BORDERLINE (1950). Fred MacMurray, Claire Trevor. Film Noir. Crime Drama. Thriller.

追加: 2026-05-13

[00:00:16]Hey.

[00:00:31]Good evening and welcome to Full Moon Matinea. I'm your host, The Detective, bringing you the finest crime dramas and film noir from the golden age of Hollywood. Tonight's picture is from 1950. Borderline starring Fred McMurray, Claire Trevor, and Raymond Burr. It was directed by William Cider. The cinematographer was Luchian Andreo. The music was done by Hans Saler. and it's based on a story by Norman Kran, though oddly the opening screen credits list Deerey Freeman. Uh, how that mistake was made, I have no idea.

[00:01:11]Now, McMurray, the director Cider, and producer Milton Bren would all partner together to finance this picture with their own money. And at the time, Trevor was Bren's wife.

[00:01:26]and she had also recently won an Oscar for best supporting actress for her role in 1948's Key Largo. So between that accomplishment and having inside cahoots with the producer, that's clearly how she was cast in the female lead here.

[00:01:46]And another interesting note, so you know, this picture, it was actually made in 1949, but just not released until 1950.

[00:01:57]Now, its story line is set in Mexico, but the location filming was actually done in California in Malibu, at Corrigon Ranch, Iverson Ranch, and Laski Mesa. And all of those are roughly in the Los Angeles area.

[00:02:19]And McMurray and Trevor, they would go on to repraise their roles in a radio adaptation that was broadcast on Lux Radio Theater on October 8th, 1951.

[00:02:32]In this picture, it is a noir crime drama, but with a few light comedic elements thrown in. So, from 1950, borderline.

[00:02:45]Let's roll the picture.

[00:03:25]Heat. Heat.

[00:03:42]Heat up here.

[00:03:57]Heat.

[00:04:09]Heat.

[00:04:30]Sit down.

[00:04:35]Take the cuffs off.

[00:04:43]>> Where'd you start from?

[00:04:50]>> Take them over and book them.

[00:04:52]>> I didn't have nothing to do with it.

[00:04:54]Now, who did?

[00:04:55]>> He said all I had to do was pose as his wife. Nobody ever told me we were carrying dope. I never even seen him before.

[00:05:03]>> Don't listen to her. She's a [ __ ] >> I wish Pete Richie could have heard you say that.

[00:05:06]>> Now, let's talk about Pete Richie for a minute.

[00:05:10]Shut up.

[00:05:11]So, you're a couple of Pete Richie's tourists.

[00:05:14]>> I say nothing. I got my rights. How about you?

[00:05:19]>> Me neither.

[00:05:21]Now, we've already got enough evidence to hang you, both of you.

[00:05:26]Does um does Pete Richie ever come up this far, north?

[00:05:32]>> No. Ain't got the time. He's too busy spending his dough on cheap, loudmouth dames like this.

[00:05:38]>> You should be talking.

[00:05:38]>> And you shouldn't.

[00:05:39]>> I was doing all right for a long time before I met you and those petty larseny friends of yours. Go on. Go on. Hit me.

[00:05:45]>> Put him on eyes. Come on.

[00:05:51]feel targeted if there's enough in it for me. Yes.

[00:05:57]>> You uh know Pete Richie?

[00:06:00]>> It all depends. Pete Richie and me are intimate friends.

[00:06:04]>> Uh where does he get his narcotics?

[00:06:06]What's his uh source?

[00:06:09]>> Mostly out of the upholstering of other people's cars.

[00:06:13]>> Who are the other people?

[00:06:15]>> Richie himself ain't much of a talker.

[00:06:19]Who are you supposed to meet up here?

[00:06:21]>> You don't meet them. They meet you.

[00:06:25]>> Well, you're going to be alone for a long time. Try to concentrate. See if you can think of some more answers.

[00:06:31]Okay, Charlie. That's all. This way, miss.

[00:06:41]>> Even if characters like that wanted to talk, they don't know much. I guess we're going to have to start at the top again and work down.

[00:06:47]>> We're going to have to try to find the top first. You certainly didn't get anything new from these two.

[00:06:52]>> How can you say that?

[00:06:54]>> This is Maline Haley, Bill. She's Los Angeles Police Department.

[00:06:58]>> I am.

[00:06:59]>> She had a hand in grabbing our two friends.

[00:07:01]>> And I've had good men in Mexico for months tailing him and then dead end.

[00:07:06]Pete Richie can smell an investigator a mile away.

[00:07:10]>> Yep. He's learned to be very ler of government men. How about government women?

[00:07:14]>> See, that's a notion. Richie would never expect us to send a woman.

[00:07:18]>> I have a note here I made of an important point in the prosecution.

[00:07:22]>> A very important point. Richie is a sucker for dames.

[00:07:25]>> Yes, that's it.

[00:07:28]>> Hey. Um, what's Jacqueline Kirk doing now?

[00:07:31]>> Nah, she's not good-look. See, Molly Dunsteadger would be fine. Only she got married and quit.

[00:07:36]>> What about June Michaels?

[00:07:38]>> She's back with the Denver Police Force.

[00:07:40]They wouldn't let her go. Now, how about her?

[00:07:44]>> Oh, Richie goes for toddry. Cheap looking Dames. She could pass.

[00:07:49]>> What are we talking about? Narcotics enforcement never uses a woman on things like this.

[00:07:54]>> Yeah, I know. But we're sending her to Mexico anyway on an extradition matter.

[00:07:58]Uh, it's all right with the chief.

[00:07:59]>> Well, it might be an idea. Worth giving a thought to it. She might be able to pick up a few crumbs of information on Richie. You think you can handle this?

[00:08:08]>> During the war, she was in the OSS.

[00:08:11]speaks a pretty good Mexican. Well, >> how do you spell your name?

[00:08:16]>> H A L E Y Heat.

[00:08:55]Heat.

[00:09:07]Everybody follow me.

[00:09:21]Follow me my follow me.

[00:09:27]Follow me.

[00:09:54]Heat.

[00:10:05]Heat.

[00:10:29]You got your dark lipstick.

[00:10:40]And even those who said she love me, >> I knew she never could be mine.

[00:10:57]lips that were rather than wine.

[00:11:10]>> I knew that she never could be mine.

[00:11:16]The more I hungered for a kiss, the more she smiled that haunting smile.

[00:11:23]And while I knew I shouldn't linger, that smile did me for a while.

[00:11:39]>> All she would grant me was a smile.

[00:11:52]A smile that detail me for a while.

[00:11:58]Along she stole my heart completely.

[00:12:01]Just as if it's your girl she withdrew.

[00:12:05]And all the men in town were greedy because she stolen they have sto.

