Ill Wind


EXT. CRAWFORD FARM - SOUTHERN TEXAS - DAY

FADE IN and PAN ACROSS a sun-drenched cauliflower patch, late one afternoon.
Workers with knives cut the cauliflower from the ground and after hacking off 
the unwanted leaves, toss the cauliflower into a nearby trailer pulled by a 
slow moving tractor.  These are uneducated migrant workers, so poor that 
their children must work the fields with them.  Most are white but there are 
blacks and Latinos among them. Also among them is DR. RICHARD KIMBLE, 
America's most elusive fugitive. An omniscient NARRATOR, with a voice deeper 
than a Texas oil well, sets the scene.

				NARRATOR (v.o.)
		The work is hard, to be endured from day to 
		day, but here, just twenty miles north of the 
		Gulf of Mexico, Richard Kimble has found reason 
		to gain a new foothold on life, his first in a 
		very long time.

Kimble handles his knife with the ease of one who's been at this for a long 
time.  He tosses a cauliflower head and pauses to wipe his brow. He's dressed 
as poorly as any of his co-workers and, like many others, wears a small 
cowboy hat to keep the sun off his face.

The farm's hard-ass foreman, JOCK SIMS, blows his WHISTLE to signal not only 
the end of the working day, but the season.

				JOCK SIMS
		Quittin' tiiiiiiiiime!

The workers CHEER mildly as they hack away at the last of the cauliflower.  
Kimble works alongside the KELLY family: LESTER, the garrulous father; NAOMI, 
the worn-faced mother; and their thin but pretty twenty-something daughter 
Ida Katherine, better known as KATE.

				LESTER KELLY
		The last day in the patch is always the best 
		day!

				KIMBLE
			(to Kate)
		You tired, Katherine?

				KATE KELLY
			(to Kimble)
		Shoot, Mike Johnson, I could work another ten 
		hours.

As they all start walking out of the patch, Kimble playfully pulls the brim 
of Kate's hat down.  We've seldom seen him like this: smiling, in a good 
mood.

				NAOMI KELLY
			(to Kimble)
		Ida Katherine is bone-slender but she's got a 
		mighty strong back.

				KATE KELLY
		Go on, Ma.

				LESTER KELLY
		Well, it's a fact.  Like her Ma.  
			(to Kimble)
		Kinda does somethin' for a woman to be strong 
		in the back, don't it?

Kimble laughs -- a real rarity.

				NAOMI KELLY
		Well, it never done nothin' for me.

				LESTER KELLY
		That's a fact.

				NAOMI KELLY
		Oh!
			(laughs)
		Lester, you're funnin' me again.

				LESTER KELLY
			(to Kimble)
		Don't you think it kinda does somethin' for a 
		woman, Mike?

				KIMBLE
		That's a fact.

				NAOMI KELLY
			(to Kimble)
		Aw, you--!  Hush!

Kate, a few steps ahead of the others, turns back to grin at them.  A pick-up 
truck crawls through the field past her.  Sitting in the back are a few 
workers, among them handsome, young JONESIE, who plays the guitar and needles 
Kate by singing a folk song that might well be about her.

				JONESIE
			(sings)
		Once there played a girl who from [?] child 
		Grew a woman, tall and fair
		And the flowers went to hide every time she smiled 
		Afraid folks might compare...

Upset, Kate grabs a cauliflower head and chucks it at him.  Jonesie and 
everybody else crack up with LAUGHTER.  Kate thinks it's funny, too, but 
tries not to show it -- she stares at Jonesie with her lips tight as the 
pick-up truck carries him away, still picking out a tune on his guitar.  
Amused, Kate's parents stand with Kimble observing this little scene.


				LESTER KELLY
			(to Kimble)
		That Jonesie.  Always tryin' funnin' with Ida 
		Katherine.  We used to think, Naomi and me, 
		we'd have ourselves a guitar-pickin' son-in-law.  
			(shakes his head, amazed)
		Now, she can't even give him the time of day.

Lester pointedly grins at Kimble who smiles uncomfortably.

								DISSOLVE TO:

INT. SHERIFF'S OFFICE - DAY

A newspaper photograph of some migrant workers sitting in the back of a 
truck, under a headline: FARM LABOR SHORTAGE.  Someone puts a magnifying 
glass over the picture and we see suddenly see Kimble's face enlarged.  

				GERARD
		That's him all right.

Through the distorting lens of the glass, we see the face of LIEUTENANT 
PHILIP GERARD, the dedicated plainclothes detective from Indiana who's been 
chasing Kimble relentlessly for almost three years now.  He sets the 
magnifying glass down.  The local SHERIFF, a young but experienced man, 
looks at the photo.

				SHERIFF
		Yeah, I checked with that photographer over at 
		the newspaper.  He said most of those workers 
		hired out at the Crawford farm.  It's a big 
		place, north part of the county.

				GERARD
		Can we get started right away?

				SHERIFF
		Sure can, sir.  Take us into the night to get 
		there.  

Gerard, the Sheriff, and a DEPUTY head for the door.

				SHERIFF
		Still can't figure a guy like him bein' with 
		folks like that.  He must be bored half to 
		death.

				GERARD
		He figures he's safe with them.  Kimble won't 
		find that boring.

As usual, Gerard is the first one out the door.

								DISSOLVE TO:

EXT. CRAWFORD FARM - WORKERS' CAMP - NIGHT

A crowded migrant's camp:  tents and trailers; laundry hung out on lines; 
lanterns and campfires providing illumination.  The season over, the workers 
haul suitcases and pile their families into beat-up cars and drive off.  
Everyone is saying their good-byes, including Kimble and the Kellys who 
stroll through the crowd over to the Kellys' trailer.

				NAOMI KELLY
			(to Kimble)
		Say, Mike, you just gotta stay with us.

A couple of rambunctious young boys, one white, one black, good-naturedly 
wrestling one another, plow into Kimble.

				NAOMI KELLY
		Here!  You kids get out of here.  Beat it.

Smiling, Kimble gives them a playful swat with his small travel bag as they 
run off.  Kimble and the Kellys arrive at their trailer, a small campfire 
burning beside it.  Jonesie sits near the fire, noodling on his guitar.  Kate 
beams at Kimble and can't take her eyes off him.

				NAOMI KELLY
			(to Kimble)
		I'm fixin' real beef hamburger with scallions.  
		Of course that's better than [starving?].  Now, 
		I ain't got no chair and no cloth or table--

				LESTER KELLY
			(ironic)
		Yeah, I don't see how you can eat anything 
		unless you set out in the weeds and eat your 
		supper without any table or chairs.

				KIMBLE
			(apologetic)
		I can't stay.  I've... got to catch that nine 
		o'clock freight.

				NAOMI KELLY
		Well, you can have a cup of coffee.  That won't 
		keep you too long.

Kimble reluctantly sits with them around the fire.

				LESTER KELLY
			(casually)
		Pullin' out for up north in the morning, Mike.  
		Pickin' corn sure beats cuttin' cauliflower.  
		Better come along with us.

				KATE KELLY
			(smiling hopefully)
		Please come, Mike.

				JONESIE
			(to Kate)
		Man says he's gotta be movin' on, Lester.

				KATE KELLY
			(sternly, to Jonesie)
		You keep out of this.

Kimble lowers his eyes.

				JONESIE
			(to Kate)
		I, uh, heard that little Herrera girl come down 
		with somethin'...

Kimble, a former pediatrician, registers concern over this.

				JONESIE
			(to Kate, hopeful)
 		... and I thought maybe I'd go over there and 
		try to cheer her up a little bit and uh, thought 
		maybe you'd like to come along, Kate.

				KATE KELLY
		Sorry, Jonesie.  I don't feel up to it.

				JONESIE
		All right.

Disappointed but understanding, Jonesie rises and looks down at Kimble. 
Jonesie knows he's been outclassed by Kimble and doesn't like it much.

				JONESIE
			(to Kimble)
		You know, you sure brought about some changes 
		'round here, Mr. Johnson.

Kimble looks back at him uncomfortably.  Jonesie, the consummate musician, 
expresses what he's thinking by singing the verse of an old folk song.

				JONESIE
			(sings, to Kimble)
		From the hills of night the outlaw came
		Just runnin' for to live

Kimble grows extremely uneasy at this.

