Original subtitles

(ATV fanfare)

(suspenseful music)

- Oh, no.

(suspenseful music)

(chattering and laughing)

- Come on, Dan.

Dan, let's have it.

- Yes, come on.

You still haven't told us what you're doing here.

- A three-month sabbatical.

(all scoffing)

- The man talks the way he writes. Paradoxes.

- To call it a vacation would seem excessive, I mean--

- But what are you really here for?

Another book in the offing?

- As sensational as the last?

- Look, I told you, I felt like a rest, that's all.

Katey hadn't seen Europe, so it seemed like a good idea.

- Where is that delicious daughter of yours, anyway?

- Upstairs, sleeping.

She hasn't caught up with jet lag yet.

- Well, you certainly have.

Three days.

Already you look as if you've been living here

all your life.

- Well, you can thank Parsons and Esme for that.

They've really been looking after things.

- Thank you, sir.

- Now come on, Dan.

What kind of book is it?

- Okay, okay.

So I do have a subject in mind.

(all talking at once)

- I hope it's better than the last.

It was fascinating, of course.

I couldn't put it down, but the subject was horrendous.

(all laughing)

(suspenseful music)

(gasps)

(suspenseful music)

- What is it this time?

Witchcraft? Necrophilia?

(laughing)

- Don't be so revolting.

- I suspect cannibalism.

- Oh, here comes Kate.

(all talking at once)

- Sh, sh.

(suspenseful music)

Katey, Katey.

- Oh!

- It's all right, it's all right, baby.

It's all right.

- No. What did I do? Did I do anything bad?

- Not a thing, baby, not a thing.

(suspenseful music)

There we are.

Try and get a good night's sleep this time.

Good night, sweetheart.

- We're off now, Dan, and thank you for a lovely evening.

- I'm not surprised your daughter walks in her sleep,

has nightmares, with you as a father, Dan.

- She's done it since she was a kid.

- Every since she got a glimpse of your first manuscript.

(laughing)

- Well, it doesn't happen very often,

only if she's over tired and excited.

I, I guess the trip here.

- Good night, Dan.

- Good night, Harry.

- She'll be all right now, won't she?

- Sure, bright as a new pin in the morning.

- Good night, Dan.

- Good night, Louise. - Thanks.

- Marvelous dinner, Dan, marvelous evening.

- I'll give you a call about that, Peter.

- I'll look forward to it.

- Yeah.

- Good night, Dan. Good to see you again.

- And you. Good night.

- You'll be in touch again soon, Dan?

- Sure will.

- There's an awful lot of stairs to fall down, Dan.

- Yeah.

Good night. - Bye.

- Oh.

Excuse me.

(typewriter clicking)

Shoulda got yourself a tiger instead.

- Hm?

- Instead of a daughter, the gate.

- Oh that.

I like people, Katey, your kind of people.

It's just a precaution.

None of us want you to end up with a broken leg, do we?

- I probably won't do it again, I'm so rested.

Oh.

- Hey, now that's not for publication now.

Not yet, anyway.

- Dad, you don't really believe those things

can happen these days, do you?

I mean, black magic and wizardry?

- Katey, I don't invent them,

and there are stranger things.

- Yes, me running around in the night.

Well, I won't do it again.

- Sure.

(vacuum running)

- Esme?

It is Esme, isn't it?

- Yes, miss.

- Where does this lead?

- To the attic room, miss.

- Attic room?

Oh, that sounds like fun.

(suspenseful music)

(childlike music)

(ominous music)

It's a fairy land.

(ominous music)

(suspenseful music)

(clock ticking)

(suspenseful music)

(piano music)

(suspenseful music)

(ominous music)

(laughing)

- I'm rich.

A fortune.

A fortune no one suspects.

A fortune no one will ever find.

(ominous music)

(door creaks)

(bell ringing)

(yells)

- Oh.

- Are you okay, I'm terribly sorry.

- I guess so.

- I rang my bell.

Didn't you hear me ring my bell?

You just stepped out, as though you were sleepwalking.

- I was not walking in my sleep.

- Of course not.

- You should've swerved.

- Oh, I tried.

- And what about that?

- Oh, that.

