Welcome to Subterranean Cinema, The perfect place to watch classic movies originating from your hometown TV station, PBS Fort Wayne.

I'm your host, Kris Hensler.

And tonight, I'm joined by Jane Martin, the communication program director and a professor of film at the University of Saint Francis.

Jane, thanks for joining us.

Thanks for inviting me.

So, Jane, when you're not busy teaching at Saint Francis, what else do you do?

I watch a lot of movies.

Being a film teacher, I watch a lot of movies.

I also am working on renovating my house in West Central and I garden a lot.

Nice.

Well, you are a perfect fit for Subterranean Cinema.

And this is our version of classic movie Night.

And it's also something that PBS Fort Wayne viewers have been requesting for a while now.

Tonight's film is the 1950 thriller Woman on the Run, directed by Norman Foster and starring Ann Sheridan, along with Dennis O'Keefe as Daniel Legget.

Set in San Francisco, Frank Johnson, played here by Ross Elliott, observes the murder of an important trial witness by a gangster seeking extortion money.

Noticing Frank, the murderer takes a few shots at him, too.

When the police arrive, Inspector Ferris learns that Frank the sole witness, could identify the killer in the lineup.

So he detains Frank in order to provide protective custody.

When Frank sees the bullet holes in a nearby wall where intended for him, he realizes how close he had come to biting the big one himself.

He then panics and escapes from police custody.

Jane, you're familiar with this movie.

What else can you tell us about it?

Well, this is a little known gem in the category of film noir.

It has a great pace and excellent characters.

It also is a great example of an early independent film made outside the studio system, which was quite unusual for the time, and as you mention, is directed by Norman Foster, who was born in 1903 in Richmond, Indiana, and started his career as an Indiana newspaper reporter for before going off to New York.

He later directed Disney's Davy Crockett Films, as well as episodes of the classic 1960s Batman series.

Tonight's film is loosely based on a magazine story called Man on the Run, which was changed to Woman on the Run in order to focus on the wife as the main character.

Ann Sheridan, the star, had hoped this film would bring back her career and launch her to the big screen.

She is so good in this movie.

She's witty, she's spunky, She's classy.

In fact, she and her costar Dennis OKeefe improvise most of their dialog, and it's obvious they have great chemistry.

You know, and one of the things I love about these classic films are the location shoots.

It's just like a time capsule into the past.

That's right.

This one is set in San Francisco, and it gets a good picture of what the town was like in the 1950s as a blue collar working seaport town.

The other interesting fact about this film is that it literally has been saved twice.

The original was found in the Universal vaults in 2003 after its copyright had expired.

That print, thought to be the only one existing in the U.S., burned in the Universal Lot Fire in 2008.

Fortunately, a copy was found at the British Film Institute and it was able to be remastered and preserved by a film noir patron so that people like you can see it today.

Jane, I am more than ready to get into this movie, so let's get out the popcorn, pour some drinks and settle in for a night at the movies with Woman on the Run starring Ann Sheridan and Dennis O'Keefe.

You're watching Subterranean Cinema only on PBS Fort Wayne.

(thoughtful music) (film reel clicking) (dramatic music) (suspenseful music) (tires screeching) >> I'll give it to you without the hoopla, Danny Boy, the simple facts of life.

I'm sitting in the crossfire with the cops on one side and Smiley Freeman on the other, and the both of them gunning for me.

So I'm the guy who knows that you're the one who took the 20 grand from Smiley to cover up the dirty killing.

Got a cigarette, Danny Boy?

Now my proposition's quick and easy, Danny.

We split the 20, five for you, 15 for me, and I take it on the lam.

Live and let live's my motto.

Aw, that look in your eye Danny's painful to me pride.

(gunfire pops) (tense music) Danny, don't kill me.

Danny Boy, don't.

(gunfire pops) (dog barking) (gunfire pops) >> Hey, what happened?

What's going on down there?

Were those shots?

>> You'd better call the police.

There's been a murder.

(sirens wailing) >> Evening, Inspector.

Hi, boys.

Always happens in the middle of the night.

>> Yeah.

>> That's Joe Gordon all right.

>> Yeah.

>> He won't be doing much testifying now.

>> Convenient for Smiley Freeman.

>> Yeah.

>> Fellow over there with the dog says he saw it.

>> Yeah?

Stenographer here yet?

>> Not yet, Inspector.

>> What's this guy's name?

>> Frank Johnson.

Lives around here.

Claimed he was out walking his dog.

>> Hi, Mr. Johnson.

Inspector Ferris.

Homicide Detail.

I understand you had a front seat.

>> I sure did.

>> Get a good look at the killer?

>> Too good.

That street light was right on his face when he got out of his car and shot at me.

>> Shot at you?

>> Twice.

>> You're lucky he missed.

Think you'd recognize him if you saw him again?

>> That's not a face I'm likely to forget.

>> Pick him out of a lineup?

I think so, yeah.

Say, what's this all about anyway?

>> The dead man, Joe Gordon, was going to testify before the grand jury next week.

>> That's tough.

>> Not too.

He had a bad record.

He knew too much about Smiley Freeman.

You know who Smiley Freeman is?

>> The gangster?

>> That's right.

Gordon was our witness.

Now, you're it.

>> Me?

>> Yeah.

All you have to do is identify the killer.

We'll do the rest.

Married?

>> In a way.

>> What do you mean, in a way?

Are you or are aren't you?

>> Yeah, I am.

>> Where do you live?

>> Right over there, 136 Alta Linda, Apartment 4D.

Pick up Mrs. Johnson, bring her over here.

>> Man: Okay.

>> Hey, don't wake her up.

She's not gonna like it.

>> Well, she'd want to know where you are, won't she?

We're taking you down to headquarters.

>> Headquarters?

What for?

>> Protective custody.

>> Let's see what you mean.

>> Now, where were you standing when he shot at you?

>> Oh, right down there.

>> Ferris: Show me.

>> Well, I was right down there with the dog when the car drove up.

I didn't pay much attention to it.

A little bit later I heard a shot.

I looked up just in time to see this fellow, what's his name, fall out of the car.

Then the killer pumped another shot right into him.

My dog barked.

He got out of the car, started to shoot at me.

I ducked, and he drove away.

>> Ferris: What kind of a car?

>> Frank: I don't know, a light coupe.

They all look alike to me.

>> Well, his aim was all right.

He was just shooting at the wrong target.

He thought your shadow was you.

(tense music) Will you go call Reardon?

>> Maybe he won't miss next time.

>> There won't be any next time.

>> Yeah, but suppose you don't get a conviction, then what?

Do I have to spend the rest of my life with police protection?

Or wind up on a sidewalk like him?

>> What are you worried about?

He missed, didn't he?

Stay here a minute.

We'll get the rest of the story downtown.

>> I hate to get mixed up in this.

>> Yeah, it's getting so a man has to be careful where he's looking these days.

