All language subtitles for The Fugitive 2x22

( dramatic theme playing )

Boxes of shells
on the front seat.

Help yourselves.

Now, men, Mrs. Mercer
thinks that her girl

may still be in there so, uh--

There he is!

( gunshot )

( glass shatters )

SHERRIFF:
Randy!

You fool, give me that thing.
What are you doing?

Easy, Randy, that might
have been the girl.

Now, listen to me,
all of you.

Before I deputized you
I told you no shooting.

Now, we don't know who's
in there if anybody is,

but the next man
who pulls the trigger

without my permission
is going to get arrested.

Now, you just hold on to that.

Joanne...is there a basement?

Yeah, sure, come on,
I'll show you.

( dramatic theme swells )

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 star
in tonight's story:

Murray Hamilton,

Andspecial guest star
June Harding.

NARRATOR:

( dramatic theme playing )

NARRATOR:
Enter a town for the first time
and if you're a fugitive,

you will try to determine
where the danger is.

Most often, it will
come from the police.

But not always.

Not always.

Afternoon.

Hi.

Cold outside.

Yeah.

What'll it be?

Uh...

give me a cup
of coffee and, uh,

I guess a bowl
of that chili.

You want cream
with that coffee?

No, just black.

See you later, Benny.

You, uh,

want a roll or crackers?

Just some crackers.

Chili's homemade.

You, um--

You from around here someplace?

No, I'm just passing through.

( door opens )

Hello, Randy.

Mel get here yet?

You don't see him,
do you?

You want some
more crackers?

No, I have plenty, thanks.

Boys.

How are you, George?
How's the coffee?

Hot and black.

Thanks for the chili.

Good afternoon.

Good afternoon.

I'm sorry, but we're going
to have to ask you

a few questions
if you don't mind.

What about?

George.

About who you are,
where you're from,

where you're going,
things like that.

Would you care
to sit down?

KIMBLE:
No, thank you.

Are you policemen?

( chuckles ):
No.

None of us are.

We're simply citizens

with a problem
we're trying to solve.

We're hoping
you can help us.

( knocking )

Maybe we better sit down
in the back here, hm?

Come on in, Whitey.

Now, uh, first of all,
may we have your name?

Uh, Bill Martin.

From?

Uh, a lot of places.

Portland, Oregon
not too long ago.

How long ago?

About three weeks, I guess.

You guess?

The, uh, date, Mr. Martin.

There's a calendar
on the wall over there.

Sunday, the 5th.

Oh, thank you
for the ride, Johnny.

Going bowling later on,
aren't you?

Yeah, wouldn't miss it.
We win our championship tonight.

( both chuckle )

COP ( on radio ):
Car two.Come in, car two.

Car two. Go ahead.

The sheriff still with you?
Over.

Sheriff!

This is the sheriff.
What now?

Mel Starling
and his friends

are in Mangus' place again.

They got the blinds down.

You want me to put
car one on it?Over.

No, no, no, no.

I'll handle it.
Over and out.

Sometime last night.

That could be.

There's a night freight
comes through here

every other day.

All right.

That takes us
through the 23rd.

You're doing fine,
Mr. Martin.

Glad to hear it.

How about where
he got that windbreaker?

Yes, the, uh--
The man we're after

was described as, uh,

wearing a jacket
similar to the one you have.

Well, there must
be thousands of these.

Now, I-I bought this in a town
about 200 miles from here.

Oakmont.

The store had a man's name.

A man's name?

Like what?

Fred? Al?

Italian, uh...

Leonardi, that's it.

Uh, you said you were
looking for a man.

Why?

There's a killer loose,
that's why.

He strangled my wife.

His wife was killed
six weeks ago.

Since then, another young woman.

She happened to be my daughter.

I'm sorry.

The, uh--
The strangler uses a--

A piece of plastic clothesline.

I'm sure you understand

our unusual concern
with strangers.

Mr. Martin's not the man
we're after.

Just wait a minute.

I got a couple of questions.

I'm the last one who got a look
at the killer, remember?

How can you recognize anybody?

You're stone cold sober.

What are you saying?

That you drink
too much, Randy,

that's what
he's saying.