They only put that there to tempt me (chuckles).

- I guess I was far away.

- No, I should've looked where I was going.

Are you sure you're all right?

It's a technique I want to try and perfect.

Oh, knock girls over so I can pick 'em up.

(giggles)

Do you live near here?

- Yeah, over there.

- I'll walk with you.

My name's Barnstaple, by the way.

- Barnstaple?

That's the name of a town, isn't it?

- Yeah.

They stole it from me.

(giggles)

How long have you been over here?

- Only about three or four days.

- How long are you staying?

- Three months, I think.

- Oh good.

Are you, are you on holiday, or something?

- Not exactly.

My father's a writer, and he's working on a book here.

- And what sort of stuff does he write?

- All kinds of things.

- Morning, Esme.

- Morning, sir.

- Dad?

Dad, this is Barnstaple, my father.

- Pleased to meet you.

- Oh, hello.

Barnstaple, that's the name

of a town in this country, isn't it?

- They stole it from him.

- It's nice to meet you.

Do sit down.

- Oh, thank you.

- But how come? How did you two meet up, anyway?

- We sort of bumped into each other this morning.

- This morning?

You must've been up early, didn't you sleep well?

- Oh, of course I slept, perfectly.

It was just such a nice day, I wanted to go for a walk.

- Sure, sure, of course, baby.

- Barnstaple's a student, dad.

He's interested in psychiatry.

- Well, you found a winner there.

The world gets a little madder every day.

Do we see you for lunch?

- Right.

- Are you all right, dear?

- Sure Dad, why?

- I just thought you looked a little washed out, that's all.

- No no, I'm fine.

- Okay.

- He's right, you know.

You do look a little pale.

- I'll be fine once I've adjusted.

I just haven't been sleeping too well, that's all.

- Ah, guilty conscience.

- What?

- Well, that's my theory.

Sleep is the barometer of the state of mind,

just as the pulse is to the heart.

You store up anxieties during the day,

and then at night, they come flooding back

into your subconscious.

I wrote a paper on it.

Night and the Nightmare, pretty good, eh?

- Night and nightmare.

(childlike music)

(ominous music)

(cymbals crashing)

(heart beating)

(suspenseful music)

(frightening music)

(screaming)

No! No!

- Katey.

Katey.

It's all right.

It's just a dream.

Just a bad dream.

(crying)

- This is what I like best about London.

The feeling of a past, a solid foundation.

It's nice to know the world doesn't change too rapidly.

You're different today.

Another bad night?

- I had a nightmare, yes.

- What about?

- I don't remember.

- Been reading too many of your dad's books.

- And what does that mean?

- I mean, he does delve into the weirdest areas.

- You know, he's a Pulitzer Prize winner.

- Of course I know.

I'm not criticizing his writing,

just the subjects he tackles.

- He doesn't invent those subjects, you know.

They're part of us.

They're real.

- You're misunderstanding me.

I just meant to suggest that maybe with,

well, you being so sensitive.

And him writing that kind of stuff.

- Stuff?

Stuff?

- You are in a state.

- I am not in a state!

I wanna go home.

- Katey?

Katey?

Did you have a good day?

Katey!

What's wrong?

- Nothing.

- Nothing?

Don't you tell me nothing, young lady.

Your face is as black as thunder.

You didn't have a good day.

- No, I had a marvelous day.

And how about you?

Did you tap out a few more pearls of wisdom

about man's degradation?

Did you examine the evil part of his soul more closely?

- Katey!

- Excuse me, sir, the dinner party tonight, sir.

If I might discuss the final arrangements.

- I'll leave it entirely to you, Parsons.

In your good hands, I'm sure it'll be wild.

- The evocation of blackouts and spirits

isn't going to be recommended by Dan.

- [Dan] I'm not evoking, I'm just studying them.

- [Woman] Something terrible can happen to you.

- [Dan] Mm hm, like what?

- [Man] You can get your own soul in trouble.

(laughing)

- [Woman] Why do you do it, anyway?

- I just want to understand, to explain the inexplicable.

- Sure, why not?

I don't believe this mumbo jumbo anyway.

Black magic?

It'll make one hell of a book, Dan.

