Sister Veronica's heap of a car putters along the mountain road.

Kimble uses the name he found in the wallet, "Nick Walker" as his alias to Sister Veronica, who praises him for his mechanical abilities with the car. Kimble, being the realist, replies that the car is "looking for a quiet place to die". During their conversation, Sister Veronica displays her deep conviction that their meeting was a sort of fore-ordained act, that it was meant to be. Hinting that it was a divine intervention. Kimble sees her act of faith as well-intentioned but not practical.

Sister Veronica plans to make the journey to Sacramento for a very necessary purpose at her church, while Kimble doubts the car can make it over the next hill. And the one thing Kimble wants to make clear is that the both of them are separating as soon as they get into the next town of Ravenna. But Sister Veronica is not having any of "Nick Walker's" pessimism. There is a contest of wills between the "believer" and the "doubter".

The trip for Sister Veronica is one way as well. There is a grim note in her voice that there is "no turning back" for her.

Danger looms up ahead. A police roadblock. As Kimble cautiously pulls up to the line of stopped cars, a passing car radio broadcasts the dragnet of the search for Kimble in the mountains.

Coincidentally, Sister Veronica recognizes the policeman conducting the car search. Adding to their trouble, the car radiator makes squeaking noises due to their immobility and threatens to freeze up.

Kimble becomes alarmed when Sister Veronica honks the horn repeatedly. The officer, named Henry, marches up when Sister Veronica scolds him for delaying traffic. Henry recognizes Sister Veronica, who tells him that she needs to be let through on her journey before the radiator freezes up. Henry will do so once he checks the identification of her driver. She become irate and demands to go through. She vouches for "Nick Walker", who is to see her safely on her trip. Is her word not good enough for him? she asks. Henry lets the both of them pass through.

Sister Veronica also scolds Henry for missing church.

Kimble is amazed that Sister Veronica gave Officer Henry the impression that his presence in the car was of some sort of "official authority". To which she replies, it is of the Highest Authority.

When the car reaches a railroad stop in Ravenna, it is the end of the road for both Kimble and Sister Veronica. This is where they part, as he says. Sister Veronica sulks silently as he prepares to leave. Kimble insists he is headed south and not with her over the mountains. Kimble applauds her faith but that she must deal with "reality". He did not "magically" appear, he just came out on a truck. As he leaves, he recommends that she sell the car for a bus ticket to Sacramento.

Sister Veronica cannot sell the car, that it is on loan from the church. But she reminds him that he has a train to catch. He races off as a freight train pulls up.

Kimble hops on a moving open box car and closes the door. The train then lurches to a stop, then reverses. When it stops again, Kimble opens the door to find it still at the depot in Ravenna. He has not moved at all.

A hobo greets him and asks for a cigarette. He tells Kimble that police were searching the freight cars for a wanted man. Kimble suddenly runs off without a word.

He returns to Sister Veronica's car. Smiling, she instructs him to continue driving. Mountain heights tended to give her dizzy spells. Kimble climbs in and starts up the car. They drive off.

As Kimble and Sister Veronica continue to pass over the mountains, he is put off by her apparent naivete and willingness to rely on faith rather than accept and prepare for real world pitfalls. He asks how much she has saved up for this trip and is appalled to hear her say that she barely has a dollar to her name. But they decide to try to find some sort of work or errands at pack stations along the road. Sister Veronica has unswerving confidence him.

At one pack station, he is told by the lady there that no work is available there nor likely to be any at the other pack stations for hunters on the off-roads. To escape detection by police, Kimble had chosen to take secondary roads over the Sierra Nevada mountains. The lady says he would have had more success by sticking to main highways with places with work. Kimble thanks her, then returns to the car.

Kimble tells her there is no work available there. She remains confident that something will turn up. At that moment a truck filled with bales of hay pulls up. A burly, husky man, Chuck Mathers, played by Albert Salmi, gets out, and in a moment of irritation similar to Sister Veronica earlier, kicks the front tire.

Sister Veronica suggests that Kimble ask if the man needs help unloading the hay. Kimble replies that given the man's size, he can easily do it by himself. She recommends that Kimble ask him anyway.

Kimble goes up and asks if he needs a hand. Glancing at Sister Veronica in the car, Chuck asks him if he is a priest. Kimble replies that he is simply helping her across the mountains. Chuck sneers that guys like "Nick Walker" are all saintly "do-gooders", to which Kimble offers to do "good deeds" for two dollars an hour. When the woman with the fetching figure strolls by entering the building, Chuck gets ideas and obliges, ordering Kimble to unload all of the hay from the truck.

Grabbing the hooks, Kimble raises them to show Sister Veronica his luck, or "act of providence", in finding a bit of work. She smiles in reply.

Some time later, as Chuck cracks open a bottle of beer, Kimble carries the hay bales with hooks. Chuck has reason to celebrate, he says, as he is getting off the mountain to move to live the high life in San Francisco. He makes some moves on the girl, Sherie, who tells him to stick with drinking his beer. Chuck is known to have a reputation for being quite a beer connoisseur. Sherie knows that Chuck is a complete ill-mannered braggart as well.

As Chuck attempts to kiss the resisting Sherie, Kimble intervenes and tells him his beer is getting warm. Chuck sees this as "Walker's" "righteous" deed of intervening to save a damsel's reputation from Mathers' romantic advances. Kimble replies that he is finished unloading the hay and wants to get paid.

Chuck hands him three dollars. When Kimble says he owes him three, Chuck, full of bravado, dares him to get the remaining pay from him on his hulking person. Kimble backs down and accepts what he has received. Sherie is revulsed, but not really surprised, at Chuck's insulting behavior. Kimble exits.

Chuck and Sherie watch Kimble head for the car. In an act of "macho" bravado, Chuck takes a final swig from the bottle before flinging it aside. Something funny about this "Walker" fellow. He doesn't fit the type to chauffeur nuns from place to place. And why are they driving around in an ancient heap of a car, sticking to side roads? In jest, Sherie taunts Chuck's suspicions by suggesting that they're on the run for robbing banks. Ideas for Chuck? He watches as the car drives off.

On the road once more, Sister Veronica asks why Kimble is so tense all afternoon. He explains that he is concerned about having so little funds for food, lodging, and repairs for the car. Sister Veronica says she will not tolerate his negativity, and that he must accept preordained fate for the good. Just then the tire blows. To which Kimble replies, "Amen!"

To Kimble's surprise, Sister Veronica has not even a jack in order to fix the blown tire. But, as always, she comes up with an instant handy remedy for the situation. Kimble with his mechanical aptitude, will think of something, and he does: A simple lever made of a tree log to lift the car up. Sister Veronica places her weight on the log as Kimble makes the repairs.


Sister Veronica is amazed at his ingenuity. Kimble explains a few educated principles of basic physics. She marvels at his scientific knowledge and suggests that he should take it up as a field of study for a vocation.

Just then Chuck's truck with another load of hay bales pulls up as he honks. He orders Kimble to move the log as he refuses to be late making a delivery or else he will move it himself.

Kimble takes him aside and demands his three dollars in payment. He is about ready to abandon the car and do whatever it takes to be on the road, hinting that he will make Chuck take a very long walk if he has to. He is not taking Chuck's "tough guy" schtick out here in the wilds. Chuck backs down and pays him the remainder. Kimble tosses the log out of the way and Chuck drives off. He is not thrilled to be put in his place by a "boy scout" type trying to earn his haloes, wings, or merit badge of virtue standing up to him.

Sister Veronica claims that "Providence" has once again blessed with not only a jack for their car but three dollars as well.

Sheriff Morris stops by while Chuck unloads hay bales and tells him that he is looking for a fugitive named Kimble who is wanted for murder. This piques Chuck's interest, a man on the run with every cop looking for him. But Morris tells Chuck to "stick to his beer", the police will catch him eventually.

Chuck grabs a hay bale with the hooks and plows on into the side of the bale with determination. The image is symbolic. He gets ideas. Does he feel slighted by being asked to simply "stick to his beer" rather than being allowed in on the catch of a dangerous criminal?

That night, Kimble gathers kindling wood for a fire at a cabin he and Sister have found on the road. While Sister Veronica prepares a simple meal, Kimble checks out the window. She says he must stop looking out, they have nothing to fear here. Kimble finds it ironic that a completely furnished cabin is "provided" just for them. Naturally, Sister Veronica finds this another blessing.

She delves into Kimble's curious set of circumstances and is able to deduce certain things about him, a man "without roots". Kimble corrects her in that she is wrong to think she is able to "figure things out" simply by how they look or other factors. His appearance in her situation was a fluke. But she is able to look deeper into the mind of this so-called "realist": Perhaps she is "naive" but she is able to see his pain. She detects clearly that he is running. This is not so much due to "providence" for her but for him as well: He must face that he is running from something and that he must confront it. The time is now. If he could only tell her the reason for his running.

I like the show very much, but these are not facts they are plot summaries. Why not just post these good photos in the photo section of the forum? Reviews would be nice to read. But if others would do plot summaries of every episode of their favorite shows the forum would clog up and be taken over by only that.

I like the show very much, but these are not facts they are plot summaries. Why not just post these good photos in the photo section of the forum? Reviews would be nice to read. But if others would do plot summaries of every episode of their favorite shows the forum would clog up and be taken over by only that.
That is true, the vast majority of these are plot summaries. I felt that to use these images was to add context to the meaning of 'The Fugitive' and its characters, what drove them and how to understand them. I could use them in a forum setting but it felt easier to use them this way. I have been able to point to various facts and salient points about the show in this way, but your point is worth considering.

The hobo at the Ravenna station tells the officers what happened at the train switching yard of his encounter with Kimble. They let him go. But the lieutenant tells Morris he will extend the city limits into the mountains, depicted in the photo on the wall, in order to catch Kimble.

