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Witness In The Dark 1959 Remastered MagicFilms a division SnowMagicFilms The Very Best In Remastered Rare And Hard To Find Cult Classics And Films
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00:01The New York Times
00:01The New York Times
00:01The New York Times
00:02The New York Times
00:03The New York Times
00:16The New York Times
00:17The New York Times
00:17Callings of Fulsham?
00:19Oh, just one moment, sir. I'll see if he's there.
00:24Yes, Mr Arthur?
00:26Certainly I'll get them straight away.
00:33Long Black Times
00:33Good York Times
00:34Good York Times
00:45You're right, Mr Arthur.
00:46Good York Times
00:50So you can hear me.
00:54But, you mean, Doug, that is my stage
00:58Right here and every other master takes him as
00:59a double reign.
00:59So, you can hear this.
01:45Enough for today, Jane. It's 5.30.
01:485.32, to be precise.
01:50So it is.
01:52Oh, I never thought darling numbers would make me feel so tired, but my arm fairly aches from it a
01:56day.
01:58Mr. Arthur must have made at least four to call.
02:00I'm going to tidy up.
02:01Oh, all right. I'll just close down the board.
02:07Mr. Arthur, I'm closing the board down now.
02:10Thank you. Good night.
02:44He arrived early, so I said he could wait in there for you.
02:46Oh, that was very kind of you, Mrs. Finch.
02:47Oh, well, poor lad. You feel a bit...
02:50Oh, there you are. Miss Pringle's here.
02:53Good evening, Miss Pringle.
02:54Hello, Don. Ready for your lesson?
02:56I suppose so.
02:57Well, that doesn't sound very enthusiastic.
02:59Well, there's not much to be enthusiastic about, is there?
03:01Oh, get away. What sort of talk is that?
03:04You're doing very well, isn't it, Jane?
03:05Of course. We all get depressed at first.
03:08Come along, Don, over to the stairs. You know where they are.
03:17I'll bring your ironing up later.
03:19Oh, thank you.
03:26Beats me how she ain't go giving them braille lessons after doing a day's work.
03:30I'm fair knocked up after eight hours and I've got my eyesight.
03:32She's a winner, that one.
03:33Look at the way she nurses Ol' Myre Temple.
03:35What's she trying to prove?
03:36Oh, I don't know.
03:37Maybe she just likes to help those who are worse off.
03:39Is there anything worse than blindness?
03:46It was this shop that Mark came in on Sunday morning.
03:58That the sea was glittering blue.
04:08The laughter from the bathers came up from the promenade.
04:20Nothing...
04:24It's quite simple.
04:26Oh, it's no use.
04:27If they thought that you couldn't do it, they wouldn't have been putting you onto Braille.
04:31Well, you're quick and bright enough.
04:32What's the use in being bright? When...
04:34When what, Don?
04:35When I can't do the things I want to do.
04:37I don't suppose it was very important to you.
04:40But I wanted to fly in the Royal Air Force like my brother.
04:43And now...
04:44And now you don't think it's worthwhile going on with this?
04:47I don't see the use of spending the rest of my life in darkness.
04:50I'd sooner be dead.
04:52I felt that way too.
04:54I think most of us do at first.
04:56It's a matter of adjustment.
04:59You'll be surprised how soon one becomes independent again.
05:03Independent.
05:04Stumbling about with a white stick making rush mats all my life.
05:07Stop feeling sorry for yourself, Don.
05:09Now, go back and try it again.
05:15I'll help you.
05:21Nothing...
05:22Appare...
05:23Wrong stress you're throwing yourself.
05:28Nothing...
05:29Apparently...
05:30Wrong.
05:31Good.
05:31Well done.
05:34See what the time is, will you, Don?
05:36Come on.
05:5425 to 8.
05:56Time's up.
05:58Well, I think that's enough for one night anyway.
06:01I'm...
06:03I'm sorry I got upset.
06:06That's all right, Don.
06:08But you know, if you give in, you're lost.
06:13You'll be surprised how exciting a place the world can be, even without sight.
06:18Shall I see you next Tuesday?
06:19Yes, please.
06:20That's the spirit.
06:21Well, come on.
06:23The door's wide open.
06:32Will you find your coat, Don?
06:33Yes, thank you.
06:37Just level me.
06:39How was it night after all that fuss, eh?
06:40Very good indeed.
06:41There.
06:42Yeah, you see, if at first you don't succeed, try again.
06:46Good night, Miss Pringle.
06:47Good night, Don.
06:47See you next week.
06:48Oh, don't go here.
06:49I've got some of your mum's laundry here.
06:51Tell her I'm sorry I couldn't finish it.
07:02You can come collect nice and far, eh?
07:04I've got a nice little food for you.
07:34Yes?
07:34Can I help you?
07:35I'm sorry to disturb you, but I'm looking for some people called Jenkins.
07:39There's no one of that name here.
07:41Are you sure you've got the right address?
07:43I think so.
07:44Gladstone Court.
07:45Good night, Miss Pringle.
07:45But I'm not sure of the number.
07:47I don't know of anyone in the block called Jenkins.
07:49Oh.
07:50Well, it was a bit much to expect, I suppose.
07:52Is it important to you?
07:55They're my uncle and aunt.
07:56Oh.
07:56Oh.
07:56We haven't seen them for years.
07:58I promised for folks the next time I came to London, I'd look them up.
08:01Well, have you tried the police?
08:03They're often very helpful.
08:04Well, I talked to find them here.
08:06Good night, Miss Pringle.
08:07But I'll have to do that.
08:08Well, I'll make some inquiries.
08:10If the police can't help you, come back in case I've heard something.
08:14Thank you, I will.
08:15I'm sorry to have troubled you.
08:17Good night.
08:17Good night.
08:40Sale won't pass me with her nose in the air.
08:43Why do you think of that, eh?
08:45Oh, but I told her off good and proper.
08:47I'm not the type to remain silent when I'm cut dead in the street.
08:50Oh, what a pretty brooch.
