02x16 - Passage Into Fear

[bunniefuu]

[theme music]

[foghorn blaring]

[clanking]

[female #1] 'Oh!'

Well, hello, there.

Henry, give me a coin.

Hello, there. How are you today?

- Here. - How are you?

- Here you are. Here you are. - Thank you. Thank you.

[hurdy-gurdy music]

Well..

What's going on?

She came home from work about 5 o'clock.

Boyfriend was with her, he hasn't left yet.

They generally go out to dinner together.

She hasn't gotten past you.

Please.

[sighs]

It's taking too long.

I don't like this waiting around all night.

Stay here forever if you have to.

Do something about the g*n.

'I can see it.'

I don't like it. They shouldn't be this late.

What are they doing in there?

Hanna, are you alright?

[sighs]

Hanna, what are you doing?

[George] 'Hanna?'

Yes, George.

'I'm sorry, I didn't mean to yell.'

'I really don't blame you for being worried.'

'It's bound to be nerve wracking tomorrow.'

'But you'll be alright.'

I've never even been in a court room before.

Oh, they'll ask you to identify Cline as your employer.

Tell about the errands you ran for him.

When the government puts it together

it'll proof he's a spy.

That's all there is to it.

'I mean..'

'...Cline hasn't tried to frighten you, has he? Uh..'

'Phone calls, threats?'

No!

'Then what are you worried about?'

[Hanna] Oh, I don't know, George. It's just...everything.

I mean, things have been happening lately that..

The cab that almost hit me this afternoon.

Hanna, that was an accident.

Oh, George..

Alright. Alright.

If you say so, George. Probably was.

I know it was and so do you, inside.

'Hanna, it's normal to be a little jumpy'

'in a situation like this.'

I'm not jumpy.

'But the marvelous thing about you is'

'that you face your responsibilities, you..'

'You realize a person can't run away.'

'Now that's a wonderful gift.'

'Wonderful.'

[telephone ringing]

You want me to get it?

'Hanna, the phone.'

[ringing continues]

Hello.

Yes.

Oh, yes, she's right here. Uh..

Hanna, it's the United States attorney on the phone.

Hanna?

Uh, uh, just a minute, I'll get her.

Hanna, didn't you hear me?

It's the US attorney on the phone.

[hurdy gurdy music]

[chattering]

Oh!

[Hanna] 'Let go.'

Let go.

[laughing]

He seems to like you, eh, miss?

Please, let go. Taxi!

Harry. Harry.

She's wearing a wig.

Her clothes are new, she's uncomfortable in them.

- It's her. - Taxi!

Grand Central, please. And hurry.

Hanna, what are you do..

[knocking]

'Is something wrong?'

Hanna, I'm coming in there.

I'm warning you right now!

I'm sorry, but..

Hanna.

Please.

Hello?

I-I can't find her.

Well, she's gone.

She's just gone.

[theme music]

[Marvin Miller] The FBI.

A Quinn Martin, Warner Bros. production.

Starring Efrem Zimbalist Jr.

Also starring Philip Abbott.

Stephen Brooks.

With guest stars Collin Wilcox..

...James Callahan.

Tonight's episode

Passage Into Fear.

Hanna Crandall's flight began

at New York's Grand Central station

with a one way ticket to Quebec, Canada.

Afraid of appearing in court

afraid of the man she was suppose to testify against

and the government she was suppose to testify for

she was running from them all.

But the hunters had easily picked up her trail

and were already closing in.

Uh, can I help you?

Yes, please. Uh..

Do you have a book on elementary French?

Uh, yes, on the other side of the isle, in the hall.

Thank you.

[screeching]

Uh!

[intense music]

Ah!

Oh, may I help you young lady?

Oh, Chet, good to see you.

Inspector, I'm sorry I wasn't out at the airport.

Well, [indistinct] couple of hours ago.

I have a note says you're interested in US versus Cline.

The espionage case.

And in a prosecution witness named Hanna Crandall.

Have you talked to her?

Well, no, she's a minor witness, inspector.

There must be 50 people all fitting Cline

into the prosecution case.

The Crandall girl didn't even know

that she was being used as a courier.

A defector named Osborne walked into the bureau this morning.

He hasn't stopped talking since.

You know who Cline's superior is, don't you?

The operations chief of Red Espionage West.

Hanna Crandall was carrying important documents to him.

That's one of the little bombshells Osborne dropped.

