Nightmare at Northoak
EXT. STREET IN AN UNKNOWN CITY - NIGHT
RICHARD KIMBLE, America's most elusive interstate fugitive, walks nervously
down the sidewalk of a dark, deserted, shop-lined street. Dressed in a tweed
jacket and slacks, he carries a suitcase.
Kimble passes a health food store and looks back over his shoulder. No one
is there. Just an empty street. He keeps walking but pauses at the sound
of echoing FOOTSTEPS behind him. He turns. Farther down the block, an
ominous figure approaches: a man in a suit and tie. Kimble turns and runs
off. The figure draws nearer.
A terrified Kimble ducks into the mouth of an alley and presses himself
against a wall. The figure comes closer now: it is PHILIP GERARD -- the
Indiana police lieutenant obsessed with Kimble's capture. Gerard walks
stiffly, arms behind his back, an imperious look on his face. Suddenly, he
stops and glances around.
Kimble decides to make a break for it and runs down the alley. Gerard,
hearing Kimble's FOOTSTEPS, gives chase. Kimble runs the length of the alley
and turns a corner -- a dead end. He drops his suitcase and tries the only
door -- locked. Desperate, he tries to scale a nearby brick wall -- too
high. He turns, horrified to see Gerard arriving to confront him. Gerard
pauses when he sees Kimble trembling in a corner.
GERARD
(with grim satisfaction)
Finally, Kimble.
Unbuttoning his jacket, Gerard draws his revolver from his holster and points
it directly at Kimble who swallows hard.
GERARD
Finally.
Gerard slowly moves toward Kimble, then stops. Kimble stares in absolute
terror at Gerard and his gun. The situation is as hopeless as it is unreal.
And, in a voice as black as the night sky above, an OMNISCIENT NARRATOR
explains why.
NARRATOR (v.o.)
This is Richard Kimble's recurring nightmare.
And each time it ends, he wonders whether he
will awaken to the same nightmare of reality.
Kimble shuts his eyes. Gerard slowly squeezes the trigger until the gun
FIRES, shooting Kimble -- point blank.
CUT TO:
EXT. COUNTRY ROAD - NORTHOAK, NH - DAY
SMASH CUT to a tire BLOW OUT. Kimble wakes with a start. He looks around.
It's broad daylight. Nobody's around. He's dressed in outdoorsy clothes,
lying by the side of a secluded back road, his suitcase nearby.
He watches with concern as a speeding school bus full of SCREAMING kids veers
out of control and SMASHES through a nearby wooden fence.
Kimble gets to his feet. The bus plows down a hill and CRASHES nose first
into a ditch. Its horn BLARES. Kimble races down the hill. The bus' engine
catches fire.
INSIDE THE BUS, a heap of dazed children sprawl all over each other. The
only adult on board is BARNEY THE BUS DRIVER whose head is pressed to the
horn. The schoolchildren quickly recover and swarm around him.
1ST BOY
Barney?
Barney doesn't respond.
1ST BOY
Barney! Barney!
Some of the kids pull Barney off the steering wheel. The horn stops blaring.
Barney collapses backward, unconscious. Panic sets in. One LITTLE GIRL in
particular loses it completely.
LITTLE GIRL
He's dead!
The little girl freaks out and starts pounding on the door of the bus.
LITTLE GIRL
Help! Help! Lemme out of here!
But the door won't budge. They're trapped inside the burning bus.
OUTSIDE THE BUS, smoke is everywhere. Kimble approaches but the flames from
the engine have entered the bus. He tries to open the bus door but its too
hot to handle. He frantically gestures to the SCREAMING kids to use the
emergency door in the rear.
KIMBLE
Go on out the back! Out the back!
Kimble rushes to the rear and struggles to open the emergency door (which is
marked: THIS BUS STOPS AT ALL RR CROSSINGS).
Inside the bus, the flames threaten to engulf the panicking, SCREAMING
children. Kimble yanks the door open. The kids press toward the door but a
stray pocket of flame springs up to block the exit.
KIMBLE
Get back!
Kimble whips off his coat and beats the flames out. He then climbs into the
bus and starts helping the kids out one at a time. At least nine children
escape out the rear with Kimble's help. But is anyone else aboard?
1ST BOY
(to Kimble)
Barney's in there!
Kimble sees Barney the Bus Driver regaining consciousness. He rushes the
length of the bus, drags the dazed Barney from his seat, and leads him to the
rear. Barney's left arm is broken. Kimble helps Barney out of the emergency
door and into the waiting hands of the children below.
Kimble spots an unconscious child half-hidden beneath a collapsed bus seat,
pulls him free, and hands him to Barney and the kids who quickly move away
from the burning bus.
Kimble takes one last look around. The bus is empty. He heads for the rear
-- but too late. The engine EXPLODES and Kimble is blown out the rear door.
He hits the ground hard and passes out.
Using his good arm, Barney -- with the help of three boys -- pulls Kimble
away from the flaming wreck.
DISSOLVE TO:
INT. SPRINGER HOME - BEDROOM - DAY
A darkened room. All is quiet. A doctor inspects an unconscious Kimble,
checking his eyes with a penlight. Kimble starts to come to. A no-nonsense
man, the doctor is an ancient small town physician named BABCOCK.
DR. BABCOCK
He's coming around. Wilma, open the curtains.
Just a little.
The curtains open and light floods the room. Kimble winces.
DR. BABCOCK
Ah. How do you feel, sir?
At the window, WILMA SPRINGER, an attractive woman approaching middle age,
looks on with concern.
KIMBLE
My head hurts. Everything's a little blurry.
DR. BABCOCK
Well, I wouldn't expect much less after that
crack on the skull. You'll feel better with
some rest.
Kimble immediately drifts off to unconsciousness again. Dr. Babcock takes
Kimble's pulse. Wilma leaves the window to confer with the doctor.
WILMA SPRINGER
Is he unconscious again?
DR. BABCOCK
Asleep.
Wilma's husband, AL SPRINGER, enters the room as Dr. Babcock rises and puts
on his coat.
WILMA SPRINGER
Doctor says he'll be all right.
AL SPRINGER
(to Dr. Babcock)
What do we do now?
DR. BABCOCK
Change the compress every hour or so. And
don't fuss over him.
AL SPRINGER
You sure he wouldn't be better off in a
hospital?
DR. BABCOCK
Well, if you and Wilma don't want the
responsibility...
AL SPRINGER
Oh, that isn't what I said, Doc. I brought him
here so we would have the responsibility.
DR. BABCOCK
Well, then. All there is to see to is that he
rests.
WILMA SPRINGER
We'll do it, Doctor, and we'll be proud.
Wilma and the doctor exchange nods of agreement as the three of them exit.
CUT TO:
INT. SPRINGER HOME - DAY
IN THE HALL, Dr. Babcock fetches his hat off of a coat stand. Al takes a
jacket and drapes it over his arm -- pinned to the jacket is a sheriff's
badge.
IN THE LIVING ROOM, Dr. Babcock and the Springers confront a room packed
with concerned neighbors -- parents of the children Kimble has just rescued.