08:52I rather like the feel of it.
08:54Oh, it's only a cheap one.
08:55Not like old Mrs. Temple's, eh?
08:56With all of 3,000 pounds, she says.
08:59Lovely thing it is, Emwell's endowments.
09:01I didn't know she owned anything valuable.
09:02Oh, yes, her husband gave it her.
09:04And I never thought she had more than two pennies to rub together.
09:07But she hasn't earned her old-age pension and some small savings.
09:10Well, I'm glad she got the brooch.
09:13Well, I'd better take these things up to her.
09:15Otherwise, she'd be wondering why I'm so late.
09:16I think you're wonderful the way you look after her.
09:19I've offered to help, but like you, she's very independent.
09:22She'll be in the home, really.
09:23As long as I'm here, she'll never have to do that, anyway.
09:26Well, I think she's very lucky to have you, that's all I can say.
09:29Oh, and if I was you, love, I'd try to persuade her not to leave valuables
09:31lying around at tea caddies.
09:33Mr. Finch was...
09:34I think the less one talks about things like that, the better, don't you?
09:37Oh, I don't talk.
09:38I'm very careful about what I say.
09:54Is that you, Jane?
09:55Oh, sorry I'm so late.
10:00Sorry I'm so late.
10:02I've, er, I've brought you shopping.
10:04I wish there was something I could do for you.
10:07I seem to be taking all the time.
10:11Now, where do you think you're going?
10:13I've forgotten the strainer.
10:14You sit there, I'll get it.
10:19Oh, you've moved a chair.
10:21Oh, I'm so sorry.
10:22I knocked it over just now when I was answering the door.
10:25Answering the door?
10:26Yes, my dear.
10:27I've had a visitor.
10:29Hmm.
10:29That must have been exciting.
10:31Who was it?
10:32A fascinating young man.
10:34Hmm.
10:35His eyes were the same deep, penetrating blue as my husband's.
10:38For a moment, when I first opened the door, I thought it was Henry.
10:42You know how silly one can get.
10:44Especially when one's by oneself all day.
10:47Funnily enough, I'd been thinking of Henry only the moment before.
10:50What did he want?
10:51Well, he was looking for some people called Jenkins, an uncle and aunt of his.
10:55No, there's no one by that name in this block, is there?
10:57That's what I told him.
10:59They look quite put out, poor boy.
11:01I thought I'd ask Mrs. Finch.
11:03She'll spread it all over the neighborhood.
11:05And perhaps someone will know where the Jenkins live now.
11:07Yes, she's a good spreader.
11:09Oh, and that reminds me, do you think you should have told her about the brooch?
11:12I expect not, but I was feeling lonely at the time.
11:15She even knows that you keep it in a tea caddy.
11:17Ah, but I don't.
11:19What is it?
11:20This wretched hip.
11:22Would you mind fetching it for me, dear?
11:23It's the end jar on the middle shelf in the cupboard.
11:25All right.
11:27I think I'd better give you a bit of a massage later.
11:29Thank you, dear.
11:31It's the right-hand tin in the middle of the middle shelf.
11:36Have you found it?
11:37Yes.
11:38Bring the little bowl that's next to it, too, will you?
11:47Here we are.
11:49Thank you, dear.
11:52You see, I thought I'd change the hiding place.
11:56Just in case.
11:58No one would ever think of looking for it here.
12:00Yes.
12:01And I still think it ought to be kept and safe keeping somewhere.
12:04Oh, I know, but I like to look at it sometimes.
12:09It keeps me warm.
12:15Hmm.
12:17It must be very beautiful.
12:19Oh, I can see it quite clearly.
12:23The stone in the center's emerald, isn't it?
12:26And the setting's platinum.
12:29That's right.
12:30It comes from India.
12:32My husband got it for me in Delhi.
12:34It reminds me of him and those days.
12:37All the color and sunshine and busyness.
12:46Oh, it's eight o'clock.
12:47I must rush.
12:48Everything's late this evening.
12:49Of course.
12:49Now, you take good care of it
12:51and don't give away any more secrets.
12:53I thought one person ought to know where it is
12:55because just in case.
12:56That's enough of that.
12:58Have you got the list for the cleaners?
12:59It's on the sideboard.
13:00Sorry, I couldn't stay for tea.
13:02On the right-hand side.
13:04Ah.
13:05Well, I'll collect it in the morning.
13:07Oh, that reminds me.
13:08I shall be late tomorrow night as well.
13:10I'm going to a concert with Sophie.
13:11I shall look forward to hearing all about it
13:12when you come up.
13:14Well, good night, dear.
13:15Sleep well.
13:16Good night, Jane.
13:20I'm very grateful, you know.
13:22It's all right.
13:23Good night.
14:03I'll bring you in the morning.
14:18Oh, my God.
14:44Oh, my God.
15:10The next program will be a piano recital of the works by Chopin, starting with etude number
15:16two, opus 25.
15:18Oh, my God.
15:19Oh, my God.
16:14Oh, my God.
16:16Oh, my God.
16:16I enjoyed it immensely.
16:17Would you like me to come up with you?
16:18Oh, no, please.
16:19The taxi's waiting.
16:19All right, then.
16:20See you in the morning.
16:21Good night, Sophie, and thanks again for everything.
16:22Bye-bye.
16:23Bye-bye.
16:31Bye-bye.
16:32Bye-bye.
16:38Bye-bye.
16:42Bye-bye.
17:06And now, Chopin, H, number 12, opus, number 10.
17:32And now, Chopin, H, number 12, opus, number 10.
17:43And now, Chopin, H, number 12, opus, number 10.
17:52And now, Chopin, H, number 10.
18:09Capitan, H, number 12, opus, number 11.
18:20There's someone there.
18:30Who is that? Who are you?
18:37Why did you speak?
18:42What are you doing?
19:10What are you doing?
19:11Mrs. Stemple?
19:13Mrs. Stemple, it's me, Jane.
19:16Where are you?
19:20Mrs. Stemple?
19:25Mrs. Stemple!
19:25Mrs. Stemple!
19:30Mrs. Stemple!
19:36What's the name of the woman who found the body?
19:38Elle, Pringle. Jane Pringle.
19:41Our only witness, and she has to be blind.
19:44What a profession.
19:45Come on.
19:46That's not all.
19:47There's a she-dragon by the name of Finch.
19:49Answers for her.
19:50That kind.
19:51I thought she'd lost her sight, not her tongue.
19:58Who ever could have done that to her?
20:00That's what I can't understand.
20:03Never had an enemy in the world.
20:05Oh, she wasn't perfect.
20:07Who is?
20:08But never done anyone any harm as far as I can see.
20:12You look proper done out.
20:15I'll get you a nice hot cup of tea.
20:17That'll make you feel better.
20:20Oh, then police again, most likely.
20:23Don't worry, I'll get rid of them.
20:24What you need's a bit of peace and quiet, and I'll tell them as much.
20:32Oh, it's you.
20:34I'm afraid Miss Pringle isn't well enough to answer any more questions.
20:38Oh, Mrs Finch.
20:38I'll form my own opinion of that.
20:41Have you got this lady's address?
20:42Oh, flat below, sir.
20:43Right.
20:43Well, we'll be in touch with you when we need you.
20:45Oh, but it's not right to leave her without another woman, Inspector.
20:48I'm quite willing to stay.
20:49Millie!
20:51Hey, Millie, come on down a minute, quick.
20:53Thank you, Mrs Finch.
20:55We'll be down to see you later.
20:57Millie!
20:57Oh, all right!
21:08Miss Pringle?
21:09Yes?
21:09My name is Coates.
21:12I'm the police officer in charge of this case.
21:14I've already told it.
21:15You've already told Sergeant Jones what you saw.
21:17Er, what happened.
21:18I'd like to hear it again.
21:23Is someone with you?
21:24Sergeant Jones, to take down what...
21:25I'll take down what I say so that it may be used to...
21:27Just routine, then we can go over it afterwards
21:29and make sure that nothing is forgotten.
21:31Now, you and Mrs Temple were close friends?
21:35Yes.
21:36She couldn't get about much with her arthritis.
21:39I was useful to her.
21:43You had a key to her flat?
21:45Yes, it saved her going to the door.
21:47Did she know you were coming up tonight?
21:49So when you...
21:50Oh, for goodness sake, Inspector,
21:51why did you do something instead of asking all these questions?
21:52I'm doing my job.
21:53I've got to know all the relevant facts.
21:55The only relevant facts are that someone went up there
21:57and murdered that poor old woman.
21:58And passed you on the stairs, you said.
22:02Yes.
22:05I'm sorry, Inspector.
22:08I'll do all I can to help.
22:10I won't keep you much longer.
22:13Now, do you know anything in the way of money
22:14or valuables that she might have had?
22:16I'm not sure.
22:18Her money was usually in her handbag.
22:19You didn't find any?
22:20Well, the most valuable thing she had was a brooch
22:22hidden in a jar of lentils on the kitchen dresser.
22:28How much was it worth, Julia?
22:30Oh, about 2,000 pounds, I think.
22:32She used to keep it in a tea caddy,
22:34but moved it recently.
22:35Hmm, seems her visitor knew something.
22:37We discovered the tea caddy upside down and empty.
22:41Now, what family did she have?
22:42Any relatives?
22:43Oh, none.
22:43Nobody at all?
22:45Did she ever mention a will of any kind?
22:48No.
22:49But if she had one,
22:50it's probably in her Bible
22:51with something tied around it.
22:54A piece of ribbon, I think.
23:11Then I heard him breathing heavily.
23:13How did you know it was a man?
23:15Well, I can't explain it, really.
23:17I always know whether it's a man or a woman who's near me.
23:20Then there was his coat.
23:22You felt it as he passed?
23:24It was a Macintosh.
23:26Old.
23:27Creased and crinkled.
23:28Not new and smooth, if you know what I mean.
23:31Go on.
23:33He was standing against the wall.
23:35My hand touched his Mac.
23:38He was quite still for a moment.
23:40Then the Mac slid across my fingers
23:42as he went down the stairs.
23:43He seemed to move quickly.
23:44Oh, very. He ran.
23:45He was probably young.
23:47What about his shoes?
23:48Iron tips or anything like that?
23:49No, no sound at all.
23:51Must have been rubber soles.
23:54And then you went up.
23:56Yes.
24:00The door was open and then...
24:07It's where she said it would be.
24:12It's a lovely thing, isn't it?
24:17Well, this is what he was after, all right.
24:21I wonder how he knew about it.
24:24I mean, murder's one thing,
24:25but to go badgering poor Miss Pringle at a time like this,
24:28well, it just doesn't seem right.
24:30Oh, I've a good mind to go up there and tell them just what I think of them.
24:33What do you say?
24:34Besides, what can she tell them?
24:36I've told them.
24:38What she needs is a woman with her at a time like this.
24:40Oh, I'm going to tell that inspector just what he can do.
24:42Sit down.
24:44You're not going up there and you're not going to tell the inspector nothing.
24:47But I can't leave that poor girl alone up there.
24:49She would be darn sight better off listening to them
24:51as she would be putting up with your yak.
24:54She's very grateful for what I do for her.
24:56Not like some.
24:57That's right.
24:58After the thunder, let's have the rain.
25:00Besides, I ought to go and see them again
25:02and tell them what I know about the brooch.
25:09You don't know anything about the brooch.
25:11Of course I do.
25:12I saw it only last week.
25:14What have I ever done to be burdened with you?
25:17You start telling the police things, it might become an habit.
25:20Then where will we all be?
25:21But I know they'll be interested in what I've got to tell them.
25:24I mean, she was murdered for the brooch, I suppose.
25:26It's material evidence.
25:28Will you be quiet?
25:30I'm telling you to play dumb.
25:32You never even heard about her brooch.
