The Fugitive Transcripts

EXT. WINDY CITY MONTAGE - CHICAGO, IL - DAY

In the City of Broad Shoulders, Hog Butcher to the World, etc., the skyline 
rises majestically toward the clouds; an elevated train snakes through the 
town; the clock over a busy intersection reads a quarter past three.  And the 
thunderous voice of an OMNISCIENT NARRATOR sets the scene.

				NARRATOR (v.o.)
		Chicago. Richard Kimble has come a thousand 
		miles on hope and the slimmest of clues in his 
		hunt for the one-armed man. But ten days have 
		passed and now hope has turned to despair -- 
		for, in a city of millions, how does a fugitive 
		go about finding a phantom?

								CUT TO:

EXT. CITY PARK - DAY

Late afternoon.  RICHARD KIMBLE, innocent victim of blind justice, falsely 
convicted for the murder of his wife -- and now one of America's most elusive 
fugitives -- wears a trench coat and sits on a park bench, lost in thought.  
From behind him, a VOICE rings out.

				VOICE (o.s.)
		You say you've been looking for him everywhere 
		but haven't found him.  I'm gonna tell ya why 
		you haven't!  Because he doesn't exist!  

A startled Kimble turns to see who's speaking.  It's a soapbox PREACHER 
surrounded by a tiny crowd of onlookers.

				PREACHER
		How long are you gonna keep on hoping when 
		there is no hope?!  There's only one path to 
		true salvation, my friend!  

The little crowd turns away from the Preacher, as does Kimble.  The crowd 
walks off in different directions, much to the preacher's dismay.

				PREACHER
		Now, wait!  Wait!  Just listen to me!  I can 
		save ya!  I have proof!  Absolute, 
		incontroversial proof!

Kimble looks over at an empty public phone booth nearby and then stares at a 
folded newspaper in his hand.  He reaches a decision.  Leaving the paper on 
the bench, he rises and crosses to the phone booth.  Printed in the newspaper 
is a gossip column entitled:  "From The Top Of The Deck" by Mike Decker.  A 
small photo of the columnist accompanies the column.

								DISSOLVE TO:

INT. NEWSPAPER OFFICES - DAY

A busy newsroom.  In a small office space apart from the main room sits 
paunchy MIKE DECKER, cigarette in his mouth, pecking away at the typewriter 
on his desk.  The phone RINGS and he puts the call on a speaker.  We CUT  
BACK AND FORTH between a brusque Decker typing at his desk and a hesitant 
Kimble in the phone booth at the park.

				MIKE DECKER
		Yeah?

				KIMBLE
		Mike Decker?

				MIKE DECKER
		Yeah?

				KIMBLE
		Now, this has to be in confidence.  It's about 
		a man you once defended in your column...

				MIKE DECKER
		Who is this?

				KIMBLE
		... about a year ago, during the trial.  You 
		wrote that you thought Richard Kimble was 
		innocent.

				MIKE DECKER
		Who is this?  What about Kimble?

Sensing the caller's hesitance, Decker stops typing, lowers his voice, and 
speaks reassuringly into the speaker.

				MIKE DECKER
		Listen to me.  I do believe in Kimble's 
		innocence.  Now, you said you had something to 
		tell me in confidence.  Okay, I'm listening.

				KIMBLE
		He's in Chicago.  He thinks the real killer 
		might be... here, somewhere in town.

Decker realizes who he's talking to.  He picks up the receiver.

				MIKE DECKER
			(quietly)
		Hey.  Hey, this is Kimble, isn't it?  

Kimble looks around nervously.

				MIKE DECKER
		Now, listen to me.  You can trust me, Kimble.  
		You hear?  I want to help you.  I'll be able to 
		leave the office in an hour.  You meet me at my 
		apartment.  Chalfonte, over on...

				KIMBLE
		No.  Not your place.

				MIKE DECKER
		Okay.  All right.  Any place you say.  You just 
		name it.

				KIMBLE
			(thinks for a second)
		South Bailey.  And Tenth.  There's a theater.  
		Be out in front, nine o'clock.

				MIKE DECKER
		Okay.  I'll be there.

Both men hang up.  Kimble stands in the phone booth a long moment, wondering 
if he's done the right thing.  Finally, he exits the booth and walks 
cautiously through the park.

								DISSOLVE TO:

EXT. SOUTH BAILEY AND TENTH - NIGHT

Nine o'clock.  Decker's car pulls up near a rundown theater (the Granada).  
Kimble watches from the shadowy mouth of a graffiti-covered alley on the 
opposite side of the street.  Decker gets out of the car, checks his 
wristwatch, takes out a cigarette.  Kimble is about to leave his hiding place 
and cross the street to meet Decker when he sees a drunk suddenly wander out 
of the doorway of a bar (the Cubical Café) across the street.  Kimble draws 
back into the shadows.  Is it a cop?  

The drunk wobbles down the sidewalk to a lamp post and leans on it for 
support.  Decker looks around impatiently.  Kimble sees a man in a suit round 
the corner and walk past the drunk, pausing in front of the café.  Another 
cop?  Kimble scans the area warily.  A man in a hard hat, carrying a lunch 
box, comes down the sidewalk and walks past Decker.

				NARRATOR (v.o.)
		In the deadly game of hide and seek, Richard 
		Kimble has only one rule for survival: be 
		suspicious of everyone. Is it coincidence that 
		three strangers should suddenly appear at the 
		place of his rendezvous with Decker? Or are 
		they just strangers? 

The man in the hard hat approaches the drunk at the lamp post and puts a hand 
on his shoulder, talking to him amiably.  Decker checks his watch again, 
takes a last drag on his cigarette, and decides that Kimble isn't going to 
show.  He gets back in his car.  Kimble watches helplessly as Decker drives 
off.

				NARRATOR (v.o.)
		Richard Kimble's rule for survival: be 
		suspicious of everyone. But sometimes strangers 
		are only what they seem. 

The man in the hard hat escorts the drunk around the corner and out of sight.
A woman arrives, greets the man in the suit, and joins him in entering the 
café.  

				NARRATOR (v.o.)
		And now, the imagined threat is gone -- and, 
		with it, Mike Decker.

A frustrated Kimble stands in the alley.

								DISSOLVE TO:

EXT. CHALFONTE APARTMENT BUILDING - NIGHT

Later that evening, a much nicer part of town.  Kimble cautiously approaches 
the front door of a luxury apartment building.  The ritzy awning over the  
front entrance reads CHALFONTE APTS.  Kimble checks the mailboxes -- MIKE 
DECKER APT 8A -- and rings Decker's bell.  Decker answers over the intercom.

				MIKE DECKER (o.s.)
		Yeah?

				KIMBLE
		Decker?

				MIKE DECKER (o.s.)
		Yeah?

				KIMBLE
		Are you alone?

				MIKE DECKER (o.s.)
		Sure.  Come on up.

A BUZZER sounds.  The front door unlocks and Kimble enters the building.

								CUT TO:

INT. CHALFONTE APARTMENT BUILDING - LOBBY - NIGHT

Kimble enters the large, posh lobby and crosses slowly to the elevator.  He 
rings for the elevator and waits, scanning the lobby for signs of a trap or 
possible avenues of escape.  The elevator doors open to reveal the imposing 
figure of Mike Decker.  He and Kimble stare at each other for a long moment.

				MIKE DECKER
		I waited for you.

				KIMBLE
		I know.  I saw you.  There were some people 
		hanging around.  I thought it was a set up.
		I thought maybe you'd said something to the 
		police.

				MIKE DECKER
		I told you I wanted to help.

				KIMBLE
		Well, when you've been on the run from the law, 
		you learn to be suspicious.

				MIKE DECKER
			(nods understandingly)
		Okay.  Let's go upstairs and talk.

Decker invites Kimble into the elevator and they go up.

								DISSOLVE TO:

INT. DECKER'S APARTMENT - NIGHT

Minutes later, in the DEN of Decker's spacious penthouse apartment, Kimble 
and Decker sit drinking coffee.

				KIMBLE
		See, I, uh, I found this girl in Omaha. She 
		said the man that beat her up had one arm.  She 
		said that he warned her if she went to the 
		police the same thing would happen to her that 
		happened to that Kimble woman.  Everything 
		about him added up so I started looking for 
		him.

				MIKE DECKER
		What made you come here?

				KIMBLE
		I found out he bought a ticket for Chicago.

				MIKE DECKER
		And you wasted ten good days looking for him by 
		yourself?

				KIMBLE
			(ironic)
		I guess I could have called the F.B.I.

				MIKE DECKER
		You should've called me!

				KIMBLE
		Mr. Decker, what makes you think I'm innocent?

				MIKE DECKER
		Three of your jurors held out six days for 
		acquittal.  They thought you were innocent.  
		Why shouldn't I?  Here.

Decker rises and opens a drawer in a nearby bureau.

				MIKE DECKER
		Take a look at this.

Decker pulls out a file folder as thick as a phone book and hands it to 
Kimble.

				MIKE DECKER
		This is the Kimble case -- an exhaustive study 
		of the evidence.  Okay?

				KIMBLE
			(impressed)
		Okay.

Decker shows Kimble a large drawing.

				MIKE DECKER
		This is the newspaper sketch of the one-armed 
		man from the description you gave them.  Uh, 
		think hard, Kimble.  Is there anything else you 
		can add to that?

Kimble stares hard at the sketch.

				KIMBLE
		He was about forty or forty-five.  Dark-haired.  
		Right arm missing...

Kimble FLASHES BACK to the night of his wife's murder.

								DISSOLVE TO:

EXT. SUBURBAN STREET - STAFFORD, IN - NIGHT

Kimble's car (a 1960 Mercury Park Lane) cruises down the dark street.  A 
gray-haired Kimble sits at the wheel.

				KIMBLE (o.s.)
		I was driving back home after an argument with 
		my wife.  I saw him suddenly running from my 
		house.  He acted scared.  

From KIMBLE'S POV, a stocky, surly-faced ONE-ARMED MAN tears across the lawn 
of the Kimble home, looking back fearfully over his shoulder.

				KIMBLE (o.s.)
		He darted into the street.  I had to swerve.  

The One-Armed Man blunders into the path of Kimble's car. A startled Kimble 
brakes to a halt as the One-Armed Man freezes in the glare of the headlights, 
eyes wide with terror, his unshaven jaw slack, his stump raised in the air.  
Time seems to stand still for a long moment as the two men stare at one 
another across the hood of Kimble's car.

				KIMBLE (o.s.)
		The headlights picked him up only for a second.

A confused Kimble watches the One-Armed Man run off.  The FLASHBACK ends.

								DISSOLVE TO:

INT. DECKER'S APARTMENT - CHICAGO, IL - NIGHT

In the DEN, Kimble stares at the sketch.

				KIMBLE
		There's nothing more I can remember.  I'll know 
		him if I see him.

Kimble hands the sketch back to Decker.

				MIKE DECKER
		Okay, let's see what we can do with this.  I'll 
		have some copies made up, get 'em spread around 
		town.

				KIMBLE
		If he finds out, won't that scare him into 
		running?

				MIKE DECKER
		We don't know for sure he's still here.  Main 
		thing is, if he is, it can turn up a fresh lead 
		on him.

				KIMBLE
		Tell the police I'm in town, too.

				MIKE DECKER
		Nah.  Not if it comes from me.  They know all 
		about the articles I've written defending you.  
		I'll see my editor first thing in the morning.  

Decker starts removing the cushions from a nearby sofa to reveal a pull-out 
bed.

				MIKE DECKER
		You better get yourself some shut-eye.

Kimble rises and confronts Decker.

				KIMBLE
		Decker.  While you're at it, maybe we'd better 
		talk about this.

				MIKE DECKER
		Maybe we had better have an understanding, Dr. 
		Kimble.  I'm willing to go all out to help you.  
		Money, contacts, influence.  Now, you know I 
		can deliver or you wouldn't've come to me in 
		the first place.  But I'm a temperamental guy, 
		Doctor.  If we're gonna play on the same team, 
		I call the signals.  I carry the ball.  And 
		that's the way it is.

				KIMBLE
		What if I don't like the signals you call?

				MIKE DECKER
		There's the door.  I won't blow the whistle.  
		But then what?  Look at yourself, man -- you've 
		had it.  What do you think your chances are 
		without me?  In the parlance of your profession, 
		Doctor, prognosis: negative.  And...
			(breaks into a smile)
		... yeah, I have a selfish reason for wanting 
		to find the one-armed man.  I need a big story 
		right now and this could win me a Pulitzer.

				KIMBLE
		Okay.

				MIKE DECKER
		Okay.  
			(opens the pull out bed)
		I'll be leaving early in the morning. You're 
		safe here.  My wife's away.  She's out of town.  
		I'll get rid of the maid.  You'll find pajamas, 
		a robe, in the closet there.  Have a good sleep. 
			(pats Kimble on the arm) 
		I'll see you tomorrow.

Decker takes the sketch of the one-armed man and exits leaving an uncertain 
Kimble behind.  Kimble removes his jacket and gets ready for bed.  Outside 
the den window, the city of Chicago stands under a night sky.

								DISSOLVE TO:

EXT. SKYSCRAPER - DAY 

The next morning.  The sun shines down on the skyscraper where Decker's 
newspaper is located.

								DISSOLVE TO:

INT. CONNELLY'S OFFICE - DAY

Inside the building, a psyched-up Decker tries to hard-sell his crusty editor 
FRED CONNELLY.

				MIKE DECKER
		"I found the one-armed man" by Mike Decker! Ten 
		grand expenses is peanuts for that story, Fred.

				FRED CONNELLY
		Oh, come on, Mike.  I don't care what you say 
		about him in your column but don't try to sell 
		me on Kimble's innocence.

				MIKE DECKER
		I got an angle going that will break that case 
		wide open.

				FRED CONNELLY
		The next thing I expect to hear from you is 
		"Stop the presses!"  No, Mike.  No, this isn't 
		gonna work.  I'm sorry.

				MIKE DECKER
		Fred, for ten Gs, I can make it work.

				FRED CONNELLY
		Look, when a gossip columnist starts slipping, 
		the first thing he prays for is a 
		newspaperman's miracle -- coming up with a big 
		story.  Well, miracles don't happen very often, 
		Mike, and sometimes a guy gets so panicky that 
		he'll do something real dumb like coming up 
		with a phony.  Now, don't press the panic 
		button.

				MIKE DECKER
		Fred, will you please just wait a minute?!  
		Fred.  Richard Kimble is in town... right now.  
		I've got him.  I can prove it.  Now, you can 
		see him for yourself if you want to.

A surprised Connelly thinks hard for a second.

				FRED CONNELLY
		All right.  I'll make a deal with you, Mike.  
			(writes a check)
		Five thousand, expense -- in exchange for your 
		guarantee for a Kimble story.

				MIKE DECKER
		I can't make a guarantee like that, Fred.  I 
		may not be able to find the one-armed man.

