THE FUGITIVE
THE FUGITIVE
by
Jeb Stuart and David Twohy
FADE IN:
EXT. CHICAGO - AERIAL - NIGHT
CREDITS BEGIN OVER:
Snow swirls around the tall buildings of downtown Chicago.
EXT. CHICAGO HOTEL - NIGHT
Cars, taxis, limos line the street. A cab pulls up and MAN
in tuxedo moves into:
INT. CHICAGO HOTEL - BALLROOM - NIGHT
THROUGH arriving guests we PICK UP the Man climbing stairs
to the ballroom.
ANGLE - COAT CHECK
The Man hands his coat to coat check woman and thanks her.
When he turns we get our first view of DR. RICHARD KIMBLE,
a tall, athletic man, with a trim beard.
He moves from the outer lobby into a fabulously decorated
ballroom where a fashion show is taking place as a medical
fundraiser. Doctors and their spouses, hospital brass and
sponsors mingle. Women sit near the runway watching the
models. Men talk by the bar. The room is packed.
A banner over the rostrum says: "CHILDREN'S RESEARCH AND
AID FOUNDATION"
Kimble is handed a glass of champagne, which he promptly
sets on another waiter's passing tray.
ROBERTS (V.O.)
Richard...
DR. ROBERTS, a large surgeon, pulls Kimble over to a group
of surgeons gathered around a bar. Smoking cigars.
ROBERTS
Cancun. Nat just talked everybody
into it...
A hospital equipment rep, NAT, is buying drinks.
KIMBLE
So, what's the deal? If the hospital
buys ten new -
NAT
No, no, no, no strings attached, Dr.
Kimble. Industrial Hospital Supply
has no ulterior motives.
KIMBLE
On the house, huh?
(to bartender)
Tonic water with lime.
Everyone agrees.
KIMBLE
Never get me to sell my soul for one
of those trips...
His tone silences the group. Kimble takes his drink.
KIMBLE
(to Nat)
... But if you get any more Bulls
tickets, Nat, give me a call.
The group laughs, Kimble extracts himself and CREDITS
CONTINUE OVER -
CUT TO:
KIMBLE
Moving through the crowd.
CUT TO:
KIMBLE
Nearly gets hit in the follow-through of an imaginary
golf swing.
KIMBLE
You're slicing, Dave. Don't turn
your hip.
He keeps moving.
GOLFING MAN
Thanks, Richard...
CUT TO:
ANGLE - TOUGH-LOOKING LAB RAT
KATHY WAHLUND, totally out of her element amid the formal
elegance around her. She wears a leather jacket over
T-shirt and stares at the action on the fashion runway.
DR. WAHLUND
(dripping sarcasm)
I'm so glad you talked me into
coming, Richard... I can pick my
cruise wardrobe.
RICHARD
It's for a good cause, Kath...
Besides you need to get out of the
lab more. Your electron microscope
is starting to give you a tan.
She smiles. He moves on.
ANGLE - PARTY
Kimble continues down the bar when he spots a friend...
KIMBLE
Hey, Jim.
DR. JAMES NICHOLS turns, smiles. Mid-40s, head of the
University Hospital. He is a fit contemporary.
NICHOLS
Richard, I just saw someone who
wanted to meet you...
Just then Kimble spots an attractive WOMAN, late thirties,
wearing a drop-dead, simple black gown. She's surrounded by
a group of men hanging on her every word. She and Kimble
catch a look and hold it.
NICHOLS (V.O.)
Richard Kimble... Alex Lentz. Alex
is working on the RDU90 trials for
Devlin-Macgregor.
Kimble turns to meet DR. ALEXANDER LENTZ, late 30s, tan,
smiling. Lentz extends his hand...
LENTZ
Dr. Kimble... Sorry, we've been
trading phone calls last few days
... something about a biopsy report
I returned to you?
KIMBLE
(suddenly attentive)
Yeah... Three. Livers appeared
hepatetic to me.
LENTZ
I'll be in my office in the morning
and I'll pull up the samples. Is that
a good time for you?
KIMBLE
Sure.
LENTZ
(holds Kimble's look,
then to Nichols)
See you, Jim.
Lentz moves on. Kimble looks after him a beat, then focuses
on relocating the Woman he just saw. She's gone. He and
Nichols move together through the party.
NICHOLS
(digs in his pocket)
Before I forget, I went by the garage
this afternoon and picket up the
Ferrari. Thanks for the loaner again.
He hands Kimble a valet ticket.
KIMBLE
They fix it this time?
NICHOLS
We'll see.
They reach the Woman Kimble saw, his wife, HELEN KIMBLE.
Kimble kisses her.
NICHOLS
You look fabulous, Helen.
He kisses Helen.
HELEN (WOMAN)
Hello, Jim.
NICHOLS
(to Kimble)
We've got a court tomorrow at three.
Nichols leaves. Kimble looks at his wife.
KIMBLE
Well, I've seen everyone, can we
leave?
HELEN
That would be a little abrupt, don't
you think?
CUT TO:
ANGLE - KIMBLE'S TABLE - NIGHT
A table for ten. Kimble and Helen introduce themselves to
others at table ant sit across from each other.
Kimble sits between two doctors' wives. One, NOW EAU WIFE,
mid-thirties, bedecked in jewels and loud dress, the other
OLDER WIFE.
Helen sits between their husbands who are trying to impress
her with the details of their boring studies as CREDITS
CONTINUE...
INTERCUTTING WITH the fashion, catches of dialog and course
changes, Kimble and Helen demonstrate an oft-used exchange
of glances: Kimble, while gracious to his dinner partners,
catches Helen's eye and makes smiling, subtle movements to
his watch or a look to the door to indicate he's clearly
ready to leave. On the receiving end, Helen, the gatekeeper
of their social propriety, indicates with equal subtlety:
"not yet."
As we MOVE AROUND the table we hear:
"Where's your husband on staff?" "My husband's an orthopod
at Northwestern." "I'm working on a new technique..."
"That's fascinating..." "That's quite a marvelous dress
you're wearing." "Do you like it? My husband says it's a
'four-fracture number."' "Honey." (A look from her husband.)
Kimble shares a look with Helen. He subtly motions to his
watch: time go to, and mouths the word: "now." She shakes
her head.
NOW EAU WIFE
(to table)
I told my husband that he was going
to kill us if he didn't stop
operating. What with this AIDS thing,
he's putting us all at risk.
Helen and Kimble absorb this comment without reaction, share
a look. Helen mouths the word: "Now."
HELEN
(to her dinner partners)
I'm sorry, I have to get my husband
home.
They say their good-byes and pass Nichols' table. Nichols
shakes his friend's hand in passing. From across the room we
see Lentz watching.
INT. KIMBLE'S MERCEDES - NIGHT
Kimble and Helen driving home. She runs her fingers through
his hair as he drives.
HELEN
You looked handsome tonight...
KIMBLE
Thank you...
He smiles to himself, seems to enjoy the compliment too much
for Helen. Her smile becomes playful, mischievous.
HELEN
Uh, huh... most men in a tuxedo look
like waiters...
KIMBLE
But me?
HELEN
You looked more like... a band
director.
He stops at red light, leans over and kisses her. Light
changes and neither notice. Slowly their kiss breaks.
HELEN
Are we home yet?...
CUT TO:
EXT. KIMBLE'S HOUSE - NIGHT
Kimble pulls up in front of his house. Suddenly both his
PAGER and CAR PHONE RING at the same time.
KIMBLE
(to phone)
Dr. Kimble
(suddenly attentive)
When? Okay, tell them I'll be there
in ten minutes.
He hangs up.
KIMBLE
Tim's got a problem.
Helen kisses him again, opens the door.
HELEN
Call me on your way home.
CREDITS END as we -
CUT TO:
INT. UNIVERSITY HOSPITAL - HALLWAY / SCRUB ROOM - NIGHT
Kimble, wearing scrubs but without head gear, moves down
stairs to the OR hall.
He sticks his head into the operating room.
KIMBLE
Cavalry's here.
Two harried surgeons look up, glad to see him.
SCRUB ROOM
Kimble begins scrubbing as the RESIDENT comes out to bring
him up to speed.
RESIDENT
Patient is a male, forty-three. We
pulled his gall bladder and the
bleeding started.
KIMBLE
What's his pro time?
RESIDENT
(concerned)
He's at 36 seconds. We got a major
bleeder in here.
KIMBLE
You talk to the family?
RESIDENT
None. He's off the street.
CUT TO:
INT. UNIVERSITY OF CHICAGO - OPERATING ROOM - NIGHT
Operation in progress. Top medical facility filled with
trained professionals and state of the art equipment. Kimble
is assisted across the table by the chief Resident. Both
working so intently they never look at each other as they
talk...
KIMBLE
(to Anesthesiologist)
Okay... I'm clamping. Can he
tolerate it?
ANESTHESIOLOGIST
He's a very sick guy.
KIMBLE
Do we have a choice?
ANESTHESIOLOGIST
Go for it.
KIMBLE
Marie, give me a clamp...
MARIE, the scrub nurse, passes him the instrument and Kimble
and the other SURGEON continue to work with the Resident
assisting.
KIMBLE
(never looking up)
Your husband know you're here tonight,
Marie?... What about this liver?
RESIDENT
History's sketchy. Could be an
alcoholic.
KIMBLE
Who referred him?
RESIDENT
He's on a drug protocol. RDU90.
Kimble looks up and shares a look with the chief Resident
over their masks, then back to work.
KIMBLE
The wave of the future... Marie, you
told Frank yet? Frank is so jealous
of this late night thing we've got
going here... This should hold him.
Bleeding's stopped. Let's get a
biopsy...
(to circulating nurse)
Send it downstairs and make sure you
get Kath her slice.
SURGEON
You staying for the closing, Rich?
Kimble moves away and sheds his gloves and gown.
KIMBLE
No. I got a date.
INT. SCRUB ROOM - NIGHT
Kimble throws away his hat and mask. The door opens behind
him; it is the other Surgeon.
SURGEON
Hey, Richard...
Kimble turns.
SURGEON
Thanks.
CUT TO:
INT. KIMBLE'S CAR - NIGHT
Kimble driving through empty Chicago streets toward home.
He is on phone, waits for answer.
KIMBLE
Hi. I'm five minutes away...
INTERCUT WITH:
INT. KIMBLE'S TOWNHOUSE - NIGHT
Helen on the phone, downstairs. She is still in her gown with
an afghan around her shoulders. She's been reading.
HELEN
I'm glad it went well. I'll see you
in a minute.
Helen hangs up phone, turns out the light and starts up the
stairs.
CUT TO:
EXT. CHICAGO STREET - NIGHT
Kimble driving.
INT. KIMBLE-S TOWNHOUSE - DRESSING ROOM - NIGHT
Helen moves down the hall toward the dressing room/closet.
Opens the door to large closet dressing room and turns on
the light. Nothing. She starts to leave and decides to close
one of the interior closet doors.
She starts to slide the door closed when - wham!
A hand reaches out and clutches her by the neck. Helen
claws and scratches to get free and in her struggle her
string of pearls bursts...
... and a single pearl bounces out of the bedroom... rolls
across the landing to the stairs, stopping three steps from
the top.
CUT TO:
EXT. KIMBLE'S TOWNHOUSE - NIGHT
Snow swirls around the street as Kimble's car pulls into the
driveway. On the third floor, we see a bedroom light still
on.
INT. KIMBLE'S TOWNHOUSE - NIGHT
A GRANDFATHER CLOCK TICKS softly. Kimble tosses his keys on
the entry table, picks up a stack of mail on the table and
calls up the stairs.
KIMBLE
I'm home. Did you hear who won the
Bulls game?
No answer. He steps into the:
KITCHEN
The wall phone shows a line in use. Kimble notices it. The
WASHER BUZZES, he switches the clothes from washer to dryer,
and STARTS the MACHINE. Takes a bottle of wine and two
glassesand leaves the kitchen.
INT. BEDROOM - CLOSE ON .38 SMITH AND WESSON - NIGHT
Lies on the floor, beside Helen's legs and the receiver of
phone, off the hook. A man's rubber-gloved hand picks up the
gun.
INTERCUT WITH:
INT. DOWNSTAIRS - STAIRS - NIGHT
Kimble starts up the stairs to the bedroom...
INT. BEDROOM - NIGHT
Helen's hand reaches out presses the cradle down, dials
ON KIMBLE
Climbing the stairs... suddenly stops.
A small white ball on the stairs. He bends down and picks
it up... a pearl.
KIMBLE
Helen?
Silence. He can see directly into the bedroom. It's quiet.
Too quiet. He notices a lampshade on the floor.
UPSTAIRS HALL - NIGHT
Kimble moves slowly to the opened doorway. And just before
he enters he sees a large form in the crack behind the door.
Adrenal surge.
Kimble slams the door back on the figure knocking the gun
free. Before Kimble can move to it a forearm flattens him.
The attacker immediately goes for the gun. Kimble grabs a
leg and twists him down, the man's fingers hit the gun,
sending it skittering across the hardwood floor of the
landing and over the edge - three flights to the entry
hall below.
SIRENS can be heard. Distant but APPROACHING.
The man kicks free and tries to flee. This time Kimble
catches an arm and twists it at an unnatural angle. To his
shock, the limb detaches between the shoulder and elbow.
Kimble looks at the arm in his hands - it's hollow.
Electrodes are visible inside - then to the man's unreadable
face...
The SIRENS are LOUDER...
Before Kimble can recover, the One-Armed Man knocks Kimble
down and grabs back his arm. He runs down the stairs.
Kimble pulls himself up and starts to follow but is stopped
by a VOICE behind him in the bedroom...
HELEN (O.S.)
He's here... still in the house...
INT. BEDROOM - NIGHT
Lying by the bed, Helen Kimble, clutches the phone with one
hand, her head with the other.
911 (V.O.)
Did I hear you right? Your attacker
is still in the house? Ma'am?
HELEN
He's trying to kill me...
Kimble appears. Helen drops the phone when she sees him.
911 (V.O.)
Will you repeat that please?
HELEN
(to Kimble)
Richard... He's trying to kill me...
my head.
EXT. KIMBLE'S TOWNHOUSE - NIGHT
Two Chicago police cars wheel to the curb, COPS move quickly
to the house.
INT. BEDROOM - NIGHT
Kimble moves to her. Sees the necklace of bruises where she
was held down and choked. And then a bullet wound in her
leg. She's already going into shock. Her speech turns thick.
KIMBLE
Hang on, babe... going to be all
right.
Her fingernails dig into Kimble's arm, trying to hold on.
HELEN
My head. Richard my hold me.
Her eyes slip away from his. He peels away the hand on her
head - and sees raw pummeled brain staring back and realizes
she won't be all right.
CAMERA SWINGS DOWN TO the dropped phone.
911 (V.O.)
... Hello. You said his name is
Richard? Ma'am, can you talk to me?
Ma'am?
CUT TO:
INT. KIMBLE'S HOUSE - NIGHT
The Cops enter the house. See the .38 lying on the floor.
Covering each other, they move quickly up the stairs - guns
drawn.
ANGLE
Third floor. The First Cop, gun drawn, turns the corner of
Kimble's bedroom and finds:
Kimble holding his dead wife. Blood on his hands.
COP #1
Move away from her.
CUT TO:
INT. KIMBLE'S TOWNHOUSE - NIGHT
Kimble, numbed by the event, washes the blood off his hands
in the kitchen sink. A cop takes his blood-stained tux
jacket, and another hands him a parka.
EXT. KIMBLE'S TOWNHOUSE - NIGHT
The street is filled with Chicago police cars, curious
neighbors, television news vans, etc.
Kimble is helped into a police car as the coroner's van
arrives. He pauses a moment to watch as we hear.
DETECTIVE KELLY (V.O.)
Can you give us a little more to go
on besides the fact that he had an
artificial arm? What kind of gun was
it, Doc?
INT. 11TH STREET DISTRICT HOUSE - NIGHT
CAMERA FINDS Kimble in an interview room. He is in "why"
shock. "Why her." "Why me?" Says nothing. Two Detectives:
KELLY and ROSETTI. Kelly, the questioner, is overweight,
aggressive. He shifts his gun on his hip so he can sit down.
KIMBLE
It was .38... I think. I only saw it
for a second. I knocked it out of
his hand.
As Kimble is questioned we INTERCUT WITH flashes of the
murder scene being processed:
FLASH - INT. KIMBLE'S HOUSE - NIGHT
Forensics technicians photograph the .38 at the base of the
stairs.
DETECTIVE ROSETTI (V.O.)
Do you own a gun, Dr. Kimble?
KIMBLE
Yes.
DETECTIVE ROSETTI (V.O.)
What kind of gun?
KIMBLE
A .38 Smith.
FLASH - FORENSICS TECHNICIAN DUSTS CRYSTAL LAMP
DETECTIVE KELLY
Did you have your key with you tonight,
Dr. Kimble?
FLASH - COPS
Checking doors of house for signs of forcible entry.
BACK TO SCENE
PHONE RINGS. Rosetti answers it. Kimble watches him write
something down, he slides it to Kelly.
FLASH - MEASURE "NECKLACE" OF BRUISES ON HELEN'S NECK
DETECTIVE KELLY (V.O.)
Your wife was loaded wasn't she? I mean, she was worth quite
a bit of money.
BACK TO SCENE
Kimble looks up at the two cops. For the first time he seems
to sense something aggressive in their questioning.
They no longer seem on the same team.
KIMBLE
What's going on here? This guy was
trying to rob us.
The two cops stare at Kimble.
KIMBLE
You guys have got to be out of your
minds. I didn't kill my wife!
He gets up to go. A cop blocks his path. He turns and looks
at Kelly.
DETECTIVE KELLY
Let's start over, Dr. Kimble. What'd
you have for breakfast?
CUT TO:
INT. 11TH ST. POLICE STATION - NIGHT
Kimble in his tuxedo shirt and black tie holds a booking
number plate in front of him as a mug shot is taken...
front, then side.
MAN (V.O.)
We're all adults here so I'll lay it
out...
EXT. NEWSSTAND - DAY
Chicago Sun-Times has a photograph of Kimble spread across
the front page.
MAN (V.O.)
... If you two come up with a deal,
I'll listen, but let me make one
thing perfectly clear.
INT. ELECTRONICS SUPERSTORE - DAY
Salesmen continue to hawk sets. Kimble's photograph comes
up on a hundred TV monitors across the store.
NEWS REPORTER (V.O.)
Police are revealing no details in
the case against Chicago surgeon...
INT. KIMBLE'S CELL - DAY
Kimble lays on his bunk. Thinking...
MAN (V.O.)
... It's an election year...
INT. JUDGE'S CHAMBERS - DAY
CAMERA MOVES THROUGH smoke-fillet room to find tough FEMALE
PROSECUTOR, a man in late forties, WALTER GUTHERIE, and STOPS
ON the source of the voice we've been hearing and the cigar:
JUDGE BENNETT, late fifties. Fair but, no nonsense, political
survivor.
JUDGE BENNETT
... and this case is a heater. It
will not end up a bench trial...
INT. COOK COUNTY JAIL - CORRIDOR - DAY
Richard Kimble in County lockup fatigues and a navy watch cap
moves down long corridor, escorted by GUARD.
GUTHERIE (V.O.)
We've had private investigators
interview over a hundred amputees,
Richard...
INT. PRISON INTERVIEW ROOM - DAY
Walter Gutherie, his attorney, stands by a window looking
out at the yard. Another attorney, RANDOLPH, watches
Gutherie.
GUTHERIE
... We can't find this guy.
KIMBLE
I know what I saw, Walter.
GUTHERIE
I put you up on the stand to say what
you saw without anything that
remotely smells like proof and the
State's attorney is going to take
this one-armed man story and run it
up our ass.
(he holds Kimble's look)
Look, Richard, you're paying us a
lot of money to defend you... A plea
to second degree -
KIMBLE
I didn't kill my wife.
INT. COOK COUNTY JAIL - DAY
Kimble being escorted back to the courtroom. A guard carries
his suit in a bag. He is taunted by other prisoners.
GUTHERIE (V.O.)
You're a successful upper middle
class white man charged in a
violent crime...
INT. COOK COUNTY LOCKUP / CHANGE ROOM - DAY
On the other side of the door is the courtroom. A sheriff's
deputy hands Kimble (now wearing his suit), a small plastic
bag. In it we see his wedding band.
