Female Fugitive (1938) is a tense crime drama directed by William Nigh, starring Evelyn Venable, Craig Reynolds, and Reed Hadley. Released by Monogram Pictures, the film blends suspense, romance, and moral conflict into a compact Depression‑era thriller.
The story follows Peggy Mallory, a woman who discovers her husband Jim is part of a gang of truck hijackers. Unwittingly drawn into their escape, Peggy is horrified and leaves him. Seeking a new life, she finds work as a cook for artist Bruce Dunning. As romance blossoms, Peggy struggles with the secret of her past and the danger that still lingers. With its fast pacing and emotional tension, Female Fugitive captures the grit and drama of 1930s crime cinema.
Film Details
Title: Female Fugitive
Year: 1938
Genre: Crime Drama / Romance
Director: William Nigh
Screenplay: John T. Melville
Story by: Bennett R. Cohen
Produced by: E. B. Derr
Starring:
Evelyn Venable as Peggy Mallory
Craig Reynolds as Jim Mallory
Reed Hadley as Bruce Dunning
Runtime: Approx. 58 minutes
Studio: Crescent Pictures
Distributor: Monogram Pictures
Country: United States
Format: Black‑and‑white
#FemaleFugitive #EvelynVenable #CraigReynolds #ReedHadley #1930sCrime #HijackingDrama #MonogramPictures #WronglyAccused #ClassicMovies #BlackAndWhiteFilm
The story follows Peggy Mallory, a woman who discovers her husband Jim is part of a gang of truck hijackers. Unwittingly drawn into their escape, Peggy is horrified and leaves him. Seeking a new life, she finds work as a cook for artist Bruce Dunning. As romance blossoms, Peggy struggles with the secret of her past and the danger that still lingers. With its fast pacing and emotional tension, Female Fugitive captures the grit and drama of 1930s crime cinema.
Film Details
Title: Female Fugitive
Year: 1938
Genre: Crime Drama / Romance
Director: William Nigh
Screenplay: John T. Melville
Story by: Bennett R. Cohen
Produced by: E. B. Derr
Starring:
Evelyn Venable as Peggy Mallory
Craig Reynolds as Jim Mallory
Reed Hadley as Bruce Dunning
Runtime: Approx. 58 minutes
Studio: Crescent Pictures
Distributor: Monogram Pictures
Country: United States
Format: Black‑and‑white
#FemaleFugitive #EvelynVenable #CraigReynolds #ReedHadley #1930sCrime #HijackingDrama #MonogramPictures #WronglyAccused #ClassicMovies #BlackAndWhiteFilm
Category
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Short filmTranscript
00:00The End
00:55Yellow truck, two drivers, green running lights.
01:12Honey, oh honey, sorry I'm late Peggy, been waiting long?
01:18No, we just finished packing and the maid's gone home.
01:20I really haven't had time to worry about your being late.
01:23But you might say you've missed me just a little.
01:26Well, just a little.
01:29Oh, I was doing a little shopping this afternoon and thought you might like this.
01:35Jim, a diamond bracelet.
01:38Like it?
01:40Mr. Mallory, you have a good lecture coming to you for being such a spendthrift.
01:44Lavishing costly gifts like this on a woman and your wife, too.
01:48But you do like it, don't you?
01:49Of course I like it. That woman wouldn't. Put it on.
01:53I'm gonna wear it tonight even if it doesn't go with these clothes.
01:57Oh, but Jim, I'm really sincere when I tell you not to be so generous with me.
02:01We can't afford it yet.
02:02Oh, sure we can afford it.
02:04My trucking business is getting better every month.
02:06Before long I'll be able to buy more trucks, branch out.
02:08Honey, I tell you, business is good.
02:10But I've been reading about those gangs out on the roads taking trucks.
02:14Suppose they did that to your trucks. Wouldn't that ruin your business?
02:16Now, don't you worry your pretty little head about those things.
02:20It isn't the truck owners, honey, that it hurts.
02:21It's the bonding people, the insurance companies.
02:24They've been hit pretty hard.
02:26But so far, I've been lucky.
02:28Well, you can't expect even your luck to last all this.
02:36That's all the information I can give you now.
02:39I'll call you later.
02:41Yes.
02:46You fellas weren't very successful with this assignment.
02:49Not yet.
02:50I sent that truck out as bait.
02:51Gave you two armed detectives to drive it.
02:53A fast car to follow it so you'll be on hand when they try to grab it.
02:57But we did get the truck back.
02:58I set a perfect trap, and the best you can report is,
03:01we lose both our detective drivers.
03:03And the hijackers get away with our truck right under your very nose.
03:06By the time we caught up with the mob, they were heading it off with our truck.
03:08Both our drivers have been killed.
03:10We chased them, but they abandoned the load and got away.
03:12So, after laying this elaborate and surefire trap,
03:15the only thing you bring back is the bait.
03:17We still got a chance.
03:18Our drivers were approached by a girl in the lunchroom.
03:21When they left, she went right to a phone booth.
03:22When she came out, I had her picked up.
03:24Her call went to the private line in the trucking office.
03:27What trucking office?
03:28Here you are, Mr. Howard.
03:31Why, it couldn't be.
03:32Which might prove that his trucking business is just a front for his hijacking work.
03:36Well, that's reason enough to pick him up for questioning.
03:39And just in case this fellow is your man,
03:42you'd better be prepared for trouble.
03:43Take Leonard along with you.
03:45Oh, but Mr. Howard, I figured I'm going to the hospital.
03:47The doctor said our baby might be born tonight.
03:49Soon as you make this arrest, you can run along to the hospital.
03:51Sure, as soon as we make the arrest, I can bring him down to the station myself.
03:54Oh, swell, Steve, thanks.
03:55My wife certainly will appreciate that.
03:57See, I promise to be with her when our son is born.
04:00It's our first.
04:07Yes?
04:08You're Mrs. Mallory?
04:10Yes.
04:11We're looking for Jim Mallory, her husband.
04:13Well, Mr. Mallory's very busy.
