All language subtitles for The Fugitive S04E21 The Ivy Maze. DVDRip. HI. en. PRMNT

NARRATOR: Next:

[NARRATOR READS ON-SCREEN TEXT]

Mrs. Simpson just phoned.

Yes?

The professor has the
car at the rear entrance.

- He said to take the freight elevator.
- Thanks.

Gerry, why all the
cloak and dagger?

Or shouldn't I be
asking any questions?

Well, I guess you should,

but I wish you wouldn't.

FRITZ: I'll run you over to our
house and then get back to Stoker.

- What about Caroline?
- Oh, that's my worry.

Police. Get down.

[NARRATOR READS ON-SCREEN TEXT]

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:

William Windom,

Geraldine Brooks.

Also starring Barry Morse
as Lieutenant Philip Gerard.

[NARRATOR READS ON-SCREEN TEXT]

I don't care. Leave
me alone, will you?

MAN: Come on, sport, 20
more hours and it's a cool 100.

Forget it. I'm falling
apart. I need sleep.

Without you lousy creeps
always waking me up all the time.

You made it for three.
What's one more night?

Leave me alone,
will you? It's torture.

- Shh, shh, shh.
- And you too. You leave me alone!

- There's no one there, old buddy.
- No?

Come on, pull yourself together.
Remember, it's a hundred bucks.

VOLUNTEER: You know what you
can do with your lousy hundred bucks.

FRITZ: There you see an example
of exactly what I'm talking about.

That young man thinks that all he
wants to do is go right back to sleep.

What he is really trying to
say is, "I need to dream."

You deprive man of his dreams
and you deprive him of the release

from whatever psychotic
tendencies he may have.

And we all have
them, believe me.

A colleague of mine,
Professor Fisher, once said,

"Dreams allow each
and every one of us,

every night of our lives,

to go quietly and
safely insane."

[ALL CHUCKLE]

There, look. Now,
that one is dreaming.

This is the signature of a
dream, rapid eye movement.

Ken, will you
please wake him up?

You see, dreams are
very real to the dreamer.

They're like, uh...

Well, they're like a movie in
the mind. You actually see it.

The eyes will move,
actually following the action.

Is there any way to tell
what he was dreaming about?

Oh, he'll only tell us part
of it, leaving out whatever

his subconscious has decided
that he should not remember.

Things such as, oh, very
private desires, dilemmas, secrets.

WOMAN: That must
account for all the insomniacs.

Well, we'll take
that up next week.

You take away sleep
and you take away dreams,

and if you keep it up for a
long enough period of time,

those secrets just naturally
spill out into waking life.

- Professor Simpson?
- Yes.

- Telephone. FRITZ: Thank you.

Professor Simpson.

Dick.

Hold it a minute.

I have been waiting nine
days, eating my insides out.

I was afraid your sister
couldn't get in touch with you.

Yes, yes, he's still here,
all right. Where are you?

I'm in a phone booth.

It's on the campus,
outside of Thompson Hall.

Well, you see that big
building across the green?

Fine. Go past the fountain,
turn right through the arcade

and you'll see the science
building dead ahead of you.

I'm in room 307. Hurry.

I'll be right there.

Sally.

Sally, uh, break up
the class somehow.

Give them next week's
assignment on motivation, huh?

Yeah.

NARRATOR: A fugitive,
a man driven by a dream.

Two dreams.

The daily nightmare, flight
from an unjust punishment,

where every town
is a hostile town.

And a dream of destiny,

that one town somewhere

where Richard Kimble
will find his freedom.

- Dick.
- Fritz.

- Seven years, buddy.
- It's eight.

- Where is he?
- Come on, in my office.

He works in the
Maintenance Department

as, you know, a floor sweeper
and a sometime gardener.

Makes 75 dollars a week.
Calls himself Carl Stoker.

Well, I'm sure his name is
Johnson. Where is he now?

Oh, we'll find him.

By the way, I didn't tell
Caroline that you were here.

No use making her, well,
you know, an accessory.

Sure.

