The Fugitive

INTERCUT WITH: INT. LAW OFFICES OF GUTHERIE, MORGAN AND WAINWRIGHT - DAY
Walter Gutherie answers phone from his office overlooking Lake Michigan.
GUTHERIE: Richard... Jesus, why did you run? Running only makes you look guilty.
KIMBLE: I wasn't worrying about appearances, Walter.
GUTHERIE: Tell me where you are. I'll come meet you so you can turn yourself in .
KIMBLE: I'm not turning myself in. I need money. Gutherie is silent. When he speaks again his speech takes on the lawyerly tone of a man who's covering his own bases.
GUTHERIE: Richard. You're asking me to harbor and aid a convicted felon... I can't help you that way. My advice -- both as a friend and as your legal counsel -- is for you to give yourself up. Now tell me... where are you?
Kimble picks up the change in his attorney's tone.
KIMBLE: (beat) St. Louis.
GUTHERIE: Give me an address. I'll be -
CLICK. Gutherie hears the LINE GO DEAD. Kimble's gone.

EXT. DOWNTOWN - DAY
Kimble stands in the doorway with cup of coffee. He considers his next move. Then seeing bank clock flash -- the time: 9:30 -- he knows what that move is.

INT. NORTH BANK TENNIS CLUB - DAY
An upscale mid-town tennis club. Behind glass windows of the entryway we see tennis courts. From the courts comes Dr. Charles Nichols still dressed in his warmups, carrying his tennis bag. A friendly DESK ATTENDANT (Sharon) smiles as he goes by.
DESK ATTENDANT: See you tomorrow, Dr. Nichols?
NICHOLS: Creature of habit, Sharon.

EXT. NORTH BANK CLUB - DAY
Dr. Nichols leaves the club. He tosses his gym bag into the back of his car and drives off.

INT./EXT. NICHOLS'S CAR - DAY
As he pulls up to the first stoplight, a homeless man moves toward the driver's side and begins washing his windshield. Nichols waves the man off.
NICHOLS: Not today, please
The man shuffles off. Just then a second man appears at his passenger window. He l ffb eans down to wave him away
NICHOLS: No. Not -
... then stops -- the face at his passenger window is Richard Kimble's.
NICHOLS: (stunned) Oh, my God... Richard...
Nichols rolls down the passenger window.
KIMBLE: How're you doing, Charlie?
NICHOLS: You're alive...
KIMBLE: Yeah. And I need your help.
NICHOLS: Anything.
KIMBLE: I need some money. Whatever you've got on you.
NICHOLS: Of course.
Nichols reaches into his gym bag in the backseat and digs for his wallet...
NICHOLS: Tell me where you're staying. I'll get you more money. Some clothes. Just give me an address...
KIMBLE: I'll call you.
Kimble glances around, the area is still clear. He looks back into the car and doesn't see the police car turn the corner and come up the street behind them. Nichols finds his wallet ant hands all the cash he's got to Kimble, who quickly pockets it.
NICHOLS: I know why you came back -- to find him. If I can help, call me... Call me.
They hold a look. The stoplight changes to green but they don't see it.
KIMBLE: Thanks, Charlie...
NICHOLS: Here, Richard, take my coat...
He reaches into the back for his coat, suddenly police car behind him POPS its SIREN. Nichols looks into his rearview mirror. Sees a COP lean out his window.
COP: (to Nichols) Hey, buddy -- green light. Let's go.
Nichols looks back at Kimble. He's gone.

INT. U.S. MARSHAL'S OFFICES (CHICAGO) - CLOSE ON AUDIO TAPE - DAY, REWINDING.
The media room -- just what it sounds like -banks of audio/video equipment and a sound board. Renfro rewinds the tape. Gerard, Biggs, Poole and Newman.
POOLE: We've alerted St. Louis P.D
GERARD: Call them back. Tell them you've made a mistake.
POOLE: What?
GERARD: (to Renfro) Stop it there.
Renfro hits play. Kimble's VOICE is heard again:
GERARD: Drop the voices.
Renfro removes the two voices. What comes up are the BACKGROUND SOUNDS. EXTERIOR NOISES (BELLS RINGING, TRAFFIC, MECHANICAL... TRAINS). Everyone becomes focused to the sounds now.
GERARD: (he's heard something) Listen.
BIGGS: Trains? Traffic
GERARD: More... there's a voice in the background.
At first the sound is unrecognizable. A BELL. GRINDING MECHANICAL. Then a P.A. VOICE on the tape: "Next stop Merchandise Mart."
RENFRO: That's an E1 announcement.
GERARD: And there's no E1 in St. Louis. Ladies and gentlemen, Richard Kimble is in Chicago. Poole, get his artwork out to local police and have C.P.D. check the shelters... Biggs, bring in the detectives that handled his case.
Instantly the room is in movement.
STEVENS: I'll prepare the press release.
GERARD: No.
Stevens stops.
GERARD: They don't know he's alive and as far as Kimble knows we don't either. I want to keep it that way as long as we can. Are we clear?
The whole group sense Gerard's intensity in regard to Kimble.
RENFRO: (for the group) Perfectly.
Gerard reflects on a moment of personal satisfaction.
GERARD: Noah... go to my office and let's officially take Dr. Kimble out of purgatory.

