Original subtitles

( tense theme playing )

WOMAN: Richard?

Richard, please don't go. Please!

( approaching footsteps )

Richard!

No!

( grunting )

Get out of there.

( siren wails )

Frank, see anything?

Not a thing.

Think he's back here?

Well, this is where he was heading.

Get back out front.

Ed, get on the radio and rustle us up some help.

One thing's sure,

nobody crossed the alley after the shot.

We ought to have him boxed in real good.

Think he's armed?

I wouldn't wait to find out.

NARRATOR:

( dramatic theme playing )

A QM Production.

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:

Ruth White.

Louise Sorel.

Lloyd Gough.

NARRATOR:

( dramatic theme playing )

( brakes squeal )

NARRATOR: This is where it began.

Fairgreen, Indiana.

Here, ten years ago at the County Hospital

Richard Kimble completed his internship.

Here he met a nurse named Helen Waverley

and here they resolved to get married.

Now he's come back to a town

where people have reason to remember him.

Perhapssome more than others.

( ominous theme playing )

( dialing )

Hello.

Hello? ( TV blaring )

Hello?

Oh, just a minute. I can't hear a thing.

Dad, you've got that thing blasting.

( TV noise stops )

Hello, I'm sorry about the--

KIMBLE: Terry, this is Richard.

Who?

Who is this?

It's Richard.

But why, I--?

I can't believe it.

How are you, Terry?

I'm...

I'm fine.

Where are you?

Right here in Fairgreen.

But you shouldn't have, I mean...

Well, you know.

I was only about 60 miles away.

I read in the papers about Ed's trouble.

Is it true?

It's true.

Well, how's he taking it?

And your mother?

All right, I guess.

Well, I mean...

Nothing's changed I'm afraid.

Why? What do you mean?

The, uh...

...way she feels.

Who is that?

Terry, uh,

there's something that might help.

Do you have Helen's papers?

Everything they sent us.

Terry, who is that?

Was there anything in there about a--?

A savings account in Indianapolis someplace?

No.

I mean, we...

We never found anything like that.

( tense theme playing )

Terry, I'll call you back.

Richard.

If he phones back, I want you to hang right up on him.

Dad, I can't.

Your mother could get back any minute.

Phil's meeting her train at noon.

It's only 10:30.

She could have taken an earlier train.

Well, what if she did?

You remember how upset she was

that time he was seen as close as Chicago.

That's too bad about her.

Terry.

Look, honey,

I know how you feel,

but he was found guilty by a jury.

You know that.

I know him. That's enough.

What do you know?

You haven't seen him since the trial.

Do you think he was guilty?

I don't know.

You see?

No, because if there's any chance at all,

he killed your sister...

Dad,

he wants to help us.

If he calls back you hang up.

( somber theme playing )

( dramatic theme playing )

( tires squeal )

( tires squeal )

( tires squeal )

( honking )

( tires squeal )

( siren wails )

( dramatic theme playing )

( sounds buzzer )

( buzzer continues )

Richard.

Hello, Terry.

I don't want him in the house.

Dad.

Ed, just for a little while.

I have no place else to go.

You've managed.

Dad, if it were just some mangy stray cat

scratching at the door you'd let him in.

( tires squeal )

Please, Dad.

( buzzer sounds )

I'll get it.

( buzzer continues )

Mr. Waverley?

That's right.

Mr. Waverley, there's been a report

that Richard Kimble was spotted.

You mean, here in Fairgreen?

FRANK: Yes, sir, we think so.

Now, Chief Atherton thought that he might

try to come here.

TERRY: To this house?

( tense theme playing )

I, uh, I imagine this would be

the last place he'd come, officer.

Well, I suppose you're right,

but I'd still advise you

to keep the house locked up tight.

Don't worry.

Don't you, Miss.

We've got every man on the force out looking for him.

That's, um--

That's good to know.

If you see or if you hear anything out of the ordinary,

please let us know.

We will, officer, and thank you.

Thank you.

It was a policeman.

But he-he's gone.

I want you out of the house before my wife gets home.

Dad, that's only an hour.

He can't go back out there

while they're still looking for him.

But your mother--

TERRY: He can stay upstairs.

Mother hasn't been up there since...

Please, Dad.

Until it's dark, then.

But that's all.

Thanks, Ed.

You too, Terry.

( dramatic theme playing )

( somber theme playing )

Well, the account was in her name.

She opened it before we were married.

Are you sure this is all?

Well, except for her clothes,

a few books, phonograph records,

that kind of thing.

( door slams )

Look, that might be mother.

Y-you better get upstairs.

Phil's coming in.

Who's Phil? Phil Corbin.

Terry and Phil are getting married.

Maybe.

He's an assistant in the district attorney's office.

Take the guest room.

Is everything all right, Mama?

