On the abandoned thirteenth floor, elevator operator Gus half-jokingly cautions twelfth brother and sister Billy and Karin about playing here - especially considering the unexplained disappearance of the last tenants.
Through the derelict expanse, Billy skilfully steers a hockey puck. Karin makes a brave effort, but sports just aren't her thing. Having been adopted, she puts it down to her genes. Suddenly, through the windows, blaze a succession of bright purple lights, accompanied by a shrill whooshing sound and a rumble which shakes the roof. Unnerved, the two decide to call it a day.
As the quake continues, they wait nervously for the elevator. Instead of Gus, it's now staffed by a suited, long-haired man who identifies himself as Leonid. He explains Gus to have been called to an "emergency."
That night, as Karin sleeps, the portable television screen flickers to life. Amidst the static appears the face of a man. He announces to Karin "a little visit." She puts it down to a dream, and goes back to sleep.
The next day, as Karin starts to recount her dream, Billy finds an un-stamped letter, addressed to Karin. Colourful stationary issues invitation to "the toy factory," newly opened on the thirteenth floor, who want to test new toys and sports equipment.
That night, the television once more transmits the image and voice of the strange man. Karin attempts to change channels, to no effect. He entreats her to attend tomorrow's event. She sleepily agrees.
The next day, Karin and Billy find the recently derelict thirteenth floor to be tiled and walled in bright pastel shades. A huge dice glides independently across the floor. Between two luminous cartoon sentries, a conveyor belt displays brightly coloured animal figurines. A slickly uniformed woman, Olga, brightly greets Karin and dismisses Billy, as only one "test subject" is needed. Karin insists on Billy's remaining.
Olga leads them to a similar hallway, and introduces technician Raymond - the man from Karin’s "dream." In slightly brighter tones than before, he uncertainly notes the presence of two children.
He leads them to a smooth table, rowed with buttons, pressing of which sounds a distinct note. The two are to follow the sequence of notes sounded by Raymond: it's a coordination game, to see who can react the fastest. Karin is reluctant, but Raymond assures her not to be in competition.
Billy successfully repeats the first sequence. Raymond turns a wheel, and Karin finds herself sounding the notes with ease. At another turn of the wheel, Billy feels drowsy. Karin again sounds the correct notes. While the drowsy Billy practises, Raymond leads Karin to the next game.
In a metal chair, Karin sits. Raymond proposes stimulation of previously unused parts of her brain. On a crate before them is a yellow ball. Raymond has Karin close her eyes, focus on the ball, and, on opening her eyes, push it with her mind. She looks at it, points, and the ball rises from the crate, to hover tremulously in midair. Amazed, she happily guides it through a basketball net. She then notices Billy, slumped over the table.
Raymond announces a surprise trip. He turns a wheel, and Billy winces. Raymond explains the atmospheric pressure to simulate that of "home." He pulls at the nape of his neck. When Karin next looks at him, he holds in his hands his own detached, hollow, pliable head: it’s a mask. His voice now echoes electronically. He turns to face Karin with his own head: a grey, hairless, rigidly edged cranium, whose flat nose and blank eye sockets lie behind translucent skin. Karin gets quite a fright.
With Billy unconscious, Raymond presses a button. In the ceiling, the roof of a cylindrical port slides apart to reveal a gathering of more such beings. As Karin's chair rises towards them, their three-fingered hands gesture invitingly. Karin points at the switches below, and telekinetically flips one. The roof closes, and the chair lowers. At a nudge from Karin, Raymond whirs to a mechanical halt.
On an unsuccessful attempt to wake Billy, Karin hears Olga, and hides in an air duct. With a silver gadget, Olga reactivates Raymond, who mechanically intones atmosphere measurement, which he notes will soon be fatal to Billy.
Raymond finds Karin, and calmly pursues her down the corridor. She manages to telekinetically dislodge several ceiling decorations, detaining him. Back in the testing hall, she finds the silver gadget, switches him off again, and readjusts the lethal atmosphere.
She reaches the elevator. Its doors open to reveal Leonid. She tries the silver gadget on him, to no avail: they’re not all robots.
He urges her to realise her natural place among the new tenants, with whom, he promises, she will find happiness. She seems briefly persuaded, but, overruled by a need help Billy, she breaks away and runs for the stairwell.
On the twelfth floor, she inspects the silver gadget, and finds an option for verbal command. Back in the testing room, she helps up the semi-conscious Billy, but the door is blocked by Raymond. When Olga arrives, Karin commands, via the gadget, Raymond to restrain her.
Karin retreats with Billy into the elevator.
Back in their apartment, Karin and Billy hear, from above, a thunderous whoosh. Through Karin’s bedroom window blazes a purple light.
The television flicks on. In the static appears the face of Olga, who addresses Karin. Ten years ago, the departing tenants left Karin here by mistake. This would have been explained, had the proper atmosphere restored Karin’s senses. With no more atmosphere, the tenants must now go home. Olga's human aspect fades, to reveal the grey, featureless face beneath. In ten more years, they will return for another rescue.
Incredulous, Billy glances at his adopted sister, whose human disguise has faded to reveal her true face: grey, hairless and blank.
Betty Anne reasserts her point about the mystery to be found in any identity. Gary douses the fire, and declares this meeting of the Midnight Society closed - whoever they all are.
This episode provides examples of:
- Aliens Among Us: The newly returned tenants of the thirteenth floor, and Karin, their unintentionally abandoned daughter.
- Bittersweet Ending: The apparently sinister tenants were really Karin’s loving birth family, and just wanted to take her home. However, because they've run out of time, they failed to apprehend her and bring her home. Some day, they’ll be back for her in ten years, and Karin’s memories are restored, if in a sinister manner that freaks out Billy.
- The Blank: Beneath their human disguises, the tenants’ faces are featureless, save for a flat nose and eye sockets layered by translucent grey skin.
- Creepy Monotone: Down Played. Raymond and Leonid initially speak in eerily subdued tones. Leonid remains somewhat subdued, but becomes earnestly emotive.
- Does This Remind You of Anything?: In a Red Herring manner that paints the thirteenth floor's tenants as stranger, Leopold's attempt to tempt Karin to come with them feels a bit like a stranger trying to convince an innocent child to come along with them.
- Foreshadowing: Karin seems fond of astronomy. Billy offhandedly mentions her recurring dream of flying through outer space.
- Good Parents:
- Karin’s adopted parents.
- The tenants of the thirteenth floor aren’t trying to kidnap Karin; they simply want to take her home, and genuinely desire her happiness.
- Happily Adopted: Karin lives happily with her earthly parents and brother.
- It Won't Turn Off: Karin’s bedroom television, on interception by the new tenants.
- Mind over Matter: Raymond teaches Karin to use her innate telekinesis.
- 90% of Your Brain: Subverted. Raymond teaches Karin to use previously unused parts of her mind - although her brain isn't that of a human.
- Not Using the "Z" Word: The tenants are never actually referred to as aliens.
- Robospeak: Raymond, when malfunctioning.
- They Should Have Sent A Poet: Leonid gives a heartfelt description of the splendor to be found back home across the universe.
- True Companions: Despite their conflicting interests, adopted siblings Karin and Billy.
