The Fugitive (1963) s02e08 Episode Script
Dark Corner
Oh, Mattie, there's no reason for me to have hurt your father.
Oh, if-- If Papa had found out what you are, a criminal, running from the law You know, he may have even mentioned it to me.
Then call the sheriff.
Now, don't be silly, why would I do a thing like that? I could have done that the first night.
You just don't understand.
I like you.
I like you very much.
( ominous theme playing ) ( dialing ) Ruth? Mattie Braydon.
Honey, would you get me the sheriff? 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 star in tonight's story: Tuesday Weld.
( ominous theme playing ) NARRATOR: You travel at night if you're on the run.
The dark is a shield against curious eyes.
Against questions.
Against talk.
Haunted by what lies behind.
As always, fearful of what lies ahead.
Evening, Bud.
Won't take long.
How about some light? All right, everybody out.
Bring your bags.
( suspenseful theme playing ) Hey, you! Hey! You come with me.
You fellas stay here.
Heading toward Sam Braydon's place.
POLICE OFFICER: Sam! Sam Braydon! Frank Grover.
Would you turn on the floods? Sam.
Are you deaf or somethin'? Frank? What's the idea? It's the middle of the night.
For dairy men.
Good evening, Clara.
Good evening, Mr.
Grover.
Is something the matter? Oh, been chasin' this fella What's goin' on? I was just tryin' to tell your fiancée.
Tried to take this fella off the bus from Sioux Falls, and he ran.
Seemed to be headin' straight in this direction.
You folks heard anything? Not a thing.
Maybe Mattie heard.
Where is she? Well, I expect she's down in the studio.
In the middle of the night? Why not? She doesn't have to do the milking.
SAM: Mattie.
Mattie, are you there? Let's have a light.
( ominous theme playing ) I must have dozed off, Papa.
Dear, the sheriff wants to ask you something.
Evening, Mattie.
I followed this fella over here.
Thought you might've seen him.
Heard him.
No, nothing.
I'm sorry.
I'm not.
It's worth the trip out here just to see you.
Have you checked the barn, sheriff? Thank you, dear.
( knocking on door ) It's all right.
You can come out now.
They're gone.
You were here all the time.
All the time.
Why did you lie? When did I lie? You said you didn't see me.
I didn't.
I'm sorry.
Oh, I'm used to it.
Stay here.
I'll be back.
Just disappeared.
Bob.
Yeah? Oh.
Mr.
Grover? Mr.
Grover? D-- Did you catch him? Honey, tonight I couldn't even catch a cold.
Uh, Marty, would you check the other side of the barn? Frank.
( ominous theme playing ) Well, I thought you'd like to know, we got him.
Got who? The fella you wanted.
He just stepped off the bus and gave himself up.
This hoodlum stuck up a liquor store in Sioux Falls.
Police got a tip he was on the bus, they called me and asked me to take him home.
Then why'd you chase the other one? He ran.
But why? That's somebody else's headache, honey.
Does that mean you'll stop looking for him? I got the man they asked me to get.
Why waste the taxpayers' money, huh? Did Charlie get the prisoner? Yeah.
He's in the other car.
You still got lots of night, Sam.
Just past 11.
Papa? Mattie.
I-I'm going back to the studio for a minute.
I won't be long.
You're not going to do any more work tonight? Oh, no, no.
I just-- I just wanna turn out the lamp.
I wouldn't worry you.
Good night.
Good night.
Where are you? They've gone back to the house.
Trust me, please.
I'm-- I'm Mattie Braydon.
Jim Russell.
Jim.
Why did you help me? Oh, you-- You were so frightened and you've hurt your foot.
I-- You knew I was hurt? Yes.
You can tell a lot in the dark.
Just by the way someone walks.
The sheriff say why he wanted me? No.
What will you do? I'll move on, I guess.
You know, you-- You-- You could stay here.
Uh-- No, thank you.
I can't do that.
But-- But you're hurt.
You couldn't go anywhere.
Well, that won't matter if the sheriff stopped looking for me.
He has stopped looking for me, hasn't he? The sheriff is a very stubborn man.
I'm afraid he'll keep looking.
The only place he won't look is here.
Well, then I'll be down first thing in the morning.
Just don't make any noise and turn out the light.
I'm very glad you're here.
Good night.
( dramatic theme playing ) ( mellow theme playing ) Mr.
Kealy? Right on the button.
Stay where you are.
Albers Art Supplies.
What they call door-to-door.
Oh, thank you so much.
This clay is pretty heavy.
I could carry it in for you.
Oh, no, no.
I wouldn't dream of holding you up.
I'll get Papa or Bob.
Thank you anyway.
It's a pleasure.
Prettiest scenery within 200 miles.
Bye.
Bye.
Jim? Mr.
Russell? You're pretty convincing.
Now if we can just convince your father.
That clay's not too heavy, is it? No, it's fine.
Your ankle's all right? Oh, it's fine.
Forget it.
Jim, is it wrong for me to make up that story for Papa? Is it wrong to try and help someone? You're nice.
I don't think it's the carburetor.
I'll bet it's the distributor.
