The story begins when Frank Johnson witnesses a gangland murder in San Francisco. Fearing for his life, he disappears, leaving his estranged wife Eleanor to track him down before the killers do. As Eleanor searches the city’s underworld, she discovers truths about her husband and herself. With its atmospheric San Francisco locations, sharp dialogue, and Sheridan’s commanding performance, Woman on the Run is a noir gem that blends suspense with emotional depth.
Film Details
Title: Woman on the Run
Year: 1950
Genre: Film Noir / Thriller / Crime Drama
Director: Norman Foster
Starring:
Ann Sheridan as Eleanor Johnson
Dennis O’Keefe as Dan Leggett
Robert Keith as Inspector Ferris
Ross Elliott as Frank Johnson
Runtime: Approx. 77 minutes
Studio: Fidelity Pictures
Distributor: Universal Pictures
Country: United States
Format: Black‑and‑white
#WomanOnTheRun #AnnSheridan #DennisOKeefe #FilmNoir #SanFranciscoNoir #RollercoasterClimax #1950sCinema #RossElliott #ClassicThriller #BlackAndWhiteFilm
Film Details
Title: Woman on the Run
Year: 1950
Genre: Film Noir / Thriller / Crime Drama
Director: Norman Foster
Starring:
Ann Sheridan as Eleanor Johnson
Dennis O’Keefe as Dan Leggett
Robert Keith as Inspector Ferris
Ross Elliott as Frank Johnson
Runtime: Approx. 77 minutes
Studio: Fidelity Pictures
Distributor: Universal Pictures
Country: United States
Format: Black‑and‑white
#WomanOnTheRun #AnnSheridan #DennisOKeefe #FilmNoir #SanFranciscoNoir #RollercoasterClimax #1950sCinema #RossElliott #ClassicThriller #BlackAndWhiteFilm
Category
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Short filmTranscript
00:03:02Hey, what happened?
00:03:03What's going on down there?
00:03:04Were those shots?
00:03:05You'd better call the police.
00:03:07It's been a murder.
00:03:21Good evening, Inspector.
00:03:24Hi, boys.
00:03:26All what happens in the middle of the night.
00:03:29Yeah.
00:03:31That's Joe Gordon, all right?
00:03:33Yeah.
00:03:34He won't be doing much testifying now.
00:03:36Convenient for Smiley Freeman.
00:03:38Yeah.
00:03:39Fell it over there where the dog says he saw it.
00:03:42Yeah?
00:03:44Is the knock over here yet?
00:03:45Right, yes, Inspector.
00:03:47What's this guy's name?
00:03:48Frank Johnson.
00:03:49Lives around here.
00:03:50Claims he was out walking his dog.
00:03:53Hi, Mr. Johnson.
00:03:55Inspector Farris.
00:03:56You're in the middle of the night.
00:03:58You had a front seat.
00:03:59I sure did.
00:04:00Did you get a good look at the killer?
00:04:01Too good.
00:04:02That streetlight was right on his face when he got out of his car and shot at him.
00:04:05Shot at you?
00:04:06Twice.
00:04:07You're lucky he missed.
00:04:09Think you'd recognize him?
00:04:10You saw him again?
00:04:11That's not a face I'm likely to forget.
00:04:14Pick him out of a lineup?
00:04:16I think so.
00:04:17Yeah.
00:04:18Say, what's this all about, anyway?
00:04:20The dead man, Joe Gordon, who's going to testify before the grand jury next week.
00:04:24That's tough.
00:04:25Not too.
00:04:26He had a bad record.
00:04:27He knew too much about Smiley Freeman.
00:04:29You know who Smiley Freeman is?
00:04:30The gangster?
00:04:31That's right.
00:04:32Gordon was our witness.
00:04:34Now, you're in.
00:04:35Me?
00:04:36Yeah.
00:04:36All you have to do is identify the killer.
00:04:39We'll do the rest.
00:04:41Married?
00:04:42In a way.
00:04:44What do you mean, in a way?
00:04:46Are you or aren't you?
00:04:48Yeah.
00:04:49I am.
00:04:50Where do you live?
00:04:51Right over there.
00:04:52136 out to Linda.
00:04:53Apartment 4D.
00:04:54Pick up Mrs. Johnson.
00:04:55Bring her over here.
00:04:56Okay.
00:04:56Hey, don't wake her up.
00:04:58She's not going to like it.
00:05:00Well, she'll want to know where you are, won't she?
00:05:03We're taking you down to headquarters.
00:05:05Headquarters?
00:05:05What for?
00:05:09Protective custody.
00:05:11I see what you mean.
00:05:12Where were you standing when he shot at you?
00:05:14Oh, right down there.
00:05:15Show me.
00:05:18Well, I was right down there with the dog when the car drove up.
00:05:21I didn't pay much attention to it.
00:05:22A little bit later, I heard a shot.
00:05:24I looked up just in time to see this fellow, what's his name, fall out of the car.
00:05:28Then the killer pumped another shot right into him.
00:05:30My dog barked.
00:05:32He got out of the car, started to shoot at me.
00:05:35I ducked and he drove away.
00:05:37What kind of a car?
00:05:38I don't know.
00:05:39A light coupe.
00:05:39They all look alike to me.
00:05:42Well, his aim was all right.
00:05:44He was just shooting at the wrong target.
00:05:46He thought your shadow was you.
00:05:53Will you go call Reardon?
00:05:55Maybe he won't miss next time.
00:05:57There won't be any next time.
00:05:58Yeah, but suppose you don't get a conviction, then what?
00:06:00Do I have to spend the rest of my life with police protection?
00:06:03Or wind up on a sidewalk like him?
00:06:05What are you worried about?
00:06:06He missed, didn't he?
00:06:07Stay here a minute.
00:06:08We'll get the rest of the story downtown.
00:06:14I hate to get mixed up in this.
00:06:15Yeah, it's getting so.
00:06:16A man has to be careful where he's looking these days.
00:06:20Keep out of here, will you?
00:06:22Say, I think I dropped my pipe somewhere around here.
00:06:24Is it okay if I look for it?
00:06:25Remember where you had it last?
00:06:26Yeah, it was right over here somewhere.
00:06:28What's the matter about it?
00:06:30Come on, get out of here, will you?
00:06:40Take up Smiley Freeman and everybody connected with him.
00:06:42Put him in a lineup, see if Johnson can identify anybody.
00:06:45I want everybody.
00:06:47No excuses, no lawyers.
00:06:48I want everybody.
00:06:49See if he can pick up anything on that car.
00:06:52Somebody may have seen it.
00:07:00Mrs. Johnson, that's not your husband.
00:07:02The man was killed.
00:07:04He saw it happen.
00:07:04He, he's right over here.
00:07:07Sorry I had to get you out of bed, Mrs. Johnson.
00:07:10After all, we had to make sure that he had a wife.
00:07:16Where is he?
00:07:17He took a powder.
00:07:18Sergeant, pick up Johnson.
00:07:19The idiot will get himself killed.
00:07:20Get down there and cover the park!
00:07:21Just like him, always running away.
00:07:23What do you mean, always running away?
00:07:25Running away from what?
00:07:26From everything.
00:07:27Broadcast the description.
00:07:28White, male, American.
00:07:30Was a trench coat, soft brown hat.
00:07:32A very ordinary looking fellow, I'm afraid.
00:07:35Yeah.
00:07:36Well, how would you describe your husband, Mrs. Johnson?
00:07:37I couldn't.
00:07:39I haven't been able to for a long time.
00:07:42May I go now?
00:07:43Come on, you might.
00:07:45Nice dish, huh?
00:07:47Nice looking dish.
00:07:48I want everything shut off.
00:07:50Bridge controls, roadblocks, everything.
00:07:52I'll stick with her.
00:07:53Right.
00:07:55Did you hear the shots fired?
00:07:56How could I?
00:07:57I was in bed, sound asleep.
00:07:59Find any pictures of him?
00:08:00No, but plenty of hurt.
00:08:02Just some tired snaps.
00:08:04They won't do anybody any good.
00:08:05But keep them.
00:08:10It's books on psychology.
00:08:12I wonder why.
00:08:14Has he got a problem?
00:08:15I wouldn't know.
00:08:17Maybe he's confused.
00:08:19Aren't we all?
00:08:22Oh, pipe smoker.
00:08:23Mmm.
00:08:24What does that mean?
00:08:26Nothing.
00:08:31Oh, he's got two suits.
00:08:34One of which he's wearing.
00:08:35What does he get what he looks like?
00:08:37Nobody pays any attention to him anyway.
00:08:39Not even his wife.
00:08:40You're really wasting your time.
