Invisible Creature

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We're not talking about actors. We mean a real monster. I brought her back. She'll live and I'll get her another body.
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I know they're gonna catch me but don't let anyone see me like that! Please, Doctor, help me!
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Biologically speaking, it's of primary importance that man should want to mate.
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Hey, that's for sure!
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You don't get all your kicks from surfing, do you?
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We want to be free to ride our machines without being hassled by the man.
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And we want to get loaded.
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You think you're gonna make a slave of the world? I'll see you in hell first!
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The American International Podcast.
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Are you ready?
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Thank you for joining us on American International Podcast. I'm Jeff Markin.
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I'm Cheryl Lightfoot.
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And this week we'll meet a man hitting polar guy's name Patrick in the House in Marsh Road
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or as television viewers in the mid to late 1960s new it, Invisible Creature from 1964.
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Invisible Creature was directed by Montgomery Tully from a screenplay by Maurice J. Wilson.
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It was based on the novel The House in Marsh Road by Lawrence Meynell and produced by Maurice J. Wilson
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from Merton Park Studios and Eternal Films and released theatrically by Grand National Pictures.
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Invisible Creature stars Tony Wright as David Linton, Patricia Dainton as Jean Linton, Sandra Dorne as Valerie Stockley, Derek Aylward as Richard Foster, Sam Kydd as Morris Lumley, Llewellyn Rees as Webster.
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It also stars Anita Sharp Bolster as Mrs. O'Brien, Roddy Hughes as Daniels, Harry Hutchinson as the pub landlord, Olive Sloan as Mrs. Morris, Geoffrey Denton as police inspector, and Olga Dickie as hotel proprietress.
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Invisible Creature opens within exterior shot of the Belmont Hotel.
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We go inside where David and Jean Linton are taking a room.
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The Land Lady doesn't want to rent the room for just a few days.
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But David says that he has to gather materials for his book, so he plans to be there for six months or so.
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And the Land Lady approves of this plan.
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David pulls on a lot of cash and offers to pay the Land Lady in advance, but she says that won't be necessary.
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She presents her guests with a bill at the end of the week.
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And then David asks if she could retrieve their bags for them.
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After the Land Lady leaves, Jean asks David just what would he have done if she had requested that he pay in advance.
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David knew there was nothing to worry about.
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He says that when people see a lot of cash even if it's fake money, they're more than willing to extend credit on the belief that they have money.
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And then David says, well, that's all settled.
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And he pours himself a drink to celebrate.
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Jean asks if he must have a drink.
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And David says he must.
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Jean's upset for various reasons, apparently.
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David says that he'll get some reviewing to do where he is a writer.
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And then maybe they can stay there permanently.
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Jean is not thrilled to hear this.
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They left their last place in a hurry, still owing three weeks rent.
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She's hoping the Land Lady there, Mrs. Hardcastle, doesn't track them down here.
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David's supposed to the worst case scenario is a little three weeks rent.
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That's not the end of the world.
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At any rate, he expects to be able to appear when that time comes because he should have been paid for his article by then.
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Jean comes up with a thing they never seem to have money to pay anybody.
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David says that if he could just get six months of peace and quiet, he could write his book.
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Jean rolls her eyes.
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He says, you don't believe I can write a book.
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Jean says that she believes that David could do anything.
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But, and he knows that she means his drinking.
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But he asks, have you ever seen me drunk?
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And she concedes that she hasn't really.
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Then she snipes it in for lying.
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Why did he tell the Land Lady that she was a secretary?
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He says he could hardly say she worked part time in a dress shop for a few pounds a week.
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Jean says that those few pounds a week buy them food and ask how much real money he has in his wallet.
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Exactly one pound smirk's David.
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But he's just remembered there's five pounds waiting for him with Mrs. Hardcastle.
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It's a payment he's received that was delivered to their old address.
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So David wants Jean to go pick it up for him.
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After all, she's not liable for the rent, so she should have no trouble getting it from Mrs. Hardcastle.
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Well, she should have trouble, but Mrs. Hardcastle can't do anything to her legally.
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My God, what a way of living Jean complained.
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In the next scene, we're in a cafe.
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David's already sitting drinking a cup of coffee.
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Jean enters and hands him that envelope with his precious five pounds.
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Then she sits down and opens a letter addressed to her.
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She says it's probably from her Aunt Grace.
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Jean had written to her recently and she has yet to have received a reply.
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But the letter isn't from her Aunt Grace, though it is regarding her Aunt Grace.
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This Jean looks a bit shell shocked as she reads out loud.
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The letter is from an attorney handling the affairs of Grace Healey Baker who died three months ago.
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The lawyers have a copy of her letter and are responding to her.
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She has a letter to David to read.
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Aunt Grace had left her house in the amount of 1,000 pounds to Jean, the daughter of her sister Mary.
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And after having received this letter, they believe that this might be the Jean that she was referring to.
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And all Jean has to do is contact the legislator on the letter, prove her identity, and the inheritance is hers.
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I liked it up and 1,000 pounds in 1960 would be 38,000 pounds today or about 29,000 dollars.
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So that's pretty handsome some of money.
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David can't believe his good luck. God bless Aunt Grace.
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David says you never mentioned her.
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Jean says that she hasn't thought of her in so long.
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She just wrote a letter on impulse to her Aunt Grace.
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Aunt Grace and her mother had had a falling out years ago.
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David asked Jean what the house is like.
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Jean says she was only ever there once and mentions that her Aunt Grace had a lift installed.
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Jean says that the house struck her as a bit odd and that her mother didn't like it and never returned to it.
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David wonders what the property's value might be.
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Jean says it doesn't matter. He can read his book there and they could put their days of running away from land ladies behind them.
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And David thinks better of saying anything else here and tells her to go find her birth certificate.
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In the next scene, David and Jean are being driven out to the house on Mars Road.
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Richard Foster, the estate agent, lets them in.
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Jean looks around marveling at the house, which is now all hers.
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And she walks over to the lift that was mentioned earlier.
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It's rather dusty. Admits Richard as he pulls a chair from the center of the room back against the wall.
