"You and me are taking off tonight." "I've got some gear for camping and I hid it behind the gym." "We're going to the mountains." "You ran away before, Sean, and you know that doesn't work." "This time it's gonna work." "I've got the keys to the station wagon." "I've got you to drive." "We'll leave tonight, as soon as it gets dark." "They won't even miss the car till Monday." "Well, you are out of luck, son." "Give me those keys!" "Look, I'd do anything in the world for you as a friend, but not this way." "You double-crosser!" "I hate you!" "You're just like all the rest!" "( dramatic theme playing )" "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:" "Edward Binns," "BrettSomers." "ANNOUNCER:" "( suspenseful theme playing )" "NARRATOR:" "After a while, one town is much like any other." "And even a man running from the law must pause occasionally for the routine of everyday life." "But for Richard Kimble, everyday life is anything but routine." "( whimpering )" "Hey." "What's the matter?" "I lost my quarter." "Boy, am I gonna get it." "Hey." "Is that it?" "Yeah." "Thanks." "All right, Gus, give it back." "I'm warnin' you" "It's" " It's not important." "It's just a quarter." "Gus didn't lose any quarter." "It's just an act he puts on to get money out of people." "That's a pretty good act." "He's always doing things like that." "Is he your brother?" "Naw, she hates me." "We're from Valley Village." "Oh?" "It's just outside of town." "( tires screech )" "It's a child care center, like an orphanage, only some of the kids have parents." "I have to look after Gus a lot." "( suspenseful theme playing )" "( tires screeching )" "Hey, what's going on?" "I don't know." "It's the market." "They held up the market." "( sirens wailing )" "Move it down that way to the left." "All right, everybody back!" "Keep down!" "You two men, move in, span out." "They're out here somewhere." "Know what he looks like, sarge?" "They wore masks." "Just make sure nobody gets out." "5-7, 5-7, come in." "Cover the left over there, cover the exits!" "5-7, 5-7, come in." "Yeah, put Charlie on the horn will ya?" "Here." "Tell him to get those men down here." "Yeah." "( ominous theme playing )" "Well, as far as we can tell, three of them." "They're dangerous, so be careful." "Mm-hm." "Was somebody really shot?" "Yeah, the assistant manager of the market was wounded." "My partner, Ray Weatherby, he's dead." "Oh." "Oh, I'm sorry." "Well, we're covering every road." "State police are sending men." "We're putting a copter in the air in case they try climbing out of the valley." "We'll run 'em down." "We'll run 'em down good and proper." "I hope so." "Well, kids, get in the car." "( ominous theme playing )" "( suspenseful theme playing )" "Hey, kids, don't forget your laundry." "Here, and don't drop it in the dirt." "Who's shoe is--?" "Now, don't scream, Kathy." "You remember me, don't you?" "At the Laundromat?" "What're you doing here?" "You one of the robbers?" "No, Gus, I'm" "Well, I was with you when that happened, remember?" "But why'd you run away?" "Why'd you hide in our car?" "Well, Kathy, that's a little hard to explain." "Look, I know you believe that I'm not one of the men that held up that store." "I know, but" "I-I'd better go." "Can you do me a favor?" "Don't tell anyone about me." "You see, all I want to do is get out of here and get away." "I won't bother anyone, I promise." "We could tell them you were with us." "No, that might not be any good." "You see, maybe they won't believe you." "It would be better if you just didn't say anything, then nobody'd ask." "You see, Kathy, I'm a stranger, and the police are looking for the men that held up that store, and they were strangers too, and" "All" " All I want to do is just get away, if you'll let me." "Thank you." "( mellow theme playing )" "Sean, Sean!" "Can't you knock?" "MAN ( on radio ):" "And assistant market manager on the critical list." "A cordon of armed men has completely encircled..." "We were right near the market." "I could hear the shots." ""Pow, pow."" "And