"Johnson, can you hear me?" "( shutter clicks )" "I'm doing everything I can to save you." "And I'm gonna keep on trying, but you have to tell me the truth, and you have to tell me now." "Did you kill her?" "Did you kill my wife?" "( dramatic theme playing )" "NARRATOR:" "( dramatic theme playing )" "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:" "Janice Rule," "Kevin McCarthy." "Also starring Barry Morse as Lieutenant Philip Gerard." "ANNOUNCER:" "( siren wailing )" "( horn honks )" "Barbara." "Why didn't you write me or phone?" "I'd have, uh..." "You'd have what?" "Baked a fatted calf?" "Marched on the brass bands?" "Well, something like that." "Mm." "How are you, Barbara?" "How do I look?" "Restless." "No, just busy." "Romping my way through middle age with flashgun and lipstick." "They painted the police station." "Looks yummy." "There's no new angle if that's what you're looking for, Barbara." "The congressman's wife was surprised by a prowler, and he panicked and killed her, and that's all there is to it." "The other two wire services have put that out two or three times already." "Well, I'll write it again if I have to, but differently." "Through the eyes of the hometown gal." "Still competing, huh?" "And winning." "Don't worry, I'll give it to you if I dig anything up after I put it on the wire service." "All right." "Thank you." "Old Chief Blaney's as imaginative as ever picking up transients." "Five dollars to $3 he gets his man that way." "No bet." "You're too lucky." "Where the devil is he keeping all of them?" "Never been more than eight people in that jail even on New Year's Eve." "He's fenced in the parking lot out back." "A regular concentration camp." "Charming." "Let's take a look." "HERB:" "Excuse us, please." "Excuse me." "We got a, uh, more interesting type of, uh, transient here than you do in the big city, wouldn't you say?" "No new angles, huh?" "Whistle, Herb." "Make that man look up, will you?" "Who?" "That guy with the one arm missing." "What for?" "You told me once a reporter had to have a memory like a sponge." "Remember the Richard Kimble case?" "How he kept talking about-- Oh, come on, Barbara." "Why do you wanna get some poor bum into trouble you never saw before in your life?" "Hey, mister, look up, will you?" "( dramatic theme playing )" "NARRATOR:" "A fugitive is usually a man without a goal, aimlessly fleeing the furies that pursue him, but for Richard Kimble, there is a goal:" "a phantom who has himself become a fugitive." "And Richard Kimble, in turn, now becomes the hunter, but another hunter is also on the move." "( gentle theme playing )" "( all chattering )" "Here he comes." "Herb, Barbara, gentlemen." "Well, we found him." "His name is, uh, Walter Barker." "He's confessed to killing Congressman Gilman's wife." "A transient?" "Yes." "He's got quite a record." "The M.O. fits and so do the fingerprints." "Oh, I'm, uh" " I'm having copies of the confession made for you." "Uh, well, I guess that's it." "Chief, hold it for a second." "Oh, thank you." "( shutters clicks )" "You've all been very cooperative and I appreciate it." "Oh, I'm sorry it didn't turn out to be more exciting." "Hey, chief, how many arms does Walter Barker have?" "Oh, at least two." "( all laughing )" "Too bad, Barbara." "Looks like you missed your, uh-- What's that word?" ""Stoop," isn't it?" "No, no, that can't be right." "Uh, "snoop"?" "I think the word is "scoop."" "and you say it when you run in and yell "stop the presses."" "That's if you can run in high-button shoes." "Don't sweat it, Barbara." "Your story didn't get anybody killed this time." "There's only one thing wrong with the newspaper business, that's the people in it." "Come on, I'll buy you a cup of coffee." "Clowns." "No, no, no." "They're not clowns, they're newspaper men." "And good ones." "Do you want that coffee?" "All right." "( suspenseful theme playing )" "( suspenseful theme playing )" "Who's he?" "( dramatic theme playing )" "Okay, Charlie." "All right, you men." "You'll be released in the same order you were booked." "I'll take you three at a time." "( men chattering )" "GUARD:" "Feeney." "Thomas." "Masmussen." "( dramatic theme playing )" "I didn't call your name yet." "Outside." "But" "You heard me, outside in the compound with the others." "I'll call your