Next: The Fugitive in color.
Mrs. Simpson just phoned.
Yes?
The professor has the car at the rear entrance.
- He said to take the freight elevator. - Thanks.
Gerry, why all the cloak and dagger?
Or shouldn’t I be asking any questions?
Well, I guess you should,
but I wish you wouldn’t.
I’ll run you over to our house and then get back to Stoker.
- What about Caroline? - Oh, that's my worry.
Police. Get down.
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.
The guest stars in tonight's story:
William Windom,
Geraldine Brooks.
Also starring Barry Morse as Lieutenant Philip Gerard.
I don't care. Leave me alone, will you?
Come on, sport, 20 more hours and it's a cool 100.
Forget it. I'm falling apart. I need sleep.
Without you lousy creeps always waking me up all the time.
You made it for three. What's one more night?
Leave me alone, will you? It's torture.
- Shh, shh, shh. - And you too. You leave me alone!
- There's no one there, old buddy. - No?
Come on, pull yourself together. Remember, it's a hundred bucks.
You know what you can do with your lousy hundred bucks.
There you see an example of exactly what I'm talking about.
That young man thinks that all he wants to do is go right back to sleep.
What he is really trying to say is, ''I need to dream.''
You deprive man of his dreams and you deprive him of the release
from whatever psychotic tendencies he may have.
And we all have them, believe me.
A colleague of mine, Professor Fisher, once said,
''Dreams allow each and every one of us,
every night of our lives,
to go quietly and safely insane.''
There, look. Now, that one is dreaming.
This is the signature of a dream, rapid eye movement.
Ken, will you please wake him up?
You see, dreams are very real to the dreamer.
They're like, uh...
Well, they're like a movie in the mind. You actually see it.
The eyes will move, actually following the action.
Is there any way to tell what he was dreaming about?
Oh, he'll only tell us part of it, leaving out whatever
his subconscious has decided that he should not remember.
Things such as, oh, very private desires, dilemmas, secrets.
That must account for all the insomniacs.
Well, we'll take that up next week.
You take away sleep and you take away dreams,
and if you keep it up for a long enough period of time,
those secrets just naturally spill out into waking life.
- Professor Simpson? - Yes.
- Telephone. - Thank you.
Professor Simpson.
Dick.
Hold it a minute.
I have been waiting nine days, eating my insides out.
I was afraid your sister couldn’t get in touch with you.
Yes, yes, he's still here, all right. Where are you?
I'm in a phone booth.
It's on the campus, outside of Thompson Hall.
Well, you see that big building across the green?
Fine. Go past the fountain, turn right through the arcade
and you'll see the science building dead ahead of you.
I'm in room 307. Hurry.
I'll be right there.
Sally.
Sally, uh, break up the class somehow.
Give them next week's assignment on motivation, huh?
Yeah.
A fugitive, a man driven by a dream.
Two dreams.
The daily nightmare, flight from an unjust punishment,
where every town is a hostile town.
And a dream of destiny,
that one town somewhere
where Richard Kimble will find his freedom.
- Dick. - Fritz.
- Seven years, buddy. - it's eight.
- Where is he? - Come on, in my office.
He works in the Maintenance Department
as, you know, a floor sweeper and a sometime gardener.
Makes 75 dollars a week. Calls himself Carl Stoker.
Well, I'm sure his name is Johnson. Where is he now?
Oh, we'll find him.
By the way, I didn't tell Caroline that you were here.
No use making her, well, you know, an accessory.
Sure.
Pretty terrible way to greet an old fraternity brother.
I can imagine more favorable circumstances.
- I can imagine worse. - Yeah, I guess you can.
Well, for the record,
you are gonna be Mr. Gerry Sinclair, a writer out of Chicago.
Medical writer who is going to do a series
on my dream-withdrawal experiments.
Fritz, why are you going to all this trouble?
I mean, lf he's the guy I'm looking for, that's it.
Well, it may be a little more than just ''that's it.''
Hey, we're in luck. There is Carl Stoker.
That is Carl Stoker.
Take a good look at him, Dick. Is that your man?
That's him.
Well, here. Hold on.
But that's him.
He's been here seven weeks. He's not gonna run off now.
He's done it before, Fritz.
It wouldn’t do any good to go out there and just grab him.
- Why did you bring me here? - Well, you need his confession.
