Thriller. 38. Sleepwalker.

deaddogsdam

First broadcast 10th April 1976.  A young American woman visiting her father in London discovers that her childhood habit of sleepwalking has returned.  Darleen Carr - Katey Summers Robert Beatty - Dan Summers Michael Kitchen - Ian Ian Redford - Barnstaple Basil Lord - Parsons Elaine Donnelly - Esme Eileen Peel - Suzy Harry Webster - Hopcroft John Challis - Peter Desmond Jordan - Telson Jane Williams - Louise George Herbert - Pearson

Transcript

00:00:21Oh, no.

00:00:49I'm sorry, I didn't do that.

00:00:52Now, come on, Dan.

00:00:54Dan, let's have it.

00:00:55Yes, come on, you still haven't told us what you're doing here.

00:00:57A three-month sabbatical.

00:01:00The man talks the way he writes. Paradoxes.

00:01:04I wouldn't call it a vacation, it would seem excessive.

00:01:07But what are you really here for?

00:01:09Another book in the offing?

00:01:11As sensational as the last.

00:01:12Look, I told you, I felt like a rest, that's all.

00:01:16Katie hadn't seen Europe, so...

00:01:17Where is that delicious door of yours, anyways?

00:01:21Upstairs, sleeping. She hasn't caught up with jet lag yet.

00:01:24Well, you certainly have. Three days.

00:01:27Already, you look as if you've been living here all your night.

00:01:31Well, you can thank Parsons and Disney for that.

00:01:33They've really been looking after things.

00:01:35Thank you, sir.

00:01:35Now, come on, Dan.

00:01:37What kind of book is it?

00:01:40Okay, okay, so I do have a subject in mind.

00:01:43I have a bit better than the last.

00:01:47Better?

00:01:48Well, it's fascinating, of course.

00:01:51I couldn't put it down, but the subject was horrendous.

00:01:56Horrendous.

00:01:57Horrendous.

00:01:59He says he said yes.

00:02:08Yes, alarmist.

00:02:09He says yes.

00:02:14He says yes.

00:02:20Then he says yes.

00:02:23He says yes.

00:02:27In the meantime, that's funny, sir.

00:02:45What is it this type? Witchcraft? Necrophilia?

00:02:51Susie, don't be so revolting.

00:02:54I suspect cannibalism.

00:02:55Oh, here comes Katie.

00:02:58Oh, is she joining us? That's fine.

00:03:00She's one hundred.

00:03:02Is there something wrong?

00:03:13Katie. Katie.

00:03:21It's all right. It's all right, baby.

00:03:23It's all right.

00:03:24No. What did I do? Did I do anything bad?

00:03:28Not a thing, baby. Not a thing.

00:03:31It's all right.

00:03:34It's all right.

00:03:49It's all right.

00:03:50It's all right.

00:03:57There we are.

00:03:59Try and get a good night's sleep this time.

00:04:02Good night, sweetheart.

00:04:03I'll take a look at my own house.

00:04:05Okay.

00:04:30Come on.

00:04:35I'm not surprised your daughter walks in her sleep, has nightmares, with you as a father, Dan.

00:04:41She's done it since she was a kid.

00:04:43Ever since she got a glimpse of your first manuscript, eh?

00:04:46It doesn't happen very often, only if she's overtired and excited.

00:04:50I guess the trip here...

00:04:56Good night, Dan.

00:04:57Good night, Harry.

00:04:59She'll be all right now, won't she?

00:05:00Sure. Write his new pin in the morning.

00:05:03Good night, Dan.

00:05:04Good night, Louise.

00:05:05Marvellous dinner, Dan. Marvellous evening.

00:05:07I'll give you a call about that, Peter.

00:05:09I'll look forward to it.

00:05:10Good night, Dan. Good to see you again.

00:05:12And you. Good night.

00:05:13Will you be in touch again soon, Dan?

00:05:15Sure will.

00:05:19There's an awful lot of stairs to fold on, Dan.

00:05:23Yeah. Good night.

00:05:25Bye.

00:05:32Oh, excuse me.

00:05:49Should've got yourself a tiger instead.

00:05:53Hmm?

00:05:54Instead of a daughter. The gate.

00:05:57Oh, that.

00:06:00I like people, Katie.

00:06:02Your kind of people.

00:06:04It's just a precaution.

00:06:05I never just want you to end up with a broken leg, do we?

00:06:08Well, I...

00:06:09I probably won't do it again.

00:06:11I'm so rested.

00:06:17Hey, now that's not for publication.

00:06:20Not yet, anyway.

00:06:24Dad, you don't really believe those things can happen these days, do you?

00:06:27I mean, black magic and wizardry.

00:06:30Katie, I don't invent them.

00:06:32And there are stranger things.

00:06:36Yes, me running around in the night.

00:06:39Well, I won't do it again.

00:06:40Sure.

00:06:41Come on.

00:06:56Esme?

00:06:57It is Esme, isn't it?

00:06:58Yes, miss.

00:06:59Where does this lead?

00:07:01To the attic room, miss.

00:07:03Attic room?

00:07:04Well, that sounds like fun.

00:07:20It's a nice little boy.

00:07:20That's, dear, this house.

00:07:20I got a go.

00:07:24Judge, stop.

00:07:24I get up for you, though.

00:07:25Oh, Jesus!

00:07:25Oh, my God!

00:07:25I'm so on, my God.

