The Fugitive

CUT TO: INT. HOSPITAL - MAN'S ROOM - DAY
A man, tube in nose, on two I.V.s, lays in bed with eyes closed. Kimble comes INTO FRAME near his face.
KIMBLE: Can you hear me, sir?
No response. The man is out of it. Kimble backtracks to the patient's closet and opens it. Hanging inside we see his clothes. He removes them and notices the man's untouched breakfast tray.

CUT TO: INT. RURAL HOSPITAL - NURSES' DUTY STATION - DAY
The Duty Nurse and State Trooper chat when a fax begins coming through on DESK FAX.
NURSE: There's your fax...

CUT TO: INT. PATIENT'S BATHROOM - DAY
Kimble dressing in the man's clothes. He eats a piece of toast -- part of the man's breakfast -- as he buttons up his shirt.
ANGLE - PATIENT His arm slowly reaches out and presses his nurses call button.

CUT TO: INT. NURSES' STATION - DAY
A fax photograph of Richard Kimble slowly comes off the duty station FAX MACHINE. Next to the machine the patient's call light comes on. The Duty Nurse, standing with the Highway Trooper, sees the patient's light come on and starts down the hall toward the patient's room.

CUT TO: INT. PATIENT'S BATHROOM - DAY
Kimble shaving when we hear the DUTY NURSE ENTER the patient's room. He moves OUT OF FRAME.
DUTY NURSE (O.S.): Mr. Patterson, do you need some more water?...
ANGLE - MAN'S EATEN BREAKFAST
The Duty Nurse looks from the tray to the man, impressed.
DUTY NURSE: ... Oh, you did a good job on this.
She takes his empty plastic pitcher and... pushes open the bathroom door -- no sign of Kimble -- and refills the pitcher from the sink.
DUTY NURSE: (over her shoulder, to patient) ... It does get dry in here, doesn't it?
She doesn't expect an answer, turns OFF the WATER, and goes into the main room. As the door closes we see Kimble behind it.

CUT TO: INT. HOSPITAL - HALLWAY - DAY
Kimble, clean-shaven, and wearing the patient's glasses and a doctor's white coat, moves down the hall to the emergency room exit. Suddenly the State Trooper steps back from the E.R. admissions desk with his newlyreceived fax, and starts down the corridor toward Kimble.
The Trooper looks up as the two men pass...
TROOPER: 'Scuse me, Doc?...
Kimble turns but continues slowly backing toward the E.R. doors behind him.
TROOPER: ... Don't know if you heard or not but we're looking for an escaped prisoner from that bus train wreck 'couple hours ago. Thought he might show up here if he was hurt.
KIMBLE: What's he look like?
The Trooper looks down at his fact sheet as we see a slow trickle of blood from a shaving nick begin winding down Kimble's cheek.
TROOPER: (from fax sheet) Approximately six one, 180 pounds, brown hair, brown eyes and beard.
At the last second Kimble feels the drop of blood and wipes it clean as the Trooper looks up.
TROOPER: ... Seen anyone that fits that description?
KIMBLE: Every time I look in the mirror ... but without the beard.
They laugh.
KIMBLE: Excuse me...
TROOPER: Sure.
Kimble moves through the E.R. doors as an ambulance parks outside...

EXT. RURAL HOSPITAL - EMERGENCY ROOM RAMP - DAY
Two PARAMEDICS try to take out a patient on a gurney. The lead wheels are stuck.
KIMBLE: Here...
Kimble helps clear the wheels so the collapsible gurney comes free.
PARAMEDIC #2: Thanks, Doc, we had to dig him out from under a train.
As the gurney comes out, Kimble looks right into the face of the Young Guard. The Guard's eyes suddenly open wide.
YOUNG GUARD: It's him... It's -
Kimble claps the portable oxygen mask back over the Young Guard's mouth and keeps his hand there. KIMBLE: How is he?
The Paramedics move him toward the ramp.
PARAMEDIC #1: He's pretty bad off. Broken leg, ribs. Concussion.
As Kimble moves away...
KIMBLE: Tell the E.R. doctor he's also got a perforated spleen.
He's gone... The two Paramedics share a look as they whisk the Young Guard inside.
PARAMEDIC #2: (impressed) Jesus, how could he tell that from looking at his face?
ANGLE - AMBULANCE Kimble climbs behind the wheel.

