Wife Killer
FADE IN
EXT. WEST SIDE OF THE POLICE STATION - BAKER CITY, OHIO - DAY
Wednesday afternoon. A squad car, with WAILING siren and flashing light,
races down an otherwise quiet street. A second car -- with flashing lights,
but no siren -- pulls up to the front door of the station. Two uniformed
officers hop out and escort their prisoner -- a transient -- out of the back
seat, up the front steps, and into the building.
Standing on the steps, watching all this, is HERB MALONE, the young but
graying publisher of the local newspaper, The Baker City Herald. He leaves
the steps, walks down to the corner, and starts to cross the street. A woman
in a brown hardtop BLASTS her horn at him as she nearly runs him over.
Malone recognizes the driver as the car rounds the corner.
MALONE
Barbara!
Malone retraces his steps, running after her. The car SCREECHES to a stop in
front of Thomas' Roofing Supplies, just north of the police station -- the
two buildings are separated by an alley. Malone races to greet the driver.
MALONE
Why didn't you write me? Or phone?
A spiky, still attractive thirty-something in a trenchcoat steps out of the
hardtop to accept a friendly kiss. She's BARBARA WEBB -- a driven careerist
who sometimes lets her ambition run away with her intelligence.
MALONE
I'd've... I'd've...
BARBARA
You'd've what? Baked a fatted calf? Marched
on the brass bands?
MALONE
Well, something like that.
Barbara fishes a camera out of the back seat.
MALONE
How are you, Barbara?
BARBARA
How do I look?
Barbara hangs the camera around her neck.
MALONE
Restless.
BARBARA
Nah, just busy. Romping my way through middle
age with flash gun and lipstick.
(looks around)
They've painted the police station. Looks
yummy.
MALONE
There's no new angle if that's what you're
looking for, Barbara. The congressman's wife
was surprised by a prowler and he panicked and
killed her. And that's all there is to it.
The other two wire services have put that out
two or three times already.
BARBARA
Yeah? I'll write it again if I have to, but
differently...
(drops into a broad
Midwestern accent)
... through the eyes of the home-town gal.
MALONE
Still competing, huh?
Barbara playfully punches Malone's arm.
BARBARA
And winning. Don't worry. I'll give it to you
if I dig anything up. After I put it on the
wire service.
MALONE
All right. Thank you.
Malone and Barbara stop to watch another police car pull up and unload
another couple of prisoners, one of them apparently drunk. The two
journalists shake their heads.
BARBARA
Old Chief Blaney's as imaginative as ever.
Picking up transients.
MALONE
Five dollars to three dollars, he gets his man
that way.
BARBARA
No bet. You're too lucky. Where the devil is
he keeping all of them? Never been more than
eight people in that jail, even on New Year's
Eve.
MALONE
He's fenced in the parking lot out back.
BARBARA
A regular concentration camp. Charming. Let's
take a look.
Barbara takes Malone by the arm and leads him around to the back of the
building, making inaudible small talk as they go. Malone can't take his eyes
off her.
CUT TO:
EXT. SOUTH SIDE OF THE POLICE STATION - DAY
Sure enough, the parking lot, stretching from north to south on the east side
of the building, is surrounded by chain link fence and holds about two dozen
transients: bums, hoboes, vagrants, drifters, tramps. All of them white men.
Many dirty, unshaven, drunk. They mill around, chatting with one another,
pacing the lot, leaning against the fence. Uniformed officers patrol the
fence, inside and out, while local citizens gawk at the prisoners through the
chain link. Barbara and Malone join the gawkers, elbowing through the crowd
to get a better look.
MALONE
(to the gawkers)
Excuse us, please. Excuse me.
(to Barbara)
We get a more interesting type of transient
here than you do in the big city, wouldn't you
say?
Barbara takes an interest in one man in particular. He's engaged in
conversation with another drifter in the middle of the lot. A stocky,
surly-faced man with most of his right arm missing. It's THE ONE-ARMED MAN.
BARBARA
(wryly, to Malone)
No new angles, huh?
Barbara raises her camera to her eye and lines up a shot.
BARBARA
Whistle, Herb. Make that man look up, will
ya?
MALONE
Who?
BARBARA
That guy with the one arm missing.
MALONE
What for?
BARBARA
You told me once a reporter had to have a
memory like a sponge. Remember the Richard
Kimble case? How he kept talking about the
guy--?
MALONE
(disbelief)
Oh, come on, Barbara! Why do you want to get
some poor bum in trouble you never saw before
in your life?
BARBARA
(yells, to the One-Armed Man)
Hey, mister! Look up, will ya?!
From BARBARA'S POV, we see the One-Armed Man -- and everyone else in the lot
-- turn to look in Barbara's direction.
CUT TO:
EXT. BUS - FAR FROM BAKER CITY - DAY
Thursday. Barbara's photograph of the One-Armed Man, printed in a newspaper.
We PULL BACK from the photo to reveal that the newspaper is in the hands of
DR. RICHARD KIMBLE, an innocent victim of blind justice, falsely convicted
for the murder of his wife, and currently America's most elusive fugitive.
Kimble waits to board a bus bound for Baker City. He climbs aboard and looks
for a seat as an omniscient NARRATOR, with an enervatingly deep voice, weighs
in with a little commentary on Kimble's restless search to find the one-armed
man he saw leave the scene of his wife's murder.
NARRATOR (v.o.)
A fugitive is usually a man without a goal,
aimlessly fleeing the Furies that pursue him.
But for Richard Kimble, there is a goal. A
phantom who has himself become a fugitive. And
Richard Kimble, in turn, now becomes the hunter.
CUT TO:
INT. CAR - STAFFORD, INDIANA - DAY
Friday. Another newspaper with the same photograph.
NARRATOR (v.o.)
But another hunter is also on the move.
The headline next to the photo reads:
KIMBLE'S ONE-ARMED MAN?
Arrest of One-Armed
Suspect Recalls
Kimble Case
We PAN UP to reveal that the paper rests on a car seat -- and the car's
driver, also en route to Baker City, is LIEUTENANT PHILIP GERARD, the
dedicated plainclothes detective who handled the Kimble case, was present at
Kimble's escape, and has pursued the fugitive relentlessly ever since.
DISSOLVE TO:
EXT. WEST SIDE OF THE POLICE STATION - DAY
Saturday morning. Kimble watches the building from a safe distance on the
opposite side of the street, just across from Thomas' Roofing Supplies.