Well, I need him to get his confession.
I wouldn’t have asked you to come here
if I hadn't been pretty sure I could deliver Stoker and his confession.
- Pretty sure isn’t good enough. - Bear with me.
How do you get a man to confess to a crime of his own free will?
I don't know. You play on his guilt.
You present him with conclusive evidence, which I haven't got.
Besides, I don't think he's that sensitive.
His brain works the same as any other man's.
And the evidence you need is that far from the surface.
You mean drugs?
No, not drugs. Not hypnosis. None of that. Something much better.
Dream withdrawal.
Now, come on, here, Let me show you our setup.
The thing to do is wear down his defenses naturally,
until we get to a level of truth.
Sort of brainwashing.
Yeah, kind of brainwashing like that, except none of that secret-agent jazz.
Which won't stand up in court.
You won't get a straight confession, no.
All we need from Stoker is some piece of information
that has not appeared on the record.
Something that only the murderer could know.
And you think he'll supply that?
Well, I've been getting secrets out of other people for months now.
Big secrets. Well, shall we go?
I've arranged a room for you at the graduate-student house.
You mean you really think that Johnson will confess
just by keeping him awake?
He can sleep all he wants to. The point is not to let him dream.
We wake him up as soon as he starts.
Then after four, five nights...
I understand the theory, but, Fritz, it's still just a theory.
I can't afford to experiment with Stoker.
Theory? Man, I've been making it work.
How do you plan to get to him?
Well, I've been losing my student volunteers.
They're falling asleep in class, getting behind in their studies.
Now they're gonna let me go after college employees.
- Where do I come in? - Well, I need you to identify him.
And only you would know
what the murderer might have seen that night.
Besides, I thought you'd wanna be in on the kill.
Yeah, but why are you sticking your neck out, Fritz?
Why shouldn’t l? You didn't kill Helen.
- There you are, Professor Simpson. - Mrs. Thayer, this is Mr. Sinclair.
How do you do? Your room is all ready for you.
Good. I’ll talk to you later.
Oh, Fritz, what does Caroline think?
- I didn't wanna involve her in this. - What does she think?
She thinks you're guilty.
I'm sorry to give you the rush act, darling,
but I've got five student volunteers wired to a console
and only two psych majors to run the show.
You are going to fly apart in a million pieces.
I know. it's been rough on both of us.
But the project will be over with in three weeks.
You and your royal road to the unconscious.
I'll be home at midnight.
I should have married a milkman.
-I heard that. -Hm.
Oh, Caroline...
Next year, I get my sabbatical.
You and I are gonna go to Greece.
We're gonna find a little island in the Aegean without a single footprint on it.
Just a couple of hammocks and all we have to do all year long is just sleep.
- Oh, I've got a much better idea. - So do l.
Midnight, huh? Don't watch the clock.
Sally, this is Gerry Sinclair.
Sally is my graduate lab assistant.
- Hi. - Hi.
Gerry is gonna be writing us up for posterity.
I expect he'll be something of a nuisance the rest of this week.
Over here,
heartbeat, blood pressure, and rapid eye movement
are simultaneously recorded and programmed into a computer.
All this paraphernalia. He might panic.
Oh, we'll only be using two small electrodes on him.
It'll be like a piece of tissue on the eyelid.
When the eye moves, we wake him up,
a cup of coffee, a little chatter, and then back to bed.
Without all this apparatus, won't your assistants...?
Well, as far as anyone else is concerned,
I'm testing him only for psychological reactions,
not for physiological changes.
- Well, lf he buys it. - Well, here is the bait.
- You want me to sleep, that's all? - That's all.
- We will wake you when you dream. - I don't dream.
Everybody dreams.
How much you're paying?
Well, besides your regular salary, there'll be $10 for the first 24 hours,
20 for the second, 30 for the third,
and a big fat bonus of 100 if you can get through four days.
That's 96 hours.
How about five days?
It's not quite as easy as you seem to think.
But if you really wanna be a hero, Carl, let's say $30 a day thereafter.
- When do I start? - You've started already.
Sign right there.
What time did you get up this morning, Carl?
Seven. Quarter to.
All right, let's start from 7:00 then.
You go back and finish your day's work.
That'll be your last day this week.
Come back here at 6:00 sharp. And no catnaps.
REM sleep, professor.
Wake him up, will you, please?