The next morning, as Kimble and Sister Veronica prepare to leave, he looks out the window. To his alarm, he sees three Mexican men armed with guns ambush the cabin aiming and ready to shoot.

The three men, led by one gunman played by Rudolfo Hoyos, who would appear on several episodes of 'The Fugitive', enter the cabin. The lead gunman accuses Kimble of breaking and entering. He announces that he and his partners are caretakers hired to watch for intruders. When he threatens to turn Kimble in to the police, Kimble offers money, to which the gunman considers a bribe.

Sister Veronica then enters and greets them. She explains their situation about needing lodging while on their journey. The three men become immediately reverent and apologetic about the misunderstanding.

The first man says that he and his partners have not been able to travel to church for several weeks and that they need to be led in prayer. She replies that their prayers can be heard from above. But in the one so close to God, he explains, their prayers would have more meaning. They kneel and cross themselves.

After a moment, Sister Veronica is quite humbled by this. She speaks up. She instructs Kimble for their meager funds. She tells them that this will buy bus fare to church in town. She says that the cabin will be straightened up as before. The men are amazed at her response. Not quite the lightning bolt experience as expected.

The men leave puzzled.

I always enjoyed seeing Percy Helton in any TV or movie. Little has ever been written about him. I didn't know Rudolfo Hoyos by name, but he was in, and was very good, the bleakest episode I ever saw. The one where the episode starts with Kimble walking through the rain to his job on the midnight shift. Kimble is almost totally defeated at that point and the narrator points that out. It may be the saddest moment i've ever seen on any TV show. Hoyos character tells "Steve" that he had recently signed in with a different name, Kimble, and the cops were asking about him. It's a fine moment of acting by Hoyos and Janssen and also great writing.

I always enjoyed seeing Percy Helton in any TV or movie. Little has ever been written about him. I didn't know Rudolfo Hoyos by name, but he was in, and was very good, the bleakest episode I ever saw. The one where the episode starts with Kimble walking through the rain to his job on the midnight shift. Kimble is almost totally defeated at that point and the narrator points that out. It may be the saddest moment i've ever seen on any TV show. Hoyos character tells "Steve" that he had recently signed in with a different name, Kimble, and the cops were asking about him. It's a fine moment of acting by Hoyos and Janssen and also great writing.
I saw Percy Helton on the current episode and always thought, this guy has a familiar, distinctive voice. Kind of raspy, high-pitched. It seemed that I had seen him in various places on 60's television shows.

I always thought that the opening scene where Hoyos plays Kimble's co-worker was very bleak for Kimble. Not a place where one wanted to be, walking in heavy rain to your all-night diner job at 2:00 AM where you are just at the very end of your rope. That was a very effective scene, one of the scenes that stays with you. Kimble was definitely at his breaking point where he can no longer think clearly.

Kimble watches the men leave. Finally Kimble insists on answers as to what just happened. Sister Veronica refuses to comment, but Kimble announces that the time has come to discuss these matters of "faith" against all their odds. Why, he asks, did she not offer prayers for these men when they called upon her? Why did she turn them down?

Kimble senses that her meeting with Father Kerrigan in Sacramento is not at all something she wants to do, that she dreads it. At last she tells the truth: She tells Kimble that she is going to tell Father Kerrigan of her decision to renounce her vows and leave the sisterhood. Kimble finds this incredulously ironic-- they have been getting by on all this "faith", that all that has happened had been somehow "divinely ordained".

Kimble says that that faith and hope of hers had an impact on him, that it was bringing back something deep within him from years past, a fire inside he thought he had lost. But now it's just empty words from someone giving up.

Sister Veronica explains that she is not a "quitter", but is one person who has failed in her duties before God to accomplish even the smallest tasks. She says that she only has memories of empty faces and the inability to communicate.

Kimble is livid that Sister Veronica has expected some sort of grandiose display of miracles of biblical proportions. How can she simply think that she has had no impact on the lives of those she has taught?

She begins to tell the story of one such young man, a Native American teen, who came to her school where she taught and would engage in discussions long into the night after he had been drinking and misbehaving. This was his moment of peace for him, a safe place in the school library, the moment of connection to something higher, she had become his confidant who would seek absolution. The moments of contrition and unburdening his heart would come repeatedly every night, until one time she refused to answer his call at the door. Feeling he needed to stand up on his own, she chose not to be a "crutch", that he had to face his problems on his own. He left, and that was the last she saw of him.


With heavy heart she says that she will never see the young man, Hosoni, Navajo for "peace" and "right thinking", because he was executed in Sing Sing. He had come to her for help and she had failed him.

Both Kimble and Sister Veronica then admit that they are running from their past and must confront this. She then insists than she is the worst kind of fugitive: a fugitive from God.

In the closing epilog, the car chugs along the high mountain road. Kimble is astonished that for all her talk of "faith", Sister Veronica seems to have none at this point. The three men at the cabin claimed that she was "one so close to God" when she in fact has given up on believing she gave anyone meaning. The burden is now on "Mr. Walker" to see her to her destination--if they in fact reach it.

In Episode 23, "Angels Travel On Lonely Roads, Part 2", Kimble and Sister Veronica continue their trek over the high mountain passes.

The narration sums up the story so far: Kimble is fleeing the dragnet over the borders of two states while using the name from a borrowed wallet, while Sister Veronica is a fugitive from God, on her way to Sacramento to renounce her vows. She knows nothing of the predicament of her driver, "Nick Walker".

"Faith" and "providence" appear to have brought them this far. But, in the rusty old car barely held together, will these run out at some point?

On a cliff high above the road, two hoodlums on motorcycles watch the old car winding through the pass. As the two pass around a bottle of booze taking swigs, they decide to have a little "fun" with the ancient vehicle.

The two youths ride down and begin following Kimble's car. They weave in and out in front of it, pulling on the doors, kicking the sides and causing danger.

Kimble's car careens off the road and into the brush. Sister Veronica struggles to catch her breath. Kimble gets out as the two punks ride up behind them.

As the two teens cackle over their stunt and take swigs from the bottle, Kimble steps up and confronts them over their lowbrow antics. One hoodlum accuses Kimble of lacking a "sense of humor", and as a result, the punk's partner picks up a rock. The other is about to "teach this city slicker a lesson" by grabbing a club. Both teens prepare to do battle with Kimble for spoiling their fun. Kimble is outnumbered with no weapon.

The boys suddenly stop when they see Sister Veronica stride up, glaring at them. She smacks the first punk in the face, then yanks the other by the shoulder of his jacket. She gives both of the hoodlums the scolding of their life, accusing them of being total cowards, afraid of life and the world, for wanting to "rumble" with "the squares". She threatens to give them the same treatment she would give them in her school. She orders them to hop on their bikes and get out of there.

In shamed silence, the boys do so. Sister Veronica apologizes for her bad temper. Kimble says that she is a fraud-- she said that she was renouncing her vows due to her inability to communicate. Yet these two boys heard her loud and clear.

Sheriff Craig tells the other officer in the rural part of the state that he is extending the jurisdiction of Lincoln City into the mountains as he is getting an idea as to how Kimble moves to elude them. He has some kind of "luck" on his side.

When the car stalls again, Kimble checks it and tells Sister Veronica that for all his mechanical ingenuity, he cannot move the car forward with a ruptured fuel pump.

With her usual keen insight, she tells Kimble that they can coast down the hill.

The car rolls up to a lodge at the bottom of the hill.

Inside, Mathers and his friends play a game of poker when Kimble walks in. Mathers introduces "Nick Walker" to them as "angelic" sort of person who barges in on Chuck's good time with his lady friend. Kimble asks for a fuel pump for sale. Chuck obliges, but at a steep price. Even Kimble's collateral, an expensive watch, is hardly enough to cover it. Kimble decides that he wants in on their poker game to raise funds.

During their game, Kimble finds a few hands of "luck". To his surprise, he receives a straight, a set of cards in numerical order. This beats Chuck's hand of three kings. When Kimble is ready to cash in, Chuck becomes enraged that "Walker" gets a little too "lucky" and concludes that Kimble is a "card shark". In a tantrum, Chuck pushes over the table as he and Kimble erupt into fisticuffs.

As Chuck lies on the floor bleeding at the mouth from his opponent's fist blows,
Kimble demands the fuel pump with the funds he won before Mathers knocked over the table, as well as the watch and a dollar in change.

From behind the counter Chuck pulls out a gun, threatening "Walker" with a call to the police and jail for being a thieving "card shark". At that moment, Janet Loring, played by Ruta Lee, steps in and tells him to put the toy away. She dismisses his claims of being "ripped off" at poker, Chuck was just a born loser. She tells him to clean up the mess on the floor in the other room while he prepares to leave the next day for San Francisco.

Janet apologizes for the fracas with Chuck, he is in fact her brother-in-law and she asks for Kimble not to call the police on him for his bad behavior. Kimble explains he only wants his watch, the fuel pump and the dollar. Janet offers Kimble some work around the lodge to provide funds for their trip to Sacramento. He agrees to this.

As Act III opens, police are in hot pursuit with guns blazing. Pulling back, we see that it is an episode of a cops-and-robbers television show. Sister Veronica, who sits in front of the TV set, watches in awe. Apparently the marvel of television is a rarity in her world.

Chuck eyes the activity going on outside. Chuck complains about the noise from the television, but Sister Veronica is held in rapt attention. She finds the roles of the "good guys" and the "bad guys" confusing. The police are "good", as she can tell, while the mere suspects are the "bad" ones. In her cloistered convent environment, her lack of social engagement has skewed what most "ordinary folks" take for granted. What is perceived to "good and bad", "right and wrong" are not so clear-cut for a person with limited contact with the outside world. She asks Chuck about the roles on the program.

