Thriller (1960-61) S01 E14 'MAN IN THE MIDDLE' Mort Sahl, Werner Klemperer, Sue Randall, Frank Albertson | Hollywood Classics movie
Episode aired Dec 20, 1960
Stars: Mort Sahl • Werner Klemperer • Sue Randall • Frank Albertson
A man overhears a plot for kidnapping and murder. At first, he doesn't want to do anything about it, but eventually he gets caught in the middle of the plot.
Stars: Mort Sahl • Werner Klemperer • Sue Randall • Frank Albertson
A man overhears a plot for kidnapping and murder. At first, he doesn't want to do anything about it, but eventually he gets caught in the middle of the plot.
Transcript
00:00 (music)
00:16 Do you think it's safe, Mr. Clark?
00:18 You don't think something can go wrong?
00:20 Nothing will go wrong if we follow our plan.
00:23 I'm not a man who takes chances.
00:26 You sure got everything worked out to a T.
00:28 My inside contact tells me Miss Salisbury drives to the country club every afternoon at 3 o'clock.
00:33 And she always drives alone, correct?
00:35 Sure, just like you told me.
00:37 I followed her every day for a week and she never had nobody with her.
00:40 Good.
00:41 Now at the entrance to the club, the road is hidden by trees, is that right?
00:45 Yeah, it's the perfect place to make the snatch.
00:48 I think it best we take Miss Salisbury and the car.
00:51 Why would we take her car?
00:54 An abandoned car would be noticed.
00:56 We don't want them to know that she's been taken until we've safely hidden her.
01:00 I've been thinking over what you said about the ransom and I think we ought to raise the ante.
01:05 This Salisbury guy is loaded.
01:07 (music)
01:12 In my estimation, I think you're absolutely correct.
01:18 I think we ought to...
01:19 (music)
01:36 The departing eavesdropper is Sam Lynch.
01:39 The conversation that he's just overheard will change his life abruptly.
01:45 It may even finish it.
01:47 These two men, Mr. Clark, so-called, he hasn't used his real name in years,
01:53 and his good friend, Mr. Baby Hoffman, take their work quite seriously.
01:58 As you will have overheard, their current enterprise concerns the kidnapping and murder of the very beautiful Miss Kay Salisbury.
02:08 Mr. Clark and Mr. Hoffman know that Mr. Lynch has overheard them.
02:13 And Mr. Lynch knows that they know that he knows.
02:17 Mr. Lynch also knows that if he talks, no one will believe him and he will be murdered.
02:23 And if he doesn't talk, Miss Salisbury will be murdered.
02:27 This is the predicament of the man in the middle.
02:31 That's the name of our story, based on a prize-winning novel by Charlotte Armstrong.
02:37 Our principal players are Mr. Mort Saw, Miss Sue Randall, Mr. Frank Albertson, and Mr. Werner Klempner.
02:47 As sure as my name is Boris Karloff, eavesdropping can be very dangerous.
02:54 You will agree fervently as you enjoy this thriller.
02:59 [music]
03:27 Did I ever tell you about me and the dog, Fred?
03:31 Well, it was me and this dog.
03:34 You ever see a dog get run over by a car, Fred?
03:37 No, sir. Never did.
03:38 Well, I never did either, but I almost did.
03:41 I pulled this dog out from front of a car that was headed right for him.
03:47 You know what happened to me, Fred?
03:50 I got a broken collarbone and a concussion.
03:54 I was out for a week.
03:55 That happened when I was ten years old.
03:57 It was the first crisis of my life.
03:59 I found something out since then.
04:01 Live and learn.
04:04 The thing to do is just to live and try and enjoy the show.
04:09 One ticket is all you get.
04:11 It's a continuous performance, so you stay in your seat.
04:16 I thought about that dog, Fred.
04:17 Save the dog and die doing it?
04:20 I know the answer to that one.
04:21 It wouldn't be worth it.
04:22 I wouldn't do it.
04:24 It's not my dog.
04:27 Mr. Clark?
04:29 I understand you, Mr. Lynch.
04:32 Good night.
04:35 Sometimes it's a lousy show, Fred, but you stay in your seat.
04:39 Because once you leave, you don't get another ticket.
04:42 Those are the rules.
04:44 You know what I mean, Fred?
04:45 I guess that's some kind of philosophy.
04:48 Philosophy is a way to live.
