Landscape with Running Figures
EXT. A BACK ALLEY IN WICHITA, KS - NIGHT
FADE IN on a God's-eye view of a lone, drenched figure carrying a small
travel bag and trudging listlessly through a deserted, trash-strewn alley as
a torrential rainstorm soaks everything in sight. The gut-wrenchingly deep
voice of the omniscient NARRATOR has never sounded so bleak.
NARRATOR (v.o.)
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.
The figure is Richard Kimble, America's most elusive fugitive, as we have
seldom seen him: his face reflects not merely weariness but exhaustion. As
if he were not just physically sick but emotionally drained.
NARRATOR (v.o.)
It is two a.m. in the city, and Richard Kimble,
doctor of medicine, moves to the start of
another working day.
CUT TO:
EXT. REAR OF K'S DINER - NIGHT
At the diner's service entrance, a worker emerges from the back door carrying
a trash can. This is LUIS BOTA, a middle-aged Latino man with tired eyes.
Luis looks up to see Kimble approaching through the downpour.
NARRATOR (v.o.)
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.
Kimble fails to see Luis and wearily enters a public men's room in the
building across from the diner. Luis glances anxiously into the diner before
rushing over to the men's room.
CUT TO:
INT. MEN'S ROOM - NIGHT
At the sink, Kimble pulls a toilet kit from his travel bag and removes a
razor from it. An intense Luis joins him at the sink.
LUIS BOTA
Hi, Steve.
KIMBLE
(mildly surprised to see him)
Luis.
LUIS BOTA
Say, Steve, I... I don't think you've done
nothing but... Last night, you wrote wrong name
in sign-out book.
Kimble stares uncomprehendingly at Luis.
LUIS BOTA
The cops been out in front... all day they
wait.
A weird look crosses Kimble's face as he realizes to his horror what he's
done. Luis watches with concern as a shaken Kimble abruptly stuffs his
toilet kit back into his travel bag. Kimble pauses.
KIMBLE
(heartfelt)
Thanks, Luis.
A saddened Luis watches Kimble depart.
CUT TO:
EXT. REAR OF K'S DINER - NIGHT
Kimble cautiously emerges from the men's room, zips up his jacket against the
worsening rain, and half-walks, half-runs off in the direction from whence he
came.
CUT TO:
EXT. BACK ALLEY - NIGHT
The same God's-eye view of the rain-soaked alley but this time with Kimble
hustling away, nervously looking over his shoulder, as he disappears into the
night.
DISSOLVE TO:
EXT. PACE HOTEL - WICHITA, KS - DAY
Early in the morning, a day later. Outside one of the city's better hotels,
crowds fill the streets.
CUT TO:
INT. HOTEL LOBBY - DAY
A busy morning. People come and go, walking past the lobby newsstand. Among
those entering the building is LIEUTENANT PHILIP GERARD, the Indiana police
lieutenant who's been relentlessly chasing Kimble since his escape. He is
dressed as we have seldom seen him before: no tie, a stylish sport jacket --
he looks downright casual, even relaxed, for a change. An attractive woman
accompanies him -- his seldom-seen wife MARIE. They approach the front desk.
GERARD
We have a reservation. The name is Gerard.
DESK CLERK
Oh, yes. I have it right here.
As the Desk Clerk digs out the necessary paperwork, Gerard leaves his wife,
whips out his glasses, pulls a scrap of paper from his pocket, and picks up a
nearby guest phone. Marie watches him, a little sadly.
GERARD
(into the phone,
reads from paper)
Operator, I want to speak to Captain Arthur
Ames, detective division, Metropolitan Police
Department. Thank you.
As Gerard waits, the Desk Clerk, needing Gerard's signature, clears his
throat. Gerard turns, picks up the pen, and is about to sign when his call
comes through. Immediately, he puts the pen down and becomes completely
engrossed in the conversation.
GERARD
(into the phone)
Oh. Captain? Lieutenant Gerard.
(beat)
Yeah, we've just arrived.
(beat)
About Kimble...
Marie gives Gerard a look.
GERARD
Oh, just my wife and I. We were on a vacation
when I got the message.
Marie realizes her husband is never going to sign his name, reaches over, and
signs for him.
GERARD
(into the phone)
No, nothing special. Just a vacation. We left
right away, came directly here.
(beat)
No, not at all. I'm very glad you did.
Marie, on the other hand, doesn't look so glad.
GERARD
(into the phone)
Um, about Kimble...
MARIE
(coolly, to Gerard)
I'm going up to the room now. Will you be
coming up?
Gerard manages an impatient nod.
GERARD
(into the phone)
Oh, he did? Hmm...
Marie and a bellhop head for the elevator, leaving Gerard at the desk.
GERARD
(into the phone)
Oh, I see.
(beat)
Yes, I was afraid he might.
(beat)
A possible last seen? Where?
Gerard whips out a pen and scribbles down the address.
GERARD
Vicinity of Third and Livermore. Yup. I got it.
I'll meet you there as soon as possible.
Gerard hangs up. Sport coat or no, he's still his old intense self.
DISSOLVE TO:
EXT. THIRD AVENUE - DAY
Signs read THIRD AVE. and LIVERMORE. One police car is already on the scene.
Another arrives, racing down the wet street and pulling up beside two
uniformed officers on the sidewalk who take a statement from a woman. A
middle-aged SERGEANT, who is clearly in charge, hops out of the car and
confers with his men.
SERGEANT
You covered everything from here to the corner?
CUT TO:
EXT. THE ALLEY - DAY
An unshaven Kimble, crouched behind some trash cans in the nearby alley,
watches and listens uneasily as the Sergeant gives orders.
SERGEANT (o.s.)
All right, you. You take the roominghouse.
You, on the other side of the street. From
here, all the way down to the corner.
Everywhere. You stay with me.
Kimble, still clutching his travel bag, doesn't look like he's slept or eaten
much since we saw him last, over twenty-four hours ago. He rises and rushes
down the alley, looking for a way out. But it's a dead end. He tries a
wooden gate with the words KEEP OUT painted across it but it's chained shut.
Desperate, he sees a door with a crude cardboard sign tacked to it reading
LAUNDRY and hustles over to it. It's unlocked. He ducks inside.
CUT TO:
INT. LAUNDRY ROOM - DAY
Kimble quickly shuts the door behind him and looks around. It's a tiny
laundry room on the bottom floor of run-down apartment house. One ancient
washing machine; two vending machines: candy and cigarettes; and three little
boys -- brothers -- who are as startled to see Kimble as he is to see them.
The OLDEST BOY, perhaps twelve years old but wiser than his years, and his
KID BROTHER stare at him. Kimble nervously stares back. The YOUNGEST BOY
pulls uselessly at a knob on the candy machine even as he looks over at
Kimble. After a moment, he stops pulling and checks to see if any candy has
been dispensed.
Kimble catches his breath and crosses to the cigarette machine as if he had
intended all along to buy a pack. He fishes some change from his pocket and
is about to deposit a coin when the two oldest boys approach him.
OLDEST BOY
The cigarette machine doesn't work.
Kimble stops and pockets his change.
OLDEST BOY
You put your money in, you woulda lost it if I
didn't tell ya.
KIMBLE
(nods)
Thanks.
OLDEST BOY
What kind do you smoke? My brother'll run up
to the corner and get you some.
Kimble shoots a nervous glance at the door. The boys watch his behavior
curiously. Kimble spots a second door and crosses to it. But it's padlocked
shut. Beside it, a small window with a broken pane reveals a tiny courtyard
just the other side of the door.
OLDEST BOY
(off the courtyard door)
That don't go nowhere. You gotta use the other
door.
The youngest boy picks a penny up off the floor and returns to the candy
machine as his oldest brother suddenly sees a way to make a little money off
of Kimble.
OLDEST BOY
(to Kimble)
I could get you out of here -- and nobody'd
know about it -- if I wanted to.
(to his kid brother)
Couldn't I?
The kid brother nods. Kimble, desperate now, crosses to the oldest boy,
clutching his travel bag, pleadingly.
KIMBLE
Tell me, how could you?
OLDEST BOY
Oh, I could.
The oldest boy notices the youngest about to put a penny in the candy machine.
OLDEST BOY
(sharply, to the youngest boy)
Get out of there, dumbo! That don't take
pennies.
Kimble crosses to the alley door and cautiously looks out.
CUT TO:
EXT. THE ALLEY - DAY
Kimble watches a police officer walk past the alley.
SERGEANT (o.s.)
Wait a minute! Hold it!
The officer stops and is joined by the Sergeant.
SERGEANT
I want you to check that place across the street
and the one right next door to it. I'll get
other men to cover this side.
(to the other men)
Boys!
CUT TO:
INT. LAUNDRY ROOM - DAY
Kimble shuts the door to the alley and rushes to the courtyard door. He pulls
on it but it's no use. The boys watch him struggle. The oldest boy, arms
folded across his chest, gives Kimble a smug look. Reluctantly, Kimble pulls
all of his money out of his pocket -- just a few bills and coins -- and shows
it to the boys.
KIMBLE
(holds out his hand)
This is all I've got. You can see for yourself.
The oldest boy pockets the bills for himself and turns the coins over to his
kid brother. Kimble watches uncertainly as the oldest boy fishes a
pocketknife from his pants, crosses to the courtyard door, and, using the
blade, carefully pries the entire lock right out of the wall. The door opens
easily. A jittery Kimble swallows hard and hurries out the door. The oldest
boy SLAMS the door shut behind him and replaces the lock, hammering it
tightly into place with the base of the pocketknife.
Kimble blinks and looks around at his new hide-out: he is in a tiny,
claustrophobic courtyard, maybe twelve foot by ten, adjacent to the laundry
room, right in the middle of the apartment building. There is no exit here.
The walls are too high to climb. It looks uncomfortably like a prison cell.
Kimble peers through the cracked windowpane into the laundry room where the
oldest boy turns on a radio and looks at his newly-earned money.
RADIO ANNOUNCER (o.s.)
The weather of yet is a subject of grave
importance. Continued rain has increased the
severe flood threat to the southeastern
sections of the state and it is feared Tilden
Dam may not withstand the mounting pressure.
Evacuation of a number of towns in that
immediate district has been ordered...
Kimble himself doesn't seem to be able to withstand the mounting pressure
either: he shuts his eyes tightly and leans weakly against a wall as if all
his years as a fugitive were finally catching up with him.
CUT TO:
INT. HOTEL ROOM - DAY
Another radio carries the same broadcast. A depressed Marie Gerard listens
dispassionately as she sits at a table, combing her hair.
RADIO ANNOUNCER (o.s.)
... and the governor is now considering the
possibility of declaring the harder hit Temple
County a disaster area. This station will
continue to broadcast flood reports as they
come in...
Just then, Gerard enters the room. The Gerards acknowledge one another
without a word.
RADIO ANNOUNCER (o.s.)
Meanwhile, on the local scene, municipal police
still decline to comment on the rumor that
Richard Kimble, escaped fugitive and convicted
murderer of his wife, has been--
At the mention of Kimble's name, Marie immediately reaches over and pointedly
SNAPS off the radio. Though upset by her action Gerard says nothing. Marie
goes back to rotely combing her hair.
MARIE
I left your suit coat out. I thought you might
need it.
Gerard sees the coat on the bed and nods. He removes his sport coat, grabs a
necktie, and starts to change.
MARIE
What did he say?
GERARD
Captain Ames? Not too much.
MARIE
I mean about Kimble. What did he say about
Kimble?
GERARD
He, uh, didn't show up for work.
MARIE
Are they setting up roadblocks on the highways?
Are they watching the airports and the train
stations? Tell me, I want to know. How about
the side roads leading out of the city? There
must be any number of them. What are we doing
about them?
GERARD
Marie... it'll, uh, it'll take a day. Maybe two
at most. Then we'll go back home. I promise.
Start again.
MARIE
Why?
GERARD
I wouldn't have come if I didn't believe that
we had every chance of getting him this time.
Every chance. I tell you what he did?
MARIE
Yes. You told me.
GERARD
Well, Kimble's never made a mistake like that
before. Something's happened to him. This
time, it'll be different. I know it.
Gerard puts on his suit coat.
MARIE
Life without Kimble. What a pretty dream that
used to be. What would it be like not to live
your life in short little gasps?
GERARD
(beat)
Is that all?
MARIE
Yes, that's all.
Gerard buttons his coat. But Marie turns to him.
MARIE
No! No, it isn't. I don't want to stay here,
Philip. I want to take a plane back to
Stafford.
GERARD
That's not possible. All the planes are
grounded. There'll be no more trains east until
the flood areas are opened up. That's... one
reason it'll be easier this time. There
aren't that many places for Kimble to run.
Marie decides to ask the impossible of her husband.
MARIE
I don't suppose there's any point... in asking
you not to leave. Just this once, to let go.
For her sake, he actually thinks it over for a second, but...
GERARD
(firmly)
No.
Marie turns her back on him and goes back to combing her hair.
MARIE
(icily)
I'm going to call the children later on. Is
there anything you want me to tell them?