When Chuck suggests asking "do-gooder" "Nick Walker", he is surprised when she tells him she knows nothing about her driver's background. For all this time Chuck has believed that "Walker" worked as an assistant with her church. She explains that she met "Walker" outside Lincoln City when she needed help and he needed a ride. The name of the town rings certain bells for Chuck.

As Chuck exits, Sister Veronica learns the suspects were the bad guys as she follows the action onscreen. She switches the channel to a news broadcast.

Other shows, such as Route 66, had employed the same anthology-like premise of wanderers finding adventure in each new place they came to. The Fugitive, however, answered two questions that had bedeviled many similar series – first, why the protagonist never settled down anywhere, and second, why the protagonist tried to solve these problems himself instead of calling in the police. Casting a doctor as the protagonist also provided the series a wider "range of entry" into local stories, as Kimble's medical knowledge would allow him alone to recognize essential elements of the episode (e.g., subtle medical symptoms or an abused medicine), and the commonplace doctor's ethic (e.g., to provide aid in emergencies) would naturally lead him into dangerous situations.

Janet watches Kimble as he chops wood, amazed at this rather suave stranger driving a nun to her destination, a curious combination. Kimble tries to downplay his circumstances, but Janet talks about how Sister Veronica admires him greatly.

Janet explains her situation, that she is widowed and owns her late husband's property here in the mountains. A nice, quiet place to hide from the big city. But when she asks for any details on "Nick's" life story, he remains quiet. She offers him work for pay and companionship now that her brother-in-law Chuck will be leaving the next day.

In the unreleased longer version of the show's pilot, a different ('canned') music score was used in the opening and closing sequences. There are also several deleted scenes, including one, with Lt. Gerard talking to Captain Carpenter, that was re-shot. Quinn Martin felt it made Gerard out to be a bit deranged in his obsession. That version also listed William Conrad as the narrator in the end credits.

On the television news broadcast, Kimble's wanted poster is displayed. Sister Veronica becomes shocked at this revelation. Who was this man who "miraculously" dropped in to her journey? She now knows the reason for his running.

Chuck enters and asks if she has had enough of the "good guys and the bad guys" program on TV. As she watches Kimble load wood with Janet ouside, she affirms that she has indeed had enough.

Sheriff Morris drops by the lodge to pick up a box of chocolates and to warn both Janet and Sister Veronica about a desperate man such as Kimble. He then receives a call about a truck accident down the mountain road.

Janet returns to the barn to find why Kimble has been hiding out from the police visit. He explains he "found a girl"-- in the form of a sheep who has given birth to a lamb. Janet is awestruck at this, finding metaphors for the sheep's travails and comparing them to her own ordeals in life.

She tells Kimble that she wishes he could stay there. She assures him she is not "making moves" on him (necessarily), but that she needs company in this lonely, secluded place. She says the companionship there could be strictly platonic. But could there have been something more?

What little original melody was actually written and recorded was built around a fast-paced tempo representing running music. Different variations, from sad to action-oriented, would be used, with many arrangements developed for the music supervisor to select as best suited for particular scenes. There was also an original "Dragnet"-type theme for Lt. Gerard.

What little original melody was actually written and recorded was built around a fast-paced tempo representing running music. Different variations, from sad to action-oriented, would be used, with many arrangements developed for the music supervisor to select as best suited for particular scenes. There was also an original "Dragnet"-type theme for Lt. Gerard.
That would have been interesting to hear a "Dragnet"-style theme for Gerard. The music for the incidental parts of the story was often effective in conveying danger from police, a chase scene or danger, or psychological fear.

Kimble tells Janet that he must be moving on. Sister Veronica tends to the windows as she and Janet exchange goodbyes. Neither are aware of Chuck prowling around the car as Kimble goes to retrieve their bags. Chuck snatches Kimble's wallet and money Janet paid him for his work around the barn.

Janet warns about the roads being rough up ahead. Janet wishes them well, and Kimble and Sister Veronica finally drive off on their way.

The show presents a popular plot device of an innocent man on the run from the police for a murder he did not commit while simultaneously pursuing the real killer. It had its antecedents in the Alfred Hitchcock movies The 39 Steps, Saboteur, and North by Northwest. The theme of a doctor in hiding for committing a major crime had also been depicted by James Stewart as the mysterious “Buttons the Clown”, who never removed his makeup, in The Greatest Show on Earth. Writer David Goodis claimed that the series was inspired by his 1946 novel Dark Passage, about a man who escapes from prison after being wrongly convicted of killing his wife. Goodis' litigation over the issue continued for some time after his 1967 death.

Inside, Chuck counts out the dollar bills he has taken from Kimble's wallet. Janet is outraged and at her wit's end at his despicable, thieving behavior. She orders him to grab his things and get out at once. Chuck defends his actions, saying that a "card hustler" like Kimble wasn't going to get the best of him.

As he walks away, he stops, noticing the stack of newspapers she brought in. On the front page the headlines announce Kimble's status as being at large, with his wanted photo. Chuck is vindicated: This mysterious "do-gooder" is sought after by the police. Opening the wallet, Chuck takes out the ID of "Nick Walker" and reads that his age and weight hardly match the stranger who was in their midst. Janet is aghast at this. She pleads with him not to call the sheriff, but he callously pushes her away as he dials.

On their way down the mountain, Sister Veronica finally tells Kimble she saw his wanted poster being shown on the news broadcast and has a few questions.
Kimble explains that he had nothing to do with the death of his wife. This answer satisfies her, and she asks the other important question: Why did he stay with her after all this time, even after the roadblock in Lincoln City?

She knows that it was not simply the fact that a person traveling with a nun is above question due to their association with a person in clerical garb and a crucifix. It was that the "realist" in Kimble is not quite the "practical" person he claims to be, he questions his own questioning, that there is something higher he is finding that she offers. Two people in desperate circumstances are able to give a little something of themselves to the other. But she, the "woman of faith", asks herself, "Why?"

As Sheriff Morris and Chuck search for Sister Veronica's car far down the road, Chuck gloats that Kimble's capture will make him a big name all over the mountain community, Chuck Mathers will be famous. Sheriff Morris reminds Chuck that he is only along to make a positive ID on Kimble, not to apprehend the suspect.

On the police radio, Morris calls Sheriff Anderson, who is in the vicinity tending to a truck accident, but receives no answer. Sheriff Anderson is away from the radio, tending to a truck accident.

Chuck and Sheriff Morris soon spot Sister Veronica's car on the winding road far ahead of them. She and Kimble notice the flashing lights on top of the police car. Kimble also discovers that his wallet and ID are missing. Sister Veronica suspects Chuck took it while standing by the car earlier.

Both cars careen around the treacherous mountain roads as the police car follows in pursuit. Kimble plans to pull over ahead and make a run for it once he can stop.

And the car does stop--the front tire blows out. Only several yards from the previously reported truck collision.

Unfortunately, the police car with Chuck and Sheriff Morris speeds down the winding road too fast to react to the truck ahead. Screeching on the brakes much too late, Sheriff Morris and Chuck crash into the truck wreck. Kimble and Sister Veronica watch in amazement. Their problem of balding tires has turned out to be a blessing in disguise.

While Kimble and Sister Veronica fix the flat, Sheriff Anderson tends to a new pair of crash victims at the scene. As the ambulance prepares to take them away, Chuck deliriously mutters, "Tell the sheriff, tell the sheriff..." As he struggles in vain to alert Sheriff Anderson about their fleeing quarry, the officer simply tells him this is why incoherent Chuck needs to lay off that beer.

While Kimble fixes the flat tire, Sheriff Anderson tells him and Sister Veronica that if it were not for the blowout, it would have been them who collided with the truck, so they were lucky. Kimble says it was more like a miracle. The officer says that both Chuck and Sheriff Morris will be okay at the hospital. He explains the police car was driving too fast before warning flares could be set up.

Anderson offers to wipe off the grease smudge from Kimble's face, but he declines for now. A smear also miraculously conceals Kimble's identity to the sheriff unawares. As Kimble finishes using the jack that Sheriff Anderson has provided, the officer urges Kimble and Sister Veronica to drive on to prevent blocking the road.

Back at the police station in Lincoln City, Sheriff Craig calls Lieutenant Gerard to tell him of Kimble's mysterious escape.

That night, Kimble and Sister Veronica finally arrive at the church in Sacramento. She explains that she will tell Father Kerrigan there of the "Divine Providence" that appointed Kimble to be her driver on her journey. She has chosen that, due to the miraculous occurrences they encountered, that she will not renounce her vows after all. It was the gift of Kimble's presence that preserved her faith and her commitment.

Kimble thanks her in showing that part of him coming back to life, that faith which provided rather amazing miracles, such as the inside straight in the poker game. He assures her that he does believe now. It gives him courage for the journey ahead.

The final moments are quite touching. She says that she will keep him in her prayers, then continues to solemnly stride to the door of the church. Before entering, she gives him one last gaze. Kimble proceeds into the night, with the narration telling that while one "fugitive" has found her resting place, the other must go on to face more trials and tribulations--but Kimble realizes that he is not alone, by rekindled faith in a guiding Hand, on this precipitous journey. The episode closes with a shot of the moon in the heavens above the silhouette of the church.

Sister Veronica, with Eileen Heckart, would later make a return appearance in a future episode.

Link to Angels Travel On Lonely Roads, Part 1:

https://www.dailymotion.com/video/x7ztdbr

Angels Travel On Lonely Roads, Part 2:

https://www.youtube.com/watch?v=Vla6W7BtXBo

In its debut season, The Fugitive was 28th in the U.S. Nielsen ratings (with a 21.7 rating), and it jumped to 5th in the second season (27.9). It fell out of the top 30 during the last two seasons, but the series finale, in which Dr. Kimble's fate was shown, currently holds the third rank for the all-time highest U.S. television household share, at 72%.

