Come Watch Me Die
EXT. FARM - TYLER COUNTY, NEBRASKA - DAY
Chickens in the yard. Farm equipment. A water tower. A peaceful, calm
morning. In the corral, a young man named BENJY forks hay for the nearby
horses. A door SLAMS. He looks up to see a man backing out of a house
opposite. The man acts strangely as if in fear of something. Surprised,
Benjy stops what he's doing to take a closer look.
The frightened man is PAUL BELLOWS. As he runs from the house, the blood
stains on his shirt can be seen. He's a rough juvenile delinquent-type in
his early twenties, wearing clothes appropriate to farm country. Ducking
under a fence, he tries to race off the property.
BENJY
Hey!
(to another worker)
Charley! Stop him!
CHARLEY BRIGHT looks up from a machine he's working on to see Bellows who
stops short at the sight of him. Bellows abruptly takes off in the opposite
direction, back towards the house. Charley gives chase. Benjy hops the
corral fence and joins the pursuit. Bellows ducks back under a fence and
runs for his life through the chicken-filled yard.
Benjy gives up the chase and rushes into the house to see what Bellows had
been running from. Charley follows Benjy inside.
CUT TO:
INT. HOUSE - DAY
Benjy and Charley enter a living room that looks like a tornado's been
through it. They freeze at the sight of an unconscious woman with blood on
her arm, sprawled on the floor beside an overturned chair. Next to her, a
man. Both dead.
BENJY
(shock, disbelief)
Look what he done, Charley. Look what he done.
A stunned Charley moves to cover the bodies of his parents with a tablecloth.
CUT TO:
INT. WORKROOM - DAY
A power saw cuts off a section of wood. CAL SHRADER, a wishy-washy, elderly
man in suspenders, shuts off the saw and inspects his work. As he does, he
hears the sound of running water and turns to investigate. Cautiously moving
to an adjacent washroom, he sees Bellows standing at the sink, rinsing the
blood from his shirt. Bellows catches sight of the old man, immediately
drops the shirt, and takes off running out the door opposite. Cal Shrader
moves to the door and watches the fugitive depart.
CAL SHRADER
(recognizes him)
Bellows.
Shrader turns to the sink, picks up the bloody shirt, and stares at it in
horror.
CUT TO:
EXT. ANOTHER FARM - DAY
A key turns in an automobile ignition. Bellows sits in the driver's seat of
the car, STARTING the engine. The car's owner, ED CLEMENT, is nearby,
spraying insecticide. He looks up in time to see his car being stolen.
ED CLEMENT
Hey! Hey!
Ed Clement catches sight of the car thief as he pulls away. Bellows burns
rubber and disappears down the road.
ED CLEMENT
(recognizing Bellows)
Him!
DISSOLVE TO:
EXT. COUNTRY ROAD - DAY
A tractor, pulling a trailer loaded with a large farm machine, slowly makes
its way down the road under a majestic, cloud-filled sky. The equally
majestic voice of the OMNISCIENT NARRATOR sets the scene.
NARRATOR (v.o.)
Nebraska: a world of wheat -- dirt roads all
open to the sky, but still a silent sky.
The man at the wheel of the tractor, a cowboy hat on his head, is none other
than RICHARD KIMBLE, interstate fugitive.
NARRATOR (v.o.)
Richard Kimble has found a temporary refuge in
the remote farming community of Black Moccasin.
And, even here, there are questions.
Two farmers with shotguns suddenly block the road. An uneasy Kimble brakes
the tractor.
1ST MAN
Hold it right there, Mister!
Kimble stops the tractor.
1ST MAN
What's your name?
KIMBLE
Rogers. Ben Rogers.
2ND MAN
(to 1st Man, off Kimble)
Never seen him before. Might be him.
KIMBLE
Him? Can I ask what this is about?
1ST MAN
Double murder. Other side of Black Moccasin
Hill.
KIMBLE
You think I--?
A third farmer arrives.
3RD MAN
That's not him, boys. I seen him in town. Tad
Crummers' new mechanic.
KIMBLE
I'm, uh, taking this, uh, grinder, in for
repairs. You men part of a posse?
1ST MAN
Just a little part. We got an army. And
Bellows is somewhere in the middle.
KIMBLE
Bellows?
3RD MAN
The one who did it. Broad daylight. Witnesses
and all. Well... you can be movin' on.
KIMBLE
Thank you.
Relieved, Kimble puts the tractor in gear.
DISSOLVE TO:
EXT. OPEN FIELD - DAY
The well-armed posse, led by DEPUTY BOWERS, works its way through a grassy
field. We PAN DOWN TO reveal Bellows in his undershirt crawling desperately
through the tall grass mere yards in front of his pursuers. He pauses at the
sound of the Deputy's voice.
DEPUTY BOWERS
Bellows?! We know you're in here! We got a
dozen guns starin' at ya! If you don't come
on out, we gonna spread you all over this
field!
The Deputy points his rifle skyward and FIRES off a shot.
BELLOWS
Don't shoot! I'm comin' out!
Bellows, dirty and sweating, cautiously rises, with his hands up. The posse
moves forward to take him into custody.
DISSOLVE TO:
INT. POLICE STATION - DAY
Bellows, now wearing a clean shirt, stands in his cell. Through the bars, he
watches the Deputy talking on the phone.
DEPUTY BOWERS
(into the phone)
Uh huh. Mm hmm. Certainly. Yes, sir.
Also present are Ed Clement whose car was stolen and Cal Shrader who found
the bloody shirt. Ed Clement approaches Bellows and sneers at him.
ED CLEMENT
(off Bellows, with disgust)
Stole from them three years ago. Now comes
back for more.
Ed Clement stalks away.
CAL SHRADER
Milk of human kindness. Look what it got them.
DEPUTY BOWERS
Yes, sir. Right away.
ED CLEMENT
When are you takin' him to the county seat,
Deputy?
DEPUTY
Right away. The Sheriff wants us to--
The door bursts open. Charley Bright and young Benjy enter, angry.
MEN
(ad lib)
Aw, Charley. Sorry, Charley. It's just...
ED CLEMENT
Charley, what can we say? Your folks were the
kindest people who lived on this green earth.
CHARLEY BRIGHT
Thank you, Ed. I appreciate that.
Charley sees Bellows in the cell and starts towards him.
DEPUTY BOWERS
Aw, now take it easy, boys...
CHARLEY BRIGHT
What do you mean, take it easy?
DEPUTY BOWERS
He'll get all he's got comin' to him if he's
guilty.
CHARLEY BRIGHT
If he's guilty?
Charley confronts Bellows through the cell bars. Charley's expression is
savage -- he seems far more like a killer than Bellows.
BELLOWS
I didn't do it, Charley. They were like folks
to me. May God strike me dead.
