All language subtitles for TheFugitive1x30

( horn blaring )

NARRATOR:
The name: Dr. Richard Kimble.

The destination:
death row, state prison.

The irony:

Richard Kimble is innocent.

Proved guilty, what Richard
Kimble could not prove was

that moments before discovering
his murdered wife's body,

he saw a one-armed man running
from the vicinity of his home.

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 )

ANNOUNCER:
The Fugitive.

( dramatic theme playing )

A QM production.

Starring David Janssen
as the fugitive.

With guest stars,
John Mc Giver,

John Fiedler,

Joseph Campanella.

Also starring Barry Morse
as Lieutenant Gerard.

Tonight's episode,
"The End Game."

( upbeat theme playing )

NARRATOR:
This is the instrument.

And this, its operator.

The subject: newlyweds.

And a day to remember, always.

This is the fugitive.

And as fate would have it,
he is the target.

And this is the sound,

like that of a trigger
or of a trap.

( suspenseful theme playing )

( inaudible dialogue )

This is the picture which
vanity, not fate, discards.

But fate is not finished
with Richard Kimble.

It is only a matter
of time and place.

This is the place,

and with the common, ordinary
act of a man buying cigarettes,

now is the time,

and fate is swift and sure.

( inaudible dialogue )

I'm indebted to you,
officer.

Very well, taken Tuesday.
Where and what time?

Uh, I'm trying to think.

So many pictures
on different streets.

What's this building?

Um, 7th Street
Savings and Loan building.

That's right.
I was on 7th.

Which side
of the street is that?

West side
of the street.

Uh, so this is, uh,
looking north.

Looks like you took this

in the middle
of the afternoon.

I did?

GERARD:
Yeah, the shadows.

And, uh, his jacket...

What about it?

That's quite a heavy one.

These two young people
are lightly dressed.

That's not all, he's carrying
a lunch pail, and, uh,

trousers,
not a mark on them.

On his way to work,

wearing a heavy jacket
because he works outside.

I want a stakeout on 7th between
2 and 4 in the afternoon.

And I want a list
of every industry in the city

that employs manual labor

for more than one shift
a day.

Our population's
almost half a million.

That's a big order,
lieutenant.

I know.

But there's
a strong compensation.

He doesn't know I'm here.

( suspenseful theme playing )

Another day.

But for the hunted,
instinct becomes habit.

And the habit to obey
is to avoid habit.

Today, Richard Kimble's route
to work will be 5th,

not 7th Street.

SPENCER:
He's not at the mills,
brickyards, construction...

It's been two days.

Do you suppose
he left town?

Yeah, possible.

You're taking this
pretty calmly.

I have to.

Emotion's my enemy
as much as it is Kimble's.

Either one of us gets overeager,

anxious, rattled,

that one's gonna be the loser,

no matter how long it takes.

I don't mean to throw you
a curve, lieutenant,

but unless Kimble's found
soon...

I know, you have
a manpower problem.

Still, getting Kimble will look
pretty good on your record,

wouldn't it?

7th Street.

Why hasn't he--?

Let's stake out
6th and 5th as well.

More men.

Two till 4 p.m.,
from midnight till 2.

More men checking
on all these factories.

Yes.

Either at, to, or from work.

Don't worry, lieutenant.

It's only a matter of time.

( suspenseful theme playing )

A matter of time.

Midnight.

Two hours until the safety
of his room.

( dramatic theme playing )

Uh-huh. Thanks.

Willoughby Carloading.
Just missed him. He's on foot.

Willoughby Carloading.

Yeah.

That's right about here.
Uh-huh.

Foreman says he's living
over on Waverly, 750 West.

Forget it.

He'll never go back there now.

We'll go with
our alternate plan.

You heard it.

The main roads
out of the city sealed

here, here,

here and here.

How many men have we got?
How many more can we get?

For this manhunt,

I think maybe we can squeeze
out another platoon.

You draw a nice box,
lieutenant.

( dramatic theme playing )

( suspenseful theme playing )

Hello, baby.
Do you have a match?

Cigarette?

Hey, turn your head a little.

I never forget a face,

especially since
I just saw it on TV.

Don't worry.

I can't whistle
and I'm too tired to scream.

Anyway, we're both losers,

and it's the winners
I gotta look out for.

( giggling )

What do you mean,
you just saw it on TV?

Joe's Friendly Gin Mill.

They cut in on the late,
late show to run your picture.

