TERRIFIC STUFF!  I love this sort of thing.
I'd like to know about the mountain resort featured in "The Walls of Night"
episode.  Or how about the park with "Lincoln's statue" in "Crack in a Crystal
Ball."

You may be interested to know that my house in Pittsburgh will be seen in a
movie starring Russell Crowe (The Next Three Days) scheduled for release in
early 2011..




________________________________
From: richard_david_kimble <drkimble@...>
To: THE-FUGITIVE-VIEWS-AND-REVIEWS@yahoogroups.com
Sent: Tue, November 24, 2009 11:42:58 AM
Subject:[THE-FUGITIVE-VIEWS-AND-REVIEWS] WWW.DAVIDJANSSEN.NET


I run the above mentioned website and wish to expand the section on it showing
FUGITIVE locations as they looked at the time of filming (screen caps from the
episode) together with a current shot (taken by me).

Called "THEN-AND-NOW" , it's on my website here:

http://www.davidjanssen.net/FugitiveThen-and-Now.htm

I have also created a Google Maps page for these locations:
http://maps. google.com/ maps/ms?hl= en&ie=UTF8& msa=0&msid= 1006895136460543
68540.000470fcf4 16d4e5abe3d& z=12

I'd be interested to hear from this group what locations are most interesting to
them. Ideally to email me at drkimble@davidjanss en.net and attached the
screenshot they want ID'ed and photographed. Failing that, the time reference
(how many minutes:seconds into the show it occurs).

I find it's more interesting when "Kimble" is in the frame.

I wanted to open this up for imput as there a number of different directions I
could take and I thought I might as well ask other fans what they wanted to
see...

Thank you.




[Non-text portions of this message have been removed]

Great shots.



 



________________________________
From: richard_david_kimble <drkimble@...>
To: THE-FUGITIVE-VIEWS-AND-REVIEWS@yahoogroups.com
Sent: Tue, November 24, 2009 11:42:58 AM
Subject: [THE-FUGITIVE-VIEWS-AND-REVIEWS] WWW.DAVIDJANSSEN.NET

 
I run the above mentioned website and wish to expand the section on it showing
FUGITIVE locations as they looked at the time of filming (screen caps from the
episode) together with a current shot (taken by me).

Called "THEN-AND-NOW" , it's on my website here:

http://www.davidjan ssen.net/ FugitiveThen- and-Now.htm

I have also created a Google Maps page for these locations:
http://maps. google.com/ maps/ms?hl= en&ie=UTF8& msa=0&msid= 1006895136460543
68540.000470fcf4 16d4e5abe3d& z=12

I'd be interested to hear from this group what locations are most interesting to
them. Ideally to email me at drkimble@davidjanss en.net and attached the
screenshot they want ID'ed and photographed. Failing that, the time reference
(how many minutes:seconds into the show it occurs).

I find it's more interesting when "Kimble" is in the frame.

I wanted to open this up for imput as there a number of different directions I
could take and I thought I might as well ask other fans what they wanted to
see...

Thank you.







[Non-text portions of this message have been removed]

I run the above mentioned website and wish to expand the section on it showing
FUGITIVE locations as they looked at the time of filming (screen caps from the
episode) together with a current shot (taken by me).

Called "THEN-AND-NOW", it's on my website here:

http://www.davidjanssen.net/FugitiveThen-and-Now.htm


I have also created a Google Maps page for these locations:
http://maps.google.com/maps/ms?hl=en&ie=UTF8&msa=0&msid=100689513646054368540.00\
0470fcf416d4e5abe3d&z=12

I'd be interested to hear from this group what locations are most interesting to
them. Ideally to email me at drkimble@... and attached the
screenshot they want ID'ed and photographed. Failing that, the time reference
(how many minutes:seconds into the show it occurs).

I find it's more interesting when "Kimble" is in the frame.

I wanted to open this up for imput as there a number of different directions I
could take and I thought I might as well ask other fans what they wanted to
see...

Thank you.

I've been away for awhile and not really up on all the current posts but I just
wanted to comment on Smoke Screen. I enjoyed the episode very much. The only
thing that troubled me was Gerard. It was not a typical Gerard story. Any other
time, he would have been flying out there but this time he stayed put. I cannot
remember every detail but it seemed as if Captain Carpenter pulled rank for a
change and did not let him go. However, he seemed very superfluous to the
story. If Gerard wasn't going to go out there then why bother writing him into
the story at all. His appearance here was unnecessary.

On a sad note, the actress who played Maria committed suicide about a year or so
after this episode was filmed.


 



________________________________
From: Ken A <kenbaseball2003@...>
To: THE-FUGITIVE-VIEWS-AND-REVIEWS@yahoogroups.com
Sent: Tue, November 24, 2009 10:14:37 AM
Subject: [THE-FUGITIVE-VIEWS-AND-REVIEWS] Re: FROM 2004 ~ BOBBYNEAR ~ KITTY ~
KEN ~ REVIEW "SMOKE SCREEN"

 


--- In THE-FUGITIVE- VIEWS-AND- REVIEWS@yahoogro ups.com, Ken wrote:

- Kimble tells the nurse he is a doctor and she believes he can do a
c-section. My son was delivered by c-section and I was in the delivery
room to watch it. You need at least two nurses and two doctors with
all the right tools and clamps. There is also a lot of blood involved.

Eleanor replied:

-But it was an emergency and they had to go with what they had, which means just
the two of them. TV in the sixties wasn't going to show a bloody birth, so even
though it wasn't realistic that neither Kimble nor the nurse got even a speck of
blood on themselves, it was just the norm.

***The producers of this series must think the viewers are dumb and stupid. The
first response I had watching this episode was there was no way for Kimble and
the nurse would be able to perform a c-section in a tent. C'mon. Watch an
episode of E.R, and you will see what it takes. I am not buying the norm in the
1960's that there should be no blood involved. A C-section is a major surgery. I
watched one in person.

The writer blew it here. It would be better to have the story line where Kimble
helps deliver a normal birth in the tent. That way I would believe the story
better. Ken







[Non-text portions of this message have been removed]

--- In THE-FUGITIVE-VIEWS-AND-REVIEWS@yahoogroups.com, Ken wrote:

- Kimble tells the nurse he is a doctor and she believes he can do a
c-section. My son was delivered by c-section and I was in the delivery
room to watch it. You need at least two nurses and two doctors with
all the right tools and clamps. There is also a lot of blood involved.

Eleanor replied:

  -But it was an emergency and they had to go with what they had, which means
just the two of them. TV in the sixties wasn't going to show a bloody birth, so
even though it wasn't realistic that neither Kimble nor the nurse got even a
speck of blood on themselves, it was just  the norm.

***The producers of this series must think the viewers are dumb and stupid. The
first response I had watching this episode was there was no way for Kimble and
the nurse would be able to perform a c-section in a tent. C'mon. Watch an
episode of E.R, and you will see what it takes. I am not buying the norm in the
1960's that there should be no blood involved. A C-section is a major surgery. I
watched one in person.

The writer blew it here. It would be better to have the story line where Kimble 
helps deliver a normal birth in the tent. That way I would believe the story
better. Ken

Thanks very much Eleanor for your detailed comments on everyone's review of
Smoke Screen. The best thing you have ever written here I must admit.

I would love to come on here and give you a hard time like I always do, but
actually I find that I am more or less in agreement with you, regardless of what
I wrote in my original review. An interesting change of pace for both of us I
might say.

Anyone else who wishes to expound on this episode on this board, please do not
hesitate. It helps to keep this group alive and running.

P.S. By the way Eleanor, have you had the opportunity to watch "Witness" yet?
Be careful, Harrison Ford is getting older (67) every day and for that matter so
am I.

Thanks again..
Bobbynear

Smoke Screen combines two of the dominant motifs of THE FUGITIVE:
Kimble is the mistrusted outsider, and he is forced to choose between
his own self-interest and the welfare of another person.

For most of this episode, I despise Beverly Garland's character. She
is remarkably condescending to Kimble in their initial scenes. I
always get angry on Kimble's behalf when he must put up with petty
little tyrants who use him as a whipping boy, since he can't really
fight back. The nurse redeems herself at the end, at least, but I'd
still like to smack her.

It's probably been remarked upon at some point, but the last scene of
the epilog, with Kimble trying to hitch a ride along the highway is
used at the end of several episodes. It looks very much as if it was
part of the scene in The Girl from Little Egypt when Kimble is hit by
the car. In season one alone, it's used at the end of Bloodline and
The End Game, too.

At 11:05 AM 11/20/2009, bobbynear wrote:

>BOBBYNEAR REVIEWS "SMOKE SCREEN"
>
>David Janssen does an outstanding job here, registering a look of
>great disbelief and anguish at hearing this news. This man, now
>suffering perhaps the final indignity of having people believe he is
>actually not the hunted, but one of the hunters. Grimacing through
>clenched teeth, the look on Kimble's face says it all. Richard tells
>Paco, "I have more reason to run from the police than you have." Paco
>believes him immediately and the two develop an instant rapport and
>empathy for each other that will save both Kimble's and Maria's life
>later in this episode.

I like this scene especially because of the buildup to it. We've seen
poor Kimble suffer so many little indignities without being able to
react--being tripped, having the nurse treat him so shabbily, being
blocked from the truck--and then Paco's recalcitrance is the last
straw, and Kimble finally gets to explode. And then when he finds out
the reason he's been a victim, after the first moment he seems almost
to enjoy the irony.

>Maria's pregnancy is complicated by the fact that she needs a
>caesarean operation and the only available medical help is provided
>by the on-site nurse. A doctor is badly needed, there is no way out
>of the forest through the fire and time is quickly running out.

When Kimble turns around instead of risking everyone's life by trying
to drive through the fire, the nurse is so insulting that I just want
to smack her again. What in the world does she expect him to do? She
seems to blame him for everything that goes wrong.

>Standing alone outside the tent where Maria is either about to give
>birth or possibly lose the baby, Kimble symbolically tears off the
>handkerchief he has been wearing around his neck since the story
>began and stares at it angrily. He has made up his mind. Migrant
>worker, firefighter Joseph Walker, as he is known in this episode,
>transforms back into Richard Kimble, doctor. He will save both Maria
>and the baby, possibly at the risk of his own life. It is a sublime
>moment of transformation that even Superman would envy.

I am a little bit surprised that it takes him as long as it does to
make the decision.   I thought that once he couldn't get through the
fire, he had already decided to try to deliver the baby himself. So
I'm a little taken aback when he seems here to be rethinking.

>Naturally, the nurse is totally disbelieving, and reels off her own
>list of credentials and makes it clear she isn't about to jeopardize
>her career by letting a farm worker operate on a pregnant woman.

