Dive into the tense world of crime and suspense with Dark Chase – A 1948 Noir Mystery. This classic film noir follows the gripping manhunt of a cunning criminal through the shadowy streets of Los Angeles. Featuring iconic performances and atmospheric cinematography, this vintage gem captures the essence of 1940s noir thrillers. Perfect for fans of classic crime films and vintage cinema enthusiasts.
#FilmNoir #ClassicCrimeMovie #VintageFilm #1948Cinema #PublicDomainFilm #RetroMystery #BlackAndWhiteMovie #GoldenAgeHollywood #CrimeThriller #ClassicMovieLovers
#FilmNoir #ClassicCrimeMovie #VintageFilm #1948Cinema #PublicDomainFilm #RetroMystery #BlackAndWhiteMovie #GoldenAgeHollywood #CrimeThriller #ClassicMovieLovers
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Short filmTranscript
00:00:00THE END
00:00:30THE END
00:01:00This is Los Angeles, Our Lady, the Queen of the Angels, as the Spaniards named her.
00:01:13The fastest growing city in the nation.
00:01:16It's been called a bunch of suburbs in search of a city.
00:01:19And it's been called the glamour capital of the world.
00:01:22A mecca for tourists.
00:01:24A stopover for transients.
00:01:26A target for gangsters.
00:01:27A haven for those fleeing from winter.
00:01:29A home for the hardworking.
00:01:31It is a city holding the hopes and dreams of over two million people.
00:01:35It sprawls out horizontally over 452 square miles of valleys and uplands.
00:01:41Of foothills and beaches.
00:01:43Because of that vast area, and because of a population made up of people from every state
00:01:49in the union, Los Angeles is the largest police beat in the country.
00:01:54And one of the toughest.
00:01:56We're going to take you into the city hall where police headquarters are located.
00:02:01Here in communications are the ears and voice of the police.
00:02:04The lights on the complaint board flash 24 hours a day.
00:02:08Citizens reporting a prowler.
00:02:09A lost child.
00:02:10A man molesting a woman.
00:02:12An auto accident.
00:02:13A wild party.
00:02:14Spend an hour or two here and you will think the whole city has gone berserk.
00:02:18Minute by minute, the orders go out to the radio cars in the far-flung divisions.
00:02:22Watts and Wilshire in West Los Angeles.
00:02:25Hollywood and Hollenbeck Heights in North Hollywood.
00:02:27The work of the police like that of woman is never done.
00:02:31This is the case history of a killer.
00:02:35Taken from the files of the detective division.
00:02:38The facts are told here as they happen.
00:02:41The story properly starts here in Hollywood Division headquarters at one o'clock of a June
00:02:45morning last year.
00:02:47Officer Robert Rollins had finished his tour of duty and signed out.
00:02:51It had been a tough day.
00:02:52He'd be glad to get home.
00:02:53His wife would be waiting up for him as she always did.
00:03:01The story of a killer.
00:04:31Hey, fella.
00:04:48Come here.
00:04:48What were you doing back at that radio shop?
00:04:54Miss Logan.
00:04:55I was on my way home.
00:04:58Live around here?
00:04:59Yeah, a couple blocks down.
00:05:01Let me see some identification.
00:05:03Sure.
00:05:04Yeah, I guess I forgot my wallet.
00:05:10Look ahead.
00:05:11I've got to see some identification.
00:05:13How about my army discharge?
00:05:14I've got it right here.
00:05:15I've got it right here.
00:05:35Police Department, Operator 27.
00:05:56I want to report the shooting of a policeman.
00:05:59Hold on, please.
00:06:01Give me that again, please.
00:06:02I'm calling to report the shooting of a policeman.
00:06:04What's the address?
00:06:055057 State Street, just west of Santa Monica.
00:06:09Just a minute.
00:06:11Receiving hospital, Operator 2.
00:06:13Operator 27, 5057 State Street, 5057 State Street.
00:06:18An officer has been shot.
00:06:20Send an ambulance.
00:06:21All units, all units in the vicinity of State Street and Santa Monica Boulevard.
00:06:25Proceed at once to 5057 State Street, 5057 State Street.
00:06:30An officer shot, code 3.
00:06:3480K to Control 1.
00:06:57Control 1 to 80K.
00:06:58Go ahead.
00:06:59This is Breen.
00:07:00Instruct homicide to throw out a drag dead and pick up all suspicious characters in the area of the shooting.
00:07:05Also notify Sergeants Marty Brennan and Chuck Jones to report to me at the scene of the crime.
00:07:10Control 1 to 80K.
00:07:12Roger.
00:07:12I see.
00:07:25Well, what have you got so far?
00:07:27Well, not much, Captain Breen.
00:07:28A couple of cartridge keys.
00:07:32Hello, Marty, Chuck.
00:07:33Hi, Captain.
00:07:34Eyewitnesses?
00:07:35Who was first on the scene?
00:07:36Recorded it.
00:07:37I was.
00:07:38I live here.
00:07:39I'm a light sleeper, but my hearing is good.
00:07:42My cat was...
00:07:42Did the officer say anything before he collapsed?
00:07:45Yeah, he gave a description to the fellow.
00:07:47He was...
00:07:47On the shooting of the officer.
00:07:49Suspect is a white male American.
00:07:51Age 26 or 7.
00:07:535 feet 10 or 11.
00:07:56155 to 165 pounds.
00:07:59Brown hair.
00:08:00Regular features.
00:08:01Pencil mustache.
00:08:02Repeat broadcast.
00:08:06Audio.
00:08:07Is that about it?
00:08:08Yes, sir.
00:08:08Exactly.
00:08:09And the officer kept saying, he looked like such a nice kid.
00:08:13He looked like such a nice kid.
00:08:15As if he couldn't believe what had happened to him.
00:08:19I see.
00:08:20Is that all?
00:08:21Yeah.
00:08:22Thank you very much.
00:08:23Yeah.
00:08:23Well, anything else I can do, I'd be glad to help you.
00:08:25We may call you.
00:08:26All right.
00:08:26Get his name and address for you, Bob.
00:08:28Is the door been checked, Lee?
00:08:33Yeah, it's okay, Captain.
00:08:39Find anything?
00:08:40Nothing but some smudges so far.
00:08:42Found this in the glove compartment.
00:08:45I think it's nitroglycerin.
00:08:48Doesn't look quite right.
00:08:50Well, check it down at the lab.
00:08:51Right.
00:08:51Right.
00:08:58Open this up, Joe.
00:09:01No key, Captain.
00:09:02Try it open.
00:09:03Give me that bar, Frank.
00:09:20Hmm.
00:09:22Regular arsenal.
00:09:23Yeah, get a load of that.