CHARLEY BRIGHT
That's just what I'd do, boy, if I could get in
there at you. Strike you dead.
Bellows looks down. He seems genuinely hurt that Charley doesn't believe him.
CHARLEY BRIGHT
Don't you look down, Bellows. Look at me.
Their eyes meet.
CHARLEY BRIGHT
That's right. I wanna be there when they
execute you, boy. Because I want you to
remember me when everything starts gettin'
black and you try and scream.
DEPUTY BOWERS
All right, Charley. All right.
Deputy gently pulls Charley away from the cell but Charley keeps talking to
Bellows.
CHARLEY BRIGHT
You know what that means, boy?
DEPUTY BOWERS
I know you had to get that out of your system.
CHARLEY BRIGHT
Huh?
DEPUTY BOWERS
All right, Charley.
CHARLEY BRIGHT
I'm gonna be seeing you, boy.
Deputy Bowers confers with the four witnesses: Charley, Benjy, Cal Shrader,
and Ed Clement.
DEPUTY BOWERS
Men, the prosecutor wants you four witnesses
down at the county seat tonight. The grand
jury's going to disband tomorrow at noon-time
and he wants to rush through the indictment.
CAL SHRADER
I don't know why I have to go. Be kind of a
fifth wheel, know what I mean?
DEPUTY BOWERS
Cal, those are orders from the county sheriff.
Ed?
ED CLEMENT
Don't look at me. When he stole my car, he
broke the spring.
Charley still glares at Bellows.
DEPUTY BOWERS
After what Charley's been through, I can't ask
him to drive.
DEPUTY BOWERS
Your license still suspended, ain't it, Benjy?
BENJY
You ought to know.
DEPUTY BOWERS
Cal?
CAL SHRADER
How much am I paid for mileage?
DEPUTY BOWERS
How would I know? You have to take that up
with the county.
CAL SHRADER
And we all know what that can mean. County's
short-changed us before. Payment in advance.
Nobody gets hurt, huh?
ED CLEMENT
Shrader's right. If they want us there
tonight, they can pretty well get us there.
DEPUTY BOWERS
All right. Tad Crummers keeps the school bus
up at his place.
ED CLEMENT
Ah, that's a good idea. We'll get Tad to drive
us there.
CAL SHRADER
Yeah, that's what we can do.
Deputy gets on the phone and dials a number.
DISSOLVE TO:
EXT. TAD CRUMMERS FARM EQUIPMENT - DAY
A sign reads TAD CRUMMERS FARM EQUIPMENT - LEASED REPAIRED. Crusty TAD
CRUMMERS himself emerges from a building to address his mechanic, Kimble,
who's hard at work.
TAD CRUMMERS
Oh, Rogers!
KIMBLE
Huh?
TAD CRUMMERS
Rogers, I've just been on the phone with the
Deputy. Wants to borrow the school bus. Gotta
take that Bellows boy and those witnesses down
to the county seat tonight. I'd, uh, drive 'em
myself but the wife isn't feelin' well so,
uh...
Understandably, Kimble doesn't like the idea of hanging out with the police.
KIMBLE
Mr. Crummers, I've been on the road since six
this morning.
TAD CRUMMERS
Well, you're young, strong. Ain't gonna hurt
ya.
KIMBLE
I, uh, I did have some plans... for this
evening.
TAD CRUMMERS
I realize, Mr. Rogers, you've only been around
these parts a few weeks. So, the Brights, rest
their souls, probably didn't mean much to you.
I just thought as a law-abiding citizen, you
might be willing to help out.
KIMBLE
(nods reluctantly)
Of course.
TAD CRUMMERS
Good.
Kimble grabs his coat and cowboy hat and puts them on.
TAD CRUMMERS
Get her filled up. Get a receipt. Drive over
to sheriff's sub-station. They're waitin' for
ya.
KIMBLE
Tires all right?
TAD CRUMMERS
Yup.
Kimble climbs aboard the school bus.
TAD CRUMMERS
Gettin' Bellows and those witnesses down there,
you mind what you're doing now. Don't forget
the mileage. Get a receipt for the gas.
A disgruntled Kimble STARTS up the bus and shuts the door on Crummers.
DISSOLVE TO:
INT. POLICE STATION - DAY
The Deputy interviews a nervous Kimble.
DEPUTY BOWERS
Ben Rogers, huh? All right. Raise your right
hand.
KIMBLE
What for?
DEPUTY BOWERS
Well, when I spell you at the wheel, you're
gonna have to guard the prisoner.
KIMBLE
Crummers didn't tell me I'd have to be sworn in.
DEPUTY BOWERS
Well, we have to keep it legal, Ben.
ED CLEMENT
It's almost seven. Come on, Rogers.
DEPUTY BOWERS
I swear to faithfully fulfill all duties of
temporary aide to the Deputy Sheriff of this
county. Say, "I swear."
KIMBLE
I swear.
DEPUTY BOWERS
You're now an officer of the law.
(abruptly walks off)
Come on everybody, let's get started.
The expression of disbelief on Kimble's face is priceless: the fugitive from
the law has just become the law.
CAL SHRADER
How 'bout food? We ain't had dinner yet.
DEPUTY BOWERS
We'll stop along the way.
The Deputy handcuffs Bellows and leads him out of his cell and then out of
the station.
KIMBLE
(off Bellows)
That boy live around here?
CAL SHRADER
Used to spend summers here.
ED CLEMENT
Workin' for the Brights. Stole fifty dollars
from 'em three years ago, then lit out.
CHARLEY BRIGHT
Come back for more today.
Kimble reflects for a moment before following the group out of the station.
DISSOLVE TO:
EXT. COUNTRY ROAD - DAY
Late afternoon, early evening. The school bus rolls down the road beneath a
dark sky.
CUT TO:
INT. BUS - DAY
Kimble at the wheel. Behind him sit Bellows and the Deputy, handcuffed
together.
BELLOWS
Can I, uh, I have a cigarette?
DEPUTY BOWERS
Sure.
The four witnesses sit woodenly on the opposite side of the bus.
BELLOWS
Your folks, Charley, I loved them.
ED CLEMENT
Loved their money.
BELLOWS
No. That's not true. I went hundred miles out
of my way to see 'em. When I got there, there
was nobody around. When I went in the front
door, I-I got this feeling. House was so quiet.
And there they were. Made me sick.
BENJY
Not so sick you couldn't run.
CHARLEY BRIGHT
That's right, boy. How come you didn't stop
when he yelled at you?
BELLOWS
I was scared. I knew I'd be blamed.
ED CLEMENT
You were right. Got your shirt. Their blood
on it.
BELLOWS
I'm not denyin' that I'm-- I bent over him, I
listened for his heart.
