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ALL SCRIPTS





THE FUGITIVE


				THE FUGITIVE

					 by

			      Jeb Stuart and David Twohy











	FADE IN:

	EXT. CHICAGO - AERIAL - NIGHT

	CREDITS BEGIN OVER:

	Snow swirls around the tall buildings of downtown Chicago.

	EXT. CHICAGO HOTEL - NIGHT

	Cars, taxis, limos line the street. A cab pulls up and MAN 
	in tuxedo moves into:

	INT. CHICAGO HOTEL - BALLROOM - NIGHT

	THROUGH arriving guests we PICK UP the Man climbing stairs 
	to the ballroom.

	ANGLE - COAT CHECK

	The Man hands his coat to coat check woman and thanks her. 
	When he turns we get our first view of DR. RICHARD KIMBLE, 
	a tall, athletic man, with a trim beard.

	He moves from the outer lobby into a fabulously decorated 
	ballroom where a fashion show is taking place as a medical
	fundraiser. Doctors and their spouses, hospital brass and 
	sponsors mingle. Women sit near the runway watching the 
	models. Men talk by the bar. The room is packed.

	A banner over the rostrum says: "CHILDREN'S RESEARCH AND 
	AID FOUNDATION"

	Kimble is handed a glass of champagne, which he promptly 
	sets on another waiter's passing tray.

				ROBERTS (V.O.)
		Richard...

	DR. ROBERTS, a large surgeon, pulls Kimble over to a group
	of surgeons gathered around a bar. Smoking cigars.

				ROBERTS
		Cancun. Nat just talked everybody 
		into it...

	A hospital equipment rep, NAT, is buying drinks.

				KIMBLE 
		So, what's the deal? If the hospital 
		buys ten new -

				NAT
		No, no, no, no strings attached, Dr. 
		Kimble. Industrial Hospital Supply 
		has no ulterior motives.

				KIMBLE 
		On the house, huh?
			(to bartender)
		Tonic water with lime.

	Everyone agrees.

				KIMBLE 
		Never get me to sell my soul for one
		of those trips...

	His tone silences the group. Kimble takes his drink.

				KIMBLE
			(to Nat)
	 	... But if you get any more Bulls 
		tickets, Nat, give me a call.

	The group laughs, Kimble extracts himself and CREDITS
	CONTINUE OVER -

	CUT TO:

	KIMBLE

	Moving through the crowd.

	CUT TO:

	KIMBLE

	Nearly gets hit in the follow-through of an imaginary 
	golf swing.

				KIMBLE 
		You're slicing, Dave. Don't turn 
		your hip.

	He keeps moving.

				GOLFING MAN 
		Thanks, Richard...

	CUT TO:

	ANGLE - TOUGH-LOOKING LAB RAT

	KATHY WAHLUND, totally out of her element amid the formal 
	elegance around her. She wears a leather jacket over 
	T-shirt and stares at the action on the fashion runway.

				DR. WAHLUND 
			(dripping sarcasm)
		I'm so glad you talked me into 
		coming, Richard... I can pick my
		cruise wardrobe.

				RICHARD 
		It's for a good cause, Kath... 
		Besides you need to get out of the
		lab more. Your electron microscope
		is starting to give you a tan.

	She smiles. He moves on.

	ANGLE - PARTY

	Kimble continues down the bar when he spots a friend...

				KIMBLE
		Hey, Jim.

	DR. JAMES NICHOLS turns, smiles. Mid-40s, head of the 
	University Hospital. He is a fit contemporary.

				NICHOLS
		Richard, I just saw someone who 
		wanted to meet you...

	Just then Kimble spots an attractive WOMAN, late thirties, 
	wearing a drop-dead, simple black gown. She's surrounded by
	a group of men hanging on her every word. She and Kimble 
	catch a look and hold it.

				NICHOLS (V.O.)
		Richard Kimble... Alex Lentz. Alex
		is working on the RDU90 trials for 
		Devlin-Macgregor.

	Kimble turns to meet DR. ALEXANDER LENTZ, late 30s, tan, 
	smiling. Lentz extends his hand...

				LENTZ
		Dr. Kimble... Sorry, we've been 
		trading phone calls last few days 
		... something about a biopsy report 
		I returned to you?

				KIMBLE
			(suddenly attentive)
		Yeah... Three. Livers appeared 
		hepatetic to me.

				LENTZ
		I'll be in my office in the morning 
		and I'll pull up the samples. Is that 
		a good time for you?

				KIMBLE
		Sure.

				LENTZ
			(holds Kimble's look, 
			then to Nichols)
		See you, Jim.

	Lentz moves on. Kimble looks after him a beat, then focuses 
	on relocating the Woman he just saw. She's gone. He and 
	Nichols move together through the party.

				NICHOLS
			(digs in his pocket)
		Before I forget, I went by the garage
		this afternoon and picket up the 
		Ferrari. Thanks for the loaner again.

	He hands Kimble a valet ticket.

				KIMBLE
		They fix it this time?

				NICHOLS
		We'll see.

	They reach the Woman Kimble saw, his wife, HELEN KIMBLE. 
	Kimble kisses her.

				NICHOLS
		You look fabulous, Helen.

	He kisses Helen.

				HELEN (WOMAN)
		Hello, Jim.

				NICHOLS
			(to Kimble)
		We've got a court tomorrow at three.

	Nichols leaves. Kimble looks at his wife.

				KIMBLE
		Well, I've seen everyone, can we 
		leave?

				HELEN
		That would be a little abrupt, don't 
		you think?

	CUT TO:

	ANGLE - KIMBLE'S TABLE - NIGHT

	A table for ten. Kimble and Helen introduce themselves to 
	others at table ant sit across from each other.

	Kimble sits between two doctors' wives. One, NOW EAU WIFE, 
	mid-thirties, bedecked in jewels and loud dress, the other 
	OLDER WIFE.

	Helen sits between their husbands who are trying to impress 
	her with the details of their boring studies as CREDITS 
	CONTINUE...

	INTERCUTTING WITH the fashion, catches of dialog and course 
	changes, Kimble and Helen demonstrate an oft-used exchange 
	of glances: Kimble, while gracious to his dinner partners, 
	catches Helen's eye and makes smiling, subtle movements to 
	his watch or a look to the door to indicate he's clearly 
	ready to leave. On the receiving end, Helen, the gatekeeper 
	of their social propriety, indicates with equal subtlety: 
	"not yet."

	As we MOVE AROUND the table we hear:

	"Where's your husband on staff?" "My husband's an orthopod 
	at Northwestern." "I'm working on a new technique..." 
	"That's fascinating..." "That's quite a marvelous dress 
	you're wearing." "Do you like it? My husband says it's a 
	'four-fracture number."' "Honey." (A look from her husband.)

	Kimble shares a look with Helen. He subtly motions to his 
	watch: time go to, and mouths the word: "now." She shakes 
	her head.

				NOW EAU WIFE
			(to table)
		I told my husband that he was going 
		to kill us if he didn't stop 
		operating. What with this AIDS thing, 
		he's putting us all at risk.

	Helen and Kimble absorb this comment without reaction, share 
	a look. Helen mouths the word: "Now."

				HELEN
			(to her dinner partners)
		I'm sorry, I have to get my husband 
		home.

	They say their good-byes and pass Nichols' table. Nichols 
	shakes his friend's hand in passing. From across the room we 
	see Lentz watching.

	INT. KIMBLE'S MERCEDES - NIGHT

	Kimble and Helen driving home. She runs her fingers through 
	his hair as he drives.

				HELEN
		You looked handsome tonight...

				KIMBLE
		Thank you...

	He smiles to himself, seems to enjoy the compliment too much 
	for Helen. Her smile becomes playful, mischievous.

				HELEN
		Uh, huh... most men in a tuxedo look 
		like waiters...

				KIMBLE
		But me?

				HELEN
		You looked more like... a band 
		director.

	He stops at red light, leans over and kisses her. Light 
	changes and neither notice. Slowly their kiss breaks.

				HELEN
		Are we home yet?...

	CUT TO:

	EXT. KIMBLE'S HOUSE - NIGHT

	Kimble pulls up in front of his house. Suddenly both his 
	PAGER and CAR PHONE RING at the same time.

				KIMBLE
			(to phone)
		Dr. Kimble
			(suddenly attentive)
		When? Okay, tell them I'll be there 
		in ten minutes.

	He hangs up.

				KIMBLE
		Tim's got a problem.

	Helen kisses him again, opens the door.

				HELEN
		Call me on your way home.

	CREDITS END as we -

	CUT TO:

	INT. UNIVERSITY HOSPITAL - HALLWAY / SCRUB ROOM - NIGHT

	Kimble, wearing scrubs but without head gear, moves down 
	stairs to the OR hall.

	He sticks his head into the operating room.

				KIMBLE
		Cavalry's here.

	Two harried surgeons look up, glad to see him.

	SCRUB ROOM

	Kimble begins scrubbing as the RESIDENT comes out to bring 
	him up to speed.

				RESIDENT
		Patient is a male, forty-three. We 
		pulled his gall bladder and the 
		bleeding started.

				KIMBLE
		What's his pro time?

				RESIDENT
			(concerned)
		He's at 36 seconds. We got a major 
		bleeder in here.

				KIMBLE
		You talk to the family?

				RESIDENT
		None. He's off the street.

	CUT TO:


	INT. UNIVERSITY OF CHICAGO - OPERATING ROOM - NIGHT

	Operation in progress. Top medical facility filled with 
	trained professionals and state of the art equipment. Kimble 
	is assisted across the table by the chief Resident. Both 
	working so intently they never look at each other as they 
	talk...

				KIMBLE
			(to Anesthesiologist)
		Okay... I'm clamping. Can he 
		tolerate it?

				ANESTHESIOLOGIST
		He's a very sick guy.

				KIMBLE
		Do we have a choice?

				ANESTHESIOLOGIST
		Go for it.

				KIMBLE
		Marie, give me a clamp...

	MARIE, the scrub nurse, passes him the instrument and Kimble 
	and the other SURGEON continue to work with the Resident 
	assisting.

				KIMBLE
			(never looking up)
		Your husband know you're here tonight,
		Marie?... What about this liver?

				RESIDENT
		History's sketchy. Could be an 
		alcoholic.

				KIMBLE
		Who referred him?

				RESIDENT
		He's on a drug protocol. RDU90.

	Kimble looks up and shares a look with the chief Resident 
	over their masks, then back to work.

				KIMBLE
		The wave of the future... Marie, you 
		told Frank yet? Frank is so jealous 
		of this late night thing we've got 
		going here... This should hold him. 
		Bleeding's stopped. Let's get a 
		biopsy...
			(to circulating nurse)
		Send it downstairs and make sure you 
		get Kath her slice.

				SURGEON
		You staying for the closing, Rich?

	Kimble moves away and sheds his gloves and gown.

				KIMBLE
		No. I got a date.

	INT. SCRUB ROOM - NIGHT

	Kimble throws away his hat and mask. The door opens behind 
	him; it is the other Surgeon.

				SURGEON
		Hey, Richard...

	Kimble turns.

				SURGEON
		Thanks.

	CUT TO:

	INT. KIMBLE'S CAR - NIGHT

	Kimble driving through empty Chicago streets toward home. 
	He is on phone, waits for answer.

				KIMBLE
		Hi. I'm five minutes away...

	INTERCUT WITH:

	INT. KIMBLE'S TOWNHOUSE - NIGHT

	Helen on the phone, downstairs. She is still in her gown with 
	an afghan around her shoulders. She's been reading.

				HELEN
		I'm glad it went well. I'll see you 
		in a minute.

	Helen hangs up phone, turns out the light and starts up the 
	stairs.

	CUT TO:

	EXT. CHICAGO STREET - NIGHT

	Kimble driving.

	INT. KIMBLE-S TOWNHOUSE - DRESSING ROOM - NIGHT

	Helen moves down the hall toward the dressing room/closet.

	Opens the door to large closet dressing room and turns on 
	the light. Nothing. She starts to leave and decides to close 
	one of the interior closet doors.

	She starts to slide the door closed when - wham!

	A hand reaches out and clutches her by the neck. Helen 
	claws and scratches to get free and in her struggle her 
	string of pearls bursts...

	... and a single pearl bounces out of the bedroom... rolls 
	across the landing to the stairs, stopping three steps from 
	the top.

	CUT TO:

	EXT. KIMBLE'S TOWNHOUSE - NIGHT

	Snow swirls around the street as Kimble's car pulls into the 
	driveway. On the third floor, we see a bedroom light still 
	on.

	INT. KIMBLE'S TOWNHOUSE - NIGHT

	A GRANDFATHER CLOCK TICKS softly. Kimble tosses his keys on 
	the entry table, picks up a stack of mail on the table and 
	calls up the stairs.

				KIMBLE
		I'm home. Did you hear who won the 
		Bulls game?

	No answer. He steps into the:

	KITCHEN

	The wall phone shows a line in use. Kimble notices it. The 
	WASHER BUZZES, he switches the clothes from washer to dryer,
	and STARTS the MACHINE. Takes a bottle of wine and two 
	glassesand leaves the kitchen.

	INT. BEDROOM - CLOSE ON .38 SMITH AND WESSON - NIGHT

	Lies on the floor, beside Helen's legs and the receiver of 
	phone, off the hook. A man's rubber-gloved hand picks up the 
	gun.

	INTERCUT WITH:

	INT. DOWNSTAIRS - STAIRS - NIGHT

	Kimble starts up the stairs to the bedroom...

	INT. BEDROOM - NIGHT

	Helen's hand reaches out presses the cradle down, dials

	ON KIMBLE

	Climbing the stairs... suddenly stops.

	A small white ball on the stairs. He bends down and picks 
	it up... a pearl.

				KIMBLE
		Helen?

	Silence. He can see directly into the bedroom. It's quiet. 
	Too quiet. He notices a lampshade on the floor.

	UPSTAIRS HALL - NIGHT

	Kimble moves slowly to the opened doorway. And just before 
	he enters he sees a large form in the crack behind the door. 
	Adrenal surge.

	Kimble slams the door back on the figure knocking the gun 
	free. Before Kimble can move to it a forearm flattens him. 
	The attacker immediately goes for the gun. Kimble grabs a 
	leg and twists him down, the man's fingers hit the gun, 
	sending it skittering across the hardwood floor of the 
	landing and over the edge - three flights to the entry 
	hall below.

	SIRENS can be heard. Distant but APPROACHING.

	The man kicks free and tries to flee. This time Kimble 
	catches an arm and twists it at an unnatural angle. To his
	shock, the limb detaches between the shoulder and elbow.

	Kimble looks at the arm in his hands - it's hollow. 
	Electrodes are visible inside - then to the man's unreadable 
	face...

	The SIRENS are LOUDER...

	Before Kimble can recover, the One-Armed Man knocks Kimble 
	down and grabs back his arm. He runs down the stairs.

	Kimble pulls himself up and starts to follow but is stopped 
	by a VOICE behind him in the bedroom...

				HELEN (O.S.)
		He's here... still in the house...

	INT. BEDROOM - NIGHT

	Lying by the bed, Helen Kimble, clutches the phone with one 
	hand, her head with the other.

				911 (V.O.)
		Did I hear you right? Your attacker 
		is still in the house? Ma'am?

				HELEN
		He's trying to kill me...

	Kimble appears. Helen drops the phone when she sees him.

				911 (V.O.)
		Will you repeat that please?

				HELEN
			(to Kimble)
		Richard... He's trying to kill me... 
		my head.


	EXT. KIMBLE'S TOWNHOUSE - NIGHT

	Two Chicago police cars wheel to the curb, COPS move quickly 
	to the house.

	INT. BEDROOM - NIGHT

	Kimble moves to her. Sees the necklace of bruises where she 
	was held down and choked. And then a bullet wound in her 
	leg. She's already going into shock. Her speech turns thick.

				KIMBLE
		Hang on, babe... going to be all 
		right.