Keep out of here, will ya?

>> Say, I think I dropped my pipe somewhere around here.

Is it okay if I look for it?

>> Remember where you had it last?

>> Yeah, it was right over here somewhere.

(man mumbles) >> Come on, get out of here, will ya?

>> Pick up Smiley Freeman and everybody connected with him.

Put him in a lineup, see if Johnson can identify anybody.

I want everybody.

No excuses, no lawyers, I want everybody.

>> Will do.

>> See if you can pick up anything on that car.

Somebody may have seen it.

Mrs. Johnson, that's not your husband.

A man was killed, he saw it happen.

He's right over here.

Sorry I had to get you out of bed, Mrs. Johnson.

But after all, we had to make sure that he had a wife.

Where is he?

>> He took a powder.

Sergeant, pick up Johnson.

The idiot'll get himself killed.

(man yelling) >> Just like him, always running away.

>> What do you mean, always running away?

Running away from what?

>> From everything.

>> Broadcast the description, white male American, wears a trench coat, salt brown hat- >> A very ordinary looking fellow, I'm afraid.

>> Yeah, well, how would you describe your husband, Mrs. Johnson?

>> I couldn't.

I haven't been able to for a long time.

May I go now?

Come on, you mutt.

>> Nice dish, huh?

>> Nice looking dish.

I want everything shut off.

Bridge controls, road blocks, everything.

I'll stick with her.

>> Right.

>> Did you hear the shots fired?

>> How could I?

I was in bed, sound asleep.

>> Find any pictures of him?

>> No, but plenty of her, just some tired snaps of him.

They won't do anybody any good, but keep 'em.

He reads books on psychology.

I wonder why.

Has he got a problem?

>> I wouldn't know.

>> Maybe he's confused.

Aren't we all?

Pipe smoker.

Hmm.

>> What does that mean?

>> Nothing.

Oh, he's got two suits, one of which he's wearing.

Well, what does he care what he looks like?

Nobody pays any attention to him anyway, not even his wife.

>> You're really wasting your time.

There must be at least 20,000 men in San Francisco who answer that description.

How are you going to find him?

There'd have to be something different about him, different anyway from other people.

>> There is something different about him.

There's something different about everybody, and we're gonna dig 'til we find out what it is.

Now you see our problem, Mrs. Johnson.

Why won't you help us?

>> I'm helping.

What do you want me to do?

>> I want you to answer a few questions.

>> Go ahead, ask.

>> Where does he generally go when he's not at home?

I haven't the faintest idea.

>> Has he any relatives in this area?

>> No.

>> Who are his friends?

>> I don't know his friends.

The dog is our only mutual friend.

>> You always go to sleep when he walks the dog?

>> No, sometimes he goes to sleep and I walk the dog.

>> Say, Inspector, here are a couple more.

>> Oh, I'm terribly sorry, there's been a mistake.

Release these men at once.

Keep digging.

>> Okay.

Every man between the ages of 35 and 40 who was out tonight is wearing a trench coat and a snap-brim felt, all of 'em 5'11", weighing 170, and all of 'em scared to answer questions.

>> The domestic situation in this town must be terrible.

>> Yeah.

Kitchen?

>> Well, it's got a stove in it.

>> Hey.

(dog barking) >> Don't you eat anything but dog food?

>> He's not particular, and I'm lazy, so we eat out.

>> Where?

>> Well, let's see, the corner drug store, the Lobster Grill at the wharf when we're in that neighborhood.

And when we get really fancy, Man Lo's Oriental Roof Garden.

Those usually.

We're creatures of habit I'm afraid.

>> Check the Oriental Roof Garden, they'll still be open.

>> Yes, sir.

>> It's two o'clock in the morning.

How am I'm gonna explain this at home?

What's going on here?

>> I'm sorry there's been a mistake.

>> He's sorry.

What am I gonna tell my wife?

>> Come on, get out.

Come on.

>> Mrs. Johnson: He's really in danger then?

>> Worried?

I thought you were beyond worrying about him.

>> I didn't say that.

>> If he doesn't give himself up, you're really gonna have something to worry about.

We've got to protect him.

>> Like you did the other witness?

>> Joe Gordon'd be alive right now if he hadn't had his lawyers spring him.

>> Hey, Mark, here's a prescription for Frank Johnson.

>> Husband ill?

>> No, he just likes to take medicine.

>> Well, what are these for?

>> I don't know.

He just likes to take vitamin pills, cold shots, anything.

>> Ferris: What's up here?

>> Studio.

My husband's an artist.

>> Ferris: Oh, I thought you said he worked at Hart and Winston.

>> He does.

He's in charge of displays down there.

>> Oh, window trimmer, huh?

>> Rembrandt, get down.

You know you're not allowed up there.

>> Rembrandt?

>> It's the nearest we could ever get to owning one.

Frank's little joke.

>> Oh.

>> He found the mutt sitting on the street corner one night waiting for someone to adopt him.

They recognized each other right away.

>> Is this supposed to be you?

>> Yes.

It was a lovely autumn day.

The wind was blowing through my hair.

It was all very charming but that was four years ago.

That was Frank's Cypress period.

He had four important periods in his painting career.

>> Say, how did you two ever happen to get together in the first place?

>> I met him at a friend's house in Carmel.

He wanted to paint and I was all for it.

I had $5,000, and he had $2,000 and talent, so we got married.

After Carmel, he became restless, so went to Taos, New Mexico, where he painted Indians.

That's an Indian.

>> Yeah.

>> Then he got tired of Indians.

So we went to Buck's County, Pennsylvania, where he painted old Dutch barns with hex signs on them.

>> Say, did he ever do a self-portrait?

>> He didn't like himself that much.

>> Oh.

He do these in Pennsylvania?

>> No, he got restless again, so we came to San Francisco.

Here he started sketching crony old characters and hung around wharves, missions and gin mills.

That was his social protest period.

Then our money ran out and he had to take a job.

>> Couldn't sell the stuff, huh?

>> He wouldn't try to sell it, didn't think it was good enough.

These sketch books are filled with great ideas he never got around to painting.

>> Well, didn't you try to get a job?

>> Why should I?

That's his responsibility, not mine.

>> Friend of your husband?

>> Mrs. Johnson: No, that's his burlesque period.

>> Now that I like.

It's pretty good.

Yes, but it takes more than talent to have a career.

You have to have staying power.

Frank's a drifter, so when the money ran out, we just drifted.

Who's this?

>> Mrs. Johnson: Oh, some dance team over in China Town.

>> Oh.

Know him?

>> Mrs. Johnson: Oh, he's a retired ferry boat captain who does sand sculptures at the beach.

>> Oh, I know who that is.

That's Rembrandt.

>> What has all this got to do with finding Frank?

>> You just answer the questions, that is, if it doesn't hurt.

>> Why should it hurt me?

It's all past and done with.

If you want to snoop into the remains of our marriage, that's up to you.