Don't worry, he can't see us at all.
What is that? A reaction test?
Just to see how quickly he responds to a given light color.
He's been asleep about an hour and a half.
His reaction should be fairly normal.
Without his dreams, they will become slower.
In time, that becomes our gauge for his mental disorientation.
Oh, you'll see a marked change in the morning.
In a couple of days, he'll be ready to talk.
I've already put a microphone in the ceiling light
and I have a tape recorder set up in my office.
You're not gonna leave Sally with him tonight, are you?
Oh, he'll be asleep most of the time. This is just another experiment, Dick.
He isn’t just another subject.
Yeah, perhaps you're right.
Anyway she goes off at midnight and then Ken comes on.
Ken is an all-conference linebacker.
Twenty-six hours on Stoker. Five attempts to dream.
Well, let him sleep when he wants to.
But lf he starts to dream, you shake him up.
Strong coffee, playing cards,
talk to him, anything, just keep him busy.
Okay.
- Go on, it's your deal. - l don't wanna play no more.
We've only been playing a couple minutes.
Are you kidding? Must be four or five hours.
These cards feel like they weigh ten pounds.
Okay, I’ll be back later.
Come on, Sal, I’ll walk you home.
No, I think I'll stick around for a while.
Okay.
- See you in the morning. - Yeah, see you in the morning.
- Good night. - Good night.
- Here, professor, I’ll take that. - Oh, thank you, Sally.
Sixty-three hours?
Yeah. Yeah, he's beginning to lose his sense of time.
By tomorrow morning, he may start hallucinating.
Why don't you run off home and get some sleep?
- I want you sharp in the morning. - it's a small town by day.
You're a visiting professor.
And by this weekend, you could be a free man.
Who's gonna be with him tonight?
I'm on till 2:00, then Kenny takes over.
Go on, go on, get some rest.
Come on, I'll walk you back to the dorm.
Gerry, 9:00 sharp.
Night people. That's what we are.
Bats and owls and things.
It's like a morgue here at night.
Gerry?
You knew Professor Simpson before this week.
- Yeah, we went to college together. - He's quite a guy.
Did he always get so worked up about everything?
- Hey. - What?
You have a nice smile.
It's almost as if you're afraid of it.
I'm sorry, Mrs. Simpson, but he's in with a subject.
Yes, I’ll tell him that it's urgent.
Long-distance.
I wanna call Stafford, Indiana.
Yes, I’d like to speak person to person to Lieutenant Gerard.
G-E-R-A-R-D.
Line two, lieutenant. Long-distance.
Lieutenant Gerard.
You mean Wellington College?
A woman says she just saw Kimble.
May I have your name, please?
Anonymous.
Anonymous? With a $10,000 reward, I'd sure give my name.
That woman was upset.
Well, I don't feel like I slept.
Like a log for eight hours.
- You didn't dream but you did sleep. - I never dream.
Here
Oh, come on, Carl. Drink it down. it's good for you.
Sixty bucks in the kitty already. Tomorrow, it'll be 160, huh?
Tell me, what was, uh...?
What was a not-so-easy job you pulled?
What's that?
Well, last night, you were saying that there were jobs
and there were not-so-easy jobs.
Forget it. I was just talking.
Fritz.
Caroline.
Caroline?
What's the matter?
Caroline.
Why didn't you tell me you brought him here?
I have the man who murdered Helen.
He's at the lab, in the dream-withdrawal sample.
He's beginning to crack. By tomorrow, he'll tell us anything we need to know.
You're the one who's dreaming.
Well, don't you understand? The one-armed man.
You're even beginning to share his delusions about that man.
It's Helen who's doing this to you.
You've never been able to get her out of your mind.
Caroline...
Oh, Fritz.
Don't you think I know I was the second string?
When Richard took Helen away from you,
I just happened to be around.
But don't kid yourself
that you're doing this to save poor, innocent Richard.
You're doing this for Helen, and that's sick.
Sick? Sick, is it?
What about you? You were supposed to be her best friend.
You've always hated her
just because she and I were engaged for a couple of months.
Engaged? Well, that's one word for it.
I think that you wanna believe he murdered her
because you wanna believe subconsciously
that she deserves being murdered.
I only believe that you are in love with a ghost.
Look, forget about us just for a minute, huh?
- Now, think what that man has gone-- - Teach me.
