I am the Whistler and I know many things for I walk by night. I know many strange tales hidden in the hearts of men and women who have stepped into the shadows. Yes, I know the nameless terrors of which they dare not speak. The Whistler will continue showing in your local theater. And now the Whistler's strange story, Lady on a Yacht. A beautiful woman rapidly losing money at the gaming table that attracts attention in any part of the world. Lady of Guerte Infante rose from the table at the resort of San Bernardo in Argentina and left the room with a tall dark spangler. All eyes were upon her. You wish to speak to me, Carlos? Yes, yes, little sister. I am not your sister, Carlos. You are my sister-in-law, the widow of my dead brother. It is the same. As the head of the family, I must take care of you. You must not be careless, Guerta. Do not forget there are places in Europe where you are badly wanted, where you would face certain imprisonment and possible execution. I took care of myself before I married your brother, before I came to Argentina. I can do the same now. Now you are a member of our family. As the oldest son, I have the authority to demand that you come home with me before you lose the little fortune that my dead brother left to you. If it is too late for that, it is gone. It is gone? All of it? Every peso. Then I am too late. Well, you must not worry. I am not worried, Carlos. I have lost money, yes, but I have been playing for bigger stakes. I do not understand you, Guerta. I have never understood you. It is the rich American. You mean, say, your Philip Collins? Yes. For weeks I have been gambling, so has he. While losing at the table, I attracted his attention. He has fallen in love with me, and I with him. A norte-americano? I wonder, does he know? That I am the widow of your brother, of course. But before that, if, before that, before you came to Argentina. No, but there will be plenty of time to tell him. I am marrying him tomorrow morning and sailing from Argentina aboard his yacht. Yes, your gamble paid off, didn't it, Guerta? You realize just how well when the big yacht sets sail. It has been a long time since you have enjoyed such luxury, hasn't it? You are deeply concerned, however, when your new husband insists on a cruise through the Mediterranean before going to the United States. You have a strong fear of many European authorities. Yes, you are one of those listed for questioning regarding certain wartime activities. You never want to see Europe again, do you? Or have anyone in Europe see you? For there are many who hate you, and would like nothing better than to turn you in. If any of them saw you, it could mean death or life imprisonment to you, couldn't it, Guerta? You persuade Philip to agree that you will never leave the yacht. But when you reach the southern coast of Italy, he insists that you go ashore with him to a small island, where you visit a rather deserted outdoor cafe overlooking the water. What do you think of the view, Guerta? Oh, it's lovely, Philip, perfectly lovely. You are happy, aren't you? Very happy. Let's sit here, shall we? Oh, it is a nice peaceful spot, isn't it? That artist making sketches and trying to sell the paintings. No, no, look over there. Oh, yes. The quiet type with that beard and beret. I'm going to call him over. How do you say artist in Italian? Pitori, I believe. Pitori! Will you come over here? At your service, Signor. You wish to make a sketch of the lady? Yes, but first let's have a look at your paintings. Of course. Please step over here. I am honored, Signor. Ah, these are very pretty, aren't they, Guerta? Yes, Philip, they're very good. Which one would you like to have? Oh, that landscape, I believe. All right, then that landscape it is. How much is it? Oh, you name the price, Signor. Oh, well, never mind. We'll talk about that later. What's your name? Conrad Marlin. Marlin, how about doing a sketch of Mrs. Collins with the greatest pleasure, if Madame would remove her dark glasses? I'm sorry. I'm afraid the sun is too bright. Oh, but, Guerta, he can't sketch you without you. I'm so sorry, Philip. Oh, well, never mind. Now, wait a minute. I have an idea. Marlin. Yes? I'll have you brought out to our yacht tomorrow. You can sketch Mrs. Collins there, where she'll be more comfortable. Now, why don't you sketch Mrs. Collins here, Marlin, on the deck, standing against the rail? Oh, that will be very nice, Mr. Collins. What do you think about it, Guerta? Whatever you wish, Philip. Good. I'll leave you two alone. But don't have a drink with me when you're through, Marlin. Thank you, Mr. Collins. You are most kind. Now, Mrs. Collins, if you will raise your head a bit. Like this? Perfect. Lovely subject. I am aware, of course, that Madame is not an American. I see. My accent. I am from Argentina. I know that. You went there early in 1945, from Germany, Frau von Rackenwitz. Why do you call me that? That is the way I addressed you when I painted the wedding portrait of you and your illustrious husband, General von Rackenwitz. I don't understand. I have changed a great deal, have I not? This beard. I am Kruger. Kruger? At one time, the most popular portrait artist in Central Europe. Unfortunately, those days are gone. Now, one must disguise oneself, carry papers under a false name, beg from tourists. No one can understand my position better than Madame. Who is also concealing her connection with the pack? What do you mean? What makes you think that? Americans do not marry the widows of our famous leaders like General von Rackenwitz, if they know. You think not? No, not even when they are as lovely as Madame. I need money badly. Say that you like the sketch so well that you want to engage me to paint your portrait. Mr. Collins will agree, I'm sure. But why is the portrait necessary? I have money. I will be glad to help an old friend. No, no, no. You can help me best through the portrait. Why? Take it to America with you. Hang it in your fine living room. Mr. Collins will show it to his friends. Tell them that Conrad Marlin painted it. There will be commissions awaiting me when I arrive there myself. You plan to go to America? Oh, yes. With the rich husband of my good friend, Gerter von Rackenwitz Collins, to help me. Why not? Well, Gerter, it's infuriating, isn't it? You're anxious to get to America, and now the yacht remains anchored off this Mediterranean island while the artist Kruger, now known as Conrad Marlin, paints your portrait. But you know one thing, you'll see that the portrait never reaches the United States, where it could be used to further his interest. The sittings for the portrait seem endless, and you're constantly on your guard, concealing your dislike for the artist and making a pretense of friendliness. Oh, I'm so sorry. I'm afraid I'm moved. Oh, that's quite all right, Mrs. Collins. Turn your head a bit more to the left, please. Like this? Ah, that's fine. I notice Mr. Collins is not here today. He went to the mainland to see someone at the American consulate. Oh, then you plan to leave here soon? Oh, yes, as soon as the portrait is finished and my papers arrive from Argentina. Oh, about the portrait, it will be finished tomorrow. Tomorrow? Really? Well, I can hardly wait to see it. I hope that Mr. Collins will like it. I'm sure that he will. This painting, your portrait, has all been very fortunate for me. I have enjoyed our chats together. It is good to be able to talk to someone who understands. It's been good for me, too, but we must both remember I am married to an American now. Ah, there you are. Good, uh, I brought a gentleman from the American consulate back to meet you. His name is Beardsley, an old friend of mine. He's staying for dinner. Oh, well, that would be nice. How much longer is that going to take, Momma? Oh, the setting is nearly finished for today, Mr. Collins. Good, well, hurry along. And when you're through here, Gertha, you'll find Beardsley and me in the lounge. That was a narrow escape, wasn't it, Gertha? Suppose Philip had returned a few minutes earlier and overheard Mullen's remarks. It's very dangerous having him around, isn't it? But after the final sitting tomorrow, there will be no reason for him to return to the yacht. Later, when you go into the lounge, you see Philip and his guests at the far end near the bar. They don't notice you as they're looking at the landscape you bought for Mullen the first day at the island. Oh, very nice. Where'd you get this, Collins? From an itinerant artist on the island. You like it then, huh? Oh, yes, very much. Haven't you known the name of the artist? Yes, it's Mullen, Conrad Mullen. Mullen. Uh-huh. Oh, I never heard of him. Got a lot of talent. Yes, I should say so. He seems to be down and out. Well, that frequently happens in this part of the world. You know, I've got an idea. Why? Why don't I take him to America with us? He could make a good living there. Could that be fixed up? You mean about his paper? Yes. Oh, perhaps. If he's already applied for a visa, there wouldn't be any wait. All you would have to do would be to sign as his sponsor. Good, good. It's a deal. All right, bring him over to the consulate to see me in the next day or so. I will. Well, this calls for a drink, Beardsley. Ah, Scott. Ah, yes, thank you. Good. And how about one for me? Oh, Gerda, there you are. This is Gordon Beardsley, dear. My wife, Beardsley. How do you do, Mr. Beardsley? Miss Common. Oh, do you have, dear, the usual? Yes, please. Beardsley has been admiring Mullen's landscape. Oh, you like it, Mr. Beardsley? Oh, very much indeed. I'll tell you what. We'll get you one of his pictures as a present, Gerda. You see about it tomorrow when Mullen comes out to the yacht to work on your portrait. He's painting your portrait, Mrs. Common, huh? Yes, he is. And how is it coming along? Oh, very well, I believe. Now that's interesting. You know, there aren't too many men who do both portrait and landscape equally well. Is that right? Yes. There was one man in Berlin, though, named Krueger. He did good landscape and also painted all the top political figures. What became of the artist? Hasn't been heard of since the war. Disappeared like some of the others. He was wanted by the authorities. Oh, he's probably dead now. Or in South America. A lot of those political refugees went there, you know. Is that so? Oh, those people are scattered to the four corners of the globe. Hmm. Doesn't matter much to us where they are. Until they try to enter the United States, then of course it's different. That's pretty closely watched, isn't it, Beardsley? Oh, yes. Of course, there are certain cases where we're virtually helpless, where certain beautiful women are concerned, for example. Some of these women were close friends or were married to key figures of the Nazi regime, and after the war these women simply attached themselves to other important men. And in that way they entered the United States, huh? At times, yes. Well, I don't like that. I don't like it at all. No, nor do I. But before turning down an application for a visa, I have to find some proof, you know, something concrete. And in the cases of many of these women, especially when they've been away from Europe for some years or married prominent citizens of other countries, such proof is difficult to get. That's interesting, isn't it, Gertha? You're confident that if you're not recognized as the widow of the infamous General von Reckenwitz, the woman who was his willing co-worker in his ruthless and cruel atrocities against countless helpless war victims, you have little to worry over. And once your husband's yacht sets sail for America, there won't be anyone who could recognize you, will there, Gertha? Except the artist Kruger, now known as Marlon. You decide you can't let Marlon join you and your husband on the yacht. No. You must get him out of the way on some pretext while Philip is in Rome. But the next morning, as Philip prepares to leave, he suggests you go with him. Philip, darling, that's impossible. Marlon will come this afternoon to finish the portrait. Oh, yes, that's right. Tell him I want to see him as soon as I get back. Of course, dear. And don't forget about that painting for Beersley. Get something really interesting and have it sent over to the mainland with a nice personal note. Now, Mrs. Collins, you may look. Your portrait is finished. I am very proud of it. It is nice. Very nice. You are pleased? I'm sure it will look very well somewhere in our house. You will see it there when you come to America. Oh, you have spoken to Mr. Collins about that. Yes, and he plans to bring you into the country. He will start arrangements as soon as he gets home. Oh, Madame, I cannot express my gratitude. Well, it's nothing. But I have a suggestion to make. Perhaps you should leave Italy by another port. Another port? I do not understand. I believe Mr. Beersley from the American consulate suspects who you are from something he said last night. That would make things bad for you, wouldn't it? Worse than you know. If it is learned that I am Kruger, my life will be in danger. I would never live to reach the United States. I must go somewhere else to Genoa. Perhaps I'm sure I will be able to get new papers there, but that will take money. I'll help you. I have a considerable amount with me here in my bag. Here, take it all. Oh, there is no way to thank you, Mrs. Collins. It is very little to do for an old friend. And I have nothing to offer you in return except here. Here is a painting. I brought it for you today as a gift to celebrate the completion of the portrait. Thank you. Oh, it's lovely. It is the famous Blue Grotto at Capri. The Blue Grotto? Yes. It has great sentimental value for me. I would not give it to anyone but you. And I want you to keep it. It will make me very happy. And now, if you would excuse me, I must hurry. Of course. Goodbye, Madame. You are a very gracious lady. Please be assured of my undying devotion. It was simple, wasn't it, Gerda? With Marlon out of the way, there's nothing to prevent your sailing as soon as you get your visa. And you feel sure that later, after you get to America, you can tell Philip of your wartime marriage to General von Reckenwitz. Convince him it was the impulsive act of a young, naive girl that you didn't know what you were doing. Yes, things are working out well. And although you forget to purchase a painting for Mr. Beardsley, as your husband requested, the painting of the Blue Grotto, which Marlon gave you, will serve equally well as a gift for Mr. Beardsley. By the time Philip returns from Rome, you're in excellent spirits. Philip, I'm so glad you're back. Did you have a nice trip? Yes, dear, and a profitable one, but over a big deal. And I've got good news for you, too. Yes? I stopped at the consulate and saw Beardsley. Your papers have arrived in Argentina, and everything's fine. Your visa will be ready any day. Oh, that is good news. Oh, by the way, that picture you sent Beardsley? Made a big hit with him. Same picture? Yes, he said to compliment you on your good taste. How nice. Beardsley says it's the Blue Grotto at Capri. He's already got it framed and hanging in his office. You know, he's very enthusiastic about Marlon. Oh, did you tell Marlon I wanted to see him today? Yes, but Philip, he's left the island. He's left? What for? I don't know. Oh, but good heavens, why would he leave? The man hasn't dissented. He knows I'm going to do big things for him. I don't understand it either. I begged him to stay. And you have no idea where he went? No, Philip. I hope you don't blame me. I did everything I could. Blame you? Of course not, dear, but he can't have got very far. I'll have the police pick him up and bring him back. Bring him back? Sure. He'll come back fast enough when he knows what I want him for. I'll have his description wired to every corner of Italy. But is it really worth the trouble? It is to me. The man's a great artist. I want Marlon in America. He goes to America with us no matter how long it takes to find him. You mean we won't sail without him? Goethe. No, the boat doesn't budge from this spot without Marlon aboard. It's infuriating and frightening too, isn't it, Goethe? If Marlon is brought back, he'll know that you lied to him, and instead of a friend, he'll be a dangerous enemy. There's nothing you can do but wait and hope that the Italian police can't locate. The next days pass slowly. You feel trapped in this corner of the Mediterranean. Pace up and down the deck of the yacht. The bright sun is annoying and you begin to hate the Italian coastline. Then one day, Philip gets a call to come to the mainland at once. When he returns, his face is grim. Philip, what's wrong? Has anything happened? Yes, plenty. Marlon, he's been found. Where? In Genoa. I'll give the Italian police credit. It didn't take them long. And he's coming back? No, he's not coming back. Why not? He's dead. Dead? Yes. Killed in a gun battle with the police. He fired first. But why, Philip? Well, it's a long, unpleasant story and I hate to upset you with it. Goethe, his name wasn't Marlon at all, but Kruger or something like that. Anyway, he was wanted for looting some art galleries during the war, had the stolen paintings in his possession, and so when the police went to pick him up, he thought his identity was discovered and they were going to arrest him and, well, the gun battle followed. How horrible. Yes, yes, it is pretty gruesome. But you can put the whole thing right out of your mind. We're getting out of here. You mean we're going to save? Just as quick as we can. Your visa's ready. We'll run over to the mainland and pick it up tomorrow, then get underway the following morning. You're certain now that everything has turned out very well, aren't you, Goethe? Yes, at last you're free to leave for the United States with your wealthy American husband. There's a lot of activity aboard the yacht the next morning as preparations for sailing are made. And you're in a state of excitement when you go over to the mainland with Philip to get your visa from the American consulate. You're quickly shown to Mr. Beardsley's private office, where he greets you warmly and tells you your visa will be ready in a moment. Oh, I hate to see you leave, Collins. I'll miss you and Mrs. Collins. Personally, I can hardly wait to get out of here. That Marlon business was pretty embarrassing to me. I made a fool out of myself. No, you didn't, Philip. How could you possibly know that Marlon was a thief? It's quite sad in a way, too. Marlon had a great talent. That blue grotto Mrs. Collins gave me was one of the nicest pictures I've ever owned. Where is that blue grotto? It was hanging here in your office yesterday. Oh, it's in the next room. An art restorer is working on it. An art restorer? What for? Well, he's taking the blue grotto off. There's a painting underneath. How do you know? I had it x-rayed. You see, Kruger had painted new scenes over several of the paintings. He had stolen. Stolen masterpieces are often hidden that way. Yes, but that makes no sense. If that picture had another valuable painting underneath. Kruger wouldn't have sold it to Mrs. Collins. He did sell you the picture, didn't he, Gouda? Of course, Philip. Well, at any rate, I called in a restorer and he's been working on it all morning. Well, I'd like to see that. Do you mind if we look? No, of course not. He's working right in here. Oh, won't you come along, Mrs. Collins? Of course. Well, sir, how is the restoration coming? Oh, I have just finished, senor. Really? That was quick work. Thank you. I'm glad you're here. I'm glad you're here. I'm glad you're here. I'm glad you're here. I'm glad you're here. I'm glad you're here. I'm glad you're here. Thank you, senor. Really, that was quick work. The top picture was easily removed. The underpainting was heavily varnished with the idea of keeping it intact. And the underpainting, do you think it's a masterpiece? Oh, no, I don't think so, senor. It is a portrait, a wedding portrait. Oh, what do you know about that? Let's have a look at it. Very good, senor. I will place it here where you can see it clearly in the light. It is a picture of the notorious Nazi general von Reckenwitz and his beautiful wife, Goethe. The Whistler. And next week, when once again the United States Air Forces in Europe present The Whistler. The Whistler has come to you through the worldwide facilities of the United States Armed Forces Radio and Television. Thank you. Thank you.