				FRED CONNELLY
		I said, a Kimble story.  Now, that yarn would 
		be sensational.  But just in case it doesn't 
		work, there's another story that'll still sell 
		a lot of newspapers.

They regard each other for a moment before Decker catches his meaning.

				MIKE DECKER
			(unenthusiastic)
		Oh, yeah.  Like turning Kimble over to the cops.

				FRED CONNELLY
		I'm not trying to tell you what to do.  But, uh, 
		like I say, you do need a story.

Connelly hands the check to a sober Decker.

				MIKE DECKER
		Yep.

								DISSOLVE TO:

INT. DECKER'S APARTMENT - DAY

In the DEN, later that morning.  Kimble starts to get out of bed.  As he 
does, he hears the front door to the apartment OPEN.  Kimble slips on a robe 
just as a woman in a fur coat walks into the room.  It's Mike's wife, PAULA 
DECKER.  She's startled to find a handsome man in the room.  And doesn't 
recognize him as Richard Kimble.

				PAULA
		Oh.

				KIMBLE
		Hello.

				PAULA
		Who are you?

				KIMBLE
		Uh, George Blake.  I'm a friend of Mike's.  I'm 
		just passing through town.  He invited me to 
		stay overnight.

				PAULA
		Oh.  I'm his wife.  

				KIMBLE
		Hello.

They shake hands.

				PAULA
		Haven't we met before, Mr. Blake?

				KIMBLE
		I don't think so.  
			(off the slept-in bed)
		Uh, I'm sorry about all the mess.  He told me 
		you, uh, weren't gonna be in town.

				PAULA
		Yes, I thought I'd surprise him.

As Kimble straightens out the bed, Paula notices the file folder of the 
Kimble case lying on a nearby bureau.  She looks at one of the newspapers in 
it.  Suddenly, she remembers...

				PAULA
		You're Dr. Richard Kimble.

Kimble freezes.

				PAULA
		Dr. Kimble.  I can't believe it.  How did Mike 
		ever find you?

				KIMBLE
		He didn't.  I found him.

				PAULA
		When?  How long have you been here?

				KIMBLE
		Since last night, I... I don't want any trouble.  
		I'll just leave.

				PAULA
		No, you don't have to run away because of me.  
		Didn't Mike tell you?  I'm the one who got him 
		to write those articles about you. I researched 
		the case for him.  I believed in your innocence 
		from the beginning.  What're you doing in 
		Chicago?

				KIMBLE
		There's just a chance that the man who killed 
		my wife is here.

				PAULA
			(doubtful) 
		And Mike says he's gonna try to help you find 
		him?

				KIMBLE
		Yeah.

An odd look crosses Paula's face as she moves away from Kimble and stares 
into space.

				KIMBLE
		What does that mean?

Decker enters the apartment through the FRONT DOOR.

				MIKE DECKER
		Hey, Kimble!  You awake?  I got good news.

Decker enters the DEN and stops short when he sees Paula.  An awkward moment 
for everyone.

				MIKE DECKER
		Oh.  Paula.  Welcome home.  What, uh, what'd 
		you do?  Bust out?

				PAULA
		No.  Graduated with honors.

				MIKE DECKER
			(nods)
		Congratulations.

Decker gives Paula a not very convincing kiss.

				PAULA
			(to Kimble)
		Forgive us, Doctor.  Sort of an inside joke.  
			(to Decker)
		Dr. Kimble's just telling me you're going to 
		help him.

				MIKE DECKER
			(to Paula)
		Yes.
			(to Kimble)
		It's all set.  Paper's behind ya a hundred 
		percent.

				KIMBLE
		What does that mean?

				MIKE DECKER
			(pulls out a wad of cash)
		Meaning five grand and that's just for openers.  
		My editor says if I believe in ya, that's good 
		enough for him.

				KIMBLE
		Just like that?  What if you're not able to 
		come up with a story?

				MIKE DECKER
			(laughs) 
		You let me worry about that.

				PAULA
			(darkly, to Decker)
		Don't you think Dr. Kimble's entitled to some 
		kind of guarantee?

A long pause.

				MIKE DECKER
			(savagely)
		Now, what would you suggest?  A Boy Scout oath?  
		A pact signed in blood?  What?

				KIMBLE
		Your word's good enough for me, Mike.

				MIKE DECKER
		You got it, pal.

Decker turns to Kimble, looks him in the eye, and shakes his hand.  Kimble 
and Paula exchange uneasy glances.  Paula lowers her eyes in concern.

								FADE OUT

EXT. STREET - NIGHT

FADE IN on a street, filled with crowds enjoying Chicago's night life.

								DISSOLVE TO:

INT. RESTAURANT - NIGHT

Decker sits at a table with a beady-eyed COGEN, a greedy little man.

				MIKE DECKER
		The main thing, Cogen, is the time element.  I 
		want fast action on this.  Now, this... 
			(hands Cogen a hundred dollar bill)		
		... is incentive dough.  You get me a lead on 
		him...
			(flashes another bill)
		... worth another C-note.  Ya finger him, ya
		earn yourself a grand, okay?

				COGEN
		You know me, Decker.  Just keep that grand 
		handy.

Cogen rises, takes a copy of the one-armed man sketch, and departs.

								DISSOLVE TO:

INT./EXT. INFORMANT MONTAGE - NIGHT

Decker makes the rounds handing out copies of the sketch and hundred dollar 
bills at various places around town:  to a bespectacled old man at a gambling 
joint; to a foxy young woman at a bar (where she and Decker drink a toast to 
each other); to a cab driver; to a three-foot tall shoe shine man; to what 
may well be a madam at a brothel; and, finally, to a shaky dope addict named 
WIMPY who stares hard at the sketch and takes a long drag on his cigarette.

								DISSOLVE TO:

INT. POLICE STATION - DAY

The next morning, Wimpy shows the sketch to a couple of plainclothes 
detectives, one of whom is SGT. AL DE SANTIS.

				WIMPY
		The way Decker's been throwing cheer around, I 
		thought you might want to know about it, Sarge.

				SGT. DE SANTIS
			(to his fellow officer)
		Looks like he's still harping on the Kimble case.
			(to Wimpy)
		No sale, Wimpy.  There's nothing here for us.

				COGEN
		Wait a minute, I thought we had a deal.

				SGT. DE SANTIS
		I said any information we could use.  This 
		isn't a police matter.  If Decker wants to 
		throw his dough away, that's his business.

				COGEN
		Sarge.  How 'bout a little carfare money at 
		least?

Sgt. De Santis casts an amused glance at his fellow officer, pulls out a 
bill, and gives it to Wimpy.

				SGT. DE SANTIS
		There ya are, Wimpy.

				COGEN
		Thanks.

A very happy Wimpy quickly exits.  The Officer confers with Sgt. De Santis.

				OFFICER
		Say, Al, don't we have a want from the Kimble 
		case?

				SGT. DE SANTIS
		Yeah.  On Kimble.

				OFFICER
		No, I mean, it seems to me there was some kind 
		of request for information on this one-armed 
		man deal.  About a year or so ago?

				SGT. DE SANTIS
		I don't remember.  Take a look.

The Officer leafs through a file cabinet drawer and pulls out a folder.

				OFFICER
		Yeah, here it is.  From a guy named Gerard.

The Officer hands the want to Sgt. De Santis who reads it.  The two men 
exchange glances and Sgt. De Santis reaches for the telephone.

								DISSOLVE TO:

INT. DECKER'S APARTMENT - DAY

Carrying a bowl of soup, Paula enters the DEN where a restless Kimble paces.

