The Fugitive Transcripts

EXT. STREET IN AN UNKNOWN CITY - NIGHT

RICHARD KIMBLE, America's most elusive interstate fugitive, walks nervously 
down the sidewalk of a dark, deserted, shop-lined street. Dressed in a tweed 
jacket and slacks, he carries a suitcase.

Kimble passes a health food store and looks back over his shoulder.  No one
is there.  Just an empty street.  He keeps walking but pauses at the sound 
of echoing FOOTSTEPS behind him.  He turns.  Farther down the block, an 
ominous figure approaches: a man in a suit and tie.  Kimble turns and runs 
off.  The figure draws nearer.  

A terrified Kimble ducks into the mouth of an alley and presses himself 
against a wall.  The figure comes closer now:  it is PHILIP GERARD -- the 
Indiana police lieutenant obsessed with Kimble's capture.  Gerard walks 
stiffly, arms behind his back, an imperious look on his face.  Suddenly, he 
stops and glances around.  

Kimble decides to make a break for it and runs down the alley.  Gerard, 
hearing Kimble's FOOTSTEPS, gives chase. Kimble runs the length of the alley 
and turns a corner -- a dead end.  He drops his suitcase and tries the only 
door -- locked.  Desperate, he tries to scale a nearby brick wall -- too 
high.  He turns, horrified to see Gerard arriving to confront him. Gerard 
pauses when he sees Kimble trembling in a corner.

				GERARD
			(with grim satisfaction)
		Finally, Kimble.  

Unbuttoning his jacket, Gerard draws his revolver from his holster and points 
it directly at Kimble who swallows hard.

				GERARD
		Finally.

Gerard slowly moves toward Kimble, then stops.  Kimble stares in absolute 
terror at Gerard and his gun.  The situation is as hopeless as it is unreal.  
And, in a voice as black as the night sky above, an OMNISCIENT NARRATOR 
explains why. 

				NARRATOR (v.o.)
		This is Richard Kimble's recurring nightmare.  
		And each time it ends, he wonders whether he 
		will awaken to the same nightmare of reality.

Kimble shuts his eyes.  Gerard slowly squeezes the trigger until the gun 
FIRES, shooting Kimble -- point blank.

								CUT TO:

EXT. COUNTRY ROAD - NORTHOAK, NH - DAY

SMASH CUT to a tire BLOW OUT.  Kimble wakes with a start.  He looks around. 
It's broad daylight.  Nobody's around.  He's dressed in outdoorsy clothes, 
lying by the side of a secluded back road, his suitcase nearby.

He watches with concern as a speeding school bus full of SCREAMING kids veers 
out of control and SMASHES through a nearby wooden fence.

Kimble gets to his feet.  The bus plows down a hill and CRASHES nose first 
into a ditch. Its horn BLARES. Kimble races down the hill.  The bus' engine 
catches fire.

INSIDE THE BUS, a heap of dazed children sprawl all over each other.  The 
only adult on board is BARNEY THE BUS DRIVER whose head is pressed to the 
horn.  The schoolchildren quickly recover and swarm around him.

				1ST BOY
		Barney?  

Barney doesn't respond.

				1ST BOY
		Barney!  Barney!  

Some of the kids pull Barney off the steering wheel.  The horn stops blaring.
Barney collapses backward, unconscious.  Panic sets in.  One LITTLE GIRL in 
particular loses it completely.

				LITTLE GIRL
		He's dead!

The little girl freaks out and starts pounding on the door of the bus.

				LITTLE GIRL
		Help!  Help!  Lemme out of here!

But the door won't budge.  They're trapped inside the burning bus.

OUTSIDE THE BUS, smoke is everywhere.  Kimble approaches but the flames from 
the engine have entered the bus.  He tries to open the bus door but its too 
hot to handle.  He frantically gestures to the SCREAMING kids to use the 
emergency door in the rear.

				KIMBLE
		Go on out the back!  Out the back!

Kimble rushes to the rear and struggles to open the emergency door (which is 
marked: THIS BUS STOPS AT ALL RR CROSSINGS).

Inside the bus, the flames threaten to engulf the panicking, SCREAMING 
children.  Kimble yanks the door open.  The kids press toward the door but a 
stray pocket of flame springs up to block the exit.

				KIMBLE
		Get back!

Kimble whips off his coat and beats the flames out.  He then climbs into the 
bus and starts helping the kids out one at a time.  At least nine children 
escape out the rear with Kimble's help.  But is anyone else aboard?

				1ST BOY
			(to Kimble)
		Barney's in there!

Kimble sees Barney the Bus Driver regaining consciousness.  He rushes the 
length of the bus, drags the dazed Barney from his seat, and leads him to the 
rear.  Barney's left arm is broken.  Kimble helps Barney out of the emergency 
door and into the waiting hands of the children below.  

Kimble spots an unconscious child half-hidden beneath a collapsed bus seat, 
pulls him free, and hands him to Barney and the kids who quickly move away 
from the burning bus.

Kimble takes one last look around.  The bus is empty.  He heads for the rear 
-- but too late. The engine EXPLODES and Kimble is blown out the rear door.  
He hits the ground hard and passes out.

Using his good arm, Barney -- with the help of three boys -- pulls Kimble 
away from the flaming wreck.

								DISSOLVE TO:

INT. SPRINGER HOME - BEDROOM - DAY

A darkened room.  All is quiet.  A doctor inspects an unconscious Kimble, 
checking his eyes with a penlight.  Kimble starts to come to.  A no-nonsense 
man, the doctor is an ancient small town physician named BABCOCK.

				DR. BABCOCK
		He's coming around.  Wilma, open the curtains.  
		Just a little.  

The curtains open and light floods the room.  Kimble winces.

				DR. BABCOCK
		Ah.  How do you feel, sir?

At the window, WILMA SPRINGER, an attractive woman approaching middle age, 
looks on with concern.

				KIMBLE
		My head hurts.  Everything's a little blurry.

				DR. BABCOCK
		Well, I wouldn't expect much less after that 
		crack on the skull.  You'll feel better with 
		some rest.

Kimble immediately drifts off to unconsciousness again.  Dr. Babcock takes 
Kimble's pulse.  Wilma leaves the window to confer with the doctor.

				WILMA SPRINGER
		Is he unconscious again?

				DR. BABCOCK
		Asleep.

Wilma's husband, AL SPRINGER, enters the room as Dr. Babcock rises and puts 
on his coat.

				WILMA SPRINGER
		Doctor says he'll be all right.

				AL SPRINGER
			(to Dr. Babcock)
		What do we do now?

				DR. BABCOCK
		Change the compress every hour or so.  And 
		don't fuss over him.

				AL SPRINGER
		You sure he wouldn't be better off in a 
		hospital?

				DR. BABCOCK
		Well, if you and Wilma don't want the 
		responsibility...

				AL SPRINGER
		Oh, that isn't what I said, Doc.  I brought him 
		here so we would have the responsibility.

				DR. BABCOCK
		Well, then.  All there is to see to is that he 
		rests.

				WILMA SPRINGER
		We'll do it, Doctor, and we'll be proud.

Wilma and the doctor exchange nods of agreement as the three of them exit.

								CUT TO:

INT. SPRINGER HOME - DAY

IN THE HALL, Dr. Babcock fetches his hat off of a coat stand.  Al takes a 
jacket and drapes it over his arm -- pinned to the jacket is a sheriff's 
badge.

IN THE LIVING ROOM,  Dr. Babcock and the Springers confront a room packed 
with concerned neighbors -- parents of the children Kimble has just rescued. 
Some of the kids are present, being comforted by their grateful folks.  A 
balding parent named CHARLEY starts the questioning, followed by mousy JEN, 
overweight MATTY, dark-haired ANNA, etc.

