[Theme music playing]
(Narrator) You're tra vel/ng through another dimension.
A dimension not onl y of sight and sound, but of mind,
a journey into a wondrous land
whose boundaries are tha t of ima Gina t/on.
Your next stop, the twilight zone.
[Suspense music]
[Hea vy thud]
[Girl sobbing]
[Girl, sobbing] M omm y!
Hm? [Sighs]
I'll get it.
Momm y!
You're going?
I'm just putting my slippers on.
Momm y!
All right, sweetheart, I'm coming.
[Dog barks]
Hush up, Mac.
[Barks]
Sh!
[Mao whimpering]
What's the matter, baby?
What'd you do, fall off? [Suspense music]
Come on.
(Chris) Well, what? t'd you do, roll undernea th?
Da dd y!
All right, honey.
I'm right here.
Now, come on out.
Come on, you just crawled underneath the bed.
Tina.
[Tina crying]
All right, honey, come on, take my hand.
Come on.
What in the...
Daddy.
All right, just a minute.
(Woman) Chris, what? t is it?
I don't know.
Missing. One frightened little girl.
Name. Bettina Miller.
Description. Six years of age, average height and build,
light-brown hair, quite pretty.
Last seen. Being tucked in bed by her mother a few hours ago.
Last heard. "Aye, there's the rub," as Hamlet put it.
For bettina Miller can be heard quite clearly,
despite the rather curious fact that she can't be seen at all.
Present location. Let's say for the moment,
in the twilight zone.
[Suspense music]
What's the matter?
She's not here.
What do you mean she's not...
Look for yourself.
Tina?
Momm y!
Iturned on the light.
Oh, no, no, it's crazy.
It just sounds as if she's...
Mommy, pick me up.
[Tina crying]
Chris, where is she?
I don't know.
Well, what are we going to do?
I don't know, honey,
but we're not going to panic.
[Silence]
Tina!
[Mac barking]
[Mac whimpering]
[Barking]
[Sustained barking]
Shut up, Mac!
Bill?
Bill, this is Chris.
Can you come over to the house right away?
I'm sorry, bill, this is an emergency.
Tina has disappeared.
No, no, she hasn't been kidnapped.
Tina is... Tina is here.
But she's not... here.
Bill, for crying out loud, will you get over here?
Hurry.
[Shrieks]
[Barking]
Shouldn't we...
Wake h er?
Bill's coming over, honey.
Bill?
Well, he's a physicist.
Maybe he can help us out.
I don't know, I couldn't think of anything else.
Oh, god, where is she?
[Barking]
Where is she?
Listen, I'd better go and let that dog in
before he wakes up the whole neighborhood.
Honey, I'm going to check underneath the house.
[Panting and whimpering]
Mac, come here.
Come here! [Mac, whimpering]
[Barking]
Come here, Mac.
[Ho/iow barking and harp music]
[Barking echoing and fading]
[Faint whimpering]
He's gone.
[Suspense music]
[Faint whimpering]
They're not under the house.
[Doorbe/I ringing]
(Bill) What's wrong, Chris?
Listen, Tina woke us up with her crying.
(Chris) 80 I went into the bedroom
and I couldn't find her.
I let the dog in and he went under the bed
and he's gone, too.
[Hea vy breathing]
Let's move the bed.
Oh, bill, where is she?
I'm about to lose my mind.
Hold on, Ruth.
She's breathing normally, she must be all right.
Now wait a second. We'd better Mark where the legs go.
Here.
[Hea vy breathing]
Still there?
Yes.
Now, you've felt all over here?
Yes.
And?
Nothing.
Okay.
What are you looking for?
The opening maybe.
The opening to what?
I'm not sure, Ruth.
[Tina crying]
[Shouting] You're...
It's as if you were going to step on her.
Are you sure
that you felt all over here?
Well, maybe not every single inch!
Take it easy. Take it easy.
I just don't get it.
Now, wait.
[Harp music]
[Gasps]
[Sighs wearily]
What is it?
The opening.
The...
To what?
[Distant barking]
I think,
to another dimension.
Another what?
I don't know if I'm right,
but I can't think of anything else.
Tina must have fallen out of bed,
accidentally rolled under it and...
