Woman on the Run (1950) is a gripping classic film noir crime thriller that blends suspense, mystery, and emotional intensity. Directed by Norman Foster, this atmospheric noir follows a woman desperately searching for her estranged husband after he becomes a key witness to a gangland murder. As she races through the dark streets of San Francisco, danger, deception, and psychological tension close in from every direction.
Starring Ann Sheridan in one of her most powerful noir performances alongside Dennis O’Keefe, Woman on the Run stands as a timeless example of Golden Age Hollywood crime cinema. With sharp dialogue, shadow-laden cinematography, and a fast-paced narrative, the film appeals to fans of film noir classics, crime dramas, and retro Hollywood thrillers.
Highly regarded among noir enthusiasts, this movie remains an evergreen classic, frequently searched by viewers looking for classic crime movies, 1950s noir films, and vintage Hollywood thrillers on platforms like Dailymotion, Google, Yahoo, and Bing.
⭐ Major Actors (Branded & Evergreen Keywords)
Ann Sheridan – Eleanor Johnson
Dennis O’Keefe – Reporter Danny Leggett
Robert Keith – Inspector Ferris
Ross Elliott – Frank Johnson
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Woman on the Run Ann Sheridan
Starring Ann Sheridan in one of her most powerful noir performances alongside Dennis O’Keefe, Woman on the Run stands as a timeless example of Golden Age Hollywood crime cinema. With sharp dialogue, shadow-laden cinematography, and a fast-paced narrative, the film appeals to fans of film noir classics, crime dramas, and retro Hollywood thrillers.
Highly regarded among noir enthusiasts, this movie remains an evergreen classic, frequently searched by viewers looking for classic crime movies, 1950s noir films, and vintage Hollywood thrillers on platforms like Dailymotion, Google, Yahoo, and Bing.
⭐ Major Actors (Branded & Evergreen Keywords)
Ann Sheridan – Eleanor Johnson
Dennis O’Keefe – Reporter Danny Leggett
Robert Keith – Inspector Ferris
Ross Elliott – Frank Johnson
#WomanOnTheRun1950 #WomanOnTheRun #ClassicFilmNoir #FilmNoirMovies #CrimeThrillerClassic
#AnnSheridan #DennisOKeefe #1950sMovies #ClassicHollywood #VintageCinema
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Woman on the Run Ann Sheridan
Category
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Short filmTranscript
00:00:00The End
00:00:30Oh, my God.
00:01:00Oh, my God.
00:01:30I'll give it to you without the hoopla, daddy boy.
00:01:48The simple facts of life.
00:01:49I'm sitting in a crossfire with the cops on one side and Smiley Freeman on the other, and the both of them gunning for me.
00:01:54So I'm the guy who knows that you're the one who took the 20 grand from Smiley to cover up the dirt at killing.
00:02:00Got a cigarette, Danny boy?
00:02:03Now, my proposition's quick and easy, Danny.
00:02:06We split the 20.
00:02:07Five for you, 15 for me, and I take it on the lam.
00:02:11Live and let live's my motto.
00:02:12Oh, that look in your eye, Danny, is painful to me pride.
00:02:22Danny boy, don't kill me.
00:02:24Danny boy, don't.
00:02:25Danny boy, don't kill you.
00:02:43You have to escape.
00:02:46Hey, what happened? What's going on down there? Were those shots?
00:02:58You'd better call the police. It's been a murder.
00:03:00Good evening, Inspector.
00:03:17Hi. Hi, boys.
00:03:19It always happens in the middle of the night.
00:03:21Yeah.
00:03:23Is that Joe Gordon all right?
00:03:25Yeah. He won't be doing much testifying now.
00:03:28Convenient for Smiley Freeman.
00:03:30Yeah.
00:03:32Belling over there where the dog says he saw it.
00:03:34Yeah?
00:03:36Is the knock over here yet?
00:03:37Not yet, Inspector.
00:03:38What's this guy's name?
00:03:39Frank Johnson. Lives around here.
00:03:41Claim he was out walking his dog.
00:03:44Hi, Mr. Johnson.
00:03:46Inspector Farris. Homicide detail.
00:03:49Understand you had a front seat.
00:03:50I sure did.
00:03:51Did you get a good look at the killer?
00:03:52Too good.
00:03:53That street light was right on his face when he got out of his car and shot at him.
00:03:56Shot at you?
00:03:57Twice.
00:03:58You're lucky he missed.
00:04:00Think you'd recognize him? You saw him again?
00:04:02That's not a face I'm likely to forget.
00:04:05Pick him out of a line-up?
00:04:06I think so. Yeah.
00:04:08Say, what's this all about anyway?
00:04:10The dead man, Joe Gordon.
00:04:12He was going to testify before the grand jury next week.
00:04:15That's tough.
00:04:15Not too. He had a bad record.
00:04:17He knew too much about Smiley Freeman.
00:04:19You know who Smiley Freeman is?
00:04:20The gangster?
00:04:21That's right.
00:04:22Gordon was our witness.
00:04:23Now you're in.
00:04:24Me?
00:04:25Yeah.
00:04:26All you have to do is identify the killer.
00:04:28We'll do the rest.
00:04:30Married?
00:04:32In a way.
00:04:34What do you mean, in a way?
00:04:35Are you or aren't you?
00:04:37Yeah.
00:04:38I am.
00:04:39Where do you live?
00:04:40Right over there.
00:04:40136 out to Linda.
00:04:42Apartment 4D.
00:04:43Pick up Mrs. Johnson and bring her over here.
00:04:44Okay.
00:04:45Hey, don't wake her up.
00:04:47She's not going to like it.
00:04:49Well, she'll want to know where you are, won't she?
00:04:51We're taking you down to headquarters.
00:04:53Headquarters?
00:04:54What for?
00:04:57Protective custody.
00:04:59I see what you mean.
00:05:00Now, where were you standing when he shot at you?
00:05:02Oh, right down there.
00:05:03Show me.
00:05:06Well, I was right down there with the dog when the car drove up.
00:05:09I didn't pay much attention to it.
00:05:10Little bit later, I heard a shot.
00:05:12I looked up just in time to see this fellow, what's his name, fall out of the car.
00:05:15Then the killer pumped another shot right into him.
00:05:18My dog barked, he got out of the car, started to shoot at me.
00:05:23I ducked and he drove away.
00:05:24What kind of a car?
00:05:25I don't know, a light coupe, they all look alike to me.
00:05:29Well, his aim was all right.
00:05:31He was just shooting at the wrong target.
00:05:33He thought your shadow was you.
00:05:40Will you go call Reardon?
00:05:42Maybe he won't miss next time.
00:05:43There won't be any next time.
00:05:45Yeah, but suppose you don't get a conviction, then what?
00:05:46Do I have to spend the rest of my life with police protection?
00:05:49Or wind up on a sidewalk like him?
00:05:51What are you worried about?
00:05:52He missed, didn't he?
00:05:53Stay here a minute.
00:05:54We'll get the rest of the story downtown.
00:05:56I hate to get mixed up in this.
00:06:01Yeah, it's getting so a man has to be careful where he's looking these days.
00:06:04Take it easy.
00:06:06Keep out of here, will you?
00:06:07Say, I think I dropped my pipe somewhere around here.
00:06:09Is it okay if I look for it?
00:06:10Remember where you had it last?
00:06:12Yeah, it was right over here somewhere.
00:06:13What's the matter, bud?
00:06:14I'll give you this.
00:06:15Come on, get out of here, will you?
00:06:24Pick up Smiley Freeman and everybody connected with him.
00:06:27Put him in a lineup, see if Johnson can identify anybody.
00:06:29I want everybody, no excuses, no lawyers, I want everybody.
00:06:34See if you can pick up anything on that car.
00:06:36Somebody may have seen it.
00:06:44Mrs. Johnson, that's not your husband.
00:06:46The man was killed, he saw it happen.
00:06:48He's right over here.
00:06:50Sorry I had to get you out of bed, Mrs. Johnson.
00:06:53But after all, we had to make sure that he had a wife.
00:06:59Where is he?
00:07:00He took a powder.
00:07:01Sergeant, pick up Johnson.
00:07:02The idiot will get himself killed.
00:07:04Just like him, always running away.
00:07:06What do you mean, always running away?
00:07:08Running away from what?
00:07:09From everything.
00:07:10Broadcast description.
00:07:11White, male, American.
00:07:12There was a trench coat, soft brown hat.
00:07:14A very ordinary looking fellow, I'm afraid.
00:07:17Yeah.
00:07:18Well, how would you describe your husband, Mrs. Johnson?
00:07:20I couldn't.
00:07:21I haven't been able to for a long time.
00:07:24May I go now?
00:07:25Come on, you might.
00:07:27Nice dish, huh?
00:07:28Nice looking dish.
00:07:30I want everything shut off.
00:07:32Bridge controls, roadblocks, everything.
00:07:34I'll stick with her.
00:07:35Right.
00:07:38Did you hear the shots fired?
00:07:39How could I?
00:07:40I was in bed, sound asleep.
00:07:42Find any pictures of him?
00:07:43No, but plenty of her.
00:07:44Just some tired snaps of him.