25:35But it doesn't seem right.
25:38It doesn't seem right.
25:39It doesn't seem right, she says.
25:41But don't give me any more buts.
25:43I'll explain it to you.
25:44I'll spill it out to you.
25:46Now, what's this I've got in me hand?
25:47A watch?
25:48That's right, a watch.
25:49What do you think it was, Big Ben?
25:50Do you know what I got it?
25:52Last week in the pub from Harry.
25:54It's gold, see?
25:56I got it for a few knicker and it's worth more.
25:59Now, I don't know where it came from.
26:01And I'm not asking questions.
26:02I'm satisfied.
26:04But if we start telling about who we were talking to and what we were saying, the cops might start
26:08ferreting.
26:09That'll get out of here in the queue, maybe.
26:11They might even confiscate the watch.
26:13So now you know.
26:16Mum's the word or you might find yourself done, good and proper.
26:23Was the watch stolen then?
26:25I don't know.
26:27What's it matter?
26:28Smuggle, perhaps.
26:30You just forget all about it.
26:34A man, probably young, wearing an old raincoat, rubber-soled shoes.
26:41Well, it's a start.
26:44I wish I could tell you something important.
26:46As I said, it's a start.
26:48Mind you, there'll probably be some thousands of young men in old raincoats.
26:52That visitor.
26:54You remembered something?
26:55Oh, she said a young man came to see her.
26:57Yesterday it was.
26:59She didn't have many visitors and she was thrilled by a caller.
27:02She said he had penetrating blue eyes like her husband's.
27:06Anything else?
27:07Well, that he was looking for an uncle, I think it was.
27:11Jackson or Jenkins.
27:13That's it, Jenkins.
27:15Are there any Jenkinses in the block?
27:17None that I know of.
27:19Did you make any other impression on Mrs. Temple?
27:22No.
27:23No, I don't think so.
27:25She didn't mention an accent?
27:27No.
27:29Oh, if only the man tonight had spoken.
27:31Voices tell people like me so much.
27:34Can you remember anything else at all that might help us?
27:41Oh, my brain, it's going round and round.
27:44It's all been so sudden and dreadful.
27:48No.
27:49No, I'm sure there wasn't anything else.
27:56You must be tired, Miss Pringle.
27:57I'll leave you in peace.
27:59I'll see you tomorrow with a statement for you to sign.
28:02Tom, will you let Mrs. Finch know we're just coming down?
28:04Right.
28:14You know, it wouldn't be a bad idea for you to have someone with you for a while.
28:20Well, why, Inspector?
28:23Well, you've had quite an ordeal, you know.
28:25I've learned to look after myself.
28:27Yes, I know you have, but even for a...
28:31You were going to say even for a normally sighted person, weren't you?
28:35Even.
28:36I know what I meant was...
28:37I know what you meant.
28:38Please don't start pitying me.
28:39It's embarrassing and unnecessary.
28:41I preferred it when you regarded my blindness as a nuisance.
28:44But I didn't.
28:45Yes, you didn't.
28:45You were quite right.
28:47Under the circumstances, it is a nuisance, but it's not an object for pity.
28:51If you want to pity anyone, reserve it for that poor old woman upstairs.
28:54Now you're being unfair to both of us.
28:55I'm angry.
28:57To think that a cold-blooded criminal, a man who's never done a decent job for his living,
29:02could come in here and kill a kindly old woman like Mrs. Temple
29:05and walk out free to make the most of what he'd stolen.
29:07He won't be free for long.
29:08Won't he?
29:11It's the first time in my life I've felt helpless since I lost my sight.
29:18Only I was able to see him.
29:20I'll raise the alarm before he got away.
29:23Then you might not have been alive yourself.
29:33I'm sorry.
29:35Sorry I blew my top.
29:37I'll probably feel better for it now.
29:40Well, now that we've both blown our tops.
29:43Is that your brother?
29:45No, my fiancée.
29:46He was killed in a road accident.
29:48I was with him.
29:49That's how I lost my sight.
29:51I remember how happy and cheerful we were that evening.
29:55He was smiling.
29:57I shall always remember him that way.
30:00Then the other car hit us.
30:02When was that?
30:03Oh, five, nearly six years ago in France.
30:06We were going on holiday.
30:10I suppose you think it foolish of me to keep a picture I can't see.
30:15But I can touch it.
30:17And the memory seems stronger.
30:23No.
30:25No.
30:25No, I'm sorry.
30:26I've told you.
30:26I have nothing more to say.
30:30No, that's quite impossible.
30:33I'm going to ring off now.
30:35Goodbye.
30:36Another reporter?
30:38You shouldn't speak to them.
30:40Oh, they know I work a switchboard.
30:42It's impossible to avoid them.
30:44I wish you'd take advantage of Mr Arthur's offer and go away for a few days.
30:47It was very kind of him, but I always feel better when I'm doing something.
30:52Anyway, the police...
30:53Are they still bothering you?
30:54Well, they came round last night again.
30:56How long this time?
30:58About half an hour, I think.
30:59Same old questions?
31:01Well, it's very difficult for them when they've got so little to go on.
31:04Oh, if only.
31:08Well, Hollings and Fulsham.
31:10I'll see if he's free.
31:14And Mr Arthur, and Mr Prater of Prentice and Weaver is calling you.
31:19Putting you through.
31:23Ah, that Mr Prater is so Irish, I can hardly understand him.
31:27You don't have to be so steely brave, you know.
31:30Well, you've had a shot that would upset anybody,
31:32and you're acting as if it were almost immoral to feel any after effects.
31:36I'm sorry, I didn't mean it that way.
31:40Jane, will you do something for me?
31:41Of course.
31:42I'd like to come and stay with you next week.
31:44No, please, I don't want you to.
31:47Oh, I'm sorry, Sophie, I didn't mean it that way.
31:49It's just that, well, I've had so many people talk at me.
31:52What I'm really looking forward to, most of all, is being quiet and alone.
