Original subtitles

(bright orchestral music)

(suspenseful music)

(engine revving)

- You know, Tom.

It's fairly funny that there haven't been any calls for you.

- What?

- Well, you've been promoted to detective a whole week now,

and no word from Scotland Yard.

There must be some case that has

all their experts baffled.

- Are you looking for this?

- Oh thanks.

You know, I bet the word's rolling through

the corridors of power right now.

Send for Tom Patterson.

Oh, Detective Constable Tom Patterson.

- Cut it out, Frosty.

- Well after all,

you solved the case of the vicker's missing lawn mower.

Brilliant, incisive forensic thinking that was.

You honed right in on the garden shed

where he forget he'd left it.

(giggling)

That's wishful thinking.

- What do you mean?

- Well, if we did get a case like this,

do you think the superintendent

would let you handle it?

- Why not?

- Now Tom, what you wanna remember is to get on,

you have to avoid treading on too many toes.

Good morning, miss.

Can I help you?

(suspenseful music)

- Voices.

I want to report.

I want to report a murder.

I've committed a murder.

- Murder?

- Yes.

- [Tom] Where?

- In my house.

- [Tom] Where is that?

- I don't know.

It's somewhere, I don't know.

- [Frosty] What's your name, miss?

- What?

- [Frosty] Your name, what is it?

Come on, miss, you better tell us.

- I don't know.

I can't remember, I don't know.

I can't remember anything. - Okay miss, come on, come on.

We'll go in here.

Sit quietly, eh?

(Betty crying)

Now just sit down there.

- Well could you ask Dr. Sammers to get here

as soon as possible, please?

Yes.

Yes, a woman.

No, no I have no idea who she is.

Well, neither has she.

(suspenseful music)

- [Tom] You don't remember your name.

- No, I can't, I'm sorry.

- Alright then let's --

I was gonna say let's forget about it for a minute.

What about the murder?

- Murder? - [Tom] Yes.

You came in to report a murder.

A murder you committed.

Tell me about it.

- Midnight.

Is that when it happened?

- Voices.

- Voices.

- Yes.

It has to be midnight.

She'll be alone then.

- She?

What do you want?

- Well you might like a coffee, miss.

- Oh that's fine, thanks.

Well go on, Frosty.

I'm handling this.

- Oh, yes, Detective Constable.

- You said she, a woman.

You murdered a woman.

- Jill.

- Jill, who's Jill?

- She's blackmailing him.

- Blackmailing?

Is that why you killed her, because she's a blackmailer?

- Alley.

- What, is that where it happened, in an alleyway?

- [Betty] Alley.

- An alley way in this town?

- No, in the house.

It happened in the house.

- Alright.

Take your time.

And tell me how you did it.

Tell me exactly how you did it.

- Just before midnight.

There's a call, it's an important meeting.

- Yes.

- He has to leave.

That's the alibi, you see.

He has to leave because he mustn't be involved.

And then she'll be alone in the house.

No telephone.

Nothing, she'll be quite helpless.

- You just said you had a call.

- We cut the wires after the call.

She'll be quite helpless.

- [Tom] And then.

- On the last stroke of midnight, break the lock.

It has to be then, at the very last stroke.

- Why is the time so critical?

- It isn't the time, it's the clock.

It's old and weird, and on the last stroke at 12:00,

it goes crazy.

It makes lots of noise.

Enough noise to cover the breaking of the lock.

We keep meaning to get it fixed.

- [Tom] But why'd you have to break

the lock in the first place?

Don't you have a key?

- But it doesn't look like a break-in.

A burglary.

In the study, there's a lot of glass.

It's very valuable.

Some of it's worth thousands.

We steal some, and make it look like a robbery,

and then very gently up the stairs.

Turn the switch.

Oh god, the music's so loud.

- The music, what music?

- It's Bartok.

It has to be Bartok because that's the loudest.

It's loud enough to cover everything.

- Screams, you mean.

Is that what you mean are screams?

- God, will the voices stop.

Why won't they go away?

I don't want to hear them.

I don't want to listen.

(whimpering)

- How did you do it?

You killed this girl, this woman, Jill.

Whatever her name is, how?

How did you do it?

- With a poker.

- And who's the man?

The one who was a stand-in for the alibi with the telephone.

The one who she was blackmailing.

