ANNOUNCER: Next:
[ANNOUNCER READS ON-SCREEN TEXT]
All right. May I have some identification, please, Mr. Baker?
This is an Ohio license.
It's the last place I worked.
Old men are janitors, Mr. Baker.
What's your story?
It's all I could get for now.
You had a thing going with her, didn't you?
I told you, I just knew her.
How he got in here, whoever it was, either knew her or had a key.
- Bill. BILL: Yeah?
I think we can start looking for someone with dyed hair, black.
[NARRATOR READS ON-SCREEN TEXT]
NARRATOR: 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 man y 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 tonightâs story:
Robert Drivas,
Eduard Franz,
Madlyn Rhue,
Rosemary Murphy.
Also starring Barry Morse as Lieutenant Philip Gerard.
[ANNOUNCER READS ON-SCREEN TEXT]
NARRATOR: A big city.
A jungle of anonymity where nobody looks too close
and everybody is locked in with his own big problem.
A hiding place for a man
â¢ who, at the moment, calls himself Carl Baker.
[DOOR OPENS]
ROGER: What the--?
Look at this.
Well, if it isnât the Duke of Dubuque.
[CHUCKLES]
Hello, Roger.
It's not too late to do a washing, is it, Mr. Baker?
Oh, no, plenty of time, Mrs. Turney.
All week long, I didn't get a chance.
You come home from the late shift dead.
Two kids you gotta do for.
Who's got the pep to go down in the basement and tend to a washing?
- Ever had any kids, Mr. Baker? - Never have.
Ah. A great invention if you got maids, time, money.
You're a lucky woman, Mrs. Turney.
A man with no responsibility, nothing to worry about,
and he tells me I'm lucky. Heh.
- Hi, Carl. - Hello, Liz.
- How goes it? - It goes.
In Venice, they just throw it out the windows.
Well, in Venice, they have canals
and every gondola has a vase full of flowers.
And a cool breeze from the Adriatic Sea.
We've been around, haven't we?
Here and there.
What are we doing here?
What we have to.
I guess.
Walk me home?
Once this is burnished, you'll see the exquisite workmanship.
The Florentines were master craftsmen in the Baroque style.
And this?
This was once an excellent example.
What's out there that's so important?
Liz. She's talking to Mr. Baker.
The janitor?
Ridiculous.
Wanna come up for a nice cool drink?
Maybe later.
We don't have air conditioning, but we have cross ventilation,
and we're far above the maddening crowd.
I...
I don't think I'd be very good company tonight.
You're the most artful dodger I've ever known.
What do I have to do to get you up to my place?
Break a pipe? Blow out all my fuses?
Or is it that I'm not good enough for you?
Oh, Liz.
Well, for openers, I was named after that great Queen Elizabeth.
Not only that, I was named after an age when knighthood was in flower
and chivalry was bigger than The Beatles.
I'm practically royalty.
Well, in that case, I'll be up when I finish my chores.
Well, if youâre very, very nice, I might hand you a knighthood.
Thank you.
Salvation Army hadn't the slightest inkling of the value of the sword.
But as soon as I saw the Roman numerals,
I knew I had something important.
1430.
The Duke of Yarmouth.
Of course, the jewels are gone, the blade's rusty.
But notice the gracefulness, the elegance.
And there, there, the duke's coat of arms.
It's faint, but it's there.
Will you shut up?
Will you just shut up and leave me alone? Could you do that?
I thought you were interested.
I thought you were proud of our heritage.
There are other things, Dad.
[DOOR OPENS]
Hi, Dad, Roger.
Oh.
What have we got here?
Oh, another relic.
Another piece of junk we have to love, honor and respect.
What's wrong, son?
LIZ: You two had your dinner? - None for me, thanks.
How about you, Dad?
I'm not hungry.
Briefs and depositions all day.
And the one good thing that happens to me turns sour.
This is not a piece of junk, Roger.
There's 900 years of history behind this.
The Duke of Yarmouth was a direct descendant
of our namesake, Count de Roland,
who was an offspring of William the Conqueror.
He understands, Dad.
And when it's all over, the lawyers like myself,
the failures, the successes, they'll be dead and gone.
But there'll always be one William the Conqueror.
Another time.
Why doesn't he appreciate this?
Why isn't he proud of this?
He treats our heritage as though it were a disease.