Another smack. She should be thinking of her patient, as she seemed
to be when they tried to get through the fire. But instead her
concern here is that she'll be jeopardizing her career! What would
Florence Nightingale say about that?

>It
>is a little hard for me to believe that this woman, a nurse herself,
>cannot see that Richard Kimble is more than a mere field worker. In
>other episodes, even people without a medical background have looked
>at Richard suspiciously and wondered where he got his medical
>knowledge.

Yes, but it's a far cry from recognizing that Kimble is an educated
man to accepting him as a doctor qualified to perform surgery.

>Paco intervenes and asks Kimble, "My friend, are you a doctor?" When
>Richard answers affirmatively, and Paco asks why he didn't admit it
>all along, Kimble, without going into detail, replies, "Well,
>uh...you see, I don't have...papers... either."
>
>An interesting moment I think, showing that these two men from two
>different worlds end up having more in common than one might imagine.
>The Fugitive is full of moments like this. Doctors are so often held
>in high esteem and considered to live lifestyles most people only
>dream of. But Richard Kimble is often brought down to a different
>level, allowing him to see and experience life as others, not as
>fortunate as he once was, live it.

A little tangent here--this is one of the interesting things about
THE FUGITIVE; the show can plunk Kimble in situations where he
interacts with people from all different levels of society, from the
very rich to the very poor. It allows for a lot of story possibilities.

>In the end, the nurse, played well but I thought rather a little too
>stridently by actress Beverly Garland, relents. Probably realizing
>that even a man who thinks he's a doctor is better than no doctor at
>all in this case. Both Maria and her new baby boy are delivered and
>saved by Dr. Kimble and his new-found friends manage to throw the
>nosy and inquiring kid reporter off the trail long enough for him to
>escape. Leaving me to wonder what kind of life this new boy child
>will have later on as another poorly paid farm worker. But there is
>just so much you can fit in an hour and that question may be better
>answered at another time and perhaps on a different series.

It's bittersweet for Kimble to safely deliver the baby. For
apparently the first time since Helen's murder, he's been able to do
what he was trained to do (yes, he's used his medical knowledge
before this, but this time he's acting within his own field of
medicine). And then he has to move on again and disappear into
another anonymous, menial job.

I like the way the nurse and Paco join forces in protecting Kimble,
without ever formally planning to. They just back each other up, with
straight faces.

>Throughout this episode, we see Lieutenant Gerard, back at
>headquarters, suspecting that Kimble may be working in California and
>seeming to want to take off after him. But, strangely, he never does,
>instead depending on phone calls and TV reports to see whether the
>doctor performing the emergency surgery in the midst of a forest fire
>is, indeed, Kimble, as he suspects. This did seem rather odd to me
>and somewhat out of character.

Oh, I don't think it's out of character. For one thing, it's well
into the episode before  the report of the emergency surgery comes
through, and all he has before that is a hunch about where Kimble
might be, not an actual sighting.

>This is an exciting story and well acted especially by David Janssen
>who displays a dazzling array of conflicting emotions as he struggles
>to find the middle ground between saving other lives as he once had
>sworn to do and saving his own. It also gives Richard Kimble a
>reprieve from life as a fugitive as well as viewers a rare
>opportunity to see him in a medical setting.

This is why I wonder at the criticism that David Janssen wasn't good
at showing emotion. I think he shows a fine range of emotions that
are suited to the character he's playing.

>KITTY REVIEWS "SMOKE SCREEN"
>
>I watched this episode for the first time last night and I had mixed
>feelings about it. We see the beginning where everyone is giving RK
>a hard time because they think he's from the INS. Now I found this
>a rather ridiculous conclusion on their part. OK RK doesn't look
>like the typical migrant worker and he doesn't talk like a typical
>migrant worker but if he was a cop working under cover wouldn't it
>have made more sense for him to be trying to get buddy buddy with
>these people, to get them to trust him and talk to him so he could
>find out who the illegals were? RK was happy to to just mind his
>own business. Paco was freaking out at the wrong guy and I thought
>he and everyone else looked kind of stupid as a result. It would
>have been nice if RK and Paco figured out who the real plant was but
>you can only fit so much into one episode.

But there's not necessarily a plant, just the suspicion that there
might be one, and that one might be Kimble. Why not? One avenue a
plant might take is to try to glad-hand everyone and try to fit in,
but another might be to unobtrusively observe; Kimble could've been
doing the latter. Anyway, fear and suspicion aren't necessarily going
to be rational.

>The only thing I wish had been different was I
>wish we could have seen a little more of the procedure and how he
>and the nurse interacted with each other once they started to work
>together.

Not in the sixties would you see anything like that on TV!

>I did like Beverly Garland and I can vouch for her hotel in North
>Hollywood! I've stayed at The Beverly Garland Holiday Inn on two
>occasions and it's a lovely place! It's in a prime spot if you want
>to go to Universal Studios in California!

Even though I'd like to smack the character, I have always like
Beverly Garland.

>As for Gerard, I liked how he was in this episode because if he had
>gotten on the first plane to California I would have found it very
>unrealistic, that would have been truly just a whim and any boss
>worth his salt would have made him pay for that. I loved the ending
>though where he wiped off the X on the map and I loved the irony
>that while he only had a hunch in this case the hunch would have
>paid off.

Agree completely.

>KEN REVIEWS "SMOKE SCREEN"
>
>Kimble tells the nurse he is a doctor and she believes he can do a
>c-section. My son was delivered by c-section and I was in the delivery
>room to watch it. You need at least two nurses and two doctors with
>all the right tools and clamps. There is also a lot of blood involved.

But it was an emergency and they had to go with what they had, which
means just the two of them. TV in the sixties wasn't going to show a
bloody birth, so even though it wasn't realistic that neither Kimble
nor the nurse got even a speck of blood on themselves, it was just
the norm. At least they didn't show a six-month-old baby as the newborn.

>It is hard to believe that Kimble was able to do a c-section with no
>problems in a tent. The attraction of the Fugitive series is
>watching Kimble on the run deal with all kinds of situations. This story was
>hard to believe.

So ... you wanted Kimble to face his moral dilemma, to choose to try
to save Maria and the baby, and then fail, because the setting was
just too primitive? Who wants to see that? The doctor they'd been
waiting for finally arrives, so Maria and the baby will get whatever
further medical attention they need.

>Poor use of Gerard in story.

I don't think so. Gerard gave the story the bit of danger it needed.
Without him hovering, there was no real threat to Kimble. Kimble of
course knows that Gerard will be after him (because Gerard is always
after him) if there's publicity, but if Gerard hadn't been shown,
would the audience know that from this specific episode?

One odd thing is that Kimble has been in California since Gerard saw
him back in Santa Barbara in episodes 4 and 5. So that's four
episodes in a row, despite what Gerard is marking on his map!

Eleanor (elliemik@...)

ORIGINALLY POSTED IN 2004:

BOBBYNEAR REVIEWS "SMOKE SCREEN"

Review of "Smoke Screen"

In California the heat is on, literally, as a raging forest fire, and
his moral obligations as a doctor, close in on Richard Kimble.

While toiling as a migrant farm worker, getting down and dirty and
working just as hard as the other workers, Richard Kimble with his
physician-like demeanor and obvious education, nevertheless still
stands out like an oak tree in a pumpkin patch as he does in all the
menial jobs he is forced to accept.

So it's no wonder his co-workers eye him with a great deal of
resentment and suspicion, many of them clearly pegging him as a plant
by the U.S. government to catch illegal aliens.

An out of control fire is quickly encroaching on the fields and
Kimble becomes one of a team of men doing back-breaking work trying
to contain it. To make matters worse, a cub reporter from a local
radio station is on the site and eager to make a name for himself as
he breathlessly describes the scene to his listeners.

In an early scene, Richard Kimble saves the first of what will be
three lives when he spots an unconscious co-worker from the fields,
passed out on the ground, with flames licking at his heels. Kimble,
as always, throws caution to the wind as he nimbly steps through the
flames to carry him to safety.

One of the best moments in this episode comes during this scene when
Kimble is confronted by one of his other co-workers, Paco, whose wife
Maria is about to give birth. Paco is sure that Richard is a police
officer who is out to nail both of them. His only wish is to have
their new baby be born a citizen of the United States in a hospital
with, as Maria says, "papers."

When Kimble and Paco get into a brief fight and Paco tells him, "I
know who you are," Richard shows a rare display of anger as he
demands, "What do you mean? Tell me, what do you mean?" Paco explains
that he figures he's "the police" come to check on those who are in
this country illegally.

David Janssen does an outstanding job here, registering a look of
great disbelief and anguish at hearing this news. This man, now
suffering perhaps the final indignity of having people believe he is
actually not the hunted, but one of the hunters. Grimacing through
clenched teeth, the look on Kimble's face says it all. Richard tells
Paco, "I have more reason to run from the police than you have." Paco
believes him immediately and the two develop an instant rapport and
empathy for each other that will save both Kimble's and Maria's life
later in this episode.

Maria's pregnancy is complicated by the fact that she needs a
caesarean operation and the only available medical help is provided
by the on-site nurse. A doctor is badly needed, there is no way out
of the forest through the fire and time is quickly running out.
Standing alone outside the tent where Maria is either about to give
birth or possibly lose the baby, Kimble symbolically tears off the
handkerchief he has been wearing around his neck since the story
began and stares at it angrily. He has made up his mind. Migrant
worker, firefighter Joseph Walker, as he is known in this episode,
transforms back into Richard Kimble, doctor. He will save both Maria
and the baby, possibly at the risk of his own life. It is a sublime
moment of transformation that even Superman would envy.

This is actually followed by an even more remarkable moment when
Kimble boldly and decisively marches into the tent, announces he can
help and reels off an impressive list of medical credentials to prove
to the nurse he is indeed a physician. Richard Kimble, fugitive, who
so often tells people he has medical knowledge from his stint in the
Army as a medic, now finds himself on the other side--having to not
only give up his identity but indeed prove he is what he so often
goes to great pains to deny.

Naturally, the nurse is totally disbelieving, and reels off her own
list of credentials and makes it clear she isn't about to jeopardize
her career by letting a farm worker operate on a pregnant woman. It
is a little hard for me to believe that this woman, a nurse herself,
cannot see that Richard Kimble is more than a mere field worker. In
other episodes, even people without a medical background have looked
at Richard suspiciously and wondered where he got his medical
knowledge.

Paco intervenes and asks Kimble, "My friend, are you a doctor?" When
Richard answers affirmatively, and Paco asks why he didn't admit it
all along, Kimble, without going into detail, replies, "Well,
uh...you see, I don't have...papers... either."

