Original subtitles

Thank you.

This looks like it.

Darling, this is the one that's 2,500.

Well, the price is ridiculous. Must be falling to bits or something. Let's go

and have a look while we're here.

Yeah. There's no board outside.

Yes, look.

Orchard Cottage.

Stop.

Oh, yes, here we are.

Well, this can't be it.

Can't buy a house like that for 2,500.

You never know.

Let's go and see.

Yeah.

Orchard Cottage.

Doesn't seem to fit.

I think we've come to the wrong place. There must be another Orchard Cottage.

I'm terribly sorry. We seem to have made a mistake. We're looking for a house for

sale. Orchard Cottage.

We're from London. It's the agents.

This is Orchard Cottage. We thought it was empty. It is.

I just come in sometimes.

Oh, can we have a look round?

Of course.

Would you like to see the kitchen first?

Thank you.

What a lovely big kitchen.

What did they cook by, gas?

No.

There was no gas.

Everything was done by electricity.

It's wonderful, isn't it, Alan? Yes.

What's out there?

Larder. The washroom.

Living room's this way.

Wonderful room.

There must be some mistake.

It's fantastic.

Yes. Let's have a look at the paper again.

There you are. It says 2,500.

Can we see upstairs?

Yes.

You don't mind if I don't come with you? Oh, no, we can find a way.

You'll find the lights work.

The electricity's still on.

Thank you.

What are you making at morn?

I don't know.

Caretaker?

Caretaker? Just take a look at this dust. It hasn't been disturbed for

years.

Hey, come and look at this.

Well?

I don't get it. The price is absurd.

The two acres of ground in this place must be worth at least 6,000.

Must be some big snag that we don't know about. It'll have to be a hell of a big

snag to put me up, darling.

It's a dream house.

All right, come on. Let's see what we can find out from her.

We've been upstairs.

It's wonderful, exactly what we've been looking for.

There's just one thing, though.

Do you know they're selling this place for 2,500?

I mean, that's ridiculous unless there's some catch in it.

The place doesn't flood out or anything, does it?

No, it's high ground.

There's no question of that.

Well, it must be something. I mean, people don't usually give places away.

There's no aerodrome nearby or atom plant rocket launching site.

Not that I know of.

Well, why has the place been empty for so long? I don't know.

Many people have looked at it, but...

No one's taken it. Oh, darling, why worry?

Perhaps it's just our luck. We found the perfect house. Let's just grab it.

Suppose it could be no one's taken it because of the ghost.

Ghosts? Why, is there one?

Didn't they tell you at the agents?

Fascinating. All this and ghosts, too.

You don't believe in them, then?

Well, I'm afraid we don't.

Oh, we'd like to hear about it. Won't you tell us?

If you like.

Oh, yes, we should be interested if we're not keeping you. No.

I have plenty of time.

First, I must tell you a little about the house itself.

It was originally a farmhouse.

Some years ago, it was bought by a man named Mark Lemming, an electrical

engineer.

He converted it to what it is now.

He'd recently married, and he brought his wife to live here.

A younger man, a friend of the husband's, was a frequent visitor.

So frequent, in fact, that he more or less lived here with them.

There was gossip in the village that he and the wife were a bit more than

friendly. No one was surprised when they disappeared.

People thought they'd run away together.

Mark Lemming lived on here by himself.

Most of the time he spent experimenting in the workshop he'd built out at the

back. He kept very much to himself, had very few visitors.

One day, about six months after his wife disappeared...

Oh, Mr. Hazegh.

Huh? What's up?

I don't suppose it's anything, but Mr. Lemming hasn't taken his milk for three

days. Oh?

Maybe he's sick or something.

Hmm.

Mr. Lemming?

Go and try the front door.

Mr. Lemming?

Mr. Lemming?

Are you all right, Mr. Lemming?

There's no reply.

There's light burning in the hole, though, and there's a dog barking.

Mr. Lemming?

Mr. Lemming?

Is anyone out there?