Quite a few automobiles are double-parked out front. A hasty press
conference has been called and Barbara, Malone, and a number of other media
vultures, loiter near the front steps.
Kimble cautiously crosses the street and approaches the front door of the
station but changes direction to avoid crossing paths with a uniformed
officer. Kimble walks down to the end of the block and around to the south
side of the station.
On the front steps, Malone alerts the others to the arrival of CHIEF BLANEY,
the no-nonsense, middle-aged Chief of the Baker City Police Department.
MALONE
Here he comes.
As the journalists and photographers converge on the steps, Chief Blaney, in
full uniform and looking awfully pleased with himself, appears in the front
door and addresses them.
CHIEF BLANEY
Herb. Barbara. Gentlemen. Well, we've found
him.
(checks his notes)
His name is Walter Barker. He's confessed to
killing Congressman Gilman's wife.
1st REPORTER
A transient?
CHIEF BLANEY
Yes, he's got quite a record. The M.O. fits
and so do the fingerprints. Oh, I'm having
copies of the confession made for you. Uh,
well, I guess that's it.
Chief Blaney starts to leave.
2nd REPORTER
Chief! Hold it for a second.
The photographers SNAP pictures of the Chief.
CHIEF BLANEY
(to the photographers)
Oh, thank you.
(to all)
You've all been very cooperative and I
appreciate it.
Chief Blaney eyes Barbara and Malone.
CHIEF BLANEY
(ironic, to Barbara)
Oh, I'm sorry it didn't turn out to be more
exciting.
1st REPORTER
Say, Chief! How many arms does Walter Barker
have?
CHIEF BLANEY
Oh, at least two.
Chief Blaney retreats inside as the assembled crowd laughs.
1st REPORTER
Too bad, Barbara. Looks like you missed your
-- what's that word?
2nd REPORTER
Uh, stupe, isn't it? No, no, that can't be
right.
BARBARA
(walking away)
I think the word is "scoop" and you say it when
you run in and yell, "Stop the Presses!" --
that's if you can run in high-buttoned shoes.
1st REPORTER
(calls after her)
Don't sweat it, Barbara. This story didn't get
anybody killed -- this time.
Malone winces, knowing that last remark hit home with Barbara. He takes her
arm and leads her away before there's trouble.
BARBARA
(to the reporters)
There's only one thing wrong with the newspaper
business. That's the people in it.
MALONE
(to Barbara)
Come on. I'll buy you a cup of coffee.
BARBARA
Clowns.
MALONE
Now, now, now. They're not clowns, they're
newspapermen. Good ones. You want that
coffee?
BARBARA
All right.
Malone puts a comforting arm around her as they walk off.
CUT TO:
EXT. SOUTH SIDE OF THE POLICE STATION - DAY
Kimble stands at the chain link fence, peering into the lot. A handful of
gawkers, mostly people who don't have the chance to gawk on a weekday, stare
at the transients as they read newspapers, sit or sleep on benches, discuss
freight hopping, etc.
CUT TO:
EXT. WEST SIDE OF THE POLICE STATION - DAY
A familiar car parks in front of the station and Gerard emerges. The 1st and
2nd Reporters stand near the steps, talking. Gerard strides from his car
with his typically single-minded intensity -- so much single-minded intensity
that he walks right between the two reporters without a word of apology,
nearly knocking one over, before climbing the steps and disappearing through
the front door. The reporters look at each other, not sure what to make of
him.
2nd REPORTER
(off Gerard)
Who's he?
The 1st Reporter shrugs.
CUT TO:
EXT. SOUTH SIDE OF THE POLICE STATION - DAY
Unaware of Gerard's arrival, Kimble paces outside the lot, scanning the
transients for any sign of the One-Armed Man. Two transients step aside to
reveal that a third has been lying on his back on a bench behind them.
Kimble, his view no longer blocked, sees that the transient on the bench has
only a stump where his right arm should be.
A door opens and a uniformed officer, ED WARREN, enters the lot with a
clipboard. He takes up a position by the door.
WARREN
(to an officer on guard)
Okay, Charlie.
Charlie joins him at the door.
WARREN
(to the transients)
All right, you men! You'll be released in the
same order you were booked! Take you three at
a time!
The transients press toward the door, murmuring ("Let's get out here," "Come
on," etc.). One of the men pulls the hat off the One-Armed Man and drops it
on his chest to wake him from his nap.
WARREN
Feeney! Thomas! Rasmussen!
The One-Armed Man sits up, then rises and stretches his, er, arm. As he
does, he catches sight of Kimble standing only a few feet away from him and
does a wicked double take. They stare at each other for a long moment. Then
the One-Armed Man starts retreating to the door behind him. Seemingly
terrified, he turns and runs past the other transients and into the police
station. Kimble, unsure what to do, hustles around to the front of the
building.
CUT TO:
INT. POLICE STATION - DAY
An officer returns an envelope of personal effects to Feeney, the first of
the three transients to be released. Feeney leaves immediately. Officer
Warren checks his watch. The One-Armed Man, hat in hand, sneaks into the
room -- but Warren points him back to the lot.
WARREN
I didn't call your name yet. Outside.
The second transient, Thomas, collects his things while the third, Rasmussen,
turns to grin at Warren's officious bossing of the One-Armed Man.
THE ONE-ARMED MAN
But I--
WARREN
You heard me. Outside in the compound with the
others. I'll call your name later. Now, get
outside. Let's go. Move, move...
Warren leads the One-Armed Man out of the room and SLAMS the door, much to
Rasmussen's amusement.
WARREN
(to Rasmussen)
Okay, Smiley, keep moving.
CUT TO:
EXT. WEST SIDE OF THE POLICE STATION - DAY
Out front, Kimble watches as Feeney, Thomas, and Rasmussen exit the building
and go their separate ways. No sign of the One-Armed Man. Kimble walks down
the alley on north side of the station until he can see the lot.
CUT TO:
EXT. SOUTH SIDE OF THE POLICE STATION - DAY
Kimble, on the north side of the lot, scans the transients through the chain
link. He spots the One-Armed Man scaling the fence on the south side.
KIMBLE
Hey! Hey! Somebody stop him!
The One-Armed Man manages to get over the south fence and drop to the
sidewalk. Kimble watches helplessly as the One-Armed Man rushes to the
street and starts checking parked cars to see if anyone's left their keys in
the ignition (not such a rarity in the small town America of the mid-1960s).
