Irv Desmond is being hotly pursued by Dan Mathews and his officers for the murder of a pharmacist during a failed holdup. However, his handsome appearance and his pleasant personality enable him to stay just ahead of his pursuers by enlisting the unwitting aid of an elderly couple, a brickyard foreman, and the brickyard's secretary Susan Keefe. The somewhat smitten Ms. Keefe even accepts Desmond's invitation to lunch at a roadside diner, unaware that Desmond has already assaulted the foreman during a holdup. Dan and Sergeant Johnson learn from the foreman that Desmond is traveling with Ms. Keefe and that the two may still be nearby. They find the car parked at a roadside diner, but Desmond spots them and forces Ms. Keefe and a diner counterman to try to help him escape one more time. A tense confrontation results in which Sergeant Johnson's gun is trained on Desmond and Desmond's gun is trained on Dan.Written by
During the initial seasons of this series, William Boyett's character was consistently referred to as "Officer Johnson". In this particular episode, he suddenly became "Sergeant Johnson". See more »
In the opening narration, Sergeant Norton is identified as "Patrolman Norton". See more »
Like any law enforcement agency, the Highway Patrol encounters many unforseen obstacles in apprehending the criminal who is at large and dangerous to a community and its citizens. Many times, it is the citizen himself who unwittingly aids the criminal in his flight from the law. Such was the case when, on October seventh, Irv Desmond, having been unsuccessful in his attempt at robbing a drugstore, killed a pharmacist. For four days, Desmond had eluded the Patrol. Time and again he ...
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A Slicker On The Run
The star of the show, in my little book, are the great roadside shots of ordinary places seldom shown in Hollywood productions. I especially like the huge industrial brickyard with enough cement blocks and forklifts to cover LA. Then there's the usual roadside traveling shots that still distinguish this action series from others of the time.
And, oh yeah, plot-wise The Patrol's after a fleeing murderer, who uses good looks and charm to sneak past police lookouts. And catch sweetheart Gail Kobe who's enough to make any guy quit a life of crime. And how about the old couple and the rotund foreman-- more good realistic touches. Then too, I still marvel at Crawford's machine-gunning of his lines. He spits them out with authority faster than speeding bullets.
Anyway, I was disappointed by the climax that seemed too abrupt and unimaginative, but maybe I missed something. All in all, it's still a solid crime trip through greater 1950's LA, HP style.
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