Is the constable here, sir?

Out the back, I think.

Stay where you are.

Don't touch anything.

He'd been dead three days.

Electrocuted. You mean he committed suicide?

Who can say?

The coroner's verdict was accidental death.

How terrible.

Where does the ghost come in? I'm coming to that.

A distant relative inherited the house.

Sold up the furniture and all the electrical gear.

Put the house up for sale.

Then one day a young couple came along.

Very much like you two.

Fell in love with it and bought it.

They redecorated it and moved in.

At first, all went well.

They were very happy.

Then things began to happen.

Harry.

Harry.

It's done it again.

Oh, no, I don't believe it.

You'd better try the bulb, I think. Yes.

That's all right.

Now look at the fuse box.

Go get the torch with you, darling.

Oh, all right.

No, there's nothing wrong with the fuses.

What about this box here?

That's the main fuse box. If that went wrong, all the lights in the house would

go out.

There must be something to do with the wiring in that room.

We should just have to watch the television in the bedroom this evening.

Well, look at that.

They're working again.

And it beats me.

There must be some fault in the wiring in the wall.

We'll get a man over in the morning to look at it.

I don't know.

There's nothing the matter here. There must be something wrong.

Checked the connections to the plugs and the wall sockets.

I've had out the switches and all the lamp holders.

They're all right.

Frankly, short of turning all the wiring out the wall, there's nothing else they

can do.

If we don't find out the trouble, that's exactly what we will have to do.

Make a hell of a mess of your nice new decorations.

Yes, I know.

Let's hope it's all right now.

Well, I'm just going to make some coffee. Would you like some?

Oh, thank you. I wouldn't say no, ma'am.

After that, they had no more trouble with the lights.

And they thought that the fault, whatever it was, had cured itself.

But had it?

Harry.

Oh, no, not again.

Get the torch, darling.

I think I've found something.

Michael, have a look now.

No, it's not working.

Well, try wiggling the switch about.

Jim, what happened? What's the matter?

Darling, what happened? What's wrong?

There's a man. There's a man over there by the window.

There's nobody there, darling.

Don't be frightened.

Tell me what happened.

Well, he was there.

Well, I came into the room and it was dark. I jiggled the lamp switch like you

said I was to and suddenly the lamp came on right in my face.

Well, I was dazzled for a second and I saw this man standing over there by the

window. First I couldn't believe my eyes and then he held out his hand and he

started to come towards me.

Then the lamp went out, and I don't know what I did.

Donny, where was he exactly? Over by the window.

He didn't go out the window.

If he'd come out of the door, I would have seen him.

There's nowhere in the room for him to hide.

Those windows are closed and locked from the inside.

Darling, are you sure you saw this man?

It wasn't just some fake... I promise you I saw him. I saw him as clearly as I

see you now. Well, I mean, I could describe him minutely.

Harry, he must be in the house.

He must have got out of this room before you came out of the kitchen. But,

darling, you would have seen him. But I wouldn't, because when the lamp went

out, I couldn't see anything.

You must call the police.

What are we going to tell them?

Tell them there's a strange man in the house, that's all.

If there's a strange man in the house, I'll find him. Oh, you're not to leave

me, not for a second.

What do you want me to do? I want you to call the police.

All right, then.

Go on, Joe, do as you're told. What are you doing here at this time of night

anyway? Go on, get to bed all of you. Go on, go on.

Now what?

Yes, he's here.

Well, it's for you.

Hello?

Yes?

Oh, right away.

I've got to go out again, Drathead.

Orchard Cottage.

Burglars, I think.

Oh, do they?

Well, don't you get mixed up with no burglars. They're nasty, dangerous

people. If you take your time, maybe when you get there, they'll be gone.

Right, Maggie.

Well,

there's nobody hiding in the house, ma'am.

But if you're quite sure you saw someone, I'll telephone Barnstaple and

have a CID man come out tomorrow morning.

Now, if you'll allow me, I'd just like to take a few particulars.

