1
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[Theme music playing]

2
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(Narrator) You're tra vel/ng
through another dimension.

3
00:00:12,888 --> 00:00:16,058
A dimension not onl y of sight
and sound, but of mind,

4
00:00:16,141 --> 00:00:17,893
a journey into a wondrous land

5
00:00:17,976 --> 00:00:20,145
whose boundaries
are tha t of ima Gina t/on.

6
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Your next stop,
the twilight zone.

7
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[Suspense music]

8
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[Hea vy thud]

9
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[Girl sobbing]

10
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[Girl, sobbing] M omm y!

11
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Hm? [Sighs]

12
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I'll get it.

13
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Momm y!

14
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Momm y!

15
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You're going?

16
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I'm just putting my slippers on.

17
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Momm y!

18
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All right, sweetheart,
I'm coming.

19
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[Dog barks]

20
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Hush up, Mac.

21
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[Barks]

22
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Sh!

23
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[Mao whimpering]

24
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What's the matter, baby?

25
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What'd you do, fall off?
[Suspense music]

26
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Come on.

27
00:01:41,184 --> 00:01:46,106
(Chris) Well, what? t'd you
do, roll undernea th?

28
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Da dd y!

29
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All right, honey.

30
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I'm right here.

31
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Now, come on out.

32
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Come on, you just crawled
underneath the bed.

33
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Tina.

34
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[Tina crying]

35
00:01:59,786 --> 00:02:05,626
All right, honey,
come on, take my hand.

36
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Come on.

37
00:02:08,086 --> 00:02:11,006
What in the...

38
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Daddy.

39
00:02:12,883 --> 00:02:17,262
All right, just a minute.

40
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(Woman) Chris, what? t is it?

41
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I don't know.

42
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Missing. One frightened
little girl.

43
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Name. Bettina Miller.

44
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Description. Six years of age,
average height and build,

45
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light-brown hair, quite pretty.

46
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Last seen. Being tucked in bed
by her mother a few hours ago.

47
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Last heard. "Aye, there's
the rub," as Hamlet put it.

48
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For bettina Miller can
be heard quite clearly,

49
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despite the rather curious
fact that she can't be seen at all.

50
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Present location.
Let's say for the moment,

51
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in the twilight zone.

52
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[Suspense music]

53
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What's the matter?

54
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She's not here.

55
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What do you mean she's not...

56
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Look for yourself.

57
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Tina?

58
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Momm y!

59
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Iturned on the light.

60
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Oh, no, no, it's crazy.

61
00:03:52,816 --> 00:03:57,738
It just sounds as if she's...

62
00:03:57,821 --> 00:04:02,534
Mommy, pick me up.

63
00:04:02,617 --> 00:04:06,747
[Tina crying]

64
00:04:06,830 --> 00:04:08,415
Chris, where is she?

65
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I don't know.

66
00:04:13,837 --> 00:04:15,422
Well, what are we going to do?

67
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I don't know, honey,

68
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but we're not going to panic.

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[Silence]

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Tina!

71
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[Mac barking]

72
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[Mac whimpering]

73
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[Barking]

74
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[Sustained barking]

75
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Shut up, Mac!

76
00:05:05,347 --> 00:05:06,473
Bill?

77
00:05:06,556 --> 00:05:08,183
Bill, this is Chris.

78
00:05:08,266 --> 00:05:11,645
Can you come over
to the house right away?

79
00:05:11,728 --> 00:05:14,272
I'm sorry, bill,
this is an emergency.

80
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Tina has disappeared.

81
00:05:17,484 --> 00:05:19,444
No, no, she hasn't
been kidnapped.

82
00:05:19,528 --> 00:05:21,655
Tina is... Tina is here.

83
00:05:21,738 --> 00:05:23,782
But she's not... here.

84
00:05:23,865 --> 00:05:28,161
Bill, for crying out loud,
will you get over here?

85
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Hurry.