CUT TO: INT. llTH STREET STATION - DAY
Morning roll call. Kimble's photo distributed to cops by Detectives Kelly and Rosetti.
KELLY (V.O.): As of this morning Chicago P.D. was alerted to the reappearance of Richard Kimble.

INT. TRAIN STATION - DAY
Newman and Poole check train station. Looking for Kimble. They show his photo to homeless people. No help.

EXT. FRONT OF COOK COW TY HOSPITAL - DAY
Holding a handkerchief to his face, Kimble moves through arriving patients and enters Cook County Hospital.

INT. HOMELESS SHELTER - DAY
Renfro and Biggs check shelters for Kimble. They show his I.D. to administrator. Look around.

< ffb i>INT. GERARD'S OFFICE - DAY
The place is humming now. Detectives Kelly and Rosetti sit in front of Gerard. Gerard studies Kimble's file. Renfro sits in.
KELLY: Police units have also increased patrols around homeless shelters and mass transit stations in the city.

EXT. LOOP EL STATION - DAY
Police patrol the platform looking for Kimble.

INT. FRONT OF COOK COUNTY HOSPITAL - CORRIDOR - DAY
Kimble moves past security, then pockets the handkerchief and turns up a hallway, blending in with the indigents and poor.

CUT TO: INT. UPSCALE DOCTOR'S OFFICE - DAY
NURSE FLYNN, a woman about 45, attractive, smart, loyal. Poole and Gerard talk to her in an examination room.
FLYNN: I ran his office for twelve years. Yes, we were very close. But he wouldn't come to me for help.

INT. COOK COUNTY HOSPITAL - HALLWAY - DAY
Busy with doctors, orderlies and street people. Kimble moves down hallway and enters

INT. PROSTHETIC CLINIC - WAITING ROOM - DAY
He moves into the room and takes a new patient form, looks around. SEE BACK INTO the office area of the clinic. It could be any hospital clinic from this view. But as Kimble turns to leave we see a PATIENT waiting to be called. On his lap we see a prosthetic arm. Kimble
looks up from the arm to the man.
PATIENT: Good morning.
KIMBLE: Good morning.
As he turns to leave we hear:
ROBERTS (V.O.): Don't underestimate this guy...

CUT TO: INT. UNIVERSITY MEDICAL CENTER - SURGEONS' LOCKER ROOM - DAY
Dr. Roberts from the party, talks to Biggs and Gerard as he takes off scrubs to get into shower.
ROBERTS: R.K.'s one smart, cold sonofabitch... He did her, no question.

INT. COOK COUNTY HOSPITAL - BASEMENT - DAY
Kimble moves down the hallway containing the janitor's locker room. Janitors move in and out the door.

INT. KIMBLE'S OLD HOUSE - DAY
Gerard walks through Kimble's house. The art and most of the furniture is gone. Books are in boxes and shopping bags around the room. Plastic covers the remaining pieces of furniture. Gerard stares at the empty walls. Shadows on the walls show where the art once hung. Gerard pauses, tries to absorb the place. He takes a book from one of the bags and looks at it.

INT. COOK COUNTY HOSPITAL - JANITOR'S ROOM - DAY
Kimble moves past the lockers, racks and boxes of cleaning supplies, stops at a board listing work schedules, vacation leaves, locker numbers. Behind him a LOCKER SLAMS. As a janitor moves off to the showers we see his locker did not close but remains slightly ajar from the impact.

INT. JANITOR'S LOCKER ROOM - CLOSE ON LOCKER - DAY
Door opens revealing the janitor's clip on I.D. hanging from a green shirt. Kimble steals it.

