Nobody Loses All the Time
EXT. BAR - DAY
The mid-1960s. Midday. Somewhere in the heart of a large city in the
western United States. A tacky little watering hole with a nautical theme
called the H.M.S. BOUNTY.
CUT TO:
INT. BAR - DAY
The bartender is none other than RICHARD KIMBLE, America's most elusive
fugitive. He wears a snazzy red jacket, brown slacks, and a tie as he ably
serves drinks to the clientele at the tables and then makes his way behind
the bar. Patrons stare at a color TV mounted over the counter. A news flash
is in progress:
NEWSMAN (v.o.)
The scene here is still one of chaos and
devastation. All fire fighting units in the
city are [?] working to prevent the blaze
spreading to the heavily populated industrial
complexes in the immediate vicinity. The exact
cause of the fire is not yet known, of course.
All that can be reported for certain is that
the blaze followed immediately after the...
After washing his hands, Kimble approaches the TV and turns up the volume.
He and the patrons watch the live broadcast in horror. Onscreen, flames and
smoke fill the sky; firemen turn their hoses on the blaze; police herd
onlookers away, etc.
NEWSMAN (v.o.)
... jolting explosion which was felt miles away.
This building, which not twenty minutes ago was
intact, is now a total loss. Possibly, the
city's worst disaster. The Harrington
Processing Company, gone -- destroyed in a
matter of minutes. The entire seventeen
hundredth block of Martin Street is now burning
out of control. The explosion occurred ten
minutes before the changing of the shift and
heavy casualties are feared....
Kimble and the bar's patrons continue to stare as the screen shows a crowd of
innocent bystanders watching the fire from a safe distance. Kimble can't
believe what he's seeing: FRED JOHNSON, the long-sought one-armed man Kimble
saw leave the scene of his wife's murder, is standing in the crowd next to a
middle-aged blonde woman who links one of her arms in his. Like everyone
else, their attention is riveted on the fire. But Kimble's attention is now
riveted on Johnson.
NEWSMAN (v.o.)
A large crowd of the curious has already
gathered and the police have requested that
everyone not having urgent business in this
area to cooperate and stay away from downtown
districts.
Alas, Kimble has urgent business downtown. He immediately retreats to the
bar's backroom, removes his red jacket, puts on his brown one, and, without a
word to the surprised patrons, briskly walks through the bar and exits out
the front door.
NEWSMAN (v.o.)
The fire has already claimed too many victims.
There are seven known dead and estimates range
much higher. Fireman on the scene have told me
this could well be the largest conflagration in
the city's history...
CUT TO:
EXT. MARTIN STREET - DAY
The fire rages out of control. The fire hoses have little effect. Fred
Johnson and his mysterious girlfriend no longer stand in the crowd of
bystanders. An omniscient NARRATOR, with a voice deeper than any
third-degree burn, is inspired to do a little philosophizing.
NARRATOR (v.o.)
Any public disaster will attract a crowd of
spectators, people secretly pleased, perhaps,
that they are not touched by the tragedy, that
they may walk away from the dying and go on
about their lives...
Kimble arrives and starts looking around. No sign of Johnson. A police
officer joins the crowd and motions for it to move back. Kimble takes one
look at the cop and decides to move on.
CUT TO:
EXT. CITY STREETS - DAY
The streets and alleys surrounding the fire are filled with running people.
Most run to safety. Kimble runs and searches. He cuts through an alley to a
side street and stops. And stares.
NARRATOR (v.o.)
But one man here today cannot remain so
uninvolved, so insulated against another's
pain. He is bound by an oath taken many years
ago, an oath written by a man named
Hippocrates...
On the sidewalk, Kimble sees a couple having an argument: it's Johnson and
his mysterious blonde girlfriend. We can't hear what they're saying. A
stunned Johnson looks up and sees Kimble standing only a few yards away. His
girlfriend glances at Kimble but pays him no mind. Kimble moves toward them.
When the girlfriend turns back to Johnson, the one-armed man pushes her away
and runs into the street. Confused, she takes off after him.
NARRATOR (v.o.)
"I will follow that method of treatment which,
according to my ability and judgment, I
consider for the benefit of my patients..."
The woman runs into the street just as a huge red truck comes barreling
along. The driver BLASTS his horn and slams on the brakes but it's too late.
The woman opens her mouth to scream. But the truck's grille is already upon
her. FLASH CUT of her purse hitting a wall and dropping to the sidewalk.
CUT TO her sweater entangled in the truck's grille. PAN OFF the stopped
truck to her unconscious body sprawled on the asphalt. She's been knocked
right out of her high-heeled shoes: they lie between her and the truck.
NARRATOR (v.o.)
"Into whatever houses I enter, I will enter them
for the benefit of the sick." These words,
remembered from better days, return to haunt
Richard Kimble.
Kimble rushes to the woman's side, looking up long enough to see Johnson on
the opposite side of the street as he stops running and turns to see Kimble
crouching beside his girlfriend. A crowd gathers.
KIMBLE
(to the crowd)
Get an ambulance!
Kimble watches Johnson run off. Kimble is torn: should he take off after
Johnson? Or stay with the mystery woman? He looks down at her: she's
unconscious, bleeding from the neck. He decides to stay.
DISSOLVE TO:
EXT. CITY STREET - DAY
Minutes later. Kimble and a uniformed AMBULANCE DRIVER secure the mystery
woman to a stretcher and wheel it over to the ambulance.
KIMBLE
(upset, to the Driver)
This woman needs a doctor. What happened to
the interns?
AMBULANCE DRIVER
There's a big factory fire. All the doctors are
tied up. They said we'd have to wing it.
The driver and his assistant load the woman into the ambulance as a concerned
Kimble looks on helplessly. From out of nowhere, a uniformed POLICE OFFICER
with a clipboard confronts an instantly uneasy Kimble.
POLICE OFFICER
You an M.D.?
KIMBLE
Huh?
POLICE OFFICER
Why can't you go with 'em?
KIMBLE
Well, I guess I could. I-I-I-I...
POLICE OFFICER
What's your name, please, Doctor?
KIMBLE
(always ready with an alias)
Robinson.
(to the driver)
All right, let's go.
Kimble attempts to climb in the ambulance but the Officer stops him.
POLICE OFFICER
(to Kimble)
Just a minute. Did you happen to see the
accident?
KIMBLE
No, I got here after it happened.
(to the driver)
All right, let's go!
Abruptly, Kimble jumps in the ambulance and SLAMS the door. Lights flashing,
siren WAILING, the ambulance pulls away.
DISSOLVE TO:
INT. HOSPITAL - EXAMINING ROOM - DAY
A door swings open and an attractive young blonde nurse named RUTH BIANCHI
leads the way for Kimble and an orderly to wheel the still unconscious
mystery woman into the room.
RUTH
What hospital are you with, Doctor?
KIMBLE
I'm not. Give me a couple of clamps, Nurse.
RUTH
Right away.
Nurse Ruth grabs the clamps and some gauze while Kimble pulls a lamp into
place. Ruth brings the clamps to Kimble and he handles them with his
customary professionalism.
KIMBLE
The carotid artery's been damaged. We'll need
a staff doctor to repair it immediately.
RUTH
Not a chance, Doctor. You saw the madhouse out
there. Factory Fire Day. Why don't you do it?
KIMBLE
(hesitates)
I'm not authorized to practice in this state.
RUTH
Well, it IS an emergency. I'll try to get you
an authorization.
Ruth ducks into the hallway.
CUT TO:
INT. HOSPITAL - HALLWAY - DAY
It's a madhouse out here. People run to and fro. The public address system
drones.
P.A. SYSTEM
Doctor Russell...
Ruth tries to flag down a nurse.