	Her fingernails dig into Kimble's arm, trying to hold on.

				HELEN
		My head. Richard my hold me.

	Her eyes slip away from his. He peels away the hand on her 
	head - and sees raw pummeled brain staring back and realizes 
	she won't be all right.

	CAMERA SWINGS DOWN TO the dropped phone.

				911 (V.O.)
		... Hello. You said his name is 
		Richard? Ma'am, can you talk to me? 
		Ma'am?

	CUT TO:

	INT. KIMBLE'S HOUSE - NIGHT

	The Cops enter the house. See the .38 lying on the floor. 
	Covering each other, they move quickly up the stairs - guns 
	drawn.

	ANGLE

	Third floor. The First Cop, gun drawn, turns the corner of 
	Kimble's bedroom and finds:

	Kimble holding his dead wife. Blood on his hands.

				COP #1
		Move away from her.

	CUT TO:

	INT. KIMBLE'S TOWNHOUSE - NIGHT

	Kimble, numbed by the event, washes the blood off his hands 
	in the kitchen sink. A cop takes his blood-stained tux 
	jacket, and another hands him a parka.

	EXT. KIMBLE'S TOWNHOUSE - NIGHT

	The street is filled with Chicago police cars, curious 
	neighbors, television news vans, etc.

	Kimble is helped into a police car as the coroner's van 
	arrives. He pauses a moment to watch as we hear.

				DETECTIVE KELLY (V.O.)
		Can you give us a little more to go 
		on besides the fact that he had an 
		artificial arm? What kind of gun was
		it, Doc?

	INT. 11TH STREET DISTRICT HOUSE - NIGHT

	CAMERA FINDS Kimble in an interview room. He is in "why" 
	shock. "Why her." "Why me?" Says nothing. Two Detectives: 
	KELLY and ROSETTI. Kelly, the questioner, is overweight, 
	aggressive. He shifts his gun on his hip so he can sit down.

				KIMBLE
		It was .38... I think. I only saw it 
		for a second. I knocked it out of 
		his hand.

	As Kimble is questioned we INTERCUT WITH flashes of the 
	murder scene being processed:

	FLASH - INT. KIMBLE'S HOUSE - NIGHT

	Forensics technicians photograph the .38 at the base of the 
	stairs.

				DETECTIVE ROSETTI (V.O.)
		Do you own a gun, Dr. Kimble?

				KIMBLE
		Yes.

				DETECTIVE ROSETTI (V.O.)
		What kind of gun?

				KIMBLE
		A .38 Smith.


	FLASH - FORENSICS TECHNICIAN DUSTS CRYSTAL LAMP

				DETECTIVE KELLY
		Did you have your key with you tonight, 
		Dr. Kimble?

	FLASH - COPS

	Checking doors of house for signs of forcible entry.

	BACK TO SCENE

	PHONE RINGS. Rosetti answers it. Kimble watches him write 
	something down, he slides it to Kelly.

	FLASH - MEASURE "NECKLACE" OF BRUISES ON HELEN'S NECK

	DETECTIVE KELLY (V.O.)
	Your wife was loaded wasn't she? I mean, she was worth quite 
	a bit of money.

	BACK TO SCENE

	Kimble looks up at the two cops. For the first time he seems 
	to sense something aggressive in their questioning.

	They no longer seem on the same team.

				KIMBLE
		What's going on here? This guy was 
		trying to rob us.

	The two cops stare at Kimble.

				KIMBLE
		You guys have got to be out of your 
		minds. I didn't kill my wife!

	He gets up to go. A cop blocks his path. He turns and looks 
	at Kelly.

				DETECTIVE KELLY
		Let's start over, Dr. Kimble. What'd 
		you have for breakfast?

	CUT TO:

	INT. 11TH ST. POLICE STATION - NIGHT

	Kimble in his tuxedo shirt and black tie holds a booking 
	number plate in front of him as a mug shot is taken... 
	front, then side.

				MAN (V.O.)
		We're all adults here so I'll lay it
		out...

	EXT. NEWSSTAND - DAY

	Chicago Sun-Times has a photograph of Kimble spread across 
	the front page.

				MAN (V.O.)
		... If you two come up with a deal, 
		I'll listen, but let me make one 
		thing perfectly clear.

	INT. ELECTRONICS SUPERSTORE - DAY

	Salesmen continue to hawk sets. Kimble's photograph comes 
	up on a hundred TV monitors across the store.

				NEWS REPORTER (V.O.)
		Police are revealing no details in 
		the case against Chicago surgeon...

	INT. KIMBLE'S CELL - DAY

	Kimble lays on his bunk. Thinking...

				MAN (V.O.)
		... It's an election year...

	INT. JUDGE'S CHAMBERS - DAY

	CAMERA MOVES THROUGH smoke-fillet room to find tough FEMALE 
	PROSECUTOR, a man in late forties, WALTER GUTHERIE, and STOPS 
	ON the source of the voice we've been hearing and the cigar: 
	JUDGE BENNETT, late fifties. Fair but, no nonsense, political 
	survivor.

				JUDGE BENNETT
		... and this case is a heater. It 
		will not end up a bench trial...

	INT. COOK COUNTY JAIL - CORRIDOR - DAY

	Richard Kimble in County lockup fatigues and a navy watch cap 
	moves down long corridor, escorted by GUARD.

				GUTHERIE (V.O.)
		We've had private investigators 
		interview over a hundred amputees, 
		Richard...

	INT. PRISON INTERVIEW ROOM - DAY

	Walter Gutherie, his attorney, stands by a window looking 
	out at the yard. Another attorney, RANDOLPH, watches 
	Gutherie.

				GUTHERIE
		... We can't find this guy.

				KIMBLE
		I know what I saw, Walter.

				GUTHERIE
		I put you up on the stand to say what 
		you saw without anything that 
		remotely smells like proof and the 
		State's attorney is going to take 
		this one-armed man story and run it 
		up our ass.
			(he holds Kimble's look)
		Look, Richard, you're paying us a 
		lot of money to defend you... A plea
		to second degree -

				KIMBLE
		I didn't kill my wife.

	INT. COOK COUNTY JAIL - DAY

	Kimble being escorted back to the courtroom. A guard carries 
	his suit in a bag. He is taunted by other prisoners.

				GUTHERIE (V.O.)
		You're a successful upper middle 
		class white man charged in a 
		violent crime...

	INT. COOK COUNTY LOCKUP / CHANGE ROOM - DAY

	On the other side of the door is the courtroom. A sheriff's 
	deputy hands Kimble (now wearing his suit), a small plastic 
	bag. In it we see his wedding band.

				GUTHERIE (V.O.)
		It's a circumstantial case, but it's 
		also a jury trial. We play 'em, they 
		play 'em...

	INT. CHICAGO COURTROOM - DAY

	Richard Kimble sits at defense table... watches prosecutors 
	chat with Helen's relatives. Media anchors glare at him.

				GUTHERIE (V.O.)
		... But if we lose, we lose big. 
		Just remember, they're lined up a 
		block long to have your hide.

	HARD CUT TO:

	PHOTOGRAPH OF HELEN KIMBLE'S BODY

	A crime scene photograph.

	DETECTIVE KELLY

	On the stand.

				DETECTIVE KELLY
		No forcible entry was found. From 
		the beginning of the investigation, 
		it did not appear to be a break-in. 
		Nothing was missing.

	FORENSICS TECHNICIAN

	On the stand.

				FORENSICS TECHNICIAN
		The defendant's prints were found on
		the neck, gun, bullets, and lamp... 
		no other sets were fount other than 
		the deceased.

	FACES OF THE JURY

	Impassive. Attentive. His "peers." They listen to the 
	recording of the 911 tape.

				911 (V.O.)
		Did I hear you right? Your attacker 
		is still in the house? Ma'am?

				HELEN (V.O.)
		He's trving to kill me...

				911 (V.O.)
		Will you repeat that please?

				HELEN (V.O.)
		Richard... He's trying to kill me...

	KIBLE'S POV - THE JURY

	A few members lean over to make notes. It's powerful taken 
	out of context.

	NICHOLS ON THE STAND

				PROSECUTOR
		Dr. Nichols. You are aware that 
		Richard Kimble was the only 
		beneficiary of Helen Kimble's estate.
		12 million dollars roughly.

				NICHOLS
		I was aware of that. The money meant 
		nothing to him.

				PROSECUTOR
		Yet in your presence, Richard Kimble 
		once said that 'if he had Helen's 
		money he could find plenty of uses.'
		Did he not?

				NICHOLS
		We were talking about -

				PROSECUTOR
		Yes or no?

	Nichols' look tells us everything... Yes.

	CUT TO:

	CORONER

	On the stand.

				CORONER
		The wound to the head caused a 
		massive hemorrhage to the brain. It 
		took from five to seven minutes for 
		her to die...

	A woman in the jury reacts. Kimble notices.

	KIMBLE

	On the stand. He finishes his moving description of the 
	events. We see some of the jury has been moved.

				KIMBLE
		... And I was holding her when the 
		officers came in.

	Gutherie returns to his seat. The Prosecutor moves to the 
	jury. He begins slowly but his questions pick up strength.

				PROSECUTOR
		How tall was this man, Dr. Kimble?

				KIMBLE
		I can't be sure. We were, mostly on 
		the floor, fighting... I couldn't -

				PROSECUTOR
		Did that fight cause the scratches 
		on your face and arms?

				KIMBLE
		No. As I explained -

				PROSECUTOR
		And how did this man enter your 
		house?

				KIMBLE
		I don't know -

				PROSECUTOR
		And you probably don't know why your 
		wife told the emergency operator You 
		were her attacker?

				KIMBLE
		She didn't -

				PROSECUTOR
		Your name is Richard, isn't it? Your 
		gun is a .38, isn't it? Your prints 
		were on the gun, the bullets, the 
		lamp, her neck, weren't they?

				KIMBLE
		Look...

				PROSECUTOR
		Weren't they?

	CUT TO:

	INT. COURTROOM - DAY

	Richard Kimble sits behind the desk, but already he's a 
	shadow of the man we knew before, stares ahead passively as 
	Judge Bennett delivers the sentencing to hushed courtroom.

				JUDGE BENNETT
		After careful and studied review of 
		all evidence presented during each 
		phase of this proceeding, and 
		because aggravated circumstances, 
		detailed at length, were present 
		the night of January 20th.

	Kimble is silent, stunned, but all around him the sentence 
	shockwaves through the courtroom. Reporters push out rear 
	doors. Prosecutors share a look - with a hangman's 
	satisfaction. Nichols, watching behind Kimble's table, 
	lowers his head. Disbelief.

	ANGLE ON RICHARD KIMBLE

	He remains silent. Kimble is pulled gently to his feet by 
	bailiff. Gutherie whispers an "I'm sorry." Kimble doesn't 
	hear it.

				JUDGE BENNETT (V.O.)
		Therefore, it is the decision of 
		this court...

	Looks over his shoulder to the emptying courtroom. Faces 
	stare back.

	CUT TO:

	INT. KIT ROOM - DAY

	Judge Bennett's V.O. CONTINUES over:

	A locker opening. Inside, a profusion of chrome and nickel 
	plating. Jailhouse jewelry. Handcuffs dragged out. Action 
	checked.

				JUDGE BENNETT (V.O.)
		... that you be remanded to Menard 
		State penitentiary...

	CLOSE ON CUFFS

	Slapped down over wrists, ratcheting down tight.

	Ankle cuffs dragged out. Pant legs raised, canvas shoes 
	exposed. Cuffs clamped down on ankles.

	CHAINS RATTLED out. Snaked across the floor. Looped around 
	waists and locked to handcuffs to form belly chains.

				JUDGE BENNETT (V.O.)
		... where you will serve a sentence 
		of life imprisonment without 
		possibility of parole.

	EXT . SALLY PORT (COOK COW TY JAIL) - NIGHT

	The chain gang exits through the sally port. Kimble and 
	three other prisoners. Jailers escort them to...

	An Illinois Department of Corrections guard moves alongside,
	checking the undercarriage with a pole-mounted mirror.

	The GAVEL CRACKS as we -

	CUT TO:

	INT. BUS - CLOSE ON KEY - DAY

	Locking wire mesh cage inside bus.

	An old DIESEL COUGHS to life.

	EXT. COOK COUNTY JAIL - NIGHT

	Main gates open. The BUS GRINDS onto the streets.

	INT. BUS - DAY

	The four prisoners sit scattered, still cuffed but no longer 
	chained together. Near the front, PRISONER #1 is eyeing...

	The two prison guards seated beyond the caged door. YOUNG 
	GUARD lighting a smoke. OLD GUARD drowsing. Shotguns 
	bouncing on their knees. Prisoner #l shifts his gaze to...

	The driver. Pistol on his hip.

	DISSOLVE TO:

	EXT. DESOLATE HIGHWAY - NIGHT

	The BUS RUMBLES north, heading towards the horizon.

	INT. BUS - NIGHT

	PRISONER #1 rises. Through caging:

				PRISONER #1
		Hey. Illinois penal regulations 
		require a meal for transport
		rides of four hours or more.

	Young Guard shakes his head. "Fucking jailhouse lawyers." 
	Checks his watch: 4:00.

				YOUNG GUARD
		Jack! Feedin' time.

	Old Guard yawns to his feet, unhooks a key-ring from his 
	belt. Young Guard stows his shotgun in the weapons locker.

	PRISONER #2 looks at Kimble. Kimble stirs awake... watches 
	the cage door open, Young Guard moving back. And across the 
	aisle...

	PRISONER #3, a big man named COPELAND, wags his head 
	between his knees. Something slides out of his shirt and 
	CLANKS to the dimpled steel floor. It's a razor sharp 
	plastic shank.

	Heart quickening, Kimble looks forward. Young Guard is 
	handing a petrified sandwich to Prisoner #1. Kimble snaps 
	a look back to Copeland, who palms the shank.

				COPELAND
		Breathe, and you're first.

	Old Guard watches from the open cage door, shotgun 
	carelessly ready.

	Young Guard reaches Kimble and extends a sandwich. Kimble 
	doesn't respond.

				YOUNG GUARD
		Suit yourself.

	He offers the sandwich to Copeland. In the exchange, 
	sandwich drops. Copeland leans down for it.

	Up front, Old Guard yawns again just as...

				KIMBLE
		Look out!

	Too late... Jackknifing up, Copeland drives the shank into 
	Young Guard's gut.

	Prisoner #2 dives for Young Guard's holster. As the gun comes 
	out, Young Guard gets a hand on it. A SHOT FIRES...

	Jolting Old Guard. He chambers his shotgun. Kimble hits the 
	floor. The Old Guard jams a key into the cage door and surges 
	inside, but...

	Prisoner #1 broadsides Old Guard. SHOTGUN DISCHARGES... 
	Opening a big Gainsburger hole in the driver. He sinks under
	the steering wheel. A knee hits the accelerator.

	The CAGE DOOR SLAMS locked behind the Old Guard.

	EXT. DESOLATE HIGHWAY - NIGHT

	As the bus careens off the road, accelerating.

	INT. BUS - NIGHT

	Young Guard wrestles gun from Prisoner #2 and FIRES, killing
	prisoner #2. Copeland grapples with wounded Young Guard.

	Old Guard shotgun-butts Prisoner #1, flips the gun, PUMPS 
	ONE ROUND into the man's chest. Dead. He turns just as...

	EXT. OPEN LAND - NIGHT

	As the driverless BUS BUCKS ant BANGS over open ground.

	INT. BUS - NIGHT

	Old Guard reloads. Copeland drops down behind a seat.

	Old Guard jams his SHOTGUN under the seat. But just as the 
	Old Guard pulls the trigger the bus jerks. The SHOT goes 
	off target as...

	EXT. OPEN LAND - NIGHT

	The BUS ROARS into a gravel embankment. ROARS up the slope
	and CRASHES down on its side - sliding to a stop at the 
	bottom of a small ravine.

