Search in a Windy City
EXT. WINDY CITY MONTAGE - CHICAGO, IL - DAY
In the City of Broad Shoulders, Hog Butcher to the World, etc., the skyline
rises majestically toward the clouds; an elevated train snakes through the
town; the clock over a busy intersection reads a quarter past three. And the
thunderous voice of an OMNISCIENT NARRATOR sets the scene.
NARRATOR (v.o.)
Chicago. Richard Kimble has come a thousand
miles on hope and the slimmest of clues in his
hunt for the one-armed man. But ten days have
passed and now hope has turned to despair --
for, in a city of millions, how does a fugitive
go about finding a phantom?
CUT TO:
EXT. CITY PARK - DAY
Late afternoon. RICHARD KIMBLE, innocent victim of blind justice, falsely
convicted for the murder of his wife -- and now one of America's most elusive
fugitives -- wears a trench coat and sits on a park bench, lost in thought.
From behind him, a VOICE rings out.
VOICE (o.s.)
You say you've been looking for him everywhere
but haven't found him. I'm gonna tell ya why
you haven't! Because he doesn't exist!
A startled Kimble turns to see who's speaking. It's a soapbox PREACHER
surrounded by a tiny crowd of onlookers.
PREACHER
How long are you gonna keep on hoping when
there is no hope?! There's only one path to
true salvation, my friend!
The little crowd turns away from the Preacher, as does Kimble. The crowd
walks off in different directions, much to the preacher's dismay.
PREACHER
Now, wait! Wait! Just listen to me! I can
save ya! I have proof! Absolute,
incontroversial proof!
Kimble looks over at an empty public phone booth nearby and then stares at a
folded newspaper in his hand. He reaches a decision. Leaving the paper on
the bench, he rises and crosses to the phone booth. Printed in the newspaper
is a gossip column entitled: "From The Top Of The Deck" by Mike Decker. A
small photo of the columnist accompanies the column.
DISSOLVE TO:
INT. NEWSPAPER OFFICES - DAY
A busy newsroom. In a small office space apart from the main room sits
paunchy MIKE DECKER, cigarette in his mouth, pecking away at the typewriter
on his desk. The phone RINGS and he puts the call on a speaker. We CUT
BACK AND FORTH between a brusque Decker typing at his desk and a hesitant
Kimble in the phone booth at the park.
MIKE DECKER
Yeah?
KIMBLE
Mike Decker?
MIKE DECKER
Yeah?
KIMBLE
Now, this has to be in confidence. It's about
a man you once defended in your column...
MIKE DECKER
Who is this?
KIMBLE
... about a year ago, during the trial. You
wrote that you thought Richard Kimble was
innocent.
MIKE DECKER
Who is this? What about Kimble?
Sensing the caller's hesitance, Decker stops typing, lowers his voice, and
speaks reassuringly into the speaker.
MIKE DECKER
Listen to me. I do believe in Kimble's
innocence. Now, you said you had something to
tell me in confidence. Okay, I'm listening.
KIMBLE
He's in Chicago. He thinks the real killer
might be... here, somewhere in town.
Decker realizes who he's talking to. He picks up the receiver.
MIKE DECKER
(quietly)
Hey. Hey, this is Kimble, isn't it?
Kimble looks around nervously.
MIKE DECKER
Now, listen to me. You can trust me, Kimble.
You hear? I want to help you. I'll be able to
leave the office in an hour. You meet me at my
apartment. Chalfonte, over on...
KIMBLE
No. Not your place.
MIKE DECKER
Okay. All right. Any place you say. You just
name it.
KIMBLE
(thinks for a second)
South Bailey. And Tenth. There's a theater.
Be out in front, nine o'clock.
MIKE DECKER
Okay. I'll be there.
Both men hang up. Kimble stands in the phone booth a long moment, wondering
if he's done the right thing. Finally, he exits the booth and walks
cautiously through the park.
DISSOLVE TO:
EXT. SOUTH BAILEY AND TENTH - NIGHT
Nine o'clock. Decker's car pulls up near a rundown theater (the Granada).
Kimble watches from the shadowy mouth of a graffiti-covered alley on the
opposite side of the street. Decker gets out of the car, checks his
wristwatch, takes out a cigarette. Kimble is about to leave his hiding place
and cross the street to meet Decker when he sees a drunk suddenly wander out
of the doorway of a bar (the Cubical Café) across the street. Kimble draws
back into the shadows. Is it a cop?
The drunk wobbles down the sidewalk to a lamp post and leans on it for
support. Decker looks around impatiently. Kimble sees a man in a suit round
the corner and walk past the drunk, pausing in front of the café. Another
cop? Kimble scans the area warily. A man in a hard hat, carrying a lunch
box, comes down the sidewalk and walks past Decker.
NARRATOR (v.o.)
In the deadly game of hide and seek, Richard
Kimble has only one rule for survival: be
suspicious of everyone. Is it coincidence that
three strangers should suddenly appear at the
place of his rendezvous with Decker? Or are
they just strangers?
The man in the hard hat approaches the drunk at the lamp post and puts a hand
on his shoulder, talking to him amiably. Decker checks his watch again,
takes a last drag on his cigarette, and decides that Kimble isn't going to
show. He gets back in his car. Kimble watches helplessly as Decker drives
off.
NARRATOR (v.o.)
Richard Kimble's rule for survival: be
suspicious of everyone. But sometimes strangers
are only what they seem.
The man in the hard hat escorts the drunk around the corner and out of sight.
A woman arrives, greets the man in the suit, and joins him in entering the
café.
NARRATOR (v.o.)
And now, the imagined threat is gone -- and,
with it, Mike Decker.
A frustrated Kimble stands in the alley.
DISSOLVE TO:
EXT. CHALFONTE APARTMENT BUILDING - NIGHT
Later that evening, a much nicer part of town. Kimble cautiously approaches
the front door of a luxury apartment building. The ritzy awning over the
front entrance reads CHALFONTE APTS. Kimble checks the mailboxes -- MIKE
DECKER APT 8A -- and rings Decker's bell. Decker answers over the intercom.
MIKE DECKER (o.s.)
Yeah?
KIMBLE
Decker?
MIKE DECKER (o.s.)
Yeah?
KIMBLE
Are you alone?
MIKE DECKER (o.s.)
Sure. Come on up.
A BUZZER sounds. The front door unlocks and Kimble enters the building.
CUT TO:
INT. CHALFONTE APARTMENT BUILDING - LOBBY - NIGHT
Kimble enters the large, posh lobby and crosses slowly to the elevator. He
rings for the elevator and waits, scanning the lobby for signs of a trap or
possible avenues of escape. The elevator doors open to reveal the imposing
figure of Mike Decker. He and Kimble stare at each other for a long moment.
MIKE DECKER
I waited for you.
KIMBLE
I know. I saw you. There were some people
hanging around. I thought it was a set up.