Oh, yes, of course.

The next morning, the police made a thorough examination of the garden.

But there were no traces that anyone had got into the house.

You think I imagined it, don't you?

No, of course not, darling. Yes, you do. You think I'm a silly, hysterical woman.

Oh, be stupid, darling.

Yes, you do.

Well, I know I saw that man.

I saw him as clearly as I see you now. And no one's going to talk me out of it.

What about that lamp that keeps going out?

You can't say that's natural.

I don't know, there's something funny about this house.

I felt it right from the beginning. You're not trying to tell me you don't

like the house, no?

Well, I don't know. Come on, don't be ridiculous, darling.

I'll tell you what I do think.

I think that what you thought was a man was some strange reflection you saw when

you were blinded by the light coming on for a moment.

And as for the light, well, if it happens again, we'll have the whole room

rewired.

If that doesn't work, then...

Maybe we'll talk about leaving then.

Hmm? All right.

Do we have to go on watching this stuff?

I thought you wanted to watch it.

I thought you wanted to.

No.

We'll switch it off.

Harry. What?

Harry, that's the man I saw. What man?

The man I saw in this room. The man I saw in the window. Do stop, darling.

Oh, look, Harry.

You can ring up and find out who it is.

All right, if it makes you feel any better, I will.

Pass me the TV tape, will you?

Hello, could I speak to someone connected with the program going out

now, please?

Oh, Mr. Scott, there's a call for you. I've had it put through there.

I think it's a complaint.

What, already?

Don't look at me. I didn't write the script.

Hello?

Yes?

There must be some mistake. There was no close-up of a...

Well, of course I'm sure.

He must have switched to the BBC or something.

Well, I'm sorry, but there was no such close-up as you described.

All right. Thank you.

Goodbye.

Well, who was it? He says there's no such man on the programme at all.

But we both saw him. Yes, I know. He says we might have been switched over to

the BBC for a moment. Some fault in the set. Well, what were they showing?

That's an idea.

It's a cartoon programme.

Well, at least you can't say it was my imagination this time.

Well, there's nothing wrong with a set, whatever.

There's only one possible explanation for this.

Sometimes there are freak receptions.

Pictures are being picked up from America, even. No one quite knows why.

Why, it's something to do with cosmic radiation and reflections from the

Heaviside layer.

Sure, if that were the case, wouldn't other houses in the immediate

neighborhood have picked it up as well?

With a similar set in the area, oh, yeah.

Yeah, I thought of that myself.

This morning, I rang up all the houses in the vicinity.

There aren't many, but several of them had sets identical to mine.

Not one of them had seen the picture of the man or had the program interrupted

in any shape or form. Well, I don't understand it, sir. There's nothing

wrong with our set. Shall I put it back?

I suppose you'd better.

After that, as you can imagine, both Mrs. Trevor and her husband were really

shaken.

She wanted to leave the house at once.

But since they'd spent so much money on it, he wasn't keen to give it up.

I think at the back of his mind, he felt that someone was playing a trick on them

to get rid of them for some reason or other.

So, as a last resort, they decided to call in a psychic

investigator. You mean a ghost hunter?

Sort of, yes.

The reason I find this case so fascinating is the television angle.

I've always regarded the television screen as the obvious medium for

extrasensory communication, and there it's actually happened.

I can't tell you how grateful I am to you both for letting me in on it.

I'm afraid I can't share your enthusiasm.

The whole thing has created absolute chaos.

My wife has been scared stiff, the stories got out of the village, and the

daily helpers quit.

Personally, I don't believe in ghosts or supernatural manifestation, whatever it

is. Anyway, what on earth do you mean by extrasensory perception?

Oh, it's perfectly simple.

The normal sensory perceptions are those we receive through the eyes, the ears,

and the senses of touch and smell.

Any perceptions we receive outside these are called extrasensory.

You've almost certainly experienced some yourself.

I'm quite sure I haven't.

What about dreams?