Well, can you fix it? No, it's out of my league, Sam Yeah, it's the distributor.
Look, it's all worn down there.
Well, then we gotta get somebody that can fix it.
What about Jerry in Sioux Falls? Papa? Mattie.
Papa.
Uh, this is Mr.
Russell.
He, uh, came with the clay.
You mean he came all the way from Sioux Falls just to bring that clay? Oh, no, no.
He's going to sit for me.
Well, you see, I asked Mr.
Albers to find somebody, and he said he had this friend who was sick, and-- But that'd mean he'd have to come 40 miles each day.
Well, now, Mattie, just for a few hours' work, th-- Well, I was hoping he'd stay.
He could work for you too.
For me? Papa, we can't afford it.
I'll show you the bills.
She's right, honey.
Not with milk prices so low.
Please don't make me beg.
My hands are all I have to work with.
Oh, Mattie You can get lost in the dark.
I couldn't pay you much.
I wouldn't want much.
Meals, fresh air, till I get on my feet.
You know anything about farm machinery? A little.
All right, $30 a week and keep.
Back room in the studio's got a basin and a cot.
Bob, get him some coveralls.
Oh.
You're so good, Papa.
Now, Mr.
Russell, if you'll take the clay All right.
Oh, Clara, we're gonna make it.
Sure, Papa.
We always do.
When it's for her.
You know, it would have taken me a solid week to take that thing apart and put it back together again? Then we would've had to call a mechanic.
Why does Sam keep you around? Oh, he's one in a million.
Well, he took me in right after my folks got killed in an automobile crash.
He said, "till just after the funeral," and that was 22 years ago.
Some men like to pick their son-in-laws early.
Oh, Sam didn't pick me.
Clara did.
She looked up at me one day and she said, uh, "Let's get married.
" I think she was about seven.
And she wasn't kiddin'.
We're gettin' hitched in July.
Jim? Jim? Hello, Mattie.
Oh.
Do you think we'll be able to work today? I think so.
Almost finished here.
Oh, good.
I'm so glad.
Sam said that, uh, he's glad Mattie found you.
He's hoping you're gonna stay on for a little while.
I haven't had any other offers this morning.
I'll go tell him you got it fixed.
All right.
Hello.
I just talked to Mr.
Albers.
He's, uh, never heard of a Jim Russell.
You're gonna ask me to leave? No, just the opposite.
I want you to stay.
If my sister Mattie wants you here that much.
I got the feeling you didn't like doing things for Mattie.
Oh, this is not for Mattie.
This is for me.
( mysterious theme playing ) Did anyone ever tell you you talk too much? Well, I've been admiring your work.
Thank you.
Can I smoke? What? Can I smoke? Oh, yes, of course.
You must like elephants.
I remember elephants.
Papa used to take us to the circus every year.
And he never had to worry about us getting separated.
He could always find me watching the elephants.
I was, uh, eight the last time.
Just before I fell.
You fell? Uh.
There's a ledge out past the barn.
I'd rather not talk about that.
Of course.
Why does your sister want me here? Does she? That's what she said.
Mm.
I should've known.
Any time I've ever wanted anything or liked somebody I like you, Mr.
Russell, very much.
You hardly know me.
I know that you're running and you're scared.
And you have to depend on me.
( knock on door ) Mattie, I'm sorry to break this up.
Oh, we were just finishing anyway.
Tractor's running fine, real fine.
Good.
Uh, will you take a look at the station wagon? Sure.
What's the trouble? Well, there's something wrong with the gear shift.
It, uh, keeps slipping out of park.
It's been doing that for about three weeks now.
All right, I'll take a look at it, then help Mattie with the clay.
That's all right, Bob can help me.
Mattie, the herd has to be fed.
Oh, you can spare him for a few minutes, Papa.
Well, no more than that.
Come on, Jim.
( ominous theme playing ) You haven't been near me.
It's been days.
Oh, Mattie.
Mattie, we can't.
You'd better change your clothes.
Bob, what's wrong? What have I done? Nothing.
Nothing.
We just said that we would stay away from each other, that's all.
MATTIE: If you walk out that door, I'll scream.
You wouldn't want to explain that, would you? Have you seen Bob? I need him to help me with the feeding.
Uh, can I help? What's the matter? Nothing's the matter, Clara.
He's with Mattie, isn't he? Clara! No! Clara! ( suspenseful theme playing ) Clara! No, no.
MATTIE: No, let her go.
Clara, wait! Let her go! She had to find out! BOB: Clara! Wait! Listen to me.
Clara! Wait.
Clara! Clara! No! Let me go! Listen! You've gotta listen to me.
Let me go.
Let me explain to you.
Let me go! Clara! Clara! ( dramatic theme playing ) ( speaking indistinctly ) Call a doctor.
Go on, call a doctor, and get some blankets.
She always gets what she wants.
( mellow theme playing ) Sorry to hear about it, Sam.
Something I can do? Oh, no, thanks, Frank.
She twisted her back some, but no fractures.
Doc says she can come home tomorrow.
I always told her to stay away from that ledge.
I-- I was always afraid she'd fall.