I thought maybe you'd said something to the
police.
MIKE DECKER
I told you I wanted to help.
KIMBLE
Well, when you've been on the run from the law,
you learn to be suspicious.
MIKE DECKER
(nods understandingly)
Okay. Let's go upstairs and talk.
Decker invites Kimble into the elevator and they go up.
DISSOLVE TO:
INT. DECKER'S APARTMENT - NIGHT
Minutes later, in the DEN of Decker's spacious penthouse apartment, Kimble
and Decker sit drinking coffee.
KIMBLE
See, I, uh, I found this girl in Omaha. She
said the man that beat her up had one arm. She
said that he warned her if she went to the
police the same thing would happen to her that
happened to that Kimble woman. Everything
about him added up so I started looking for
him.
MIKE DECKER
What made you come here?
KIMBLE
I found out he bought a ticket for Chicago.
MIKE DECKER
And you wasted ten good days looking for him by
yourself?
KIMBLE
(ironic)
I guess I could have called the F.B.I.
MIKE DECKER
You should've called me!
KIMBLE
Mr. Decker, what makes you think I'm innocent?
MIKE DECKER
Three of your jurors held out six days for
acquittal. They thought you were innocent.
Why shouldn't I? Here.
Decker rises and opens a drawer in a nearby bureau.
MIKE DECKER
Take a look at this.
Decker pulls out a file folder as thick as a phone book and hands it to
Kimble.
MIKE DECKER
This is the Kimble case -- an exhaustive study
of the evidence. Okay?
KIMBLE
(impressed)
Okay.
Decker shows Kimble a large drawing.
MIKE DECKER
This is the newspaper sketch of the one-armed
man from the description you gave them. Uh,
think hard, Kimble. Is there anything else you
can add to that?
Kimble stares hard at the sketch.
KIMBLE
He was about forty or forty-five. Dark-haired.
Right arm missing...
Kimble FLASHES BACK to the night of his wife's murder.
DISSOLVE TO:
EXT. SUBURBAN STREET - STAFFORD, IN - NIGHT
Kimble's car (a 1960 Mercury Park Lane) cruises down the dark street. A
gray-haired Kimble sits at the wheel.
KIMBLE (o.s.)
I was driving back home after an argument with
my wife. I saw him suddenly running from my
house. He acted scared.
From KIMBLE'S POV, a stocky, surly-faced ONE-ARMED MAN tears across the lawn
of the Kimble home, looking back fearfully over his shoulder.
KIMBLE (o.s.)
He darted into the street. I had to swerve.
The One-Armed Man blunders into the path of Kimble's car. A startled Kimble
brakes to a halt as the One-Armed Man freezes in the glare of the headlights,
eyes wide with terror, his unshaven jaw slack, his stump raised in the air.
Time seems to stand still for a long moment as the two men stare at one
another across the hood of Kimble's car.
KIMBLE (o.s.)
The headlights picked him up only for a second.
A confused Kimble watches the One-Armed Man run off. The FLASHBACK ends.
DISSOLVE TO:
INT. DECKER'S APARTMENT - CHICAGO, IL - NIGHT
In the DEN, Kimble stares at the sketch.
KIMBLE
There's nothing more I can remember. I'll know
him if I see him.
Kimble hands the sketch back to Decker.
MIKE DECKER
Okay, let's see what we can do with this. I'll
have some copies made up, get 'em spread around
town.
KIMBLE
If he finds out, won't that scare him into
running?
MIKE DECKER
We don't know for sure he's still here. Main
thing is, if he is, it can turn up a fresh lead
on him.
KIMBLE
Tell the police I'm in town, too.
MIKE DECKER
Nah. Not if it comes from me. They know all
about the articles I've written defending you.
I'll see my editor first thing in the morning.
Decker starts removing the cushions from a nearby sofa to reveal a pull-out
bed.
MIKE DECKER
You better get yourself some shut-eye.
Kimble rises and confronts Decker.
KIMBLE
Decker. While you're at it, maybe we'd better
talk about this.
MIKE DECKER
Maybe we had better have an understanding, Dr.
Kimble. I'm willing to go all out to help you.
Money, contacts, influence. Now, you know I
can deliver or you wouldn't've come to me in
the first place. But I'm a temperamental guy,
Doctor. If we're gonna play on the same team,
I call the signals. I carry the ball. And
that's the way it is.
KIMBLE
What if I don't like the signals you call?
MIKE DECKER
There's the door. I won't blow the whistle.
But then what? Look at yourself, man -- you've
had it. What do you think your chances are
without me? In the parlance of your profession,
Doctor, prognosis: negative. And...
(breaks into a smile)
... yeah, I have a selfish reason for wanting
to find the one-armed man. I need a big story
right now and this could win me a Pulitzer.
KIMBLE
Okay.
MIKE DECKER
Okay.
(opens the pull out bed)
I'll be leaving early in the morning. You're
safe here. My wife's away. She's out of town.
I'll get rid of the maid. You'll find pajamas,
a robe, in the closet there. Have a good sleep.
(pats Kimble on the arm)
I'll see you tomorrow.
Decker takes the sketch of the one-armed man and exits leaving an uncertain
Kimble behind. Kimble removes his jacket and gets ready for bed. Outside
the den window, the city of Chicago stands under a night sky.
DISSOLVE TO:
EXT. SKYSCRAPER - DAY
The next morning. The sun shines down on the skyscraper where Decker's
newspaper is located.
DISSOLVE TO:
INT. CONNELLY'S OFFICE - DAY
Inside the building, a psyched-up Decker tries to hard-sell his crusty editor
FRED CONNELLY.
MIKE DECKER
"I found the one-armed man" by Mike Decker! Ten
grand expenses is peanuts for that story, Fred.
FRED CONNELLY
Oh, come on, Mike. I don't care what you say
about him in your column but don't try to sell
me on Kimble's innocence.
MIKE DECKER
I got an angle going that will break that case
wide open.
FRED CONNELLY
The next thing I expect to hear from you is
"Stop the presses!" No, Mike. No, this isn't
gonna work. I'm sorry.
MIKE DECKER
Fred, for ten Gs, I can make it work.
FRED CONNELLY
Look, when a gossip columnist starts slipping,
the first thing he prays for is a
newspaperman's miracle -- coming up with a big
story. Well, miracles don't happen very often,
Mike, and sometimes a guy gets so panicky that
he'll do something real dumb like coming up
with a phony. Now, don't press the panic
button.
MIKE DECKER
Fred, will you please just wait a minute?!
Fred. Richard Kimble is in town... right now.
I've got him. I can prove it. Now, you can
see him for yourself if you want to.
A surprised Connelly thinks hard for a second.
FRED CONNELLY
All right. I'll make a deal with you, Mike.
(writes a check)
Five thousand, expense -- in exchange for your
guarantee for a Kimble story.
MIKE DECKER
I can't make a guarantee like that, Fred. I
may not be able to find the one-armed man.