(phone rings) >> Don't touch that telephone.

If that's your husband, Find out where he is, but keep on talking.

>> Hello.

>> Oh, hello, Frank.

>> Ferris: Trace that call.

>> Frank: Eleanor, there's something I want you to get for me.

>> I'm sorry to interrupt, but if I were you, I'd hang up.

The police are tracing your call.

>> Hello, hello.

He hung up.

Seems to me I heard music.

Wasn't there music?

>> You didn't do your husband a favor, Mrs. Johnson.

It's bad enough to be alone in a big city with no place to go, but as soon as the newspapers hit the streets, and the killer finds out he didn't get your husband, there'll be guys looking for him with guns.

If I had a husband I wanted to get rid of, I'd do exactly what you did.

>> If he wants to run away, that's his business.

>> And your business, too, Mrs. Johnson.

I'll be seeing you.

No wonder the world's full of bachelors.

A little more needling is all she needs.

Give her plenty of rope and keep her tailed.

>> She wants to get rid of him.

>> Women are curious.

Even that dame'll go after him.

>> Aw come on, be a good fellow and let us up.

>> Who's handling the case?

>> Inspector Ferris.

>> Oh, he's a friend of mine.

>> Is that right, Inspector?

>> Sure, we know him well.

>> Reporter: Hi Ferris, what's the dope?

>> No story.

>> Reporter: How about that Johnson gal?

Is she good looking?

>> Man: What about the witness?

>> What witness?

>> Oh, cut it out, cut it out.

It's already gone to press.

Did he get a look at the murderer?

>> Ferris: No.

>> What's his wife like?

Any filth?

>> Lay off the tabloid sex stuff, Legget.

I'll give it to all of you in the morning.

>> Legget: Hi ya, Homer.

>> No favorites.

(dramatic music) (Eleanor gasps) >> Don't scream.

You coming out or going in?

>> Are you the police?

>> Smile when you say that.

I'm a reporter.

>> Oh, newspaperman.

>> Well, you don't have to say it like that.

>> Let go of me.

Go away.

(Eleanor exclaims) (chair clatters) Are you just going to leave me dangling here?

>> You just said to let y- >> I don't care what I said.

Help me get out of here.

>> Legget: It's a pleasure, Mrs. J.

You are Mrs. Johnson, aren't you?

>> No, I'm the maid talking my night out.

>> Oh.

What magic I possess.

A moment ago, total strangers, now you're in my arms.

>> So it's love at first sight.

Now show me how you got up here without the police seeing you.

>> Do I get the story?

After I get out of here.

>> Follow me, ma'am.

It looks like half the police force is down there.

>> Must I?

>> Just look straight ahead like you did when you got married.

Incidentally, my name's Legget, Legget at the Graphic.

We've got a dandy little sheet all full of goo and gore and every- Hey!

>> Bye.

(upbeat music) >> You wish something?

>> Gin over rocks.

>> Rocks?

>> Is this chair taken, madam?

Why, thank you, Mrs. Johnson, I'd love to join you.

You didn't think you were gonna get rid of me as easily as you could duck the police, did you?

I'll have you know Mrs. J, I'm an old fire escape man from way back.

>> Why don't you get lost?

(audience applauds) >> Now then, how about the story?

>> You'll get the story from my husband when he's safe and sound in jail.

>> Oh, but he won't be safe and sound.

Have you forgotten a fellow by the name of Joe Gordon?

>> Do you wish something?

>> Legget: Yeah, let me have a bourbon old fashioned.

>> Waiter: Yes, Sir.

>> Why did you come here tonight, Mrs. Johnson?

Or shouldn't I ask?

>> Because I like it here.

You didn't by any chance come here to meet, say, your husband, did you?

Or is that a far-fetched supposition?

Supposition?

I'd better stop using those four syllable words.

I won't be working for the Graphic anymore.

Where's your husband, Mrs. Johnson?

>> I don't know.

>> Did he see the killer?

>> I don't know.

>> Shall we dance?

>> Why don't you drop dead?

(speaking in foreign language) >> Why don't you be nice to me, Mrs. Johnson?

Who knows, I might even be able to help you.

I'm not a bad guy when you get to know me.

A little obnoxious, perhaps, but pleasant.

Now then, answer yes or no.

Your husband saw the murder and took it on the lam, right?

>> Right.

>> And you're meeting him here?

>> I haven't the slightest idea.

I came here on a hunch.

When he phoned tonight, I heard music.

It could only have come from this joint.

>> Something to eat?

>> No, thanks, no food.

>> Oh, go ahead, try something.

>> No, really, nothing.

>> Oh, uh, I've got a deal for you.

You find your husband with my help, give me an exclusive for 24 hours, and I'll get my paper to pay you for it.

>> Trying to buy me so soon?

>> First, I'm gonna try and buy you.

And if I can't, I'm gonna try to win you.

>> Isn't that the reverse of the usual procedure?

>> I'm a perverse fellow.

On second thought, Mrs. J, I find you very attractive.

I may try and win you right off.

>> No thanks, I'd rather be bought.

>> (tisks) Very mercenary.

All to the good, though, I like mercenary women.

(speaking in foreign language) (audience applauds) >> Money?

>> Sure.

>> How much?

>> Oh, I don't know, a grand maybe.

>> Is it worth that much?

>> It will be by the time I get through building it up.

>> Frank'll need it if he wants to get away.

>> I'll bring it with me.

Just tell me where and when.

>> And you won't print anything until I give the word?

>> Scout's honor.

>> It's a deal.

>> Shall we drink to it?

To the, uh, speedy conclusion of all our troubles.

Yours, your husband's and mine.

>> You've got troubles?

You don't look it.

>> None that I can't solve now we're partners.

>> Hi ya, Mrs. Johnson.

>> Hi, Sammy, sit down.

Meet Mr. Legget of the Graphic.

>> Oh, a newspaperman.

>> Sammy.

>> You should have caught the show.

Suzie and I are breaking in a new act, Chung and Okito.

It's terrific.

That's spelled C- H- U- N- G, anybody can spell Okito.

Of course, we're only breaking in the show here, but a little plug'd help.

>> Well, I'll, uh, I'll see what I can do.

>> Thanks.

Next time you come, catch the midnight show.

The place is really jumping then.

I'll be seeing you.

>> Bye, Sammy.

>> Goodnight.

>> Well, I think I'll go home.

Frank won't show tonight.

>> Legget: How do know?

>> I just know, that's all.

>> What are you gonna tell your husband when you see him?

>> To give himself up.

Maybe I'll give up, too.

>> Leave your flag down.

You want to go in over the roof?

>> No, I'll go in the front door and give them something to think about.

>> Well, in that case, I'll disappear.

Let's not give 'em too much to think about.

>> Well, if I need you, I'll get in touch with you.

>> Oh, you won't have to get in touch with me, Mrs. Johnson.