name later." "Now, get outside." "Let's go, move, move." "Okay, smiley, keep moving." "( ominous theme playing )" "Hey!" "Hey." "Hey, somebody stop him." "( car starts )" "( tires screech )" "( ominous theme playing )" "That's Kimble." "( horn honks )" "Come on, doctor, I think we can catch him." "( engine starts )" "Barbara!" "Don't worry, Dr. Kimble, we'll catch him." "( exciting theme playing )" "You don't have a gun, do you?" "No." "We're not going that fast." "It's enough for this road if we want to stay on it." "( tires squealing )" "( dramatic theme swells )" "( gentle theme playing )" "( shutter clicks )" "Is he the right one?" "The man you saw, I mean." "Yes." "Are you sure?" "Yes, I'm sure." "Is there... a way you can get your car down to the bottom of this gully?" "Sure." "What for?" "You mean, he's still alive?" "He's alive." "He must have been thrown clear." "No broken bones, as far as I can tell." "I don't know how bad it is inside." "What are you gonna do?" "I've gotta keep him alive somehow." "Listen, there's a girls' camp not far from here." "A summer camp, probably closed for the winter." "Why don't we take him there?" "You can treat him yourself." "What's it like?" "Fancy enough to have first aid equipment." "Okay." "I think we better make a deal." "What kind of a deal?" "Well, I want an exclusive on you, on him, on everything that's happened and that's going to happen." "All right." "One more thing:" "You have to promise to testify that you forced me to help you, if it comes to that." "All right." "It'll take me about ten minutes." "You say you heard this man shout, "Stop him!"" "Yes, sir." "But you didn't get a good look at him?" "No, sir." "He was way around the back." "No word from the roadblock." "We might have been too late in setting it up." "We'll do everything we can to help you, but, actually, it" " It could have been almost anyone." "Some enemy of the man who ran off." "Another transient, maybe." "I realize that." "And thanks for your offer of help." "The first thing I'd like is a radio car and a driver." "I'll see to that myself." "Oh, uh, Warren, come with me." "Uh, three people were on the street who say they saw this man get into a brown hardtop driven by a woman." "Do you know who that might have been, Mr. Malone?" "Uh..." "I'm asking you a question, Mr. Malone." "The woman who drove the hardtop." "Do you know who she was?" "There are quite a few hardtops around town, lieutenant." "Brown ones too." "Yes." "One more thing." "I'd like to talk to this reporter who wrote the story that brought me here." "Um, Barbara Webb." "I'm pretty sure she's left town by now." "Where's her home?" "Dayton." "I have her number in my office if you need it." "Thank you." "Oh, uh, did she drive here, Mr. Malone?" "I believe she did." "What type of car?" "Brown hardtop." "( dramatic theme playing )" "( door opens, shuts )" "I found this by the swimming pool." "A resuscitator, isn't it?" "Yes." "What do you think?" "Well, he hasn't lost much blood." "Concussion, probably." "Shock." "I don't know how deep." "Respiration fair, pulse fair." "At least he's alive, hm?" "( shutter clicks )" "You're a reporter all the way, aren't you?" "If I weren't, you wouldn't be here." "You wouldn't have found him." "What are you gonna do if he doesn't make it?" "You're not living up to your end of the bargain, doctor." "If I'm gonna write a story," "I've gotta have a few answers to questions." "All right, I'll give them to you, but not right now." "Hm." "A man of many identities, not one of them the same." "Oh, wait." "Here are two of them." "Looks like a receipt for a blood donation." "He sold a pint of blood for $6." "Fred Johnson." "Well, at least you've got a name." "I'm gonna need another one of these, Miss Webb." "Oh, no, I'm not leaving here." "This is where my story is." "I've gotta keep this man alive." "How do I know you can?" "How do I know that while I'm away he won't die and there'll be nothing to keep you here?" "You're my story, not him." "Anyway, from my point of view, it doesn't make any difference whether he lives or dies." "Yes, it does, because he's going to live." "I'm going to see to it." "Even if I have to use force to take your car keys or whatever else I have to do." "You're threatening me, doctor." "I have a lot more to lose than