RUTH
Nurse?
But the nurse rockets right past her. Ruth stops a young CANDY STRIPER who's
been pressed into service.
RUTH
Need a staff doctor to give us an okay.
Urgent. Critical. Got that?
CANDY STRIPER
Yes, Nurse, I'll try.
The Candy Striper hurries off while Ruth retreats to the examining room.
CUT TO:
INT. HOSPITAL - EXAMINING ROOM - DAY
Ruth returns to Kimble and the orderly just as Kimble finishes taking the
mystery woman's pulse.
KIMBLE
(to Ruth)
I want her typed and cross-matched. She's lost
a lot of blood.
RUTH
Right away, Doctor.
KIMBLE
(to the orderly)
Uh, get the oxygen and the saline ready to go.
Ruth and the orderly hop to it as Dr. Kimble sheds his brown jacket and rolls
up his sleeves.
DISSOLVE TO:
INT. HOSPITAL - EXAMINING ROOM - DAY
Not long after. Kimble removes the oxygen mask from the mystery woman's face
and puts his face close to hers. She's barely conscious.
KIMBLE
(to the woman)
Can you hear me? Is there anyone you'd like
us to notify?
(beat)
Where can I find the man you were talking to
before the accident?
But the woman can't -- or won't -- respond. PULL BACK to reveal Ruth taking
the woman's blood pressure.
RUTH
(to Kimble)
Eighty over twenty. Going up.
KIMBLE
(much relieved)
Good. I guess she'll be all right. She'll
need, uh, fifteen milligrams of meperedine
I. M. every six hours.
RUTH
Right away, Doctor.
KIMBLE
(to the orderly)
You can de-[?] the saline. And take her up to
X-ray. I think she busted her ankle.
The orderly nods. Kimble picks up the woman's purse, pulls out a wallet, and
looks at her identification as Ruth starts the paperwork.
RUTH
What's her name, Doctor?
KIMBLE
(off her I.D.)
Maggie Tibbett.
Ruth scribbles down the necessary info. Then she and the orderly wheel
MAGGIE TIBBETT out the door, leaving Kimble standing there, holding the
purse. He returns the wallet to the purse, then rummages through it until he
finds a key marked: room 24 of HARMON'S HOTEL.
CUT TO:
EXT. HOTEL - NIGHT
That evening. A green neon HOTEL sign flashes in the darkness.
CUT TO:
INT. MAGGIE'S HOTEL ROOM - NIGHT
Kimble lets himself into the tiny room with the key, shuts the door, and
looks around. He flips on the lights and sees a pile of mail on a desk:
bills; receipts from the laundry and a hat shop; a few personal letters.
Kimble sorts through them. Nothing. He opens a nearby cabinet. Nothing.
On the bed is a weird black and white lump. Kimble turns it over: it's a
giant stuffed panda bear with a red bow tie.
Kimble spots a mirrored dressing table and moves toward it. He pulls a
black-and-white photograph from the mirror frame, sits at the table, and
stares intently at the photo.
It's a snapshot of Johnson with his one arm around Maggie Tibbett, standing
in front of a merry-go-round -- she holds the giant stuffed panda bear in her
arms. They both smile as if they hadn't a care in the world.
Kimble inspects the rest of the table: a picture of a younger, glamorous
Maggie, a personal letter, etc. Kimble starts to read the letter when
there's a KNOCK at the door. He pockets the photo of Johnson, rises, and
answers the knock. A gray-haired woman, a NEIGHBOR of Maggie's, is surprised
to see him.
NEIGHBOR
Wh-? Where's Maggie?
KIMBLE
She... had an accident.
NEIGHBOR
Oh.
KIMBLE
You a friend of hers?
NEIGHBOR
Friend? She owes me five bucks. I was just
comin' to collect it. I suppose now I gotta
wait. Again. What do you want?
KIMBLE
I'm a doctor. I'm looking for someone to
notify. Family, friends.
NEIGHBOR
(shakes her head)
No family.
KIMBLE
I'm looking for a particular friend of hers.
NEIGHBOR
This ain't no social club. Uh, we mind our own
business.
KIMBLE
You'd notice this fellow. He only has one arm.
NEIGHBOR
Who counts?
The neighbor walks off leaving a frustrated Kimble alone. He takes a last
look around, shuts off the lights, and closes the door as he exits.
CUT TO:
INT. HOSPITAL CORRIDOR - THIRD FLOOR - NIGHT
Late that night.
Maggie Tibbett sleeps peacefully. Nurse Ruth tends to her. They are in a
quiet corner of a deserted corridor, surrounded by screens. Down the hall,
an elevator door opens and Kimble walks out, looking around cautiously. Ruth
emerges from behind the screens and makes eye contact with him. Kimble walks
down the hall and joins her at Maggie's bedside as Ruth rolls up a blood
pressure gauge.
KIMBLE
How is she?
RUTH
She's all right.
KIMBLE
Has she been conscious?
RUTH
No.
KIMBLE
Has she had any visitors?
RUTH
No, she hasn't.
KIMBLE
Why isn't she in a ward?
RUTH
Well, I had to haggle to get these screens.
KIMBLE
What about the county hospital?
RUTH
I tried but the charity ward's full. There was
a factory fire, remember?
KIMBLE
Is there anything else?
RUTH
There's a private room down the hall but it's
very expensive.
KIMBLE
(thinks it over)
Okay. I'll sign for it.
RUTH
Why you?
KIMBLE
Well, I feel responsible.
(off Maggie's charts)
Uh, who's R.B.?
RUTH
Ruth Bianchi, me.
KIMBLE
You took all these readings? You've been up
all night?
RUTH
Somebody had to do it.
KIMBLE
Well, you go on home. I'll take over now.
RUTH
(smiles, starts to leave)
Thought you'd never ask.
KIMBLE
Hey, Ruth.
(beat)
Thank you.
RUTH
All in a day's work, Doctor.
(hopeful)
You coming in tomorrow?
KIMBLE
Well, if I can, I'll come.
RUTH
Well, don't be surprised if Big Daddy grabs
you.
KIMBLE
Who's that?
RUTH
Mr. Ferguson, our administrative chief.
KIMBLE
What would he want with me?
RUTH
We were short-handed before the fire, now...
He must be interested, he's been asking around
about you. Good night, Doctor.
Ruth walks off. A worried Kimble looks down at Maggie Tibbett.
FADE OUT
EXT. HOSPITAL - DAY
FADE IN on a view of the hospital building from the parking lot, next day. A
large sign reads: EMERGENCY ADMITTING.
CUT TO:
INT. MAGGIE'S HOSPITAL ROOM - THIRD FLOOR - DAY
An expensive private room, about the size of Maggie's hotel room. A nurse
looks on as Kimble stands at Maggie's bedside examining his patient.
KIMBLE
(to the Nurse)
You can stop the meperedine, Nurse.
(to an unresponsive Maggie)
How ya feelin', Maggie? You're gonna be all
right. We'll see you soon.
Kimble is about to leave when Ruth enters to talk to him.
RUTH
Coffee, Doctor?
KIMBLE
Yeah, sure.
(to the Nurse)
If she has any visitors let me know, hm?
Kimble and Ruth exit the room.
CUT TO:
INT. HOSPITAL CORRIDOR - THIRD FLOOR - DAY
Ruth leads Kimble over to the ward kitchen but, before they can enter, a man
calls out to them from down the hall. It's the hospital's overzealous
administrator, "Big Daddy" FERGUSON.
FERGUSON
Oh, Doctor! Miss Bianchi! Just a minute!
RUTH
(quietly, to Kimble)
Big Daddy.
Kimble tenses up as Ferguson joins them. Ruth does the introductions.
RUTH
Dr. Robinson, Mr. Ferguson, our administrative
chief.
FERGUSON
(shakes hands with Kimble)
My pleasure, Doctor. I'll apologize for my
bluntness in advance but, uh, matter of fact,
I'm due at a board meeting in exactly, uh...
(checks his watch)
Well, two minutes ago. You, uh, you made quite
an impression here.
KIMBLE
Why, thank you.
FERGUSON
We need staff doctors. You're aware of the
situation. On a temporary basis if you like.
KIMBLE
Well, I appreciate the offer but I have a
practice back east.
FERGUSON
Oh, really? Where?
KIMBLE
(tries to change the subject)
Well, actually, I was on vacation. I saw the
accident, I couldn't turn my back on it.
FERGUSON
Of course.
KIMBLE
I'd appreciate following through on her, if
that's all right.
FERGUSON
Fine, fine. Back east, you say? Where did
you intern?
KIMBLE
Uh, Baltimore.
FERGUSON
Oh? County General?
KIMBLE
Uh, Beckman, actually.
FERGUSON
Well, you should know Schwartzie. He was ten
years at Beckman. OB-GYN.
Kimble wonders how to respond. After a pause, he manages a forced,
meaningless smile.
KIMBLE
That was a long time ago.
FERGUSON
Well, if you want to reconsider, Doctor, we
would be extremely grateful.
(to Ruth, pinching her cheek!)
Come on, Nurse. Talk him into it. Hm?
(shakes Kimble's hand)
Nice seeing you.
Ferguson walks off.
RUTH
(to Kimble)
See? He's [?]
KIMBLE
(relieved but unhappy)
Have some coffee?
Kimble and Ruth enter the ward kitchen.
CUT TO:
INT. HOSPITAL - WARD KITCHEN - THIRD FLOOR - DAY
Kimble tries to pour himself a cup of coffee but Ruth wants to do it for him.
RUTH
[Please, please, stand by.]
Kimble retreats to the doorway and keeps careful watch on Maggie's room.
Ruth finishes pouring and brings him a cup. But he's preoccupied with
scoping the corridor.
RUTH
Doctor?
KIMBLE
(takes the cup)
Thank you.
RUTH
Hey. Relax.
KIMBLE
What do you mean?
RUTH
I don't know. Something about the way you
watch people. It's as if you're waiting.
Makes me wanna help you.
Kimble walks away from her. Ruth senses she's struck a nerve.
RUTH
Well, that did sound silly. Forget the whole
thing.
Kimble stares at the floor, unsure of what to say.
RUTH
Don't be so glum. It's my mouth, if I want to
put my foot in it, it's okay.
Ruth smiles at him reassuringly. Kimble smiles back, a genuine smile this
time.
KIMBLE
Okay.
RUTH
That's better. Congratulations, your doctor
image has just gone up ten points.
KIMBLE
That's all it takes is a smile.
RUTH
You have no idea what you have going for you
here with all these eager nurses. You're the
first single, good-looking doctor we've had in
years.
Kimble responds with his patented twitchy grin.
RUTH
Now, THAT is an enigmatic smile. What's that
for? The good-looking part? The single part?
Or the... unavailable part?
KIMBLE
Well, I like you, Ruth--
But it's clear he won't be getting involved with her. Ruth tries to cover
her disappointment.
RUTH
Oh, like that. Well, friendship is less
complicated.
KIMBLE
Well, not like that. I--
RUTH
Nope. Sentiment is contagious. And, uh,
besides, I may need a friend someday. I think
you'd be a good one.
KIMBLE
I think you would too.
RUTH
If you ever need a friend...
KIMBLE
I'll remember that.
Kimble watches Ruth leave.
DISSOLVE TO:
INT. MAGGIE'S HOSPITAL ROOM - THIRD FLOOR - DAY
A few days later, Kimble looks on as Maggie stares into a mirror. She could
be talking about either her or Kimble as she sighs heavily at their
reflections in the glass.
MAGGIE
A swinger, you're not. Forget it.
Maggie limps back to her bed on her broken ankle. Kimble helps her in.
KIMBLE
Here.
MAGGIE
Thank you.
KIMBLE
Is there anybody you want me to get in touch
with for you?
MAGGIE
No. I'm kind of a loner.
KIMBLE
I saw you talking to a man right before the
accident.
MAGGIE
Well... there's something you ought to know
about me. I am the original sitting duck. I
even cry at bingo games. One or two kind words
and, uh, I melt.
KIMBLE
Sounds like he's very important to you.
MAGGIE
Yes, he... is. To me. We had, uh, a fight and
I was trying to make up with him and, uh, he
just took off. All of a sudden, huh? Gave me
a big shove. And cut out like I was some kind
of a... I can't figure it.
(bitterly)
How many hospitals are there anyway? I've been
here for four days. I couldn't be... all that
hard to find.
Maggie rises and limps to the window overlooking the city.
KIMBLE
Uh, why don't you call him?
MAGGIE
Because. That's a loser's move and you know it.
KIMBLE
I'll call him for ya.
MAGGIE
No.
(beat)
What is it with you?
KIMBLE
What do you mean?
MAGGIE
Don't you think I know? This room costs. And
you signed for it.
(laughs, archly)
What is Maggie Tibbett to you?
KIMBLE
Well, he wasn't running from you, Maggie. He
was running from me.
MAGGIE
Freddy? A guy like you mixed up with him?
KIMBLE
How long have you known him?
MAGGIE
Couple o' months.
KIMBLE
Know where I can find him?
MAGGIE
(suspicious)
Why?
KIMBLE
(grimly)
I want to talk to him.
MAGGIE
Doesn't sound to me like you want to talk.
KIMBLE
Well, that's up to him.
MAGGIE
I owe you. I know. They told me you saved my
life.
KIMBLE
I'm a doctor.
MAGGIE
Well, I owe Freddy, too. Somehow you scare me.
About him. What's this all about?
KIMBLE
Uh, a long time ago, something happened.
MAGGIE
Trouble?
KIMBLE
Yeah, he's the only one who can clear it up,
this trouble.
MAGGIE
You? What was it? What'd you do?
KIMBLE
I've got to find him, Maggie.
MAGGIE
Cops?
KIMBLE
Yes.
MAGGIE
(laughs)
You'll get off the hook.
KIMBLE
If you help me.
MAGGIE
What about Freddy?
KIMBLE
That's up to him.
MAGGIE
But it's so bad you can't tell me. Boy, oh boy.
Some sweet choice, huh?
An uncertain Maggie slumps into a nearby chair.
KIMBLE
You said you owe me. Enough to at least think
about it?
Maggie nods.
KIMBLE
Thank you.
Maggie watches as Kimble exits.
CUT TO:
EXT. WAREHOUSE - NIGHT
A huge building marked WAREHOUSE, that evening.
CUT TO:
INT. WAREHOUSE - NIGHT
A shadow on a wall: a one-armed silhouette. We PAN OFF the shadow to reveal
it's owner: Fred Johnson, talking on the telephone.
FRED JOHNSON
(sharply, into the phone)
Doctor? What doctor? Whudduzzy look like?
CUT TO MAGGIE'S HOSPITAL ROOM
In her darkened room, Maggie's on the phone.
MAGGIE
(into the phone)
Tall, dark, sort of quiet...
CUT TO THE WAREHOUSE
Johnson listens intently.
FRED JOHNSON
(into the phone)
That's Kimble, all right. Now, listen...
CUT TO MAGGIE'S HOSPITAL ROOM
Now, it's Maggie's turn to listen intently.
MAGGIE
(protests, into the phone)
Honey, there's got to be another way. I can't
call the cops on him.
(beat)
Why not? He saved my life!
CUT TO THE WAREHOUSE
FRED JOHNSON
(savagely)
You wanna see me again or you wanna see me in
jail?
(beat)
Okay. Then do like I tell ya...
DISSOLVE TO:
INT. MAGGIE'S HOSPITAL ROOM - THIRD FLOOR - DAY
Early the next morning, Maggie lies in bed as plainclothes police lieutenant
ROWAN shows her a copy of Kimble's wanted poster.
LT. ROWAN
(to Maggie)
You're sure now? You're absolutely certain
that's the man?
MAGGIE
(stunned)
Murder? I didn't know. I didn't know.
Lt. Rowan approaches Ruth who stands nearby, her arms folded defiantly.
LT. ROWAN
(to Ruth)
How 'bout you, miss?
RUTH
(matter-of-fact)
I'll never believe he did it.
Lt. Rowan raises an eyebrow and exits. Ruth joins a distraught Maggie at her
bed and they stare in disbelief at the wanted poster.
CUT TO:
INT. HOSPITAL CORRIDOR - THIRD FLOOR - DAY
Lt. Rowan approaches a Uniformed Officer with a walkie-talkie.
LT. ROWAN
(off the walkie-talkie)
Anything?
The Officer shakes his head. Rowan walks down the hall to the third floor
reception area and confronts another officer at the front desk.
LT. ROWAN
(to the Officer)
Frank, get Lieutenant Gerard on the phone.
Tell him we got the place staked out. We'll
get Kimble when he comes in...
"Big Daddy" Ferguson approaches Rowan.
FERGUSON
Lieutenant Rowan?
LT. ROWAN
(to the Officer)
And, uh, tell Gerard not to worry, huh? We'll
get his man.
The Officer picks up a phone and dials. Ferguson motions for Rowan to join
him in the ward kitchen.
PAN TO:
INT. HOSPITAL - WARD KITCHEN - THIRD FLOOR - DAY
Ferguson confronts Rowan.
FERGUSON
Lieutenant, I'm afraid we've got quite a
problem here. Now, I understand the situation
but, uh, this is a hospital. And we can't have
policemen running around the corridors.
LT. ROWAN
Oh, now, relax, Mr. Ferguson. Do you see
anybody running around? We're aware of the
situation. Now, believe me, nobody's blood
pressure's going up. Except mine.
VOICE (o.s.)
Lieutenant.
It's the walkie-talkie. Rowan takes it from the nearby Uniformed Officer.
LT. ROWAN
(into walkie-talkie)
Rowan here.
CUT TO:
EXT. HOSPITAL - DAY
Kimble stands next to a sign marked QUIET - HOSPITAL ZONE, looking around
cautiously. He fails to see two detectives sitting in a nearby car watching
him as he heads into the building.
DETECTIVE
(into radio mike)
Lieutenant, this is car two-oh-six. Just
spotted Kimble. He's on his way in.
An unsuspecting Kimble walks past another QUIET - HOSPITAL ZONE sign.
FADE OUT
EXT. HOSPITAL - DAY
FADE IN on a view of the building from the parking lot. A large sign reads
EMERGENCY ADMITTING.
CUT TO:
INT. HOSPITAL LOBBY - GROUND FLOOR - DAY
A busy lobby with lots of people, staff and visitors, walking in and out.
Kimble enters and heads for the elevators. In a corridor just off the lobby,
a plainclothes detective, McCAFFEY waits with his partner, another detective
who wears an orderly's uniform. McCaffey picks up his walkie-talkie.
McCAFFEY
(into walkie-talkie)
McCaffey here.
CUT TO THIRD FLOOR
Lt. Rowan has his walkie-talkie in hand.
LT. ROWAN
(into walkie-talkie)
Stakeout just called. He's entered the
building. Prepare to close in behind him.
CUT TO LOBBY
McCaffey and his partner scan the lobby for Kimble. They spot Kimble at the
elevator. The door has just opened. An orderly with a wheeled cart politely
allows Kimble to get on the elevator ahead of him.
McCAFFEY
(into walkie-talkie)
I see him.
McCaffey puts the walkie-talkie down. He and his partner rush toward Kimble
who immediately senses what's happening.
McCAFFEY
(to Kimble)
Wait!
Kimble, inside the elevator, frantically pushes the orderly and his cart into
the oncoming policemen, knocking them backwards. He presses the DOOR CLOSE
button. Kimble watches as the elevator doors shut in McCaffey's face. The
elevator starts upward with a shaken Kimble inside. In the lobby, McCaffey
grabs his walkie-talkie.
McCAFFEY
(into walkie-talkie)
Lieutenant? He got past us. He's in the
elevator on his way up.
CUT TO:
INT. HOSPITAL CORRIDOR - THIRD FLOOR - DAY
Outside the third floor elevator, a charged-up Lt. Rowan watches as the
elevator sails past his floor. He snaps his fingers and barks at his lone
African-American officer.
LT. ROWAN
He's going up. Get maintenance on the phone.
Kill the elevators.
OFFICER
Right.
Lt. Rowan turns to two other men.
LT. ROWAN
You, you. Hit the stairwells. Nobody up or
down, understand me?
The men rush off. Lt. Rowan snaps his fingers at the Officer with the
walkie-talkie and rushes toward him, taking the device out of his hands.
LT. ROWAN
(into walkie-talkie)
Outside men, this is Rowan. The guy's loose
somewhere in the building. Now, he knows we're
after him, so look sharp.
CUT TO:
INT. HOSPITAL CORRIDOR - TOP FLOOR - DAY
The elevator doors open to reveal Kimble punching buttons. He emerges into
the corridor, wanting to run -- but he steadies himself at the sight of
patients walking the hall. Kimble heads for the stairs but his path is
blocked by two people having a conversation in the stairwell doorway. He
turns and walks briskly back down the hall.
Kimble reaches the end of the corridor: a dead end. The only things in sight
are a laundry basket with an orderly's coat draped over it and the hospital's
emergency elevator. Kimble inspects the white orderly's coat and gets an
idea. He peels off his own brown jacket, dumps it in the laundry, and puts
on the white coat. Then, he presses the button for the emergency elevator.
After a few moments, the doors open and Kimble gets on board.
CUT TO:
INT. HOSPITAL CORRIDOR - THIRD FLOOR - DAY
Lt. Rowan has the walkie-talkie to his ear.
LT. ROWAN
(into walkie-talkie)
Right. Nobody in or out till-- hold on.
The Black Officer sent to shut down the elevators returns.
LT. ROWAN
(to the Officer)
Well, what's the scoop?
OFFICER
The elevators are dead, sir.
LT. ROWAN
All of them?
OFFICER
Yeah. Except for the emergency elevator.
That's run on separate power.
LT. ROWAN
Sure... and Kimble's a doctor. He'd know all
about that.
(to an undercover officer)
Martin. He can only go up or down. Just a
matter of time.
CUT TO:
INT. HOSPITAL - EMERGENCY ADMITTING - GROUND FLOOR - DAY
The hospital's emergency admitting area is a little short-handed: the only
people visible are an on-duty ATTENDANT and a uniformed POLICEMAN. A couple
of ambulances are parked nearby and ready to go. The phone RINGS and the
Attendant picks up while the Policeman looks on. (Note: In the pre-911
1960s, if the average American needed an ambulance, they called the local
hospital directly.)
ATTENDANT
(into the phone)
Emergency admitting.
(beat)
Ambulance?
(beat)
Uh huh... what's the address?
(to the Policeman)
Take this down for me. Thirteen thirty-four
North Tennessee.
The Policeman scribbles in his notebook. As the phone call continues we PAN
TO a nearby door marked NO ADMITTANCE. The door opens slowly and a cautious
Kimble, still in his white coat, peers out.
ATTENDANT
(into the phone)
Is that a house or an apartment?
(beat)
What apartment number?
(beat)
Three-oh-five.
Engrossed in their phone call, the Attendant and the Policeman don't notice
Kimble as he walks as casually as possible to one of the ambulances.
ATTENDANT
(into the phone)
What's the trouble?
(beat)
Gunshot wound.
After pausing to make sure no one is paying attention, Kimble hops into the
driver's seat of the ambulance, STARTS it up, and -- tires SQUEALING -- ROARS
out of the hospital. Startled, the Policeman and the Attendant start after
him but they're too late.
ATTENDANT
Hey! Hey! Hey, you!
With the Attendant pointing helplessly at the departing ambulance, the
Policeman heads for the phone.
CUT TO:
INT. HOSPITAL CORRIDOR - THIRD FLOOR - DAY
Lt. Rowan is on the walkie-talkie when the call comes in to the third floor
desk. The Nurse on duty holds the receiver up to him.
LT. ROWAN
(into the walkie-talkie)
Get the superintendent. Cut off all emergency
power till we get the order. And find that
elevator! I don't care how long it takes ya,
f-- Hold on.
Lt. Rowan sees he has a call and takes it.
LT. ROWAN
(into the phone)
Rowan.
POLICEMAN (o.s.)
Bad news, Lieutenant. Kimble got away.
LT. ROWAN
He what?!
POLICEMAN (o.s.)
In an ambulance. Pulled away before we could--
Lt. Rowan SLAMS the phone down and dials a number.
LT. ROWAN
(to himself)
Oh, I need this. I really need this.
(into the phone)
Hello, Martin? I want you send out an A.P.B.
on Kimble and move. Bus depots, railway
stations, airports...
(beat)
Well, he got away.
(beat)
In an ambulance!
CUT TO:
EXT. CITY STREET - DAY
A uniformed PATROLMAN at a call box hears tires SQUEALING and looks up just
in time to see Kimble in the speeding ambulance rounding a corner. The
Patrolman hangs up and rushes to his partner in a nearby police car.
PATROLMAN
That's him!
The Patrolman hops in as his partner puts the car in gear, starts up the
lights and SIREN, and takes off in hot pursuit.
CUT TO:
EXT. RAILROAD YARD - DAY
The ambulance enters the rail yard at top speed, kicking up a lot of dust.
The police car is right behind. Kimble crosses a track a few yards ahead of
an oncoming freight train. The train blocks the police car from following.
Inside the car, the Patrolman grabs the radio mike.
PATROLMAN
(into radio mike)
Car fourteen. The ambulance is in the railroad
yard. He just put a train between us.
Suggest block east and west approaches. Out.
On the other side of the train, Kimble emerges from the parked ambulance,
strips off the white coat, dumps it in the driver's seat, and hustles deeper
into the yard. He runs between parallel tracks: a moving train on his right,
a parked train on his left. And climbs between the cars of the parked train,
disappearing from view.
Meanwhile, the Patrolmen pull up next to the ambulance, jump out of their
car, and start looking for Kimble. Finding the ambulance abandoned, they
head off deeper into the yard. Amidst the trains, Kimble is looking for a
way out. Guns drawn, the Patrolmen are looking for Kimble.
CUT TO:
INT. HOSPITAL - THIRD FLOOR - DAY
A depressed McCaffey stands in the ward kitchen. In the corridor, the
elevator opens and LIEUTENANT PHILIP GERARD, the Indiana police detective who
has been relentlessly obsessed with capturing Kimble, emerges. With a
suitcase in one hand and a briefcase in the other, he's apparently come
directly from the airport. He approaches the Nurse at the third floor desk.
GERARD
(to the Nurse)
I'm looking for Lieutenant Rowan.
McCaffey joins Gerard.
McCAFFEY
Lieutenant Gerard?
GERARD
Yes. Where's Rowan?
McCAFFEY
I'll take you to him.
Gerard nods as McCaffey starts to lead him down the corridor.
McCAFFEY
I've gotta tell you, Lieutenant. Kimble got
away.
McCaffey politely takes Gerard's suitcase and keeps walking. Gerard just
stands there with his briefcase, frozen in his tracks -- doubtless feeling
like Charlie Brown after Lucy has pulled the football away for the umpteenth
time. After a pause, he gathers himself and starts walking.
CUT TO:
EXT. RAILROAD YARD - DAY
Kimble pauses for a moment next to a tower and looks behind him. Then he
looks up. We PAN UP TO a couple of railroad WORKERS as they climb down from
the tower. Clearly, they are not in a good mood.
WORKER
Clear track five, he says. Got a fast freight
goin' out. How do ya like that guy? In five
minutes, move half the yard around.
By the time the two workers have climbed down to the ground, Kimble is
nowhere in sight. The Worker wipes his brow as the two of them head off to
rearrange half the yard.
Nearby, Kimble hides behind a railroad car, having overheard the conversation
about the fast freight. He's got an idea. He hustles over to the tower and
scales it with ease. With a bird's-eye view of the yard, he scans the area
for the police. At first, there's no sign of them. But he spots the two
uniformed patrolmen searching for him on the far side of the yard.
Kimble sees the two workers moving a train off of a track to make room for
the incoming fast freight. Kimble starts to climb down from the tower,
pausing only to keep an eye on the two patrolmen who are closer now. Kimble
climbs the rest of the way down.
CUT TO:
INT. MAGGIE'S HOSPITAL ROOM - THIRD FLOOR - DAY
Maggie, lying in bed, watches suspiciously as Gerard confers with Lt. Rowan.
LT. ROWAN
But why a hospital? He knows the kind of risks
involved.
GERARD
Whatever his reason, this woman is obviously
part of it. Have you found any connection
between them?
LT. ROWAN
No.
Gerard and Rowan glance over at Maggie who slumps dejectedly to her pillow.
CUT TO:
EXT. RAILROAD YARD - DAY
A worker climbs aboard a moving train. Kimble makes his way through a maze
of parked trains, nimbly climbing between the cars with the finesse of an
experienced freight-hopper. The two patrolmen, guns still drawn, are hot on
his trail now. Kimble pauses just long enough to let them see him -- then
takes off running.
The fast freight barrels through the yard. Kimble runs alongside it. The
patrolmen pursue him. Realizing they're about to lose him, one of the
patrolmen stops, aims, and FIRES a shot at him. It misses. Kimble leaps
aboard an empty boxcar. The patrolmen FIRE three more shots, to no avail.
Knowing they've lost him, they turn and run back toward their car.
CUT TO:
INT. MAGGIE'S HOSPITAL ROOM - THIRD FLOOR - DAY
Lt. Rowan watches as a skeptical Gerard interrogates a defiant Maggie who
sits in a chair with her arms crossed.
GERARD
You never saw Kimble before the accident?
You sure of that?
MAGGIE
No, I never saw him.
GERARD
Total stranger? But you knew enough to turn
him in. Come on, Maggie, who are you kidding?
MAGGIE
I read it somewhere. So what?
The phone RINGS. Lt. Rowan picks up.
GERARD
[?], Maggie. Kimble saved your life...
LT. ROWAN
(into the phone)
Yeah?
GERARD
(to Maggie)
... Risked his own to stay and help you. So,
you inform on him. Why?
MAGGIE
Look, what do you care? Do you want him or
don't you?
LT. ROWAN
(into the phone)
You sure it was Kimble?
Maggie and Gerard turn to Lt. Rowan.
LT. ROWAN
(into the phone)
Well, it happens. I'll be right over.
Lt. Rowan hangs up.
LT. ROWAN
(upset, to Gerard)
Fast freight. Kimble got away.
Maggie's face lights up. Gerard looks like a dog just peed on him.
GERARD
You sure it was Kimble?
LT. ROWAN
Yeah, yeah. We'll stop the train but we're
sure it was Kimble.
An irritated Lt. Rowan heads for the door and exits.
CUT TO:
EXT. RAILROAD YARD - DAY
The fast freight is not yet out of the yard. Kimble stands at the open door
of his boxcar, peering out. From KIMBLE'S POV, we see a flatcar farther up
the line, parked on a parallel track. He gauges the distance and gets ready
to jump. As his boxcar approaches the flatcar, he hurls himself off the
train -- and lands atop the flatcar, artfully rolling to a stop without a
scratch.
Kimble gets his bearings and looks around to see if he's been spotted by
anyone, crouching behind some cardboard boxes until the fast freight has
passed. But there's no police -- or anyone else -- in sight. Satisfied,
Kimble hops off the flatcar and runs out of the yard.
Meanwhile, at the other end of the yard, more police arrive. They confer
with the Patrolmen and then drive off to intercept the fast freight.
CUT TO:
INT. MAGGIE'S HOSPITAL ROOM - THIRD FLOOR - DAY
Maggie lies in bed while Lt. Rowan examines the black-and-white photo of her,
Fred Johnson, and their giant stuffed panda bear. Rowan shows it to Gerard.
McCaffey stands nearby with Kimble's brown jacket draped over his arm.
LT. ROWAN
(to McCaffey)
You say the laundry found this?
McCAFFEY
Yeah, that picture was found in Kimble's pocket.
GERARD
Hmm...
LT. ROWAN
(to Gerard)
Mean anything to you?
GERARD
Oh, yes.
Gerard slowly exits out the door, taking the picture with him. Lt. Rowan and
McCaffey follow. Maggie sits up in bed, worried.
CUT TO:
INT. HOSPITAL CORRIDOR - THIRD FLOOR - DAY
Gerard, Rowan, and McCaffey confer in the corridor.
GERARD
That's why Kimble stuck it out here. She's his
connection to the one-armed man.
Gerard's fingers twitch, one of his little nervous tics.
LT. ROWAN
The one-armed man? Then, you believe his
story?
GERARD
It's not my job to believe. It's my job to
catch him.
(beat)
Rowan, I want this hospital staked out again.
Kimble wanted you to think he'd left town. He
wanted you out of here.
LT. ROWAN
Why?
GERARD
Because he'll be back. Long as Maggie
Tibbett's here, he'll be back.
An odd but not entirely unpleasant thought crosses Gerard's mind.
GERARD
For once, Richard Kimble will come to me.
FADE OUT
EXT. HOSPITAL - DAY
FADE IN on a view of the hospital building from the parking lot, not long
after. A large sign reads: EMERGENCY ADMITTING.
CUT TO:
INT. HOSPITAL - WARD KITCHEN - THIRD FLOOR - DAY
Gerard pours himself a cup of coffee as he confers with Rowan and McCaffey.
GERARD
I tell you, I know Kimble. I know he'll be
back.
LT. ROWAN
He'd have to be nuts. We shot at him. Look,
Kimble knows.
GERARD
He'll try anything to reach that woman in
there. He thinks she'll lead him to the man he
says killed his wife. He'll never give up.
Neither will I.
LT. ROWAN
All right. I'll try to get you five men.
Rowan motions to McCaffey for a cigarette.
GERARD
Twenty-five.
McCaffey and Rowan freeze.
LT. ROWAN
What?!
GERARD
Trained men. In orderly's uniforms,
plainclothes men. Attendants. A foolproof
stake-out.
LT. ROWAN
(shakes his cigarette at Gerard)
Have you got any idea what that'll cost this
town? How will I justify it? We're right in
the middle of a budget fight and I'm sticking
my neck out to get you five.
GERARD
(practically sneering)
You had fifteen on the job and he got away.
LT. ROWAN
You know why he got away? Because he had the
whole thing planned in advance. Every move.
GERARD
You think he won't this time?
LT. ROWAN
Look, I don't even think he'll be here!
Rowan motions to McCaffey to light his cigarette. McCaffey lights a match.
GERARD
Not my fault he got away.
That hits Rowan hard. He abruptly walks away from McCaffey's lit match and
confronts Gerard who, without making eye contact, merely lights a match of
his own and holds it up to him.
LT. ROWAN
All right. I'll try to get you twenty men.
Rowan throws his cigarette down in disgust, pushes McCaffey aside, and storms
out of the kitchen. A triumphant Gerard blows out his match and tosses it
away.
CUT TO:
EXT. OUTSIDE THE RAILROAD YARD - DAY
Near a railroad crossing sign, Kimble hurries along.
DISSOLVE TO:
EXT. FARTHER DOWN THE TRACK - DAY
Some time later, near another crossing sign, Kimble thumbs a ride. A car
stops for him and he gets in.
DISSOLVE TO:
EXT. A RESIDENTIAL AREA - DAY
Still later, Kimble crosses a street. As he reaches the sidewalk, he hears
tires SQUEALING. He looks up and stops. A police car rolls down the street
past him. He watches it go by, then quickly enters an apartment house.
DISSOLVE TO:
INT. APARTMENT HOUSE HALLWAY - DAY
An exhausted Kimble sits on the carpeted stairs. He hears the front door
OPEN and CLOSE and rises to greet Nurse Ruth in her civilian clothes as she
enters carrying a paper bag of groceries and her apartment keys. She sees
Kimble and pauses.
RUTH
Harry...
KIMBLE
You said if I ever needed a friend...
RUTH
(smiles)
Well, I meant it. Come in.
Ruth unlocks her door as Kimble looks around nervously. They enter her
apartment.
CUT TO:
INT. RUTH'S APARTMENT - DAY
Kimble slumps in a living room chair while she puts the groceries in the
kitchen. He clearly feels bad about endangering Ruth by coming to her for
help -- but he feels he has no choice. For her part, Ruth's already made up
her mind to help him. She joins him in the living room.
RUTH
Well, what does a friend do?
KIMBLE
Will you help me get back into that hospital?
RUTH
A friend would help you get out of that
hospital, not in.
KIMBLE
Then you know who I am?
RUTH
I know you're the fella I had coffee with the
other morning.
KIMBLE
You know more than that.
RUTH
I heard more but then you hear a lot of things.
Ruth sits opposite Kimble.
KIMBLE
Will you help me?
RUTH
That hospital has more police than interns.
It's almost like a branch precinct.
KIMBLE
I have to get back.
RUTH
Why's it so important?
KIMBLE
Maggie Tibbett. She's still there, isn't she?
RUTH
As of a half an hour ago. Why? What has she
got to do with it?
KIMBLE
She's friendly with the man that killed my wife.
(beat)
If I can find him, maybe I can get at the truth.
RUTH
How?
Kimble just stares -- he hasn't a clue.
RUTH
Well, I guess one thing a friend can do is not
ask dumb questions, right?
Kimble gives her one of his twitchy grins.
RUTH
So, if you want to go to the hospital, the
hospital it is.
CUT TO:
EXT. HOSPITAL - NIGHT
A view of the lit-up building from across the street, that evening.
CUT TO:
INT. HOSPITAL - STAKE-OUT MONTAGE - NIGHT
Undercover policemen are everywhere. An attendant at a desk flips through
some forms, beneath them lie a photocopy of Kimble's mug shots from his
wanted poster... An orderly emerges from an elevator pushing a wheeled cart
full of medicine bottles -- and one walkie-talkie... A patient in a robe
sits on a couch scanning the area -- in his hand is a tiny copy of Kimble's
mug shots which he absentmindedly presses to his lips...
CUT TO:
EXT. HOSPITAL - NIGHT
Out in the parking lot, a security guard stands watch. Ruth's car pulls in.