Some of the kids are present, being comforted by their grateful folks. A
balding parent named CHARLEY starts the questioning, followed by mousy JEN,
overweight MATTY, dark-haired ANNA, etc.
CHARLEY
(to Dr. Babcock)
Well?
DR. BABCOCK
Concussion. X-rays show no fracture. The
vision's kind of blurred but it'll clear up in
a couple of days.
JEN
Are you sure, Doctor?
DR. BABCOCK
I'll be happy to give you the name of a
specialist in Boston.
MATTY
Oh, Doctor. Maybe I can fix him somethin' real
nice to eat?
ANNA
I took a first aid course once. I could sit
with him.
CHARLEY
What brand's he smoke? Maybe, I could get him
some nice whiskey, huh?
DR. BABCOCK
What you can all do for him is to go home and
let him sleep.
(heads for the front door)
Wilma? Be over some time tomorrow. Expect
he'll be sittin' up then.
One of the better-dressed men confronts the doctor on his way out.
NICELY DRESSED MAN
Doc? He saved my kids' lives. I'd count it a
favor if you'd let me pay the bill.
DR. BABCOCK
And I'd count it a favor if you'd mind your own
business.
(softens abruptly)
Every child on that bus... Well, I brought
every single one of them into this world.
Wilma sees the doctor out. Charley questions Al who puts on his jacket.
CHARLEY
Find out who he is?
AL SPRINGER
Absolutely no identification. Probably burned
up on the bus. He was dressed for hunting or
hiking, though.
NICELY DRESSED MAN
Have any idea why the bus went out of control
like that?
AL SPRINGER
Tire blew.
JEN
Barney's such a careful driver. Must be
something like that. Something that wasn't
anybody's fault.
CHARLEY
Yep. Accidents'll happen.
WILMA SPRINGER
(suddenly upset)
Accidents will happen? Something that isn't
anyone's fault? Let me tell you, accidents are
caused. They're always someone's fault. And
when I think that the lives of our children
might have been endangered -- and might be
again. I intend to find out exactly what
happened and who's responsible.
AL SPRINGER
Honey, we all know how you feel about--
WILMA SPRINGER
(insistent)
Right is right.
AL SPRINGER
Well, let us take care of that.
ANNA
Uh, I think maybe we'd all better be going
home.
The neighbors agree and start to file out the front door.
ANNA
(to her son)
Come on, Jimmy.
(to Wilma)
Wilma, if there's anything we can do, just
call.
CHARLEY
That goes for us too. Let us know when we can
see him.
WILMA SPRINGER
Yes, I will, Charley, Anna.
Al, his arm around his wife, walks with her to the front door.
AL SPRINGER
(to Wilma)
You try and get some rest now, hm?
Al kisses Wilma goodbye and heads out the door.
CUT TO:
EXT. SPRINGER HOME - DAY
A modest home in a small town. The neighbors walk off en masse. A couple of
kids toss the ol' football around on the front lawn. Al intercepts a pass
meant for his young son LARRY, one of the kids from the bus.
LARRY SPRINGER
(to the passer, off Al)
Hey! Sign 'em up!
(to Al)
Nice catch, Dad.
AL SPRINGER
Thanks, son.
LARRY SPRINGER
They say that man's gonna be all right. I'm
glad.
AL SPRINGER
He needs a lot of rest. That means you help
your mother keep things nice and quiet around
here, you understand?
Larry nods. Al and Larry walk to Al's police car, parked at the curb. Larry
opens the car door for his father who gets in and hands the football back to
his son. Larry watches with some pride as his father STARTS the car and
drives off down the street. As the police car rounds a corner and
disappears, another car rounds the same corner and comes down the street,
pulling up in front of the Springer home. A mousy little man with a pencil
behind his ear emerges from the car, carrying a camera, and rushes toward the
front door. This is MILT PLUMMER, journalist for the local paper.
LARRY SPRINGER
Hi, Mr. Plummer.
Milt waves, briskly runs up the front steps, rings the door bell, and pulls a
wallet from his jacket. Wilma answers the door and Milt proudly flashes his
press card at her.
MILT PLUMMER
Milt Plummer of the Courier.
WILMA SPRINGER
Milton. I've known you all your life.
MILT PLUMMER
I heard that Al brought that hero over here.
WILMA SPRINGER
Now, he's asleep and I will not permit him to
be disturbed.
MILT PLUMMER
Oh, b-b-but I won't disturb him. I'll just
grab a couple of pictures and I'll--
WILMA SPRINGER
Pictures?! Well, you'll do nothing of the kind,
Milt Plummer.
MILT PLUMMER
Oh, b-b-but, please, but please, Mrs. Springer!
Well... At least, somethin' about him. You
know, who he is. Where he's from. Something.
WILMA SPRINGER
Milton, I couldn't help you even if I wanted
to. We simply don't know anything about him.
Now, I've got to make supper now, Milton. If I
were you, I'd go home before you get overheated
and catch cold. Say hello to your folks for me,
will you? Good-bye, Milton.
Wilma closes the door on an agitated Milt.
MILT PLUMMER
B-b-but, Mrs. Springer, just-- Couldn't I
just--? Couldn't I just--?
Frustrated and dejected, Milt turns from the door. But then he spots Larry
playing in the yard, looks down at the camera in his hand, and gets an idea.
He approaches Larry.
MILT PLUMMER
Um.. what say, Larry boy?
LARRY SPRINGER
Hey, I already said "Hi."
MILT PLUMMER
Yeah. Say, uh, say how'd you like to earn some
cash? A dollar.
LARRY SPRINGER
(eyes go wide)
How?
MILT PLUMMER
That fella in the house? Get me a couple of
pictures of him.
LARRY SPRINGER
(uneasy)
Mr. Plummer, my dad said not to bother him.
MILT PLUMMER
He's asleep, kid. Look, one picture. It won't
take a second. He won't even know it. Look,
he saved your life, didn't he? Well, now you
have a chance to do something for him. You can
make him famous.
LARRY SPRINGER
I could?
MILT PLUMMER
Sure. Here.
(hands Larry a dollar)
Wait... take two dollars.
(hands Larry another dollar)
Here you go.
(shows Larry the camera)
Now look, I'll have the camera all set for you.
All you have to do is stand back about, oh,
about six feet, see? And then look through
this sportsfinder, not through the glass, only
look through the sportsfinder there -- make
sure his face is right in there, okay? Now,
you take the camera and you hold it real steady.
Real steady and then take a deep breath to hold
it that way, see? And then you push that
button right there. Got it? Push the button,
hold it steady, now. I'll take the ball.
Milt takes Larry's football and puts the camera in his hands.
MILT PLUMMER
Now, hurry up, huh?
Larry heads into the house.
CUT TO:
INT. SPRINGER HOME - DAY
Larry enters through the front door and closes it behind him. He heads down
the hall to Kimble's bedroom, vainly trying to hide the camera behind him in
case he should run into his mother.
INSIDE THE BEDROOM, Larry checks to see if Kimble's awake. But Kimble is
still asleep, a compress over his forehead and eyes. Larry pulls a nearby
chair over and climbs up on it in order to get a good shot of Kimble's face.