31:57Well, if you change your mind, you know I'm always willing.
32:01I know, it's very thoughtful of you.
32:03Heavens, what time is it?
32:05It's ten minutes past three.
32:07Oh, I must rush.
32:08The funeral's at four.
32:10Can you manage the board?
32:11Don't worry about that.
32:12Look, are you sure you really want to go?
32:14I must.
32:15She had so few friends, I couldn't let her go without someone being there.
32:19By no human nature, the cemetery will be packed like a football stadium.
32:22Sophie.
32:23That's life, dear.
32:24You should know it by now.
32:25Goodbye.
32:27Bye.
32:40Well, I thought it was a wonderful funeral cry.
32:42I thought I'd have died myself.
32:43All them flowers, marvellous, lot of flowers.
32:45Considering she had to leave you anybody round here, put the kettle on with you, Alf.
32:48Alf!
32:50All right.
32:51Self, self, self.
32:52That's all he ever thinks about.
32:53See you upstairs, love.
32:54Oh, that's all right, Mrs. Finch.
32:56I can manage.
32:56Oh, well, ta-ta, really.
32:57You're paid for, Miss Pringle.
32:58Oh, thank you.
32:59I'll have a look at it for you.
32:59What is wrong with yourself, eh?
33:00Sheep, flippin' kids.
33:02No manners these days.
33:05Yeah, there's a big headline about you.
33:11Thank you, Mrs. Finch.
33:13Here we are.
33:14Did she face death, it says.
33:17It's a good picture of you.
33:19Uh, won't you come in?
33:21Oh.
33:22Oh, thank you, dear.
33:26Oh, it doesn't do you justice, love.
33:30Oh, well, I suppose these newspaper photographs never do.
33:32I'd really rather not.
33:33Oh, it says underneath Miss Jane Pringle at the home of Gladstone Court.
33:36I'd really rather not hear about it, if you don't mind.
33:39Isn't it wonderful, though?
33:41Wonderful?
33:41Oh, becoming famous so suddenly, aren't you?
33:43Don't you feel important?
33:44Frankly, no.
33:45Oh, get away, all this attention.
33:48People whisper as I pass in the streets.
33:50People talk to me who have never bothered before.
33:53Wonderful.
33:54I think it's ghoulish, and I'm tired of it.
33:57I don't want to hear any more about it.
33:59The reporters, everything.
34:00I suppose it's not as exciting as if you could read it in the papers for yourself.
34:04To me, the really shocking thing is that people are pleased about it.
34:08Pleased?
34:09Oh, I know they look suitably shocked.
34:11Their voices are humming with excitement, almost of a glee.
34:15Oh, I shouldn't like to say that.
34:18Isn't it the truth?
34:20Very few people used to call her Mrs. Temple.
34:22But at the funeral, everyone from the flats and all around here turned out.
34:26What for?
34:27She died in the ordinary way.
34:29No one would have certainly bothered.
34:33No.
34:35Neither of us can think of an answer for that one, can we?
34:39None that we would like.
34:42I think they was sorry, really sorry for the way she died.
34:46I wish I could share your faith.
34:49Unfortunately, I heard what too many of them were saying afterwards.
34:54They treated it as if they were at a circus.
34:57As if Mrs. Temple had been murdered, especially for their amusement.
35:03I think we should start a scrapbook for you.
35:05All these articles would be nice for you to have.
35:07Mrs. Finch, do go.
35:09What?
35:11Please, do go.
35:13Oh, I hope I haven't said anything to worry you.
35:15No, it's just that I want to be left alone.
35:18I don't feel very well.
35:19Can't I do anything for you?
35:20No, please, I just want to be left alone.
35:22I have an awful headache.
35:24Oh.
35:26All right.
35:27Oh, by the way, congratulations.
35:29Fancy leaving you the brooch.
35:31Brooch?
35:31Oh, what a nice thought and such a valuable present.
35:34You know, only last week I was saying to Mrs. Marston in the pub have...
35:42How kind Mrs. Temple was.
35:45Well, I can see you tired, so I'll leave you now.
35:47Mrs. Finch.
35:48Yes.
35:49How many people did you talk to about the brooch?
35:52Nobody.
35:53But you told me.
35:54Yes.
35:55Nobody else, I mean.
35:56Are you sure?
35:58Of course I'm sure.
36:00Just now, you mentioned about talking in a pub.
36:04Then you stopped and changed your mind what you were going to say.
36:06Why?
36:07And then when I asked you how many people you talked to about the brooch,
36:10you caught your breath too abruptly,
36:12as if you were shocked by the question.
36:14Finally, you answered too hastily.
36:17Why?
36:19Sure, I don't know what you mean.
36:20I think you do.
36:22You mentioned the brooch in the pub, didn't you, to Mrs. Marston?
36:25Who said I did?
36:26How many people could have heard you when you were shouting it about?
36:28I wasn't shouting, I just said...
36:30But you weren't whispering it either.
36:34I don't remember anyone being there.
36:36Just me and Alf and a friend.
36:38It was early.
36:39Mrs. Marston come over with some drinks.
36:42Can't you think of anyone fitting the description of the man?
36:46Think.
36:51No.
36:52I don't remember anyone.
36:55That's not true and you know it.
36:57Don't you want to help to catch Mrs. Templer's murderer?
37:02Now that you mention that there was a man sitting at a table behind me.
37:05He had a...
37:06No, he was wearing...
37:10I didn't see him really.
37:11Alf was the only one who could have done.
37:12He was sitting opposite me.
37:13Have you told the police?
37:15No.
37:16Where are you going?
37:16To telephone them.
37:17You're not going to drag me into this.
37:18Drag you?
37:20You ought to be pleased.
37:23And then I suppose she says to him,
37:25It so happens that my husband's in possession of a stolen watch.
37:27I thought perhaps you would like to know.
37:29Of course I did.
37:30I'm astonished.
37:33Well, if you didn't say that, what did you say?
37:35Nothing.
37:35Oh.
