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Fugitive music

 

A HISTORY

The pilot for THE FUGITIVE, “Fear In A Desert City”, finished filming in December of 1962 and then began a post-production period in early 1963 so that it could be shown in completed form to the network.

Quinn Martin got a music supervisor he trusted named John Elizalde away from a current commitment at Daystar (producer Leslie Stevens' company) to help get THE FUGITIVE pilot in shape. John had worked on the earlier QM series THE NEW BREED.

One of John's contributions was to personally lay down the piano tracks of the standards "I'll Never Smile Again" and "I'll Remember April" that Vera Miles would pretend to play to playback in her role as the bar pianist.

For the underscoring, a decision was made to utilize library music, i.e. ‘rented’ music that had already been used on other shows (and written by a variety of composers). This was done most likely as a cost-cutting measure.

It was cheaper to rent than to hire a composer and record an original score for a show that might not be approved for production. It also saved time: selecting appropriate existing music was faster than waiting for the scoring process to play out.

Once THE FUGITIVE was given an episode order, a long-term solution for the approach to music needed to be addressed.

 

 

 

 

 

Enter Pete Rugolo. He had a few ‘ins’. Creator Roy Huggins, though he had creatively handed the reins of the series off to others, threw Pete’s name in the hat. He was familiar with Rugolo’s work and was an admirer.

Also Rugolo was a social friend of David Janssen. David was not empowered to select the composer but may too have mentioned him to producer Quinn Martin. Rugolo was the composer on a mid-run revamp of his earlier series RICHARD DIAMOND, PRIVATE DETECTIVE and the two of them were pals. They went out to dinner and to ballgames together during David’s bachelor days. David was a big music fan and attended Peter’s record dates.

Rugolo was one of the candidates John Elizalde, retained after his pilot duties, was asked to check out. As Pete had been working a lot at Universal, John called Stanley Wilson, head of music there, for a recommendation. Pete received high praise. After some successful face-to-face meetings between Elizalde and Rugolo, the latter was confirmed as the composer choice.

Born in Sicily but raised in Santa Rosa, California, Pete Rugolo cut his teeth arranging and composing for the Stan Kenton Orchestra in the late 40’s.

The 50’s saw him segueing into his first work on films and TV while continuing to arrange for many of the top vocalists of the day. He had recently been working on the TV series THRILLER when THE FUGITIVE call came.

The theme music written by Rugolo used on all four seasons of THE FUGITIVE had an interesting genesis. Typically in film scoring a composer sees the finished film, and then the film is “spotted”, i.e. a creative decision is made of where music should start and stop. Then, these separate "cues" are written, often with mathematical precision to specific screen action. Soon after, they are recorded. They may be reused in the future over pieces of film they were not originally recorded for, but traditionally they are composed for a specific film sequence that the composer has studied.

THE FUGITIVE didn't work this way. In fact, Rugolo didn’t recall even seeing the edited pilot in a recent interview (but probably did).

What is known is that Rugolo retreated into the shed in the back of his Doheny house and began writing several hours of music with the knowledge from Elizalde that there would be recurring chase moments, lonely moments, romantic moments, melancholia, etc. He also knew there would be a nemesis in the person of Lt. Gerard who’d need some sort of musical signature. He wrote cues non-specific in terms of screen action and more in general support of the emotional quality that was described to him as being intended for THE FUGITIVE.

The first four notes of the main theme he developed could almost support the rhythmic phrasing of the words “THE-FU-GI-TIVE…”. This was not by accident—Rugolo tried to get the title in subliminally when writing a theme.

In the summer of 1963, several months before the September premiere of the show, Rugolo's written music in the form of orchestrated scores, needed to be recorded.

Rugolo didn't participate in this—also an unusual circumstance. He was paid his $5000 as he recalls and his work was done.

It had been decided by the producers to record in London. Rugolo was both busy and restricted unionwise from conducting overseas. John Elizalde instead represented the production.

Top UK music personnel -- conductor Harry Rabinowitz, sound engineer Eric Tomlinson, and contractor Jack Greenstone were hired to preside over the sessions and approximately 50 musicians assembled at the old CTS Bayswater Studios for several days of recordings.

The top orchestra was comprised of members of the Ted Heath Orchestra and the London Philharmonic.

CTS Bayswater no longer exists. Originally started in a converted banquet hall from the former Whiteleys Department store in 1959, it has now given way to a block of flats.

 

 

 

John Elizalde was instrumental in making sure the musical ideas provided by Rugolo were stretched so that he could leave London with many variations

of the themes in different lengths and tempos. This resulted in 202 “cues’. They would be utilized over and over during the next 4 years, some more frequently than others. Remarkably, not a single additional recording session for any original Fugitive music would ever be recorded.

However, the story of THE FUGITIVE music does not end here. What viewers heard week-after-week was not only music from these productive London sessions-- the 134 recorded minutes of Rugolo-composed music was utilized in tandem with a skillful use of library music, again music written by others and previously used on completely different shows.

So despite the fact that Rugolo got sole musical credit for the show, we heard the work of many others each week---including the celebrated composers Jerry Goldsmith, Bernard Herrmann, Dominic Frontiere and Fred Steiner, who received windfall reuse payments for their passive involvement in the David Janssen hit show.

One of John Elizalde’s key contributions on THE FUGITIVE was cutting the deal to persuade Lud Glusskin who controlled the CBS Music Library to allow QM to utilize this resource for an ABC show and thereby having access to the work of these other skillful composers. It was the first time this arrangment was made for a non-CBS show.

 

A skilled music editor named Ken Wilhoit performed the weekly nuts-and-bolts work of selecting the music that would fit with the film that was shot. He created the sort of hybrid approach to the FUGITIVE music—part original, part library, always emotional compelling.

It’s a testament to Ken that most viewers don’t realize that he put a soundtrack together each week out of material which was never written specifically for the film it was being paired with, and not even intended to go together.

The fourth color season of THE FUGITVE saw a change of creative personnel and adjustments to the use of library music cues. Instead of relying so heavily on the TWILIGHT ZONE tracks of the CBS Music Library, as was done on seasons 1-3, other library resources were utilized and much music from THE OUTER LIMITS and STONEY BURKE found its way onto FUGITIVE shows. Some GUNSMOKE music was also reportedly used during the run of the show but it is unknown on what episodes and what composers’ work this was (perhaps Herrmann and Goldsmith again).