				JONESIE
			(sings, to Kate)
		And the pretty little girl never knew his name
		Still, all her love she give...

Now, it's Kate's turn to look unnerved.

				KATE KELLY
			(pointedly)
		I thought you said you had some folks to go 
		visit, Jonesie.

				JONESIE
			(to Kate, mock innocent)
		What's a matter?  It's just a little song.  
			(grins)
		I believe my Daddy told me it was writ about 
		Billy the Kid and Pat Garrett.

				KATE KELLY
		Well, I don't like it.

Jonesie walks off slowly, singing the chorus as he goes.  Kate and Kimble 
look at one another across the campfire.

				JONESIE
			(sings)
		And it's a sad, sad song that I am singin'
		It's a sad, sad tale I tell
		'Bout a love that a poor girl is bringin'
		To a man who is destined for hell

Kimble and the Kellys, their eyes lowered, sit silently as Jonesie 
disappears.  Finally, a sober Kimble breaks the tension.

				KIMBLE
			(to the Kellys)
		When you found me, I guess I was pretty sick.  
		You said I, er, was out of my head sometimes.
		I never asked you what I said during that time.

				LESTER KELLY
		Well, what a man was ain't nearly as important 
		as what he is.

				NAOMI KELLY
		Now, we never told nobody.  Others... just 
		musta guessed that you was runnin'.  Jonesie, 
		too, I suppose.

				LESTER KELLY
		But it's dangerous, ain't it?  I mean, even them 
		guessin'.

				KIMBLE
		Yeah.  I'm afraid it is.

Kimble rises to leave and can't find the words.  The Kellys rise, too, to say 
their good-byes.

				KIMBLE
		Well, I, uh ... just ... thanks.

				LESTER KELLY
			(shakes Kimble's hand)
		Bye, Mike.

				KIMBLE
		Good-bye.

				NAOMI KELLY
			(kisses Kimble's cheek)
		Good luck.

Kimble expects something similar from Kate but she restrains herself.

				KATE KELLY
		We sure will miss you, Mike.

Kimble stares at her a moment, perhaps mildly surprised, then turns, and 
walks off.  He doesn't get very far.

				KATE KELLY
		Mike...

Kimble stops and turns.  Kate rushes to him and takes his hand.

				KATE KELLY
		For the first time in my life, I'm scared.  
		Every time you walk more than ten feet away 
		from me, I get scared.  

Kate buries her face in Kimble's chest and hugs him hard.  Kimble strokes her 
hair and gives her a gentle kiss.

				KATE KELLY
		Go right now, if you've got to go.  And even if 
		I call you, you don't look back or anything.

Kimble's got to go.  He breaks the clinch and -- suitcase in hand and cowboy 
hat on his head -- he walks off into the night, leaving Kate shivering in the 
wind, fighting back her tears.

								CUT TO:

EXT. THE PACKING SHED - NIGHT

Minutes later.  An ominous CRACK of thunder.  Kimble steps on a wind-blown 
leaf just as it lands atop a railroad track next to a deserted packing shed. 
The shed is huge -- it's a warehouse, really, with a loading area right next 
to the track. Kimble secures his hat against the increasingly brisk wind and 
waits for the nine o' clock freight train to come by.

								CUT TO:

EXT. CRAWFORD FARM - WORKERS' CAMP - NIGHT

An ill wind is blowing through the camp as well: Gerard and the Sheriff 
question Lester Kelly as Naomi and Kate look on in concern.  Jock Sims, the 
mean-spirited foreman, is also on hand.

				LESTER KELLY
		Well, the excitement of this storm that's 
		a-comin' and all, I just... forgot to ask him 
		where he...

				SHERIFF
		Now, Mr. Kelly.  Now, if you don't help us, the 
		lieutenant and me gonna have to take you in to 
		San Martine for questioning.  And you might not 
		see your family for a whole week or so.  

				LESTER KELLY
		Well, I tell you...

				SHERIFF
		You want that?

				LESTER KELLY
		He-he just wandered off.  If he's the fella you 
		say he is, sure ain't no surprise he didn't 
		tell me where he was going.

				JOCK SIMS
		Face it, Lester.  A week away from pickin', 
		you'll be havin' to grub your family--

				LESTER KELLY
			(sharply)
		You keep out of this, Jock.

				GERARD
			(matter-of-fact, to Lester)
		Now, the sheriff said a week or so but, uh, he 
		could be wrong.  'Cause if we find Kimble, we 
		might charge you with being an accessory.  That 
		could mean a year.  In prison.  Could your 
		family manage that long?

				LESTER KELLY
			(stunned)
		Whole year in jail?

				GERARD
		Mm hmm.

				SHERIFF
		This man's a police lieutenant from Indiana.  
		He means what he says.

Lester thinks it over.  Naomi, her hand to her worried face, looks on.  
Kate stares at her father.  Lester reluctantly reaches a decision.

				LESTER KELLY
			(barely audible)
		Over at the packin' shed.

				GERARD
		What was that?

				LESTER KELLY
		Over at the packin' shed to get this old 
		freight.

Instantly, Gerard and the policemen jump in the Sheriff's car and take off. 
As they pull away, a horrified Kate who till now has been frozen with shock 
finally breaks down in tears and attacks her father, pounding her fists into 
his chest.

				KATE KELLY
		Pa... Pa...

Kate hits her father futilely.

				NAOMI KELLY
		Ida Katherine!

				LESTER KELLY
			(to Naomi)
		Leave her be. Leave her be. 

Lester grabs Kate's arms.  She stops fighting, puts her head to his chest and 
sobs.  Lester puts his arms around his daughter and tries to comfort her.

				LESTER KELLY
		Leave her be.

Father and daughter remain in this awkward embrace as mother buries her face 
in her hands.

								CUT TO:

EXT. THE PACKING SHED - NIGHT

The headlight of a freight train in the darkness.  Kimble, standing in the 
deserted packing shed, sees the train, pulls up his collar against the wind, 
and gets ready to hop the freight.  He turns his head just in time to see two 
shadows moving toward him.  He can't quite make them out in the dark -- and 
the wind stings his eyes.  He squints.  It's two men, walking side by side, 
in Kimble's direction.  Kimble sees that the freight is still a long way off.
The shadows come closer.  

Kimble's not taking any chances: he ducks inside the packing shed and walks 
slowly through it, looking for a place to hide.  He gets about halfway 
through the building when he stops to look behind him.  He sees the Sheriff 
and his Deputy enter the building, guns drawn.  The Sheriff shines his 
flashlight around.  Panicking, Kimble turns and half walks, half runs through 
the shed, occasionally looking back over his shoulder.

Kimble stops when he suddenly spots a huge open doorway, three times as tall 
as it is wide, revealing the stormy night outside: wind-blown mist eerily 
swirls past it in a spooky half-light -- as if the gates of Hell have opened 
up in front of him.

Before Kimble can move toward it, a dark figure steps out of the mist and 
into the doorway.  The figure blocks the exit, standing stiffly with its arms 
behind its back -- Gerard.

A startled Kimble and a grim-faced Gerard stare at each other for a long 
moment.  The hair atop Gerard's head quivers in the wind like that of 
Marley's Ghost.  Kimble desperately looks around for another escape route... 
but there is none.

He's trapped.

And he knows it.

								FADE OUT

EXT. ROAD - NIGHT

FADE IN on fast moving storm clouds darkening the sky.  Rain and wind beat 
down on the Sheriff's police car as it struggles down a country road.

								CUT TO:

INT. POLICE CAR - NIGHT

The Sheriff's at the wheel, his Deputy beside him.  Kimble and Gerard sit in 
the back seat.  Gerard puts a cigarette in his mouth.  When he lights up, we 
see that Kimble's been handcuffed to Gerard's right wrist.

				KIMBLE
			(to the Sheriff)
		Who told you where to find me?

				GERARD
			(matter-of-fact)
		Man you were traveling with.  I believe his 
		name's Kelly.

A surprised Kimble can't understand it.  The voice of the 2nd DEPUTY comes 
over the police radio.

				2nd DEPUTY (o.s.)
		San Martine, calling G-104.  San Martine, 
		calling G-104.

As the 1st DEPUTY grabs the radio mike to respond, a gust of wind nearly 
blows the police car off the road.  The Sheriff manages to keep control.

				SHERIFF
			(to Gerard)
		Whooo-eee!  You live in this country as long as 
		I have, you get an itch about a storm like this.  

