- 2 months ago
Welcome everyone to my little channel. In today's feature from 1950 called Woman On The Run, we have murder, extortion, love lost and love regained, even a rollercoaster ride. We start out in San Francisco, where an artist named Frank Johnson unfortunately witnesses a murder. Not only that the gunman see him watching him and decides he has to go too. Luckily for Frank the gunman is a lousy shot. Soon enough the police show up and want to detain Frank and help them in their investigation, for you see the murder victim was a trial witness. But Frank is having none of it, so he runs and goes into hiding. Now Frank has an estranged wife named Eleanor. Eleanor still loves Frank and will not give up on him. The police ask Eleanor for help in finding Frank but not only is the police asking for help but a reporter named Danny Legget. I don't know, with a name like Legget. Sounds suspicious to me. Anywho, Frank leaves Eleanor a bunch of clues to find him, for he's not trusting anyone. Soon everyone is following her, another murder ensues and next we're on a rollercoaster at the beach. Will Eleanor and the police find Frank in time? Is Danny really a reporter?, or a legman with a secret agenda and does love really win out?. This and more will be answered, all we have to do is watch. Staring in this...where is Waldo's brother Frank? we have...Ross Elliott as Frank Johnson, the lovely Ann Sheridan as Eleanor Johnson, Robert Keith as Inspector Martin Ferris, Dennis O'Keefe as Daniel Legget, John Qualen as Maibus, Frank Jenks as Detective Shaw, Victor Sen Yung as Sam and many more. So lets put on our Fedoras, break out the bourbon and enjoy. Thanks so much for watching.
(No copyright infringement intended, this film is of in the public domain. If Dailymotion wishes me to remove this film for some reason, I will. For entertainment only)
(No copyright infringement intended, this film is of in the public domain. If Dailymotion wishes me to remove this film for some reason, I will. For entertainment only)
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FunTranscript
00:03:04Got a cigarette, Danny boy?
00:03:07Now, my proposition's quick and easy, Danny.
00:03:10We split the 20.
00:03:11Five for you, 15 for me, and I take it on the land.
00:03:15Live and let live's my motto.
00:03:19Oh, that look in your eyes, Danny, is painful to me pride.
00:03:27Danny boy, don't kill me.
00:03:29Danny boy, don't.
00:03:50I'm going to kill you.
00:04:01Hey, what happened? What's going on down there? Were those shots?
00:04:04You'd better call the police. It's been a murder.
00:04:22Evening, Inspector.
00:04:24Hi, boys.
00:04:26Always happens in the middle of the night.
00:04:28Yeah.
00:04:31That's Joe Gordon, all right?
00:04:32Yeah.
00:04:33He won't be doing much testifying now.
00:04:36Convenient for Smiley Freeman.
00:04:38Yeah.
00:04:39Peddler over there with the dog says he saw it.
00:04:41Yeah?
00:04:44Is the knock over here yet?
00:04:45Not yet, Inspector.
00:04:46What's this guy's name?
00:04:47Frank Johnson. Lives around here.
00:04:49Claims he was out walking his dog.
00:04:52Hi, Mr. Johnson.
00:04:54Inspector Farris. Homicide detail.
00:04:57Understand you had a front seat.
00:04:59I sure did.
00:04:59Get a good look at the killer?
00:05:01Too good.
00:05:02That street light was right on his face when he got out of his car and shot it.
00:05:05Shot at you?
00:05:06Twice.
00:05:07You're lucky he missed.
00:05:09Think you'd recognize him? You saw him again?
00:05:11That's not a face I'm likely to forget.
00:05:14Pick him out of a lineup?
00:05:16I think so. Yeah.
00:05:18Say, what's this all about anyway?
00:05:19The dead man, Joe Gordon.
00:05:21He was going to testify before the grand jury next week.
00:05:24That's tough.
00:05:25Not too.
00:05:26He had a bad record.
00:05:27He knew too much about Smiley Freeman.
00:05:29You know who Smiley Freeman is?
00:05:30The gangster?
00:05:31That's right.
00:05:32Gordon was our witness.
00:05:33Now, you're it.
00:05:35Me?
00:05:35Yeah.
00:05:36All you have to do is identify the killer. We'll do the rest.
00:05:41Married?
00:05:42In a way.
00:05:44What do you mean, in a way? Are you or aren't you?
00:05:48Yeah, I am.
00:05:49Where do you live?
00:05:50Right over there.
00:05:51136 out to Linda.
00:05:52Apartment 4D.
00:05:53Pick up Mrs. Johns and bring her over here.
00:05:56Okay.
00:05:56Hey, don't wake her up.
00:05:58She's not going to like it.
00:06:00Well, she'll want to know where you are, won't she?
00:06:03We're taking you down to headquarters.
00:06:05Headquarters? What for?
00:06:08Protective custody.
00:06:10I see what you mean.
00:06:12Now, where were you standing when he shot at you?
00:06:13Oh, right down there.
00:06:15Show me.
00:06:17Well, I was right down there with the dog when the car drove up.
00:06:20I didn't pay much attention to it.
00:06:22Little bit later, I heard a shot.
00:06:24I looked up just in time to see this fellow, what's his name, fall out of the car.
00:06:27Then the killer pumped another shot right into him.
00:06:30My dog barked.
00:06:31He got out of the car, started to shoot at me.
00:06:35I ducked and he drove away.
00:06:37What kind of a car?
00:06:37I don't know.
00:06:38A light coupe.
00:06:39They all look alike to me.
00:06:42Well, his aim was all right.
00:06:43He was just shooting at the wrong target.
00:06:46He thought your shadow was you.
00:06:53Will you go call Reardon?
00:06:55Maybe he won't miss next time.
00:06:57There won't be any next time.
00:06:58Yeah, but suppose you don't get a conviction, then what?
00:07:00Do I have to spend the rest of my life with police protection?
00:07:03Or wind up on a sidewalk like him?
00:07:05What are you worried about?
00:07:06He missed, didn't he?
00:07:07Stay here a minute.
00:07:08We'll get the rest of the story downtown.
00:07:13I hate to get mixed up in this.
00:07:15Yeah, it's getting so a man has to be careful where he's looking these days.
00:07:19Take it easy.
00:07:20Keep out of here, will you?
00:07:21Say, I think I dropped my pipe somewhere around here.
00:07:24Is it okay if I look for it?
00:07:25Remember where you had it last?
00:07:26Yeah, it was right over here somewhere.
00:07:28What's the matter, bud?
00:07:29I just can't give you the information.
00:07:30Come on, get out of here, will you?
00:07:39Pick up Smiley Freeman and everybody connected with him.
00:07:42Put him in a lineup, see if Johnson can identify anybody.
00:07:45I want everybody.
00:07:46No excuses, no lawyers, I want everybody.
00:07:49See if he can pick up anything on that car.
00:07:52Somebody may have seen it.
00:07:59Mrs. Johnson, that's not your husband.
00:08:02The man was killed, he saw it happen.
00:08:04He, he's right over here.
00:08:07Sorry I had to get you out of bed, Mrs. Johnson.
00:08:09After all, we had to make sure that he had a wife.
00:08:16Where is he?
00:08:16He took a powder.
00:08:18Sergeant, pick up Johnson.
00:08:19The idiot will get himself killed.
00:08:20Cover the park.
00:08:21Just like him, always running away.
00:08:23What do you mean, always running away?
00:08:25Running away from what?
00:08:26From everything.
00:08:27Broadcast description.
00:08:28White, male, American.
00:08:29With a trench coat, soft brown hat.
00:08:32A very ordinary looking fellow, I'm afraid.
00:08:34Yeah.
00:08:35Well, how would you describe your husband, Mrs. Johnson?
00:08:38I couldn't.
00:08:38I haven't been able to for a long time.
00:08:41May I go now?
00:08:43Come on, you might.
00:08:45Nice dish, huh?
00:08:46Nice looking dish.
00:08:48I want everything shut off.
00:08:49Bridge controls, roadblocks, everything.
00:08:52I'll stick with her.
00:08:53Right.
00:08:56Did you hear the shots fired?
00:08:57How could I?
00:08:58I was in bed, sound asleep.
00:09:00Find any pictures of him?
00:09:01No, but plenty of her.
00:09:02Just some tired snaps of him.
00:09:04They won't do anybody any good.
00:09:06But keep them.
00:09:11It's books on psychology.
00:09:13I wonder why.
00:09:14Has he got a problem?
00:09:16I wouldn't know.
00:09:18Maybe he's confused.
00:09:20Aren't we all?
00:09:23Pipe smoker.
00:09:24Mmm.
00:09:25What does that mean?
00:09:26Nothing.
00:09:32Oh, he's got two suits.
00:09:34One of which he's wearing.
00:09:36Well, what does he get what he looks like?
