A man just released from prison hurries down a dark street, sees a patrolman, then breaks into a run. He runs to a warehouse, where he's attacked by a gunman. In the struggle, the assailant...
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A man just released from prison hurries down a dark street, sees a patrolman, then breaks into a run. He runs to a warehouse, where he's attacked by a gunman. In the struggle, the assailant is killed. The ex-con hires Peter Gunn to find his girlfriend, to help the ex-con beat the murder charge. Police Lt. Jacoby confides to Gunn that the dead man is a hired killer, and the ex-con took the rap for a payroll robbery, from which the take was never found. Gunn tracks down the girlfriend, who has no interest in helping, because she has a new lover. He's the ex-con's partner - who didn't go to prison.Written by
[in beat club]
Hey, big daddy!
How are you, Wilbur?
Like in 'don't ever change', Pete. I just keep swingin', and it creates a wild draft, and I stay cool. Glad you could fall by, man.
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Pete's hired to track down a crook who's let his associate take the rap for a big heist. It's the mysterious Sally who holds the key to his whereabouts.
Average episode, at best. Reviewer cc is correct: the 30-minutes is a little flat, and I'm not sure why. There's the expected slam- bang hook that had me reaching for a cushion for cover. Then there's the colorful character, Wilbur, (Ellis) tapping into the Beatnik fad of the time— "Can you dig it, man!". Speaking of Wilbur, I'm just wondering if he sold that pile of ugly clay that's supposed to be a profound comment on something or other. And how about his gamin-like model, Capri, (Candela) with no dialogue and a wide-eyed payday.
Gunn's producers always had a ready-made solution to an entry whose plot didn't add up to the needed 30-minutes. Just insert a cool jazz scene or some business with Mother or Edie or Jacoby. Pete's chemistry with all three was nearly always easy and entertaining. Okay, if the usual compelling elements are present, what's the problem with the episode. It may be two things—the parts are clumsily assembled undercutting the usual suspense, while the direction, McDearmon, does little to compensate. Nonetheless, it's still Peter Gunn and if the good parts don't combine well, happily there're still the parts.
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