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Jean asks him if they might be able to find someone in town to help her on the house.
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Richard tells her that Mrs. O'Brien used to work for her Aunt and she may be available and Richard agrees to speak with her about coming on.
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Meanwhile, David's walking around looking like he's smelling rotten eggs.
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Jean wants to go see the dining room which through a closed door.
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She opens it and walks in.
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David tries to follow her but the door slams in his face before he can enter.
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He opens it and carves it Jean for closing the door in his face, which she denies.
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Richard goes to look at the door.
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You get the sense that he kind of expected of.
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Jean suddenly stops saying that she fell to breeze and heard a sigh.
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But David and Richard didn't notice anything.
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Well, we heard it was a trill of strings like somebody who's plucking a harp.
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Richard says he has to be leaving and Jean shows him out.
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As he goes, she notices that the chair is once again in the center of the room and she pushes it back against the wall.
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And she goes back to the dining room to rejoin David so the two of them can continue exploring their new home.
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David follows her into another room.
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Turns out this is a study which would be perfect for David to work in.
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He gripes about the lack of comfort in this house.
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He doesn't understand her enthusiasm for this dusty old place.
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She asks if he'd rather be in a dingy room at the Belmont.
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He can see its defeat again until they go upstairs to check out the bedrooms and not in a sexy way.
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As they head up the stairs, Jean is hopeful that Richard can convince Mrs. O'Brien to come on.
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She talks about storing some extra furniture, but David says they should sell it.
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The next day we see that Mrs. O'Brien is helping making the beds.
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She is blatantly Irish and blurt out that the place is haunted by a ghost called Patrick.
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And he's a poltergeist. Things move around for no reason at all she explains.
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Bells ring with nobody ringing them.
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Jean asked if Mrs. O'Brien was ever afraid in the house.
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But Mrs. O'Brien just laughs. That's not the sort of thing they would scare her.
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Jean inquires why they call him Patrick.
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Was he Irish?
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Mrs. O'Brien explains that she named him after her late husband because the ghost is invisible and so is her husband.
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And that Patrick the ghost is just as unpredictable as her late hubby was.
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Jean takes none of this seriously.
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So Mrs. O'Brien warns her that Patrick doesn't mind missing out people who don't believe in him.
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In a mocking tone, Jean promises to take it seriously from here on out.
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Later, Jean is working in the garden and Mrs. O'Brien stops by to say goodbye on her way out for the day.
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Jean goes inside and pulls the chair back against the wall, suggesting that Patrick that it would be nice to believe the furniture where it belongs.
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David comes in and sees what she's doing, but he isn't believe in all the supernatural nonsense.
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He's making fun of her actually.
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As David says to a chair, he says, "Nem of that supernatural stuff ever happens when he's there.
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Just then decorative plate falls from the wall. That's because you spoke ill of Patrick's as Jean.
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Don't be ridiculous. The screw must have come out of the wall. Besides, he doesn't want to hear anymore about Jean's polterdice.
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He says he's going to the plow, the local pub."
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Jean says he could just drink there, but David says if he's going to write about people, he's got to meet people.
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In any way, he's tired of being confined by these four walls and storms out.
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At the plow, David is getting chatted up by Morris Lomley, who's in the property trade.
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He asks what David the writer is writing. Novels? David complains that it's hard to write his next novel, and he asks to keep stopping to review other people's books.
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He says he's a good writer, but not a good typist.
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So Morris recommends that David look up Valerie Stockley. She calls herself Mrs. though no one's ever seen a Mr.
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She's either divorced or separated.
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Anyway, she's done work for Morris, and he can vouch for her work. She's quite a dish he adds. Too bad Morris isn't her type.
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He reckons David might be though.
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He tells David he should give her a call, and he gives him her number.
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David happily writes her phone number into his little black book.
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Morris inquires if the house might be too much for David's wife to handle.
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If so, he can make an offer on the property. He's willing to give David 6,000 pounds.
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David starts to drool when he hears that number, and Morris tells him to think it over.
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So David rushes home to tell Jean the good news, 6,000 pounds.
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That's 180,000 pounds today, or 238,000 dollars.
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But Jean says that she will never sell four wins as long as she lives.
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I love how in England all their houses have names.
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Or a win's means too much to her. So David can just forget about any drunken talk he's heard at the plow.
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David sarcastically, thanks her for calling his drinking out.
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But Jean doesn't sugarcoat it. He does drink too much.
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He's his own worst enemy, standing in the way of his own abilities.
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She reiterates that she's not selling the house and gets up to go to bed.
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David grouses that she certainly makes it clear who's the owner and who's the lodger here.
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Jean turns and points out that a lodger traditionally pays rent.
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E on the other hand, even though he's gotten paid for his articles, has not contributed a single penny.
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Then she leaves David sitting alone with his drink.
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The next day, Jean tells David that she has to go to London to sign some papers.
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She'll be back on the 7 p.m. train. David watches her go, then runs to the phone to call Valerie Stockley.
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He tells her he got her info from Morris Lundley and he would like to hire her to do some typing for him.
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What kind of typing she asks? Literary work. Very interesting, he says.
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Modestly. Then he tells her to come down to four wins on Marsh Road so they can discuss it.
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In the next scene, there she is in his study, in a tight dress with her bleached blonde hair piled the top her head.
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Valerie tells David that she heard this place was haunted. Not you too, sighs, David.
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She says she's never been in a haunted house before. David says, according to my wife, you're in one now.
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She picks up a picture of Jean that is sitting on the desk.
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Not according to you, though, she says.
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But David only believes in what he can see and touch. Then they head out into the foyer.
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Valerie asks for the ghost to be supposed to walk and David explains that it's a poltergeist.
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It doesn't walk. And besides he couldn't care less, as long as the poltergeist stays on of his way, they won't have a problem.
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Valerie grabs her coat and goes to a mirror hanging on the wall by the front door.
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As she looks into it, the mirror cracks. She's startled, but she's okay.
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This is one of the funniest scenes in this movie.
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Now we're at the train station in Whitherley, where Jean has just returned from London.