00:09:37Nobody pays any attention to him anyway.
00:09:40Not even his wife.
00:09:41You're really wasting your time.
00:09:43There must be at least 20,000 men in San Francisco
00:09:45who answer that description.
00:09:47How are you going to find him?
00:09:48There'd have to be something different about him.
00:09:50Different anyway from other people.
00:09:51There is something different about him.
00:09:53There's something different about everybody.
00:09:54And we're gonna dig till we find out what it is.
00:09:57Now you see our problem, Mrs. Johnson.
00:09:59Why won't you help us?
00:10:00I'm helping.
00:10:00What do you want me to do?
00:10:01I want you to answer a few questions.
00:10:03Go ahead, ask.
00:10:04Now, where does he generally go when he's not at home?
00:10:06I haven't the faintest idea.
00:10:07Has he any relatives in this area?
00:10:09No.
00:10:09Who are his friends?
00:10:10I don't know his friends.
00:10:11The dog is our only mutual friend.
00:10:13You always go to sleep when he walks the dog?
00:10:15No, sometimes he goes to sleep and I walk the dog.
00:10:20Say, Inspector.
00:10:21Here are a couple more.
00:10:23Oh, I'm terribly sorry.
00:10:25There's been a mistake.
00:10:26Release these men at once.
00:10:28Keep digging.
00:10:29Okay.
00:10:29Every man between the ages of 35 and 40 who is out tonight
00:10:32is wearing a trench coat and a snap brim felt.
00:10:35All of them 5'11", weighing 170,
00:10:37and all of them scared to answer questions.
00:10:39The domestic situation in this town must be terrible.
00:10:42Yeah.
00:10:43Kitchen?
00:10:44Well, it's got a stove in it.
00:10:53Hey.
00:11:01Don't you eat anything but dog food?
00:11:03He's not particular and I'm lazy, so we eat out.
00:11:06Where?
00:11:07Well, let's see.
00:11:08The corner drugstore,
00:11:09the lobster grill at the wharf when we're in that neighborhood,
00:11:12and when we get real fancy, Manlo's Oriental Roof Garden.
00:11:15Those usually.
00:11:16We're creatures of habit, I'm afraid.
00:11:18Check the Oriental Roof Garden.
00:11:19They'll still be open.
00:11:20Yes, sir.
00:11:20It's 2 o'clock in the morning.
00:11:21How am I going to explain this at home?
00:11:23What's going on here?
00:11:24I'm sorry.
00:11:25There's been a mistake.
00:11:25He's sorry.
00:11:26What am I going to tell my wife?
00:11:27Come on.
00:11:31What did you and your husband quarrel about tonight, Mrs. Johnson?
00:11:34We don't have to have a reason anymore.
00:11:35Don't you have a decent picture of your husband?
00:11:38No.
00:11:38He doesn't like to have his picture taken.
00:11:40I don't want any photographs of him floating around that might get in the papers.
00:11:43The killer doesn't know what he looks like.
00:11:44Didn't he see him?
00:11:45No.
00:11:46He shot at his shadow.
00:11:48Shot?
00:11:48He shot at Frank?
00:11:49Twice.
00:11:50Nobody knows that except the killer, your husband, and now you.
00:11:52So let's keep it that way.
00:11:53It's important.
00:11:56He's really in danger then.
00:11:58Worried?
00:11:58I thought you were beyond worrying about him.
00:12:00I didn't say that.
00:12:02If he doesn't give himself up, you're really going to have something to worry about.
00:12:06We've got to protect him.
00:12:08Like you did the other witness?
00:12:09Joe Gordon would be alive right now if he hasn't had his lawyer spring him.
00:12:12Hey, Mark.
00:12:13Here's something.
00:12:14Prescription for Frank Johnson.
00:12:16Husband ill?
00:12:17No.
00:12:17He just likes to take medicine.
00:12:18What are these for?
00:12:19I don't know.
00:12:20He just likes to take vitamin pills, cold shots, anything.
00:12:27What's up here?
00:12:28Studio.
00:12:28My husband's an artist.
00:12:30Oh, I thought you said he worked at Hart and Winston.
00:12:32He does.
00:12:33He's in charge of displays down there.
00:12:35Oh, window trimmer, huh?
00:12:38Rembrandt, get down.
00:12:39You know you're not allowed up there.
00:12:42Rembrandt?
00:12:44It's the nearest we could ever get to owning one.
00:12:46Frank's little joke.
00:12:47Oh.
00:12:47He found the mud sitting on the street corner one night waiting for someone to adopt him.
00:12:51They recognized each other right away.
00:12:59Is this supposed to be you?
00:13:01Yes.
00:13:02It was a lovely autumn day.
00:13:04The wind was blowing through my hair.
00:13:07It was all very charming, but that was four years ago.
00:13:09That was Frank's Cyprus period.
00:13:11He had four important periods in his painting career.
00:13:15Say, how did you two ever happen to get together in the first place?
00:13:19I met him at a friend's house in Carmel.
00:13:21He wanted to paint and I was all for it.
00:13:23I had $5,000 and he had $2,000 in talent.
00:13:26So we got married.
00:13:28After Carmel, he became restless.
00:13:30So we went to Taos, New Mexico, where he painted Indians.
00:13:33That's an Indian.
00:13:34Yeah.
00:13:35Then he got tired of Indians.
00:13:37So we went to Bucks County, Pennsylvania, where he painted old Dutch barns with hex signs on them.
00:13:42Say, did he ever do a self-portrait?
00:13:43He didn't like himself that much.
00:13:45Oh.
00:13:48You do these in Pennsylvania?
00:13:50No.
00:13:51We got restless again, so we came to San Francisco.
00:13:54Here he started sketching crummy old characters that hung around wars, missions and gin mills.
00:13:59That was his social protest period.
00:14:01Then our money ran out and he had to take a job.
00:14:03Couldn't sell the stuff, huh?
00:14:05He wouldn't try to sell it.
00:14:06Didn't think it was good enough.
00:14:07These sketchbooks are filled with great ideas.
00:14:09He never got around to painting.
00:14:10Well, didn't you try to get a job?
00:14:12Why should I?
00:14:13That's his responsibility, not mine.
00:14:17Friend to your husband's?
00:14:19No, that's his burlesque period.
00:14:21Now, that I like.
00:14:22It's pretty good.
00:14:23Yes, but it takes more than talent to have a career.
00:14:26You have to have staying power.
00:14:28Frank's a drifter, so when the money ran out, we just drifted.
00:14:31Who's this?
00:14:32Oh, some dance team over in Chinatown.
00:14:39Know him?
00:14:40Oh, he's a retired ferry boat captain who does sand sculptures at the beach.
00:14:45Oh, I knew who that is.
00:14:47That's Rembrandt.
00:14:49What is all this got to do with finding Frank?
00:14:51You just answer the questions.
00:14:53That is, if it doesn't hurt.
00:14:54Why should it hurt me?
00:14:55It's all passed and done with.
00:14:57If you want to snoop into the remains of our marriage, that's up to you.
00:15:03Don't touch that telephone.
00:15:05If that's your husband, find out where he is.
00:15:07But keep on talking.
00:15:25Hello?
00:15:25Hello.
00:15:26Oh, hello, Frank.
00:15:27Trace that call.
00:15:28Helena, that's something I want you to get for.
00:15:30I'm sorry to interrupt, but if I were you, I'd hang up.
00:15:33The police are tracing your call.
00:15:36Hello.
00:15:36Hello.
00:15:38Hey, hang up.
00:15:40Seems to me I heard music.
00:15:41Wasn't that music?
00:15:44You didn't do your husband a favor, Mrs. Johnson.
00:15:46It's bad enough to be alone in a big city with no place to go.
00:15:49But as soon as the newspapers hit the streets and the killer finds out he didn't get your husband,
00:15:53there'll be guys looking for him with guns.
00:15:55If I had a husband I wanted to get rid of, I'd do exactly what you did.
00:15:59If he wants to run away, that's his business.
00:16:01And your business too, Mrs. Johnson.
00:16:04I'll be seeing you.
00:16:11No wonder the world's full of bachelors.
00:16:16A little more needling is all she needs.
00:16:18Give her plenty of rope, but keep her tail.
00:16:20She wants to get rid of him.
00:16:21Women are curious.
00:16:22Even that dame will go after him.
00:16:24Come on, be a good fellow and let us up.
00:16:25Who's handling the case?
00:16:26Inspector Ferris.
00:16:27Oh, he's a friend of mine.
00:16:28Is that right, Inspector?
00:16:29Sure, we know him well.
00:16:30Hi, Ferris.
00:16:31What's the dope?
00:16:32No story.
00:16:32How about that Johnson gal?
00:16:34Is she good looking?
00:16:35What about the witness?
