Patricia Dainton inherits a family house giving her and her wastrel husband Tony Wright a place to crash, and from where he can 'write'. The house seems inhabited by a poltergeist, as pointed out by housekeeper Anita-Sharp Bolster, which the husband doesn't love, but he's soon after glamorous (by that I mean she's prone to wearing shiny slacks) single typist Sandra Dorne, who's a bad girl and indifferent to stealing a woman's husband. He's a real sleaze, did I mention that? Even to the point of planning to murder his wife. But - and this is a neat twist - the house (or the poltergeist) has other ideas... The ending is the best part of this short 66 minute indie, which despite many shortcomings remains watchable.
Written by Maurice Wilson from a story by Laurence Meynell. Didn't know any of the crew except for nascent director, first AD Douglas Hickox.
I was initially caught by John Veale's opening credits music, which in melody and orchestration sounds like a trial run for Barry's Thunderball theme. The rest of the music is more routine but you wonder.
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