You're an expert on forgetting us.
I am on the verge, I tell you, of clearing Dick once and for all.
That man is going to confess and he is guilty.
It's too late.
What?
It's too late. I called the police in Stafford.
You did what?
Fritz, I tried calling you first,
but you were too busy with your guinea pigs to come to the phone.
I'm sorry.
Well, we'll have to hide him, that's all.
Oh, just tell him to go.
I need him here, don't you understand?
What for? What for? You've got your one-armed man.
Stoker is coming apart. He's talking about the past.
I need Dick here for that.
Now you've got to help me.
He was staying at the graduate house.
We've gotta get him out of there, that's all.
And bring him here, I suppose?
Gerry.
- He's waking up. KEN: I’ll take it.
Thanks, Ken.
Mrs. Simpson just phoned.
Yes?
The professor has the car at the rear entrance.
- He said to take the freight elevator. - Thanks.
Gerry, why all the cloak and dagger?
Or shouldn’t I be asking any questions?
Well, I guess you should,
but I wish you wouldn’t.
I'll run you over to our house, and then get back to Stoker.
- What about Caroline? - Oh, that's my worry.
Police. Get down.
How is he, Sally?
Well, he keeps trailing off into sleep,
but he tries dreaming almost immediately.
- At least every ten minutes. - Good.
- Reaction's way down. - Hm.
He's beginning to hallucinate.
He says someone's chasing him.
A real latent paranoid.
Not so latent.
What?
No, you don't, Carl. No daydreaming.
Now what do you see? Huh?
Is it a diner by the state line? Or are we back on warehouses again.
What do you see, man?
Yeah, the diner.
- I washed dishes, see? - More than that, wasn't it?
When the boss got juiced once,
didn't you make off with the Friday night receipts?
I want a complete stakeout of the whole town and college.
Lieutenant, Wellington's a town of only 5,000.
Four thousand from the college and a thousand of us locals.
I've only got four men besides myself.
Sergeant's on the desk and Freeman's a floater.
Maybe I should get help from the Highway Patrol.
On an anonymous tip?
All right, I’ll take you and the two you have.
Cover the town with these and we'll cover the college.
I'm only doing this because of Fritz.
I won't be here any longer than I have to.
Yes, just until he's driven that man crazy.
It's not an experiment, it's an inquisition.
And do you know what's happening to Fritz?
He's becoming more Richard Kimble than you are.
He's obsessed with that image.
I know that.
Why must you drag him down with you?
Do you also know that he's not doing this for you?
He's doing it for Helen.
Yes, I know.
You know? Well, then how can you let him go on?
Because I happen to be innocent.
You didn't kill her?
You know, Helen always thought that you didn't like her.
She guessed that it might be because of Fritz.
But that wasn't her fault. Fritz was in love with her.
You don't have to tell me that.
You can't blame people for being in love.
Please, let's skip it.
Our marriage hasn't been everything that we'd like it to be.
Oh, we've been happy as most people are happy.
But Fritz and I have such a capacity for happiness,
really much more than most people.
Only something always seems to get in the way.
Maybe that's what he's trying to get rid of.
Oh, how simple things used to be, at the university.
All we worried about then were football games.
Final exams.
Do you remember our double dates?
Oh, Dick, how we used to laugh,
and all those intense discussions on the plight of the world
which we knew nothing about.
And then summer,
we were always in love with someone.
Maybe just with our dreams.
Oh, pardon me.
Have you seen this man around here?
No, I haven't.
What is in that building?
It's the science building.
Psychology, sociology, chemistry and physics.
Thank you.
Carl, what about the chances you take?
Yeah, I pulled a few jobs. Better than regular work, you know.
Sure, it is.
One good job, you're set up for a year or two.
But there are chances, see? Risks.
Private homes? Straight store jobs? Or just warehouses?
Homes. You can case them better.
You ever get any surprises?
Surprises?
Well, you know, expected them to be out, but they weren't.
Oh, a few times.
- But I manage okay. - Sure, you do.
I can handle it even with this.
- One good hand for a gun, huh? - Gun?
No guns.
Bang, and somebody comes running.
- Then a knife maybe? - Sometimes.
I always find something to use. Sharp or heavy.
Heavy? Such as what?
No, I gotta get some sleep.
Come on, Carl, we're almost home.
- Keep talking. - I gotta sleep.