The second car has a key. The One-Armed Man hops in and FIRES the engine.
Kimble races down the north side of the station in a futile effort to reach
him.
CUT TO:
EXT. WEST SIDE OF THE POLICE STATION - DAY
Kimble reaches the street in front of the building just as the One-Armed Man
rounds the corner with SQUEALING tires and heads north, nearly running Kimble
down.
Farther south, Barbara and Malone stand on a corner talking with some
townsfolk. Barbara spots Kimble and immediately figures out what's going on.
BARBARA
(quietly, to Malone)
That's Kimble.
Before Malone can say or do anything, Barbara runs toward Kimble and into the
street -- almost getting hit by a bus that HONKS and stops to avoid
flattening her. She pays no attention. The halted bus blocks Malone's view.
Barbara runs up to Kimble and grabs his arm.
BARBARA
Come on, Doctor! I think we can catch him!
She jumps in her car, parked a few feet away in front of Thomas' Roofing
Supplies, and STARTS the engine. A momentarily stunned Kimble joins her in
the passenger seat. Her car SCREECHES away from the curb just before Malone,
running a step too slow, reaches it.
MALONE
Barbara!
But the chase is on...
DISSOLVE TO:
EXT. COUNTRY ROAD - DAY
The two cars race down a winding, two-lane road just outside of Baker City.
Tall mountains dominate the landscape.
INSIDE BARBARA'S CAR, Kimble and Barbara stare dead ahead.
BARBARA
Don't worry, Dr. Kimble. We'll catch him.
Kimble glances at her. She's as intent on nailing this guy as he is.
INSIDE THE STOLEN CAR, the One-Armed Man looks over his shoulder nervously.
The two cars, tires SQUEALING, rocket around A NASTY CURVE.
INSIDE THE STOLEN CAR, the One-Armed Man continues to look behind him, making
hard turns at every bend in the road.
INSIDE BARBARA'S CAR, the tension is thick.
BARBARA
You don't have a gun, do you?
KIMBLE
No.
From a HIGH ANGLE, we see the stolen car leave the two-lane road and turn
onto a rocky dirt road that winds along the side of a small mountain.
Barbara's car misses the turn, brakes, backs up, and follows the stolen car
onto the dirt road.
INSIDE BARBARA'S CAR, Kimble looks concerned.
KIMBLE
We're not going very fast.
BARBARA
Fast enough for this road, if we want to stay
on it.
INSIDE THE STOLEN CAR, a tense One-Armed Man, sweating badly, looks over his
shoulder.
Another HIGH ANGLE shows the two cars winding rapidly around the mountain on
the narrow, uneven dirt road.
From INSIDE BARBARA'S CAR, we see the steadily closing gap between the two
vehicles.
INSIDE THE STOLEN CAR, the One-Armed Man steals a last glance at his pursuers.
INSIDE BARBARA'S CAR, his pursuers glare back at him.
INSIDE THE STOLEN CAR, the One-Armed Man stares ahead in horror.
From THE ONE-ARMED MAN'S POV, a too-sharp curve and a flimsy guard rail rush
toward him.
Tires SQUEALING, the stolen car leaves the dirt road, SMASHES through the
guard rail, and soars off the side of the mountain, CRASHING nose-first into
a gully seventy feet below. It flips over once and comes to a rest on its
wheels.
Barbara's car brakes at the top of the mountain. Kimble jumps out and pauses
only a moment before scrambling down the steep incline to the wreckage below.
Kimble stops when the dust clears and he sees that the stolen car is totaled
-- but there's no one inside. He looks around quickly. Several yards from
the wreck is the motionless body of the One-Armed Man. Kimble crosses to the
body and starts to examine it. Could the One-Armed Man have somehow survived
the crash? Dr. Kimble looks doubtful.
FADE OUT
EXT. THE GULLY - DAY
FADE IN on Kimble as he finishes checking the pulse in the One-Armed Man's
wrist. Kimble lays the man's arm gently on his stomach and turns to see that
Barbara has joined him at the bottom of the gully and is SNAPPING pictures of
the scene.
BARBARA
He the right one? The man you saw, I mean.
Kimble finds her relentless picture-taking more than a little distasteful.
KIMBLE
Yes.
BARBARA
You sure?
KIMBLE
Yes, I'm sure.
(rises, looks around)
Is there... a way you can get your car down
to the bottom of this gully?
BARBARA
(lining up a shot)
Sure. What for?
Barbara lowers the camera and stares at the One-Armed Man.
BARBARA
You mean he's still alive?
KIMBLE
He's alive. He must've been thrown clear. No
broken bones as far as I can tell. I don't
know how bad it is inside.
BARBARA
What're you gonna do?
KIMBLE
I've gotta keep him alive somehow.
Barbara thinks for a moment.
BARBARA
Listen, there's a girls' camp not far from here.
A summer camp. Probably closed for the winter.
Why don't we take him there? You can treat him
yourself.
KIMBLE
What's it like?
BARBARA
Fancy enough to have first aid equipment.
KIMBLE
Okay.
Barbara turns and heads for her car, then stops and faces Kimble.
BARBARA
I think we'd better make a deal.
KIMBLE
What kind of a deal?
BARBARA
Well, I want an exclusive. On you. On him.
On everything that's happened and everything
that's going to happen.
KIMBLE
All right.
BARBARA
One more thing. You'll have to promise to
testify that you forced me to help you, if it
comes to that.
KIMBLE
All right.
BARBARA
Okay. It'll take me about ten minutes.
Barbara turns and leaves. Kimble crouches over the One-Armed Man and checks
his pulse again.
CUT TO:
EXT. POLICE STATION - DAY
All's quiet outside the building.
CUT TO:
INT. POLICE STATION - DAY
In Chief Blaney's office, Gerard interrogates Officer Warren.
GERARD
You say you heard this man shout "Stop him!"?
WARREN
Yes, sir.
GERARD
But you didn't get a good look at him?
WARREN
No, sir. He was way around the back.
Chief Blaney enters.
CHIEF BLANEY
(to Gerard)
No word from the roadblock. We might've been
too late in setting it up. We'll do everything
we can to help you but-- Actually, it could've
been almost anyone. Some enemy of the man who
ran off. Another transient, maybe.
GERARD
I realize that. And thanks for your offer of
help. First thing I'd like is a radio car and
a driver.
CHIEF BLANEY
I'll see to that myself.
(to Warren)
Oh, uh, Warren, come with me.