00:07:46They won't do anybody any good.
00:07:48But keep them.
00:07:52He needs books on psychology.
00:07:54I wonder why.
00:07:56Has he got a problem?
00:07:57I wouldn't know.
00:07:58Maybe he's confused.
00:08:01Aren't we all?
00:08:04Pipe smoker.
00:08:06What does that mean?
00:08:07Nothing.
00:08:12Oh, he's got two suits.
00:08:15One of which he's wearing.
00:08:16Well, what does he care what he looks like?
00:08:18Nobody pays any attention to him anyway.
00:08:20Not even his wife.
00:08:21You're really wasting your time.
00:08:22There must be at least 20,000 men in San Francisco who answer that description.
00:08:26How are you going to find him?
00:08:27There'd have to be something different about him.
00:08:29Different anyway from other people.
00:08:31There is something different about him.
00:08:32There's something different about everybody.
00:08:34And we're going to dig till we find out what it is.
00:08:36Now, you see our problem, Mrs. Johnson.
00:08:38Why won't you help us?
00:08:39I'm helping.
00:08:39What do you want me to do?
00:08:40I want you to answer a few questions.
00:08:42Go ahead.
00:08:43Ask.
00:08:43Where does he generally go when he's not at home?
00:08:45I haven't the faintest idea.
00:08:46Has he any relatives in this area?
00:08:47No.
00:08:48Who are his friends?
00:08:49I don't know his friends.
00:08:50The dog is our only mutual friend.
00:08:52Do you always go to sleep when he walks the dog?
00:08:53No.
00:08:54Sometimes he goes to sleep and I walk the dog.
00:08:58Say, Inspector.
00:08:59Here are a couple more.
00:09:01Oh, I'm terribly sorry.
00:09:03There's been a mistake.
00:09:04Release these men at once.
00:09:06Keep digging.
00:09:07Okay.
00:09:07Every man between the ages of 35 and 40 who is out tonight is wearing a trench coat and a snap-brim felt.
00:09:12All of them 5'11", weighing 170, and all of them scared to answer questions.
00:09:17The domestic situation in this town must be terrible.
00:09:19Yeah.
00:09:20Kitchen?
00:09:22Well, it's got a stove in it.
00:09:23Hey.
00:09:38Don't you eat anything but dog food?
00:09:40He's not particular and I'm lazy, so we eat out.
00:09:42Where?
00:09:43Well, let's see.
00:09:44The corner drugstore, the lobster grill at the wharf when we're in that neighborhood, and when we get real fancy, Man-Lowe's Oriental Roof Garden.
00:09:51Those, usually.
00:09:52We're creatures of habit, I'm afraid.
00:09:54Check the Oriental Roof Garden.
00:09:55They'll still be open.
00:09:56Yes, sir.
00:09:56It's 2 o'clock in the morning.
00:09:57How am I going to explain this at home?
00:09:58What's going on here?
00:09:59I'm sorry.
00:10:00There's been a mistake.
00:10:01He's sorry.
00:10:02What am I going to tell my wife?
00:10:03Come on.
00:10:04What did you and your husband quarrel about tonight, Mrs. Johnson?
00:10:09We don't have to have a reason anymore.
00:10:10Don't you have a decent picture of your husband?
00:10:12No.
00:10:13He doesn't like to have his picture taken.
00:10:14I don't want any photographs of him floating around that might get in the papers.
00:10:18The killer doesn't know what he looks like.
00:10:20Didn't he see him?
00:10:21No.
00:10:22He shot at his shadow.
00:10:23Shot?
00:10:24He shot at Frank?
00:10:25Twice.
00:10:26Nobody knows that except the killer, your husband, and now you.
00:10:27So let's keep it that way.
00:10:28It's important.
00:10:30He's really in danger then.
00:10:31Worried?
00:10:32I thought you were beyond worrying about him.
00:10:34I didn't say that.
00:10:35If he doesn't give himself up, you're really going to have something to worry about.
00:10:39We've got to protect him.
00:10:40Like you did the other witness?
00:10:42Joe Gordon would be alive right now if he hasn't had his lawyer spring him.
00:10:45Hey, Mark.
00:10:46Here's something.
00:10:47A prescription for Frank Johnson.
00:10:48Husband ill?
00:10:49No.
00:10:50He just likes to take medicine.
00:10:51What are these for?
00:10:52I don't know.
00:10:53He just likes to take vitamin pills, cold shots, anything.
00:11:00What's up here?
00:11:01Studio.
00:11:02My husband's an artist.
00:11:03Oh, I thought you said he worked at Hart and Winston's.
00:11:05He does.
00:11:06He's in charge of displays down there.
00:11:08Oh, window trimmer, huh?
00:11:10Rembrandt, get down.
00:11:12You know you're not allowed up there.
00:11:14Rembrandt?
00:11:16It's the nearest we could ever get to owning one.
00:11:18Frank's little joke.
00:11:19Oh.
00:11:20He found the mud sitting on the street corner one night waiting for someone to adopt him.
00:11:23They recognized each other right away.
00:11:30Is this supposed to be you?
00:11:32Yes.
00:11:33It was a lovely autumn day.
00:11:35The wind was blowing through my hair.
00:11:38It was all very charming, but that was four years ago.
00:11:41That was Frank's Cyprus period.
00:11:43He had four important periods in his painting career.
00:11:46Say, how did you two ever happen to get together in the first place?
00:11:49I met him at a friend's house in Carmel.
00:11:51He wanted to paint and I was all for it.
00:11:54I had $5,000 and he had $2,000 in talent, so we got married.
00:11:58After Carmel, he became restless, so we went to Taos, New Mexico, where he painted Indians.
00:12:03That's an Indian.
00:12:04Yeah.
00:12:05Then he got tired of Indians.
00:12:07So we went to Bucks County, Pennsylvania, where he painted old Dutch barns with hex signs on them.
00:12:11Say, did he ever do a self-portrait?
00:12:13He didn't like himself that much.
00:12:15Oh.
00:12:17You do these in Pennsylvania?
00:12:19No, he got restless again, so we came to San Francisco.
00:12:23Here he started sketching crummy old characters that hung around wharves, missions, and gin mills.
00:12:27That was the social protest period.
00:12:29Then our money ran out and he had to take a job.
00:12:32Couldn't sell the stuff, huh?
00:12:33He wouldn't try to sell it.
00:12:34Didn't think it was good enough.
00:12:35These sketchbooks are filled with great ideas.
00:12:37He never got around to painting.
00:12:38Well, didn't you try to get a job?
00:12:40Why should I?
00:12:41That's his responsibility, not mine.
00:12:43Friend to your husband's?
00:12:46No, that's his burlesque period.
00:12:48Now, that I like.
00:12:50It's pretty good.
00:12:51Yes, but it takes more than talent to have a career.
00:12:54You have to have staying power.
00:12:55Frank's a drifter, so when the money ran out, we just drifted.
00:12:58Who's this?
00:13:00Oh, some dance team over in Chinatown.
00:13:02Hmm.
00:13:06Know him?
00:13:07Oh, he's a retired ferry boat captain who does sand sculptures at the beach.
00:13:11Oh, I knew who that is. That's Rembrandt.
00:13:14What has all this got to do with finding Frank?
00:13:17You just answer the questions.
00:13:19That is, if it doesn't hurt.
00:13:21Why should it hurt me?
00:13:22It's all past and done with.
00:13:23If you want to snoop into the remains of our marriage, that's up to you.
00:13:29Don't touch that telephone.
00:13:31If that's your husband, find out where he is.
00:13:33But keep on talking.
00:13:44Hello?
00:13:45Hello.
00:13:46Oh, hello, Frank.
00:13:47Where's that call?
00:13:48Helena, there's something I want you to get for.
00:13:49I'm sorry to interrupt, but if I were you, I'd hang up.
00:13:50The police are tracing your call.
00:13:51Hello.
00:13:52Hello.
00:13:53Hey, hang up.
00:13:54Seems to me I heard music.
00:13:55Wasn't that music?
00:13:56You didn't do your husband a favor, Mrs. Johnson.
00:13:57It's bad enough to be alone in a big city with no place to go.
00:13:59But as soon as the newspapers hit the streets and the killer finds out he didn't get your husband,
00:14:00there'll be guys looking for him with guns.
00:14:01If I had a husband I wanted to get rid of, I'd do exactly what you did.
00:14:02If he wants to run away, that's his business.
00:14:03And your business, too, Mrs. Johnson.
00:14:04I'll be so happy, Mrs. Johnson.
00:14:06I'll be so happy to be with you.
00:14:07And as soon as the people of this husband are coming to your husband.
00:14:08I'm not going to leave you with your husband.
00:14:09You're not going to leave you with your husband.
00:14:10I'm missing your call.
00:14:11Hello, hello.
00:14:12Hey, hang up.
00:14:13Seems to me I heard music.
00:14:14Wasn't that music?
00:14:15You didn't do your husband a favor, Mrs. Johnson.
00:14:16It's bad enough to be alone in a big city with no place to go.
00:14:18There'll be guys looking for him with guns.
00:14:20If I had a husband I wanted to get rid of,
00:14:21I'd do exactly what you did.