I didn't get
your name, honey.

What do they want you for?

I think you've got me mixed up
with somebody else.

Oh, look, I told you
you didn't have to worry.

Why?

If you're looking for logic,
you got the wrong girl.

Three husbands, six cats,
and no kids.

I'd buy it by the case
and save a bundle,

but at Joe's
I get it by the glass,

and there's people
to talk to.

But, uh,

maybe I talk too much, huh?

Yeah.

Uh...

Nothing personal, huh?

Oh, it's my fault.

Everybody but the Marines
are looking for you,

and I stand here
playing games.

Police,

that out-of-town
detective--

Gerard?

Front view,
right side, left side.

Man, they made
a commercial out of you.

Look, uh--

Honey, you don't wanna
get mixed up in this.

You see, I'm a murderer.

Yes, a murderer.
I killed my wife.

( suspenseful theme playing )

( phone dings )

( dramatic theme playing )

( motor starts )

And you told him
that I had appeared

on the television alert.

I simply said
an out-of-town detective.

Was that wrong?

Yes.

He knows I'm here.

And then what?

Then what?

What did he say?

Oh, he said
he didn't want me

to, uh, get mixed up
with someone

who had, uh,
murdered his wife.

Didn't say anything
about being innocent.

That's what I don't get.

I hear he's always
claiming his innocence.

Oh, I told you he was clever.

He saw in the first few seconds

that this was a woman who
could not only be frightened,

but who needed
to play a heroine.

Headed west on Avenue L,
you said.

Now, wouldn't that be nice
if it were true.

Madam, the moment
you were out of sight,

he changed direction
and doubled back.

He's probably through
running now, though.

He'll hole up,

wait for us to search
and give up on Avenue L.

And then,

just when we think
he's somewhere else,

he'll come out
and head west on Avenue L.

If you're as clever
as you presume to be,

then tell me, why haven't you
caught him so far?

Now just a minute,
lady.

It's all right.

If I haven't caught him, madam,
it's because of people like you.

People he can use.

Dupes.

You can go now.

( sighing ):
Well, lieutenant,

I guess we need sleep.

I wouldn't want to be
at anything less

than my best tomorrow.

( suspenseful theme playing )

(siren wailing )

( jazz music playing
over radio )

( jazz music continues
over radio )

Hi.

How's it goin'?

Oh, nothing much.

No car, you know.

With that board,
you're gonna need a truck.

Oh, I don't know.

Yesterday some cat came along

in one of those
little foreign jobs.

Heh. Man, you should
have seen that scene.

Do you want to sell that radio?

Look, dad, how will I get

the surf-reports
and weather and all?

You buy a better one.
How about 20 bucks?

Hey, what's with you?

I mean, the stores will be open
in a couple of hours.

All right, 30.

Thirty, huh?

Hey, look, this ain't
one of those imports.

I mean, it's got diodes and all,
and-- And dig the volume.

( music loudens )
Yes.

( music softens )
Forty bucks, huh?

You're coming in
loud and clear,dad.

Forty.
There's this pro--

Program
I don't wanna miss.

Heh.

Forty.

Buy a couple for each ear.

"Got this program
I don't wanna miss."

Man, you meet all kinds.

( mysterious theme playing )

Including the invisible man.

Man.

Crazy weather, huh?

Say, you might--
English not good.

My day, all right.

How about the radio?

"Ray-dee-o"?

Not too loud.

Run down battery.

( radio clicks on )

( switching
between radio channels )

MAN ( over radio ):
Kimble is described as
35 years old, 6-feet tall,

brown eyes, and hair
which has been dyed black.

He is careful
about his personal appearance,

and his speech
is that of an educated man.

If you have any information
concerning this man,

please contact the police
department immediately.

And now news
from other parts of the world.

( radio clicks off )

You ever had your name
in the papers?

Me neither.

But I'll clue you in.

Mine's J.J. Watson.

You'll dig it tomorrow
on page one.

A stranger offers you $40
for a cheap radio

and you're not suspicious?

Cheap?
What do you mean, cheap?

I beg your pardon.

I'm sure it was
the best money can buy.

Look, dad,
I didn't have to come in here.

I'm not your father.

If I were...

Yeah? Well, anyhow,

I didn't have to come in here.

I mean, I could be out
on my board right now

with all the chicks digging me.

We appreciate that,
Mr. Watson.

You need him anymore?

You know something?

After meeting you,
I hope he makes it.

Avenue L.

I was right.
He did double back.

But didn't hole up as long
as we thought he would.

Oh, he anticipated me.

Lieutenant, this is getting
to be quite a chess game.

But I'm not so sure
we're winning.

It's the endgame that matters.

He didn't think that beach bum
would come to us.

And now he has ammunition,
a radio.

Good.

Good?
What's good about it?

Now h-he knows
what we're doing.

Exactly.

Oh, I imagine Kimble's
in a relatively safe place

feeling more confident.

And for him,
confidence is fatal.

If I'd had the chance, I'd have
sold him that radio myself.

Ah, lieutenant,

which direction would be
his best chance of escape?

Well, if he heads west,
he'll need a boat.

South narrows down,
trap him too easily.

East. East or north,

he'd be out
in the wide-open spaces.

South.

No.

No, he'd be crazy.

Don't you think even now
he's imagining us

standing in front of a map?

Wondering about
his best chance of escape?

Let's arrange
for a news bulletin

to be broadcast
by the local stations.

Um, "Richard Kimble
has been seen

"in the northwest section
of the city.

All available police moving
into that area."

Oh, that's what you meant
about the radio.

He'll go where we steer him?

And he'll move fast.

A car, back of a truck,

heading south.

Right into the roadblock
he thinks we've lifted.

Check...

and checkmate.

( suspenseful theme playing )

Hey. Hey, there he goes.
There he goes.

Hey. Hey. There he goes.

Hey.

Hey, hey.

I see the man.

I see the man.
He jumped out of the truck.

Are you sure it was Kimble?

Yes. I'm sure.
I've seen him on TV.

All right.
What's in this area?

Factories, old houses,
vacant lots.

Seal it off.

Finally, Kimble,

the endgame.

( suspenseful theme playing )

There are eight square blocks.
Not one chance in a hundred.

As soon as you've got
your men posted, we'll go in.

Be dark in a couple of hours.
We don't get him by then--

Lieutenant, there's an
expression in prizefighting:

"When you've got your man
going, don't lose him."

I've heard it.

It's called
the killer instinct.

( suspenseful theme playing )

( rattling )

I thought I heard
somebody down here.

And look who.

On your feet,
Mr. Kimble.

On your feet before you die
right where you're sittin'.

( dramatic theme playing )

( music playing,
siren wailing over TV )

If you're not too busy
watching that shoot-'em-up,

look what I got.

Oh, don't bother me,
Devlin.

It's Kimble.
Richard Kimble.

What?

( TV clicks off )

Well, you're right.
For once.

Standing right here
in our living room.

Guilty as sin.

Just like I always knew
he was.

I said it before the trial,

I said it during the trial,
and I said it after the trial.

Guilty.

And that's the way
the jury found him,

not like what
you thought, Reed.

The jury was wrong.
I didn't kill anyone.

Ah!

Oh, shut up, Devlin.

You never heard
of reasonable doubt?

Of course you haven't.

You just believe
what you wanna believe.

That's a hot one.

Everybody in the world says
he's guilty except Sam Reed.

Not everybody in the whole
world says he's guilty.

Just one jury.

A-and not even all of them.

Four of them held out
over three days.

Four of 'em agreed with me.
There was a reasonable doubt.

And I still say
there's a reasonable doubt.

And that's why
they're chasing him now.

Just because he's so innocent.

'Cause he's--
Hey, hey, you.

And that's why he's trying
to sneak out now,

'cause he's so innocent.

Sit down.

( suspenseful theme playing )

Not there,
that's my chair.

Uh, y-you're welcome to mine,
Kimble.

Well, now, ain't you
the generous one, Reed.

You expect him
to sit on the floor?

After breaking
into my house,

you want me to give him
a meal and a cigar?

"My house. My house."

Like I don't own
the other half of it.

Half of this,
and half of the downstairs--

What are you doing?

What's it look like I'm doin'?
I'm getting dressed.

You want me to take him down
to the cops in my underwear?

Oh...

No, thanks.

If you hadn't had the phone
taken out last year...

Why support
the phone company?

We didn't get any calls

for a month.
DEVLIN: We got calls.

We got plenty of calls.

Oh, sure.
Insurance agents, salesmen--

Ah, shut up. Come on, Kimble,
get to your feet.

We're going downtown.

REED:
Oh, "we're going downtown"?

What are you doing,
playing the big shot?

