The Fugitive Transcripts

EXT. A BACK ALLEY IN WICHITA, KS - NIGHT

FADE IN on a God's-eye view of a lone, drenched figure carrying a small 
travel bag and trudging listlessly through a deserted, trash-strewn alley as 
a torrential rainstorm soaks everything in sight. The gut-wrenchingly deep 
voice of the omniscient NARRATOR has never sounded so bleak. 

				NARRATOR (v.o.)
		There is a point beyond which a man cannot push 
		himself, a final defeat of the spirit that 
		cannot be overcome.  If it is to end for the 
		running man, this is the way it will be.  

The figure is Richard Kimble, America's most elusive fugitive, as we have 
seldom seen him: his face reflects not merely weariness but exhaustion.  As 
if he were not just physically sick but emotionally drained.

				NARRATOR (v.o.)
		It is two a.m. in the city, and Richard Kimble, 
		doctor of medicine, moves to the start of 
		another working day.  

								CUT TO:

EXT. REAR OF K'S DINER - NIGHT

At the diner's service entrance, a worker emerges from the back door carrying 
a trash can.  This is LUIS BOTA, a middle-aged Latino man with tired eyes.
Luis looks up to see Kimble approaching through the downpour.

				NARRATOR (v.o.)
		To those with no past and little future, the 
		city only offers the most menial of labors, 
		those designed to provide nothing more than 
		day-to-day survival.  But to Richard Kimble, 
		kitchen helper in an all-night diner, survival 
		for even a day has come to be enough.

Kimble fails to see Luis and wearily enters a public men's room in the 
building across from the diner.  Luis glances anxiously into the diner before 
rushing over to the men's room.

								CUT TO:

INT. MEN'S ROOM - NIGHT

At the sink, Kimble pulls a toilet kit from his travel bag and removes a 
razor from it.  An intense Luis joins him at the sink.

				LUIS BOTA
		Hi, Steve.

				KIMBLE
			(mildly surprised to see him)
		Luis.

				LUIS BOTA
		Say, Steve, I... I don't think you've done 
		nothing but... Last night, you wrote wrong name 
		in sign-out book.  

Kimble stares uncomprehendingly at Luis.

				LUIS BOTA
		The cops been out in front... all day they 
		wait.

A weird look crosses Kimble's face as he realizes to his horror what he's 
done.  Luis watches with concern as a shaken Kimble abruptly stuffs his 
toilet kit back into his travel bag.  Kimble pauses.

				KIMBLE
			(heartfelt)
		Thanks, Luis.

A saddened Luis watches Kimble depart.

								CUT TO:

EXT. REAR OF K'S DINER - NIGHT

Kimble cautiously emerges from the men's room, zips up his jacket against the 
worsening rain, and half-walks, half-runs off in the direction from whence he 
came.

								CUT TO:

EXT. BACK ALLEY - NIGHT

The same God's-eye view of the rain-soaked alley but this time with Kimble 
hustling away, nervously looking over his shoulder, as he disappears into the 
night.

								DISSOLVE TO:

EXT. PACE HOTEL - WICHITA, KS - DAY

Early in the morning, a day later.  Outside one of the city's better hotels, 
crowds fill the streets.


								CUT TO:

INT. HOTEL LOBBY - DAY

A busy morning.  People come and go, walking past the lobby newsstand. Among 
those entering the building is LIEUTENANT PHILIP GERARD, the Indiana police 
lieutenant who's been relentlessly chasing Kimble since his escape.  He is 
dressed as we have seldom seen him before: no tie, a stylish sport jacket -- 
he looks downright casual, even relaxed, for a change.  An attractive woman 
accompanies him -- his seldom-seen wife MARIE.  They approach the front desk.

				GERARD
		We have a reservation.  The name is Gerard.

				DESK CLERK
		Oh, yes.  I have it right here.

As the Desk Clerk digs out the necessary paperwork, Gerard leaves his wife, 
whips out his glasses, pulls a scrap of paper from his pocket, and picks up a 
nearby guest phone.  Marie watches him, a little sadly.

				GERARD
			(into the phone, 
			 reads from paper)
		Operator, I want to speak to Captain Arthur 
		Ames, detective division, Metropolitan Police 
		Department.  Thank you.

As Gerard waits, the Desk Clerk, needing Gerard's signature, clears his 
throat.  Gerard turns, picks up the pen, and is about to sign when his call 
comes through.  Immediately, he puts the pen down and becomes completely 
engrossed in the conversation.

				GERARD
			(into the phone)	
		Oh.  Captain?  Lieutenant Gerard.
			(beat)
		Yeah, we've just arrived.
			(beat)
		About Kimble...

Marie gives Gerard a look.

				GERARD
		Oh, just my wife and I.  We were on a vacation 
		when I got the message.  

Marie realizes her husband is never going to sign his name, reaches over, and 
signs for him.

				GERARD
			(into the phone)	
		No, nothing special.  Just a vacation. We left 
		right away, came directly here.
			(beat)
		No, not at all.  I'm very glad you did.

Marie, on the other hand, doesn't look so glad. 

				GERARD
			(into the phone)	
		Um, about Kimble...

				MARIE
			(coolly, to Gerard)
		I'm going up to the room now.  Will you be 
		coming up?

Gerard manages an impatient nod.

				GERARD
			(into the phone)	
		Oh, he did?  Hmm...

Marie and a bellhop head for the elevator, leaving Gerard at the desk.

				GERARD
			(into the phone)	
		Oh, I see.
			(beat)
		Yes, I was afraid he might.
			(beat)
		A possible last seen?  Where?

Gerard whips out a pen and scribbles down the address.

				GERARD
		Vicinity of Third and Livermore.  Yup. I got it.  
		I'll meet you there as soon as possible.

Gerard hangs up.  Sport coat or no, he's still his old intense self.

								DISSOLVE TO:

EXT. THIRD AVENUE - DAY

Signs read THIRD AVE. and LIVERMORE.  One police car is already on the scene.
Another arrives, racing down the wet street and pulling up beside two 
uniformed officers on the sidewalk who take a statement from a woman.  A 
middle-aged SERGEANT, who is clearly in charge, hops out of the car and 
confers with his men.

				SERGEANT
		You covered everything from here to the corner?  

								CUT TO:

EXT.  THE ALLEY - DAY

An unshaven Kimble, crouched behind some trash cans in the nearby alley, 
watches and listens uneasily as the Sergeant gives orders.

				SERGEANT (o.s.)
		All right, you.  You take the roominghouse.  
		You, on the other side of the street.  From 
		here, all the way down to the corner.  
		Everywhere.  You stay with me.

Kimble, still clutching his travel bag, doesn't look like he's slept or eaten 
much since we saw him last, over twenty-four hours ago.  He rises and rushes 
down the alley, looking for a way out.  But it's a dead end.  He tries a 
wooden gate with the words KEEP OUT painted across it but it's chained shut.  
Desperate, he sees a door with a crude cardboard sign tacked to it reading 
LAUNDRY and hustles over to it.  It's unlocked.  He ducks inside.

								CUT TO:

INT. LAUNDRY ROOM - DAY

Kimble quickly shuts the door behind him and looks around.  It's a tiny 
laundry room on the bottom floor of run-down apartment house.  One ancient 
washing machine; two vending machines: candy and cigarettes; and three little 
boys -- brothers -- who are as startled to see Kimble as he is to see them.  

The OLDEST BOY, perhaps twelve years old but wiser than his years, and his 
KID BROTHER stare at him.  Kimble nervously stares back.  The YOUNGEST BOY 
pulls uselessly at a knob on the candy machine even as he looks over at 
Kimble. After a moment, he stops pulling and checks to see if any candy has 
been dispensed.  

Kimble catches his breath and crosses to the cigarette machine as if he had 
intended all along to buy a pack.  He fishes some change from his pocket and 
is about to deposit a coin when the two oldest boys approach him.

				OLDEST BOY
		The cigarette machine doesn't work.

Kimble stops and pockets his change.

				OLDEST BOY
		You put your money in, you woulda lost it if I 
		didn't tell ya.

				KIMBLE
			(nods)
		Thanks.

				OLDEST BOY
		What kind do you smoke?  My brother'll run up 
		to the corner and get you some.

Kimble shoots a nervous glance at the door.  The boys watch his behavior 
curiously.  Kimble spots a second door and crosses to it. But it's padlocked 
shut.  Beside it, a small window with a broken pane reveals a tiny courtyard 
just the other side of the door.

				OLDEST BOY
			(off the courtyard door)
		That don't go nowhere.  You gotta use the other 
		door.  

The youngest boy picks a penny up off the floor and returns to the candy 
machine as his oldest brother suddenly sees a way to make a little money off 
of Kimble.

				OLDEST BOY
			(to Kimble)
		I could get you out of here -- and nobody'd 
		know about it -- if I wanted to.
			(to his kid brother)
		Couldn't I?

The kid brother nods.  Kimble, desperate now, crosses to the oldest boy, 
clutching his travel bag, pleadingly.

				KIMBLE
		Tell me, how could you?

				OLDEST BOY
		Oh, I could.

The oldest boy notices the youngest about to put a penny in the candy machine.

				OLDEST BOY
			(sharply, to the youngest boy)
		Get out of there, dumbo!  That don't take 
		pennies.

Kimble crosses to the alley door and cautiously looks out.  

								CUT TO:

EXT. THE ALLEY - DAY

Kimble watches a police officer walk past the alley.  
 
				SERGEANT (o.s.)
		Wait a minute!  Hold it!  

The officer stops and is joined by the Sergeant.

				SERGEANT 
		I want you to check that place across the street 
		and the one right next door to it.  I'll get 
		other men to cover this side.  
			(to the other men)
		Boys!

								CUT TO:

INT. LAUNDRY ROOM - DAY

Kimble shuts the door to the alley and rushes to the courtyard door. He pulls 
on it but it's no use.  The boys watch him struggle.  The oldest boy, arms 
folded across his chest, gives Kimble a smug look. Reluctantly, Kimble pulls 
all of his money out of his pocket -- just a few bills and coins -- and shows 
it to the boys.

				KIMBLE
			(holds out his hand)
		This is all I've got.  You can see for yourself.

The oldest boy pockets the bills for himself and turns the coins over to his 
kid brother.  Kimble watches uncertainly as the oldest boy fishes a 
pocketknife from his pants, crosses to the courtyard door, and, using the 
blade, carefully pries the entire lock right out of the wall. The door opens 
easily.  A jittery Kimble swallows hard and hurries out the door.  The oldest 
boy SLAMS the door shut behind him and replaces the lock, hammering it 
tightly into place with the base of the pocketknife.  

Kimble blinks and looks around at his new hide-out: he is in a tiny, 
claustrophobic courtyard, maybe twelve foot by ten, adjacent to the laundry 
room, right in the middle of the apartment building.  There is no exit here.  
The walls are too high to climb.  It looks uncomfortably like a prison cell.  
Kimble peers through the cracked windowpane into the laundry room where the 
oldest boy turns on a radio and looks at his newly-earned money.

				RADIO ANNOUNCER (o.s.)
		The weather of yet is a subject of grave 
		importance.  Continued rain has increased the 
		severe flood threat to the southeastern 
		sections of the state and it is feared Tilden 
		Dam may not withstand the mounting pressure.  
		Evacuation of a number of towns in that 
		immediate district has been ordered... 

Kimble himself doesn't seem to be able to withstand the mounting pressure 
either: he shuts his eyes tightly and leans weakly against a wall as if all 
his years as a fugitive were finally catching up with him.

								CUT TO:

INT. HOTEL ROOM - DAY

Another radio carries the same broadcast.  A depressed Marie Gerard listens 
dispassionately as she sits at a table, combing her hair. 

				RADIO ANNOUNCER (o.s.)
		... and the governor is now considering the 
		possibility of declaring the harder hit Temple 
		County a disaster area.  This station will 
		continue to broadcast flood reports as they 
		come in...

Just then, Gerard enters the room.  The Gerards acknowledge one another
without a word.

				RADIO ANNOUNCER (o.s.)
		Meanwhile, on the local scene, municipal police 
		still decline to comment on the rumor that 
		Richard Kimble, escaped fugitive and convicted 
		murderer of his wife, has been--

At the mention of Kimble's name, Marie immediately reaches over and pointedly 
SNAPS off the radio.  Though upset by her action Gerard says nothing.  Marie 
goes back to rotely combing her hair.

				MARIE
		I left your suit coat out.  I thought you might 
		need it.

Gerard sees the coat on the bed and nods.  He removes his sport coat, grabs a 
necktie, and starts to change.

				MARIE
		What did he say?

				GERARD
		Captain Ames?  Not too much.

				MARIE
		I mean about Kimble.  What did he say about 
		Kimble?

				GERARD
		He, uh, didn't show up for work.

				MARIE
		Are they setting up roadblocks on the highways?  
		Are they watching the airports and the train 
		stations?  Tell me, I want to know.  How about 
		the side roads leading out of the city?  There 
		must be any number of them.  What are we doing 
		about them?

				GERARD
		Marie... it'll, uh, it'll take a day. Maybe two 
		at most.  Then we'll go back home.  I promise.  
		Start again.

				MARIE
		Why?

				GERARD
		I wouldn't have come if I didn't believe that 
		we had every chance of getting him this time.  
		Every chance.  I tell you what he did?

				MARIE
		Yes.  You told me.

				GERARD
		Well, Kimble's never made a mistake like that 
		before.  Something's happened to him. This 
		time, it'll be different.  I know it.

Gerard puts on his suit coat.

				MARIE
		Life without Kimble.  What a pretty dream that 
		used to be.  What would it be like not to live 
		your life in short little gasps?

				GERARD
			(beat)
		Is that all?

				MARIE
		Yes, that's all.  

Gerard buttons his coat.  But Marie turns to him.

				MARIE
		No!  No, it isn't.  I don't want to stay here, 
		Philip.  I want to take a plane back to 
		Stafford.

				GERARD
		That's not possible.  All the planes are 
		grounded.  There'll be no more trains east until 
		the flood areas are opened up.  That's... one 
		reason it'll be easier this time.  There 
		aren't that many places for Kimble to run.

Marie decides to ask the impossible of her husband.

				MARIE
		I don't suppose there's any point... in asking 
		you not to leave.  Just this once, to let go.

For her sake, he actually thinks it over for a second, but...