00:09:25What is it?
00:09:26I don't know.
00:09:26It looks like some kind of an electrical device.
00:09:30United States Navy.
00:09:32It's either stolen or war surplus.
00:09:36Send all this stuff down to the lab and check the serial number on that Navy equipment.
00:09:39Yes, sir.
00:09:40Captain Breen.
00:09:42We found these in the weeds over by the radio store.
00:09:44Hmm.
00:09:45What do you got?
00:09:46A pair of cloth gloves, Captain.
00:09:48Well, he thought of everything, didn't he?
00:09:51All right.
00:09:51Give him to one of the technicians.
00:09:53Yes, sir.
00:09:54Marty, you and Chuck come along with me.
00:09:55Let's go downtown and see what they've picked up in the dragnet.
00:09:58Right.
00:10:10You know him, Marty?
00:10:14Yeah.
00:10:15I know his wife, too.
00:10:19Ever since high school.
00:10:24Captain, I wish you'd let Chuck and me handle this case.
00:10:26All right.
00:10:31I don't want any dead heroes.
00:10:35I just want the man who shot Rawlins.
00:10:36The suspects began to arrive at headquarters in droves.
00:10:42The police tossed every motel and hotel and many private homes in a four-square-mile area around the scene of the shooting.
00:10:50Every available radio car and patrolman and detective was out on the dragnet.
00:10:54The strings were being drawn tighter and tighter.
00:10:56Many a man returning from a date or a late party or a poker game surprisingly found himself in a squad car, its sirens screaming as it brought him to the detective bureau.
00:11:07The dragnet gathered in some strange fish and many ordinary ones.
00:11:11All the rest of that night, the detectives probed, needled, questioned, quizzed.
00:11:19Everything was checked.
00:11:21Fingerprints, names, addresses, stories.
00:11:24Every fish in the net was examined.
00:11:27Most of them thrown back into the sea, not worth keeping.
00:11:30Except a few parole violators and slightly shady characters whose stories needed a lot of verifying.
00:11:36I wasn't prowling no cards.
00:11:38Just taking a walk.
00:11:39You know, getting in condition.
00:11:40You were running when the radio car picked you up.
00:11:43Yeah.
00:11:44Maybe that's why the guys called me Punchy.
00:11:47He's got a point there.
00:11:48Two felony convictions, no warrant, no warrant.
00:11:51He's on parole.
00:11:52Book him, violation of parole.
00:11:53Let's have the next one, Joe.
00:11:55What were you doing in that vacant lot?
00:11:59The vacant lot.
00:12:00Lot?
00:12:01What were you doing with it at that time of night?
00:12:04You say your name is Ralph Henderson.
00:12:19So what?
00:12:20Well, you know, it's a funny thing, Ralph.
00:12:22There's a guy around this town that's been wearing your fingerprints.
00:12:25Only his name is Pete Hannan.
00:12:28Okay.
00:12:29So I'm dead.
00:12:31So what's one more confession in my life?
00:12:35Now you're talking, Hannan.
00:12:36Okay, Andy.
00:12:37Hello, Harry.
00:12:40What have we got here?
00:12:41Oh, some robbery suspects.
00:12:43Candidates for Sam Clinton.
00:12:45Handsome here is the big shot.
00:12:47He runs the outfit.
00:12:50Avogander at his record.
00:12:52Car theft.
00:12:53Escape from reform school.
00:12:55Robbery.
00:12:56Assault with a deadly weapon.
00:12:58Not bad.
00:12:59Look at the heater we found on him.
00:13:01German Luger.
00:13:02Fully loaded.
00:13:02But Redhead here tried to carve up one of the arresting officers with this pretty toy.
00:13:09Nice boys.
00:13:10By dawn, many minor wrongdoings had been uncovered.
00:13:13And a few incipient felonies.
00:13:15The checking of the suspects had been thorough, painstaking, and tedious.
00:13:19But all the work was for nothing.
00:13:21The man who had shot Officer Rollins was not among them.
00:13:24He remained no more than a description.
00:13:27A shadow of a man.
00:13:29Mysterious.
00:13:29Elusive.
00:13:31Deadly.
00:13:31Hidden away somewhere in the vast city.
00:13:37As for Rollins himself, he couldn't help.
00:13:41He was in a coma at receiving hospital.
00:13:44Mrs. Rollins waited out the long, tense hours while her husband fought to live.
00:13:49Many another officer's wife had so waited.
00:13:52Many another will.
00:13:54The word came shortly after summer.
00:13:56A white male American.
00:14:2026 or 7.
00:14:215 feet 10 or 11.
00:14:24155 to 165 pounds.
00:14:27Brown hair.
00:14:28Regular features.
00:14:29Pencil mustache.
00:14:30This was no frightened fugitive.
00:14:35What went on in his mind?
00:14:37Why had he set his hand against his fellow men?
00:14:41Taken the life of another.
00:14:42Of a stranger.
00:14:44Of a man who is merely doing his duty.
00:14:46He must have some plan.
00:14:48Some goal that called for sudden death to anyone who got in his way.
00:14:52The End
00:15:01The End
00:15:05Oh, oh, oh, oh, oh, oh, oh.
00:15:35Good morning, boys.
00:15:41Good morning, Lee.
00:15:42Hiya, Professor.
00:15:45Well, I thought this was safe cracker soup.
00:15:47You gonna drink it, I hope?
00:15:49I'm really a nice guy.
00:15:51Stick around.
00:15:52I'll prove it.
00:15:54Come over here.
00:16:05Hold this for me, will you, Chuck?
00:16:23Now, if you'll hand me that hammer, Marty.
00:16:35Well, I didn't ask for a collection of fingers, just fingerprints.
00:16:44All those nice fingerprints on the car belong to the man who was stolen from, Captain.
00:16:48Nothing on the guns, the pick locks, not even an interesting smudge.
00:16:52The gloves, common type, worn by undertakers.
00:16:57I'll check on them, they won't show anything.
00:16:59What did your scientific test show?
00:17:00A couple of little things.
00:17:03Tool identification on these pick locks.
00:17:06I got one under the scope.
00:17:07You wanna take a look?
00:17:08Yeah.
00:17:19Take a look.
00:17:23Oh, I see.
00:17:25Well, it seems to tie the tool up with the lock.
00:17:30That microscope could only tell us who did it.
00:17:32I'm working on it.
00:17:33No, only an amateur would carry that liquid dynamite in a car.
00:17:39This boy's no amateur.
00:17:40Took the precaution of desensitizing it so it'll take normal shock.
00:17:44Took a lot of other precautions, too.
00:17:46No fingerprints, no identification.
00:17:48Nothing definite.
00:17:50Except he's scientific.