How was your trip, dear?

I'd like to be alone for a while, please.

I was afraid of that.

What happened?

Didn't you hear about Kimble?

The police were here already.

We heard about it in the car.

It was like somebody had slapped her

across the face.

Well, look, the streets are swarming with patrol cars,

but be careful, huh?

You can't tell what he's liable to do.

Phil, please don't start that again.

Okay, honey, okay.

Maybe-- Maybe you're right.

Maybe he didn't do it.

But don't forget something.

He's been on the run for a long time.

That can change a man.

I don't believe that.

No?

Well, honey, you-you just take some-some little puppy--

Some harmless little puppy.

And you beat him and you kick him

like he was some kind of mad dog

and I'll tell you something.

Pretty soon that's exactly what you'll have.

Well, he wouldn't come here.

Why not? He to Fairgreen.

Well, I'll see you tomorrow, anyhow.

Mrs. Waverley invited me to dinner.

You see, at least there's one woman in this family

who shows some interest in me.

See what I mean?

I'll see you tomorrow.

Thanks, Phil.

Honey, he could be right.

About Richard, I mean.

Dad, you talked to him.

Did he seem like a mad dog to you?

Well, anyhow, he's leaving tonight.

Dad, he came here where he knew

anybody could recognize him.

And he came here to help us.

You heard what Phil said about the police cars.

He's got to stay here until it's safe for him to go.

All right, but if your mother finds out,

I'd like you to be the one to face her.

Haven't I always been?

( somber theme playing )

I'll look in the garage to see if I can find

some of Helen's things.

Dad, you want to help me?

( woman speaking indistinctly )

WOMAN'S VOICE: Ever since we lost the baby he's been acting differently.

And he keeps insisting on this adoption business.

He knows how I feel.

Oh, Mama, I miss you so much.

Now, I'm sorry.

This is supposed to be a happy birthday message.

Happy, birthday, Mama,

and please come to see me.

( recording stops )

HELEN ( over phonograph ): Happy birthday, Mama.

In case you don't remember my voice,

this is your daughter, Helen.

I couldn't find any cards I liked

and I thought this would be better anyhow.

How are you and Dad getting along?

Oh, and tell Terry if she gets invited to the prom,

I'll pay for the new formal.

EDITH: Who's out there?

Is that you, Ed?

It's just me, Mama.

I wanted to see if you were all right.

EDITH: Just close the door, thank you.

HELEN: Happy birthday, Mama.

In case you don't remember my voice...

She, uh, hasn't changed a thing in that room

since the day Helen left.

That's over nine years ago.

At first it seemed quaint,

sort of like a sentimental gesture

but after Helen was...

After Helen died,

it was like a shrine or something.

What about you, Terry?

Me?

What are you talking about?

Come on, you remember what it was like.

I never counted.

I was-- I just happened to live here, that's all.

Oh, be honest.

You never even knew I was around.

Well, I would now.

You're very attractive.

Well, thanks for that.

No, I mean it.

You wouldn't like a traveling companion, would you?

Well, I don't think you'd like the accommodations.

You really want to get out?

Oh, yes.

Why don't you?

Guilt, I suppose.

Well, after all, she is my mother,

and somebody's got to take care of her.

Well, Dad-Dad can hardly take care of himself.

After Helen and, uh, mother's illness, it--

It was like he gave up.

Your mother's illness?

She has something wrong with her heart.

As for the doctors, they're not sure about the rest.

That's where the money went.

It went to doctors, specialists, psychiatrists...

Not one of them lasted more than two weeks.

Well, there you have it.

God bless our happy home.

( somber theme playing )

I'm sorry.

Richard.

I'm glad you're here.

( knocking )

ED: It's Ed.

I'll, uh, I'll see you later, Richard.

I'd like you to go.

I think you know why.

Ed, uh, look, come on.

I just don't understand you.

Or maybe I do.

You used to be welcome in this house.

You ate at our table,

you slept in this very room.

You do remember that, don't you?

I remember that, Ed.

Then how can you come back here

and do what you're doing to her?

What am I doing to her?

Don't you know? She's had a crush on you

ever since she was 14?

Ever since Helen first brought you here.

You had to know that.

Isn't that part of growing up, Ed?

If she'd gotten over it.

After your escape and everything...

Well, I guess that made you more glamorous than ever.

What about her fiancé?

Phil?

They've been engaged for over a year

and she still won't set the date.

And you think that--?

I think she could love him

if she'd give herself a chance.

If you'd give her the chance.

Well, I'm going to be leaving tonight

as soon as it gets dark, okay?

Okay.

PHIL: I wasn't sure the chief would go along with it.

It's still just a hunch.

Well, we've got a car covering the alley in the back.

Jim and I will sit tight right here.

Good.