				PAULA
		Soup's on.

				KIMBLE
		Oh, thank you very much, I don't think I'm very 
		hungry.

				PAULA
		I know.  It's the waiting.  Mike's doing 
		everything he can.  You trust him, don't you?

				KIMBLE
		I have to.  
			(beat)
		When we first met, I got the impression that 
		you didn't.

Paula stares at Kimble, then turns away from him.

				KIMBLE
		I guess that was a pretty rotten thing to say.

				PAULA
			(sits on sofa)
		No, it's true.  At least, it was true.  I 
		didn't trust him -- not like I once did. You 
		know what I used to call Mike when we first 
		married?  Sir Galahad.  Pure of heart.  Noble 
		of mind.  Champion of the downtrodden.  
			(chuckles) 
		Think there's still people like that in the 
		world, Doctor?

				KIMBLE
		I suppose so.

				PAULA
		I used to think so.  Mike isn't one of them.  
		He's done some pretty awful things to his 
		friends, to me. I swallowed it for a while and 
		then I-I started taking refuge in that other 
		world.  Didn't Mike tell you where I've been 
		the last three months?

				KIMBLE
		He just said you were out of town.

				PAULA
		Oh, I was.  The most charming resort, dedicated 
		to the proposition that all alcoholics can be 
		cured.

				KIMBLE
		I'm sorry.  I didn't know.

				PAULA
		Oh, it's all right. It doesn't bother me 
		anymore.  They made me realize that if I want 
		Mike, I have to accept him the way he is.  
		Love, honor, cherish. Close my eyes to the 
		cheating and the double-cross.

				KIMBLE
		Mrs. Decker, uh... Are you trying to tell me 
		that I can't trust Mike?  That his handshake 
		and his word, they don't mean anything?

				PAULA
		No, you don't understand.  Mike's a louse about 
		a lot of things but there's one thing he's kind 
		of a fanatic about -- his word.  Thou shalt not 
		give thy word in vain.  Mike stakes his life on 
		that.  You can too.

				KIMBLE
		Okay.  You know, he's pretty lucky to have a 
		wife that accepts him on his own terms.

				PAULA
			(rises, picks up soup bowl)
		He hasn't been so lucky.  He knows I don't like 
		him.  What he doesn't know is I love him.  Ooh.  
		Talk about hearts and flowers, I came in here 
		to cheer you up.

				KIMBLE
			(off the soup)
		Yeah, so much that I think I'll have some of that.  
		I'm a little hungry.

They both chuckle and she leaves the soup with him.  Kimble watches her go.

								DISSOLVE TO:

EXT. POLICE STATION - NIGHT

That evening.  A police car's parked out front.

								DISSOLVE TO:

INT. POLICE STATION - NIGHT

Sgt. De Santis puts on his coat and gets ready to leave for the day.  
Suddenly, the door to his office opens and a familiar figure appears: 
LIEUTENANT PHILIP GERARD, the dedicated plainclothes detective from Indiana 
who's been relentlessly pursuing Kimble.

				GERARD
		Sergeant De Santis?

				SGT. DE SANTIS
		Yes?

				GERARD
		I'm Lieutenant Gerard.

				SGT. DE SANTIS
			(shakes his hand)
		Oh, how are you, Lieutenant?  I wasn't 
		expecting you until tomorrow.

				GERARD
		I managed to get away earlier.  Now, what about 
		this one-armed man, Sergeant?  

				SGT. DE SANTIS
		Well, like I told you on the phone, this is 
		about all we've got.

Sgt. De Santis shows Gerard the sketch of the one-armed man.

				GERARD
		And Decker's been passing these out to 
		informers all over town?

				SGT. DE SANTIS
		That's it.

				GERARD
		I wonder if you'd do me a favor, Sergeant.  I'd 
		like a round-up of all the most important 
		stoolies in your file -- tonight.

				SGT. DE SANTIS
		Oh, I'm sorry, Lieutenant, I'm supposed to take 
		my wife out for supper.  As a matter of fact, 
		I'm late now.  I'd be glad to do it tomorrow.

				GERARD
		That might be too late.  A thing like this 
		could have brought Richard Kimble to Chicago.  
		He might be here right now.  Of course, if 
		you'd rather I talked to your captain?

Sgt. De Santis knows a threat when he hears one.  He starts to take off his 
coat and hat.

				SGT. DE SANTIS
		That won't be necessary, Lieutenant.  I'll be 
		glad to help you.

Gerard watches as Sgt. De Santis sits at his desk and makes a phone call.

								DISSOLVE TO:

INT. DECKER'S APARTMENT - NIGHT

Not long after.  Decker bursts in, excited, and rushes to Kimble and Paula 
who sit in the LIVING ROOM.  Kimble tries to get up from his chair.  But 
Decker grabs a seat on the coffee table.  He's so excited, he forgets to take 
off his hat and coat.

				MIKE DECKER
		Hey!  Hey, Kimble!  Listen, boy, I think we 
		finally got us a lead on--  Sit down.  Sit 
		down.  

Kimble stays seated and tries to follow what Decker's saying as he rapidly 
blurts out the good news.

				MIKE DECKER
		There's this stoolie named Cogen.  He meets up 
		with this guy that matches our description to a 
		tee.  And get this -- the guy lets slip he's 
		only been here about a month from out west. The 
		guy's scrounging.  Cogen tapped him to be on 
		the lam so he says he's got this deal to pick 
		up some easy dough if he can find a partner. 
		Well, the guy's interested but he wants to blow 
		out of town tomorrow.

				PAULA
		Leave town?

				MIKE DECKER
		Why don't you shut up?  So, Cogen thinks fast 
		and he says that's okay, says that's okay, 
		'cause tonight is the right night anyhow.  He 
		sees this guy doesn't wanna be pressed, you 
		know?  He won't tell him where he lives or 
		anything like that so Cogen plays it cool, 
		gives the guy his telephone number and says to 
		call him.

				KIMBLE
		He's supposed to call Cogen?  When?

				MIKE DECKER
		Tonight.  Nine o'clock.

Kimble shoots a nervous glance at a nearby wall clock.  It's five minutes to 
eight.

				MIKE DECKER
		Nah.  Don't worry, don't worry.  Cogen says the 
		guy's tongue is hangin' out.  He'll fall.

				KIMBLE
		Well, then what?

				MIKE DECKER
		Cogen says the deal's on and they'd better get 
		together.  Then he calls us here.  By five
		minutes after nine, we're gonna know where the 
		meeting place is.  We move in.  You put the 
		finger on him.

Decker whips off his hat, all smiles.

				MIKE DECKER
		Well, pal?  I come through for ya?

Kimble manages a smile but glances uncertainly at Paula and the clock.  He 
rises and stares at the clock.

								DISSOLVE TO:

INT. DECKER'S APARTMENT - NIGHT

An hour and five minutes later: it's nine.  The tension is thick:  Kimble 
watches the clock; Paula smokes a cigarette and sighs;  Decker waits by the 
phone and checks his wristwatch;  the phone is quiet.

								DISSOLVE TO:

INT. COGEN'S PLACE - NIGHT

A pay phone in the hall outside Cogen's place.  Nearby, Cogen sits in his 
room, playing solitaire, waiting for the call.  A couple of police detectives 
enter.

				DETECTIVE
		Get your coat, Cogen.

				COGEN
		You takin' me in?  What for?

				DETECTIVE
		For questioning.  Come on.

				COGEN
			(rises)
		Now, look, I'm expecting an important phone 
		call.  It's a business deal.  Gimme a couple o' 
		more minutes, huh?

