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The Fugitive (TV series)

The Fugitive was an American network television dramatic series (ABC, 120 episodes from September 17, 1963 to August 29, 1967) starring David Janssen as Dr. Richard Kimble, an innocent man from the fictional town of Stafford, Indiana, who is falsely convicted for his wife's murder and sentenced to death. While headed to death row, he escapes custody following a train wreck and begins a cross-country search for a one-armed man (later revealed as Fred Johnson, played by Bill Raisch) he correctly believes to be the real killer. Like Kimble, Johnson uses other aliases while on the run.

Each week Kimble (with his grey hair died black) would turn up in a new identity and new job ("to toil at many jobs" as narrator William Conrad put it). He usually ended up helping people, even those who wanted to turn him in, often using his skills as a doctor (of medicine) to do so. Lieutenant Philip Gerard (played by Barry Morse) was the relentless force of law never more than one or two steps behind Kimble, often arriving in the front door as Kimble stepped out of the back. Jacqueline Scott played Donna Kimble Taft, Kimble's sister, in four episodes while being referenced in the episode The Ivy Maze, and William Conrad was the narrator for the show. Seasons 1-3 were black and white, season 4 in color.

Opening Narrations

 * Spoken by William Conrad, the unseen narrator ...just before the train taking Kimble to be executed jumps off the track (Season 1).

Opening, Season 1, Episode 1
"The name: Dr. Richard Kimble. The Destination: Death Row, State Prison. The Irony: Richard Kimble is innocent. Proved guilty, what Richard Kimble could not prove was that moments before discovering his murdered wife's body, he saw a one-armed man running from the vicinity of his home. Richard Kimble ponders his fate as he looks at the world for the last time, and sees only darkness. But in that darkness, Fate moves its huge hand."

Opening, Season 1, Episodes 2-30
"Name: Richard Kimble. Profession: Doctor of Medicine. Destination: Death Row, State Prison. Richard Kimble has been tried and convicted for the murder of his wife. But laws are made by men, carried out by men, and men are imperfect. Richard Kimble is innocent. Proved guilty, what Richard Kimble could not prove was that, moments before discovering his wife's body, he encountered a man running from the vicinity of his home. A man with one arm. A man who has not yet been found. Richard Kimble ponders his fate as he looks at the world for the last time and sees only darkness. But in that darkness, Fate moves its huge hand."

Opening, Seasons 2-4
"The Fugitive. A QM production... starring David Janssen as Dr. Richard Kimble, an innocent victim of blind justice, falsely convicted for the murder of his wife, reprieved by Fate when a train wreck freed him en route to the death house, freed him to hide in lonely desperation; to change his identity, to toil at many jobs; freed him to search for a one-armed man he saw leave the scene of the crime; freed him to run before the relentless pursuit of the police lieutenant obsessed with his capture."

Fear in a Desert City [1.1]

 * Opening Narration: Now six months a fugitive, this is Richard Kimble with a new identity, and for as long as it is safe, a new name: James Lincoln. He thinks of the day when he might find the man with one arm, but now is now, and this is how it is with him. Another journey, another place. Walk neither too fast, nor too slow. Beware the eyes of strangers. Keep moving. The right one, or will it be a mistake? Is this the trap where it will end? Safe, for now. Another room. Windows look out and look in. Get busy. Look closely. Be sure of this: they'll never stop looking. He'll never stop. Not Lieutenant Gerard. .... Ready. A job: What will it be?  Make no mistakes.  Be ready for the questions, and hope there won't be too many.

 * Closing Narration: Now six months, two weeks, and another thousand miles a fugitive, this is Richard Kimble. And this is how it is with him.

The Witch [1.2]

 * Opening Narration: Now, ten months after his escape, take Richard Kimble. Unjustly convicted of murder. Put him down in the Missouri hills. A handyman, driving a truck for a local fuel and feed company. Once again, he has changed his identity. He has become Jim Fowler, a stranger in town.

 * Closing Narration: This is Jim Fowler, about to die. He will last long enough to take the bus out of Hainesville, Missouri, and then a new identity must emerge, a new identity to hide the path of his flight, and the path of his search for the man whose crime has made Richard Kimble the Fugitive.

The Other Side of the Mountain [1.3]

 * Opening Narration: West Virginia. What used to be a town, before the coal mine gave out. A naked relic now, without future, without hope. Another dreary point in time for Richard Kimble. Eight months a fugitive.

 * Closing Narration: Above the mountain, leaving it far below and behind him, Lieutenant Philip Gerard returns home without the man he had come to find and recapture. The other side of the mountain, of many mountains, a road twisting and turning into the future, without promise, without assurance for the man who must always go alone: Richard Kimble, fugitive.

Never Wave Goodbye (Part 1) [1.4]

 * Opening Narration: Santa Barbara, California. Two hours up the coast from Los Angeles. A harbor town, a fishing town, an early mission town. To Richard Kimble, temporarily using the name Jeff Cooper, it has been a sanctuary, but a fugitive knows that a sanctuary becomes a trap if he stays too long.

 * Closing Narration: Richard Kimble has seen the eyes of the hunter. He knows that for Gerard the chase will never end. But his bones ache from running and he needs the love of a girl. For sanctuary, he will risk a trap. For, in the long, long chase, he has lost everything but hope.

Never Wave Goodbye (Part 2) [1.5]

 * Opening Narration: A man cannot run forever. Two hours up the coast from Los Angeles, Richard Kimble has found a place he thinks is safe. Here, in the early mission town of Santa Barbara, wearing the name Jeff Cooper, he has begun to put down roots. A man on the run must sooner or later become tied to a town. The look on the face of a girl. The touch of her eyes. But there may always be the doubt. What has he left behind? A footprint? A careless word? A remembered image in the eye of a stranger? A match? What can they track him with? If he is tired enough of running, he will put the doubt aside.

 * Closing Narration: The road north, the road east. For the moment, to Richard Kimble, it makes no difference. The road ends nowhere.

Decision in the Ring [1.6]

 * Opening Narration: Now, 11 months a fugitive, Richard Kimble emerges from the blackness of hiding into the gray anonymity of another alias: Ray Miller. He thinks of the day when he might find the one-armed man, but for now, Los Angeles, California offers him temporary haven.

 * Closing Narration: This was Ray Miller, cut man. Before that, James Lincoln, bartender. And how many weary lonely, heart-breaking identities before that? Only if he succeeds in discovering the man who made him an outcast, can he again be Richard Kimble.

Smoke Screen [1.7]

 * Opening Narration: California. The Imperial Valley. Richard Kimble, now wearing name of Joseph Walker. Occupation: farm laborer. The California sun is hot, and there is a strange antagonism in the eyes of the other workers. A hatred which he cannot fathom. But one which Richard Kimble tries to ignore in his effort to keep the secret of his identity.

 * Closing Narration: There is no celebration for a fugitive. Richard Kimble moves on, his objective always the same: to find the man who alone can deliver him from execution.

See Hollywood and Die [1.8]

 * Opening Narration: Sierra Point, New Mexico. Resident population: 562. Transient population: 1. Richard Kimble, who currently bears the name Al Fleming. It is now more than a year since the escape.

 * Closing Narration: A city with ten million lights casts a hundred million shadows, each one only a passing refuge for a man on the run -- a man like the Fugitive.

Ticket to Alaska [1.9]

 * Opening Narration: The freighter, Alaskan Star. Six hours out of Seattle, Washington. Carrying a crew of 14, with accomodations for 12 passengers. One of them, Richard Kimble, now wearing the name Larry Talman. Destination: Alaska, the 49th state. Objective: to earn a large sum of money in a short period of time, and thus underwrite the next phase in the search for his wife's killer.

 * Closing Narration: Larry Talman, freed from the suspicion of murder, leaves the Alaskan Star. But it is Richard Kimble, still under the sentence of death, that steps ashore. He will stay in this place as long as it is safe. Then he will move on. It is said there is no rest for the wicked -- nor, sometimes, for the innocent.

Fatso [1.10]

 * Opening Narration: A ride with a stranger -- a friendly stranger. But a fugitive cannot afford the luxury of friendship. He has to keep his thoughts to himself, weigh every word carefully. ... Drive carefully. Do everything carefully: from the moment you wake until you go to sleep at night -- if you have a place to sleep.  One false move, one little quirk of fate ....  How long before they know it's Kimble, not Carter? Twelve hours? Ten hours? Six hours?

 * Closing Narration: A letter from an old friend. No return address, no name. A fugitive has to watch his step. Every step he takes, every hour, every minute, every second, any moves he makes might lead to death row. There's no way of knowing in advance. There's never any way of knowing.

Nightmare at Northoak [1.11]

 * (in a dream sequence Kimble is cornered by Lieutenant Gerard)
 * Lt. Gerard: Finally, Kimble! (draws his gun) Finally.
 * Opening Narration: This is Richard Kimble's recurring nightmare, and each time it ends, he wonders whether he will awaken to the same nightmare of reality.
 * (Gerard shoots and Kimble immediately wakes up, back in reality)

 * Closing Narration: Another city, another identity. Help Wanted. Help, but there is none. Richard Kimble must live with his past and his future. His only consolation: that somewhere, perhaps here, there is a one-armed man who has nightmares of him.

Glass Tightrope [1.12]

 * Opening Narration: It doesn't matter anymore who you are, or where. Every town, every city is just like the last: a waypoint on an endless road that goes nowhere. A place to stop running, to think, to hide. Another job, another name. Is that enough? It has to be. It's all you've got. ... They got the wrong man.  That hits close to home, remember?  They wouldn't believe you either.  Tough, but it's no concern of yours.  You have to stay clear, stay out of it; you can't afford to take the chance.  What is he -- a stranger, a vagrant, a nothing?  Just a name: Arthur Tibbetts -- no fixed address.  Ask yourself: is he worth the risk?

 * Closing Narration: When Martin Rowland accepted imprisonment for his crime, he set himself free from a prison of a guilty conscience and from a woman who had no conscience. Not so fortunate for Richard Kimble. His imprisonment remains unchanged.

Terror at High Point [1.13]

 * Opening Narration: The place: Utah, the hills above Salt Lake City. The project: to move a mountain. Giant machines and armies of men moving millions of tons of earth to make way for a river. A river which one day will turn the desert into Eden. For Richard Kimble, the mountain offers protection. Here, he is Paul Beaumont, timekeeper, lost among the other workers. Here, he feels he can rest a while. Here, he is safe.