Can I go in and talk to her? Oh, she's sleepin'.
Maybe you'd better go on in.
One of us ought to be around, anyway.
You leaving? I'm going into Sioux Falls, pick up a hospital bed.
She'll need one for a week or so.
And then I, uh, I wanna stop in and see Mattie.
Hired man's the only one with her.
Frank, thanks for stoppin'.
I appreciate it.
Bye.
I'll see you later, Sam.
Oh, Bob.
Did Sam get himself a new hired man? Mattie got him.
That's a real funny thing, all right.
One minute a man disappears in Sam's place, the next, Sam's got himself a new hired man.
What's wrong with that? What with milk prices bein' what they are, Sam's had to scrape the last four or five years.
That new hired man must be workin' real cheap.
Would you know him if you saw him again? I'd know him.
Any place, any time.
( peaceful theme playing ) Mattie.
Jim.
I called the hospital and they wouldn't tell me anything.
Well, they never do.
But it's so hard to wait like this, and not know.
If anything ever happened to her, I don't know what I'd do.
You know, the-- The doctors used to tell me that if I was ever unhappy or lost or frightened or upset about anything, to work.
Please, please sit for me this afternoon.
Just a while.
I can't work without you.
I don't think I'll have the time, Mattie.
But we could get so much accomplished.
I mean, with everyone away, no interruptions.
With Clara in the hospital, your father's gonna need the wagon.
Yes.
Yes, of course.
What are you doing, Mattie? That's not a toy.
Mr.
Russell, I am not a child or a cripple to be pushed into some dark little corner, just out of everyone's way.
Park, reverse, neutral, drive, and low.
There.
Who taught you that? Bob.
I drive into town with him sometimes.
It's the only way I can feel I'm alive, is to know things, and touch them, and reach out and feel I'm part of the world.
You know what it's like to be alone.
Please understand.
I understand.
Then-- Then we can work later? I have to finish with this, uh, wagon, Mattie.
Oh.
Please be flattering and hurry just a little.
( car door closes ) ( engine starting ) FRANK: Mattie? Frank Grover.
You around? Mr.
Grover? I'm in here, the studio.
( suspenseful theme playing ) Saw your Pa at the hospital.
How is Clara? Now, relax.
I-I can't get anything on the phone.
She's fine.
Just twisted her back a little, that's all.
Oh.
I thought you coming out here meant I was just driving by, thought I'd look in.
Your Pa said you were here all alone with just the hired hand, huh? Yeah.
He-- He has the wagon out on the road.
Seems to be something wrong with the gear shift.
I understand he's doing double time for you and Sam both.
That him? They say I've got him pretty well.
Do you like it? Wouldn't say he'd win any beauty prize.
No, I despise pretty men.
Gives me a chance.
Well, if-- If you weren't married, I'd grab you.
Well, I might let you, but I've gotta hurry on over to High Meadows.
Fellow got drunk and kicked his wife around.
Didn't have any dog.
Oh, ho, ho.
You'd better stay close to home, with nobody here.
Thanks for stopping by.
( giggling ) ( ominous theme playing ) How is she? How is she? Not as bad as we thought.
Is Mattie in the studio? I guess so.
You come along.
( door opens ) Jim? It's me.
I wanna ask you some questions.
Papa.
I-- I've been so upset over Clara-- I wanna ask you some questions.
And I want you to give me some answers.
How did-- How did Clara happen to fall off the ledge? I don't know, Papa.
Jim, Clara was talking to you.
She asked about Bob.
She wanted to know where he was.
Did you say? She seemed to know.
He was here when I left.
Yes, he was helping me with the clay.
She followed him down here and she saw something.
What? Nothing, There wasn't anything to see, Papa! What? Papa, please don't tell Clara.
But he came at me.
He's been after me and after me-- Jim.
Jim.
Did you see anything? I think you'd better ask Bob.
Mattie, get your sweater.
We're going into town.
Why? Like Jim said, we're gonna ask Bob.
Now go on.
It's my fault.
It's all my fault.
I should of done what the doctors said.
Doctors? They never could find any real reason for her blindness.
They begged me to take her down to Topeka, to some kind of clinic.
But she wouldn't go.
And she carried on and she cried, and-- Well, she didn't have any hope anymore.
And so I gave in.
You'd better call the hospital, get hold of Bob.
Tell him to meet me outside.
All right.
How's the station wagon? It's fine.
That's good.
The pickup's a little low on gas.
Operator, could you get me the General Hospital in Sioux Falls, please? All right, come on in.
Papa, I wish you wouldn't do this to me.
If you knew how long he's been after me.
I can't tell Clara.
I wouldn't want to hurt her, ever.
I know.
You never wanted to hurt her.
Even when you were Even up on the ledge.
What do you mean? You've lived with this for years.
You say it didn't happen when you know that it has happened.
What are you talking about? I was walking through the field.
I saw you.
No.
You tried to push her over the edge, and you lost your balance.
Oh.
She told you that story! She made up a story-- She never said a thing.
She never said a thing! But it's time something was said! It's time it came out before you hurt somebody else! I can't carry it anymore by myself! Let them know what goes on in that head of yours.