EXT. TRAIN CRASH SITE/OPERATIONS HEADQUARTERS - DAY
A full communications link is in place.
Deputy marshals answer phones, work faxes, add information to a situation board. Troopers bring in information. Poole calls Gerard.
POOLE: Background just came in from Chicago.
GERARD: Hit me.
Renfro and Poole lay out the details. The download of information comes clear and fast.
RENFRO: Richard David Kimble. Vascular Surgeon. Convicted of first-degree murder in the killing of his wife. Pleaded innocent. Claimed a one-armed -
GERARD: Let's not retry the case. Priors and accomplices?
Gerard steps up the hillside out of sight of the investigation to take a leak. Followed by Renfro and Poole.
RENFRO: None. No previous arrests.
Poole takes up a position discreetly behind tree as Gerard unzips his fly and relieves himself.
GERARD: Sealed juvie record?
Poole calls out from behind tree.
POOLE: Nothing. Total cherry.
GERARD: Relatives? Children?
RENFRO: No relatives
POOLE: One child. A son. Died in drowning accident three years ago.
GERARD: Girl friends? Ex-wives? Friends? Combinations of the above?
POOLE: Lot of friends. Doctors. Hospital staff.
Gerard zips up.
GERARD: Start there. Authorize taps. Cover his lawyer first.
RENFRO: Never get it.
GERARD: Bet me.
Renfro won't take it.
GERARD: Have Stevens go to Judge Rubin, he'll sign 'em.
... Biggs charges up the hillside.
BIGGS: DeLange Hospital. Wounded guard swears to High Holy he saw Kimble right there in the hallway. Ambulance, missing too.
ANGLE - SITUATION TENT Gerard moves quickly to the map.
GERARD: Give me a time.
BIGGS: O-nine-thirty. Twenty minutes ago.
Gerard redraws the circle of units. No longer are we covering a fifty-mile radius. The circle is redrawn, tightened, with the hospital as its center. The triangulation is set.

CUT TO: EXT. RURAL RAILROAD CROSSING - DAY
The ambulance follows three cars toward a rural railroad crossing.
COP (V.O.): ... We're waiting up here in Canton. Wondering if you heard anything on this Kimble chase --

INT. AMBULANCE - DAY
Kimble behind the wheel as he approaches the railroad crossing. The biocom monitors police chatter:
DISPATCHER (V.O.): Two-twelve-A, be advised that all discussion on this matter is to be conducted on a tactical
frequency -- either Channel K or Z. Over.
Frequency goes dead. Kimble looks THROUGH the windshield:
ROAD SIGN An arrow points toward Canton, two miles.
The cars in front slow as the railroad crossing signal suddenly activates and the bars begin to drop. Kimble pops the SIREN and hurriedly snakes through the crossing and heads in the opposite direction... but his maneuver gets attention.

INT. TRUCK CAB - DAY
Truck driver watches Kimble cut through the crossing and reaches for his C.B. radio.

EXT. CRASH SITE - DAY
Poole hangs up phone.
POOLE: Ambulance just spotted two miles west of Doverville. Heading north on State road 53.
Renfro turns to the map and marks it. The circle is much smaller.
RENFRO: Running outta map, Sam.
The crash site and hospital are already marked. Gerard
is ready to move.
GERARD: Just the way we want it. Okay, people, let's button up.
They move off to waiting State Trooper cars ffb and helicopter.

INT. AMBULANCE - DAY
Kimble driving down a rural road. He flips down visor and eyeballs folded roadmap...

EXT. SECONDARY ROAD (KENTUCKY) - DAY
... The ambulance crests a hill. In the distance we see the Grosvner Viaduct and the Barkley Dam.

EXT. HIGHWAY (KENTUCKY) - DAY
Blowing other traffic off the road, WHOOPING CRUISERS and G-cars stream south through the rugged rural terrain of Southern Illinois. Overtaking them all, a CHOPPER THUNDERS overhead.

INT. HELICOPTER
Heading into hilly terrain. Down below we see the ambulance. Inside the helicopter Gerard eyes the terrain.
PILOT: (into radio) We've got a visual...
PILOT (CONT'D): (to Gerard) He's heading toward the viaduct.
GERARD: Seal it up.