				GERARD
			(firmly)
		No.

Marie turns her back on him and goes back to combing her hair.

				MARIE
			(icily)
		I'm going to call the children later on. Is 
		there anything you want me to tell them?

				GERARD
		Uh... Tell 'em we'll be home soon as possible.  
		Soon as all this is over.

				MARIE
		Just as soon as this is over.  
			(turns to him, as if 
			talking to a little boy)
		It's all right, Philip.  You can leave now.

An uncomfortable Gerard heads for the door and guiltily tries to make amends.

				GERARD
		Um, I'll-I'll call you at eleven.  Eleven 
		sharp.  Um, by that time, I'll be able to let 
		you know what's happening.

				MARIE
		Yes, let me know.

				GERARD
		There's a... room service menu here... in case 
		you want to order some breakfast.  Might make 
		you feel better.

				MARIE
		Yes, that might make me feel better.

Gerard gives her a long, sympathetic look before walking out the door. Marie, 
with nothing else to do, keeps on combing her hair.

								DISSOLVE TO:

EXT. THIRD AVENUE - DAY

The Sergeant emerges from a tobacco shop on Third Avenue, checking his 
notebook.  He watches a taxi round the corner and pull up across from him.  
Gerard exits the cab, pays off the driver, and flashes his badge as he 
briskly approaches the Sergeant.

				GERARD
		My name's Gerard.  Captain Ames says you 
		had a possible last seen on Richard 
		Kimble in this area.

				SERGEANT
		That's right, Lieutenant.

				GERARD
		Anything further?

				SERGEANT
		Well, we had one report of a man matching 
		his rough description seen loitering in 
		that alley.

				GERARD
		And?

				SERGEANT
		No luck.  Nothing.

				GERARD
			(looks around, disappointed)
		Is this all the men you have available 
		in this area?

				SERGEANT
		Yes, sir.

				GERARD
		How much--?  
			(notices something)
		Sergeant, what about those bins?

The Sergeant turns to look at some nearby wooden trash bins with the words 
HELP KEEP OUR CITY CLEAN painted on their sides.

				SERGEANT
		Well, that's just a garbage storage area.  
		Not likely there's enough room in there 
		for a man to hide.

Gerard thinks he's dealing with an incompetent and doesn't like it much.

				GERARD
		Not likely?  Is that your considered 
		opinion?

The Sergeant realizes he's dealing with a real hard-ass and doesn't like it 
much either.

				SERGEANT
		Yes, sir.  We could check 'em out, if 
		you like.

				GERARD
		I would like, Sergeant.

				SERGEANT
			(to a nearby officer)
		Pollock?  Check out the bins.

Officer Pollock checks out the bins while Gerard scans the area.

				GERARD
			(to the Sergeant)
		Is that the alley?

				SERGEANT
		Yes, sir.

				GERARD
		You've seen nothing at all down there?

				SERGEANT
		Just some kids playing.  They said they 
		hadn't seen anyone.

				GERARD
			(a little snidely)
		That's what they said?

				SERGEANT
		Yes, sir.

				GERARD
		Do you mind if I look for myself?

				SERGEANT
		No, sir.

Gerard nods and crosses the street.  The Sergeant turns to Officer Pollock.

				SERGEANT
		Well? 

Pollock shrugs, empty-handed.  The Sergeant nods and signals to the police 
car waiting halfway up the block. The car approaches and pulls up beside him.

				SERGEANT
			(to the driver)
		Give me the mike.  

The driver hands the Sergeant the radio microphone.

				SERGEANT
			(unhappily, into the mike)
		Command One, Command One, this is Unit 
		Two.  Advise Captain Ames that Lieutenant 
		Gerard has arrived at Third and 
		Livermore.  Out.

The Sergeant returns the mike and jots something in his notebook.


								FADE OUT

EXT. THE ALLEY - DAY

FADE IN on Gerard entering the alley in full detective mode, scanning the 
area for possible escape routes or hiding places.  Like Sherlock Holmes, he 
doesn't miss a thing.  He tries a locked and gated door; he inspects the 
chained wooden fence painted KEEP OUT, in particular the lock; he spots the 
door marked LAUNDRY and enters.

								CUT TO:

INT. LAUNDRY ROOM - DAY

Gerard finds the same three boys.  The youngest continues to pull at the 
candy machine knob.  Right next door, in the courtyard, a hidden Kimble 
tenses up.  The oldest boy looks at Gerard suspiciously.  Gerard, always 
uncomfortable around children, manages an unconvincing smile.

				GERARD
		Hiya, fellas.

				KID BROTHER 
		Hi.

Kimble's face falls as he recognizes Gerard's voice.

				GERARD
		How are ya?

				KID BROTHER 
		Fine.

				OLDEST BOY
		Okay.

Gerard approaches the boys, desperately trying to be ingratiating.

				GERARD
		Um... I'm looking for a friend of mine.  
		I, er, heard he came by here.

Before the boys can say anything, a stupid-looking uniformed POLICE OFFICER 
enters and joins Gerard.  The oldest boy knows enough to keep a poker face 
but his kid brother's mouth pops open at the sight of the cop.  Frustrated, 
Gerard gives the cop a look and decides to level with the boys.

				GERARD
			(nods)
		He's wanted by the police.  Uh, he's 
		dark-haired, a little taller than I am.

				OLDEST BOY
			(a little too insistent)
		We didn't see nobody, mister.

Kimble flinches.  Gerard, sensing the boy is not being entirely honest, 
glances at the cop and then at the youngest boy who, still pulling on that 
damned candy machine knob, gives Gerard a forlorn look.  Gerard immediately 
figures he can buy the kid off and approaches him. Crouching down so they can 
talk face to face, Gerard pathetically attempts to turn on the charm.

				GERARD
			(to the youngest boy)
		How 'bout you, son?  Did you see anybody?

The youngest boy shakes his head, no.  The oldest boy looks on with concern.

				GERARD
			(to the youngest boy)
		Hey, you're a pretty big boy, aren't you?  

The youngest boy nods and smiles.  The police officer smiles at Gerard, 
admiring his technique.

				GERARD
			(to the youngest boy)
		I think you're big enough to be let into 
		a secret.

Gerard pulls a handful of change from his pocket and shows it to the youngest 
boy.  The oldest boy watches this with alarm.  But Gerard suddenly realizes 
that the machine only takes dimes -- and he hasn't got one.

				GERARD
			(abruptly, to the officer)
		Dime.

The police officer searches his pockets for a dime.  Kimble chances a peek 
through the broken windowpane to try to figure out what's going on.

				GERARD
			(to the youngest boy)
		These your brothers?  

The youngest boy nods.  The police officer hands Gerard a dime.

				GERARD
			(to the youngest boy)
		Yeah, I bet they think you're just a 
		baby, don't they?  They think you're not 
		old enough to be let in to anything.  I 
		know a little boy about your age.  We 
		have a whole lotta secrets together.  
		Just the two of us.  Of course, if, uh, 
		if you gave me a secret, then I'd have to 
		give you something in return, wouldn't I?  
		Hm?  

Gerard holds the dime up to the little boy who knows he's being bribed.

				GERARD
			(off the candy)
		Which one do you like best?  

A stressed-out Kimble watches from the courtyard as the youngest boy points 
to one of the candies.

				GERARD
			(to the youngest boy)
		That one?  Okay.

Gerard rises and DROPS the dime into the slot.  Kimble looks around 
desperately for an escape route but, of course, he's hopelessly trapped. 
Gerard pulls the knob on the candy machine.  And pulls.  And pulls. Nothing 
happens.  He BANGS the machine with his fist.  The youngest boy watches all 
this with a stone face and glances up at Gerard who relentlessly keeps on 
pulling at the knob.  The oldest boy smiles in relief.

				OLDEST BOY
			(to Gerard)
		Somebody musta put a penny in it, mister.  
		It always jams when somebody puts a penny 
		it.

A frustrated Gerard turns away.  Kimble breathes a quiet sigh of relief. 
Gerard gets a grip on himself and turns his attention to the rest of the 
laundry room, immediately crossing to the courtyard door.  He tries it and 
finds it locked.  Pressed against the other side of the door, Kimble tenses 
up.  Gerard peers into the courtyard through the broken window pane.  
Kimble's and Gerard's faces are mere inches apart.

				GERARD
			(to the police officer)
		Who has a key for this?

				OFFICER
		Uh, it's just a courtyard for drying 
		clothes, they lock it up during the winter.

Police CAPTAIN ARTHUR AMES -- the thoughtful, conscientious, and thoroughly 
professional head of the detective division -- enters the laundry room just 
in time to hear an impatient Gerard snap at one of his officers.

				GERARD
		I didn't ask what it was, Officer, I 
		asked who has a key for it.

				OFFICER
		Man named Jenner owns the building.  I 
		don't know if he still lives here.

				GERARD
		Find him.

				OFFICER
		But, Lieutenant--

				GERARD
		Find him.

The police officer starts to leave but stops as he and Gerard notice for the 
first time that Capt. Ames stands nearby.

				CAPT. AMES
		Lieutenant Gerard?  I'm Captain Ames.  
		Glad to have you with us.

The two men shake hands.

				GERARD
		How do you do?

				CAPT. AMES
		Any problem?  I'm sorry we seem to be a 
		little short-handed here.  Unfortunately, 
		with the flood threat in outlying 
		districts our main concern is the 
		evacuation of residents and protection 
		against looting.  You can understand that, 
		I'm sure.

Gerard nods.  Capt. Ames inspects the courtyard door and yanks on the lock, 
unnerving Kimble on the other side.  The lock seems pretty secure to Capt. 
Ames.

				CAPT. AMES
		However, within the framework of that 
		responsibility, Lieutenant, I want you to 
		know that we'll do everything possible to 
		bring in your man.  
			(friendly but pointedly) 
		I hope there won't be any problems.

				GERARD
			(gets the message)
		No.  No problems.

				CAPT. AMES
		Good.  Suppose we get back to headquarters?  
		We can supervise the whole search area 
		there.

Gerard nods and reluctantly walks out.  Capt. Ames follows.  The police 
officer, left alone with the boys, tries pulling the candy machine knob one 
last futile time, gives up on it with a dismissive wave, and stalks out of 
the room.  The oldest boy watches the policemen leave.  Kimble listens 
intently.  

The oldest boy shuts the laundry room door, motions to his kid brother to 
keep a lookout, whips out his pocketknife, and starts to pry off the lock on 
the courtyard door.  A relieved and completely drained Kimble slumps to the 
floor, and rubs his eyes with his fist, contemplating his near-capture.  The 
oldest boy opens the door and joins Kimble in the courtyard.

				OLDEST BOY
		Hey, mister!  Hey, mister, it's okay now.

Kimble just looks at the boy with empty eyes and nods weakly.  After 
struggling to his feet, Kimble casts a final glance at the little courtyard 
and walks stiffly through the laundry room to the alley door.  

				OLDEST BOY
		Hey, mister.  What'd you do, anyway?  
		What are they tryin' to bust you for?

Without a word, Kimble cautiously walks out the door.

								CUT TO:

EXT.  THE ALLEY - DAY

Kimble staggers toward Third Avenue where the cops no longer search. He 
pauses warily at the mouth of the alley before disappearing down the street.

								CUT TO:

INT. LAUNDRY ROOM - DAY

The three boys watch Kimble go.  The oldest shuts the door and looks down at 
the floor, perhaps pondering the whole episode.  But not for long:  he 
exchanges glances with his brothers and all three of them cross to the candy 
machine.  The younger boys watch expectantly as the oldest pulls out a wire 
hanger from next to the machine, sticks it in the coin slot, and starts to 
dig out Gerard's dime.

								CUT TO:

INT. HOTEL LOBBY - DAY

On the hotel's newsstand is The Daily Chronicle: the front page headline 
reads KIMBLE MANHUNT in huge type (Some of the other, much smaller, headlines 
are: "Property Owners Fight High-Rise Building Zone" and "Jury System 
Denounced").  We PAN ACROSS the newsstand to reveal a half dozen or so Daily 
Chronicles, staggered in such a way as to repeat Kimble's name over and over:
KIMBLE KIMBLE KIMBLE KIMBLE KIMBLE.  

At the end of the PAN, we find an upset Marie Gerard flipping through a 
magazine.  She glances over at the newspapers and reacts to the sight of all 
those KIMBLEs by agitatedly flipping through her magazine even faster.  She 
checks the lobby clock: it's one twenty-three p.m.  She tries to finish her 
magazine but someone throws a bundle of freshly-printed newspapers at her 
feet -- more KIMBLE headlines. Completely frazzled, she approaches the front 
desk.

				DESK CLERK
		Still nothing, Mrs. Gerard.  We'll page 
		you just as soon as any call comes in 
		whatsoever.

Marie glances over at one of the other hotel employees.  His back is to her.
She stares at him for a long moment.  The employee is a white male, six foot 
one, with black hair.  Could it be Kimble?  The Desk Clerk sees the 
expression on Marie's face.

				DESK CLERK
		Is something the matter, Mrs. Gerard?

Marie watches as the employee turns around.  Of course, it's not Kimble. 
Marie shuts her eyes and tries to get a grip on herself.

				MARIE
		No.  No, nothing's the matter.  Nothing 
		at all.

				DESK CLERK
		If you ask me, I don't think he's in the 
		city at all.  

Marie stares at the Desk Clerk, confused.

				DESK CLERK
		Kimble.  Richard Kimble.  I couldn't help 
		overhearing your husband on the phone 
		this morning.  

The Desk Clerk turns to some paperwork as Marie glares at him.

				DESK CLERK
		No, he's probably long gone from the 
		country by now.

Marie can't take it anymore.  She walks rapidly away from the front desk and 
out of the hotel.

				DESK CLERK
		Yes...  I mean, why should he stick 
		around here?  It'd only be logical for 
		him to--

The Desk Clerk looks up from his work to see Marie has gone.

				DESK CLERK
		Mrs. Gerard?

The Desk Clerk returns to his work.

								CUT TO:

EXT. CITY STREET - DAY

From the rear, we see a white male, six foot one, with black hair, walking 
down a sidewalk.  He turns to look over his shoulder.  It's Kimble.  At the 
sound of tires SQUEALING onto the street behind him, a jittery Kimble turns 
completely around.

