Original subtitles

(MultiCom Jingle)

(quizzical music)

(moves into expectant music)

(train howling)

- You're Peter Brady, aren't you?

The one they call the Invisible Man.

- That's right.

- I must talk to you.

- Well I'm sorry, but I have a lot of work to do

before I get to London.

- Oh please.

Please don't send me out.

They've followed me onto the train.

Can't you see if they catch me they'll lock me up again?

(train roaring)

(foreboding music)

(train roaring)

- Mr. Brady, my life is in danger.

- Now let's get this straight.

Who are you?

- My name's Ellen Summers.

I took a photograph last spring.

I was at the races.

You see George Wilson had the day off.

- Now slow down, slow down.

Take it easy.

Now, start from the beginning.

You say your life is in danger.

Is there anyone trying to kill you?

- You must believe me, I'm not mad.

- [Peter] Well who said you were?

(dramatic music)

- Oh excuse me.

I thought this compartment was empty.

- They are on the train.

That was Dr. Trevor's assistant.

- Who's Dr. Trevor?

- He runs the mental home.

I've been kept prisoner there for months.

- Oh, I see.

- Dr. Trevor's been trying to drive me mad

with some sort of injections.

- Mm-hmm.

Why don't you go to the police?

- I did this morning, but they wouldn't believe me.

I had to run away from them, too, and I thought of you.

I'd heard you lived nearby.

At your house they'd told me you'd gone to London.

I followed you onto the train.

You must help me.

An innocent man is being hanged tomorrow morning.

You must've heard about the George Wilson case.

- Yes, I read a bit about the trial.

A young farmer, wasn't he?

- Yes.

Yes, he was employed by Dr. Trevor

working on the farm attached to his estate.

I'm his girlfriend.

I mean I was.

- As far as I remember, George Wilson

was a hot-headed young fellow.

The police inspector went to question

him about some fight in a pub.

Wilson lost his temper and shot him.

- He didn't.

He couldn't have shot the police inspector that afternoon.

- Why do you say that?

- Because I know George Wilson wasn't there!

I've got proof, I could show it to you!

Tell me you believe me, that you don't think I'm mad.

- Well, all I can--

Oh, here we are.

We're coming in now.

My sister will be meeting me.

You better come with us.

- You're not thinking of sending me back.

(train slowing)

- [Peter] Dee.

- Oh hello, Pete.

- I have a very strange girl.

She's escaped from a mental hospital.

- What?

- Don't let her see you now.

Oh, Miss Summers?

(eerie music)

She's gone, she was standing just there!

- I didn't notice her.

- She said they followed her onto the train.

I wonder--

Oh well.

Come on.

(foreboding music)

Well, Dee.

What's been happening in London?

- Nothing special.

- Oh, you got a paper.

George Wilson makes last appeal.

I wonder if that girl was sane.

- What do you mean?

- Supposing he's innocent.

- I didn't know you were interested in that case.

- I wasn't.

Take the next turn in left, Dee.

I'm going to see a man in jail.

(foreboding music)

- Order?

Hasn't there been any news from my lawyer yet?

- I wouldn't be pilling too much on that, son.

(eerie music)

- [Peter] Don't be alarmed, Wilson.

I'm Peter Brady.

I'm the Invisible Man.

- The Invisible Man?

Why are you here?

- [Peter] Try to be calm.

I'm here to help you.

Sit down.

You testified on the trial that you were away

on the day of the murder.

- That's right.

I was at the races.

I kept on telling them, but I couldn't prove it.

- [Peter] Who is Ellen Summers?

- Have you found her?

- [Peter] Shh.

I may be able to.

Tell me who she is.

- She was my girl.

She was with me at the races that day.

And just when I needed her, she walked out on me.

She'd disappeared.

My lawyers searched for her, but they couldn't find her.

- [Peter] Now listen, Wilson.

I don't know whether you're innocent or not.

But if you are, I'll do my best to help you.

- I am innocent.

I swear it.

- Did you say something, Wilson?

- No, no.

I was just talking to myself.