				1st DEPUTY
			(into the mike)
		G-104.

				SHERIFF
		That's more'n just a wind settin' up.

				2nd DEPUTY (o.s.)
		Sheriff, we just got a report from Junction 
		Center.  That rest home out there's right in 
		the path of the hurricane.  Over.

As the Sheriff takes the mike, he and the 1st Deputy exchange worried looks.

				SHERIFF
			(to the 2nd Deputy)
		They're calling it a hurricane now?

CUT BACK TO THE SHERIFF'S OFFICE, where the 2nd Deputy sits at a mike.

				2nd DEPUTY
			(amused)
		Well, they say it's just the edge of one but 
		the way this town is swaying around, it can't 
		be anything else.  Over.

CUT BACK TO THE POLICE CAR

				SHERIFF
			(to the 2nd Deputy)
		The rest home -- did you give the order to 
		evacuate?

CUT BACK TO THE SHERIFF'S OFFICE

				2nd DEPUTY
		I did.  But we still need more wheels.  The 
		cars can't get through.  Over.

CUT BACK TO THE POLICE CAR

				SHERIFF
			(to the 2nd Deputy)
		I'll take the bypass to Junction Center.  Maybe 
		I can get there ahead of the storm.

CUT BACK TO THE SHERIFF'S OFFICE

				2nd DEPUTY
		Good luck.  Out.

CUT BACK TO THE POLICE CAR

Gerard doesn't like the sound of any of this.

				GERARD
		Sheriff, I've gotta get this man to San Martine.

				SHERIFF
		I'm sorry, Lieutenant.  Must be thirty, forty 
		old folks out there at Junction Center have to 
		be moved.

				GERARD
		How long'll that take?

				SHERIFF
		Can't tell.  Depends on how bad this storm gets.  
		Might take an hour, might take six.

				GERARD
		There a place you can drop us off where we can 
		get transportation back to town?

				SHERIFF
		Well, up ahead there's the Crawford farm.  
		Least, their field headquarters.  But I don't 
		see--

				GERARD
		I thought that's where we came from.

				1st DEPUTY
		Crawford place ain't no truck farm.  It's 
		bigger'n a lot of states.

				SHERIFF
		That's for sure.

				1st DEPUTY
		We've been ridin' through it ever since we took 
		off.

				GERARD
		All right, let us off there.

				SHERIFF
		I don't see how that's such a good idea.  
		Storm's headin' this way fast.  It's the kind 
		to take a man, toss him fifty feet in the air.

				GERARD
		Be just as bad at Junction Center, won't it?

				SHERIFF
		That's for sure.

Gerard puffs on his cigarette and shoots an unhappy look at Kimble.

								CUT TO:

EXT. CRAWFORD FARM - THE MAIN HOUSE - NIGHT

The remaining migrant workers, caught in the storm, park their vehicles and 
cluster on the steps outside the front door of the farm's main house: a huge 
metal building across from some broken down wooden stables.  Lester Kelly 
POUNDS on the door.  The wind HOWLS so loudly that everyone has to shout to 
be heard.

				LESTER KELLY
		Open up!

From inside, Jock Sims slides the big metal door open and confronts the 
workers -- with a shotgun.

				JOCK SIMS
		Hold it!  Hold it right there!

				LESTER KELLY
			(off the shotgun)
		What are you doin'?

				JOCK SIMS
		Cost you two dollars a head for a twelve hour 
		shift!

Kate stands next to MRS. HERRERA, a Latino woman who clutches her sick 
daughter JOSEPHINA in her arms.  The women squint in the wind.

				LESTER KELLY
			(to Jock)
		You got no right to charge us for gettin' in 
		out of the storm!

				JOCK SIMS
			(off of Josephina)
		Hey...  What's the matter with that kid?

Mrs. Herrera says something to Jock in Spanish.

				JOCK SIMS
			(to Mrs. Herrera)
		What do you mean?

				KATE KELLY
		She said she doesn't know!

				JOCK SIMS
			(to Kate)
		I heard her!  
			(to Lester)
		Well, she just came over the water last week, 
		didn't she?

				LESTER KELLY
		What difference does that make?

				JOCK SIMS
		I hear they got some typhoid down there!

				MRS. HERRERA
			(clutches Josephina tightly)
		Oh, Santa Maria!  No, no!

				LESTER KELLY
			(annoyed, to Jock)
		Well, you don't know it's typhoid!

				JOCK SIMS
		You don't know it ain't!

				LESTER KELLY
		What are you sayin'?

				JOCK SIMS
		I'm just sayin' you all been travelin' with 
		'em!  I ain't gonna take the chance of infectin' 
		these people inside here!  So, git goin'!

				NAOMI KELLY
			(to Jock)
		Well, where can we go?

				JOCK SIMS
		Try the stables!

				LESTER KELLY
		You know that won't hold up agin the kind o' 
		wind that's comin'!

				JOCK SIMS
		It's been holdin' up a lot o' years!  'Sides, 
		that ain't my problem!  Now, get out of here!

The workers reluctantly head for the stables.

				MRS. HERRERA
		I am sorry, Senor Kelly!

				LESTER KELLY
		What for?  You didn't fill him with all that 
		poison.

Jock slides the door shut as the workers struggle with their gear across the 
way to the rickety wooden building, already shaking badly in the wind.  
Almost all enter, except Lester and Naomi who stop to watch the Sheriff's 
car pull up at the main house.  The 1st Deputy hops out and opens the car 
door so that Kimble and Gerard may exit.  Kimble and a remorseful Lester 
stare at one another for a moment before Gerard leads Kimble to the main 
house.  Naomi urges Lester to get inside the stables, which he does 
reluctantly.  Gerard POUNDS on the door of the main house.

								CUT TO:

INT. MAIN HOUSE - NIGHT

Jock opens the sliding door to let Kimble and Gerard in.  The main house is 
full of people.  Jock shuts the door quickly and confers with Gerard.

				GERARD
		I want to borrow a vehicle to get this man to 
		San Martine.

				JOCK SIMS
		Sorry, I can't help you.

				GERARD
		You must have a truck.

				JOCK SIMS
		Course I got a truck.  That road between here 
		and San Martine is like a shootin' gallery by 
		now.  That wind'll knock anything off the road.  
		Sorry, it's out of the question.

Before Gerard can argue, there's a POUNDING at the door.

				KATE KELLY (o.s.)
		Mike?

Jock opens the door but blocks Kate from entering.

				JOCK SIMS
		All right, hold it right there!

Kimble sees Kate.

				KATE KELLY
		Mike?

				JOCK SIMS
		Hold it!  That's far enough!

Kate forces her way in and confronts Kimble.

				KATE KELLY
			(to Kimble)
		Pop told me you were here.  You got to help us.

				JOCK SIMS
			(to Kate)
		Get out of here!

				KATE KELLY
			(to Kimble)
		There's a little girl in the stables.  She's 
		sick, Mike, she just can't stop shakin'.

Kimble looks at Gerard who shakes his head.

				GERARD
		Sorry, Kimble.  I can't allow it.

				JOCK SIMS
		If I was you, Lieutenant, I wouldn't come any 
		closer.  The way I figure it, that little girl 
		she's talkin' about like as not got the typhoid.  
		That's why I've got 'em all out in the stables.

Gerard glances at Kimble and immediately starts to soften -- typhoid is 
serious stuff. 

				KATE KELLY
			(to Jock)
		Why don't you tell him about the two dollars a 
		head you been collectin'?

				JOCK SIMS
			(to Kate)
		Look, when I was workin' the fields I kicked 
		back plenty, now--

				KATE KELLY
			(to Kimble)
		Mike, you've got to hurry.

Kimble looks at Gerard who stares hard at him.

				GERARD
			(to Kimble)
		Do you think you can help?

				KIMBLE
		I don't know.  Maybe.

				GERARD
			(nods reluctantly)
		All right.  Let's go.

Gerard leads Kimble to the door.

				JOCK SIMS
			(stunned, to Gerard)
		You really goin' out there?

Gerard just gives Jock a look as he, Kimble, and Kate exit into the storm.  
Jock shuts the door behind them.

								CUT TO:

EXT. MAIN HOUSE - NIGHT

Gerard, Kimble, and Kate struggle against the wind as they cross to the 
stables and enter.