Standing on the chair, he lines up the shot and SNAPS the picture. Climbing
down, Larry returns the chair to its proper place and hustles out of the
room, leaving an unsuspecting Kimble alone.
FADE OUT
EXT. SPRINGER HOME - DAY
FADE IN, early next morning, on the front steps where packages have been left
-- along with that morning's newspaper. Two women approach -- overweight
Matty and mousy Jen -- carrying packages of their own.
JEN
(off the packages)
Somebody got here ahead of us. Hmmph.
MATTY
(off one of the packages)
That ham looks like Hester Branch's.
Jen rings the doorbell.
MATTY
Hester does do a good ham.
Wilma answers the door, surprised to see the two women.
WILMA SPRINGER
Well, good morning. You're up with the
chickens.
JEN
(off the packages on the steps)
We were hoping we'd get here first.
WILMA SPRINGER
Oh. I wonder who left these?
Wilma collects the packages and the newspaper.
MATTY
Here, let me help ya. How is he this morning?
WILMA SPRINGER
Oh, he's still asleep.
JEN
Oh, well, we-we don't want to bother you, Wilma.
MATTY
Yeah, we just thought we'd come, you know, see
how he is.
JEN
When he does wake up, I thought maybe he'd like
some preserves.
Jen hands Wilma a jar with a bow on it.
MATTY
I hope he likes this [calveswood?] jelly.
Matty weights Wilma down with another jar.
WILMA SPRINGER
Look, thank you very much, girls. I'll-I'll be
sure and tell him who they're from.
Burdened down with packages, Wilma retreats into the house and shuts the
door.
CUT TO:
INT. SPRINGER HOME - DAY
Young Larry runs down the hall to join Wilma IN THE LIVING ROOM.
LARRY SPRINGER
Hey, that guy's finally awake. Dad says to
come on in.
WILMA SPRINGER
Oh. Oh, good. Now put these jars in the
kitchen. And the other things too. This
minute.
Wilma fills Larry's arms with packages. But before he can go anywhere, Wilma
stops to admonish him.
WILMA SPRINGER
Larry. That man is not a "guy".
Larry nods. Wilma hurries off down the hall. Larry, instead of going to the
kitchen, puts all the items on a chair and pulls out the morning paper, the
Northoak Courier. Excitedly, he unfolds it to find his photograph of Kimble
on the front page along with the headlines: UNKNOWN HERO SAVES CHILDREN --
SCHOOL BUS CRASHES IN FLAMES.
CUT TO:
INT. SPRINGER HOME - BEDROOM - DAY
Wilma enters to find Kimble dressed in a robe, seated in a chair. Al sits on
the edge of the bed. Kimble nods hello.
KIMBLE
Mrs. Springer. I thought I'd try sitting up
for a while.
WILMA SPRINGER
Are-are you sure you're up to it?
KIMBLE
I still can't see too clearly but I feel a lot
better.
AL SPRINGER
When Doc saw you yesterday, he said your
vision'd clear up in a couple of days.
KIMBLE
Yesterday?
Kimble pauses to consider: could he have mumbled something while half-
conscious that might give him away?
KIMBLE
I-I must have been delirious. Did I--?
WILMA SPRINGER
No. No, not a word.
Kimble tries not to show his relief.
KIMBLE
My name is George Porter. I've been working in
a lumber camp just north of here. I don't have
any family.
WILMA SPRINGER
Oh.
AL SPRINGER
I'm proud to know you, Mr. Porter and...
grateful.
WILMA SPRINGER
Mr. Porter, is-is there anything we can do
for you?
KIMBLE
No, thanks. You've done enough already.
WILMA SPRINGER
Look at me standing here talking. You must be
starving to death.
KIMBLE
Well, uh, now that you mention it, Mrs.
Springer--
WILMA SPRINGER
Ah, patient is taking nourishment. I'll be
right back.
Wilma exits. Al rises and starts to put on his jacket.
AL SPRINGER
I want you to know, Mr. Porter, that our house
is yours as long as you like. Truth is,
everybody else in Northoak is jealous that
we've got you.
Kimble, rubs his eyes and looks up as his vision momentarily clears to see
the badge on Al's jacket.
KIMBLE
You a police officer, Mr. Springer?
AL SPRINGER
Mmm, sheriff. That's how I happened to be--
The door bursts open and Larry runs in, carrying the paper.
LARRY SPRINGER
Oh, uh, 'scuse me, Dad, but Ernie called. Said
to tell ya the state police were waiting for ya.
Al takes the paper from Larry.
AL SPRINGER
Oh, okay, son. Oh, uh, Larry. This is Mr.
George Porter. This is our boy, Larry.
LARRY SPRINGER
How do you do, sir?
KIMBLE
How do you do?
Kimble and Larry shake hands.
AL SPRINGER
I'll bet the paper's just full of that accident.
LARRY SPRINGER
Uh, I-I-I'd better go finish breakfast now.
A nervous Larry backs out of the room and shuts the door.
AL SPRINGER
Say, look at this. Your picture plastered all
over the front page. Too bad that compress
covers most of your face.
Al hands the paper to a suddenly tense Kimble who stares hard at the front
page. His vision clears long enough to get a glimpse of the photo.
KIMBLE
Yeah, that's too bad.
AL SPRINGER
Say, I wonder how they got that picture.
Kimble wonders too. And realizes that he's in serious danger. Just then,
the door opens and Wilma enters, carrying a breakfast tray. She's not happy
to see Kimble with the paper.
WILMA SPRINGER
Al! Now, you know Mr. Porter mustn't strain
his eyes.
Al takes the paper away from Kimble and puts it on a nearby table as Wilma
places the tray in Kimble's lap.
WILMA SPRINGER
There. Is that comfortable for you?
KIMBLE
Oh, that's fine, thank you.
While Kimble starts his breakfast, Al and Wilma confer.
AL SPRINGER
I've got to go over and talk to those state
police.
WILMA SPRINGER
Investigation's going to be handled by the
state?
AL SPRINGER
Well, they'll be working with me.
WILMA SPRINGER
Working with you? Except that it's common
knowledge how the state and county people try
to protect each other. Al, don't let them do
it this time.
Kimble, surprised at Wilma's vehemence, steals a worried glance at the front
page with its giant picture of him.
WILMA SPRINGER
If the county's to blame for the condition of
the roads, it ought to be made public. The
state laws allow laxity in the inspection of
the school buses--
AL SPRINGER
Now, honey, you don't worry. There isn't gonna
be a whitewash of anyone.
(to Kimble)
You know, sometimes I call the little woman
here the real sheriff of Oak County. Just as a
joke.
Wilma laughs self-consciously as Kimble forces a smile. Wilma seems a little
embarrassed.
AL SPRINGER
(to Wilma)
I'll see you in a bit.
(to Kimble)
You have a good day, Mr. Porter.
Al exits, leaving Wilma with Kimble. An awkward pause. Kimble drinks some
juice.
WILMA SPRINGER
(off the tray)
Oh, that? That's just a start. I have
hotcakes, eggs, and sausages on the way.
