The Fugitive (1963) s02e04 Episode Script
When the Bough Breaks
Are you the one she was traveling with? Well, not exactly.
I hopped this freight and there she was with the baby.
You ever been around here before, Mr? Broderick.
And no, it's the first time.
I'm from the coast.
The coast, huh? Okay.
Come along.
I think you'd better talk to her.
Broderick, we have to find that baby.
( suspenseful theme playing ) What's the matter? He look familiar to you? He matches the description we got.
Yeah, but that face.
Oh, never mind, it'll come.
( dramatic theme playing ) 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 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: Diana Hyland.
Lin McCarthy.
Royal Dano.
ANNOUNCER: ( ominous theme playing ) NARRATOR: Grand Forks, North Dakota.
It is 26 months since the escape, and still another city has become a blind alley for Richard Kimble.
The man with one arm, author of the crime for which Kimble was to die, remains elusive.
And again it is time to move on.
( loud clunk ) ( wheels grinding ) ( suspenseful theme playing ) Bless you, brother.
Another 30 seconds and-- And that long, blue arm would have grabbed the old preacher and shaken all the good works out of him.
You looked like you needed a hand, that's all.
And you know, the hand did appear.
And a good, strong arm to go with it.
They call me Preacher.
Pete Broderick.
Peter.
Well, they named you after the wrong saint, brother.
Christopher, that would've been more like it.
Ah, now we are three.
KIMBLE: The lady will have to introduce herself.
Your wife? No.
That's all right, brother, even if it's just in the eyes of the Lord.
I never saw her before five minutes ago.
What's your name, child? Carol.
Oh.
Well, I'm called Preacher, and this is Mr.
Broderick.
Now, where are you bound for, sister Carol? Fargo.
( baby crying ) Now we are four.
Don't touch him.
Oh, we mean you no harm, no harm at all.
To you or to the little baby.
But you can't blame us for being a little surprised by it all.
It's none of your business.
Well, that's true, sister, but-- It's no place for a child.
How old is he? Four, five months? Five months, but he's my baby and I can take him anywhere I like.
Look, I don't have the money to go any other way.
No money at all? Where did you say you preached, brother? Wherever I'm needed, brother.
In the very depths of a coal mine, or in a mansion on a hill.
Wherever I'm needed.
Well, where might you be needed now? Sister, do you have any friends in Fargo? My husband.
Well, that's nice.
Does he know you're arriving in a box car? No, he doesn't.
I wanted to surprise him.
Now, would you please leave me alone? You in some sort of trouble, sister? What do you mean? A pretty girl like you riding alone with a tiny baby.
I told you.
I'm trying to find my husband.
Find? Well, where's he been? You don't understand.
It's me.
I was in an automobile accident, and my parents live in Grand Forks and they've been taking care of my baby and me.
Isn't that a husband's job? My husband is a musician.
He's a bass player and he's on the road a lot.
How about that, brother? Are you bound for Fargo too? Like you, brother, I go where I'm needed.
And, uh, what might you be needed for? You name it.
Well, maybe I will.
Have you ever tried spreading the Good Word? You mean, down in the coal mines? Well, don't forget the mansions, brother.
Never forget the mansions.
( loud clunk ) Don't fret, brother.
It's just a routine stop.
( train bell dinging ) ( dramatic theme playing ) It doesn't look routine.
What is it? Two men checking the cars.
They could be police.
I think they're after me.
Could you help me? Why would they be after you? My father sent them.
Believe me, I haven't done anything wrong.
They're about five cars down.
Please, you've got to help me.
You wanna make a couple of bucks, Preacher? Just a couple? Help spread the Good Word? Go on.
I want you to be a decoy.
See if you can get those two men to chase you.
If they catch you they'll just, uh, throw you out of the yard.
You can walk around and hop another freight.
Uh, maybe they might be the kind that enjoy roughing an old man up.
All right.
Five dollars.
Sure, I'll help you, brother.
But only because you helped me.
( suspenseful theme playing ) Go on.
I married Jimmy when I was 17, and my father says it's illegal and if I go back to him, he'll charge Jimmy with contributing to the delinquency of a minor or something.
What is your husband doing in Fargo? We live there.
That's the first place he'll look.
What else can I do? Well, we can make it, uh-- Make it a little more difficult for them.
We'll get off the bus before the terminal.
( suspenseful theme playing ) ( clears throat ) Yes? PREACHER: Who's in charge here? I can help you.
Are you in charge? Not exactly.
Well, then you can't help me, brother.
Come on.
This guy wants to see you, Lieutenant Malleson.
First, I'd like to know what kind of reward's involved here.
Why? What have you got? Well, that girl the one the babysitter described, the one from Grand Forks? Go on.
Well, I seen her.
Now, what's that worth? By itself not much.
Well-- Well, how about this, brother? I can tell you she's not alone.
I can tell you she's right here in Fargo.
( dramatic theme playing ) ( mysterious theme playing ) He should be good for another hour or so.
