(film reel clicks) (soft instrumental music) (dramatic instrumental music) >> All right, hold it there, Joe.

What are you gonna do with it, Tom?

>> Junk it.

>> We could fix it up.

>> You heard me, scrap it.

>> Oh, now, ease up.

We could salvage a good piece of it and-- >> I don't want any part of it.

That heap killed Chick, I don't ever wanna see it again.

>> I know it's tough losing your kid brother, but you can't go on like this.

You've got to let down.

>> I will, as soon as I get out of town.

>> But what good's that going to do?

You got a good job here and a real future.

>> Yeah, sweating extra speed out of jalopies so thrill-hungry kids can get themselves cracked up.

>> You've got a partnership in the garage if you'll stay.

>> Thanks, Pat, you're a swell guy.

>> I'm practical.

The way you take those heaps and juice them up, why, we could take a lot of old has-been crates and make them into custom-built.

>> Thanks, Pat, but this is the way it's gotta be.

>> Pat: Well, you'll need some dough, wherever you land.

>> Well, I've got enough.

If I get stuck, I'll sell the car when I get to California.

>> Pat: I can see your mind's made up.

If you ever come back, I'll have a spot for you.

>> Thanks, Pat.

(busy instrumental music) Don't look so hot, do they?

>> Like a stack of hots on a cold griddle.

This your lot, Mister?

>> No, I'm waiting for the owner.

If he can find me a customer with a big enough bankroll, I'll sell this baby.

>> Well, I might be interested.

Is she as fast as she looks?

>> 120 fast enough for you?

>> You're talking my language.

>> Good, get in.

My name's Tom Durling.

>> Mine's Betty.

>> All right, Betty, hang on, and watch the speed cops go past.

(exciting instrumental music) (engine hums) Fast enough for you?

(Betty whistles) >> Like a short order cook.

>> Good, how about making a quick deal?

>> You got me, but my boyfriend has to give it the once-over first.

>> Boyfriend, huh?

When can I see him?

>> Tomorrow morning.

>> If that's the way it has to be.

>> It's for my birthday present.

I'm sure I can talk him into it.

>> Yeah, I'm sure you can.

Know where I can put up for the night?

>> Well, I'm at Miss Reynolds' boardinghouse.

Hash and Whistler's Mother at 3.50 a day.

>> Good enough.

(car rumbles) (trembling instrumental music) >> Oh, gosh, it's him.

>> Who, the boyfriend?

>> No, the kid that lives here.

He works in the bank.

He's got a crush on me.

Don't tell him about the car.

He's the jealous type.

>> Maybe you could get him to buy it for you.

>> He couldn't buy me a refill for a cup of joe.

Hello, Steve.

>> Hello, Betty.

>> Steve, I want you to meet Tom Durling, an old friend of mine from out of town.

This is Steve Reynolds.

>> Howdy.

>> How are you?

We had a date, Betty, remember?

>> Betty: Oh, I'll hurry and change.

Steve, Tom's staying overnight.

Will you help him get a room?

>> Sure.

>> Tom: Good night, Betty, and happy birthday.

>> It's her birthday?

I'll have to get her something.

She's only been here a week.

Quite a girl.

>> Yeah, quite a girl.

(soft instrumental music) Is your boyfriend the jealous type?

Maybe I'm gonna lose the sale because Steve took you to the show last night.

>> Oh, that kid?

I'm sorry he's late.

I can demonstrate the car for you if you have something else to do.

>> All I wanna do in this town is leave it.

>> Here they come.

>> Hello, dear.

>> Hello.

>> Sorry to keep you waiting.

>> I want you to meet Tom Durling.

This is Jack Conley I was telling you about.

>> Howdy.

>> Glad to know you, sonny.

>> And his brother Frank.

>> Tom: Hiya.

>> So this is it, huh?

>> This and what's under the hood.

I'd like to show you.

>> In just a few minutes, if you don't mind.

Got a little business in the bank.

Only take a minute.

Take a little ride then, huh?

>> Okay.

You better turn on the glamor.

Your boyfriend doesn't seem very interested in your birthday present.

>> Don't worry, he's got things on his mind.

>> This is only a 10-minute parking zone.

>> Betty: Oh, we're waiting for a friend in the bank.

>> Better make it snappy or you'll get a ticket.

>> Okay, I'll drive around the block.

>> Never mind that, stay here.

>> Hello, Betty, hello, Tom.

>> Tom: Hello, Steve.

>> I was just going out to lunch.

Maybe you'd like to join-- >> Betty: No, I can't, excuse me, I'm busy.

>> I better move before that cop gets back.

>> I said stay here.

>> Anything wrong?

If I can be of any help?

Hey, what's going on?

>> Keep that motor running.

Get ready to shove off.

>> Tom: Hey, what is this?

>> You heard me, you're taking orders.

(gun bangs) (exciting instrumental music) >> All right, come on, get going.

