The Fugitive Page #12

Gerard finds a photo of Nichols and a gleaming Ferrari.

GERARD:

Dr. Nichols, last year the U.S.

Marshals' office closed out 11,003

warrants... 10,975 of those were

captured. The twenty-eight others

thought they were smarter than

us... Now they're dead.

(re:
the photo)

Nice car.

Gerard puts the photo down.

EXT. NICHOLS' OFFICE - DAY

Gerard and his deputies leave Nichols' outer office.

Gerard clearly feels he's come to the right man.

GERARD:

Stay on him.

INT. HOSPITAL HALLWAY - NIGHT

Kimble mopping the trauma room hallway. The hallway elbows

around a corner and Kimble stands less than ten feet from

a door that is marked: "PROSTHETIC CLINIC"

He watches a technician leave the clinic and mops closer to

the doorway, and fails to see an attractive WOMAN DOCTOR

with white coat and stethoscope draped around her neck turn

the corner behind him ant step on the freshly mopped

section.

Head down, she is completely absorbed in a file and doesn't

see the wet floor until she slips slightly, looks up but

keeps walking.

WOMAN DOCTOR:

Where's Rudy?

KIMBLE:

They said he's sick.

WOMAN DOCTOR:

Didn't they tell you to put up the

sign?

KIMBLE:

Uhhh. No they didn't.

WOMAN DOCTOR:

Put up the 'wet floor' sign before

someone gets hurt.

She keeps going.

KIMBLE:

(mumbles)

A**hole.

She looks back at Kimble.

WOMAN DOCTOR:

What did you say?

KIMBLE:

Nothing.

Anne keeps moving off toward trauma hall. He watches her

turn the corner to the trauma hallway.

INT. PROSTHETIC CLINIC - NIGHT

Kimble enters the dimly lit prosthetics lab.

He moves silently among the casts and prosthetics of arms,

hands, legs hanging from the ceiling. Cables and electronic

equipment are on the counters.

He leaves the lab and moves into the office section of the

Prosthetic Clinic. He passes a computer room and finally

reaches the office. He is about to enter when a woman's

voice stops him.

WOMAN (O.S.)

Hey, Ricky... Weren't you just in

here?

Kimble turns to see a PROSTHETIC TECHNICIAN. A large woman

with glasses. She stands with a partially finished

prosthetic arm.

MEMORY HIT - INT. KIMBLE'S OLD HOUSE - NIGHT

The one-armed man's arm coming off in the fight.

INT. PROSTHETIC CLINIC (BACK TO PRESENT)

TECHNICIAN:

Sorry, I thought you were Ricky.

KIMBLE:

(stumbling)

No... I've got to clean the blinds

in the office. Want me to wait till

you're finished?

TECHNICIAN:

Naw... I'm going to be here all

night. You won't bother me.

She slips on a pair of headphones and goes back to work.

CUT TO:

INT. PROSTHETIC CLINIC OFFICE - LATER

Kimble cleaning the blinds, keeps an eye on the Technician

who is listening to music on her Walkman. She is carefully

painting a section of the arm. Not watching Kimble.

CUT TO:

CLOSE ON FILE DRAWER

Opened.

BACK TO SCENE:

Nimble looks over his shoulder. The Technician doesn't see

him.

A Prosthetic Clinic Operations Manual is removed from shelf.

Photographs of prosthetic arms. Kimble shifts the materials

into his clothes, closes his coat and suddenly he stops.

CUT TO:

INT. HALLWAY - ANGLE ON ELEVATOR - NIGHT

Kimble waits for the elevator. The folders in his uniform

shift and he tries to rearrange them. When he turns back

we see Anne Eastman beside him. Her I.D. says:

"ANNE EASTMAN". She sees him doing the rearranging.

The elevator arrives. They step into:

INT. ELEVATOR - NIGHT

Anne moves to the back. Kimble on the other side.

ANNE (WOMAN DOCTOR)

Hey, how're you doing?