04:50 Put that in my tab, will you?
04:54 Sam, here, let an expert.
04:57 When you got the wolf in Sam, old buddy, you gotta learn to roll with him.
05:01 One thing I don't have is a hangover, Eddie.
05:04 Don't fight it, Sam.
05:05 Keep relaxed. Keep your head down, your elbows loose, and your eye on the ball.
05:11 Sam, about that matter.
05:13 You'll get some lute as soon enough.
05:16 Thanks, you're a pal, Sam.
05:17 And I wouldn't think of putting the arm on you again, but...
05:25 Thanks, Sam. I'll remember.
05:27 Sure.
05:38 Fred?
05:49 (COUGHS)
05:50 (SIREN WAILING)
06:05 (SIREN WAILING)
06:21 This is the way it has to end, Scaletti.
06:24 You're evil. You've got to die.
06:28 It's the only way I'd finally be rid of you.
06:31 Good, good. That's it. Just right.
06:33 You like it?
06:34 That's perfect. Now let me get it down before we go any further.
06:36 Okay.
06:37 This is how it has to end, Scaletti.
06:44 You're evil.
06:46 Should it be evil or vile?
06:49 Vile.
06:50 Vile. That's more on character.
06:52 Hi, Larry.
06:53 Bud, how's it progressing?
06:55 With us, it's progressing. Where have you been?
06:58 Well, I'm ten minutes late. What, are you gonna make a federal case out of it?
07:01 How does it look?
07:02 Larry's got some terrific ideas on the underworld piece. Let me read it to you.
07:05 That one's in the bag.
07:06 What we should be working on is the dramatic sketch for the guest star.
07:09 I was hoping you'd come up with some ideas.
07:11 I've been thinking about it all day.
07:13 I got a couple ideas. Of course, Larry didn't like them, but we at least ought to kick them around.
07:17 Go on, tell him, tell him.
07:18 Well, this Hollywood star comes to town for a personal, see?
07:21 Now, on the train, she meets this dark, handsome guy. Good?
07:25 All right, she goes overboard for this guy.
07:27 And by the time they get to New York, she's head over heels.
07:30 And it turns out he's really the head of a mob. Huh?
07:33 Well, I could go on.
07:39 Look, suppose a guy was in a bar.
07:43 And he hears two guys, tough guys, criminals.
07:46 Say they're gonna kidnap a society girl.
07:49 Sam.
07:50 Now, wait a minute, Larry. These guys are really dangerous.
07:52 They may kill the girl.
07:53 And if the guy goes and talks to the police and says what he overheard, they might kill him, too.
07:57 Now, what does he do?
07:59 Sam, will you knock it off?
08:01 What?
08:02 That's not what they want from us.
08:03 Granted, it has a good dramatic premise, but they specifically stated they wanted something with a romantic interest.
08:09 There's no romance in this kidnapping thing.
08:11 Larry, I wasn't suggesting that. This is serious.
08:14 Forget it, Sam. Forget it.
08:16 Now, let's stick with Buddy's idea about the Hollywood star and the handsome ganglord.
08:21 Sam, will you pay attention?
08:28 Yeah, yeah, it sounds very promising.
08:30 All right, let's get on with it.
08:33 Now, this Hollywood star gets on the plane, and as she's getting on...
08:36 No, train. Train, I think, is better. It gives them more time together, huh?
08:39 Yeah, you're right. This Hollywood star gets on the train.
08:42 And as she's getting on the train, she...
08:44 Now, do you think it's better to have her bump into the ganglord now, or should we wait until, uh...
08:49 He's coming out of the compartment.
08:50 Out of the compartment. He's looking for the manicurist.
08:53 [Door creaks]
08:55 [Knock on door]
09:21 [Knock on door]
09:22 There's no reason for this.
09:37 You heard me in the bar. You know my position.
09:41 There's no reason to come here.
09:44 We heard you, Mr. Lynch, but we didn't think you sounded convincing.
09:48 Not completely convincing.
09:50 I'm a neutral, unequivocally.
09:52 Why should I talk? I got everything to lose and nothing to gain.
09:55 Isn't that good enough for you?
09:56 No.
09:57 I'm a businessman, Mr. Lynch.
09:59 I've invested a great deal of time and effort into organizing this venture.
10:04 I'm not about to see it fail simply because you have big ears.