An interesting moment I think, showing that these two men from two
different worlds end up having more in common than one might imagine.
The Fugitive is full of moments like this. Doctors are so often held
in high esteem and considered to live lifestyles most people only
dream of. But Richard Kimble is often brought down to a different
level, allowing him to see and experience life as others, not as
fortunate as he once was, live it.

In the end, the nurse, played well but I thought rather a little too
stridently by actress Beverly Garland, relents. Probably realizing
that even a man who thinks he's a doctor is better than no doctor at
all in this case. Both Maria and her new baby boy are delivered and
saved by Dr. Kimble and his new-found friends manage to throw the
nosy and inquiring kid reporter off the trail long enough for him to
escape. Leaving me to wonder what kind of life this new boy child
will have later on as another poorly paid farm worker. But there is
just so much you can fit in an hour and that question may be better
answered at another time and perhaps on a different series.

Throughout this episode, we see Lieutenant Gerard, back at
headquarters, suspecting that Kimble may be working in California and
seeming to want to take off after him. But, strangely, he never does,
instead depending on phone calls and TV reports to see whether the
doctor performing the emergency surgery in the midst of a forest fire
is, indeed, Kimble, as he suspects. This did seem rather odd to me
and somewhat out of character.

The most touching part of this episode actually comes in the
epilogue. Paco and his friends are sitting around toasting to their
success in helping to deliver Maria's baby. First a toast to the new
child, then to the man who pretended to be the doctor so Richard
could escape and then to the father.

It is that father, Paco, who lifts his glass up in a toast "to absent
friends." A very good way to end this story and a reminder to
everyone of just how many lives Richard Kimble has and will affect in
a positive way and the countless number of people to whom he truly is
an absent friend.

This is an exciting story and well acted especially by David Janssen
who displays a dazzling array of conflicting emotions as he struggles
to find the middle ground between saving other lives as he once had
sworn to do and saving his own. It also gives Richard Kimble a
reprieve from life as a fugitive as well as viewers a rare
opportunity to see him in a medical setting.

My rating on a scale of 1 to 10

6  (above average)

Bobbynear
_____________________________________________

KITTY REVIEWS "SMOKE SCREEN"

Hi Bobbynear and Everyone!

I watched this episode for the first time last night and I had mixed
feelings about it. We see the beginning where everyone is giving RK
a hard time because they think he's from the INS. Now I found this
a rather ridiculous conclusion on their part. OK RK doesn't look
like the typical migrant worker and he doesn't talk like a typical
migrant worker but if he was a cop working under cover wouldn't it
have made more sense for him to be trying to get buddy buddy with
these people, to get them to trust him and talk to him so he could
find out who the illegals were? RK was happy to to just mind his
own business. Paco was freaking out at the wrong guy and I thought
he and everyone else looked kind of stupid as a result. It would
have been nice if RK and Paco figured out who the real plant was but
you can only fit so much into one episode.

As for Maria, when I first saw her both my husband and I said...That
woman is pregnant? The costume people did a terrible job there.
She did not look pregnant let alone look like she was ready to pop!

OK now that I've said what I disliked about the episode, here's what
I did like. I loved seeing RK being a doctor. You're right
Bobbynear when he took the handkerchief off of his neck, I
immediately thought of Superman too! I was thinking, "This is a job
for Dr. Kimble!" The only thing I wish had been different was I
wish we could have seen a little more of the procedure and how he
and the nurse interacted with each other once they started to work
together.

I did like Beverly Garland and I can vouch for her hotel in North
Hollywood! I've stayed at The Beverly Garland Holiday Inn on two
occasions and it's a lovely place! It's in a prime spot if you want
to go to Universal Studios in California!

I'm not sure I'd give the episode an above average rating but I did
like David Janssen a lot in this episode as he did a great job of
showing the turmoil of possibly tipping his hand if he helped the
woman but in the end he couldn't ignore his Hippocratic Oath.

As for Gerard, I liked how he was in this episode because if he had
gotten on the first plane to California I would have found it very
unrealistic, that would have been truly just a whim and any boss
worth his salt would have made him pay for that. I loved the ending
though where he wiped off the X on the map and I loved the irony
that while he only had a hunch in this case the hunch would have
paid off.

Kitty
___________________________________________

KEN REVIEWS "SMOKE SCREEN"

Thanks Kitty for agreeing with me a liitle. The reason I did not like
this story is because it was not possible to me. Some stange points-

Kimble tells the nurse he is a doctor and she believes he can do a
c-section. My son was delivered by c-section and I was in the delivery
room to watch it. You need at least two nurses and two doctors with
all the right tools and clamps. There is also a lot of blood involved.

It is hard to believe that Kimble was able to do a c-section with no problems in
a tent. The attraction of the Fugitive series is watching Kimble on the run deal
with all kinds of situations. This story was
hard to believe.

Poor use of Gerard in story.

My rating - 4

Ken

At 10:28 AM 11/19/2009, bobbynear wrote:

>Thanks for the heads up Eleanor...but...
>what ever happened between you and "Witness?"

I recorded it, but I just haven't yet had the chance to sit down and
watch. Maybe this weekend. I'll be sure to let you know what I think!

Eleanor (elliemik@...)

--- In THE-FUGITIVE-VIEWS-AND-REVIEWS@yahoogroups.com, Eleanor <elliemik@...>
wrote:
>
> The movie THE GREATEST SHOW ON EARTH was mentioned a few weeks back,
> since it features Jimmy Stewart as a fugitive doctor hiding out with
> the circus, and a train wreck, too. Turner Classic Movies is airing
> the film today--in my area it's on at 11 a.m., EST.

>
> Eleanor (elliemik@...)
>
______

Thanks for the heads up Eleanor...but...
what ever happened between you and "Witness?"

bobbynear

--- In THE-FUGITIVE-VIEWS-AND-REVIEWS@yahoogroups.com, Eleanor <elliemik@...>
wrote:
> That is so weird that Mom Kimble is mentioned in The Judgment. I
> don't remember the scene that's described,

Here's a link to the scene where the mother is mentioned -- it occurs at the
9:25 minute mark:
http://is.gd/4Usxo

It's when Donna comes back downstairs after finding the shell casing in Billy's
room. After Richard Anderson suggests calling her mother, Donna says "Yeah. I'll
call her. I've got a word or two for Billy too."

They really should have had Anderson say "my mother."

Joyce

--- In THE-FUGITIVE-VIEWS-AND-REVIEWS@yahoogroups.com, Eleanor <elliemik@...>
wrote:
>
> That is so weird that Mom Kimble is mentioned in The Judgment. I
> don't remember the scene that's described, but it seems as though the
> writers deliberately felt they needed to invent some excuse for an
> established character being missing from the episode. (But it's
> ridiculous anyway; what mother wouldn't have been with her son at the
> time, when all the kids need is a babysitter!)
>
> Any chance that Leonard really says Donna should call her BROTHER,
> thus accounting for the absence of good old Ray?
>
> Eleanor (elliemik@...)
>

I actually never noticed this until kitty mentioned it in her review. Giving the
writers the benefit of the doubt (deserved or not), I assume Len SHOULD have
said to call HIS mother to watch the kids. That at least would have made sense.

That is so weird that Mom Kimble is mentioned in The Judgment. I
don't remember the scene that's described, but it seems as though the
writers deliberately felt they needed to invent some excuse for an
established character being missing from the episode. (But it's
ridiculous anyway; what mother wouldn't have been with her son at the
time, when all the kids need is a babysitter!)

Any chance that Leonard really says Donna should call her BROTHER,
thus accounting for the absence of good old Ray?

Eleanor (elliemik@...)

JOYCE WROTE:
She is not mentioned again until the final episode, where Leonard Taft, Donna's
husband, says to Donna, "Why don't you, uh, call your mother about the boys?"
(The Judgment, Part 2), suggesting that not only is the mother around, but that
she lives close enough to take care of the boys. While a scenario can be
imagined where this is not a mistake (parents divorce, mother moves away, they
lose all contact, then mother moves back to Stafford), I conclude that the
writers simply lost track of the mother situation, leading to the apparently
contradictory reference in the final episode."

Joyce
______________________________________________
Nothing new there. The writers lost track of a lot of things during the run of
the series..like logic.

Sometimes it almost looks like the writers and producers were surprised they
lasted four years, and didn't take into account that viewers would start asking
probing questions about Kimble's past if the series went long enough.

bobbynear

TV CONFIDENTIAL promises to be better, stronger and faster when actor Richard
Anderson joins Ed Robertson and Frankie Montiforte on the next edition of the
program, which premieres Monday, Nov. 16 at 10pm ET, 7pm PT on Shokus Internet
Radio, with a rebroadcast Tuesday, Nov. 17 at 11pm ET, 8pm PT on Share-a-Vision
Radio, KSAV.org.

Best known for playing Oscar Goldman on The Six Million Dollar Man and The
Bionic Woman—a role that made him the first actor in TV history to play the same
character on two series that ran at the same time on two different
networks—Richard Anderson has been a fixture in movies and television for more
than 60 years. He has appeared in such classic films as The Long Hot Summer,
Forbidden Planet, Compulsion, Seconds, Tora! Tora! Tora! and Paths of Glory,
while his television career includes regular roles on Perry Mason, Dan August
and Cover Up, featured roles in such acclaimed made-for-TV movies as Along Came
a Spider, Say Goodbye, Maggie Cole and The Night Strangler, and guest
appearances on such classic TV series as Bonanza, Gunsmoke, The F.B.I., Hawaii
Five-O and The Fugitive.

If you want to be part of our conversation, if you have a question for Richard
Anderson about his career or any of the films and television series in which
he's appeared, we invite you to join us Monday, Nov. 16 at 10pm ET, 7pm PT on
Shokus Internet Radio.

NOTE: The interview with Richard Anderson will be recorded earlier in the day
for broadcast Monday night. Therefore, if you have a question for Mr. Anderson
that you would like us to ask on the air, please be sure to send it by 3pm ET,
Noon PT on Monday, Nov. 16. Our email address, as always, is
talk@....

TV CONFIDENTIAL with Ed Robertson and Frankie Montiforte
Mon-Sun 10pm ET, 7pm PT
Shokus Internet Radio
Every other Tuesday at 11pm ET, 8pm PT
Share-a-Vision Radio, KSAV.org
www.tvconfidential.net
blog.tvconfidential.net
Also available as a podcast via iTunes and FeedBurner

--- In THE-FUGITIVE-VIEWS-AND-REVIEWS@yahoogroups.com, Eleanor <elliemik@...>
wrote:
>
> She was mentioned in The Judgment? I don't remember that at all. I
> always figured she was long dead, well before the murder, and so
> simply not a factor.