00:07:25I'll get you a night.

00:07:25Oh, my God!

00:07:28Oh, my God!

00:07:30Oh, my God.

00:07:31Me, you're going.

00:07:31All the kids, you're going on.

00:07:32And I'm soaking, you're going.

00:07:32Oh, my God!

00:07:36Oh, my God!

00:08:30It's a fairyland.

00:09:07It's a fairyland.

00:09:34It's a fairyland.

00:10:07It's a fairyland.

00:10:10It's a fairyland.

00:10:59It's a fairyland.

00:11:23It's a fairyland.

00:11:43It's a fairyland.

00:11:48It's a fairyland.

00:12:23It's a fairyland.

00:13:02It's a fairyland.

00:13:26It's a fairyland.

00:13:29It's a fairyland.

00:13:44It's a fairyland.

00:14:31It's a fairyland.

00:14:35Oh, thank you.

00:14:35But how come?

00:14:36How did you two meet up, anyway?

00:14:37Oh, we sort of bumped into each other this morning.

00:14:40This morning?

00:14:41You must have been up early.

00:14:43Didn't you sleep well?

00:14:44Of course I slept.

00:14:45Perfectly.

00:14:46It was just such a nice day.

00:14:48I wanted to go for a walk.

00:14:49Sure, sure.

00:14:50Of course, baby.

00:15:02I'm going to go for a little bit.

00:15:09I'm going to go for a little bit.

00:15:23I'll go for a little bit.

00:15:23I'll be fine.

00:15:24I'll be fine.

00:15:24I'll be fine once I've adjusted.

00:15:25I just haven't been sleeping too well.

00:15:27That's all.

00:15:27Ah, guilty conscience.

00:15:28What?

00:15:29Well, that's my theory.

00:15:31Sleep is the barometer of the state of mind, just as the pulse is to the heart.

00:15:34You store up anxieties during the day, and then at night, they come flooding back into your subconscious.

00:15:38I wrote a paper on it.

00:15:40Night and the Nightmare.

00:15:41Pretty good, eh?

00:15:44Night and the Nightmare.

00:16:05Night and the Nightmare.

00:16:10Nightmare.

00:16:18Nightmare.

00:16:24Randy.ителяe.

00:16:26Nightmare.

00:17:26Katie!

00:17:32It's all right.

00:17:34It's just a dream.

00:17:37Just a bad dream.

00:17:51This is what I like best about London, the feeling of a past, a solid foundation.

00:17:58It's nice to know the world doesn't change too rapidly.

00:18:02You're different today.

00:18:04Another bad night.

00:18:06I had a nightmare, yes.

00:18:08What about?

00:18:10Well, I don't remember.

00:18:13You've been reading too many of your dad's books.

00:18:16And what does that mean?

00:18:18Well, I mean, he does delve into the weirdest areas.

00:18:21You know he's a Pulitzer Prize winner.

00:18:23Of course I know.

00:18:24I mean, I'm not criticizing his writing, just the subjects he tackles.

00:18:27He doesn't invent those subjects, you know.

00:18:29They're part of us.

00:18:30They're real.

00:18:31No, no, you're misunderstanding me.

00:18:32I just meant to suggest that maybe what, what, you being so sensitive?

00:18:36And him writing that kind of stuff.

00:18:38Stuff?

00:18:40Stuff?

00:18:41You are in a state.

00:18:43I am not in a state.

00:18:45I want to go home.

00:18:50Katie?

00:18:55Katie?

00:18:56Did you have a good day?

00:18:58Katie?

00:19:00What's wrong?

00:19:01Nothing.

00:19:02Nothing?

00:19:03And don't you tell me nothing, young lady.

00:19:06Your face is as black as thunder.

00:19:08You didn't have a good day.

00:19:11Oh, I had a marvelous day.

00:19:13And how about you?

00:19:14Did you tap out a few more pearls of wisdom about man's degradations?

00:19:18Did you examine the evil part of his soul more closely?

00:19:22Katie!

00:19:23Excuse me, sir.

00:19:24The dinner party tonight, sir.

00:19:26If I might discuss the final arrangements.

00:19:30I'll leave it entirely to you, Parsons, in your good hands.

00:19:34I'm sure it'll be a while.

00:19:40Now, the evocation of black arts and spirits isn't to be recommended, though, Dan.

00:19:44I'm not evoking them.

00:19:46I'm just studying them.

00:19:47Something terrible will happen to you.

00:19:49Oh, like what?

00:19:50You could get your old sinus trouble back.

00:19:53Why do you do it, anyway?

00:19:55I just want to understand, to explain the inexplicable.

00:19:59Sure, why not?

00:20:03I don't believe this mumbo-jumbo, anyway.

00:20:06Black magic, it'll make one hell of a book, Dan.

00:20:09Ken is right.

00:20:11If he gets to finish it.

00:20:13I'm impervious to the supernatural.

00:20:16Eddie.

00:20:18Eddie.

00:20:20You're looking tired, sweetheart.

00:20:22Wouldn't you like to go to bed?

00:20:24Bed?

00:20:26No, no, I'm not tired.

00:20:28I'm wide awake.

00:20:29Wide, wide awake.

00:20:31I may never go to bed.

00:20:38Well, I don't have your stamina, Katie.

00:20:41If you'll excuse me, Dan.

00:20:43Sure.

00:20:44I should be going, too.