Well, I guess I better be going.
Thank you for everything.
I got you a room, that's all.
I seem to be leaning on you.
( phone rings ) That's my call.
Jimmy? Are you sure, operator? Klondike 54269? Thank you.
It doesn't make sense.
She said the number's been disconnected.
Well, maybe he moved.
He wouldn't move without writing me.
Unless he did and my father tore up the letter.
I've gotta find him.
What is it? I don't know.
Here.
I'm sorry.
Keeps happening since the accident.
One minute I feel okay and the next minute it's as though I just jumped off a merry-go-round.
What do the doctors say? Nothing organic.
They think I'm soft in the head.
Anyhow, I've got to find Jimmy.
I think you'd better stay off your feet for a while.
I can't.
I've got to find him.
Look, uh, give me his address.
I'll see if I can find out what happened.
No, you've done too much already.
That's all right.
Don't worry about it.
Well, I think it's only a few blocks from here.
You better tell me where he works in case there's no one there.
You sure you don't mind? I seem to be handing you all my problems.
That's all right.
Well, here I go again, leaning on you.
You throw me a life preserver and I ask for the whole ship.
( suspenseful theme playing ) Excuse me.
I'm looking, uh, for some friends of mine.
The only address I have is 226 Oglethorpe.
That's it over there.
Except they start tearing it down first thing in the morning.
Whole block's going for a big shopping center.
( scoffs ) Funny, huh? Once upon a time you're brand-new and pretty.
The next thing you know, you're all used up.
They trample all over you.
How long has it been since anyone's lived there? I don't know.
Must have been around last April.
Sorry, but unless your friends have four legs, long tails, and dig cheese, you won't find them in there.
Yeah, thanks.
Sure.
Come back anytime.
I'm here every afternoon.
( dramatic theme playing ) Wait.
Please, let's talk about it just a little more.
We've already talked.
But we don't know that it was Carol.
You read the description.
We know she was going to the park.
W-- I know she wouldn't do anything this terrible.
Laura, she kidnapped a 5-month-old baby.
How do you do? My name's Pearson.
I think this is the girl that you've been looking for.
She's our daughter.
( playing slow jazz music ) Baby, this is a story song.
You know what a story song is? It tells a story.
The girl is lonely.
See, she lives in sort of a dream world.
She drifts into this bar and, uh, she tells the bartender she wants something cool.
Not just a drink, you know what I mean? She thinks she's a real lady.
( continues playing ) Baby, this is like Tennessee Williams, not the "Hut Sut Song.
" The what? ( continues playing ) You want to see me? Well, I'm looking for a man.
He used to work here.
Maybe he still does.
Try me.
Jimmy Hollister.
( stops playing ) You're looking for Jimmy Hollister? Well, not exactly.
His wife's trying to locate him.
Carol? That's right.
Well, let me tell you something, mister.
Somebody's putting one of us on.
Either way it's not very funny.
What does that mean? Jimmy, Carol, and their little baby piled up in Jimmy's sports car about a year ago.
( playing low jazz music on piano ) And? And Carol was the only one that pulled through.
I guess you're the one that's being put on.
I guess so.
Now, remember, baby, it's like she's in a dream world or something.
That's the one, all right.
She was carrying the baby and this guy I told you about was with her.
They got off the bus at Maple Street.
What did he look like? I don't know.
Just a guy.
Five-eleven, six feet.
Around a 165 pounds.
Middle 30s, I guess.
Black hair.
That's about it.
That matches the description the old man gave us.
Wonderful.
That proves our only two witnesses have fair eyesight and are telling the truth.
But that description probably fits 2000 men in this town, including yourself, sergeant.
All right, Mr.
Flynn, you can go now.
Thanks for your help.
Sure thing.
Well, at least we got the picture.
Did the press get copies? They just went out.
Well, we know that bus driver dropped him off at Maple Street.
Maybe we'll get lucky.
They could have taken a cab from there.
You're supposed to be the optimist around here.
Well, I just mean it's-- Yeah, yeah, forget it.
Well, there it is.
Typical picture of a hardened criminal.
( dramatic theme playing ) ( mellow theme playing ) * Rock-a-bye, baby * * On the tree top * * When the wind blows * * The cradle will rock * * When the bough breaks * * The cradle will fall * * Then down will come baby * * Cradle and all * Go to sleep, baby.
He'll be back.
Real soon.
Real, real soon, he'll be back.
( door opens ) Jim.
Did you find him? Can you take me to him? No, I didn't find him, Carol.
What's the matter? Whose baby is that? He's mine.
He's my baby.
No, he isn't.
He's mine.
Look, Carol, listen to me.
No.
No, I don't want to hear you.
I don't want to hear.
My father sent you, didn't he? No, he didn't.
Well, then why--? Carol.
Carol, you've got to take that baby back where he belongs.
He belongs with me.
Now, you stop talking like that.
( cries ) Oh, nobody's gonna take you away from me.
No.