A police car rockets down the street.  On the sidewalk, Kimble has turned his 
back to the street.  He stands there, in the shadow of a boarded-up building, 
frozen in his tracks.   Kimble turns to see that the police have passed by 
without noticing him.  Relieved, he leans against a nearby wall and tries to 
catch his breath.  A sign on the building beside him reads, ironically, 
CONDEMNED.

								FADE OUT

EXT. WICHITA POLICE HEADQUARTERS - DAY

FADE IN on police cars parked out in front of a brick building.

								CUT TO:

INT. WICHITA POLICE HEADQUARTERS - DAY

In what looks rather like a military war room, Capt. Ames and Gerard lean 
over a map of the city and the outlying regions as they plot strategy.  The 
map is dotted with little flags marking the positions of police units hunting 
for Kimble.  Also present is the young but thoughtful DETECTIVE-SERGEANT 
RAINEY, Capt. Ames' trusted assistant. 

				GERARD
			(to Capt. Ames)
		What do you have here now?

				CAPT. AMES
		Two [?] units.

				GERARD
		Just two?

				CAPT. AMES
		Just two.

Sgt. Rainey goes to pick up some messages from a dispatcher.

				CAPT. AMES
		You hungry, Lieutenant?  I could have 
		something to eat brought in.

				GERARD
		Eat?

				CAPT. AMES
		It's a quarter of two.

				GERARD
		Oh, do you have a phone I could use?  I 
		forgot, I was supposed to call my wife.


				CAPT. AMES
		Certainly. 

Sgt. Rainey hands a message to Capt. Ames.

				CAPT. AMES
			(to Sgt. Rainey)
		See if you can get her on the phone for 
		the lieutenant.

				SGT. RAINEY
		Right.

				CAPT. AMES
		Pace Hotel.
			(to Gerard)
		While we're waiting, I have something 
		that you might be interested in.  

While Rainey makes the call, Capt. Ames shows Gerard a small black book.

				CAPT. AMES
		This is the sign-out book at the diner 
		where Kimble was working.

Gerard takes a look: most of the signatures in the book belong to Luis Bota 
and Steve Carver.  But on April 23, just under Luis Bota, in Steve Carver's 
handwriting, is the name of Richard Kimble.

				GERARD
			(shakes his head)
		Still doesn't seem possible.

				CAPT. AMES
		The owner identified the pictures of 
		Kimble.  There's a make on the prints.  
		At eleven in the morning, Lieutenant, 
		after nine hours in the kitchen, 
		anything's possible.

				GERARD
		No.  Not with Kimble.  Something happened.

				CAPT. AMES
		Lieutenant, I've seen it before.  You put 
		a man like Kimble down far enough, strip 
		enough away from him, all you have left 
		is a tired, sick animal.  Animals aren't 
		very smart, Lieutenant.  All that keeps 
		them going's the barest of instincts.  
		Every time they fall, they get up a 
		little slower.  
			(beat)
		I understand you've been after this 
		Kimble for a long time.  Well, maybe 
		this time you're finally gonna see the 
		end of it.

The expression on Gerard's face acknowledges the possibility -- but before he 
can say anything Sgt. Rainey hangs up and joins them.
 
				SGT. RAINEY
		There wasn't any answer in your wife's 
		room, Lieutenant.  I, er, had them page
		her around the hotel but no luck.  Is 
		there any message?

				GERARD
		Um... No.  No message.

								CUT TO:

EXT. TRUCK STOP - OUTSKIRTS OF WICHITA - DAY

A TRUCK DRIVER exits a diner, picking at his teeth with a toothpick. A still 
unshaven Kimble, travel bag in hand, approaches him.

				KIMBLE
		Hey.  You going east?

				TRUCK DRIVER
		That's right.

				KIMBLE
		I'd like to ride along with you.  I-I 
		could sure use a--

Without a word, the Truck Driver throws his toothpick down and walks off, 
leaving a dejected Kimble behind.  The Driver climbs into the cab of his 
truck (SOTH Trucking Co. - I.C.C. 27) and glances down at a pathetic-looking 
Kimble.  

				TRUCK DRIVER
		Okay.  Come on.

Grateful, Kimble crosses to the truck and gets in as the Driver FIRES up the 
engine.  The truck pulls out and ROARS down a country road.

								CUT TO:

EXT. METROPOLITAN BUS TERMINAL - WICHITA - DAY

A bus ROARS down a city street, just outside a crowded terminal.

								CUT TO:

INT. METROPOLITAN BUS TERMINAL - DAY

At the ticket desk, a clearly unwell Marie pulls a wad of cash from her purse 
and offers it to the TICKET SELLER.  A small mob of impatient people wait in 
line behind her to buy tickets.

				TICKET SELLER
			(insistently)
		Nothing.  Nothing at all.

				MARIE
		But they told me at the hotel the busses 
		were still running.

				TICKET SELLER
		Well, nothing headed toward Indiana.  
		Floods have the highways all blocked off.  
		Now, why don't you give us a call 
		tomorrow?

				MARIE
		No, I don't want to wait until tomorrow.  
		I want to leave today.

				TICKET SELLER
		I'm sorry.  Next.

A man cuts to the head of the line and throws a stack of photographs down on 
the desk in front of Marie.  The man is a police officer named JARVIS and the 
photos are copies of Richard Kimble's mug shots.  A stunned Marie cringes 
visibly at the sight of Kimble's face.  Jarvis flashes his badge at the 
Ticket Seller.

				JARVIS
			(to the Ticket Seller)
		My name's Jarvis, Metropolitan Police.  
		That's the picture of a man we're looking 
		for.  Post it some place where it'll be 
		out of sight.

				TICKET SELLER
		Right.

The Ticket Seller scoops up the photos and sets them aside as Jarvis starts 
to leave.  Suddenly, Jarvis stops and turns to Marie.

				JARVIS
		Mrs. Gerard?  I beg your pardon, ma'am, 
		but aren't you Mrs. Philip Gerard?  I 
		guess you don't remember me.  I-I was 
		sent up to Stafford last year on a 
		prisoner escort.  I met you with the 
		lieutenant.

Marie glares at Jarvis and pretends to not know what he's talking about.

				MARIE
		No.

				JARVIS
			(a reassuring smile)
		Jarvis.  Arthur Jarvis.

				MARIE
		No, I'm afraid you must be mistaken.  
		I-I don't know anyone named Gerard.  The 
		name is... Lindsey.  

				JARVIS
			(unconvinced)
		Sure.  Sorry, ma'am.

A confused Jarvis turns and walks off.  Marie stands there for a moment, 
holding up the line, to the annoyance of the Ticket Seller.

				TICKET SELLER
		Mrs. Lindsey.  If you don't mind.

Marie turns to the Ticket Seller.  Jarvis stops and turns to listen to their 
conversation.  Marie has reached the end of her rope.  She's a nervous 
breakdown in progress.

				MARIE
			(to the Ticket Seller)
		I've got to get out of this city.  It's 
		very important to me.  I just must.  
		I'll take anything, anything at all.

				TICKET SELLER
		Well, there's a bus headed east, leaving 
		in ten minutes.  You might make 
		connections north in Joplin.

				MARIE
		That's fine, that'll be just fine.

				TICKET SELLER
		All right.  Lindsey.

The Ticket Seller writes the name on the ticket and hands it to her.

				TICKET SELLER
		Now loading at gate two.

				MARIE
		Thank you.

Marie grabs the ticket and runs off, failing to see that Jarvis lingers, 
having overheard the entire exchange.

				TICKET SELLER
			(calls out to Marie)
		Have a happy trip!
			(beat)
		Oh!  Mrs. Lindsey!

Marie has left her wad of money on the desk.  The Ticket Seller holds up the 
cash to her but she's gone.

								CUT TO:

EXT. COUNTRY ROAD - JUST OUTSIDE OF WICHITA - DAY

The truck carrying Kimble barrels down the road.

								CUT TO:

INT. TRUCK - DAY

An exhausted Kimble struggles to keep his eyes open while the obnoxious Truck 
Driver rattles on.

				TRUCK DRIVER
		Yeah, I've been down on my luck a couple 
		o' times.  But I didn't sit around on my 
		duff feelin' sorry for myself.  Know 
		what I mean?

				KIMBLE
		Yeah.

				TRUCK DRIVER
		Nobody's got to be a bum anymore, not in 
		this day and age.  All you need's a 
		little guts, enough backbone to stay away 
		from the sauce and stand up to an honest 
		day's work.  Know what I mean? 

Kimble dozes off.  The Truck Driver smacks his arm.

				TRUCK DRIVER
		Hey, buddy!  Ya listenin'?!

				KIMBLE
			(startled)
		Yeah...

				TRUCK DRIVER
		Good.  You might learn somethin'.

Kimble unzips his jacket and fights to stay conscious.

								DISSOLVE TO:

INT. WICHITA POLICE HEADQUARTERS - DAY

Capt. Ames deals with routine police matters.  Sgt. Rainey sits on a desk 
writing notes. Kitchen helper Luis Bota sits nearby holding his hat in his 
hands.  And an unusually uneasy Gerard talks on the telephone.

				GERARD
		This is Philip Gerard again, room 604.  
		I wonder if you'd just check once more, 
		make sure there aren't any messages for 
		me.
			(beat)
		Yeah, I know but I...  thought something 
		might've come in the last five minutes.
			(beat, nods unhappily)
		Thank you.

A preoccupied Gerard hangs up and rejoins Sgt. Rainey and Luis Bota. Gerard 
actually bites his fingernails.

				SGT. RAINEY
		Any luck, Lieutenant?

				GERARD
		Hm?

				SGT. RAINEY
		If you're worried about your wife, 
		Lieutenant, we could put out a quick 
		check on her.

				GERARD
			(unconvincingly)
		No, that's all right.  She, uh, she-she 
		just went shopping.  They mislaid the 
		message.  That's what happened.

				SGT. RAINEY
		Sure, sure, that'll happen.  Uh, if you 
		don't have any more questions for Mr. 
		Bota, I thought we might send him home.

Gerard has completely forgotten about Luis Bota -- clearly his marital  
problems are distracting him from his usually single-minded and unrelenting 
efforts to catch Kimble.

				GERARD
		I, er, yes, I-I do have some... more 
		questions.  Uh...
			(to Luis Bota)
		As a friend of Kimble -- Steve 
		Carver's -- isn't it likely that you 
		would have warned him?

				LUIS BOTA
		No.  I told you that.  No friend, just 
		work together.  
			(to Sgt. Rainey)
		I have said this many times.

				SGT. RAINEY
		I, uh, think he did, Lieutenant.  Several 
		times.  Uh, I have it right here, uh... 
			(reads from notes)
		Question: Did you know--

				GERARD
		All right.  All right.  Send him home.

A flustered Gerard walks away.  Sgt. Rainey nods to Luis Bota who rises and 
exits.  Gerard crosses to the large city map where Capt. Ames joins him.

				GERARD
		You've got to understand, Kimble.  He 
		always... forms associations.  There's 
		always someone to help him, warn him.  
		He could've been warned.  He could've 
		slipped through.  All this could be for 
		nothing.

				CAPT. AMES
			(reassuring)
		We have flood control checkpoints along 
		the highways outside of town.  They've 
		all been alerted.  If he did slip 
		through here, there's a good chance 
		they'll get him.

				GERARD
		A good chance?  That's not enough.  Not 
		nearly enough.

								CUT TO:

EXT. MAIN HIGHWAY - OUTSIDE WICHITA - DAY

The truck carrying Kimble turns off the country road and onto the main 
highway.  Inside the cab, a startled Kimble stares ahead with concern.

				KIMBLE
			(nervous)
		Is this the main... highway heading east?

				TRUCK DRIVER
		Yeah.  We ought to pick up a little time 
		now.  What's the matter?  Don't you like 
		main highways?

				KIMBLE
		Oh, I just... didn't think we'd be 
		heading this way.

				TRUCK DRIVER
		Tell you what I'm gonna do for ya, 
		buddy.  When we get to the end of this 
		haul, I'm gonna let you help me unload.  
		Hour's work, maybe two.  Bring yourself 
		enough to buy a couple of good stiff 
		shots.

				KIMBLE
		A couple of stiff shots?

				TRUCK DRIVER
		Yeah, sure.  Four bits.

Kimble just stares at the Truck Driver who obviously is no great 
believer in the minimum wage.

				TRUCK DRIVER
		What's the matter?  You got a free ride, 
		didn't ya?  Who else woulda picked ya 
		up?

A disgusted Kimble turns his eyes to the road, just in time to see his worst 
nightmare approaching: a police car blocks the highway.  

We see it all from Kimble's anguished POV:  A line of five cars waits to pass 
through the flood control checkpoint.  The Truck Driver brakes the truck and 
joins the cars as the last vehicle in the line.  Kimble looks to the left and 
sees a wide open field.   Nowhere to hide.  On his right, a steep hill.  
Nowhere to run.  The police finish inspecting a car and let it pass through 
the roadblock.  Only four cars between Kimble and the law.  The Truck Driver 
and the other vehicles pull forward.

The Truck Driver watches as Kimble, frozen with fear, stares at the scene 
before him.

				TRUCK DRIVER
		You know, you lousy guys are all alike.  
		World owes ya a living.  Gimme, gimme, 
		gimme -- that's all you know...

A panicked Kimble can't think straight with this jerk mouthing off. Kimble 
starts freaking out and snaps at the Driver.

				KIMBLE
			(quietly)
		Shut up.

				TRUCK DRIVER
		What'd you say?

				KIMBLE
		I said, shut up, please.

Kimble grabs the Truck Driver's sleeve. Now, it's the Driver's turn to freak.

				TRUCK DRIVER
		Get your hands off me!  Who do you think 
		you're pushing around, some stool-bum 
		buddy of yours?!

Another car passes through the checkpoint.  Three cars to go.  A station 
wagon behind the truck HONKS impatiently.  The Truck Driver yells out the 
window to the station wagon.

				TRUCK DRIVER
		Yeah, yeah!

Still upset, the Truck Driver throws the truck in gear and nearly rear ends 
the car in front of him, SLAMMING on the brakes at the last second and 
SCREECHING to a halt.  The Truck Driver gives Kimble a dirty look. Both men 
quickly regain their composure.

				KIMBLE
		Look, I'm sorry.  I'm out of my head.  I 
		haven't eaten for a couple of days.