				CHARLEY
			(to Dr. Babcock)
		Well?

				DR. BABCOCK
		Concussion.  X-rays show no fracture.  The 
		vision's kind of blurred but it'll clear up in 
		a couple of days.

				JEN
		Are you sure, Doctor?

				DR. BABCOCK
		I'll be happy to give you the name of a 
		specialist in Boston.

				MATTY
		Oh, Doctor.  Maybe I can fix him somethin' real 
		nice to eat?

				ANNA
		I took a first aid course once.  I could sit 
		with him.

				CHARLEY
		What brand's he smoke?  Maybe, I could get him 
		some nice whiskey, huh?

				DR. BABCOCK
		What you can all do for him is to go home and 
		let him sleep.  
			(heads for the front door)
		Wilma?  Be over some time tomorrow.  Expect 
		he'll be sittin' up then.

One of the better-dressed men confronts the doctor on his way out.

				NICELY DRESSED MAN
		Doc?  He saved my kids' lives.  I'd count it a 
		favor if you'd let me pay the bill.

				DR. BABCOCK
		And I'd count it a favor if you'd mind your own 
		business.  
			(softens abruptly)
		Every child on that bus...  Well, I brought 
		every single one of them into this world.

Wilma sees the doctor out.  Charley questions Al who puts on his jacket.

				CHARLEY
		Find out who he is?

				AL SPRINGER
		Absolutely no identification.  Probably burned 
		up on the bus.  He was dressed for hunting or 
		hiking, though.

				NICELY DRESSED MAN
		Have any idea why the bus went out of control 
		like that?

				AL SPRINGER
		Tire blew.

				JEN
		Barney's such a careful driver.  Must be 
		something like that.  Something that wasn't 
		anybody's fault.

				CHARLEY
		Yep.  Accidents'll happen.

				WILMA SPRINGER
			(suddenly upset)
		Accidents will happen?  Something that isn't 
		anyone's fault?  Let me tell you, accidents are 
		caused.  They're always someone's fault.  And 
		when I think that the lives of our children 
		might have been endangered -- and might be 
		again.  I intend to find out exactly what 
		happened and who's responsible.

				AL SPRINGER
		Honey, we all know how you feel about--

				WILMA SPRINGER
			(insistent)
		Right is right.

				AL SPRINGER
		Well, let us take care of that.

				ANNA
		Uh, I think maybe we'd all better be going 
		home.  

The neighbors agree and start to file out the front door.

				ANNA
			(to her son)
		Come on, Jimmy.
			(to Wilma)
		Wilma, if there's anything we can do, just 
		call.

				CHARLEY
		That goes for us too.  Let us know when we can 
		see him. 

				WILMA SPRINGER
		Yes, I will, Charley, Anna.

Al, his arm around his wife, walks with her to the front door.

				AL SPRINGER
			(to Wilma)
		You try and get some rest now, hm?

Al kisses Wilma goodbye and heads out the door.

								CUT TO:

EXT. SPRINGER HOME - DAY

A modest home in a small town.  The neighbors walk off en masse.  A couple of 
kids toss the ol' football around on the front lawn.  Al intercepts a pass 
meant for his young son LARRY, one of the kids from the bus.

				LARRY SPRINGER
			(to the passer, off Al)
		Hey!  Sign 'em up!  
			(to Al)
		Nice catch, Dad.

				AL SPRINGER
		Thanks, son.

				LARRY SPRINGER
		They say that man's gonna be all right.  I'm 
		glad.

				AL SPRINGER
		He needs a lot of rest.  That means you help 
		your mother keep things nice and quiet around 
		here, you understand?

Larry nods.  Al and Larry walk to Al's police car, parked at the curb.  Larry 
opens the car door for his father who gets in and hands the football back to 
his son.  Larry watches with some pride as his father STARTS the car and 
drives off down the street.  As the police car rounds a corner and 
disappears, another car rounds the same corner and comes down the street, 
pulling up in front of the Springer home.  A mousy little man with a pencil 
behind his ear emerges from the car, carrying a camera, and rushes toward the 
front door.  This is MILT PLUMMER, journalist for the local paper.

				LARRY SPRINGER
		Hi, Mr. Plummer.

Milt waves, briskly runs up the front steps, rings the door bell, and pulls a 
wallet from his jacket.  Wilma answers the door and Milt proudly flashes his 
press card at her.

				MILT PLUMMER
		Milt Plummer of the Courier.

				WILMA SPRINGER
		Milton.  I've known you all your life.

				MILT PLUMMER
		I heard that Al brought that hero over here.

				WILMA SPRINGER
		Now, he's asleep and I will not permit him to 
		be disturbed.

				MILT PLUMMER
		Oh, b-b-but I won't disturb him.  I'll just 
		grab a couple of pictures and I'll--

				WILMA SPRINGER
		Pictures?!  Well, you'll do nothing of the kind, 
		Milt Plummer.

				MILT PLUMMER
		Oh, b-b-but, please, but please, Mrs. Springer!  
		Well... At least, somethin' about him.  You 
		know, who he is.  Where he's from.  Something.

				WILMA SPRINGER
		Milton, I couldn't help you even if I wanted 
		to.  We simply don't know anything about him.  
		Now, I've got to make supper now, Milton.  If I 
		were you, I'd go home before you get overheated 
		and catch cold.  Say hello to your folks for me, 
		will you?  Good-bye, Milton.

Wilma closes the door on an agitated Milt.

				MILT PLUMMER
		B-b-but, Mrs. Springer, just--  Couldn't I 
		just--?  Couldn't I just--?

Frustrated and dejected, Milt turns from the door.  But then he spots Larry 
playing in the yard, looks down at the camera in his hand, and gets an idea.  
He approaches Larry.

				MILT PLUMMER
		Um.. what say, Larry boy?

				LARRY SPRINGER
		Hey, I already said "Hi."

				MILT PLUMMER
		Yeah.  Say, uh, say how'd you like to earn some 
		cash?  A dollar.

				LARRY SPRINGER
			(eyes go wide)
		How?

				MILT PLUMMER
		That fella in the house?  Get me a couple of 
		pictures of him.

				LARRY SPRINGER
			(uneasy)
		Mr. Plummer, my dad said not to bother him.

				MILT PLUMMER
		He's asleep, kid.  Look, one picture.  It won't 
		take a second.  He won't even know it.  Look, 
		he saved your life, didn't he?  Well, now you 
		have a chance to do something for him.  You can 
		make him famous.

				LARRY SPRINGER
		I could?

				MILT PLUMMER
		Sure.  Here.  
			(hands Larry a dollar)
		Wait... take two dollars.  
			(hands Larry another dollar)
		Here you go.  
			(shows Larry the camera)
		Now look, I'll have the camera all set for you.  
		All you have to do is stand back about, oh, 
		about six feet, see?  And then look through 
		this sportsfinder, not through the glass, only 
		look through the sportsfinder there -- make 
		sure his face is right in there, okay?  Now, 
		you take the camera and you hold it real steady.  
		Real steady and then take a deep breath to hold 
		it that way, see?  And then you push that 
		button right there.  Got it?  Push the button, 
		hold it steady, now.  I'll take the ball.  

Milt takes Larry's football and puts the camera in his hands.

				MILT PLUMMER
		Now, hurry up, huh?

Larry heads into the house.

								CUT TO:

INT. SPRINGER HOME - DAY

Larry enters through the front door and closes it behind him.  He heads down 
the hall to Kimble's bedroom, vainly trying to hide the camera behind him in 
case he should run into his mother.  