Please, you've got to help me find Jimmy.
Your husband's dead, Carol.
Why are you saying that? Look, you know I'm your friend, don't you? I don't know.
I don't know anything.
I only know I have to get out of here.
Carol, I helped you on the train, didn't I? I helped you find this place and I helped you look for your husband, right? Well, now I want to help you again.
I want you to stay here.
Where are you going? I'm just gonna go out for a while.
When are you coming back? Look, I don't like being alone.
You'll be all right.
Take me with you, please.
I can't do that.
Jimmy, I can't stay here.
You've got to stay here.
I'll be right back.
I promise.
But I don't like it here.
Let me come with you to the club.
Please.
I'll tell you what.
When the club closes, I'll come back and we'll go out for a cup of coffee.
Okay? Okay.
I'll see you later.
Jimmy.
No last drink with the boys.
That's a promise.
( ominous theme playing ) ( crying ) ( sighs ) CAROL: Jimmy.
I couldn't stay there all alone.
Don't be mad with me.
Carol, I told you.
I can't take you with me.
Please.
( suspenseful theme playing ) Shh.
( baby cries ) Carol, go back to the room and wait for me, will you? Jimmy, you know I'm scared.
I know, but you-- You've got to get off the street.
You're too easy to spot with the baby.
Carol, I've got to go or I'll be late, okay? Okay.
( baby cries ) Shh.
Hush, baby, hush.
We've got to do what Daddy says.
Shh.
No.
Come on, baby, now we go home.
Yes.
Shh.
( baby gurgles ) Shh.
( dramatic theme playing ) The Edmund Hotel.
Room 214.
The child is all right.
Well, it's not important who I am.
What's important is that you realize that the girl is no criminal.
She's just sick, She really believes that that child is hers.
No, that's all I can tell you.
( hissing ) Scat.
( whispers ): Scat, scat.
( yelps ) Where is he, honey? Why doesn't he come back? He said he'd be back soon, and soon's all gone now.
Please come back.
( baby gurgles ) Hey, baby.
Maybe your daddy will bring you a nice surprise.
Would you like that, huh? Maybe some pretty birds to hang over your crib.
You know what he'll do? He'll lift you way, way, way, way, way into the air.
Yeah.
And you'll look down and you'll wonder who all those tiny people are down there.
Hee-hee.
And you'll laugh and laugh ( cat hisses ) Scat! Yes, you'll laugh and laugh and laugh.
( meows ) Scat.
Come on, scat! That's it, honey.
That's why your daddy isn't here.
He's waiting for us back at the hotel.
Here.
Baby, I forgot.
I can't take you with me.
I-- I can't, I really can't.
You see, if they see us together they'll know who we are and-- And they'll try to get you away from me.
And then they'll try to keep you away from me.
And you don't want that to happen, do you? Then wait for Mommy to come back.
Okay? You sleep here and wait for Mommy to come back.
I'll only be gone a few minutes.
And then I'll bring Daddy back with me.
And we'll all be together again like before, when we laughed.
Yeah.
I love you, baby.
( dramatic theme playing ) Hey, sexy, how about some service? Cheeseburger or chili dog? Chili dog and put some cheese on it.
Chili dog, add some cheese.
And a hunk of that lousy berry pie.
You really add a lot of class to this joint.
I'm not selling class.
You haven't got it to give away.
Hey, uh, checked the radio? They caught that dame that kidnapped that baby.
Yeah? Where? Cops got an anonymous tip she was at this hotel, and she walked right into it.
Check the radio.
What about the baby? Is he all right? That's the weird part.
Listen.
MAN ( on radio ): The police, thus far, have beenunable to obtain any information which would enable them to locate the still-missing baby.
Mrs.
Hollister has told the officers she will only turn the child over to her husband.
Hospital psychiatrist, Dr.
Max Eisen, has stated thatthe young woman has apparently transferred her late husband's identity to the man who has been reportedly traveling with her.
The police have asked all newspapers and radio and television stations to broadcast this appeal for the man to come forward immediately.
Although police remain relatively optimistic, they have expressed serious concern for the welfare of the tiny infant, and they feel this man, whoever he is, can insure the safe return of the child.
Meanwhile, Mrs.
Hollister remains confined to Fargo Memorial Hospital.
( suspenseful theme playing ) ( tense theme playing ) Same old story.
She won't talk to anybody but her husband.
Whoever that is.
Carol's parents.
Sid called they were coming up.
Mr.
Pearson, Mrs.
Pearson.
Has she told you where the baby is? No, not yet.
Well, she'll tell me, all right.
Whit, please.
Mr.
and Mrs.
Pearson, this is Mrs.
Fisher, the child's mother.
Mr.
Fisher's out of town, but he's flying in tonight.
I don't know what to say to you.
Our daughter will tell us where your baby is.
I promise you that.
Do you think so? Don't worry.
I hope so.
But please, don't be too hard on her.
She's been under a terrible strain.
She's been? What about you? Well, it's like this, Mr.