	INT. BUS - NIGHT

	ENGINE DIES. Dusty silence. We don't know up from down.

	On his knees, Old Guard makes his way to the driver. Finds 
	him dead. Now a SOUND. Old Guard whips his shotgun around 
	at...

	Kimble. Rising between the seats.

	A hairy beat. Old Guard might kill him just to finish things 
	off. But a GROAN turns Old Guard's head.

	Young Guard, trying to hold his guts in. Old Guart turns to
	find Kimble.

				OLD GUARD
			(to Kimble)
		You. You're a doctor. C'mere.

	He slides to the Young Guard as the Old Guard scrounges up a 
	medical kit, shoves Kimble down on Young Guard.

				OLD GUARD
		Do something.

	Kimble looks at his cuffs. "In these?" Old Guard digs out 
	his key ring and unlocks Kimble's hands - only his hands. 
	Kimble opens medical kit. It's been ransacked - just 
	Band-Aids now. Kimble looks into the wound.

				KIMBLE
		He isn't going to make it unless he 
		gets to a hospital. Fast.

				OLD GUARD
		ZL.

	In this delicate moment a SHIVER runs through the bus. Is it 
	just settling?

	With other things to worry about, Kimble tries to stop Young 
	Guard's bleeding.

	ANGLE UNDER SEAT

	We see Copeland, alive. The crash has ripped the bars from a 
	back window and shattered the glass. He works to get out the 
	opening.

	BACK TO KIMBLE

	A second SHIVER ripples through the bus, stronger. Kimble 
	retracts his hands to touch a metal panel - and feels a 
	growing vibration.

				KIMBLE
		Just where the hell are we?

	The Old Guard feels it too. He gets down on his knees and
	looks out one of the shattered, barred windows.

				OLD GUARD
		Oh, shit...


	EXT. RAILROAD TRACKS - NIGHT

	The bus lies across railroad tracks. A not-too-distant bend
	grows bright by the light of an approaching train.

	INT. BUS - NIGHT

	Kimble sees: Old Guard fights the cage door. Kimble lunges 
	to his side.

				KIMBLE
		It's locked. Where're your keys?

	EXT. RAILROAD TRACKS - NIGHT

	Downtrack, one Cyclops light appears.

	INT. BUS - NIGHT

	Kimble spots keys. Pitches them to Old Guard. Drags Young 
	Guard to the front for a quick exit. But Old Guard fumbles 
	the key-ring, his hands shaking as much as the bus.

	The train light spider-webs across cracked windows. Kimble 
	snatches the keys away from the Guard's trembling hands.

				KIMBLE
		Which one? This? This one?!

	Old Guard gulps a nod. Kimble jams a key in the lock. Throws 
	the door open. Grabs Young Guard.

				KIMBLE
		Help me get him -

	But Old Guard climbs right over Kimble's back and climbs out 
	the shattered windshield.

	ANGLE ON REAR OF BUS

	Copeland escapes through the hole in the back...

	EXT. BUS - NIGHT

	... and hits the ground running the other way. The 
	locomotive's headlight reveals the toppled bus.

	INT. BUS - NIGHT

	Train light grows. A nanosecond of uncertainty: Should 
	Kimble leave the wounded man? Kimble and the Young Guard 
	hold a look.

	EXT. FREIGHT TRAIN - NIGHT

	As the WHEELS BRAKE and LOCK.

	EXT. RAILROAD TRACKS - NIGHT

	Kimble struggles out of the bus - pulling the Young Guard 
	behind him. He slings the man clear.

	SCREECHING death, the TRAIN SKIDS closer.

	For one heartbeat, Kimble remains perched atop the bus.

	The train light X-rays him.

	Kimble leaps. Lands. Rolls. Gains his feet. Tries to sprint 
	away but can't: His feet are still chained. He gets off a 
	dozen mincing steps before...

	IMPACT: A hundred tons of STEEL SLAMS into the bus, 
	splitting it open.

	Shrapnel rips through Kimble's thigh, but he stays on his 
	feet, still running feverish half-steps.

	An EXPLOSION envelops the train. Flames stream down its 
	flanks.

	The train burns past the wounded Guard.

	Kimble looks back, expecting to see the catastrophe behind 
	him. But he gets the shock of his life - of any man's life:

	Still on its wheels, the locomotive is derailing - and coming 
	after him. It's the stuff of nightmares: One little man being 
	chased by a fire-breathing locomotive.

	The train burrows to a stop.

	Kimble is suddenly five feet taller, standing on an upheaval
	of earth, staring eyeball-to-eyeball with the train that 
	nearly devoured him. He pants. Coughs on smoke. Then notices
	something in his hand.

	It's the key-ring.

	EXT. WOODS - NIGHT

	Kimble sits and searches the key-ring for manacle key. 
	Suddenly a hand reaches down and snatches the key-ring away.

				COPELAND (O.S.)
		Give me that.

	Kimble watches as Copeland quickly unlocks both sets of his 
	own chains.

				COPELAND
		You listen to me. I don't give a 
		damn which way you go, just don't 
		follow me.

	Kimble takes the key as Copeland wraps his chains around his 
	arm and runs. Kimble unlocks his leg irons and runs in the 
	other direction - crossing a hilltop in the moonlight.

	DISSOLVE TO:

	EXT. CRASH SITE (SOUTHERN ILLINOIS) - NIGHT

	News and sheriff's department choppers circle billowing 
	smoke. TILT DOWN to reveal the derailed train. Fire engines 
	hose down the blackened locomotive. Rescue workers work 
	feverishly with jaws-of-life to get into the mangled 
	wreckage. Illuminated by spotlights, transportation 
	investigators in blue coveralls pick through the twisted 
	remains of the bus. State troopers restrain spectators.

	Two American-made rental cars pull up. Four deputy U.S. 
	marshals emerge:

	BIGGS. Swaggering Midwestern carnivore. Built like a brick 
	shithouse.

	RENFRO. Bantam-rooster of a man, no more than 140 pounds 
	fully-equipped.

	POOLE. Black woman. Nobody minds having her around during 
	nut-cuttin' time.

	NEWMAN, a scrub-faced G-5.

	From the second car steps GERARD. He takes in the media 
	spectacle.

				GERARD
		Good lord...

				REFRO
		What is this... a circus?

	As a group they begin moving along the service road above 
	the crash site. Derailed train cars are accortianed below 
	them. They take in the elements of the crash and as they 
	walk each begins to reveal their U.S. Marshal's credentials.

	Biggs spots something...

				BIGGS
		Point of impact.

	... and branches off.

				GERARD
		Biggs, your turn to babysit Newman.

				BIGGS
		Shit.
			(to Newman)
		Come on.

	They drop down to the crash site. Poole ant Renfro remain 
	with Gerard.

	A state TROOPER steps into their path, but falls away when he
	sees Gerard's Marshall star.

				GERARD
		How ya doing? Who's in charge?

				TROOPER
		Sheriff Rollins. Just follow the 
		lights -

	Gerard follows his point to where TV lights illuminate the 
	scene. He shakes his head - it doesn't please him.

	Renfro and Poole share a look, they seem to know what's 
	about to happen.

	ANGLE - OLD GUARD

	Seated near a tree. A space blanket draped over his 
	shoulders. He is surrounded by EMT personnel, and a YOUNG 
	SHERIFF, clearly basking in the event. Television remote 
	news crews are kept only slight back. Gerard appears in the 
	b.g., listening.

				OLD GUARD
		... train was bearin' down on us, 
		fast. I don't know how - it's still 
		kind of hazy - but I grabbed him
		and pushed him out of the bus.

				SHERIFF
		You coulda both been killed.

				OLD GUARD
		I know, but hell, he's my partner.
		Woulda done the same for me.

	The young Sheriff in charge nods, buying the story. Gerard 
	eases forward, displays his badge, interrupts.

				GERARD
		Excuse me, Sheriff Rollins? Deputy 
		U.S. Marshal Samuel Gerard.

				SHERIFF
			(annoyed)
		I'll be with you in a minute.

	The television lights widen to illuminate Gerard. He shields
	his eyes. The Sheriff opens a file and produces fax-photos 
	of all four prisoners.

				SHERIFF
			(to Old Guard)
		For the record. These three dead. 
		And this one...

	He switches to a photo of Kimble.

				OLD GUARD
		Well, everything happened so fast...
			(bites lip, decides)
		Huh-uh. Don't think he made it.

	Sheriff eyes the wreckage that could entomb a hundred 
	prisoners, then files Kimble's fax-photo with the others.

				SHERIFF
		You get some rest.

	He pats the Guard on the shoulder and approaches Gerard.

				SHERIFF
		Looks like you came a long way for 
		nothing. My men've already done a 
		thorough search from point of 
		impact and found nothing.

	INTERCUT WITH:

	ANGLE - CULVERT

	Biggs and Newman stop by the muddy culvert. Biggs sees 
	something. He orders Newman into the muck after it.

	GERARD

	Aware of media, proceeds patiently with the young Sheriff.

				GERARD
		With all due respect, may I suggest 
		check-points starting at a 15-mile 
		radius on I-57, I-24, Route 13 east 
		of -

				SHERIFF
		Whoa, whoa, whoa... For what? 
		Prisoners are all dead. The only 
		thing check-points will do is get a 
		lot of good people out here frantic 
		and flood my office with calls.

	Gerard finally touches eyeballs with the young Sheriff and 
	we get our first taste of Gerard at close range.

				GERARD
			(beat)
		Well, shit, Sheriff, I'd hate for 
		that to happen... So, I'll be 
		taking over the investigation.

				SHERIFF
		On whose authority?

				GERARD
		By authority of the Governor of the 
		State of Illinois and the office of
		the United States Marshal, 5th 
		District Northern Illinois...

	Poole produces State and Federal authorization documents 
	from one of her pockets and hands it to the young Sheriff.

				SHERIFF
			(back-down beat)
		Okay. You want jurisdiction over 
		this mess, you got it.
			(to assistants)
		Shut it down. Wyatt Earp is here to
		mop up for us.

	He slaps the file of fax-photos at Gerard on his way out. 
	Just as Biggs, spotless, eases ino the group with Kimble's 
	manacles. Behind Biggs we see Newman, covered in mud.

	Seeing the leg irons, the Sheriff and his deputies pile to
	a stop. Now Gerard takes his run at Old Guard.

				GERARD
		Please, ladies and gentlemen, step
		back and give this poor man some 
		room.

	Like an obedient dog the press backs off, they sense a 
	change of story and command.

	Gerard kneels down with Poole and Renfro in front of the 
	Old Guard. The Sheriff hovers near.

				GERARD
			(friendly, to Old 
			Guard)
		Always an interesting thing when we 
		find leg irons and no legs in them 
		who held the keys, sir?

				OLD GUARD
		Uh, me.

				GERARD
		Would you be so kind as to show them
		to me, sir?

	Gerard's large hand extends palm up at the Old Guard.

	The Old Guard pats his pockets, comes up empty. He eyes the 
	press hovering just out of earshot.

				GERARD
		Second chance.

	Poole reopens the file of photos in front of the man.

	The Old Guard can't take it - points to Kimble's photo.

				OLD GUARD
			(cracking)
		He mighta got out.

				GERARD
		Thank you.

				SHERIFF
		What the hell is this? A minute ago 
		you tell me he's part of the 
		wreckage, now you're -

				GERARD
		Renfro - Take that bus apart. I want 
		an accurate body count. Poole - Set 
		up operations right here.

	He stops and looks into the TV lights and starts moving 
	downtrack. The media and State Police move with him like 
	Israelites behind Moses.

				GERARD
		Ladies and gentlemen... our 
		fugitive's been on the run for 
		ninety minutes. Average foot speed 
		over uneven ground - barring injury 
		is approximately four miles an hour, 
		giving us a radius of six miles. I 
		want a hard-target search of any 
		residence, gas station, farmhouse, 
		henhouse, doghouse and outhouse in 
		that area. Check-points go up at 
		15 miles.
			(to media)
		You got that? Good. Now, turn 
		those damn things off and get out 
		of our way.

	INT. HELICOPTER - NIGHT

	ROARS... just above the treetops. Helicopter speeds up a
	dark river. Its tracking beam illuminates the river bank.

	EXT. RURAL ROADS - NIGHT

	Flashing lights. Two highway patrol cars set up roadblocks. 
	The SQUAWK of police RADIOS breaks the rural quiet. A moment 
	later a HELICOPTER ROARS overhead.

	EXT. TRACKS - NIGHT

	Kimble moves down train tracks. His jumpsuit is wet with 
	blood from the gash. He pauses and checks the wound. He's 
	going to need stitches.

	Far down the tracks he sees glow of town lights. He keeps 
	moving.

	EXT. TRESTLE - DAWN

	Kimble crosses a tressel, keeps running toward the direction 
	of the lights.

	A junk yard by railroad tracks and a road. Signs along the 
	road show we're on the edge of town. One says: Hospital-1/2 
	mile.

	ANGLE - TRACKS AND STREAM

	Kimble runs from a streak up to the railroad tracks. As he 
	nears the junk yard and road he sees the hospital sign. 
	He's close but he can't go into the hospital in his prison 
	jumpsuit. He leans against a wrecked car and catches his 
	breath.

	Just then a tow truck pulling a car on its hook, turns off 
	the road and parks next to the tracks. Kimble ducks for 
	cover behind the wrecked car.

	The driver climbs out, dumps his coveralls in the front 
	seat and closes the door.

	He moves toward a house across the tracks, then forgets 
	something and returns to the cab. He throws open the door 
	and grabs lunch box off the seat - and we notice the 
	coveralls missing from the seat.

	As the driver returns to the house we MOVE TO the opposite
	side of the car to find Kimble, ducked beneath the window,
	clutching the coveralls.

	EXT. CRASH SITE - DAWN

	A crude headquarters is set up beneath a tent, near the 
	crash site. Maps are laid out on tables. Power and phone 
	lines are pulled down from the lines running along the 
	tracks. Renfro supervises the electronics.

	Poole handles phones, takes a report from the field and 
	relays it to Gerard.

				POOLE
		Blood trail found. Two miles 
		southwest.

				GERARD
			(to Biggs)
		Type it and match it against all 
		four prisoners.
			(to Renfro)
		Renfro, get an I.D. fax on Kimble to 
		every local hospital.
			(to Newman)
		Newman...

	Newman appears.

				NEWMAN
		Yes, sir...

				GERARD
		I need some coffee.

	As Newman steps off, everyone turns at sound of SHOUTING 
	from the train crash.

	ANGLE - TRAIN CRASH

	A RESCUE WORKER shouts up to others.

				WORKER
		Hey, one's alive!

	EXT. RURAL HOSPITAL - LOADING DOCK - MORNING

	Loading dock outside the E.R. A WORKER stacks boxes of food 
	outside kitchen entrance. Kimble, in the tow truck 
	operator's coveralls, picks up a box and carries it inside. 
	Once inside he branches off down a hallway.

	INT. RURAL HOSPITAL - HALLWAY - MORNING

	A door opens on a long hallway. A DOCTOR, CHILD with a 
	bandaged hand, and a MOTHER leave a room and walk TOWARD us.
	Behind them, Kimble moves down the hall and stops in front 
	of the doorway.

	KIMBLE'S POV - MINOR PROCEDURES ROOM

	CUT TO:

	INT. RURAL HOSPITAL - MINOR PROCEDURES ROOM - MORNING

	Kimble closes the door and locks it. Hanging on the back of 
	the door we see a doctor's white coat.

	CUT TO:

	EXT. HOSPITAL - MORNING

	An Illinois State Trooper's car pulls up outside.

	CUT TO:

	CLOTH-COVERED INSTRUMENT TRAY

	On it we see: A packaged sterilized bandage, an opened 
	antiseptic wash, an opened topical anesthetic, and an empty 
	syringe. We PULL BACK to find:

	KIMBLE

	His wound bathed in orange antiseptic wash, three stitches 
	already in. With pair of forceps he picks up the needle as 
	he sutures himself.

