Original subtitles

The Streets of San Francisco, a Quinn Martin production, starring Carl Malden.

Also starring Michael Douglas.

With guest stars Meg Foster, Greg Mulaby,

James Wood,

Philip Ross

Tonight's

episode trail of terror

I'm not looking. He gets away with it. Hey, Doug, come on. This is San

Francisco. The end of the rainbow, a pot of gold. All we got to do is go and

pick up the money.

As soon as I'm finished with Grabowski.

Will you talk to your brother?

Doug, come on. You can fight with him anytime. This is a once -in -a -lifetime

thing. $100 ,000, Doug!

Yeah, we got 72 hours to spend it. Come on, what do you say, huh?

I could almost get drunk on that.

Come on, give me that.

I can almost get drunk just thinking about it.

Wait a minute, wait a minute.

I think I know where he is. Come on.

Come on. He always hangs out in here.

Sold out a few days ago.

Does she still live in the same place?

I guess so.

Didn't say anything about moving.

Okay, okay, okay.

Thanks. Thanks a lot.

You got a good arm.

Yeah.

Hey, next time you come in here, leave your dog at home.

Hello.

Yeah, hi, sweet.

No, no, no, no. Marty's not here right now.

Uh -uh. He went to pick something up. He'll be back in a minute, though.

Four sailors.

Well, probably friends of his.

Yeah, I'll tell him.

Hey, mama.

Marty, how do you think of my new hat, huh?

Yeah. Yeah.

You know, I've got this one problem. I don't know whether I should wear it, you

know, back on my head like this or down over my eyes like this. What do you

think?

Marty?

What time did you plan to leave for L .A.? 6 .45.

I wish I was going.

I told you you were going to stay here, and that's what you're going to do.

Okay?

Yeah, right.

Right.

That's the way you want it. No strings. That's the arrangement. I don't know. I

just... I sort of get lonely when you're not around, you know?

Well, I mean, I don't really get lonely. I mean, I... I don't know. I sort of

get scared, you know?

How are you supposed to wear a hat like this anyway?

Uh -huh.

I think slinky like this down over the eyes.

Yeah.

Oh, Marty.

Marty Sweet called you. He said there were four sailors down this place

for you.

back of my head makes my profile look better.

Well, you better answer it, because nobody ever comes here to see me.

The old back door trick. Very good. Guys, I wasn't expecting this. Yeah,

good thing we got here when we did. Hey, wait up. Come on. What do you think

you're going to do?

Sit down.

Sit down.

Tell him to leave me alone. Shut up. Doug.

Looking all over for you, Marty.

There's a couple of guys looking for me I didn't want to see. I thought it was

them at the door.

Taking a trip, will you?

No, I just got back.

I've been on a buying trip.

Uh -huh.

Just got back, huh?

How come everything's clean and pressed?

Hey, off, will you?

Dirty socks, no skivvies, no nothing.

You don't own me.

That's right, Marty.

We don't own you.

But we got $100 ,000 invested in you.

And we want our money.

I couldn't get it.

Give us back the jade. We'll fence it ourselves.

I can't.

I sold it.

How much did you get, Marty?

A little over $10 ,000.

Hey, Marty.

I thought you told us it was worth $100 ,000 at least.

There's a depression on it. Haven't you guys heard? The market's all dried up.

Ten grand is the best I can do, I swear.

Marty, Marty, Marty, I've been sailing in and out of the Orient for 15 years. I

know something about jade.

That wasn't any Suchow soapstone we brought you. That was good stuff.

Some very old and rare pieces.

Now let's start talking some very old and rare prices.

It's the best I could do, I swear.

That's all I could get, I swear.

$10 ,000.

You know, Marty, I bet you'd be willing to take one hell

of a beating for $100 ,000.

But the question is, would you be willing to die for it?

Hey, enough, enough, enough.

He's all right, isn't he?

He's dead.

He's what?