GUTHERIE (V.O.)
It's a circumstantial case, but it's
also a jury trial. We play 'em, they
play 'em...
INT. CHICAGO COURTROOM - DAY
Richard Kimble sits at defense table... watches prosecutors
chat with Helen's relatives. Media anchors glare at him.
GUTHERIE (V.O.)
... But if we lose, we lose big.
Just remember, they're lined up a
block long to have your hide.
HARD CUT TO:
PHOTOGRAPH OF HELEN KIMBLE'S BODY
A crime scene photograph.
DETECTIVE KELLY
On the stand.
DETECTIVE KELLY
No forcible entry was found. From
the beginning of the investigation,
it did not appear to be a break-in.
Nothing was missing.
FORENSICS TECHNICIAN
On the stand.
FORENSICS TECHNICIAN
The defendant's prints were found on
the neck, gun, bullets, and lamp...
no other sets were fount other than
the deceased.
FACES OF THE JURY
Impassive. Attentive. His "peers." They listen to the
recording of the 911 tape.
911 (V.O.)
Did I hear you right? Your attacker
is still in the house? Ma'am?
HELEN (V.O.)
He's trving to kill me...
911 (V.O.)
Will you repeat that please?
HELEN (V.O.)
Richard... He's trying to kill me...
KIBLE'S POV - THE JURY
A few members lean over to make notes. It's powerful taken
out of context.
NICHOLS ON THE STAND
PROSECUTOR
Dr. Nichols. You are aware that
Richard Kimble was the only
beneficiary of Helen Kimble's estate.
12 million dollars roughly.
NICHOLS
I was aware of that. The money meant
nothing to him.
PROSECUTOR
Yet in your presence, Richard Kimble
once said that 'if he had Helen's
money he could find plenty of uses.'
Did he not?
NICHOLS
We were talking about -
PROSECUTOR
Yes or no?
Nichols' look tells us everything... Yes.
CUT TO:
CORONER
On the stand.
CORONER
The wound to the head caused a
massive hemorrhage to the brain. It
took from five to seven minutes for
her to die...
A woman in the jury reacts. Kimble notices.
KIMBLE
On the stand. He finishes his moving description of the
events. We see some of the jury has been moved.
KIMBLE
... And I was holding her when the
officers came in.
Gutherie returns to his seat. The Prosecutor moves to the
jury. He begins slowly but his questions pick up strength.
PROSECUTOR
How tall was this man, Dr. Kimble?
KIMBLE
I can't be sure. We were, mostly on
the floor, fighting... I couldn't -
PROSECUTOR
Did that fight cause the scratches
on your face and arms?
KIMBLE
No. As I explained -
PROSECUTOR
And how did this man enter your
house?
KIMBLE
I don't know -
PROSECUTOR
And you probably don't know why your
wife told the emergency operator You
were her attacker?
KIMBLE
She didn't -
PROSECUTOR
Your name is Richard, isn't it? Your
gun is a .38, isn't it? Your prints
were on the gun, the bullets, the
lamp, her neck, weren't they?
KIMBLE
Look...
PROSECUTOR
Weren't they?
CUT TO:
INT. COURTROOM - DAY
Richard Kimble sits behind the desk, but already he's a
shadow of the man we knew before, stares ahead passively as
Judge Bennett delivers the sentencing to hushed courtroom.
JUDGE BENNETT
After careful and studied review of
all evidence presented during each
phase of this proceeding, and
because aggravated circumstances,
detailed at length, were present
the night of January 20th.
Kimble is silent, stunned, but all around him the sentence
shockwaves through the courtroom. Reporters push out rear
doors. Prosecutors share a look - with a hangman's
satisfaction. Nichols, watching behind Kimble's table,
lowers his head. Disbelief.
ANGLE ON RICHARD KIMBLE
He remains silent. Kimble is pulled gently to his feet by
bailiff. Gutherie whispers an "I'm sorry." Kimble doesn't
hear it.
JUDGE BENNETT (V.O.)
Therefore, it is the decision of
this court...
Looks over his shoulder to the emptying courtroom. Faces
stare back.
CUT TO:
INT. KIT ROOM - DAY
Judge Bennett's V.O. CONTINUES over:
A locker opening. Inside, a profusion of chrome and nickel
plating. Jailhouse jewelry. Handcuffs dragged out. Action
checked.
JUDGE BENNETT (V.O.)
... that you be remanded to Menard
State penitentiary...
CLOSE ON CUFFS
Slapped down over wrists, ratcheting down tight.
Ankle cuffs dragged out. Pant legs raised, canvas shoes
exposed. Cuffs clamped down on ankles.
CHAINS RATTLED out. Snaked across the floor. Looped around
waists and locked to handcuffs to form belly chains.
JUDGE BENNETT (V.O.)
... where you will serve a sentence
of life imprisonment without
possibility of parole.
EXT . SALLY PORT (COOK COW TY JAIL) - NIGHT
The chain gang exits through the sally port. Kimble and
three other prisoners. Jailers escort them to...
An Illinois Department of Corrections guard moves alongside,
checking the undercarriage with a pole-mounted mirror.
The GAVEL CRACKS as we -
CUT TO:
INT. BUS - CLOSE ON KEY - DAY
Locking wire mesh cage inside bus.
An old DIESEL COUGHS to life.
EXT. COOK COUNTY JAIL - NIGHT
Main gates open. The BUS GRINDS onto the streets.
INT. BUS - DAY
The four prisoners sit scattered, still cuffed but no longer
chained together. Near the front, PRISONER #1 is eyeing...
The two prison guards seated beyond the caged door. YOUNG
GUARD lighting a smoke. OLD GUARD drowsing. Shotguns
bouncing on their knees. Prisoner #l shifts his gaze to...
The driver. Pistol on his hip.
DISSOLVE TO:
EXT. DESOLATE HIGHWAY - NIGHT
The BUS RUMBLES north, heading towards the horizon.
INT. BUS - NIGHT
PRISONER #1 rises. Through caging:
PRISONER #1
Hey. Illinois penal regulations
require a meal for transport
rides of four hours or more.
Young Guard shakes his head. "Fucking jailhouse lawyers."
Checks his watch: 4:00.
YOUNG GUARD
Jack! Feedin' time.
Old Guard yawns to his feet, unhooks a key-ring from his
belt. Young Guard stows his shotgun in the weapons locker.
PRISONER #2 looks at Kimble. Kimble stirs awake... watches
the cage door open, Young Guard moving back. And across the
aisle...
PRISONER #3, a big man named COPELAND, wags his head
between his knees. Something slides out of his shirt and
CLANKS to the dimpled steel floor. It's a razor sharp
plastic shank.
Heart quickening, Kimble looks forward. Young Guard is
handing a petrified sandwich to Prisoner #1. Kimble snaps
a look back to Copeland, who palms the shank.
COPELAND
Breathe, and you're first.
Old Guard watches from the open cage door, shotgun
carelessly ready.
Young Guard reaches Kimble and extends a sandwich. Kimble
doesn't respond.
YOUNG GUARD
Suit yourself.
He offers the sandwich to Copeland. In the exchange,
sandwich drops. Copeland leans down for it.
Up front, Old Guard yawns again just as...
KIMBLE
Look out!
Too late... Jackknifing up, Copeland drives the shank into
Young Guard's gut.
Prisoner #2 dives for Young Guard's holster. As the gun comes
out, Young Guard gets a hand on it. A SHOT FIRES...
Jolting Old Guard. He chambers his shotgun. Kimble hits the
floor. The Old Guard jams a key into the cage door and surges
inside, but...
Prisoner #1 broadsides Old Guard. SHOTGUN DISCHARGES...
Opening a big Gainsburger hole in the driver. He sinks under
the steering wheel. A knee hits the accelerator.
The CAGE DOOR SLAMS locked behind the Old Guard.
EXT. DESOLATE HIGHWAY - NIGHT
As the bus careens off the road, accelerating.
INT. BUS - NIGHT
Young Guard wrestles gun from Prisoner #2 and FIRES, killing
prisoner #2. Copeland grapples with wounded Young Guard.
Old Guard shotgun-butts Prisoner #1, flips the gun, PUMPS
ONE ROUND into the man's chest. Dead. He turns just as...
EXT. OPEN LAND - NIGHT
As the driverless BUS BUCKS ant BANGS over open ground.
INT. BUS - NIGHT
Old Guard reloads. Copeland drops down behind a seat.
Old Guard jams his SHOTGUN under the seat. But just as the
Old Guard pulls the trigger the bus jerks. The SHOT goes
off target as...
EXT. OPEN LAND - NIGHT
The BUS ROARS into a gravel embankment. ROARS up the slope
and CRASHES down on its side - sliding to a stop at the
bottom of a small ravine.
INT. BUS - NIGHT
ENGINE DIES. Dusty silence. We don't know up from down.
On his knees, Old Guard makes his way to the driver. Finds
him dead. Now a SOUND. Old Guard whips his shotgun around
at...
Kimble. Rising between the seats.
A hairy beat. Old Guard might kill him just to finish things
off. But a GROAN turns Old Guard's head.
Young Guard, trying to hold his guts in. Old Guart turns to
find Kimble.
OLD GUARD
(to Kimble)
You. You're a doctor. C'mere.
He slides to the Young Guard as the Old Guard scrounges up a
medical kit, shoves Kimble down on Young Guard.
OLD GUARD
Do something.
Kimble looks at his cuffs. "In these?" Old Guard digs out
his key ring and unlocks Kimble's hands - only his hands.
Kimble opens medical kit. It's been ransacked - just
Band-Aids now. Kimble looks into the wound.
KIMBLE
He isn't going to make it unless he
gets to a hospital. Fast.
OLD GUARD
ZL.
In this delicate moment a SHIVER runs through the bus. Is it
just settling?
With other things to worry about, Kimble tries to stop Young
Guard's bleeding.
ANGLE UNDER SEAT
We see Copeland, alive. The crash has ripped the bars from a
back window and shattered the glass. He works to get out the
opening.
BACK TO KIMBLE
A second SHIVER ripples through the bus, stronger. Kimble
retracts his hands to touch a metal panel - and feels a
growing vibration.
KIMBLE
Just where the hell are we?
The Old Guard feels it too. He gets down on his knees and
looks out one of the shattered, barred windows.
OLD GUARD
Oh, shit...
EXT. RAILROAD TRACKS - NIGHT
The bus lies across railroad tracks. A not-too-distant bend
grows bright by the light of an approaching train.
INT. BUS - NIGHT
Kimble sees: Old Guard fights the cage door. Kimble lunges
to his side.
KIMBLE
It's locked. Where're your keys?
EXT. RAILROAD TRACKS - NIGHT
Downtrack, one Cyclops light appears.
INT. BUS - NIGHT
Kimble spots keys. Pitches them to Old Guard. Drags Young
Guard to the front for a quick exit. But Old Guard fumbles
the key-ring, his hands shaking as much as the bus.
The train light spider-webs across cracked windows. Kimble
snatches the keys away from the Guard's trembling hands.
KIMBLE
Which one? This? This one?!
Old Guard gulps a nod. Kimble jams a key in the lock. Throws
the door open. Grabs Young Guard.
KIMBLE
Help me get him -
But Old Guard climbs right over Kimble's back and climbs out
the shattered windshield.
ANGLE ON REAR OF BUS
Copeland escapes through the hole in the back...
EXT. BUS - NIGHT
... and hits the ground running the other way. The
locomotive's headlight reveals the toppled bus.
INT. BUS - NIGHT
Train light grows. A nanosecond of uncertainty: Should
Kimble leave the wounded man? Kimble and the Young Guard
hold a look.
EXT. FREIGHT TRAIN - NIGHT
As the WHEELS BRAKE and LOCK.
EXT. RAILROAD TRACKS - NIGHT
Kimble struggles out of the bus - pulling the Young Guard
behind him. He slings the man clear.
SCREECHING death, the TRAIN SKIDS closer.
For one heartbeat, Kimble remains perched atop the bus.
The train light X-rays him.
Kimble leaps. Lands. Rolls. Gains his feet. Tries to sprint
away but can't: His feet are still chained. He gets off a
dozen mincing steps before...
IMPACT: A hundred tons of STEEL SLAMS into the bus,
splitting it open.
Shrapnel rips through Kimble's thigh, but he stays on his
feet, still running feverish half-steps.
An EXPLOSION envelops the train. Flames stream down its
flanks.
The train burns past the wounded Guard.
Kimble looks back, expecting to see the catastrophe behind
him. But he gets the shock of his life - of any man's life:
Still on its wheels, the locomotive is derailing - and coming
after him. It's the stuff of nightmares: One little man being
chased by a fire-breathing locomotive.
The train burrows to a stop.
Kimble is suddenly five feet taller, standing on an upheaval
of earth, staring eyeball-to-eyeball with the train that
nearly devoured him. He pants. Coughs on smoke. Then notices
something in his hand.
It's the key-ring.
EXT. WOODS - NIGHT
Kimble sits and searches the key-ring for manacle key.
Suddenly a hand reaches down and snatches the key-ring away.
COPELAND (O.S.)
Give me that.
Kimble watches as Copeland quickly unlocks both sets of his
own chains.
COPELAND
You listen to me. I don't give a
damn which way you go, just don't
follow me.
Kimble takes the key as Copeland wraps his chains around his
arm and runs. Kimble unlocks his leg irons and runs in the
other direction - crossing a hilltop in the moonlight.
DISSOLVE TO:
EXT. CRASH SITE (SOUTHERN ILLINOIS) - NIGHT
News and sheriff's department choppers circle billowing
smoke. TILT DOWN to reveal the derailed train. Fire engines
hose down the blackened locomotive. Rescue workers work
feverishly with jaws-of-life to get into the mangled
wreckage. Illuminated by spotlights, transportation
investigators in blue coveralls pick through the twisted
remains of the bus. State troopers restrain spectators.
Two American-made rental cars pull up. Four deputy U.S.
marshals emerge:
BIGGS. Swaggering Midwestern carnivore. Built like a brick
shithouse.
RENFRO. Bantam-rooster of a man, no more than 140 pounds
fully-equipped.
POOLE. Black woman. Nobody minds having her around during
nut-cuttin' time.
NEWMAN, a scrub-faced G-5.
From the second car steps GERARD. He takes in the media
spectacle.
GERARD
Good lord...
REFRO
What is this... a circus?
As a group they begin moving along the service road above
the crash site. Derailed train cars are accortianed below
them. They take in the elements of the crash and as they
walk each begins to reveal their U.S. Marshal's credentials.
Biggs spots something...
BIGGS
Point of impact.
... and branches off.
GERARD
Biggs, your turn to babysit Newman.
BIGGS
Shit.
(to Newman)
Come on.
They drop down to the crash site. Poole ant Renfro remain
with Gerard.
A state TROOPER steps into their path, but falls away when he
sees Gerard's Marshall star.
GERARD
How ya doing? Who's in charge?
TROOPER
Sheriff Rollins. Just follow the
lights -
Gerard follows his point to where TV lights illuminate the
scene. He shakes his head - it doesn't please him.
Renfro and Poole share a look, they seem to know what's
about to happen.
ANGLE - OLD GUARD
Seated near a tree. A space blanket draped over his
shoulders. He is surrounded by EMT personnel, and a YOUNG
SHERIFF, clearly basking in the event. Television remote
news crews are kept only slight back. Gerard appears in the
b.g., listening.
OLD GUARD
... train was bearin' down on us,
fast. I don't know how - it's still
kind of hazy - but I grabbed him
and pushed him out of the bus.
SHERIFF
You coulda both been killed.
OLD GUARD
I know, but hell, he's my partner.
Woulda done the same for me.
The young Sheriff in charge nods, buying the story. Gerard
eases forward, displays his badge, interrupts.
GERARD
Excuse me, Sheriff Rollins? Deputy
U.S. Marshal Samuel Gerard.
SHERIFF
(annoyed)
I'll be with you in a minute.
The television lights widen to illuminate Gerard. He shields
his eyes. The Sheriff opens a file and produces fax-photos
of all four prisoners.
SHERIFF
(to Old Guard)
For the record. These three dead.
And this one...
He switches to a photo of Kimble.
OLD GUARD
Well, everything happened so fast...
(bites lip, decides)
Huh-uh. Don't think he made it.
Sheriff eyes the wreckage that could entomb a hundred
prisoners, then files Kimble's fax-photo with the others.
SHERIFF
You get some rest.
He pats the Guard on the shoulder and approaches Gerard.
SHERIFF
Looks like you came a long way for
nothing. My men've already done a
thorough search from point of
impact and found nothing.
INTERCUT WITH:
ANGLE - CULVERT
Biggs and Newman stop by the muddy culvert. Biggs sees
something. He orders Newman into the muck after it.
GERARD
Aware of media, proceeds patiently with the young Sheriff.
GERARD
With all due respect, may I suggest
check-points starting at a 15-mile
radius on I-57, I-24, Route 13 east
of -
SHERIFF
Whoa, whoa, whoa... For what?
Prisoners are all dead. The only
thing check-points will do is get a
lot of good people out here frantic
and flood my office with calls.
Gerard finally touches eyeballs with the young Sheriff and
we get our first taste of Gerard at close range.
GERARD
(beat)
Well, shit, Sheriff, I'd hate for
that to happen... So, I'll be
taking over the investigation.
SHERIFF
On whose authority?
GERARD
By authority of the Governor of the
State of Illinois and the office of
the United States Marshal, 5th
District Northern Illinois...
Poole produces State and Federal authorization documents
from one of her pockets and hands it to the young Sheriff.
SHERIFF
(back-down beat)
Okay. You want jurisdiction over
this mess, you got it.
(to assistants)
Shut it down. Wyatt Earp is here to
mop up for us.
He slaps the file of fax-photos at Gerard on his way out.
Just as Biggs, spotless, eases ino the group with Kimble's
manacles. Behind Biggs we see Newman, covered in mud.
Seeing the leg irons, the Sheriff and his deputies pile to
a stop. Now Gerard takes his run at Old Guard.
GERARD
Please, ladies and gentlemen, step
back and give this poor man some
room.
Like an obedient dog the press backs off, they sense a
change of story and command.
Gerard kneels down with Poole and Renfro in front of the
Old Guard. The Sheriff hovers near.
GERARD
(friendly, to Old
Guard)
Always an interesting thing when we
find leg irons and no legs in them
who held the keys, sir?
OLD GUARD
Uh, me.
GERARD
Would you be so kind as to show them
to me, sir?
Gerard's large hand extends palm up at the Old Guard.
The Old Guard pats his pockets, comes up empty. He eyes the
press hovering just out of earshot.
GERARD
Second chance.
Poole reopens the file of photos in front of the man.
The Old Guard can't take it - points to Kimble's photo.
OLD GUARD
(cracking)
He mighta got out.
GERARD
Thank you.
SHERIFF
What the hell is this? A minute ago
you tell me he's part of the
wreckage, now you're -
GERARD
Renfro - Take that bus apart. I want
an accurate body count. Poole - Set
up operations right here.
He stops and looks into the TV lights and starts moving
downtrack. The media and State Police move with him like
Israelites behind Moses.
GERARD
Ladies and gentlemen... our
fugitive's been on the run for
ninety minutes. Average foot speed
over uneven ground - barring injury
is approximately four miles an hour,
giving us a radius of six miles. I
want a hard-target search of any
residence, gas station, farmhouse,
henhouse, doghouse and outhouse in
that area. Check-points go up at
15 miles.
(to media)
You got that? Good. Now, turn
those damn things off and get out
of our way.
INT. HELICOPTER - NIGHT
ROARS... just above the treetops. Helicopter speeds up a
dark river. Its tracking beam illuminates the river bank.
EXT. RURAL ROADS - NIGHT
Flashing lights. Two highway patrol cars set up roadblocks.
The SQUAWK of police RADIOS breaks the rural quiet. A moment
later a HELICOPTER ROARS overhead.
EXT. TRACKS - NIGHT
Kimble moves down train tracks. His jumpsuit is wet with
blood from the gash. He pauses and checks the wound. He's
going to need stitches.
Far down the tracks he sees glow of town lights. He keeps
moving.
EXT. TRESTLE - DAWN
Kimble crosses a tressel, keeps running toward the direction
of the lights.
A junk yard by railroad tracks and a road. Signs along the
road show we're on the edge of town. One says: Hospital-1/2
mile.