Pearson.
I'm worried, and I'm frightened, I'm terribly frightened, but I know that, God willing, we'll get our baby back and, well, our baby will never know anything happened to him.
But you're gonna have to worry about your daughter for a long time after this.
You actually sound like you-- You feel sorry for her.
May we see our daughter now, lieutenant, please? Just a moment.
Doctor, may we see our daughter, please? I think it would be better if you didn't right now.
Maybe a little later.
Why not now? Well, you see, a great part of her delusions center on you, Mr.
Pearson.
Her fears of you.
She seems to think that you want to take away her baby or do some sort of harm to her husband.
She doesn't have a baby or a husband.
She thinks she does.
They're very real to her.
And right now you represent a terrible threat.
Seeing you I think it would be wiser if you waited a little while.
There's a lounge at the end of the corridor.
Why don't you wait down there.
We'll let you know the minute anything happens.
Come on, Whit.
Why don't you come too, Mrs.
Fisher? I'd better go back in.
Now where are we? Still waiting for the little man who wasn't there.
( suspenseful theme playing ) Well, call me if anything comes up.
We'll be here for a couple of hours.
They just wanna know if he's shown up here.
Excuse me.
I think I'm the one you're looking for.
Are you the one she was traveling with? Well, not exactly.
I hopped this freight and there she was with the baby.
I helped her out a little and then she began hitting the front pages.
You're the one that phoned us about the hotel? That's right.
You ever been around here before, Mr? Broderick.
And no, it's the first time.
I'm from the coast.
The coast, huh? Okay.
Come along, I think you'd better talk to her.
Broderick, we have to find that baby.
What's the matter? He look familiar to you? He matches the description we got.
Yeah, but that face.
Oh, never mind, it'll come.
You took so long.
I got tied up at the club.
Jimmy, I didn't know what to do.
Where's the baby, Carol? I didn't want to leave him there.
But I was afraid my father would see us and take him away.
You did the right thing.
Now, if you'll tell me where he is, I'll go get him.
Oh, Jimmy, can't you get me out of here? Well, honey, you can't leave right now.
But I don't understand.
( sobbing ) All these policemen asking me questions and I haven't done anything.
I haven't.
What did my father tell them? Why does he have to lie like that? Look, honey, everything's gonna be all right.
I promise.
But tell me where the baby is.
It's so dark and dirty.
It really was.
It was disgustingly dirty.
I didn't want to leave him there.
I-I almost didn't.
Where did you leave him? At home.
You mean, the apartment? Is something wrong? No, nothing's wrong.
Hey, uh, you get some sleep.
You'll bring him back here? Right now.
Maybe by the time you get back everything will be straightened out and we can go home.
Yeah, I hope so.
You know, Jimmy? You know, it's been sort of like a nightmare.
Well, that's what it is, Carol, a nightmare.
Almost over.
Don't be long.
Goodbye, Carol.
( door opens ) Did she tell you? Yes.
Well, where is he? We'll go get him.
You stay here.
Well, I can get him.
Okay.
You got a car? I'll take a cab.
I'll drive you myself.
Well, that's not necessary.
No, I insist.
Come on.
( suspenseful theme playing ) Right here.
This is the street.
She said it was on this block.
I guess it could be any one of these houses.
Well, let's get started.
To save time, uh, you take one, I'll take the next.
Okay.
( baby crying ) ( crying continues ) You found him.
Get in.
Is he all right? Asleep.
You're pretty handy with kids.
If they cry, you pick them up.
Well, that was a decent thing you did.
I mean, you take someone like you, on the road, hopping freights, it's a safe bet that kind of a guy's got a record he's running from.
You know what I mean? I'm not sure.
Most of the time they're parole jumpers, runaway kids.
Once in a while, even a wanted criminal.
On the other hand, sometimes you find really decent people bumming around.
What I'm trying to say is, a guy who's on the run from the police isn't likely to come forward the way you did.
He would have hopped the first freight out of town.
You mean, if he was in some sort of trouble.
That's right.
If he was in some sort of trouble.
All right if I drop you here? It might save you some time.
If I take you back there'll be all sorts of questions, your picture in the papers, you know.
Well, thanks.
It's all right, Broderick.
That's right, isn't it? Broderick? Yeah, that's right.
For my report, you know.
So long.
( dramatic theme playing ) ( suspenseful theme playing ) She's still terribly confused, but she's beginning to accept the fact that the baby wasn't hers.
However, we have to move very slowly.
I just want to see my daughter.
All right, but please remember what I said.
She's terribly frightened of you.
May we go in now? ( tense theme playing ) ( sniffles ) Carol.
Poor little baby.
Baby.
You ever remember who that guy was? No.
We could get out the mug shots.
Ah, forget it, will you? Sure.
NARRATOR: Another town with its thousand faces.
Examine them well.
For, somewhere among them, tonight, tomorrow, next week, will be one face that will tighten in recognition.
And for a fugitive, the running will begin again.