00:14:23If he wants to run away, that's his business.
00:14:25And your business, too, Mrs. Johnson.
00:14:28I'll be seeing you.
00:14:35No wonder the world's full of bachelors.
00:14:40Little more needling's all she needs.
00:14:42Give her plenty of rope, but keep her tail.
00:14:43She wants to get rid of him.
00:14:44Women are curious.
00:14:45Even that dame will go after him.
00:14:47Come on, be a good fellow and let us up.
00:14:48Who's handling the case?
00:14:49Inspector Parris.
00:14:50Oh, he's a friend of mine.
00:14:51Is that right, Inspector?
00:14:52Sure, we know him well.
00:14:53Hi, Parris, what's the dope?
00:14:54No story.
00:14:55How about that Johnson gal?
00:14:56Is she good looking?
00:14:57What about the witness?
00:14:59What witness?
00:15:00Oh, cut it out, cut it out.
00:15:01It's already gone to press.
00:15:02Did you get a look at the murderer?
00:15:04No.
00:15:04What's his wife like?
00:15:05Any filth?
00:15:06Lay off the tabloid sex stuff like it.
00:15:09I'll give it to all of you in the morning.
00:15:11Hiya, Homer.
00:15:12No favorites.
00:15:17Bye now.
00:15:18Come on.
00:15:19There.
00:15:20And then the Ollie were doing well,
00:15:20but what happens, Sue, too?
00:15:22I got one day after Buzz Jarke.
00:15:23I was like, of you.
00:15:24Yes.
00:15:26No.
00:15:26Nice things
00:15:28Every time, you said I need to pass.
00:15:28Vehicles, we put him.
00:15:29All right,oyo.
00:15:30That's it.
00:15:30Yes.
00:15:31Never debe of you date.
00:15:32Then who's no ghost.
00:15:32Isn't that Peggy?
00:15:32What?
00:15:34Go home.
00:15:34Go home.
00:15:36The one, Isaiah Schinger?
00:15:37Oh, see I have to pass.
00:15:38You, remember?
00:15:38Tell him.
00:15:39It's a little bit worse.
00:15:39Who hasn't spied all day?
00:15:41My Miche's coming.
00:15:42Come on.
00:16:12You don't scream.
00:16:19You're coming out or going in?
00:16:20Are you the police?
00:16:21Smile when you say that.
00:16:22I'm a reporter.
00:16:23Oh, a newspaper man.
00:16:24Well, you don't have to say it like that.
00:16:26Let go of me.
00:16:27Go away.
00:16:31Well, help.
00:16:32Are you just going to leave me dangling here?
00:16:34Well, you just said to let you...
00:16:34I don't care what I said.
00:16:36Help me get out of here.
00:16:37It's a pleasure, Mrs. J.
00:16:38You are Mrs. Johnson, aren't you?
00:16:40No, I'm the maid taking my night out.
00:16:42Oh, what magic I possessed.
00:16:47A moment ago, total strangers.
00:16:48Now, you're in my arms.
00:16:49So it's love at first sight.
00:16:51Now, show me how you got up here without the police seeing you.
00:16:53Do I get the story?
00:16:54After I get out of here.
00:16:56Follow me, then.
00:16:56It looks like half the police force is down there.
00:17:15Must I?
00:17:16Just look straight ahead like you did when you got married.
00:17:20Incidentally, my name's Leggett.
00:17:22Leggett at the graphic.
00:17:23We've got a dandy little sheet, all full of goo and gore and everything.
00:17:26Hey!
00:17:27Bye.
00:17:28Bye.
00:17:29Bye.
00:17:30Bye.
00:17:31Bye.
00:17:32Bye.
00:17:33Bye.
00:17:34Bye.
00:17:35Bye.
00:17:36Bye.
00:17:37Bye.
00:17:38Bye.
00:17:39Bye.
00:17:40Bye.
00:17:41Bye.
00:17:42Bye.
00:17:43Bye.
00:17:44Bye.
00:17:45Bye.
00:17:46Bye.
00:17:47Bye.
00:17:48Bye.
00:17:49Bye.
00:17:50Bye.
00:17:51Bye.
00:17:52Bye.
00:17:53Bye.
00:17:54Bye.
00:17:55Bye.
00:17:56Bye.
00:17:57You wish something?
00:18:06Gin over rocks.
00:18:08Rocks?
00:18:08Is this chair taken, madam?
00:18:09Why, thank you, Mrs. Johnson.
00:18:10I'd love to join you.
00:18:11You didn't think you were going to get rid of me as easy as you ducked police, did you?
00:18:15I'll have you know, Mrs. J., I'm an old fire escape man from way back.
00:18:18Why don't you get lost?
00:18:25Now then, how about the story?
00:18:27You'll get the story from my husband when he's safe and sound in jail.
00:18:30Oh, but he won't be safe and sound.
00:18:32Have you forgotten the follow-up by the name of Joe Gordon?
00:18:33Do you wish something?
00:18:34Yeah, let me have a bourbon old-fashioned.
00:18:37Why did you come here tonight, Mrs. Johnson?
00:18:39Or shouldn't I ask?
00:18:40Because I like it here.
00:18:41You didn't buy any chance come here to meet, say, your husband, did you?
00:18:44Or is that a far-fetched supposition?
00:18:46Supposition?
00:18:46I'd better stop using those four-syllable words.
00:18:48I won't be working for the graphic anymore.
00:18:49Where's your husband, Mrs. Johnson?
00:18:50I don't know.
00:18:51Did he see the killer?
00:18:51I don't know.
00:18:52Should we dance?
00:18:52Why don't you drop dead?
00:18:53Why don't you be nice to me, Mrs. Johnson?
00:19:01Who knows, I might even be able to help you.
00:19:03I'm not a bad guy when you get to know me.
00:19:05A little obnoxious, perhaps, but pleasant.
00:19:07Now then, answer yes or no.
00:19:09Your husband saw the murder and took it on the lam, right?
00:19:11Right.
00:19:11And you're, uh, you're meeting him here?
00:19:13I haven't the slightest idea.
00:19:15I came here on a hunch.
00:19:16When he phoned tonight, I heard music that could only have come from this joint.
00:19:19Something to eat?
00:19:20No, thanks.
00:19:21No food.
00:19:21Oh, go ahead.
00:19:22Try something.
00:19:22No, really nothing.
00:19:27Oh, uh, I've got a deal for you.
00:19:29You find your husband with my help.
00:19:31Give me an exclusive for 24 hours, and I'll get my paper to pay you for it.
00:19:34Trying to buy me so soon?
00:19:36First, I'm going to try and buy you.
00:19:37And if I can't, I'm going to try to win you.
00:19:39Isn't that the reverse of the usual procedure?
00:19:41I'm a perverse fellow.
00:19:42On second thought, Mrs. J., I find you very attractive.
00:19:45I may try and win you right off.
00:19:47No, thanks.
00:19:47I'd rather be bought.
00:19:49Very mercenary.
00:19:50All of the good, though.
00:19:50I like mercenary women.
00:19:52Take a tight room, tight in.
00:19:54Dang, allah.
00:19:58Can you really get the money?
00:19:59Sure.
00:20:00How much?
00:20:01Oh, I don't know.
00:20:01Graham, maybe.
00:20:02Is it worth that much?
00:20:03It will be by the time I get through building it up.
00:20:06Frank will need it if he wants to get away.
00:20:08Now, bring it with me.
00:20:08Just tell me where and when.
00:20:09And you won't print anything until I give the word.
00:20:11Scout's honor.
00:20:12It's a deal.
00:20:13Should we drink to it?
00:20:16To the speedy conclusion of all our troubles.
00:20:18Yours, your husband's, and mine.
00:20:20You've got troubles?
00:20:21You don't look.
00:20:22None that I can't solve now that we're partners.
00:20:27Hiya, Mrs. Johnson.
00:20:28Hi, Sammy.
00:20:29Sit down.
00:20:29Meet Mr. Leggett of the graphic.
00:20:31Oh, a newspaper man.
00:20:32Sammy.
00:20:32You should have caught the show.
00:20:34Susie and I are breaking in a new act.
00:20:35Chung and Okito.
00:20:36It's terrific.
00:20:38That's spelled C-H-U-N-G.
00:20:39Anybody can spell Okito.
00:20:41Of course, we're only breaking in the show here, but a little plug would help.
00:20:44Well, I'll see what I can do.
00:20:46Thanks.
00:20:47Next time you come, catch the midnight show.
00:20:48The place is really jumping then.
00:20:49I'll be seeing you.
00:20:50Bye, Sammy.
00:20:51Night.
00:20:51Well, I think I'll go home.
00:20:53Frank won't show tonight.
00:20:54How do you know?
00:20:55I just know.
00:20:56That's all.
00:20:57What are you going to tell your husband when you see him?
00:20:58To give himself up.
00:20:59Maybe I'll give up, too.
00:21:22Leave your flag down.
00:21:23Hey, you want to go in over the roof?
00:21:27No, I'll go in the front door and give them something to think about.
00:21:30Well, in that case, I'll disappear.
00:21:31Let's not give them too much to think about.
00:21:33Well, if I need you, I'll get in touch with you.
00:21:35Oh, you won't have to get in touch with me, Mrs. Johnson.
00:21:37Just look around.
00:21:37I'll be there.
00:21:38Good night, Mr. Leggett.
00:21:39What are you doing here?
00:21:51That was nice doing, Mrs. Johnson.
00:21:53But the next time you try to get out, you'll have more trouble.
00:21:57I've got news for you.
00:22:00I've just seen your husband's doctor.
00:22:02Why?
00:22:02Aren't you feeling well?
00:22:05Your husband isn't a hypochondriac.
00:22:07He's a very sick man.
00:22:09He's got a bad heart.
00:22:14I don't believe it.
00:22:15Ask Dr. Holler.
00:22:22Frank never said anything to me about it.
00:22:24Maybe he figured you wouldn't be interested.
00:22:26Well, he can walk into any drugstore and buy some medicine.
00:22:29Not without a prescription he can.
00:22:30And I've given orders to every drugstore in town
00:22:32that none of this medicine is to be dispensed without an order from me.
00:22:35If he should have an attack and not have that with him, you know what that means.
00:22:39You can't do that.
00:22:40If it's the only way I can get him to come in and testify, I mean to use it.
00:22:43But Frank's done nothing wrong.
00:22:45Oh, yes, he has.
00:22:46He was in the wrong place at the wrong time.
00:22:48I thought the police were supposed to protect people, not put them in danger.
00:22:51All it says in my book, sister, is that the good of the majority's got to be upheld.
00:22:54And for the good of the majority, Frank Johnson's got to testify.
00:22:57If he gives himself up, we'll give him a supply of medicine.
00:23:00We're protected.
00:23:00And if he doesn't?
00:23:01He'll die of a heart attack or a bullet from one of Smiley Freeman's men.
00:23:05I don't believe a word you're saying.
00:23:06You're only trying to frighten me.
00:23:08And I'm getting pretty sick of you.
00:23:09Now get out of here.
00:23:10Of course, if you want to try to find it, I won't try to stop you.
00:23:13But I don't think you can find it.
00:23:16I don't think he's running away from us.
00:23:18I think he's running away from you.
00:23:20I said get out.
00:23:21I don't think he's running away from us.
00:23:51I'm violating my instructions from the police by giving you this additional supply.
00:24:03But rest assured, it gives me no feeling of guilt.
00:24:05Thank you, doctor.
00:24:06After the excitement of last night, your husband undoubtedly used the amp use he carried with him.
00:24:11So you see, my action is not prompted by kindness so much as reluctance to gamble with a man's life.
00:24:17Is his heart really that bad, doctor?
00:24:18Frank's condition isn't any worse than thousands of men that strain their hearts running in track meets.
00:24:24The misguided believed that they were building up their bodies.
00:24:27If it were only his heart, we could control it.
00:24:30What do you mean?
00:24:30Well, for the past year, your husband has had hypertension that complicates matters.
00:24:35Hypertension?
00:24:36What causes that?
00:24:37Well, I'm not sure.
00:24:38My guess is overwork, unhappiness, anxiety.
00:24:41But you know more about it than I do.
00:24:43Why should I?
00:24:44But naturally, you must know about his troubles.
00:24:46I'm only his doctor.
00:24:47You are his wife.
00:24:48Oh, yes.
00:24:49I'm that bitter, selfish, vicious wife.
00:24:51The cause of his unhappiness.
00:24:52The cause of his failure.
00:24:53Is that what he told you?
00:24:54Is that what he tells everyone?
00:24:56Frank didn't discuss his private life with me, nor do I care to hear it from you.
00:24:59I shall explain to you his condition, and that's all.
00:25:02He has a cardiac condition.
00:25:04Let's call that X.
00:25:06Now, X alone is not serious.
00:25:07He also has hypertension.
00:25:09Let's call that Y.
00:25:10Now, X plus Y is dangerous.
00:25:12I'm Y, I suppose.
00:25:14I'm not a psychiatrist, Mrs. Johnson.
00:25:16I deal only with facts.
00:25:17X plus Y equals steady deterioration.
00:25:20X minus Y is an improvement.
00:25:22Now, what you and your husband do about it, that's your personal concern.
00:25:25My only personal concern right now is to get these ampoules to him.
00:25:29If you see him, tell him he should give himself up.
00:25:31It's imperative to take the strain of himself.
00:25:34I'll give him the facts.
00:25:35He can draw his own conclusions.
00:25:42I'll give him the facts.
00:26:12Oh, Frank, darling, I thought I'd never find you.
00:26:21Now, stay right here. I'll be back in five minutes to explain everything.
00:26:28All right, Mr. Johnson, come along.
00:26:30My name isn't Johnson.
00:26:31Yeah, and I suppose that isn't your wife, either.
00:26:33No, but I wish it were.
00:26:34Do you have any identification?
00:26:36Yes, I have. My name is Stephen Carruthers, optometrist.
00:26:38While we're on the subject, I think you better have your eyes examined.
00:26:59So, Frank is a fugitive from the law.
00:27:02Well, that's just like him. He's so adventurous.
00:27:05Adventurous? Frank?
00:27:06Oh, yes, indeed.
00:27:08Sit down, Mrs. Johnson.
00:27:10I guess you've never visited our workshop before.
00:27:12What makes you think he's adventurous?
00:27:14Oh, but he is.
00:27:15All the places he's gone and all the things he's done.
00:27:19You know, my life has been pretty uneventful.
00:27:21Straight from high school to this job.
00:27:24From my rooming house to the streetcar and then down here to work.
00:27:27In the evening, back to my rooming house again.
00:27:29But since he's been here, it's different.
00:27:32He makes my life kind of exciting.
00:27:33I never get tired listening to the stories he tells about his trip down to Mexico.
00:27:38When he was wandering around with all those bullfighters.
00:27:41And when he shipped off to Tahiti in that old freighter and then jumped ship.
00:27:45Oh, I'm sorry.
00:27:47I suppose you've heard these stories many times, Mrs. Johnson.
00:27:50I never heard them.
00:27:51He never told me.
00:27:52He didn't?
00:27:53Well, maybe he didn't want his wife to know.
00:27:56Oh, I'm sorry if I talked out of turn.
00:27:58Of course you haven't.
00:28:00Shouldn't the mail be here?
00:28:01Why, yes, yes, it should.
00:28:03Why?
00:28:03Frank sent me a letter in care of you.
00:28:05Oh, he did?
00:28:06I don't know what Mr. Anderson is going to say.
00:28:09When he finds out Frank isn't coming in today.
00:28:11You know, he's got a terrible disposition.
00:28:13He doesn't exercise enough.
00:28:15Of course, I don't either.
00:28:16But then, well, I'm going to protect Frank.
00:28:19He saved my job once.
00:28:21You know, Mr. Anderson was going to fire me.
00:28:23But Frank said, if Mr. Mabus goes, you can pay me off too.
00:28:26Oh, they had a terrible argument.
00:28:28They even took it upstairs to Mr. Winston.
00:28:31Well, we're still here.
00:28:32Frank was too valuable.
00:28:35Look, Mr. Mabus, don't tell anyone about that letter that's coming.
00:28:39Oh, no, no, no.
00:28:40You can trust me.
00:28:41Not even the police.
00:28:43The police?
00:28:44Are they coming here?
00:28:45They're very apt to.
00:28:47But just don't mention the letter or anything about my being here at all, huh?
00:28:50Well, I don't know how good I am at deceiving people.
00:28:52But if it's for Frank, I'll try.
00:28:54Hey, Mabus.
00:28:55You better get the lead out and get upstairs.
00:28:57Anderson's blowing his top.
00:28:58Okay, I'll be right up.
00:28:59Is the mail in yet?
00:29:01How should I know?
00:29:03Nice people.
00:29:04Sometimes I think it'd be better for Frank if he got himself fired.
00:29:07Well, he doesn't belong around here.
00:29:09Look at all the time he puts in these mannequins.
00:29:13See, I just noticed something.
00:29:15This looks like you.
00:29:16Very flattering.
00:29:17Is that the way he sees me?
00:29:19Well, it may be a little severe, but it shows he was thinking about you anyway.
00:29:22Yes, and what he was thinking.
00:29:24Mail!
00:29:24Well, you've only got two today, Mr. Mabus.
00:29:28Wasn't Frank here?
00:29:29No, no, he's late.
00:29:30Was there a letter for him?
00:29:31No, I just had a new song I wanted him to hear.
00:29:34Frank's the only one who listens to me sing.
00:29:36Oh, brother, have I got a crush on that man.
00:29:39No letter.
00:29:42Oh, but there's got to be one.
00:29:43Well, maybe it'll be here on the afternoon mail at three o'clock.
00:29:45If one comes, hold it for me.
00:29:48And let's just keep it our secret, shall we?
00:29:58Good morning, Mrs. Johnson.
00:29:59He didn't show up for work this morning, did he?
00:30:01Where's your new pal Leggett?
00:30:02I haven't the vaguest idea.
00:30:04I wouldn't get too cozy with that guy if I were you.
00:30:07He'd crucify his grandmother for a story.
00:30:09I haven't found him as objectionable as you are.
00:30:11What right have you prying into my personal life,
00:30:13having me followed as if I were a criminal?
00:30:15I'm sick of it.
00:30:16I'm sick of you, and I want it stopped.
00:30:17Mrs. Johnson, didn't your husband ever beat you?
00:30:20Are you going to have these men stop following me?
00:30:21The man who killed Joe Gordon isn't stupid.
00:30:24If I'm smart enough to use you as a bird dog
00:30:25to lead us to your husband, so is he.
00:30:28You may be very happy to have a cop around
00:30:30before this thing's over.
00:30:31That I doubt.
00:30:33Stick with it.
00:30:34How could I lose a redhead like that?
00:30:45How could I lose a redhead like that?
00:30:48I don't know.
00:30:48Come on.
00:30:50Come on.
00:30:50Come on.
00:30:51Come on.
00:30:53Come on, Mr. Johnson.
00:30:53Come on.
00:30:54Come on.
00:30:55Come on.
00:30:56Come on.
00:30:56Come on.
00:30:57Come on.
00:30:58Come on.
00:30:59Come on.
00:30:59Come on.
00:30:59Oh, don't be so grumpy this morning. All I'm trying to do is help you.
00:31:15Do you know that you've got a little shadow?
00:31:18Huh? There she is.
00:31:20Well, it's a nice morning for a ride.
00:31:23Oh, uh, by the way, here's your letter.
00:31:26Well, I was...
00:31:27Surprise, don't be.
00:31:28Ten dollars, and an underpaid store clerk can get you anything.
00:31:31Don't you worry about it. I'll put it on my expense account.
00:31:32But how did you know about it?
00:31:34The menu. You shouldn't have left it. It was very careless.
00:31:36I have inquisitive eyes.
00:31:38Do you always open other people's mail?
00:31:40Mm-hmm. Every chance I guess.
00:31:42Say, did you get a load of the female impersonator they've got following you?
00:31:45No.
00:31:47Well, let's duck here and get down to business.
00:31:49Hey, Mac, turn left on the next street, and then right up the alley.
00:31:52Okay.
00:31:58What do you mean to you?
00:32:07Oh, a lot of things.
00:32:09Something to go on?
00:32:10I'm not sure.
00:32:11What does he mean in there about the doctor and the ampules?
00:32:13It's medicine he needs. He has a bad heart.
00:32:16How bad?
00:32:17Bad enough. I just found out.
00:32:19He's got to have these pills, and he can't get them anywhere.
00:32:21The police have seen to that.
00:32:23Ah, squeeze play.
00:32:24That Ferris is smart.
00:32:27Will he die?
00:32:28I don't know. I spoke to his doctor.
00:32:31It isn't serious, only under certain conditions.
00:32:33Well.
00:32:34Yeah, explain.
00:32:36The police will probably read this note, so I can't tell you where I'll be.
00:32:40But if you think back, you'll know where to find me.
00:32:43What am I, a mind reader?
00:32:45Well, it gives you a clue in this next line.
00:32:46I'll be out in the open under the sun in a place like the one where I first lost you.
00:32:51There is no first in things like these.
00:32:54This is kind of obscure.
00:32:55Does he always talk to you like this?
00:32:56No, it's our first murder.
00:32:59Do you know, Mrs. J., your husband's a pretty clever guy at that.
00:33:02No, you don't think so, but he is.
00:33:04He's testing you.
00:33:05He's asking you to admit that your marriage is a failure and that it's your fault.
00:33:09He's saying that he understands you, but that you don't understand him.
00:33:12Now, listen, Mr. Leggett of the graphic.
00:33:14I've had just about enough of the all-wise male.
00:33:17In the past 10 hours, I've met three men.
00:33:19Three men who all put together haven't known Frank for one fraction of the length of time I have.
00:33:24Yet they all know him better than I do.
00:33:26Well, along the way, I found out a few things myself.
00:33:29I found out how Frank Johnson really feels about me.
00:33:32That at the first chance, his first excuse, he took off, ran.
00:33:36That he didn't even think enough of me to confide in me that he was ill.
00:33:39Then at the store, in the faces of those mannequins, I saw what he really sees in me.
00:33:43All right.
00:33:44It's okay if that's the way he feels about it, but if he wants his amputes, he'll have to come out of hiding and get them.
00:33:51What did you have for breakfast?
00:33:53Cigarette and coffee?
00:33:54Cigarette.
00:33:54I thought so.
00:33:55Take us over to Lancey's on Powell.
00:33:57Lancey's?
00:33:58Okay.
00:33:58This place has the best wobbles in town.
00:34:00Butter in every little square.
00:34:02View is always better on a full tummy.
00:34:06How about another one?
00:34:07No, no thanks.
00:34:09Now that I've got you softened up, Mrs. J., there's something that I have to tell you.
00:34:13You have to find your husband.
00:34:15No, not for the money.
00:34:16I promise you are my story, but for yourself.
00:34:19He's challenged you.
00:34:20You've got to accept it or admit he's right.
00:34:22I really would like to find him.
00:34:23If only I could decipher the riddle in this letter.
00:34:26Together we can do it.
00:34:27That letter's like drawing a graph.
00:34:29One line is to Tracy's movements from last night.
00:34:31The other leads back into the past.
00:34:33But you have to remember.
00:34:34Where they cross, that's where your husband is.
00:34:37You need a manicure.
00:34:39So I do.
00:34:41You know, this is the first time in my life I ever insisted on helping a woman find her husband.
00:34:45That I believe.
00:34:46By the way, what do people call you besides legged at the graphic?
00:34:50Oh.
00:34:51Oh, people that like me call me Danny Boy.
00:34:57Okay, Danny Boy.
00:35:03Fisherman's Wharf.
00:35:04Frank used to come here a lot.
00:35:06I remember once he did a watercolor of a boat.
00:35:09A fisherman admired it, so Frank just gave it to him.
00:35:12Not to be outdone, the fisherman gave Frank a big swordfish.
00:35:15I made a remark about the joys of living by the barter system, and we had a bitter quarrel.
00:35:21But it certainly wasn't the first one.
00:35:23Do you think Frank was referring to a quarrel when he said, where I first lost you?
00:35:26What else?
00:35:28Another one started up here on Telegraph Hill.
00:35:31Frank did a canvas of the harbor from here that I thought was wonderful.
00:35:34When I told him so, he insinuated that my taste in art ran to calendars.
00:35:39I said my taste was my own, and I wanted the painting.
00:35:42So he gave it to me.
00:35:43But he signed it to Eleanor's husband.
00:35:46Without telling him, I entered it in the contest they were having here at the art gallery.
00:35:50The oil by Eleanor's husband won first prize.
00:35:53Five hundred dollars.
00:35:55But do you think Frank was pleased when he found out?
00:35:58Oh, no.
00:35:59He refused the money and withdrew the painting.
00:36:01Said he wasn't ready yet.
00:36:03Sounds pretty stubborn.
00:36:05Stupidly stubborn.
00:36:06I wonder if he ever really wanted to be successful.
00:36:09Soon after that, he took the job at Hart and Winston's.
00:36:12You know, the only thing we know for sure is that Frank was at the Oriental Gardens last night.
00:36:16Now we're in the neighborhood. Let's drop in.
00:36:18Yeah, he sat around the dressing room until we came down to do the one o'clock show.
00:36:21Then he said he was going to make a phone call.
00:36:23Then Frank wrote the letter.
00:36:24He said to get in touch with you, that he was going to send the letter to a store, care of Mr. Mavis.
00:36:28Haven't I seen you someplace before?
00:36:30Shouldn't be surprised. I've been there.
00:36:32But didn't he say what he was going to do or where he might go?
00:36:34I didn't want to pump him.
00:36:36Say, why don't you try Sullivan?
00:36:37Who's Sullivan?
00:36:38He's a grand mick. Runs a bar across the street.
00:36:40Come on, I'll show you. You can go down the back stairs.
00:36:42Now I know where I've seen you before.
00:36:44Last night.
00:36:45Oh, sure. I was in with Mrs. Johnson.
00:36:47No, I mean the picture that Frank drew.
00:36:49A picture?
00:36:51What picture? Of me?
00:36:53Well, it looks something like you.
00:36:54You know how Frank saw his drawing pictures.
00:36:57Did he say who this man was?
00:36:58No, no, he didn't.
00:37:00I wonder if I should have told the cops about it.
00:37:02Oh, well, they'll be back. The man that was in said so.
00:37:04Susie, quit yakking.
00:37:06Uh, do you still have the picture?
00:37:08Maybe I could run it in the paper.
00:37:09Yeah, it's upstairs in my dressing room.
00:37:11I better keep it, though.
00:37:12Hey, Leggett, are you sure you want to help find Frank?
00:37:16Say, don't forget that plug in the paper about us.
00:37:18We can sure use it.
00:37:22Okay, take it from the top.
00:37:24I've got to go see our agent.
00:37:43I've heard about this place for years.
00:37:45Never been here before.
00:37:48What do you have, folks?
00:37:55You hungry?
00:37:56Specialty today, corned beef and cabbage.
00:37:58Or egg for you.
00:37:58No food.
00:37:59Genova rocks for the lady, no old-fashioned for me.
00:38:02I think I'll call a paper and see if anything's broken.
00:38:04You can get more out of him alone anyway.
00:38:07Say, why don't you wear a hat?
00:38:08I look funny in hats.
00:38:10You know, you're right.
00:38:12What is it?
00:38:13No, I didn't drop a nickel.
00:38:19Yes, Mr. Johnson.
00:38:38Frank was in here last night, just before closing time.
00:38:40Did he say where he was going?
00:38:42No, he didn't.
00:38:42Just borrowed ten bucks is all.
00:38:44Maybe I should tell you.
00:38:45There was a couple of fellas in here this morning asking about Frank.
00:38:48Fellas that you couldn't very well say, mind your own business to.
00:38:51Is he in some sort of trouble, Mrs. Johnson?
00:38:54Some.
00:38:54He didn't come home last night.
00:38:56They're all alike.
00:38:57I've been looking for mine for three years.
00:38:59I'm glad I finally met you, Mom.
00:39:03I often wondered what kind of a woman Frank was married to.
00:39:06Not that I imagined he was too easy to live with,
00:39:08being so quiet and moody and strange at times.
00:39:10For instance, now look at this picture.
00:39:13Look at the date he put on it.
00:39:14Frank painted this for me about six months ago.
00:39:16It was on St. Patrick's Day.
00:39:18But look at the date on it.
00:39:19March 17, 1947.
00:39:22Well, I suppose it's an artist's privilege.
00:39:24March 17th, that's Frank's birthday.
00:39:281947.
00:39:29We spent the day on the beach at Cypress Point.
00:39:32Then we suddenly decided we had to see the sunset from the top of the mark.
00:39:36So we drove to San Francisco.
00:39:38We had a car then.
00:39:39We had champagne cocktails and watched the sunset over the Golden Gate.
00:39:43After all, it was Frank's birthday and St. Patrick's.
00:39:46We had a beautiful dinner at Andre's and Cafe Diablo at Amigos.
00:39:50Then we drove back to Carmel in the softest moonlight I've ever known.
00:39:53Ah, there's nothing like being young and in love.
00:39:55And daft.
00:39:56To boot.
00:39:57What?
00:39:58Daft.
00:39:58To boot.
00:39:59Well, I guess people are entitled to do crazy things on their birthday.
00:40:02This year we didn't.
00:40:04I went to a movie.
00:40:06Frank came down here and painted that picture.
00:40:08Now I know what Frank meant when he said someone should have been in that picture with him.
00:40:12I have a notion if your husband could have seen your face when you were telling him about that birthday party in 1947,
00:40:36he'd have painted you right smack in the middle of that picture with his arms around you.
00:40:40Oh, sorry I was so long.
00:40:41Oh, Mr. Leggett, it's a graphic, Mr. Sullivan.
00:40:44He's helping me look for Frank.
00:40:46Hi.
00:40:47Freshen up a little, will you?
00:40:48Now hold the garbage.
00:40:49You?
00:40:50No, I'm fine.
00:40:50You got something?
00:40:52Something I hadn't counted on.
00:40:54What?
00:40:55Frank still loves me.
00:40:57That's a big help.
00:40:58I think so.
00:40:59If it'll help any.
00:41:00Frank asked me how early the Army and Navy stores open the windows down on the Embarcadero.
00:41:05Oh, he's getting smart.
00:41:06He's changed his clothes.
00:41:07What do you say we cover it?
00:41:08Oh, 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.
00:41:15What do you write?
00:41:16Comic strips?
00:41:17Oh, never more serious in my life.
00:41:19What's the damages?
00:41:20Oh, it's on the house.
00:41:21I hope you find him, Mr. Johnson.
00:41:23Thanks.
00:41:24No use looking, honey.
00:41:27Once they're gone, they're gone.
00:41:38How did it happen?
00:41:49I was walking along and she almost hit me.
00:41:51She must have fell from the Oriental Roof Garden up there.
00:41:56Who is she?
00:41:57She's one of the dancers from the show.
00:42:03Maybe a drink, Sammy?
00:42:05It helps sometimes.
00:42:06No, thanks.
00:42:08Hi, Sammy.
00:42:09Let him alone, can't you?
00:42:10I just heard about it.
00:42:12I'm sorry.
00:42:13I can't understand it, Inspector.
00:42:16Susie was happy.
00:42:17We were doing great.
00:42:18There was no reason for it.
00:42:19Sometimes we don't know what makes people tick, even the ones closest to us.
00:42:23I just can't believe she killed herself.
00:42:26Well, maybe she didn't.
00:42:28Inspector, how else?
00:42:28Well, it could have been robbery.
00:42:30She might have surprised somebody in the dressing room.
00:42:33Did you check her stuff, see if anything was missing?
00:42:35No.
00:42:35Well, do it now.
00:42:36Well, we've been through almost all of these places and we still haven't found a lead on Frank.
00:42:47Have a nice day.
00:43:01Huh.
00:43:04Good night.
00:43:04Good night.
00:43:05Good night.
00:43:06Good night.
00:43:07Lömer.
00:43:09Pliny!
00:43:09Good night.
00:43:12Good night.
00:43:14Good night.
00:43:15Good night.
00:43:15Mind if I look at this coat?
00:43:17That's a man's coat.
00:43:19Mind if I look at it?
00:43:21$8.
00:43:22That's Frank's coat.
00:43:23Where did you get it?
00:43:24None of your business.
00:43:25But that's my husband's coat.
00:43:26No, it ain't.
00:43:27It's mine.
00:43:28The fella came in here and traded that coat and $4 for a pea jacket and a cap.
00:43:31When?
00:43:32When I opened up this morning.
00:43:33Where'd he go?
00:43:34How do I know?
00:43:35I just sell stuff.
00:43:36I don't watch people.
00:43:37Shut the door as you go out.
00:43:45I need you.
00:43:55No.
00:43:58No.
00:44:01No.
00:44:12Look.
00:44:21Well, wouldn't you know, there he is, just like nothing had happened.
00:44:24Huh?
00:44:34Frank.
00:44:36I beg pardon?
00:44:37Oh, I'm sorry.
00:44:42I never knew there were so many land-going sailors in the world, all of them wearing pea jackets and seamen's caps.
00:45:01Beat, huh?
00:45:02Mm-hmm.
00:45:04I might as well admit it. I can't remember. No, thanks.
00:45:07There's not much sun left to find him under.
00:45:11If you think back, he said in his letter, you'll know where to find me.
00:45:19Danny, maybe if I'm alone I can figure this out.
00:45:22I've got to go home anyway and feed the dog. He's been locked up all day.
00:45:26Oh, sure, sure. I could meet you later someplace.
00:45:29How about picking me up at the corner of Montgomery and Union Streets when you're ready?
00:45:32It's not much out of your way.
00:45:33All right. I'll meet you there in an hour.
00:45:36Uh-oh.
00:45:41Looks like your shadow's finally caught up with you.
00:45:54Are you as tired as I am?
00:45:56I beg your pardon.
00:45:57Come on, there's no need in spending two cab fares. We might as well go together.
00:46:00But, well...
00:46:01Oh, come on. At least you'll have someone to talk to.
00:46:03Uh...
00:46:21As a taxpayer, I thank you.
00:46:23Hello, Rembrandt. I'll be with you in a minute.
00:46:38Hi.
00:46:41What? You again? Who let you in?
00:46:43Landlord. Do you mind?
00:46:45Oh, no. Make yourself at home. I love having cops move in on me.
00:46:48Where's the letter? Don't pretend you don't know what I'm talking about.
00:46:51I mean the letter your pal picked up at Hart and Winston's this morning. I want it.
00:46:54He's all knows all except where Frank is and who the killer is.
00:46:58Why don't you go back to jail or wherever it is you live and leave me alone?
00:47:01Oh, no. The merry-go-round's over. This case is going cold on me and you're the only live thing in it.
00:47:06So, from now on, I'm sticking with you.
00:47:08That's just peachy.
00:47:11Oh, I'm bushed.
00:47:12You ought to be. You covered a lot of territory today. My men are bush, too. You should be more considerate.
00:47:18Can you make anything out of this letter? It's pretty cryptic.
00:47:21Not yet, but I'm working on it.
00:47:23This sounds like a guy in love.
00:47:26You think so?
00:47:27Yeah.
00:47:29I'll be out in the open, under the sun, in a place like the one where I first lost you.
00:47:36That kind of lays it right in your lap. Doesn't it mean anything to you?
00:47:39I wish it did.
00:47:41I'm glad you're not bringing me my medicine.
00:47:43Oh, don't worry. I'll find him.
00:47:45And I'll be right there with you when you do.
00:47:48Where you go, I go.
00:47:54Would you insist upon going with me if I walked the dog?
00:47:56I walked him.
00:47:58Anyway, there's a man out front, one in back and one on the roof.
00:48:01Fine. I'm staying right here, then.
00:48:03So am I. We'll just wait till your husband comes to you or you can't stand the strain any longer and go to him.
00:48:08Look, Mr. Ferris, maybe you were right in some of the things you said.
00:48:12Today I discovered a lot about Frank I never knew before.
00:48:15In one day what you couldn't find out in four years.
00:48:18I guess I was the one that was mixed up.
00:48:20A lot of it's my fault anyway.
00:48:22I haven't been much of a wife.
00:48:24Well, that's quite an admission from you, Mrs. Johnson.
00:48:27Please, you've got to give me a chance to see Frank alone and give him his medicine.
00:48:32Then if he wants to come in and testify, that's up to him.
00:48:34But it's got to be his choice.
00:48:36I won't try to influence him one way or the other.
00:48:38Whatever he does is all right with me.
00:48:40But you've got to let me see him alone first.
00:48:42I believe you and I'd like to help you, but I'm a cop.
00:48:45If Frank keeps on running, I'll have no witness to say nothing of a job.
00:48:53He's hungry. Couldn't you have fed him too?
00:48:56I couldn't figure out how to work the can opener. Can I use your phone?
00:49:07Hello, Ferris. Anything come in?
00:49:09Keep it going until we get results. I think we're getting warm.
00:49:13You sure of that?
00:49:15Put him on.
00:49:39Let's go.
00:49:40Alright.
00:50:09I'm sorry, Rembrandt. It's the only thing I can think of.
00:50:15Uh-huh.
00:50:26Mr. Ferris.
00:50:28Yeah?
00:50:31I'm worried about Rembrandt. He was so hungry, and now he won't touch his food.
00:50:34That's funny.
00:50:35Oh, and his nose is so hot. Maybe I'd better take him to the vets.
00:50:41I'll take him. I like dogs.
00:50:43Oh, thank you.
00:50:44Get your shoes.
00:50:49His temperature is normal. In fact, he seems to be in perfect health.
00:50:52But I'm worried about him, Doctor. He won't eat.
00:50:53Maybe he isn't hungry.
00:50:55Perhaps he should stay here for a few days for observation.
00:50:58May I take a look at your exercise yard?
00:51:00Oh, yes. Right out that door, across the hall.
00:51:02And, Doctor, see if you can't coax him to eat something.
00:51:05Doctor, I wish you'd look at Emeline.
00:51:12I'm not the doctor. I'm here for treatment myself.
00:51:15I beg your pardon?
00:51:17Well, your wife thinks you ought to leave the dog for observation.
00:51:18That woman's not my wife.
00:51:20Ferris was there when I got back. He knew about Frank's letter.
00:51:36Well, that doesn't surprise me. I knew he'd check that.
00:51:38Danny, I've been thinking. Why did Frank send it to Hart and Winston's?
00:51:41I didn't want to intercept it.
00:51:43Why not leave it with Sammy Chung, then?
00:51:45Or give it to anybody he knew who'd bring it to me.
00:51:47Why Mavis at the store?
00:51:48You mean you think there's a reason? Something you missed?
00:51:51Yes. Something I didn't see. Something I overlooked.
00:51:54Driver, take us to Hart and Winston.
00:51:56Okay.
00:52:10Weary, bitter, cynical.
00:52:18Fresh, eager, and hopeful.
00:52:20The two Eleonors.
00:52:21Now I remember.
00:52:25One day on the beach at Carmel, just after we were married,
00:52:27Frank made a mermaid out of sand. It was supposed to be me.
00:52:30And a big wave came up and washed it away.
00:52:32And he said, well, I've lost you.
00:52:33And I said, you'll never lose me, Frank. I won't let you.
00:52:36That's what he meant in the letter. It wasn't a quarrel.
00:52:38This means something to you? You know where he is?
00:52:40I'll take you there.
00:52:41Inspector Ferris wants to see you.
00:52:42Why?
00:52:43Look, he wants to see you.
00:52:44Where?
00:52:45Later.
00:52:51I'm sorry to have to ask you.
00:53:21to do this, Mrs. Johnson.
00:53:23This man was found in an alley behind a gin mill on the Embarcadero.
00:53:27He'd been brutally beaten to death.
00:53:29He wasn't wearing a trench coat,
00:53:31but he was wearing a seaman's cap and jacket.
00:53:34From what I remember of your husband,
00:53:35it could be him.
00:53:37I'm not sure.
00:53:39So I'll have to ask you to make a positive identification.
00:53:41I'll have to ask you to take a positive identification.
00:54:12Let her alone.
00:54:14There goes the Freeman case.
00:54:16Two witnesses.
00:54:18Two dead men.
00:54:20That's the way it goes sometimes.
00:54:28Eleanor, anything that I could say would just be words.
00:54:36Danny.
00:54:37That wasn't Frank.
00:54:39For a quick moment, I thought it was,
00:54:41and I felt things I didn't know I could feel.
00:54:44What was I holding out for?
00:54:46Why didn't I learn to understand him?
00:54:48Why don't we give freely of ourselves when we can?
00:54:52If only I had another chance, I thought.
00:54:55Then I thought it wasn't Frank, and I fainted.
00:54:58Congratulations on your performance.
00:55:01But it wasn't an act.
00:55:02I really did faint.
00:55:03Where is he?
00:55:07At the amusement park at the beach.
00:55:08You were there when it happened.
00:55:24Why can't you talk?
00:55:25That Johnson dame's a smart cookie.
00:55:29Yeah.
00:55:29I wonder where she got the idea of passing that stiff off as her husband.
00:55:32Somebody had to pass him off?
00:55:35Sure.
00:55:35The guy she identified was the second mate off a tanker.
00:55:38Just been paid off.
00:55:39Somebody rolled him for his dough.
00:55:40Why wasn't I told?
00:55:41The fingerprint report just came.
00:55:44Kick me for a knucklehead.
00:55:46Get down to the taxi stand.
00:55:47Check and find out where they took her.
00:55:57Now, ladies, sir.
00:55:58Hey, Mac, watch my cat with that one to get a hamburger.
00:56:07Okay, bud.
00:56:24Put this on right away.
00:56:28All units in the Bay Area, be on the lookout for one yellow cab, number 323.
00:56:32License number in the 7 column, 49 Frank 762.
00:56:36Left Hall of Justice, approximately 6.30 p.m. this date.
00:56:47Right down there, beyond that railing at the Sands Club.
00:56:54He's been waiting for me all day, thinking I wouldn't remember.
00:56:58I almost didn't.
00:56:59I know.
00:57:00What is it?
00:57:01Well, I couldn't talk to him there.
00:57:03There's too many people around.
00:57:04Couldn't get the kind of stuff I want.
00:57:06I know where I can meet him, but nobody bothers them.
00:57:14Oh, look at the sand sculpture.
00:57:16I had an uncle that used to make statues.
00:57:18Only he made them out of ice.
00:57:19A small donation for the artist will be appreciated.
00:57:22See you, Al.
00:57:28Come on, come on.
00:57:58Yeah.
00:58:02This thing's beginning to boil.
00:58:04We'll be right down.
00:58:05We're going to the beach.
00:58:06Come on, Rembrandt.
00:58:08What my eyes miss, your nose will smell.
00:58:11Come on.
00:58:28I don't like this place.
00:58:41It's a good spot.
00:58:43I used to come here with my girl when I was a kid.
00:58:45It's more frightening than romantic.
00:58:48That's the way love is when you're young.
00:58:50Life is when you're older.
00:58:52I'll tell Frank where you are.
00:58:53You sure you want to start over again with your husband?
00:58:58I'm sure I want to try.
00:59:00I'm not sure what he wants.
00:59:01I'm supposing he doesn't want to.
00:59:03Then I'll let him go.
00:59:04He'll never know how I feel about him.
00:59:07You think people can turn back and you're going to try.
00:59:11I know better.
00:59:13You're too cynical.
00:59:14It's your profession.
00:59:15It's too late now to change my profession.
00:59:16Go ahead, send him here.
00:59:21I'll bring him.
00:59:22No.
00:59:24What's the matter with you?
00:59:25Don't you still want the story?
00:59:28I guess I've got to have the story, but my way.
00:59:32You send him back.
00:59:34I want to see him alone first.
00:59:36If you want the money, I talk to him alone.
00:59:38All right.
00:59:38If that's the way you want it, I'll send him.
00:59:40Let's get over there and cover the fearsome.
01:00:10Yes, right, sir.
01:00:11You get up there.
01:00:12Make like a gate.
01:00:13If Johnson tries to come through, arrest him.
01:00:14What charge?
01:00:15We're failing to curb his dog in a public park.
01:00:17I'm cutting in from the other end of the field.
01:00:25Hey.
01:00:26How are we doing?
01:00:28771.
01:00:28Huh?
01:00:30That's better than I do on some Sundays.
01:00:32Thanks for taking care of things.
01:00:34Don't it's the first day I've had off in years.
01:00:36You know what I've been doing all day?
01:00:38Riding back and forth.
01:00:39Back and forth between here in South America.
01:00:40Toledo on my old ferry boat.
01:00:42Look, I can't stick around here anymore.
01:00:43I've got to get out of here.
01:00:45Hey, Cap, I hate to ask you, but...
01:00:47But you...
01:00:50Won't take you very far.