00:16:36What witness?
00:16:37Oh, cut it out.
00:16:38Cut it out.
00:16:39It's already gone to press.
00:16:40Did you get a look at the murderer?
00:16:41No.
00:16:42What's his wife like?
00:16:43Any filth?
00:16:44Lay off the tabloid sex stuff like it.
00:16:46I'll give it to all of you in the morning.
00:16:49Hiya, Homer.
00:16:50No favorites.
00:17:00No, what's happening?
00:17:08Oh, I'm so sorry.
00:17:10Oh, I'm sorry.
00:17:12Oh, I'll take it away from everyone, sir.
00:17:13Oh, no.
00:17:14Oh, no.
00:17:14Oh, no.
00:17:14Is that right, John?
00:17:16Oh, no.
00:17:18Oh.
00:17:18Oh.
00:17:19Oh, no.
00:17:23Oh, no.
00:17:23Oh, no.
00:17:30Let's go.
00:17:57You don't scream.
00:17:59You're coming out or going in?
00:18:01Are you the police?
00:18:02Smile when you say that. I'm a reporter.
00:18:04Oh, a newspaper man.
00:18:05Well, you don't have to say it like that.
00:18:07Let go of me. Go away.
00:18:13Are you just going to leave me dangling here?
00:18:15Well, you just said to let you.
00:18:16I don't care what I said. Help me get out of here.
00:18:18It's a pleasure, Mrs. J.
00:18:20You are Mrs. Johnson, aren't you?
00:18:22No, I'm the maid taking my night out.
00:18:26Oh, what magic I possessed.
00:18:29A moment ago, total strangers.
00:18:30Now you're in my arms.
00:18:31So it's love at first sight.
00:18:33Now show me how you got up here without the police seeing you.
00:18:36Do I get the story?
00:18:37After I get out of here.
00:18:38Follow me, then.
00:18:50It looks like half the police force is down there.
00:18:59Must I?
00:18:59Just look straight ahead like you did when you got married.
00:19:04Incidentally, my name's Leggett.
00:19:05Leggett at the graphic.
00:19:06We've got a dandy little sheet,
00:19:07all full of goo and gore and everything.
00:19:10Hey!
00:19:11Bye.
00:19:50You wish something?
00:19:52Gin over rocks.
00:19:53Rocks?
00:19:53Is this chair taken, madam?
00:19:55Why, thank you, Mrs. Johnson.
00:19:56I'd love to join you.
00:19:57You didn't think you were going to get rid of me as easy as you ducked the police, did you?
00:20:00I'll have you know, Mrs. J., I'm an old fire escape man from way back.
00:20:03Why don't you get lost?
00:20:11Now then, how about the story?
00:20:13You'll get the story from my husband when he's safe and sound in jail.
00:20:17Oh, but he won't be safe and sound.
00:20:18Have you forgotten the follow-up on the name of Joe Gordon?
00:20:20Do you wish something?
00:20:21Yeah, let me have a bourbon old fashion.
00:20:24Why did you come here tonight, Mrs. Johnson?
00:20:26Or shouldn't I ask?
00:20:27Because I like it here.
00:20:28You didn't by any chance come here to meet, say, your husband, did you?
00:20:31Or is that a far-fetched supposition?
00:20:33Supposition?
00:20:34I'd better stop using those four-syllable words.
00:20:35I won't be working for the graphic anymore.
00:20:37Where's your husband, Mrs. Johnson?
00:20:38I don't know.
00:20:38Did he see the killer?
00:20:39I don't know.
00:20:39Should we dance?
00:20:40Why don't you drop dead?
00:20:47Why don't you be nice to me, Mrs. Johnson?
00:20:49Who knows, I might even be able to help you.
00:20:51I'm not a bad guy when you get to know me.
00:20:53I'm a little obnoxious, perhaps, but pleasant.
00:20:55Now then, answer yes or no.
00:20:57Your husband saw the killer and took it on the lam, right?
00:20:59Right.
00:21:00And you're meeting him here?
00:21:02I haven't the slightest idea.
00:21:03I came here on a hunch.
00:21:04When he phoned tonight, I heard music that could only have come from this joint.
00:21:08Something to eat?
00:21:09No, thanks.
00:21:09No food.
00:21:10Oh, go ahead.
00:21:10Try something.
00:21:11No, really nothing.
00:21:16Oh, uh, I've got a deal for you.
00:21:18You find your husband with my help.
00:21:20Give me an exclusive for 24 hours, and I'll get my paper to pay you for it.
00:21:23Trying to buy me so soon?
00:21:25First, I'm going to try and buy you.
00:21:26And if I can't, I'm going to try to win you.
00:21:28Isn't that the reverse of the usual procedure?
00:21:30I'm a perverse fellow.
00:21:32On second thought, Mrs. J., I find you very attractive.
00:21:35I may try and win you right off.
00:21:36No, thanks.
00:21:37I'd rather be bought.
00:21:39Very mercenary.
00:21:39All of the good, though.
00:21:40I like mercenary women.
00:21:42Good night.
00:21:43I'm fine.
00:21:44Bang, allah.
00:21:48Can you really get the money?
00:21:50Sure.
00:21:50How much?
00:21:51Oh, I don't know.
00:21:51Graham, maybe.
00:21:52Is it worth that much?
00:21:54Will be by the time I get through building it up.
00:21:56Frank will need it if he wants to get away.
00:21:58Now, bring it with me.
00:21:59Just tell me where and when.
00:22:00And you won't print anything until I give the word.
00:22:02Scout's honor.
00:22:03It's a deal.
00:22:04Should we drink to it?
00:22:06To the speedy conclusion of all our troubles.
00:22:09Yours, your husband's, and mine.
00:22:12You've got troubles?
00:22:12You don't look.
00:22:13None that I can't solve now that we're partners.
00:22:18Hiya, Mrs. Johnson.
00:22:20Hi, Sammy.
00:22:20Sit down.
00:22:21Meet Mr. Leggett of the graphic.
00:22:22Oh, a newspaper man.
00:22:23Sammy.
00:22:24You should have caught the show.
00:22:25Susie and I are breaking in a new act.
00:22:27Chung-e no kito.
00:22:28It's terrific.
00:22:30That's spelled C-H-U-N-G.
00:22:31Anybody can spell a kito.
00:22:33Of course, we're only breaking in the show here,
00:22:34but a little plug would help.
00:22:36Well, I'll, uh, I'll see what I can do.
00:22:38Thanks.
00:22:39Next time you come catch the midnight show,
00:22:40the place is really jumping then.
00:22:42I'll be seeing you.
00:22:42Bye, Sammy.
00:22:43Night.
00:22:44Well, I think I'll go home.
00:22:45Frank won't show tonight.
00:22:47How do you know?
00:22:47I just know, that's all.
00:22:49What are you going to tell your husband when you see him?
00:22:51To give himself up.
00:22:52Maybe I'll give up, too.
00:23:16Leave your flag down.
00:23:20Hey, you want to go in over the roof?
00:23:21No, I'll go in the front door and give them something to think about.
00:23:24No, in that case, I'll disappear.
00:23:25Let's not give them too much to think about.
00:23:27Well, if I need you, I'll get in touch with you.
00:23:29Oh, you won't have to get in touch with me, Mr. Johnson.
00:23:31Just look around.
00:23:32I'll be there.
00:23:32Good night, Mr. Leggett.
00:23:45What are you doing here?
00:23:46That was nice going, Mr. Johnson.
00:23:48But the next time you try to get out, you'll have more trouble.
00:23:52I've got news for you.
00:23:55I've just seen your husband's doctor.
00:23:57Why?
00:23:58Aren't you feeling well?
00:24:01Your husband isn't a hypochondriac.
00:24:03He's a very sick man.
00:24:05He's got a bad heart.
00:24:10I don't believe it.
00:24:11That's Dr. Holler.
00:24:18Frank never said anything to me about it.
00:24:20Maybe he figured you wouldn't be interested.
00:24:23Well, he can walk into any drugstore and buy some medicine.
00:24:26Not without a prescription, he can't.
00:24:27And I've given orders to every drugstore in town
00:24:29that none of this medicine is to be dispensed without an order from me.
00:24:32If he should have an attack and not have that with him, you know what that means.
00:24:36You can't do that.
00:24:37If it's the only way I can get him to come in and testify, I mean to use it.
00:24:41But Frank's done nothing wrong.
00:24:42Oh, yes, he has.
00:24:43He was in the wrong place at the wrong time.
00:24:45I thought the police were supposed to protect people, not put them in danger.
00:24:48All it says in my book, sister, is that the good of the majority's got to be upheld.
00:24:52And for the good of the majority, Frank Johnson's got to testify.
00:24:54If he gives himself up, we'll give him a supply of medicine.
