All language subtitles for Thriller 06 Murder In Mind

(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.

- 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.

- 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)