A young woman breaks down in a country lane not far from a cottage, unaware that the owner is a man whose wife was found dead in a pool of blood in mysterious circumstances a couple of years before...
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00:00This is a work of fiction. Any resemblance to anyone, living or dead, is coincidental and unintentional.
00:30A dark green garden. Within it, a lonely man struggles to prevent it reverting to the jungle.
01:00It seems so determined to be.
01:08A peacock screams like a woman.
01:16The tools are honed to a razor edge.
01:20The garden's a picture in summer.
01:23He could open it to the public and they'd flock to look at it.
01:26Because of the dark question mark hanging over the place.
01:36The police dug up the flowerbeds when his wife died.
01:40They were searching for a weapon they never found.
01:46Poor Aileen, lying beneath the balcony in a pool of blood.
01:52There wasn't enough evidence to bring him to trial, but he lost his job.
01:58Public opinion made him redundant.
02:02They're still talking about it in the village.
02:05Not to his face, mind you.
02:11His is the only house for miles around.
02:15Home of Bill Foster, widower, alone.
02:18Condemned to spend as much time as he likes in his garden.
02:34A woman alone, without any plans.
02:38Just touring the countryside and staying where she finds herself.
02:43Such fun, until your car breaks down.
02:54What do you do when your car packs up in the back of Beyond?
03:08Bill's loneliness is largely self-inflicted.
03:13A defence against the whacking tongues.
03:16The binoculars help.
03:18Literally bringing the everyday life around him a little closer sometimes.
03:28She won't have a clue what goes on under there.
03:32It'll take her an hour to walk to the nearest village.
03:37Maybe someone will stop and give her a lift.
04:07Hello?
04:23Hello?
04:31What on earth is she doing?
04:33This is the dragon's pit, the wolf's lair.
04:38Hello?
04:40No woman comes in here.
04:42I'm sorry to trouble you.
04:44What seems to be the difficulty?
04:46Well, my car has broken down.
04:49Oh, is that it down there?
04:52Yes, I was wondering, would it be possible to use your telephone?
04:57What make of car is it?
05:00It's a Ford.
05:01Oh, well, I used to run a Ford, perhaps I can be of some assistance.
05:05Well, I don't want to put you to any trouble.
05:08Well, I don't know much about cars, but I might be able to get it started, you never know.
05:12He's noticed the grating of his own voice.
05:16It's unused to conversation.
05:19And you tried to turn the engine over and nothing happened?
05:22Absolutely nothing happened at all.
05:24You're not out of petrol, are you?
05:26No, I'm not out of petrol, I checked that this morning.
05:29There's something flowery, fragile about that.
05:33Something... what's the name for it?
05:36Oh, of course.
05:38Something innocent.
05:44Shall I open it for you?
05:46Of course.
05:53What chance, what sign?
05:56What chance, what supernatural power has transfixed a car to this road?
06:02Please, don't let it start.
06:06What if, supposing...
06:12Would you mind just turning it over for me?
06:16Yes, of course.
06:21Just a moment.
06:26Alright, try it again.
06:32And once more.
06:40Sorry.
06:42No luck?
06:44I'm afraid not.
06:46I'll have to try the garage.
06:48Are you sure that's convenient?
06:50That'll be fine.
06:52That's very kind of you.
06:54Nice legs.
06:56I think I'll take my other bag as well.
06:59Yes, that's a good idea.
07:01Aileen had nice legs.
07:03Shall I take the keys?
07:04Oh, thank you.
07:06How long is it?
07:08Two years.
07:10Since he was as close as this to a woman.
07:13He can't let her go.
07:20Would you like me to take your bag for you?
07:23Too good a chance to miss.
07:25He's on fire with the possibilities.
07:28And the attractions, by no means one-sided.
07:32There's something about him that appeals to her.
07:36Something strong and proud.
07:40You're very lucky to live here.
07:43Yes, it's a nice spot.
07:45I feel so stupid.
07:47And he's lonely.
07:49She knows what that is.
07:50She's been alone since her husband fell for another woman.
07:58Won't you walk into my parlor?
08:01Said the spider to the fly.
08:03I did put the house on the market a couple of years ago,
08:07but then I withdrew it.
08:09I couldn't imagine myself not living in this jungle.
