Out of the Unknown (1965) s04e02 Episode Script
To Lay A Ghost
1 [theme music plays.]
[car slowing to a halt.]
[Iâll Never Find Another You by The Seekers playing over radio.]
[plane whirring overhead.]
[music continues to play over radio.]
[a twig snaps, the music stops.]
Is someone there? [plane whirring.]
[intense heartbeat and heavy breathing.]
Who are you? What do you want? Let me by! I only live over there.
My father will be along in a minute.
You'd better listen.
That's the truth.
He always comes to meet me.
No, don't please! Please don't hurt me! Stop it! No, don't please.
Please don't [music plays again.]
Please, stop it! Don't Please Please, don't! [church bell ringing, camera shutter clicks.]
[camera shutter clicks.]
Di! Oh, come on, Eric, please! [engine revs.]
[Eric.]
Welcome to your new home, Mrs.
Carver.
[car door slams outside.]
Fool! Put me down.
Do you want to ruin your image? - What image? - Eric Carver, swinging photographer of the contemporary scene revealed as old fashioned romantic.
My God, you're right! If that got out I could be finished! I shan't tell anyone, promise.
- In that case, give us a kiss.
- Put me down.
More.
More! Hadn't you better bring the cases in? Yes, I suppose I had.
Doesn't it look marvellous? All fresh and new and yet somehow it still hasn't changed.
It feels the same to me.
Welcoming! Darling, we're going to be so happy here, aren't we? We'd better be.
Itâs cost a fortune.
Iâll get the things.
Surprise, surprise! They turned the electricity on.
Iâm going to grow masses of really exotic things.
A simply enormous rubber plant.
- Orchids perhaps.
- Of course, that's not to say - we've got any water or gas.
- And an orange from the pip.
We don't need gas.
We're going to be all electric.
Are you sure you want to move in now? Yes, darling, I do.
So very much.
Besides you're doing that photo feature on the conversion.
Simpler if you're on the spot.
Whatever it is about this house, it's really got you, hasn't it? Yes, I can't explain it.
Itâs just that Well, I know I belong here.
It is as though the house has been here for years just waiting for me.
A house that you want.
So right! Did I tell you I found a nice little old man, who specialises in restoring Victorian furniture? Iâve asked him to do these up for us.
Just think, darling, these chairs and that gorgeous bed belonged to the very first people to own this house.
That should appeal to the secret romantic in you.
And if not, Victoriana is very trendy, eh? This place is special.
Everything is going to be perfect here.
Everything! [Diana.]
I must say they've done a marvellous job on this bathroom.
Stop fussing, woman, and come to bed.
Won't be a minute.
There Iâm ready.
Here I come.
Ta dum! Like it? - Very much.
- Brand new, to celebrate.
Itâs so light.
I can hardly tell Iâve got anything on at all.
It is nice, isn't it? Itâs beautiful.
And you're beautiful.
So come to bed before you get pneumonia.
I must say good night first.
Good night, house.
Good night, world! Diana, come away from that window.
You'll start a riot.
Who's there to see me? There's nothing there but the garden.
Come to bed.
I don't think Iâve ever seen you as happy as this before.
That's because Iâve never been so happy before.
I really do approve of that nightdress.
No, Eric, don't spoil it, please! I don't want to.
I can't! Iâm sorry! Just that I thought well with moving in here and you being-- Well, I don't! Oh, Iâm sorry.
I can't, not yet.
I know it must be awful for you, but you've known all along how I feel.
I never tried to hide it from you, did I? No, never.
Itâs just that sometimes you seem-- That's what I was so worried about our getting married Kept putting it off.
It didn't seem fair.
And I was right, wasn't I? - I do love you.
- I know.
Iâm sorry, my darling.
Often I wonder how you-- It doesn't matter.
Itâs not important.
Just so long as we're together.
Iâm a very patient fella.
Go on, get some sleep.
Good night.
[birds chirping.]
[Diana.]
But, darling, Iâve got to get us some breakfast! [Eric.]
Later! - Where are we going? - Just around the garden.
[Diana laughing.]
Keep going, and another one.
Very good.
[Diana laughing.]
Stop.
[Eric.]
Come on.
All right.
[screams.]
Darling, get them off me! [clicking.]
What are you doing? You know how I hate webs! Oh, no, help me! Oh, horrible! Darling, stop it! Stop taking them, help me! [buzzing.]
[woman's voice over intercom.]
Your wife is here, Mr.
Carver.
Fine.
Fine.
And you don't know who he is? Of course not! I swear he wasn't there when I took the photograph.
Well, he obviously was there, wasn't he? We just didn't see him.
Darling, Iâve been taking photographs for a long time.
I do know what I frame up in the viewfinder.
He's only in the potting shed ones.
Could it be some kind of double exposure? Hardly, it was a new roll.
And besides if I had accidentally loaded up with exposed film, the super-imposition would've run right through.
I mean, there's no mysterious figure on the other 30-odd shots I took, just on these last ones.
Well, then that settles it.
He was there.
He must've been there.
But how come we didn't see him? You were far too busy concentrating on your beautiful wife.
So was he by the look of it.
And you didn't see him either? Iâd have said something at the time, wouldn't I? Yes, I suppose so.
What's he doing? And who the hell is he? He's not known to us, Mr.