He's troubled, Dad. You've got to see that.
Dying his hair black,
because the men in our line were fair-haired.
Spiting me.
Please, Dad, no more about our lineage.
It's too much to live up to.
Hi.
Did you have a fight with your father or something?
No.
Maybe it's the weather.
You walked out on the chess game last night.
I had you boxed in.
Roger the Conqueror.
You didn't stand a chance.
Well, I think I could have found a way out.
You wanna play now?
No. I've got something else to do.
What?
I don't know.
I feel like I have something big to do and then it sort of gets lost.
You ever feel that?
Yeah, sure.
Now, come on, the board's all set up.
Kids these days. The whole world's a lovers' lane.
Come on, Roger.
You've come back, Your Highness.
Did you forget something?
You know, that kid, he comes down from the kings of France
and all that jazz.
Don't you, junior?
- Good night, sweetie. - Hey.
Let me come up for a nightcap, huh?
Not tonight, sweetie. Maybe tomorrow, huh?
See you tomorrow.
You know, she's got no right doing that out at the hallway.
Come on, sit down, Roger. Concentrate on this.
How are things at home?
I wish I had a job.
Then get a job.
I just can't seem to hold on.
Well, give it a chance.
Nothing seems to make sense any more.
Well, what is it you want to do What are you interested in?
Lots of things.
I just get scared.
And, well, I think I'm not gonna make it.
And I think I'm gonna foul up.
And when I foul up, oh, boy.
Your move.
I've got to make good.
Why is that so important to you?
I've got to, that's all.
You'll make it.
My father's a loser.
Yeah. The more he fouls up, the more he gets hung up
on that family tree business.
It's up to me now.
Why you?
Oh, well, I'm part of a very rare breed. Didn't you know that?
There aren't very many of us left.
That's quite a legacy you've been handed.
Isn't it?
[CHUCKLES]
[PHONE RINGS]
Hello.
Well, Mrs. Murdock, l--
Yes. All right, I'll be right up.
Mrs. Murdock needs some help.
Wait for me. I'll be right back.
[DOOR CLOSES]
You sure know how to treat women.
The way you've got that Elizabeth Roland going.
What do you mean?
Well, being so standoffish. Why don't you give her a break?
She's a nice girl, comes from a fine family.
Not rich, but fine.
And in the long run, that's what really counts.
Marriage isn't a bad institution.
If my husband were alive, he'd testify to it.
I'm sure he would.
You just give that girl half a chance.
She'll make a fine wife. I know.
[UPBEAT MUSIC PLAYING]
[CLICK]
[GASPS]
it's all right, Millie.
What are you doing here? How'd you get in?
I just wanna be with you.
You're out of your mind.
I just--
I wanna tell you that...
...I love you.
Get out of here.
Look, I'm not gonna harm you. I'm not gonna do anything to you.
I just wanna talk to you and I just wanna be with you.
You out out, mister, before you get tagged by the cops!
Get out of here and leave me alone! Get out of here--!
[MUFFLED GRUNTING]
Shh! Shh!
[SCREAMS]
Help! Help!
Miss Brand?
Open up, Miss Brand.
- What's going on? - There was a scream.
Sounds like something terrible has happened.
It's probably just another family quarrel, Mrs. Murdock.
We get ten a day around here.
Well, two months ago, they found a girl â¢ almost half dead on the next block. I
Just before that, there was another frightful incident.
I'm sure it's nothing at all.
In a place like this, you don't know who your neighbor is.
It's not that bad.
You're sure you fixed the short?
It won't flicker and start a fire or something?
I'm sure.
I've got a beautiful cake. We'll have some tea, huh?
Some other time.
Thank you anyway.
She must be dead, all right. She's just laying there.
[PANTING]
[DOOR CLOSES]
[DOOR OPENS]
Where you going?
Something happened. I have to go out for a while.
I thought you wanted to play.
[DOOR CLOSES]
[SIREN WAILING]
2-B must be on the second floor.
Keep everybody in their apartment until we establish a roadblock.
[SIRENS WAILING]
OW: HIV- WI-
You the super here?
I take care of this building and the two next to it.
Get the key to 2-B.
Where could he have gone?
What are you worried about?
[SIRENS WAILING]
I hear police cars out there.
Whereâs Roger?
Okay, folks, let's go home now. Let's clear the hallway.
Come on. You, too, buddy. That's right.