00:08:42There must be at least 20,000 men in San Francisco
00:08:44who answer that description.
00:08:45How are you going to find him?
00:08:47There'd have to be something different about him.
00:08:49Different anyway from other people.
00:08:51There is something different about him.
00:08:52There's something different about everybody.
00:08:54And we're going to dig till we find out what it is.
00:08:56Now you see our problem, Mrs. Johnson.
00:08:58Why won't you help us?
00:08:59I'm helping.
00:08:59What do you want me to do?
00:09:00I want you to answer a few questions.
00:09:02Go ahead, ask.
00:09:03Where does he generally go when he's not at home?
00:09:05I haven't the faintest idea.
00:09:06Has he any relatives in this area?
00:09:08No.
00:09:08We're his friends.
00:09:09I don't know his friends.
00:09:10The dog is our only mutual friend.
00:09:12You always go to sleep when he walks the dog.
00:09:14No, sometimes he goes to sleep and I walk the dog.
00:09:19Say, Inspector, here are a couple more.
00:09:22Oh, I'm terribly sorry.
00:09:24There's been a mistake.
00:09:25Release these men at once.
00:09:27Keep digging.
00:09:28Okay.
00:09:28Every man between the ages of 35 and 40 who is out tonight is wearing a trench coat and a
00:09:32snap-brim felt.
00:09:34All of them 5 foot 11, weighing 170, and all of them scared to answer questions.
00:09:38The domestic situation in this town must be terrible.
00:09:41Yeah.
00:09:42Kitchen?
00:09:43Well, it's got a stove in it.
00:10:00Don't you eat anything but dog food?
00:10:02He's not particular and I'm lazy, so we eat out.
00:10:05Where?
00:10:06Well, let's see.
00:10:07The corner drugstore, the lobster grill at the wharf when we're in that neighborhood, and when we get real fancy,
00:10:12Manlow's Oriental Roof Garden.
00:10:14Those usually.
00:10:15We're creatures of habit, I'm afraid.
00:10:17Check the Oriental Roof Garden.
00:10:18They'll still be open.
00:10:19Yes, sir.
00:10:192 o'clock in the morning.
00:10:20How am I going to explain this at home?
00:10:22What's going on here?
00:10:23I'm sorry.
00:10:24There's been a mistake.
00:10:24He's sorry.
00:10:25What am I going to tell my wife?
00:10:26Come on.
00:10:30What did you and your husband call about tonight, Mrs. Johnson?
00:10:33We don't have to have a reason anymore.
00:10:34Don't you have a decent picture of your husband?
00:10:37No.
00:10:37He doesn't like to have his picture taken.
00:10:39I don't want any photographs of him floating around that might get in the papers.
00:10:42The killer doesn't know what he looks like.
00:10:44Didn't he see him?
00:10:44No.
00:10:45He shot at his shadow.
00:10:47Shot?
00:10:47He shot at Frank?
00:10:48Twice.
00:10:49Nobody knows that except the killer, your husband, and now you.
00:10:51So let's keep it that way.
00:10:52It's important.
00:10:55He's really in danger, then.
00:10:57Worry?
00:10:58I thought you were beyond worrying about him.
00:11:00I didn't say that.
00:11:02If he doesn't give himself up, you're really going to have something to worry about.
00:11:05We've got to protect him.
00:11:07Like you did the other witness?
00:11:09Joe Gordon would be alive right now if he hadn't had his lawyer spring him.
00:11:12Hey, Mark.
00:11:13Here's a prescription for Frank Johnson.
00:11:15Husband ill?
00:11:16No.
00:11:17He just likes to take medicine.
00:11:18What are these for?
00:11:19I don't know.
00:11:19He just likes to take vitamin pills, cold shots, anything.
00:11:26What's up here?
00:11:27Studio.
00:11:28My husband's an artist.
00:11:29Oh, I thought you said he worked at Hart and Winston.
00:11:32He does.
00:11:33He's in charge of this place down there.
00:11:34Oh, window trimmer, huh?
00:11:38Rembrandt, get down.
00:11:39You know you're not allowed up there.
00:11:42Rembrandt?
00:11:43It's the nearest we could ever get to owning one.
00:11:45Frank's little joke.
00:11:46He found the mud sitting on the street corner one night waiting for someone to adopt him.
00:11:50They recognized each other right away.
00:11:58Is this supposed to be you?
00:12:00Yes.
00:12:01It was a lovely autumn day.
00:12:03The wind was blowing through my hair.
00:12:06It was all very charming, but that was four years ago.
00:12:09That was Frank's Cypress period.
00:12:11He had four important periods in his painting career.
00:12:14Say, how did you two ever happen to get together in the first place?
00:12:18I met him at a friend's house in Carmel.
00:12:20He wanted to paint, and I was all for it.
00:12:23I had $5,000, and he had $2,000 in talent.
00:12:26So we got married.
00:12:27After Carmel, he became restless.
00:12:29So we went to Tals, New Mexico, where he painted Indians.
00:12:32That's an Indian.
00:12:34Yeah.
00:12:35Then he got tired of Indians.
00:12:36So he went to Bucks County, Pennsylvania, where he painted old Dutch barns with hex signs on them.
00:12:41Say, did he ever do a Southport?
00:12:43He didn't like himself that much.
00:12:45No.
00:12:47You do these in Pennsylvania?
00:12:50No, he got restless again, so we came to San Francisco.
00:12:53Here he started sketching crummy old characters that hung around wars, missions, and gin mills.
00:12:58That was his social protest period.
00:13:00Then our money ran out, and he had to take a job.
00:13:03Couldn't sell the stuff, huh?
00:13:04He wouldn't try to sell it.
00:13:05Didn't think it was good enough.
00:13:06These sketchbooks are filled with great ideas.
00:13:08He never got around to painting.
00:13:10Well, didn't you try to get a job?
00:13:11Why should I?
00:13:12That's his response.
00:13:13He told me, not mine.
00:13:16Friend to your husband?
00:13:18No, that's his burlesque period.
00:13:20Now, that I like.
00:13:21It's pretty good.
00:13:22Yes, but it takes more talent to have a career.
00:13:25You have to have staying power.
00:13:26Frank's a drifter, so when the money ran out, we just drifted.
00:13:30Who's this?
00:13:31Oh, some dance team over in Chinatown.
00:13:37Or him?
00:13:39Oh, he's a retired ferry boat captain who does sand sculptures at the beach.
00:13:44Oh, I knew who that is.
00:13:45That's Rembrandt.
00:13:47What has all this got to do with finding Frank?
00:13:49You just answer the questions.
00:13:51That is, if it doesn't hurt her.
00:13:53Why should it hurt me?
00:13:54It's all passed and done with.
00:13:55If you want to snoop into the remains of our marriage, that's up to you.
00:14:01Don't touch that telephone.
00:14:03If that's your husband, find out where he is.
00:14:05But keep on talking.
00:14:23Hello?
00:14:24Hello?
00:14:25Oh, hello, Frank.
00:14:25Trace that call.
00:14:28I'm sorry to interrupt, but if I were you, I'd hang up.
00:14:31The police are tracing your call.
00:14:34Hello?
00:14:35Hello?
00:14:37Hey, hang up.
00:14:38Seems to me I heard music.
00:14:40Wasn't that music?
00:14:42You didn't do your husband a favor, Mrs. Johnson.
00:14:45It's bad enough to be alone in a big city with no place to go.
00:14:48But as soon as the newspapers hit the streets and the killer finds out he didn't get your husband,
00:14:52there'll be guys looking for him with guns.
00:14:54If I had a husband I wanted to get rid of, I'd do exactly what you did.
00:14:58If he wants to run away, that's his business.
00:15:00And your business too, Mrs. Johnson.
00:15:02I'll be seeing you.
00:15:10No wonder the world's full of bachelors.
00:15:14A little more needling's all she needs.
00:15:16Give her plenty of rope, but keep her tail.
00:15:18She wants to get rid of him.
00:15:20Women are curious.
00:15:21Even that dame will go after him.
00:15:22Oh, come on.
00:15:23Be a good fellow and let us up.
00:15:24Who's handling the case?
00:15:25Inspector Ferris.
00:15:25Oh, he's a friend of mine.
00:15:27Is that right, Inspector?
00:15:28Sure, we know him well.
00:15:29Hi, Ferris.
00:15:30What's the do?
00:15:30No story.
00:15:31How about that Johnson gal?
00:15:32Is she good looking?
00:15:33What about the witness?
00:15:35What witness?
00:15:36Oh, cut it out.
00:15:37Cut it out.
00:15:37It's already gone to press.
00:15:38You get a look at the murderer?
00:15:39No.
00:15:40What's his wife like?