Nobody will get near that house without our knowing about it.

Thanks, sergeant.

Yeah.

( mysterious theme playing )

( tense theme playing )

There should be over $5000 in that account

and no clue as to what bank.

You're sweet to worry about us,

but we'll get along.

You said before that I...

I'd seen everything except her clothes

and books and records.

That's right. What books?

Right here.

You think there might be something in one of them?

There might be.

Helen used to keep things in books

the way some people kept a diary.

Important dates, things like that.

Here's her birthday list.

Your birthday...

...everybody's.

You think she might have written something in one of them?

She just might have.

What's this?

( tender theme playing )

I think this is it.

The name of the bank,

the dates and the deposits.

Here.

That's great.

Look, uh, Dad and I can drive to Indianapolis

in the morning and settle it all.

Half of it's yours.

No, you keep it all, Terry.

No, that's not right.

Look, maybe when your father gets back on his feet--

Tomorrow morning.

I won't be here tomorrow morning, I'm leaving tonight.

What are you talking about?

You have to be here.

Terry...

...when it gets dark I'm leaving.

Your father was right.

I shouldn't have come in the first place.

What did he say?

It doesn't matter,

I made up my mind to leave before we talked.

It has to be tonight.

We'll see about that.

What did you say to him?

Please keep your voice down.

Is she still in there?

What do you think?

He found it

and he's giving it to us.

What?

The money. The account.

It's all here.

He's giving it to us?

You mean, all of it? That's right.

I'll take it down to the bank right away.

What about Richard? What about him?

Tell him to stay.

I can't.

If your mother finds out, it'd kill her.

Dad.

Dad, just for once, think of somebody else.

Terry, don't talk that way.

All right.

Run away.

Run away like you always run away from something

that might be hard to face.

Terry.

He might have saved the business for you

and risked his life.

You're going to let him go out there tonight

and be hunted down.

No wonder you want to get out.

If you're not here you won't have to think about it.

See to your mother.

She hasn't eaten all day.

( somber theme playing )

Mama...

...you've read those letters over a thousand times.

They're Helen's.

I know.

And you'd better know this too.

I don't want you or anyone else coming in this room

without knocking first.

Can I get you anything?

Have you talked to Philip since this morning?

No, mother.

I only wish Helen had been able to

marry a man like Phil instead of...

Instead of a maniac, is that what you mean?

What is it?

Never mind.

Anyhow, men like Phil are rare.

You should be grateful.

Stop it.

I'm only saying-- You're saying

he's too good for me. No.

For Helen he would have been fine but I should be grateful.

Darling, you don't understand.

Helen was very close to me.

( sobbing ): Well, what am I?

Something you found in the streets?

What are you talking about?

Me.

I'm talking about me, Mama.

I'm your daughter too, you know.

Of course, you are.

You've always been.

We've always tried to do as much as much for you

as we did for Helen.

We sent you to college.

You were the one who quit.

Oh, yes, that's right, I did.

And that time you were in the hospital,

your father and I scraped together the money

so that you could have the best.

Oh, thank you very much, Mother, for the money.

You don't understand.

Oh, oh, I understand, all right.

You've locked yourself in this room.

This mausoleum and you--

And you read her letters and you go through her things

over and over again.

She was your sister.

But she's dead, Mama.

She's dead. No.

And I'm alive.

Is that what you hate?

Is that why you never look at me?

Is that why you sit in this room and stare at dead things?

Because that's all they are, Mama, they're dead.

Oh, no.

And they're dead too! No!

( sobbing )

( tense theme playing )

( Terry crying )

Richard.

You can stay if you like.

At least until the pressure's off.

Well, that's all right, Ed.

I'd like you to.

Terry's, uh,

been in her room crying for the last hour.

I know.

I think you ought to go to her.

She doesn't want to see me.

She needs you, Ed. She needs somebody.

Goodbye.

( tense theme playing )

Richard, please don't go. Please.

Richard.

No!

( grunting )

( sirens wailing )

Frank, you see anything?

Not a thing.

You think he's back here?

Well, this is where he was heading.

Get back out front.

Ed, get on the radio and rustle us up some help.

One thing's sure,

nobody crossed the alley after the shot.

We ought to have him boxed in real good.

You think he's armed?

I wouldn't wait to find out.

( dramatic theme playing )

( somber theme playing )

So?

It's still quiet.

All right, let's get these men moving.

Check the garages, the roofs, the sheds, everything.

And then check them again.

Send one of these cars around to the other street just in case.

Mike, you and Briggs take the car

and cover Farrell Street.

The rest of you men over here.

Let's get this search rolling.

The rest of you move. Move.

( tense theme playing )

Haven't you done enough to this family?

What are you going to do?

I don't know exactly.

I've thought about this moment

for three years now.