 * (At Dan Pike's behest, Buck and others working at the construction site have pursued austistic youth Jamie for attacking Buck's wife)
 * Richard Kimble: Buck, that's the book we've been looking for, Robinson Crusoe. He never got a chance to give it back to her.
 * (Buck looks at the book, and his previous certainty of Jamie's guilt begins disappearing)
 * Richard Kimble: You never got a chance, did you Jamie?
 * Jamie: I couldn't.'''
 * Buck: (now genuinely interested in hearing Jamie's side) Why not?
 * (when jamie explains he saw a man leaving the wife's trailer, he points to Dan, who's been harassing him)
 * Dan Pike: Now come on, you gonna take the word of a kid who doesn't know his left from his right?
 * Richard Kimble: We don't have to take his word for it.

 * Closing Narration: Most men have some secret fear. Most manage to live with it, to walk in the world with others and live a quiet, normal life. For one man, that is impossible: Richard Kimble, fugitive.

The Girl from Little Egypt [1.14]

 * Closing Narration: The outbound bus for from San Francisco -- destination: known. George Browning -- destination: unknown. His only companion: hope. Hope for the day when he can once again become Richard Kimble.

Home Is the Hunted [1.15]

 * Opening Narration: Always, there is the hunter, the hunted and the trap. Traps are of many kinds: of wood, of steel, of words. But this time, the trap is a city. Dr. Richard Kimble, two years a fugitive, is about to enter the trap. Why is Stafford, Indiana a death trap for Richard Kimble? Because here, a thousand people know him. This city is where Richard Kimble lived for 33 years. ... This is the neighbourhood which Richard Kimble knew as a child. This is the house in which he grew up.  Now, in a time of desperate trouble for him, a stopping place within a city of danger.  A city of danger because here also is the headquarters of police Lieutenant Gerard.

 * Closing Narration: Home is the sailor, home from the sea. And the hunter, home from the hill. But for Richard Kimble, not yet. Not yet.

The Garden House [1.16]

 * Opening Narration: Connecticut. Green trees framing the homes of the wealthy and the near-wealthy. Gracious living with roots deep in the past, and without roots interstate fugitive, Richard Kimble.

 * Closing Narration: Tomorrow, the Westborne Clarion will have a new editor. One of the paper's first editorials will be a plea for innocent men pursued by the Furies -- men such as Richard Kimble, the Fugitive.

Come Watch Me Die [1.17]

 * Opening Narration: Nebraska. A world of wheat, dirt roads. All open to the sky, but still a silent sky. Richard Kimble has found temporary refuge in the remote farming community of Black Moccasin, and even here there are questions.

 * Bellows: The question is why you? When they're probably gonna get me anyway, Why you?
 * Kimble: Cause if I'm not against you, I'm for you. And if I'm for you, I'm lost.

 * Closing Narration: A walk toward the horizon. A hope that it will lead to the man with one arm. Only then will the search be over for the Fugitive.

Where the Action Is [1.18]

 * Opening Narration: Reno. The biggest little city in the world. A town for all seasons. A town for all tastes. Dude ranch, diivorce or dice, take your pick. For every purse, for every age, Reno has something for everyone. For Richard Kimble, fugitive, another name, another job.

 * Closing Narration: Some six hundred passengers will depart the Reno airport today. Some are flying on business, some for pleasure, some for urgent personal reasons. One man, as always, is flying for his life: Richard Kimble, fugitive.

Search in a Windy City [1.19]

 * Opening Narration: Chicago. Richard Kimble has come a thousand miles on hope and the slimmest of clues in his hunt for the one-armed man. But ten days have passed, and now hope has turned to despair. For in a city of millions, how does a fugitive go about finding a phantom?

 * Closing Narration: Now many months a fugitive, Richard Kimble walks the night again, but no longer in despair that he is hunting only a phantom. He has seen the one-armed man, and it has given him hope. Somewhere, sometime, they will meet again.

Bloodine [1.20]

 * Opening Narration: ("No more running today, huh?" says Richard Kimble to the dog.) For you either, if your name is Kimble. No more running today, or perhaps tomorrow or maybe a few weeks, with luck. You've found yourself a place to rest. Another name, another job. Your name, Dick Lindsay. Your job, handyman at the Bodin Russet Kennels.

 *   Bodin Russet Kennels. For 30 years, breeding America's finest Irish Setters. Prize-winning animals. Closely guarded, protected from the outside world by lock and key. For what reason then would a member of the Bodin family take Colleen, one of the kennel's most valued animals, and deliberately turn her loose in the field? To run away? Why?

 * Closing Narration: You took a chance for someone and it worked out for him. Someday, perhaps, it will work out for you -- somewhere in some far off city, at some far off time. But this is now, and you are still running. You are a fugitive.

Rat in a Corner [1.21]

 * Opening Narration: Countless weeks and months of running. Endless running, endless searching for the man with one arm, pausing only for a job like this to stay alive. Richard Kimble, fugitive. Dan Crowley, clerk.

 * Closing Narration: Somewhere, a destination for this truck. But for Richard Kimble, no destiny. And, even asleep, there are shadows, shadows that haunt a man on the run -- a fugitive.

Angels Travel on Lonely Roads (Part 1) [1.22]

 * Opening Narration: A miracle is defined as an effect in the physical world which surpasses all known human powers. For Richard Kimble, however, this has become a world of stark realities. A world where life is lived in inches, each one possibly the last.

 * Sister Veronica: Nick Walker you said?
 * Kimble: That's right, Sister.
 * Sister Veronica: Well, Mr. Walker, you are a splendid mechanic. This car has not run so well since I left the convent.
 * Kimble: This car isn't running, Sister. It's looking for a quiet place to die.

 * Kimble: I don't suppose you made financial provisions for the trip?
 * Sister Veronica: Of course...(looks in her purse) $20.35.
 * Kimble: Good.
 * Sister Veronica: That's what I had when I stared out. My balance now is $1.45.
 * Kimble: A dollar fou...that isn't even going to get us to the top of the next hill!

 * Closing Narration: Two fugitives: one who has lost faith in her strength to cross a mountain, the other who must cross it in order to live. Sister Veronica turns to Richard Kimble for help. But the road is long and the mountain is high.

Angels Travel on Lonely Roads (Part 2) [1.23]

 * Opening Narration: Richard Kimble, alias Nick Walker, had called it, "a car looking for a quiet place to die." But this ancient vehicle, held together by faith and rusty wire, has come halfway across the mountains, carrying two fugitives: Sister Veronica, a fugitive from God on her way to Sacramento to renounce her vows; and Richard Kimble, fugitive from injustice, now wearing the name Nick Walker, borrowed from a wallet which he had found in Lincoln City. Two fugitives, moving through a dragnet that straddles two states. One, unaware that the other is the object of the intensive manhunt.

 * Closing Narration: Two fugitives: one having found a resting place, the other continuing to step off his inches on the scale of life. For him, the future will be no less precarious. But, somehow, he won't feel quite so alone.

Flight from the Final Demon [1.24]

 * Opening Narration: Richard Kimble's hands once eased the pain, ministered the illness, even saved the lives of countless children. Now, the hands are as fugitive as the man to whom they belong.

 * Closing Narration: For almost two years, Richard Kimble has lived the life of a fugitive. How many times in his despair has he thought he would gladly trade places with any man on earth. Now, Richard Kimble knows: any man, except one.

Taps for a Dead War [1.25]

 * Opening Narration: These have been depserate months for Richard Kimble. Running in fear. Someday, somewhere, someone will recognize him. Who? When? That's what he lives with.

 * Closing Narration: For Richard Kimble, it must always be this way. Until he finds the man with one arm, the one man in the world who can help him walk in the light again, Richard Kimble must find his way in the dark -- a fugitive.

Somebody to Remember [1.26]

 * Opening Narration: For Richard Kimble, a thousand names, a thousand jobs. Here, he is Johnny Sherman, warehouse worker, and as always for a fugitive, the load is a heavy one.

 * Closing Narration: The past two years have been an endless procession of names, most of them forgotten. But one name will be remembered. For a fugitive is a lonely man, and Gus Priamos has been a friend.

Never Stop Running [1.27]

 * Opening Narration: Never in one place too long. That's the first rule for a fugitive. Always keep running, always with the nightmare fear that one day, the chase will catch up with him. One day. Perhaps now.

 * Closing Narration: Another path, another road. Roads that twist and wind and lead nowhere. Richard Kimble, fugitive.

The Homecoming [1.28]

 * Opening Narration: The Pruitt family home. The Tidewater South, Georgia. In antebellum years, a home graced by gracious women, and even after cotton was no longer king, the Pruitt women were gentle and well-bred. Richard Kimble, fugitive, pauses here in his endless flight. For as long as he dares, he will be David Benton, research technician.

 * Closing Narration: Someday, someday, Richard Kimble will be settled, when he can take his own name again, when he finds the man who killed his wife. Until then, he must be what he is now: a fugitive.

Storm Center [1.29]

 * Opening Narration: Webers Landing, Florida. A thousand miles from the state prison where Richard Kimble was scheduled to die. Tonight, it will seem closer.

 * Closing Narration: A long night for Richard Kimble, but for a fugitive, the nights are always the longest.

The End Game [1.30]

 * Opening Narration: This is the instrument, and this it's operator. The subjects, newlyweds and a day to remember, always. This is the fugitive, and as fate would have it, he is the target, and this is the sound. Like that of a trigger of a trap. This is the picture which vanity, not fate, discards. But fate is not finished with Richard Kimble. It is only a matter of time and place. This is the place, and with the common ordinary act of a man buying cigarettes, now is the time, and fate is swift and sure.

 * Closing Narration: The end game he has won, but for how long? Another night and another road, and still the deadly game goes on. So must he. North, South, East, West. A man alone. The Fugitive.

Man in a Chariot [2.1]

 * Opening Narration: The man is Richard Kimble and, not surprisingly, the man is tired. Tired of looking over his shoulder, the ready lie, of the buses and freight trains. Richard Kimble is tired of running.

 * (G. Stanley Lazer is disconsolate over a mock trial of Richard Kimble)
 * Richard Kimble: You know that boy actually worshipped you? God knows why but you were the man he wanted to be. In fact he was so hung on the legend of the great G. Stanley Lazer that he believed everything you said in there this afternoon was true.  He was angry, but he believed what you said.
 * G. Stanley Lazer: And where was I wrong?
 * Richard Kimble: I'll tell you where you were right. You said he was good.  He's good, in fact he's so good he's making the great Stanley Lazer look bad.
 * G. Stanley Lazer: The trial's not over yet.
 * Richard Kimble: But he's winning.
 * G. Stanley Lazer: I don't know that he's winning.
 * Richard Kimble: Yes you do. If it weren't for that wounded vanity of yours you'd be proud of him.