INSIDE THE BEDROOM, Larry checks to see if Kimble's awake.  But Kimble is 
still asleep, a compress over his forehead and eyes.  Larry pulls a nearby 
chair over and climbs up on it in order to get a good shot of Kimble's face.  
Standing on the chair, he lines up the shot and SNAPS the picture.  Climbing 
down, Larry returns the chair to its proper place and hustles out of the 
room, leaving an unsuspecting Kimble alone.

								FADE OUT

EXT. SPRINGER HOME - DAY

FADE IN, early next morning, on the front steps where packages have been left 
-- along with that morning's newspaper.  Two women approach -- overweight 
Matty and mousy Jen -- carrying packages of their own.

				JEN
			(off the packages)
		Somebody got here ahead of us.  Hmmph.

				MATTY
			(off one of the packages)
		That ham looks like Hester Branch's.  

Jen rings the doorbell.

				MATTY
		Hester does do a good ham.

Wilma answers the door, surprised to see the two women.

				WILMA SPRINGER
		Well, good morning.  You're up with the 
		chickens.

				JEN
			(off the packages on the steps)
		We were hoping we'd get here first.

				WILMA SPRINGER
		Oh. I wonder who left these?

Wilma collects the packages and the newspaper.

				MATTY
		Here, let me help ya.  How is he this morning?

				WILMA SPRINGER
		Oh, he's still asleep.

				JEN
		Oh, well, we-we don't want to bother you, Wilma. 

				MATTY
		Yeah, we just thought we'd come, you know, see 
		how he is.

				JEN
		When he does wake up, I thought maybe he'd like 
		some preserves.

Jen hands Wilma a jar with a bow on it.

				MATTY
		I hope he likes this [calveswood?] jelly.

Matty weights Wilma down with another jar. 

				WILMA SPRINGER
		Look, thank you very much, girls.  I'll-I'll be 
		sure and tell him who they're from.

Burdened down with packages, Wilma retreats into the house and shuts the 
door.

								CUT TO:

INT. SPRINGER HOME - DAY

Young Larry runs down the hall to join Wilma IN THE LIVING ROOM.

				LARRY SPRINGER
		Hey, that guy's finally awake.  Dad says to 
		come on in.

				WILMA SPRINGER
		Oh.  Oh, good.  Now put these jars in the 
		kitchen.  And the other things too.  This 
		minute.

Wilma fills Larry's arms with packages.  But before he can go anywhere, Wilma 
stops to admonish him.

				WILMA SPRINGER
		Larry.  That man is not a "guy".

Larry nods.  Wilma hurries off down the hall.  Larry, instead of going to the 
kitchen, puts all the items on a chair and pulls out the morning paper, the 
Northoak Courier.  Excitedly, he unfolds it to find his photograph of Kimble 
on the front page along with the headlines:  UNKNOWN HERO SAVES CHILDREN -- 
SCHOOL BUS CRASHES IN FLAMES.

								CUT TO:

INT. SPRINGER HOME - BEDROOM - DAY

Wilma enters to find Kimble dressed in a robe, seated in a chair.  Al sits on 
the edge of the bed.  Kimble nods hello.

				KIMBLE
		Mrs. Springer.  I thought I'd try sitting up 
		for a while.

				WILMA SPRINGER
		Are-are you sure you're up to it?

				KIMBLE
		I still can't see too clearly but I feel a lot 
		better.

				AL SPRINGER
		When Doc saw you yesterday, he said your 
		vision'd clear up in a couple of days.

				KIMBLE
		Yesterday?  

Kimble pauses to consider: could he have mumbled something while half-
conscious that might give him away?

				KIMBLE
		I-I must have been delirious.  Did I--?

				WILMA SPRINGER
		No.  No, not a word.

Kimble tries not to show his relief.

				KIMBLE
		My name is George Porter.  I've been working in 
		a lumber camp just north of here.  I don't have 
		any family.

				WILMA SPRINGER
		Oh.

				AL SPRINGER
		I'm proud to know you, Mr. Porter and... 
		grateful.

				WILMA SPRINGER
		Mr. Porter, is-is there anything we can do 
		for you?

				KIMBLE
		No, thanks.  You've done enough already.

				WILMA SPRINGER
		Look at me standing here talking.  You must be 
		starving to death.

				KIMBLE
		Well, uh, now that you mention it, Mrs. 
		Springer--

				WILMA SPRINGER
		Ah, patient is taking nourishment.  I'll be 
		right back.

Wilma exits.  Al rises and starts to put on his jacket.

				AL SPRINGER
		I want you to know, Mr. Porter, that our house 
		is yours as long as you like.  Truth is, 
		everybody else in Northoak is jealous that 
		we've got you.

Kimble, rubs his eyes and looks up as his vision momentarily clears to see 
the badge on Al's jacket.

				KIMBLE
		You a police officer, Mr. Springer?

				AL SPRINGER
		Mmm, sheriff.  That's how I happened to be--

The door bursts open and Larry runs in, carrying the paper.

				LARRY SPRINGER
		Oh, uh, 'scuse me, Dad, but Ernie called.  Said 
		to tell ya the state police were waiting for ya.

Al takes the paper from Larry.

				AL SPRINGER
		Oh, okay, son.  Oh, uh, Larry.  This is Mr. 
		George Porter.  This is our boy, Larry.

				LARRY SPRINGER
		How do you do, sir?

				KIMBLE
		How do you do?

Kimble and Larry shake hands.

				AL SPRINGER
		I'll bet the paper's just full of that accident.

				LARRY SPRINGER
		Uh, I-I-I'd better go finish breakfast now.

A nervous Larry backs out of the room and shuts the door.

				AL SPRINGER
		Say, look at this.  Your picture plastered all 
		over the front page.  Too bad that compress 
		covers most of your face.

Al hands the paper to a suddenly tense Kimble who stares hard at the front 
page.  His vision clears long enough to get a glimpse of the photo.

				KIMBLE
		Yeah, that's too bad.

				AL SPRINGER
		Say, I wonder how they got that picture.

Kimble wonders too.  And realizes that he's in serious danger.  Just then, 
the door opens and Wilma enters, carrying a breakfast tray.  She's not happy 
to see Kimble with the paper.

				WILMA SPRINGER
		Al!  Now, you know Mr. Porter mustn't strain 
		his eyes.  

Al takes the paper away from Kimble and puts it on a nearby table as Wilma 
places the tray in Kimble's lap.

				WILMA SPRINGER
		There. Is that comfortable for you?

				KIMBLE
		Oh, that's fine, thank you.

While Kimble starts his breakfast, Al and Wilma confer.

				AL SPRINGER
		I've got to go over and talk to those state 
		police.

				WILMA SPRINGER
		Investigation's going to be handled by the 
		state?

				AL SPRINGER
		Well, they'll be working with me.

				WILMA SPRINGER
		Working with you?  Except that it's common 
		knowledge how the state and county people try 
		to protect each other.  Al, don't let them do 
		it this time. 

Kimble, surprised at Wilma's vehemence, steals a worried glance at the front 
page with its giant picture of him.

				WILMA SPRINGER
		If the county's to blame for the condition of 
		the roads, it ought to be made public.  The 
		state laws allow laxity in the inspection of 
		the school buses--

				AL SPRINGER
		Now, honey, you don't worry.  There isn't gonna 
		be a whitewash of anyone.  
			(to Kimble)
		You know, sometimes I call the little woman 
		here the real sheriff of Oak County.  Just as a 
		joke.  

Wilma laughs self-consciously as Kimble forces a smile.  Wilma seems a little 
embarrassed.

				AL SPRINGER
			(to Wilma)
		I'll see you in a bit.  
			(to Kimble)
		You have a good day, Mr. Porter.

Al exits, leaving Wilma with Kimble.  An awkward pause.  Kimble drinks some 
juice.

				WILMA SPRINGER
			(off the tray)
		Oh, that?  That's just a start.  I have 
		hotcakes, eggs, and sausages on the way. 