FRED CONNELLY
I said, a Kimble story. Now, that yarn would
be sensational. But just in case it doesn't
work, there's another story that'll still sell
a lot of newspapers.
They regard each other for a moment before Decker catches his meaning.
MIKE DECKER
(unenthusiastic)
Oh, yeah. Like turning Kimble over to the cops.
FRED CONNELLY
I'm not trying to tell you what to do. But, uh,
like I say, you do need a story.
Connelly hands the check to a sober Decker.
MIKE DECKER
Yep.
DISSOLVE TO:
INT. DECKER'S APARTMENT - DAY
In the DEN, later that morning. Kimble starts to get out of bed. As he
does, he hears the front door to the apartment OPEN. Kimble slips on a robe
just as a woman in a fur coat walks into the room. It's Mike's wife, PAULA
DECKER. She's startled to find a handsome man in the room. And doesn't
recognize him as Richard Kimble.
PAULA
Oh.
KIMBLE
Hello.
PAULA
Who are you?
KIMBLE
Uh, George Blake. I'm a friend of Mike's. I'm
just passing through town. He invited me to
stay overnight.
PAULA
Oh. I'm his wife.
KIMBLE
Hello.
They shake hands.
PAULA
Haven't we met before, Mr. Blake?
KIMBLE
I don't think so.
(off the slept-in bed)
Uh, I'm sorry about all the mess. He told me
you, uh, weren't gonna be in town.
PAULA
Yes, I thought I'd surprise him.
As Kimble straightens out the bed, Paula notices the file folder of the
Kimble case lying on a nearby bureau. She looks at one of the newspapers in
it. Suddenly, she remembers...
PAULA
You're Dr. Richard Kimble.
Kimble freezes.
PAULA
Dr. Kimble. I can't believe it. How did Mike
ever find you?
KIMBLE
He didn't. I found him.
PAULA
When? How long have you been here?
KIMBLE
Since last night, I... I don't want any trouble.
I'll just leave.
PAULA
No, you don't have to run away because of me.
Didn't Mike tell you? I'm the one who got him
to write those articles about you. I researched
the case for him. I believed in your innocence
from the beginning. What're you doing in
Chicago?
KIMBLE
There's just a chance that the man who killed
my wife is here.
PAULA
(doubtful)
And Mike says he's gonna try to help you find
him?
KIMBLE
Yeah.
An odd look crosses Paula's face as she moves away from Kimble and stares
into space.
KIMBLE
What does that mean?
Decker enters the apartment through the FRONT DOOR.
MIKE DECKER
Hey, Kimble! You awake? I got good news.
Decker enters the DEN and stops short when he sees Paula. An awkward moment
for everyone.
MIKE DECKER
Oh. Paula. Welcome home. What, uh, what'd
you do? Bust out?
PAULA
No. Graduated with honors.
MIKE DECKER
(nods)
Congratulations.
Decker gives Paula a not very convincing kiss.
PAULA
(to Kimble)
Forgive us, Doctor. Sort of an inside joke.
(to Decker)
Dr. Kimble's just telling me you're going to
help him.
MIKE DECKER
(to Paula)
Yes.
(to Kimble)
It's all set. Paper's behind ya a hundred
percent.
KIMBLE
What does that mean?
MIKE DECKER
(pulls out a wad of cash)
Meaning five grand and that's just for openers.
My editor says if I believe in ya, that's good
enough for him.
KIMBLE
Just like that? What if you're not able to
come up with a story?
MIKE DECKER
(laughs)
You let me worry about that.
PAULA
(darkly, to Decker)
Don't you think Dr. Kimble's entitled to some
kind of guarantee?
A long pause.
MIKE DECKER
(savagely)
Now, what would you suggest? A Boy Scout oath?
A pact signed in blood? What?
KIMBLE
Your word's good enough for me, Mike.
MIKE DECKER
You got it, pal.
Decker turns to Kimble, looks him in the eye, and shakes his hand. Kimble
and Paula exchange uneasy glances. Paula lowers her eyes in concern.
FADE OUT
EXT. STREET - NIGHT
FADE IN on a street, filled with crowds enjoying Chicago's night life.
DISSOLVE TO:
INT. RESTAURANT - NIGHT
Decker sits at a table with a beady-eyed COGEN, a greedy little man.
MIKE DECKER
The main thing, Cogen, is the time element. I
want fast action on this. Now, this...
(hands Cogen a hundred dollar bill)
... is incentive dough. You get me a lead on
him...
(flashes another bill)
... worth another C-note. Ya finger him, ya
earn yourself a grand, okay?
COGEN
You know me, Decker. Just keep that grand
handy.
Cogen rises, takes a copy of the one-armed man sketch, and departs.
DISSOLVE TO:
INT./EXT. INFORMANT MONTAGE - NIGHT
Decker makes the rounds handing out copies of the sketch and hundred dollar
bills at various places around town: to a bespectacled old man at a gambling
joint; to a foxy young woman at a bar (where she and Decker drink a toast to
each other); to a cab driver; to a three-foot tall shoe shine man; to what
may well be a madam at a brothel; and, finally, to a shaky dope addict named
WIMPY who stares hard at the sketch and takes a long drag on his cigarette.
DISSOLVE TO:
INT. POLICE STATION - DAY
The next morning, Wimpy shows the sketch to a couple of plainclothes
detectives, one of whom is SGT. AL DE SANTIS.
WIMPY
The way Decker's been throwing cheer around, I
thought you might want to know about it, Sarge.
SGT. DE SANTIS
(to his fellow officer)
Looks like he's still harping on the Kimble case.
(to Wimpy)
No sale, Wimpy. There's nothing here for us.
COGEN
Wait a minute, I thought we had a deal.
SGT. DE SANTIS
I said any information we could use. This
isn't a police matter. If Decker wants to
throw his dough away, that's his business.
COGEN
Sarge. How 'bout a little carfare money at
least?
Sgt. De Santis casts an amused glance at his fellow officer, pulls out a
bill, and gives it to Wimpy.
SGT. DE SANTIS
There ya are, Wimpy.
COGEN
Thanks.
A very happy Wimpy quickly exits. The Officer confers with Sgt. De Santis.
OFFICER
Say, Al, don't we have a want from the Kimble
case?
SGT. DE SANTIS
Yeah. On Kimble.
OFFICER
No, I mean, it seems to me there was some kind
of request for information on this one-armed
man deal. About a year or so ago?
SGT. DE SANTIS
I don't remember. Take a look.
The Officer leafs through a file cabinet drawer and pulls out a folder.
OFFICER
Yeah, here it is. From a guy named Gerard.
The Officer hands the want to Sgt. De Santis who reads it. The two men
exchange glances and Sgt. De Santis reaches for the telephone.
DISSOLVE TO:
INT. DECKER'S APARTMENT - DAY
Carrying a bowl of soup, Paula enters the DEN where a restless Kimble paces.