- Take it easy, son.

The governor's here to see you.

- Wilson?

- Yes, sir?

- I'm afraid I've got bad news for you.

Your appeal has been refused.

There's nothing more that can be done.

I'm sorry.

- [Peter] I'll be back.

- What's that?

- Nothing.

(foreboding music)

- [Peter] I have an appointment with Dr. Trevor.

- Very good, (speech drowned out by engine).

- Do you know Ellen Summers?

- Ellen Summers?

Do you know where she is?

- No, I don't.

I met her on the London train this morning.

She told me that she'd been a patient

of yours for some time.

- Yes, yes.

A most distressing case.

Poor child.

Total loss of memory.

Amnesia coupled with persecution mania, and delusions.

She ran away from us this morning.

- Did you notify the police?

- My dear fellow, of course.

We've been at our wit's end.

- She vanished from the station, I hadn't seen her since.

I thought she might be here.

- What makes you so interested in her, Mr. Brady?

- She claims to have some new evidence on the Wilson case.

- Oh, that old story.

Yes, yes.

No doubt that a moment she believes it herself.

Wilson was clever.

He tried to make use of her disordered mind

to build himself an alibi.

- I see.

You were the chief witness against Wilson, weren't you?

- Unhappily, yes.

Sad case.

- Yeah.

Good bye, Dr. Trevor.

- Goodbye.

If you hear anything, you will let me know?

- Sure.

(eerie music)

- Oh, excuse me.

He recognized me.

He saw me on the train.

(suspenseful music)

- Pull into the left, Dee.

A woman looked into the compartment on the train.

Ellen said she was following her.

- Well?

- She works in there.

I just saw her.

- Oh, you mean you think Ellen's story might be true?

- Yeah.

I'm going back to have a look around.

And this time they won't be expecting me.

- I hope you'll think next time

before you give us all this trouble.

Gag her.

- No, no please leave me alone.

Don't--

(struggling)

(suspenseful music)

- [Peter] I wouldn't do that.

- What's happening?

- [Peter] Don't be afraid, Ellen.

I'll get you out of here.

Now sit up.

- [Dr. Trevor] It's Brady.

The Invisible Man.

- [Peter] Don't worry, Trevor.

I'll be quite visible when I testify against you in court!

- You're making a terrible mistake!

This girl is insane!

Get out of here or I'll call the police!

- [Peter] Go ahead.

- I can't let you do this.

- (mumbles) behind you!

(chair breaks)

- [Peter] Come on, we're leaving.

(suspenseful music)

Ellen.

You said on the train that you have proof

of George Wilson's innocence.

- Yes.

We were together at the races at the time of the murder.

- [Peter] Your word alone isn't proof.

- I took a photograph of him.

- [Peter] You did?

Where is it?

- Hidden in the apartment where I used to live.

- [Peter] Well why did you hide it?

- Why didn't you take it to the police?

- Oh, I didn't have time.

Dr. Trevor phoned over the news of George's arrest.

I told him about the photograph

and he said he'd come right over

and drive me to the station, so I waited for him.

- [Peter] You didn't distrust him?

- No, not immediately.

And at the last moment when the doorbell went,

I began to worry.

George's life depended on that picture.

So I slid the negative behind a tear in the wallpaper.

- [Peter] And then you let Dr. Trevor in?

- Yes, that's right.

I showed him the picture and he asked for the negative.

I said I'd lost it.

And he grabbed me and held me

while his assistant searched the apartment.

- [Peter] They didn't find it?

- [Ellen] No.

- [Peter] Then what happened?

- I struggled with them until I felt the jab of a needle.

When I woke up I was in the mental home.

- [Peter] Where was that apartment of yours?

- I lived in London, in Chelsea.

- [Peter] Step on it, Dee.

There's just a chance that negative

is still behind the wallpaper.

- This is the place.

- [Peter] It's getting late, Dee.

Better call Sir Charles at the home office

and ask him where we can contact him this evening.

Tell him we expect to have proof of Wilson's innocence.

- Right.