Carver.
Not that he has to be local, of course.
- When did this happen? - Last week.
What do you suppose he was up to, Inspector? A peeping tom or some drop out perhaps.
Have you seen him again since you took these pictures? - No.
I didn't really see him then.
Hmm? It doesn't matter.
I just don't want him hanging around.
I don't think you need worry.
He probably moved on.
But Iâll have a word with the Panda patrol and the beat man, to keep their eyes open.
Thanks, Inspector.
Is it all right if I hang on to one of these? Yes, of course.
I hear you've done great things to the old Hubbard place.
- We've made a few changes.
- Itâs about time.
Itâs a pity to see a big house like that standing empty.
- Is it all finished now? - Yes, all finished.
We've even got the electricians out and the furniture in.
Good.
Then, you've got the place to yourselves at last, eh? I hope so.
[bell chiming.]
Di? Are you in there, Di? Diana? [rattling.]
[owl hooting faintly.]
Di? [frog croaking.]
Diana! [owl hooting.]
[frog croaking.]
Diana! For God's sake, Diana.
Itâs two o'clock in the morning.
What the hell are you doing? Hey, it's all right, love.
Itâs all right.
Come on, come back to bed.
[creaking.]
[shutter clicking.]
[bell chiming.]
[chiming continues.]
[rustling, scraping.]
[crash.]
Darling, what happened? Are you all right? [Diana.]
Thank God you weren't hurt, darling! Amen.
[Diana.]
That statue must have been loose or something.
You'd better check the other one.
We don't want that happening again.
No, we don't! Were you out there on the balcony when it happened? No, I woke up and you weren't anywhere around, and I was coming out to look for you when I heard the crash.
Oh, you could've been killed, do you know that? That thought had crossed my mind.
Maybe you ought not to go into the office today.
Why? Well, after a nasty experience like that.
- Maybe you ought to rest.
- Too much work, love.
How about you? How are you feeling? Me? Iâm feeling fine now.
It was just the shock of seeing how close that thing came to hitting you.
No, I wasn't thinking about that, I was thinking about last night.
Last night? Oh, that stupid sleepwalking act of mine.
Iâd forgotten all about that.
Iâm sorry, darling.
You must've been worried silly.
I was.
Have you ever done anything like that before? Not as far as I know.
It was a strange thing to do, wasn't it? All I can remember is waking up out there in the garden, and you bringing me back to bed.
And you're sure you are all right now? Never felt better.
Poor you though.
First me sleepwalking and then that statue falling.
- It makes me feel guilty.
- Why? You can't help sleepwalking.
And you didn't push that statue, did you? Eric! What an awful thing to say! Itâs all right, it's a joke.
Still, if you had done it, it would've been a nicely ironic way of finishing me off.
What do you mean? That pile of rubbish down there was supposed to be Clytemnestra.
She murdered her husband.
Transfer this call to the accountant, please, love.
He's dealing with it.
Hello, Mac.
How's things in the lab? Extractor fan broke down again.
Damn thing! I phoned the engineers.
They're sending someone around.
Not that it will make any difference.
You've got something for me? Aye, I've run off some of the stuff you took down at your house.
You know, the second batch, with the rooms all done up and furnished.
Fine, just stick them on the desk, will you? Iâll have a look at them in a moment.
Cigarette? - How did they come up? - They're good.
Yeah, certainly original.
That's a very nice place you've got down there.
I can't say I find the model very appealing though.
Do you mind! You're talking about the woman I love.
I didn't mean, Mrs.
Carver.
I meant the other one, the man.
Now he's in the house.
[French music plays through record player.]
[doorbell rings.]
[music stops.]
- Mr.
Carver? - Yes.
My name's Phillimore.
[Phillimore.]
You contacted the National Psychical Research Association, I believe.
[Eric.]
Oh, yes of course, do come in.
Dr.
Phillimore? That's right.
I do field work, for the National Association from time to time.
And as I happen to live locally, they asked me to call.
- I see.
Can I take your coat? - Thank you.
Sorry.
- You're a doctor of medicine? - No, I'm a psychiatrist.
I see you are surprised, Mr.
Carver.
But haunted houses and troubled minds, aren't all that dissimilar.
You could say that most of those people who come to my consulting rooms are plagued with ghosts of one kind or another.
Oh, what a delightful home you have.
Thank you.
Iâll call my wife.
She's upstairs.
I think it might be a good idea if you and I had a chat first.
Just the two of us.
All right.
Iâve got the photographs in the sitting room.
So, it's purely a photographic spirit? Yes.
Is that unusual? Well, there have been many photographs of alleged psychic manifestations.
Almost without exception, they were proved to be fakes.
Do you think I faked those? Well, you could've done.
But for what reason? - Exactly! - Publicity? Sensation seeking? To frighten your wife for some reason? What do you mean, some sort of persecution? Well, if that's the case, it's not working.
Iâm the one who is scared.
Not her.
That's interesting.
Cigarette? Oh, don't tempt me.
Oh, dear! Do you really believe in ghosts? Oh, I certainly believe in the irrational.
I live with it every day.
If I didn't, Iâd have to dismiss your pictures as a hoax.
Yes, but ghosts? Mr.
Carver, why should we attribute all phenomena we label as supernatural to the dead? If we know anything for certain about the human mind, it's that it's capable of some very strange things.