Playing Dick Tracy?

Well, I ain't gonna
sit here on my tailbone

and wait for the cops to come.

I wanna tell you this...

...it's a long walk
from here to the police.

I'm going to get away.

Yeah, you hear that?
That sound innocent?

I'll do whatever
I have to do to get away.

Not because I'm guilty
but because I'm innocent.

If the police take me,
they'll execute me.

You see that, Devlin?

What?

REED:
It's in his face.
You see it?

The truth.

He's telling you
the truth.

Ah, the truth.

You wouldn't know the truth--

You said it yourself.

The police will be here.

Couldn't we just wait for them?

Well, well, sure they will.
Uh, didn't we see it on the TV?

How they're staking out
the whole neighborhood?

( ominous theme playing )

Well...

Sit down.

Ahem, now, like I say,

we're gonna sit here
until the cops come.

--positively known to be

within these
eight square blocks.

Jimmy?

Jim, would you go over there

and see if you can get
Lieutenant Gerard for me,

please?

We're hoping to interview
Lieutenant Philip Gerard,

who instigated this manhunt.

And ladies and gentlemen,
I'm finding it hard to describe

the-- The Roman holiday
that I see here.

There we are. Red Hots,
Red Hots right over here.

Ice-cream sandwiches,
all kind of pop.

Come on, folks,
there we are.

Thank you.

(chuckles)

Iguess I just described it,
Roman holiday.

Now, to those of you
who are watching,

do not, and I repeat,

do not come here
and add to the confusion.

Stay where you are

and you will see this manhunt
better than if you were here.

I've got a man stationed
at all of these exits.

And this is
the hill road up there?

Yeah, that's not
really fit for travel.

The road's old. Been washed out
half a dozen times.

But I've got a roadblock
set up here,

and I got a lookout here
with a walkie-talkie.

This side is a sheer drop,
maybe 400 feet.

Uh-huh.

Excuse me, lieutenant,

uh, I was wondering
if you'd like

to say a few words
to the TV camera.

What words?

Well, I mean, you know,

like, uh,
"cooperate with the police."

Yeah, all right.

VENDOR:
Okay, okay. That's 65.

Sixty-five. Thank you.
Who's next?

Step right up, let's go.
Get out of here.

Oh, just a minute, now.
I'm not gonna tell you again.

Hey, look, I got a license.

Somewhere in there a man is
trying to hang on to his life.

You've got no right
to capitalize on that.

Get him out of here.

Hey, I got a license.
Close it up.

Free enterprise--
You heard what the man said.

All right, but I got all these--
Close it.

All right.

Traced here by detective work

that would have done credit
to Sherlock Holmes.

Oh, here's
Lieutenant Gerard now.

Lieutenant, would you be
kind enough to briefly tell us

how we stand up to this point?

Um, well, all our men
are posted and, uh,

all the avenues
of escape are blocked.

We'll get him tonight.

Tonight, eh?
You sound very confident, sir.

I am.

We hear
that the fugitive is unarmed.

Would you still
consider him dangerous?

Richard Kimble
is a convicted murderer--

It's sealed off.

All right, let's start
the house-to-house.

Excuse me.
Certainly, lieutenant.

That was Lieutenant Philip
Gerard, ladies and gentlemen.

And right now, this word for
the people that are bringing you

the exclusive coverage
of this manhunt

( over TV ):
that has electrified
this country.

( TV clicks off )

Well, you just heard him,
Reed, a murderer.

A convicted murderer.

Mr. Devlin,
you're a logical man.

Ask yourself:

Do you honestly think
that the courts

have never convicted
an innocent man?

That's right, Devlin. Why, th--
Why, there's books on it.

So what?
It ain't up to me to decide.

But you are deciding.

I'm just gratified to--

To know that Mr. Reed
believes it.

Oh, hold on,
I didn't say that.

Well, you're acting that way.

Reasonable doubt.
Reasonable doubt.

I know my law.

DEVLIN:
Yeah, he knows his law.

If he'd known 10 cents
about war surplus,

we'd still be in business.

Oh, that's right.
Blame me for the bankruptcy.

Blame me.

Oh, what's the use?
I'm gonna get a sandwich.

Oh, uh, you want one?

Not in my house.

He can sit in my chair
and eat the food I pay for.

Well, thank you,
but, no, thanks, Reed.

Oh, Reed, is it?
Well, ain't that chummy.

Oh...