ANGLE - TRACKS AND STREAM
Kimble runs from a streak up to the railroad tracks. As he
nears the junk yard and road he sees the hospital sign.
He's close but he can't go into the hospital in his prison
jumpsuit. He leans against a wrecked car and catches his
breath.
Just then a tow truck pulling a car on its hook, turns off
the road and parks next to the tracks. Kimble ducks for
cover behind the wrecked car.
The driver climbs out, dumps his coveralls in the front
seat and closes the door.
He moves toward a house across the tracks, then forgets
something and returns to the cab. He throws open the door
and grabs lunch box off the seat - and we notice the
coveralls missing from the seat.
As the driver returns to the house we MOVE TO the opposite
side of the car to find Kimble, ducked beneath the window,
clutching the coveralls.
EXT. CRASH SITE - DAWN
A crude headquarters is set up beneath a tent, near the
crash site. Maps are laid out on tables. Power and phone
lines are pulled down from the lines running along the
tracks. Renfro supervises the electronics.
Poole handles phones, takes a report from the field and
relays it to Gerard.
POOLE
Blood trail found. Two miles
southwest.
GERARD
(to Biggs)
Type it and match it against all
four prisoners.
(to Renfro)
Renfro, get an I.D. fax on Kimble to
every local hospital.
(to Newman)
Newman...
Newman appears.
NEWMAN
Yes, sir...
GERARD
I need some coffee.
As Newman steps off, everyone turns at sound of SHOUTING
from the train crash.
ANGLE - TRAIN CRASH
A RESCUE WORKER shouts up to others.
WORKER
Hey, one's alive!
EXT. RURAL HOSPITAL - LOADING DOCK - MORNING
Loading dock outside the E.R. A WORKER stacks boxes of food
outside kitchen entrance. Kimble, in the tow truck
operator's coveralls, picks up a box and carries it inside.
Once inside he branches off down a hallway.
INT. RURAL HOSPITAL - HALLWAY - MORNING
A door opens on a long hallway. A DOCTOR, CHILD with a
bandaged hand, and a MOTHER leave a room and walk TOWARD us.
Behind them, Kimble moves down the hall and stops in front
of the doorway.
KIMBLE'S POV - MINOR PROCEDURES ROOM
CUT TO:
INT. RURAL HOSPITAL - MINOR PROCEDURES ROOM - MORNING
Kimble closes the door and locks it. Hanging on the back of
the door we see a doctor's white coat.
CUT TO:
EXT. HOSPITAL - MORNING
An Illinois State Trooper's car pulls up outside.
CUT TO:
CLOTH-COVERED INSTRUMENT TRAY
On it we see: A packaged sterilized bandage, an opened
antiseptic wash, an opened topical anesthetic, and an empty
syringe. We PULL BACK to find:
KIMBLE
His wound bathed in orange antiseptic wash, three stitches
already in. With pair of forceps he picks up the needle as
he sutures himself.
CUT TO:
INT. HOSPITAL HALLWAY - LONG SHOT (MOS) - MORNING
At far end of the hall we see a STATE TROPER chatting with a
DUTY NURSE at a nurses' station.
CUT TO:
INT. PROCEDURE'S ROOM - MORNING
Kimble, his bandage already in place, gives himself a shot
of antibiotics.
CUT TO:
INT. HOSPITAL - MAN'S ROOM - DAY
A man, tube in nose, on two I.V.s, lays in bed with eyes
closed. Kimble comes INTO FRAME near his face.
KIMBLE
Can you hear me, sir?
No response. The man is out of it. Kimble backtracks to the
patient's closet and opens it. Hanging inside we see his
clothes. He removes them and notices the man's untouched
breakfast tray.
CUT TO:
INT. RURAL HOSPITAL - NURSES' DUTY STATION - DAY
The Duty Nurse and State Trooper chat when a fax begins
coming through on DESK FAX.
NURSE
There's your fax...
CUT TO:
INT. PATIENT'S BATHROOM - DAY
Kimble dressing in the man's clothes. He eats a piece of
toast - part of the man's breakfast - as he buttons up his
shirt.
ANGLE - PATIENT
His arm slowly reaches out and presses his nurses call
button.
CUT TO:
INT. NURSES' STATION - DAY
A fax photograph of Richard Kimble slowly comes off the
duty station FAX MACHINE. Next to the machine the
patient's call light comes on.
The Duty Nurse, standing with the Highway Trooper, sees the
patient's light come on and starts down the hall toward the
patient's room.
CUT TO:
INT. PATIENT'S BATHROOM - DAY
Kimble shaving when we hear the DUTY NURSE ENTER the
patient's room. He moves OUT OF FRAME.
DUTY NURSE (O.S.)
Mr. Patterson, do you need some more
water?
ANGLE - MAN'S EATEN BREAKFAST
The Duty Nurse looks from the tray to the man, impressed.
DUTY NURSE
... Oh, you did a good job on this.
She takes his empty plastic pitcher and...
... pushes open the bathroom door - no sign of Kimble - and
refills the pitcher from the sink.
DUTY NURSE
(over her shoulder,
to patient)
... It does get dry in here, doesn't
it?
She doesn't expect an answer, turns OFF the WATER, and goes
into the main room. As the door closes we see Kimble behind
it.
CUT TO:
INT. HOSPITAL - HALLWAY - DAY
Kimble, clean-shaven, and wearing the patient's glasses and
a doctor's white coat, moves down the hall to the emergency
room exit. Suddenly the State Trooper steps back from the
E.R. admissions desk with his newly received fax, and starts
down the corridor toward Kimble.
The Trooper looks up as the two men pass...
TROOPER
'Scuse me, Doc?...
Kimble turns but continues slowly backing toward the E.R.
doors behind him.
TROOPER
... Don't know if you heard or not
but we're looking for an escaped
prisoner from that bus train wreck
'couple hours ago. Thought he might
show up here if he was hurt.
KIMBLE
What's he look like?
The Trooper looks down at his fact sheet as we see a slow
trickle of blood from a shaving nick begin winding down
Kimble's cheek.
TROOPER
(from fax sheet)
Approximately six one, 180 pounds,
brown hair, brown eyes and beard.
At the last second Kimble feels the drop of blood and wipes
it clean as the Trooper looks up.
TROOPER
... Seen anyone that fits that
description?
KIMBLE
Every time I look in the mirror ...
but without the beard.
They laugh.
KIMBLE
Excuse me...
TROOPER
Sure.
Kimble moves through the E.R. doors as an ambulance parks
outside...
EXT. RURAL HOSPITAL - EMERGENCY ROOM RAMP - DAY
Two PARAMEDICS try to take out a patient on a gurney. The
lead wheels are stuck.
KIMBLE
Here...
Kimble helps clear the wheels so the collapsible gurney
comes free.
PARAMEDIC #2
Thanks, Doc, we had to dig him out
from under a train.
As the gurney comes out, Kimble looks right into the face
of the Young Guard. The Guard's eyes suddenly open wide.
YOUNG GUARD
It's him... It's -
Kimble claps the portable oxygen mask back over the Young
Guard's mouth and keeps his hand there.
KIMBLE
How is he?
The Paramedics move him toward the ramp.
PARAMEDIC #1
He's pretty bad off. Broken leg,
ribs. Concussion.
As Kimble moves away...
KIMBLE
Tell the E.R. doctor he's also got
a perforated spleen.
He's gone... The two Paramedics share a look as they whisk
the Young Guard inside.
PARAMEDIC #2
(impressed)
Jesus, how could he tell that from
looking at his face?
ANGLE - AMBULANCE
Kimble climbs behind the wheel.
EXT. TRAIN CRASH SITE / OPERATIONS HEADQUARTERS - DAY
A full communications link is in place.
Deputy marshals answer phones, work faxes, add information
to a situation board. Troopers bring in information. Poole
calls Gerard.
POOLE
Background just came in from
Chicago.
GERARD
Hit me.
Renfro and Poole lay out the details. The download of
information comes clear and fast.
RENFRO
Richard David Kimble. Vascular
Surgeon. Convicted of first-degree
murder in the killing of his wife.
Pleaded innocent. Claimed a
one-armed -
GERARD
Let's not retry the case. Priors
and accomplices?
Gerard steps up the hillside out of sight of the
investigation to take a leak. Followed by Renfro and Poole.
RENFRO
None. No previous arrests.
Poole takes up a position discreetly behind tree as Gerard
unzips his fly and relieves himself.
GERARD
Sealed juvie record?
Poole calls out from behind tree.
POOLE
Nothing. Total cherry.
GERARD
Relatives? Children?
RENFRO
No relatives.
POOLE
One child. A son. Died in drowning
accident three years ago.
GERARD
Girl friends? Ex-wives? Friends?
Combinations of the above?
POOLE
Lot of friends. Doctors. Hospital
staff.
Gerard zips up.
GERARD
Start there. Authorize taps. Cover
his lawyer first.
RENFRO
Never get it.
GERARD
Bet me.
Renfro won't take it.
GERARD
Have Stevens go to Judge Rubin,
he'll sign 'em.
... Biggs charges up the hillside.
BIGGS
DeLange Hospital. Wounded guard
swears to High Holy he saw Kimble
right there in the hallway.
Ambulance, missing too.
ANGLE - SITUATION TENT
Gerard moves quickly to the map.
GERARD
Give me a time.
BIGGS
O-nine-thirty. Twenty minutes ago.
Gerard redraws the circle of units. No longer are we
covering a fifty-mile radius. The circle is redrawn,
tightened, with the hospital as its center. The
triangulation is set.
CUT TO:
EXT. RURAL RAILROAD CROSSING - DAY
The ambulance follows three cars toward a rural railroad
crossing.
COP (V.O.)
... We're waiting up here in Canton.
Wondering if you heard anything on
this Kimble chase -
INT. AMBULANCE - DAY
Kimble behind the wheel as he approaches the railroad
crossing. The biocom monitors police chatter:
DISPATCHER (V.O.)
Two-twelve-A, be advised that all
discussion on this matter is to be
conducted on a tactical frequency
- either Channel K or Z. Over.
Frequency goes dead. Kimble looks THROUGH the windshield:
ROAD SIGN
An arrow points toward Canton, two miles.
The cars in front slow as the railroad crossing signal
suddenly activates and the bars begin to drop. Kimble pops
the SIREN and hurriedly snakes through the crossing and
heads in the opposite direction... but his maneuver gets
attention.
INT. TRUCK CAB - DAY
Truck driver watches Kimble cut through the crossing and
reaches for his C.B. radio.
EXT. CRASH SITE - DAY
Poole hangs up phone.
POOLE
Ambulance just spotted two miles
west of Doverville. Heading north
on State road 53.
Renfro turns to the map and marks it. The circle is much
smaller.
RENFRO
Running outta map, Sam.
The crash site and hospital are already marked. Gerard is
ready to move.
GERARD
Just the way we want it. Okay,
people, let's button up.
They move off to waiting State Trooper cars and helicopter.
INT. AMBULANCE - DAY
Kimble driving down a rural road. He flips down visor and
eyeballs folded roadmap...
EXT. SECONDARY ROAD (KENTUCKY) - DAY
... The ambulance crests a hill. In the distance we see the
Grosvner Viaduct and the Barkley Dam.
EXT. HIGHWAY (KENTUCKY) - DAY
Blowing other traffic off the road, WHOOPING CRUISERS and
G-cars stream south through the rugged rural terrain of
Southern Illinois. Overtaking them all, a CHOPPER THUNDERS
overhead.
INT. HELICOPTER
Heading into hilly terrain. Down below we see the ambulance.
Inside the helicopter Gerard eyes the terrain.
PILOT
(into radio)
We've got a visual...
(to Gerard)
He's heading toward the viaduct.
GERARD
Seal it up.
EXT. AERIAL VIEW OF GROSVNER VIADUCT - DAY
The two-lane road disappears into long tunnel. Three hundred
feet below the road tumbles the Tennessee River.
The Barkley Dam rises ahead. Kimble's AMBULANCE ROARS into
the tunnel.
ON KIMBLE
Suddenly sees the helicopter setting down ahead of him at
the mouth of the tunnel.
Kimble slams on brakes and turns to retreat.
ANGLE - FAR END OF TUNNEL (BEHIND HIM)
Illinois Highway Patrol cars pull to a stop at the far
entrance. Light flares. Set out road blocks.
ANGLE HELICOPTER
Gerard steps out followed by Renfro and Poole.
KIMBLE'S AMBULANCE
Comes to a stop, blocking traffic in both directions.
Immediately HORNS begin BLARING.
EXT. TUNNEL - NIGHT
Trooper pulls up. Biggs and Newman behind Kimble blocking
the other end.
Troopers with guns drawn block the exits. The P.A. from a
State patrol car blares:
P.A. (V.O.)
Please remain in your vehicles and
lock your doors. Repeat, please
remain in -
ANGLE ON HELICOPTER
Poole and Renfro materialize already decked out in Kevlar.
They're jacked up and ready to rock. Renfro hands Gerard a
vest.
RENFRO
Got him.
Gerard unholsters a 40 caliber, Glock model 22.
GERARD
Okay, ladies and gentlemen hard
part's over.
He starts into the tunnel.
RENFRO
(to radio)
We're movin' in.
INT. TUNNEL - DAY
Weapons drawn, but held discreetly at their sides, three
silhouettes enter. Drivers who hadn't heeded the Troopers'
P.A. warnings take one look at Gerard and quickly climb
back inside and lock their doors.
Biggs, Renfro and Poole fan out to the sides and give the
middle to Gerard. The tunnel is quickly quiet.
Kimble huddles at mid-tunnel. He's trapped. Drops to the
ground beneath the truck. His heart pounding, brain
clicking, fighting panic. Suddenly he realizes he's in water.
Running water.
ON MARSHALS
They reach the mid-tunnel area. No Kimble. Biggs looks
around, beneath vehicles. Gerard listens. Poole looks
confused.
POOLE
Where'd he go?
Gerard spots the trickle of water. He backtracks it until
he finds a loose grate in the pavement. Man-size.
GERARD
Biggs, Renfro with me.
INT. STORM DRAIN - FORKING CONDUIT - DAY
Kimble splashes blindly through ankle-deep sluice. He slows
at forking tunnels to catch his breath and pick a direction.
A DULL ROAR comes from somewhere - from everywhere. He whips
off his jacket and slings it down a tunnel, then continues
straight ahead.
Somewhere behind, lights probe splash-patterns on the conduit
wall - telltale signs of Kimble's passing. The lights belong
to...
Gerard, Biggs and Renfro. They push on, soon reaching the
forking tunnels. Renfro finds the jacket ant splash signs.
GERARD
Channel Three.
They conform their radios. Splitting up, Biggs and Renfro go
left. Gerard - straight ahead.
INT. DOWNSLOPE CONDUIT - DAY
Kimble. Bracing with all four limbs. Negotiating a mossy
downslope.
INT. CONDUIT - DAY
Biggs and Renfro. Sweeping his light as he advances.
Searching for splash-patterns.
BIGGS
(into shoulder-mike)
Nothing yet.
INT. CONDUIT - DAY
Gerard. Probing a branch-off tunnel with his light. About to
pass, he notices scrapings on the mossy walls of the
branch-off tunnel. Hand marks?
GERARD
(into radio)
Got a possible here. Stand by.
He stows his light but hangs onto the Glock. Bracing with
three limbs
INT. DOWNSLOPE CONDUIT - DAY
Gerard begins the tricky descent. Slips once. Recovers.
Slips again...
... and tumbles out of control. GUN and RADIO CLATTER AWAY.
Scrabbling for purchase, he finally snags An overhead pipe.
Gerard stabilizes. Sweeps his light to locate his Glock,
lying down-tunnel. He eases toward it. But another hand gets
there first.
It's Kimble. Face dark and desperate. Dangerous. Hand
flexing on the pistol. They lock eyes for a beat.
KIMBLE
I didn't kill my wife.
GERARD
So, you didn't kill your wife.
Not my problem.
An adrenal beat. For a moment they hold a look. Then the
silence is broken by Gerard's radio.
BIGGS (V.O.)
Gerard? You there?
Gerard looks for his radio, then back at Kimble - he's gone.
Instantly Gerard reaches for his ankle - and pulls a back-up
piece.
INT. CONDUIT - DAY
As Renfro hears FOOTSTEPS POUNDING his way.
ANOTHER ANGLE
Gerard charges down the tunnel. From a side tunnel, Renfro
appears, almost colliding. Biggs follows...
GERARD
Straight ahead!
INT. CONDUIT - DAY
Kimble sticks Gerard's gun into his waist band to balance
in the tunnel. He spills around a corner and stops. Ahead
lies an orb of light. The tunnel ends. The NOISE is
incredible. Kimble moves to the end of the tunnel and
stops.
KIMBLE'S POV
Water pours from the tunnel into the spillway of Barkley dam
disappearing into a veil of mist below - a great cauldron of
mists. No rocks. None visible at least.
He hears the MARSHALS behind him - COMING CLOSER.
ANGLE - MARSHALS
Gerard and Renfro turn the corner. Renfro drops into a
shooting stance.
GERARD
Turn around, hands over your head.
And get down on the ground.
For a moment Kimble eyes Gerard.
GERARD
Your choice, Kimble...
Kimble turns his back on the Marshals, stares again at the
water. Slowly he puts his hands over his head. Gerard puts
up his gun and pulls his handcuffs. He moves through the
water toward Kimble.
GERARD
Get down on your knees.
Kimble bends slowly, stares down into the falls, hears the
footsteps get closer, then does the unthinkable. He jumps.
EXT. BARKLEY DAM - DAY
Biggs moving to the top of the massive dam sees Kimble leap
into the sheet of water spilling over dam and disappear into
the mists below. He can't believe his eyes.
INT. DRAINAGE CONDUIT - DAY
Renfro lowers his gun.
RENFRO
(amazed)
Son of a bitch...
It's the most amazing thing he's ever seen...
ON GERARD
He stands at the mouth of the tunnel staring down. He
stares down into the mists. Impressed. It has told him
something invaluable about this fugitive.
EXT. TOP OF DAM - DAY
Gerard scrambles out of the tunnels to the top of the dam
near Biggs, just as squad cars, troopers and the search
helicopter converge on the site.
EXT. RIVERBANK - DAY
Far downriver a figure fights through a snag in the bend.
The snag - a tree branch - breaks away and heads down
stream. Hanging onto the branch we see Kimble.
EXT. BARKLEY DAM - LOWER RESERVOIR - SUNSET
Below the dam and spillway. Troopers in waders search the
shallows, deputies beat bushes along the shore.
Farther out we see a dredge boat slowly working the waters.
FROM SHORE
Gerard watches the dredge cage come up again. As if with
the next pass it will prove him the victor. The HEAD
ILLINOIS TROOPER CAPTAIN approaches.
HEAD TROOPER
Running out of daylight, Inspector.
GERARD
Lights and generators are coming,
Captain.
HEAD TROOPER
Look, I don't mean to tell you your
job, but maybe one person in a
million could've survived that fall.
The guy's fish food.
Gerard turns and brings his look to bear on the Captain.
GERARD
Then find me the fish that ate him.
He turns and heads to a waiting helicopter.
EXT. WOODS - AFTERNOON
Kimble runs through the woods. He staggers, his arm hooks a
sapling which spins him to the ground. He lays motionless,
exhausted.
KIMBLE'S DREAM - INT. KIMBLE'S HOUSE - DAY
ANGLE
Helen in bed. Kimble's hand comes INTO FRAME and touches
her shoulder. She turns toward Kimble as he moves INTO
FRAME and kisses her.
DISSOLVE TO:
ANGLE
Helen tosses her head back. She wears white silk pajamas
and smiles down AT us. A hand reaches up and unbuttons the
top two buttons of her top. Then Kimble moves up INTO FRAME
as we -
DISSOLVE TO:
EXT. BEACH - DAY
Helen running down beach TOWARD us. Embraces Kimble as we -
DISSOLVE TO:
EXT. POOL - DAY
Helen's head comes up out of a pool. Hair tossed back, she
smiles as we -
DISSOLVE TO:
INT. KIMBLE'S CAR - NIGHT
Helen exiting Kimble's car the night of the murder. She
looks back at Kimble, framed by the door frame, ant smiles.
HELEN
Good-bye. I love you.
Again... Then again... then:
HARD CUT TO:
EXT. FOREST - MORNING
Kimble comes out of his sleep with a start. Shivering. He
remembers where he is. His breathing returns to normal.