Below info is from http://is.gd/4TDSC listed under Kimble and his family and
also listed under Goofs:

"The great weight of evidence from the series would lead one to conclude that
Kimble's mother is deceased. When Kimble goes home (Home is the Hunted) and when
Kimble's father dies (Running Scared) his mother is nowhere around, and there is
no mention of his mother at all. Only when Kimble has amnesia and is trying to
recover his memory under hypnotic drugs does he ever give the name of his
mother, Elizabeth (Escape into Black). She is not mentioned again until the
final episode, where Leonard Taft, Donna's husband, says to Donna, "Why don't
you, uh, call your mother about the boys?" (The Judgment, Part 2), suggesting
that not only is the mother around, but that she lives close enough to take care
of the boys. While a scenario can be imagined where this is not a mistake
(parents divorce, mother moves away, they lose all contact, then mother moves
back to Stafford), I conclude that the writers simply lost track of the mother
situation, leading to the apparently contradictory reference in the final
episode."

Joyce

>
> She was mentioned in The Judgment? I don't remember that at all. I
> always figured she was long dead, well before the murder, and so
> simply not a factor.
>
Eleanor (elliemik@...)

Kimble's mother was mentioned in Part 2 of "The Judgment".

Dan

As mentioned by Eleanor some time ago, the movie "Witness" with Harrison Ford
will be on the AMC cable channel tomorrow, Friday November 13, AT 7:30 A.M. in
all time zones across the country.

Very much worth watching and/or taping, a Harrison Ford far different than the
one we saw in The Fugitive movie.

Highly recommended!   AAA+++

bobbynear

I am a day late (Veteran's Day) to give acknowledgment for Mr. Grauman's service
to our country so if you don't mind I would like to point out his
accomplishments during WWII. 

During World War 11, he was awarded tbe Distinguished Flying Cross. And, as a
pilot flew 56 combat missions with the 12th Air Force in Europe and awarded the
Air Medal with Oakleaf Clusters representing the Air Medals being awarded eight
times.
 
As you may recall, Mr. Grauman directed the pilot episode of THE FUGITIVE (Fear
in a Desert City) and he also has directed the following FUGITIVE episodes:
	 1. Angels Travel on Lonely Roads: Part 1 (25 February 1964) - Director 
	 2. Angels Travel on Lonely Roads: Part 2 (3 March 1964) - Director 
	 3. The Cage (24 November 1964) - Director 
	 4. The Iron Maiden (15 December 1964) - Director 
	 5. Ballad for a Ghost (29 December 1964) - Director 
	 6. The End Is But the Beginning (12 January 1965) - Director 
	 7. Crack in a Crystal Ball (28 September 1965) - Director 
	 8. Three Cheers for Little Boy Blue (19 October 1965) - Director 
	 9. Landscape with Running Figures: Part 1 (16 November 1965) - Director 
	 10. Landscape with Running Figures: Part 2 (23 November 1965) - Director 
A very special thanks to Mr. Grauman for his service to our country and his
contribution in making THE FUGITIVE a true classic.
 
Rusty




[Non-text portions of this message have been removed]

At 09:16 AM 11/12/2009, melissa_1949 wrote:

>You are so right here. Where on earth is Kimble's mother in all
>this? The writers are so focused on the relationship of Kimble and
>his Dad that she is totally forgotten. One would have expected her
>to be even more devastated when her son got the death penalty. I
>always assumed she was dead based on this episode until she was (I
>hope) mistakenly mentioned in 'The Judgement'.

She was mentioned in The Judgment? I don't remember that at all. I
always figured she was long dead, well before the murder, and so
simply not a factor.

Was a mother mentioned in the 2000 series?

>Wow, that would have been a powerful moment! Although I can't see
>Ray saying that unless he really did believe Richard was guilty. I
>got the impression he believed he was innocent and was just angry at
>how the situation had affected him personally.

Oh, I could see Ray saying that in anger. It would be one of the most
hurtful things he could say, and so a prime weapon with which to lash
back at Richard. He'd probably regret the words as soon as they were
out of his mouth, but I could definitely imagine him reacting that
way when Richard hits him.

>This scene made no sense to me at all. So Richard proves to Ray that
>he is willing to turn himself in to save Ray from further problems.
>Great, then Ray just has to live with the fact that his brother died
>because of him when perhaps he didn't have to and was really
>innocent. How exactly will that make Ray feel better in the long
>run? Not to mention the affect on his father and Donna?

I think it's one of Richard's calculated gambles. He knows darn well
that Ray isn't going to let that happen. He had just reviewed their
past and asked if Ray had ever seen a killer in him over all those
shared experiences. Well, just as Ray knows Richard, Richard knows
Ray. Richard knows that it would go against everything he knows about
Ray for Ray to let him turn himself in.

Many times in the course of the series, Richard gambles on people
he's known a lot less than he knows Ray--not only trusting them with
his secret, but at least twice he gambles on not being shot in the
back by a person with a loaded gun aimed at him. So Richard is being
pretty dramatic and over-the-top, and though I wouldn't quite call it
a bluff, I do think he knows Ray will stop him.

>You also mentioned that in the scene with his father, Kimble said he
>would outlast Gerard until he proved his innocence. Not, 'I'll find
>the man who killed my wife'. Just another off-hand way the writers
>discount Helen. In the entire series, Kimble rarely shows even a
>shred of remorse that his wife is dead, just remorse that he was
>wrongly convicted. The OAM is only important because he can help
>Kimble prove his innocence.

In Kimble's defense, though, he probably has never really had time to
mourn. After her death, he was forced to focus on his own nightmare
of being falsely accused. And now he has to focus on survival. He
can't let himself really think about Helen because he has remain
strong and in control (and he's clearly a person who keeps his
"softer" emotions under control--the strong silent type--as we see
when he breaks the news of their baby's death to Helen). And Helen's
death is only one of the constellation of changes to his normal life
that could have him wallowing in a puddle of self-pity, if he allowed
himself to let it all engulf him. I think that's one reason the scene
in Landscape with Running Figures, where he recollects his happy
times with Helen, is so affecting. He's allowing himself there to
think of something other than the pursuit.

>Personally, I loved the way they handled this in Fugitive 2000,
>where Kimble was ill and hallucinating about his wife and at one
>point he is talking to her and she says 'We never got to say
>good-bye'. One of the most powerful scenes in the whole series.

That was indeed a moving episode. Speaking of that series, I am
excited to learn that the 2000 Gerard, Mykelti Williamson, has joined
the cast of 24 for season eight!

Eleanor (elliemik@...)

> This would have been a golden opportunity to throw in a mention of
> Mom Kimble and how she treated the two boys growing up, or maybe to
> mention that she died when Ray was young, and that was another
> difficulty for him.

You are so right here. Where on earth is Kimble's mother in all this? The
writers are so focused on the relationship of Kimble and his Dad that she is
totally forgotten. One would have expected her to be even more devastated when
her son got the death penalty. I always assumed she was dead based on this
episode until she was (I hope) mistakenly mentioned in 'The Judgement'.

> > > The unexpected response from Richard is that he hauls off and slaps
> > > his brother hard across the face. How surprised are we to see this
> > > loss of temper on Richard's part, especially directed at a blood
> > > relative? Well not nearly as surprised as Richard Kimble is himself
> > > as we see in his astonished facial expression at his own behaviour.
>
> And wouldn't it have been interesting if Ray had then said, "Is that
> what happened with Helen?"

Wow, that would have been a powerful moment! Although I can't see Ray saying
that unless he really did believe Richard was guilty. I got the impression he
believed he was innocent and was just angry at how the situation had affected
him personally.

> I'm not sure how Richard's willingness to turn himself in proves
> anything to Ray, but I don't really care, it's an emotional and
> affecting scene.

This scene made no sense to me at all. So Richard proves to Ray that he is
willing to turn himself in to save Ray from further problems. Great, then Ray
just has to live with the fact that his brother died because of him when perhaps
he didn't have to and was really innocent. How exactly will that make Ray feel
better in the long run? Not to mention the affect on his father and Donna?

You also mentioned that in the scene with his father, Kimble said he would
outlast Gerard until he proved his innocence. Not, 'I'll find the man who killed
my wife'. Just another off-hand way the writers discount Helen. In the entire
series, Kimble rarely shows even a shred of remorse that his wife is dead, just
remorse that he was wrongly convicted. The OAM is only important because he can
help Kimble prove his innocence.

Personally, I loved the way they handled this in Fugitive 2000, where Kimble was
ill and hallucinating about his wife and at one point he is talking to her and
she says 'We never got to say good-bye'. One of the most powerful scenes in the
whole series.

> > KITTY REVIEWS "HOME IS THE HUNTED"
>
> > I had to say I felt sorry for Ray at times but other times I did not
> > feel sorry him. On the subject of his broken engagement to his high
> > school sweetheart I did feel bad for him...this is in the days before
> > premarital sex was fashionable so I can see that he probably was
> > extremely upset...ten years he said he waited and for what? She
> > dumps him when RK escapes. Let's not forget that he was drowning
> > his sorrows with what looked like a prostitute in the episode as well.
> > It was subtle, but you saw him leaving a woman's apartment in the very
> > early hours.

Wow, I never noticed that before. She wasn't necessarily a
prostitute, though--could've been a girlfriend, though clearly not
the marrying kind! It is subtle, but on the other hand it's obvious
that he spent the night with her.

> > However, on the other hand I kind of wanted to slap Ray myself. If
> > this woman was so loyal through the arrest and through the trial and
> > the appeal process and then when RK escapes, he said her parents
> > finally wore her down and she broke it off. My statement would be
> > You're better off without her...when the tough gets going the little
> > girl runs home and hides behind her parents. Not only that I would
> > question her as well if she had been so supportive I would have
> > thought that when RK escaped she would have been glad but with her
> > dumping Ray, it is implied that it was all a charade and that she
> > really did believe that RK was guilty. So Ray you're better off
> > without her!

I don't know if her bailing would mean she had been hypocritical. It
just might be the last straw after she thought the whole thing was
over and done with, and the escape made it all a big deal again. It's
understandable that she'd be sick of dealing with it, especially with
her folks whispering in her ear the whole time.

