Original subtitles

♪ (dramatic music)

♪ (whistling music)

♪ (dramatic music)

♪ (dramatic music)

- I am the Whistler, and

I know many strange tales,

many secrets hidden in

the hearts of men and women

who have stepped into the shadows.

Tonight, I am keeping

a strange rendezvous.

♪ (whistling music)

Here is a strange man,

formed in God's image

according to the Bible.

But how far is image from mirage?

The two words sound alike.

This man looks like all others,

but what separates him from his fellows?

It cannot be seen by the naked eye.

♪ (whistling music)

♪ (dramatic music)

His name is William Everest,

and he is a man with a ghastly mission,

which will not let him rest

until it is successfully accomplished.

But the best laid plans

which men sometimes make

have a habit of going astray.

Whether in this case for good or evil,

only the events of

this night can foretell.

♪ (dramatic music)

(tires screech)

(tires screech)

- Hey! - Did it hit you, bud?

I see it, just missed him!

- What's the Conte's head on

this lab post or something?

- Shall we call an ambulance?

- No, no, no, no,

don't call, I'm all right.

- You must have given

yourself a heck of a whack there,

fellow. - Oh, sorry, sorry.

- Are you sure you're all right?

- Oh, great.

- I've seen half the

license number, Mr. Mayor,

you want to sue him or something.

- Oh, it's 2-V-6? -

It's all right, thank you,

thank you.

- Oh, I never!

- Well, put yourself out for some people,

and you don't even rate a thank you.

- Oh, maybe he's still punched off

that bump on the head he

gave himself or something.

♪ (dramatic music)

- He hesitated.

A thought must have run through his mind.

It took no longer than a second or two,

yet whose destiny may have been changed

by this sudden impulse

which took William Everest

through the door of this little cafe

down here in Greenwich Village.

And how will the fate of William Everest

himself be affected?

♪ (dramatic music)

- Good evening, able, sir.

♪ (dramatic music)

- Jim.

- Again?

- Oh, Jean's just good

because the girls play

for their lunches

down the store every day.

She gets all that practice.

- Haven't had to buy lunch for two weeks.

- You'll be sorry when

all that pretty food starts

showing itself around the hips.

(both laugh)

- Fourteen.

♪ (dramatic music)

- Two-fifty.

- Play another?

- Uh-uh, we oughta get going.

- Let me tell your fortune.

- No, thank you.

I like to come up on mine gradually.

Makes it that much more interesting.

- How about you, Charlie?

- Say that.

I know my fortune already.

♪ (dramatic music)

- Think I'll tell his.

- Whose?

- The good-looking man over at the bar.

- Noi?

- Never saw him before in my life.

♪ (dramatic music)

- Mmm, that doesn't look so good.

- Death.

♪ (dramatic music)

What does it say?

- Within 24 hours.

♪ (dramatic music)

- There's their cardigan.

♪ (dramatic music)

- Within 24 hours.

- Ah, come on, let's go to a movie.

- What shall I do?

- Oh, don't be ridiculous, darling.

- You're not taking this

little part of the game seriously.

- Oh, I know it's silly, but--

- It's not only silly, it's childish.

♪ (dramatic music)

- He's going.

- Only to another bar,

I'll bet you on that.

- Well where are you going?

- Somebody should tell him something.

- Oh for heaven's sakes, Jean,

you're acting like a school kid.

Somebody should tell him something.

He'd think you were crazy.

- Or just trying to

pick up an acquaintance

who wouldn't be ladylike.

- I know, but the cards.

- Oh forget it, he's

going out of that door

and out of our lives.

- Never even came in before.

- Jean, don't be a fool, come back here!

- What do you know?

- She sure takes her card, sir, you see.

- She's got too much

imagination for her own good.

- Oh, don't worry about it.

So she tells him he thinks he's a

first-class screwball

and then it's all over.

(dramatic music)

- Please sir, I, well, I beg your pardon,

but two times the same

thing happened I just had to.

- I beg your pardon?

- Well it was the

cards, both times the cards

are the same thing at all.

You think I'm ridiculous.

- Well, let's say instead original.

- If you think I'm trying

to make your acquaintance,

you're very much mistaken.

- Oh, and disappointed.

- Well I, Phil, I had to

tell you for your own good.

- Well I'd be very

grateful for your concern

if I knew the reason for it.

- Oh, I told you.

- Well so you did.

But what?

- The cards.

- Cards?

What cards?

- You're laughing at

me, I don't blame you,

but you see, I was telling

your fortune in that cafe.

- Oh, playing cards.

I see.

Did my fortune amuse you?

- It frightened me.

- Why?

- Well I thought I should tell you.

- What did the cards say?

- Well they said.

- What did they say?

- That you're in very great

danger for the next 24 hours.

Two times, one after the

other, it said the same thing.

And I shoveled the cards very well too.

Does that suggest something to you

or warn you of someone perhaps?

- It suggests nothing and

warns me of absolutely no one.

- Well please just the same,

take care of yourself the next 24 hours.

- Maybe you will be

kind enough to help me.

- Aren't you well?

- I, I'm sorry, I had a little accident

and I'm all right, I just

thought I'm kind of dizzy.

- Oh well come on over here and sit down.

The owner of this car

won't object, I'm sure.

Let's go in here.

- Feel any better?

- Oh I'm all right.

- Still a little shaky.

- A little.

- What a doctor.

- No, no.

It's just that I'm ashamed to admit it

but I don't seem to be

able to remember my name.

Stupid of me, isn't it?

- I hope you're not injured more

than you're willing to admit.

- No it's outside of a little density,

I feel as well as I ever have.