 * Richard Kimble: It's not their fault that you're seventy years old. They didn't drive the car, they didn't put you in that wheelchair.  But you won't put the blame where it belongs, will you?  So they're guilty.  No trial, nothing.  Guilty.  But what are they guilty of, Professor? Of being young? Are they guilty of wanting to be what you were?  But are they guilty of trespassing on some private little kingdom of yours?  Just what are they guilty of?

 * Closing Narration: Another town, another name. The search continues and Richard Kimble now knows beyond any doubt that it must continue. There is no resting place for a fugitive.

World's End [2.2]

 * (Kimble enters an all-night diner with newspaper and sits at a table)
 * Opening Narration: Another dreary town, another shabby street. Another weary pause on Richard Kimble's search for the man with one arm, his only real hope for escaping a life of fear.
 * (A waitress approaches Kimble)
 * Richard Kimble: A...bowl of soup, any kind.
 * Opening Narration: (as Kimble opens the paper) No front page. Richard Kimble turns directly to the classified section. Here are the things that really matter. A room. A job. A way to stay alive, and tonight, something else:
 * (Kimble stops on a specific page and the viewer sees what he is reading)
 * Opening Narration: "Personal to R.K. Have information regarding September 17th. Phone me at home. Urgent. E.B." The 17th was the night Kimble's wife was murdered.

 * (Gerard strides into Captain Carpenter's office and shows him Ellie Burnett's ad)
 * Lt. Gerard: I check the out-of-town papers every couple of weeks.
 * Capt. Carpenter: How long as this been running?
 * Lt. Gerard: Seven days.
 * Capt. Carpenter: Where?
 * Lt. Gerard: New York, LA, Pittsburgh, I haven't checked the rest, but she's spent a lot of money.
 * Capt. Carpenter: She?
 * Lt. Gerard: Eleanor Burnett. Those are her initials.   She's in love with him.
 * Capt. Carpenter: You know that?
 * Lt. Gerard: I know she never missed a single session of the trial.

 * Lt. Gerard: Now come on, Aida, every second you hold me up you drive her closer to the edge.

 * Closing Narration: Where will Richard Kimble go? Wherever the bus is going. Wherever the fates will take him. Wherever there is a hope of finding the one-armed man. And now once again, there is that hope.

Man on a String [2.3]

 * Opening Narration: The road is endless for Richard Kimble. Endless, uncertain.

 * Closing Narration: Always new people, always new places. Only one thing is constant for Richard Kimble. At the end, there is always the road. Richard Kimble is a fugitive.

When the Bough Breaks [2.4]

 * Opening Narration: Grand Forks, North Dakota. It is twenty-six 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.

 * Closing Narration: Another town with its thousand faces. Examine them well, or 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.

Nemesis [2.5]

 * Opening Narration: A trout hatchery, high in the mountains -- made to order for Richard Kimble, fugitive -- far off the main road. A lonely job. Too lonely for most men.

 * Sheriff Sam Deebold: There's only about a hundred back roads and they don't show on no map.
 * Lt. Philip Gerard: Then that copter can make all the difference, with a white station wagon on these green hills.
 * Sheriff Sam Deebold: Unless Kimble ditches the wagon and goes by shanks mare.
 * Jasper: He might. He knows ever back trail around her for twenty miles.
 * Sheriff Sam Deebold: (self-servingly) I offered to pick him up and hold him.
 * Lt. Philip Gerard: (seeing through it) You had your chance.

 * Richard Kimble: (examining football cards Phil Gerard Jr. has been dropping) How far back have you been dropping them?
 * Phil Gerard Jr.: Not far. Honest.
 * Richard Kimble: Now listen to me. I'm not your father.  Now if I killed my wife, I'm dangerous.  If I didn't I'm tired of running.   Either way you'll be a smart boy if you just sit there and behave yourself and don't try anything.  All right?
 * (Phil Jr. nods nervously)
 * Richard Kimble: All right.

 * Corbin: (showcasing a deer he shot) Come at me like a regular wildcat. Had to shoot him in self-defense.
 * Richard Kimble: They tell me deer are out of season.
 * Corbin: They tell me wives, are, too.

 * Sheriff Sam Deebold: He's not gonna let some kid hold him up, assuming he hasn't ditched him.....
 * Lt. Philip Gerard: He hasn't ditched him yet.
 * Sheriff Sam Deebold: Well he ditched the car just like I said.....!
 * Lt. Philip Gerard: All he had was half a tank of gas, just like you said!

 * Corbin: (loading portions of the deer he shot with help from Kimble and Phil Jr.) I keep my camp meat back here. The law gets a little snoopy.  I reckon you know about that, though.
 * (Phil Jr. hands Kimble a piece that he gives to Corbin)
 * Corbin: (to Phil Jr.) I didn't hear you tell him thanks boy.   Now look, son, just because a man kills his wife.....
 * Kimble: I didn't kill my wife.
 * Corbin: Sure, and I didn't kill this deer, either.
 * Matt Davis: (from outside) Corbin! You home?
 * Corbin: (whispering in near-panic) Uh oh, that's Matt Davis the game warden. Keep him quiet.

 * Closing Narration: For Richard Kimble, another shabby room, another lonely night, another reaching out to touch someone he has met along the way. That is how it is, that is how it must remain. Richard Kimble is a fugitive.

Tiger Left, Tiger Right [2.6]

 * Opening Narration: Those who run need sanctuary, a time and a place to catch their breath and plan ahead. On the estate of a wealthy couple, Richard Kimble has found a temporary haven.

 * Closing Narration: The life of a fugitive, seldom downhill. Richard Kimble moves on. The hunter and the hunted. Free now to continue his search.

Tug of War [2.7]

 * Opening Narration: The farm hand who likes his work lives a wholesome, uncomplicated life -- unless he is Richard Kimble, fugitive. The quiet country road is a road to danger, the peaceful village or farm, a potential trap.

 * Closing Narration: How much farther must a fugitive go before he can stop and rest. North or East or West or South. One direction is as good, or as bad, as another, if you're Richard Kimble, fugitive.

Dark Corner [2.8]

 * Opening Narration: 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.

 * Closing Narration: Richard Kimble still travels in the dark. Waiting. Hoping for the day he can prove his innocence. Until then, it must remain night for him. Until then, Richard Kimble must be what he is. A fugitive.

Escape into Black [2.9]

 * Opening Narration: Another stopping place at the end of another road. If your name is Richard Kimble, you're guilty of escape and flight. You have no future unless you can find the past: the night of September 17th, two years ago. You saw the man who killed your wife that night. The face was there for only a moment but you'll never forget it. And you keep looking. Today, a truck driver mentions a one-armed man in Decatur. The description fits.

 * Closing Narration: Some will believe him, some will not. Some will change their beliefs, but most important, he again believes in himself. He again has the will to run, and for a fugitive, this instinct is survival.

The Cage [2.10]

 * Opening Narration: Little fishing villages that dot the coastline are like the sea that sustains them: capricious, sometimes cordial, sometimes angry, dangerous. Tonight, the village of Puerto Viejo will be festive. Handyman Jeff Parker rooms in the warehouse loft. He's had a pleasant month here but he's made no commitments -- for it's only a matter of time till he has to move on. Parker is a fugitive.

 * Closing Narration: Somewhere far ahead in the distance and time, lies a harbor of many names: safety, love security, peace. Meantime, the only haven for Richard Kimble is the freedom to move and remain a fugitive.

Cry Uncle [2.11]

 * Opening Narration: After a while, one town is much like any other. And even a man running from the law must pause occasionally for the routine of everyday life. But, for Richard Kimble, everyday life is anything but routine.

 * Closing Narration: For Richard Kimble, there is still no end to his flight. It could come tomorrow, or next year, or never. But tonight, Richard Kimble is almost content. For having helped find a home, and an end to running for another fugitive.

Detour on a Road Going Nowhere [2.12]

 * Opening Narration: Never chase a thief -- not if your own fear of capture is probably greater than his. Even in the fashionable remoteness of Indian Lake Lodge, that fear haunts this clerk who calls himself Stu Manning. At other times, Richard Kimble might have enjoyed vacationing here. But there is no vacation for a fugitive.

 * Closing Narration: The difference between good and bad, between love and hate, is often elusive. The difference between life and death for Richard Kimble is always simply his freedom to remain a fugitive.

The Iron Maiden [2.13]

 * Opening Narration: Here in southern Nevada, man is changing the bleak face of nature. With his machinery, he is carving a shaft deep into the unriveting rock and sand. A missile launching silo. When the job is finished, the Air Force will take over. But, for now, it is a civilian crew that tunnels under the desert crust -- a crew of deep and abiding loyalties. One of its newest members: a fugitive, Richard Kimble, working now as laborer and first aid man. The name he has taken: Parker.

 * Closing Narration: Richard Kimble eats alone. For him, all roads are lonely, all seasons dangerous. Until the day when he can prove his innocence, Richard Kimble must remain a fugitive.

Devil's Carnival [2.14]

 * Opening Narration: There is a man who must keep moving -- pursuing, pursued. He is not a man of solitude but often the friendless, open road is his only alternative to death by execution. Richard Kimble. He travels a lot by thumb, makes many a long, lonely hike between rides.

 * Closing Narration: The things a fugitive turns away from are sometimes evil, sometimes good and difficult to leave. Everything left behind is dangerous. There is no safety for him anywhere, but if he can keep moving, there's hope.

Ballad for a Ghost [2.15]

 * Opening Narration: At a job several miles south of Salisbury, Ohio, Richard Kimble, wearing the name Pete Glenn, grows restless now. He's worked here two months, long enough in one place -- perhaps too long. Time to move on.

 * Closing Narration: A chance meeting, a thousand ghosts are stirred, and a fugitive wonders how long for they'll be at rest.

Brass Ring [2.16]

 * Opening Narration: The southern coast of California, where the land ends and an amusement pier juts out into the sea. A place where strangers meet, where a new face is not suspect. The fingerprints are still Dr. Kimble's, but the name is now Ben Horton.

 * Closing Narration: Save up a lot of loneliness, and you’re apt to spend it somewhere This time on a lonely pier, livened only by the sound of an ancient calliope, and the brass ring caught by a fugitive can only give him a brief ride to nowhere.

The End is But the Beginning [2.17]

 * Opening Narration: A man who has to run to survive finds respite sometimes in desolate places. For the moment, this man is Steve Younger -- for the moment, a truck driver. Yet today, within the hour, Steve Younger has a rendezvous with death.

 * Aimee Rennick: If Richard Kimble is dead, that would be the end of a lot of worry and trouble for you, and yet you seem to be trying to prove that he's alive.
 * Lt. Philip Gerard: You said if Kimble is dead.
 * Aimee Rennick: And you hope it's a slip of the tongue.