then this stranger hid in the back of the car." "What stranger?" "Come on, I'll show ya." "There he is." "Is he one of the robbers?" "Naw, he's just scared, Sean." "He just wants to get away." "From the cops?" "I guess." "Hey, we're not the cops." "He shouldn't be scared of us." "Maybe we can use him." "( suspenseful theme playing )" "Hold up here." "Keep your eyes open." "Come on." "I know where you can hide." "Who are you?" "Gus told me." "Now, come on." "In here, come on." "They always keep this locked, so nobody'll be around." "The gardener's gone to Selby for the day." "Thank you." "For what?" "Helping me." "Don't worry about it, mister." "You'll be helping me." "( dramatic theme playing )" "( suspenseful theme playing )" "We'll drag the area house-to-house if we don't turn up with something soon." "Well, I'll double-check with the counselors and talk to the staff, but I'm sure everybody's been alerted." "Try and keep the kids out of town." "I'd hate to see any of them in the way, in case of trouble." "All right." "I'll, uh-- I'll do what I can." "Sean!" "Sean." "I've been looking for you all morning." "I've been around." "You know, uh, I didn't get much sleep last night, thinking about what happens on Monday." "Mr. Kovaks, no one said you had to lose any sleep over me." "( whistles )" "Look, Sean, you're not just another number on a chart around here." "You are the only one you can spoil things for." "I'll be okay." "They're gonna call you before that committee on Monday." "Who cares?" "I do, and I want you to." "And that's what they'll want, to see that you really care about something." "Now, you're wanted here, Sean, but if you don't want to stay, all you have to do is face them the way you're facing me now." "You show them defiance and scorn just one more time, they're going to send you to Big S, because that's the only thing they can decide." "You must be pretty sick, you know that?" "Doing this job just so you can be a big man around a bunch of little kids." "( door opens )" "Hi." "Sean said we should keep you company." "He's supposed to be right back." "Oh, he went to steal some food for you." "We have to go in to eat lunch pretty soon." "But, Kathy, I don't want him to steal things." "It ain't any trouble." "It's fun." "The police have gone, I think." "I saw the car leave." "What are all those other cars?" "Oh, those are parents and relatives." "Saturday's visiting day." "How long are you gonna stay?" "Till it gets dark." "( tense theme playing )" "Everybody out." "The gardener's back." "Sean, what'll we do?" "SEAN:" "Head him off." "Just keep him busy so we can get out of here." "Come on." "Come on." "SEAN:" "Hi, Constantine." "Hey, what kind of plants are these anyway?" "What kind of tools are these?" "Hey, boy, I like the color of that sack there." "I wonder why they didn't paint that, uh, door over there yellow, instead of green." "I think it would look better." "Where are we going?" "My room." "There's already been an inspection." "You'll be safe there until tonight." "Look, I'd better take my chances and go now." "You won't get as far as the gate." "I'll call you, and you start coming." "Okay." "Sean?" "Who is your friend?" "My Uncle Pat." "Miss Edmonds." "Well, this is quite a surprise." "Well, I thought I'd pay Sean a visit." "She's my house mother." "Sean has mentioned you, a bit incredibly, but, uh," "I'd like to have a talk with you before you leave." "Is it all right if I show him around in my room?" "You can do anything you want on visiting day, Sean, but it's lunchtime." "Why don't you ask your uncle to eat with us?" "Okay." "( dramatic theme playing )" "Well, I've had all sorts of jobs lately." "I-I guess Sean has kept you pretty well informed." "No, Mr. Thomas." "In fact," "I didn't even know you've been writing to Sean." "Well, I-I can remember starting at least two letters, and" "I forgot to tell you, Miss Edmonds." "When I took off and went home a few months ago," "I found some letters." "Mister, are you really--?" "Ow." "Shhh, Gus." "Don't interrupt