That makes her one of the three or four people on Earth

who's ever seen him face-to-face.

Valuable girl.

She met him here?

Coffee shop in Greenwich Village.

- Lewis, she's gone. - Gone?

I just talked to the assistant US attorney

in charge of the case.

He said that he called her apartment

right after talking to Mr. Ward.

Friend answered, a man named George Lith.

He said he was waiting for her to get dressed.

He went to the next room.

She wasn't there, she was gone.

- Oh, any sign of her struggle. - No.

Alright, get on it.

Circulate photographs

to all air, bus and train terminals.

And I want a rundown to any relatives

she might have any living in New York.

Yes, sir.

This is Inspector Erskine, get me assistant director Ward

in Washington please.

'Now, Mr. Osborne, you've stated'

that in the month of October, 1945

you saw Cline only once or twice.

No more than that.

And you receive no words from your superior?

None. I might as well have been in Antarctica.

Would this indicate another occasion when Cline

preferred to use Hanna Crandall

instead of yourself as a courier?

Absolutely.

Can you-can you imagine, Mr. Ward

a situation where a trained and experience espionage agent

risking his life is ignored?

'While a witless little secretary'

who knows nothing risks nothing, is used.

Yeah..

Then, is it your feeling that Miss Crandall

would have seen your superior on this occasion, too?

Of course. I mustn't see him.

I-I I couldn't be trusted but..

[telephone buzzing]

Ward.

Oh, yes, Lewis.

Art, we have a set back.

I'm in the New York office, the girl is missing.

You mean the Crandall woman?

Never even had a chance to interview her.

James has talked to the US attorney.

He'd hoped to bring her into his office tonight

but she's run off.

In a blind panic.

Maybe. Is Osborne still talking?

Yeah, although we had to pull the facts out of him one by one.

There's now a third period

when the girl might have seen his superior.

Then she could certainly identify him.

Oh yeah, there's no question about that.

Now, look, I think under the circumstances

I better get on up there.

Might be a good idea trying for a postponement.

'Uh-huh.'

I'll get in touch with the girl's landlord.

I'll let you know as soon we have a line on her.

Lewis.

Do you think Cline's people might try to

eliminate her at this point?

Never have a better chance.

She's running scared, that means she isn't thinking.

Yeah.

Well, I'll see you about midnight.

Osborne..

Is there anyone else

who might be able to identify this man?

Except for Hanna? No.

A-as a matter of fact, I've-I've heard a rumor, I..

- I don't know how true it is.. - What?

Well, they say they brought in a team to k*ll her.

'I understand they've the apartment staked out all along.'

If she leaves there alone..

...I'd say she's as good as dead.

[train horn honking]

'Oh! Oh! Oh!'

I'm sorry, I..

...kinda loss my balance.

And then the strap came off.

Friend of yours?

No.

- He helped me on the train. - Oh.

Oh, I really am sorry, I..

Oh, I'm just going up to the North Woods

to do some hunting.

Excuse me.

Miss..

You know what I wish you'd do for me?

No.

Come in to the club car and have a drink with me.

To make up for my clumsiness.

I wish you'd go away.

Well, uh, I was going to sit here, and..

- And this seats taken. - Oh.

Oh, yes.

I'm sorry.

I'm sorry, excuse me.

She's having a terrible time, isn't she?

One thing after another.

You sound almost sympathetic.

Do you want me to do it?

No, no.

Plenty of seats in the next car, sir. May I have your grip?

Oh, no, no, that's alright. I'll just keep it.

- I'll put on the platform. - No, no, I'll just take it.

Don't worry, it will be well taken care of.

Alright, be careful it's, it's kinda falling apart there.

I've had a long time since the service.

Yes, sir.

'Miss?'

Excuse me, are you travelling alone?

Why?

We have a lost child up in the next car.

- I was wondering if-- - No, why?

Uh, this is my husbands place.

[Henry] Is anything wrong, Miss?

- Excuse me? - Is anything wrong?

Oh, no, I'm, I'm fine now.

Oh.

But you seemed so upset on the platform.

I couldn't help thinking that girl needs friends.

Oh, no, I was, um..

...just frightened that my

my husband wasn't going to make the train.

Your husband?

Yes. Excuse me.

Oh!

Is this seat taken?

Uh, well, I don't think so.

I, I want to apologize for being so rude.

Oh, no, no, no, please, it was my fault.