Let them know what you see behind those empty eyes! We're going into town, we're gonna talk to Bob-- We're-- I've gotta close the garage.
No, i-- If you try Miss Braydon's room, you might find him there.
Thank you.
( crashing ) MATTIE: Papa! Papa! Where are you? Papa! What happened? I don't know! Where is he? Is he all right? Papa? Stand over here.
Papa! Papa.
Is he all right? Papa.
Oh, no.
That stupid gear must have slipped.
Papa.
( ominous theme playing ) How could a thing like that happen? I don't know.
Well, why didn't he check the gearshift first? He was all I had.
Oh, Mattie.
Except you.
What about us, Bob? He was such a good man.
A stupid accident and he's dead.
I'll need you now more than ever before.
Clara's gonna need me too.
But you said she wasn't badly hurt.
I mean afterwards.
When she's walking again? With two good eyes? What do I do then? Where do I go? Mattie, that's-- I love you, Bob.
Don't throw me away.
We'll talk about it later.
Not right now.
When? Later.
I don't know.
I've got to get to town.
I've got all those arrangements to make.
When I get back, we'll talk about it.
Jim? You're working on the wagon.
We'll need it for the funeral.
Will you have it fixed? If it needs fixing.
Of course it does.
Otherwise Papa would still be here.
It was fixed.
It wasn't.
It slipped.
You do believe it slipped, don't you? Jim? Jim? Jim? Jim? I'm in here.
You're wrong.
I loved him very much.
You weren't there.
You can't be sure the gear didn't slip.
It was fine when I finished working on it.
It could have gone bad.
It is possible.
Anything's possible.
What if I can't prove it? Have you ever been in a spot like that? Hmm? Besides, it is your word against mine.
You don't think they'll believe you? I think Bob will.
Not if he thinks you tricked the gears.
Mattie, I had no reason to hurt your father.
If Papa found out about you.
You're a criminal.
He-- He may have even mentioned it to me.
Then call the sheriff.
Now, don't be silly, why would I do a thing like that? I could have done that the first night.
You just don't understand.
I like you.
I like you very much.
Ruth? Mattie Braydon.
Honey, would you get me the sheriff? ( suspenseful theme playing ) Papa always worked so hard.
I shouldn't have told you.
I should have waited till tomorrow at least.
No.
I'm all right.
Clara, there's something else I-- About four months ago, Mattie and I were coming back from town-- I know.
I've known all along.
You never said anything.
Sometimes, if you don't put things into words, you can pretend like they never happened.
And besides you never took her back into town after that.
You still want to marry me? I've been going to marry you since I was 7 years old.
I don't know that I'd change now.
If I never loved you before Just so you love me now.
( ominous theme playing ) You sure she didn't want me to call? No, I asked.
I told her you were over to High Meadow, and she said when you got back to come on out.
All right.
Let's go.
( ominous theme playing ) Mr.
Grover? It's us, Mattie.
Clara? Why'd you think it was Mr.
Grover, Mattie? Then she must have called him.
She was hoping the Sheriff'd get here before I could talk to you.
Don't listen to him.
He'll lie.
He's a criminal.
Mr.
Albers never sent him out here.
Well, I know that.
I've already talked to Mr.
Albers.
I worked on the station wagon.
I checked out the gears.
They work perfectly.
What are you talking about? Th-- They're broken.
They slipped.
They didn't slip.
They did slip.
I don't believe that.
I ca-- I can't believe Mattie would-- I can't-- I can.
That day on the ledge, when she slipped and fell she was trying to push me off.
No.
You're lying.
Y-you're making up that story.
I know you hate me because Papa's always liked me best.
But I'm the one that's blind.
Mattie, you had their eyes and their hands and their lives.
It suited you fine.
No.
That sweet old man.
You killed him? You killed him! Who are you to talk, loverboy? Clara, let me tell you about loverboy.
Let me tell you what he did! I know.
I've known all along, Mattie.
It should've been you! It should've been you! Mattie! ( dramatic theme playing ) The light.
The light-- The light hurts.
Turn off the lights.
It's what they call hysterical blindness.
Poor Mattie.
( sobbing ) Poor Mattie may have to see again.
( tires screeching ) The sheriff.
Is she right? Are you wanted for something? Something I didn't do.
Go on out the back.
( knocking ) GROVER: Mattie? Come on in, sheriff.
She called and said there was someone out here to pick up.
There is.
( Mattie sobbing ) ( mellow theme playing ) The judge won't set a date for the trial until after the psychiatrists are through testing her.
You gonna stay on? Uh, Sam always hoped we would.
Can you make it alone, just the two of you? We'll manage.
That's the last thing she ever did.
It's the hired hand.
Nice guy.
He did an awful lot for us.
He left before she could finish it.
It's a real good likeness.
Real good.
You never saw him.
No.
I guess maybe I never did.
NARRATOR: Richard Kimble still travels in the dark.
Waiting.
Hoping for the day when he can prove his innocence.
Until then it must remain night for him.
Until then, Richard Kimble must be what he is a fugitive.