Who is he?

- Hello, Tom.

I got here as soon as I could.

- I wish you had a slower car.

- Hm?

- Hm, nothing.

- So this is the little lady who can't remember anything.

- Oh, she remembers a lot.

But not her name.

- I see.

- Look, can I stay?

- Sorry, outside.

- Look.

She's been talking about a murder.

- Her medical wellbeing is the first consideration.

Oh and Tom, congratulations, by the way.

- What for?

- Your promotion to detective.

- Oh thanks.

Thanks a lot.

- [Frosty] All sewn up.

Young Patterson strikes again.

- It seems so worked out, well planned.

- Break-in, alibi, poker.

(soft music)

- Darling, why don't you get --

(keys ticking)

- Morning, Frosty.

Anything new?

- Just a tiny murder, Superintendent.

- Murder?

- Well, a report of one, anyway.

Young Patterson's handling it.

- Oh he is, is he?

Well you better tell me all about it, don't you know?

(soft music)

(engine revving)

Sounds totally improbable.

- Well she believes it.

- Well she might, it doesn't mean I have to.

Fake break-in, murder.

Any break-ins reported after midnight?

- Well I don't know.

- Well you didn't think to check?

- I didn't get around to it.

- Frosty? - No, nothing sir.

- There you see?

Well, doc?

- She's definitely amnesiac,

and suffering from mild concussion, too.

But there's no sign of bruising.

She'll come out of it pretty soon,

be able to remember everything.

- Including the murder?

- Oh yes.

Tom told me about that.

- [Superintendent] So what do you think of --

Just a minute, just a minute. - Good morning.

- What's your opinion, Arthur?

Could she be telling the truth?

- It's possible.

I doubt it, though.

She had a bump on the head.

She could do or imagine anything.

- Imagine, there, you see.

- But she seems so different.

- Odd luck, then.

Any idea what caused the concussion?

- Fall, car accident.

- That's what I was trying to tell you.

I've just found an abandoned car

skidded off the road about a mile back.

Nobody, nothing.

Just this book.

(laughing)

- Whats' up?

- Look.

(soft orchestral music)

- [Tom] Mrs. Drew.

We know who you are now.

Mrs. Drew.

You see, there's a photograph of you and your husband.

We've contacted him.

He's coming to collect you.

Do you remember who you are now, Mrs. Drew?

Mrs. Betty Drew.

Your husband's a famous author.

Even I've heard of him,

and I don't read detective novels.

- I know it, too.

I've read that book, Mrs. Drew.

Matter of fact, I'm a big fan of your husband's.

You wouldn't like the plot much, though, Patterson.

You've heard it before.

It concerns a husband and wife who murder a blackmailer.

- Is that all it was, just a plot?

There never was a murder.

- The voices.

- What about these voices, Mrs. Drew?

- I'm tired.

- The doc said to let her sit quiet.

Just until your husband arrives, Mrs. Drew.

Murder Her At Midnight.

- Well, it seemed real at the time.

She made it seem real.

- Didn't you know that the fiction is always

more real than fact?

Oh, it's Mr. Drew, isn't it?

I'm Superintendent Terson.

- How's my wife?

- Oh she's fine, fine.

The doctor's given her a sedative.

The car's alright, too.

- I don't mind about the car.

Where's Betty?

- She's in here, sir.

- Darling.

Come on, now sweetheart.

We'll get you home.

- You see, it's all coming back now, isn't it?

- I'm sorry to have given you all this trouble.

- It's no trouble at all, sir.

It's a great pleasure to meet you, Mr. Drew.

I've read all your novels, you know.

Yes sir, you give me many happy hours.

- Thank you.

- I've read them all except for the latest.

I haven't been able to get a copy of that one.

- [George] I'll get Jill to send you one.

- Jill?

(suspenseful music)

Who's Jill?

- My secretary.

Come on, now.

(clock ticking)

I told you before about driving too fast.

Especially when the roads are wet.

Still, no recriminations, huh?

Where were you going, anyway?

- Oh, I don't know.

I don't remember anything except last night.

- Last night?

- Well we did have dinner here last night, didn't we?

- Yes, indeed we did.

Come on, come to bed.

(suspenseful music)

Darling.

You do remember me, don't you?

- George.

The man you married.