Despite the expanded palette, some TWILIGHT ZONE music written by Fred Steiner, Nathan Van Cleave, Bernard Herrmann, and Jerry Goldsmith continued to be used right to the end.

 

When THE FUGITIVE was cancelled in 1967, John Elizalde ran into Goldsmith at the Formosa Cafe near the studio. Jerry approached John in mock disappointment: “John, they’re canceling our show!” He said this having never written a single note expressly for it…

Rugolo was never Emmy nominated for his work on THE FUGITIVE. He worked with series creator Roy Huggins many times after and was nominated for an Emmy thrice for their joint venture RUN FOR YOUR LIFE. He won for their THE BOLD ONES: THE LAWYERS in 1972. His last score was for the movie THIS WORLD, THEN THE FIREWORKS in 1997.

In the late 90’s, film music producer and enthusiast Ford Thaxton found 1/4” magnetic tapes in the Studio City garage of the composer. It was a copy of the mono mixdown done from the original London recording sessions--a holy grail of the original material that was used each week. Some tracks were damaged but it was the only known copy of the 1963 master recordings. In tandem with Silva Screen Records, this music was released in 2001 as a CD (Silva America 1106), not strictly in 'as recorded' form but with cues combined (not unlike what the music editors had to do each week to extend the recorded music into longer pieces). The cue names appearing on the CD are not Rugolo’s—they were ‘created’ for the CD release. Want to hear this original FUGITIVE music? MP3's of this release are now available for purchase and download thru Amazon. Click HERE for more information...

Not included on the release was all the non-Rugolo music which played a critical role in setting the mood. As stated previously, seasons 1-3 made very heavy use of music originally written for THE TWILIGHT ZONE. On the 4-CD set for this show, released as Silva Screen STD 2000 in 1999, you can hear parts of cues that were later recycled on THE FUGITIVE.

Similarly, A 2008 CD release of the OUTER LIMITS music from La-La Land Records contains cues that music editor Wilhoit made use of in season 4.

A CD release of other early Jerry Goldsmith work, on Prometheus PCD 164, revealed his work on a 1959 episode of THE LINEUP was used to track at least one episode ("See Hollywood and Die"). It also contains music from PERRY MASON and PLAYHOUSE 90 which had instances of reuse on THE FUGITIVE.

Paris-based Thomas Rucki, owner of The Outer Limits Website, is blessed with an astonishingly astute ear. He has remarkably identified much of the FUGITIVE library music in specific. Thomas’ findings are published here, with his generous permission.

Also of note was the use of some often repeated 'source music' as heard in scenes on radios, TVs, or in bars:

"I'll Remember April" (1941/Raye, DePaul, Johnson) was heard in 6 episodes beginning with a piano rendition played by Monica Welles (Vera Miles) at the Branding Iron in "Fear In A Desert City". "I'll Never Smile Again" (made famous by Frank Sinatra and the Tommy Dorsey Band) is heard in 5 episodes. "Waltz of the Flowers" (from Tchaikovsky's Nutcracket Ballet) is in 3. And "The Water Is Wide", a British folksong, is used in "Ballad For A Ghost".

 

SINCE NIGHT-OF-BROADCAST

In the 40 years which followed the initial broadcast of the series, the FUGITIVE continued to find audiences via syndication. A&E particularly sparked a revival of interest due to its 9 or 10 licenced runs of the show begining in 1990. Several VHS cassette releases of the show occured in this decade, though no one company saw fit to release it in its entirety. Between those scatterings of VHS tapes and the VCR, consumers got a chance to have an original night-of-broadcast experence -- both those who were revisting or newly discovering the show during this time were all witnesses to the importance of the musical choices in the overall viewing experience.

There were profit-driven demons during that time as well; both time compression and editing were used to free-up more markable commercial time on TV. THE FUGITIVE fell victim to these, but avoided a 3rd type of creative alteration--colorization.

So when the DVD technology came roaring in at the end of the 1990's, the question was would THE FUGITIVE get the DVD treatment with its superior picture and free of any time constraint ploys which compromised the original artistic vision? An online petition was started in <  XXX>   and gathered 1500 signatures, and all was quiet for a very long time...

Rumored to be in the works for many years, t was not until 2007 before the show started to roll out on DVD. Announced in March of that year and released in August, the initial release, the first 15 episodes in broadcast order, was very exciting for fans. It took only 6 months for the rest of season 1 to be released. Fans' angst at this point was only that sales were good and that the release schedule would not stall.

 

THE SEASON 2 FIASCO (June 08)

Having released season 1 in original "night of broadcast" form (for the most part), fans of the show were shocked to discover a huge change on the initial season 2 offering which arrived in stores June 10. Except for the Pete Rugolo-scored main and end titles, all of the original dramatic underscoring was stripped away. It was replaced by new music, composed and executed on what appears to have been a tight budget. Yes, all of it--every last note.

To add insult to injury, the end credit card which formerly gave Rugolo sole music credit was been amended. It now listed the names of the new contributors (Music by Mark Heyes, Additional Score by Sam Winans and Ron Komie) in a more prominent position. This website had no gripe with those individuals who were hired to do a job and who did it to the best of their ability.

We did condemn the higher ups at CBS for making a job available. This was a choice, not a foregone conclusion.

We wrote the following:

CBS Home Entertainment, which owns the rights to release THE FUGITIVE on DVD, has an advertising slogan: "We don't just put TV on DVD, we put it on a pedestal". Their ad shows their various DVD titles displayed proudly on Greek columns. What they fail to reveal is that this implied respect does not preclude silencing the original Greek choruses of their shows and substituting synthesized mimics. Did they think no one would notice?

The change has been made with a boilerplate disclaimer on the packaging which states "some music has been changed for this home entertainment version". "Some" indeed!

Ironically, this disclaimer also appeared on both the season one releases on which there were a couple of instances of source music cues substituted: in the episode "Garden House", party band music, and in "Where The Action Is", bar scene music were both replaced . However, no dramatic underscoring was changed. Not ideal, but minor compared with what has now occurred.

There was an expectation the season one sets spelled for the future, that the legal hurdles to utilize original music had been cleared. So it seems quite sneaky to now soft peddle so radical a change on an unknowing public. The baby boomer fans that surely must makeup a substantial portion of sales for a title such as THE FUGITIVE, innocently bought this latest offering and many feel justifyably ripped off. A survey of DVD review sites will confirm the outrage which has ensued. But ever sadder, those who are experiencing the show for the first time will never know, at least for these newly-released episodes, what the original creative intention was. Ignorance is not necessarily bliss. This DVD release now becomes, by current media standards, the permanent record. This music issue has effected the visual content as well. In the "Ballad For A Ghost" episode, which involves a guest star (Janis Paige) portraying a singer, the mandate to remove all vestages of the original music caused a minute of film, showing her perform, to be excised as well.