86
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[Shrieks]

87
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[Barking]

88
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Shouldn't we...

89
00:05:45,512 --> 00:05:46,763
Wake h er?

90
00:05:46,847 --> 00:05:48,306
Bill's coming over, honey.

91
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Bill?

92
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Well, he's a physicist.

93
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Maybe he can help us out.

94
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I don't know, I couldn't
think of anything else.

95
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Oh, god, where is she?

96
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[Barking]

97
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Where is she?

98
00:06:03,905 --> 00:06:06,366
Listen, I'd better go
and let that dog in

99
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before he wakes up
the whole neighborhood.

100
00:06:09,119 --> 00:06:11,538
Honey, I'm going to check
underneath the house.

101
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[Panting and whimpering]

102
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Mac, come here.

103
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Come here! [Mac, whimpering]

104
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[Barking]

105
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Come here, Mac.

106
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[Ho/iow barking and harp music]

107
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[Barking echoing and fading]

108
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[Faint whimpering]

109
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He's gone.

110
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[Suspense music]

111
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[Faint whimpering]

112
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They're not under the house.

113
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[Doorbe/I ringing]

114
00:07:08,428 --> 00:07:09,971
(Bill) What's wrong, Chris?

115
00:07:10,055 --> 00:07:12,098
Listen, Tina woke us
up with her crying.

116
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(Chris) 80 I went
into the bedroom

117
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and I couldn't find her.

118
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I let the dog in and
he went under the bed

119
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and he's gone, too.

120
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[Hea vy breathing]

121
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Let's move the bed.

122
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Oh, bill, where is she?

123
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I'm about to lose my mind.

124
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Hold on, Ruth.

125
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She's breathing normally,
she must be all right.

126
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Now wait a second. We'd
better Mark where the legs go.

127
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Here.

128
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[Hea vy breathing]

129
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Still there?

130
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Yes.

131
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Now, you've felt all over here?

132
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Yes.

133
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And?

134
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Nothing.

135
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Okay.

136
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What are you looking for?

137
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The opening maybe.

138
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The opening to what?

139
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I'm not sure, Ruth.

140
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[Tina crying]

141
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[Shouting] You're...

142
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It's as if you were
going to step on her.

143
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Are you sure

144
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that you felt all over here?

145
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Well, maybe not
every single inch!

146
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Take it easy. Take it easy.

147
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I just don't get it.

148
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Now, wait.

149
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Now, wait.

150
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[Harp music]

151
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[Gasps]

152
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[Sighs wearily]

153
00:09:30,028 --> 00:09:33,031
What is it?

154
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The opening.

155
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The...

156
00:09:35,658 --> 00:09:37,368
To what?

157
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[Distant barking]

158
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I think,

159
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to another dimension.

160
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Another what?

161
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I don't know if I'm right,

162
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but I can't think
of anything else.

163
00:09:53,176 --> 00:09:57,138
Tina must have
fallen out of bed,

164
00:09:57,222 --> 00:10:00,975
accidentally rolled
under it and...

165
00:10:04,062 --> 00:10:06,564
[Whoosh] Gone through.

166
00:10:06,648 --> 00:10:08,566
And that's where
Mac went, too, huh?

167
00:10:08,650 --> 00:10:10,485
Probabl y sensed it.

168
00:10:10,568 --> 00:10:13,780
Animals are sharper about
these things than humans.

169
00:10:13,863 --> 00:10:15,198
[Mac barking]

170
00:10:15,281 --> 00:10:17,117
He knew she was in there and...

171
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Went after her.

172
00:10:18,868 --> 00:10:20,370
Then why can't we?

173
00:10:22,163 --> 00:10:23,915
We don't know what's in there.

174
00:10:23,998 --> 00:10:25,500
My daughter's in there!

175
00:10:25,583 --> 00:10:27,502
I know that, Ruth, but we can't.

176
00:10:27,585 --> 00:10:29,963
Bill, for crying out
loud, she's right here!