They fractured his neck.

He killed him.

He's faking it. He's dead.

What happened to her?

Check up there, huh?

That brother of yours is crazy, man. Crazy!

Well, don't tell me you're telling him, huh?

I just might have to do that.

Where's the girl? I don't know. We lost her. I don't know what happened. Oh,

that's great.

All right.

We've got to find her some way.

The money's not in the apartment.

She's got to know where it is.

I think Marty's going to tell some dumb broad. Oh, wait a minute. Wait a minute.

Now, she didn't scream up there, did she? Uh -uh.

She didn't call for help when she was down here, did she?

No, she didn't.

Because if the police get involved, they're going to ask about the money.

going to lose it, right?

Make sense?

Boy, we've got to start looking. We don't even know her name.

Nancy, Nancy something or other.

She used to room with that black chick over in Powell.

You know her?

Betty Jo?

Betty Jo. Powell.

They're not talking too loud, but I can hear them.

Then all of a sudden, bang, crash, they're throwing things around.

Then all of a sudden, silence.

Not a peep.

So I say to myself, I might as well open the door and take a look.

So I open the door, and what do I see?

My furniture, busted up. Mr. Garland, just a minute.

Did you touch anything in here?

Where am I going to start to touch anything? Where the girl and the victim

married. Well, have you got old -fashioned ideas?

Who knows nowadays? Do you know the girl's name?

Yes.

Nancy. Nancy what?

Nancy something or other.

Nancy something or other. Yeah, Nancy, that's all.

Come along, Mr. Garvey. Come on.

Thank you for everything. Look at the furniture.

Don't you worry about the furniture. If you think of anything else, you let us

know, will you? Beautiful furniture.

Thank you.

Well, there's not much on him. Set of keys, bus ticket, 82 bucks in his

How much in his wallet? Eighty -two. Eighty -two dollars in his wallet.

Well, if they didn't want the money, what did they want?

Well, they said Mr. Young was an Indian jewelry and just turquoise and silver.

Hmm, pretty girl.

Yeah. One of the neighbors saw her running across the street right after

murder.

Anybody know her last name?

No, just Nancy.

Well, just Nancy is either a suspect or a material witness.

Mrs.

Emily Hart Mellon died July 12th at age 52. She was survived by her husband,

Haggard, and a daughter, Nancy Elizabeth Mellon.

Oak Grove Tribune, July 14th, 1970.

Nancy Mellon.

I think we better put out an APB.

What's happening, Mama? Who do you want, J .W.? Come here, come here, come here.

We want to talk to you.

Look here, we're just looking for somebody, you know. Well, if it's me,

wasting your time.

No, no, wait a minute, Mama.

We're trying to find Nancy.

Nancy who?

You know who we're talking about. Don't get me started. Come on, come on. Where?

Come on.

He's cool, he's cool.

Look, baby, we stopped by your apartment and your landlady said that Nancy came

by there looking for you.

And she told her where you was, just like she told us.

Hey, listen, baby, this is business.

Serious business. All we want to do is talk to her.

That's all. Just rap with her for a while. You know what I mean?

That's all.

That's all.

She was here two minutes, borrowed bus fare home, and then she split.

Where's home?

Oak Grove, about two hours north of here.

How much did you give him?

Five bucks.

Keep the change.

Thanks.

So, I called up Marty. Told him four sailors came in here looking for him.

of them had a hair trigger.

Any reason why they'd want him dead?

I can think of 10 ,000 reasons.

Every one of them a dollar bill.

Where'd he get that kind of money?

Indian jewelry.

He sold out his whole stock last week. Got paid in cash, said, I'm leaving

That explains the bus ticket.

These four sailors, did you know them?

Never saw them before.

Thanks for the description.

In case they happen to come back, give us a call, will you? My pleasure.

And the coffee, thanks.

Four sailors and a girl.

Sounds like a musical.

Except for the murder.