I stopped in that bar

over there for a drink

and thought it would

sort of clear my head.

- And it failed?

- I'm afraid so.

- You remember nothing

about yourself at all.

- Only that I had someone to see

and something very

important to do but who and what.

- Maybe you have

something in your pockets

that would tell us who you are.

- Oh I doubt it or I

don't know it by now.

- Well let's look at them.

Come on please.

- Very well.

- Gee I wonder what's

taking Gene so long.

- He's a pretty good looking guy.

Maybe Gene's gone into details.

- You better get the check Charlie.

- Waitress.

- Well that's the lotch.

- Cigarette lighter,

doctor's prescription

and an order for a birthday cake.

- Receipt for two

dozen American giddy roses.

A Canadian dollar with a

license number penciled in.

- Key.

- And a railroad schedule

with Woodville checked off.

- Doesn't mean very much does it.

- Well there's a name on this one.

- Yes.

- Two dozen American beauty roses to

Constantina, Constantina

evenesca civic theater.

Well that's marvelous.

- It is?

- Well of course don't you see?

You must have sent

these roses and the lady's

probably a friend of

yours and all we have to do

is visit her and it'll all be

straightened out in no time.

- I'd have thought of that myself.

I'd had my wits about me.

- Each one of these probably tell us

something about you.

All we have to do is track them down.

- You know you're as ingenious

as you are beautiful and kind.

- What?

Oh well I hope you don't mind.

My friend was ill and

we came in here to rest.

- Oh okay.

Can I drop you some please?

- Well civic theater.

I'm going right past there.

- Oh thank you.

- Right sir.

(engine revving)

(engine revving)

- Who brought the stage door George?

- Why did he call me that?

- I don't have to do it.

We find out what your real name is.

- Wait a minute.

You can't go in there.

- We'd like to see--

- We must see Constantina Ivanesca.

- She's on the stage.

- We'll wait inside.

- Not so fast young lady.

Are you friends with Miss Ivanesca?

- Oh but the best.

- She didn't say

nothing about expecting you.

- We wanted to surprise her.

- I'm sure she would

get a kick out of it.

- You certainly know your way around.

- You can't live in New York long.

Ignorance.

- There you go.

(dramatic music)

- Who would you like to see?

- Oh we're friends of Constantina's.

- Yes ma'am, Miss

Constantina's on the stage right now

but she'll be coming along very soon.

- Well we'll wait inside.

- Yes ma'am.

Remember this place at all George?

George?

- What?

- Do you remember this place at all?

- I don't think so.

- Well Miss Ivanesca

will be here in a minute.

I hear she's very beautiful.

- You sure?

- I'm sure you remember her.

I'll tell you how many

minutes you can forget.

- So Tilda.

- Who are you?

- What, what can I do for you?

- Are you Constantina Ivanesca?

- Yes.

- Well here's a friend of yours.

- What is this, a joke?

- You don't know him?

- No.

Are you playing a game?

- Don't you recognize her George?

- Mm-hmm.

- Will you please explain this

extraordinary conduct?

How did you get by the doorman?

- Bribery.

- But why?

- My friend thought I knew you.

- The more you explain,

the less I understand.

- Well you see George

had an accident and well--

- Oh now I understand.

I'm sorry but I cannot

be of any help to you.

I'm positive that this gentleman and I

do not know each other.

- Tilda, where have you been?

- I've been fixing the flowers.

- Well help me dress.

- Those roses, who sent them?

- Young lady, you're becoming tiresome.

They were sent to me by my fiance.

And now if you'll

forgive me, I must dress.

Good night.

- Thank you for your kindness.

(car engine rumbling)

- Good evening Mr. Reynolds.

Miss Ibanezka's in her dressing room.

I'm sure she'll be out very shortly.

- George.

- Yes?

- Are you sure?

Very sure you don't remember that woman.

- Believe me, I'm not trying to be funny.

I'm more anxious to find

out who I am than you are.

- I know but--

- But what?

- Guess we'll just

have to try running down

one of the other articles.

- My doctor's prescription.

- It hasn't any patient's name on it.

- It has my doctor's name and address.

- Perhaps we should

have tried that first.

Might have saved us a lot of trouble.

- It's my turn.

Taxi.

- Where to?

- Oh what is that address?

- 29 next to street.

- Got it?

- Okey.

- They overshot the place,

we must all back up if you want me to.

- No this way here please.

(footsteps)

- Oh there it is.

- Hello little lady.

My, what a pretty kitten.

- Her name is Fizzy.

- It's number 29 all right,

but there's no doctor's office there.

- Well maybe the owner can tell us.

Shall I go with you?

- Don't bother, I see

you've been charmed away from me.

I'll be back in a second.

(door opens)

Anybody here?

Anybody here?

- Good evening.

- Good evening.

Could you tell me where I might find

Dr. Noel J. Hendricks in this building

or in the neighborhood?

- There is no doctor in this building

or within a radius of

four blocks from here.

- Are you certain?

- I have been in

business here for 15 years.

The neighborhood is poor,

and to the poor, doctors are a luxury.

- Well I have a prescription here

that was issued to a friend of mine

by Dr. Hendricks at this address.

- Isn't your friend able to

say exactly where he got it?

- Well his memory was

affected by an accident.

He's right out here.

- I know little girls like ice cream.

- Oh thank you.

Will you look after Fudsey please?

- I'll take good care of her.

Yes, I remember very well.

I have a phenomenal memory for faces.

He was in here last week.

- Oh you know him then?

- No, he just came in looking for a book.

- Did he buy one?

- No, just thumb through it.

Interested in research I think he said.