177
00:10:30,046 --> 00:10:32,257
All we have to do is
reach in and pull her out.

178
00:10:32,340 --> 00:10:33,967
If it was as simple as that,

179
00:10:34,050 --> 00:10:37,804
why hasn't Mac found her yet?

180
00:10:37,887 --> 00:10:39,055
Nope.

181
00:10:39,139 --> 00:10:41,891
If it's what I think,

182
00:10:41,975 --> 00:10:45,812
it's kind of a gap opening

183
00:10:45,895 --> 00:10:48,398
on another dimension.

184
00:10:48,481 --> 00:10:52,110
Probably the fourth
dimension. [Mac, barking]

185
00:10:52,193 --> 00:10:54,028
It just wouldn't be laid out

186
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like our world, Chris.

187
00:10:55,738 --> 00:10:59,200
Well, there must be
something we can do.

188
00:10:59,284 --> 00:11:00,618
[Sighs]

189
00:11:00,702 --> 00:11:02,370
Have you got a, a crayon,

190
00:11:02,453 --> 00:11:04,664
a piece of chalk?

191
00:11:09,836 --> 00:11:12,380
Here.

192
00:11:12,463 --> 00:11:15,967
All right, now let's just
see how big this thing is.

193
00:11:16,050 --> 00:11:18,052
Bill, I just don't understand...

194
00:11:18,136 --> 00:11:19,345
[Harp music]

195
00:11:19,429 --> 00:11:20,763
Understand it.

196
00:11:25,185 --> 00:11:26,644
[Sighs]

197
00:11:26,728 --> 00:11:30,732
The third dimension
is, just a, step

198
00:11:30,815 --> 00:11:32,817
below the fourth, Chris.

199
00:11:32,901 --> 00:11:36,905
It's a big step, granted,
but it's just one step.

200
00:11:36,988 --> 00:11:38,823
Now, every point in our space

201
00:11:38,907 --> 00:11:42,911
is part of a
perpendicular line in the...

202
00:11:42,994 --> 00:11:46,289
Four th dimension.

203
00:11:46,372 --> 00:11:47,916
So?

204
00:11:47,999 --> 00:11:51,044
[Sighs]

205
00:11:51,127 --> 00:11:55,632
Although all the lines
forming the fourth dimension

206
00:11:55,715 --> 00:11:58,384
are perpendicular to
every point in the third,

207
00:11:58,468 --> 00:12:04,182
they're not necessarily
parallel to us.

208
00:12:07,435 --> 00:12:11,814
But if enough of
the lines are parallel

209
00:12:11,898 --> 00:12:14,692
in both dimensions
in a given area,

210
00:12:14,776 --> 00:12:18,238
it might create, an opening.

211
00:12:20,657 --> 00:12:24,661
What, has this opening
always been here?

212
00:12:24,744 --> 00:12:26,246
It might have been.

213
00:12:26,329 --> 00:12:28,414
[Sighs]

214
00:12:31,626 --> 00:12:33,670
I doubt it, though.

215
00:12:33,753 --> 00:12:36,256
[Sighs]

216
00:12:36,339 --> 00:12:40,385
Believe me, I'm
no expert on this.

217
00:12:44,097 --> 00:12:46,724
Who is?

218
00:12:46,808 --> 00:12:50,103
[Deep exhale]

219
00:12:50,186 --> 00:12:54,274
But I suspect that,

220
00:12:54,357 --> 00:12:58,111
junctures between dimensions

221
00:12:58,194 --> 00:13:03,533
are freaks of nature that happen

222
00:13:03,616 --> 00:13:06,786
who knows how often.

223
00:13:10,623 --> 00:13:12,834
Rare ly, I'd say.

224
00:13:16,963 --> 00:13:18,756
I hope.

225
00:13:21,551 --> 00:13:23,469
There it is.

226
00:13:33,896 --> 00:13:35,398
[Harp music]

227
00:13:35,481 --> 00:13:36,524
(Chris) What...