GERARD
Uh... Tell 'em we'll be home soon as possible.
Soon as all this is over.
MARIE
Just as soon as this is over.
(turns to him, as if
talking to a little boy)
It's all right, Philip. You can leave now.
An uncomfortable Gerard heads for the door and guiltily tries to make amends.
GERARD
Um, I'll-I'll call you at eleven. Eleven
sharp. Um, by that time, I'll be able to let
you know what's happening.
MARIE
Yes, let me know.
GERARD
There's a... room service menu here... in case
you want to order some breakfast. Might make
you feel better.
MARIE
Yes, that might make me feel better.
Gerard gives her a long, sympathetic look before walking out the door. Marie,
with nothing else to do, keeps on combing her hair.
DISSOLVE TO:
EXT. THIRD AVENUE - DAY
The Sergeant emerges from a tobacco shop on Third Avenue, checking his
notebook. He watches a taxi round the corner and pull up across from him.
Gerard exits the cab, pays off the driver, and flashes his badge as he
briskly approaches the Sergeant.
GERARD
My name's Gerard. Captain Ames says you
had a possible last seen on Richard
Kimble in this area.
SERGEANT
That's right, Lieutenant.
GERARD
Anything further?
SERGEANT
Well, we had one report of a man matching
his rough description seen loitering in
that alley.
GERARD
And?
SERGEANT
No luck. Nothing.
GERARD
(looks around, disappointed)
Is this all the men you have available
in this area?
SERGEANT
Yes, sir.
GERARD
How much--?
(notices something)
Sergeant, what about those bins?
The Sergeant turns to look at some nearby wooden trash bins with the words
HELP KEEP OUR CITY CLEAN painted on their sides.
SERGEANT
Well, that's just a garbage storage area.
Not likely there's enough room in there
for a man to hide.
Gerard thinks he's dealing with an incompetent and doesn't like it much.
GERARD
Not likely? Is that your considered
opinion?
The Sergeant realizes he's dealing with a real hard-ass and doesn't like it
much either.
SERGEANT
Yes, sir. We could check 'em out, if
you like.
GERARD
I would like, Sergeant.
SERGEANT
(to a nearby officer)
Pollock? Check out the bins.
Officer Pollock checks out the bins while Gerard scans the area.
GERARD
(to the Sergeant)
Is that the alley?
SERGEANT
Yes, sir.
GERARD
You've seen nothing at all down there?
SERGEANT
Just some kids playing. They said they
hadn't seen anyone.
GERARD
(a little snidely)
That's what they said?
SERGEANT
Yes, sir.
GERARD
Do you mind if I look for myself?
SERGEANT
No, sir.
Gerard nods and crosses the street. The Sergeant turns to Officer Pollock.
SERGEANT
Well?
Pollock shrugs, empty-handed. The Sergeant nods and signals to the police
car waiting halfway up the block. The car approaches and pulls up beside him.
SERGEANT
(to the driver)
Give me the mike.
The driver hands the Sergeant the radio microphone.
SERGEANT
(unhappily, into the mike)
Command One, Command One, this is Unit
Two. Advise Captain Ames that Lieutenant
Gerard has arrived at Third and
Livermore. Out.
The Sergeant returns the mike and jots something in his notebook.
FADE OUT
EXT. THE ALLEY - DAY
FADE IN on Gerard entering the alley in full detective mode, scanning the
area for possible escape routes or hiding places. Like Sherlock Holmes, he
doesn't miss a thing. He tries a locked and gated door; he inspects the
chained wooden fence painted KEEP OUT, in particular the lock; he spots the
door marked LAUNDRY and enters.
CUT TO:
INT. LAUNDRY ROOM - DAY
Gerard finds the same three boys. The youngest continues to pull at the
candy machine knob. Right next door, in the courtyard, a hidden Kimble
tenses up. The oldest boy looks at Gerard suspiciously. Gerard, always
uncomfortable around children, manages an unconvincing smile.
GERARD
Hiya, fellas.
KID BROTHER
Hi.
Kimble's face falls as he recognizes Gerard's voice.
GERARD
How are ya?
KID BROTHER
Fine.
OLDEST BOY
Okay.
Gerard approaches the boys, desperately trying to be ingratiating.
GERARD
Um... I'm looking for a friend of mine.
I, er, heard he came by here.
Before the boys can say anything, a stupid-looking uniformed POLICE OFFICER
enters and joins Gerard. The oldest boy knows enough to keep a poker face
but his kid brother's mouth pops open at the sight of the cop. Frustrated,
Gerard gives the cop a look and decides to level with the boys.
GERARD
(nods)
He's wanted by the police. Uh, he's
dark-haired, a little taller than I am.
OLDEST BOY
(a little too insistent)
We didn't see nobody, mister.
Kimble flinches. Gerard, sensing the boy is not being entirely honest,
glances at the cop and then at the youngest boy who, still pulling on that
damned candy machine knob, gives Gerard a forlorn look. Gerard immediately
figures he can buy the kid off and approaches him. Crouching down so they can
talk face to face, Gerard pathetically attempts to turn on the charm.
GERARD
(to the youngest boy)
How 'bout you, son? Did you see anybody?
The youngest boy shakes his head, no. The oldest boy looks on with concern.
GERARD
(to the youngest boy)
Hey, you're a pretty big boy, aren't you?
The youngest boy nods and smiles. The police officer smiles at Gerard,
admiring his technique.
GERARD
(to the youngest boy)
I think you're big enough to be let into
a secret.
Gerard pulls a handful of change from his pocket and shows it to the youngest
boy. The oldest boy watches this with alarm. But Gerard suddenly realizes
that the machine only takes dimes -- and he hasn't got one.
GERARD
(abruptly, to the officer)
Dime.
The police officer searches his pockets for a dime. Kimble chances a peek
through the broken windowpane to try to figure out what's going on.
GERARD
(to the youngest boy)
These your brothers?
The youngest boy nods. The police officer hands Gerard a dime.
GERARD
(to the youngest boy)
Yeah, I bet they think you're just a
baby, don't they? They think you're not
old enough to be let in to anything. I
know a little boy about your age. We
have a whole lotta secrets together.
Just the two of us. Of course, if, uh,
if you gave me a secret, then I'd have to
give you something in return, wouldn't I?
Hm?
Gerard holds the dime up to the little boy who knows he's being bribed.
GERARD
(off the candy)
Which one do you like best?
A stressed-out Kimble watches from the courtyard as the youngest boy points
to one of the candies.
GERARD
(to the youngest boy)
That one? Okay.
Gerard rises and DROPS the dime into the slot. Kimble looks around
desperately for an escape route but, of course, he's hopelessly trapped.
Gerard pulls the knob on the candy machine. And pulls. And pulls. Nothing
happens. He BANGS the machine with his fist. The youngest boy watches all
this with a stone face and glances up at Gerard who relentlessly keeps on
pulling at the knob. The oldest boy smiles in relief.
OLDEST BOY
(to Gerard)
Somebody musta put a penny in it, mister.
It always jams when somebody puts a penny
it.
A frustrated Gerard turns away. Kimble breathes a quiet sigh of relief.
Gerard gets a grip on himself and turns his attention to the rest of the
laundry room, immediately crossing to the courtyard door. He tries it and
finds it locked. Pressed against the other side of the door, Kimble tenses
up. Gerard peers into the courtyard through the broken window pane.
Kimble's and Gerard's faces are mere inches apart.
GERARD
(to the police officer)
Who has a key for this?
OFFICER
Uh, it's just a courtyard for drying
clothes, they lock it up during the winter.
Police CAPTAIN ARTHUR AMES -- the thoughtful, conscientious, and thoroughly
professional head of the detective division -- enters the laundry room just
in time to hear an impatient Gerard snap at one of his officers.
GERARD
I didn't ask what it was, Officer, I
asked who has a key for it.
OFFICER
Man named Jenner owns the building. I
don't know if he still lives here.
GERARD
Find him.
OFFICER
But, Lieutenant--
GERARD
Find him.
The police officer starts to leave but stops as he and Gerard notice for the
first time that Capt. Ames stands nearby.
CAPT. AMES
Lieutenant Gerard? I'm Captain Ames.
Glad to have you with us.
The two men shake hands.
GERARD
How do you do?
CAPT. AMES
Any problem? I'm sorry we seem to be a
little short-handed here. Unfortunately,
with the flood threat in outlying
districts our main concern is the
evacuation of residents and protection
against looting. You can understand that,
I'm sure.
Gerard nods. Capt. Ames inspects the courtyard door and yanks on the lock,
unnerving Kimble on the other side. The lock seems pretty secure to Capt.
Ames.
CAPT. AMES
However, within the framework of that
responsibility, Lieutenant, I want you to
know that we'll do everything possible to
bring in your man.
(friendly but pointedly)
I hope there won't be any problems.
GERARD
(gets the message)
No. No problems.
CAPT. AMES
Good. Suppose we get back to headquarters?
We can supervise the whole search area
there.
Gerard nods and reluctantly walks out. Capt. Ames follows. The police
officer, left alone with the boys, tries pulling the candy machine knob one
last futile time, gives up on it with a dismissive wave, and stalks out of
the room. The oldest boy watches the policemen leave. Kimble listens
intently.
The oldest boy shuts the laundry room door, motions to his kid brother to
keep a lookout, whips out his pocketknife, and starts to pry off the lock on
the courtyard door. A relieved and completely drained Kimble slumps to the
floor, and rubs his eyes with his fist, contemplating his near-capture. The
oldest boy opens the door and joins Kimble in the courtyard.
OLDEST BOY
Hey, mister! Hey, mister, it's okay now.
Kimble just looks at the boy with empty eyes and nods weakly. After
struggling to his feet, Kimble casts a final glance at the little courtyard
and walks stiffly through the laundry room to the alley door.
OLDEST BOY
Hey, mister. What'd you do, anyway?
What are they tryin' to bust you for?
Without a word, Kimble cautiously walks out the door.
CUT TO:
EXT. THE ALLEY - DAY
Kimble staggers toward Third Avenue where the cops no longer search. He
pauses warily at the mouth of the alley before disappearing down the street.
CUT TO:
INT. LAUNDRY ROOM - DAY
The three boys watch Kimble go. The oldest shuts the door and looks down at
the floor, perhaps pondering the whole episode. But not for long: he
exchanges glances with his brothers and all three of them cross to the candy
machine. The younger boys watch expectantly as the oldest pulls out a wire
hanger from next to the machine, sticks it in the coin slot, and starts to
dig out Gerard's dime.
CUT TO:
INT. HOTEL LOBBY - DAY
On the hotel's newsstand is The Daily Chronicle: the front page headline
reads KIMBLE MANHUNT in huge type (Some of the other, much smaller, headlines
are: "Property Owners Fight High-Rise Building Zone" and "Jury System
Denounced"). We PAN ACROSS the newsstand to reveal a half dozen or so Daily
Chronicles, staggered in such a way as to repeat Kimble's name over and over:
KIMBLE KIMBLE KIMBLE KIMBLE KIMBLE.
At the end of the PAN, we find an upset Marie Gerard flipping through a
magazine. She glances over at the newspapers and reacts to the sight of all
those KIMBLEs by agitatedly flipping through her magazine even faster. She
checks the lobby clock: it's one twenty-three p.m. She tries to finish her
magazine but someone throws a bundle of freshly-printed newspapers at her
feet -- more KIMBLE headlines. Completely frazzled, she approaches the front
desk.
DESK CLERK
Still nothing, Mrs. Gerard. We'll page
you just as soon as any call comes in
whatsoever.
Marie glances over at one of the other hotel employees. His back is to her.
She stares at him for a long moment. The employee is a white male, six foot
one, with black hair. Could it be Kimble? The Desk Clerk sees the
expression on Marie's face.
DESK CLERK
Is something the matter, Mrs. Gerard?
Marie watches as the employee turns around. Of course, it's not Kimble.
Marie shuts her eyes and tries to get a grip on herself.
MARIE
No. No, nothing's the matter. Nothing
at all.
DESK CLERK
If you ask me, I don't think he's in the
city at all.
Marie stares at the Desk Clerk, confused.
DESK CLERK
Kimble. Richard Kimble. I couldn't help
overhearing your husband on the phone
this morning.
The Desk Clerk turns to some paperwork as Marie glares at him.
DESK CLERK
No, he's probably long gone from the
country by now.
Marie can't take it anymore. She walks rapidly away from the front desk and
out of the hotel.
DESK CLERK
Yes... I mean, why should he stick
around here? It'd only be logical for
him to--
The Desk Clerk looks up from his work to see Marie has gone.
DESK CLERK
Mrs. Gerard?
The Desk Clerk returns to his work.
CUT TO:
EXT. CITY STREET - DAY
From the rear, we see a white male, six foot one, with black hair, walking
down a sidewalk. He turns to look over his shoulder. It's Kimble. At the
sound of tires SQUEALING onto the street behind him, a jittery Kimble turns
completely around.