INT. GERARD'S OFFICE - DAY
Gerard looks at the two detectives.
GERARD: Gentlemen, I appreciate the cooperation of the Chicago police...
He moves toward them.

INT. CLOTHING STORE - DAY
A SALESMAN stands on ladder looking through pants sizes.
SALESMAN: Did you say, 38/34?
KIMBLE: No. 34/34.
ANGLE ON SALES COUNTER - WHAP. A folded pair of green janitor's pants drops onto the counter in front of Kimble. He already has the green shirt to the uniform.

INT. SELF-SERVE PHOTO BOOTH - CLOSE ON RICHARD KIMBLE - DAY
Photographed.
ANGLE - SIDE OF THE BOOTH - Kimble takes the finished photos from the delivery tray.

CUT TO: INT. U.S. MARSHAL'S OFFICE - DAY
RENFRO: Was there anything in your initial investigation that would make you think Kimble would come back to Chicago.
ROSSETTI: The man definitely has friends here.
GERARD: What about lady friends?
KELLY: Not that we found.

CUT TO: INT. SALVATION ARMY STORE - CLOSE ON APARTMENT NOTICE - DAY
A card on a community bulletin board ffb advertises a basement apartment for rent.
BIGGS (V.O.): What about the man he claimed attacked his wife?
Kimble pulls the notice from the board as we -

CUT TO: INT. U.S. MARSHALS' OFFICE - DAY
Kelly and Rossetti share a look, a smile.
KELLY: Right... You ever been downwind of a stockyard when the breeze is blowing? That's where we were sitting when Richard Kimble told that one...

CUT TO: EXT. POLISH LADY'S APARTMENT - DAY
Kimble knocks at door. It is opened to reveal a PUNK KID, 18-20. He calls to someone O.S.

INT. POLISH WOMAN'S BASEMENT - DAY
A light comes on and an OLD POLISH WOMAN, her stockings rolled down her shins, leads the way down the basement stairs. The Punk Kid stands at the top of the stairs, watches Kimble.
ROSETTI (V.O.): We found nothing.
The Polish woman shows him a spare but sufficient bed and nightstand set up. She points to door leading up to the street.

INT. POLICE WOMAN'S BASEMENT - AFTERNOON
Kimble also at work at the bedside table. He carefully
cuts out his do-it-yourself photograph and places it over the existing photograph on the hospital I.D. The name on the I.D. says: Desmondo Jose Ruiz. Then he places a thin piece of lamination plastic and trims the edges. Kimble defaces the plastic to give it rough look, then examines the finished product not bad.

INT. MARSHALS' OFFICE - DAY
KELLY (O.S.): If this guy existed believe me someone would've found him.
ON GERARD He raises an eyebrow.

CUT TO: INT. DR. NICHOLS' OFFICE - CLOSE ON FRAMED PHOTOGRAPH - DAY
of medical residents. Two photographs next to each other. A young Richard Kimble and Charles Nichols.
NICHOLS (O.S.): Richard Kimble... I saw him two days ago.
We PULL BACK to see: Gerard studying the photos. Renfro looks up like someone's bitten him. He, Biggs and Gerard are in Nichols' administrative office. Gleaming. Filled with awards and photos of Nichols and influential people. Nichols hangs up his lab coat and slips back into his suitcoat. He shows no sign of nervousness.
NICHOLS: He stopped me in my car. I gave him some money.
GERARD: Where was this?
NICHOLS: Outside our tennis -- (correcting himself) -- my tennis club.
Gerard moves around Nichols' office taking in the details.
GERARD: Did he ask you for help?
NICHOLS: I volunteered. He wouldn't accept it.
GERARD: Why do you think he came back to Chicago?
NICHOLS: He didn't tell me.
GERARD: I didn't ask you that, sir. I'm sure he was trying to protect you from having to lie for him. Gerard continues to move around the room, study prints, books, drawings, awards and photos.
GERARD: If you're really his friend, you'll help us bring him in unharmed.
NICHOLS: Why, so he can go back to prison? If you want help, gentlemen, you've come to the wrong man.
Gerard finds a photo of Nichols and a gleaming Ferrari.
GERARD: Dr. Nichols, last year the U.S. Marshals' office closed out 11,003 warrants... 10,975 of those were captured. The twenty-eight others thought they were smarter than us... Now they're dead. (re: the photo) Nice car.
Gerard puts the photo down.

EXT. NICHOLS' OFFICE - DAY
Gerard and his deputies leave Nichols' outer office. Gerard clearly feels he's come to the right man.
GERARD: Stay on him.