01:00:52Here's the keys to my car and the ticket.
01:00:56Find it over in the parkway.
01:00:57Tank's full.
01:00:58Thanks, Cap.
01:00:59I'll get it back here.
01:01:00You better.
01:01:00Frank!
01:01:18Frank!
01:01:18Frank!
01:01:19Frank!
01:01:21Frank!
01:01:21Frank!
01:01:22Frank!
01:01:28Frank!
01:01:30Beg pardon, lady.
01:01:31Where's Frank? What happened to him?
01:01:33Who?
01:01:34Frank Johnson.
01:01:35Never heard of him.
01:01:52Sorry, Mrs. Johnson, but I had to be careful.
01:01:54Frank waited all day and said he couldn't wait any longer.
01:01:57So I loaned him my car about five minutes ago.
01:01:59Where'd you go?
01:02:00Over at the parking lot at the other end of the midway.
01:02:10I lost a bet with myself.
01:02:12Did you want to win?
01:02:17As ordered, delivered.
01:02:19Late, as usual.
01:02:21But delivered.
01:02:24Let's get out of the light.
01:02:28Keep an eye out for us, will you, Captain?
01:02:40Why didn't you tell me about your heart?
01:02:42Oh, you know doctors?
01:02:44They make a big deal of everything.
01:02:46Guess it was a silly thing to do writing that corny note.
01:02:49It sounded like you'd had a couple of drinks.
01:02:52I had.
01:02:53By the time I finished the drinks and the letter, I was a pretty sad character.
01:02:58Well, I can't hide out here forever.
01:03:01Would you want to?
01:03:02If I can get a job in another town, I'm a pretty fair wind of trimming.
01:03:06I'm a pretty good artist, too.
01:03:08We've got to pull out of this.
01:03:11We?
01:03:12Yes.
01:03:13If this excitement hasn't killed you, I'm sure I can't.
01:03:16We'll get out of town where you'll be safe.
01:03:18Can't go very far.
01:03:19I've got $7.71.
01:03:21Barred that from the captain.
01:03:23There's a fellow named Leggett, a reporter from The Graphic.
01:03:26He helped me find you.
01:03:27He's promised to give you $1,000 for an exclusive.
01:03:29That's a lot of money for the little I can tell.
01:03:32Well, his paper must think it's worth it, so why look a gift horse in the mouth?
01:03:35But where is he?
01:03:36Over for the roller coaster.
01:03:37Come on, I'll show you.
01:03:38Hey, you, turn around.
01:03:39You know an artist named Frank Johnson?
01:03:41Who?
01:03:42Frank Johnson.
01:03:43An artist.
01:03:44Did a sketch of you.
01:03:46I saw it.
01:03:47Could be, but I don't remember.
01:03:49Oh, gee, I just work here.
01:03:51Used to be a ferryboat captain, though.
01:03:53No.
01:04:10Now, where are we?
01:04:11Over there, under the roller coaster.
01:04:13Go all the way at the end of the walk and duck in under the scaffolding.
01:04:15Okay.
01:04:16Here's a ticket.
01:04:17The key's for the captain's car.
01:04:18It's parked down at that end of the night.
01:04:19Yes, I know.
01:04:20Well, I'll meet you there.
01:04:21No, I'd better bring it here.
01:04:22You've got to stay out of sight.
01:04:24I can't let anything happen to you now.
01:04:30Nothing can happen to me now.
01:04:32Remember that man shot, Angele?
01:04:35How did you know that wasn't in the paper?
01:04:37Ferris told me.
01:04:39Nobody else knows it.
01:04:40The guy that fired the shots.
01:04:52You'd better go now.
01:04:53I'll be back as soon as I can.
01:05:00Hey, Mark.
01:05:01The proud car out at the end has just got word for you to call in.
01:05:04Johnson hasn't passed me yet.
01:05:05Oh, I haven't got time to talk to him now.
01:05:20That's McDonald and Murray's case.
01:05:22But he says he has some information you wanted.
01:05:24Hold on.
01:05:25Hello, Inspector.
01:05:26Remember you asked me to check all of Susie's things to see if anything was missing?
01:05:30Sammy, I'm busy.
01:05:31I'll see you tomorrow.
01:05:32I just wanted to tell you that nothing was missing except that sketch that Frank drew on the back of a menu.
01:05:37Sketch of who?
01:05:38I don't know.
01:05:39But Susie said it looked like that newspaper man that was in the club this afternoon with Mrs. Johnson.
01:05:44That good notice he was gonna give us won't do Susie any good now.
01:05:55What happened?
01:05:56Where's Frank?
01:05:57He's on his way to meet you.
01:05:58But Ferris is here with the dog.
01:05:59Ferris.
01:06:00Bet that Stiffen and Morgue was a plant.
01:06:02He's a pretty sharp fellow.
01:06:03Let's get off to Midway.
01:06:08Come on.
01:06:09Now, never look for us in here.
01:06:10But these things make me sick.
01:06:11Stay in your seats, folks.
01:06:12The second ride is half-fair.
01:06:13I'll never ride this thing again.
01:06:14Just a little lady.
01:06:15Just a little lady.
01:06:16Come on.
01:06:17Here.
01:06:18Here.
01:06:19Come on.
01:06:20Now, never look for us in here.
01:06:21But these things make me sick.
01:06:22Stay in your seats, folks.
01:06:23The second ride is half-fair.
01:06:24Well, I'll never ride this thing again.
01:06:25Just a little lady.
01:06:26All right, Eddie.
01:06:27Take it away.
01:06:28Don't stand up in your seats, folks.
01:06:29Why don't you do this thing again?
01:06:40All right, Eddie, take it away.
01:06:42Don't stand up in your seats, folks.
01:06:44This is the greatest thrill of your lifetime.
01:06:56He's right, only takes a couple of minutes.
01:06:58Besides, when we get to the top, we can see if Frank's there.
01:07:00Oh, he must be there by now.
01:07:08I don't see him.
01:07:25Where is he?
01:07:26Where is he?
01:07:27I don't know.
01:07:28Where is he?
01:07:38Hey!
01:07:40Hey!
01:07:42Hey!
01:07:52Hey!
01:07:53Hey!
01:07:54Hey, buddy, where do you think you're going?
01:08:24Ah!
01:08:26Ah!
01:08:36The second ride is only half fair.
01:08:39Take the door again, baby!
01:08:40I was going in for the airroom!
01:08:43You stay on for another ride.
01:08:44I'll go see what's happened to Frank.
01:08:45I want to go with you.
01:08:46No, with Ferris outside together, we'd be too conspicuous.
01:08:49But, Danny!
01:08:50Ferris traced you here.
01:08:50If he found you, someone else could follow you too.
01:08:52Second ride, half-half.
01:08:54The lady will go again.
01:08:56Okay, Eddie, take it away.
01:08:58Don't forget. The problem shot at him last time.
01:09:01If they tried to kill him once, they'll do it again.
01:09:05Don't forget. The problem shot at him last time.
01:09:07If they tried to kill him once, they'll do it again.
01:09:10Nobody knows that except your husband. The killer is now you.
01:09:13Nobody knows that except your husband. The killer is now you.
01:09:22No!
01:09:28Brian, go away!
01:09:34Brian, go away!
01:09:40Oh, Brian! Brian, please go away!
01:09:43Brian, please go away!
01:09:50Brian! Brian, please go away!
01:09:54Brian!
01:09:58No!
01:10:14Frank!
01:10:15Frank!
01:10:16Frank!
01:10:17Frank!
01:10:18Frank!
01:10:19Frank!
01:10:20Frank!
01:10:21Frank!
01:10:22Frank!
01:10:23Frank!
01:10:24Frank!
01:10:25Frank!
01:10:26Frank!
01:10:27Frank!
01:10:28Frank.
01:10:29Frank Johnson!
01:10:30Yeah, is that you, Mr. Leggett?
01:10:32Be careful, there's a loose plank over here.
01:10:34I know.
01:10:36I know.
01:10:45Why don't you get it over with?
01:10:56I don't have to, Frank.
01:11:00You got a bad heart.
01:11:02You can't stand tension.
01:11:08You're gonna kill yourself.
01:11:32You're gonna kill yourself.
01:11:34You're gonna kill yourself.
01:11:38No!
01:11:40No!
01:11:42No!
01:11:44No!
01:11:45No!
01:11:55The second ride is half-half, folks. Take advantage of the second ride. It's only half-half.
01:11:59Watch out for you, Mrs. Johnson.
01:12:09Watch out for you, Mrs. Johnson.
01:12:29I have to do it, Mrs. Johnson.
01:12:33That's like it, down there. Your husband's safe.
01:12:35Where's Frank?
01:12:36Out there, on the Midway.
01:12:39I have to do it, Mrs. Johnson.
01:12:42That's like it, down there. Your husband's safe.
01:12:44Where's Frank?
01:12:45Out there, on the Midway.
01:12:47I have to do it, Mrs. Johnson.
01:12:49I have to do it, Mrs. Johnson.
01:12:52That's like it, down there. Your husband's safe.
01:12:54Where's Frank?
01:12:55Out there, on the Midway.
01:13:19Out there, on the Midway!
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