I'd plan ways how an old lady like me

could take you by the throat

and choke the life out of you.

The way you did to my daughter.

And then I'd think,

"wouldn't it be simpler

just to turn him over to the police?"

Let them strap you into that chair.

Because that's not a good way to die either, is it?

Is that what you're going to do?

Is there any reason why I shouldn't?

There are reasons.

But not for you, I guess.

Then if you'll just stand out of my way,

I'm going out there.

You going to kill me too?

You're going to have to, you know.

But that won't be difficult.

With my heart it would be the easiest--

( door opens )

Terry,

go out and tell them he's in here.

No.

Then I'll have to do it myself.

Mama, please.

Terry, I'm sorry.

I'm sorry for a lot of things.

But I have to do this.

Mama.

Mama,

I-I've never asked you for anything before.

I mean, anything important.

Then why this?

Because there's been too much pain

and it has to stop somewhere.

Terry, listen to me.

I was wrong.

I know I was wrong.

But it has nothing to do with this.

Oh, yes, it does.

I'm asking you for something

for the first time.

I'm asking you

for his life.

Take him upstairs.

Thank you, Mama.

Thank you for me too.

I don't want your thanks.

Besides, you'll be caught.

Not today, sometime.

So far you've had luck.

That's bound to run out somewhere too.

Come on.

You and Terry.

Honey, I'm awfully glad.

( knock at door )

Why did you come back?

I had to.

There must be 20 cops out there.

They're searching every house on the block.

Don't worry.

We'll get out of this.

What do you mean "we"?

I'm going too.

Where are you going?

Don't worry, you-you won't have to

drag me along or anything.

But I-I'll be in Chi-Chicago

or maybe New York and all you have to do

is-is to write to me here and they'll forward it.

Terry.

I'm going to wait for him.

Not here, I can't stand it any more.

Richard,

I know you don't love me or anything

but maybe you could someday.

I mean, it isn't impossible, is it?

You can't mean all this.

Don't try to stop me.

Terry, I want you to listen to me.

One thing you said is true.

I don't love you.

I don't think I ever could love you.

Maybe if none of this had ever happened,

maybe if I'd never met Helen.

But I'm not Helen.

I could make you happy.

Don't flatter yourself.

( dramatic theme playing )

Get out.

I said get out.

( sobbing )

Thank you.

Yeah.

( buzzer sounds )

Yes.

We're looking for Richard Kimble.

EDITH: We haven't seen him.

I saw him leave this house a half an hour ago.

There's a good chance he's already gotten away but, uh,

we'd like your permission to search the house anyway.

ED: There's no point in that.

SERGEANT: What was he doing here?

ED: He broke in and made us

hide him, that's all.

SERGEANT: Well, maybe he broke in again.

ED: You'd be wasting your time.

SERGEANT: Well, it really doesn't matter.

If you refuse, we can be back here

in 15 minutes with a warrant.

All right, go ahead.

Thank you.

Frank, you take the downstairs.

I'm telling you, it'll be a waste of time.

That's all right. I've got plenty of time.

What's this?

They're looking for Richard.

Excuse me.

And what's this in here?

Just a guest room.

Looks like you had a guest.

This is where he was hiding.

I see.

( dramatic theme playing )

Guest bath.

You see, sergeant, like I--

That's all that's up here?

Just the linen closet.

That window.

Where does it lead?

Out back.

It hasn't been opened in years.

Are you sure?

Well, look, it's painted shut.

SERGEANT: No attic?

ED: No.

Is something wrong, Miss?

I'm afraid Kimble's being here

upset her quite a bit.

You'd better go downstairs, dear.

I--

All right.

I guess he got away before we moved the troops in.

Mrs. Waverley, I heard they were searching the house--

TERRY: Phil!

Hey, honey, honey, what's the matter?

There's no sign of him.

Do you think he got away?

It looks like it.

Oh, that means the chief will have to call that Lieutenant...

...Gerard or something.

I understand he's been waiting by the phone.

Yeah, there, uh--

There may be some questions later.

Thank you very much for all your help.

Of course.

You, uh, mind

if I take your daughter outside for a while?

This whole thing seems to have gotten to her.

If you come back in about an hour,

I'll have dinner ready for you.

Don't bother.

EDITH: Nonsense.

I want to do it.

We'll be back in an hour.

I'd...

...like to thank you again.

Get him out of here as soon as you can.

I have a dinner to get ready.

( dramatic theme playing )

( somber theme playing )

We're far enough out.

You shouldn't have any trouble getting through to South Bend.

Well, look, Ed...

Forget it.

It's all in the family.

NARRATOR: A man tries to arm himself

against the lonely night.

For he knows that at this timeand place

there can be no homecoming

for a fugitive.

( dramatic theme swells )

( dramatic theme playing )