Sean's uncle." "Hey, how about some table manners?" "What was it you wanted to ask, Gus?" "Oh, excuse me, there's Mr. Kovaks." "Josh?" "Mm-hm?" "That man over there is Sean's Uncle Pat." "Finally." "Listen, I haven't told him that Sean is up for committee discipline yet." "We'll see." "Sean, do you want to introduce your uncle?" "Well, sure." "Uncle Pat, this is Mr. Kovaks, head counselor." "How do you do?" "We never really expected to see you." "Well, I, uh, just happened to be in the neighborhood." "Would you make a point of seeing me before you take off again?" "Mr. Kovaks, I told you he'd come back." "Yes, well, uh, after lunch." "All right." "( mysterious theme playing )" "Is, uh, this all you wanted to do?" "Just take a walk, show me the grounds?" "No, the walk is for me, Mr. Thomas." "I have to find some way to talk to you without anger." "Am I that, uh, provoking?" "You know he made you into a substitute father." "He gave you more than most fathers ever have." "How can you walk out on a grieving child?" "Well, I'm sorry about that." "No, no, don't say sorry to me." "That boy's life has been kicked to pieces." "It's too late for sorry." "Is that the fault of one man?" "Who you going to blame it on?" "Fate?" "His father is killed, his mother dies, that's God's fault?" "Is that it?" "Sometimes kids, uh, twist things out of proportion." "Proportion?" "You desert a boy while his mother is dying, at his most helpless moment, and just because you come back, he forgives you." "Oh, no, no, mister." "That's" "That's loneliness and desperation out of all proportion." "Well, what's going to happen to Sean?" "Mm." "Maybe you can tell me." "He's afflicted with anti-social behavior." "The courts call it criminal, but to me, it's a disease he caught from you." "If you don't help him now, he's on his way to what the kids call "Big S,"" "the State Mental Hospital at Selby." "Well, isn't that a little drastic for a 12-year-old kid?" "He's run away from two foster homes." "From here, three times." "He fights with everybody." "He's incorrigible, Mr. Thomas." "He doesn't care." "He has never shed one tear." "Well, I'll-- I'll talk to the boy." "I'll see what I can do." "We have a couple of empty rooms here." "Maybe you could stay for a while." "( tense theme playing )" "I'm sorry." "I can't do that." "You'd better" "Go ahead." "You want to hit me?" "Oh, yeah, big football hero." "You'd like it physical, wouldn't you?" "No, but I get the feeling that you would, Mr. Kovaks." "You're looking for some kind of punishment because you failed with Sean." "You know, all of a sudden, I get the impression you're the intellectual type." "That's your option." "But Sean has always described you as a moose, a muscle." "Star fullback in a high school football team." "I played second string, sat on the bench." "That was long before Sean was born." "It's like you said, he built me into something important." "( suspenseful theme playing )" "What are you doin' here?" "Sean, I know what you're planning." "How?" "Why, it's not like spying." "If you get into any more trouble, they'll send you away for sure." "I heard Miss Edmonds and one of the doctors talking." "You better not tell anybody, you understand?" "I-I wouldn't, ever." "You know how I" "We were gonna go steady." "Yeah, yeah, I know." "Sean, if you have to go, take me." "You're all right here, but moving around, you'd just be a drag." "Please, Sean." "Bug off, will ya?" "Lance, wait a minute." "Is there something wrong?" "Gosh, yeah." "Two of the hold-up men were seen on the other side of town." "Which means?" "There were three of them." "That third man could be in this area." "I'm bringing some extra men down to this end of town." "I want you people here to be extra careful." "( door opens )" "Who said you could mess around with my stuff?" "I said you could come in here, not mess around." "I'm sorry." "Hey, let me show you something real neat." "See that great big lion over there protecting his family?" "Shut up, will ya, Gus." "I noticed that, yeah." "Animals, mister, just