We believe this is a huge creative rights issue and and important precident which needs to be challenged.

What is tragic is that CBS has a legal right to change THE FUGITIVE. They can edit it, colorize it, change the music, dub David Janssen's voice if they so desire. The most honorable position creatively would be to release the show as it went on air 40 plus years ago. However, this is a business and it exists to make money. That is what those in the decision-making positions will counter with.

What THE FUGITIVE does not have is a creative champion-- a powerful person in the Hollywood community who can put pressure on the DVD division to spend the addtional resources, time, and money on clearing whatever rights issues appear to be outstanding---a Spielberg who can say "you're not changing the music on my favorite show!". Quinn Martin and Janssen are dead. Producer Alan Armer is retired and learned of this after the fact. Rugolo is over 90 and may not be fit to wage a personal crusade.

Granted music rights are complex issues. No one at this website is privy to the legal or financial particulars of the issues at hand. But this is a solvable problem when people care enough...

In a corporate envirornment, fears of litigation often trump rational thinking. Lawyers who have never seen the show, never heard of Pete Rugolo may be raising red flags, creating specious roadblocks, which will forever sever any trace of the composer's vital contribution on the show. We'd be amiss not to mention the skill and weekly hard work of music editor Ken Wilhoit and supervisor John Elizalde while the show was in production as well.

We believe the original music was a substantial thread in the weave of the total fabric that was and is THE FUGITIVE. Out of respect to those who did the original work, if nothing else, it's a cause we believe worth fighting for and uniting to reverse.

What to do:

All we have is our voice and our purchasing power.

Just boycott the release? Not enough--low sales may only discourage the completion of the remastering the show's from the original negative; this has been truly a wonderful development and we all want to see it completed. The 4th color season will undoubtedly be more expensive to restore and will benefit most from the process.

We here at the website are firm believers in writing to the "office of the president".

So write. Don't ramble or overemotionalize. These people are in professional positions, ones in most cases they've earned. You may not agree with them, but we are at their mercy; they are in charge. Simply state, rationally and intelligently, how YOU feel about what has happened with the music on the new "season 2, volume 1" release. Ask that it be changed and not done again. Don't stir about it at home without action. Contact:

Mr. John Nogawski

President, CBS Television Distribution
2401 Colorado Ave, Ste 110
Santa Monica CA 90404

and:

Mr. Ken Ross

Executive VP, CBS Home Entertainment

1700 Broadway 33rd Floor
New York, NY 10019

On this page you will find a work-in-progress summary of known replaced music on the official CBS releases.

 

THE CONCILIATORY MOVE (Feb 09)

CBS Home Entertainment, whose reaction to the uproar over its FUGITIVE music switchout had been shrouded in a veil of secrecy, made a surprising correction 8 months later. It reissued the offending Season 2, Volume 1 set to anyone who submitted the proper proof-of-purchase paperwork. It's was an easy system which promised a much closer to night-of-broadcast version. Along with this was the suggestion that Season 2, Volume 2, due in stores March 31, 2009 would be close-to-original as well.

Disappointingly, the replacement DVD (Season 2, Volume 1) and the new release (Season 2, Volume 2) still left in many vestages of the newly-composed electronic music, It did thankfully restore a great deal of the Rugolo material. We acknowledged and appeciated that the company ate some crow and "tried" to do the right thing. But the "business" aspect of this music is obviously too unclear, too complex, or too prohibitively expensive to honor the original artistic vision. Purists, we here included, were not satified.

A technical solution to the mess surfaced on the Internet underground. An anonymous group calling themselves F.A.R.T. (standing for the Fugitive Audio Restoration Team) took the enviable video restorations of the official DVD release and married them with unmolested audio tracks from previous VHS releases when available or failing that, off-air copies. They had to deal with some complex time compression issues and in the case of one episode, missing footage. They were even respectful enough to restore the end credit card that gave Peter Rugolo his well-deserved sole music credit. The result was made available for download onshady bit torrent sites.

 

SEASON THREE (Dec 09)

CBS Home Entertainment continued its release of THE FUGITIVE with 2 half-season sets which were released October & December 2009 . Again Season 3 was released with much synthesized music (but without Mark Heyes and company receiving screen credit for it). This was maddening to fans.

 

SEASON FOUR (Mar 11)

With the 4th season releases (December 2010 and February 2011) the original underscoring, the tasteful integration of Pete Rugolo and library music, was for all intensive purposes intact. As usual, they were at CBS high visual standard -- the color shows particularly benefited from restoration. Some original source music (again from jukeboxes, radios, etc.) were changed out as was the case in Season 1. This was a minor but tolerable concession.

Progress with the legal hurdles seems to have occured during this period . Could this mean some of the obstacles which caused the debacle in the first place have been permanently lifted?

We can only hope that a the full box set of the show (announced for 11-1-11) will right yesterday's wrongs particularly apparent in seasons 2 and 3. There will be future technological standards --- on-demand streaming for example, which need for the enduring legacy of the series, to make use of masters which incorporate ORIGINAL MUSIC THROUGHOUT.

Those ill-conceived Season 2 and 3 DVD discs, which caused so much bad publicity for this well-intentioned company, could then end up in the landfills where they deserve to be.

 

THE CBS BOX SET (Nov 11)

Forthcoming report...

 

LIBRARY MUSIC as identified by Thomas Rucki

The following is for FUGITIVE music fanatics only.

Not all episodes have been analyzed. Of those that have, this is not necessarily a complete list of the stock music used in these episodes and refect Mr. Rucki's ability to identify TWILIGHT ZONE, THE OUTER LIMITS, and STONEY BURKE cues with precision. Original cue sheets which were prepared by the music editor when the shows were edited would yield complete information. These have not been obtained.

season one

1. FEAR IN A DESERT CITY (unaired version)

The main and end title was a stock cue from the CBS EZQ library entitled "Rhythmic Theme" composed by Richard Shores. By coincidence, Shores was a contributing composer on a season of Janssen's series RICHARD DIAMOND, PRIVATE DETECTIVE.

Twilight Zone “The Big Tall Wish” cue (Jerry Goldsmith)

Twilight Zone “The Passerby” cue (Fred Steiner)

 

1. FEAR IN A DESERT CITY (broadcast version)

Twilight Zone “The Passerby” cue (Fred Steiner) is used during the epilogue.