> > On the subject of Ray losing jobs, I found it a little hard to
> > swallow. Again Stafford IN is supposed to be a small town and Ray
> > says that every time he gets a job they inevitably find out who he
> > is from someone else and they let him go. First of all his last
> > name is Kimble and if RK's trial was such big news wouldn't that
> > raise an eyebrow or two in the job interview and at least warrant a
> > question? I was actually surprised that RK didn't say to Ray...Have
> > you ever thought about telling them who you are up front in the job
> > interview? Perhaps the reason they're letting you go is because
> > they have to hear about your family scandal through a third party.
> > Next time say in the interview...By the way, I'm Richard Kimble's
> > brother...the convicted wife killer...will this be a problem? And if
> > it is tell me right now and I'll walk out the door! The
> > potential employer just might admire his honesty. They don't say
> > honesty is the best policy for nothing!

But just because he lived in small-town Stafford doesn't mean he
worked there too. He could easily have commuted 25 or even 50 miles,
and would people that far away immediately know the name, or would
they only connect it to the trial if someone recognized him, or
thought to ask? And that triggers the memories of other people.

> > Now I just have to vent my pet peeve here. I really like this show
> > but I keep asking myself what were they thinking when they wanted
> > RK's natural hair color to be grey? David Janssen is a good looking
> > guy why did they have to make him look so ridiculous in a grey wig?
> > You want to give him a different hair color...how about blond? The
> > reason I say this is because the man just doesn't look old enough to
> > have hair that grey. He doesn't look like he's 15 years older than
> > his siblings either. Now I know there are some people in this world
> > who turn prematurely grey at a very early age but most of them
> > refuse to give in it and they dye their hair on a regular basis.

Considering the show was in glorious black and white, it would've
been easy enough to say he was blond--it would've looked the same as
gray. I don't have a problem with it; they just had to do something
to make him look different.

Where is the "15 years older than his siblings" coming from?
Richard's supposed to be around 35, Ray is apparently late 20s to
early 30s (based on the 10 years with HS sweetheart), and Donna's
probably early 30s as well.

Men dying their hair in the sixties? This was before Grecian Formula,
I think he would've kept his prematurely gray hair quite happily.
Probably it gave him some gravitas as a young doctor!

> > KEN REVIEWS "HOME IS THE HUNTED"
> >
> > Average story. I love Jacqueline Scott as Kimble's sister. I would be
> > proud to have her as my sister. She is loyal and emotional. In later
> > episodes she is even better.
> > I was not impressed with Robert Keith as
> > Kimble' father. He was too old for me. He looked 90 years old. If
> > Kimble is in his 30's then John Kimble should be close to 60.

Why? He's 70, so his kids were born when he was in his mid- to late
30s. Seems fine to me, especially for a doctor who might well have
wanted to finish his training and establish himself before he got
married and had kids.

>I like
> > Andrew Pine as Ray Kimble. The feud with his brother seemed real to
> > me. Why was he not used in future episodes? His scene with Gerard
> > showed his loyalty. However there never developed any tensions scenes
> > where Gerard got close to Kimble. Race track scenes were boring. The
> > ending was flat.

I always liked Andrew Prine, but if they'd used Ray again, it
would've taken the focus off Donna, I think--it was good to have her
be the one link to the past. I do wish that somewhere down the road
they'd thrown in a reference to Ray (he got a job overseas?) so it
didn't seem as if they'd just forgotten him.

One more thing--Donna's husband Len. They use up a few minutes of
story time with him that seem to go nowhere, but the way Kimble seems
a little untrusting of him makes me think of the last episodes where
we're thrown that curve ball about him maybe being involved in
Helen's murder. Though I'm sure they weren't trying to set up that yet!

Eleanor (elliemik@...)

> > BOBBYNEAR REVIEWS "HOME IS THE HUNTED"
>
>It has commented upon before regarding the destination on this bus
>of Madison, WI and it being "incorrect". However, it could be
>reasoned that Stafford is merely a stop on the way to Madison
>although the bus would pass through larger areas than Madison. In
>any event, it can be twisted to fit geographically.

The bus that Kimble takes when he leaves is also marked Madison,
supporting the idea that Stafford is a stop on the way to Madison.
But Kimble says he picked up the Stafford paper in Chicago the week
before, so it seems as if Chicago was his starting point on the
journey, and Indiana would not be on a route from Chicago to Madison!

>Stafford has been referred to as a "small" town. Looking down from
>the location where Kimble left the bus, Stafford appears "large"
>with the city lights. I know...a major nitpick for sure.

I dunno. Small is relative. And are all those lights in the Stafford
city limits, or is it a suburb?

> > Unfortunately, not only does Richard Kimble's family reside in
> > Stafford...but one Phillip Gerard is employed there as well. In his
> > office, talking to his boss he notes that a newspaper article states
> > that Dr. John Kimble has donated his medical books to the local
> > university.

Actually to the University of Wisconsin, again making it feel like
we're in Wisconsin and not Indiana, though of course there's no
reason he couldn't have attended an out-of-state university.

> > Donna goes to see Ray, Richard Kimble's brother who is heavily into
> > car racing, to tell him that Richard is home. At first he seems
> > horrified that Richard may be turning himself in. But the concern
> > quickly turns dark as he makes it clear he does not want to meet
> > Richard at all, that the race is more important, and he speeds off in
> > a huff, leaving his sister behind. Clearly there is some bad blood
> > between the two.

I think that first reaction is telling. Ray loves his brother and
deep down believes in him, but he's angry. So his concern is
immediate and genuine; it's only when he has time to think that he
nurses his grudge against Richard. It's like he's decided to "hate"
Richard, but he really doesn't.

> > Occasionally in this series, Richard Kimble tells his story,
> > sometimes to perfect strangers. This time it is more personal. During
> > a heart to heart with his father, when he is asked if he hasn't lost
> > hope, he replies, "Well sometimes...almost. But I'll outrun Gerard.
> > I'll outlast him. I'll live long enough for him to see me cleared. "

What's a little odd here is that Kimble's focus is Gerard. I'd expect
him to say something like "I'll find out who killed Helen." It's
interesting that he doesn't.

> > When Richard questions whether he is the cause of his father's
> > declining health, we find out part of the reason for the trouble
> > between Kimble and his brother Ray. His father tells him, "Thirty-
> > five years ago, I went in for Pediatrics. I gave sound advice to
> > parents on how to raise children, but I didn't take it myself. See,
> > you were my first son. I loved you first. And I'm afraid I loved you
> > more. Well you were stronger, you were brighter, you were more fit to
> > be a doctor. It was you my colleagues patted on the back. Not your
> > brother. Never your brother."
> >
> > This remarkable conversation between generations, coming as it does
> > on the heels of the previous episode and its flashbacks to Richard's
> > married life and the crime he didn't commit, brings things full
> > circle for viewers. We already have come to accept Richard Kimble as
> > a kind, generous and good man. Now we know how he got to be that way.

I don't know about that. Being the chosen one, the golden boy of the
family, could easily have given him a sense of entitlement and casual
disregard for lesser beings.Maybe he became kind, generous, and good
in spite of his father's favoritism.

This would have been a golden opportunity to throw in a mention of
Mom Kimble and how she treated the two boys growing up, or maybe to
mention that she died when Ray was young, and that was another
difficulty for him.

> > Later, Richard and Ray meet for the first time in two years and
> > although Kimble puts his arms out like he did with his father, this
> > time the result is less than loving. Ray takes his brother's hand and
> > shakes it instead. After some uncomfortable small talk, Richard
> > unwisely gives his brother a laundry list of things he's been doing
> > wrong. "Donna tells me that you're racing. You drive like a fool.
> > You take too many chances. Chances that could kill you. You hold a
> > job for about three months. That's about it for you. You drink too
> > much, you run around back alleys, you spend over your head. You tell
> > your friends off. You do the same thing to Donna. You weren't like
> > this when I left."

This seemed so realistic to me--Richard immediately falling into the
role of rather overbearing big brother, and Ray immediately reacting
with a younger brother's automatic resentment. It reflects the way
individuals in families often have their assigned roles at family
get-togethers, no matter how old they get.

> > It is quite believable that the legal troubles for one person would
> > affect everyone else. But lost is an explanation of just why Donna
> > has been spared all of this. She seems almost blissfully unaffected
> > by all the bad publicity that seems to have landed only on Ray's back.

Well, Donna was already married, with the two kids. She was already
settled into a certain kind of life, and it wouldn't be affected so
much. But Ray was trying to create a new life in the midst of all the
upheaval. Plus there's also the whole sibling rivalry issue with the two boys.

> > When Richard demands to know if Ray believes he is guilty, his
> > brother says, "The jury believed it. The appeals court believed it.
> > All I know is that all of my life, it's been you first and me
> > second." As Ray continues to say that his father never cared about
> > him, John shows up and says, "That isn't true." Ray responds, "That's
> > another lie!"

Can't help thinking of Gerard's mantra when Ray says, "The jury
believed it."  It's a cop-out--acceptable from Gerard, because his
opinion really doesn't matter, but unacceptable from Ray.

> > The unexpected response from Richard is that he hauls off and slaps
> > his brother hard across the face. How surprised are we to see this
> > loss of temper on Richard's part, especially directed at a blood
> > relative? Well not nearly as surprised as Richard Kimble is himself
> > as we see in his astonished facial expression at his own behaviour.

And wouldn't it have been interesting if Ray had then said, "Is that
what happened with Helen?"

It's pretty startling when Richard slugs him. As is the scene a few
episodes later in Where the Action Is when Kimble slaps bratty Chris.
So the guys got a temper--maybe there's a clue to why the jury was
able to believe he killed his wife; there could've been witnesses who
saw him in a temper!

> > The lieutenant, as always, is unconvinced and in the next scene, he
> > pays a visit to the Kimble home. Luckily, Richard sees him through
> > the window as Gerard gets out of his car. Kimble starts directing
> > traffic, telling his father to take his medicine and go to bed,
> > telling Donna to let him in and act as though she has nothing to hide
> > and reminding her to hide telltale coffee cups that show an extra
> > person may be in the house.

I really like how Kimble remembers the coffee cups. It shows how he
has learned to pay attention to every detail to ensure his survival.

> > Richard's escape is blocked out of all the doors so he hides in the
> > kitchen as Donna's sons usher Gerard to the front door. Donna plays
> > it cool and lets him in. There are some terrific moments of suspense
> > as Gerard stands in the middle of the room and we see the one thing
> > Richard forgot to remove. His bottle of black hair dye sitting out in
> > the open on a table.

You do have to wonder, though, why he didn't just go upstairs with Dad ...

> > Gerard walks tantalizingly close to it and ends up picking up the
> > wrong item from the same table. Kimble hides just out of view in the
> > kitchen. Suddenly the kids come home demanding something to eat.
> > Billy runs through pulling a rope that gets stuck underneath the
> > kitchen door, where Richard hides on the other side. Unable to free
> > the rope, Billy finally pushes the door open and we have one of those
> > classic Fugitive moments that make this series so special.