	CUT TO:

	INT. HOSPITAL HALLWAY - LONG SHOT (MOS) - MORNING

	At far end of the hall we see a STATE TROPER chatting with a 
	DUTY NURSE at a nurses' station.

	CUT TO:

	INT. PROCEDURE'S ROOM - MORNING

	Kimble, his bandage already in place, gives himself a shot 
	of antibiotics.

	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 newly received 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 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...
			(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.

	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 shoulder-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)
		Son of a bitch...

	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 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.

	EXT. WOODS - AFTERNOON

	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

	Kimbles 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.

	INT. SONNY'S DINER - NIGHT

	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 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 throat.

				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.

				KIMBLE
		Walter. It's Richard.

	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 leans 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 El 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. 11TH 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.

	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.

	CUT TO:

	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.

	CUT TO:

	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 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.

	CUT TO:

	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.

	CUT TO:

	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.

	INT. HOSPITAL HALLWAY - NIGHT

	Kimble mopping the trauma room hallway. The hallway elbows 
	around a corner and Kimble stands less than ten feet from 
	a door that is marked: "PROSTHETIC CLINIC"

	He watches a technician leave the clinic and mops closer to 
	the doorway, and fails to see an attractive WOMAN DOCTOR 
	with white coat and stethoscope draped around her neck turn 
	the corner behind him ant step on the freshly mopped 
	section.

	Head down, she is completely absorbed in a file and doesn't
	see the wet floor until she slips slightly, looks up but 
	keeps walking.

				WOMAN DOCTOR
		Where's Rudy?

				KIMBLE
		They said he's sick.

				WOMAN DOCTOR
		Didn't they tell you to put up the 
		sign?

				KIMBLE
		Uhhh. No they didn't.

				WOMAN DOCTOR
		Put up the 'wet floor' sign before 
		someone gets hurt.

	She keeps going.

				KIMBLE
			(mumbles)
		Asshole.

	She looks back at Kimble.

				WOMAN DOCTOR
		What did you say?

				KIMBLE
		Nothing.

	Anne keeps moving off toward trauma hall. He watches her 
	turn the corner to the trauma hallway.

	INT. PROSTHETIC CLINIC - NIGHT

	Kimble enters the dimly lit prosthetics lab.

	He moves silently among the casts and prosthetics of arms, 
	hands, legs hanging from the ceiling. Cables and electronic 
	equipment are on the counters.

	He leaves the lab and moves into the office section of the 
	Prosthetic Clinic. He passes a computer room and finally 
	reaches the office. He is about to enter when a woman's 
	voice stops him.

				WOMAN (O.S.)
		Hey, Ricky... Weren't you just in 
		here?

	Kimble turns to see a PROSTHETIC TECHNICIAN. A large woman 
	with glasses. She stands with a partially finished 
	prosthetic arm.

	MEMORY HIT - INT. KIMBLE'S OLD HOUSE - NIGHT

	The one-armed man's arm coming off in the fight.

	INT. PROSTHETIC CLINIC (BACK TO PRESENT)

				TECHNICIAN
		Sorry, I thought you were Ricky.

				KIMBLE
			(stumbling)
		No... I've got to clean the blinds
		in the office. Want me to wait till 
		you're finished?

				TECHNICIAN
		Naw... I'm going to be here all 
		night. You won't bother me.

	She slips on a pair of headphones and goes back to work.

	CUT TO:

	INT. PROSTHETIC CLINIC OFFICE - LATER

	Kimble cleaning the blinds, keeps an eye on the Technician 
	who is listening to music on her Walkman. She is carefully 
	painting a section of the arm. Not watching Kimble.

	CUT TO:

	CLOSE ON FILE DRAWER

	Opened.

	BACK TO SCENE

	Nimble looks over his shoulder. The Technician doesn't see 
	him.

	A Prosthetic Clinic Operations Manual is removed from shelf.

	Photographs of prosthetic arms. Kimble shifts the materials
	into his clothes, closes his coat and suddenly he stops.

	CUT TO:

	INT. HALLWAY - ANGLE ON ELEVATOR - NIGHT

	Kimble waits for the elevator. The folders in his uniform 
	shift and he tries to rearrange them. When he turns back 
	we see Anne Eastman beside him. Her I.D. says: 
	"ANNE EASTMAN". She sees him doing the rearranging.

	The elevator arrives. They step into:

	INT. ELEVATOR - NIGHT

	Anne moves to the back. Kimble on the other side.

				ANNE (WOMAN DOCTOR)
		Hey, how're you doing?

				KIMBLE
		Fine.

				ANNE
		You find that sign?

				KIMBLE
		Yes, I did.

				ANNE
		You called me an asshole.

				KIMBLE
		Excuse me. I was having a bad 
		shift.

	They laugh. They reach ground level and step out together.

				ANNE
		You worked at other hospitals?

				KIMBLE
		Lots of them over the years. Here, 
		long ago. Hasn't changed much.

				ANNE
		I bet it hasn't. See you.

	They part ways. Kimble continues out the door. Anne stops 
	and watches him leave.

	INT. EL TRAIN - NIGHT

	Kimble sits on the night train going home. He begins looking 
	at his information.

	INT. KIMBLE'S BASEMENT ROOM - DAY

	Afternoon light comes in Kimble's basement windows. Sheets 
	of Prosthetic Clinic patient material are spread over 
	Kimble's bed, floor. Kimble searches through the documents, 
	making notes. He studies photos of attachments. Cable 
	attachments. Joints. Electronics. Pins. straps... looking 
	for a key to the identity of the one-armed man.

	Finally he stops. He finds the flyer in his pocket, puts it 
	on the bedside table and moves to sink. He wets a towel and
	covers his face.

	Draws a cool damp breath. Lays back on bed amid the 
	Prosthetic Clinic material.

	FLASHBACK - FIGHT

	Kimble pulls the arm. It separates in the one-armed man's 
	sleeve. Wrenches. Dis-articulates.

	FLASHBACK - ONE-ARMED MAN

	Reacts in pain. Again. (NOTE: We sense Kimble's mind 
	returning to something. Getting closer to the key...)

	FLASHBACK - ONE-ARMED MAN

	Escaping the bedroom. We hear his FOOTSTEPS DOWN the 
	STAIRS... a DOOR SLAM. FOOTSTEPS again.

	Another DOOR SLAMS, but this time the sound is distinctly 
	different... a CAR DOOR.

	INT. KIMBLE'S BASEMENT ROOM (BACK TO PRESENT)

	Kimble yanks the wet rag from his face, his senses alert. 
	Listening, he hears: FOOTSTEPS are real, just outside and 
	MOVING TOWARD him.

	HARD CUT TO:

	EXT. APARTMENT HOUSE - DAY

	A car door slams. We see unmarked police cars pulling up in 
	front of the apartment. Cops are moving toward the house.

	INT. BASEMENT - DAY

	Kimble turns off his light, moves from the bed to the window. 
	Carefully looks out:

	KIMBLE'S POV

	Unmarked police cars in front of the house, looking, moving 
	his way.

	BACK TO SCENE

	Kimble moves instinctively to the back door.

	He starts to open it but through the dirty window, he sees 
	the back courtyard covered by more cops.

	Kimble moves back toward the front. Unsure of his next move, 
	he's sweating, preparing for the worst.

	He watches the TAC team charge the house but instead of 
	charging through the basement door they move up the front 
	steps and into the house overhead.

	Overhead he hears the SCREAMING from the arresting cops.

	KIMBLE'S POV - BACK STEPS

	Kimble SEES the Punk Kid try to escape out the back. He 
	runs, sees cops and runs toward Kimble's basement door, 
	actually reaching it before he is caught by the cops and
	pulled away.

	KIMBLE

	Moves toward the front window and watches cops lead the 
	Punk Kid out to the car.

	POLICE RADIOS call the other cops to stand down.

	Kimble moves slowly to his front door. Looks out.

	KIMBLE'S POV

	Cops put the young man into an unmarked police car. His 
	grandmother, the Polish woman, follows them, crying.

	BACK TO SCENE

	Kimble leans against the wall, exhausted.

	INT. COOK COUNTY HOSPITAL - TRAUMA HALLWAY - NIGHT

	Kimble carries his cleaning tray down busy hallway just 
	outside of the Prosthetic Clinic and stops.

	KIMBLE'S POV

	Two cops talk outside the Prosthetic Clinic.

	BACK TO SCENE

	Kimble backs to a safe place in the trauma hallway to wait 
	for them to leave.

	CUT TO:

	INT. 11TH STREET POLICE DISTRICT HOUSE - DETECTIVES ROOM - NIGHT

	The Punk Kid is handcuffed to a bench as a cop works on a 
	report. Suddenly the Kid notices something that gets his 
	attention.

	KID'S POV

	A wanted poster of Kimble over the cop's head.

	BACK TO SCENE

	The Kid sees - Wanted for Murder - realizes who it is.

				PUNK KID
			(to cop)
		Hey. Hey! I know that guy!

	The cop looks up, sees Kimble's poster and then back at the 
	Kid.

	CUT TO:

	INT. TRAUMA HALLWAY - NIGHT

	Kimble moves toward prosthetic clinic. In passing through 
	the trauma hallway he becomes aware of a crisis developing. 
	A major accident has happened, victims are being brought in.

	The P.A. CALLS for doctors. STATIC.

	ANGLE ON FAR END OF TRAUMA HALLWAY

	Elevator doors open as orderlies bring in new patients. 
	Some walk, some are helped by family and police. Nurses 
	direct traffic.

	Orders fly. Medicines are called. Family members yell for 
	doctors. Ask for the injured. Anne picks up the pace with 
	an ORDERLY wheeling a gurney carrying a young patient, 
	a BOY.

				ANNE
		What happened?

				ORDERLY
		A bus flipped off the overpass. Got
		at least twenty more coming in.

				ANNE
		What about this one here?

				ORDERLY
		Fractured sternum. X-ray's coming 
		up.

	Anne checks the boy's chart.

				ANNE
		Okay, we've got to get some room
		in this hallway, people.

	Orderlies quickly move the non-life-threatening patients out
	of the hall. Still more help is needed. Anne spots Kimble.

				ANNE
		Hey, take this one up the hall to
		Critical Care.

	Kimble nods. Anne moves to another patient.

	Kimble grabs the kid's gurney and begins wheeling it up the 
	hall. As he pushes he looks at the kid's X-rays.

	Anne looks up, barks another order, then suddenly sees Kimble 
	pushing the gurney and looking at the film.

	ANNE

	Tries to negotiate through the incoming patients to get a 
	better look, but Kimble is gone. She goes back to work.

	ON KIMBLE

	He wheels the Boy's gurney into an elevator. The doors 
	close.

	INT. HOSPITAL - O.R. CORRIDOR - NIGHT

	Kimble wheels the gurney down the hall and stops the Boy 
	on the scrub threshold to the O.R. and stops a SURGEON.

				KIMBLE
		Hey. Hey!

	A Surgeon pauses and eyes Kimble's janitor suit and the 
	gurney.

				KIMBLE
		They just sent this one up.

	He takes a look at the Boy's chart and grabs the X-rays and 
	yells to O.R. nurse.

				SURGEON
		Bob! Get this one into room four, 
		stat.

	He looks up, Kimble is gone.

	INT. PROSTHETIC CLINIC - COMPUTER ROOM - NIGHT

	Kimble enters the Prosthetic Clinic computer room. The 
	Technician from the day before is listening to her Walkman,
	sees Kimble and waves. Kimble waves back and turns into the 
	glass-walled computer room and closes the door.

	He closes the blinds and turns on the computer.

	CUT TO:

	INT. CRITICAL CARE UNIT - NIGHT

	The crisis has wound down. Anne moves into the room and 
	begins checking patients. She stops a unit nurse, GLADYS.

				ANNE
		Gladys, where's the boy I sent down 
		with the janitor?

				GLADYS
		What boy?

				ANNE
		The one with the fractured sternum.

				GLADYS
		He never came in here.

	INT. PROSTHETIC CLINIC - COMPUTER ROOM - NIGHT

	Kimble scans DOS files, each an eight-letter enigma. Finds 
	one with promise and loads it up.

				KIMBLE
		Wrong...

	He backs up and tries another file.

	"CLIENT DEMOGRAPHIC ORGANIZER SEARCH BY: AGE, SEX, RACE, 
	LIMB, OR OTHER?"

	Kimble knows he's got it.

	INT. PROSTHETIC CLINIC - COMPUTER ROOM - CLOSE ON SCREEN - NIGHT

	Kimble keys in these responses:

	"SEX: MALE"
	AGE: 35-50
	RACE: CAUCASIAN
	LIMB: RIGHT ARM
	OTHER: POINT OF REPLACEMENT: MID HUMERUS"

	INT. OPERATING ROOM WING - NIGHT

	Anne comes out of the stairwell and stops the Surgeon we 
	saw with Kimble.

				ANNE
		Dave, did you see a janitor come up 
		here earlier?

				SURGEON
		Yeah, he brought a kid up.
			(handing her the chart)
		Anne, did you write the orders? I 
		couldn't make out the signature...

				ANNE
		I saw -

				SURGEON
			(in a hurry now)
		Whoever did knew what the hell he 
		was doing. Kid's a hair away from 
		a ruptured aorta.

	He heads to the operating room, leaving her stunned. She 
	stares at the scrawled orders.

	CUT TO:

	INT. PROSTHETIC CLINIC - COMPUTER ROOM - CLOSE ON SCREEN - NIGHT

	A "PLEASE WAIT" message appears on the screen. We hear the 
	COMPUTER PROCESSING, searching, narrowing.

	The screen flashes:

	"NUMBER OF POSSIBLE CANDIDATES: 75
	DO YOU WISH TO SUBDIVIDE?"

				KIMBLE
		Seventy-five. Hell, yes.

	Kimble types in another defining characteristic... 
	Residence: Illinois.

	Again he waits. Rattles the blinds to make it seem like he's 
	cleaning. The list shortens.

	"NUMBER OF POSSIBLE CANDIDATES: 21"

				KIMBLE
		What else?

	MEMORY HIT - INT. CHICAGO COURTROOM - DAY

	Prosecutor stands before the jury.

	PROSECUTOR
	... murdering Helen Wills Kimble the night of January 20...

	INT. PROSTHETIC CLINIC - COMPUTER ROOM - CLOSE ON SCREEN - NIGHT

	Kimble types in: "Candidates having adjustment appointments 
	between January 21, and February 1, 1993."

	Kimble waits. Sixty-five names come up. Again too many. 
	Kimble's reached a dead end.

	Kimble thinks.

	MEMORY HIT - INT. KIMBLE'S BEDROOM - NIGHT

	The fight with the One-Armed Man.

	INT. PROSTHETIC CLINIC - BACK TO SCENE ON KIMBLE

	Something has clicked in his memory.

	CUT TO:

	INT. PROSTHETIC CLINIC - PROSTHETIC STORAGE ROOM - NIGHT

	Kimble stands beneath the hanging artificial limbs. He 
	takes down an arm, works the joint.


	MEMORY HIT - INT. KIMBLE'S BEDROOM - NIGHT

	Kimble fights the One-Armed Man. He wrenches the man's 
	prosthetic arm.

	INT. PROSTHETIC CLINIC - PROSTHETIC STORAGE ROOM - CLOSER ON ARM

	He moves it again. Harder, at an awkward angle.

	MEMORY HIT - INT. KIMBLE'S BEDROOM - TIGHTER ON ONE-ARMED MAN'S 
	ARM - NIGHT

	Kimble wrenches the arm...

	INT. PROSTHETIC STORAGE ROOM - CLOSE ON ARM

	The joint strains.

	MEMORY HIT - INT. KIMBLE'S BEDROOM - CLOSE ON ONE-ARMED MAN'S ARM

	Kimble wrenches it and it BREAKS.