EXT. TRESTLE - TUNNEL - MORNING
Kimble moves across a river trestle and disappears into
tunnel.
INT. DRUG STORE - DAY
Kimble on pay phone in the rear of the store waits for
party
to answer. An old lady and her mother shop.
Across the store a pharmacist watches Kimble.
ANGLE - PHONE
Kimbles watches the boys as he waits for answer. We hear
RINGING, then a receptionist answers:
RECEPTIONIST (V.O.)
The law offices of Gutherie, Morgan
and Wainwright.
KIMBLE
Walter Gutherie please.
RECEPTIONIST (V.O.)
I'm sorry, Mr. Gutherie has left
for the day, would you like his
voice mail?
Kimble hangs up and moves down an aisle, stopping in front
of the hair color. He takes a box of black hair dye off the
shelf and looks at the instructions. When he looks up he
sees the pharmacist looking at him.
EXT. SONNY'S DINER - NIGHT
A roadside diner. Kimble, his hair now black, and wearing a
new pair of Wranglers, hooded sweatshirt and a duffle coat,
moves down the road to the diner.
INT. SONNY'S DINER - NIGHT
Kimble enters. He sits at the counter and a sparky OLDER
WAITRESS, late, mid-forties, with strong good looks and
tough smile fills his coffee cup before he even asks.
OLDER WAITRESS
Need to look at the menu?
KIMBLE
Some soup, please.
OLDER WAITRESS
Good choice.
She marks her pad and leaves. Sights ant sounds around
Kimble begins to occupy his attention:
A dishwasher buses a tub of dishes back to the kitchen. He
stares at him.
A farmer sitting at a table stares at Kimble, Kimble looks
away. A man at the pay phone seems to be staring at him. Is
he calling the police? Everyone seems to be looking at him.
Someone stops in front of him. A young waitress serves him
his soup. Where's the first waitress?
Takes a few sips of soup. Out of the corner of his eye he
sees:
The Older Waitress putting on her coat to leave. Is she
going to report him? He fights the paranoia.
A NEWS REPORT on the TELEVISION gets his attention.
ANGLE - TV
A report on the escape. A television reporter describes the
chase for Kimble; his jump at the dam and his presumed death
from the fall.
Kimble decides it's time to leave. He drops some money on
the counter and exits.
EXT. DINER - NIGHT
Kimble moves across the parking lot trying not to run until
he's out of sight of the diner. Once free of the lights of
the diner he starts running and disappears into the night.
EXT. ROAD - NIGHT
Kimble running down the road. Fields stretch out on both
sides of the highway. Open land. From behind him we suddenly
hear the sound of POLICE SIRENS. For a moment Kimble moves
faster, then as the SIRENS COME CLOSER, his sprint drops to
a jog... to a walk, until finally he stops and waits for the
inevitable... But the flashing lights suddenly rip past him
chasing a speeder. They weren't after him after all. Kimble
looks at himself. He's shaking.
A moment later he is lit by headlights. A car pulls up next
to him, passenger window rolls down...
OLDER WAITRESS
Need a ride?
Kimble stares at her.
KIMBLE
Which way are you going?
She smiles and points in the direction her car is traveling.
They hold a look as we hear:
RENFRO (V.O.)
We feel confident about the I.D.
CUT TO:
EXT. HOUSE - DAWN
A quiet house on a quiet street out from town. A homeless
woman picks through garbage. A garbage truck moves slowly
down the street. A plumbing truck parked along a curb. Just
early morning traffic.
We see Renfro and Newman watch the house from across the
street, behind a deserted house. Gerard joins them. We see
that Biggs is in the plumbing truck. Poole is the homeless
woman picking through the garbage. Newman hands Gerard a
radio.
RENFRO
Local officials were about to wet
their pants to move in.
GERARD
I bet they were.
(to radio)
Where's the woman?
INTERCUT WITH:
BIGGS
In the plumbing truck. He triggers his mike.
RENFRO
(into radio)
Same room.
GERARD
(into radio)
Okay... I'll take front. Biggs and
Renfro, rear. Poole, handle support.
I don't want anyone hurt. Stay
outside unless called. Radios on
three.
The deputies prepare their weapons. Newman checks his
service issue .38, stares at Gerard's Glock.
NEWMAN
Uh, just want me to wait here, sir?
GERARD
Hell, no. You're with me, Newman.
Let's go.
EXT. FRONT OF HOUSE - DAWN
DOOR CRASHES open, splintering the deadbolt right out of
the door.
GERARD
U.S. Marshals. Down! Down!
INT. HOUSE - DAWN
Textbook perfect, Gerard and Newman rush into front room.
THEIR POV
Down the hall a man's figure streaks across a doorway OUT
OF VIEW.
A woman in the rear of the house BEGINS SCREAMING.
GERARD
Motions Newman to the left to check the door off the living
room while he moves down the main hall into the back
bedroom.
ANGLE - LIVING ROOM / NEWMAN
Clearly unnerved by the screaming woman, Newman opens door
off the living room. The door opens into a smaller bedroom.
He steps into -
SMALLER BEDROOM
It's empty. Gerard appears at the other (hallway) door to
the bedroom.
HALLWAY
Gerard motions Newman on to the door to the bathroom and
continues down the hall into the back bedroom where the
woman continues SCREAMING. He ignores her. His feet move
silently, heel-to-toe. He checks the bathroom as Newman
opens his connecting door - empty - then moves on toward
the doorway to the kitchen.
Gerard moves to the kitchen doorway. Running out of house.
He braces himself swings into the kitchen - it too is empty.
Suddenly Gerard gets the bad feeling he's passed his prey.
CUT TO:
SMALLER BEDROOM
Newman looks around, suddenly scared. The only place he
didn't search was behind the bedroom door. He turns just as:
COPELAND
Surges out, knocks Newman's gun from his hand. In a flash,
Copeland yanks Newman's arm behind his back and presses a
knife against the deputy's neck and moves him out of the
room.
We...
INTERCUT WITH:
GERARD
He hears Copeland moving somewhere in the front of the house.
COPELAND (O.S.)
I got your man! Now I want outta
here!
Gerard moves back through the bedroom past the SCREAMING
woman. He locks in on the voice and sound of the moving
fugitive.
ON COPELAND AND NEWMAN
Copeland listens but gets no response from Gerard. He backs
through the second bedroom door, pulling Newman into the -
LIVING ROOM
Newman's eyes are pure terror - the blade pressed against
his throat.
COPELAND
(to Gerard)
You hear me? I said, I want out or
I'll cut your man's throat!
GERARD
Keeps moving down the hallway, through first bedroom, pauses
at door to the second bedroom and chooses his course.
LIVING ROOM
Copeland positions himself between the bedroom door and the
hallway opening. He's troubled he can't hear Gerard.
Suddenly he hears a NOISE behind him at the bedroom door He
whips Newman around and we see:
A shoe hits the floor. Copeland realizes his mistake too
late. He turns back to the hallway and there is Gerard.
He never blinks. FIRES once killing Copeland instantly.
The knife falls to the floor. Newman clutches his head,
stunned but unhurt.
Gerard now turns to the screaming woman behind him in the
bedroom doorway.
GERARD
Shut up.
She does. Immediately.
EXT. HOUSE - MORNING
As coroners and tactical police mop up. Gerard moves across
the yard, sips coffee from Styrofoam cup. He stops at a
sheriff's car, Newman sits on back seat, shaken, nearly
hysterical, clutching his ear.
NEWMAN
My ear... I can't hear a thing out
of it. I can't believe you did that!
GERARD
You think I should have bargained
with him, don't you?
NEWMAN
Yes. You could've missed! You
could've killed me!
GERARD
Yeah, you're absolutely right. I
could've.
They hold a look.
GERARD
How bad's your ear?
NEWMAN
Terrible. I probably have permanent
hearing damage.
GERARD
Let me see it.
Newman leans toward him. Gerard speaks into his ear.
GERARD
I don't bargain.
Gerard leaves. Newman watches him - realizing what a truly
unsettling man Gerard is.
EXT. CHICAGO PAY PHONE - MORNING
Kimble makes call. While he waits for phone to be answered
TRAINS COME and GO in the b.g. An EL CROSSES OVERHEAD. The
BELLS of Chicago River DRAWBRIDGE.
KIMBLE
Walter. It's Richard.
INTERCUT WITH:
INT. LAW OFFICES OF GUTHERIE, MORGAN AND WAINWRIGHT - DAY
Walter Gutherie answers phone from his office overlooking
Lake Michigan.
GUTHERIE
Richard... Jesus, why did you run?
Running only makes you look guilty.
KIMBLE
I wasn't worrying about appearances,
Walter.
GUTHERIE
Tell me where you are. I'll come
meet you so you can turn yourself
in .
KIMBLE
I'm not turning myself in. I need
money.
Gutherie is silent. When he speaks again his speech takes on
the lawyerly tone of a man who's covering his own bases.
GUTHERIE
Richard. You're asking me to harbor
and aid a convicted felon... I can't
help you that way. My advice - both
as a friend and as your legal counsel
- is for you to give yourself up.
Now tell me... where are you?
Kimble picks up the change in his attorney's tone.
KIMBLE
(beat)
St. Louis.
GUTHERIE
Give me an address. I'll be -
CLICK. Gutherie hears the LINE GO DEAD. Kimble's gone.
EXT. DOWNTOWN - DAY
Kimble stands in the doorway with cup of coffee. He considers
his next move. Then seeing bank clock flash the time: 9:30 -
he knows what that move is.
INT. NORTH BANK TENNIS CLUB - DAY
An upscale mid-town tennis club. Behind glass windows of
the entryway we see tennis courts. From the courts comes Dr.
Charles Nichols still dressed in his warmups, carrying his
tennis bag. A friendly DESK ATTENDANT Sharon) smiles as he
goes by.
DESK ATTENDANT
See you tomorrow, Dr. Nichols?
NICHOLS
Creature of habit, Sharon.
EXT. NORTH BANK CLUB - DAY
Dr. Nichols leaves the club. He tosses his gym bag into the
back of his car and drives off.
INT. / EXT. NICHOLS'S CAR - DAY
As he pulls up to the first stoplight, a homeless man moves
toward the driver's side and begins washing his windshield.
Nichols waves the man off.
NICHOLS
Not today, please.
The man shuffles off. Just then a second man appears at his
passenger window. He leans down to wave him away
NICHOLS
No. Not -
... then stops - the face at his passenger window is
Richard Kimble's.
NICHOLS
(stunned)
Oh, my God... Richard...
Nichols rolls down the passenger window.
KIMBLE
How're you doing, Charlie?
NICHOLS
You're alive...
KIMBLE
Yeah. And I need your help.
NICHOLS
Anything.
KIMBLE
I need some money. Whatever you've
got on you.
NICHOLS
Of course.
Nichols reaches into his gym bag in the backseat and digs
for his wallet...
NICHOLS
Tell me where you're staying. I'll
get you more money. Some clothes.
Just give me an address...
KIMBLE
I'll call you.
Kimble glances around, the area is still clear. He looks
back into the car and doesn't see the police car turn the
corner and come up the street behind them.
Nichols finds his wallet ant hands all the cash he's got to
Kimble, who quickly pockets it.
NICHOLS
I know why you came back - to find
him. If I can help, call me...
Call me.
They hold a look. The stoplight changes to green but they
don't see it.
KIMBLE
Thanks, Charlie...
NICHOLS
Here, Richard, take my coat...
He reaches into the back for his coat, suddenly police car
behind him POPS its SIREN. Nichols looks into his rearview
mirror. Sees a COP lean out his window.
COP
(to Nichols)
Hey, buddy - green light. Let's go.
Nichols looks back at Kimble. He's gone.
INT. U.S. MARSHAL'S OFFICES (CHICAGO) - CLOSE ON AUDIO TAPE - DAY
REWINDING. The media room - just what it sounds like -
banks of audio/video equipment and a sound board.
Renfro rewinds the tape. Gerard, Biggs, Poole and Newman.
POOLE
We've alerted St. Louis P.D
GERARD
Call them back. Tell them you've
made a mistake.
POOLE
What?
GERARD
(to Renfro)
Stop it there.
Renfro hits play. Kimble's VOICE is heard again:
GERARD
Drop the voices.
Renfro removes the two voices. What comes up are the
BACKGROUND SOUNDS. EXTERIOR NOISES (BELLS RINGING, TRAFFIC,
MECHANICAL... TRAINS). Everyone becomes focused to the
sounds now.
GERARD
(he's heard something)
Listen.
BIGGS
Trains? Traffic?
GERARD
More... there's a voice in the
background.
At first the sound is unrecognizable. A BELL. GRINDING
MECHANICAL. Then a P.A. VOICE on the tape: "Next stop
Merchandise Mart."
RENFRO
That's an El announcement.
GERARD
And there's no E1 in St. Louis.
Ladies and gentlemen, Richard Kimble
is in Chicago. Poole, get his
artwork out to local police and have
C.P.D. check the shelters... Biggs,
bring in the detectives that handled
his case.
Instantly the room is in movement.
STEVENS
I'll prepare the press release.
GERARD
No.
Stevens stops.
GERARD
They don't know he's alive and as
far as Kimble knows we don't either.
I want to keep it that way as long
as we can. Are we clear?
The whole group sense Gerard's intensity in regard to
Kimble.
RENFRO
(for the group)
Perfectly.
Gerard reflects on a moment of personal satisfaction.
GERARD
Noah... go to my office and let's
officially take Dr. Kimble out of
purgatory.
CUT TO:
INT. 11TH STREET STATION - DAY
Morning roll call. Kimble's photo distributed to cops by
Detectives Kelly and Rosetti.
KELLY (V.O.)
As of this morning Chicago P.D. was
alerted to the reappearance of
Richard Kimble.
INT. TRAIN STATION - DAY
Newman and Poole check train station. Looking for Kimble.
They show his photo to homeless people. No help.
EXT. FRONT OF COOK COW TY HOSPITAL - DAY
Holding a handkerchief to his face, Kimble moves through
arriving patients and enters Cook County Hospital.
INT. HOMELESS SHELTER - DAY
Renfro and Biggs check shelters for Kimble. They show his
I.D. to administrator. Look around.
INT. GERARD'S OFFICE - DAY
The place is humming now. Detectives Kelly and Rosetti sit
in front of Gerard. Gerard studies Kimble's file. Renfro
sits in.
KELLY
Police units have also increased
patrols around homeless shelters and
mass transit stations in the city.
EXT. LOOP EL STATION - DAY
Police patrol the platform looking for Kimble.
INT. FRONT OF COOK COUNTY HOSPITAL - CORRIDOR - DAY
Kimble moves past security, then pockets the handkerchief and
turns up a hallway, blending in with the indigents and poor.
CUT TO:
INT. UPSCALE DOCTOR'S OFFICE - DAY
NURSE FLYNN, a woman about 45, attractive, smart, loyal.
Poole and Gerard talk to her in an examination room.
FLYNN
I ran his office for twelve years.
Yes, we were very close. But he
wouldn't come to me for help.
INT. COOK COUNTY HOSPITAL - HALLWAY - DAY
Busy with doctors, orderlies and street people. Kimble moves
down hallway and enters.
INT. PROSTHETIC CLINIC - WAITING ROOM - DAY
He moves into the room and takes a new patient form, looks
around. SEE BACK INTO the office area of the clinic. It
could be any hospital clinic from this view.
But as Kimble turns to leave we see a PATIENT waiting to be
called. On his lap we see a prosthetic arm. Kimble looks up
from the arm to the man.
PATIENT
Good morning.
KIMBLE
Good morning.
As he turns to leave we hear:
ROBERTS (V.O.)
Don't underestimate this guy...
CUT TO:
INT. UNIVERSITY MEDICAL CENTER - SURGEONS' LOCKER ROOM - DAY
Dr. Roberts from the party, talks to Biggs and Gerard as he
takes off scrubs to get into shower.
ROBERTS
R.K.'s one smart, cold sonofabitch...
He did her, no question.
CUT TO:
INT. COOK COUNTY HOSPITAL - BASEMENT - DAY
Kimble moves down the hallway containing the janitor's
locker room. Janitors move in and out the door.
INT. KIMBLE'S OLD HOUSE - DAY
Gerard walks through Kimble's house. The art and most of
the furniture is gone. Books are in boxes and shopping
bags around the room. Plastic covers the remaining pieces
of furniture.
Gerard stares at the empty walls. Shadows on the walls show
where the art once hung. Gerard pauses, tries to absorb the
place. He takes a book from one of the bags and looks at it.
INT. COOK COUNTY HOSPITAL - JANITOR'S ROOM - DAY
Kimble moves past the lockers, racks and boxes of cleaning
supplies, stops at a board listing work schedules, vacation
leaves, locker numbers. Behind him a LOCKER SLAMS. As a
janitor moves off to the showers we see his locker did not
close but remains slightly ajar from the impact.
INT. JANITOR'S LOCKER ROOM - CLOSE ON LOCKER - DAY
Door opens revealing the janitor's clip on I.D. hanging
from a green shirt. Kimble steals it.
INT. GERARD'S OFFICE - DAY
Gerard looks at the two detectives.
GERARD
Gentlemen, I appreciate the
cooperation of the Chicago police...
He moves toward them.
CUT TO:
INT. CLOTHING STORE - DAY
A SALESMAN stands on ladder looking through pants sizes.
SALESMAN
Did you say, 38/34?
KIMBLE
No. 34/34.
ANGLE ON SALES COUNTER
WHAP. A folded pair of green janitor's pants drops onto the
counter in front of Kimble. He already has the green shirt
to the uniform.
INT. SELF-SERVE PHOTO BOOTH - CLOSE ON RICHARD KIMBLE - DAY
Photographed.
ANGLE - SIDE OF THE BOOTH
Kimble takes the finished photos from the delivery tray.
CUT TO:
INT. U.S. MARSHAL'S OFFICE - DAY
RENFRO
Was there anything in your initial
investigation that would make you
think Kimble would come back to
Chicago.
ROSSETTI
The man definitely has friends here.
GERARD
What about lady friends?
KELLY
Not that we found.
CUT TO:
INT. SALVATION ARMY STORE - CLOSE ON APARTMENT NOTICE - DAY
A card on a community bulletin board advertises a basement
apartment for rent.
BIGGS (V.O.)
What about the man he claimed
attacked his wife?
Kimble pulls the notice from the board as we -
CUT TO:
INT. U.S. MARSHALS' OFFICE - DAY
Kelly and Rossetti share a look, a smile.
KELLY
Right... You ever been downwind of a
stockyard when the breeze is
blowing? That's where we were
sitting when Richard Kimble told that
one...
CUT TO:
EXT. POLISH LADY'S APARTMENT - DAY
Kimble knocks at door. It is opened to reveal a PUNK KID,
18-20. He calls to someone O.S.
CUT TO:
INT. POLISH WOMAN'S BASEMENT - DAY
A light comes on and an OLD POLISH WOMAN, her stockings
rolled down her shins, leads the way down the basement
stairs. The Punk Kid stands at the top of the stairs,
watches Kimble.
ROSETTI (V.O.)
We found nothing.
The Polish woman shows him a spare but sufficient bed and
nightstand set up. She points to door leading up to the
street.
CUT TO:
INT. POLICE WOMAN'S BASEMENT - AFTERNOON
Kimble also at work at the bedside table. He carefully cuts
out his do-it-yourself photograph and places it over the
existing photograph on the hospital I.D. The name on the
I.D. says: Desmondo Jose Ruiz. Then he places a thin piece
of lamination plastic and trims the edges.
Kimble defaces the plastic to give it rough look, then
examines the finished product not bad.
INT. MARSHALS' OFFICE - DAY
KELLY (O.S.)
If this guy existed believe me
someone would've found him.
ON GERARD
He raises an eyebrow.
CUT TO:
INT. DR. NICHOLS' OFFICE - CLOSE ON FRAMED PHOTOGRAPH - DAY
Of medical residents. Two photographs next to each other. A
young Richard Kimble and Charles Nichols.
NICHOLS (O.S.)
Richard Kimble... I saw him two
days ago.
WE PULL BACK to see: Gerard studying the photos. Renfro
looks up like someone's bitten him. He, Biggs and Gerard are
in Nichols' administrative office. Gleaming. Filled with
awards and photos of Nichols and influential people. Nichols
hangs up his lab coat and slips back into his suitcoat. He
shows no sign of nervousness.