KIMBLE
Thank you.
WILMA SPRINGER
I hope I-I didn't sound like a nag about the
investigation. It's not that dishonesty's
involved but, you know, sometimes it can be
just as bad if people don't stick to the letter
of the law.
Fugitive Kimble tries to keep from wincing at that comment.
WILMA SPRINGER
My father was a judge, you see. He always said
that the law was the main reason mankind was
able to keep standing on its hind legs.
Wilma smiles but Kimble doesn't know what to say about that happy thought so
he merely averts his eyes.
DISSOLVE TO:
INT. DETECTIVES' OFFICE - STAFFORD, IN - DAY
A newspaper with a much smaller version of Larry's photograph buried in the
back pages under a modest headline: STRANGER AVERTS SCHOOL BUS TRAGEDY. We
PULL BACK to reveal that the paper is in the hands of Gerard's beefy boss,
CAPT. CARPENTER of the Indiana police, who reads aloud from the accompanying
article. Nearby, Gerard sits at a desk, scribbling something with a pencil.
CAPT. CARPENTER
(reads aloud)
He was camping near the road when the accident
occurred. He's described as being about
thirty-five years of age, six feet tall,
weighing a hundred and seventy-five pounds,
with black hair and blue eyes.
(skeptical, to Gerard)
Well, that could be almost anybody.
Carpenter places the paper on Gerard's desk.
GERARD
Including Richard Kimble.
CAPT. CARPENTER
Phil, the odds against--
GERARD
(offended)
Odds?
CAPT. CARPENTER
Phil, you have to admit, you don't have much to
go on.
GERARD
Yes, I know. New England -- when we expect him
to be in the south. Camping alone -- thousands
do. No identification -- well, he could have
lost that in the accident.
CAPT. CARPENTER
And you still think this might be Kimble?
GERARD
This is.
Gerard rises and hands Kimble's wanted poster to Capt. Carpenter. Gerard has
altered one of the mug shots on the poster -- blacking out the eyes and
forehead with a pencil -- so that it resembles the newspaper photo. Gerard
places the newspaper photo side by side with the mug shot. It's a near match.
DISSOLVE TO:
INT./EXT. SPRINGER HOME - NORTHOAK, NH - DAY
A calendar reading NORTHOAK MEN'S FURNISHINGS. The month is September. A
shadow passes over the calendar which hangs on a closet door. A man's arm
reaches for a jacket hanging in the closet. It's Kimble's. He pulls the
jacket off the hanger and puts it on. Slowly making his way to the window,
Kimble opens it and unsteadily climbs out. He staggers it to the ground and,
after pausing a moment to get his bearings, runs off.
DISSOLVE TO:
INT. OAK COUNTY SHERIFF STATION - DAY
ERNIE, Al's young deputy, brings some paperwork to Al's desk as Al talks into
the phone.
AL SPRINGER
(into the phone)
Well, of course I'll give you full cooperation,
Lieutenant. But if you don't mind my saying
so, this George Porter can't be your man.
Al signs the paperwork.
AL SPRINGER
(into the phone)
Well, if you insist, I'll get a set of prints
and send 'em out today.
Deputy Ernie can't believe what he's hearing.
AL SPRINGER
(into the phone)
What?
(beat)
No. You can take my word for it, he's in no
condition to go anyplace for at least a
couple of days.
CUT TO:
EXT. THE WOODS - DAY
Kimble, weak and breathless, runs through the woods. He stumbles and props
himself up with the help of a tree. He's having trouble focusing his eyes.
The landscape grows BLURRY all around him. But he has no choice. He
stumbles forward, trips over a fallen tree limb, rises, and presses on. One
misstep later and he plunges down a hill, falling and rolling over, till he
rolls to a stop at the bottom and lies unconscious.
A few yards away, next to a lakeside clubhouse, a dog starts BARKING. A boy
emerges from the wooden clubhouse to chastise the dog.
1ST BOY
How many times have I told you? When we're
having a top secret club meeting, you're not
supposed to--
(sees Kimble)
Hey, guys!
The boy runs to Kimble's body as four other boys file out of the clubhouse.
They rush to Kimble's side.
2ND BOY
It's Mr. Porter! He must have wandered off from
the Springers'.
1ST BOY
Mr. Porter? You okay?
But Kimble doesn't respond.
1ST BOY
We better get help fast.
2ND BOY
My dad! I'll go get him.
The 2nd Boy runs off.
1ST BOY
(to an unconscious Kimble)
Mr. Porter, sir? You don't have to worry.
We'll take you back.
(to the other boys)
You know what? What makes me feel so good...
We're saving him.
Ah, little do they know.
FADE OUT
EXT. DOWNTOWN NORTHOAK - DAY
Later that day. FADE IN on Wilma emerging from the NORTHOAK DRUG STORE. She
carries a package and walks briskly past Matty and Jen who sit on a bench
MATTY
Wilma! Wilma! Wilma, wait! Wait, Wilma!
Wilma!
Matty and Jen rise and chase after Wilma.
MATTY
Aw, Wilma! Wait a minute, will ya?
Matty and Jen catch up to Wilma who finally stops to talk to them.
MATTY
Is it true? Is Mr. Porter really out of his
mind?
WILMA SPRINGER
Oh, Matty. Really!
JEN
Well, Art's wife called and said Art found him
a half a mile away in the meadow and then took
him home to your house.
WILMA SPRINGER
He is not out of his mind. And I will not
participate in any such foolish gossip.
JEN
(off Wilma's package)
Well, isn't that a prescription you had made up
for him at the drug store?
WILMA SPRINGER
It's a sedative to calm him.
MATTY
But a half a mile out in the meadow. Now, why
would he want to do a thing like that?
WILMA SPRINGER
Well, Dr. Babcock, who I dare say knows more
about such things than any of us, says he's
probably still suffering from the concussion
-- or have we forgotten that he was injured?
Wilma walks off leaving the two busybodies behind.
DISSOLVE TO:
INT. SPRINGER HOME - BEDROOM - DAY
Kimble, still dressed, sits on the edge of his bed, probably contemplating
another escape attempt. Al enters carrying a fingerprint kit.
AL SPRINGER
Oh, I see you got dressed. I hope I'm not
disturbing you.
KIMBLE
Not at all. Come on in.
AL SPRINGER
I feel like a... I mean, I have to do this. I
had an inquiry from a detective out of town.
Man named Gerard. He has a wild idea you might
be somebody he's looking for. An escaped
murderer named Kimble.
Kimble tries to contain himself.
KIMBLE
Murderer? Well, not bad. One day a hero, the
next day a dangerous criminal, huh?
Al sets the kit on the bed, pulls a chair over, and sits.
AL SPRINGER
I know. It's the most ridiculous thing I ever
heard of. You understand, I have to cooperate.
Ordinarily, I'd get somebody who could vouch
for you, but in this case... Well, Gerard
wants your fingerprints.
Al sets up the kit.
KIMBLE
Well, whoever this Gerard is, I guess we
ought to keep him happy, huh?
AL SPRINGER
Won't be for long. When he gets these in a
couple of hours, he'll see what a mistake he
made.