>> Cop: Halt!

(gun bangs) (guns bang) (bell rings) (siren wails) >> All right, keep going, step on it, move!

>> Hey, what is this?

>> You heard, you're taking orders.

(siren wails) (tires screech) (siren wails) (guns bang) Pour it on.

(engine hums) (exciting instrumental music) (siren wails) >> Okay, we lost him.

(exciting instrumental music) What's the idea of having another guy out there when I came out?

>> I tried to brush him.

Anyway, the information I pumped out of him helped plenty, didn't it?

>> Yeah, it helped.

>> How much did we get?

>> Oh, around 100 Gs.

Huh, Sonny's talkative, ain't he?

>> What do you expect me to say?

>> Aw, look, Mister, I've been a good boy.

May I have a couple of nickels.

>> I didn't have much choice, did I?

>> Yeah, you were in a kind of a spot.

>> And you're still in a spot.

Yeah, we all got a murder rap hanging on us if that copper croaks.

>> Shut up.

Down the road a piece to Walnut Grove.

That's where you'll drop us.

>> We're leaving you behind, Sonny.

You can take care of yourself.

>> Yeah, maybe I can.

>> Betty: Look out!

(exciting instrumental music) (intercom buzzes) >> Secretary: They're here with Tom Durling.

>> All right, send them in.

(knocking) Yeah?

Stay on your feet!

>> I'm kind of banged up.

>> Yeah?

Well, the bank guard is dead.

Looks like the cop might take off, too.

>> I didn't shoot them.

>> Oh?

Then what were you using this for?

To pick your teeth?

It's the gun that shot them both, and it's the gun we found on you.

>> It's not my gun.

I was framed into the stickup.

That girl was trying-- >> Are you gonna stick to that fairytale?

The big bad girl forced the good little boy to shoot two men.

>> I didn't shoot anybody.

Steve Reynolds saw the whole thing.

He happened along just then-- >> Oh, Reynolds just happened along then, and you just happened to be there at the same time.

What do you take us for?

I want the truth!

>> You've got it there in my statement.

>> From Chicago, huh?

What'd you come out here for?

>> It's all in there.

>> I was asking a question!

>> My brother was killed.

I don't wanna live there anymore.

>> Oh, sensitive type.

>> I ran outta dough.

I stopped in Santa Marta to sell my car.

>> And those two, Jack and Frank Conley, they come out here with you?

>> I never saw them before today at the bank.

>> And you thought they wanted to buy your car?

Nice car, too, a real nice car.

>> It's not hot, if that's what you mean.

Buying old cars and fixing them up is my racket.

>> Oh, so you've got a racket, huh?

>> It's my work, I'm good at it.

In there, you'll find the name of a man in Chicago, Pat Travers.

He'll tell you all about me.

>> Tell me what, that you worked there, that you went to church on Sunday?

You weren't in Chicago this morning.

You were right here, sticking up a bank!

And Reynolds gave you and your girlfriend all the information you needed.

>> Is that what he said?

>> He's not saying much.

He may not live, either.

>> Mr. Booth, believe me, Steve Reynolds had nothing to do with this.

Let me talk to him.

He'll set you straight on both of us.

>> He'll set you in the gas chamber, and that's where you're headed, Durling.

If you weren't in on this, why didn't you jump out of the car in front of the bank?

>> I couldn't, they had their guns on me!

Oh, what's the use?

You won't let me talk to him.

>> Sure, we will, we'll all talk to him.

If he comes to.

Call me when Reynolds is conscious.

Take Durling to the hospital and wait.

>> Okay, come on.

>> Yes, that's right.

I'm sorry, Miss Reynolds, that's about the whole story.

Oh, just a moment, here's Dr. Reeves.

He'd like to talk to you.

Doctor, it's Miss Reynolds, Steve Reynold's sister.

>> Dr. Reeves.

We can't wait, Miss Reynolds.

We're going to operate in a few minutes.

>> I'll leave right away.

I should be there in two hours.

Please, please, do everything you can for him.

Children-- >> Miss Reynolds, we just heard over the radio-- >> I know, about my brother.

I was just leaving for Santa Marta.

>> Miss Reynolds, before you go, inasmuch as your brother's mixed up in this thing, don't you think we should get a substitute teacher for the time being?

You know how the parents are.

>> Mr. Willoughby, you have my resignation.

Now, if you'll excuse me, I'll dismiss the class.

>> Mr. Willoughby: Of course, once your brother's cleared, Miss Reynolds, we want you back.

(door slams) >> We can't let sentiment interfere with our duty, can we?

>> Well?

>> He just came out of the operating room.

>> Come on.

What about him?

>> We've done all we could.

I give him just a few minutes.

You can go in now.

>> Go on.

All right, talk to him.

>> Reynolds.

Reynolds.

Remember me, Durling?

The fellow in the car with Betty.