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She's surprised as he was here. He's just returned as well, and he offers Jean a ride home and she accepts.
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Once home, Jean invites Richard inside for a drink.
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She goes into another room and David asks if he went to London with his wife.
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"I've been to London, but not with your wife," Richard replies. "We only met at the train station."
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David says he's glad to see him anyway. There's something he'd like to ask him.
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He asks what a fair price for the house would be. Richard says it's very old. You'd have to find a buyer.
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At this point, Jean returns without saying anything.
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David asks Richard if 6,000 pounds would be a fair price.
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Very fair, says Richard.
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David says that Morris Lumbly made the offer. And Richard says that Morris Lumbly knows his stuff.
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David sees Jean and says sarcastically, "Even your boyfriend says it's a good price."
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Richard chokes on his drink as Jean reiterates that the house isn't for sale.
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Richard says he must be going. David asks him to stay.
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He sure his wife would like to entertain him. Jean glairs at David and tells Richard that she'll see him out.
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Jean apologizes to Richard as he leaves. Then she notices that broken mirror and goes back to the front David about it.
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She accuses him of breaking himself when he's been drinking. And asks why he had to be so rude to Richard.
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What's Richard ever done to him?
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You mean the both look ridiculous? David asks if he's spoiled or budding romance.
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And she tells him to grow up. Now we're at Valerie's flat. The phone rings. She answers and it's David.
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She tells him she's been working on his novel and he wants to see what she's done so far. So she invites him round to her place.
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So David goes over and as David reads her work, Valerie offers him a drink.
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She has to sketch my inspirin. David says people inspire him. She could inspire him.
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He thinks that there's a story in her. An attractive young lady living and working alone in a small country town.
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She thinks that he's just curious. He says he finds her interesting.
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Am I? She says as the scene fades out abruptly.
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Now we're at the breakfast table at four wins and David is buttering his toast.
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Jean asks how the woman he's hired to do the typing is getting along and David says she's getting along fine.
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The only problem is she will expect to be paid. Jean asks what she's like.
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David the writer tries to come up with a word and can only say that she's ordinary.
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Jean asks for more details. David says the inquisition stops here and stops out of the room.
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David goes into a study and finds a mess of ink spilled all over his desk.
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He yells for Jean to get in there. She comes in, sees the mess and calls for Mrs. O'Brien to bring in a cloth.
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Mrs. O'Brien comes in. Patrick must be very angry. She says he must be angry with you. She accuses David.
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David tells her not to blame up polterdice when it's pretty obvious that she's the only one who could have done this.
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Mrs. O'Brien pointedly explains that she just got there and that everything was tidy when she left yesterday.
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Is he accusing her of breaking in the middle of the night to make that mess?
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All right, says David. I'm sorry. I'm sorry. Mrs. O'Brien says if it wasn't for his sweet wife, she'd walk out right now.
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Now do you believe me, David? Ask Jean.
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David wants to know why she doesn't sell this house ghost at all.
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Jean says no sale and that's final.
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But she may be having second thoughts because in the next scene, Jean is meeting with Richard to discuss the possibility of selling the house.
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She asked about Lonely's offer.
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Richard says that Lonely's reliable and asked if she wants to sell it.
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Jean's unsure and then she asks about the strange presence in the house.
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Richard confesses that he knew that something was in the house, but figured that she should find that out for herself.
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Jean doesn't want to sell for a win, but her husband says he can't work in that environment.
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Jean's concerned that if they were to sell the money wouldn't last more than a year or two. Then they'd have nothing.
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But she shouldn't be troubling Richard with her personal problems.
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Richard suggests they just give it more time. Maybe David will settle in.
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He seems to have made friends in town. At the plough, Jean specifies.
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Then she asks for a recommendation of someone who buys furniture.
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Daniels is the man for you. He says as he scribbles the address on a piece of paper, he'll give you a fair price.
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And now we're at four wins where Mr. Daniels gives Jean 70 pounds for her furniture and tells her to give Mr. Foster his regards.
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And now we're at four wins.
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Jean and David are there and Mr. Daniels is giving Jean 70 pounds for her furniture.
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Daniels tells Jean to give Mr. Foster his regards for the job and he leaves.
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David asks Jean if she's been to see Richard and she tells him she went to talk to him about selling the house.
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Oh, so you've decided to sell David asks eagerly, but Jean dashes his hopes and says she's once again decided against selling.
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David decides he needs to get out of there. He's going into town to the plough. You mean says Jean David turns around.
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You can believe whatever the hell you like. He says.
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Jean fumes but has no reason to believe he isn't going to the plough. But that's only because she doesn't know about Valerie.
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And her home was David's true destination. Valerie and David are sitting on the couch in her cottage and Valerie says it's been weeks since they worked on the book.
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So why is he here, but he's here for her of course.
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He tells her he's like a moth attracted to a flame and she's a very attractive woman. Valerie is just down across from him.
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Valerie says she's getting a divorce and she won't let a little hanky panky get in the way of her divorce settlement.
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And once you have that, David asks. Valerie says that she certainly doesn't want to be anyone's mistress.
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She wants her own husband. He's someone else's.
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David suggests that it wouldn't be on the question for a man to get to force. Is this a proposal as Valerie sort of he replies.
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She looks stunned. Meanwhile, a telegram for David is delivered to four wins. Jean accepts it. So Jean goes into town to give David the telegram.
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She naturally goes to the plough, but is surprised to find that not only is David not there, but nobody there has seen him today.
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Jean looks quite confused and goes. And the next scene David is returning home to four wins. Jean's eating and David apologizes for being late for tea.
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He says he lost track of time while at the plough. We're there the whole time. Ask Jean. Of course says David. When I go to a pub, I like to take it easy.
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You're a liar, David. Snaps Jean. She explains that a telegram from his publisher came for him not 10 minutes after he left. And she opened it.
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"Give it to me," says David. Snatch you get out of her hand. David reads the telegram. It's from his publisher. David asks Jean why she thinks he wasn't at the plough.
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She tells him she went to the plough to find him. Only he wasn't there. David reminds her that he never said he was going to the plough. She's the one who said that.