				KIMBLE
		Thank you.

				WILMA SPRINGER
		I hope I-I didn't sound like a nag about the 
		investigation.  It's not that dishonesty's 
		involved but, you know, sometimes it can be 
		just as bad if people don't stick to the letter 
		of the law.  

Fugitive Kimble tries to keep from wincing at that comment.

				WILMA SPRINGER
		My father was a judge, you see.  He always said 
		that the law was the main reason mankind was 
		able to keep standing on its hind legs.

Wilma smiles but Kimble doesn't know what to say about that happy thought so 
he merely averts his eyes.

								DISSOLVE TO:

INT. DETECTIVES' OFFICE - STAFFORD, IN - DAY

A newspaper with a much smaller version of Larry's photograph buried in the 
back pages under a modest headline: STRANGER AVERTS SCHOOL BUS TRAGEDY.  We 
PULL BACK to reveal that the paper is in the hands of Gerard's beefy boss, 
CAPT. CARPENTER of the Indiana police, who reads aloud from the accompanying 
article.  Nearby, Gerard sits at a desk, scribbling something with a pencil.

				CAPT. CARPENTER
			(reads aloud)
		He was camping near the road when the accident 
		occurred.  He's described as being about 
		thirty-five years of age, six feet tall, 
		weighing a hundred and seventy-five pounds, 
		with black hair and blue eyes.  
			(skeptical, to Gerard)
		Well, that could be almost anybody.

Carpenter places the paper on Gerard's desk.

				GERARD
		Including Richard Kimble.

				CAPT. CARPENTER
		Phil, the odds against--

				GERARD
			(offended)
		Odds?  

				CAPT. CARPENTER
		Phil, you have to admit, you don't have much to 
		go on.

				GERARD
		Yes, I know.  New England -- when we expect him 
		to be in the south.  Camping alone -- thousands 
		do.  No identification -- well, he could have 
		lost that in the accident.

				CAPT. CARPENTER
		And you still think this might be Kimble?

				GERARD
		This is.

Gerard rises and hands Kimble's wanted poster to Capt. Carpenter.  Gerard has 
altered one of the mug shots on the poster -- blacking out the eyes and 
forehead with a pencil -- so that it resembles the newspaper photo. Gerard 
places the newspaper photo side by side with the mug shot.  It's a near match. 

								DISSOLVE TO:

INT./EXT. SPRINGER HOME - NORTHOAK, NH - DAY

A calendar reading NORTHOAK MEN'S FURNISHINGS.  The month is September.  A 
shadow passes over the calendar which hangs on a closet door.  A man's arm 
reaches for a jacket hanging in the closet.  It's Kimble's.  He pulls the 
jacket off the hanger and puts it on.  Slowly making his way to the window, 
Kimble opens it and unsteadily climbs out.  He staggers it to the ground and, 
after pausing a moment to get his bearings, runs off.

								DISSOLVE TO:

INT. OAK COUNTY SHERIFF STATION - DAY

ERNIE, Al's young deputy, brings some paperwork to Al's desk as Al talks into 
the phone.  

				AL SPRINGER
			(into the phone)
		Well, of course I'll give you full cooperation, 
		Lieutenant.  But if you don't mind my saying 
		so, this George Porter can't be your man.  

Al signs the paperwork.

				AL SPRINGER
			(into the phone)
		Well, if you insist, I'll get a set of prints 
		and send 'em out today.  

Deputy Ernie can't believe what he's hearing.

				AL SPRINGER
			(into the phone)
		What?
			(beat) 
		No.  You can take my word for it, he's in no 
		condition to go anyplace for at least a 
		couple of days.

								CUT TO:

EXT. THE WOODS - DAY

Kimble, weak and breathless, runs through the woods.  He stumbles and props 
himself up with the help of a tree.  He's having trouble focusing his eyes.  
The landscape grows BLURRY all around him.  But he has no choice.  He 
stumbles forward, trips over a fallen tree limb, rises, and presses on.  One 
misstep later and he plunges down a hill, falling and rolling over, till he 
rolls to a stop at the bottom and lies unconscious.

A few yards away, next to a lakeside clubhouse, a dog starts BARKING.  A boy 
emerges from the wooden clubhouse to chastise the dog.

				1ST BOY
		How many times have I told you?  When we're 
		having a top secret club meeting, you're not 
		supposed to--  
			(sees Kimble)
		Hey, guys!  

The boy runs to Kimble's body as four other boys file out of the clubhouse.  
They rush to Kimble's side.

				2ND BOY
		It's Mr. Porter!  He must have wandered off from 
		the Springers'.

				1ST BOY
		Mr. Porter?  You okay?  

But Kimble doesn't respond.

				1ST BOY
		We better get help fast.

				2ND BOY
		My dad!  I'll go get him.

The 2nd Boy runs off.

				1ST BOY
			(to an unconscious Kimble)
		Mr. Porter, sir?  You don't have to worry.  
		We'll take you back.
			(to the other boys)
		You know what?  What makes me feel so good... 
		We're saving him.

Ah, little do they know.

								FADE OUT

EXT. DOWNTOWN NORTHOAK - DAY

Later that day.  FADE IN on Wilma emerging from the NORTHOAK DRUG STORE.  She 
carries a package and walks briskly past Matty and Jen who sit on a bench

				MATTY
		Wilma!  Wilma!  Wilma, wait!  Wait, Wilma!  
		Wilma!

Matty and Jen rise and chase after Wilma.

				MATTY
		Aw, Wilma!  Wait a minute, will ya?

Matty and Jen catch up to Wilma who finally stops to talk to them.

				MATTY
		Is it true?  Is Mr. Porter really out of his 
		mind?

				WILMA SPRINGER
		Oh, Matty. Really!

				JEN
		Well, Art's wife called and said Art found him 
		a half a mile away in the meadow and then took 
		him home to your house.

				WILMA SPRINGER
		He is not out of his mind.  And I will not 
		participate in any such foolish gossip.

				JEN
			(off Wilma's package)
		Well, isn't that a prescription you had made up 
		for him at the drug store?

				WILMA SPRINGER
		It's a sedative to calm him.

				MATTY
		But a half a mile out in the meadow.  Now, why 
		would he want to do a thing like that?

				WILMA SPRINGER
		Well, Dr. Babcock, who I dare say knows more 
		about such things than any of us, says he's 
		probably still suffering from the concussion 
		-- or have we forgotten that he was injured?

Wilma walks off leaving the two busybodies behind.

								DISSOLVE TO:

INT. SPRINGER HOME - BEDROOM - DAY

Kimble, still dressed, sits on the edge of his bed, probably contemplating 
another escape attempt.  Al enters carrying a fingerprint kit.

				AL SPRINGER
		Oh, I see you got dressed.  I hope I'm not 
		disturbing you.

				KIMBLE
		Not at all.  Come on in.

				AL SPRINGER
		I feel like a...  I mean, I have to do this.  I 
		had an inquiry from a detective out of town.  
		Man named Gerard.  He has a wild idea you might 
		be somebody he's looking for.  An escaped 
		murderer named Kimble.

Kimble tries to contain himself.

				KIMBLE
		Murderer?  Well, not bad.  One day a hero, the 
		next day a dangerous criminal, huh?

Al sets the kit on the bed, pulls a chair over, and sits.

				AL SPRINGER
		I know.  It's the most ridiculous thing I ever 
		heard of.  You understand, I have to cooperate.  
		Ordinarily, I'd get somebody who could vouch 
		for you, but in this case...  Well, Gerard 
		wants your fingerprints.

Al sets up the kit.

				KIMBLE
		Well, whoever this Gerard is, I guess we  
		ought to keep him happy, huh?