- Oh.

- A great many people come

in here just to browse around.

- Do you recall the title of the book?

- It happens to be a

great favorite of mine.

- Noel J. Hendricks, MD.

But that's the same name as

print on this prescription.

- Very strange, and most interesting.

This man has been dead for 50 years.

- Well thank you for your trouble.

- Any luck?

- I looked so simple at the beginning.

- Oh come on, the taxi's waiting.

- Where to now, mister?

Just drive, okay.

- Thank you for the

ice cream cone, mister.

- Missy, oh Missy.

- You've tired yourself

too much on my account.

- That's all right,

maybe we should go home

and try again in the morning.

- It's a good idea. I'm sorry, Missy. I'm sorry, Missy. I'm sorry, Missy. Missy. - Missy. - Missy. - Missy. - Missy. - Missy. - Missy. - It's a good idea.

But I don't remember where I lived.

I could go to the police.

- Oh no, I feel too responsible for you.

- But--

- I have room for you at home.

- Well that's very

kind, would it be proper?

- Quite all right.

I share the apartment with my sister.

- Watch the address,

I'll tell the driver.

(birds chirping)

- Oh my goodness, it's

about time I've been worried.

Well I've been out with Mr. George.

Francie, I'd like to

have you lead George.

- How do you do?

- What have you been up to anyway?

- It's all my fault your sister's late

in getting home, Miss Lang.

She took compassion on the poor wayfarer

and tried to help him find himself.

- George is the one at the

bar who was fortunate I told.

- Yes I know, did it

take you half the night

to tell him about it?

- I should have known you'd worry,

but I was worried too.

- I'm glad you were at

least that considerate of me.

- Oh, worried about George I mean.

- Well he looks as if he

can take care of himself.

- Well that's just it, he can't.

- Well then it's about time he learned.

- Well your sister means I

seem to have forgotten who I am.

- Forgotten?

Then who's George?

- Well that's what I call him.

You see he was in an accident

and it left him kind of dazed.

I've been trying to help

him find out who he is.

- We didn't realize the

time passed so quickly.

If I'd known you were

going to be worried,

I wouldn't have let her stay out so late.

- Oh it's all right now that you're here.

But you see, Jean means a lot to me.

- It's very understandable.

- Then you really don't know who you are?

- No.

- I've asked George to

spend the night here.

Well you couldn't let a little dog

wander around the

street all night could you?

- Well I suggested to your

sister I could go to the police.

- Oh I wouldn't hear of it.

Oh you're welcome to stay, Mr.--

- George I guess it'll

have to be for the time being.

- But I'm afraid you'll

have to sleep on the couch.

- Well that's very kind, thank you.

- Please sit down now and

make yourself comfortable.

I've got some coffee on the stove.

- Thank you.

- Francie didn't mean to be

rude, she's really very nice.

- She's your sister, isn't she?

- You do say nice things.

- Or you provoked them.

- That lighter, a few

papers and some money

was all he had in his pockets.

- Must be pretty expensive

if the diamonds are real.

- Of course they're real.

- How do you know?

- We are not the sort

of person to pretend.

- You do say nice things.

- Hey there's something

engraved on the bottom, initials.

- Let's see.

Well they don't mean a thing.

- CC to JC.

- Well that's more of a clue

than we've had all evening.

Here I've been calling you George

and your name's

probably Jim or Jack, Joe.

Is it?

- I wouldn't know.

- I'm going to bed, coming to you.

I want to get a blanket

and a pillow for George.

- I'll take care of the dishes.

- Well thank you.

Time to go to sleep, Bonnie.

Night.

Night, George.

Kitchen?

- Oh yes, in the sink if you please.

And thank you.

- Thank you.

Good night.

- I didn't hear you come back.

- I'm sorry I startled you.

- I hope you sleep comfortably.

- I'm sure I shall.

Don't bother with that.

- Well, good night.

- Pleasant dreams, Miss Lane.

- If I call you George, you call me Jean.

- It's a privilege.

Good night, Jean.

- Good night, George.

- Jean, Charlie asked

me to marry him tonight.

- Did you say something, Francie?

- Charlie proposed.

- Oh darling, when are

you going to be married?

- Oh well I--

- Francie, you accepted.

Charlie's a wonderful boy.

- He sure is.

But I couldn't leave you alone.

- Oh, don't be a goose.

Besides, maybe I have plans of my own.

- Jean, you won't do anything foolish.

- Of course not. - I'm sorry, I'm sorry. - I'm sorry. - I'm sorry.

- Of course not.

- Why, you hardly know him.

- Who?

- I know you better than you do yourself.

Marriage isn't to be taken lightly.

- Yes, teacher.

But he is charming, isn't he?

- Yes.

- And good looking.

- Yes, but that isn't everything.

It's what a man is,

more than how he looks.

- I know.

- What happened tonight?

- It was very exciting.

- Where'd you go?

- Well, first of all...

Now we came home.

- Francie, would you

help me about George?

- Uh-huh.

- I mean, take the day off tomorrow.

It's Saturday and a half day anyway.

- What can I do?

- Those things George had in his pockets.

You could take some of

them and track them down.

The cigarette lighter,

the doctor's prescription,

and the order for the birthday cake.

- Oh, you bring home

the strangest people.

- Oh, George isn't strange.

He's very nice.

How would you feel if you

suddenly lost your memory?

- Pretty strange, I bet.

- All right, dear.

- And then we could meet

someplace in the afternoon

and compare notes.

Francie?

(gentle music)

- Well, who are you going out to meet?

Clark Gable?

- I should be so lucky.

- Come on, I'm hungry.