				DETECTIVE
		For your kind of business?  You must be kidding.

				COGEN
		Aw, come on, fellas.  What's a couple o' 
		minutes?  I mean, this call means an awful lot 
		to me.  Look, just about three minutes.  Please.

But it's no use.  The detectives escort Cogen down the hall and out the door.
As soon as the door SHUTS behind them, the pay phone RINGS.  And RINGS.  No 
one's there to answer it.

								DISSOLVE TO:

EXT. PHONE BOOTH - NIGHT

A public pay phone, elsewhere in the city.  A man with the phone to his ear, 
listens for a moment before he hangs up the receiver -- with his left hand.   
He pulls a pack of cigarettes from his pocket, puts it to his mouth, and 
takes out a cigarette with his lips. He lights the cigarette, extinguishes 
the match, and then slowly turns to exit the booth.  As he does, we see that 
part of his right arm is missing.  It's the man from the flashback:  Kimble's 
one-armed man.  He wipes his chin with his stump and exits the booth.

								FADE OUT

EXT. CHALFONTE APARTMENT BUILDING - NIGHT

FADE IN on the empty street in front of the building.

								DISSOLVE TO:

INT. DECKER'S APARTMENT - LIVING ROOM - NIGHT

The clock on the wall reads two a.m.  Decker paces while Kimble and Paula 
sit.  Decker starts to pour himself a drink at his bar when the phone RINGS.
Everyone converges on the phone as Decker picks up.

				MIKE DECKER
			(into the phone)
		Yeah?
			(beat)
		Listen, you louse.  You better talk quick and 
		make sense.
			(beat)
		What do you mean you missed him?
			(beat)
		Listen, Cogen, I'm not buying alibis tonight.  
		You better find that guy, I'm tellin' ya 
		straight.  Find him.

Decker hangs up and looks at Kimble and Paula.

				MIKE DECKER
		Cops.  Picked Cogen up for questioning.  He 
		missed the call.

A devastated Kimble retreats into the den.  Paula confronts Decker.

				PAULA
		Don't you think you ought to try and cheer him 
		up, Mike?  It's been a rough night for him.

				MIKE DECKER
		My neck's on the chopping block and you want me 
		to cheer him up?

				PAULA
		Well, it's not that bad for you.

				MIKE DECKER
		Oh yeah?  I blow most of my expense dough on 
		one lousy lead.  And my stoolie's gotta go and 
		blow that and you say it's not that bad for 
		you?

				PAULA
		Get some more money from Mr. Connelly.  You 
		said he was behind you all the way.

				MIKE DECKER
		Paula, the five grand is the limit.  And then 
		only on my guarantee that I give him a story.

				PAULA
		What kind of a guarantee?

				MIKE DECKER
		A guarantee of a story.  A story.  Happy 
		ending?  Fine.  Sad ending?  That's just okay 
		too. Just as long as I deliver a story, a 
		Richard Kimble story.

				PAULA
		No.  You gave him your word, Mike.  Your word.

				MIKE DECKER
		Paula, what do you want me to do?  Tell that 
		guy the truth?  That I had to get down on my 
		knees to Connelly and beg him for a chance to 
		deliver even this much?

				PAULA
		He trusts you.

				MIKE DECKER
		I tried.  Paula, I tried for him.  I tried.

				PAULA
		Well, isn't there still a chance Cogen might 
		find him?  Haven't you still got time?

				MIKE DECKER
		I don't know.  I...  Yeah, I guess I could 
		stall Connelly a little while longer but if 
		that one-armed guy skips town, I'm dead --
		because I promised to deliver a Kimble story 
		one way or the other.

				PAULA
		Promised?  You even turn that into a dirty word.

				MIKE DECKER
		Listen to who's talking.  Now, when did you 
		become a saint, woman?

				PAULA
		Well, you're not even human anymore.  Why did 
		Joe Bronski blow his brains out?  Because of 
		you.  Your double-cross.  Oh, you had to have 
		that story.

				MIKE DECKER
		Shut up.

				PAULA
		That was rotten.  But this...  

Paula sinks into a chair.  Decker sits opposite her.

				PAULA
		Oh, no.  Well, I'm gonna tell Kimble the truth.

				MIKE DECKER
		Paula, you so much as open your mouth and 
		I'll--

Decker spots a bottle of liquor on the nearby bar and gets an idea.

				MIKE DECKER
			(laughs)
		You know something?  You know what, baby?  Why, 
		we're acting like a couple of jerks.  This kind 
		of talk is stupid.  It's all my fault.  Honest, 
		I...

Decker rises and crosses to the bottle.

				MIKE DECKER
		... don't blame ya for being so upset, Paula.  
		It's like you said, baby -- boy, you were 
		right...

Decker grabs the bottle and two glasses and brings them over to Paula.  He 
sits by her and starts pouring her drink.

				MIKE DECKER
		...It's been a rough night for us all.  That's 
		the whole trouble.  We just gotta relax.  Talk 
		this thing out sensibly.  Not beat each other's 
		throat.

				PAULA
		No, Mike.  Please.  Please.

				MIKE DECKER
			(offers her the glass)
		Here.

Paula tries to resist.

				MIKE DECKER
		Aw, baby.  One little drink's not gonna hurt 
		ya.

Paula glances in the direction of the den but then grabs the glass from 
Decker's hand and sucks down the contents.  Decker watches her with a mixture 
of sympathy and disgust.  Paula sinks back in the chair, dizzy.

								CUT TO:

INT. DECKER'S APARTMENT - THE DEN - NIGHT

Not long after, Kimble, still upset, watches as Decker enters the den and 
shuts the door behind him.

				MIKE DECKER
		I'm sorry I had to leave you alone, pal.  A 
		little problem with Paula.  She's back on the 
		booze again.

				KIMBLE
		What happened?

				MIKE DECKER
		I don't know.  Just one of those things, I 
		guess.  Let's talk about you.  I know this 
		thing tonight was a kick in the guts to ya but 
		don't worry.  Even if that one-armed man has 
		left town, we're gonna find him.  I guarantee 
		it.  Now, you still with me, pal?

				KIMBLE
			(wry grin)
		I think so.

				MIKE DECKER
		Okay.  I got a hunch tomorrow's gonna be our 
		day.  You keep a good thought.

				KIMBLE
		Okay.

Decker exits.

								CUT TO:

INT. DECKER'S APARTMENT - THE DEN - NIGHT

Decker enters the den, sees an unconscious Paula asleep in the chair, and 
approaches her.  He takes the empty glass from her hand, solicitously covers 
her with a jacket, and walks off.

								DISSOLVE TO:

EXT. SKYSCRAPER - DAY 

The next morning.  The sun shines down on the skyscraper where Decker's 
newspaper is located.

								DISSOLVE TO:

INT. CONNELLY'S OFFICE - DAY

Inside the building, Decker's crusty editor, Fred Connelly sits at his desk.  
Across from him, wearing his trademark thick-framed eyeglasses, is Gerard.  
Decker enters.

				MIKE DECKER
		Fred?

				FRED CONNELLY
		Oh, hello, Mike.  Come in.  This is Lieutenant 
		Philip Gerard.
			(to Gerard)
		This is Mike Decker.

Gerard rises and he and Decker exchange nods of greeting.

				MIKE DECKER
		Anything I can do for you, Lieutenant?

Gerard hands Decker a copy of the one-armed man sketch.

				GERARD
		I understand you've been passing these out 
		around town, Mr. Decker.

				MIKE DECKER
			(grins)
		I know all about you, Lieutenant.  Hope you 
		don't mind my having so much faith in Kimble.