228
00:13:36,607 --> 00:13:37,775
Shh.

229
00:13:37,859 --> 00:13:40,987
What's the matter?

230
00:13:41,070 --> 00:13:43,531
I can't hear her anymore.

231
00:13:43,614 --> 00:13:45,325
What?

232
00:13:45,408 --> 00:13:46,909
Oh, no!

233
00:13:46,993 --> 00:13:49,078
Tina!

234
00:13:49,162 --> 00:13:51,497
Tina!

235
00:13:51,581 --> 00:13:53,833
[Wailing]

236
00:14:05,762 --> 00:14:07,847
[Sobbing]

237
00:14:07,930 --> 00:14:11,726
[Harp music]

238
00:14:11,809 --> 00:14:13,603
Hold it down.

239
00:14:18,900 --> 00:14:20,818
Start moving around.

240
00:14:20,902 --> 00:14:22,236
Huh?

241
00:14:22,320 --> 00:14:24,030
Move around. Move around.

242
00:14:36,334 --> 00:14:38,044
[Sobbing]

243
00:14:38,127 --> 00:14:40,755
[Tina sobbing]

244
00:14:40,838 --> 00:14:42,173
Sh!

245
00:14:45,802 --> 00:14:48,137
[Tina sobbing]

246
00:14:54,811 --> 00:14:56,938
Oh, what in heaven's name...

247
00:14:57,021 --> 00:14:58,898
Start looking for her.

248
00:14:58,981 --> 00:15:00,358
Where?

249
00:15:00,441 --> 00:15:01,943
Anywhere... the whole house.

250
00:15:02,026 --> 00:15:04,153
[Suspense music]

251
00:15:13,830 --> 00:15:15,873
[Tina sobbing]

252
00:15:21,421 --> 00:15:23,256
[Tina crying]

253
00:15:37,145 --> 00:15:39,355
[Tina crying]

254
00:16:15,850 --> 00:16:17,894
[Faint sobbing]

255
00:16:22,773 --> 00:16:26,486
[Tina crying]

256
00:16:26,569 --> 00:16:28,863
[Suspense music intensifies]

257
00:16:35,161 --> 00:16:36,662
(Bi/I) In here!

258
00:16:41,834 --> 00:16:44,879
[Hea vy breathing]

259
00:16:44,962 --> 00:16:47,256
[Tina crying]

260
00:16:47,340 --> 00:16:50,426
(Tina) I want my doll y.

261
00:16:50,510 --> 00:16:52,094
[Angry] What is this?

262
00:16:52,178 --> 00:16:54,138
Chris, I told you what I think.

263
00:16:54,222 --> 00:16:56,682
But if she went
into this other dimension

264
00:16:56,766 --> 00:16:58,935
in the bedroom, and
if she's still asleep,

265
00:16:59,018 --> 00:17:00,478
then what is she doing here?

266
00:17:00,561 --> 00:17:02,021
Chris...

267
00:17:04,607 --> 00:17:07,318
If she's beyond our world,

268
00:17:07,401 --> 00:17:09,445
her movements might seem to us

269
00:17:09,529 --> 00:17:14,367
to be coming
from all over the place.

270
00:17:14,450 --> 00:17:18,037
Aotuall y, she might be
just turning in her sleep.

271
00:17:18,120 --> 00:17:19,872
[Mac barking]

272
00:17:24,377 --> 00:17:25,628
Call the dog.

273
00:17:25,711 --> 00:17:26,879
Huh?

274
00:17:26,963 --> 00:17:28,422
Call the dog, hurry.

275
00:17:28,506 --> 00:17:31,676
Mac. Here, Mac.

276
00:17:31,759 --> 00:17:33,427
[Whistles] Com e on, boy.

277
00:17:33,511 --> 00:17:34,762
[Loud barking]

278
00:17:34,845 --> 00:17:37,390
That's it, that's a boy.