04:14We're just leaving on a trip.
04:16Well, I guess he'll see us all right.
04:17You tell him Burke and Mort are here.
04:19We've got to see him right away.
04:21Well, come in.
04:22I'll tell him.
04:32Jim.
04:34Yes?
04:34Jim, two men are here to see you.
04:35One of them seems to be hurt.
04:37They said you'd know them.
04:38Uh, Burke and Mort?
04:40Oh, oh, yes.
04:41Uh, yeah, they're two of my drivers.
04:42Uh, throw it up for me, will you, honey?
04:44I won't be a minute.
04:49What's the matter?
04:50Mort's hurt.
04:51Well, you didn't have to bring him here.
04:52Well, I couldn't take him to a hospital with a bullet in his arm.
04:54Shh.
04:54So we've been hijacked, huh?
04:56Well, darling, I guess you were right.
04:59My luck has changed.
05:01Take him out of my room.
05:04Now, don't worry, dear.
05:09He's not badly hurt.
05:10Well, why not take him to the hospital?
05:12There's a good reason, Peggy.
05:13We'll have to take care of him here.
05:16I'm sorry about that trip.
05:17We'll have to take him next weekend.
05:19Oh, I don't mind, Jim, about our weekend being spoiled,
05:21but I don't understand why an injured man can't be taken to the hospital.
05:25Is there something you're trying to hide?
05:27Yes.
05:28Uh, you see, Mort is one of my drivers.
05:30He was shot by hijackers while he was protecting one of my trucks.
05:33Well, I still don't see what that has to do with his being brought here.
05:36Of course you don't, Peggy.
05:37But it's, it's like this.
05:39I can't afford to have it known that I've been hijacked.
05:41Once it gets out, the insurance rates on my truck cargoes will go sky high.
05:45It's better for me to take the loss on one truck
05:47than let the insurance company know that I've been picked on by hijackers.
05:49Oh, but what if he dies?
05:51Oh, he won't die?
05:52Now, you run along and get a basin of hot water and some bandages.
05:55I'll take care of him.
05:56Oh, but you don't know how.
06:11This is Mallory's place.
06:13Hope he's in.
06:13I hope so.
06:14I don't want to lose any time getting on my wife at the hospital.
06:22What are you jumping on me for?
06:24Quiet.
06:24Get in the living room there.
06:33Boys, you're through.
06:35I can't use you anymore.
06:36Well, we got the truck all right, but we had to dump it and run.
06:39I knew better than a living water where he might be picked up.
06:41Hey, will you fellas cut out to yapping and do a little figuring the way I'm going to hide out?
06:44All right, but keep your mouth shut around here.
06:46My wife says the only thing about this business.
06:50And all the fool things to do.
06:52How'd you bungle the job?
06:53Well, maybe we didn't do all the bungling.
06:55That truck you picked for us was red hot.
06:57Why the drivers were even cops with a car full of them trailing us.
07:00How do you know there were cops?
07:01That's right, boss.
07:02We wouldn't have jumped in if we'd known who they were.
07:04We didn't see a badge until it cracked the second one.
07:06You mean you killed two cops?
07:09Well, Mark, we're gonna have to take you someplace else.
07:11I'm not taking any chances of the cops cracking down on this house.
07:14Not with my wife here.
07:16Why not?
07:17This is as good as any place for a hideout.
07:20Suppose we take them up to your cabin.
07:22Nothing doing.
07:37You're a couple of smart guys, all right.
07:39Parking that car of yours out in front of my house.
07:41There's a couple of cops out there now looking it over.
07:43We're sure in a jam.
07:46Say, that car's been driven a long ways and fast, too.
07:48The motor's still hot.
07:49Oh, Jim.
07:50There are two men out in front examining that car.
07:52Yes, yes, I know.
07:53I just saw them.
07:54Must be a couple of those hijackers that don't like what Burke and Mort did to them.
07:57I guess they're coming here to talk to me.
07:59Well, shall I call the police?
08:00No, it's too late for the police to help us now.
08:02We've got to help ourselves this time.
08:05Listen, honey.
08:06You go out the back way and get the car in the driveway and keep it there.
08:09We'll be right with you.
08:10Now hurry.
08:16There's a pool of blood in there and a bullet hole.
08:19Well, that proves I did hit one of them.
08:21Proves more than that.
08:22Proves there's more than just Mallory in there.
08:24There's at least one other man.
08:26Maybe we'd better get help.
08:27Oh, wait, Steve.
08:27Let's don't do that.
08:28We can take them ourselves.
08:30That would mean a promotion.
08:31With my wife in the hospital, I could use a raisin pay.
08:33Uh-huh.
08:34I can use one too.
08:35Maybe that new kid of yours can use a father too.
08:37Oh, but Steve, we've done it before without asking for help.
08:40Well, one of us better go around the back way.
08:42Okay.
08:43I'll take the front.
08:44Don't waste any of them getting around there.
08:50Mort.
08:51You fellas go back in there.
08:52I'll stall until she gets the car.
09:06Well, what can I do for you?
09:07Your name Mallory?
09:08Yeah.
09:19Just a minute, sister.
09:20Where do you think you're going?
09:23Stop this car!
09:28You'll spend your weekend in jail.
09:30Huh?
09:30Come on, put them out.
09:36Let's go.
10:08Any news from the wife here?
10:10Now, don't worry.
10:11I've got a call into the hospital.
10:13I'll hear any minute now.
10:22There's a gentleman out in the hall to see you, a Mr. Howard.
10:26Thanks.
10:33Hello, Howard.
10:34Any improvement in Leonard's condition?
10:36None.
10:37And with his wife in the hospital expecting a baby, he keeps asking about her all the time.
10:41That's all that's keeping him alive.
10:42I just came from the hospital.
10:44A baby was born.
10:45It's a boy.
10:47Eight pounds.
10:48Oh, that's great.
10:49How's his wife?
10:50All right.
10:51Only, uh, she keeps asking for Leonard.
10:54We better tell him.