	CUT TO:


	INT. PROSTHETIC OFFICE - CLOSE ON PROSTHETIC MANUAL - NIGHT

	A detailed diagram of arm construction.

	ANOTHER ANGLE

	Kimble makes notes.

	CUT TO:

	INT. HOSPITAL ELEVATOR - NIGHT

	Anne rides the elevator back to trauma. She's thinking.

	CUT TO:

	INT. PROSTHETIC CLINIC - CLOSE ON COMPUTER SCREEN - NIGHT

	Joint repair list between January 21-April 21... Five names 
	come up with Greater Chicago addresses.

	Kimble hits print. The MACHINE begins PRINTING. Kimble 
	looks up at the Prosthetic Clinic Technician - she is 
	listening to her headphones, can't hear the printer. He 
	continues to shake the blinds.

	EXT. PROSTHETIC CLINIC/TRAUMA HALLWAY - NIGHT

	Kimble leaves Prosthetic Clinic and starts down the hall 
	for the exit when a voice stops him.

				ANNE (O.S.)
		Do you have a particular interest in
		our patients' x-rays?

	Kimble turns to see Anne coming toward him.

				KIMBLE
		What do you mean?

				ANNE
		I saw you looking at that boy's 
		chest film.

	She moves in on him. He eyes the exit.

				KIMBLE
		It's a hobby of mine -

				ANNE
		What other hobbies do you have? 
		Brain surgery?

				KIMBLE
	What do you want?

	She reaches him.

				ANNE
		I want to know how that kid ended 
		up in surgery.

				KIMBLE
		I'm a janitor. I did what I was 
		told.

				ANNE
		Bullshit. Who changed those orders?

	They hold a look. She knows. He takes a step back and she 
	pulls his I.D.

				ANNE
		You stand right here. I'm calling 
		security.

	Kimble runs. Anne turns to call security but doesn't.

	She stares after Kimble.

	CUT TO:

	INT. POLISH WOMAN'S BASEMENT - NIGHT

	Kimble's room being searched by the marshals. Gerard finds 
	the flyer Kimble was handed on his way out the door. On it
	we see: COOK COUNTY HOSPITAL.

	CUT TO:

	INT. COOK COUNTY HOSPITAL - CLOSE ON KIMBLE'S I.D. - DAY

	Anne and Gerard stand in the hallway. Gerard studies the I.D.

				GERARD
		A man posing as a janitor orders an 
		emergency operation and all you do 
		is pull his I.D.?

				ANNE
			(firmly)
		A little boy's alive today because 
		he did something.

	Gerard watches her eyes carefully.

				GERARD
		So, you weren't aware that when he 
		escaped he was being transported to 
		Menard State Prison to begin a term 
		of life imprisonment.

				ANNE
		For what?

				GERARD
		For murdering his wife.

	Clearly this is news to Anne. Gerard almost smiles at her 
	surprise.

				GERARD
		Thank you for your help, Doctor.

	He moves to the position Anne saw Kimble with the kid's 
	gurney. Trying to imagine what Kimble was doing at that 
	place. Renfro and the other deputies converge.

				RENFRO
		What I can't figure is, if you were 
		Kimble, why'd you take a major 
		league chance of hanging around a 
		trauma ward?

	Gerard considers this as a Man passes him. Gerard notices 
	something.

				RENFRO
		The place would be crawling with cops.

	Slowly Gerard separates from the group of deputies and 
	follows the Man down the hall.

	The Man Gerard is following turns the corner to the 
	Prosthetic hallway and realizing Gerard is following him, 
	holds the hallway door open for Gerard.

				MAN
		Can I help you find something?

				GERARD
		Thank you, sir, I think you already 
		have.

	We see the Man has a prosthetic arm and that they are outside 
	the door marked: "PROSTHETIC CLINIC"

	INT. PHONE BOOTH - MORNING

	Restaurant deserted at this hour. Kimble makes calls.

				KIMBLE
		Yes... This is Dr. Elway at Cook 
		County. I'm doing follow-up work for 
		the Prosthetic Clinic on Matthew 
		Zelick...
			(beat)
		He did... I'm terribly sorry. No, 
		I'll correct our files. Thank you.

	He scratches through another name. Three left. He dials 
	another number.

	INT. PROSTHETIC CLINIC - MORNING

	Gerard and his deputies inside the Prosthetic Clinic.

	Artificial limbs are being tested, fitted. A technician 
	fits a demonstration model on Biggs while Gerard and Poole 
	work with the director of the institute and a data operator 
	at the computer.

				GERARD
		The onearmed man. Missing the right or left hand?

				POOLE
		Right.

	The operator enters that information. Dropping the number to 
	250... as Poole continues.

				POOLE
		... age 35-45...

	INTERCUT WITH:

	INT. PHONE BOOTH - DAY

	Kimble on phone. He hangs up and scratches through another 
	name. Two left. He dials another number.

	INT. PROSTHETIC CLINIC - DAY

	Poole looks up from her file to the computer screen. The 
	number drops to 117...

				GERARD
		Location of the attachment.

				POOLE
			(from the report)
		Mid-humerus.

	INT. PHONE BOOTH - CLOSE ON KIMBLE'S LIST - DAY

	The next name is "Clive Driscoll." Kimble on phone, waits 
	for answer.

				KIMBLE (O.S.)
		Hello... looking for your brother, 
		Clive. This is Ted Riley with the 
		high school reunion committee. 
		Believe it or not, 25 years is just 
		around the corner, and Clive's on 
		our list of lost souls. Information 
		gave me a number, but when I tried 
		it...

	WIDER to reveal Kimble on the pay phone. The scrap of paper 
	is his list-of-five.

				KIMBLE
		No kidding?... Armed robbery.
			(forced laughter)
		He's where?

	CUT TO:

	INT. COMPUTER ROOM - DAY

	Gerard looks at the screen. The number drops to 20.

				RENFRO
		It could take us a week to track 
		down every one of those names.

	Gerard picks up phone and dials a number.

				GERARD
			(into phone)
		Stevens... I've got a list of names 
		I want searched for criminal history.

	CUT TO:

	EXT. FEDERAL LOCKUP - DAY

	Kimble stands on a sidewalk, staring at the imposing edifice 
	across the street. After a here-we-go breath, he starts 
	through traffic.

	INT. FEDERAL LOCKUP - LOBBY - DAY

	Kimble waits for an elevator. It opens to reveal a pack of 
	staring COPS.

				ELEVATOR COP
			(catching door)
		Comin' or not?

	Forcing his feet to move, Kimble boards...

	INT. FEDERAL LOCKUP - ELEVATOR - DAY

	... and pivots quickly. Elevator rises. Floor-indicator moves 
	deathly slow.

	Kimble feels the breath of a dozen COPS on his neck. And just 
	when his floor is mercifully about to arrive...

	Overhead lights flicker, and the elevator jars to a stop 
	between floors.

				COPS
		Aw, shit... Not now... Anybody 
		bring a deck of cards?

	Abruptly they're moving again. Kimble's heart restarts with 
	the elevator.

	INT. FEDERAL LOCKUP - VISITATION AREA - DAY

				CLEARING OFFICER
			(to visitor)
		Booth Three. No hands on the glass. 
		Five minutes maximum. Be advised that 
		under a Federal court ruling your 
		conversation can be recorded. Next.

	"Next" is Kimble. He steps to the counter.

				CLEARING OFFICER
		Name of inmate?

				KIMBLE
		Clive Driscoll.

	The Clearing Officer spins his clipboard around.

				CLEARING OFFICER
		Sign here, print your name, address, 
		and relationship to inmate below.
			(into mike)
		Two-zero-ten. Driscoll, Clive R.
			(to Kimble)
		Be about five minutes. You can wait 
		in the hall.

	INT. FEDERAL LOCKUP - MAIN LOBBY - DAY

	Gerard and Biggs cross the lobby and stop in front of the 
	desk; flash their U.S. Marshal's ID.

				GERARD
			(to clerk)
		We need to see a prisoner.

				DESK CLERK
		Fifth floor.

	Gerard and Biggs head for the bank of elevators.

				BIGGS
		It's hinky. Man risks everything to 
		find a man his own investigators 
		say doesn't exist. Something's really 
		hinky about this thing.

	Gerard looks at Biggs as they reach the elevators.

				GERARD
		I hate that word.

	He hits the up button.

	CUT TO:

	INT. FEDERAL LOCKUP - VISITATION AREA - DAY

	Clearing Officer looks down the hall.

				CLEARING OFFICER
		Visitor for Driscoll...?

	Kimble is on his feet.

	CLEARING OFFICER
	Booth seven. No hands on the glass. Be advised...

	The Clearing Officer, head down, drones on - doesn't notice 
	Kimble is already gone.

	Kimble strides down the row of chairs, rounds the last 
	partition to reach booth seven - and to stare at the 
	one-armed man, DRISCOLL, who waits there.

				DRISCOLL
		So who are you?

	CUT TO:

	MEMORY HIT - FACE OF HELEN'S KILLER

	CUT TO:

	BACK TO SCENE

	Driscoll's face is different. Driscoll is a black man. 

				KIMBLE
		Sorry. I made a mistake.

				DRISCOLL
		Shit, that's okay. Stick around a 
		few minutes, talk about whatever you
		want...

	But Kimble is gone. Driscoll calls after him.

				DRISCOLL
		... They're not exactly wired for 
		cable downstairs, y'know?


	INT. FEDERAL LOCKUP - CORRIDOR - DAY

	Kimble exits the visitor's area. He sees another crowd of 
	COPS around the elevator again, opts for the door marked: 
	"STAIRS"

	INT. FEDERAL LOCKUP - LOBBY - DAY

	Biggs and Gerard wait for the elevator. Finally Gerard's 
	had enough.

				GERARD
		Where're the damn stairs?

				BIGGS
		It's five flights!

				GERARD
		Then you wait.

	He finds the door and starts up.

	INT. FEDERAL LOCKUP - STAIRWELL - DAY

	Kimble descending. Doors open and close throughout the 
	stairwell but the traffic is light...

	INTERCUT WITH:

	GERARD

	Climbing the stairs. He reaches a landing - and skims 
	shoulders with Kimble, who pivots past on his way down.

	Amazingly, neither man reacts. Not yet.

	One flight above, Gerard's subconscious taps him on the 
	shoulder and brings him to a dead stop. He leans over the 
	stairwell railing to spy...

	Kimble spiraling downward. From this vantage, it could be 
	any dark-haired man. But still...

				GERARD
		(a quick probe)
		Kimble.

	Others look up out of curiosity... but not Kimble. Two 
	landings below, he falters a step, then tries to regain 
	his step, keeps moving.

	But Gerard is pulling his Glock: The hitch in Kimble's 
	stride told him everything.

				GERARD
		Kimble!

	Kimble blitzes down the stairs. Gerard moves after him.

	INT. FEDERAL LOCKUP - LOBBY - DAY

	Kimble throws open a fire door and starts across the lobby. 
	Sees two cops, quickly approaches.

				KIMBLE
		Officers - there's a man in the 
		stairwell waving a gun and 
		screaming.

	The two cops rush to stairs and Kimble immediately moves
	toward the doors, fast but not running. Hoping to cloak 
	himself in civilians.

	ANGLE ON ELEVATORS

	Biggs' elevator has finally arrived and emptied. He lets a 
	woman on in front of him, oblivious to...

	Kimble moving...

	The revolving exit doors loom nearer ant nearer.

	INT. STAIRWELL - DAY

	The two cops see Gerard. Gerard holds up his badge.

				GERARD
		U.S. Marshal! Get on the phone, call
		your commander, tell him there's a 
		top-fifteen warrant in the building. 
		Go.

	He shoves the cops out of the way and pounds downstairs.

	INT. LOBBY - DAY

	Kimble closing in on the door when suddenly a KLAXON HORN 
	sounds.

	People stop in confusion. Automatically, the exit doors 
	begin closing. Biggs pushes his way off the elevator. 
	Kimble breaks into a sprint for the door.

	GERARD

	Bursts out the stairwell door after Kimble.

				GERARD
		Kimble. Stop!

	But there's only one way of stopping Kimble.

	KIMBLE

	Enters the revolving doors as a big man enters from the 
	outside. The big man sizes up the situation, realizes Kimble 
	is fleeing and just before Kimble exits - yanks on the door 
	- trapping him partially inside the revolving door.

	Other doors seal electronically. Biggs charges back, sees 
	Gerard.

	Kimble fights the heavy glass door. The big man resists - 
	but slowly the crack widens. Gerard bulls through the crowd,
	shoves a man out of his line of fire.

				GERARD
		Down. down. everybody down!

	With adrenal effort, Kimble wrings his body through the 
	opening...

	EXT. FEDERAL LOCKUP - DAY

	... and makes it outside - except for his foot - caught like 
	in a bear trap, as the door locks down. Harrowed, Kimble looks
	back over his shoulder at...

	Gerard. Charging the glass doors. Civilians suck marble and 
	clear out of Gerard's line of fire on Kimble. Gerard takes aim.

				GERARD
		Kimble. Stop!

	It's Kimble's nightmare coming true. If he could chew off his 
	leg right now, he would. He pulls at his foot just as

	INT. FEDERAL LOCKUP - DAY

	Gerard FIRES seven times in two seconds.

	Kimble goes down. SHOTS and SCREAMS ECHO around the lobby. A 
	long beat, then Gerard rises. THROUGH GLASS studded with 
	bullet holes, he sees...

	Kimble rising... staring back. Equally astounded that he's 
	alive. He runs free.

				GERARD
		Open the doors!

	Gerard pounds against the doors. Sees cratering in the 
	glass - and then sees flattened slugs all over the floor. 
	It's bullet-proof glass. THROUGH the glass he sees Kimble 
	rush across the street and disappear into the parade.

	Doors open and Gerard and his men follow.

	But Kimble has disappeared into the parade celebrations 
	outside. Blending in with the marchers.

	CUT TO:

	EXT. HOTEL - MORNING

	Kimble leaves a cheap hotel early the next morning. He wears
	a new set of clothes - jeans, sport coat and tie - than the
	day before, and the black hair coloring has been rinsed from
	his hair. He moves down the street.

	INT. BAR - MORNING

	Kimble uses a pay phone and stares through the window.

	KIMBLE'S POV - APARTMENT HOUSE

	Across the street.

	INT. SYKES' APARTMENT - MORNING

	Inside the apartment the PHONE RINGS. No one is home.

	INT. BAR - MORNING

	The PHONE RINGS nine, ten times. As Kimble waits he looks 
	down at his list of five. The only name remaining is 
	Fredrick Sykes.

	He looks down the street - it seems clear - then his focus 
	shifts to a man carrying two coffees. He approaches a car 
	parked along the curb. The passenger - a woman - leans 
	across the seat and opens the door for him.

	He hands her a cup of coffee and as he starts to climb in, 
	he shifts something on his hip - we see the butt of a 
	handgun.

	Kimble hangs up and leaves through the back door.

	EXT. REAR OF SYKES' APARTMENT - MORNING

	Kimble moves across the roof and drops to fire escape behind 
	Sykes' apartment. He looks in the window, steps back to see 
	if anyone is looking, then pulls his fist back into his 
	sleeve and with one swift pop, BREAKS the GLASS.

	INT. SYKES' APARTMENT - KITCHEN - MORNING

	No sound. Slowly he moves into...

	HALLWAY

	Moving first toward the living room. The apartment is 
	modest.

	He stops by a photograph of a teenage girl. Another is a 
	boy in football uniform. The next one is a man in a 
	police uniform. Kimble freezes.

	MEMORY HIT - INT. KIMBLE'S BEDROOM - NIGHT OF MURDER

	Kimble struggles with the one-armed man.

	INT. SYKES' APARTMENT - MORNING (PRESENT)

	Kimble struggles to recall the man's face. It could be him.