CAL SHRADER
Look, boys, we've plenty of time to talk about
this later. It's not our job to question him.
CHARLEY BRIGHT
(sharply)
Look, I think I got a right to question him.
CAL SHRADER
Oh, yeah, Charley. Sure. Yeah, guess you have.
ED CLEMENT
How'd my car get piled up in the ditch?
BELLOWS
I was stupid. Crazy. I-I just wanted to get
away.
ED CLEMENT
Why, if you didn't kill 'em?
CHARLEY BRIGHT
And if you didn't kill 'em, who did, boy?
BELLOWS
I don't know. House is near the road. Anybody
could have walked in while you were out back.
ED CLEMENT
It wasn't anybody they saw run -- it was you.
It wasn't anybody stole my car to make a
getaway -- it was you. Wasn't anybody washin'
the blood off, Bellows -- it was you.
BELLOWS
None of you ever liked me. All those summers
when I came back, I was always an outsider.
Was never anybody but them. Now, they're dead.
CHARLEY BRIGHT
Somebody had better shut him up.
Kimble, at the wheel, turns to the Deputy.
KIMBLE
Bowers?
DEPUTY BOWERS
Yes?
Kimble and the Deputy quietly confer.
KIMBLE
Boy's just a suspect.
DEPUTY BOWERS
Technically, yes.
KIMBLE
Legally. They've no right to badger him.
DEPUTY BOWERS
Makes sense.
(to the witnesses)
Look, fellas, he isn't even booked yet. Let's
cut out this cross-examination and leave that
for the trial.
CAL SHRADER
You're absolutely right, Deputy. Things must
be done in a proper manner.
ED CLEMENT
Don't worry. When we get through testifyin',
he'll hang... in a proper manner.
Bellows doesn't like the sound of that. Neither does Kimble. As if to
mirror the mood, an ominous roll of THUNDER sounds. Kimble turns on some
ancient windshield wipers as the first drops of rain hit the bus.
FADE OUT
EXT. COUNTRY ROAD - NIGHT
The bus, with its headlights on, rolls slowly through the dark, rain-drenched
countryside. It's coming down hard.
CUT TO:
INT. BUS - NIGHT
The Deputy now sits at the wheel. Kimble sits behind him, handcuffed to
Bellows.
DEPUTY BOWERS
Can't see with these lights on.
(switches lights off)
Watch 'em good now, Rogers.
BENJY
We're all watchin' him good.
After a pause, Bellows ventures to speak quietly with Kimble.
BELLOWS
Thanks.
KIMBLE
What for?
BELLOWS
For stoppin' 'em before. You don't know how it
feels. Arrested. Hated. Didn't even do it.
Kimble knows how it feels but can't say anything. He changes the subject.
KIMBLE
You married?
BELLOWS
No. No family, either.
KIMBLE
You from around here?
BELLOWS
Back east. I was hitchhikin' out to California.
I thought I might get a job in one of those
aircraft plants.
KIMBLE
You just happened to be going through here.
BELLOWS
Told ya, I went out of my way to come here. I
wanted to tell 'em how sorry I was about...
about that other time. Think I'm lying, too?
KIMBLE
I don't know.
Meanwhile, on the other side of the bus, the four witnesses quietly confer.
CHARLEY BRIGHT
Crummers' mechanic's gettin' pretty friendly
with him, ain't he?
ED CLEMENT
Wouldn't be the first time Bellows has fooled
somebody.
BENJY
Like your daughter, huh?
ED CLEMENT
Shut up.
DEPUTY BOWERS
Must be about eight-thirty. Better stop and
get us some food.
The Deputy pulls to a halt in front of a diner.
CUT TO:
INT. DINER - NIGHT
THUNDER and lightning rage outside as a gum-chewing waitress named STELLA
stands behind the diner's counter watching the men file in and grab stools.
Kimble and Bellows, still joined at the wrist, take seats at the far end of
the counter.
STELLA
Hi, Joe!
DEPUTY BOWERS
Hi, Stel.
STELLA
I was just fixin' to close up. Hadn't anybody
in for hours what with that storm brewin' up.
DEPUTY BOWERS
Coffee still hot?
STELLA
Mm hmm. Steamin'. Why, evening, Mr. Clement.
ED CLEMENT
Hello, Stella.
STELLA
Mr. Shrader.
CAL SHRADER
Good evening, Stella.
DEPUTY BOWERS
Say, Stella, how 'bout makin' us up some
sandwiches? You know, about a dozen. Ham and
cheese or whatever you got leftover, huh?
ED CLEMENT
Better make up some hot coffee, too, Stella.
As she brings some coffee to the counter, her face brightens at the sight of
Charley.
STELLA
Charley! Charley Bright.
CHARLEY BRIGHT
Hi, Stella.
STELLA
Hi yerself. Golly, it's been a long time since
I've seen you. Why, I was just out in the
garden the other day and the Brights crossed my
mind. Now in walks Charley himself. Well, I
can see you're fine. Hey, how's your folks?
You know, one of these days I'm gonna get your
Ma to let go that recipe for her--
DEPUTY BOWERS
(whispers)
Stella.
The Deputy holds up a hand to stop her. He beckons for her to lean over to
him. He whispers the bad news into her ear. She's shocked. Returning to
Charley, she gropes for the right thing to say.
STELLA
Oh, Charley. I'm sorry.
CHARLEY BRIGHT
That's all right, Stella. You didn't know.
ED CLEMENT
At least we got the man who did it.
Stella looks quizzically at Ed Clement who nods towards Kimble and Bellows at
the far end of the counter. She looks at them -- they sit side by side,
rather like twins as lightning illuminates them.
STELLA
Which one?
DEPUTY BOWERS
The younger one.
Upset, she moves to confront Bellows.
STELLA
Well, talk. Say something. Or can you just
make noises like an animal?
BELLOWS
(without looking up)
I didn't do it, lady. I didn't.
ED CLEMENT
We're all witnesses. He keeps saying he's
innocent. Must be something wrong with his
mind.
STELLA
Oh, don't say that, Mr. Clement. Might give
him ideas. That's what his lawyer'll prob'ly
say, you know? Temp-o-rarily insane. I think
a trial's a waste o' time with an animal like
this.
CHARLEY BRIGHT
(darkly)
That's right, Stel. For an animal. Mad dog.
And whoever heard of givin' a mad dog a trial?
Bellows lowers his head even further, if that's possible. Kimble watches him
sympathetically.
DISSOLVE TO:
EXT. COUNTRY ROAD - NIGHT
The bus rolls on through the rain. The storm has let up some but it's still
slow going.
CUT TO:
INT. BUS
The Deputy still drives. Kimble and Bellows still sit behind him, cuffed
together. On the opposite side of the bus, Ed Clement confers quietly with a
brooding Charley.