George looks too

intelligent to expect a girl

to be so beautiful at

nine o'clock in the morning.

- Well now, smells good.

- Maybe you've got

something in that guy after all.

- Morning.

After walking about

half the night and waiting,

I figured you'd both be terribly hungry.

I hope you'll forgive

the liberty I've taken.

- Gee, you make me feel awfully guilty

for leaving those dishes

in the sink last night.

- They're all taken care of.

- Told you he was nice.

- Nice, he's miraculous.

- All right.

- Thank you.

Look, Pauline, what are we waiting for?

- Our Father in Heaven, we

thank thee for the street past.

May we enjoy thy benefits

all the days of our years.

Amen.

- Well, I made these eggs

according to my own tastes

sunny side up.

Hope you like them that way.

- To have somebody serve me,

I'd like them standing on edge.

Coffee?

- Please, thank you.

- Oh, I forgot to feed Bonnie.

Excuse me.

- Francie's very fond of Bonnie.

Her fiance gave him to her.

- Gee, what's the matter, Francie?

(footsteps)

- What's wrong, Francie?

- There's something

the matter with Bonnie.

- What do you suppose happened?

- I don't know, he

was all right last night

singing his little head off.

- Oh, the poor little creature.

Doesn't take very much to...

- Here you are, 16J.

- Say, you were here the other day

asking about this man's

license number and address.

- I was?

- Sure, I gave you

that information myself.

You even wrote the license plate's number

on this Canadian buck.

- I'm sorry, I forgot.

What is the address again?

- 522 Harris Street.

- 522.

Are you able to tell me where I can find

the owner of this building?

- Metropolitan Bank owns it, brother.

- 522 Harris Street, Judge Nesbitt.

We foreclosed that

property some time ago.

At the time, Judge Nesbitt was living

at the Forest Apartments.

- Thank you.

Is there a Mr. Nesbitt living here?

- He used to check out, like a man.

- He checked out, no forwarding address.

- Thank you.

- It's a bright day in the park.

All nature seems in harmony.

Yet why should one

man seated on this bench

provide the sole tumultuous exception?

Does he himself

realize the brash discord?

Do you, William Everest?

What cells, what tissues in

that pounding brain of yours

have now come back to life?

Or have they?

What is it you feel, William Everest?

Or do you feel?

(squeaking)

- Sorry, lady, this is a skeleton key.

- Skeleton?

- That's how they're known to the trade.

Detectives carry them, troops too.

- That's all you can tell me about it.

- Skeleton keys are

kind of secret keys, lady.

They don't tell much.

- Thank you.

- You're welcome.

(somber music)

- Been waiting all.

- Oh.

- Well, you've hurt your hand.

What happened to it?

- Oh, a splinter from the bench.

- Oh.

- What do you say?

- Discouraged.

- About me?

- Yes.

- Then you haven't been

able to find out anything

about me at all.

- Nothing.

I've tried everything

possible in the last 24 hours.

- We've been together that long?

- Don't tell me you're

forgetting that too, George.

- George, why do you call me George?

- What else do you want me to call you?

- I don't know who you are.

Aren't you feeling well?

- If I don't sound normal,

you're to blame.

- Why?

- I've never been in love before.

Don't say that.

Your mere kindness is

more than I ever hoped for.

Even if it remains just that,

I'm content and very grateful.

- For what?

(woman gasps)

- Look.

- Poor little thing.

- Isn't it beautiful?

- These people you've been seeing,

they brought nothing to

light about me, nothing?

- I might just have been born

for all anybody seems to know.

- And you, have you formed any

conclusions on your own?

- How could I, on what?

Are you, are you a detective?

- How do you ask?

- Well, that key you had on you,

I was told that only

detectives carry them or--

- Or?

Or?

- Well, they're crooks.

- Neither.

- Didn't have to tell me.

- Well, whatever my talents are,

you can rest assured they

don't run in those channels.

- I'm sure I had a lighter.

- Oh, I gave it to Francie this morning

to try to trace down, remember?

- What else do you give her?

- Oh, the prescription

and the bakery order.

- Oh, that's mine too, isn't it?

- Yes, the railroad schedule.

I haven't been able to

think yet how it might help us.

It's getting very warm.

Probably storm before night.

- Let's get out of the sun, shall we?

- Please, I--

- Speak to me, miss,

or you're talking to me, or?

- Pardon me, sir.

- What'd you want to say to him?

- I just wanted to ask the time.

We're supposed to meet Francie.

- Oh, it's early.

- Now you have a strong grip.

You must've been an athlete.

- I didn't mean to hurt you.

- But you acted so you were

frightened at that policeman.

- For a moment, I thought you

were gonna ask him to help us

because you were discouraged about me.

Jean.

- Yes, George?

- Promise me that you'll see

this thing through with me,

but you won't give me up for a bad job.

- Of course I'll see it through, George.

- Promise me too that

anything that you may find out

about me, it'll be our secret alone.

- Certainly.

What could we possibly find out

that would be so

necessary to keep a secret?

- Nothing.

Nothing at all.

It's just that your

kindness has meant so much to me.

I couldn't get along without you now.

You don't know what it means to want us

through the darkness alone.

- We will see this thing

through together, won't we?

- Yes, George, together.

- Yes, we did this job.

I remember now.

You see, this is a business district

and we don't have any

medical printing trade here.

But about a week ago, a fellow came in

and had a few of

these printed up for him.

He paid me above the market price for it.

- Oh, you don't know his name?

- No, he didn't say.

He just waited here for it.

But, look, the fellow across the street

in that cut-rate drugstore

might be able to tell you his name.