	CUT TO:

	INT. APARTMENT - MORNING

	Kimble searching for clues to Sykes' identity. He opens 
	closets, wardrobe, bureau... reopens a drawer. There, in the 
	bottom he finds an old prosthetic arm.

	CUT TO:

	ANGLE - DESK

	Kimble looking through Sykes' desk drawers finds a package 
	of photographs. He opens them and quickly flips through.

	INSERT - PHOTOGRAPHS

	A group of men on a business/vacation junket stand around a 
	large sportfish hung from the dock. Kimble keeps flipping 
	through, suddenly stops and backs up and we see what stopped 
	him: The smiling face of Dr. Alexander Lentz.

	MEMORY HIT - INT. HOTEL BALLROOM - NIGHT OF MURDER

	Nichols introduces Kimble to Lentz.

				NICHOLS
		Richard... Alex Lentz.

	CLOSE ON PHOTOGRAPHS - MORNING (PRESENT)

	There are three photos of Lentz. Kimble slowly pulls one out 
	of the pack. As he slides it out we see a fish and on the 
	other side we see... Sykes, wearing a prosthetic arm.

	MEMORY HIT - INT. KIMBLE'S BEDROOM - NIGHT OF MURDER

	Kimble struggles with intruder. This time we see his face 
	clearly. It is Sykes.

	INSERT - PHOTOGRAPHS (PRESENT)

	Kimble flips back to the earlier group photos and we see a 
	Devlin-MacGregor banner over the group shot.

	KIMBLE

	Looks up. He's found the man he's looking for but also a new 
	possibility - that the murder wasn't just a random act of 
	violence.

	Kimble digs through Sykes' top desk drawer. His mind reeling.
	He stops:

	CLOSE ON PAYCHECK STUBS

	The Devlin-MacGregor Pharmaceutical logo in the top right 
	corner. Payroll level four: Security.

	CUT TO:

	INT. U.S. MARSHAL'S OFFICE - MORNING

	PHONE RINGS. SECRETARY answers it.

				SECRETARY
		U.S. Marshal's office...

	Her expression changes to shock.

	CUT TO:

	INT. MARSHAL'S OFFICE HALLWAY - MORNING

	Gerard is moving down the hall with a cup of coffee when 
	the Secretary appears at a door.

				SECRETARY
		It' 9 Kimble on line three.

	Gerard moves quickly down the hall, mobilizing his troops 
	as he runs...

				GERARD
		Renfro, Biggs...

	They follow him into...

	INT. MEDIA ROOM - MORNING

	Gerard moves to phone as TECHNICIAN gives him nod he's
	ready. Gerard answers the phone and the trace begins. 
	Renfro supervises.

				GERARD
		This is Gerard.

				KIMBLE (V.O.)
			(beat)
		Do you remember what I told you in 
		the tunnel?

				GERARD
		You told me, you didn't kill your 
		wife.

	INTERCUT WITH:

	INT. SYKES' APARTMENT - CLOSE ON KIMBLE - MORNING

				KIMBLE
		Remember what you said to me?

	INT. MEDIA ROOM - MORNING

	Gerard is calm.

				GERARD
		I remember you were pointing my gun 
		at me.

				KIMBLE (V.O.)
		You said, 'I don't care.'

	ON TRACING EQUIPMENT

	The numbers rush down. Technician reads the first set 
	to Renfro.

				TECHNICIAN
			(a whisper)
		He's on the southside.

	ON GERARD

				GERARD
		That's right, Kimble... I'm not 
		trying to solve a puzzle here. I'm 
		just the poor working man that's 
		paid to hunt you down.

	The room is filling up with deputies. Poole, Biggs, 
	Stevens, Newman.

	Gerard watches the numbers as the second digit locks in.

				RENFRO
			(low)
		He's in Pullman area... Fifteen 
		seconds for location.

	INT. SYKES' APARTMENT - CLOSE ON KIMBLE - MORNING

				KIMBLE
		Well, I am trying to solve the 
		puzzle, Gerard and I just found a 
		piece.

	Kimble takes the phone and bangs it down onto a table and 
	we realize he is in Sykes' kitchen.

	INT. MEDIA ROOM - MORNING

	The sound startles Gerard.

				TECHNICIAN
		Three seconds.


	INT. SYKES' APARTMENT - MORNING

				GERARD (V.O.)
		Kimble?

	Kimble leaves the phone on the table and walks out.

	INT. MEDIA ROOM - MORNING

				GERARD
			(into phone)
		You can't control this thing, 
		Kimble... Kimble?

	He thinks he hears FOOTSTEPS over the phone, realizes Kimble 
	has not hung up. What's Kimble doing?

				GERARD
			(to Renfro)
		Where is he?

	Renfro looks up from the address to Gerard, stunned.

				RENFRO
			(incredulous)
		Holy shit. We've got a car there 
		right now.

	He picks up a phone.

	EXT. SYKES' APARTMENT - ANGLE - POLICE CAR - MORNING

	The two cops receive a radio report about Kimble and 
	quickly exit their car. They rush toward Sykes' building.

	ANGLE - BACK ALLEY

	While they move into the apartment, we see Kimble, fully 
	aware of them, slip away down the alley.

	INT. EL TRAIN - MORNING

	CLOSE ON LIST: Sykes. Lentz. Devlin-MacGregor. R.D.U.90. 
	Lines draw connections.

	MEMORY HIT - INT. OPERATING ROOM - NIGHT OF MURDER

	Kimble and Chief Resident work feverishly to save patient.

				KIMBLE
		This an R.D.U.90 patient?

	Kimble looks up at the Resident as we...

	CUT TO:

	INT. SYKES' APARTMENT - DAY

	CLOSE ON TELEPHONE RECEIVER. It BUZZES off the hook.

				POOLE (V.O.)
		Name is Fredrick Sykes. 45. Ex cop .

	A hand comes INTO FRAME ant replaces the receiver on the 
	cradle. We WIDEN to find: Gerard. We see technicians 
	dusting room for prints. A FORENSIC TECH approaches Gerard.

				FORENSIC TECH
		Inspector, we're ready for you to 
		look at this.

	The Forensic Tech sits at desk.

				FORENSIC TECH
		Kimble's prints are all over the 
		apartment, but the concentration 
		is here.

	The Tech takes out the check stubs, some papers; the pack 
	of photos.

	INSERT - PHOTOS

	The Tech flips through the pack, stops on the Lentz/Sykes 
	photos.

				FORENSIC TECH
		He flips through the pack but 
		paused here.

	He hands the Lentz/Sykes photo.

				GERARD
		Let me see the negatives.

	The Tech hands him the strip of negative film. Gerard holds 
	it up to the light.

				GERARD
		One's missing.

	Gerard stares at the photo as his RADIO SQUAWKS.

				BIGGS (V.O.)
			(on radio)
		Here he comes...

	CUT TO:

	EXT. SYKES' APARTMENT - SIDEWALK - DAY

	Fredrick Sykes, the one-armed man, comes down the side 
	walk. He passes a car and hears the door open behind him. 
	Biggs climbs out of the car and falls into step behind him.

	Sykes hears the footsteps but moves on up the stoop and 
	starts to enter his apartment, notices the front door 
	already open.

	Cops and Marshals in his house. Processing a crime scene.

				SYKES
		What the hell's going on here? 
		Who are you people?

	He steps...

	INT. SYKES' APARTMENT - DAY

	... sees Gerard in the kitchen. Gerard stares at Sykes.

				GERARD
		You had a break-in, Mr. Sykes.

				SYKES
		You a cop?

				GERARD
		My name is Gerard. U.S. Marshal's 
		Office.

	Sykes is caught off guard.

				GERARD
		This morning a fugitive named 
		Richard Kimble made a call from your
		apartment.

	Sykes is dumbfounded.

				SYKES
		Richard Kimble... I don't know a 
		Richard Kim -

	Poole produces a photo of Kimble.

				SYKES
		Wait a minute... This is the doctor 
		who killed his wife... He claimed 
		the killer had a prosthetic limb. 
		You telling me he's coming after 
		me?

				GERARD
		Would he have a reason to?

				SYKES
		What the hell's that supposed to 
		mean? Because I have this?

	He lifts his prosthetic arm and stares at Gerard. Gerard 
	holds his look.

				SYKES
		Look, a year ago some people came 
		to see me. They asked me questions 
		about the night of the murder and 
		I'll tell you the same thing I told
		them. I wasn't even in town then. 
		I was on a business trip.

	Gerard continues moving around the apartment.

				GERARD
		What kind of business are you in, 
		Mr. Sykes?

				SYKES
		Security.

				GERARD
		Independent?

				SYKES
		No, I work for a pharmaceutical 
		company. I handle security for its 
		top executives.

	Gerard holds up one of the fishing photographs with Lentz.

				GERARD
		Any idea why Kimble would be 
		interested in these?

				SYKES
		No. Just some doctors on a company 
		junket.

	Gerard puts the photos down with the one of Lentz on top. 
	Sykes eyes it.

				SYKES
			(annoyed)
		Look, you mind if I talk to the cops 
		to see if anything's missing?

				GERARD
		By all means.

	Sykes moves off and Gerard pockets the Lentz/Sykes photo.

	CUT TO:

	EXT. SYKES'S APARTMENT - DAY

	Gerard crosses the street with Renfro and Biggs.

				RENFRO
		He's pulling our chain, Sam. If this
		was the guy Kimble was looking for, 
		why call us?

				GERARD
		Kimble said he's putting together a 
		puzzle. We don't need to put it 
		together too, we just need to be 
		there when he gets to the next 
		piece.

	Gerard stops and looks back at Sykes' apartment.

				GERARD
		Keep somebody on him. If he moves 
		I want to know.

	CUT TO:

	INT. MEDICAL LIBRARY - DAY

	Kimble moves through large medical library and turns into 
	area marked: PHARMACOLOGY.

	CUT TO:

	CLOSE ON PHARMACEUTICAL JOURNAL

	Pages turn as we get CLOSER on headings: "DRUGS PENDING 
	FDA APPROVAL..." Experimental and commercial names MOVE 
	PAST us... and at the end of the list we find: "PROVASIC 
	(RDU90) Developed by Devlin-MacGregor Pharmaceuticals".

	SECOND PERIODICAL - BUSINESS PHARMACEUTICAL JOURNAL

	Kimble opens to article entitled: "DEVLIN-MACGREGOR 
	EXPECTS PAYDIRT WITH PROVASIC." "Pharmaceutical company 
	plans to go public on introduction of new drug, Provasic 
	(R.D.U.90)."

	Kimble looks up. Now he knows why someone tried to kill 
	him. He gathers more Devlin-Macgregor information 
	including a prospectus, and leaves.

	CUT TO:

	INT. DOCTOR'S PHONE SERVICE - DAY

	An OPERATOR answers a call.

				OPERATOR
			(into phone)
		I'm sorry sir, Dr. Nichols is at a 
		medical conference at the Hilton.

	INTERCUT WITH:

	INT. CHICAGO MEMORIAL HOSPITAL LIBRARY - PAY PHONE - DAY

				KIMBLE
		It's very important I reach him.

	INT. HILTON HOTEL HOSPITALITY SUITE - DAY

	A meeting is underway around a board room table. An 
	ASSISTANT moves around the table and gives Nichols a 
	message with a number and "URGENT" written on it.

				ASSISTANT
		I'm sorry, sir, they said it was an 
		emergency.

	Nichols excuses himself from the table.

	EXT. MEDICAL LIBRARY PAY PHONE - DAY

	Kimble answers a pay PHONE when it RINGS.

				KIMBLE
			(urgent)
		Can you talk?

	INTERCUT WITH:

	INT. HILTON HOTEL HOSPITALITY SUITE - DAY

	Nichols on phone at the other end of the suite. The meeting 
	continues behind him. As soon as he hears Kimble's voice, 
	Nichols reacts.

				NICHOLS
			(low)
		Richard. Yes... I'm on a hotel 
		phone. What's going on?

	He eyes the group in the other room, moves around the corner 
	for more privacy. As he does we notice several of the men 
	watching. They exchange glances.

				KIMBLE
		I found him, Charlie. I found the 
		guy that killed Helen.

				NICHOLS
			(shocked)
		What?

				KIMBLE
		It's all about a drug, Charlie. They 
		tried to kill me because of a drug.

				NICHOLS
		Who?

				KIMBLE
		Devlin-MacGregor and Lentz. Lentz 
		was supervising the R.D.U.90 
		protocol. He knew I'd found out the
		drug had problems. It's Lentz.

				NICHOLS
		Richard, Lentz is dead. He died in 
		an auto accident last summer.

	Kimble is stunned.

				NICHOLS
		Can you prove this about the drug?

				KIMBLE
		I need your help. Call Mr. Roosevelt 
		and tell him I'm coming in.

	CUT TO:

	INT. GERARD'S OFFICE - DAY

	The group of deputies and Gerard assemble around Gerard's 
	information board. They've come armed with facts and 
	theories. Gerard orchestrates the information.

				RENFRO
		If you were Richard Kimble... Why 
		would you hunt for a one-armed man 
		you think killed your wife; find 
		hint then leave him and call us?

				POOLE
		To throw us off his trail.

				RENFRO
		Unless... What if you were a well 
		respected surgeon and wanted to kill 
		your wife? How would you do it?

				BIGGS
		I'd hire a pro. Sight unseen.

				POOLE
		Set it up to look like a robbery 
		gone bad.

				RENFRO
		How would you find him? Look in the 
		phone book?

				RENFRO
		Through a connection.

				POOLE
		Maybe through a company you did some 
		business with.

				BIGGS
		Like a pharmaceutical company. 
		Someone in security.

				NEWMAN
		On the night of his wife's murder, 
		Kimble attended a hospital benefit 
		sponsored by Devlin-Macgregor 
		Pharmaceutical - Sykes' company.

	Gerard places a Devlin-Macgregor card onto his board.

				BIGGS
		But Sykes claims he was out of town.

				POOLE
		And company records support that he 
		was on a business trip.

				RENFRO
		That's an easy fix. So let's say he 
		was in town. Did the job. Everything 
		goes as planned with one problem.

	  			NEWMAN
		Instead of looking like a robbery 
		gone bad, Kimble ends up being the 
		one accused...

				BIGGS
		... tried, convicted...

				POOLE
		... and the hit man gets away clean.

				RENFRO
		So Kimble returns to hunt for and 
		find the hit man.

				NEWMAN
		Why? To share the blame? He'd still 
		go to prison.

	Gerard moves to the board. He takes down a card.

				RENFRO
		You're underestimating the power of 
		the good doctor. It would be his 
		word against... Sykes'. Who would 
		you believe?

				BIGGS
		So what does Kimble do next?

				RENFRO
		Get help.

	Gerard pins the card to the board and looks at Renfro. It 
	says: "NICHOLS"

				GERARD
		Stevens, check phone records for 
		Sykes and Kimble.

	Gerard moves to the door and Renfro follows. As he's 
	leaving he hands the photo of Lentz and Sykes to Biggs.

				GERARD
		Find out who this guy is.

	He leaves. Biggs hands the photo to Newman.

				NEWMAN
			(deadpan)
		Why do I get all the great jobs?

	EXT. CHICAGO MEMORIAL HOSPITAL - LOADING DOCK - DAY

	Kimble enters the hospital through the loading dock.

	INT. CHICAGO MEMORIAL - MORGUE - DAY

	MR. ROOSEVELT, an ancient research assistant, opens the 
	door to Kimble.

				ROOSEVELT
		It sure is good to see you again, 
		Dr. Kimble.

				KIMBLE
		You too, Roosevelt... Been a long 
		time.

	Roosevelt closes the door behind them.

	INT. TISSUE STORAGE - DAY

	Roosevelt brings Kimble a file marked: "R.D.U.90"

				ROOSEVELT
		This is the R.D.U.90 file and 
		samples. Dr. Nichols said you 
		needed.

				KIMBLE
		Thanks, Roosevelt.

