The Death Watcher - Episode 4 (Tuesday 26th January 1971)

The story...

Scientist Pickering is conducting experiments to test his belief that it is possible for there to be communication between the dead and the living. Another researcher - Emmy Erikson - rejects such paranormal ideas but she has accepted an invitation from him to discuss them; her husband thinks this isn't a good idea but she goes ahead anyway.

They meet on a train and Pickering takes her to a remote large house where he conducts his experiments. After some initial discussions she feels their perspectives are too far removed and decides to leave but she is told it isn't possible, Pickering at first claiming that transport is unavailable but later insisting she must stay "in the interests of science". She finds that her bedroom is locked at night, the windows are barred and she  is prevented from leaving by his aide Dawson. She is prevented from contacting her family, Pickering sending them a fabricated message that she is at a conference abroad. Emmy becomes increasingly distressed but to no avail - visitors to the house are told it is a nursing home and that she is mentally ill with delusions that she is being held prisoner 

Pickering tells her that for there to be communication by the dead the deceased person must have died a violent death and must have a trained, scientific mind. At first Emmy thinks this means he is contemplating suicide to test his theory but then she realises he has a different person in mind...

Pickering has a special purpose for this giant image of his face

Review

One of the best-known and most acclaimed episodes of Shadows of Fear, this is certainly a superb offering. it is also one of the closest to mainstream thriller and horror tales, even down to it being the only one in the series with a typical genre title whereas the show generally had more oblique, enigmatic episode names. A "mad" (or at least deluded or amoral scientist) treating unwitting or unwilling human beings as disposable research subjects has long been a staple of the genre. It is also the only episode with a supernatural theme although it appears Pickering's ideas are nonsense - or are they?

Given that this is Shadows of Fear though rather than a more conventional thriller / horror production this take a more subdued, pared-down and generally less dramatic approach. There is no macabre violence, frequent attacks or high body-count. The emphasis is very much on psychological suspense and fear. At first there is mystery about Pickering - he seems a crank who will ultimately prove harmless. Later though it becomes evident that he is in fact dangerous. What though makes him such a magnetic figure on-screen is his genuine charm and geniality. He is unfailingly polite but his ideas are no less threatening behind that appearance. His aide Dawson is a more subdued figure - and one who can use force if required - but he also is exceptionally polite and considerate towards Emmy and seems genuinely concerned for her welfare. It is clear that he believes that she is ill and that they are helping her by preventing her leaving while Pickering engages in his "treatment".

Emmy is in effect a prisoner, a hostage, although Pickering and Dawson try to insist that she is not. Pickering is able to convince others that she is mentally disturbed and it does show how it is a possible to successfully label a perfectly sane person in that way if those doing the labelling seem sufficiently expert and "respectable", especially when it occurs in an apparent medical institution. It is striking to see the way that her pleas for help are ignored without demur by visitors and passers-by. It becomes clear that she is not the only "patient" who has stayed at the home as Pickering has previously tested out his ideas.

Pickering and Emmy are the dominant characters on-screen. Both are superbly written by Jacques Gillies and exceptionally performed by John Neville and Judy Parfitt but the splendid support by Victor Maddern as the thoughtful and considerate Dawson should not be overlooked. Comments from Emmy's husband to her at the start of the episode are skilfully "flashed-back" into later scenes. This is also the only episode to feature any location footage including Pickering and Emmy arriving at the house and - more extensively - Dawson taking a bus journey out into the Suffolk countryside later on. Peter Duguid had directed the preceding episode - At Occupier's Risk - and again does a fine job again here. The use of some genuine outdoor scenes works well and contrasts with those in the home which is in effect Emmy's prison.

The climax is a great one but it is the chilling, final scene that is is one of the very best and lives long in the memory. Even the closing titles are distinctively-done with unnerving images of the three central characters rounding-off a tremendous episode.   

Emmy Erikson (Judy Parfitt)