00:17:52Knows electricity.
00:17:55He's invented.
00:17:56Yeah.
00:17:57Happy on the trigger.
00:17:58This is Captain Breen.
00:18:04Get me Captain Stevens a burglary, will you?
00:18:07I hate to disappoint you, Lee, but I think you've come up with something.
00:18:10Uh, hello, Steve?
00:18:13How are you?
00:18:15Did your daughter's marriage come off all right?
00:18:19Good.
00:18:20Look, Steve, on those burglaries of electrical equipment lately,
00:18:24were there any where pick locks were used to gain entry?
00:18:26Good.
00:18:30Well, let me know if there's another report of one, will you?
00:18:34I've got an idea the Rawlins killer may be tied in with those.
00:18:39Fine.
00:18:39Uh, and, uh, give my regards to the newlyweds, too.
00:18:43So long, Steve.
00:18:46Well, what are you waiting for?
00:18:48You've got a job, haven't you?
00:18:49Get going.
00:18:50Yeah, let's go, Junior.
00:18:52Hold this for me, will you, Lee?
00:18:54Thanks.
00:18:54Thanks.
00:18:54And so, with no fingerprints and only a vague description to go by,
00:19:01Sergeant Brennan turned to the modus operandi file.
00:19:04A criminal, like any human being, has his own habit patterns,
00:19:08unconscious traits that can lead to his downfall.
00:19:16Oh, they are, Junior.
00:19:18A list of burglars that use pick locks for entry.
00:19:21Oh, great.
00:19:22This narrows it down to just a couple of hundred suspects in this area.
00:19:25Give me a match, will you?
00:19:29That may not be so bad.
00:19:31This guy's improved on the system.
00:19:33Maybe he's left his trademark on some other job.
00:19:36Well, here we go.
00:19:37Legging it all over town, asking a million questions.
00:19:39What you paid for, isn't it?
00:19:40Am I paid to associate with you, too, Junior?
00:19:43You could do worse.
00:19:44Not this year.
00:19:45Come on.
00:19:46Come on.
00:19:46Come on.
00:19:46Come on.
00:19:46Come on.
00:19:46Come on.
00:19:47Come on.
00:19:48Come on.
00:19:48Come on.
00:19:49Come on.
00:19:50Come on.
00:19:50Come on.
00:19:51Car 12, car 1-2, in the 10,000 block on Mississippi.
00:20:06A 394-15 disturbance.
00:20:13Car 80-K, code 1.
00:20:16Come on.
00:20:16Come on.
00:20:21All units.
00:20:48On the broadcast of the suspect arrested in the shooting of patrolman Rollins.
00:20:53Cancel the cancellation.
00:20:55Suspect released from custody.
00:20:56Oh, hello, Mr. Martin.
00:21:02You find Mr. Reeves in the machine shop.
00:21:10Oh, hello, Mr. Martin.
00:21:14You'll find Mr. Reeves in the machine shop.
00:21:33Hello, Roy.
00:21:34Glad to see you.
00:21:36How are you, Mr. Reeves?
00:21:37Fine.
00:21:37I was hoping you'd drop in.
00:21:39I wanted to thank you for showing us
00:21:41how to handle that repair job.
00:21:43That was a lot.
00:21:52Well, what have we got this time?
00:22:00A sewer grab.
00:22:05There are plenty of these around, Roy.
00:22:09Not like this one.
00:22:11Yes, I see.
00:22:13I suppose, as usual, you've added your own improvements.
00:22:18You know, it seems wrong that a man of your talent
00:22:20should bother consigning equipment for rental.
00:22:25I'd like to see you devote yourself entirely
00:22:27to experimental electronics.
00:22:30It'll come one day.
00:22:31I'll live in a place like this.
00:22:34Well, why wait?
00:22:36I've got a pretty good setup here.
00:22:38I'd have modern equipment to work with,
00:22:40a lab,
00:22:42and my confidence.
00:22:44Thanks, Mr. Reeves.
00:22:46I have other plans.
00:22:47But, Roy, you can't tell where to lead.
00:22:50Might even work your way around
00:22:51to a percentage of the business.
00:22:53I like it this way.
00:22:57You just rent out my equipment.
00:22:59All right, all right.
00:23:01What if you should change your mind?
00:23:03I'm not likely to change my mind.
00:23:06I suppose you want me to set this up for rental, too.
00:23:11Mr. Reeves,
00:23:13you've already got five pieces of my equipment.
00:23:16You'd like to know what results I've had from the rental so far, hmm?
00:23:19Well, I can't say as I blame you.
00:23:23I think you'll find this satisfactory.
00:23:28Satisfactory.
00:23:30Goodbye, Mr. Reeves.
00:23:31You'll come back again soon, won't you?
00:23:33Sure.
00:23:34Oh, incidentally.
00:23:37How's that television projector coming along?
00:23:39The one you said would reflect a 12-foot image.
00:23:41Still working on it.
00:23:42I just wanted you to know
00:23:43I've already set up a rental on it.
00:23:46In fact, I think they'd like to buy.
00:23:49It'll come very high.
00:23:50Oh.
00:23:51Money is no consideration with this customer.
00:23:58Tell him he can pick it up tomorrow.
00:24:00I thought you said it wasn't finished yet.
00:24:02It'll be finished.
00:24:11It uses an image fixer
00:24:12and then projects by ordinary incandescent.
00:24:17Roy?
00:24:17Roy?
00:24:19This is the best television projector I've ever seen.
00:24:22Let's hope that your customer thinks so.
00:24:24He will.
00:24:29Yes?
00:24:32Send him right in, Charlotte.
00:24:35There.
00:24:36You see?
00:24:36Our customer is here.
00:24:38Begging for the privilege of buying.
00:24:41Better be running along.
00:24:42I'm not much good at business.
00:24:43Oh, but Roy, he'll want to congratulate you.
00:24:47Just see that the price is right.
00:24:50All right, Roy.
00:24:51I'll get you a good deal.
00:24:53So long.
00:24:54See ya.
00:25:00Well, Mr. Dunning, come in.
00:25:05Isn't it a beauty?
00:25:06It's a beauty, all right.
00:25:20You like it?
00:25:21I certainly do like it.
00:25:23You see, it's mine.
00:25:25What do you mean?
00:25:26Let me have the police.
00:25:28I built it.
00:25:29Spent years on it.
00:25:30Oh, you must be crazy.
00:25:31Roy built this machine himself.
00:25:33Your friend's a crook, Paul.
00:25:34You've been taken in.
00:25:35Hello?
00:25:36Give me the burglary detail.
00:25:39Dear Jim,
00:25:41regarding your inquiry
00:25:42on a .38 caliber Smith & Wesson Barber,
00:25:45see ya...