Like conjuring up a figure that can't be seen, - but comes out on photographs? - Perhaps even that.
I see, so it's all in the mind.
We're imagining it or pretending that he's not visible - when we take the-- - I didn't say that, Mr.
Carver.
Your visitor might well come from beyond the grave.
At the moment, we just don't know.
How do we start? Well, what about a stroll around your garden? So you've been married for more than three months, but you've never made love to your wife.
Why's that? Diana was assaulted when she was 15 by some maniac.
- He raped her.
- I see.
So, by association, the sexual act is repellent to her.
I knew the way she felt before we got married.
- Does it bother you? - Sometimes.
The doctors say she'll get over it.
But meanwhile she rejects you.
On the odd occasions I forget, which isn't often.
Did they catch the man who raped her? Yes.
Not his first offence apparently.
That's where our friend first showed up.
The potting shed.
Oh, it's getting chilly.
Shall we go in? And, if it's not an imposition, perhaps Mrs.
Carver would show me over the house.
- It really is delightful.
- Thank you, Doctor.
I must say I agree with you but then I am biased.
Yes, your husband told me you feel an extra special - affinity with this house.
- Oh, I do.
I felt it from the first moment we came here.
As if it had been waiting for you, for a long, long time, your husband says.
- Does that sound silly to you? - Not at all.
And this strange business with the photographs, I gather that doesn't worry you.
No, not in the least.
Itâs Eric who is worried.
- You're not afraid? - No, quite the opposite.
I find it all very exciting.
Right.
Thank you.
Well, that's very nice.
Itâs French, late 18th century, I believe.
It was my father's.
Itâs so big there was really nowhere else we could put it.
[Phillimore laughs.]
Well, thank you both for the guided tour, and for putting up with all my questions.
Itâs been most interesting.
What's your next move then, doctor? I was rather hoping you'd ask me to stay for the evening.
Of course.
I can't offer you a very fancy meal, Iâm afraid.
Oh, anything, Mrs.
Carver.
Please, Iâm not fussy.
And then later on we'll see if we can't get a peep at your admirer.
- Admirer? - Really, Doctor.
Well, it's certainly not you he's ogling.
Well, if you'll excuse me, Iâll go and see what we've got in the deep freeze.
Shall we have a drink? Yes, that sounds like a very good idea.
And then perhaps you'll help me bring in some equipment I have in the car.
So, you think there is something here? Oh yes, Mr.
Carver, there's no doubt about it.
There's a very very, strong influence at work here.
But exactly what's causing it, well, that I can't tell.
Not yet anyway.
Good, good, good.
How's it going? Fine.
Is Mrs.
Carver all right? Yes, she's all right.
She's gone to bed.
You know you still haven't told me what you've got in mind.
Well, it's quite simple.
Your visitor only appears on photographs.
So now there's at least one camera, with electronic flash in every principal room.
If he's present at any time tonight, we shall get him on film.
Yes, but we can't be everywhere at once.
Besides we can't see him, how do we know when to shoot.
Oh, we won't have to.
He'll do it for us.
Just about the one common fact with all psychic phenomena is that when they occur, they always create a sudden, localised fall in temperature, so that the air immediately around them is considerably colder, than that in the rest of the room.
They're called cold spots.
ln there is an ultra-sensitive thermostatic switch, set to contact at only five degrees below normal room temperature.
If a cold spot passed across the face of this unit, the camera will operate automatically.
Very clever.
Let's hope it works.
Well, it will work.
Assuming anything happens to trigger it of course.
[laughs nervously.]
But if it does, then the flash gun will serve a double purpose, because as each one fires we'll know exactly where the cold spot is.
And we'll be able to pinpoint its movements.
- Are you afraid? - Yes, a little.
There's no need to be.
Not if you do exactly as I tell you.
Iâll try to remember that.
[Eric.]
Is there anything I can do to help? - No, everything is ready.
- What now? Well, we make ourselves as comfortable as possible, Mr.
Carver.
And we wait.
What time is it? Twenty five past three.
I don't think anything's going to happen.
Perhaps not.
- More coffee? - Good idea.
Are you bored? I was all tensed up.
A bit of an anti-climax.
Been a waste of time, hasn't it? No.
If nothing happens it will prove something.
Do you hear that, ghost? You'd better to your stuff or the doctor here will think that I rigged the whole thing just as a corny stunt.
That's what you're beginning to think, isn't it? Iâve already told you What is it? What can you see? Nothing, but it's here.
Somewhere close by.
Don't you feel it? - No, I can't feel anything.
- Then take my word for it.
There's a psychic presence and it's getting stronger every second.
Stay exactly where you are, Mr.
Carver.
He's on the stairs.
He's stopped moving.
He's somewhere between those two cameras.
What's he waiting for? I said stay where you are! Diana, go back.
He's on the stairs.
Diana! Let go, will you! Let go.
Diana! [footsteps on stairs.]
Carver, the mirror! Look out! [clattering, crashing, shattering.]
Itâs all right, Mr.
Carver.
Itâs all right now.
He's not here anymore.
[bell chiming.]
- How is she? - Tired.
She's staying in bed for a while.
But otherwise she's as right as rain.
She insists she doesn't remember a thing about last night.