- Cull is right.

- If he gets to finish it.

- I'm impervious to the supernatural.

Katey.

Katey.

You're looking tired, sweetheart.

Wouldn't you like to go to bed?

- Bed?

No no, I'm not tired.

I'm wide awake.

Wide, wide awake.

I may never go to bed (laughing).

- Well, I don't have your stamina, Katey.

If you'll excuse me, Dan.

- Sure, sure.

- I should be going too.

So should you, shouldn't you?

- Oh yes, yes, of course.

I've got an important appointment tomorrow.

- [Dan] I'll see you out.

- [Peter] Another marvelous evening, Dan,

that's two I owe you.

- [Dan] Let's not start counting yet.

- This isn't anything to do with her mother, is it?

- No, she's been dead for five years now.

She's put that well behind her.

It's just that she's highly strung.

- If it turns out to be anything else, Dan,

I know the address of a very good psychiatrist.

- I won't need any of your addresses, Peter, but thanks.

- It may not work with you, Katey.

Too much brandy keeps me awake,

but it may not work with you.

- I don't need to be kept awake.

I just wanted a drink, that's all.

- Now, come on.

Don't lie to me, I don't like you lying to me.

- Oh, Dad.

Am I going mad, do you think?

Is there something wrong with me?

- Not a thing.

You've just inherited from me too bright an imagination,

and too active, much too active,

when you really should be getting some beauty sleep.

- Oh, I wish I could.

But these dreams.

And I've been walking again.

- Yes, I know.

Oh, I haven't seen, I've been too bushed for that, but

I know the signs.

- Every night, I've been walking.

- Do you know where?

- No.

- At least the new gates work.

We haven't found you lying in the hallway yet.

- Yet.

- Now look, don't worry.

It's the new trip, new life, lots to see,

new friends.

Oh, that reminds me, that Barnstaple guy,

he looks like a nice boy.

- Yes, he is.

He's really nice.

- Get him to take you to a disco or something.

Dance the legs off you.

Then you'll sleep.

Tell him that's a direct parental order.

- Dad, I do love you.

- You had better.

- She was funny again, tonight.

- Funny?

- Ah, Miss Summers, funny.

You know, odd.

Think I heard her walkin' about again last night.

- I don't think we should discuss our employers

like this, Esme.

- Just between you and me.

Come on.

- They're nice people, generous people,

then Americans usually are.

- He's a weirdo.

- A what?

- Mr. Summers, a weirdo.

He writes odd books.

Two of them have been banned, did you know that?

- I did not know, nor do I wish to know.

As far as I'm concerned, he's a very nice man.

- And a weirdo.

- Esme, I really will not have you talking this way.

(knock at door)

Nor, do I like you having men friends calling

for you at the house.

- Oh, for pity's sake, we're not in the 1800s now, you know?

(typewriter keys clicking)

(door closes)

(clock ticking)

(wind blowing)

(suspenseful music)

(heart beating)

(ominous music)

(heart beating) (ominous music)

(ominous music)

(tumbling)

- Katey?

(suspenseful music)

Katey!

Katey!

- Told you.

Weirdos, both of them.

She fell down the stairs last night.

- Well, those stairs are steep.

- It wasn't that, she walks in her sleep.

That's why the gate was put there.

Walks in her sleep, or she was stoned.

- Now, I feel even more like a caged animal.

- You're not caged.

It'll be open all during the day,

and only locked at night.

How are you feeling?

- Bruised.

- Don't doubt it.

Luckily, you didn't break anything,

but the doctor thinks out oughta rest up for a while.

- No, no, no, I'm fine now.

- Whatever you say but, I still think

you oughta take it easy.

At least until this sleepwalking dies down.

- It isn't just the walking.

It's the dreams, too.

So vivid and scary.

- I'll give you a run down on them later.

That's what I'm researching at the moment.

Dreams and the occult.

(doorbell rings)

- [Barnstaple] Is Katey home?

- Barnstaple.

- Katey, you're not ready.

Today, remember, I said I'd show you the sites.

- Oh, oh yes, okay, but later.

I wanna talk to you.

- What about?

- The state of my mind.

- The state of her mind?