00:25:45Oh, come in, boys.
00:25:48Burglary detail just sent this report through.
00:25:50It's a man named Dunning
00:25:51who reports tracing a stolen television projector
00:25:54to the Reeves Electronics Lab.
00:25:57Think it's a tie-in with the Rawlings case?
00:25:59Well, take a look at this fellow Reeves
00:26:00and see what gives.
00:26:01I'll notify burglary
00:26:03when we're following up on it.
00:26:04Right.
00:26:05Come on, Junior.
00:26:09What else did he place with you for rental?
00:26:11Oh, a number of things.
00:26:13All war surplus
00:26:14that he bought on his veteran's rating.
00:26:16Oh, is this more of his equipment?
00:26:17Yes.
00:26:18Yes, he left it here on consignment.
00:26:21I'm sure that Roy can explain everything.
00:26:24Well, maybe he can, Mr. Reeves,
00:26:25if you'll tell us where he lives.
00:26:27But I don't know.
00:26:28Mr. Martin's on the phone, sir.
00:26:30I'd better talk to him.
00:26:33I think so, Mr. Reeves.
00:26:35I'll take it in the superintendent's office.
00:26:45Tell him that you sold the set.
00:26:47And his money's waiting for him here.
00:26:48Find out what time he's coming by.
00:26:49Put Mr. Martin on.
00:27:00Hello, Roy?
00:27:01Yes, yes, I've sold it.
00:27:06Your money is waiting here for you.
00:27:10Yes, I'll be working late tonight.
00:27:12What time will you be by?
00:27:14First thing in the morning.
00:27:16Well, maybe you better come in tonight, Roy.
00:27:18A couple of things I want cleared up.
00:27:20Like what?
00:27:23Oh, technical things.
00:27:25Besides, I don't like to leave the money in the plant overnight.
00:27:32How about 8.30?
00:27:34Fine, fine.
00:27:35I'll see you then.
00:27:37I'll leave the front door unlocked.
00:27:44You'll be here at 8.30.
00:27:50Well, I'll just run along home and get some dinner.
00:27:57Uh, we'd like you to stay too, Mr. Reeves.
00:28:00Why?
00:28:01For company.
00:28:02You want to cooperate, don't you, Mr. Reeves?
00:28:04Certainly.
00:28:05Good.
00:28:06Now, you just wait in your office.
00:28:07We'll be around.
00:28:09Very well.
00:28:11This way, gentlemen.
00:29:20antly.
00:29:35Bill, please.
00:29:41That you, Roy?
00:29:42I'll be right back to you.
00:29:42I'll be right back.
00:29:43I'll be right back.
00:29:43I'll be right back.
00:29:45I'll be right back.
00:29:46I'll be right back.
00:29:46Please, hi doctor.
00:29:48Go outside and block that alley door.
00:30:07Where are you, Roy?
00:30:14Who's in here?
00:30:16No one.
00:30:18I'm alone.
00:30:24Come on in.
00:30:25I've got your money for it.
00:30:28Bring it out here.
00:30:32All right.
00:30:35Just a minute.
00:30:48All right.
00:31:02All right.
00:31:04All right.
00:31:05All right.
00:34:35No, I didn't.
00:34:37I've told you all I know, all he ever told me.
00:34:40What about his friends?
00:34:41Didn't he have a girl?
00:34:44No.
00:34:45No, I don't think so.
00:34:47He had no interest in anything but electronics.
00:34:50Where did he pick up the subject?
00:34:52Books, magazines.
00:34:55Mostly from the signal core.
00:34:57He was attached to a radar unit.
00:35:00Get a teletype off of the war department.
00:35:02That might help.
00:35:03Yes?
00:35:03Yes?
00:35:04Ready on your call to receiving hospital, Captain Breen.
00:35:09Hello.
00:35:10This is Captain Breen.
00:35:12What is the latest report on Sergeant Jones?
00:35:14I see.
00:35:16I see.
00:35:20Well, let me know if there's any change, will you?
00:35:24Thanks.
00:35:28Thanks.
00:35:28Chuck's in pretty bad shape, Marty.
00:35:33He's paralyzed.
00:35:35May never walk again.
00:35:43Oh, I'm sorry.
00:35:45It's funny that Martin showed up at 7 when he told you he wouldn't be there until 8.30.
00:35:50I don't know why.
00:35:52Except he was always unpredictable.
00:35:54I'll tell you why.
00:35:55Because you warned him.
00:35:56That's why he came early.
00:35:57That's why he came in the back way.
00:35:58But you heard me tell him the front door would be open.
00:36:00And the key didn't let him in the back way?
00:36:01He must have had one made.
00:36:02Why don't you tell us the truth?
00:36:03Marty.
00:36:13Now, look, Paul.
00:36:15You can make it a lot easier for us to believe your story
00:36:18if you'll just give us some facts.
00:36:20Something that might help us.
00:36:22I told you all I know.
00:36:26I've been gullible, all right, letting him make a fool of me.
00:36:30But I'd do anything to make up for what he did to Detective Jones.
00:36:36Sure.
00:36:37Sure you would.
00:36:39You can go now.
00:36:41Oh, thanks.
00:36:45Thanks.
00:36:45My friend.
00:36:49They can vouch for my character.
00:36:50That's good.
00:36:51We'll call you for nature.
00:36:52Thank you very much.
00:36:55I think he's telling the truth, Marty.
00:36:56I think he's just gullible, like he said.
00:36:59What about the stolen stuff he was trying to peddle for Martin?
00:37:01We'll use it for bait.
00:37:03Maybe Martin will come back for it.
00:37:04Then we can ask him.
00:37:07Here.
00:37:09Nevertheless, I want a 24-hour tale put on Reeves,
00:37:11and I want to watch on his home and his factory.
00:37:13Right.
00:37:14You can keep those.
00:37:18Okay, Captain.
00:37:24And now the killer changed his tactics, his modus operandi.
00:37:28It would baffle the police.
00:37:29They always expected burglars to remain burglars,
00:37:33not go in for stick-ups.
00:37:35They never tie this up with him.
00:37:37So wearing a variety of disguises,
00:37:39coming and going like a shadow,
00:37:41ready to kill of cornered,
00:37:43he struck the bottle stores in a one-man blitz
00:37:45that had the robbery detail dizzy.
00:37:47The killer, always resourceful,
00:38:08always thinking along lines that would baffle his hunters,
00:38:12had discovered an ideal avenue of escape.
00:38:14Under Los Angeles is a vast and intricate system of huge storm drains
00:38:18built to siphon off the flash floods of the rainy season.
00:38:22Many of the tunnels are large enough for two cars to drive abreast.