ED CLEMENT
Don't worry. He'll get what he deserves.
CHARLEY BRIGHT
Will he? I know what they mean by
circumstantial evidence.
ED CLEMENT
There'll be more than that when that trial
comes.
CHARLEY BRIGHT
I guess. Supposin'... he gets himself a good
lawyer, y'know, and tells him his story. You
know, about the house bein' way back 'way from
the road and Benjy and me bein' back in the
back there for over an hour. Then he'd say
somebody else coulda got in there.
ED CLEMENT
Charley, what's the matter with you?
CHARLEY BRIGHT
I'm gettin' a little bit worried. You know
what I mean? I mean, nobody did see him do it
actually. Ain't nobody in the world saw him do
it.
ED CLEMENT
You startin' to talk like you think he didn't do
it.
CHARLEY BRIGHT
Naw, I'm not sayin' that he didn't do it.
ED CLEMENT
But you said--
CHARLEY BRIGHT
No, I'm not now. Now I know that he did it.
What I'm sayin' is, I don't know what that
jury's gonna think, you know. Or what they're
gonna say. And you know what a lawyer could
do with him.
ED CLEMENT
Yeah. Yeah, I see.
An increasingly nervous Bellows turns to Kimble.
BELLOWS
How much longer you think it'll be?
KIMBLE
With this rain, not till midnight.
BELLOWS
You know, this may sound funny but I'm lookin'
forward to bein' in that jail. Know what I
mean?
Kimble glances over at the witnesses -- he knows what Bellows means.
Meanwhile, the Deputy pulls out a jug and takes a swig.
BENJY
Deputy! Where'd you get the firewater?
DEPUTY BOWERS
(as if it were obvious)
I bought it back at the diner.
BENJY
Drinkin' and drivin's a serious offense.
The Deputy gives Benjy a dirty look.
BENJY
Mind if I pass it around?
DEPUTY BOWERS
(resignedly)
All right.
BENJY
Deputy, you're all right after all!
Benjy takes swallow and passes the jug to Charley.
CAL SHRADER
Doc told me last week he took a blood sample
out of you, Deputy. Said it was half alcohol!
As the others laugh at this, Kimble and Bellows look on with concern. Cal
Shrader drinks some of the hooch.
DEPUTY BOWERS
All right, you guys! Take it easy on that jug.
We got a long way to go.
But Cal Shrader waves him off. Ed Clement drinks his fair share.
DISSOLVE TO:
EXT. END OF THE ROAD - NIGHT
The bus comes to a stop in front of a dead end. The Deputy gets off the bus
to look over the scene. He scratches his head and sighs before returning to
the bus. Charley Bright and Cal Shrader meet him at the door.
DEPUTY BOWERS
Bridge is out.
CHARLEY BRIGHT
Well, let's take that road back by Far Brook.
CAL SHRADER
Never make it. Not in the dark.
DEPUTY BOWERS
Naw, we'll head back to that motel we passed.
Start out again in the morning.
The Deputy climbs aboard.
DISSOLVE TO:
EXT. PIKE MOTEL - NIGHT
A little sign reading VACANCY attached to a big sign reading PIKE MOTEL.
DISSOLVE TO:
INT. BELLOWS' MOTEL ROOM - NIGHT
Deputy enters and snaps on the light. Kimble and Bellows follow him in.
Through the doorway we see the four slightly drunk witnesses head off to
another room.
DEPUTY BOWERS
(to the witnesses)
We'll get to the County Seat by noon easy.
ED CLEMENT
(standing ominously in doorway)
If I had my way, he'd never get there.
Deputy shuts the door on Ed Clement, unshackles Kimble, and cuffs Bellows to
a bed frame. Bellows sits on the bed, staring at his cuffed hand. The
Deputy, clearly wanting to do a little drinking, confers with Kimble.
DEPUTY BOWERS
Well, Rogers. You won't have any trouble with
him now. You been doin' a good job with him so
far. So, I'll just, uh... uh...
KIMBLE
(a little disgusted)
I'll watch him for ya.
DEPUTY BOWERS
Good.
The Deputy exits. Kimble removes his hat and takes a seat in a chair next to
the bed.
KIMBLE
Better get some rest. You got a big day
tomorrow.
Bellows cringes at the sound of WHOOPIN' and a-HOLLERIN' from the drunken men
in the next room.
BELLOWS
Have I? Am I gonna see it? I don't think so.
Naw, I don't think I'm ever gonna see another
morning.
Kimble's face indicates that he knows Bellows may be right.
FADE OUT
INT. BELLOWS' MOTEL ROOM - NIGHT
FADE IN on Bellows lying cuffed to his bed. Kimble sits on the bed opposite.
They listen to the drunken men LAUGHING in the next room.
CUT TO:
INT. WITNESSES' MOTEL ROOM - NIGHT
The men, including the Deputy, are far from sober. They sit and stand around
the room, still LAUGHING, still passing the jug around.
CHARLEY BRIGHT
Why don't you all just shut up? I don't see
anything so funny to be laughin' at now!
DEPUTY BOWERS
Awww, I'm sorry, Charley. It's just some of
the things that Benjy says.
CHARLEY BRIGHT
Well, there better not be any one of you
laughin' on the witness stand, you know?
Benjy BANGS on the wall and shouts to Bellows in the next room.
BENJY
You sleepin' good, killer?!
CUT TO:
INT. BELLOWS' MOTEL ROOM - NIGHT
Bellows grows increasingly nervous.
BELLOWS
Listen to them. I'm never gonna get to the
county seat alive.
KIMBLE
Get some sleep.
BELLOWS
They hate me.
KIMBLE
Yeah. I guess they do. But they have respect
for the law.
CUT TO:
INT. WITNESSES' MOTEL ROOM - NIGHT
The witnesses keep LAUGHING.
CHARLEY BRIGHT
Quit the laughin' now! I'm gonna tell you all
somethin' else.
Charley is dead serious. Everybody shuts up.
CHARLEY BRIGHT
Now if that jury comes in there tomorrow and
they say that boy ain't guilty, I'm gonna shoot
him down right in the courtroom.
ED CLEMENT
Well, you'll have to beat me to it.
CUT TO:
INT. BELLOWS' MOTEL ROOM - NIGHT
Bellows reacts darkly to Ed Clement's remark.
BELLOWS
Respect for the law?
(laughs)
You know what they're gonna put on my
tombstone? Here lies the blue-ribbon,
first-prize sucker.
KIMBLE
What?
BELLOWS
Guy picked me up going all the way to Phoenix.
But no. I got out. Hitchhiked a hundred miles
out of my way to see 'em. I had to.
KIMBLE
Why?
BELLOWS
You know what they did when I stole that money
from 'em three years ago? Nothin'. Not a
thing. They coulda had the cops on me before I
got out of the state. You know how that made
me feel? Like a bug. Like a dirty little bug.