Character actor Albert Salmi, who played the combative lush nemesis Chuck Mathers in the "Angels Travel On Lonely Roads" episodes, was quite the "bad boy" in real life, which, sadly, was met with a tragic end.

Born to Finnish immigrant parents in Brooklyn, New York, on March 11, 1928, Salmi served briefly in World War II before studying method acting at Actors Studio with Lee Strasberg in Manhattan.

Salmi performed well on stage on such productions as 'Bus Stop', which was widely praised by critics. He was offered the opportunity to star in a film version of 'Bus Stop' with Marilyn Monroe but declined because he did not enjoy film work. Eventually he opted to appear in the film 'The Brothers Karamazov' with Yul Brynner, William Shatner, Lee J. Cobb, and Richard Basehart. From there he appeared in many critically acclaimed films.

Interestingly, in spite of his rising number of accomplishments in film and television, he felt, as did many of his peers, that appearing in movies and TV was "inferior" to performing onstage. However, his popularity grew on the new medium of television on such shows in the 1950's as the "Bang the Drum Slowly" episode of 'The United States Steel Hour' with Paul Newman and George Peppard. He appeared in three episodes of 'The Twilight Zone': "Of Late I Think Of Cliffordville", "A Quality Of Mercy", and "Execution", the latter which also featured Russell Johnson, known as "The Professor" on 'Gilligan's Island'. Salmi played a Wild West villain who was snatched from a hanging by a time-travelling device.

Salmi with co-star Julie Newmar in 'The Twilight Episode' "Of Late I Think Of Cliffordville", where he appears as an older man:

The show's lead, and the only character seen in all 120 episodes, was Dr. Richard David Kimble (David Janssen), based in part on the story of Sam Sheppard.

Salmi appeared in other television shows as well, including 'Lost In Space', 'Daniel Boone', and 'Gunsmoke', for playing a killer meeting an ironic end. This role earned him a Western Heritage Award.

Albert Salmi appeared in many other Western television shows and episodic dramas in the 60's and 70's including 'The Virginian', 'Have Gun--Will Travel', 'Bonanza', 'The Big Valley', 'Naked City', 'Twelve O'Clock High', 'The Legend of Jesse James', 'Alfred Hitchcock Presents', 'Land Of the Giants', 'That Girl', 'Night Gallery', 'Kung Fu', 'Petrocelli', 'The A-Team', and 'Knight Rider', among others.

His film credits included 'The Unforgiven' in 1960, 'Lawman' (1971), 'Escape From the Planet Of the Apes' (1971), 'Viva Knievel!' (1977), 'Empire Of the Ants' (1977), 'Love And Bullets' (1979), 'Caddyshack' (1980), 'Brubaker' with Robert Redford (1980), 'Dragonslayer' (1981),
'I'm Dancing As Fast As I Can' with Geraldine Page (1982), and and the hard drinking but loving father of character Diana Lawson in 'Hard to Hold' (1984). His final role was in 'Breaking In' with Burt Reynolds in 1989.

The Fugitive was nominated for five Emmy Awards and won the Emmy for Outstanding Dramatic Series in 1966.

Albert Salmi married his first wife Peggy in 1956 but both divorced in 1963. Their daughter Catherine Ann, or "Cas", was born in 1957, their only child, but unfortunately she died in 1995 at the age of 38 from heart disease.

In 1964 Salmi married his second wife Roberta. They had two daughters Elizabeth and Jennifer. The couple moved from Los Angeles to Spokane, Washington in 1983 where he entered semi-retirement, teaching classes on acting and taking a few local acting roles in theater.

Unfortunately, his relationship with his second wife was tumultuous. In February 1990 the couple had separated, with Salmi moving to their Idaho condominium and Roberta remaining in the family home in Spokane. On February 6th of that year, she filed for divorce, claiming that her alcoholic husband was physically abusive when he was drunk, and threatened often to kill her during his tirades. She had a restraining order issued on Salmi. Though her husband denied physically abusing her, he defended himself by blaming the split on emotional issues. But her claims of physical abuse and threats to her life proved true when she was found to be fatally shot in their Spokane home on April 22, 1990. It was determined that she was killed the day before.

A friend stopping by to check on her found her shot in the home and that Salmi was then found to have subsequently shot himself in a suicide in the den. He was determined to have suffered from severe depression, with little question that alcohol played a major part in the motives for his act. After a funeral, his ashes were laid to rest in Spokane.

Salmi was a fine actor whose "bad boy" roles often eerily became art imitating life.

Here are a few photo samples of Salmi's acting roles. In the film 'The Ambushers', with the sunglasses and facial hair, he plays a Mexican character--ironically while he himself was of Finnish descent. In the Western 'The Unforgiven', he is shown with Audrey Hepburn. He is shown in the top corner in 'Caddyshack' and the lower picture shows him in 'Dragonslayer'.

TV Guide named the one-armed man No. 5 in their 2013 list of The 60 Nastiest Villains of All Time.

Going back to the single episode format, 'The Fugitive' returned with the 24th episode on 'Flight From the Final Demon'. In this episode, Kimble finds a travelling companion whose disturbing behavior attracts the attention of the police.

Carol O'Conner, several seasons before assuming the title role in 'All In the Family', plays Sheriff Bray, who recognizes Kimble, "Al Dexter", at a health club. Noting Kimble is rather skilled with his massage, he notes that he resembles someone he knew. As is the case with many policemen, he gives away his game to Kimble which provides the doctor a reason to escape.

When Bray strongly suggests that Kimble come with him to clear up a case of questions as to his identity, a fitness club member, Steve Edson, played by Ed Nelson from 'The Girl From Little Egypt', intervenes when he hears Bray on the phone calling police headquarters to report a possible sighting of Richard Kimble at the club. Edson knocks out Bray and flees with Kimble, warning him of the sheriff's discovery of "Dexter's" identity.

I was not able to watch The Fugitive when it originally aired since I was a kid and had to be in bed before 10:00 pm. A couple years ago, I noticed the local library had all four seasons of The Fugitive on DVD. Over the last two winters, I have been able to watch almost every episode. What a great show and David Jansen was an excellent choice to play Dr. Kimble.

The one-armed man, convincingly portrayed by disabled actor Bill Raisch, was a good choice for the villain in the series. Interestingly, in Roy Huggins' original script, the villain whom Dr. Kimble had seen fleeing his home on the night of the murder, was initially described as merely a "red-haired man" who allegedly killed his wife. Huggins eventually made the villain more distinctive by having be a one-armed man seen fleeing the scene of the murder. Most likely a "red-haired man" would not have translated well on black and white television.


Also, searching for a "one-armed man" made it a bit easier for Dr. Kimble as opposed to searching for a "red-haired man". It was surprising that Dr. Kimble was able to find the "one-armed man" so many times throughout the series.

As Kimble and Edson flee Sheriff Bray, the officer aims and shoots, wounding Edson as he escapes.

With 120 episodes and typically two or more guest stars per episode, the series offered a massive who's who of stars from stage and screen, character actors, and up-and-coming talent. Many guest stars appeared as different characters in multiple episodes.

Haven't touched this thread in the past several weeks, but I have been doing a lot of thinking about the series. During the crazy spring and summer where I found a lot of time to watch back episodes, I noticed a lot of things about many of the characters and the actors and actresses who portrayed them on 'The Fugitive' that added to the stories. There were certain "types" that added to the drama on the series. I want to touch on these characters as I look into the series in future episodes.

It was interesting to see a certain kind of life and character of America back in the '60's. It was a tumultuous time where people questioned so much that an older generation took for granted. Things were less complicated. Home could be where you could leave the door unlocked and you could expect things to remain the same and be comfortable the next day. A year ago, our country was awash in both a pandemic and a series of riots that threatened our security. But in the 1960's, did we not face the same sense of dread and doom? Did 'The Fugitive' not address this in some roundabout way?

The show was not "political". And yet did it not bring to light the fact that authorities in our cities and country were not infallible? Nothing was 'Leave It To Beaver' or 'Andy Griffith' of Mayberry. Still, the 60's felt a little more comforting than what we had going on a year ago. But that was because we got the 70's and bell bottoms and disco. And "Sweet Home Alabama". This was how to see things in hindsight.

The two-part final episode, titled "The Judgment", aired on Tuesday, 22 August and Tuesday, 29 August 1967.

Part 1

The one-armed man, going by the alias "Fred Johnson", is arrested after tearing up a Los Angeles strip bar. When Kimble reads about it in a newspaper, he travels to Los Angeles. However, Gerard has already arrived in Los Angeles and is working with the local police, convinced Kimble will come to the city. Gerard is spotted by Jean Carlisle (Diane Baker), an old friend of the Kimble family who is working as a typist with the Los Angeles Police Department. Jean manages to reach Kimble just as the police start searching the area and takes him to her apartment.

Meanwhile, Gerard interrogates Johnson and begins thinking that Kimble may be telling the truth. After Kimble learns that Johnson has been arrested, he elects to turn himself in, hoping to confront Johnson. Before he can carry out his plan, Johnson is bailed out of jail by a corrupt bail bondsman, who plans to blackmail the person who supplied the bail money. The bondsman is killed by Johnson after revealing that the money came from someone in Kimble's hometown of Stafford, Indiana. Kimble tries to head back home, but Gerard arrests him. The lieutenant does not express any triumph or satisfaction in making the arrest. "I'm sorry," Gerard tells him. "You just ran out of time."

I was not able to watch The Fugitive when it originally aired since I was a kid and had to be in bed before 10:00 pm. But since "The Judgement" aired while I was still on summer vacation, I was able to watch it.

I was beginning 'Flight From the Final Demon' a few weeks ago when I came across some more episodes I would like to touch on first, such as "Landscape With Running Figures, Parts 1 and 2", and another episode with a short commentary by one of its co-stars. "Escape Into Black" featured Betty Garrett, who later starred in 'All In the Family' and 'Laverne And Shirley', and she offers an interesting point about the actions in the plot with leading star David Janssen.

So I want to cut to that episode first.

There were 4 episodes with two parts over the course of the series, all of them featuring characters in both parts. "Never Wave Goodbye" features in both parts, in addition to Gerard, Susan Oliver as Karen Christian, Robert Duvall as her brother Eric, and Lee Philips as Dr. Ray Brooks, with Karen and Richard Kimble falling in love, while Ray pines for Karen. "Angels Travel on Lonely Roads" has in both parts, in addition to Sister Veronica, Albert Salmi as Chuck Mathers, the brutish owner of a gas station who gives Kimble trouble and later tries to collect the reward money when he finds out who Kimble is; and, filling in for Gerard (this is the only two-parter in which Gerard does not appear) Sandy Kenyon as a local sheriff and Ken Lynch as a local plainclothes police detective. "Landscape with Running Figures" has in both parts, in addition to Lt. Gerard and Mrs. Gerard, Herschel Bernardi and Jud Taylor as two local plainclothes police officers assisting Gerard in the manhunt. The series finale, "The Judgment", has, in both parts, in addition to Gerard, Donna, Leonard, and the One-Armed Man, also Diane Baker as a Kimble family friend from Stafford, Jean Carlisle, and she leaves arm in arm with Dr. Richard Kimble in the final scene of the series.

In "Escape Into Black", the 9th episode of the second season, Kimble suffers an injury where he loses his memory. Betty Garrett of 'All In the Family' and 'Laverne And Shirley' appears in this episode, as does Ivan Dixon of 'Hogan's Heroes' in his first appearance in 'The Fugitive'.

Beginning the second season, an opening clip previewing an important part of the episode's storyline has replaced the train crash and the escape scene sequence in the first season. Stills of the sequence and of Kimble's dilemma are shown beginning here.

In the opening scene, a truck drops off Kimble in Decatur, Iowa. Kimble has a definite purpose in being here: This is no random stop in his journey, he now follows a lead that the one-armed man has been seen here. A flashback of that fateful evening of his wife's murder is replayed, with the perpetrator appearing for a second in Kimble's headlights in that scene which he will not forget.

Kimble stops at a diner in town.

Kimble enters the diner for a small meal and to ask questions about a one-armed man who has been seen working at a diner in the area. The head chef scoffs at the thought that his meager establishment is a "diner". Before he can reply to Kimble's request for information, a cry for help erupts from the kitchen. His wife shouts that a fire is emanating from the oven.

Kimble races in to the kitchen to help put out the blaze. Instantly an explosion knocks him out to the floor.

Kimble lies in a hospital bed as Dr. Towne, played by Ivan Dixon, discusses his condition with other doctors. When asked of his name, Kimble's identification gives only an alias: "Frank Barlow" from Omaha, Nebraska. Dr. Towne instructs them to notify "Barlow's" family of the accident.

Social worker Margaret Ruskin, played by Betty Garrett, consults with a grief-stricken father over the suicide of his daughter due to drugs. She remains crushed that he left without saying a word. In this she is shown as compassionate and caring, not enjoying this part of her line of work. A nurse steps in to inform her of a "dreamy-looking" patient in need of verification over his identification.

The doctors ask Kimble about his condition. He says he feels dizzy, has blurred vision, with ears ringing. Dr. Towne asks Kimble for his name. Kimble replies that he does not know. He remembers that there was an explosion, but cannot recall where. He has no recollection of whether he is married, nor of Omaha, Nebraska. He can recall solving simple math problems, but cannot remember his name. The first doctor, Dr. Block, says that he has suffered a temporary loss of memory, but that it will correct itself within a few days. He says that Dr. Towne is a neuropsychiatric specialist who will help their patient.

When Dr. Towne describes the injury Kimble has suffered, surprisingly Kimble comes up with the term "haemotoma", the medical definition for internal bleeding caused by traumatic damage to the blood vessels. Dr. Towne confirms that a haemotoma has occurred in his blow to to the head.

A total of 40 episodes have been released on VHS by NuVentures Video (Volumes 1–10 were later re-released with Barry Morse providing introductions to each episode, as in Volumes 11–20), with selected shows from the 40 later issued by Republic Pictures. Twelve episodes were also released on laserdisc.

Miss Ruskin phones all around trying to find the whereabouts of "Frank Barlow's" next of kin with ID and clothing coming from all over the country, but she has no luck. Dr. Towne brings in Sargeant Lasko, played by the actor who portrayed Kimble's prosecutor in 'The Girl From Little Egypt', who says he is sorry about the girl who died from an overdose. Ruskin is shocked that Dr. Towne reported the girl's death to the police, though Dr. Towne said it was simply a matter of protocol and procedure. Ruskin finds Dr. Towne's actions heartless and cold.

Sargeant Lasko returns to the matter of "Frank Barlow" and asks for set of his fingerprints.

According to Ed Robertson's book The Fugitive Recaptured (the first book written about the series), the final episode aired in Canada on 5 September 1967 with an alternate closing narration, giving that date. The "Special Features" DVD states that the final episode was interrupted in some parts of the U.S.

This version was also seen in some areas in syndication and was later released on VHS tape.

Both versions are available on DVD.

I recall a Fugitive episode (not sure which one) that began with Kimble walking down a deserted city street at night and hearing footsteps behind him. He turns around and see Lt. Girard following him. Kimble starts running and turns into an alley, only to be stopped at a brick wall. Lt. Girard approaches Kimble and says "It's over". As it turns out, it was just a dream. I don't recall any other episodes that started with dream sequences, but perhaps they should have been done more often.

On October 23, 2012, CBS released The Fugitive: The Most Wanted Edition on DVD in Region 1. This 34 disc set featured all 120 episodes of the series as well as bonus features, such as the unaired version of the pilot with different footage. The set was recalled due to possible music issues, but some sets were released. The set was later re-released with 5 replacement discs, so that now all original music is intact.

I recall a Fugitive episode (not sure which one) that began with Kimble walking down a deserted city street at night and hearing footsteps behind him. He turns around and see Lt. Girard following him. Kimble starts running and turns into an alley, only to be stopped at a brick wall. Lt. Girard approaches Kimble and says "It's over". As it turns out, it was just a dream. I don't recall any other episodes that started with dream sequences, but perhaps they should have been done more often.
This episode was "Nightmare At Northoak", where Kimble has a dream of Gerard chasing him down an alley with no escape, and Gerard exults, "Finally, Kimble... Finally." And he prepares to shoot him with a maniacal leer when Kimble is awakened by a tire blowing out.

Later in the episode, the dream recurs.

The show also came away with other honors. In 1965, Alan Armer, the producer of the series, received an Edgar Award from the Mystery Writers of America for his work. And in a 1993 ranking, TV Guide named The Fugitive the best dramatic series of the 1960s.

Ruskin asks "Frank Barlow" questions in order to determine financial responsibility for his situation. She feels that he is hiding something, though he insists he is not making up any of his amnesiac condition. She says that his aliases on his person are fictitious after thoroughly checking. Kimble recalls none of these names, "Frank Barlow" or "David Merrill" on his IDs. He feels, like the hospital robe, that these are names arbitrarily given to him.

In frustration over his inability to determine his identity, Kimble leaves to return to his room as Ruskin follows. He stops when he sees a man with a missing arm cross the room. Something so jarring about this strikes Kimble that he drops to the floor, passing out. Ruskin calls for help,

As Kimble recovers from his fainting, Sargeant Lasko prepares to take fingerprints of him to help establish his identity. The doctors cut the bandages of his badly burned hand.

Kimble reacts instinctively with deep hesitation over his fingerprints being taken. As with the man in the hallway with the missing arm, he cannot put his finger on why.

Lasko tells him that prints may have been taken if he did time in the army. For all anyone knew, "Barlow" could be a lost millionaire.

A short-lived TV series remake (CBS, October 6, 2000 – May 25, 2001) of the same name also aired, starring Tim Daly as Kimble, Mykelti Williamson as Gerard, and Stephen Lang as the one-armed man. It was filmed in various places, including Seattle, Washington. CBS cancelled the series after one season, leaving a cliffhanger unresolved.

Ruskin visits the diner chef owner as he recovers in the hospital and asks him about anything "Frank Barlow" may have talked about, why he was in Decatur. The owner replies that he was looking for a "friend", a man with a missing arm working in a restaurant.

Ruskin then looks up amputee workers working in kitchen establishments in the city, according to sources in the area. She announces she is taking the day off.

In the hospital lobby, Kimble witnesses an elderly man erupt into incessant coughing fits before collapsing. He springs into action to help the man, shouting for a nurse to provide specific medical aid, a half CC of morphine, as the man is haemorraging. She quickly replies as Dr. Block joins in to assist. Both the doctor and the nurse are surprised at Kimble's quick and precise actions.

The two-part final episode, titled "The Judgment", aired on Tuesday, 22 August and Tuesday, 29 August 1967.

Part 1

The one-armed man, going by the alias "Fred Johnson", is arrested after tearing up a Los Angeles strip bar. When Kimble reads about it in a newspaper, he travels to Los Angeles. However, Gerard has already arrived in Los Angeles and is working with the local police, convinced Kimble will come to the city. Gerard is spotted by Jean Carlisle (Diane Baker), an old friend of the Kimble family who is working as a typist with the Los Angeles Police Department. Jean manages to reach Kimble just as the police start searching the area and takes him to her apartment.

Meanwhile, Gerard interrogates Johnson and begins thinking that Kimble may be telling the truth. After Kimble learns that Johnson has been arrested, he elects to turn himself in, hoping to confront Johnson. Before he can carry out his plan, Johnson is bailed out of jail by a corrupt bail bondsman, who plans to blackmail the person who supplied the bail money. The bondsman is killed by Johnson after revealing that the money came from someone in Kimble's hometown of Stafford, Indiana. Kimble tries to head back home, but Gerard arrests him. The lieutenant does not express any triumph or satisfaction in making the arrest. "I'm sorry," Gerard tells him. "You just ran out of time."

The two-part final episode, titled "The Judgment", aired on Tuesday, 22 August and Tuesday, 29 August 1967.

Part 1

The one-armed man, going by the alias "Fred Johnson", is arrested after tearing up a Los Angeles strip bar. When Kimble reads about it in a newspaper, he travels to Los Angeles. However, Gerard has already arrived in Los Angeles and is working with the local police, convinced Kimble will come to the city. Gerard is spotted by Jean Carlisle (Diane Baker), an old friend of the Kimble family who is working as a typist with the Los Angeles Police Department. Jean manages to reach Kimble just as the police start searching the area and takes him to her apartment.

Meanwhile, Gerard interrogates Johnson and begins thinking that Kimble may be telling the truth. After Kimble learns that Johnson has been arrested, he elects to turn himself in, hoping to confront Johnson. Before he can carry out his plan, Johnson is bailed out of jail by a corrupt bail bondsman, who plans to blackmail the person who supplied the bail money. The bondsman is killed by Johnson after revealing that the money came from someone in Kimble's hometown of Stafford, Indiana. Kimble tries to head back home, but Gerard arrests him. The lieutenant does not express any triumph or satisfaction in making the arrest. "I'm sorry," Gerard tells him. "You just ran out of time."

Interestingly, Fred Johnson may have been an alias, as the one-armed man had many assumed names throughout the series. In the final season, he had several. In "Wife Killer", it was established that he was to go by the name Fred Johnson. In the final two-part episode, he asserts to Gerard that this was not his name. What was his real name? We may never know, Helen Kimble's assailant was mysterious.

Currently, Republic Pictures and CBS Television Studios own the copyrights to the series (while CBS itself now owns distribution rights); CBS DVD (with distribution by Paramount Pictures Home Entertainment) released Season 1, Volume 1 on DVD in Region 1 in late 2007. Reviews of the first DVD set have been very positive as the show appears uncut, unedited and uncompressed, digitally transferred and re-mastered from the original negatives and restored from original magnetic soundtrack, although a disclaimer by CBS mentions some episodes are "edited from their original broadcast versions" and some music changed for home video. Incidental music was altered in at least two episodes, "Where the Action Is" and "The Garden House". There are no subtitles or alternate languages, but English closed captions are provided, and the "liner notes" consist merely of TV-Guide-style episode synopses inside the four-disc holder. Season 1, Volume 2 was released on February 26, 2008.

Kimble returns to his room when Dr. Towne steps in. He compliments Kimble on his quick and efficient treatment of the man outside. Towne finds it ironic that an apparently good doctor would be hitchhiking all the way across the country. Towne concludes that "Frank Barlow", an amnesia patient is hiding something, a fear of something in his past he does not wish to confront. He may have sought an accident to erase this terrible memory.

Towne explains that as a duly qualified doctor in neurosurgery, he can help "Barlow" with recovering his memory. He believes that "Barlow" may be fighting some act of wrongdoing, a lapse in professional medical ethics or worse.

Dr. Towne reveals much about his personality and his approach to his practice. He pursues it from more of a merely scientific perspective, not motivated so much by compassion or "the human touch". He is different from Miss Ruskin in this regard.

Meanwhile, Miss Ruskin visits a restauranteur to speak to disabled men as to their knowledge of "Frank Barlow". She asks to see one who goes by the name Fred Johnson, according to her list of men missing an arm. In the middle of a busy shift, she is permitted to see him for a few moments.

While Johnson tends a dishwasher, Miss Ruskin asks him if he has seen the man in the photo. Johnson, the one-armed man, says he does not know him nor has seen him. He appears rather put off by being asked.

While later episodes would give the one-armed man various aliases, this is the first episode to give him the name he commonly uses. To be on the roster of job agency and other services, it would make sense that Fred Johnson is his legal name. This is also the second episode where the one-armed man has made an appearance aside from Kimble's flashbacks. His first non-flashback appearance was in "Search In a Windy City". Kimble becomes his own "detective" by making a nationwide search for the one-armed man and his whereabouts, often with various crimes against women Johnson is alleged to have committed.

The Fugitive was part of the original lineup on the Arts & Entertainment Network (A&E), beginning in February 1984. It ran until the summer of 1994. The show also appeared on the nationwide WWOR EMI Service and briefly on Nickelodeon’s TV Land network in 2000.

A short-lived TV series remake (CBS, October 6, 2000 – May 25, 2001) of the same name also aired, starring Tim Daly as Kimble, Mykelti Williamson as Gerard, and Stephen Lang as the one-armed man. It was filmed in various places, including Seattle, Washington. CBS cancelled the series after one season, leaving a cliffhanger unresolved.

I signed up with a talent agency in Seattle for the opportunity to be an extra on that show. Just a person who was part of a crowd. I was never was called, unfortunately. :wallbang

Although convicted and imprisoned, Sheppard claimed that his wife had been murdered by a "bushy-haired man". Sheppard's brothers hired F. Lee Bailey to appeal the conviction. Bailey defended Sheppard and won an acquittal in the second trial. Coincidentally, the show's music supervisor, Ken Wilhoit, was married to Susan Hayes, who had had an intimate relationship with Sheppard prior to the murder and testified during the first trial in 1954.

Kimble consents to Dr. Towne giving him sodium pentathol, the chemical used to help recover memory and release mental inhibitions. Once the drug takes effect, Dr. Towne asks and prompts Kimble about certain details of his life. Kimble begins to recall very traumatic memories and painfully repeats them out loud about his argument with his wife Helen about their inability to have children. As Kimble fights these horrific recollections, Dr. Towne encourages him to keep speaking about them, walking him through each mental scenario.

This segment adds to the psychological drama of the episode. When the pentathol wears off, Dr. Towne explains to Kimble what he has just admitted: His name is Dick, or Richard Kimble. He was a doctor whose wife is found dead. Dr. Towne suspects that Kimble subconsciously must have wished her dead, from his unwillingness to confront these painful memories.

Meanwhile, at a public pay phone, the one-armed man Fred Johnson dials and calls the homicide division at the local police department.

Dr. Richard Kimble is pursued by the relentless Stafford police detective Lt. Philip Gerard (Barry Morse), a formidably intelligent family man and dedicated public servant. Gerard directly appears in 37 episodes and also in the main title sequences of all 120 episodes; Barry Morse is also listed in the closing credits of every episode.

Morse portrayed Gerard as a man duty-bound to capture Kimble. Guilt or innocence was of no consequence to Gerard, whose own beliefs have been stated as follows:

"I enforce the law. The law pronounced him guilty; I enforce the law. ... Whether the law was right or wrong [in convicting him] is not my concern. Let others debate and conclude; I obey ... and when I begin to question, doubt – I can't permit it. Others found him guilty; others were about to execute him. I was merely an instrument of the law ... and am." ("Fear in a Desert City", 1963.)

It was amazing how quickly Lt Gerard was able to get to the location where Kimble was spotted despite his beings a long distance away. At times Gerard would be there in a matter of a few hours.

Dr. Richard Kimble's murdered wife Helen (née Waverly) was portrayed in flashbacks in three episodes, including season one's "The Girl from Little Egypt" and (uncredited) in season four's "The Judgment: Part II" by Diane Brewster. Brewster's uncredited voice is also heard in recorded messages of Helen's voice in season two's "The Survivors". However, in an extremely brief flashback in the second-season episode "Ballad For A Ghost", Helen (discovered dead) was played not by Brewster but by Janis Paige; in this episode, Paige also played a singer who bore a marked resemblance to Helen.

It was amazing how quickly Lt Gerard was able to get to the location where Kimble was spotted despite his beings a long distance away. At times Gerard would be there in a matter of a few hours.
It was also interesting how Gerard could spot Kimble's image in a small photograph in practically every newspaper in the country when he happened to be caught on camera. A few times the photo could be so blurred that it was strange how Gerard could recognize it was Kimble, such as in "Ill Wind".

When Gerard finally captures Kimble in Part 1 of "The Judgment", he does not gloat over the arrest, reflecting his respect for his adversary and possibly his recollections of Kimble's past attempts to save him and help others while on the run. "I'm sorry," he says. "You just ran out of time." His decision to give Kimble 24 hours to clear himself in Part 2 of "The Judgment" also reflects that respect and his increasing doubts of Kimble's guilt regardless of the conviction. That leads to the climactic scenes where the truth of Helen Kimble's murder emerges along with an eyewitness, family friend and war hero Lloyd Chandler, who was at the Kimble home, witnessed Fred Johnson murder Helen Kimble, but was too cowardly to intervene. Ironically, as Kimble and Johnson fight atop a carnival ride, Gerard fatally shoots Johnson just before he can shoot Kimble. Gerard firmly tells Chandler "you can keep that man (Kimble) alive. But you won't." Gerard's comments lead Chandler to agree to testify. After Kimble is exonerated in court, Gerard encounters Kimble leaving, silently smiles and offers his hand. After hesitating, Kimble shakes it.

When Miss Ruskin returns that evening, she learns that Dr. Towne has received a phone call from the police that "Frank Barlow" is in fact Dr. Richard Kimble, wanted for murder. Dr. Towne mentions the one-armed man, for whom Ruskin has been searching all afternoon, she explains, and that one of the men she found must be the one who called the police. Dr. Towne finds it incredulous that she must have found the guilty party.