10:08 What do you want me to do? Post an affidavit that I won't talk, or...
10:11 I... You... I can't get... An insurance policy?
10:15 We have our own method of insurance, Mr. Lynch.
10:17 We must convince you that if anything goes wrong, you'll no longer be with us.
10:23 [Grunts]
10:28 [Grunts]
10:32 [Grunts]
10:33 Enough.
10:49 Enough.
10:50 Mr. Lynch, if the police interfere, if they take us, I warn you it'll do you no good.
11:16 We have arranged for some associates of ours to finish with you. You understand.
11:21 I think Mr. Lynch is convinced.
11:29 [Suspenseful music]
11:31 It's all right, Miss Salisbury.
11:49 Oh, I'll get it, Basil. It's from Mr. DuLane.
11:51 Mr. DuLane's here already. He's in with your father.
11:54 Oh?
11:58 Hello.
11:59 Come in.
12:04 I have an appointment with Mr. Salisbury. I talked to him on the phone this morning.
12:10 You're expected, sir. Will you follow me?
12:12 Do I know you?
12:16 No.
12:18 Oh.
12:20 In here, sir.
12:24 Basil, if Mr. DuLane asks for me, would you tell him I've taken John for a walk?
12:28 Yes, Miss.
12:29 Mr. Salisbury, I asked to see you privately.
12:32 Well, this is Mr. DuLane, my daughter's fiancé. He's a member of the family.
12:36 Charles, I must advise you not to talk to this man alone.
12:41 Mr. Lynch, whatever your business with me is, I am not going to discuss it unless Mr. DuLane is present.
12:47 If, as you said, you're concerned about my daughter's welfare, I think we should proceed with that business.
12:54 Yeah.
12:55 Mr. Salisbury, first I've got to have your word that when you hear what I've got to tell you, you won't do anything about it without checking with me.
13:03 Now, what does that mean?
13:04 It means that he's going to want to do something about what I've got to tell him.
13:09 And there are certain things he could do which could make it very dangerous for me.
13:12 What certain things? Like going to the police, for example?
13:14 That's one of them.
13:15 Now, do you think I'm going to let him tie his hands with a promise like that?
13:17 How do you function here? As an attorney or a member of the family?
13:21 Well, sir, if you give him your word, you'll keep it. And now there is no guarantee that this man will.
13:25 That's right. No guarantee at all.
13:27 I came here to tell you how to save your daughter's life. Now, do you want to hear me or don't you?
13:31 Well, suppose it's blackmail.
13:32 Forget it.
13:35 Mr. Lynch.
13:37 You have my word.
13:46 Unless you do something about it right away, your daughter's going to be kidnapped and maybe murdered.
13:52 Now, that's a little melodramatic.
13:54 Yes, it is. But it's true.
13:56 What proof have you got?
13:57 Proof?
13:59 Now, you do think we're going to act on a statement like that without any evidence?
14:02 That's your problem. I told you, you heard me. What you do about your daughter from here on out is up to you.
14:08 Where did you get this information?
14:10 I'm sorry.
14:12 Do you know my daughter?
14:14 No. Is that important?
14:15 I have no idea. I'm trying to decide on your motivation for coming here.
14:20 So am I.
14:21 Mr. Salisbury, you remember during the war, the conscientious objectors, the pacifists, the draft board used to throw one question at them.
14:38 What would you do if you saw a maniac about to attack somebody? It's a moral question.
14:44 And it interests me. I know what I'd do. I'm a pacifist right now. No causes. I sit on the fence and I watch and I listen.
14:54 Is that a philosophy, Mr. Lynch? Or an excuse for dodging responsibility?
14:59 Last night that question came up in a very practical way.
15:09 I became involved with a maniac about to attack somebody. And I found my pacifism has limits.
15:15 If the people who intend to kidnap your daughter knew I came here, they'd kill me.
15:20 That's why I wanted your promise not to go to the police. The police can't act without evidence.
15:25 They'd question me and I wouldn't talk, so they'd hold me.
15:28 Then whether your daughter was kidnapped or not, the instant I was released, I'd be killed.
15:33 Well, what do you suggest, short of going to the police?
15:36 Send her to Europe.
15:38 Why Europe?
15:39 South America, then.
15:41 But get her out of the country.
15:43 Well, thank you very much for your information, Mr. Lynch. I'll consider it.
15:52 You don't have time to consider it.