A police car rockets down the street. On the sidewalk, Kimble has turned his
back to the street. He stands there, in the shadow of a boarded-up building,
frozen in his tracks. Kimble turns to see that the police have passed by
without noticing him. Relieved, he leans against a nearby wall and tries to
catch his breath. A sign on the building beside him reads, ironically,
CONDEMNED.
FADE OUT
EXT. WICHITA POLICE HEADQUARTERS - DAY
FADE IN on police cars parked out in front of a brick building.
CUT TO:
INT. WICHITA POLICE HEADQUARTERS - DAY
In what looks rather like a military war room, Capt. Ames and Gerard lean
over a map of the city and the outlying regions as they plot strategy. The
map is dotted with little flags marking the positions of police units hunting
for Kimble. Also present is the young but thoughtful DETECTIVE-SERGEANT
RAINEY, Capt. Ames' trusted assistant.
GERARD
(to Capt. Ames)
What do you have here now?
CAPT. AMES
Two [?] units.
GERARD
Just two?
CAPT. AMES
Just two.
Sgt. Rainey goes to pick up some messages from a dispatcher.
CAPT. AMES
You hungry, Lieutenant? I could have
something to eat brought in.
GERARD
Eat?
CAPT. AMES
It's a quarter of two.
GERARD
Oh, do you have a phone I could use? I
forgot, I was supposed to call my wife.
CAPT. AMES
Certainly.
Sgt. Rainey hands a message to Capt. Ames.
CAPT. AMES
(to Sgt. Rainey)
See if you can get her on the phone for
the lieutenant.
SGT. RAINEY
Right.
CAPT. AMES
Pace Hotel.
(to Gerard)
While we're waiting, I have something
that you might be interested in.
While Rainey makes the call, Capt. Ames shows Gerard a small black book.
CAPT. AMES
This is the sign-out book at the diner
where Kimble was working.
Gerard takes a look: most of the signatures in the book belong to Luis Bota
and Steve Carver. But on April 23, just under Luis Bota, in Steve Carver's
handwriting, is the name of Richard Kimble.
GERARD
(shakes his head)
Still doesn't seem possible.
CAPT. AMES
The owner identified the pictures of
Kimble. There's a make on the prints.
At eleven in the morning, Lieutenant,
after nine hours in the kitchen,
anything's possible.
GERARD
No. Not with Kimble. Something happened.
CAPT. AMES
Lieutenant, I've seen it before. You put
a man like Kimble down far enough, strip
enough away from him, all you have left
is a tired, sick animal. Animals aren't
very smart, Lieutenant. All that keeps
them going's the barest of instincts.
Every time they fall, they get up a
little slower.
(beat)
I understand you've been after this
Kimble for a long time. Well, maybe
this time you're finally gonna see the
end of it.
The expression on Gerard's face acknowledges the possibility -- but before he
can say anything Sgt. Rainey hangs up and joins them.
SGT. RAINEY
There wasn't any answer in your wife's
room, Lieutenant. I, er, had them page
her around the hotel but no luck. Is
there any message?
GERARD
Um... No. No message.
CUT TO:
EXT. TRUCK STOP - OUTSKIRTS OF WICHITA - DAY
A TRUCK DRIVER exits a diner, picking at his teeth with a toothpick. A still
unshaven Kimble, travel bag in hand, approaches him.
KIMBLE
Hey. You going east?
TRUCK DRIVER
That's right.
KIMBLE
I'd like to ride along with you. I-I
could sure use a--
Without a word, the Truck Driver throws his toothpick down and walks off,
leaving a dejected Kimble behind. The Driver climbs into the cab of his
truck (SOTH Trucking Co. - I.C.C. 27) and glances down at a pathetic-looking
Kimble.
TRUCK DRIVER
Okay. Come on.
Grateful, Kimble crosses to the truck and gets in as the Driver FIRES up the
engine. The truck pulls out and ROARS down a country road.
CUT TO:
EXT. METROPOLITAN BUS TERMINAL - WICHITA - DAY
A bus ROARS down a city street, just outside a crowded terminal.
CUT TO:
INT. METROPOLITAN BUS TERMINAL - DAY
At the ticket desk, a clearly unwell Marie pulls a wad of cash from her purse
and offers it to the TICKET SELLER. A small mob of impatient people wait in
line behind her to buy tickets.
TICKET SELLER
(insistently)
Nothing. Nothing at all.
MARIE
But they told me at the hotel the busses
were still running.
TICKET SELLER
Well, nothing headed toward Indiana.
Floods have the highways all blocked off.
Now, why don't you give us a call
tomorrow?
MARIE
No, I don't want to wait until tomorrow.
I want to leave today.
TICKET SELLER
I'm sorry. Next.
A man cuts to the head of the line and throws a stack of photographs down on
the desk in front of Marie. The man is a police officer named JARVIS and the
photos are copies of Richard Kimble's mug shots. A stunned Marie cringes
visibly at the sight of Kimble's face. Jarvis flashes his badge at the
Ticket Seller.
JARVIS
(to the Ticket Seller)
My name's Jarvis, Metropolitan Police.
That's the picture of a man we're looking
for. Post it some place where it'll be
out of sight.
TICKET SELLER
Right.
The Ticket Seller scoops up the photos and sets them aside as Jarvis starts
to leave. Suddenly, Jarvis stops and turns to Marie.
JARVIS
Mrs. Gerard? I beg your pardon, ma'am,
but aren't you Mrs. Philip Gerard? I
guess you don't remember me. I-I was
sent up to Stafford last year on a
prisoner escort. I met you with the
lieutenant.
Marie glares at Jarvis and pretends to not know what he's talking about.
MARIE
No.
JARVIS
(a reassuring smile)
Jarvis. Arthur Jarvis.
MARIE
No, I'm afraid you must be mistaken.
I-I don't know anyone named Gerard. The
name is... Lindsey.
JARVIS
(unconvinced)
Sure. Sorry, ma'am.
A confused Jarvis turns and walks off. Marie stands there for a moment,
holding up the line, to the annoyance of the Ticket Seller.
TICKET SELLER
Mrs. Lindsey. If you don't mind.
Marie turns to the Ticket Seller. Jarvis stops and turns to listen to their
conversation. Marie has reached the end of her rope. She's a nervous
breakdown in progress.
MARIE
(to the Ticket Seller)
I've got to get out of this city. It's
very important to me. I just must.
I'll take anything, anything at all.
TICKET SELLER
Well, there's a bus headed east, leaving
in ten minutes. You might make
connections north in Joplin.
MARIE
That's fine, that'll be just fine.
TICKET SELLER
All right. Lindsey.
The Ticket Seller writes the name on the ticket and hands it to her.
TICKET SELLER
Now loading at gate two.
MARIE
Thank you.
Marie grabs the ticket and runs off, failing to see that Jarvis lingers,
having overheard the entire exchange.
TICKET SELLER
(calls out to Marie)
Have a happy trip!
(beat)
Oh! Mrs. Lindsey!
Marie has left her wad of money on the desk. The Ticket Seller holds up the
cash to her but she's gone.
CUT TO:
EXT. COUNTRY ROAD - JUST OUTSIDE OF WICHITA - DAY
The truck carrying Kimble barrels down the road.
CUT TO:
INT. TRUCK - DAY
An exhausted Kimble struggles to keep his eyes open while the obnoxious Truck
Driver rattles on.
TRUCK DRIVER
Yeah, I've been down on my luck a couple
o' times. But I didn't sit around on my
duff feelin' sorry for myself. Know
what I mean?
KIMBLE
Yeah.
TRUCK DRIVER
Nobody's got to be a bum anymore, not in
this day and age. All you need's a
little guts, enough backbone to stay away
from the sauce and stand up to an honest
day's work. Know what I mean?
Kimble dozes off. The Truck Driver smacks his arm.
TRUCK DRIVER
Hey, buddy! Ya listenin'?!
KIMBLE
(startled)
Yeah...
TRUCK DRIVER
Good. You might learn somethin'.
Kimble unzips his jacket and fights to stay conscious.
DISSOLVE TO:
INT. WICHITA POLICE HEADQUARTERS - DAY
Capt. Ames deals with routine police matters. Sgt. Rainey sits on a desk
writing notes. Kitchen helper Luis Bota sits nearby holding his hat in his
hands. And an unusually uneasy Gerard talks on the telephone.
GERARD
This is Philip Gerard again, room 604.
I wonder if you'd just check once more,
make sure there aren't any messages for
me.
(beat)
Yeah, I know but I... thought something
might've come in the last five minutes.
(beat, nods unhappily)
Thank you.
A preoccupied Gerard hangs up and rejoins Sgt. Rainey and Luis Bota. Gerard
actually bites his fingernails.
SGT. RAINEY
Any luck, Lieutenant?
GERARD
Hm?
SGT. RAINEY
If you're worried about your wife,
Lieutenant, we could put out a quick
check on her.
GERARD
(unconvincingly)
No, that's all right. She, uh, she-she
just went shopping. They mislaid the
message. That's what happened.
SGT. RAINEY
Sure, sure, that'll happen. Uh, if you
don't have any more questions for Mr.
Bota, I thought we might send him home.
Gerard has completely forgotten about Luis Bota -- clearly his marital
problems are distracting him from his usually single-minded and unrelenting
efforts to catch Kimble.
GERARD
I, er, yes, I-I do have some... more
questions. Uh...
(to Luis Bota)
As a friend of Kimble -- Steve
Carver's -- isn't it likely that you
would have warned him?
LUIS BOTA
No. I told you that. No friend, just
work together.
(to Sgt. Rainey)
I have said this many times.
SGT. RAINEY
I, uh, think he did, Lieutenant. Several
times. Uh, I have it right here, uh...
(reads from notes)
Question: Did you know--
GERARD
All right. All right. Send him home.
A flustered Gerard walks away. Sgt. Rainey nods to Luis Bota who rises and
exits. Gerard crosses to the large city map where Capt. Ames joins him.
GERARD
You've got to understand, Kimble. He
always... forms associations. There's
always someone to help him, warn him.
He could've been warned. He could've
slipped through. All this could be for
nothing.
CAPT. AMES
(reassuring)
We have flood control checkpoints along
the highways outside of town. They've
all been alerted. If he did slip
through here, there's a good chance
they'll get him.
GERARD
A good chance? That's not enough. Not
nearly enough.
CUT TO:
EXT. MAIN HIGHWAY - OUTSIDE WICHITA - DAY
The truck carrying Kimble turns off the country road and onto the main
highway. Inside the cab, a startled Kimble stares ahead with concern.
KIMBLE
(nervous)
Is this the main... highway heading east?
TRUCK DRIVER
Yeah. We ought to pick up a little time
now. What's the matter? Don't you like
main highways?
KIMBLE
Oh, I just... didn't think we'd be
heading this way.
TRUCK DRIVER
Tell you what I'm gonna do for ya,
buddy. When we get to the end of this
haul, I'm gonna let you help me unload.
Hour's work, maybe two. Bring yourself
enough to buy a couple of good stiff
shots.
KIMBLE
A couple of stiff shots?
TRUCK DRIVER
Yeah, sure. Four bits.
Kimble just stares at the Truck Driver who obviously is no great
believer in the minimum wage.
TRUCK DRIVER
What's the matter? You got a free ride,
didn't ya? Who else woulda picked ya
up?
A disgusted Kimble turns his eyes to the road, just in time to see his worst
nightmare approaching: a police car blocks the highway.
We see it all from Kimble's anguished POV: A line of five cars waits to pass
through the flood control checkpoint. The Truck Driver brakes the truck and
joins the cars as the last vehicle in the line. Kimble looks to the left and
sees a wide open field. Nowhere to hide. On his right, a steep hill.
Nowhere to run. The police finish inspecting a car and let it pass through
the roadblock. Only four cars between Kimble and the law. The Truck Driver
and the other vehicles pull forward.
The Truck Driver watches as Kimble, frozen with fear, stares at the scene
before him.
TRUCK DRIVER
You know, you lousy guys are all alike.
World owes ya a living. Gimme, gimme,
gimme -- that's all you know...
A panicked Kimble can't think straight with this jerk mouthing off. Kimble
starts freaking out and snaps at the Driver.
KIMBLE
(quietly)
Shut up.
TRUCK DRIVER
What'd you say?
KIMBLE
I said, shut up, please.
Kimble grabs the Truck Driver's sleeve. Now, it's the Driver's turn to freak.
TRUCK DRIVER
Get your hands off me! Who do you think
you're pushing around, some stool-bum
buddy of yours?!
Another car passes through the checkpoint. Three cars to go. A station
wagon behind the truck HONKS impatiently. The Truck Driver yells out the
window to the station wagon.
TRUCK DRIVER
Yeah, yeah!
Still upset, the Truck Driver throws the truck in gear and nearly rear ends
the car in front of him, SLAMMING on the brakes at the last second and
SCREECHING to a halt. The Truck Driver gives Kimble a dirty look. Both men
quickly regain their composure.
KIMBLE
Look, I'm sorry. I'm out of my head. I
haven't eaten for a couple of days.