Because this fellow went in

there after you left my shop.

- Oh, thank you. - I saw

him through that window.

- Thank you. - Glad to be of service.

- Hello.

- Oh, do you want something?

- Yes, did you fill this?

- Where'd you get this?

- It belongs to a friend of mine.

Did you fill it?

- No, maybe.

Why?

- I'd just like to know.

- Are you from the Pure

Foods and Drug Office?

- Oh, no, I just said that.

Oh, no, I just like this

information for myself.

- Yeah, I reckon I did.

- Do you remember the

man who gave it to you?

- Yeah.

- His name too?

- No, I just remember

him by this prescription.

- Why, is it so unusual?

- Look, why are you

asking me all these questions?

I run a perfectly respectable place here.

- Yes, I know you do.

It's just that, well,

it means a lot to me

to get this information.

Could you tell me what's in it?

- I'm sure you have nothing to hide.

- Of course not.

Poison.

- What did you say?

- I said poison.

- What kind of poison?

- Look, lady, you

wouldn't know if I told you.

Poison is poison.

I'll just let it go with that.

- And this man bought it?

- Yes, he bought it.

- Is it a common poison?

- Well, not exactly.

It's high-powered stuff.

It's kind of scarce.

There's not much call for it.

- I guess it must be very expensive.

- Kind of.

- You can't sell it

without a doctor's prescription,

can you?

- What do you call this, a billy-do?

- Well, isn't it supposed to have the

patient's name on it

as well as the doctor's?

- Look, lady, I've told

you everything I know.

Now, this shop isn't a

question and answer box.

If you don't care to

buy anything, good day.

(car door opens)

- Hey, hey, miss, let me stop!

Oh, mister, oh, I'd

like to ask you something.

- Sure, lady, step into my collar.

Cozy, ain't it?

- Oh, now look, I just want to ask you

one or two questions.

- Shoot, baby.

- Look, have you ever seen this before?

- Sure, that's one of our order forms.

Well, what do you know, a

five-pound birthday cake?

Deliver this one myself.

- Where to?

- Railway Express.

- What were they doing,

celebrating an anniversary?

- That's what this guy

ordered to deliver it

after he brought it back to the shop.

- I don't get it.

- Well, this bird orders

a cake and pays for it.

He hauls it off himself.

Vicky comes the same day and says,

"Ship it through the Railway Express."

- Oh, ship it to where?

Please try to remember.

- Oh, I ain't forgot, miss.

It seems sort of a funny place to be

sending a birthday cake.

- Funny?

- Peculiar-like.

I don't know why I thought it

should have been, but I did.

Guy gets funny notions

sometimes, you know what I mean,

and I figured right then and then

maybe the one who was

getting it wasn't a regular.

- Well, what do you mean?

- The place it was sent to.

- What place?

- The one-up state, the

Hudson Mental Institution.

- Hudson Mental?

- Never had to ship a cake

to a place like that before.

Guy's name was Crawford.

- Yeah, John

Crawford, that's what it was.

- Oh, thank you very much.

You've helped me a lot.

- Okay, lady, hope you

found out what you wanted.

- Yes, I did.

Say, what's your name?

- Joe Blaney, what's yours?

- Thank you, Mr. Blaney.

- You're welcome.

- Bye. - Bye.

- John Crawford.

John Crawford.

Jay C.

John Crawford's

"C-C" to Jay C.

"C-C" to John Crawford.

John Crawford's "C-C" to Jay C.

- Yes, a table at the

Fountain Cafe at Rockefeller Center

is a cool and pleasant place,

just as delightful as the park

where William Everest

was taking his ease before,

and where he suddenly recalled who he was

as he sat on that bench so kindly feeding

the little squirrel.

But why doesn't he tell

Gene Lang he knows who he is?

Why doesn't he say,

"My name is not George.

It's William, William Everest."

Why does he go on pretending?

It is because he knows

what he has at stake.

- Jane, I remember a name.

- Your name? Yours?

- Name of a man, I know.

- Friend?

- It's the first actual name

I've been able to remember.

Must have been someone very close to me.

- Does he live in New York?

- Woodville.

- Well, that's a place you have marked on

the railroad schedule.

- Yes.

- What's the name?

- Edward Nesbitt.

- That's all you can remember?

- It's all I need to know right now.

- You must get there as soon as possible.

- There's a train leaving at 6 o'clock.

- It's in there at 8.10.

We'll just have time to make it.

- We?

- Well, of course you're going with me.

I want you with me more

than anyone else at my...

rebirth.

- I know-- - Oh, it'd mean so much to me.

- All right, George.

Here, I've just gotten

used to calling you George.

- Well, if that doesn't

turn out to be my name,

my real name, I'll adopt it.

- I'll call Francie and let her know.

- Oh, sure, boy. - Oh,

I think you exaggerate

her anxiety.

- You don't know Francie.

I'll just be a moment.

There's a phone right inside.

- Wait her.

(phone ringing)

- package for Mr. John Crawford.

- Mary, Mary!

- What is it, Henry?

- Now the presents are for Daddy.

- Oh, good.

- Can I have your please?

- Hold it, dear.

- Thank you very much.

- Come on, darling.

Let's open it.

- Oh, wait a minute. Don't get impatient.

Take it in the kitchen. That's it.

(gasps)

- Isn't it lovely?

- Oh, boy!

- Well, your ma didn't forget

it was your daddy's birthday,

even though she is in the

city visiting your grandparents.

- Give me cake.

- Now, it's your daddy's cake.

He's got to cut the first slice.

You just wait till he gets home.

- Oh, Mary, please.

- Oh, now.

- Try again, operator.