[00:12:20]It seems she has stolen the hearts too.

[00:12:25]We were of eyes like pools of moonlight of lips much rather than the wine and of the devil who's an angel that waits across the border line.

[00:12:48]lips that were rather than unwinding across the border line.

[00:13:12]No, don't do that.

[00:13:14]No, not until I tell you.

[00:13:17]Yes, that's right.

[00:13:22]>> You do exactly as I tell you and there'll be no problem.

[00:13:29]>> We might be able to make it tonight.

[00:13:32]>> Yeah.

[00:13:37]>> Yes.

[00:13:40]Gracias.

[00:13:40]>> Wait until I contact you, would you?

[00:13:46]>> I'll talk to you later.

[00:13:52]>> Got a light.

[00:13:58]>> Give her a light.

[00:14:07]Get up to the room in case somebody calls in.

[00:14:09]>> Sure, boss. I understand.

[00:14:14]>> What's the idea?

[00:14:15]>> Oh, I'm I'm sorry. Try again. Unless you're afraid you'll get burnt.

[00:14:21]>> I've been burnt before.

[00:14:29]>> What's your hurry?

[00:14:31]>> Well, I got a Hey, >> you're not so hot to look at.

[00:14:38]>> Finish a drink.

[00:14:43]>> Why not one more? One for the road together.

[00:14:51]>> Sure.

[00:15:14]Hey, I can bring James up here.

[00:15:17]>> Oh, yes you can.

[00:15:21]>> Can I?

[00:15:21]>> Sure.

[00:15:23]Which?

[00:15:25]>> No, no, no. Look.

[00:15:27]Look, which room is it? H.

[00:15:33]Okay.

[00:15:38]Um, hold of it. Now, you know where the key is.

[00:15:51]>> Key?

[00:15:51]>> Yeah. Key.

[00:15:59]No, no, no, no. Wait a minute. Just a minute.

[00:16:05]Oh, no.

[00:16:08]You stay here.

[00:16:18]Here we go. Whoops.

[00:16:21]Oh, wait. Wait.

[00:16:25]I just want to make you comfortable.

[00:16:43]Let's celebrate. Hm.

[00:16:51]Isn't this fun?

[00:17:59]What?

[00:19:23]Hello boys. You stupid fool.

[00:20:05]Hi.

[00:20:12]What's her name?

[00:20:15]A >> friend of mine.

[00:20:16]>> Get rid of her.

[00:20:19]She's a friend of mine. Get her out of here.

[00:20:23]Hey, you.

[00:20:26]>> Oh, you're not going to listen to him, are you?

[00:20:29]>> Yeah. Fus scrim.

[00:20:32]>> A.

[00:20:37]>> Okay. Okay.

[00:20:56]Um, don't think it hasn't been fun.

[00:20:59]>> Well, see you around.

[00:21:02]>> I hope you don't think we're being impolite.

[00:21:05]>> Oh, no.

[00:21:08]>> Drop in tomorrow. It's not like we're strangers.

[00:21:13]>> You're very nice.

[00:21:16]>> You'll find me much nicer when you get to know me better.

[00:21:19]>> I like to know you better.

[00:21:28]>> What do you want, Mlin?

[00:21:31]>> You know what I want. I >> guess Harvey Gumbin sent you. How is Harvey? I've been trying to get in touch with him. Thought we might do a couple of deals.

[00:21:48]Yeah.

[00:21:57]>> Okay. You're tough. What's your angle?

[00:22:01]>> Harvey says you got a shipment going on.

[00:22:03]He says it clears the harbor tonight.

[00:22:05]Harvey says he wants it.

[00:22:07]You tell Harvey to >> The only thing I'm going to tell Harvey is what boat the stuff is on. But first, you got to tell me.

[00:22:17]>> You won't talk.

[00:22:18]>> How about giving him a little convincer?

[00:22:21]Some gunpowder on the arm. You light it and sometimes it splits the skin wide open.

[00:22:27]>> Sounds good.

[00:22:28]>> Trying to scare me, Johnny.

[00:22:30]>> Not you, Richie. Your height's too tough. But I don't think the little lady there holds still very long. She doesn't know anything. Who tell her?

[00:22:38]>> That's right. I mean, who would tell me?

[00:22:40]I don't know.

[00:22:44]>> How about you, Dicky?

[00:22:45]>> Pete don't tell me anything. He'll tell you that himself.

[00:22:49]>> Wrap him up.

[00:22:55]Tell >> him, boss. What you tell him? I don't know a thing.

[00:22:57]>> That's right, Dick. You don't know a thing.

[00:23:29]Why don't you just tell us and save us all this trouble, Richie?

[00:23:35]You sell your life for a couple of stinking bucks when you maybe you're selling yours, Mlin.

[00:24:03]It's a tune about the north wind.

[00:24:08]>> She painted gray.

[00:24:12]Said she painted gray.

[00:24:15]>> How far off shore is she anchored?

[00:24:17]>> It's anchored off the cow bed.

[00:24:20]>> That's right. That's right where she is.

[00:24:22]>> Works like truth serum.

[00:24:25]Don't sinko.

[00:24:27]>> Someday you're not going to be so lucky.

[00:24:28]Mlin, >> there's Mlin speaking. It's a tuna boat, the North Wind. Yeah, that's the one.

[00:24:37]Tell him. Harvey says, "Thanks."

[00:24:40]Anything you'd like to say to Harvey?

[00:24:43]He says, "Don't mention it, Harvey."

[00:24:46]See you later, partner.

[00:24:57]Oh. I told you someday you weren't going to be so lucky.

[00:25:00]>> Wait a second. Mr. Richie, wait. Mr. Richie, wait a >> Thanks, baby. Come on. I want to talk to you.

[00:25:22]>> Well, I don't know anything.

[00:25:52]Could you tell me the way out of this place?

[00:26:36]Come here. You >> come here.

[00:26:41]>> She moves faster with a gun in her hand.

[00:26:44]Come on in. The boss wants to talk to you.

[00:26:46]>> You're a big brave, strong. What did you mean by hitting me on the chin?

[00:26:49]>> He had to slug you, kid, to get you to come along.

[00:26:53]It's a lot of heat on you.

[00:26:55]>> You want a cigarette?

[00:26:59]>> How long you been with Richie?

[00:27:02]>> The boss asked you how long you've been with Richie?

[00:27:06]>> 5 minutes.

[00:27:08]>> What are you giving us?

[00:27:09]>> It's true.

[00:27:10]>> Give her credit for dummying up.

[00:27:13]Did you ever make a trip for Richie?

[00:27:16]What trip?

[00:27:18]>> Carrying stuff over the border.

