Change Your Image
Upload An Image
Crop And Save
The Fugitive: Ill Wind (1966)
3/8/66 "Ill Wind"
Kimble is back doing migrant farm work. In fact he's made a lot of friends, including John McIntyre and Jeanette Nolan, two of my favorite actors. Gerard has again tracked him down and, in a hauntingly filmed sequence, has trapped him in a train station. He captures his long- time prey but a hurricane forces them to take shelter with the migrants, putting Gerard in a situation similar to the one he faced with the back woods people in "Corner of Hell": they are on Kimble's side, not Gerard's.
Then Gerard gets hurt and Kimble cares for him. Gerard sees this as an attempt to gain his sympathy. The migrants don't understand it at all. What they are missing is that Kimble, as a doctor, has a sense of professional ethics that are just as strong as Gerard's, if more humane. Gerard needs a blood transfusion: are there any volunteers?
The hurricane in this one is done much better than the one in the first season's "Storm Center". They show less but hint at a lot more and it comes off much better. This episode is enhanced by Tim McIntyre, (John and Jeannette's son), playing and singing a ballad called "The Running Man", (why didn't they call the episode that?), throughout with the lyrics being changed as the situation changed. The ballad was written by the show's executive producer, George Eckstein.
Route 66: Fifty Miles from Home (1963)
3/22/63 "Fifty Miles From Home"
After carrying a long series of episodes, Martin Milner takes a back seat to Glenn Corbett as a new character, Lincoln Case, who has recently come back from a place called Vietnam that few Americans had heard of at the time. The biggest interest in this script is his description of the fighting there, which includes some phrases we would hear later: Viet Cong, Ho Chi Minh Trail, Fire Control, Strategic Hamlet Program, etc.
The story, which must have been hastily written, shows Case as a guy trained to fight and kill who now finds himself back home, trying to figure out who he is. Soldiers have to create someone who can do what they have to do. They don't necessarily like that person and sometimes they have trouble removing him once created. But unlike a lot of dramatists, Stirling Silliphant doesn't present Case as being out of control. He's just troubled and Corbett's impassive face is useful to suggest this brooding.
Still, it's strange when he refuses to see his own father because he regards his son as a hero and instead decides to join Todd in his cross-country peregrinations. The two start out at odds because Linc injured one of Todd's charges at a local boy's club in a brawl. When Todd tries to take revenge, having had it explained to him that Linc is an excerpt in judo and karate, He's surprised to find his opponent isn't using all of his skills and realizes it's because he doesn't want to really hurt anybody. This forms the basis for their new friendship and the second seat in the corvette has an occupant again.
The Fugitive: The Chinese Sunset (1966)
3/1/66 "The Chinese Sunset"
One of the problems with "The Fugitive" compared to "Route 66" and other shows is that it's pretty hard to have a comic or at least a light episode when your premise is a fugitive searching for a one- armed man who committed the crime he's accused of and chased by a policeman who wants to bring him in to be executed.
But they give it a good try with "The Chinese Sunset". Kimble is working at a hotel in Los Angeles and encounters Laura Devon who is what amounts to the "moll" of a flashy but small-time crook played by Paul Richards. Richards is a con man running out of money who thinks that everybody is basically corrupt. Laura just wants him to settle down and marry her. She's pleased that Kimble treats her with respect and impressed that he talks like an educated man. She'd like to talk that way: maybe it will impress Richards and get him to want to marry her.
The episode has been compared to Pygmalion, (the basis for "My Fair Lady") but I think it more resembles "Born Yesterday".
Route 66: The Cage Around Maria (1963)
3/15/63 "The Cage Around Maria" (spoilers)
This time the crazy lady is played by a very young Elizabeth Ashley, (she would have been about 23). They used to call her "a dirty Audrey Hepburn", and there is a resemblance in looks although hardly in manner. The fact that she is coiffed and made up to resemble her, as many women were at the time helps the comparison. But Audrey never played a role like this.
Liz jumps into a bear pit at a zoo. Todd bravely climbs into rescue her, (strange because he was a tram driver and the rescue squad lowers him into the pit as part of the rescue operation: Why him? Because he has to be inserted into the story, that's why). He drives her back to the estate where she lives with her mother and stepfather, (Mario Alcalde), whom she feels is trying to kill her mother, (Beatrice Straight). There are a couple of clumsy murder attempts involving a cut cinch strap on a horse and a partially sawed through cane. There's also a sort of sniper's nest discovered in the top floor of the mansion.