00:24:58We're protected.
00:24:58And if he doesn't?
00:24:59He'll die of a heart attack or a bullet from one of Smiley Freeman's men.
00:25:03I don't believe a word you're saying.
00:25:05You're only trying to frighten me.
00:25:06And I'm getting pretty sick of you.
00:25:07Now get out of here.
00:25:08Of course, if you want to try to find it, I won't try to stop you.
00:25:12But I don't think you can find it.
00:25:14I don't think he's running away from us.
00:25:17I think he's running away from you.
00:25:18I said get out.
00:25:54I don't think he's running away from you.
00:25:59I'm violating my instructions from the police by giving you this additional supply.
00:26:03But rest assured, it gives me no feeling of guilt.
00:26:06Thank you, doctor.
00:26:07After the excitement of last night, your husband undoubtedly used the ampuse he carried with him.
00:26:12So you see, my action is not prompted by kindness so much as reluctance to gamble with a man's life.
00:26:18Is his heart really that bad, doctor?
00:26:20Frank's condition isn't any worse than thousands of men that strain their hearts running in track meets.
00:26:26The misguided believed that they were building up their bodies.
00:26:29If it were only his heart, we could control it.
00:26:31What do you mean?
00:26:32Well, for the past year, your husband has had hypertension that complicates matters.
00:26:37Hypertension?
00:26:38What causes that?
00:26:39I'm not sure.
00:26:40My guess is overwork, unhappiness, anxiety.
00:26:44But you know more about it than I do.
00:26:46Why should I?
00:26:47But naturally, you must know about his troubles.
00:26:49I'm only his doctor.
00:26:50You're his wife.
00:26:50Oh, yes.
00:26:52I'm that bitter, selfish, vicious wife.
00:26:54The cause of his unhappiness.
00:26:55The cause of his failure.
00:26:56Is that what he told you?
00:26:57Is that what he tells everyone?
00:26:58Frank didn't discuss his private life with me, nor do I care to hear it from you.
00:27:02I shall explain to you his condition, and that's all.
00:27:06He has a cardiac condition.
00:27:07Let's call it X.
00:27:09Now, X alone is not serious.
00:27:11He also has hypertension.
00:27:12Let's call that Y.
00:27:14Now, X plus Y is dangerous.
00:27:16I'm Y, I suppose.
00:27:17I'm not a psychiatrist, Mrs. Johnson.
00:27:20I deal only with facts.
00:27:21X plus Y equals steady deterioration.
00:27:24X minus Y is an improvement.
00:27:26Now, what you and your husband do about it, that's your personal concern.
00:27:30My only personal concern right now is to get these ampoules to him.
00:27:33If you see him, tell him he should give himself up.
00:27:36It's imperative to take the strain of himself.
00:27:38I'll give him the facts.
00:27:39He can draw his own conclusions.
00:28:03I'll give him the facts.
00:28:25Oh, Frank, darling, I thought I'd never find you.
00:28:28Now, stay right here.
00:28:29I'll be back in five minutes to explain everything.
00:28:35All right, Mr. Johnson, come along.
00:28:37My name isn't Johnson.
00:28:38Yeah, and I suppose that isn't your wife, either.
00:28:40No, but I wish it were.
00:28:41Do you have any identification?
00:28:43Yes, I have.
00:28:44My name is Stephen Carruthers, optometrist.
00:28:46While we're on the subject, I think you better have your eyes examined.
00:29:07So, Frank is a fugitive from the law.
00:29:10Well, that's just like him.
00:29:11He's so adventurous.
00:29:14Adventurous, Frank?
00:29:15Oh, yes, indeed.
00:29:17Sit down, Mrs. Johnson.
00:29:18I guess you've never visited our workshop before.
00:29:21What makes you think he's adventurous?
00:29:23Oh, but he is.
00:29:24All the places he's gone and all the things he's done.
00:29:27You know, my life has been pretty uneventful.
00:29:30Straight from high school to this job.
00:29:33From my rooming house to the streetcar and then down here to work.
00:29:36In the evening, back to my rooming house again.
00:29:38But since he's been here, it's different.
00:29:41He makes my life kind of exciting.
00:29:44I never get tired listening to the stories he tells about his trip down to Mexico.
00:29:47When he was wandering around with all those bullfighters.
00:29:51And when he shipped off to Tahiti in that old freighter and then jumped ship.
00:29:55Oh, I'm sorry.
00:29:57I suppose you've heard these stories many times, Mrs. Johnson.
00:30:00I never heard them.
00:30:01He never told me.
00:30:02He didn't?
00:30:04Well, maybe he didn't want his wife to know.
00:30:07Oh, I'm sorry if I talked out of turn.
00:30:09Of course you haven't.
00:30:10Shouldn't the mail be here?
00:30:12Why, yes, yes, it should.
00:30:13Why?
00:30:14Frank sent me a letter in care of you.
00:30:16Oh, he did?
00:30:17I don't know what Mr. Anderson is going to say.
00:30:20When he finds out Frank isn't coming in today.
00:30:22You know, he's got a terrible disposition.
00:30:25He doesn't exercise enough.
00:30:27Of course, I don't either.
00:30:28But then, well, I'm going to protect Frank.
00:30:31He saved my job once.
00:30:32You know, Mr. Anderson was going to fire me.
00:30:34But Frank said, if Mr. Mabus goes, you can pay me off, too.
00:30:38Oh, they had a terrible argument.
00:30:40They even took it upstairs to Mr. Winston.
00:30:43Well, we're still here.
00:30:44Frank was too valuable.
00:30:48Look, Mr. Mabus.
00:30:49Don't tell anyone about that letter that's coming.
00:30:52Oh, no, no, no.
00:30:53You can trust me.
00:30:54Not even the police.
00:30:56The police?
00:30:57Are they coming here?
00:30:58They're very apt to.
00:30:59But just don't mention the letter or anything about my being here at all, huh?
00:31:03Well, I don't know how good I am at deceiving people.
00:31:05But if it's for Frank, I'll try.
00:31:08Hey, Mabus.
00:31:09You better get the lead out and get upstairs.
00:31:11Anderson's blowing his top.
00:31:12Okay, I'll be right up.
00:31:13Is the mail in yet?
00:31:14How should I know?
00:31:16Nice people.
00:31:18Sometimes I think it'd be better for Frank if he got himself fired.
00:31:21Well, he doesn't belong around here.
00:31:23Look at all the time he puts in these mannequins.
00:31:27See, I just noticed something.
00:31:29This looks like you.
00:31:31Very flattering.
00:31:32Is that the way he sees me?
00:31:33Well, it may be a little severe, but it shows he was thinking about you anyway.
00:31:37Yes, and what he was thinking.
00:31:38Mail!
00:31:40You've only got two today, Mr. Mabus.
00:31:43Wasn't Frank here?
00:31:44No, no, he's late.
00:31:45Was there a letter for him?
00:31:46No, I just had a new song I wanted him to hear.
00:31:49Frank's the only one who listens to me sing.
00:31:50Oh, brother, have I got a crush on that man?
00:31:56No letter.
00:31:57Oh, but there's got to be one.
00:31:58Well, maybe it'll be here on the afternoon mail at three o'clock.
00:32:01If one comes, hold it for me.
00:32:03And let's just keep it our secret, shall we?
00:32:13Good morning, Mr. Johnson.
00:32:15He didn't show up for work this morning, did he?
00:32:17Where's your new pal Leggett?
00:32:18I haven't the biggest idea.
00:32:20I wouldn't get too cozy with that guy if I were you.
00:32:23He'd crucify his grandmother for a story.
00:32:25I haven't found him as objectionable as you are.
00:32:28What right of you prying into my personal life, having me followed as if I were a criminal?
00:32:32I'm sick of it.
00:32:32I'm sick of you, and I want it stopped.
00:32:34Mrs. Johnson, didn't your husband ever beat you?
00:32:36Are you going to have these men stop following me?
00:32:38The man who killed Joe Gordon isn't stupid.
00:32:41If I'm smart enough to use you as a bird dog to lead us to your husband, so is he.
00:32:45You may be very happy to have a cop around before this thing's over.
00:32:48That I doubt.
00:32:50Stick with him.
00:32:52How could I lose a redhead like that?
00:32:54Good пос Persuades.
00:32:54How could I lose a redhead?
00:32:59How could I lose a redhead?
00:32:59As soon as I heard this happened in the middle, he had to worry about half a fancy and
00:32:59half a life where he had to...
00:32:59That somethings that I knew such ole' than you.
00:33:00if we had the sex and yogurt.
00:33:08It's okay?
00:33:18See, let's get my black jazz music.FORE
00:33:18I 뵙 to Marie. I
00:33:23could not guess what I didn't have to worry about myself.
00:33:31Oh, don't be so grumpy this morning.