[00:27:22]>> You ask me, boss, you'll dump her. I'll make the trip alone.

[00:27:24]>> I don't want you to go alone, Johnny. I want you to make the trip with a dame.

[00:27:28]You know, man and wife. Make it look respectable.

[00:27:31]I'll get you one of them tourist passes.

[00:27:33]>> Okay. Just make sure it's a dame that'll stay in line.

[00:27:36]>> All dames will stay in line as long as the payoff is big enough at the end.

[00:27:41]You'll be ready to leave at daylight.

[00:27:42]Both of you >> with her. Jen said a word.

[00:27:47]>> Go ahead. Say something for my friend.

[00:27:52]>> How much is the payoff?

[00:27:54]>> See, she knows what to say. Hey, Miguel.

[00:28:03]>> Go up to the hotel, pay the latest bill, and get her clothes. What's your name?

[00:28:08]>> Glattis Laru.

[00:28:09]>> Come on.

[00:28:10]>> Glattis Laru.

[00:28:12]>> Glattis Laru.

[00:28:22]What are the Now, you make sure you get there Friday noon at the zoo in Los Angeles. All right.

[00:28:55]>> The only thing you haven't told me is who aren't supposed to meet in Los Angeles.

[00:28:58]>> You'll find out when you get there. Now, noon in front of the monkey cages. Have you got that?

[00:29:03]>> Got it. Hey, get in the car.

[00:29:06]>> Got it.

[00:29:30]Come on, Miguel. Let's go.

[00:29:45]Miguel, you take good care of Mr. and Mrs. Johnny Mlin. You see they got across that border safely.

[00:30:09]Heat.

[00:30:11]Heat.

[00:30:30]What town is this?

[00:30:31]>> Hey, Dalgo. We'll stay here tonight.

[00:30:33]Come on, move out.

[00:30:36]Wait a minute.

[00:30:39]You know what that is?

[00:30:41]>> Sure.

[00:30:41]>> Go put it on. It goes with the tourist pass.

[00:30:44]>> Come on, put it on. It's part of the job.

[00:30:47]Congratulations.

[00:31:03]Seor, >> have you got a vacant room?

[00:31:04]>> Oh, see the old vacancy. Oh, you're welcome to the casarosa. We always try to treat the best. We know how to treat the americanos.

[00:31:12]Give me a room in the front overlooking a road. Oh, seenor.

[00:31:17]Mr. and Mrs. Smith. Huh? It's this way.

[00:31:20]Single.

[00:31:31]>> My driver will bring the bags up.

[00:31:33]>> I'm saying looking for somebody?

[00:31:51]>> No, only the police, the Mexican federal men, Uncle Sam, several assorted hijackers, and Pete Richard.

[00:31:58]>> Don't you think we should have taken two rooms?

[00:32:01]>> Why?

[00:32:02]>> Uh, might be safer.

[00:32:04]>> Safer from what?

[00:32:07]>> Let's get this straight right now. I'm not going to stand.

[00:32:13]>> How do you expect to enjoy your honeymoon if you don't relax? I just want it understood that this arrangement is strictly for convenience.

[00:32:20]>> That's right. We're strictly on our own again.

[00:32:36]Why shouldn't you make a sweet do you have to know around here to get something to eat?

[00:32:49]here.

[00:33:09]>> Now you know why Miguel never shakes his head. We patron. See, amigo. Let's go.

[00:33:15]Lock up.

[00:33:19]>> Oh, shut up.

[00:33:38]Heat. Heat.

[00:34:28]Heat. Heat.

[00:35:11]Wow.

[00:35:43]You got some for yourself? See? Esto.

[00:35:48]>> Uhhuh.

[00:35:50]For your sweetheart.

[00:35:52]>> No. No. For my mother.

[00:35:54]>> Her birthday.

[00:36:06]Miguel, you better stay close to the car tonight. We may be leaving here in a hurry. Wendy, open up. It's me.

[00:36:34]Ah, >> food.

[00:36:52]>> The wedding feast.

[00:36:56]>> Don't talk to any strangers.

[00:36:57]>> I don't know any strangers.

[00:38:36]Open up.

[00:39:11]I hear you're eating.

[00:39:17]>> Sounds good.

[00:39:19]>> You know what people do when they're hungry, don't you?

[00:39:21]>> Eat. help yourself.

[00:39:24]>> Well, thank you.

[00:39:33]>> And uh what do people do when they're thirsty?

[00:39:37]>> Flash over there.

[00:40:26]What's your name?

[00:40:28]your real name on me.

[00:40:30]>> What possible difference could that make?

[00:40:33]Oh, >> you sound like you're from Kansas or Missouri or some place.

[00:40:36]>> Where you from?

[00:40:38]>> Oh, here and there.

[00:40:40]>> It's my favorite place.

[00:40:42]>> Mine, too.

[00:41:17]Oh yeah.

[00:41:22]Oh yeah.

[00:41:45]I was just going to turn the lights on.

[00:41:47]Um, >> I was just going to turn them out myself.

[00:41:51]>> You going to do shoot them out?

[00:42:06]Good night, Polly.

[00:42:38]him. Miguel, >> they are coming. They are here. Richard see the car outside.

[00:42:48]>> Is this another window? I'll pass the stuff to you. Come on, get going.

[00:42:59]>> Where are they, Peppy?

[00:43:00]>> That key. This way.

[00:43:02]>> Not this.

[00:43:17]>> What are you doing? But I can't go out with this goo on my face.

[00:43:19]>> Are you off your nut? Come on.

[00:43:52]How close can you come? If >> Miguel doesn't get back before Richie does, you'll find out.

[00:43:56]>> Is Miguel trying to lose him? Is that it?

[00:43:58]>> That's the general idea.

[00:43:59]>> But if he doesn't, >> then we're in what is usually known as a lot of trouble.

[00:44:05]Get back.

[00:44:46]I'm trying to make up my mind. You got to touch a class or not.

[00:44:52]>> When you make up your mind, let me know.

[00:44:56]>> You must have traveled with better company than Richie sometime or other.

[00:44:59]What do you know about Better Company?

[00:45:03]>> Got eyes open in two countries. I learn things that way.

[00:45:06]>> That's what I figured. I figured maybe we could pull our information.

[00:45:11]>> Like what?

[00:45:12]>> Who? Like um who Harvey Gumban is tied up with, where he gets his stuff, who he delivers it to.

[00:45:18]>> I forgot to tell you. I can also keep my mouth shut in two languages.

[00:45:23]>> Look out.

[00:45:36]amigo.

[00:45:38]Elamino.

[00:45:42]>> Yeah, rap here though. He picked a fine time to get stuck.

