After the woman he loves tragically dies, a leading brain surgeon vows revenge against the person he believes is responsible for her death. British psychological thriller starring James Mason and Rosamund John.
The Upturned Glass (1947)
Studio: Triton
Director: Lawrence Huntington
Writer: John Monaghan
Cast: James Mason, Rosamund John
The Upturned Glass (1947)
Studio: Triton
Director: Lawrence Huntington
Writer: John Monaghan
Cast: James Mason, Rosamund John
Category
🎥
Short filmTranscript
00:00:00 [Music]
00:00:29 [Music]
00:00:33 [Music]
00:00:37 [Music]
00:00:41 [Music]
00:00:45 [Music]
00:00:51 [Music]
00:00:55 [Music]
00:00:59 [Music]
00:01:03 [Music]
00:01:07 [Music]
00:01:11 [Music]
00:01:17 [Music]
00:01:21 [Music]
00:01:25 [Music]
00:01:29 [Music]
00:01:33 [Music]
00:01:37 [Bell Ringing]
00:01:53 [Bell Ringing]
00:02:05 We're late enough already, they've closed the doors.
00:02:07 It's a medical school lecture, I want to see what the attraction is.
00:02:09 Psychology of crime.
00:02:11 What? Psychology of crime, come on.
00:02:13 I have a good mind to stay. Who's the lecturer?
00:02:15 I'd stay if I were you. You only lectures once a week.
00:02:21 Now you've got to stay.
00:02:23 Up to this point in the present series of lectures,
00:02:33 we've dealt exclusively with abnormal mentalities.
00:02:37 I emphasize the fact that in civilized communities,
00:02:41 80% of our murderers and violent criminals,
00:02:44 were those whose minds have been conditioned by
00:02:47 exceptional nervous stress and unhealthy environment.
00:02:51 Last Friday we dealt with the smaller group of strictly moronic criminals.
00:02:57 And now we come to that much more interesting phenomenon,
00:03:00 the sane criminal.
00:03:03 The man who is prepared to pursue his own ethical convictions
00:03:06 even to the point of murder.
00:03:09 The man whose punishment is apt to weigh heavily on the conscious of society,
00:03:14 because his actions as likely as not have been inspired by
00:03:17 just as great an integrity as those of the men who sit in judgment.
00:03:21 At worst, he's an irresponsible opportunist.
00:03:25 At the best, he's a man with a strong sense of justice,
00:03:30 even a mystic.
00:03:33 I propose to relate the case history of a murderer of this class.
00:03:37 A perfectly sane, valuable member of society.
00:03:41 We'd better give him a fictitious name.
00:03:44 We'll give them all fictitious names, all the characters in this case.
00:03:48 He was a surgeon.
00:03:50 We called him Mr. Joyce, Mr. Michael Joyce.
00:03:55 He was well thought of in the medical profession and had a house of his own in Harley Street.
00:04:00 His marriage had been an unhappy one,
00:04:02 and he'd lived apart from his wife for several years.
00:04:05 Consequently, he threw all his energy and interest into his work.
00:04:09 As a brain specialist, he operated in three London hospitals
00:04:13 and had developed a technique which considerably reduced the mortality rate in this field.
00:04:18 He was reserved in his personal relationships and had no close friends.
00:04:22 His only relaxation was to sit at home and play the piano or go to an occasional concert.
00:04:28 Otherwise, it was a life devoted solely to work,
00:04:31 a life that by normal standards was unutterably lonely and empty.
00:04:36 But he never recognized this himself until he met a woman called Emma Wright.
00:04:41 When she first came into his consulting room, he hardly even noticed her.
00:04:45 She was just an ordinary middle-class woman who happened to have a daughter who was going blind.
00:04:49 Sit down, Mrs. Wright.
00:04:51 There I am. Let's have a look at this head of yours.
00:04:55 I gather it was an emergency operation after an air raid.
00:04:58 Yes.
00:04:59 Now the eyesight's affected.
00:05:01 The eye specialist said there was nothing he could do.
00:05:04 Can you see well enough to read?
00:05:06 Not really.
00:05:07 I have the eye specialist's report.
00:05:11 Early optic atrophy.
00:05:14 This is a fairly serious condition, Mrs. Wright.
00:05:16 The thing for us to do is to take her into hospital,
00:05:19 make a thorough investigation so as to establish the exact cause.
00:05:23 You wouldn't mind that, Anne, would you?
00:05:25 Would you?
00:05:26 Will it hurt?
00:05:27 No. We'll take good care of you.
00:05:29 Do you want her to go in right away?
00:05:31 I think she should.
00:05:33 Anne, come over here.
00:05:35 Sit down.
00:05:37 We don't want the atrophy to become too far advanced.
00:05:41 Anne, I'm just going to look into your eyes.
00:05:43 See those two figures on the mantelpiece?
00:05:45 Keep your eye on them.
00:05:47 My face will get in between, but don't look at me.
00:05:50 The personality of the child's mother
00:05:52 remained for the time being a matter of no great importance.
00:05:56 But after the child had been submitted to a series of tests
00:05:59 and X-rays had proved that her trouble was due to a small foreign body
00:06:02 lodged anteriorly to the optic chiasma,
00:06:05 it became obvious that a fairly serious operation was necessary.
00:06:08 And the relationship between these two became inevitably less remote.
00:06:13 Will it be very dangerous, the operation?
00:06:16 To her life?
00:06:18 There's always a risk with a major operation.
00:06:20 How great a risk?
00:06:22 Mortality rate with this operation is 1%.
00:06:26 And if you don't operate?
00:06:28 She'd go blind.
00:06:30 If only my husband were here, he'd know what to do.
00:06:36 I hate to go ahead without him.
00:06:38 We might consider putting it off for a short time if he's coming home soon.
00:06:41 Not for several months, I'm afraid.
00:06:43 In that case, I shouldn't advise it.
00:06:45 Every week that we let it go, it gets progressively worse.
00:06:48 I know.
00:06:50 I know you're right, but...
00:06:53 you don't think she...
00:06:55 I mean, she couldn't be among the 1%?
00:06:58 In my mind, there's no question at all.
00:07:00 I've met this problem before on many occasions,
00:07:02 always with complete success.
00:07:04 I wish you felt you could trust me.
00:07:06 It isn't that.
00:07:08 I'll do what you say.
00:07:12 Well, I suggest we leave Anne here at the hospital.
00:07:15 She's comfortable.
00:07:17 And I'll operate as soon as it can be arranged.
00:07:19 All right? All right.
00:07:21 There's nothing to it, Anne.
00:07:24 We give you something nice to make you go to sleep,
00:07:26 and when you wake up again, it's all over.
00:07:28 Then you'll be able to see properly again.
00:07:30 Oh, Mommy, they want to cut my hair off.
00:07:32 But, darling, it'll grow again.
00:07:34 Oh, must I stay here, Mommy?
00:07:36 Mr. Joyce will take great care of you.
00:07:38 Oh, don't go. Please, Mommy.
00:07:40 How would you like your mother to stay with you till you go to sleep?
00:07:42 Can't she stay with me until I wake up again?
00:07:44 She can stay with you all the time if she likes.
00:07:47 Oh, yes, please, Mommy.
00:07:49 He says you can.
00:07:51 All right, darling, I'll stay.
00:07:53 I'll see you later, Anne.
00:07:55 I won't be a minute.
00:07:57 [Music]
00:08:02 [Music]
00:08:07 [Music]
00:08:12 [Music]
00:08:17 [Music]
00:08:22 [Music]
00:08:27 [Music]
00:08:32 [Music]
00:08:37 [Music]
00:08:42 [Music]
00:08:47 [Music]
00:08:52 [Music]
00:08:57 [Music]
00:09:02 [Music]
00:09:07 [Music]
00:09:12 [Music]
00:09:17 [Music]
00:09:22 [Music]
00:09:27 [Music]
00:09:32 [Music]
00:09:37 [Music]
00:09:40 For all his air of quiet confidence,
00:09:42 the surgeon who is about to operate is often as nervous as a prima donna.
00:09:46 This was exaggerated in the present case by the feverish devotion of the child's mother,
00:09:51 which had conveyed itself to Michael Joyce
00:09:53 and robbed him of that cold detachment which is a doctor's great strength.
00:09:58 Never before had he been so acutely aware of the identity of the piece of human material he was working on
00:10:04 as he took the scalpel and made the first incision
00:10:07 and as the sister handed him the artery forceps.
00:10:11 [Music]
00:10:16 [Music]
00:10:21 [Music]
00:10:26 [Music]
00:10:31 [Music]
00:10:36 [Music]
00:10:41 [Music]
00:10:46 [Music]
00:10:51 [Music]
00:10:53 There were no complications at all.
00:10:55 The child took the anaesthetic easily and the foreign body was located and successfully removed.
00:11:01 [Music]
00:11:07 The chief sufferer of course was the wretched woman who had been pacing up and down the waiting room for two hours.
00:11:12 She broke down as soon as Michael Joyce came in and made his report
00:11:16 and only pulled herself together when she remembered rather guiltily
00:11:19 the promise she'd made to Anne to stay with her throughout the operation.
00:11:23 She was anxious to get back to her before she came out of the anaesthetic.
00:11:28 There was another woman in the room with her whom she introduced as her sister-in-law,
00:11:32 Mrs. Catherine Howard, a rather overdressed young lady who seemed to have very little interest in Anne's welfare.