I think we'd better call the sheriff of Oak Grove, just in case he decides to

show up there.

Who's there?

It's me, Dad.

I'm home.

What kind of trouble are you in now?

Do I have to be in trouble to come home?

What other reason would you have for coming home?

To see you.

Just making an omelet.

I'll put in a couple of extra eggs.

Okay.

Why did you let me do that? No, I don't mind.

I've been making a lot of omelets the last few years.

Since your mother died.

No.

I don't think I ever explained to you that.

Your mother's death hit me pretty hard.

I know.

I know.

It took me quite a while to realize.

That I wasn't the only one that was hurt.

Yeah. A long time.

And a lot of empty bottles.

Dad, I wish there was some way we could have helped each other.

Yeah.

You know, when you hurt that bad, you build a kind of shell around

yourself and you can't get out and...

And the other person can't get in.

Well, what I'm trying to say is that the trouble we had was all my fault.

No, no, not all of it.

Well, most of it.

No,

no, only half.

Half, okay?

Well, how long are you planning on staying?

Well, I thought until they wore out my welcome.

Well. Then you can plan on staying quite a while.

Well, your room's just like you left it.

Well, maybe a little tidier.

Hey, do we still have any clothes in there? I really want to get out of this

draft. Yeah, it's still in your bureau.

Good.

Nancy. Yes?

Sure you're not in any trouble?

No. If I was, I'd tell you that.

I hope so.

4 -4 Eldridge. Are you sure it's the right melon? The only melon.

And then I got this job for this place down at Union Street, and the uniform

this tiny little skirt. It hardly covered a thing, and I was afraid to sit

and I was afraid to bend over.

The job lasted, I'd say, just about a week, right? But it wasn't because it

a bad job, Dad. It was just that, I mean...

You know when you walked around and had to stand up straight all the time,

right? And you had to stand up straight. You had to keep pulling down the skirt.

You had to keep pulling like this until the ham was down.

Yeah. And then after that, I don't know, one thing just sort of led to another.

Which means you'd rather not talk about it. Yeah, something like that.

Okay.

Daddy?

I really missed you. I really missed you.

I missed you too, Nancy.

Good evening, Mr. Mellon.

Sheriff. Is your daughter Nancy here?

Why do you ask?

The San Francisco Police Department called and they want to talk to her

murder.

I'll get her.

Call the SFPD and tell them we have her.

I'm sorry, Daddy.

I thought we'd have more time.

What are we going to do now, Pete?

Wait till they let her go.

What? What if they don't?

Then maybe we'll go in after.

We're in it now, right?

Right.

Besides, I don't give up easy on $100 ,000.

Have you talked to the girl yet?

Yeah, I just don't think she's telling me everything she knows.

Okay, then bring her in.

Right. We should be back at Bryant Street around 12 .30.

You gonna be there?

No, I'm going back to the apartment just in case we missed anything.

Well, if there was anything there, they would have found it by now.

Look, if they had found what they were looking for, they would have stopped

looking, right?

Yeah, that's a good point.

I'll see you around noon.

She's all yours, Inspector.

I'm not a she. My name is Nancy. Thank you, Sheriff.

Nancy. You can call me Miss Mellon.

Behave yourself, Nancy.

Sheriff Kenny, you have lousy timing. I mean, why couldn't you wait a couple of

days? Just a couple lousy little days.

Gee, I'm really sorry, Miss Mellon. I mean, it's only a murder case.

I have told you everything I know, right?

For sailors.

They had an argument. One of them hit him. He died. Why do I have to go all

way down there?

Because you could be a suspect, an accomplice, or even accessory.

At the very least, you're a material witness.

What do you want me to sign for her?

Write at the bottom of the release form.

I'm not a her either.

Sheriff, let's go.

Sign for me. Make me feel like a piece of registered mail.

You'd be a good girl, Nancy.

Hey, there's a little cop in there picking her up. He's taking her back.