[00:45:45]>> That's truer than you think.

[00:45:50]>> She's a bright girl, Mlin.

[00:45:52]Too bad she wasn't bright enough to stay away from you.

[00:45:55]That'll be asking an awful lot of a girl.

[00:45:59]>> I hope you haven't got a good reason to live.

[00:46:02]>> Off hand, I can think of at least three.

[00:46:04]>> I told you you wouldn't always be so lucky, Mlin.

[00:46:08]>> Look, Richie, maybe we can make a deal.

[00:46:10]>> A deal.

[00:46:14]Nobody can say I didn't leave him laughing.

[00:46:21]Radio.

[00:46:54]Can't you go faster?

[00:46:55]>> Maybe if I got out and bushed.

[00:46:59]>> Don't tell me Miguel's asleep again.

[00:47:06]>> He He's not asleep.

[00:47:15]Clark even going to stop? Not >> unless I run out of gas.

[00:47:21]Got a cigarette.

[00:47:34]Don't ever lose that gadget, baby.

[00:48:06]A little narcotics and a dead man in the car. It's great time to pick up a cop.

[00:48:11]>> He's catching up with us fast.

[00:48:29]Why are you stopping?

[00:48:30]>> Ever try to lose one of these Mexican motorcycle gachos? Can't be done.

[00:48:41]>> We've got a sick man in the car. So, we've got to get him to a doctor quick.

[00:48:44]Medical frontal. Take a minute. Okay.

[00:48:47]Take a minute.

[00:48:50]>> And Mr. Gumbin said you weren't so smart.

[00:48:53]>> He's right. If I was, I would have gone to work in my father's broom factory like my mother wanted.

[00:49:29]Dead end.

[00:49:58]Hey, I can't pass that.

[00:50:18]to a better life, amigoch.

[00:50:35]Alto, >> I guess I lost you. Please offer that.

[00:50:41]This man's very sick.

[00:51:09]Oh, see John Mlan Mlin.

[00:51:40]Adam Moon's over. As soon as they find Miguel's body, we got to ditch this car.

[00:51:51]Okay, you ready?

[00:51:52]>> Am I ready?

[00:51:53]>> Come on, give me a hand. I can't do it by myself.

[00:51:58]There she goes.

[00:52:06]That does it. Let's go.

[00:52:13]>> Airport 10 km.

[00:52:16]Come on. Uh, how many miles in a kilometer?

[00:52:18]>> You mean how many kilometers in a mile?

[00:52:20]>> Well, yes.

[00:52:21]>> 10 km is about six or seven miles.

[00:52:33]Hello again. So, sneaking drugs into the US from Mexico.

[00:52:41]How prophetic given where we sit today.

[00:52:46]I wonder what cartel Richie was in. But we have a car daddy alert. Car daddy alert. The car that Johnny and Meline pushed over a cliff, that was a 1940 Buick Limited Feton. And most of the Fetons were made as a model 80 series, but this one, the one here in the picture, was an 81C.

[00:53:12]and only 240 of those were produced and they had to be customordered through a dealer.

[00:53:21]Today, only 14 are known to still exist.

[00:53:26]And this one, the one in the picture, was pushed over a cliff. It could have been 15.

[00:53:34]Now, Raymond Bird, and he's the one playing Pete Richie. He was from New Westminster, British Columbia, Canada.

[00:53:42]Yes, one of our dear Canadian friends to the great white north. He was his parents divorced when he was 6 years old and afterward he moved with his mom to Viejo, California.

[00:53:57]And the details of his early life are very, very sketchy. I mean, big shade of gray because he often told conflicting stories. He would claim things that otherwise couldn't be verified, you know, etc., etc. So, yeah, his early life is a big shade of gray. Okay. But he did begin working extensively in radio in the 1930s and 40s. And by the time he got into cinema, he was cast in villain and tough guy roles in so many noirs. And and some of them I've already brought you. You know, I've brought you Sleep My Love, Pitfall, Abandoned, and The Blue Gardinia. You know, all of those with Raymond Burr, you know, but believe me, he was in a number of other noirs as well, okay? But he will always be best remembered for his starring role in two TV series.

[00:55:03]Perry Mason, it aired on CBS from 1957 to 1966.

[00:55:09]And also Ironside, that one aired on NBC from 1967 to 1975.

[00:55:18]Now he passed away of cancer in 1993 at the age of 76.

[00:55:25]Now, if you like old pictures like this, you want to see more, click the subscribe button, you know, so you're notified of future releases. Also, you can click on the full moon matinea icon, you know, my little thumbnail picture.

[00:55:38]You click on that, that'll take you to the channel homepage where you can click on the videos tab, and that's where you can find the prior releases.

[00:55:47]Well, let's get back to Borderline.

[00:55:52]Sure.

[00:55:58]Happy I'm with a smart fell like you. 7 miles.

[00:56:02]>> Oh, >> quit beefing. It can't be more than 5 and 1/2 now.

[00:56:05]>> 5 and a2. Why didn't you ditch the car closer to the airport?

[00:56:10]>> All right, let's go over here and sit down. Something's got to come along this road sometime. Maybe we can hitch a ride.

[00:56:16]>> Mhm. With Pete Richie.

[00:56:35]It's a great way to make a living.

[00:56:37]>> You picked it.

[00:56:39]>> I know what I'm doing. Do you >> making a living?

[00:56:47]You're not tired, are you?

[00:56:49]>> Oh, no.

[00:56:53]>> How long have you been kicking around this raggot?

[00:56:57]>> Let's see. It started when I was kindergarten. I sold the stuff to my little pals.

[00:57:06]How'd you get mixed up with Harvey Gumb?

[00:57:09]Well, >> that goes back a long way, too. They put me in reform school when I was four. and threw me in with a lot of hardened criminals of seven or eight. I learned plenty, but they couldn't hold me. I broke out when I was five. I met Gum and I've been with them ever since.

[00:57:30]Here comes a bus. Ready stuff.

[00:57:49]That must have been the limited What happened after kindergarten?

[00:58:14]>> Well, uh, when I was in my teens, I was sent up, but I broke out within a month.

[00:58:19]And then I I met Rocky.

[00:58:22]>> Who was Rocky?

[00:58:23]>> The only man I ever kissed.

[00:58:27]I felt so sorry seeing him lying there on the cold cement, mortally wounded.

[00:58:34]>> What happened to him?

[00:58:36]>> I shot him.

[00:58:38]I made sure that he'd never kiss another girl.

[00:58:43]>> Does um that answer your question?

[00:58:49]Here comes Ryan.

[00:59:08]know, >> do you speak English?

[00:59:12]>> Sure. Why?

[00:59:13]>> I don't understand your Spanish very well, Senor. Oh, >> we're trying to get to the airport.

[00:59:18]>> Yes. The bus wouldn't stop for us. That tomas always in a hurry go to a new no place. Get in touch.

[00:59:38]>> Oh, I'll sit here.

[00:59:41]>> Can we go now?

[00:59:42]>> See, I mean yes.

[00:59:47]For 3 years I was school teacher, also an inspector of water supply.

[00:59:53]I have now 14 acres of land and 12 children's.

[00:59:58]>> 12 children, huh?

[00:59:59]>> Almost one to an acres.

[01:00:00]>> That's very interesting. But is there an airline that goes up to the border?

[01:00:04]>> No. Uh-uh. But don't worry, I will fix it for you. I amante.

[01:00:10]I have friend little.

[01:00:13]>> Does he have his own plane?

[01:00:16]That means a little plane. Have you got money?

[01:00:19]>> See, uno, that means little money.

[01:00:35]>> What is this? A detour?

[01:00:36]>> Oh, one more thing, Seor. I have telephone. I will call little Po at the Puerto. Huh?

[01:00:43]>> Oh, thanks. I'll be right back.

[01:00:50]>> Hope the airport isn't being watched.

[01:00:52]>> We have no choice.

[01:00:53]>> Our driver's chanc Yeah. Thanks.

[01:01:12]>> Give that to me.

[01:01:14]What am I going to do with this woman?

[01:01:15]She had no conception of mother sign.

[01:01:24]Hola, >> my wife, >> every day she had big washing.

[01:01:29]>> I can understand that.

[01:01:31]>> Look, pretty full wash line.

[01:01:35]>> No, Sora, it's not wash line. Telephone wire. Oh.

[01:01:47]Mal Pablo connection. Oh, welcome to my home.

[01:01:54]Little Pablo is on the phone if you wish to speak with him.

[01:02:02]Hola, >> Pabito.

[01:02:19]Oh, gracious. You'll do it. Apply it to Antonara for $75.

[01:02:23]>> Good. I will drive you. Huh? It's >> fine.

[01:02:27]What's that?

[01:02:29]>> Oh, that. Oh, one more thing, Seor. I am also Alasil Mayor. That means sheriff, huh?

[01:02:37]>> See?

[01:02:40]No.

[01:02:40]>> Yeah.

[01:02:42]>> Well, thanks for everything.

[01:02:43]>> All right. Oh, hola.

[01:02:50]>> Hola.

[01:02:51]>> Help me. Where do you eat my horse?

[01:02:54]>> How can anyone get through 20?

[01:02:57]I want to fix that. I'll be right back.

[01:02:59]Huh? Hola.

[01:03:22]Hola.

[01:03:27]Foreign speech. Foreign speech.

[01:03:35]Hola for your starland.

[01:03:57]See adios.

[01:04:00]>> Well, did you give the message?

[01:04:01]>> There are two criminals at large suspected of murder.

[01:04:04]>> No.

[01:04:05]>> You're to go to the airport immediately to see that they don't escape.

[01:04:07]>> See, of course. But who am I looking for? I must call back the police.

[01:04:11]>> I uh I have the description. Oh, >> there's a man and a woman. The man is tall, handsome, extremely well-dressed, dark wavy hair, very charming manner.

[01:04:18]>> See? And the woman is uh very short, dumpy looking, nose like a tomato, long stringy hair, a glass eye, green. See, they will not get back.

[01:04:29]We have to hurry. We have to go to the Puerto Are you waiting for This is it.

[01:05:06]Come on.

[01:05:25]How soon Pablo?

[01:05:30]>> What gives with the sheriff?

[01:05:31]>> Well, he's still snipping around the entrance for a short fat woman with stringy hair.

[01:05:36]>> No offense.

[01:05:39]>> What's little Pablo doing? Trying to stretch our luck. It >> would be in bad shape if the police do any checking with our friend. They don't hang the washing on the telephone wires around here.

[01:05:48]>> We can leave anytime.

[01:05:50]>> Let's go, baby. In a next stop, then across the border.

[01:05:53]>> Yeah, the border.

[01:05:57]>> Oh, they better ride with me, Son.

[01:06:18]What videos say you must come home soon to your job? No. Señor.

[01:06:21]>> Yes.

[01:06:23]>> What videos say you are very much love birds? Huh?

[01:06:25]>> Yes.

[01:06:27]>> How long you are married?

[01:06:29]>> 5 weeks.

[01:06:29]>> 3 weeks.

[01:06:30]>> 5 weeks. 3 weeks. People who are not longtime married should tell each other more information.

[01:06:36]>> We're working on it. Are we, honey?

[01:06:40]Heat.

[01:06:56]Heat.

[01:07:12]What's matter?

[01:07:13]>> Look what he's doing. Eating.

[01:07:16]>> What's wrong with that?

[01:07:17]>> You think he'd offer us some? I'm hungry.

[01:07:20]>> What? Again? You just ate last night.

[01:07:28]>> No gas.

[01:07:29]>> No gas.

[01:07:30]>> Oh, no gas in one tank. I switch over to other one.

[01:07:41]>> Why don't you switch tanks?

[01:07:43]>> Nothing happens.

[01:07:44]>> Great. What do we do now?

[01:07:46]>> I make a landing on the beach.

[01:07:49]>> You can't land on the beach, can you?

[01:07:50]Isn't the sand too soft?

[01:07:51]>> Can't be too soft for me.

[01:07:57]Heat up here.

[01:08:44]scared.

[01:08:45]>> No, I'm weak.

[01:08:49]>> You will help me please.

[01:08:54]How long is it going to take you to switch tanks?

[01:08:56]>> 10 minutes.

[01:08:57]>> Can't you cut it down to five?

[01:08:58]>> Season that I can do. But why? We're going to need to send hard for the takeoff.

[01:09:02]>> You mean we got to wait till the tide goes off tonight?

[01:09:04]>> No, no, no, no. Not tonight. Too dark tomorrow.

[01:09:08]>> Tomorrow? What are we going to do about food?

[01:09:10]>> This is a problem. All I have is but one packet of gong chewing.

[01:09:16]What flavor?

[01:09:41]Hey, come on. You might as well sit down and take it easy. That operation is going to take a little while, you know.

[01:09:49]Ham and eggs and hot biscuits in the morning and coffee. Gallons of it.

[01:09:54]>> Are you feeling all right?

[01:09:55]>> It's not just around the next bend.

[01:09:59]>> They have that tubs and ants matter >> for tourists.

[01:10:03]>> What would you call us?

[01:10:05]>> Want me to tell you?

[01:10:07]>> No, I'll tell you.

[01:10:10]We're a couple of idiots.

[01:10:13]>> 90,000 cops after us. Say nothing but my friends coming up from the south who are living on fish.

[01:10:20]>> Who made the bed?

[01:10:27]>> You know, I might not be a very smart guy, but sometimes I get the feeling that you're not telling me everything.

[01:10:34]>> You know, I get the same feeling about you.

[01:10:39]>> I mean, you never learned a trick like that in jail.

[01:10:44]>> All right. picked that up when I was on the lamb barbecuing the blood hounds they sent after me.

[01:10:50]>> Couple of days ago. Od believed that.

[01:10:54]>> Why not tonight?

[01:10:56]>> I don't know.

[01:10:59]I thought you were an awfully tough guy, but No, I don't.

[01:11:06]>> I thought a couple of things about you.

[01:11:08]No, I don't.

[01:11:21]This tornado.

[01:11:32]>> Oh, it's pretty here.

[01:11:33]>> I told you it was.

[01:11:34]>> Except you can be seen easily. If >> enough people are looking for, you can be seen any place.

[01:11:39]>> What makes you so smart, Johnny?

[01:11:45]Please wait please.

[01:12:19]Can I put the bags in the bedroom, Sor?

[01:12:21]>> No, you can just put them down there.

[01:12:36]I know. Senora Jackson.

[01:12:39]>> I got more names in a phone book.

[01:12:45]>> I must be loco.

[01:12:48]>> That makes two of us.

[01:12:55]>> This room is very attractive.

[01:12:58]>> It ought to be for 125 pesos a day.

[01:13:01]How long are we staying?

[01:13:03]>> We cross the border tomorrow.

[01:13:05]>> Have you a plan?

[01:13:07]>> There's Gumbin's plan. Top of the music box is inlaid with gold. They slap a duty tax on us. We object. They insist, we give in. Slight of hand. See?

[01:13:17]>> What about the bird cage? That's not made of gold.

[01:13:19]>> No, but it's against the law to transport birds across the border.

[01:13:23]>> So, we argue back and forth. We take the cage and give them the bird.

[01:13:29]They insist. You object.

[01:13:31]>> Not me. I never object.

[01:13:40]>> We have to go tomorrow.

[01:13:46]>> Yeah. You get cleaned up.

[01:13:51]I'll meet you down at the bar.

[01:14:13]you shatter please and uh financial Just got to save it.

[01:14:49]>> Hi, Alonzo.

[01:14:50]>> Hello, Donnie. This where you Mexican Gmen spend all your time?

[01:14:53]>> We'd like to if some of you greeningos didn't keep a jumping all the time.

[01:14:57]>> Pete Richie is following me.

[01:14:59]>> I know he is. I just tweet that he's in town.

[01:15:01]>> In town? That's good. I found a coastline across the border.

[01:15:06]>> What about Harvey Goombi?

[01:15:08]>> And get ready to pick him up. I think we know all we need to know about our friend Harvey.

[01:15:12]>> Good. Uh, who's that girl with you?

[01:15:16]>> She's been working for Richie. We're carrying a load up to Los Angeles for Gumpin. I uh I'm going to turn her in at the border.

[01:15:23]>> Have to turn you in. You know it's illegal even for an law to smoke narcotics.

[01:15:28]>> I know.

[01:15:29]>> Get some sugar or milk and switch over with the stuff we're carrying. You want a key to my room?

[01:15:33]>> I've got a key to your room.

[01:16:02]I want to place a call to the United States Customs Bureau at the border.

[01:16:11]>> Hello.

[01:16:14]Yes. Yes. Put him through, Mr. Peterson, it's for you. Makavoy calling from Insanada.

[01:16:26]Peterson speaking.

[01:16:28]>> Yes.

[01:16:30]I'll establish leazison on with the narcotics enforcement and the Los Angeles police.

[01:16:37]What do you want us to do with the girl?

[01:16:39]>> Pick her up and keep her there. I'll go up to Los Angeles alone. Yeah.

[01:17:04]gay pigo.

[01:17:08]You clean up good.

[01:17:09]>> Thank you.

[01:17:11]>> Let's set off the table.

[01:17:22]I uh ordered a daquiri for you. All right.

[01:17:24]>> How did you know?

[01:17:26]>> It's a nice dress. I mean, you make it look nice.

[01:17:31]>> It's a disguise.

[01:17:32]>> You might give it handy.

[01:17:47]Where's your nose frost bitten with a short straw?

[01:17:50]>> I'll be careful.

[01:18:00]>> I didn't know you were musical.

[01:18:02]>> But hear me with a martini.

[01:18:05]>> You're full of surprises.

[01:18:08]Yeah, >> that's me.

[01:18:12]>> Where are you going?

[01:18:13]>> We're going to dig up a car. We're checking out >> right now. But I thought >> Richie in town. We're starting for the border.

[01:18:18]>> Oh, >> you stay here till I get back.

[01:18:30]>> Mlin, I wouldn't try that, Johnny. Just keep walking.

[01:18:35]>> Where too? Try the elevator first.

[01:18:48]You're doing fine up to now.

[01:19:02]Floors, please. Three.

[01:19:07]Are you enjoying your stay in Insanara, Senor?

[01:19:11]It's delightful.

[01:19:24]All right, open it.

[01:19:27]I'll get it.

[01:19:45]You're under arrest, Richie.

[01:19:49]>> A very funny fellow. He talks like he fell out of a tree.

[01:19:52]>> Yeah, now he's playing like he's a cop.

[01:19:53]>> Come on, get your hands up.

[01:19:54]>> Get him up front.

[01:19:57]>> He's got another one in his sling. He >> is a cop.

[01:20:01]That's what it says on his badge. I had a dozen chances to kill you. You dirty double crossing cop.

[01:20:13]>> This your gun?

[01:20:14]>> Yeah. Take him down the back way.

[01:20:16]Nothing could make me happier. Come on, let's go.

[01:20:22]>> Oh, amigo.

[01:20:25]On behalf of Uncle Sam and yours truly meal gracias. On behalf of the Mexican government, Baja California, don't mention it.

[01:20:54]>> How long a drive is it to Tijana? about 2 hours in.

[01:21:18]Johnny here. I I bought these for you in case you have to walk home.

[01:21:28]>> Thanks.

[01:21:31]>> Oh, no.

[01:21:32]>> I figured you wear a size four, but I thought five would be more comfortable, so I I got sixes.

[01:21:38]>> Thank you.

[01:21:39]>> Well, you Gardinasa Flores.

[01:22:07]>> For the lady, >> for the lady.

[01:22:15]>> And the lady will press it in her girl graduate book and keep it forever and ever.

[01:22:21]>> She'll keep it till we hit the border.

[01:22:23]They take flowers away from you, too.

[01:22:25]>> So, enjoy it for 10 minutes.

[01:22:27]>> 10 minutes.

[01:22:29]We're going to lose a lot of things 10 minutes from now.

[01:22:50]>> Where were you born?

[01:22:51]>> Missouri. And you?

[01:22:53]>> Missouri.

[01:23:06]>> Anything to declare?

[01:23:07]>> Not much.

[01:23:07]>> Few things.

[01:23:08]>> I'll park your car over there and take you declarable things to the office.

[01:23:21]Have a nice trip north.

[01:23:22]>> Uneventful. It's >> very, very pleasant.

[01:23:25]>> Man and wife.

[01:23:26]>> Yes.

[01:23:27]>> Then you only have to make out one form.

[01:23:28]>> I'll do it.

[01:23:29]>> Just fill in what you brought in from Mexico. If you were there over 24 hours, you're allowed $100 each. Then just sign it right there.

[01:23:43]>> Mrs. Mlin, can I talk to you a minute?

[01:23:46]Yes, surely.

[01:23:47]>> Just this way, please.

[01:24:02]>> You're under arrest.

[01:24:03]>> What?

[01:24:04]>> You're under arrest?

[01:24:05]>> I'm under arrest?

[01:24:07]>> Yes.

[01:24:07]>> Oh, no, no, no. You're all mixed up. My name is Haley. The Los Angeles Police Department has a file on me, and so has narcotics enforcement. I'm sure they have. H >> sorry, baby.

[01:24:22]I suggest you cooperate with the authorities. Things will go a lot easier for you.

[01:24:26]>> You suggest that I cooperate.

[01:24:27]>> The charge is possession of narcotics and attempted smuggling.

[01:24:30]>> You're not going to believe him.

[01:24:32]>> I certainly am. He's a fellow officer.

[01:24:34]>> A fellow officer.

[01:24:42]>> You're a copper. That's right. Custom Bureau.

[01:24:46]>> Well, Mr. Tough Guy, throwing your weight around, slapping down mugs, buying me flowers. Oh, what an act. Have you got a badge?

[01:24:58]>> I've got one.

[01:25:00]>> You were going to turn me in all the time. Well, you certainly had me fooled.

[01:25:04]>> My job isn't always easy. Some things are more rugged than slapping down mugs.

[01:25:09]>> Keep talking, copper. You're killing me.

[01:25:12]>> Hello, Pearson. Mr. Whitaker. So you must be Makavoy. I'm Whitaker.

[01:25:15]>> I know. How are you, sir?

[01:25:16]>> Well, let's get on to business. So, you don't mind if I use your desk to you, Peterson?

[01:25:19]>> Right ahead.

[01:25:20]>> Well, what's with Gumbman? Hello, Haley.

[01:25:22]>> Mr. Whitaker, I have something to tell you.

[01:25:23]>> Yeah, well, tell me later. Now, look, Makaboy.

[01:25:25]>> Mr. Minister, you know her?

[01:25:27]>> Well, certainly, Makava Boy, if there's sir, what are you doing here?

[01:25:31]>> I'm under arrest, sir.

[01:25:33]>> You You what? What for?

[01:25:35]>> Smuggling narcotics.

[01:25:38]>> Will you please explain, Miss Haley?

[01:25:39]>> Yes, I'd love to. You see?

[01:25:40]>> Well, what about Richie? She knows plenty about Richie.

[01:25:42]>> What do you know about what she knows about Richie?

[01:25:45]>> I'm the one who picked her up and had her arrested. Richie was picked up and insanada by the Mexican officials.

[01:25:49]>> Well, just a second.

[01:25:50]>> Well, it's very simple. You see, I brought this man up to the border to have him arrested.

[01:25:56]>> That's not true. I brought her. What do you mean you brought me?

[01:26:01]>> You mean you were working on her?

[01:26:04]>> Of course. She was a Confederate of Riches. I figured we'd get some important information out of her.

[01:26:07]>> And you were working on him? Why certainly I didn't know who he was when I went to Mexico in the Richie case. And >> wait a minute.

[01:26:16]Let me get this straight.

[01:26:18]Just who is this girl?

[01:26:20]>> Well, this is Maline Haley of the Los Angeles Police Department.

[01:26:24]Imagine that.

[01:26:28]>> Well, that explains a lot of things.

[01:26:30]>> It certainly does. You're a very clever operator, Mr. uh whatever your name is.

[01:26:35]Oh, >> thank you. You're pretty slick yourself, Miss Haley. Congratulations.

[01:26:39]>> Oh, thank you. Well, never mind the compliments. What about Gumbin?

[01:26:44]>> We meet the Gman connection at the zoo in Los Angeles tomorrow.

[01:26:47]>> Mr. Whitaker, I'd like to be taken off this case.

[01:26:50]>> Don't be silly. Tomorrow, what time?

[01:26:52]>> At noon.

[01:26:53]>> And then, >> if things break right, we might be able to wrap up the top men in the Gumbman syndicate.

[01:26:56]>> That's great, M.

[01:26:58]>> Quitting, Mr. Whitaker.

[01:26:59]>> Quitting nonsense. You've shown yourself admirably equipped with this assignment.

[01:27:02]Isn't that right, Makavoy?

[01:27:04]>> She has excellent equipment and doesn't hesitate to use it. Now, you two work very well together. You go on up to the zoo tomorrow as planned. We'll get together and figure exactly what you to do from there on. Clear? Yes, sir.

[01:27:16]>> Mr. Whitaker, I just >> An order is an order.

[01:27:30]You got the time.

[01:27:37]What' you say?

[01:27:38]>> I asked you at the time.

[01:27:39]>> Oh, yes, sir.

[01:27:44]>> It's one minute of the hour.

[01:27:47]>> Not many folks here today. We can go.

[01:27:49]You can't keep them away.

[01:27:52]>> Hungry.

[01:27:53]>> Oh, they're always hungry.

[01:27:54]>> Eat like horses. I feed them horse meat and they eat like horses. And that's a good one. made it.

[01:28:26]Buen this.

[01:28:30]Well, you both look surprised. I guess you didn't expect to find me here.

[01:28:35]>> I expect whoever I meet.

[01:28:37]>> As long as there's a payoff at the end of the line, huh?

[01:28:39]>> That's right.

[01:28:40]>> You both will be paid.

[01:28:41]>> I'm not worried, Harvey. As long as I know you're running both ends.

[01:28:45]>> See, amigo. I own the syndicate in California just as I do in Mexico. You learn someday, Johnny. You can't trust anybody.