animals." "Hey, Sean, tell him about old Toby." "Guy, that's a real neat story." "Who's Toby?" "That's his dog." "He ran away." "Not from me, he didn't." "Well, what happened?" "Why do you care?" "They wouldn't let me bring him, so I sold him to an old man." "He wouldn't stay, so he bit the old man." "Drew blood too." "Well, a dog's loyalty sometimes depends on what you do for him." "I fed him, that's all." "Bet the old man fed him." "But you gave him love." "Bologna." "I didn't have to give him nothin'." "He was my dog and he knew it." "Shut up about my dog." "There's a cop outside." "You better stay here and do exactly what I say, because if you don't, I'll tell him all about you." "Now, stay here." "( tense theme playing )" "Josh, why don't you get in?" "We'll take a look around." "Sean." "I told you to stay in my room." "Sean!" "Gus, what are you doing in here?" "Sean." "Mr. Thomas, would you come in here a minute, please?" "Oh, Gus." "You've broken the rules before, but you've never really cheated." "Come on, now, what's going on here?" "You know I always give credit for people who tell the truth." "I don't believe that Gus did this on his own." "I was just coming to tell you, Miss Edmonds." "We were walking by and we saw Gus climbing through the window." "MISS EDMONDS:" "Is that true, Mr. Thomas?" "SEAN:" "Oh, there's Mr. Kovaks and the policeman." "Maybe somebody told them." "Josh, may I see you a minute, please?" "Gus, you know that oath we took?" "You understand, don't you?" "But Josh, I just can't believe this is Gus's fault." "Now Sean's beginning to involve other people." "He needs firm discipline, now." "Gus, why did you have to get into Miss Edmonds' office?" "Was it money you were after?" "Mr. Thomas, how do you think he managed to get in?" "I wouldn't know." "A boy that age would need help." "Did you climb in by yourself, Gus?" "Sergeant, this is Mr. Thomas, Sean's uncle." "Oh, so you belong to our little troublemaker." "He's made me earn my pay more times than once." "I've been hearing that." "We've been double-checking the area for any strangers." "There's a manhunt on for three killers, but I guess you know that." "Any luck?" "SERGEANT:" "Well, we figure they're laying low until dark." "But we'll get 'em." "Josh, anything I can do?" "No, I think I'll just take Gus into my office for a little private conversation." "Gus." "Don't worry." "He won't squeal on you." "Yes, but you would, wouldn't you?" "Yes, I would." "I used to care about you, Sean, but it's hard to go on caring about someone so selfish." "Miss Edmonds, I think-." "Mr. Thomas," "I have 20 children to protect." "Most of them are nice, sweet, cooperative youngsters like Gus." "I happen to think this boy is a bad apple." "Now, I know it's because nobody ever cared about him, but it's too late now to cure it with loving kindness." "He needed firm, consistent discipline, and he never got it." "Not even here." "Sean, I think the Big S is the only place for you, and I'm gonna do my best to see that you go there." "( suspenseful theme playing )" "KATHY:" "Mister?" "I saw you in there." "What's gonna happen to Sean?" "I don't know, Kathy." "Kathy, you know I'm not Sean's uncle." "It's not going to be long before they realize that." "I think I" "I just better go." "I know." "I just" "What Miss Edmonds said, that's where Sean belongs," "Big S." "Kathy, you can help him, if you could just get him to tell the truth about what happened to Gus." "He'd never listen to me." "Anyhow, I don't care." "Are you sure you don't care?" "Sean and" "And Gus are planning to run away tonight." "That's why Sean's been helping you, 'cause he needs you for something." "For what?" "I don't know." "I-I told you, I don't care." "He'll get caught and they'll send him away." "I don't care." "I got the impression that you and Sean were sort of special friends." "Sean's nothing but a big, fat drag." "( sobs )" "( door slams )" "Put the magazine down, Sean." "Put the magazine down, Sean." "( magazine thuds )" "Now, pick it up and put it on that