The Fugitive

INT. HOTEL SECURITY - NIGHT
Newman watching the security monitors sees Kimble and Nichols. On another monitor we see Gerard exit the suite.

EXT. ROOF - NIGHT
Nichols runs.
Kimble recovers, sees Gerard moving down the fire escape toward him, and Nichols escaping. He goes after Nichols.
The helicopter circles back over the roof, illuminating the rooftop in its million-candle-power beam.
HELICOPTER PILOT (V.O.): I've got a visual on Kimble. He's running.

EXT. STREET - NIGHT
Kelly listens on his ratio.
KELLY: Bring him down.

EXT. ROOFTOP - NIGHT
Kimble chases Nichols down the roof as BULLETS from the helicopter rip into the air conditioning duct next to Kimble.
The helicopter swings out to keep Kimble in sight.
ON GERARD - Gerard hits the bottom of the fire escape and follows.
GERARD: (to radio) This is a United States Marshal. Get that helicopter out of here!
ANGLE - NICHOLS - He moves away among the duct work. Kimble follows. Gerard continues after Kimble. The helicopter circles and follows from above.

INT. PENTHOUSE/DOOR TO ROOF - NIGHT
Renfro triggers his radio.
RENFRO: There is a U.S. Marshal out there. Hold your fire!
HELICOPTER'S POV - FOLLOWING Kimble. Its beam tracking Kimble across the rooftop. He moves through the blowers and duct work. Kimble is gaining ground on Nichols.
ON SHARPSHOOTER - He is about to fire when he hears through his radio.
RADIO (V.O.): Hold your fire.
The shooter pulls back.

INTERCUT WITH: EXT. ROOFTOP - NIGHT
Gerard rushes across the roof toward Kimble.
ANGLE - NICHOLS - He is almost to the end of the roof when Kimble tackles him. The two men crash against sloped glass roof of an elevator housing.

INT. ELEVATOR SHAFT - NIGHT
Inside the shaft -- an elevator moves toward the roof. It stops on the floor ten feet below the roof. THROUGH the glass roof we see the doors open.

CUT TO: EXT. ROOFTOP
GERARD - NIGHT - charges toward - KIMBLE who slams Nichols hard against the glass. The WIRED GLASS CRACKS and bellies with the form of their bodies. Nichols' head rocks from the impact. The GLASS GROANS. The wire stresses. The caulking begins to drop. Nichols struggles but Kimble has him in control. Slams
him down hard again.
HELICOPTER circles, illuminates the struggle in its spotlight and Gerard closing.

INT. ELEVATOR SHAFT - NIGHT
The elevator doors close and the car beneath the skylight begins to descend.
GERARD pulls up.
GERARD: Kimble!
Kimble slams Nichols one more time against the glass and the wire holding the glass gives way, sending Kimble and Nichols into...

INT. ELEVATOR SHAFT - NIGHT
Kimble and Nichols, locked together, fall down the shaft and crash onto the roof of the descending elevator car. Nichols crashes through the ceiling into the car. Kimble hits and slides across the roof to the edge, stopping himself, just before he falls into the shaft. An elevator car rushes toward him out of the blackness.

EXT. HOTEL ROOFTOP - NIGHT
Gerard reaches the elevator housing, looks down into the shaft.
GERARD'S POV - Kimble's car disappears into the darkness.

CUT TO: INT. ELEVATOR CAR - NIGHT
Nichols pulls himself to his feet. Hits the emergency stop and the doors open. He disappears into

INT. HILTON LAUNDRY - NIGHT...
a huge industrial laundry room. Steam rises from the giant machines.

INT. ELEVATOR CAR/LAUNDRY - NIGHT
Kimble drops from the ceiling into the car and moves carefully into the laundry.
... like an industrial jungle. Dimly lit, filled with DEAFENI ffb NG MACHINERY. Five hundred pound bags of laundry move from a network of ceiling tracks to a pair of heavyduty conveyor belts and two thirty-foot long washers.
... At the other end of the washers, hydraulic presses stamp out three-foot diameter "cakes" which are moved by conveyor and dollies to automated dryers. The NOISE is DEAFENING.

INT. STAIRWELL - NIGHT
Gerard comes down back stairwell. Followed by Renfro.
GERARD: (to radio) Where did the elevator stop?
INTERCUT WITH NEWMAN IN SECURITY
Newman checks the computer board for the elevator position.
NEWMAN: (to radio) Level five.