Don't you ever dream?

Yes, of course I do.

There you are, then.

You see things in dreams just as vividly as you do in waking hours.

But your eyes are closed.

You see things, but not through your eyes.

Am I right?

Presumably.

Has anybody ever punched you on the nose?

It's all right. I'm not going to.

Charming.

I'm asking you a question.

Have you ever been punched on the nose?

Well, I used to box when I was in the army.

And did you see stars?

Frequently. And do you believe that actual stars physically developed in

front of your eyes?

No, of course not. But you saw them, didn't you?

When, in point of fact, they weren't there at all?

Good. Please go on, Mr. Burton. I'm most interested.

Thank you, Mrs. Trevor.

You will see where I'm getting in a minute.

Do you know what an encephalograph is?

No, I'm afraid I don't.

Well, it's a delicate machine for measuring thought impulses emitted from

the brain.

You mean the lie detector?

Well, that's a simple adaptation of the machine.

The principle of it is this.

Electrodes are connected to different parts of the brain.

You mean they have to make holes in people's heads?

No, not with this machine.

Oh, do shut up, darling.

Now, if it's possible to measure electric impulses going out of the

brain... generated by certain emotions, will you not accept the fact that the

system can be reversed and that certain electric impulses can be put into the

brain, causing corresponding emotions?

Yes, but we haven't got an NCO. What's its... Encephalograph.

But in this case, you don't have to have one.

These are outside currents.

These currents are here, amongst us, around us, all the time.

Listen. You've accepted the fact that an electric impulse from the brain under

emotion can be measured. Well, after all, the machine has proved that, hasn't

it? Now, look.

What happens when you throw a pebble into a pond?

It gets wet.

Good for you.

And the water?

Ripples.

Exactly. And those ripples go on until they get to the edge of the pond, don't

they? Yes, presumably.

But supposing there's no edge of the pond?

Supposing it just goes on forever?

What happens to the ripples then?

They would go on forever as well.

Precisely. So we have reached a point where I think we agree that an electric

impulse emitted from the brain under emotion will create a wave that will go

on forever.

Yes. And the stronger the emotion, the stronger the wave form.

So, if we have a receiver sufficiently sensitive, we can pick up these waves or

vibrations and convert them back.

into corresponding emotions.

Yes, but we haven't got one.

A receiver, I mean.

That's why you're so wrong.

We have.

You are one of those instruments.

And so are you too, particularly, Mrs. Trevor.

I've shown you how the brain can pick up extrasensory perceptions. Now, that's

precisely what you two have been doing.

The lights, the man, the image on the TV have all been extrasensory perceptions

caused by the vibrations existing in this room.

Why only in this room?

Because it was in this room that the original violent emotion causing those

vibrations took place. The ceiling, the walls, all are in tune with them.

How awful.

I think it's a lot of nonsense.

I'm sorry.

Very well, then.

I shall just have to give you visual proof, that's all.

The business of this light going out, when does it happen?

Well, we never really know.

About nine o'clock, but not every night.

Yeah, I'd like to have seen that.

But I can't stay. I've got some other inquiries to make.

Look, I wonder if you'd do something for me, would you?

Excuse me a moment.

Now, you see this?

I want you to leave it exactly as it is now.

And when the light goes out, I want you to lift this lever. See that lever

there? Just lift it up.

But be sure that the light is out before you touch the lever.

And then telephone me, would you?

Let me see.

What is it? Hmm?

This thing. What is it? Oh, it's a recording camera.

Camera?

What, are you expecting it to photograph?

I really wouldn't know.

You think he'll come back, don't you?

You expect it to photograph that man?

No, we should just have to wait and see, don't we?

It's after nine. Nothing's happened.

Oh, it's getting cold in here.

I'm beginning to wish we hadn't started all this.

It was your idea to get that character down here.

Personally, I think we need our heads examined.

What's his number?

Oh, it's Parabell 1923.

Well,

I've got the proof I spoke about, but I don't think you're going to like it.