10:55Wait.
10:57If Leonard should die, you and I are gonna have a tough time keeping his wife from knowing
11:03for a while.
11:04How did you explain to her why he can't be with her?
11:06I told her he was out on a case for me.
11:09If you want to see him, you better come in now.
11:26Well, pal, little Steve's here.
11:30Oh, swell.
11:34Eight pounds.
11:36Eight pounds.
11:39What do you know?
11:45How's my wife?
11:46She's fine.
11:48You won't let her know about me.
11:50Not the way she is.
11:52She thinks you're out on a case.
11:59Steve.
11:59Yeah.
12:02Couldn't I see my boy?
12:04Just once?
12:06Only for a second.
12:10I wonder if that could be arranged.
12:13Well, at least it's worth trying.
12:24You're gonna see your boy.
12:27Tom?
12:29Tom!
12:35He's gone.
12:41He'll never see his boy.
12:47If that Mallory woman had knocked me off that car, this wouldn't have happened.
12:52If it takes the rest of my days, I'll find her.
13:20If it takes the rest of my days, I'll find her.
13:28I can see now why you were never worried about losing your trucks to the hijackers.
13:32I tried to operate an honest trucking business at first, but it couldn't be done.
13:35Then why didn't you let me know what you were doing?
13:37At least I could have decided not to be the wife of a criminal.
13:40That's exactly what I was afraid of, Peggy.
13:41If you found out about it, then I'd lose you.
13:43You knew I had to learn it sometime.
13:46Well, I thought I'd make enough to quit before then.
13:50If I hadn't been sucker enough to fall for that baited truck, I could have bought you the world with
13:53a gold fence around it.
13:55You weren't thinking very much of me into driving that car after you shot a man.
13:59I didn't shoot him.
14:00Well, I didn't either.
14:01But because I drove the car when you escaped, I'm wanted for murder.
14:04And that makes me a part of your gang.
14:07Well, I'm going to tell them I never was of it and I never will be.
14:12No, sweetheart, if you weren't a part of it, you couldn't be with me now.
14:15But there's nothing you can do about it.
14:16They'll never believe you and you'll just spend the rest of your life in prison.
14:19Listen, sweetheart.
14:20I got plenty of money from this rocket that I put aside.
14:22We can take it and go and live abroad.
14:24We can live swell till all this blows over and I can buy you all the things I've always wanted
14:28you to have.
14:28And we can live respectably.
14:31Thanks, Jim.
14:32But that isn't my idea of respectability.
14:35You've changed your mind about that, Peggy.
14:38You're pretty sure of yourself, aren't you, Jim?
14:40You bet.
14:41And when Mort and Burke get here with the doc, I'll get on my feet again in a few days
14:45and we can get out of here.
14:48How do you plan to keep the doctor from telling the police when he leaves here?
14:52I don't have to let him leave here.
14:55If you bring a doctor here to save your life and then kill him, no matter what it means to
15:00me, I'll give myself up and testify against you.
15:04I believe you would.
15:07Well, nothing will happen to him if he does what he's told.
15:10Then...
15:11Then you won't kill him.
15:13No.
15:16Now listen, I want you to stand out of the room until the doc gets to working on me.
15:19When it's all over, I'll... I'll call for you.
15:39All right, all right, get busy.
15:49Clear that away.
15:52Too bad to get you out of a warm bed so late at night.
15:55I'm used to that.
15:57Only most of my patients don't go about it quite the same way as these men here.
16:01Well, I'm sorry the boys got rough with you, doc, but...
16:05I told them not to take any chances.
16:07How long ago were you shot?
16:09Two days. Why?
16:11Hmm. That just tallies with what I've been reading in the newspapers.
16:14Meaning what?
16:16You're Jim Mallory.
16:20Where's the woman?
16:21If you're referring to my wife, none of your business.
16:24Well, just natural curiosity to see a woman of her kind.
16:28All right, doc, cut out the gap and get to work.
16:34Hey, don't use that.
16:35I want to know what's going on.
16:37If I'm going to operate, I'll do it my way.
16:40All right, but don't use that hypodermic.
16:42In your hands, that needle could be worse than a gun.
16:44And I'm not taking any chances.
16:47More here will see that you don't try any funny business.
16:52And if I'm responsible for what happens, I'm not taking any chances on your twitching while I'm operating.
16:58That would be too dangerous.
17:01And it'll be dangerous for you, doc, if I don't come out of this.
17:04If anything happens to me, they'll bury us both together.
17:07Don't worry. I want you to live.
17:10So that we can hang you.
17:57Hey, Doc. Don't you think it's about time he came out of it? Are you sure you didn't try anything
18:04funny?
18:08Is that you, Morf?
18:09Yeah, it was.
18:11How do you feel?
18:14Boy, that Doc sure can't put a guy to sleep.
18:17What time is it?
18:18Broad daylight, 7 o'clock.
18:20Yeah?
18:21Where's the Doc?
18:22Hey, get in here.
18:24Oh, my.
18:29Well, I guess I'd better take your temperature.
18:32Wait a minute.
18:33What do you want?
18:34Will you kindly let me have my thermometer?
18:36What's the matter?
18:37I don't even have a thermometer.
18:38Well, if I saw what he did to you with that needle, I'll not let him get in this bag.
18:43Morf?
18:44Yeah.
18:45Ask my wife to come in here, will you?
18:48And you'd better knock before you go in there.
18:53The boys will fix you up something to eat.
18:55Never mind.
18:56I'll eat mine at home.
18:59You're going to be awfully hungry by then.
19:01Because you're staying right here until I get on my feet and can travel.
19:04Why, that may not be for days.
19:07Now, how will you have your eggs, Doc?
19:09Straight up or over?
19:11I'll have mine boiled.
19:13I'll take them out of the shells myself.
19:17She's not in there.
19:18I found this notice for you.
19:26Hey, give me a lift.
19:28What's the matter, boys?
19:29What's up?
19:31Take it easy.
19:32We're packing up and going to find her.