They think I was in on the stickup.

Tell them what you saw.

They had their guns on me, tell them, Steve.

You saw them.

Steve, you've got to tell them.

I'm charged with murder!

>> Well, there's your alibi.

Come on, let's go.

(exciting instrumental music) >> I've been exposed to everything.

>> I think you're right.

(men chattering) Right.

What was that cop on when he came in?

>> I don't know.

Hi, fellas.

(exciting instrumental music) >> When did it happen?

>> Just a few minutes ago, upstairs.

(men chattering) Oh, sorry.

(men chattering) Pardon me.

>> Doctor: Close the door.

>> If only I could've talked to him or done something.

>> There's nothing more you could've done.

I'm sorry, Miss Reynolds.

>> In the third place, gentlemen, I hardly need warn you against the danger of causing any injury to the muscles, blood vessels, and nerves of the abdominal wall.

What do you want?

Can't you see we're operating?

>> There's a murderer in the building, Doctor.

>> There's nobody here but my students.

What do you mean, breaking in like this?

No gown, no mask!

Get out!

>> Cop: Reynolds' sister just showed up.

>> You stay here and check everybody who comes out of this room.

You bring the Reynolds girl to my office.

Did he ever mention Tom Durling to you?

>> No.

>> Anybody named Frank?

>> No!

>> This girl Betty, maybe he wrote you about her or where she came from.

>> Mr. Booth, supposing my brother was in front of the bank, he worked there.

>> Durling says he was framed, too.

>> You believe him?

>> Miss Reynolds, let's just say that your brother got in with the wrong guy or maybe fell for a pretty face.

It happens, you know?

>> When you find the others, you'll know he had nothing to do with it.

>> We'll find them all right.

Any ideas as to where we should look?

What about Durling?

>> Cop: Not yet, Chief.

Should we follow the girl?

>> Get Durling!

>> Doctor: Pretty interesting job.

>> Doctor: What did that guy mean, murder?

>> Doctor: Some guy said he got away.

Probably meant you.

(tense instrumental music) >> You're serious about surgery, aren't you?

You know, you can take off that mask now.

I'm sorry, but I have to lock up.

>> I'll be out in a few minutes.

(tense instrumental music) (exciting instrumental music) I don't wanna hurt you, be quiet.

All I want is five minutes to get outta here.

If I let you go, will you promise to be quiet?

(nurse screams) Sorry, but you asked for it, sister.

(fleshy thunk) (exciting instrumental music) >> The train's late.

>> Always late, sometimes later than other times.

It's always late, though.

>> Miss Reynolds, don't yell.

Just stand there and listen, please.

>> What do you want?

You're the man in the hospital.

Durling!

>> Wait, I need your help.

I'm just as innocent as your brother.

>> Can you prove that?

>> If I could get my hands on those guys who framed us, I could prove plenty.

>> Why should I believe you?

>> You have to.

You wanna clear your brother, don't you?

Yell out to them and you kill the last chance of clearing him.

(tense instrumental music) >> Cop: Pardon, Miss, we're looking for somebody.

Young fella, dark, about six foot, curly black hair.

Seen someone like that hanging around?

>> No, I haven't seen anyone.

>> Porter: Sorry, Mister, gotta take this away.

>> Cop: We kinda thought this guy might try to get on the train tonight.

Better watch yourself, Miss, he's a killer.

Come on, Dan, train's in.

(suspenseful instrumental music) >> Tom: Thanks.

Why'd you do it?

>> I don't know, for a minute I.

That's my train.

>> Wait.

I've been following you all day.

I watched you at the funeral this afternoon.

Do you want to clear your brother or don't you?

>> The police said-- >> Would I be here risking my neck talking to you if I weren't on the level?

>> Conductor: All aboard!

>> Well, what can you do?

>> By myself, nothing, I can't show my face, but with you, someone who can work out in the open, together we might be able to untangle this thing.

(train chugs) >> All right, what do we do?

>> First thing, we try to get this off.

(clanging) Working late tonight, huh?

>> Always work late, help's hard to get.

>> Kinda lonely out here.

>> I like it, nobody to pester me.

>> Got a radio?

>> I don't like radios.

Blah, blah, blah, a lot of nonsense.

>> You know, it's lucky for me you're here.

Silliest thing happened.

I guess I should be mad at the kid, but, after all, it was as much my fault as his.

I shouldn't have let him play with it.

I can't very well go downtown.

The guys would kid me for the rest of my life.

Letting my kid lock me up in my own handcuffs, I feel like an idiot.

>> Where's the key?

>> The kid lost it.

>> Well, I guess we can get you out of it without cutting your arm off.

You with the sheriff's office?

I don't recollect seeing you around before.

>> I'm a new man.

>> Oh, well, I think I may have a key over here.

>> Woman: Henry!

>> Nancy, you come in here.

>> Henry, Mr. Blake just phoned, wants you to come downtown right away.

