The Fugitive Page #9

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!

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