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And he says he didn't correct her because he didn't want to disappoint her. Where did you go, Jean asks? If you must know, I went into weatherly and I've been knocking about there. You just can't help lying. Can you accuse Jean? You would know, says David. Now if he finished with the third degree.
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In the next scene, we see that David has taken Valerie to a club on a date. She asks how his novel is coming. And he says it isn't. She says that's too bad. She was looking forward to...
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She doesn't finish her sentence. And then Pibbets to ask for 20 pounds to pay her lawyer. She's going to London where her divorce is going to be finalized. Then in a few days she'll be a free woman.
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David says he hasn't got 20 pounds. Oh, that's too bad, says Valerie. He offers to bring it to her hotel in London. And then they could... well, you know. But she says that's not wise at this moment. In a few days though, she'll be a free woman.
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Okay, David says. Now David is back at four wins. He breaks into a drawer where Jean keeps her money. Then helps him save money.
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It's pretty safe presumption because the next thing we see is a letter on Rosemont Hotel Stationery from Valerie saying, "Darling, thanks and thanks again for that 20 pounds. Now I know you love me. She'll save you."
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She also tells him that she'll be back tomorrow and to meet her at the cottage and signs it love V along with a little post-crip that makes no sense.
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Cute my typing the envelope A. Why would she write that? We don't even get to see the envelope.
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As Jean is walking through the house, she hears a noise from the study. She goes in and finds the contents of the desk have been drawn about the floor. And on top of the pile is that letter from Valerie.
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Jean reads the letter and throws it down and goes to check that drawer where she keeps her stash. She counts the money and it's not all there.
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And now we're at Valerie's cottage. David and Valerie are kissing when Valerie hears a knock. She looks out a window and tells David to hide. His wife is here.
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He scuttles through the kitchen as she answers the door. Of course it is Jean who asks if she is Mrs. Valerie Stockley. Valerie says yes and you're Jean Linton.
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Valerie explains she recognizes Jean from her photograph. "Oh you've been to my house and I never knew such a shame," says Jean. Valerie asks Jean what she wants.
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Jean says she's come to collect some stolen property. Do you often refer to your husband as property? Ask Valerie? Oh I wasn't referring to him. Though from the sounds of it he's more your property than mine.
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Jean is there for the twenty pounds that David stole from her to give to Valerie. Jean says she saw the letter.
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She looks quite shocked here that David allegedly stole the money but she claims to know nothing about it. And then Jean says what she came there to say. David is skint. He hasn't got a shilling to his name. The food he eats, she paid for. The house he lives in, that's hers.
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And the twenty pounds David had given to Valerie, mostly belonged to Jean. If Valerie wants twenty pounds she should go earn it. You look the type Jean says. On second thought, keep the money and keep my husband too. I've kept him long enough and she leaves.
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David comes out from his hiding place. Did you hear? Ask Valerie. David did. Valerie is pissed. She thought David had money. David told her he was going to sell the house and it's not even his to sell. David grabs her and says that he's just so in love with her. Valerie asked to be heard what Jean had said about her. Yes says David. I could have murdered her.
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You're supposed to be in love with me. Why don't you break her silly little neck? Valerie says. Then the house would be yours wouldn't it? This gives David an idea.
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Now David is back at four wins and trying to explain himself to Jean. He says that yes, he gave Valerie the twenty pounds, but that's it. And now it's over between them.
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Jean's snarls that she probably dumped him when she found out he didn't have any money. I told you I haven't seen her says David.
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David says now his head is clear and he can write again. Jean looks skeptical though. She knows that he's cheated on her before, but this time feels different.
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He stole money from her and gave it to his mistress. David promises that this is a new start for them. Jean says that she's willing to try fool that she is and I agree. This is dumb.
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Now night has fallen for wins David goes into the kitchen and throws the fuse box. Then he goes upstairs where the lights are now no longer working. Then he pulls open the gate to the inactive elevator. Then he goes back downstairs.
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Jean is reading with David has written while David Pace is around with the drink. David tells Jean that she should have another but she says she's had two already. He's very insistent they're celebrating it's the end of another chapter of his book.
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Jean says that his novel is coming along nicely as David pours her a third drink that she didn't really want. She downs it and then immediately feels extremely tipsy and wants to go to bed.
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He helps her to the stairs and turns off the light at the foot of the staircase at the top. He claims that the light there doesn't work because of a blown fuse and says he'll go downstairs to fix it.
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Jean she will be all right going to bed in the dark. Won't she? And as he says this he pushes her towards the elevator shaft the gate swings shut saving Jean from an ass.
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He says the gate was open impossible says David it couldn't have been and he apologizes for pushing her saying he tripped on the carpet. He asks if she's all right and she says yes and goes off to bed.
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As David curses his bedlock.
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The next morning David is dressing as Jean wakes up she says he mustn't give her so much to drink she can't take it and he knows that she also says her shoulder feels bruised David once again says the gate was closed.
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Jean thinks that she's coming down with the flu on top of everything else so she tells him to go downstairs for breakfast she's staying in bed.
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Now David is in the study doing his own typing he cuts impacts Mrs Ryan goes up to Jean's room to bring her some tea and David comes in as well.
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David says he's going out and asked for Jean needs anything before he goes. She asked him to pick up some astrum while he's out.
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She's finished off what they had before he leaves he goes to the medicine cabinet. He opens it and finds a bottle of something to be given at bedtime only.
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He looks at over for a second then puts it back in the medicine cabinet and leaves later after David returns Mrs. O'Brien is saying her gobyes.
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She says that Jean feels a little better. She had a bite and a dose and so she's going and that he should let her sleep instead.
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David goes into the bedroom he checks on Jean and she says she plans to read a while David says he'll bring her some warm milk later and some aspirin.
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David goes to the medicine cabinet picks up that bottle he was looking at earlier he goes downstairs to the kitchen and warm some milk then laces it with the pills but he doesn't do it right.
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What does he do wrong? He just puts pills in the milk.
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It looks like he's trying to break up the tablets of sleeping pills and then he drops him in the warm milk. He's got like six of them.