 * Closing Narration: Now indeed, Steve Younger is dead. But the thin thread that binds Richard Kimble to life winds back into the fingers of Lieutenant Philip Gerard, who will follow it, and cut it if he can.

Nicest Fella You’d Ever Want to Meet [2.18]

 * Opening Narration: Bixton, Arizona. Small, quiet. For some, a good place to live. But for Richard Kimble, fugitive, it's only a stopover between rides -- a stopover he will not soon forget.

 * Closing Narration: In the aftermath of violence, there must always come a moment of peace. A time for healing and a time to restore the delicate balance of life versus death. But for a fugitive, there can be no moment of peace. He must travel the road of the hunted, and for Richard Kimble, that road apparently has no end.

Fun and Games and Party Favors [2.19]

 * Opening Narration: Two years ago, this man was Richard Kimble, doctor of medicine. Today, he is Douglas Beckett, employed in the hills above Los Angeles. He is a trusted chauffeur and gateman. He is also still a fugitive.

 * Closing Narration: The world in which young people get married and share love and build dreams is a thousand miles from the world in which Richard Kimble walks. The world of pursuit and fear. The world of a fugitive.

Scapegoat [2.20]

 * Opening Narration: The name on the time card is Hayes. A name is easily changed, dropped and forgotten. Every identity Richard Kimble has borrowed has vanished for good when he moved on.

 * Closing Narration: He will use many other names and move through many other places. Searching for Richard Kimble, dreading each backward look as long as he must remain a fugitive.

Corner of Hell [2.21]

 * Opening Narration: A man on the run, convicted on circumstantial evidence of a murder he did not commit, calling himself Paul Hunter, driving relief for InterSouth Freight. This is his first trip. It is to be his last. He's only a few miles away from a grim encounter with truth and irony.

 * Closing Narration: It is a never-ending pattern. Buy a ticket, catch a bus, East or North, South or West, destination any town. This time, maybe he'll be there, a man with one arm, and for Richard Kimble, the never-ending pattern will be ended.

Moon Child [2.22]

 * Opening Narration: Enter a town for the first time and, if you're a fugitive, you will try to determine where the danger is. Most often, it will come from the police -- but not always.

 * Closing Narration: The night is over. The town that held a gun to Kimble’s head is many miles behind, already becoming part of the dizzying procession of towns through which a fugitive must pass. Searching for the man who can mean his salvation.

The Survivors [2.23]

 * Opening Narration: This is where it began -- Fairgreen, Indiana. Here, ten years ago at the county hospital, Richard Kimble completed his internship. Here, he met a nurse named Helen Waverly and here, they resolved to get married. Now, he's come back to a town where people have reason to remember him -- perhaps some more than others.

 * Closing Narration: A man tries to arm himself against a lonely night, for he knows that at this time and place, there can be no homecoming for a fugitive.

Everybody Gets Hit in the Mouth Sometime [2.24]

 * Opening Narration: The road of escape has led Richard Kimble to a new sanctuary. The work: dispatcher for Bullet Trucking Company. No questions asked, no references required. A good job for a fugitive.

 * Closing Narration: Justice can be delivered by a final act of violence, or it can be elusive and taunting, as it has become for Richard Kimble. For him, justice hides around the next bend in the road, beyond the next mountain, on the bus that is just pulling out. Somewhere, sometime, he will find it, and so he moves on.

May God Have Mercy [2.25]

 * Opening Narration: A man on the run assumes many identities, each one reflecting in some way the life he has left behind. Thus, Dr. Richard Kimble, now known as Harry Reynolds, works as an orderly in a Michigan hospital. Once a respected pediatrician, he finds a hint of security in the familiar hospital routine. But no man, not even a convicted murderer, can completely abandon his past, nor can his past abandon him.

 * Closing Narration:: The death sentence comes in many forms, affecting each man in a different way. For some, it means an end to pain. For others, it becomes a challenge to live. For Richard Kimble, the challenge is repeated with every new turn of the road.

Masquerade [2.26]

 * Opening Narration: If you are a fugitive, you travel a lot, most often by hitching a ride with a stranger. And, always, you ask yourself: Who is he? What kind of man hides behind that face?

 * Closing Narration: For a man named Blackburn, justice will be done. But for Richard Kimble, that day has not yet come, and so he moves on, searching.

Runner in the Dark [2.27]

 * Opening Narration: No job for Richard Kimble is anything more than a means to an end: survival. The dignity of his profession is a memory -- and a hope. He can never know what unexpected shift of fate will send him running again, perhaps in pursuit of the one-armed man, perhaps in flight for his life.

 * Closing Narration: Free once again with the rootless freedom of the hunted. Anonymous in a world in which he must dread the sound of his own name, Richard Kimble continues running, searching, a fugitive.

A.P.B. [2.28]

 * Opening Narration: One community appears much like any other to a man who travels a lot. To Richard Kimble, fugitive, some are friendlier than others, some are more colorful. But they all have one thing in common: danger.

 * Closing Narration: As a doctor, Richard Kimble was sworn to the preservation of human life. Now, years later, as he travels a lonely path from city to city and state to state, the life he is searching to save is his own.

The Old Man Picked a Lemon [2.29]

 * Opening Narration: Encinas County, California. For the common laborer, a haven of perpetual harvest. For Richard Kimble, a sanctuary. But here on this fertile land, where the miracle of life stands in rich abundance, Kimble has watched the hand of Death reach out and twist Fate to its own purpose.

 * Closing Narration: Death brings with it a jolting shock of reality. No man can live or die in this world without in some way affecting the lives of others. Richard Kimble flees the aftermath of tragedy, a tragedy with which he was not the maker, but of which he will share the guilt. This is the burden of a fugitive.

Last Second of a Big Dream [2.30]

 * Opening Narration: Fifty-five miles outside of Lincoln, Nebraska, wild animals in cages bring the curious to Major Alan Fielding's Jungleland. Richard Kimble, wearing the name Nick Peters, has found work here. The job began this morning. It is destined to end tonight.

 * Closing Narration: One man’s dream ends, while another man’s nightmare merely continues. Richard Kimble is free, he has room for tonight.

Wings of an Angel [3.1]

 * Opening Narration: When a man has the law at his heels, every stranger becomes a potential enemy, every incident takes on sinister proportions. Dr. Richard Kimble has eluded his pursuers for more than two years. he knows that his freedom depends largely on luck and that, sooner or later, that luck must run out.

 * Closing Narration: When a man is on the run, every stranger is a potential enemy, every friend a surprise. For Richard Kimble, the only real friend is the darkness, and the road that has no end.

Middle of a Heat Wave [3.2]

 * Opening Narration: Lake City, New York. A roadhouse hideaway outside of town. Music, a few drinks, and sometimes a momentary escape into a private world for just two people. For Richard Kimble, escape is always momentary, and two people are one too many in a private world already crowded with pursuers.

 * Closing Narration: Another place, another memory to follow him. Another escape through the night. Always the way of a fugitive.

Crack in a Crystal Ball [3.3]

 * Opening Narration: A highway has a life of its own. Each car brings a new face. And for Richard Kimble, working now in a Midwestern gas station, the next might be the face of danger.

 * Closing Narration: An anonymous room, another town. For Richard Kimble, the day has ended, but there’s little time to rest. Tomorrow, his search continues.

Trial by Fire [3.4]

 * Opening Narration: Occasionally, a fugitive must make contact with reality to escape the loneliness of flight, to preserve his sanity. For Richard Kimble, contact with reality consists of an occasional telephone conversation with his sister. Tonight's call, however, could mean a great deal more.

 * Lt. Gerard: You know as well as I do there's no point in filing unless you have some sort of new evidence.
 * Burt Green: And there couldn't be any new evidence could there? I mean after all, he is guilty.

 * Lt. Gerard: But it might be an idea to keep an eye on Burt Green. A lawyer representing Kimble shouldn't be looking that pleased with himself.

 * Closing Narration: A witness has seen the one-armed man. Richard Kimble has had confirmed what he had almost begun to doubt himself, and a phantom seen by two men can be seen again.

Conspiracy of Silence [3.5]

 * Opening Narration: High Desert Inn. Sixty-two miles from the town of Reeseburg, Arizona. It's a vacation spot for the very rich. Tycoons and statesmen come to spend long weekends here, relaxing incommunicado. For one man, depleted by the terrible pace of running for his life, it is a vital oasis, a needed place to pause and recoup his energy -- and hope.

 * Closing Narration: All secrets are safe with this man, because none is as deadly to him as his own. His secret is that he is Richard Kimble.

Three Cheers for Little Boy Blue [3.6]

 * Opening Narration: He used to be a doctor of medicine. He's a chauffeur now, driving his employer home to the small Midwestern town where he was born. Home -- for the man at the wheel, it is only a word, because there is no home for him. Not now, because he's Richard Kimble, a fugitive.

 * Closing Narration: Darkness and silence and flight into fear. Richard Kimble has made this journey before. He will make it again. Until he proves his innocence, he remains a fugitive.

All the Scared Rabbits [3.7]

 * Opening Narration: The ad in the newspaper reads Wanted: Someone to drive. For a fugitive anxious to move on, it is apparently an ideal answer. Apparently.

 * Closing Narration: For a few moments, Richard Kimble became a doctor again, and memories were stirred of another time and another world. But this is now, and he is again a fugitive, searching for the end of a perilous road.

An Apple a Day [3.8]

 * Opening Narration: Briar County, Colorado, where a man runs in desperation before the guns and dogs of a sheriff's posse closing in for the kill. A move in the wrong direction, a broken stride, a waste of precious seconds in looking back -- these are what can cost Richard Kimble his life.

 * Closing Narration: Richard Kimble moves on again, searching for a day when there will be an end to running.

Landscape With Running Figures, Part 1 [3.9]

 * Opening Narration: There is a point beyond which a man cannot push himself, a final defeat of the spirit that cannot be overcome. If it is to end for the running man, this is the way it will be. It is two a.m. in the city, and Richard Kimble, doctor of medicine, moves to the start of another working day. To those with no past and little future, the city only offers the most menial of labors, those designed to provide nothing more than day-to-day survival. But to Richard Kimble, kitchen helper in an all-night diner, survival for even a day has come to be enough.

 * Closing Narration: In the city, the search for Richard Kimble goes on, but it is one more grim appointment that he will not keep. The relentless steel jaws will close on an empty trap. But for Richard Kimble, the fates are preparing another appointment at another time at another place.

Landscape With Running Figures, Part 2 [3.10]

 * Opening Narration: A police dragnet, a bus accident, and an ironic fate have brought together two people on a lonely country road. The woman, blinded in the accident, is unaware that the man beside her is Richard Kimble. And neither is aware that the other is fleeing from the obsession of Lieutenant Philip Gerard, hunter of the man, husband of the woman.

