A couple wants to buy a house. An inventor owned it and was electrocuted in his laboratory. A later owner had problems with the lights and the appearance of a ghost. A psychic is consulted who reveals the secret behind the house.
Source: IMDB
Source: IMDB
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10:17Is the constable here, sir?
10:22Out the back, I think.
10:24Stay where you are. Don't touch anything.
10:55He'd been dead three days.
10:58Electrocuted.
11:00You mean he committed suicide?
11:02Who can say?
11:04The coroner's verdict was accidental death.
11:08How terrible.
11:10Where does the ghost come in?
11:11I'm coming to that.
11:13A distant relative inherited the house,
11:17sold up the furniture and all the electrical gear,
11:20put the house up for sale.
11:21Then one day a young couple came along,
11:24very much like you two,
11:26fell in love with it and bought it.
11:29They redecorated it and moved in.
11:34At first, all went well.
11:37They were very happy.
11:39Then things began to happen.
11:44Harry.
11:46Harry!
11:48Hmm?
11:49It's done it again.
11:51Oh, no, I don't believe it.
11:56You'd better try the bulb, I think.
11:58Yes.
12:04That's all right.
12:07It's all right.
12:10It's all right.
12:11That's all right.
12:15Now look at the fuse box.
12:17Go get the torch, would you, darling?
12:18All right.
12:32No, there's nothing wrong with the fuses.
12:34What about this box here?
12:35That's the main fuse box.
12:36If that went wrong, all the lights in the house would go out.
12:39There must be something to do with the wiring in that room.
12:41You should just have to watch the television in the bedroom this evening.
12:45Well, look at that.
12:46They're working again.
12:52It beats me.
12:54There must be some fault in the wiring in the wall.
12:56We'll get a man over in the morning to look at it.
13:03I don't know.
13:04There's nothing the matter here.
13:05There must be something wrong.
13:07Check the connections to the plugs and the wall sockets.
13:09I've had out the switches and all the lamp holders.
13:11They are all right.
13:13Frankly, short of turning all the wiring out the wall,
13:15there's nothing else they can do.
13:17Well, if we don't find out the trouble,
13:18that's exactly what we will have to do.
13:20Make a hell of a mess of your nice new decorations.
13:22Yes, I know.
13:24Let's hope it's all right now.
13:26Well, I'm just going to make some coffee.
13:27Would you like some?
13:28Oh, thank you.
13:29I wouldn't say no, ma'am.
13:33After that, they had no more trouble with the lights.
13:36And they thought that the fault, whatever it was,
13:38had cured itself.
13:42But had it?
13:51Harry.
13:54Oh, no, not again.
13:56Get the torch, darling.
13:59I found something.
14:06I could have a look now.
14:09No, it's not working.
14:11Well, try ringing the switch about.
14:22It's not working.
14:24It's not working.
14:26It's not working.
14:34Joan, what happened? What's the matter?
14:36Darling, what happened? What's wrong?
14:37There's a man.
14:38There's a man over there by the window.
14:41There's nobody there, darling.
14:43Don't be frightened.
14:45Tell me what happened.
14:46Well, he was there.
14:48Well, I came into the room and it was dark.
14:50I jiggled the lamp switch like you said I was to,
14:52and suddenly the lamp came on right in my face.
14:55Well, I was dazzled for a second
14:57and I saw this man standing over there by the window.
15:00At first I couldn't believe my eyes
15:02and then he held out his hand and he started to come towards me
15:05and then the lamp went out and I don't know what I did.
15:08Darling, where was he exactly?
15:10Over by the window.
15:19Well, he didn't go out the window.
15:20If he'd come out of the door, I would have seen him.
15:23There's nowhere in the room for him to hide.
15:28Those windows are closed and locked from the inside.
15:33Darling, are you sure you saw this man?
15:35It wasn't just some fake...
15:36I promise you I saw him.
15:38I saw him as clearly as I see you now.
15:40Well, I mean, I could describe him minutely.