- Jean.

I'm waiting.

Did you speak to Francie?

- She doesn't answer.

- Well, you can call her later.

(dramatic music)

(growling)

(growling)

(dramatic music)

- Wish I'd been able to tell Francie

where we were going.

- Well, we barely got

time to make the train

at Weehawken now.

You can call her from Woodville.

Oh, don't let it disturb you.

She knows you're in good hands.

- It's wonderful how you suddenly

remembered that man's name.

- I wasn't even

making an effort to think.

Picked up the schedule.

Just came to me.

- I'm so happy about it.

- Woodville, Edward Nisbeth.

I couldn't think of

one without the other.

- The one man who can tell me

all I wanna know about myself.

- It's thrilling.

There's no telling who

you may discover you are

after you see that man.

- No telling.

- Did you hear that?

- What?

- Distant thunder.

- Looks like the stormy

prophesied's coming through.

(horn honking)

Oh, here we are at Weehawken.

We've only got a couple of

minutes to make the train.

- Hello, Mrs. Cassidy.

This is Frances Lang.

Is Charlie there?

Five minutes ago?

Oh, did he say where he was going?

Oh, thank you.

Thank you.

- What is it?

Oh, Charlie, I'm so glad.

- Sad, didn't mean to scare you, honey.

The janitor let me in.

What's wrong?

- I don't know.

- Let's sit down.

What gives with the weeps?

- I've been trying to get you.

It's about Jean.

I'm scared.

- Jean?

- She's been out all day with that man.

She was supposed to

meet me this afternoon

and she didn't show up.

- What man?

- Last night at the salt

shaker, that man at the bar,

she brought him home.

- He spent the night here?

- Yes, he had some kind of an accident.

He couldn't remember who he was.

Jean felt sorry for

him and she left with him

early this morning trying to find out

something about him.

- What's there to be scared about?

- Charlie, there's

something horrible about him.

- He looked okay to me.

- I've been out on my own

all day trying to help them.

- You found out something?

What?

- I don't exactly know.

- I don't get it.

- These are some of the

things he had in his pocket.

- Cigarette lighter?

- Doctor's prescription?

- It's for poison.

- His prescription?

- A deadly poison.

- What's wrong with that?

Maybe one get rid of a

few roaches or maybe--

- Oh, Charlie.

- Look, honey, maybe you

better tell me all about it

right from the beginning.

- Yes, they are on the train and the

destination is Woodville.

But does no twinge of

unrest faint as it may be

stir Jean Lang's

consciousness as she trustingly

confides herself to the

care of William Everest?

- And that cake was

sent to the same person

whose initials are on

this cigarette lighter.

- You're going to the police, young lady.

- Oh, come with me, Charlie, please.

- Oh, I can't.

There wouldn't be time.

Maybe this is something

we're just building up

in our imagination,

but Jean means too much

to the both of us to take any chances.

- But what are you gonna do?

- Well, the police may

need some convincing this in

just a little pipe dream.

I'll meet you at

headquarters with all the evidence

I can collect.

Let's get going.

- All right, okay.

(phone buzzing)

- Man, I haven't got wings.

Why do you treat that bell that way?

- Is Missy Vanesca in?

- Yes, who shall I say is--

- Never mind names, is she in?

- She's fixing to go out.

- Tritilda, who is it?

- The gentleman here says are you in?

I told him you was fixing to go out.

- Miss Konstantinie Vanesca?

- Yes?

- Come with me.

- What is the meaning of this?

- I ain't never seen

nothing like that in Georgia.

- What's the meaning of this?

Are you crazy?

- Well, explain this to me.

- Let me go.

- I'm very sorry, listen.

- You'll pay dearly for this outrage.

Stop the car and let me go.

Who are you?

- Well, I was kind of fretted about being

dripped right over a swell

dish of roast chicken too,

but from what this young fella tells me,

why I ain't complaining now.

- Explain it to her, Mr. Richards.

- Yeah, you see, you and me, ma'am,

are being invited to stop a murder.

- A murder?

- Hmm, maybe more than one.

- Mm-hmm.

- Leaves at 6.10 p.m., arrives at 8 p.m.

That's what the railroad

schedule states in cold print,

but it means far more

than that to William Everest.

It means far more than

that to Jean Lang too,

but she does not know,

and there lies the tragedy.

(door opens)

- I was told Joe Blaney a beer.

- It's all right, bud.

Hey, Joe, there's a

fella out here to see ya.

- Yeah.

- Is that him? - That's him.

- Hey, wait a minute,

bud, where you going?

- You'll find the other--

- Hey, this is a series of--

this is kidnapping.

- That's a very unusual story

you've just told me, Miss Lang.

- You will help me?

- But the question is, where does fact

end and fiction begin?

- I know it's true.

I just feel that Jean's in danger.

- We actually don't have

one cold fact to go on.

It's all supposition.

Oh, granted, it sounds

feasible the way you tell it.

On the other hand, it

could be just mere coincidence.

- Well, we've got to

take that chance, Captain.

- Miss Lang, I can't set

into motion police machinery

on mere assumption.

I understand your anxiety,

but aren't you

exaggerating the situation?

- What if something does happen

and you'd had a chance to prevent it?

I'd be equally

embarrassed if this whole thing

turned out to be a wild goose chase

set in motion by an

aesthetical young woman.

- There are five clear facts.

- Oh, Charlie.

- What does this mean?

- Did you tell him the story, honey?

- He says I'm imagining it.

- Miss Evanesque, tell the

captain the story you told me.

- I knew this man

you're all talking about.

- Then why did you deny it last night

when my sister called

on you at the theater?