I had to tell 'em. I had to tell them they
taught me the best lesson I ever had in my life.
And I was too late. They died without ever
knowin' how much I loved them. And whoever did
is still on the loose. God, I'd like to find
him.
Long pause.
KIMBLE
I'll be right back.
Kimble abruptly exits.
CUT TO:
INT. WITNESSES' MOTEL ROOM - NIGHT
The Deputy, far drunker than any of the others, tries to lecture Charley who
merely dismisses him with a wave.
DEPUTY BOWERS
Charley, ya gotta remember that a suspect has
got certain rights.
CHARLEY BRIGHT
No, no...
DEPUTY BOWERS
He's got certain Constitutional rights.
(to Cal Shrader)
Right?
CAL SHRADER
Sure. Every man's entitled to a fair trial.
Kimble enters the room unnoticed.
ED CLEMENT
Protect the rights of murderers? What about ours?
CAL SHRADER
Yeah. Yeah, heh, what about ours?
ED CLEMENT
Do us a favor, Bowers, save the county a little
money and shoot him tryin' to escape.
DEPUTY BOWERS
Aw, now, now, Ed, I don't like to listen to
that kind o' talk.
BENJY
Hey, I got a idea.
Benjy shows the others a windowshade cord done up like a noose.
BENJY
How 'bout it? He don't weigh too much. Find a
tree, just like those cowboys on TV.
CAL SHRADER
Oh, no, no.
ED CLEMENT
You don't have a daughter, Cal. You know, even
now, there are nights I stand outside her
bedroom door, hear her cryin'.
CHARLEY BRIGHT
You know, I'm the one who ought to do it.
Because I got the right.
Kimble walks timidly to the Deputy who is barely conscious at this point.
KIMBLE
Bowers, the sheriff gave you the obligation of
protecting that boy. Seeing that nothing
happens to him. Bowers, listen...
But the Deputy has passed out.
CHARLEY BRIGHT
(to Kimble)
Boy, aren't you supposed to be in there
watching him?
KIMBLE
He's handcuffed to the bed. Bowers has the key.
BENJY
(twirling his noose)
Then what are you worryin' about?
KIMBLE
The four of you are going to see that justice
is done, is that it? Well, the people around
here ought to be really proud of you. Oh,
yeah, they'll come to beautiful Tyler County
where they still hold lynchings, is that it?
BENJY
Aw, shut up!
CHARLEY BRIGHT
Boy, why don't you climb down off your soapbox
and just shut your mouth?
After a pause, Kimble exits. After he goes, Charley beckons the others to
him. They confer.
CHARLEY BRIGHT
Now, look, if we all gonna do this thing
together, what are we gonna do about him?
Huh?
CUT TO:
INT. BELLOWS' MOTEL ROOM - NIGHT
Kimble enters and stands with his hands in his pockets, wondering what to do.
BELLOWS
Are you gonna help me?
Abruptly, the drunken Deputy enters.
DEPUTY BOWERS
Rogers. Did a good job. I'll take charge now.
Hey... Hey, what were you talkin' about in
there?
The Deputy drops down on a bed and starts to doze.
KIMBLE
(off Bellows)
I said, we've got to get him out of here and
get him to the sheriff.
DEPUTY BOWERS
Right. Get him to the sheriff first thing in
the morning.
The Deputy passes out again. Kimble stares at Bellows for a long moment,
then reaches down and takes the handcuff keys from the Deputy's hand. He
moves to Bellows and unhooks him from the bed. Bellows wants to head for the
door but Kimble gestures that it'll be safer to exit through the window.
Kimble locks the motel room door from the inside while Bellows climbs out the
window. Kimble grabs the open handcuff dangling from Bellows' wrist and
follows him out the window.
CUT TO:
EXT. MOTEL - NIGHT
Kimble exits the room through the window, still hanging onto the cuff.
BELLOWS
How come you're doing this for me?
KIMBLE
I've got my reasons.
Kimble cuffs himself to Bellows.
BELLOWS
You don't trust me?
KIMBLE
I'm not sure I trust myself. Come on.
The two men rush off into the night, past the closed window of the witnesses' room.
CUT TO:
INT. WITNESSES' MOTEL ROOM - NIGHT
Charley leads the others to the door and opens it. Benjy stuffs the cord in
his pocket. Charley sees that the coast is clear and beckons the others to
follow him. They all exit, save for wishy-washy Cal Shrader who changes his
mind at the last minute and stays in the room. He clearly wants no part of a
lynching. The sound of the other men BEATING and POUNDING on Bellows' door
fills the air.
CUT TO:
INT. BELLOWS' MOTEL ROOM - NIGHT
The Deputy, asleep in bed as the POUNDING continues at the door, awakens.
BENJY
Let us in, Deputy!
CHARLEY BRIGHT
Come on, Bowers, we want in there! Open the
door!
The Deputy rises and struggles to the door.
CHARLEY BRIGHT
Open the door, Bowers!
The Deputy opens the door. Charley, Benjy, and Ed Clement enter.
ED CLEMENT
All right, we voted. It's already decided.
Charley sees that Bellows and Kimble are gone.
CHARLEY BRIGHT
He ain't here, Bowers. Now what'd you do with
him?
BENJY
Yeah! And what about that other guy?
ED CLEMENT
Drunken bum!
Stunned, the Deputy tries to get a grip.
DEPUTY BOWERS
Telephone?
ED CLEMENT
In the office.
DEPUTY BOWERS
(rushes out)
Gotta call the sheriff. Make a report.
CUT TO:
EXT. THE WOODS - NIGHT
An exhausted Kimble and Bellows come to a barbed wire fence. Kimble gets
through easily but Bellows snags his shin and collapses in pain taking Kimble
down with him. Kimble examines the cut on Bellows' shin.
BELLOWS
It's no use. I'm beat.
KIMBLE
It's a bad cut. But you won't bleed to death.
BELLOWS
I told you I can't make it.
KIMBLE
They'll have found out by now. Think about
that.
BELLOWS
Look, why go on with this, huh? I'm on a
straight line right for the death house.
KIMBLE
I thought you were innocent.
BELLOWS
What difference does that make? You think it
never happens? You think I'd be the first one?
KIMBLE
(looks away)
No, you wouldn't be the first one.
BELLOWS
Mister, I don't understand you. I mean, I
don't get you. You don't even know me. What's
it to you, all this?
KIMBLE
Let's just say-- No, forget it. Come on,
let's get going.
Kimble helps Bellows to his feet and they move on.
DISSOLVE TO:
EXT. COUNTRY ROAD - DAY
Early the next morning. Kimble and Bellows walk along. They approach a
small farm house. Kimble KNOCKS on the front door. A middle-aged woman
named CORA answers. She looks at them somewhat suspiciously but fails to
notice the handcuffs.