00:15:41Any filth?
00:15:42Lay off the tabloid sex stuff like it.
00:15:45I'll give it to all of you in the morning.
00:15:47Hiya, Homer.
00:15:48No favorites.
00:16:11Wait until then, you're listening among theIndめ, too.
00:16:12I'm going to't give it to him guilty of a job.
00:16:25Here.
00:16:25Let's see what he did.
00:16:25I'm taking care of my god.
00:16:25Let me take care of you.
00:16:25No mercy, Obi l dzie, for goodness sake, too.
00:16:31Okay, vorsichtig.
00:16:33Come on.
00:16:41Come on.
00:16:43Come on.
00:16:43Come on.
00:16:46Come on.
00:16:46Come on.
00:16:46Come on.
00:16:47Come on.
00:16:56Don't scream.
00:16:58You're coming out or going in?
00:16:59Are you the police?
00:17:00Smile when you say that.
00:17:01I'm a reporter.
00:17:02Oh.
00:17:03Newspaper man.
00:17:04Well, you don't have to say it like that.
00:17:06Let go of me.
00:17:07Go away.
00:17:11Are you just going to leave me dangling here?
00:17:13You just said pleasure.
00:17:14I don't care what I say.
00:17:15Help me get out of here.
00:17:17It's pleasure, Mrs. J.
00:17:18You are Mrs. Johnson, aren't you?
00:17:20No, I'm the maid taking my night out.
00:17:26What magic I possessed.
00:17:27A moment ago total strangers.
00:17:29Now you're in my arms.
00:17:29So it's love at first sight.
00:17:31Now show me how you got up here without the police seeing you.
00:17:34Do I get the story?
00:17:35After I get out of here.
00:17:36Follow me now.
00:17:48Looks like half the police force is down there.
00:17:57Must I?
00:17:58Just look straight ahead like you did when you got married.
00:18:02Incidentally, my name is Leggett.
00:18:03Leggett is a graphic.
00:18:04We've got a dandy little sheet.
00:18:05All full of goo and gore and everything.
00:18:08Hey!
00:18:09Bye.
00:18:10Bye.
00:18:13Bye...
00:18:48You wish something?
00:18:50Gen of the rocks.
00:18:51Rocks?
00:18:52Is this chair taken, madam?
00:18:53Why, thank you, Mrs. Johnson.
00:18:54I'd love to join you.
00:18:55You didn't think you were going to get rid of me as easy as you ducked the police, did you?
00:18:58I'll have you know, Mrs. J., I'm an old fire escape man from way back.
00:19:01Why don't you get lost?
00:19:09Now then, how about the story?
00:19:11You'll get the story from my husband when he's safe and sound.
00:19:14Oh, but he won't be safe and sound.
00:19:16Have you forgotten the fellow by the name of Joe Gordon?
00:19:18Do you wish something?
00:19:19Yeah, let me have a bourbon old-fashioned.
00:19:22Why did you come here tonight, Mrs. Johnson?
00:19:24Or shouldn't I ask?
00:19:25Because I like it here.
00:19:26You didn't by any chance come here to meet, say, your husband, did you?
00:19:29Or is that a far-fetched supposition?
00:19:31Supposition?
00:19:32I'd better stop using those four-syllable words.
00:19:33I won't be working for the graphic anymore.
00:19:35Where's your husband, Mrs. Johnson?
00:19:36I don't know.
00:19:36Did he see the killer?
00:19:37I don't know.
00:19:37Should we dance?
00:19:38Why don't you drop dead?
00:19:45Why don't you be nice to me, Mrs. Johnson?
00:19:47Who knows, I might even be able to help you.
00:19:49I'm not a bad guy when you get to know me.
00:19:51I'm a little obnoxious, perhaps, but pleasant.
00:19:53Now then, answer yes or no.
00:19:55Your husband saw the murder and took it on the lam, right?
00:19:57Right.
00:19:57And you're meeting him here?
00:20:00I haven't the slightest idea.
00:20:01I came here on a hunch.
00:20:02When he phoned tonight, I heard music that could only have come from this joint.
00:20:06Something to eat?
00:20:06No, thanks.
00:20:07No food.
00:20:08Well, go ahead.
00:20:08Try something.
00:20:09No, really, nothing.
00:20:14Oh, uh, I've got a deal for you.
00:20:16You find your husband with my help.
00:20:18Give me an exclusive for 24 hours, and I'll get my paper to pay you for it.
00:20:21Trying to buy me some soup?
00:20:23First, I'm going to try and buy you.
00:20:24And if I can't, I'm going to try to win you.
00:20:26Isn't that the reverse of the usual procedure?
00:20:28I'm a perverse fellow.
00:20:30On second thought, Mrs. Jay, I find you very attractive.
00:20:33I may try and win you right off.
00:20:34No, thanks.
00:20:35I'd rather be bought.
00:20:36Very mercenary.
00:20:37All of the good, though.
00:20:38I like mercenary women.
00:20:40Good night, don't you?
00:20:42Hang on.
00:20:47Money?
00:20:47Sure.
00:20:48How much?
00:20:49Oh, I don't know.
00:20:49Graham, maybe.
00:20:50Is it worth that much?
00:20:51Will be by the time I get through building it up.
00:20:54Frank will need it if he wants to get away.
00:20:56Now, bring it with me.
00:20:57Just tell me where and when.
00:20:58And you won't print anything until I give the word.
00:21:00Scout's honor.
00:21:01It's a deal.
00:21:02Should we drink to it?
00:21:04To the speedy conclusion of all our troubles.
00:21:07Yours, your husband's, and mine.
00:21:09You've got trouble if you don't look.
00:21:11None that I can't solve now that we're partner.
00:21:16Hiya, Mrs. Johnson.
00:21:17Hi, Sammy.
00:21:18Sit around.
00:21:18Meet Mr. Leggett at the graphic.
00:21:20Oh, a newspaper man.
00:21:21Sammy, you should have caught the show.
00:21:23Susie and I are breaking in a new act.
00:21:25Chung-e-no-kito.
00:21:26It's terrific.
00:21:27That's spelled C-H-U-N-G.
00:21:29Anybody can spell a-kito.
00:21:31Of course, we're only breaking in the show here,
00:21:32but a little plug could help.
00:21:34Well, I'll, uh, I'll see what I can do.
00:21:36Thanks.
00:21:37Next time you come, catch us at the night show.
00:21:38The place is really jumping then.
00:21:39I'll be seeing you.
00:21:40Bye, Sammy.
00:21:41Night.
00:21:42Well, I think I'll go home.
00:21:43Frank won't show tonight.
00:21:44How do you know?
00:21:45I just know, that's all.
00:21:47What are you going to tell your husband when you see him?
00:21:49To give himself up.
00:21:50Maybe I'll give up, too.
00:22:14Leave your flag down.
00:22:17Hey, you want to go in over the roof?
00:22:19No, I'll go in the front door and give them something to think about.
00:22:21No, in that case, I'll disappear.
00:22:23Let's not give them too much to think about.
00:22:24Well, if I need you, I'll get in touch with you.
00:22:27Oh, you won't have to get in touch with me, Mr. Johnson.
00:22:29Just look around.
00:22:29I'll be there.
00:22:30Good night, Mr. Leggett.
00:22:41What are you doing here?
00:22:42That was nice going, Mr. Johnson.
00:22:44But the next time you try to get out, you'll have more trouble.
00:22:48I've got news for you.
00:22:51I've just seen your husband's doctor.
00:22:53Why?
00:22:53Aren't you feeling well?
00:22:56Your husband isn't a hypochondriac.
00:22:59He's a very sick man.
00:23:01He's got a bad heart.
00:23:05I don't believe it.
00:23:07Ask Dr. Holler.
00:23:13Frank never said anything to me about it.
00:23:16Maybe he figured you wouldn't be interested.
00:23:19Well, he can walk into any drugstore and buy some medicine.
00:23:21Not without a prescription, he can't.
00:23:23And I've given orders to every drugstore in town that none of this medicine is to be dispensed without an
00:23:27order from me.
00:23:28If he should have an attack and not have that with him, you know what that means.
00:23:32You can't do that.
00:23:33If it's the only way I can get him to come in and testify, I mean to use it.
00:23:36But Frank's done nothing wrong.
00:23:37Oh, yes, he has.
00:23:38He was in the wrong place at the wrong time.
00:23:41I thought the police were supposed to protect people, not put them in danger.
00:23:44All it says in my book, sister, is that the good of the majority's got to be upheld.
00:23:47And for the good of the majority, Frank Johnson's got to testify.
00:23:50If he gives himself up, we'll give him a supply of medicine.
00:23:53We're protected.