279
00:17:37,473 --> 00:17:39,934
(Tina) Ma c?
[Mac gro w/s soft/ y]

280
00:17:40,017 --> 00:17:42,603
Where are you taking me, mao?

281
00:17:42,687 --> 00:17:44,272
Ma c, Don 't. [Mac gro w/s]

282
00:17:44,355 --> 00:17:46,899
Tell her to go with the dog.

283
00:17:46,941 --> 00:17:50,027
G o o n. [Mac gro w/s]

284
00:17:50,111 --> 00:17:51,821
Tina!

285
00:17:51,904 --> 00:17:53,656
(Tina) M omm y!

286
00:17:53,739 --> 00:17:55,449
Go with Mac, baby.

287
00:17:55,533 --> 00:17:57,326
Go with him.

288
00:17:57,410 --> 00:17:59,120
(Tina) Where are you?

289
00:17:59,203 --> 00:18:01,789
I'm here, baby.

290
00:18:01,872 --> 00:18:03,416
(Bi/I) Never mind.

291
00:18:03,499 --> 00:18:06,294
Just tell her to go
with the dog... hurry!

292
00:18:06,377 --> 00:18:10,423
Sweetie, go
with Mac, right away.

293
00:18:10,506 --> 00:18:13,259
(Tina) Will he take
me where you are?

294
00:18:13,342 --> 00:18:17,430
(Ruth) Yes, baby, he will.

295
00:18:17,513 --> 00:18:19,724
[ Tina, crying]
All right, mommy.

296
00:18:19,807 --> 00:18:21,434
[Whispers] Let's go!

297
00:18:28,024 --> 00:18:29,191
Call the dog again.

298
00:18:29,275 --> 00:18:33,154
Mac, here, boy, here.

299
00:18:33,237 --> 00:18:34,488
Oh, bill, can't we try...

300
00:18:34,572 --> 00:18:36,240
It'll have to be the dog.

301
00:18:36,324 --> 00:18:38,451
We can't take the
chance of going in there.

302
00:18:38,534 --> 00:18:40,244
Mac, here, boy!

303
00:18:40,328 --> 00:18:42,580
Here, Mac!

304
00:18:42,663 --> 00:18:44,415
Hold it.

305
00:18:44,498 --> 00:18:46,459
[Mac, gro w/ing]

306
00:18:46,542 --> 00:18:47,627
He's doing it.

307
00:18:47,710 --> 00:18:49,128
Man, what a mutt.

308
00:18:49,211 --> 00:18:50,838
Come on, boy.

309
00:18:50,921 --> 00:18:53,007
Come on, Mac, here, boy.

310
00:18:53,090 --> 00:18:54,884
Tina!

311
00:18:54,967 --> 00:18:57,011
(Tina) M omm y!
[Mac, soft/ y gro w/ing]

312
00:18:57,094 --> 00:18:58,721
Come on, Mac.

313
00:18:58,804 --> 00:19:01,182
Come on out, boy.

314
00:19:01,265 --> 00:19:04,268
[Tina sobbing]

315
00:19:04,352 --> 00:19:06,604
Tina!

316
00:19:06,687 --> 00:19:08,147
[Tina crying]

317
00:19:08,230 --> 00:19:09,940
Mac, bring her out!

318
00:19:10,024 --> 00:19:12,360
Dadd y, where are you?

319
00:19:12,443 --> 00:19:13,736
We're here, baby!

320
00:19:13,819 --> 00:19:15,988
We're here. We're right here!

321
00:19:16,072 --> 00:19:19,659
[ Tina, crying] I can't see you.

322
00:19:19,700 --> 00:19:21,243
Mac, bring her out.

323
00:19:21,327 --> 00:19:24,163
Why doesn't he do it?

324
00:19:24,246 --> 00:19:25,581
Maybe he can't.

325
00:19:25,665 --> 00:19:26,916
No!

326
00:19:26,999 --> 00:19:28,542
Tina.

327
00:19:28,626 --> 00:19:29,752
Tina, take my hand.