CORA
Yes?
KIMBLE
I'm sorry to bother you.
(off Bellows)
This man's been hurt. May we come in, please?
CORA
You better go 'round the back.
She watches as Kimble and Bellows go 'round the back.
CUT TO:
EXT. THE BACK - DAY
Kimble and Bellows walk through the back and enter the house.
CUT TO:
INT. KITCHEN - DAY
Kimble and Bellows enter the kitchen. Cora's husband, a farmer in overalls
named JEFF, eats his breakfast at the kitchen table.
CORA
Well, come on in.
KIMBLE
May I use your phone, please?
JEFF
Sorry, Mister, storm knocked it out.
KIMBLE
How far is the next farm?
CORA
Maybe the public one's workin', Jeff.
KIMBLE
Is there a public phone?
CORA
It's about a hundred yards down the road. Near
the gas...
(sees the handcuffs)
...station.
(nervous, to her husband)
Jeff. It's the killer.
JEFF
Him?
(rises, to Kimble)
What are you doin' with him?
KIMBLE
Joe Bowers deputized me. I'm bringing him in.
I want to call the sheriff.
JEFF
Well, I-- You get him out of here.
KIMBLE
(points to Bellows' shin)
This man's been hurt.
JEFF
I don't care.
(grabs a nearby shotgun)
You get him out of here.
KIMBLE
(takes out the handcuff key)
He cut his leg. We've been walking halfway
across the county.
Kimble starts to unshackle himself from Bellows.
JEFF
None o' that. He goes with you to the phone.
Kimble unshackles himself.
JEFF
Don't move! Cuff his wrists together and I'll
tie him out in the barn.
KIMBLE
(calmly, with authority)
I'll put him over there.
Kimble leads Bellows over to a chair, sits him down, and cuffs him to a pipe.
KIMBLE
He won't give you any trouble. Keep an eye on
him. I'll be back in a few minutes. You have
a car?
JEFF
Pick-up.
KIMBLE
How far is it to the County Seat?
JEFF
Twenty-two miles.
KIMBLE
Sheriff may want you to drive us in.
Kimble gives Bellows a last look, then exits.
CUT TO:
EXT. THE BACK - DAY
Kimble exits the house, looks around at the back yard, then heads around
front to look for the public phone.
CUT TO:
INT. KITCHEN - DAY
Jeff, shotgun in hand, carefully watches Bellows who sits, head bowed. Cora
sits to do some work at her sewing table, near Bellows.
JEFF
Cora, I wouldn't sit so close.
CORA
Oh, Jeff, for heaven's sake!
Cora cuts some fabric with a pair of scissors. Bellows watches the scissors
out of the corner of his eye. An intense look crosses his face.
FADE OUT
EXT. PHONE BOOTH - DAY
FADE IN on Kimble as he finds and enters the phone booth to call the sheriff.
CUT TO:
INT. KITCHEN - DAY
Jeff, shotgun in hand, still watches Bellows who still sits, head bowed.
Cora still sits at her sewing table, near Bellows.
JEFF
(savagely, to Bellows)
Rotten blackheart!
CORA
Jeff!
JEFF
(confronts Bellows)
Well, they're treatin' you with kid gloves.
You ought to be hung. Horsewhipped and then
hung.
Bellows looks up. Cora studies his face, realizes something.
CORA
Jeff? He's no older than Lonnie.
Her maternal instinct takes over and she rises and crosses to Bellows. Jeff
blocks her way.
JEFF
Cora, what are you doing?
CORA
What the good Lord would want me to do.
JEFF
Meaning no blasphemy, I say stay away from him.
CORA
His leg is hurt. I've seen you two days and
two nights without sleep on account of a sick
heifer.
Cora brushes past Jeff and fills a pan with water, grabs a cloth and the
scissors, and kneels at Bellows' feet. She cuts away his bloody trouser leg
with the scissors to reveal an ugly wound.
CORA
Jeff, there's some bandagin' in the first aid
kit out in the barn.
Jeff makes no move.
CORA
I asked for the bandaging.
JEFF
All right. But you take one step back first.
CORA
Oh, Jeff, he's handcuffed!
JEFF
You want the bandaging or no?
Scissors in hand, Cora rises and steps back.
JEFF
That's better. For all we know, he could've
escaped from the state asylum.
Jeff leans the shotgun on the wall as he moves to the door.
JEFF
Well, you're not to take one step closer.
Jeff exits as Cora sits at her sewing table.
BELLOWS
I didn't do it, ma'am. They made a mistake.
I swear.
CUT TO:
EXT. PHONE BOOTH - DAY
Kimble talks on the phone with the SHERIFF. Throughout the call, we CUT BACK
AND FORTH between Kimble in the booth and the Sheriff at his OFFICE.
KIMBLE
That's right, Sheriff. They were gonna hang
him. The Deputy was too drunk to stop it.
SHERIFF
That isn't the way I heard it.
KIMBLE
I'm sure they concocted a fine story. That's
beside the point. He's here for you. Waiting
for a fair trial.
SHERIFF
Where are you phoning from?
KIMBLE
I don't know. I lost my bearings, uh...
There's a gas pump, farm house, and I'll give
you the number of the phone.
CUT TO:
INT. KITCHEN - DAY
Still alone with Bellows, Cora makes small talk.
CORA
We have a son. Lonnie works in an office in
Omaha. He's just about your age. Do you have
any folks?
BELLOWS
Just my mother, ma'am. I keep wonderin'... I
mean, my name's probably been in the papers all
over. If she's seen it, how terrible she must
feel. They haven't even let me call her and
tell her it's all a mistake.
CORA
Hm! Least they coulda done is let you call her.
Bellows steals a glance at the scissors in Cora's hand.
BELLOWS
Ma'am?
CORA
Yes?
BELLOWS
Now, 'member what your husband said. Don't get
too close to me but this, uh, handcuff's cutting
my wrist. Could I just move my chair a little?
Cora nods. Bellows half-rises and moves the chair away from the wall --
closer to the sewing table. He sits and glances at Cora, trying to gauge how
much he can get away with. She looks at him sympathetically. He lowers his
head, then grunts as if in pain.
CORA
(off his leg)
That's startin' to hurt again, huh?
BELLOWS
Yeah. It's bleedin' again, I think.
CORA
We better bathe it some more.
Bellows tries to cover his reaction as Cora rises and kneels at his feet.
CORA
Now you just grit your teeth 'cause this might
hurt a little bit.
Bellows eyes the scissors on the sewing table. They lie just out of reach,
atop some fabric.
BELLOWS
How, uh, how long has your son been gone?
CORA
Oh, just about a year now.
