

TELL HIM, BUD.

WELL, IT'S LIKE THIS, CHARLEY.

I HEARD ABOUT THEM
GIVING YOU THE ROUST.

I MEAN, YOU KNOW...

AND, UH, LIKE, I KNOW
THE HEAD DISPATCHER

PRETTY WELL OVER WHERE I WORK.

AND I TALKED TO HIM ABOUT YOU,

AND HE SAID, UH...

( clears throat)

WELL, HE SAID HE'D
GIVE YOU THE JOB!

YEAH.

ISN'T THAT WONDERFUL?

CHARLEY.

THAT'S VERY NICE OF
YOU, BUDDY, REALLY.

WELL, YOU'VE HAD
EXPERIENCE IN BILLING,

HAVEN'T YOU, CHARLEY?

YES.

WELL, THEN WHAT?

WELL, I-I DON'T THINK I REALLY
WANT TO TRAVEL THAT FAR.

IT'S OUT OF THE CITY, ISN'T IT?

WELL, BUDDY CAN PICK YOU UP

AND BRING YOU HOME.

SURE. UNTIL YOU GET
YOUR OWN CAR, ANYWAY.

CHARLEY, FOR HEAVEN'S SAKE,

DON'T JUST SIT THERE.

BUDDY'S OFFERING YOU A JOB.

I'M SORRY.

I APPRECIATE IT, REALLY,

UH, BUT I'M AFRAID I CAN'T.

YOU GOT SOMETHING BETTER?

YES.

Mother: CHARLEY.

CHARLEY!

GOOD MORNING.

MY MOTHER SAYS THAT BREAKFAST

IS THE MOST IMPORTANT
MEAL OF THE DAY.

HAVE I TOLD YOU ABOUT MY MOTHER?

SHE'S, UH, VERY NICE.

OF COURSE, SHE STILL
TREATS ME LIKE A CHILD,

BUT YOU CAN'T BLAME HER,
BECAUSE I'M ALL SHE HAS.

I SUPPOSE THAT'S NOT VERY MUCH.

OF COURSE, IT ISN'T
ANY OF MY BUSINESS,

BUT I REALLY DO THINK

YOU SHOULD EAT MORE
THAN THAT FOR BREAKFAST.

OH, YOU KNOW, I HAVE A
SISTER ABOUT YOUR AGE.

HER NAME'S MYRA.

SHE'S NICE, TOO.

HER HUSBAND SAYS
SHE'S VERY PRETTY,

BUT SHE'S NOT AS
PRETTY AS YOU ARE.

I GUESS YOU'RE ABOUT
THE PRETTIEST GIRL

IN THE WHOLE WORLD.

I DON'T MIND SAYING THAT

BECAUSE I KNOW
YOU CAN'T HEAR ME.

BUT I THINK I'D SAY
IT EVEN IF YOU COULD,

BECAUSE... ( clears throat)

HI.

LITTLE EARLY TODAY, AREN'T YOU?

YES.

I GUESS YOU MUST GET A REAL KICK
OUT OF SOME OF THESE DISPLAYS.

OH, YES, I-I...

THIS ONE HERE IN PARTICULAR.

WHAT DO YOU SEE, MISTER?

OH, NOTHING.

A MAN DOESN'T STAND
FOR FOUR OR FIVE HOURS

AT A STRETCH LOOKING AT NOTHING.

WELL, I'M NOT BREAKING
ANY RULES, AM I?

NO.

THEN, UH... LEAVE
ME ALONE, PLEASE.

WELL... ALL RIGHT.

( piano playing)

( car horns honking)

( "Spring Song" playing)

GOOD MORNING.

THAT'S A NEW DRESS, ISN'T IT?

I HAVEN'T SEEN IT BEFORE.

CAN I HELP YOU, MISS?

( whispering): OH,
NO. THANK YOU.

CHARLEY?

OH, HELLO, MYRA.

WHAT ARE YOU DOING HERE?

I WAS JUST PASSING BY
AND I SAW YOU COME IN.

THAT'S NICE.

BUY ME A CUP OF COFFEE?

WELL, THE CAFETERIA'S CLOSED.

WELL, WE COULD GO
SOMEWHERE ELSE.

ALL RIGHT.

THANK YOU.

CHARLEY, I WANT TO
BE HONEST WITH YOU.

I DIDN'T JUST... HAPPEN
TO... TO SEE YOU.

I FOLLOWED YOU.

WHY?

BECAUSE MAMA ASKED ME TO.

SHE'S BEEN WORRIED ABOUT
YOU, CHARLEY, AND SO HAVE I.

YOU HAVEN'T BEEN
YOURSELF LATELY.

NO, I SUPPOSE I HAVEN'T.

DO YOU GO TO THAT
PLACE EVERY DAY?

YES.

I THOUGHT IT MIGHT BE A
GOOD IDEA TO IMPROVE MY MIND.

THAT ISN'T WHY.

NO?

NO.

I'M YOUR SISTER, CHARLEY.

I GREW UP WITH
YOU, AND I KNOW YOU.

AND I LOVE YOU.

YOU GO THERE BECAUSE IT
GIVES YOU A CHANCE TO BE ALONE,

AND YOU WANT TO BE ALONE
BECAUSE YOU'RE SCARED.

MYRA... CHARLEY, LISTEN TO ME.

THIS IS IMPORTANT.

YOU'RE OVER 30 YEARS OLD,

AND YOU'RE LIVING
EXACTLY THE WAY YOU DID

WHEN YOU WERE 14.

WELL, SOME OF
IT'S MAMA'S FAULT...

BUT SOME OF IT'S YOURS.

AND IT'S NOT NATURAL, CHARLEY.

IT'S SICK.

AND YOU KNOW IT'S SICK,

AND THAT'S WHY YOU'RE SCARED.

YOU'RE PROBABLY RIGHT.

CHARLEY, STOP AGREEING WITH ME!

YOU AGREE WITH ME ALL...

( lowers voice): ALL THE TIME.

I COULD SAY YOU WERE

A BLUE MONKEY, AND YOU'D AGREE.

NO.

LOOK, CHARLEY,

I DON'T KNOW ANYTHING
ABOUT PSYCHOLOGY

OR ANYTHING LIKE THAT,

BUT I THINK I KNOW WHAT'S
THE MATTER WITH YOU.

YOU NEED A GIRL.

YOU'RE AT THAT TIME OF LIFE.

YOU KNOW WHAT I MEAN?

WELL, NOT EXACTLY.

WELL, UH...

IT'S A LITTLE DIFFICULT
TO EXPLAIN, UM...

BUT YOU'VE NEVER HAD A GIRL,
HAVE YOU, HAVE YOU, CHARLEY?

WELL, NOT ACTUALLY.

THAT'S WHAT I THOUGHT.

WELL... WE ARE GOING
TO CHANGE ALL OF THAT.

HOW?

I AM GOING TO INTRODUCE YOU

TO HARRIET GUNDERSON.

SHE'S A GIRL WHO
WORKS IN MY OFFICE,

AND SHE'S A REAL SWELL KID.

YOU'LL LIKE HER,
CHARLEY, REALLY.

MYRA... OH, PLEASE, CHARLEY?

JUST THIS ONE TIME.

TRY. FOR ME, HUH?

AND IF YOU DO,

I PROMISE YOU I'LL
NEVER BOTHER YOU AGAIN.

ALL RIGHT.

THERE'S HER ADDRESS.

YOU DON'T EVEN HAVE TO PHONE.

YOU CAN JUST, UH, PICK HER UP.

ABOUT 8:00.

CHARLEY.

HMM?

WHAT ARE YOU THINKING ABOUT?

OH, NOTHING IN PARTICULAR.

BOY, YOU SURE ARE QUIET.

THAT MEANS YOU'RE
THE DANGEROUS TYPE.

( chuckles)

YOU CAN'T TRUST THE QUIET ONES.

YOU CAN TRUST ME.

WHO SAYS I WANT TO?

WELL, I ONLY MEANT, UH...

YOU KNOW, YOU OUGHT TO...

RELAX... OH, LEAN BACK.

TAKE IT EASY.

THERE.

ISN'T THAT NICER?

YES.

CHARLEY?

HMM?

DO YOU LIKE ME?

VERY MUCH.

THEN WHY DON'T YOU SHOW IT?

WELL, HOW DO YOU MEAN?

WELL... YOU MIGHT...

YOU MIGHT TRY KISSING ME FIRST.

WELL... WE HARDLY
EVEN KNOW EACH OTHER.

WE JUST MET THIS EVENING.

WELL, TRY ANYWAY.

OUCH!

OH, I'M SORRY.

PLEASE, LET ME HELP YOU UP.

OH, FORGET IT, BUSTER.

JUST FORGET IT.

AND YOU TELL YOUR SISTER
YOU DON'T NEED A GIRL.

YOU NEED A DOCTOR!

TWILIGHT ZONE WILL CONTINUE
AFTER STATION IDENTIFICATION.

THEN, UH, SHE TOLD
ME I NEEDED A DOCTOR

JUST BECAUSE I
WOULDN'T KISS HER.

I KNOW THAT MUST BE
HARD FOR YOU TO BELIEVE,

BUT THAT'S THE WAY
THINGS ARE THESE DAYS.

OF COURSE, I REALIZE SHE WAS
DOING IT AS A FAVOR TO MYRA,

BUT EVEN SO...

RUN.

RUN!

DON'T YOU LAY A HAND ON
HER. DON'T YOU TOUCH HER.

HE WAS TRYING TO HARM HER.

WHAT?

HE TRIED TO KISS HER LAST NIGHT,

BUT SHE WOULDN'T LET
HIM, SO HE CAME BACK.

SURE.

SURE.

THE MAID... THE MAID
TRIED TO STOP HIM,

BUT HE HIT HER OVER
THE HEAD WITH HIS CANE.

THEN HE WENT AFTER THE GIRL.

SHE FAINTED, AND HE
CARRIED HER TO THE BEDROOM.

I HAD TO STOP HIM. YOU
CAN SEE THAT, CAN'T YOU?

SURE, SURE, I CAN SEE THAT.

I-I HAD TO... I HAD TO STOP HIM.

I HAD TO. I HAD TO DO IT.

NOW, MR. PARKES, I
WANT YOU TO UNDERSTAND

THAT NO ONE IS SAYING
YOU DIDN'T SEE THESE THINGS.

THERE'S NO DOUBT THAT YOU DID.

BUT YOU MUST REALIZE

THAT YOU SAW THEM
ONLY IN YOUR MIND.

THEY WERE REAL.

TO YOU, THEY WERE.

THAT'S THE WAY IT IS
WITH HALLUCINATION.

ORDINARILY, THE EYE SEES

AND TRANSMITS A
PICTURE TO THE BRAIN,

BUT SOMETIMES, THAT'S REVERSED.

IN CERTAIN CASES,

THE BRAIN SEES AND TRANSMITS
ITS MESSAGE TO THE EYE.

DO YOU UNDERSTAND?

NO. THEY WERE REAL.

IN THAT CASE, OTHERS
WOULD HAVE SEEN THEM, TOO.

ISN'T THAT SO?

I DON'T KNOW.

IT'S LOGICAL, ISN'T IT?

I SUPPOSE SO.

BUT NO ONE DID SEE THEM.

NOW, HOW DO YOU EXPLAIN THAT?

I DON'T KNOW.

THINK ABOUT IT FOR A MOMENT.

WELL, MR. PARKES?

I DON'T KNOW WHY
NOBODY ELSE SAW THEM.

MAYBE THEY WEREN'T LOOKING.

YOU SAID THAT THERE WERE
THREE FIGURES IN THE DISPLAY CASE:

A YOUNG GIRL, HER
MAID AND A MAN.

THAT'S RIGHT.

NOW, LET'S LOOK AT IT LOGICALLY

FOR JUST A MOMENT.

ACCORDING TO THE
MUSEUM OFFICIALS,

THERE WAS ONLY
ONE FIGURE... THE GIRL.

WHERE DID THE OTHERS COME FROM?

WELL, THE MAID ALWAYS
CAME FROM THE KITCHEN

OR THE DINING ROOM.

AND THAT-THAT FELLOW...

YES... WHERE DID HE COME FROM?

OUTSIDE.

OUTSIDE THE CASE?

NO, OUTSIDE THE HOUSE.

MR. PARKES, THINK ABOUT IT.

THERE WAS NOTHING OUTSIDE
THAT HOUSE BUT GLASS,

AND BEYOND THAT, OTHER DISPLAYS.

ISN'T THAT TRUE?