	CUT TO:

	INT. UNMARKED POLICE CAR - DAY

	A cop stares up at Sykes' house from across the street.

	INT. SYKES' APARTMENT - DAY

	Sykes watches the cops in the car outside. He moves to the 
	phone and dials number.

				EMERGENCY OPERATOR (V.O.)
		Emergency operator.

				SYKES
		I want to report a fire; No, it's 
		not my place, it's a couple doors 
		down.

	CUT TO:

	INT. CMH HALLWAY/DR. WAHLUND'S LAB - DAY

	Kimble moves down hall and quietly enters a small research 
	lab in the university. Dr. Wahlund sits behind her microscope 
	and doesn't see him until he touches her on the shoulder.

				WAHLUND
			(startled)
		Oh, my God... Richard.

				KIMBLE
		I loaned you something once, Kath, 
		and I need them back.

	CUT TO:

	INT. SYKES' APARTMENT - DAY

	Sykes, dressed in coat and tie, prepares to leave apartment. 
	Somewhere in the distance we hear: FIRE ENGINE SIRENS.

	EXT. SYKES' APARTMENT - DAY

	The cop stares at Sykes' window when suddenly we hear FIRE 
	SIRENS, and a pair of fire trucks turn onto the street and 
	pull up across the street from the unmarked car -blocking 
	the view of Sykes' house. Firemen climb down and move to a 
	nearby building. The street begins to fill up with people.

	The cop stares at the commotion directly behind him. He 
	becomes so engrossed in the action like everyone else that 
	he fails to see Sykes, using the distraction, exit his 
	apartment and walk calmly away from the scene.

	INT. U.S. MARSHAL'S OFFICE - DAY

	Newman studies the photograph of Lentz and Sykes under a 
	magnifying glass.

	INSERT - CLOSE ON PHOTO OF LENTZ

	We see the logo on Lentz' shirt says: "C M H"

	EXT. EL STATION - PHONE BOOTH - DAY

	Sykes stands at a phone booth, finishes a call, then moves 
	up the stairs to board an el train.

	INT. HILTON HOTEL - DAY

	A conference breaks up and Nichols moves down hallway.

	He slows when he sees Gerard and Renfro waiting for him.

				NICHOLS
		Mr. Gerard.

				GERARD
		Doctor. Could I have a minute?

	He opens the door to an empty meeting room.

	INT. MEETING ROOM - DAY

	Gerard, Nichols and Renfro. Nichols stares at a photo copy 
	of the Sykes and Lentz fishing photo.

				RENFRO
		He's a security specialist at 
		Devlin-Macgregor Pharmaceuticals.

	Kimble broke into his apartment.

				NICHOLS
		I don't know him. You're getting 
		pretty desperate aren't you, Mr. 
		Gerard. I told you, you wouldn't 
		find Richard.

				GERARD
			(beat)
		Dr. Kimble hasn't come back to you 
		for help, has he?

				NICHOLS
		No. And it seems like we've been 
		over this ground before. Now if 
		you'll excuse me.

	Nichols moves to the door. Gerard looks again at the photo, 
	then stops him.

				GERARD
		Dr. Nichols. Do you know the other
		man in the photograph?

	Nichols stops, looks at Lentz and lies.

				NICHOLS
		I never saw him before.

	He leaves. Gerard watches him.

	Renfro looks down and sees flyer which says Nichols is 
	slated to talk that evening in the grand ballroom.

				RENFRO
			(reads)
		"Advances in Nuclear Tissue and 
		Pathology Research," by Dr. Charles 
		Nichols.
			(to Gerard)
		I bet they line up to hear that one.

	CUT TO:

	EXT. CHICAGO MEMORIAL HOSPITAL - AFTERNOON

	Newman and Biggs enter the hospital.

	INT. CHICAGO MEMORIAL HOSPITAL - DR. WAHLUND'S LAB - AFTERNOON

	MICROSCOPIC POV: Cell structure.

	ON WAHLUND

	She works the fluorescent stains. Makes notes.

	Kimble helps load the next sample.

				KIMBLE
		Half the people in the study were 
		indigents. No follow-up, no baseline 
		on them. Who could say they didn't 
		come into the study with bad livers?

				WAHLUND
		The one on the right is one of the 
		samples you sent me. It shows a lot 
		of perriportal inflammation loaded 
		with eosinophils. When you see that 
		with the accumulation of bile it's 
		a classic for -

				KIMBLE
		- drug induced hepatitis.

				WAHLUND
		I'm impressed. Now look at this.

	She positions a second slide.

				WAHLUND
		According to the study, this is a 
		slice from the same liver.

	Kimble studies the slide. The tissue difference is markedly 
	different, clearer.

				KIMBLE
		Cold normal.

				WAHLUND
		Clearly not from the same tissue. 
		In fact.

	She yields the microscope to Kimble.

				WAHLUND
		See this small area of bile duct 
		proliferation? Von Meyenberg's 
		Complex. Occurs in only 2% of the 
		population. But it's in every one 
		of your five samples.

	Kimble looks up.

				KIMBLE
		That's statistically impossible.

				WAHLUND
		That's because they're all from the 
		same liver.

	She smiles at Kimble.

	CUT TO:

	INT. CHICAGO MEMORIAL HOSPITAL - ADMINISTRATIVE OFFICE

	Newman shows the photo to a 40s clerk, BETTY. She looks at 
	the photo.

				BETTY
		His name's Lentz. A pathologist. I 
		only remember him because he died 
		last summer.

	Biggs and Newman exchange a look.

				NEWMAN
		Anybody down in pathology who might 
		know something about the guy?

	Betty looks at the clock, it's after 6 p.m. Dicey.

				BETTY
		It's kinda late to catch anyone, 
		but you might go by the morgue. 
		There's an old guy down there 
		who's been around forever.

	CUT TO:

	INT. CHICAGO MEMORIAL HOSPITAL - AFTERNOON

	Sykes steps off an elevator at Chicago Memorial Hospital. 
	And starts down a hall.

	CUT TO:

	INT. CHICAGO MEMORIAL MORGUE HALLWAY - DAY

	Newman and Biggs move down the empty hallway... this long 
	shot has never felt longer. They find the morgue.

				BIGGS
		Just what I want to do before 
		dinner.

	INT. CHICAGO MEMORIAL MORGUE - DAY

	Roosevelt working near the autopsy tables when the two 
	marshals enter.

				NEWMAN
		Are you Mr. Roosevelt?

				ROOSEVELT
		Yes.

				BIGGS
		We're United States Marshals. We're 
		trying to find out some information 
		about a pathologist, named Lentz. He 
		used to be on staff here.

	Roosevelt suddenly goes on the defensive.

				ROOSEVELT
		He's dead.

				NEWMAN
		Yeah, we heard. We wanted to know if 
		he knew or had any contact with Dr. 
		Richard Kimble?

	On the mention of Kimble, Roosevelt becomes visibly nervous.

				ROOSEVELT
		I... I haven't seen Dr. Kimble.

	Biggs and Newman exchange a look.

				NEWMAN
			(a probe)
		That's not what I asked, sir. I just 
		wanted to know if Dr. Kimble and Dr. 
		Lentz knew each other?

				ROOSEVELT
		I... I don't know. Excuse me, I got to go.

	He moves away from the autopsy table. Biggs stops him.

				BIGGS
		I think you're lying to us.

	Roosevelt looks from one marshal to the other as we:

	CUT TO:

	INT. CHICAGO MEMORIAL - DR. WAHLUND'S LAB - AFTERNOON

	As Kathy packs up evidence, Kimble looks through the reports.

				KIMBLE
		They'd be home free if I hadn't been 
		leaning on them to account for the 
		livers I was seeing. And I wouldn't 
		have seen the livers if I hadn't 
		told the guys on my service to call
		me when they had cases that were 
		bleeding excessively in surgery.

				WAHLUND
		Big bucks. One schmuck standing in 
		the way. Easy, get rid of him and 
		his wife. But why Lentz?

				KIMBLE
		Why not? He's one of the original 
		patent holders. Toss the samples I 
		sent, replace them with healthy 
		samples, issue the path report on 
		the healthy stuff-piece of cake.

	Kimble notices something in the report.

				KIMBLE
		When did Lentz die?

				WAHLUND
		Oh, last summer sometime. August... 
		Why?

	Kimble looks up from the protocol report.

				KIMBLE
		Because a good third of the samples 
		Lentz approved were signed after he 
		died.

	Kathy comes to look at the report. Lentz's signature is 
	on reports dated October, November, December.

				KIMBLE
		Someone else used Lentz's name.

				WAHLUND
		A pathologist at Devlin-Macgregor?

				KIMBLE
		They wouldn't have had the access. 
		They would have needed someone at 
		the hospital.

	Kimble opens the Devlin-Macgregor prospectus he took from 
	the medical library and opens it to the beginning. A photo 
	gets his attention.

	He takes the bag and starts for the door.

				WAHLUND
		Where are you going?

				KIMBLE
		To see an old friend.

	CUT TO:

	INT. GERARD'S OFFICE - NIGHT

	Gerard at his board. The cards form a triangle: Sykes 
	Devlin-Macgregor - Lentz with Kimble at the apex. He stares 
	at the board. Poole comes to the door.

				POOLE
		It's Newman. Line two.

	INT. CHICAGO MEMORIAL HOSPITAL - HALLWAY - NIGHT

	Kimble slips down corridor. We see someone following him. 
	It is Sykes.

	INT. CHICAGO MEMORIAL HOSPITAL HALLWAY - NIGHT

	Newman on portable phone. Behind him Biggs questions Mr. 
	Roosevelt.

				NEWMAN
		The old guy didn't know where he was 
		going. But he picked up some tissue 
		samples.

				GERARD
		Tissue samples?

	Gerard goes to his board. Renfro listens on the speakerphone.

				NEWMAN
		... From a drug study. And signed 
		for by Dr. Charles Nichols.

	Renfro and Gerard exchange a look.

				NEWMAN
		Nichols also knew Lentz. He was a 
		pathologist.

				RENFRO
		He was covering for Kimble.

				GERARD
			(to Renfro)
		Get CPD to bring in Sykes.

	Gerard stares at the board.

	CUT TO:

	INT. HOSPITAL TUNNEL - NIGHT

	Kimble moves through steam tunnel beneath the hospital.

	It is lined with old furniture and supplies. A few moments 
	later we see Sykes following.

	CUT TO:

	INT. HILTON HOTEL GRAND BALLROOM - NIGHT

	A cordial HOST steps up to the microphone. The room is 
	filled with doctors seated at tables around the room. It is 
	the end of a dinner symposium.

				HOST
		Tonight to close our conference, 
		we're honored to hear a report from 
		one of the most respected men in 
		his field...

	CUT TO:

	EXT. CHICAGO MEMORIAL HOSPITAL - NIGHT

	Kimble exits the hospital and moves toward Hospital E1 Station.

	INT. BALLROOM - NIGHT

	As the Host continues his introduction of the keynote speaker 
	we PAN the DAIS of distinguished medical men and women...

				HOST
		... He is the A. Jude Robinson 
		Fellow and Administrative Chief of 
		Pathology at Chicago Memorial 
		Hospital... and just recently has 
		been appointed member of the board 
		of directors for Devlin-Macgregor 
		Pharmaceuticals. Please welcome...

	... and STOP ON Charles Nichols.

				HOST
		... Dr. Charles Nichols.

	Nichols rises to applause and moves to the podium.

	EXT. CHICAGO MEMORIAL HOSPITAL EL STATION - NIGHT

	Kimble starts up the stairs to the station just as a train 
	is coming in. Kimble moves down the platform and boards the 
	downtown train. Just before the doors close Sykes steps onto 
	the last car. The train moves out.

	CUT TO:

	INT. GERARD'S OFFICE - NIGHT

	Gerard stares at his board. Stevens comes to the door.

				STEVENS
		I checked Sykes' calls for the last 
		two years against Kimble's like you 
		asked and found nothing.

				GERARD
		All right. It was a thought.

	He goes back to the board but Stevens isn't finished.

				STEVENS
		But when I cross-checked Kimble's 
		phone records... one came up.

	Gerard looks up.

				GERARD
		Kimble called Sykes.
			(calling)
		Renfro! Get C.P.D. to bring in Sykes!

				STEVENS
		Night of his wife's murder - 
		seven-thirty in the evening from 
		his car.

	Gerard stares at the deputy, thinking - something doesn't 
	click. Stevens sees the empty stare, then Gerard looks 
	back at his board.

				STEVENS
		I have the phone record right here.

				GERARD
			(calling)
		Poole! Bring me Kimble's arrest 
		report, now.
			(to Stevens)
		No, Stevens... I believe you.

	Poole enters with Kimble's arrest transcript. Gerard takes 
	the transcript as Renfro appears at the door.

				POOLE
		Sam, C.P.D. just checked Sykes' 
		apartment. He's not there.

	As Gerard looks up, we -

	CUT TO:

	INT. DOWNTOWN EL TRAIN - ON KIMBLE - NIGHT

	Sits in the front car. There are very few other riders.

	A man with newspaper sits across the car reading. The 
	headlines facing Kimble say: "KIMBLE IN CHICAGO". Kimble's 
	booking photo stares back at him.

	Kimble reacts to the headline, looks away as the man turns 
	the pages.

	The man looks over the newspaper at Kimble, then goes back 
	to reading. A moment later he folds the paper back to the 
	front page.

	The man looks up from the paper and looks at Kimble again,
	then down.

	Coolly the man folds the paper, tucks it under his arm, 
	stands, looks through the car, then moves into one of the 
	rear cars.

	Kimble looks out the window - hoping desperately for his 
	car to reach the station. He keeps his head turned until 
	the man is gone.

	ANGLE - THROUGH CENTER OF TRAIN - NIGHT

	From the center of Kimble's car we see the man with the 
	newspaper move up to a TRANSIT COP. They begin talking.

	Kimble stands, coming INTO the SHOT. We see him watching 
	the discussion.

	Suddenly a man, sitting in the rear of the car, stands 
	and blocks Kimble's view of the Cop. It's Sykes. His gun 
	is drawn.

				SYKES
		Back up. Move to the door, Doc.

	CUT TO:

	INT. TRAIN - TRANSIT COP'S CAR - NIGHT

	Transit Cop moves past the man with the newspaper toward 
	Kimble's car.

				TRANSIT COP
			(to radio)
		This is transit unit, 23. I have a 
		possible sighting of Richard Kimble. 
		Northbound coming into the Balbo 
		station. Request immediate back-up 
		at the station.

	He moves toward the connecting door to Kimble's car.

	CUT TO:

	INT. KIMBLE'S CAR - NIGHT

	The train is not yet to the station. He has no escape. 
	Sykes moves toward him.

				SYKES
		This is my stop, Doc.

	Kimble stares hard at Sykes. He steps toward the side 
	exit.

				KIMBLE
		Good, it's my stop, too.

	Suddenly the door behind Sykes opens and the Transit Cop 
	enters.

				TRANSIT COP
		Kimble.
			(to Sykes)
		Sir, move away from him.

	Sykes - the gun tucked next to his side - turns.

	The Cop sees Sykes' gun, reacts...

	But Sykes FIRES first, shoots the cop FOUR TIMES.

	As the Cop falls, Sykes turns quickly to finish Kimble. 
	But Kimble pulls the emergency brake over the door.

	EXT. TRAIN - NIGHT

	The brakes lock. The TRAIN SCREECHES.

	INT. REAR CARS - NIGHT

	Passengers are thrown off their feet. Bags and briefcases 
	go flying.

	INT. KIMBLE'S CAR - NIGHT

	Sykes is thrown forward toward Kimble who holds onto a bar 
	for balance.

	EXT. TRAIN - NIGHT

	The train stops just short of the station. Only the first 
	two windows of the front car are over the platform.