just a story by trusting you." "This man killed my wife." "You might be a witness to his confession." "That way, it makes a better story if he stays alive, even from your point of view." "Okay." "Need anything else besides the oxygen tent?" "I need a" " I need an IV kit." "Do you know what that is?" "Mm-hm." "You'll need a prescription." "Don't worry about a thing." "I still have a few friends in this town." "Anything else?" "I need a quart of, uh, ordinary saline solution with five percent glucose." "And some food." "Soup, I guess." "Any kind." "I think you're right about it being a better story." "If I don't change my mind, I'll be back alone." "( gentle theme playing )" "MAN ( on radio ):" "Car 7, over." "Car 7." "Go ahead." "Any sign of her?" "Over." "No, no sign of her, but I'll be here." "Don't worry." "Car 7 out." "Out." "Well, she hasn't checked out either." "So we'll just have to wait." "I guess you've seen that message from her Dayton office." "They haven't heard from her, and her landlady hasn't." "She's still gotta be around here somewhere." "Did you know this Barbara Webb when she lived here?" "Only to say hello to." "She worked on the paper." "She was Malone's secretary and then his top reporter, wasn't she?" "Yes, then she went to Dayton and the bigtime wire service." "Do you know if there was ever anything more than a business relationship between them?" "Well, I" " I hear there was at the time." "I" " I think they were gonna be married." "Yeah?" "Well, what happened?" "He fired her about three years ago and then she left for Dayton a week later." "I hear he's been back there to visit her a time or two, but this is the first time she's been back here." "He fired her?" "Yes." "You remember that Wilcoxen case about three years ago where the, uh--?" "The banker was kidnapped?" "Oh, yeah, the man was killed, wasn't he?" "Well, the Webb girl was covering the story." "She got hold of some information which she shouldn't have, and she printed it, which she shouldn't have." "They blamed her for the victim being killed." "Oh, I don't know whether it was her fault or not, but Malone was pretty sore." "He fired her the very next day." "It doesn't seem to have changed his feelings towards her." "WARREN ( on radio ):" "Car 7 calling headquarters." "Over." "What is it, Warren?" "Over." "She just went in to the hotel." "Over." "Lieutenant's on his way." "Out." "Okay." "Over and out." "( dramatic theme playing )" "( dramatic theme playing )" "( dramatic theme swells )" "( gentle theme playing )" "You're sure this is Malone's office?" "Yes, sir, the back door, but I don't get it." "Hospital, groceries, gas..." "Now an old boyfriend." "We'll wait five minutes." "If she doesn't come out by then, we'll go in." "Herb, I need your car keys." "Barbara, where the devil have you been?" "I'm on the biggest story of my life, but somebody's following me." "A police car, I think." "They're parked outside." "I need your car." "Switching cars isn't gonna help if they know you're in here." "Barbara, listen." "You're in the biggest trouble in your life if you're up to what I think you're up to." "No matter what happens, I can't get into any trouble." "Herb, please, it's the biggest story of my life." "Thank you." "Now, listen, get" " Get in my car and make sure they follow you." "Where?" "Anywhere." "Just keep them busy till I can get away." "You mean I play decoy?" "Herb, trust me." "Give me one more chance." "One more favor, please." "All right." "Which way are you going?" "North." "Barbara." "Barbara, listen." "If there's any trouble," "I'll contact you on your CB radio." "You promise?" "I promise." "All right." "( ominous theme playing )" "( car door shuts )" "( car starts )" "( engine starts )" "( shutter clicking )" "How many pictures do you need?" "Hard to tell, doctor." "I wanna make sure the supply's as great as the demand." "( shutter clicks )" "Something wrong?" "Well, he's been unconscious for some time now." "I'm not sure I should continue treating him." "Is he going to die?" "He might." "Johnson, can you hear me?" "We're doing all we can to save you and I'm gonna keep on trying, but you have to tell me the truth, and you have to tell me now." "Did you kill her?" "Did you kill my wife?" "How do you feel at this moment?" "I just feel tired and exhausted." "How