YES, BUT HE CAME
IN THE FRONT DOOR.

AND THEY WENT OUT TOGETHER
ONCE, UH, TO THE OPERA OR SOMETHING.

I-I-I DON'T KNOW.

AND... SHE NEVER KNEW
WHAT KIND OF PERSON HE WAS,

BUT I COULD HAVE TOLD HER.

YOU ONLY HAD TO LOOK AT HIM

TO SEE WHAT KIND
OF PERSON HE WAS.

BUT SHE'S SO... TRUSTING
AND-AND INNOCENT

AND HELPLESS... NOT
LIKE OTHER WOMEN?

NO, NOT AT ALL.

HAVE YOU SEEN HER?

YES.

WELL, IS-IS SHE ALL RIGHT?

I-I'VE BEEN WORRIED SICK.

WOULD YOU LIKE TO SEE HER?

YES.

BE CAREFUL.

YOU'RE HOLDING A PIECE OF WOOD

IN YOUR HAND, MR. PARKES.

A BEAUTIFULLY
CARVED PIECE OF WOOD.

DO YOU HAVE TO TAKE HER BACK?

I'M AFRAID SO.

IT IS MUSEUM PROPERTY.

NOW, I WANT YOU TO
GO BACK TO YOUR ROOM

AND THINK ABOUT WHAT I'VE SAID.

WILL YOU DO THAT?

AND REMEMBER, WHAT YOU
SAW IS NOT THE IMPORTANT THING.

OUR JOB IS TO FIND OUT WHY.

ONCE WE'VE ACCOMPLISHED THAT,

YOU'LL HAVE NO
MORE HALLUCINATIONS.

WHERE IS CHARLEY?

OH, HE'LL BE HERE
IN A FEW MOMENTS.

IS HE REALLY NORMAL, DOCTOR?

THAT IS A WORD WE TRY
NOT TO USE, MRS. PARKES.

WHY NOT?

WELL, BECAUSE IT'S MEANINGLESS.

"NORMAL" IN THE
POPULAR SENSE REFERS

ONLY TO THE BEHAVIOR PATTERN
OF THE MAJORITY, AND THAT PATTERN

IS NOT NECESSARILY GOOD.

WELL... IF 99.9% OF THE PEOPLE
IN THE COUNTRY WERE TO, UH...

OH, GO TO BED WITH
THEIR SOCKS ON, LET'S SAY,

THEN GOING TO BED
WITH ONE'S SOCKS ON

WOULD BE THE NORMAL THING TO DO.

AND IF YOU DIDN'T, YOU
WOULDN'T BE NORMAL, YOU SEE?

I GO TO BED WITH MY
SOCKS ON ALL THE TIME.

WHAT I'M TRYING TO SAY IS,

DON'T JUDGE CHARLEY'S
EMOTIONAL HEALTH

BY THE DEGREE TO
WHICH HE CONFORMS

TO OTHER PEOPLE'S STANDARDS.

DON'T EXPECT HIM TO...

WELL, BE LIKE OTHER PEOPLE.

THEN YOU DON'T THINK HE'S SICK?

NOT NOW, NO. HE WAS
WHEN HE CAME HERE.

THE CONSTANT PRESSURE OF
TRYING TO BE SOMETHING HE WASN'T,

OF-OF TRYING TO ACT
AND FEEL AND THINK

THE WAY YOU WANTED HIM TO

INSTEAD OF THE
WAY HE WANTED TO...

WELL, THESE THINGS CONTRIBUTED

TO A SERIOUS BREAKDOWN.

YOU SEE, WELL,
CHARLEY WAS UNABLE

TO COPE WITH THIS WORLD,

SO HIS MIND CREATED
ANOTHER WORLD.

OF COURSE, HE KNEW IT WAS
FALSE, AND HE DESTROYED IT.

AND WITH THAT FIRST STEP,

HE STARTED BACK ON THE
ROAD TO MENTAL HEALTH.

NOW, OF COURSE,

HE INSISTED IT WAS REAL FOR
A LONG TIME, AS YOU KNOW,

BUT THAT IS STANDARD BEHAVIOR

IN CASES OF HALLUCINATION.

UH, THAT'S AN INTERESTING
HABIT YOU HAVE, THAT, UH...

WHY DO YOU DO IT?

MYRA.

