A Window in London 1940

Pat Thompson, Patricia Roc works as a hotel switchboard operator at an exclusive London block (the exterior shot is at Dolphin Square). She finishes a late night shift exhausted, forgetting to place an alarm call for a client. She heads home to her new husband, Peter Thompson, Michael Redgrave, a crane operator who spends his days on the construction of Waterloo Bridge. The couple are clearly in love, sharing a quiet happiness, yet their days rarely overlap. Peter’s crew teases him about his “night starvation” as he writes off his wife’s nocturnal routine, and the couple’s time together remains precious but limited.

One morning on the Tube, a moment that feels out of place shatters the calm: Peter witnesses what looks like a murder in a balcony scene—a man stabbing a woman. His curiosity pulls him toward the apartment where the incident occurred, accompanied by a policeman. Inside, the man, Louie Zoltini, Paul Lukas, a sharp-tongued magician, and his wife, Vivienne Zoltini, Sally Gray, claim they were merely rehearsing an stage illusion. Peter, earnestly trying to help, offers Zoltini some money to ease any “problems,” and even takes the dummy knife as a souvenir. The officer notes Peter’s name and address so the inspector can thank him later. But once Peter steps away, a quarrel erupts between him and Zoltini over the truth of what happened, souring the moment and foreshadowing trouble.

That afternoon Peter’s presence becomes the subject of gossip when a reporter tries to flog a sensational story. A photograph of Peter surfaces in the evening paper, framing him as a hero who intervened in what appeared to be a real crime. Yet his workmates see the dummy knife and mock him, blurring the line between courage and foolish publicity. After a day of mixed signals, Peter goes to see Zoltini, only to find Vivienne in his dressing room. She invites him to see their show that night. When Zoltini arrives later, he is furious at Peter’s perceived meddling and accuses him of overstepping boundaries.

The night wears on, and Pat’s alarm call still hasn’t been placed. Meanwhile, Max Preston, an impresario who is smitten with Vivienne, offers to take her away and secure her bigger opportunities. Peter arrives backstage to collect a free ticket, and the tension between Zoltini and Peter resurfaces. Zoltini’s jealousy converges with Vivienne’s ambition as another quarrel erupts, culminating in Zoltini striking Vivienne just before a performance. In the finale, Vivienne is supposed to vanish and reappear in a trunk as part of Zoltini’s signature trick. She disappears, but does not reappear in the trunk, leaving the audience and management aghast and leading to a chastening dismissal of Zoltini.

Vivienne doesn’t stay put. She slips away with Peter, and the two sneak off to the crane on Waterloo Bridge for a private moment, sharing a kiss while Pat, stuck at home, wakes to the sounds of the night. The night watchman nearby hears the disturbance and the lovers hurry off before dawn. Pat’s misfortune deepens as Pat is fired for her supposed shortcomings the night before.

Hurt and angry, Zoltini vows revenge and heads to a cafe where a taxi driver is supposedly waiting with information. In the meantime, Max Preston puts on a show at his nightclub where he keeps Vivienne close and uses a hostess to tease Peter, who has become intoxicated on champagne. Vivienne realizes she has left her handbag somewhere in the crane and asks Peter to retrieve it. The night watchman finds the bag and returns it to Peter, who now feels a strange mix of relief and dread. Zoltini appears, recognizes the handbag as Vivienne’s, and attacks Peter. The struggle ends with Zoltini plunging into the river and appearing unconscious, leaving Peter to believe he has killed the man.

Back at the nightclub, Vivienne signs a contract with Max for a big break, while Peter confesses to the crowd that he has ended up killing someone. The guest who had missed his flight—leaving on a later, doomed plane—finds a cruel satisfaction in the crash that followed, which leads the hotel manager to rehire Pat for a day job as compensation for the earlier mishap. Peter wanders the streets in a daze, while Pat returns home with a renewed sense of purpose and hope for employment.

The night’s emotional pendulum swings again when the river police eventually pull Zoltini from the water, alive but shaken. Zoltini and Vivienne briefly reconcile, and Pat and Peter begin to settle into a fragile normalcy, buoyed by their own small triumphs. Yet the tale’s tension remains unresolved. As Pat and Peter ride the Tube past their window, a new truth looms: Zoltini discovers Vivienne’s contract and a ticket to New York tucked in her purse—placed there by Max—and he shoots her, leaving her body in a position where it cannot be seen as the train passes. The shock of that moment sticks with Peter: it marks the point where everything began, and it casts a long shadow over the couple’s attempt at happiness.

In the end, the film lingers on a stark reminder of how one night’s choices ripple through a tight-knit circle of lives. The intertwined fates of Pat, Peter, Vivienne, and Zoltini reveal how ambition, passion, luck, and a string of misread moments can push ordinary people toward extraordinary consequences. Through a blend of suspense, private longing, and urban noir atmosphere, the story unfolds as a cautionary tale about trust, fame, and the unpredictable cost of staying together when the world around you refuses to stand still.