The Fugitive
Guilt

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Guilt

Previously: Dr. Kimble makes his way to Savannah, Georgia, where his sister wires him some dough. A desperate man with a sick wife swipes it, and Kimble ends up helping them out. He also runs across the one-armed man in a motel room and steals his fake passports and mails 'em to Gerard.

Blipvert of the entire pilot. Credits roll as the title constantly flashes behind the scenes. There are lots of shots of Tim Daly leaping for stuff and grabbing a hold of it at…the…very…last…second.

Computer graphic of a map of the US. Flashing dot on Chicago, Illinois. Cut to Lt. Gerard walking into the station wearing a snazzy Adidas track suit. He exchanges chit-chat with the office. An older woman police officer tells him they've got another one on the phone claiming to be Dr. Richard Kimble, and should she take this one? He says he'll take it, and walks into his office, muttering about crackpots.

Suh-prise. It's Kimble after all. He asks Gerard if he got the package with the one-armed dude's passports. Blipvert of Kimble's confrontation with the one-armer last episode. Gerard frantically motions to the police officer to turn on the tracing mechanism. Gerard says he got it. Blipvert of Gerard receiving the package and opening all the passports from last episode. Gerard asks Kimble what he thinks he's doing and why doesn't Kimble come on in. Kimble says not until he knows more. Kimble says, "I got his face. You got the rest. Then we'll talk. Gotta run." He hangs up. The police officer shrugs and says, "No trace." Gerard grimaces and slams the phone down. I feel like I need a rearview mirror that says, "Past episodes of this show may be closer than they appear." Jeez.

Cut to Kimble walking down a country-ish lane in a cemetery. He stops at one tombstone that reads, "Raymond Lee Pettigrew," and the dates of birth and death. Next scene: he's in the DMV applying for a temporary license with that same name. What -- like he couldn't have made one up? Apparently, they borrowed Celine Dion's studio musicians for this scene -- lots of synth and sweet strings.

Kimble gets on da bus. He circles want ads -- one in particular for a bartender in Manchester, SC. Quick series of scenes of Kimble applying for the job and a big hickish dude telling him he's got it.

Cut to Kimble wiping down a bar. The waitress, Shelley, walks in, moaning about her feet killing her. Kimble tells her to wear lower shoes. She says no way, saying that those and her Wonderbra add thirty percent to her tips. I hear ya, sister. He tells her not to worry, he'll finish up and she should go home. She tells him that she liked the book he recommended -- To Kill a Mockingbird -- and like Pavlov's dog, the mere mention of the title makes me tear up. She then chastises him for not warning her that she was going to cry buckets. He says, "I said it was good, not happy." She searches for her car keys, which Kimble finds for her. She tries to get him to go out with her at the Dairy Queen, and he gives her a little smile and says maybe some other time. Her crests have majorly fallen. She goes home. Also, she's reading James Joyce for her book club.

The barback, Jesse, tells Kimble that he finally thought he and Shelley were going to get it on, since Shelley has a big crush on him. Kimble tells him to hurry up or they'll be there "all day, home pie." The barback snorts and says, "Home slice, not home pie," and Kimble, in a painful bit of acting, tries to get street. Can we just have a moratorium right now, forever, on Wonder Bread actors trying to appropriate hip-hop culture? Is there a Congressman I can call?

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The Fugitive

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