- 5 months ago
Woman on the Run is a 1950 American crime film noir directed by Norman Foster and starring Ann Sheridan and Dennis O'Keefe. The film was based on the April 1948 short story "Man on the Run" by Sylvia Tate.
Plot: Frank Johnson (Ross Elliott), sole witness to a gangland murder, goes into hiding and is trailed by Police Inspector Ferris (Robert Keith), on the theory that Frank is trying to escape from possible retaliation. Frank's wife, Eleanor (Ann Sheridan), suspects he is actually running away from their unsuccessful marriage. Aided by a newspaperman, Danny Leggett (Dennis O'Keefe), Eleanor sets out to locate her husband. The killer is also looking for him, and keeps close tabs on Eleanor.
The film exists in the public domain and was restored and preserved by the UCLA Film and Television Archive.
Credits
Ann Sheridan as Eleanor Johnson
Dennis O'Keefe as Daniel Legget
Robert Keith as Inspector Martin Ferris
John Qualen as Maibus
Frank Jenks as Detective Shaw
Ross Elliott as Frank Johnson
Jane Liddell as Messenger Girl
Joan Shawlee as Tipsy Blonde in Bar (as Joan Fulton)
J. Farrell MacDonald as Sea Captain
Steven Geray as Dr. Hohler
Victor Sen Yung as Sam
Reiko Sato as Suzie (as Rako Sato)
Syd Saylor as Sullivan
Milton Kibbee as man yelling from apartment house (uncredited)
Tom Dillon as Joe Gordon (as Thomas P. Dillon)
Directed by Norman Foster
Screenplay by Alan Campbell, Norman Foster
Ross Hunter (dialogue)
Based on "Man on the Run" 1948 story in American Magazine
by Sylvia Tate
Produced by Howard Welsch
Cinematography Hal Mohr
Edited by Otto Ludwig
Music by Arthur Lange, Emil Newman
Plot: Frank Johnson (Ross Elliott), sole witness to a gangland murder, goes into hiding and is trailed by Police Inspector Ferris (Robert Keith), on the theory that Frank is trying to escape from possible retaliation. Frank's wife, Eleanor (Ann Sheridan), suspects he is actually running away from their unsuccessful marriage. Aided by a newspaperman, Danny Leggett (Dennis O'Keefe), Eleanor sets out to locate her husband. The killer is also looking for him, and keeps close tabs on Eleanor.
The film exists in the public domain and was restored and preserved by the UCLA Film and Television Archive.
Credits
Ann Sheridan as Eleanor Johnson
Dennis O'Keefe as Daniel Legget
Robert Keith as Inspector Martin Ferris
John Qualen as Maibus
Frank Jenks as Detective Shaw
Ross Elliott as Frank Johnson
Jane Liddell as Messenger Girl
Joan Shawlee as Tipsy Blonde in Bar (as Joan Fulton)
J. Farrell MacDonald as Sea Captain
Steven Geray as Dr. Hohler
Victor Sen Yung as Sam
Reiko Sato as Suzie (as Rako Sato)
Syd Saylor as Sullivan
Milton Kibbee as man yelling from apartment house (uncredited)
Tom Dillon as Joe Gordon (as Thomas P. Dillon)
Directed by Norman Foster
Screenplay by Alan Campbell, Norman Foster
Ross Hunter (dialogue)
Based on "Man on the Run" 1948 story in American Magazine
by Sylvia Tate
Produced by Howard Welsch
Cinematography Hal Mohr
Edited by Otto Ludwig
Music by Arthur Lange, Emil Newman
Category
🎥
Short filmTranscript
00:03:59Hey, what happened?
00:04:03What's going on down there?
00:04:04Were those shots?
00:04:05You'd better call the police.
00:04:06It's been a murder.
00:04:07Good evening, Inspector.
00:04:19Good evening, Inspector.
00:04:23All right.
00:04:24Hi, boys.
00:04:25All this happens in the middle of the night.
00:04:28Yeah.
00:04:31That's Joe Gordon, all right?
00:04:33Yeah.
00:04:33He won't be doing much testifying now.
00:04:36Convenient for Smiley Freeman.
00:04:38Yeah.
00:04:39He's been there with the dog says he saw it.
00:04:41Yeah?
00:04:42Yeah.
00:04:44Is the knock over here yet?
00:04:45Not yet, Inspector.
00:04:46What's this guy's name?
00:04:47Frank Johnson.
00:04:48Lives around here.
00:04:49Claim he was out walking his dog.
00:04:53Hi, Mr. Johnson.
00:04:54Inspector Ferris.
00:04:55Inspector Farris.
00:04:56Homicide detail.
00:04:57Understand you had a front seat.
00:04:59I sure did.
00:05:00Get a good look at the killer?
00:05:01Too good.
00:05:02That streetlight was right on his face when he got out of his car and shot at him.
00:05:05Shot at you?
00:05:06Twice.
00:05:07You're lucky he missed.
00:05:09Think you'd recognize him?
00:05:10You saw him again?
00:05:11That's not a face I'm likely to forget.
00:05:14Pick him out of a lineup?
00:05:16I think so.
00:05:17Yeah.
00:05:18Say, what's this all about, anyway?
00:05:20The dead man, Joe Gordon, who's going to testify before the grand jury next week.
00:05:24That's tough.
00:05:25Not to.
00:05:26He had a bad record.
00:05:27He knew too much about Smiley Freeman.
00:05:29You know who Smiley Freeman is?
00:05:30The gangster?
00:05:31That's right.
00:05:32Gordon was our witness.
00:05:33Now, you're it.
00:05:35Me?
00:05:36Yeah.
00:05:36All you have to do is identify the killer.
00:05:38We'll do the rest.
00:05:41Married?
00:05:42In a way.
00:05:44What do you mean, in a way?
00:05:46Are you or aren't you?
00:05:48Yeah, I am.
00:05:49Where do you live?
00:05:50Right over there.
00:05:511.36 out to Linda.
00:05:52Apartment 4D.
00:05:54Pick up Mrs. Johns and bring her over here.
00:05:56Okay.
00:05:56Hey, don't wake her up.
00:05:58She's not going to like it.
00:06:00Well, she'll want to know where you are, won't she?
00:06:03We're taking you down to headquarters.
00:06:05Headquarters?
00:06:05What for?
00:06:06Protective custody.
00:06:11I see what you mean.
00:06:12Now, where were you standing when he shot at you?
00:06:13Oh, right down there.
00:06:15Show me.
00:06:15Well, I was right down there with the dog when the car drove up.
00:06:20I didn't pay much attention to it.
00:06:22A little bit later, I heard a shot.
00:06:24I looked up just in time to see this fellow, what's his name, fall out of the car.
00:06:28Then the killer pumped another shot right into him.
00:06:30My dog barked, he got out of the car, started to shoot at me.
00:06:34I ducked and he drove away.
00:06:37What kind of a car?
00:06:38I don't know, a light coupe, they all look alike to me.
00:06:40Well, his aim was all right.
00:06:43He was just shooting at the wrong target.
00:06:46He thought your shadow was you.
00:06:47Will you go call Reardon?
00:06:54Maybe he won't miss next time.
00:06:57There won't be any next time.
00:06:58Yeah, but suppose you don't get a conviction, then what?
00:07:00Do I have to spend the rest of my life with police protection?
00:07:03Or wind up on a sidewalk like him?
00:07:05What are you worried about?
00:07:06He missed, didn't he?
00:07:07Stay here a minute.
00:07:08We'll get the rest of the story downtown.
00:07:10I hate to get mixed up in this.
00:07:15Yeah, it's getting so a man has to be careful where he's looking these days.
00:07:19Take it easy.
00:07:20Keep out of here, will you?
00:07:22Say, I think I dropped my pipe somewhere around here.
00:07:24Is it okay if I look for it?
00:07:25Remember where you had it last?
00:07:26Yeah, it was right over here somewhere.
00:07:28What's the matter about it?
00:07:29Come on, get out of here, will you?
00:07:40Pick up Smiley Freeman and everybody connected with him.
00:07:42Put him in a lineup, see if Johnson can identify anybody.
00:07:45I want everybody.
00:07:47No excuses, no lawyers.
00:07:48I want everybody.
00:07:49See if he can pick up anything on that car.
00:07:52Somebody may have seen it.
00:08:00Mrs. Johnson, that's not your husband.
00:08:02The man was killed.
00:08:03He saw it happen.
00:08:04He's right over here.
00:08:07Sorry I had to get you out of bed, Mrs. Johnson.
00:08:09But after all, we had to make sure that he had a wife.
00:08:16Where is he?
00:08:17He took a powder.
00:08:18Sergeant, pick up Johnson.
00:08:19The idiot will get himself killed.
00:08:20Get down there and cover the park!
00:08:21Just like him, always running away.