( suspenseful theme playing )

You're, uh,
just going to sit there

and turn me in to the police
when they come.

Well, I've got
to give you credit,

you're doing
what you think is right.

I guess you didn't
believe my defense

about the real killer
being the man with one arm.

Not for one second.

Well, you know,
I saw him again.

About...

two or three months ago
in Chicago, Chicago Heights.

Well, he was getting on a bus.

I chased him,
and he ran.

Now, would he have run
if he weren't guilty?

Well, like you say,

I'm just doing
what I think is right.

Except that you're wrong.

You know,
one day after I'm executed

they'll prove their case
against that one-armed man.

But then it'll be too late.

They will have executed
the wrong man.

( suspenseful theme playing )

Good, they're here already.

Let's get going this end.

That's right, Devlin.

They're gonna find that man
with the one arm.

Then what'll you say?

( slurps )

Yes, sir. I'll be the one
who was right.

And I'll be dead.

And you'll be the one
who was wrong.

Reed'll be sitting right here,
saying, "I told you so."

( chuckles )

Yes, sir.

I figure I got
a good 20 years left in me.

Twenty years
of saying it:

I told you so, I told you so,
I told you so,

I told you so,
I told you so.

( suspenseful theme playing )

There's a relic.

Better take a look at it.

Right.

Nobody living down here.

Well, if they haven't
got a key upstairs,

we'll go in the window.

( knocking on door )

Oh, Lieutenant Gerard.

Saw you on TV today.

Where's the key
to downstairs?

Why?

Oh, heh, oh, sure,

you don't wanna miss
a bet, huh?

Here.

Very handy.

Well, uh, going in
and out all the time.

Uh, we're redecorating.

We?

Uh, fella that owns
this place with me.

Name is Devlin.

And where is he?

Here.

I'll check this floor.

Uh, were you watching
television too, Mr. Devlin?

Good, then you know
why I'm here.

Can you give us any help?

Uh, afraid not, lieutenant.

We didn't see
or hear anything.

Uh-huh.
Except television.

That's, uh, right.

( suspenseful theme playing )

Well, thank you
for your cooperation, gentlemen.

I needn't tell you
to get in touch with us

if you see or hear
anything about him.

Thank you.

Well?

Not a sign.

( dramatic theme playing )

Oh, sorry I had to wait so long.

I didn't think you were
gonna get here in time.

They were crawling
all over the street.

One of their cars
is still down at the end.

Now, uh, you go around the back

and up the stairs
and I'll lock this.

Thanks, Reed.

Oh, not yet.

We're not out of the woods yet.

He has to be in here.

SPENCER:
Only two sections left.

If they report negative--

If they report negative,
we'll start over again.

Lieutenant Gerard,

I've come to have
a lot of respect for you,

but remember this:

I've gone along
with everything you asked

because of what
that man means to you,

but this is still my city.

What does that mean?

That when you're gone
I have to live in it.

I have to give the taxpayers

the protection
they're entitled to.

And?

Well, the captain called
a few minutes ago

making noises, loud noises.

Claiming your hunt for Kimble

is uncovering
other parts of the city.

I'll talk to him.

You're welcome to,
but it won't do any good.

If we don't find Kimble
by midnight,

we'll have to pull out.

( suspenseful theme playing )

Midnight.

( sighing ):
Think.

Where?

Where?

( dramatic theme playing )

They're still there.

You sure that neither one
of you said anything

to make 'em suspicious?

No.

At least I didn't.

You?

You were so scared, you just
stood there looking stupid.

Stupid? Ah.

You know,
when this is all over,

he's gonna try
and take the credit for it.

REED:
Why shouldn't I take
the credit?

I was with him
from the minute I saw him.

N-now wasn't I, Kimble?

Well, yes, you were.

The only reason you were for him
was because I was against him.

That's not true at all.

I was for him
way back during the trial.

I, at least,
stuck to my guns.

Yeah, pigheaded
is more like it.

L-look, I'm very grateful
to both of you.

You, uh, Reed,

because you, uh, believed
in me from the beginning.

Thank you.
And you, Mr. Devlin,

because you were
man enough to admit

that there is
a reasonable doubt.

I am grateful to both of you,

but I am still here
and they're still out there.

So the problem
is how to get you out.

That's not it at all.

The problem is how
to get them away.

Well, that's part of
getting him out, ain't it?

Look, you're both right.

Kimble,
I've been thinking.