328
00:19:29,835 --> 00:19:31,587
Chris, don't do it.

329
00:19:31,671 --> 00:19:34,340
(Chris) My hand,
honey. [Harp music]

330
00:19:34,423 --> 00:19:35,675
Takea hold of it.

331
00:19:35,758 --> 00:19:37,593
Here.

332
00:19:37,677 --> 00:19:39,011
Here.

333
00:19:39,095 --> 00:19:41,555
I can't see it, daddy.

334
00:19:41,639 --> 00:19:43,683
Here, honey. [Gasps]

335
00:19:43,766 --> 00:19:45,017
Chris!

336
00:19:45,101 --> 00:19:47,770
[Harp music]

337
00:19:47,853 --> 00:19:49,772
[Echoing] Can you hear me?

338
00:19:49,855 --> 00:19:52,108
(Bi/I) We're right
here, pal. Don't mo ve.

339
00:19:52,191 --> 00:19:53,609
[Echoing] I've got to.

340
00:19:53,693 --> 00:19:55,069
(Bi/I) Don't mo ve an inch.

341
00:19:55,152 --> 00:19:56,904
I've got to find her.

342
00:19:56,987 --> 00:19:58,906
(Bi/I) Let her
come to you, Chris.

343
00:19:58,989 --> 00:20:00,449
Call her.

344
00:20:00,533 --> 00:20:03,369
Tina.

345
00:20:06,122 --> 00:20:08,040
Daddy, where are you?

346
00:20:08,124 --> 00:20:10,668
(Chris) I'm right here.

347
00:20:10,751 --> 00:20:12,878
(Chris) Come to the
sound of my voice.

348
00:20:12,962 --> 00:20:14,880
(Bi/I) Tha t might
not work, Chris,

349
00:20:14,964 --> 00:20:18,175
get Mac to bring her
to you and hurry.

350
00:20:18,259 --> 00:20:19,885
Tina?

351
00:20:19,969 --> 00:20:22,471
Where are you, daddy?

352
00:20:22,555 --> 00:20:24,765
I'm right here, baby.

353
00:20:24,849 --> 00:20:27,810
(Chris) Is, is, is Mac with you?

354
00:20:27,893 --> 00:20:30,730
Yes, but where are you?

355
00:20:30,813 --> 00:20:32,606
I'm here, baby!

356
00:20:32,690 --> 00:20:37,027
Grab onto Mac's collar.

357
00:20:37,111 --> 00:20:38,320
You hear me?

358
00:20:38,404 --> 00:20:39,780
[Mac whimpering]

359
00:20:39,864 --> 00:20:42,074
(Bi/I) Hurry up, Chris.

360
00:20:42,158 --> 00:20:44,493
Grab onto his collar.

361
00:20:44,577 --> 00:20:46,328
You got it?
[Mac gro w/ing softly]

362
00:20:46,412 --> 00:20:47,955
(Tina) Yes.

363
00:20:48,038 --> 00:20:50,499
Get a good grip.

364
00:20:50,583 --> 00:20:52,585
Yes, dadd y, but...

365
00:20:52,668 --> 00:20:54,503
Don't let go.

366
00:20:54,587 --> 00:20:56,338
M ac. [Mac, barking]

367
00:20:56,422 --> 00:20:58,257
[Whistling echoes
and Mac barking]

368
00:20:58,340 --> 00:20:59,675
Here, boy!

369
00:20:59,759 --> 00:21:01,594
[Barking and gro w/ing echoes]

370
00:21:01,677 --> 00:21:03,095
(Chris) Bring her here.

371
00:21:03,179 --> 00:21:04,638
Daddy.

372
00:21:04,722 --> 00:21:06,265
(Chris) Hold on to him tight.

373
00:21:06,348 --> 00:21:08,267
Don't let go.

374
00:21:08,309 --> 00:21:11,771
(Tina) I won't, but
where are you, daddy?