15:54 It was very kind of you to come. And if you'll leave your address, I'll have my secretary send you a check for your trouble.
16:00 Is that why you think I came here? For a check?
16:03 [♪♪♪]
16:20 Salisbury, I've got to talk to you.
16:22 Why?
16:24 Because you're in trouble.
16:25 Not that I know of, but I think you are.
16:28 You don't know how much. There's all kinds of trouble. It goes on all the time.
16:32 Violence is almost a casual thing.
16:34 You don't understand that, do you?
16:36 I read the newspapers.
16:38 That's violence once removed. I tried to get through to your father, but no one listens.
16:42 Nobody listens. You've got to listen because you...
16:44 Look, I don't know what you're talking about, but I'm sure that you mean well.
16:47 Mean well? Get in the world, will you?
16:50 Would you please take your hand off my arm?
16:53 I asked you to take your hand off my arm.
16:56 See that man in the doorway? In back of you. Look at him.
17:01 Yes, I see him.
17:02 You recognize him?
17:04 Yes.
17:06 Well, who is he?
17:07 Lenore's boyfriend.
17:09 Get in the car. Get in the car.
17:11 [♪♪♪]
17:29 [♪♪♪]
17:41 [♪♪♪]
18:02 [♪♪♪]
18:14 Just stand over there till I get a light on.
18:17 [♪♪♪]
18:22 Some people think this is a vacation.
18:25 [♪♪♪]
18:31 There we go.
18:32 [♪♪♪]
18:44 The nearest neighbor is eight and a half miles away.
18:47 Why don't you sit down? Be comfortable.
18:52 Why am I here?
18:54 I've been trying to tell you all the way up here.
18:56 I know, and I don't understand what you're talking about.
18:59 I never heard of you till yesterday.
19:00 Your picture's all over the paper.
19:02 I was in this bar.
19:04 I heard these two guys say they were going to kidnap you.
19:08 Two guys?
19:10 Bad people.
19:13 I was very logical about it.
19:16 I went to see your father.
19:18 I tried to spell it out to him, but he wouldn't listen to me.
19:22 That's when I saw you on the street.
19:25 But why did you push me into your car?
19:28 Because one of them is your maid's boyfriend. That's why.
19:31 One of the guys in the bar?
19:35 Yeah.
19:37 You're safer here than a lot of places you could be.
19:44 You don't believe me, do you?
19:50 No.
19:52 Go.
19:53 Yes, of course I'll wait.
20:05 Charles, I don't care how many private detectives you hire, this belongs to the police.
20:09 I will call in the police when Kay is back.
20:11 You can't wait that long.
20:13 Alan, I don't know much about kidnapping, but I know one thing.
20:16 There's no percentage in the kidnappers committing murder unless there's so much pressure put on them, they get panicked.
20:22 I don't know whether they're watching this house or not, they may be.
20:24 But I am not going to have them see the police coming and going.
20:27 Kay is my daughter and I'm handling this situation.
20:30 Yes, I'm listening.
20:32 Milton, I want as much as I can get from you.
20:35 Fifty thousand, even a hundred thousand, whatever you can let me have.
20:38 I'll explain just as soon as I'm through here.
20:41 Small bills.
20:43 Tens, twenties, old money.
20:48 And I want it sent over by messenger within half an hour if that's possible.
20:51 Well, thank you.
20:53 Oh, Milton, this is a confidential matter and your discretion is important.
20:59 Exactly.
21:02 Martha, there's no easy way to tell you this.
21:11 We're not certain yet, but we have good reason to believe that Kay has been kidnapped.
21:17 [Music]
21:47 So?
21:48 I don't figure.
21:50 She disappeared.
21:52 What does that mean?
21:54 Walked out of the house and disappeared.
21:57 That's interesting. Disappears into places unknown.
22:01 Now tell me exactly what that maid told you.
22:06 She tells me the girl is gone.
22:09 She tells me the girl just disappeared.
22:12 Why do you figure she did that?
22:15 I don't know.
22:16 Maybe she's got cold feet with the marriage coming up.
22:20 Is that your idea or theirs?
22:22 That's my idea.
22:24 They telephone the police?
22:26 No.
22:28 It's a most interesting situation.
22:31 Drive.
22:33 Where?
22:38 Just drive.
22:41 [Car engine]
22:43 You mean there's no ransom?