- I had my reasons.

I met this man a few years ago at the

home of Judge Nesbitt.

He paid a lot of attention to me

and said he was in love with me.

- You weren't in love with him?

- I liked him.

He was charming and good-looking,

but even then he showed signs of--

- Go on, please.

- One of that condition

which eventually put him

in the Hudson Mental Hospital.

- That's the place where I told you

he sent the birthday cake.

- Yeah, that's right,

I shipped it for him.

- Who are you?

- I work for the elite bakery.

- That's where he bought the cake.

His name is William Everest.

- You mentioned that Judge Nesbitt.

Is that the same man who

retired a few years ago?

- Yes.

He was in very poor health

and had lost a lot of

money and bad investments.

It was he who signed the papers

committing Everest to the asylum.

- Why didn't you tell my

sister that last night?

- I'm about to marry.

My fiance comes from a

very conventional family

and he's jealous too.

When your sister brought

that man to me last night,

he didn't recognize me.

So I pretended I didn't know him either.

All the shorter before,

he'd send me a bunch of roses

in an effort to renew our old friendship.

- Then you believe that this

man is up to some mischief?

- That's putting it rather mildly.

He's an escaped maniac.

- He sent that birthday

cake to somebody named Crawford

at the institution.

It was filled with poison.

And here's the man who sold it to him

from a prescription, this

gentleman, printed by order.

- That must be why he came into my shop

and asked for that book on poisons.

Who is John Crawford?

- He's the warden of the

Hudson Mental Hospital.

He must have incurred Everest's hatred

for some fancy ground.

Everest already had

promised to kill the judge.

- Kill the judge?

- Yes, he swore he'd do it

when the judge signed

the commitment papers.

- Oh, gee, gee.

- Get me the Hudson Mental Hospital.

Upstate.

Make it past.

Hudson Mental Hospital?

Mr. Crawford's gone home.

It's his birthday.

He left early.

You can reach him at Hudson 421.

- Hello.

Hello.

- Now, Henry, you behave yourself.

That was someone calling

your daddy from New York.

I guess the wires must have gone down.

- Oh, Mary.

You're right.

- Horn's cut off.

Where's Judge Nesbitt living now?

- Woodville.

Woodville?

That's the place that was marked

in the railroad schedule that man had.

- Get me Judge Nesbitt in Woodville.

- He has no telephone.

He has shut himself off from the world.

- Lieutenant,

contact the police at

Hudson on the teletype.

Request them to go

without delay to Crawford's home

and seize a poisoned birthday cake.

Tell them to order a doctor

and ambulance to stand by.

Also contact the State

Patrol Division at Woodville

and struck them.

(dramatic music)

(water running)

- It's long way out here, isn't it?

- My friend likes it here.

He's a recluse.

- Hope he doesn't mind

bursting in on him like this.

- I guarantee he won't say a word.

I'll see if I can get a cab.

- What do you think?

- Easy, folks.

- Order there's any

chance of getting a car.

You know, where you going?

- Up to Edward Nesbitt's place.

- Oh, old Judge Nesbitt?

You a friend of his?

- Yeah.

- There's quite a spell up there.

- Well, I wonder if we could--

- No, no chance, unless

you want to take my car.

- I'd be very glad to pay you.

- Oh no, we don't take

money for favors right on here.

You're welcome to the car.

Park right there.

Just tell the old Judge of service

to bring it down in the morning

when it comes down for

the Judge's newspaper.

- Thank you.

- Yeah, we're all kind.

- Keys are in the car.

- Come here.

- I'll join you in a second, George.

I want to send a wire to Francie.

Should be more than

easy, she knows who I am.

- I'll wait in the car.

- All right.

(thunder rumbling)

(dramatic music)

- And now for news on the national scene.

A police dragnet has been

laid across the entire length

and breadth of Marquess

County in the state of New Jersey

in an effort to capture a

dangerous homicidal maniac,

William Everest, who escaped a week ago

from the Hudson Mental

Hospital in New York State.

Known to be accompanying the madman,

but unsuspecting of his real identity

is Jean Lang,

25-year-old department store buyer

who had befriended the man after he met

with a slight accident in

New York City last night.

Searchers have been instructed to shoot

to kill the fugitive

as he is said to be extremely dangerous.

It is thought that...

(water running) (water running)

- Thank you, Mary.

(doorbell ringing)

- Somebody's gonna get soft and wet.

- Now, Daddy, now.

- Yes, Henry?

Mary's told me what a

patient little boy you've been.

- She ain't birthday swell.

- Mrs. Crawford!

- Mrs. Crawford!

Oh no, Henry, Henry!

Mary, what's the matter?

- Are you sure we're on the right road?

- Yes.

Jean.

- Yes?

- I know I can trust you.

- Why yes, George.

- I need a friend with

sympathy and understanding.

- You'll soon know who you are and

everything will be fine.

- That's right.

Nothing must stop me from

reaching Edward Nesbitt.

- Nothing will.

- Yet, I'm worried.

- Why?

- Suppose I do find out

who I am and I don't like it.

I mean that ever since the accident,

I've been someone else.

Suppose before it happened,

I had done something I shouldn't.

- You mean like a crime?

- Well, anything.

Will you believe me when I tell you that

since I've known you that

my whole life has changed?

You trust me enough to

give me the chance of proving?

- Yes, George.

(engine rumbling)

- And it just came over

the teletype from New York.

This cake is filled with enough poison

to kill a dozen men.

I tried to get you on the phone.

All the wires were found.

- Are there any clues to his whereabouts?

- They think he's around

Woodville, over in Jersey.

- Judge Nesbitt's living there.