[Whoosh] Gone through.
And that's where Mac went, too, huh?
Probabl y sensed it.
Animals are sharper about these things than humans.
[Mac barking]
He knew she was in there and...
Went after her.
Then why can't we?
We don't know what's in there.
My daughter's in there!
I know that, Ruth, but we can't.
Bill, for crying out loud, she's right here!
All we have to do is reach in and pull her out.
If it was as simple as that,
why hasn't Mac found her yet?
Nope.
If it's what I think,
it's kind of a gap opening
on another dimension.
Probably the fourth dimension. [Mac, barking]
It just wouldn't be laid out
like our world, Chris.
Well, there must be something we can do.
[Sighs]
Have you got a, a crayon,
a piece of chalk?
Here.
All right, now let's just see how big this thing is.
Bill, I just don't understand...
[Harp music]
Understand it.
[Sighs]
The third dimension is, just a, step
below the fourth, Chris.
It's a big step, granted, but it's just one step.
Now, every point in our space
is part of a perpendicular line in the...
Four th dimension.
So?
[Sighs]
Although all the lines forming the fourth dimension
are perpendicular to every point in the third,
they're not necessarily parallel to us.
But if enough of the lines are parallel
in both dimensions in a given area,
it might create, an opening.
What, has this opening always been here?
It might have been.
[Sighs]
I doubt it, though.
[Sighs]
Believe me, I'm no expert on this.
Who is?
[Deep exhale]
But I suspect that,
junctures between dimensions
are freaks of nature that happen
who knows how often.
Rare ly, I'd say.
I hope.
There it is.
[Harp music]
(Chris) What...
Shh.
What's the matter?
I can't hear her anymore.
What?
Oh, no!
Tina!
[Wailing]
[Sobbing]
[Harp music]
Hold it down.
Start moving around.
Huh?
Move around. Move around.
[Sobbing]
[Tina sobbing]
Sh!
[Tina sobbing]
Oh, what in heaven's name...
Start looking for her.
Where?
Anywhere... the whole house.
[Suspense music]
[Tina sobbing]
[Tina crying]
[Faint sobbing]
[Tina crying]
[Suspense music intensifies]
(Bi/I) In here!
[Hea vy breathing]
[Tina crying]
(Tina) I want my doll y.
[Angry] What is this?
Chris, I told you what I think.
But if she went into this other dimension
in the bedroom, and if she's still asleep,
then what is she doing here?
Chris...
If she's beyond our world,
her movements might seem to us
to be coming from all over the place.
Aotuall y, she might be just turning in her sleep.
[Mac barking]
Call the dog.
Huh?
Call the dog, hurry.
Mac. Here, Mac.
[Whistles] Com e on, boy.
[Loud barking]
That's it, that's a boy.
(Tina) Ma c? [Mac gro w/s soft/ y]
Where are you taking me, mao?
Ma c, Don 't. [Mac gro w/s]
Tell her to go with the dog.
G o o n. [Mac gro w/s]
Tina!
(Tina) M omm y!
Go with Mac, baby.
Go with him.
(Tina) Where are you?
I'm here, baby.
(Bi/I) Never mind.
Just tell her to go with the dog... hurry!
Sweetie, go with Mac, right away.
(Tina) Will he take me where you are?
(Ruth) Yes, baby, he will.
[ Tina, crying] All right, mommy.
[Whispers] Let's go!
Call the dog again.
Mac, here, boy, here.
Oh, bill, can't we try...
It'll have to be the dog.
We can't take the chance of going in there.
Mac, here, boy!
Here, Mac!
Hold it.
[Mac, gro w/ing]
He's doing it.
Man, what a mutt.
Come on, boy.
Come on, Mac, here, boy.
Tina!
(Tina) M omm y! [Mac, soft/ y gro w/ing]
Come on, Mac.
Come on out, boy.
[Tina sobbing]
Tina!
[Tina crying]
Mac, bring her out!
Dadd y, where are you?
We're here, baby!
We're here. We're right here!
[ Tina, crying] I can't see you.
Mac, bring her out.
Why doesn't he do it?
Maybe he can't.
No!
Tina.
Tina, take my hand.
Chris, don't do it.