KIMBLE:

Fine.

ANNE:

You find that sign?

KIMBLE:

Yes, I did.

ANNE:

You called me an a**hole.

KIMBLE:

Excuse me. I was having a bad

shift.

They laugh. They reach ground level and step out together.

ANNE:

You worked at other hospitals?

KIMBLE:

Lots of them over the years. Here,

long ago. Hasn't changed much.

ANNE:

I bet it hasn't. See you.

They part ways. Kimble continues out the door. Anne stops

and watches him leave.

INT. EL TRAIN - NIGHT

Kimble sits on the night train going home. He begins looking

at his information.

INT. KIMBLE'S BASEMENT ROOM - DAY

Afternoon light comes in Kimble's basement windows. Sheets

of Prosthetic Clinic patient material are spread over

Kimble's bed, floor. Kimble searches through the documents,

making notes. He studies photos of attachments. Cable

attachments. Joints. Electronics. Pins. straps... looking

for a key to the identity of the one-armed man.

Finally he stops. He finds the flyer in his pocket, puts it

on the bedside table and moves to sink. He wets a towel and

covers his face.

Draws a cool damp breath. Lays back on bed amid the

Prosthetic Clinic material.

FLASHBACK - FIGHT

Kimble pulls the arm. It separates in the one-armed man's

sleeve. Wrenches. Dis-articulates.

FLASHBACK - ONE-ARMED MAN

Reacts in pain. Again. (NOTE: We sense Kimble's mind

returning to something. Getting closer to the key...)

FLASHBACK - ONE-ARMED MAN

Escaping the bedroom. We hear his FOOTSTEPS DOWN the

STAIRS... a DOOR SLAM. FOOTSTEPS again.

Another DOOR SLAMS, but this time the sound is distinctly

different... a CAR DOOR.

INT. KIMBLE'S BASEMENT ROOM (BACK TO PRESENT)

Kimble yanks the wet rag from his face, his senses alert.

Listening, he hears: FOOTSTEPS are real, just outside and

MOVING TOWARD him.

HARD CUT TO:

EXT. APARTMENT HOUSE - DAY

A car door slams. We see unmarked police cars pulling up in

front of the apartment. Cops are moving toward the house.

INT. BASEMENT - DAY

Kimble turns off his light, moves from the bed to the window.

Carefully looks out:

KIMBLE'S POV

Unmarked police cars in front of the house, looking, moving

his way.

BACK TO SCENE:

Kimble moves instinctively to the back door.

He starts to open it but through the dirty window, he sees

the back courtyard covered by more cops.

Kimble moves back toward the front. Unsure of his next move,

he's sweating, preparing for the worst.

He watches the TAC team charge the house but instead of

charging through the basement door they move up the front

steps and into the house overhead.

Overhead he hears the SCREAMING from the arresting cops.

KIMBLE'S POV - BACK STEPS

Kimble SEES the Punk Kid try to escape out the back. He

runs, sees cops and runs toward Kimble's basement door,

actually reaching it before he is caught by the cops and

pulled away.

KIMBLE:

Moves toward the front window and watches cops lead the

Punk Kid out to the car.

POLICE RADIOS call the other cops to stand down.

Kimble moves slowly to his front door. Looks out.

KIMBLE'S POV

Cops put the young man into an unmarked police car. His

grandmother, the Polish woman, follows them, crying.

BACK TO SCENE:

Kimble leans against the wall, exhausted.

INT. COOK COUNTY HOSPITAL - TRAUMA HALLWAY - NIGHT

Kimble carries his cleaning tray down busy hallway just

outside of the Prosthetic Clinic and stops.

KIMBLE'S POV

Two cops talk outside the Prosthetic Clinic.

BACK TO SCENE:

Kimble backs to a safe place in the trauma hallway to wait

for them to leave.

CUT TO:

INT. 11TH STREET POLICE DISTRICT HOUSE - DETECTIVES ROOM - NIGHT

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