15:43Harry, he must be in the house.
15:45He must have got out of this room
15:47before you came out of the room.
15:48He must have got out of this room
15:50before you came out of the kitchen.
15:52But darling, you would have seen him.
15:54But I wouldn't because when the lamp went out
15:56I couldn't see anything.
15:58You must call the police.
16:00What are you going to tell them?
16:02Tell them there's a strange man in the house, that's all.
16:04If there's a strange man in the house, I'll find him.
16:06Well, you're not to leave me, not for a second.
16:08What do you want me to do?
16:10I want you to call the police.
16:12All right, then.
16:18Yes?
16:19What?
16:20No, I can't hear you.
16:22What?
16:23Shut that beastly thing off.
16:25Go on, Joe, do as you're told.
16:27What are you all doing here at this time of night anyway?
16:29Go on, get to bed, all of you.
16:31Go on, go on.
16:32Now what?
16:33Yes, he's here.
16:35Will, it's for you.
16:39Hello?
16:41Yes?
16:43Oh, right away.
16:45Yes.
16:46I've got to go out again, Dratit.
16:48Orchard Cottage, burglars, I think.
16:50Oh, do they?
16:52Well, don't you get mixed up with no burglars.
16:54They're nasty, dangerous people.
16:56If you take your time,
16:58maybe when you get there, they'll be gone.
17:00Right, Maggie.
17:09Well, there's nobody hiding in the house, ma'am.
17:11But if you're quite sure you saw someone,
17:13I'll let you know.
17:14But if you're quite sure you saw someone,
17:16I'll telephone Barnstable
17:18and have a CID man come out tomorrow morning.
17:20Now, if you'll allow me,
17:22I'd just like to take a few particulars.
17:24Oh, yes, of course.
17:32The next morning,
17:34the police made a thorough examination of the garden.
17:36But there were no traces
17:38that anyone had got into the house.
17:45You think I imagined it, don't you?
17:47No, of course not, darling.
17:49Yes, you do.
17:51You think I'm a silly, hysterical woman.
17:53Oh, don't be stupid, darling.
17:55Yes, you do.
17:57Well, I know I saw that man.
17:59I saw him as clearly as I see you now.
18:01And no one's going to talk me out of it.
18:03What about that lamp that keeps going out?
18:05You can't say that's natural.
18:07Oh, I don't know,
18:09there's something funny about this house.
18:11I felt it right from the beginning.
18:12You don't like the house now?
18:14I don't know.
18:16Come on, don't be ridiculous, darling.
18:18I'll tell you what I do think.
18:20I think that what you thought was a man
18:22was some strange reflection you saw
18:24when you were blinded by the light coming on for a moment.
18:26And as for the light,
18:28well, if it happens again, we'll have the whole room rewired.
18:30And if that doesn't work,
18:32then maybe we'll talk about leaving then.
18:34Hmm?
18:36Right.
18:39Do you have to go on watching this stuff?
18:40I thought you wanted to watch it.
18:42I thought you wanted to.
18:44No, I'll switch it off.
18:46Harry!
18:48Harry, that's the man I saw.
18:50What man?
18:52The man I saw in this room, the man I saw in the window.
18:54Oh, do stop, darling.
18:56Oh, look, Harry.
18:58You could ring up and find out who it is.
19:00All right, if it makes you feel any better, I will.
19:02Pass me the TV towels, will you?
19:31Oh, hello, could I speak to someone
19:33connected with the program going out now, please?
19:35No, Mr. Scott, there's a call for you.
19:37I've had it put through there.
19:39I think it's a complaint.
19:41What, already?
19:43Don't look at me, I didn't write the script.
19:47Hello?
19:49Yes?
19:53There must be some mistake.
19:55There was no close-up of a...
19:57Well, of course, I'm sure.
19:59You must have switched to the BBC or something.
20:00Well, I'm sorry, but there was no such close-up
20:02as you described.
20:04All right, thank you.
20:06Goodbye.