2. THE WITCH

Playhouse 90 cue from episode "Marriage of Strangers" (Jerry Goldsmith) beginning of act I

Twilight Zone “The Big Tall Wish” cue (Jerry Goldsmith)
Twilight Zone “Back There” cue (Jerry Goldsmith)
Twilight Zone “Where Is Everybody?” cue (Bernard Herrmann)

3. THE OTHER SIDE OF THE MOUNTAIN

no Twilight Zone music was utilized-other library music not yet IDed

4. NEVER WAVE GOODBYE part 1

no Twilight Zone music was utilized-other library music not yet IDed

5. NEVER WAVE GOODBYE part 2

Twilight Zone “Back There” cue (Jerry Goldsmith)

Twilight Zone “King Nine Will Not Return” cue (Fred Steiner)

Twilight Zone “Perchance to Dream” cue (Nathan Van Cleave)

Twilight Zone “A World of Difference” cue (Nathan Van Cleave)

6. DECISION IN THE RING

no Twilight Zone music was utilized-other library music not yet IDed

7. SMOKE SCREEN

Twilight Zone “Back There” cue (Jerry Goldsmith)

8. SEE HOLLYWOOD AND DIE

The Lineup TV Series "Wake Up to Terror" (Jerry Goldsmith)

Twilight Zone “The Invaders” cue (Jerry Goldsmith)

Twilight Zone “Back There” cue (Jerry Goldsmith)

9. TICKET TO ALASKA

Twilight Zone “A World of Difference ” cue (Nathan Van Cleave)

Twilight Zone “King Nine Will Not Return” cue (Fred Steiner)

Twilight Zone “Back There” cue (Jerry Goldsmith)

10. FATSO

Twilight Zone "When the Sky Was Opened" cue (Leonard Rosenman)

Twilight Zone "The Trouble With Templeton " cue (Nathan Scott)

11. NIGHTMARE AT NORTH OAK

Twilight Zone "Walking Distance" cue (Bernard Hermann) (?)

Twilight Zone “Back There” cue (Jerry Goldsmith)

Twilight Zone “The Invaders” cue (Jerry Goldsmith)

12. GLASS TIGHTROPE

Twilight Zone “Jazz Theme #2 ” cue (Jerry Goldsmith)

Twilight Zone “A World of Difference” cue (Nathan Van Cleave)

13. TERROR AT HIGH POINT

Twilight Zone “The Invaders” cue (Jerry Goldsmith) (?)

Twilight Zone “The Big Tall Wish” cue (Jerry Goldsmith)

Twilight Zone “Back There” cue (Jerry Goldsmith)

Twilight Zone “A Hundred Yards Over The Rim” cue (Fred Steiner)

14. THE GIRL FROM LITTLE EGYPT

Twilight Zone “Back There” cue (Jerry Goldsmith)

Twilight Zone "Walking Distance" cue (Bernard Hermann)

Twilight Zone “The Invaders” cue (Jerry Goldsmith)

15. HOME IS THE HUNTED

no Twilight Zone music was utilized-other library music not yet IDed

16. THE GARDEN HOUSE

Twilight Zone “A World of Difference” cue (Nathan Van Cleave)

Twilight Zone “The Passerby” cue (Fred Steiner)

Twilight Zone “Back There” cue (Jerry Goldsmith)

17. COME WATCH ME DIE

Twilight Zone “Nervous Man in a Four Dollar Room”cue (Jerry Goldsmith)

Twilight Zone “King Nine Will Not Return” cue (Fred Steiner)

Twilight Zone “The Passerby” cue (Fred Steiner)

Twilight Zone “The Invaders” cue (Jerry Goldsmith)

Twilight Zone “Back There” cue (Jerry Goldsmith)

18. WHERE THE ACTION IS

no Twilight Zone music was utilized-other library music not yet IDed

19. SEARCH IN A WINDY CITY

Twilight Zone “Back There” cue (Jerry Goldsmith)

The Lineup TV Series "Wake Up to Terror" (Jerry Goldsmith)

20. BLOODLINE

no Twilight Zone music was utilized-other library music not yet IDed

21. RAT IN A CORNER

no Twilight Zone music was utilized-other library music not yet IDed

22. ANGELS TRAVEL ON LONELY ROADS part 1

no Twilight Zone music was utilized-other library music not yet IDed

23. ANGELS TRAVEL ON LONELY ROADS part 2

The Lineup TV Series "Wake Up to Terror" (Jerry Goldsmith)

Twilight Zone “Back There” cue (Jerry Goldsmith)

Twilight Zone “The Invaders” cue (Jerry Goldsmith)

24. FLIGHT FROM THE FINAL DEMON

The Lineup TV Series "Wake Up to Terror" (Jerry Goldsmith)

Twilight Zone “Back There” cue (Jerry Goldsmith)

Twilight Zone “A World of Difference ” cue (Nathan Van Cleave)

25. TAPS FOR A DEAD WAR

Twilight Zone “Back There” cue (Jerry Goldsmith)

Twilight Zone “The Invaders” cue (Jerry Goldsmith)

Twilight Zone “A Hundred Yards Over The Rim” cue (Fred Steiner)

26. SOMEBODY TO REMEMBER

Twilight Zone “Back There” cue (Jerry Goldsmith)

27. NEVER STOP RUNNING

Twilight Zone “A World of Difference ” cue (Nathan Van Cleave)

28. THE HOMECOMING

Playhouse 90 "Wedding Dinner" cue from episode "Marriage of Strangers" (Jerry Goldsmith)

Twilight Zone “The Invaders” cue (Jerry Goldsmith)

Twilight Zone “Back There” cue (Jerry Goldsmith)

29. STORM CENTER

no Twilight Zone music was utilized-other library music not yet IDed

30. THE END GAME

Twilight Zone “Jazz Theme #2 ” cue (Jerry Goldsmith)

Twilight Zone “Back There” cue (Jerry Goldsmith)

Twilight Zone “A Hundred Yards Over The Rim” cue (Fred Steiner)

Perry Mason "Guilty Party" cue from ep "The Case of the Blushing Pearls" (Jerry Goldsmith)

a snippet of Twilight Zone “King Nine Will Not Return” cue (Fred Steiner) (?)

season two

32. WORLD’S END

snippets from Twilight Zone “Two” cue (Nathan Van Cleave) in the background.