(Chris) My hand, honey. [Harp music]
Takea hold of it.
Here.
I can't see it, daddy.
Here, honey. [Gasps]
Chris!
[Harp music]
[Echoing] Can you hear me?
(Bi/I) We're right here, pal. Don't mo ve.
[Echoing] I've got to.
(Bi/I) Don't mo ve an inch.
I've got to find her.
(Bi/I) Let her come to you, Chris.
Call her.
Tina.
Daddy, where are you?
(Chris) I'm right here.
(Chris) Come to the sound of my voice.
(Bi/I) Tha t might not work, Chris,
get Mac to bring her to you and hurry.
Tina?
Where are you, daddy?
I'm right here, baby.
(Chris) Is, is, is Mac with you?
Yes, but where are you?
I'm here, baby!
Grab onto Mac's collar.
You hear me?
[Mac whimpering]
(Bi/I) Hurry up, Chris.
Grab onto his collar.
You got it? [Mac gro w/ing softly]
(Tina) Yes.
Get a good grip.
Yes, dadd y, but...
Don't let go.
M ac. [Mac, barking]
[Whistling echoes and Mac barking]
Here, boy!
[Barking and gro w/ing echoes]
(Chris) Bring her here.
Daddy.
(Chris) Hold on to him tight.
Don't let go.
(Tina) I won't, but where are you, daddy?
(Chris) You'll be with me in a minute, honey.
Now just hang on.
Come on, ma c.
Come on, bring her here. [Mac, growling]
Is he bringing you, Tina?
(Tina) Yes.
All right, hang on tight, sweetheart.
Don't let go.
(Tina) I won't, but where are you, daddy?
You'll be with me in a minute, honey.
Now just hang on tight.
(Chris) Come on, boy.
Mac, bring her to me.
Come on, ma c.
(Bi/I) Hurry, Chris!
That's a boy. Attaboy.
Come on.
(Ruth) Can you see her?
I don't know. [Mac, gro w/ing louder]
Wait a minute.
[Mumbling]
Yes.
Here, boy.
Come on, boy.
That's right.
Bring her to me.
That's right.
Come closer now.
Okay, I got him!
I got Tina! [Echoing loudly]
(Bi/I) All right, now hold on. Hold on tight.
You gota good grip? I meana good one.
Yeah, but what are you...
Tina!
Mommy. Mommy.
Oh, darling.
S h e's f I n e. [Mac, barking]
Oh, I got to get her out of this room.
Mommy! Mommy!
Oh, man.
What happened?
I pulled you out.
How could you see me?
Half of you was still here.
You mean to say
you had hold of me all this time?
That's right.
Oh, bill.
You know, I didn't even feel you.
Say, listen, why didn't you want me to reach in there?
And how come I kept telling you to hurry?
Yeah.
[Solid banging]
That's why.
It was closing up all the time you were in there.
Another few seconds and half of you
would have been here and the other half...
[Suspense music]
[Sighs]
(Narrator) The other half, where?
The fourth dimension, the fifth?
Perha ps.
They never found the answer.
Despite a ba ttery of research phys/c/s ts
eou/pped with every dev/ce known to man, electron/c and otherwise,
no resul t was ever achieved.
Except perhaps a little more respect for,
and uncerta/ntyabout,
the mechanisms of the twilight zone.
(Announcer) Rod serl/ng, crea Tor of the twilight zone,
will tell youabout next week's story after this message.
And now Mr. Serl/ng.
Next week we again borrow
from the considerable talents of Charles beaumont,
and we take a fast trot on the wild side.
Picture if you will a man who wakes up in a strange world,
knows everyone, knows every place,
feels every much at home.
The strangeness comes from the fact
that no one knows him.
Try this on for size on the next twilightzone.
It's called "person or persons unknown."
Habit is something you do when pleasure is gone,
and certainly this is not the way to smoke.
I prefer to smoke chesterfields
and get the rich taste of 21 great tobaccos.
Blended mild, not filtered mild.
Smoke for pleasure, smoke chesterfields.
This is James arness.
You know it's onl ya short hop from the twilight zone
to dodge cityand gunsmoke,
sa turda y nights over most of these sta t/ons.
(Announcer) The twilight zone, brought to you by,