EXT. AERIAL VIEW OF GROSVNER VIADUCT - DAY
The two-lane road disappears into long tunnel. Three hundred feet below the road tumbles the Tennessee River.
The Barkley Dam rises ahead. Kimble's AMBULANCE ROARS into the tunnel to
ON KIMBLE suddenly sees the helicopter setting down ahead of him at
the mouth of the tunnel. Kimble slams on brakes and turns to retreat.
ANGLE - FAR END OF TUNNEL (BEHIND HIM)
Illinois Highway Patrol cars pull to a stop at the far entrance. Light flares. Set out road blocks.
ANGLE HELICOPTER - Gerard steps out followed by Renfro and Poole.
KIMBLE'S AMBULANCE comes to a stop, blocking traffic in both directions. Immediately HORNS begin BLARING.

EXT. TUNNEL - NIGHT
Trooper pulls up. Biggs and Newman behind Kimble blocking the other end. Troopers with guns drawn block the exits. The P.A. from a State patrol car blares:
P.A. (V.O.): Please remain in your vehicles and lock your doors. Repeat, please remain in -
ANGLE ON HELICOPTER - Poole and Renfro materialize already decked out in Kevlar. They're jacked up and ready to rock. Renfro hands Gerard a vest.
RENFRO: Got him.
Gerard unholsters a 40 caliber, Glock model 22.
GERARD: Okay, ladies and gentlemen, hard part's over.
He starts into the tunnel.
RENFRO: (to radio) We're movin' in.

INT. TUNNEL - DAY
Weapons drawn, but held discreetly at their sides, three silhouettes enter. Drivers who hadn't heeded the Troopers' P.A. warnings take one look at Gerard and quickly climb back inside and lock their doors. Biggs, Renfro and Poole fan out to the sides and give the middle to Gerard. The tunnel is quickly quiet. Kimble huddles at mid-tunnel. He's trapped. Drops to the ground beneath the truck. His heart pounding, brain clicking, fighting panic. Suddenly he realizes he's in water. Running water.
ON MARSHALS - They reach the mid-tunnel area. No Kimble. Biggs looks
around, beneath vehicles. Gerard listens. Poole looks confused.
POOLE: Where'd he go?
Gerard spots the trickle of water. He backtracks it until he finds a loose grate in the pavement. Man-size.
GERARD: Biggs, Renfro with me.

INT. STORM DRAIN - FORKING CONDUIT - DAY
Kimble splashes blindly through ankle-deep sluice. He slows at forking tunnels to catch his breath and pick a direction. A DULL ROAR comes from somewhere -- from everywhere. He whips off his jacket and slings it down a tunnel, then continues straight ahead.
Somewhere behind, lights probe splash-patterns on the conduit wall -- telltale signs of Kimble's passing. The lights belong to... Gerard, Biggs and Renfro. They push on, soon reaching the forking tunnels. Renfro finds the jacket ant splash signs.
GERARD: Channel Three.
They conform their radios. Splitting up, Biggs and Renfro go left. Gerard -- straight ahead.

INT. DOWNSLOPE CONDUIT - DAY
Kimble. Bracing with all four limbs. Negotiating a mossy downslope.

INT. CONDUIT - DAY
Biggs and Renfro. Sweeping his light as he advances. Searching for splash-patterns.
BIGGS: (into sho ffb ulder-mike) Nothing yet.

INT. CONDUIT - DAY
Gerard. Probing a branch-off tunnel with his light. About to pass, he notices scrapings on the mossy walls of the branch-off tunnel. Hand marks?
GERARD: (into radio) Got a possible here. Stand by.
He stows his light but hangs onto the Glock. Bracing with three limbs

INT. DOWNSLOPE CONDUIT - DAY
Gerard begins the tricky descent. Slips once. Recovers. Slips again...
And tumbles out of control. GUN and RADIO CLATTER AWAY.
Scrabbling for purchase, he finally snags an overhead pipe. Gerard stabilizes. Sweeps his light to locate his Glock, lying down-tunnel. He eases toward it.
But another hand gets there first. It's Kimble. Face dark and desperate. Dangerous. Hand
flexing on the pistol. They lock eyes for a beat.
KIMBLE: I didn't kill my wife.
GERARD: So, you didn't kill your wife. Not my problem.
An adrenal beat. For a moment they hold a look. Then the silence is broken by Gerard's radio.
BIGGS (V.O.): Gerard? You there?
Gerard looks for his radio, then back at Kimble -- he's gone. Instantly Gerard reaches for his ankle -- and pulls a back-up piece.