33. MAN ON A STRING

Twilight Zone “Two” cue (Nathan Van Cleave)

Twilight Zone “Where Is Everybody?” cue (Bernard Herrmann)

34. WHEN THE BOUGH BREAKS

Twilight Zone “The Big Tall Wish” cue (Jerry Goldsmith)

a snippet from Twilight Zone “Perchance to Dream” cue (Nathan Van Cleave)

Twilight Zone “Walking Distance” cue (Bernard Herrmann) as background music

35. NEMESIS

Twilight Zone “Two” cue (Nathan Van Cleave)

snippets from Twilight Zone "The Invaders" cue (Jerry Goldsmith)

Twilight Zone "Back There" cue (Jerry Goldsmith) used when Phil Gerard, Jr. lets the rifle down

36. TIGER LEFT, TIGER RIGHT

Twilight Zone “Two” cue (Nathan Van Cleave) used as the kidnappers’ theme

a snippet from Twilight Zone “Walking Distance” cue (Bernard Herrmann) used in the office argument scene

37. TUG OF WAR

Twilight Zone "Dust" cue (Jerry Goldsmith)

38. DARK CORNER

Twilight Zone “Two” cue (Nathan Van Cleave)

Twilight Zone “The Passerby” cue (Fred Steiner)

Twilight Zone "The Invaders" cue (Jerry Goldsmith)

39. ESCAPE INTO BLACK

Twilight Zone "The Invaders" cue (Jerry Goldsmith)

Twilight Zone "Back There" cue (Jerry Goldsmith). A total of 13 cues from Goldsmith were used in this episode.

Twilight Zone “The Passerby” cue (Fred Steiner)

Twilight Zone “Two” cue (Nathan Van Cleave)

Twilight Zone “King Nine Will Not Return” cue (Fred Steiner). A total of 11 cues from Steiner were used in this episode.

Twilight Zone “Where Is Everybody?” or “The Alternate End Title #2”cue (Bernard Herrmann). A total of 3 cues from Hermann were used in this episode.

Twilight Zone “The Trouble With Templeton” cue (Jeff Alexander)

Other stock music in this episode was composed by Nathan Scott and Rene Garriguenc and a sole 39 second cue from the Capitol music library written by Nick Carras.

40. THE CAGE

Twilight Zone “The Passerby” cue (Fred Steiner)

43. THE IRON MAIDEN

Twilight Zone "The Invaders" cue (Jerry Goldsmith)

Twilight Zone "Back There" cue (Jerry Goldsmith)

Twilight Zone “The Passerby” cue (Fred Steiner)

45. BALLAD FOR A GHOST

Twilight Zone "The Invaders" cue (Jerry Goldsmith)

Twilight Zone "Back There" cue (Jerry Goldsmith)

Twilight Zone “The Passerby” cue (Fred Steiner)

46. BRASS RING

Twilight Zone “Perchance to Dream” cue (Nathan Van Cleave)

Twilight Zone "Back There" cue (Jerry Goldsmith)

Twilight Zone “Where Is Everybody?” cue (Bernard Herrmann)

47. THE END IS BUT THE BEGINNING

Twilight Zone “Two” cue (Nathan Van Cleave)

Twilight Zone “Perchance to Dream” cue (Nathan Van Cleave)

Twilight Zone "Back There" cue (Jerry Goldsmith)

Twilight Zone "The Invaders" cue (Jerry Goldsmith)

Twilight Zone “A Hundred Yards Over The Rim” cue (Fred Steiner)

Twilight Zone “The Passerby” cue (Fred Steiner)

49. FUN AND GAMES AND PARTY FAVORS

Twilight Zone “Perchance to Dream” cue (Nathan Van Cleave)

50. SCAPEGOAT

Twilight Zone "The Invaders" cue (Jerry Goldsmith)

Twilight Zone "Back There" cue (Jerry Goldsmith)

and the CBS music library

Twilight Zone “The Passerby” cue (Fred Steiner)

51. CORNER OF HELL

Twilight Zone “The Passerby” cue (Fred Steiner)

Twilight Zone "Dust" cue (Jerry Goldsmith)

Twilight Zone “Two” cue (Nathan Van Cleave)

52. MOON CHILD

Twilight Zone "Back There" cue (Jerry Goldsmith)

Twilight Zone “King Nine Will Not Return” cue (Fred Steiner)

Twilight Zone “A Hundred Yards Over The Rim” cue (Fred Steiner)

Twilight Zone “Perchance to Dream” cue (Nathan Van Cleave)

Twilight Zone “The Lonely” cue (Bernard Herrmann)

Twilight Zone “Walking Distance”cue (Bernard Herrmann)

58. A.P.B.

Twilight Zone “And When The Sky Was Opened”cue (Leonard Rosenman)

Twilight Zone “King Nine Will Not Return” cue (Fred Steiner)

season three

61. WINGS OF AN ANGEL

Twilight Zone “A Hundred Yards Over The Rim” cue (Fred Steiner)

Twilight Zone “And When The Sky Was Opened” (Leonard Rosenman)

Twilight Zone "The Invaders" cue (Jerry Goldsmith)

Twilight Zone "Back There" cue (Jerry Goldsmith)

62. MIDDLE OF THE HEAT WAVE

Twilight Zone “Mute” cue (Fred Steiner)

Twilight Zone “The Passerby” cue (Fred Steiner) sentimental

Twilight Zone "The Invaders" cue (Jerry Goldsmith) sentimental

63. CRACK IN A CRYSTAL BALL

Twilight Zone “The Lonely” cue (Bernard Herrmann)

65. CONSPIRARY OF SILENCE

Twilight Zone “Mute” cue (Fred Steiner)

66. THREE CHEERS FOR LITTLE BOY BLUE

Twilight Zone “Mute” cue (Fred Steiner)

67. ALL THE SCARED RABBITTS

Twilight Zone “Mute” cue (Fred Steiner)

Twilight Zone’s episode: “In His Image” (composer not known as stock music was used)

Twilight Zone "Back There" cue (Jerry Goldsmith)

68. AN APPLE A DAY

Twilight Zone “The Passerby” cue (Fred Steiner)

Twilight Zone “Mute” cue (Fred Steiner)

Twilight Zone "Back There" cue (Jerry Goldsmith)

69-70. LANDSCAPE WITH RUNNING FIGURES

Twilight Zone “Walking Distance” cue (Bernard Herrmann)

Twilight Zone “The Passerby” cue (Fred Steiner)