That camera I left you with had an ultra-sensitive film, and these are the

photographs it took.

You are absolutely certain that the light was out before you set it going?

Yes, of course.

Well, then take a look at this.

You see?

The negative is fully exposed.

And the filaments of the lamp are burning brightly.

I'm positive that that lamp was off when that photograph was taken.

Let's hope it'll be off again tonight.

There's one final test I want to make.

Can you by any chance lay your hands on an oil lamp of any sort?

Yes, we've got one in the garage.

Good.

It seems to be all right.

Now, this one.

This meter shows the current flowing through the light. When the light's on,

as it is now, the needle is deflected.

When the light's off, the needle returns to zero. See?

Now all we have to do is to wait.

How many do you want?

Three.

Oh, I'm sorry. Oh, wait.

Er, better penny.

All right.

Come over here.

The light's out, but the current's still flowing. The needle's deflected.

There. It's on again, and there is no variation in the reading.

The force of the vibrations has only power to affect the electric lamp, not

the oil lamp, which remained alight.

And that, Mr. Trevor, is the visual proof that I promised you.

That lamp does not go out. It only appears to do so to us in this room.

Now, the former owner of this house, the scientist who was electrocuted three

years ago, was a man obsessed by electronics. All his thoughts, all his

energies were directed towards things electrical.

And at the time of his death, he was engaged on experiments for inducing

artificial visual sensations straight into the brain without the use of the

eyes. But what has all this to do with the lamp going out?

Well, my theory about that is this.

The vibrations in this room, which created in us the phenomena of the light

going out, and for you two, the image of the man on the TV screen, was originally

generated in that man's brain.

Now, in order to put that theory to the test, I want to hold a sense in here

with a medium, just to try and discover something more about the circumstances

of that man's death.

No. No, I'd rather you didn't.

There are some things I think we'd better not know.

Do you recognize that man?

It's the man on the TV screen.

Exactly. It's a photograph of Mark Lemming, the scientist who was

electrocuted in this house.

Now, do you see why we have to have this house?

It's pretty around here, isn't it? Oh, yes, it's lovely.

Delightful.

Oh, hello.

Well, you see, I managed to persuade Mrs. Bucknell to come. So I see.

You'd better come in.

Thank you.

Good afternoon, Mrs. Trevor. May I introduce Mrs. Bucknell and Mr. and Mrs.

Trevor? How do you do? How do you do?

How do you do?

Would you like to come upstairs and take your coat off? Oh, thank you. I should

like that.

What a very pretty house you have, my dear.

It must be so lovely to have a garden.

I have always wanted a garden. We live in Glasgow.

May I get the room ready now? Yes, of course.

Hmm.

I say, old man.

You can't be serious about that woman. What do you mean?

Well, she's not my idea of a medium.

What is your idea of a medium?

Someone who wears a pointed hat and arrives on a broomstick? Don't be

ridiculous. You know, the only thing that makes a medium different is that by

some freak accident of nature, they're super sensitive to vibrations which are

beyond the normal range of people.

It's an entirely a physical attribute, like exceptional eyesight, ultra-acute

hearing. And you know, she's probably one of the most sensitive mediums in the

world. We're very lucky she agreed to come along.

Would you draw those curtains for me? Do we really have to do that? I mean, why

does it have to be in the dark?

It doesn't. But in a subdued light, the medium's thoughts are less distracted.

Ah, there we are.

Who is that man over there?

That man by the curtains?

There's nobody there, Mrs. Buckman.

Only the four of us.

I thought I saw a man.

I don't like this room, Mr. Burden.

I don't want to go on.

I had a feeling I should never have come, and now I'm sure.

You wouldn't let us down, would you, Mrs. Buckman?

So much depends on this seance. You will help us, won't you?

Very well.

But only as a favor to you, Mr. Burden. Thank you.

Come along.

Shall I sit there? Yes, if you would.

These cushions for you. Oh, thank you.

Yes.