[SIRENS WAILING]
- You the superintendent? - That's right.
Open the door, please.
Okay, AI, call the coroner. Call the lab.
Get the fingerprint man. See what he can find.
- Bill, check those windows. - Yeah.
Mr. Baker, ever see this woman before?
- Yes. - Did you know her?
I knew her.
- Ever fix anything for her? - Once or twice.
Do you let yourself in with that key?
No, I knock and she let me in.
COP: Everything is locked from the inside.
Looks like she was battered with a hard object.
See what you can dig up.
Anybody else beside you have a key to this apartment?
I don't know.
- AI. - Yeah.
There's some green felt stuck to her scalp.
See if you can find something with a heavy base
- like a pen holder, ink well, statue. - Okay.
And check the garbage cans outside as well as the alley.
Okay.
All right. May I have some identification, please, Mr. Baker?
This is an Ohio license.
It's the last place I worked.
Old men are janitors, Mr. Baker.
Foreigners who don't understand the language.
Men who can't hold their jobs.
What's your story?
It's all I could get for now.
You had a thing going with her, didn't you?
I told you, I just knew her.
How he got in here, whoever it was, either knew her or had a key.
- Bill. - Yeah?
I think we can start looking for someone with dyed hair, black.
- Took it from her hand. - Right.
- I had an alibi. - Everybodyâs got an alibi, Mr. Baker.
And I'll listen to yours just as soon as I finish here. You can go.
But don't try to leave the building. We've got the neighborhood blocked.
This is the woman that saw the killer, lieutenant.
She was on her way down to the basement.
I've got to get my sheets out into the dryer.
Well, I'd like to ask you a few questions first, please.
I'll have nothing but wet sheets to sleep on.
I see, but could you tell me your name?
- Turney. - Turney.
Now, you say you saw the killer, Mrs. Turney?
I saw him run out of her apartment.
Mm-hm. Well, can you describe him to me?
Could you tell me what he looks like?
Well, it was dark and he ran so fast and I was so scared.
If I saw him, I could tell.
What color hair did he have?
Dark.
He had black hair.
Oh, he was about 6 feet tall.
And how old would you say he was?
Thirty. Maybe more, maybe less.
I'd know him.
Thank you, Mrs. Turney.
[KNOCK ON DOOR]
COP: Open up. It's the police.
Just a minute.
[KNOCK ON DOOR]
Come on. Open up.
The lieutenant would like a list of all of your tenants.
You got one handy?
Yeah, sure.
- Here you go. - Thank you.
GERARD: This is Lieutenant Gerard, Stafford, Indiana police.
I wanna check on that tenement murder.
I heard a newscast
and the description fits a man wanted here, Richard Kimble.
They said the girl was battered. Was the weapon found?
Well, that fits Kimbleâs m.o.
I'll be on the next flight out.
I'd appreciate it if you could have somebody pick me up at the airport.
Thank you.
Where you going?
A fuse blew in one of those other buildings.
Apartment 3. I'm gonna fix it.
Wait a minute.
Okay, fix it and come right back.
[DOOR CLOSES]
Well, do you have any idea where he could be?
Thanks, Tony.
Probably went to a movie.
Dad, a girl's been murdered.
There are thousands of places he could have gone.
The symphony at Grant Park. The beach.
Any one of those go-go places.
I don't like the way he looked when he left.
Every time something happens, you suspect the worst.
Dad, Roger's sick. You know it.
I don't know.
I know a little love and a lot of loyalty would go along way around here.
[KNOCK ON DOOR]
Who is it?
Carl Baker.
It's a little late for that drink, Carl.
KIMBLE: I didn't come for that, Liz. It's about Roger.
What about Roger? Where is he?
- Isn't he here? - No.
What is it you want, sir?
You may not know it.
A girl was killed in my building a few hours ago.
I think Roger had something to do with it.
Roger left a long time before it happened.
He was in my apartment.
I have a pass key. He had access to it.
That doesn't prove that Roger's guilty.
It was your key.
How do I know that you didn't do it?
- Get me the police. LIZ: Dad.
Stop it.
Mr. Roland, your son is sick.
I just hope he's found before he hurts someone else.
- Hello. - Dad, you can't.
He may be right.
And we can't go on protecting Roger all our lives.
[SIREN WAILING]
Like I said before, it was dark and he ran so fast.
