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The cynical, film-noirish, war-time film was shot on location in the small, story-book town of Santa Rosa, California - a representative place of sacred, wholesome, middle-American values where dark corruption is hidden within a family. A real-life mass murderer in the mids named Earle Leonard Nelson, dubbed with the macabre nickname "Merry Widow," strangled middle-aged women until he was hanged in Louis , and eminent Pulitzer Prize-winning playwright Thornton Wilder. The dualities of good and evil in the film are exemplified by numerous pairs or doubles: Gay Nineties bourgeois couples dressed in elegant ballroom gowns and suits waltz dizzingly together as the "Merry Widow Waltz" plays. The dreamy, old-time scene of the splendid, bygone era has nothing to do, it only seems, with the drama to follow, until Charlie Oakley's crimes are later revealed. The titles dissolve to a panoramic view of a river bridge a symbolic indicator of connection or linkage. A third dissolve displays a street scene where youthful children are playing ball in a working-class city block, and a nearby apartment house No. After a close-up of one window in the row house, a dissolve transports the camera into a small room. A fully-dressed, vacantly lost in thought, dormant Charles or "Uncle Charlie" Oakley Joseph Cotten stiffly reclines on the bed dead and coffin-like during the day in his cell-like room in the seedy Philadelphia rooming house. He plays with the phallic cigar that he is smoking, seemingly bitter and cynical. On the bedside table next to the indifferent, apathetic, world-weary, paralytic man are objects he holds dear - a shot glass of whiskey, another glass of water for a chaser, and an open billfold with a carelessly-strewn pile of bills on top some of the bills have toppled to the floor and lie srewn around. The overweight, middle-aged landlady Mrs. Martin Constance Purdy knocks on the door and intrusively enters, identifying him as Mr. Spencer an alias based upon his mother's maiden middle name! They was sorry you wasn't in. I said you wasn't. Although all indications reveal her boarder's underworld connections, she naively ignores them. He mentions oddly that if they return, she should let them in. And he notes the odd circumstance that his "friends" couldn't recognize him: You oughtn't to leave all that money lying around like that. Oh, it makes me nervous to see money lying around. Everybody in the world ain't honest, you know. Though I must say I haven't had much trouble that way. Those friends of yours told me not to mention they'd called. Wanted to surprise you, but I thought you'd like to know somehow. Yes, yes, of course. If they come back, you must show them in Martin, it's very funny. They aren't exactly friends of mine. They've never seen me. That's odd, isn't it?.. Now that I'm here, I'll have to meet them. I may even go out and meet them - and then again, I may not. To allow him to continue his nap, the busy-body landlady solicitously lowers the blind before leaving - its shadow is drawn down over his morbid face. Rather than inducing sleep, the darkness causes him to sit up alertly, like a vampire-creature rising from his coffin. He raises the blind and observes the two visitors waiting outside for him - rhetorically in voice-over , he dares them to locate his evil guilt: You've nothing on me. They ignore him, but pursue after their prey filmed from high above in a barren, abandoned lot, quickly losing his track and appearing bewildered by his sudden and elusive disappearance. The camera pans and twists to the left, locating the cigar-smoking character in profile on a rooftop - a short clarinet riff emphasizes his amusement at the scene. After a dissolve and a close-up of a dial-telephone on a wall in a dingy pool room, Charles calls the Postal Union to send a telegram to his sister Mrs. Joseph Newton in Santa Rosa, California. He invites himself for an extended stay as a place to take sanctuary , and ironically challenges them to "try and stop me": A smiling, avuncular traffic policeman directs downtown traffic in an orderly fashion. Young "Charlie" Charlotte Newton Teresa Wright is lying fully dressed in the same supine position on her bed as her Uncle Charlie in the first scene, meditating or deep in thought - her arms cradling her head on a pillow. The ringing of the downstairs telephone introduces Charlie's 9 year-old bookwormish, precocious, bespectacled sister Ann Edna May Wonacott with her nose buried in the dreamy romantic novel Ivanhoe. She answers the phone call from Mrs. Henderson Minerva Urecal at the Postal Union office, but doesn't write down the message for lack of a pencil, explaining: Her father, Joseph Newton Henry Travers arrives home from work and gives his young daughter a tentative kiss. He learns about the telegram and expects the worst - possibly a car "accident" caused by his newly-licensed sister: Here I am, practically a child, and I wouldn't read the things you read. Well, I guess they'd give ya bad dreams. You don't understand, Papa. Upstairs, Charlie lies "thinking for hours," psychologically restless and despairing to her calm, bank-teller father of her family's entrapment in a passion-less, middle-class life where "nothing happens". Rather than wishing to discuss "money" like her Uncle , Charlie wishes to speak about "souls. I've come to the conclusion that I give up. I simply give up. What are you going to give up? Have you ever stopped to think that a family should be the most wonderful thing in the world and that this family's just gone to pieces? Of course we have. We just sort of go along and nothing happens. We're in a terrible rut. It's been on my mind for months. What's gonna be our future? The bank gave me a raise last January. How can you talk about money when I'm talking about souls? We eat and sleep and that's about all. We don't even have any real conversations. Yes, poor mother, she works like a dog, just like a dog When she comes back, it will be the same thing. Dinner, then dishes, then bed. I don't see how she stands it. You know, she's really a wonderful woman. I mean, she's not just a mother. And I think we ought to do something for her. Don't you think we should? What were you thinking of doing for her? Oh, nothing I supppose. I guess we'll just have to wait for a miracle - or something I don't believe in good intentions anymore. All I'm waiting for now is a miracle. Suddenly, Charlie's spinsterish mother Emma Newton Patricia Collinge [Emma was the name of Hitchcock's mother - she died in England during filming] makes a dramatic appearance at the bedroom door, speaking her first words [and foreshadowing an "accident" that will occur later in the film]: Charlie conjures up a means of salvation - for both her own innocent, teenage romantic dreams and for the health of her family - another more potent, enlivening male figure. Identifying with her mother's lack of a dashing husband in her marriage, she longs to provide a romantic substitute or a religious savior: I know a wonderful person who will come and shake us all up, just the one who will save us All this time, there's been one right person to save us. Mother - what's Uncle Charlie's address? He'll come for me. I'm named after him. Besides, we're the only relatives he has in the world. Meanwhile, Charlie's younger brother Roger Charles Bates has burst through the front door, sharing his mathematical obsession with measuring distances by his footsteps: Six hundred and forty-nine Coming by the way of Fourth Street, it's eight hundred and two Tomorrow, beginning when I get up in the morning, I'm gonna count every step I take all day Ann criticizes her mother's mis-use of the telephone and doubting of advanced technology when she calls for the telegram's message: She makes no allowance for science. She thinks she has to cover the distance by sheer lung power. Henderson, do you believe in telepathy? Well I ought to, that's my business.
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