20:08Well, who was it?
20:10He says there's no such man on the program at all.
20:12But we both saw him.
20:14No, no, he says we might have been switched over
20:16to the BBC for a moment.
20:18Some fault in the set.
20:20Well, what were they showing?
20:22That's an idea.
20:24It's a cartoon program.
20:26Well, at least you can't say
20:28it was my imagination this time.
20:30Well, I'm sorry.
20:47Well, there's nothing wrong with the set, whatever.
20:49There's only one possible explanation for this.
20:51Sometimes there are freak receptions.
20:53Pictures have been picked up from America even.
20:55No one quite knows why.
20:57It's something to do with cosmic radiation
20:58and reflections from the heavy side layer.
21:00Well, sure if that were the case,
21:02wouldn't other houses in the immediate neighbourhood
21:04have picked it up as well?
21:06With a similar set on air.
21:08Oh, yeah.
21:10Yeah, I thought of that myself.
21:12This morning I rang up all the houses in the vicinity.
21:14There aren't many, but several of them
21:16had sets identical to mine.
21:18Now, not one of them had seen the picture of the man
21:20or had the program interrupted in any shape or form.
21:22Well, I don't understand it, sir.
21:24There's nothing wrong with our set.
21:26Shall I put it back?
21:29After that, as you can imagine,
21:31both Mrs. Trevor and her husband
21:33were really shaken.
21:36She wanted to leave the house at once.
21:39But since they'd spent so much money on it,
21:41he wasn't keen to give it up.
21:43I think at the back of his mind
21:45he felt that someone was playing a trick on them
21:47to get rid of them for some reason or other.
21:51So, as a last resort,
21:54they decided to call the police
21:55and a psychic investigator.
21:57You mean a ghost hunter?
22:00Sort of, yes.
22:02The reason I find this case so fascinating
22:04is the television angle.
22:06I've always regarded the television screen
22:08as the obvious medium for extrasensory communication
22:10and there it's actually happened.
22:12I can't tell you how grateful I am
22:14to you both for letting me in on it.
22:16I'm afraid I can't share your enthusiasm.
22:18The whole thing has created absolute chaos.
22:20My wife is being scared stiff.
22:22The story's getting out of hand.
22:23The Daily Helper's quit.
22:25Personally, I don't believe in ghosts
22:27or supernatural manifestation, whatever it is.
22:30Anyway, what on earth do you mean
22:32by extrasensory perception?
22:34It's perfectly simple.
22:36The normal sensory perceptions
22:38are those we receive through the eyes, the ears
22:40and the senses of touch and smell.
22:42Any perceptions we receive outside these
22:44are called extrasensory.
22:46You've almost certainly experienced some yourself.
22:48Quite sure I haven't.
22:50What about dreams? Don't you ever dream?
22:51No, of course I don't.
22:53There you are then.
22:55You see things in dreams just as vividly
22:57as you do in waking hours.
22:59But your eyes are closed.
23:01You see things but not through your eyes.
23:03Am I right?
23:05Presumably.
23:07Has anybody ever punched you on the nose?
23:09It's all right, I'm not going to.
23:11Charming.
23:13I'm asking a question.
23:15Have you ever been punched on the nose?
23:17Well, I used to box when I was in the army.
23:19And did you see stars?
23:21Absolutely.
23:23And do you believe that actual stars
23:25physically developed in front of your eyes?
23:27No, of course not.
23:29But you saw them, didn't you?
23:31When in point of fact they weren't there at all?
23:33Good.
23:35Please go on, Mr Burton. I'm most interested.
23:37Thank you, Mrs Trevor.
23:39You will see what I'm getting in a minute.
23:41Do you know what an encephalograph is?
23:43No, I'm afraid I don't.
23:45Well, it's a delicate machine
23:47for measuring thought impulses emitted from the brain.
23:49You mean the lie detector.
23:51Electrodes are connected
23:53to different parts of the brain.
23:55You mean they have to make holes in people's heads.