table." "You're gonna get tough with me?" "Now, Kathy tells me that there's something you want my help with." "Dumb girl." "Now, if you want my help, you'll give me the respect and the courtesy to listen to me." "I don't respect you." "You've done something wrong." "You're on the run." "Respect." "Yes, Sean, I'm on the run." "I was convicted of something I didn't do." "The man who really committed the crime ran out on me." "And you took the rap?" "Mm-hm." "It's a lot like what's happening to Gus, right now." "What am I, his father?" "I mean, he's gonna get another lecture, make another visit to the head shrinker." "Anyhow, isn't that how it happens?" "The big guys sell out the little boys?" "You ought to know better than me." "Listen, Sean, nothing's all one way." "Go ahead and talk." "You're still gonna do what I say, 'cause you know I'll turn you in if you don't, and you're scared." "Yes, I'm scared, but I'm used to that, Sean." "What really frightens me is what's going to happen to you." "Don't give me that." "You don't care about anyone but yourself." "You wouldn't help me for a second if I didn't force you to." "Maybe I would, maybe I wouldn't." "You're never gonna know that, are you?" "You know, helping kids used to be my profession." "I was a pediatrician." "A what?" "Doctor for children." "Hey, that's great." "If I get sick or something" "You're not kidding me now?" "No, I'm really a doctor." "Well, if that isn't lucky." "'Cause you and me are leavin' tonight." "I got some gear for camping behind the gym." "We're taking off for the mountains." "You ran away before, Sean, it didn't work." "Yeah, but it will this time." "I got the keys to the station wagon and I've got you to drive." "We'll leave tonight as soon as it gets dark." "They won't even miss the car till Monday." "I was gonna take Gus along, but he's too little, anyway." "What about Kathy?" "Who needs her?" "But she's a friend." "Sean, she looks up to you." "She thinks you're about the greatest thing that ever happened." "You know, the way you feel about your Uncle Pat." "What are you gonna do?" "Run out on her like he ran out on you?" "Oh, who cares about her?" "What does she ever do for me?" "All I need is you to drive that car." "Well, you are out of luck, son." "Give me those keys!" "Look, I'd do anything in the world for you as a friend, but not this." "You better give me those keys or you're gonna be sorry." "I'm your Uncle Pat, remember?" "You told everyone that." "Now all I have to do is walk out that door." "You double-crosser." "I hate you!" "You're just like all the rest." "( dramatic theme playing )" "Sean." "Mr. Kovaks." "Sean, what's wrong?" "I got something to tell you." "What is it?" "Well, go on." "What is it?" "It's my Uncle Pat." "Yes, what about him?" "Well, he's not my uncle." "I never seen him before today." "( ominous theme playing )" "Have you seen Sean anyplace?" "He's gone." "Where?" "I saw him climbing over the fence, about 20 minutes ago." "He's probably headed for town." "If they catch him off grounds without permission, they'll" "I know." "He-- He told Mr. Kovaks about you, that you weren't his uncle." "Yeah, I thought he would." "You're not going to take the car?" "Yes, Kathy." "I'll leave it where it can be found." "( tense theme playing )" "If you have any idea where he might've gone, Gus, you tell me, for his sake." "I don't know, Mr. Kovaks, honest." "We made a pact." "Kathy won't tell me anything, Josh, but the station wagon's gone." "Kathy, dear" "Now, listen, I want both of you kids outside and don't go way." "Come on, come on." "For heaven's sakes, call the police." "They didn't leave together." "I'm sure of that." "I'm not thinking about them." "I'm thinking about you." "Now, there's a proper thing to do." "Now, do it, before you ruin your career." "That boy needs discipline, even if he doesn't need protection." "Oh, please, please, call the police." "You're right." "Your reasons are mostly wrong, but you're right." "( suspenseful theme playing )" "Sean." "Now, stop fighting." "Will you