00:38:26Here were 700 miles of hidden highways.
00:38:29Ideal for the use of someone who needed to hurry from place to place without being seen.
00:38:34Ideal is a hiding place for guns and supplies in case of emergency.
00:38:43Well, the reason I asked you to come over is I think I've hit on something.
00:38:46An identification?
00:38:47No, not quite, but a tie-up.
00:38:49Now, these are the shells from the gun that killed Rawlins.
00:38:53These were fired in the liquor store holder in which the bandit got away.
00:38:57And these were fired at Chuck.
00:38:58Now, as you know, every ejector, even in guns of the same model and caliber, is different.
00:39:06Each one leaves its own markings on the cartridge casing.
00:39:10Now, look at these fine striations.
00:39:13This deep gouge.
00:39:16The same on all three.
00:39:17In other words, the man who killed Rawlins and the man who shot at Jones and Brennan,
00:39:27the stick-up with bits in the liquor stores, are all the same man.
00:39:30Right.
00:39:31All we need to know is what that man looks like.
00:39:38Get me Chandler in robbery, will you?
00:39:41I've got an idea about that.
00:39:43Also, it'll give us a chance to see if Reeves is on the level with us.
00:39:46Uh, Steve.
00:39:48Breen.
00:39:50About those blitz hold-ups you're on.
00:39:52Round up all the victims and have them down here tonight, will you?
00:39:56Oh, it's just a little scheme.
00:39:59Thanks, Steve.
00:40:04Oh, that's good.
00:40:05Now, sketch another one of the same type, only this time thin it out a little, huh?
00:40:08All right.
00:40:09Hi, Lee.
00:40:09How's it coming?
00:40:10Be ready for tonight?
00:40:11We'll be ready.
00:40:12Think it'll work?
00:40:13It should.
00:40:15What'd you get, the idea?
00:40:16From a kidnapping case in Chicago.
00:40:19I thought these slides might be an improvement over the method they used.
00:40:22Could be.
00:40:23Captain thinks so.
00:40:29Good evening, ladies and gentlemen.
00:40:30May I have your attention for more, please?
00:40:33You've all been asked to sit in on a little experiment tonight.
00:40:37We're going to try to build a picture of a face.
00:40:39A face of a man who's cunning, resourceful, and deadly.
00:40:45He's a man who killed a police officer.
00:40:49Now, some of you, he held up at the point of a gun.
00:40:51You may have seen his face, remembered something about it.
00:40:55And we want you to tell us exactly what you remembered.
00:41:00Whether it's his hair, eyes, nose, or mouth.
00:41:03And we're going to try to put those pieces together so that they add up into a picture of the face of the man we want.
00:41:12Now, you can see how we're depending on you.
00:41:16Lights.
00:41:16Now, first, we're going to concentrate on the type of hair our man had.
00:41:22And if the picture looks anything like his hair, I want you to speak right up.
00:41:27All right, the first slide, please.
00:41:36His hair had waves in it.
00:41:37Well-groomed.
00:41:39That's the idea, Miss Smith.
00:41:46Is that any closer?
00:41:49No, it was parted on the side.
00:41:57Oh, that's more like it.
00:41:59Except it was thicker.
00:42:08Oh, that's very close.
00:42:10Yes, that's the way his forehead looked.
00:42:12It was broad and high.
00:42:14All right, hold that slide.
00:42:16Now, the next series of slides will take into account his eyes.
00:42:28Oh, one minute, please.
00:42:29Wait, one minute.
00:42:31His eyes were a little like that.
00:42:33Maybe a little smaller.
00:42:35Like bees.
00:42:37Go on, Lee.
00:42:38Now, now you've got it.
00:42:48Now, hold that slide, Lee.
00:42:51Anyone else?
00:42:51That looks like him, only a little matter.
00:42:56He had a patch over one eye when he come into my guy's, uh, my place of business.
00:43:00I remember noticing that the one showing was blue.
00:43:03Well, the guy that stuck me up had all the horn-rimmed glasses.
00:43:05He was wearing a Band-Aid across his nose when he knocked me over.
00:43:09Uh-huh.
00:43:11All right, hold that, Lee.
00:43:13Well, so much for the eyes.
00:43:14Go ahead.
00:43:18Señor Capitán.
00:43:35Yes, Miss Montalvo.
00:43:37Ay, ¿cómo se dice en inglés, uh?
00:43:40A sus órdenes, señorita.
00:43:41Like that, Captain, but more snubbed, wider.
00:43:52Try another one, Lee.
00:44:00She says that's about it.
00:44:02Thank you very much, Miss Montalvo.
00:44:05Get Reeves.
00:44:07Any more comments?
00:44:09That's pretty close, all right.
00:44:10Pretty close.
00:44:11Perfect.
00:44:12All right, now we'll start on the mouth and chin.
00:44:15The next series, Lee.
00:44:19I think his lower lip stuck out more.
00:44:22The mouth was thin and mean, like it never laughed.
00:44:27Go ahead.
00:44:29Something like that.
00:44:30But thicker lips.
00:44:35There.
00:44:36That's it.
00:44:37That's him.
00:44:38All right, I'll hold that right there, Lee.
00:44:40Oh, come in, Mr. Reeves.
00:44:45Good evening, Captain.
00:44:47Did you ever see that face before?
00:44:52Why, it's Roy.
00:44:54Except for the hair being a little lighter and the eyebrows heavier.
00:44:59It's Roy.
00:45:00You're sure?
00:45:01I'm positive I'd know him anywhere.
00:45:06Lee, I want a retouched photograph.
00:45:09I'll lighten the hair and give more body to the eyebrows.
00:45:12Right.
00:45:13Lights.
00:45:16That's all.
00:45:17Thank you very much.
00:45:18You've been a great help.
00:45:19It's positively amazing how you found out what he looked like.
00:45:22Well, we're looking for an amazing criminal, Mrs. Johnson.
00:45:24Thank you and good night.
00:45:26Good night, Captain.
00:45:28And so the face of the unknown killer, built up from fragments of evidence, was sent out all over the country.
00:45:35To chiefs of police, to sheriffs, to county constables and county jailers.
00:45:39To the wardens of prisons, to all postmasters and postal inspectors, to the agents of the Treasury Department, to the FBI.
00:45:54They showed that picture to the inmates of jails and prisons, to men with a wide acquaintance among the cat burglars and the violence boys.
00:46:02Informers and conmen and sharpshooters were quizzed, those on the fringe of crime and those deep in the rackets.
00:46:08Many wanted to help.
00:46:10Nobody could.
00:46:11No one in the underworld recognized that mysterious face.
00:46:15He was as unknown as if he had lived in the 16th century.