00:33:33All I'm trying to do is help you.
00:33:35Do you know that you've got a little shadow?
00:33:37Huh?
00:33:38There she is.
00:33:39Well, it's a nice morning for a ride.
00:33:42Oh, uh, by the way, here's your letter.
00:33:46Well, how did you...
00:33:46Surprised? Don't be.
00:33:48Ten dollars and an underpaid store clerk will get you anything.
00:33:50Don't you worry about it.
00:33:51I'll put it on my expense account.
00:33:52But how did you know about it?
00:33:54The menu.
00:33:54You shouldn't have left it.
00:33:55It was very careless.
00:33:56I have inquisitive eyes.
00:33:58Do you always open other people's mail?
00:34:00Mm-hmm.
00:34:01Every chance, I guess.
00:34:02Say, did you get a load of the female impersonator they've got following you?
00:34:05No.
00:34:08Well, let's duck her and get down to business.
00:34:10Hey, Mac, turn left on the next street and then right up the alley.
00:34:13Okay.
00:34:28You mean anything to you?
00:34:29Oh, a lot of things.
00:34:30Something to go on?
00:34:31I'm not sure.
00:34:33What does he mean in there about the doctor and the ampules?
00:34:35It's medicine he needs.
00:34:36He has a bad heart.
00:34:38How bad?
00:34:39Bad enough.
00:34:40I just found out.
00:34:41He's got to have these pills and he can't get them anywhere.
00:34:43The police have seen to that.
00:34:45Ah, squeeze play.
00:34:47That Ferris is smart.
00:34:49Will he die?
00:34:50I don't know.
00:34:51I spoke to his doctor.
00:34:53It isn't serious, only under certain conditions.
00:34:55Well.
00:34:57Yeah, explain.
00:34:59The police will probably read this note, so I can't tell you where I'll be.
00:35:03But if you think back, you'll know where to find me.
00:35:06What am I, a mind reader?
00:35:08Well, he gives you a clue in this next line.
00:35:10I'll be out in the open under the sun in a place like the one where I first lost you.
00:35:15There is no first in things like these.
00:35:17This is kind of obscure.
00:35:18Does he always talk to you like this?
00:35:20No, it's our first murder.
00:35:23Do you know, Mrs. J, your husband's a pretty clever guy at that.
00:35:26No, I don't.
00:35:26You don't think so, but he is.
00:35:27He's testing you.
00:35:29He's asking you to admit that your marriage is a failure and that it's your fault.
00:35:33He's saying that he understands you, but that you don't understand him.
00:35:36Now, listen, Mr. Leggett of the graphic.
00:35:38I've had just about enough of the all-wise male.
00:35:41In the past ten hours, I've met three men.
00:35:44Three men who all put together haven't known Frank for one fraction of the length of time I have.
00:35:49Yet they all know him better than I do.
00:35:51Well, along the way, I found out a few things myself.
00:35:54I found out how Frank Johnson really feels about me.
00:35:57That at the first chance, his first excuse, he took off, ran.
00:36:01That he didn't even think enough of me to confide in me that he was ill.
00:36:04Then at the store, in the faces of those mannequins, I saw what he really sees in me.
00:36:09All right, it's okay if that's the way he feels about it, but if he wants his ampules, he'll have
00:36:13to come out of hiding and get them.
00:36:17What did you have for breakfast?
00:36:18Cigarette and coffee?
00:36:19Cigarette.
00:36:20I thought you did.
00:36:21Take us over to Lancey's on Powell.
00:36:23Lancey's?
00:36:24Okay.
00:36:25This place has the best wobbles in town.
00:36:26Butter in every little square.
00:36:28View is always better on a full tummy.
00:36:32How about another one?
00:36:34Oh, no thanks.
00:36:36Now that I've got you softened up, Mrs. J., there's something that I have to tell you.
00:36:40You have to find your husband.
00:36:42No, not for the money.
00:36:43I promise you are my story, but for yourself.
00:36:46He's challenged you.
00:36:47You've got to accept it or admit he's right.
00:36:49I really would like to find him.
00:36:51If only I could decipher the riddle in this letter.
00:36:53Together we can do it.
00:36:54That letter's like drawing a graph.
00:36:57One line is to Tracy's movements from last night.
00:36:59The other leads back into the past, but you have to remember.
00:37:02Where they cross, that's where your husband is.
00:37:05You need a manicure.
00:37:07So I do.
00:37:09You know, this is the first time in my life I ever insisted on helping a woman find her husband.
00:37:13That I believe.
00:37:14By the way, what do people call you besides legate of the graphic?
00:37:18Oh, people that like me, call me Danny Boy.
00:37:25Okay, Danny Boy.
00:37:31Fisherman's Wharf.
00:37:33Frank used to come here a lot.
00:37:35I remember once he did a watercolor of a boat.
00:37:38A fisherman admired it, so Frank just gave it to him.
00:37:42Not to be outdone, the fisherman gave Frank a big swordfish.
00:37:46I made a remark about the joys of living by the barter system, and we had a bitter quarrel.
00:37:50But it certainly wasn't the first one.
00:37:52Do you think Frank was referring to a quarrel when he said, where I first lost you?
00:37:56What else?
00:37:58Another one started up here on Telegraph Hill.
00:38:01Frank did a canvas at the harbor from here that I thought was wonderful.
00:38:04When I told him so, he insinuated that my taste in art ran to calendars.
00:38:09I said my taste was my own, and I wanted the painting.
00:38:12So he gave it to me, but he signed it to Eleanor's husband.
00:38:17Without telling him, I entered it in the contest they were having here at the art gallery.
00:38:21The oil by Eleanor's husband won first prize.
00:38:24Five hundred dollars.
00:38:26But do you think Frank was pleased when he found out?
00:38:29Oh, no.
00:38:30He refused the money and withdrew the painting.
00:38:33Said he wasn't ready yet.
00:38:34Sounds pretty stubborn.
00:38:36Stupidly stubborn.
00:38:38I wonder if he ever really wanted to be successful.
00:38:41Soon after that, he took the job at Hart and Winston's.
00:38:44You know, the only thing we know for sure is that Frank was at the Oriental Gardens last night.
00:38:48Now we're in the neighborhood, let's drop in.
00:38:50Yeah, he sat around the dressing room until we came down to do the one o'clock show.
00:38:54Then he said he was going to make a phone call.
00:38:55Then Frank wrote the letter.
00:38:57He said to get in touch with you, that he was going to send the letter to a store, care
00:39:00of Mr. Mavis.
00:39:01Haven't I seen you someplace before?
00:39:03I shouldn't be surprised. I've been there.
00:39:05But didn't he say what he was going to do or where he might go?
00:39:07I didn't want to pump him.
00:39:09Say, why don't you try Sullivan?
00:39:10Who's Sullivan?
00:39:11He's a grand mick. Runs a bar across the street.
00:39:13Come on, I'll show you. You can go down the back stairs.
00:39:15Now I know where I've seen you before.
00:39:18Last night.
00:39:19Sure, I was in with Mrs. Johnson.
00:39:20No, I mean the picture that Frank drew.
00:39:23What picture?
00:39:25What picture? Of me?
00:39:26Well, it looks something like you.
00:39:28You know how Frank's always drawing pictures.
00:39:30Did he say who this man was?
00:39:32No, no, he didn't.
00:39:33I wonder if I should have told the cops about it.
00:39:36Oh, well, they'll be back. The man that was in said so.
00:39:38Susie, quit yakking.
00:39:40Uh, do you still have the picture?
00:39:42Maybe I could run it in the paper.
00:39:44Yeah, it's upstairs in my dressing room.
00:39:45I better keep it, though.
00:39:47Hey, Leggett, are you sure you want to help find Frank?
00:39:50Say, don't forget that plug in the paper about us.
00:39:53We can sure use it.
00:39:57Okay, take it from the top.
00:39:59I've got to go see our agent.
00:40:19I've heard about this place for years.
00:40:21Never been here before.
00:40:30What do you have, folks?
00:40:31You hungry?
00:40:32Specialty today, corned beef and cabbage.
00:40:34Or egg for you.
00:40:35No food.
00:40:36Genova rocks for the lady in old-fashioned for me.
00:40:38I think I'll call a paper and see if anything's broken.
00:40:40You can get more out of him alone anyway.
00:40:43Sir, why don't you wear a hat?
00:40:45I look funny in hats.
00:40:47You know, you're right.
00:40:50What is it?
00:40:55No, I didn't drop a nickel.
00:41:15Yes, Mrs. Johnson.
00:41:16Frank was in here last night, just before closing time.
00:41:19Did he say where he was going?
00:41:20No, he didn't.
00:41:21Just barred ten bucks is all.