				TRUCK DRIVER
		Whole world's sorry, buddy.  I'm sorry, too.  
			(beat)
		Go on, get out.

The station wagon HONKS again.  The Truck Driver jumps out of the cab and 
starts yelling at the station wagon.

				TRUCK DRIVER
		Say, you stupid or something?  Can't you 
		see I'm blocked?

Kimble sits in the cab and stares ahead at his increasingly dark prospects.  
But, in that darkness, Fate moves its huge hand:  A bus comes down the 
highway, passes Kimble's truck, and parks next to the line of vehicles.  A 
uniformed CHECKPOINT OFFICER approaches the bus and confers with the BUS 
DRIVER.

				BUS DRIVER
		Can we go through?  We were all checked 
		out at the terminal.

				CHECKPOINT OFFICER
		You're Seventy-Three?

				BUS DRIVER
		Right.

				CHECKPOINT OFFICER
		I got a message for you from your 
		dispatcher.  The stretch of road about 
		ten miles up the line is liable to be 
		shut off at any time.  Now, your 
		dispatcher asked me to tell you that if 
		any of your passengers are worried about 
		going on, unload 'em right here.  
		They'll send another bus to take 'em 
		back.

				BUS DRIVER
		Check.

The Bus Driver turns to his passengers to give them the bad news. Meanwhile, 
Kimble sits in the cab of the truck staring at the bus. The Truck Driver, 
having apparently chewed out the driver of the station wagon, rejoins Kimble.

				TRUCK DRIVER
		Told you to get out.  The soup kitchen 
		just closed down.

A worried Kimble looks out to see the passengers disembarking from the bus.  
The Bus Driver leads them to the luggage compartments which he unlocks so 
that they may retrieve their bags.  Kimble sees a chance. He climbs out of 
the truck, shuts the door, and, clutching his travel bag, makes his way 
slowly toward the crowd of passengers milling around and collecting their 
bags by the side of the bus -- and blends right in.

As he does, the Checkpoint Officer appears at the front of the bus and calls 
to the Bus Driver who stands near Kimble sorting luggage.

				CHECKPOINT OFFICER
		Hey!

A nervous Kimble lowers his eyes and awkwardly covers his face with his hand.

				CHECKPOINT OFFICER
			(to the Bus Driver)
		I'll move my car out of the way so you 
		can go right on through!

				BUS DRIVER
		Right.

The Checkpoint Officer leaves to move his car.  Kimble looks up, immediately 
grasps the situation, and glances at the bus.  He moves toward the front door 
and climbs aboard.

Inside the bus, Kimble makes his way down the aisle, heading for the rear. 
Only a few passengers remain, among them a WOMAN with a child, an obnoxiously 
gregarious SALESMAN, and, of all people, Marie Gerard. Marie, sitting at a 
window seat somewhere in the middle of the bus, on the driver's side, gazes 
blankly out the window and -- since she's clearly preoccupied with running 
out on her husband and is apparently having a nervous breakdown -- doesn't 
pay much attention to a haggard Kimble shuffling past her.  For his part, 
Kimble has never laid eyes on Mrs. Gerard.  He moves past her without 
incident.  A few seats behind Marie, the Salesman, apparently working on his 
expense account, suddenly whacks Kimble on the arm as he passes.

				SALESMAN
			(sternly)
		Hey.

A terrified Kimble looks down at him.

				SALESMAN
		Change your mind, friend?

				KIMBLE
			(relieved)
		Yeah.

				SALESMAN
			(smiles)
		Stout fellow.

The Salesman goes back to padding his expense account.  Kimble slumps wearily 
into a seat in the very rear and puts his head down.  Up front, the Bus 
Driver climbs in, counts heads, gets in the driver's seat, shuts the door, 
and puts the bus in gear.  It pulls out, through the roadblock and down the 
highway, leaving the Checkpoint Officer and a mob of stranded passengers by 
the side of the road.

								FADE OUT

EXT. WICHITA POLICE HEADQUARTERS - DAY

FADE IN on police cars parked out in front of a brick building.

								CUT TO:

INT. WICHITA POLICE HEADQUARTERS - DAY

Capt. Ames accepts a message from a uniformed officer while Gerard and Sgt. 
Rainey stand nearby talking on telephones.  Gerard's call is to Stafford, 
Indiana.

				GERARD
			(to the operator)
		Yes, make it collect.  Philip Gerard.  
		It's my home, they'll accept the charges.  
			(beat)
		Hello?
			(beat)
		Hello, Margaret.  It's Mr. Gerard.  How 
		are the children?
			(beat)
		No.  Nothing's the matter.  Margaret, 
		um... I wonder if by any chance Mrs. 
		Gerard called.  Uh, we, um, had missed 
		connections along the way and I just 
		thought perhaps ...

Sgt. Rainey sets his telephone down and approaches Capt. Ames.  They discuss 
something quietly amongst themselves as Gerard continues his conversation.

				GERARD
			(into the phone)
		Oh, he is?  Did he have his dinner?  
			(beat)
		Yeah.  Yes, put him on.

A concerned Capt. Ames walks over to Rainey's phone and picks up.

				CAPT. AMES
			(into the phone)
		Captain Ames.

Meanwhile, Gerard reveals that his discomfort with children extends to his 
own son.

				GERARD
			(into the phone)
		Hello, son.  Oh, fine, uh...  Good vacation.  

Capt. Ames gives Gerard an odd look.

				GERARD
			(into the phone)
		Uh, look, son, you didn't happen to answer the 
		phone today, did you?
			(beat)
		No.  Nothing important.  I... What'd you do 
		today?

				CAPT. AMES
			(into the phone)
		Okay, Jarvis.  Thanks.

Capt. Ames hangs up and turns to Gerard.

				GERARD
			(into the phone)
		Yeah?
			(beat)
		Boy, I'd like to hear about that.
			(sees Capt. Ames)
		Look, I'm sorry, son, I-I have to go.  
		I'll, uh, I'll talk to you tomorrow.
			(beat)
		Yeah.  Yes.  And your mother, too.
			(beat)
		All right.  Good-bye, son.

Gerard hangs up and confers with Capt. Ames.

				CAPT. AMES
		Any more word on your wife?

				GERARD
			(unconvincingly)
		Oh, nothing to be concerned about.  I... 
		told you before.  There was a message 
		for me at the hotel, they just mislaid 
		it temporarily.

				CAPT. AMES
		Yes, that's what you told me.  Um, 
		Lieutenant.  We here, we try to mind 
		our own business.  Maybe we do 
		sometimes when we shouldn't.  For 
		whatever it's worth, Lieutenant... One 
		of our men just called in and he's 
		convinced he saw your wife buying a 
		ticket on an eastbound bus.

				GERARD
			(in total denial)
		Well, he's mistaken.  That couldn't be.  
		She has no reason to be going east.

				CAPT. AMES
		All right, Lieutenant, I know all the 
		reasons why it couldn't be.  I only tell 
		you this just in case you want me to 
		check out the bus.  Do you?

Gerard thinks it over and swallows hard.

				GERARD
		Uh, yes.  Yes, I would appreciate that.

Capt. Ames nods to Gerard, then turns and nods to Sgt. Rainey who picks up 
his phone and starts dialing.  Gerard's face goes blank as he tries to grasp 
the implications of his wife leaving him.

								CUT TO:

EXT. SOMEWHERE BETWEEN WICHITA, KS AND JOPLIN, MO - DAY

The bus carrying Kimble and Marie ROARS down an empty highway dotted with 
CAUTION signs.  It BRAKES briefly at a detour, and then turns off onto the 
alternate route.  The bus has the deserted road entirely to itself. Desolate 
prairie, fields, and farmland stretch out for miles in all directions.

On board, Marie continues to stare out the window at the passing landscape. 
As Kimble sleeps like a log in the rear, the bored Salesman, after studying 
Marie for a moment, decides to put the moves on her.  He rises and joins her, 
much to her annoyance.

				SALESMAN
			(off the landscape)
		God's country, huh?  Kinda makes you feel 
		like we're the only people around.  Like 
		the flood got everyone else. And here we 
		are... on Noah's Ark.  Yeah, Noah's Ark.  
		One male, one female.  Who knows?  Maybe 
		we'll be the ones to start the human race 
		all over again.

Marie turns and glares at him as if he had just landed from Mars. 
Embarrassed, he backs away.

				SALESMAN
		All right.  So we won't be the ones to 
		start it all over again.

Trying to make the best of a bad moment, the Salesman starts hollering at the 
few other passengers, all of whom look at him with amusement.

				SALESMAN
		Hey, listen to me, everybody!  Come on 
		down here!  Let's get together!  Let's 
		get to know each other, have some fun 
		and games!  You, too, Driver!

The Bus Driver turns to look back at this raving idiot just as a huge
sign reading ROAD CLOSED AHEAD looms into view.  Momentarily distracted,
the Driver fails to see it.  Nobody else sees it either.  The Salesman
starts laughing.

				SALESMAN
		What do you say?!

The Salesman hustles to the rear and shakes Kimble awake.

				SALESMAN
		Hey, champ!  You got your whole life to 
		sleep!  Wake up!

The bus ROARS around a bend in the road and abruptly SMASHES through a 
makeshift warning gate.  The Bus Driver tries to BRAKE and swerve to avoid 
hitting a construction vehicle blocking the road.  Too late.  The bus HITS 
the vehicle.  The Salesman, Marie, and others fall forward and out of their 
seats as the bus CRASHES to a halt, lurching halfway off the road and into a 
ditch.

In the rear, Kimble and the Salesman rub their heads.  Up front, the other 
passengers struggle to their seats.  The Bus Driver opens the door and turns 
at once to the passengers.  Moving down the aisle, checking each one.

				BUS DRIVER
		It's all right.  Is everybody all right?  
		Anybody hurt back there?  
			(to the woman with the child) 
		Are you okay?

				WOMAN
		I think so.

As he reaches Marie's seat, he looks down in horror.

				BUS DRIVER
		Oh, my...

Marie, a wicked, bleeding cut on her forehead, lies unconscious on the floor.
The Bus Driver bends down and lifts her head.

				BUS DRIVER
		Hey, somebody give me a hand.

The Salesman joins the Bus Driver as he pulls Marie up.

				BUS DRIVER
		Get her feet.

				SALESMAN
		I got 'em.

Kimble watches with concern as the Salesman and the Bus Driver carry her down 
the aisle and out of the bus.  Another passenger grabs Marie's coat and purse 
and follows.

They lay Marie on the grass just outside the bus with her coat under her 
head.  Kimble slowly gets up and walks down the aisle just as the Bus Driver 
enters to retrieve the bus' first aid kit.  The Bus Driver gives Kimble a 
funny look.  Kimble stops.

				BUS DRIVER
		Did you get on at the terminal?

				KIMBLE
		Yeah.  I should've gotten off when I 
		could.

But the Driver has more important things to worry about.  He rejoins the 
Salesman at Marie's body and tries to revive her.  Kimble looks around 
nervously, thinking that he'd better beat it the hell out of there.

The Bus Driver opens the first aid kit.  The Salesman grabs what looks like 
an oversized bandage and uses it to fan Marie's face.  Clearly, nobody here 
knows much about first aid.  The Bus Driver finds some smelling salts and 
sticks them under Marie's nose.  She starts coming to just as Kimble steps 
off the bus a few feet away from her.  Little does Kimble realize that if she 
wakes, she’s sure to recognize him.

Kimble clearly plans to flee the scene of the accident -- he slowly moves off 
toward the rear of the bus.  As he does, Marie awakens, coughing.  Kimble 
looks back at her.  Does she need a doctor?  He's probably the only one 
around for miles.  But he can't take the chance of hanging around.  He turns 
to leave.  Marie starts moaning in pain.

				BUS DRIVER
			(to Marie)
		Take it easy.

Suddenly, Marie is fully conscious -- and screaming hysterically. Kimble 
stops dead in his tracks and takes a deep breath.  Marie, still lying on the 
ground, her eyes and mouth wide open, tries frantically to get up.  The men 
around her try to hold her down.  She is panicking, crying, sobbing, flailing 
about, out of control.  Kimble turns to look back at her again as the 
Salesman and Bus Driver struggle with her.

				BUS DRIVER
		Take it easy.

				MARIE
		I can't see!  I can't see!

She's babbling incoherently.  Kimble can't turn his back on her now. She 
needs a doctor.  Grimly, reluctantly, he strides toward her.  By the time he 
reaches her, Kimble has nearly snapped out of the stupor he's been struggling 
with.  Suddenly, he is in full doctor mode as he pushes the Salesman aside.

				BUS DRIVER
		Take it easy, lady.

				KIMBLE
		[What's the problem?]

				SALESMAN
		She says she can't see.

Kimble takes the large bandage from the Salesman, wads it up, and sticks it 
in Marie's mouth.

				KIMBLE
			(firmly, to Marie)
		Here, bite on that.  Go on, bite on it.

She bites on it and quiets down a little, but still whimpers fearfully 
throughout the rest of the scene.  The Bus Driver checks her purse and reads 
the name on the ticket.

				BUS DRIVER
		Her name is Lindsey.

				KIMBLE
			(reassuringly authoritative)
		Mrs. Lindsey, you've been in an accident 
		but you're going to be all right.  Now, 
		you can't see for the moment but you will 
		see again.  You will be able to see again, 
		now do you understand me?  Just lie there 
		and be calm and you'll be all right.

Kimble spots something nearby, rises, and crosses to it.  The Salesman, 
impressed with Kimble's bedside manner, follows him.  The Bus Driver stays 
with Marie for a moment.

				BUS DRIVER
			(to a nearby woman passenger)
		Lady, stay with her, will you?

The woman takes Marie's hand as the Bus Driver joins Kimble and the Salesman.

				WOMAN
			(to Marie)
		You'll be fine.

Parked by the side of the road is a pick-up truck marked G & L CONSTRUCTION 
CO.   Kimble inspects the truck and looks around at the miles of empty 
prairie.  He opens the truck's door and is about to get in.  The Salesman and 
Bus Driver join him at the truck.

				BUS DRIVER
			(to Kimble)
		Hey, there.  I was, uh, real worried.  
		Her sight's comin' back, huh?  Just like 
		that?

				KIMBLE
		No, her sight isn't coming back just like 
		that.  I think she's got a concussion.

				BUS DRIVER
		Well, what can we do?

				KIMBLE
		Where's the nearest town?