TRUCK DRIVER
Whole world's sorry, buddy. I'm sorry, too.
(beat)
Go on, get out.
The station wagon HONKS again. The Truck Driver jumps out of the cab and
starts yelling at the station wagon.
TRUCK DRIVER
Say, you stupid or something? Can't you
see I'm blocked?
Kimble sits in the cab and stares ahead at his increasingly dark prospects.
But, in that darkness, Fate moves its huge hand: A bus comes down the
highway, passes Kimble's truck, and parks next to the line of vehicles. A
uniformed CHECKPOINT OFFICER approaches the bus and confers with the BUS
DRIVER.
BUS DRIVER
Can we go through? We were all checked
out at the terminal.
CHECKPOINT OFFICER
You're Seventy-Three?
BUS DRIVER
Right.
CHECKPOINT OFFICER
I got a message for you from your
dispatcher. The stretch of road about
ten miles up the line is liable to be
shut off at any time. Now, your
dispatcher asked me to tell you that if
any of your passengers are worried about
going on, unload 'em right here.
They'll send another bus to take 'em
back.
BUS DRIVER
Check.
The Bus Driver turns to his passengers to give them the bad news. Meanwhile,
Kimble sits in the cab of the truck staring at the bus. The Truck Driver,
having apparently chewed out the driver of the station wagon, rejoins Kimble.
TRUCK DRIVER
Told you to get out. The soup kitchen
just closed down.
A worried Kimble looks out to see the passengers disembarking from the bus.
The Bus Driver leads them to the luggage compartments which he unlocks so
that they may retrieve their bags. Kimble sees a chance. He climbs out of
the truck, shuts the door, and, clutching his travel bag, makes his way
slowly toward the crowd of passengers milling around and collecting their
bags by the side of the bus -- and blends right in.
As he does, the Checkpoint Officer appears at the front of the bus and calls
to the Bus Driver who stands near Kimble sorting luggage.
CHECKPOINT OFFICER
Hey!
A nervous Kimble lowers his eyes and awkwardly covers his face with his hand.
CHECKPOINT OFFICER
(to the Bus Driver)
I'll move my car out of the way so you
can go right on through!
BUS DRIVER
Right.
The Checkpoint Officer leaves to move his car. Kimble looks up, immediately
grasps the situation, and glances at the bus. He moves toward the front door
and climbs aboard.
Inside the bus, Kimble makes his way down the aisle, heading for the rear.
Only a few passengers remain, among them a WOMAN with a child, an obnoxiously
gregarious SALESMAN, and, of all people, Marie Gerard. Marie, sitting at a
window seat somewhere in the middle of the bus, on the driver's side, gazes
blankly out the window and -- since she's clearly preoccupied with running
out on her husband and is apparently having a nervous breakdown -- doesn't
pay much attention to a haggard Kimble shuffling past her. For his part,
Kimble has never laid eyes on Mrs. Gerard. He moves past her without
incident. A few seats behind Marie, the Salesman, apparently working on his
expense account, suddenly whacks Kimble on the arm as he passes.
SALESMAN
(sternly)
Hey.
A terrified Kimble looks down at him.
SALESMAN
Change your mind, friend?
KIMBLE
(relieved)
Yeah.
SALESMAN
(smiles)
Stout fellow.
The Salesman goes back to padding his expense account. Kimble slumps wearily
into a seat in the very rear and puts his head down. Up front, the Bus
Driver climbs in, counts heads, gets in the driver's seat, shuts the door,
and puts the bus in gear. It pulls out, through the roadblock and down the
highway, leaving the Checkpoint Officer and a mob of stranded passengers by
the side of the road.
FADE OUT
EXT. WICHITA POLICE HEADQUARTERS - DAY
FADE IN on police cars parked out in front of a brick building.
CUT TO:
INT. WICHITA POLICE HEADQUARTERS - DAY
Capt. Ames accepts a message from a uniformed officer while Gerard and Sgt.
Rainey stand nearby talking on telephones. Gerard's call is to Stafford,
Indiana.
GERARD
(to the operator)
Yes, make it collect. Philip Gerard.
It's my home, they'll accept the charges.
(beat)
Hello?
(beat)
Hello, Margaret. It's Mr. Gerard. How
are the children?
(beat)
No. Nothing's the matter. Margaret,
um... I wonder if by any chance Mrs.
Gerard called. Uh, we, um, had missed
connections along the way and I just
thought perhaps ...
Sgt. Rainey sets his telephone down and approaches Capt. Ames. They discuss
something quietly amongst themselves as Gerard continues his conversation.
GERARD
(into the phone)
Oh, he is? Did he have his dinner?
(beat)
Yeah. Yes, put him on.
A concerned Capt. Ames walks over to Rainey's phone and picks up.
CAPT. AMES
(into the phone)
Captain Ames.
Meanwhile, Gerard reveals that his discomfort with children extends to his
own son.
GERARD
(into the phone)
Hello, son. Oh, fine, uh... Good vacation.
Capt. Ames gives Gerard an odd look.
GERARD
(into the phone)
Uh, look, son, you didn't happen to answer the
phone today, did you?
(beat)
No. Nothing important. I... What'd you do
today?
CAPT. AMES
(into the phone)
Okay, Jarvis. Thanks.
Capt. Ames hangs up and turns to Gerard.
GERARD
(into the phone)
Yeah?
(beat)
Boy, I'd like to hear about that.
(sees Capt. Ames)
Look, I'm sorry, son, I-I have to go.
I'll, uh, I'll talk to you tomorrow.
(beat)
Yeah. Yes. And your mother, too.
(beat)
All right. Good-bye, son.
Gerard hangs up and confers with Capt. Ames.
CAPT. AMES
Any more word on your wife?
GERARD
(unconvincingly)
Oh, nothing to be concerned about. I...
told you before. There was a message
for me at the hotel, they just mislaid
it temporarily.
CAPT. AMES
Yes, that's what you told me. Um,
Lieutenant. We here, we try to mind
our own business. Maybe we do
sometimes when we shouldn't. For
whatever it's worth, Lieutenant... One
of our men just called in and he's
convinced he saw your wife buying a
ticket on an eastbound bus.
GERARD
(in total denial)
Well, he's mistaken. That couldn't be.
She has no reason to be going east.
CAPT. AMES
All right, Lieutenant, I know all the
reasons why it couldn't be. I only tell
you this just in case you want me to
check out the bus. Do you?
Gerard thinks it over and swallows hard.
GERARD
Uh, yes. Yes, I would appreciate that.
Capt. Ames nods to Gerard, then turns and nods to Sgt. Rainey who picks up
his phone and starts dialing. Gerard's face goes blank as he tries to grasp
the implications of his wife leaving him.
CUT TO:
EXT. SOMEWHERE BETWEEN WICHITA, KS AND JOPLIN, MO - DAY
The bus carrying Kimble and Marie ROARS down an empty highway dotted with
CAUTION signs. It BRAKES briefly at a detour, and then turns off onto the
alternate route. The bus has the deserted road entirely to itself. Desolate
prairie, fields, and farmland stretch out for miles in all directions.
On board, Marie continues to stare out the window at the passing landscape.
As Kimble sleeps like a log in the rear, the bored Salesman, after studying
Marie for a moment, decides to put the moves on her. He rises and joins her,
much to her annoyance.
SALESMAN
(off the landscape)
God's country, huh? Kinda makes you feel
like we're the only people around. Like
the flood got everyone else. And here we
are... on Noah's Ark. Yeah, Noah's Ark.
One male, one female. Who knows? Maybe
we'll be the ones to start the human race
all over again.
Marie turns and glares at him as if he had just landed from Mars.
Embarrassed, he backs away.
SALESMAN
All right. So we won't be the ones to
start it all over again.
Trying to make the best of a bad moment, the Salesman starts hollering at the
few other passengers, all of whom look at him with amusement.
SALESMAN
Hey, listen to me, everybody! Come on
down here! Let's get together! Let's
get to know each other, have some fun
and games! You, too, Driver!
The Bus Driver turns to look back at this raving idiot just as a huge
sign reading ROAD CLOSED AHEAD looms into view. Momentarily distracted,
the Driver fails to see it. Nobody else sees it either. The Salesman
starts laughing.
SALESMAN
What do you say?!
The Salesman hustles to the rear and shakes Kimble awake.
SALESMAN
Hey, champ! You got your whole life to
sleep! Wake up!
The bus ROARS around a bend in the road and abruptly SMASHES through a
makeshift warning gate. The Bus Driver tries to BRAKE and swerve to avoid
hitting a construction vehicle blocking the road. Too late. The bus HITS
the vehicle. The Salesman, Marie, and others fall forward and out of their
seats as the bus CRASHES to a halt, lurching halfway off the road and into a
ditch.
In the rear, Kimble and the Salesman rub their heads. Up front, the other
passengers struggle to their seats. The Bus Driver opens the door and turns
at once to the passengers. Moving down the aisle, checking each one.
BUS DRIVER
It's all right. Is everybody all right?
Anybody hurt back there?
(to the woman with the child)
Are you okay?
WOMAN
I think so.
As he reaches Marie's seat, he looks down in horror.
BUS DRIVER
Oh, my...
Marie, a wicked, bleeding cut on her forehead, lies unconscious on the floor.
The Bus Driver bends down and lifts her head.
BUS DRIVER
Hey, somebody give me a hand.
The Salesman joins the Bus Driver as he pulls Marie up.
BUS DRIVER
Get her feet.
SALESMAN
I got 'em.
Kimble watches with concern as the Salesman and the Bus Driver carry her down
the aisle and out of the bus. Another passenger grabs Marie's coat and purse
and follows.
They lay Marie on the grass just outside the bus with her coat under her
head. Kimble slowly gets up and walks down the aisle just as the Bus Driver
enters to retrieve the bus' first aid kit. The Bus Driver gives Kimble a
funny look. Kimble stops.
BUS DRIVER
Did you get on at the terminal?
KIMBLE
Yeah. I should've gotten off when I
could.
But the Driver has more important things to worry about. He rejoins the
Salesman at Marie's body and tries to revive her. Kimble looks around
nervously, thinking that he'd better beat it the hell out of there.
The Bus Driver opens the first aid kit. The Salesman grabs what looks like
an oversized bandage and uses it to fan Marie's face. Clearly, nobody here
knows much about first aid. The Bus Driver finds some smelling salts and
sticks them under Marie's nose. She starts coming to just as Kimble steps
off the bus a few feet away from her. Little does Kimble realize that if she
wakes, she’s sure to recognize him.
Kimble clearly plans to flee the scene of the accident -- he slowly moves off
toward the rear of the bus. As he does, Marie awakens, coughing. Kimble
looks back at her. Does she need a doctor? He's probably the only one
around for miles. But he can't take the chance of hanging around. He turns
to leave. Marie starts moaning in pain.
BUS DRIVER
(to Marie)
Take it easy.
Suddenly, Marie is fully conscious -- and screaming hysterically. Kimble
stops dead in his tracks and takes a deep breath. Marie, still lying on the
ground, her eyes and mouth wide open, tries frantically to get up. The men
around her try to hold her down. She is panicking, crying, sobbing, flailing
about, out of control. Kimble turns to look back at her again as the
Salesman and Bus Driver struggle with her.
BUS DRIVER
Take it easy.
MARIE
I can't see! I can't see!
She's babbling incoherently. Kimble can't turn his back on her now. She
needs a doctor. Grimly, reluctantly, he strides toward her. By the time he
reaches her, Kimble has nearly snapped out of the stupor he's been struggling
with. Suddenly, he is in full doctor mode as he pushes the Salesman aside.
BUS DRIVER
Take it easy, lady.
KIMBLE
[What's the problem?]
SALESMAN
She says she can't see.
Kimble takes the large bandage from the Salesman, wads it up, and sticks it
in Marie's mouth.
KIMBLE
(firmly, to Marie)
Here, bite on that. Go on, bite on it.
She bites on it and quiets down a little, but still whimpers fearfully
throughout the rest of the scene. The Bus Driver checks her purse and reads
the name on the ticket.
BUS DRIVER
Her name is Lindsey.
KIMBLE
(reassuringly authoritative)
Mrs. Lindsey, you've been in an accident
but you're going to be all right. Now,
you can't see for the moment but you will
see again. You will be able to see again,
now do you understand me? Just lie there
and be calm and you'll be all right.
Kimble spots something nearby, rises, and crosses to it. The Salesman,
impressed with Kimble's bedside manner, follows him. The Bus Driver stays
with Marie for a moment.
BUS DRIVER
(to a nearby woman passenger)
Lady, stay with her, will you?
The woman takes Marie's hand as the Bus Driver joins Kimble and the Salesman.
WOMAN
(to Marie)
You'll be fine.
Parked by the side of the road is a pick-up truck marked G & L CONSTRUCTION
CO. Kimble inspects the truck and looks around at the miles of empty
prairie. He opens the truck's door and is about to get in. The Salesman and
Bus Driver join him at the truck.
BUS DRIVER
(to Kimble)
Hey, there. I was, uh, real worried.
Her sight's comin' back, huh? Just like
that?
KIMBLE
No, her sight isn't coming back just like
that. I think she's got a concussion.
BUS DRIVER
Well, what can we do?
KIMBLE
Where's the nearest town?
BUS DRIVER
There's nothin' on this highway for
thirty miles either way. Uh, there's
Tilden. Must be about ten miles down
the line. But I think we ought to wait
here for help.
KIMBLE
That'd take hours.
Kimble gets in the truck and starts to hot-wire the engine. The Salesman
looks at the Bus Driver and then grabs Kimble's arm.
SALESMAN
You plannin' to take her by yourself,
buddy? Is that it?
Kimble just gives him a look and goes back to hot-wiring the truck. The
Salesman yanks him out of the cab.
SALESMAN
(snidely)
I can't hear you, boy.
KIMBLE
(to the Bus Driver)
You wanna take her?
BUS DRIVER
No, no. I've... I've got to stay here
with the bus.
SALESMAN
(threateningly, to Kimble)
I'm gonna count the money in her purse.
When you get to that town, every penny
better be there.
(off himself and the Driver)
We're both witnesses.
(pointedly, to Kimble)
Understand, boy?
Kimble looks over at Marie, then, without a word goes back to hot-wiring the
truck. The Salesman heads over to Marie.
SALESMAN
(to the Bus Driver)
Come on, give me a hand.
The Bus Driver, as appalled at the Salesman's behavior as Kimble is, shakes
his head in disgust, but follows him. Marie -- trembling, her hands clasped
together, the bandage still in her mouth -- is lifted up. Her sightless eyes
are filled with fear.
DISSOLVE TO:
INT. WICHITA POLICE HEADQUARTERS - DAY
Sgt. Rainey is on the phone.
SGT. RAINEY
Right. Thank you, sir.
Sgt. Rainey hangs up and walks briskly to Capt. Ames with some notes he's
taken. Gerard, still caught up in the Kimble manhunt, studies the regional
map. Capt. Ames and Sgt. Rainey join Gerard and the Captain reads to him
from Rainey's notes.
CAPT. AMES
According to the ticket seller, the woman
in question bought a ticket under the
name of Lindsey on the 2:10 bus for
Joplin. Any of that ring a bell,
Lieutenant?
A very uncomfortable Gerard nods.
GERARD
Lindsey. Lindsey was my wife's maiden
name. How far is it to Joplin?
CAPT. AMES
'Bout a hundred and fifty miles east of
here. If it's on time, the bus should
almost be there by now.
They all look down at the map.
DISSOLVE TO:
EXT. SOMEWHERE BETWEEN WICHITA AND JOPLIN - DAY
In the pick-up truck, Kimble makes sure that a now quiet Marie -- resting
comfortably with her eyes closed -- is secure in the passenger seat. He
gives the Bus Driver a last look and puts the truck in gear, pulling away
from the accident, through a dirt field, and onto a road heading for Tilden.
MARIE
Where are you taking me?
KIMBLE
There's a town a few miles away. They'll
be able to take care of you there, Mrs.
Lindsey.
MARIE
(mumbling to herself)
Lindsey. Ms. Marie Lindsey.
Realizing that's not correct, she tries to tell Kimble her real name.
MARIE
(to Kimble)
No...
KIMBLE
Don't try to talk. Just rest. Don't
say anything unless it's important.
MARIE
No, it's nothing. Nothing important.
(beat)
Whoever you are, you're very kind.
Kimble just keeps on driving. The truck winds its way through an otherwise
empty Kansas landscape.
FADE OUT
EXT. WICHITA POLICE HEADQUARTERS - DAY
FADE IN on police cars parked out in front of a brick building.
CUT TO:
INT. WICHITA POLICE HEADQUARTERS - DAY
It's nearing the end of a long day. Gerard taps his fingers impatiently on
the map of the region and tries to stay focused on Kimble. Sgt. Rainey,
perhaps impressed with Gerard's relentless devotion to the hunt, joins him.
SGT. RAINEY
Staying close to the action, huh,
Lieutenant?
Gerard merely gives him a curt look.
SGT. RAINEY
Lieutenant, about that woman on the bus,
the one who called herself Mrs. Lindsey--
GERARD
I think we've established who she is,
Sergeant. Any reason why you shouldn't
call her by her right name?
SGT. RAINEY
Uh, no, sir. I just thought that--
GERARD
Mrs. Gerard. Mrs. Marie Gerard.
SGT. RAINEY
Yes, sir. We, uh, put a call through to
the Joplin bus terminal.
GERARD
Why?
SGT. RAINEY
Well, the captain thought you'd want to
know.
GERARD
Thank the captain for me. Tell him all
I'm concerned with right now is Richard
Kimble.
SGT. RAINEY
Yes, sir, but if your wife is missing--
GERARD
(sharply)
Kimble, Sergeant. Richard Kimble.
Height, six foot one. Weight, one
seventy-three. That's all I want to hear
about.
SGT. RAINEY
Yes, sir. Kimble.
Sgt. Rainey is a little taken aback. He returns to his work as Gerard mulls
over the map.
NARRATOR (v.o.)
In the city, the search for Richard
Kimble goes on...
CUT TO:
EXT. THE MIDDLE OF NOWHERE, KANSAS - DAY
In the commandeered pick-up truck, a weary but committed Richard Kimble
drives a now quiet Marie through the lonely landscape -- unaware that he has
jumped out of the frying pan and into the fire.
NARRATOR (v.o.)
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.
FADE OUT
Part 2
EXT. SOMEWHERE IN SOUTHEASTERN KANSAS - DAY
FADE IN on the lonesome country road upon which travels the pick-up truck
carrying Richard Kimble, America's most elusive fugitive, and Marie Gerard,
the wife of Lieutenant Philip Gerard, the dedicated police detective who has
been relentlessly chasing Kimble for years. In a voice deeper than the
Ogallala aquifer, the omniscient narrator fills in any latecomers on the
gruesome details of this unlikely pairing.
NARRATOR (v.o.)
A police dragnet, a bus accident, and an ironic
fate have brought together two people on a
lonely country road.
Inside the truck, Marie covers her hands with her face. Kimble, with very
little sleep, sits beside her at the wheel. Both fight to stay conscious.
NARRATOR (v.o.)
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.
KIMBLE
You all right, Mrs. Lindsey?
MARIE
Just tired. How long ago was the accident?
KIMBLE
'Bout a half an hour.
MARIE
Is that all? I've lost all track of everything.
Is it still light out?
KIMBLE
Yes.
MARIE
How much further until we reach where we're
going?
KIMBLE
Not much further.
From Kimble's POV, we see the empty road ahead. As his truck rounds a bend,
Kimble sees a red vehicle blocking the road. He slows down. Marie grows
concerned.
MARIE
What's happened? Tell-tell me, what is it?
KIMBLE
There's a car in the middle of the road.
A busty teenage girl with long blonde hair stands by the car and waves Kimble
down. The car is one of those ugly half-pick-up/half-car things. As Kimble
brakes to a halt, the girl runs to talk to him through the driver's window.
Her name is JOANNIE.
JOANNIE
Mister! Mister! Can you help me, please?
KIMBLE
Well, we can't stop. I can give you a lift into
town, that's all.
JOANNIE
Please, just-just take a look, huh? I need your
help.
Joannie opens the driver's door and grabs Kimble's arm.
JOANNIE
It'll only take a minute, honest.
A reluctant Kimble glances at Marie and then gets out of the truck. He and
Joannie cross to her car. Too late, Kimble finds two ominous teenaged boys
sitting on the ground, hidden from view on the opposite side of the car,
drinking out of aluminum cans. The car has a flat tire. You can tell that
the two boys -- TOMMY, the thin, sarcastic leader in a denim outfit, and
BEAVO, the moon-faced crazy in a T-shirt -- are juvenile delinquents because
of their bad haircuts, casual wardrobes, and listless demeanors.
TOMMY
(to Kimble, off the tire)
Well, what about that, Chief?
BEAVO
Yeah, what do you think?
Beavo chucks his beer can, jumps to his feet and runs behind Kimble to keep
him from leaving. Tommy picks up a nasty looking tire iron from the grass
and confronts Kimble.
KIMBLE
There's a woman in that truck that needs medical
attention. I've got to get--
Joannie pointedly turns on her transistor radio and BLARES loud rock music,
drowning Kimble out.
KIMBLE
I've got to get to the next town.
TOMMY
No sweat, Chief. We just wanna borrow a tire.
(to Beavo)
Take a look, Beavo.
Beavo nods and starts for the truck. He stops when he sees Marie sitting in
the passenger seat, staring off into space.
BEAVO
(to Kimble, pointing)
Hey. Hey, what's with her?
KIMBLE
She can't see. Could be a concussion.
Kimble, Tommy, and Joannie watch as Beavo approaches the truck, leans in
through the driver's side window and SNAPS his fingers in Marie's face. She
starts. Kimble makes a move to stop Beavo but Tommy sticks the tire iron in
his chest.
TOMMY
(casually, to Kimble)
Uh uh.
Beavo keeps SNAPPING his fingers at a confused Marie.
MARIE
Who is it?
Kimble looks at Tommy and then the tire iron.
KIMBLE
(to Tommy)
All right, take the tire.
TOMMY
Come on, move it, Beavo.
Joannie shuts off her radio as Beavo stops torturing Marie and runs around to
the other side of the pick-up truck. He cuts the truck's spare tire loose
with a pocketknife.
TOMMY
(affably, to Kimble)
Thanks a lot, Chief.
A grinning Joannie carries her radio over to the pick-up truck. Kimble and
Tommy watch her go. Beavo pulls the spare tire from the truck and rolls it
away. A puzzled Marie can't figure out what's going on. Suddenly, Joannie
appears in the driver's side window and snaps on her radio -- the loud MUSIC
startles Marie. Meanwhile, Beavo rolls the tire over to Tommy and Kimble
BEAVO
(to Tommy, off the tire)
It's a nine-fourteen.
TOMMY
(to Beavo)
Close enough.
KIMBLE
(to Tommy)
You took the tire. You don't... you don't need
us.
Kimble tries to leave but Tommy grabs him by the arm and wheels him around.
TOMMY
Take? What do you mean, take? We don't wanna
take anything. We'll pay you for it.
(checks his pockets)
Here, let me take a look, Chief, see what I got
here. You got any change for a fifty?
KIMBLE
No.
TOMMY
Flat out, huh? How 'bout your girlfriend?
KIMBLE
She left her purse at the accident.
TOMMY
Too bad.
Kimble tries to leave again but Tommy stops him.
TOMMY
Oh, way-way-way-wait! Have to find some way to
settle up with you. We don't just wanna take
it.
As Tommy distracts Kimble, Beavo and Joannie stand at the truck, quietly
terrorizing an increasingly unnerved Marie. Beavo stands just outside the
passenger side window.
BEAVO
(whispers to Marie)
Psst, hey. Let me tell ya about a girl I once
knew, had T.B. Did I ever tell you about her?
Beavo reaches in and touches Marie's left cheek, startling her.
BEAVO
Did I?
Beavo touches her right cheek.
BEAVO
Did I?
Beavo touches her left cheek. Marie is freaking out.
BEAVO
Did I?
MARIE
Stop it! Stop it!!
Kimble turns to see what's going on. He breaks away from Tommy, rushes to
Beavo and pushes him away from the window. Beavo charges him and Tommy comes
up from behind and viciously hits Kimble in the back with the tire iron.
Kimble sinks to the ground in pain. Beavo wants to keep fighting but Tommy
figures they'd better get out of there.
TOMMY
(to Beavo)
Easy, easy. C'mon, help me handle that tire.
They go to change the tire, leaving Kimble on the ground by the truck. After
a moment, he pulls himself up by the door handle and comforts a whimpering
Marie.
KIMBLE
(to Marie)
It's all right. It's all right now. They're...
just a bunch o' kids. It's all right.
Kimble walks unsteadily to the driver's side, gets in, puts the truck in
gear, and drives off, past the delinquents and their little red pick-up/car.
BEAVO
(yells, to Kimble)
Hey, Chuckie! The name's Beavo! Remember to
ask for me!
Beavo takes a sip from his beer can and smiles. Their evil rock music
BLARING from the radio, the three delinquents watch Kimble and Marie drive
away.
DISSOLVE TO:
INT. WICHITA POLICE HEADQUARTERS - DAY
Sgt. Rainey watches as a police DISPATCHER flips a switch on his radio and
talks into the microphone.
DISPATCHER
Command One to One-L-Thirty-Five. Come in,
please. Over.
CUT TO THE FLOOD CONTROL CHECKPOINT
The uniformed CHECKPOINT OFFICER stands by his police car talking into the
hand mike.
CHECKPOINT OFFICER
One-L-Thirty-Five. Over.
BACK TO POLICE HEADQUARTERS
SGT. RAINEY
Uh, this is Detective-Sergeant Rainey at
Command One. Has the 2:10 bus to Joplin,
number 73, passed your position yet? Over.