375
00:21:11,854 --> 00:21:14,190
(Chris) You'll be with
me in a minute, honey.

376
00:21:14,273 --> 00:21:15,608
Now just hang on.

377
00:21:15,691 --> 00:21:17,443
Come on, ma c.

378
00:21:17,526 --> 00:21:19,653
Come on, bring her here.
[Mac, growling]

379
00:21:19,737 --> 00:21:21,697
Is he bringing you, Tina?

380
00:21:21,781 --> 00:21:23,282
(Tina) Yes.

381
00:21:23,365 --> 00:21:25,409
All right, hang on
tight, sweetheart.

382
00:21:25,493 --> 00:21:27,369
Don't let go.

383
00:21:27,453 --> 00:21:31,165
(Tina) I won't, but
where are you, daddy?

384
00:21:31,248 --> 00:21:33,292
You'll be with me
in a minute, honey.

385
00:21:33,375 --> 00:21:35,211
Now just hang on tight.

386
00:21:35,294 --> 00:21:38,047
(Chris) Come on, boy.

387
00:21:38,130 --> 00:21:40,424
Mac, bring her to me.

388
00:21:40,508 --> 00:21:42,343
Come on, ma c.

389
00:21:42,426 --> 00:21:44,303
(Bi/I) Hurry, Chris!

390
00:21:44,386 --> 00:21:47,515
That's a boy. Attaboy.

391
00:21:47,598 --> 00:21:49,683
Come on.

392
00:21:49,767 --> 00:21:52,144
(Ruth) Can you see her?

393
00:21:52,228 --> 00:21:56,690
I don't know.
[Mac, gro w/ing louder]

394
00:21:56,774 --> 00:21:58,484
Wait a minute.

395
00:21:58,526 --> 00:22:00,194
[Mumbling]

396
00:22:00,277 --> 00:22:01,904
Yes.

397
00:22:01,987 --> 00:22:03,322
Here, boy.

398
00:22:03,405 --> 00:22:05,032
Come on, boy.

399
00:22:05,115 --> 00:22:07,576
That's right.

400
00:22:07,660 --> 00:22:09,495
Bring her to me.

401
00:22:09,537 --> 00:22:11,539
That's right.

402
00:22:11,622 --> 00:22:13,541
Come closer now.

403
00:22:13,624 --> 00:22:16,836
Okay, I got him!

404
00:22:16,919 --> 00:22:19,713
I got Tina! [Echoing loudly]

405
00:22:19,797 --> 00:22:22,091
(Bi/I) All right, now
hold on. Hold on tight.

406
00:22:22,174 --> 00:22:24,051
You gota good grip?
I meana good one.

407
00:22:24,134 --> 00:22:27,096
Yeah, but what are you...

408
00:22:27,179 --> 00:22:28,180
Tina!

409
00:22:28,264 --> 00:22:29,306
Mommy. Mommy.

410
00:22:29,390 --> 00:22:30,724
Oh, darling.

411
00:22:30,808 --> 00:22:32,351
S h e's f I n e. [Mac, barking]

412
00:22:32,434 --> 00:22:34,520
Oh, I got to get her
out of this room.

413
00:22:34,603 --> 00:22:36,689
Mommy! Mommy!

414
00:22:36,772 --> 00:22:39,191
Oh, man.

415
00:22:39,275 --> 00:22:41,110
What happened?

416
00:22:41,193 --> 00:22:43,362
I pulled you out.

417
00:22:43,445 --> 00:22:45,698
How could you see me?

418
00:22:45,781 --> 00:22:47,825
Half of you was still here.

419
00:22:47,908 --> 00:22:49,326
You mean to say

420
00:22:49,410 --> 00:22:51,203
you had hold of me
all this time?

421
00:22:51,287 --> 00:22:52,788
That's right.

422
00:22:52,872 --> 00:22:54,874
Oh, bill.

423
00:22:54,957 --> 00:22:58,294
You know, I didn't
even feel you.

