"[eerie music]" "(male narrator) THERE IS A FIFTH DIMENSION" "BEYOND THAT WHICH IS KNOWN TO MAN." "IT IS A DIMENSION AS VAST AS SPACE" "AND AS TIMELESS AS INFINITY." "IT IS THE MIDDLE GROUND BETWEEN LIGHT AND SHADOW," "BETWEEN SCIENCE AND SUPERSTITION." "AND IT LIES BETWEEN THE PIT OF MAN'S FEARS" "AND THE SUMMIT OF HIS KNOWLEDGE." "THIS IS THE DIMENSION OF IMAGINATION." "IT IS AN AREA WHICH WE CALL THE TWILIGHT ZONE." "MAPLE STREET, U.S.A. LATE SUMMER." "A TREE-LINED LITTLE WORLD OF FRONT-PORCH GLIDERS, BARBECUES," "THE LAUGHTER OF CHILDREN, AND THE BELL OF AN ICE-CREAM VENDOR." "AT THE SOUND OF THE ROAR AND THE FLASH OF LIGHT," "IT WILL BE PRECISELY 6:43 P.M. ON MAPLE STREET." "[strange whirring]" "WHAT WAS THAT, A METEOR?" "YEAH, THAT'S WHAT IT LOOKED LIKE." "I DIDN'T HEAR ANY CRASH THOUGH, DID YOU?" "NO, I DIDN'T HEAR ANYTHING EXCEPT A ROAR." "STEVE, WHAT WAS THAT?" "I GU ESS IT WAS A METEOR, HONEY." "IT CAM E AWFU L CLOSE, DIDN'T IT?" "TOO CLOSE FOR MY MONEY." "MUCH TOO CLOSE." "(narrator) THIS IS MAPLE STREET ON A LATE SATURDAY AFTERNOON." "MAPLE STREET IN THE LAST CALM AND REFLECTIVE MOMENT" "BEFORE THE MONSTERS CAME." "OPERATOR." "OPERATOR!" "OPERATOR!" "STEVE, THE POWER'S OFF." "I HAD THE SOUP ON THE STOVE" "AND THE STOVE J UST STOPPED WORKING." "IS YOUR PHON E ALL RIGHT?" "I CAN'T GET ANYBODY ON M IN E." "(man) OUR ELECTRICITY ISN'T GOOD." "IS THE POWER OFF?" "(woman) OUR RADIO'S GONE DEAD." "I'LL CUT ACROSS THE BACKYARD." "SEE IF THE POWER IS STILL ON ON FLORAL STREET." "DOESN'T MAKE SENSE." "WHY SHOU LD THE POWER GO OFF ALL OF A SU DDEN AND THE PHONE LIN E?" "MAYBE SOME KIND OF AN ELECTRICAL STORM OR SOMETHING." "NOW, THAT DON'T SEEM LIKELY." "THE SKY'S AS BLU E AS ANYTHING." "NOT A CLOU D, NO LIGHTNING, NO TH U N DER." "HOW COULD IT BE A STORM?" "CAN'T GET A THING ON THE RADIO." "NOT EVEN ON THE PORTABLE." "WHY DON'T WE GO DOWNTOWN AND CHECK WITH THE POLICE?" "THEY'LL PROBABLY THINK WE'RE CRAZY OR SOMETHING." "A LITTLE POWER FAI LU RE AND EVERYBODY GETS FLUSTERED AND EVERYTHING." "IT ISN'T JUST A POWER FAILURE, CHARLIE." "IF IT WERE, WE'D STILL BE ABLE TO GET A BROADCAST ON THE PORTABLE." "I'LL TAKE A RU N DOWNTOWN." "MAYBE I CAN GET IT STRAIG HTEN ED OUT." "[engine won't turn over]" "I DON'T U N DERSTAND IT." "IT WAS WORKING F IN E BEFORE." "ARE YOU OUT OF GAS?" "I JUST F I LLED IT UP." "WELL, WHAT DOES IT MEAN?" "IT'S AS I F EVERYTHING STOPPED." "MAYBE WE'D BETTER WALK DOWNTOWN." "WELL, LET'S BOTH GO, CHARLIE." "YEAH." "MR. BRAN D, YOU BETTER NOT." "WHY NOT?" "THEY DON'T WANT YOU TO." "WHO DOESN'T WANT US TO?" "TH EM." "TH