NICHOLS
He stopped me in my car. I gave him
some money.
GERARD
Where was this?
NICHOLS
Outside our tennis -
(correcting himself)
- my tennis club.
Gerard moves around Nichols' office taking in the details.
GERARD
Did he ask you for help?
NICHOLS
I volunteered. He wouldn't accept
it.
GERARD
Why do you think he came back to
Chicago?
NICHOLS
He didn't tell me.
GERARD
I didn't ask you that, sir. I'm sure
he was trying to protect you from
having to lie for him.
Gerard continues to move around the room, study prints,
books, drawings, awards and photos.
GERARD
If you're really his friend, you'll
help us bring him in unharmed.
NICHOLS
Why, so he can go back to prison?
If you want help, gentlemen, you've
come to the wrong man.
Gerard finds a photo of Nichols and a gleaming Ferrari.
GERARD
Dr. Nichols, last year the U.S.
Marshals' office closed out 11,003
warrants... 10,975 of those were
captured. The twenty-eight others
thought they were smarter than
us... Now they're dead.
(re: the photo)
Nice car.
Gerard puts the photo down.
EXT. NICHOLS' OFFICE - DAY
Gerard and his deputies leave Nichols' outer office.
Gerard clearly feels he's come to the right man.
GERARD
Stay on him.
INT. HOSPITAL HALLWAY - NIGHT
Kimble mopping the trauma room hallway. The hallway elbows
around a corner and Kimble stands less than ten feet from
a door that is marked: "PROSTHETIC CLINIC"
He watches a technician leave the clinic and mops closer to
the doorway, and fails to see an attractive WOMAN DOCTOR
with white coat and stethoscope draped around her neck turn
the corner behind him ant step on the freshly mopped
section.
Head down, she is completely absorbed in a file and doesn't
see the wet floor until she slips slightly, looks up but
keeps walking.
WOMAN DOCTOR
Where's Rudy?
KIMBLE
They said he's sick.
WOMAN DOCTOR
Didn't they tell you to put up the
sign?
KIMBLE
Uhhh. No they didn't.
WOMAN DOCTOR
Put up the 'wet floor' sign before
someone gets hurt.
She keeps going.
KIMBLE
(mumbles)
Asshole.
She looks back at Kimble.
WOMAN DOCTOR
What did you say?
KIMBLE
Nothing.
Anne keeps moving off toward trauma hall. He watches her
turn the corner to the trauma hallway.
INT. PROSTHETIC CLINIC - NIGHT
Kimble enters the dimly lit prosthetics lab.
He moves silently among the casts and prosthetics of arms,
hands, legs hanging from the ceiling. Cables and electronic
equipment are on the counters.
He leaves the lab and moves into the office section of the
Prosthetic Clinic. He passes a computer room and finally
reaches the office. He is about to enter when a woman's
voice stops him.
WOMAN (O.S.)
Hey, Ricky... Weren't you just in
here?
Kimble turns to see a PROSTHETIC TECHNICIAN. A large woman
with glasses. She stands with a partially finished
prosthetic arm.
MEMORY HIT - INT. KIMBLE'S OLD HOUSE - NIGHT
The one-armed man's arm coming off in the fight.
INT. PROSTHETIC CLINIC (BACK TO PRESENT)
TECHNICIAN
Sorry, I thought you were Ricky.
KIMBLE
(stumbling)
No... I've got to clean the blinds
in the office. Want me to wait till
you're finished?
TECHNICIAN
Naw... I'm going to be here all
night. You won't bother me.
She slips on a pair of headphones and goes back to work.
CUT TO:
INT. PROSTHETIC CLINIC OFFICE - LATER
Kimble cleaning the blinds, keeps an eye on the Technician
who is listening to music on her Walkman. She is carefully
painting a section of the arm. Not watching Kimble.
CUT TO:
CLOSE ON FILE DRAWER
Opened.
BACK TO SCENE
Nimble looks over his shoulder. The Technician doesn't see
him.
A Prosthetic Clinic Operations Manual is removed from shelf.
Photographs of prosthetic arms. Kimble shifts the materials
into his clothes, closes his coat and suddenly he stops.
CUT TO:
INT. HALLWAY - ANGLE ON ELEVATOR - NIGHT
Kimble waits for the elevator. The folders in his uniform
shift and he tries to rearrange them. When he turns back
we see Anne Eastman beside him. Her I.D. says:
"ANNE EASTMAN". She sees him doing the rearranging.
The elevator arrives. They step into:
INT. ELEVATOR - NIGHT
Anne moves to the back. Kimble on the other side.
ANNE (WOMAN DOCTOR)
Hey, how're you doing?
KIMBLE
Fine.
ANNE
You find that sign?
KIMBLE
Yes, I did.
ANNE
You called me an asshole.
KIMBLE
Excuse me. I was having a bad
shift.
They laugh. They reach ground level and step out together.
ANNE
You worked at other hospitals?
KIMBLE
Lots of them over the years. Here,
long ago. Hasn't changed much.
ANNE
I bet it hasn't. See you.
They part ways. Kimble continues out the door. Anne stops
and watches him leave.
INT. EL TRAIN - NIGHT
Kimble sits on the night train going home. He begins looking
at his information.
INT. KIMBLE'S BASEMENT ROOM - DAY
Afternoon light comes in Kimble's basement windows. Sheets
of Prosthetic Clinic patient material are spread over
Kimble's bed, floor. Kimble searches through the documents,
making notes. He studies photos of attachments. Cable
attachments. Joints. Electronics. Pins. straps... looking
for a key to the identity of the one-armed man.
Finally he stops. He finds the flyer in his pocket, puts it
on the bedside table and moves to sink. He wets a towel and
covers his face.
Draws a cool damp breath. Lays back on bed amid the
Prosthetic Clinic material.
FLASHBACK - FIGHT
Kimble pulls the arm. It separates in the one-armed man's
sleeve. Wrenches. Dis-articulates.
FLASHBACK - ONE-ARMED MAN
Reacts in pain. Again. (NOTE: We sense Kimble's mind
returning to something. Getting closer to the key...)
FLASHBACK - ONE-ARMED MAN
Escaping the bedroom. We hear his FOOTSTEPS DOWN the
STAIRS... a DOOR SLAM. FOOTSTEPS again.
Another DOOR SLAMS, but this time the sound is distinctly
different... a CAR DOOR.
INT. KIMBLE'S BASEMENT ROOM (BACK TO PRESENT)
Kimble yanks the wet rag from his face, his senses alert.
Listening, he hears: FOOTSTEPS are real, just outside and
MOVING TOWARD him.
HARD CUT TO:
EXT. APARTMENT HOUSE - DAY
A car door slams. We see unmarked police cars pulling up in
front of the apartment. Cops are moving toward the house.
INT. BASEMENT - DAY
Kimble turns off his light, moves from the bed to the window.
Carefully looks out:
KIMBLE'S POV
Unmarked police cars in front of the house, looking, moving
his way.
BACK TO SCENE
Kimble moves instinctively to the back door.
He starts to open it but through the dirty window, he sees
the back courtyard covered by more cops.
Kimble moves back toward the front. Unsure of his next move,
he's sweating, preparing for the worst.
He watches the TAC team charge the house but instead of
charging through the basement door they move up the front
steps and into the house overhead.
Overhead he hears the SCREAMING from the arresting cops.
KIMBLE'S POV - BACK STEPS
Kimble SEES the Punk Kid try to escape out the back. He
runs, sees cops and runs toward Kimble's basement door,
actually reaching it before he is caught by the cops and
pulled away.
KIMBLE
Moves toward the front window and watches cops lead the
Punk Kid out to the car.
POLICE RADIOS call the other cops to stand down.
Kimble moves slowly to his front door. Looks out.
KIMBLE'S POV
Cops put the young man into an unmarked police car. His
grandmother, the Polish woman, follows them, crying.
BACK TO SCENE
Kimble leans against the wall, exhausted.
INT. COOK COUNTY HOSPITAL - TRAUMA HALLWAY - NIGHT
Kimble carries his cleaning tray down busy hallway just
outside of the Prosthetic Clinic and stops.
KIMBLE'S POV
Two cops talk outside the Prosthetic Clinic.
BACK TO SCENE
Kimble backs to a safe place in the trauma hallway to wait
for them to leave.
CUT TO:
INT. 11TH STREET POLICE DISTRICT HOUSE - DETECTIVES ROOM - NIGHT
The Punk Kid is handcuffed to a bench as a cop works on a
report. Suddenly the Kid notices something that gets his
attention.
KID'S POV
A wanted poster of Kimble over the cop's head.
BACK TO SCENE
The Kid sees - Wanted for Murder - realizes who it is.
PUNK KID
(to cop)
Hey. Hey! I know that guy!
The cop looks up, sees Kimble's poster and then back at the
Kid.
CUT TO:
INT. TRAUMA HALLWAY - NIGHT
Kimble moves toward prosthetic clinic. In passing through
the trauma hallway he becomes aware of a crisis developing.
A major accident has happened, victims are being brought in.
The P.A. CALLS for doctors. STATIC.
ANGLE ON FAR END OF TRAUMA HALLWAY
Elevator doors open as orderlies bring in new patients.
Some walk, some are helped by family and police. Nurses
direct traffic.
Orders fly. Medicines are called. Family members yell for
doctors. Ask for the injured. Anne picks up the pace with
an ORDERLY wheeling a gurney carrying a young patient,
a BOY.
ANNE
What happened?
ORDERLY
A bus flipped off the overpass. Got
at least twenty more coming in.
ANNE
What about this one here?
ORDERLY
Fractured sternum. X-ray's coming
up.
Anne checks the boy's chart.
ANNE
Okay, we've got to get some room
in this hallway, people.
Orderlies quickly move the non-life-threatening patients out
of the hall. Still more help is needed. Anne spots Kimble.
ANNE
Hey, take this one up the hall to
Critical Care.
Kimble nods. Anne moves to another patient.
Kimble grabs the kid's gurney and begins wheeling it up the
hall. As he pushes he looks at the kid's X-rays.
Anne looks up, barks another order, then suddenly sees Kimble
pushing the gurney and looking at the film.
ANNE
Tries to negotiate through the incoming patients to get a
better look, but Kimble is gone. She goes back to work.
ON KIMBLE
He wheels the Boy's gurney into an elevator. The doors
close.
INT. HOSPITAL - O.R. CORRIDOR - NIGHT
Kimble wheels the gurney down the hall and stops the Boy
on the scrub threshold to the O.R. and stops a SURGEON.
KIMBLE
Hey. Hey!
A Surgeon pauses and eyes Kimble's janitor suit and the
gurney.
KIMBLE
They just sent this one up.
He takes a look at the Boy's chart and grabs the X-rays and
yells to O.R. nurse.
SURGEON
Bob! Get this one into room four,
stat.
He looks up, Kimble is gone.
INT. PROSTHETIC CLINIC - COMPUTER ROOM - NIGHT
Kimble enters the Prosthetic Clinic computer room. The
Technician from the day before is listening to her Walkman,
sees Kimble and waves. Kimble waves back and turns into the
glass-walled computer room and closes the door.
He closes the blinds and turns on the computer.
CUT TO:
INT. CRITICAL CARE UNIT - NIGHT
The crisis has wound down. Anne moves into the room and
begins checking patients. She stops a unit nurse, GLADYS.
ANNE
Gladys, where's the boy I sent down
with the janitor?
GLADYS
What boy?
ANNE
The one with the fractured sternum.
GLADYS
He never came in here.
INT. PROSTHETIC CLINIC - COMPUTER ROOM - NIGHT
Kimble scans DOS files, each an eight-letter enigma. Finds
one with promise and loads it up.
KIMBLE
Wrong...
He backs up and tries another file.
"CLIENT DEMOGRAPHIC ORGANIZER SEARCH BY: AGE, SEX, RACE,
LIMB, OR OTHER?"
Kimble knows he's got it.
INT. PROSTHETIC CLINIC - COMPUTER ROOM - CLOSE ON SCREEN - NIGHT
Kimble keys in these responses:
"SEX: MALE"
AGE: 35-50
RACE: CAUCASIAN
LIMB: RIGHT ARM
OTHER: POINT OF REPLACEMENT: MID HUMERUS"
INT. OPERATING ROOM WING - NIGHT
Anne comes out of the stairwell and stops the Surgeon we
saw with Kimble.
ANNE
Dave, did you see a janitor come up
here earlier?
SURGEON
Yeah, he brought a kid up.
(handing her the chart)
Anne, did you write the orders? I
couldn't make out the signature...
ANNE
I saw -
SURGEON
(in a hurry now)
Whoever did knew what the hell he
was doing. Kid's a hair away from
a ruptured aorta.
He heads to the operating room, leaving her stunned. She
stares at the scrawled orders.
CUT TO:
INT. PROSTHETIC CLINIC - COMPUTER ROOM - CLOSE ON SCREEN - NIGHT
A "PLEASE WAIT" message appears on the screen. We hear the
COMPUTER PROCESSING, searching, narrowing.
The screen flashes:
"NUMBER OF POSSIBLE CANDIDATES: 75
DO YOU WISH TO SUBDIVIDE?"
KIMBLE
Seventy-five. Hell, yes.
Kimble types in another defining characteristic...
Residence: Illinois.
Again he waits. Rattles the blinds to make it seem like he's
cleaning. The list shortens.
"NUMBER OF POSSIBLE CANDIDATES: 21"
KIMBLE
What else?
MEMORY HIT - INT. CHICAGO COURTROOM - DAY
Prosecutor stands before the jury.
PROSECUTOR
... murdering Helen Wills Kimble the night of January 20...
INT. PROSTHETIC CLINIC - COMPUTER ROOM - CLOSE ON SCREEN - NIGHT
Kimble types in: "Candidates having adjustment appointments
between January 21, and February 1, 1993."
Kimble waits. Sixty-five names come up. Again too many.
Kimble's reached a dead end.
Kimble thinks.
MEMORY HIT - INT. KIMBLE'S BEDROOM - NIGHT
The fight with the One-Armed Man.
INT. PROSTHETIC CLINIC - BACK TO SCENE ON KIMBLE
Something has clicked in his memory.
CUT TO:
INT. PROSTHETIC CLINIC - PROSTHETIC STORAGE ROOM - NIGHT
Kimble stands beneath the hanging artificial limbs. He
takes down an arm, works the joint.
MEMORY HIT - INT. KIMBLE'S BEDROOM - NIGHT
Kimble fights the One-Armed Man. He wrenches the man's
prosthetic arm.
INT. PROSTHETIC CLINIC - PROSTHETIC STORAGE ROOM - CLOSER ON ARM
He moves it again. Harder, at an awkward angle.
MEMORY HIT - INT. KIMBLE'S BEDROOM - TIGHTER ON ONE-ARMED MAN'S
ARM - NIGHT
Kimble wrenches the arm...
INT. PROSTHETIC STORAGE ROOM - CLOSE ON ARM
The joint strains.
MEMORY HIT - INT. KIMBLE'S BEDROOM - CLOSE ON ONE-ARMED MAN'S ARM
Kimble wrenches it and it BREAKS.
CUT TO:
INT. PROSTHETIC OFFICE - CLOSE ON PROSTHETIC MANUAL - NIGHT
A detailed diagram of arm construction.
ANOTHER ANGLE
Kimble makes notes.
CUT TO:
INT. HOSPITAL ELEVATOR - NIGHT
Anne rides the elevator back to trauma. She's thinking.
CUT TO:
INT. PROSTHETIC CLINIC - CLOSE ON COMPUTER SCREEN - NIGHT
Joint repair list between January 21-April 21... Five names
come up with Greater Chicago addresses.
Kimble hits print. The MACHINE begins PRINTING. Kimble
looks up at the Prosthetic Clinic Technician - she is
listening to her headphones, can't hear the printer. He
continues to shake the blinds.
EXT. PROSTHETIC CLINIC/TRAUMA HALLWAY - NIGHT
Kimble leaves Prosthetic Clinic and starts down the hall
for the exit when a voice stops him.
ANNE (O.S.)
Do you have a particular interest in
our patients' x-rays?
Kimble turns to see Anne coming toward him.
KIMBLE
What do you mean?
ANNE
I saw you looking at that boy's
chest film.
She moves in on him. He eyes the exit.
KIMBLE
It's a hobby of mine -
ANNE
What other hobbies do you have?
Brain surgery?
KIMBLE
What do you want?
She reaches him.
ANNE
I want to know how that kid ended
up in surgery.
KIMBLE
I'm a janitor. I did what I was
told.
ANNE
Bullshit. Who changed those orders?
They hold a look. She knows. He takes a step back and she
pulls his I.D.
ANNE
You stand right here. I'm calling
security.
Kimble runs. Anne turns to call security but doesn't.
She stares after Kimble.
CUT TO:
INT. POLISH WOMAN'S BASEMENT - NIGHT
Kimble's room being searched by the marshals. Gerard finds
the flyer Kimble was handed on his way out the door. On it
we see: COOK COUNTY HOSPITAL.
CUT TO:
INT. COOK COUNTY HOSPITAL - CLOSE ON KIMBLE'S I.D. - DAY
Anne and Gerard stand in the hallway. Gerard studies the I.D.
GERARD
A man posing as a janitor orders an
emergency operation and all you do
is pull his I.D.?
ANNE
(firmly)
A little boy's alive today because
he did something.
Gerard watches her eyes carefully.
GERARD
So, you weren't aware that when he
escaped he was being transported to
Menard State Prison to begin a term
of life imprisonment.
ANNE
For what?
GERARD
For murdering his wife.
Clearly this is news to Anne. Gerard almost smiles at her
surprise.
GERARD
Thank you for your help, Doctor.
He moves to the position Anne saw Kimble with the kid's
gurney. Trying to imagine what Kimble was doing at that
place. Renfro and the other deputies converge.
RENFRO
What I can't figure is, if you were
Kimble, why'd you take a major
league chance of hanging around a
trauma ward?
Gerard considers this as a Man passes him. Gerard notices
something.
RENFRO
The place would be crawling with cops.
Slowly Gerard separates from the group of deputies and
follows the Man down the hall.
The Man Gerard is following turns the corner to the
Prosthetic hallway and realizing Gerard is following him,
holds the hallway door open for Gerard.
MAN
Can I help you find something?
GERARD
Thank you, sir, I think you already
have.
We see the Man has a prosthetic arm and that they are outside
the door marked: "PROSTHETIC CLINIC"
INT. PHONE BOOTH - MORNING
Restaurant deserted at this hour. Kimble makes calls.
KIMBLE
Yes... This is Dr. Elway at Cook
County. I'm doing follow-up work for
the Prosthetic Clinic on Matthew
Zelick...
(beat)
He did... I'm terribly sorry. No,
I'll correct our files. Thank you.
He scratches through another name. Three left. He dials
another number.
INT. PROSTHETIC CLINIC - MORNING
Gerard and his deputies inside the Prosthetic Clinic.
Artificial limbs are being tested, fitted. A technician
fits a demonstration model on Biggs while Gerard and Poole
work with the director of the institute and a data operator
at the computer.
GERARD
The onearmed man. Missing the right or left hand?
POOLE
Right.
The operator enters that information. Dropping the number to
250... as Poole continues.
POOLE
... age 35-45...
INTERCUT WITH:
INT. PHONE BOOTH - DAY
Kimble on phone. He hangs up and scratches through another
name. Two left. He dials another number.
INT. PROSTHETIC CLINIC - DAY
Poole looks up from her file to the computer screen. The
number drops to 117...
GERARD
Location of the attachment.
POOLE
(from the report)
Mid-humerus.
INT. PHONE BOOTH - CLOSE ON KIMBLE'S LIST - DAY
The next name is "Clive Driscoll." Kimble on phone, waits
for answer.
KIMBLE (O.S.)
Hello... looking for your brother,
Clive. This is Ted Riley with the
high school reunion committee.
Believe it or not, 25 years is just
around the corner, and Clive's on
our list of lost souls. Information
gave me a number, but when I tried
it...
WIDER to reveal Kimble on the pay phone. The scrap of paper
is his list-of-five.
KIMBLE
No kidding?... Armed robbery.
(forced laughter)
He's where?
CUT TO:
INT. COMPUTER ROOM - DAY
Gerard looks at the screen. The number drops to 20.
RENFRO
It could take us a week to track
down every one of those names.
