Living under a new identity on the island of French-governed Guadalupe, Jan tries to recall his past life while working for refugee smuggler Angelo (Alexander Granach).

One evening, as El Hombre sits trance-like at the piano and plays a somber melody, his music drifts into the room inhabited by other refugees, Dr. Hoffman, his wife Anna, and their invalid charge, Marya Volny.

After finishing the piece, El Hombre reads a notice from the governor, warning refugees about "murder boats" that will promise them asylum in the U.S., but will leave them to perish at sea after fleecing them of their savings.

Realizing that his act will draw the wrath of the Nazis and that his wife, Marya, will also suffer at the hands of their oppressors, Volny arranges for the Hoffmans to smuggle her out of the country, but before he can escape himself, he is captured and subjected to unspeakable violence, which deranges him.

As Anna's thoughts return to the present, Marya, enchanted by the sound of El Hombre's piano, rises from her bed, inches her way down the stairs and then collapses in the street.

Bosley Crowther, the film critic for The New York Times, liked the film, writing, "A dark and distressing motion picture, bravely called Voice in the Wind, which deeply laments the violation of all things beautiful in this brutal modern world, is the offering with which Arthur Ripley and Rudolph Monter, a new producing team, are presenting themselves to the public on the screen of the Victoria...Francis Lederer plays the bleakly tragic pianist quite stiffly in his lucid, normal phase and makes a wild and pathetic Looney Louie when he is hopelessly out of his mind.