All language subtitles for The Fugitive - 1X04 - Never Wave Goodbye Part 1

( horn blaring )

NARRATOR:
Name: Richard Kimble.

Profession:
doctor of medicine.

Destination:
death row, state prison.

Richard Kimble
has been tried and convicted

for the murder of his wife.

But laws are made by men,
carried out by men.

And men are imperfect.

Richard Kimble is innocent.

Proved guilty, what
Richard Kimble could not prove,

was that moments before
discovering his wife's body,

he encountered a man running
from the vicinity of his home.

A man with one arm.

A man who has
not yet been found.

Richard Kimble ponders
his fate

as he looks at the world
for the last time...

and sees only darkness.

But in that darkness
fate moves its huge hand.

( horn blares )

( suspenseful theme playing )

( croaking )

ANNOUNCER:
The Fugitive.

( dramatic theme playing )

A QM production.

Starring David Janssen
as the fugitive.

With guest stars,
Susan Oliver...

Robert Duvall...

Lee Philips...

Will Kuluva.

Also starring Barry Morse
as Lieutenant Gerard.

Tonight's episode,

"Never Wave Goodbye,
Part I."

( mellow theme playing )

No, no, honey,
nothing's come up.

Have him roll
the sleeping bags.

I-- I'll be
home by 6.

Yeah.

Bye.

Great excitement.

I'm taking Flip camping
this weekend. At last.

Good. Uh, Phil,
what is this?

Uh...

"Philip 'Clem' Palmers,

"six months L.A. County Jail,
assault and battery.

"Verify
the 3rd of April, 1960.

"Want and hold.
Los Angeles County Sheriff."

Oh, that's, uh, an old want
I sent out, captain.

On what case?

Well, the, uh--
The Kimble case.

Oh.

I see.

I see.

The good doctor claimed
there was a one-armed man.

I'm proving there wasn't.

I've got
a general bulletin out.

I ought to get a kickback
on any one-armed man

any department,
anywhere,

arrested for a crime
against a woman.

So you got
a kickback.

What do you do
about the suspect?

Interrogate him.

In Los Angeles?

Even if it were
in Nome, Alaska.

Phil, Kimble should've been
executed a year ago.

Yeah, if I hadn't
let him escape.

Nobody blames you
for a train wreck.

Phil,

I wish you'd close
this case.

The judge and jury
closed the case.

I just want Kimble.

Why do you think it'll be
you who finds him?

Because I know
the man.

I know how he lives.

Pittsburgh,
five weeks.

Pittsburgh Homicide
misses him by ten days.

For over a month,

a clerk in a Minneapolis
post office wonders

where he's seen
his garbage man before.

The day Kimble leaves town,
the clerk remembers.

He's been looking
at him on the wall

of the post office
every morning.

But, captain,
he can dye his hair,

but he can't change
his character.

Kimble is a self-respecting
citizen here, all his life.

He's not a vagrant.

Put yourself in his place.

You move into a town.

You sell papers, or clean fish,
or collect garbage,

any job where you don't
have to have identification.

But after four, five,
six weeks, what happens?

The guy at the next counter
starts noticing

that you think
a little faster than he does,

you maybe
use bigger words.

So he starts
asking questions.

So you move on,

and on,
and on, and on,

but sooner or later,
you don't move quite so quickly.

Because you're tired of moving.
You're tired of running.

And sooner or later,

you find a place
where you think you're safe.

And you stay.

And that, captain,
is the beginning of the end.

I hope so, Phil.

Sometimes I wonder if you
ever decided he was guilty.

Captain,
you don't understand.

The law decided he was guilty,
I don't have to.

And you don't have
to interrogate one-armed men.

You don't have to go
to Los Angeles.

Or maybe you do.

Mary.

MARY:
Yes, sir.

Get the lieutenant
a roundtrip ticket

to Los Angeles.

( mellow theme playing )

NARRATOR:
Santa Barbara, California.

Two hours up the coast
from Los Angeles.

A harbor town, a fishing town,
an early mission town.

To Richard Kimble,

temporarily using
the name Jeff Cooper,

it has been a sanctuary.

But a fugitive knows
that a sanctuary

becomes a trap
if he stays too long.