And what about you? That was a very nasty experience.
- You sure you're all right? - Me? Yes, Iâm okay.
Just the same Iâd take it easy over the rest of the weekend, if I were you.
Yes, I will.
What's your next move? Research.
I must find out much more about this house and its history.
I hit it! Darling, I hit it.
That's great.
Let's try it again.
And this time, see if you can hit the gold.
Okay, fire! Hold your fire until Iâm ready.
[bell chiming.]
Whenever you like.
[clicking.]
Great picture but wrong target! Di, don't do that, your finger might slip.
Di, don't do that! Itâs dangerous.
[clicks.]
That's his third attempt to kill you.
- Third? - What about the statue? That was Diana.
If it was, she was under his influence, like this time.
You mean, he was merely using her, as an instrument? She's certainly the key to all this.
How? Quite apart from the fact that she's emotionally disturbed by it all, she's also quite obviously psychic.
She's a medium.
Although I doubt if she is aware of that, of course.
You mean, Diana could've conjured up this man - from out of nowhere? - No, no, no.
He was there from the beginning.
As a psychic, your wife would have been immediately aware of that.
And whatever sensation she got from his presence she liked it.
That accounts for the great attraction the house had for her.
- The significant thing is-- - What? He also found her presence attractive.
ln her, he found the channel to change from a dormant influence into an active one.
- She knew this was happening? - Oh, not consciously, I think.
Can she see him? Perhaps, it's possible.
But probably not on the conscious level.
You found out something, haven't you? You know who he is.
His name was Hobbs.
Thomas Hobbs.
He was a gardener to a Mr.
and Mrs.
George Maybury, who were the original owners of the house.
I got the lead from old copies of the local paper, but I wasn't certain until yesterday.
Then I found this in the British Museum.
I had it photostatted.
Itâs a penny broadsheet.
They used to sell them in the streets whenever there was an event of great public interest.
They were very popular.
Particularly at hangings.
Hobbs was hanged? On the 8th of April, 1862.
Well, I must say you've done a marvellous job of research.
Mr.
Carver, I want to give you a couple of pieces of advice.
Number one You and your wife are obviously in danger in that house.
My suggestion is that you go home, pack a few things, and get the hell out of the place for a while.
- Right.
- Right, number two Iâd think it's essential that, Mrs.
Carver undergo a course of psychotherapy.
Iâd like to treat her myself, of course.
But if you'd rather have somebody else, I shall quite understand.
But the sooner she starts the sooner we may lay this ghost of Thomas Hobbs.
Are you suggesting she's unbalanced in some way? - Is that it? Mad, in fact? - No, no, far from it.
But we must remember her past.
The sexual assault when she was 15, subsequent need for treatment.
You think that's related? Maybe.
Maybe not.
But I don't want to give you a lot of psychiatric mumbo-jumbo about that.
To add from what Iâve seen and what you've told me, Iâd say that as far as sex is concerned, you've been how shall I put it? You've been too considerate with your wife.
- I see.
- Do you? I hope so, I hope you do.
Well, now go home and get packed.
And call me tomorrow, eh? - Yes, I will.
- Fine.
What crime was Hobbs hanged for? He murdered Mr.
and Mrs.
Maybury.
And before he strangled Mrs.
Maybury, he raped her.
Eric this is ridiculous.
You're making a fool of yourself.
Iâve told you, we're getting out of here, now, tonight.
And I said I wasn't going.
So, please put my things back in the drawer.
You don't seem to understand, Diana.
We're in danger in this place.
- Both of us.
- I like it here.
Look, Phillimore's found out what that thing is.
His name was Hobbs.
He murdered two people in this house.
ln this very room for all I know.
So we're getting out.
Iâm not! You run away, if you're afraid.
But Iâm staying.
For God's sake, Diana, don't argue.
Help me pack.
- No, I told you.
Iâm not going.
- All right, I admit it.
Iâm afraid, Iâm running away.
Whatever you say.
But you're coming with me.
If you think Iâm going to leave you with that obscenity you brought into the house.
- I brought into the house? - Don't pretend, not any more.
I know all about you.
I know you're psychic.
Phillimore told me.
The moment he met you he knew.
- He came in answer to me? - Yes, of course.
Don't you see? It had to be you.
Maybe you couldn't help it, maybe you didn't know what you were doing.
But you brought the ghost of that ugly, murdering rapist into our home.
I don't think he's ugly.
You can see him.
The other night, out there on the stairs You saw him then, didn't you? He's right, you are ill.
Diana, you don't seem to understand, what that creature is doing to you.
He's tried to murder me three times, twice through you.
Now you get the rest of the things you'll need.
Iâll finish packing.
Make me, Eric.
Make me leave.
Go on Feel the softness of those things you're holding.
They're mine.
They are me.
You want to go with you, then don't ask me.
Make me! That's what you want, isn't it? You enjoyed it the first time and you've been wanting it to happen ever since.
[bags clattering.]
I can't.
I can't.
I am not an animal.
I can't.
I can't No, you can't, can you, Eric? You never could.
[giggling.]
Stop it! Stop it! Oh, poor Eric.
Is that the best you can do? You bitch! You twisted bitch! [Diana giggling.]
[car engine starts up outside.]
[car revs and speeds off.]
[slams.]
Please don't hurt me.