( dramatic theme playing ) ( dramatic theme playing )
Oh, if-- If Papa had found out what you are, a criminal, running from the law You know, he may have even mentioned it to me.
Then call the sheriff.
Now, don't be silly, why would I do a thing like that? I could have done that the first night.
You just don't understand.
I like you.
I like you very much.
( ominous theme playing ) ( dialing ) Ruth? Mattie Braydon.
Honey, would you get me the sheriff? 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 star in tonight's story: Tuesday Weld.
( ominous theme playing ) NARRATOR: You travel at night if you're on the run.
The dark is a shield against curious eyes.
Against questions.
Against talk.
Haunted by what lies behind.
As always, fearful of what lies ahead.
Evening, Bud.
Won't take long.
How about some light? All right, everybody out.
Bring your bags.
( suspenseful theme playing ) Hey, you! Hey! You come with me.
You fellas stay here.
Heading toward Sam Braydon's place.
POLICE OFFICER: Sam! Sam Braydon! Frank Grover.
Would you turn on the floods? Sam.
Are you deaf or somethin'? Frank? What's the idea? It's the middle of the night.
For dairy men.
Good evening, Clara.
Good evening, Mr.
Grover.
Is something the matter? Oh, been chasin' this fella What's goin' on? I was just tryin' to tell your fiancée.
Tried to take this fella off the bus from Sioux Falls, and he ran.
Seemed to be headin' straight in this direction.
You folks heard anything? Not a thing.
Maybe Mattie heard.
Where is she? Well, I expect she's down in the studio.
In the middle of the night? Why not? She doesn't have to do the milking.
SAM: Mattie.
Mattie, are you there? Let's have a light.
( ominous theme playing ) I must have dozed off, Papa.
Dear, the sheriff wants to ask you something.
Evening, Mattie.
I followed this fella over here.
Thought you might've seen him.
Heard him.
No, nothing.
I'm sorry.
I'm not.
It's worth the trip out here just to see you.
Have you checked the barn, sheriff? Thank you, dear.
( knocking on door ) It's all right.
You can come out now.
They're gone.
You were here all the time.
All the time.
Why did you lie? When did I lie? You said you didn't see me.
I didn't.
I'm sorry.
Oh, I'm used to it.
Stay here.
I'll be back.
Just disappeared.
Bob.
Yeah? Oh.
Mr.
Grover? Mr.
Grover? D-- Did you catch him? Honey, tonight I couldn't even catch a cold.
Uh, Marty, would you check the other side of the barn? Frank.
( ominous theme playing ) Well, I thought you'd like to know, we got him.
Got who? The fella you wanted.
He just stepped off the bus and gave himself up.
This hoodlum stuck up a liquor store in Sioux Falls.
Police got a tip he was on the bus, they called me and asked me to take him home.
Then why'd you chase the other one? He ran.
But why? That's somebody else's headache, honey.
Does that mean you'll stop looking for him? I got the man they asked me to get.
Why waste the taxpayers' money, huh? Did Charlie get the prisoner? Yeah.
He's in the other car.
You still got lots of night, Sam.
Just past 11.
Papa? Mattie.
I-I'm going back to the studio for a minute.
I won't be long.
You're not going to do any more work tonight? Oh, no, no.
I just-- I just wanna turn out the lamp.
I wouldn't worry you.
Good night.
Good night.
Where are you? They've gone back to the house.
Trust me, please.
I'm-- I'm Mattie Braydon.
Jim Russell.
Jim.
Why did you help me? Oh, you-- You were so frightened and you've hurt your foot.
I-- You knew I was hurt? Yes.
You can tell a lot in the dark.
Just by the way someone walks.
The sheriff say why he wanted me? No.
What will you do? I'll move on, I guess.
You know, you-- You-- You could stay here.
Uh-- No, thank you.
I can't do that.
But-- But you're hurt.
You couldn't go anywhere.
Well, that won't matter if the sheriff stopped looking for me.
He has stopped looking for me, hasn't he? The sheriff is a very stubborn man.
I'm afraid he'll keep looking.
The only place he won't look is here.
Well, then I'll be down first thing in the morning.
Just don't make any noise and turn out the light.
I'm very glad you're here.
Good night.
( dramatic theme playing ) ( mellow theme playing ) Mr.
Kealy? Right on the button.
Stay where you are.
Albers Art Supplies.
What they call door-to-door.
Oh, thank you so much.
This clay is pretty heavy.
I could carry it in for you.
Oh, no, no.
I wouldn't dream of holding you up.
I'll get Papa or Bob.
Thank you anyway.
It's a pleasure.
Prettiest scenery within 200 miles.
Bye.
Bye.
Jim? Mr.
Russell? You're pretty convincing.
Now if we can just convince your father.
That clay's not too heavy, is it? No, it's fine.
Your ankle's all right? Oh, it's fine.
Forget it.
Jim, is it wrong for me to make up that story for Papa? Is it wrong to try and help someone? You're nice.
I don't think it's the carburetor.
I'll bet it's the distributor.
Well, can you fix it? No, it's out of my league, Sam Yeah, it's the distributor.