The man who loves you.

Come on, come lie down.

Lie back.

I'll get you a nice cup of tea, huh?

- I'm going to town, be back later.

Do you think you can hold the fort, Patterson?

Just sit back, relax, and read a good book.

(laughing)

- He can laugh.

(keys ticking)

- Well, you know what they say.

Laugh and grow fat.

- Frosty.

Suppose there had been a murder like she said.

- Yeah, well there wasn't, Tom.

If there had been a break-in, or a murder,

we'd have heard about it by now.

- Yes.

(keys ticking)

Unless it was planned.

Or something went wrong.

Or perhaps it didn't happen?

- What do you mean?

- Well you saw when she came in, she was half dazed.

- She'd been in a car crash.

- Yes, but where was she going so fast

that the car skidded off the road?

And anyway, we've all assumed it was a car crash

that shook her up, haven't we?

Suppose it wasn't.

Suppose it happened before that.

- Before?

- Yes, they planned to murder

a girl named Jill, didn't they?

And there is a girl named Jill.

- Oh come on, Tom.

- If the murder did go as planned, but then she panicked.

She jumped into the car.

- And he just let her go, I suppose.

- No no, he did know.

She'd taken the car, so he had to go back.

- What for?

- To cover up, hide the body.

- Listen, if George Drew ever runs out of plots,

I can tell him where to come.

- You really can't remember anything at all?

Well, you get some rest and we'll talk about it later, huh?

(soft suspenseful music)

- George.

What are you doing?

- Well, I finally got around to storing

those old reference books.

And you ought to be resting.

- Where's Jill?

- Well you know quite well she's --

Well, perhaps you don't.

Well she went out to see her brother, or something.

Go on, back to bed.

- George, look, I don't remember a thing

about the last 24 hours.

- And possibly you never will.

That can happen, you know.

But I assure you,

there was nothing particularly exciting.

- But if there was, I'd remember.

- I don't know, not sure.

- Look, if something perfectly terrible happened,

I would remember, wouldn't I?

- [Frosty] Where are you off to?

- I just thought I'd take a look around Drew's place.

- And what about when the superintendent gets

to hear of it?

- But he won't, will he, Frosty?

(soft suspenseful music)

(doorbell ringing)

Hello, Mrs. Drew.

Do you remember me?

- Yes, of course.

Come in.

- Thank you.

I'll only stop a minute.

I was just passing.

I just wondered how you're getting along now.

- Well.

- That's a kind thought.

Deserves a drink, at least.

- Thanks.

- What'll you have?

Scotch, mister?

- Patterson, Tom Patterson.

Yes, scotch is fine.

That's a nice collection of glass you've got here.

Some of it must be very valuable.

- All of them are valuable.

And a couple of them priceless.

- Thanks.

It seems vulnerable here.

You don't worry about burglars then?

- Oh I do.

Don't look at this way.

The world's full of worries.

The H bomb, burglars, crossing the road,

cirrhosis of the liver.

I just put the worries behind me just to look.

Cheers. - Cheers.

- You're casing the joint.

- Ah.

- [George] Yeah, cops and robbers are my business.

- I'm sorry, it's just a habit.

- A good one, if you're a policeman.

And what conclusions have you come to?

- You're a writer.

- Brilliant.

- [Tom] It pays well, and you worry about taxes.

- [George] Who doesn't?

- I don't.

I don't earn enough.

- [George] You're lucky.

I earn 1,000, they take away 900.

Yes, I keep that little place in Bermuda

to help spread the load of it.

- And a wife.

- That's right, darling.

That's the only reason I married you.

Pure financial necessity.

She's right, though.

It does help.

- Company is in your wife's name, and that kind of thing.

- I thought you didn't worry about taxes.

- Well I don't, but I spent some time with the fraud squad.

- Had ya?

You want another drink?

- No thanks.

- It is perfectly legal, Mr. Patterson.

- Oh yes, I know.

Have you remembered any more about the murder yet?

- Murder?

- Yes, when your wife came in,

she confessed to a murder.

- She what?

- Tell him.

- Darling, is that true?

- Yes.

I was just confused.

- I'm not surprised, living with me.

Professional mayhem maker.

You know, we even discuss murder at breakfast.

- Yes, well I must be going.

Thanks for the drink.

Oh, and Jill.