- That's what she said.

She said it about herself.

Told you, Parsons, weirdos.

- Look, I've only just got into psychiatry,

but you are certainly not mentally disturbed.

I'd stake my reputation on it.

Well, my future reputation.

It's probably what your father said, overexcitement,

a new home, jet lag.

- But I've walked before.

Ever since I was a kid.

And I've had dreams before.

But never like this.

Never these kinds of dreams.

- Dreams are like the mind perspiring.

They can also be very indicative as to what's bothering you.

Now, if you could recall them.

- Oh, but I can, totally.

Almost totally.

- All right, try me.

I'll see if I can give you an interpretation.

- Well, they come in a kind of sequence.

I'm in a big, tall room,

high up on some sort of structure.

It runs along one wall, and stairs lead down.

- A gallery?

- Yes, that's it, a gallery.

And down below, there's this old man,

he has a Bible, and he's going through some kind of

weird religious ceremony.

Yeah, he kisses his fingers,

and places them on the Bible,

and he's saying something.

- [Barnstaple] And what's he saying?

- Something about being rich,

and hiding his riches.

And then, there's a knife in his back.

He's dying.

And there's this young man.

- What young man?

- I don't know, he's,

he's very handsome, and dark,

and he's wearing some kind of costume.

19th century, I think like a Regency buck.

(glass breaks)

- I'm terribly sorry miss, it just slipped.

I hope it wasn't too valuable.

- I don't know, it came with the house.

Never mind, Esme, accidents happen.

- What does this young man do?

- Huh?

- Well, the 19th century young man.

- [Katey] First, he just stands there,

and then.

- I don't believe in psychic phenomena,

I don't believe in it at all, do you understand?

It's unscientific, but ...

- [Katey] But what?

- Maybe you are hypersensitive to atmosphere.

This house certainly has atmosphere.

Maybe your mind is like a radio station,

picking up long forgotten signals.

- Do you mean the old man might've lived here once?

- I didn't say that, but there could've been associations.

Yes, look, we'll try and find out.

- How?

- Houses old as this are bound to be records somewhere.

Look here, you go and get dressed,

and I'll see if I can find some here.

- Yes sir?

- Oh, Parsons, isn't it about time we had some lunch?

- I'm about to serve it, sir.

As soon as I can get the dining room table clear.

- There's a reference here, new windows were added in 1881.

- Put it down.

- Hey, what goes on?

- Good morning, Mr. Summers.

- We're doing an instant history of this house.

- History?

- Did you know that it once belonged to Sir John Poins?

- Yeah, he was a cavalier, he fought against Cromwell.

- Cromwell?

I didn't think this place was that old.

- The original structure is.

Some of it's still standing.

- Of course, it's been added and annexed a lot since then.

- They used to hide political prisoners here.

There even used to be a secret passage,

leading through to the priest's house,

that backed on to this.

- Now that sounds very very fascinating,

but not very good for the stomach.

- Stomach?

- [Dan] Lunch.

- Oh, we can finish later.

I'm sorry, Dad, I lost my watch somewhere.

I have no idea of the time.

(suspenseful music)

- You're making me giddy.

- No no, I'm the giddy one.

19th century house.

- We've been through all that.

- I know.

I'm a radio picking up antique signals.

- The signal I'm sending you is probably

the oldest one in the world.

Are you picking it up?

(suspenseful music)

Katey.

- I'd like to do this forever, swing higher and higher,

free as a bird.

- Katey.

- Do you think this is a tiring activity?

You think it'll make me sleep?

That's the rub, isn't it, Barnstaple?

Aye, that's the rub, according to Hamlet.

For in that sleep of death, what dreams may come.

- Katey.

(kids yelling)

- Hi.

- Well?

Did it help?

- Hm?

- You and Barnstaple, did you find anything that linked up?

- No, no, not really.

There was no incident that even remotely

resembled my dream.

- At least he kept you occupied,

and I'm grateful to him for that.

Good night, sweetheart.

Try to get a good, sound sleep, hm?

(sighs)

(dog barking)

(clock ticking)

(suspenseful music)

(heart beating)

(groaning)

(suspenseful music)

(ominous music)

- Esme (gasps).