37:37Well, I believe your silence when I hear it.
37:42Tony, he was out of work and wouldn't be back till six o'clock.
37:44What did he say?
37:45He wanted to know if we'd seen the man in the raincoat at the pub that night.
37:48Then you described him down to the mole in his left eyebrow, I suppose.
37:51I didn't tell him anything.
37:53Don't try my patience.
37:55Do you mean to tell me you could be alone with anybody for more than two minutes without telling me
37:59a whole life story?
38:00Let alone the answer to one simple question.
38:02You told him all right, even if you didn't actually say the words.
38:05I didn't tell him anything.
38:06I know how you feel about it.
38:08I don't agree.
38:09I think we ought to be cooperative.
38:11Cooperative.
38:12Cooperative.
38:13One of these days, that mouth of yours has got to open just once too often.
38:17And when this cop comes back, you keep your trap shattered.
38:19That's humanly possible for you.
38:21I'll do the talking.
38:22Well, you know, I think we ought to help him a bit.
38:24After all, she wasn't such a bad old duck.
38:26Help as much as you like, so long as it doesn't affect us.
38:29Anything you say is bound to affect us, your tongue being what it is.
38:31All right, just don't keep going on at me.
38:34So, we don't want to get our name in the newspapers.
38:36If anything gets dug up about that...
38:40Here he is.
38:41You go and let him in.
38:53Is he in now, Mrs. Finch?
38:54Yes, Inspector.
38:55Why don't you go in?
38:58Good afternoon.
38:59I'm sorry to trouble you.
39:00That's all right.
39:01Won't you be seated?
39:02I won't keep him on in a few minutes.
39:04Your wife will have told you why I've come.
39:05Yes, yes, she told me.
39:07Sorry I can't be any help.
39:09You've decided that already?
39:10Well, I didn't see any man.
39:12There wasn't any bloke in a raincoat behind the missus, as far as I know.
39:15You sure of that?
39:16Positive.
39:17You realise why we want to find this man, don't you, Mr. Finch?
39:19Of course I do.
39:20But unless we get cooperation, we probably shan't.
39:23If you'll pardon me, Inspector, I'll just get on with my chores.
39:27These blokes ought to be caught, that's all I say.
39:29And none.
39:30I don't know if the murderer's been allowed to get away with it.
39:33Good.
39:34Then perhaps you'll rack that memory of yours a little more thoroughly than you've done so far.
39:38Mrs. Marston remembers what your wife, apparently, remembers.
39:41A man in a raincoat.
39:43Yet you say you never saw him.
39:44That's right.
39:45But you were facing him.
39:48Who was the other man with you that night, Mr. Finch?
39:50Well, it was only the three of us.
39:53Mrs. Marston, the missus, and myself.
39:54I see.
39:56Mrs. Marston thinks differently.
39:58Well, I might have stopped to say hello to a mate.
40:01Come to think of an inspector there was a bloke at that table.
40:05Tallish, wearing a cap and a sports jacket.
40:07Ever seen him before?
40:08No, he might have been just anybody.
40:11Ah, Mrs. Finch.
40:13When did you last see Mrs. Marston?
40:16Oh, I haven't seen her since, um, not since last week, I think.
40:20Well, it's odd.
40:21She told me she had a conversation with you this morning.
40:24Mrs. Marston?
40:25Oh, yes, that's right.
40:27So I did.
40:29Awful, isn't it?
40:30One's memory these days, you know.
40:31I find I can't remember a thing.
40:34Well, I won't keep you both any longer.
40:36Good afternoon.
40:37Good afternoon, Inspector.
40:39By the way,
40:41your friend, Harry Grimman, who sold you that watch,
40:44he didn't steal it.
40:45He won it in a raffle.
40:47It wasn't worth more than 30 bob.
40:49Hope you didn't get stung.
40:53Oh, strike a merry line.
40:58Takes a bit of thinking, you know, Inspector.
41:01Let's see now.
41:04Last Friday week, around seven.
41:08There weren't many in.
41:09I remember the Finches and Mrs. Marston
41:12and another chap with them.
41:13Let me try the next table.
41:14A big man, youngish, wearing an old raincoat.
41:18Wait a minute.
41:19I know who you mean.
41:19Sidney Wallace.
41:20Haven't seen him lately.
41:22Doesn't come in often.
41:23He wears an old raincoat.
41:24Who is he?
41:26What's he been up to?
41:27Nothing that I know of, but who is he?
41:30Lives with his mom and dad, 33 Bilston Road.
41:33Can you describe him?
41:34Tall, well set up chap.
41:37But sturdy-ish.
41:39Dark hair.
41:40Remember the color of his eyes?
41:42Well, he's only got one.
41:43Lost the other in Cyprus.
41:45But it's brown.
41:47I think.
41:50Well, there they go.
41:51All the little people.
41:52Running to and fro like bugs.
41:55And each one with a purpose of some kind.
41:58I bet I would stand on end if we knew what they were.
42:07Well, how's it going?
42:10I'm up a gum tree, Tommy.
42:13Thanks.
42:14We've got one woman who saw the murderer, and she's blind.
42:18And there's a usual, accurate description of a suspect from a number of sources.
42:24It seems he's a tall, dark young man, with fair hair, blue, black, and brown eyes, wearing a leather jacket,
42:32sports coat, and Macintosh.
42:33Noticeably on the short, fat side, but slight and thin, though burly.
42:37I don't know.
42:38I might just as well have had two heads.
42:39It doesn't give you a chance.
42:40Ah, well, that's the way it goes sometimes.
42:42Tell me, what about the, uh, will?
42:44Sixty pounds in the post office, a few savings certificates, they go to a dog's home or something.
42:49She left the brooch to our blind girl.
42:51Oh.
42:52Oh, I know, but there's nothing there, believe me.
42:56She was an unusual girl, that one.
42:58I wish I had her guts.
43:01What about the, uh, blue-eyed Mr. Jenkins?