19:33If you're better, she'll be picked up in no time.
19:35It won't take them long to make her talk.
19:37If you take my advice, she'll let her go.
19:39Instead of throwing us all in jail.
19:40And I want your advice, I'll ask for it.
19:42But I'm going to find her if I've had to break into jail to get her.
19:45All right, boys, come on.
19:47Get the Doc in the other room there and tie him up.
19:49Come on, come on, get going.
19:50Now, Doc, I'm sorry to have to do this,
19:52but we'll let somebody know where you are
19:54as soon as we're in a safe place.
19:55You won't get very far in the condition you're in.
19:58Come on.
20:41Why don't you listen to reason?
20:42There's no use arguing with me.
20:44When my mind is made up, it's made up.
20:46When I say I quit, I quit.
20:50And you needn't bang my satchel around like that
20:53and bust everything in it either.
20:55I'm pretty good to drive you down to the railroad station.
20:57I should have let you walk the whole ten miles
20:59and lug the bag yourself.
21:00You're the third cook that's quit in a month.
21:02I never would have taken the job in the first place
21:04if they told me it was ten miles back in the wilderness.
21:06What difference does that make
21:08as long as you're getting paid for cooking?
21:10It makes a lot of difference
21:11when you're lonesome
21:12and don't get to see anybody to talk to for days.
21:15Oh, phooey!
21:16And I say to you!
21:19Oh, pardon me.
21:20What are you going to do about getting a new cook?
21:22Why?
21:23Well...
21:23You don't know where I'm getting one, do you?
21:25I'd like the job.
21:27You mean you're a cook?
21:28Well, I can cook and I need work.
21:31You want this job after what she said about it?
21:33It can't be any worse than the place I just left.
21:36As a matter of fact, this is a swell job.
21:38And you'll be working for a swell boss.
21:40I kind of think the food will taste better for him
21:42when you cook it.
21:59Pretty classy, huh?
22:00Oh, it's lovely.
22:01But why does he want such a beautiful place
22:03so far away from everybody?
22:04That's just the reason.
22:06To get away from people that are driving crazy.
22:08You mean he never has any visitors?
22:10No one ever comes up here.
22:11He never lets anyone know when he's coming outside of me.
22:15Say, you ain't going to quit in that account, are you?
22:19How gets your company?
22:20Oh, no.
22:21I just as least not have very many people to cook for.
22:23Good.
22:26What does he do?
22:27Paints, pictures from magazines, advertising,
22:30and things like that.
22:31When he arrives tomorrow, how long will he stay?
22:34Oh, maybe a week, maybe a month.
22:36You never can tell what he might do.
22:39There's your room up there.
22:40Pretty classy, too.
22:43And I need two.
22:44Would you mind sling me together some ham and eggs?
22:47All right.
22:48Scrambled, huh?
22:49What's your name?
22:50Red.
22:51All right, Red.
22:57What?
23:00What's the matter, huh?
23:03Hiya, boss.
23:05I thought I told you not to bring any women up here.
23:08I, uh...
23:09We didn't expect you until tomorrow.
23:11I can see you didn't.
23:13Oh.
23:14This is the new cook.
23:16I had to get her when the last one quit.
23:19A cook, huh?
23:20Uh-huh.
23:22Well, hurry up and get me some food.
23:24I want a rubdown before dinner.
23:27Who gave me the rubdown?
23:29I do that.
23:30I take care of them.
23:31Driver's car, and when we're in town, I'm his valet, too.
23:34Oh.
23:35Now hurry and get some food ready,
23:36and make it the best meal you ever cooked.
23:40Say, uh...
23:41You're sure you can cook?
23:42Oh, yeah.
23:46...on the great hunt for Mallory.
23:48A bulletin has just been phoned in by the Sheriff of Green County.
23:52A car believed to have been used by Mallory's wife
23:55in her desperate escape from her husband's hideout
23:57tonight was located just off a highway
23:59in one of the county's loneliest sections.
24:02Police were combing the district tonight
24:04in a quick move to locate the female fugitive's place of hiding.
24:08That's all for tonight.
24:09We'll be on the air again tomorrow morning
24:12with the latest developments of this sensational case.
24:16Good night.
24:19If our men can pick up Mrs. Mallory,
24:21it'll be only a matter of time till we have our hands on him.
24:24As far as I can gather,
24:26he's crazy enough about her to fight through anything to get to her.
24:28You're right, and we can take advantage of that.
24:30All we'd have to do is set an ambush with his wife as bait.
24:33Mallory and the rest of his gang would walk right into it.
24:37And I want to be there when they do.
24:52Oh, where is she?
24:54She's up in the room.
24:55Red, that girl is not a cook.
24:57I watched you at dinner and did you eat.
24:59And what I ate tasted good too.
25:01I didn't say the food wasn't good.
25:03You heard me.
25:04Said she's not a cook and never was one.
25:05I've never seen you in better spurs.
25:08You even forgot to drink your after-dinner brambi.
25:10Stop your gibbering, Red.
25:11You know what I'm talking about.
25:12You noticed it too.
25:13Noticed what?
25:14She had trouble remembering what her name was.
25:19But I thought that the...
25:20You can't think.
25:22Now I'll find out about her.
25:29Come in.
25:32I'd like to...
25:37Oh, so you're reading philosophy, eh?
25:40Oh, I didn't just notice exactly what it was.
25:43How do you like it?
25:44It's much too deep for me.
25:46That's Schopenhauer.
25:47He tells the truth about women.
25:49Do you good to read it?
25:51I'm afraid I couldn't understand it.
25:53No woman wants to.
25:54He's the philosopher that tells about the deadliness of a female.
25:58He tells of their cunningness to express an innocence when lying in the interest of a cause.
26:05Why don't you read Nietzsche?
26:06Huh?
26:07He says that dreadful experiences may raise a question whether he who experiences them is not something dreadful also.
26:14Very good.
26:15Why should women despise Schopenhauer?
26:17After all, he teaches them how to beat men at their own game.