00:23:54And if he doesn't?
00:23:55He'll die of a heart attack or a bullet from one of Smiley Freeman's men.
00:23:58I don't believe a word you're saying.
00:24:00You're only trying to frighten me.
00:24:01And I'm getting pretty sick of you.
00:24:03Now get out of here.
00:24:04Of course, if you want to try to find it, I won't try to stop you.
00:24:07But I don't think you can find it.
00:24:10I don't think he's running away from us.
00:24:12I think he's running away from you.
00:24:14I said get out.
00:24:55I'm violating my instructions from the police by giving you this additional service.
00:24:58But rest assured, it gives me no feeling of guilt.
00:25:01Thank you, doctor.
00:25:02After the excitement of last night, your husband undoubtedly used the amp use he carried with him.
00:25:07So you see, my action is not prompted by kindness so much as reluctance to gamble with a man's life.
00:25:13Is his heart really that bad, doctor?
00:25:15Frank's condition isn't any worse than thousands of men that strain their hearts running in track meets.
00:25:21The misguided believed that they were building up their bodies.
00:25:24If it were only his heart, we could control it.
00:25:27What do you mean?
00:25:27Well, for the past year, your husband has had hypertension.
00:25:31That complicates matters.
00:25:33Hypertension?
00:25:33What causes that?
00:25:34I'm not sure.
00:25:35My guess is overwork, unhappiness, anxiety.
00:25:39But you know more about it than I do.
00:25:41Why should I?
00:25:42But naturally, you must know about his troubles.
00:25:44I'm only his doctor.
00:25:45You are his wife.
00:25:46Oh, yes.
00:25:47I'm that bitter, selfish, vicious wife.
00:25:49The cause of his unhappiness.
00:25:51The cause of his failure.
00:25:52Is that what he told you?
00:25:52Is that what he tells everyone?
00:25:53Frank didn't discuss his private life with me, nor do I care to hear it from you.
00:25:58I shall explain to you his condition, and that's all.
00:26:01He has a cardiac condition.
00:26:03Let's call it X.
00:26:04Now, X alone is not serious.
00:26:06He also has hypertension.
00:26:08Let's call that Y.
00:26:09X plus Y is dangerous.
00:26:11I'm Y, I suppose.
00:26:13I'm not a psychiatrist, Mrs. Johnson.
00:26:15I deal only with facts.
00:26:17X plus Y equals steady deterioration.
00:26:19X minus Y is an improvement.
00:26:21What you and your husband do about it, that's your personal concern.
00:26:25My only personal concern right now is to get these ampoules to him.
00:26:28If you see him, tell him he should give himself up.
00:26:31It's imperative to take the strain of himself.
00:26:33I'll give him the facts.
00:26:34He can draw his own conclusions.
00:26:57I'll give him the facts.
00:27:20Oh, Frank, darling, I thought I'd never come to you.
00:27:23Now, stay right here.
00:27:24I'll be back inside.
00:27:25Let's explain everything.
00:27:30All right, Mr. Johnson, come along.
00:27:32My name isn't Johnson.
00:27:33Yeah, and I suppose that isn't your wife, either.
00:27:35No, but I wish it were.
00:27:37Do you have any identification?
00:27:38Yes, I have.
00:27:39My name is Stephen Carruthers, optometrist.
00:27:41While we're on the subject, I think you better have your eyes examined.
00:28:03So Frank is a fugitive from the law.
00:28:05Oh, that's just like him.
00:28:07He's so adventurous.
00:28:09Adventurous?
00:28:09Frank?
00:28:10Oh, yes, indeed.
00:28:12Sit down, Mrs. Johnson.
00:28:14I guess you've never visited our workshop before.
00:28:16What makes you think he's adventurous?
00:28:18Oh, but he is.
00:28:19All the places he's gone and all the things he's done.
00:28:23You know, my life has been pretty uneventful.
00:28:25Straight from high school to this job.
00:28:28From my rooming house to the streetcar and then down here to work.
00:28:32In the evening, back to my rooming house again.
00:28:33But since he's been here, it's different.
00:28:36He makes my life kind of exciting.
00:28:39I never get tired listening to the stories he tells about his trip down to Mexico.
00:28:42When he was wandering around with all those bullfighters.
00:28:46And when he shipped off to Tahiti in that old freighter and then jumped ship.
00:28:50Oh, I'm sorry.
00:28:52I suppose you've heard these stories many times, Mrs. Johnson.
00:28:55I never heard them.
00:28:56He never told me.
00:28:57He didn't?
00:28:59Well, maybe he didn't want his wife to know.
00:29:02Oh, I'm sorry if I talked out of turn.
00:29:04Of course you haven't.
00:29:05Shouldn't the mail be here?
00:29:07Why, yes, yes, it should.
00:29:08Why?
00:29:09Frank sent me a letter in care of you.
00:29:11Oh, he did?
00:29:12I don't know what Mr. Anderson is going to say.
00:29:15When he finds out Frank isn't coming in today.
00:29:17You know, he's got a terrible disposition.
00:29:20He doesn't exercise enough.
00:29:21Of course, I don't either.
00:29:23But then, well, I'm going to protect Frank.
00:29:26He saved my job once.
00:29:27You know, Mr. Anderson was going to fire me.
00:29:29But Frank said, if Mr. Mabus goes, you can pay me off, too.
00:29:33Oh, they had a terrible argument.
00:29:35They even took it upstairs to Mr. Winston.
00:29:38Well, we're still here.
00:29:39Frank was too valuable.
00:29:43Look, Mr. Mabus.
00:29:44Don't tell anyone about that letter that's coming.
00:29:47Oh, no, no, no.
00:29:48You can trust me.
00:29:49Not even the police.
00:29:50The police?
00:29:52Are they coming here?
00:29:53They're very apt to.
00:29:54But just don't mention the letter or anything about my being here at all, huh?
00:29:58Well, I don't know how good I am at deceiving people.
00:30:00But if it's for Frank, I'll try.
00:30:02Hey, Mabus.
00:30:04You better get the lead out and get upstairs.
00:30:05Anderson's blowing his top.
00:30:06Okay, I'll be right up.
00:30:08Is the mail in yet?
00:30:09How should I know?
00:30:11Nice people.
00:30:13Sometimes I think it'd be better for Frank if he got himself fired.
00:30:16Well, he doesn't belong around here.
00:30:17Look at all the time he puts in these mannequins.
00:30:22See, I just noticed something.
00:30:24This looks like you.
00:30:25Very flattering.
00:30:26Is that the way he sees me?
00:30:27Well, it may be a little severe, but it shows he was thinking about you anyway.
00:30:32Yes, and what he was thinking.
00:30:33Mail!
00:30:34You've only got two today, Mr. Mabus.
00:30:37Wasn't Frank here?
00:30:39No, no, he's late.
00:30:40Was there a letter for him?
00:30:41No, I just had a new song I wanted him to hear.
00:30:43Frank's the only one who listens to me sing.
00:30:45Oh, brother, have I got a crush on that man?
00:30:51No letter.
00:30:52Oh, but there's got to be one.
00:30:53Well, maybe it'll be here on the afternoon mail at three o'clock.
00:30:56If one comes, hold it for me.
00:30:58And let's just keep it our secret, shall we?
00:31:08Good morning, Mr. Johnson.
00:31:10He didn't show up for work this morning, did he?
00:31:12Where's your new pal Leggett?
00:31:13I haven't the biggest idea.
00:31:14I wouldn't get too cozy with that guy if I were you.
00:31:18He'd crucify his grandmother for a story.
00:31:20I haven't found him as objectionable as you are.
00:31:22What right of you prying into my personal life, having me followed as if I were a criminal?
00:31:26I'm sick of it.
00:31:27I'm sick of you, and I want it stopped.
00:31:28Mrs. Johnson, didn't your husband ever beat you?
00:31:31Are you going to have these men stop following me?
00:31:33The man who killed Joe Gordon isn't stupid.
00:31:35If I'm smart enough to use you as a bird dog to lead us to your husband, so is he.
00:31:39You may be very happy to have a cop around before this thing is over.
00:31:42That I doubt.
00:31:45Stick with him.
00:31:46How could I lose a redhead like that?
00:31:48You may find out.
00:32:08Come on, sir.
00:32:10Roger.
00:32:25Oh, don't be so grumpy this morning.
00:32:27All I'm trying to do is help you.
00:32:29Do you know that you've got a little shadow?
00:32:32Huh?
00:32:32There she is.
00:32:34Well, it's a nice morning for a ride.
00:32:37Oh, well, by the way, here's your letter.
00:32:40Well, how did you...
00:32:41Surprised? Don't be.
