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The staff of a posh mental asylum eagerly awaits the arrival of the new director. When the man in question shows up, it turns out to be handsome psychiatrist Gregory Peck . But something's wrong, here: Peck seems much too young for so important a position; his answers to the staff's questions are vague and detached; and he seems unusually distressed by the parallel marks, left by a fork, on a white tablecloth. Doctor Peterson Ingrid Bergman comes to the correct conclusion that Peck is not the new director, but a profoundly disturbed amnesiac—and, possibly, the murderer of the real director. Gradually falling in love with Peck , Bergman begins fearing for his well-being; she and Peck leave the asylum, hiding out in the home of her mentor, psychoanalyst Michael Chekhov . Though Chekhov warns that she might be protecting a killer, Bergman believes in Peck 's innocence, and attempts throughout the remaining reels to get to the root of his emotional problems. — Hal Erickson
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