00:08:23What do you mean, always running away?
00:08:25Running away from what?
00:08:26From everything.
00:08:27Broadcast description.
00:08:28White, male, American.
00:08:30There's a trench coat, soft brown hat.
00:08:32A very ordinary looking fellow, I'm afraid.
00:08:35Yeah.
00:08:36Well, how would you describe your husband, Mrs. Johnson?
00:08:37I couldn't.
00:08:39I haven't been able to for a long time.
00:08:42May I go now?
00:08:43Come on, you mutt.
00:08:45Nice dish, huh?
00:08:47Nice looking dish.
00:08:48I want everything shut off.
00:08:50Bridge controls, roadblocks, everything.
00:08:52I'll stick with her.
00:08:53Right.
00:08:56Did you hear the shots fired?
00:08:57How could I?
00:08:58I was in bed, sound asleep.
00:09:00Find any pictures of him?
00:09:01No, but plenty of her.
00:09:03Just some tired snaps of him.
00:09:04They won't do anybody any good.
00:09:07But keep them.
00:09:11It's books on psychology.
00:09:13I wonder why.
00:09:15Has he got a problem?
00:09:16I wouldn't know.
00:09:18Maybe he's confused.
00:09:20Aren't we all?
00:09:23Pipe smoker.
00:09:25Mmm.
00:09:25What does that mean?
00:09:27Nothing.
00:09:32Oh, he's got two suits.
00:09:35One of which he's wearing.
00:09:36Well, what does he care what he looks like?
00:09:38Nobody pays any attention to him anyway.
00:09:40Not even his wife.
00:09:41You're really wasting your time.
00:09:43There must be at least 20,000 men in San Francisco who answer that description.
00:09:47How are you going to find him?
00:09:48There'd have to be something different about him.
00:09:50Different anyway from other people.
00:09:52There is something different about him.
00:09:53There's something different about everybody.
00:09:55And we're going to dig till we find out what it is.
00:09:57Now you see our problem, Mrs. Johnson.
00:09:59Why won't you help us?
00:10:00I'm helping.
00:10:01What do you want me to do?
00:10:01I want you to answer a few questions.
00:10:03Go ahead.
00:10:04Ask.
00:10:04Where does he generally go when he's not at home?
00:10:06I haven't the faintest idea.
00:10:07Has he any relatives in this area?
00:10:09No.
00:10:09Who are his friends?
00:10:10I don't know his friends.
00:10:11The dog is our only mutual friend.
00:10:13You always go to sleep when he walks the dog.
00:10:15No.
00:10:15Sometimes he goes to sleep and I walk the dog.
00:10:20Say, Inspector.
00:10:21Here are a couple more.
00:10:23Oh, I'm terribly sorry.
00:10:25There's been a mistake.
00:10:26Release these men at once.
00:10:28Keep digging.
00:10:29Okay.
00:10:29Every man between the ages of 35 and 40 who is out tonight is wearing a trench coat and a snap brim felt.
00:10:35All of them 5 foot 11, weighing 170, and all of them scared to answer questions.
00:10:39The domestic situation in this town must be terrible.
00:10:42Yeah.
00:10:43Kitchen?
00:10:44Well, it's got a stove in it.
00:10:53Hey.
00:10:54Don't you eat anything but dog food?
00:11:03He's not particular and I'm lazy, so we eat out.
00:11:06Where?
00:11:07Well, let's see.
00:11:08The corner drugstore, the lobster grill at the wharf when we're in that neighborhood, and when we get real fancy, Manlow's Oriental Roof Garden.
00:11:15Those usually.
00:11:16We're creatures of habit, I'm afraid.
00:11:18Check the Oriental Roof Garden.
00:11:19They'll still be open.
00:11:20Yes, sir.
00:11:20It's 2 o'clock in the morning.
00:11:22How am I going to explain this at home?
00:11:23What's going on here?
00:11:24I'm sorry.
00:11:25There's been a mistake.
00:11:26He's sorry.
00:11:26What am I going to tell my wife?
00:11:28Come on.
00:11:31What did you and your husband quarrel about tonight, Mrs. Johnson?
00:11:34We don't have to have a reason anymore.
00:11:35Don't you have a decent picture of your husband?
00:11:38No.
00:11:38He doesn't like to have his picture taken.
00:11:40I don't want any photographs of him floating around that might get in the papers.
00:11:43The killer doesn't know what he looks like.
00:11:45Didn't he see him?
00:11:45No, he shot at his shadow.
00:11:48Shot?
00:11:48He shot at Frank?
00:11:49Twice.
00:11:50Nobody knows that except the killer, your husband, and now you.
00:11:52So let's keep it that way.
00:11:53It's important.
00:11:56He's really in danger then.
00:11:58Worried?
00:11:58I thought you were beyond worrying about him.
00:12:00I didn't say that.
00:12:02If he doesn't give himself up, you're really going to have something to worry about.
00:12:06We've got to protect him.
00:12:08Like you did the other witness?
00:12:09Joe Gordon would be alive right now if he hasn't had his lawyer spring him.
00:12:12Hey, Mark, here's a prescription for Frank Johnson.
00:12:16Husband ill?
00:12:17No, he just likes to take medicine.
00:12:18What are these for?
00:12:19I don't know.
00:12:20He just likes to take vitamin pills, cold shots, anything.
00:12:27What's up here?
00:12:28Studio.
00:12:29My husband's an artist.
00:12:30Oh, I thought you said he worked at Hart and Winston.
00:12:32He does.
00:12:33He's in charge of displays down there.
00:12:35Oh, window trimmer, huh?
00:12:38Come in, Brant.
00:12:39Get down.
00:12:39You know you're not allowed up there.
00:12:41Well, Brant, Brant.
00:12:44It's the nearest we could ever get to owning one.
00:12:46Frank's little joke.
00:12:47He found the mud sitting on the street corner one night waiting for someone to adopt him.
00:12:51They recognized each other right away.
00:12:59Is this supposed to be you?
00:13:01Yes.
00:13:02It was a lovely autumn day.
00:13:04The wind was blowing through my hair.
00:13:05It was all very charming, but that was four years ago.
00:13:10That was Frank's Cyprus period.
00:13:12He had four important periods in his painting career.
00:13:15Say, how did you two ever happen to get together in the first place?
00:13:19I met him at a friend's house in Carmel.
00:13:21He wanted to paint, and I was all for it.
00:13:23I had $5,000, and he had $2,000 in talent.
00:13:26So we got married.
00:13:27After Carmel, he became restless.
00:13:30So we went to Taos, New Mexico, where he painted Indians.
00:13:33That's an Indian.
00:13:34Yeah.
00:13:35Then he got tired of Indians.
00:13:37So we went to Bucks County, Pennsylvania, where he painted old Dutch barns with hex signs on them.
00:13:42Say, did he ever do a self-portrait?
00:13:44He didn't like himself that much.
00:13:45Oh.
00:13:48You do these in Pennsylvania?
00:13:49No, he got restless again, so we came to San Francisco.
00:13:54Here he started sketching crummy old characters that hung around wars, missions, and gin mills.
00:13:59That was his social protest period.
00:14:01Then our money ran out, and he had to take a job.
00:14:03Couldn't sell the stuff, huh?
00:14:05He wouldn't try to sell it.
00:14:06Didn't think it was good enough.
00:14:07These sketchbooks are filled with great ideas.
00:14:09He never got around to painting.
00:14:10Well, didn't you try to get a job?
00:14:12Why should I?
00:14:13That's his responsibility, not mine.
00:14:17Friend to your husband's?
00:14:18No, that's his burlesque period.
00:14:21Now, that I like.
00:14:22It's pretty good.
00:14:24Yes, but it takes more than talent to have a career.
00:14:26You have to have staying power.
00:14:28Frank's a drifter, so when the money ran out, we just drifted.
00:14:31Who's this?
00:14:32Oh, some dance team over in Chinatown.
00:14:39Know him?
00:14:40Oh, he's a retired ferry boat captain who does sand sculptures at the beach.
00:14:45Oh, I knew who that is.
00:14:47That's Rembrandt.
00:14:48What has all this got to do with finding Frank?
00:14:51You just answer the questions.
00:14:53That is, if it doesn't hurt.
00:14:54Why should it hurt me?
00:14:56It's all passed and done with.
00:14:57If you want to snoop into the remains of our marriage, that's up to you.
00:15:03Don't touch that telephone.
00:15:05If that's your husband, find out where he is.
00:15:07But keep on talking.
00:15:08Hello?
00:15:25Hello?
00:15:25Oh, hello, Frank.
00:15:27Trace that call.
00:15:28Eleanor, there's something I want you to get for.
00:15:30I'm sorry to interrupt, but if I were you, I'd hang up.
00:15:33The police are tracing your call.
00:15:36Hello?
00:15:37Hello?