>> Henry: I thought he would.

>> Nancy: He's short of men.

>> You're gonna take these off before you go, aren't you?

>> Henry: Sure, sure.

>> They've got the roads all blocked, looking for that bank robber, and they want you to help.

>> Up, young man.

>> Nancy: What are you doing, Henry?

>> That's him, the bank robber.

Now, hold this gun on him, Nancy.

That's it.

So you was playing with your kid was you, young man?

You ashamed of yourself, trying to fool an old man?

Hold it on him, Nancy.

Watch him.

All right, give me your wrist.

There you are, now give me the gun, Nancy.

There.

No go on out and phone the sheriff.

Tell him I'll be right down.

Say I've got a surprise for him.

>> Oh, land's sakes.

(phone whirs) Sheriff Blake, please.

Sheriff, Henry just caught that bank robber.

Yes!

In the blacksmith shop.

We're starting right away.

Henry, shall I get the car?

>> You must be tired, we better rest a while.

Well, that was a swell idea I had.

If it hadn't been for you.

I had to do something.

>> You must have cat blood in you, the way you crept up behind that blacksmith.

He never knew what hit him.

>> I hope he's all right.

>> Ah, don't worry.

You know what you did when you hit him, don't you?

You jumped into this thing with both feet.

>> I realize that.

You said you have some kind of plan.

>> That's right.

Now the first thing I want you to do is got to Mrs. Reynolds' boardinghouse and get everything your brother left behind there, and that girl Betty might've left something, too.

>> What am I supposed to find?

>> I don't know.

But at least it's a place to start.

You ready?

No dice.

We might as well have left this at the boardinghouse.

>> Try this suitcase of Betty's.

>> It's certainly been kicked around, no wonder she left it.

It's empty.

Those guys got away with 100,000 bucks and left us holding two moth-eaten bags.

>> We're not after the money.

>> With the spot I'm in, it would come in mighty handy.

>> Just a minute, if I thought that's what you wanted-- >> Forget it, we don't even know where they are or have any idea how to get started finding them.

You better take the train home in the morning.

>> What are you going to do?

>> Sit here, cut out paper dolls, and wait for them to find me.

Wait a minute.

>> What?

>> These are restaurant doilies, aren't they?

>> Yes.

>> She used them to patch the holes in the lining.

Why wouldn't she use newspapers, why doilies?

The checks, the way she talked.

When I asked her if the car was fast enough, she said "like a short order cook."

That's it, and "a cup of joe."

>> What does it mean?

>> Lingo, hash house talk.

And now these doilies.

The Riverford Inn.

The Glenn Grove Tea Room.

Bixel Cafe, Glendale.

>> You think she was a waitress and worked in these places?

>> Maybe, just maybe.

One of these spots is in Glendale, and the others are a couple hundred miles away.

We'll have to take the back roads.

If you get caught with me-- >> Oh, you wouldn't dare show your face.

I'll have to take that chance.

>> Thanks.

(truck rumbles) >> They never heard of them.

She must've just eaten there once, picked up the matches.

>> She said she came from someplace around here.

>> A waitress named Betty Forester, huh?

>> Yeah.

My wife and I were wondering what happened to her.

We met her on our honeymoon.

>> Not this place.

Never had any women working here.

Sorry.

>> Thanks, anyway.

>> Sure.

>> Well, let's go.

One more stop.

If that's not it.

>> It was Betty they was asking about, huh?

>> Yeah.

>> Extra, gangster trailed to Sacramento.

Extra, extra, read all about it, gangster trailed to Sacramento.

>> You better try this one alone.

>> You're the most persistent guy I ever saw.

>> Cop: You know what it says in the book, keep punching.

>> It also says something about patrolling your beat.

>> Dishes, dishes, still got another sink full.

All a body can do around the tea room without help.

Mr. Rosen, Mr. Wilson, I was wondering where you two have been keeping yourselves.

>> Hiya, Ma.

>> Hiya, Ma.

Hey, what's cooking?

>> Cooking?

Guess you smelled it a mile off.

>> Ah, thanks, say, some coffee would go good with these, Ma.

>> Are you still all alone here?

>> He was hoping his girlfriend might've come back.

>> Ain't seen hide nor hair of Betty since she left two weeks ago.

What can I do for you, dear?

>> I just got into town and thought maybe you could use some help.

>> Uh uh, I don't think so.

>> Well, what's the matter, Ma?

You know you could use some help.

>> I don't know, I've been getting along all right.

>> Ah, go on, you told me yourself your dish washing machine was busted.

Give the girl a job.

She looks like she'd be good, too.

>> Well, I... Oh, all right.

I pay 20 a week and meals, you sleep out.

>> That's all right.

>> You can start now.

I'll tell you, it's a full day of work.

>> Could you now spare a little time for the state?

(bell rings) >> And then she mentioned Betty to the police and I was sure it was the right place.