PAULA
Soup's on.
KIMBLE
Oh, thank you very much, I don't think I'm very
hungry.
PAULA
I know. It's the waiting. Mike's doing
everything he can. You trust him, don't you?
KIMBLE
I have to.
(beat)
When we first met, I got the impression that
you didn't.
Paula stares at Kimble, then turns away from him.
KIMBLE
I guess that was a pretty rotten thing to say.
PAULA
(sits on sofa)
No, it's true. At least, it was true. I
didn't trust him -- not like I once did. You
know what I used to call Mike when we first
married? Sir Galahad. Pure of heart. Noble
of mind. Champion of the downtrodden.
(chuckles)
Think there's still people like that in the
world, Doctor?
KIMBLE
I suppose so.
PAULA
I used to think so. Mike isn't one of them.
He's done some pretty awful things to his
friends, to me. I swallowed it for a while and
then I-I started taking refuge in that other
world. Didn't Mike tell you where I've been
the last three months?
KIMBLE
He just said you were out of town.
PAULA
Oh, I was. The most charming resort, dedicated
to the proposition that all alcoholics can be
cured.
KIMBLE
I'm sorry. I didn't know.
PAULA
Oh, it's all right. It doesn't bother me
anymore. They made me realize that if I want
Mike, I have to accept him the way he is.
Love, honor, cherish. Close my eyes to the
cheating and the double-cross.
KIMBLE
Mrs. Decker, uh... Are you trying to tell me
that I can't trust Mike? That his handshake
and his word, they don't mean anything?
PAULA
No, you don't understand. Mike's a louse about
a lot of things but there's one thing he's kind
of a fanatic about -- his word. Thou shalt not
give thy word in vain. Mike stakes his life on
that. You can too.
KIMBLE
Okay. You know, he's pretty lucky to have a
wife that accepts him on his own terms.
PAULA
(rises, picks up soup bowl)
He hasn't been so lucky. He knows I don't like
him. What he doesn't know is I love him. Ooh.
Talk about hearts and flowers, I came in here
to cheer you up.
KIMBLE
(off the soup)
Yeah, so much that I think I'll have some of that.
I'm a little hungry.
They both chuckle and she leaves the soup with him. Kimble watches her go.
DISSOLVE TO:
EXT. POLICE STATION - NIGHT
That evening. A police car's parked out front.
DISSOLVE TO:
INT. POLICE STATION - NIGHT
Sgt. De Santis puts on his coat and gets ready to leave for the day.
Suddenly, the door to his office opens and a familiar figure appears:
LIEUTENANT PHILIP GERARD, the dedicated plainclothes detective from Indiana
who's been relentlessly pursuing Kimble.
GERARD
Sergeant De Santis?
SGT. DE SANTIS
Yes?
GERARD
I'm Lieutenant Gerard.
SGT. DE SANTIS
(shakes his hand)
Oh, how are you, Lieutenant? I wasn't
expecting you until tomorrow.
GERARD
I managed to get away earlier. Now, what about
this one-armed man, Sergeant?
SGT. DE SANTIS
Well, like I told you on the phone, this is
about all we've got.
Sgt. De Santis shows Gerard the sketch of the one-armed man.
GERARD
And Decker's been passing these out to
informers all over town?
SGT. DE SANTIS
That's it.
GERARD
I wonder if you'd do me a favor, Sergeant. I'd
like a round-up of all the most important
stoolies in your file -- tonight.
SGT. DE SANTIS
Oh, I'm sorry, Lieutenant, I'm supposed to take
my wife out for supper. As a matter of fact,
I'm late now. I'd be glad to do it tomorrow.
GERARD
That might be too late. A thing like this
could have brought Richard Kimble to Chicago.
He might be here right now. Of course, if
you'd rather I talked to your captain?
Sgt. De Santis knows a threat when he hears one. He starts to take off his
coat and hat.
SGT. DE SANTIS
That won't be necessary, Lieutenant. I'll be
glad to help you.
Gerard watches as Sgt. De Santis sits at his desk and makes a phone call.
DISSOLVE TO:
INT. DECKER'S APARTMENT - NIGHT
Not long after. Decker bursts in, excited, and rushes to Kimble and Paula
who sit in the LIVING ROOM. Kimble tries to get up from his chair. But
Decker grabs a seat on the coffee table. He's so excited, he forgets to take
off his hat and coat.
MIKE DECKER
Hey! Hey, Kimble! Listen, boy, I think we
finally got us a lead on-- Sit down. Sit
down.
Kimble stays seated and tries to follow what Decker's saying as he rapidly
blurts out the good news.
MIKE DECKER
There's this stoolie named Cogen. He meets up
with this guy that matches our description to a
tee. And get this -- the guy lets slip he's
only been here about a month from out west. The
guy's scrounging. Cogen tapped him to be on
the lam so he says he's got this deal to pick
up some easy dough if he can find a partner.
Well, the guy's interested but he wants to blow
out of town tomorrow.
PAULA
Leave town?
MIKE DECKER
Why don't you shut up? So, Cogen thinks fast
and he says that's okay, says that's okay,
'cause tonight is the right night anyhow. He
sees this guy doesn't wanna be pressed, you
know? He won't tell him where he lives or
anything like that so Cogen plays it cool,
gives the guy his telephone number and says to
call him.
KIMBLE
He's supposed to call Cogen? When?
MIKE DECKER
Tonight. Nine o'clock.
Kimble shoots a nervous glance at a nearby wall clock. It's five minutes to
eight.
MIKE DECKER
Nah. Don't worry, don't worry. Cogen says the
guy's tongue is hangin' out. He'll fall.
KIMBLE
Well, then what?
MIKE DECKER
Cogen says the deal's on and they'd better get
together. Then he calls us here. By five
minutes after nine, we're gonna know where the
meeting place is. We move in. You put the
finger on him.
Decker whips off his hat, all smiles.
MIKE DECKER
Well, pal? I come through for ya?
Kimble manages a smile but glances uncertainly at Paula and the clock. He
rises and stares at the clock.
DISSOLVE TO:
INT. DECKER'S APARTMENT - NIGHT
An hour and five minutes later: it's nine. The tension is thick: Kimble
watches the clock; Paula smokes a cigarette and sighs; Decker waits by the
phone and checks his wristwatch; the phone is quiet.
DISSOLVE TO:
INT. COGEN'S PLACE - NIGHT
A pay phone in the hall outside Cogen's place. Nearby, Cogen sits in his
room, playing solitaire, waiting for the call. A couple of police detectives
enter.
DETECTIVE
Get your coat, Cogen.
COGEN
You takin' me in? What for?
DETECTIVE
For questioning. Come on.
COGEN
(rises)
Now, look, I'm expecting an important phone
call. It's a business deal. Gimme a couple o'
more minutes, huh?
DETECTIVE
For your kind of business? You must be kidding.