Officer Warren and Chief Blaney exit. Gerard turns to Malone who stands and
stares out a window on the far side of the room.
GERARD
Uh, three people who were out in the street say
they saw this man get into a brown hardtop
driven by a woman. You know who that might
have been, Mr. Malone?
Malone continues to stare out the window.
GERARD
Uh... I'm asking you a question, Mr. Malone. The
woman who drove the hardtop. Do you know who
she was?
MALONE
There are quite a few hardtops around town,
Lieutenant. Brown ones, too.
Gerard's not satisfied with such an evasive answer.
GERARD
Yes. One more thing. I'd like to talk to this
reporter who wrote this story that brought me
here, um, Barbara Webb.
MALONE
I'm pretty sure she's left town by now.
GERARD
Where's her home?
MALONE
Dayton. I have her number in my office if you
need it.
GERARD
Thank you. Oh, did she drive here, Mr. Malone?
MALONE
I believe she did.
GERARD
What type of car?
MALONE
(reluctantly)
Brown hardtop.
Gerard watches Malone suspiciously as he exits the room.
CUT TO:
EXT. GIRLS' CAMP - DAY
Cabins nestled under some trees at the bottom of a mountain.
CUT TO:
INT. CABIN - DAY
Kimble sets a bowl with a sponge in it on a table and turns to look at his
unconscious patient, the One-Armed Man, who lies on a cot, his head bandaged,
his body covered with a blanket. Barbara enters carrying something.
BARBARA
I found this by the swimming pool. A
resuscitator, isn't it?
KIMBLE
Yes.
Kimble takes it and begins to set it up.
BARBARA
(off the One-Armed Man)
What do you think?
KIMBLE
Well, he hasn't lost much blood. Concussion,
probably. Shock, I don't know how deep.
Respiration, fair. Pulse, fair.
Barbara starts SNAPPING pictures.
BARBARA
At least he's alive, hm?
KIMBLE
(off her picture-taking)
You're a reporter all the way, aren't you?
Kimble puts the resuscitator's oxygen mask over the One-Armed Man's face.
BARBARA
If I weren't, you wouldn't be here. And you
wouldn't've found him.
(beat)
What are you gonna do if he doesn't make it?
Kimble says nothing, concentrating on his patient.
BARBARA
You're not living up to your end of the bargain,
Doctor. If I'm gonna write a story, I've got to
have a few answers to questions.
KIMBLE
All right, I'll give them to you. But not right
now.
Barbara combs through the One-Armed Man's wallet, filled with a slew of
identification cards, one of them for an athletic club membership in the name
of Fred Johnson.
BARBARA
Hmmph. A man of many identities, not one of
them the same. Oh, wait a minute. Here're two
of 'em. Looks like a receipt for a blood
donation.
She hands the receipt to Kimble. He looks at it. It reads:
COUREY'S BLOOD BANK
Donor's Name: Fred Johnson
Blood Type: B
Age: 47
Amount Paid: $6.00
The Blood Donor's Signature, signed in cursive writing, is: Fred Johnson.
KIMBLE
He sold a pint of blood for six dollars.
Kimble hands it back to Barbara who puts the cards and the wallet away.
KIMBLE
(to the One-Armed Man)
Fred Johnson. Well, at least you've got a name.
Kimble sits and adjusts the resuscitator's oxygen tank.
KIMBLE
(off the tank)
I'm gonna need another one of these.
Barbara isn't paying attention, she's scribbling in her notebook.
KIMBLE
Miss Webb?
BARBARA
(gets the point)
Oh, no! I'm not leaving here. This is where
my story is.
KIMBLE
I've got to keep this man alive.
BARBARA
How do I know you can? How do I know that
while I'm away he won't die and there'll be
nothing to keep you here? You're my story.
Not him. Anyway, from my point-of-view, it
doesn't make any difference whether he lives
or dies.
KIMBLE
Yes, it does. Because he's going to live. I'm
going to see to it. Even if I have to use force
to take your car keys or whatever else I have to
do.
BARBARA
You're threatening me, Doctor.
KIMBLE
I have a lot more to lose than just a story by
trusting you. This man killed my wife. You
might be a witness to his... confession.
Anyway, it makes a better story if he stays
alive, even from your point-of-view.
A long pause. Barbara puts her notebook away.
BARBARA
Okay. Need anything else besides the oxygen
tank?
KIMBLE
(nods)
I need an I.V. kit. You know what that is?
BARBARA
Mm hmm.
KIMBLE
I need a prescription.
BARBARA
Don't worry about a thing. I still have a few
friends in this town. Anything else?
KIMBLE
I need a quart of ordinary saline solution, with
five percent glucose. And some food. Soup, I
guess. Any kind.
BARBARA
(grins at Kimble)
I think you're right about it being a better
story. If I don't change my mind, I'll be
back alone.
Barbara walks out the door. Kimble adjusts the oxygen.
DISSOLVE TO:
EXT. HOTEL BAKER - DAY
We PAN from the front entrance of the hotel to an unmarked police car parked
across the street. Officer Warren sits inside it and takes a radio call.
CHIEF BLANEY (o.s.)
Car Seven, over.
WARREN
Car Seven. Go ahead.
CUT TO:
INT. POLICE STATION - DAY
Chief Blaney is at the mike.
CHIEF BLANEY
Any sign of her? Over.
BACK TO WARREN at the hotel.
WARREN
No. No sign of her. But I'll be here. Don't
worry. Car Seven, out.
BACK TO CHIEF BLANEY at the station.
CHIEF BLANEY
Out.
Chief Blaney turns to Gerard, standing nearby.
GERARD
Well, she hasn't checked out either, so we'll
just have to wait.
CHIEF BLANEY
I guess you've seen that message from her
Dayton office. If they haven't heard from her
and her landlady hasn't, she's still gotta be
around here somewhere.
GERARD
Did you know this Barbara Webb when she lived
here?
CHIEF BLANEY
Only to say hello to. She worked on the paper.
GERARD
And she was Malone's secretary and then his
top reporter, wasn't she?
CHIEF BLANEY
Yes, then she went to Dayton and the big time
wire service.
GERARD
Do you know if there was ever anything more
than a business relationship between them?
CHIEF BLANEY
Oh, I-I hear there was at the time but... I
think they were gonna be married.
GERARD
Yeah? Well, what happened?
CHIEF BLANEY
He fired her about three years ago and then she
left for Dayton a week later. I hear he's been
back there to visit her a time or two but this
is the first time she's been back here.