00:41:22Well, maybe I should tell you, there was a couple of fellas in here this morning asking
00:41:26about Frank.
00:41:27Fellas that you couldn't very well say, mind your own business to.
00:41:30Is he in some sort of trouble, Mrs. Johnson?
00:41:33Some.
00:41:33He didn't come home last night.
00:41:35They're all alike.
00:41:36I've been looking for mine for three years.
00:41:40I'm glad I finally met you, Mom.
00:41:42I often wondered what kind of a woman Frank was married to.
00:41:45Not that I imagined he was too easy to live with, being so quiet and moody and strange
00:41:49at times.
00:41:50For instance, now look at this picture.
00:41:52Look at the date he put on it.
00:41:54Frank painted this for me about six months ago.
00:41:56It was on St. Patrick's Day.
00:41:58But look at the date on it.
00:41:59March 17, 1947.
00:42:02Well, I suppose it's an artist's privilege.
00:42:05March 17th, that's Frank's birthday.
00:42:081947.
00:42:10We spent the day on the beach at Cypress Point.
00:42:13Then we suddenly decided we had to see the sunset from the top of the mark.
00:42:17So we drove to San Francisco.
00:42:18We had a car then.
00:42:20We had champagne cocktails and watched the sunset over the Golden Gate.
00:42:24After all, it was Frank's birthday and St. Patrick's.
00:42:27We had a beautiful dinner at Andre's and Cafe Diablo at Amigos.
00:42:30Then we drove back to Carmel in the softest moonlight I've ever known.
00:42:34Ah, there's nothing like being young and in love.
00:42:36And daft.
00:42:37To boot.
00:42:38What?
00:42:39Daft.
00:42:40To boot.
00:42:41Well, I guess people are entitled to do crazy things on their birthday.
00:42:44This year we didn't.
00:42:46I went to a movie.
00:42:47Frank came down here and painted that picture.
00:42:50Now I know what Frank meant when he said someone should have been in that picture with him.
00:43:15I have a notion if your husband could have seen your face when you were telling him about that birthday
00:43:18party in 1947,
00:43:20he'd have painted you right smack in the middle of that picture with his arms around you.
00:43:24Ah, sorry I was so long.
00:43:26Oh, Mr. Leggett, it's a graphic, Mr. Sullivan.
00:43:28He's helping me look for Frank.
00:43:30Hi.
00:43:31Freshen up a little, will you?
00:43:32Now hold the garbage.
00:43:33You?
00:43:33No, I'm fine.
00:43:35You got something?
00:43:37Something I hadn't counted on.
00:43:38What?
00:43:39Frank still loves me.
00:43:41It's a big help.
00:43:42I think so.
00:43:43If it'll help any.
00:43:44Frank asked me how early the Army and Navy stores open the windows down on the Embarcadero.
00:43:49No, he's getting smart.
00:43:50He's changed his clothes.
00:43:52What do you say we cover it?
00:43:53Oh, I, uh, I'm sorry I was so rude a moment ago,
00:43:57but it's always discouraging to hear a wife say that her husband loves her.
00:44:00What do you write?
00:44:01Comic strips?
00:44:02Oh, never more serious in my life.
00:44:04What's the damages?
00:44:05Oh, it's on the house.
00:44:06I hope you find him, Mr. Johnson.
00:44:08Thanks.
00:44:09It's no use looking, honey.
00:44:12Once they're gone, they're gone.
00:44:34How'd it happen?
00:44:35I was walking along and she almost hit me.
00:44:37She must have fell from the Oriental roof garden up there.
00:44:42Who is she?
00:44:43She's one of the dancers from the show.
00:44:50Maybe a drink, Sammy?
00:44:51That helps sometimes.
00:44:53No, thanks.
00:44:55Hi, Sammy.
00:44:56Let him alone, can't you?
00:44:57I just heard about it.
00:44:59I'm sorry.
00:45:00I can't understand it, Inspector.
00:45:03Susie was happy.
00:45:04We were doing great.
00:45:05There was no reason for it.
00:45:07Sometimes we don't know what makes people tick,
00:45:09even the ones closest to us.
00:45:11I just can't believe she killed herself.
00:45:14Well, maybe she didn't.
00:45:15Inspector, how else?
00:45:16Well, it could have been robbery.
00:45:18She might have surprised somebody in the dressing room.
00:45:21Did you check her stuff, see if anything was missing?
00:45:23No.
00:45:24Well, do it now.
00:45:32We've been through almost all of these places
00:45:34and we still haven't found a lead on Frank.
00:45:36No.
00:46:05I don't like nature.
00:46:07Mind if I look at this coat?
00:46:08That's a man's coat.
00:46:10Mind if I look at it?
00:46:11Say dollars.
00:46:13That's Frank's coat.
00:46:14Where did you get it?
00:46:15None of your business.
00:46:16But that's my husband's coat.
00:46:17No, it ain't. It's mine.
00:46:18The fella came in here and traded that coat and four dollars for a pea jacket and a cap.
00:46:22When?
00:46:23When I opened up this morning.
00:46:24Where'd he go?
00:46:24How do I know? I just sell stuff. I don't watch people.
00:46:27Shut the door as you go out.
00:46:43I don't know.
00:47:09Look.
00:47:14Well, wouldn't you know, there he is, just like nothing had happened.
00:47:18Huh?
00:47:28Frank.
00:47:30I beg pardon?
00:47:32Oh, I'm sorry.
00:47:46I never knew there were so many land-going sailors in the world.
00:47:48All of them wearing pea jackets and semen's caps.
00:47:56Beat, huh?
00:47:59I might as well admit it. I can't remember. No thanks.
00:48:03There's not much sun left to find him under.
00:48:07If you think back, he said in his letter, you'll know where to find me.
00:48:15Danny, maybe if I'm alone, I can figure this out.
00:48:18I've got to go home anyway and feed the dog. He's been locked up all day.
00:48:22Oh, sure. Sure, sure. I could meet you later someplace.
00:48:26How about picking me up at the corner of Montgomery and Union Streets when you're ready?
00:48:29It's not much out of your way.
00:48:30All right.
00:48:31I'll meet you there in an hour.
00:48:36Uh-oh.
00:48:38Looks like your shadow's finally caught up with you.
00:48:52Are you as tired as I am?
00:48:54I beg your pardon.
00:48:56Come on, there's no need in spending two cab fares.
00:48:58We might as well go together.
00:48:59But, well...
00:48:59Oh, come on, at least you'll have someone to talk to.
00:49:02Uh...
00:49:20As a taxpayer, I thank you.
00:49:35Hello, Rembrandt. I'll be with you in a minute.
00:49:38Hi.
00:49:41What? You again?
00:49:42Who let you in?
00:49:43Landlord. Do you mind?
00:49:45Oh, no. Make yourself at home.
00:49:47I love having cops move in on me.
00:49:49Where's the letter?
00:49:49Don't pretend you don't know what I'm talking about.
00:49:51I mean, the letter your pal picked up at Hart and Winston's this morning.
00:49:54I want it.
00:49:55Seize all knows all, except where Frank is and who the killer is.
00:49:59Why don't you go back to jail or wherever did you live and leave me alone?
00:50:02Oh, no. The merry-go-round's over.
00:50:04This case is going cold on me and you're the only live thing in it.
00:50:07So from now on, I'm sticking with you.
00:50:09That's just peachy.
00:50:12Oh, I'm bushed.
00:50:13You ought to be.
00:50:14You covered a lot of territory today.
00:50:16My men are bushed, too.
00:50:17You should be more considerate.
00:50:20Can you make anything out of this letter?
00:50:22It's pretty cryptic.
00:50:23Not yet, but I'm working on it.
00:50:25It sounds like a guy in love.
00:50:28You think so?
00:50:29Yeah.
00:50:31I'll be out in the open, under the sun, in a place like the one where I first lost you.
00:50:37That kind of lays it right in your lap.
00:50:40Doesn't it mean anything to you?
00:50:41I wish it did.
00:50:43I'm glad you're not bringing me my medicine.
00:50:45Oh, don't worry.
00:50:46I'll find you.
00:50:47And I'll be right there with you when you do.
00:50:50Where you go, I go.
00:50:56Would you insist upon going with me if I walked the dog?
00:50:59I walked him.
00:51:00Anyway, there's a man out front, one in back and one on the roof.
00:51:04Fine.
00:51:04I'm staying right here, then.
00:51:05So am I.
00:51:06We'll just wait till your husband comes to you, or you can't stand the strain any longer
00:51:10and go to him.
00:51:12Look, Mr. Ferris, maybe you were right in some of the things you said.
00:51:16Today I discovered a lot about Frank I never knew before.
00:51:18In one day, what you couldn't find out in four years.
00:51:22I guess I was the one that was mixed up.
00:51:24A lot of it's my fault anyway.