23:57No, not with this machine.
23:59Oh, do shut up, darling.
24:01Now, if it's possible to measure
24:03electric impulses going out of the brain
24:06generated by certain emotions,
24:08will you not accept the fact
24:10that the system can be reversed
24:12and that certain electric impulses
24:15can be put into the brain
24:17causing corresponding emotions?
24:18Yes, but we haven't got an NCO what's-its.
24:20Encephalograph.
24:22But in this case, you don't have to have one.
24:24These are outside currents.
24:26These currents are here, amongst us,
24:28around us, all the time.
24:31Listen.
24:33You've accepted the fact
24:35that an electric impulse from the brain
24:37under emotion can be measured.
24:39Well, after all, the machine has proved that, hasn't it?
24:41Now, look.
24:43What happens when you throw a pebble into a pond?
24:45It gets wet.
24:46It gets wet.
24:48Good for you.
24:50And the water?
24:52Ripples.
24:54Exactly.
24:56And those ripples go on
24:58until they get to the edge of the pond, don't they?
25:00Yes, presumably.
25:02But supposing there's no edge of the pond?
25:04Supposing it just goes on forever?
25:06What happens to the ripples then?
25:08They would go on forever as well.
25:10Precisely.
25:12So we have reached a point where I think we agree
25:14that an electric impulse emitted
25:16can go on forever.
25:18Yes.
25:20And the stronger the emotion,
25:22the stronger the wave form.
25:24Mm-hmm.
25:26So, if we have a receiver sufficiently sensitive,
25:28we can pick up these waves or vibrations
25:30and convert them back
25:32into corresponding emotions.
25:34Yes, but we haven't got one.
25:36A receiver, I mean.
25:38That's where you're so wrong.
25:40We have.
25:42You are one of those instruments.
25:44And so are you, too, particularly, Mrs. Trevor.
25:46You have extra-sensory perceptions.
25:48Now, that's precisely what you two have been doing.
25:50The lights, the man, the image on the TV
25:52have all been extra-sensory perceptions
25:55caused by the vibrations existing in this room.
25:58But why only in this room?
26:00Because it was in this room
26:02that the original violent emotion
26:04causing those vibrations took place.
26:06The ceiling, the walls, all are in tune with them.
26:08Oh, how awful.
26:10I think it's a lot of nonsense.
26:12I'm sorry.
26:13Very well, then.
26:15I shall just have to give you visual proof, that's all.
26:17The business of this light going out,
26:19when does it happen?
26:21Well, we never really know.
26:23About nine o'clock, but not every night.
26:25Hmm.
26:27Yeah, I'd like to have seen that.
26:29But I can't stay.
26:31I've got some other inquiries to make.
26:34Look, I wonder if you'd do something for me, would you?
26:39Excuse me a moment.
26:56Now, you see this?
26:58I want you to leave it exactly as it is now.
27:01And when the light goes out,
27:03I want you to lift this lever.
27:06You see that lever there?
27:07Just lift it up.
27:09But be sure that the light is out
27:11before you touch the lever.
27:13And then telephone me, would you?
27:15Let me see.
27:17What is it?
27:19This thing, what is it?
27:21Oh, it's a recording camera.
27:23Camera?
27:25What, are you expecting it to photograph?
27:27I really wouldn't know.
27:29You think he'll come back, don't you?
27:31You expect it to photograph that man?
27:33No, we shall just have to wait and see, won't we?
27:38It's after nine, nothing's happened.
27:40Oh, it's getting cold in here.
27:42I'm beginning to wish we hadn't started all this.
27:45It was your idea to get that character down here.
27:47Personally, I think we need our heads examined.
27:51Harry!
27:59What do you want?
28:01I've got a letter for you.
28:03Oh, thank you.
28:05What's his number?
28:07Oh, it's Perivale 192...
28:20Now, I've got the proof I spoke about,
28:22but I don't think you're going to like it.