Pretty terrible way to greet
an old fraternity brother.

I can imagine more
favorable circumstances.

- I can imagine worse.
- Yeah, I guess you can.

Well, for the record,

you are gonna be Mr. Gerry
Sinclair, a writer out of Chicago.

Medical writer who
is going to do a series

on my dream-withdrawal
experiments.

Fritz, why are you
going to all this trouble?

I mean, if he's the guy
I'm looking for, that's it.

Well, it may be a little
more than just "that's it."

Hey, we're in luck.
There is Carl Stoker.

That is Carl Stoker.

Take a good look at him,
Dick. Is that your man?

That's him.

Well, here. Hold on.

But that's him.

He's been here seven weeks.
He's not gonna run off now.

He's done it before, Fritz.

It wouldn't do any good to
go out there and just grab him.

- Why did you bring me here?
- Well, you need his confession.

Well, I need him to
get his confession.

I wouldn't have asked
you to come here

if I hadn't been pretty sure I could
deliver Stoker and his confession.

- Pretty sure isn't good enough.
- Bear with me.

How do you get a man to confess
to a crime of his own free will?

I don't know. You
play on his guilt.

You present him with conclusive
evidence, which I haven't got.

Besides, I don't think
he's that sensitive.

His brain works the
same as any other man's.

And the evidence you need
is that far from the surface.

You mean drugs?

No, not drugs. Not hypnosis.
None of that. Something much better.

Dream withdrawal.

Now, come on, here, let
me show you our setup.

The thing to do is wear
down his defenses naturally,

until we get to
a level of truth.

Sort of brainwashing.

Yeah, kind of brainwashing like that,
except none of that secret-agent jazz.

Which won't stand up in court.

You won't get a
straight confession, no.

All we need from Stoker is
some piece of information

that has not appeared
on the record.

Something that only
the murderer could know.

And you think he'll supply that?

Well, I've been getting secrets
out of other people for months now.

Big secrets. Well, shall we go?

I've arranged a room for you
at the graduate-student house.

You mean you really think
that Johnson will confess

just by keeping him awake?

He can sleep all he wants to.
The point is not to let him dream.

We wake him up
as soon as he starts.

Then after four, five nights...

I understand the theory,
but, Fritz, it's still just a theory.

I can't afford to
experiment with Stoker.

FRITZ: Theory? Man,
I've been making it work.

How do you plan to get to him?

Well, I've been losing
my student volunteers.

They're falling asleep in class,
getting behind in their studies.

Now they're gonna let me
go after college employees.

- Where do I come in?
- Well, I need you to identify him.

And only you would know

what the murderer might
have seen that night.

Besides, I thought you'd
wanna be in on the kill.

Yeah, but why are you
sticking your neck out, Fritz?

Why shouldn't I?
You didn't kill Helen.

- There you are, Professor Simpson.
- Mrs. Thayer, this is Mr. Sinclair.

How do you do? Your
room is all ready for you.

FRITZ: Good. I'll
talk to you later.

Oh, Fritz, what
does Caroline think?

- I didn't wanna involve her in this.
- What does she think?

She thinks you're guilty.

I'm sorry to give you
the rush act, darling,

but I've got five student
volunteers wired to a console

and only two psych
majors to run the show.

You are going to fly
apart in a million pieces.

I know. It's been
rough on both of us.

But the project will be
over with in three weeks.

You and your royal
road to the unconscious.

I'll be home at midnight.

I should have married a milkman.

- I heard that.
- Hm.

Oh, Caroline...

Next year, I get my sabbatical.

You and I are
gonna go to Greece.

We're gonna find a little island in the
Aegean without a single footprint on it.

Just a couple of hammocks and all
we have to do all year long is just sleep.

- Oh, I've got a much better idea.
- So do I.

Midnight, huh?
Don't watch the clock.

Sally, this is Gerry Sinclair.

Sally is my graduate
lab assistant.

- Hi.
- Hi.

Gerry is gonna be
writing us up for posterity.

I expect he'll be something of
a nuisance the rest of this week.