Improbably, Todd sets himself up as a detective to determine the culprit, who turns out to be Liz, herself, who then heads back to the bear pit to once again offers herself to them only to be once again saved by our hero, who by now must have had enough of crazy ladies. He was ready for a few partner.
The Fugitive: Running Scared (1966)
2/22/66 "Running Scared"
Kimble's father has died and his sister Donna, (Jacqueline Scott) isn't taking it well, so Richard arranges a rendezvous in Fort Wayne. But Gerard is all over it. The three of them, (with Donna's husband, this time played by Lin McCarthy: previously James Sikking and later Richard Anderson).
In the middle of it is Mike Ballinger, (the always excellent James Daly), Kimble's prosecutor, who is running for Governor. But Ballinger is paying a price for his run. He keeps taking pills. And he has a wife, (Joanne Linville), with a similar problem to Gerard's in "Landscape With Running Figures". She wants her husband back. She can no longer stand having an obsession as a rival. When her husband recognizes Kimble's sister and figures he must be near and that his capture could put him in the governor's chair, she warns Kimble and helps hide him.
The episode ends with a moving scene between Kimble and his sister who here seems less resolute than in her other appearances, obviously unnerved by the loss of her father while her brother remains on the run. There is no mention of Kimble's troubled brother Ray, who appeared in "Home is the Hunted".
3/8/63 "In the Closing of a Trunk"
This is the first two encounters in a row Todd has with crazy ladies, neither of them very satisfactory.
In this one Ruth Roman plays a woman how has been in prison for killing her abusive father. She left behind a small child and has returned to find him. But she's a bit unbalanced and focuses on Todd after he's been nice to her when nobody else would. Her paternal uncle, Ed Begley resents her for having killed his brother and hatches a plan to inflict pain upon her. He wants to hire Todd to pretend to be her son and then Begley will prove he isn't, thus breaking her heart. Her real son is Begley' s partner in a fishing boat, (Don Dubbins), and he's been taught to hate his mother.
Todd refuses but finds the woman won't believe him. (We find out Todd was born March 12, 1936 in the LeRoy Sanitarium in New York City, which makes him five years younger than Martin Milner: no wonder she didn't believe him!) He takes pity on her but when Begley finally springs the trap, Roman goes berserk and tries to do to Todd just what she did to Daddy- including putting his body in a trunk!. That's not spoiler as it's actually the first scene .Just a wee bit over wrought.
This is the first episode not to have George Maharis in the credits so I assume it was the first one done after it was decided he would not be returning.
The Fugitive: Shadow of the Swan (1966)
2/8/66 "Shadow of the Swan"
This is a melodramatic episode but somehow it works. Kimble befriends a young woman (Joanna Pettet) at a carnival and saves her from a boyfriend who gets rough with her. She gratefully gets him a job and brings him home to meet her Uncle Harry, (Andrew Duggan), who has raised her after her parents died. But Harry, like a couple other characters in previous episodes, (Ed Begley in "Runner in the Dark" and William Shatner in "Stranger in the Mirror"), is an ex-cob unfairly, (in his view) retired from the force who sees bringing in Kimble as a way to make a "big splash" and maybe get back on the force. Pettet turns out to not be the charming young thing she appeared to be. She turns on Kimble when he rejects her advances. She tried to go back to old boyfriend but finds him with another woman and sets fire to their trailer. That makes Duggan wonder because that's how Mommy and Daddy died. It ends with Duggan and Pettet fighting for control of Duggan's gun, never a good idea for non-regular characters in a TV drama.
The title refers to a swan who is beautiful and serene above the water but paddling to stay afloat below it.
2/22/63 "Shall Forfeit His Dog and Ten Shillings to the King"
This one takes palace in Arizona and uses the old western plot of a posse where the hero suspects, (correctly), that some members of the posse don't want to take the fugitives alive for reasons of their own. I've always thought that modern westerns should be successful on TV because they can use all the plots available to a western but also to a modern series.