INT. CONDUIT - DAY
As Renfro hears FOOTSTEPS POUNDING his way.
ANOTHER ANGLE - Gerard charges down the tunnel. From a side tunnel, Renfro appears, almost colliding. Biggs follows...
GERARD: Straight ahead!

INT. CONDUIT - DAY
Kimble sticks Gerard's gun into his waist band to balance in the tunnel. He spills around a corner and stops. Ahead lies an orb of light. The tunnel ends. The NOISE is incredible. Kimble moves to the end of the tunnel and stops.
KIMBLE'S POV Water pours from the tunnel into the spillway of Barkley dam disappearing into a veil of mist below -- a great cauldron of mists. No rocks. None visible at least.
He hears the MARSHALS behind him -- COMING CLOSER.
ANGLE - MARSHALS Gerard and Renfro turn the corner. Renfro drops into a shooting stance.
GERARD: Turn around, hands over your head. And get down on the ground. For a moment Kimble eyes Gerard.
GERARD: Your choice, Kimble...
Kimble turns his back on the Marshals, stares again at the water. Slowly he puts his hands over his head. Gerard puts up his gun and pulls his handcuffs. He moves through the water toward Kimble.
GERARD: Get down on your knees.
Kimble bends slowly, stares down into the falls, hears the footsteps get closer, then does the unthinkable. He jumps.

EXT. BARKLEY DAM - DAY
Biggs moving to the top of the massive dam sees Kimble leap into the sheet of water spilling over dam and disappear into the mists below. He can't believe his eyes.

INT. DRAINAGE CONDUIT - DAY
Renfro lowers his gun.
RENFRO: (amazed) Sonofabitch...
It's the most amazing thing he's ever seen...
ON GERARD He stands at the mouth of the tunnel staring down. He stares down into the mists. Impressed. It has told him something invaluable about this fugitive.

EXT. TOP OF DAM - DAY
Gerard scrambles out of the tunnels to the top of the dam near Biggs, just as squad cars, troopers and the search helicopter converge on the site.

EXT. RIVERBANK - DAY
Far downriver a figure fights through a snag in the bend. The snag -- a tree branch -- breaks away and heads down stream. Hanging onto the branch we see Kimble.

EXT. BARKLEY DAM - LOWER RESERVOIR - SUNSET
Below the dam and spillway. Troopers in waders search the shallows, deputies beat bushes along the shore. Farther out we see a dredge boat slowly working the waters.
FROM SHORE Gerard watches the dredge cage come up again. As if with the next pass it will prove him the victor. The HEAD Illinois TROOPER CAPTAIN approaches.
HEAD TROOPER: Running out of daylight, Inspector.
GERARD: Lights and generators are coming, Captain.
HEAD TROOPER: Look, I don't mean ffb to tell you your job, but maybe one person in a million could've survived that fall. The guy's fish food.
Gerard turns and brings his look to bear on the Captain.
GERARD: Then find me the fish that ate him.
He turns and heads to a waiting helicopter.
Kimble runs through the woods. He staggers, his arm hooks a sapling which spins him to the ground. He lays motionless, exhausted.

KIMBLE'S DREAM - INT. KIMBLE'S HOUSE - DAY
ANGLE - Helen in bed. Kimble's hand comes INTO FRAME and touches her shoulder. She turns toward Kimble as he moves INTO FRAME and kisses her.
DISSOLVE TO: ANGLE - Helen tosses her head back. She wears white silk
pajamas and smiles down AT us. A hand reaches up and unbuttons the top two buttons of her top. Then Kimble moves up INTO FRAME as we -

DISSOLVE TO: EXT. BEACH - DAY
Helen running down beach TOWARD us. Embraces Kimble as we -

DISSOLVE TO: EXT. POOL - DAY
Helen's head comes up out of a pool. Hair tossed back, she smiles as we -

DISSOLVE TO: INT. KIMBLE'S CAR - NIGHT
Helen exiting Kimble's car the night of the murder. She looks back at Kimble, framed by the door frame, ant smiles.
HELEN: Good-bye. I love you.
Again... Then again... then:
HARD CUT TO:

EXT. FOREST - MORNING
Kimble comes out of his sleep with a start. Shivering. He remembers where he is. His breathing returns to normal.

