All language subtitles for The Fugitive S02e04 When The Bough Breaks

Are you the one
she was traveling with?

Well, not exactly.
I hopped this freight

and there she was
with the baby.

You ever been around here
before, Mr...?

Broderick.

And no, it's the first time.
I'm from the coast.

The coast, huh?

Okay. Come along.

I think you'd better
talk to her.

Broderick, we have to
find that baby.

( suspenseful theme playing )

What's the matter?

He look familiar to you?

He matches
the description we got.

Yeah, but that face.

Oh, never mind, it'll come.

( dramatic theme playing )

NARRATOR:

Starring David Janssen
as Dr. Richard Kimble.

An innocent victim
of blind justice,

falsely convicted
for the murder of his wife,

reprieved by fate
when a train wreck

freed him en route
to the death house,

freed him to hide
in lonely desperation,

to change his identity,

to toil at many jobs.

Freed him to search
for a one-armed man

he saw leave
the scene of the crime.

Freed him to run

before the relentless pursuit
of the police lieutenant

obsessed with his capture.

ANNOUNCER:
The guest stars in tonight's
story:

Diana Hyland.

Lin McCarthy.

Royal Dano.

ANNOUNCER:

( ominous theme playing )

NARRATOR:
Grand Forks, North Dakota.

It is 26 months
since the escape,

and still another city

has become a blind
alley for Richard Kimble.

The man with one arm,

author of the crime
for which Kimble was to die,

remains elusive.

And again it is time
to move on.

( loud clunk )

( wheels grinding )

( suspenseful theme playing )

Bless you, brother.

Another 30 seconds and--

And that long, blue arm

would have grabbed
the old preacher

and shaken all
the good works out of him.

You looked like
you needed a hand, that's all.

And you know,

the hand did appear.

And a good, strong arm
to go with it.

They call me Preacher.

Pete Broderick.

Peter.

Well, they named you
after the wrong saint, brother.

Christopher, that would've been
more like it.

Ah, now we are three.

KIMBLE:
The lady will have to
introduce herself.

Your wife?
No.

That's all right, brother,

even if it's just
in the eyes of the Lord.

I never saw her
before five minutes ago.

What's your name, child?

Carol.

Oh.

Well, I'm called Preacher,

and this is Mr. Broderick.

Now, where are you
bound for, sister Carol?

Fargo.

( baby crying )

Now we are four.

Don't touch him.

Oh, we mean you no harm,
no harm at all.

To you or to the little baby.

But you can't blame us for being
a little surprised by it all.

It's none of your business.

Well, that's true,
sister, but--

It's no place for a child.

How old is he?
Four, five months?

Five months,

but he's my baby and I can
take him anywhere I like.

Look, I don't have the money
to go any other way.

No money at all?

Where did you say
you preached, brother?

Wherever I'm needed, brother.

In the very depths
of a coal mine,

or in a mansion on a hill.

Wherever I'm needed.

Well, where might you
be needed now?

Sister,

do you have any friends
in Fargo?

My husband.

Well, that's nice.

Does he know you're
arriving in a box car?

No, he doesn't.
I wanted to surprise him.

Now, would you
please leave me alone?

You in some
sort of trouble, sister?

What do you mean?

A pretty girl like you

riding alone
with a tiny baby.

I told you.
I'm trying to find my husband.

Find?
Well, where's he been?

You don't understand.
It's me.

I was in
an automobile accident,

and my parents
live in Grand Forks

and they've been
taking care of my baby and me.

Isn't that a husband's job?

My husband is a musician.

He's a bass player
and he's on the road a lot.

How about that, brother?

Are you bound
for Fargo too?

Like you, brother,

I go where I'm needed.

And, uh, what might you
be needed for?

You name it.

Well, maybe I will.

Have you ever tried spreading
the Good Word?

You mean,
down in the coal mines?

Well, don't forget
the mansions, brother.

Never forget the mansions.

( loud clunk )

Don't fret, brother.
It's just a routine stop.

( train bell dinging )

( dramatic theme playing )

It doesn't look routine.

What is it?

Two men checking the cars.
They could be police.

I think they're after me.
Could you help me?

Why would they be after you?

My father sent them.
Believe me,

I haven't done anything wrong.

They're about five cars down.

Please,
you've got to help me.

You wanna make a couple
of bucks, Preacher?