Decker hands the sketch back to Gerard.

				GERARD
		Five thousand dollars worth.  That's quite a 
		lot of faith.  Unless, of course, you have 
		something more definite to go on.

Gerard sits.

				MIKE DECKER
		Like what?

				GERARD
		Like maybe working directly with Kimble on this.

				MIKE DECKER
		Okay, Lieutenant, you got something to say to 
		me, you just stop beating around the bush and 
		spit it out.

				GERARD
		I'm just trying to keep you out of a jam, Mr. 
		Decker.  Aiding and abetting an interstate 
		fugitive is a felony.

The phone RINGS.  Connelly picks up.

				FRED CONNELLY
			(into the phone)
		Yes?  Yes, he's right here.  Hang on a minute.  
			(to Decker)
		Mike?

Decker approaches the desk and takes the receiver.

				MIKE DECKER
			(into the phone)
		This is Decker.

CUT TO COGEN ON A PAY PHONE

				COGEN
		Mike?  Cogen.  Can you talk?

CUT BACK TO DECKER IN CONNELLY'S OFFICE

				MIKE DECKER
			(curtly, into the phone)
		No.  Um, I'm busy right now.  You see me in my 
		apartment later.  

Decker quickly hangs up.

				MIKE DECKER
		What were you saying, Lieu--?  Oh, yes, 
		Lieutenant, oh, yes.  About this aiding and 
		abetting an interstate fugitive.  Well, next 
		time I run into one, I'll keep that in mind.

				GERARD
		Next time may be too late to do you any good, 
		Mr. Decker.  Last night, I had the local police 
		pick up a few stoolies.  The word is that 
		you've got somebody who claims he can identify 
		Richard Kimble's alleged one-armed man.  
			(rises, confronts Decker)
		Now, Mr. Decker, there is no one-armed man.  
		That was just a product of Kimble's imagination.  
			(pockets his eyeglasses)
		I think Kimble's talked you into helping him.  
		Now, where is he?

				MIKE DECKER
		Bunch a stoolies fill your ear and you believe 
		'em?

				GERARD
		You tell me where to find Richard Kimble, 
		you'll not only be in the clear but you'll be 
		in a very good position for an exclusive story 
		on his capture.

				MIKE DECKER
			(nods, grins)
		That's right.  
			(beat, enthusiastic)
		Lieutenant, you've got yourself a deal.

Decker shakes hands with a grinning Gerard.

				MIKE DECKER
		The minute I find out where he is, I'll let you 
		know.

Gerard's grin fades away.  He glances at Connelly and then heads for the 
door.

				GERARD
		You think about it, Mr. Decker.

Gerard exits.  Decker and Connelly are alone.

				FRED CONNELLY
		The time has come, Mike, for you to turn in a 
		story.

				MIKE DECKER
		I haven't got it yet.  Not the one I want.

				FRED CONNELLY
		I don't care which one you turn into me, 
		whether it's the capture of the one-armed man 
		-- if there is such an animal -- or the capture 
		of Richard Kimble.  I want it tonight.

An unhappy Decker exits.

								DISSOLVE TO:

INT. DECKER'S APARTMENT - DAY

In THE LIVING ROOM, stretched out on a chair, an inebriated Paula pours 
herself a drink, emptying the bottle.  The doorbell BUZZES.  She struggles to 
her feet and answers the door.  It's Cogen.

				COGEN
		Mike Decker in?

				PAULA
		Hm?

				COGEN
		Mike Decker.  Is he here?  Is he in?

				PAULA
			(calls out)
		Mike?  Mike?

But Mike is not in.  In THE DEN, Kimble wonders what's going on.  In THE 
LIVING ROOM, Cogen realizes that Decker is not home and that Paula is drunk.

				COGEN
		Are you, Mrs. Decker?

				PAULA
		Huh?

				COGEN
		Are-are you, Mrs. Decker?

				PAULA
		Yeah.

				COGEN
		Would you give Mike a message, please?  It's 
		very, very important.  Would you please tell 
		him the guy he wants is going to be at the bus 
		station.  He's leaving town in an hour.  You 
		understand that?

Paula doesn't look too sure.

				COGEN
		Lady, it's very important.  Would you mind 
		repeating it, please?

				PAULA
		The man he wants... is leaving town.  Bus 
		station.  Hour.

				COGEN
		Yeah, in an hour.  It's important.  Please.  
		Remember to tell him, huh?

				PAULA
		Don't worry, don't worry.

				COGEN
		You won't forget, huh?

				PAULA
		No.

Cogen reluctantly exits and Paula shuts the door behind him.  She returns to 
her empty bottle.

				PAULA
		All gone.  All gone.

Paula collapses into her chair.  A curious Kimble cautiously emerges from the 
den and approaches her.

				KIMBLE
		Paula?

				PAULA
		Hi.

				KIMBLE
		Hi.  Who just came in, Paula?

				PAULA
			(off the empty bottle)
		Buy you one?

				KIMBLE
		No, thanks.  Who came in, Paula?

				PAULA
		Good.  That leaves that much more for me.  

Paula tries to stand up but stays in the chair.

				PAULA
		Oh, heh, heh.  Hi.

				KIMBLE
		Hi.
			(sits with her)
		Paula, who came in?

				PAULA
		Nobody.  You know what you are?

				KIMBLE
		No.

				PAULA
		You're a nice guy.

				KIMBLE
		Yeah.  What did nobody want?

				PAULA
		Nothing.  So am I, so are you.  And so is 
		little man with the message.

				KIMBLE
		What little man with a message?

				PAULA
		The little man with the message... who left 
		the message.  That's what little man with the 
		message.  I'm nice.  You're nice.

				KIMBLE
		What message, Paula?

				PAULA
		Hm?

Paula starts to drift off to sleep.  Kimble shakes her awake.

				KIMBLE
		Paula, was the message for Mike?

				PAULA
		Hey, what're you doin'?

				KIMBLE
		I want to know about the message, Paula.

				PAULA
		Oh, we're gonna play games now?  Okay, well, 
		let's see...  The message was...  
			(beat)
		...very important.  Oh, yeah.  

Paula giggles. 

				KIMBLE
		Was it about the one-armed man?

Paula doesn't respond.  Kimble grabs her arm.

				KIMBLE
		Paula, what was the message?

				PAULA
		What are you doing?

				KIMBLE
		All right, come on.  We're gonna have some 
		coffee.

				PAULA
		Lemme alone.  I don't want any coffee.  Lemme 
		be.  Let me think.  Something about I was... I 
		was supposed to tell Mike the man he wants... 
		the man he wants is... leaving town... in an 
		hour.

				KIMBLE
		Well, did the man say where Mike could reach 
		him?

				PAULA
		Mm mm mm mm mm... it's my turn now.  What's 
		black and white and, ah... what else did he 
		say?  Something station.  Station.

				KIMBLE
		Train station?

				PAULA
			(shakes her head, no)
		Train station.  Train station.

				KIMBLE
		Bus station?

				PAULA
		Bus--?  Yeah!  How'd you know?

				KIMBLE
		What-what bus station, Paula?  Where?

But it's too late.  She's unconscious.  Kimble rises and rushes out the door 
leaving Paula to sleep off her drunk.

								DISSOLVE TO:

EXT. FRONT OF THE BUS STATION - DAY

A taxi cab pulls up outside the station.  Kimble gets out, pays his fare, and 
runs inside through doors marked PASSENGER TERMINAL.