00:46:38No one in the underworld.
00:46:38No one in the underworld.
00:46:40No one in the underworld.
00:46:41No one in the underworld.
00:46:42No one in the underworld.
00:46:43No one in the underworld.
00:46:44No one in the underworld.
00:46:45No one in the underworld.
00:46:46No one in the underworld.
00:46:47No one in the underworld.
00:46:48No one in the underworld.
00:46:49No one in the underworld.
00:46:50No one in the underworld.
00:46:51No one in the underworld.
00:46:52No one in the underworld.
00:46:54No one in the underworld.
00:46:55No one in the underworld.
00:46:56No one in the underworld.
00:46:57No one in the underworld.
00:46:58No one in the underworld.
00:46:59No one in the underworld.
00:47:00No one in the underworld.
00:47:01No one in the underworld.
00:47:02No one in the underworld.
00:47:03No one in the underworld.
00:47:04No one in the underworld.
00:47:05No one in the underworld.
00:47:36I know you're alone in the house.
00:48:06Act like you're alone.
00:48:08Cops are watching every move you make.
00:48:11The police here?
00:48:12They got you staked out like a muskrat hide, watching you around the clock.
00:48:16Here, at your plant, tailing your car.
00:48:18Sit in that chair.
00:48:26Pick up three books.
00:48:27Don't look up and don't answer me.
00:48:36All right.
00:48:39Look at the book.
00:48:47Pick one of them.
00:48:47Pick one of them.
00:48:52Okay.
00:48:54Now, that's the book you want to read before you go to bed.
00:48:58Now, get up and turn off the lamp.
00:49:01Come here.
00:49:08Come here.
00:49:10Come here.
00:49:19Go in the den.
00:49:20Follow those gripstacks.
00:49:29Get away from him.
00:49:59What do the cops know about me?
00:50:04Not very much, Roy.
00:50:06No fingerprints.
00:50:07They haven't even got a picture of you.
00:50:08They're trying to make one.
00:50:15How much cash you got in the house?
00:50:18None.
00:50:19I never keep any cash in the house.
00:50:21It isn't good business.
00:50:23Suppose you think it was good business
00:50:24letting me walk into that trap.
00:50:25No, I know.
00:50:26Don't do anything you'll regret.
00:50:27Now listen to me.
00:50:28It isn't too late.
00:50:30Give yourself up.
00:50:30Come to your senses before you kill someone else.
00:50:40What do you mean, someone else?
00:50:43What do you mean?
00:50:43Nothing.
00:50:44There's two officers.
00:50:45They said one of them might die.
00:50:49He's still alive, isn't he?
00:50:53Breeze?
00:50:55I never thought you'd stooge for the police.
00:50:58You almost got me killed.
00:51:00Roy, you know the police are right outside.
00:51:02You'd never get away with them.
00:51:10That's right.
00:51:12Now you're being sensible.
00:51:13I know there's only here.
00:51:20What is it?
00:51:21Don't worry.
00:51:22I'll get it.
00:51:22I'll get it.
00:51:22I'll get it.
00:51:24I'll get it.
00:51:35I'll get it.
00:51:36I'll get it.
00:51:37Keep it handy.
00:51:38It's not enough.
00:51:44Step, you've got a minus worth thousands.
00:51:47I'll get more.
00:51:49Get it.
00:51:51Keep it handy.
00:51:52I'll be back next week and next month.
00:51:54But get it and have it ready.
00:51:56Just give me time.
00:52:04Oh!
00:52:07Look.
00:52:09I don't want policemen outside my house
00:52:11following me around.
00:52:13That's what made Roy suspicious.
00:52:15I'm leaving in the morning.
00:52:17I'm afraid I'll have to disappoint you, Paul.
00:52:20Unfortunately, you're our bait.
00:52:23I won't do it.
00:52:24I've done enough.
00:52:26Look, no one's done enough
00:52:28until we find this killer.
00:52:32I asked you to keep a sharp lookout
00:52:33on this house, Marty.
00:52:35I did.
00:52:36Two of the best undercover men
00:52:37of an apartment were assigned here.
00:52:39That didn't keep Martin from getting in.
00:52:42What's the matter?
00:52:42You tired?
00:52:53You got any idea how long
00:52:54you've been on this case, Marty?
00:52:55Months.
00:52:58Long enough to have come up with something
00:53:00by this time.
00:53:03Do you know any more about the Rawlins killer
00:53:05than you knew the first week?
00:53:07Yeah.
00:53:08That is about the toughest nut
00:53:09I've ever had to crack.
00:53:10That's what I told the chief
00:53:13when he called me in this afternoon
00:53:15and wanted to know
00:53:15why the case hadn't been broken.
00:53:19Look, Captain.
00:53:20Rawlins was a friend of mine.
00:53:23So's Chuck.
00:53:25I've got a biggest stake in this
00:53:26that the chief knows.
00:53:28I'm doing everything I can.
00:53:30Well, I'm afraid it's not enough, Marty.
00:53:37Maybe you're too close to it
00:53:39to see it clearly.
00:53:41Maybe it needs a fresh team,
00:53:42a new viewpoint.
00:53:45I think you've got to take
00:53:46a couple of weeks off, Marty.
00:53:49Starting tomorrow.
00:53:53Anything you say, Captain?
00:53:54Hiya, Marty.
00:54:12Hiya, Chuck.
00:54:13Meet Miss Scanlon,
00:54:14my new bodyguard.
00:54:15He's the one I've been telling you about.
00:54:16Oh, you mean the one
00:54:17with the steel-trap brain?
00:54:19How do you do?
00:54:20Hello.
00:54:20Has this guy been behaving?
00:54:21After a fashion.
00:54:22See, she takes me out
00:54:23my go-kart,
00:54:24puts me to bed,
00:54:25wakes me up,
00:54:25dresses me.
00:54:26You're perfectly capable
00:54:27of dressing yourself now,
00:54:29Mr. Jones.
00:54:30I'll be back in a few minutes.
00:54:35Well, how's it been going, Junior?
00:54:37Oh, pretty good, Chuck.
00:54:39Pretty good.
00:54:41Is that why you're off the case?
00:54:44How'd you know?
00:54:45Breen was in to see me this morning.
00:54:46Oh.
00:54:48Suppose he also told her
00:54:49they'd put a new team on the case.
00:54:50He told me everything.
00:54:52Yeah.
00:54:52Let's see what his new boys dig up.
00:54:54Well, maybe they'll examine
00:54:56the facts of the case
00:54:57a little more carefully.
00:54:58What facts?
00:55:00That our man's sharp?
00:55:01That he's intelligent
00:55:01and works alone?
00:55:03That he has no record,
00:55:04never leaves a fingerprint
00:55:05in those every move we make?