KIMBLE
What do you want me to do?
AL SPRINGER
Just relax. I've got everything here. Let me
have your right hand.
Kimble gives Al his hand. Al starts making prints.
AL SPRINGER
I'm gonna write that Gerard a piece of my mind
when this is cleared up --
Kimble winces at the thought.
AL SPRINGER
-- making me do this to you, after all you've
done for us.
Wilma enters with the sedative and reacts to the fingerprinting.
WILMA SPRINGER
Al! What in Heaven's name--?
AL SPRINGER
It's nothing to worry about, honey. Just
clearing up a case of mistaken identity.
WILMA SPRINGER
But must you treat Mr. Porter as though you're
arresting him?
KIMBLE
That's all right, Mrs. Springer.
AL SPRINGER
We want to get this cleared away today.
WILMA SPRINGER
Well, is it that serious?
AL SPRINGER
No, it isn't. But it could be. An
out-of-state detective saw Mr. Porter's picture
in the paper, had a brainstorm. This man
who's been in our house after saving our boy's
life, among others, is really an escaped
murderer named Richard Kimble.
Wilma scoffs and crosses to the nearby table to open the sedative.
AL SPRINGER
There, that'll do it. Not as bad as a visit to
the dentist, was it, Mr. Porter?
KIMBLE
No, there are worse things.
Kimble watches with concern as Wilma notices the morning newspaper on the
table. The truth begins to dawn on her.
AL SPRINGER
Considering I haven't taken a set of prints in
several years, that's a pretty professional
job if I say so myself.
Wilma looks up from the paper and makes eye contact with a tense Kimble as Al
rises and starts to exit with the fingerprints.
AL SPRINGER
I'll rush these over to the state police and
they'll send them out by wire photo.
WILMA SPRINGER
Al.
AL SPRINGER
Just a minute, honey. Let me make this call.
Al exits, leaving Wilma alone with Kimble.
WILMA SPRINGER
When you wandered away... it's because you'd
seen the paper. You were afraid. You were
trying to run away.
Wilma tries to make a break for the door but Kimble rises from the bed and
blocks her exit. He gently shuts the door and tries to reason with her.
KIMBLE
Don't call him just yet. Will you let me
explain?
(beat)
I am Richard Kimble.
WILMA SPRINGER
An escaped murderer?
KIMBLE
Escaped, yes. And convicted. But I swear to
you as I swore to the court, I'm innocent.
WILMA SPRINGER
I understand, to hear criminals tell it,
they're all innocent. Was it a fair trial?
KIMBLE
Legally, yes. But you see, my defense was I...
I saw a one-armed man... I know he's the one
that killed my wife.
WILMA SPRINGER
(horrified)
Wife?
KIMBLE
I didn't do it. He did. But, you see, they
couldn't find him. So everywhere I go, I look
for him.
WILMA SPRINGER
Seems to me that's a job for the proper
authorities.
KIMBLE
The proper authorities looked for him. They
couldn't find him -- so now they're only
looking for me.
(beat)
Mrs. Springer, if I'm caught--
WILMA SPRINGER
If you're caught? As soon as that detective
gets those fingerprints, he'll know.
KIMBLE
That's why I'm telling you all this. I
thought... you might help me escape. All you
have to do is go out the door and shut it.
WILMA SPRINGER
So that you can run off again? You asked for a
chance to explain -- I gave it to you and
now you want me to be an accomplice.
KIMBLE
Do you know of any other human being I can ask?
Wilma looks at him as if he's insane and brushes past him.
KIMBLE
Is that too much to ask -- a life for a life?
Wilma freezes in the doorway. She turns back to him, the man who saved her
son. They stare at one another for a long moment. Will she let him go free?
Without a word, she exits, shutting the door behind her. Kimble staggers
into a chair and makes ready to escape.
CUT TO:
INT. SPRINGER HOME - DAY
In the living room, Al talks on the phone.
AL SPRINGER
(into the phone)
Well, there's no trouble for me to run 'em over
myself. Good-bye.
Al hangs up as Wilma enters, lost in thought: Should she squeal on Kimble?
AL SPRINGER
(off the prints)
They can't pick these up until later and I
wanna get them out right away and clear up this
nonsense once and for all.
WILMA SPRINGER
Al?
AL SPRINGER
Yes?
WILMA SPRINGER
Nothing.
AL SPRINGER
(puts an arm around her)
Honey, I know how you feel. We say "Anything,
Mr. Porter, we'll do anything for you" -- and
then we do this. But listen, he's my kind of
man. He understands I'm only doing my job.
We'll make it up to him.
Al heads for the front door.
WILMA SPRINGER
(quietly, to herself)
What's right is right.
Al hears this and turns to look at her, puzzled. Wilma can't bring herself
to look at Al.
WILMA SPRINGER
(whispers)
He is Richard Kimble.
AL SPRINGER
Oh, my Lord.
Al puts the fingerprint kit down and heads down the hall, past a distraught
Wilma.
CUT TO:
INT. SPRINGER HOME - BEDROOM - DAY
Al opens the door to find Kimble, coat in hand, trying to open the window.
AL SPRINGER
Sorry, Mr. Kimble. You'll come with me now.
A weak but compliant Kimble leaves the window and approaches Al, holding out
his wrists so that Al may put handcuffs on him. But Al doesn't want to put
the cuffs on the man who saved his son's life.
AL SPRINGER
That won't be necessary.
Al turns and walks out of the room. Reluctantly, Kimble puts on his coat and
follows. He encounters a weeping Wilma IN THE HALL. She watches tearfully
as Kimble walks off.
DISSOLVE TO:
EXT. OAK COUNTY SHERIFF STATION - DAY
Deputy Ernie and Barney the Bus Driver emerge from the sheriff's station.
Barney -- arm in a sling, head bandaged -- is in good spirits, happy to be
alive.
BARNEY
If Al needs any more information, just tell him
I'll be glad to give it to him, huh?
DEPUTY ERNIE
Will do, Barney. Thanks for coming in.
BARNEY
Okay.
Journalist Milt Plummer, camera in hand, joins them.
MILT PLUMMER
Hey, Barney, I'd like to do a follow-up human
interest story on ya.
BARNEY
Oh, sure. Why not?
MILT PLUMMER
Yeah, would you come on over here?
Deputy Ernie smiles as Barney and Milt walk off together. But his smile
fades when he sees Al and Kimble pull up to the curb in Al's police car. Al
gets out of the car and walks to the passenger side to let Kimble out. Ernie
doesn't like the looks of this. Townspeople in the street gather at the
sight of the Hero, George Porter being escorted to the police station by the
sheriff. Barney, sitting with Milt Plummer just outside the station, spots
Kimble and jumps up to greet him.
BARNEY
Hey! Mr. Porter! I'm sure happy to see you.
Barney shakes a surprised Kimble's hand.
MILT PLUMMER
(to Kimble)
C-c-can I get a picture of you here?
AL SPRINGER
No. No pictures, Milt.
MILT PLUMMER
No pictures?