GERARD
He fired her?
CHIEF BLANEY
Yes. You remember that [Wilcockson?] case about
three years ago where the, uh, the banker was
kidnapped?
GERARD
Oh, yeah. The man was killed, wasn't he?
CHIEF BLANEY
Well, the Webb girl was covering the story.
She got hold of some information which she
shouldn't have and she printed it -- which she
shouldn't have. They blamed her for the victim
being killed. Oh, I don't know whether it was
her fault or not but Malone was pretty sore.
He fired her the very next day.
GERARD
It doesn't seem to have changed his personal
feelings towards her though.
Warren calls in on the radio.
WARREN (o.s.)
Car Seven, calling headquarters, over.
CHIEF BLANEY
What is it, Warren? Over.
BACK TO WARREN at the hotel.
WARREN
She just went into the hotel, over.
BACK TO CHIEF BLANEY at the station, where Gerard, without a word, rushes out
the door.
CHIEF BLANEY
Lieutenant's on his way. Out.
WARREN (o.s.)
Okay. Over and out.
Chief Blaney watches Gerard exit, perhaps marveling at the lieutenant's
relentlessness.
CUT TO:
EXT. GIRLS' CAMP - DAY
Cabins nestled under some trees at the bottom of a mountain.
CUT TO:
INT. CABIN - DAY
Kimble removes the mask from Johnson's face and shuts off the resuscitator
which is apparently out of oxygen. Kimble turns, rises, crosses to the door,
and steps outside the cabin for a moment, just long enough for Johnson to
grin, open his eyes and sneak a glance at his whereabouts. Clearly, the
patient is not as bad off as he's pretending.
CUT TO:
EXT. HOTEL BAKER - DAY
Barbara exits the hotel with a suitcase, gets in her car, and drives away.
Across the street, Gerard and Warren sit in the unmarked police car. Gerard
gives the signal and Warren pulls out, following Barbara at a safe distance.
FADE OUT
EXT. REAR ENTRANCE OF THE BAKER CITY HERALD - NIGHT
FADE IN on Barbara's car as it turns a corner and parks in the loading zone
of Malone's newspaper. The unmarked police car turns the same corner and
quietly brakes to a halt, out of view of anyone in the loading zone.
CUT TO:
INT. POLICE CAR - NIGHT
Gerard and Warren confer quietly.
GERARD
You're sure this is Malone's office?
WARREN
Yes, sir. The back door. But I don't get it.
Hospital, groceries, gas. Now, an old
boyfriend.
GERARD
We'll wait five minutes. If she hasn't come out
by then, we'll go in.
CUT TO:
INT. MALONE'S OFFICE - NIGHT
Barbara bursts into the office and startles Malone at his desk.
BARBARA
Herb! I need your car keys.
MALONE
Barbara! Where the devil have you been?
BARBARA
I'm on the biggest story of my life. But
somebody's following me. A police car, I think.
They're parked outside. I need your car.
MALONE
Well, switching cars isn't going to help if
they know you're in here. Barbara, listen.
(rises)
You're in the biggest trouble in your life if
you're up to what I think you're up to.
BARBARA
No matter what happens, I can't get into any
trouble. Herb, please. It's the biggest story
of my life.
Malone gives her a long look, then gives in with a groan and hands her his
car keys.
BARBARA
Thank you. Now, listen. Get-get in my car and
make sure they follow you.
MALONE
Where?
Barbara helps him on with his jacket.
BARBARA
Anywhere. Just keep them busy till I can get
away.
MALONE
You mean, I play decoy?
BARBARA
Herb, trust me. Give me one more chance. One
more favor, please.
MALONE
All right. Which way are you going?
BARBARA
North.
They head for the door but Malone takes her by the shoulders.
MALONE
Barbara. Barbara, listen. I--
BARBARA
If there's any trouble, I'll contact you on your
CB radio.
MALONE
You promise?
BARBARA
I promise.
MALONE
All right.
Barbara watches apprehensively as Malone exits.
CUT TO:
EXT. REAR ENTRANCE OF THE BAKER CITY HERALD - NIGHT
In the unmarked police car, Gerard and Warren hear the motor START on
Barbara's car. They watch the car back out of the loading zone and pull
away. On Gerard's signal, Warren STARTS his engine and gives chase. Both
vehicles disappear around a corner. Moments later, Barbara emerges from the
building, sees that the coast is clear, and gets in Malone's car, driving off
in the opposite direction.
DISSOLVE TO:
INT. CABIN - NIGHT
The I.V. has been set up by Johnson's side. Kimble checks the new tank of
oxygen and puts the mask over Johnson's face. He studies the face curiously.
Barbara SNAPS some more pictures.
KIMBLE
How many pictures do you need?
BARBARA
Hard to tell, Doctor. I want to make sure the
supply is as great as the demand.
Kimble, getting ready to insert the I.V., picks up Johnson's arm and senses
immediately that his patient may be conscious. Barbara sees the expression
on Kimble's face.
BARBARA
Something wrong?
Kimble instantly realizes that Johnson may be faking and attempts a ruse to
find out for sure. Kimble stares at Johnson's face but keeps talking to
Barbara.
KIMBLE
Well, he's been unconscious for some time now.
Kimble sees Johnson's eyelids flicker.
KIMBLE
I'm not sure I should continue treating him.
Kimble gives Barbara a pointed look. She understands what he's up to and
plays along.
BARBARA
Is he going to die?
KIMBLE
He might.
That did it. Johnson's eyes pop open and he turns his head slightly to stare
at Kimble. Barbara watches as the two men stare at one another for a long
moment. Kimble bends down and puts his face close to Johnson's.
KIMBLE
Johnson? Can you hear me?
Johnson just stares at him. Barbara watches tensely.
KIMBLE
We're doing all we can to save you. And I'm
gonna keep on trying. But you have to tell me
the truth and you have to tell me now. Did you
kill her?
Barbara's eyes go from Kimble's anguished face to Johnson's blank stare.
KIMBLE
Did you kill my wife?
Johnson raises his head off the cot slowly. Barbara watches. Kimble
watches. Johnson looks Kimble right in the eyes. And nods. Yes. Barbara
raises her eyebrows. Kimble shows no expression. Johnson stiffens, rolls
his eyes back into his forehead, and drops his head to the cot, appearing to
pass out from the strain.
Kimble stumbles back to a cot behind him and sits, stunned, short of breath.