00:20:46So should you, shouldn't you?

00:20:48Oh, yes, yes, of course.

00:20:49I've got an important appointment tomorrow.

00:20:51Well, I'll see you both.

00:20:53Another marvelous evening, Dan.

00:20:54It's two, I owe you.

00:20:55No, that's not so counting it.

00:20:56It doesn't have anything to do with her mother, is it?

00:20:59Oh, she's been dead for five years now.

00:21:01She's put that well behind her.

00:21:02It's just that she's highly strong.

00:21:05Well, if it does turn out there'll be anything else, Dan,

00:21:07I know the address of a very good psychiatrist.

00:21:09I won't need any of your addresses, Peter.

00:21:11But thanks.

00:21:20It may not work with you, Katie.

00:21:25Too much brandy keeps me awake,

00:21:27but it may not work with you.

00:21:29I don't need to be kept awake.

00:21:31I just wanted a drink, that's all.

00:21:33Oh, come on.

00:21:35Don't lie to me.

00:21:36I don't like you lying to me.

00:21:40Oh, Dan.

00:21:42Am I going mad, do you think?

00:21:44Is there something wrong with me?

00:21:46Not a thing.

00:21:47You've just inherited from me.

00:21:49Too bright an imagination and too active, much too active,

00:21:52when you really should be getting some beauty sleep.

00:21:55Oh, I wish I could.

00:21:57But these dreams.

00:22:00And I've been walking again.

00:22:02Yes, I know.

00:22:04Oh, I haven't seen you.

00:22:05I've been too bushed for that, but I know the signs.

00:22:09Every night I've been walking.

00:22:11Do you know where?

00:22:13No.

00:22:16Well, at least the new gates work.

00:22:18We haven't found you lying in the hallway yet.

00:22:21Yet.

00:22:22Now, look, don't worry.

00:22:24It's the new trip of new life, lots to see, new friends.

00:22:29Oh, and that reminds me, that Barnstable guy.

00:22:32He looks like a nice boy.

00:22:33Yes, he is.

00:22:34He's really nice.

00:22:36Well, get him to take you to a disco or something.

00:22:39Dance the legs off you.

00:22:40Then you'll sleep.

00:22:43Tell him that's a direct parental order.

00:22:49Dad, I do love you.

00:22:51You'd better.

00:23:04She was funny again tonight.

00:23:06Funny?

00:23:07Ah, Miss Summers.

00:23:08Funny.

00:23:09You know, odd.

00:23:11I think I had her walking about again last night.

00:23:13I don't think we should discuss our employers like this, Esme.

00:23:16Look, just between you and me?

00:23:18Come on.

00:23:18They're nice people, generous people, than Americans usually are.

00:23:22He's a weirder.

00:23:23A what?

00:23:24Mr. Summers, a weirdo.

00:23:26He writes old books.

00:23:27Esme.

00:23:28Two of them have been banned.

00:23:29Did you know that?

00:23:30I did not know, nor do I wish to know.

00:23:32As far as I'm concerned, he's a very nice man.

00:23:34And a weirdo.

00:23:35Esme, I really will not have you talking this way.

00:23:40Nor do I like you having men friends call for you at the house.

00:23:44Oh, for pity's sake.

00:23:45We're not in the 1800s now, you know.

00:23:50There we go.

00:23:59There we go.

00:24:02Amen.

00:24:03Listen.

00:24:03Speak to me.

00:24:05This is what you do.

00:24:05Soil come trasiman was a لل BIGGIC.

00:24:05I just wanted to work with her.

00:24:06I want to deal with her.

00:24:06Thank you for –

00:24:17Well, let's talk about that.

00:24:26Oh, my God.

00:24:57Oh, my God.

00:25:17Oh, my God.

00:26:08Oh, my God.

00:26:11Oh, my God.

00:26:54Oh, my God.

00:27:01Oh, my God.

00:27:09Oh, my God.

00:27:29Oh, my God.

00:27:59Oh, my God.

00:28:16Oh, my God.

00:28:25Oh, my God.

00:28:45Oh, my God.

00:28:48Oh, my God.

00:29:10Oh, my God.

00:29:14Oh, my God.

00:29:50Oh, my God.

00:29:55Oh, my God.

00:29:59Oh, my God.

00:30:02Oh, my God.

00:30:32Oh, my God.

00:30:33Oh, my God.

00:30:36Oh, my God.

00:30:42Oh, my God.

00:30:50Oh, my God.

00:30:52Oh, my God.

00:31:02Oh, my God.

00:31:04Oh, my God.

00:31:06Oh, my God.

00:31:09Oh, my God.

00:31:23What does this young man do?

00:31:25Huh?

00:31:26Well, the 19th century young man.

00:31:28Well, first he just stands.

00:31:32And then...

00:31:33Look, I don't believe in psychic phenomena.

00:31:36I don't believe in it at all. Do you understand?

00:31:38It's unscientific, but...

00:31:39But what?

00:31:40Well, maybe you are hypersensitive to atmosphere.

00:31:45And this house certainly has atmosphere.

00:31:47Maybe your mind is like a radio station

00:31:50picking up long forgotten signals.

00:31:53Do you mean the old man might have lived here once?

00:31:56No, I didn't say that, but there could have been associations.

00:31:58Yes, look, we'll try and find out.

00:32:00Well, how?

00:32:01Well, a house as old as this are bound to be records somewhere.