( dramatic theme playing ) ( dramatic theme playing )
I hopped this freight and there she was with the baby.
You ever been around here before, Mr? Broderick.
And no, it's the first time.
I'm from the coast.
The coast, huh? Okay.
Come along.
I think you'd better talk to her.
Broderick, we have to find that baby.
( suspenseful theme playing ) What's the matter? He look familiar to you? He matches the description we got.
Yeah, but that face.
Oh, never mind, it'll come.
( dramatic theme playing ) 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 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: Diana Hyland.
Lin McCarthy.
Royal Dano.
ANNOUNCER: ( ominous theme playing ) NARRATOR: Grand Forks, North Dakota.
It is 26 months since the escape, and still another city has become a blind alley for Richard Kimble.
The man with one arm, author of the crime for which Kimble was to die, remains elusive.
And again it is time to move on.
( loud clunk ) ( wheels grinding ) ( suspenseful theme playing ) Bless you, brother.
Another 30 seconds and-- And that long, blue arm would have grabbed the old preacher and shaken all the good works out of him.
You looked like you needed a hand, that's all.
And you know, the hand did appear.
And a good, strong arm to go with it.
They call me Preacher.
Pete Broderick.
Peter.
Well, they named you after the wrong saint, brother.
Christopher, that would've been more like it.
Ah, now we are three.
KIMBLE: The lady will have to introduce herself.
Your wife? No.
That's all right, brother, even if it's just in the eyes of the Lord.
I never saw her before five minutes ago.
What's your name, child? Carol.
Oh.
Well, I'm called Preacher, and this is Mr.
Broderick.
Now, where are you bound for, sister Carol? Fargo.
( baby crying ) Now we are four.
Don't touch him.
Oh, we mean you no harm, no harm at all.
To you or to the little baby.
But you can't blame us for being a little surprised by it all.
It's none of your business.
Well, that's true, sister, but-- It's no place for a child.
How old is he? Four, five months? Five months, but he's my baby and I can take him anywhere I like.
Look, I don't have the money to go any other way.
No money at all? Where did you say you preached, brother? Wherever I'm needed, brother.
In the very depths of a coal mine, or in a mansion on a hill.
Wherever I'm needed.
Well, where might you be needed now? Sister, do you have any friends in Fargo? My husband.
Well, that's nice.
Does he know you're arriving in a box car? No, he doesn't.
I wanted to surprise him.
Now, would you please leave me alone? You in some sort of trouble, sister? What do you mean? A pretty girl like you riding alone with a tiny baby.
I told you.
I'm trying to find my husband.
Find? Well, where's he been? You don't understand.
It's me.
I was in an automobile accident, and my parents live in Grand Forks and they've been taking care of my baby and me.
Isn't that a husband's job? My husband is a musician.
He's a bass player and he's on the road a lot.
How about that, brother? Are you bound for Fargo too? Like you, brother, I go where I'm needed.
And, uh, what might you be needed for? You name it.
Well, maybe I will.
Have you ever tried spreading the Good Word? You mean, down in the coal mines? Well, don't forget the mansions, brother.
Never forget the mansions.
( loud clunk ) Don't fret, brother.
It's just a routine stop.
( train bell dinging ) ( dramatic theme playing ) It doesn't look routine.
What is it? Two men checking the cars.
They could be police.
I think they're after me.
Could you help me? Why would they be after you? My father sent them.
Believe me, I haven't done anything wrong.
They're about five cars down.
Please, you've got to help me.
You wanna make a couple of bucks, Preacher? Just a couple? Help spread the Good Word? Go on.
I want you to be a decoy.
See if you can get those two men to chase you.
If they catch you they'll just, uh, throw you out of the yard.
You can walk around and hop another freight.
Uh, maybe they might be the kind that enjoy roughing an old man up.
All right.
Five dollars.
Sure, I'll help you, brother.
But only because you helped me.
( suspenseful theme playing ) Go on.
I married Jimmy when I was 17, and my father says it's illegal and if I go back to him, he'll charge Jimmy with contributing to the delinquency of a minor or something.
What is your husband doing in Fargo? We live there.
That's the first place he'll look.
What else can I do? Well, we can make it, uh-- Make it a little more difficult for them.
We'll get off the bus before the terminal.
( suspenseful theme playing ) ( clears throat ) Yes? PREACHER: Who's in charge here? I can help you.
Are you in charge? Not exactly.
Well, then you can't help me, brother.
Come on.
This guy wants to see you, Lieutenant Malleson.
First, I'd like to know what kind of reward's involved here.
Why? What have you got? Well, that girl the one the babysitter described, the one from Grand Forks? Go on.
Well, I seen her.
Now, what's that worth? By itself not much.
Well-- Well, how about this, brother? I can tell you she's not alone.
I can tell you she's right here in Fargo.
( dramatic theme playing ) ( mysterious theme playing ) He should be good for another hour or so.
Well, I guess I better be going.
Thank you for everything.