22:49 No, there's no ransom.
22:51 Do you realize what my mother and father must be going through right now?
22:55 Yeah, I think I have an idea.
22:57 Then let's get out of here. We can go to Alan.
23:01 Alan? I talked to Alan already. He was there with your father.
23:05 You're safe as long as you're here.
23:08 He'll be dead in 24 hours.
23:10 You're really incre...
23:12 Get in the world, will you? At least enough to be scared.
23:15 [Music]
23:33 [Phone ringing]
23:37 Hello?
23:38 Yes?
23:40 Would you repeat that?
23:45 But I don't have that much.
23:49 I assumed I would need some money, so I have about $80,000 in small bills here in the house right now.
23:55 But I can't get any more this time of night.
23:57 But that's all I have here. I can get you more tomorrow, but I can't get more tonight.
24:06 What about my jewels?
24:07 Would you accept jewelry? My wife's jewelry.
24:09 No jewelry, Mr. Salisbury. But we'll settle for the $80,000.
24:14 Bring it where we tell you and bring it alone.
24:17 Give me the instructions. I'll follow them.
24:19 You drive to Fairvale Park.
24:21 Fairvale Park.
24:23 At the third traffic light after the main gate.
24:26 Third traffic light?
24:28 You go left on Beachwood.
24:31 Left on Beachwood.
24:35 And drive slowly.
24:36 Drive slowly.
24:38 [Music]
24:40 [Music]
24:42 [Music]
24:43 [Music]
24:45 [Music]
24:47 [Music]
24:49 [Music]
24:51 [Music]
24:53 [Music]
24:55 [Music]
24:57 [Music]
24:59 [Music]
25:01 [Music]
25:03 [Music]
25:05 [Music]
25:07 [Music]
25:10 Where's the money?
25:19 I don't know. I'll find it.
25:26 [Music]
25:33 [Music]
25:40 [Music]
26:00 [Clears Throat]
26:05 What time is it?
26:06 8.30 in the morning.
26:09 I've lost track.
26:12 Now, uh, can we go over this again?
26:16 When are they going to return Kay?
26:18 I don't know.
26:19 Well, exactly what did they say?
26:21 Nothing. On the first telephone call, they promised to return her unharmed, 12 hours after the ransom had been paid.
26:27 That's seven hours ago.
26:29 Well, where are you supposed to pick her up?
26:31 They're going to let me know.
26:36 Uh, is Mrs. Salisbury still asleep?
26:39 Uh, no. No, don't awake her.
26:42 Thank you.
26:44 I had Dr. Barish come over and give her a sedative. He said she was very tense.
26:48 Does that surprise you?
26:50 Don't be snide with me.
26:52 I'm sorry.
26:53 Have you heard anything more from your detectives?
26:56 They're still looking for Lynch.
26:59 He's disappeared, too.
27:01 They feel that Lynch has the key to this whole thing.
27:04 Oh, they'll find him, I promise.
27:07 When they do, he'll tell us the names of the people who did this.
27:13 We'll find Kay.
27:19 Do you have to keep going around and around?
27:25 What's the matter?
27:27 I'm just trying to figure everything out.
27:30 And you're not getting anywhere.
27:33 It's very hard to accept the fact that everything I've done up until now has been wrong.
27:38 And you don't know what to do next.
27:40 I never said I knew what I was doing.
27:43 I'm just trying to get us out of this and save my job.
27:52 Where are you going?
27:54 There's plenty of food.
27:56 I'll be back.
28:04 When you kidnap somebody, you're supposed to take care of them, Sam.
28:32 Morning.
28:46 Fill that up, will you?
28:47 Got you.
29:01 Want me to check the oil and tires?
29:03 Sure, everything.
29:04 Got you.
29:06 Mr. Salisbury, this is Sam Lynch.
29:10 I want you to know your daughter is safe and in good health.
29:14 Where is she, Mr. Lynch?
29:17 It's him.
29:18 Use that phone.
29:19 There's another line.
29:20 Trace this call.
29:21 Are you going to tell me where she is or aren't you?
29:24 I'll settle down, Mr. Salisbury.
29:26 I'll give you instructions as to how to find her in just a minute.
29:29 Where is she?
29:31 In a minute, I said.
29:32 But first, I've got to be certain you're going to believe what I'm going to tell you.
29:36 You must believe me.
29:38 I'm listening.