All right,
move on if you want to.

I don't see why.

I have to go do
the books.

( Norwegian accent ):
He troubles you, Jeff?

Tommy Edwards
troubles you?

He doesn't trouble me,
uh, Lars.

Jeff,

why must you go
this time?

I just have to,
that's all.

It is Karen,
isn't it?

You are afraid she's
falling in love with you. Why?

You do not have
a wife anywhere, Jeff?

I have no wife.

Then you are only afraid
to grow roots?

( chuckles )

You-- You know
the fig tree in town?

It comes
a hundred years ago

across the sea
from Australia, I hear.

So it--
It has traveled too.

And now it--
It has roots and it grows.

So big it is
the biggest in the world.

Is it so unhappy?

To stay would not be so bad,
Jeff.

No, it wouldn't be so bad.
But I can't.

I think she's already in love
with you, Jeff.

She should not have
to wave goodbye

to someone
she loves again.

What does that mean,
Lars?

( tender theme playing )

Once she stood
in a hospital corridor

and waved goodbye
to her mother,

and Karen was crying

because she was
only 10 years old.

And for days her father--

I-I hate to say this
because he is my brother,

but he's a weak,
weak, weak man.

He was like
a-a-a simpleton.

And one morning,
she waved goodbye to him.

And now there are
two letters in 12 years.

She should not have
to wave goodbye again.

She didn't tell me that.

It makes it harder.

( groans )

There is the doctor
to see if I will

maybe live through
the rest of the day.

That's the man
Karen should marry.

Maybe.

Is the sail ready?

Just about.

To go is a mistake,
Jeff.

I don't want to go,
Lars.

I don't want
to go at all.

Then maybe
you will stay.

Maybe you will stay.

( mellow theme playing )

Anyway, uh...

in our own
Santa Barbara way,

it was kind
of a nice luau.

But I missed you,
Karen.

I'm sorry, Ray.

I'd like it to be
like it was,

but it's not.

If I eased up
on my work a little,

if I saw more of you,
could it be like it was?

I don't know.

I haven't known since...

Jeff Cooper.

Anyway, you can't ease up,
and you shouldn't.

Tsk, oh, poor me.

You're trying to doctor
the whole Mexican population,

and Jeff
is just a rolling stone.

I wish he'd keep
on rolling.

Or, uh, maybe it's
too late for that.

( mellow theme playing )

Did you let Jeff
wheel you back from lunch?

Most of the way.

From now on,
let him wheel you all the way.

Why?

Because you're the only
sailmaker in town.

( sighs )

Is my jib ready?

They're finishing it.

It is too hard work
to sign my name, doctor?

What did you mean
by that?

A little joke.

I talked to Jeff.

Will he stay?

I don't know.

Bu--
But he can't leave now.

We have all
those summer orders.

Yeah, Karen.

The summer orders.

Thank you,
Uncle Lars.

Keep trying.

Hey, Jeff, uh...

don't let Lars
wheel himself around.

You push him,
okay?

Okay.
Eric?

( Norwegian accent ):
Yes, doctor,
I will watch him too.

Say, where'd you learn
to tie a knot like that?

I don't know,
I just always have.

Did you ever study
medicine?

Would I be learning
how to make sails

if I'd studied medicine,
doctor?

You would have
made a good surgeon.

( suspenseful theme playing )

Eric, please don't look
at me like that.

I'm sorry.

Well, just don't.

Lars says
he's a natural.

We'll bring it out
to your boat tomorrow.

Around 10, okay?

Fine.

See you then.
All right.

( mellow theme playing )

It's not your last one,
is it, Jeff?

I'm afraid so.

Stay a few more weeks.

Until the regatta's
over anyway.

For the summer orders.

All right.

A few more weeks.

Good.

( ominous theme playing )

( somber theme playing )

NARRATOR:
When a man of the law
becomes a hunter,

there is no peace
in his heart.

There is no peace
in his home.

Oh, Phil,
you can't do this to Flip.

Not again.

He's been rolling
sleeping bags,

packing knapsacks,
practicing fly-casting all day.

I'm sorry, Ann.
I have to go.

It's my job to go.

Oh, Phil.
The Kimble case is closed.

You've made it
more than your job.