Kimble, seeing Al momentarily distracted by Milt, turns and tries to make a
run for it. But he's far too weak and stumbles instantly, barely breaking a
fall by grabbing a nearby parking meter. Al takes Kimble by the arm and
leads him over to a disbelieving Ernie.
AL SPRINGER
(to Ernie)
Phone that detective. Tell him we've got his
man.
Al, Ernie, and Kimble enter the sheriff's station, leaving a confused crowd
of onlookers outside.
BARNEY
What's got into Al Springer? Gone feeble-minded
or something?
CHARLEY
I'll say. He's treating Mr. Porter like a...
criminal.
MILT PLUMMER
It just doesn't make sense.
CUT TO:
INT. OAK COUNTY SHERIFF STATION - DAY
Al leads Kimble into the station's small CELLBLOCK, puts him in a cell, and
locks the cell door. Al and Kimble exchange glances before an unsettled Al
exits, locking the cellblock doors behind him. IN HIS CELL, Kimble sits on
the cot and stares at a large round globe ceiling light that hangs in the
cellblock above him. His eyelids droop. He lays down. And sleeps. And
dreams.
DISSOLVE TO:
EXT. STREET IN AN UNKNOWN CITY - NIGHT
Kimble's recurring nightmare. It is almost the same dream as before -- at
least, the action and the settings are the same -- but the CAMERA ANGLES are
different: weird, tilted, off-center. And everything happens much faster.
A large round globe streetlight burns brightly above him as Kimble walks down
the deserted street, nervously looking over his shoulder. He pauses and
looks back to see Gerard stalking him. Kimble ducks into the alley. Gerard
stops. Kimble runs down the alley. Gerard gives chase. Kimble rounds the
corner into the dead end, drops his suitcase, and struggles with the locked
door. He desperately tries to scale the brick wall. Gerard arrives and
stares at Kimble, trapped in a corner. Gerard moves slowly toward him and
stops.
GERARD
(grim satisfaction)
Finally, Kimble. Finally.
Kimble cringes as the dream comes to an end.
DISSOLVE TO:
INT. OAK COUNTY SHERIFF STATION - NORTHOAK, NH - DAY
IN THE CELLBLOCK, Kimble wakes, the sound of Gerard's voice calling his name
still echoing. But is it a dream? Kimble sits up and looks around. And
awakens to the nightmare of reality: just outside his cell, stands Gerard --
in the flesh. They stare at each other for a long moment, the hunter and the
hunted.
FADE OUT
EXT. OAK COUNTY SHERIFF STATION - NIGHT
FADE IN, that evening, on a huge crowd -- by Northoak standards -- which
gathers outside the station. We recognize many as the parents of the
children Kimble saved. They watch as a deputy arrives and enters the
station.
CUT TO:
INT. OAK COUNTY SHERIFF STATION - NIGHT
The deputy enters and is greeted by Ernie.
DEPUTY ERNIE
Sheriff'll be with you in a minute, Pete.
The deputy nods. Al sits at his desk as Gerard talks on the phone.
GERARD
(into the phone)
Thank you, sir.
(beat)
Uh, yes, the sheriff has a man he can send
right away. Good-bye.
A triumphant Gerard hangs up and looks at Al who regards Gerard with
distaste.
GERARD
(to Al)
Well, no trouble about extradition... so if
you'll just certify that he's in your custody
and that you authorize his release to me...
Al seems lost in thought.
GERARD
Sheriff?
Gerard offers Al a pen. Al reluctantly takes the pen and signs the necessary
papers. Gerard watches, his fingers twitching in anticipation. Al rises,
puts the papers in an envelope, seals it, and gives it to the waiting deputy.
AL SPRINGER
Here you go. Attorney General's office at the
capital.
GERARD
Make it fast. They're waiting for it.
The deputy exits, taking the papers with him.
GERARD
(to Al)
How long'll it take 'em?
AL SPRINGER
About three hours.
Al watches with annoyance as Gerard checks his watch against the station's
clock: it's 7:27 p.m.
AL SPRINGER
I said about three hours. That clock may be a
few seconds off.
GERARD
(testily)
Well, in that case, let's say about ten-thirty,
hm?
Ernie emerges from the cellblock carrying a half-eaten tray of food, locking
the cellblock door behind him.
AL SPRINGER
Did he eat much, Ernie?
DEPUTY ERNIE
A little.
Ernie sets the tray down, watching unhappily as Gerard carefully examines it.
DEPUTY ERNIE
Well, don't worry, Lieutenant. I made sure he
didn't keep the spoon.
GERARD
(grins)
Hardly the suicide type.
AL SPRINGER
(pointedly, to Gerard)
Oh? What type would you say he is?
GERARD
Just a figure of speech, gentlemen.
AL SPRINGER
Well, whatever he is, Ernie can keep an eye on
him while I go get some supper.
GERARD
Yeah, I haven't eaten since breakfast. I
didn't bother on the plane.
Ernie grins, exchanging glances with Al.
AL SPRINGER
(to Gerard, more duty
than pleasure)
Welcome to come home with me.
GERARD
Oh, that's kind of you, Sheriff, but I think
I'd rather stay here.
(off Kimble's meal)
Maybe I can get a sandwich where you got this.
AL SPRINGER
They'll be closing about now. I only live a
few blocks away.
GERARD
Well, thank you, but, uh... Kimble got away
from me once and I certainly don't want to--
AL SPRINGER
(sharply)
Ernie knows his business.
Gerard looks at Ernie who stares back at him.
GERARD
Well, suppose we check him before we go?
Ernie pulls the cellblock keys out of a desk drawer.
DEPUTY ERNIE
Yes, sir. Lieutenant.
Ernie hands the keys to Gerard.
GERARD
Thank you.
Al looks on sorrowfully as Gerard enters the cellblock. IN THE CELLBLOCK,
Gerard approaches Kimble's cell. A depressed Kimble sits on his cot. He
looks up to see Gerard checking on him. Kimble rises, wanting to talk to
him, but Gerard merely turns and walks off.
KIMBLE
Gerard...
Kimble stands helplessly in his cell, hands on the bars.
IN THE STATION, Gerard emerges from the cellblock.
AL SPRINGER
(mocking, to Gerard)
He still there?
Al and Ernie exchange amused glances. Ernie eats a snack. Gerard locks the
cellblock doors.
AL SPRINGER
I'll be at home if you need me, Ernie.
DEPUTY ERNIE
Right.
Gerard returns the keys to Ernie.
GERARD
No one's to be admitted and, uh, take a look at
him now and again, will you?
DEPUTY ERNIE
Yes, sir, Lieutenant.
Al and Gerard exit. IN HIS CELL, Kimble gets back in his cot and rests.
DISSOLVE TO:
INT. SPRINGER HOME - NIGHT
A nicely set dinner table: meat and vegetables and coffee. Gerard takes a
slice of meat. Seated at the dinner table with the entire Springer family,
he regales Al, Wilma and young Larry with Kimble-hunting stories.
GERARD
And then another time I got a lead he was
working in an amusement park in New Jersey. I
learned quite a lot about that amusement park
-- before the lead proved to be false.
The Springers look down at their meals unenthusiastically.