08:14Will she catch the ghost screams of Aileen losing her balance?
08:18And her life?
08:20On the garden path.
08:33Please do it.
08:37I never lock this place up.
08:39We're very isolated here.
08:41Not many intruders.
08:43Very lucky.
08:44Please.
08:55Sit down, please.
09:01I'll just ring the garage, if you'll excuse me.
09:04That's very kind of you. Thank you.
09:09He can't actually ring the garage.
09:11They'll be there till six anyway.
09:23I'm afraid it's engaged.
09:26I'm going to make you comfortable.
09:28Would you like something to drink?
09:30I would love a cup of tea.
09:33Take your coat off.
09:42Here you are.
09:45This is very, very welcome.
09:49Manage?
09:51Just about.
09:53Are you not joining me for the cup?
09:55No, thanks. Just sugar.
09:57Oh, yes, please, two.
10:04Five past six.
10:08I'll try to get some sleep.
10:10I'll try the garage just once more.
10:12I'm sorry to be so much trouble.
10:27Bill Foster,
10:29my friend's car has broken down.
10:32It's about 200 yards below the house.
10:35It's a green Ford.
10:37I've locked it
10:39and I've put the ignition keys
10:41on the outside wheel
10:43under the backyard.
10:46Could someone go and look at it, please,
10:48and ring me about it here?
10:54I'm afraid they were closed,
10:56but they had one of those, you know,
10:58those machines, those sort of answering machine things.
11:00Oh, I hate those things.
11:02I left a message about the car,
11:04but I'm afraid that the very earliest
11:06that anyone will call will be
11:07tomorrow morning, I should think.
11:10Is there a hotel around?
11:12Hotel?
11:14Well, there's a sort of hotel.
11:16Would you mind telephoning for a taxi for me?
11:18I'm afraid the taxi service
11:20is run by the garage.
11:23Look, I really feel
11:25I've troubled you too much.
11:27I must be on my way.
11:29Oh, no, no, no, please, no.
11:31There's no reason
11:33why you shouldn't stay here.
11:35I've plenty of room.
11:38I'd like that very much.
11:40Let's settle down.
11:42Do you, er, do you paint?
11:45Er, no.
11:47My dead wife used to paint.
11:50That's her photograph over there.
11:53Very pretty.
11:55Yes, she is very pretty.
12:02Well, I think perhaps I ought to get changed,
12:04if you'll excuse me.
12:05A bit of a mess.
12:36Well, here we are.
12:38That's the kitchen.
12:40It's a bit pokey.
12:42Are you hungry?
12:44I am starving.
12:46I haven't got very much.
12:48I think I'll have a bit of sausage.
12:50Oh, cheese.
12:52Cheese, I like cheese.
12:54Do you have any pickled onions?
12:56Pickled onions.
12:58Yes, pickled onions, bread.
13:00Some bread.
13:02There we are.
13:03Five for the cheese, huh?
13:07There you are.
13:11Let's pop off and get some wine.
13:13Oh, that sounds lovely.
13:34I have cut my finger.
13:36No.
13:38Just take your hand away.
13:40Smell it.
13:42It's deep.
13:44I can't.
13:46I can't.
13:48I can't.
13:50I can't.
13:52I can't.
13:54I can't.
13:56I can't.
13:58I can't.
14:00I can't.
14:02It's deep.
14:04I can't.
14:08Sorry, I always feel a bit faint inside of the blood.
14:13How does that feel?
14:15The cold tap for bloodstains and bleeding.
14:24Hold it tight.
14:26I'm stupid.
14:31Blood.
14:33She can bear other people's, but her own.
14:49Well, I suppose we could put it down over here.
14:52All right.
14:53All right.
14:58Why don't you put the light off?
15:01Oh, of course.
15:14Do you want to sit down?
15:16Oh, thank you.
15:24There.
15:26How's that?
15:28Curtains.
15:30How's the thing here?
15:32Oh, it's fine.
15:40Oh, I left some tools out there.
15:43They'll get rusty.
15:45Excuse me a minute.
15:47Certainly.
15:49Do help yourself to some wine.
15:59Aileen's photograph.
16:01Watching.
16:03Perhaps she's remembering happy days.