29:39 Yesterday, I told you your daughter was going to be kidnapped.
29:42 She has been kidnapped.
29:44 Do you think I'm not aware of that?
29:47 Get to the point.
29:49 Keep talking.
29:50 All right.
29:51 I'm in this thing now.
29:53 I'm up to my neck in it.
29:54 I'm going to tell you what to do.
29:56 I'm going to tell you once, and then I wash my hands of it.
29:58 You can do as you please.
29:59 Lynch, if it's the other $20,000 you want.
30:02 Oh, I don't want any other $20,000.
30:05 You heard me perfectly well, Lynch.
30:07 I brought $80,000 in small bills to you or one of your associates last night, and I want my daughter returned to me.
30:15 You paid?
30:16 Yes, I paid immediately and in good faith.
30:19 Without going to the police, I paid.
30:21 One of your people called and made the arrangement.
30:24 What is all this?
30:25 Aren't you keeping in touch with each other?
30:27 Listen to me, Mr. Salisbury.
30:29 I had nothing to do with this ransom thing.
30:31 I swear it.
30:32 But I've got a pretty good idea who did.
30:34 Why don't you get your ever-alert Mr. Doolane to check with a man named Clark?
30:38 I don't know his first name, but he's got a sidekick named Baby Hoffman.
30:42 And you can find him in a hurry by checking with one of your servants.
30:45 Her name's Lenore, and Hoffman's her boyfriend.
30:48 Please, Lynch, will you stop all this nonsense and get to the point?
30:52 You still don't believe me, do you?
30:54 How much do you want, Lynch?
30:56 Tell me.
30:57 I want my daughter back.
30:59 Take it easy.
31:00 In fact, forget the whole thing.
31:02 I'll do it myself.
31:04 And don't worry about your daughter.
31:07 She's okay.
31:08 You'll get her back as soon as it's safe.
31:10 Freds, and it's him.
31:23 Eddie Cowan there?
31:24 Sure, where else?
31:26 It's your buddy.
31:30 Hello, Sam.
31:31 Listen, Eddie, I need a favor.
31:33 Any old thing, Sam.
31:34 You name it, I'll take care of it.
31:36 Eddie, I don't have time for the buddy system.
31:38 You know a guy named Clark?
31:40 Baby Hoffman hangs around with him.
31:42 Sure, I know him, Sam, but...
31:43 Now, listen, Eddie.
31:44 I want this message delivered to Clark exactly, word for word.
31:48 Word for word.
31:49 You know me, Sam.
31:50 Yeah, I know you.
31:51 And then when you get an answer, you come back and meet me in the office.
31:54 I'll be there.
31:55 I'll be there.
31:56 I know you.
31:57 And then when you get an answer, you come back and meet me at Fred's at 3 o'clock, right?
32:01 Now, get the message.
32:03 You tell him that Sam Lynch has the commodity Clark wanted.
32:07 Tell him I said I'll hold it for him until he picks up the other 20,000,
32:10 if he'll skip the rest of the plan.
32:13 No further action.
32:15 Tell him I said if he doesn't agree, I can talk as good as I can listen.
32:19 You got that, Eddie?
32:21 Word for word, Sam.
32:22 What do you think?
32:23 It's hard to say.
32:24 Couldn't get a thing on the call.
32:25 Must have been a pay phone somewhere.
32:27 What are we going to do?
32:29 What can we do?
32:30 This Lynch character doesn't make sense to me.
32:32 Maybe he's in on it and Clark is a decoy to cover his next move.
32:36 Or maybe they've dropped him out of the action.
32:38 Or maybe he's just some kind of kook.
32:40 Who is this man Clark?
32:42 Well, up to a couple of years ago, he was part of the syndicate.
32:46 He got five years for extortion.
32:48 As far as I know, he's still serving.
32:50 He's out on parole.
32:52 A week, maybe ten days.
32:53 Well, I think we ought to talk to this man.
32:55 Can we find him?
32:57 Sure.
32:58 He's living open. He has to.
33:00 Well, then bring him here. I want to see him.
33:02 [♪♪♪]
33:30 Sam!
33:32 You couldn't stay sober. I counted on you, Eddie.
33:36 I am sober, Sam. I just had to sit down.
33:39 All you had to do was deliver a--
33:41 I did it, Sam!
33:43 I saw Mr. Clark. And I saw Mr. Huffman.