EM?" "WHO ARE THEM?" "WHOEVER WAS IN THAT THING THAT CAME BY OVERH EAD." "WHOEVER WAS IN THE THING THAT CAME OVER." "I DON'T THINK THEY WANT US TO LEAVE HERE." "WHAT DO YOU M EAN, TOM MY?" "WHAT ARE YOU TALKING ABOUT?" "THEY DON'T WANT US TO LEAVE." "THAT'S WHY THEY SHUT EVERYTHING OFF." "WHAT MAKES YOU SAY THAT?" "WHERE DID YOU GET THAT IDEA?" "ISN'T THAT THE CRAZI EST THING YOU'VE HEARD?" "IT'S ALWAYS THAT WAY IN EVERY STORY I'VE EVER READ" "ABOUT A SH I P LAN DING FROM OUTER SPACE." "FROM OUTER SPACE, YET?" "SAL, YOU BETTER TAKE HIM U PSTAIRS, PUT HIM TO BED." "HE'S BEEN READING TOO MANY COM IC BOOKS OR SEEING TOO MANY MOVIES." "TOM MY, YOU STOP THAT KIND OF TALK." "COME ON, LET'S GO." "GO AHEAD, TOM MY." "WE'LL BE RIGHT BACK AND THEN YOU'LL SEE." "IT WASN'T A SH I P. IT WAS A METEOR OR SOMETHING." "LIKELY AS NOT, THAT'S THE CAUSE OF THE POWER FAI LU RE AND ALL THE REST OF IT." "M ETEORS CAN DO CRAZY THINGS LIKE, LIKE SU N SPOTS." "SURE THAT'S THE KIND OF THING, LIKE SU N SPOTS." "THEY RAISE CAI N WITH RADIO RECEPTION ALL OVER THE WORLD." "THIS THING BEING SO CLOSE, THERE'S NO TELLING THE SORT OF STUFF IT CAN DO." "YOU GO AHEAD, STEVE." "YOU AND CHARLIE GO INTO TOWN," "SEE IF THAT ISN'T WHAT'S CAUSING IT ALL." "MR. BRAN D?" "MR. BRAN D, PLEASE DON'T LEAVE HERE." "YOU M IGHT NOT EVEN BE ABLE TO GET TO TOWN." "IT WAS THAT WAY IN THE STORY." "NOBODY COULD LEAVE." "NOBODY EXCEPT" "EXCEPT WHO?" "EXCEPT THE PEOPLE THEY'D SENT DOWN AHEAD OF THEM." "THEY LOOKED JUST LIKE HUMANS." "AND IT WASN'T U NTI L THE SH I P LAN DED THAT" "TOM MY, PLEASE, SON." "HONEY, DON'T TALK LIKE THAT." "IT'S THE CRAZI EST THING I'VE EVER HEARD OF." "THE KI D TELLS A COM IC BOOK PLOT" "AND WE STAND HERE LISTENING." "WAIT A MINUTE." "WAIT A MINUTE." "GO AHEAD, TOM MY." "WHAT KIND OF A STORY WAS IT?" "WHAT ABOUT THE PEOPLE THEY SENT AHEAD?" "THAT WAS THE WAY THEY PREPARED THINGS FOR THE LAN DING." "THEY SENT FOUR PEOPLE." "A MOTHER AND A FATH ER AND TWO KIDS" "WHO LOOKED J UST LIKE HUMANS, BUT THEY WEREN'T." "WELL, I GU ESS WHAT WE NEED TO DO IS RU N A CHECK OF THE N EIGH BORHOOD" "AND F IN D OUT WHICH ONES OF US ARE REALLY HUMAN." "THERE'S NO USE STANDING AROUND MAKING BUM JOKES ABOUT IT." "WON DER IF FLORAL STREET'S GOT THE SAME KIND OF DEAL WE HAVE." "WHERE'S PETE VAN HORN?" "HAS HE COME BACK, YET?" "[car trying to start]" "(woman) DOES YOUR CAR START, LES?" "NO DICE." "[tries again]" "WELL, I DON'T KNOW WHAT'S WRONG." "NOTHING SEEMS TO BE WORKING." "CAN'T EVEN GET THE CAR STARTED." "[car engine starts]" "CAR STARTED SOMEHOW." "HE GOT H IS CAR STARTED." "HOW COME HIS CAR J UST U P AND STARTED LIKE THAT?" "ALL BY ITSELF." "HE WASN'T ANYWHERE N EAR IT." "IT J UST STARTED BY ITSELF." "HE NEVER DID COME OUT TO LOOK AT THAT THING THAT FLEW OVERH EAD." "HE WASN'T EVEN INTERESTED." "HE ALWAYS WAS AN ODDBALL." "HIM AND HIS WHOLE FAM I LY." "REAL ODDBALL." "NOW, WHY DIDN'T HE COME OUT WITH THE REST OF US TO LOOK?" "WHAT DO YOU SAY WE GO ASK HIM?" "(Brand) WAIT A MINUTE." "WAIT A MINUTE!" "NOW, LET'S NOT BE A MOB." "I JUST DON'T U N DERSTAND IT." "I TRI ED TO START IT." "IT WOULDN'T START." "YOU SAW ME." "ALL OF YOU SAW ME." "[engine cuts out]" "I DON'T UNDERSTAND." "I SWEAR I J UST DON'T UNDERSTAND." "WHAT'S HAPPENING?" "WELL, MAYBE YOU BETTER TELL US." "THERE'S NOTHING WORKING ON THIS STREET." "NOTHING." "NO LIGHTS, NO POWER, NO RADIO." "NOTHING EXCEPT ONE CAR." "YOURS." "HOW DO YOU F IG U RE IT STARTED, LES?" "HOW DO YOU EXPLAIN THAT?" "WAIT A MINUTE, NOW." "JUST KEEP YOUR DISTANCE." "ALL OF YOU." "OKAY, SO I'VE GOT A CAR THAT STARTS BY ITSELF." "WELL, IT'S A FREAK THING, I ADM IT IT." "WHAT'S IT MAKE ME, A CRI M I NAL OR SOMETHING?" "I DON'T KNOW WHY IT STARTS, IT JUST DOES." "WHAT'S THIS ALL ABOUT, STEVE?" "WE'RE ON A MONSTER KICK, LES." "SEEMS THE GEN ERAL I M PRESS ION NOW HOLDS THAT MAYBE THERE'S A FAM I LY" "THAT ISN'T WHAT WE THINK THEY ARE." "MONSTERS FROM OUTER SPACE OR SOMETHING DIFFERENT THAN US." "F I FTH COLU M N ISTS FROM THE VAST BEYON D." "NOW, DO YOU KNOW ANYBODY THAT MIGHT F IT THAT DESCRI PTION AROUND HERE ON MAPLE STREET?" "THIS IS A GAG OR SOMETHING?" "WHAT IS THIS?" "A PRACTICAL JOKE OR SOMETHING?" "[car engine starts]" "THAT'S SU PPOSED TO I NCRI M I NATE ME, HUH?" "THE CAR STARTS AND STOPS AND THAT REALLY DOES IT, HUH?" "REALLY DOES IT?" "WELL, I DON'T U N DERSTAND IT ANY MORE THAN ANY OF YOU DO." "LOOK, YOU ALL KNOW ME." "WE'VE LIVED HERE FOR FIVE YEARS, RIGHT IN THIS HOUSE." "WE AREN'T ANY DIFFERENT FROM YOU." "ANY DIFFERENT AT ALL." "THE WHOLE THING IS J UST" "REALLY, THE WHOLE THING IS JUST WE I RD." "WELL, IF THAT'S THE CASE, LES GOODMAN, THEN EXPLAIN WHY YOU" "EXPLAIN WHAT?" "LET'S JUST FORGET IT." "WAIT A MINUTE." "LET HER TALK." "GO AHEAD, EXPLAIN WHAT?" "WELL, SOMETIMES I STAY UP LATE AT NIGHT" "AND A COUPLE OF TIMES" "WELL, A COUPLE OF TIMES I'VE COME OUT ON MY PORCH" "AND I'VE SEEN LES GOODMAN HERE" "IN THE WEE HOURS OF THE MORNING" "STANDING IN HIS YARD JUST LOOKING UP AT THE SKY." "THAT'S RIGHT." "J UST, JUST LOOKING UP AT THE SKY" "AS THOUGH HE WERE WAITING FOR SOMETHING." "AS THOUGH HE WERE LOOKING FOR SOMETHING." "YOU KNOW, REALLY THIS IS FOR LAUGHS." "YOU KNOW WHAT I'M GU I LTY OF?" "I'M GU I LTY OF I NSOM N IA." "NOW, WHAT'S THE PENALTY FOR THAT?" "WELL, YOU HEARD WHAT I SAID." "I SAID IT WAS I NSOM N IA." "I SAID IT WAS I NSOM N IA!" "YOU SCARED, FRIGHTEN ED RABB ITS, YOU." "YOU'RE S ICK PEOPLE, DO YOU KNOW THAT?" "YOU'RE S ICK PEOPLE, ALL OF YOU." "AND YOU DON'T EVEN KNOW WHAT YOU'RE STARTING HERE BECAUSE LET ME TELL YOU," "LET ME TELL YOU, YOU'RE STARTING SOMETHING HERE THAT" "THAT'S WHAT YOU SHOU LD BE FRIGHTEN ED OF." "AS GOD IS MY WITN ESS, YOU'RE LETTING SOMETHING BEG IN HERE THAT'S" "THAT'S A NIGHTMARE." "IT JUST DOESN'T SEEM RIGHT KEEPING A WATCH ON THEM." "THEY'RE OUR N EIGH BORS." "WE'VE KNOWN THE GOODMANS EVER S I NCE THEY CAME HERE." "WE'VE BEEN GOOD FRIENDS." "LOOK, THAT DON'T PROVE A THING." "ANY GUY WHO'D SPEND H IS TIME LOOKING UP AT THE SKY EARLY IN THE MORNING," "THERE'S SOMETHING WRONG WITH THAT KIND OF A PERSON." "SOMETHING THAT AIN'T LEG ITI MATE." "U N DER NORMAL CI RCU MSTANCES LET IT GO BY, BUT THESE AREN'T NORMAL CI RCU MSTANCES." "LOOK AT THAT STREET." "NOTHING BUT CAN DLES." "IT'S LIKE GOING BACK INTO THE DARK AG ES OR SOMETHING." "STAY RIGHT WHERE YOU ARE, STEVE." "WE DON'T WANT ANY TROUBLE." "BUT THIS TIME, ANYONE WHO SETS FOOT ON MY PORCH, THAT'S WHAT HE'S GONNA GET." "TROU BLE." "LOOK, LES, I'M" "I'VE ALREADY EXPLAIN ED TO YOU PEOPLE." "I DON'T SLEEP VERY WELL AT NIGHT SOMETIMES," "SO I GET UP, I GO OUT, I TAKE A WALK, I LOOK U P AT THE SKY," "I LOOK AT THE STARS." "THAT'S EXACTLY WHAT HE DOES." "THIS WHOLE THING IS SOME KIND OF MADN ESS." "THAT'S EXACTLY WHAT IT IS, MRS. GOODMAN." "SOME KIND OF MADN ESS." "(Charlie) YOU BEST WATCH WHO YOU'RE SEEN WITH, STEVE," "TILL WE GET THIS ALL STRAIG HTEN ED OUT." "YOU AIN'T ABOVE SUSP ICION YOURSELF." "OR YOU, CHARLIE." "OR ANY OF US IT SEEMS FROM AG E EIGHT ON UP." "WHAT I WANNA KNOW IS WHAT ARE WE GONNA DO." "JUST STAY AROUND HERE ALL NIGHT?" "THERE'S NOTHING ELSE WE CAN DO." "ONE OF THEM'LL TI P THEIR HAN D. THEY GOT TO." "THERE'S SOMETHING YOU CAN DO, CHARLIE." "YOU CAN GO I NSIDE AND KEEP YOUR MOUTH SHUT." "YOU CAN QU IT S ITTING THERE LIKE A SELF-APPO I NTED HANGING J U DG E" "AND JUST CLI M B INTO BED AND FORGET IT." "YOU SOU N D PRETTY ANXIOUS TO HAVE THAT HAPPEN, STEVE." "I GU ESS WE OUGHTTA KEEP AN EYE ON YOU, TOO." "YEAH, I THINK MAYBE EVERYTHING MIGHT AS WELL COME OUT NOW." "YOUR WIFE'S BEEN DOING A LITTLE TALKING, STEVE," "ABOUT SOME OF THE ODD THINGS YOU'VE BEEN DOING." "YEAH?" "WELL, GO AHEAD, DON." "TELL US WHAT SHE SAID." "GO AHEAD." "WHAT'S MY WIFE SAID?" "LET'S GET IT ALL OUT." "LET'S PICK OUT EVERY I