HELLO, CHARLEY.

OLD BUDDY.

OH, MOTHER, HOW
NICE OF YOU TO COME.

HOW YOU FEELING, CHARLEY?

OH, WONDERFUL, DOCTOR,
REALLY, WONDERFUL.

I CAN'T TELL YOU HOW
MUCH YOU'VE HELPED ME.

NO MORE DREAMS?

OH, I'VE BEEN
SLEEPING LIKE A BABY.

NOT WORRIED ABOUT THE
GIRL IN THE DISPLAY CASE?

THERE WAS NO GIRL, JUST A DOLL.

I KNOW THAT.

AND I KNOW WHAT IT WAS THAT
MADE ME THINK I SAW WHAT I SAW,

THANKS TO YOU.

THANKS TO YOU, CHARLEY.

YOU FIGURED IT OUT, REMEMBER?

I DIDN'T TELL YOU ANYTHING

AFTER THE FIRST DAY.

( crying)

NOW, MOTHER.

OH, CHARLEY...

I WAS SO WORRIED ABOUT MY BABY.

I WAS SO FRIGHTENED.

I KNOW YOU WERE, AND I'M SORRY

I PUT YOU THROUGH
SO MUCH HEARTACHE,

BUT I'M FINE NOW.

ISN'T THAT RIGHT, DOCTOR?

I THINK SO.

AND I'LL GET A JOB,

AND EVERYTHING WILL
BE THE WAY IT WAS,

JUST THE WAY IT WAS.

I SURE MISSED THIS.

NO ONE COULD MAKE
COCOA THE WAY YOU CAN.

DID THEY HURT YOU, CHARLEY?

WELL, THEY WERE
AFRAID THEY WERE GOING

TO HAVE TO USE, UH,
SHOCK TREATMENT,

AND I HEAR THAT
HURTS QUITE A BIT,

BUT THEY DECIDED NOT
TO WHEN I GOT WELL.

EVERYTHING ELSE WAS FINE.

THEY GOT A LOT OF NUTS IN
THAT PLACE, I GUESS, HUH?

I DIDN'T MEAN HIM!

THAT'S ALL RIGHT. I DON'T MIND.

MAY I HAVE SOME MORE COCOA?

UH, CHARLEY, WE HAVE

A COUPLE OF SURPRISES FOR YOU.

OH?

FIRST OF ALL, THAT JOB

IN BUDDY'S OFFICE IS STILL OPEN.

FINE.

AND I TALKED TO HARRIET

AND EXPLAINED THINGS.

BUT SHE'S A WONDERFUL GIRL,

AND SHE UNDERSTANDS.

WELL, FINE.

AND YOU CAN TELL HER YOURSELF,

BECAUSE SHE'S
COMING OVER TONIGHT.

WELL, THAT'S JUST
WONDERFUL. THANK YOU, MYRA.

THANK YOU, BUDDY.

IT TOOK A LOT OF DOING...
I CAN TELL YOU THAT.

I MEAN, WHERE YOU BEEN AND ALL.

I'M SURE IT DID, BUT
YOU WON'T BE SORRY.

I INTEND TO WORK VERY HARD.

NOW, IF I'M GOING TO
BE FRESH FOR TONIGHT,

I'D BETTER GO GET A LITTLE REST.

WOULD YOU LIKE TO
FIX UP MY BED, MOTHER?

CHARLEY, ARE YOU ALL
RIGHT, NOW, REALLY?

YES, MOTHER, REALLY.

YOU WON'T GO TALKING
CRAZY ANYMORE

AND SMASHING THINGS?

NO, MOTHER, THAT-THAT'S
ALL IN THE PAST.

IT'S GOOD TO HAVE YOU BACK, SON.

I CAN'T TELL YOU.

( laughing loudly)

( clears throat)

( doorbell rings)

THERE'S HARRIET.

YOU'D BETTER TELL CHARLEY
TO GET READY. HURRY!

HI. YOU LOOK GREAT.

THANKS. NEW DRESS?

20 BUCKS' WORTH. HI, BUD.

HIYA, HARRIET.

( wolf whistle)

CHARLEY, YOUR COMPANY'S HERE.

CHARLEY?

WHAT'S THE MATTER?
CAN'T YOU WAKE HIM UP?

NO, HE MUST BE VERY TIRED.