Hope they've warned the old fellow.

- Oh, you can count on that.

All the roads are blocked off

and every state cop in the county is out.

By the way, why didn't you report it

when he first broke out of the hospital?

- Well, he'd shown such improvement

that we'd made him a trustee.

Doctors thought his

condition was quite good.

We'd been searching for him ourselves,

but as yet we hadn't informed the police.

- Do you think he was acting normal

just to get the trustee job

so he could break out easier?

- It's likely.

Certainly fooled us all

with his madman's cunning.

We found his uniform

under the porch outside.

He'd sneaked in here and

stolen one of my suits with clothes.

- Well, I'm sure glad I

got here on time, Warden.

- You're glad.

How do you think I feel?

(engine rumbling)

(siren blaring)

(engine rumbling)

- Good evening.

- What's your name?

Where are you going?

- Crawford.

John Crawford.

I'm glad your men came along.

I'm afraid I'm lost.

- Yeah?

From what?

- Well, I'm looking for the

state police division station.

- What for?

- Well, I was asked to help in the search

of one of my patients.

- Oh.

You got Mr. Crawford from--

- Yes.

This was Carol, one of my nurses.

Sorry to trouble you, Mr. Crawford, but

have you any identification?

- Oh, no trouble.

Of course.

Here.

Just as good as anything.

- Okay, Mr. Crawford.

Sorry to bother you.

- Quite all right.

- Station's about

five miles down the road.

You're off the track on this side road.

Turn left at the next crossroad.

That'll take you on to 66,

then just go straight ahead.

- Thank you.

Thank you, gentlemen.

- Okay, sir.

Good night, Miss Carol.

- My name is

McCarroll, and I'm not a nurse.

- Nothing is going to stop me from

reaching Edward Nesbitt.

- What do you suppose

those policemen wanted?

- Doesn't really matter as

long as we weren't delayed.

- That label in your pocket.

Who is John Crawford?

- Just a name.

- Is that his suit you're wearing?

- I wouldn't know, Redley.

- It's his

identification label in the pocket.

It must belong to him.

- Possibly.

- Where did you get it?

- I don't remember, darling.

You know, there are so many

things that I don't remember.

I happened to glance at it this morning.

How I got it?

Where I got it?

Who the man is?

I don't remember.

- You showed great presence of mind in

giving that name to the policeman.

- Found it in the tip of my tongue.

- It sounded almost rehearsed.

- Oh, you're letting your imagination run

away with you, my dear.

- The policeman acted as though he knew

the man whose name you gave.

- That's not at all probable.

- And you said your

name was John Crawford.

He acted as though he

knew who John Crawford was.

- There's nothing strange, a common name,

a rising of familiar

memory in a man, is there?

- You gave the feeling also that you

expected him to know

who John Crawford was.

- Oh, this is childish conjecture.

- You think I'm lying to you?

- No.

We mustn't let any little

misunderstanding come

between us, darling.

We've come to mean too

much to each other for that.

Isn't that so?

- Yep.

That telegram was filed here about 30

minutes ago, Sheriff.

Here's a copy of it.

- Was there a man with her?

- Yeah.

- Mm-hmm.

- Nice, easy-speaking fellow.

I'm handing my card to go up to Judge

Nesbitt's place, him and that girl.

- Well, it's them all right.

How'd you let him get through?

- Said he was Warden Crawford of the

Hudson Mental Hospital.

- Showed identification, too.

- We'd better get down

to the judge's place fast.

- And you, too.

- Well, I'm not sure. (engine rumbles)

(tense music)

- There's the house.

- Our troubles will all be over soon.

- All over?

What are you thinking?

- Things will all be

changed in a few minutes.

You'll know all about yourself, and...

I'll know all about you.

Why are we waiting here?

- This moment is set apart from time.

I want to prolong it.

- You know all about yourself now, and...

you don't know what you may

be after you see Mr. Nesbitt.

Is that it, George? (tense music) - Hudson Mental Hospital!

You're hurting my throat, George.

- A wonderful throat.

A wonderful channel through which the

inmost secrets of the soul

find freedom to the world.

- George!

- Let it live, and it can

tell the world too much.

Destroy it, and its secrets are locked

forever from the years of man.

- George!

(tense music)

(tense music)

(tires screech)

- Let Jason's car all right.

- All right, they must be around here.

Spread out and beat around.

- Now blow your whistles

if you come upon anything.

(tense music)

(tense music)

(tense music)

(tense music)

(tense music)

(tense music)

(tense music)

- It won't do any good to

hide, my little sweetheart.

No good at all.

There won't be any pain, my dear.

One quick cut, and it'll be over.

And your throat will

be quiet forevermore.

Oh, I'm very expert.

This knife is very sharp.

I'll be doing you a great favor.

Look at it like that.

Oh, you've spared so

much of life's tolerance.

(tense music)

Come down, my darling.

Don't prolong your agony.

I'll take you where

it's calm and peaceful.

- Why do you want to kill me?

I was your one friend

I gave you, Schelder.

- And I will return your kindness.

And give you shelter from the things

we've been destroying.

I will keep you forever young.

Time and life are your enemies.

I am your friend.

(tense music)

(screaming)

(tense music)

(tense music)

In a city full of strange adventures,

this, which happened to Jean Lang, has

been one of the most amazing.

Protected by the resilience of youth,

Jean Lang will carry no scars on her soul

from her encounter with William Everest.

And as time passes, even the nightmare

memory will not

disturb her innocent sleep.

She will marry in time the man destined

for her, and live long and happily in the

fullness of her years.

I know, because I am the whistler. (tense music)