After all, you did try to catch it.

Yeah, but I also dropped it.

[laughing]

Please, sit down.

What kind of work do you do?

Uh, I'm a construction engineer.

What's your name?

Lenk. Richard Lenk.

- 'And yours?' - Hanna.

Hanna..

'Mr. Lenk..'

Would you mind being my husband for a while?

Please.

[George] 'There's just one thing I'm absolutely sure of.'

And that's that she's still in the city somewhere.

Probably right here in the neighborhood.

- What makes you think so? - Because I know her.

And I know she isn't capable of the..

...the grand gesture, the big flight.

She doesn't have the imagination for one thing, she's..

She's too conservative.

Well, it, uh, looks to me, Mr. Lith, that she's not

all together conservative.

- That's Hanna's? - Mm-hmm.

Oh, for heaven sakes.

Tell me, Mr. Lith, just how close were you two?

Well, there..

There was an understanding.

We found this, uh, lipstick smears.

And this sale slip from Callahears.

- The shoe store? - Yeah.

Why, Hanna'd never go to Callahears.

Why not?

Well, she hates those narrow high heeled shoe..

No. No.

Is this her lipstick?

She doesn't use lipstick.

Oh, maybe a little..

But you'd never know it. And-and not like that.

- She drive a car? - No, we take the bus.

- Where's the nearest bus stop? - Four blocks up.

- Have any relatives in town? - No.

I'd like to check on all cabs that had pick-ups

in this area around 5:15.

Alright.

I don't understand, uh..

Hanna would never hire a cab.

Well, that might depend on how tight her new shoes were.

Don't you think, Mr. Lith?

Silk negligee. Lipstick..

Running off like some..

Inspector, what got in to her?

Fear, desire to escape.

Happens more often than you'd imagine.

[telephone ringing]

Erskine.

Lewis, Arthur.

Well, Osborne confirmed our suspicions.

They're definitely after Hanna Crandall.

They've watching her apartment. They may have followed her.

We're talking to George Lith now.

Maybe he can tell us something.

Well, I hope so.

You can't stop them if you don't know

what they look like.

[Lewis] 'I'll keep you informed.'

When you came here with Miss Crandall

did you notice anyone outside the building?

Anyone out? What..

Mr. Lith, there isn't much time.

Just think. Was there anyone there?

Well, there was an organ grinder, he..

He had a monkey.

Why? What's happened to her?

Mr. Erskine, you've got to find her.

We'll do our best.

I just want my old girl back.

That's all.

Right now, I'd settle for either one, Mr. Lith.

Either one.

[train honking]

[Hanna] Anyway..

That's it.

I have to get out of the country.

Okay. Now..

Whoever is looking for you is after a girl alone.

- Is that right? - That's right.

Oh, I think I'd better..

...tell you there already have been

a couple of attempts on my life.

Well, uh, what about the police?

And are they looking for you, too?

You don't believe a word I'm saying, do you?

Well, frankly, uh

you don't much look like a girl

the police would be interested in.

[sighs]

I don't much look like a girl anybody will be interested in.

Oh, no, that's not true.

That's-that's far from true.

It's ridiculous.

How can a train swing anymore in the front then the middle?

I don't care, Harry, I feel better here.

Oh, excuse me. Are these seats taken?

Well, uh, I..

I don't think so.

Oh, it's you again.

- Hello. - Hello.

- And this is your husband? - Yes.

Some people get sick on boats.

She gets sick on an escalator.

Alright, Harry, keep it up. Keep it up.

Boats, too. So, naturally we're on our way to join a tour.

- The Gaspe region. - Oh.

I told her, I said, "Lucille

you're going to have boats coming out your ears out there."

But, oh, no. It was the same in Wisconsin.

Nice country there. Used to be my stamping grounds.

Oh, really.

Where do you come from, dear?

- Oh, we're from the same place. - Oh.

Excuse me, Hanna.

Would you excuse us just a moment, please?

- Why, sure, son. - Thank you.

- Hanna. - What is it?

Well, I'd like to talk to you a moment.

- Oh, wait, my shoes. - Yeah.

Excuse us.

Hmm, she's got the right idea.

- Safety in numbers. - You'll have to separate them.

I wonder..

What do you mean?

Suppose he..

Suppose they sent somebody besides us.

Insurance.

[instrumental music]

Nope. No, the fare I picked up was a brunette.