28:24That camera I left you with had an ultra-sensitive film,
28:27and these are the photographs you took.
28:29You are absolutely certain
28:31that the light was out before you set it going?
28:32Yes, of course.
28:34Then take a look at this.
28:36You see, the negative is fully exposed,
28:39and the filaments of the lamp are burning brightly.
28:43I'm positive that that lamp was off
28:45when that photograph was taken.
28:47Let's hope it'll be off again tonight.
28:49There's one final test I want to make.
28:51Can you by any chance lay your hands
28:53on an oil lamp of any sort?
28:55Yes, we've got one in the garage.
28:57Good.
28:59It seems to be all right.
29:00Now, this one.
29:07This meter shows the current flowing through the light.
29:11When the light's on, as it is now,
29:13the needle is deflected.
29:17When the light's off,
29:19the needle returns to zero.
29:21See?
29:24Now all we have to do is to wait.
29:30How many do you want?
29:32Can I try, um, three?
29:34Three.
29:38Do you take three?
29:44Right.
29:46Oh, I'm sorry, wait.
29:48A better penny?
29:58Come over here.
30:01The light's out,
30:03but the current's still flowing.
30:05The needle's deflected.
30:08There.
30:10It's on again,
30:12and there is no variation in the reading.
30:14The force of the vibrations
30:16has only power to affect the electric lamp,
30:19not the oil lamp,
30:21which remained alight.
30:23And that, Mr. Trevor,
30:25is the visual proof that I promised you.
30:27That lamp does not go out.
30:28It only appears to do so to us in this room.
30:31Now, the former owner of this house,
30:33the scientist who was electrocuted three years ago,
30:36was a man obsessed by electronics.
30:38All his thoughts, all his energies
30:40were directed towards things electrical.
30:42And at the time of his death,
30:44he was engaged on experiments
30:46for inducing artificial visual sensations
30:48straight into the brain
30:50without the use of the eyes.
30:52But what has all this to do with the lamp going out?
30:54Well, my theory about that is this.
30:56The vibrations in this room
30:58which created in us the phenomenon
31:00of the light going out,
31:02and for you two,
31:04the image of the man on the TV screen,
31:06was originally generated in that man's brain.
31:08Now, in order to put that theory to the test,
31:10I want to hold a seance in here with a medium,
31:12just to try and discover
31:14something more about the circumstances
31:16of that man's death.
31:18No. No, I'd rather you didn't.
31:20There are some things I think we'd better not know.
31:22Do you recognize that man?
31:29It's the man on the TV screen.
31:31Exactly.
31:33It's a photograph of Mark Lemming,
31:35the scientist who was electrocuted in this house.
31:38Now, do you see why we have to have this seance?
31:41Yes, I do.
31:43It's a photograph of Mark Lemming,
31:45the scientist who was electrocuted in this house.
31:47Now, do you see why we have to have this seance?
31:50It's pretty around here, isn't it?
31:52Oh, yes, it's lovely.
31:54Delightful.
31:56Oh, hello.
31:58Well, you see, I managed to persuade Mrs. Bucknell to come.
32:00So I see. You'd better come in.
32:05Good afternoon, Mrs. Trevor.
32:07May I introduce Mrs. Bucknell and Mr. and Mrs. Trevor?
32:09How do you do?
32:10How do you do?
32:11How do you do?
32:12Would you like to go upstairs and take your coat off?
32:14Oh, thank you. I should like that.
32:16What a very pretty house you have.
32:17What a very pretty house you have, my dear.
32:19It must be so lovely to have a garden.
32:21I have always wanted a garden.
32:23We live in Glasgow.
32:25May I get the room ready now?
32:27Yes, of course.
32:32Hmm.
32:35I say, old man, you can't be serious about that woman.
32:38What do you mean?
32:40This is not my idea of a medium.
32:42What is your idea of a medium?
32:44Someone who wears a pointed hat and arrives on a broomstick?
32:45Don't be ridiculous.