They're quite comfy. Yes, thank you.

Right.

Are you ready, Mrs. Bucknell?

Yes, quite ready, Mr. Madden.

Whatever you see, whatever you hear, keep absolutely still.

Any sudden noise or movement could be dangerous to me.

I am in a room.

A sort of workshop.

There are machines and instruments.

I do not understand.

There is a man...

Sally.

Sally. Walkies. Walkies.

Come walkies, Sally.

Lie down, Sally.

Quiet, quiet.

Sally.

Lie down. Go to sleep.

Go to sleep.

Good girl.

Sally, biscuit.

Biscuit, Sally.

Biscuit, Sally.

Biscuit.

Now you're going to see something.

My theory is right.

In a few days, I shall be ready for your help.

Sally, you may not know it, but one of these days you'll be more famous than

Rin Tin Tin.

If he thinks I'm going to get mixed up in his horrible experiments, he's got

another thing coming.

Clive, what are we going to do?

I like that you're asking me when I've been imploring you for months to come

away with me.

And what would we use for money? I could soon get a regular job.

I suppose you could.

I suppose I could cook, darn your socks and do the weekly wash.

No, darling, I'm afraid it wouldn't work.

Mark's a rich man, you know that, don't you?

That last accident he had.

when he nearly electrocuted himself, damaged his heart.

Another shock, even a minor one, would kill him.

Would you love me any less if I were a wealthy widow?

We might have to wait for years.

Yes, but I'm not going to wait.

Mark must have another accident, a fatal one.

I've thought out how it can be arranged, if you love me enough to help me.

You mean that we should kill him?

What else do you think it means?

There is no other way.

You must see that. We'd never get away with it.

We could, you know.

I think I found a way.

Does anything occur to you? No, should it?

Haven't you ever heard of people electrocuting themselves in baths by

touching the electric fire? Yes, but I've never known why.

It happens when there's a leak to earth.

Do you know what that means? I don't. No, but we could find out.

So that we could fix the fire so that there is a leak?

Why not?

Even if we did, how are we going to get Mark to be so obliging as to stand in

the bath and grab hold of the fire?

We don't have to.

Look, Mark reads in the bath, sometimes for hours.

When it gets cold, he switches on the fire by reaching up and pulling this

cord. If we could make this knob alive... Look, I'm pretty dim where

electricity's concerned, but the police aren't. They'd spot it at once. No, they

wouldn't. Not if we put it all back as it was before.

They'd just think he had a heart attack.

They know he's got a weak heart.

Suppose we did do it.

How are we going to find out the way to change the wires?

Yes.

Yes, that's the only problem, isn't it?

Well, it's quite simple.

You pull this cord here.

You know, I know absolutely nothing about electricity.

I've read so many times about people being electrocuted.

It's always put me off having a fire in the bathroom.

Well, there's no need to worry about that with this fire, madam. I expect

that's what the people thought who were electrocuted.

How is it there have been so many fatal accidents with fires in bathrooms?

Well, because the equipment has been faulty and there's been a leak to earth.

What is a leak to earth?

Well, it's when one side of the current touches the frame of the fire.

What?

Well, let me try and show you.

Now here we have a standard three pin plug.

Hello, yes, Lemming here.

Oh, yes, of course.

Good, good, that's excellent.

Well, I'll come up this afternoon and bring my latest notes with me.

Splendid.

I... What's she playing at?

Mark, give us back our shoes.

All right, you've had your joke. I don't think it's very funny.

I'm sorry you didn't like it. Please give them back.

Oh, I can't do that yet.

It's only the first part of the joke.

Look, Mark, I'm not in the mood for any nonsense.

Give us back our shoes.

Clive, will you go and get some others? You know where I keep mine.

Just a minute, Clive.

You may very well know where my wife keeps her shoes, but I wouldn't touch

that door handle if I were you. Oh, and why not?

Because it might be the last thing you ever touched.

What's the matter with you? Have you gone out of your mind?