								CUT TO:

INT. BUS STATION - DAY

Inside the terminal, Kimble looks around frantically.  He spots a man 
standing by a news stand.  From the rear it looks as if he has only one arm 
-- his empty coat sleeve is pinned up to keep it from dangling.  But as the 
man turns to approach a ticket agent, it's revealed that his arm is merely in 
a sling.  A disappointed Kimble runs outside to search the departing buses.

								CUT TO:

EXT. REAR OF BUS STATION - DAY

As crowds of people board various buses, Kimble joins them -- searching 
desperately for the one-armed man.  He boards the nearest bus and scans the 
passengers but there's no sign of him.  Kimble rushes to a second bus and 
does the same thing.  Still no one-armed man.  

Kimble runs alongside a third bus peering up at the passengers through the 
windows.  Nothing.  He runs around the rear of the bus to check the 
passengers on the other side.  

On the far side of the bus, Kimble looks up to find that he's staring into 
the shocked face of the One-Armed Man who sits in the very rear of the bus.  
Kimble swallows hard.  The two men stare at each other through the glass for 
a long moment.  It's the first time they've seen each other since the night 
of the murder and they're both floored.  

Abruptly, the bus starts to pull away.  Kimble runs after it but he's too 
slow.  The bus leaves the station and disappears.  A panicked Kimble rushes 
back inside.

								CUT TO:

INT. BUS STATION - DAY

Kimble confronts a bow-tied, bespectacled TICKET AGENT.

				KIMBLE
		That bus that just left.  Where's it going?

				TICKET AGENT
		Well, which one?

				KIMBLE
		The one that just left.

				TICKET AGENT
		Oh, oh, that one.  Uh, Florida.

				KIMBLE
		When's it make its first stop?

				TICKET AGENT
		Well, it-it-it picks up some more passengers at 
		Chicago Heights, if that's what you--

Kimble runs off.

								CUT TO:

EXT. FRONT OF THE BUS STATION - DAY

Kimble exits the station and grabs a taxi by the curb.

				KIMBLE
			(to the driver)
		Chicago Heights.

Kimble hops in and the cab pulls away.

								CUT TO:

INT. DECKER'S APARTMENT - LIVING ROOM - DAY

Gerard interrogates a slightly more sober Paula who drinks coffee.  She 
hasn't completely recovered from her binge and struggles to keep her wits 
about her.

				GERARD
		An escaped murderer named Richard Kimble.

				PAULA
		I never heard the name, Lieutenant.

				GERARD
		No, perhaps not.  But your husband seems to 
		have been taking a special interest in him.

				PAULA
		Oh, well, there's so many poor people Mike 
		tries to help.  I can't keep track of them.  
		He's very sincere about helping them you know.

				GERARD
		Yes, I'm sure.  Ah, has your husband been home 
		nights these last few weeks?

				PAULA
		Oh, yes.  He's always home at night.  We're 
		very devoted.

				GERARD
		Really?

Sgt. De Santis emerges from the den and whispers in Gerard's ear.

				GERARD
			(to Paula)
		Who's been occupying your den at night, Mrs. 
		Decker?

				PAULA
		The den?  
			(beat)
		Well, you see, I lied to you, Lieutenant.  
		We're not devoted.  Mike stays in the den.

				GERARD
		Isn't it the truth that Kimble's been living 
		here?

				PAULA
		No.  I told you, I never--

				GERARD
		Come on now, Mrs. Decker.  Where is he?

				PAULA
		I keep telling you, I never heard the name.

				GERARD
			(nods, satisfied)
		All right, Mrs. Decker.  I believe you.  

Gerard walks off.

				GERARD
			(casually)
		Um, when's Kimble coming back?

				PAULA
		I don't know, he just ran out--

Gerard turns to look at her.  Sgt. De Santis turns to look at Gerard, 
surprised that his odd tactic worked.  Paula looks up in horror, realizing 
what's she's done.

								FADE OUT


EXT. CHICAGO HEIGHTS - DAY

FADE IN on the One-Armed Man's bus as it turns a corner and pulls to a stop 
in front of a waiting Kimble.  The BUS DRIVER opens the door and Kimble 
climbs aboard.

				BUS DRIVER
		Ticket, please.
  
But Kimble rushes past him.

				BUS DRIVER
		Hey, mister!  Your ticket!

Kimble heads for the rear of the bus, then stops in his tracks.  The 
One-Armed Man is gone, his seat empty.  Kimble turns and approaches the Bus 
Driver.

				KIMBLE
		There was a one-armed man aboard.  What happened 
		to him?

				BUS DRIVER
		Oh, him?  He got sick just after we left.  He 
		asked me to stop, let him out.

				KIMBLE
		Where?

				BUS DRIVER
		I think it was the intersection of Prairie and 
		Sixty-Ninth Street.  He sure didn't act sick, 
		the way he was running.

				KIMBLE
		Did you see which way he went?

				BUS DRIVER
		No.  You after him?

				KIMBLE
		Yeah.

Kimble runs off the bus.

								DISSOLVE TO:

INT. NEWSPAPER OFFICES - DAY

Late that afternoon.  At his desk, a tired Decker answers his speaker phone.

				MIKE DECKER
		Yeah?

				KIMBLE (o.s.)
		Mike?  Can you talk?

				MIKE DECKER
		Yeah.  Where are you?

Throughout the rest of the call, we CUT BACK AND FORTH between an exhilarated 
Kimble in a phone booth and Decker in his office.

				KIMBLE
		I saw him.  The man we're after.  I actually 
		saw him.

				MIKE DECKER
		Where?

				KIMBLE
		In a bus.  Then he saw me and got off before I 
		could get to him. Look, you wanna meet me here?  
		We'll go after him together.

				MIKE DECKER
		Now, hold it.  Wait a second, pal.  Let's not 
		blow it now.  Where are you?

				KIMBLE
		I don't know exactly.  Somewhere in Chicago 
		Heights.

				MIKE DECKER
		Okay.  You meet me at my apartment.  We'll make 
		our plans from there.

				KIMBLE
		Look, you're wasting time, Mike--

				MIKE DECKER
		Shut up and listen.  Now you said he saw you.  
		Okay, then.  Use your head.  That means he's 
		gonna get out of town just as fast as he can.  
		I got the contacts that'll know how and where.

				KIMBLE
		All right, get your people started.  I'll be at 
		your place in about an hour.

Kimble hangs up.  Decker hangs up.  Standing beside him -- we see for the 
first time -- is a satisfied Gerard, who nods to Decker.

								DISSOLVE TO:

EXT. CHALFONTE APARTMENT BUILDING - NIGHT

After sundown, less than an hour later.  A car drives past the building.

								DISSOLVE TO:

INT. CHALFONTE APARTMENT BUILDING - LOBBY - NIGHT

In the plush lobby, Gerard confers with three plainclothes detectives.

				GERARD
		Now, don't try to be heroes.  Let him walk in 
		and come up to Decker's apartment.  Just make 
		sure he enters the building and goes upstairs.  
		Understand?  All right, you two take the front.  
		You take the service door at the back.  Okay.

The detectives walk off.  Gerard takes the elevator up to Decker's apartment.


								DISSOLVE TO:

INT. DECKER'S APARTMENT - LIVING ROOM - NIGHT

Moments later.  Decker pours himself a drink.  A distressed Paula sits 
nearby.  Sgt. De Santis is at the door.  Gerard KNOCKS and Sgt. De Santis 
lets him in.

				SGT. DE SANTIS
		All set?

				GERARD
		Yeah.  Two at the front, the other in the rear.  
			(off the intercom)
		He'll have to buzz to be let in, won't he?