	INT. KIMBLE'S CAR - NIGHT

	Sykes is thrown to the floor - the gun slips from his grasp. 
	Kimble moves for the gun as Sykes comes up, catches Kimble 
	in the stomach, knocks him back. The fight carries on 
	throughout the car.

	Kimble reaches the gun first, lifts it in his left hand and 
	aims at Sykes. Sykes sees the gun in Kimble's hand and 
	almost smiles.

	SYKES
	Go ahead. You don't have it in you .

	For a moment Kimble almost fires, but instead he takes the 
	gun in his right hand and whips it across Sykes' face. 
	Then hits Sykes again and again with the butt of the gun, 
	driving him down the length of the car, knocking him almost 
	unconscious.

	Kimble tucks the gun in his belt and moves to the Transit 
	Cop. He checks for a pulse - there is none. The Cop is dead.

	Kimble takes the handcuffs and keys from the case on the 
	Cop's belt. He reaches for Sykes' wrist, drags him to the 
	Cop and cuffs Sykes to the dead Cop.

	He pockets the keys and grabs Sykes' hair, pulls his face 
	off the floor.

				KIMBLE
		Not as easy as Helen, was it?
			(slams Sykes' head down, leaves)
		You missed your stop.

	He moves to the front of the car with Sykes' and the Transit 
	Cop's guns out. People back out of his way. He moves to 
	where the first two windows extend over the platform, kicks 
	out the front window and...

	EXT. TRAIN STATION - PLATFORM - NIGHT

	... drops to the station platform. Kimble lowers his head and 
	moves down the uncrowded platform to the station.

	INT. GERARD'S OFFICE - NIGHT

	The report comes off the scanner.

				DISPATCHER (V.O.)
		... units in the vicinity of Balbo 
		Street station. Be alert to possible 
		sighting of Richard Kimble...

	Gerard, Renfro and Poole trade looks. Gerard moves toward 
	the door.

				RENFRO
		Balbo station. That's -

				GERARD
			(cutting him off)
		Poole, get Biggs and Newman.

	They're gone as we -

	CUT TO:

	EXT. TRAIN STATION - NIGHT

	Police cruisers pull outside the station.

	INT. TRAIN STATION - NIGHT

	As transit police move up the escalator to the platform, 
	Kimble moves unnoticed through the underground mall 
	beneath the hotel. Deposits the guns into a mail box and 
	keeps moving.

	INT. GERARD'S CAR - NIGHT

	Renfro driving, Gerard and Pool in car. Report comes over 
	the radio.

				POLICE DISPATCHER (V.O.)
		... all units in vicinity of Balbo 
		E1. Officer down. Repeat, officer 
		down. Man leaving scene with two 
		guns matches description of Richard 
		Kimble...

	Gerard looks out the window, he knows what this means.

				GERARD
			(quietly to himself)
		Damn...

	INT. HOTEL - MALL LEVEL / LOBBY - NIGHT

	Kimble moves up escalators from the underground station 
	into the Hilton.

	INT. HOTEL LOBBY - NIGHT

	Disheveled and driven, he moves from the escalators to the 
	lobby - checks the list of hospitality suites and sees 
	board which indicates Nichols speech in the rooftop 
	ballroom. He moves on to the main elevators.

	CUT TO:

	INT. BALLROOM - NIGHT

	Nichols speaking. As he talks we MOVE TO...

	ANGLE ON TABLE OF MEN

	Listening - the same men we saw in the hospitality suite 
	when Nichols talked to Kimble. As we MOVE TIGHTER ON one 
	of the men, we notice his name tag says: Board of 
	Directors... Devlin-MacGregor Pharmaceuticals.

	INT. HILTON ROOFTOP ELEVATORS - NIGHT

	Kimble rides alone to the rooftop ballroom.

	CUT TO:

	EXT. HILTON HOTEL - NIGHT

	Gerard's car pulls up in front of the hotel. Police are 
	controlling pedestrians. Newman and Biggs, already decked 
	out in Kevlar, meet him.

				NEWMAN
		C.P.D. just reported -

				GERARD
		I heard. Was it Kimble?

				BIGGS
		Conflicting reports, but the cops 
		are considering him a shooter.

	Heavily-armed CPD units pull up. Gerard stares at the police 
	presence. He starts toward the hotel where Kelly is 
	conferring with Kevlar-decked police captain.

				POLICE CAPTAIN
		Witnesses say he entered hotel from 
		the subway.

				KELLY
		Okay. I want it locked down. Start 
		on the lower levels.

	The captain moves off. Gerard intercepts the cop.

				GERARD
		That's my man in there, Kelly.

				KELLY
		Not since he took down one of ours, 
		Gerard. This is a police matter,
		now. Stay, the hell, out of it.

	Kelly moves off. Gerard watches him a moment then he looks 
	up to the roof. Newman hands Gerard his belt with his 
	backup piece.

				GERARD
		C'mon, I know where he's going.

	He moves into the hotel with his deputies.

	INTERCUT WITH:

	LOCKDOWN MONTAGE - EXT. / INT. HOTEL - NIGHT

	A) C.P.D. cruisers arriving. Cops deploying to points of 
	entry. Security guards keying shut parking garage and 
	blocking stairwells.

	B) Helicopter with police sharpshooters takes off from 
	Meigs Field downtown and heads for the hotel.

	CUT TO:

	INT. ROOFTOP ELEVATORS/PENTHOUSE HALLWAY - NIGHT

	Kimble exits the elevators and moves down the corridor to 
	the ballroom. A man tries to stop him at the doors, Kimble 
	simply moves him out of the way and opens the doors to:

	CUT TO:

	INT. BALLROOM - NIGHT

	Nichols moves to the last of his speech as Kimble enters 
	at the rear

				NICHOLS
		... And I especially would like to 
		thank my researchers who helped me...

	Nichols stops his speech - stunned to see Kimble.

				NICHOLS
		Richard...

				KIMBLE
		What's wrong, Charlie? Surprised?

	Kimble begins moving down the aisle past the tables of 
	doctors toward the podium.

	We see the faces of Kimble's colleagues and friends from 
	the ballroom sequence earlier. At first no one notices 
	Kimble but as he makes his way toward the dais, the 
	applause fades and then room quiets. Whispers of:

				CROWD
		It's Richard. It's Kimble.

	Stunned expressions.

	Kimble continues to the front, talking to Nichols as if 
	the room were empty.

				KIMBLE
		After Lentz died, you were the only 
		one that had access to the 
		pathology reports.

	Nichols remains calm.

				NICHOLS
		Reports? What are you?

				KIMBLE
		You switched the samples and 
		falsified the reports so R.D.U.90 
		could get approval.

				NICHOLS
		Richard, I don't know what you're 
		talking about?...

				KIMBLE
		I have a set of the original 
		samples.

	Nichols stares at Kimble and for the first time we see a 
	flicker of concern.

				KIMBLE
		You almost pulled it off, Charlie. 
		But I know all about it now, and I 
		can prove it.

	Nichols and Kimble hold a look. Nichols turns to the audience.

				KIMBLE
		Ladies and gentlemen. My friend, as 
		you can see, is obviously not well. 
		Richard, if you want to talk -

				KIMBLE
		I didn't come here to talk

	Nichols leaves the dais and heads toward the exit.

	Kimble tracks along with him - moving through the tables - 
	passing the table with the Devlin-MacGregor board of 
	directors. They are disturbed by this situation.

	ON NICHOLS

	Moves through a door and exits into...

	HALLWAY

	Kimble follows moving through the tables and people to 
	reach the door.

	As soon as he's gone there are calls for "security." Doctors 
	move for the exits.

	CUT TO:

	INT. HOTEL LOBBY - NIGHT

	Gerard, Renfro, Newman, Biggs and Poole move into the lobby.
	Police move to cover the lower floors.

				BIGGS
		C.P.D. has the perimeter, hotel 
		security has the parking structure.

				GERARD
		Let them keep busy down below. 
		Newman, get with security. See if 
		you can locate Kimble from the 
		monitors. Keep in radio contact.

	Newman branches off to Hotel Security. The rest follow 
	Gerard to the rooftop elevators.

	EXT. HELICOPTER - NIGHT

	ROARING over Chicago skyline. The bright red sign of the 
	Hilton Hotel looms ahead.

	CUT TO:

	INT. HALLWAY / HOSPITALITY SUITE - NIGHT

	Nichols moves down hallway and turns into a hospitality 
	suite. A moment later Kimble follow and enters the...

	HOSPITALITY SUITE

	... and is immediately smashed with a chair by Nichols. 
	Kimble goes flying, stunned. Nichols locks the door.

				NICHOLS
		Your best quality, Richard, is that 
		you don't give up -

	Nichols pulls Kimble to his feet.

				NICHOLS
		... even when it's clearly in your 
		best interest to...

	He hits him again, drives him back into the library.

	Kimble tries to recover as Nichols relentlessly stays on 
	him. He pulls him up, slams him against the fire escape 
	doors.

				NICHOLS
		I always knew that I'd have to kill 
		you.

	He drives a blow into Kimble's stomach.

				NICHOLS
		Now, I must thank you for giving me 
		200 witnesses tonight who will 
		support me... when I tell them it 
		was self-defense...

	He shoves Kimble through the door out into...

	EXT. FIRE ESCAPE BALCONY - NIGHT

	... and almost over the railing. Kimble grabs the rail to 
	keep from dropping to the street. Nichols closes on him, 
	but Kimble rolls away at the last minute and knocks 
	Nichols back against the other side of fire escape.

				KIMBLE
		You missed your chance, Charlie...

	Nichols charges Kimble, but Kimble drives him back with 
	two crushing blows that send Nichols down the stairs.

	Kimble moves down the stairs after him - passing under a 
	security camera.

	CUT TO:

	INT. SECURITY ROOM - NIGHT

	A room lined with security monitors. Two security personnel 
	sit in front of their console. Newman stands behind them.

	On screen: We see Kimble moving down the stairs toward 
	Nichols, who pulls himself to his feet.

	Newman stands in front of the screen, talks to his radio.

				NEWMAN
			(to radio)
		I've got Kimble on the roof with 
		Nichols. Southeast exit.

	INTERCUT WITH:

	INT. HOTEL ELEVATOR - NIGHT

	Gerard and deputies Poole, Biggs, and Renfro around him.

				BIGGS
			(to radio)
		Keep and eye on him. Biggs has roof plans.

				BIGGS
		There are four exits to the roof.

				GERARD
		I want them covered.

	EXT. HOTEL ROOFTOP FIRE ESCAPE - NIGHT

	Nichols rises to his feet, swings, but Kimble blocks the 
	blow and lands another that sends Nichols down another 
	set of stairs to the roof.

				KIMBLE
		You took everything away from me... 
		for money.

	INT. BALLROOM ELEVATORS - NIGHT

	Gerard and the marshals reach the ballroom floor. The 
	elevator doors open to a flood of confused and disoriented 
	doctors trying to escape. The marshals wade through, meet 
	up with two hotel security guards.

				GERARD
		This way.

	EXT. ROOFTOP - NIGHT

	Kimble pulls Nichols to his feet. They are silhouetted by 
	the lights of the city skyline.

				KIMBLE
		I want to know, Charlie... was it 
		worth it...?

				NICHOLS
		This thing is bigger than even you 
		think, Richard. You can't stop it.

	He hits Nichols again with tremendous force, knocking him 
	against the parapet. Nichols stares over the edge - the 
	street appears far below.

	INT. BALLROOM - NIGHT

	Gerard and his deputies work their way into the ballroom. 
	The deputies move to separate areas. Several doctors point 
	them in the direction Kimble and Nichols fled.

	INTERCUT WITH:

	INT. HOTEL SECURITY - NIGHT

	Newman stands in front the security monitors and watches 
	Kimble and Nichols on the roof.

	EXT. ROOFTOP - NIGHT

	Kimble reaches Nichols and draws to hit him again as the 
	HELICOPTER suddenly ROARS over the rooftop. Its beam hits 
	the two men and a VOICE booms from the helicopter:

				VOICE FROM HELICOPTER (V.O.)
		Chicago police. Freeze.

	In the instant of shock, Nichols knees Kimble and bolts.

	INTERCUT:

	INT. HALLWAY / HOSPITALITY SUITE - NIGHT

	Gerard moves down connecting hallway where a couple of 
	concerned doctors are trying to open the door to the 
	hospitality suite.

				GERARD
			(to doctors)
		Clear the hallway.
			(to security)
		Get that door open.

	The door opens and Gerard moves quickly through the 
	hospitality suite for the rooftop.

				GERARD
			(to security)
		Stay at this door.

	He moves through the door to the roof alone.

	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.

	INTERCUT WITH:

	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 
	DEAFENING 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 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.

	INT. / EXT. HILTON HOTEL - NIGHT (LATER)

	Chicago Police hold back crowds of onlookers on Michigan 
	Avenue. Police cars and vans, television news trucks vie 
	for space in front of the Hilton Towers.

	Dr. Charles Nichols, on a stretcher, loaded into an 
	ambulance. The doors close.

	REPORTERS and television cameramen line the sidewalk 
	giving reports and interviewing doctors from the ballroom. 
	We PICK UP pieces of their reports as we MOVE PAST them 
	TOWARD the entrance.

				T.V. NEWS REPORTER
		... As we reported a few minutes 
		ago, the saga of once-prominent 
		Chicago surgeon, Dr. Richard Kimble, 
		who escaped from an Illinois 
		Corrections bus, took a strange
		twist this evening when Dr. Kimble 
		was captured at the Chicago Hilton...

	ANOTHER REPORTER continues:

				ANOTHER REPORTER
		... there are unconfirmed reports 
		from police of new evidence which 
		may exonerate Kimble while 
		implicating some of the biggest 
		names in medicine...

	The doors to the police van close amid a flurry of 
	photographs.

	A third reporter interviews a STUNNED DOCTOR from the 
	ballroom:

				STUNNED DOCTOR
		He just walked in... We didn't know 
		what he was going to do. My wife 
		was very frightened... The next 
		thing I knew cops were charging in 
		and...

	CUT TO:

	INT. HOTEL - NIGHT

	Kimble, in handcuffs, is escorted by Biggs, Newman, Poole 
	and Gerard, out of the hotel into the waiting chaos. 
	Renfro, his head bandaged, is helped by paramedics.

	EXT. HOTEL / INT. CAR - NIGHT

	As soon as the group exits the hotel. Television lights 
	flood the scene. Kimble lowers his head. Reporters crowd 
	forward, yelling questions.

				REPORTER
		Dr. Kimble, is it true you can prove 
		your innocence!

	Gerard wants the crowd controlled.

				GERARD
			(to police)
		Get them back.

	The marshals ant cops clear a line for Kimble to get into 
	a waiting car away from the media. Biggs opens the back 
	door and helps Kimble inside.

				BIGGS
		Watch your head, Dr. Kimble.

	Newman climbs in behind the wheel. Gerard in the back next 
	to Kimble. He leans out the window and motions to Poole.

				GERARD
			(to Poole)
		Poole, you got that thing?
			(to Kimble)
		Give me your hands.

	Kimble pauses, then holds up his wrists and Gerard unlocks 
	Kimble's handcuffs.

	Poole hands an ice-pack over the seat. Gerard places the 
	pack on Kimble' 9 bruised and battered hands.

				GERARD
		Take care of those hands, Doc, 
		you're going to need them again 
		soon.

				KIMBLE
		I thought you told me 'you didn't 
		care.'

				GERARD
		Yeah, well, don't spread it around.

	They share a look of mutual respect as the car pulls away.

	HELICOPTER POV

	The car carrying Kimble pulls onto Michigan Avenue heading 
	back downtown. As we PULL BACK we see Kimble's car - at 
	first alone on the great avenue - then gradually joined 
	by other cars until finally becoming integrated in the 
	traffic, movement and lights of the city.

	                                               FADE OUT

	                    THE END




Fugitive, The



Writers :   Jeb Stuart  David N. Twohy
Genres :   Action  Adventure  Mystery  Thriller


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