00:32:04Look, here. Look, you go and get dressed,

00:32:05and I'll see if I can find some here.

00:32:13Yes, sir?

00:32:14Oh, Parson, sir, isn't it about time we had some lunch?

00:32:17I'm about to serve it, sir.

00:32:19As soon as I can get the dining room table clear.

00:32:28There's a reference here.

00:32:30New windows were added in 1881.

00:32:32Put it down.

00:32:33Hey, what goes on?

00:32:35Oh, morning, Mr. Summers.

00:32:36We're doing an instant history of this house.

00:32:37History?

00:32:38Did you know that it once belonged to Sir John Poynes?

00:32:40Yeah, he was a cavalier.

00:32:41He fought against Cromwell.

00:32:43Cromwell?

00:32:44I didn't think this place was that old.

00:32:46The original structure is.

00:32:47Some of it's still standing.

00:32:49Of course, it's been added and annexed a lot since then.

00:32:51They used to hide political prisoners here.

00:32:53There even used to be a secret passage leading through to the priest's house that backed onto this.

00:32:58Well, it all sounds very, very fascinating, but not very good for the stomach.

00:33:02Stomach?

00:33:03Lunch.

00:33:04Oh, we can finish later.

00:33:07I'm sorry, Dad.

00:33:08I've lost my watch somewhere.

00:33:09I had no idea of the time.

00:33:25You're making me giddy.

00:33:27No, no.

00:33:28I'm the giddy one.

00:33:29Nineteenth-century dreamers.

00:33:31Ah, we've been through all that.

00:33:32I know.

00:33:32I'm a radio picking up antique signals.

00:33:35The signal I'm sending you is probably the oldest one in the world.

00:33:39Are you picking it up?

00:33:41This is now.

00:34:05Who's going?

00:34:10I'd like to do this forever.

00:34:12You swim higher and higher, free as a bird.

00:34:15Katie.

00:34:17Do you think this is a tiring activity?

00:34:19Do you think it'll make me sleep?

00:34:22That's the rub, isn't it, Barnstable?

00:34:25Aye, that's the rub, according to Hamlet.

00:34:28For in that sleep of death, what dreams may come.

00:34:31Katie.

00:34:50Oh, come on.

00:34:52Katie, get one.

00:34:54Hi.

00:34:57Well, did it help?

00:34:59Hmm?

00:35:00You and Barnstable, did you find anything that linked up?

00:35:03Oh.

00:35:05No, no, not really.

00:35:06There was no incident that even remotely resembled my dream.

00:35:10Well, at least he kept you occupied, and I'm grateful to him for that.

00:35:14Good night, sweetheart.

00:35:16Try and get a good sound sleep.

00:35:18Hmm.

00:35:44Good night.

00:35:46Oh, oh, oh, oh, oh.

00:35:54Oh, that's wonderful.

00:37:22I heard a door open, sir, and...

00:37:24Whoa.

00:37:25Yes, whoa.

00:37:27Thank you, Esme.

00:37:28It's kind of you to take the trouble, Esme.

00:37:30Well, we don't want her falling down the stairs again, do we, sir?

00:37:33Next time she might get killed.

00:37:35Yes, well, thank you, Esme.

00:37:37Come on, baby.

00:37:42Katie, uh...

00:37:43I've got to go and see Peter today.

00:37:46I think I told you that he wants to do that British paperback.

00:37:48Uh-huh.

00:37:50The trouble is that he, he lives so far away.

00:37:53Well, you could stay overnight, can't you?

00:37:55Well, I could, yes, but...

00:37:58Dad, are you worried about leaving me?

00:38:01Don't be silly.

00:38:02I'll be fine.

00:38:03Anyway, it isn't as though I'll be completely alone.

00:38:06Esme and Parsons are here.

00:38:08No, Parsons got the day off.

00:38:10He, he won't be here.

00:38:11But, but you're right.

00:38:12Uh, about Esme, she'll be here.

00:38:14Well, look, you can't do that trip in one day.

00:38:16Now go on and enjoy yourself.

00:38:18Yes, but...

00:38:19I absolutely insist.

00:38:23Okay, thanks.

00:38:25I'll be back first thing in the morning.

00:38:28I packed your razor, toothbrush, pajamas.

00:38:32Thanks.

00:38:33Esme, uh...

00:38:34Uh, don't worry, Mr. Summers, I'll take good care of her.

00:38:36Well, you have a good time, sir.

00:38:39Katie.

00:38:41Katie, I'm leaving now.

00:38:43Goodbye, Dad.

00:38:43Give my love to Peter.

00:38:44Will do.

00:38:45See you tomorrow.

00:38:48If you need me, the number's on the pad.

00:38:51Bye-bye, sir.

00:38:52Bye-bye.

00:39:06Oh...

00:39:07Anything you want, miss?

00:39:08Tea?

00:39:08Coffee?

00:39:09Ah, I just want to find my watch.

00:39:11I had it the other day.

00:39:12I know I had it.

00:39:15Now...

00:39:16Well, maybe some coffee later, Esme.

00:39:19Yes, miss.

00:39:38Look, they have a quill pen and stand.

00:39:41Gee, that'd be a great gift for Dad.

00:39:42Well, I could find it for you cheaper down the Portobello Road.

00:39:45Just look at that box.

00:39:47Oh, that's a vinaigrette.

