He, therefore, is able to listen to the entire conversation. While Forrester is getting Mrs Thomas on his side, who should turn up but Dr Fleming? As soon as the doorbell rings, Forrester hides himself, but keeps his gun trained on Mrs Thomas, whom he instructs to stay within sight. Mrs Thomas is initially shaken but settles down soon enough-enough to accept that Forrester only needs shelter for the night, and that he may not be insane. He soon emerges, confronting her as he grabs one of her husband’s guns and changes into her husband’s clothing. When she comes down again, Forrester has entered the house. Mrs Thomas (who’s been clad in a swimsuit she was trying it out in preparation for an event where she’s going to model it) goes upstairs to change. Rogers leaves, with a last word of caution to Mrs Thomas.
Nothing is found, of course (Forrester, clinging to the outside wall, is well-hidden). Rogers, however, asks for permission to look around the house, and Mrs Thomas is happy to let him do so. Mrs Thomas says that she’s alone at home her husband, Evan Thomas, is away on work in Amsterdam and is expected back only later that evening. Rogers introduces himself and tells her about the man who’s escaped from the institution. The door is opened by Mrs Thomas (Joanne Woodward). Forrester is able to hide and remains unseen as Rogers rings the doorbell. This he finds in a house he’s long admired: a house which was perhaps once a mill, because it stands beside a large mill pond and is partly built around a great big mill wheel.įorrester sneaks stealthily up to the house, just as another person-Police Constable Rogers-arrives as well. He comes to soon enough and sets off looking for a safe haven. Running through the woods surrounding the institution, Forrester runs straight into a tree and gets briefly knocked out. He then quickly strips Fleming of coat and hat, dons these himself, and manages-after knocking out another man and then turning off the power to the electric fence-to escape. Fleming returns to Forrester’s cell late that evening to give him the sad news-and, when Fleming turns his back for a moment, Forrester springs on him, bashes him on the back of the head, and knocks him out cold. It comes to nothing despite all Fleming’s assurances that Forrester is sane, the plea is turned down. Fleming agrees he knows well enough that Forrester spends a good bit of his time looking longingly down at the village.įleming keeps his appointment at the meeting to discuss the possible reopening of Forrester’s case. He’ll be able to pick a house to live in, in the village of Milhampton, he tells Fleming. Forrester seems reassured, and hopeful that he will finally be cleared. There is probably a good chance of having the case reopened. He assures Forrester that he is convinced of Forrester’s innocence. It has this completely insane clause that if a criminally insane person escapes from the asylum and remains at large for 14 days, his case is then liable to be reopened. It’s an idiotic thing, the Lunacy Act, Fleming says.
Fleming has known Forrester these past five years and is due to represent Forrester in an upcoming debate regarding the possibility of bringing up Forrester’s case again. With Forrester is his psychiatrist, Dr Mark Fleming (Edward Mulhare). When the film opens, he’s outdoors, shoveling earth in the shadow of the high electric fences that surround the institution. Alex, who was accused of murdering his wife, has been in the asylum for the past five years. Here, at a local asylum for the criminally insane, lives Alex Forrester (Stuart Whitman). Signpost to Murder begins in an English village named Milhampton. The other day, I was again reminded of that, and this time decided I had to watch the original. This film has been on my radar for a long time now-since I discovered that one of my favourite Hindi films, Ittefaq, was based on Signpost to Murder.
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