The Fugitive Page #2

CREDITS END as we -

CUT TO:

INT. UNIVERSITY HOSPITAL - HALLWAY / SCRUB ROOM - NIGHT

Kimble, wearing scrubs but without head gear, moves down

stairs to the OR hall.

He sticks his head into the operating room.

KIMBLE:

Cavalry's here.

Two harried surgeons look up, glad to see him.

SCRUB ROOM:

Kimble begins scrubbing as the RESIDENT comes out to bring

him up to speed.

RESIDENT:

Patient is a male, forty-three. We

pulled his gall bladder and the

bleeding started.

KIMBLE:

What's his pro time?

RESIDENT:

(concerned)

He's at 36 seconds. We got a major

bleeder in here.

KIMBLE:

You talk to the family?

RESIDENT:

None. He's off the street.

CUT TO:

INT. UNIVERSITY OF CHICAGO - OPERATING ROOM - NIGHT

Operation in progress. Top medical facility filled with

trained professionals and state of the art equipment. Kimble

is assisted across the table by the chief Resident. Both

working so intently they never look at each other as they

talk...

KIMBLE:

(to Anesthesiologist)

Okay... I'm clamping. Can he

tolerate it?

ANESTHESIOLOGIST

He's a very sick guy.

KIMBLE:

Do we have a choice?

ANESTHESIOLOGIST

Go for it.

KIMBLE:

Marie, give me a clamp...

MARIE, the scrub nurse, passes him the instrument and Kimble

and the other SURGEON continue to work with the Resident

assisting.

KIMBLE:

(never looking up)

Your husband know you're here tonight,

Marie?... What about this liver?

RESIDENT:

History's sketchy. Could be an

alcoholic.

KIMBLE:

Who referred him?

RESIDENT:

He's on a drug protocol. RDU90.

Kimble looks up and shares a look with the chief Resident

over their masks, then back to work.

KIMBLE:

The wave of the future... Marie, you

told Frank yet? Frank is so jealous

of this late night thing we've got

going here... This should hold him.

Bleeding's stopped. Let's get a

biopsy...

(to circulating nurse)

Send it downstairs and make sure you

get Kath her slice.

SURGEON:

You staying for the closing, Rich?

Kimble moves away and sheds his gloves and gown.

KIMBLE:

No. I got a date.

INT. SCRUB ROOM - NIGHT

Kimble throws away his hat and mask. The door opens behind

him; it is the other Surgeon.

SURGEON:

Hey, Richard...

Kimble turns.

SURGEON:

Thanks.

CUT TO:

INT. KIMBLE'S CAR - NIGHT

Kimble driving through empty Chicago streets toward home.

He is on phone, waits for answer.

KIMBLE:

Hi. I'm five minutes away...

INTERCUT WITH:

INT. KIMBLE'S TOWNHOUSE - NIGHT

Helen on the phone, downstairs. She is still in her gown with

an afghan around her shoulders. She's been reading.

HELEN:

I'm glad it went well. I'll see you

in a minute.

Helen hangs up phone, turns out the light and starts up the

stairs.

CUT TO:

EXT. CHICAGO STREET - NIGHT

Kimble driving.

INT. KIMBLE-S TOWNHOUSE - DRESSING ROOM - NIGHT

Helen moves down the hall toward the dressing room/closet.

Opens the door to large closet dressing room and turns on

the light. Nothing. She starts to leave and decides to close

one of the interior closet doors.

She starts to slide the door closed when - wham!

A hand reaches out and clutches her by the neck. Helen

claws and scratches to get free and in her struggle her

string of pearls bursts...

... and a single pearl bounces out of the bedroom... rolls

across the landing to the stairs, stopping three steps from

the top.

CUT TO:

EXT. KIMBLE'S TOWNHOUSE - NIGHT

Snow swirls around the street as Kimble's car pulls into the

driveway. On the third floor, we see a bedroom light still

on.

INT. KIMBLE'S TOWNHOUSE - NIGHT

A GRANDFATHER CLOCK TICKS softly. Kimble tosses his keys on

the entry table, picks up a stack of mail on the table and

calls up the stairs.

KIMBLE:

I'm home. Did you hear who won the

Bulls game?

No answer. He steps into the:

KITCHEN:

The wall phone shows a line in use. Kimble notices it. The

WASHER BUZZES, he switches the clothes from washer to dryer,

and STARTS the MACHINE. Takes a bottle of wine and two

glassesand leaves the kitchen.

INT. BEDROOM - CLOSE ON .38 SMITH AND WESSON - NIGHT

Lies on the floor, beside Helen's legs and the receiver of

phone, off the hook. A man's rubber-gloved hand picks up the

gun.

INTERCUT WITH:

INT. DOWNSTAIRS - STAIRS - NIGHT

Kimble starts up the stairs to the bedroom...

INT. BEDROOM - NIGHT

Helen's hand reaches out presses the cradle down, dials

ON KIMBLE:

Climbing the stairs... suddenly stops.

A small white ball on the stairs. He bends down and picks

it up... a pearl.

KIMBLE:

Helen?

Silence. He can see directly into the bedroom. It's quiet.

Too quiet. He notices a lampshade on the floor.

UPSTAIRS HALL - NIGHT

Kimble moves slowly to the opened doorway. And just before

he enters he sees a large form in the crack behind the door.

Adrenal surge.

Kimble slams the door back on the figure knocking the gun

free. Before Kimble can move to it a forearm flattens him.

The attacker immediately goes for the gun. Kimble grabs a

leg and twists him down, the man's fingers hit the gun,

sending it skittering across the hardwood floor of the

landing and over the edge - three flights to the entry

hall below.

SIRENS can be heard. Distant but APPROACHING.

The man kicks free and tries to flee. This time Kimble

catches an arm and twists it at an unnatural angle. To his

shock, the limb detaches between the shoulder and elbow.

Kimble looks at the arm in his hands - it's hollow.

Electrodes are visible inside - then to the man's unreadable

face...

The SIRENS are LOUDER...

Before Kimble can recover, the One-Armed Man knocks Kimble

down and grabs back his arm. He runs down the stairs.

Kimble pulls himself up and starts to follow but is stopped

by a VOICE behind him in the bedroom...

HELEN (O.S.)

He's here... still in the house...

INT. BEDROOM - NIGHT

Lying by the bed, Helen Kimble, clutches the phone with one

hand, her head with the other.

911 (V.O.)

Did I hear you right? Your attacker

is still in the house? Ma'am?

HELEN:

He's trying to kill me...

Kimble appears. Helen drops the phone when she sees him.

911 (V.O.)

Will you repeat that please?

HELEN:

(to Kimble)

Richard... He's trying to kill me...

my head.

EXT. KIMBLE'S TOWNHOUSE - NIGHT

Two Chicago police cars wheel to the curb, COPS move quickly

to the house.

INT. BEDROOM - NIGHT

Kimble moves to her. Sees the necklace of bruises where she

was held down and choked. And then a bullet wound in her

leg. She's already going into shock. Her speech turns thick.

KIMBLE:

Hang on, babe... going to be all

right.

Her fingernails dig into Kimble's arm, trying to hold on.

HELEN:

My head. Richard my hold me.

Her eyes slip away from his. He peels away the hand on her

head - and sees raw pummeled brain staring back and realizes

she won't be all right.

CAMERA SWINGS DOWN TO the dropped phone.

911 (V.O.)

... Hello. You said his name is

Richard? Ma'am, can you talk to me?

Ma'am?

CUT TO:

INT. KIMBLE'S HOUSE - NIGHT

The Cops enter the house. See the .38 lying on the floor.

Covering each other, they move quickly up the stairs - guns

drawn.

ANGLE:

Third floor. The First Cop, gun drawn, turns the corner of

Kimble's bedroom and finds:

Rate this script:0.0 / 0 votes