I love this. I love little Clint Howard just doing his thing and
innocently causing so much tension.

> > David, who earlier had found the hair dye, and mistakenly believes it
> > is shoe polish, asks Gerard, "Do you want me to give you a shoe
> > shine?" He runs off to retrieve it while Gerard says, "You can give
> > me a shine the next time." David brings the hair dye to the door and
> > Richard survives another day only because Gerard has already left.

I love Billy Mumy too. He's so annoying here, in a very realistic
little-kid way.

> > A determined Richard turns and walks outside where Ray confronts him
> > again and says, "What are you going to do?" Richard counters
> > with, "I'm going to prove to you that I'm not afraid to die."
> > Astonishingly, Richard will turn himself in to Gerard. Whether Kimble
> > is serious about this or just hoping that the offer alone will be
> > enough, is hard to determine.

I'm not sure how Richard's willingness to turn himself in proves
anything to Ray, but I don't really care, it's an emotional and
affecting scene.

> > Is Ray really convinced his brother is truly innocent? At last there
> > appears to be a crack in that wall of doubt and resentment he has
> > built around himself. It is enough for Kimble, as he heads back in
> > for his final goodbye to his father.

I don't think Ray ever REALLY doubts his brother. I think he's just
PO'ed at Richard and had been acting out all along, but deep down, he
knows the truth and always has.

> > At this critical juncture of the series, exactly halfway through the
> > first season, viewers in just two episodes have seen that stranger
> > who suddenly arrived in a desert city, become a fully realized
> > personality, with a family and a past. The emotional involvement
> > between the audience and Richard Kimble is complete.

It was close to complete for me in the pilot. But it's nice to have
this one-two punch filling in the past.

Finally: Just a few episodes earlier, in Fatso, there was a similar
family dynamic of two brothers in conflict, the older one having been
favored over the younger by a parent. The younger brother in Fatso
drives out his nemesis because of his jealousy; here, Ray's jealousy
is the cause of his anger and makes him blame Richard for everything
that's gone wrong for him. And then in the very next episode, The
Garden House, we have two sisters in conflict--again with the younger
hating the older. Lots of sibling rivalry that first season!

Eleanor (elliemik@...)

________
>
> KITTY REVIEWS "HOME IS THE HUNTED"
>
> Hi Everybody,
>
> >
> I liked Gerard's presence in this episode but his presence wasn't as
> menacing as usual...it was much more subtle since everyone knows
> what's going on except him.

What was subtle about this was that Gerard gave the impression that he smelled
smoke....just didn't know the size of the fire.
>
> I had to say I felt sorry for Ray at times but other times I did not
> feel sorry him. On the subject of his broken engagement to his high
> school sweetheart I did feel bad for him...this is in the days before
> premarital sex was fashionable so I can see that he probably was
> extremely upset...ten years he said he waited and for what? She
> dumps him when RK escapes. Let's not forget that he was drowning
> his sorrows with what looked like a prostitute in the episode as well.
> It was subtle, but you saw him leaving a woman's apartment in the very
> early hours.
>
> However, on the other hand I kind of wanted to slap Ray myself. If
> this woman was so loyal through the arrest and through the trial and
> the appeal process and then when RK escapes, he said her parents
> finally wore her down and she broke it off. My statement would be
> You're better off without her...when the tough gets going the little
> girl runs home and hides behind her parents. Not only that I would
> question her as well if she had been so supportive I would have
> thought that when RK escaped she would have been glad but with her
> dumping Ray, it is implied that it was all a charade and that she
> really did believe that RK was guilty. So Ray you're better off
> without her!

Ray's character in this episode is quite believable. The stigma of brother
Richard's arrest, conviction, and escape created a series of personal conflicts
compounded by his own lack of self esteem. He was the "number two"
son---admittedly so even by his father---and life in Richard's shadow did
nothing but fester and create further doubts----about Richard, his own self
worth, and the ability to survive within his own identity. A confused young man
to say the least.
>
> On the subject of Ray losing jobs, I found it a little hard to
> swallow. Again Stafford IN is supposed to be a small town and Ray
> says that every time he gets a job they inevitably find out who he
> is from someone else and they let him go. First of all his last
> name is Kimble and if RK's trial was such big news wouldn't that
> raise an eyebrow or two in the job interview and at least warrant a
> question? I was actually surprised that RK didn't say to Ray...Have
> you ever thought about telling them who you are up front in the job
> interview? Perhaps the reason they're letting you go is because
> they have to hear about your family scandal through a third party.
> Next time say in the interview...By the way, I'm Richard Kimble's
> brother...the convicted wife killer...will this be a problem? And if
> it is tell me right now and I'll walk out the door! The
> potential employer just might admire his honesty. They don't say
> honesty is the best policy for nothing!

In light of all these issues, the smartest move for Ray may have been to leave
Stafford. Not the best or easiest solution but possibly one that would have
relieved some pressure.


> Now I just have to vent my pet peeve here. I really like this show
> but I keep asking myself what were they thinking when they wanted
> RK's natural hair color to be grey? David Janssen is a good looking
> guy why did they have to make him look so ridiculous in a grey wig?
> You want to give him a different hair color...how about blond? The
> reason I say this is because the man just doesn't look old enough to
> have hair that grey. He doesn't look like he's 15 years older than
> his siblings either. Now I know there are some people in this world
> who turn prematurely grey at a very early age but most of them
> refuse to give in it and they dye their hair on a regular basis. >
> Kitty

This is yet another area to exercise the suspension of disbelief. The premature
graying is real enough(I did in my 30s) but Kitty's points about dying his hair
and the age difference with his siblings are well taken.

The producers chose an easy solution for Kimble to alter his appearance without
any sacrifice. Let's face it---having the handsome David Janssen as himself as
the "changed" Richard Kimble played no small role in keeping the audience tuned
in each week.
> ______________________________________________
>
> KEN REVIEWS "HOME IS THE HUNTED"
>
> Average story. I love Jacqueline Scott as Kimble's sister. I would be
> proud to have her as my sister. She is loyal and emotional. In later
> episodes she is even better.
> I was not impressed with Robert Keith as
> Kimble' father. He was too old for me. He looked 90 years old. If
> Kimble is in his 30's then John Kimble should be close to 60. I like
> Andrew Pine as Ray Kimble. The feud with his brother seemed real to
> me. Why was he not used in future episodes? His scene with Gerard
> showed his loyalty. However there never developed any tensions scenes
> where Gerard got close to Kimble. Race track scenes were boring. The
> ending was flat.
>
> My rating is 6.
>
> Ken

Ken-

There is a different atmosphere in "Home Is The Hunted" and it would never be
ranked among the more action packed episodes. But in my opinion, it does drive
the point home in regards to emotional impact and further presentation of the
Kimble character.Not that it is without flaws but irregardless, one of the most
important--if not critical--episodes of the series with excellent performances
to boot.

Dan

--- In THE-FUGITIVE-VIEWS-AND-REVIEWS@yahoogroups.com, "bobbynear"
<bobbynear@...> wrote:
>
> Thanks Dan..You saved me a lot of work by doing that. Feel free to do the same
with any other episodes from the past..however..please leaave at least a month
or so between them in case other people want to comment.
>
> bobbynear

Bobby-

You are quite welcome and can do on the request.

Allow me to ask long time members of this board for their patience as we newer
members take the opportunity to comment on the episodes and old threads in
general. Perhaps this will offer the veteran members another chance to comment
on episodes and/or other topics with supplemental or revised insight as well.

I thank all for the privilege to participate and am most impressed by the
quality of material on this board.

Thanks Dan..You saved me a lot of work by doing that. Feel free to do the same
with any other episodes from the past..however..please leaave at least a month
or so between them in case other people want to comment.

bobbynear

--- In THE-FUGITIVE-VIEWS-AND-REVIEWS@yahoogroups.com, "bobbynear"
<bobbynear@...> wrote:
>
>
> BOBBYNEAR REVIEWS "HOME IS THE HUNTED"
>
> A bus lumbers down a deserted highway. Just inside the front window
> we can see a figure preparing to disembark. This is Richard Kimble
> preparing to leave one of countless buses that have taken him across
> the country in his endless search for vindication from a crime he did
> not commit.
>
> The mode of transportation may be the same but the destination is
> different. Not some strange backwater town or big city, with its low
> paying jobs and people who ask no questions. This is the place where
> everybody knows your name.

It has commented upon before regarding the destination on this bus of Madison,
WI and it being "incorrect". However, it could be reasoned that Stafford is
merely a stop on the way to Madison although the bus would pass through larger
areas than Madison. In any event, it can be twisted to fit geographically.
>
> This is the place you were born. This is the place where you made
> your name. This is the stop that Richard Kimble figured never to
> make. To borrow a line from the opening narration of the classic TV
> series, "The Twilight Zone," "There's the signpost up ahead....next
> stop..Stafford Indiana." Home is the hunted.

Stafford has been referred to as a "small" town. Looking down from the location
where Kimble left the bus, Stafford appears "large" with the city lights. I
know...a major nitpick for sure.
>
> Unfortunately, not only does Richard Kimble's family reside in
> Stafford...but one Phillip Gerard is employed there as well. In his
> office, talking to his boss he notes that a newspaper article states
> that Dr. John Kimble has donated his medical books to the local
> university.
>
> Gerard wonders aloud whether or not this might bring Kimble back to
> town to see his family. He thinks it over and then says, "No,
> Stafford would be the last place on Earth he'd show his face." But
> then again it's never quite that cut and dried with Gerard.