INT. LAUNDRY - NIGHT
Nichols pushes through the hanging laundry bags toward an exit, tries the door. It is secured with a collapsible grating with a padlock. He looks up, keeps moving.
KIMBLE notices the swinging bags, follows Nichols' trail. He stops to get his bearings, sees shadow at the far end of the room between the two washers. Kimble closes in, moving between the large conveyors.
ANGLE - SORTING ROOM
Gerard enters sorting room with Renfro. He sees two sorters standing by a small conveyor as he enters.
GERARD: Get out of here.
He and Renfro move around the corner where a laundry worker is hooking a 500 lb bag of lines onto the overhead rail. A hydraulic lift, operated by a hanging on/off-switch raises the bag on a yellow steel I-beam. The worker takes one look at Gerard and abandons his station.
Gerard, Biggs and Renfro move to the closed doors of the main room.
GERARD: (to Renfro) We're going in. Give me five minutes. Keep C.P.D. out.
He draws his Glock, opens the door and enters the main room.

INT. LAUNDRY - ON KIMBLE - NIGHT
He moves to end of washers, using the machines as cover. He sees the shadow again takes a pole leaning against the dryer as a weapon, turns the corner and is about to belt him when he realizes it's not Nichols, but a laundry worker. Kimble moves away from the terrified man, when he hears a voice from the other end of the laundry.
GERARD (V.O.): (above the din) Kimble!...
Kimble reacts to Gerard's voice, moves away.
ON NICHOLS - moving behind machinery, sees light at far end of the
room where Gerard enters.
ON GERARD - The door closes automatically behind Gerard and Renfro. They enter the noisy main room and separate. Renfro moves up the far side of the room, Gerard up the center. Both move slowly through the maze of bags, carts, automated equipment.
GERARD: ... There is no way out of here. The building is locked down.
CUT TO: KIMBLE moves instinctively back into the machinery and carts near the conveyor belts.
GERARD (O.S.): Kimble... I know about Nichols. I know about Sykes. Kimble stops.
ON GERARD: GERARD
... Nichols borrowed your car the night of the murder and called Sykes from it.
RENFRO separated from Gerard. He hears a NOISE behind him -- a bag comes down the track at break-neck speed, Renfro spins, dodges it, gets his bearings and continues. KIMBLE
listening. He watches the movement of bags as he did with Nichols. GERARD moving through the forest of massive bags.
GERARD: ... That's why there was no forced entry at your house. He'd used your keys.
KIMBLE realizing what Gerard knows. Considering his next move.
NICHOLS also listening. He realizes Gerard now knows he's the killer. He moves behind the water softener tanks and chemicals -- and spots Renfro -- and something else -the hanging control for the I-beam. GERARD moves carefully. Another bag comes down the track. He dodges it and steps into an open track. From here he can see straight back toward the washers.
GERARD: Kimble... Come meet me out here. ON RENFRO
He steps out and then back as a bag shoots by. He ducks under the bag -- into the next track and suddenly hears a WHIRRING sound behind him. Renfro turns as an I-beam comes rushing down the open track and knocks him to ffb the floor, opening a gash across the side of his head. He lays still. NICHOLS steps out of the shadows, turns him over exposing his empty shoulder harness and takes the gun from Renfro's hand. Nichols moves toward Gerard with the gun. GERARD oblivious to this action, moves on, passes the conveyor belts. He makes one last appeal.
GERARD: It's time to quit running. . . if you don't, you know I'll stop you. He listens, there is no answer.
KIMBLE starts to move out to meet Gerard, sees Renfro down. His shoulder harness is empty. He knows Nichols is armed. GERARD moves into the alley between the two giant washers. He pauses, looks back, then continues, when he turns his back on us... NICHOLS
steps INTO FRAME behind him and slowly takes aim. Just before he fires however he hears...
KIMBLE (O.S.): Hey, Chuckles...
Nichols turns toward the voice as Kimble swings the stick and clocks him -- sending the gun skittering on the floor behind Gerard.
GERARD turns on the sound and finds his gun trained on Kimble with Nichols at his feet, unconscious. He realizes instantly that Kimble saved his life and lowers his gun. Kimble, exhausted, leans against the washer. They hold a look as deputies and police flood into the room surrounding Kimble and handcuffing him.