								CUT TO:

INT. THE STABLES - NIGHT

Almost twenty workers shelter in the stables.  The walls shake and CREAK 
ominously as if ready to fall apart any minute.  A mother holds a baby in her 
arms.  A young black boy swings happily on a pulley.  A black man unpacks his 
suitcase, expecting to stay the night, then fetches his son off the pulley.  
Gerard, Kimble, and Kate enter. Gerard, wearing his usual suit and tie, 
stands out starkly amidst the poverty here.  The Kellys greet them.

				LESTER KELLY
		Hello, Mike.

				NAOMI KELLY
		Mike, it's sure good to see you.

				KIMBLE
		Where's the child?

				LESTER KELLY
			(points)
		Over there.

Kimble and Gerard cross near to where Mrs. Herrera sits with her daughter 
Josephina in her arms.  The child is in a lot of pain.

				JOSEPHINA
			(weakly)
		Mama...

				KIMBLE
			(to Gerard, off the handcuffs)
		You'll be taking quite a chance.

But Gerard would rather catch typhoid than take the cuffs off Kimble.

				GERARD
			(nods)
		I guess you're right.

Kimble moves in close, crouches down, and starts examining Josephina. Gerard 
watches stoically.  Jonesie and the Kellys look on.  Kimble checks the 
child's eyes.

				KIMBLE
			(to Mrs. Herrera)
		How long's she been like this?

Mrs. Herrera doesn't understand.  Kimble switches to Spanish and they have a 
brief exchange.

				GERARD
			(to Kimble)
		What do you think?

				KIMBLE
		Well... temperature's up.  She has all the 
		symptoms.  It could be typhoid.  We'll just 
		have to wait.

				GERARD
		For what?

				KIMBLE
		If we can break the temperature.  If we can, it 
		isn't typhoid.

Kimble rises and turns to the others.

				KIMBLE
		Let's get some blankets, anything we can find 
		to keep the child warm.  Lester, put her in the 
		back of the jeep.  Jonesie, uh, see if you can 
		get Jock to give you some first aid equipment, 
		anything you can find over there.

				JONESIE
		Whatever it is, it's like to cost me half a 
		month's pay.

Everyone starts moving:  The women find blankets; Lester carries Josephina 
over to an ancient jeep that looks as if it hadn't left the stables in years; 
Jonesie heads for the door.

Mrs. Herrera climbs in the back of the jeep and Lester puts the child in her 
lap.  The women wrap the Herreras in blankets.  Kimble helps to tuck them in 
with his free hand.  Under Gerard's watchful eye, Lester quietly approaches 
Kimble.

				LESTER KELLY
			(apologetic)
		Mike.  About me tellin' the po-lice where you 
		were.  They... well, they claimed I might have 
		to go to jail for a whole year.  

Kimble looks at Gerard.  Gerard shows no remorse.

				LESTER KELLY
			(sadly, to Kimble)
		I wouldn't mind for  myself but Naomi and Kate, 
		they... well, you know.

				KIMBLE
			(nods)
		I know.

The stable doors RATTLE badly in the wind and swing partly open.  A worker 
shuts the door.  Gerard doesn't like the looks of this.

				GERARD
			(to the workers)
		Looks like we're gonna have to be here for 
		awhile so we'd better do some work on this 
		place, make it as sturdy as we can.

Nobody moves.  They all look at Gerard as if he just landed from Mars.

				KIMBLE
			(to the workers)
		The lieutenant's right.  We've got to do 
		something to keep this place together.

				LESTER KELLY
			(to the workers)
		You heard Mike.  Let's get to it.

Immediately, everybody nods and sets to work propping up the walls and tying 
the doors, etc.  An amused Gerard glances at Kimble.

				GERARD
			(to Kimble)
		The appeal of the underdog?

				KIMBLE
		These people know me.

				GERARD
		And trust you.  In spite of what they've been 
		told about you.

				KIMBLE
		Well, maybe they don't believe what they've 
		been told.

				GERARD
		Or maybe they don't want to.

				KIMBLE
		It's the same thing, isn't it?

								CUT TO:

EXT. MAIN HOUSE - NIGHT

Jock throws a first aid kit at Jonesie's feet.

				JOCK SIMS
		Now, there's your medicine!  And take off 'fore 
		you spread any germs!

Jonesie picks up the kit.

				JONESIE
		You know, one day when you ain't got that 
		rifle, I'm gonna come back and whup your head 
		for ya, Jock!

				JOCK SIMS
		I know, you're gonna sing me a pretty love song 
		on that out of tune guitar!

Jonesie turns and heads back for the stables.  From out of nowhere a huge 
wind-blown tree branch hits him in the head and knocks him to the ground.  He 
clutches his forehead in pain, staggers to his knees, grabs the first aid 
kit, and somehow gets to his feet and back to the stables.

								CUT TO:

INT. THE STABLES - NIGHT

Jonesie enters with the first aid kit, holding his head.

				NAOMI KELLY
		Jonesie!  What happened to ya?

				JONESIE
			(to Kimble)
		Here's the stuff.

Jonesie hands the kit to Kimble who opens it.  A concerned Kate follows 
Jonesie as he walks off.

				KATE KELLY
			(to Jonesie)
		Did you get in a fight with him?

				JONESIE
		No. I'd like to, as well as not.

				KATE KELLY
			(off his injured head)
		Let me see that.

				JONESIE
		I just happened to get my head in the way of a 
		piece o' flyin' tree.

				GERARD
			(to Kimble, off the kit)
		Anything in there you can use?

				KIMBLE
		The aspirin might help break the fever.

				JONESIE
			(to Kate, off Kimble)
		I'm sorry, Ida Katherine.  I ain't no hero.

A depressed Jonesie walks off.  Kimble tries to open the aspirin bottle but 
the handcuffs hamper him.  He looks at Gerard who, against his better 
judgment, nods and fishes the handcuff key out of his pocket.

				GERARD
		Well, I guess from the look of things, you 
		won't be going anywhere for a little while.

				KIMBLE
		Get me some water, Kate.

				NAOMI KELLY
		I got some in the canteen.

The Kelly women fetch the canteen and a tin cup.  Gerard removes the 
handcuffs.

				KIMBLE
			(to Gerard)
		Thank you.

Kimble opens the aspirin bottle as Kate arrives with a tin cup of water.  

				GERARD
			(darkly, to Kimble)
		Just remember...  

Kate and Kimble stare at Gerard as he pockets the handcuffs.

				GERARD
		... I still have a gun.

Kimble shuts the first aid kit and gives the child an aspirin.

				JOSEPHINA
		Mama...  Mama...

Lester and Naomi watch from nearby.

				KIMBLE
			(to Gerard)
		Nothing to do but wait.

Lester and Naomi watch Gerard pull the cuffs out and clamp them on Kimble.

				LESTER KELLY
			(quietly, to Naomi)
		How come you married a man who can't do nothin' 
		right for nobody?

Kate watches uneasily as Gerard clamps the other cuff around his own wrist.

				KIMBLE
		Get some sleep, Kate.

Kate looks from Kimble to the cuffs and walks away.  Naomi comforts Lester. 
 Kimble exchanges a few reassuring words in Spanish with Mrs. Herrera before 
he and Gerard cross to the far side of the room to get some rest.  The 
workers continue to prop up the ever-shaking stables and prepare to bed down 
for the night.  As the building GROANS and CREAKS, a thoughtful Lester looks 
mighty unhappy.

								DISSOLVE TO:

EXT. THE STABLES - NIGHT

The storm grows worse -- if that's possible.  A tumbleweed tumbles past.

								CUT TO:

INT. THE STABLES - NIGHT

A long, slow PAN ACROSS the building: farm equipment falls off the swaying 
walls; Mrs. Herrera sits in the jeep praying out loud in Spanish and 
comforting her bundled child; another mother comforts another child;  Jonesie 
and most of the workers try to sleep on the hard, cold ground.  

The PAN ends on Kimble and Gerard, still cuffed together.  They doze fitfully 
while sitting against some straw bales.  A shadow crosses them. Kimble wakes 
and looks up just in time to yank Gerard out of the way of a well-aimed 
pitchfork that buries itself in the straw bale behind him.  