- Two hundred tomorrow. - Two hun...
Two it is.
- What is it, Sally? - There's a man to see you.
His name is Gerard and he's a policeman.
He showed me a picture of Gerry.
- What did you say to him? - I was shaken up.
He said Gerry's real name is Richard Kimble and that he killed his wife.
Well, he didn't.
What did you tell him?
I said he looked like my history professor.
Good girl.
Come on.
Oh, professor, I'm Lieutenant Phillip Gerard.
Shh, shh. Most of our subjects are in the dream sample.
We have to wake them up, of course, if they dream.
Usually four or five times a night.
They don't like it much but, well, some before and some afterwards.
Professor, we're looking for this man.
I've been so locked up with this series of experiments, I'm afraid that...
Well, lieutenant, do you know anything about dream withdrawal?
We're conducting a rather interesting group of--
Just show this to everyone who comes on the floor.
- We'll be back later. - Very well.
- is he ready? - Gerard was here. Three hours ago.
Well, he's gone for now.
Sally knows about you. Not about Stoker.
- What about Stoker? - He just woke up.
I've got a couple of juniors working on him.
He's beginning to talk about his past mistakes,
something about a Stafford job that backfired.
- I'm coming over. - No, no, now don't do that.
He's just getting into the details now.
Besides, they've got a stakeout.
They're watching for everything that moves out there in the dark.
I'll call you at dawn in time for the kill.
Dick, we're almost there.
Go on, don't stop. What happened then?
She was strong.
Threw an ashtray. Hit me right in the neck.
Did you have her arms pinned or what?
With one arm? No.
I twisted and she fell over backward kind of,
hit her head on a low table.
What is this? Cobwebs?
How did she fall? Huh?
Sally.
Call my wife.
Tell her to get Dick Kimble over here right away.
Move quickly.
Carl, not yet. I'll let you sleep in a few minutes.
Lieutenant, it's beginning to look like a prank.
That has occurred to me.
For what it's worth,
you have the complete cooperation of the dean's office.
At 9, we can start searching the dorms.
- Classes are over at noon Saturdays. - Almost that now. Better get started.
I have a return call to make.
He's getting delirious and so am l.
But at least he's beginning to talk. We're getting it on tape. Let's listen.
What'd he say?
He said that Helen tripped over the lamp cord
and the lamp smashed in the fireplace.
The paper had pictures of that.
When she got up again, Stoker pulled the rug out from under her
so the rug has to be in a completely different position.
Maybe.
Then he hit her three or four times with a chunk of the lamp base.
Yeah, I know. it was black marble.
And when she got up again,
she fell down and hit her head on the coffee table.
At least he said it was some kind of a low table.
Yes, that came out in the evidence. The coroner testified that--
Stay right here till I get back.
Oh, professor.
Lieutenant, you're becoming something of a campus landmark.
I'd like a word with you.
Well, I'm sorry. I have a class at 9:15. That was three minutes ago.
Well, then your lab assistant. The young lady.
She won't be in until 10:00.
I'll wait.
Very well, bore yourself to death.
Thank you, I don't mind lf I do.
Don't you have a class?
Kimble’s here, all right. That's the man he's after.
Call Highway Patrol, roadblock the town.
And tell Chief Terry to pick up Mrs. Simpson.
You're overstepping--
I think you'd better dismiss your class.
- Oh, Henry. - Good morning, Mrs. Simpson.
Good morning.
I'm sorry to bother you, ma'am, but I have a few questions.
Questions?
Do you know this man?
Why would you ask me that?
There's a policeman from out of state who thought you might.
Seems this Kimble fellow graduated from the university
same class as your husband.
Well, that's about the most absurd connection
I can possibly imagine.
He's with your husband now.
- Who? - The policeman. Gerard.
I want you tell me if you've ever seen this man before.
Never mind. I know him.
Then you're the woman who called?
I was scared.
But this has nothing to do with my husband.
Fritz doesn't even know he's here.
Please.
I must speak with Lieutenant Gerard.
Let's get on the phone.
He wants to talk to you.
Yes, I told you, lieutenant,
he is an employee of the college just as we all are.
Look, professor, I'm something of a psychologist too.
I know when I've touched a nerve,
and I know what I see with my own eyes.
That is the man Kimble’s after.
Now there comes a point where coincidence ends
and harboring a fugitive begins.