- Jill?

- Yes, the inspector wants to ring her,

remind her about the book that she promised to send him,

but he doesn't know her second name.

What is it, please?

- Pembury. (bell dinging)

It's Jill Pembury.

- Jill Pembury, thank you.

Bye.

Thanks again for the drink.

- It was a pleasure.

(bells crashing)

I must get that thing fixed one of these days.

Well goodbye.

- Bye.

- No, I'm not going to do it.

- Frosty.

- Look, the case is closed, Tom, closed.

- Come on, humor me.

What harm can it do?

Please.

279415.

- I'm only doing it so you'll stop this once and for all.

(keys ticking) (phone ringing)

- Hello?

Ms. Pembury.

No, I'm afraid she isn't here at the moment.

Who is this?

- Oh this is Social Security, sir.

We have a query on Ms. Pembury's documents.

Something we can handle over the phone, save time.

Could you tell me when she'll be back, please?

- No, I think she went to see a relative,

and then onto the hair dressers.

I have no idea.

- Oh, I see.

- Well, go on.

- I wonder if you could help us, sir.

Could you tell me Ms. Pembury's current address?

- Yeah, she lives in Carlington.

What did you say your name was?

(phone clicks)

Hello?

- So, she's not there.

- Very suspicious.

- Yes it is.

- It's very unusual.

- Yep.

- Come on, we'd better get three squad cars,

and go break the door in.

- No, no.

I'm not going to do that.

But I will check a little further.

(suspenseful music)

- What are you playing that for?

- You know.

You can't have forgotten that?

Bartok in the lounge is my favorite luxury.

But this is a bit loud, huh?

Here, how's that?

Okay?

- I told you to drop it.

- Please, just listen -- - George Drew is

an influential man.

You mess about with his private life --

- I've been to the house.

- Yes, without my permission.

- Sir, there are things there she talked about.

The glass, shelves full of it,

and the clock that goes strange at 12:00.

I've seen them, and they didn't come out of a book.

- How'd you like to be back on the beat?

- Well I'll chance it.

I'll stake my instinct against this.

- [Superintendent] A clock, glass.

- And Jill Pembury.

The girl they planned to murder.

- Don't start all that. - Look, she exists,

but she isn't around anymore.

- What?

- Drew said she went to the hair dressers.

So I checked every one in the area.

Paul's hair dressers know very well

she goes there regularly, but not today.

She didn't have an appointment today.

- Oh come on. - So then I checked

the Carlington directory.

Jill Pembury's got a flat there.

Her caretaker hasn't seen her for two days.

- What do you think, Frosty?

- Well.

We've known stranger things.

- Are you certain about that?

- Yes.

- The caretaker hasn't seen her?

- I spoke to him personally.

(soft suspenseful music)

(engine revving)

(doorbell ringing)

- [George] Hello.

- [Superintendent] I'm sorry to disturb you.

But we must ask about Ms. Jill Pembury.

- [George] Jill, what about her?

- [Superintendent] We'd like to see the flat.

- Look, I don't understand.

What is this about Jill?

- You will, sir, when we've had a chance

to talk to Ms. Pembury.

- Oh, it may be ages.

She went out.

- When, sir?

- This month.

Look, I know the virtues of cooperating with the police,

but I'm beginning to get a little impatient.

Now what is this about Jill?

- We want to see her, sir.

We insist.

- You insist?

- [Betty] I know where she is.

- Oh darling, this doesn't concern you.

- I know where she is.

- How could you know if I don't?

- [Betty] I'll show you.

- My wife isn't herself.

- The key.

- Darling, you're not well.

- The key.

- What do you want the key for?

- I want to find Jill.

- Are you saying Ms. Pembury's in there?

- Open it, George.

- You're not well.

And all you know perfectly well she's --

- Do you have a key to that cupboard, sir?

- Yes of course I have it. - Well if you wouldn't mind.

- What kind of investigation is this?

- It's no good, George.

They know, I told them.

- They know what?

- It would be easier if you open the cupboard, sir.

- We can break it open.

- Alright, you open the thing.

(suspenseful music)

- You can, right?

I don't understand.

- Now what were you expecting to find?

- I thought --

- Jill.

- Aren't I going to be introduced?

- Are you Jill Pembury?

- Yes.