00:15:38Hey, hang up.
00:15:40Seems to me I heard music.
00:15:41Wasn't that music?
00:15:42You didn't do your husband a favor, Mrs. Johnson.
00:15:47It's bad enough to be alone in a big city with no place to go.
00:15:49But as soon as the newspapers hit the streets and the killer finds out he didn't get your
00:15:53husband, there'll be guys looking for him with guns.
00:15:56If I had a husband I wanted to get rid of, I'd do exactly what you did.
00:15:59If he wants to run away, that's his business.
00:16:01And your business too, Mrs. Johnson.
00:16:04I'll be seeing you.
00:16:11No wonder the world's full of bachelors.
00:16:16A little more needling is all she needs.
00:16:18Give her plenty of rope, but keep her tail.
00:16:20She wants to get rid of him.
00:16:21Women are curious.
00:16:22Even that dame will go after him.
00:16:24Well, come on, be a good fellow and let us up.
00:16:25Who's handling the case?
00:16:26Inspector Perth.
00:16:27Oh, he's a friend of mine.
00:16:28Is that right, Inspector?
00:16:29Sure, we know him well.
00:16:31Hi, Paris, what's the dope?
00:16:32No story.
00:16:33How about that Johnson gal?
00:16:34Is she good looking?
00:16:35What about the witness?
00:16:36What witness?
00:16:37Oh, cut it out, cut it out.
00:16:39It's already gone to press.
00:16:40Did you get a look at the murderer?
00:16:41No.
00:16:42What's his wife like?
00:16:43Any filth?
00:16:44Lay off the tabloid sex stuff like it.
00:16:46I'll give it to all of you in the morning.
00:16:49Hiya, Homer.
00:16:50No favorites.
00:16:58Hiya, Homer.
00:17:08Hiya.
00:17:10Hiya.
00:17:10Let's go.
00:17:40Don't scream.
00:17:59You're coming out or going in?
00:18:01Are you the police?
00:18:02Smile when you say that. I'm a reporter.
00:18:04Oh, a newspaper man.
00:18:05Well, you don't have to say it like that.
00:18:08Let go of me. Go away.
00:18:10Oh, help. Are you just going to leave me dangling here?
00:18:15Well, you just said pleasure.
00:18:16I don't care what I said. Help me get out of here.
00:18:19It's a pleasure, Mrs. J.
00:18:20You are Mrs. Johnson, aren't you?
00:18:22No, I'm the maid taking my night out.
00:18:25Oh, what magic I possessed.
00:18:29A moment ago, total strangers.
00:18:30Now you're in my arms.
00:18:31So it's love at first sight.
00:18:33Now show me how you got up here without the police seeing you.
00:18:36Do I get the story?
00:18:37After I get out of here.
00:18:38Follow me, man.
00:18:50Looks like half the police force is down there.
00:18:52Must I?
00:19:00Just look straight ahead like you did when you got married.
00:19:04Incidentally, my name's Leggett.
00:19:05Leggett of the graphic.
00:19:06We've got a dandy little sheet, all full of goo and gore and everything.
00:19:10Hey!
00:19:11Bye.
00:19:12Bye.
00:19:12Bye.
00:19:13Bye.
00:19:14Bye.
00:19:15Bye.
00:19:16Bye.
00:19:17Bye.
00:19:18Bye.
00:19:19Bye.
00:19:20Bye.
00:19:21Bye.
00:19:22Bye.
00:19:23Bye.
00:19:24Bye.
00:19:25Bye.
00:19:26Bye.
00:19:27Bye.
00:19:28Bye.
00:19:29Bye.
00:19:30Bye.
00:19:31Bye.
00:19:32Bye.
00:19:33Bye.
00:19:34Bye.
00:19:35Bye.
00:19:36Bye.
00:19:37Bye.
00:19:38Bye.
00:19:39Bye.
00:19:40Bye.
00:19:41you wish something gin over rocks rocks is this chair taken madam why thank you
00:19:56mrs johnson i'd love to join you you didn't think you were going to get rid
00:19:58of me as easy as you ducked police did you i'll have you know mrs j i'm an old
00:20:02fire escape man from way back why don't you get lost
00:20:11now then how about the story you'll get the story from my husband when he's safe and sound in jail
00:20:16oh but he won't be safe and sound have you forgotten to follow up a name of joe gordon
00:20:20do you wish something yeah let me have a bourbon old-fashioned why did you come here tonight
00:20:25mrs johnson or shouldn't i ask because i like it here you didn't buy any chance come here to meet
00:20:30say your husband did you or is that a far-fetched supposition supposition i better stop using those
00:20:35four syllable words i won't be working for the graphic anymore where's your husband mrs johnson
00:20:38i don't know did you see the killer i don't know should we dance why don't you drop dead
00:20:47why don't you be nice to me mrs johnson who knows i might even be able to help you i'm not a bad guy
00:20:52when you get to know me a little obnoxious perhaps but pleasant now then answer yes or no your husband
00:20:58saw her and took it on the lamp right right and you're you're meeting him here i haven't the slightest
00:21:03idea i came here on a hunch when he phoned tonight i heard music that could only have come from this joint
00:21:08something to eat no thanks no food oh go ahead try something no really nothing
00:21:16oh uh i've got a deal for you you find your husband with my help give me an exclusive for 24
00:21:22hours i'll get my paper to pay you for it trying to buy me so soon first i'm going to try and buy you
00:21:26and if i can't i'm going to try to win you isn't that the reverse of the usual procedure i'm a perverse
00:21:31fellow on second thought mrs j i find you very attractive i may try and win you right off no
00:21:37thanks i'd rather be bought very mercenary all of the good though i like mercenary women
00:21:41can you really get the money sure how much oh i don't know gram maybe is it worth that much
00:21:54will be by the time i get through building it up frank will need it if he wants to get away
00:21:58i'll bring it with me just tell me where and when and you won't print anything until i give the word
00:22:02scouts honor it's a deal should we drink to it to the uh speedy conclusion of all our troubles yours
00:22:10your husband's and mine you've got trouble you don't look and then i can't solve now that we're
00:22:15partners hiya mrs johnson hi sammy sit on meet mr legged of the graphic oh a newspaper man sammy you
00:22:24should have caught the show susie and i are breaking in a new act chung and okito it's terrific
00:22:30that's spelled c-h-u-n-g anybody can spell okito of course we're only breaking in the show here
00:22:34but a little plug it help i'll uh i'll see what i can do thanks next time you come catch the midnight
00:22:40show the place is really jumping then i'll be seeing you bye sammy night well i think i'll go home
00:22:45frank won't show tonight how do you know i just know that's all what are you gonna tell your husband
00:22:50when you see him to give himself up maybe i'll give up
00:23:04your flag down
00:23:20you want to go in over the roof no i'll go in the front door and give them something to think about
00:23:24no in that case i'll disappear let's not give them too much to think about well if i need you
00:23:28i'll get in touch with you oh you won't have to get in touch with me mr johnson just look around
00:23:32i'll be there good night mr legged what are you doing here that was nice going mrs johnson but
00:23:48the next time you try to get out you'll have more trouble i've got news for you i've just seen your
00:23:56husband's doctor why aren't you feeling well your husband isn't a hypochondriac he's a very sick man
00:24:05he's got a bad heart
00:24:10i don't believe it that's dr holer
00:24:18frank never said anything to me about it maybe he figured you wouldn't be interested
00:24:22well he can walk into any drugstore and buy some medicine not without a prescription he can't and
00:24:27i've given orders to every drugstore in town that none of this medicine to be dispensed without an
00:24:31order from me if he should have an attack and not have that with him you know what that means
00:24:36you can't do that if it's the only way i can get him to come in and testify i mean to use it
00:24:41but frank's done nothing wrong oh yes he has he was in the wrong place at the wrong time i thought the
00:24:46police were supposed to protect people not put them in danger all it says in my book sister is that the
00:24:50good of the majority's got to be upheld and for the good of the majority frank johnson's got to
00:24:54testify if he gives himself up we'll give him a supply of medicine we're protected and if he doesn't
00:24:59he'll die of a heart attack or a bullet from one of smiley freeman's men i don't believe a word you're
00:25:04saying you're only trying to frighten me and i'm getting pretty sick of you now get out of here
00:25:09of course if you want to try to find it i won't try to stop you but i don't think you can find it
00:25:15i don't think he's running away from us i think he's running away from you i said get out
00:25:20i don't think he's running away from us i mean the way we can scan you but i'd say get out
00:25:50I am violating my instructions from the police by giving you this additional supply,
00:26:03but rest assured it gives me no feeling of guilt.
00:26:06Thank you, Doctor.
00:26:07After the excitement of last night, your husband undoubtedly used the amputee he carried with him.
00:26:12So you see, my action is not prompted by kindness so much as reluctance to gamble with a man's life.