				SGT. DE SANTIS
		That's right, this unlocks the door in the 
		lobby.

				GERARD
			(checks his watch)
		Fine.  I think that takes care of everything.

Paula turns to a pensive Decker.

				PAULA
		You're awfully quiet, Mike.  You working out 
		the story in your mind?  How's this for a 
		title?  "I double-crossed Richard Kimble" by 
		Mike Decker.  No, that's really not in keeping 
		with your public image, is it?  Well, let's 
		see, how 'bout, uh, "I risked my life to try 
		and save Richard Kimble from capture."  A 
		little long, but it's the right idea, isn't it?

				GERARD
		You act as though your husband had done 
		something to be ashamed of, Mrs. Decker.  On 
		the contrary, the shameful thing would be 
		allowing himself to go to prison to protect 
		Kimble.  Maybe you think there's something 
		glamorous about him.  I assure you, there isn't.

				PAULA
		Not glamorous, Lieutenant.  Innocent.

				GERARD
		Yes.  A number of women have felt that way 
		about him.  Purely emotional.

				PAULA
		What about the one-armed man?  Or don't you 
		want to believe Dr. Kimble actually saw him?

				GERARD
		Oh, he probably did see a one-armed man.  I 
		have no doubt he really thinks that a man of 
		that description murdered his wife.  But that's 
		only because he can't -- or won't -- 
		differentiate between reality and fantasy 
		anymore.  Dr. Kimble murdered his wife, Mrs. 
		Decker.  Take a jury's word for it.

Gerard walks off, leaving a disgusted Paula to stare at Decker.

								DISSOLVE TO:

EXT./INT. APARTMENT BUILDING - CLIMACTIC MONTAGE - NIGHT

OUT FRONT, the two plainclothes detectives stand across the street from the 
building.  They look around.  No sign of Kimble.

Upstairs, IN DECKER'S APARTMENT Decker, Paula, Gerard, and Sgt. De Santis sit 
around, waiting.  Gerard checks his watch.

				GERARD
			(to Sgt. De Santis)
		He's late.

Sgt. De Santis agrees.  Decker smokes a cigarette and exhales deeply.

OUT FRONT, the two plainclothes detectives watch as a taxi pulls up to the 
building.  An unsuspecting Kimble gets out and pays his fare.  As the taxi 
pulls away, Kimble looks around and spots the two detectives who pretend to 
be having a conversation.  Are they cops?  Warily, Kimble goes to THE FRONT 
DOOR and BUZZES Decker's apartment.

IN DECKER'S APARTMENT, everyone reacts to the sound of the BUZZER.  Gerard 
jumps up and BUZZES to unlock the door.

AT THE UNLOCKED FRONT DOOR, an uncertain Kimble talks into the intercom.

				KIMBLE
		Mike?

IN DECKER'S APARTMENT, Gerard quickly gestures for Decker to approach the 
intercom and reassure Kimble.  Paula gives Decker a dirty look.  Decker makes 
eye contact with her then looks away.

				PAULA
			(darkly ironic)
		Sir Galahad.

Badly stung, Decker stares at her for a second before approaching the 
intercom and talking to Kimble.

				MIKE DECKER
			(into the intercom)
		Yeah.

AT THE FRONT DOOR, Kimble is on the intercom.

				KIMBLE
		Is everything all right?

IN DECKER'S APARTMENT, Decker responds.

				MIKE DECKER
		Yeah, sure.  Come on up, Kimble.

Decker looks over at Paula who lowers her eyes.

Kimble opens THE FRONT DOOR and is about to enter the building when Decker's 
voice comes screaming over the intercom.

				MIKE DECKER (o.s.)
		No!  Don't!  

IN DECKER'S APARTMENT, Decker yells.

				MIKE DECKER 
		Gerard's here!

Gerard pushes Decker out of his way and starts out the door.

				GERARD
			(to Sgt. De Santis, off Decker)
		Keep him here!

Gerard bolts out the door.

AT THE FRONT DOOR, a stunned Kimble looks over at the two detectives.  They 
look back at him casually.  They haven't heard Decker's warning.  Kimble 
instantly realizes that they're cops.  He looks up and down the street.  He 
figures he can't make a run for it so he turns and heads into the building.  
The two detectives slowly start to cross the street.

In the LOBBY, Kimble boards the elevator and pushes the button for the second 
floor.  The elevator doors start to close just as the detectives enter the 
lobby.  

In an UPSTAIRS HALLWAY, an intense Gerard pauses at the elevator but then 
decides to take the stairs down.

Kimble's ELEVATOR opens on the second floor.  He presses the button for the 
top floor before exiting.  The elevator ascends without him.

In the STAIRWELL, Kimble pauses long enough to catch a glimpse of Gerard 
descending from the top floor.  Gerard fails to see him.  Kimble runs down 
the stairs to the basement.

In the LOBBY, the two detectives calmly watch the elevator indicator as the 
elevator heads for the top floor.  Assuming that everything is going 
according to plan, they grab a seat.

Kimble enters the BASEMENT and looks around.  He cautiously peers out a 
window at the street level above.  The third plainclothes detective is at his 
post, guarding the service entrance in the rear.

In the STAIRWELL, a grim-faced Gerard rapidly descends.

In the BASEMENT, a desperate Kimble makes his way over to a fire alarm and 
sets it off: a loud CLANGING bell.  Through the basement window, we see the 
third detective:  he hears the alarm and rushes down some steps with his gun 
drawn to the service entrance door.  Kimble hides behind the door and gets 
ready to ambush him when he comes in.  The unsuspecting detective enters and
turns on a light.  Kimble emerges from behind the door and punches him hard 
in the jaw, knocking him into a nearby wall, stunning him long enough for 
Kimble to run out the door.  Through the basement window, we see Kimble race
up the steps and down the street.  A clean getaway.

								FADE OUT

EXT. CHALFONTE APARTMENT BUILDING - NIGHT

An establishing shot of the ritzy awning out front.


INT. DECKER'S APARTMENT - THE DEN - NIGHT

Paula enters carrying a tray of coffee for Decker who sits on a chair, 
dictating into a tape recorder.

				MIKE DECKER
			(dictates)
		I'm out on bail so this will probably be my 
		last column.  At least, for a while.  I'm 
		guilty of aiding and abetting Richard Kimble's 
		escape.  And, under the law, the judge must 
		sentence me to a minimum of one year in prison.

Hearing this, Paula sets the tray down next to Decker and sobs.

				PAULA
		Oh, Mike...  Mike.

Decker holds out his arm to give her a hug.  Paula kneels beside him and puts 
her head on his shoulder.  He wraps his arm around her comfortingly and 
caresses her.

				MIKE DECKER
			(affectionately, to Paula)
		Why don't you shut up?  
			(dictates)
		To say that I'm scared is putting it mildly.  
		I'm scared to death but... I think I can make 
		it.  
			(looks at Paula)
		I know I can make it.  If Richard Kimble 
		should read this, I want him to know, I wish 
		him all the luck in the world.  You keep a 
		good thought, pal.

Over Decker's shoulder, his window looks out over the city of Chicago beneath
a night sky.


								DISSOLVE TO:

EXT. CITY STREET - FAR AWAY FROM DECKER - NIGHT

On a dark, deserted street, Kimble pauses to light a cigarette.

				NARRATOR (v.o.)
		Now many months a fugitive, Richard Kimble 
		walks the night again -- but no longer in 
		despair that he is hunting only a phantom. He 
		has seen the one-armed man, and it has given 
		him hope. Somewhere, sometime, they will meet 
		again.

Kimble walks off into the night.

								FADE OUT