Gerard wakes and instantly sitting up, scans the room.  Kimble watches him 
apprehensively to see if Gerard caught sight of his attacker. From GERARD'S 
POV, we see Jonesie asleep by the jeep, the workers on the floor, the Kellys 
on the opposite side of the room, and the mother with the child in her arms.
Gerard gives a relieved Kimble an ugly look.

				GERARD
			(grimly ironic)
		And you have no idea who it was.

				KIMBLE
			(shakes his head)
		No.

Gerard savagely pulls the pitchfork from the bale and gets to his feet, 
holding the tool so that he looks like a twisted parody of the famous Grant 
Wood painting.

				GERARD
			(angrily, to the workers)
		Now, I'm gonna tell you something!  And you 
		better listen!  

Everyone in the stables stares at Gerard who has completely lost it.

				GERARD
			(screaming)
		This man is my prisoner!  And anyone who tries 
		to help him will be charged with aiding a 
		convicted murderer to escape!  That's a very 
		serious offense...  

Gerard looks at the pitchfork a moment and it finally sinks in that he's 
lucky to be alive.  He tries to regain his composure.

				GERARD
		And attempting to kill an officer of the law is 
		even more serious.  Is that clear?

No one says a word.  Gerard viciously throws the pitchfork to the ground and 
sits back down, watching the room warily.

				KIMBLE
			(quietly, to Gerard)
		I'd better check the girl.

Gerard looks over at the jeep.  Kimble gestures for Gerard to remove the 
cuffs. He does so reluctantly. Gerard watches as Kimble rises and crosses to 
the jeep where Kate tends to Mrs. Herrera.

				KIMBLE
			(quietly, to Kate)
		You throw a mean pitchfork.

				KATE KELLY
		I don't know what you're talkin' about.

Kimble just stares at her.

				KATE KELLY
		What do you expect me to do?  That man's gonna 
		take you to the 'lectric chair.  'Sides, it's 
		not as though I was tryin' to kill him or 
		anything.  I just figured that maybe if he 
		couldn't walk for a little while, you could get 
		away.

				KIMBLE
		Kate, promise me, you won't try again.

				KATE KELLY
		But he--

				KIMBLE
		Promise me, Kate.

				KATE KELLY
		All right.  I promise.  
			(slight grin)
		But what about the others?

Kimble doesn't like the sound of that.  He starts back toward Gerard. 
Suddenly, the wind forces the stable doors to swing violently open. Kimble 
turns, bolts toward them, and runs out the door.  Gerard, on the opposite 
side of the stables, sees Kimble leave the building and instantly jumps to 
his feet.  But, seconds later, Kimble reappears, trying to shut the doors.  
Others rush to his aid.  Gerard relaxes a little.  Kimble, Jonesie, and the 
others secure the door and slowly return to their makeshift beds.  Kimble 
rejoins Gerard, standing by the straw bales and sits beside him. Gerard sits 
down too.

				GERARD
		I suppose I should thank you.

				KIMBLE
		Don't bother.

				GERARD
		What you did, uh, didn't surprise me.

				KIMBLE
		You know I'll try to get away if I can.

				GERARD
		That doesn't surprise me either.

Gerard pointedly pockets the handcuffs -- much to Kimble's surprise.

								FADE OUT


EXT. THE STABLES - NIGHT

FADE IN on the dark and stormy night.

								CUT TO:

INT. THE STABLES - NIGHT

Since nobody's getting much sleep anyway, Jonesie plays his guitar, singing 
another couple of verses from the old folk ballad he'd sung earlier.

				JONESIE
			(sings)
		At the outlaw's heels the sheriff rode
		With a gun strapped to his side

Gerard, pacing the stables with his patented arms-behind-the-back posture, 
reacts a little to this last line but it's hard to know what he's thinking. 
He watches Kimble and Kate tend to Josephina.

				JONESIE
			(sings)
		And the ever-runnin' man lived the outlaw's code:
		Take love but ne'er a bride

A sad-faced Kate listens to this line and looks over at Kimble. 

				JONESIE
			(sings)
		So the chase went on both day and night
		With the sheriff gainin' some

Lester, with Naomi at his side, looks over at Kimble unhappily.

				JONESIE
			(sings)
		Till they didn't give a hang who was right or wrong
		Just when the end would come

This line seems to hit home with Gerard who walks off to the far side of the 
stables and leans against the ladder to the hay loft.  Jonesie, having made 
his points, starts singing the chorus.

				JONESIE
			(sings)
		And it's sad, sad song that I am singin'
		It's sad, sad tale I tell
		'Bout a love that a poor girl is bringin'
		To a man who is destined for hell

				LESTER KELLY
		Jonesie, why don't you shut up?!

Jonesie stops playing and lets go of the neck of the guitar.

								CUT TO:

INT. SHERIFF'S OFFICE - NIGHT

The 2nd Deputy still sits at the mike as the Sheriff and the 1st Deputy 
enter, shaking off the cold and the rain.


				2nd DEPUTY
			(into the mike)
		All right, Harry, I'll check with you later. 
		Out.

				SHERIFF
			(to the 2nd Deputy)
		Larry, we got 'em over at the Bracken ranch.  
		I guess they'll be okay there.

				2nd DEPUTY
			(to the Sheriff)
		Well, say, what about the lieutenant from 
		Indiana?  He hasn't shown up here yet.

				SHERIFF
		He musta holed up till it's over.

				1st DEPUTY
			(to the Sheriff)
		You think they're still out at the Crawford 
		place?

				SHERIFF
		Well, won't know that till they get the phone 
		lines in.  Guess we better figure it that way.  
		Be hours 'fore we can get a car out to him.

				1st DEPUTY
		Well, they're safe there as any place tonight.

				SHERIFF
		That's not sayin' much.


								CUT TO:

EXT. THE STABLES - NIGHT

The ever-worsening wind blows a box into the stable doors.  It bounces off 
with a BANG and flies away.

								CUT TO:

INT. THE STABLES - NIGHT

Kimble stands near the jeep with Kate, surveying the situation, keeping an 
eye on Josephina.

				KIMBLE
			(to Kate)
		With all this exposure, half these people are 
		gonna catch pneumonia.  Or typhoid maybe.  
		Unless this place falls in first.  
			(beat)
		You're a good assistant, Kate.

				KATE KELLY
		I'm just good with you.  Mike... after the storm 
		is over, what're you gonna do?  
			(off Gerard)
		About him.

Kimble looks over at Gerard who leans casually against the loft ladder, hands 
in his pockets, watching the roof quiver.

				KIMBLE
		I don't know.

				KATE KELLY
		He's got a gun.  And he's mean.  He'll shoot 
		you if you try to run.

				KIMBLE
		Let's forget about him for awhile.

				KATE KELLY
			(smiles)
		I'd like that.  I'd like to forget the whole 
		thing ever happened.

Kate looks at Kimble curiously.

				KATE KELLY
		I can see you now, sittin' in your office.  
		Drivin' your big car.  Livin' in your fine 
		house. 

Kimble grins and lowers his eyes. 

				KATE KELLY
		Mike... tell me about your wife.  What 
		was she like?

				KIMBLE
		It's getting hard to remember.

				KATE KELLY
		She... fitted in in that world, didn't she?

Kimble nods.

				KATE KELLY
		I can remember when I was little, we would 
		drive through the nice neighborhoods and I'd 
		watch the other kids playin' out in front of 
		their houses.  Mama used to tell me that envy 
		was a deadly sin.  Still there was nothin', 
		just nothin' I could do to take away that 
		feelin' I had inside of me.  Looks like I 
		haven't licked it yet.

				MRS. HERRERA
			(cries out)
		Senor Doctor!

Kimble and Kate turn to Mrs. Herrera.  So does everyone else.  They get on 
their feet and move toward the jeep.  Mrs. Herrera, a strange look on her 
face, holds Josephina's head as Kimble touches it, checking her temperature.
We PAN ACROSS the faces of the concerned workers, all of whom have crowded 
around the jeep.  The only person who hasn't moved is Gerard who remains 
leaning against the hay loft ladder on the far side of the stables.

Mrs. Herrera looks up apprehensively at Kimble.  He nods and offers a 
reassuring grin -- the fever is broken.  Mrs. Herrera cries with joy. We PAN 
ACROSS the faces of the workers again: this time they smile in relief or nod 
to Kimble with respect and gratitude.  An uninterested Gerard stays put under 
the loft, watching from afar.  He turns his head to look at something behind 
him.