(eerie music)

- This is it.

(door buzzes)

- [Peter] You do the talking.

- Yes?

- My name's Ellen Summers.

May I come in?

- No you can't.

I'm busy.

- But I used to live here.

- That's no reason to try and force your way

into my apartment.

- Look, I've left something there.

- Then it won't be there now.

Good day.

(eerie music)

Did you push me young woman?

- What's happened?

The mantle piece is not there, and the wallpaper too.

It's all changed.

- Now look here.

You get out of here or I'll call for the police.

(dialing phone)

- I don't understand.

- [Peter] Where was the fireplace?

- Right there.

- [Peter] You see?

It's been bricked up.

Now where exactly did you hide the film?

- Well just above the mantle piece.

There was a tear in the wallpaper.

- Police?

I want you to come around to my apartment, right away.

Well I've got a madwoman here!

Wellington Court, oh do hurry up, please!

- When you redecorated, did you strip off the old wallpaper?

- Wallpaper?

- Yes, tell me, quickly.

- You mean that terrible flowered stuff?

Well I papered over it.

- Good!

The old wallpaper's still underneath.

- [Peter] Here it is.

- Ooh.

- Oh, please.

We didn't mean to frighten you.

There's nothing to be afraid of.

It's Mr. Brady.

You know, the Invisible Man.

Can I get you a glass of water?

- No.

No, now just get out of here, please!

- There you are, that's George Wilson standing on the right.

You can see the announcement board behind him.

- [Peter] I couldn't identify anyone from this.

We'll have to get a print, and quick.

Here.

Put it in your pocket.

Now run downstairs and tell Dee to turn the car on.

- Oh no you don't.

You're staying here 'til the police come!

- [Peter] Go on.

Leave her to me.

I must apologize for having troubled you, ma'am.

There.

The picture will hide the cut for the time being.

(struggling)

- Ah!

- It slipped!

Half of it spilt!

- Never mind, come on, quick!

(dramatic music)

- [Peter] I'll have a decorator come around

and make a proper job of it tomorrow.

- Thank you.

(door slams)

(suspenseful music)

- [Peter] Ellen!

Dee!

- What's the matter?

- [Peter] Have you seen Ellen?

- No, I was phoning.

- [Peter] Ah, she's disappeared again.

(engine roaring)

- Why did you go back to your old apartment?

- I don't know.

- Was it to get that negative?

That picture of Wilson at the races?

- No.

- Search her.

(suspenseful music)

- Hey, hey get back there!

(engines roaring)

Get an ambulance.

There's a phone box on the corner!

- [Voiceover] I'll go get one.

- [Dr. Trevor] I'll take care of it, constable.

I'm a doctor.

Help me lift her into my car.

- Just a minute, sir.

We'll wait for the ambulance, if you don't mind.

- I told you, constable.

I'm a doctor!

- [Constable] Then why was she running away from you, sir!

- She's a mental case.

Now come on, give me a hand.

- No, sir!

She's not going to be moved until the ambulance arrives.

(dramatic music)

(expectant music)

- Like to play a game?

- No.

- [Peter] Well?

- The police still have no news of her.

- [Peter] There's only one thing for it.

I must go and see Sir Charles.

- He's expecting to hear from you.

He said he'd be in all evening,

but I told him you'd have the evidence.

- [Peter] Never mind.

Let's go.

(engine starts)

(eerie music)

Sir Charles!

Sir Charles, wake up!

- Hmm?

- [Peter] It's me, Brady!

- Brady?

I'd given you up!

- [Peter] There's new evidence in the Wilson case!

- Yes I know.

Your sister told me.

- [Peter] I want you to call your chief right away.

He must stop the execution.

- Very well, but give me the facts.

- [Peter] There's a photograph which proves Wilson's alibi.

He was on the race course at the time of the murder.

- How do you know that this was taken that day?

- [Peter] Because you can see the board

with the names of the runners.

- Well then let me see this picture.

- [Peter] Well I don't have it.

- Well who has?

- [Peter] A girl named Ellen Summers.