Go tell Pete, huh?

I'll take it. Two, right? A 30 -30, a 30 -06.

Lawrence M. Powers.

I'm going to sign it now.

Lawrence M. Powers.

Hey, Lawrence.

Lawrence. Is this a friend of yours here? Oh, yes. You're funny.

Very funny.

$200 for both of you.

We've got to go.

Huh? We've got to go.

$200, right?

Am I really a suspect?

You didn't tell the police.

Look, I wouldn't call the police if it was me they were killing.

Hey, look.

Look, Marty was my old man. I mean, why would I want to kill him?

I don't know. You tell me.

You wouldn't understand.

Well, you don't seem too broken up about his death.

Oh, excuse me, excuse me, I forgot.

You're used to seeing people cry, aren't you? Would it make you feel any better

if I broke down and cried for you?

Would it make you feel any better?

Marty was... He was all right.

I mean, he didn't knock me around a whole bunch, not unless he was really

uptight or I did something really stupid.

We were going to move down to Los Angeles. He was going to open up a store

the Sunset Strip.

We were going to be married.

He was flying down there last night. He was going to find us a place to live.

Well, we went through his pockets and we found a ticket.

It was a bus ticket.

It was to Denver.

Los Angeles.

I saw the ticket. It was Denver.

Round trip?

Thanks for telling me, sir.

I'm sorry. Hey, I told you the name is Mellon.

Nancy! Nancy!

Come on! What do you think you're doing, man?

Easy, easy. No shooting, man.

No shooting. Okay, okay, okay. Come on, let's just go. Wait a minute!

Where do you think we bought these guns, G .W.? You're talking about killing the

cop? Come on!

I'm talking about $100 ,000. I'm talking about the moon.

And whatever it takes to get that, that's what I'm going to do. Maybe Marty

telling us the truth. Maybe he's lying.

That's why she's running.

Hey, what difference does it make, huh? We already killed one guy, didn't we?

Not we. You killed him. I noticed you took your share of the money. I had it

coming. It was mine.

Well, I got a lot more than that coming to me.

$25 ,000 worth.

Come on, while we're talking, the guy's getting in the wind. Let's go.

Hey, Bo, you know, I think I'm scared, man.

Yeah? If it makes you feel any better, so am I.

But there's no stopping him now, J .W.

Yeah, I know.

And it's them I'm scared of.

Jackie, wait a minute!

You're going back to me.

You're going back to me. You're going back to me. Look it. I grew up in this

country. I can disappear in ten minutes and they'll never be able to find me.

You're going back to me. You're going back to me. They're going to kill me

like they killed Marty. Why do we kill them? I don't know.

My landlord said they're having an argument.

None of it made any sense. Tell me what he said. He said that they had $100 ,000

that belonged to them. Can you tell him where it was? It's ridiculous. No, he

wouldn't know what money like that looks like.

They didn't believe him.

He's dead.

You got the $100 ,000, and they want the money. I don't have the money. Just

stop lying to me, will you?

Tell me where the money is. Look it.

Do you think that Marty would buy a one -way ticket to Denver and run out on me

if I knew where the money was?

No way.

Now look, I've told you everything I know.

Will you undo these?

Come on, let's go.

Thank you.

Come on, you said you know this country. Which way?

Yeah, there's the ranger station up on that bridge over there.

All right.

Unlock the cuffs.

If you don't, I'll take them off your dead body.

Go ahead, shoot it.

They'll hear that. They'll be on you in a minute.

Come on.

I'm not going to let anything happen to you. Come on.

That's right.

Because from now on, whatever happens to me is going to happen to you, too.

This car is registered to the San Francisco Police Department.

Oh? The other's a car rental.

The, uh, Hartley Car Agency, San Francisco.

Any sign of blood?

No, sir.

It, uh, looks like they took off toward the woods, though.

Call Hector on the radio and tell him to send a couple of backup units.