GERARD
But that's all over now. Of course, his
capture was inevitable. I've known it all
along.
Larry starts to weep. Everyone looks at him in concern.
AL SPRINGER
What's the matter, son?
Larry can't bring himself to tell them.
WILMA SPRINGER
Your father asked you a question, dear.
LARRY SPRINGER
(blurts it out)
It's my fault! I took the picture of him!
I-I thought I was doing him a favor!
Al and Wilma are stunned.
WILMA SPRINGER
Larry, no...
GERARD
Son. You have nothing whatever to feel guilty
about.
Larry looks at Gerard as if he's crazy and bolts from the table. AL rises
and follows him out of the room, leaving Wilma alone with Gerard, who keeps
on eating, his appetite unaffected by the incident, of course.
WILMA SPRINGER
I'm sorry... for Larry, that he had to be the
one.
GERARD
Mrs. Springer, you must help him to get over it.
Convince him that he did the right thing.
(beat)
Just as you know that you did.
But Wilma's not so sure.
WILMA SPRINGER
What will happen to him now?
GERARD
(matter-of-fact)
When the papers are returned from the capital,
he'll be remanded to my custody. I shall
deliver him to prison. And there'll be a new
date set for his execution.
WILMA SPRINGER
What he did for us, for so many people here in
Northoak... Is it possible that the law--?
GERARD
Might alter his sentence? My guess would be no.
Al returns.
AL SPRINGER
(off Larry)
Best leave him be for the night.
GERARD
Well, Sheriff. I suppose we should be getting
back.
Gerard and Wilma rise.
GERARD
(nods gratefully to Wilma)
Mrs. Springer, I'll always remember this fine
meal.
WILMA SPRINGER
Lieutenant. Did he kill his wife?
GERARD
The law says he did.
WILMA SPRINGER
That's not what I mean. Did he really kill
her?
GERARD
The law says he's guilty. I enforce the law.
WILMA SPRINGER
(mechanically)
What's right is right.
GERARD
I suppose you could put it as simply as that.
WILMA SPRINGER
(sadly)
I have. All my life.
GERARD
Well, goodbye, Mrs. Springer. And thank you
again.
Gerard shakes Wilma's hand and departs. Al pats Wilma on the arm and exits,
leaving her to sink dejectedly into her chair.
DISSOLVE TO:
INT. OAK COUNTY SHERIFF STATION - NIGHT
The clock on the station wall reads nine. Ernie scans a magazine, eats a
snack, gets a drink. Al and Gerard enter.
AL SPRINGER
Is everything all right?
DEPUTY ERNIE
Yeah.
GERARD
When did you check last?
Ernie sits and makes a big show of looking at his watch.
DEPUTY ERNIE
Six minutes and nine seconds ago.
Ernie pulls the keys from the drawer and holds them up to Gerard.
DEPUTY ERNIE
Want me to check again?
GERARD
Oh, I wouldn't want you to tire yourself. I'll
do it.
Gerard takes the keys and walks off.
AL SPRINGER
Lieutenant, I'll be at home. Ernie'll call me
when the papers get back.
Al exits. Gerard enters the cellblock.
INSIDE THE CELLBLOCK, Kimble sits on his cot. Gerard stands outside his cell
and takes out a cigarette. He's ready to talk to Kimble now. Kimble rises
and joins Gerard. They stand together, the bars of the cell between them.
KIMBLE
Now?
GERARD
Soon. Cigarette?
KIMBLE
I've got some.
GERARD
(lights his cigarette)
How you must hate me.
KIMBLE
It's all very easy for you, Gerard. Black and
white.
GERARD
Yes, it has to be. Which gives you the
advantage. Any disguise you choose. Hero to a
whole town.
KIMBLE
Saving kids from a burning bus? That's a
disguise? You know, for all the thinking I've
done about you, I don't know how your mind
works at all. But maybe I do.
(ironic)
I'm a fugitive so nothing I do is decent.
GERARD
Well... All this time, all those places, haven't
you been living a lie?
KIMBLE
(ironic)
I had a choice, didn't I?
(pointedly)
Gerard, when they take me down to that holding
cell and give me my last meal, walk me to the
door and strap me into that chair, my words are
gonna be exactly the same. I didn't kill her.
I didn't, Gerard.
GERARD
No. Of course you didn't. Tucson, Dallas, Los
Angeles, Seattle, Atlanta, Miami, and Northoak.
All those rooms. All those days and nights,
alone, remembering. And imagining. Until the
difference between reality and fantasy is not
quite so clear anymore.
KIMBLE
Then you make yourself believe that being a
fugitive has done something to my mind? You're
forgetting that my story's exactly the same now
as it was the night of the murder.
GERARD
And it was, and is, a lie.
KIMBLE
Are you so godlike that because you couldn't
find a one-armed man you don't believe he
exists?
GERARD
I've done everything humanly possible to find
him.
Kimble peers at Gerard for a moment.
KIMBLE
I think you have. I wonder why.
GERARD
(annoyed, as if it were obvious)
It's my job.
KIMBLE
It's also a curse, isn't it, Gerard? You know,
I think you have nightmares too. Your
nightmare is that when I'm dead, you'll find
him.
Kimble has struck a nerve. Gerard's chin trembles; he takes a deep drag on
his cigarette, turns, and quickly walks away.
KIMBLE
What are YOU running from, Gerard?
IN THE STATION, Gerard exits the cellblock, locks the doors, and hands the
keys to Ernie. The front door opens. Gerard is surprised to see Al enter.
GERARD
Papers back already?
AL SPRINGER
It's just some people out front who want to say
goodbye to him. I said it was all right.
GERARD
Goodbye? What are you planning? A farewell
party?
AL SPRINGER
I said they could file by and shake hands with
him.
GERARD
I can't allow anything like that.
AL SPRINGER
He's still my prisoner.
Al turns and opens the front door to let the townspeople enter.
AL SPRINGER
All right, folks. Now, remember, no
conversation, no waiting around.
Al gets the keys from Ernie and unlocks the cellblock doors as the people
enter -- mostly the parents of the children Kimble saved. Gerard, stiff as a
board with his arms behind his back, watches them file past him. Among them
is Barney the Bus Driver -- his head bandaged, his arm in a sling. Gerard
takes up a position just outside the cellblock to monitor the whole somber
ritual.
Al stands just outside Kimble's cell. The people form a long line into the
cellblock. One by one, they silently approach Kimble's cell, solemnly shake
hands with him through the bars, nodding their thanks, then turn and exit the
cellblock. Most walk past Gerard without making eye contact, lost in thought
-- though a few glance at him forlornly. Gerard eyes them all suspiciously.
For his part, Kimble appears stunned to see them all. After the first few
exchanges, Gerard clenches his jaw, not unmoved by this heartfelt outpouring
of gratitude.
We don't recognize many of the first parents in line but, toward the end of
the procession, we see mostly familiar faces: An especially saddened Barney
shakes Kimble's hand and walks away slowly, as if a great weight were upon
him. Dr. Babcock is also in line, breaking the silence.
