The Fugitive
- PG-13
- Year:
- 1993
- 130 min
- 2,315 Views
FADE IN:
CREDITS BEGIN OVER:
Snow swirls around the tall buildings of downtown Chicago.
Cars, taxis, limos line the street. A cab pulls up and MAN
INT. CHICAGO HOTEL - BALLROOM - NIGHT
THROUGH arriving guests we PICK UP the Man climbing stairs
to the ballroom.
ANGLE - COAT CHECK
The Man hands his coat to coat check woman and thanks her.
When he turns we get our first view of DR. RICHARD KIMBLE,
a tall, athletic man, with a trim beard.
He moves from the outer lobby into a fabulously decorated
ballroom where a fashion show is taking place as a medical
fundraiser. Doctors and their spouses, hospital brass and
sponsors mingle. Women sit near the runway watching the
models. Men talk by the bar. The room is packed.
A banner over the rostrum says: "CHILDREN'S RESEARCH AND
AID FOUNDATION"
Kimble is handed a glass of champagne, which he promptly
sets on another waiter's passing tray.
ROBERTS (V.O.)
Richard...
DR. ROBERTS, a large surgeon, pulls Kimble over to a group
of surgeons gathered around a bar. Smoking cigars.
ROBERTS:
Cancun. Nat just talked everybody
into it...
A hospital equipment rep, NAT, is buying drinks.
KIMBLE:
So, what's the deal? If the hospital
buys ten new -
NAT:
No, no, no, no strings attached, Dr.
Kimble. Industrial Hospital Supply
has no ulterior motives.
KIMBLE:
On the house, huh?
(to bartender)
Tonic water with lime.
Everyone agrees.
KIMBLE:
Never get me to sell my soul for one
of those trips...
His tone silences the group. Kimble takes his drink.
KIMBLE:
(to Nat)
... But if you get any more Bulls
tickets, Nat, give me a call.
The group laughs, Kimble extracts himself and CREDITS
CONTINUE OVER -
CUT TO:
KIMBLE:
Moving through the crowd.
CUT TO:
KIMBLE:
Nearly gets hit in the follow-through of an imaginary
golf swing.
KIMBLE:
You're slicing, Dave. Don't turn
your hip.
He keeps moving.
GOLFING MAN:
Thanks, Richard...
CUT TO:
ANGLE - TOUGH-LOOKING LAB RAT
KATHY WAHLUND, totally out of her element amid the formal
elegance around her. She wears a leather jacket over
T-shirt and stares at the action on the fashion runway.
DR. WAHLUND
(dripping sarcasm)
I'm so glad you talked me into
coming, Richard... I can pick my
cruise wardrobe.
RICHARD:
It's for a good cause, Kath...
Besides you need to get out of the
lab more. Your electron microscope
is starting to give you a tan.
She smiles. He moves on.
ANGLE - PARTY
Kimble continues down the bar when he spots a friend...
KIMBLE:
Hey, Jim.
DR. JAMES NICHOLS turns, smiles. Mid-40s, head of the
University Hospital. He is a fit contemporary.
NICHOLS:
Richard, I just saw someone who
wanted to meet you...
Just then Kimble spots an attractive WOMAN, late thirties,
wearing a drop-dead, simple black gown. She's surrounded by
a group of men hanging on her every word. She and Kimble
catch a look and hold it.
NICHOLS (V.O.)
Richard Kimble... Alex Lentz. Alex
is working on the RDU90 trials for
Devlin-Macgregor.
Kimble turns to meet DR. ALEXANDER LENTZ, late 30s, tan,
smiling. Lentz extends his hand...
LENTZ:
Dr. Kimble... Sorry, we've been
trading phone calls last few days
... something about a biopsy report
I returned to you?
KIMBLE:
(suddenly attentive)
Yeah... Three. Livers appeared
hepatetic to me.
LENTZ:
I'll be in my office in the morning
and I'll pull up the samples. Is that
a good time for you?