Look, it's all worn down there.
Well, then we gotta get somebody that can fix it.
What about Jerry in Sioux Falls? Papa? Mattie.
Papa.
Uh, this is Mr.
Russell.
He, uh, came with the clay.
You mean he came all the way from Sioux Falls just to bring that clay? Oh, no, no.
He's going to sit for me.
Well, you see, I asked Mr.
Albers to find somebody, and he said he had this friend who was sick, and-- But that'd mean he'd have to come 40 miles each day.
Well, now, Mattie, just for a few hours' work, th-- Well, I was hoping he'd stay.
He could work for you too.
For me? Papa, we can't afford it.
I'll show you the bills.
She's right, honey.
Not with milk prices so low.
Please don't make me beg.
My hands are all I have to work with.
Oh, Mattie You can get lost in the dark.
I couldn't pay you much.
I wouldn't want much.
Meals, fresh air, till I get on my feet.
You know anything about farm machinery? A little.
All right, $30 a week and keep.
Back room in the studio's got a basin and a cot.
Bob, get him some coveralls.
Oh.
You're so good, Papa.
Now, Mr.
Russell, if you'll take the clay All right.
Oh, Clara, we're gonna make it.
Sure, Papa.
We always do.
When it's for her.
You know, it would have taken me a solid week to take that thing apart and put it back together again? Then we would've had to call a mechanic.
Why does Sam keep you around? Oh, he's one in a million.
Well, he took me in right after my folks got killed in an automobile crash.
He said, "till just after the funeral," and that was 22 years ago.
Some men like to pick their son-in-laws early.
Oh, Sam didn't pick me.
Clara did.
She looked up at me one day and she said, uh, "Let's get married.
" I think she was about seven.
And she wasn't kiddin'.
We're gettin' hitched in July.
Jim? Jim? Hello, Mattie.
Oh.
Do you think we'll be able to work today? I think so.
Almost finished here.
Oh, good.
I'm so glad.
Sam said that, uh, he's glad Mattie found you.
He's hoping you're gonna stay on for a little while.
I haven't had any other offers this morning.
I'll go tell him you got it fixed.
All right.
Hello.
I just talked to Mr.
Albers.
He's, uh, never heard of a Jim Russell.
You're gonna ask me to leave? No, just the opposite.
I want you to stay.
If my sister Mattie wants you here that much.
I got the feeling you didn't like doing things for Mattie.
Oh, this is not for Mattie.
This is for me.
( mysterious theme playing ) Did anyone ever tell you you talk too much? Well, I've been admiring your work.
Thank you.
Can I smoke? What? Can I smoke? Oh, yes, of course.
You must like elephants.
I remember elephants.
Papa used to take us to the circus every year.
And he never had to worry about us getting separated.
He could always find me watching the elephants.
I was, uh, eight the last time.
Just before I fell.
You fell? Uh.
There's a ledge out past the barn.
I'd rather not talk about that.
Of course.
Why does your sister want me here? Does she? That's what she said.
Mm.
I should've known.
Any time I've ever wanted anything or liked somebody I like you, Mr.
Russell, very much.
You hardly know me.
I know that you're running and you're scared.
And you have to depend on me.
( knock on door ) Mattie, I'm sorry to break this up.
Oh, we were just finishing anyway.
Tractor's running fine, real fine.
Good.
Uh, will you take a look at the station wagon? Sure.
What's the trouble? Well, there's something wrong with the gear shift.
It, uh, keeps slipping out of park.
It's been doing that for about three weeks now.
All right, I'll take a look at it, then help Mattie with the clay.
That's all right, Bob can help me.
Mattie, the herd has to be fed.
Oh, you can spare him for a few minutes, Papa.
Well, no more than that.
Come on, Jim.
( ominous theme playing ) You haven't been near me.
It's been days.
Oh, Mattie.
Mattie, we can't.
You'd better change your clothes.
Bob, what's wrong? What have I done? Nothing.
Nothing.
We just said that we would stay away from each other, that's all.
MATTIE: If you walk out that door, I'll scream.
You wouldn't want to explain that, would you? Have you seen Bob? I need him to help me with the feeding.
Uh, can I help? What's the matter? Nothing's the matter, Clara.
He's with Mattie, isn't he? Clara! No! Clara! ( suspenseful theme playing ) Clara! No, no.
MATTIE: No, let her go.
Clara, wait! Let her go! She had to find out! BOB: Clara! Wait! Listen to me.
Clara! Wait.
Clara! Clara! No! Let me go! Listen! You've gotta listen to me.
Let me go.
Let me explain to you.
Let me go! Clara! Clara! ( dramatic theme playing ) ( speaking indistinctly ) Call a doctor.
Go on, call a doctor, and get some blankets.
She always gets what she wants.
( mellow theme playing ) Sorry to hear about it, Sam.
Something I can do? Oh, no, thanks, Frank.
She twisted her back some, but no fractures.
Doc says she can come home tomorrow.
I always told her to stay away from that ledge.
I-- I was always afraid she'd fall.
Can I go in and talk to her? Oh, she's sleepin'.