Oh, oh!

- [Dan] Katey.

- I heard the door open, sir.

- Yes, well, thank you, Esme.

It's kind of you to take the trouble, Esme.

- Well, we don't want her falling down the stairs again,

do we sir?

Next time, she might get killed.

- Yes, well, thank you, Esme.

Katey, I'm gonna go and see Peter today.

I think I told you he wants to do that British paperback.

The trouble is that he lives so far away.

- You can stay overnight, can't you?

- Well, I could, yes, but ...

- Dad, are you worried about leaving me?

Don't be silly, I'll be fine.

Anyway, it isn't as though I'll be completely alone.

Esme and Parsons are here.

- No, Parsons has got the day off, he won't be here.

But you're right about Esme.

She'll be here.

- Well look, you can't do that trip in one day.

Now go on and enjoy yourself.

- Yes, but ...

- I absolutely insist.

- Okay, thanks.

I'll be back first thing in the morning.

- I packed your razor, toothbrush, pajamas.

- Thanks.

Esme --

- Don't worry, Mr. Summers,

I'll take good care of her.

You have a good time, sir.

- Katey!

Katey, I'm leaving now!

- Goodbye, Dad.

Give my love to Peter.

- Will do.

See you tomorrow.

If you need me, the number's on the pad.

- Bye bye, sir.

- Bye.

(knock at door)

- Anything you want, miss?

Tea, coffee?

- Oh, I just wanna find my watch.

I had it the other day, I know I had it.

Now, maybe some coffee later, Esme.

- Yes, miss.

(people talking)

- Look, they have a quill pen and stand.

Gee, that'd be a great gift for Dad.

- [Barnstaple] Well, I could find it cheaper

for you down at Portobello Road.

- [Katey] Just look at that box.

- Oh, that's a vinegray.

- A what?

- About 1760 BP.

- BP?

- Before plumbing.

- Ah!

- You put some scent on a pad,

put it in the vinegray, then held it so.

That way, you could just about get through the stench

of the streets.

- Oh.

- Do you like that picture? - Where?

- There.

(suspenseful music)

- Katey?

(suspenseful music)

- What happened?

- Happened?

- Yes, happened.

Back there.

One minute, you were full of life, bright as a daisy.

The next, you saw something, didn't you?

- No.

- Or thought you saw something.

Look, why won't you tell me?

What is it?

You're afraid you're starting to see things.

You're afraid you're --

- I saw nothing!

Nothing!

Esme, would you fix me some hot milk?

I'm feeling tired, and I'd like to capitalize on it.

- Certainly, miss.

(dog barking)

(footsteps)

(knock at door)

Miss Summers.

Your milk, miss.

I added a teaspoonful of honey.

My mum always recommended honey.

Miss Summers?

(footsteps)

(dog barking)

(telephone rings)

Mr. Summers residence.

Darling!

Darling, I told you not to call me.

What?

No, I can't meet tonight.

I'm supposed to be taking care of her.

Darling, I can't.

Suppose she wakes up.

Oh, all right, but I have to be quick.

See you in about five minutes.

(suspenseful music)

(doorbell rings)

(doorbell rings)

(doorbell rings)

- Esme!

All right, all right.

(doorbell ringing)

All right, all right, I'm coming!

Stop ringing on the bell.

(suspenseful music)

- I'm sorry I got you up, I didn't think ...

It's still pretty early, and the lights were on downstairs.

I didn't know I'd get anybody up.

I need a phone.

My car's broken down just up the street,

and the phone box is out of order.

You do have a phone?

(suspenseful music)

Thank you.

(suspenseful music)

I'm sorry, it's no good.

My idea was to talk to you and get to know you a bit first,

but I can't go through with it, I have to tell you.

You recognize me, don't you?

I'm out of your dream, your nightmare.

I know.

You see, I've been dreaming about you.

(suspenseful music)

Maybe my first idea was the best one,

to break it to you gently, but

I just had to tell you.

I know you so well, but I don't know your name.

- Katey.

- Katey, and I'm Ian.

I'm in this big room, and you're somewhere high, watching.

And there's an old man with a knife in his back,

and he's dying.