43:05We didn't call anywhere else in the block, and I haven't been able to locate any Jenkinses in the district
43:09who'll earn up to him.
43:11Well, it looks as though you'll have to have another shot at that blind girlfriend of yours.
43:14Well, now, look here.
43:15That girl's had just about as much as she can take.
43:17She can't tell us anything else, and I'm not going on prodding and prodding her uselessly.
43:20Hey, hey, Bob.
43:21This is not like you, you know.
43:24You can't let sentiment and pity interfere with you.
43:27This is murder, Bob.
43:28You've cracked harder cases than this.
43:32You know, that's what the girl said.
43:35About pity.
43:39Oh, I don't know what's the matter with me.
43:40Yeah, it makes you wonder why we go on being coppers, eh?
43:43Half the time the public can't help us, and the other half they won't.
43:48There's nothing that knocks the stuffing from underneath their feet quicker than that.
43:52You know, if we could only get them to realise some personal responsibility to the law that protects them,
43:57it'd all be a downside better off.
44:00Well, I'd better go and see her again.
44:02She must have loved the sight of me by now.
44:04Well, at least it has its compensation.
44:06She can't see you.
44:07Go on, I'll give you a drink.
44:13But we've been over it again and again and again.
44:16I don't know what I have said and what I haven't said.
44:18How many more times must we go over it?
44:20I'm sorry, but it's the only way.
44:22When we haven't got a lead, we just have to go on,
44:24dredging over the same old facts till something turns up.
44:26Well, I can't go on any longer.
44:28I really can't.
44:29If you want to complain that I exceed my duty, I can't stop you.
44:34No, of course I don't.
44:36You know, there's always some small thing, some minute point that's been overlooked.
44:40It's either in your brain or in this building.
44:42But we'll find it.
44:44All right, then.
44:45Where should we start?
44:46Voices.
44:47Whose?
44:48Everyone's.
44:49You once told me that they tell you more about people than faces.
44:53Is that true?
44:54Yes.
44:55You see, the blind can't be deceived by any false appearances because, well, we don't see them.
45:02Or the pretty face, the good hands, the hell-fella-well-met type, the clothes and the honest stare.
45:11All of those are often lies, but they can't be told to us.
45:15Go on.
45:18A sudden intake of breath when someone's about to tell the truth, then realizes it's dangerous.
45:25A little pause before an untruth.
45:27And equally, I suppose, the too glib explanation.
45:31Yes, we always recognize that one.
45:35What sort of voices do you like most?
45:39The shy ones.
45:41The voices with humor in them.
45:43There's something warm about them.
45:45But a harsh voice that's dreadful when one lives only in a world of sound.
45:51That must be the one you dislike most.
45:54No.
45:55The voices we detest most are the over-quiet ones that cover ruthlessness.
46:00In voices with a kind of pity that really insensitive people put out like a smokescreen.
46:06Well, I can see I've got a lot to learn.
46:10Shall I make a cup of tea while I go on with your education?
46:12I'd like that very much.
46:13Afterwards.
46:14Afterwards?
46:15I want you to come out on the stairs and re-enact that night again.
46:17But we've done it over and over...
46:19Let's do it once more, shall we?
46:21All right.
46:27Well, what do you want me to do?
46:28Now, you stay here and I go up and play the part of the killer.
46:34I want you to come out of your room and what happened.
46:37Not roughly.
46:38Exactly.
46:40And take your time.
46:43Well, I came out of the door and walked across the hall to the stairs.
46:51Then I heard a click up there and I stopped at the bottom of the stairs like this and called
46:55out,
46:55Is anyone there?
46:57Oh, then I heard him move across.
47:00Then I put my hand on the banister and went up a couple of steps.
47:05And called out again.
47:07Then is when I heard him move down.
47:09Right.
47:09I'm moving down towards you.
47:11Well, I called out again as I moved up.
47:15Who is that?
47:15Who are you?
47:17Oh, this is where I first heard him breathing heavily.
47:21Then?
47:22Well, I called out again.
47:25Who is that?
47:26What are you doing?
47:30And then he'd gone.
47:32Oh, that was after I touched his hand, his right hand.
47:35Nothing else?
47:36No, his back slid across my fingers as he moved on.
47:39He pulled his hand back and he'd gone.
47:42His hand?
47:43What sort of gloves was he wearing?
47:44Could you tell?
47:45Oh, it wasn't his gloves I touched.
47:46It was his hand.
47:47It couldn't have been.
47:47But it was.
47:48Are you sure?
47:48I remember it distinctly.
47:50I remember how Kildis Vashfeld.
47:52He must have taken his gloves off after he left the flat.
47:55Well, that one anyway.
47:57Right.
47:57Well, do the action again.
48:03No need to concern yourself.
48:05We're just playing a game.
48:07Oh, I just thought.
48:09For two only.
48:14Right.
48:18Ready when you are.
48:22I'm nearly level with you.
48:25I've reached out.
48:26Stop.
48:27What part of the man's rancor do you think you're tight?
48:30The belt line.
48:31In the middle, in the state, just where you are.
48:34Did you notice anything such as...
48:36Yes.
48:37The macket.
48:38It seemed to be hollow.
48:39Oh, he pulled in his stomach muscles to flatten himself.
48:42He must have pressed against the wall.
48:45And his hands must have pressed against it, too.
48:47Oh, if his glove was off.
48:50Fingerprints.
48:51That's it.
48:52Our first break.
49:18Who is it?
49:19Adams of the news.
49:21John Adams from the news.
49:24I'm sorry.
49:25I don't want to answer any more questions.
49:27I'm not a reporter.
49:28I'm a photographer.
49:28I don't want any more pictures, either.
49:30I'm sorry to trouble you, Miss Pringle.
49:31But please don't turn me away.
49:33I've only just got this job.
49:34Please, leave me alone.
49:37Take your foot out.
49:39Miss Pringle, listen to me.
49:41I've got a wife and child.
49:42If I don't bring back a picture, I might lose my job.
49:45It's not fair.