COGEN
Aw, come on, fellas. What's a couple o'
minutes? I mean, this call means an awful lot
to me. Look, just about three minutes. Please.
But it's no use. The detectives escort Cogen down the hall and out the door.
As soon as the door SHUTS behind them, the pay phone RINGS. And RINGS. No
one's there to answer it.
DISSOLVE TO:
EXT. PHONE BOOTH - NIGHT
A public pay phone, elsewhere in the city. A man with the phone to his ear,
listens for a moment before he hangs up the receiver -- with his left hand.
He pulls a pack of cigarettes from his pocket, puts it to his mouth, and
takes out a cigarette with his lips. He lights the cigarette, extinguishes
the match, and then slowly turns to exit the booth. As he does, we see that
part of his right arm is missing. It's the man from the flashback: Kimble's
one-armed man. He wipes his chin with his stump and exits the booth.
FADE OUT
EXT. CHALFONTE APARTMENT BUILDING - NIGHT
FADE IN on the empty street in front of the building.
DISSOLVE TO:
INT. DECKER'S APARTMENT - LIVING ROOM - NIGHT
The clock on the wall reads two a.m. Decker paces while Kimble and Paula
sit. Decker starts to pour himself a drink at his bar when the phone RINGS.
Everyone converges on the phone as Decker picks up.
MIKE DECKER
(into the phone)
Yeah?
(beat)
Listen, you louse. You better talk quick and
make sense.
(beat)
What do you mean you missed him?
(beat)
Listen, Cogen, I'm not buying alibis tonight.
You better find that guy, I'm tellin' ya
straight. Find him.
Decker hangs up and looks at Kimble and Paula.
MIKE DECKER
Cops. Picked Cogen up for questioning. He
missed the call.
A devastated Kimble retreats into the den. Paula confronts Decker.
PAULA
Don't you think you ought to try and cheer him
up, Mike? It's been a rough night for him.
MIKE DECKER
My neck's on the chopping block and you want me
to cheer him up?
PAULA
Well, it's not that bad for you.
MIKE DECKER
Oh yeah? I blow most of my expense dough on
one lousy lead. And my stoolie's gotta go and
blow that and you say it's not that bad for
you?
PAULA
Get some more money from Mr. Connelly. You
said he was behind you all the way.
MIKE DECKER
Paula, the five grand is the limit. And then
only on my guarantee that I give him a story.
PAULA
What kind of a guarantee?
MIKE DECKER
A guarantee of a story. A story. Happy
ending? Fine. Sad ending? That's just okay
too. Just as long as I deliver a story, a
Richard Kimble story.
PAULA
No. You gave him your word, Mike. Your word.
MIKE DECKER
Paula, what do you want me to do? Tell that
guy the truth? That I had to get down on my
knees to Connelly and beg him for a chance to
deliver even this much?
PAULA
He trusts you.
MIKE DECKER
I tried. Paula, I tried for him. I tried.
PAULA
Well, isn't there still a chance Cogen might
find him? Haven't you still got time?
MIKE DECKER
I don't know. I... Yeah, I guess I could
stall Connelly a little while longer but if
that one-armed guy skips town, I'm dead --
because I promised to deliver a Kimble story
one way or the other.
PAULA
Promised? You even turn that into a dirty word.
MIKE DECKER
Listen to who's talking. Now, when did you
become a saint, woman?
PAULA
Well, you're not even human anymore. Why did
Joe Bronski blow his brains out? Because of
you. Your double-cross. Oh, you had to have
that story.
MIKE DECKER
Shut up.
PAULA
That was rotten. But this...
Paula sinks into a chair. Decker sits opposite her.
PAULA
Oh, no. Well, I'm gonna tell Kimble the truth.
MIKE DECKER
Paula, you so much as open your mouth and
I'll--
Decker spots a bottle of liquor on the nearby bar and gets an idea.
MIKE DECKER
(laughs)
You know something? You know what, baby? Why,
we're acting like a couple of jerks. This kind
of talk is stupid. It's all my fault. Honest,
I...
Decker rises and crosses to the bottle.
MIKE DECKER
... don't blame ya for being so upset, Paula.
It's like you said, baby -- boy, you were
right...
Decker grabs the bottle and two glasses and brings them over to Paula. He
sits by her and starts pouring her drink.
MIKE DECKER
...It's been a rough night for us all. That's
the whole trouble. We just gotta relax. Talk
this thing out sensibly. Not beat each other's
throat.
PAULA
No, Mike. Please. Please.
MIKE DECKER
(offers her the glass)
Here.
Paula tries to resist.
MIKE DECKER
Aw, baby. One little drink's not gonna hurt
ya.
Paula glances in the direction of the den but then grabs the glass from
Decker's hand and sucks down the contents. Decker watches her with a mixture
of sympathy and disgust. Paula sinks back in the chair, dizzy.
CUT TO:
INT. DECKER'S APARTMENT - THE DEN - NIGHT
Not long after, Kimble, still upset, watches as Decker enters the den and
shuts the door behind him.
MIKE DECKER
I'm sorry I had to leave you alone, pal. A
little problem with Paula. She's back on the
booze again.
KIMBLE
What happened?
MIKE DECKER
I don't know. Just one of those things, I
guess. Let's talk about you. I know this
thing tonight was a kick in the guts to ya but
don't worry. Even if that one-armed man has
left town, we're gonna find him. I guarantee
it. Now, you still with me, pal?
KIMBLE
(wry grin)
I think so.
MIKE DECKER
Okay. I got a hunch tomorrow's gonna be our
day. You keep a good thought.
KIMBLE
Okay.
Decker exits.
CUT TO:
INT. DECKER'S APARTMENT - THE DEN - NIGHT
Decker enters the den, sees an unconscious Paula asleep in the chair, and
approaches her. He takes the empty glass from her hand, solicitously covers
her with a jacket, and walks off.
DISSOLVE TO:
EXT. SKYSCRAPER - DAY
The next morning. The sun shines down on the skyscraper where Decker's
newspaper is located.
DISSOLVE TO:
INT. CONNELLY'S OFFICE - DAY
Inside the building, Decker's crusty editor, Fred Connelly sits at his desk.
Across from him, wearing his trademark thick-framed eyeglasses, is Gerard.
Decker enters.
MIKE DECKER
Fred?
FRED CONNELLY
Oh, hello, Mike. Come in. This is Lieutenant
Philip Gerard.
(to Gerard)
This is Mike Decker.
Gerard rises and he and Decker exchange nods of greeting.
MIKE DECKER
Anything I can do for you, Lieutenant?
Gerard hands Decker a copy of the one-armed man sketch.
GERARD
I understand you've been passing these out
around town, Mr. Decker.
MIKE DECKER
(grins)
I know all about you, Lieutenant. Hope you
don't mind my having so much faith in Kimble.
Decker hands the sketch back to Gerard.