Careful.

- Look, who are you?

- [Ian] I told you, I'm Ian.

I'm flesh and blood, I'm real, see?

- Do you mean, you've been dreaming about me?

- Yes, every night for about a week or so now.

Dreaming and walking.

- You sleepwalk too?

- Yes, I'm afraid so.

Ever since I was a kid, but never like this.

- No no, me either.

- First off, I thought I made you up.

But you got to be so real, so real.

And then, I saw this in a magazine.

I thought I'd pay you a visit.

As soon as you looked at me, I knew you recognized me.

I knew you'd been dreaming the same dream.

- But why?

Why us?

Why do we keep having this dream?

- I thought you might be able to tell me.

- [Katey] I thought I was going mad.

- [Ian] The most extraordinary thing I've ever heard.

- Well, where do we go from here?

- I don't know.

I thought of telling some friends, but ...

- But they'd only laugh.

- Right.

- Well, there must be some explanation.

- I hope so.

I certainly hope so.

- I'm sorry, miss, I heard voices, and I thought ...

- Oh, that's all right, Esme.

This is Ian --

- I'm an old friend.

- I see.

Is there anything you want, miss?

- [Katey] No no no, you can go to bed now, Esme.

- Thank you, miss, good night.

- To bed and sweet dreams.

- Well, there must be something we can do.

- Well, first thing is to compare notes,

put our dreams together, see how they match up.

There might be a clue there.

- Clue to what?

- I don't know, but it's a start in the right direction,

don't you think?

How does yours begin?

- Well, I'm walking.

- Where?

- Upstairs.

The attic room.

(suspenseful music)

- Here?

Well?

- Well, I just walk,

and then I'm in the big room.

High up, looking down.

The old man is talking about being rich,

going through that weird, religious ceremony.

And then there's a knife in his back.

He's dying.

- Katey.

- Look, look, I don't wanna go through with this.

- You have to, we both have to.

Or we'll never have any peace.

It's our only chance, Katey.

Okay, so now you're in here,

and then you're in the big room.

But how?

How do you get into the big room?

- I'm not sure.

(suspenseful music)

Through the mirror.

- What?

- The wardrobe mirror here.

I just come right up to it, and then I'm in the big room.

- But it's not possible.

- None of this is possible, is it?

- There's no back to it.

- What?

- See for yourself, there's no back to it.

(suspenseful music)

- [Katey] They used to have Christmas here.

There even used to be a secret passage,

leading through to the priest's house that burnt down.

- Come.

(suspenseful music)

- This is where my dream starts, down there.

That's where you first saw me, isn't it?

Come on.

Katey, come on, this is real.

It's solid and real, no dream.

(suspenseful music)

- I've been here before.

- [Ian] Sure, we both have, in our dreams.

- No no, I've actually been here.

Look, my watch.

- Well.

Yes, and why not?

You walk in your sleep.

You somehow stumbled through that secret door into here.

- And saw a man murdered.

- No.

That's where the reality stops,

and the dream takes over.

Look, see for yourself, there are

no dead bodies here, are there?

These certainly aren't 19th century.

But someone certainly does live here.

It's locked.

From the outside, too.

So whoever does live here is away at the moment.

You saw the old man about here, right?

And he toyed with the Bible.

- [Katey] Yes.

- And he said something about being rich.

- Yes, something like that.

- About a hidden fortune.

Then what did he say?

- I don't know.

I don't know!

I'm sorry.

- Come on, you've had enough.

We'll go back the way we came.

(suspenseful music)

We'll keep this a secret, hm?

For the time being.

- Well, what are we going to do?

- Nothing.

Nothing more tonight, anyway.

It's late and you must be tired.

But, we've made some progress.

We know the room does exist and how you got into it.

That's real progress.

- But we broke into someone else's house.

- We didn't break in.

Anyway, there was no one there,

and we didn't take anything.

Let's just leave it at that, huh?

- But I --

- Look, I don't wanna broadcast this

til I'm sure what it's all about.

I'm not exactly crazy about being laughed at.

We'll call it a night, and tomorrow,

I'll make some inquiries.

- Inquiries?