Barbara looks at Kimble for a moment, then slowly takes out her notebook.
BARBARA
How do you feel at this moment?
Kimble, breathing heavily, lowers his head.
KIMBLE
I just feel tired and exhausted.
BARBARA
How long have you been awake?
KIMBLE
Uh... Ever since I read your article, saw the
picture, on Thursday.
BARBARA
(amazed)
This is Saturday.
(sympathetic)
Listen, why don't you go to sleep? I can watch
him.
Barbara stashes her notebook, grabs a blanket, and brings it to Kimble.
BARBARA
Listen, you're not going to do him any good in
the shape that you're in. Now, come on. Get
some sleep. Here you go.
She unfolds the blanket and hands it to him. Kimble takes it.
KIMBLE
All right. But just for a half an hour. If he
wakes up, you'll... you'll call?
BARBARA
Okay.
Kimble stretches out on the cot while Barbara crosses to her typewriter, set
up on a nearby desk, next to a lantern.
BARBARA
Why don't I... Why don't I type up a
confession so he can sign it? Good idea?
KIMBLE
Good idea.
Barbara types. Kimble dozes.
CUT TO:
EXT. REAR ENTRANCE OF THE BAKER CITY HERALD - NIGHT
Malone drives Barbara's car into the loading zone and parks. The unmarked
police car, nearly tailgating him, no longer pretends to be secretly
shadowing. Gerard confronts Malone as they exit their respective vehicles.
GERARD
Malone!
MALONE
(mock casual)
Up late, aren't you, Lieutenant?
GERARD
I want to talk to you.
MALONE
Well, is this an arrest?
GERARD
No. But it could be arranged.
MALONE
No need for that. Come on in. Come on in.
Malone leads Gerard into the building.
CUT TO:
INT. MALONE'S OFFICE - NIGHT
Malone crosses to behind his desk where Gerard confronts him.
MALONE
(politely)
Sit down.
But Gerard is not in a sitting mood.
GERARD
I want to know who that man was with Barbara
Webb this afternoon. And where she's gone with
him.
MALONE
I don't know.
GERARD
I hope you enjoyed your drive this evening, Mr.
Malone, 'cuz it's gonna cost you.
MALONE
You'd have a tough time proving I broke any
laws and you know it. Now, I've been a
newspaperman almost as long as you've been a
cop, Lieutenant, and I am not easily
intimidated.
Malone sits at his desk and tries not to look intimidated.
GERARD
There's something else we both know. If that
man with her is Richard Kimble, Miss Webb will
go to prison for a long time.
Malone thinks about this a moment.
MALONE
I was just out taking a little drive in her car.
GERARD
You fired her for just this sort of thing. But
you're still in love with her, aren't you?
MALONE
(grins)
None of your business.
Gerard gives Malone a long look and turns to go. Malone immediately rises
and follows him to the door.
MALONE
You know, I, uh, dug out the files of the, uh,
Kimble case this afternoon -- and the state
disproved Kimble's story of, uh, seeing a
one-armed man. At least, that's what convicted
him. Do you share that view?
GERARD
The jury chose to believe that Kimble invented a
man with one arm.
MALONE
Well, then, why are you looking for Kimble
around here, if that man is an invention?
GERARD
Because he's come to believe there is such a
man. Any psychiatrist'll tell you, such a
delusion's by no means unusual. In fact, I've
discussed Kimble's obsession with several of
them. It's the only way he can live with his
own conscience.
Malone thinks this over, nods, then looks at Gerard.
MALONE
You're pretty sure of that, aren't you?
GERARD
Yes. I am.
MALONE
I can't help you, Lieutenant.
GERARD
(ironic)
But you would, if you could.
Gerard exits. Malone closes the door behind him, slowly crosses to a
citizen's band radio behind his desk, turns it on, and ponders the situation.
CUT TO:
INT. CABIN - NIGHT
Kimble's fast asleep on the cot. Barbara pecks away at the typewriter.
Johnson, lying on his own cot, opens his eyes and looks around. He sees
Barbara engrossed in her typing, with her back to him. He sees Kimble asleep
on the cot nearby. Slowly and quietly, Johnson pulls the oxygen mask off his
face, rips the I.V. tube out of his arm with his teeth, and, keeping an eye
on Barbara, carefully sits up. He pulls his blanket off soundlessly but when
he swings his feet over to the floor, his cot CREAKS.
Barbara turns. Johnson freezes. They make eye contact. Without warning,
Johnson falls hard to the floor and appears to pass out. Barbara rushes to
him. Johnson seems to regain consciousness and tries to say something.
Barbara stares at him.
BARBARA
Will you sign a confession?
Johnson nods weakly. Barbara returns to the desk and grabs the typewritten
confession and a pen. She returns to Johnson and puts the pen in his hand.
BARBARA
Here.
Barbara holds up the confession to him. But Johnson's hand goes limp -- he
drops the pen and again appears to faint. Barbara checks his pulse -- and
can't find it. Dazed, she picks up the pen and paper and slumps into her
chair at the desk, putting a hand to her head. Kimble's only chance to clear
himself is gone. She looks at Johnson, then at Kimble -- and gets an idea.
Rising, she crosses to Johnson's wallet. She brings it back to the desk,
sits, pulls out his I.D. cards, pushes the typewriter away, and on a fresh
piece of paper, practices forging Johnson's signature. Using the blood bank
receipt as a guide, Barbara makes three attempts at replicating the
signature, each one better than the last. Finally, she signs the confession
with Johnson's name. After crumbling up the paper with the practice
forgeries, she rushes over to Kimble and shakes him awake.
BARBARA
Doctor. He's dead.
Kimble gets out of the cot and stares at Johnson.
BARBARA
He's lying on the floor, dead. I heard him
fall but by the time I got to him, he was
dying. I got him to sign this.
She hands Kimble the confession. He reads it and sinks back down on his cot.
BARBARA
Deathbed confession is admissible evidence
anywhere. And I'll witness it.
Suddenly, Johnson gasps and raises his head slightly. Kimble and Barbara
look at him. Johnson tries to say something, then seems to pass out again.
Kimble gives Barbara a puzzled look, then rushes to Johnson. Barbara looks
on with understandable concern as Kimble checks the pulse in Johnson's neck.
Fred Johnson, the One-Armed Man, is definitely still alive.
FADE OUT
EXT. GIRLS' CAMP - DAY
FADE IN on the cabins, early the next morning. It's Sunday.