00:11:39 They had to wait some weeks to find out whether the operation had actually succeeded in saving Anne's eyesight.
00:11:45 Meanwhile they shared the daily uncertainties and anxieties.
00:11:50 MRI depended more and more on the feeling of confidence which he gave her.
00:11:55 When it became obvious that Anne was on her way to recovery she was tremendously grateful to him.
00:12:00 A feeling which Michael Joyce did not mistake, but he knew that his own interest in her was greater than it should be.
00:12:07 Without admitting it to himself he began to dread the day when the job would be completed.
00:12:12 The day of the final examination after which Anne and her mother were to return to their home in the country.
00:12:18 Anne and I went to pictures last night, the first time for over a year.
00:12:21 It was all coloured.
00:12:24 Well, I don't suppose we shall see you again.
00:12:28 I hope you will.
00:12:30 I hope so too.
00:12:32 Not professionally, of course.
00:12:34 The sun's come out, mummy.
00:12:35 We'll go into the park, shall we?
00:12:37 Goodbye.
00:12:39 Are you really going to the park?
00:12:41 Yes, why?
00:12:42 Do you mind if I go with you?
00:12:44 Of course not.
00:12:47 But oughtn't you to tell someone you're going out?
00:12:50 I'll tell them when I get back. Then there can be no mistake about it.
00:12:54 He should have said goodbye when their relationship came to its natural conclusion.
00:12:59 But he couldn't bring himself to.
00:13:01 She represented all the things that were so painfully lacking from a life devoted to textbooks and operating theatres.
00:13:08 She was so simple and unaffected.
00:13:11 She told him about Philip, her husband.
00:13:14 How his work as a geologist had kept them apart for years at a time.
00:13:18 And now he was going to give it up so that they could be together.
00:13:21 She told him how they'd hoped for more children.
00:13:24 Having only one, she'd become all the more nervous and possessive about Anne.
00:13:29 They went on seeing each other and found they had the same tastes.
00:13:34 They both liked music and fell into the habit of going to concerts together.
00:13:39 Sometimes she'd come and play the piano at his house.
00:13:43 [Piano music]
00:14:07 [Music]
00:14:14 [Applause]
00:14:20 I feel awfully guilty making you drive out all this way.
00:14:25 It's all right.
00:14:26 I really should have stayed in town. Only I hate leaving Anne alone at night.
00:14:29 I'm relying on you to show me the way. You don't know this part of the country.
00:14:33 Oh, I know the road.
00:14:34 Good.
00:14:36 Wait a minute.
00:14:38 Are we lost?
00:14:40 Oh, it's all right. That's our chapel.
00:14:42 Your chapel?
00:14:43 Yes, you can see it from my bedroom window.
00:14:45 Draw up when we come to it. I must show it to you.
00:14:47 All right.
00:14:48 There used to be great ructions in the family about it.
00:15:04 When the wind's in our direction, you can hear them singing.
00:15:07 I rather like it.
00:15:08 The sound drifts across and...
00:15:10 Oh, I don't know.
00:15:12 It's rather peaceful.
00:15:14 Some people hate it. Kate was always trying to get Philip to sell the house.
00:15:17 That was before she was married, of course.
00:15:19 Then after she came back here, after her husband was killed,
00:15:22 she started all over again.
00:15:24 She says Clay always plays out of tune.
00:15:26 Who's Clay?
00:15:27 Our gardener. He plays the organ here.
00:15:29 Kate thinks we ought to get rid of him because of it.
00:15:31 Why? Does it affect his gardening?
00:15:33 No. It's just that Kate thinks that if he hadn't a job,
00:15:36 he might go and live in another district and then there wouldn't be anyone to play the organ.
00:15:39 Who's Kate?
00:15:40 My sister-in-law. You met her one day at the hospital.
00:15:42 Did I?
00:15:44 Don't you even remember the people you meet?
00:15:47 I remember the important ones.
00:15:49 The ones I want to remember.
00:15:51 That's our house up there.
00:15:55 There's something I've been wanting to ask you all evening.
00:16:02 Yes?
00:16:03 It's just... are you divorced?
00:16:06 No.
00:16:08 Diana doesn't want a divorce.
00:16:11 Why do you ask?
00:16:14 Oh, no reason. I just wondered.
00:16:17 We ought to be going. It must be awfully late.
00:16:19 When Emma came up to London for the day,
00:16:31 she made a habit of calling in at Michael's house in Harley Street after the day's shopping.
00:16:35 Then often they'd have dinner together afterwards.
00:16:38 - Hello, Emma. - Hello.
00:16:48 I'm sorry I had to keep you waiting. I got messed up with my appointments this afternoon.
00:16:52 It doesn't matter. Come and listen.
00:16:54 What is it?
00:16:55 It's a record Anne's made.
00:16:57 It almost sounds as though she were a real pianist.
00:17:00 I'm trying to think what this is.
00:17:02 - "Madame, Will You Walk?" - Oh, yes.
00:17:04 It's good. Is that really Anne?
00:17:06 - Of course it is. - Quite a professional job.
00:17:09 Shh.
00:17:10 Oh, dash. I'll go back.
00:17:14 That was a mistake. She always goes wrong there.
00:17:16 But we're going to have another one made without any mistakes.
00:17:19 I'm sorry. I'm really sorry.
00:17:22 She can play it, really. This is where she goes wrong.
00:17:27 (Piano playing)
00:17:29 She used to play very well.
00:17:37 After the accident, of course, she had to play from memory.
00:17:40 I made her go on practicing.
00:17:42 Emma, do you love your husband?
00:17:45 Well, do you?
00:17:51 I don't know how to answer that question.
00:17:54 But you know why I asked.
00:17:56 Yes.
00:17:59 Well, Michael, I don't know what to say.
00:18:03 Philip and I have been together for so long.
00:18:05 I love you, Emma.
00:18:07 You shouldn't have told me.
00:18:11 If we'd kept quiet about it, we might have gone on seeing each other.
00:18:15 It wouldn't have worked.
00:18:18 I suppose not.
00:18:22 I wanted you to know.
00:18:24 I did know, Michael.
00:18:27 I've tried not to recognize it.
00:18:34 I tried to tell myself that something would happen to make it all right.
00:18:37 But I knew nothing could.
00:18:40 It can never be all right.
00:18:42 Neither of us is free or ever likely to be.
00:18:44 There's nothing we can do about it.
00:18:47 We won't see each other again after today.
00:18:51 No.
00:18:53 I'll miss you.
00:18:56 Oh, Michael, so shall I.
00:18:59 Dreadfully.
00:19:02 (SOMBER MUSIC PLAYING)
00:19:04 It became more and more difficult for them to end their association.
00:19:29 Though neither was happy about it.
00:19:31 Emma's husband was giving up the work he liked so as to be with her.
00:19:35 And she was torn between her loyalty towards him and her love for Michael Joyce.
00:19:41 Finally, she decided to write to her husband and explain what had happened.
00:19:46 And to ask him to release her.
00:19:57 I can't send it, can I?
00:19:59 No, you can't.
00:20:01 It would be too unfair.
00:20:04 It's Anne I'm thinking of, of course.
00:20:07 Yes, well, there's your answer.
00:20:09 Certainly wouldn't be fair to her.
00:20:11 There's only one thing for us to do, I'm afraid.
00:20:14 Goodbye, Michael.
00:20:25 No, don't come near me.
00:20:27 We must never see each other again.
00:20:30 And they never did see each other again.
00:20:47 (FOOTSTEPS)
00:20:49 Good morning, Mr. Joyce.
00:21:11 Good morning.
00:21:12 Isn't it terrible about Mrs. Wright?
00:21:14 (PHONE RINGS)
00:21:16 Mrs. Wright.
00:21:17 You remember, the mother of the little girl.
00:21:19 (MUMBLES)
00:21:22 Oh, look, I'm in.
00:21:24 Don't sneak in here, please.
00:21:29 What about her?
00:21:33 Who? Oh, Mrs. Wright.
00:21:35 She fell out of a window and broke her neck.
00:21:37 (DRAMATIC MUSIC)
00:21:41 (HORN HONKS)
00:21:43 It was established at the inquest
00:21:51 that the fatal fall took place at about six o'clock in the evening.
00:21:55 The only other people in the house at the time were the child, Anne,
00:21:59 and a housemaid, who testified that earlier in the afternoon
00:22:03 Mrs. Catherine Howard had visited the house.
00:22:06 Did you see Mrs. Howard leave?
00:22:09 Yes, sir. I saw her get into a car and drive away.
00:22:12 At about what time?
00:22:14 A little before six, I should say, sir.
00:22:16 And it was some minutes later that you heard a noise as if someone falling?
00:22:20 Yes.
00:22:21 That will be all, Miss Bond. Thank you.
00:22:23 Repeat after me.
00:22:34 I swear by Almighty God...
00:22:35 I swear by Almighty God...
00:22:36 ...that I will speak the truth...
00:22:37 ...that I will speak the truth...
00:22:38 ...the whole truth...
00:22:39 ...the whole truth...
00:22:40 ...and nothing but the truth.
00:22:41 ...nothing but the truth.
00:22:42 You are Mrs. Catherine Howard?
00:22:43 Yes.
00:22:44 And your address is?
00:22:45 I live at the Arcadia Hotel.