You were frightened and everything happened quickly.
But take a good look at this picture. Who is this man?
Uh-- I'm not sure.
You see, I'm new here.
Come on, Mrs. Turney. You recognize him immediately.
You know exactly who it is, don't you?
You're mixing me up.
The man in that picture looks different.
Picture's 4 years old, but it's the same man, isn't it?
If it'll make it any easier for you, I'm not concerned with the killer of the girl.
I'm looking for this man for another crime.
Why? What's he done?
Killed his wife.
- Oh. - Now, who is he?
Oh, it's hard to believe.
Who is he, Mrs. Turney?
- That's the super, Mr. Baker. - Thank you.
Get a house-to-house Search going for Kimble.
- We need more men, tighter blockade. - Wait a minute.
There's been a crime committed here.
I want the murderer of that girl. He may be two different people.
Now, Mrs. Turney, is this the man you saw running out of the apartment
at the time of the murder?
- The way you men push-- - I'm sorry. You're my only witness.
- Now, is this the man? - We're wasting time.
He had a key, was in and out of the place.
You said you'd recognize him if you saw him.
Now, is this the man or isn't it? Yes or no?
Yes. Yes, that's him.
Try the bureau next.
I don't have to dust the bureau. Kimble's your man, all right.
Perfect match.
Thanks.
You can wrap it up now! .Where could he be? i
He's got to be in the area. I talked with him when we first arrived.
- Sure there's no way out? - No. We got the place complete--
Oh.
There we are.
The murder weapon.
Looks like we've both got our man, lieutenant.
[KNOCKING ON WINDOW]
KIMBLE: Mrs. Murdock.
Who is that?
It's Carl Baker, Mrs. Murdock. Open the-- Open the window.
What are you doing out there?
I'll explain.
Now, what's it all about?
The police are looking for me. They think I killed that girl.
Why, thatâs ridiculous. You were here with me when it happened.
We'll go right down to the police and tell them.
We can't go to the police.
But you were fixing the light. They'll take my word for it.
We can't go to the police.
Well, I don't understand. I'm offering you a perfect alibi.
I know.
You're in some other kind of trouble, aren't you?
Yes.
I've got to find the man that killed that girl.
Do you know who he is?
Yes, I know who he is.
Where do you think you're going?
To find Roger.
The police told everyone in the neighborhood to stay put.
He's been gone too long. Something must have happened to him.
You go out there looking for him and the police will start asking questions.
What will you say?
I don't know.
You don't know the police.
They begin adding things up.
So far as we know, Roger is innocent.
You go out there and they'll suspect him.
They might even shoot him without giving him a chance.
Is that what you want?
COP: It's beginning to look like he got away.
Well, we have covered the first ten buildings and nothing.
Put four more men on. Work both ends.
- Everybody seen Kimble's picture? - Yes, sir.
One of you stay here in case he comes back.
Still damp. Might have known.
[THUD]
Who is that?
Who is that now?
You don't come out, I'll call the police.
Aah!
It's me, Mrs. Turney.
Sorry.
She knew.
No, she didn't, but I did.
Nobody's supposed to know.
Are you all right, Mrs. Turney? Can you make it up the stairs?
- Come on. - Keep away from me.
Keep away from me. I won't tell.
Please, don't kill me.
Mrs. Turney, listen to me--
Help! Help me!
Help!
Help! Help me!
[TURNEY GASPING]
[INAUDIBLE DIALOGUE]
Yes, I see.
All clear in house number 22 and 24 reports nothing.
Well, that narrows us down .to these three buildings. I
Let's pull the patrols in tighter.
Patrols two and four, come in to house number 21.
Six and eight, move up to 19 and stand fast.
Wonât be long now, lieutenant.
Wish I could be as sure.
It's all right. It's not Kimble.
- Who are you? - Roger Roland.
- What are you doing here? - I live here. I was going home.
You got some identification? Give me the list, Bill.
It checks.
Why were you running?
I don't know. I got kind of scared.
Let him go.
- Okay. - Okay. You go on.
Look at this place.
A menagerie of junk.
History instead of life.
- Don't, Elizabeth. - Oh.
William, Duke of Normandy.
Defeated Harold at the Battle of Hastings, 1066.
A descendant of Charlemagne.
In our bones runs the lineage of kings.
Henry II, Richard the Lionheart, the Crusades.