 * Closing Narration: For a brief moment, time also stopped for Richard Kimble, and for a while, it had been good to be able to stop and look back, and find that there was something there. But now it is over. For the fugitive, time has started again.

Set Fire to a Straw Man [3.11]

 * Opening Narration: Tractor, New Jersey -- a small industrial town where a passerby has summoned the police to a mugging in a dirty alley. But this senseless beating is about to take on far more significance to a man not even witness to it -- a man named Richard Kimble.

 * Closing Narration: For each of us, there is an occasional moment of fantasy. A search for a straw man of our own, but Richard Kimble can only hope that the memory of a face caught once in the glare of headlights is made of something other than straw.

Stranger in the Mirror [3.12]

 * Opening Narration: For every acquaintance he makes, a man reveals a different face, a different identity. To the people of this Midwestern city, this man is John Evans, itinerant laborer. To those who know him better, he is Dr. Richard Kimble, convicted murderer.

 * Closing Narration: One man with a dozen names, a dozen identities, but none he can claim as his own. Richard Kimble moves on in search of justice, and the elusive privilege of answering to his rightful name.

The Good Guys and the Bad Guys [3.13]

 * Opening Narration: In a civilized society, a network of laws protects man against his own brutality. But for Richard Kimble, living outside the law, the civilized world has become a jungle. His only protection is his animal instinct, his will to survive. But always there is the hunter, even in Drover City, Montana.

 * Closing Narration: Some men break the law, others are broken by it, but Richard Kimble continues his endless quest. Pursued by the law he respects. A fugitive from the justice he seeks.

End of the Line [3.14]

 * Opening Narration: A man's image can be shaped by society's opinion of him. A fugitive must ask himself then, how long can a running man hold out against that opinion? How many miles, how many accusations before he becomes what society has labeled him?

 * Closing Narration: Some people run for exercise, some are professionals chasing a record, and still others must run to live. Theirs is the longest race. If they can last until tomorrow, their reward is one more day of running.

When the Wind Blows [3.15]

 * Opening Narration: For a fugitive, there is no rest from the past and no safety in the present. Even here, in the remote village of Small Groves, Wyoming, the most ordinary day may explode in his face. Rumors that Richard Kimble had been seen in the city of Casper have been relayed to every law enforcement agency in this corner of the state.

 * Closing Narration: For Richard Kimble, there is no sanctuary from the night wind. There is no cave in which to hide. But occasionally, along the road, a fugitive will find a hand extended in trust, and the night wind will not seem so cold.

Not with a Whimper [3.16]

 * Opening Narration: No matter how far a man may run, he cannot escape the emotional ties that bind him to his past. So Richard Kimble finds himself drawn to the factory town of Hempstead Mills. The reason: the chance of a small item in the local newspaper.

 * Closing Narration: Richard Kimble, fugitive. On a brief visit to a dead past. Now once more in search of a future.

Wife Killer [3.17]

 * Barbara Webb: Hey Mister!
 * (Fred Johnson turns and his picture is taken, and appears on the front page of a newspaper carried by Richard Kimble as he boards a bus)
 * Opening Narration: A fugitive is usually a man without a goal, aimlessly fleeing the Furies that pursue him. But for Richard Kimble, there is a goal: a phantom who has himself become a fugitive. And Richard Kimble, in turn, now becomes the hunter.
 * (cut to interior of car with another newspaper with the exact same photo, pan up to see its driver, Lt. Gerard)
 * Opening Narration: But another hunter is also on the move.

 * Lt. Gerard: I want to know who that man was with Barbara Webb this afternoon and where she's gone with him.
 * Herb Malone: I don't know.
 * Lt. Gerard: I hope you enjoyed your drive this evening, Mr. Malone, because it's going to cost you.
 * Herb Malone: You'd have a tough time proving I broke any laws and you know it. Now I've been a newspaperman almost as long as you've been a cop, Lieutenant, and I am not easily intimidated.
 * Lt. Gerard: There's something else we both know. If that man with her is Richard Kimble, Miss Webb will go to prison for a long time.
 * Herb Malone: I was just out taking a little drive in her car.
 * Lt. Gerard: You fired her for just this sort of thing, but you're still in love with her, aren't you?
 * Herb Malone: None of your business.

 * Richard Kimble: (speaking into a pay phone) I'd like to make a person to person call to Lieutenant Philip Gerard at the Baker City Police Department.
 * (pause)
 * Richard Kimble: Yes, it's G-E-R-A-R-D. That's right.
 * (pause)
 * Richard Kimble: I'll wait.
 * Closing Narration: And Richard Kimble waits, not yet aware that his hope for salvation has again disappeared. Waits to be reminded by Lt. Philip Gerard that he is still as much a fugitive as before.

This’ll Kill You [3.18]

 * Opening Narration: The days of a fugitive run together as one, the fear and desperation unrelieved by the sounds of laughter. But Richard Kimble, now using the name Nick Philips, will find that a man may laugh only to escape the terror of silence.

 * Closing Narration: One man dies and another survives for at least another day. For one, the sound of laughter has faded. For the other, the echo of that sound remains. Richard Kimble's lonely flight continues, but now perhaps, he will find an occasional moment to remember and smile.

Echo of a Nightmare [3.19]

 * Opening Narration: As a doctor, he had dedicated himself to the preservation of life. Now a fugitive, the life he must preserve is his own. Richard Kimble's safety depends on knowing where the enemy is -- and who.

 * Closing Narration: All men run the risk of being chained to their pasts. For Richard Kimble, that bondage is stronger than the steel that hangs from his wrist; and so he moves on, searching. Knowing that for him, now there can be no freedom.

Stroke of Genius [3.20]

 * Opening Narration: For many men, life is a ceaseless flight: each moment of each day must be escaped by fleeing somehow, somewhere, without rest, until one day, all hope dies, even the hope of further flight. Perhaps for such men, death comes as a final and all obliterating act of kindness: after a lifetime of nightmarish flight, an eternity of dreamless rest. But for Richard Kimble, there is no rest. Not free to live, he is also denied the freedom of death.

 * Closing Narration: Even for the guilty, there is relief when the truth is known, but for Richard Kimble, the truth that will free him lies somewhere ahead. Over the next horizon, beyond the next town. At another place, at another time.

Shadow of the Swan [3.21]

 * Opening Narration: A carnival can be a place of fun and games or the funhouse mirrors a reflection of man's uglier side. If you happen to be Richard Kimble, it can simply be another lonely street where the laughter belongs to someone else.

 * Closing Narration: The carnival has moved on, and so too has Richard Kimble. The carnival moves north, taking its ragbag of noise and excitement to another town, searching for the crowds that are its life, and Richard Kimble, a fugitive still, searches for the one man who can mean HIS life.

Running Scared [3.22]

 * Opening Narration: A man on the run may manage to elude the law, but his yesterdays follow him like an ever-lengthening shadow. For some, the shadow of the past is an object of fear. But for Richard Kimble, it's a form of security. His memories are a bulwark against hopelessness and despair. When the memories falter, so does Kimble.

 * Closing Narration: Without a past, a man has no future. For Richard Kimble, his memories are the source of his courage. They give him the strength to face another uncertain tomorrow.

The Chinese Sunset [3.23]

 * Opening Narration: The Chinese Sunset Motel, situated on a tarnished hyphen called the Sunset Strip that separates Los Angeles from Beverly Hills. For Richard Kimble, working as a man of all jobs under the alias Jack Fickett, it is a welcome bit of limbo.

 * Closing Narration: A fleeting moment to laugh, to be warmed, to contemplate what could have been. An hour ago, he was Jack Fickens. Now he must find a new name, a new place. A man who must lose himself in order that someday, he might again find himself. Richard Kimble, fugitive.

Ill Wind [3.24]

 * Opening Narration: The work is hard, to be endured from day to day, but here, just twenty miles north of the Gulf of Mexico, Richard Kimble has found reason to gain a new foothold on life, his first in a very long time.

 * Closing Narration: The storm has come and gone, but few of those who sought shelter together that night will forget it. And Richard Kimble, the next hill now in his eye, will find occasions to look back and remember. A fugitive has time for that.

With Strings Attached [3.25]

 * Opening Narration: The life of an artist is a restless, lonely one, without peace -- like a man pursued, finding peace and rest only when he has created something of beauty. But then, after that, he is forced into flight again, and he moves once more into the unknown, searching. For Richard Kimble, a fugitive, there is also only pursuit and a lonely searching. Moments of beauty, even moments of rest, are rare, because for him, as for the artist, to stand still is to die.

 * Closing Narration: Some men can never be free. From birth, they are their own jailers, they are their own prisons, they are trapped by their own talents. For Richard Kimble, a fugitive, freedom is flight. For flight brings hope, and with hope, there is always tomorrow.

The White Knight [3.26]

 * Opening Narration: Quick reflexes are necessary to a doctor. They are indispensable to a fugitive. For Richard Kimble, who is both doctor and fugitive, they can mean survival.

 * Closing Narration: In the storybooks, when you save a man’s life, you are richly rewarded. For a fugitive, it doesn’t always work that way ... and sometimes, when you are chased by the Furies, the life you must save is your own.

The 2130 [3.27]

 * Opening Narration: If you are Richard Kimble, you lead a complicated life. However, certain decisions are simple: when the police start getting involved, you don't wait around to see what happens.

 * Closing Narration: If you are Richard Kimble, fugitive, your already complicated life has become more so. You can no longer rely upon on your instinct, because for all you know, your pursuers may be machines, and you are merely a human being.

A Taste of Tomorrow [3.28]

 * Opening Narration: To a fugitive, only the past is real. Each morning, it rises with the sun. Each night, it returns with the darkness. There is no present. And, for Richard Kimble, the future is filled with uncertainty and fear.

 * (Joe Tucker has Charlie Fletcher, the man he blames for his four-year status as a wrongfully-convicted fugitive, at gunpoint)
 * Charlie Fletcher: I'm not proud of what I did.
 * Carolyn: Tell him what you're doing now, what you're doing to make up for it.
 * Charlie Fletcher: I'm getting my affairs in order, I'm turning everything over to Carolyn.
 * Joe Tucker: (confused) I don't get it.
 * Carolyn: Because Wycoff told him he has to stand trial for perjury.

 * Closing Narration: For some, an end finally comes to the running. But for Richard Kimble, the end has come to only one more day and the running must go on.

In a Plain Paper Wrapper [3.29]

 * Opening Narration: A target may be paper, an animal, or a man. To a gun it makes no difference, nor does it care who pulls the trigger or why. To Richard Kimble, a fugitive, guns are a familiar enemy, for he is always a target, a target for which the law has issued a mandate -- if necessary, shoot to kill.