long have you been awake?" "Uh..." "Uh, since I read your article and saw the pictures on Thursday." "This is Saturday." "Listen, why don't you go to sleep?" "I can watch him." "Listen, you're not gonna do him any good, the shape that you're in." "Now, come on, get some sleep." "Here you go." "All right, but just for half an hour." "If he wakes up, you'll-- You'll call me." "Okay." "Why don't I--?" "Why don't I type up a confession so he can sign it?" "Good idea?" "Good idea." "GERARD:" "Malone." "Up late, aren't you, lieutenant?" "I wanna talk to you." "Well, is this an arrest?" "No, but it could be arranged." "No need for that." "Come on in." "Come on in." "Sit down." "I wanna know who that man was with Barbara Webb this afternoon and where she's gone with him." "I don't know." "I hope you enjoyed your drive this evening, Mr. Malone, because it's gonna cost you." "You'd have a tough time proving I broke any laws and you know it." "Now, I've been a newspaperman almost as long as you've been a cop, lieutenant, and I am not easily intimidated." "There's something else we both know:" "If that man with her is Richard Kimble," "Miss Webb will go to prison for a long time." "I was just out taking a little drive in her car." "You fired her for just this sort of thing, but you're still in love with her, aren't you?" "( chuckles softly )" "None of your business." "You know, I dug out the files of the Kimble case this afternoon, and the state disproved Kimble's story of, uh, seeing a one-armed man." "At least, that's what convicted him." "Do you share that view?" "The jury chose to believe that Kimble invented a man with one arm." "Well, then, why are you looking for Kimble around here, if that man is an invention?" "Because he's come to believe there is such a man." "Any psychiatrist will tell you such a delusion is by no means unusual." "In fact, I've discussed Kimble's obsession with several of them." "It's the only way he can live with his own conscience." "You're pretty sure of that, aren't you?" "Yes, I am." "I can't help you, lieutenant." "But you would if you could." "( somber theme playing )" "( ominous theme playing )" "Please..." "Please..." "Will you sign a confession?" "Here." "( somber theme playing )" "Doctor." "He's dead." "He's lying on the floor, dead." "I heard him fall, but by the time I got to him, he was dying." "But I got him to sign this." "A deathbed confession is admissible evidence anywhere and I'll witness it." "( grunts softly )" "( grunts )" "( dramatic theme swells )" "( gentle theme playing )" "Here." "Oh, no, I don't want to give him anything to eat until he's fully conscious." "It's for you, doctor." "Barley soup." "Thank you." "How's he doing?" "No change." "He's not any worse either, is he?" "I don't know." "He could have internal injuries, damage to the heart, an infection somewhere." "Does it really matter?" "I have no way of taking his blood pressure or getting a blood count." "He's sleeping part of the time, probably he's conscious or he's faking." "The oxygen is running out and so is the IV." "He has to go to a hospital." "I don't really understand." "Does it matter whether he lives or dies?" "What?" "I mean, he's a confessed murderer." "He'll probably be tried, convicted and executed." "And besides all that, he murdered your wife." "Yes, I know." "Oh, I see." "It's the doctor bit." "Arrowsmith, Hippocrates and all that." "After all the running and the fear and the misery." "One of us is going to have to get in that car and find a phone." "Don't you understand?" "He'll deny everything." "Probably." "But I do have a witness." "Yes." "There's a citizen's band radio in Herb's car." "I can probably reach him right now." "Tell the ambulance crew to bring some, uh, type B negative whole blood." "You know, the police will probably come along and your Lieutenant Gerard." "I hope so." "( siren wailing )" "Seems to be holding his own." "Probably a lot better off than I realize." "Can you tell me what your personal feelings about the man are?" "I think you better ask me that some other time." "I will." "You're my exclusive, you know." "My pleasure." "Think you'll ever get married again?" "I don't know." "Maybe." "You throw away more than you keep." "Practice makes perfect." "Practice makes a lot of paper." "I really thought