DIOSYNCRASY" "OF EVERY MAN, WOMAN AND CH I LD ON THIS WHOLE STREET." "AND THEN WE MIGHT AS WELL SET UP SOME KIND OF A KANGAROO COU RT." "NOW, HOW ABOUT A F I RING SQUAD AT DAWN, CHARLIE, TO GET RI D OF ALL THE SUSPECTS?" "NARROW THEM DOWN FOR YOU." "MAKE IT EASIER." "HUH?" "RIGHT, DON?" "WELL, THERE'S NO NEED GETTING SO UPSET, STEVE." "IT'S JUST THAT" "MYRA'S TALKED ABOUT HOW THERE'S BEEN PLENTY OF NIGHTS" "YOU SPENT HOURS DOWN IN YOUR BASEM ENT" "WORKING ON SOME KIND OF RADIO OR SOMETHING." "WELL, NONE OF US HAVE EVER SEEN THAT RADIO." "GO AHEAD, STEVE." "WHAT KIND OF RADIO SET YOU WORKING ON?" "I NEVER SEEN IT." "NEITHER HAS ANYONE ELSE." "WHO TALKS TO YOU ON THAT RADIO SET, AND WHO DO YOU TALK TO?" "WELL, I'M SURPRISED AT YOU, CHARLIE." "HOW COME YOU'RE SO DENSE ALL OF A SU DDEN?" "WHO DO I TALK TO?" "I TALK TO MONSTERS FROM OUTER SPACE." "I TALK TO THREE-H EADED G REEN MEN WHO FLY OVER HERE IN WHAT LOOK LIKE METEORS." "PLEASE, STEVE, PLEASE." "IT'S JUST A-A HAM RADIO SET, THAT'S ALL." "I BOUGHT THE BOOK FOR HIM MYSELF." "IT'S JUST A HAM RADIO SET." "A LOT OF PEOPLE HAVE THEM." "I'LL SHOW IT TO YOU." "IT'S DOWN IN THE BASEM ENT." "NO." "NO, WE WON'T SHOW THEM ANYTHING." "IF THEY WANNA LOOK I NSIDE OUR HOUSE, LET THEM GET A SEARCH WARRANT." "LOOK, BUDDY, YOU CAN'T AFFORD TO" "CHARLIE, DON'T YOU TELL ME WHAT I CAN AFFORD." "AND STOP TELLING ME WHO'S DANG EROUS AND WHO ISN'T," "AND WHO'S SAFE AND WHO'S A MENACE." "AND YOU WITH HIM, TOO, ALL OF YOU." "YOU'RE ALL STANDING OUT HERE ALL SET TO CRUCI FY SOMEBODY." "YOU'RE ALL SET TO F IN D A SCAPEGOAT." "YOU'RE ALL DESPERATE TO PO I NT SOME KIND OF A FING ER AT A N EIGH BOR." "WELL, BELIEVE ME, FRIENDS, THE ONLY THING THAT'S GONNA HAPPEN" "IS THAT WE'RE GON NA EAT EACH OTHER UP ALIVE." "[footsteps approaching]" "IT'S THE MONSTER." "IT'S THE MONSTER." "HERE, WE MAY NEED THIS." "WHAT, A SHOTG U N?" "WI LL SOMEBODY THINK?" "WHAT GOOD IS A SHOTG U N?" "NO MORE TALK, STEVE." "YOU'RE GONNA TALK US RIGHT INTO A GRAVE." "YOU'D LET WHATEVER'S OUT THERE WALK RIGHT OVER US WITH YOU." "WELL, SOME OF US WON'T." "[gunshot] [dog barking]" "IT'S PETE VAN HORN." "PETE VAN HORN." "WELL, HE WAS JUST GOING OVER TO THE NEXT BLOCK TO SEE I F THE POWER WAS ON." "CHARLIE, YOU KI LLED HIM." "HE'S DEAD." "I DIDN'T KNOW WHO HE WAS." "I MOST CERTAIN LY DI DN'T KNOW WHO HE WAS." "WELL, HE CAME OUT OF THE DARKN ESS." "HOW WAS I SU PPOSED TO KNOW WHO HE WAS?" "STEVE?" "YOU KNOW WHY I SHOT HIM." "HOW WAS I SU PPOSED TO KNOW HE WASN'T A MONSTER OR SOMETHING?" "I WAS ONLY TRYING TO PROTECT MY HOM E." "I DIDN'T KNOW IT WAS SOMEBODY