00:26:17Is his heart really that bad, Doctor?
00:26:20Frank's condition isn't any worse than thousands of men that strain their hearts running in track meets.
00:26:26The misguided believed that they were building up their bodies.
00:26:29If it were only his heart, we could control it.
00:26:31What do you mean?
00:26:32Well, for the past year, your husband has had hypertension that complicates matters.
00:26:37Hypertension? What causes that?
00:26:39I'm not sure. My guess is overwork, unhappiness, anxiety.
00:26:44But you know more about it than I do.
00:26:46Why should I?
00:26:46But naturally, you must know about his troubles. I'm only his doctor. You are his wife.
00:26:51Oh, yes. I'm that bitter, selfish, vicious wife.
00:26:54The cause of his unhappiness. The cause of his failure.
00:26:56Is that what he told you? Is that what he tells everyone?
00:26:59Frank didn't discuss his private life with me, nor do I care to hear it from you.
00:27:02I shall explain to you his condition, and that's all.
00:27:06He has a cardiac condition. Let's call it X.
00:27:09Now, X alone is not serious.
00:27:11He also has hypertension. Let's call that Y.
00:27:13Now, X plus Y is dangerous.
00:27:16I'm Y, I suppose.
00:27:18I'm not a psychiatrist, Mrs. Johnson.
00:27:20I deal only with facts.
00:27:21X plus Y equals steady deterioration.
00:27:24X minus Y is an improvement.
00:27:26Now, what you and your husband do about it, that's your personal concern.
00:27:30My only personal concern right now is to get these ampoules to him.
00:27:33If you see him, tell him he should give himself up.
00:27:36It's imperative to take the strain of himself.
00:27:38I'll give him the facts. He can draw his own conclusions.
00:27:40— What do you mean? — I'll give him the facts.
00:27:42I'll give him the facts.
00:27:44I'll give him the facts.
00:27:46— I'll give him a hint.
00:27:48Let's go.
00:28:18Oh, Frank, darling, I thought I'd never find you.
00:28:28Now, stay right there. I'll be back in five minutes to explain everything.
00:28:35All right, Mr. Johnson, come along.
00:28:37My name isn't Johnson.
00:28:38Yeah, and I suppose that isn't your wife either.
00:28:40No, but I wish it were.
00:28:41Do you have any identification?
00:28:43Yes, I have. My name is Stephen Carruthers, optometrist.
00:28:46While we're on the subject, I think you better have your eyes examined.
00:28:49So, Frank is a fugitive from the law.
00:29:10Well, that's just like him. He's so adventurous.
00:29:14Adventurous? Frank?
00:29:15Oh, yes, indeed.
00:29:17Sit down, Mrs. Johnson. I guess you've never visited our workshop before.
00:29:21What makes you think he's adventurous?
00:29:23Oh, but he is.
00:29:24All the places he's gone and all the things he's done.
00:29:28You know, my life has been pretty uneventful.
00:29:30Straight from high school to this job.
00:29:33From my rooming house to the streetcar and then down here to work.
00:29:37In the evening, back to my rooming house again.
00:29:38But since he's been here, it's different.
00:29:41He makes my life kind of exciting.
00:29:44I never get tired listening to the stories he tells about his trip down to Mexico.
00:29:48When he was wandering around with all those bullfighters.
00:29:51And when he shipped off to Tahiti in that old freighter and then jumped ship.
00:29:56Oh, I'm sorry.
00:29:57I suppose you've heard these stories many times, Mrs. Johnson.
00:30:00I never heard them. He never told me.
00:30:03He didn't?
00:30:04Well, maybe he didn't want his wife to know.
00:30:07Oh, I'm sorry if I talked out of turn.
00:30:09Of course you haven't.
00:30:11Shouldn't the mail be here?
00:30:12Why, yes, yes, it should. Why?
00:30:14Frank sent me a letter in care of you.
00:30:16Oh, he did?
00:30:17I don't know what Mr. Anderson is going to say.
00:30:20When he finds out Frank isn't coming in today.
00:30:23You know, he's got a terrible disposition.
00:30:25He doesn't exercise enough.
00:30:27Of course, I don't either, but then...
00:30:29Well, I'm going to protect Frank.
00:30:30Frank, he saved my job once.
00:30:32You know, Mr. Anderson was going to fire me.
00:30:35But Frank said, if Mr. Mavis goes, you can pay me off, too.
00:30:38Oh, they had a terrible argument.
00:30:40They even took it upstairs to Mr. Winston.
00:30:43Well, we're still here.
00:30:45Frank was too valuable.
00:30:48Look, Mr. Mavis, don't tell anyone about that letter that's coming.
00:30:52Oh, no, no, no. You can trust me.
00:30:54Not even the police.
00:30:56The police?
00:30:57Are they coming here?
00:30:58They're very apt to.
00:31:00But just don't mention the letter or anything about my being here at all, huh?
00:31:03Well, I don't know how good I am at deceiving people, but if it's for Frank, I'll try.
00:31:08Hey, Mavis, you better get the lead out and get upstairs.
00:31:11Anderson's blowing his top.
00:31:12Okay, I'll be right up.
00:31:13Is the mail in yet?
00:31:14How should I know?
00:31:16Nice people.
00:31:18Sometimes I think it'd be better for Frank if he got himself fired.
00:31:21Well, he doesn't belong around here.
00:31:23Look at all the time he puts in these mannequins.
00:31:26See, I just noticed something.
00:31:29This looks like you.
00:31:31Very flattering.
00:31:32Is that the way he sees me?
00:31:33Well, it may be a little severe, but it shows he was thinking about you anyway.
00:31:37Yes, and what he was thinking.
00:31:39Mail!
00:31:40You've only got two today, Mr. Mavis.
00:31:43Wasn't Frank here?
00:31:44No, no, he's late.
00:31:45Was there a letter for him?
00:31:46No, I just had a new song I wanted him to hear.
00:31:49Frank's the only one who listens to me sing.
00:31:51Oh, brother, have I got a crush on that man.
00:31:53No letter.
00:31:57Oh, but there's got to be one.
00:31:58Well, maybe it'll be here on the afternoon mail at three o'clock.
00:32:01If one comes, hold it for me.
00:32:03And let's just keep it our secret, shall we?
00:32:14Good morning, Mr. Johnson.
00:32:15He didn't show up for work this morning, did he?
00:32:17Where's your new pal Leggett?
00:32:18I haven't the biggest idea.
00:32:20I wouldn't get too cozy with that guy if I were you.
00:32:23He'd crucify his grandmother for a story.
00:32:25I haven't found him as objectionable as you are.
00:32:28What right of you prying into my personal life, having me followed as if I were a criminal?
00:32:32I'm sick of it.
00:32:32I'm sick of you, and I want it stopped.
00:32:34Mrs. Johnson, didn't your husband ever beat you?
00:32:36Are you going to have these men stop following me?
00:32:38The man who killed Joe Gordon isn't stupid.
00:32:40If I'm smart enough to use you as a bird dog to lead us to your husband, so is he.
00:32:45You may be very happy to have a cop around before this thing is over.
00:32:48That I doubt.
00:32:50Stick with it.
00:32:52How could I lose a redhead like that?
00:33:10Oh, don't be so grumpy this morning.
00:33:33All I'm trying to do is help you.
00:33:35Do you know that you've got a little shadow?
00:33:36There she is.
00:33:40Well, it's a nice morning for a ride.
00:33:43Oh, well, by the way, here's your letter.
00:33:46Well, how did you...
00:33:47Surprise?
00:33:47Don't be.
00:33:48Ten dollars and an underpaid store clerk can get you anything.
00:33:51Don't you worry about it.
00:33:51I'll put it on my expense account.
00:33:53But how did you know about it?
00:33:54The menu.
00:33:55You shouldn't have left it.
00:33:55It was very careless.
00:33:56I have inquisitive eyes.
00:33:58Do you always open other people's mail?
00:34:00Mm-hmm.
00:34:01Every chance I get.
00:34:02Say, did you get a load of the female impersonator they've got following you?
00:34:06No.
00:34:06Well, let's duck here and get down to business.
00:34:10Hey, Mac, turn left on the next street and then right up the alley.
00:34:13Okay.
00:34:28Mean anything to you?
00:34:29Oh, a lot of things.
00:34:30Something to go on?
00:34:32I'm not sure.
00:34:33What does he mean in there about the doctor and the ampules?
00:34:35It's medicine he needs.
00:34:37He has a bad heart.
00:34:38How bad?
00:34:39Bad enough.
00:34:40I just found out.
00:34:41He's got to have these pills and he can't get them anywhere.
00:34:44The police have seen to that.
00:34:45Yeah, squeeze play.
00:34:47At first, he's smart.
00:34:49Will he die?
00:34:50I don't know.
00:34:51I spoke to his doctor.