Maybe you'd better go on in.
One of us ought to be around, anyway.
You leaving? I'm going into Sioux Falls, pick up a hospital bed.
She'll need one for a week or so.
And then I, uh, I wanna stop in and see Mattie.
Hired man's the only one with her.
Frank, thanks for stoppin'.
I appreciate it.
Bye.
I'll see you later, Sam.
Oh, Bob.
Did Sam get himself a new hired man? Mattie got him.
That's a real funny thing, all right.
One minute a man disappears in Sam's place, the next, Sam's got himself a new hired man.
What's wrong with that? What with milk prices bein' what they are, Sam's had to scrape the last four or five years.
That new hired man must be workin' real cheap.
Would you know him if you saw him again? I'd know him.
Any place, any time.
( peaceful theme playing ) Mattie.
Jim.
I called the hospital and they wouldn't tell me anything.
Well, they never do.
But it's so hard to wait like this, and not know.
If anything ever happened to her, I don't know what I'd do.
You know, the-- The doctors used to tell me that if I was ever unhappy or lost or frightened or upset about anything, to work.
Please, please sit for me this afternoon.
Just a while.
I can't work without you.
I don't think I'll have the time, Mattie.
But we could get so much accomplished.
I mean, with everyone away, no interruptions.
With Clara in the hospital, your father's gonna need the wagon.
Yes.
Yes, of course.
What are you doing, Mattie? That's not a toy.
Mr.
Russell, I am not a child or a cripple to be pushed into some dark little corner, just out of everyone's way.
Park, reverse, neutral, drive, and low.
There.
Who taught you that? Bob.
I drive into town with him sometimes.
It's the only way I can feel I'm alive, is to know things, and touch them, and reach out and feel I'm part of the world.
You know what it's like to be alone.
Please understand.
I understand.
Then-- Then we can work later? I have to finish with this, uh, wagon, Mattie.
Oh.
Please be flattering and hurry just a little.
( car door closes ) ( engine starting ) FRANK: Mattie? Frank Grover.
You around? Mr.
Grover? I'm in here, the studio.
( suspenseful theme playing ) Saw your Pa at the hospital.
How is Clara? Now, relax.
I-I can't get anything on the phone.
She's fine.
Just twisted her back a little, that's all.
Oh.
I thought you coming out here meant I was just driving by, thought I'd look in.
Your Pa said you were here all alone with just the hired hand, huh? Yeah.
He-- He has the wagon out on the road.
Seems to be something wrong with the gear shift.
I understand he's doing double time for you and Sam both.
That him? They say I've got him pretty well.
Do you like it? Wouldn't say he'd win any beauty prize.
No, I despise pretty men.
Gives me a chance.
Well, if-- If you weren't married, I'd grab you.
Well, I might let you, but I've gotta hurry on over to High Meadows.
Fellow got drunk and kicked his wife around.
Didn't have any dog.
Oh, ho, ho.
You'd better stay close to home, with nobody here.
Thanks for stopping by.
( giggling ) ( ominous theme playing ) How is she? How is she? Not as bad as we thought.
Is Mattie in the studio? I guess so.
You come along.
( door opens ) Jim? It's me.
I wanna ask you some questions.
Papa.
I-- I've been so upset over Clara-- I wanna ask you some questions.
And I want you to give me some answers.
How did-- How did Clara happen to fall off the ledge? I don't know, Papa.
Jim, Clara was talking to you.
She asked about Bob.
She wanted to know where he was.
Did you say? She seemed to know.
He was here when I left.
Yes, he was helping me with the clay.
She followed him down here and she saw something.
What? Nothing, There wasn't anything to see, Papa! What? Papa, please don't tell Clara.
But he came at me.
He's been after me and after me-- Jim.
Jim.
Did you see anything? I think you'd better ask Bob.
Mattie, get your sweater.
We're going into town.
Why? Like Jim said, we're gonna ask Bob.
Now go on.
It's my fault.
It's all my fault.
I should of done what the doctors said.
Doctors? They never could find any real reason for her blindness.
They begged me to take her down to Topeka, to some kind of clinic.
But she wouldn't go.
And she carried on and she cried, and-- Well, she didn't have any hope anymore.
And so I gave in.
You'd better call the hospital, get hold of Bob.
Tell him to meet me outside.
All right.
How's the station wagon? It's fine.
That's good.
The pickup's a little low on gas.
Operator, could you get me the General Hospital in Sioux Falls, please? All right, come on in.
Papa, I wish you wouldn't do this to me.
If you knew how long he's been after me.
I can't tell Clara.
I wouldn't want to hurt her, ever.
I know.
You never wanted to hurt her.
Even when you were Even up on the ledge.
What do you mean? You've lived with this for years.
You say it didn't happen when you know that it has happened.
What are you talking about? I was walking through the field.
I saw you.
No.
You tried to push her over the edge, and you lost your balance.
Oh.
She told you that story! She made up a story-- She never said a thing.
She never said a thing! But it's time something was said! It's time it came out before you hurt somebody else! I can't carry it anymore by myself! Let them know what goes on in that head of yours.