 * Closing Narration: Love needs time to grow, and a hunted man has no time. Yesterday, a need that found hope in a look, a word, a touching of hands, is today denied by flight -- a flight from guns. Today’s guns are already miles behind, but the need remains.

Coralee [3.30]

 * Opening Narration: A derrick barge used for underwater salvage work off the coast of California. Richard Kimble has taken the name Tony Carter, and, unknowingly, taken the hand of trouble.

 * Closing Narration: The highway north carries a fugitive to freedom -- a freedom shadowed by his own special jinx. He cannot look back now. He can only look ahead to the day when that jinx will ultimately be broken.

The Last Oasis [4.1]

 * Opening Narration: A fugitive has many enemies. A desert is among them. But the desert can also bring friends.

 * Closing Narration: To Richard Kimble, a border is a dark tunnel whose other end might lead to the final encounter with a many-faced enemy. But for the moment, it leads to safety.

Death is the Door Prize [4.2]

 * Opening Narration: For a fugitive, there must be wariness in even the simplest chore: an extra sense, sharpened by the two-fold chase--the fugitive hunted and the fugitive hunting.

 * Closing Narration: A fugitive moves on, through anguished tunnels of time. Down dim streets, into dark corners, and each new day offers fear and frustration, tastes of honey and hemlock. But if there is hazard, there is also hope.

A Clean and Quiet Town [4.3]

 * Opening Narration: A man on the run comes to expect neither justice nor mercy. Every hand is against him; every face turns away from his pain. In such moments, the thread of hope, of life itself, stretches to the breaking point.

 * Closing Narration: A man on the run must never stop. After every fall, he must get up. Push on toward the same elusive goal. A goal so close at times as to be only a heartbreak away.

The Sharp Edge of Chivalry [4.4]

 * Opening Narration: A big city: a jungle of anonymity, where nobody looks too close and everybody is locked in with his own big problem. A hiding place for a man who, for the moment, calls himself Carl Baker.

 * Closing Narration: One man is still the hunter, and the other is still the fugitive.

Ten Thousand Pieces of Silver [4.5]

 * Opening Narration: At dawn, he rises to labor through the sunlight hours. His hands, skilled enough for a surgeon's knife, are forced to cruder tasks, tasks no longer of his own choosing. Not even his name is his own.

 * (Gerard is confronting local news editor Martin Pierce over a self-serving editorial criticizing him for his department's arrests of young car thieves)
 * Martin Pierce: Not in my opinion, Lieutenant, when your department is so busy trying to make an example.....
 * Lt. Philip Gerard: Your son is NOT being made an example of, Mr. Pierce; your son STOLE A CAR.
 * Martin Pierce: He BORROWED a car!
 * Lt. Philip Gerard: The courts will decide that! My men perform a police function only. Perhaps the Judge will believe Gary's story, I certainly hope so.
 * Martin Pierce: Lieutenant, you know better. My boy's in deep trouble.  He said he was going out for a little ride, but your overenthusiastic men arrested him before he could return the car.
 * Lt. Philip Gerard: (clearly stunned Pierce is doubling down on excusing his son) Overenthusi.....oh come on now, Mr. Pierce, you can't have it both ways! Either my men are lax or they're going beyond the call of duty! Which way do you want it?
 * Martin Pierce: It isn't a question of how I want it! I'm making a case for simple justice.
 * Lt. Philip Gerard: No you're not! You're acting like an angry father! That makes you an irresponsible newspaperman!

 * Closing Narration: A fugitive gets his fill of goodbyes, of loyalties borne and discarded, yet not discarded. For the fugitive game is a lonely one, with only two players to see it through: a game, it would seem, without end.

Joshua’s Kingdom [4.6]

 * Opening Narration: A fugitive is like a long-distance runner, with a difference; a fugitive's distance is infinity. Infinity is a long, impossibly long, way away and there must be time for the hunted to rest, to gather strength to move once again.

 * (Kimble revives Ruth Simmons' son who had passed out due to fever; the child is Joshua Simmons' grandson, and Joshua, a Christian Scientist who does not believe in medicines, has felt ashamed about his grandson due to misunderstanding the circumstances of his gestation)
 * Richard Kimble: Your grandson was given back to you. Not many people get a second chance.
 * Joshua Simmons: (hesitantly with a hint of guilt at hating his own grandchild) It can't be God's will, not with doctors and medicine.
 * Richard Kimble: How do you know I wasn't sent here? Or why did I come to this house, why did I come to this town? Do you know?

 * Closing Narration: Richard Kimble, both the hunted and the hunter. The truth that will free him is somewhere ahead. He will find it.

Second Sight [4.7]

 * Opening Narration: For a fugitive to survive, he must rely entirely on his senses. Richard Kimble has survived because his senses have become exceptional. The world is his jungle and the tiger he stalks is a man with one arm. From Kimble's years in this jungle, he has learned to miss nothing and to react quickly, as one must in a jungle.

 * Closing Narration: And so Richard Kimble, fugitive, is back in the jungle again, where as always, he must be the prey of others. Until the day, once more, he can become the hunter.

Wine is a Traitor [4.8]

 * Opening Narration: For the fugitive, the offer of help--some simple, decent act of kindness--must be rejected. There are no relationships of any duration for him. Life consists of fleeting contacts.

 * Closing Narration: A hunted man can clutch at a single straw. That one day, the hunters will lay down their guns, but for Richard Kimble, that day has not yet come.

Approach With Care [4.9]

 * Opening Narration: A traveling carny; here one day, there the next. A place for a man on the run. A place for Richard Kimble.

 * Closing Narration: For some men, the world has provided little room. No place for them to live as other men. But for Richard Kimble, there is such a place, and to find it, he must now continue his lonely search.

Nobody Loses All the Time [4.10]

 * Opening Narration: Any public disaster will attract a crowd of spectators, people secretly please, perhaps, that they aren't touched by the tragedy, that they may walk away from the dying and go on about their lives. But one man here today cannot remain so uninvolved, so insulated against another's pain. He is bound by an oath taken many years ago, an oath written by a man named Hippocrates. "I will follow that method of treatment which, according to my ability and judgment, I consider for the benefit of my patients. Into whatever houses I enter, I will enter them for the benefit of the sick." These words, remembered from better days, return to haunt Richard Kimble.

 * Maggie Tibbett: What is it with you?
 * Richard Kimble: What do you mean?
 * Maggie Tibbett: Don't you think I know? This room costs, and you signed for it.   What is Maggie Tibbett to you?
 * Richard Kimble: He wasn't running from you, Maggie, he was running from me.
 * Maggie Tibbett: (clearly surprised) Freddie? A guy like you mixed up with him?
 * Richard Kimble: How long have you known him?
 * Maggie Tibbett: A couple of months.
 * Richard Kimble: Do you know where I can find him?
 * Maggie Tibbett: Why?
 * Richard Kimble: I've got to talk to him.
 * Maggie Tibbett: It doesn't sound to me like you want to talk.
 * Richard Kimble: Well that's up to him.
 * Maggie Tibbett: I owe you.  I know.  They told me you saved my life.
 * Richard Kimble: I'm a doctor.
 * Maggie Tibbett: But I owe Freddie, too. Somehow you scare me about him.  What's this all about?
 * Richard Kimble: A long time ago something happened.
 * Maggie Tibbett: Trouble?
 * Richard Kimble: Yes, trouble. And he's the only one who can clear it up.

 * (Fred Johnson has finally telephoned his hospitalized girlfriend)
 * Fred Johnson: Doctor? What doctor? What does he look like?
 * Maggie Tibbett: Tall. Dark.  Sort of quiet.
 * Fred Johnson: That's Kimble all right. Now listen.
 * Maggie Tibbett: (after Johnson tells her) Honey, there's got to be another way, I can't call the cops on him. (after Johnson objects) Why not? He saved my life!
 * Fred Johnson: You wanna see me again, or you wanna see me in jail? (after she agrees) Okay, then, do like a tell you.

 * Closing Narration: I will practice my profession with conscience and dignity. Even under threat, I will not use my medical knowledge contrary to the laws of humanity. I make these promises solemnly, freely and upon my honor. And for Richard Kimble, fugitive, they still apply.

Right in the Middle of the Season [4.11]

 * Opening Narration: The open sea is a perfect place for a fugitive, nothing but water and great horizons. But always, the land pulls you back and for Richard Kimble, the horizon is a small off-coast fishing island, now a strike-torn battleground. A dangerous place for a man on the run.

 * Closing Narration: Another horizon, another haven to look for. The constant search of a fugitive.

The Devil’s Disciples [4.12]

 * Opening Narration: To Richard Kimble, the laws of society are threatening. For society has judged him guilty of breaking the law and ruled that he be punished unto death. But there are other societies with laws no less threatening, no less extreme, and punishing those who violate its code.

 * Closing Narration: For some, the future is a limitless vista. Bright and shining, full of hope. For Richard Kimble, the future, like the past, is a recurring nightmare in which hope is a cynic’s smile.

The Blessings of Liberty [4.13]

 * Opening Narration: Richard Kimble, fugitive, like everyone else, has to stop long enough to work and eat and rest, even though every time he does any of these things, his own personal danger increases tenfold.

 * Closing Narration: He stands convicted of a crime he did not commit. His full-time occupation is the search for the guilty man. There is no one who has a greater appreciation of freedom and the blessings of liberty than Richard Kimble, fugitive.

The Evil Men Do [4.14]

 * Opening Narration: A temporary job in the peaceful meadows of the Pocono Mountains in Pennsylvania. Calling himself Russell Jordan, Richard Kimble has had a rare chance to relax, catch his breath, at least for a few days.

 * Lt. Philip Gerard: (both hidden from sniper Arthur Brame with Kimble bearing Gerard's sidearm) You warn me of a killer yet you hold a gun at me.  You have your own unique sense of justice.
 * Richard Kimble: We'll talk about justice later.
 * Lt. Philip Gerard: That wasn't my doing.
 * Richard Kimble: Well this killing isn't mine.
 * Lt. Philip Gerard: Should I tell you something, Kimble, I'd never believe it was. I think I know that much about you.

 * Sharon Brame: Arthur! No! Kimble's with him, he doesn't want him killed.
 * Arthur Brame: I can't help it if he's a fool!
 * Sharon: I've got the car.
 * Arthur: No. I've got this trap set and he can't get out.  This will square the whole thing!
 * Sharon: You're not doing this for him, you're doing this for you!