32:47You know, the only thing that makes a medium different
32:49is that by some freak accident of nature,
32:51they're super sensitive to vibrations
32:53which are beyond the normal range of people.
32:55It's an entirely a physical attribute,
32:57like exceptional eyesight, ultra-acute hearing.
32:59And you know, she's probably one of the most sensitive mediums
33:01in the world.
33:03We're very lucky she agreed to come along.
33:05Would you draw those curtains for me?
33:07Do we really have to do that?
33:09I mean, why does it have to be in the dark?
33:11It doesn't.
33:13But in a subdued light, the medium's thoughts are less distracted.
33:16Oh.
33:22Ah, there we are.
33:28Who is that man over there?
33:30That man by the curtains.
33:32There's nobody there, Mrs. Buckner.
33:34Only the four of us.
33:37I thought I saw a man.
33:40I don't like this room, Mr. Burden.
33:43I don't want to go on.
33:45I had a feeling I should never have come, and now I'm sure.
33:47You wouldn't let us down, would you, Mrs. Buckner?
33:49So much depends on this seance.
33:51You will help us, won't you?
33:56Very well.
33:58But only as a favor to you, Mr. Burden.
34:00Thank you. Come along.
34:02Shall I sit there?
34:04Yes, if you would.
34:06Some of these cushions for you.
34:08Oh, thank you.
34:10Sit.
34:12They're quite comfy.
34:14Right.
34:19Are you ready, Mrs. Buckner?
34:21Yes, quite ready, Mr. Burden.
34:44Quiet, please.
34:47Whatever you see, whatever you hear,
34:49keep absolutely still.
34:51Any sudden noise or movement
34:53could be dangerous to the meeting.
35:14I am in a room.
35:17A sort of workshop.
35:20There are machines and instruments.
35:24I do not understand.
35:27There is a man.
35:40Sally?
35:42Sally?
35:44Sally?
35:46Walkies. Walkies.
35:48Come, walkies, Sally.
35:54Lie down, Sally.
35:56Quiet, quiet. Sally.
35:59Lie down. Go to sleep.
36:01Go to sleep. Good girl.
36:07Sally, biscuit.
36:09Biscuit, Sally.
36:11Biscuit, Sally.
36:19Now you're going to see something.
36:39It works.
36:41It works.
36:43My theory is right.
36:46In a few days, I shall be ready for your help.
36:52It works.
36:54It works.
36:56It works.
36:58It works.
37:00It works.
37:02It works.
37:04It works.
37:06It works.
37:09Sally.
37:11You may not know it,
37:13but one of these days you'll be more famous than Rin Tin Tin.
37:23Mark.
37:26Mark!
37:30Oh, come on.
37:38Come on.
37:56If he thinks I'm going to get mixed up in his horrible experiments,
37:59he's got another thing coming.
38:01Clive, what are we going to do?
38:03I like that, you're asking me
38:05when I've been imploring you for months to come away with me.
38:06And what would we use for money?
38:08I could soon get a regular job.
38:10I suppose you could.
38:12I suppose I could cook,
38:14don your socks and do the weekly wash.
38:17No, darling, I'm afraid it wouldn't work.
38:20Mark's a rich man, you know that, don't you?
38:23That last accident he had
38:25when he nearly electrocuted himself
38:27damaged his heart.
38:29Another shock, even a minor one, would kill him.
38:33Would you love me any less
38:34if I were a wealthy widow?
38:36We might have to wait for years.
38:38Yes, but I'm not going to wait.
38:40Mark must have another accident,
38:42a fatal one.
38:44I've thought out how it can be arranged
38:46if you love me enough to help me.
38:49You mean that we should kill him?
38:51What else do you think it means?
38:53There is no other way.
38:55You must see that.
38:57We'd never get away with it.
38:59We could, you know.
39:01I think I've found a way.
39:03I think I've found a way.
39:21Does anything occur to you?
39:23No, should it?
39:25Haven't you ever heard of people
39:27electrocuting themselves in baths
39:29by touching the electric fire?