- Find out who owns the house, who lives in that room.

- [Katey] Well, how will that help?

- I don't know, but it's certainly a good start.

I feel a lot better anyway, I might even sleep tonight.

How about you?

- Well, it helps.

Knowing some of it helps.

- Katey, let's just keep it between ourselves, huh?

After all, it is our dream.

I'll contact you sometime tomorrow.

Good night.

- Ian?

We know how I got into the room, but you?

- I know, that's what's bothering me.

Good night.

(telephone rings)

- Hello?

- [Dan] Katey?

- Hi, Dad.

Gee, I thought you'd be home by now.

- [Dan] That's why I'm calling, sweetheart.

Rome wasn't built in a day.

I'm beginning to think Peter was the architect.

- You're gonna have to stay on?

- [Dan] Well, if it's okay with you.

There really are a lot of things to be sorted out.

- Of course it's okay.

- [Dan] You're sure?

How was last night?

- Last night?

- [Dan] Did you sleep well?

- Oh yes, and no dreams, no walking.

- [Dan] There, I told you.

Just give it a few days, okay sweetheart.

I have to go now.

I'll see you as soon as I can.

Bye now.

- Bye bye.

- It's Mr. Barnstaple, miss.

- Have him come in.

- I'm in.

Hello.

- Hello.

You know, I really am beginning to have my suspicions

about you.

I think you're some kind of food gigolo.

You always turn up when there's a meal around.

- So I yearn for that old home cookin'.

- Oh.

- You seem more cheerful today.

- I am, and I'm sorry about yesterday.

- Oh forget it.

Start again, shall we?

- Okay.

- Good night's sleep?

- Mm hm.

- Now that's interesting, because yesterday,

you were still very tense, and it's suddenly gone.

What happened?

- I switched it off.

- Oh, that's even more interesting.

You're lying, and I'll tell ya what,

you're not very good at it.

- If I told you the truth, you wouldn't believe me.

- I'd like to opportunity to try.

- Kind of you to exert yourself last night, Esme.

Miss Summers told me you held the fort very well.

- Well it wasn't under attack from Indians, you know?

- No, but you took care, good care.

That's excellent responsible.

You can have tomorrow night off, as a reward.

- As a right, you mean.

I keep tellin' you, Parsons, this isn't the 1800s.

- All right, all right.

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

Be able to see that boyfriend of yours.

I suppose you've still got that boyfriend.

- Yes.

- Is he still working for that silly restaurant,

bouncing about like a --

- [Esme] Mind your own damn business.

- It's ridiculous, I don't believe it.

- [Katey] You have to believe it.

- Two people sharing the same dream, two strangers?

- [Katey] It isn't all dream, either.

That room exists. - If it is true --

- [Katey] It is!

- If it is true, then you are to make psychic history,

and I'm about to give up studying psychiatry,

and take to the black arts.

- I knew you'd laugh at me.

- Well, it's a nervous reaction.

I'm knocked for a mental loop,

and this Ian, I mean, who is he? Where does he live?

- Oh well, I didn't ask.

But he promised to contact me again today.

- How? By phone, or is that too mundane for him?

Maybe he'll just doze off, climb into your dreams --

- Oh, stop it!

- I'm sorry, but you've got to admit,

it's a bit wild, isn't it?

- It happened.

- All right.

A secret door, you say.

- Those records said there was one, and there is.

Leading through to the house that backs on to this.

- Yeah, I know the house.

I've never actually been inside it, but I know it.

And I know who lives there.

Old Pearson, he's an eccentric, a recluse.

Some say that he's a pauper,

but others say he's as rich as creases, nobody knows.

- Old Pearson?

- Yeah, he's 70.

Small, stunted.

Hasn't bought himself a new set of clothes in years.

He looks like something out of Dickens.

Yes, I know.

He's the old man in your dream, isn't he?

When you described him before, I didn't make the connection,

but now.

- A recluse?

Well, he isn't home now, the house is locked up.

- Yeah, that's possible.

Sometimes, you see him for months on end,

walking down the road to collect his paper.

Then you don't see him for weeks,

he just takes off somewhere.

Nobody knows where or why.

But the rumor is, he goes to count his money

in a Swiss bank.