				AL SPRINGER
		Won't be for long.  When he gets these in a 
		couple of hours, he'll see what a mistake he 
		made.

				KIMBLE
		What do you want me to do?

				AL SPRINGER
		Just relax.  I've got everything here.  Let me 
		have your right hand.

Kimble gives Al his hand.  Al starts making prints.

				AL SPRINGER
		I'm gonna write that Gerard a piece of my mind 
		when this is cleared up -- 

Kimble winces at the thought.

				AL SPRINGER
		-- making me do this to you, after all you've 
		done for us.

Wilma enters with the sedative and reacts to the fingerprinting.

				WILMA SPRINGER
		Al!  What in Heaven's name--?

				AL SPRINGER
		It's nothing to worry about, honey.  Just 
		clearing up a case of mistaken identity.

				WILMA SPRINGER
		But must you treat Mr. Porter as though you're 
		arresting him?

				KIMBLE
		That's all right, Mrs. Springer.

				AL SPRINGER
		We want to get this cleared away today.

				WILMA SPRINGER
		Well, is it that serious?

				AL SPRINGER
		No, it isn't.  But it could be.  An 
		out-of-state detective saw Mr. Porter's picture 
		in the paper, had a brainstorm.  This man 
		who's been in our house after saving our boy's 
		life, among others, is really an escaped 
		murderer named Richard Kimble.

Wilma scoffs and crosses to the nearby table to open the sedative.

				AL SPRINGER
		There, that'll do it. Not as bad as a visit to 
		the dentist, was it, Mr. Porter?

				KIMBLE
		No, there are worse things.

Kimble watches with concern as Wilma notices the morning newspaper on the 
table.  The truth begins to dawn on her.

				AL SPRINGER
		Considering I haven't taken a set of prints in 
		several years, that's a pretty professional 
		job if I say so myself.

Wilma looks up from the paper and makes eye contact with a tense Kimble as Al 
rises and starts to exit with the fingerprints.

				AL SPRINGER
		I'll rush these over to the state police and 
		they'll send them out by wire photo.

				WILMA SPRINGER
		Al.

				AL SPRINGER
		Just a minute, honey.  Let me make this call.

Al exits, leaving Wilma alone with Kimble.

				WILMA SPRINGER
		When you wandered away... it's because you'd 
		seen the paper.  You were afraid.  You were 
		trying to run away.

Wilma tries to make a break for the door but Kimble rises from the bed and 
blocks her exit.  He gently shuts the door and tries to reason with her.

				KIMBLE
		Don't call him just yet.  Will you let me 
		explain?
			(beat)
		I am Richard Kimble.  

				WILMA SPRINGER
		An escaped murderer?

				KIMBLE
		Escaped, yes.  And convicted.  But I swear to 
		you as I swore to the court, I'm innocent.

				WILMA SPRINGER
		I understand, to hear criminals tell it, 
		they're all innocent.  Was it a fair trial?

				KIMBLE
		Legally, yes.  But you see, my defense was I... 
		I saw a one-armed man... I know he's the one 
		that killed my wife.

				WILMA SPRINGER
			(horrified)
		Wife?

				KIMBLE
		I didn't do it.  He did.  But, you see, they 
		couldn't find him.  So everywhere I go, I look 
		for him.

				WILMA SPRINGER
		Seems to me that's a job for the proper 
		authorities.

				KIMBLE
		The proper authorities looked for him.  They 
		couldn't find him -- so now they're only 
		looking for me.
			(beat)
		Mrs. Springer, if I'm caught--

				WILMA SPRINGER
		If you're caught?  As soon as that detective 
		gets those fingerprints, he'll know.

				KIMBLE
		That's why I'm telling you all this.  I 
		thought... you might help me escape.  All you 
		have to do is go out the door and shut it.

				WILMA SPRINGER
		So that you can run off again?  You asked for a 
		chance to explain -- I gave it to you and 
		now you want me to be an accomplice.

				KIMBLE
		Do you know of any other human being I can ask?

Wilma looks at him as if he's insane and brushes past him.

				KIMBLE
		Is that too much to ask -- a life for a life?

Wilma freezes in the doorway.  She turns back to him, the man who saved her 
son.  They stare at one another for a long moment.  Will she let him go free?
Without a word, she exits, shutting the door behind her.  Kimble staggers 
into a chair and makes ready to escape.

								CUT TO:

INT. SPRINGER HOME - DAY

In the living room, Al talks on the phone.

				AL SPRINGER
			(into the phone)
		Well, there's no trouble for me to run 'em over 
		myself.  Good-bye.

Al hangs up as Wilma enters, lost in thought: Should she squeal on Kimble?

				AL SPRINGER
			(off the prints)
		They can't pick these up until later and I 
		wanna get them out right away and clear up this 
		nonsense once and for all.

				WILMA SPRINGER
		Al?

				AL SPRINGER
		Yes?

				WILMA SPRINGER
		Nothing.

				AL SPRINGER
			(puts an arm around her)
		Honey, I know how you feel.  We say "Anything, 
		Mr. Porter, we'll do anything for you" -- and 
		then we do this.  But listen, he's my kind of 
		man.  He understands I'm only doing my job.  
		We'll make it up to him.

Al heads for the front door.

				WILMA SPRINGER
			(quietly, to herself)
		What's right is right.

Al hears this and turns to look at her, puzzled.  Wilma can't bring herself 
to look at Al.

				WILMA SPRINGER
			(whispers)
		He is Richard Kimble.

				AL SPRINGER
		Oh, my Lord.

Al puts the fingerprint kit down and heads down the hall, past a distraught 
Wilma.

								CUT TO:

INT. SPRINGER HOME - BEDROOM - DAY

Al opens the door to find Kimble, coat in hand, trying to open the window.

				AL SPRINGER
		Sorry, Mr. Kimble.  You'll come with me now.

A weak but compliant Kimble leaves the window and approaches Al, holding out 
his wrists so that Al may put handcuffs on him.  But Al doesn't want to put 
the cuffs on the man who saved his son's life.

				AL SPRINGER
		That won't be necessary.

Al turns and walks out of the room.  Reluctantly, Kimble puts on his coat and 
follows.  He encounters a weeping Wilma IN THE HALL.  She watches tearfully 
as Kimble walks off.

								DISSOLVE TO:

EXT. OAK COUNTY SHERIFF STATION - DAY

Deputy Ernie and Barney the Bus Driver emerge from the sheriff's station.  
Barney -- arm in a sling, head bandaged -- is in good spirits, happy to be 
alive.

				BARNEY
		If Al needs any more information, just tell him 
		I'll be glad to give it to him, huh?

				DEPUTY ERNIE
		Will do, Barney.  Thanks for coming in.

				BARNEY
		Okay.

Journalist Milt Plummer, camera in hand, joins them.

				MILT PLUMMER
		Hey, Barney, I'd like to do a follow-up human 
		interest story on ya.

				BARNEY
		Oh, sure.  Why not?

				MILT PLUMMER
		Yeah, would you come on over here?

Deputy Ernie smiles as Barney and Milt walk off together.  But his smile 
fades when he sees Al and Kimble pull up to the curb in Al's police car.  Al 
gets out of the car and walks to the passenger side to let Kimble out.  Ernie 
doesn't like the looks of this.  Townspeople in the street gather at the 
sight of the Hero, George Porter being escorted to the police station by the 
sheriff.  Barney, sitting with Milt Plummer just outside the station, spots 
Kimble and jumps up to greet him.

				BARNEY
		Hey!  Mr. Porter!  I'm sure happy to see you.

Barney shakes a surprised Kimble's hand.

				MILT PLUMMER
			(to Kimble)
		C-c-can I get a picture of you here?

				AL SPRINGER
		No.  No pictures, Milt.