00:22:46 Yes.
00:22:47 And what was your relationship to the deceased?
00:22:50 She was my sister-in-law.
00:22:51 She was married to my brother, Philip.
00:22:53 When did you last see Mrs. Wright alive?
00:22:55 About six o'clock on the evening of the accident.
00:22:58 I was with her for about an hour.
00:22:59 You had an engagement with her?
00:23:01 Well, not exactly an engagement,
00:23:04 but she knew that I might stop by.
00:23:07 Was she actually expecting you to stop by?
00:23:10 Well, she wasn't exactly expecting me,
00:23:12 but since my husband was killed,
00:23:14 I've been in the habit of popping in and out whenever I was nearby.
00:23:17 What happened when you arrived?
00:23:19 Nothing.
00:23:20 Did you talk?
00:23:21 Yes, we chatted for a while.
00:23:23 About anything in particular?
00:23:25 No, just talk.
00:23:27 Did she seem worried?
00:23:29 On the contrary.
00:23:30 She was very cheerful.
00:23:31 She was looking forward to her husband coming home.
00:23:33 Had she been suffering from ill health?
00:23:36 Not at all.
00:23:37 Then there was nothing in her manner to suggest that anything was wrong.
00:23:41 Certainly not.
00:23:42 Oh, but she did have a great fear of heights.
00:23:44 She had a great fear of heights?
00:23:46 Do you mean that she mentioned it on this particular afternoon?
00:23:50 Well, no.
00:23:52 Why did you mention it just now?
00:23:54 Well, it seemed to me the only possible explanation for her falling out of the window.
00:23:58 I see.
00:23:59 What was Mrs. Wright doing when you left her?
00:24:02 She was in her room.
00:24:04 I think she was going to turn out her stocking drawer.
00:24:06 Thank you, Mrs. Howard.
00:24:08 That will be all.
00:24:09 Come over here by me.
00:24:24 Now, Ann,
00:24:31 you understand what is meant by telling the truth, don't you?
00:24:34 Yes.
00:24:36 It's very important that you do, because I'm going to ask you a few questions,
00:24:39 and I want you to answer them truthfully.
00:24:41 Tell me, when did you last see your mother?
00:24:45 It was a little while before I went to bed.
00:24:49 Where was your mother?
00:24:51 In her room.
00:24:53 Did you go in to talk to her?
00:24:55 I went to say goodnight.
00:24:58 And did you say goodnight?
00:25:00 Yes.
00:25:01 Did your mother seem normal?
00:25:04 Yes.
00:25:07 Tell me, Ann, was there anyone with your mother?
00:25:12 No.
00:25:21 Nothing happened that seemed unusual to you?
00:25:24 No.
00:25:25 Thank you.
00:25:26 That will be all.
00:25:28 Repeat after me.
00:25:29 I swear by Almighty God...
00:25:30 I swear by Almighty God...
00:25:31 ...that I will speak the truth...
00:25:32 ...that I will speak the truth...
00:25:33 ...the whole truth...
00:25:34 ...the whole truth...
00:25:35 ...and nothing but the truth...
00:25:36 ...and nothing but the truth.
00:25:37 Dr. Reynolds, is your name William Gaunt Reynolds?
00:25:40 Do you practice in Downville?
00:25:42 Were you called in this case?
00:25:44 Yes.
00:25:45 What time did you get there?
00:25:47 About 6.30 in the evening.
00:25:49 And you were in the hospital?
00:25:50 Yes.
00:25:51 And you were in the hospital?
00:25:52 Yes.
00:25:53 And you were in the hospital?
00:25:54 Yes.
00:25:55 About 6.30 in the evening.
00:25:58 [music]
00:26:00 [music]
00:26:03 [music]
00:26:06 [music]
00:26:34 Was there anyone with you, madam?
00:26:36 No.
00:26:45 Will you be in to dinner tonight, sir?
00:26:49 No.
00:26:50 No, I've got to go.
00:26:52 Very good, sir.
00:26:53 This is Kathleen Howard.
00:26:58 Yes.
00:26:59 Your address is...
00:27:00 I live at the Arcadia Hotel.
00:27:03 I live at the Arcadia Hotel.
00:27:05 [music]
00:27:07 [music]
00:27:09 [music]
00:27:17 [music]
00:27:23 [music]
00:27:25 Is Mrs. Katherine Howard in?
00:27:45 The party's in Mrs. Deevis' suite, room 29.
00:27:47 Party?
00:27:48 I'm sorry, sir.
00:27:50 I thought perhaps you were one of the guests.
00:27:51 Yes. Yes, I am.
00:27:53 Room 29.
00:27:54 Second floor.
00:27:55 Thank you.
00:27:56 [music]
00:28:01 Thank you.
00:28:13 Oh, I'm so glad you were able to come.
00:28:19 We're in such a muddle.
00:28:21 Everybody seems to be here.
00:28:22 I won't have to introduce you.
00:28:23 Oh, look, there's Joan Scott-Potter.
00:28:25 Joan, I want you to meet Mr...
00:28:27 How do you do?
00:28:28 Albert.
00:28:29 I can't bear to see people without anything in their hands.
00:28:31 There.
00:28:32 Thank you.
00:28:33 Oh, dear, I might have known she'd turn up.
00:28:35 Oh, darling, I'm so glad you were able to come.
00:28:38 These are the ones we ought to avoid.
00:28:42 Why, what's wrong with them?
00:28:43 After Jenny Deevis' last party, Judy Hammond went blind.
00:28:46 Permanently?
00:28:47 No, she's over there somewhere.
00:28:48 Why, there's Kate Howard, and on the day of the inquest.
00:28:51 Would she do it?
00:28:53 Put this down for me somewhere, will you?
00:28:55 Yes.
00:28:56 Excuse me.
00:29:02 You're being very unsociable.
00:29:05 There's someone here I know you'll adore.
00:29:07 She's longing to meet you.
00:29:08 Sylvia, darling, you don't know Peter, do you?
00:29:10 She's dying to meet you.
00:29:11 How do you do?
00:29:12 Got a drink? Good.
00:29:13 What on earth is that waiter doing?
00:29:16 Is your name really Sylvia?
00:29:18 What's wrong with Sylvia?
00:29:19 Nothing at all.
00:29:20 Only mine isn't Peter.
00:29:21 Excuse me, I must take this drink to someone.
00:29:23 I just love that hair.
00:29:25 Hello.
00:29:26 That's the new wimp.
00:29:27 Why, hello, Doctor.
00:29:28 I never expected to find you at a cocktail party.
00:29:30 I hardly expected to find myself at one.
00:29:32 Have you been here long?
00:29:33 No, I've only just arrived.
00:29:34 You're looking very well.
00:29:35 Oh, I'm in absolute dread.
00:29:36 I've been having the most awful time.
00:29:37 I expect you read about it.
00:29:38 My sister-in-law, Emma Wright, you know,
00:29:40 she fell out of a window and got blind.
00:29:42 My sister-in-law, Emma Wright, you know,
00:29:44 she fell out of a window and got killed.
00:29:45 Yes, I did hear about it.
00:29:46 I've just come straight from the inquest.
00:29:48 I wonder if I dare try one of these.
00:29:50 I shudder to think what's in it.
00:29:51 Catherine, my poor dear.
00:29:53 What really happened?
00:29:54 Did you throw yourself out today?
00:29:56 No, of course she didn't.
00:29:57 Is one of those going begging?
00:29:58 I'll die if I don't have a drink.
00:29:59 I'm afraid this belongs to Mrs. Hart.
00:30:01 You might find one over there, though.
00:30:02 Now, don't go away, Catherine.
00:30:03 I simply must hear it all.
00:30:05 You saved my life.
00:30:09 I think you ought to keep moving
00:30:10 if you don't want her to catch you again.
00:30:11 Quite a good idea.
00:30:13 Excuse me.
00:30:16 Kate, my dear, you must give me the lowdown.
00:30:19 My husband swears that someone pushed her
00:30:21 out of the window and it's all been hushed up.
00:30:23 Come in the corner in the quiet.
00:30:25 I can't bear it.
00:30:26 I can't, dear.
00:30:27 Haven't you got to telephone your mother?
00:30:28 My mother?
00:30:29 Oh, oh, yes, I've got to phone my mother.
00:30:32 See you later, dear.
00:30:33 Excuse me.
00:30:34 Excuse me.
00:30:35 Excuse me.
00:30:36 Kate, my dear, you're not going.
00:30:40 I must.
00:30:41 They're too gruesome.
00:30:42 You're staying here for dinner.
00:30:43 Well, don't rely on me.
00:30:45 Oh, quick, there's that awful woman.
00:30:46 See you later, dear.
00:30:47 You menace.
00:30:48 Catherine.
00:30:49 Darling.
00:30:50 You haven't got a drink.
00:30:51 No.
00:30:52 Thank you.
00:30:53 Thank you.
00:30:54 I'm really not suitably dressed to be here.
00:30:55 I ought to have changed, I suppose,
00:30:56 but I've had such a hectic week.
00:30:57 What with the inquest and everyone ringing up
00:30:58 and asking silly questions about Emma.
00:30:59 I do sympathize with you, my dear.
00:31:00 I'm sure you'll be all right.
00:31:01 I'm sure you'll be all right.
00:31:02 I'm sure you'll be all right.
00:31:03 I'm sure you'll be all right.
00:31:04 I'm sure you'll be all right.
00:31:05 I'm sure you'll be all right.
00:31:06 I'm sure you'll be all right.
00:31:07 I'm sure you'll be all right.
00:31:08 I'm sure you'll be all right.
00:31:09 I'm sure you'll be all right.
00:31:10 I'm sure you'll be all right.
00:31:11 I'm sure you'll be all right.
00:31:12 I'm really not suitably dressed to be here.
00:31:13 I ought to have changed, I suppose,
00:31:14 but I've had such a hectic week.
00:31:15 What with the inquest and everyone ringing up
00:31:16 and asking silly questions about Emma.
00:31:17 I do sympathize with you.
00:31:18 All I know is she left me with a load of debts.
00:31:19 Was Mrs. Wright in debt?
00:31:20 Oh, not hers, mine.
00:31:21 I wonder if they've got any potted shrimps.
00:31:22 What's happened to Anne?
00:31:23 Anne?
00:31:24 How do you know Anne?
00:31:25 I operated on her.
00:31:26 Why, yes, of course.
00:31:27 So you did.
00:31:28 How silly of me.
00:31:29 You know, I think I have won too many of that party.
00:31:30 I almost forgot, for the moment,
00:31:31 I'm the only one who's ever been to the party.
00:31:32 I'm the only one who's ever been to the party.
00:31:33 I almost forgot, for the moment,
00:31:34 who you were.
00:31:35 Well, what has happened to her?
00:31:36 Oh, she's gone to Portsmouth.
00:31:37 Emma's mother has a house down there.
00:31:38 There's a dreary old miser,
00:31:39 if ever there was one.
00:31:40 She hates me, as if you cared.
00:31:41 I do care.
00:31:42 I'm most interested.
00:31:43 You're just being very polite and sweet.
00:31:44 Frankly, I'm badly.
00:31:45 It's fatal to have a drink at Jenny Dee,
00:31:46 but you never know what she's going to put in them.
00:31:47 It'll pass off as soon as you've had something to eat.
00:31:48 I'm not going to eat anything.
00:31:49 I'm not going to eat anything.
00:31:50 I'm not going to eat anything.
00:31:51 I'm not going to eat anything.
00:31:52 I'm not going to eat anything.
00:31:53 I'm not going to eat anything.
00:31:54 I'm not going to eat anything.
00:31:55 I'm not going to eat anything.
00:31:56 I'm not going to eat anything.
00:31:57 I'm not going to eat anything.
00:31:58 I'm not going to eat anything.
00:31:59 I'm not going to eat anything.
00:32:00 I'm not going to eat anything.
00:32:01 I'm not going to eat anything.
00:32:02 I'm not going to eat anything.
00:32:03 I'm not going to eat anything.
00:32:04 I'm not going to eat anything.
00:32:05 I'm not going to eat anything.
00:32:06 I'm not going to eat anything.
00:32:07 I'm not going to eat anything.
00:32:08 I'm not going to eat anything.
00:32:09 I'm not going to eat anything.
00:32:10 I'm not going to eat anything.
00:32:11 I'm not going to eat anything.
00:32:12 I'm not going to eat anything.
00:32:13 I'm not going to eat anything.
00:32:14 I'm not going to eat anything.
00:32:15 I'm not going to eat anything.
00:32:16 I'm afraid not, madam.
00:32:17 Lobster cocktail?
00:32:18 Yes, madam.
00:32:19 Would you be very forward of me to hope that I shall see you again?
00:32:31 If you'd held your breath a moment longer, I should have suggested it myself.
00:32:34 Well?
00:32:35 Well, uh...
00:32:36 Are you free tomorrow evening?
00:32:38 I'll see that I am.
00:32:39 All right, uh...
00:32:41 Same place?
00:32:42 Six o'clock?
00:32:43 In the bar?
00:32:44 Wonderful.
00:32:45 Good.
00:32:46 Good night.
00:32:47 Good night.
00:32:48 He decided to visit Emma's empty house.
00:33:00 He'd never been inside her home, and he felt that if he could see it,
00:33:05 he might in some way find an answer to the problem of Emma's death.
00:33:12 He looked around the grounds, trying to find some way of getting into the house.
00:33:16 But there were no windows unlatched, and the place seemed to be completely deserted,
00:33:20 so he had to break in.
00:33:21 [music]
00:33:34 [crash]
00:33:35 [crash]
00:33:37 [footsteps]
00:33:39 [clatter]
00:33:49 [footsteps]
00:34:03 [footsteps]
00:34:10 [clatter]
00:34:11 [footsteps]
00:34:24 [clatter]
00:34:25 [footsteps]
00:34:40 This was the room where Emma had spent her leisure hours.
00:34:43 Everything was just as it must have been when she was alive.
00:34:47 Her piano, and Anne's.
00:34:51 [footsteps]
00:34:54 [footsteps]
00:35:04 [footsteps]
00:35:26 He knew he was in Emma's room as soon as he opened the door.
00:35:29 There was still the faint smell of her perfume.
00:35:32 [music]
00:35:46 On the other side of the valley, he could see the little chapel that Emma had found so charming.
00:35:50 [music]
00:35:58 [music]
00:36:03 [footsteps]
00:36:05 [music]
00:36:13 [door opens]
00:36:14 [footsteps]
00:36:43 [music]
00:36:53 [music]
00:37:03 [music]
00:37:28 [music stops]
00:37:32 Who are you?
00:37:33 That's what I should be asking you.
00:37:35 I didn't know there was anyone here.
00:37:38 No doubt you didn't.
00:37:39 But that's no excuse for breaking into other people's houses in the middle of the night.
00:37:43 You can be had up for this.
00:37:45 Yes, I suppose I can.
00:37:46 Are you looking after this place?
00:37:48 I'm the caretaker.
00:37:50 Did you take anything that doesn't belong to you?
00:37:52 No, certainly not.
00:37:53 It's rather difficult to explain. I...
00:37:56 It's just that you haven't got a piano of your own, I suppose.
00:38:00 It's all right, I believe you.
00:38:02 No sensible burglar's going to start frexing the piano while he's on the job.
00:38:05 Did you know the lady who owned this house?
00:38:09 Know her? Why, I worked for her for ten years.
00:38:11 I looked after the garden.
00:38:13 Oh.
00:38:14 Are you the gardener who plays the organ at the chapel?
00:38:16 Oh.
00:38:17 You know about me.
00:38:19 Ah, yes.
00:38:20 Look here, there's no point in our standing out here in the cold.
00:38:24 I've got the kettle on. Would you like a cup of tea?
00:38:26 There's nothing I'd like better.
00:38:27 Come down to my room.
00:38:29 I gather that Mrs Howard didn't take very kindly to your organ playing.
00:38:32 Mrs Howard, poking her nose into everyone's business,
00:38:35 made the poor lady a nice dance, I can tell you.
00:38:37 Shocking tragedy.
00:38:39 Ever such a nice lady.
00:38:41 I'm usually in bed by this time.
00:38:43 If I'd broken in earlier, I might have played the piano in peace.
00:38:46 If you'd picked the right night, you could have made yourself at home the whole evening.
00:38:49 Oh, really?
00:38:50 Yes.
00:38:51 I always cycle over to my sister's on Fridays.
00:38:53 Kind of breaks the monotony.
00:38:55 Thanks for the information.
00:38:56 If I were a burglar, I could use it.
00:38:58 You're no burglar. I can see that.
00:39:01 I knew Mrs Wright.
00:39:03 I wanted to have a look at the scene of the accident.
00:39:05 Accident?
00:39:07 It were no accident.
00:39:09 The coroner said it was.
00:39:10 And what if he did?
00:39:12 Does it seem likely to you that a lady would fall out of a window she'd been looking out of for ten years?
00:39:17 A lady that was perfectly healthy and didn't suffer from a fear of heights,
00:39:22 no matter what some people said at the inquest.
00:39:24 Help yourself to milk.
00:39:26 Thank you.
00:39:27 She's a real devil, that Mrs Howard.
00:39:29 You seem prejudiced.
00:39:31 Not only me. Doris would bear me out.
00:39:33 Sugar?
00:39:34 No, thank you.
00:39:35 And cook.
00:39:36 Mrs Howard lived here for a time after her husband was killed,
00:39:39 and she'd never left Mrs Wright alone.
00:39:41 Always nagging and getting on her nerves.
00:39:44 And Mrs Wright was that soft-hearted.
00:39:46 She was very easily upset.
00:39:48 Yes, I know she was.
00:39:50 And then there was the scene about the carpet.
00:39:52 What about the carpet?
00:39:54 She stole it, Mrs Howard did.
00:39:56 Stole a carpet?
00:39:57 Mrs Wright let on she gave it to her just to save Mrs Howard's face.
00:40:00 But we know different.
00:40:02 They say Mrs Howard got a tidy sum for it.
00:40:04 Did she?
00:40:06 I imagine Mrs Howard was fairly well off.
00:40:08 She had a lot of money by her husband, but that didn't stop her trying to get more.
00:40:12 Have another cup.
00:40:14 No, thank you very much.
00:40:15 I must be moving.
00:40:16 Yes, tried to get me the set just because she didn't like my organ playing.
00:40:21 Are you fond of singing?
00:40:24 It's a long time since I've sung.
00:40:27 If you want to know what I think, Mrs Howard pushed her.