75. WHEN THE WIND BLOWS

Twilight Zone “The Invaders” cue (Jerry Goldsmith)

Twilight Zone “The Big Tall Wish” cue (Jerry Goldsmith)

Twilight Zone “Mute” cue (Fred Steiner)

Twilight Zone “The Passerby” cue (Fred Steiner)

Twilight Zone “Perchance to Dream” cue (Nathan Van Cleave)

77. WIFE KILLER

Twilight Zone “Back There” cue (Jerry Goldsmith) during ill Fred Johnson scenes

78. THIS’LL KILL YOU

Twilight Zone “Mute” cue (Fred Steiner)

80. STROKE OF GENIUS

Twilight Zone “King Nine Will Not Return” cue (Fred Steiner)

Twilight Zone “Elegy” cue (Nathan Van Cleave)

Twilight Zone “Mute” cue (Fred Steiner)

Twilight Zone “Where Is Everybody?” cue (Bernard Herrmann)

Twilight Zone “The Outer Space Suite”cue (Bernard Herrmann)

81. SHADOW OF THE SWAN

Twilight Zone “Walking Distance”cue (Bernard Herrmann)

Twilight Zone “I Sing the Body Electric” cue (Nathan Van Cleave)

Twilight Zone “Mute” cue (Fred Steiner)

84. ILL WIND

Twilight Zone’s episode: “The Mirror” (composer not known)

86. THE WHITE KNIGHT

Twilight Zone “Mute” cue (Fred Steiner)

88. A TASTE OF TOMORROW

Twilight Zone “Two” cue (Nathan Van Cleave)

Twilight Zone “King Nine Will Not Return” cue (Fred Steiner)

Twilight Zone “Mute” cue (Fred Steiner)

Twilight Zone “The Passerby” cue (Fred Steiner)

season four

91. THE LAST OASIS

Twilight Zone “Mute” cue (Fred Steiner)

Twilight Zone “The Passerby” cue (Fred Steiner)

Twilight Zone “The Big Tall Wish” cue (Jerry Goldsmith)

93. A CLEAN AND QUIET TOWN

Twilight Zone “Mute” cue (Fred Steiner)

Twilight Zone “The Lonely” cue (Bernard Herrmann)

Twilight Zone “Perchance to Dream” cue (Nathan Van Cleave)

Twilight Zone "The Invaders" cue (Jerry Goldsmith)

94. The SHARP EDGE OF CHIVALRY

Twilight Zone "The Invaders" cue (Jerry Goldsmith)

Twilight Zone "Back There" cue (Jerry Goldsmith)

Twilight Zone “Perchance to Dream” cue (Nathan Van Cleave)

Twilight Zone “Mute” cue (Fred Steiner)

Twilight Zone “Where Is Everybody?” cue (Bernard Herrmann)

The Outer Limits “The Zanti Misfits” cue (Dominic Frontiere) originally used in Stoney Burke

Stoney Burke “Point of Entry” cue (Dominic Frontiere) also later recycled as an Outer Limits cue

NOTE: with producer Alan Armer’s departure in the 4th color season the shows changed a bit in tone and music editor Ken Wilhoit sought out other music libraries consistant with an attempt to breathe new life into the show. Composer Dominic Frontiere’s work was used extensively this season.

95. TEN THOUSAND PIECES OF SILVER

Twilight Zone “The Passerby” cue (Fred Steiner)

The Outer Limits “The Man Who Was Never Born” cue (Dominic Frontiere)

Stoney Burke “Point of Entry” cue (Dominic Frontiere) also later recycled as an Outer Limits cue

The Outer Limits “The Zanti Misfits” cue (Dominic Frontiere) originally used in Stoney Burke

The Outer Limits “The Human Factor” cue (Dominic Frontiere)

The Outer Limits “The Invisibles” cue (Dominic Frontiere)

The Outer Limits “The Architects of Fear” cue (Dominic Frontiere)

The Outer Limits “Tourist Attraction” cue (Robert Van Eps)

96. JOSHUA’S KINGDOM

Twilight Zone “Mute” cue (Fred Steiner)

97. SECOND SIGHT

Stoney Burke “The Weapons Man” cue (Dominic Frontiere)

The Outer Limits “The Man Who Was Never Born” cue (Dominic Frontiere)

The Outer Limits “The Borderland” cue (Dominic Frontiere)

The Outer Limits “The Human Factor” cue (Dominic Frontiere)

Stoney Burke “Point of Entry” cue (Dominic Frontiere) also later recycled as an Outer Limits cue

The Outer Limits “Signature Loop” cue (Dominic Frontiere)

The Outer Limits “The Invisibles” cue (Dominic Frontiere)

The Outer Limits “Tourist Attraction” cue (Robert Van Eps)

The Outer Limits  “The Forms of Things Unknown” cue (Dominic Frontiere)

The Outer Limits “The Architects of Fear” cue (Dominic Frontiere)

Stoney Burke “Point of Honor” cue (Dominic Frontiere) also later recycled as an Outer Limits cue in “The Zanti Misfits”

98. WINE IS A TRAITOR

Stoney Burke “Point of Honor” cue (Dominic Frontiere) also later recycled as an Outer Limits cue in “The Zanti Misfits”

Stoney Burke “Point of Entry” cue (Dominic Frontiere) also later recycled as an Outer Limits cue in “The Sixth Finger”

The Outer Limits “The Man Who Was Never Born” cue (Dominic Frontiere)

Stoney Burke “The Weapons Man” cue (Dominic Frontiere)

The Outer Limits “The Architects of Fear” cue (Dominic Frontiere)

The Outer Limits “The Invisibles” cue (Dominic Frontiere)

The Outer Limits “Tourist Attraction” cue (Robert Van Eps)

The Outer Limits “The Borderland” cue (Dominic Frontiere)

99. APPROACH WITH CARE

Twilight Zone “The Big Tall Wish” cue (Jerry Goldsmith)

The Outer Limits “The Invisibles” cue (Dominic Frontiere) during Act IV

The Outer Limits “The Human Factor” cue (Dominic Frontiere) during Act IV

The Outer Limits “The Man Who Was Never Born” cue (Dominic Frontiere) during Act IV

100. NOBODY LOSES ALL THE TIME

Stoney Burke “The Weapons Man” cue (Dominic Frontiere)

The Outer Limits “The Invisibles” cue (Dominic Frontiere)

The Outer Limits  “The Forms of Things Unknown”” cue (Dominic Frontiere)