It is curious how Gerard was portrayed in this episode. The viewer was left to
ponder as to whether Gerard truly suspected Richard Kimble was in Stafford even
though he discounted the notion that he would not be bold enough to return
there. The visible projection was the "concern" for Kimble's brother Ray. But
was that all ?
>
> When Richard steps off that bus, he faces not the anonymity that a
> big city can provide, but the familiarity that can bring about his
> demise. When he walks down the darkened streets of Stafford, and sees
> a man and his son in their car on their way to go fishing and a woman
> running out to bring them something they forgot, he hides furtively
> behind a tree, the fear written on his face.
>
> Continuing his lonely walk, Kimble comes upon the house he was raised
> in. But the feeling of being home where he belongs is tempered by the
> For Sale sign on the front lawn. Richard sprints hurriedly away into
> the safety of the darkness.
>
> The next day he heads for a pay phone to let his family know he is in
> town. And here we get our first glimpse of Richard's sister Donna,
> his one and only rock in a sea of turmoil and uncertainty. Also,
> outside the home, are Richard's father, Dr. John Kimble, and Donna's
> two young sons.
>
> In a phone conversation that lasts just a little more than two
> minutes, Jacqueline Scott cements herself in the memory of Fugitive
> fans forever as she displays a dazzling array of emotions. She is
> nothing short of sensational in this scene as she runs the gamut from
> irritation as the voice at the other end does not immediately
> respond, to doubt, to elation, to barely controlled sobs of joy and
> finally to resignation as her brother admonishes her, "Now Donna,
> stop it! I haven't got time for you to go to pieces. Pull yourself
> together."
>
> And that is exactly what she does, transferring her emotions to her
> hands as she raises them up and down from her head to her mouth in an
> attempt to regain control. Richard wants to know how his ailing
> father is. Donna tells him about his recent heart attack and Richard
> prescribes a sedative for him. As this short scene ends, she puts her
> hand back in front of her mouth and shivers slightly, as she displays
> two last emotions. Fear and doubt over whether she is even doing the
> right thing talking to her brother on the phone.
>
> This short but remarkable scene is created by two consummate actors
> at their very best. It is one of the finest individual moments in
> the entire series and is so gut wrenching it is difficult to watch it
> unfold. And yet, your eyes are riveted to the screen.


No question about it. One of the most poignant scenes in the series.


> Outside the house, Donna administers the prescribed medication to her
> father and when he questions who else but himself or his son could
> possibly have known to recommend that, once again she delivers the
> answer by just slightly nodding in the affirmative. There are few
> words as the two embrace and the tears flow.
>
> Donna goes to see Ray, Richard Kimble's brother who is heavily into
> car racing, to tell him that Richard is home. At first he seems
> horrified that Richard may be turning himself in. But the concern
> quickly turns dark as he makes it clear he does not want to meet
> Richard at all, that the race is more important, and he speeds off in
> a huff, leaving his sister behind. Clearly there is some bad blood
> between the two.
>
> Returning to the old house, it is the senior Dr. Kimble who goes in
> first, and for just one second he and his son see each other. They
> both seem almost frozen in place, until Richard begins slowly walking
> towards his dad. This time it is David Janssen who does it all
> without dialogue, embracing John, holding him close, and finally
> resting his chin on his father's shoulder as he barely holds back the
> tears. The pain in his eyes and his tightly controlled smile that
> never fully develops, tells the story of a son kept apart from his
> loving father for far too long.

Another touching scene and one that is more powerful without the dialogue. This
is reminiscent of a seperation painful in the fact of why it is so. Whether it
be a son returning from war or one fleeing from the sentence of injustice, a
moment that conveys love at its deepest.

> Occasionally in this series, Richard Kimble tells his story,
> sometimes to perfect strangers. This time it is more personal. During
> a heart to heart with his father, when he is asked if he hasn't lost
> hope, he replies, "Well sometimes...almost. But I'll outrun Gerard.
> I'll outlast him. I'll live long enough for him to see me cleared. "
>
> When Richard questions whether he is the cause of his father's
> declining health, we find out part of the reason for the trouble
> between Kimble and his brother Ray. His father tells him, "Thirty-
> five years ago, I went in for Pediatrics. I gave sound advice to
> parents on how to raise children, but I didn't take it myself. See,
> you were my first son. I loved you first. And I'm afraid I loved you
> more. Well you were stronger, you were brighter, you were more fit to
> be a doctor. It was you my colleagues patted on the back. Not your
> brother. Never your brother."
>
> This remarkable conversation between generations, coming as it does
> on the heels of the previous episode and its flashbacks to Richard's
> married life and the crime he didn't commit, brings things full
> circle for viewers. We already have come to accept Richard Kimble as
> a kind, generous and good man. Now we know how he got to be that way.
>
> The emotional reunions are not yet over, as Richard goes upstairs to
> his room and his sister enters a few minutes later. Somewhat similar
> to the earlier phone conversation, only this time it is pure joy
> between these loving siblings as they embrace and lock hands when she
> sits on the bed and smiles broadly at her brother. At one point she
> tells him, "Well let me look at you. Your hair's different." Richard
> responds, "They're looking for a man with grey hair. I thought I'd
> make it tougher for them." He holds a bottle of black hair dye up in
> front of her. A bottle that will play a pivotal role later in this
> episode.
>
> As they sit side by side on the bed, Richard continues talking about
> his worry that his legal situation has brought on the decline in his
> father's health. When Kimble wants to know why Ray is not with Donna
> to meet him, she is forced to admit there is a problem, "Alright,
> sometimes I think Ray doesn't care whether he lives or dies."
>
> Later, Richard and Ray meet for the first time in two years and
> although Kimble puts his arms out like he did with his father, this
> time the result is less than loving. Ray takes his brother's hand and
> shakes it instead. After some uncomfortable small talk, Richard
> unwisely gives his brother a laundry list of things he's been doing
> wrong. "Donna tells me that you're racing. You drive like a fool.
> You take too many chances. Chances that could kill you. You hold a
> job for about three months. That's about it for you. You drink too
> much, you run around back alleys, you spend over your head. You tell
> your friends off. You do the same thing to Donna. You weren't like
> this when I left."
>
> Ray has heard enough and turns to leave as Richard grabs his arm and
> holds him back. Turning the conversation towards their father,
> Richard tells him, "Dad is seventy years old. The human body wears
> out. The heart gets weak. Under a strain it breaks." Ironically a
> wise warning that David Janssen should have followed later in real
> life long before he would ever get close to 70. He continues, "My
> trouble is enough for him. Why you?"
>
> In a rather long harangue, Ray talks of his broken engagement, how
> his fiance's parents finally convinced her to leave him. The
> unwelcome notoriety visited upon the Kimble family. The jobs come and
> gone for Ray once they found out he was Richard's brother. The people
> in town who believe Kimble is guilty.
>
> It is quite believable that the legal troubles for one person would
> affect everyone else. But lost is an explanation of just why Donna
> has been spared all of this. She seems almost blissfully unaffected
> by all the bad publicity that seems to have landed only on Ray's back.

A reality that is often overlooked. The family of the accused or convicted is
adversely affected as well. Whether it be guilt, shame, or discrimination, it is
an awful situation. It is believable that Ray would be a victim, i.e. black
balled because of Richard's conviction simply on the grounds of having the same
last name and being his brother. It is wrong but the dark cloud is ever so real.
Donna may have been shamed by people who knew who she was but by having a
different last name, was likely spared a certain amount of grief and torment by
people who would not otherwise make the connection that she was his sister.

> When Richard demands to know if Ray believes he is guilty, his
> brother says, "The jury believed it. The appeals court believed it.
> All I know is that all of my life, it's been you first and me
> second." As Ray continues to say that his father never cared about
> him, John shows up and says, "That isn't true." Ray responds, "That's
> another lie!"
>
> The unexpected response from Richard is that he hauls off and slaps
> his brother hard across the face. How surprised are we to see this
> loss of temper on Richard's part, especially directed at a blood
> relative? Well not nearly as surprised as Richard Kimble is himself
> as we see in his astonished facial expression at his own behaviour.

An unexpected reaction from the Richard Kimble character created but a respite
as well. He is human afterall and this added a dose of reality to the person.
>
> Later, a visibly angry Ray does a little off track racing of his own
> and gets pulled over by the police and taken to the station where
> Gerard awaits and says he want to speak to him. Once again, Richard
> Kimble's troubles have been visited upon the brother.
>
> Ray sits slumped in his chair in front of Gerard's desk in this
> wonderful scene. Gerard, just as casually as possible, during the
> conversation, takes Kimble's wanted poster out of a drawer, puts it
> on the desk and begins filling in Richard's grey hair with black ink.
> His way of telegraphing to Ray that he knows what is going on, that
> Kimble's appearance has changed.
>
> If Gerard was looking for confirmation of this belief, he gets
> nothing from Ray, who sits stoically and calmly, never once
> indicating that he finds it strange that a grown man suddenly starts
> coloring pictures in the middle of a Sunday afternoon. Ray does get
> his in though. On the way out, he looks down at Gerard's art work and
> tells him, "By the way Gerard, my brother's hair is grey."
>
> The lieutenant, as always, is unconvinced and in the next scene, he
> pays a visit to the Kimble home. Luckily, Richard sees him through
> the window as Gerard gets out of his car. Kimble starts directing
> traffic, telling his father to take his medicine and go to bed,
> telling Donna to let him in and act as though she has nothing to hide
> and reminding her to hide telltale coffee cups that show an extra
> person may be in the house.
>
> Richard's escape is blocked out of all the doors so he hides in the
> kitchen as Donna's sons usher Gerard to the front door. Donna plays
> it cool and lets him in. There are some terrific moments of suspense
> as Gerard stands in the middle of the room and we see the one thing
> Richard forgot to remove. His bottle of black hair dye sitting out in
> the open on a table.
>
> Gerard walks tantalizingly close to it and ends up picking up the
> wrong item from the same table. Kimble hides just out of view in the
> kitchen. Suddenly the kids come home demanding something to eat.
> Billy runs through pulling a rope that gets stuck underneath the
> kitchen door, where Richard hides on the other side. Unable to free
> the rope, Billy finally pushes the door open and we have one of those
> classic Fugitive moments that make this series so special.


Agreed. One of the best moments of suspense.

>
> Richard presses himself against the wall as Gerard takes a look from
> afar. One inch more exposure and the game will be over. Gerard walks
> away without coming closer and prepares to leave
>
> David, who earlier had found the hair dye, and mistakenly believes it
> is shoe polish, asks Gerard, "Do you want me to give you a shoe
> shine?" He runs off to retrieve it while Gerard says, "You can give
> me a shine the next time." David brings the hair dye to the door and
> Richard survives another day only because Gerard has already left.
>
> After returning to the Kimble house, Richard insists on seeing Ray
> one more time. "Before I go, I've got to make him believe I didn't do
> it." Donna goes to the track on race day and confronts Ray and begs
> him to come and talk again to Richard. At first, he belligerently
> refuses, but his anger turns to concern when he spots Gerard walking
> towards them. He asks if Richard knows how close Gerard is and tells
> her to go and tell their brother. She refuses and tells him to go
> while she stalls for time.
>
> Ray re-enters the track and out of view of Gerard, signals the other
> drivers and takes off on a back road to warn his brother. Back at the
> house, Richard and Ray pick up their earlier conversation, only this
> time with Kimble determined to prove his innocence to his brother,
> even if it costs him his freedom and ultimately his life.
>
> Ray warns his brother that Gerard is hot on his trail and that he
> needs to leave. Richard needs to settle things first. Admitting guilt
> over his brother's problems, he mentions that if he is finally
> caught, people will forget and Ray can finally move on. For his part
> Ray says he wants no such thing.
>
> Richard tells him, "I lived under the same roof with you. I ate at
> the same table. When you were a little kid, you got scared..you used
> to come in and crawl under my bed. You see any killer in me then?
> Can't you believe me?" Ray replies, "I want to, I tried to. Make me
> believe you. Prove it to me!"
>
> A determined Richard turns and walks outside where Ray confronts him
> again and says, "What are you going to do?" Richard counters
> with, "I'm going to prove to you that I'm not afraid to die."
> Astonishingly, Richard will turn himself in to Gerard. Whether Kimble
> is serious about this or just hoping that the offer alone will be
> enough, is hard to determine.