Over here,

heartbeat, blood pressure,
and rapid eye movement

are simultaneously recorded
and programmed into a computer.

All this paraphernalia.
He might panic.

Oh, we'll only be using
two small electrodes on him.

It'll be like a piece of
tissue on the eyelid.

When the eye moves,
we wake him up,

a cup of coffee, a little
chatter, and then back to bed.

Without all this apparatus,
won't your assistants...?

Well, as far as anyone
else is concerned,

I'm testing him only for
psychological reactions,

not for physiological changes.

- Well, if he buys it.
- Well, here is the bait.

- You want me to sleep, that's all?
- That's all.

- We will wake you when you dream.
- I don't dream.

Everybody dreams.

How much you're paying?

Well, besides your regular salary,
there'll be $10 for the first 24 hours,

20 for the second,
30 for the third,

and a big fat bonus of 100 if
you can get through four days.

That's 96 hours.

How about five days?

It's not quite as easy
as you seem to think.

But if you really wanna be a hero,
Carl, let's say $30 a day thereafter.

- When do I start?
- You've started already.

Sign right there.

What time did you get
up this morning, Carl?

Seven. Quarter to.

All right, let's start
from 7:00 then.

You go back and
finish your day's work.

That'll be your
last day this week.

Come back here at 6:00
sharp. And no catnaps.

- REM sleep, professor.
- Mm-hm.

Wake him up, will you, please?

Don't worry, he
can't see us at all.

What is that? A reaction test?

Just to see how quickly he
responds to a given light color.

He's been asleep
about an hour and a half.

His reaction should
be fairly normal.

Without his dreams,
they will become slower.

In time, that becomes our
gauge for his mental disorientation.

Oh, you'll see a marked
change in the morning.

In a couple of days,
he'll be ready to talk.

I've already put a
microphone in the ceiling light

and I have a tape
recorder set up in my office.

You're not gonna leave
Sally with him tonight, are you?

Oh, he'll be asleep most of the time.
This is just another experiment, Dick.

He isn't just another subject.

Yeah, perhaps you're right.

Anyway she goes off at
midnight and then Ken comes on.

Ken is an
all-conference linebacker.

Twenty-six hours on Stoker.
Five attempts to dream.

Well, let him sleep
when he wants to.

But if he starts to
dream, you shake him up.

Strong coffee, playing cards,

talk to him, anything,
just keep him busy.

Okay.

MAN [ON TAPE]: Go on, it's your deal.
STOKER: I don't wanna play no more.

MAN: We've only been
playing a couple minutes.

STOKER: Are you kidding?
Must be four or five hours.

These cards feel like
they weigh ten pounds.

MAN: Okay, I'll be back later.

Come on, Sal,
I'll walk you home.

No, I think I'll stick
around for a while.

Okay.

- See you in the morning.
- Yeah, see you in the morning.

- Good night.
- Good night.

- Here, professor, I'll take that.
- Oh, thank you, Sally.

Sixty-three hours?

Yeah. Yeah, he's beginning
to lose his sense of time.

By tomorrow morning,
he may start hallucinating.

Why don't you run off
home and get some sleep?

- I want you sharp in the morning.
- It's a small town by day.

You're a visiting professor.

And by this weekend,
you could be a free man.

Who's gonna be with him tonight?

I'm on till 2:00, then
Kenny takes over.

Go on, go on, get some rest.

Come on, I'll walk
you back to the dorm.

Gerry, 9:00 sharp.

SALLY: Night people.
That's what we are.

Bats and owls and things.

It's like a morgue
here at night.

Gerry?

You knew Professor
Simpson before this week.

- Yeah, we went to college together.
- He's quite a guy.

Did he always get so
worked up about everything?

- Hey.
- What?

You have a nice smile.

It's almost as if
you're afraid of it.

[TIRES SCREECHES]

I'm sorry, Mrs. Simpson,
but he's in with a subject.

Yes, I'll tell him
that it's urgent.

Long-distance.

I wanna call Stafford, Indiana.