CUT TO:
INT. CABIN - DAY
Barbara carries two coffee cups over to Kimble who stands over Johnson's cot,
checking the reattached, but nearly empty, I.V. She offers Kimble one of the
cups.
BARBARA
Here.
KIMBLE
Oh. No, I don't want to give him anything to
eat until he's fully conscious.
BARBARA
It's for you, Doctor. Barley soup.
KIMBLE
(takes the cup)
Thank you.
Kimble sits on his cot and drinks his soup.
BARBARA
How's he doing?
KIMBLE
No change.
BARBARA
He's not any worse, either, is he?
KIMBLE
(sighs)
I don't know. He could have internal injuries,
damage to the heart, an infection somewhere.
BARBARA
Does it really matter?
KIMBLE
I have no way of taking his blood pressure or
getting a blood count. He's sleeping part of
the time. Partly, he's conscious or he's
faking. The oxygen is running out and so's the
I.V. He has to go to a hospital.
BARBARA
I don't really understand. Does it matter
whether he lives or dies?
KIMBLE
What?
BARBARA
I mean, he's a confessed murderer. He'll
probably be tried, convicted, and executed.
And besides all that, he murdered your wife.
KIMBLE
Yes. I know.
BARBARA
Oh. I see. It's the doctor bit. Arrowsmith.
Hippocrates and all that. After all the
running and the fear and the misery--
KIMBLE
(rises)
One of us is going to have to get in that car
and find a phone.
BARBARA
Don't you understand? He'll deny everything.
KIMBLE
Probably. But I do have a witness.
BARBARA
(uneasily)
Yeah.
Barbara crosses to the door, checking her watch.
BARBARA
There's a citizen's band radio in Herb's car.
I can probably reach him right now.
KIMBLE
Tell the ambulance crew to bring some Type B
Negative whole blood.
BARBARA
You know, the police will probably come along
-- and your Lieutenant Gerard.
KIMBLE
I hope so.
Barbara reluctantly exits. Kimble returns to his patient, checks the I.V.,
and then pulls out the folded confession from his shirt pocket and looks it
over quietly.
DISSOLVE TO:
INT. POLICE CAR - DAY
Not long after. Gerard and Malone sit silently in the back seat of a
speeding police car, it's siren WAILING. Visible in the rear window is an
ambulance with another police car following close behind. They wind along a
two-lane country road.
CUT TO:
INT. CABIN - DAY
Barbara sits at the typewriter, still pecking away. Beside her is a mass of
crumpled typewriter paper. Kimble, in one of his rare happy moods, stands
over an unconscious Johnson.
KIMBLE
Seems to be holding his own. Probably a lot
better off than I realized.
BARBARA
Can you tell me what your personal feelings
about the man are?
KIMBLE
(nearly grins)
I think you better ask me that some other time.
BARBARA
I will. You're my exclusive, you know.
KIMBLE
My pleasure.
BARBARA
Think you'll ever get married again?
Kimble joins her at the desk. She goes right on typing.
KIMBLE
I don't know. Maybe.
(off the crumpled paper)
You throw away more than you keep.
Kimble fingers some of the paper. Barbara pulls a sheet out of the
typewriter.
BARBARA
Practice makes perfect.
KIMBLE
Practice makes a lot of paper.
One piece of paper in particular catches Kimble's eye. He looks at it
closely. Barbara realizes what it is: her practice forgeries. Kimble
glances at Barbara and quickly pulls the confession out of his pocket. He
compares the signatures. A stunned Kimble turns to Barbara.
BARBARA
(apologetic)
I really thought he was dead. He was going to
sign it. I'll swear that he did sign it.
Kimble puts the papers on the desk and walks away.
KIMBLE
And he didn't. That's the first thing he'll
tell them. Any handwriting analyst in the
world'd back him up. Gonna make it a lot
harder without that confession but I've gotta
find a way to make him talk.
BARBARA
(disbelief)
You're not going to turn yourself in, are you?
KIMBLE
He'd have to tell them what he told me.
BARBARA
But what if he doesn't?
KIMBLE
He will.
BARBARA
But you said they'd spot the forgery. The
confession is a forgery-- I mean, is there any
other evidence?
KIMBLE
No.
BARBARA
What happens if you turn yourself in and-and
they can't make him confess?
KIMBLE
That's a switch. Don't tell me you care.
BARBARA
I just don't want to see you dead.
KIMBLE
I thought the story came first.
BARBARA
I only honestly wanted to help.
They hear SIRENS in the distance.
BARBARA
You've got to get out of here. There's nothing
more you can do here. Johnson's certainly not
going to get up and run away now.
Kimble heads for the door, opens it, then closes it.
BARBARA
Doctor. Go.
Kimble turns to her.
KIMBLE
(insistent)
Tell Gerard, I swear this is the man. Tell him
he must get a confession. Tell him everything
that happened here. I'll try to get in touch
with him myself.
BARBARA
I will.
An odd look crosses Kimble's face as he takes a last look at Johnson.
KIMBLE
(quietly)
Fred Johnson.
BARBARA
What?
KIMBLE
That's his name.
Kimble leaves -- satisfied, at least, that he's now certain of the identity
of his wife's murderer. Barbara watches him shut the door behind him, then
turns to look at Fred Johnson.
CUT TO:
EXT. CABIN - DAY
Kimble walks outside the cabin and cautiously looks around. The SIRENS come
closer. He breaks into a run and disappears behind some trees.
The ambulance and police cars pull up. Gerard, Malone, and Warren emerge
from one car and start looking around. Malone points out the cabin they
want. Gerard is clearly in command.
GERARD
(points to nearby buildings)
Warren, check those cabins.
Warren heads off to look for Kimble in some of the other cabins. Gerard and
Malone go the opposite direction and meet up with two officers from the other
police car.
GERARD
(to the officers)
You two come with me.
Gerard leads Malone, the two officers, and two ambulance workers into the
cabin.
CUT TO:
INT. CABIN - DAY
Barbara sits and watches silently as the group enters. The policemen have
their guns drawn. Gerard passes Barbara without a glance and searches the
cabin for Kimble. Malone follows the officers in and takes the camera away
from Barbara.
MALONE
Better give me that.
Malone pockets the camera while the ambulance workers attend to Johnson. An
intense Gerard confronts Barbara.
GERARD
Where's Richard Kimble?
BARBARA
He's innocent.
(off Johnson)
That's the man who killed Kimble's wife. He
confessed to it.