I got you a room, that's all.
I seem to be leaning on you.
( phone rings ) That's my call.
Jimmy? Are you sure, operator? Klondike 54269? Thank you.
It doesn't make sense.
She said the number's been disconnected.
Well, maybe he moved.
He wouldn't move without writing me.
Unless he did and my father tore up the letter.
I've gotta find him.
What is it? I don't know.
Here.
I'm sorry.
Keeps happening since the accident.
One minute I feel okay and the next minute it's as though I just jumped off a merry-go-round.
What do the doctors say? Nothing organic.
They think I'm soft in the head.
Anyhow, I've got to find Jimmy.
I think you'd better stay off your feet for a while.
I can't.
I've got to find him.
Look, uh, give me his address.
I'll see if I can find out what happened.
No, you've done too much already.
That's all right.
Don't worry about it.
Well, I think it's only a few blocks from here.
You better tell me where he works in case there's no one there.
You sure you don't mind? I seem to be handing you all my problems.
That's all right.
Well, here I go again, leaning on you.
You throw me a life preserver and I ask for the whole ship.
( suspenseful theme playing ) Excuse me.
I'm looking, uh, for some friends of mine.
The only address I have is 226 Oglethorpe.
That's it over there.
Except they start tearing it down first thing in the morning.
Whole block's going for a big shopping center.
( scoffs ) Funny, huh? Once upon a time you're brand-new and pretty.
The next thing you know, you're all used up.
They trample all over you.
How long has it been since anyone's lived there? I don't know.
Must have been around last April.
Sorry, but unless your friends have four legs, long tails, and dig cheese, you won't find them in there.
Yeah, thanks.
Sure.
Come back anytime.
I'm here every afternoon.
( dramatic theme playing ) Wait.
Please, let's talk about it just a little more.
We've already talked.
But we don't know that it was Carol.
You read the description.
We know she was going to the park.
W-- I know she wouldn't do anything this terrible.
Laura, she kidnapped a 5-month-old baby.
How do you do? My name's Pearson.
I think this is the girl that you've been looking for.
She's our daughter.
( playing slow jazz music ) Baby, this is a story song.
You know what a story song is? It tells a story.
The girl is lonely.
See, she lives in sort of a dream world.
She drifts into this bar and, uh, she tells the bartender she wants something cool.
Not just a drink, you know what I mean? She thinks she's a real lady.
( continues playing ) Baby, this is like Tennessee Williams, not the "Hut Sut Song.
" The what? ( continues playing ) You want to see me? Well, I'm looking for a man.
He used to work here.
Maybe he still does.
Try me.
Jimmy Hollister.
( stops playing ) You're looking for Jimmy Hollister? Well, not exactly.
His wife's trying to locate him.
Carol? That's right.
Well, let me tell you something, mister.
Somebody's putting one of us on.
Either way it's not very funny.
What does that mean? Jimmy, Carol, and their little baby piled up in Jimmy's sports car about a year ago.
( playing low jazz music on piano ) And? And Carol was the only one that pulled through.
I guess you're the one that's being put on.
I guess so.
Now, remember, baby, it's like she's in a dream world or something.
That's the one, all right.
She was carrying the baby and this guy I told you about was with her.
They got off the bus at Maple Street.
What did he look like? I don't know.
Just a guy.
Five-eleven, six feet.
Around a 165 pounds.
Middle 30s, I guess.
Black hair.
That's about it.
That matches the description the old man gave us.
Wonderful.
That proves our only two witnesses have fair eyesight and are telling the truth.
But that description probably fits 2000 men in this town, including yourself, sergeant.
All right, Mr.
Flynn, you can go now.
Thanks for your help.
Sure thing.
Well, at least we got the picture.
Did the press get copies? They just went out.
Well, we know that bus driver dropped him off at Maple Street.
Maybe we'll get lucky.
They could have taken a cab from there.
You're supposed to be the optimist around here.
Well, I just mean it's-- Yeah, yeah, forget it.
Well, there it is.
Typical picture of a hardened criminal.
( dramatic theme playing ) ( mellow theme playing ) * Rock-a-bye, baby * * On the tree top * * When the wind blows * * The cradle will rock * * When the bough breaks * * The cradle will fall * * Then down will come baby * * Cradle and all * Go to sleep, baby.
He'll be back.
Real soon.
Real, real soon, he'll be back.
( door opens ) Jim.
Did you find him? Can you take me to him? No, I didn't find him, Carol.
What's the matter? Whose baby is that? He's mine.
He's my baby.
No, he isn't.
He's mine.
Look, Carol, listen to me.
No.
No, I don't want to hear you.
I don't want to hear.
My father sent you, didn't he? No, he didn't.
Well, then why--? Carol.
Carol, you've got to take that baby back where he belongs.
He belongs with me.
Now, you stop talking like that.
( cries ) Oh, nobody's gonna take you away from me.
No.
Please, you've got to help me find Jimmy.
Your husband's dead, Carol.