				BUS DRIVER
		There's nothin' on this highway for 
		thirty miles either way.  Uh, there's 
		Tilden.  Must be about ten miles down 
		the line.  But I think we ought to wait 
		here for help.

				KIMBLE
		That'd take hours.

Kimble gets in the truck and starts to hot-wire the engine.  The Salesman 
looks at the Bus Driver and then grabs Kimble's arm.

				SALESMAN
		You plannin' to take her by yourself, 
		buddy?  Is that it?

Kimble just gives him a look and goes back to hot-wiring the truck. The 
Salesman yanks him out of the cab.

				SALESMAN
			(snidely)
		I can't hear you, boy.

				KIMBLE
			(to the Bus Driver)
		You wanna take her?

				BUS DRIVER
		No, no.  I've... I've got to stay here 
		with the bus.

				SALESMAN
			(threateningly, to Kimble)
		I'm gonna count the money in her purse.  
		When you get to that town, every penny 
		better be there.  
			(off himself and the Driver)
		We're both witnesses.  
			(pointedly, to Kimble)
		Understand, boy?

Kimble looks over at Marie, then, without a word goes back to hot-wiring the 
truck.  The Salesman heads over to Marie.

				SALESMAN
			(to the Bus Driver)
		Come on, give me a hand.

The Bus Driver, as appalled at the Salesman's behavior as Kimble is, shakes 
his head in disgust, but follows him.  Marie -- trembling, her hands clasped 
together, the bandage still in her mouth -- is lifted up. Her sightless eyes 
are filled with fear.

								DISSOLVE TO:

INT. WICHITA POLICE HEADQUARTERS - DAY

Sgt. Rainey is on the phone.

				SGT. RAINEY
		Right.  Thank you, sir.

Sgt. Rainey hangs up and walks briskly to Capt. Ames with some notes he's 
taken.  Gerard, still caught up in the Kimble manhunt, studies the regional 
map.  Capt. Ames and Sgt. Rainey join Gerard and the Captain reads to him 
from Rainey's notes.

				CAPT. AMES
		According to the ticket seller, the woman 
		in question bought a ticket under the 
		name of Lindsey on the 2:10 bus for 
		Joplin.  Any of that ring a bell, 
		Lieutenant?

A very uncomfortable Gerard nods.

				GERARD
		Lindsey.  Lindsey was my wife's maiden 
		name.  How far is it to Joplin?

				CAPT. AMES
		'Bout a hundred and fifty miles east of 
		here.  If it's on time, the bus should 
		almost be there by now.

They all look down at the map.

								DISSOLVE TO:

EXT. SOMEWHERE BETWEEN WICHITA AND JOPLIN - DAY

In the pick-up truck, Kimble makes sure that a now quiet Marie -- resting 
comfortably with her eyes closed -- is secure in the passenger seat.  He 
gives the Bus Driver a last look and puts the truck in gear, pulling away 
from the accident, through a dirt field, and onto a road heading for Tilden.

				MARIE
		Where are you taking me?

				KIMBLE
		There's a town a few miles away.  They'll 
		be able to take care of you there, Mrs. 
		Lindsey.

				MARIE
			(mumbling to herself)
		Lindsey.  Ms. Marie Lindsey.  

Realizing that's not correct, she tries to tell Kimble her real name.

				MARIE
			(to Kimble)
		No...

				KIMBLE
		Don't try to talk.  Just rest.  Don't 
		say anything unless it's important.

				MARIE
		No, it's nothing.  Nothing important.  
			(beat)
		Whoever you are, you're very kind.

Kimble just keeps on driving.  The truck winds its way through an otherwise 
empty Kansas landscape.

								FADE OUT

EXT. WICHITA POLICE HEADQUARTERS - DAY

FADE IN on police cars parked out in front of a brick building.

								CUT TO:

INT. WICHITA POLICE HEADQUARTERS - DAY

It's nearing the end of a long day.  Gerard taps his fingers impatiently on 
the map of the region and tries to stay focused on Kimble.  Sgt. Rainey, 
perhaps impressed with Gerard's relentless devotion to the hunt, joins him.

				SGT. RAINEY
		Staying close to the action, huh, 
		Lieutenant?

Gerard merely gives him a curt look.

				SGT. RAINEY
		Lieutenant, about that woman on the bus, 
		the one who called herself Mrs. Lindsey--

				GERARD
		I think we've established who she is, 
		Sergeant.  Any reason why you shouldn't 
		call her by her right name?

				SGT. RAINEY
		Uh, no, sir.  I just thought that--

				GERARD
		Mrs. Gerard.  Mrs. Marie Gerard.

				SGT. RAINEY
		Yes, sir.  We, uh, put a call through to 
		the Joplin bus terminal.

				GERARD
		Why?

				SGT. RAINEY
		Well, the captain thought you'd want to 
		know.

				GERARD
		Thank the captain for me.  Tell him all 
		I'm concerned with right now is Richard 
		Kimble.

				SGT. RAINEY
		Yes, sir, but if your wife is missing--

				GERARD
			(sharply)
		Kimble, Sergeant.  Richard Kimble.  
		Height, six foot one.  Weight, one 
		seventy-three.  That's all I want to hear 
		about.

				SGT. RAINEY
		Yes, sir.  Kimble.

Sgt. Rainey is a little taken aback.  He returns to his work as Gerard mulls 
over the map.

				NARRATOR (v.o.)
		In the city, the search for Richard 
		Kimble goes on...  

								CUT TO:

EXT. THE MIDDLE OF NOWHERE, KANSAS - DAY

In the commandeered pick-up truck, a weary but committed Richard Kimble 
drives a now quiet Marie through the lonely landscape -- unaware that he has 
jumped out of the frying pan and into the fire.

				NARRATOR (v.o.)
		But it is one more grim appointment that
		he will not keep.  The relentless steel 
		jaws will close on an empty trap.  But 
		for Richard Kimble, the Fates are 
		preparing another appointment, at another 
		time, at another place.

								FADE OUT

Part 2

EXT. SOMEWHERE IN SOUTHEASTERN KANSAS - DAY

FADE IN on the lonesome country road upon which travels the pick-up truck 
carrying Richard Kimble, America's most elusive fugitive, and Marie Gerard, 
the wife of Lieutenant Philip Gerard, the dedicated police detective who has 
been relentlessly chasing Kimble for years. In a voice deeper than the 
Ogallala aquifer, the omniscient narrator fills in any latecomers on the 
gruesome details of this unlikely pairing.

				NARRATOR (v.o.)
		A police dragnet, a bus accident, and an ironic 
		fate have brought together two people on a 
		lonely country road.  

Inside the truck, Marie covers her hands with her face.  Kimble, with very 
little sleep, sits beside her at the wheel.  Both fight to stay conscious.

				NARRATOR (v.o.)
		The woman, blinded in the accident, is unaware 
		that the man beside her is Richard Kimble.  And 
		neither is aware that the other is fleeing from 
		the obsession of Lieutenant Philip Gerard, 
		hunter of the man, husband of the woman.

				KIMBLE
		You all right, Mrs. Lindsey?

				MARIE
		Just tired.  How long ago was the accident?

				KIMBLE
		'Bout a half an hour.

				MARIE
		Is that all?  I've lost all track of everything.  
		Is it still light out?

				KIMBLE
		Yes.

				MARIE
		How much further until we reach where we're 
		going?

				KIMBLE
		Not much further.

From Kimble's POV, we see the empty road ahead.  As his truck rounds a bend, 
Kimble sees a red vehicle blocking the road.  He slows down. Marie grows 
concerned.

				MARIE
		What's happened?  Tell-tell me, what is it?

				KIMBLE
		There's a car in the middle of the road.

A busty teenage girl with long blonde hair stands by the car and waves Kimble 
down.  The car is one of those ugly half-pick-up/half-car things. As Kimble 
brakes to a halt, the girl runs to talk to him through the driver's window.  
Her name is JOANNIE.

				JOANNIE
		Mister!  Mister!  Can you help me, please?

				KIMBLE
		Well, we can't stop.  I can give you a lift into 
		town, that's all.

				JOANNIE
		Please, just-just take a look, huh?  I need your 
		help.  

Joannie opens the driver's door and grabs Kimble's arm.

				JOANNIE
		It'll only take a minute, honest.

A reluctant Kimble glances at Marie and then gets out of the truck.  He and 
Joannie cross to her car.  Too late, Kimble finds two ominous teenaged boys 
sitting on the ground, hidden from view on the opposite side of the car, 
drinking out of aluminum cans.  The car has a flat tire.  You can tell that 
the two boys -- TOMMY, the thin, sarcastic leader in a denim outfit, and 
BEAVO, the moon-faced crazy in a T-shirt -- are juvenile delinquents because 
of their bad haircuts, casual wardrobes, and listless demeanors. 

				TOMMY
			(to Kimble, off the tire)
		Well, what about that, Chief?

				BEAVO
		Yeah, what do you think?

Beavo chucks his beer can, jumps to his feet and runs behind Kimble to keep 
him from leaving.  Tommy picks up a nasty looking tire iron from the grass 
and confronts Kimble.

				KIMBLE
		There's a woman in that truck that needs medical 
		attention.  I've got to get--

Joannie pointedly turns on her transistor radio and BLARES loud rock music, 
drowning Kimble out.

				KIMBLE
		I've got to get to the next town.

				TOMMY
		No sweat, Chief.  We just wanna borrow a tire.
			(to Beavo)
		Take a look, Beavo.

Beavo nods and starts for the truck.  He stops when he sees Marie sitting in 
the passenger seat, staring off into space.

				BEAVO
			(to Kimble, pointing)
		Hey.  Hey, what's with her?

				KIMBLE
		She can't see.  Could be a concussion.

Kimble, Tommy, and Joannie watch as Beavo approaches the truck, leans in 
through the driver's side window and SNAPS his fingers in Marie's face.  She 
starts.  Kimble makes a move to stop Beavo but Tommy sticks the tire iron in
his chest.

				TOMMY
			(casually, to Kimble)
		Uh uh.

Beavo keeps SNAPPING his fingers at a confused Marie.

				MARIE
		Who is it?

Kimble looks at Tommy and then the tire iron.

				KIMBLE
			(to Tommy)
		All right, take the tire.

				TOMMY
		Come on, move it, Beavo.

Joannie shuts off her radio as Beavo stops torturing Marie and runs around to 
the other side of the pick-up truck.  He cuts the truck's spare tire loose 
with a pocketknife.

				TOMMY
			(affably, to Kimble)
		Thanks a lot, Chief.

A grinning Joannie carries her radio over to the pick-up truck.  Kimble and 
Tommy watch her go.  Beavo pulls the spare tire from the truck and rolls it 
away.  A puzzled Marie can't figure out what's going on. Suddenly, Joannie 
appears in the driver's side window and snaps on her radio -- the loud MUSIC 
startles Marie.  Meanwhile, Beavo rolls the tire over to Tommy and Kimble

				BEAVO
			(to Tommy, off the tire)
		It's a nine-fourteen.  

				TOMMY
			(to Beavo)
		Close enough.

				KIMBLE
			(to Tommy)
		You took the tire.  You don't... you don't need 
		us.

Kimble tries to leave but Tommy grabs him by the arm and wheels him around.

				TOMMY
		Take?  What do you mean, take?  We don't wanna 
		take anything.  We'll pay you for it.  
			(checks his pockets)
		Here, let me take a look, Chief, see what I got 
		here. You got any change for a fifty?

				KIMBLE
		No.

				TOMMY
		Flat out, huh?  How 'bout your girlfriend?

				KIMBLE
		She left her purse at the accident.

				TOMMY
		Too bad.  

Kimble tries to leave again but Tommy stops him.

				TOMMY
		Oh, way-way-way-wait!  Have to find some way to 
		settle up with you.  We don't just wanna take 
		it.

As Tommy distracts Kimble, Beavo and Joannie stand at the truck, quietly 
terrorizing an increasingly unnerved Marie.  Beavo stands just outside the 
passenger side window.

				BEAVO
			(whispers to Marie)
		Psst, hey.  Let me tell ya about a girl I once 
		knew, had T.B.  Did I ever tell you about her?

Beavo reaches in and touches Marie's left cheek, startling her.

				BEAVO
		Did I?

Beavo touches her right cheek.

				BEAVO
		Did I?

Beavo touches her left cheek.  Marie is freaking out.

				BEAVO
		Did I?

				MARIE
		Stop it!  Stop it!!

Kimble turns to see what's going on.  He breaks away from Tommy, rushes to 
Beavo and pushes him away from the window.  Beavo charges him and Tommy comes 
up from behind and viciously hits Kimble in the back with the tire iron.  
Kimble sinks to the ground in pain.  Beavo wants to keep fighting but Tommy 
figures they'd better get out of there.

				TOMMY
			(to Beavo)
		Easy, easy.  C'mon, help me handle that tire.

They go to change the tire, leaving Kimble on the ground by the truck. After 
a moment, he pulls himself up by the door handle and comforts a whimpering 
Marie.

				KIMBLE
			(to Marie)
		It's all right.  It's all right now.  They're... 
		just a bunch o' kids.  It's all right.

Kimble walks unsteadily to the driver's side, gets in, puts the truck in 
gear, and drives off, past the delinquents and their little red pick-up/car.

				BEAVO
			(yells, to Kimble)
		Hey, Chuckie!  The name's Beavo!  Remember to 
		ask for me!

Beavo takes a sip from his beer can and smiles.  Their evil rock music 
BLARING from the radio, the three delinquents watch Kimble and Marie drive 
away.

								DISSOLVE TO:

INT. WICHITA POLICE HEADQUARTERS - DAY

Sgt. Rainey watches as a police DISPATCHER flips a switch on his radio and 
talks into the microphone.

				DISPATCHER
		Command One to One-L-Thirty-Five.  Come in, 
		please.  Over.

CUT TO THE FLOOD CONTROL CHECKPOINT

The uniformed CHECKPOINT OFFICER stands by his police car talking into the 
hand mike.

				CHECKPOINT OFFICER
		One-L-Thirty-Five.  Over.

BACK TO POLICE HEADQUARTERS

				SGT. RAINEY
		Uh, this is Detective-Sergeant Rainey at 
		Command One.  Has the 2:10 bus to Joplin, 
		number 73, passed your position yet? Over.