The ambulance men wheel Johnson out the door on a stretcher.
MALONE
Barbara, listen, please, don't--
GERARD
(to Barbara)
I want Kimble! Where is he?
BARBARA
I don't know. He left when I was calling you.
GERARD
He was here and you brought him here.
BARBARA
Of course, I brought him here. But if you'll
just give me a chance--
GERARD
You'll have plenty of opportunity to explain.
You're under arrest.
Gerard nods toward the door. Barbara rises and Malone escorts her out the
door, with Gerard and the police trailing behind.
CUT TO:
EXT. CABIN - DAY
Everyone exits the cabin as the ambulance workers drive off with Johnson.
The two officers return to their car. Gerard accompanies Malone and Barbara
to the other police car. Warren, his gun drawn, approaches.
WARREN
(to Gerard)
Not a sign of him, sir.
GERARD
All right, take Malone's car.
Gerard, Malone, and Barbara pile into the police car while Warren goes to
Malone's car. We PULL BACK to reveal Kimble, halfway up the side of the
nearby mountain, safely hidden by thick weeds, watching the cars far below as
they drive off.
FADE OUT
EXT. POLICE STATION - DAY
FADE IN on Chief Blaney out in front of the station watching Warren START a
parked patrol car and drive away. Blaney climbs the steps and enters the
building.
CUT TO:
INT. POLICE STATION - DAY
In Chief Blaney's office, Gerard interrogates Barbara. Malone looks on.
BARBARA
(insistent, to Gerard)
Dr. Kimble asked him, "Did you kill my wife?"
and he nodded yes. I saw him.
GERARD
(dismissive)
Of course, he nodded. He was afraid Kimble'd
stop helping him. But your problem is still
this. Either you tell me where to find Kimble
or you go to jail.
MALONE
Lieutenant, no matter how she feels now, she
certainly wouldn't have helped Kimble
originally unless he forced her.
BARBARA
(to Malone)
I could say that to a jury and they would
probably believe me but it is not true. And I
do not want this story colored by one untruth.
(to Gerard)
Kimble recognized that man from my feature
story and came here. I helped him chase him,
I watched him save his life and I witnessed a
confession. You've got to make that man
confess. He's guilty. I know he is.
GERARD
He's guilty of car theft. That's all we know
up till now. We've sent an officer to the
hospital to keep him under surveillance.
BARBARA
But you will talk to him again about Kimble,
won't you?
GERARD
Oh, yes. And about you. And if he confirms
that Kimble was there, you've brought yourself
a lot of trouble.
Chief Blaney enters.
CHIEF BLANEY
Lieutenant, your home office wants you on the
phone.
Gerard heads for the door but stops to confront Malone.
GERARD
I'll take that camera, please, Mr. Malone.
MALONE
Ah...
Malone pretends to have forgotten all about it, then fishes the camera out of
his pocket and hands it to Gerard. Gerard gives Barbara a pointed look
before he and Chief Blaney exit, leaving Malone and Barbara by themselves.
BARBARA
Well, I'll probably do my best writing in a
cell. Oscar Wilde did, you know.
MALONE
Ah, maybe the one-armed man -- what's his name?
Johnson? -- will keep quiet about it. Be better
off if he does.
BARBARA
(shakes her head)
I've got over thirty pictures of Kimble and
Gerard's got the camera.
MALONE
(casually)
Well, what good's an empty camera?
Malone holds up a roll of film. Barbara can't believe it. She crosses to
him, takes his hand, and sits beside him.
BARBARA
(grins)
Another favor, huh?
MALONE
I'll collect someday.
BARBARA
(smiling at him)
You know... I think maybe you will.
CUT TO:
EXT. HOSPITAL - DAY
Warren's police car pulls up outside the local hospital. Warren gets out and
heads for the hospital entrance, giving a friendly greeting to a wheelchair-
bound patient as he does.
CUT TO:
INT. EXAMINATION ROOM - DAY
Inside the hospital, a male nurse named CASSIDY chats with Johnson who lies
quietly on an examination table.
CASSIDY
145 over 70 with a pulse 80. You're in pretty
good shape for an ambulance case. I should be
in such good health. Well, I'll line up a ward
bed for you and get you some chow. You hungry?
JOHNSON
Yeah.
CASSIDY
Good. You have to be to eat the food around
here.
The phone RINGS and Cassidy picks up.
CASSIDY
(into the phone)
Cassidy.
(beat)
Yeah.
(beat)
Sure, send him up.
Cassidy hangs up and turns to Johnson.
CASSIDY
You're gonna have, uh, company for a while. A
cop.
Cassidy exits. Johnson, a little stiff from lying around for the last 24
hours, slowly sits up. He checks to make sure no one is watching, then hops
off the table, and slips on his shoes. Johnson's hat and coat hang nearby.
He puts on his hat to cover his bandaged head and tucks his coat under his
stump.
CUT TO:
INT. HALLWAY - DAY
Moments later, Cassidy comes down the hallway outside Johnson's room,
carrying a tray of food. He enters the room. Through the doorway, we see
Johnson attack Cassidy from behind, KNOCKING him unconscious. Cassidy sprawls
on the floor.
Johnson moves warily into the hallway and rushes to the stairwell. He
disappears down the stairs just as some elevator doors open nearby. Officer
Warren, cap in hand, emerges from the elevator and looks around for Johnson's
room. He finds it, enters, and upon seeing Cassidy on the floor, rushes to
help him.
CUT TO:
EXT. HOSPITAL - DAY
Downstairs, Johnson exits the hospital, cautiously scans the area for the
police, puts on his coat, hustles down the street, and disappears around a
corner. A clean getaway.
DISSOLVE TO:
EXT. PUBLIC PHONE BOOTH - FAR FROM BAKER CITY - DAY
Hours later. Kimble deposits a coin and dials the operator.
KIMBLE
I'd like to make a person-to-person call to
Lieutenant Philip Gerard, at the Baker City
Police Department.
(beat)
Yes, it's G-E-R-A-R-D, that's right.
(beat)
I'll wait.
We PULL BACK to a HIGH ANGLE of Kimble waiting in the phone booth by the side
of the road -- a small, lonely figure in an uncaring landscape.
NARRATOR (v.o.)
And Richard Kimble waits, not yet aware that
his hope for salvation has again disappeared,
waits to be reminded by Lieutenant Philip Gerard
that he is still as much a fugitive as before.
FADE OUT