- Yes, but I must see it!

- [Peter] You can't!

She's disappeared.

The police are searching for her.

I think she's been abducted.

- Abducted?

By whom?

- [Peter] Dr. Trevor.

He runs a mental home.

I've just been down and searched it.

They weren't there.

- Now look here, Brady.

What sort of a story is this to tell the home secretary?

- [Peter] Wilson's life is at stake.

- Yes I know, I know,

but the home secretary has got to see the evidence

before he can take any action!

- [Peter] But I've seen it!

- Did you recognize Wilson?

- [Peter] Well, it was only a negative.

At least call the police and see if there's any news yet!

Use your influence.

Ask them to intensify the search.

- Okay.

- [Peter] He must stop the execution.

There's less than six hours to go.

(suspenseful music)

- How is she?

- She's going to be alright, but she's still unconscious.

- You must tell me the moment she comes to.

I have to speak to her.

- I've already told you, doctor.

You can't see her without the permission

of the house surgeon.

- [Peter] It's dawn already,

and they haven't found her yet.

(phone ringing)

- Hello?

Yes, Sir Charles speaking.

What!

They found her!

We'll be right over.

- [Peter] Come on, Sir Charles.

(suspenseful music)

- Constable, you're wanted on the telephone.

- Right.

- Ellen.

Ellen.

Now relax.

You're going to be alright.

- Where am I?

- In hospital, Ellen.

Now think.

Why did you go back to your old apartment?

- For the negative.

- Where is it now, Ellen?

- I can't remember.

- Doctor!

What are you doing here?

- She's conscious.

I head her, so I came in.

- I'm afraid I must ask you to leave.

- She's my patient, nurse.

I insist on staying with her.

- I have my instructions, doctor.

Very well.

I shall have to call someone to put you out.

- Now Ellen.

Just tell me,

and I'll let you go to sleep again.

- In my shoe.

(dramatic music)

- I must ask you to leave this room immediately, sir.

- Very well.

If you insist.

I have no choice.

- I want to see one of your patients.

Ellen Summers.

- Oh yes, sir.

Just a wait a minute, sir.

I'll find out.

- [Peter] I'm not waiting.

(eerie music)

Oh no you don't!

Arrest this man, officer!

There are serious charges against him

regarding the Wilson case!

- You'd better come with me, sir.

(eerie music)

- [Peter] Here's your proof, Sir Charles.

You must get it printed right away

and take it to the home secretary.

Now come on, get moving!

You haven't much time!

I promised Wilson he wouldn't hang!

(foreboding music)

- George Wilson, it is my--

- [Peter] Governor!

Governor!

It's Brady.

Haven't you heard from the home secretary?

- Brady?

What are you doing here?

- What about the reprieve?

- There is no reprieve.

- You promised, Brady!

- [Peter] There's new evidence.

The home secretary must have had it by now.

- I would've been informed.

- [Peter] You've got to wait!

- But it's two minutes too late.

Alright, I'll call the commissioner.

Get me the commissioner immediately, please.

Oh commissioner, Goddart here, sir.

Is there any question of a reprieve for George Wilson?

Thank you.

- [Peter] Well?

- The commissioner spoke to home secretary

only half an hour ago.

There is no reprieve.

Take him out.

- [Peter] Sorry governor, but I can't let this happen!

They're gonna stay in there

until we hear from the home secretary.

I'm sure he'll give Wilson a reprieve.

- Brady, give me those keys!

(phone ringing)

- [Peter] Hello?

Yes.

Governor?

It's the home secretary for you.

- Yes, sir?

Goddart here, sir.

Yes, sir.

Yes, yes.

I understand, sir.

Thank you.

Release him.

Dr. Trevor has made a full confession.

The mental home was a racket.

The police inspector discovered this,

and that's why Trevor murdered him.

George Wilson?

You will have a free pardon.

- Brady.

Brady, where are you?

- [Peter] I'm here.

- Thank you.

Thank you, Brady.

- [Peter] You're very welcome.

(dramatic music)

(MultiCom Jingle)