HEY, IT'S LOCKED.

IT COULDN'T BE.

CHARLEY NEVER LOCKS HIS DOOR.

TRY IT YOURSELF.

CHARLEY, BOY.

BUDDY...

WHAT ON EARTH IS
ALL THE RACKET ABOUT?

MAYBE HE DOESN'T
WANT TO BE DISTURBED.

NOBODY COULD SLEEP THROUGH THAT.

BREAK IT DOWN.

AW, GEE, I DON'T...
BREAK IT DOWN!

OKAY.

CHARLEY!

CHARLEY?

CHARLEY?

CHARLEY?

CHARLEY... OH, NOW, MAMA,

THERE'S NO NEED TO GET EXCITED.

BUT HE'S GONE! HARRIET.

HE MUST'VE CRAWLED
OUT OF THE WINDOW.

WHY WOULD HE DO
A THING LIKE THAT?

I DON'T KNOW. HE'S YOUR SON.

MYRA!

WHAT ARE YOU GOING TO DO?

MAMA, MAMA, TAKE IT EASY.

MYRA, WHAT... MAMA...
HELLO, OPERATOR?

COULD YOU GIVE ME THE NUMBER

OF THE COUNTY MUSEUM, PLEASE?

THANK YOU.

HE COULDN'T HAVE GONE THERE.

HE'S WELL... THE DOCTOR SAID SO.

MAMA, PLEASE!

( dialing)

HELLO, UH, COULD
YOU TELL ME, PLEASE,

ARE YOU OPEN TONIGHT?

OH, THANK YOU.

WELL, YOU'RE RIGHT.
HE'S NOT THERE.

THEY CLOSE AT 5:00 EVERY
DAY EXCEPT TUESDAY,

AND THIS IS WEDNESDAY.

( hinge creaks)

( piano playing)

THEY TRIED TO TELL
ME YOU WEREN'T REAL.

THEY TRIED TO MAKE ME THINK

THAT YOU WERE ONLY
SOMETHING I IMAGINED.

OF COURSE, I KNEW BETTER,

BUT I PRETENDED TO BELIEVE THEM.

BECAUSE IF I HADN'T
HAVE DONE THAT,

I'D STILL BE IN THE HOSPITAL,

AND I NEVER WOULD
HAVE SEEN YOU AGAIN.

THAT WOULD HAVE BEEN
TERRIBLE, BECAUSE, UH...

YOU SEE, I LOVE YOU.

I DON'T KNOW HOW I CAN
MAKE YOU UNDERSTAND THAT.

MAYBE IF I KEEP
TELLING YOU, YOU WILL.

I LOVE YOU, ALICE.

I LOVE YOU.

I LOVE YOU.

SO THEN WE KNOCKED,
BUT HE DIDN'T ANSWER,

SO I HAD BUDDY
KNOCK DOWN THE DOOR.

I SEE. NOW, HOW WOULD
YOU DESCRIBE HIS BEHAVIOR

PRIOR TO HIS GOING
IN FOR THE NAP?

WELL, I DON'T KNOW
HOW TO PUT IT.

IT WAS AS IF HE WERE SO HEALTHY

THAT I WAS WORRIED.

IT WAS LIKE HE DIDN'T
HAVE A CARE IN THE WORLD.

SO I THOUGHT, 'WELL, MAYBE
HE WENT TO THE MUSEUM, '

SO I PHONED, BUT
THEY'RE CLOSED TONIGHT.

SO WHERE COULD HE BE?

OH, HE'S THERE, ALL RIGHT.

BUT I JUST TOLD
YOU THEY'RE CLOSED.

I EXPECT HE WENT IN
EARLIER AND HID SOMEWHERE.

NOW, I WAS JUST WONDERING...

IF YOU WOULD GO ALONG
WITH US, MR. RUSSELL.

SURE.

IT MAY NOT BE NECESSARY,

BUT YOU NEVER CAN QUITE TELL.

AND MRS. PARKES, YOU MIGHT
BE ABLE TO DO SOME GOOD,

IF YOU'RE WILLING.

ANYTHING FOR POOR CHARLEY.

GOOD.

DOCTOR, ARE YOU
GOING TO TAKE HIM

BACK THERE TO THE HOSPITAL?

I THINK IT MIGHT
BE WISE, DON'T YOU?