00:32:42$10 and an underpaid store clerk can get you anything.
00:32:45Don't you worry about it. I'll put it on my expense account.
00:32:47How did you know about it?
00:32:48The menu. You shouldn't have left it. It was very careless.
00:32:50I have inquisitive eyes.
00:32:52Do you always open other people's mail?
00:32:54Mm-hmm. Every chance, I guess.
00:32:57Say, did you get a load of the female impersonator they've got following you?
00:33:00No.
00:33:02Well, let's duck here and get down to business.
00:33:04Hey, Mac, turn left on the next street and then right up the alley.
00:33:07Okay.
00:33:22What do you mean?
00:33:23Oh, a lot of things.
00:33:24Something to go on?
00:33:26I'm not sure.
00:33:27What does he mean in there about the doctor and the ampute?
00:33:29It's medicine he needs. He has a bad heart.
00:33:32How bad?
00:33:33Bad enough. I just found out.
00:33:35He's got to have these pills and he can't get them anywhere.
00:33:38The police have seen to that.
00:33:39Yeah, squeeze play.
00:33:41But Paris is smart.
00:33:43Will he die?
00:33:45I don't know. I spoke to his doctor.
00:33:47It isn't serious, only under certain conditions.
00:33:49Oh.
00:33:52Yeah, explain.
00:33:53The police will probably read this note, so I can't tell you where I'll be.
00:33:57But if you think back, you'll know where to find me.
00:34:00What am I, a mind reader?
00:34:02Well, it gives you a clue in this next line.
00:34:05I'll be out in the open under the sun in a place like the one where I first lost you.
00:34:09There is no first in things like these.
00:34:11This is kind of obscure.
00:34:12Does he always talk to you like this?
00:34:14No, it's our first murder.
00:34:17You know, Mrs. J, your husband's a pretty clever guy at that.
00:34:20No, you don't think so, but he is.
00:34:22He's testing you.
00:34:23He's asking you to admit that your marriage is a failure and that it's your fault.
00:34:27He's saying that he understands you, but that you don't understand him.
00:34:30Now, listen, Mr. Leggett of the graphic.
00:34:32I've had just about enough of the all-wise male.
00:34:35In the past ten hours, I've met three men.
00:34:38Three men who all put together haven't known Frank for one fraction of the length of time I have.
00:34:43Yet they all know him better than I do.
00:34:45Well, along the way, I found out a few things myself.
00:34:48I found out how Frank Johnson really feels about me.
00:34:51That at the first chance, his first excuse, he took off, ran.
00:34:55That he didn't even think enough of me to confide in me that he was ill.
00:34:58Then at the store, in the faces of those mannequins, I saw what he really sees in me.
00:35:03All right, it's okay if that's the way he feels about it,
00:35:06but if he wants his ampoules, he'll have to come out of hiding and get them.
00:35:11What did you have for breakfast?
00:35:13Cigarette and coffee?
00:35:14Cigarette.
00:35:14I thought so.
00:35:15Take us over to Lancey's on Powell.
00:35:17Lancey's?
00:35:18Okay.
00:35:19This place has the best waffles in town.
00:35:21Butter in every little square.
00:35:23View's always better on a full tummy.
00:35:27How about another one?
00:35:28No, no thanks.
00:35:30Now that I've got you softened up, Mrs. J., there's something that I have to tell you.
00:35:34You have to find your husband.
00:35:36No, or not for the money.
00:35:37I promise you are my story, but for yourself.
00:35:40He's challenged you.
00:35:41You've got to accept it or admit he's right.
00:35:43I really would like to find him.
00:35:45If only I could decipher the riddle in this letter.
00:35:47Together we can do it.
00:35:49That letter's like drawing a graph.
00:35:51One line is to Tracy's movements from last night.
00:35:53The other leads back into the past, but you have to remember.
00:35:56Where they cross, that's where your husband is.
00:35:59You need a manicure.
00:36:01So I do.
00:36:03You know, this is the first time in my life I ever insisted on helping a woman find her husband.
00:36:07That I believe.
00:36:08By the way, what do people call you besides the legged of the graphic?
00:36:13Oh.
00:36:14Oh, people that like me call me Danny Boy.
00:36:19Okay, Danny Boy.
00:36:25Fisherman's War.
00:36:26Frank used to come here a lot.
00:36:28I remember once he did a watercolor of a boat.
00:36:31A fisherman admired it, so Frank just gave it to him.
00:36:35Not to be outdone, the fisherman gave Frank a big swordfish.
00:36:39I made a remark about the joys of living for the Barter system, and we had a bitter quarrel.
00:36:43But it certainly wasn't the first one.
00:36:45Do you think Frank was referring to a quarrel when he said, where I first lost you?
00:36:49What else?
00:36:51Another one started up here on Telegraph Hill.
00:36:54Frank did a canvas of the harbor from here that I thought was wonderful.
00:36:57When I told him so, he insinuated that my taste in art ran to calendars.
00:37:02I said my taste was my own, and I wanted the paint.
00:37:05So he gave it to me.
00:37:06But he signed it, Eleanor's husband.
00:37:09Without telling him, I entered it in the contest they were having here at the art gallery.
00:37:13The oil by Eleanor's husband won first prize, $500.
00:37:19But do you think Frank was pleased when he found out?
00:37:22Oh, no.
00:37:23He refused the money and withdrew the painting.
00:37:26Said he wasn't ready yet.
00:37:27Sounds pretty stubborn.
00:37:29Stupidly stubborn.
00:37:30I wonder if he ever really wanted to be successful.
00:37:34Soon after that, he took the job at Hart and Winston's.
00:37:36You know, the only thing we know for sure is that Frank was at the Oriental Gardens last night.
00:37:41Now we're in the neighborhood.
00:37:42Let's drop in.
00:37:43Yeah, he sat around the missing room until we came down to do the one o'clock show.
00:37:46Then he said he was going to make a phone call.
00:37:48Then Frank wrote the letter.
00:37:49He said to get in touch with you.
00:37:51That he was going to send the letter to a store, care of Mr. Mavis.
00:37:53Haven't I seen you someplace before?
00:37:56Shouldn't be surprised.
00:37:57I've been there.
00:37:57But didn't he say what he was going to do or where he might go?
00:38:00I didn't want to pump him.
00:38:01Say, why don't you try Sullivan?
00:38:02Who's Sullivan?
00:38:03He's a grand mick.
00:38:04Runs a bar across the street.
00:38:05Come on, I'll show you.
00:38:06You can go down the back stairs.
00:38:08Now I know where I've seen you before.
00:38:10Last night.
00:38:11Sure, I was in with Mrs. Johnson.
00:38:13No, I mean the picture that Frank drew.
00:38:15Picture?
00:38:17What picture?
00:38:18Of me?
00:38:19Well, it looks something like you.
00:38:20You know how Frank's always drawing pictures.
00:38:23Did he say who this man was?
00:38:25No, no, he didn't.
00:38:26I wonder if I should have told the cops about it.
00:38:28Oh, well, they'll be back.
00:38:29The man that was in said so.
00:38:31Susie, quit gagging.
00:38:33Do you still have the picture?
00:38:35Maybe I could run it in the paper.
00:38:36Yeah, it's upstairs in my dressing room.
00:38:38I better keep it, though.
00:38:39Hey, Leggett, are you sure you want to help find Frank?
00:38:43Say, don't forget that plug in the paper about us.
00:38:46We can sure use it.
00:38:49Okay, take it from the top.
00:38:50Well, I've got to go see our agent.
00:39:11I've heard about this place for years.
00:39:13I've never been here before.
00:39:22What do you have, folks?
00:39:23You hungry?
00:39:24Specialty today, corn, beef, and cabbage.
00:39:26Or egg foo-ya.
00:39:27No food.
00:39:27Genova rocks for the lady in old-fashioned for me.
00:39:30I think I'll call a paper and see if anything's broken.
00:39:32You can get more out of him alone anyway.
00:39:35Sir, why don't you wear a hat?
00:39:37I look funny in hats.
00:39:39You didn't know you were right?
00:39:47No, I didn't drop a knuckle.
00:40:07Yes, Mrs. Johnson.
00:40:08Frank was in here last night, just before closing time.
00:40:10Did he say where he was going?
00:40:12No, he didn't.
00:40:13Just barred ten bucks is all.
00:40:14Well, maybe I should tell you, there was a couple of fellas in here this morning asking
00:40:18about Frank, fellas that you couldn't very well say, mind your own business to.
00:40:22Is he in some sort of trouble, Mrs. Johnson?
00:40:24Some.
00:40:25He didn't come home last night.
00:40:27They're all alike.
00:40:28I've been looking for mine for three years.