And, later in the afternoon, while washing dishes, I saw her sneak out a tray with three plates of food, but there was no one in the dining room.

>> Serving three people who weren't there.

Looks like the hideout, all right.

>> It has to be!

Now, the thing to do is to go to the police.

>> Nothing doing, what would that get us?

First thing they'll do is throw me in the clink, and I've had enough of clinks.

>> But when they get the real crooks, it-- >> Suppose they turn around and say that your brother and I went on the holdup and stick to that story?

Then where are we?

Back in the stoop with them for company.

>> What else?

>> I'll handle this my own way.

>> June: How, what are you going to do?

>> From now on, you're out of it.

>> But, you-- >> You're not going back there!

If anything should happen, your life wouldn't be worth two cents.

>> I still think we should call in the police.

>> Forget it.

We'll get you a place to sleep.

In the morning, I'm gonna pay a little visit to our pals.

(soft instrumental music) (knocking) (tense instrumental music) There's a cop in front of the filling station next door.

>> He didn't see you?

>> No.

I waited until he chased after a speeder.

>> Oh, no, I fixed up something for you in there.

>> Tom: What's this?

>> June: An ironing board.

>> An ironing board?

>> Well, it's better than a boxcar.

>> Yeah, I can go to sleep and get my pants pressed at the same time.

Thanks, June.

You know, I was just thinking, here we are in this fleabag, and what I could do for you with all that dough those guys got away with.

>> Will you stop thinking about that money?

All we're interested in is getting you and Steve cleared.

>> Okay, okay, I was just supposing.

Don't you ever suppose?

>> Of course, I do, but not about that.

I have been thinking about you being free, and a lot of other things.

Tom, about the police, don't you... Tom, you took the blacksmith's gun.

Why didn't you tell me, why did you hide it?

>> Why shouldn't I carry a gun?

I might need it.

Those men we're looking for aren't packing water pistols.

>> What if you get caught and the police find a gun on you?

>> Tom: What's the difference?

I'm wanted for murder, anyway.

>> Tom, I want to believe in you, I want to trust you, but, right now, I don't know what to believe.

>> Because I've got this gun?

>> That, other things, not wanting to go to the police, worrying about the money.

Do you blame me?

Tom, if you find them, you will turn them in?

You won't do anything else?

>> How can I convince you?

Here, will this help?

>> A lot.

>> No more doubting?

>> No more doubting.

>> You'd better get some sleep.

Good night.

(somber instrumental music) >> Tom?

Tom?

(somber instrumental music) >> Get 'em up.

Hold it.

On the table.

>> Durling!

>> Get over there with them.

>> How'd he get by Ma?

>> So she's your Ma.

It's a nice, big, crooked family.

>> No, look here, Durling, whatever you want, that rod won't get it.

>> Maybe not, maybe all it'll get me is a nice, sweet feeling of putting a bullet in each of you, for the way you made me sweat.

>> You wouldn't do that.

>> Tom: Oh, wouldn't I?

I've been dreaming about it, ever since I started looking for you.

>> Give us a break, will you?

>> Tom: Like you gave me?

>> You got away, didn't you?

>> Sure, for how long?

If I get caught, I burn.

For what?

For you guys to enjoy the 100 grand?

>> If it's a cut you want, put down that gat and we'll talk about it.

>> I don't want a cut, I want it all.

Where is it?

>> We haven't got it.

>> I'm itching to use this.

>> Honest, it isn't here.

>> We haven't got it, so it won't do you any good to pop us.

>> You expect me to believe that?

If I get away, I'll have something to enjoy, and if I fry, I'll have something to fry for.

>> I tell you, we haven't got it.

Another guy planned this job, and he's got it.

We're waiting for him to fix our getaway.

>> Tom: Do I get the dough now or do I let you have it?

>> Ma: Don't you move, put your hands up.

Put 'em up!

>> Good one, Ma.

(exciting instrumental music) (grunting) Ma, fix the lights!

(exciting instrumental music) (fleshy smacks) (grunting) (exciting instrumental music) Break in here and try to grab the dough, will you?

>> All right, Jack, that's enough.

>> Jack: Yeah, that's enough of that.

>> Stop it, there's been enough killing already.

>> Listen, Ma, this-- >> Stop it, there'll be no more killing.

>> I'd like to know what else we can do with him.

>> Ma: Frank, find out how he got here.

>> Yeah, maybe he ain't told us everything.

Hey, sonny, you wanna do a little more talking?

Come on, get up!

Come on, sit down.

How'd you find us?

>> Tom: Through her.

>> He's nuts, I never told him anything.

>> How'd you know where we were?

>> Some restaurant doilies she left in an old suitcase, had the name of the place on it.

>> That was smart.

>> Tom: It's lucky I found the doilies before the cops had a chance to search your things.

>> Maybe the cops let him come here purposefully and they're trailing him.