00:40:31 I'm sure that's not true.
00:40:33 She could do it.
00:40:35 But the maid said at the inquest that Mrs Howard left the house before it happened.
00:40:38 Doris would want to keep it dark for Mr Wright's sake.
00:40:42 Well, for Mrs Howard's sake, I hope you're wrong.
00:40:49 At first he found it hard to credit the caretaker's assertion.
00:40:53 But later, as he got to know Kate Howard, he couldn't entirely dismiss the idea.
00:40:58 She was a hard, self-centered, brittle woman.
00:41:01 And it did seem just possible that she had had something to do with her sister-in-law's death.
00:41:06 Kate Howard was delighted with his attentions and only too pleased to talk about herself.
00:41:12 She appeared to be a woman with a grudge.
00:41:14 First of all, when she had wanted to be a singer, her parents had refused to pay for her training.
00:41:19 Her husband had been equally uncooperative.
00:41:22 From the way she spoke of him, one would have thought that he'd chosen to die young solely in order to keep her short of money.
00:41:28 And then there was her brother, Philip.
00:41:31 She'd always resented the fact that he had the lion's share of her family's money.
00:41:35 There were so many things she'd have liked to do with her life, she kept telling him.
00:41:39 He tried to draw her out on the subject of Emma Wright.
00:41:42 But here, she was much more reticent.
00:41:45 Ah, but she did finally come out with an interesting statement.
00:41:48 Emma had a lover.
00:41:51 Oh, but that's not true.
00:41:53 That surprises you, I suppose.
00:41:55 How did you know?
00:41:57 She told me.
00:41:59 Did she tell you who the man was?
00:42:01 No. I suppose I shouldn't have talked about her now that she's dead.
00:42:05 Still, you asked, and now you know why I say that Anne will be better off without her.
00:42:08 Where's Anne going to live?
00:42:10 With me.
00:42:11 Are you?
00:42:12 Oh, don't look so shocked.
00:42:14 I can't exactly picture you looking after a child.
00:42:17 Oh, don't be so sure of that.
00:42:19 I'm full of unfulfilled maternal instincts.
00:42:21 Are you?
00:42:23 No.
00:42:24 I've arranged for her to go to boarding school.
00:42:26 I didn't expect to hear of her again till the summer holidays.
00:42:28 Come and sit down over here. You're such a long way away.
00:42:31 Is her father satisfied with this arrangement?
00:42:34 Oh, yes. He came with me to make a home for her.
00:42:36 Did you cause any at a school making a home?
00:42:38 Now, don't you start on me.
00:42:39 I've had quite enough trouble for Anne.
00:42:41 She wants to be allowed to stay on with Emma's mother.
00:42:43 Philip wants her to be brought up by someone younger, hence me.
00:42:45 I see.
00:42:46 When does she start her school?
00:42:48 Monday.
00:42:49 I've got her coming to town tomorrow to get her teeth fixed before she goes.
00:42:52 It's a sickening responsibility. Still, it can't be helped.
00:42:55 I presume your trouble will not go entirely unrewarded.
00:42:57 Oh, no.
00:42:58 Philip's making me an allowance to take care of her.
00:43:00 I shouldn't have taken it on otherwise.
00:43:02 Philip's an awful nuisance.
00:43:03 Poor little Anne.
00:43:04 The worst is simply on her.
00:43:06 What time is this dentist appointment?
00:43:08 Why are you so interested?
00:43:10 I was just thinking that you'll be free while she's there.
00:43:12 So?
00:43:13 If I were free at the same time, we might meet.
00:43:16 That's quite a thought.
00:43:19 Kate was completely unsuspecting when he made an appointment to meet her for tea at the Savoy at four o'clock.
00:43:24 He never had any intention of keeping this appointment.
00:43:27 He had to see Anne.
00:43:29 And he had to find a way of seeing her alone.
00:43:34 My aunt told me to come and wait for her here when I've finished with the dentist.
00:43:38 Come in, will you?
00:43:39 She's having tea somewhere. She's going to pick me up afterwards.
00:43:43 Will you wait in here?
00:43:45 I know this room.
00:43:47 Hello, Anne.
00:43:59 Hello.
00:44:00 Did the dentist give you a bad sign?
00:44:03 I was told to wait here for Aunt Kate.
00:44:05 Is it all right?
00:44:06 I was expecting you.
00:44:07 Your hair is growing nicely.
00:44:09 Oh, it's awful.
00:44:11 I thought it was about time you and I had a talk.
00:44:14 What about?
00:44:15 About you.
00:44:17 Do you like the idea of going away to school?
00:44:20 I don't mind.
00:44:22 Do you...
00:44:23 Do you like your Aunt Kate?
00:44:25 Yes.
00:44:28 Are you sure about that?
00:44:29 Yes.
00:44:31 Don't you trust me?
00:44:33 Yes.
00:44:34 Not very much.
00:44:36 I don't know why you're asking me all these questions.
00:44:39 I want to help you.
00:44:41 A long time ago, you trusted me with something very important.
00:44:44 What was that?
00:44:45 Your life, Anne. Don't you remember?
00:44:47 Yes.
00:44:48 Why did you say at the inquest that there was no one with your mother the last time you saw her?
00:44:54 Because there wasn't.
00:44:57 That's not true, though, is it?
00:44:59 Oh, I don't know what you want me to say.
00:45:01 Your Aunt Kate was with her, wasn't she?
00:45:02 Don't leave me alone, please.
00:45:03 What happened between Kate and your mother before the accident?
00:45:06 It wasn't an accident.
00:45:08 It was just the same as if I pushed her.
00:45:10 You?
00:45:11 It was my fault.
00:45:12 How could it have been?
00:45:13 I know it was.
00:45:14 I sided against Mummy.
00:45:16 I don't care what happens to me anymore.
00:45:18 What did you do, Anne? You must tell me.
00:45:20 I can't.
00:45:21 You must. It's important.
00:45:22 She made me promise not to.
00:45:23 She said they'll send me to prison if they find out.
00:45:25 Kate said that?
00:45:26 Yes.
00:45:27 She's now right to say no one can send you to prison if you tell the truth.
00:45:30 What happened, Anne? You've got to tell me.
00:45:33 I went up to Mummy's room to say goodnight.
00:45:40 I've been playing in the garden since tea time.
00:45:44 I knew Aunt Kate was with Mummy, and as I reached the top of the stairs, Aunt Kate was coming out of Mummy's room.
00:45:49 She was angry, and she talked in a very quiet voice to me.
00:45:53 She said she had something very important to tell me.
00:45:56 Then she started.
00:45:58 She said the most horrible things about Mummy, about Mummy and some man.
00:46:02 There was going to be a divorce, she said, and I'd have to give evidence against Mummy.
00:46:07 I'd have to tell them in court for Daddy's sake, all the awful things Mummy had done.
00:46:12 I suppose Mummy must have been listening all the time, because suddenly she told Aunt Kate to get out of the house.
00:46:18 She wouldn't go.
00:46:19 Mummy told me to come to her room with her, but I wouldn't.
00:46:23 I don't know why.
00:46:25 I was afraid, I suppose, and I believed what Aunt Kate had said.
00:46:29 I believed it then.
00:46:31 It was only afterwards I saw how wicked she was.
00:46:35 I heard Mummy slam the door open when she went back in.
00:46:39 I never saw her again.
00:46:41 It was all my fault for believing Aunt Kate.
00:46:44 No, Anne, it wasn't your fault.
00:46:46 What in the world happened to you?
00:46:52 I'm afraid I couldn't make it.
00:46:53 I can see that. Where have you been?
00:46:54 I got held up.
00:46:55 You could have telephoned me. I waited for you over an hour.
00:46:57 As it happens, I had more important things to do.
00:46:59 I don't know who you think you are.
00:47:01 I'm not in the habit of paying for my own tea.
00:47:04 Come along, Anne.
00:47:07 [Music]
00:47:12 [Music]
00:47:15 [Music]
00:47:18 [Music]
00:47:22 [Music]
00:47:25 [Music]
00:47:31 [Music]
00:47:37 [Music]
00:47:43 [Music]
00:47:50 [Music]
00:47:53 [Music]
00:47:57 [Music]
00:48:00 [Music]
00:48:28 I want to talk to you, Michael.
00:48:30 It's very late.
00:48:32 It won't take long.
00:48:33 What do you want to say?
00:48:39 We can't talk down here.
00:48:54 I realize it was very silly of me to be so annoyed with you this afternoon.
00:48:57 I suppose you were working and couldn't help it.
00:48:59 Is that what you came to say?
00:49:01 Yes.
00:49:02 All right, you said it now.
00:49:04 Good night.
00:49:05 You're still angry with me.
00:49:07 Please don't be.
00:49:09 Let's forget about it and be friends.
00:49:11 I don't want to see you again, Kate.
00:49:13 Oh, Michael.
00:49:14 Just because of this afternoon?
00:49:16 That has nothing to do with it.
00:49:18 You can't just drop me like this.
00:49:20 It isn't fair.
00:49:21 It'll be better for you if I do.
00:49:23 How can you say that?
00:49:25 You're fond of me, aren't you?
00:49:27 Anyway, I'm very fond of you.
00:49:29 Go home, Kate.
00:49:30 It's silly to punish us both just because you're angry with me.
00:49:33 Michael.
00:49:37 You're not just trying to end things with me out of a misplaced chivalry, are you?