00:34:53It isn't serious, only under certain conditions.
00:34:55Well...
00:34:55Yeah, explain.
00:34:59The police will probably read this note, so I can't tell you where I'll be.
00:35:03But if you think back, you'll know where to find me.
00:35:06What am I, a mind reader?
00:35:08Well, he gives you a clue in this next line.
00:35:11I'll be out in the open under the sun in a place like the one where I first lost you.
00:35:15There is no first in things like these.
00:35:17This is kind of obscure.
00:35:18Does he always talk to you like this?
00:35:20No, it's our first murder.
00:35:23You know, Mrs. J., your husband's a pretty clever guy at that.
00:35:26No, I know you don't think so, but he is.
00:35:28He's testing you.
00:35:29He's asking you to admit that your marriage is a failure and that it's your fault.
00:35:33He's saying that he understands you, but that you don't understand him.
00:35:36Now, listen, Mr. Leggett of the graphic.
00:35:38I've had just about enough of the all-wise male.
00:35:41In the past ten hours, I've met three men.
00:35:44Three men who all put together haven't known Frank for one fraction of the length of time I have.
00:35:49Yet they all know him better than I do.
00:35:51Well, along the way, I found out a few things myself.
00:35:54I found out how Frank Johnson really feels about me.
00:35:57That at the first chance, his first excuse, he took off, ran.
00:36:01That he didn't even think enough of me to confide in me that he was ill.
00:36:04Then at the store, in the faces of those mannequins, I saw what he really sees in me.
00:36:09All right, it's okay if that's the way he feels about it,
00:36:11but if he wants his ampoules, he'll have to come out of hiding and get them.
00:36:17What did you have for breakfast?
00:36:19Cigarette and coffee?
00:36:20Cigarette.
00:36:21I thought so.
00:36:21Take us over to Lancey's on Powell.
00:36:23Lancey's?
00:36:24Okay.
00:36:25This place has the best waffles in town.
00:36:26Butter in every little square.
00:36:29View is always better on a full tummy.
00:36:33How about another one?
00:36:34No, no thanks.
00:36:36Now that I've got you softened up, Mrs. J., there's something that I have to tell you.
00:36:40You have to find your husband.
00:36:42No, not for the money, I promise.
00:36:43You are my story, but for yourself.
00:36:46He's challenged you.
00:36:47You've got to accept it or admit he's right.
00:36:49I really would like to find him.
00:36:51If only I could decipher the riddle in this letter.
00:36:53Together we can do it.
00:36:55That letter's like drawing a graph.
00:36:57One line is to Tracy's movements from last night.
00:36:59The other leads back into the past.
00:37:01But you have to remember.
00:37:02Where they cross, that's where your husband is.
00:37:04You need a manicure.
00:37:07So I do.
00:37:09You know, this is the first time in my life I ever insisted on helping a woman find her husband.
00:37:13That I believe.
00:37:14By the way, what do people call you besides legged at the graphic?
00:37:19Oh.
00:37:20Oh, people that like me call me Danny Boy.
00:37:22Okay, Danny Boy.
00:37:32Fisherman's Wharf.
00:37:33Frank used to come here a lot.
00:37:35I remember once he did a watercolor of a boat.
00:37:38A fisherman admired it, so Frank just gave it to him.
00:37:42Not to be outdone, the fisherman gave Frank a big swordfish.
00:37:46I made a remark about the joys of living by the barter system, and we had a bitter quarrel.
00:37:50But it certainly wasn't the first one.
00:37:53Do you think Frank was referring to a quarrel when he said, where I first lost you?
00:37:56What else?
00:37:58Another one started up here on Telegraph Hill.
00:38:01Frank did a canvas at the harbor from here that I thought was wonderful.
00:38:05When I told him so, he insinuated that my taste in art ran to calendars.
00:38:09I said my taste was my own, and I wanted the painting.
00:38:13So he gave it to me.
00:38:14But he signed it to Eleanor's husband.
00:38:16Without telling him, I entered it in a contest they were having here at the art gallery.
00:38:21The oil by Eleanor's husband won first prize.
00:38:24Five hundred dollars.
00:38:26But do you think Frank was pleased when he found out?
00:38:29Oh, no.
00:38:30He refused the money and withdrew the painting.
00:38:33Said he wasn't ready yet.
00:38:35Sounds pretty stubborn.
00:38:36Stupidly stubborn.
00:38:38I wonder if he ever really wanted to be successful.
00:38:41Soon after that, he took the job at Hart and Winston's.
00:38:43You know, the only thing we know for sure is that Frank was at the Oriental Gardens last night.
00:38:49While we're in the neighborhood, let's drop in.
00:38:50Yeah, he sat around the dressing room until we came down to do the one o'clock show.
00:38:54Then he said he was going to make a phone call.
00:38:55Then Frank wrote the letter.
00:38:57He said to get in touch with you, that he was going to send the letter to a store, care of Mr. Mabus.
00:39:01Haven't I seen you someplace before?
00:39:03Shouldn't be surprised. I've been there.
00:39:05But didn't he say what he was going to do or where he might go?
00:39:07I didn't want to pump him.
00:39:09Say, why don't you try Sullivan?
00:39:10Who's Sullivan?
00:39:11He's a grand mick. Runs a bar across the street.
00:39:13Come on, I'll show you. You can go down the back stairs.
00:39:15Now I know where I've seen you before.
00:39:18Last night.
00:39:19Sure, I was in with Mrs. Johnson.
00:39:20No, I mean the picture that Frank drew.
00:39:23What picture?
00:39:25What picture? Of me?
00:39:27Well, it looks something like you.
00:39:28You know how Frank's always drawing pictures.
00:39:31Did he say who this man was?
00:39:32No, no, he didn't.
00:39:34I wonder if I should have told the cops about it.
00:39:36Oh, well, they'll be back. The man that was in said so.
00:39:39Susie, quit yakking.
00:39:40Uh, do you still have the picture?
00:39:42Maybe I could run it in the paper.
00:39:44Yeah, it's upstairs in my dressing room.
00:39:46I better keep it, though.
00:39:47Hey, Leggett, are you sure you want to help find Frank?
00:39:51Say, don't forget that plug in the paper about us.
00:39:53We can sure use it.
00:39:57Okay, take it from the top.
00:39:59I've got to go see our agent.
00:40:01I've heard about this place for years.
00:40:21Never been here before.
00:40:22What did you have, folks?
00:40:31You hungry?
00:40:32Specialty today, corned beef and cabbage.
00:40:34Orig for you.
00:40:35No food.
00:40:36Gin over rocks for the lady in old-fashioned for me.
00:40:38I think I'll call a paper and see if anything's broken.
00:40:41You can get more out of him alone anyway.
00:40:44Say, why don't you wear a hat?
00:40:45I look funny in hats.
00:40:47You know, you're right.
00:40:50What is it?
00:40:50No, I didn't drop a nickel.
00:41:15Yes, Mrs. Johnson.
00:41:16Frank was in here last night, just before closing time.
00:41:19Did he say where he was going?
00:41:20No, he didn't.
00:41:21Just borrowed ten bucks, is all.
00:41:23Maybe I should tell you.
00:41:24There was a couple of fellas in here this morning asking about Frank.
00:41:27Fellas that you couldn't very well say, mind your own business to.
00:41:30Is he in some sort of trouble, Mrs. Johnson?
00:41:33Some.
00:41:33He didn't come home last night.
00:41:35They're all alike.
00:41:36I've been looking for mine for three years.
00:41:40I'm glad I finally met you, Mom.
00:41:42I often wondered what kind of a woman Frank was married to.
00:41:45Not that I imagined he was too easy to live with, being so quiet and moody and strange at times.
00:41:50For instance, now look at this picture.
00:41:52Look at the date he put on it.
00:41:54Frank painted this for me about six months ago.
00:41:56It was on St. Patrick's Day.
00:41:58But look at the date on it.
00:41:59March 17, 1947.
00:42:02Well, I suppose it's an artist's privilege.
00:42:04March 17th, that's Frank's birthday.
00:42:071943.
00:42:10We spent the day on the beach at Cypress Point.
00:42:13Then we suddenly decided we had to see the sunset from the top of the mark.
00:42:17So we drove to San Francisco.
00:42:19We had a car then.
00:42:20We had champagne cocktails and watched the sunset over the Golden Gate.
00:42:24After all, it was Frank's birthday and St. Patrick's.
00:42:27We had a beautiful dinner at Andre's and Cafe Diablo at Amigos.
00:42:30Then we drove back to Carmel in the softest moonlight I've ever known.
00:42:35Ah, there's nothing like being young and in love.
00:42:37And daft.
00:42:38To boot.
00:42:39What?
00:42:39Daft.
00:42:40To boot.
00:42:41Well, I guess people are entitled to do crazy things on their birthday.