What's going on, George?

- I don't know, but I'm waiting for an explanation.

- It's a mistake, sir.

A very bad mistake, isn't it?

- I'm sorry, sir.

- [George] What kind of a mistake?

- I thought Ms. Pembury was missing.

- Missing?

But George, didn't you tell them

you'd given me some time off?

- Yes I did, but I don't think they believed me.

Glad you came back, anyway.

- Well of course I came back.

I had seen my brother in town,

and while I was there, I had my hair done.

- I can't apologize enough, sir.

If you wish to lodge a complaint.

- No, just forget it.

Just forget the whole thing.

- You might sir, but I won't.

- Hey Frosty.

- Oh don't go in there, for Pete's sake.

Not unless you've got fire proof ears.

(distant yelling)

- But I left my stethoscope in there.

- Oh, I think it'll be safe.

I mean, if the superintendent hits him,

he'll use his fists.

- Well hello, Arthur.

I thought you'd be back for that.

- Thanks very much.

- I'll be at home if anyone needs me, Frosty.

- [Frosty] Sir.

- But just make sure if I haven't called,

that it's for something with facts behind it.

- [Frosty] Yes sir.

- Ah, the eagerness of youth.

Not new to us, is it, Frosty?

- Well, it's perfectly natural.

- Give you a hard time, did he?

You know Frosty, I think he's suffering from shock.

Well, I shall have to prescribe something.

How about a drink?

On me.

Come on, doctor's orders.

- Thanks.

(knocking on door)

- George told me about your accident.

That was awful.

How are you feeling?

- I'm alright.

- [Jill] Sure there's nothing I can do or get you?

- Nothing.

- Alright then.

That was crazy about the murder.

George told me you confessed to murder.

Who did you think you'd murdered?

- It was silly.

It was just a mistake.

I must have been out of my mind, well literally.

I'm embarrassed about it now.

- Well, obviously the police didn't take you seriously.

I mean, you're still at liberty.

- Oh, yeah.

- [Jill] You sure you're alright?

- Yes.

Jill.

Why don't you take a holiday?

- What?

- Well, just go away from here for a couple of weeks.

It'll do you good.

- [Jill] But I've already had my holiday this year.

Don't you remember?

- No.

I don't remember everything.

- Look, get some rest.

(suspenseful music)

- Let's go and sit by the fire, docky.

- Good.

Would you mind?

Bottle of stout?

- Yeah, thanks.

(people chattering)

- [George] I tell you I won't be blackmailed

like this any longer.

I've already put up with it for too long.

I was a fool to believe you in the first place.

Man can be pushed just so far,

and then he starts to fight back,

starts trying to do something about it.

- [Jill] It's coming along fine, isn't it?

- What?

- George's new book.

How he churns them out, I never know.

But he always does, and always on time.

- It's careful planning.

Meticulous attention to every detail.

That's right, isn't it, darling?

- Goodnight.

- [Jill] Night.

- Now darling.

Where we got to?

(people chatting)

- Alright.

- I was a fool to believe anything she told me.

Murder, blackmail.

- Look, it wasn't your fault, really you know, Tom.

You took her too literally, and she led you astray.

She probably regrets it now.

- So do I.

- Well that typo was due.

Neurotic.

They do or say something wrong,

and take the whole burden of guilt upon their own shoulders.

One of nature's born sufferers.

- Hollow voices.

- Hm?

- I don't know what she meant by that, hollow voices.

- Well she didn't mean anything.

Her mind was attle, she was all mixed up.

- Well, they haven't killed her yet, anyway.

- [Arthur] Killed who?

- Jill Pembury.

They were planning to kill her, you know.

- Come on.

- What are you doing?

- I have something prescribed for you.

You're not driving, are you?

- No.

- Good, a nice brisk walk in the fresh air will do you good.

- Listen, as from tomorrow,

I'm gonna get all the fresh air I need.

Ready.

- [Superintendent] Patterson.

- Sir.

- Mrs. Millet, 12 Colbred Cottages.

Claims there's a submarine in her duck pond.

Look into it, will you?

- What?

- Public races there, off you go.

Oh and Patterson.

- [Tom] Sir.

- [Superintendent] I shall expect a report

and triplicate of course.

- Yes sir.

- You're being very hard on him.