>> You think I'd come here alone if I had the cops with me?

>> Sure, sonny figured he'd bluff us out of the dough and scram.

Not bad figuring.

>> All right, Ma, you don't want us to bump him.

What do we do with him?

>> Now, wait a minute, I did come here for the dough.

I'm hot.

After all, I was taking your rap.

You would've done the same.

>> So what?

>> The spot I'm in, I can't hurt you.

I'm worse off with the cops than you are.

Let me hang around til you pull out.

Or, if you like, give me a small cut.

Or take me with you.

I'm good with a car, you know that.

-_ Might not be a bad idea.

>> I don't want him around here.

>> Like he says, he can't hurt us none.

Maybe we could use him.

Joe says that he-- >> Enough about Joe.

>> Okay, it's only for a couple of days.

Yeah, we'll let him hang around.

And, if he don't behave, we can always take the screws out of him.

>> That, I'll enjoy.

>> Okay for now, Ma?

>> Nice.

I'll get him some coffee.

>> I'm awfully sorry I'm late.

I missed the eight o'clock bus.

>> Business has been very slow this morning.

>> I'll be glad to stay later tonight, if you like.

>> Ma: That's all right.

>> What do you want me to do first?

>> Get the dining room set up for lunch.

>> Jack: Ever fiddle around with airplanes, sonny?

>> Yeah, I'm good at any kind of engine, why?

>> It might come in handy some time.

That's a swell pie you made for lunch, Ma.

>> Glad you liked it, son.

That new girl's really a worker.

Certainly helps a body out.

>> Oh, that crack was aimed at me.

>> Only if the shoe fits, dear.

>> Jack, tell your old lady to lay off.

I'm getting fed up.

>> Come on, Ma, you weren't so touchy when you were slinging hash here.

>> All right, cut it out, the both of you.

Hey, you, help Ma carry that upstairs.

>> Sure.

>> I thought you were afraid that he might-- >> You know, there's something awful funny about that new dame coming here before him.

Maybe there's nothing to it.

Then again, maybe there is.

>> Very smart.

>> Ma: Put them in the sink.

>> Oh.

>> Ma: This is Tom, a friend of ours.

>> Hello, sister.

>> Hello.

>> Ma's putting me up for a couple of days.

(doorbell rings) >> Ma: Go on with the dishes.

I'll get to that.

>> Well, I thought-- >> Anything I can do to help, sister?

>> June: Yes, stop calling me sister!

>> Ma sure knows how to pick her help.

>> It's okay, relax.

>> Thought I told you to stay away from here.

>> You took the gun, I was afraid.

Did they hurt you very much?

>> Just got the first installment.

How did you know?

>> I followed you here.

>> You put out the light.

>> We're together in this.

Please, don't leave me behind again.

You might-- >> Might what?

>> Get killed or kill them, and, even if you did get the money, you would never be free.

>> I'm not free now.

>> Yes, but there's still a chance.

>> You're certainly in this with both feet, sister.

>> Ma: Oh, June!

>> Cop: Hey, you sure do things with that apron.

>> Here we go again.

Take my advice, Miss, and go back to the kitchen.

This guy's the wolf of Highway 106.

>> Take my advice and don't take his advice.

Let's eat in there.

>> Hey, I thought we were gonna eat in the car.

>> We were.

Bring the coffee, toots.

Any table will do.

Let me see, number 16.

>> Cop: That one again?

Give 14 a whirl.

>> Stop kibitzing, will you?

16's my favorite.

Hey, I'll bet you're pretty sharp on the dance floor.

>> No, I'm not really.

>> Ah, that's what I like, the modest type.

>> He likes anything, as long as it wears skirts.

>> I'll get you some sugar.

>> Oh, why does everybody pick that piece?

>> Why don't you take it easy, Frank?

>> Come on, Jack, let's dance.

>> Go away, will ya?

I gotta get this barrel straight.

>> Too bad that gun can't cook.

>> That makes you both even.

Hey, that's pretty good, did you get it?

Gun can't cook, she can't.

>> I'm hysterical.

>> I'll dance with you.

>> You'll do what?

>> Tom: I'll sit this one out.

(swinging jazz music) >> Ma: Get it fixed?

>> I won't know til I plug it in.

There you are.

Fill it up and try it out.

>> My land, in the two days you've been here, you've got everything working.

>> Yeah, everything except Betty.

>> You can't be that busy.

Look, I've got the whole evening off and nothing to do with it.

>> Cop, beat it.

>> June: Sorry, I'm busy tonight.

>> Frank: Why don't we get outta here?

I'm getting sick of this joint.

>> Jack: So am I. Joe asked us to lay low.

>> How long does he expect us to wait?

Where is he going with all that dough?

>> Betty: Yeah, how about that?

>> Jack: All right, Betty, you beat up to Joe's tonight and find out what's holding him up.