Just look around, I'll be there.

>> Goodnight, Mr. Legget.

What are you doing here?

>> That was nice going, Mrs. Johnson, but the next time you try to get out, you'll have more trouble.

I've got news for you.

I've just seen your husband's doctor.

>> Why?

Aren't you feeling well?

>> Your husband isn't a hypochondriac.

He's a very sick man.

He's got a bad heart.

(thoughtful music) >> I don't believe it.

>> Ask Dr. Hohler.

>> Frank never said anything to me about it.

>> Maybe he figured you wouldn't be interested.

>> Well, he can walk into any drug store and buy some medicine.

>> Not without a prescription he can't.

And I've given orders to every drug store in town that none of this medicine's to be dispensed without an order from me.

If he should have an attack and not have that with him, you know what that means?

>> You can't do that.

>> If it's the only way I can get him to come in and testify, I mean to use it.

>> But Frank's done nothing wrong.

>> Oh, yes he has.

He was in the wrong place at the wrong time.

>> I thought the police were supposed to protect people, not put them in danger.

>> All it says in my book, sister, is that the good of the majority's got to be upheld.

And for the good of the majority, Frank Johnson's got to testify.

If he gives himself up, we'll give him a supply of medicine and we'll protect him.

>> And if he doesn't?

>> He'll die of a heart attack or a bullet from one of Smiley Freeman's men.

>> I don't believe a word you're saying.

You're only trying to frighten me.

And I'm getting pretty sick of you.

Now get out of here.

>> Of course, if you want to try to find him, I won't try to stop you.

But I don't think you can find him.

I don't think he's running away from us.

I think he's running away from you.

>> I said get out.

(thoughtful music) (ominous tones) >> I am violating my instructions from the police by giving you this additional supply, but rest assured, it gives me no feeling of guilt.

>> Thank you, Doctor.

>> After the excitement of last night, your husband undoubtedly used the ampules he carried with him.

So you see, my action is not prompted by kindness, but my reluctance to gamble with a man's life.

>> Is his heart really that bad, Doctor?

>> Frank's condition isn't any worse than thousands of men that strain their hearts running in track meets in the misguided belief that they were building up their bodies.

If it were only his heart, we could control it.

>> What do you mean?

>> Well, for the past year, your husband has had hypertension that complicates matters.

>> Hypertension?

What causes that?

>> Well, I'm not sure.

My guess is overwork, unhappiness, anxiety, but you know more about it than I do.

>> Why should I?

>> Naturally, you must know about his troubles.

I'm only his doctor, you are his wife.

>> Oh, yes, I'm that bitter, selfish, vicious wife, the cause of his unhappiness, the cause of his failure.

Is that what he told you?

Is that what he tells everyone?

>> Frank didn't discuss his private life with me, nor do I care to hear it from you.

I shall explain to you his condition and that's all.

He has a cardiac condition, let's call it X.

Now X alone is not serious.

He also has hypertension, let's call it Y. X plus Y is dangerous.

>> I'm Y I suppose.

>> I'm not a psychiatrist, Mrs. Johnson.

I deal only with facts.

X plus Y equals steady deterioration.

X minus Y is an improvement, and what you and your husband do about it, that's your personal concern.

>> My only personal concern right now is to get these ampules to him.

>> If you see him, tell him he should give himself up.

It's imperative to take the strain off himself.

>> I'll give him the facts.

He can draw his own conclusions.

(mysterious music) >> All right, Mr. Johnson, come along.

>> My name isn't Johnson.

>> Yeah, and I suppose that isn't your wife either.

>> No, but I wish it were.

>> Do you have any identification?

>> Yes, I have.

My name is Steven Carruthers, Optometrist.

While we're on the subject, I think you better have your eyes examined.

>> So Frank is a fugitive from the law?

Well, that's just like him.

He's so adventurous.

>> Adventurous?

Frank?

>> Oh, yes, indeed.

Uh, sit down, Mrs. Johnson.

I guess you never visited our workshop before.

>> What makes you think he's adventurous?

>> Oh, but he is.

All the places he's gone and all the things he's done, you know, my life has been pretty uneventful.

Straight from high school to this job.

From my rooming house to the streetcar, and then down here to work.

In the evening, back to my rooming house again.

But since he's been here, it's different.

He makes my life kind of exciting.

I never get tired of listening to the stories he tells about his trip down to Mexico when he was wandering around with all those bullfighters.

And when he shipped off to Tahiti in that old freighter, and then jumped ship.

Oh, I'm sorry.

I suppose you've heard these stories many times, Mrs. Johnson.

>> I never heard them.

He never told me.

>> He didn't?

Well, maybe he didn't want his wife to know.

Oh, I'm sorry if I talked outta turn.

>> Of course you haven't.

Shouldn't the mail be here?

>> Why, yes, yes, it should.

Why?

>> Frank sent me a letter in care of you.

>> Oh, he did?

I don't know what Mr. Anderson's going to say when he finds out Frank isn't coming in today.

You know he's got a terrible disposition.

He doesn't exercise enough.

Of course, I don't either, but then... Well, I'm gonna protect Frank.

He saved my job once.

You know Mr. Anderson was gonna fire me, but Frank said, "If Mr. Maibus goes, you can pay me off, too."

Oh, they had a terrible argument.

They even took it upstairs to Mr. Winston.

Well, we're still here.

Frank was too valuable.

>> Look, Mr. Maibus.

Don't tell anyone about that letter that's coming.

Oh, no, no, no, you can trust me.

>> Eleanor: Not even the police.

>> The police?

Are they coming here?

>> They're very apt to, but just don't mention the letter or anything about my being here at all, huh?

>> Well, I don't know how good I am at deceiving people, but if it's for Frank, I'll try.

>> Hey, Maibus, you better get the lead out and get upstairs.

Anderson's blowing his top.

>> Okay, I'll be right up.

Is the mail in yet?

>> How should I know?

>> Nice people.

Sometimes I think it'd be better for Frank if he got himself fired.

Well, he doesn't belong around here.

Look at all the time he puts in these mannequins.

Say, I just noticed something.

This looks like you.

>> Very flattering.

Is that the way he sees me?

>> Well, it may be a little severe, but it shows he was thinking about you anyway.

>> Yes, and what he was thinking.

>> Mail.

You've only got two today, Mr. Maibus.

Oh, isn't Frank here?

>> No, no, he's late.

Was there a letter for him?

>> No, I just had a new song I wanted him to hear.

Frank's the only one who listens to me sing.

Oh, brother, have I got a crush on that man.

Mm.

>> No letter.

>> Oh, but there's got to be one.

>> Well, maybe it'll be here on the afternoon mail at three o'clock.

>> If one comes, hold it for me, and let's just keep it our secret, shall we?

(thoughtful music) >> Morning, Mrs. Johnson.

He didn't show up for work this morning, did he?

Where's your new pal, Legget?