DR. BABCOCK
(quietly, to Kimble)
Goodbye, my boy. Courage.
Anna is next and then the Nicely Dressed Man, who feels he must say something.
NICELY DRESSED MAN
Thank you.
He lowers his eyes and departs. Matty is next. As she walks away, Gerard
watches her pull a tissue from her purse to wipe her eyes. Jen and Charley
follow. The last person in line is -- of all people -- Wilma. She puts her
hand in Kimble's and holds it for a long moment, nodding. Kimble just stares
at her, an odd expression on his face. Wilma, eyes lowered, briskly walks
past Gerard and follows the others out of the station. Al rejoins Gerard
outside the cellblock and locks the doors.
IN HIS CELL, Kimble looks down at his hand. In it, he clutches a set of keys.
CUT TO:
EXT. OAK COUNTY SHERIFF STATION - NIGHT
An apprehensive Wilma wonders if she's done the right thing.
DISSOLVE TO:
INT. OAK COUNTY SHERIFF STATION - NIGHT
Around ten p.m., Gerard lights a cigarette. Al checks his watch.
AL SPRINGER
(to Gerard)
I'm going home and see how my boy is. I'll be
back in time.
Al and Gerard exchange unhappy looks as Al makes his exit. Gerard paces
restlessly while Ernie works a crossword puzzle.
GERARD
I imagine you'd like to go home too.
DEPUTY ERNIE
I sure would, Lieutenant.
Gerard snuffs out his cigarette and looks at the station clock: it's a minute
past ten.
DISSOLVE TO:
INT. OAK COUNTY SHERIFF STATION - NIGHT
The station clock reads 10:25. Gerard checks his watch and keeps pacing.
His fingers twitch. Ernie continues to work his puzzle.
GERARD
That car should've been here by now.
DEPUTY ERNIE
(takes keys from drawer)
I'll check him again.
GERARD
(offers his hand)
Don't bother.
DEPUTY ERNIE
Much obliged, Lieutenant.
Ernie hands the keys to Gerard who unlocks the cellblock doors and enters.
Ernie eats a snack and goes back to his puzzle.
IN THE CELLBLOCK, Gerard approaches Kimble's cell. He looks in and
immediately senses something wrong. Kimble lies on the cot, completely
covered by a blanket. Gerard doesn't like the looks of this. What's Kimble
up to?
Gerard pulls his gun and unlocks the cell door. Suddenly, Kimble emerges
from the cell opposite and attacks Gerard from behind, hitting him hard on
the back of the head, knocking him unconscious. As Kimble puts Gerard's limp
body on the cot in his cell, Gerard's gun DROPS to the floor.
IN THE STATION, Ernie, hearing the noise, looks up from his puzzle.
DEPUTY ERNIE
(calls out)
Lieutenant?
IN THE CELLBLOCK, Kimble, gun in hand, looks up in fear.
But, IN THE STATION, Ernie grins.
DEPUTY ERNIE
(to himself)
No need to worry about him.
Ernie eats a snack and concentrates on his puzzle. In fact, Ernie gets so
caught up in his puzzle that he doesn't see or hear Kimble enter and point
Gerard's gun at him.
KIMBLE
(gently)
Ernie.
Ernie looks up and sees the gun. He slowly puts his hands in the air. At
Kimble's urging, he rises and enters the cellblock. Kimble looks around
warily: Is there anyone else around?
Kimble locks Ernie in the cell with Gerard and runs -- out of the cellblock
and out of the station.
CUT TO:
EXT. OAK COUNTY SHERIFF STATION - NIGHT
Kimble emerges from the building and looks around. Not a soul in sight.
It's after ten-thirty in a small town so the streets are deserted. Kimble
tosses the gun away and runs off across the street, disappearing into the
night.
FADE OUT
EXT. OAK COUNTY SHERIFF STATION - DAY
FADE IN the next morning. A crowd gathers outside the station, watching a
police car pull up. Gerard and a uniformed officer emerge. The crowd swarms
menacingly around Gerard. The people stare darkly at him. Though clearly
uncomfortable, Gerard manages to stare them down and enter the police station.
CUT TO:
INT. NORTHOAK SHERIFF'S OFFICE - DAY
Gerard enters to find the office filled with all of the people who lined up
to thank Kimble the night before. They sit or stand around the room,
regarding Gerard dispassionately. Al steps forward to confer with Gerard.
AL SPRINGER
This is everyone who was here last night.
Wilma, feeling guilty, stands apart from the others.
AL SPRINGER
One of them passed him the key when they were
saying goodbye.
GERARD
I appreciate you taking all this trouble,
Sheriff. But I already know who did it.
Al looks surprised. Wilma even more so.
GERARD
(to Al)
I know how you feel about him. And about me.
You let him out.
Everyone in the room is shocked. Al is indignant.
AL SPRINGER
(firmly, to Gerard)
That's a lie.
GERARD
I don't think so. And I don't think a jury's
going to believe that you were just being kind
letting everyone in to say goodbye to Kimble
-- giving you the chance to slip him the key.
I'm going to see to it that you're charged with
aiding and abetting a fugitive.
Horrified, Wilma strides forward and confronts Gerard.
WILMA SPRINGER
You're wrong, Lieutenant. My husband didn't do
it. I knew about the key being in the drawer.
I gave it to Mr. Kimble.
Everyone is stunned, Al in particular.
GERARD
(to Wilma)
You did it? Well, I'm sure you understand what
this means, Mrs. Springer. You'll be arrested.
There is a long, deadly pause as the townspeople consider what this means.
Suddenly, Dr. Babcock steps forward and confronts Gerard.
DR. BABCOCK
(insistent)
Don't listen to her. I've been in here often
enough. I slipped it to him.
But before Gerard can respond, Barney the Bus Driver steps forward.
BARNEY
(to Dr. Babcock)
Did neither.
(insistent, to Gerard)
He saved my life and I paid him back. I'm the
one.
Gerard is stunned.
NICELY-DRESSED MAN
(to Gerard)
He was not. I did it.
And with that, the floodgates open -- everyone in the room starts talking at
once: "It's me." I'm the guilty one." "I did it." "What're you gonna do
about that?"
Gerard instantly realizes it's a hopeless case -- and he's got better things
to do with his time than to sort this out. Disgusted that anyone would take
credit for aiding and abetting a fugitive, Gerard straightens his jacket and
exits as the townspeople continue to talk amongst themselves. Al puts an arm
around Wilma and grins at her. She's still not convinced she's done the right
thing -- but Al seems to think she has.
DISSOLVE TO:
EXT. CITY STREET - FAR FROM NORTHOAK - NIGHT
Kimble, travel bag in hand, walks down a deserted city street, not unlike the
one in his recurring nightmare. He stops to look at a HELP WANTED sign in
the window of one of the shops, Delaney's Shoe Repair.
NARRATOR (v.o.)
Another city, another identity. Help Wanted.
Help, but there is none. Richard Kimble must
live with his past and his future, his only
consolation that somewhere, perhaps here, there
is a one-armed man who has nightmares of him.
Kimble moves on, down the street, alone in the night.
FADE OUT
Last revision: 3 March 2000