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Did he break them up? I thought I just dropped him in.
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What it looks like he's doing is opening up capsules to dump the insides into the milk but these are tablets so he makes the motion of breaking it in half.
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Weird. Very weird.
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Then he takes his prepared drink upstairs quite slowly and brings it to her put me in mind of suspicion.
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The milk doesn't glow like suspicion though. Carry grants milk glows. He gives the glass of milk to Jean and offers to sleep in the spare room.
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Jean starts to take a sip and stops. She asks David why he's side like that. David says he didn't sigh. Now drink your milk.
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We heard those harp strings again but apparently that feels like wind to her.
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Jean again puts the glass to her mouth and a bell starts ringing. Jean asks David to investigate it. She can't stand the noise.
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Damn house. What is David as he exits the room. The ringing stops and Jean presses the glass of milk to her mouth once more and the ringing starts up again.
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Jean is noticing a pattern here.
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We see realization dawning on Jean's face. She stands up and dumps the drink into a flower pot. She gets back in bed and David returns.
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Jean says that she's going to go to sleep now. David goes to the spare room and lies down,
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and she's running as Jean lies sleepless in her own room, a tear falling from her eye. A while later David goes back to the bedroom to look in on Jean as he pulls closer to her.
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Her eyes pop open. What do you want David? She asks, I just wanted to see if you were all right. He says she tells him she's all right and she just wants to go to sleep.
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He leaves and she gets up and locks the door behind him. She looks terrified. This is really good acting here.
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The next day Jean leaves a note for David that says David have gone to London. We'll be back tomorrow. Jean then she leaves the room, goes downstairs and exits the house as quietly as possible.
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And the next scene Mrs. O'Brien is banging on the front door and ringing the bell. David's wearing his dressing gown and goes to answer it.
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He opens the door and claims that he just woke up as he lets her in. After complaining about having to stand out there for so long, Mrs. O'Brien hustles upstairs and sees that Jean is not in her bed.
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Meanwhile David's looking out the window, waiting for Mrs. O'Brien to scream when she discovers Jean's dead body.
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But he's surprised when he just hears the door close and Mrs. O'Brien comes back with that note and says that Mrs. Linton just isn't there. She has the note over to David.
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No, we're showing what Jean is doing in London. She's at the office of PJ Webster Solicitor. She's trying to convince PJ that David tried to murder her.
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Twice now. And Jean is curious as to what legal recourse she might have. I don't think she said that. No, she didn't.
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I think she's just trying to find someone who will believe her. But PJ Webster is not easily convinced. And less so when Jean heatedly claims that it was Patrick that closed the gate to the lift saving her life.
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Webster isn't certain these were actual murder attempts because there doesn't seem to be much of a motive for killing Jean. He suggests that when David pushed her by the elevator that it may have indeed been an accident.
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But Jean says if only he could have seen look on David's face when the bell started ringing. She explains about the poison, but doesn't have enough evidence to convince PJ Webster, which means that she could never convince the police.
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Webster asks if she might be jumping into conclusions and Jean just throws up her hands in exasperation.
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The next scene appears to take place somewhere in London.
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It looks like the same nightclub where David took the all the way that night. But Jean is there having coffee with Richard. She's trying to convince him as well, but he thinks the house is getting to her.
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She says to her the house is warm and friendly. The poltergeist is not frightening. It's a protector. At any rate between Mr. Webster and Richard, Jean is convinced that she's been acting like a frightened school girl. And so she says she's going home.
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She was going to go back tomorrow, but she can still catch the late train tonight. Richard says he was going to be headed back tomorrow himself. So instead of taking the train, he can just drive her back tonight.
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He assures her it would be no trouble. So she accepts can you see David space when I walk in with you? She says what is going on with them? Well, I think if we did get to see that scene, it would be very different than she's imagining because in the next scene, Valerie's on the doorstep of four wins.
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Ava lets her in and thanks for coming. She wants to know what he wants. He says she needs to wait for him. He's going to sell the house to Lumly because soon it will be his and then they can go away together.
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David tells Valerie that she was the one who put the ideas ahead and Jean is going to be around much longer.
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And now for the next intercut series of scenes, we see that Richard is driving Jean back to four wins in a thunderstorm and they cut back and forth between them a lot, but I'm not going to mention every time.
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Nothing of significance happens in the car or there. I got four wins Valerie tells David she's afraid of lightning and if he doesn't mind, she'd like to stay there with him until the storm blows over.
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They go upstairs and get undressed in the bedroom. David's picture flops face first onto the desk. Then apparently David and Valerie have done the deed in Jean's bed as the storm rages on.
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Downstairs a piece of burning wood flies out of the fireplace and onto the floor under strikes David asked Valerie if she's still scared. She says she's not. She's not even scared of the house. She's not even scared of David.
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And then they make out somewhere downstairs Patrick were assuming pushes his favorite armchair over the burning piece of wood and the fire takes off like the house has been soaked in caracene upstairs. Valerie senses something is wrong.
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Well, they're having a cigarette so she probably doesn't smell it right away. David goes to the door, but it's locked. You can't open it. Mrs. O'Brien sees the house as a flame as she comes up the driveway.
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I think she must have smelled something and she came running. There's no reason for her to be there, but David breaks the window. There's a great in front of it and they can't get through from the driveway. Mrs. O'Brien sees the two figures in the window.
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She runs to the nearest phone booth to call for the fire brigade in the bedroom. Valerie sees the door fly open. She points that out to David and the two runners are the hallway, but they're surrounded by flames.
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The staircase is engulfed so they're trapped up there. Now it's continues to burn as Richard and Jean continue their track back to four wins. As the fire brigade arrives, we see that it's going to be too late. The roof is collapsing into the house.
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Back with Richard and Jean. Jean says she's scared. She's not sure of what but something isn't right. Richard asks if she'd rather stop and go to the pub, but Jean says no. She'll go home.
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Back outside the flaming ruins of four wins. Mrs. O'Brien is grieving the death of Jean who she assumes was in the house. She doesn't really have a thought about David though.