WE KNEW." "I DIDN'T KNOW." "LOOK!" "CHARLIE?" "CHARLIE, THE LIGHTS JUST WENT ON IN YOUR HOUSE." "WHY DID THE LIGHTS GO ON IN YOUR HOUSE?" "WHAT ABOUT IT, CHARLIE?" "HOW COME YOU'RE THE ONLY ONE WITH LIGHTS NOW?" "THAT'S WHAT I'D LIKE TO KNOW." "YOU WERE SO QU ICK TO KI LL, CHARLIE." "AND SO QUICK TO TELL US WHO WE HAD TO LOOK OUT FOR." "MAYBE YOU HAD TO KI LL." "MAYBE PETE WAS TRYING TO TELL US SOMETHING." "MAYBE PETE LEARN ED SOMETHING AND CAM E BACK TO TELL US" "WHO IT WAS AMONGST US WE HAD TO LOOK OUT FOR." "NO, NO, IT'S NOTHING OF THE SORT." "I DIDN'T KNOW THE LIGHTS WERE ON." "I SWEAR I DIDN'T." "SOMEBODY'S PULLING A GAG OR SOMETHING." "A GAG?" "A GAG?" "CHARLIE, THERE'S A MAN LYING DEAD IN THE STREET" "AND YOU KI LLED HIM." "DOES THAT LOOK LIKE A GAG TO YOU?" "LOOK." "LOOK, I SWEAR IT ISN'T ME!" "I SWEAR IT ISN'T!" "I KNOW WHO IT IS!" "I KNOW WHO THE MONSTER IS!" "I KNOW WHO IT IS THAT DOESN'T BELONG AMONG US!" "I SWEAR I KNOW WHO IT IS!" "ALL RIGHT, CHARLIE, LET'S HEAR IT." "WHAT ARE YOU WAITING FOR?" "COME ON, CHARLIE, COME ON." "WHO IS IT, CHARLIE?" "TELL US!" "IT'S THE KI D!" "IT'S TOM MY!" "HE'S THE ONE!" "WELL, THAT'S NOT TRU E." "IT ISN'T SO." "HE'S A LITTLE BOY." "IT WAS THIS KI D WHO KNEW WHAT WAS GOING TO HAPPEN." "HE WAS THE ONE WHO KNEW." "HOW DID HE KNOW?" "HOW COULD HE HAVE KNOWN?" "(Man) MAYBE TOMMY'S AN ALIEN." "WHAT'S THE MATTER WITH YOU PEOPLE?" "NOW STOP!" "(Woman) HOW DID YOU KNOW?" "[all yelling at once]" "(man) DON'T LET HIM GET TO THE HOUSE." "(Woman) YOU'RE RIGHT, IT'S HIM." "IT ISN'T THE KI D. IT'S BOB WEAVER'S HOUSE." "IT ISN'T BOB WEAVER'S PLACE." "IT'S DON'S HOUSE." "IT'S THE WI LLIAMS' HOUSE." "IT'S THE KI D, I TELL YOU." "IT'S CHARLIE, HE'S THE ON E." "STOP!" "[screaming]" "IT'S STEVE!" "STOP IT!" "FOOLS!" "[gunshots] [screaming]" "[gunshots] [glass breaking]" "(man) UNDERSTAND THE PROCEDURE NOW?" "JUST STOP A FEW OF THEIR MACHINES" "AND RADIOS AND TELEPHONES AND LAWN MOWERS." "THROW THEM INTO DARKNESS FOR A FEW HOURS" "AND THEN S IT BACK AND WATCH THE PATTERN." "AND THIS PATTERN IS ALWAYS THE SAME?" "WITH FEW VARIATIONS." "THEY PICK THE MOST DANG EROUS EN EMY THEY CAN F IN D," "AND IT'S THEMSELVES." "ALL WE NEED DO IS S IT BACK AND WATCH." "THEN I TAKE IT THIS PLACE, THIS MAPLE STREET IS NOT U N IQU E." "BY NO MEANS." "THEIR WORLD IS FU LL OF MAPLE STREETS" "AND WE'LL GO FROM ONE TO THE OTHER AND LET TH EM DESTROY THEMSELVES." "ONE TO THE OTH ER." "ONE TO THE OTH ER." "ONE TO THE OTH ER." "(narrator) THE TOOLS OF CONQUEST DO NOT NECESSARILY COME" "WITH BOMBS AND EXPLOSIONS AND FALLOUT." "THERE ARE