Oh, I don't think so.

If you were to touch that handle, the same thing might happen to you as would

have happened to me.

If I'd switched on the bathroom fire. What on earth are you talking about?

Only about the little joke that you prepared for me. Look, I don't know what

all this is about, but whatever it is, I don't think it's funny.

Oh, don't you, Clive? I do. I think it's very funny.

Because the laugh would certainly have been on you.

You don't suppose for a moment that Stella would have stuck to you once

she'd got the money, do you? Will you please tell us what all this is about?

Oh, why bother to keep it up?

You're wasting your time, both of you.

Listen.

But I'm not going to wait.

must have another accident, a fatal one.

I've thought out how it can be arranged.

I don't think we need to hear any more, do we?

I was wondering how you proposed to do it.

It was most ingenious.

It was only the merest fluke that it didn't come off.

The telephone rang at the essential moment.

You might say I was saved by the bell.

All right, so you know.

What are you going to do about it?

Well, I could hand you over to the police.

And the evidence?

That proves nothing. No, you're quite right, it doesn't.

Anyway, I never seriously thought of the police.

I think this is something that we should settle between the three of us, don't

you, Clive? Yes, I do.

Look, Stella and I are clear out and you'll never see us again. Oh, come now,

that's hardly fair.

After all, you did try to kill me. I think I'm entitled to some compensation.

What do you mean by that?

Well, I think I ought to be allowed to have a go at you two.

Now, don't look so alarmed, Clive.

It's just a little game I've arranged.

A game? Yes, a game.

Getting you to take your shoes off was a part of it, a very essential part.

Go on.

Well, you see, just before I came in here, I switched on a high-voltage

generator in my workshop.

One lead from which, the positive, is led to this carpet.

The other lead, the negative, is connected to various objects and

fittings in this room, such as the door handles.

If you should be standing on the carpet and happen to touch one of these

objects, you'll get a shock that will undoubtedly kill you.

That's why I had to get your shoes off.

You can't frighten me.

The carpet's not a conductor of electricity.

Normally, no.

But you'll find this one is.

You see, I've sprayed it all over with a solution of salamoniac that makes it a

very good conductor.

Whether you believe me or not, you'll soon find out.

And since you're so knowledgeable about electricity, my dear, don't be tempted

into thinking you can insulate yourself by standing on the cushions or wrapping

the curtains round your feet, because I've sprayed them too.

I even had a chance to have a go at your clothes.

So you should find my game very interesting.

And don't be fooled by this.

I have on thick rubber soles.

You don't believe all that nonsense, do you? He's bluffing.

Oh, don't be a fool.

Let's test it first.

But how?

I know.

Supposing it is alive.

It'll be all right if I keep this end on the ground.

Thank God I stopped you.

He's insane. He must be.

What are we going to do?

There isn't anything we can do.

We'll just have to stay here until Mrs. Lee comes in the morning.

She won't come.

She started a holiday yesterday.

Nobody will come for two weeks. Somebody's bound to turn up. A tradesman

or...

He's forgotten the phone.

We're all right. No! Don't touch it.

It may be alive.

Wait a minute.

Thank God it's safe.

The dialing tone, he's forgotten to switch over.

Get on to someone before he comes back.

What's the police number?

Dial 100 and ask for the police.

Under the workshop floor.

Under the workshop floor.

Under the workshop floor.

Get some brandy, would you?

Thank you.

Open those curtains, please.

I feel so strange.

Did it go off all right?

Was it a successful séance? No.

Oh.

Do you know, I would like a cup of tea.

My God, what a terrible story.

But how do you know all this?

What happened in the end?

Did they look under the shed?

Oh, yes.

They dug up under the shed.

Well, did they find anything?

Yes.

They found the body of Clive Mayhew.

But the woman, did they find her body too? No.

Her body was never found.

Some people say she's walled up somewhere in this house.

What's the matter with the lights?

It's like I said, the lights do go up and down.

You see, this is the room.