My father will be along in a minute.
No, don't! Please, don't! No!
[car slowing to a halt.]
[Iâll Never Find Another You by The Seekers playing over radio.]
[plane whirring overhead.]
[music continues to play over radio.]
[a twig snaps, the music stops.]
Is someone there? [plane whirring.]
[intense heartbeat and heavy breathing.]
Who are you? What do you want? Let me by! I only live over there.
My father will be along in a minute.
You'd better listen.
That's the truth.
He always comes to meet me.
No, don't please! Please don't hurt me! Stop it! No, don't please.
Please don't [music plays again.]
Please, stop it! Don't Please Please, don't! [church bell ringing, camera shutter clicks.]
[camera shutter clicks.]
Di! Oh, come on, Eric, please! [engine revs.]
[Eric.]
Welcome to your new home, Mrs.
Carver.
[car door slams outside.]
Fool! Put me down.
Do you want to ruin your image? - What image? - Eric Carver, swinging photographer of the contemporary scene revealed as old fashioned romantic.
My God, you're right! If that got out I could be finished! I shan't tell anyone, promise.
- In that case, give us a kiss.
- Put me down.
More.
More! Hadn't you better bring the cases in? Yes, I suppose I had.
Doesn't it look marvellous? All fresh and new and yet somehow it still hasn't changed.
It feels the same to me.
Welcoming! Darling, we're going to be so happy here, aren't we? We'd better be.
Itâs cost a fortune.
Iâll get the things.
Surprise, surprise! They turned the electricity on.
Iâm going to grow masses of really exotic things.
A simply enormous rubber plant.
- Orchids perhaps.
- Of course, that's not to say - we've got any water or gas.
- And an orange from the pip.
We don't need gas.
We're going to be all electric.
Are you sure you want to move in now? Yes, darling, I do.
So very much.
Besides you're doing that photo feature on the conversion.
Simpler if you're on the spot.
Whatever it is about this house, it's really got you, hasn't it? Yes, I can't explain it.
Itâs just that Well, I know I belong here.
It is as though the house has been here for years just waiting for me.
A house that you want.
So right! Did I tell you I found a nice little old man, who specialises in restoring Victorian furniture? Iâve asked him to do these up for us.
Just think, darling, these chairs and that gorgeous bed belonged to the very first people to own this house.
That should appeal to the secret romantic in you.
And if not, Victoriana is very trendy, eh? This place is special.
Everything is going to be perfect here.
Everything! [Diana.]
I must say they've done a marvellous job on this bathroom.
Stop fussing, woman, and come to bed.
Won't be a minute.
There Iâm ready.
Here I come.
Ta dum! Like it? - Very much.
- Brand new, to celebrate.
Itâs so light.
I can hardly tell Iâve got anything on at all.
It is nice, isn't it? Itâs beautiful.
And you're beautiful.
So come to bed before you get pneumonia.
I must say good night first.
Good night, house.
Good night, world! Diana, come away from that window.
You'll start a riot.
Who's there to see me? There's nothing there but the garden.
Come to bed.
I don't think Iâve ever seen you as happy as this before.
That's because Iâve never been so happy before.
I really do approve of that nightdress.
No, Eric, don't spoil it, please! I don't want to.
I can't! Iâm sorry! Just that I thought well with moving in here and you being-- Well, I don't! Oh, Iâm sorry.
I can't, not yet.
I know it must be awful for you, but you've known all along how I feel.
I never tried to hide it from you, did I? No, never.
Itâs just that sometimes you seem-- That's what I was so worried about our getting married Kept putting it off.
It didn't seem fair.
And I was right, wasn't I? - I do love you.
- I know.
Iâm sorry, my darling.
Often I wonder how you-- It doesn't matter.
Itâs not important.
Just so long as we're together.
Iâm a very patient fella.
Go on, get some sleep.
Good night.
[birds chirping.]
[Diana.]
But, darling, Iâve got to get us some breakfast! [Eric.]
Later! - Where are we going? - Just around the garden.
[Diana laughing.]
Keep going, and another one.
Very good.
[Diana laughing.]
Stop.
[Eric.]
Come on.
All right.
[screams.]
Darling, get them off me! [clicking.]
What are you doing? You know how I hate webs! Oh, no, help me! Oh, horrible! Darling, stop it! Stop taking them, help me! [buzzing.]
[woman's voice over intercom.]
Your wife is here, Mr.
Carver.
Fine.
Fine.
And you don't know who he is? Of course not! I swear he wasn't there when I took the photograph.
Well, he obviously was there, wasn't he? We just didn't see him.
Darling, Iâve been taking photographs for a long time.
I do know what I frame up in the viewfinder.
He's only in the potting shed ones.
Could it be some kind of double exposure? Hardly, it was a new roll.
And besides if I had accidentally loaded up with exposed film, the super-imposition would've run right through.
I mean, there's no mysterious figure on the other 30-odd shots I took, just on these last ones.
Well, then that settles it.
He was there.
He must've been there.
But how come we didn't see him? You were far too busy concentrating on your beautiful wife.
So was he by the look of it.
And you didn't see him either? Iâd have said something at the time, wouldn't I? Yes, I suppose so.
What's he doing? And who the hell is he? He's not known to us, Mr.
Carver.
Not that he has to be local, of course.