Gerard, conferring nearby with Capt. Ames at a wall map, turns his attention
to the radio call.
CHECKPOINT OFFICER (o.s.)
About an hour ago. Most of the passengers got
off when they heard that the highway ahead was
flood-alerted.
BACK TO THE FLOOD CONTROL CHECKPOINT
CHECKPOINT OFFICER
An auxiliary bus just picked 'em up and took
'em back to the city. Over.
BACK TO POLICE HEADQUARTERS
SGT. RAINEY
(to Gerard)
Lieutenant, the word we got from Fredonia is
that the bus from here's more than a half hour
overdue.
CAPT. AMES
I'm sorry about this, Lieutenant, uh... But
even if your wife had stayed on the bus, it's
likely it was just some sort of mechanical
breakdown. We're sending a car out to check
the entire stretch of highway.
GERARD
How serious is it?
CAPT. AMES
I don't know. I understand there's a lot of
pressure on the Tilden dam. There's nothing to
be concerned about yet. She's probably on the
way back on the auxiliary bus. She's in safe
hands.
CUT TO:
EXT. RAILROAD YARD - TILDEN, KS - DAY
The pick-up truck carrying Kimble and Marie roars past an empty rail yard.
The nearby water tower reads: TILDEN. Inside the truck, Marie is
half-asleep.
KIMBLE
Be there any minute now, Mrs. Lindsey.
Marie is startled awake. The truck's engine makes an odd KNOCKING sound.
Kimble checks the fuel gauge: the needle's on empty. The truck coasts to a
stop.
MARIE
Are we there?
Kimble looks ahead. There's still a long way to go yet.
KIMBLE
We're there. It's, uh, only a few more feet to
walk. Think you can make it?
Marie nods. Kimble gets out carrying his travel bag. He crosses to the
passenger side and helps Marie out of the truck, drapes her coat over her
shoulders, and leads her forward.
CUT TO:
EXT. MAIN STREET - TILDEN, KS - DAY
Kimble with one arm around Marie leads her into town. They round a corner
and enter the Main Street. There's not a soul in sight. A sign reads
WELCOME TO TILDEN but there's no one to welcome them. It's a ghost town. A
crumpled scrap of wind-blown paper crawls across the ground as Kimble looks
around, concerned.
MARIE
How much further?
KIMBLE
We're almost there. You'd better rest a while.
Kimble leads Marie over to a bench in front of some boarded-up store windows
and sits her down. Kimble starts to move off but she grabs his arm.
MARIE
Mr. Carver!
KIMBLE
I won't be far. You rest a while.
Marie lets go of him. Kimble walks over to a CAUTION sign with a flashing
light that sits in the middle of the street. He inspects the poster that's
been tacked to it:
EVACUATION
NOTICE
*
BY ORDER OF THE
FLOOD CONTROL AUTHORITY
THE TOWN OF
TILDEN
WILL BE EVACUATED ON OR BEFORE
10 AM APRIL 23RD
Kimble doesn't look too happy. He spots a nearby telephone booth, crosses to
it, drops in a coin, and dials the operator. Marie hears the coin drop and
grows worried. Kimble listens for a moment. Nothing. He hangs up the
receiver, leaves the booth and rejoins Marie.
MARIE
Something's happened, Mr. Carver. What is it?
I'm all right. I know I won't be suddenly able
to see again but I don't want to be lied to
again.
KIMBLE
Town's been evacuated. There's no one here.
MARIE
The phones. What about the phones?
KIMBLE
They're all dead.
Kimble takes Marie's arm. She rises and they start walking.
MARIE
Are we going back to the truck?
KIMBLE
I think we're better off here for now.
Kimble and Marie walk through the empty, boarded-up town.
FADE OUT
EXT. MAIN STREET - TILDEN, KS - DAY
Kimble and Marie slowly make progress down Main Street. Another EVACUATION
NOTICE mocks them from afar. Over a building, next door to a beauty salon,
is a more hopeful sign: VALLEY TELEPHONE EXCHANGE. Kimble sees it and leads
Marie to the building by the arm. He pulls a board from one of the windows
and peers in.
KIMBLE
There's a switchboard inside this building. We
may be able to get a line through. Don't be
frightened. I'm gonna break some glass.
Using his elbow, Kimble punches out a pane from the front door, reaches in
carefully, and opens it.
KIMBLE
Come on.
Kimble takes Marie's arm and leads her inside.
CUT TO:
INT. VALLEY TELEPHONE EXCHANGE - DAY
Kimble leads Marie through a door marked EMPLOYEES ONLY, into a little
switchboard office, and looks around. Against one wall is a cot, used by the
night operator during the late shift. Kimble sets Marie down on the cot,
unzips his jacket, crosses to an ancient telephone switchboard, and starts to
study it. As he tries different switches, plugs, wires, etc., a tense Marie
fidgets.
MARIE
Would you mind if I asked you to keep talking
to me? Uh, you can talk about anything, just
anything at all. Um, what-what-what do you do
for a living?
KIMBLE
Jobs. Odd jobs.
MARIE
For a moment back there at the accident, I
thought that you might be a doctor.
Kimble gives her a worried look.
MARIE
I think believing that might have carried me
over that... that one moment.
A long pause. Kimble's preoccupied with the switchboard.
MARIE
Mr. Carver. You are still there, aren't you?
KIMBLE
I'm still here.
MARIE
I don't know... I don't know why I thought you
had to be a doctor. It's just the... incredible
conceit of the individual I suppose. Always
believing that whatever happens or whatever had
happened, some divine providence will allow you
personally to survive.
Kimble cranks the switchboard and talks into a headset.
KIMBLE
Operator?
As Kimble talks, Marie leans back against a wall, rests her head, and shuts
her eyes.
KIMBLE
Operator? Operator? Operator? Operator?
Kimble sees Marie drifting off to sleep. He puts the headset down, rises,
and crosses to her, taking her arms by the wrists.
KIMBLE
Mrs. Lindsey?
MARIE
Hmmm...
KIMBLE
Mrs. Lindsey?
Marie jerks awake, startled.
KIMBLE
It's all right. It's all right. It's Steve
Carver. You were just sleeping. It's all
right.
MARIE
The switchboard. What about the switchboard?
KIMBLE
The lines are all dead out of here.
Kimble and Marie hear the sounds of SQUEALING tires and an automobile ENGINE.
Kimble checks the window but can't see much because of the boards.
MARIE
Somebody's come back. They've come back,
haven't they?
KIMBLE
I'll go take a look.
(takes her hand)
I want you to do something for me.
Kimble leads Marie over to the switchboard.
KIMBLE
You sit here.
Kimble sets Marie down in front of the board.
KIMBLE
One of these circuits has got to go through.
They're probably trying to repair the line
already. Now, this is the key to try to call
the operator.
(puts her hand on the key)
When the lines are repaired, she'll answer.
You'll have to speak to her through this.
(hands her the headset)
Can you do it?
Marie nods.
KIMBLE
Good. I'll be back in a few minutes.
Kimble heads for the door.
MARIE
Mr. Carver.
Kimble pauses wearily in the doorway.
MARIE
Is there really a chance of getting something
on this line or is this just occupational
therapy for the blind?
KIMBLE
Now, there's a chance, Mrs. Lindsey.
Kimble walks out the door. Not realizing he's gone, Marie keeps talking.
MARIE
You know, it really doesn't seem very important
right now but that's not really my name, Mr.
Carver.
(beat)
Mr. Carver?
CUT TO:
EXT. MAIN STREET - TILDEN, KS - DAY
Kimble exits the telephone exchange and hears the dreaded sound of rock
MUSIC. He peers up Main Street and sees the delinquents' car/pick-up parked
up the block. Reluctantly, he walks toward it.
CUT TO:
INT. VALLEY TELEPHONE EXCHANGE - DAY
A light flashes on the switchboard in front of Marie.
OPERATOR (o.s.)
Operator. Operator.
MARIE
(into the headset)
Yes?
OPERATOR (o.s.)
This is the Fredonia operator.
MARIE
Operator, don't cut me off. Can you hear me?
OPERATOR (o.s.)
Yes, ma'am. I can hear you.
MARIE
Operator, we need help.
CUT TO:
INT. RESTAURANT - DAY
Kimble's shadow appears on the restaurant's window moments before he enters
to see Joannie in her heels standing atop the bar swaying in time to the
MUSIC, Beavo inspecting bottles while perched atop a booth, and Tommy using
the tire iron to break into a cabinet. Kimble makes eye contact with Joannie
who merely smiles at him. Kimble approaches Tommy just as he opens the
cabinet and starts taking glasses out of it.
TOMMY
(casually)
Hi, Chief. Small world. Beavo dry. Thought
it was refill time.
KIMBLE
Before, on the road, I asked you to help me.
TOMMY
Wait. Wait-wait-wait-wait-wait wait a minute.
Don't tell me. Ya got change for a fifty.
Beavo SMASHES a bottle to the floor. Kimble realizes he's dealing with a
bunch of incorrigible animals but he tries to stay calm.
KIMBLE
Before I asked for it. Now, I've got to have it.
TOMMY
Got? How's that again, Chief?
JOANNIE
(sits on the bar, to Kimble)
Come on, tell me, I wanna hear. Where's the
blind woman?
Joannie shuts off her radio.
KIMBLE
Down the block. Trying to get a direct phone
line through. If she can't, if we can't get
her somewhere where they can help her, she can
slip back into shock.
BEAVO
Bingo!
Beavo has found a usable bottle of wine and brings it over to Tommy at the
bar. Joannie laughs happily. Tommy fills the glasses.
JOANNIE
(to Kimble)
Go on, mister. What'll happen then?
KIMBLE
Well, she could die. If she can't get help,
she could die.
TOMMY
Hard [lines?], Chief.
BEAVO
(tries pulling Joannie off bar)
Come on, Joannie, come on, huh?
JOANNIE
(resists and stays put)
Aw, come on, Beavo.
(to Kimble)
She could really die? Right here, huh?
Beavo grabs the bottle, takes a swallow, and returns it.
KIMBLE
That's why we have to get her somewhere where
they can help her.
Beavo wanders off and exits the restaurant under the following:
TOMMY
Somewhere they can help her. Well, we'll just
have to figure out, Chief. Yeah, tell you
what, why don't you, uh, just have yourself a
drink on the house? Here.
(pours a glass for Kimble)
Here. Go on, take a sip. Drink.
Kimble makes no move, just looks at Tommy in disgust.
TOMMY
Hey, you've really got a problem, Chief.
Somebody really pulled the plug on you. You're
in the middle of a vacuum. Yeah, that's why we
cruise around here. There's... nobody to bug ya.
No fuzz. No heat. Really free, like you're all
alone in the world. Just like somebody came
along, dropped the bomb.
Ominously, Tommy does a quiet imitation of the bomb going off.
KIMBLE
Where's the nearest town that hasn't been
evacuated?
TOMMY
(pretends to think it over)
Town? Uh, er, uh, maybe Hanleyville.
(to Joannie)
What do you think?
Joannie gets down off the bar and wanders away.
TOMMY
(to Kimble)
Ah, wait-wait-wait-wait-waitaminute. Seems to
me I heard Hanleyville was three feet
underwater.
Tommy continues to ponder the issue as Joannie PLAYS some more music, a slow
spooky surf guitar piece.
KIMBLE
She needs help now.
TOMMY
Relax, Chief. Drink your drink. You gotta
think this out.
Tommy brandishes the tire iron.
CUT TO:
INT. VALLEY TELEPHONE EXCHANGE - DAY
Marie talks into the headset.
MARIE
Hello? Yes.
(beat)
Yes, I'll wait.
Across the room, an eye appears at the window. It's Beavo, staring and
grinning at Marie. He enters the telephone exchange. And appears in the
doorway of the little switchboard office just as Marie's call goes through.
MARIE
Hello? Yes. This is Mrs. Gerard. Mrs. Gerard.
Yes. I want to speak to Lieutenant Philip
Gerard.
CUT TO WICHITA POLICE HEADQUARTERS
Sgt. Rainey takes the call.
SGT. RAINEY
(to Marie)
Hold on, I'll get him for you.
Sgt. Rainey crosses to Gerard at the city map.
SGT. RAINEY
Lieutenant, it's your wife. We still haven't
got word from the bus. She must have gotten
off with the others at the roadblock.
Gerard rushes to the phone and picks up. Throughout the call, we CUT AND
BACK FORTH from POLICE HEADQUARTERS to the TELEPHONE EXCHANGE.
GERARD
Marie, where are you?
MARIE
Philip. I'm in a little town. I don't
remember the name. I took a bus this morning
and there was--
GERARD
(grim)
I know that. I want to know why you're doing
this. Tell me.
MARIE
Doing this?
GERARD
You know how close we might be to Kimble. You
know what this means to me. And still you do
this. Why?
MARIE
Philip. I want you to come and get me.
GERARD
I see. This is some sort of test. A choice
between you and Kimble.