Yes, I'd like to speak person
to person to Lieutenant Gerard.

G-E-R-A-R-D.

Line two, lieutenant.
Long-distance.

Lieutenant Gerard.

You mean Wellington College?

A woman says
she just saw Kimble.

May I have your name, please?

Anonymous.

Anonymous? With a $10,000
reward, I'd sure give my name.

That woman was upset.

Well, I don't feel like I slept.

Like a log for eight hours.

- You didn't dream but you did sleep.
- I never dream.

Here.

Oh, come on, Carl. Drink
it down. It's good for you.

Sixty bucks in the kitty already.
Tomorrow, it'll be 160, huh?

Tell me, what was, uh...?

What was a not-so-easy
job you pulled?

What's that?

Well, last night, you were
saying that there were jobs

and there were not-so-easy jobs.

Forget it. I was just talking.

CAROLINE: Fritz.

KIMBLE: Caroline.

Caroline?

FRITZ: What's the matter?

Caroline.

Caroline.

Why didn't you tell me
you brought him here?

I have the man who
murdered Helen.

He's at the lab, in the
dream-withdrawal sample.

He's beginning to crack. By tomorrow,
he'll tell us anything we need to know.

You're the one who's dreaming.

Well, don't you understand?
The one-armed man.

You're even beginning to share
his delusions about that man.

It's Helen who's
doing this to you.

You've never been able
to get her out of your mind.

Caroline...

Oh, Fritz.

Don't you think I know I
was the second string?

When Richard took
Helen away from you,

I just happened to be around.

But don't kid yourself

that you're doing this to
save poor, innocent Richard.

You're doing this for
Helen, and that's sick.

Sick? Sick, is it?

What about you? You were
supposed to be her best friend.

You've always hated her

just because she and I were
engaged for a couple of months.

Engaged? Well,
that's one word for it.

I think that you wanna
believe he murdered her

because you wanna
believe subconsciously

that she deserves
being murdered.

I only believe that you
are in love with a ghost.

Look, forget about us
just for a minute, huh?

- Now, think what that man has gone...
- Teach me.

You're an expert
on forgetting us.

I am on the verge, I tell you,
of clearing Dick once and for all.

That man is going to
confess and he is guilty.

It's too late.

What?

It's too late. I called
the police in Stafford.

You did what?

Fritz, I tried
calling you first,

but you were too busy with your
guinea pigs to come to the phone.

I'm sorry.

Well, we'll have to
hide him, that's all.

Oh, just tell him to go.

I need him here,
don't you understand?

What for? What for? You've
got your one-armed man.

Stoker is coming apart.
He's talking about the past.

I need Dick here for that.

Now you've got to help me.

He was staying at
the graduate house.

We've gotta get him
out of there, that's all.

And bring him here, I suppose?

Gerry.

- He's waking up.
KEN: I'll take it.

SALLY: Thanks, Ken.

Mrs. Simpson just phoned.

Yes?

The professor has the
car at the rear entrance.

- He said to take the freight elevator.
- Thanks.

Gerry, why all the
cloak and dagger?

Or shouldn't I be
asking any questions?

Well, I guess you should,

but I wish you wouldn't.

I'll run you over to our house,
and then get back to Stoker.

- What about Caroline?
- Oh, that's my worry.

Police. Get down.

How is he, Sally?

Well, he keeps
trailing off into sleep,

but he tries dreaming
almost immediately.

- At least every ten minutes.
- Good.

- Reaction's way down.
- Hm.

He's beginning to hallucinate.

He says someone's chasing him.

A real latent paranoid.

Not so latent.

What?

[MACHINE BEEPING]

No, you don't, Carl.
No daydreaming.

Now what do you see? Huh?

Is it a diner by the state line? Or
are we back on warehouses again.

What do you see, man?

Yeah, the diner.

- I washed dishes, see?
- More than that, wasn't it?

When the boss got juiced once,

didn't you make off with
the Friday night receipts?

GERARD: I want a complete
stakeout of the whole town and college.