How was she dressed?

Hmm..

Well, uh, sweater and skirts, suit? Dress?

Well, she was very sharp, you know what I mean?

- She wear a hat? - Yeah.

- No. No. - No hat.

I don't know, maybe. Who noticed?

Uh, do you think you'd recognize her if you saw her again?

You know it.

This was a real doll, absolutely.

Is this the girl?

Friend, if this is your idea of a real doll, you're in trouble.

No, that ain't the one.

Okay. You, uh..

You picked this beautiful brunette up

at 5:17 outside her apartment

and you took her to..

- Grand Central. - Grand Central.

Did she say where she was going?

No.

Did she mention any trains at all?

No.

What did you talk about?

Feet.

- Whose feet? - Hers'.

They hurt, she was a dancer.

Hey, I think I know where she might be headin'.

- Where? - The mountains.

She was saying she hoped she wasn't going to get blisters

'cause she wanted to do some skiing.

Look, did she, um..

Did she seem to know a lot about it?

I mean, did she sound like an expert?

'No, just the opposite.'

Matter of fact, she wanted to know

where she could get some information.

You know, some facts on skiing.

I said, probably at the book shop at Grand Central.

You know, Henry's.

Yes, I remember a pretty girl, dark hair.

She wanted something.. She was terribly nervous.

Uh, I guess she wanted something to read on the train.

Did she say what train she'd be taking?

- Uh, no. - Did she seem in a hurry?

As a matter of fact, she was.

She ran out without buying anything.

About what time was that, Henry?

Ah, it was about, uh, ten minutes to six.

Oh. She dropped this.

"French, self taught."

Oh, I see, Canada.

"Quebec Limited, 6:30 pm daily."

That's the only one.

- What's the next stop? - Uh..

Albany. We might be able to flank it out at Clifton.

Well, thanks very much, uh..

Call the resident agents. I got a plane--

- Oh, excuse me. - Oh, sorry.

[laughs]

[indistinct chatter]

[instrumental music]

[signal bell ringing]

Look, Hanna, all I want is..

Thank you.

- Thank you. - Cheers.

Cheers.

[sighing]

Alright, you're not gonna tell me the truth.

- But at least you can-- - Oh, please.

Please, Richard.

Just let me sit with you until we get to Quebec.

Please, an-and, don't ask me anymore questions

and I'll do anything.

Now, there you go again.

- What do you mean? - Well, not that kind of talk.

You're not a pick-up or..

Well, at least, I don't wanna think you are a pick-up.

Hanna..

...I wanna protect a girl, I'm not..

Well, that's all I'm asking for, isn't it?

No.

Well, yes.

Okay, okay, I believe you.

You're running away from something.

Now, what exactly is it you're running away from?

Maybe I'm running away from myself!

Alright, now. Cut it out.

Maybe I am, I got scared and I ran out. Uh..

Well, partly, I liked it, the..

...the new clothes and the other things.

[sighing]

I was so used to being a-a nice

quiet, mousey, obedient girl.

Hardly important enough to be victimized.

I was a, a convenience, like, a door handle.

These are so good. What do you call them?

Brandy Alexanders.

Is, is this what you buy for a...a pick-up?

I might.

Well, why didn't we just pretend I'm..

...one of those girls..

...who's had a few drinks and it's a nice

warm pleasant night?

Stop it.

I'm sorry.

Hanna, what's the matter?

I don't know.

I just don't know who I am or, or where I'm going.

And...I like you.

And, then I think of George

and, and the apartment and George's mother and..

[giggles]

You know, I never take taxis.

They seem too extravagant.

Well, I never would've guessed.

That's what I have to go back to.

- Excuse me. - Hanna.

- Hanna, where are you going? - Please.

[dramatic music]

Where are you going, dear?

This is your place.

- Well, no, actually I was-- - No.

Oh, you've had a lover's quarrel.

Now, where is your young man?

He's in the club car.

I don't suppose you saw my husband back there, did you?

Yes, I think I did.

Well, maybe you could help me then.

I don't feel at all well.

- Oh, I'm sorry. - No, I'll be alright.

Just a little fresh air.

Well, I think maybe you better sit back--

No, don't, uh, if we just go out

maybe you could get something cool on my face.

And maybe open the window between the cars.

- You sit down and I'll call-- - No, no, no.

- You're the only one I need. - Um..

- Hello, son? Ahem.. - Yes.