39:30That's when there's a leak to earth.
39:32Do you know what that means? I don't.
39:34No, but we could find out.
39:36So that we could fix the fire
39:38so that there is a leak?
39:40Why not?
39:42Even if we did, how are we going to get Mark
39:44to be so obliging as to stand in the bath
39:46and grab hold of the fire?
39:48We don't have to.
39:50Look, Mark reads in the bath, sometimes for hours.
39:52When it gets cold, he switches on the fire
39:54by reaching up and pulling this cord.
39:56If we could make this knob alive...
39:58Look, I'm pretty dim where electricity is concerned,
40:00but it's pulled back as it was before.
40:02They just think he had a heart attack.
40:04They know he's got a weak heart.
40:06Suppose we did do it.
40:08How are we going to find out the way
40:10to change the wires?
40:12Yes, yes, that's the only problem, isn't it?
40:17Well, it's quite simple.
40:19You pull this cord here.
40:21You know, I know absolutely nothing about electricity,
40:23but I've read so many times
40:25about people being electrocuted,
40:27it's always put me off having a fire in the bathroom.
40:28Well, there's no need to worry about that
40:30with this fire, madam.
40:32I expect that's what the people thought who were electrocuted.
40:34How is it there have been so many fatal accidents
40:36with fires in bathrooms?
40:38Well, because the equipment has been faulty
40:40and there's been a leak to earth.
40:42What is a leak to earth?
40:44Well, it's when one side of the current
40:46touches the frame of the fire.
40:48What?
40:50Well, let me try and show you.
40:52Now, here we have a standard three-pin plug.
40:58You see?
41:25Hello, yes, Lemming here.
41:28Oh, yes, of course.
41:31Good, good, that's excellent.
41:34Well, I'll come up this afternoon
41:36and bring my latest notes with me.
41:38Splendid.
44:44I...
44:56What's he playing at?
44:58Mark, give us back our shoes.
45:00Oh, all right, you've had your joke.
45:02I don't think it's very funny.
45:04I'm sorry you didn't like it.
45:06Please give them back.
45:08No, I can't do that yet.
45:10It's only the first part of the joke.
45:12Look, Mark, I'm not in the mood for any nonsense.
45:14Give us back our shoes.
45:16Clive, will you go and get some others?
45:18You know where I keep mine.
45:20Just a minute, Clive.
45:22You may very well know where my wife keeps her shoes,
45:24but I wouldn't touch that door handle if I were you.
45:26Oh, and why not?
45:28What's the matter with you? Have you gone out of your mind?
45:30Oh, I don't think so.
45:32If you were to touch that handle,
45:34the same thing might happen to you
45:36as would have happened to me
45:38if I'd switched on the bath from fire.
45:40What on earth are you talking about?
45:42Only about the little joke that you prepared for me.
45:44Look, I don't know what all this is about,
45:46but whatever it is, I don't think it's funny.
45:48Oh, don't you, Clive.
45:50I do, I think it's very funny
45:52because the laugh would certainly have been on you.
45:54You don't suppose for a moment
45:56that Stella would have stuck to you
45:58if she had known what you were up to?
46:00You're wasting your time, both of you.
46:03Listen.
46:05But I'm not going to wait.
46:07Mark must have another accident,
46:09a fatal one.
46:11That's thought out how it can be arranged.
46:13I don't think we need to hear any more, do we?
46:16I was wondering how you proposed to do it.
46:18It was most ingenious.
46:20It was only the merest fluke that it didn't come off.
46:23The telephone rang at the essential moment.
46:25You might say I was saved by the bell.
46:28All right, so you know.
46:30What are you going to do about it?
46:32Well, I could hand you over to the police.
46:34And the evidence?
46:36That proves nothing.
46:38No, you're quite right, it doesn't.
46:40Anyway, I never seriously thought of the police.
46:42I think this is something that we should settle
46:44between the three of us, don't you, Clive?
46:46Yes, I do.