- When did this happen? - Last week.
What do you suppose he was up to, Inspector? A peeping tom or some drop out perhaps.
Have you seen him again since you took these pictures? - No.
I didn't really see him then.
Hmm? It doesn't matter.
I just don't want him hanging around.
I don't think you need worry.
He probably moved on.
But Iâll have a word with the Panda patrol and the beat man, to keep their eyes open.
Thanks, Inspector.
Is it all right if I hang on to one of these? Yes, of course.
I hear you've done great things to the old Hubbard place.
- We've made a few changes.
- Itâs about time.
Itâs a pity to see a big house like that standing empty.
- Is it all finished now? - Yes, all finished.
We've even got the electricians out and the furniture in.
Good.
Then, you've got the place to yourselves at last, eh? I hope so.
[bell chiming.]
Di? Are you in there, Di? Diana? [rattling.]
[owl hooting faintly.]
Di? [frog croaking.]
Diana! [owl hooting.]
[frog croaking.]
Diana! For God's sake, Diana.
Itâs two o'clock in the morning.
What the hell are you doing? Hey, it's all right, love.
Itâs all right.
Come on, come back to bed.
[creaking.]
[shutter clicking.]
[bell chiming.]
[chiming continues.]
[rustling, scraping.]
[crash.]
Darling, what happened? Are you all right? [Diana.]
Thank God you weren't hurt, darling! Amen.
[Diana.]
That statue must have been loose or something.
You'd better check the other one.
We don't want that happening again.
No, we don't! Were you out there on the balcony when it happened? No, I woke up and you weren't anywhere around, and I was coming out to look for you when I heard the crash.
Oh, you could've been killed, do you know that? That thought had crossed my mind.
Maybe you ought not to go into the office today.
Why? Well, after a nasty experience like that.
- Maybe you ought to rest.
- Too much work, love.
How about you? How are you feeling? Me? Iâm feeling fine now.
It was just the shock of seeing how close that thing came to hitting you.
No, I wasn't thinking about that, I was thinking about last night.
Last night? Oh, that stupid sleepwalking act of mine.
Iâd forgotten all about that.
Iâm sorry, darling.
You must've been worried silly.
I was.
Have you ever done anything like that before? Not as far as I know.
It was a strange thing to do, wasn't it? All I can remember is waking up out there in the garden, and you bringing me back to bed.
And you're sure you are all right now? Never felt better.
Poor you though.
First me sleepwalking and then that statue falling.
- It makes me feel guilty.
- Why? You can't help sleepwalking.
And you didn't push that statue, did you? Eric! What an awful thing to say! Itâs all right, it's a joke.
Still, if you had done it, it would've been a nicely ironic way of finishing me off.
What do you mean? That pile of rubbish down there was supposed to be Clytemnestra.
She murdered her husband.
Transfer this call to the accountant, please, love.
He's dealing with it.
Hello, Mac.
How's things in the lab? Extractor fan broke down again.
Damn thing! I phoned the engineers.
They're sending someone around.
Not that it will make any difference.
You've got something for me? Aye, I've run off some of the stuff you took down at your house.
You know, the second batch, with the rooms all done up and furnished.
Fine, just stick them on the desk, will you? Iâll have a look at them in a moment.
Cigarette? - How did they come up? - They're good.
Yeah, certainly original.
That's a very nice place you've got down there.
I can't say I find the model very appealing though.
Do you mind! You're talking about the woman I love.
I didn't mean, Mrs.
Carver.
I meant the other one, the man.
Now he's in the house.
[French music plays through record player.]
[doorbell rings.]
[music stops.]
- Mr.
Carver? - Yes.
My name's Phillimore.
[Phillimore.]
You contacted the National Psychical Research Association, I believe.
[Eric.]
Oh, yes of course, do come in.
Dr.
Phillimore? That's right.
I do field work, for the National Association from time to time.
And as I happen to live locally, they asked me to call.
- I see.
Can I take your coat? - Thank you.
Sorry.
- You're a doctor of medicine? - No, I'm a psychiatrist.
I see you are surprised, Mr.
Carver.
But haunted houses and troubled minds, aren't all that dissimilar.
You could say that most of those people who come to my consulting rooms are plagued with ghosts of one kind or another.
Oh, what a delightful home you have.
Thank you.
Iâll call my wife.
She's upstairs.
I think it might be a good idea if you and I had a chat first.
Just the two of us.
All right.
Iâve got the photographs in the sitting room.
So, it's purely a photographic spirit? Yes.
Is that unusual? Well, there have been many photographs of alleged psychic manifestations.
Almost without exception, they were proved to be fakes.
Do you think I faked those? Well, you could've done.
But for what reason? - Exactly! - Publicity? Sensation seeking? To frighten your wife for some reason? What do you mean, some sort of persecution? Well, if that's the case, it's not working.
Iâm the one who is scared.
Not her.
That's interesting.
Cigarette? Oh, don't tempt me.
Oh, dear! Do you really believe in ghosts? Oh, I certainly believe in the irrational.
I live with it every day.
If I didn't, Iâd have to dismiss your pictures as a hoax.
Yes, but ghosts? Mr.
Carver, why should we attribute all phenomena we label as supernatural to the dead? If we know anything for certain about the human mind, it's that it's capable of some very strange things.