				MILT PLUMMER
		No pictures?

Kimble, seeing Al momentarily distracted by Milt, turns and tries to make a 
run for it.  But he's far too weak and stumbles instantly, barely breaking a 
fall by grabbing a nearby parking meter.  Al takes Kimble by the arm and 
leads him over to a disbelieving Ernie.

				AL SPRINGER
			(to Ernie)
		Phone that detective.  Tell him we've got his 
		man.

Al, Ernie, and Kimble enter the sheriff's station, leaving a confused crowd 
of onlookers outside.

				BARNEY
		What's got into Al Springer?  Gone feeble-minded 
		or something?

				CHARLEY
		I'll say.  He's treating Mr. Porter like a... 
		criminal.

				MILT PLUMMER
		It just doesn't make sense.

								CUT TO:

INT. OAK COUNTY SHERIFF STATION - DAY

Al leads Kimble into the station's small CELLBLOCK, puts him in a cell, and 
locks the cell door.  Al and Kimble exchange glances before an unsettled Al 
exits, locking the cellblock doors behind him.  IN HIS CELL, Kimble sits on 
the cot and stares at a large round globe ceiling light that hangs in the 
cellblock above him.  His eyelids droop.  He lays down.  And sleeps.  And 
dreams.

								DISSOLVE TO:

EXT. STREET IN AN UNKNOWN CITY - NIGHT

Kimble's recurring nightmare. It is almost the same dream as before -- at 
least, the action and the settings are the same -- but the CAMERA ANGLES are 
different: weird, tilted, off-center. And everything happens much faster.  

A large round globe streetlight burns brightly above him as Kimble walks down 
the deserted street, nervously looking over his shoulder.  He pauses and 
looks back to see Gerard stalking him.  Kimble ducks into the alley.  Gerard 
stops.  Kimble runs down the alley.  Gerard gives chase.  Kimble rounds the 
corner into the dead end, drops his suitcase, and struggles with the locked 
door.  He desperately tries to scale the brick wall.  Gerard arrives and 
stares at Kimble, trapped in a corner.  Gerard moves slowly toward him and 
stops.

				GERARD
			(grim satisfaction)
		Finally, Kimble.  Finally.

Kimble cringes as the dream comes to an end.

								DISSOLVE TO:

INT. OAK COUNTY SHERIFF STATION - NORTHOAK, NH - DAY

IN THE CELLBLOCK, Kimble wakes, the sound of Gerard's voice calling his name 
still echoing.  But is it a dream?  Kimble sits up and looks around.  And 
awakens to the nightmare of reality: just outside his cell, stands Gerard -- 
in the flesh.  They stare at each other for a long moment, the hunter and the 
hunted.

								FADE OUT

EXT. OAK COUNTY SHERIFF STATION - NIGHT

FADE IN, that evening, on a huge crowd -- by Northoak standards -- which 
gathers outside the station.  We recognize many as the parents of the 
children Kimble saved.  They watch as a deputy arrives and enters the 
station.

								CUT TO:

INT. OAK COUNTY SHERIFF STATION - NIGHT

The deputy enters and is greeted by Ernie.

				DEPUTY ERNIE
		Sheriff'll be with you in a minute, Pete.

The deputy nods.  Al sits at his desk as Gerard talks on the phone.

				GERARD
			(into the phone)
		Thank you, sir.  
			(beat)
		Uh, yes, the sheriff has a man he can send 
		right away.  Good-bye.

A triumphant Gerard hangs up and looks at Al who regards Gerard with 
distaste.

				GERARD
			(to Al)
		Well, no trouble about extradition... so if 
		you'll just certify that he's in your custody 
		and that you authorize his release to me...

Al seems lost in thought.

				GERARD
		Sheriff?

Gerard offers Al a pen.  Al reluctantly takes the pen and signs the necessary 
papers.  Gerard watches, his fingers twitching in anticipation.  Al rises, 
puts the papers in an envelope, seals it, and gives it to the waiting deputy.

				AL SPRINGER
		Here you go.  Attorney General's office at the 
		capital. 

				GERARD
		Make it fast.  They're waiting for it.

The deputy exits, taking the papers with him.

				GERARD
			(to Al)
		How long'll it take 'em?

				AL SPRINGER
		About three hours.

Al watches with annoyance as Gerard checks his watch against the station's 
clock: it's 7:27 p.m.

				AL SPRINGER
		I said about three hours.  That clock may be a 
		few seconds off.

				GERARD
			(testily)
		Well, in that case, let's say about ten-thirty, 
		hm?

Ernie emerges from the cellblock carrying a half-eaten tray of food, locking
the cellblock door behind him.

				AL SPRINGER
		Did he eat much, Ernie?

				DEPUTY ERNIE
		A little.

Ernie sets the tray down, watching unhappily as Gerard carefully examines it.

				DEPUTY ERNIE
		Well, don't worry, Lieutenant.  I made sure he 
		didn't keep the spoon.

				GERARD
			(grins)
		Hardly the suicide type.

				AL SPRINGER
			(pointedly, to Gerard)
		Oh?  What type would you say he is?

				GERARD
		Just a figure of speech, gentlemen.

				AL SPRINGER
		Well, whatever he is, Ernie can keep an eye on 
		him while I go get some supper.

				GERARD
		Yeah, I haven't eaten since breakfast.  I 
		didn't bother on the plane.

Ernie grins, exchanging glances with Al.

				AL SPRINGER
			(to Gerard, more duty 
			 than pleasure)
		Welcome to come home with me.

				GERARD
		Oh, that's kind of you, Sheriff, but I think 
		I'd rather stay here.  
			(off Kimble's meal)
		Maybe I can get a sandwich where you got this.

				AL SPRINGER
		They'll be closing about now.  I only live a 
		few blocks away.

				GERARD
		Well, thank you, but, uh...  Kimble got away 
		from me once and I certainly don't want to--

				AL SPRINGER
			(sharply)
		Ernie knows his business.

Gerard looks at Ernie who stares back at him.

				GERARD
		Well, suppose we check him before we go?

Ernie pulls the cellblock keys out of a desk drawer. 

				DEPUTY ERNIE
		Yes, sir.  Lieutenant.

Ernie hands the keys to Gerard.

				GERARD
		Thank you.

Al looks on sorrowfully as Gerard enters the cellblock.  IN THE CELLBLOCK, 
Gerard approaches Kimble's cell.  A depressed Kimble sits on his cot.  He 
looks up to see Gerard checking on him.  Kimble rises, wanting to talk to 
him, but Gerard merely turns and walks off.

				KIMBLE
		Gerard...

Kimble stands helplessly in his cell, hands on the bars.

IN THE STATION, Gerard emerges from the cellblock.

				AL SPRINGER
			(mocking, to Gerard)
		He still there?

Al and Ernie exchange amused glances.  Ernie eats a snack.  Gerard locks the 
cellblock doors.

				AL SPRINGER
		I'll be at home if you need me, Ernie.

				DEPUTY ERNIE
		Right.

Gerard returns the keys to Ernie.

				GERARD
		No one's to be admitted and, uh, take a look at 
		him now and again, will you?

				DEPUTY ERNIE
		Yes, sir, Lieutenant.

Al and Gerard exit.  IN HIS CELL, Kimble gets back in his cot and rests.

								DISSOLVE TO:

INT. SPRINGER HOME - NIGHT

A nicely set dinner table: meat and vegetables and coffee.  Gerard takes a 
slice of meat.  Seated at the dinner table with the entire Springer family, 
he regales Al, Wilma and young Larry with Kimble-hunting stories.

				GERARD
		And then another time I got a lead he was 
		working in an amusement park in New Jersey.  I 
		learned quite a lot about that amusement park 
		-- before the lead proved to be false.  