>> Betty: When do you want me to go?

>> Jack: Leave here about nine thirty, quarter to ten.

>> What about sonny?

>> When we leave here, we'll take him with us, bump him on the way.

>> God, that music will drive me nuts!

>> It's that state cop that used to hang around Betty.

>> Frank: Cops hanging around jukeboxes, people coming and going.

We ought never to have come here.

Any minute, somebody's gonna get wise.

>> Calm down, will you?

Joe said this is the best kind of a front we could have.

>> Yeah?

>> Wider open it seems, the less liable they are to figure it's a hideout.

>> Well, I wish we were outta here.

I don't feel good with cops around.

(soft instrumental music) >> Here's a list of things to get.

Have you got everything straight?

>> Yes.

>> Remember, everything has to go like clockwork.

How about the cop?

Can you get a date with him?

>> I wish everything were that easy.

>> Bring him here at 11.

I'll start my act at 10:30 sharp.

The lights go off right after 10.

Now, dump this in the gas tank of Betty's car.

It should let her get well into the country before it clogs it up.

>> Tom, how will you know I have everything?

>> Just put the things back of the jukebox.

If the lights go off on schedule, I'll know everything's okay.

It was your gag with the fuse that gave me the idea in the first place.

June.

(romantic instrumental music) Get along with you.

(tense instrumental music) >> Jack: What's the matter with the lights in this joint?

(tense instrumental music) >> Tom: Shorts suddenly around here, doesn't it?

Guess another fuse blew.

(tense instrumental music) >> Will one of you come up and fix the lights?

They're out all over the house.

>> Jack: Let this guy do it.

He's the handyman around here.

Come on, get going.

>> Tom: Sure.

(tense instrumental music) Let's see now.

That one's all right.

>> Jack: Come on, come on, hurry it up.

>> Tom: Oh, here's a bad one.

Here's another one.

Probably a short in the wiring.

If we don't fix it, it's liable to keep blowing out.

>> Jack: Well, fix it.

>> Tom: Let's try in there.

(soft instrumental music) It might be in that jukebox.

See if you can find the wiring, Diogenes.

>> Jack: What did you call me?

>> Tom: Diogenes.

He was a philosopher, went around with a lamp.

>> Jack: What for?

>> Tom: He was looking for an honest man.

>> Jack: What for?

>> Tom: You got me.

Yeah, here it is.

>> Jack: How long is it gonna take you to fix it?

>> Tom: I don't know.

10 minutes, maybe half an hour.

>> You don't need me?

>> No.

(tense instrumental music) Here's your flashlight.

This place needs some fresh air.

I'll bet this window hasn't been opened since the house was built.

>> Jack: Leave it the way it is.

>> Tom: It's hot in here.

>> Jack: I like it hot.

>> I don't.

I need some air.

>> Look, I've had about as much of you as I can stand.

>> Yeah?

How do you think I feel about you?

>> Frank: Jack, take it easy.

>> I think you better listen to me.

>> I'm sick of listening to you.

Nobody asked you to bustle in here.

>> You don't think I'd bust in here with just one trick in my hand, do you?

>> What do you mean?

>> I got friends in town.

They know where I am.

They've also got Betty right now-- >> Why you!

>> Hold it.

>> And if anything happens to me.

>> How do we know he ain't bluffing again?

>> Betty should be where she was going by now, shouldn't she?

Why don't you check?

>> Riverford, 920.

>> What is this, another scheme to get the dough?

>> No.

>> What's the big idea?

>> Tom: I want you to sign a statement that I had nothing to do with that bank holdup, neither me nor Steve Reynolds.

>> You're screwy!

>> Jack: There's no answer.

What have you done with her?

>> He wants us to give a confession on that bank job.

>> Either you start writing or they take care of Betty.

Well?

>> What do you want me to write?

>> Just tell the truth about the holdup.

(knocking) >> June: Oh, we're closed for the night.

>> I'm looking for Ma.

>> Just a minute, I'll get her.

>> Hey, say, don't I know you?

>> I don't think so.

I'll get Ma.

>> Now wait a minute.

>> What's all this, oh, hello, Joe.

>> Joe: Who's this?

>> June, my new waitress.

>> How long's she been here?

>> Couple of days.

>> Joe: Couple of days, huh?

You were in my place with some guy, looking for Betty.

>> That couldn't be, she doesn't even know Betty.

She just came here looking for a job.

>> Joe: Yeah?

We'll see.

(tense instrumental music) >> What's the matter, Joe?

>> Is this dame trying to... Sure, that's the guy.

>> What guy?

>> Joe: What's this dame and her husband pulling on you?

>> Husband?

>> He says they came to his place, looking for Betty.

>> Said they used to know her.

>> Well, what do you got to say now, sonny?

(fleshy smack) So she's your wife, huh?

>> Where is Betty, what have you done with her?

You're gonna tell us.