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Just then Richard's car stops and Jean hops out her eyes wide at the site of her burning house.
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Mrs. O'Brien is shocked and delighted to see that Jean is alive, but she was certain she saw two people in the window. The inspector asks Jean if she knows who might have been in the house.
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Jean says just her husband was home. Then another policeman comes to report that two bodies were found inside. He didn't recognize the man, but he did know the woman. It was Mrs. Stockley.
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The look on Jean's face. A cop asked if Jean knew Mrs. Stockley. Literally Jean nods. Yes, she did. The other policeman says that there will have to be an inquest, but he thinks that it must have been lightning the cause of the fire.
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Jean stares at the ruins of her house and her marriage. Thanks a bunch, Patrick. And that's the end.
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We're listening to the American International podcast and we are discussing invisible creature from 1964. According to an article in kinematograph weekly published in May of 1960, the novel The House on Marsh Road was not released until August of 1960 after the film had been produced, but before it's released a few months later.
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The film in May, second 1960 at Walt and studios, Walt and Tim's story, not at Merton Park Studios, which gets the production quite along with the eternal films Tony Wright who played David nicknamed Mr. Beefcake by the rank organization.
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Start is another cat in the film portrait of a sinner, one of our other episodes where he played Jack, the crooked boyfriend who makes leading lady Isla steal from her more respectable lovers sensing a pattern with this guy around the time invisible creature was in production.
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He had had a very public divorce from his wife actress Janet Monroe, but he was already remarried by that September.
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No matter the title be it the house in Marsh Road or the invisible creature, it was one of the first films to use the word poltergeist when referring to a ghost.
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The house in Marsh Road was released in November of 1960 as the co-feature with a movie called The Crowded Sky about a mid-air plane crash.
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The British Board of Film Sensors gave the house in Marsh Road an A certificate, meaning that it was deemed most suitable for adults.
355
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After retitling the film The Invisible Creature, AITV released it to American television in its amazing 65 package and also in its sci-fi 65 package.
356
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It first aired domestically in September of 1964. It had never had a theatrical release here under either title.
357
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According to Rob Craig, author of the AIP comprehensive filmography, Invisible Creature was one of the earliest AITV releases.
358
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At least it was given an on-screen copyright date of 1964 and is listed as an altavista production with UK production by Merton Park Studios.
359
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The house in Marsh Road was paired with the monkeys paw from 1948 or video distribution in the UK by video-renowned productions limited and by that time it was rated PG.
360
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And both sinister cinema and something weird video released the film on home video.
361
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The tagline for The House in Marsh Road or The Invisible Creature is Murder Stocks victim after victim in the House of Terror.
362
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The brief review in the bolt in daily news in England called The House in Marsh Road loosely contrived and maturiously directed melodrama.
363
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The hero Observer Review called the film "competently acted and directed" with sex, excitement and spectacle as the main ingredients.
364
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The Chesher Observer Review, said of The House in Marsh Road, Sandra Dorn, Tony Wright and Patricia Dayton star together with a polar guy's in this film, which is not without humor.
365
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The whole daily mail called it "A Quick Moving Play about a Rascally Writer who plans his wife's murder but comes to a sticky end."
366
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And the Wooster News said in its review that The House in Marsh Road begins with a rather implausible ghost story and ends with a fire over which hangs a question mark that only the ghost could remove.
367
00:31:32,000 --> 00:31:35,000
Maybe not a ghost movie in a while, maybe since horror house?
368
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Yeah, there aren't really a lot of ghost movies in the AIP you've read. I don't think there's the end of a horror, obviously. The ghost of drags chip, hello.
369
00:31:42,000 --> 00:31:47,000
And we have any Pulitzer Guys movies yet? And I don't think we will have any more.
370
00:31:47,000 --> 00:31:57,000
Pulitzer Guys movies weren't the thing in 1960, like they were in the 80s. I couldn't find where the first use of the word Pulitzer Guys films might be, but this could very well be one of the first, if not the first.
371
00:31:57,000 --> 00:32:10,000
I really enjoy these little British films that we've had a chance to watch, things like the hand and the portrait of a sinner and beware of children even. And I probably put all those in the same class and I think that the movie is a bit more of a horror movie.
372
00:32:10,000 --> 00:32:16,000
But all those in the same class and well, none of them are great films. It's still not a waste of time to watch and they're pretty decent movies.
373
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I think all of the movies were very enjoyable. This is more similar to portrait of a sinner than any of those other movies you mentioned will implat.
374
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Even in the types of character characterization. Yeah.
375
00:32:26,000 --> 00:32:32,000
There's the Wanton woman, the Eris, the CAD, Portrait of a sinner adds an extra bad guy, but this movie only needs one.
376
00:32:32,000 --> 00:32:37,000
And the villain in the movie is not the invisible creature of the title. He's actually kind of a hero.
377
00:32:37,000 --> 00:32:44,000
He is at first, but you have to admit that him destroying Jean's house to get this guy is a way over the top.
378
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I don't know what Jean's situation is after this movie. Does she have a healthy insurance plan? Can she sell the land to Morris Lumbly and make some money and buy a new house?
379
00:32:52,000 --> 00:33:01,000
She's kind of screwed here. Plus any of her thousand pounds that was in that desk is gone. She has no cash. Maybe Richard Foster will marry her. There seems to be something going on with the two of them.
380
00:33:01,000 --> 00:33:03,000
He's a lot better husband material than David was.
381
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No, Valerie didn't think so. Boy, she had questionable taste in men. And as for Jean, she is very, very, very tolerant.
382
00:33:11,000 --> 00:33:19,000
I think you kind of had to be as a woman in 1960. I did look up the British property laws and women have been allowed to own their own property since 1870.
383
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Before that, if she had inherited a house, it would just be given over to her husband. She would not be able to do anything with it.
384
00:33:25,000 --> 00:33:35,000
Here we have the tension where a man can't force his woman to do something just because he wants it if it's her property and it is. So I think that's where all this stems from. More so than the ghost.