MARIE
No. It's not a test. There's been an accident.
GERARD
What happened? Are you all right?
MARIE
It's a little late to ask that. I just want to
know whether or not you're coming to get me.
A pause. Gerard's lips tighten. He glances over at the city map.
MARIE
If you have to think about it, Philip, don't
come.
Marie puts the headset down and pulls the plug on her husband.
GERARD
Marie? Ma-?
Gerard looks around nervously and hangs up the phone.
CUT TO:
INT. VALLEY TELEPHONE EXCHANGE - DAY
An upset Marie suddenly senses Beavo's presence in the office and assumes
he's Kimble. She rises and approaches him.
MARIE
It's going to be all right. I got through.
They're sending an ambulance.
Beavo stares at her, fascinated by her blindness.
MARIE
Some of the roads are-are still blocked so they
don't know how much time it will take. But
it's coming. Mr. Carver?
Beavo starts WHISTLING tunelessly. Marie grows nervous and backs away.
MARIE
Mr. Carver?
Beavo makes a sudden move causing Marie to stumble against a wall. Beavo
grabs some ledgers off of a filing cabinet and begins to throw them at Marie,
terrifying her. After the third ledger is thrown, a disoriented Marie
blunders into Beavo and sinks to the floor in sheer terror.
MARIE
Mr. Carver! Mr. Carver!
Marie can't take it anymore and SCREAMS.
CUT TO:
INT. RESTAURANT - TILDEN, KS - DAY
Down the street, Kimble hears the screams and makes a move for the door but
Tommy, tire iron in hand, quickly blocks him.
TOMMY
Wait a second, Chief. Now, we're gonna help you
out. There's lots of people wouldn't get
involved but, us, we're gonna help you.
Fed up, Kimble grabs Tommy, throws him against the bar, and grabs the tire
iron. Tommy immediately starts pleading with Kimble who's got him by the
collar.
TOMMY
No, wait-wait-wait! Wait! We didn't mean it!
We were gonna help you, honest! Honest, we're
only kiddin'!
(to an amused Joannie)
Tell 'im, Joannie! Tell him!
Marie keeps SCREAMING. We see a FLASH CUT of Beavo terrorizing Marie in the
Telephone Exchange. Kimble takes off, out the door. Tommy runs out after
him with Joannie bringing up the rear.
CUT TO:
EXT. MAIN STREET - TILDEN, KS - DAY
Kimble emerges from the restaurant and runs down the block. Tommy and
Joannie hop in their pick-up/car.
CUT TO:
INT. VALLEY TELEPHONE EXCHANGE - DAY
Marie crawls away from Beavo as he hears Tommy HONK the car horn a few times.
Beavo rises and ducks out the door.
CUT TO:
EXT. MAIN STREET - TILDEN, KS - DAY
Beavo runs out the front door of the exchange just as Kimble arrives. They
collide and struggle briefly before Beavo throws him into the wall and runs
into the street. Beavo dives into the flatbed of Tommy's car as, tires
SQUEALING, it races by and out of the town. Kimble watches them go. He
hears Marie whimpering inside the exchange and rushes inside.
CUT TO:
INT. VALLEY TELEPHONE EXCHANGE - DAY
Kimble rushes into the switchboard office and comforts a distraught Marie,
holding her in his arms.
KIMBLE
It's all right. It's all right. Don't cry.
It's all over now.
CUT TO:
INT. WICHITA POLICE HEADQUARTERS - DAY
Gerard stares at Kimble's wanted poster, thumbtacked to a bulletin board. He
turns slowly from it and reaches a decision. He crosses to Sgt. Rainey and
Capt. Ames.
GERARD
I'll need a car and a driver.
(almost ashamed)
I want to go to my wife.
SGT. RAINEY
It may take a little while to trace the call.
We can radio en route when we get the word.
Gerard nods and Sgt. Rainey leaves to make arrangements. Gerard and Capt.
Ames make uneasy eye contact. Gerard crosses to the city map, still dotted
with flags, and gestures to it.
GERARD
Kimble's... not like other criminals. People
-- decent people -- will hide him. Lie for him.
It's always been that way. You can't believe
anybody.
CAPT. AMES
Don't worry, Lieutenant. If he's in there,
we'll dig him out.
GERARD
(totally unconvinced)
Yes. Yes, I'm sure you will.
Gerard goes at once to look at a wall map of the region east of Wichita.
FADE OUT
INT. MAIN STREET - TILDEN, KS - DAY
FADE IN on Kimble escorting Marie down the street and into the restaurant.
Long shadows: the sun is setting.
CUT TO:
INT. RESTAURANT - TILDEN, KS - DAY
Kimble leads Marie through the darkened restaurant and sets her down gently
at a booth.
KIMBLE
That better?
MARIE
Better. Those people. What were they?
KIMBLE
(crossing to the bar)
Just people that are gone. People you don't
have to think about anymore.
MARIE
Yes. Yes, that's just the idea. I won't...
I won't think about them. I'll put them with
all the other things I don't have to think
about.
Behind the bar, Kimble opens a cabinet.
MARIE
I was able to get the operator to put another
call through for me. Did I tell you that?
KIMBLE
Another call?
MARIE
Well, it wasn't anything important. What's
important now is that I get the doctor to
prescribe a drink for me.
KIMBLE
Almost everything's locked up.
(pulls a tray from the cabinet)
Cheese and crackers.
(finds Tommy's wine bottle)
Half a bottle of wine.
MARIE
I'll take it.
Kimble takes some fresh glasses from the bar.
MARIE
Are-are the lights on in here?
KIMBLE
There's no electricity at all. They must've
turned it off when they decided to evacuate the
town.
Kimble joins her at the table with the wine, cheese, and crackers.
MARIE
I don't know why that makes me feel better. May
I... have some of that wine now?
Kimble pours a glass and places it in her hand. Marie takes a sip. Kimble
sits opposite her and pours himself a glass.
MARIE
Back on the bus, a man said something about
being the last two people left in the world. And
here we are.
CUT TO:
EXT. COUNTRY ROAD - DAY
The sun sinks low in the sky as a police car with a flashing light barrels
down the road. At the wheel, a uniformed officer. Beside him sits an
unhappy Gerard -- en route to his wife in Tilden -- mistakenly thinking that
he's left Richard Kimble behind.
CUT TO:
INT. RESTAURANT - TILDEN, KS - DAY
Kimble and Marie sit across from one another, eating and drinking.
MARIE
How long were you married? You were married,
weren't you?
A stunned Kimble looks at her. How could she know that?
MARIE
Mr. Carver?
KIMBLE
Yes, I was married.
MARIE
I could tell. You have a... a quality. Not
quite beaten but badly burned. What was it?
Divorce? Separation? Desertion? Act of God?
KIMBLE
I suppose you could say act of God.
MARIE
I... I'm sorry. I don't know why I said that.
Were-were there any children?
KIMBLE
No.
MARIE
Oh, that's too bad. Or maybe it's good. I-I'm
never sure. Um, I'm talking too much, aren't I?
And I can't stop. It's all I've got to hold onto.
And you can't hold onto words, can you?
Marie holds out her empty glass to Kimble.
MARIE
Please.
Kimble pours reluctantly -- alcohol's not the sort of thing a doctor gives to
a possible concussion case. Marie takes a sip.
MARIE
Umm... Tell me. When you were married, were
you happy? Please, this is what I want to know.
Were you happy?
A long pause. Kimble doesn't know how to respond.
MARIE
What's the matter, Mr. Carver? Hasn't everyone
ever asked you that?
KIMBLE
Not for a long while.
(beat)
I guess we were happy. It's been a long time,
I don't remember.
MARIE
That's not something you forget.
KIMBLE
I didn't say I'd forgotten. I said I didn't
remember.
Marie leans back, rests her head, and shuts her eyes.
MARIE
Please, Mr, Carver, would you tell me about it?
Don't be angry. Start anywhere. Tell me about
anything. But, please... talk to me.
CUT TO:
INT. VALLEY TELEPHONE EXCHANGE - DAY
In the darkened, deserted office, a light flashes on the switchboard. The
board BUZZES mournfully with no one there to answer it.
CUT TO:
INT. WICHITA POLICE HEADQUARTERS - DAY
Sgt. Rainey is on the phone. He addresses Capt. Ames who turns from a wall
map.
SGT. RAINEY
Captain? No answer yet. But the call did
originate from the Tilden board.
Capt. Ames picks up the radio mike.
CAPT. AMES
L-Nine, L-Nine, this is Command One.
CUT TO GERARD'S POLICE CAR
Gerard has the mike.
GERARD
Command One, this is L-Nine. Over.
BACK TO POLICE HEADQUARTERS
CAPT. AMES
Telephone call originated in Tilden.
CUT TO POLICE CAR
GERARD
Tilden?
CAPT. AMES (o.s.)
Your best bet will be Highway 6. You should be
there in less than two hours.
Gerard makes eye contact with his driver who nods.
CAPT. AMES (o.s.)
Good luck, Lieutenant.
GERARD
Thank you.
The police car, its lights flashing, races down a country road.
CUT TO:
INT. RESTAURANT - TILDEN, KS - DAY
Kimble and Marie still sit at the booth in the darkened restaurant. Kimble
talks, for the first time in years, about his marriage. There is a strange
look on his face, one of quiet pleasure.
KIMBLE
We hadn't planned to get married, not right
away. But my reserve outfit was called up for
Korea. We spent our honeymoon in San Diego.
Town was so crowded that... she had to stay at
the YWCA. Every night I could get off, I'd
walk her... back there... kiss my wife
good night in front of the door of the YWCA.
Marie listens, a dreamy look in her eye.
KIMBLE
Even after the war, it was a while before we
could afford our own place. First one wasn't
much. Two whole weeks of nothing but painting.
I guess we were happy then.
MARIE
Where was that? Back in that small town you
mentioned?
KIMBLE
Yeah, back in S--
(catches himself)
Back in that small town.
MARIE
It must be very painful, being asked to go over
all of that again.
KIMBLE
No, it wasn't. Wasn't at all. So long ago,
I'd almost forgotten. I thought there was
nothing back there. Just some dust and dead
leaves.
MARIE
It helps?
KIMBLE
It helps.
MARIE
Maybe we could bottle it. Stop the world to
look around pills. Just the thing for people on
the run. Where I come from, nobody runs. It's
that kind of town. It's a perfect circle.
There's nothing to run to... and there's
nothing to run away from. The only thing to do
is to wait around until the movie theater
changes its bill.
KIMBLE
Every Wednesday.
MARIE
And sometimes on Saturday.
KIMBLE
Only when it's a foreign movie.
They both smile broadly at this.
MARIE
You've been there.
KIMBLE
Another town with another name but I've been
there.
MARIE
(slides her glass to him)
Any more?
KIMBLE
(inspects the empty bottle)
[Dead soldier?].
MARIE
After faithful service, as my husband would say.
(beat)
I was able to get a call through to my husband.
He's back in the city.
KIMBLE
Will he be coming here?
MARIE
No. I didn't tell him. So he won't be coming
here. I should explain my marriage to you, Mr.
Carver. What you see before you is the losing
end of a modern day triangle. I lost my
husband some time ago to a... will-o'-the-wisp...
who drifts in and out. Twisting our lives. The
little man who wasn't there. He wasn't there
again today.
(bitterly)
He's never there. Never there. You...
probably read about it, it was in all the
newspapers. You did get newspapers in that
town of yours?
KIMBLE
Two of them.
(beat)
One and a half, to be exact.
MARIE
Oh, well, then you couldn't've missed--
An odd look crosses Marie's face.
MARIE
One and a half?
KIMBLE
It was sort of a local joke. The one paper, the
Call-Dispatch, came out only twice a week so
everybody said one and a half.
A long pause as Marie realizes he's talking about Stafford, Indiana.
MARIE
The Call-Dispatch?
KIMBLE
Yeah, wasn't much of a joke. You'd have to come
from a town like that to understand it.
MARIE
Yes, I guess you would.
Another pause as Marie wonders: a once-married, reticent, odd job man who
talks like a doctor and comes from Stafford? Could it really be Kimble? She
has to find out.
MARIE
Mr. Carver, you never told me. How long were
you and Helen married?
Now it's Kimble turn for an odd look to cross his face. Did he actually slip
up and mention his wife's name? He's not sure.
KIMBLE
Helen?
MARIE
Isn't that what you said her name was?
Kimble figures he must have mentioned the name -- how else would Marie know
it?
KIMBLE
Yes, that was the name, Helen.
Abruptly, the lights pop on and the restaurant's jukebox WAILS a noisy jazz
instrumental. A startled Marie jumps out of her seat. Kimble rises and
grabs her arms.
KIMBLE
It's all right.
The pinball machine makes a lot of NOISE. Kimble holds a shaken Marie in his
arms. She buries her head in his chest as he tries to soothe her.
KIMBLE
The power's just come back on. That's a good
sign. That's a good sign. It means the town's
out of danger and the people'll be coming back.
The jukebox is all lit up.