 * Lt. Philip Gerard: I wanted both of them. One was a killer.  He'd killed before and if allowed to escape he'd have killed again.  The other one, Kimble, he's done the one murder he'd probably ever do.  And until I find him....and I will....he's no real menace to anyone, but himself.
 * Sharon Brame: (finally sinking in what Kimble really is compared to her late husband) Honest Sam.
 * Closing Narration: No real menace to anyone but himself. That’s the way it must be for Richard Kimble. Still alone and hunted. Even the good he might do is unable to balance the scales of justice which have made him, and keep him, a fugitive.

Run the Man Down [4.15]

 * Opening Narration: For some, a highway is just a road to travel for business or pleasure. For Richard Kimble, it is sometimes the only means to freedom. But at the moment, just minutes ahead of the law, it can be a one-way street leading to sudden death.

 * Closing Narration: For Richard Kimble, freedom is a precious gift. Sometimes found in the solitude of a trackless wilderness. Sometimes granted by strangers. But he knows that always it is a gift that may be taken back from him. Suddenly and forever.

The Other Side of the Coin [4.16]

 * Opening Narration: A stranger in a small town, a hunt for safety: the fate of a fugitive on the move. But for Richard Kimble, they can be no safety--only danger.

 * Closing Narration: For some people like Larry, there is justice tempered with mercy. A sentence of five years, suspended. For Richard Kimble, there is no understanding judge. He must find his own justice.

The One That Got Away [4.17]

 * Opening Narration: For men who go down to the sea in ships, time ashore is precious, measured in minutes. For this man, it is measured in apprehension and danger. His name is Richard Kimble. He is a fugitive.

 * Closing Narration: Somewhere, back across the border, is the one-armed man. Until he is found, there can be no reprieve from fear. Richard Kimble remains what he is today, a fugitive.

Concrete Evidence [4.18]

 * Opening Narration: Along an isolated stretch of farmland in Nebraska, a construction company builds the sleek asphalt ribbon of a new superhighway. Workers are need. Richard Kimble takes his place in line with other nameless faces, seeking a job that will give him a new beginning, a new identity. But a superhighway, even one that is yet unfinished, can prove a dangerous road--for a fugitive.

 * Closing Narration: A fugitive ropes his way into a small corner of darkness, hoping for sanctuary from the relentless force that eternally pursues him. Now, thrust once again into the harsh, inquisitive light, Richard Kimble must run, searching for the elusive place where a new life can commence.

The Breaking of the Habit [4.19]

 * Opening Narration: Between birth and death, a man travels many roads and learns to predict what lies around the next bend. But for a fugitive, there are no road maps--only blind instinct, sharpened by the knowledge that every step may be his last.

 * Closing Narration: As one road is blocked, Richard Kimble takes another. For a fugitive, there are no freeways. All roads are toll roads, to be paid in blood and pain. There are many roads. There is only one goal.

There Goes the Ball Game [4.20]

 * Opening Narration: A man on the run has few moments to relax, to live as other men. But a fugitive cannot live by flight alone. Even he must pause for the rare moment to replenish.

 * Closing Narration: So darkness swallows the fugitive. But it merely covers, not hides him. He is still hounded, still hunting, but still free. Until tomorrow.

The Ivy Maze [4.21]

 * Opening Narration: A fugitive, a man driven by a dream. Two dreams: flight from an unjust punishment, where every town is an unjust town; and a dream of destiny, that one town somewhere where Richard Kimble will find his freedom.

 * (unaware that Kimble is hiding in Fritz Simpson's office closet, Gerard drags Simpson and his assistant Sally into the office to interrogate them about test subject Carl Stoker - who is in reality one-armed suspect Fred Johnson)
 * Fritz Simpson: As I TOLD you, Lieutenant, he is an employee of the College just as we ALL are.
 * Sally: Lieutenant....
 * Lt. Philip Gerard: 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 is after! Now there comes a point where coincidence ends and harboring a fugitive begins!

 * (Simpson plays the tape of Fred Johnson's confession)
 * Lt. Philip Gerard: Now DON'T try and sidetrack me, Simpson, I want Kimble!
 * Fritz Simpson: But you've GOT him! Kimble, Johnson, AND the tape!
 * (Gerard starts to another door)
 * Fritz Simpson: Lieutenant, don't you want your killer?
 * Fred Johnson: (in the other room restrained by Kimble) Let me go! Get me out of here! Let me go!
 * Lt. Philip Gerard: (storming into the room, and for the very first time all three protagonists confront one another at the same instant) Kimble!
 * Richard Kimble: Here's your man, Gerard!

 * Closing Narration: 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.

Goodbye My Love [4.22]

 * Opening Narration: Parking attendant: a job for food and shelter, a place for rest. Another temporary haven for a man on the run. Richard Kimble, known in this place and to these people as Bill Garrison.

 * Closing Narration: Safe, for one more night. Richard Kimble continues along the twin paths of the hunter and the hunted. Continues along, without the knowledge that either road will lead to freedom.

Passage to Helena [4.23]

 * Opening Narration: Wyler City, a rugged frontier town in the mining country of northern Montana. To the ordinary man, a place where he can test himself against the harsh demands of nature. To the Fugitive, a corridor of danger.
 * Closing Narration: A fugitive’s life is not measured in years. It is measured in moments won, a day gained. Richard Kimble has won another day. Tomorrow, he must win it all over again.

The Savage Street [4.24]

 * Opening Narration: Big cities breed indifference to the problems of others. But some men cannot remain detached--men like Richard Kimble--and involvement can lead to danger.

 * Closing Narration: A fugitive lives with many emotions. Hope, gratitude, loneliness. But among the emotions, one stands out: fear, and every day it’s embedded a little deeper. Each step taken a little faster as the contest continues to take its toll.

Death of a Very Small Killer [4.25]

 * Opening Narration: Richard Kimble, fugitive, for whom there are no neutrals, only enemies or friends. To such a man, a stranger's whim, a decision to lend a helping hand, means the difference between freedom or death.

 * Closing Narration: To Richard Kimble, the fugitive, the respite of love is brief: the end of love, a necessity of survival. In flight from the numberless enemy, darkness and loneliness are harsh but sheltering friends.

Dossier on a Diplomat [4.26]

 * Opening Narration: A fugitive, if he is innocent, is sustained by hope. It is more necessary to him than food or shelter. But, paradoxically, the greater the promise of that hope, the more agonizing it becomes.

 * Closing Narration: For Richard Kimble, a moment of safety ends, and the long search must continue. For he knows, the only true sanctuary lies in the elusive proof of his innocence.

The Walls of Night [4.27]

 * Opening Narration: For Richard Kimble, a squawking radio phone has become a warm voice, a sympathetic human contact, a release--if only for a while--from the terrible ache of loneliness.

 * Closing Narration: Barbara’s sentence will come finally to an end. But for Richard Kimble, there is no calendar on which to mark the days. Loneliness once again stretches ahead, is apparently endless as the city streets.

The Shattered Silence [4.28]

 * Opening Narration: For some people, a railroad terminal is a weight station on a journey. For Richard Kimble, the Fugitive, every escape route can be a trap, every move an unforeseen step toward capture.

 * Closing Narration: A fugitive is a man in exile. A woman’s love can remain with him only long enough to remind him of his loss. For Richard Kimble, it is the price of freedom.

The Judgement (part 1) [4.29]

 * Opening Narration: How long can a man search before the search destroys him? To Richard Kimble, working for a trucking firm in Tucson, Arizona, defeat has never seemed so mockingly near. Months have passed and the trail stays cold. There is no trace of the elusive hope he seeks. But sometimes, hope lies no further than the next truck.

 * Lt. Philip Gerard: You told me you didn't leave El Paso all year!
 * Fred Johnson: I got confused.
 * Lt. Philip Gerard: You're lying.
 * Fred Johnson: No, just forgot, that's all.
 * Lt. Philip Gerard: You forget about Stafford, too?
 * Fred Johnson: Never been there!
 * Lt. Philip Gerard: But you've been through Indiana but you never left El Paso and you never heard of Gus Evans.
 * Fred Johnson: (knowing his cover story about Gus Evans has been discredited) You got me all mixed up.
 * Lt. Philip Gerard: Tell the truth, Johnson. That way you won't get mixed up.

 * Gerard: Alright, hold it, Kimble! [to cab driver] I'm sorry, your fare already left!
 * Kimble: Gerard, for the first time I feel I'm really close to something.
 * Gerard: It had to happen someday. You knew that. I'm sorry. You just ran out of time.

 * Closing Narration: A free man, Fred Johnson, boarded a train that will take him east, to Indiana, to Stafford. Hours later, two men boarded another train which will bring them to the same destination. For one of these, the moment arrival will be one of grim and long-sought triumph. For the other, his homecoming will mark only one more stop on his way to a destiny decreed in a court of law four years before. Richard Kimble is on his way home, and to an overdue appointment with death.

The Judgement (part 2) [4.30]

 * Opening Narration: A man may travel many roads and one day find his way home again, but for Richard Kimble, this road is not of his choosing and this has come too soon. Two men, traveling together, joined by links of steel and the memory of a senseless murder committed years before. Two hunters, one of whom has finally caught his elusive quarry.

 * Gerard: (after shooting Fred Johnson dead off the amusement park tower) All right, you can relax, Chandler. I just did your killing for you. (watching Kimble climb down) You've had a good day, haven't you? I guess we both have. After all, for four years now, we've -- both of us -- kept an innocent man in hell. Well, how are we going to end all that? You could keep that man alive. (after Chandler doesn't answer) But you won't, will you?

 * Lloyd Chandler: Lieutenant: Lieutenant, I saw that man, Johnson, murder Helen Kimble.
 * Gerard: Are you willing to testify to that effect?
 * Lloyd Chandler: Yes. I will.

 * Closing Narration: Tuesday, August 29. The day the running stopped.

title: The Fugitive (TV series)


text:
User:Stevertigo~enwikiquote

en:User:Stevertigo

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User:Stevertigo~enwikiquote


text:
Elizabeth Bowen

Elizabeth Dorothea Cole Bowen (June 7 1899 – February 22 1973) was an Anglo-Irish novelist and short story writer.

The Last September (1929)

 * "What's the matter with this country is the matter with the lot of us individually— our sense of personality is a sense of outrage and we'll never get outside of it." But the hold of the country was that, she considered, it could be thought of in terms of oneself, so interpreted.

The House in Paris (1935)

 * Fate is not an eagle, it creeps like a rat.

 * This is the worst of love, this unmeant mystification — someone smiling and going out without saying where, or a letter arriving, being read in your presence, put away, not explained, or: "No, alas, I can't to-night" on the telephone — that, one person having set up without knowing, the other cannot undo without the where? who? why? that brings them both down a peg. Jealousy is no more than feeling alone against smiling enemies.

 * And yet in a way I would rather fail point blank. Things one can do have no value. I don't mind feeling small myself, but I dread finding the world is.