- Yes, I know. (door shutting)

- He's a good lad.

And basically, he's a good copper.

- Basically an excellent one.

But he has to learn, Frosty.

We all had to.

He's been on the beat for two weeks now.

Another couple and I'll bring him back inside.

- Gosh. - But don't you tell him.

You give him one hint.

- Now don't you threaten me, superintendent.

Just remember, I'm the one who makes the tea around here.

(laughing)

- Are we going out tonight?

- No, I don't think so.

I thought a quiet dinner at home, alright?

- Yes, fine with me. (phone ringing)

- Hello?

Yeah, she's around somewhere, hold on.

- Who is it?

- It's for Jill.

Jill, Jill.

It's Ally on the phone for you.

- [Jill] I'll take it in the study.

- Ally?

- Ally, Allen.

Jill's brother, you know.

Maybe you don't.

I don't know if you ever met him.

Anyway, he's the black sheep of the family.

- [Betty] Ally.

- [Tom] What, is that where it happened,

in an alleyway?

- [Betty] Ally.

- [Tom] An alleyway in this town?

- Yes, Ally.

I understand.

(phone clicking)

He's in town tonight.

(phone dialing)

(phone ringing)

- Police, hello, hello?

- Can I speak to Mr. Patterson, please?

- [Frosty] Who is this, please?

- It's Mrs. Drew, Mrs. Betty Drew.

- [Frosty] Oh yes, Mrs. Drew.

Well I'm afraid Constable Patterson

isn't here at the moment.

Is there anything that I can do?

- No, no thank you.

- [Frosty] Should I ask him to call you back?

- No really, it's not important.

- [Frosty] I see.

- It's not important, really.

- Shall I tell him that you --

(suspenseful music)

Well, did you have a vital, energizing day?

- Yes.

Two parking tickets, one lost dog,

and a grim fracas in the main street.

- Bad?

- The protagonists were armed.

- Eh?

- Both of them with water pistols.

They felt the strong hand of the law on their back sides.

Is there any coffee in that pot?

- Yeah, I'll pour you some.

- Oh, I'm tired.

- Tom, there was a call for you.

- [Tom] Yeah?

- That Mrs. Drew.

- What did she want?

- Unimportant, she said.

- Why did she call in the first place?

- I don't know.

- Did she want me to call her back?

- No.

- Well I think I'll just find out --

- Tom, it's going to be Winter soon.

A cold, hard Winter.

Do you like pounding the beat in the cold?

- What time does the library close?

- About another half hour, I suppose.

Why, what do you want the library for?

Tom?

(clock ticking)

- Night, Betty.

- See you in the morning.

(people chattering)

(keys ticking)

- What are you staring at?

- I wasn't staring.

Just admiring.

- Oh.

(people chattering)

- George Drew, his wife Betty.

Successful.

Oh, printed in 14 languages.

My Working Methods by George Drew.

Take all the unrelated elements of the plot,

write them down, mix them up,

and put them together piece by piece

like a jigsaw puzzle.

Well.

If it's good enough for George Drew,

it's good enough for me.

(cabinet clanking)

Oh I'm sorry, I didn't mean to wake you up.

Are you still on duty?

- Yeah.

Cyril's wedding anniversary.

Said I had to stay over until he got here.

You know, I could say the same to you.

- It's not my wedding anniversary.

- No.

You're not even married.

I mean you went off duty ages ago.

- Well, I came back, didn't I?

(yawning)

- What are you looking for?

- The report I made on the Drew case.

- oh, Tom, now come on.

- No no, it's purely academic interest, Frosty.

Purely academic, I promise you.

- Yeah.

(clock ticking)

- Night, darling.

- Goodnight.

(bright music)

- Hollow voices.

Alleyway.

Alleyways, steal glass.

Break lock.

And Bartok.

Bartok.

Oh.

All the unrelated elements.

(clock ticking)

(phone ringing)

- Hello.

Yes, speaking.

Come on boy, do you know what time it is?

Well couldn't it wait 'til the morning?

I wouldn't be there 'til after midnight.

Oh alright, alright, I'll do it.

Goodbye.

- What is it?

- Oh it's that American publisher.

He's flying out at 2:00 a.m.

He wants to see me before he goes.

- At this hour?

- Yeah, that's what I said.

But it's important.