Lieutenant, Wellington's
a town of only 5,000.

Four thousand from the college
and a thousand of us locals.

I've only got four
men besides myself.

Sergeant's on the desk
and Freeman's a floater.

Maybe I should get help
from the Highway Patrol.

On an anonymous tip?

All right, I'll take you
and the two you have.

Cover the town with these
and we'll cover the college.

I'm only doing this
because of Fritz.

I won't be here any
longer than I have to.

Yes, just until he's
driven that man crazy.

It's not an experiment,
it's an inquisition.

And do you know
what's happening to Fritz?

He's becoming more
Richard Kimble than you are.

He's obsessed with that image.

I know that.

Why must you drag
him down with you?

Do you also know that
he's not doing this for you?

He's doing it for Helen.

Yes, I know.

You know? Well, then
how can you let him go on?

Because I happen to be innocent.

You didn't kill her?

You know, Helen always
thought that you didn't like her.

She guessed that it
might be because of Fritz.

But that wasn't her fault.
Fritz was in love with her.

You don't have to tell me that.

You can't blame
people for being in love.

Please, let's skip it.

Our marriage hasn't been
everything that we'd like it to be.

Oh, we've been happy
as most people are happy.

But Fritz and I have such
a capacity for happiness,

really much more
than most people.

Only something always
seems to get in the way.

Maybe that's what
he's trying to get rid of.

Oh, how simple things
used to be, at the university.

All we worried about
then were football games.

Final exams.

Do you remember
our double dates?

Oh, Dick, how we used to laugh,

and all those intense discussions
on the plight of the world

which we knew nothing about.

And then summer,

we were always in
love with someone.

Maybe just with our dreams.

Oh, pardon me.

Have you seen this
man around here?

No, I haven't.

What is in that building?

It's the science building.

Psychology, sociology,
chemistry and physics.

Thank you.

Carl, what about the
chances you take?

Yeah, I pulled a few jobs. Better
than regular work, you know.

Sure, it is.

One good job, you're
set up for a year or two.

But there are
chances, see? Risks.

Private homes? Straight
store jobs? Or just warehouses?

Homes. You can case them better.

You ever get any surprises?

Surprises?

Well, you know, expected
them to be out, but they weren't.

Oh, a few times.

- But I manage okay.
- Sure, you do.

I can handle it even with this.

FRITZ: One good hand for
a gun, huh? STOKER: Gun?

No guns.

Bang, and somebody
comes running.

- Then a knife maybe?
- Sometimes.

I always find something
to use. Sharp or heavy.

Heavy? Such as what?

No, I gotta get some sleep.

Come on, Carl,
we're almost home.

- Keep talking.
- I gotta sleep.

FRITZ: Two hundred tomorrow.
- Two hun...

Two it is.

- What is it, Sally?
- There's a man to see you.

His name is Gerard
and he's a policeman.

He showed me a picture of Gerry.

- What did you say to him?
- I was shaken up.

He said Gerry's real name is Richard
Kimble and that he killed his wife.

Well, he didn't.

What did you tell him?

I said he looked like
my history professor.

Good girl.

Come on.

Oh, professor, I'm
Lieutenant Philip Gerard.

Shh, shh. Most of our subjects
are in the dream sample.

We have to wake them
up, of course, if they dream.

Usually four or
five times a night.

They don't like it much but, well,
some before and some afterwards.

Professor, we're
looking for this man.

I've been so locked up with this
series of experiments, I'm afraid that...

Well, lieutenant, do you know
anything about dream withdrawal?

We're conducting a
rather interesting group of...

Just show this to everyone
who comes on the floor.

- We'll be back later.
- Very well.

- Is he ready?
- Gerard was here. Three hours ago.

Well, he's gone for now.

Sally knows about
you. Not about Stoker.

- What about Stoker?
- He just woke up.

I've got a couple of
juniors working on him.

He's beginning to talk
about his past mistakes,

something about a
Stafford job that backfired.

- I'm coming over.
- No, no, now don't do that.