26:19What's the matter, then, Stung?
26:24You might find it quite helpful to read more Aristotle or Roger Bacon.
26:28Just why are you masquerading as a servant?
26:30What's your racket?
26:31Racket?
26:32Did that hit home?
26:34My racket is cooking.
26:35Well, if you're a cook, I'm a crooner.
26:38Well, maybe you are a crooner.
26:39Did you ever try it?
26:40I'm an artist.
26:41Definitely.
26:42Definitely.
26:43But not knowing what you are, you'd better pack your things and I'll do my own cooking.
26:46Well, you'll have to eat it.
26:52Oh, I'm sorry, Mrs. Bannister, but he isn't here.
26:58Yes, I thought he would be.
27:08Hello, Mrs. Bannister.
27:10Hello, Claire.
27:11Well, this is an unexpected pleasure.
27:16Well, we never dreamed you'd have company.
27:19Oh, uh, Mrs. Bannister, this is, uh, this is Miss...
27:24Anne Williams.
27:25Oh, yes, Anne, uh, this is Mrs. Bannister and her daughter.
27:28How do you do?
27:29How do you do?
27:31Oh, please.
27:34Do you care for some coffee?
27:35Love it.
27:36Oh, Anne, some coffee, if you don't mind.
27:40Yes.
27:40Please, if you don't mind.
27:43What should one do for a meal?
27:44Salaam to her?
27:45Do you want a meal?
27:46Of course not, silly.
27:48I merely marvel that the well-known woman dodger should be so considerate of his servant.
27:54Oh.
27:56You know, when we didn't find you at the studio, I said, Claire, he'll be up at his lodge.
28:01So you were.
28:02And here we are.
28:04Oh, you naughty boy.
28:07The idea of running away and not inviting us.
28:10Well, it doesn't seem to have been necessary.
28:13What's that?
28:14And here you are, alone and forlorn.
28:16Forlorn, but not alone.
28:25Cream, thank you.
28:27Sugar, no.
28:31Mrs. Bannister, no.
28:37Oh, perhaps you'd prefer tea.
28:39And why should I prefer tea?
28:41Oh, pardon, ma'am, I thought on account of your heart.
28:44Oh, how do you know about my heart?
28:46Well, I worked for a doctor once.
28:48You can tell by the color of the eye.
28:50Oh.
28:51Oh, there.
28:52Now, Claire, you see, everybody notices it.
28:56Oh, dear, I knew we shouldn't have come.
28:57Can't stand this altitude.
28:59Oh, dear.
29:00Oh, would you excuse me if I lie down?
29:03Yes, the guest room is to the left.
29:05Oh, thank you.
29:05You brought your luggage, of course.
29:08Oh, yes, we did.
29:09Oh, you see, we were going to...
29:11Claire, where were we going?
29:12Right here.
29:13Oh, yes, of course.
29:16Oh, dear.
29:19Sweet of you to invite us.
29:22Oh, Red, bring in the lady's luggage.
29:27I've already got it.
29:30I hope I didn't say anything wrong, ma'am.
29:32I doubt if you could ever say anything wrong.
29:37May I?
29:43Not exactly a cookbook, is it?
29:45Oh, that, I, uh...
29:47You see, I was just trying to interest her in philosophy,
29:49and we were discussing Schopenhauer, Aristotle, Roger Bacon, and others.
29:54How amazing.
29:55A philosophic cook.
29:57Aristotle with the orange juice,
29:58Schopenhauer with the toast,
30:00and Roger Bacon with the eggs.
30:02You know, it's a relief to occasionally find a woman who can listen.
30:06How long has she been listening?
30:08Red hired her today.
30:09Not so bad for the first day.
30:10See here, Claire.
30:11And what about it?
30:12You run out on me.
30:13You dodged me for weeks until I'm terribly hurt
30:15and sick and worried wondering what I've said or done to you.
30:17Why couldn't you have told me there was someone else
30:19in that virtuous heart of Bruce Dunning?
30:22More coffee, ma'am.
30:24No, thank you, ma'am.
30:33You know, you're swell.
30:37It's so nice to be appreciated.
30:39Sir?
30:51Jim Mallory and his wife,
30:53leaders of the notorious hijacking and murder gang,
30:55today rescued a country doctor kidnapped by the fugitives.
30:58Acting on a mysterious telephone tip,
31:01officers raided a secluded mountain cabin
31:03only to find the Mallories and their Confederates had vanished.
31:06Dr. Richardson, who had been kidnapped the night previously by Mallory,
31:09was found shackled in the cabin.
31:11The doctor gave a hair-raising account of his experiences while a captive.
31:14He had been forced to perform an operation on the seriously wounded Mallory
31:18and had been threatened with death should the operation failed.
31:21Mallory's wife, according to the doctor, deserted the gang during the night
31:24and fled in one of their stolen cars.
31:27Mallory, on discovering her flight,
31:29expressed his grim determination to find her,
31:31despite the warning to him
31:33that an attempt on Mallory's part to travel
31:35in his weakened condition
31:36might cause a relapse and result in death.
31:45Oh, I couldn't sleep.
31:46The strange house, you know.
31:48I hope I didn't disturb you.
31:50You look lovely in that light.
31:52Thanks.
31:53Don't go.
31:55Well, the others...
31:56But I want to know more about you.
31:59I'm afraid that wouldn't be very interesting to a man of your philosophy.
32:02On the contrary.
32:03That's just the artist speaking.
32:05Maybe.
32:07I wish I had the ability to paint
32:09and catch the beauty of your moods.
32:11But then I'm only an illustrator.
32:14Which reminds me that I'm only a servant.
32:16And your guests might resent my forgetting that.
32:19Oh, never mind then.
32:21I want to know more about you.
32:24Who you are.
32:25Where you came from.
32:27And why you suddenly happened into my life
32:28and changed my whole scheme of things.
32:31This doesn't sound very much like Schopenhauer.
32:33Must we go into that again?
32:35You don't hold that against me, do you?