00:55:06Sure, plenty of facts,
00:55:07only they add up to nothing.
00:55:08Sure, forget it.
00:55:09You got yourself
00:55:10a ten-day vacation.
00:55:11Go on down to the beach
00:55:12to get a suntan.
00:55:13By the time you get back,
00:55:14the case will be broken.
00:55:16Isn't that what you want?
00:55:17You know better than that.
00:55:18All I know is what I hear.
00:55:19You sit there
00:55:20batting your gums
00:55:21about how the old man
00:55:22let you down.
00:55:23Maybe he's trying
00:55:23to wake you up.
00:55:25He's got a funny way
00:55:25of showing it.
00:55:26There you go,
00:55:27flying off the handle,
00:55:28always taking things
00:55:28for granted.
00:55:29I wish I could get up
00:55:30and boot some sense into you.
00:55:32He knew what this case
00:55:33meant to me.
00:55:34He still does.
00:55:34That's why he's trying
00:55:35to get you mad enough
00:55:36to do something about it.
00:55:40You don't really figure
00:55:41that's his idea, do you?
00:55:42I know it is.
00:55:45Ah, it's a tough case, Chuck.
00:55:47Not an angle,
00:55:48nothing to go on.
00:55:49You'd know what I meant
00:55:50if you were out
00:55:50working with me.
00:55:51I have been working with you.
00:55:53That's all I've had to do
00:55:54lately, just sit around
00:55:55studying what little facts
00:55:56we have,
00:55:57trying to figure out
00:55:58who we might be.
00:55:59You know the kind of a guy
00:56:00we're up against then.
00:56:02I tell you, Chuck,
00:56:03this guy's a genius
00:56:04the way he operates.
00:56:06As if he were right there
00:56:07with us every time
00:56:07he'd go out after a lead.
00:56:09Oh, sure.
00:56:09Breen's been tipping him off
00:56:10just to make you look bad.
00:56:12They almost like that.
00:56:14Well, he beats us
00:56:15to the punch every time.
00:56:16There's your angle.
00:56:18You just hit it on the head
00:56:19but you don't see it.
00:56:19Look, start at him.
00:56:21One, he's unknown
00:56:22to the underworld.
00:56:23Two, he beats you
00:56:24to the punch, right?
00:56:26And three, it's almost
00:56:27as if he were with you.
00:56:28Isn't that what you said?
00:56:29Yeah.
00:56:30Well, tie that up
00:56:30with a lot of other
00:56:31little things,
00:56:31like the fact that
00:56:32he uses a police gun
00:56:33and the accuracy
00:56:34of the shooting.
00:56:36Anybody could buy
00:56:37a police gun
00:56:38or the army
00:56:38could have taught him
00:56:39how to shoot.
00:56:39Yeah, but who taught him
00:56:40how the police operate?
00:56:44Oh, I know
00:56:45what you're driving at, Chuck.
00:56:47But a cop,
00:56:48those things happen.
00:56:51Yeah.
00:56:52Now, if I were still
00:56:53in the case,
00:56:53I'd start with
00:56:54our own department first,
00:56:55then Santa Monica,
00:56:56Culver City,
00:56:56Burbank, Pasadena.
00:56:58See you later, Junior.
00:56:58Hey, don't let him
00:57:00out of your sight, beautiful.
00:57:01It's the first time
00:57:02in years he's used his head.
00:57:12But you get a print
00:57:13of every mug we take.
00:57:14We always send L.A.
00:57:15a copy, Sergeant.
00:57:15It's personnel photos I want.
00:57:17You may have our boys?
00:57:22That's Roland's killer,
00:57:23isn't it?
00:57:23That's right.
00:57:25You've checked
00:57:25your own department.
00:57:26We did that first.
00:57:33And so the tedious
00:57:34quest went on.
00:57:36Sergeant Brennan
00:57:36wore out his shoes
00:57:37and his patients
00:57:38going from police station
00:57:40to police station,
00:57:41checking photos
00:57:42until his eyes
00:57:43were blurry.
00:57:44For police work
00:57:45is not all glamour
00:57:46and excitement
00:57:46and glory.
00:57:47There are days
00:57:48and days of routine,
00:57:50of tedious probing,
00:57:52of tireless searching,
00:57:54fruitless days,
00:57:55days when
00:57:56nothing goes right,
00:57:57when it seems
00:57:58as if no one
00:57:59could ever think
00:57:59his way through
00:58:00the maze
00:58:01of battling trails
00:58:02of criminal leads.
00:58:03But the answer
00:58:04to that
00:58:05is persistence
00:58:06and the hope
00:58:07that sooner or later
00:58:08something will turn up,
00:58:10some tiny lead
00:58:11that can grow
00:58:12into a warm trail
00:58:13and point to the cracking
00:58:14of a tough case.
00:58:15Well, that does it, boys.
00:58:31Can't say I'm sorry
00:58:32you didn't find him
00:58:32in here.
00:58:34I'd hate to think
00:58:34it was a cop.
00:58:36Doesn't seem
00:58:36to be anybody.
00:58:38Just a lot of pieces
00:58:39of a face
00:58:40that never existed.
00:58:41Would you mind
00:58:42if I see that again?
00:58:43Sure, Raymond.
00:58:45Put it on your dresser.
00:58:47Wait a minute.
00:58:48He wasn't a cop.
00:58:50He was a radio technician
00:58:51right here
00:58:51in our dispatch office.
00:58:53What did you say?
00:58:54I'm saying
00:58:55he worked here
00:58:55in 42.
00:58:57Well, come on, give.
00:58:58I remember the kid well.
00:59:00He was sort of strange.
00:59:02Never bothered
00:59:02with anyone
00:59:03in the department.
00:59:03Just kept to himself.
00:59:05He was in line
00:59:06for promotion
00:59:07when he was drafted.
00:59:08Where was he living
00:59:09at the time?
00:59:10I don't remember.
00:59:13Try the dead files.
00:59:19I never asked
00:59:19for his job
00:59:20back after the war.
00:59:21I remember writing
00:59:22to him about it, though.
00:59:23He's an excellent worker.
00:59:24Oh, yeah.
00:59:25Here we are.
00:59:26Yeah, this is it.
00:59:28It took a while
00:59:29before he answered,
00:59:30but like he says
00:59:30in the letter,
00:59:31he wasn't interested.
00:59:38Hmm?
00:59:41Postmarked Hollywood.
00:59:43No return address.
00:59:44What do you want us
00:59:45to do?
00:59:45All the work?
00:59:47Oh, excellent, Freddy.
00:59:49You remember,
00:59:50he was a civilian employee.
00:59:58Well, how about it?