>> I haven't the vaguest idea.

>> I wouldn't get too cozy with that guy if I were you.

He'd crucify his grandmother for a story.

>> I haven't found him as objectionable as you are.

What right have you prying into my personal life, having me followed as if I were a criminal?

I'm sick of it.

I'm sick of you, and I want it stopped.

>> Mrs. Johnson, didn't your husband ever beat you?

>> Are you going to have these men stop following me?

>> The man who killed Joe Gordon isn't stupid.

If I'm smart enough to use you as a bird dog to lead us to your husband, so is he.

You may be very happy to have a cop around before this thing's over.

>> That I doubt.

>> Stick with it.

>> How could I lose a redhead like that?

>> Oh, don't be so grumpy this morning.

All I'm trying to do is help you.

Do you know that you've got a little shadow?

Huh?

There she is.

Well, it's a nice morning for a ride.

Oh, uh, by the way, here's your letter.

Well, how did- >> Surprised?

Don't be.

$10 and an underpaid store clerk will get you anything.

Don't you worry about it.

I'll put it on my expense account.

>> But how did you know about it?

The menu.

You shouldn't have left it.

It was very careless of you.

I have inquisitive eyes.

>> Do you always open other people's mail?

>> Mm hmm, every chance I get.

Say, did you get a load of the female impersonator they've got following you?

>> No.

>> Well, let's duck her and get down to business.

Hey, Mac, turn left on the next street and then right up the alley.

>> Mac: Okay.

(tires squealing) >> Mean anything to you?

>> Oh, a lot of things.

>> Something to go on?

>> I'm not sure.

>> What does he mean in there about the doctor and the ampules?

>> It's medicine he needs.

He has a bad heart.

>> How bad?

>> Bad enough.

I just found out.

He's got to have these pills, and he can't get them anywhere.

The police have seen to that.

>> Ah, squeeze play.

That Ferris is smart.

Will he die?

>> I don't know.

I spoke to his doctor.

It isn't serious only under certain conditions.

>> Ah.

Explain.

The police will probably read this note, so I can't tell you where I'll be.

But if you think back, you'll know where to find me.

>> What am I, a mind reader?

>> Well, he gives you a clue in this next line.

I'll be out in the open under the sun in a place like the one where I first lost you.

>> There is no first in things like these.

>> This is kind of obscure.

Does he always talk to you like this?

>> No, it's our first murder.

>> You know, Mrs. J, your husband's a pretty clever guy at that.

You don't think so, but he is.

He's testing you.

He's asking you to admit that your marriage is a failure and that it's your fault.

He's saying that he understands you, but that you don't understand him.

>> Now listen, Mr. Legget of the Graphic, I've had just about enough of the all-wise male.

In the past 10 hours I've met three men.

Three men who, all put together, haven't known Frank for one fraction of the length of time I have.

Yet, they all know him better than I do.

Well, along the way, I found out a few things myself.

I found out how Frank Johnson really feels about me.

That at the first chance, his first excuse, he took off, ran.

That he didn't even think enough of me to confide in me that he was ill. Then at the store in the faces of those mannequins, I saw what he really sees in me.

All right, it's okay if that's the way he feels about it, but he wants his ampules, he'll have to come out of hiding and get them.

>> What did you have for breakfast?

Cigarette and coffee?

>> Cigarette.

>> I thought so.

Take us over to Lancy's on Powell.

>> Mac: Lancy's?

Okay.

>> This place has the best waffles in town.

Butter in every little square.

The view's always better on a full tummy.

How about another one?

>> Oh, no thanks.

>> Now that I've got you softened up, Mrs. J, there's something I have to tell you.

You have to find your husband.

No, not for the money I promised you or my story, but for yourself.

He's challenged you.

You've got to accept it or admit he's right.

>> I really would like to find him if only I could decipher the riddle in this letter.

>> Together we can do it.

That letter's like drawing a graph.

One line is to trace his movements from last night.

The other leads back into the past, which you have to remember.

Where they cross, that's where your husband is.

>> You need a manicure.

>> So I do.

You know, this is the first time in my life I ever insisted on helping a woman find her husband?

>> That I believe.

By the way, what do people call you besides Legget at the Graphic?

>> Oh, oh, people who like me call me Danny Boy.

(frightening music) >> Okay, Danny Boy.

Fisherman's Wharf.

Frank used to come here a lot.

I remember once he did a watercolor of a boat.

A fisherman admired it, so Frank just gave it to him.

Not to be outdone, the fisherman gave Frank a big swordfish.

I made a remark about the joys of living for the barter system, and we had a bitter quarrel.

But it certainly wasn't the first one.

>> Legget: Do you think Frank was referring to a quarrel when he said, where I first lost you?

>> Eleanor: What else?

Another one started up here on Telegraph Hill.

Frank did a canvas of the harbor here that I thought was wonderful.

When I told him so he insinuated that my taste in art ran to calendars.

I said my taste was my own, and I wanted the paint.

So he gave it to me, but he signed it, Eleanor's husband.

Without telling him, I entered it into a contest they were having here at the art gallery.

The oil by Eleanor's husband won first prize, $500.

But do you think Frank was pleased when he found out?

Oh, no.

He refused the money and withdrew the painting, said he wasn't ready yet.

>> Legget: Sounds pretty stubborn.

>> Eleanor: Stupidly stubborn.

I wonder if he ever really wanted to be successful.

Soon after that, he took the job at Hart and Winston's.

>> Legget: You know the only thing we know for sure is that Frank was at the Oriental Gardens last night.

While we're in the neighborhood, let's drop in.

>> Yeah, he sat around the room until we came down to do the one o'clock show.

Then he said he was gonna make a phone call.

>> Then Frank wrote the letter.

>> He said to get in touch with you, that he was gonna send the letter to a store in care of Mr. Maibus.

>> Haven't I seen you someplace before?

>> I shouldn't be surprised, I've been there.

>> But didn't he say what he was going to do or where he might go?

>> I didn't want to pump him.

Say, why don't you try Sullivan.

>> Who's Sullivan?

>> He's a grand mitt, runs a bar across the street.

Come on I'll show you.

You can go down the back stairs.

>> Now I know where I've seen you before.

Last night.

>> Yeah, sure, I was in with Mrs. Johnson.

>> No, I mean the picture that Frank drew.

(tense music) >> Picture?

What picture?

Of me?

>> Well, it looked something like you.

You know how Frank's always drawing pictures.

>> Did he say who this man was?

>> No, no he didn't.

I wonder if I should have told the cops about it?

Oh, well, they'll be back.

The man that was in said so.

>> Suzie, quit yakking.

>> Uh, do you still have the picture?

Maybe I could run it in the paper.

>> Yeah, it's upstairs in my dressing room.

I better keep it though.

>> Hey, Legget, are you sure you want to help find Frank?

>> Say, don't forget that plug in the paper about us.

We can sure use it.