At this point in the first season, it might be difficult to ascertain if Richard
was sincere here or if it was only a bluff. But by the middle of Season Two,one
could reflect back on this and believe it to be the truth. If he would take the
risk at returning to sure capture as he did for Sean in "Cry Uncle", certainly
he would have done the same to prove a point to Ray.
>
> Now it is Ray who needs to convince Richard to continue to run. "You
> mean you'd go down there, and you'd let him take you just to prove to
> me that you aren't....." Richard asks him, "If I were drowning,
> wouldn't you jump in for me?" Ray replies..."Ah Dick, let's not go
> down there."
>
> Is Ray really convinced his brother is truly innocent? At last there
> appears to be a crack in that wall of doubt and resentment he has
> built around himself. It is enough for Kimble, as he heads back in
> for his final goodbye to his father.

It is unfortunate that Ray did not appear again in the series. Perhaps there
could have been an expounding of his character as was done with Donna in future
episodes. Adding insult to injury was that Andrew Prine did appear again in
Season Three but not as his brother.
>
> After nearly an hour of emotional upheaval, it could and should only
> end this way. Richard and his father alone in the room with John
> asking him, "Is it alright?" Kimble replies, "It's alright."
>
> Suddenly the two run towards each other and tightly embrace. Richard
> starts to walk away while his father tells him, "Ah Dick, my
> books....they were a gift to the university on condition...on
> condition...that they be returned to you the day that you're cleared."
>
> Richard puts his hand on his father's shoulder one last time as he
> turns away. As the camera quickly closes in on Dr. John Kimble's
> face, he bravely holds back the tears that surely must be welling up
> in his eyes as he watches his son walk away, probably for the last
> time, his future still uncertain.
>
> But his tightening lips and slightly trembling chin, as he tries to
> control his emotions, betray his breaking heart.
>
> On a road outside of Stafford, another bus approaches, this one
> headed away from the familiarity and controversies of home.
>
> Ray Kimble waves the bus to a stop, he and his brother get out of his
> race car and before Richard boards, the two brothers shake hands. The
> hunter stays in town..unfulfilled. The hunted moves on.
>
> At this critical juncture of the series, exactly halfway through the
> first season, viewers in just two episodes have seen that stranger
> who suddenly arrived in a desert city, become a fully realized
> personality, with a family and a past. The emotional involvement
> between the audience and Richard Kimble is complete.

The audience is fulfilled to a great extent here as Kimble's past is further
presented and the relationship with his family unveiled. The one glaring
omission---his mother.
>
> In a story like this, with only one suspenseful scene, a story that
> depends almost entirely on emotion, the actors must carry the day. In
> this episode, an experienced and talented group of actors delivers
> the goods as they make us feel right along with them, the momentary
> joy of reuniting with loved ones and the pain and heartbreak of
> separating yet again.
>
> It is a joy to behold.
>
> My rating on a scale of 1 to 10
>
> 10 (Exceptional)
>
> Bobbynear


An outstanding episode in that it, like "Egypt", backfills  information about
the Kimble character/history and enables the audience to see much of why he was
as a person. The emotion and acting are superior and "Home Is The Hunted"
deserves to be in the elite echelon of Fugitive episodes. It is unfortunate that
no subsequent episodes offered insight into Kimble's mother and  featured his
brother.

My rating on a scale of 1 to 10

9 1/2

Dan
  ______________________________________________

--- In THE-FUGITIVE-VIEWS-AND-REVIEWS@yahoogroups.com, George Mullins
<georgecatzi@...> wrote:
>
> I rather like that observation, Warren.  Buses as unsung heroes, as it were.
>
> --- On Tue, 1/6/09, Warren <ibriveadus@...> wrote:
>
> From: Warren <ibriveadus@...>
> Subject: Re: [THE-FUGITIVE-VIEWS-AND-REVIEWS] Fugitive Autos
> To: THE-FUGITIVE-VIEWS-AND-REVIEWS@yahoogroups.com
> Date: Tuesday, January 6, 2009, 9:42 AM


This is another aspect to the show that I enjoy as well. Both the vehicles and
the trains as they were during the mid 1960s.

Dan
>
>
>
>
>
> Similarly, I like observing the variety of vintage buses utilized in the
series.  My guess would be that "The Fugitive"  wins the emmy for most use of
buses in a dramatic series.  Of course, they are right there in "Fear..." I
always considered those buses as characters in a minor role.
>
> ____________ _________ _________ __
> From: philter1949 <philter1949@ yahoo.ca>
> To: THE-FUGITIVE- VIEWS-AND- REVIEWS@yahoogro ups.com
> Sent: Monday, January 5, 2009 5:38:04 PM
> Subject: [THE-FUGITIVE- VIEWS-AND- REVIEWS] Fugitive Autos
>
> As I compose this message I am re-viewing the season premier, "Fear in
> a Desert City". I have posted before about my hobby concerning old
> cars and just love viewing old TV shows and movies trying to spot
> makes and models that I remember from my childhood. This episode
> displays a brand new 1963 Ford Galaxie, the police officers car when
> they pick up Kimble. The taxi is a 1961 Plymouth, Ed Welles' car is a
> new Lincoln Continental equipped with suicide rear doors. The Tuscon
> Police car is a 1962 Plymouth and the car seen at the funeral for Ed
> Welles is a classic Jaguar.
>
> [Non-text portions of this message have been removed]
>
>
>
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> [Non-text portions of this message have been removed]
>

Since the new feature film, "The Box" was mentioned here a few days ago, here is
Roger Ebert's review of the film...along with a few words on what Richard
Matheson is doing these days..
bobbynear
_____________________

The Box

BY ROGER EBERT

November 5, 2009

Cast & Credits

Cameron Diaz
James Marsden
Frank Langella

Warner Bros. presents a film written and directed by Richard Kelly, based on the
short story "Button, Button" by Richard Matheson. Running time: 113 minutes.
MPAA rating: PG-13.

I know, I know, "The Box" triumphantly qualifies for one of my favorite
adjectives, "preposterous." But if you make a preposterous movie that isn't
boring, I count that as some kind of a triumph. This one begins as traditional
science fiction and branches out into radio signals from Mars, nosebleeds,
Sartre's theories about free will, amputated toes, NASA, the National Security
Agency, wind tunnels, murders, black Town Cars, obnoxious waiters, and a
mysterious stranger.

His name is Arlington Lewis Steward. He drops a box on the front porch of Norma
and Arthur Lewis, and returns with an offer: If they push the button on top of
the box, they will be paid $1 million in crisp $100 bills ("non-taxable"), but
unfortunately, someone not known to them will die. Well, what would you do?
Norma has just learned their son's tuition is going up, and Arthur has been
dropped from astronaut training. The hell with it: Norma, so sweet and earnest,
pushes the button.

This sets into motion a chain of events that I will not describe for you even if
I could. The writer-director, Richard Kelly, goes from A to Z using 52 letters,
but his transitions flow so uncannily it's only when you look back that you
realize you're off the road. Everything, including some impressive high-tech
rocket science, is taken so seriously that you get sucked in. There's also the
matter of the 360-degree camera that Arthur Lewis has designed for the Mars
Lander. Well, what about it? After you've seen the movie, you tell me. At least
the nosebleeds are explained.

****"The Box" is based on the story of the same name by Richard Matheson,
published by Playboy in 1970. It inspired a simpler adaptation for a Twilight
Zone episode in 1986, which had a different ending but a very similar box
design. Well, what can you do with a box with a button on top? Matheson, who has
three films in pre-production at 83, has inspired or written at least 23 films
("I am Legend" has been made three times) and countless TV episodes.****

Here he seems motivated by the Milgram Experiment, one of the most famous
psychological tests ever conducted. You've heard of it. Prof. Stanley Milgram of
Yale told volunteers he was testing the limits of human pain endurance. He
showed them a dial and said it would administer electrical shocks to test
subjects. The high range on the dial was painted red, indicating danger. The
volunteers could hear the subjects screaming. They were told by the test
supervisor it was "essential" to continue administering shocks (even though the
dial indicated they might become fatal). In one round of experiments, 65% of the
volunteers followed orders even when it meant a fatal shock.

What would you do? And what if the victim wasn't a person you had met who was
screaming in another room, but someone unknown to you? And the reward wasn't
helping out Yale with its research, but a cool million? Norma and Arthur Lewis
aren't bad people -- pretty nice ones, in fact. They regret her impulsive action
immediately. But then the plot grows sinister, coiling around to involve them,
which we expect, but also venturing into completely unanticipated directions,
and inspiring as many unanswered questions as "Knowing," which I loved.

Many readers hated "Knowing," and many will hate "The Box." What can I say? I'm
not here to agree with you. This movie kept me involved and intrigued, and for
that I'm grateful. I'm beginning to wonder whether, in some situations,
absurdity might not be a strength.

--- In THE-FUGITIVE-VIEWS-AND-REVIEWS@yahoogroups.com, Eleanor <elliemik@...>
wrote:
>
> Oh yes. That was something that they did in 2000, and while I like
> Mykelti Williamson (from back when he was Michael T. Williamson on
> MIDNIGHT CALLER), I think it was just too much Gerard.
>
__
Absolutely agree with this. As much as I love Gerard, and Mykelti.. too many
encounters with Kimble just serves to undercut the suspense.

In a cat and mouse game, you don't always want to know where the cat is hiding.
__

> I just checked and found that WITNESS will be on AMC next Friday, so
> I'll set a reminder for myself--it's a movie I've wanted to see anyway.
Thanks!
__
Great..excellent timing. Yes, AMC is where it generally plays. Of course there
will be commercials with this but my experience with it has shown they don't
really cut anything out and it's not all that distracting.

I hope you will post an opinion of it..good or bad..on this board after you've
seen it.

I've seen it countless times and can recite scenes and dialogue and have my own
copy, but I'll still be watchng.
It's very hard to resist.

bobbynear