00:40:32I'm glad I finally met you, Mom.
00:40:34I often wondered what kind of a woman Frank was married to.
00:40:37Not that I imagined he was too easy to live with, being so quiet and moody and strange
00:40:41at times.
00:40:42For instance, now look at this picture.
00:40:44Look at the date he put on it.
00:40:46Frank painted this for me about six months ago.
00:40:48It was on St. Patrick's Day.
00:40:49But look at the date on it.
00:40:51March 17, 1947.
00:40:54Well, I suppose it's an artist's privilege.
00:40:56March 17, that's Frank's birthday.
00:40:591942.
00:41:02We spent the day on the beach at Cypress Point.
00:41:05Then we suddenly decided we had to see the sunset from the top of the mark.
00:41:08So we drove to San Francisco.
00:41:10We had a car then.
00:41:12We had champagne cocktails and watched the sunset over the Golden Gate.
00:41:15After all, it was Frank's birthday and St. Patrick's.
00:41:18We had a beautiful dinner at Andre's and Cafe Diablo at Amigos.
00:41:22Then we drove back to Carmel in the softest moonlight I've ever known.
00:41:26Ah, there's nothing like being young and in love.
00:41:28And daft.
00:41:29To boot.
00:41:30What?
00:41:31Daft.
00:41:31To boot.
00:41:32Well, I guess people are entitled to do crazy things on their birthday.
00:41:36This year we didn't.
00:41:37I went to a movie.
00:41:39Frank came down here and painted that picture.
00:41:42Now I know what Frank meant when he said someone should have been in that picture with him.
00:42:06I have a notion if your husband could have seen your face when you were telling him about that birthday
00:42:10party in 1947,
00:42:12he'd have painted you right smack in the middle of that picture with his arms around you.
00:42:16Sorry, Ursula.
00:42:17Oh, Mr. Leggett of the graphic, Mr. Sullivan.
00:42:19He's helping me look for Frank.
00:42:21Hi.
00:42:22Freshen up a little, will you?
00:42:23Now hold the garbage.
00:42:24You?
00:42:25No, I'm fine.
00:42:27Get something?
00:42:28Something I hadn't counted on.
00:42:30What?
00:42:31Frank still loves me.
00:42:32It's a big help.
00:42:34I think so.
00:42:35If it'll help any.
00:42:36Frank asked me how early the Army and Navy stores opened the windows down on the Embarcadero.
00:42:41Oh, he's getting smart.
00:42:42He's changed his clothes.
00:42:43What do you say we cover it?
00:42:45Oh, I, uh, I'm sorry I was so rude a moment ago, but it's always discouraging to hear a wife
00:42:50say that her husband loves her.
00:42:51What do you write?
00:42:52Comic strips?
00:42:53Never more serious in my life.
00:42:56What's the damages?
00:42:57Oh, it's on the house.
00:42:58I hope you find him, Mr. Johnson.
00:42:59Thanks.
00:43:00No use looking, honey.
00:43:04Once they're gone, they're gone.
00:43:25How did it happen?
00:43:26I was walking along and she almost hit me.
00:43:29She must have fell from the Oriental Roof Garden up there.
00:43:33Who is she?
00:43:34She's one of the dancers from the show.
00:43:41Maybe a drink, Sammy?
00:43:43It helps sometimes.
00:43:45No, thanks.
00:43:46Hi, Sammy.
00:43:47Let him alone, can't you?
00:43:49I just heard about it.
00:43:50I'm sorry.
00:43:52I can't understand it, Inspector.
00:43:54Susie was happy.
00:43:55We were doing great.
00:43:57There was no reason for it.
00:43:58Sometimes we don't know what makes people tick, even the ones closest to us.
00:44:02I just can't believe she killed herself.
00:44:05Well, maybe she didn't.
00:44:07Inspector, how else?
00:44:07Well, it could have been robbery.
00:44:10She might have surprised somebody in the dressing room.
00:44:12Did you check her stuff, see if anything was missing?
00:44:14No.
00:44:15Well, do it now.
00:44:23We've been through almost all of these places, and we still haven't found a lead on Frank.
00:44:27That's the fifth place.
00:44:28Oh.
00:44:35Ah.
00:44:43No, no, no, no.
00:44:50I can't believe me.
00:44:50Hey, I can't believe you.
00:44:52I can't believe you.
00:44:56No, no, no.
00:44:56Of course?
00:44:56I can't believe you.
00:44:58Mind if I look at this coat?
00:44:59That's a man's coat.
00:45:01Mind if I look at it?
00:45:02Say, darling.
00:45:04That's Frank's coat.
00:45:05Where did you get it?
00:45:06None of your business.
00:45:07But that's my husband's coat.
00:45:08No, it ain't. It's mine.
00:45:10The fella came in here and traded that coat and four dollars for a pea jacket and a cap.
00:45:13When?
00:45:14When I opened up this morning.
00:45:15Where'd he go?
00:45:16How do I know? I just sell stuff. I don't watch people.
00:45:18Shut the door as you go out.
00:45:39I don't know.
00:45:40I think I'll show you a little bit.
00:45:41Well, I have no idea.
00:45:42I don't know.
00:45:42He might just call me to a convict.
00:45:43I'll ring a bell.
00:45:44I can't give me a bell.
00:45:45Even if he's going to be
00:45:45in the air in the air in the air.
00:45:50You guys are in the air.
00:45:52I'll叫 you in my hand.
00:46:00Look.
00:46:05Well, wouldn't you know, there he is, just like nothing had happened.
00:46:10Oh.
00:46:19Frank.
00:46:21I beg pardon?
00:46:23Oh, I'm sorry.
00:46:36I never knew there were so many land-going sailors in the world.
00:46:40All of them wearing pea jackets and seaman's caps.
00:46:47Beat, huh?
00:46:48Mm-hmm.
00:46:50I might as well admit it.
00:46:52I can't remember.
00:46:53No, thanks.
00:46:54There's not much sun left to find him under.
00:46:58If you think back, he said in his letter, you'll know where to find me.
00:47:06Danny, maybe if I'm alone, I can figure this out.
00:47:09I've got to go home anyway and feed the dog.
00:47:12He's been locked up all day.
00:47:13Oh, sure, sure.
00:47:15I could meet you later someplace.
00:47:16But how about picking me up at the corner of Montgomery and Union Streets when you're ready.
00:47:20It's not much out of your way.
00:47:21All right.
00:47:22I'll meet you there in an hour.
00:47:27Uh-oh.
00:47:29Looks like your shadow's finally caught up with you.
00:47:43Are you as tired as I am?
00:47:45I beg your pardon.
00:47:47Come on.
00:47:47There's no need for spending two cab players.
00:47:49We might as well go together.
00:47:50But, well...
00:47:50Oh, come on.
00:47:51At least you'll have someone to talk to.
00:47:53Uh-oh.
00:48:11As a taxpayer, I thank you.
00:48:26Hello, Rembrandt.
00:48:28I'll be with you in a minute.
00:48:29Hi.
00:48:32What, you again?
00:48:33Who let you in?
00:48:34Landlord.
00:48:35Do you mind?
00:48:36Oh, no.
00:48:37Make yourself at home.
00:48:38I love having cops move in on me.
00:48:40Where's the letter?
00:48:40Don't pretend you don't know what I'm talking about.
00:48:42I mean the letter your pal picked up at Hart and Winston's this morning.
00:48:45I want it.
00:48:46He's all knows all, except where Frank is and who the killer is.
00:48:50Why don't you go back to jail or wherever it is you live and leave me alone?
00:48:53Oh, no.
00:48:54The merry-go-round's over.
00:48:55This case is going cold on me and you're the only live thing in it.
00:48:58So from now on, I'm sticking with you.
00:49:00That's just peachy.
00:49:03Oh, I'm bushed.
00:49:04You ought to be.
00:49:05You covered a lot of territory today.
00:49:07My men are bushed, too.
00:49:08You should be more considerate.
00:49:11Can you make anything out of this letter?
00:49:13It's pretty cryptic.
00:49:13Not yet, but I'm working on it.
00:49:16Sounds like a guy in love.
00:49:19You think so?
00:49:20Yeah.
00:49:22I'll be out in the open, under the sun, in a place like the one where I first lost you.
00:49:28That kind of lays it right in your lap.
00:49:30Doesn't it mean anything to you?
00:49:32I wish it did.
00:49:34I'm glad you're not bringing me my medicine.
00:49:36Oh, don't worry.
00:49:37I'll find you.
00:49:38And I'll be right there with you when you do.
00:49:41Where you go, I go.
00:49:47Would you insist upon going with me if I walk the dog?
00:49:50I walk him.
00:49:51Anyway, there's a man out front, one in back and one on the roof.
00:49:54Fine.
00:49:55I'm staying right here, then.
00:49:56So am I.
00:49:57We'll just wait till your husband comes to you or you can't stand the strain any longer and go to
00:50:01him.
00:50:02Look, Mr. Ferris.
00:50:04Maybe you were right in some of the things you said.
00:50:07Today I discovered a lot about Frank I never knew before.
00:50:09In one day, what you couldn't find out in four years.
00:50:13I guess I was the one that was next to him.
00:50:15A lot of it's my fault, anyway.
00:50:17I haven't been much of a wife.
00:50:19Well, that's quite an admission from you, Mrs. Johnson.
00:50:22Please.
00:50:23You've got to give me a chance to see Frank alone and give him his medicine.
00:50:27Then if he wants to come in and testify, that's up to him.
00:50:29But it's got to be his choice.
00:50:31I won't try to influence him one way or the other.
00:50:33Whatever he does is all right with me.
00:50:35But you've got to let me see him alone first.
00:50:37I believe you and I'd like to help you, but I'm a cop.
00:50:40If Frank keeps on running, I'll have no witness to say nothing of a job.
00:50:49He's hungry.
00:50:50Couldn't you have fed him, too?
00:50:52He couldn't figure out how to work the can opener.
00:50:54Can I use your phone?
00:51:03Hello, Ferris.
00:51:04Anything come in?
00:51:06Keep it going till we get results.
00:51:08I think we're getting warm.
00:51:10Shawty.
00:51:12Put him on.
00:51:37Not even me.
00:51:49He's hungry.
00:51:49There's nothing that didn'tない.
00:51:51He didn't fill my mouth.
00:51:52Just look at theoxy Jeffress.
00:51:53He's hungry.
00:51:53But what do you want me to add to him?
00:51:54I'm hungry.
00:51:57He's hungry.
00:51:57I'm hungry.
00:52:11I'm sorry, Rembrandt, it's the only thing I can think of.
00:52:26Mr. Ferris. Yeah? I'm worried about Rembrandt. He was so hungry and now he won't touch his food. That's funny.
00:52:37And his nose is so hot. Maybe I'd better take him to the bed. I'll take him. I like dogs.
00:52:42Oh, thank you.
00:52:44Get your shoes.
00:52:49His temperature is normal. In fact, he seems to be in perfect health.
00:52:52But I'm worried about him, Doctor. He won't eat. Maybe he isn't hungry.
00:52:55Perhaps he should stay here for a few days for observation. May I take a look at your exercise yard?
00:53:00Oh, yes. Right out that door, across the hall. And Doctor, see if you can't coax him to eat something.
00:53:05Hmm.
00:53:11Doctor, I wish you'd look at Emelyn. I'm not the doctor. I'm here for treatment myself.
00:53:17I beg your pardon? Oh, your wife thinks you ought to leave the dog for observation.
00:53:19That woman's not my wife.
00:53:35Sirius was there when I got back. He knew about Frank's letter.
00:53:38Well, that doesn't surprise me anyway. Check that.
00:53:40Danny, I've been thinking. Why did Frank send it to Hart and Winston's?
00:53:44I didn't want to intercept it. Why not leave it with Simon Chung, then?
00:53:47Or give it to anybody he knew would bring it to me. Why Mabus at the store?
00:53:51You mean, you think there's a reason? Something you missed?
00:53:53Yes. Something I didn't see. Something I overlooked.
00:53:57Driver, take us to Hart and Winston. Okay.
00:54:13Weary, bitter, cynical.
00:54:21Fresh, eager, and hopeful.
00:54:24The two Eleonors.
00:54:27Now I remember. One day on the beach at Carmel, just after we were married, Frank made a mermaid out
00:54:32of sand.
00:54:33It was supposed to be me. And a big wave came up and washed it away.
00:54:36And he said, well, I've lost you. And I said, you'll never lose me, Frank. I won't let you.
00:54:40That's what he meant in the letter. It wasn't a quarrel.
00:54:42This means something to you? You know where he is?
00:54:44I'll take you there.
00:54:45Inspector Harris wants to see you.
00:54:47Why?
00:54:47Look, he wants to see you.
00:54:49Where?
00:54:50Later.
00:55:01There.
00:55:07Oh no This is She.
00:55:17Hey.
00:55:23Who wants to see you?
00:55:24Who is going to see him?
00:55:24Then, alas, I take him back.
00:55:24Let's see him again, Victor.
00:55:26I'm sorry to have to ask you to do this, Mrs. Johnson.
00:55:29This man was found in an alley behind the gin mill on the Embarcadero.
00:55:33He's been brutally beaten to death.
00:55:36He wasn't wearing a trench coat,
00:55:37but he was wearing a seaman's cap and jacket.
00:55:40From what I remember of your husband, it could be him.
00:55:44I'm not sure.
00:55:46So I'll have to ask you to make positive identification.
00:56:20Let her alone.
00:56:22There goes the Freeman case.
00:56:25Two witnesses.
00:56:26Two dead men.
00:56:29That's the way it goes sometimes.
00:56:37Well, if anything that I could say would just be words.
00:56:45Danny, that wasn't Frank.
00:56:49For a quick moment, I thought it was,
00:56:51and I felt things I didn't know I could feel.
00:56:53What was I holding out for?
00:56:55Why didn't I learn to understand you?
00:56:58Why don't we give freely of ourselves when we can?
00:57:02If only I had another chance, I thought.
00:57:05Then I thought it wasn't Frank, and I fainted.
00:57:08Congratulations on your performance.
00:57:11But it wasn't an act. I really did faint.
00:57:15Where is he?
00:57:17Where is he?
00:57:18At the amusement park at the beach.
00:57:33You were there when it happened.
00:57:35Why can't you talk?
00:57:38That Johnson dame's a smart cookie.
00:57:40Yeah.
00:57:41I wonder where she got the idea of passing that stiff off as her husband.
00:57:44Somebody had to pass him off?
00:57:46Sure.
00:57:47The guy she identified was the second mate off the tanker.
00:57:50Just been paid off.
00:57:51Somebody rolled him for his dough.
00:57:52Why wasn't I told?
00:57:53The fingerprint report just came.
00:57:56Pick me for a knucklehead.
00:57:58Get down to the taxi stand.
00:57:59Check and find out where they took her.
00:58:10$1.80, sir.
00:58:18Hey, Mac.
00:58:19Watch my cat.
00:58:20We didn't want to get a hamburger.
00:58:21Okay, bud.
00:58:38Let's put this on right away.
00:58:42All units in the Bay Area, be on the lookout for one yellow cab, number 323.
00:58:46License number in the 7 column, 49 Frank 762.
00:58:50Left hall of justice, approximately 6.30 p.m. this day.
00:59:02Right down there, beyond that railing at the Sands Club.
00:59:09He's been waiting for me all day, thinking I wouldn't remember.
00:59:13I almost didn't.
00:59:14I know.
00:59:15What is it?
00:59:17I couldn't talk to him there.
00:59:18There's too many people around.
00:59:20I couldn't get the kind of story I want.
00:59:21I know where I can meet him, but nobody will bother.
00:59:29Oh, look at the sand sculpture.
00:59:32I had an uncle that used to make statues.
00:59:34Only he made them out of ice.
00:59:35A small donation for the artist would be appreciated.
00:59:39Here you are.
01:00:15Yes.
01:00:19This thing's beginning to boil.
01:00:21We'll be right down.
01:00:23We're going to the beach.
01:00:24Come on, Rembrandt.
01:00:25What my eyes miss, your nose will smell.
01:00:29Come on.
01:00:58I don't like this place.
01:01:00It's a good spot.
01:01:02I used to come here with a girl when I was a kid.
01:01:05It's more frightening than romantic.
01:01:07That's the way love is when you're young.
01:01:10Life is when you're older.
01:01:12I'll tell Frank where you are.
01:01:15You sure you want to start over again with your husband?
01:01:18I'm sure I want to try. I'm not sure what he wants.
01:01:21Supposing he doesn't want to.
01:01:23Then I'll let him go. He'll never know how I feel about him.
01:01:28You think people can turn back and you're going to try.
01:01:31I know better.
01:01:33You're too cynical. It's your profession.
01:01:35It's too late now to change my profession.
01:01:39Okay.
01:01:40Go ahead, send him here.
01:01:42I'll bring him.
01:01:43No.
01:01:45What's the matter with you? Don't you still want the story?
01:01:49I guess I... I've got to have the story, but...
01:01:52My way.
01:01:54You send him back.
01:01:55I want to see him alone first.
01:01:57If you want the money, I'll talk to him alone.