- The room exists,

and the old man, old Pearson.

He's away now.

But when he returns.

Barnstaple, I'm scared.

- Why?

- I think I'm seeing into the future.

When I dream, I'm seeing into the future.

And when old Pearson does return,

he's going to be murdered.

- Look, I'm gonna talk to my professor about it.

Don't worry, I won't mention any names,

I'll just put it to him as a hypothetical problem.

He's used to problems.

I'll be in touch.

Take care.

- Good day, sir.

- Cheerio.

(suspenseful music)

- Ruin your eyesight, miss.

- Oh, gosh, is it that late?

Esme, would you run a bath for me?

- Yes, miss.

(suspenseful music)

- Going out?

- Just for a walk.

- Boyfriend meeting you, is he?

Is he gonna pick you up in his sedan chair?

(laughing)

(telephone dialing)

- See you later then. (telephone rings)

(telephone rings)

- Mr. Summer's residence?

Who?

Speaking.

It's for me.

Yes, she just this minute left.

Who's this speaking, please?

Oh.

Oh, I see.

Well yes, I'm not one to gossip,

but I'll do my best.

Excuse me, miss.

Is it just one for dinner tonight, miss?

- I guess so, my father hasn't called yet?

- No, miss.

- [Katey] I heard the phone just now.

- For me, miss.

- Nobody's called for me?

- No, miss.

Just one then.

(doorbell rings)

- I'll get it!

Thank you, Parsons.

- I found out about the old man.

- So did I.

He's a hermit, an eccentric,

and he's the man out of my dream.

- How did you know?

- Well, it doesn't matter, what are we going to do?

- We're gonna go back up there,

and we're gonna recreate the whole dream.

Every second of it, the whole nightmare.

(suspenseful music)

This is where it started, isn't it?

Come on.

He was sitting here, right?

And he spoke about riches, a fortune.

What did he say?

- Well, I don't completely recall.

- You have to.

His exact words, what he did, it's important.

- Something like, I'm rich,

no one suspects, a fortune no one will ever find.

- What else?

- Nothing else.

Then he went through that weird ceremony, kissing his --

- Yes, you told me that,

but he must've said something else.

- If he did, I don't remember.

- You must remember.

A fortune, he hid a fortune somewhere in this room.

It has to be in this room.

But where?

Searched for days, I can't find it.

- Searched?

You mean, in your dream?

- The only dream I've had is to be rich.

And I've worked too hard at it to be cheated now.

A dream?

No, this is real.

He had money, a lot of money,

and it's hidden in this room somewhere,

and you know where.

You were up there watching the night he hid it.

- Oh no, that as just a dream.

- You walk in your sleep.

You stumbled on that secret door,

just like I did a few weeks back.

Sure, it felt like a dream,

but what you saw was real.

You described it accurately.

- Detail by detail.

- (gasps) Esme.

- Are you so blind to it.

I to tackle that student fellow.

- [Ian] We need to know.

What happened to that money?

- I saw a man die, murdered.

- That's right.

That's exactly right.

You see, you do remember.

- [Esme] Ian, she's supposed to

fall down the stairs, we agreed.

- By the time it's all over, we'll be long gone,

and there's room in that cupboard for two.

You better start remembering, sweetheart.

The key is up their in your mind,

and I'm prepared to carve it out, if I have to.

- No!

I've told you all I know! - Try harder!

- No!

- No one'll hear you, not down here,

and we've got the whole night ahead of us.

(door creaking)

(suspenseful music)

- [Esme] Ian!

- I've been here since I left you this morning,

I found the body, stabbed like you said.

So, I sat down and thought, had to be an inside job.

Someone in your household to get him into

the attic room and through to here.

I settled for Esme.

Esme has a boyfriend, he works as a waiter,

they all wear 19th century costume.

He came over here between shifts, killed him,

and went back and carried on working.

If he'd been a god fearing man,

he mighta got away with it.

Open the Bible.

Kissing his fingers.

He was sticking stamps onto a page.

But not just any old stamps.

Rare, highly prized stamps.

There must close to half a million stuck to that page.

(suspenseful music)

(suspenseful music)