33:46 I even got their address and phone for you.
33:50 I gave them the message, just like you said.
33:52 What did they say?
33:54 They gave me a message back.
33:56 Very brief.
33:58 No words.
34:00 [♪♪♪]
34:10 Eddie?
34:12 [♪♪♪]
34:28 [♪♪♪]
34:36 Sam!
34:38 Alex.
34:40 I got a friend who needs a gun.
34:43 Has he got a permit?
34:45 My friend's on account of an emergency.
34:49 If you understand, Sam, in a situation like this, it may be expensive.
34:54 It's illegal.
34:56 It takes cash.
34:58 I understand.
35:01 [papers rustling]
35:04 Is it loaded?
35:29 [gunshot]
35:31 You want me to show you how it works?
35:35 So you can explain to your friend?
35:37 He's seen it in the movies. You pull the trigger.
35:41 Now use your phone. I got a couple of calls.
35:45 Enjoy.
35:47 Sam!
35:53 If you're gonna wear the gun in your coat like that, it won't be a secret to anybody.
35:58 So what should I do with it?
36:00 At least put it under your coat.
36:03 Under your belt!
36:05 Hello?
36:08 Hoffman?
36:10 That depends. Who's this?
36:12 Never mind who it is.
36:14 I want to tell you how you can find Sam Lynch.
36:17 Can you find your friend, Mr. Clark?
36:19 Yes, I know where I can find Mr. Clark.
36:22 I would like to have someone explain.
36:27 These gentlemen will tell you that I came here freely under the impression that I was invited to talk business.
36:32 Nobody told me what kind of business, but I know you to be a man of considerable business success.
36:38 So I came.
36:40 Now I want to know what that business is.
36:43 Mr. Salisbury's daughter has been kidnapped.
36:46 That's too bad.
36:48 Yes, or Mr. Salisbury thinks you might have something to do with it.
36:52 I suppose he feels that way on your advice.
36:55 No. We got a call from Sam Lynch.
36:58 Lynch?
37:00 Samuel Lynch.
37:02 Not a man who is known to me.
37:06 This kidnapping, when did it happen?
37:12 Yesterday afternoon.
37:14 Yesterday afternoon.
37:15 But as a matter of fact, all day yesterday and well into the evening, I was in the office of a man who deals in real estate.
37:22 And this is his telephone number and his place of business.
37:27 I was buying a piece of real estate.
37:30 I can prove that with a number of witnesses.
37:32 We'll check on it.
37:34 I should hope you will.
37:36 Now is this the end of your business with me?
37:40 I should think so.
37:45 Yes. These men will drive you back.
37:47 Thank you, that won't be necessary.
37:49 I'll find a taxi.
37:52 Good evening.
37:54 Good evening.
38:22 This is very foolish. What are you doing here?
38:24 You've got the word where we find Lynch.
38:26 Interested?
38:27 Yes, very interested.
38:30 [Train whistle]
38:32 [Train whistle]
38:34 [Train whistle]
38:45 [Train whistle]
38:54 [Train whistle]
38:57 [Train whistle]
39:00 [Train whistle]
39:03 [Train whistle]
39:06 [Train whistle]
39:34 You've got 30 seconds to get out of here.
39:37 Those are the keys to my car. I want you to take it and drive home.
39:40 Don't stop anywhere.
39:42 Not until you tell me what this is all about.
39:45 Does everything in your life have to be laid out clean and clear with neat endings?
39:48 I won't go.
39:50 There's the car. Follow the dirt road to the junction, turn left and follow the signs.
39:54 Bon voyage.
39:55 No, no, not until you explain... Ow!
39:57 Will you go home?
39:59 You're no gentleman.
40:00 There's no other way to communicate with you. You have to leave.
40:03 All right. All right, I'll leave.
40:05 I'm sorry if I hurt you.
40:11 You're expecting somebody.
40:20 Yeah, another woman.
40:22 Sam, please tell me what this is all about.
40:30 I'll tell you later.
40:33 Can I do anything for you?
40:35 Just go.
