The Fugitive Transcripts

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