BELLOWS
Year? Long time. Must miss him a lot, huh?
CORA
(smiles)
Sure do.
Cora, concentrating on the wound, fails to see Bellows reach for the scissors.
BELLOWS
Well, if he's like you folks, he'd be a nice
guy to know. I mean, I wish... wish I coulda
met him.
Bellows' fingers clutch the fabric and pull the scissors toward him.
BELLOWS
Lonnie's a nice name. You know, I don't think
I ever heard that before. My name's Paul...
Bellows grabs the scissors, gets a good grip on them, then violently pulls
the back of Cora's head to his chest and jams the scissors under her throat.
CORA
No!
BELLOWS
Not a muscle, lady -- or I'll kill ya!
Jeff returns with the bandaging a moment too late. He freezes, stunned.
Cora trembles in terror.
BELLOWS
(to Jeff, viciously)
Ever butcher a pig? Sure you have. Well,
that's what it's gonna be like. Just like
that! Unless you cut me loose.
Jeff drops the bandaging.
BELLOWS
You hear me? You think I care about one more?
Cora is suddenly more angry than afraid.
CORA
(to Bellows)
You killed 'em. Decent people like that. How
could you kill 'em?
JEFF
(tries to calm her)
Cora...
CORA
(to Bellows)
How could you kill 'em? Why?
BELLOWS
Why not? I was passing through. I needed
money. They wouldn't give it to me.
Bellows presses the scissors a little tighter to her throat.
JEFF
Cora, don't move.
(to Bellows)
I'll get the cutters.
Jeff wheels and hurries out the door. Cora goes back to being scared again.
CORA
Please... Oh, please...
BELLOWS
Just don't move.
In her stress, Cora cries quietly for her son.
CORA
Lonnie... Lonnie...
BELLOWS
(amused)
Well. If I don't slit your throat, you'll
really have somethin' to write him about, won't
ya?
CUT TO:
EXT. PHONE BOOTH - DAY
Still on the phone: we CUT BACK AND FORTH between Kimble and the Sheriff.
KIMBLE
He has a pick-up. He can drive us in.
SHERIFF
No, wait there. I already got the location
from the phone company. I'll be out. And
listen...
KIMBLE
Yes?
SHERIFF
If you're tryin' to throw us off...
KIMBLE
We've wasted enough time. He'll be here. I
give you my word on it.
CUT TO:
INT. KITCHEN - DAY
Breathing heavily, Jeff returns with a heavy pair of cutters. He quickly
crosses to Bellows and Cora and cuts the handcuffs.
BELLOWS
(to Jeff)
Now stand over there.
Jeff moves away.
BELLOWS
Drop the cutters.
Jeff drops the cutters. Bellows pushes Cora away, rises, and heads for the
door. Cora rushes to Jeff.
CORA
(to Jeff, a little too loudly)
The gun...
Bellows stops, turns, and brandishes the scissors at Jeff. The two men face
off. Jeff's shotgun leans against the wall on the opposite side of the room.
Both men move toward it. But Jeff is unarmed, old, and out of breath.
Bellows grabs the shotgun and points it at him.
BELLOWS
Now get over there with her.
Jeff obeys orders.
BELLOWS
Woods in back. How deep are they?
Cora shakes her head at Jeff as if to say, "Don't tell him anything." But
Jeff is no fool.
JEFF
Two miles.
BELLOWS
Behind them?
JEFF
State highway.
BELLOWS
(off the shotgun)
Now, lady, I guess you know what this'll do.
So you gonna get me some food to take with me.
CORA
(indignant)
I will not.
Bellows cocks the shotgun and points it at her.
JEFF
I'll get the food!
Jeff pulls some food out of the refrigerator.
BELLOWS
Dump it in that towel.
Jeff brings the towel and food to the breakfast table.
BELLOWS
Bread.
Jeff takes some bread off the table and puts it on the towel.
BELLOWS
Wrap it up.
Jeff wraps it up.
BELLOWS
Now, get back.
Jeff stands clear as Bellows moves in slowly and takes the bundle.
BELLOWS
Now, uh, do me a favor. Tell that knight on a
white horse when he comes back: "So long,
sucker." Can you remember that? "Sucker."
Bellows backs out the back door and rushes off. Cora buries her face in
Jeff's shoulder and breaks down completely, sobbing.
JEFF
It's all right, Cora. It's all right. It's
all right.
CUT TO:
EXT. THE BACK - DAY
Kimble, hands in pockets, casually returns to the house. He looks up to see
Bellows, shotgun in hand, running through the yard towards the woods.
KIMBLE
Bellows!
Bellows glances back at Kimble but keeps running. Before giving chase,
Kimble decides to check on Jeff and Cora. He rushes into the house.
CUT TO:
INT. KITCHEN - DAY
Kimble finds Cora seated and Jeff comforting her.
CUT TO:
EXT. THE WOODS - DAY
Bellows, shotgun slung over his shoulder, bundle of food in hand, stops to
check his wounded leg, then moves on.
CUT TO:
INT. KITCHEN - DAY
Kimble learns the truth about Bellows.
CORA
(to Kimble)
Then, when Jeff cut him loose -- he had to cut
him loose -- he grabbed the shotgun.
JEFF
Grabbed the food like a wolf. Nothing we could
do.
KIMBLE
(incredulous)
He admitted the killings?
CORA
He bragged about 'em.
Kimble turns and runs out the back door.
JEFF
(calls after Kimble)
Headed for the state highway! With my shotgun!
CUT TO:
EXT. THE WOODS - DAY
Bellows hurries through the woods, pausing to glance backwards and make sure
he isn't being followed, then stopping behind a tree to open the towel and
wolf down some of the food.
Farther back, Kimble makes his way through the woods, searching for Bellows.
The food half gone, Bellows starts moving again, leaving the towel behind.
Kimble makes his way slowly but surely after Bellows.
Limping a little on his bad leg, Bellows pauses to catch his breath. He
wipes his mouth, and then moves on.
CUT TO:
EXT. CORA AND JEFF'S HOUSE - DAY
In front of Cora and Jeff's house, a posse of lawmen stand around next to a
couple of police cars.
CUT TO:
INT. KITCHEN - DAY
The Sheriff questions Cora and Jeff. Deputy Bowers is also present.
CORA
We didn't want him in here, Sheriff.
JEFF
I wanted to tie him up in the barn.
SHERIFF
(to Deputy Bowers)
You may be right about Rogers.
DEPUTY BOWERS
Ten to one, they made some kind of deal.
SHERIFF
You had no business swearing him in.
DEPUTY BOWERS
But I just took Tad Crummers word for him.
SHERIFF
When I called Crummers, he didn't know the
first thing about Rogers. So get on that phone
down the road and call my office.