He's just getting
into the details now.

Besides, they've got a stakeout.

They're watching for everything
that moves out there in the dark.

I'll call you at dawn
in time for the kill.

Dick, we're almost there.

[CLOCK TOWER CHIMING]

Go on, don't stop.
What happened then?

She was strong.

Threw an ashtray. Hit
me right in the neck.

Did you have her
arms pinned or what?

With one arm? No.

I twisted and she fell
over backward kind of,

hit her head on a low table.

What is this? Cobwebs?

How did she fall? Huh?

Sally.

Call my wife.

Tell her to get Dick
Kimble over here right away.

Move quickly.

Carl, not yet. I'll let you
sleep in a few minutes.

Lieutenant, it's beginning
to look like a prank.

That has occurred to me.

For what it's worth,

you have the complete
cooperation of the dean's office.

At 9, we can start
searching the dorms.

- Classes are over at noon Saturdays.
- Almost that now. Better get started.

I have a return call to make.

He's getting
delirious and so am I.

But at least he's beginning to talk.
We're getting it on tape. Let's listen.

What'd he say?

He said that Helen
tripped over the lamp cord

and the lamp smashed
in the fireplace.

The paper had pictures of that.

When she got up again, Stoker
pulled the rug out from under her

so the rug has to be in a
completely different position.

Maybe.

Then he hit her three or four
times with a chunk of the lamp base.

Yeah, I know. It
was black marble.

And when she got up again,

she fell down and hit her
head on the coffee table.

At least he said it was
some kind of a low table.

Yes, that came out in the
evidence. The coroner testified that...

Stay right here till I get back.

Oh, professor.

Lieutenant, you're becoming
something of a campus landmark.

I'd like a word with you.

Well, I'm sorry. I have a class at
9:15. That was three minutes ago.

GERARD: Well, then your
lab assistant. The young lady.

She won't be in until 10:00.

I'll wait.

Very well, bore
yourself to death.

Thank you, I don't mind if I do.

Don't you have a class?

Kimble's here, all right.
That's the man he's after.

Call Highway Patrol,
roadblock the town.

And tell Chief Terry to
pick up Mrs. Simpson.

You're overstepping...

I think you'd better
dismiss your class.

- Oh, Henry.
- Good morning, Mrs. Simpson.

Good morning.

I'm sorry to bother you, ma'am,
but I have a few questions.

Questions?

Do you know this man?

Why would you ask me that?

There's a policeman from out
of state who thought you might.

Seems this Kimble fellow
graduated from the university

same class as your husband.

Well, that's about the
most absurd connection

I can possibly imagine.

He's with your husband now.

- Who?
- The policeman. Gerard.

I want you tell me if you've
ever seen this man before.

Never mind. I know him.

Then you're the
woman who called?

I was scared.

But this has nothing
to do with my husband.

Fritz doesn't even
know he's here.

Please.

I must speak with
Lieutenant Gerard.

Let's get on the phone.

He wants to talk to you.

Yes, I told you, lieutenant,

he is an employee of the
college just as we all are.

Look, professor, I'm
something of a psychologist too.

I know when I've
touched a nerve,

and I know what I
see with my own eyes.

That is the man Kimble's after.

Now there comes a point
where coincidence ends

and harboring a fugitive begins.

[PHONE RINGS]

Hello? Just a minute.

It's Mrs. Simpson.
For you, lieutenant.

- Well, it seems...
- Yes, Mrs. Simpson?

Lieutenant, this is the woman
who called you yesterday.

Yes, I remember your
voice. Why didn't you...?

Listen, my husband doesn't
know that I saw Dr. Kimble.

You see, we all went to the
university together and, uh...

Where is he? Where
did you see him?

Well, it was in town.

Where?

At the graduate-student boarding
house at College and Tenth.

- Did Chief Terry reach you?
- Yes, he's here now.

I'll meet you both at the boarding
house five minutes from now.

Don't leave this
building until I get back.

FRITZ: Where's Dick?
We've got to find him.

SALLY: Dick.
- Look, time is running out.