Stoney Burke “Point of Entry” cue (Dominic Frontiere) also later recycled as an Outer Limits cue

The Outer Limits “The Man Who Was Never Born” cue (Dominic Frontiere)

Stoney Burke “Point of Honor” cue (Dominic Frontiere) also later recycled as an Outer Limits cue in “The Zanti Misfits”

The Outer Limits “The Human Factor” cue (Dominic Frontiere)

The Outer Limits “Don’t Open Till Doomdsday” cue (Dominic Frontiere)

unidentified cue used in The Invaders pilot “Beachhead” (Dominic Frontiere)

101. RIGHT IN THE MIDDLE OF THE SEASON

Stoney Burke unidentified cue also later recycled as an Outer Limits cue in “The Guests” (Dominic Frontiere). This is a dominent theme used in this Fugitive episode

Stoney Burke “Point of Honor” cue (Dominic Frontiere) also later recycled as an Outer Limits cue in “The Zanti Misfits”

The Outer Limits “The Architects of Fear” cue (Dominic Frontiere)

The Outer Limits “Tourist Attraction” cue (Robert Van Eps)

The Outer Limits “The Invisibles” cue (Dominic Frontiere)

The Outer Limits “The Borderland” cue (Dominic Frontiere)

The Outer Limits “The Galaxy Being” cue (Dominic Frontiere)

The Outer Limits “The Human Factor” cue (Dominic Frontiere)

102. THE DEVIL’S DISCIPLES

Twilight Zone "Back There" cue (Jerry Goldsmith)

Twilight Zone "The Invaders" cue (Jerry Goldsmith)

unidentified cue used in The Invaders pilot “Beachhead” (Dominic Frontiere)

Stoney Burke “Point of Entry” cue (Dominic Frontiere) also later recycled as an Outer Limits cue

The Outer Limits “The Borderland” cue (Dominic Frontiere)

The Outer Limits “The Architects of Fear” cue (Dominic Frontiere)

The Outer Limits  “The Forms of Things Unknown”” cue (Dominic Frontiere)

The Outer Limits “The Man Who Was Never Born” cue (Dominic Frontiere)

103. THE BLESSINGS OF LIBERTY

Twilight Zone “The Passerby” cue (Fred Steiner)

Twilight Zone “Mute” cue (Fred Steiner)

104. THE EVIL MEN DO

Stoney Burke “Point of Entry” cue (Dominic Frontiere) also later recycled as an Outer Limits cue

The Outer Limits “The Human Factor” cue (Dominic Frontiere)

The Outer Limits “Don’t Open Till Doomdsday” cue (Dominic Frontiere)

The Outer Limits “Signature Loop” cue (Dominic Frontiere)

The Outer Limits “The Invisibles” cue (Dominic Frontiere)

The Outer Limits  “The Forms of Things Unknown”” cue (Dominic Frontiere)

105. RUN THE MAN DOWN

Twilight Zone “King Nine Will Not Return” cue (Fred Steiner)

Twilight Zone “The Passerby” cue (Fred Steiner)

Twilight Zone “Two” cue (Nathan Van Cleave)

The Outer Limits “The Human Factor” cue (Dominic Frontiere)

Stoney Burke “Point of Entry” cue (Dominic Frontiere) also later recycled as an Outer Limits cue in “The Sixth Finger” and “ZZZZZZ”

The Outer Limits “Signature Loop” cue (Dominic Frontiere) half loop

The Outer Limits “Tourist Attraction” cue (Robert Van Eps)

The Outer Limits “The Borderland” cue (Dominic Frontiere)

The Outer Limits “Don’t Open Till Doomdsday” cue (Dominic Frontiere)

The Outer Limits “The Invisibles” cue (Dominic Frontiere)

106. THE OTHER SIDE OF THE COIN

The Outer Limits “Signature Loop” cue (Dominic Frontiere) half loop

Stoney Burke “Point of Entry” cue (Dominic Frontiere)

Stoney Burke unidentified cue also later recycled as an Outer Limits cue in “O.B.I.T.” (Dominic Frontiere)

107. THE ONE THAT GOT AWAY

The Outer Limits “Controlled Experiment” cue (Dominic Frontiere)

The Outer Limits “Washington D.C.” cue from the episode “The Hundred Days of the Dragon” (Dominic Frontiere)

Stoney Burke “Point of Entry” cue (Dominic Frontiere)

The Outer Limits “Signature Loop” cue (Dominic Frontiere)

The Outer Limits “The Man Who Was Never Born” cue (Dominic Frontiere)

The Outer Limits “The Human Factor” cue (Dominic Frontiere)

The Outer Limits “Tourist Attraction” cue (Robert Van Eps) dominant theme

The Outer Limits “The Invisibles” cue (Dominic Frontiere)

The Outer Limits “The Borderland” cue (Dominic Frontiere)

Stoney Burke unidentified cue also later recycled as an Outer Limits cue in “The Bellero Shield”.

108. CONCRETE EVIDENCE

Twilight Zone “Mute” cue (Fred Steiner)

Stoney Burke unidentified cue also later recycled as an Outer Limits cue in “O.B.I.T.” (Dominic Frontiere)

The Outer Limits “Don’t Open Till Doomdsday” cue (Dominic Frontiere)

The Outer Limits “The Man Who Was Never Born” cue (Dominic Frontiere)

Stoney Burke unidentified cue also later recycled as an Outer Limits cue in “The Zanti Misfits” (Dominic Frontiere)

The Outer Limits “The Human Factor” cue (Dominic Frontiere)

109. THE BREAKING OF THE HABIT

Twilight Zone “Walking Distance”cue (Bernard Herrmann)

The Outer Limits “The Human Factor” cue (Dominic Frontiere)

Stoney Burke “Point of Entry” cue (Dominic Frontiere)

The Outer Limits “The Borderland” cue (Dominic Frontiere)

The Outer Limits “The Man Who Was Never Born” cue (Dominic Frontiere)

The Outer Limits “Tourist Attraction” cue (Robert Van Eps)

Stoney Burke unidentified romantic cue also later recycled as an Outer Limits cue in “The Guests” (Dominic Frontiere)

111. THE IVY MAZE

Twilight Zone “Mute” cue (Fred Steiner)

Twilight Zone "Back There" cue (Jerry Goldsmith)

The Outer Limits “Controlled Experiment” cue (Dominic Frontiere) used in the the interrogation dream scenes

The Outer Limits “Don’t Open Till Doomdsday” cue (Dominic Frontiere)

