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