(fleshy smack) >> Oh, no.

This oughta be easy.

You tell us what he did with her.

Oh, it's gotta be like that, huh?

You better spill it, sister, or I-- >> She had nothing to do with it.

>> All right, you talk then.

>> Betty's probably on her way to his place now.

I doped up her gas so she'd stall before she got there.

>> There's nobody else in on this with you?

>> No.

>> Let's go back to your place and see.

>> Yeah, that's a good idea.

>> Wait a minute.

What are we gonna do with them?

>> We're about through here.

I'd just as soon-- >> Not yet.

We'll take them with us, come on.

>> They can give us the runaround, then we can do it.

>> Where are you taking us?

(fleshy thunk) (soft instrumental music) >> Come on, get going.

(car rumbles) >> She oughta be along here someplace.

>> That's her car.

(tense instrumental music) >> We'll keep going.

May see her down the road.

(car rumbles) (tense instrumental music) >> The one night I get a date with her, I have to be late.

>> Looks like they're closed, I'll wait for you.

(doorbell buzzes) (soft instrumental music) >> Well, I guess she got tired of waiting.

>> Well, pal, you're batting an even zero.

Hey, who's that?

>> Cop: Betty!

Betty, how have you been?

>> Hello, Al.

>> Hiya, Betty.

Hey, you look like you've been hiking clear from New York.

>> Yeah, I missed a connection.

>> Oh, you must be dead.

Let's go inside, we'll cut up a few touches.

Baby, are you a sight for sore eyes.

Where you been keeping yourself, anyway?

>> I must look awful.

Let me fix up a bit, and I'll tell you all about it.

>> Okay.

>> Better look out she don't slip out the backdoor on you.

>> I'll be right back.

>> So I'm batting zero, huh?

(chuckles) Hey, give me a nickel.

>> Al, not number 16 again.

It's driving me batty.

>> Oh yeah?

Come on.

Ah, you got no ear for music.

Come on, gimme.

>> Nope, only if you promise to play another one.

>> You'll hear it and like it.

>> I may hear it, but I won't like it.

>> It's my favorite.

>> Look, I'll see you in the morning.

>> Tom Voiceover: I want some fresh air.

>> Jack Voiceover: Look, I've had about as much of you as I can-- >> Yeah?

How do you think I feel about you?

>> Frank Voiceover: Jack, take it easy.

>> Tom Voiceover: I think you better listen to me.

>> Jack Voiceover: I'm sick of listening to you.

Nobody asked you to bustle in here.

>> Tom Voiceover: You don't think I'd bust in here with just one trick in my hand, do you?

>> Jack Voiceover: What do you mean?

>> Tom Voiceover: I got friends in town.

They know where I am.

They've also got Betty right now.

>> Why you-- >> Hold it.

>> Tom Voiceover: And if anything happens to me.

>> Riverford doesn't answer.

>> Hardly had time to get there.

>> We've gotta get rid of those cops.

Go and tell them I've got a headache.

>> You got yourself into this.

>> All right, I'll do it myself.

Here, hold this.

Of all the times to run into them.

>> Why'd you have to come back here?

Why didn't you keep on going?

>> The only ride I could get was this way.

As it was, I had to walk far enough.

>> If you weren't so lazy.

>> Oh, dry up.

I've gotta think of something to tell these cops.

You keep trying the phone.

Now, do I look a little better?

>> June better look as good when we find her.

>> Where have they taken them?

Where is this Joe's place?

>> What's come over you two?

>> Come on, Betty, you better spill it.

Come on!

(tense instrumental music) >> Jack: All right, come on, get out.

Well, she isn't here.

>> Maybe Betty went back to Ma's.

Better phone.

>> Jack: She better be there.

Come on, get inside.

(phone rings) >> Uh uh.

(phone rings) All right, operator, did you trace that call?

Right.

The Riverford Inn, the Ridge Room.

>> Let's go.

(tense instrumental music) >> Once more, what'd you do with her?

>> I told you.

(thudding) >> Come on, tell me, what'd you do with her?

(fleshy thunk) Maybe you wanna talk.

>> He's telling you the truth!

He doesn't know where she is!

>> Look out!

(clattering) >> Tom: Come on, hon!

(exciting instrumental music) (gun bangs) >> He went in here.

(exciting instrumental music) Go on, blast it.

(gun bangs) (exciting instrumental music) (gun bangs) (exciting instrumental music) (gun bangs) (exciting instrumental music) (guns bang) (exciting instrumental music) >> Tom: This is for you, sonny.

(exciting instrumental music) >> You're Durling.

>> Yeah.

>> Cop: Sorry, I'll have to take you in.

>> I know.

Can I give you a hand?

>> Thanks.

>> Hey, tonight's my night off.

What'll you be doing?

>> I'm afraid I'll be busy, Al.

>> Tom: Tonight and every night.

(romantic instrumental music)