Gerard picks up phone and dials a number.
GERARD
(into phone)
Stevens... I've got a list of names
I want searched for criminal history.
CUT TO:
EXT. FEDERAL LOCKUP - DAY
Kimble stands on a sidewalk, staring at the imposing edifice
across the street. After a here-we-go breath, he starts
through traffic.
INT. FEDERAL LOCKUP - LOBBY - DAY
Kimble waits for an elevator. It opens to reveal a pack of
staring COPS.
ELEVATOR COP
(catching door)
Comin' or not?
Forcing his feet to move, Kimble boards...
INT. FEDERAL LOCKUP - ELEVATOR - DAY
... and pivots quickly. Elevator rises. Floor-indicator moves
deathly slow.
Kimble feels the breath of a dozen COPS on his neck. And just
when his floor is mercifully about to arrive...
Overhead lights flicker, and the elevator jars to a stop
between floors.
COPS
Aw, shit... Not now... Anybody
bring a deck of cards?
Abruptly they're moving again. Kimble's heart restarts with
the elevator.
INT. FEDERAL LOCKUP - VISITATION AREA - DAY
CLEARING OFFICER
(to visitor)
Booth Three. No hands on the glass.
Five minutes maximum. Be advised that
under a Federal court ruling your
conversation can be recorded. Next.
"Next" is Kimble. He steps to the counter.
CLEARING OFFICER
Name of inmate?
KIMBLE
Clive Driscoll.
The Clearing Officer spins his clipboard around.
CLEARING OFFICER
Sign here, print your name, address,
and relationship to inmate below.
(into mike)
Two-zero-ten. Driscoll, Clive R.
(to Kimble)
Be about five minutes. You can wait
in the hall.
INT. FEDERAL LOCKUP - MAIN LOBBY - DAY
Gerard and Biggs cross the lobby and stop in front of the
desk; flash their U.S. Marshal's ID.
GERARD
(to clerk)
We need to see a prisoner.
DESK CLERK
Fifth floor.
Gerard and Biggs head for the bank of elevators.
BIGGS
It's hinky. Man risks everything to
find a man his own investigators
say doesn't exist. Something's really
hinky about this thing.
Gerard looks at Biggs as they reach the elevators.
GERARD
I hate that word.
He hits the up button.
CUT TO:
INT. FEDERAL LOCKUP - VISITATION AREA - DAY
Clearing Officer looks down the hall.
CLEARING OFFICER
Visitor for Driscoll...?
Kimble is on his feet.
CLEARING OFFICER
Booth seven. No hands on the glass. Be advised...
The Clearing Officer, head down, drones on - doesn't notice
Kimble is already gone.
Kimble strides down the row of chairs, rounds the last
partition to reach booth seven - and to stare at the
one-armed man, DRISCOLL, who waits there.
DRISCOLL
So who are you?
CUT TO:
MEMORY HIT - FACE OF HELEN'S KILLER
CUT TO:
BACK TO SCENE
Driscoll's face is different. Driscoll is a black man.
KIMBLE
Sorry. I made a mistake.
DRISCOLL
Shit, that's okay. Stick around a
few minutes, talk about whatever you
want...
But Kimble is gone. Driscoll calls after him.
DRISCOLL
... They're not exactly wired for
cable downstairs, y'know?
INT. FEDERAL LOCKUP - CORRIDOR - DAY
Kimble exits the visitor's area. He sees another crowd of
COPS around the elevator again, opts for the door marked:
"STAIRS"
INT. FEDERAL LOCKUP - LOBBY - DAY
Biggs and Gerard wait for the elevator. Finally Gerard's
had enough.
GERARD
Where're the damn stairs?
BIGGS
It's five flights!
GERARD
Then you wait.
He finds the door and starts up.
INT. FEDERAL LOCKUP - STAIRWELL - DAY
Kimble descending. Doors open and close throughout the
stairwell but the traffic is light...
INTERCUT WITH:
GERARD
Climbing the stairs. He reaches a landing - and skims
shoulders with Kimble, who pivots past on his way down.
Amazingly, neither man reacts. Not yet.
One flight above, Gerard's subconscious taps him on the
shoulder and brings him to a dead stop. He leans over the
stairwell railing to spy...
Kimble spiraling downward. From this vantage, it could be
any dark-haired man. But still...
GERARD
(a quick probe)
Kimble.
Others look up out of curiosity... but not Kimble. Two
landings below, he falters a step, then tries to regain
his step, keeps moving.
But Gerard is pulling his Glock: The hitch in Kimble's
stride told him everything.
GERARD
Kimble!
Kimble blitzes down the stairs. Gerard moves after him.
INT. FEDERAL LOCKUP - LOBBY - DAY
Kimble throws open a fire door and starts across the lobby.
Sees two cops, quickly approaches.
KIMBLE
Officers - there's a man in the
stairwell waving a gun and
screaming.
The two cops rush to stairs and Kimble immediately moves
toward the doors, fast but not running. Hoping to cloak
himself in civilians.
ANGLE ON ELEVATORS
Biggs' elevator has finally arrived and emptied. He lets a
woman on in front of him, oblivious to...
Kimble moving...
The revolving exit doors loom nearer ant nearer.
INT. STAIRWELL - DAY
The two cops see Gerard. Gerard holds up his badge.
GERARD
U.S. Marshal! Get on the phone, call
your commander, tell him there's a
top-fifteen warrant in the building.
Go.
He shoves the cops out of the way and pounds downstairs.
INT. LOBBY - DAY
Kimble closing in on the door when suddenly a KLAXON HORN
sounds.
People stop in confusion. Automatically, the exit doors
begin closing. Biggs pushes his way off the elevator.
Kimble breaks into a sprint for the door.
GERARD
Bursts out the stairwell door after Kimble.
GERARD
Kimble. Stop!
But there's only one way of stopping Kimble.
KIMBLE
Enters the revolving doors as a big man enters from the
outside. The big man sizes up the situation, realizes Kimble
is fleeing and just before Kimble exits - yanks on the door
- trapping him partially inside the revolving door.
Other doors seal electronically. Biggs charges back, sees
Gerard.
Kimble fights the heavy glass door. The big man resists -
but slowly the crack widens. Gerard bulls through the crowd,
shoves a man out of his line of fire.
GERARD
Down. down. everybody down!
With adrenal effort, Kimble wrings his body through the
opening...
EXT. FEDERAL LOCKUP - DAY
... and makes it outside - except for his foot - caught like
in a bear trap, as the door locks down. Harrowed, Kimble looks
back over his shoulder at...
Gerard. Charging the glass doors. Civilians suck marble and
clear out of Gerard's line of fire on Kimble. Gerard takes aim.
GERARD
Kimble. Stop!
It's Kimble's nightmare coming true. If he could chew off his
leg right now, he would. He pulls at his foot just as
INT. FEDERAL LOCKUP - DAY
Gerard FIRES seven times in two seconds.
Kimble goes down. SHOTS and SCREAMS ECHO around the lobby. A
long beat, then Gerard rises. THROUGH GLASS studded with
bullet holes, he sees...
Kimble rising... staring back. Equally astounded that he's
alive. He runs free.
GERARD
Open the doors!
Gerard pounds against the doors. Sees cratering in the
glass - and then sees flattened slugs all over the floor.
It's bullet-proof glass. THROUGH the glass he sees Kimble
rush across the street and disappear into the parade.
Doors open and Gerard and his men follow.
But Kimble has disappeared into the parade celebrations
outside. Blending in with the marchers.
CUT TO:
EXT. HOTEL - MORNING
Kimble leaves a cheap hotel early the next morning. He wears
a new set of clothes - jeans, sport coat and tie - than the
day before, and the black hair coloring has been rinsed from
his hair. He moves down the street.
INT. BAR - MORNING
Kimble uses a pay phone and stares through the window.
KIMBLE'S POV - APARTMENT HOUSE
Across the street.
INT. SYKES' APARTMENT - MORNING
Inside the apartment the PHONE RINGS. No one is home.
INT. BAR - MORNING
The PHONE RINGS nine, ten times. As Kimble waits he looks
down at his list of five. The only name remaining is
Fredrick Sykes.
He looks down the street - it seems clear - then his focus
shifts to a man carrying two coffees. He approaches a car
parked along the curb. The passenger - a woman - leans
across the seat and opens the door for him.
He hands her a cup of coffee and as he starts to climb in,
he shifts something on his hip - we see the butt of a
handgun.
Kimble hangs up and leaves through the back door.
EXT. REAR OF SYKES' APARTMENT - MORNING
Kimble moves across the roof and drops to fire escape behind
Sykes' apartment. He looks in the window, steps back to see
if anyone is looking, then pulls his fist back into his
sleeve and with one swift pop, BREAKS the GLASS.
INT. SYKES' APARTMENT - KITCHEN - MORNING
No sound. Slowly he moves into...
HALLWAY
Moving first toward the living room. The apartment is
modest.
He stops by a photograph of a teenage girl. Another is a
boy in football uniform. The next one is a man in a
police uniform. Kimble freezes.
MEMORY HIT - INT. KIMBLE'S BEDROOM - NIGHT OF MURDER
Kimble struggles with the one-armed man.
INT. SYKES' APARTMENT - MORNING (PRESENT)
Kimble struggles to recall the man's face. It could be him.
CUT TO:
INT. APARTMENT - MORNING
Kimble searching for clues to Sykes' identity. He opens
closets, wardrobe, bureau... reopens a drawer. There, in the
bottom he finds an old prosthetic arm.
CUT TO:
ANGLE - DESK
Kimble looking through Sykes' desk drawers finds a package
of photographs. He opens them and quickly flips through.
INSERT - PHOTOGRAPHS
A group of men on a business/vacation junket stand around a
large sportfish hung from the dock. Kimble keeps flipping
through, suddenly stops and backs up and we see what stopped
him: The smiling face of Dr. Alexander Lentz.
MEMORY HIT - INT. HOTEL BALLROOM - NIGHT OF MURDER
Nichols introduces Kimble to Lentz.
NICHOLS
Richard... Alex Lentz.
CLOSE ON PHOTOGRAPHS - MORNING (PRESENT)
There are three photos of Lentz. Kimble slowly pulls one out
of the pack. As he slides it out we see a fish and on the
other side we see... Sykes, wearing a prosthetic arm.
MEMORY HIT - INT. KIMBLE'S BEDROOM - NIGHT OF MURDER
Kimble struggles with intruder. This time we see his face
clearly. It is Sykes.
INSERT - PHOTOGRAPHS (PRESENT)
Kimble flips back to the earlier group photos and we see a
Devlin-MacGregor banner over the group shot.
KIMBLE
Looks up. He's found the man he's looking for but also a new
possibility - that the murder wasn't just a random act of
violence.
Kimble digs through Sykes' top desk drawer. His mind reeling.
He stops:
CLOSE ON PAYCHECK STUBS
The Devlin-MacGregor Pharmaceutical logo in the top right
corner. Payroll level four: Security.
CUT TO:
INT. U.S. MARSHAL'S OFFICE - MORNING
PHONE RINGS. SECRETARY answers it.
SECRETARY
U.S. Marshal's office...
Her expression changes to shock.
CUT TO:
INT. MARSHAL'S OFFICE HALLWAY - MORNING
Gerard is moving down the hall with a cup of coffee when
the Secretary appears at a door.
SECRETARY
It' 9 Kimble on line three.
Gerard moves quickly down the hall, mobilizing his troops
as he runs...
GERARD
Renfro, Biggs...
They follow him into...
INT. MEDIA ROOM - MORNING
Gerard moves to phone as TECHNICIAN gives him nod he's
ready. Gerard answers the phone and the trace begins.
Renfro supervises.
GERARD
This is Gerard.
KIMBLE (V.O.)
(beat)
Do you remember what I told you in
the tunnel?
GERARD
You told me, you didn't kill your
wife.
INTERCUT WITH:
INT. SYKES' APARTMENT - CLOSE ON KIMBLE - MORNING
KIMBLE
Remember what you said to me?
INT. MEDIA ROOM - MORNING
Gerard is calm.
GERARD
I remember you were pointing my gun
at me.
KIMBLE (V.O.)
You said, 'I don't care.'
ON TRACING EQUIPMENT
The numbers rush down. Technician reads the first set
to Renfro.
TECHNICIAN
(a whisper)
He's on the southside.
ON GERARD
GERARD
That's right, Kimble... I'm not
trying to solve a puzzle here. I'm
just the poor working man that's
paid to hunt you down.
The room is filling up with deputies. Poole, Biggs,
Stevens, Newman.
Gerard watches the numbers as the second digit locks in.
RENFRO
(low)
He's in Pullman area... Fifteen
seconds for location.
INT. SYKES' APARTMENT - CLOSE ON KIMBLE - MORNING
KIMBLE
Well, I am trying to solve the
puzzle, Gerard and I just found a
piece.
Kimble takes the phone and bangs it down onto a table and
we realize he is in Sykes' kitchen.
INT. MEDIA ROOM - MORNING
The sound startles Gerard.
TECHNICIAN
Three seconds.
INT. SYKES' APARTMENT - MORNING
GERARD (V.O.)
Kimble?
Kimble leaves the phone on the table and walks out.
INT. MEDIA ROOM - MORNING
GERARD
(into phone)
You can't control this thing,
Kimble... Kimble?
He thinks he hears FOOTSTEPS over the phone, realizes Kimble
has not hung up. What's Kimble doing?
GERARD
(to Renfro)
Where is he?
Renfro looks up from the address to Gerard, stunned.
RENFRO
(incredulous)
Holy shit. We've got a car there
right now.
He picks up a phone.
EXT. SYKES' APARTMENT - ANGLE - POLICE CAR - MORNING
The two cops receive a radio report about Kimble and
quickly exit their car. They rush toward Sykes' building.
ANGLE - BACK ALLEY
While they move into the apartment, we see Kimble, fully
aware of them, slip away down the alley.
INT. EL TRAIN - MORNING
CLOSE ON LIST: Sykes. Lentz. Devlin-MacGregor. R.D.U.90.
Lines draw connections.
MEMORY HIT - INT. OPERATING ROOM - NIGHT OF MURDER
Kimble and Chief Resident work feverishly to save patient.
KIMBLE
This an R.D.U.90 patient?
Kimble looks up at the Resident as we...
CUT TO:
INT. SYKES' APARTMENT - DAY
CLOSE ON TELEPHONE RECEIVER. It BUZZES off the hook.
POOLE (V.O.)
Name is Fredrick Sykes. 45. Ex cop .
A hand comes INTO FRAME ant replaces the receiver on the
cradle. We WIDEN to find: Gerard. We see technicians
dusting room for prints. A FORENSIC TECH approaches Gerard.
FORENSIC TECH
Inspector, we're ready for you to
look at this.
The Forensic Tech sits at desk.
FORENSIC TECH
Kimble's prints are all over the
apartment, but the concentration
is here.
The Tech takes out the check stubs, some papers; the pack
of photos.
INSERT - PHOTOS
The Tech flips through the pack, stops on the Lentz/Sykes
photos.
FORENSIC TECH
He flips through the pack but
paused here.
He hands the Lentz/Sykes photo.
GERARD
Let me see the negatives.
The Tech hands him the strip of negative film. Gerard holds
it up to the light.
GERARD
One's missing.
Gerard stares at the photo as his RADIO SQUAWKS.
BIGGS (V.O.)
(on radio)
Here he comes...
CUT TO:
EXT. SYKES' APARTMENT - SIDEWALK - DAY
Fredrick Sykes, the one-armed man, comes down the side
walk. He passes a car and hears the door open behind him.
Biggs climbs out of the car and falls into step behind him.
Sykes hears the footsteps but moves on up the stoop and
starts to enter his apartment, notices the front door
already open.
Cops and Marshals in his house. Processing a crime scene.
SYKES
What the hell's going on here?
Who are you people?
He steps...
INT. SYKES' APARTMENT - DAY
... sees Gerard in the kitchen. Gerard stares at Sykes.
GERARD
You had a break-in, Mr. Sykes.
SYKES
You a cop?
GERARD
My name is Gerard. U.S. Marshal's
Office.
Sykes is caught off guard.
GERARD
This morning a fugitive named
Richard Kimble made a call from your
apartment.
Sykes is dumbfounded.
SYKES
Richard Kimble... I don't know a
Richard Kim -
Poole produces a photo of Kimble.
SYKES
Wait a minute... This is the doctor
who killed his wife... He claimed
the killer had a prosthetic limb.
You telling me he's coming after
me?
GERARD
Would he have a reason to?
SYKES
What the hell's that supposed to
mean? Because I have this?
He lifts his prosthetic arm and stares at Gerard. Gerard
holds his look.
SYKES
Look, a year ago some people came
to see me. They asked me questions
about the night of the murder and
I'll tell you the same thing I told
them. I wasn't even in town then.
I was on a business trip.
Gerard continues moving around the apartment.
GERARD
What kind of business are you in,
Mr. Sykes?
SYKES
Security.
GERARD
Independent?
SYKES
No, I work for a pharmaceutical
company. I handle security for its
top executives.
Gerard holds up one of the fishing photographs with Lentz.
GERARD
Any idea why Kimble would be
interested in these?
SYKES
No. Just some doctors on a company
junket.
Gerard puts the photos down with the one of Lentz on top.
Sykes eyes it.
SYKES
(annoyed)
Look, you mind if I talk to the cops
to see if anything's missing?
GERARD
By all means.
Sykes moves off and Gerard pockets the Lentz/Sykes photo.
CUT TO:
EXT. SYKES'S APARTMENT - DAY
Gerard crosses the street with Renfro and Biggs.
RENFRO
He's pulling our chain, Sam. If this
was the guy Kimble was looking for,
why call us?
GERARD
Kimble said he's putting together a
puzzle. We don't need to put it
together too, we just need to be
there when he gets to the next
piece.
Gerard stops and looks back at Sykes' apartment.
GERARD
Keep somebody on him. If he moves
I want to know.
CUT TO:
INT. MEDICAL LIBRARY - DAY
Kimble moves through large medical library and turns into
area marked: PHARMACOLOGY.
CUT TO:
CLOSE ON PHARMACEUTICAL JOURNAL
Pages turn as we get CLOSER on headings: "DRUGS PENDING
FDA APPROVAL..." Experimental and commercial names MOVE
PAST us... and at the end of the list we find: "PROVASIC
(RDU90) Developed by Devlin-MacGregor Pharmaceuticals".
SECOND PERIODICAL - BUSINESS PHARMACEUTICAL JOURNAL
Kimble opens to article entitled: "DEVLIN-MACGREGOR
EXPECTS PAYDIRT WITH PROVASIC." "Pharmaceutical company
plans to go public on introduction of new drug, Provasic
(R.D.U.90)."
Kimble looks up. Now he knows why someone tried to kill
him. He gathers more Devlin-Macgregor information
including a prospectus, and leaves.
CUT TO:
INT. DOCTOR'S PHONE SERVICE - DAY
An OPERATOR answers a call.
OPERATOR
(into phone)
I'm sorry sir, Dr. Nichols is at a
medical conference at the Hilton.
INTERCUT WITH:
INT. CHICAGO MEMORIAL HOSPITAL LIBRARY - PAY PHONE - DAY
KIMBLE
It's very important I reach him.
INT. HILTON HOTEL HOSPITALITY SUITE - DAY
A meeting is underway around a board room table. An
ASSISTANT moves around the table and gives Nichols a
message with a number and "URGENT" written on it.
ASSISTANT
I'm sorry, sir, they said it was an
emergency.
Nichols excuses himself from the table.
EXT. MEDICAL LIBRARY PAY PHONE - DAY
Kimble answers a pay PHONE when it RINGS.
KIMBLE
(urgent)
Can you talk?
INTERCUT WITH:
INT. HILTON HOTEL HOSPITALITY SUITE - DAY
Nichols on phone at the other end of the suite. The meeting
continues behind him. As soon as he hears Kimble's voice,
Nichols reacts.
NICHOLS
(low)
Richard. Yes... I'm on a hotel
phone. What's going on?
He eyes the group in the other room, moves around the corner
for more privacy. As he does we notice several of the men
watching. They exchange glances.
KIMBLE
I found him, Charlie. I found the
guy that killed Helen.
NICHOLS
(shocked)
What?
KIMBLE
It's all about a drug, Charlie. They
tried to kill me because of a drug.
NICHOLS
Who?