As Kimble smiles at Josephina, the walls shake violently and a huge CRASH 
draws his attention.  Kimble and the workers rush from the jeep to the hay 
loft where they find:

A massive pile of debris and farm equipment on top of Gerard.  The loft and 
part of the roof have caved in and crushed him.  Kimble and the workers, 
everyone talking at once, move quickly to pull Gerard free -- even as 
sections of the roof continue to rain down on them.

				LESTER KELLY
		Look out for above, now!

The wind HOWLS and everyone shouts at once, obscuring much of the dialogue. 
The workers pull a dazed Gerard from the wreckage.

				KIMBLE
		Easy! Get his coat off!

As they pull Gerard's jacket off, part of the nearby wall gives way, exposing 
everyone to the storm.  The workers hurry to prop it up somehow.

				NAOMI KELLY
		Oh!  Look out!

				LESTER KELLY
		Watch out for that [?] there!  Pull it down!

				NAOMI KELLY
		Be careful, [back there?]!

Kimble examines Gerard's injuries:  a laceration across the forehead, a badly 
bleeding left arm, and a damaged leg.  Kimble turns to the Kellys standing 
nearby.

				KIMBLE
			(urgently)
		Get me, uh, a stick and a piece of cloth!

Lester looks at Kimble as if he's crazy.  Nobody moves.

				KIMBLE
			(viciously)
		Well, hurry up!  Somebody get me a stick and a 
		piece of cloth!

Naomi, seeing that her husband won't help Kimble, rushes to find what he 
needs.  Gerard, still dazed and lying on the ground, seems to have recovered 
his senses.

				GERARD
			(to Kimble, off 
			 his injuries)
		How bad is it?!

				KIMBLE
		You severed an artery in your arm! 

				NAOMI KELLY
			(offers the stick and cloth)
		Michael!

				KIMBLE
			(to Gerard)
		The leg'll give you some pain but it's not as 
		bad!
			(to Naomi, off the 
			 stick and cloth)
		That's it!  Thank you.

Kimble gets right to work fixing a tourniquet for Gerard's arm.  Naomi 
watches as Lester uses his foot to slowly and surreptitiously slide Gerard's 
gun -- which has fallen from the holster on Gerard's belt to the ground -- 
away from Gerard.  Kimble sees what Lester is up to but is more concerned 
with tying off the arm.  Lester almost gets the gun away when an unsteady 
hand reaches down and snatches it back.  Gerard grips the gun possessively 
while giving Lester his dirtiest look. Lester suppresses a grin as Gerard, in 
a great deal of pain, reholsters the weapon.  Kimble finishes his work.

				KIMBLE
			(to a nearby worker,
			 off the tourniquet)
		Hold this!

				LESTER KELLY
			(happily, off Gerard)
		He don't look so good, does he?

Kimble rises and heads for the door.

				KIMBLE
			(to Lester)
		Have everyone get their gear together.  We're 
		going into the main house.

Lester grabs Kimble by the arm and confronts him.

				LESTER KELLY
		Now, wait a minute, Mike.  That Jock Sims's got 
		a gun and he ain't afraid to use it.

				KIMBLE
		Well, that's just what he's gonna have to do.

				LESTER KELLY
			(disbelief)
		You mean a cop who's only after your neck is 
		worth all that?

				KIMBLE
		Want to sit around here and have this place 
		fall in?

				LESTER KELLY
		Well, we don't know what's going to happen to 
		this roof but we do know he's got bullets to go 
		with that gun o' his.

Without another word, Kimble heads for the door.  Lester looks around at the 
others who apparently share his disbelief.  Then Lester looks down at Gerard 
who's in bad shape, wincing in pain, his arm red with blood.

								CUT TO:

EXT. THE STABLES - NIGHT

Kimble exits the stables, secures the door, runs across to the main house, 
and POUNDS on the metal door.  Jock slides it open, rifle in hand.

				JOCK SIMS
		All right, now, git back where you belong!

				KIMBLE
		All of us in the barn, we're comin' in!

				JOCK SIMS
		Git back where you belong!

				KIMBLE
		The girl didn't have typhoid, it was just the flu!

				JOCK SIMS
		That's what you say!

				KIMBLE
		Look, the lieutenant's been injured!  He needs 
		proper medical attention!

				JOCK SIMS
			(amused)
		You're gonna help him?!

The adult male workers suddenly emerge from the stables, some of them 
carrying pitchforks and other dangerous looking tools.  Jock sees them and 
reacts.  Kimble turns to see them too.  They join Kimble in facing down Jock.

				KIMBLE
			(to Jock)
		We're comin' in!  How 'bout it, Jock?!  You 
		gonna shoot all of us?!

A stunned Jock realizes he has no choice.

				JOCK SIMS
		Okay!  Just be sure you stay clear of the rest 
		of us!

				KIMBLE
			(to the workers)
		Let's get the others!

The men walk back to the stables.

								DISSOLVE TO:

INT. THE MAIN HOUSE - NIGHT

Kate puts blankets and pillows down on a table.  The workers carry Gerard in 
and lay him on top of it.  Jock directs the people already inside to move 
away from the migrants.

				JOCK SIMS
		All right, you people, move to the back.  Don't 
		get too close to 'em.

				KIMBLE
		Kate, tear up some more cloth.

Kate tears up cloth while Kimble attends to Gerard's wounds.

				LESTER KELLY
			(to Kimble, off Gerard)
		I still say we should've left him in the barn.  
		Looked comfortable enough to me.

				NAOMI KELLY
			(to Kimble, trying
			 to be reasonable)
		It don't seem right for us to help him when you 
		know he's agin you, Mike.  
			(ironic?) 
		We just can't think all complicated like you do.

				LESTER KELLY
			(to Kimble)
		The only way folks like us can keep a hold on 
		this earth is to look out for our own, even 
		when they don't want to do it themselves.

The Kellys walk off, confused and disgusted with Kimble's behavior, leaving 
him alone with his patient.  Gerard, weaker now from loss of blood, struggles 
to stay conscious as he gazes up at Kimble.

				GERARD
		You're building up quite a case.  Selfless, 
		devoted doctor saves the life of his persecutor.  
		They must be impressed.  I suppose even I am...

				KIMBLE
		But that doesn't change anything?

				GERARD
		No... No, it doesn't change anything.

Kimble half grins and walks off.  Gerard, gasping for breath, has trouble 
focusing his eyes.  

								CUT TO:

INT. SUPPLY ROOM - NIGHT

Kimble -- as single-minded a doctor as Gerard is a cop -- relentlessly checks 
out the house's nearby supply room and starts scavenging it for makeshift 
medical equipment. A puzzled Kate joins him as he loads up on assorted items.

				KATE KELLY
		What are you doing?

				KIMBLE
		He's lost a lot of blood.  He needs a 
		transfusion.  They should have some medical 
		supplies they use for animals.

				KATE KELLY
		Mike, you gonna do all this?  It scares me.

				KIMBLE
		Would you boil me some water, Kate?

				KATE KELLY
		Mike, I know when you leave here that I can't 
		go with you but it'll mean something to me to 
		know that you're alive somewhere.  Don't help 
		him, Mike.  Don't help him.

				KIMBLE
			(impatient)
		Kate.  Boil me some water.  This [?] needs 
		sterilizing.

Kimble walks out of the room with an armful of supplies.  Kate watches him go 
with disbelief.

								DISSOLVE TO:

EXT. THE MAIN HOUSE - NIGHT

The storm RAGES on.  The metal section of what was once a wall somewhere 
flies into view and CLATTERS to the ground.

								CUT TO:

INT. THE MAIN HOUSE - NIGHT

Jonesie lies on his back and picks at his guitar.  The workers sit and stand 
around with stone faces watching Kimble try to save Gerard.   As Jonesie 
begins another verse of “The Running Man” song, Kate lifts a heavy metal 
bucket of water off of an old pot-bellied stove, carries it to Kimble, and 
angrily SLAMS it down behind him. Kimble, holding some tubing that he hopes 
to use for the transfusion, is startled.  He watches as Kate turns in a huff 
and sits beside her mother.  Gerard, his head now bandaged, lies silently on 
the table.

				JONESIE
			(sings)
		Now, the outlaw faces the sheriff's gun
		On this night, one man will die
		But no matter who it is sees the morning sun
		The girl is sure to cry...