KIMBLE
The music started, remember? We're back in the
world again.
Marie clutches his collar tightly, certain now that he’s Richard Kimble.
MARIE
Oh, you've done so much. Promise me... Promise
me one more thing. Un-until they come -- till
someone comes -- please, please, promise me you
won't leave me. Promise me.
Kimble looks uneasy as the jazz record winds to a close.
FADE OUT
EXT. MAIN STREET - NIGHT
FADE IN on beautiful downtown Tilden, Kansas on a cool spring evening. The
town's lights burn brightly but the street is still deserted. A clean-shaven
Kimble emerges from the Telephone Exchange and walks into the street, smoking
a cigarette, and searching for any sign of the ambulance. Nothing. He
crushes out the cigarette, takes another look around and reenters the
building.
CUT TO:
INT. VALLEY TELEPHONE EXCHANGE - NIGHT
Marie sits at the switchboard, trying to place a call.
MARIE
Operator?
OPERATOR (o.s.)
This is the Fredonia operator.
Marie hears Kimble enter and quickly puts the headset down.
MARIE
Mr. Carver?
KIMBLE
No sign of the ambulance. I don't know what's
taking them so long.
MARIE
I was just trying to get through to the
operator. I wanted to see if there really was
someone out there.
KIMBLE
I think you ought to rest a while.
Kimble approaches her and takes Marie's arm. She flinches at his touch. He
looks at her, concerned.
MARIE
Oh, I'm sorry. It was just so sudden.
(grabs his arm tightly)
You won't leave me, will you?
KIMBLE
No, I won't leave you.
A puzzled Kimble pulls free of her grip and collects his toilet articles from
a nearby table and sink.
MARIE
Oh, you won't be sorry. It's not as though
there's any amount of money that could pay you
for what you've done but I'm going to make sure
that when we get back... I'm going to make
sure--
The switchboard BUZZES. Marie instantly grabs the headset.
MARIE
I've got it!
(into the headset)
Hello? Hello?
Throughout the call, we CUT BACK AND FORTH between Marie with Kimble in the
TELEPHONE EXCHANGE and Gerard in a roadside PHONE BOOTH, the police car with
its flashing light parked behind him.
GERARD
Marie? It's Philip. Are you all right? I
just found out what happened. Why didn't you
tell me?
MARIE
(nervously, to Kimble)
It's-it's my husband. He-he must've traced my
call.
GERARD
Marie? Marie, can you hear me?
MARIE
Yes. I'm all right. What did you find out?
GERARD
About the accident, about what happened to you.
Have you sent for an ambulance?
MARIE
Yes. From Fredonia.
GERARD
Marie, I want you to know that, uh, I was on my
way to you before I found out. I... was on my
way. It's important to me that you believe
that.
MARIE
Yes. I believe that.
GERARD
We're... not far from Tilden now and it... won't
be long, I'll be there with you.
MARIE
Yes.
Kimble approaches Marie.
GERARD
I spoke to Margaret again and the children are
fine. Marie. Marie, look--
Marie senses Kimble hovering nearby and, afraid he might hear Gerard's voice,
ends the call abruptly.
MARIE
I-- Sorry, I can't talk anymore now. Good-bye.
Marie quickly puts the headset down, to Kimble's surprise. A disappointed
Gerard stands helplessly in the phone booth. Confused, he hangs up the
receiver.
CUT TO:
INT. VALLEY TELEPHONE EXCHANGE - NIGHT
Kimble stands near Marie at the switchboard.
MARIE
Mr. Carver.
(rises)
I'm very tired. I think I will rest now.
Marie takes Kimble's arm and he leads her to the cot. She sits and grasps
his hand tightly. An uneasy Kimble tries to break away.
KIMBLE
I'm, uh... gonna take another look for that
ambulance. I might be gone for a while.
MARIE
No, please. Please, don't go.
KIMBLE
You'll be all right now. Nothing can happen to
you.
MARIE
You promised me you wouldn't leave me.
(beat)
You won't be sorry. Did I tell you that I'm
going to see that you get a reward when we get
back? What do you think of that? You just
tell me how much you need.
KIMBLE
Need for what?
MARIE
Well.. for whatever you want. You don't have
to worry. I mean, you can just take the money
and go. You don't have to worry about
publicity.
Kimble doesn't like the sound of that. He pulls his hand free and starts
backing away from her.
KIMBLE
What makes you think I wouldn't like publicity?
I, uh, I might like my picture in the paper.
MARIE
Mr. Carver.
(rises and tries to follow)
Mr. Carver, please. Please, don't run away
from me.
Desperately, Marie grabs him by the collar and presses herself to him.
MARIE
Mr. Carver. Steve -- it is Steve, isn't it? --
I never told you but... but when you first got
on the bus... I saw you. I know I did. And,
uh, when I-I looked at you... all sorts of...
of wild fantasies crossed my mind... I thought
of... what it would be like if for some reason
you and I were to get away together. And it
did happen. But-but only a part of it happened.
Only a very small part. Steve...
KIMBLE
You saw me?
MARIE
Yes.
The switchboard BUZZES.
MARIE
Yes.
As the switchboard continues to BUZZ, Kimble breaks away from Marie and picks
up the headset.
MARIE
Mr. Carver, don't leave me. Don't run away
from me now...
KIMBLE
(into the headset)
Hello?
CUT TO GERARD IN THE PHONE BOOTH
GERARD
This is Lieutenant Gerard.
CUT TO THE TELEPHONE EXCHANGE
A stunned Kimble stares at Marie.
GERARD (o.s.)
I'd like to speak to my wife again.
Marie listens apprehensively. Kimble keeps staring at her.
GERARD (o.s.)
Marie? Can you hear me?
Kimble puts down the headset.
CUT TO GERARD IN THE PHONE BOOTH
An unhappy Gerard hangs up the phone and leaves the booth.
CUT TO THE TELEPHONE EXCHANGE
Marie quivers with fear.
MARIE
Mr. Carver? Steve? Mr. Carver?
KIMBLE
You'd do anything to keep me here wouldn't you?
MARIE
Yes.
Marie backs up, feels her way to the office door, and blocks it.
MARIE
Yes. Anything. Anything!
(beat)
Mr. Carver?
KIMBLE
Kimble. Richard Kimble.
MARIE
(shakes her head violently)
No. No. No, it's Carver. Carver!
Kimble strides forward, pulls her out of the way, and hustles out the office
door.
MARIE
No! Please! Please! Help me! Don't leave me!
No!
Marie desperately tries to follow.
CUT TO:
EXT. MAIN STREET - NIGHT
Kimble emerges from the exchange and looks up and down the street. No one in
sight. He starts walking. Marie appears in the doorway.
MARIE
Kimble!
Kimble stares at her a moment before heading down the street.
MARIE
You can't get away from me. I won't let you get
away from me. Kimble. Kimble.
Marie stumbles into the street and falls down. Kimble pauses without turning
around.
MARIE
Kimble! Kimble!
Marie struggles to her feet and starts walking. She trips and falls again.
Kimble looks back at her. She's on all fours, sobbing.
MARIE
Kimble.
Marie rises and promptly plows into a post.
MARIE
Kimble.
Marie smashes into a hotel sign and collapses to the ground. Kimble watches
her with a mixture of sympathy and horror as she crawls along the street,
crying.
MARIE
Kim-ble. Kim-ble.
Kimble crosses to her, crouches low, and takes her by the arms.
KIMBLE
Let me take you back. Don't do this stuff.
MARIE
No! It began with you. It'll end with you.
A siren WAILS in the distance. Kimble looks up in fear. Is it Gerard? Kimble
tries to get to his feet and run but Marie clutches at his jacket. Bright
lights appear at the far end of Main Street -- a police motorcycle and
another vehicle of some kind. They head toward Kimble and Marie. Kimble
stands helplessly as Marie, on her knees, grasps his jacket fiercely. His
hands dangle by her neck. It looks for all the world as if he has just
finished strangling her. Kimble squints into the intense lights as they
illuminate the scene.
The vehicles pull to a stop in front of Kimble and Marie: a motorcycle and an
ambulance. An INTERN, carrying a medical bag, jumps out of the ambulance and
rushes over to Kimble and Marie.
INTERN
Sorry it took so long. Some of the roads're
still closed off.
Marie still clutches at Kimble's jacket but, as the Intern helps Kimble pull
free of her death grip, she collapses into the Intern's arms, unconscious.
The strain has been too much for her and she's all but blacked out. As the
Intern examines her, the motorcycle POLICEMAN joins them. A second intern
wheels over a stretcher.
POLICEMAN
(to the Intern)
Need some help?
INTERN
No, thanks.
The two interns lift Marie onto the stretcher.
INTERN
(to the 2nd Intern)
Easy.
The Policeman, clipboard in hand, is already filling out his report. He turns
to a nerve-racked Kimble.
POLICEMAN
(to Kimble)
Excuse me but I'm gonna need some information
from you. Your name?
KIMBLE
Steve Carver.
On the stretcher, Marie's eyes open. She seems to be staring right at
Kimble. But then her eyes close and she drifts off to sleep. An only
mildly-relieved Kimble continues to stand with the Policeman as Marie is
wheeled away.
POLICEMAN
I understand you had to break into a local
phone office. Any other buildings?
(senses Kimble's hesitance)
It's just routine, Mr. Carver. We know you did
what you had to do. We just need a record,
that's all.
KIMBLE
Just the bar down the block. There were others.
They broke in.
POLICEMAN
Others?
KIMBLE
Yeah, two boys and a girl.
POLICEMAN
In a small red pick-up?
Kimble nods.
POLICEMAN
The Highway Patrol already tagged them.
Did you personally take or otherwise consume
any items that would total in excess of ten
dollars in value?
Kimble just stares at the Policeman dumbly.
POLICEMAN
Just for the insurance boys, Mr. Carver.
KIMBLE
No, nothing in excess of ten dollars.
POLICEMAN
I guess that covers it. Will you sign here,
please?
The Policeman hands Kimble his clipboard and you can be pretty damn sure
Kimble signs the right name this time. As he returns the clipboard to the
Policeman, another WAILING siren approaches. Kimble and the Policeman watch
as a police car rounds the corner. With the Policeman momentarily
distracted by this, Kimble slips away. The police car pulls up next to the
ambulance. The Policeman turns back to Kimble -- but Kimble's long gone.
Gerard pops out of the police car and rushes to Marie's side.
GERARD
Marie? Marie? It's me, Philip.
But she's unconscious. The Interns lift her into the back of the
ambulance. Gerard and one of the Interns join her in the rear while the
other Intern heads for the driver's seat and gets in. All three
vehicles -- ambulance, motorcycle, and police car -- drive off up Main
Street and into the night, lights flashing, sirens WAILING, and leave
the deserted town behind.
FADE OUT
EXT. HOSPITAL - FREDONIA, KS - DAY
The next morning. A sunny day. A sign reads MATERNITY & PEDIATRICS -
AMBULANCE ENTRANCE.
CUT TO:
INT. HOSPITAL ROOM - DAY
Gerard hovers nearby as a doctor finishes examining a half-conscious Marie.
The doctor and a nurse depart leaving Gerard alone with his wife. He takes
her hand and she sees him smiling at her.
MARIE
Philip?
GERARD
Shh. No, don't-don't talk. Just rest.
Marie touches his neck.
MARIE
Kimble?
Gerard puts his hand to her mouth.
GERARD
Don't talk. I promised the doctor. I can only
stay if you don't talk and just rest. As far
as Kimble's concerned, I... I got word just a
little while ago. They didn't get him. He
slipped through somehow. And I was so sure
this time. I'm always so sure.
Gerard takes Marie's hand from his neck and presses it to his chin.
GERARD
Marie, there'll be another time with Kimble.
And when the call comes, I'll go. I have to.
He's stuck in my throat and I can't swallow
him. Sometimes, it's as if Kimble were all
around me.
(beat)
You're the only thing he hasn't touched, the
only part of my life he can't ever get to. And
if I lost that, there'd be nothing left.
Nothing but the thought of Kimble choking at
me.
Now it's Marie's turn to put her hand to his mouth.
MARIE
No more.
GERARD
Sometime -- not now -- but, uh, sometime, I-I
want you to tell me about the accident, about
the man who helped you, everything.
MARIE
Yes. Sometime.
GERARD
I-I spoke to Margaret again and, uh, she's
bringing the children down. So I thought maybe
in a few days when you're all right perhaps we
could all go back together. Just as if nothing
had happened.
MARIE
Nothing happened...
(a long pause)
Yes, that's the way it was. Everything
stopped... but nothing happened...
Marie drifts off to sleep. Gerard smiles down at her, his hand still in
hers.
DISSOLVE TO:
EXT. HIGHWAY - DAY
Kimble walks from a dirt road to the side of a highway. He looks around
cautiously and sticks out his thumb.
NARRATOR (v.o.)
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.
A car comes down the highway and passes without stopping. Kimble watches it
go. He glances around. And starts walking.
FADE OUT
Revised: 6/26/99