00:39:48A what?

00:39:49About, uh, 1760 BP.

00:39:53BP?

00:39:53Before plumbing.

00:39:54Ah!

00:39:55You put some scent on a pad, put it in the vinaigrette, and then held it so.

00:39:58Well, that way you could just about get through the stench of the streets.

00:40:01Oh!

00:40:02Do you like that picture?

00:40:03Where?

00:40:03There.

00:40:04There.

00:40:18Katie?

00:40:38What happened?

00:40:40Happened?

00:40:41Yes, happened.

00:40:42Back there.

00:40:44One minute you were full of life, bright as a daisy.

00:40:46The next...

00:40:48You saw something, didn't you?

00:40:50No.

00:40:51I thought you saw something.

00:40:54Look.

00:40:54Why won't you tell me?

00:40:57What is it?

00:40:59Are you afraid you're starting to see things?

00:41:01I'm afraid you're...

00:41:01I saw nothing.

00:41:02Nothing.

00:41:03I saw nothing.

00:41:03What?

00:41:03Come on.

00:41:04Come on.

00:41:05Come on.

00:41:06Come on.

00:41:07Come on.

00:41:08Come on.

00:41:09Come on.

00:41:14Esme, would you fix me some hot milk?

00:41:16I'm feeling tired, and I'd like to capitalize on it.

00:41:19Certainly, miss.

00:41:42Come on.

00:41:44Come on.

00:41:47Let me see if I can get the cold.

00:41:47Oh...

00:41:48Oh...

00:41:49Holy...

00:41:51Oh...

00:41:52Like...

00:41:54Oh...

00:41:58Oh...

00:42:02Oh...

00:42:06Miss Summers, your milk, Miss. I added a teaspoonful of honey. My mum always recommended honey.

00:42:15Miss Summers?

00:42:46ON, ON, ON, ON...

00:43:00Oh, oh, oh!

00:43:10PHONE RINGS

00:43:15PHONE RINGS

00:43:18Mr. Summers' residence?

00:43:21Darling!

00:43:22Hey, darling, I told you not to call me here.

00:43:25What?

00:43:27No, I can't meet tonight.

00:43:28I'm supposed to be taking care of her.

00:43:32Darling, I can't.

00:43:33Suppose she wakes up?

00:43:37Oh, all right, we'll have to be quick.

00:43:41See you in about five minutes.

00:43:55My name is Brett Kupop.

00:43:56You've come in, Dude.

00:43:56Hi, my name is Rebecca.

00:43:56I need to.

00:44:12I've seen her.

00:44:12I'm sorry.

00:44:13I can't see her.

00:44:13She's gone, honey.

00:44:13I'm serious.

00:44:13She's gone.

00:44:19I'm okay, honey.

00:44:22She's gone.

00:44:34Esme, all right, all right, all right, all right, all right, all right, I'm coming.

00:44:45Stop beating on the bell.

00:44:53I'm sorry, I got you up, I didn't think, it's still pretty early, you see, and the lights

00:44:57were on downstairs, I didn't know I'd get anybody up.

00:45:00I need a phone, but my car is broken down just up the street and the phone box is out

00:45:04of order.

00:45:05You do have a phone.

00:45:33I'm sorry, it's no good.

00:45:38My idea was to talk to you and get to know you a bit first.

00:45:41But I can't go through with it, I have to tell you.

00:45:45You recognize me, don't you?

00:45:48I'm out of your dream, your nightmare.

00:45:52I know, you see, I've been dreaming about you.

00:46:15Maybe my first idea was the best one, to break it to you gently, but I just had to tell

00:46:20you.

00:46:25I know you so well, but I don't know your name.

00:46:29Katie.

00:46:30Katie.

00:46:31And I'm Ian.

00:46:34And I'm in this big room, and you're somewhere high watching, and there's an old man with a knife

00:46:41in his back and he's dying.

00:46:42Katie.

00:46:44Katie.

00:46:49Look, who are you?

00:46:52I've told you, I'm Ian.

00:46:53And I'm flesh and blood.

00:46:55I'm real.

00:46:55See?

00:46:58Do you mean you've been dreaming about me?

00:47:00Yes.

00:47:03Every night for about a week or so now.

00:47:06Dreaming and walking.

00:47:10You sleepwalked too?

00:47:11Yes, I'm afraid so ever since I was a kid.

00:47:13But never like this.

00:47:15No, not me either.

00:47:16At first I thought I'd made you up.

00:47:17But you got to be so real.

00:47:19So real.

00:47:21And then I saw this in a magazine.

00:47:27Well, I thought I'd pay you a visit.

00:47:30And as soon as you looked at me, I knew you recognized me.

00:47:33I knew you'd been dreaming the same dream.

00:47:37But why?

00:47:38I mean, why us?

00:47:41And why do we keep having this dream?

00:47:43I thought you might be able to tell me.

00:47:47I don't know what's going on.

00:47:49It's the most extraordinary thing I've ever heard.

00:47:52Well, where do we go from here?

00:47:54I don't know.

00:47:55I thought of telling some friends, but...

00:47:57Oh, they'd only laugh.

00:47:58Right.

00:47:59Well, there must be some explanation.

00:48:01I hope so.

00:48:02I certainly hope so.

00:48:06I'm sorry, miss.

00:48:07I heard voices and I thought...

00:48:08Oh, that's all right, Esme.