The sheriff's headed
this way in a hurry.

All right,
get it over with

and let him
be on his way.

Why? Just because
the sheriff's coming?

The sheriff doesn't much
appreciate our help, Randy.

Okay. All right.

This is a good time
to get him off our backs then.

This guy ain't done nothing.

Let him question him, take--

Take fingerprints
or whatever he wants.

Do you mind answering all the
same questions again?

( ominous theme playing )

Here he is.

Go get him, Johnny!

Hey, you got a permit
for that gun?

Oh, sure I have, sheriff.
You know that.

Now, I warned you people

what would happen
if you pulled this

vigilante business
one more time.

"Vigilante"?

You've lost me, sheriff.

I'd like to lose you,
Mr. Starling.

Sheriff, he's out of sight.
He got away.

Johnny, get on a car radio,

ask the highway patrol to see

if they can throw
a roadblock over

both ends of town,
all right?

We may get lucky.

Now, maybe you people
scared him enough

he'll try and get out
of town before dark.

George, did he handle
anything here?

Did he touch any coffee cups,
plates, anything?

Yeah, he handled this bowl--

Now, don't touch that!

George, give me
a tray, will you?

Sure.

Whose coat is this?

That's mine, sheriff.

Here.

You gonna use scientific
methods, sheriff?

Now, look. This fellow
may have convinced you

he's not the man
we're all looking for,

but he ran.

I'd like to know from what.

From what besides this group
of law-abiding citizens.

( ominous theme playing )

( siren blares )

Joanne?

Joanne, you come
out of there this minute,

do you hear me?

Men, Mrs. Mercer says
that she spotted a stranger

going into one of the abandoned
factory buildings and, well,

her daughter is missing too.

She thinks she may
be in there with him.

The kid plays
in there a lot.

I need about a dozen men
I can deputize.

Hey, sheriff,

you didn't want
our help before

so you can do
without it now.

Is that clear, sheriff?

Now, what the devil's
happened to you people?

Ever since that factory closed
down you've been behaving like

a bunch of stupid children!

( phone rings )

You claim you can't afford
your own police force,

you dump all your problems
in my lap,

and then you try to make
my job impossible.

All right, all right.

I'll try and do the job alone,
the best I can.

Let me tell you people,

you men are turning
this town into a jungle.

Hello, Sheriff Mack here.

Yes, Johnny.

Yes.

Oh, they did?

Yes. Yes, it does.

Yes, it makes a great deal
of difference.

Johnny, get down here
as soon as you can.

Now, the lab has identified
your stranger's fingerprints.

His name is Kimble.
He's a fugitive.

He's been tried, found guilty
and sentenced to die

for strangling his wife.

( dramatic theme playing )

( dramatic theme swells )

( dramatic theme swells )

Hold still.

Don't move, the whole
ceiling will collapse.

( ceiling creaks )

Now, hold on with your hands

and lower yourself down
on this box.

No.

Come on, it's the only way
to get down.

Now, do as I tell you.
Come on.

Hold on with
your hands.

That's it.

( creaking )

Are you all right?

What's the matter?

Nothing.

Um...

You scared me.

I thought you might
hurt yourself.

I come here all the time.

I never hurt myself.

Well, there's a first time
for everything.

What are you doing here?

Well, I was about to ask you
the same thing.

You were?

Well, I asked you first.

Oh.

Exploring.

I've done that.

It's very interesting.

I'm hiding.

Really?

From my mother.

I haven't had to do that
in quite a while,

but she bugs me sometimes,
you know?

Here.

Here, uh, don't--
Don't do that.

I've got something
in my eye.

I'll get it.

( dramatic theme playing )

Boxes of shells
on the front seat.

Help yourselves.

Now, men, Mrs. Mercer
thinks that her girl

may still be in there so, uh...

Here, it's all right now.

Thank you.

I'm Joanne.

Joanne.

This is a pretty dangerous
place for you.

Your mother's probably
worried about you.

She talks so mean
to me sometimes.

There he is!

( gunshot )

SHERIFF:
Randy!

You fool, give me that thing.
What are you doing?