EXT. TRESTLE - TUNNEL - MORNING
Kimble moves across a river trestle and disappears into tunnel.

INT. DRUG STORE - DAY
Kimble on pay phone in the rear of the store waits for party to answer. An old lady and her mother shop.
Across the store a pharmacist watches Kimble.
ANGLE - PHONE
Kimble watches the boys as he waits for answer. We hear RINGING, then a receptionist answers:
RECEPTIONIST (V.O.): The law offices of Gutherie, Morgan and Wainwright.
KIMBLE: Walter Gutherie please.
RECEPTIONIST (V.O.): I'm sorry, Mr. Gutherie has left for the day, would you like his voice mail?
Kimble hangs up and moves down an aisle, stopping in front of the hair color. He takes a box of black hair dye off the shelf and looks at the instructions. When he looks up he sees the pharmacist looking at him.

EXT. SONNY'S DINER - NIGHT
A roadside diner. Kimble, his hair now black, and wearing a new pair of Wranglers, hooded sweatshirt and a duffle coat, moves down the road to the diner.
Kimble enters. He sits at the counter and a sparky OLDER WAITRESS, late, mid-forties, with strong good looks and tough smile fills his coffee cup before he even asks.
OLDER WAITRESS: Need to look at the menu?
KIMBLE: Some soup, please.
OLDER WAITRESS: Good choice.
She marks her pad and leaves. Sights ant sounds around Kimble begins to occupy his attention:
A dishwasher buses a tub of dishes back to the kitchen. He stares at him.
A farmer sitting at a table stares at Kimble, Kimble looks away. A man at the pay phone seems to be staring at him. Is he calling the police? Everyone seems to be looking at him.
Someone stops in front of him. A young waitress serves him his soup. Where's the first waitress?
Takes a few sips of soup. Out of the corner of his eye he sees:
The Older Waitress putting on her coat to leave. Is she going to report him? He fights the paranoia.
A NEWS REPORT on the TELEVISION gets his attention.
ANGLE - TV
A report on the escape. A television reporter describes the chase for Kimble; his jump at the dam and his presumed death from the fall.
Kimble decides it's time to leave. He drops some money on the counter and exits.

EXT. DINER - NIGHT
Kimble moves across the parking lot trying not to run until he's out of sight of the diner. Once free of the lights of the diner he starts running and disappears into the night.

EXT. ROAD - NIGHT
Kimble running down the road. Fields ffb stretch out on both sides of the highway. Open land. From behind him we suddenly hear the sound of POLICE SIRENS. For a moment Kimble moves faster, then as the SIRENS COME CLOSER, his sprint drops to a jog... to a walk, until finally he stops and waits for the inevitable... But the flashing lights suddenly rip past him chasing a speeder. They weren't after him after all. Kimble looks at himself. He's shaking.
A moment later he is lit by headlights. A car pulls up next to him, passenger window rolls down...
OLDER WAITRESS
Need a ride?
Kimble stares at her.
KIMBLE: Which way are you going?
She smiles and points in the direction her car is traveling. They hold a look as we hear:
RENFRO (V.O.): We feel confident about the I.D.

CUT TO: EXT. HOUSE - DAWN
A quiet house on a quiet street out from town. A homeless woman picks through garbage. A garbage truck moves slowly down the street. A plumbing truck parked along a curb. Just early morning traffic.
We see Renfro and Newman watch the house from across the street, behind a deserted house. Gerard joins them. We see that Biggs is in the plumbing truck. Poole is the homeless woman picking through the garbage. Newman hands Gerard a radio.
RENFRO: Local officials were about to wet their pants to move in.
GERARD: I bet they were. (to radio) Where's the woman?
INTERCUT WITH: Biggs in the plumbing truck. He triggers his mike.
RENFRO: (into radio) Same room.
GERARD: (into radio) Okay... I'll take front. Biggs and Renfro, rear. Poole, handle support. I don't want anyone hurt. Stay outside unless called. Radios on three.
The deputies prepare their weapons. Newman checks his service issue .38, stares at Gerard's Glock.
NEWMAN: Uh, just want me to wait here, sir?
GERARD: Hell, no. You're with me, Newman. Let's go.