01:01:59All right. If that's the way you want it, I'll send him.
01:02:31You tell us, get over there and cover the fieldside.
01:02:33Yes, right, sir.
01:02:34You get up there.
01:02:35Make like a gate.
01:02:36If Johnson tries to come through, arrest him.
01:02:37Watch out.
01:02:38We're failing to curb his dog on a public park.
01:02:40I'm cutting in to the other end of the field.
01:02:48Hey, how are we doing?
01:02:51771.
01:02:52Huh?
01:02:54That's better than I do on some Sundays.
01:02:56Thanks for taking care of things.
01:02:58Not the first day I've had off in years.
01:03:00You know what I've been doing all day?
01:03:02Riding back and forth, back and forth.
01:03:04Been here in Sausalito on my old ferry boat.
01:03:07Look, I can't stick around here anymore.
01:03:08I've got to get out of here.
01:03:10Hey, Cap, I hate to ask you, but...
01:03:15Won't take you very far.
01:03:17Here's the keys to my car and the ticket.
01:03:21Find it over in the parkway.
01:03:22Tank's full.
01:03:23Thanks, Cap. I'll get it back here.
01:03:25You better.
01:03:54Frank!
01:03:56Frank!
01:03:57Be pardon, lady.
01:03:58Where's Frank? What happened to him?
01:04:00Who?
01:04:00Frank Johnson.
01:04:02Never heard of him.
01:04:20Sorry, Mrs. Johnson, but I had to be careful.
01:04:23Frank waited all day and said he couldn't wait any longer.
01:04:25So I loaned him my car about five minutes ago.
01:04:27Where'd you go?
01:04:28Over at the parking lot at the other end of the midway.
01:04:39I lost a bet with myself.
01:04:41Did you want to win?
01:04:46As ordered, delivered.
01:04:48Late as usual.
01:04:50But delivered.
01:04:53Let's get out of the lake.
01:04:58Keep an eye out for us, will you, Cap?
01:05:10Why didn't you tell me about your heart?
01:05:12Oh, you know, doctors.
01:05:14They make a big deal of everything.
01:05:17Guess it was a silly thing to do, writing that corny note.
01:05:20It sounded like you'd had a couple of dreams.
01:05:22I had.
01:05:24By the time I finished the drinks and the letter, I was a pretty sad character.
01:05:29Well, I can't hide out here forever.
01:05:32Would you want to?
01:05:33Well, get a job in another town.
01:05:35Pretty fair window trimmer.
01:05:37Pretty good artist, too.
01:05:39We've got to pull out of this.
01:05:42We?
01:05:44Yes.
01:05:45If this excitement hasn't killed you, I'm sure I can't.
01:05:47We'll get out of town where you'll be safe.
01:05:50Can't go very far.
01:05:51I've got $7.71.
01:05:54Borrowed that from the captain.
01:05:55There's a fellow named Leggett, a reporter from the graphic.
01:05:58He helped me find you.
01:05:59He's promised to give you $1,000 for an exclusive.
01:06:02That's a lot of money for the little I can tell you.
01:06:04Well, his paper must think it's worth it, so buy a little gift to us in the mouth.
01:06:07But where is he?
01:06:08Over by the roller coaster.
01:06:09Come on, I'll show you.
01:06:10Hey, you, turn around.
01:06:11You know an artist named Frank Johnson?
01:06:13Who?
01:06:14Frank Johnson.
01:06:16An artist.
01:06:17Did a sketch of you.
01:06:18I saw it.
01:06:20Could be, but I don't remember.
01:06:22Oh, gee, I just work here.
01:06:24Used to be a ferry boat, Captain, though.
01:06:28No.
01:06:44Now, where are we?
01:06:45Over there, under the roller coaster.
01:06:47Go all the way at the end of the walk and duck in under the scaffold.
01:06:49Okay.
01:06:50Here's the ticket.
01:06:51The key's for the captain's car.
01:06:52It's parked down at that end of the meeting.
01:06:53Yes, I know.
01:06:54Well, I'll meet you there.
01:06:55No, I'd better bring it here.
01:06:57You've got to stay out of sight.
01:06:58I can't let anything happen to you now.
01:07:05Nothing can happen to me now.
01:07:07Remember that man shot, Ansel?
01:07:10How did you know that wasn't in the paper?
01:07:13Ferris told me.
01:07:14Nobody else knows it.
01:07:16Nobody.
01:07:16The guy that fired the shots.
01:07:27You'd better go now.
01:07:29I'll be back as soon as I can.
01:07:36Hey, Mark.
01:07:37The prowl car out at the end has just got word for you to call in.
01:07:40Johnson hasn't passed me yet.
01:07:55Oh, I haven't got time to talk to him now.
01:07:58That's MacDonald and Murray's case.
01:07:59But he says he has some information you wanted.
01:08:01Hold on.
01:08:04Hello, Inspector.
01:08:05Remember you asked me to check all of Susie's things to see if anything was missing?
01:08:08Sammy, I'm busy.
01:08:10I'll see you tomorrow.
01:08:11I just wanted to tell you that nothing was missing, except that sketch that Frank drew on the bank of
01:08:15a menu.
01:08:15Sketch?
01:08:16Who?
01:08:17I don't know.
01:08:18But Susie said it looked like that newspaper man that was in the club this afternoon with Mrs. Johnson.
01:08:22That good notice he was going to give us won't do Susie any good now.
01:08:33What happened?
01:08:34Where's Frank?
01:08:35He's on his way to meet you, but Paris is here with the dog.
01:08:37Paris.
01:08:39But that stiff in the morgue was a plant.
01:08:41He's a pretty sharp fellow.
01:08:43Let's get off to Midway.
01:08:59Come on, now.
01:09:00Never look for us in here.
01:09:01But these things make me sick.
01:09:03Stay in your seats, folks.
01:09:05The second ride is half past.
01:09:07I'll never ride this thing again.
01:09:10Ride up, sir.
01:09:20All right, Eddie.
01:09:21Take it away.
01:09:22Don't stand up in your seats, folks.
01:09:24This is the greatest thrill of your lifetime.
01:09:37Ride only takes a couple of minutes.
01:09:39Besides, when we get to the top, we can see if Frank's there.
01:09:42Oh, he must be there by now.
01:09:45Oh!
01:09:49I don't see him.
01:10:07Where is he?
01:10:08I don't know.
01:10:21I don't know.
01:10:35Fire!
01:10:36Fire!
01:10:41Hey, buddy, where do you think you're going?
01:11:22The second ride is only half mad.
01:11:28You stay on for another ride.
01:11:30I'll go see what's happened to Frank.
01:11:31I want to go with you.
01:11:32No, with Ferris outside, together we'd be too conspicuous.
01:11:35But Danny.
01:11:35Ferris traced you here.
01:11:36If he found you, someone else could follow you, too.
01:11:38Second ride, half mad.
01:11:41The lady will go again.
01:11:42OK, Eddie, take it away.
01:11:45Forget it.
01:11:46The brother shot at him last time.
01:11:47If they tried to kill him once, they'll do it again.
01:11:52Forget it.
01:11:53The brother shot at him last time.
01:11:54If they tried to kill him once, they'll do it again.
01:11:57Nobody knows that except your husband.
01:11:58The killer is now you.
01:11:59Nobody knows that except your husband.
01:12:01The killer is now you.
01:12:05Me, me, me, me, me, me, me.
01:12:15Why are you waiting?
01:12:20Me.
01:12:22Me, me, me?
01:12:24Me, me, me, me.
01:12:27Speak.
01:12:29Break! Break! Break! Go! Break me!
01:12:39Break! Break me!
01:12:43Break!
01:13:04Break! Break! Break! Break! Break! Break! Break! Break!
01:13:18Frank? Frank Johnson?
01:13:20Yeah? Is that you, Mr. Leggett?
01:13:23Be careful. There's a loose plank over here.
01:13:27I know.
01:13:36Why don't you get it over with?
01:13:48I don't have to, Frank.
01:13:52You got a bad heart.
01:13:55You can't stand tension.
01:14:00You're going to kill yourself.
01:14:32You're going to kill yourself.
01:14:32Look out!
01:14:48The second ride is half past, folks. Take advantage of the second ride. It's only half past.
01:15:03What's your first, Mrs. Johnson?
01:15:46I had to do it, Mrs. Johnson. That's like it down there. Your husband's safe.
01:15:52Where's Frank?
01:15:53Out there, on the midwife.
01:16:03Go see myself.
01:16:05You're not.
01:16:08Brother Paul who's working with you?
01:16:12You're not.
01:16:13Brother, you're a toughserie 내가 할 땐?
01:16:28You're a Dobie!
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