The Twilight Zone (1959) quotes

Dialogue from a play, Hamlet to Horatio: "There are more things in heaven and earth than are dreamt of in your philosophy." Dialogue from a play written long before men took to the sky. There are more things in heaven and earth, and in the sky, that perhaps can be dreamt of. And somewhere in between heaven, the sky, the earth, lies the Twilight Zone.

Infantry platoon, U.S. Army, Philippine Islands, 1945. These are the faces of the young men who fight. As if some omniscient painter had mixed a tube of oils that were at one time earth brown, dust gray, blood red, beard black, and fear - yellow white, and these men were the models. For this is the province of combat and these are the faces of war.

From William Shakespeare, Richard the Third, a small excerpt. The line reads, 'He has come to open the purple testament of bleeding war.' And for Lieutenant William Fitzgerald, A Company, First Platoon, the testament is closed. Lieutenant Fitzgerald has found the Twilight Zone.

The time is the day after tomorrow. The place: a far corner of the universe. The cast of characters: three men lost amongst the stars, three men sharing the common urgency of all men lost - they're looking for home. And in a moment they'll find home, not a home that is a place to be seen but a strange, unexplainable experience to be felt.

Kirby, Webber, and Meyers, three men lost. They shared a common wish, a simple one, really - they wanted to be aboard their ship, headed for home. And fate, a laughing fate, a practical jokester with a smile that stretched across the stars, saw to it that they got their wish, with just one reservation: the wish came true, but only in the Twilight Zone.

Millicent Barnes, age twenty-five, young woman waiting for a bus on a rainy November night. Not a very imaginative type is Miss Barnes, not given to undue anxiety or fears, or for that matter even the most temporal flights of fancy. Like most young career women, she has a generic classification as a, quote, girl with a head on her shoulders, end of quote. All of which is mentioned now because in just a moment the head on Miss Barnes's shoulders will be put to a test. Circumstances will assault her sense of reality and a chain of nightmares will put her sanity on a block. Millicent Barnes, who in one minute will wonder is she's going mad.

Obscure metaphysical explanation to cover a phenomenon, reasons dredged out of the shadows to explain away that which cannot be explained. Call it parallel planes or just insanity. Whatever it is, you find it in the Twilight Zone.

Look! Look, I swear it isn't me! I swear it isn't! But 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!

Alright, Charlie, let's hear it.

It's...it's...

Well, what are you waiting for!

Come on Charlie, come on!

Who is it, Charlie? Tell us!

It's the kid! It's Tommy! He's the one!

The tools of conquest do not necessarily come with bombs, and explosions, and fallout. There are weapons that are simply thoughts, ideas, prejudices, to be found only in the minds of men. For the record, prejudices can kill and suspicion can destroy. A thoughtless, frightened search for a scapegoat has a fallout all its own for the children and the children yet unborn. And the pity of it is, is that these things cannot be confined to the Twilight Zone.

Rod Serling

Maple Street, USA. Late summer. A tree-lined little world of front porch gliders, barbecues, the laughter of children and the bell of an ice cream vendor. [pause] At the sound of the roar and the flash of light, it will be precisely 6:43 PM on Maple Street [roaring and dialogue] This is Maple Street on a late Saturday afternoon. Maple Street...in the last calm and reflective moment...before the monsters came.

You're looking at a tableau of reality, things of substance, of physical material: a desk, a window, a light. These things exist and have dimension. Now this is Arthur Curtis, age thirty-six, who also is real. He has flesh and blood, muscle and mind. But in just a moment we will see how thin a line separates that which we assume to be real with that manufactured inside of a mind.

The modus operandi for the departure from life is usually a pine box of such and such dimensions, and this is the ultimate in reality. But there are other ways for a man to exit from life. Take the case of Arthur Curtis, age thirty-six. His departure was along a highway with an exit sign that reads 'This way to escape.' Arthur Curtis, en route to the Twilight Zone.

You're looking at Act One, Scene One, of a nightmare, one not restricted to witching hours or dark, rainswept nights. Professor Walter Jameson, popular beyond words, who talks of the past as if it were the present, who conjures up the dead as if they were alive. In the view of this man, Professor Samuel Kittridge, Walter Jameson has access to knowledge that couldn't come out of a volume of history, but rather from a book on black magic, which is to say that this nightmare begins at noon.

Last stop on a long journey, as yet another human being returns to the vast nothingness that is the beginning and into the dust that is always the end.

You are looking at a species of flimsy little two-legged animal with extremely small heads whose name is Man. Warren Marcusson, age thirty-five. Samuel A. Conrad, age thirty-one... They're taking a highway into space, Man unshackling himself and sending his tiny, grouping fingers up into the unknown. Their destination is Mars, and in just a moment we'll land there with them.