Just a couple?

Help spread the Good Word?

Go on.
I want you to be a decoy.

See if you can get those two men
to chase you.

If they catch you they'll just,
uh, throw you out of the yard.

You can walk around
and hop another freight.

Uh, maybe they might be
the kind

that enjoy roughing
an old man up.

All right.

Five dollars.

Sure, I'll help you, brother.
But only because you helped me.

( suspenseful theme playing )

Go on.

I married Jimmy when I was 17,
and my father says it's illegal

and if I go back to him,

he'll charge Jimmy
with contributing

to the delinquency
of a minor or something.

What is your husband
doing in Fargo?

We live there.

That's the first place
he'll look.

What else can I do?

Well, we can make it, uh--

Make it a little more
difficult for them.

We'll get off the bus
before the terminal.

( suspenseful theme playing )

( clears throat )

Yes?
PREACHER: Who's in charge here?

I can help you.

Are you in charge?

Not exactly.

Well, then you can't help me,
brother.

Come on.

This guy wants to see you,
Lieutenant Malleson.

First, I'd like to know

what kind of reward's
involved here.

Why?
What have you got?

Well, that girl the one
the babysitter described,

the one from Grand Forks?

Go on.

Well, I seen her.

Now, what's that worth?

By itself not much.

Well--
Well, how about this, brother?

I can tell you she's not alone.

I can tell you
she's right here in Fargo.

( dramatic theme playing )

( mysterious theme playing )

He should be good
for another hour or so.

Well, I guess
I better be going.

Thank you for everything.

I got you a room, that's all.

I seem to be leaning on you.

( phone rings )
That's my call.

Jimmy?

Are you sure, operator?

Klondike 54269?

Thank you.

It doesn't make sense.

She said the number's
been disconnected.

Well, maybe he moved.

He wouldn't move
without writing me.

Unless he did and my father
tore up the letter.

I've gotta find him.

What is it?

I don't know.

Here.

I'm sorry.

Keeps happening
since the accident.

One minute I feel okay
and the next minute

it's as though I just
jumped off a merry-go-round.

What do the doctors say?

Nothing organic.

They think
I'm soft in the head.

Anyhow,
I've got to find Jimmy.

I think you'd better stay
off your feet for a while.

I can't. I've got to find him.

Look, uh,

give me his address.

I'll see if I can
find out what happened.

No, you've done
too much already.

That's all right.
Don't worry about it.

Well, I think it's only
a few blocks from here.

You better tell me
where he works

in case there's no one there.

You sure you don't mind?

I seem to be handing you
all my problems.

That's all right.

Well, here I go again,
leaning on you.

You throw me a life preserver
and I ask for the whole ship.

( suspenseful theme playing )

Excuse me.
I'm looking, uh,

for some friends of mine.

The only address I have
is 226 Oglethorpe.

That's it over there.

Except they start
tearing it down

first thing in the morning.

Whole block's going
for a big shopping center.

( scoffs )

Funny, huh?

Once upon a time
you're brand-new and pretty.

The next thing you know,
you're all used up.

They trample all over you.

How long has it been
since anyone's lived there?

I don't know.

Must have been
around last April.

Sorry,

but unless your friends
have four legs,

long tails, and dig cheese,
you won't find them in there.

Yeah, thanks.

Sure.

Come back anytime.

I'm here every afternoon.

( dramatic theme playing )

Wait. Please, let's talk about
it just a little more.

We've already talked.

But we don't know
that it was Carol.

You read the description. We
know she was going to the park.

W-- I know she wouldn't
do anything this terrible.

Laura, she kidnapped
a 5-month-old baby.

How do you do?

My name's Pearson.

I think this is the girl
that you've been looking for.

She's our daughter.

( playing slow jazz music )

Baby, this is a story song.

You know
what a story song is?

It tells a story.

The girl is lonely.

See, she lives in
sort of a dream world.

She drifts into this bar

and, uh, she tells the bartender
she wants something cool.

Not just a drink,
you know what I mean?

She thinks she's a real lady.

( continues playing )

Baby,

this is like
Tennessee Williams,

not the "Hut Sut Song."

The what?

( continues playing )

You want to see me?

Well, I'm looking for a man.

He used to work here.
Maybe he still does.

Try me.
Jimmy Hollister.

( stops playing )

You're looking
for Jimmy Hollister?

Well, not exactly.
His wife's trying to locate him.

Carol?

That's right.

Well, let me
tell you something, mister.

Somebody's putting
one of us on.

Either way
it's not very funny.

What does that mean?

Jimmy, Carol,
and their little baby

piled up in Jimmy's sports car
about a year ago.

( playing low jazz music
on piano )

And?

And Carol was the only one
that pulled through.

I guess you're the one
that's being put on.

I guess so.

Now, remember, baby,

it's like she's in
a dream world or something.

That's the one, all right.
She was carrying the baby

and this guy I told you about
was with her.

They got off the bus
at Maple Street.

What did he look like?

I don't know. Just a guy.

Five-eleven, six feet.

Around a 165 pounds.

Middle 30s, I guess.

Black hair.
That's about it.

That matches the description
the old man gave us.

Wonderful.

That proves
our only two witnesses

have fair eyesight
and are telling the truth.

But that description probably
fits 2000 men in this town,

including yourself, sergeant.

All right, Mr. Flynn,
you can go now.

Thanks for your help.

Sure thing.

Well, at least
we got the picture.

Did the press get copies?

They just went out.

Well, we know that bus driver
dropped him off at Maple Street.

Maybe we'll get lucky.

They could have
taken a cab from there.

You're supposed to be
the optimist around here.

Well, I just mean it's--
Yeah, yeah, forget it.

Well, there it is.

Typical picture
of a hardened criminal.

( dramatic theme playing )

( mellow theme playing )

* Rock-a-bye, baby *

* On the tree top *

* When the wind blows *

* The cradle will rock *

* When the bough breaks *

* The cradle will fall *

* Then down will come baby *

* Cradle and all *

Go to sleep, baby.

He'll be back.

Real soon.

Real, real soon,
he'll be back.

( door opens )
Jim.

Did you find him?

Can you take me to him?

No, I didn't find him, Carol.

What's the matter?

Whose baby is that?

He's mine.

He's my baby.

No, he isn't.

He's mine.

Look, Carol, listen to me.

No.

No, I don't want to hear you.

I don't want to hear.

My father sent you,
didn't he?

No, he didn't.

Well, then why--?
Carol.

Carol, you've got to take that
baby back where he belongs.

He belongs with me.

Now, you stop
talking like that.

( cries )

Oh, nobody's gonna take you
away from me.

No.

Please, you've got to help me
find Jimmy.

Your husband's dead, Carol.

Why are you saying that?

Look, you know I'm your friend,
don't you?

I don't know.
I don't know anything.

I only know
I have to get out of here.

Carol, I helped you
on the train, didn't I?

I helped you find this place

and I helped you
look for your husband, right?

Well, now I want to help you
again.

I want you to stay here.

Where are you going?

I'm just gonna go out
for a while.

When are you coming back?

Look, I don't like being alone.

You'll be all right.

Take me with you, please.

I can't do that.

Jimmy, I can't stay here.

You've got to stay here.

I'll be right back. I promise.

But I don't like it here.

Let me come with you
to the club.

Please.

I'll tell you what.

When the club closes,

I'll come back and we'll go out
for a cup of coffee.

Okay?

Okay.

I'll see you later.

Jimmy.

No last drink with the boys.

That's a promise.

( ominous theme playing )

( crying )

( sighs )

CAROL:
Jimmy.

I couldn't stay there
all alone.

Don't be mad with me.

Carol, I told you.
I can't take you with me.

Please.

( suspenseful theme playing )

Shh.

( baby cries )

Carol, go back to the room
and wait for me, will you?

Jimmy, you know I'm scared.

I know, but you--

You've got to
get off the street.

You're too easy to spot
with the baby.

Carol, I've got to go
or I'll be late, okay?

Okay.

( baby cries )

Shh.

Hush, baby, hush.

We've got to do
what Daddy says.

Shh.

No.

Come on, baby,
now we go home.

Yes.

Shh.

( baby gurgles )

Shh.

( dramatic theme playing )

The Edmund Hotel.

Room 214.

The child is all right.

Well, it's not important
who I am.

What's important is that
you realize that the girl

is no criminal.

She's just sick,

She really believes that
that child is hers.

No, that's all I can tell you.

( hissing )

Scat.

( whispers ):
Scat, scat.

( yelps )

Where is he, honey?

Why doesn't he come back?

He said he'd be back soon,
and soon's all gone now.

Please come back.

( baby gurgles )

Hey, baby.

Maybe your daddy will
bring you a nice surprise.

Would you like that, huh?

Maybe some pretty birds
to hang over your crib.

You know what he'll do?

He'll lift you way, way, way,

way, way into the air.

Yeah. And you'll look down
and you'll wonder

who all those tiny people
are down there.

Hee-hee.
And you'll laugh and laugh...

( cat hisses )

Scat!

Yes, you'll laugh

and laugh and laugh.

( meows )

Scat.

Come on, scat!

That's it, honey.

That's why your daddy
isn't here.

He's waiting for us
back at the hotel.

Here.

Baby, I forgot.

I can't take you with me.
I--

I can't, I really can't.
You see, if they see us together

they'll know who we are
and--

And they'll try to
get you away from me.

And then they'll try to
keep you away from me.

And you don't want that
to happen, do you?

Then wait for Mommy
to come back.

Okay?

You sleep here and wait
for Mommy to come back.

I'll only be gone
a few minutes.

And then I'll bring Daddy
back with me.

And we'll all be together again
like before,

when we laughed.

Yeah.

I love you, baby.

( dramatic theme playing )

Hey, sexy,
how about some service?

Cheeseburger or chili dog?

Chili dog and put
some cheese on it.

Chili dog, add some cheese.

And a hunk of that
lousy berry pie.

You really add a lot
of class to this joint.

I'm not selling class.

You haven't got it
to give away.

Hey, uh,
checked the radio?

They caught that dame
that kidnapped that baby.

Yeah? Where?

Cops got an anonymous tip
she was at this hotel,

and she walked right into it.

Check the radio.

What about the baby?
Is he all right?

That's the weird part.
Listen.

MAN ( on radio ):
The police, thus far,
have beenunable

to obtain any information
which would enable them

to locate the still-missing
baby.

Mrs. Hollister
has told the officers

she will only turn the child
over to her husband.

Hospital psychiatrist,
Dr. Max Eisen,

has stated thatthe young woman

has apparently transferred
her late husband's identity

to the man who has been
reportedly traveling with her.

The police have asked
all newspapers

and radio and television
stations

to broadcast this appeal

for the man to come forward
immediately.

Although police remain
relatively optimistic,

they have expressed serious
concern for the welfare

of the tiny infant,
and they feel this man,

whoever he is, can insure
the safe return of the child.

Meanwhile, Mrs. Hollister

remains confined to Fargo
Memorial Hospital.

( suspenseful theme playing )

( tense theme playing )

Same old story.

She won't talk to anybody
but her husband.

Whoever that is.

Carol's parents.

Sid called
they were coming up.

Mr. Pearson, Mrs. Pearson.

Has she told you
where the baby is?

No, not yet.

Well, she'll tell me, all right.
Whit, please.

Mr. and Mrs. Pearson,

this is Mrs. Fisher,
the child's mother.

Mr. Fisher's out of town,
but he's flying in tonight.

I don't know
what to say to you.

Our daughter will tell us
where your baby is.

I promise you that.
Do you think so?

Don't worry.

I hope so.

But please, don't be
too hard on her.

She's been under
a terrible strain.

She's been?

What about you?

Well, it's like this,
Mr. Pearson.

I'm worried, and I'm frightened,
I'm terribly frightened,

but I know that, God willing,
we'll get our baby back

and, well,

our baby will never
know anything happened to him.

But you're gonna have to worry
about your daughter

for a long time after this.

You actually sound like you--

You feel sorry for her.

May we see our daughter now,
lieutenant, please?

Just a moment.

Doctor, may we see
our daughter, please?

I think it would be better
if you didn't right now.

Maybe a little later.
Why not now?

Well, you see,
a great part of her delusions

center on you, Mr. Pearson.

Her fears of you.

She seems to think that you want
to take away her baby

or do some sort of harm
to her husband.

She doesn't have a baby

or a husband.

She thinks she does.

They're very real to her.

And right now you represent
a terrible threat.

Seeing you...

I think it would be wiser
if you waited a little while.

There's a lounge at the end
of the corridor.

Why don't you wait down there.

We'll let you know
the minute anything happens.

Come on, Whit.

Why don't you come too,
Mrs. Fisher?

I'd better go back in.

Now where are we?

Still waiting for the little
man who wasn't there.

( suspenseful theme playing )

Well, call me
if anything comes up.

We'll be here
for a couple of hours.

They just wanna know
if he's shown up here.

Excuse me.

I think I'm the one
you're looking for.

Are you the one
she was traveling with?

Well, not exactly.
I hopped this freight

and there she was
with the baby.

I helped her out a little

and then she began
hitting the front pages.

You're the one that phoned us
about the hotel?

That's right.

You ever been
around here before, Mr...?

Broderick.

And no, it's the first time.
I'm from the coast.

The coast, huh?

Okay.

Come along, I think
you'd better talk to her.

Broderick, we have to find
that baby.

What's the matter?

He look familiar to you?

He matches
the description we got.

Yeah, but that face.

Oh, never mind, it'll come.

You took so long.

I got tied up at the club.

Jimmy, I didn't know
what to do.

Where's the baby, Carol?

I didn't want to
leave him there.

But I was afraid my father
would see us and take him away.

You did the right thing.

Now, if you'll tell me
where he is, I'll go get him.

Oh, Jimmy, can't you
get me out of here?

Well, honey, you can't leave
right now.

But I don't understand.

( sobbing )

All these policemen
asking me questions

and I haven't done anything.
I haven't.

What did my father tell them?

Why does he have to
lie like that?

Look, honey, everything's
gonna be all right.

I promise.

But tell me where the baby is.

It's so dark and dirty.

It really was.
It was disgustingly dirty.

I didn't want to
leave him there.

I-I almost didn't.

Where did you leave him?

At home.

You mean, the apartment?

Is something wrong?

No, nothing's wrong.

Hey, uh,
you get some sleep.

You'll bring him back here?

Right now.

Maybe by the time you get back

everything will be
straightened out

and we can go home.

Yeah, I hope so.

You know, Jimmy?

You know, it's been sort of
like a nightmare.

Well, that's what it is, Carol,
a nightmare.

Almost over.

Don't be long.

Goodbye, Carol.

( door opens )

Did she tell you?

Yes.
Well, where is he?

We'll go get him.
You stay here.

Well, I can get him.

Okay. You got a car?

I'll take a cab.

I'll drive you myself.

Well, that's not necessary.

No, I insist.

Come on.

( suspenseful theme playing )

Right here.

This is the street.

She said
it was on this block.

I guess it could be
any one of these houses.

Well, let's get started.

To save time, uh,

you take one,
I'll take the next.

Okay.

( baby crying )

( crying continues )

You found him.

Get in.

Is he all right?

Asleep.

You're pretty handy
with kids.

If they cry, you pick them up.

Well, that was a decent thing
you did.

I mean, you take someone
like you, on the road,

hopping freights, it's
a safe bet that kind of a guy's

got a record he's running from.

You know what I mean?

I'm not sure.

Most of the time
they're parole jumpers,

runaway kids.

Once in a while,
even a wanted criminal.

On the other hand, sometimes
you find really decent people

bumming around.

What I'm trying to say is,

a guy who's on the run
from the police

isn't likely to
come forward the way you did.

He would have hopped
the first freight out of town.

You mean, if he was in
some sort of trouble.

That's right.

If he was in
some sort of trouble.

All right if I drop you here?

It might save you some time.

If I take you back there'll be
all sorts of questions,

your picture in the papers,
you know.

Well, thanks.

It's all right, Broderick.

That's right, isn't it?

Broderick?

Yeah, that's right.

For my report, you know.

So long.

( dramatic theme playing )

( suspenseful theme playing )

She's still terribly confused,

but she's beginning
to accept the fact

that the baby wasn't hers.

However, we have to move
very slowly.

I just want
to see my daughter.

All right, but please
remember what I said.

She's terribly
frightened of you.

May we go in now?

( tense theme playing )

( sniffles )

Carol.

Poor little baby.

Baby.

You ever remember
who that guy was?

No.

We could get out
the mug shots.

Ah, forget it, will you?

Sure.

NARRATOR:
Another town
with its thousand faces.

Examine them well.

For, somewhere among them,
tonight, tomorrow, next week,

will be one face that will
tighten in recognition.

And for a fugitive,
the running will begin again.

( dramatic theme playing )

( dramatic theme playing )