Let them know what you see behind those empty eyes! We're going into town, we're gonna talk to Bob-- We're-- I've gotta close the garage.
No, i-- If you try Miss Braydon's room, you might find him there.
Thank you.
( crashing ) MATTIE: Papa! Papa! Where are you? Papa! What happened? I don't know! Where is he? Is he all right? Papa? Stand over here.
Papa! Papa.
Is he all right? Papa.
Oh, no.
That stupid gear must have slipped.
Papa.
( ominous theme playing ) How could a thing like that happen? I don't know.
Well, why didn't he check the gearshift first? He was all I had.
Oh, Mattie.
Except you.
What about us, Bob? He was such a good man.
A stupid accident and he's dead.
I'll need you now more than ever before.
Clara's gonna need me too.
But you said she wasn't badly hurt.
I mean afterwards.
When she's walking again? With two good eyes? What do I do then? Where do I go? Mattie, that's-- I love you, Bob.
Don't throw me away.
We'll talk about it later.
Not right now.
When? Later.
I don't know.
I've got to get to town.
I've got all those arrangements to make.
When I get back, we'll talk about it.
Jim? You're working on the wagon.
We'll need it for the funeral.
Will you have it fixed? If it needs fixing.
Of course it does.
Otherwise Papa would still be here.
It was fixed.
It wasn't.
It slipped.
You do believe it slipped, don't you? Jim? Jim? Jim? Jim? I'm in here.
You're wrong.
I loved him very much.
You weren't there.
You can't be sure the gear didn't slip.
It was fine when I finished working on it.
It could have gone bad.
It is possible.
Anything's possible.
What if I can't prove it? Have you ever been in a spot like that? Hmm? Besides, it is your word against mine.
You don't think they'll believe you? I think Bob will.
Not if he thinks you tricked the gears.
Mattie, I had no reason to hurt your father.
If Papa found out about you.
You're a criminal.
He-- He may have even mentioned it to me.
Then call the sheriff.
Now, don't be silly, why would I do a thing like that? I could have done that the first night.
You just don't understand.
I like you.
I like you very much.
Ruth? Mattie Braydon.
Honey, would you get me the sheriff? ( suspenseful theme playing ) Papa always worked so hard.
I shouldn't have told you.
I should have waited till tomorrow at least.
No.
I'm all right.
Clara, there's something else I-- About four months ago, Mattie and I were coming back from town-- I know.
I've known all along.
You never said anything.
Sometimes, if you don't put things into words, you can pretend like they never happened.
And besides you never took her back into town after that.
You still want to marry me? I've been going to marry you since I was 7 years old.
I don't know that I'd change now.
If I never loved you before Just so you love me now.
( ominous theme playing ) You sure she didn't want me to call? No, I asked.
I told her you were over to High Meadow, and she said when you got back to come on out.
All right.
Let's go.
( ominous theme playing ) Mr.
Grover? It's us, Mattie.
Clara? Why'd you think it was Mr.
Grover, Mattie? Then she must have called him.
She was hoping the Sheriff'd get here before I could talk to you.
Don't listen to him.
He'll lie.
He's a criminal.
Mr.
Albers never sent him out here.
Well, I know that.
I've already talked to Mr.
Albers.
I worked on the station wagon.
I checked out the gears.
They work perfectly.
What are you talking about? Th-- They're broken.
They slipped.
They didn't slip.
They did slip.
I don't believe that.
I ca-- I can't believe Mattie would-- I can't-- I can.
That day on the ledge, when she slipped and fell she was trying to push me off.
No.
You're lying.
Y-you're making up that story.
I know you hate me because Papa's always liked me best.
But I'm the one that's blind.
Mattie, you had their eyes and their hands and their lives.
It suited you fine.
No.
That sweet old man.
You killed him? You killed him! Who are you to talk, loverboy? Clara, let me tell you about loverboy.
Let me tell you what he did! I know.
I've known all along, Mattie.
It should've been you! It should've been you! Mattie! ( dramatic theme playing ) The light.
The light-- The light hurts.
Turn off the lights.
It's what they call hysterical blindness.
Poor Mattie.
( sobbing ) Poor Mattie may have to see again.
( tires screeching ) The sheriff.
Is she right? Are you wanted for something? Something I didn't do.
Go on out the back.
( knocking ) GROVER: Mattie? Come on in, sheriff.
She called and said there was someone out here to pick up.
There is.
( Mattie sobbing ) ( mellow theme playing ) The judge won't set a date for the trial until after the psychiatrists are through testing her.
You gonna stay on? Uh, Sam always hoped we would.
Can you make it alone, just the two of you? We'll manage.
That's the last thing she ever did.
It's the hired hand.
Nice guy.
He did an awful lot for us.
He left before she could finish it.
It's a real good likeness.
Real good.
You never saw him.
No.
I guess maybe I never did.
NARRATOR: Richard Kimble still travels in the dark.
Waiting.
Hoping for the day when he can prove his innocence.
Until then it must remain night for him.
Until then, Richard Kimble must be what he is a fugitive.
( dramatic theme playing ) ( dramatic theme playing )