Original subtitles

( 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: