The Prisoner: Season 1, Episode 16

Fall Out (4 Feb. 1968)

TV Episode  |   |  Drama, Mystery, Sci-Fi
8.1
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Ratings: 8.1/10 from 336 users  
Reviews: 7 user | 1 critic

After witnessing the trials of Number 2 and Number 48 and meeting the President of the Assembly, Number 6 escapes during the chaos that follows.

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Title: Fall Out (04 Feb 1968)

Fall Out (04 Feb 1968) on IMDb 8.1/10

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Cast

Episode cast overview:
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Kenneth Griffith ...
Alexis Kanner ...
Angelo Muscat ...
Peter Swanwick ...
Michael Miller ...
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Storyline

At a tribunal where Number 1 appears initially to be a mechanical eye the Prisoner is informed by the president that he has won the right to be an individual,rather than a number.He will be allowed to leave and is given money for his journey. However he is not allowed to speak. A shadowy figure who resembles the Prisoner would seem to be the actual Number One and Number Six dispenses him - and the assembly - in a rocket.As he leaves he frees Number Two,who has been put on trial,along with Number Two's butler,who has served him throughout and a young man known as Number Forty-Eight. Having dropped off Number Two at the Houses of Parliament the Prisoner returns o his own home,which has Number one on its door. Written by don @ minifie-1

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Genres:

Drama | Mystery | Sci-Fi

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Release Date:

4 February 1968 (UK)  »

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1.33 : 1
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Did You Know?

Trivia

Was hurriedly produced when Patrick McGoohan was informed the show was being canceled instead of being renewed for a second season. Because of this, he brought Leo McKern back after 13 months following his appearance in The Prisoner: Once Upon a Time (1968). McKern had altered his appearance in the interim and was no longer as hirsute, so McGoohan devised a scene whereby the dead Number 2 would be resurrected by means of a process that required his face being shaved before final resuscitation could be achieved. See more »

Goofs

Number Six walks past the same jukebox twice. It is easily identifiable by the Lesley Gore record in it. See more »

Quotes

[first lines]
Supervisor: We thought you would feel happier as yourself.
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Crazy Credits

In all preceding episodes, the final shot of the closing credits consisted of a view of Rover (the balloon) skimming across the water. For this final episode this was replaced by a still image of the completed bicycle that forms during the credits. See more »

Connections

Referenced in Twin Peaks: Fire Walk with Me (1992) See more »

Soundtracks

September Ballad
(uncredited)
Written by G. Bellington
Courtesy of Chappells Music Library
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User Reviews

 
Looney yet profound conclusion
7 January 2007 | by (United States) – See all my reviews

McGoohan pulls out all the stops in his writing and directing this allegorical conclusion to the groundbreaking TV series. Though there were many hints scattered throughout the series that #6 was essentially dealing with his own demons—that point is made abundantly clear in this outrageously inventive episode. We are all locked in our cells, both the cells of our material bodies and the cells of our past, our reputations, our egos. When #6 begins to address the forces of society his word "I" gets repeated to the point of drowning out his message (it also is the word "aye" meaning yes and a pun for the all seeing "eye" of number one). The ego and ego worship appears as a mad god (#1 or eye). Though many would revere freedom in the abstract, there is a great internal fear of true freedom. McGoohan's character is very controlled and emotionally tight, thus his shadow side (#1) is a complete loon (for example, playing the Beatles tune "All you need is love" over a blazing gun fight). When McGoohan launches #1 into space, a chain of events occur leading the four escapees toward various illusions of freedom within the outside world (hitching a ride to nowhere in particular, joining the halls of political power or racing a sports car). The silent butler appears to take McGoohan place in his home which opens by itself as an extension of the Village.

Though many dislike the episode for its unabashed symbolism, it stands as a fitting and provocatively ambiguous end to the series. Along with "Free for All," it's my personal favorite episode.


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