Hello? Just a minute.
It's Mrs. Simpson. For you, lieutenant.
- Well, it seems-- - Yes, Mrs. Simpson?
Lieutenant, this is the woman who called you yesterday.
Yes, I remember your voice. Why didn't you--?
Listen, my husband doesn't know that I saw Dr. Kimble.
You see, we all went to the university together and, uh...
Where is he? Where did you see him?
Well, it was in town.
Where?
At the graduate-student boarding house at College and Tenth.
- Did Chief Terry reach you? - Yes, he's here now.
I'll meet you both at the boarding house five minutes from now.
Don't leave this building until I get back.
Where's Dick? We've got to find him.
- Dick. - Look, time is running out.
We've got to tie this off pretty fast.
Sally, turn the speaker up softly.
When you hear me getting to him a little bit,
come on in other room, slowly, quietly.
Hurry up.
All right, we're rounding the bend now, Carl.
- How you feeling? - Lousy.
Fifteen more minutes and the money's yours.
Then I’ll sleep.
- What about the lamp base, Fred? - Lamp?
You know, the chunk of marble. What did you do with it?
- l hit her with it. - And then what?
Wiped it off.
- Wiped it off on what? - Her dress.
- What part of her dress? - Piece of pocket, loose.
You say the dress was ripped?
Ripped kind of, when she pulled away before when I hit her.
That was never mentioned before.
He had to be there.
But I had no idea. No idea at all.
All right, you're not accused of anything.
Chief, there's nothing there.
- Have the room checked for prints. - Right.
All right, now, who brought him here?
It was Professor Simpson, wasn't it?
Well, yes.
Mrs. Simpson.
Really, I had no idea, no idea at all.
Then you beat it out of there?
What do you want me to do after that? Hang around?
Tell me how you left.
Out back, around the front, across the street, almost got hit.
- Hit? Hit by what? - By a car. What else?
- Whose car was it? - What do you mean, whose car?
Her husband's car.
How did you know it was her husband's car?
You mean me, don't you, Johnson?
That's right, kid.
Well, take a good look.
Yeah, you're the guy. Looked just like you, Kimble.
Now we're getting somewhere. ''Kimble.''
You killed my wife, Johnson.
Get away from me.
You're all through. it's all over. We've got it all on tape.
- The police, they're coming back. - All right, I’ll try and stall them.
- Lieutenant-- - You've been an accessory.
Forget that. I've got your man.
- Where are you hiding Kimble? - He's all yours.
Come into my office.
- Listen to the tape. - I'm not interested in any tape.
- Where's Kimble? - He has as good as confessed.
- Every detail of the murder-- - Now don't try and sidetrack me.
- I want Kimble. - Well, you've got him.
Kimble, Johnson and the tape.
The chunk of marble...
- Don't you want your killer? - l hit her with it.
Let me go. Get me out of here. Let me go.
Wiped it off on what?
- Kimble! - Here's your man, Gerard!
Follow him!
Don't get in. They'll be watching me.
Back the car up. Straight back.
Mrs. Simpson.
Mrs. Simpson?
Where are you going?
I think I might as well park over there after all. it's easier for me.
Did this man just get on the bus?
Look, mister, I got a schedule to keep.
- We'll be late for the game here. - What's with all the police brutality?
No luck yet, sir.
- Aren't you gonna wish us luck? - Good luck.
You can file the depositions with Chief Terry.
But, of course, your statements are only hearsay.
They're useless without Kimble or Stoker.
That's your loss, lieutenant.
We were wrapping a package for you.
Kimble was to have delivered it personally.
Well, he didn't.
- Goodbye, professor. - Lieutenant.
Sal, how about it? Lunch?
Will you be needing me, professor?
Why, not now, Sally.
I guess you can say our little experiment's all over.
You make it sound as if it were a failure.
No, I suppose in some ways you could even call it a success.
- Come on, I’ll buy you lunch. - Deal.
How about lunch for you, professor?
- You're on. - Not so fast.
- There's a condition. - And what might that be?
Just the two of us. No ghosts.
You don't still believe in them, do you?
I used to.
All right.
Just the two of us, that's all.
For Richard Kimble, the mind's eye is always open,
scanning the nightmare landscape for his pursuers.
He wakes from brief dreams of tomorrow's reprieve,
but they are only dreams.
And he runs on.