Easy, Randy,
it might have been the girl.

Now, listen to me,
all of you.

Before I deputized you,
I told you no shooting.

Now, we don't know who's
in there if anybody is.

Now, the next man who pulls
a trigger without my permission

is going to get arrested.

Now, you.
Just hold on to that.

Joanne...is there a basement?

Yeah, sure, come on,
I'll show you.

( whispers ):
This is exciting.

Come on.

The basements,
they all connect.

You all right?

Yeah.

Okay.

You promise
never to tell?

Yeah, I promise.

( suspenseful theme playing )

Oh, hello, Mr. Duffield.

My, it's cold today, isn't it?

Sure is.

Here, I'll take those
heavy things for you.

Where's Mrs. Mercer?

Oh, she's a little late today.

But it's all right,

we've already started
without her.

When I pay out good money
for art lessons

I expect the teacher
to be on time.

( chuckles )

Time she gets here,
half the class will be over.

Here now.

I'll set these heavy
things up for you.

I don't know
why I do this.

Honestly, I think
it's a waste of time.

However--

Here, I'll let you
finish it, Mr. Duffield.

Nobody in the world knows how
to get from the pipe to here.

That's my secret tunnel.

My brother helped me dig it out,
but he's a soldier now.

Where are we?

My house.

You live here?

Not here, silly.

Upstairs.

DUFFIELD:
I don't know why I do this.

WOMAN:
Why, Mr. Duffield, I think...

My mama's an art lady.

She teaches people
to draw and paint stuff.

They're not very good.

We have to be quiet, Joanne.

I don't want them
to find us either.

Okay.

You wait here
and I'll be back in a while.

I have to go upstairs
and get cleaned up for supper

or my mama
will flip again.

Don't do anything I wouldn't do.

MRS. MERCER:
Joanne.

Hi, Mama.

Oh, my baby.

I've been so worried about you.

Where have you been?

In the cellar.

In the cellar.

How many times have I told you
not to go down there?

Good afternoon,
Mrs. Mercer.

Don't you worry
about being late, now.

I've taken care
of everything.

Thank you so much.

Hello there, young lady.

Joanne, you go
get cleaned up.

I was just going to.

I'll be right in.

( mysterious theme playing )

( lock clicks )

( mysterious theme swells )

( ominous theme playing )

We have to work
a little bit

on those draperies,
Mr. Duffield.

It's the fruit
that's important.

Yes, but it's--

It's the draperies
that set it off.

( clunking )

Mister?

Hey, mister?

Right here, Joanne.
( screams )

No!

Shh!

Joanne, Joanne,
Joanne.

Please.

Now, please, don't--

Now, don't--
Don't fight me, please.

Now, we have to be quiet

or they'll know
we're down here.

Now, I'm sorry I scared you.

But I had to be careful.

Now, I'll let go
of your mouth

if you'll promise me
you'll be quiet, all right?

Mm-hm.

All right.

( sobbing ):
Look. Look.

My sandwich.

I'm sorry.

I made it myself.

KIMBLE:
It's all right.

JOANNE:
Look what you made me do!

( sobbing )

Now, please.

Now, please, be quiet.

Now, if they know
we're down here,

they'll know
there's another entrance

and they'll find
your secret tunnel.

Now, you don't want them
to do that, do you?

Uh-uh.
No.

So now you've gotta promise
to be quiet, all right?

You promise?
Mm-hm.

All right.

I hate you.

I hope they get you.

Joanne, don't say that. You're--

You're my only friend.

Okay, then why were you hiding?

Well, I told you.
I wasn't sure it was you.

Well, look what you did.

Well, I was scared.

That's why I hid.
I was scared.

Now, you can understand that.

Yeah.

Why were they chasing you?

Well, they say
I did something bad.

They're wrong,
but that's what they say,

so that's why
they're chasing me.

They say that about me
all the time.

They do?

I bet I've done a lot worse
things than you have.

Do you lie to people?

Well, sometimes I have to.

Funny.

They always get after me
about telling lies

and then when I tell the truth,
they look at me just as funny

as if there was
something wrong.

Well, there is supposed
to be something wrong with me.

I guess you know that.