00:48:11This is Ian.

00:48:12I'm an old friend.

00:48:13I see.

00:48:15Is there anything you want, miss?

00:48:17No, no, no.

00:48:18You can go to bed now, Esme.

00:48:19Thank you, miss.

00:48:21Good night.

00:48:24To bed and sweet dreams.

00:48:28Well, there must be something we can do.

00:48:32Well, first thing is to compare notes.

00:48:35Put our dreams together.

00:48:36See how they match up.

00:48:37There might be a clue there.

00:48:39A clue to what?

00:48:40Well, I don't know.

00:48:41But it's a start in the right direction, don't you think?

00:48:43How does yours begin?

00:48:46Well, I'm walking.

00:48:48Where?

00:48:54Upstairs.

00:48:55The attic room.

00:48:57The attic room.

00:49:10Here.

00:49:12Well?

00:49:15Well, I just walk.

00:49:17And then I'm in the big room.

00:49:20High up, looking down.

00:49:23And the old man is talking about being rich.

00:49:27Going through that weird religious ceremony.

00:49:31And then there's a knife in his back.

00:49:35He's... he's dying.

00:49:38Katie.

00:49:39Look, look.

00:49:39I don't want to go through with this.

00:49:40You have to.

00:49:41We both have to.

00:49:42Or we'll never have any peace.

00:49:44It's our only chance, Katie.

00:49:47Okay.

00:49:48So now you're in here.

00:49:49And then you're in the big room.

00:49:51But how?

00:49:51How do you get into the big room?

00:49:53I'm not sure.

00:50:01Through the mirror.

00:50:03What?

00:50:05The wardrobe mirror here.

00:50:07I just come right up to it and then I'm in the big room.

00:50:10Oh, but that's not possible.

00:50:12None of this is possible, is it?

00:50:19There's no back to it.

00:50:21What?

00:50:21See for yourself.

00:50:22There's no back to it.

00:50:33They used to hide people.

00:50:35There even used to be a secret passage leading through to the police house.

00:50:41Come on.

00:51:00This is where my dream starts, down there.

00:51:04That's where you first saw me, isn't it?

00:51:07Come on.

00:51:11Katie, come on. This is real. It's solid and real. No dream.

00:51:32I've been here before.

00:51:36Sure, we both have in our dreams.

00:51:37No, no, I've actually been here. Look, my watch.

00:51:45Well, yes, and why not?

00:51:47You walk in your sleep. You somehow stumble through that secret door into here.

00:51:51And saw a man murdered.

00:51:53No.

00:51:55That's where the reality stops and the dream takes over.

00:51:58Well, look, see for yourself. There are no dead bodies here, are there?

00:52:00And these certainly aren't 19th century.

00:52:04But someone certainly does live here.

00:52:12It's locked.

00:52:13From the outside, too.

00:52:16So whoever does live here is away at the moment.

00:52:24You saw the old man about here, right?

00:52:27And he toyed with the Bible.

00:52:30Yes.

00:52:31And he said something about being rich.

00:52:32He saw something like that.

00:52:34About a hidden fortune.

00:52:38Then what did he say?

00:52:41I don't know.

00:52:44I don't know.

00:52:46I'm sorry.

00:52:52Come on.

00:52:52You've had enough.

00:52:54We'll go back the way we came.

00:53:18We'll keep this a secret, hmm?

00:53:20For the time being.

00:53:21Well, what are we going to do?

00:53:22Nothing.

00:53:23Nothing more tonight, anyway.

00:53:25It's late and you must be tired.

00:53:28But, we've made some progress.

00:53:31We know the room does exist and how you got into it, that's real progress.

00:53:42But we broke into someone else's house.

00:53:44We didn't break in.

00:53:46Anyway, there was no one there and we didn't take anything.

00:53:49Let's just leave it at that, huh?

00:53:52But, I...

00:53:53Look, I don't want to broadcast this until I'm sure what it's all about.

00:53:57I'm not exactly crazy about being laughed at.

00:54:01We'll call it a night and tomorrow I'll make some inquiries.

00:54:04Inquiries?

00:54:04Well, find out who owns the house, who lives in that room.

00:54:07Well, how will that help?

00:54:08I don't know, but it's certainly a good start.

00:54:12I feel a lot better anyway.

00:54:14I might even sleep tonight.

00:54:15How about you?

00:54:16Well, it helps.

00:54:18Knowing some of it helps.

00:54:20And, Katie, let's just keep it between ourselves, huh?

00:54:23After all, it is our dream.

00:54:26I'll contact you sometime tomorrow.

00:54:29Good night.

00:54:31Good night.

00:54:34We know how I got into the room.

00:54:36But you?

00:54:38I know.

00:54:39That's what's bothering me.

00:54:42Good night.

00:54:59Hello?

00:55:00Katie?

00:55:01Hi, Dad.

00:55:02Gee, I thought you'd be home by now.

00:55:03Oh, that's why I'm calling, sweetheart.

00:55:05Rome wasn't built in a day.

00:55:07I'm beginning to think Peter was the architect.

00:55:10You gonna have to stay on?

00:55:11Well, if it's okay with you, there are really a lot of things still to be sorted out.

00:55:16Of course it's okay.

00:55:18You sure?

00:55:19How was last night?

00:55:21Last night?

00:55:22Did you sleep well?

00:55:24Oh, yes.

00:55:25And no dreams.