We've got to tie
this off pretty fast.

Sally, turn the
speaker up softly.

When you hear me
getting to him a little bit,

come on in other
room, slowly, quietly.

Hurry up.

All right, we're rounding
the bend now, Carl.

- How you feeling?
- Lousy.

Fifteen more minutes
and the money's yours.

Then I'll sleep.

- What about the lamp base, Fred?
- Lamp?

You know, the chunk of
marble. What did you do with it?

STOKER: I hit her with
it. FRITZ: And then what?

Wiped it off.

- Wiped it off on what?
- Her dress.

- What part of her dress?
- Piece of pocket, loose.

FRITZ: You say the
dress was ripped?

STOKER: Ripped kind of, when
she pulled away before when I hit her.

That was never mentioned before.

He had to be there.

But I had no idea.
No idea at all.

All right, you're not
accused of anything.

Chief, there's nothing there.

- Have the room checked for prints.
- Right.

All right, now, who
brought him here?

It was Professor
Simpson, wasn't it?

Well, yes.

Mrs. Simpson.

Really, I had no
idea, no idea at all.

Then you beat it out of there?

What do you want me to
do after that? Hang around?

Tell me how you left.

Out back, around the front,
across the street, almost got hit.

- Hit? Hit by what?
- By a car. What else?

- Whose car was it?
- What do you mean, whose car?

Her husband's car.

How did you know it
was her husband's car?

You mean me, don't you, Johnson?

That's right, kid.

Well, take a good look.

Yeah, you're the guy.
Looked just like you, Kimble.

Now we're getting
somewhere. "Kimble."

You killed my wife, Johnson.

Get away from me.

You're all through. It's all
over. We've got it all on tape.

- The police, they're coming back.
FRITZ: All right, I'll try and stall them.

- Lieutenant...
- You've been an accessory.

Forget that. I've got your man.

- Where are you hiding Kimble?
- He's all yours.

Come into my office.

- Listen to the tape.
- I'm not interested in any tape.

- Where's Kimble? FRITZ:
He has as good as confessed.

- Every detail of the murder...
- Now don't try and sidetrack me.

- I want Kimble.
- Well, you've got him.

Kimble, Johnson and the tape.

FRITZ [ON TAPE]:
The chunk of marble...

- Don't you want your killer?
STOKER [ON TAPE]: I hit her with it.

Let me go. Get me
out of here. Let me go.

FRITZ: Wiped it off on what?

- Kimble!
- Here's your man, Gerard!

Follow him!

Don't get in. They'll
be watching me.

Back the car up. Straight back.

COP: Mrs. Simpson.

Mrs. Simpson?

Where are you going?

CAROLINE: I think I might as well park
over there after all. It's easier for me.

GERARD: Did this
man just get on the bus?

Look, mister, I got
a schedule to keep.

- We'll be late for the game here.
- What's with all the police brutality?

No luck yet, sir.

- Aren't you gonna wish us luck?
- Good luck.

You can file the
depositions with Chief Terry.

But, of course, your
statements are only hearsay.

They're useless
without Kimble or Stoker.

That's your loss, lieutenant.

We were wrapping
a package for you.

Kimble was to have
delivered it personally.

Well, he didn't.

- Goodbye, professor.
- Lieutenant.

Sal, how about it? Lunch?

Will you be needing
me, professor?

Why, not now, Sally.

I guess you can say our
little experiment's all over.

You make it sound
as if it were a failure.

No, I suppose in some ways
you could even call it a success.

- Come on, I'll buy you lunch.
- Deal.

How about lunch
for you, professor?

- You're on.
- Not so fast.

- There's a condition.
- And what might that be?

Just the two of us. No ghosts.

You don't still believe
in them, do you?

I used to.

All right.

Just the two of us, that's all.

NARRATOR: For Richard Kimble,
the mind's eye is always open,

scanning the nightmare
landscape for his pursuers.

He wakes from brief dreams
of tomorrow's reprieve,

but they are only dreams.

And he runs on.