Kimble checks Gerard's arm and then faces the workers -- Jonesie's guitar 
plays on underneath his words.

				KIMBLE
			(to all)
		This man needs a blood transfusion.  His blood 
		type is B.  If you'll look on your health 
		certificate cards, you'll find your type.

We PAN ACROSS the workers' faces.  Nobody makes a move.  They stare at Kimble 
grimly.  A long, awkward pause.

				KIMBLE
		If he doesn't get blood... he'll die.

Jonesie thinks about this for a moment.  Then stares hard at Kimble and 
sings, mournfully, as we PAN ACROSS the workers again.  Kate is the only 
person even slightly conflicted.  Everyone else -- especially Lester -- 
clearly thinks Kimble is crazy to help Gerard.

				JONESIE
			(sings)
		And it's sad, sad song that I am singin'
		It's sad, sad tale I tell

Gerard, breathing heavily, realizes to his horror that he isn't going to be 
getting any blood.  Kimble looks down at him sympathetically.

				JONESIE
			(sings)
		'Bout a death that a sheriff is bringin'
		To a man who is destined for hell...

Kimble stares back at Jonesie.  Then looks around helplessly.

								FADE OUT

INT. MAIN HOUSE - NIGHT

FADE IN on Gerard, gasping for breath, looking like death warmed over. 
Jonesie continues to noodle away on his instrument.  The workers sit around 
watching Gerard die.  Kimble lifts Gerard's head up and puts a cup to his 
lips.

				KIMBLE
			(to Gerard)
		Drink this.

Gerard manages a few swallows before Kimble sets his head back down gently.
The workers watch with no emotion as Kimble turns to them again.

				KIMBLE
			(to all)
		I'll ask you once more.  This...

But he can see it's no use.  He gives up, crosses to a barrel away from the 
others, and sits, dejectedly.  Lester rises and crosses to the stove where 
Naomi joins him.  They talk quietly.

				NAOMI KELLY
		Lester.  Don't you think we ought to do--?

				LESTER KELLY
		Hush up.  He's just lucky he's got us to keep 
		him from diggin' himself a grave.

Naomi glances over at a deeply troubled Kimble.

				NAOMI KELLY
		Well, he's makin' it sound like what we're 
		doin' ain't right.

				LESTER KELLY
		Well, what we're doin' is right.  
			(off the others)
		Look at all these people.  You think they want 
		Mike to keep on with this foolishness?

				NAOMI KELLY
		I don't know.  I just don't know.

Naomi sits down beside Kate who is lost in thought.  Finally, Kate rises and 
approaches a surprised Kimble.

				KATE KELLY
		Mike.  I wanna try one more time because I 
		really want to understand you.  I really do.  
		If that man lives, he'll see you killed.  Now, 
		why are you tryin' so hard to save his life?

Kimble doesn't know quite what to say.

				KIMBLE
			(shrugs)
		For a doctor... every life is worth saving.

				KATE KELLY
		I guess I'm just too stupid to understand it.

				KIMBLE
		No, you're not, Kate.

Kimble rises and checks on Gerard.  Kate follows him, slowly reaching a 
decision.

				KATE KELLY
		All I can get out of it is that you want me to 
		help them kill you.  I don't understand why you 
		want it.  But that's what you want.  You want 
		him to get blood?  All right, Mike.  You can 
		give him mine.  It's his type.  

Naomi and Lester look on in shock.  Kate removes her coat.

				KATE KELLY
		It's all right, Mike.  You can give him all of 
		it, if you want to.

				LESTER KELLY
		Ida Katherine!  What are you--?

Lester wants to stop Kate but Naomi holds him back.  Time seems to stand 
still for a long moment as everyone -- Kimble, the Kellys, a gasping Gerard, 
the workers -- realize what Kate's decision means. As they do, Jonesie weighs 
in with another verse:

				JONESIE
			(sings)
		Now, the outlaw faces the sheriff's gun
		On this night, one man will die
		And no matter who it is sees the morning sun
		The girl is sure to cry

Silently, the Outlaw takes the Girl's arm and begins to set up the 
transfusion that will save the Sheriff's life.

				JONESIE
			(sings, resignedly)
		And the outlaw lives like a runnin' man
		With the next hill in his eye
		And there'll always be a sheriff with a gun in hand
		And a girl who'll surely cry...

Gerard and Kate lie side by side as Kimble stands between them monitoring the 
procedure.

								CUT TO:

INT. SHERIFF'S OFFICE - DAY

Hours later, the real Sheriff looks over some paperwork at his desk while 
talking on the phone.

				SHERIFF
			(into the phone)
		Well, we still can't get through to the 
		Crawford farm but I figured if you had some 
		lines up it must be pretty well over, right?
			(beat)
		Yeah...  
			(rises)
		Yeah, okay.  Yeah, thanks.

The Sheriff hangs up and crosses to his two Deputies.

				SHERIFF
		Road's clear.  Let's go.

				1st DEPUTY
		Crawford place?

				SHERIFF
		[?] figures he's still there.

				1st DEPUTY
		Could be in a ditch someplace by now.

				SHERIFF
		Well, we'll check those too.  Come on.

The 2nd Deputy smiles at this as the Sheriff and the 1st Deputy head for the 
door.

								CUT TO:

EXT. THE MAIN HOUSE - DAY

The sun is just coming up and the wind is just dying down.  The grounds are 
cluttered with storm-tossed debris.

								CUT TO:

INT. THE MAIN HOUSE - DAY

Lester snarfs down a bottle of whiskey and turns to the other workers who are 
bringing a case of the stuff out of the supply room.

				LESTER KELLY
		That's it, boys.  Bring 'em all out here and 
		set 'em out where we can all get at 'em.  
		Everybody have a drink!  It's on the house!

Everybody laughs.  Lester joins Kimble who is smoking a cigarette by the 
pot-bellied stove.  Naomi comforts a weakened Kate nearby.

				LESTER KELLY
			(pours whiskey in a cup)
		Here, Mike.  Have yourself a drink.

Kimble accepts the cup.  Naomi glances over at Gerard who, though still weak 
and flat on his back, is recovering slowly but surely.

				NAOMI KELLY
			(to Kimble, off Gerard)
		Look at him.  Few hours ago he was at death's 
		door.  What did you do to him, anyway?

				KIMBLE
			(modestly)
		There was nothing really wrong with him.  Just 
		lost some blood.

Kimble offers the whiskey to Naomi.  The workers also drink nearby.

				LESTER KELLY
			(to Kimble, off the workers)
		They can celebrate the end of the storm.  Me, 
		I'm having myself a wake.  No friend of mine 
		ever goes without I give him a wake.

				KIMBLE
			(grins reassuringly)
		There's not gonna be any wake, Lester.

				LESTER KELLY
		Oh, no?  

				KIMBLE
		No.

				LESTER KELLY
		Well, then you better pull out then, quick. 
		'Cuz now that that storm's over and that road's 
		open, they'll come lookin' for him -- and you.

				KIMBLE
			(nods)
		I'll go.  Just want to check him first.

Lester watches Kimble cross to Gerard.

				LESTER KELLY
		Yeah.  Somethin' wrong with his insides?  I'll 
		tell you what's wrong.  They're rottin' away 
		from all that meanness.

Kimble gives Lester a sad look.  Lester takes another swig of liquor.

								CUT TO:

EXT. ROAD - DAY

A speeding police car rounds a corner and races down the road.

								CUT TO:

INT. THE MAIN HOUSE - DAY

The workers drink and socialize; their children run and play; Kate sits 
quietly trying to regain her strength.  Suddenly, Jock appears at the front 
door with his shotgun and doesn't like what he sees.

				JOCK SIMS
		All right!  Do your celebratin' somewheres else.  
		The road's open.  And you can all get out o' 
		here soon as you pay me for that whiskey.

A drunken Lester confronts Jock.

				LESTER KELLY
		Ha ha ha ha ha!  Ol' Jocko!  You know, every 
		season we come to this farm.  And somebody 
		wants a can o' beans, a little coffee... 
			(off the whiskey)
		... even some of this floor varnish for a 
		Saturday night... they gotta pay you double!

A stunned Jock crosses to the cases of whiskey and finds the bottles in them 
empty.   