01:00:03Anybody recognize it?
01:00:05Not on my route.
01:00:07I never saw him before.
01:00:11Okay, fella.
01:00:11Thanks very much.
01:00:16I thought for a minute...
01:00:18You have that face.
01:00:24I wonder.
01:00:25Yeah?
01:00:26Well, this may not mean
01:00:27anything, but he looks
01:00:28like a guy that's
01:00:29on my route.
01:00:30He never gets any mail,
01:00:31but I see him around
01:00:32there all the time.
01:00:33He lives in one
01:00:34of the courts.
01:00:35Where?
01:00:35I'm not a choice.
01:00:37It's not that easy.
01:00:39What time does your route
01:00:40take you past those courts?
01:00:42About nine o'clock.
01:00:43Why?
01:00:44Just like it.
01:01:00You got any chocolate milk?
01:01:02Sure have, buddy.
01:01:04There you are.
01:01:05Thanks.
01:01:07Where's your pocket?
01:01:10Straight down back.
01:01:14Second in the yellow.
01:01:16Number seven.
01:01:18Right.
01:01:20Had it warm today, huh?
01:01:21Oh, it's not too bad
01:01:22for this time of the year.
01:01:29Good morning.
01:01:30Morning.
01:01:31You're new in the route, aren't you?
01:01:33We had a substitute.
01:01:34What happened to the other thing?
01:01:36Sick.
01:01:37Oh, what's the matter with him?
01:01:39I don't know.
01:01:40I catch everything.
01:01:42Hear about it on the radio,
01:01:43and the next morning I got it.
01:01:44Too bad.
01:01:46You aren't very social.
01:01:47The regular fellow
01:01:48always stops and talks to you.
01:01:49Sorry, Betty.
01:01:50I'm a little late this morning.
01:01:52I was hoping maybe
01:01:53you could help me.
01:01:55There's something very funny
01:01:57going on in this court.
01:01:58Yeah?
01:01:59I was scared to go
01:02:00to the police.
01:02:01I thought maybe
01:02:02I might be poisoned.
01:02:03What?
01:02:04Yeah.
01:02:06I have a manager.
01:02:07She's a witch.
01:02:08She's a what?
01:02:09A witch.
01:02:10She puts poison in my milk.
01:02:12Oh, I see.
01:02:16Look.
01:02:18You switch the bottles
01:02:18once she isn't looking, see?
01:02:20Drink her milk.
01:02:21Then you'll be safe, right?
01:02:22I see.
01:02:23This morning I'm here.
01:02:34Oh.
01:02:35Oh.
01:02:35Oh.
01:02:35Oh.
01:02:36Oh.
01:02:36Oh.
01:02:37Oh.
01:02:43Oh.
01:02:44Oh, I had a little accident.
01:02:56Got a mop.
01:02:57I'll clean it up.
01:02:59Bring it be.
01:03:00I'll clean it up myself.
01:03:03Okay, mister.
01:03:14The place is called Bellevue Court.
01:03:35I drew this to memory, but it's pretty close.
01:03:37That's where he's hiding out, right there.
01:03:40Are you sure he's our man, Martin?
01:03:43Captain, I couldn't go wrong on that.
01:03:44He's our man.
01:03:51Now, there are five cottages in this area,
01:03:54and two of the six and seven in the L at the end of the row.
01:03:58Our man lives in number seven.
01:04:00The building department plan will show you the whole layout.
01:04:03It's bounded on three sides by Fuller, Santa Monica, and Poinsettia.
01:04:07Now, the court is partly surrounded by a high wall.
01:04:12Green, homicide.
01:04:12All right.
01:04:15So, if you keep your eyes open until we get there.
01:04:18Morgan has just gone into his bungalow alone.
01:04:20Any questions?
01:04:22All right.
01:04:22You all have the instructions.
01:04:23Let's go.
01:04:24All right.
01:04:24All right.
01:04:24You all have the instructions.
01:04:25Let's go.
01:04:26Let's go.
01:04:40All right.
01:04:42All right.
01:05:43We're out on time.
01:06:06Wait five minutes.
01:06:07Go around and block the side entrance.
01:06:09Keep your lights off.
01:06:10Oh, cool.
01:06:17Oh, cool.
01:06:17Oh, cool.
01:06:22Oh, oh, oh, oh, oh, oh, oh, oh.
01:09:52He's loose.
01:10:03I want a radio car in a hurry.
01:10:04I want a radio car in a hurry.
01:10:34It's in the vicinity of Santa Monica and Fuller.
01:10:36The murder suspect in the Rawlins killing is at large.
01:10:38I want a radio car in a movie.
01:11:08I want a map covering the storm drain system in this area.
01:11:13Get it and meet me at Venice and Garfield.
01:11:15Jones, Miller, you stay here in case he comes up for air.
01:11:18I want a man at every other day.
01:11:19I want a man at every other drain entrance along this line.
01:11:21I've got to come up somewhere.
01:11:23Come on, Marty.
01:11:25You're driving.
01:11:25Keep this drain.
01:11:26Keep this drain covered.
01:11:34Keep this drain covered.
01:11:51He's liable to pop out.
01:11:52He's liable to pop out anywhere.
01:11:53I want a man at every other day.
01:11:54I want a man at every other day.
01:12:00I want a man at every other day.
01:12:01I want a man at every other day.
01:12:02I want a man at every other day.
01:12:07Why Venice and Garfield, Captain?
01:12:18It's the main intersection of the system.
01:12:19We can head him off that way.
01:12:21ADK to Control 1.
01:12:22Clear frequency 7.
01:12:23This is an emergency.
01:12:25Control 1 to all cars on frequency 7.
01:12:27Stand by.
01:12:28Control 1 to ADK.
01:12:29Go ahead.
01:12:30Notify homicide.
01:12:31Send the following to Venice and Garfield.
01:12:33Four squads, battle lanterns, gas mask, tear gas.
01:12:38Urgent.
01:12:38This is a code three.
01:12:40Control one to 80K.
01:12:41Roger.
01:13:00And he'll probably head down this main drain to where it comes out of the Rio Hondo.
01:13:07Now, you take your squad and cover that exit.
01:13:09Right.
01:13:09Keep all spare radio cars cruising back and forth along this main street.
01:13:13Watch the curb inlet.
01:13:14We'll go in here.
01:13:28Any kind of them?
01:13:29No.
01:13:30And we've searched every foot between here and the Rio Hondo outlet.
01:13:33Then he must be up ahead.
01:13:34Let's go.
01:13:35Let's go.
01:13:40Let's go.
01:13:44Let's go.
01:13:48Let's go.
01:13:52Let's go.
01:13:52Let's go.
01:13:53Let's go.
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