I'm glad you're here.

I wanted just ask you about this tour we're going on.

- You have a second? - Well, I--

Ah, here, uh, between Quebec and San Andre

it says we have a choice between the bus and boat.

Uh, you saw my wife, you know how she is.

Uh, I just wanted to make sure

that, um, if we take the-the bus..

- Please, open the window. - Oh, I..

I really don't think we're supposed to.

[panting]

Oh, good.

[panting]

Oh, it's-it's wonderful.

Be careful. Please, don't lean that so far.

It's so much better, the air's marvelous.

Come and join me.

- Oh, be careful. - Oh.

Oh, I'm sorry.

Please, don't lean on the door, anymore.

[gasping]

Yes, the air is..

What's happening?

[instrumental music]

We're slowing down!

We shouldn't be stopping yet, should we?

Not unlimited.

This isn't Albany yet, is it?

Not yet.

Why we'd be stopping here? This is only a small station.

I don't know.

[instrumental music]

You're the ones they called about?

That's right, Inspector Erskine and Special Agent Rhodes.

- How do you do? - Step aboard.

Give us a highball.

[dramatic music]

- What is it? - Som-someone got on the train.

Hanna, Hanna..

[instrumental music]

Aye, she's...a strange girl, your wife.

Yes, she is.

[instrumental music]

[theme music]

Any idea what they have in mind?

Hmm.

Alright, I'll, uh, I'll get back to you.

- 'Identification.' - Yes, is Mr. Randolph there?

'No, sir. He just left.'

'I think he's on his way back to your office.'

Oh..

Oh, here he is now. Thank you.

We've run a quick check on George Lith, Mr. Ward.

- The boyfriend? - Yes, sir.

No record of any kind and the information

he gave Inspector Erskine seems to check so far.

Hardworking, serious young man.

It's hard to imagine either one of them

up to their necks in espionage, isn't it?

I just spoke to the US attorney's office.

The chief defense council for Cline

just asked the judge for an immediate appearance

in department 19.

- Tonight? - Mm-hmm.

He also asked the US Attorney office to be present.

Which means he's planning to petition the court.

Motion for dismissal probably, or a mis-trial.

Yes, but on what grounds?

They haven't finished the opening argument.

Well, I'm going over to Department 19 myself.

Lewis should be on the train by now.

So, uh, when you hear from him, tell him I'll try

to reach him directly from the court house.

Yes, sir.

[instrumental music]

[station bell rings]

No, I'm positive. We don't have anybody who looks like this.

She's probably wearing a brunette wig.

Well, she's not on this train, inspector.

I'm very good with faces.

Alright, let's try to break it down.

We think she got on alone.

She's taking it through to Quebec.

She's young, pretty--

You could be describing half the females

on this train, Mr. Erskine.

- Her feet hurt. - Ah!

Now, you're describing all of them.

[signal bell rings]

[train honking]

Now, listen to me.

Now, stop crying and listen to me. I understand.

It doesn't do any good if you understand.

[sniveling]

But I'm on your side.

And we all have times when we want to be something we're not.

There's nothing wrong with that.

[sniveling]

Right, Mrs. Lenk?

Oh..

[sighs]

Well..

There's plenty of time.

[Hanna snivels]

[train honking]

First call for dinner.

The diner's four cars forward.

[piano music]

First call for dinner. The diner's four cars forward.

[train revving]

So, uh, that's it, I think we can eliminate

all but three of them for one reason or another.

Well, let's go over them again.

Okay, last car, a girl with dark brown hair

glasses, navy blue suit, grey suitcase and a hat box.

No, that one, no.

She's only taking it to Albany.

- Next. - Fourth car, fifth seat, right.

Description checks but she's travelling with an older woman.

Looks like it might be her mother.

And uh, they were talking French.

How fluently?

Ah, it sounded native to me.

Hmm, look.

If you see somebody that might be the right one

why don't you just walk up and ask?

We can't take that chance, that's for sure.

- Next. - Uh, third car.

Right age, right coloring, but she's travelling with a man

and they seem very friendly.

Oh, yes.

You know her?

She's an odd little kid.

Supposed to be married.

But, uh, you doubt it.

- Well.. - Let's separate them.

I wanna talk with her.

Separate them? How?

[train revving]

One, one?

Miss?

I am with my husband.

I have an open seat for one.

If you'd help us, miss

we've got a lot of people to serve.