Okay, take it from the top.

I've got to see our agent.

>> I've heard about this place for years.

Never been here before.

>> What'll you have, folks?

You hungry?

Specialty today, corned beef and cabbage or egg foo young.

>> No food.

>> Gin on the rocks for the lady and an old fashioned for me.

I think I'll call the paper and see if anything's broken.

You can get more out of him alone anyway.

>> Say, why don't you wear a hat?

>> I look funny in hats.

>> You know, you're right.

>> What is it?

No, I didn't drop a nickel.

(ominous music) >> Yes, Mrs. Johnson, Frank was in here last night just before closing time.

>> Did he say where he was going?

>> No he didn't.

Just borrowed 10 bucks is all.

Maybe I should tell you.

There was a couple of fellows in here this morning asking about Frank.

Fellows that you couldn't very well say mind your own business to.

Is he is some sort of trouble Mrs. Johnson.

>> Some.

He didn't come home last night.

>> They're all alike.

I've been looking for mine for three years.

>> I'm glad I finally met you, Ma'am.

I often wondered what kind of a woman Frank was married to.

Not that I imagine he was too easy to live with, being so quiet and moody and strange at times.

For instance, now look at this picture.

Look at the date he put on it.

Frank painted this for me about six month ago.

It was on St. Patrick's Day, but look at the date on it.

March 17, 1947.

Well, I suppose it's an artist's privilege.

>> March 17th, that's Frank's birthday, 1947.

We spent the day on the beach at Cypress Point.

Then we suddenly decided we had to see the sunset from the Top of the Mark, so we drove to San Francisco.

We had a car then.

We had champagne cocktails and watched the sun set over the Golden Gate.

After all, it was Frank's birthday and St. Patrick's.

We had a beautiful dinner at Andre's and Cafe Diablo at Amigo's.

Then we drove back to Carmel in the softest moonlight I've ever known.

>> Ah, there's nothing like being young and in love, and daft.

>> To boot.

>> What?

>> Daft to boot.

>> Well, I guess people are entitled to do crazy things on their birthday.

>> This year we didn't.

I went to a movie.

Frank came down here and painted that picture.

>> Now I know what Frank meant when he said someone should have been in that picture with him.

(tense music) I have a notion if your husband could have see your face when you were telling about that birthday party in 1947, he'd have painted you right smack in the middle of that picture with his arms around you.

>> Ah, sorry I was so long.

>> Oh, Mr. Legget of the Graphic, Mr. Sullivan.

He's helping me look for Frank.

>> Hi.

Freshen it up a little, will you?

And hold the garbage.

You?

>> No, I'm fine.

>> Get something?

>> Something I hadn't counted on.

>> What?

>> Frank still loves me.

>> Oh, that's a big help.

>> I think so.

>> If it'll help any, Frank asked me how early the Army-Navy stores open, the one that's down on the Embarcadero.

>> Oh, he's getting smart.

He's changed his clothes.

What do you say we cover it?

Oh, I'm sorry I was so rude a moment ago, but it's always discouraging to hear a wife say that her husband loves her.

>> What do you write?

Comic strips?

>> Oh, never more serious in my life.

What's the damages?

>> Oh, it's on the house.

I hope you find him, Mrs. Johnson.

>> Thanks.

>> It's no use looking, honey.

Once they're gone, they're gone.

(sirens wailing) >> How'd it happen?

>> I was walking along, and she almost hit me.

She must have fell from the Oriental Roof Garden up there.

>> Who is she?

>> She's one of the dancers from the show.

>> Maybe a drink, Sammy?

It helps sometimes.

>> No thanks.

>> Hi, Sammy.

>> Let him alone, can't you?

>> I just heard about it.

I'm sorry.

>> I can't understand it, Inspector.

Suzie was happy.

We were doing great.

There was no reason for it.

>> Sometimes we don't know what makes people tick, even the ones closest to us.

>> I just can't believe she killed herself.

>> Well, maybe she didn't.

>> Inspector, how else- >> It could have been robbery.

She might have surprised somebody in the dressing room.

Did you check her stuff, see if anything was missing?

>> No.

>> Well, do it now.

(thoughtful music) >> We've been through almost all of these places, and we still haven't found a lead on Frank.

Mind if I look at this coat?

>> Storekeeper: That's a man's coat.

>> Mind if I look at it?

>> Storekeeper: $3.00 >> That's Frank's coat.

Where did you get it?

>> Storekeeper: None of your business.

>> But that's my husband's coat.

>> No, it ain't, it's mine.

A fella came in here and traded that coat and $4.00 for a pea jacket and a cap.

>> When?

>> When I opened up this morning.

>> Where'd he go?

>> How do I know?

I just sell stuff, I don't watch people.

Shut the door as you go out.

(pensive music) >> Look.

>> Well, wouldn't you know.

There he is just like nothing had happened.

>> Huh?

>> Frank.

>> I beg your pardon.

>> Oh, I'm sorry.

>> I never knew there were so many land-going sailors in the world.

And all of 'em wearing pea jackets and seamen's caps.

Beat, huh?

>> Mm-hmm.

I might as well admit it.

I can't remember.

No thanks.

>> There's not much sun left to find him under.

>> "If you think back," he said in his letter, "you'll know where to find me."

Danny, maybe if I'm alone I can figure this out.

I've got to go home anyway and feed the dog.

He's been locked up all day.

>> Oh, sure, sure.

I could meet you later someplace.

How about picking me up at the corner of Montgomery and Union Streets when you're ready.

It's not much out of your way.

>> All right.

I'll meet you there in an hour.

As a taxpayer, I thank you.

Hello, Rembrandt.

I'll be with you in a minute.

>> Ferris: Hi.

>> What?

You again?

Who let you in?

>> Ferris: The landlord.

Do you mind?

>> Oh, no.

Make yourself at home.

I love having cops move in on me.

>> Where's the letter?

Don't pretend you don't know what I'm talking about.

I mean the letter your pal picked up at Hart and Winston's this morning.

I want it.

>> Sees all, knows all, except where Frank is and who the killer is.

Why don't you go back to jail or wherever it is you live and leave me alone?

>> Oh no, the merry-go-round's over.

This case is going cold on me, and you're the only live thing in it.

So from now on, I'm sticking with you.

>> That's just peachy.

Oh, I'm bushed.

>> You ought to be.

You covered a lot of territory today.

My men are bushed, too.

You should be more considerate.

Can you make anything out of this letter?

It's pretty cryptic.

>> Not yet, but I'm working on it.

>> Ferris: Sounds like a guy in love.

>> You think so?

>> Yeah.

"I'll be out in the open under the sun in a place like the one where I first lost you."

That kinda lays it right in your lap.

Doesn't it mean anything to you?

>> I wish it did.

>> I'm glad you're not bringing me my medicine.

>> Oh, don't worry, I'll find him.

>> And I'll be right there with you when you do.