 * It is a wary business, walking about a strange house you are to know well. Only cats and dogs with their more expressive bodies enact the tension we share with them at such times. The you inside you gathers up defensively: something is stealing upon you every moment; you will never be quite the same again. These new unsmiling lights, reflections and objects are to become your memories, riveted to you closer than friends or lovers, going with you, even, into the grave: worse, they may become dear and fasten like so many leeches on your heart.

The Death of the Heart (1939)

 * Experience isn't interesting until it begins to repeat itself — in fact, till it does that, it hardly is experience.
 * Part 1, chapter 1

 * Intimacies between women go backwards, beginning in revelations and ending up in small talk without loss of esteem.
 * Part 2, chapter 1

 * Only in a house where one has learnt to be lonely does one have this solicitude for things. One's relation to them, the daily seeing or touching, begins to become love, and to lay one open to pain.
 * Part 2, chapter 2

 * The heart may think it knows better: the senses know that absence blots people out. We have really no absent friends.
 * Part 2, chapter 2

A Time in Rome (1960)

 * London: Longmans, 1960

 * [T]here is a flaw in civilization from the instant it has to admit fear.
 * Ch. I, p. 23

 * [U]ntruths are thieves, robbing us of a birthright.
 * Ch. II, p. 59

 * Cicero, in invoking the law of heaven, invoked what was by nature of heaven: law — inviolable principle, better than the vacillating gods.
 * Ch. III, p. 80

 * It is thought that women inspire by their beauty; more often they do so by their longings.
 * Ch. IV, p. 132

 * I am sick of the governessy attitude of our age, which is coming to be more genuinely presumptuous, nosier and more busybody than the Victorian.
 * Ch. V, p. 141

title: Elizabeth Bowen


text:
Bergen Evans

Bergen Evans (September 19, 1904 – February 4, 1978), U.S. lexicographer and educator. Evans was an English professor who became the master of ceremonies for the $64,000 Question and wrote Word A Day Vocabulary Builder (1963). He also wrote Dictionary of Quotations, a quote book annotated with witty and illustrative comments on the quotes by Evans, himself.

Quotes

 * [Thanatopsis] was written in 1817, when Bryant was 23. Had he died then, the world would have thought it had lost a great poet.  But he lived on.
 * Dictionary of Quotations.

 * Freedom of speech and freedom of action are meaningless without freedom to think. And there is no freedom of thought without doubt.
 * The Natural History of Nonsense XIX.

 * We may be through with the past, but the past is not through with us.
 * The Natural History of Nonsense.

title: Bergen Evans


text:
Alexander Haig

Alexander Meigs Haig, Jr. (December 2, 1924 – February 20, 2010) was the United States Secretary of State under President Ronald Reagan and the White House chief of staff under presidents Richard Nixon and Gerald Ford. Prior to these cabinet-level positions, he retired as a general from the United States Army, having been Supreme Allied Commander Europe after serving as the vice chief of staff of the Army. In 1973, he became the youngest four-star general in the U.S. Army's history.

A veteran of the Korean War and Vietnam War, Haig was a recipient of the Distinguished Service Cross, the Silver Star with oak leaf cluster, and the Purple Heart.

Quotes

 * Constitutionally, gentlemen, you have the president, the vice president and the secretary of state, in that order, and should the president decide he wants to transfer the helm to the vice president, he will do so. As for now, I'm in control here, in the White House, pending the return of the vice president and in close touch with him. If something came up, I would check with him, of course.
 * March 30, 1981, after Ronald Reagan was hospitalized..

 * Israel is the largest American aircraft carrier in the world that cannot be sunk, does not carry even one American soldier, and is located in a critical region for American national security..

 * That's not a lie, it's a terminological inexactitude.
 * Defending himself against accusations of lying in 1983. Quoted by Rutledge, Leigh W., "Would I Lie To You?", Plume, 1998, ISBN 0-452-27931-3, p. 81.
 * This turn of phrase originated with Winston Churchill in his 1906 election campaign.

 * Let them march all they want as long as they continue to pax their taxes.
 * On anti-war demonstrators.
 * Used in campaigns encouraging war tax resistance by the Louisville chapter of the Fellowship of Reconciliation (LFOR).

Quotes about Haig

 * From the liberal atmosphere of the Notre Dame campus to the dominated life of a West Point Plebe proved to be a step tinged with reluctance to Alex. As ever, unchanged, he has glided through the years with a gay sincerity that has won him an abundance of loyal friends. His pleasures lean toward the athletic and social. Consequently, he has developed a skill in both. Strong convictions and even stronger ambitions mingled with a deep understanding of his fellow soldier should form a "Warrior's Chariot" to carry Alex to the top.
 * Description of Haig in The Howitzer (1947), yearbook of the United States Military Academy, p. 174.

 * When two of his companies were engaged by a large hostile force, Colonel Haig landed amid a hail of fire, personally took charge of the units, called for artillery and air fire support and succeeded in soundly defeating the insurgent force ... the next day a barrage of 400 rounds was fired by the Viet Cong, but it was ineffective because of the warning and preparations by Colonel Haig. As the barrage subsided, a force three times larger than his began a series of human wave assaults on the camp. Heedless of the danger himself, Colonel Haig repeatedly braved intense hostile fire to survey the battlefield. His personal courage and determination, and his skillful employment of every defense and support tactic possible, inspired his men to fight with previously unimagined power. Although his force was outnumbered three to one, Colonel Haig succeeded in inflicting 592 casualties on the Viet Cong ... HQ US Army, Vietnam, General Orders No. 2318 (May 22, 1967)
 * Excerpt from the Army citation for Haig's award of the Distinguished Service Cross, which Haig received from General William Westmoreland as a lieutenant colonel.

title: Alexander Haig


text:
User talk:King of Hearts

And thank you for your linkfix on "How to Edit". --Aphaia 06:05, 12 Apr 2005 (UTC)

title: User talk:King of Hearts


text:
User talk:65.49.67.147

Welcome to Wikiquote, the free compendium of quotations! You don't have to log in to read or edit articles on Wikiquote, but creating an account is quick, free and non-intrusive, requires you to provide no personal information, and gives you many benefits, including:
 * The use of a username of your choice
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Click here to create an account.--Aphaia 06:06, 12 Apr 2005 (UTC)

title: User talk:65.49.67.147


text:
User talk:Stevertigo~enwikiquote

Hi, Stevertigo, are you the same person to Stevertigo on English Wikipedia? Either or not, welcome to English Wikiquote! --Aphaia 06:09, 12 Apr 2005 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Stevertigo. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Stevertigo~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:37, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:58, 19 April 2015 (UTC)

title: User talk:Stevertigo~enwikiquote


text:
User talk:130.94.124.62

Thank you for your submission on Euripides, he is one of my favorite. Welcome to Wikiquote, the free compendium of quotations! You don't have to log in to read or edit articles on Wikiquote, but creating an account is quick, free and non-intrusive, requires you to provide no personal information, and gives you many benefits, including:
 * The use of a username of your choice
 * The ability to view all your contributions via a "My contributions" link
 * Your own user page
 * Your own talk page which, if you choose, also allows users to send you messages without knowing your e-mail address
 * The use of your own personal watchlist to which you can add articles that interest you
 * The ability to rename pages
 * The ability to upload images
 * The ability to customize the appearance and behavior of the website
 * The eligibility to become an administrator
 * The right to be heard in formal votes and elections, and on pages like votes for deletion

Click here to create an account. --Aphaia 06:13, 12 Apr 2005 (UTC)

title: User talk:130.94.124.62


text:
User talk:24.0.178.66

Thank you for your submission on F. L. Wright, I am his fan ... ;-) Welcome to Wikiquote, the free compendium of quotations! You don't have to log in to read or edit articles on Wikiquote, but creating an account is quick, free and non-intrusive, requires you to provide no personal information, and gives you many benefits, including:
 * The use of a username of your choice
 * The ability to view all your contributions via a "My contributions" link
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title: User talk:24.0.178.66


text:
Talk:Godwin, Earl of Wessex

The history is in 'Three Men in a Boat' by Jerome K Jerome
 * Do you mean it's from the book? I don't see any reference to the story in the article on Godwin, Earl of Wessex - it just says he died a natural death. Is this a fictitious story? w:User:Gaurav
 * JKJ cites old Windsor as the site of Godwin's death; more reliable sources suggest Winchester. I am sure taht the story is apocryphal.  The full quote from Three Men in a Boat is:
 * Old Windsor is a famous spot in its way. Edward the Confessor had a palace here, and here the great Earl Godwin was proved guilty by the justice of that age of having encompassed the death of the King's brother. Earl Godwin broke a piece of bread and held it in his hand.
 * "If I am guilty," said the Earl, "may this bread choke me when I eat it!"
 * Then he put the bread into his mouth and swallowed it, and it choked him, and he died.
 * —Theo (Talk) 18:41, 6 January 2006 (UTC)
 * The only strictly contemporary evidence for Godwin's death comes from the Anglo-Saxon Chronicle. The Abingdon recension of the Chronicle gives the story in the fullest detail:
 * 1053: In this year the king was at Winchester at Easter, and with him earl Godwin and earl Harold, his son, and Tostig. When on the second day of Easter he [i.e. Godwin] sat at table with the king, he suddenly sank down against the footstool, speechless and helpless: he was carried into the king's chamber and it was thought it would pass off, but it was not to be; yet he lingered on like this, unable to speak and helpless, until the Thursday, and then gave up his life.
 * Nothing about oaths or choking there. On the other hand several Norman chroniclers, writing a century or more after the event, expand that story to the form cited in the main article.  As an example I'll give William of Malmesbury's version:
 * The Normans...say, too, that God manifested at last with what kind of purity Godwin had served him; for, after his piratical ravages, of which we shall speak hereafter, when he had been reinstated in his original favour, and was sitting with the king at table, the conversation turning on Elfred, the king's brother, "I perceive," said he, "O king, that on every recollection of your brother, you regard me with an angry countenance; but God forbid that I should swallow this morsel, if I have done anything which might tend either to his danger or your disadvantage". On saying this, he was choked with the piece he had put into his mouth, and closed his eyes in death.
 * William goes on to complain, as well he might, of the difficulty of deciding on the truth of the Anglo-Saxon stories which show Godwin in a good light and the Norman ones which do him down. The fact is that by William of Malmesbury's time the waters had been muddied by a Norman campaign of vilification against Godwin, because of his untiring efforts to expel Edward the Confessor's Norman favourites, and against Godwin's son Harold because of his  usurping (as they saw it) of the English throne.  I don't believe any modern historian would give much credence to the choking story. Antiquary 13:40, 4 November 2006 (UTC)

title: Talk:Godwin, Earl of Wessex