And, uh, tell him I want to speak to a Lieutenant Stone of the San Francisco

Police Department. Right.

Homicide stone.

When?

Any sign of him or the girl?

I'll get there as soon as I can.

Sekulovich, call Barnes. Tell him to warm up a chopper.

Okay, Lieutenant.

Be there in a minute.

Just keep moving.

Come on.

Don't hit the girl.

Come on.

Come on, come

on. You're in the woods, you yo -yo. Let's go.

Come on, J .W., come on.

Now, man.

As far as I go.

Okay, suit yourself, but I... You better go with me.

Hey, J .W., I can't. I mean, he's my brother.

I can't just run off and leave him, you know what I mean, huh?

He can take care of himself.

No, no, no, he can't. It's just like he's out of control. I mean, he can't

himself. That's what he needs me for, to tell him when to stop, you know?

You better tell him now.

Yeah.

See you.

I'll see you back on the ship?

Uh -uh.

I ain't going back to that ship.

And when you leave, you better not go back either, buddy.

See ya.

You know something?

She's handcuffed to that cop.

That's great. All we have to do is drop him and he's dead weight.

Where's J .W.? He's dead.

He don't want no part of it.

All right, then he's out.

Hey, Doug.

Hey, listen, let's give it up, too. What are you, crazy men? They're right over

there. We're home.

Now, listen, listen.

I'm gonna cut over here and see if I can get in front of him.

You stay behind in case they double back.

Come on, let's give it up before it's too late. What do you say? Come on, you

guys. I got a beautiful girl in San Diego.

She doesn't want to marry a broken down old sailor with a 20 -year pension.

She wants the moon.

I promised her that.

And now I got to deliver it.

Come on, what are we going to do when we get to him? What are we going to do

when we catch up to him, huh?

Depends. On what?

On how she plays it.

All I want is the money, man.

Hey, Doug, come on. Doug!

You know, I just figured out why you put these cuffs on me.

To save your own pretty skin, right?

Well, you know what, Charlie?

They don't want to kill me. They want me alive.

Yeah? Yeah.

It's you they want to kill. What are they going to do to you when they find

you don't know where the money is, huh?

Uh -uh.

Uh -uh.

No, I'm not talking about them. I'm talking about you. Look.

Huh? Look, the easiest thing I can do is turn you loose.

Because if we split up, babe, they're going after you, not me. Fine.

Do it.

Come on. Why don't you do it?

Huh? I don't know.

I don't know what happened to you. I guess I don't know.

No. No, you need me to be a witness, right? No, I've seen all four of those

in front of the bartender suite.

Why do you find all this trouble, man?

Come on, let's deal with your insecurities later. Let's get out of

All right, fellas, I want you to fan out. Jimmy, Fred, you take the ridge.

rest of you follow the creek line.

And be careful.

Sheriff Kenny, Lieutenant Stone.

Yeah, Lieutenant, glad to see you.

Which way?

Well, we just heard some shots coming from the direction of the foothills to

north. We're on our way. I just sent in a search party.

I see them.

And, Sheriff, there's a lone figure walking towards the highway.

He's about, um... I'd say a mile and a half east of your position.

Thank you, Lieutenant.

We'll be waiting for him.

us to a trail and the trail will take us to the ranger.

Drop that rifle!

Out

of here!

Come on!

Lieutenant Stone, Sheriff

Kenny. Go ahead.

Lieutenant, I just heard some more shots. Somewhere west of your position,

toward the creek.

We'll take a look.

What's the matter, Chuck? You can't just keep up. Come on. I'm trying.

Come on. I'm trying. Come on.

Head for the ranger's station.

She knows the country. They could be going that way.

All he wanted was the moon, huh?

Come on, Doug, let's give it up. Come on. Not now, man. We're almost on him.

ain't worth it, man. Come on.

Don't you understand something?