The Springers look down at their meals unenthusiastically.

				GERARD
		But that's all over now.  Of course, his 
		capture was inevitable.  I've known it all 
		along.

Larry starts to weep.  Everyone looks at him in concern.

				AL SPRINGER
		What's the matter, son?

Larry can't bring himself to tell them.

				WILMA SPRINGER
		Your father asked you a question, dear.

				LARRY SPRINGER
			(blurts it out)
		It's my fault!  I took the picture of him!  
		I-I thought I was doing him a favor!

Al and Wilma are stunned.

				WILMA SPRINGER
		Larry, no...

				GERARD
		Son.  You have nothing whatever to feel guilty 
		about.

Larry looks at Gerard as if he's crazy and bolts from the table.  AL rises 
and follows him out of the room, leaving Wilma alone with Gerard, who keeps 
on eating, his appetite unaffected by the incident, of course.

				WILMA SPRINGER
		I'm sorry... for Larry, that he had to be the 
		one.

				GERARD
		Mrs. Springer, you must help him to get over it.  
		Convince him that he did the right thing.  
			(beat)
		Just as you know that you did.

But Wilma's not so sure.

				WILMA SPRINGER
		What will happen to him now?

				GERARD
			(matter-of-fact)
		When the papers are returned from the capital, 
		he'll be remanded to my custody.  I shall 
		deliver him to prison.  And there'll be a new 
		date set for his execution.

				WILMA SPRINGER
		What he did for us, for so many people here in 
		Northoak... Is it possible that the law--?

				GERARD
		Might alter his sentence?  My guess would be no.

Al returns.

				AL SPRINGER
			(off Larry)
		Best leave him be for the night.

				GERARD
		Well, Sheriff.  I suppose we should be getting 
		back.

Gerard and Wilma rise.

				GERARD
			(nods gratefully to Wilma)
		Mrs. Springer, I'll always remember this fine 
		meal.

				WILMA SPRINGER
		Lieutenant.  Did he kill his wife?

				GERARD
		The law says he did.

				WILMA SPRINGER
		That's not what I mean.  Did he really kill 
		her?

				GERARD
		The law says he's guilty.  I enforce the law.

				WILMA SPRINGER
			(mechanically)
		What's right is right.

				GERARD
		I suppose you could put it as simply as that.

				WILMA SPRINGER
			(sadly)
		I have.  All my life.

				GERARD
		Well, goodbye, Mrs. Springer.  And thank you 
		again.

Gerard shakes Wilma's hand and departs.  Al pats Wilma on the arm and exits, 
leaving her to sink dejectedly into her chair.

								DISSOLVE TO:

INT. OAK COUNTY SHERIFF STATION - NIGHT

The clock on the station wall reads nine.  Ernie scans a magazine, eats a 
snack, gets a drink.  Al and Gerard enter.

				AL SPRINGER
		Is everything all right?

				DEPUTY ERNIE
		Yeah.

				GERARD
		When did you check last?

Ernie sits and makes a big show of looking at his watch.

				DEPUTY ERNIE
		Six minutes and nine seconds ago.

Ernie pulls the keys from the drawer and holds them up to Gerard.

				DEPUTY ERNIE
		Want me to check again?

				GERARD
		Oh, I wouldn't want you to tire yourself.  I'll 
		do it.

Gerard takes the keys and walks off.

				AL SPRINGER
		Lieutenant, I'll be at home. Ernie'll call me 
		when the papers get back.

Al exits.  Gerard enters the cellblock.

INSIDE THE CELLBLOCK, Kimble sits on his cot.  Gerard stands outside his cell 
and takes out a cigarette.  He's ready to talk to Kimble now.  Kimble rises 
and joins Gerard.  They stand together, the bars of the cell between them.

				KIMBLE
		Now?

				GERARD
		Soon.  Cigarette?

				KIMBLE
		I've got some.

				GERARD
			(lights his cigarette)
		How you must hate me.

				KIMBLE
		It's all very easy for you, Gerard.  Black and 
		white.

				GERARD
		Yes, it has to be.  Which gives you the 
		advantage.  Any disguise you choose.  Hero to a 
		whole town.

				KIMBLE
		Saving kids from a burning bus?  That's a 
		disguise?  You know, for all the thinking I've 
		done about you, I don't know how your mind 
		works at all.  But maybe I do.  
			(ironic)
		I'm a fugitive so nothing I do is decent.

				GERARD
		Well... All this time, all those places, haven't 
		you been living a lie?

				KIMBLE
			(ironic)
		I had a choice, didn't I?  
			(pointedly)
		Gerard, when they take me down to that holding 
		cell and give me my last meal, walk me to the 
		door and strap me into that chair, my words are 
		gonna be exactly the same.  I didn't kill her.  
		I didn't, Gerard.

				GERARD
		No.  Of course you didn't.  Tucson, Dallas, Los 
		Angeles, Seattle, Atlanta, Miami, and Northoak.  
		All those rooms.  All those days and nights, 
		alone, remembering.  And imagining.  Until the 
		difference between reality and fantasy is not 
		quite so clear anymore.

				KIMBLE
		Then you make yourself believe that being a 
		fugitive has done something to my mind?  You're 
		forgetting that my story's exactly the same now 
		as it was the night of the murder.

				GERARD
		And it was, and is, a lie.

				KIMBLE
		Are you so godlike that because you couldn't 
		find a one-armed man you don't believe he 
		exists?

				GERARD
		I've done everything humanly possible to find 
		him.

Kimble peers at Gerard for a moment.

				KIMBLE
		I think you have.  I wonder why.

				GERARD
			(annoyed, as if it were obvious)
		It's my job.

				KIMBLE
		It's also a curse, isn't it, Gerard?  You know, 
		I think you have nightmares too.  Your 
		nightmare is that when I'm dead, you'll find 
		him.

Kimble has struck a nerve.  Gerard's chin trembles; he takes a deep drag on 
his cigarette, turns, and quickly walks away.

				KIMBLE
		What are YOU running from, Gerard?

IN THE STATION, Gerard exits the cellblock, locks the doors, and hands the 
keys to Ernie.  The front door opens.  Gerard is surprised to see Al enter.   

				GERARD
		Papers back already?

				AL SPRINGER
		It's just some people out front who want to say 
		goodbye to him. I said it was all right.

				GERARD
		Goodbye?  What are you planning?  A farewell 
		party?

				AL SPRINGER
		I said they could file by and shake hands with 
		him.

				GERARD
		I can't allow anything like that.

				AL SPRINGER
		He's still my prisoner.

Al turns and opens the front door to let the townspeople enter.

				AL SPRINGER
		All right, folks.  Now, remember, no 
		conversation, no waiting around.

Al gets the keys from Ernie and unlocks the cellblock doors as the people 
enter -- mostly the parents of the children Kimble saved.  Gerard, stiff as a 
board with his arms behind his back, watches them file past him.  Among them 
is Barney the Bus Driver -- his head bandaged, his arm in a sling.  Gerard 
takes up a position just outside the cellblock to monitor the whole somber 
ritual.  

Al stands just outside Kimble's cell.  The people form a long line into the 
cellblock.  One by one, they silently approach Kimble's cell, solemnly shake 
hands with him through the bars, nodding their thanks, then turn and exit the 
cellblock.  Most walk past Gerard without making eye contact, lost in thought 
-- though a few glance at him forlornly.  Gerard eyes them all suspiciously.
For his part, Kimble appears stunned to see them all.  After the first few 
exchanges, Gerard clenches his jaw, not unmoved by this heartfelt outpouring 
of gratitude.  

We don't recognize many of the first parents in line but, toward the end of 
the procession, we see mostly familiar faces:  An especially saddened Barney 
shakes Kimble's hand and walks away slowly, as if a great weight were upon 
him.  Dr. Babcock is also in line, breaking the silence.

