Mirror Image
- Episode aired Feb 26, 1960
- TV-PG
- 25m
While waiting in a bus station, Millicent Barnes has the strange feeling that her doppelganger is trying to take over her life.While waiting in a bus station, Millicent Barnes has the strange feeling that her doppelganger is trying to take over her life.While waiting in a bus station, Millicent Barnes has the strange feeling that her doppelganger is trying to take over her life.
- Director
- Writer
- Rod Serling(uncredited)
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaRod Serling claimed one of his real-life experiences inspired this story.
- GoofsPaul and Millicent's first conversation lasts for almost 3 minutes yet the clock on the wall behind them remains at 2:15.
- Quotes
Narrator: [Opening Narration] 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 career women, she has a generic classification as a "girl with a head on her shoulders." All of which is mentioned now because, in just a moment, the head on Miss Barnes' 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 if she's going mad.
- ConnectionsEdited into Twilight-Tober-Zone: Mirror Image (2020)
Perhaps the creepiest of all the episodes. The dimly-lit old station presided over by a grouchy ticket seller is the very model of a late night bad dream, the kind of place where sounds echo off the walls and different dimensions come together. Then too, no one in 1959 was better at portraying afflicted women than Vera Miles, which is probably why producer Houghton got her for the show. Watch the subtlety of her expressions as she drifts deeper into emotional torment-- no wonder she was a Hitchcock favorite. The direction by Gothic ace John Brahm is also outstanding. In fact, his movie career specialized in just such psychologically troubled subjects. Also hard to say enough about Bernard Hermann's wonderfully eerie score that blends in with developments at exactly the right moments, leading us ever further into the suspense. Even the cop car abduction adds to the overall effect with an unnerving police-state abruptness about it. Baby-face Martin Milner registers too, as a concerned stranger or is he just "on-the-make"-- certainly the thought must have crossed his mind as he sits down next to her. Perhaps that was his big mistake.
Almost a perfectly wrought little gem from that marvelous first year of the series.
- dougdoepke
- Jul 2, 2006
Details
- Runtime25 minutes
- Color
- Aspect ratio
- 1.33 : 1