DEPUTY BOWERS
Yes, sir.
SHERIFF
Give 'em a complete description. I want it
teletyped to state headquarters. Let's find
out if he's wanted for anything.
DEPUTY BOWERS
Yes, sir.
The Deputy scoots out the door.
JEFF
(to the Sheriff)
This Bellows, he was headed for the highway.
Straight through the woods.
SHERIFF
Thank you.
(to a 2nd Deputy)
Tell the boys to split up in fours, fan out,
and we'll surround the entire area.
The policemen exit, leaving Jeff alone with Cora.
JEFF
Shoulda got the gun, Cora. I coulda got it
first. Coulda stopped him.
CORA
Maybe not, Jeff. Maybe you couldn't've.
CUT TO:
EXT. THE WOODS - DAY
Kimble finds the towel that Bellows left behind and knows he's on the right
trail. He scans the woods, then moves forward.
CUT TO:
EXT. THE EDGE OF THE WOODS - DAY
A police car pulls to a stop at the edge of the woods. The Sheriff and his
posse get out and head into the woods. The Sheriff speaks into a walkie-
talkie.
SHERIFF
Eddie? Take no chances. If they don't
surrender, shoot to kill. Over.
CUT TO:
EXT. THE WOODS - CLIMACTIC MONTAGE - DAY
Bellows hustles through the woods.
Not far behind comes Kimble.
Bellows steps on a branch and the noise frightens a flock of birds who
flutter out the trees above him.
Kimble sees this and realizes he's closing in.
KIMBLE
Bellows!
Bellows hears his name and ducks behind a tree.
KIMBLE
Now, you know who it is, Bellows!
Bellows knows who it is but doesn't answer.
KIMBLE
I'm coming for you!
Bellows readies the shotgun.
Kimble walks forward.
Bellows, crouched behind a tree, lines up a perfect shot. But Kimble catches
sight of him and ducks just as the gun goes off.
Farther back, the Sheriff and his posse hear the shotgun BLAST and move
toward the sound.
Meanwhile, Kimble lies, unhurt and hidden from Bellows' view, in a ravine.
KIMBLE
Should have taken a rifle! Only one more shot!
BELLOWS
One shot's all I need!
KIMBLE
You asked me why I tried to help you! I had a
reason! Now, I've got a reason for bringing you
in! You're guilty! Come on out, Bellows!
BELLOWS
Not till I get you!
Bellows runs off, hoping to draw Kimble out so as to get a good shot at him.
Kimble rises and follows. Bellows ducks behind another tree and waits.
Kimble hides behind a tree of his own, then, after a moment, sticks his head
out. Bellows FIRES as Kimble dives back. The shot HITS the tree. But
Kimble emerges, unharmed.
KIMBLE
That's it, Bellows! You haven't got any more!
Come on out!
Bellows comes out. The two men confront each other.
BELLOWS
Hey, now, listen to me. You haven't heard the
whole story.
KIMBLE
I listened to you enough.
BELLOWS
Now, you saved me. I'll never forget that.
I'll spend the rest of my life paying you back.
The point is: why? Now, why keep after me?
Just 'cause they swore you in? You saw that
Deputy. That drunk. And all the others,
they're all the same. They're a bunch of
stupid hicks. You're not like that. You're
not one of them. I mean, why you? Well,
they're probably gonna get me anyway. Why
you?
KIMBLE
(emotional)
Because if I'm not against you, I'm for you.
And if I'm for you, I'm lost.
Bellows sees that it's hopeless. He charges Kimble and swings the shotgun at
him like a club. He misses as Kimble ducks. The two men go down. Kimble
tries to grab the gun away from Bellows but is pushed backwards, the barrel
of the gun against his throat. His back to the ground, Kimble pushes Bellows
off him. The men rise and Kimble tears the gun away from Bellows, then slugs
him to the ground. Bellows rises and tries to run off. Kimble gives chase
and tackles him.
The Sheriff and his men arrive to see: a wild, violent fight, with Kimble
throwing punches and knocking Bellows to the ground. The two men slide down
a ravine. Bellows has had the fight knocked out of him but Kimble keeps
punching away. The policemen must pull Kimble off of Bellows' unconscious
body. Kimble falls backwards, out of the lawmen's arms, exhausted.
SHERIFF
(to Kimble)
First you save him. Now you try to kill him.
KIMBLE
(dazed)
I'm sorry.
SHERIFF
(smiling)
Sorry? You caught him. Not a man here
wouldn't trade places with you.
Kimble sees himself surrounded by police officers and lowers his eyes.
KIMBLE
Yeah.
The Sheriff fails to catch the irony and offers his hand to Kimble, helping
him to his feet. The policemen escort a half-conscious Bellows away. As
they follow, the Sheriff puts an appreciative hand on Kimble's shoulder.
FADE OUT
EXT. SHERIFF'S OFFICE - DAY
FADE IN on a parking lot, next to which is a building marked SHERIFF'S
OFFICE.
DISSOLVE TO:
INT. SHERIFF'S OFFICE - DAY
The Sheriff shakes Kimble's hand.
SHERIFF
Never know how close I came to having you
arrested, Rogers.
KIMBLE
I know how it must have looked, Sheriff.
A YOUNG WOMAN enters the office with a piece of paper.
YOUNG WOMAN
(to the Sheriff)
Excuse me, sir. From state police headquarters,
on that query you sent them.
SHERIFF
Thank you. Just put it on the desk.
The woman does so and exits.
SHERIFF
(off the paper)
Even started checking to see if you had a
record.
KIMBLE
If you don't need me anymore, Sheriff, I'll be
going.
Kimble heads for the door.
SHERIFF
Rogers?
Kimble freezes, his back to the Sheriff.
SHERIFF
You ever thought about law enforcement?
Kimble turns to the Sheriff, another priceless expression on his face.
SHERIFF
I could use a good man. You're it as far as
I'm concerned. Took a lot of guts to do what
you did. You showed a lot of people around
here the respect they should have for the law.
KIMBLE
Uh, well, I thank you, Sheriff. I'm honored...
SHERIFF
But not interested, huh?
KIMBLE
No, sir.
Kimble heads for the door again.
SHERIFF
Listen to this.
Kimble freezes again.
SHERIFF
(reads from paper)
"Information on Ben Rogers not sufficiently
detailed for identification. Can you send
fingerprints?"
The Sheriff smiles as he crumples the paper. After a moment, Kimble, though
realizing now just how close he came to capture, manages to force a smile.
He waves to the Sheriff and hurries out the door.
DISSOLVE TO:
EXT. COUNTRY ROAD - DAY
With his back to us, Kimble, cowboy hat still on his head, sticks his hands
in his pockets, and walks down a long, empty road.
NARRATOR (v.o.)
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.
FADE OUT