I have what they call
a very low IQ.

Well, there's nothing
wrong with that.

How old are you, Joanne?

I'm 19.
Nineteen.

I have a big body
and a little mind.

Well, you see,
when you have a--

A very low IQ, like I do,

you never have to grow up
or get married

or any of that
silly stuff.

Well, I guess you're
right about that.

Sometimes growing up
isn't much fun.

Or get babies
or anything like that.

I hate them.

They just cry
all the time

and you have to--
You have to carry them and--

And feed them
and stay up all night

and I just hate them.

I'm glad I don't
have to get any.

( sobbing ):
I'm really and truly glad.

I know what you mean, Joanne.

You hate babies too?

No, I don't hate them,
I like them.

And some day maybe
I'll have...a daughter

and she'll be a lot like you.

She'll be nice and...

share secrets
with me and...

bring me pickles.

( laughs and sniffles )

Hey.
What?

You don't have
to eat it.

( chuckles )

Look, I gotta go now,
but I'll be back.

Now, you stay here
and I'll be back.

I promise.

Oh, Joanne, why are you
eating at this time?

You'll spoil
your appetite.

No, I won't.
I'm hungry.

( doorbell buzzes )

I'll go.
I'll see who it is.

Hi.

Hello, Joanne.

I didn't know
you were home, dear.

Sure I am.

How long
you been here?

A long, long time.

Sheriff,
Mr. Starling, I--

Oh, dear, I should have
called you, shouldn't I?

To let you know you didn't have
to worry about Joanne any more.

I'm terribly sorry,

but the art class
was waiting and I--

Uh, Mrs. Mercer,
when did she come home?

She didn't go out.

She was in the cellar and I--

I didn't think to look there.

Did you find your man?

Come in, come on in and I'll--
I'll make some coffee.

Why, thank you
very much.

And Mrs. Mercer,

we didn't find the man.

Joanne...the sheriff
has something to show you.

What?

Oh, oh, Joanne,
we picked this up

in one of those abandoned
factory buildings.

You left it there,
didn't you, dear?

Oh, no.

Well, I mean,
maybe I did,

but not today.

A long, long, time ago.

Joanne, you had it with you
when we talked today.

No, Mama.

Joanne.

No.

No, I lost it a long,
long time ago.

You want them to think
that I'm a liar.

I want you
to tell the truth

because these men
are trying to--

No, you don't. You don't even
believe me when I do.

I don't even know
where they found this doll.

Well, maybe I threw it away.

I don't even want it any more.

Joanne, dear, we're sorry.

We made a mistake.

Of course you want your doll.

Here, now, you--
You take it.

There's going
to be no more trouble.

You go up to your room and have
a nice rest before dinner.

I don't need
a nice rest.

Oh, you don't have to sleep.

Just-- Just read if you like.

I'll call you
when dinner's ready.

Okay?

Okay.

I'm sure she had the doll
this afternoon.

But does it really make
that much difference?

I mean,
she's home safe now

and that's what
really counts.

SHERIFF:
The man is wanted for murder
in the state of Indiana.

STARLING:
They're gonna send a, uh,

police officer up here
to help us find him.

If you thought she was
in the cellar all the time...

Well, that's what she told me.

Why don't we have a look?

Do you mind?

Of course not.

I'll get the key.

There's a--

A light at the bottom
of the stairs.

I'll make that coffee
I promised.

Thank you.

Now, wait right here.

I guess she was
down here all right.

She's here now,

watching from the top
of the stairs.

Let me talk to her.
I've got an idea.

You take it easy on her,
understand?

Joanne.

Come here.

Joanne, I have something
to show you.

I don't want
the sheriff to see it,

it might get you
into trouble, come on.

Come on.

Okay. What is it?

Over here.

You have to if you
want to see.

Honestly, I think
you're a very nice girl.

I'm trying to help you.

Honestly.

Over here.

Now, who do you suppose
could have written that?

Joanne, was anyone
down here with you?

I wasn't a liar.

Joanne,
there was someone here.

No.

No, how could there be?

If you wanted
to hide me here,

and you were my friend,

you could probably
think of some way

to sneak me in while
your mother

was having her
art classes, huh?