We're going to get $100 ,000 now. There's nobody to split it with. It's

ours. I don't want it no more. I just don't want it.

Come here.

You want it, and you get the rest of it.

Okay?

Take it! No!

What do you think?

What did you tell me?

Like what?

Like what?

How do you mean I'm bleeding?

What are you going to do?

You're going to pat me on your back?

No. We're going to get back there together. We'll get back there if I'm

drag you. I can't do it.

I can't do it.

Put your hand away.

What? Put your hand away.

Turn your face.

Okay.

Now you get up to the engine station and you go call for help.

Go on. Get out of here.

Run. Get on.

Let me take a look at that.

What are you doing? Just get out of here. Give me that thing.

Give me the gun.

Come on. Come on.

Give me your gun.

Give me your gun.

Come on. You're coming with us. Come on. Come on.

Now, where are you going to take her?

Come on. She takes the money. We turn her loose. Come on. What about him?

Just get away from him. Come on.

All right.

All right. I'll take you to the money.

But you got to leave him alone.

You'll take us to the money anyway, baby.

Not if you hurt him.

Get out of the way. Come on, Dad. Go. Go. Go. You better listen to me. I said

move! Man, I swear to you, you heard him, you're never going to see a cent of

that money, ever.

Hey, Dougie, come on, forget about him. Let's take a go and get the hell out of

here. And leave him to testify against us? That'd be terrific, wouldn't it?

You're going to kill him? You're going to have to kill me.

You don't think I'll do it, baby. Just try and cross me.

No, no. No, I won't.

I'm going to show you exactly where the money is. No, she's lying. She doesn't

know. Now, look, I said I'm going to take you to the money, huh?

You've got to leave him here.

We've got a deal.

Yeah, you've got a deal.

Huh, Doug? A deal?

I don't like it. I don't like it.

Look, you said all you wanted was the money. Do it her way. It's the only

left to us. Now, come on! This guy is a cop. Don't you understand that?

No, she's crazy. She doesn't know where the money is.

Do we have a deal? Yeah, okay. Okay, yeah.

Yeah, okay. Come on.

Nancy?

Don't go.

See you around, Detective.

Have to do something, baby.

It's going to end here.

It's all over, please.

Hold it.

I got nothing to lose, mister.

Neither have I, lady.

Daddy! Daddy!

Why'd you do that to me?

We got enough trouble, huh?

You don't need to mourn.

Okay. Come on.

Get you out of here.

I'm all right.

Is she the one?

No, sir, not the one.

Nancy Elizabeth Mellon. How do you do?

I'm fine, thanks.

Good. Come on, let's get you on a chopper and to a doctor.

Come on. Oh, excuse me.

We've made it this far together. I think that we'll be able to manage the rest

of the way.

You will, huh? Yeah.

Nancy Elizabeth Mellon.

He's in your hands.

I got it.

You have, huh?

Glad to see you're vying for duty. Hey, wait a minute. Hey, fellas!

How does he look, huh?

Looks great. Pretty good.

Sit up. Come on. Thank you.

Oh, man.

Well, how's your side?

Still itches a bit.

Well, scratch it.

It's a little deeper than that.

Oh, means it's healing.

Yeah? Yeah.

Oh, a letter came for you yesterday.

Put it here sometime.

Here, did it smell good?

Mm, it does smell good.

Is it?

No.

Oh, man, you know, that still hurts.

Okay, why don't you take a few days sick leave?

Yeah.

I think that'd be good, you know. Go up north, do some fishing.

Great idea.

I understand they've got some nice streams along Oak Grove, California.

Really? Uh -huh.

Yeah, maybe I'll go up there and see what I can catch. Great idea.

And then come back ready for work Monday morning. Oh, Mike, come on.

Monday morning, Inspector.

Yes, sir.

Give my regards to Nancy.

Who's Nancy? Nancy who?

Who's Nancy? Nancy who?

You know who Nancy is.

And if you don't, she'll tell you.