49:48Well, all right, then.
49:49I suppose you'd better come in.
49:51Thank you very much.
49:53Go through to the living room.
49:57I'll just put some lights on for you.
50:02Now, exactly what is it you want to know?
50:07My editor said I was to get a picture of you wearing the brooch.
50:09No.
50:11I won't have that.
50:13Believe me, Miss Pringle.
50:14I don't like this to have been you like this.
50:16I know you must be sick and tired of it all.
50:18But you must understand that at the moment, you're an important person.
50:21Newspaper readers want to know everything about you.
50:23I only understand that I want to be left alone.
50:27We're willing to pay.
50:29No.
50:33Very well.
50:34I won't insist.
50:37Goodbye, Miss Pringle.
50:39All right, then.
50:41Please be quick.
50:43I'll just go and get the brooch.
51:10Is, uh, is this all right?
51:12It's fine.
51:15Now, if you'll just come a bit closer,
51:17look towards where my voice is coming from, Miss Pringle.
51:19That's it.
51:21Just like that.
51:24Just like...
51:26I'll wait till I've gone.
51:27No, please take care of your...
51:28No, no, I'll wait till I've gone.
51:29I've got some adjustments to make.
51:31All right.
51:36Good evening.
51:37Can I come in?
51:39I was just having my photograph taken again.
51:41I do.
51:42Do you want it taken?
51:43Not really.
51:44I don't have it.
51:46You heard what the lady said.
51:48Can I come back later?
51:49No, please take it now and go.
51:53What paper are you from?
51:54The news.
51:55Surely they don't want a picture that's stale?
51:57Please, Inspector, let them take it and we'll get it over with.
52:01Hold it.
52:02Just like that.
52:03Lovely.
52:04Thank you very much.
52:05I'll let you out.
52:08Good night.
52:12Well?
52:14Not as much as we hoped for.
52:15Well, why not?
52:16The fingerprints were excellent.
52:17A complete set.
52:18They matched some we found almost a year ago
52:20when an old woman was assaulted and robbed.
52:22But we don't know who the man is.
52:24He was never convicted.
52:27So.
52:29You're right back where you started.
52:31I'm afraid so.
52:33You know,
52:35I've got two suggestions to make to you.
52:37Oh, what's that?
52:39One, that you put that brooch in a bank
52:41and two, that you fix a guard chain on your door
52:43and don't open it till you're sure you know the person
52:45and want to see them.
52:46That's the beginning of living in fear.
52:48Oh, I know I'm anyone's victim,
52:50but, well, I've just had to trust people.
52:53Hmm.
52:59May I make you a present?
53:01Of what?
53:02The chain.
53:05That's very kind of you.
53:08Well, I...
53:09I just dropped in to let you know the result.
53:12I suppose I'd better be going.
53:13Would you like a cup of tea?
53:14I was just going to make one.
53:15Well, if you're sure.
53:16Of course I'm sure.
53:20Did you move the candlestick?
53:21No.
53:24It's not in the same position as it was a little while ago.
53:27Oh?
53:27It was touching the ashtray.
53:29You must have moved it accidentally.
53:32No, I don't think so.
53:34I suppose it's possible.
53:36Well, I'll just go and get the tea.
53:38Thanks.
53:39Can I give you a hand?
53:39No, thanks.
53:40I shall be long.
54:22Who is it?
54:23It's me.
54:24Adams of the News again.
54:25Oh.
54:28Good evening.
54:32Have you got the picture?
54:33I'm terribly sorry, but it was no good.
54:35I was too rushed and I muffed it.
54:37Oh, I am sorry.
54:38I hope you didn't get into trouble.
54:39I certainly did.
54:40I'm sorry to ask you, but could we do it again?
54:43Well, we shall have to, won't we?
54:45I'd hate your wife and child to suffer.
54:48That's very kind of you.
54:49What's the time?
54:51Eight five.
54:52Well, you'll have to be quick.
54:53I have a visitor coming at quarter past.
54:55Not more than five minutes, I promise you.
54:57Well, how shall I stand?
54:58Is this all right?
54:59No, I think sit on the sofa.
55:00But don't forget the brooch.
55:02Oh, all right.
55:03I'll just get it.
55:26Will this do?
55:27That's fine.
55:28Will you sit down now?
55:32Like this?
55:36Still now, huh?
55:39Why are you doing this?
55:44All right, Adams.
55:53You'll let me kill me, then.
55:54I'll kill you.
56:23Foolish of you to come back, wasn't it?
56:24and you should always put things back exactly the way you found them
56:27or remember to wipe your fingerprints off.
56:31Where is he?
56:33Over here.
56:38So this is the face of the man that killed Mrs. Temple.
56:43A good face.
56:47The face of a murderer.
56:51You killed an old woman living alone.
56:56Trusting to the goodness of other people to see her through what was left of her life.
57:02How frightened she must have been when she realised at the end she was alone with a savage animal.
57:11A poor old woman to die in fear.
57:17It won't help her now.
57:19Take him outside.
57:30I'm sorry.
57:32It's all over now.
57:36There's no doubt that he did it.
57:39Well, none at all.
57:40The prints on the wall match those we found on the candlestick.
57:43Exactly.
57:46You should be very proud.
57:48It was foolish to let him in in the first place.
57:50I didn't like his voice.
57:52It was too gentle and too ruthless.
57:55But I felt sorry for him.
57:57You'd say that was wrong, of course.
58:06It isn't always wrong to trust your instincts.
58:12Do you have to go?
58:14I'm afraid so.
58:16But I'll be back tomorrow to fix the chain.
58:18Oh, and who shall I need it against now?
58:20Well, maybe me.
58:21I have no official reason for being here anymore.
58:24I'd rather go up there, have it, you know.
58:26We'll deal with that properly.
58:27Come to it.
58:29Good night, then.
58:32Good night.
58:34Good night.
58:34Good night.
58:54Good night.
59:21Good night.
59:22Good night.
59:22Good night.
59:25Good night.
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