				LESTER KELLY
		Well, this is on you, Jocko.  We're just 
		drinkin' ourselves a little way even and we 
		ain't even--

				JOCK SIMS
		Shut up!  You're drunk, Kelly.

				LESTER KELLY
		Yeah?  Well, maybe I am, but that don't change 
		what I said--

				JOCK SIMS
		I said, shut up--

				LESTER KELLY
		Next year, you better treat us right.  I want 
		more or we won't be here!  And you're gonna 
		hafta cut a passel o' that cauliflower all by 
		yourself.  And the general manager's gonna 
		think that's awful peculiar.

Jock looks at the faces of the other workers, all of whom are in quiet 
agreement.  Jock realizes they're dead serious.  He looks over at Kimble who 
turns away to tend to Gerard.  Jock gives up.

				JOCK SIMS
			(to Lester)
		Get out.  
			(crosses to the door)
		I said, get out!  All o' ya!

The workers, quietly pleased, move to collect their gear and go.  As they do, 
Kimble checks Gerard's arm.

				KIMBLE
			(casually)
		I'm gonna put a fresh bandage on your arm.  
		I'll get some clean water from the well.

Kimble starts to walk off but Gerard struggles to sit up.

				GERARD
		I'll-I'll go with you.

				KIMBLE
		You're not up to a long walk yet.

				GERARD
			(already out of breath)
		In that case, a fresh bandage won't be 
		necessary.

				KIMBLE
		I think it is.

Kimble heads slowly for the door.  Gerard staggers to his feet.

				GERARD
		Kimble!  Kimble.

Kimble pauses only a moment before he walks through the crowd of workers and 
reaches the door.

				JOCK SIMS
			(to Kimble)
		Hey, Big Man.  Didn't you hear?  The 
		lieutenant's calling you.

Jock points his shotgun at Kimble.  Suddenly, Jonesie grabs Jock from behind, 
spins him around, and socks him on the jaw.  A woman SCREAMS. Jock falls to 
the floor and hits his head.  Unconscious.  Gerard pulls out his gun.

				GERARD
		Kimble!

Jonesie, pleased with himself, stands next to Kimble by the door.  He looks 
up to see Gerard pointing the gun at them.  Kimble sees it too and freezes.  
Gerard stares at Kimble and shakes his head grimly.

				GERARD
		I'm gonna have to shoot.

Some of the women SHRIEK and everyone ducks out of the way.  Everyone, that 
is, except Lester -- who immediately puts himself between Gerard's gun and 
Kimble.

				LESTER KELLY
			(to Gerard)
		You don't have to do anything.

In yet another show of solidarity, everyone else slowly moves into Gerard's 
line of fire.  He can't get a clear shot. Jonesie, too, has stepped in front 
of Kimble.  They are all risking their lives.  Of course, Gerard is far too 
dedicated a police officer to risk accidentally shooting innocent people.

				GERARD
		Kimble...  Call these people off.

Kimble looks around as if to say, Who me?  The workers just stand there 
en masse and stare back at Gerard who realizes that "these people" aren't 
about to be called off.  Gerard is starting to breathe hard, the strain of 
standing up is beginning to get to him.  Kimble slides open the front door 
and turns to see Gerard trying to come after him. Kimble ducks out the door.
Kate sees him go.

				KATE KELLY
		Mike!

Kate rushes to the doorway and stands in it, watching Kimble leave. Gerard 
limps desperately through the crowd of workers, pushing some aside, before 
finally reaching the door where he pulls a defiant Kate out of his way.

								CUT TO:

EXT. THE MAIN HOUSE - DAY

Gerard exits the house, gun in hand, and looks around.  In the distance, 
Kimble is running, hell-bent for the horizon.  He's too far away for Gerard 
to waste a shot.

				GERARD
		Kimble!

Gerard tries to run after him but comes down hard on his injured leg, winces 
horribly, and collapses to the ground.  The pain in his leg is probably 
nowhere as agonizing as the pain of knowing that Kimble is getting away from 
him again, for the umpteenth time.  Stretched out on the ground, helpless, 
Gerard completely freaks out and bellows like a dying animal: 

				GERARD
		Kimble!!!

The workers are now standing outside the building watching Gerard writhe in 
the mud.  Kimble continues to run, a long way off.  A distraught Gerard 
staggers to his feet and makes his way unsteadily into the house as a 
grinning Lester and a satisfied Jonesie triumphantly watch Kimble disappear 
into the distance.

								FADE OUT

EXT. THE MAIN HOUSE - DAY

FADE IN on the workers bunched together by the front door, watching the 
Sheriff and a Deputy help Gerard limp to a waiting police car.

				SHERIFF
			(to some migrant kids)
		All right, move out of the way, boys.  
			(to a Deputy)
		[?]
			(to Gerard)
		Easy does it.

				GERARD
			(to the Deputy)
		I'll be all right now.  Thank you.

Standing at the car, Gerard and the Sheriff confer.

				GERARD
			(off the workers)
		I guess there's no point in bringing charges 
		against them.

				SHERIFF
		Yes, sir, we could.  Seems to have been quite a 
		few of 'em.

				GERARD
		Yeah.  If there'd been fewer, I might've gotten 
		him.

				SHERIFF
		Want to prefer charges?

				GERARD
		I'd have to stay here for the trials.

				SHERIFF
		'Fraid so, sir.

Gerard takes a long look at the workers who stare at him dispassionately. 

				GERARD
			(to the Sheriff)
		All right, forget it.  Kimble's got enough of a 
		head start already.

Gerard gets into the car.  The Sheriff helps him in and shuts the door. The 
workers watch them drive off.

				NAOMI KELLY
			(to Kate)
		I still don't understand why Mike went to the 
		trouble of saving that batch o' meanness.

				KATE KELLY
			(an understanding grin)
		Even a life like that is worth savin', Mama.

				LESTER KELLY
		That sounds like some of that foolishness Mike 
		was talkin'.

Kate smiles broadly and nods, a little proudly.

				KATE KELLY
		I know it.

Lester walks off grumpily as Naomi shakes her head and puts a hand to Kate's 
cheek. The Kellys and the other workers file back into the house to collect 
their things.   Except for Jonesie.  

Jonesie sits -- hands in his pockets, lost in thought -- perhaps reflecting 
on the fact that he just helped save the life of the outlaw who stole his 
girl from him.  And perhaps he's thinking very much along the same lines as 
Kate: that even an outlaw's life is worth saving.  Or maybe he's fixin' to 
write himself a ballad -- a sad, sad song about the night's events.  Hard to 
say.  He rises and smiles quietly to himself.

								DISSOLVE TO:

EXT. HIGHWAY - NEAR THE CRAWFORD FARM - DAY

A long stretch of highway with a distant mountain dominating the horizon. 
Kimble, still wearing his cowboy hat, sticks out his thumb to hitch a ride 
from a passing truck.

				NARRATOR (v.o.)
		The storm has come and gone but few of those 
		who sought shelter together that night will 
		forget it.  And Richard Kimble, the next hill 
		now in his eye, will find occasions to look 
		back and remember -- a fugitive has time for 
		that.

The truck stops for Kimble -- he climbs in -- and it carries him away toward 
that next hill.

								FADE OUT










+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++


				THE RUNNING MAN


		1
		From the hills of night the outlaw came
		Just runnin' for to live
		And the pretty little girl never knew his name
		Still, all her love she give

		2
		At the outlaw's heels the sheriff rode
		With a gun strapped to his side
		And the ever-runnin' man lived the outlaw's code:
		Take love but ne'er a bride

		CHORUS
		And it's a sad, sad song that I am singin'
		It's a sad, sad tale I tell
		'Bout a love that a poor girl is bringin'
		To a man who is destined for hell

		3
		So the chase went on both day and night
		With the sheriff gainin' some
		Till they didn't give a hang who was right or wrong
		Just when the end would come

		4
		Now, the outlaw faces the sheriff's gun
		On this night, one man will die
		And no matter who it is sees the morning sun
		The girl is sure to cry

		ALTERNATE CHORUS
		And it's sad, sad song that I am singin'
		It's sad, sad tale I tell
		'Bout a death that a sheriff is bringin'
		To a man who is destined for hell

		5
		And the outlaw lives like a runnin' man
		With the next hill in his eye
		And there'll always be a sheriff with a gun in hand
		And a girl who'll surely cry...










Last revised: 6 July 1999