Why are you saying that? Look, you know I'm your friend, don't you? I don't know.
I don't know anything.
I only know I have to get out of here.
Carol, I helped you on the train, didn't I? I helped you find this place and I helped you look for your husband, right? Well, now I want to help you again.
I want you to stay here.
Where are you going? I'm just gonna go out for a while.
When are you coming back? Look, I don't like being alone.
You'll be all right.
Take me with you, please.
I can't do that.
Jimmy, I can't stay here.
You've got to stay here.
I'll be right back.
I promise.
But I don't like it here.
Let me come with you to the club.
Please.
I'll tell you what.
When the club closes, I'll come back and we'll go out for a cup of coffee.
Okay? Okay.
I'll see you later.
Jimmy.
No last drink with the boys.
That's a promise.
( ominous theme playing ) ( crying ) ( sighs ) CAROL: Jimmy.
I couldn't stay there all alone.
Don't be mad with me.
Carol, I told you.
I can't take you with me.
Please.
( suspenseful theme playing ) Shh.
( baby cries ) Carol, go back to the room and wait for me, will you? Jimmy, you know I'm scared.
I know, but you-- You've got to get off the street.
You're too easy to spot with the baby.
Carol, I've got to go or I'll be late, okay? Okay.
( baby cries ) Shh.
Hush, baby, hush.
We've got to do what Daddy says.
Shh.
No.
Come on, baby, now we go home.
Yes.
Shh.
( baby gurgles ) Shh.
( dramatic theme playing ) The Edmund Hotel.
Room 214.
The child is all right.
Well, it's not important who I am.
What's important is that you realize that the girl is no criminal.
She's just sick, She really believes that that child is hers.
No, that's all I can tell you.
( hissing ) Scat.
( whispers ): Scat, scat.
( yelps ) Where is he, honey? Why doesn't he come back? He said he'd be back soon, and soon's all gone now.
Please come back.
( baby gurgles ) Hey, baby.
Maybe your daddy will bring you a nice surprise.
Would you like that, huh? Maybe some pretty birds to hang over your crib.
You know what he'll do? He'll lift you way, way, way, way, way into the air.
Yeah.
And you'll look down and you'll wonder who all those tiny people are down there.
Hee-hee.
And you'll laugh and laugh ( cat hisses ) Scat! Yes, you'll laugh and laugh and laugh.
( meows ) Scat.
Come on, scat! That's it, honey.
That's why your daddy isn't here.
He's waiting for us back at the hotel.
Here.
Baby, I forgot.
I can't take you with me.
I-- I can't, I really can't.
You see, if they see us together they'll know who we are and-- And they'll try to get you away from me.
And then they'll try to keep you away from me.
And you don't want that to happen, do you? Then wait for Mommy to come back.
Okay? You sleep here and wait for Mommy to come back.
I'll only be gone a few minutes.
And then I'll bring Daddy back with me.
And we'll all be together again like before, when we laughed.
Yeah.
I love you, baby.
( dramatic theme playing ) Hey, sexy, how about some service? Cheeseburger or chili dog? Chili dog and put some cheese on it.
Chili dog, add some cheese.
And a hunk of that lousy berry pie.
You really add a lot of class to this joint.
I'm not selling class.
You haven't got it to give away.
Hey, uh, checked the radio? They caught that dame that kidnapped that baby.
Yeah? Where? Cops got an anonymous tip she was at this hotel, and she walked right into it.
Check the radio.
What about the baby? Is he all right? That's the weird part.
Listen.
MAN ( on radio ): The police, thus far, have beenunable to obtain any information which would enable them to locate the still-missing baby.
Mrs.
Hollister has told the officers she will only turn the child over to her husband.
Hospital psychiatrist, Dr.
Max Eisen, has stated thatthe young woman has apparently transferred her late husband's identity to the man who has been reportedly traveling with her.
The police have asked all newspapers and radio and television stations to broadcast this appeal for the man to come forward immediately.
Although police remain relatively optimistic, they have expressed serious concern for the welfare of the tiny infant, and they feel this man, whoever he is, can insure the safe return of the child.
Meanwhile, Mrs.
Hollister remains confined to Fargo Memorial Hospital.
( suspenseful theme playing ) ( tense theme playing ) Same old story.
She won't talk to anybody but her husband.
Whoever that is.
Carol's parents.
Sid called they were coming up.
Mr.
Pearson, Mrs.
Pearson.
Has she told you where the baby is? No, not yet.
Well, she'll tell me, all right.
Whit, please.
Mr.
and Mrs.
Pearson, this is Mrs.
Fisher, the child's mother.
Mr.
Fisher's out of town, but he's flying in tonight.
I don't know what to say to you.
Our daughter will tell us where your baby is.
I promise you that.
Do you think so? Don't worry.
I hope so.
But please, don't be too hard on her.
She's been under a terrible strain.
She's been? What about you? Well, it's like this, Mr.
Pearson.