Where you go, I go.

(Rembrandt barking) >> Would you insist upon going with me if I walked the dog?

>> I walked him.

Anyway, there's a man out front, one in back and one on the roof.

>> Fine, I'm staying right here then.

>> So am I.

We'll just wait 'til your husband comes to you or you can't stand the strain any longer and go to him.

>> Look, Mr. Ferris, maybe you're right in some of the things you said.

Today I discovered a lot about Frank I never knew before.

>> In one day what you couldn't find out in four years?

>> I guess I was the one that was mixed up.

A lot of it's my fault anyway.

I haven't been much of a wife.

>> Well, that's quite an admission from you, Mrs. Johnson.

>> Please, you've got to give me a chance to see Frank alone and give him his medicine.

Then if he wants to come in and testify, that's up to him.

But it's got to be his choice.

I won't try to influence him one way or the other.

Whatever he does is all right with me.

But you've got to let me see him alone first.

>> I believe you and I'd like to help you, but I'm a cop.

If Frank keeps on running, I'll have no witness to say nothing of a job.

(Rembrandt barking) >> He's hungry.

Couldn't you have fed him, too?

>> I couldn't figure out how to work the can opener.

Can I use your phone?

Hello, Ferris.

Anything come in?

Keep it going 'til we get results.

I think we're getting warm.

Shaw there?

Put him on.

(happy music) (Rembrandt barking) I'm sorry, Rembrandt.

It's the only thing I could think of.

Mr. Ferris.

>> Ferris: Yeah?

>> I'm worried about Rembrandt.

He was so hungry, and now he won't touch his food.

>> Well, that's funny.

>> And his nose is so hot.

Maybe I'd better take him to the vet.

>> I'll take him.

I like dogs.

>> Oh, thank you.

>> Get your shoes.

>> His temperature is normal.

In fact, he seems to be in perfect health.

>> But I'm worried about him, Doctor.

He won't eat.

>> Maybe he isn't hungry.

>> Perhaps he should stay here for a few days for observation.

May I take a look at your exercise yard?

>> Oh, yes, right out that door across the hall.

>> And Doctor, see if you can't coax him to eat something.

>> Doctor.

I wish you'd look at Emma Lou.

>> I'm not the doctor.

I'm here for treatment myself.

>> I beg your pardon?

>> Your wife thinks you ought to leave the dog for observation.

>> That woman's not my wife.

>> Ferris was there when I got back.

He knew about Frank's letter.

>> Well, that doesn't surprise me.

I knew he'd check that.

>> Danny, I've been thinking.

Why did Frank send it to Hart and Winston's?

>> He didn't want it intercepted.

>> Why not leave it with Sammy Chung then?

Or give it to anybody he knew who would bring it to me?

Why Maibus at the store?

>> You mean, you think there's a reason, something you missed?

>> Yes, something I didn't see.

Something I overlooked.

>> Driver, take us to Hart and Winston.

>> Driver: Okay.

(thoughtful music) >> Danny: Weary, bitter, cynical.

Fresh, eager and hopeful.

The two Eleanors.

>> Now I remember.

One day on the beach at Carmel, just after we were married, Frank made a mermaid out of sand.

It was supposed to be me.

And a big wave came up and washed it away.

And he said, "Well, I've lost you."

And I said "You'll never lose me, Frank.

I won't let you."

That's what he meant in the letter.

It wasn't a quarrel.

>> This means something to you?

You know where he is?

>> I'll take you there.

>> Inspector Ferris wants to see you.

>> Why?

>> Look, he wants to see you.

>> Where?

>> Later.

(ominous music) >> I'm sorry to have to ask you to do this, Mrs. Johnson.

This man was found in an alley behind the Gin Mill on the Embarcadero, he's been brutally beaten to death.

He wasn't wearing a trench coat.

But he was wearing a seaman's cap and jacket.

From what I remember of your husband, it could be him.

I'm not sure.

So I'll have to ask you to make a positive identification.

Let her alone.

There goes the Freeman case.

Two witnesses, two dead men.

>> That's the way it goes sometimes.

Eleanor, anything that I could say would just be words.

>> Danny, that wasn't Frank.

For a quick moment I thought it was, and I felt things I didn't know I could feel.

What was I holding out for?

Why didn't I learn to understand him?

Why don't we give freely of ourselves when we can?

If only I had another chance, I thought.

Then I saw it wasn't Frank and I fainted.

>> Congratulations on your performance.

>> But it wasn't an act.

I really did faint.

>> Where is he?

>> At the amusement park at the beach.

>> You were there when it happened.

Why can't you talk?

>> That Johnson dame's a smart cookie.

>> Yeah.

>> I wonder where she got the idea of passing that stiff off as her husband?

If somebody hadn't... >> Pass him off?

>> Sure, the guy she identified was a second mate off a tanker, just been paid off.

Somebody rolled him for his dough.

>> Why wasn't I told?

>> The fingerprint report just came.

>> Kick me for a knucklehead.

Get down to the taxi stand, check and find out where they took her.

(bright music) >> Hey, Mac.

Watch my cab, will ya?

I want to get a hamburger.

>> Okay, Bud.

>> Here, put this on right away.

>> All units in the Bay Area, be on the lookout for one yellow cab, number 323, license number in the seven column, 49 Frank, 762.

Left Hall of Justice approximately 6:30 p.m. this date.

(bright circus music) >> Right down that way beyond that railing at the sand sculptures.

He's been waiting for me all day thinking I wouldn't remember.

I almost didn't.

>> No.

>> What is it?

>> Well, I couldn't talk to him there.

There's too many people around.

I couldn't get the kinda story I want.

I know where I can meet him and nobody'll bother me.

>> Oh, look at the sand sculptures.

>> I had an uncle that used to make statues, only he made them out of ice.

>> Woman: Really?

>> A small donation for the artist would be appreciated.

>> Here you are.

>> Thank you.

(bright music) (horn honking) (roller coaster roars) >> Yeah.

This thing's beginning to boil.

We'll be right down.

We're going to the beach.

Come on, Rembrandt.

What my eyes miss, your nose will smell.

Come on.

(roller coaster roars) >> Eleanor: I don't like this place.

>> It's a good spot.

I used to come here with my girl when I was a kid.

>> It's more frightening than romantic.

>> That's the way love is when you're young.

And life is when you're older.

>> I'll tell Frank where you are.

>> You sure you want to start over again with your husband?

>> I'm sure I want to try.

I'm not sure what he wants.

>> Danny: Supposing he doesn't want to?

>> Then I'll let him go, and he'll never know how I feel about him.

>> If you think people can turn back and you're gonna try.

I know better.

>> You're too cynical.

It's your profession.

>> It's too late now to change my profession.

Okay.

Go ahead and send him in.

>> I'll bring him.

>> No!

>> What's the matter with you?

Don't you still want the story?

>> I guess I've gotta have the story, but my way.