stop fighting everyone?" "Just what's it to you?" "Just what's it to you?" "It's a lot to me." "I got my neck out a mile." "Why'd you stop me?" "You're headed for more trouble than you can possibly understand, Sean." "What's so bad about trying to get away from a bunch of double-crossers?" "They caught you before, Sean, they'll catch you again." "They haven't caught you." "No, they haven't caught me, and I've been double-crossed too." "But a lot of people have helped me." "Now, I'm not just running away to play." "I'm trying to find the man that killed my wife." "I'll bet they let you go to her funeral." "Yes." "Well, not me." "Not my mom's or my dad's." "They said I-- They said I could, but then they said it was over." "They said I was too young." "Uncle Pat said wait until he got a drink, and he'd buy me a new bicycle." "What a bunch of double-crossers." "Look, Sean, you" "You can't blame people for dying." "And if you go on blaming everyone for what your Uncle Pat did, you're never gonna find out if anyone wants to be your friend." "Okay, let's say we are friends." "If I stay with you, if you don't get caught, neither would I." "I'll do this much for you." "I'll do for you what I can't do for myself." "What?" "Take you back." "You liar!" "Double-crosser!" "Now, stop it." "Now, stop it, I don't want to hurt you." "Now, stop it." "Okay, what're you gonna do?" "I'm gonna take you back to Valley Village." "That's a lie." "You wouldn't dare go back." "( tender theme playing )" "Come on." "You got to be crazy." "Now, Sean, you were right about me." "I was like all the rest." "Somebody's got to prove it to you, and not just with words." "Let's go." "( suspenseful theme playing )" "Run." "Make a run for it." "It's too late for that now." "We'd like to have a talk with you, mister." "Go back to your room, Sean." "Do it, Sean." "We're gonna take a little ride down to the station." "Good luck on Monday." "Uncle Pat, stop." "Stop." "Let go, son." "I won't let you." "He is my uncle." "I lied, I lied." "Hold him." "Uncle Pat, no." "No." "Please!" "Please!" "Glen, let him go." "I thought you said you wanted him checked out?" "Oh, that call finally came through." "I'm sorry, Mr. Thomas, but after what Sean said, I had to check you out." "What about the car?" "He borrowed it to take his nephew for a ride into town." "It's all right with us, but you should have asked permission first." "Well, I'm sorry about that." "Everything's all right, then?" "Yes, fine, fine." "Well, I've still got important things to do." "We got two of those men, but I got that third joker to run down yet." "You didn't happen to, uh, run into a short, stocky character, light hair?" "No." "We'll get him." "Good night." "( dramatic theme playing )" "( tense theme playing )" "Kathy, Gus." "Come in here out of that night air." "Mr. Thomas is not gonna go off without saying goodbye to you." "Uncle Pat, are you going to stay?" "No, Kathy." "Mr. Kovaks, can he stay just till Monday?" "Monday?" "Well, yeah." "If the committee calls me in," "I feel like I'll need some help." "Sean, does that mean you'd really like to stay with us?" "Well, I don't want to go to Big S." "I think you'll find the committee pretty easy to talk to if you're sincere." "Uh, Mr. Thomas." "Come on, Kathy." "Before you, uh" "You see, I never met this Uncle Pat, but before Sean came here I checked him out." "There was a string of arrests:" "drunk, assault, theft." "Tonight, that call." "He's serving a three-year term at Joliet." "I don't know who you are, and I guess I don't want to know." "Thanks." "I'll get the car." "( melancholy theme playing )" "Goodbye, kids." "I'm going to miss you." "Me too." "Sean." "You'll write me?" "I'll write to you, Sean." "( quietly ):" "Sean." "NARRATOR:" "For Richard Kimble, there is still no end to his flight." "It could come tomorrow, or next year, or never." "But tonight, Richard Kimble is almost content, for having helped find a home, and an end to running for another fugitive." "( dramatic theme playing )" "( dramatic theme playing )"