We can try
the old hill road.

Now, the police
can't stay here forever.

Sooner or later,
they gotta leave.

I heard that.

That's what I said.
How to get the police away.

Now, you can stay here
till the cops clear out.

Downstairs maybe.

Uh, you'll be snug
as a bug

till this whole thing
blows over.

If it blows over.

If they don't come back.

If you don't get caught.

Serve you right
if you did get caught.

Hang it, Devlin,
I'm sick of you.

Twenty-five years
of twisting

every word
that comes out of my mouth!

Yeah? And don't think
I ain't had enough of you.

Go on, butter him up.

Whisper together,
the both of you.

Maybe you'd like
to move in, huh?

Take over and pay half the rent.
How'd you like that?

Living with a convicted killer.

Oh, no, you don't.

( grumbles )

All right,
ten-four.

I'm sorry, lieutenant,
but that's it.

Last two sections
reported negative.

I tried to hang on to the men
for another 12 hours, but...

What time is it?

Ten.

When the clock strikes 12,
we have to retreat.

Well,
every report negative.

Lieutenant,
I don't know how he did it,

but somehow
he got out of there.

No.

No, he's still in there.

I know it.

He's gone.

He's gonna turn you in
just to get back at me.

Patrol car's gone.

Well, it'll take him
a few minutes to get to Gerard.

If he's not there already.

The car.

Does it run?

Sort of.

Yeah, the car,
and the old hill road.

If we get to the road,
there'll be roadblocks.

( chuckles )

That's just exactly
what I'm thinking about.

What do you say,
lieutenant,

we get back to town,
get some sleep?

DEVLIN:
Lieutenant Gerard?

( suspenseful theme playing )

Remember me?

Name's Devlin.

Uh-huh.

If you want Kimble--

Where?

At the house.

He's selling a bill of goods
to that jackass I live with.

Come on.

DEVLIN:
The car!

They've taken it.

The darn fools,
they'll kill themselves.

What do you mean?

Those brakes
aren't worth a dime,

and that road's a mess.

( dramatic theme playing )

( tires screeching )

If they've taken
any of the main streets,

we've got them.

Not the main streets.
The hill road.

I heard them.

Alert the roadblocks.

Unit one.

MAN ( over radio ):
All set here, lieutenant.

All right, Bill.
Keep an eye out. Ten-four.

Roadblocks all set.

Let's get up there.

( suspenseful theme playing )

So this is how it ends.

Reed...

you crazy fool.

I should have stayed.

I should have stayed with you.

( siren wailing )

Well, lieutenant,
like you said:

"It's the endgame
that counts."

Yeah,

the endgame.

Why?

Stupid old goat.
Never had a chance.

Stupid old goat.

( Reed laughing )

How did you get out?

Stupid?

Half the cops in the state
are right here and I'm stupid.

And you'd like to know
how I did it, wouldn't you?

Well, we stopped, got out,

pulled out the throttle
and let her roll.

Knew that when she blew up
everybody'd come running

to X marks the spot.

Kimble.
Where's Kimble?

I'm afraid he's gone,
lieutenant...

a long, long time ago.

I think you better
come with us.

( dramatic theme playing )

( dramatic theme playing )

I don't suppose it entered
that thick skull of yours that

that car was half mine.

Well, that's just too bad
about you.

Anybody who'd turn
into a Judas don't deserve--

Don't you call me that, Reed.

Besides it's "doesn't deserve,"
not "don't deserve."

You don't even speak
English good.

Tsk. You know, Devlin,
sometimes I wonder

how you can stand to look
at your face in the mirror.

Well, if I don't look at myself,
I gotta look at you.

Well, you won't have to
for a while.

I wonder how long they'll--
They'll, uh--

( clears throat )

I mean,

aiding and abetting's
not very serious, is it?

I-- I don't know.

Maybe, uh, six months?

Hm.

Well, at least
I won't have to drink

that miserable coffee
you make.

Miserable coffee?

You're a fine one
to be calling names.

Never lifting a finger
to help with the meal.

Sitting, watching that TV.

Oh, Devlin,
will you shut up.

No, I won't shut up.
Oh.

( playful theme playing )

NARRATOR:
The endgame. He has won.

But for how long?

Another night and another road,

and still
the deadly game goes on.

So must he.
North, south, east, west.

A man alone.

A fugitive.

( dramatic theme playing )

( dramatic theme playing )