Like conjuring up a figure that can't be seen, - but comes out on photographs? - Perhaps even that.
I see, so it's all in the mind.
We're imagining it or pretending that he's not visible - when we take the-- - I didn't say that, Mr.
Carver.
Your visitor might well come from beyond the grave.
At the moment, we just don't know.
How do we start? Well, what about a stroll around your garden? So you've been married for more than three months, but you've never made love to your wife.
Why's that? Diana was assaulted when she was 15 by some maniac.
- He raped her.
- I see.
So, by association, the sexual act is repellent to her.
I knew the way she felt before we got married.
- Does it bother you? - Sometimes.
The doctors say she'll get over it.
But meanwhile she rejects you.
On the odd occasions I forget, which isn't often.
Did they catch the man who raped her? Yes.
Not his first offence apparently.
That's where our friend first showed up.
The potting shed.
Oh, it's getting chilly.
Shall we go in? And, if it's not an imposition, perhaps Mrs.
Carver would show me over the house.
- It really is delightful.
- Thank you, Doctor.
I must say I agree with you but then I am biased.
Yes, your husband told me you feel an extra special - affinity with this house.
- Oh, I do.
I felt it from the first moment we came here.
As if it had been waiting for you, for a long, long time, your husband says.
- Does that sound silly to you? - Not at all.
And this strange business with the photographs, I gather that doesn't worry you.
No, not in the least.
Itâs Eric who is worried.
- You're not afraid? - No, quite the opposite.
I find it all very exciting.
Right.
Thank you.
Well, that's very nice.
Itâs French, late 18th century, I believe.
It was my father's.
Itâs so big there was really nowhere else we could put it.
[Phillimore laughs.]
Well, thank you both for the guided tour, and for putting up with all my questions.
Itâs been most interesting.
What's your next move then, doctor? I was rather hoping you'd ask me to stay for the evening.
Of course.
I can't offer you a very fancy meal, Iâm afraid.
Oh, anything, Mrs.
Carver.
Please, Iâm not fussy.
And then later on we'll see if we can't get a peep at your admirer.
- Admirer? - Really, Doctor.
Well, it's certainly not you he's ogling.
Well, if you'll excuse me, Iâll go and see what we've got in the deep freeze.
Shall we have a drink? Yes, that sounds like a very good idea.
And then perhaps you'll help me bring in some equipment I have in the car.
So, you think there is something here? Oh yes, Mr.
Carver, there's no doubt about it.
There's a very very, strong influence at work here.
But exactly what's causing it, well, that I can't tell.
Not yet anyway.
Good, good, good.
How's it going? Fine.
Is Mrs.
Carver all right? Yes, she's all right.
She's gone to bed.
You know you still haven't told me what you've got in mind.
Well, it's quite simple.
Your visitor only appears on photographs.
So now there's at least one camera, with electronic flash in every principal room.
If he's present at any time tonight, we shall get him on film.
Yes, but we can't be everywhere at once.
Besides we can't see him, how do we know when to shoot.
Oh, we won't have to.
He'll do it for us.
Just about the one common fact with all psychic phenomena is that when they occur, they always create a sudden, localised fall in temperature, so that the air immediately around them is considerably colder, than that in the rest of the room.
They're called cold spots.
ln there is an ultra-sensitive thermostatic switch, set to contact at only five degrees below normal room temperature.
If a cold spot passed across the face of this unit, the camera will operate automatically.
Very clever.
Let's hope it works.
Well, it will work.
Assuming anything happens to trigger it of course.
[laughs nervously.]
But if it does, then the flash gun will serve a double purpose, because as each one fires we'll know exactly where the cold spot is.
And we'll be able to pinpoint its movements.
- Are you afraid? - Yes, a little.
There's no need to be.
Not if you do exactly as I tell you.
Iâll try to remember that.
[Eric.]
Is there anything I can do to help? - No, everything is ready.
- What now? Well, we make ourselves as comfortable as possible, Mr.
Carver.
And we wait.
What time is it? Twenty five past three.
I don't think anything's going to happen.
Perhaps not.
- More coffee? - Good idea.
Are you bored? I was all tensed up.
A bit of an anti-climax.
Been a waste of time, hasn't it? No.
If nothing happens it will prove something.
Do you hear that, ghost? You'd better to your stuff or the doctor here will think that I rigged the whole thing just as a corny stunt.
That's what you're beginning to think, isn't it? Iâve already told you What is it? What can you see? Nothing, but it's here.
Somewhere close by.
Don't you feel it? - No, I can't feel anything.
- Then take my word for it.
There's a psychic presence and it's getting stronger every second.
Stay exactly where you are, Mr.
Carver.
He's on the stairs.
He's stopped moving.
He's somewhere between those two cameras.
What's he waiting for? I said stay where you are! Diana, go back.
He's on the stairs.
Diana! Let go, will you! Let go.
Diana! [footsteps on stairs.]
Carver, the mirror! Look out! [clattering, crashing, shattering.]
Itâs all right, Mr.
Carver.
Itâs all right now.
He's not here anymore.
[bell chiming.]
- How is she? - Tired.
She's staying in bed for a while.
But otherwise she's as right as rain.
She insists she doesn't remember a thing about last night.
And what about you? That was a very nasty experience.