Gerard, conferring nearby with Capt. Ames at a wall map, turns his attention 
to the radio call.

				CHECKPOINT OFFICER (o.s.)
		About an hour ago.  Most of the passengers got 
		off when they heard that the highway ahead was 
		flood-alerted.  

BACK TO THE FLOOD CONTROL CHECKPOINT

				CHECKPOINT OFFICER
		An auxiliary bus just picked 'em up and took 
		'em back to the city.  Over.

BACK TO POLICE HEADQUARTERS

				SGT. RAINEY
			(to Gerard)
		Lieutenant, the word we got from Fredonia is 
		that the bus from here's more than a half hour 
		overdue.

				CAPT. AMES
		I'm sorry about this, Lieutenant, uh... But 
		even if your wife had stayed on the bus, it's 
		likely it was just some sort of mechanical 
		breakdown.  We're sending a car out to check 
		the entire stretch of highway.

				GERARD
		How serious is it?

				CAPT. AMES
		I don't know.  I understand there's a lot of 
		pressure on the Tilden dam.  There's nothing to 
		be concerned about yet.  She's probably on the 
		way back on the auxiliary bus.  She's in safe 
		hands.

								CUT TO:

EXT. RAILROAD YARD - TILDEN, KS - DAY

The pick-up truck carrying Kimble and Marie roars past an empty rail yard.  
The nearby water tower reads: TILDEN.  Inside the truck, Marie is 
half-asleep.

				KIMBLE
		Be there any minute now, Mrs. Lindsey.

Marie is startled awake.  The truck's engine makes an odd KNOCKING sound.  
Kimble checks the fuel gauge: the needle's on empty.  The truck coasts to a 
stop.

				MARIE
		Are we there?

Kimble looks ahead.  There's still a long way to go yet.

				KIMBLE
		We're there.  It's, uh, only a few more feet to 
		walk.  Think you can make it?

Marie nods.  Kimble gets out carrying his travel bag.  He crosses to the 
passenger side and helps Marie out of the truck, drapes her coat over her 
shoulders, and leads her forward.

								CUT TO:

EXT. MAIN STREET - TILDEN, KS - DAY

Kimble with one arm around Marie leads her into town.  They round a corner 
and enter the Main Street.  There's not a soul in sight.  A sign reads 
WELCOME TO TILDEN but there's no one to welcome them.  It's a ghost town.  A 
crumpled scrap of wind-blown paper crawls across the ground as Kimble looks 
around, concerned.

				MARIE
		How much further?

				KIMBLE
		We're almost there.  You'd better rest a while.

Kimble leads Marie over to a bench in front of some boarded-up store windows 
and sits her down.  Kimble starts to move off but she grabs his arm.

				MARIE
		Mr. Carver!

				KIMBLE
		I won't be far.  You rest a while.

Marie lets go of him.  Kimble walks over to a CAUTION sign with a flashing 
light that sits in the middle of the street.  He inspects the poster that's 
been tacked to it:

				EVACUATION 
				  NOTICE
				    *
			    BY ORDER OF THE
			FLOOD CONTROL AUTHORITY
			     THE TOWN OF 
				 TILDEN
		  WILL BE EVACUATED ON OR BEFORE
		     	   10 AM APRIL 23RD

Kimble doesn't look too happy.  He spots a nearby telephone booth, crosses to 
it, drops in a coin, and dials the operator.  Marie hears the coin drop and 
grows worried.  Kimble listens for a moment.  Nothing. He hangs up the 
receiver, leaves the booth and rejoins Marie.

				MARIE
		Something's happened, Mr. Carver.  What is it?  
		I'm all right.  I know I won't be suddenly able 
		to see again but I don't want to be lied to 
		again.

				KIMBLE
		Town's been evacuated.  There's no one here.

				MARIE
		The phones.  What about the phones?

				KIMBLE
		They're all dead.

Kimble takes Marie's arm.  She rises and they start walking.

				MARIE
		Are we going back to the truck?

				KIMBLE
		I think we're better off here for now.

Kimble and Marie walk through the empty, boarded-up town.

								FADE OUT

EXT. MAIN STREET - TILDEN, KS - DAY

Kimble and Marie slowly make progress down Main Street.  Another EVACUATION 
NOTICE mocks them from afar.  Over a building, next door to a beauty salon, 
is a more hopeful sign: VALLEY TELEPHONE EXCHANGE.  Kimble sees it and leads 
Marie to the building by the arm.  He pulls a board from one of the windows 
and peers in.

				KIMBLE
		There's a switchboard inside this building.  We 
		may be able to get a line through.  Don't be 
		frightened.  I'm gonna break some glass.

Using his elbow, Kimble punches out a pane from the front door, reaches in 
carefully, and opens it.  

				KIMBLE
		Come on.

Kimble takes Marie's arm and leads her inside.

								CUT TO:

INT. VALLEY TELEPHONE EXCHANGE - DAY

Kimble leads Marie through a door marked EMPLOYEES ONLY, into a little 
switchboard office, and looks around.  Against one wall is a cot, used by the 
night operator during the late shift.  Kimble sets Marie down on the cot, 
unzips his jacket, crosses to an ancient telephone switchboard, and starts to 
study it.  As he tries different switches, plugs, wires, etc., a tense Marie 
fidgets.

				MARIE
		Would you mind if I asked you to keep talking 
		to me?  Uh, you can talk about anything, just 
		anything at all.  Um, what-what-what do you do 
		for a living?

				KIMBLE
		Jobs.  Odd jobs.

				MARIE
		For a moment back there at the accident, I 
		thought that you might be a doctor.  

Kimble gives her a worried look.

				MARIE
		I think believing that might have carried me 
		over that... that one moment.

A long pause.  Kimble's preoccupied with the switchboard.

				MARIE
		Mr. Carver.  You are still there, aren't you?

				KIMBLE
		I'm still here.

				MARIE
		I don't know...  I don't know why I thought you 
		had to be a doctor.  It's just the... incredible 
		conceit of the individual I suppose.  Always 
		believing that whatever happens or whatever had 
		happened, some divine providence will allow you 
		personally to survive.

Kimble cranks the switchboard and talks into a headset.

				KIMBLE
		Operator?  

As Kimble talks, Marie leans back against a wall, rests her head, and shuts 
her eyes.

				KIMBLE
		Operator?  Operator?  Operator? Operator?

Kimble sees Marie drifting off to sleep.  He puts the headset down, rises, 
and crosses to her, taking her arms by the wrists.

				KIMBLE
		Mrs. Lindsey?

				MARIE
		Hmmm...

				KIMBLE
		Mrs. Lindsey?  

Marie jerks awake, startled.

				KIMBLE
		It's all right.  It's all right.  It's Steve 
		Carver.  You were just sleeping.  It's all 
		right.

				MARIE
		The switchboard.  What about the switchboard?

				KIMBLE
		The lines are all dead out of here.

Kimble and Marie hear the sounds of SQUEALING tires and an automobile ENGINE.
Kimble checks the window but can't see much because of the boards.

				MARIE
		Somebody's come back.  They've come back, 
		haven't they?

				KIMBLE
		I'll go take a look.  
			(takes her hand)
		I want you to do something for me.

Kimble leads Marie over to the switchboard.

				KIMBLE
		You sit here.  

Kimble sets Marie down in front of the board.

				KIMBLE
		One of these circuits has got to go through.  
		They're probably trying to repair the line 
		already.  Now, this is the key to try to call 
		the operator. 
			(puts her hand on the key) 
		When the lines are repaired, she'll answer.  
		You'll have to speak to her through this.  
			(hands her the headset) 
		Can you do it?

Marie nods.

				KIMBLE
		Good.  I'll be back in a few minutes.

Kimble heads for the door.

				MARIE
		Mr. Carver.  

Kimble pauses wearily in the doorway.

				MARIE
		Is there really a chance of getting something 
		on this line or is this just occupational 
		therapy for the blind?

				KIMBLE
		Now, there's a chance, Mrs. Lindsey.

Kimble walks out the door.  Not realizing he's gone, Marie keeps talking.

				MARIE
		You know, it really doesn't seem very important 
		right now but that's not really my name, Mr. 
		Carver.  
			(beat)
		Mr. Carver?

								CUT TO:

EXT. MAIN STREET - TILDEN, KS - DAY

Kimble exits the telephone exchange and hears the dreaded sound of rock 
MUSIC.  He peers up Main Street and sees the delinquents' car/pick-up parked 
up the block.  Reluctantly, he walks toward it.

								CUT TO:

INT. VALLEY TELEPHONE EXCHANGE - DAY

A light flashes on the switchboard in front of Marie.

				OPERATOR (o.s.)
		Operator.  Operator.

				MARIE
			(into the headset)
		Yes?

				OPERATOR (o.s.)
		This is the Fredonia operator.

				MARIE
		Operator, don't cut me off.  Can you hear me?

				OPERATOR (o.s.)
		Yes, ma'am.  I can hear you.

				MARIE
		Operator, we need help.


								CUT TO:

INT. RESTAURANT - DAY

Kimble's shadow appears on the restaurant's window moments before he enters 
to see Joannie in her heels standing atop the bar swaying in time to the 
MUSIC, Beavo inspecting bottles while perched atop a booth, and Tommy using 
the tire iron to break into a cabinet.  Kimble makes eye contact with Joannie 
who merely smiles at him.  Kimble approaches Tommy just as he opens the 
cabinet and starts taking glasses out of it.

				TOMMY
			(casually)
		Hi, Chief.  Small world.  Beavo dry.  Thought 
		it was refill time.

				KIMBLE
		Before, on the road, I asked you to help me.

				TOMMY
		Wait.  Wait-wait-wait-wait-wait wait a minute.  
		Don't tell me.  Ya got change for a fifty.

Beavo SMASHES a bottle to the floor.  Kimble realizes he's dealing with a 
bunch of incorrigible animals but he tries to stay calm.

				KIMBLE
		Before I asked for it.  Now, I've got to have it.

				TOMMY
		Got?  How's that again, Chief?

				JOANNIE
			(sits on the bar, to Kimble)
		Come on, tell me, I wanna hear.  Where's the 
		blind woman?

Joannie shuts off her radio.

				KIMBLE
		Down the block.  Trying to get a direct phone 
		line through.  If she can't, if we can't get 
		her somewhere where they can help her, she can 
		slip back into shock.

				BEAVO
		Bingo!

Beavo has found a usable bottle of wine and brings it over to Tommy at the 
bar.  Joannie laughs happily.  Tommy fills the glasses.

				JOANNIE
			(to Kimble)
		Go on, mister.  What'll happen then?

				KIMBLE
		Well, she could die.  If she can't get help, 
		she could die.

				TOMMY
		Hard [lines?], Chief.

				BEAVO
			(tries pulling Joannie off bar)
		Come on, Joannie, come on, huh?

				JOANNIE
			(resists and stays put)
		Aw, come on, Beavo.  
			(to Kimble)
		She could really die?  Right here, huh?

Beavo grabs the bottle, takes a swallow, and returns it.

				KIMBLE
		That's why we have to get her somewhere where 
		they can help her.

Beavo wanders off and exits the restaurant under the following:

				TOMMY
		Somewhere they can help her.  Well, we'll just 
		have to figure out, Chief.  Yeah, tell you 
		what, why don't you, uh, just have yourself a 
		drink on the house?  Here.  
			(pours a glass for Kimble)
		Here.  Go on, take a sip.  Drink. 

Kimble makes no move, just looks at Tommy in disgust.

				TOMMY
		Hey, you've really got a problem, Chief.  
		Somebody really pulled the plug on you.  You're 
		in the middle of a vacuum.  Yeah, that's why we 
		cruise around here.  There's... nobody to bug ya.  
		No fuzz.  No heat.  Really free, like you're all 
		alone in the world.  Just like somebody came 
		along, dropped the bomb.

Ominously, Tommy does a quiet imitation of the bomb going off.

				KIMBLE
		Where's the nearest town that hasn't been 
		evacuated?

				TOMMY
			(pretends to think it over)
		Town? Uh, er, uh, maybe Hanleyville.  
			(to Joannie)
		What do you think?  

Joannie gets down off the bar and wanders away.

				TOMMY
			(to Kimble)
		Ah, wait-wait-wait-wait-waitaminute.  Seems to 
		me I heard Hanleyville was three feet 
		underwater.

Tommy continues to ponder the issue as Joannie PLAYS some more music, a slow 
spooky surf guitar piece.

				KIMBLE
		She needs help now.

				TOMMY
		Relax, Chief.  Drink your drink.  You gotta 
		think this out.

Tommy brandishes the tire iron.

								CUT TO:

INT. VALLEY TELEPHONE EXCHANGE - DAY

Marie talks into the headset.

				MARIE
		Hello?  Yes.  
			(beat)
		Yes, I'll wait.

Across the room, an eye appears at the window.  It's Beavo, staring and 
grinning at Marie.  He enters the telephone exchange.  And appears in the 
doorway of the little switchboard office just as Marie's call goes through.

				MARIE
		Hello?  Yes.  This is Mrs. Gerard.  Mrs. Gerard.  
		Yes.  I want to speak to Lieutenant Philip 
		Gerard.

CUT TO WICHITA POLICE HEADQUARTERS

Sgt. Rainey takes the call.

				SGT. RAINEY
			(to Marie)
		Hold on, I'll get him for you.

Sgt. Rainey crosses to Gerard at the city map.

				SGT. RAINEY
		Lieutenant, it's your wife.  We still haven't 
		got word from the bus.  She must have gotten 
		off with the others at the roadblock.

Gerard rushes to the phone and picks up.  Throughout the call, we CUT AND 
BACK FORTH from POLICE HEADQUARTERS to the TELEPHONE EXCHANGE.

				GERARD
		Marie, where are you?

				MARIE
		Philip.  I'm in a little town.  I don't 
		remember the name.  I took a bus this morning
		and there was--

				GERARD
			(grim)
		I know that.  I want to know why you're doing 
		this.  Tell me.

				MARIE
		Doing this?

				GERARD
		You know how close we might be to Kimble.  You 
		know what this means to me.  And still you do 
		this.  Why?

				MARIE
		Philip.  I want you to come and get me.

				GERARD
		I see.  This is some sort of test.  A choice 
		between you and Kimble.

				MARIE
		No.  It's not a test.  There's been an accident.

				GERARD
		What happened?  Are you all right?