he was dead." "He was going to sign it." "I'll swear that he did sign it." "But he didn't." "That's the first thing he'll tell them." "And any handwriting analyst in the world would back him up." "It's gonna make it a lot harder without that confession, but I gotta find a way to make him do it." "You're not going to turn yourself in, are you?" "He's got to tell them what he told me." "But what if he doesn't?" "He will." "But you said they'd spot the forgery." "The confession is a forgery." "I mean, is there any other evidence?" "No." "What happens if you turn yourself in and they can't make him confess?" "That's a switch." "Don't tell me you care." "I just don't wanna see you dead." "The story came first." "I only honestly wanted to help." "( distant siren wailing )" "Doctor, you've gotta get out of here." "There's nothing more you can do here." "Johnson's certainly not gonna get up and run away now." "Doctor, go." "Tell Gerard I swear this is the man." "Tell him he must get a confession." "Tell him everything that happened here." "I'll try to get in touch with him myself." "I will." "Fred Johnson." "What?" "That's his name." "( dramatic theme playing )" "( distant siren wailing )" "Warren, check those cabins." "You two come with me." "Better give me that." "Where's Richard Kimble?" "He's innocent." "That's the man who killed Kimble's wife." "He confessed to it." "Barbara, listen, please." "Don't" "I want Kimble." "Where is he?" "I don't know." "He" " He left when I was calling you." "He was here and you brought him here." "Of course I brought him here, but if you'll just" "You'll have plenty of opportunity to explain." "You're under arrest." "( somber theme playing )" "( siren wailing )" "Not a sign of him, sir." "All right." "Take Malone's car." "( somber theme swells )" "( somber theme playing )" "( car starts )" "Dr. Kimble asked him, "Did you kill my wife?"" "and he nodded, "yes." I saw him." "Of course he nodded." "He was afraid Kimble would stop helping him." "But your problem is still this:" "Either you tell me where to find Kimble, or you go to jail." "Lieutenant, no matter how she feels now, she certainly wouldn't have helped Kimble originally unless he'd forced her." "I could say that to a jury, and they would probably believe me, but it is not true." "And I do not want this story colored by one untruth." "Kimble recognized that man from my feature story and came here." "I helped him chase him." "I watched him save his life, and I witnessed a confession." "You've got to make that man confess." "He's guilty." "I know he is." "He's guilty of car theft." "That's all we know up to now." "We sent an officer to the hospital to keep him under surveillance." "But you will talk to him again about Kimble, won't you?" "Oh, yes, and about you." "And if he confirms that Kimble was there, you've bought yourself a lot of trouble." "Lieutenant, your home office wants you on the phone." "I'll take that camera, please, Mr. Malone." "Ah." "( door shuts )" "Well, I'll probably do my best writing in a cell." "Oscar Wilde did, you know." "Oh, maybe the one-armed man-- What's his name?" "Johnson." "will keep quiet about it." "Be better off if he does." "I've got over 30 pictures of Kimble and Gerard's got the camera." "Well, what good is an empty camera?" "Another favor, huh?" "I'll collect someday." "You know, I think maybe you will." "One forty-five over 70 with a pulse, 80." "You're in pretty good shape for an ambulance case." "I should be in such good health." "Well, I'll line up a ward bed for you and get you some chow." "You hungry?" "Yeah." "Good." "You have to be to eat the food around here." "( phone rings )" "( sighs )" "Cassidy." "Yeah." "Sure, send him up." "You're gonna have, uh, company for a while." "A cop." "( mysterious theme playing )" "( door thuds )" "( man grunts )" "( mysterious theme playing )" "( mysterious theme swells )" "I'd like to make a person-to-person call to Lieutenant Philip Gerard at the Baker City Police Department." "Yes, it's G-E-R-A-R-D." "That's right." "I'll wait." "NARRATOR:" "And Richard Kimble waits, not yet aware that his hope for salvation has again disappeared." "Waits to be reminded by Lieutenant Philip Gerard that he is still as much a fugitive as before." "( dramatic theme playing )" "( dramatic theme playing )"