00:42:44This year we didn't.
00:42:46I went to a movie.
00:42:48Frank came down here and painted that picture.
00:42:51Now I know what Frank meant when he said someone should have been in that picture with him.
00:43:00I have a notion if your husband could have seen your face when you were telling him about that birthday party in 1947,
00:43:20he'd have painted you right smack in the middle of that picture with his arms around you.
00:43:25Sorry I was so long.
00:43:26Oh, Mr. Leggett, it's a graphic, Mr. Sullivan.
00:43:28He's helping me look for Frank.
00:43:30Hi.
00:43:31Freshen up a little, will you?
00:43:32Now hold the garbage.
00:43:33You?
00:43:34No, I'm fine.
00:43:36Got something?
00:43:37Something I hadn't counted on.
00:43:38What?
00:43:39Frank still loves me.
00:43:41That's a big help.
00:43:43I think so.
00:43:44If it'll help any.
00:43:45Frank asked me how early the Army and Navy stores open the windows down on the Embarcadero.
00:43:49Oh, he's getting smart.
00:43:51He's changed his clothes.
00:43:52What do you say we cover it?
00:43:54Oh, I, uh, I'm sorry I was so rude a moment ago, but it's always discouraging to hear a wife say that her husband loves her.
00:44:00What do you write?
00:44:01Comic strips?
00:44:02Oh, never more serious in my life.
00:44:04What's the damages?
00:44:05Oh, it's on the house.
00:44:07I hope you find him, Mr. Johnson.
00:44:08Thanks.
00:44:09It's no use looking, honey.
00:44:12Once they're gone, they're gone.
00:44:15How did it happen?
00:44:35I was walking along and she almost hit me.
00:44:38She must have fell from the Oriental Roof Garden up there.
00:44:42Who is she?
00:44:43She's one of the dancers from the show.
00:44:50Maybe a drink, Sammy?
00:44:52It helps sometimes.
00:44:53No, thanks.
00:44:55Hi, Sammy.
00:44:56Let him alone, can't you?
00:44:57I just heard about it.
00:44:59I'm sorry.
00:45:01I can't understand it, Inspector.
00:45:03Susie was happy.
00:45:04We were doing great.
00:45:06There was no reason for it.
00:45:07Sometimes we don't know what makes people tick, even the ones closest to us.
00:45:11I just can't believe she killed herself.
00:45:14Well, maybe she didn't.
00:45:16Inspector, how else?
00:45:16Well, it could have been robbery.
00:45:19She might have surprised somebody in the dressing room.
00:45:21Did you check her stuff, see if anything was missing?
00:45:23No.
00:45:24Well, we'll do it now.
00:45:32We've been through almost all of these places and we still haven't found a lead on Frank.
00:45:36We'll do it now.
00:46:07Mind if I look at this coat?
00:46:08That's a man's coat.
00:46:10Mind if I look at it?
00:46:11Say dollars.
00:46:13That's Frank's coat.
00:46:14Where did you get it?
00:46:15None of your business.
00:46:16But that's my husband's coat.
00:46:17No, it ain't. It's mine.
00:46:19The fella came in here and traded that coat and four dollars for a pea jacket and a cap.
00:46:22When?
00:46:23When I opened up this morning.
00:46:24Where'd he go?
00:46:25How do I know? I just sell stuff. I don't watch people.
00:46:27Shut the door as you go out.
00:46:36THE END
00:47:06Look.
00:47:15Well, wouldn't you know, there he is, just like nothing had happened.
00:47:19Oh.
00:47:28Frank.
00:47:30I beg pardon?
00:47:32Oh, I'm sorry.
00:47:36I never knew there were so many land-going sailors in the world.
00:47:49All of them wearing pea jackets and seamen's caps.
00:47:51Beat, huh?
00:47:57Mm-hmm.
00:47:58I might as well admit it.
00:48:01I can't remember.
00:48:02No thanks.
00:48:03There's not much sun left to find him under.
00:48:05If you think back, he said in his letter, you'll know where to find me.
00:48:16Danny, maybe if I'm alone, I can figure this out.
00:48:19I've got to go home anyway and feed the dog.
00:48:21He's been locked up all day.
00:48:22Oh, sure, sure.
00:48:24I'll meet you later someplace.
00:48:26How about picking me up at the corner of Montgomery and Union Streets when you're ready?
00:48:29It's not much out of your way.
00:48:30All right.
00:48:31I'll meet you there in an hour.
00:48:36Uh-oh.
00:48:38Looks like your shadow's finally caught up with you.
00:48:40Are you as tired as I am?
00:48:54I beg your pardon.
00:48:56Come on, there's no need in spending two cab fares.
00:48:58We might as well go together.
00:48:59But, well...
00:49:00Oh, come on, at least you'll have someone to talk to.
00:49:02Uh...
00:49:10As a taxpayer, I thank you.
00:49:35Hello, Rembrandt.
00:49:37I'll be with you in a minute.
00:49:39Hi.
00:49:40What, you again?
00:49:42Who let you in?
00:49:43Landlord, do you mind?
00:49:45Oh, no.
00:49:46Make yourself at home.
00:49:47I love having cops move in on me.
00:49:49Where's the letter?
00:49:50Don't pretend you don't know what I'm talking about.
00:49:51I mean, the letter your pal picked up at Hart and Winston's this morning.
00:49:54I want it.
00:49:55Seize all knows all, except where Frank is and who the killer is.
00:49:59Why don't you go back to jail or wherever it is you live and leave me alone?
00:50:02Oh, no.
00:50:03The merry-go-round's over.
00:50:05This case is going cold on me and you're the only live thing in it.
00:50:08So from now on, I'm sticking with you.
00:50:09That's just peachy.
00:50:12Oh, I'm bushed.
00:50:13You ought to be.
00:50:14You covered a lot of territory today.
00:50:16My men are bushed, too.
00:50:17You should be more considerate.
00:50:20Can you make anything out of this letter?
00:50:22It's pretty cryptic.
00:50:23Not yet, but I'm working on it.
00:50:25It sounds like a guy in love.
00:50:28You think so?
00:50:30Yeah.
00:50:31I'll be out in the open, under the sun, in a place like the one where I first lost you.
00:50:37That kind of lays it right in your lap.
00:50:40Doesn't it mean anything to you?
00:50:41I wish it did.
00:50:43I'm glad you're not bringing me my medicine.
00:50:45Oh, don't worry.
00:50:47I'll find you.
00:50:47And I'll be right there with you when you do.
00:50:50Where you go, I go.
00:50:56Would you insist upon going with me if I walked the dog?
00:50:59I walked him.
00:51:00Anyway, there's a man out front, one in back and one on the roof.
00:51:03Fine.
00:51:04I'm staying right here, then.
00:51:05So am I.
00:51:06We'll just wait till your husband comes to you, or you can't stand the strain any longer and go to him.
00:51:12Look, Mr. Ferris.
00:51:13Maybe you were right in some of the things you said.
00:51:16Today, I discovered a lot about Frank I never knew before.
00:51:19In one day, what you couldn't find out in four years?
00:51:22I guess I was the one that was mixed up.
00:51:24A lot of it's my fault, anyway.
00:51:26I haven't been much of a wife.
00:51:28Well, that's quite an admission from you, Mrs. Johnson.
00:51:31Please, you've got to give me a chance to see Frank alone and give him his medicine.
00:51:36Then if he wants to come in and testify, that's up to him.
00:51:39But it's got to be his choice.
00:51:41I won't try to influence him one way or the other.
00:51:43Whatever he does is all right with me.
00:51:44But you've got to let me see him alone first.
00:51:47I believe you, and I'd like to help you, but I'm a cop.
00:51:50If Frank keeps on running, I'll have no witness to say nothing of a job.
00:51:58He's hungry.
00:51:59Couldn't you have fed him, too?
00:52:01He couldn't figure out how to work the can opener.
00:52:03Can I use your phone?
00:52:12Hello, Ferris.
00:52:13Anything come in?
00:52:16Keep it going until we get results.
00:52:17I think we're getting warm.
00:52:19Sure there?
00:52:21Put him on.
00:52:22I think we're going to go back.
00:52:48Oh, my God.
00:53:18I'm sorry, Rembrandt. It's the only thing I can think of.
00:53:35Mr. Ferris.
00:53:36Yeah?
00:53:39I'm worried about Rembrandt. He was so hungry and now he won't touch his food.
00:53:43That's funny.
00:53:44When his nose is so hot, maybe I'd better take him to the vets.
00:53:50I'll take him. I like dogs.
00:53:52Oh, thank you.
00:53:53Get your shoes.
00:53:58His temperature is normal. In fact, he seems to be in perfect health.
00:54:01But I'm worried about him, Doctor. He won't eat.
00:54:03Maybe he isn't hungry.