				MARIE
		It's a little late to ask that.  I just want to 
		know whether or not you're coming to get me.

A pause.  Gerard's lips tighten.  He glances over at the city map.

				MARIE
		If you have to think about it, Philip, don't 
		come.

Marie puts the headset down and pulls the plug on her husband.

				GERARD
		Marie?  Ma-?

Gerard looks around nervously and hangs up the phone.

								CUT TO:

INT. VALLEY TELEPHONE EXCHANGE - DAY

An upset Marie suddenly senses Beavo's presence in the office and assumes 
he's Kimble.  She rises and approaches him.

				MARIE
		It's going to be all right.  I got through.  
		They're sending an ambulance.  

Beavo stares at her, fascinated by her blindness.

				MARIE
		Some of the roads are-are still blocked so they 
		don't know how much time it will take.  But 
		it's coming.  Mr. Carver?

Beavo starts WHISTLING tunelessly.  Marie grows nervous and backs away.

				MARIE
		Mr. Carver?

Beavo makes a sudden move causing Marie to stumble against a wall. Beavo 
grabs some ledgers off of a filing cabinet and begins to throw them at Marie, 
terrifying her.  After the third ledger is thrown, a disoriented Marie 
blunders into Beavo and sinks to the floor in sheer terror.

				MARIE
		Mr. Carver!  Mr. Carver!

Marie can't take it anymore and SCREAMS.

								CUT TO:

INT. RESTAURANT - TILDEN, KS - DAY

Down the street, Kimble hears the screams and makes a move for the door but 
Tommy, tire iron in hand, quickly blocks him.

				TOMMY
		Wait a second, Chief.  Now, we're gonna help you 
		out.  There's lots of people wouldn't get 
		involved but, us, we're gonna help you.

Fed up, Kimble grabs Tommy, throws him against the bar, and grabs the tire 
iron.  Tommy immediately starts pleading with Kimble who's got him by the 
collar.

				TOMMY
		No, wait-wait-wait!  Wait!  We didn't mean it!  
		We were gonna help you, honest! Honest, we're 
		only kiddin'!  
			(to an amused Joannie)
		Tell 'im, Joannie!  Tell him!

Marie keeps SCREAMING.  We see a FLASH CUT of Beavo terrorizing Marie in the 
Telephone Exchange.  Kimble takes off, out the door.  Tommy runs out after 
him with Joannie bringing up the rear.

								CUT TO:

EXT. MAIN STREET - TILDEN, KS - DAY

Kimble emerges from the restaurant and runs down the block.  Tommy and 
Joannie hop in their pick-up/car.

								CUT TO:

INT. VALLEY TELEPHONE EXCHANGE - DAY

Marie crawls away from Beavo as he hears Tommy HONK the car horn a few times.
Beavo rises and ducks out the door.

								CUT TO:

EXT. MAIN STREET - TILDEN, KS - DAY

Beavo runs out the front door of the exchange just as Kimble arrives. They 
collide and struggle briefly before Beavo throws him into the wall and runs 
into the street.  Beavo dives into the flatbed of Tommy's car as, tires 
SQUEALING, it races by and out of the town.  Kimble watches them go.  He 
hears Marie whimpering inside the exchange and rushes inside.

								CUT TO:

INT. VALLEY TELEPHONE EXCHANGE - DAY

Kimble rushes into the switchboard office and comforts a distraught Marie, 
holding her in his arms.

				KIMBLE
		It's all right.  It's all right.  Don't cry.  
		It's all over now.

								CUT TO:

INT. WICHITA POLICE HEADQUARTERS - DAY

Gerard stares at Kimble's wanted poster, thumbtacked to a bulletin board. He 
turns slowly from it and reaches a decision.  He crosses to Sgt. Rainey and 
Capt. Ames.

				GERARD
		I'll need a car and a driver.
			(almost ashamed)
		I want to go to my wife.

				SGT. RAINEY
		It may take a little while to trace the call.  
		We can radio en route when we get the word.

Gerard nods and Sgt. Rainey leaves to make arrangements.  Gerard and Capt. 
Ames make uneasy eye contact.  Gerard crosses to the city map, still dotted 
with flags, and gestures to it.

				GERARD
		Kimble's... not like other criminals.  People 
		-- decent people -- will hide him.  Lie for him.  
		It's always been that way.  You can't believe 
		anybody.

				CAPT. AMES
		Don't worry, Lieutenant.  If he's in there, 
		we'll dig him out.

				GERARD
			(totally unconvinced)
		Yes.  Yes, I'm sure you will.

Gerard goes at once to look at a wall map of the region east of Wichita.

								FADE OUT

INT. MAIN STREET - TILDEN, KS - DAY

FADE IN on Kimble escorting Marie down the street and into the restaurant.  
Long shadows: the sun is setting.

								CUT TO:

INT. RESTAURANT - TILDEN, KS - DAY

Kimble leads Marie through the darkened restaurant and sets her down gently 
at a booth.

				KIMBLE
		That better?

				MARIE
		Better.  Those people.  What were they?

				KIMBLE
			(crossing to the bar)
		Just people that are gone.  People you don't 
		have to think about anymore.

				MARIE
		Yes.  Yes, that's just the idea.  I won't... 
		I won't think about them.  I'll put them with 
		all the other things I don't have to think 
		about.  

Behind the bar, Kimble opens a cabinet.

				MARIE
		I was able to get the operator to put another 
		call through for me.  Did I tell you that?

				KIMBLE
		Another call?

				MARIE
		Well, it wasn't anything important.  What's 
		important now is that I get the doctor to 
		prescribe a drink for me.

				KIMBLE
		Almost everything's locked up.  
			(pulls a tray from the cabinet)
		Cheese and crackers.  
			(finds Tommy's wine bottle)
		Half a bottle of wine.

				MARIE
		I'll take it.

Kimble takes some fresh glasses from the bar.

				MARIE
		Are-are the lights on in here?

				KIMBLE
		There's no electricity at all.  They must've 
		turned it off when they decided to evacuate the 
		town.

Kimble joins her at the table with the wine, cheese, and crackers.

				MARIE
		I don't know why that makes me feel better.  May 
		I... have some of that wine now?

Kimble pours a glass and places it in her hand.  Marie takes a sip. Kimble 
sits opposite her and pours himself a glass.

				MARIE
		Back on the bus, a man said something about 
		being the last two people left in the world.  And 
		here we are.

								CUT TO:

EXT. COUNTRY ROAD - DAY

The sun sinks low in the sky as a police car with a flashing light barrels 
down the road.  At the wheel, a uniformed officer.  Beside him sits an 
unhappy Gerard -- en route to his wife in Tilden -- mistakenly thinking that 
he's left Richard Kimble behind.

								CUT TO:

INT. RESTAURANT - TILDEN, KS - DAY

Kimble and Marie sit across from one another, eating and drinking.

				MARIE
		How long were you married?  You were married, 
		weren't you?

A stunned Kimble looks at her.  How could she know that?

				MARIE
		Mr. Carver?

				KIMBLE
		Yes, I was married.

				MARIE
		I could tell.  You have a... a quality.  Not 
		quite beaten but badly burned.  What was it?  
		Divorce?  Separation?  Desertion?  Act of God?

				KIMBLE
		I suppose you could say act of God.

				MARIE
		I... I'm sorry.  I don't know why I said that.  
		Were-were there any children?

				KIMBLE
		No.

				MARIE
		Oh, that's too bad.  Or maybe it's good.  I-I'm 
		never sure.  Um, I'm talking too much, aren't I?  
		And I can't stop.  It's all I've got to hold onto.  
		And you can't hold onto words, can you?

Marie holds out her empty glass to Kimble.

				MARIE
		Please.

Kimble pours reluctantly -- alcohol's not the sort of thing a doctor gives to 
a possible concussion case.  Marie takes a sip.

				MARIE
		Umm...  Tell me.  When you were married, were 
		you happy?  Please, this is what I want to know.  
		Were you happy?  

A long pause.  Kimble doesn't know how to respond.

				MARIE
		What's the matter, Mr. Carver?  Hasn't everyone 
		ever asked you that?

				KIMBLE
		Not for a long while.
			(beat)
		I guess we were happy.  It's been a long time, 
		I don't remember.

				MARIE
		That's not something you forget.

				KIMBLE
		I didn't say I'd forgotten.  I said I didn't 
		remember.

Marie leans back, rests her head, and shuts her eyes.

				MARIE
		Please, Mr, Carver, would you tell me about it?  
		Don't be angry.  Start anywhere.  Tell me about 
		anything.  But, please... talk to me.

								CUT TO:

INT. VALLEY TELEPHONE EXCHANGE - DAY

In the darkened, deserted office, a light flashes on the switchboard. The 
board BUZZES mournfully with no one there to answer it. 

								CUT TO:

INT. WICHITA POLICE HEADQUARTERS - DAY

Sgt. Rainey is on the phone.  He addresses Capt. Ames who turns from a wall 
map.

				SGT. RAINEY
		Captain?  No answer yet.  But the call did 
		originate from the Tilden board.

Capt. Ames picks up the radio mike.

				CAPT. AMES
		L-Nine, L-Nine, this is Command One.

CUT TO GERARD'S POLICE CAR

Gerard has the mike.

				GERARD
		Command One, this is L-Nine.  Over.

BACK TO POLICE HEADQUARTERS

				CAPT. AMES
		Telephone call originated in Tilden.

CUT TO POLICE CAR

				GERARD
		Tilden?

				CAPT. AMES (o.s.)
		Your best bet will be Highway 6.  You should be 
		there in less than two hours.  

Gerard makes eye contact with his driver who nods.

				CAPT. AMES (o.s.)
		Good luck, Lieutenant.

				GERARD
		Thank you.

The police car, its lights flashing, races down a country road.

								CUT TO:

INT. RESTAURANT - TILDEN, KS - DAY

Kimble and Marie still sit at the booth in the darkened restaurant. Kimble 
talks, for the first time in years, about his marriage.  There is a strange 
look on his face, one of quiet pleasure.

				KIMBLE
		We hadn't planned to get married, not right 
		away.  But my reserve outfit was called up for 
		Korea.  We spent our honeymoon in San Diego.  
		Town was so crowded that... she had to stay at 
		the YWCA.  Every night I could get off, I'd 
		walk her... back there... kiss my wife 
		good night in front of the door of the YWCA. 

Marie listens, a dreamy look in her eye.

				KIMBLE
 		Even after the war, it was a while before we 
		could afford our own place.  First one wasn't 
		much.  Two whole weeks of nothing but painting.  
		I guess we were happy then.

				MARIE
		Where was that?  Back in that small town you 
		mentioned?

				KIMBLE
		Yeah, back in S--  
			(catches himself)
		Back in that small town.

				MARIE
		It must be very painful, being asked to go over 
		all of that again.

				KIMBLE
		No, it wasn't.  Wasn't at all.  So long ago, 
		I'd almost forgotten.  I thought there was 
		nothing back there.  Just some dust and dead 
		leaves.

				MARIE
		It helps?

				KIMBLE
		It helps.

				MARIE
		Maybe we could bottle it.  Stop the world to 
		look around pills.  Just the thing for people on 
		the run.  Where I come from, nobody runs.  It's 
		that kind of town.  It's a perfect circle.  
		There's nothing to run to... and there's 
		nothing to run away from.  The only thing to do 
		is to wait around until the movie theater 
		changes its bill.

				KIMBLE
		Every Wednesday.

				MARIE
		And sometimes on Saturday.

				KIMBLE
		Only when it's a foreign movie.

They both smile broadly at this.

				MARIE
		You've been there.

				KIMBLE
		Another town with another name but I've been 
		there.

				MARIE
			(slides her glass to him)
		Any more?

				KIMBLE
			(inspects the empty bottle)
		[Dead soldier?].

				MARIE
		After faithful service, as my husband would say.  
			(beat)
		I was able to get a call through to my husband.  
		He's back in the city.

				KIMBLE
		Will he be coming here?

				MARIE
		No.  I didn't tell him.  So he won't be coming 
		here.  I should explain my marriage to you, Mr. 
		Carver.  What you see before you is the losing 
		end of a modern day triangle.  I lost my 
		husband some time ago to a... will-o'-the-wisp... 
		who drifts in and out.  Twisting our lives.  The 
		little man who wasn't there.  He wasn't there 
		again today.  
			(bitterly) 
		He's never there.  Never there.  You... 
		probably read about it, it was in all the 
		newspapers. You did get newspapers in that 
		town of yours?

				KIMBLE
		Two of them.
			(beat)
		One and a half, to be exact.

				MARIE
		Oh, well, then you couldn't've missed-- 

An odd look crosses Marie's face.

				MARIE
		One and a half?

				KIMBLE
		It was sort of a local joke.  The one paper, the 
		Call-Dispatch, came out only twice a week so 
		everybody said one and a half.  

A long pause as Marie realizes he's talking about Stafford, Indiana.

				MARIE
		The Call-Dispatch?

				KIMBLE
		Yeah, wasn't much of a joke.  You'd have to come 
		from a town like that to understand it.

				MARIE
		Yes, I guess you would.

Another pause as Marie wonders:  a once-married, reticent, odd job man who 
talks like a doctor and comes from Stafford?  Could it really be Kimble?  She 
has to find out.

				MARIE
		Mr. Carver, you never told me.  How long were 
		you and Helen married?

Now it's Kimble turn for an odd look to cross his face.  Did he actually slip 
up and mention his wife's name?  He's not sure.

				KIMBLE
		Helen?

				MARIE
		Isn't that what you said her name was?

Kimble figures he must have mentioned the name -- how else would Marie know 
it?

				KIMBLE
		Yes, that was the name, Helen.

Abruptly, the lights pop on and the restaurant's jukebox WAILS a noisy jazz 
instrumental.  A startled Marie jumps out of her seat.  Kimble rises and 
grabs her arms.

				KIMBLE
		It's all right.  

The pinball machine makes a lot of NOISE.  Kimble holds a shaken Marie in his 
arms.  She buries her head in his chest as he tries to soothe her.

				KIMBLE
		The power's just come back on.  That's a good 
		sign.  That's a good sign.  It means the town's 
		out of danger and the people'll be coming back.

The jukebox is all lit up.

				KIMBLE
		The music started, remember?  We're back in the 
		world again. 

Marie clutches his collar tightly, certain now that he’s Richard Kimble.