You know it,
don't you?

Where is Flip?

In his room.
Probably packing again.

Flip.

Yes, sir?

Um...

We can't go camping.

Not tomorrow.

Why?

Well, because, uh...

I have to go
to Los Angeles.

Why?

Um...

well,
because a long time ago,

a man broke the law,

and, uh...

well, the law is something
like this fishing line.

If it's broken
or tangled,

the whole set-up's
no good.

Rod, reel, flies.

And, uh...

if somebody tangles it,
well,

somebody else has
to untangle it.

Otherwise nothing
works at all.

Okay?

I don't care
if it worked.

I...just wanted
to go fishing.

Yeah, well,
we will, Flip.

( sighs )

One of these days
we will.

( mellow theme playing )

WOMAN ( over radio ):
This is KOA marine operator.

I have an emergency call
for Dr. Brooks

aboard the yacht
Tranquilizer.

Come in, please.

KAREN:
Hi, Ray.

Okay, Juan, I'll, uh,
meet you at the hospital.

It's freshening up,
Ray.

We could sail
around Anacapa.

Well,
I wish you would.

Shake the jib down
before the race.

But, uh, me,
I'm gonna have a baby.

Oh, Ray, no.

Yeah, see you later.

What happened to Ray?

He had to go
to the hospital.

He wants us
to try out the new jib.

I'll call Lars
and tell him we're going.

Thanks, operator.

Lars?

Eric.

Karen?

( tense theme playing )

You're going sailing
with Jeff?

Alone?

Where is Ray?

( sighs )

I'll tell him, but I don't
think you should go.

Karen is going sailing
with Jeff in Ray's boat.

Good.

Lay out the reach.
Okay?

Alone?
That is not right.

They sail
the dinghy alone.

I do not think
she should sail

in a cabin sloop
with him alone.

Why not?

Why not, Eric?

Because what do we
know about him?

He is honest.
He works hard.

What else is there?

But do you know what?

What?

Today the doctor said
he tied knots like a surgeon.

What do you think
of that?

He has clever fingers.
Good.

Well, I think he is hiding
from somebody.

Who?

A wife, maybe.

Nope.

Bill collectors.

Or maybe, uh...

Maybe what?

Maybe the police.

( suspenseful theme playing )

You say this...

but you don't know.

This is awful.

An-- And from you, Eric.

And once you were
a fugitive yourself,

weren't you?

I was
a 12 year old child.

Ja.

A 12 year old child,

that your mama and daddy
had to send away from Oslo,

before the underground taught
you what it is to report

your own people
to the Gestapo.

I was a child.

Ja, Eric,
and I am sorry.

But suppose I had not
taken you then?

Suppose that.

So I think if he runs
from something,

it is not his fault.

So you will not make
him trouble.

I will do
what you say.

I was thinking
only of her.

( sighs )

Ja.

Yes, I see how she looks
at this man.

How?

You should've heard
her voice on the phone.

With him she feels something
she cannot help.

And you let her go out
in the channel with him alone.

Now,
what can you expect?

What do you think
will happen?

( tense theme playing )

What do you think
will happen?

She will...

She will...

She will what?

What is this dirty filth
from you?

( tense theme playing )

Mustn't make her...
wave goodbye again.

( cheerful theme playing )

Careful, commodore.
Don't fall in.

Look, over there.

Hey, it's awfully nice
topside today.

I wonder what happened
to the lads in the fo'c's'le.

I heard 'em singing
their chanties a while back.

You don't suppose they
fell in the drink, do you?

Heh, you nut.

( chuckles )

Trim the jib.

Okay.

You're a good sailor,
Jeff.

Let's enter
the dinghy race on Sunday.

We'll beat everybody,
okay?

Okay.

* A sailor's wife
His star shall be *

* See where she stands and waves
Her hand upon the quay *

* And every day while I'm away
She'll watch for me... *

( dramatic theme playing )

I'm sorry, eh...

Lars told me.

Sometimes, Karen, you h--
You have to wave goodbye.

You will
in a couple of weeks.

All right,
let's head back.

It's such
a pretty town, Jeff.

Please don't go.

I love you, Jeff.

I can't stay, Karen.

I can't fall in love.

WOMAN ( over radio ):
The yacht Tranquilizer.

Yacht Tranquilizer
from marine operator.

KOA marine operator calling
the yacht Tranquilizer.

Lars had a heart attack.

Oh.

( dramatic theme playing )

( mellow theme playing )

( sighs )

Just his niece
for the present, please.

What happened,
Eric?

You ask
what happened.

I-it's your fault
as much as mine.

What?

Yes.

Sure, I should not
argue with him.

But why should you
sail with Karen?

Why should you take
advantage of this old man?

Who are you?

I think you are running
from somebody...

Jeff Cooper.

I think maybe
I can find out.

I know
I can find out.

So start running again.

Because if he dies,
you'll be very sorry.

I'm...going to leave
in a couple of weeks.

( door opens )

( footsteps approaching )

RAY:
Eric.

Why not leave now,
okay?

As soon
as I see Lars.

Are you leaving?

Yeah. Why not?

Big country.
Lot of opportunity, doctor.

Uh, here there's
a rider wanted,

"share expenses
to New York."

The artichoke crops
are very heavy

in the Salinas Valley.

The Oregon apple harvest
is very good.

It's a big country.

Why rot in one spot?

Well, I'll have to admit
I won't be sorry to see you go.

But I want you to know,
Jeff, that...

I like you.

Thanks, Ray.

There's, uh,
just one thing, though.

What's that?

I think you're
out of your mind.

( suspenseful theme playing )

"One-armed man...

"Assault...

"Assault on a woman.

"The L.A. County Jail."

Jeff.

He'd like to see you.

Now, Eric,
remember what I say.

Yes, Lars.

( door opens )

Don't leave her,
Jeff.

I'm going to try
to stay, Lars.

There's a man I have
to see in the morning...

in Los Angeles.

If he's
the right man...

Ja?

If he's the right man,
I'll be back.

And she'll never have
to be alone again.

( tragic theme playing )

Oh, no.

( sobbing )

I hope you did not mean
that you'll stay.

( tense theme playing )

I meant it, Eric.

I'm gonna try to stay.

STEWARDESS:
Ladies and gentlemen,
we are approaching

Los Angeles
International Airport

in the City of the Angels.

Temperature on the ground
is 68 degrees.

We of the crew would
like to thank you

for flying with us,

and we hope you've
had a pleasant trip.

City of the Angels.

Seven million angels.

Tsk, all shootin'
for the big jackpot.

Hm.

One hundred more drive out
here every day.

Every day.

More people,
more cars, more smog.

Me? I travel.

I tell everybody,
sounds good, City of the Angels,

but you go out there,

and you might not find
what you're after.

( tense theme playing )

I'll find
what I'm after.

Somewhere.

( somber theme playing )

You are going.

I have to see somebody
in the L.A. County Jail.

County jail?

If he's the right man,
I'll be back.

And if he's not,
I'll have to move on.

That's all
that I can tell you.

That's all
that you can tell me?

That's all.

You taking the bus?

Yeah.

Can I drive you
to the station?

No, stay here,
Karen.

Please.

Okay, come on.

( sniffles )

Jeff.

What?

When you get
to that door...

I know.

( dramatic theme playing )

NARRATOR:
The Hall of Justice,
Los Angeles County.

Courtrooms,
Sheriff's headquarters,

detective bureau.

And the county jail.

Even on a Saturday
it swarms with deputies.

But on Saturdays
come the families

of the prisoners too.

Richard Kimble has learned
to be a face in the crowd.

( dramatic theme playing )

Anything in his trial,
lieutenant?

No, nothing.

He's just
a one-armed man

who likes to beat up women,
that's all.

I'd like to look
at his rap sheet

before I talk to him.

Well, see the watch commander,
third floor.

All right.
Thanks.

( tense theme playing )

( indistinct chatter )

Thirteenth floor.
Visitor's screener room.

Over there.

Clem Palmer.

A relative?

Uh, he--
He's an old army buddy.

If he's the right fella.
Huh.

Uh, get Clem Palmer
out of 10A2.

Okay.

Right over there.

Well, he wasn't
in jail in 1960.

I guess we'd better
have our talk.

All right,
lieutenant.

You want to go up to the
attorney's visiting room?

It's
on the tenth floor.

Give this note
to the sergeant.

Thanks.

Okay, Palmer.

Who's for Palmer?

Who's for Palmer?

Me.

I've never seen you.
What do you want?

I thought I knew you
from the Army.

When in the Army?

Nineteen sixty.

Nineteen sixty, huh?

Yeah.

Don't give me that.
You're heat.

You're some kind
of bull.

Why ain't we down
in the attorney's visiting room,

if you're
some kind of bull?

I'm not.

I'll tell you
where I was in 1960,

you wanna know?

Got a light?

Over here.

Let him light
his own.

With one arm?

In 1960, bull,

I was in the
neuropsychiatric ward

of the VA Hospital
on Sepulveda.

You wanna check,
my doc's name--

No, it--

Doesn't matter.
You're not the man.

It doesn't matter.

( indistinct chatter )

Tenth floor.

( buzzes )

Any weapons,
lieutenant?

( phone ringing )

Oh, excuse me,
lieutenant.

Tenth floor.

( tense theme playing )

Kimble. Kimble!

There's a fugitive
on that elevator.

Open this gate.

WOMAN:
Your daddy's there
because he made a mistake.

I had to drive down--

Don't be
seen with me.

Jeff.

My car's
just down the street.

What's wrong?

Keep away from me.

Paper.

Paper?

Paper.

( tense theme playing )

Paper.

Paper.

Paper.

Paper, mister?

Did this man come
out of there?

Yeah.

He went on that bus.

There's a fugitive
on that bus.

Yeah, lieutenant,
but I got prisoners.

Bring 'em along.

Hey, go, man, go.

I'm gonna get off this bus
at the next stop.

I want you to stay on.

You understand?

It was
the wrong man?

Yeah.

It's an MTA bus outbound
on the Hollywood Freeway.

Hey, man,
don't go so fast.

Well, I'm a citizen,
and you're makin' me nervous.

Hey, not me, man.

Hey, come on,
code three, huh?

Hey, peel rubber, huh?

( chuckles )

( siren wailing )

( tires screeching )

You've got to leave,
Karen.

We'll go get my car,
and then we're going home.

My bag's
at the bus station.

( mellow theme playing )

So, what did you
tell him?

I told him I was
in the VA psycho ward

on Sepulveda
all of '60.

And I was too,
bull.

Then he lit me a butt
and split.

I see.

Well--

Oh, he, uh, didn't leave you
the match book, did he?

( chuckles )

No, sir.

No, could have
had a gun in it.

Okay.

Uh, you wouldn't know
what he did with the match?

Oh.

( tense theme playing )

Sails.

Working
in a yacht club?

A boat broker?

Used to spend his summers
sailing in Maine.

What else?

A sailmaker.

Thank you.

Thank you very much.

( dramatic theme playing )

So I filed off
the handcuffs,

and I've been running
ever since.

What's wrong,
Jeff?

Oh.

When you're running
you--

You always wonder if they'll
be able to trace you

with something
you've left behind.

Toothbrush
in a hotel room,

stub
of a train ticket.

A...burnt out match.

( chuckles )

And it, uh, usually turns
out to be nothing

except
your imagination.

I'm tired of running,
Karen,

I'm awfully tired.

Don't run.

I know now. I can help.

People here
already like you,

and you don't have
to meet anybody new,

working in the loft.

What about Eric?

Oh, I can handle Eric.

( chuckles ):
No.

Gerard.

( sighs )

Ah, he's never
gonna quit.

He knows I'm
on this coast.

I'll have to keep moving
fast and far.

Have to stay ahead
of him.

Or do I?

( mellow theme playing )

He knows I've
always traveled

in jumps before.

Suppose this time
I didn't?

Suppose I stayed?

Please?

All right.

And maybe...

What?

Maybe we won't have
to wave goodbye.

NARRATOR:
Richard Kimble has seen
the eyes of the hunter.

He knows that for Gerard
the chase will never end.

But his bones ache
from running,

and he needs
the love of a girl.

For sanctuary
he will risk a trap.

For in the long, long chase,

he has lost everything
but hope.

( dramatic theme playing )

( dramatic theme playing )