385
00:33:35,000 --> 00:33:41,000
Even more than that. I mean, she's standing by David through the history that we don't see, but they talk about he's cheated on her before.
386
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He's flitting from job to job. He's an alcoholic. He's not working steadily. She's going along with him and she's pulling what little weight they have until she gets that inheritance.
387
00:33:51,000 --> 00:34:01,000
But what's her other option? It's very difficult to get a divorce. No fault. The divorce was probably not a thing yet. And even if she did get a divorce, what's she going to live on? The only job she can get are very low paying jobs.
388
00:34:01,000 --> 00:34:07,000
What about Mr. Stockley did? What do you mean? Well, Valerie's getting a divorce. Well, she's getting a settlement too. So he had money.
389
00:34:07,000 --> 00:34:15,000
I wonder what Mr. Stockley did. He's probably just boring. She tends to like her men dangerous and unavailable. Yeah, but is that no fault?
390
00:34:15,000 --> 00:34:23,000
No, there must have been fault. So somebody cheated. Right. What did Mr. Stockley did? Or somebody was gay. I don't know. That's probably it.
391
00:34:23,000 --> 00:34:33,000
There are reasons that you can get a divorce, but it's just more difficult. That's why Valerie couldn't be seen out and about with David before the divorce was final, because he would have private detectives trying to get dirt on her.
392
00:34:33,000 --> 00:34:37,000
Right. And I get that. And that means they missed your stock. Lee must have done something awful.
393
00:34:37,000 --> 00:34:45,000
It's just that if you have a rich husband, you can divorce him and make a new life for yourself. But if you don't have a rich husband as Jean didn't, she's kind of hosed.
394
00:34:45,000 --> 00:34:51,000
Now the book, the house in Marsh Road, I've actually almost finished it. I started reading it yesterday. It's a real quick read.
395
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And there are a lot of differences between what's in the book and what's here. David Linton is named Arthur Engleton in the book.
396
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And there's a few other differences, such as there's no name for the poltergeist. There's a lot more scenes of daily life and witherly and London that are skipped here. That's great because the really streamlines the movie.
397
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But it does explain a lot more on what's going on in the interior of these characters lives. And Jean does have feelings for David. Now they've been tested surely, but it's not until he tries to kill her that she's finally like, I just can't take this anymore.
398
00:35:22,000 --> 00:35:26,000
But even then she can't prove it. So what's she going to do?
399
00:35:26,000 --> 00:35:40,000
There is something unusual about the distribution of this film. AIP did create posters and lobby cards for this and several other films that were only for television. And nobody seems to know why there's online chatter that it's possible.
400
00:35:40,000 --> 00:35:46,000
It was for the American National Export Company and it was distributed to the English speaking markets overseas, which makes sense.
401
00:35:46,000 --> 00:35:52,000
Someone else suggested it might be just for Canadian distribution, but that doesn't seem to fit because there's no newspaper ads to match that.
402
00:35:52,000 --> 00:36:04,000
No, it was on TV in Canada, but it wasn't in theaters in Canada. And I did a global newspaper search. So any English speaking country like Australia or New Zealand, it should have come up in theaters somewhere.
403
00:36:04,000 --> 00:36:06,000
Yeah, I only saw it in Britain, right?
404
00:36:06,000 --> 00:36:07,000
In England, Ireland.
405
00:36:07,000 --> 00:36:10,000
It played there for a few years and then it just went away.
406
00:36:10,000 --> 00:36:21,000
But this poster thing is kind of a mystery. So if anybody out there listening has an answer, there's several other titles like Lost Treasure of the Aztecs, for example, that has posters and lobby cards that exist.
407
00:36:21,000 --> 00:36:27,000
And they're formatted differently than the regular lobby cards. They don't have national screen service numbers on them. And then cards themselves are numbered.
408
00:36:27,000 --> 00:36:33,000
So were these created for some reason to promote the television airings or were they for overseas?
409
00:36:33,000 --> 00:36:42,000
I'd like to get an answer to that. Rob Craig suggests they were created for a possible theatrical release, but the fact they don't match a regular release doesn't seem to support that in my mind.
410
00:36:42,000 --> 00:36:52,000
So anybody with an answer, drop us a line on the website and let us know because we win answers. This might be something that could be cleared up with a visit to the Samuel Z. Archive archive in Los Angeles.
411
00:36:52,000 --> 00:36:57,000
In this particular film, the posters and lobby cards have the title House in Marsh Road.
412
00:36:57,000 --> 00:37:00,000
Could it be that they're from the British theatrical release?
413
00:37:00,000 --> 00:37:03,000
But they say an American international picture on them.
414
00:37:03,000 --> 00:37:10,000
Yes, but maybe they just took the British release and put on the AITV logo and then put them in packages for the TV stations.
415
00:37:10,000 --> 00:37:14,000
Maybe it doesn't look like a Timmy, but I won't say that's impossible.
416
00:37:14,000 --> 00:37:16,000
I'm just trying to think of something that might explain it.
417
00:37:16,000 --> 00:37:19,000
But the title changed from House in Marsh Road to Invisible Creature.
418
00:37:19,000 --> 00:37:26,000
Really does Patrick a disservice because he's kind of the hero of the film. He's a little mischievous, but he turns out to be kind of an avenging angel.
419
00:37:26,000 --> 00:37:36,000
He's a protector of Jean and I assume he was probably protective of Aunt Grace as well. And Mrs. O'Brien certainly didn't have a problem with him as long as treated him with respect he felt he deserved.
420
00:37:36,000 --> 00:37:44,000
Is he a protector of Jean or is he just someone who really hated David because he certainly didn't do Jean any favors by destroying her house?
421
00:37:44,000 --> 00:37:47,000
Oh, that's true. He did hate David and Valerie.
422
00:37:47,000 --> 00:37:51,000
But Jean said how comfortable she felt there. So I think he was a little protective.
423
00:37:51,000 --> 00:37:57,000
I think he didn't do any harm because she accepted him and approved of him because she had warm feelings for him.
424
00:37:57,000 --> 00:38:01,000
I think he was more about thwarting David than he was about saving Jean.
