As Bruno begins to strange Miriam, Hitchcock cuts to a close-up of the glasses. Reflected in one of the lenses, we can make out two struggling figures. The view in the glasses is distorted and provides a carnivalesque, fun-house perspective, yet we can tell that Bruno is completely overpowering her. By denying us any other perspective and by refusing to chop up the sequence with editing, Hitchcock implies the hopelessness of Miriam's situation. Nothing can be done for her. Nothing can stop Bruno's hands as they continue to close around her throat and life gradually leaves her body.

(Photo credit: © 1951, Renewed © 1951 Warner Bros. All rights reserved.)