He wants to sign that serialization deal now.

Could mean a lot of money.

Worth a trip to see him, anyway.

- Alright.

- I'm sorry you had to be disturbed.

- That's fine.

- Sweetheart, see you in the morning.

(clock ticking)

Goodnight.

(door shutting)

(footsteps pacing)

(car revving)

(suspenseful music)

- You want some coffee, lad?

That's right, you sleep it off.

It's been a hard week.

- Okay.

- Voices.

Hollow voices.

(George whispering)

(Jill whispering)

- [Jill] Will she give me a funny look in the bedroom?

- [George] If she does, she'll go right back to sleep,

I assure you.

She goes right back to sleep, I tell you.

This is ridiculous.

- [Jill] I can't understand.

- [George] I tell you, she suspects nothing.

- [Jill] But that business with the police

a couple of weeks ago. - No, it was a mix-up.

Anyway, the alibi's all arranged, isn't it?

Ally's standing by.

- But George.

- You sure he's reliable, Ally?

- He'll swear you were with him from midnight

until tomorrow morning.

He has to, I've got too much on brother Allen.

- And the car.

- Parked right behind the trees.

No one can see it.

Darling, you are sure.

- Yes.

- I still think we should've called it off.

- [George] No.

- [Jill] Don't you think between that,

don't you think it's pretty strange?

- [George] Strange, yes.

But they won't be able to prove anything.

So trust me.

I've been plotting murder for years.

(sighing)

- Any coffee, Frosty?

- Oh, the sleeping beauty awakes.

No, don't move.

I just want to drink you in.

- Coffee, black.

(clock ticking)

(suspenseful music)

- George.

We don't have to.

- We do.

- Get divorced.

- No, it's not possible.

Even if she agreed, it's not possible.

- But darling. - Betty and I are inseparable,

financially, we are inseparable.

Now, this is the only way.

- [Jill] Hold me, darling, hold me.

Tell me you love me.

- I love you.

I love you.

- [Tom] Thanks for the coffee.

- [Frosty] Goodnight, Tom.

- See you, Frosty.

- [Frosty] What's the matter?

- Assumption of guilt.

She didn't say that.

It was Sammers who said that.

Doc Sammers, he said that.

Assumption of guilt.

What's his telephone number?

- Sammers, what's his number?

- Well you're not thinking of calling him at this time.

Look, it's nearly midnight.

- I know, that's why I wanna call him.

What is it?

(clock ticking)

(glass breaking)

Doc, it's me.

Patterson, Tom Patterson.

- Is it an emergency?

- Emergency, well it might be.

Look, I know it's late.

But I just had to clarify something with you.

- Not at this hour.

- No no no, don't hang up.

You remember a couple of weeks ago,

you examined that woman, Mrs. Drew.

- Who?

- Drew.

That's right, yes.

The one who got me busted.

Well you remember when you examined her,

you said that she was highly strung.

The sort of woman who might assume guilt, neurotic.

Well look Doc, suppose a woman like that

heard a crime being planned,

that involves someone she loves very much.

What might she do?

Panic.

Well that would fit, wouldn't it?

And then suppose she had a bad bump on the head.

Well that would mix it all up, wouldn't it?

- Yeah.

- She'd come out only half remembering,

perhaps not even wanting to remember anything at all.

She might then assume the guilt,

might and she'd take the guilt on her shoulders,

pretend it was her.

Well thanks Doc, I'll talk to you again.

- The superintendent will eat you alive.

After he's roasted you.

- [Tom] Take your time, and tell me how you did it.

Tell me exactly how you did it.

- [Betty] Just before midnight.

There's a call, it's an important meeting.

- [Tom] Yes.

- [Betty] He has to leave.

That's the alibi, you see.

He has to leave because he mustn't be involved.

And then she'll be alone in the house.

No telephone, nothing.

She'll be quite helpless.

- [Tom] But you just said you had a call.

- [Betty] We cut the wires after the call.

(phone clicking)

(zipping)

- [George] This is it.

The end to all our problems.

- [Jill] Only time.

(door shutting)

(clock ticking)

(bells ringing)

(bells crashing)

(suspenseful music)

(wood creaking)

(loud suspenseful music)

- Help.

Help.

Help me.

(yelling)

(record scratching)

(whimpering)

(orchestral music)