16:05At last, an oasis of light in the darkness of his life.
16:36Aileen had a blouse like that.
16:39Silky.
16:41Nice to touch.
16:50Maybe she doesn't know how seductive she is.
16:54Maybe she does.
17:06Hello.
17:17It's chilly out there.
17:19It's nice and cosy in here.
17:21Yes.
17:22I'm sure.
17:30Oh, thank you.
17:32She's decided to tempt him a little.
17:35Just to feel his strength.
17:52Cheers.
17:54Cheers.
17:55His hands are pinkly scrubbed and smell of soap.
17:58They shake as if he was a boy.
18:01You're trembling.
18:04Yes.
18:29The elaborate game develops.
18:34Under Aileen's stare.
18:46The young man who runs a local garage is ambitious,
18:50zealous, begins his day early.
18:53But he's not the only one.
18:55Ambitious, zealous, begins his day early.
19:04Bill Foster.
19:06A friend of mine's car has broken down
19:08and it's parked about 200 yards below the house.
19:18Interesting.
19:19Didn't know Bill Foster had visitors.
19:22Since his wife died.
19:25I don't know.
19:55Oh, that sort of visitor.
20:25I don't know.
20:26I don't know.
20:56Simple job.
20:57The petrol pump was blocked.
21:04Odd, the distributor lead being off.
21:07Somebody had been tinkering by the look of it.
21:26Out of order.
21:28Oh well.
21:29Perhaps he hasn't paid the bill.
21:35He might as well drive it out there.
21:37Have to test it anyway.
21:55This is Kevin.
21:56Bad and weird.
21:57Our boys are on their way tonight.
21:59You're listening to BBC Morning Southwest
22:01and we're broadcasting to Devon,
22:03Ormond, Channel Islands and the Isles of Scilly.
22:05The time now is three minutes past eight.
22:19Lot of stories about this place.
22:22Gossip.
22:23Old wives' tales.
22:25He doesn't believe them.
22:26Never did.
22:27He's got nothing against Bill Foster.
22:36Bill?
22:40I've got the Ford.
22:53Oh.
22:54So that's why it's out of order.
23:02The house is perfectly quiet.
23:05All the rooms seem to be listening.
23:21That's better.
23:24Remains of an intimate supper.
23:27And wine.
23:38Almost forgot.
23:39Old Bill's a compulsive gardener.
23:42He's probably up and at it already.
23:47Kettle's cold.
23:49They're probably still in bed.
23:54That's blood.
23:56Dry, but blood.
23:59Mustn't jump to conclusions.
24:02They never proved it was murder.
24:05A bit odd, mind you,
24:06Mrs. Foster falling like that.
24:18The silence creeps back.
24:20The silence creeps back.
24:23Like a criminal drawn to the scene of his crime.
24:27Then he catches a stealthy noise.
24:30A dripping, trickling noise.
24:41His heart begins beating like a hammer in the attentive house.
24:51He inches along.
24:54All eyes.
25:00He wants to leave.
25:02But he can't.
25:04He's got to find her.
25:06She's got to be somewhere.
25:08Here, perhaps, in the bath.
25:20Papapapapapapapapapapapapapapapapapapapapapapapapapapapapapapa
25:31Oh, for goodness sake, stop it.
25:35Bill's okay.
25:38They're in bed together.
25:40Resting.
25:41Or playing.
25:46But why haven't they heard him?
25:50Hmm. Locked.
26:15Uh-huh.
26:16Her bed.
26:17Not slept in.
26:19And her nightdress.
26:49Here lies our killer, sleeping like a baby.
27:06Sleep on, Belfaster. You've probably earned it.
27:14Then it occurs to him that Bill could hardly have locked his door and left the key on the outside.
27:33Bill!
27:43Hey, Bill, come on.
27:46Come and get up now.
27:48Just before we go, though, a reminder of that police warning.
27:50They're looking for a dark green Ford Escort registration.
28:18Ford number RDV850R.
28:21It's driven by a woman with dark hair in her early thirties.
28:25If you see her, please contact your local police station.
28:28But don't approach her. The police warn that she's dangerous.
28:31Well, from me, Ian Phillips, bye-bye for now.
28:48Bye-bye.
29:18Bye-bye.
29:48Bye-bye.