425
00:38:01,000 --> 00:38:05,000
Well, either way he worked to Jean's advantage till the very end until the very end.
426
00:38:05,000 --> 00:38:12,000
And the only thing that really bothers me that her house is gone because the whole point of the movie is how happy she is to finally have this place.
427
00:38:12,000 --> 00:38:18,000
She's tired of going from place to place, escaping in the dead of night. And now she's got nothing. She's homeless.
428
00:38:18,000 --> 00:38:21,000
No, she's probably got a Richard. They're definitely going to hook up.
429
00:38:21,000 --> 00:38:25,000
I guess, but you know, a man is not a plan as they say. At least not now.
430
00:38:25,000 --> 00:38:28,000
Well, like you said, she doesn't have a lot of options.
431
00:38:28,000 --> 00:38:29,000
That's true.
432
00:38:29,000 --> 00:38:37,000
The book Richard Foster is a child. He's 19 and he has kind of a crush on her. But there's another character that is more suitable to her age.
433
00:38:37,000 --> 00:38:42,000
But the movie conflated them. The book is good. But as a movie, it would be very hard to watch as written.
434
00:38:42,000 --> 00:38:46,000
Well, Cheryl, how you can rate the movie as written using our AIP scale or A is awesome.
435
00:38:46,000 --> 00:38:48,000
I use her immediate and peace pathetic.
436
00:38:48,000 --> 00:38:53,000
Well, I can't get over the fact that the stupid house pertin down. However, I think it's a really good movie.
437
00:38:53,000 --> 00:38:59,000
I enjoyed it a lot. Is it a five star movie? Probably not. But is it a three and a half star movie? I'd say yes.
438
00:38:59,000 --> 00:39:06,000
I was very engaged by it. It's actually short, although our watching experience dragged it out quite a bit as we try to figure out the intricacies of the plot.
439
00:39:06,000 --> 00:39:11,000
But it's only an hour and 10 minutes long, which is a very brisk runtime. And I love that.
440
00:39:11,000 --> 00:39:18,000
And I think Tony Wright is excellent at playing a terrible husband or boyfriend, both in this case.
441
00:39:18,000 --> 00:39:24,000
And I think that he just is a lightning rod for the animus of the audience. And he does it so well.
442
00:39:24,000 --> 00:39:29,000
I mean, we kind of wonder what kind of a husband he was in real life. And I really enjoyed this movie. I actually am going to give it an A.
443
00:39:29,000 --> 00:39:35,000
Maybe it's not the best A movie we've ever covered. But for me, it's a cut above an eye. A little one, but it's a cut above an eye. What do you think?
444
00:39:35,000 --> 00:39:41,000
Well, one thing I really appreciated about invisible creature was that it was really good at establishing the locations.
445
00:39:41,000 --> 00:39:46,000
We're in war winds. We're in the town of Whitley. We're in London. And you never question exactly where we are.
446
00:39:46,000 --> 00:39:51,000
They're really good about establishing. I'm going here. I'll be back tomorrow and a lot of movies we've watched don't do that.
447
00:39:51,000 --> 00:39:57,000
We're like, we're the heck are these people? Who are they? Establish who people are to. Yeah, it did a really good job of that.
448
00:39:57,000 --> 00:40:03,000
And that's something I appreciate it as a viewer. As I mentioned, I really like these little black and white British films that we've done.
449
00:40:03,000 --> 00:40:08,000
And I was looking forward to this one. I didn't know anything about it, except that it was originally titled The House in Marsh Road.
450
00:40:08,000 --> 00:40:13,000
And I knew it was kind of a haunted house film. And I was looking forward to doing it. And I really enjoyed it too.
451
00:40:13,000 --> 00:40:20,000
I think it's a entertaining movie. Definitely I agree not the best and far from the best movie ever made, but it's a fun little flick.
452
00:40:20,000 --> 00:40:26,000
And I think it's worth a day as well. And if you want to read the book like I am, it's available for free on the Internet archive.
453
00:40:26,000 --> 00:40:30,000
Just look it up. We gave you the title of the novel at the beginning of this episode.
454
00:40:30,000 --> 00:40:35,000
The invisible creature is just one of American international pictures, films that was originally released under a different title.
455
00:40:35,000 --> 00:40:39,000
And if you're wondering how to remember which movie is what title you should pay a visit to our website.
456
00:40:39,000 --> 00:40:46,000
At aippod.com you'll find our entire library of episodes under whatever name they were released as as well as links to our social media.
457
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You can reach out to us there, use the site's contact form earlier. We asked for some information.
458
00:40:51,000 --> 00:40:56,000
And if you have it, that's the best way to get it to us. We also love to hear what movie you're most looking forward to us reviewing.
459
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Here are your comments on something we've said or whatever else you'd like to tell us.
460
00:40:59,000 --> 00:41:05,000
Maybe you can help us find some AIP movies missing from our library. Check out the list of what we're looking for on our site.
461
00:41:05,000 --> 00:41:14,000
And while you're there, you can read all about some of AIP's finest films and many of their other ones as well as we are building a database of the entire American International Pictures catalog as we go through it week by week.
462
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We have lobby cards, posters, trailers and other advertising materials on display.
463
00:41:18,000 --> 00:41:22,000
And you can see where to watch the films that we cover. And while you're there, consider going to our store.
464
00:41:22,000 --> 00:41:28,000
As a purchase of one of our items helps keep the podcast coming at you every week. And once again, that's aippod.com.
465
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Invisible Creature is the perfect example of how AITV helped to create the late-night television experience. Join us again next week when we unearth another artifact from the AITV vaults.
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For the American International Podcast, this has been Jeff Markin. And Cheryl Lightfoot. And we'll meet you at the drive-in.
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Follow the American International Podcast on Instagram and Letterbox @aip_pod and on Facebook at Facebook.com/AmericanInternationalPodcast.
468
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The American International Podcast is produced and edited by Jeff Markin, a man whose mind is distorted by hatred. And Cheryl Lightfoot,
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A girl hungry for too many things.
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The American International Podcast is part of the Pop Culture Entertainment Network.
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[Music]