GERARD
Five thousand dollars worth. That's quite a
lot of faith. Unless, of course, you have
something more definite to go on.
Gerard sits.
MIKE DECKER
Like what?
GERARD
Like maybe working directly with Kimble on this.
MIKE DECKER
Okay, Lieutenant, you got something to say to
me, you just stop beating around the bush and
spit it out.
GERARD
I'm just trying to keep you out of a jam, Mr.
Decker. Aiding and abetting an interstate
fugitive is a felony.
The phone RINGS. Connelly picks up.
FRED CONNELLY
(into the phone)
Yes? Yes, he's right here. Hang on a minute.
(to Decker)
Mike?
Decker approaches the desk and takes the receiver.
MIKE DECKER
(into the phone)
This is Decker.
CUT TO COGEN ON A PAY PHONE
COGEN
Mike? Cogen. Can you talk?
CUT BACK TO DECKER IN CONNELLY'S OFFICE
MIKE DECKER
(curtly, into the phone)
No. Um, I'm busy right now. You see me in my
apartment later.
Decker quickly hangs up.
MIKE DECKER
What were you saying, Lieu--? Oh, yes,
Lieutenant, oh, yes. About this aiding and
abetting an interstate fugitive. Well, next
time I run into one, I'll keep that in mind.
GERARD
Next time may be too late to do you any good,
Mr. Decker. Last night, I had the local police
pick up a few stoolies. The word is that
you've got somebody who claims he can identify
Richard Kimble's alleged one-armed man.
(rises, confronts Decker)
Now, Mr. Decker, there is no one-armed man.
That was just a product of Kimble's imagination.
(pockets his eyeglasses)
I think Kimble's talked you into helping him.
Now, where is he?
MIKE DECKER
Bunch a stoolies fill your ear and you believe
'em?
GERARD
You tell me where to find Richard Kimble,
you'll not only be in the clear but you'll be
in a very good position for an exclusive story
on his capture.
MIKE DECKER
(nods, grins)
That's right.
(beat, enthusiastic)
Lieutenant, you've got yourself a deal.
Decker shakes hands with a grinning Gerard.
MIKE DECKER
The minute I find out where he is, I'll let you
know.
Gerard's grin fades away. He glances at Connelly and then heads for the
door.
GERARD
You think about it, Mr. Decker.
Gerard exits. Decker and Connelly are alone.
FRED CONNELLY
The time has come, Mike, for you to turn in a
story.
MIKE DECKER
I haven't got it yet. Not the one I want.
FRED CONNELLY
I don't care which one you turn into me,
whether it's the capture of the one-armed man
-- if there is such an animal -- or the capture
of Richard Kimble. I want it tonight.
An unhappy Decker exits.
DISSOLVE TO:
INT. DECKER'S APARTMENT - DAY
In THE LIVING ROOM, stretched out on a chair, an inebriated Paula pours
herself a drink, emptying the bottle. The doorbell BUZZES. She struggles to
her feet and answers the door. It's Cogen.
COGEN
Mike Decker in?
PAULA
Hm?
COGEN
Mike Decker. Is he here? Is he in?
PAULA
(calls out)
Mike? Mike?
But Mike is not in. In THE DEN, Kimble wonders what's going on. In THE
LIVING ROOM, Cogen realizes that Decker is not home and that Paula is drunk.
COGEN
Are you, Mrs. Decker?
PAULA
Huh?
COGEN
Are-are you, Mrs. Decker?
PAULA
Yeah.
COGEN
Would you give Mike a message, please? It's
very, very important. Would you please tell
him the guy he wants is going to be at the bus
station. He's leaving town in an hour. You
understand that?
Paula doesn't look too sure.
COGEN
Lady, it's very important. Would you mind
repeating it, please?
PAULA
The man he wants... is leaving town. Bus
station. Hour.
COGEN
Yeah, in an hour. It's important. Please.
Remember to tell him, huh?
PAULA
Don't worry, don't worry.
COGEN
You won't forget, huh?
PAULA
No.
Cogen reluctantly exits and Paula shuts the door behind him. She returns to
her empty bottle.
PAULA
All gone. All gone.
Paula collapses into her chair. A curious Kimble cautiously emerges from the
den and approaches her.
KIMBLE
Paula?
PAULA
Hi.
KIMBLE
Hi. Who just came in, Paula?
PAULA
(off the empty bottle)
Buy you one?
KIMBLE
No, thanks. Who came in, Paula?
PAULA
Good. That leaves that much more for me.
Paula tries to stand up but stays in the chair.
PAULA
Oh, heh, heh. Hi.
KIMBLE
Hi.
(sits with her)
Paula, who came in?
PAULA
Nobody. You know what you are?
KIMBLE
No.
PAULA
You're a nice guy.
KIMBLE
Yeah. What did nobody want?
PAULA
Nothing. So am I, so are you. And so is
little man with the message.
KIMBLE
What little man with a message?
PAULA
The little man with the message... who left
the message. That's what little man with the
message. I'm nice. You're nice.
KIMBLE
What message, Paula?
PAULA
Hm?
Paula starts to drift off to sleep. Kimble shakes her awake.
KIMBLE
Paula, was the message for Mike?
PAULA
Hey, what're you doin'?
KIMBLE
I want to know about the message, Paula.
PAULA
Oh, we're gonna play games now? Okay, well,
let's see... The message was...
(beat)
...very important. Oh, yeah.
Paula giggles.
KIMBLE
Was it about the one-armed man?
Paula doesn't respond. Kimble grabs her arm.
KIMBLE
Paula, what was the message?
PAULA
What are you doing?
KIMBLE
All right, come on. We're gonna have some
coffee.
PAULA
Lemme alone. I don't want any coffee. Lemme
be. Let me think. Something about I was... I
was supposed to tell Mike the man he wants...
the man he wants is... leaving town... in an
hour.
KIMBLE
Well, did the man say where Mike could reach
him?
PAULA
Mm mm mm mm mm... it's my turn now. What's
black and white and, ah... what else did he
say? Something station. Station.
KIMBLE
Train station?
PAULA
(shakes her head, no)
Train station. Train station.
KIMBLE
Bus station?
PAULA
Bus--? Yeah! How'd you know?
KIMBLE
What-what bus station, Paula? Where?
But it's too late. She's unconscious. Kimble rises and rushes out the door
leaving Paula to sleep off her drunk.
DISSOLVE TO:
EXT. FRONT OF THE BUS STATION - DAY
A taxi cab pulls up outside the station. Kimble gets out, pays his fare, and
runs inside through doors marked PASSENGER TERMINAL.
CUT TO:
INT. BUS STATION - DAY
Inside the terminal, Kimble looks around frantically. He spots a man
standing by a news stand. From the rear it looks as if he has only one arm
-- his empty coat sleeve is pinned up to keep it from dangling. But as the
man turns to approach a ticket agent, it's revealed that his arm is merely in
a sling. A disappointed Kimble runs outside to search the departing buses.