GIVE ME THE POLICE
DEPARTMENT, PLEASE.

DR. WALLMAN SAYS IT HAPPENED

BECAUSE I NEEDED A SIMPLE
WORLD I COULD UNDERSTAND,

BUT YOUR WORLD
ISN'T SIMPLE, IS IT?

NO WORLD WITH PEOPLE IN IT IS.

THERE'S ALWAYS LONELINESS
AND SUFFERING AND HEARTACHE.

LOOK AT YOU, CRYING
BECAUSE YOU'RE ALONE.

WELL, I'VE BEEN
ALONE ALL MY LIFE.

OH, PEOPLE HAVE TRIED.

MY MOTHER AND MY SISTER...

THEY'VE TRIED VERY
HARD TO UNDERSTAND...

BUT THEY CAN'T.

YOU COULD.

WE COULD UNDERSTAND
EACH OTHER...

AND HELP EACH OTHER
AND... LOVE EACH OTHER.

IF ONLY... (
footsteps approaching)

Man: I DON'T KNOW
WHERE HE'D HIDE.

I CHECK THINGS PRETTY CAREFULLY

EVERY NIGHT BEFORE I LEAVE.

I'M SURE YOU DO,

BUT YOU'LL GRANT IT'S POSSIBLE?

BARELY.

STRAIGHT AHEAD THERE.

DO YOU WANT ME TO
TURN ON THE LIGHTS?

NOT YET.

MRS. PARKES, WILL
YOU COME WITH ME?

AND WILL THE REST OF
YOU WAIT HERE, PLEASE?

( whispering): TELL
HIM YOU'RE HERE.

ASK HIM TO COME OUT.

( plaintively): CHARLEY.

LOUDER. COMMAND HIM.

( firmly): CHARLEY, IT'S
MOTHER. COME OUT OF THERE.

AGAIN.

( sternly): COME OUT OF THERE
THIS SECOND, YOUNG MAN!

YOU HEAR ME?

ALL RIGHT, GUARD, YOU
CAN TURN THEM ON NOW.

ARE YOU SURE HE'S HERE?

I'M ALMOST POSITIVE.

LET'S START LOOKING.

CHARLEY?

CHARLEY?

CHARLEY!

THEY NEVER FOUND CHARLEY PARKES,

BECAUSE THE GUARD
DIDN'T TELL THEM

WHAT HE SAW IN THE GLASS CASE.

HE KNEW WHAT THEY'D SAY,

AND HE KNEW
THEY'D BE RIGHT, TOO,

BECAUSE SEEING IS
NOT ALWAYS BELIEVING...

ESPECIALLY IF WHAT YOU SEE

HAPPENS TO BE AN ODD
CORNER OF THE TWILIGHT ZONE.

SOME RATHER SPECIAL
INGREDIENTS TO A BIZARRE BREW

SERVED UP NEXT ON
THE TWILIGHT ZONE.

AN ODDBALL PRINTING PRESS,
AN EDITOR WITH A STRINGER

FROM THE LOWER REGIONS
ARE JUST A FEW AS WE BRING YOU

ROBERT STERLING,
PATRICIA CROWLEY,

AND SPECIAL GUEST
STAR BURGESS MEREDITH

IN CHARLES BEAUMONT'S
"PRINTER'S DEVIL."

WHAT'S THE MATTER?

MATTER?

WHY DID YOU QUIT?

FINISHED.

WHY WOULD A MAN WITH YOUR TALENT

WANT TO WORK FOR A HICK
PAPER LIKE THE COURIER?

CALL IT A CHALLENGE.

NOW, MISS BENSON,
ARE YOU IMPRESSED?

NO. I'M AMAZED.

IT'S UNDERSTANDABLE.

WELL, I MUST CONFESS

THAT THIS IS NOT
MY TRUE VOCATION.

IT ISN'T?

NO. I AM A REPORTER.

Woman: OH.

SOME PEOPLE HAVE A GREEN
THUMB. I HAVE A GREEN NOSE.

WHEREVER THERE IS NEWS,
THIS OLD NOSE SMELLS IT.

WELL, I'M AFRAID THERE
ISN'T THAT MUCH NEWS

TO SMELL AROUND
DANSBURG, MR. SMITH.

THERE WILL BE.