Go ahead, you'll feel better after you eat.

I'll join you as soon as I can.

It's okay.

Thank you.

- Hello. - Hello.

You, uh, travelling alone?

No. No, I'm with my, my husband.

Oh..

[train honking]

MY husband and I are going to Quebec on a hunting trip.

Oh, yes. It's a beautiful city.

- Uh, you live in New York? - Yes.

- How long you've been married? - Oh...just a few years.

I, uh...had my honeymoon in Quebec.

I imagine you two stay in United States.

- Yes. - Where?

California.

Yeah, where did you go on your honeymoon, d*ck?

Ah, Miami.

You live in New York now, is that it?

No, no. Milwaukee, Wisconsin.

Hmm.

Yes, well, I've never done much hunting.

Uh, tennis is my game, really.

Sorry to interrupt, sir.

- What's this? - Uh, from the conductor.

Oh, excuse me.

Well, it's, uh...been a pleasure, Mrs. Lenk.

I hope we meet again sometime.

Uh, will you excuse me a minute?

- I see my wife's alone now. - Yeah.

Thank you very much.

What kind of a world is this?

We've been married 10 minutes

and they're trying to separate us.

She lives in New York.

That must be a little awkward.

He lives in Milwaukee.

- Honeymoon in California? - Nope, Miami.

Keep an eye on her, I'll be right back.

Alright.

What's wrong?

That man that you were sitting with.

- What was he talking about? - What?

The man that you were sitting with.

He...he looks like one of the two men that got on the train

at that small station.

Take it easy. He's nobody.

They could've arranged this.

What were you talking about?

Nothing, small talk.

Where I went in my honeymoon

'where I live, that's all.'

You didn't!

Well, they are after me then.

Now, look, Hanna.

I'm involved in a spy case.

- I'm a witness. - What?

It's the truth, I swear, that's the truth.

Albany is next. Albany..

I'm gonna get off.

You're not gonna do anything of the kind.

You're gonna stop this craziness and listen to me.

Hanna, Hanna!

- 'Albany!' - Hanna? Hanna!

Sit down here..

Art, I know this is the girl.

We can't turn our backs on her.

The K*llers may be on the train now!

We've got no choice, Lewis.

I'm calling from the courthouse.

Judge had to come in and hear a defense motion.

The case has been dismissed.

- 'The witnesses are released.' - Art, for the love of--

The government's going to refile

and new subpoenas will be issued.

But until that time, the girl is absolutely free.

We have no jurisdiction in this, whatsoever.

If she wants to get off the train, you can't stop.

These K*llers Osborne spoke of, they don't know the trial's off.

All they know is they've got orders to k*ll her.

If she gets off this train, we may never find her alive.

- Now. - Richard, please.

- You just don't understand. - I do understand.

What are we going to do?

We can't waste any more time

trying to arrange an accident.

- Now, open your purse. - Hmm?

Try to get her into the ladies lounge.

Here.

[dramatic music]

[theme music]

[train revving]

Alright, anyone else tried to, uh...get close to her?

Did anyone seem overtly friendly..

- Well, I, uh-- - Somebody following her?

Oh, come to think of it, this one couple

did change their seats..

To, to get closer to her?

There's a man and his wife.

They went into the next car when the girl did.

Took the seat right behind her.

They tried to talk to her?

Yeah, they..

You know, I may be way off base

but the last time I went through the vestibule

between car three and four

the upper half of the door was open.

Now, that's dead against regulations.

I asked the porter about it and he said

the last people he saw there were Mrs. Lenk and this woman.

[train rattling]

Is there, uh, is there anyway

I can talk to my friend in the dining car?

Sure. What's his name, uh, Rhodes?

Yeah.

[train screeching]

Hanna, you're not getting off the train in this condition.

So forget it.

- Mr. Rhodes? - Yes.

Telephone for you, sir. Right this way.

Thank you.

Rhodes.

Jim, the case against Cline was dismissed.

That means the witnesses have been released.

Released?

- Is the girl still there? - Well, yeah.

But she's talking about getting off.

Hanna, Hanna? Hanna!

That's it, she's gone.

Well, get after her.

[dramatic music]

Hanna, Hanna, Hanna!

Would you please stop running away and listen to me?

Now, you've got to..

- I'm with the FBI. - I don't, I don't believe you.

Get back, she's being arrested.

- What? - It's too late, get back in.