CUT TO:
EXT. REAR OF BUS STATION - DAY
As crowds of people board various buses, Kimble joins them -- searching
desperately for the one-armed man. He boards the nearest bus and scans the
passengers but there's no sign of him. Kimble rushes to a second bus and
does the same thing. Still no one-armed man.
Kimble runs alongside a third bus peering up at the passengers through the
windows. Nothing. He runs around the rear of the bus to check the
passengers on the other side.
On the far side of the bus, Kimble looks up to find that he's staring into
the shocked face of the One-Armed Man who sits in the very rear of the bus.
Kimble swallows hard. The two men stare at each other through the glass for
a long moment. It's the first time they've seen each other since the night
of the murder and they're both floored.
Abruptly, the bus starts to pull away. Kimble runs after it but he's too
slow. The bus leaves the station and disappears. A panicked Kimble rushes
back inside.
CUT TO:
INT. BUS STATION - DAY
Kimble confronts a bow-tied, bespectacled TICKET AGENT.
KIMBLE
That bus that just left. Where's it going?
TICKET AGENT
Well, which one?
KIMBLE
The one that just left.
TICKET AGENT
Oh, oh, that one. Uh, Florida.
KIMBLE
When's it make its first stop?
TICKET AGENT
Well, it-it-it picks up some more passengers at
Chicago Heights, if that's what you--
Kimble runs off.
CUT TO:
EXT. FRONT OF THE BUS STATION - DAY
Kimble exits the station and grabs a taxi by the curb.
KIMBLE
(to the driver)
Chicago Heights.
Kimble hops in and the cab pulls away.
CUT TO:
INT. DECKER'S APARTMENT - LIVING ROOM - DAY
Gerard interrogates a slightly more sober Paula who drinks coffee. She
hasn't completely recovered from her binge and struggles to keep her wits
about her.
GERARD
An escaped murderer named Richard Kimble.
PAULA
I never heard the name, Lieutenant.
GERARD
No, perhaps not. But your husband seems to
have been taking a special interest in him.
PAULA
Oh, well, there's so many poor people Mike
tries to help. I can't keep track of them.
He's very sincere about helping them you know.
GERARD
Yes, I'm sure. Ah, has your husband been home
nights these last few weeks?
PAULA
Oh, yes. He's always home at night. We're
very devoted.
GERARD
Really?
Sgt. De Santis emerges from the den and whispers in Gerard's ear.
GERARD
(to Paula)
Who's been occupying your den at night, Mrs.
Decker?
PAULA
The den?
(beat)
Well, you see, I lied to you, Lieutenant.
We're not devoted. Mike stays in the den.
GERARD
Isn't it the truth that Kimble's been living
here?
PAULA
No. I told you, I never--
GERARD
Come on now, Mrs. Decker. Where is he?
PAULA
I keep telling you, I never heard the name.
GERARD
(nods, satisfied)
All right, Mrs. Decker. I believe you.
Gerard walks off.
GERARD
(casually)
Um, when's Kimble coming back?
PAULA
I don't know, he just ran out--
Gerard turns to look at her. Sgt. De Santis turns to look at Gerard,
surprised that his odd tactic worked. Paula looks up in horror, realizing
what's she's done.
FADE OUT
EXT. CHICAGO HEIGHTS - DAY
FADE IN on the One-Armed Man's bus as it turns a corner and pulls to a stop
in front of a waiting Kimble. The BUS DRIVER opens the door and Kimble
climbs aboard.
BUS DRIVER
Ticket, please.
But Kimble rushes past him.
BUS DRIVER
Hey, mister! Your ticket!
Kimble heads for the rear of the bus, then stops in his tracks. The
One-Armed Man is gone, his seat empty. Kimble turns and approaches the Bus
Driver.
KIMBLE
There was a one-armed man aboard. What happened
to him?
BUS DRIVER
Oh, him? He got sick just after we left. He
asked me to stop, let him out.
KIMBLE
Where?
BUS DRIVER
I think it was the intersection of Prairie and
Sixty-Ninth Street. He sure didn't act sick,
the way he was running.
KIMBLE
Did you see which way he went?
BUS DRIVER
No. You after him?
KIMBLE
Yeah.
Kimble runs off the bus.
DISSOLVE TO:
INT. NEWSPAPER OFFICES - DAY
Late that afternoon. At his desk, a tired Decker answers his speaker phone.
MIKE DECKER
Yeah?
KIMBLE (o.s.)
Mike? Can you talk?
MIKE DECKER
Yeah. Where are you?
Throughout the rest of the call, we CUT BACK AND FORTH between an exhilarated
Kimble in a phone booth and Decker in his office.
KIMBLE
I saw him. The man we're after. I actually
saw him.
MIKE DECKER
Where?
KIMBLE
In a bus. Then he saw me and got off before I
could get to him. Look, you wanna meet me here?
We'll go after him together.
MIKE DECKER
Now, hold it. Wait a second, pal. Let's not
blow it now. Where are you?
KIMBLE
I don't know exactly. Somewhere in Chicago
Heights.
MIKE DECKER
Okay. You meet me at my apartment. We'll make
our plans from there.
KIMBLE
Look, you're wasting time, Mike--
MIKE DECKER
Shut up and listen. Now you said he saw you.
Okay, then. Use your head. That means he's
gonna get out of town just as fast as he can.
I got the contacts that'll know how and where.
KIMBLE
All right, get your people started. I'll be at
your place in about an hour.
Kimble hangs up. Decker hangs up. Standing beside him -- we see for the
first time -- is a satisfied Gerard, who nods to Decker.
DISSOLVE TO:
EXT. CHALFONTE APARTMENT BUILDING - NIGHT
After sundown, less than an hour later. A car drives past the building.
DISSOLVE TO:
INT. CHALFONTE APARTMENT BUILDING - LOBBY - NIGHT
In the plush lobby, Gerard confers with three plainclothes detectives.
GERARD
Now, don't try to be heroes. Let him walk in
and come up to Decker's apartment. Just make
sure he enters the building and goes upstairs.
Understand? All right, you two take the front.
You take the service door at the back. Okay.
The detectives walk off. Gerard takes the elevator up to Decker's apartment.
DISSOLVE TO:
INT. DECKER'S APARTMENT - LIVING ROOM - NIGHT
Moments later. Decker pours himself a drink. A distressed Paula sits
nearby. Sgt. De Santis is at the door. Gerard KNOCKS and Sgt. De Santis
lets him in.
SGT. DE SANTIS
All set?
GERARD
Yeah. Two at the front, the other in the rear.
(off the intercom)
He'll have to buzz to be let in, won't he?
SGT. DE SANTIS
That's right, this unlocks the door in the
lobby.
GERARD
(checks his watch)
Fine. I think that takes care of everything.
Paula turns to a pensive Decker.