The guard signals her to stop. She smiles and shows her I.D. to him. We
catch sight of Kimble scrunched behind the driver's seat, under a blanket.
The guard salutes Ruth, lets her go through, and -- flashlight in hand --
returns to his patrol.
CUT TO:
EXT. MAGGIE'S HOSPITAL ROOM - THIRD FLOOR - NIGHT
Maggie sits on the edge of her bed, filing her nails. There's a KNOCK at the
door. Gerard and a stocky undercover officer named HALLET enter.
GERARD
(to Maggie)
This is Officer Hallet. He'll be staying with
you.
HALLET
How do you do, miss?
MAGGIE
Couldn't you go someplace else?
(rises, upset)
Couldn't you just leave me alone?
GERARD
(to Maggie)
You started all this.
Maggie limps away from them.
GERARD
(quietly, to Hallet)
Remember, he's a doctor. He'll be on his home
ground. And, uh, a weapon is just a last
resort, understand?
HALLET
Yes, sir.
Gerard exits, leaving Hallet with Maggie.
CUT TO:
INT. HOSPITAL CORRIDOR - THIRD FLOOR - NIGHT
Ruth pushes a wheelchair down the hall and signs in at the third floor desk.
Cheek-pinching "Big Daddy" Ferguson emerges from the elevator and is
surprised to see her.
FERGUSON
Well! Miss Bianchi, I thought you were off
today.
RUTH
(ironic)
I got bored.
FERGUSON
(matches her irony)
Oh! Dedication. Dedication.
Ferguson walks off. As he does, Gerard emerges from Maggie's room, takes a
quick look around, and rings for the elevator. Ruth waits until Gerard has
boarded the elevator (with his patented arms-behind-the-back stance) and is
on his way down before she grabs the wheelchair and takes it to Maggie's room.
CUT TO:
EXT. MAGGIE'S HOSPITAL ROOM - THIRD FLOOR - NIGHT
Ruth barges in and almost hits Officer Hallet's leg with the wheelchair.
RUTH
Pardon me.
HALLET
(rises)
Yes, ma'am.
RUTH
(to Maggie)
Okay, [?], time for your therapy.
MAGGIE
(confused)
What?
RUTH
(insistent)
Therapy.
MAGGIE
(catches on)
Ohh...
HALLET
(to Ruth)
What, er, what's goin' on?
Maggie gets into the wheelchair.
RUTH
(briskly, to Hallet)
Therapy. You've heard about it, haven't you?
Thermal treatment. Room 103. Would you mind
moving that chair, please?
Hallet lifts the chair so that Ruth may turn the wheelchair around and head
back out the door.
HALLET
Yes, ma'am. Look, n-nobody told me. Why don't
we check?
RUTH
Uh, I follow my orders the same as you do. Says
Room 103.
HALLET
Yeah, but nobody told me.
But Ruth is already out the door. Hallet tries to follow but has to put the
chair down first.
CUT TO:
INT. HOSPITAL CORRIDOR - THIRD FLOOR - NIGHT
Ruth rolls Maggie down the hall to the elevator with Hallet in pursuit.
HALLET
Wait a minute!
RUTH
If you want to argue, take it up with Dr.
Fredericks. He signed the orders.
Ruth rings for the elevator.
HALLET
Now, look, you just hold it. How long is this
gonna take?
RUTH
(hands him a chart)
Why don't you read it for yourself? Fifteen
minutes, heat lamp, then massage.
The elevator door opens and Ruth wheels Maggie aboard. Hallet signals to a
fellow undercover man who joins him.
HALLET
(to the undercover man)
Go get hold of Gerard. Tell him we're going to
Room 103 for some kind of a treatment.
Hallet boards the elevator just as the doors close on him. He gives Ruth a
dirty look but she merely smiles at him. The elevator descends to the
basement.
CUT TO:
INT. HOSPITAL - BASEMENT THERAPY ROOM - NIGHT
A small treatment room: heat lamps, oxygen tanks, and other equipment. In
the middle of the room is a small table for the patients to lie on. The
door opens and Hallet enters, followed by Ruth pushing Maggie. Hallet scans
the room suspiciously while Ruth wheels Maggie to the table.
RUTH
Up we go, Maggie.
Maggie climbs out of the chair and onto the table. Hallet offers his
assistance but Maggie pulls her arm away from him. Hallet watches closely as
Ruth starts to remove Maggie's robe, then stops.
RUTH
(to Hallet)
Are you going to watch?
HALLET
Hm?
RUTH
I have to undress her.
HALLET
Oh, yeah, well...
RUTH
You can just wait outside in the hall.
HALLET
Yeah.
Hallet reluctantly exits, closing the door behind him. Ruth and Maggie are
alone.
MAGGIE
Ruthie, what's this all about?
RUTH
Shh...
A confused Maggie watches as Ruth moves to the far side of the room and pulls
away a screen to reveal a hidden second door. She opens it. Kimble enters,
dressed as a doctor.
KIMBLE
(to Ruth)
Thanks.
MAGGIE
(to Kimble)
Are you crazy? There's cops all over the
place.
KIMBLE
Maggie...
The first door OPENS slightly. Kimble, Ruth, and Maggie turn to it.
CUT TO:
INT. HOSPITAL - BASEMENT HALLWAY - NIGHT
Just outside the treatment room, Hallet listens at the door. But he opens the
door only a crack, thus failing to see Kimble. Ruth confronts him through
the crack.
RUTH
What are you, a dirty old man?
HALLET
At least I ought to hear what's going on.
RUTH
Come and buy me some coffee.
Ruth takes Hallet by the arm, shuts the therapy room door, and starts to lead
Hallet down the hallway.
HALLET
(off Maggie)
Well, what about her?
RUTH
She's under the heat lamp.
HALLET
I-I-I-I should stay here.
RUTH
Where can she go?
Hallet reluctantly allows himself to be led away.
CUT TO:
INT. HOSPITAL - BASEMENT THERAPY ROOM - NIGHT
Alone with Maggie, Kimble confronts her.
KIMBLE
Where is he, Maggie?
MAGGIE
Look, honey, I wasn't kidding about the cops.
Get out of here.
KIMBLE
Where is Fred Johnson? Tell me.
MAGGIE
I can't do that.
KIMBLE
You know what happened now. Doesn't that
change things?
MAGGIE
Look, I know you kept me alive. I won't forget
it. Freddy didn't do it.
KIMBLE
He killed my wife.
MAGGIE
(matter-of-fact)
I'll never believe that.
Maggie turns away from Kimble and sighs.
CUT TO:
INT. HOSPITAL CORRIDOR - THIRD FLOOR - NIGHT
Gerard walks down the hall and KNOCKS on Maggie's door. He's about to enter
when an undercover officer approaches and tells him about the trip to the
treatment room. We can't hear the conversation but the look on Gerard's face
is an unhappy one. He strides urgently to "Big Daddy" Ferguson, standing
nearby, fussing with some paperwork.
GERARD
Where's 103?
FERGUSON
What?
GERARD
Treatment room 103. Where is it?
FERGUSON
There is no Room 103. There're treatment rooms
on every floor but there's no 103.
Grimly, Gerard grabs the walkie-talkie from the undercover man.
GERARD
(into walkie-talkie)
Lieutenant Gerard to all units. Kimble is in
the hospital. I want this building sealed off.
McCaffey, Martin, Bower -- I want this building
searched from top to bottom. Meet me in the
lobby.
Gerard puts down the walkie-talkie. He and the undercover man cross to the
elevator and ring for it. Gerard snaps his fingers to summon another
undercover man, and they all board the elevator.
CUT TO:
INT. HOSPITAL - BASEMENT THERAPY ROOM - NIGHT
Still alone with Kimble, Maggie tries to justify her position.