46:48Look, Stella and I will clear out
46:50and you'll never see us again.
46:52Oh, come now, that's hardly fair.
46:54After all, you did try to kill me.
46:56I think I'm entitled to some compensation.
46:58Don't look so alarmed, Clive.
47:00It's just a little game I've arranged.
47:02A game?
47:04Yes, a game.
47:06Getting you to take your shoes off was a part of it.
47:08A very essential part.
47:10Go on.
47:12Well, you see, just before I came in here,
47:14I switched on a high-voltage generator in my workshop.
47:16One lead from which, the positive,
47:18is led to this carpet.
47:20The other lead, the negative,
47:22is connected to various objects and fittings in this room.
47:24Such as the door handles.
47:26Now, if you should be standing on the carpet
47:28with one of those objects,
47:30you'll get a shock that will undoubtedly kill you.
47:32That's why I had to get your shoes off.
47:35You can't frighten me.
47:37The carpet's not a conductor of electricity.
47:39Normally, no.
47:41But you'll find this one is.
47:43You see, I've sprayed it all over
47:45with a solution of salamoniac
47:47that makes it a very good conductor.
47:49Whether you believe me or not, you'll soon find out.
47:51And since you're so knowledgeable
47:53about electricity, my dear,
47:55don't be tempted into thinking you can insulate yourself
47:56by standing on the cushions
47:58or wrapping the curtains around your feet,
48:00because I've sprayed them, too.
48:02I even had a chance to have a go at your clothes.
48:09So you should find my game very interesting.
48:11And don't be fooled by this.
48:14I have on thick rubber soles.
48:20You don't believe all that nonsense, do you?
48:22He's bluffing.
48:24Oh, don't be a fool.
48:26Let's test it first.
48:28But how?
48:30I know.
48:34This.
48:36Supposing it is alive?
48:38It'll be all right if I keep this end on the ground.
48:48Thank God I stopped you.
48:50He's insane, he must be.
48:52What are we going to do?
48:54There isn't anything we can do.
48:56She won't come.
48:58She started her holiday yesterday.
49:00Nobody will come for two weeks.
49:02Well, somebody's bound to turn up.
49:04A tradesman or...
49:06The phone.
49:08He's forgotten the phone.
49:10We're all right.
49:12No, don't touch it.
49:14It may be alive.
49:16Wait a minute.
49:20Thank God it's safe.
49:22Hello.
49:24How are you getting on?
49:27Never mind, I thought I'd just let you know
49:29that this game has a time limit.
49:31If you're not out of this room by midnight tonight,
49:33I'm afraid you'll have had it anyway.
49:37The dialing tone.
49:39The dialing tone, he's forgotten to switch over.
49:42Get on to someone before he comes back.
49:49What's the police number?
49:51Dial 100 and ask for the police.
49:56Oh, no!
50:26I'll get it.
50:56I'll get it.
51:27Ah!
51:29No, no, no!
51:31Under the workshop floor.
51:33Under the workshop floor.
51:35Under the workshop floor.
51:37Get some brandy, would you?
51:47Open those curtains, please.
51:54Oh, I feel so strange.
52:00Did it go off all right?
52:02Was it a successful séance?
52:04Yes.
52:06Oh.
52:08Do you know, I would like a cup of tea.
52:10My God, what a terrible story.
52:13But how did it go?
52:15I don't know.
52:16I'm sorry.
52:18But how do you know all this?
52:20What happened in the end?
52:22Did they look under the shed?
52:24Oh, yes.
52:26They dug up under the shed.
52:28What, did they find anything?
52:30Yes.
52:32They found the body of Clive Mayhew.
52:34But the woman, did they find her body, too?
52:36No.
52:38Her body was never found.
52:40Some people say she's mauled up somewhere in this house.
52:43What's the matter with the lights?
52:47It's like I said,
52:49the lights do go up and down.
52:53You see,
52:55this is the room.
53:02Aah!
53:04Aah!
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