Dr. Towne insists that Kimble is the guilty one, and that he is "dangerous". He insists that he has done the right thing by calling the police, and that legally and morally his actions were right. Like Wilma Springer in "Nightmare At Northoak", he is simply guided by a sense of legalistic duty regardless of human considerations. Ruskin is frustrated by Dr. Towne's unfeeling attitude.

Miss Ruskin rushes in to Kimble's room, urging him to put on a jacket. She explains that he is Richard Kimble, and that he is accused of murdering his wife. Kimble mentally puts the pieces together, accepting what Dr. Towne has said about him. But Ruskin insists that she believes in his innocence, and that if the police catch him, he will be executed. She pleads with him to get out as quickly as possible.

There are parallels to be seen between Gerard's pursuit of Kimble and the pursuit of Jean Valjean by Inspector Javert in Les Misérables, though Javert never lets go of his obsession to follow the letter of the law and hunts down his fugitive, even killing himself when he discovers that he cannot reconcile his tenets with the mercy Valjean shows him. Gerard, on the other hand, was portrayed externally as a man like Javert, but internally as more of a thinking man who could balance justice and duty. According to some of those who worked on the show, these parallels were not coincidental. Stanford Whitmore, who wrote the pilot episode "Fear in a Desert City", says that he deliberately gave Kimble's nemesis a similar-sounding name to see if anyone would recognize the similarity between "Gerard" and "Javert".[7] One who recognized the similarity was Morse; he pointed out the connection to Quinn Martin, who admitted that The Fugitive was a "sort of modern rendition of the outline of Les Misérables."[7] Morse accordingly went back to the Victor Hugo novel and studied the portrayal of Javert, to find ways to make the character more complex than the "conventional 'Hollywood dick'" as whom Gerard had originally been conceived. "I've always thought that we in the arts ... are all ‘shoplifters’", Morse said. "Everybody, from Shakespeare onwards and downwards ... But once you've acknowledged that ... when you set out on a shoplifting expedition, you go always to Cartier's, and never to Woolworth's!"

Was there any pattern to Kimble's movement around the country from one episode to the next? For example, if he was in California in one episode, would he be in a nearby state like Arizona or Nevada in the next episode?

Although convicted and imprisoned, Sheppard claimed that his wife had been murdered by a "bushy-haired man". Sheppard's brothers hired F. Lee Bailey to appeal the conviction. Bailey defended Sheppard and won an acquittal in the second trial. Coincidentally, the show's music supervisor, Ken Wilhoit, was married to Susan Hayes, who had had an intimate relationship with Sheppard prior to the murder and testified during the first trial in 1954.

For whatever reason, guilty people often blame a "bushy haired stranger with a wild look in his eyes" to point the blame away from themselves. In fact, police often refer to the "bushy haired stranger" as the "BHS" and hone in on the person that claims this as the suspect. Probably because saying an average looking person did it seems to be not credible enough unless it's true.

Was there any pattern to Kimble's movement around the country from one episode to the next? For example, if he was in California in one episode, would he be in a nearby state like Arizona or Nevada in the next episode?
In the episode 'The 2130', where a scientist tracks Kimble's movements by computer, he tried to determine if there was a discernable pattern. The only factor was his pursuit of the one-armed man. Sometimes it was odd that he would be on the West Coast in one episode and then be in Pennsylvania the next. These locations may not have been consecutive.

For whatever reason, guilty people often blame a "bushy haired stranger with a wild look in his eyes" to point the blame away from themselves. In fact, police often refer to the "bushy haired stranger" as the "BHS" and hone in on the person that claims this as the suspect. Probably because saying an average looking person did it seems to be not credible enough unless it's true.
The one-armed man was distinctive not only because he was missing a limb, but because he looked dark and swarthy, something menacing about his appearance.

Going back to the episode:

Kimble flees from the hospital before the police can arrive.

Kimble goes to a library and searches through shelves of back newspapers to learn of the crime which he can no longer remember. Slowly voices from the trial return to his memory. Harsh, accusing, while Kimble frantically denies the charges on the stand.

This episode is much like 'The Girl From Little Egypt' in that both episodes feature the opening crime segment where Kimble encounters the one-armed man on the night of the murder, as well as highlights from the trial. However, sound flashbacks from the trial are played rather than visual clips. In a flashback from 'Little Egypt' Kimble is defiant on the stand before his prosecutor, while here in 'Escape Into Black' his voice shakes with terror over the multiple accusations by witnesses. The voice of Gerard even dismisses
the claims of a one-armed man by Kimble.

As the memories of the trial come flooding back, a rising crescendo of "Guilty! Guilty! Guilty!" over and over seals Kimble's fate.

Kimble thinks hard over these painful events as they return to him.

Kimble hides in the garage of Dr. Towne, as the doctor arrives, Kimble emerges to tell him that he in fact is guilty, as Towne explained. While Towne says that Kimble would eventually remember this, Kimble counters that he read about it in newspapers at the library. He only thinks it is possible that he murdered his wife, but there are too many holes in his memory to know for sure.

Dr. Towne insists that Kimble must turn himself in. In frustration and desperation, Kimble grabs Towne by the lapels as he finds the doctor callous and unfeeling toward his plight. This nearly confirms that Kimble is combative, as may have been the case with his wife. But Towne says turning himself in would work out for him: Since Kimble's amnesia is real, it can be grounds for a new trial, as a man who has no recollection that he has killed cannot be executed.

Towne offers to take him in to the police department, but Kimble asks for train fare to return to Stafford where it began.

Dr. Towne tells Ruskin of his favor to Kimble by providing fare for his return to Stafford and Lieutenant Gerard. Shocked by this, Ruskin rushes to find the time of the latest train departure. Towne replies they have both done what is right and moral, and that Kimble's amnesiac condition may get him a new trial based on appeal, but this is not for certain. Ruskin is appalled by Towne's insensitivity, that his "by-the-book" approach without human concern is simply throwing Kimble to the legal wolves.

At the train station, Kimble calls the Stafford police station from a pay phone.
Gerard receives the call while Captain Carpenter overhears it.

Kimble explains that he has been in an accident and that he understands he must come in voluntarily to accept responsibility for the crime he has committed. He struggles with this disclosure, as he is still attempting to remember the details, but he says he will turn himself over to Gerard. He gives a time as to when the train will arrive in Stafford.

Gerard finds this confession strange: Kimble, after all this time, is finally admitting he is guilty. It is also curious as to why Kimble is essentially saying "Come and get me". Carpenter finds the whole phone call suspicious, but Kimble may be doing this to win an insanity plea.

Gerard replies to Kimble that he will be waiting for him when he arrives. When he hangs up, Gerard is exultant: Kimble has finally confessed!

A feature film of the same name, based on the series, was released by Warner Bros. Pictures on August 6, 1993, starring Harrison Ford as Kimble, Tommy Lee Jones as Gerard (now named "Samuel" instead of "Philip"), and Andreas Katsulas as the one-armed man (now called Fredrick Sykes instead of Fred Johnson). The movie's success came as Hollywood was embarking on a trend of remaking old television series into features. In the film, Kimble is portrayed as a prominent Chicago vascular surgeon instead of a small town Indiana pediatrician, while Gerard is portrayed as a U.S. Marshal rather than a police lieutenant. Kimble's wife is killed in an attempt on Kimble's own life (rather than during a robbery attempt, as in the TV series) as the result of a conspiracy involving a pharmaceutical company called Devlin MacGregor, which the one-armed man is employed by.

However, the film remained true to its source material—in particular, the notion that Kimble's kindness led him to help others even when it posed a danger to his freedom or physical safety. The film also showed Gerard pursuing his own investigation into the murder as part of his pursuit of Kimble and coming up with his own doubts as to the case. To coincide with the theatrical release, NBC aired the show's first and last episodes in the summer of 1993, and later hosted the film's broadcast television premiere in 1996. Jones received the 1993 Academy Award for Best Supporting Actor. The film was nominated for six other Academy Awards, including Best Picture. It also spawned a spin-off, U.S. Marshals, in which Jones reprised his role as Gerard. The motion picture was later developed into a parody film as well called Wrongfully Accused, with Leslie Nielsen portraying the lead character.

A feature film of the same name, based on the series, was released by Warner Bros. Pictures on August 6, 1993, starring Harrison Ford as Kimble, Tommy Lee Jones as Gerard (now named "Samuel" instead of "Philip"), and Andreas Katsulas as the one-armed man (now called Fredrick Sykes instead of Fred Johnson). The movie's success came as Hollywood was embarking on a trend of remaking old television series into features. In the film, Kimble is portrayed as a prominent Chicago vascular surgeon instead of a small town Indiana pediatrician, while Gerard is portrayed as a U.S. Marshal rather than a police lieutenant. Kimble's wife is killed in an attempt on Kimble's own life (rather than during a robbery attempt, as in the TV series) as the result of a conspiracy involving a pharmaceutical company called Devlin MacGregor, which the one-armed man is employed by.

However, the film remained true to its source material—in particular, the notion that Kimble's kindness led him to help others even when it posed a danger to his freedom or physical safety. The film also showed Gerard pursuing his own investigation into the murder as part of his pursuit of Kimble and coming up with his own doubts as to the case. To coincide with the theatrical release, NBC aired the show's first and last episodes in the summer of 1993, and later hosted the film's broadcast television premiere in 1996. Jones received the 1993 Academy Award for Best Supporting Actor. The film was nominated for six other Academy Awards, including Best Picture. It also spawned a spin-off, U.S. Marshals, in which Jones reprised his role as Gerard. The motion picture was later developed into a parody film as well called Wrongfully Accused, with Leslie Nielsen portraying the lead character.