EXT. FRONT OF HOUSE - DAWN
DOOR CRASHES open, splintering the deadbolt right out of the door.
GERARD: U.S. Marshals. Down! Down!

INT. HOUSE - DAWN
Textbook perfect, Gerard and Newman rush into front room.
THEIR POV Down the hall a man's figure streaks across a doorway OUT OF VIEW.
A woman in the rear of the house BEGINS SCREAMING.
GERARD motions Newman to the left to check the door off the living room while he moves down the main hall into the back bedroom.
ANGLE - LIVING ROOM/NEWMAN
Clearly unnerved by the screaming woman, Newman opens door off the living room. The door opens into a smaller bedroom. He steps into - SMALLER BEDROOM
It's empty. Gerard appears at the other (hallway) door to the bedroom.
HALLWAY
Gerard motions Newman on to the door to the bathroom and continues down the hall into the back bedroom where the woman continues SCREAMING. He ignores her. His feet move silently, heel-to-toe. He checks the bathroom as Newman opens his connecting door -- empty -- then moves on toward the doorway to the kitchen. Gerard moves to the kitchen doorway. Running out of house. He braces himself swings into the kitchen -- it too is empty. Suddenly Gerard gets the bad feeling he's passed his prey.
CUT TO: SMALLER BEDROOM
Newman looks around, suddenly scared. The only place he didn't search was behind the bedroom door. He turns just as:
COPELAND surges out, knocks Newman's gun from his hand. In a flash, Copeland yanks Newman's arm behind his back and presses a knife against the deputy's neck and moves him out of the room.
We INTERCUT WITH: GERARD He hears Copeland moving somewhere in the front of the house.
COPELAND (O.S.): I got your man! Now I want outta here!
Gerard moves back through the bedroom past the SCREAMING woman. He locks in on the voice and sound of the moving fugitive.
ON COPELAND AND NEWMAN
Copeland listens but gets no response from Gerard. He backs through the second bedroom door, pulling Newman into the - LIVING ROOM
Newman's eyes are pure terror -- the blade pressed against his t ffb hroat.
COPELAND: (TO GERARD) You hear me? I said, I want out or I'll cut your man's throat!
GERARD: keeps moving down the hallway, through first bedroom, pauses at door to the second bedroom and chooses his course.
LIVING ROOM
Copeland positions himself between the bedroom door and the hallway opening. He's troubled he can't hear Gerard. Suddenly he hears a NOISE behind him at the bedroom door He whips Newman around and we see: A shoe hits the floor. Copeland realizes his mistake too late. He turns back to the hallway and there is Gerard. He never blinks. FIRES once killing Copeland instantly. The knife falls to the floor. Newman clutches his head, stunned but unhurt. Gerard now turns to the screaming woman behind him in the bedroom doorway.
GERARD: Shut up.
She does. Immediately.

EXT. HOUSE - MORNING
As coroners and tactical police mop up. Gerard moves across the yard, sips coffee from Styrofoam cup. He stops at a sheriff's car, Newman sits on back seat, shaken, nearly hysterical, clutching his ear.
NEWMAN: My ear... I can't hear a thing out of it. I can't believe you did that!
GERARD: You think I should have bargained with him, don't you?...
NEWMAN: Yes. You could've missed! You could've killed me!
GERARD: Yeah, you're absolutely right. I could've.
They hold a look.
GERARD: How bad's your ear?
NEWMAN: Terrible. I probably have permanent hearing damage.
GERARD: Let me see it.
Newman leans toward him. Gerard speaks into his ear.
GERARD: I don't bargain.
Gerard leaves. Newman watches him -- realizing what a truly unsettling man Gerard is.

EXT. CHICAGO PAY PHONE - MORNING
Kimble makes call. While he waits for phone to be answered TRAINS COME and GO in the b.g. An EL CROSSES OVERHEAD. The BELLS of Chicago River DRAWBRIDGE. Then
KIMBLE: Walter. It's Richard.