40:38 (car engine starts)
40:40 (car engine stops)
40:43 (car engine starts)
40:46 (car engine starts)
40:49 (car engine starts)
40:52 (car engine stops)
40:55 (car engine starts)
40:58 (car engine stops)
41:01 (car engine starts)
41:04 (car engine stops)
41:07 (car engine starts)
41:09 (car engine stops)
41:11 (car engine starts)
41:13 (car engine stops)
41:15 (car engine starts)
41:17 (car engine stops)
41:19 (car engine starts)
41:21 (car engine stops)
41:23 (car engine starts)
41:25 (car engine stops)
41:27 (car engine starts)
41:29 (siren wails)
41:31 (car engine starts)
41:33 (car engine starts)
41:35 (car engine stops)
41:37 (car engine starts)
41:39 (car engine stops)
41:41 (car engine starts)
41:43 (car engine starts)
41:45 (car engine stops)
41:47 (car engine starts)
41:49 (car engine stops)
41:51 (car engine starts)
41:53 (car engine stops)
41:55 (car engine starts)
41:57 (car engine stops)
41:59 Hey, that looked like her.
42:01 Her? Who?
42:03 a sounds breaker. Turn around. Let's go after her and see.
42:11 [tires screeching]
42:13 [tires screeching]
42:18 [tires screeching]
42:21 [tires screeching]
42:24 [tires screeching]
42:27 [tires screeching]
42:30 [tires screeching]
42:33 [tires screeching]
42:37 [tires screeching]
42:41 [tires screeching]
42:45 [tires screeching]
42:49 [tires screeching]
42:53 [tires screeching]
42:58 [tires screeching]
43:01 [tires screeching]
43:05 [tires screeching]
43:09 [tires screeching]
43:13 [tires screeching]
43:17 [tires screeching]
43:21 [tires screeching]
43:26 [tires screeching]
43:29 [tires screeching]
43:33 [tires screeching]
43:37 [tires screeching]
43:41 [tires screeching]
43:45 [tires screeching]
43:49 [tires screeching]
43:54 [tires screeching]
43:57 [tires screeching]
44:01 [tires screeching]
44:05 [music]
44:23 Come in.
44:52 I've come a long way to find you, Mr. Lynch.
44:55 I appreciate that. I trust the directions were adequate.
44:58 Yes, the directions were adequate.
45:01 The girl is gone.
45:03 Gone?
45:04 Some time ago.
45:06 Mr. Lynch, you've made me a very great deal of trouble.
45:09 I don't know what got into you to take the girl, but I'm not very angry about that.
45:14 The girl is only a means to get my hands on a little money I need.
45:18 I have my money.
45:22 On the other hand, Mr. Lynch, you draw my name into the situation, and that becomes a difficult matter because it hurts my credit and threatens my freedom.
45:30 I have to get myself out of that situation. You understand.
45:35 I understand.
45:36 I regret having made the wrong decision about your character, Mr. Lynch.
45:40 You give the impression of a man who knows how to keep his mouth closed.
45:49 Your coffee must be ready.
45:52 I never really wanted much more than just to get the girl out of your reach.
45:58 I thought if I did that, you'd have to start over again with somebody new.
46:01 Somebody I wouldn't know about until it was all over.
46:04 You're a man who makes plans.
46:07 I'm a man who does the first thing that comes into his mind.
46:10 And everything I've done up until now has been wrong.
46:14 The more I tried to get out of this, the more I got in, deeper and deeper.
46:19 That's right. Planning is very important, Mr. Lynch.
46:25 Living is important, too.
46:27 Sugar?
46:28 Yes, please.
46:30 Move and I'll kill you! That's more reason than I need.
46:36 I didn't understand you. I didn't know why I was in this until you killed Eddie.
46:40 I tried to be a fence-sitter all my life, but there's no fence.
46:44 Sam!
46:53 You see? You see what this is all about?
47:00 I'm sorry.
47:02 I want to talk to Sam.
47:21 Don't you think you two have talked enough?
47:23 Alan.
47:25 Okay.
47:26 Kay, tell him whatever money buys, he's got it.
47:29 I don't think that would mean much.
47:32 I'm sorry. I'm truly sorry. I didn't understand you.
47:49 You're not the only one.
47:51 You know what I think?
47:53 Tell me what you think.
47:55 I think I'm glad all of this happened.
47:58 I don't mean to you. I mean to me.
48:01 You know what I think?
48:06 You're in the world now.
48:09 Aren't we going somewhere?
48:11 Let me know what you think of it.
48:16 [Music]
48:25 [Music]
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49:36 [Music]
49:46 [BLANK_AUDIO]