KIMBLE
Devlin-MacGregor and Lentz. Lentz
was supervising the R.D.U.90
protocol. He knew I'd found out the
drug had problems. It's Lentz.
NICHOLS
Richard, Lentz is dead. He died in
an auto accident last summer.
Kimble is stunned.
NICHOLS
Can you prove this about the drug?
KIMBLE
I need your help. Call Mr. Roosevelt
and tell him I'm coming in.
CUT TO:
INT. GERARD'S OFFICE - DAY
The group of deputies and Gerard assemble around Gerard's
information board. They've come armed with facts and
theories. Gerard orchestrates the information.
RENFRO
If you were Richard Kimble... Why
would you hunt for a one-armed man
you think killed your wife; find
hint then leave him and call us?
POOLE
To throw us off his trail.
RENFRO
Unless... What if you were a well
respected surgeon and wanted to kill
your wife? How would you do it?
BIGGS
I'd hire a pro. Sight unseen.
POOLE
Set it up to look like a robbery
gone bad.
RENFRO
How would you find him? Look in the
phone book?
RENFRO
Through a connection.
POOLE
Maybe through a company you did some
business with.
BIGGS
Like a pharmaceutical company.
Someone in security.
NEWMAN
On the night of his wife's murder,
Kimble attended a hospital benefit
sponsored by Devlin-Macgregor
Pharmaceutical - Sykes' company.
Gerard places a Devlin-Macgregor card onto his board.
BIGGS
But Sykes claims he was out of town.
POOLE
And company records support that he
was on a business trip.
RENFRO
That's an easy fix. So let's say he
was in town. Did the job. Everything
goes as planned with one problem.
NEWMAN
Instead of looking like a robbery
gone bad, Kimble ends up being the
one accused...
BIGGS
... tried, convicted...
POOLE
... and the hit man gets away clean.
RENFRO
So Kimble returns to hunt for and
find the hit man.
NEWMAN
Why? To share the blame? He'd still
go to prison.
Gerard moves to the board. He takes down a card.
RENFRO
You're underestimating the power of
the good doctor. It would be his
word against... Sykes'. Who would
you believe?
BIGGS
So what does Kimble do next?
RENFRO
Get help.
Gerard pins the card to the board and looks at Renfro. It
says: "NICHOLS"
GERARD
Stevens, check phone records for
Sykes and Kimble.
Gerard moves to the door and Renfro follows. As he's
leaving he hands the photo of Lentz and Sykes to Biggs.
GERARD
Find out who this guy is.
He leaves. Biggs hands the photo to Newman.
NEWMAN
(deadpan)
Why do I get all the great jobs?
EXT. CHICAGO MEMORIAL HOSPITAL - LOADING DOCK - DAY
Kimble enters the hospital through the loading dock.
INT. CHICAGO MEMORIAL - MORGUE - DAY
MR. ROOSEVELT, an ancient research assistant, opens the
door to Kimble.
ROOSEVELT
It sure is good to see you again,
Dr. Kimble.
KIMBLE
You too, Roosevelt... Been a long
time.
Roosevelt closes the door behind them.
INT. TISSUE STORAGE - DAY
Roosevelt brings Kimble a file marked: "R.D.U.90"
ROOSEVELT
This is the R.D.U.90 file and
samples. Dr. Nichols said you
needed.
KIMBLE
Thanks, Roosevelt.
CUT TO:
INT. UNMARKED POLICE CAR - DAY
A cop stares up at Sykes' house from across the street.
INT. SYKES' APARTMENT - DAY
Sykes watches the cops in the car outside. He moves to the
phone and dials number.
EMERGENCY OPERATOR (V.O.)
Emergency operator.
SYKES
I want to report a fire; No, it's
not my place, it's a couple doors
down.
CUT TO:
INT. CMH HALLWAY/DR. WAHLUND'S LAB - DAY
Kimble moves down hall and quietly enters a small research
lab in the university. Dr. Wahlund sits behind her microscope
and doesn't see him until he touches her on the shoulder.
WAHLUND
(startled)
Oh, my God... Richard.
KIMBLE
I loaned you something once, Kath,
and I need them back.
CUT TO:
INT. SYKES' APARTMENT - DAY
Sykes, dressed in coat and tie, prepares to leave apartment.
Somewhere in the distance we hear: FIRE ENGINE SIRENS.
EXT. SYKES' APARTMENT - DAY
The cop stares at Sykes' window when suddenly we hear FIRE
SIRENS, and a pair of fire trucks turn onto the street and
pull up across the street from the unmarked car -blocking
the view of Sykes' house. Firemen climb down and move to a
nearby building. The street begins to fill up with people.
The cop stares at the commotion directly behind him. He
becomes so engrossed in the action like everyone else that
he fails to see Sykes, using the distraction, exit his
apartment and walk calmly away from the scene.
INT. U.S. MARSHAL'S OFFICE - DAY
Newman studies the photograph of Lentz and Sykes under a
magnifying glass.
INSERT - CLOSE ON PHOTO OF LENTZ
We see the logo on Lentz' shirt says: "C M H"
EXT. EL STATION - PHONE BOOTH - DAY
Sykes stands at a phone booth, finishes a call, then moves
up the stairs to board an el train.
INT. HILTON HOTEL - DAY
A conference breaks up and Nichols moves down hallway.
He slows when he sees Gerard and Renfro waiting for him.
NICHOLS
Mr. Gerard.
GERARD
Doctor. Could I have a minute?
He opens the door to an empty meeting room.
INT. MEETING ROOM - DAY
Gerard, Nichols and Renfro. Nichols stares at a photo copy
of the Sykes and Lentz fishing photo.
RENFRO
He's a security specialist at
Devlin-Macgregor Pharmaceuticals.
Kimble broke into his apartment.
NICHOLS
I don't know him. You're getting
pretty desperate aren't you, Mr.
Gerard. I told you, you wouldn't
find Richard.
GERARD
(beat)
Dr. Kimble hasn't come back to you
for help, has he?
NICHOLS
No. And it seems like we've been
over this ground before. Now if
you'll excuse me.
Nichols moves to the door. Gerard looks again at the photo,
then stops him.
GERARD
Dr. Nichols. Do you know the other
man in the photograph?
Nichols stops, looks at Lentz and lies.
NICHOLS
I never saw him before.
He leaves. Gerard watches him.
Renfro looks down and sees flyer which says Nichols is
slated to talk that evening in the grand ballroom.
RENFRO
(reads)
"Advances in Nuclear Tissue and
Pathology Research," by Dr. Charles
Nichols.
(to Gerard)
I bet they line up to hear that one.
CUT TO:
EXT. CHICAGO MEMORIAL HOSPITAL - AFTERNOON
Newman and Biggs enter the hospital.
INT. CHICAGO MEMORIAL HOSPITAL - DR. WAHLUND'S LAB - AFTERNOON
MICROSCOPIC POV: Cell structure.
ON WAHLUND
She works the fluorescent stains. Makes notes.
Kimble helps load the next sample.
KIMBLE
Half the people in the study were
indigents. No follow-up, no baseline
on them. Who could say they didn't
come into the study with bad livers?
WAHLUND
The one on the right is one of the
samples you sent me. It shows a lot
of perriportal inflammation loaded
with eosinophils. When you see that
with the accumulation of bile it's
a classic for -
KIMBLE
- drug induced hepatitis.
WAHLUND
I'm impressed. Now look at this.
She positions a second slide.
WAHLUND
According to the study, this is a
slice from the same liver.
Kimble studies the slide. The tissue difference is markedly
different, clearer.
KIMBLE
Cold normal.
WAHLUND
Clearly not from the same tissue.
In fact.
She yields the microscope to Kimble.
WAHLUND
See this small area of bile duct
proliferation? Von Meyenberg's
Complex. Occurs in only 2% of the
population. But it's in every one
of your five samples.
Kimble looks up.
KIMBLE
That's statistically impossible.
WAHLUND
That's because they're all from the
same liver.
She smiles at Kimble.
CUT TO:
INT. CHICAGO MEMORIAL HOSPITAL - ADMINISTRATIVE OFFICE
Newman shows the photo to a 40s clerk, BETTY. She looks at
the photo.
BETTY
His name's Lentz. A pathologist. I
only remember him because he died
last summer.
Biggs and Newman exchange a look.
NEWMAN
Anybody down in pathology who might
know something about the guy?
Betty looks at the clock, it's after 6 p.m. Dicey.
BETTY
It's kinda late to catch anyone,
but you might go by the morgue.
There's an old guy down there
who's been around forever.
CUT TO:
INT. CHICAGO MEMORIAL HOSPITAL - AFTERNOON
Sykes steps off an elevator at Chicago Memorial Hospital.
And starts down a hall.
CUT TO:
INT. CHICAGO MEMORIAL MORGUE HALLWAY - DAY
Newman and Biggs move down the empty hallway... this long
shot has never felt longer. They find the morgue.
BIGGS
Just what I want to do before
dinner.
INT. CHICAGO MEMORIAL MORGUE - DAY
Roosevelt working near the autopsy tables when the two
marshals enter.
NEWMAN
Are you Mr. Roosevelt?
ROOSEVELT
Yes.
BIGGS
We're United States Marshals. We're
trying to find out some information
about a pathologist, named Lentz. He
used to be on staff here.
Roosevelt suddenly goes on the defensive.
ROOSEVELT
He's dead.
NEWMAN
Yeah, we heard. We wanted to know if
he knew or had any contact with Dr.
Richard Kimble?
On the mention of Kimble, Roosevelt becomes visibly nervous.
ROOSEVELT
I... I haven't seen Dr. Kimble.
Biggs and Newman exchange a look.
NEWMAN
(a probe)
That's not what I asked, sir. I just
wanted to know if Dr. Kimble and Dr.
Lentz knew each other?
ROOSEVELT
I... I don't know. Excuse me, I got to go.
He moves away from the autopsy table. Biggs stops him.
BIGGS
I think you're lying to us.
Roosevelt looks from one marshal to the other as we:
CUT TO:
INT. CHICAGO MEMORIAL - DR. WAHLUND'S LAB - AFTERNOON
As Kathy packs up evidence, Kimble looks through the reports.
KIMBLE
They'd be home free if I hadn't been
leaning on them to account for the
livers I was seeing. And I wouldn't
have seen the livers if I hadn't
told the guys on my service to call
me when they had cases that were
bleeding excessively in surgery.
WAHLUND
Big bucks. One schmuck standing in
the way. Easy, get rid of him and
his wife. But why Lentz?
KIMBLE
Why not? He's one of the original
patent holders. Toss the samples I
sent, replace them with healthy
samples, issue the path report on
the healthy stuff-piece of cake.
Kimble notices something in the report.
KIMBLE
When did Lentz die?
WAHLUND
Oh, last summer sometime. August...
Why?
Kimble looks up from the protocol report.
KIMBLE
Because a good third of the samples
Lentz approved were signed after he
died.
Kathy comes to look at the report. Lentz's signature is
on reports dated October, November, December.
KIMBLE
Someone else used Lentz's name.
WAHLUND
A pathologist at Devlin-Macgregor?
KIMBLE
They wouldn't have had the access.
They would have needed someone at
the hospital.
Kimble opens the Devlin-Macgregor prospectus he took from
the medical library and opens it to the beginning. A photo
gets his attention.
He takes the bag and starts for the door.
WAHLUND
Where are you going?
KIMBLE
To see an old friend.
CUT TO:
INT. GERARD'S OFFICE - NIGHT
Gerard at his board. The cards form a triangle: Sykes
Devlin-Macgregor - Lentz with Kimble at the apex. He stares
at the board. Poole comes to the door.
POOLE
It's Newman. Line two.
INT. CHICAGO MEMORIAL HOSPITAL - HALLWAY - NIGHT
Kimble slips down corridor. We see someone following him.
It is Sykes.
INT. CHICAGO MEMORIAL HOSPITAL HALLWAY - NIGHT
Newman on portable phone. Behind him Biggs questions Mr.
Roosevelt.
NEWMAN
The old guy didn't know where he was
going. But he picked up some tissue
samples.
GERARD
Tissue samples?
Gerard goes to his board. Renfro listens on the speakerphone.
NEWMAN
... From a drug study. And signed
for by Dr. Charles Nichols.
Renfro and Gerard exchange a look.
NEWMAN
Nichols also knew Lentz. He was a
pathologist.
RENFRO
He was covering for Kimble.
GERARD
(to Renfro)
Get CPD to bring in Sykes.
Gerard stares at the board.
CUT TO:
INT. HOSPITAL TUNNEL - NIGHT
Kimble moves through steam tunnel beneath the hospital.
It is lined with old furniture and supplies. A few moments
later we see Sykes following.
CUT TO:
INT. HILTON HOTEL GRAND BALLROOM - NIGHT
A cordial HOST steps up to the microphone. The room is
filled with doctors seated at tables around the room. It is
the end of a dinner symposium.
HOST
Tonight to close our conference,
we're honored to hear a report from
one of the most respected men in
his field...
CUT TO:
EXT. CHICAGO MEMORIAL HOSPITAL - NIGHT
Kimble exits the hospital and moves toward Hospital E1 Station.
INT. BALLROOM - NIGHT
As the Host continues his introduction of the keynote speaker
we PAN the DAIS of distinguished medical men and women...
HOST
... He is the A. Jude Robinson
Fellow and Administrative Chief of
Pathology at Chicago Memorial
Hospital... and just recently has
been appointed member of the board
of directors for Devlin-Macgregor
Pharmaceuticals. Please welcome...
... and STOP ON Charles Nichols.
HOST
... Dr. Charles Nichols.
Nichols rises to applause and moves to the podium.
EXT. CHICAGO MEMORIAL HOSPITAL EL STATION - NIGHT
Kimble starts up the stairs to the station just as a train
is coming in. Kimble moves down the platform and boards the
downtown train. Just before the doors close Sykes steps onto
the last car. The train moves out.
CUT TO:
INT. GERARD'S OFFICE - NIGHT
Gerard stares at his board. Stevens comes to the door.
STEVENS
I checked Sykes' calls for the last
two years against Kimble's like you
asked and found nothing.
GERARD
All right. It was a thought.
He goes back to the board but Stevens isn't finished.
STEVENS
But when I cross-checked Kimble's
phone records... one came up.
Gerard looks up.
GERARD
Kimble called Sykes.
(calling)
Renfro! Get C.P.D. to bring in Sykes!
STEVENS
Night of his wife's murder -
seven-thirty in the evening from
his car.
Gerard stares at the deputy, thinking - something doesn't
click. Stevens sees the empty stare, then Gerard looks
back at his board.
STEVENS
I have the phone record right here.
GERARD
(calling)
Poole! Bring me Kimble's arrest
report, now.
(to Stevens)
No, Stevens... I believe you.
Poole enters with Kimble's arrest transcript. Gerard takes
the transcript as Renfro appears at the door.
POOLE
Sam, C.P.D. just checked Sykes'
apartment. He's not there.
As Gerard looks up, we -
CUT TO:
INT. DOWNTOWN EL TRAIN - ON KIMBLE - NIGHT
Sits in the front car. There are very few other riders.
A man with newspaper sits across the car reading. The
headlines facing Kimble say: "KIMBLE IN CHICAGO". Kimble's
booking photo stares back at him.
Kimble reacts to the headline, looks away as the man turns
the pages.
The man looks over the newspaper at Kimble, then goes back
to reading. A moment later he folds the paper back to the
front page.
The man looks up from the paper and looks at Kimble again,
then down.
Coolly the man folds the paper, tucks it under his arm,
stands, looks through the car, then moves into one of the
rear cars.
Kimble looks out the window - hoping desperately for his
car to reach the station. He keeps his head turned until
the man is gone.
ANGLE - THROUGH CENTER OF TRAIN - NIGHT
From the center of Kimble's car we see the man with the
newspaper move up to a TRANSIT COP. They begin talking.
Kimble stands, coming INTO the SHOT. We see him watching
the discussion.
Suddenly a man, sitting in the rear of the car, stands
and blocks Kimble's view of the Cop. It's Sykes. His gun
is drawn.
SYKES
Back up. Move to the door, Doc.
CUT TO:
INT. TRAIN - TRANSIT COP'S CAR - NIGHT
Transit Cop moves past the man with the newspaper toward
Kimble's car.
TRANSIT COP
(to radio)
This is transit unit, 23. I have a
possible sighting of Richard Kimble.
Northbound coming into the Balbo
station. Request immediate back-up
at the station.
He moves toward the connecting door to Kimble's car.
CUT TO:
INT. KIMBLE'S CAR - NIGHT
The train is not yet to the station. He has no escape.
Sykes moves toward him.
SYKES
This is my stop, Doc.
Kimble stares hard at Sykes. He steps toward the side
exit.
KIMBLE
Good, it's my stop, too.
Suddenly the door behind Sykes opens and the Transit Cop
enters.
TRANSIT COP
Kimble.
(to Sykes)
Sir, move away from him.
Sykes - the gun tucked next to his side - turns.
The Cop sees Sykes' gun, reacts...
But Sykes FIRES first, shoots the cop FOUR TIMES.
As the Cop falls, Sykes turns quickly to finish Kimble.
But Kimble pulls the emergency brake over the door.
EXT. TRAIN - NIGHT
The brakes lock. The TRAIN SCREECHES.
INT. REAR CARS - NIGHT
Passengers are thrown off their feet. Bags and briefcases
go flying.
INT. KIMBLE'S CAR - NIGHT
Sykes is thrown forward toward Kimble who holds onto a bar
for balance.
EXT. TRAIN - NIGHT
The train stops just short of the station. Only the first
two windows of the front car are over the platform.
INT. KIMBLE'S CAR - NIGHT
Sykes is thrown to the floor - the gun slips from his grasp.
Kimble moves for the gun as Sykes comes up, catches Kimble
in the stomach, knocks him back. The fight carries on
throughout the car.
Kimble reaches the gun first, lifts it in his left hand and
aims at Sykes. Sykes sees the gun in Kimble's hand and
almost smiles.
SYKES
Go ahead. You don't have it in you .
For a moment Kimble almost fires, but instead he takes the
gun in his right hand and whips it across Sykes' face.
Then hits Sykes again and again with the butt of the gun,
driving him down the length of the car, knocking him almost
unconscious.
Kimble tucks the gun in his belt and moves to the Transit
Cop. He checks for a pulse - there is none. The Cop is dead.
Kimble takes the handcuffs and keys from the case on the
Cop's belt. He reaches for Sykes' wrist, drags him to the
Cop and cuffs Sykes to the dead Cop.
He pockets the keys and grabs Sykes' hair, pulls his face
off the floor.
KIMBLE
Not as easy as Helen, was it?
(slams Sykes' head down, leaves)
You missed your stop.
He moves to the front of the car with Sykes' and the Transit
Cop's guns out. People back out of his way. He moves to
where the first two windows extend over the platform, kicks
out the front window and...
EXT. TRAIN STATION - PLATFORM - NIGHT
... drops to the station platform. Kimble lowers his head and
moves down the uncrowded platform to the station.
INT. GERARD'S OFFICE - NIGHT
The report comes off the scanner.
DISPATCHER (V.O.)
... units in the vicinity of Balbo
Street station. Be alert to possible
sighting of Richard Kimble...
Gerard, Renfro and Poole trade looks. Gerard moves toward
the door.
RENFRO
Balbo station. That's -
GERARD
(cutting him off)
Poole, get Biggs and Newman.
They're gone as we -
CUT TO:
EXT. TRAIN STATION - NIGHT
Police cruisers pull outside the station.
INT. TRAIN STATION - NIGHT
As transit police move up the escalator to the platform,
Kimble moves unnoticed through the underground mall
beneath the hotel. Deposits the guns into a mail box and
keeps moving.
INT. GERARD'S CAR - NIGHT
Renfro driving, Gerard and Pool in car. Report comes over
the radio.
POLICE DISPATCHER (V.O.)
... all units in vicinity of Balbo
E1. Officer down. Repeat, officer
down. Man leaving scene with two
guns matches description of Richard
Kimble...
Gerard looks out the window, he knows what this means.
GERARD
(quietly to himself)
Damn...
INT. HOTEL - MALL LEVEL / LOBBY - NIGHT
Kimble moves up escalators from the underground station
into the Hilton.