MAGGIE
He takes me places. He talks to me. You know
what? He even listens to me. He cares about
me, you understand? He even cares about my
troubles. Other guys weren't like that.
KIMBLE
I've been running for three years, Maggie. Do
you know what that's like? You can end it for
me, here, now, tonight. Where is he?
MAGGIE
Well, suppose they grab him? Suppose they hang
the rap on him?
KIMBLE
He's guilty.
MAGGIE
Now, look, Freddy might have a... wild temper.
Sure. But he's no killer.
Maggie gets back in the wheelchair and sighs.
MAGGIE
Listen. I used to be a pretty good-looking
woman. That was a lot of years ago. For a
woman, it isn't easy... getting older.
Especially, if you're alone. With Freddy, I'm
not alone anymore. You see what you're asking
me to do?
(beat)
Oh, boy. All that I get out of this is
heartache. Either way, I lose.
KIMBLE
What happened, Maggie? Why did you turn me in?
MAGGIE
Oh, because he said if I didn't--
Maggie realizes she's said too much.
KIMBLE
Well, then, you've talked to him. Where is he?
MAGGIE
No.
KIMBLE
Maggie.
MAGGIE
No, I don't. I-- Yes, I do. Did.
KIMBLE
Maggie, where is he? Please, Maggie, where is
he?
MAGGIE
Forget it. Now, I know what you've done for me.
I understand all that. Honestly, I can't tell.
I can't.
GERARD (o.s.)
Hallet!
HALLET (o.s.)
Yes?! Here!
Kimble and Maggie react to the voices coming from the hallway.
CUT TO:
INT. HOSPITAL - BASEMENT HALLWAY - NIGHT
Ruth and Hallet stand by some vending machines, drinking coffee. Ruth hands
Hallet her coffee cup.
RUTH
Would you hold this for me, please? Thank you.
Ruth hurries off down the hall to warn Kimble, leaving a befuddled Hallet
behind.
CUT TO:
INT. HOSPITAL - BASEMENT THERAPY ROOM - NIGHT
Maggie frantically tugs at Kimble's arm, afraid for his safety.
MAGGIE
That's the cop. Get out of here.
CUT TO:
INT. HOSPITAL - BASEMENT HALLWAY - NIGHT
Gerard rounds a corner with his two undercover men in tow and confronts
Hallet.
GERARD
Hallet, who authorized this, would you mind
telling me?
Hallet peers down the hall at Ruth.
CUT TO:
INT. HOSPITAL - BASEMENT THERAPY ROOM - NIGHT
Ruth enters and shuts the door behind her. Kimble is already at the second
door getting ready to leave.
RUTH
(to Kimble)
The police are here. You've got to get out.
Kimble turns and exits out the second door. A tense Maggie and Ruth exchange
glances. Ruth braces herself against the first door as Gerard tries to
enter. He quickly forces it open -- nearly knocking Ruth over -- and he and
the undercover men look around.
GERARD
Where's Kimble?
RUTH
What are you talking about?
(off Maggie)
She's having a heat treatment.
Gerard merely reaches out and feels the heat lamp: it's cold.
GERARD
(contemptuous)
With what?
Gerard heads for the second door but Maggie blocks it with her wheelchair.
GERARD
(to Maggie)
Get out of my way.
MAGGIE
Why? Where're you going?
GERARD
Kimble went out through there and I'm going to
stop him.
Maggie, pretending awkwardness, bangs her wheelchair into Gerard's leg. He
tries to get around her but she feigns trying to get out of his way, all the
while blocking his progress.
MAGGIE
Sorry... Sorry... Sorry.
GERARD
I'm warning you. Get out of my way.
Finally, Gerard violently shoves Maggie aside and races out the second door
followed by the two undercover men and Hallet. Maggie sighs a deep sigh as
she and Ruth worriedly watch them leave.
CUT TO:
INT. EMERGENCY ADMITTING - GROUND FLOOR - NIGHT
A long, black hearse is parked near the ambulances. We catch a brief glimpse
of its white-shirted driver as he STARTS the engine. Is it Kimble? An
ATTENDANT finishes loading a body into the back of the hearse. Could the
body be Kimble? The Attendant SLAMS the door and BANGS on the roof with his
hand to signal the driver to pull out. The hearse pulls away just as Gerard
and his posse of lawmen burst in through the door marked NO ADMITTANCE.
Gerard confronts the Attendant.
GERARD
I'm a police officer. The man who just came
through here. Where is he?
ATTENDANT
You mean the guy from the mortuary?
GERARD
Mortuary?
ATTENDANT
Sure. Well, he just took off. With a body.
GERARD
(to the undercover men)
Kimble's in that hearse. Call Lieutenant Rowan.
I want an A.P.B. put out on that hearse,
broadcast a description, stop it.
The undercover men head back out the way they came in. Gerard grabs the
attendant and drags him along in the wake of the others.
GERARD
(to the attendant)
You, I want a full description of that hearse
[?] and a description of what Kimble was
wearing.
Gerard, the Attendant, and the undercover men quickly exit, leaving the
emergency admitting area momentarily vacant. All is quiet as we PAN TO a
nearby table covered by a white sheet. The sheet stirs. And Kimble, no
longer dressed as a doctor, emerges from beneath it. He then hurriedly walks
past the parked ambulances and out of the hospital.
DISSOLVE TO:
EXT. HOSPITAL - NIGHT
Some time later. On a residential street not far from the hospital, Kimble
-- nervously looking over his shoulder -- walks off into the night.
FADE OUT
EXT. HOSPITAL - DAY
FADE IN on a view of the hospital building from the parking lot, some days
later. A large sign reads: EMERGENCY ADMITTING.
CUT TO:
INT. HOSPITAL CORRIDOR - THIRD FLOOR - DAY
Maggie, suitcase in hand, and a cast on her ankle, walks to a couch in the
third floor reception area and sits down. She carries her purse and a small
package. Seeing that Maggie is checking out, Ruth leaves the third floor
desk and joins her on the couch.
MAGGIE
Back to the rat race, huh?
RUTH
Oh, I never left it.
MAGGIE
Well, I guess it isn't so bad.
RUTH
Look around. It could be worse.
Maggie nods and hands the package to Ruth who accepts it with a quiet smile
-- it's a thank you gift for her.
MAGGIE
Well... Take it easy.
Maggie senses that Ruth's thoughts are still with Kimble.
MAGGIE
You kind of went for him, didn't ya?
RUTH
(shrugs)
It's all one big roll of the dice, Maggie, and
nobody loses all the time.
MAGGIE
(laughs)
Who says? You should see my diary.
RUTH
Believe me, they all read about the same. Can
I take you down?
MAGGIE
I'll be fine. Just fine.
Ruth watches as Maggie rises, collects her things, and rings for the
elevator. When the doors open, Maggie nods and smiles to Ruth who waves
good-bye. Maggie boards the elevator and the doors slowly close on her as
she contemplates her future, going home to her giant stuffed panda bear.
CUT TO:
EXT. PLACE OF BUSINESS - MILES AWAY - DAY
Kimble, now wearing a gray-green windbreaker, wanders up to a place of
business and stops to contemplate a Help Wanted sign posted outside. For his
part, the omniscient Narrator is still contemplating the Hippocratic Oath.
NARRATOR (v.o.)
"I will practice my profession with conscience
and dignity. Even under threat, I will not
use my medical knowledge contrary to the laws
of humanity. I make these promises solemnly,
freely, and upon my honor." And for Richard
Kimble, fugitive, they still apply.
Kimble looks the place over and finally enters the building to apply for yet
another job slightly farther down the food chain than doctor of medicine.
FADE OUT
Last revision: 31 October 1999