'Board!'

[dramatic music]

[train honking]

[music continues]

Miss Crandall, I'm with the FBI..

I don't believe you. I just don't believe you.

- Please, Miss Crandall. - What do you want, buddy?

I'm trying to speak with Miss Crandall.

- Mrs. Lenk. - Miss Crandall!

Hold it, hold it, buddy, I want to see your ID.

[train revving]

- That satisfy you? - No, I'm not..

[dramatic music]

[panting]

Miss Crandall?

No. No.

Just keep away from me.

Keep away from me.

Just keep away from me.

Keep away..

[Hanna panting]

Hey, conductor.

Do you know who this suitcase belongs to?

- No, but the porter should. - Where is he?

Next car, probably.

The point is she's still alive.

We did our best.

You suppose that's going to matter?

She's alive. She..

And she's here.

[dramatic music]

My poor dear!

[panting]

Please, will you help me?

What?

Please, help me.

Mother, she's very upset.

- Oh. - Perhaps, you'd better..

Everything's going to be alright.

You just come with me.

[music continues]

That one.

That belongs to a fellow who got off at Albany.

I'm surprised he didn't remember it .

- Are you sure? - I'm sure.

Said he had it since the service.

- Thanks. - Welcome.

Here we go, dear.

Here we go.

Now, you just go ahead and cry all you want.

I understand.

It's that young man of yours, isn't it?

[sobbing]

Heaven save me.

[continues sobbing]

- 'Where's the girl?' - Um, the girl?

FBI, where is she?

I don't know.

- Where's is your wife? - I'm not sure.

- Hey, waiter. - Yes, sir.

Did you see two women coming to the next car?

One in her 20's, the other older?

- No, sir, I didn't. - Women's lounge.

Hey, I wouldn't jump if I were you.

[dramatic music]

[grunting]

Miss Crandall?

[grunts]

Miss Crandall.

[grunting]

Help me! Eeh!

[music continues]

Give me that.

[grunting]

What's the next town?

Arness, want me to stop the train there?

Yeah, radio the police.

Tell them I made a citizen's arrest.

Attempted m*rder.

I wanna question this women and her husband, too.

[sobbing]

It's over, it's all over.

[continues sobbing]

[instrumental music]

[theme music]

[Arthur] 'You had no reason to re-contact that girl, Lewis.'

- 'No reason at all.' - No reason, except my neck.

She threatened me with a knife.

Well, in her condition, she probably thought

you were another assassin.

But, Arthur, the knife didn't belong to her.

I saw her lift it from another passenger's suitcase.

And you know what that is.

Theft from inter-state shipment.

And you used that as an excuse to..

[sighs]

Well, I guess you had to use something.

What about the Fortiers?

The sheriff has them in custody.

I'll bring their prints along with me when I come.

- 'Be careful.' - Right, Arthur.

Thank you.

I, uh, thought you might like to keep this.

Oh..

You know, after all that's happened..

...this girl looks like a total stranger to me.

What's gonna happen to me now?

You'll be sub-poenaed again.

You'll be asked to identify Cline's superior.

Only this time, the US Attorney will give you police protection.

And am I really going to go to jail

for stealing Richard's knife?

Oh, I think we can work something out.

I spoke to the owner, he told me he was thinking

of giving you the knife anyway as a...Christmas present.

[giggling]

You talked to him, when?

Just a few minutes ago.

He's on his way over here now.

As a matter of fact, here he is.

- Got the car outside. - Fine.

- Can we, uh, give you a lift? - Uh, no, thank you.

Oh, uh..

...you'll be needing these.

Oh, thank you.

- Good luck. - Goodbye.

- Goodbye, thank you. - Thank you.

[instrumental music]

Nice to see you again.

I'm glad you stopped running.

I was getting a little tired to chasing you.

Aren't you mad at me?

Mad? No.

What for?

''Cause you were scared?

No.

Aren't you at all surprised I was wearing a wig?

No.

I was wondering what the real color of your hair was.

Oh.

- 'It's pretty.' - Thank you.

Uh, Hanna.

Would you like to go have a cup of coffee and talk?

Yes.

[Marvin Miller] The freedom of New York's communist

spy-ring was short lived.

The FBI succeeded in bringing their leaders to trial.

And Hanna Crandall's testimony was instrumental

in convicting them.

All are now serving sentences in federal penitentiaries.

[instrumental music]

[theme music]