Tod agrees to go on the posse because his employer has been killed in a robbery. Also along are James Brown, in his fifth appearance, each time as a lawman, playing the local sheriff; Med Flory as his disgruntled deputy, Steve Cochran as a friend of the victim and the "best tracker in the territory", an Indian who probably deserves that title more, Kathleen Crowley as the victim's much younger wife and John Anderson as a retired military officer with a heart condition who wants to prove he's still got it. Each has his own, selfish motives for what they do and Tod, at the end of it, winds up vowing that their selfishness and violence won't turn him into one of them.
Unlike other reviewers I didn't see any politics in this, just a conflict between good and evil within the human spirit. Here's what Tod says at the end: "Can people only make themselves important at the expense of others? These killings were they sacrifices to a private reason to a hidden God? Do people really think that if they go through life without hurting other people nobody will know they've been alive?"
George Maharis is still being listed in the credits but it's hard to tell what role he would have played here. I'm going to take a wild guess and suggest it might be the woman Tod talks to at the beginning who questions why he feels he has to go on this posse. Buz was always questioning why they would get involved in other people's problems. He always had a sixth sense about where the trouble might come from. Maybe they took his lines and gave it to a new character, a piano playing girlfriend of Tod's.
The Fugitive: Stroke of Genius (1966)
2/1/66 "Stroke of Genius"
There's not that much genius in the stroke here. Beau Bridges plays a young man admiring his new gun who shoots is off and accidentally shoots a beloved local minister in a passing car. The minister has just picked up a hitchhiker: Richard Kimble. The vehicle crashes and Kimble runs away, the minister being dead with a hole in his head and the police presumably on the way. Bridge's father, (Telly Savalas) wants to protect his son's bright future by leaving immediately on a fishing trip and pretending they had already left so the stranger will be blamed for the death.(Surely they can tell it was a rifle shot?). Beau wants to confess. It becomes too late to leave anyway. Savalas decides to volunteer for the manhunt, (that's the stroke of genius). He thinks he knows where Kimble is hiding out- and he's right. He wants to get to him first.
Meanwhile Gerard has been called in. He does some investigating of his own and tracks Kimble down shortly after Savalas finds him. Savalas tells Kimble that if he gives Gerard any information that will implicate his son, he'll kill them both.
What sets this one part is the much changed relationship between Kimble and Gerard. Kimble keeps his mouth shut about Savalas' son to save both of them and in the end prevents Savalas from shooting Gerard. Gerard is solicitous of Kimble's health, helping to bind his wounds from the car crash. Ironically, Gerard has to prove Kimble innocent of this killing because the local Sheriff insists he will be tried for it, (and perhaps executed there), before Gerard can have him. Gerard insists "Kimble has never killed anybody while trying to escape!" He's just not the type.
2/15/63 "Somehow it Gets to be Tomorrow" (spoilers)
Todd is now in Texas where he gets involved with a street urchin who cons him and then runs from the police. Martin Balsam plays a social worker who warns Todd about the kid, correctly predicting that he'll be back. It's interesting to compare this episode to season one's "Like a Motherless Child" where Todd wants to return the kid they find on the road to the orphanage he ran away from but Buz hates the idea due to his own experience with an orphanage and his mistrust of the authorities. Two years later, Todd has an attitude closer to Buz's, suggesting that this was going to be a 'Buz' episode originally. Maharis is still in the credits but there's no mention of Buz.
The kid in this episode, (Roger Mobley), is the older brother of a sister who still lives with a foster family they were assigned to after their parents died. Roger ran away some months ago. He worships his father, who was independent and a tough disciplinarian. He didn't like the foster family because they were too 'nice' and forgiving. Todd thinks a hickory stick would be therapeutic and at one point tells the social worker that if the kid misbehaved "I'd have belted him." Values certainly have changed.
The kid selects Todd as a prospective new father, putting him through various tests, including getting him involved in a brawl, (his father was a tough street fighter). Todd agrees to at least drive the boy and his sister to the bus station so they can run off together. He's actually going to drive them to where Balsam is waiting. But he feels guilty about it and lets them run off before he gets there.
This seems very contradictory to Todd's personality and values. What are these children running from? 'Nice' people? What are they running to? We last see them running across an open field. To what fate? A very unsatisfactory episode.