Stoney Burke “Point of Entry” cue (Dominic Frontiere) also later recycled as an Outer Limits cue in “The Sixth Finger” and in Leslie Steven's feature "Incubus"

The Outer Limits “The Forms of Things Unknown” cue (Dominic Frontiere) used in the the interrogation dream scenes (the watery theme)

112. GOODBYE MY LOVE

Twilight Zone “Mute” cue (Fred Steiner)

Twilight Zone "Back There" cue (Jerry Goldsmith)

Twilight Zone “Nervous Man in a Four Dollar Room”cue (Jerry Goldsmith)

Twilight Zone “The Invaders” cue (Jerry Goldsmith)

113. PASSAGE TO HELENA

Twilight Zone “Mute” cue (Fred Steiner)

Twilight Zone "Dust" cue (Jerry Goldsmith)

The Outer Limits “The Man Who Was Never Born” cue (Dominic Frontiere)

The Outer Limits “The Borderland” cue (Dominic Frontiere)

114. THE SAVAGE STREET

Stoney Burke “The Weapons Man” cue (Dominic Frontiere)

115. DEATH OF A VERY SMALL KILLER

Stoney Burke “Point of Entry” cue (Dominic Frontiere)

Stoney Burke “Point of Honor” cue (Dominic Frontiere)

Stoney Burke unidentified romantic cue also later recycled as an Outer Limits cue in “The Guests” (Dominic Frontiere)

116. DOSSIER ON A DIPLOMAT

Stoney Burke unidentified cue also later recycled as an Outer Limits cue in “The Sixth Finger” (Dominic Frontiere)

Stoney Burke unidentified cue also later recycled as an Outer Limits cue in “The Guests” (Dominic Frontiere)

The Outer Limits “The Man Who Was Never Born” cue (Dominic Frontiere)

The Outer Limits “The Invisibles” cue (Dominic Frontiere)

The Outer Limits “The Human Factor” cue (Dominic Frontiere)

The Outer Limits “Don’t Open Till Doomdsday” cue (Dominic Frontiere)

The Outer Limits “The Architects of Fear” cue (Dominic Frontiere) Yvette Theme.

The Outer Limits “Controlled Experiment” cue (Dominic Frontiere)

The Outer Limits “Tourist Attraction” cue (Robert Van Eps)

117. THE WALLS OF NIGHT

Twilight Zone “Mute” cue (Fred Steiner)

Stoney Burke unidentified cue also later recycled as an Outer Limits cue in “Moonstone” (Dominic Frontiere)

The Outer Limits “The Architects of Fear” cue (Dominic Frontiere)

The Outer Limits “Don’t Open Till Doomdsday” cue (Dominic Frontiere)

Stoney Burke unidentified cue also later recycled as an Outer Limits cue in “The Guests” (Dominic Frontiere)

The Outer Limits “The Man Who Was Never Born” cue (Dominic Frontiere)

also many Stoney Burke unidentified cues here and there

118. THE SHATTERED SILENCE

Twilight Zone “The Outer Space Suite”cue from the episode “Third from the Sun” (Bernard Herrmann)

The Outer Limits  “The Forms of Things Unknown” cue (Dominic Frontiere). From start of Act I when Kimble runs away from cops on a railroad. This footage had been used on a previous episode.

The Outer Limits “The Man Who Was Never Born” cue (Dominic Frontiere)

The Outer Limits “The Architects of Fear” cue (Dominic Frontiere) Yvette and Allen’s love theme.

unidentified cue used in The Invaders pilot “Beachhead” (Dominic Frontiere) the campers’s theme

119. THE JUDGMENT, PART I

Stoney Burke “Point of Entry” cue (Dominic Frontiere) containing a recognizable staccato bass guitar leitmotif.

The Outer Limits “Tourist Attraction” cue (Robert Van Eps)

Stoney Burke "The Wanderer" cue (Dominic Frontiere) plays over a scene of expositon when Jean Carlisle is catching up with Kimble. It plays as sort of a "Stafford, Indiana" hometown strain used again in part 2. (This music was later recycled as an Outer Limits cue in the episode “The Guests”)Thanks to Mike Nichols.

The Outer Limits “Signature Loop” cue (Dominic Frontiere)

The Outer Limits “Controlled Experiment” cue (Dominic Frontiere)

The Outer Limits “The Architects of Fear” cue (Dominic Frontiere) also contains Yvette and Allen’s love theme.

The Outer Limits “The Borderland” cue (Dominic Frontiere)

unidentified cue heard in an The Invaders episode called “The Experiment”(Dominic Frontiere)

unidentified cues by Dominic Frontiere here and there

120. THE JUDGMENT, PART II

Again, the Stoney Burke "The Wanderer" cue (Dominic Frontiere). It plays over the Lloyd Chandler driveup with the kids at the Taft Stafford house.

The Outer Limits “The Forms of Things Unknown” cue (Dominic Frontiere). Used in the flashback of the Helen Kimble murder.

The Outer Limits “The Architects of Fear” cue (Dominic Frontiere) Yvette and Allen’s love theme.

The Outer Limits “The Human Factor” cue (Dominic Frontiere). Used in the Act IV fight scene atop the amusement park ride between Kimble and Johnson.

The Outer Limits “Tourist Attraction” cue (Robert Van Eps). Used in the Act IV fight scene atop the amusement park ride.

The Outer Limits “The Borderland” cue (Dominic Frontiere). Used in the Act IV fight scene atop the amusement park ride.

The Outer Limits “The Invisibles” or “Don’t Open Till Doomsday” cue (Dominic Frontiere). Used in the Act IV fight scene atop the amusment park ride.

unidentified cue used in The Invaders pilot “Beachhead” (Dominic Frontiere) the campers’s theme. Used in the Act IV fight scene atop the amusment park ride.

unidentified cues by Dominic Frontiere here and there.

 

ACCREDITATION

This essay on the music for THE FUGITIVE relied on several sources:

-Interviews conducted by the webmaster with Peter Rugolo, John Elizalde, Ken Wilhoit, Harry Rabinowitz and Eric Tomlinson.

-Jon Burlingame’s book “TV’S BIGGEST HITS” and his liner notes for the Silva Screen FUGITIVE music release.

-Chris Malone profile on Eric Tomlinson (www.geocities.com/hollywood/lot/9045/tomlinson.pdf )

-fan Mary Keesling's source music research

Please contact us with any comments or questions.

  info@davidjanssen.net

 

 

 

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