00:55:27No walking.

00:55:28There.

00:55:28I told you.

00:55:29Just give it a few days.

00:55:30Okay, sweetheart.

00:55:31I have to call now.

00:55:32I'll see you as soon as I can.

00:55:34Bye now.

00:55:35Bye-bye.

00:55:38It's Mr Barnstable, miss.

00:55:41Have him come in.

00:55:42I'm in.

00:55:45Hello.

00:55:46Hello.

00:55:53You know, I really am beginning to have my suspicions about you.

00:55:57I think you're some kind of food jiggler.

00:55:59You always turn up when there's a meal around.

00:56:00Oh, that's a yen for that old home cooking.

00:56:02Oh.

00:56:03You seem more cheerful today.

00:56:04I am.

00:56:06And I'm sorry about yesterday.

00:56:07Oh, forget it.

00:56:08Start again, shall we?

00:56:09Okay.

00:56:10Good night's sleep.

00:56:12Mm-hmm.

00:56:13Now, that's interesting.

00:56:14Because yesterday you were still very tense and then suddenly gone.

00:56:17What happened?

00:56:19I switched it off.

00:56:20Oh, that's even more interesting.

00:56:22You're lying.

00:56:23And I tell you what, you're not very good at it.

00:56:27If I told you the truth, you wouldn't believe me.

00:56:30Well, I'd like the opportunity to try.

00:56:35Apparently you excelled yourself last night, Esby.

00:56:37Miss Summers told me.

00:56:38You held the fort very well.

00:56:40Well, it wasn't under attack from Indians, you know.

00:56:43No, but you took care.

00:56:44Good care.

00:56:45That's excellent.

00:56:45Responsible.

00:56:47You can have tomorrow night off.

00:56:49As a reward.

00:56:50As a right, you mean.

00:56:52I keep telling you, Parsons, this isn't the 1800s.

00:56:55All right, all right.

00:56:56Just thought you'd be pleased, that's all.

00:56:59Be able to see that boyfriend of yours.

00:57:01I suppose you've still got that boyfriend.

00:57:03Yes.

00:57:04Is he still working for that silly restaurant prancing about?

00:57:08Oh, mark your own damn business.

00:57:12It's ridiculous.

00:57:12I don't believe it.

00:57:14You have to believe it.

00:57:15We're two people sharing the same dream.

00:57:16Two strangers.

00:57:17It isn't all dream either.

00:57:19That room exists.

00:57:20If it is true.

00:57:20It is.

00:57:21If it is true, then you are to make psychic history.

00:57:23And I'm about to give up studying psychiatry and take to the black arts.

00:57:26I knew you'd laugh at me.

00:57:27Well, he's a nervous reaction.

00:57:29I'm not for a mental loop.

00:57:30Now, this Ian, I mean, who is he?

00:57:32Where does he live?

00:57:34Well, I didn't ask.

00:57:36But he promised to contact me again today.

00:57:38How?

00:57:39By phone?

00:57:39Or is that too mundane for him?

00:57:41Maybe he'll just doze off, climb into your dreams and...

00:57:43Stop it!

00:57:47I'm sorry.

00:57:49But you've got to admit, it's a bit wild, isn't it?

00:57:51It happened.

00:57:54All right.

00:57:56A secret door, you say?

00:57:59Those records said there was one, and there is.

00:58:02Leading through to the house that backs onto this.

00:58:04Yeah, I know the house.

00:58:05I've never actually been inside it, but I know it.

00:58:07And I know who lives there.

00:58:09Old Pearson.

00:58:10He's an eccentric.

00:58:11A recluse.

00:58:12Some say that he's a pauper, others that he's as rich as Croesus.

00:58:15Nobody knows.

00:58:17Old Pearson?

00:58:18Yeah, he's 70.

00:58:20Small.

00:58:20Stunted.

00:58:20Hasn't bought himself a new set of clothes in years.

00:58:22He looks like something out of Dickens.

00:58:24Yes, I know.

00:58:26He's the old man in your dream, isn't he?

00:58:28Well, when you described him before, I didn't make the connection.

00:58:30But now...

00:58:33A recluse?

00:58:35Well, he isn't home.

00:58:36Now the house is locked up.

00:58:38Yeah, that's possible.

00:58:38Sometimes you see him for months on end, walking down the road to collect his paper.

00:58:41Then you don't see him for weeks.

00:58:42He just takes off somewhere.

00:58:44Well, nobody knows where or why.

00:58:45But the rumor is he goes to count his money in a Swiss bank.

00:58:50The room exists.

00:58:53And the old man, old Pearson.

00:58:56He's away now.

00:58:58But when he returns...

00:59:03Barnstable, I'm scared.

00:59:04Why?

00:59:06Well, I think I'm seeing into the future.

00:59:09When I dream, I'm seeing into the future.

00:59:13And when old Pearson does return, he's going to be murdered.

00:59:27Look, I'm going to talk to my professor about it.

00:59:30Don't worry, I won't mention any names.

00:59:32I'll just put it to him as a hypothetical problem.

00:59:34He's used to problems.

00:59:35I'll be in touch.

00:59:37Take care.

00:59:44Good day, sir.

00:59:45Cheerio.

01:00:09Ruined your eyesight, Miss.

01:00:12Gosh, is it that late?

01:00:14Asmy, would you run a bath for me?

01:00:16Yes, Miss.