00:54:05Perhaps he should stay here for a few days for observation.
00:54:08May I take a look at your exercise yard?
00:54:10Oh, yes. Right out that door, across the hall.
00:54:12And, Doctor, see if you can't coax him to eat something.
00:54:20Doctor, I wish you'd look at Emelyn.
00:54:23I'm not the doctor. I'm here for treatment myself.
00:54:26I beg your pardon?
00:54:27Well, your wife thinks you ought to leave the dog for observation.
00:54:29That woman's not my wife.
00:54:44Ferris was there when I got back. He knew about Frank's letter.
00:54:47Well, that doesn't surprise me. I knew he'd check that.
00:54:50Danny, I've been thinking.
00:54:51Why did Frank send it to Hart and Winston's?
00:54:53Well, he didn't want to intercept it.
00:54:55Why not leave it with Sammy Chung, then?
00:54:57Or give it to anybody he knew who'd bring it to me.
00:54:59Why Mavis at the store?
00:55:01You mean, you think there's a reason, something you missed?
00:55:03Yes, something I didn't see. Something I overlooked.
00:55:06Driver, take us to Hart and Winston.
00:55:08Okay.
00:55:23Weary, bitter, cynical.
00:55:27Fresh, eager, and hopeful.
00:55:34The two Eleanors.
00:55:37Now I remember.
00:55:38One day on the beach at Carmel, just after we were married,
00:55:41Frank made a mermaid out of sand.
00:55:43It was supposed to be me.
00:55:44And a big wave came up and washed it away.
00:55:46And he said, well, I've lost you.
00:55:47And I said, you'll never lose me, Frank.
00:55:49I won't let you.
00:55:50That's what he meant in the letter.
00:55:51It wasn't a quarrel.
00:55:52This means something to you?
00:55:53You know where he is?
00:55:54I'll take you there.
00:55:55Inspector Ferris wants to see you.
00:55:57Why?
00:55:57Look, he wants to see you.
00:55:59Where?
00:55:59Later.
00:56:00Look, he wants to see you.
00:56:05See you.
00:56:09그걸...
00:56:10Go.
00:56:11Let's see.
00:56:11Let's see.
00:56:12Let's see.
00:56:17Let's see.
00:56:19Let's see.
00:56:20Come on.
00:56:21Come on.
00:56:22Let's go.
00:56:22Go.
00:56:23Good.
00:56:23Let's see.
00:56:24Let's go.
00:56:24Come on.
00:56:25Let's go.
00:56:26Let's go.
00:56:27I'm sorry to have to ask you to do this, Mrs. Johnson.
00:56:39This man was found in an alley behind a gin mill on the Embarcadero.
00:56:43He'd been brutally beaten to death.
00:56:46He wasn't wearing a trench coat, but he was wearing a seaman's cap and jacket.
00:56:50From what I remember of your husband, it could be him.
00:56:54I'm not sure.
00:56:54So I'll have to ask you to make a positive identification.
00:57:24Let her alone.
00:57:32There goes the Freeman case.
00:57:35Two witnesses.
00:57:37Two dead men.
00:57:39That's the way it goes sometimes.
00:57:40I don't know anything that I could say would just be words.
00:57:55Danny.
00:57:57That wasn't Frank.
00:57:59For a quick moment, I thought it was, and I felt things I didn't know I could feel.
00:58:02What was I holding out for?
00:58:05Why didn't I learn to understand him?
00:58:08Why don't we give freely of ourselves when we can?
00:58:12If only I had another chance, I thought.
00:58:15Then I thought it wasn't Frank, and I fainted.
00:58:18Congratulations on your performance.
00:58:21But it wasn't an act.
00:58:22I really did faint.
00:58:23Where is he?
00:58:27At the amusement park at the beach.
00:58:29You were there when it happened.
00:58:45Why can't you talk?
00:58:48That Johnson dame's a smart cookie.
00:58:50Yeah.
00:58:51I wonder where she got the idea of passing that stiff off as her husband.
00:58:54Somebody had...
00:58:56Pass him off?
00:58:56Sure.
00:58:57The guy she identified was the second mate off a tanker.
00:59:00Just been paid off.
00:59:01Somebody rolled him for his dough.
00:59:02Why wasn't I told?
00:59:03The fingerprint report just came.
00:59:06Kick me for a knucklehead.
00:59:08Get down to the taxi stand.
00:59:09Check and find out where they took her.
00:59:20$1.80, sir.
00:59:26Hey, Mac.
00:59:29Watch my cab.
00:59:30Would anyone want to get a hamburger?
00:59:31Okay, bud.
00:59:48Put this on right away.
00:59:49All units in the Bay Area, be on the lookout for one yellow cab, number 323.
00:59:56License number in the 7 column, 49 Frank 762.
01:00:00Left Hall of Justice, approximately 6.30 p.m. this date.
01:00:12Right down there, beyond that railing at the Sand School.
01:00:14He's been waiting for me all day, thinking I wouldn't remember.
01:00:23I almost didn't.
01:00:25I know.
01:00:25What is it?
01:00:26Well, I couldn't talk to him there.
01:00:28There's too many people around.
01:00:30Couldn't get the kind of story I want.
01:00:32I know where I can meet him, but nobody will bother us.
01:00:34Oh, look at the sand sculpture.
01:00:42I had an uncle that used to make statues.
01:00:44Only he made them out of ice.
01:00:46A small donation for the artist will be appreciated.
01:00:49Here you are.
01:01:22This thing's beginning to boil.
01:01:32We'll be right down.
01:01:33We're going to the beach.
01:01:35Come on, Rembrandt.
01:01:36What my eyes miss, your nose will smell.
01:01:39Come on.
01:01:52I don't like this place.
01:02:11It's a good spot.
01:02:13I used to come here with a girl when I was a kid.
01:02:15It's more frightening than romantic.
01:02:18That's the way love is when you're young.
01:02:20Life is when you're older.
01:02:23I'll tell Frank where you are.
01:02:24You sure you want to start over again with your husband?
01:02:29I'm sure I want to try.
01:02:30I'm not sure what he wants.
01:02:32I'm supposing he doesn't want to.
01:02:34Then I'll let him go.
01:02:35He'll never know how I feel about him.
01:02:38You think people can turn back and you're going to try.
01:02:42I know better.
01:02:44You're too cynical.
01:02:45It's your profession.
01:02:46It's too late now to change my profession.
01:02:49Okay.
01:02:51Go ahead, send him here.
01:02:53I'll bring him.
01:02:53No.
01:02:56What's the matter with you?
01:02:57Don't you still want the story?
01:03:00I guess I...
01:03:01I've got to have the story, but...
01:03:03My way.
01:03:04You send him back.
01:03:06I want to see him alone first.
01:03:08If you want the money, I talk to him alone.
01:03:10All right.
01:03:11If that's the way you want it, I'll send him.
01:03:23I'll send him.
01:03:42Fellas, get over there and cover the fear side.
01:03:44Yes, right, sir.
01:03:45You get up there.
01:03:46Make like a gate.
01:03:46If Johnson tries to come through, arrest him.
01:03:48Watch out.
01:03:49We're failing to curb his dog in a public park.
01:03:51I'm coming in from the other end of the field.
01:03:53I'm coming in from the other end of the field.
01:03:59Hey.
01:04:00How are we doing?
01:04:02771.
01:04:03Huh?
01:04:04That's better than I do on some Sundays.
01:04:07Thanks for taking care of things.
01:04:09Don't it's the first day I've had off in years.
01:04:11You know what I've been doing all day?
01:04:13Riding back and forth.
01:04:14Back and forth.
01:04:14We've been here in Sausalito on my old ferry boat.
01:04:17Look, I can't stick around here anymore.
01:04:19I've got to get out of here.
01:04:21Hey, Cap, I hate to ask you, but...
01:04:22But you...
01:04:23It won't take you very far.
01:04:28Here's the keys to my car and the ticket.
01:04:31Find it over in the parkway.
01:04:33Tank's full.
01:04:34Thanks, Cap.
01:04:35I'll get it back here.
01:04:36You better.
01:04:36Frank.
01:04:49Frank.
01:04:49Frank!
01:04:50Hey, pardon, lady.
01:04:51Where's Frank?
01:04:52What happened to him?
01:04:53Who?
01:04:54Frank Johnson.
01:04:55Never heard of him.
01:04:56Oh.
01:04:57Oh.
01:04:58Oh.
01:04:59Oh.
01:05:00Oh.
01:05:01Oh.
01:05:02Oh.
01:05:03Oh.
01:05:04Oh.
01:05:05Oh.
01:05:06Oh.
01:05:07Oh.
01:05:08Oh.
01:05:09Oh.
01:05:10Oh.
01:05:11Oh.
01:05:12Oh.
01:05:13Oh.
01:05:14Oh.
01:05:15Oh.