32:40Mr. Dunning,
32:41what time do you want your breakfast tomorrow?
32:43What?
32:46I want you to press these for me tonight.
32:49Yes, sir.
32:50Mustard be done tonight, Claire.
32:51Can it wait until morning?
32:52I want to wear them in the morning.
32:54That is, if you can spare her long enough to iron them for me.
32:57I'll be glad to do them for you.
33:19Thanks for paying a little attention to me.
33:21You know, that was being pretty crude to her.
33:22I think she showed by far the best manners.
33:25Bruce, you know I'm pretty understanding about most matters.
33:29But aren't you being unusually attentive to, uh, a servant?
33:32I thought that I ought to apologize to her
33:34for some of the incidents that happened earlier this evening.
33:37Of course, Mother and I were late in arriving.
33:39So I don't know what occurred to necessitate an apology.
33:41It was because my guests fail to see that Miss Williams is not an ordinary servant.
33:45Huh! I'd have to be blind not to see that.
33:47Who is that woman and how does she happen to be here?
33:50I think I told you all I know about her.
33:51Red hired her and brought her up here.
33:53So far, she's proved quite acceptable and very intelligent.
33:56Intelligent? So it's reached that stage.
33:58That's more than you've ever recognized in any woman.
34:00Now, see here, Claire, you're becoming impossible.
34:03Before I allow this to become a common brawl,
34:05I think I'll ask you to excuse me.
34:07If it weren't so right, I'd insist on leaving here tonight.
34:09I'll take you.
34:10You can take us in the morning.
34:12Just as you wish, Claire.
34:14Good night.
34:32Will you let me have my dress, please?
34:34Well, I haven't pressed it yet.
34:36And why not?
34:37Do you generally obey orders at your own convenience?
34:39No, but I thought I'd press it the first thing in the morning before you were up.
34:43Miss Williams, or whatever your name is,
34:45I don't think you're a servant at all.
34:47At least you lack the manner of a well-trained servant.
34:50I'm the cook here.
34:52Well, if you're like all the other cooks I've ever known,
34:54you might not be averse to bettering your condition.
34:57That is, to accept a position that would pay better wages.
35:00Oh, but I really couldn't do that.
35:03And why not?
35:03Because that would necessitate my explaining to Mr. Dunning that one of his guests tried to bribe me to leave
35:08his service.
35:10And besides, I don't think he'd let me go.
35:13You're pretty sure of yourself, aren't you?
35:27You've been well enough to travel for days now.
35:31You know, I think you were just stormed for time to try to find out where your wife is.
35:35Well, I'm not interested in finding her.
35:38I've got trouble enough of my own looking out for my own hide.
35:42I'm not like Burke here.
35:44He'll do anything you tell him.
35:46But not me.
35:50That woman of yours ran out when it got too hot.
35:53She wasn't taking any chance on the sticking with us.
35:55But you expect us to take a chance of getting caught by looking for her.
35:58And I suppose when you do know where she is, you expect me to risk my neck to bring her
36:02back.
36:02This time I'm telling you what's going to happen.
36:05I'm leaving here tonight.
36:07And I'm going alone.
36:14I'm all through looking for your wife.
36:21You know, that idea has been sneaking up on him for the last couple of days.
36:28Maybe we'll be better off when we're rid of him.
36:45Mark!
36:47Take this with you!
36:54Tell her it's a couple of weeks' wages.
36:56She might not take it from me.
36:57Don't give it to her until after I leave.
37:18I hope Bruce doesn't ask his cook to drive to town with us.
37:21Oh, if he tries it, I shall get right out of the car.
37:25It's about time an issue was made out of his association with her.
37:47Well, I've given a great deal of thought about what happened last night.
37:50I'm very sorry for your sake that all this had to come about.
37:54But surely you can see that the attitude of my guests toward you will be greatly magnified by the time
37:58they reach town.
38:00That wouldn't do you any good.
38:02I'm sure you'll understand.
38:04Yes.
38:05That doesn't mean that I'm not to see you again.
38:07Wherever you go, I want you to get in touch with me at my studio.
38:10You will, won't you?
38:13Yes.
38:15Promise?
38:16I promise.
38:20I promise.
38:39You will, won't you?
38:53And that, folks, brings us to the next important news item of the day.
38:57James Mallory, slayer and hijacker, was killed last night 10 miles west of Centerville
39:02when a passenger train crashed into the automobile which he was driving.
39:07Positive identification was made from personal papers found on the body of Mallory.
39:12Police today were pressing a relentless search for Mallory's wife,
39:15who is a fugitive on charges of murder committed by the hijacking gang.
39:20The woman last week engineered her husband's escape from police
39:23by driving the getaway car through a storm of bullets.
39:27Her capture is expected momentarily.
39:35They're on their way.
39:36The boss was sure sorry that that dame and her mother got so snooty and made them leave.
39:41I could tell he wanted to stay.
39:44He said to give you this.
39:46Oh, I can't take that.
39:49Here, take it.
39:50Oh, but I haven't earned it, Red.
39:53That's for a couple of weeks' wages, because you lost this job without notice.
39:58And he said I'm to drive you wherever you want to go.
40:00Where's your bag?
40:02Oh, but Red, I have nowhere to go.
40:06Well, why can't I stay here?
40:08You can close the place up and I'll get a lot of rest.
40:11You don't want to stay up here all alone?
40:13Oh, but I do.
40:14That's just what I want to do.
40:17Yeah.
40:18Why not if you want to?
40:20The boss will never find out.
40:21You wouldn't dare tell him.
40:23No, I'll never tell him.
40:26But, uh...
40:27What will you do here all alone?
40:28Oh, well, I'll do a lot of reading and have the radio.
40:33Yeah.
40:34I like the radio, too.
40:36You can turn it on, and when you don't want to listen, you can turn it off.
40:41Well, I'd better get going.
40:43And, Red, thanks for everything you've done for me.
40:47Oh, it ain't nothing.
40:51Goodbye.
40:52Goodbye, Red.
40:58Hey, when do we get out of here?