01:00:19Yes.

01:00:19Let's go.

01:00:49Just for a while.

01:00:51Boyfriend meeting you, is he?

01:00:52Is he going to pick you up in his sedan chair?

01:01:05See you later, then.

01:01:13Mr. Summers' residence.

01:01:15Who?

01:01:17Speaking.

01:01:18It's for me.

01:01:24Yes, he's just this minute left.

01:01:27Who is this speaking, please?

01:01:29Oh.

01:01:30Oh, I see.

01:01:31Well, yes, I'm not one to gossip, but I'll do my best.

01:01:39Excuse me, miss.

01:01:41Is it just one for dinner tonight, miss?

01:01:43I guess so.

01:01:44My father hasn't called yet?

01:01:45No, miss.

01:01:46I heard the phone just now.

01:01:48For me, miss.

01:01:49Nobody's called for me?

01:01:50No, miss.

01:01:51Just one, then.

01:02:07I'll get it.

01:02:12Thank you, Parsons.

01:02:18I found out about the old man.

01:02:20So did I.

01:02:21He's a hermit, an eccentric, and he's the man out of my dream.

01:02:24How did you know?

01:02:25Well, it doesn't matter.

01:02:26What are we going to do?

01:02:28We're going to go back up there, and we're going to recreate the whole dream.

01:02:33Every second of it, the whole nightmare.

01:03:05This is where it started, isn't it?

01:03:07Come on.

01:03:13He was sitting here, right?

01:03:14And he spoke about riches, a fortune.

01:03:17What did he say?

01:03:19Well, I don't completely recall.

01:03:21You have to.

01:03:21His exact words, what he did, is important.

01:03:25Something like, I'm rich.

01:03:28No one suspects.

01:03:30A fortune no one will ever find.

01:03:32What else?

01:03:34Nothing else.

01:03:35Then he went through that weird ceremony, kissing his fingers.

01:03:38Yes, you told me that, but he must have said something else.

01:03:41Well, if he did, I don't remember.

01:03:42You must remember.

01:03:44A fortune.

01:03:45He hid a fortune somewhere in this room.

01:03:47It has to be in this room.

01:03:48But where?

01:03:51I've searched for days.

01:03:52I can't find them.

01:03:54Searched?

01:03:56You mean in your dream?

01:03:57The only dream I've had is to be rich.

01:03:59And I've worked too hard at it to be cheated now.

01:04:30A dream.

01:04:31He's that student fellow.

01:04:32And we need to know.

01:04:33I want that money.

01:04:36I saw a man die.

01:04:38Murdered.

01:04:39That's right.

01:04:42That's exactly right.

01:04:46You see, you do remember.

01:04:48Ian, it's supposed to look like a fall down the stairs.

01:04:50We agree.

01:04:51By the time it's all over, will we long gone?

01:04:52And there's room in that cupboard for two.

01:04:57You'd better start remembering, sweetheart.

01:04:58Well, the key is locked away in your mind, and I'm prepared to carve it out if I have to.

01:05:02No, I've told you all.

01:05:03I know.

01:05:04You're going to try harder.

01:05:05No!

01:05:06No one will hear you.

01:05:07You're not down here, and we've got the whole night ahead of us.

01:05:20I've been here since I left you this morning.

01:05:21I found the body.

01:05:22Stabbed, like you said.

01:05:25So, I sat down and thought.

01:05:27Had to be an inside job.

01:05:28Someone in your household to get him into the attic room and through to here.

01:05:31I settled for Esme.

01:05:33Esme has a boyfriend.

01:05:34He works as a waiter.

01:05:35They all wear a 19th century costume.

01:05:37He came over here between shifts, killed him, and went back and carried on working.

01:05:41If he'd have been a God-fearing man, he might have got away with it.

01:05:43Open the Bible.

01:05:47Kissing his fingers.

01:05:48He was sticking stamps onto a page.

01:05:51But not just any old stamps.

01:05:52Rare, highly prized stamps.

01:05:55There must be close on half a million stuck to that page.

01:06:27The End

01:06:29The End

01:06:41THE END

01:07:06THE END

01:07:37THE END

01:08:11THE END

01:08:30THE END

01:08:31THE END

01:08:33THE END

01:08:35THE END

01:08:37THE END

01:08:48THE END

01:08:53THE END

01:08:54THE END

01:08:55THE END

01:08:56THE END

01:08:58THE END

01:08:59THE END

01:09:00THE END

01:09:02THE END

01:09:03THE END

01:09:18THE END

01:09:20THE END

01:09:22THE END

01:09:25THE END

01:09:26THE END

01:09:30THE END

01:09:31THE END

01:09:39Oh, my God.

01:10:20The page. But not just any old stamps. Rare, highly prized stamps. There must be close

01:10:27on half a million stuck to that page.

01:10:59The page. And the page. And the page. And the page. And the page. And the page. And the page.

01:11:19And the page. And the page. And the page. And the page. And the page. And the page. And the

01:11:23page. And the page. And the page. And the page. And the page.

01:11:39ORGAN PLAYS

01:12:19ORGAN PLAYS

01:12:34ORGAN PLAYS

01:12:58ORGAN PLAYS

01:12:59ORGAN PLAYS

01:13:02ORGAN PLAYS

01:13:03ORGAN PLAYS

01:13:04ORGAN PLAYS

01:13:06ORGAN PLAYS

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