00:49:41 Misplaced chivalry? What do you mean?
00:49:43 It just occurred to me that you might think you were being unfair to go on,
00:49:46 knowing that you're not free.
00:49:48 Oh, I see.
00:49:51 You mean I'm trying to drop you rather than involve you with a married man, is that it?
00:49:55 Well, isn't it?
00:49:57 I'm asking you for the last time.
00:50:00 Go home before it's too late.
00:50:02 Michael.
00:50:04 I don't care about a lot of silly conventions.
00:50:13 I want to be with you under any circumstances.
00:50:19 Do you, Kate?
00:50:21 Very well, you shall be.
00:50:25 She had made up his mind for him.
00:50:35 That was the end for Kate.
00:50:37 He now began to make his plans for the revenge he'd thought of for so long.
00:50:42 He arranged for his junior to take over his patients
00:50:46 and established at the hospital that there was a possibility
00:50:49 that he might not be available for the coming fortnight.
00:50:52 He wanted to be prepared for every emergency.
00:50:55 If something should go wrong and prevent him carrying out his plan at once,
00:50:59 he didn't want his absence to be noticed.
00:51:02 He'd left himself with only one appointment before his meeting with Kate Howard.
00:51:06 This was a routine job of an educational nature,
00:51:11 which he did at regular intervals as a sideline.
00:51:15 While he was engaged on it,
00:51:18 his mind was working out the practical problems
00:51:21 which would be involved by this plan he'd formulated.
00:51:25 It was a Friday night.
00:51:28 That was going to make things easier for him.
00:51:31 He'd arranged to pick her up at a lonely part of the embankment.
00:51:35 On his suggestion, she'd told her friends that she was going away for a few weeks.
00:51:41 As they drove out of London,
00:51:43 she was full of the usual chatter,
00:51:46 never suspecting for a moment his real feelings towards her.
00:51:49 Until they'd actually arrived at Emma's house,
00:51:52 she'd no idea where he was taking her.
00:51:55 The house was for sale. He wanted to see it.
00:51:58 She accepted this explanation.
00:52:01 He knew that no one would answer the bell
00:52:03 because he remembered the gardener telling him
00:52:05 that he always went over to his sister's place on Friday nights.
00:52:09 The window was still broken as he'd left it on his last visit.
00:52:14 She followed him upstairs to Emma's room
00:52:17 and over to the window out of which Emma had fallen.
00:52:21 He drew the curtains and threw open the window.
00:52:25 Then he told her that he was the man Emma had loved,
00:52:30 that he'd found out that she was responsible for Emma's death,
00:52:34 and now she was going to die the same way Emma had died.
00:52:39 He told her to throw herself out.
00:52:43 At the last moment, she started to scream.
00:52:47 Then she fell.
00:52:50 This was a murder conceived in perfect sanity
00:52:56 and faultlessly carried out.
00:53:02 I'm afraid I've taken rather longer with this story than I'd intended.
00:53:05 I shall have to leave the more general discussion of the subject until next time.
00:53:10 May I ask you a question?
00:53:13 Yes.
00:53:15 I take it that the murderer was never suspected?
00:53:18 No. The police could find no evidence that pointed to anything other than suicide.
00:53:23 And yet, like all paranoics, he had to tell someone about it.
00:53:27 I don't quite get that.
00:53:30 When he told you, presumably.
00:53:33 Yes. He was a patient of mine.
00:53:36 In a lunatic asylum?
00:53:38 No, he was perfectly sane.
00:53:40 The same as I am.
00:53:42 You didn't mind my asking?
00:53:45 Not at all. It was a good question.
00:53:48 (indistinct chatter)
00:53:51 (indistinct chatter)
00:53:54 (indistinct chatter)
00:53:57 (indistinct chatter)
00:54:00 (indistinct chatter)
00:54:03 (car door closes)
00:54:06 (car door closes)
00:54:10 (car door closes)
00:54:13 (car engine rumbles)
00:54:17 (car engine rumbles)
00:54:20 (car engine rumbles)
00:54:23 (car engine rumbles)
00:54:26 (car engine roaring)
00:54:30 (car engine roaring)
00:54:33 (car engine roaring)
00:54:36 - Have you been waiting?
00:55:01 - I'll take that.
00:55:02 - Thank you.
00:55:03 - Where are we going?
00:55:21 - You'll see.
00:55:22 - Oh, a surprise.
00:55:23 You went across a red light.
00:55:28 - Did I?
00:55:28 - Yes, I did.
00:55:29 - I'm sorry.
00:55:30 - I'm sorry.
00:55:33 - I'm sorry.
00:55:35 - I'm sorry.
00:55:37 - I'm sorry.
00:55:39 - I'm sorry.
00:55:41 - I'm sorry.
00:55:43 - I'm sorry.
00:55:45 - I'm sorry.
00:55:47 - I'm sorry.
00:55:49 - I'm sorry.
00:55:51 - I'm sorry.
00:55:53 - I'm sorry.
00:55:55 - I'm sorry.
00:55:58 (car engine roaring)
00:56:01 - What's the matter?
00:56:02 - I'm afraid I've got a bad feeling about this.
00:56:04 - What are you afraid of?
00:56:05 - I'm afraid of the police.
00:56:06 - What are they doing?
00:56:07 - I don't know.
00:56:08 - What are they doing?
00:56:09 - I don't know.
00:56:10 - What are they doing?
00:56:11 - I don't know.
00:56:12 - What are they doing?
00:56:13 - I don't know.
00:56:14 - What are they doing?
00:56:15 - I don't know.
00:56:16 - What are they doing?
00:56:17 - I don't know.
00:56:18 - What are they doing?
00:56:19 - I don't know.
00:56:20 - What are they doing?
00:56:21 - I don't know.
00:56:22 - What are they doing?
00:56:23 - I don't know.
00:56:24 - What are they doing?
00:56:25 - I don't know.
00:56:26 - What are they doing?
00:56:27 - I don't know.
00:56:28 - You've got a good sale, didn't you?
00:56:29 - So it is.
00:56:30 - I might buy it.
00:56:31 - Well, what a time to choose to go look over a house.
00:56:36 You must be demented.
00:56:38 (dramatic music)
00:56:41 - Out you get.
00:56:50 - Do let's come back in the daytime.
00:56:51 - I want to show you something.
00:56:53 It won't take long.
00:56:54 - All right.
00:56:56 (dramatic music)
00:56:59 - Where are you going?
00:57:05 - I'm looking to see if any of these windows are open.
00:57:07 - That's not necessary.
00:57:08 The gardener should be here.
00:57:09 He's taking care of the place till it's sold.
00:57:12 (dramatic music)
00:57:15 - There's a window broken here.
00:57:20 (dramatic music)
00:57:24 - You're not serious.
00:57:26 - Certainly I am.
00:57:28 (dramatic music)
00:57:31 - Oh well, anything to oblige a criminologist.
00:57:36 Just a minute while I turn on a light.
00:57:39 - No, don't do that.
00:57:40 It'll spoil the atmosphere.
00:57:42 (dramatic music)
00:57:44 - Well, which part of the house do you want to see first?
00:57:47 - Upstairs.
00:57:48 - I'd better lead the way.
00:57:49 I know the place.
00:57:51 (dramatic music)
00:57:53 Can't imagine anyone ever wanting to live here.
00:57:55 I've always loathed it.
00:57:56 I tried to persuade Philip to sell it long ago
00:57:58 when he first inherited it.
00:58:00 (dramatic music)
00:58:03 - This was her room.
00:58:07 - That's right.
00:58:08 How did you know?
00:58:09 - I've been here before.
00:58:11 - When?
00:58:13 - What really gave you the idea that she had a lover?
00:58:20 - She told me so.
00:58:21 - Now tell me the truth.
00:58:23 - All right.
00:58:24 I overheard them talking on the telephone.
00:58:27 I listened on the extension.
00:58:28 - Didn't you recognize the man's voice?
00:58:31 - No.
00:58:34 - But you do now.
00:58:36 You evidently thought you were safe.
00:58:43 But when she was dead, that was the end of the matter.
00:58:47 Did you really imagine that I'd accept her death
00:58:49 without making every effort to find out how it happened?
00:58:54 (dramatic music)
00:59:03 - Come here.
00:59:12 Come here.
00:59:13 That's where she fell, isn't it?
00:59:22 - I don't know.
00:59:23 I wasn't here.
00:59:24 - You tried to get money out of her
00:59:25 because you thought she was being unfaithful.
00:59:28 And when that was no good,
00:59:29 you poisoned the child's mind against her.
00:59:32 You might just as well have killed her yourself.
00:59:35 You're just as guilty this way.
00:59:38 (footsteps)
00:59:40 - What was that for?
00:59:45 - I don't like being locked in a room with a madman.
00:59:49 - I can get that key from you anytime I like.
00:59:52 - If you don't let me out of here, I'll scream.
00:59:54 - There's no one to hear you.
00:59:56 - The gardener's here.
00:59:57 He'll hear me.
00:59:58 - Why don't you scream then?
01:00:00 - Because I want to give you the opportunity
01:00:02 of letting us get out of here with dignity.
01:00:04 - The gardener goes over to his sister's on Friday nights.
01:00:06 This is Friday night.
01:00:07 - Let me out of here.
01:00:08 - He told me so himself.
01:00:09 That's why I picked tonight.