I couldn't either.

Joanne, now,
I'm terribly sorry.

You tried so hard
to help him.

I promised him I'd come back.

I'm not a liar.

But he thinks you are.

He wouldn't even wait.

Oh, I hate him.

He even made me
lose the sandwich.

And called you silly.

Leave the child alone.

I hope they catch him!

Where, Joanne?
Where did he go?

"Silly liar,"

that's a terrible
thing to call--

The buildings! The buildings!

He went to the buildings!

Joanne! Joanne, stop it!

SHERIFF:
Johnny,

the girl thinks that Kimble

may still be in the building.
Where's George?

He's right over there.
George!

Never, never take up
with strangers, Joanne.

Now, I've told you that
again and again.

He was nice, Mama.

He was real, real nice.

Honey, he hurts
other people.

He's killed
girls like you.

No, he doesn't.

He helps them.

I almost fell
and he helped me.

And when I cried,

he put his arms around me
just like you do.

Joanne--

Well, he did.

And he said I was pretty.

He liked me.

Joanne, you don't know
how lucky you are.

Now, tell me, dear.

Did you tell Mr. Starling
everything?

I hate him.

I didn't tell him anything.

He made me tell.

Joanne,
he was frightened for you.

He knew the danger.

I know what.

He got scared again.

That's why
my friend ran away.

He heard those men
come in and he got scared.

That's what.

It wasn't me that played
the trick, it was you, Mama.

You let those men
come into the basement.

He thought it was me
but it was you.

He got scared, that's what!

Joanne, I'm going upstairs
to get one of your pills

and you're going
to take it and go to bed.

Now, you sit down
right there

and stay there.

I wasn't a liar.

Not to my friend.

I can prove it.

Mr. Starling made me tell.

( handle rattles )

I'm sorry.

I'm sorry.

They made me tell.

No, I don't want
them to get him.

I don't want them to.

( dramatic theme playing )

( ominous theme swells )

( suspenseful theme playing )

SHERIFF:
Mr. Starling,
will you have your man

turn the light on, please?

STARLING:
All right, John. Turn it on.

SHERIFF:
Johnny, bring four
or five men back here.

I want to talk to them.

George, I need somebody
to go around to the back

of the building and watch it.

Now, you and you--

Will you watch
where you point that thing.

Quick, just go around
to the back of the building

and watch the windows,
all right?

Right.
Let's go, men, come on.

( dramatic theme playing )

Joanne!

( whispers ):
Hey, mister.

You all right?

Stop.

( gunshot )

( gunshot )

SHERIFF:
Think we got him, Jack.

Well, I guess it's all over now.

He was the bad one, not you.

That's right.

Did you write me a goodbye note?

No, I didn't.

Then they played a trick.

They made me tell on you.
I'm sorry.

Now, Joanne, don't be sorry.

You just remember that you
saved my life, all right?

I will.

Is there another way
out of here?

Yeah, come on.
I'll show you.

Right through there.

Goodbye, Joanne.

MRS. MERCER:
Joanne?

Joanne?

I'm coming, Mama.

( dramatic theme swells )

( ominous theme playing )

Looks like we almost killed
ourselves the wrong man.

Yeah, we almost did.

Johnny, drive Mrs. Mercer
and her daughter home,

would you, please?
Yes, sir.

Sheriff, uh...

He did save Joanne's life.

Mrs. Mercer,
he's a fugitive from the law

and it's my duty
to bring him to justice.

That's every citizen's duty.

I'm going to need you.

I'd like you back here
early in the morning.

And bring your firearms.

In the morning? That's seven,
eight hours from now.

He'll be miles--
Do what the sheriff says, Randy.

He knows what he's doing.

Goodnight, sheriff.

Goodnight, Mr. Starling.

Now, bright and early.

And thank you.

NARRATOR:
The night is over,

the town that held a gun
to Kimble's head

is many miles behind,

already becoming part
of the dizzying procession

of towns through which
a fugitive must pass,

searching for the man
who can mean his salvation.

( dramatic theme swells )

( dramatic theme playing )

ANNOUNCER: