The Fugitive

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 freshlymopped section. Head down, she is completely absorbed in a file and doesn't see the wet floor until s ffb he slips slightly, looks up but keeps walking.
WOMAN DOCTOR: Where' 8 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) Asshole.
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 - Kimble 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 asshole.
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 onearmed 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 outsside 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. llTH STREET POLICE DISTRICT HOUSE - DETECTIVES
ROOM - NIGHT
The Punk Kid is handcuffed to a bench as a cop works on a report. Suddenly the Kid notices something that gets his attention.
KID'S POV - A wanted poster of Kimble over the cop's head.
BACK TO SCENE
The Kid sees -- Wanted for Murder -- realizes who it is.
PUNK KID (to cop)
Hey. Hey! I know that guy!
The cop looks up, sees Kimble's poster and then back at the Kid.

CUT TO: INT. TRAUMA HALLWAY - NIGHT
Kimble moves toward prosthetic clinic. In passing through the trauma hallway he becomes aware of a crisis developing. A major accident has happened, victims are being brought in.
The P.A. CALLS for doctors. STAT.
ANGLE ON FAR END OF TRAUMA HALLWAY
Elevator doors open as orderlies bring in new patients. Some walk, some are helped by family and police. Nurses direct traffic. Orders fly. Medicines are called. Family members yell for doctors. Ask for the injured. Anne picks up the pace with an ORDERLY wheeling a gurney carrying a young patient, a BOY.
ANNE: What happened?
ORDERLY: A bus flipped off the overpass. Got at least twenty more coming in.
ANNE: What about this one here?
ORDERLY: Fractured sternum. X-ray's coming up.
Anne checks the boy's chart.
ANNE: Okay, we've got to get some room in this hallway, people.
Orderlies quickly move the non-life-threatening patients out of the hall. Still more help is needed. Anne spots Kimble.
ANNE: Hey, take this one up the hall to Critical Care.
Kimble nods. Anne moves to another patient. Kimble grabs the kid's gurney and begins wheeling it up the ffb hall. As he pushes he looks at the kid's X-rays. Anne looks up, barks another order, then suddenly sees Kimble pushing the gurney and looking at the film.
ANNE tries to negotiate through the incoming patients to get a better look, but Kimble is gone. She goes back to work.
ON KIMBLE - He wheels the Boy's gurney into an elevator. The doors close.

INT. HOSPITAL - O.R. CORRIDOR - NIGHT
Kimble wheels the gurney down the hall and stops the Boy on the scrub threshold to the O.R. and stops a SURGEON.
KIMBLE: Hey. Hey!
A Surgeon pauses and eyes Kimble's janitor suit and the gurney.
KIMBLE: They just sent this one up.
He takes a look at the Boy's chart and grabs the X-rays and yells to O.R. nurse.
SURGEON: Bob! Get this one into room four, stat.
He looks up, Kimble is gone.

INT. PROSTHETIC CLINIC - COMPUTER ROOM - NIGHT
Kimble enters the Prosthetic Clinic computer room. The Technician from the day before is listening to her Walkman, sees Kimble and waves. Kimble waves back and turns into the glass-walled computer room and closes the door. He closes the blinds and turns on the computer.

CUT TO: INT. CRITICAL CARE UNIT - NIGHT
The crisis has wound down. Anne moves into the room and begins checking patients. She stops a unit nurse, GLADYS.
ANNE: Gladys, where's the boy I sent down with the janitor?
GLADYS: What boy?
ANNE: The one with the fractured sternum.
GLADYS: He never came in here.

INT. PROSTHETIC CLINIC - COMPUTER ROOM - NIGHT
Kimble scans DOS files, each an eight-letter enigma. Finds one with promise and loads it up.
KIMBLE: Wrong...
He backs up and tries another file.
CLIENT DEMOGRAPHIC ORGANIZER SEARCH BY: AGE, SEX, RACE, LIMB, OR OTHER?
Kimble knows he's got it.

INT. PROSTHETIC CLINIC - COMPUTER ROOM - CLOSE ON SCREEN - NIGHT
Kimble keys in these responses: SEX: MALE, AGE: 35-50, RACE: CAUCASIAN, LIMB: RIGHT ARM, OTHER: POINT OF REPLACEMENT: MID HUMERUS

INT. OPERATING ROOM WING - NIGHT
Anne comes out of the stairwell and stops the Surgeon we saw with Kimble.
ANNE: Dave, did you see a janitor come up here earlier?
SURGEON: Yeah, he brought a kid up. (handing her the chart) Anne, did you write the orders? I couldn't make out the signature...
ANNE: I saw -
SURGEON: (in a hurry now) Whoever did knew what the hell he was doing. Kid's a hair away from a ruptured aorta.
He heads to the operating room, leaving her stunned. She stares at the scrawled orders.

CUT TO: INT. PROSTHETIC CLINIC - COMPUTER ROOM - CLOSE ON SCREEN - NIGHT
A "PLEASE WAIT" message appears on the screen. We hear the COMPUTER PROCESSING, searching, narrowing. The screen flashes: NUMBER OF POSSIBLE CANDIDATES: 75. DO YOU WISH TO SUBDIVIDE?
KIMBLE: Seventy-five. Hell, yes.
Kimble types in another defining characteristic... Residence: Illinois.
Again he waits. Rattles the blinds to make it seem like he's cleaning. The list shortens.
NUMBER OF POSSIBLE CANDIDATES: 21.
KIMBLE: What else?

MEMORY HIT - INT. CHICAGO COURTROOM - DAY
Prosecutor stands before the jury.
PROSECUTOR: ... murdering Helen Wills Kimble the night of January 20...

INT. PROSTHETIC CLINIC - COMPUTER ROOM - CLOSE ON SCREEN - NIGHT
Kimble types in: "Candidates having adjustment appointments between January 21, and February 1, 1993."
Kimble waits. Sixty-five names come up. Again too many. Kimble's reached a dead end. Kimble thinks.

MEMORY HIT - INT. KIMBLE'S BEDROOM - NIGHT - The fight with the One-Armed Man.

INT. PROSTHETIC CLINIC - BACK TO SCENE
ON Kimble. Something has clicked in his memory.

CUT TO: INT. PROSTHETIC CLINIC - PROSTHETIC STORAGE ROOM - NIGHT
Kimble stands beneath the hanging artificial limbs. He takes down a ffb n arm, works the joint.

MEMORY HIT - INT. KIMBLE'S BEDROOM - NIGHT
Kimble fights the One-Armed Man. He wrenches the man's prosthetic arm.

INT. PROSTHETIC CLINIC - PROSTHETIC STORAGE ROOM - CLOSER ON ARM
He moves it again. Harder, at an awkward angle.

MEMORY HIT - INT. KIMBLE'S BEDROOM - TIGHTER ON ONE-ARMED MAN'S ARM -NIGHT
Kimble wrenches the arm...

INT. PROSTHETIC STORAGE ROOM - CLOSE ON ARM
The joint strains.

MEMORY HIT - INT. KIMBLE'S BEDROOM - CLOSE ON ONE-ARMED MAN'S ARM
Kimble wrenches it and it BREAKS.

CUT TO: INT. PROSTHETIC OFFICE - CLOSE ON PROSTHETIC MANUAL - NIGHT
-- a detailed diagram of arm construction.
ANOTHER ANGLE - Kimble makes notes.

INT. HOSPITAL ELEVATOR - NIGHT
Anne rides the elevator back to trauma. She's thinking.

CUT TO: INT. PROSTHETIC CLINIC - CLOSE ON COMPUTER SCREEN - NIGHT
Joint repair list between January 21--April 21... Five names come up with Greater Chicago addresses.
Kimble hits print. The MACHINE begins PRINTING. Kimble looks up at the Prosthetic Clinic Technician -- she is listening to her headphones, can't hear the printer. He continues to shake the blinds.

EXT. PROSTHETIC CLINIC/TRAUMA HALLWAY - NIGHT
Kimble leaves Prosthetic Clinic and starts down the hall for the exit when a voice stops him.
ANNE (O.S.): Do you have a particular interest in our patients' x-rays?
Kimble turns to see Anne coming toward him.
KIMBLE: What do you mean?
ANNE: I saw you looking at that boy's chest film.
She moves in on him. He eyes the exit.
KIMBLE: It's a hobby of mine -
ANNE: What other hobbies do you have? Brain surgery?
KIMBLE: What do you want?
She reaches him.
ANNE: I want to know how that kid ended up in surgery.
KIMBLE: I'm a janitor. I did what I was told.
ANNE: Bullshit. Who changed those orders?
They hold a look. She knows. He takes a step back and she pulls his I.D.
ANNE: You stand right here. I'm calling security.
Kimble runs. Anne turns to call security but doesn't.
She stares after Kimble.

CUT TO: INT. POLISH WOMANiS BASEMENT - NIGHT
Kimble's room being searched by the marshals. Gerard finds the flyer Kimble was handed on his way out the door. On it we see: COOK COUNTY HOSPITAL.