01:00:11 - He's not at his sister's.
01:00:15 He's here.
01:00:17 That's him playing the organ.
01:00:18 No one else ever plays it.
01:00:20 You can't do anything to me now.
01:00:21 He'll be back soon.
01:00:22 - Not soon enough.
01:00:23 - You're raving mad.
01:00:24 - I'm going to make you do to yourself
01:00:25 what you did to her.
01:00:26 - They got me.
01:00:27 I won't, I won't.
01:00:28 - You'll have to make suicide.
01:00:29 - The organ stopped.
01:00:30 He'll be back.
01:00:31 He'll be back here.
01:00:33 (screams)
01:00:35 (footsteps)
01:00:37 - Help!
01:00:55 Help!
01:00:56 Help!
01:00:57 Help!
01:00:58 Don't come near me!
01:01:01 Don't come near me!
01:01:03 (screams)
01:01:05 (dramatic music)
01:01:13 (footsteps)
01:01:15 (dramatic music)
01:01:18 (footsteps)
01:01:20 (dramatic music)
01:01:23 (footsteps)
01:01:25 (dramatic music)
01:01:28 (dramatic music)
01:01:31 (footsteps)
01:01:33 (dramatic music)
01:01:36 (footsteps)
01:01:38 (dramatic music)
01:01:41 (footsteps)
01:01:43 (dramatic music)
01:01:46 (footsteps)
01:01:48 (dramatic music)
01:01:51 (footsteps)
01:01:53 (dramatic music)
01:01:56 (footsteps)
01:01:58 (dramatic music)
01:02:01 (footsteps)
01:02:03 (dramatic music)
01:02:06 (footsteps)
01:02:08 (dramatic music)
01:02:11 (footsteps)
01:02:13 (dramatic music)
01:02:16 (footsteps)
01:02:18 (dramatic music)
01:02:21 (footsteps)
01:02:23 (dramatic music)
01:02:26 (footsteps)
01:02:28 (dramatic music)
01:02:31 (footsteps)
01:02:33 (dramatic music)
01:02:36 (footsteps)
01:02:38 (dramatic music)
01:02:41 (footsteps)
01:02:43 (dramatic music)
01:02:46 (footsteps)
01:02:48 (dramatic music)
01:02:51 (footsteps)
01:02:53 (dramatic music)
01:02:56 (footsteps)
01:02:58 (dramatic music)
01:03:01 (footsteps)
01:03:03 (dramatic music)
01:03:06 (footsteps)
01:03:08 (dramatic music)
01:03:11 (footsteps)
01:03:13 (dramatic music)
01:03:16 (tires screeching)
01:03:19 (dramatic music)
01:03:22 (car crashing)
01:03:25 (car door closing)
01:03:28 (humming)
01:03:31 ♪ He went, ♪
01:03:32 ♪ Looking through some dire directions ♪
01:03:36 ♪ Like a Little Night Children ♪
01:03:40 ♪ It is the eternal military ♪
01:03:43 ♪ That the Lord foretold the day ♪
01:03:47 ♪ They'll retrieve yonder ♪
01:03:51 ♪ A shine and start refreshing in ♪
01:03:56 ♪ Oh, oh, oh, oh, oh, oh, oh, oh, oh ♪
01:04:01 ♪ Mm, mm, mm ♪
01:04:03 (dramatic music)
01:04:08 (dramatic music)
01:04:11 (dramatic music)
01:04:14 (dramatic music)
01:04:16 (dramatic music)
01:04:19 (dramatic music)
01:04:22 (dramatic music)
01:04:25 (dramatic music)
01:04:28 (dramatic music)
01:04:33 (dramatic music)
01:04:38 (dramatic music)
01:04:43 (dramatic music)
01:04:50 (dramatic music)
01:04:53 (dramatic music)
01:05:10 (dramatic music)
01:05:12 (gun firing)
01:05:28 (dramatic music)
01:05:31 (gun firing)
01:05:33 (dramatic music)
01:05:48 (dramatic music)
01:05:51 (gun firing)
01:06:07 (car engine roaring)
01:06:16 - What a place to park.
01:06:18 (door slamming)
01:06:21 Look, George, why don't you park this thing crossways
01:06:23 so nobody could get past?
01:06:24 - I just stopped to wipe my windscreen.
01:06:26 I couldn't see.
01:06:27 - Oh, you couldn't see?
01:06:27 What do you think I am, an owl?
01:06:29 Where are we, do you know?
01:06:31 - Yes, we're on the main Portsmouth Road.
01:06:33 - Thank goodness somebody knows.
01:06:34 That's where I'm supposed to be headed.
01:06:36 - I can tell you how to get there.
01:06:37 - Directions in England, are you kidding?
01:06:39 No thanks, I'll just follow you.
01:06:41 - No, you can't do that.
01:06:42 I turn off just up the road.
01:06:44 - That's all right, I'll follow you that far.
01:06:45 Give me a high ball when you turn.
01:06:47 - Okay.
01:06:48 (door slamming)
01:06:52 (car engine roaring)
01:07:13 (car engine roaring)
01:07:16 - This is where I turn off.
01:07:25 You go straight ahead, you can't miss it.
01:07:27 - All right, thanks, Mike.
01:07:29 (car engine roaring)
01:07:32 - Oh, can you help me?
01:07:52 I've run off the road, my car's ditched.
01:07:54 - I'm afraid I can't stop, I'm in a hurry.
01:07:55 - Well, perhaps it'd be good enough to give me a lift.
01:07:57 - No, I'm sorry, I'm afraid I can't.
01:07:58 I've got an urgent case.
01:08:00 - You a doctor?
01:08:01 - Yes.
01:08:02 - Well, this is luck.
01:08:03 My name is Farrell, I've a practice here.
01:08:05 There's a kid up the road, badly injured.
01:08:07 I've just been to telephone for an ambulance.
01:08:08 I have to get back to her.
01:08:10 Where are you making for?
01:08:11 - Up this way.
01:08:13 - Oh, well, I better leave the car where it is
01:08:15 and hop in with you.
01:08:16 Oh, just a minute, I must get my bag.
01:08:26 (car engine roaring)
01:08:29 - Ant, now, put us on the floor.
01:08:45 - The ambulance will never make it in this fog.
01:08:50 How far are you going?
01:08:51 - I'm not quite sure where it is from here.
01:08:53 - I know this district.
01:08:55 Perhaps I can help you.
01:08:56 - No, I don't think you can, it's a long way.
01:08:58 - Are you a London man?
01:08:59 - Yes.
01:09:01 - Have you had any experience with fractured skulls?
01:09:04 - Quite a lot.
01:09:06 - Oh, could have used you tonight.
01:09:08 Why do you have to turn up when it's too late?
01:09:10 - What could you have used me for?
01:09:11 - This kitty I was telling you about.
01:09:13 - Road accident, was it?
01:09:14 - Yes.
01:09:15 Lolly ran into a private car in the fog.
01:09:18 Kitty was in the back
01:09:19 and seemed to have taken most of the bump.
01:09:21 She's unconscious now
01:09:22 and bleeding from cut over the right ear.
01:09:24 It's very suggestive of a middleman in jail hemorrhage.
01:09:27 - Did she regain consciousness at all?
01:09:29 - Yes, she did for a time and seemed pretty well.
01:09:32 That's what gave me a clue.
01:09:33 - Probably right.
01:09:34 Fog seems to be lifting a bit.
01:09:38 - Yes, here's the turning.
01:09:40 We're almost there.
01:09:41 Well, at least I can be in at the death.
01:09:43 - I don't think I should jump to conclusions.
01:09:47 I've seen extraordinary recoveries from head injuries.
01:09:49 - I guess we've all seen extraordinary things happen,
01:09:51 but I never expect them.
01:09:53 And I certainly don't care one way or the other.
01:09:55 - I always thought I cared very much.
01:09:58 I never liked losing a patient.
01:10:00 - Well, that's the sort of sentimentality you get over
01:10:02 when you've killed as many patients as I have.
01:10:05 - I don't think so.
01:10:06 I've always resented the fact that one can't choose.
01:10:10 - Can't choose what?
01:10:12 - Which patients to kill.
01:10:14 - Then as a doctor,
01:10:17 you must be in a constant state of frustration.
01:10:20 In your case, let's say vanity is involved,
01:10:22 not sentimentality.
01:10:24 But whatever it is, it's just as bad.
01:10:26 Man doesn't have any generous feelings.
01:10:28 He only thinks he has.
01:10:29 Selfishness, habit, and hard cash.
01:10:31 Those are his real motives.
01:10:33 - Looked at from that angle,
01:10:34 life can hardly be worth living.
01:10:35 - It isn't, but I've done my share of enjoying it.
01:10:39 Just up here.
01:10:40 Now for another scene with the mother.
01:10:42 Why did it have to be my daughter and all that?
01:10:45 - What's your answer to that one?
01:10:46 - Better your daughter than mine, madam,
01:10:48 I'd say, if I were honest.
01:10:50 - How old is this girl?
01:10:51 - Oh, just a child, about 12.
01:10:53 - 12?
01:10:53 - You any children?
01:10:55 - No.
01:10:57 - Here we are, stop.
01:10:59 Oh, I suppose I couldn't persuade you
01:11:07 to look in for a moment
01:11:08 and give a little presence to the case.