00:51:26I haven't been much of a wife.
00:51:28Well, that's quite an admission from you, Mrs. Johnson.
00:51:31Please, you've got to give me a chance to see Frank alone and give him his medicine.
00:51:36Then if he wants to come in and testify, that's up to him.
00:51:38But it's got to be his choice.
00:51:40I won't try to influence him one way or the other.
00:51:43Whatever he does is all right with me.
00:51:44But you've got to let me see him alone first.
00:51:46I believe you, and I'd like to help you, but I'm a cop.
00:51:50If Frank keeps on running, I'll have no witness to say nothing of a job.
00:51:58He's hungry.
00:52:00Couldn't you have fed him, too?
00:52:01I couldn't figure out how to work the can opener.
00:52:03Can I use your phone?
00:52:12Hello, Ferris.
00:52:13Anything come in?
00:52:15Keep it going.
00:52:16We'll get results.
00:52:17I think we're getting warm.
00:52:19Sure there?
00:52:21Put him on.
00:52:22We'll get ready.
00:52:22Let's do it.
00:52:47We'll take some care.
00:52:47Let's do it.
00:52:48Let's have a tب.
00:52:48Let's do it.
00:52:49Let's hop on.
00:52:49Let's march on.
00:52:50Let's do it.
00:52:51Let's take care.
00:52:52Let's do it.
00:53:20I'm sorry, Rembrandt.
00:53:22It's the only thing I can think of.
00:53:35Mr. Ferris.
00:53:36Yeah?
00:53:39I'm worried about Rembrandt.
00:53:41He was so hungry and now he won't touch his food.
00:53:43That's funny.
00:53:46When his nose is so hot,
00:53:48maybe I'd better take him to the vet's.
00:53:50I'll take him.
00:53:51I like dogs.
00:53:52Oh, thank you.
00:53:53Get your shoes.
00:53:58His temperature is normal.
00:54:00In fact, he seems to be in perfect health.
00:54:01But I'm worried about him, Doctor.
00:54:02He won't eat.
00:54:03Maybe he isn't hungry.
00:54:04Perhaps he should stay here for a few days for observation.
00:54:08May I take a look at your exercise yard?
00:54:10Oh, yes.
00:54:10Right out that door, across the hall.
00:54:12And, Doctor, see if you can't coax him to eat something.
00:54:20Doctor, I wish you'd look at Emeline.
00:54:22I'm not the doctor.
00:54:24I'm here for treatment myself.
00:54:26I beg your pardon?
00:54:27Well, your wife thinks you ought to leave the dog for observation.
00:54:29That woman's not my wife.
00:54:42That woman's not my wife.
00:54:44Ferris was there when I got back.
00:54:46He knew about Frank's letter.
00:54:47Well, that doesn't surprise me.
00:54:48Anyway, check that.
00:54:50Danny, I've been thinking.
00:54:51Why did Frank send it to Hart and Winston's?
00:54:53Well, he didn't want to intercept it.
00:54:55Why not leave it with Sammy Chung, then?
00:54:57Or give it to anybody he knew who'd bring it to me.
00:54:58Why Mabus at the store?
00:55:00You mean you think there's a reason?
00:55:02Something you missed?
00:55:03Yes, something I didn't see.
00:55:04Something I overlooked.
00:55:06Driver, take us to Hart and Winston.
00:55:08Okay.
00:55:23Weary, bitter, cynical.
00:55:31Fresh, eager, and hopeful.
00:55:33The two Eleonors.
00:55:36Now I remember.
00:55:38One day on the beach at Carmel,
00:55:40just after we were married,
00:55:41Frank made a mermaid out of sand.
00:55:42It was supposed to be me.
00:55:43And a big wave came up and washed it away.
00:55:45And he said, well, I've lost you.
00:55:47And I said, you'll never lose me, Frank.
00:55:49I won't let you.
00:55:49That's what he meant in the letter.
00:55:51It wasn't a quarrel.
00:55:52This means something to you?
00:55:53You know where he is?
00:55:54I'll take you there.
00:55:55Inspector Ferris wants to see you.
00:55:56Why?
00:55:57Look, he wants to see you.
00:55:59Where?
00:55:59Later.
00:56:36I'm sorry to have to ask you to do this.
00:56:39This man was found in an alley behind the gin mill on the Embarcadero.
00:56:43He'd been brutally beaten to death.
00:56:45He wasn't wearing a trench coat, but he was wearing a seaman's cap and jacket.
00:56:50From what I remember of your husband, it could be him.
00:56:54I'm not sure.
00:56:55So I'll have to ask you to make a positive identification.
00:57:30Let her alone.
00:57:32There goes the Freeman case.
00:57:34Two witnesses, two dead men.
00:57:39That's the way it goes sometimes.
00:57:47I don't know anything that I could say would just be words.
00:57:56Danny, that wasn't Frank.
00:57:59For a quick moment I thought it was, and I felt things I didn't know I could feel.
00:58:03What was I holding out for?
00:58:05Why didn't I learn to understand him?
00:58:08Why don't we give freely of ourselves when we can?
00:58:12If only I had another chance, I thought.
00:58:15Then I thought it wasn't Frank, and I fainted.
00:58:18Congratulations on your performance.
00:58:21But it wasn't an act. I really did faint.
00:58:25Where is he?
00:58:27At the amusement park, at the beach.
00:58:43You were there when it happened.
00:58:45Why can't you talk?
00:58:48That Johnson dame's a smart cookie.
00:58:50Yeah.
00:58:51I wonder where she got the idea of passing that stiff off as her husband.
00:58:54Somebody had to pass him off?
00:58:56Sure.
00:58:57The guy she identified was the second mate off a tanker.
00:59:00Just been paid off.
00:59:00Somebody rolled him for his dough.
00:59:02Why wasn't I told?
00:59:03The fingerprint report just came.
00:59:06Pick me for a knucklehead.
00:59:08Get down to the taxi stand.
00:59:09Check and find out where they took her.
00:59:20$1.80, sir.
00:59:28Hey, Mac.
00:59:29Watch my cat.
00:59:30Would you want to get a hamburger?
00:59:31Okay, bud.
00:59:48Put this on right away.
00:59:52All units in the Bay Area, be on the lookout for one yellow cab, number 323.
00:59:56License number in the 7 column, 49 Frank 762.
01:00:00Left hall of justice, approximately 6.30 PM this date.
01:00:12Right down there, beyond that railing at the sand sculptures.
01:00:19He's been waiting for me all day, thinking I wouldn't remember.
01:00:23I almost didn't.
01:00:24I know.
01:00:25What is it?
01:00:27I couldn't talk to him there.
01:00:28There's too many people around.
01:00:30Couldn't get the kind of story I want.
01:00:31I know where I can meet him, but nobody will bother us.
01:00:40Oh, look at the sand sculpture.
01:00:42I had an uncle that used to make statues.
01:00:44Only he made them out of ice.
01:00:46A small donation for the artist will be appreciated.
01:00:49Here you are.
01:01:08.
01:01:10.
01:01:25Yeah?
01:01:27.
01:01:30This thing's beginning to boil.
01:01:32We'll be right down.
01:01:33.
01:01:33We're going to the beach.
01:01:34Come on, Rembrandt.
01:01:36What my eyes miss, your nose will smell.
01:01:39Come on.
01:02:08I don't like this place.
01:02:11It's a good spot.
01:02:13I used to come here with my girl when I was a kid.
01:02:15It's more frightening than romantic.
01:02:18That's the way love is when you're young.
01:02:20Life is when you're older.
01:02:22I'll tell Frank where you are.
01:02:26You sure you want to start over again with your husband?
01:02:29I'm sure I want to try.
01:02:30I'm not sure what he wants.
01:02:32I'm supposing he doesn't want to.
01:02:33Then I'll let him go.
01:02:35He'll never know how I feel about him.
01:02:38You think people can turn back and you're going to try.
01:02:42I know better.
01:02:44You're too cynical.
01:02:45It's your profession.
01:02:46It's too late now to change my profession.
01:02:49Okay.
01:02:51Go ahead, send him here.
01:02:53I'll bring him.
01:02:53No.
01:02:55What's the matter with you?
01:02:56Don't you still want the story?
01:02:59I guess I...
01:03:00I've got to have the story, but...
01:03:02my way.
01:03:04You send him back.
01:03:06I want to see him alone first.
01:03:08If you want the money, I talk to him alone.
01:03:10All right.
01:03:11If that's the way you want it, I'll send him.
01:03:13If that's the way you want it, I'll send him to you.
01:03:16If that's the way you want it, I'll send him to you.
01:03:21If that's the way you want it, I'll send him to you.
01:03:30If that's the way you want it, I'll send him to you.
01:03:30If that's the way you want it, I'll send him to you.
01:03:31If that's the way you want it, I'll send him to you.
01:03:32If that's the way you want it, I'll send him to you.
01:03:33If that's the way you want it, I'll send him to you.
01:03:34If that's the way you want it, I'll send him to you.
01:03:36If that's the way you want it, I'll send him to you.
01:03:37If that's the way you want it, I'll send him to you.
01:03:38If that's the way you want it, I'll send him to you.
01:03:42Tell us, get over there and cover the pier side.
01:03:44Yes, right, sir.
01:03:45You get up there.
01:03:45Make like a gate.
01:03:46If Johnson tries to come through, arrest him.
01:03:48Watch out!
01:03:49We're failing to curb his dog in a public park.
01:03:51I'm cutting in from the other end of the pier.
01:03:59Hey!
01:04:00How are we doing?
01:04:02771.
01:04:03Huh?
01:04:04That's better than I do on some Sundays.
01:04:07Thanks for taking care of things.
01:04:08You know, it's the first day I've had off in years.
01:04:10You know what I've been doing all day?
01:04:13Riding back and forth and back and forth between here in Sausalito
01:04:16on my old ferry boat.
01:04:17Look, I can't stick around here anymore.
01:04:19I've got to get out of here.
01:04:21Hey, Cap, I hate to ask you, but...
01:04:22But you...
01:04:26It won't take you very far.
01:04:28Here's the keys to my car and the ticket.
01:04:31Find it over in the parkway.
01:04:33The tank's full.
01:04:34Thanks, Cap. I'll get up back here.
01:04:36You better.
01:04:48Let's go.
01:04:50Let's go.
01:04:52Let's go.
01:04:52Let's go.
01:04:54Let's go.
01:04:56Let's go.
01:04:58Let's go.
01:04:59Let's go.
01:04:59Let's go.
01:05:01Let's go.
01:05:04Let's go.
01:05:07Hey, pardon lady.
01:05:08Where's Frank?
01:05:09What happened to him?
01:05:10Who?
01:05:11Frank Johnson.
01:05:13Never heard of him.
01:05:31Sorry, Mrs. Johnson, but I had to be careful.
01:05:33Frank waited all day and said he couldn't wait any longer.
01:05:36So I loaned him my car about five minutes ago.
01:05:38Where'd he go?
01:05:39Over at the parking lot at the other end of the midway.
01:05:50I lost a bet with myself.
01:05:52Did you want to win?
01:05:57As ordered, delivered.
01:05:59Late as usual, but delivered.
01:06:04Let's get out of the light.
01:06:08Keep an eye out for us, will you, Cap?
01:06:10Let's go.
01:06:13Let's go.
01:06:13Let's go.
01:06:21Why didn't you tell me about your heart?
01:06:23Oh, you know, doctors, they make a big deal of everything.
01:06:28Guess it was a silly thing to do, writing that corny note.
01:06:31It sounded like you'd had a couple of drinks.
01:06:33I had.
01:06:35By the time I finished the drinks and the letter, I was a pretty sad character.
01:06:40Well, I can't hide out here forever.
01:06:43Would you want to?
01:06:44I can get a job in another town, huh?
01:06:47Pretty fair window trimmer.
01:06:48Pretty good artist, too.
01:06:50We've got to pull out of this.
01:06:53We?
01:06:55Yes.
01:06:56If this excitement hasn't killed you, I'm sure I can't.
01:06:58We'll get out of town where you'll be safe.
01:07:01Can't go very far.
01:07:02I've got $7.71.
01:07:05Borrowed that from the captain.
01:07:06There's a fellow named Leggett, a reporter from The Graphic.
01:07:09He helped me find you.
01:07:10He's promised to give you $1,000 for an exclusive.
01:07:13That's a lot of money for the little I can tell you.
01:07:15Well, his paper must think it's worth it, so why look a gift horse in the mouth?
01:07:18Where is he?
01:07:19Over for the roller coaster.
01:07:20Come on, I'll show you.
01:07:21Hey, you, turn around.
01:07:22You know an artist named Frank Johnson?
01:07:25Who?
01:07:25Frank Johnson.
01:07:27An artist.
01:07:28Did a sketch of you.
01:07:29I saw it.
01:07:31Could be, but I don't remember.
01:07:32Oh, gee, I just work here.
01:07:35Used to be a ferryboat captain, though.
01:07:39Oh, no.
01:07:55Now, where, everybody?
01:07:56Over there, under the roller coaster.
01:07:57Go all the way at the end of the walk and duck in under the scaffold.
01:08:00Okay.
01:08:01Here's the ticket.
01:08:01The key's for the captain's car.
01:08:03It's parked down at that end of the men.
01:08:04Yes, I know.
01:08:05Well, I'll meet you there.
01:08:06No, I'd better bring it here.
01:08:07You've got to stay out of sight.
01:08:09I can't let anything happen to you now.
01:08:15Nothing can happen to me now.
01:08:18Remember that man shot at you?
01:08:21How did you know that wasn't in the paper?
01:08:23Ferris told me.
01:08:25Nobody else knows it.
01:08:26Nobody's the guy that fired the shots.
01:08:38You'd better go now.
01:08:40I'll be back as soon as I can.
01:08:47Hey, Mark.
01:08:48The prowl car out at the answers just got word for you to call in.
01:08:51Johnson hasn't passed me yet.
01:09:06Oh, I haven't got time to talk to him now.
01:09:09That's MacDonald and Murray's case.
01:09:10But he says he has some information you wanted.
01:09:12Hold on.
01:09:15Hello, Inspector.
01:09:16Remember you asked me to check all of Susie's things to see if anything was missing?
01:09:19Sammy, I'm busy.
01:09:20I'll see you tomorrow.
01:09:22I just wanted to tell you that nothing was missing,
01:09:24except that sketch that Frank drew on the back of a menu.
01:09:26Sketch of who?
01:09:27I don't know.
01:09:28But Susie said it looked like that newspaper man
01:09:30that was in the club this afternoon with Mrs. Johnson.
01:09:33That good notice he was going to give us won't do Susie any good now.
01:09:44What happened? Where's Frank?
01:09:46He's on his way to meet you, but Ferris is here with the dog.
01:09:48Ferris.
01:09:50But that stiff in the morgue was a plant.
01:09:52He's a pretty sharp fellow.
01:09:53Let's get off to Midway.
01:10:10Come on, now.
01:10:11Never look for us in here.
01:10:12But these things make me sick.
01:10:14Stay in your seats, folks.
01:10:16The second ride is half fast.
01:10:18I'll never ride this thing again.
01:10:30All right, Eddie, take it away.
01:10:33Don't stand up in your seats, folks.
01:10:35This is the greatest thrill of your lifetime.
01:10:48He's right, only takes a couple of minutes.
01:10:50Besides, when we get to the top, we can see if Frank's there.
01:10:53Oh, he must be there by now.
01:10:59I don't see him.
01:11:04I don't see him.
01:11:52Hey, buddy, where do you think you're going?
01:11:54Come on.
01:12:33The second ride is only half fair.
01:12:37You stay on for another ride.
01:12:41I'll go see what's happened to Frankie.
01:12:42I want to go with you.
01:12:43No, with Ferris outside together, we'd be too conspicuous.
01:12:46But Danny...
01:12:46Ferris traced you here.
01:12:47If he found you, someone else could follow you, too.
01:12:49Second ride, half fair.
01:12:51The lady will go again.
01:12:53Okay, Eddie, take it away.
01:12:56Don't forget.
01:12:57Someone shot at him last time.
01:12:58They tried to kill him once, they'll do it again.
01:13:03Don't forget.
01:13:04Someone shot at him last time.
01:13:05They tried to kill him once, they'll do it again.
01:13:08Nobody knows that except your husband, the killer, and now you.
01:13:11Nobody knows that except your husband, the killer, and now you.
01:13:13They tried to kill him once, they'll do it again.
01:13:50They tried to kill him once, they'll do it again.
01:14:22Frank, Frank, go away!
01:14:30Frank, Frank Johnson.
01:14:32Yeah, that you, Mr. Leggett?
01:14:34Be careful, there's a loose plank over here.
01:14:38I know.
01:14:48Why don't you get it over with?
01:14:59I don't have to, Frank.
01:15:03You got a bad heart.
01:15:07You can't stand tension.
01:15:12You're going to kill yourself.
01:15:40You can't stand up.
01:15:59The second ride is half-half, folks. Take advantage of the second ride. It's only half-half.
01:16:14What's your hurry, Mrs. Johnson?
01:16:58I had to do it, Mrs. Johnson. That's like it down there. Your husband's safe.
01:17:03Where's Frank?
01:17:04Out there, on the midwife.
01:17:15Out there, on the midwife.
01:17:44Out there, on the midwife.
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