PAULA
You're awfully quiet, Mike. You working out
the story in your mind? How's this for a
title? "I double-crossed Richard Kimble" by
Mike Decker. No, that's really not in keeping
with your public image, is it? Well, let's
see, how 'bout, uh, "I risked my life to try
and save Richard Kimble from capture." A
little long, but it's the right idea, isn't it?
GERARD
You act as though your husband had done
something to be ashamed of, Mrs. Decker. On
the contrary, the shameful thing would be
allowing himself to go to prison to protect
Kimble. Maybe you think there's something
glamorous about him. I assure you, there isn't.
PAULA
Not glamorous, Lieutenant. Innocent.
GERARD
Yes. A number of women have felt that way
about him. Purely emotional.
PAULA
What about the one-armed man? Or don't you
want to believe Dr. Kimble actually saw him?
GERARD
Oh, he probably did see a one-armed man. I
have no doubt he really thinks that a man of
that description murdered his wife. But that's
only because he can't -- or won't --
differentiate between reality and fantasy
anymore. Dr. Kimble murdered his wife, Mrs.
Decker. Take a jury's word for it.
Gerard walks off, leaving a disgusted Paula to stare at Decker.
DISSOLVE TO:
EXT./INT. APARTMENT BUILDING - CLIMACTIC MONTAGE - NIGHT
OUT FRONT, the two plainclothes detectives stand across the street from the
building. They look around. No sign of Kimble.
Upstairs, IN DECKER'S APARTMENT Decker, Paula, Gerard, and Sgt. De Santis sit
around, waiting. Gerard checks his watch.
GERARD
(to Sgt. De Santis)
He's late.
Sgt. De Santis agrees. Decker smokes a cigarette and exhales deeply.
OUT FRONT, the two plainclothes detectives watch as a taxi pulls up to the
building. An unsuspecting Kimble gets out and pays his fare. As the taxi
pulls away, Kimble looks around and spots the two detectives who pretend to
be having a conversation. Are they cops? Warily, Kimble goes to THE FRONT
DOOR and BUZZES Decker's apartment.
IN DECKER'S APARTMENT, everyone reacts to the sound of the BUZZER. Gerard
jumps up and BUZZES to unlock the door.
AT THE UNLOCKED FRONT DOOR, an uncertain Kimble talks into the intercom.
KIMBLE
Mike?
IN DECKER'S APARTMENT, Gerard quickly gestures for Decker to approach the
intercom and reassure Kimble. Paula gives Decker a dirty look. Decker makes
eye contact with her then looks away.
PAULA
(darkly ironic)
Sir Galahad.
Badly stung, Decker stares at her for a second before approaching the
intercom and talking to Kimble.
MIKE DECKER
(into the intercom)
Yeah.
AT THE FRONT DOOR, Kimble is on the intercom.
KIMBLE
Is everything all right?
IN DECKER'S APARTMENT, Decker responds.
MIKE DECKER
Yeah, sure. Come on up, Kimble.
Decker looks over at Paula who lowers her eyes.
Kimble opens THE FRONT DOOR and is about to enter the building when Decker's
voice comes screaming over the intercom.
MIKE DECKER (o.s.)
No! Don't!
IN DECKER'S APARTMENT, Decker yells.
MIKE DECKER
Gerard's here!
Gerard pushes Decker out of his way and starts out the door.
GERARD
(to Sgt. De Santis, off Decker)
Keep him here!
Gerard bolts out the door.
AT THE FRONT DOOR, a stunned Kimble looks over at the two detectives. They
look back at him casually. They haven't heard Decker's warning. Kimble
instantly realizes that they're cops. He looks up and down the street. He
figures he can't make a run for it so he turns and heads into the building.
The two detectives slowly start to cross the street.
In the LOBBY, Kimble boards the elevator and pushes the button for the second
floor. The elevator doors start to close just as the detectives enter the
lobby.
In an UPSTAIRS HALLWAY, an intense Gerard pauses at the elevator but then
decides to take the stairs down.
Kimble's ELEVATOR opens on the second floor. He presses the button for the
top floor before exiting. The elevator ascends without him.
In the STAIRWELL, Kimble pauses long enough to catch a glimpse of Gerard
descending from the top floor. Gerard fails to see him. Kimble runs down
the stairs to the basement.
In the LOBBY, the two detectives calmly watch the elevator indicator as the
elevator heads for the top floor. Assuming that everything is going
according to plan, they grab a seat.
Kimble enters the BASEMENT and looks around. He cautiously peers out a
window at the street level above. The third plainclothes detective is at his
post, guarding the service entrance in the rear.
In the STAIRWELL, a grim-faced Gerard rapidly descends.
In the BASEMENT, a desperate Kimble makes his way over to a fire alarm and
sets it off: a loud CLANGING bell. Through the basement window, we see the
third detective: he hears the alarm and rushes down some steps with his gun
drawn to the service entrance door. Kimble hides behind the door and gets
ready to ambush him when he comes in. The unsuspecting detective enters and
turns on a light. Kimble emerges from behind the door and punches him hard
in the jaw, knocking him into a nearby wall, stunning him long enough for
Kimble to run out the door. Through the basement window, we see Kimble race
up the steps and down the street. A clean getaway.
FADE OUT
EXT. CHALFONTE APARTMENT BUILDING - NIGHT
An establishing shot of the ritzy awning out front.
INT. DECKER'S APARTMENT - THE DEN - NIGHT
Paula enters carrying a tray of coffee for Decker who sits on a chair,
dictating into a tape recorder.
MIKE DECKER
(dictates)
I'm out on bail so this will probably be my
last column. At least, for a while. I'm
guilty of aiding and abetting Richard Kimble's
escape. And, under the law, the judge must
sentence me to a minimum of one year in prison.
Hearing this, Paula sets the tray down next to Decker and sobs.
PAULA
Oh, Mike... Mike.
Decker holds out his arm to give her a hug. Paula kneels beside him and puts
her head on his shoulder. He wraps his arm around her comfortingly and
caresses her.
MIKE DECKER
(affectionately, to Paula)
Why don't you shut up?
(dictates)
To say that I'm scared is putting it mildly.
I'm scared to death but... I think I can make
it.
(looks at Paula)
I know I can make it. If Richard Kimble
should read this, I want him to know, I wish
him all the luck in the world. You keep a
good thought, pal.
Over Decker's shoulder, his window looks out over the city of Chicago beneath
a night sky.
DISSOLVE TO:
EXT. CITY STREET - FAR AWAY FROM DECKER - NIGHT
On a dark, deserted street, Kimble pauses to light a cigarette.
NARRATOR (v.o.)
Now many months a fugitive, Richard Kimble
walks the night again -- but no longer in
despair that he is hunting only a phantom. He
has seen the one-armed man, and it has given
him hope. Somewhere, sometime, they will meet
again.
Kimble walks off into the night.
FADE OUT
Last revision: 4 August 1999