You send him back.

I want to see him alone first.

If you want the money, I talk to him alone.

>> Well, all right, if that's the way you want it, I'll send him.

(ominous tones) (roller coaster roars) (bright music) >> You fellas get over there and cover the pier side.

>> Yes, right, sir.

>> You get up there, make like a gate, if Johnson tries to come through, arrest him.

>> What charge?

>> For failing to curb his dog in a public park.

I'm coming in from the other end of the pier.

>> Hey.

How we doing?

>> $7.71.

>> Huh?

That's better than I do on some Sundays.

Thanks for taking care of things.

You know, it's the first day I've had off in years.

You know what I've been doing all day?

Riding back and forth, back and forth, between here and Sausilito on my old ferry boat.

>> Look, I can't stick around here anymore.

I've gotta get out of here.

Hey, Cap, I hate to ask you, but could you... >> Won't take you very far.

Here's the keys to my car and the ticket.

You'll find it over in the parkway, tank's full.

>> hanks, Cap, I'll get it back to you.

>> You better.

>> Frank.

>> I beg your pardon, Lady?

>> Where's Frank?

What happened to him?

>> Cap: Who?

>> Frank Johnson.

>> Never heard of him.

(roller coaster roars) (ominous tones) Sorry, Mrs. Johnson, but I had to be careful.

Frank waited all day, and said he couldn't wait any longer.

So I loaned him my car about five minutes ago.

>> Where'd he go?

>> Over at the parking lot at the other end of the midway.

>> Thank you.

>> I lost a bet with myself.

>> Did you want to win?

As ordered, delivered.

Late as usual, but delivered.

>> Let's get out of the light.

Keep an eye out for us, will ya, Cap?

>> Why didn't you tell me about your heart?

>> Oh, you know doctors, they make a big deal of everything.

I guess it was a silly thing to do writing that corny note.

>> It sounded like you'd had a couple of drinks.

>> Frank: I had.

By the time I finished the drinks and the letter, I's a pretty sad character.

Well, we can't hide out here forever.

>> Would you want to?

>> Frank: Might can get a job in another town.

I'm a pretty fair window trimmer.

>> A pretty good artist, too.

We've got to pull out of this.

>> We?

>> Yes.

If this excitement hasn't killed you, I'm sure I can't.

We'll get out of town where you'll be safe.

Can't go very far.

I've got $7.71.

I borrowed that from the Captain.

>> There's a fella name Legget, a reporter from the Graphic.

He helped me find you.

He's promised to give you $1,000 for an exclusive.

>> That's a lot of money for the little I can tell.

>> Well, his paper must think it's worth it, so why look a gift horse in the mouth.

>> Where is he?

>> Over by the roller coaster.

Come on, I'll show you.

>> Hey, you, turn around.

You know an artist named Frank Johnson?

>> Cap: Who?

>> Frank Johnson, an artist.

Did a sketch of you.

I saw it.

>> Could be, but I don't remember.

Oh, see I just work here.

Used to be a ferry boat captain, though.

(roller coaster roars) >> Hello, Inspector.

Remember you asked me to check all of Suzie's things to see if anything was missing?

>> Sammy, I'm busy.

I'll see you tomorrow.

I just wanted to tell you that nothing was missing except that sketch that Frank drew on the back of a menu.

>> Sketch?

Of who?

>> I don't know, but Suzie said it looked like that newspaperman that was in the club this afternoon with Mrs. Johnson.

That good notice he was gonna give us won't do Suzie any good now.

>> What happened?

Where's Frank?

>> He's on his way to meet you.

But Ferris is here with the dog.

>> Ferris.

I bet that stiff in the morgue was a plant.

He's a pretty sharp fellow.

Let's get off the midway.

Come on, they'll never look for us in here.

>> But these thing make me sick.

>> Stay in your seats, folks.

The second ride is half fare.

>> I'll never ride this thing again.

>> Quite astute, lady.

All right, Eddie, take it away.

Don't stand up on your feet folks.

This is the greatest thrill of your lifetime.

>> The ride only takes a couple of minutes.

Besides, when we get to the top, we can see if Frank's there.

>> Oh, he must be there by now.

(woman squeals and laughs) I don't see him.

(woman screaming) >> Where is he?

>> I don't know.

(woman screaming) >> Man: Hey, buddy, where do you think you're going?

(mysterious tones) (woman screaming) (woman screaming) >> Operator: The second ride is only half fare.

>> Sailor: Want to go again, baby?

>> I won't go again for the Admiral.

>> You stay on for another ride.

I'll go see what's happened to Frank.

>> I want to go with you.

>> No, with Ferris outside, together we'd be too conspicuous.

>> But Danny- >> Ferris traced you here.

If he found you, someone else could follow you, too.

>> Operator: Second ride, half fare.

>> The lady'll go again.

>> Okay, Eddie, take it away.

>> Don't forget, someone shot at him last night.

They tried to kill him once, they'll do it again.

Don't forget, someone shot at him last night.

They tried to kill him once, they'll do it again.

>> Ferris: Nobody knows that except your husband, the killer, and now you.

Nobody knows that except your husband, the killer, and now you.

(maniacal laughing) >> Frank!

Frank!

Go away.

Frank, Frank, go away!

(sobbing) Oh, Frank, Frank, please go away.

Frank!

Frank, please!

Frank!

(woman screaming) (circus music) (tense music) Frank!

Frank!

Go away.

>> Danny: Frank.

Frank Johnson.

>> Yeah.

Is that you, Mr. Legget?

>> Danny: Be careful, there's a loose plank over here.

I know.

>> Then why don't you get it over with?

>> I don't have to, Frank.

You got a bad heart.

You can't stand tension.

You're gonna kill yourself.

(woman screaming) (ominous music) (woman screaming) >> Operator: The second ride is half fare, folks.

Take advantage of the second ride.

It's only half fare.

(circus music) >> What's your hurry, Mrs. Johnson?

(gunfire pops) (sad music) I had to do it, Mrs. Johnson.

That's Legget down there.

Your husband's safe.

>> Where's Frank?

>> Up there on the midway.

(circus music) (maniacal laughing) (dramatic music) Hi.

It's Kris and Jane.

And we're not on the run, but we are hiding out down here in the basement.

And we hope you enjoyed the woman on the run just as much as we did.

Jane, what else do you think we should let viewers know about?

Oh, we should probably let people know that they can find out More info about Subterranean Cinema and upcoming movies on the Web at PBSFortWayne.org.

There are also videos and upcoming programing info on the station's Facebook, Instagram and YouTube accounts.

So any idea what next week's movie will be?

Oh, I know what happens next week.

Next time around, we'll be showing Secret Agent starring Peter Laurie.

And be sure to tune in to see who's in the co-host chair next to me.

Now, this message will self-destruct in 15 seconds.

Thanks for watching.

And tune in next week for another great film on Subterranean Cinema.

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