WEAPONS THAT ARE SIMPLY THOUGHTS, ATTITUDES, PREJUDICES," "TO BE FOUND ONLY IN THE M INDS OF MEN." "FOR THE RECORD, PREJUDICES CAN KILL" "AND SUSPICION CAN DESTROY." "AND A THOUGHTLESS, FRIGHTENED SEARCH FOR A SCAPEGOAT" "HAS A FALLOUT ALL OF ITS OWN" "FOR THE CHILDREN AND THE CHILDREN YET UNBORN." "AND THE PITY OF IT IS THAT THESE THINGS CANNOT BE CONFINED" "TO THE TWILIGHT ZONE." "(male presenter) ROD SERLING, THE CREATOR OF TWILIGHT ZONE" "WILL TELL YOU ABOUT NEXT WEEK'S STORY AFTER THIS WORD FROM OUR ALTERNATE SPONSOR." "AND NOW, MR. SERLING." "NEXT WEEK MR. RICHARD MATH ESON LEN DS US HIS F IN E WRITING TALENTS" "WHEN WE BRING YOU A U N IQU E AND MOST ARRESTING STORY OF A MOVIE ACTOR" "WHO F IN DS HIMSELF ON THAT TH IN LINE BETWEEN WHAT IS REAL AND WHAT IS A DREAM." "MR. HOWARD DU FF STARS IN WORLD OF DIFFERENCE," "WHICH I THINK YOU'LL DISCOVER IS A TELEVIS ION PLAY OF DIFFERENCE, TOO." "THAT'S NEXT WEEK." "A JOU RN EY INTO THE TWILIGHT ZONE." "THANK YOU AND GOOD NIGHT." "[eerie music]" "(male presenter) BE SURE TO SEE THE FUN-FILLED FAMILY LIFE" "OF ONE OF AMERICA'S GREATEST ENTERTAINERS, THE DAN NY THOMAS SHOW." "MONDAY NIGHTS OVER MOST OF THESE STATIONS." "THE TWILIGHT ZONE IS BROUGHT TO YOU TONIGHT" "BY THE NEWEST COFFEE SENSATION ON THE MODERN SCENE." "NEW AROMA-ROAST SANKA COFFEE." "(man) N." "(woman) E." "W." "S." "(both chanting) N-E-W-S." "WE'VE GOT NEWS FOR YOU." "(man chanting) THERE'S A GREAT NEW COFFEE WAITING FOR YOU." "?" "BRAND NEW SANKA ?" "THE FLAVOR'S RICH." "AROMA, TOO." "?" "AROMA-ROAST SANKA ?" "RICH NEW AROMA." "OH!" "RICH NEW FLAVOR." "AH!" "?" "SIP SERENE THERE'S NO CAFFEINE ?" "THE ONLY COFFEE ON THE MODERN SCENE" "THAT GETS THE BEST OF THE COFFEE BEAN." "?" "AROMA FLAVOR ?" "BUT NOT CAFFEINE." "?" "RICH NEW AROMA-ROAST SANKA ?" "THE COFFEE THE MODERN WORLD DESERVES." "THE COFFEE THAT CAN'T GET ON YOUR NERVES." "?" "GLORY BE IT'S CAFFEINE FREE ?" "THE PERFECT COFFEE FOR MODERN LIVING." "DRINK ALL YOU WANT WITHOUT M ISGIVING." "?" "RICH NEW AROMA-ROAST SANKA ?" "AROMA, FLAVOR." "STILL 97% CAFFEINE FREE." "WILL WONDERS NEVER CEASE?" "?" "SANKA ?" "AND THE PERFECT COFFEE ON THE MODERN SCENE." "BRAND NEW AROMA-ROAST SANKA." "GIVES YOU ALL THE BEST OF THE COFFEE BEAN." "THE BEST AROMA, THE BEST FLAVOR," "AND BEST OF ALL NO CAFFEINE." "YES, THE HONEST-TO-GOODNESS AROMA, THE FULL-TIME HARDY FLAVOR." "ALL THE BEST OF THE COFFEE BEAN." "AND GREATEST OF ALL, YOU CAN DRINK ALL YOU WANT." "NEW AROMA-ROAST SANKA IS STILL 97% CAFFEINE FREE." "SANKA COFFEE," "AROMA, FLAVOR, BUT NOT CAFFEINE." "GO AHEAD, INDULGE YOURSELF."