INT. HOTEL LOBBY - NIGHT
Disheveled and driven, he moves from the escalators to the
lobby - checks the list of hospitality suites and sees
board which indicates Nichols speech in the rooftop
ballroom. He moves on to the main elevators.
CUT TO:
INT. BALLROOM - NIGHT
Nichols speaking. As he talks we MOVE TO...
ANGLE ON TABLE OF MEN
Listening - the same men we saw in the hospitality suite
when Nichols talked to Kimble. As we MOVE TIGHTER ON one
of the men, we notice his name tag says: Board of
Directors... Devlin-MacGregor Pharmaceuticals.
INT. HILTON ROOFTOP ELEVATORS - NIGHT
Kimble rides alone to the rooftop ballroom.
CUT TO:
EXT. HILTON HOTEL - NIGHT
Gerard's car pulls up in front of the hotel. Police are
controlling pedestrians. Newman and Biggs, already decked
out in Kevlar, meet him.
NEWMAN
C.P.D. just reported -
GERARD
I heard. Was it Kimble?
BIGGS
Conflicting reports, but the cops
are considering him a shooter.
Heavily-armed CPD units pull up. Gerard stares at the police
presence. He starts toward the hotel where Kelly is
conferring with Kevlar-decked police captain.
POLICE CAPTAIN
Witnesses say he entered hotel from
the subway.
KELLY
Okay. I want it locked down. Start
on the lower levels.
The captain moves off. Gerard intercepts the cop.
GERARD
That's my man in there, Kelly.
KELLY
Not since he took down one of ours,
Gerard. This is a police matter,
now. Stay, the hell, out of it.
Kelly moves off. Gerard watches him a moment then he looks
up to the roof. Newman hands Gerard his belt with his
backup piece.
GERARD
C'mon, I know where he's going.
He moves into the hotel with his deputies.
INTERCUT WITH:
LOCKDOWN MONTAGE - EXT. / INT. HOTEL - NIGHT
A) C.P.D. cruisers arriving. Cops deploying to points of
entry. Security guards keying shut parking garage and
blocking stairwells.
B) Helicopter with police sharpshooters takes off from
Meigs Field downtown and heads for the hotel.
CUT TO:
INT. ROOFTOP ELEVATORS/PENTHOUSE HALLWAY - NIGHT
Kimble exits the elevators and moves down the corridor to
the ballroom. A man tries to stop him at the doors, Kimble
simply moves him out of the way and opens the doors to:
CUT TO:
INT. BALLROOM - NIGHT
Nichols moves to the last of his speech as Kimble enters
at the rear
NICHOLS
... And I especially would like to
thank my researchers who helped me...
Nichols stops his speech - stunned to see Kimble.
NICHOLS
Richard...
KIMBLE
What's wrong, Charlie? Surprised?
Kimble begins moving down the aisle past the tables of
doctors toward the podium.
We see the faces of Kimble's colleagues and friends from
the ballroom sequence earlier. At first no one notices
Kimble but as he makes his way toward the dais, the
applause fades and then room quiets. Whispers of:
CROWD
It's Richard. It's Kimble.
Stunned expressions.
Kimble continues to the front, talking to Nichols as if
the room were empty.
KIMBLE
After Lentz died, you were the only
one that had access to the
pathology reports.
Nichols remains calm.
NICHOLS
Reports? What are you?
KIMBLE
You switched the samples and
falsified the reports so R.D.U.90
could get approval.
NICHOLS
Richard, I don't know what you're
talking about?...
KIMBLE
I have a set of the original
samples.
Nichols stares at Kimble and for the first time we see a
flicker of concern.
KIMBLE
You almost pulled it off, Charlie.
But I know all about it now, and I
can prove it.
Nichols and Kimble hold a look. Nichols turns to the audience.
KIMBLE
Ladies and gentlemen. My friend, as
you can see, is obviously not well.
Richard, if you want to talk -
KIMBLE
I didn't come here to talk
Nichols leaves the dais and heads toward the exit.
Kimble tracks along with him - moving through the tables -
passing the table with the Devlin-MacGregor board of
directors. They are disturbed by this situation.
ON NICHOLS
Moves through a door and exits into...
HALLWAY
Kimble follows moving through the tables and people to
reach the door.
As soon as he's gone there are calls for "security." Doctors
move for the exits.
CUT TO:
INT. HOTEL LOBBY - NIGHT
Gerard, Renfro, Newman, Biggs and Poole move into the lobby.
Police move to cover the lower floors.
BIGGS
C.P.D. has the perimeter, hotel
security has the parking structure.
GERARD
Let them keep busy down below.
Newman, get with security. See if
you can locate Kimble from the
monitors. Keep in radio contact.
Newman branches off to Hotel Security. The rest follow
Gerard to the rooftop elevators.
EXT. HELICOPTER - NIGHT
ROARING over Chicago skyline. The bright red sign of the
Hilton Hotel looms ahead.
CUT TO:
INT. HALLWAY / HOSPITALITY SUITE - NIGHT
Nichols moves down hallway and turns into a hospitality
suite. A moment later Kimble follow and enters the...
HOSPITALITY SUITE
... and is immediately smashed with a chair by Nichols.
Kimble goes flying, stunned. Nichols locks the door.
NICHOLS
Your best quality, Richard, is that
you don't give up -
Nichols pulls Kimble to his feet.
NICHOLS
... even when it's clearly in your
best interest to...
He hits him again, drives him back into the library.
Kimble tries to recover as Nichols relentlessly stays on
him. He pulls him up, slams him against the fire escape
doors.
NICHOLS
I always knew that I'd have to kill
you.
He drives a blow into Kimble's stomach.
NICHOLS
Now, I must thank you for giving me
200 witnesses tonight who will
support me... when I tell them it
was self-defense...
He shoves Kimble through the door out into...
EXT. FIRE ESCAPE BALCONY - NIGHT
... and almost over the railing. Kimble grabs the rail to
keep from dropping to the street. Nichols closes on him,
but Kimble rolls away at the last minute and knocks
Nichols back against the other side of fire escape.
KIMBLE
You missed your chance, Charlie...
Nichols charges Kimble, but Kimble drives him back with
two crushing blows that send Nichols down the stairs.
Kimble moves down the stairs after him - passing under a
security camera.
CUT TO:
INT. SECURITY ROOM - NIGHT
A room lined with security monitors. Two security personnel
sit in front of their console. Newman stands behind them.
On screen: We see Kimble moving down the stairs toward
Nichols, who pulls himself to his feet.
Newman stands in front of the screen, talks to his radio.
NEWMAN
(to radio)
I've got Kimble on the roof with
Nichols. Southeast exit.
INTERCUT WITH:
INT. HOTEL ELEVATOR - NIGHT
Gerard and deputies Poole, Biggs, and Renfro around him.
BIGGS
(to radio)
Keep and eye on him. Biggs has roof plans.
BIGGS
There are four exits to the roof.
GERARD
I want them covered.
EXT. HOTEL ROOFTOP FIRE ESCAPE - NIGHT
Nichols rises to his feet, swings, but Kimble blocks the
blow and lands another that sends Nichols down another
set of stairs to the roof.
KIMBLE
You took everything away from me...
for money.
INT. BALLROOM ELEVATORS - NIGHT
Gerard and the marshals reach the ballroom floor. The
elevator doors open to a flood of confused and disoriented
doctors trying to escape. The marshals wade through, meet
up with two hotel security guards.
GERARD
This way.
EXT. ROOFTOP - NIGHT
Kimble pulls Nichols to his feet. They are silhouetted by
the lights of the city skyline.
KIMBLE
I want to know, Charlie... was it
worth it...?
NICHOLS
This thing is bigger than even you
think, Richard. You can't stop it.
He hits Nichols again with tremendous force, knocking him
against the parapet. Nichols stares over the edge - the
street appears far below.
INT. BALLROOM - NIGHT
Gerard and his deputies work their way into the ballroom.
The deputies move to separate areas. Several doctors point
them in the direction Kimble and Nichols fled.
INTERCUT WITH:
INT. HOTEL SECURITY - NIGHT
Newman stands in front the security monitors and watches
Kimble and Nichols on the roof.
EXT. ROOFTOP - NIGHT
Kimble reaches Nichols and draws to hit him again as the
HELICOPTER suddenly ROARS over the rooftop. Its beam hits
the two men and a VOICE booms from the helicopter:
VOICE FROM HELICOPTER (V.O.)
Chicago police. Freeze.
In the instant of shock, Nichols knees Kimble and bolts.
INTERCUT:
INT. HALLWAY / HOSPITALITY SUITE - NIGHT
Gerard moves down connecting hallway where a couple of
concerned doctors are trying to open the door to the
hospitality suite.
GERARD
(to doctors)
Clear the hallway.
(to security)
Get that door open.
The door opens and Gerard moves quickly through the
hospitality suite for the rooftop.
GERARD
(to security)
Stay at this door.
He moves through the door to the roof alone.
INT. HOTEL SECURITY - NIGHT
Newman watching the security monitors sees Kimble and
Nichols. On another monitor we see Gerard exit the suite.
EXT. ROOF - NIGHT
Nichols runs.
Kimble recovers, sees Gerard moving down the fire escape
toward him, and Nichols escaping. He goes after Nichols.
The helicopter circles back over the roof, illuminating the
rooftop in its million-candle-power beam.
HELICOPTER PILOT (V.O.)
I've got a visual on Kimble. He's
running.
INTERCUT WITH:
EXT. STREET - NIGHT
Kelly listens on his ratio.
KELLY
Bring him down.
EXT. ROOFTOP - NIGHT
Kimble chases Nichols down the roof as BULLETS from the
helicopter rip into the air conditioning duct next to Kimble.
The helicopter swings out to keep Kimble in sight.
ON GERARD
Gerard hits the bottom of the fire escape and follows.
GERARD
(to radio)
This is a United States Marshal.
Get that helicopter out of here!
ANGLE - NICHOLS
He moves away among the duct work.
Kimble follows.
Gerard continues after Kimble.
The helicopter circles and follows from above.
INT. PENTHOUSE / DOOR TO ROOF - NIGHT
Renfro triggers his radio.
RENFRO
There is a U.S. Marshal out there.
Hold your fire!
HELICOPTER'S POV
FOLLOWING Kimble. Its beam tracking Kimble across the
rooftop. He moves through the blowers and duct work.
Kimble is gaining ground on Nichols.
ON SHARPSHOOTER
He is about to fire when he hears through his radio.
RADIO (V.O.)
Hold your fire.
The shooter pulls back.
INTERCUT WITH:
EXT. ROOFTOP - NIGHT
Gerard rushes across the roof toward Kimble.
ANGLE - NICHOLS
He is almost to the end of the roof when Kimble tackles
him. The two men crash against sloped glass roof of an
elevator housing.
INT. ELEVATOR SHAFT - NIGHT
Inside the shaft - an elevator moves toward the roof. It
stops on the floor ten feet below the roof. THROUGH the
glass roof we see the doors open.
CUT TO:
EXT. ROOFTOP - GERARD - NIGHT
Charges toward -
KIMBLE
Who slams Nichols hard against the glass. The WIRED
GLASS CRACKS and bellies with the form of their bodies.
Nichols' head rocks from the impact.
The GLASS GROANS. The wire stresses. The caulking begins
to drop.
Nichols struggles but Kimble has him in control. Slams
him down hard again.
HELICOPTER
Circles, illuminates the struggle in its spotlight and
Gerard closing.
INT. ELEVATOR SHAFT - NIGHT
The elevator doors close and the car beneath the
skylight begins to descend.
GERARD
Pulls up.
GERARD
Kimble!
Kimble slams Nichols one more time against the glass
and the wire holding the glass gives way, sending Kimble
and Nichols into...
INT. ELEVATOR SHAFT - NIGHT
Kimble and Nichols, locked together, fall down the shaft
and crash onto the roof of the descending elevator car.
Nichols crashes through the ceiling into the car. Kimble
hits and slides across the roof to the edge, stopping
himself, just before he falls into the shaft. An
elevator car rushes toward him out of the blackness.
EXT. HOTEL ROOFTOP - NIGHT
Gerard reaches the elevator housing, looks down into the
shaft.
GERARD'S POV
Kimble's car disappears into the darkness.
CUT TO:
INT. ELEVATOR CAR - NIGHT
Nichols pulls himself to his feet. Hits the emergency
stop and the doors open. He disappears into...
INT. HILTON LAUNDRY - NIGHT
... a huge industrial laundry room. Steam rises from the
giant machines.
INT. ELEVATOR CAR/LAUNDRY - NIGHT
Kimble drops from the ceiling into the car and moves
carefully into the laundry.
... like an industrial jungle. Dimly lit, filled with
DEAFENING MACHINERY. Five hundred pound bags of laundry
move from a network of ceiling tracks to a pair of
heavyduty conveyor belts and two thirty-foot long washers.
... At the other end of the washers, hydraulic presses
stamp out three-foot diameter "cakes" which are moved by
conveyor and dollies to automated dryers.
The NOISE is DEAFENING.
INT. STAIRWELL - NIGHT
Gerard comes down back stairwell. Followed by Renfro.
GERARD
(to radio)
Where did the elevator stop?
INTERCUT WITH:
NEWMAN IN SECURITY
Newman checks the computer board for the elevator
position.
NEWMAN
(to radio)
Level five.
INT. LAUNDRY - NIGHT
Nichols pushes through the hanging laundry bags toward an
exit, tries the door. It is secured with a collapsible
grating with a padlock. He looks up, keeps moving.
KIMBLE
Notices the swinging bags, follows Nichols' trail. He
stops to get his bearings, sees shadow at the far end of
the room between the two washers. Kimble closes in, moving
between the large conveyors.
ANGLE - SORTING ROOM
Gerard enters sorting room with Renfro. He sees two sorters
standing by a small conveyor as he enters.
GERARD
Get out of here.
He and Renfro move around the corner where a laundry
worker is hooking a 500 lb bag of lines onto the overhead
rail. A hydraulic lift, operated by a hanging on/off
switch raises the bag on a yellow steel I-beam. The worker
takes one look at Gerard and abandons his station.
Gerard, Biggs and Renfro move to the closed doors of the
main room.
GERARD
(to Renfro)
We're going in. Give me five
minutes. Keep C.P.D. out.
He draws his Glock, opens the door and enters the main
room.
INT. LAUNDRY - ON KIMBLE - NIGHT
He moves to end of washers, using the machines as cover.
He sees the shadow again takes a pole leaning against the
dryer as a weapon, turns the corner and is about to belt
him when he realizes it's not Nichols, but a laundry worker.
Kimble moves away from the terrified man, when he hears a
voice from the other end of the laundry.
GERARD (V.O.)
(above the din)
Kimble!
Kimble reacts to Gerard's voice, moves away.
ON NICHOLS
Moving behind machinery, sees light at far end of the room
where Gerard enters.
ON GERARD
The door closes automatically behind Gerard and Renfro.
They enter the noisy main room and separate. Renfro moves
up the far side of the room, Gerard up the center. Both
move slowly through the maze of bags, carts, automated
equipment.
GERARD
... There is no way out of here.
The building is locked down.
CUT TO:
KIMBLE
Moves instinctively back into the machinery and carts near
the conveyor belts.
GERARD (O.S.)
Kimble... I know about Nichols. I
know about Sykes. Kimble stops.
ON GERARD
GERARD
... Nichols borrowed your car the
night of the murder and called
Sykes from it.
RENFRO
Separated from Gerard. He hears a NOISE behind him - a bag
comes down the track at break-neck speed, Renfro spins,
dodges it, gets his bearings and continues.
KIMBLE
Listening. He watches the movement of bags as he did with
Nichols.
GERARD
Moving through the forest of massive bags.
GERARD
... That's why there was no forced
entry at your house. He'd used your
keys.
KIMBLE
Realizing what Gerard knows. Considering his next move.
NICHOLS
Also listening. He realizes Gerard now knows he's the
killer. He moves behind the water softener tanks and
chemicals - and spots Renfro - and something else -the
hanging control for the I-beam.
GERARD
Moves carefully. Another bag comes down the track. He
dodges it and steps into an open track. From here he can
see straight back toward the washers.
GERARD
Kimble... Come meet me out here.
ON RENFRO
He steps out and then back as a bag shoots by. He ducks
under the bag - into the next track and suddenly hears a
WHIRRING sound behind him. Renfro turns as an I-beam comes
rushing down the open track and knocks him to the floor,
opening a gash across the side of his head. He lays still.
NICHOLS
Steps out of the shadows, turns him over exposing his empty
shoulder harness and takes the gun from Renfro's hand.
Nichols moves toward Gerard with the gun.
GERARD
Oblivious to this action, moves on, passes the conveyor
belts. He makes one last appeal.
GERARD
It's time to quit running... if you
don't, you know I'll stop you. He
listens, there is no answer.
KIMBLE
Starts to move out to meet Gerard, sees Renfro down. His
shoulder harness is empty. He knows Nichols is armed.
GERARD
Moves into the alley between the two giant washers. He
pauses, looks back, then continues, when he turns his back
on us...
NICHOLS
Steps INTO FRAME behind him and slowly takes aim. Just
before he fires however he hears...
KIMBLE (O.S.)
Hey, Chuckles...
Nichols turns toward the voice as Kimble swings the stick
and clocks him - sending the gun skittering on the floor
behind Gerard.
GERARD
Turns on the sound and finds his gun trained on Kimble
with Nichols at his feet, unconscious. He realizes
instantly that Kimble saved his life and lowers his gun.
Kimble, exhausted, leans against the washer.
They hold a look as deputies and police flood into the
room surrounding Kimble and handcuffing him.
INT. / EXT. HILTON HOTEL - NIGHT (LATER)
Chicago Police hold back crowds of onlookers on Michigan
Avenue. Police cars and vans, television news trucks vie
for space in front of the Hilton Towers.
Dr. Charles Nichols, on a stretcher, loaded into an
ambulance. The doors close.
REPORTERS and television cameramen line the sidewalk
giving reports and interviewing doctors from the ballroom.
We PICK UP pieces of their reports as we MOVE PAST them
TOWARD the entrance.
T.V. NEWS REPORTER
... As we reported a few minutes
ago, the saga of once-prominent
Chicago surgeon, Dr. Richard Kimble,
who escaped from an Illinois
Corrections bus, took a strange
twist this evening when Dr. Kimble
was captured at the Chicago Hilton...
ANOTHER REPORTER continues:
ANOTHER REPORTER
... there are unconfirmed reports
from police of new evidence which
may exonerate Kimble while
implicating some of the biggest
names in medicine...
The doors to the police van close amid a flurry of
photographs.
A third reporter interviews a STUNNED DOCTOR from the
ballroom:
STUNNED DOCTOR
He just walked in... We didn't know
what he was going to do. My wife
was very frightened... The next
thing I knew cops were charging in
and...
CUT TO:
INT. HOTEL - NIGHT
Kimble, in handcuffs, is escorted by Biggs, Newman, Poole
and Gerard, out of the hotel into the waiting chaos.
Renfro, his head bandaged, is helped by paramedics.
EXT. HOTEL / INT. CAR - NIGHT
As soon as the group exits the hotel. Television lights
flood the scene. Kimble lowers his head. Reporters crowd
forward, yelling questions.
REPORTER
Dr. Kimble, is it true you can prove
your innocence!
Gerard wants the crowd controlled.
GERARD
(to police)
Get them back.
The marshals ant cops clear a line for Kimble to get into
a waiting car away from the media. Biggs opens the back
door and helps Kimble inside.
BIGGS
Watch your head, Dr. Kimble.
Newman climbs in behind the wheel. Gerard in the back next
to Kimble. He leans out the window and motions to Poole.
GERARD
(to Poole)
Poole, you got that thing?
(to Kimble)
Give me your hands.
Kimble pauses, then holds up his wrists and Gerard unlocks
Kimble's handcuffs.
Poole hands an ice-pack over the seat. Gerard places the
pack on Kimble' 9 bruised and battered hands.
GERARD
Take care of those hands, Doc,
you're going to need them again
soon.
KIMBLE
I thought you told me 'you didn't
care.'
GERARD
Yeah, well, don't spread it around.
They share a look of mutual respect as the car pulls away.
HELICOPTER POV
The car carrying Kimble pulls onto Michigan Avenue heading
back downtown. As we PULL BACK we see Kimble's car - at
first alone on the great avenue - then gradually joined
by other cars until finally becoming integrated in the
traffic, movement and lights of the city.
FADE OUT
THE END
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