KIMBLE:
Sure.
LENTZ:
(holds Kimble's look,
then to Nichols)
See you, Jim.
Lentz moves on. Kimble looks after him a beat, then focuses
on relocating the Woman he just saw. She's gone. He and
Nichols move together through the party.
NICHOLS:
(digs in his pocket)
Before I forget, I went by the garage
this afternoon and picket up the
Ferrari. Thanks for the loaner again.
He hands Kimble a valet ticket.
KIMBLE:
They fix it this time?
NICHOLS:
We'll see.
They reach the Woman Kimble saw, his wife, HELEN KIMBLE.
Kimble kisses her.
NICHOLS:
You look fabulous, Helen.
He kisses Helen.
HELEN (WOMAN)
Hello, Jim.
NICHOLS:
(to Kimble)
We've got a court tomorrow at three.
Nichols leaves. Kimble looks at his wife.
KIMBLE:
Well, I've seen everyone, can we
leave?
HELEN:
That would be a little abrupt, don't
you think?
CUT TO:
ANGLE - KIMBLE'S TABLE - NIGHT
A table for ten. Kimble and Helen introduce themselves to
others at table ant sit across from each other.
Kimble sits between two doctors' wives. One, NOW EAU WIFE,
mid-thirties, bedecked in jewels and loud dress, the other
OLDER WIFE.
Helen sits between their husbands who are trying to impress
her with the details of their boring studies as CREDITS
CONTINUE...
INTERCUTTING WITH the fashion, catches of dialog and course
changes, Kimble and Helen demonstrate an oft-used exchange
of glances:
Kimble, while gracious to his dinner partners,catches Helen's eye and makes smiling, subtle movements to
his watch or a look to the door to indicate he's clearly
ready to leave. On the receiving end, Helen, the gatekeeper
of their social propriety, indicates with equal subtlety:
"not yet."
As we MOVE AROUND the table we hear:
"Where's your husband on staff?" "My husband's an orthopod
at Northwestern." "I'm working on a new technique..."
"That's fascinating..." "That's quite a marvelous dress
you're wearing." "Do you like it? My husband says it's a
'four-fracture number."' "Honey." (A look from her husband.)
Kimble shares a look with Helen. He subtly motions to his
watch:
time go to, and mouths the word: "now." She shakesher head.
NOW EAU WIFE:
(to table)
I told my husband that he was going
to kill us if he didn't stop
operating. What with this AIDS thing,
he's putting us all at risk.
Helen and Kimble absorb this comment without reaction, share
a look. Helen mouths the word: "Now."
HELEN:
(to her dinner partners)
I'm sorry, I have to get my husband
home.
They say their good-byes and pass Nichols' table. Nichols
shakes his friend's hand in passing. From across the room we
see Lentz watching.
INT. KIMBLE'S MERCEDES - NIGHT
Kimble and Helen driving home. She runs her fingers through
his hair as he drives.
HELEN:
You looked handsome tonight...
KIMBLE:
Thank you...
He smiles to himself, seems to enjoy the compliment too much
for Helen. Her smile becomes playful, mischievous.
HELEN:
Uh, huh... most men in a tuxedo look
like waiters...
KIMBLE:
But me?
HELEN:
You looked more like... a band
director.
He stops at red light, leans over and kisses her. Light
changes and neither notice. Slowly their kiss breaks.
HELEN:
Are we home yet?...
CUT TO:
EXT. KIMBLE'S HOUSE - NIGHT
Kimble pulls up in front of his house. Suddenly both his
PAGER and CAR PHONE RING at the same time.
KIMBLE:
(to phone)
Dr. Kimble
(suddenly attentive)
When? Okay, tell them I'll be there
in ten minutes.
He hangs up.
KIMBLE:
Tim's got a problem.
Helen kisses him again, opens the door.
HELEN:
Call me on your way home.
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