Noticed two incidents in the film lifted from the series: First was Ford's Kimble seeking a one-armed man in prison in the LAPD jail sequence of "Never Wave Goodbye, Part I" and finding only the "wrong man". The other was the elevator sequence where Sam Gerard attempted to chase Ford's Kimble on an escalator, a scene lifted from "Running Scared" in the original series where Lieutenant Gerard sought to pursue Kimble at the basketball arena where he reconnected with his sister and brother-in-law. Were there other instances of borrowed scenes from the original series?

The show presents a popular plot device of an innocent man on the run from the police for a murder he did not commit, while simultaneously pursuing the real killer. It had its antecedents in the Alfred Hitchcock movies The 39 Steps, Saboteur, and North by Northwest. The theme of a doctor in hiding for committing a major crime had also been depicted by James Stewart as the mysterious Buttons the Clown, who never removed his makeup, in The Greatest Show on Earth. Writer David Goodis claimed that the series was inspired by his 1946 novel Dark Passage, about a man who escapes from prison after being wrongly convicted of killing his wife. Goodis' litigation over the issue continued for some time after his 1967 death.

I just noticed something about the alias Kimble used in the second episode, 'The Witch'. His name, "Jim Fowler", was the same name as the "assistant" person, Jim Fowler, on Mutual Of Omaha's 'Wild Kingdom', which debuted at the same time on television in 1963. Coincidence? :lightb:

Back to 'Escape Into Black':

Kimble sits alone on the train, the injury on his forehead from the explosion visibly healing.

The memories finally come back to him, including the fateful night on the trip to Death Row.

As the memory of the train derailment returns, Miss Ruskin finally reaches Kimble and urges him to get off the train at once.

As she insists that he is innocent of the crime of which he had been accused, Kimble resists, asserting that his claims of innocence were "delusional", all "made up".

Meanwhile, Gerard and the police wait for the train to stop.

The haunting memory of the one-armed man, Fred Johnson, returns to Kimble.

The memory of entering his house returns also, to find the body of his murdered wife on the floor.

Kimble says he now remembers the one-armed man, he saw him and that he wasn't an invention of his mind. Relieved, Ruskin says she saw him as well, earlier at the restaurant. But now is the time for Kimble to flee.

At that moment, Gerard and the police enter the railroad car.

Kimble exits to the open space between railroad cars (an option one would not see on an Amtrak train these days).

He then leaps off from the train.

He lands safely on the soft ground.

Gerard and the officers miss him by mere seconds.

Kimble watches the train as it rolls off into the night, finding his freedom once more.

The epilog returns to the hospital.

Miss Ruskin receives a phone call from Kimble. She is relieved that he was not injured in the leap from the train.

Kimble tells her that he remembers that he did not kill his wife. His memory takes a while to recall other events, but he knows he is innocent of her death.

Dr. Towne overhears her emotional phone conversation. Once she finishes the call, she says Kimble knows he did not kill his wife. In a surprising act of kindness, Towne offers her a cup of coffee.

Kimble leaves the phone booth, being fully aware of his innocence and the belief in himself.

Betty Garrett discusses her interaction with David Janssen on the 'Escape Into Black' episode:

Upy7j3Nns1k&ab_channel=FoundationINTERVIEWS

Some guest stars made repeated appearances on 'The Fugitive'. Actor Dabney Coleman, who passed away this past week at the age of 92, was one of them.
Often he would play a lawman or police officer assisting Gerard or other person in law enforcement.

One prominent role was in the episode 'Nicest Fella You'd Ever Want To Meet'.

Dabney Coleman:

Instead of the scene beginning with Kimble's whereabouts, the first act opens with the locale of a particular nemesis of our fugitive. The municipal building of Bixton, Arizona, is where our particular adventure begins.

In the days before Sony X-Box and 'Mighty Morphin Power Rangers', folks like Marshall Joe Bob Simms were there to entertain kids' club members with tantalizing tall tales of catching mountain lions and the like before treating them to ice cream. The kids listen in rapt attention. Joe Bob appears to be a victorious hunter with images of his "wins". Joe Bob is played by Pat Hingle, who played the loyal yet ethically compromised journalist who helps Kimble in 'Search In a Windy City'. Simms likes to play the part of Old West lawman to the hilt, right down to his cowboy boots, hat, and horns on his police car.

Kimble waits by the side of the road for a car for his next way out of town, attempting to hitchhike a ride.

A paper vendor, played by Burt Mustin, known for his role as Gus the Fireman in 'Leave It To Beaver', informs Joe Bob that this hitchhiker up the street is a likely candidate to work on the new park project which is short of "help".

Joe Bob follows Kimble rather slowly.

When he stops Kimble, he mentions the local prohibition against hitchhiking within city limits. He politely persuades Kimble to get in the police car with a simple "Please?

Joe Bob's assistant Floyd, played by Dabney Coleman, discusses future plans with his girlfriend Thelma Hollister, played by Mary Murphy. Floyd looks forward to a promising future in the police department when he replaces the marshall, who plans for bigger things. Joe Bob promises the vacancy will be filled by Floyd.

Thelma's brother Neely, played by Tom Skerritt, sulks in a jail cell, clearly irked by the marshall's conversations with his sister. He rants at Joe Bob and throws a coffee cup through the bars. Neely is a frequent occupant of the cell, being arrested often for petty crimes and troublemaking.

The scene shifts to Apache Park outside of town.

Joe Bob leads the small group of jailed workers, including Kimble, off to slave away in the sun.

Joe Bob displays his authority as he stands on top of a marble pedestal, urging his prisoners to do a good day's work as a "fitting tribute" to the man who will one day be governor of the state of Arizona. There is little question as to whom he is really referring.

Joe Bob has special plans for his favorite prisoner Neely. The marshall orders him to get in the car up front.

Driving up to a certain spot, Joe Bob orders Neely out to pick up rocks on a dirt path. Neely does so, but Joe Bob decides to have fun and taunt him by pushing him with the car. Exasperated, Neely flings a rock at the marshall's windshield, cracking it wide.

In retaliation, Joe Bob speeds toward Neely, plowing into him and sending him off a cliff to his death.

Streams of blood from the glass shards trickle across Joe Bob's scowling face.

As he gets out to examine the death scene, a falling rock from above alerts him. He looks up, seeing no one before leaving. High at the top, Kimble looks down, having watched it all.

Joe Bob is able to release Kimble and send him on his way. While Kimble waits in the marshall's car, the town's mayor, played by Dabbs Greer, a frequent actor on several 'Fugitive' episodes, discusses the tragic circumstances about Neely's death, whom both men agree was "Neely's fault" due to his being a wild teen.
A hearing about his death is scheduled for the following week, but Joe Bob is "innocent" of any wrongdoing as the town will be behind him.

Before Joe Bob drives off, the mayor asks questions regarding the possibility of the marshall filling the position of police department help with the mayor's son, the vacancy which Joe Bob initially promised to Floyd. The marshall feels this should be no problem, as both men are willing to help each other. Kimble overhears this.

After the marshall drops Kimble off at the highway on the outskirts of town, the freed fugitive finds it necessary to take care of unfinished business and returns.

At the Hollister home which observes a state of mourning, Kimble pays a visit to tell Thelma that her brother's death was no accident. He says that the marshall deliberately provoked Neely to throw a rock at his car which prompted Joe Bob to run him down in cold blood. Thelma is aghast at this news.

Thelma's father insists that Kimble be forced to remain in town to disclose Joe Bob's underhanded deeds. He makes a call to the local police about a supposed incident caused by Kimble, who has already left the house.

As Kimble summons a ride onto the highway out of town, he must first contend with a dithering driver who delays the flight of the impatient fugitive.
Just as the driver pulls out of the all-night gas station, Joe Bob pulls up and orders Kimble out of the car. The marshall says that his former prisoner is in very bad trouble.

Thelma and her father visit the jail where they wish to speak to Kimble in private.

When they discuss matters with Kimble, he explains that he is wanted by the police and that publicity will hurt him. They are unaware that Joe Bob is listening in on a monitoring device.

The next day, Kimble is sent once more to Apache Park. Kimble attempts to explain to Floyd that Joe Bob is attempting to eliminate witnesses to Neely Hollister's death. Floyd disbelieves this. Joe Bob discloses that Kimble is wanted for murder. Floyd reveals that Kimble witnessed Neely's death.

When Floyd leaves the park, Kimble is all alone with the marshall who watches over him. What will happen now?

Thelma arrives at the police department to withdraw the complaint about "Richard Clark", insisting that he only wanted to help her family. Floyd thinks she is only doing this because she dislikes Joe Bob. But she replies that for whatever trouble Clark has been in, he wouldn't lie--but what about Joe Bob's intentions?

Knowing that Kimble observed Neely's death, Joe Bob taunts Kimble with information about the phone call waiting from Lieutenant Gerard. It would be so easy to send Kimble on his way to the death chair--and that his capture would send Joe Bob to the state capitol. But first, work must be tended to. He instructs Kimble to remove a rock from the soil. When Kimble faces difficulties, Joe Bob assists him--to which Kimble knocks him out before fleeing.

Joe Bob rises to take down Kimble in his escape.

As Kimble becomes an open target below, Joe Bob aims his gun.

At that moment, Floyd and Thelma arrive to aid Kimble.

In desperation, Kimble calls to Floyd about the deal Joe Bob promised the mayor's son about the job opening than the one going to him. Joe Bob tries to shut up Kimble.

When Joe Bob tries to silence Kimble with a gun, both Floyd and Joe Bob exchange gunfire. Both men shoot each other, but Joe Bob plummets from the precipice.

Joe Bob lands dead on the rocks below. When Kimble examines Floyd, Thelma reacts with hostility over a convicted murderer's concern for him. This was ironic, as it was her concern for Kimble's safety which brought her to the park to save him.