424
00:22:58,377 --> 00:23:01,338
Say, listen, why didn't you
want me to reach in there?

425
00:23:01,422 --> 00:23:03,424
And how come I kept
telling you to hurry?

426
00:23:03,507 --> 00:23:06,385
Yeah.

427
00:23:06,468 --> 00:23:10,556
[Solid banging]

428
00:23:10,639 --> 00:23:12,641
That's why.

429
00:23:12,725 --> 00:23:15,603
It was closing up all
the time you were in there.

430
00:23:15,686 --> 00:23:17,605
Another few seconds
and half of you

431
00:23:17,688 --> 00:23:20,357
would have been here
and the other half...

432
00:23:20,441 --> 00:23:23,068
[Suspense music]

433
00:23:30,117 --> 00:23:31,577
[Sighs]

434
00:23:33,495 --> 00:23:35,623
(Narrator)
The other half, where?

435
00:23:35,706 --> 00:23:37,541
The fourth dimension, the fifth?

436
00:23:37,625 --> 00:23:38,959
Perha ps.

437
00:23:39,043 --> 00:23:40,753
They never found the answer.

438
00:23:40,836 --> 00:23:43,255
Despite a ba ttery
of research phys/c/s ts

439
00:23:43,339 --> 00:23:47,718
eou/pped with every dev/ce known
to man, electron/c and otherwise,

440
00:23:47,801 --> 00:23:50,095
no resul t was ever achieved.

441
00:23:50,179 --> 00:23:52,932
Except perhaps
a little more respect for,

442
00:23:53,015 --> 00:23:55,225
and uncerta/ntyabout,

443
00:23:55,309 --> 00:23:59,605
the mechanisms
of the twilight zone.

444
00:24:02,358 --> 00:24:05,235
(Announcer) Rod serl/ng,
crea Tor of the twilight zone,

445
00:24:05,319 --> 00:24:10,282
will tell youabout next
week's story after this message.

446
00:24:10,366 --> 00:24:12,326
And now Mr. Serl/ng.

447
00:24:12,409 --> 00:24:14,161
Next week we again borrow

448
00:24:14,244 --> 00:24:16,956
from the considerable talents
of Charles beaumont,

449
00:24:17,039 --> 00:24:19,583
and we take a fast trot
on the wild side.

450
00:24:19,667 --> 00:24:22,461
Picture if you will a man who
wakes up in a strange world,

451
00:24:22,544 --> 00:24:24,338
knows everyone,
knows every place,

452
00:24:24,421 --> 00:24:25,839
feels every much at home.

453
00:24:25,923 --> 00:24:27,716
The strangeness comes
from the fact

454
00:24:27,800 --> 00:24:29,635
that no one knows him.

455
00:24:29,677 --> 00:24:32,096
Try this on for size
on the next twilightzone.

456
00:24:32,179 --> 00:24:35,349
It's called
"person or persons unknown."

457
00:24:35,432 --> 00:24:38,227
Habit is something you do
when pleasure is gone,

458
00:24:38,310 --> 00:24:40,437
and certainly this is not
the way to smoke.

459
00:24:40,521 --> 00:24:42,314
I prefer to smoke chesterfields

460
00:24:42,398 --> 00:24:44,566
and get the rich taste
of 21 great tobaccos.

461
00:24:44,650 --> 00:24:46,819
Blended mild, not filtered mild.

462
00:24:46,902 --> 00:24:49,905
Smoke for pleasure,
smoke chesterfields.

463
00:25:22,646 --> 00:25:24,815
This is James arness.

464
00:25:24,898 --> 00:25:27,526
You know it's onl ya short hop
from the twilight zone

465
00:25:27,568 --> 00:25:29,361
to dodge cityand gunsmoke,

466
00:25:29,445 --> 00:25:31,864
sa turda y nights
over most of these sta t/ons.

467
00:25:48,835 --> 00:25:50,755
(Announcer) The twilight
zone, brought to you by,