Have I got it all right?
You'll only be sorry later.
Sorry for what?
For knowing names, dates and places?
For spending my life in museums instead of going out on dates?
[DOOR OPENS]
LIZ: Roger.
You all right, son?
Yeah. Why shouldn't I be?
Well, we were worried.
Oh.
Look, I'm sorry I did that to your sword. I didn't mean to.
That's all right.
I've got some strong metal glue on it. If it doesn't hold, I'll weld it.
Oh.
Yeah, they say that when you weld things, they're stronger than ever.
That's true. That's very true.
Isn't it remarkable, Elizabeth?
You break something, mend it, and it's stronger.
Yes, Dad.
Roger, are you all right?
I didn't do anything.
Nobody says you have. I was just concerned. That's all.
Are you hungry? Could I get you something to eat?
- I think we all ought to go to bed. - Yeah.
Roger, what is it?
They're after me.
Everybody's after me.
[KNOCK ON DOOR]
KIMBLE: Carl Baker.
Don't let him in.
He wants to hurt me.
[KNOCK ON DOOR]
I wanna talk to you about Roger.
You shouldn't have tried to hold me.
I tried to help you, Roger.
You've got to give yourself up.
Don't listen to him. He's a murderer. He killed his wife.
I heard the police say so.
I knew it.
I knew he was the murderer.
Roger, you might kill someone again, like Millie.
You tried to kill Mrs. Turney.
Mrs. Turney?
He thought she could identify him.
Well, if youâve got a witness
and you're so sure that Roger did the killing,
why didn't you go to the police yourself?
Because he's the one who killed the girl.
I didn't kill the girl.
And I didn't kill my wife.
See, Roger's my only way out of here.
If he goes to the police, they'll stop looking for me.
But he didnât do it. Why should he give himself up?
Your son's sick, Mr. Roland.
He needs help.
If he goes to the police, he'll get the kind of help he needs.
Don't listen to him.
They wanna take me.
He wants to hurt me.
Nobody is going to hurt you, son.
You may fool my daughter, but you can't fool me.
My son is innocent.
Get me the police.
And don't do anything foolish.
These guns are in perfect working order and this one is loaded.
- Dad. - You stay out of this.
Police headquarters?
My name is Edward Roland.
I live at number 8 Third Street. Apartment 3-A.
I have the killer of Miss Brand in my apartment.
Hurry.
You saw Millie in the hallway, making love to that boy, didn't you?
He was a pig.
You took my key, let yourself into her apartment.
She was getting ready for bed.
She was beautiful.
You didn't want to hurt her.
No.
I loved her.
But she got scared and screamed.
- Don't. - Stop it!
I didn't wanna hurt her.
I thought that-- I wanted to talk to her.
She was beautiful.
She--
She was so beautiful. I would never hurt her. I loved her.
L-
Help me. Oh, please, help me.
Help me.
Dad, give him up.
No.
MAN [OVER RADIO]: Edward Roland.
Number 8 Third Street, Apartment 3-A,
Sloan. Ten-four.
What are you holding on to?
The aristocratic genes living in 20th century filth?
Is it worth a man's life?
Yes.
[KNOCK ON DOOR]
it's the police. Let us in.
Dad, please. Please, you've got to give him up.
Open your eyes. Look at your son.
Please, Dad, before he kills somebody else, give him up.
[DOOR HANDLE RATTLING]
If you're in trouble, Mr. Roland, yell. We'll break in.
Cover me.
Dad, let him go.
Just a moment, officer.
[DOOR CLOSES]
- Where is he? - There he is, sir.
GERARD: We're not looking for him. Kimble.
- Kimble? - The super. You said he was here.
No, I didn't say that.
I said I had the killer.
My son.
- Okay, Sam. Let's get out of here. - Yes, sir.
Lieutenant, I want that building searched again. All of it.
[KNOCK ON DOOR]
You again?
We've got orders, Mrs. Murdock.
Three times, you've been here.
You come in once more, I'll charge you rent.
What do you think?
Block off the whole street and still that guy gets away.
Maybe you'd like to have coffee served with that look, huh?
All right, that's enough. Out. Come on.
It's okay.
Thank you.
Listen, I know you didn't kill the girl and the least I can do is help a little.
[SIREN WAILING]
NARRATOR: One man is still the hunter.
And the other is still the fugitive.