41:00As soon as I get some idea where my wife is.
41:03Well, ain't that taking chances?
41:04I mean, for you and me.
41:06That's what Mort always said.
41:08But, uh...
41:09I wasn't thinking about myself.
41:11I was worrying about you.
41:12I'll do my own worrying.
41:20That's the end of Mallory.
41:21Howard, that's exactly what Mallory wanted us to think.
41:24You mean there's a chance it wasn't him?
41:27That wasn't Mallory's body any more than it was yours or mine.
41:31But you viewed it at the morgue and fully identified it.
41:33Whose body do you think it was?
41:35After that train got through with it, it might have been anyone.
41:38I wondered how you recognized it so readily.
41:42Quickly.
41:43And you could chalk up another murder to record.
41:45All right, Sheriff.
41:46That automobile was immediately stalled at the only railroad crossing where an engineer
41:50couldn't see it in time to stop.
41:52The automobile headlights were turned off.
41:54And Mallory figured we'd never be able to recognize that body.
41:58You remember he carried off the doctor's surgical instruments.
42:01We better let the newspapers know that Mallory's still alive.
42:04Oh, no.
42:04No, we won't.
42:05That cock and bull story I gave the reporters was for a purpose.
42:09To let Mallory think his plan worked.
42:11He figured his trick would call off the police.
42:13After he thinks we swallowed it, he'll come out in the open to find his wife.
42:17And that's where I'm going to be.
42:20Sounds all right.
42:22I hope it works.
42:23I hope it works.
42:54Well, did he know you were coming?
42:55Nope.
42:57Red, must I leave here?
42:59Nope.
43:00Well, is there anything wrong?
43:01Nope.
43:01Red, will you please tell me why you came up here?
43:03Yeah.
43:04Well, out with it.
43:05Well, after a whole week, I figured you'd be all out of food.
43:09So I brought you some.
43:11Oh, Red.
43:12That was a lovely thing for you to do.
43:14Ah, it ain't nothing.
43:18I figured you'd be all out of food, and you might get hungry.
43:21Maybe you're hungry.
43:22Would you like me to fix you something to eat?
43:23Not me.
43:24I could get right back to town before the boss misses me.
43:27He's been in a bad humor all week.
43:29Why?
43:29What's the matter?
43:30Anything serious?
43:32No, I guess not.
43:34Maybe you know how painters act.
43:36Ever since we went back to town, he just sits at the studio all the time.
43:39Paints pictures all day long.
43:41Then tears them up.
43:43And starts all over again.
43:44I ain't never seen them act like this before.
43:46Has, uh, Miss Bannister been around much?
43:49Yeah, she came to the studio one day and caught them painting those pictures.
43:54And got awful snooty and flew out in the house, like she always does.
43:58And banged the door.
43:59But he went right back to painting pictures again.
44:02What kind of pictures is he painting?
44:05I got one.
44:06I grabbed it when he wasn't looking.
44:08I thought maybe you'd like to see it.
44:14Why, this is a picture of me.
44:16It's a good one too, isn't it?
44:18That's why I brought it to you.
44:20But I didn't pose for it.
44:21I guess that's why he's acting so funny.
44:24He's trying to paint you from memory.
44:26I caught him sitting for a whole hour, trying to figure how you looked in a certain way.
44:38Hello.
44:39How do you do?
44:41We didn't expect you.
44:44I can see you didn't.
44:47Well, hurry up and get me some food.
44:48And I want a rubdown before dinner.
44:51Who gives him the rubdown?
44:52I do that.
44:53I take care of him and when we're in town, I...
44:57I told you all that before.
44:59Oh, I get it as a gag.
45:02Get out.
45:04You mean me?
45:05Yes, you.
45:06Oh.
45:06Huh.
45:21Now that I see you again,
45:23this doesn't begin to do you justice.
45:29Have you been up here all this time?
45:32And you let me struggle along trying to sketch you from memory.
45:37Young lady,
45:38you have a lot of explanations to make.
45:43Perhaps I have.
45:46Oh, boy.
45:47That's where a pretty face like hers belongs.
46:01Oh, boy.
46:02That's where a pretty face like hers belongs.
46:04If you do, he'll recognize her, he'll know who she is.
46:06Then all he has to do is trace her through the magazine people to find out who the artist is
46:10that painted this.
46:10Let's suppose she ain't there.
46:13Yeah, but I'm afraid she might be.
46:15If the cops get there ahead of us,
46:19she doesn't know how to take care of herself,
46:20and she never would have posed for this.
46:23Maybe the cop put a picture in that magazine so she'd go there.
46:27You're getting dumber every day we stay here.
46:30Probably a good thing I'm getting you out of here before you find yourself helping the cops.
46:34But just the same, this time I may be right.
46:36How could they set a trap for me when they think I'm dead?
46:39Have you forgotten I was killed by a train?
46:44Come on.
46:45We're going to find her.
46:50Can you tell me when the artist will return to the city?
46:54No, thanks.
46:55That won't be necessary.
46:57No, no message.
46:58I'm afraid my name wouldn't mean anything to Mr. Dunning.
47:01No.
47:02Goodbye.
47:04Well, that locates the artist.
47:07Just a chance that Mallory may have seen this picture of his wife.
47:10That's exactly what I'm hoping.
47:11I'm not taking chances on anybody botching this case.
47:15I'm taking charge of it personally and laying my wires before Mallory can get to her.
47:19Careful.
47:20Don't walk into anything.
47:21And good luck to you, Roberts.
47:22Getting Mallory and that wife of his is going to be a great deal of satisfaction.
47:29And while I'm going, Howard, keep an eye on Julie Leonard and her boy.
47:34I will.
47:40Now that your husband's dead and I know who you are and all the things you're afraid
47:44of, you're going to need all the love and protection I want to give you.
47:48Oh, but telling you doesn't free me from all those terrible crimes I'm blamed for.
47:53But you're not a criminal.
47:54You're only running away from things that other people did.
47:57Bruce, that's all true.