				MARIE
		Oh, you've done so much.  Promise me... Promise 
		me one more thing.  Un-until they come -- till 
		someone comes -- please, please, promise me you 
		won't leave me.  Promise me.

Kimble looks uneasy as the jazz record winds to a close.

								FADE OUT

EXT. MAIN STREET - NIGHT

FADE IN on beautiful downtown Tilden, Kansas on a cool spring evening. The 
town's lights burn brightly but the street is still deserted.  A clean-shaven 
Kimble emerges from the Telephone Exchange and walks into the street, smoking 
a cigarette, and searching for any sign of the ambulance.  Nothing.  He 
crushes out the cigarette, takes another look around and reenters the 
building.

								CUT TO:

INT. VALLEY TELEPHONE EXCHANGE - NIGHT

Marie sits at the switchboard, trying to place a call.

				MARIE
		Operator?

				OPERATOR (o.s.)
		This is the Fredonia operator.

Marie hears Kimble enter and quickly puts the headset down.

				MARIE
		Mr. Carver?

				KIMBLE
		No sign of the ambulance.  I don't know what's 
		taking them so long.

				MARIE
		I was just trying to get through to the 
		operator.  I wanted to see if there really was 
		someone out there.

				KIMBLE
		I think you ought to rest a while.

Kimble approaches her and takes Marie's arm.  She flinches at his touch. He 
looks at her, concerned.

				MARIE
		Oh, I'm sorry.  It was just so sudden.  
			(grabs his arm tightly)
		You won't leave me, will you?

				KIMBLE
		No, I won't leave you.

A puzzled Kimble pulls free of her grip and collects his toilet articles from 
a nearby table and sink.

				MARIE
		Oh, you won't be sorry.  It's not as though 
		there's any amount of money that could pay you 
		for what you've done but I'm going to make sure 
		that when we get back...  I'm going to make 
		sure--

The switchboard BUZZES.  Marie instantly grabs the headset.

				MARIE
		I've got it!  
			(into the headset)
		Hello?  Hello?

Throughout the call, we CUT BACK AND FORTH between Marie with Kimble in the 
TELEPHONE EXCHANGE and Gerard in a roadside PHONE BOOTH, the police car with 
its flashing light parked behind him.

				GERARD
		Marie?  It's Philip.  Are you all right?  I 
		just found out what happened.  Why didn't you 
		tell me?

				MARIE
			(nervously, to Kimble)
		It's-it's my husband.  He-he must've traced my 
		call.

				GERARD
		Marie?  Marie, can you hear me?

				MARIE
		Yes.  I'm all right.  What did you find out?

				GERARD
		About the accident, about what happened to you.  
		Have you sent for an ambulance?

				MARIE
		Yes.  From Fredonia.

				GERARD
		Marie, I want you to know that, uh, I was on my 
		way to you before I found out.  I... was on my 
		way.  It's important to me that you believe 
		that.

				MARIE
		Yes.  I believe that.

				GERARD
		We're... not far from Tilden now and it... won't 
		be long, I'll be there with you.

				MARIE
		Yes.

Kimble approaches Marie.

				GERARD
		I spoke to Margaret again and the children are 
		fine.  Marie.  Marie, look--

Marie senses Kimble hovering nearby and, afraid he might hear Gerard's voice, 
ends the call abruptly.

				MARIE
		I-- Sorry, I can't talk anymore now.  Good-bye.

Marie quickly puts the headset down, to Kimble's surprise.  A disappointed 
Gerard stands helplessly in the phone booth.  Confused, he hangs up the 
receiver.

								CUT TO:

INT. VALLEY TELEPHONE EXCHANGE - NIGHT

Kimble stands near Marie at the switchboard.

				MARIE
		Mr. Carver. 
			(rises)
		I'm very tired.  I think I will rest now.

Marie takes Kimble's arm and he leads her to the cot.  She sits and grasps 
his hand tightly.  An uneasy Kimble tries to break away.

				KIMBLE
		I'm, uh... gonna take another look for that 
		ambulance.  I might be gone for a while.

				MARIE
		No, please.  Please, don't go.

				KIMBLE
		You'll be all right now.  Nothing can happen to 
		you.

				MARIE
		You promised me you wouldn't leave me.
			(beat)
		You won't be sorry.  Did I tell you that I'm 
		going to see that you get a reward when we get 
		back?  What do you think of that?  You just 
		tell me how much you need.

				KIMBLE
		Need for what?

				MARIE
		Well.. for whatever you want.  You don't have 
		to worry.  I mean, you can just take the money 
		and go.  You don't have to worry about 
		publicity.

Kimble doesn't like the sound of that.  He pulls his hand free and starts 
backing away from her.

				KIMBLE
		What makes you think I wouldn't like publicity?  
		I, uh, I might like my picture in the paper.

				MARIE
		Mr. Carver.  
			(rises and tries to follow)
		Mr. Carver, please.  Please, don't run away 
		from me.  

Desperately, Marie grabs him by the collar and presses herself to him.

				MARIE
		Mr. Carver.  Steve -- it is Steve, isn't it? -- 
		I never told you but... but when you first got 
		on the bus... I saw you.  I know I did.  And, 
		uh, when I-I looked at you... all sorts of... 
		of wild fantasies crossed my mind... I thought 
		of... what it would be like if for some reason 
		you and I were to get away together.  And it 
		did happen.  But-but only a part of it happened.  
		Only a very small part.  Steve...

				KIMBLE
		You saw me?

				MARIE
		Yes.  

The switchboard BUZZES.

				MARIE
		Yes.

As the switchboard continues to BUZZ, Kimble breaks away from Marie and picks 
up the headset.

				MARIE
		Mr. Carver, don't leave me.  Don't run away 
		from me now...

				KIMBLE
			(into the headset)
		Hello?

CUT TO GERARD IN THE PHONE BOOTH

				GERARD
		This is Lieutenant Gerard.  

CUT TO THE TELEPHONE EXCHANGE

A stunned Kimble stares at Marie. 

				GERARD (o.s.)
		I'd like to speak to my wife again.

Marie listens apprehensively.  Kimble keeps staring at her.

				GERARD (o.s.)
		Marie?  Can you hear me?

Kimble puts down the headset.

CUT TO GERARD IN THE PHONE BOOTH

An unhappy Gerard hangs up the phone and leaves the booth.

CUT TO THE TELEPHONE EXCHANGE

Marie quivers with fear.

				MARIE
		Mr. Carver?  Steve?  Mr. Carver?

				KIMBLE
		You'd do anything to keep me here wouldn't you?

				MARIE
		Yes.

Marie backs up, feels her way to the office door, and blocks it.

				MARIE
		Yes.  Anything.  Anything!  
			(beat)
		Mr. Carver?

				KIMBLE
		Kimble.  Richard Kimble.

				MARIE
			(shakes her head violently)
		No.  No.  No, it's Carver.  Carver!

Kimble strides forward, pulls her out of the way, and hustles out the office 
door.

				MARIE
		No!  Please!  Please!  Help me!  Don't leave me!  
		No!

Marie desperately tries to follow.

								CUT TO:

EXT. MAIN STREET - NIGHT

Kimble emerges from the exchange and looks up and down the street.  No one in 
sight.  He starts walking.  Marie appears in the doorway.

				MARIE
		Kimble!  

Kimble stares at her a moment before heading down the street.

				MARIE
		You can't get away from me.  I won't let you get 
		away from me.  Kimble.  Kimble.  

Marie stumbles into the street and falls down.  Kimble pauses without turning 
around.

				MARIE
		Kimble!  Kimble!  

Marie struggles to her feet and starts walking.  She trips and falls again.  
Kimble looks back at her.  She's on all fours, sobbing.

				MARIE
		Kimble.  

Marie rises and promptly plows into a post.

				MARIE
		Kimble.  

Marie smashes into a hotel sign and collapses to the ground.  Kimble watches 
her with a mixture of sympathy and horror as she crawls along the street, 
crying.

				MARIE
		Kim-ble.  Kim-ble.

Kimble crosses to her, crouches low, and takes her by the arms.

				KIMBLE
		Let me take you back.  Don't do this stuff.

				MARIE
		No!  It began with you.  It'll end with you.

A siren WAILS in the distance. Kimble looks up in fear.  Is it Gerard? Kimble 
tries to get to his feet and run but Marie clutches at his jacket.  Bright 
lights appear at the far end of Main Street -- a police motorcycle and 
another vehicle of some kind.  They head toward Kimble and Marie.  Kimble 
stands helplessly as Marie, on her knees, grasps his jacket fiercely.  His 
hands dangle by her neck.  It looks for all the world as if he has just 
finished strangling her.  Kimble squints into the intense lights as they 
illuminate the scene.

The vehicles pull to a stop in front of Kimble and Marie: a motorcycle and an 
ambulance.  An INTERN, carrying a medical bag, jumps out of the ambulance and 
rushes over to Kimble and Marie.

				INTERN
		Sorry it took so long.  Some of the roads're
		still closed off.

Marie still clutches at Kimble's jacket but, as the Intern helps Kimble pull 
free of her death grip, she collapses into the Intern's arms, unconscious.  
The strain has been too much for her and she's all but blacked out.  As the 
Intern examines her, the motorcycle POLICEMAN joins them.  A second intern 
wheels over a stretcher.

				POLICEMAN
			(to the Intern)
		Need some help?

				INTERN
		No, thanks.  

The two interns lift Marie onto the stretcher.

				INTERN
			(to the 2nd Intern)
		Easy.

The Policeman, clipboard in hand, is already filling out his report. He turns 
to a nerve-racked Kimble.

				POLICEMAN
			(to Kimble)
		Excuse me but I'm gonna need some information 
		from you.  Your name?

				KIMBLE
		Steve Carver.

On the stretcher, Marie's eyes open.  She seems to be staring right at 
Kimble.  But then her eyes close and she drifts off to sleep.  An only 
mildly-relieved Kimble continues to stand with the Policeman as Marie is 
wheeled away.

				POLICEMAN
		I understand you had to break into a local 
		phone office.  Any other buildings?
			(senses Kimble's hesitance)  
		It's just routine, Mr. Carver.  We know you did 
		what you had to do.  We just need a record, 
		that's all.

				KIMBLE
		Just the bar down the block.  There were others.  
		They broke in.

				POLICEMAN
		Others?

				KIMBLE
		Yeah, two boys and a girl.

				POLICEMAN
		In a small red pick-up?  

Kimble nods.

				POLICEMAN
		The Highway Patrol already tagged them.
		Did you personally take or otherwise consume 
		any items that would total in excess of ten 
		dollars in value?

Kimble just stares at the Policeman dumbly.

				POLICEMAN
		Just for the insurance boys, Mr. Carver.

				KIMBLE
		No, nothing in excess of ten dollars.

				POLICEMAN
		I guess that covers it.  Will you sign here, 
		please?

The Policeman hands Kimble his clipboard and you can be pretty damn sure 
Kimble signs the right name this time.  As he returns the clipboard to the 
Policeman, another WAILING siren approaches.  Kimble and the Policeman watch 
as a police car rounds the corner.  With the Policeman momentarily 
distracted by this, Kimble slips away.  The police car pulls up next to the 
ambulance.  The Policeman turns back to Kimble -- but Kimble's long gone.  
Gerard pops out of the police car and rushes to Marie's side.

				GERARD
		Marie?  Marie?  It's me, Philip.

But she's unconscious.  The Interns lift her into the back of the 
ambulance.  Gerard and one of the Interns join her in the rear while the 
other Intern heads for the driver's seat and gets in.  All three 
vehicles -- ambulance, motorcycle, and police car -- drive off up Main 
Street and into the night, lights flashing, sirens WAILING, and leave 
the deserted town behind.

								FADE OUT

EXT. HOSPITAL - FREDONIA, KS - DAY

The next morning.  A sunny day.  A sign reads MATERNITY & PEDIATRICS -
AMBULANCE ENTRANCE.

								CUT TO:

INT. HOSPITAL ROOM - DAY

Gerard hovers nearby as a doctor finishes examining a half-conscious Marie.  
The doctor and a nurse depart leaving Gerard alone with his wife. He takes 
her hand and she sees him smiling at her.

				MARIE
		Philip?

				GERARD
		Shh.  No, don't-don't talk.  Just rest.

Marie touches his neck.

				MARIE
		Kimble?

Gerard puts his hand to her mouth.

				GERARD
		Don't talk.  I promised the doctor. I can only 
		stay if you don't talk and just rest.  As far 
		as Kimble's concerned, I... I got word just a 
		little while ago.  They didn't get him.  He 
		slipped through somehow.  And I was so sure 
		this time.  I'm always so sure.

Gerard takes Marie's hand from his neck and presses it to his chin.

				GERARD
		Marie, there'll be another time with Kimble.  
		And when the call comes, I'll go.  I have to.  
		He's stuck in my throat and I can't swallow 
		him.  Sometimes, it's as if Kimble were all 
		around me.  
			(beat)
		You're the only thing he hasn't touched, the 
		only part of my life he can't ever get to.  And 
		if I lost that, there'd be nothing left.  
		Nothing but the thought of Kimble choking at 
		me.

Now it's Marie's turn to put her hand to his mouth.

				MARIE
		No more.

				GERARD
		Sometime -- not now -- but, uh, sometime, I-I 
		want you to tell me about the accident, about 
		the man who helped you, everything.

				MARIE
		Yes.  Sometime.

				GERARD
		I-I spoke to Margaret again and, uh, she's 
		bringing the children down.  So I thought maybe 
		in a few days when you're all right perhaps we 
		could all go back together.  Just as if nothing 
		had happened.

				MARIE
		Nothing happened...
			(a long pause)
		Yes, that's the way it was. Everything 
		stopped... but nothing happened...

Marie drifts off to sleep.  Gerard smiles down at her, his hand still in 
hers.

								DISSOLVE TO:

EXT. HIGHWAY - DAY

Kimble walks from a dirt road to the side of a highway.  He looks around 
cautiously and sticks out his thumb. 

				NARRATOR (v.o.)
		For a brief moment, time also stopped for 
		Richard Kimble -- and, for a while, it had been 
		good to be able to stop and look back and find 
		that there was something there.  But now it is 
		over.  For the Fugitive, time has started 
		again.

A car comes down the highway and passes without stopping.  Kimble watches it 
go.  He glances around.  And starts walking.

								FADE OUT