I'm worried, and I'm frightened, I'm terribly frightened, but I know that, God willing, we'll get our baby back and, well, our baby will never know anything happened to him.
But you're gonna have to worry about your daughter for a long time after this.
You actually sound like you-- You feel sorry for her.
May we see our daughter now, lieutenant, please? Just a moment.
Doctor, may we see our daughter, please? I think it would be better if you didn't right now.
Maybe a little later.
Why not now? Well, you see, a great part of her delusions center on you, Mr.
Pearson.
Her fears of you.
She seems to think that you want to take away her baby or do some sort of harm to her husband.
She doesn't have a baby or a husband.
She thinks she does.
They're very real to her.
And right now you represent a terrible threat.
Seeing you I think it would be wiser if you waited a little while.
There's a lounge at the end of the corridor.
Why don't you wait down there.
We'll let you know the minute anything happens.
Come on, Whit.
Why don't you come too, Mrs.
Fisher? I'd better go back in.
Now where are we? Still waiting for the little man who wasn't there.
( suspenseful theme playing ) Well, call me if anything comes up.
We'll be here for a couple of hours.
They just wanna know if he's shown up here.
Excuse me.
I think I'm the one you're looking for.
Are you the one she was traveling with? Well, not exactly.
I hopped this freight and there she was with the baby.
I helped her out a little and then she began hitting the front pages.
You're the one that phoned us about the hotel? That's right.
You ever been around here before, Mr? Broderick.
And no, it's the first time.
I'm from the coast.
The coast, huh? Okay.
Come along, I think you'd better talk to her.
Broderick, we have to find that baby.
What's the matter? He look familiar to you? He matches the description we got.
Yeah, but that face.
Oh, never mind, it'll come.
You took so long.
I got tied up at the club.
Jimmy, I didn't know what to do.
Where's the baby, Carol? I didn't want to leave him there.
But I was afraid my father would see us and take him away.
You did the right thing.
Now, if you'll tell me where he is, I'll go get him.
Oh, Jimmy, can't you get me out of here? Well, honey, you can't leave right now.
But I don't understand.
( sobbing ) All these policemen asking me questions and I haven't done anything.
I haven't.
What did my father tell them? Why does he have to lie like that? Look, honey, everything's gonna be all right.
I promise.
But tell me where the baby is.
It's so dark and dirty.
It really was.
It was disgustingly dirty.
I didn't want to leave him there.
I-I almost didn't.
Where did you leave him? At home.
You mean, the apartment? Is something wrong? No, nothing's wrong.
Hey, uh, you get some sleep.
You'll bring him back here? Right now.
Maybe by the time you get back everything will be straightened out and we can go home.
Yeah, I hope so.
You know, Jimmy? You know, it's been sort of like a nightmare.
Well, that's what it is, Carol, a nightmare.
Almost over.
Don't be long.
Goodbye, Carol.
( door opens ) Did she tell you? Yes.
Well, where is he? We'll go get him.
You stay here.
Well, I can get him.
Okay.
You got a car? I'll take a cab.
I'll drive you myself.
Well, that's not necessary.
No, I insist.
Come on.
( suspenseful theme playing ) Right here.
This is the street.
She said it was on this block.
I guess it could be any one of these houses.
Well, let's get started.
To save time, uh, you take one, I'll take the next.
Okay.
( baby crying ) ( crying continues ) You found him.
Get in.
Is he all right? Asleep.
You're pretty handy with kids.
If they cry, you pick them up.
Well, that was a decent thing you did.
I mean, you take someone like you, on the road, hopping freights, it's a safe bet that kind of a guy's got a record he's running from.
You know what I mean? I'm not sure.
Most of the time they're parole jumpers, runaway kids.
Once in a while, even a wanted criminal.
On the other hand, sometimes you find really decent people bumming around.
What I'm trying to say is, a guy who's on the run from the police isn't likely to come forward the way you did.
He would have hopped the first freight out of town.
You mean, if he was in some sort of trouble.
That's right.
If he was in some sort of trouble.
All right if I drop you here? It might save you some time.
If I take you back there'll be all sorts of questions, your picture in the papers, you know.
Well, thanks.
It's all right, Broderick.
That's right, isn't it? Broderick? Yeah, that's right.
For my report, you know.
So long.
( dramatic theme playing ) ( suspenseful theme playing ) She's still terribly confused, but she's beginning to accept the fact that the baby wasn't hers.
However, we have to move very slowly.
I just want to see my daughter.
All right, but please remember what I said.
She's terribly frightened of you.
May we go in now? ( tense theme playing ) ( sniffles ) Carol.
Poor little baby.
Baby.
You ever remember who that guy was? No.
We could get out the mug shots.
Ah, forget it, will you? Sure.
NARRATOR: Another town with its thousand faces.
Examine them well.
For, somewhere among them, tonight, tomorrow, next week, will be one face that will tighten in recognition.
And for a fugitive, the running will begin again.
( dramatic theme playing ) ( dramatic theme playing )