[01:28:53]>> I know. I found that out. Did >> you get the stuff across the border?

[01:28:57]Okay.

[01:28:58]>> Yeah.

[01:29:03]They looked innocent enough.

[01:29:04]>> Except I saw them at the border looking just as innocent.

[01:29:07]>> Then you get to my place as quick as you can. 628 Palm Drive. Big Colonial House, the end of the road.

[01:29:14]Come on.

[01:29:50]Come in, Mlin.

[01:29:50]>> Hello, Harvey. Sorry I couldn't get here sooner.

[01:30:10]This is Mlin, boys.

[01:30:13]Heard you had a little trouble this afternoon. Yeah. Get the rest of the stuff out of the vault, Ernie.

[01:30:17]>> All of it? All of it? We're moving it out to our connections tonight.

[01:30:47]Makavoy has got 60 seconds to get out of there. Hope he makes good use of them.

[01:30:54]>> You leave for Chicago in the morning.

[01:30:56]You'll contact Anderson as soon as you get there.

[01:30:58]>> Okay.

[01:30:58]>> Look, Harvey, before you get into this, my deal was to deliver the stuff. Just give me my cut and I'll get out of here.

[01:31:03]>> You'll get it, Johnny. You'll get it.

[01:31:06]So, hurry.

[01:31:08]>> No hurry.

[01:31:09]>> You go to San Francisco.

[01:31:11]>> What about Mgrim?

[01:31:12]>> I'm scratching him off the list. Lousy pay.

[01:31:17]>> Where do you have to drink, Mlin?

[01:31:19]>> Well, if we got to hang around here, I'd like to make myself a sandwich. Where's the kitchen?

[01:31:23]>> Sandwiches are at the barn.

[01:31:31]>> How about coffee?

[01:31:32]>> I'll make you a cup. Oh, >> never mind. I'll make it myself.

[01:31:34]>> Kitchen's down the hall. First door to the right.

[01:31:39]>> Anybody else want coffee?

[01:31:40]>> Nah.

[01:31:45]>> Hey, wait a minute.

[01:31:47]I'll open it for you.

[01:31:50]>> He's in my coat. Just a moment.

[01:32:00]Attention. Attention. This is a police raid. You are all under arrest. Come out the front door with your hands up.

[01:32:15]Do you hear me? Gumban. Mlin cleaver.

[01:32:19]Henning leverage.

[01:32:22]Give me a hat.

[01:32:24]They're not going to get me or the evidence.

[01:32:26]>> That's right, Harry. We'll get rid of this stuff.

[01:32:27]>> There's a sink behind the bar. We'll dump it in there.

[01:32:31]Not a chance, Gumble. Nobody's flushing my profits down the drain.

[01:32:35]>> What are you doing?

[01:32:36]>> I'm going through with this stuff.

[01:32:37]>> You must be nuts. Cops running all over the You'll get killed. You'll get us all killed. I'm with you, Mley. Let's try Heat. Heat.

[01:33:36]Heat. Heat.

[01:33:47]Watch that boy over there.

[01:33:51]>> Johnny, you better stay out of here.

[01:33:52]Haley.

[01:33:54]>> Johnny. Johnny.

[01:33:58]Johnny. Johnny.

[01:33:59]>> Really?

[01:34:00]>> Yes. Darling, >> are you okay, man? Yeah, I guess you are. Where's Gumbin?

[01:34:12]Johnny, are you all right? Never felt better in my life.

[01:34:36]Welcome back. Well, we hear it again.

[01:34:39]Los Angeles, you know, with a hard G.

[01:34:42]You know, that is a pronunciation that has been lost as the decades have rolled along. But we have another car daddy alert. Car daddy alert. That truck that the Mexican is driving, okay, the exact year is unknown, but that is a Ford Model TT.

[01:35:04]And the TT was simply the truck variant of the Model T car. And the TT, the truck variant, it was made from 1917 to 1928.

[01:35:20]Now for Claire Trevor, and she's the one playing Meline/Glattis.

[01:35:25]Okay. She was from Brooklyn, New York City, but when she was 13, the family would move to Larchment, New York, which is a suburb of the city.

[01:35:37]She made her screen debut in 1933's Jimmy and Sally. And she did that playing the female lead. You know, you know, she played Sally.

[01:35:48]I mean really throughout her career she typically had the female lead or a very very strong female support role. You know that was most of her career and she did that usually playing vampy blondes or bad girl roles. You know that just seemed to you know kind of be her niche.

[01:36:11]Okay. And as I told you earlier, she won the Oscar for her role in, you know, won the Oscar for best supporting actress for her role in 1948's Key Largo. She was in that with Humphrey Bogart, Lauren Beall, and Edward G. Robinson. And she was nominated for the same for 1937's Dead End. That was another bogey movie.

[01:36:39]and also 1954's The High and the Mighty.

[01:36:44]But, you know, she was in a number of noirs. You you know, some of her other best remembered noirs, she was in Murder My Sweet, she was in that opposite Dick Powell, Born to Kill, opposite Lawrence Tyranny, Raw Deal, and Hoodlam Empire. You know, that one's one I already brought you, but believe me, she was in a number of other noirs as well.

[01:37:13]Now, for for for for Fred McMurray, okay, he's the one playing Johnny. He was born in in Cana Key, Illinois. Born there, but when he was still an infant, the family moved to Madison, Wisconsin.

[01:37:30]So, that is effectively where he grew up.

[01:37:33]and he starred in a number of great films, great successful films throughout the 1930s and 40s. In fact, in 1943, he was the highest paid actor in Hollywood and the fourth highest paid person, you know, of any job occupation in the nation.

[01:38:01]Now, he usually starred throughout the 30s and 40s, usually starring in comedies, westerns, and musicals.

[01:38:12]His first noir, his very first noir was 1944's Double Indemnity, a noir classic. You know, it's an icon of the genre. Anyone who's been a fan of film noir for longer than a day knows Double Indemnity.

[01:38:33]But outside of that one, he was only in another three noirs.

[01:38:40]Singapore, Pushover, you know, I brought you that one and tonight's picture. Those were his only four noirs.

[01:38:52]But of course, he will always be best remembered for his starring role in the TV series My Three Sons. It aired on ABC and NB uh and CBS from 1960 to 1972.

[01:39:11]And I remember when I was a very little kid, what I remember about that series, and I would watch it, but what I remember best is its opening intro. you know, the cartoon uh it was a cartoon animation of the three sons legs with their shoes.

[01:39:29]That's what I remember best about it.

[01:39:33]And as always, I thank you for spending the evening with Full Moon Matinea. Stay with us as we continue our further investigations into the longlost evidence of Hollywood.

[01:39:45]Until next time.