47:58But I can't make the police believe that.
48:00Now that I've told you these things, it involves you too.
48:02They'd say you were harboring a criminal.
48:05I can't accept your protection.
48:07I can't even stay here.
48:08Oh, yes, you can.
48:09By remaining here, you'll give me time to prove your innocence.
48:12Now that that's all settled, will you stop worrying that pretty little head of yours?
48:19Oh, Bruce.
48:20You never showed anyone those pictures Red said you painted of me.
48:24Darling, I'd forgotten all about those.
48:25Then you did show them?
48:27Right now, your picture's on the front cover of 100,000 magazines all over the country.
48:30The police can't help seeing it and tracing you.
48:32Oh, what a done thing to do.
48:34Oh, Bruce, you didn't know them.
48:36They may be on their way here right now.
48:38Get your things together.
48:39I must get you out of here.
48:40Let's hurry.
48:44Let's hurry.
48:45Let's hurry.
49:19Oh, Jim.
49:23Hey, Dee.
49:24I knew I'd find you.
49:28Oh, God.
49:31I thought you were dead.
49:33Well, that was just a trick to throw the cops off.
49:35I forgot you'd think I was dead, too.
49:38Oh, but they may be here any moment.
49:40That picture of me on the magazine.
49:42Yeah, yeah, that's how I found you.
49:46What are you doing?
49:47I was just leaving.
49:50Well, that's swell.
49:51You can go with me.
49:53Oh, no, Jim.
49:54Not with you.
49:56Now, you're not going to get away from me this time.
49:58Well, Bruce, I mean, Mr. Dunning was just getting ready to take me away.
50:03Bruce?
50:04Mr. Dunning, the artist?
50:07Oh.
50:08So that's how it is, huh?
50:09You're not even trying to understand.
50:12I'm just beginning to understand.
50:13You've been up here with him ever since he painted that picture.
50:16Oh, no, you're wrong.
50:17I didn't pose for that.
50:18He did it from memory.
50:20Oh.
50:21Oh, he drew it from memory, huh?
50:23You mean to tell me a guy can paint that picture from memory with...
50:26He's in love with you.
50:27You're in love with him.
50:30Well, you didn't wait very long after you thought I was dead, did you?
50:32He was only trying to help me.
50:34It's a funny way to help you.
50:35Picture on a magazine cover for every cop in the country to see and find you.
50:38He didn't know who I was then.
50:40Oh.
50:41But he does now, huh?
50:43Yes.
50:44I explained everything to him.
50:47You might explain to him that your husband is here.
50:49Alive.
50:51Oh, Jim, what are you going to do?
50:52I'm going to walk you into that room and you're going to tell him who I am.
50:55There's nothing he can do about it.
50:57Oh, no, you're not.
50:58I won't let you.
51:05Are you ready, darling?
51:07I'm not quite.
51:09Good to tell you, dear.
51:12I've changed my mind.
51:13I'm not going.
51:15But you are going.
51:16Oh, don't come in, Bruce.
51:17What's wrong?
51:18Be careful, Bruce.
51:19He has a gun.
51:20It's Jim Mallory.
51:22Hi.
51:24So you thought I was dead, too, huh?
51:26Thanks for painting that picture of my wife.
51:28I never would have painted it had I known it would bring you here.
51:31One consolation is that it'll bring the police, too.
51:34Yeah.
51:42Thanks for reminding me.
51:45Here, take this.
51:45That's all you'll need now.
51:46We'll get the rest of this later.
51:47Just a minute, Mallory.
51:48You ought to know that you can't help her by taking her with you like this.
51:51If you think anything of her, you won't do it.
51:53If you give me half a chance, I'll work to clear her of these charges that are your fault.
51:58They are your fault.
51:59She is innocent, isn't she?
52:00Supposing she is.
52:02What business is that of yours?
52:04She's still my wife.
52:05You're not going to get her into any more jams.
52:07That's enough out of you, Dunning.
52:09Get away from her.
52:11Do you hear me?
52:12Get away from her.
52:17Oh, Bruce.
52:24Are you Bruce Dunning?
52:26That's right.
52:27My name's Roberts.
52:28I'm an officer.
52:28I have a warrant for this woman's arrest.
52:30Those aren't necessary, officer.
52:32It's all over, Mrs. Mallory.
52:33Oh, but I didn't know you were an officer.
52:36He said you were a hijacker.
52:38That's right, officer.
52:38She told me.
52:39Did she tell you what happened to my partner when he tried to arrest her husband?
52:42Did she tell you how she helped him escape?
52:44Yes, she told me all about it.
52:46Look, officer.
52:47You must have heard part of this man's conversation just before you fired that shot.
52:50Now, surely that could be used as evidence to clear her.
52:54Well, I'm not here to hold court.
52:57She can explain later on.
53:00You can take her in the other room.
53:16I could have saved you all this tonight if I hadn't used that picture on that magazine.
53:20Well, you didn't know about it then.
53:21It's not your fault.
53:23This had to happen, and I'm almost glad it's over.
53:26Yes, and now I can help you, too.
53:27No, I don't want you to help me anymore.
53:35How long were you married to that fellow up there?
53:38A little over a year.
53:39Why?
53:40Funny thing about a bird like that.
53:42He'd kill anybody for his own protection.
53:44And then for the sake of a woman, he'd expose himself to capture and take a chance like this just
53:47to be with her.
53:48Do you recognize that handwriting?
53:51Well, yes, I wrote that to him when I left him.
53:53Well, that letter and evidence should go a long way toward clearing you in court.
54:03Thanks for the interruption.
54:10Now, now, don't you worry.
54:12Everything will be all right.
54:17Excuse me.
54:18Boss, look at all these magazines and her picture on every one of them.
54:26It's a good one, isn't it?
54:28Take a couple.
54:29No, thanks.
54:30Give them to your friends.
54:37Thoughts for the future.
54:39From now on, smooth sailing.
54:44ends on tour touring.
55:09We'll be back.
55:10See you later.
55:11Bye.
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