				DR. BABCOCK
			(quietly, to Kimble)
		Goodbye, my boy.  Courage.

Anna is next and then the Nicely Dressed Man, who feels he must say something.

				NICELY DRESSED MAN
		Thank you.

He lowers his eyes and departs.  Matty is next.  As she walks away, Gerard 
watches her pull a tissue from her purse to wipe her eyes.  Jen and Charley 
follow.  The last person in line is -- of all people -- Wilma.  She puts her 
hand in Kimble's and holds it for a long moment, nodding.  Kimble just stares 
at her, an odd expression on his face.  Wilma, eyes lowered, briskly walks 
past Gerard and follows the others out of the station.  Al rejoins Gerard 
outside the cellblock and locks the doors.

IN HIS CELL, Kimble looks down at his hand.  In it, he clutches a set of keys.

								CUT TO:

EXT. OAK COUNTY SHERIFF STATION - NIGHT

An apprehensive Wilma wonders if she's done the right thing.

								DISSOLVE TO:

INT. OAK COUNTY SHERIFF STATION - NIGHT

Around ten p.m., Gerard lights a cigarette.  Al checks his watch.

				AL SPRINGER
			(to Gerard)
		I'm going home and see how my boy is.  I'll be 
		back in time.

Al and Gerard exchange unhappy looks as Al makes his exit.  Gerard paces 
restlessly while Ernie works a crossword puzzle.

				GERARD
		I imagine you'd like to go home too.

				DEPUTY ERNIE
		I sure would, Lieutenant.

Gerard snuffs out his cigarette and looks at the station clock: it's a minute 
past ten.

								DISSOLVE TO:

INT. OAK COUNTY SHERIFF STATION - NIGHT

The station clock reads 10:25.  Gerard checks his watch and keeps pacing.  
His fingers twitch.  Ernie continues to work his puzzle.

				GERARD
		That car should've been here by now.

				DEPUTY ERNIE
			(takes keys from drawer)
		I'll check him again.

				GERARD
			(offers his hand)
		Don't bother.

				DEPUTY ERNIE
		Much obliged, Lieutenant.

Ernie hands the keys to Gerard who unlocks the cellblock doors and enters.  
Ernie eats a snack and goes back to his puzzle.

IN THE CELLBLOCK, Gerard approaches Kimble's cell.  He looks in and 
immediately senses something wrong.  Kimble lies on the cot, completely 
covered by a blanket.  Gerard doesn't like the looks of this.  What's Kimble 
up to?  

Gerard pulls his gun and unlocks the cell door.  Suddenly, Kimble emerges 
from the cell opposite and attacks Gerard from behind, hitting him hard on 
the back of the head, knocking him unconscious. As Kimble puts Gerard's limp 
body on the cot in his cell, Gerard's gun DROPS to the floor.

IN THE STATION, Ernie, hearing the noise, looks up from his puzzle.

				DEPUTY ERNIE
			(calls out)
		Lieutenant?

IN THE CELLBLOCK, Kimble, gun in hand, looks up in fear.

But, IN THE STATION, Ernie grins. 

				DEPUTY ERNIE
			(to himself)
		No need to worry about him.

Ernie eats a snack and concentrates on his puzzle.  In fact, Ernie gets so 
caught up in his puzzle that he doesn't see or hear Kimble enter and point 
Gerard's gun at him.

				KIMBLE
			(gently)
		Ernie.

Ernie looks up and sees the gun.  He slowly puts his hands in the air.  At 
Kimble's urging, he rises and enters the cellblock.  Kimble looks around 
warily: Is there anyone else around?

Kimble locks Ernie in the cell with Gerard and runs -- out of the cellblock 
and out of the station.

								CUT TO:

EXT. OAK COUNTY SHERIFF STATION - NIGHT

Kimble emerges from the building and looks around.  Not a soul in sight.  
It's after ten-thirty in a small town so the streets are deserted.  Kimble 
tosses the gun away and runs off across the street, disappearing into the 
night.

								FADE OUT

EXT. OAK COUNTY SHERIFF STATION - DAY

FADE IN the next morning.  A crowd gathers outside the station, watching a 
police car pull up.  Gerard and a uniformed officer emerge.  The crowd swarms 
menacingly around Gerard.  The people stare darkly at him.  Though clearly 
uncomfortable, Gerard manages to stare them down and enter the police station.

								CUT TO:

INT. NORTHOAK SHERIFF'S OFFICE - DAY

Gerard enters to find the office filled with all of the people who lined up 
to thank Kimble the night before.  They sit or stand around the room, 
regarding Gerard dispassionately.  Al steps forward to confer with Gerard. 

				AL SPRINGER
		This is everyone who was here last night.  

Wilma, feeling guilty, stands apart from the others.

				AL SPRINGER
		One of them passed him the key when they were 
		saying goodbye.

				GERARD
		I appreciate you taking all this trouble, 
		Sheriff.  But I already know who did it.  

Al looks surprised.  Wilma even more so.

				GERARD
			(to Al)
		I know how you feel about him.  And about me.  
		You let him out.

Everyone in the room is shocked.  Al is indignant.

				AL SPRINGER
			(firmly, to Gerard)
		That's a lie.

				GERARD
		I don't think so.  And I don't think a jury's 
		going to believe that you were just being kind 
		letting everyone in to say goodbye to Kimble 
		-- giving you the chance to slip him the key.  
		I'm going to see to it that you're charged with 
		aiding and abetting a fugitive.

Horrified, Wilma strides forward and confronts Gerard.

				WILMA SPRINGER
		You're wrong, Lieutenant.  My husband didn't do 
		it.  I knew about the key being in the drawer.  
		I gave it to Mr. Kimble.

Everyone is stunned, Al in particular.

				GERARD
			(to Wilma)
		You did it?  Well, I'm sure you understand what 
		this means, Mrs. Springer.  You'll be arrested.

There is a long, deadly pause as the townspeople consider what this means.  
Suddenly, Dr. Babcock steps forward and confronts Gerard.

				DR. BABCOCK
			(insistent)
		Don't listen to her.  I've been in here often 
		enough.  I slipped it to him.

But before Gerard can respond, Barney the Bus Driver steps forward.

				BARNEY
			(to Dr. Babcock)
		Did neither.  
			(insistent, to Gerard)
		He saved my life and I paid him back.  I'm the 
		one.

Gerard is stunned.

				NICELY-DRESSED MAN
			(to Gerard)
		He was not.  I did it.

And with that, the floodgates open -- everyone in the room starts talking at 
once:  "It's me."  I'm the guilty one."  "I did it." "What're you gonna do 
about that?" 

Gerard instantly realizes it's a hopeless case -- and he's got better things 
to do with his time than to sort this out.  Disgusted that anyone would take 
credit for aiding and abetting a fugitive, Gerard straightens his jacket and 
exits as the townspeople continue to talk amongst themselves.  Al puts an arm 
around Wilma and grins at her. She's still not convinced she's done the right 
thing -- but Al seems to think she has.

								DISSOLVE TO:

EXT. CITY STREET - FAR FROM NORTHOAK - NIGHT

Kimble, travel bag in hand, walks down a deserted city street, not unlike the 
one in his recurring nightmare.  He stops to look at a HELP WANTED sign in 
the window of one of the shops, Delaney's Shoe Repair.

				NARRATOR (v.o.)
		Another city, another identity.  Help Wanted.  
		Help, but there is none.  Richard Kimble must 
		live with his past and his future, his only 
		consolation that somewhere, perhaps here, there 
		is a one-armed man who has nightmares of him.

Kimble moves on, down the street, alone in the night.

								FADE OUT