01:05:16Oh.
01:05:17Oh.
01:05:19Sorry, Mrs. Johnson, but I had to be careful.
01:05:33Frank waited all day and said he couldn't wait any longer.
01:05:35So I loaned him my car about five minutes ago.
01:05:37Where'd you go?
01:05:38Over at the parking lot at the other end of the midway.
01:05:49I lost a bet with myself.
01:05:51Did you want to win?
01:05:56As ordered, delivered.
01:05:58Late, as usual.
01:05:59But delivered.
01:06:04Let's get out of the light.
01:06:08Keep an eye out for us, will you, Captain?
01:06:20Why didn't you tell me about your heart?
01:06:22Oh, you know, doctors, they make a big deal of everything.
01:06:27Guess it was a silly thing to do, writing that corny note.
01:06:30It sounded like you'd had a couple of drinks.
01:06:32I had.
01:06:34By the time I finished the drinks and the letter, I was a pretty sad character.
01:06:39Well, I can't hide out here forever.
01:06:42Would you want to?
01:06:43I can get a job in another town, huh?
01:06:45Pretty fair window trimmer.
01:06:47Pretty good artist, too.
01:06:49We've got to pull out of this.
01:06:53We?
01:06:54Yes.
01:06:55If this excitement hasn't killed you, I'm sure I can't.
01:06:58We'll get out of town where you'll be safe.
01:07:00Can't go very far.
01:07:02I've got $7.71, barred that from the captain.
01:07:06There's a fellow named Leggett, a reporter from The Graphic.
01:07:08He helped me find you.
01:07:09He's promised to give you $1,000 for an exclusive.
01:07:12That's a lot of money for the little I can tell.
01:07:14Well, his paper must think it's worth it, so why look a gift horse in the mouth?
01:07:17But where is he?
01:07:18Over by the roller coaster.
01:07:19Come on, I'll show you.
01:07:20Hey, you!
01:07:21Turn around.
01:07:22You know an artist named Frank Johnson?
01:07:24Who?
01:07:25Frank Johnson.
01:07:26An artist.
01:07:28Did a sketch of you.
01:07:29I saw it.
01:07:30Could be, but I don't remember.
01:07:33See, I just work here.
01:07:34Used to be a ferryboat captain, though.
01:07:42Where is he?
01:07:43Over there, under the roller coaster.
01:07:44Go all the way at the end of the walk and duck in under the scaffold.
01:07:46Okay.
01:07:47Here's the ticket and keys for the captain's car.
01:07:48It's parked down at that end of the men.
01:07:49Yes, I know.
01:07:50Well, I'll meet you there.
01:07:51No, I'd better bring it here.
01:07:52You've got to stay out of sight.
01:07:53I can't let anything happen to you now.
01:07:55Nothing can happen to me now.
01:07:56Did you know that that man shot, Angello?
01:07:59How did you know that wasn't in the paper?
01:08:00Ferris told me.
01:08:01Nobody else knows.
01:08:02Jumpa, then I'll meet him.
01:08:03I had to come peer.
01:08:04Amironse?
01:08:05Over there.
01:08:06On the roller coaster.
01:08:07Go all the way at the end of the wanderette.
01:08:08He's all the way to the walk.
01:08:09Let's lay in under the scaffolding.
01:08:10Okay.
01:08:11Here's the ticket and keys for the captain's car.
01:08:13It's parked down at the end of the men.
01:08:14Yes, I know.
01:08:15Well, I'll meet you there.
01:08:16No, I'd better bring it here.
01:08:18You've got to stay out of sight.
01:08:19I can't let anything happen to you now.
01:08:22Nothing can happen to me now.
01:08:24Nobody else knows it.
01:08:26The guy that fired the shots.
01:08:38You'd better go now.
01:08:40I'll be back as soon as I can.
01:08:47Hey, Mark.
01:08:48The crowd car out at the answers just got word for you to call in.
01:08:51Johnson hasn't passed me yet.
01:08:54Oh, I haven't got time to talk to him now.
01:09:09That's MacDonald and Murray's case.
01:09:10But he says he has some information you wanted.
01:09:12Hold on.
01:09:15Hello, Inspector.
01:09:16Remember you asked me to check all of Susie's things to see if anything was missing.
01:09:19Sammy, I'm busy.
01:09:21I'll see you tomorrow.
01:09:22I just wanted to tell you that nothing was missing.
01:09:24Except that sketch that Frank drew on the back of a menu.
01:09:26Sketch of who?
01:09:28I don't know.
01:09:29But Susie said it looked like that newspaper man that was in the club this afternoon with Mrs. Johnson.
01:09:33That good notice he was going to give us won't do Susie any good now.
01:09:44What happened?
01:09:45Where's Frank?
01:09:46He's on his way to meet you, but Paris is here with the dog.
01:09:48Paris.
01:09:48I bet that stiff in the morgue was a plant.
01:09:52He's a pretty sharp fellow.
01:09:54Let's get off to Midway.
01:09:54Come on, now.
01:10:11Let me look for us in here.
01:10:12But these things make me sick.
01:10:14Stay in your seats, folks.
01:10:16The second ride is half fair.
01:10:18I'll never ride this thing again.
01:10:20Wide street, lady.
01:10:31All right, Eddie.
01:10:32Take it away.
01:10:33Don't stand up in your seats, folks.
01:10:35This is the greatest thrill of your lifetime.
01:10:37He's right.
01:10:37It only takes a couple of minutes.
01:10:51Besides, when we get to the top, we can see if Frank's there.
01:10:53Oh, he must be there by now.
01:11:00I don't see him.
01:11:01Where is he?
01:11:20I don't know.
01:11:20I don't know.
01:11:50Hey, buddy.
01:11:53Where do you think you're going?
01:11:54Where do you think you're going?
01:12:20The second ride is only half fair.
01:12:36Take it all, kid, baby.
01:12:37I was going here for the handle.
01:12:39If you stay on for another ride, I'll go see what's happened to Frank.
01:12:42I want to go with you.
01:12:43No, with Ferris outside, together we'd be too conspicuous.
01:12:46But, Danny...
01:12:46Ferris traced you here.
01:12:47If he found you, someone else could follow you, too.
01:12:50Second ride, half fair.
01:12:52Lady will go again.
01:12:53Okay, Eddie.
01:12:54Take it away.
01:12:56Don't forget.
01:12:57Rubble was shot at him last time.
01:12:59They tried to kill him once.
01:13:00They'll do it again.
01:13:03Don't forget.
01:13:04Rubble was shot at him last time.
01:13:06They tried to kill him once.
01:13:07They'll do it again.
01:13:08Nobody knows that except your husband, the killer, and now you.
01:13:11Nobody knows that except your husband, the killer, and now you.
01:13:27Ryan, go away!
01:13:33Ryan, go away!
01:13:38Oh, Ryan!
01:13:40Ryan, please go away!
01:13:50Ryan!
01:13:51Ryan, please!
01:13:54Ryan!
01:13:59Help!
01:14:08Frank, Frank, go away!
01:14:25Frank, Frank Johnson.
01:14:32Yeah, that you, Mr. Leggett?
01:14:34Be careful, there's a loose plank over here.
01:14:38I know.
01:14:48Why don't you get it over with?
01:14:59I don't have to, Frank.
01:15:03You got a bad heart.
01:15:05You can't stand tension.
01:15:11You're gonna kill yourself.
01:15:13You're gonna kill yourself.
01:15:21Woo-hoo!
01:15:23Woo-hoo!
01:15:31Woo-hoo!
01:15:35Woo-hoo!
01:15:40Woo-hoo!
01:15:42The second ride is half-half, folks.
01:16:01Take advantage of the second ride.
01:16:03It's only half-half.
01:16:12What's your hurry, Mrs. Johnson?
01:16:42I had to do it, Mrs. Johnson.
01:17:00That's like it down there.
01:17:02Your husband's safe.
01:17:03Where's Frank?
01:17:04Out there, on the midway.
01:17:12Out there, on the midway.
01:17:42Out there, on the midway.
01:18:12Out there, on the midway.
01:18:13Out there, on the midway.
01:18:14Out there, on the midway.
01:18:15Out there, on the midway.
01:18:16Out there, on the midway.
01:18:17Out there, on the midway.
01:18:18Out there, on the midway.
01:18:19Out there, on the midway.
01:18:20Out there, on the midway.
01:18:21Out there, on the midway.
01:18:22Out there, on the midway.
01:18:23Out there, on the midway.
01:18:24Out there, on the midway.
01:18:25Out there, on the midway.
01:18:26Out there, on the midway.
01:18:27Out there, on the midway.
01:18:28Out there, on the midway.
01:18:29Out there, on the midway.
01:18:30Out there, on the midway.
01:18:31Out there, on the midway.
01:18:32Out there, on the midway.
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