- You sure you're all right? - Me? Yes, Iâm okay.
Just the same Iâd take it easy over the rest of the weekend, if I were you.
Yes, I will.
What's your next move? Research.
I must find out much more about this house and its history.
I hit it! Darling, I hit it.
That's great.
Let's try it again.
And this time, see if you can hit the gold.
Okay, fire! Hold your fire until Iâm ready.
[bell chiming.]
Whenever you like.
[clicking.]
Great picture but wrong target! Di, don't do that, your finger might slip.
Di, don't do that! Itâs dangerous.
[clicks.]
That's his third attempt to kill you.
- Third? - What about the statue? That was Diana.
If it was, she was under his influence, like this time.
You mean, he was merely using her, as an instrument? She's certainly the key to all this.
How? Quite apart from the fact that she's emotionally disturbed by it all, she's also quite obviously psychic.
She's a medium.
Although I doubt if she is aware of that, of course.
You mean, Diana could've conjured up this man - from out of nowhere? - No, no, no.
He was there from the beginning.
As a psychic, your wife would have been immediately aware of that.
And whatever sensation she got from his presence she liked it.
That accounts for the great attraction the house had for her.
- The significant thing is-- - What? He also found her presence attractive.
ln her, he found the channel to change from a dormant influence into an active one.
- She knew this was happening? - Oh, not consciously, I think.
Can she see him? Perhaps, it's possible.
But probably not on the conscious level.
You found out something, haven't you? You know who he is.
His name was Hobbs.
Thomas Hobbs.
He was a gardener to a Mr.
and Mrs.
George Maybury, who were the original owners of the house.
I got the lead from old copies of the local paper, but I wasn't certain until yesterday.
Then I found this in the British Museum.
I had it photostatted.
Itâs a penny broadsheet.
They used to sell them in the streets whenever there was an event of great public interest.
They were very popular.
Particularly at hangings.
Hobbs was hanged? On the 8th of April, 1862.
Well, I must say you've done a marvellous job of research.
Mr.
Carver, I want to give you a couple of pieces of advice.
Number one You and your wife are obviously in danger in that house.
My suggestion is that you go home, pack a few things, and get the hell out of the place for a while.
- Right.
- Right, number two Iâd think it's essential that, Mrs.
Carver undergo a course of psychotherapy.
Iâd like to treat her myself, of course.
But if you'd rather have somebody else, I shall quite understand.
But the sooner she starts the sooner we may lay this ghost of Thomas Hobbs.
Are you suggesting she's unbalanced in some way? - Is that it? Mad, in fact? - No, no, far from it.
But we must remember her past.
The sexual assault when she was 15, subsequent need for treatment.
You think that's related? Maybe.
Maybe not.
But I don't want to give you a lot of psychiatric mumbo-jumbo about that.
To add from what Iâve seen and what you've told me, Iâd say that as far as sex is concerned, you've been how shall I put it? You've been too considerate with your wife.
- I see.
- Do you? I hope so, I hope you do.
Well, now go home and get packed.
And call me tomorrow, eh? - Yes, I will.
- Fine.
What crime was Hobbs hanged for? He murdered Mr.
and Mrs.
Maybury.
And before he strangled Mrs.
Maybury, he raped her.
Eric this is ridiculous.
You're making a fool of yourself.
Iâve told you, we're getting out of here, now, tonight.
And I said I wasn't going.
So, please put my things back in the drawer.
You don't seem to understand, Diana.
We're in danger in this place.
- Both of us.
- I like it here.
Look, Phillimore's found out what that thing is.
His name was Hobbs.
He murdered two people in this house.
ln this very room for all I know.
So we're getting out.
Iâm not! You run away, if you're afraid.
But Iâm staying.
For God's sake, Diana, don't argue.
Help me pack.
- No, I told you.
Iâm not going.
- All right, I admit it.
Iâm afraid, Iâm running away.
Whatever you say.
But you're coming with me.
If you think Iâm going to leave you with that obscenity you brought into the house.
- I brought into the house? - Don't pretend, not any more.
I know all about you.
I know you're psychic.
Phillimore told me.
The moment he met you he knew.
- He came in answer to me? - Yes, of course.
Don't you see? It had to be you.
Maybe you couldn't help it, maybe you didn't know what you were doing.
But you brought the ghost of that ugly, murdering rapist into our home.
I don't think he's ugly.
You can see him.
The other night, out there on the stairs You saw him then, didn't you? He's right, you are ill.
Diana, you don't seem to understand, what that creature is doing to you.
He's tried to murder me three times, twice through you.
Now you get the rest of the things you'll need.
Iâll finish packing.
Make me, Eric.
Make me leave.
Go on Feel the softness of those things you're holding.
They're mine.
They are me.
You want to go with you, then don't ask me.
Make me! That's what you want, isn't it? You enjoyed it the first time and you've been wanting it to happen ever since.
[bags clattering.]
I can't.
I can't.
I am not an animal.
I can't.
I can't No, you can't, can you, Eric? You never could.
[giggling.]
Stop it! Stop it! Oh, poor Eric.
Is that the best you can do? You bitch! You twisted bitch! [Diana giggling.]
[car engine starts up outside.]
[car revs and speeds off.]
[slams.]
Please don't hurt me.
My father will be along in a minute.
No, don't! Please, don't! No!