01:11:10 It's always a great comfort to the parent
01:11:11 to have a second opinion say there's no hope.
01:11:13 - Maybe there is hope.
01:11:16 She's still alive, isn't she?
01:11:19 - Mm-hmm.
01:11:19 - Is this where they are?
01:11:26 - Yes, good evening, Ralph.
01:11:27 - Oh, good evening, Dr. Farrell.
01:11:28 Terrible night, sir.
01:11:29 - Yes, isn't it?
01:11:30 Nice mess they made of that car.
01:11:32 - Oh, doctor, we thought you'd never get back.
01:11:39 - I managed to get another opinion.
01:11:42 This is Dr.
01:11:43 - Where's the patient?
01:11:44 - Oh, doctor, she still hasn't moved.
01:11:46 (footsteps tapping)
01:11:49 - You got a torch?
01:12:04 - Ah, thank you.
01:12:05 - Take that.
01:12:15 (footsteps tapping)
01:12:18 - Yes, you're quite right.
01:12:35 She's bleeding from the middle of the ninja.
01:12:38 - Will she be all right?
01:12:45 - I'll operate now.
01:12:46 - What, in this place?
01:12:47 - We've got a large saucepan or fish kettle.
01:12:50 I want to sterilize my instruments.
01:12:51 And I shall need some clean sheets.
01:12:54 I've got my instruments in the car.
01:12:57 (door clacks)
01:13:02 - It's not worth taking a chance.
01:13:11 If she dies during the operation, there'll be an inquiry.
01:13:14 And you never know how those things are going to turn out.
01:13:16 - Nobody's going to take a chance.
01:13:17 That child's going to die in half an hour.
01:13:19 It's no good pretending we can get her to hospital
01:13:20 in that time.
01:13:21 It's up to us to try and relieve the pressure
01:13:22 before it happens.
01:13:24 Maybe I can secure an artery.
01:13:25 At least I can do a decompression
01:13:26 and give you time to get her to hospital.
01:13:28 - Well, that's a job for a specialist.
01:13:29 I wouldn't touch it.
01:13:30 - It'll be all right.
01:13:31 - Well?
01:13:39 - Keep us this way.
01:13:40 We come out of the bend.
01:13:41 We couldn't have been doing more than eight miles an hour
01:13:42 and there's a grinding noise and we'd had it.
01:13:45 - Ah, sure, that's women drivers all over.
01:13:47 They never look where they're going.
01:13:48 She was gazing at the side of the road
01:13:50 with Tivoli glance in front of her.
01:13:51 - You should have swerved over.
01:13:52 - How could we?
01:13:53 We never saw her until she was on us.
01:13:55 And then she was going on the wrong side of the road.
01:13:57 - Well, one of you better come with me
01:13:58 and show me what's what.
01:13:59 - All right.
01:14:00 (footsteps)
01:14:02 - Fix that onto the tube.
01:14:29 - Thank you.
01:14:30 - There'll be an inquest.
01:14:39 Well, let's see if-
01:14:40 - There's no use thinking about that now.
01:14:42 After all, it wasn't your fault.
01:14:43 - I had a clean license.
01:14:46 (clock ticking)
01:14:49 - Respiration's failing.
01:15:03 Have you got any car, man?
01:15:05 - I don't carry it.
01:15:06 - I've got some in my car.
01:15:07 Small box in the front pocket.
01:15:09 (dramatic music)
01:15:17 (gunshot)
01:15:19 (dramatic music)
01:15:22 (dramatic music)
01:15:24 on the front, but I found it.
01:15:29 (dramatic music)
01:15:32 It wasn't in the front, but I found it.
01:15:57 (dramatic music)
01:15:59 (dramatic music)
01:16:03 - Quickly.
01:16:04 - It's a lush one, is this?
01:16:29 (dramatic music)
01:16:32 - That was a good job.
01:16:59 - I hope so.
01:17:00 - It's your line, I suppose.
01:17:02 - Yes.
01:17:03 She has a good fighting chance now.
01:17:08 - It gives you a feeling of relation,
01:17:10 a feeling of control over people's destinies.
01:17:12 - You'll find that?
01:17:13 - Certainly not.
01:17:14 I was trying to assess your reactions.
01:17:16 A spectacular recovery, of course,
01:17:18 would do my practice a world of good.
01:17:19 Apart from that, it's all one to me
01:17:21 whether she recovers or not.
01:17:23 - You expect everyone else to feel like that?
01:17:25 - Not you.
01:17:26 I'm not speaking of obsessionals.
01:17:28 I'm speaking of the normal, the perfectly sane.
01:17:31 Let me put it this way.
01:17:32 The vessel which we normal people use
01:17:34 for imbibing experience is a stout austerity model,
01:17:38 which doesn't crack.
01:17:39 With others, like yourself,
01:17:41 the glass, though of superior design, cracks quite easily.
01:17:44 Now, instead of leaving it upturned on a shelf,
01:17:48 a danger to all, it should be thrown away.
01:17:51 - I don't accept your diagnosis.
01:17:57 - The doctor dispenses death and healing
01:17:59 with blind impartiality.
01:18:00 He's not supposed to weigh the merits of an individual case
01:18:03 and exercise a sense of justice.
01:18:06 I resent that.
01:18:07 What I did today,
01:18:10 and you know what I'm talking about, was just.
01:18:16 It was a gesture of independence by a sense of justice
01:18:19 which years of professional practice
01:18:20 have threatened with atrophy.
01:18:23 Today, I'm not.
01:18:25 Today, I sat in judgment.
01:18:27 - Oh.
01:18:29 Paranoia.
01:18:33 My diagnosis was quite correct.
01:18:35 You are mad.
01:18:36 - Who's the owner of that car outside?
01:18:40 - That must be Dr. Farrell's car.
01:18:42 - Dr. Farrell's?
01:18:43 - That ain't Dr. Farrell's car.
01:18:44 It's a big black one.
01:18:45 That must be the owner.
01:18:47 - Who's he?
01:18:47 - Dr. Farrell's car must be outside somewhere.
01:18:50 - Is there anyone inside?
01:18:51 - I think so.
01:18:52 - That ain't Dr. Farrell's.
01:18:53 - That ain't Dr. Farrell's.
01:18:54 - I think so.
01:18:55 - I think so.
01:18:56 - That ain't Dr. Farrell's.
01:18:57 - I think so.
01:18:58 - That ain't Dr. Farrell's.
01:18:59 - I think so.
01:19:00 - That ain't Dr. Farrell's.
01:19:01 - I think so.
01:19:01 - That ain't Dr. Farrell's.
01:19:02 - I think so.
01:19:03 - That ain't Dr. Farrell's.
01:19:04 - I think so.
01:19:05 - That ain't Dr. Farrell's.
01:19:06 - I think so.
01:19:06 - That ain't Dr. Farrell's.
01:19:07 - I think so.
01:19:08 - That ain't Dr. Farrell's.
01:19:09 - I think so.
01:19:10 - That ain't Dr. Farrell's.
01:19:11 - I think so.
01:19:11 - That ain't Dr. Farrell's.
01:19:12 - I think so.
01:19:13 - I think so.
01:19:14 - Where is he?
01:19:17 - I don't know.
01:19:20 - Look, Doctor, she moved.
01:19:21 - Oh, we must expect that now that she intends to live.
01:19:25 - Are you the owner of that car outside?
01:19:27 - No.
01:19:27 - Who does it belong to?
01:19:29 - I don't know.
01:19:31 - Why?
01:19:32 - I nearly ran right into it.
01:19:33 He's parked outside without a rear light.
01:19:36 - Oh, is that all?
01:19:38 (engine rumbling)
01:19:40 (dramatic music)
01:19:43 (wind whooshing)
01:19:46 (dramatic music)
01:20:10 - I'm going to relate the case history
01:20:12 of a matter of this class.
01:20:14 Perfectly sane, valuable member of society.
01:20:17 - And you ain't like those paranoids
01:20:18 who just stumbled about it?
01:20:20 - Yes, he was a patient man.
01:20:22 - Is that what he is?
01:20:23 - No, he was perfectly sane.
01:20:25 The same as I am.
01:20:27 - Not you.
01:20:28 I'm not speaking of obsessionals.
01:20:29 I'm speaking of the norm of the perfectly sane.
01:20:32 (engine rumbling)
01:20:34 (dramatic music)
01:20:37 (wind whooshing)
01:20:40 (dramatic music)
01:20:42 (wind whooshing)
01:20:45 (dramatic music)
01:20:48 (wind whooshing)
01:20:51 (dramatic music)
01:21:20 - What I did today was just.
01:21:23 It was a gesture of independence by a sense of justice
01:21:26 which years of professional practice
01:21:27 have threatened with atrophy.
01:21:29 Today I sat in judgment.
01:21:31 - Paranoia.
01:21:33 My diagnosis was quite correct.
01:21:36 You are mad.
01:21:37 - You're reading mad.
01:21:39 You're reading mad.
01:21:41 You're reading mad.
01:21:42 (dramatic music)
01:21:45 (dramatic music)
01:21:48 (dramatic music)
01:22:01 (dramatic music)
01:22:03 (dramatic music)
01:22:06 (dramatic music)
01:22:09 (dramatic music)
01:22:12 (dramatic music)
01:22:15 (dramatic music)
01:22:18 (dramatic music)
01:22:20 (dramatic music)
01:22:23 [Music]