Escape/Cinderella Girls 1.01
EPISODE 1: “Escape / Cinderella Girls” 1.01
First telecast: January 28, 1978
After the big sendoff of the two pilot films, Mr. Roarke and Tattoo now get down to the business of granting weekly fantasies, two per hour (or two per weekend, from their point of view). Of course, to them, this business of Roarke’s has been going on for some indeterminate number of years now, according to dialogue in the opening sequences of both films. But for us, it’s the kickoff for seven years of magical Saturday nights.
This week Roarke and Tattoo welcome a pair of 25-year-old best friends, Ann Dowd and Maxine Bender, who work together at a trailer-manufacturing company in Akron, Ohio. They’re just a couple of young, single, ordinary working girls who want to hang out with the jet set and be glamorous and beautiful for a couple of days. This is evident when Tattoo — with his eye ever on the women — asks Roarke if there are any beautiful ones coming, and Roarke admonishes him: “How many times do I have to tell you, Tattoo? All women are beautiful; you just have to look for it a little bit harder.” Okay, it’s Hollywood: there weren’t really any average-looking women on the island, let alone downright ugly ones. On the other hand, you’d be surprised how plain and ordinary-looking even a gorgeous actress becomes when you strip off her makeup, and you can see this in these two ladies; so perhaps Roarke wasn’t just blowing smoke.
Their other fantasizing guest for the weekend is the semi-famous Gregory Udall, a magician whose fantasy is to pull off the ultimate escape trick. Tattoo, of course, seizes on this and decides he must be rich enough to pay full price for his fantasy. You can always count on Tattoo to focus on his two favorite obsessions in life — money and women! Roarke takes him down a peg or two by demanding, “Must you always reduce everything to such crass terms?” In any case, Udall is the son of the legendary escape artist known as The Great Dante; it seems he wants to perform an escape from his father’s very long shadow, too.
There is still some of Roarke’s quasi-sadistic persona from the first pilot film evident in this episode, as we see later, although overall he’s definitely mellowing out. There are other carryovers from the pilots as well: the pond beside the Queen Anne cottage continues to serve as the lagoon; the bungalow to which Ann and Maxine are assigned has the same exterior as the one used by Paul Henley in the first pilot, though the interior is totally different, establishing the regular one-story bungalow floor plan and décor seen throughout the series, with some changes here and there through the seasons. It’s here that Ann and Maxine meet stylist-to-the-stars Robert Massoon, a snobby fellow with a pseudo-French accent who takes one look at them and seems to be daunted by the work that needs to be done to turn them into glamour pusses. (Georgia Engel, who portrays Maxine, was playing almost five years younger than her actual age at the time; Diana Canova was just about on the mark, actually being slightly younger than her character, Ann. So what was Massoon really bellyaching about? Probably having to spend his precious time on a couple of nobodies.) Despite his reluctance, he really goes all out for these two girls. They go through everything from hair washing and styling to facial mud masks to massages to weight-loss steamboxes. Evidently it works; at the pool, Tattoo is trying to hit on a woman (both using Villechaize‘s native French — unfortunately, unless you speak French, you have no way of knowing what they’re saying to each other, since the DVD set does not come with English subtitles, a major oversight), and when he strikes out, he is utterly amazed at the difference in their two guests. Roarke, of course, has witnessed Tattoo’s failure, and Tattoo is philosophical about it (setting a precedent for the series in general). It’s a surprise when Tattoo extracts a pocket watch just like Roarke’s; this is probably the only time in the series that he does this, particularly since Montalbán‘s and Villechaize’s white suits underwent slight changes after the first season. If you have access to any of the subsequent seasons, you’ll notice that the white brocade vests were replaced by white polyester matching the rest of the suit, from the second season on.
Meanwhile, Udall is driven to a small dock where he is handed off to a couple of prison guards who speak in French; apparently the maximum-security prison Udall is going to is run by France, or at least a French-speaking country, on an island surrounded by shark-infested waters, 15 miles away. (Fantasy Island, far from being isolated, seems to be part of a rather large local island group, as evidenced in quite a few episodes throughout the series.) The place is called Devil’s Island, and is presented as a truly notorious prison from which no one has ever escaped. The guards have been told that Udall is a convicted murderer, and they treat him accordingly. The prison overseer is one nasty-looking and -acting fellow by the name of Duprez, who seems to relish informing Udall that he can expect three days in an isolation box just for stealing food. As he says, “Imagine if you try to escape!” Reggie Nalder makes a truly convincing bad guy; even in real life, you’d hate to meet him in the proverbial dark alley. Here he attempts a French accent — a lot of that going on in this episode; maybe Nalder and the prison-guard actors, along with Alan Sues (who played Massoon), should have taken some crash-course lessons from Villechaize. None of the non-native French-speakers are terribly convincing, but it’s not easy to produce an authentic-sounding French accent, even if you have an ear for them. So we’ll give them marks for doing their very best.
Through the first half of this episode there is a good deal of quick, choppy back-and-forth between the two stories, which might make things a bit confusing were the fantasies not so different from each other. There is, however, some confusion regarding time of day. It seems to be evening when the girls appear at a costume party (more antics: Tattoo is stunned when Roarke recognizes him in spite of his costume and mask), but still clearly daytime at the prison while Udall meets his cellmate and has his final meal of the day in the prison cafeteria. And it’s definitely broad daylight when Roarke and Tattoo bump into another guest on the veranda of the main house. A chunky fellow named Harmon is realizing his fantasy of having lunch with Charlie’s Angels. This is one of those fun little “asides” that often cropped up during the first two or three seasons, as a sort of break from the intensity of the two main stories. One does wonder, though, if Harmon was eating lunch with the Angels in character, or with the actresses who portrayed them…
Things start going downhill pretty quickly for Ann and Maxine, who have both attracted admirers but are already feeling the pressure of keeping up appearances. They protest to Roarke at the party that they can’t afford to bid on the items for sale at the midnight auction that the party culminates in. But Maxine is less concerned than Ann; she has caught the adoring attention of an idle-rich count named Rudolf, and confides to Ann that she’s going to sneak away with him on his yacht and escape having to bid on anything that way. Ann has no such recourse, and is terrified of being exposed as the fraud she is. With her conscience nagging her relentlessly, she admits to her doctor friend, Roger Sullivan, that she’s really only having a fantasy. Another partygoer overhears and insults her, sending her running away in tears; Sullivan gallantly drenches the jerk in champagne and goes after Ann.
Udall isn’t in such hot shape himself. Having attempted once to escape, only to be caught, cuffed and placed in the prison sickbay for a broken rib (which is curiously not in evidence after this scene), he gets an unexpected visit from Roarke, who seems to be quite amused at Udall’s predicament — the quasi-sadism I earlier referred to. Udall is ready to admit defeat and have Roarke take him back to Fantasy Island; but Roarke sets the rule that fantasizers will have to abide by for the next seven years: the weekend isn’t over, your fantasy is still in force, and you have to see it through to the bitter end. So it’s up to Udall to try again, and this time he finds himself saddled with his cellmate, Ipsy Dauphin, who tells a lovely little sob story about having had the same fantasy ten years ago and failed totally at it. Will Udall please take him along when he attempts his own breakout? Udall refuses the first time; but his conscience gets to him the second time and he goes back for Ipsy. For a maximum-security prison, the place doesn’t seem all that hard to bust out of, relatively speaking. Udall and Ipsy have to dodge only one guard before gaining the outside courtyard. Ipsy, in that time-honored cliché so lovingly employed by all scenarios in which one must flee from the bad guys, trips and hits the ground, spraining his ankle just enough to slow them up. This eliminates Udall’s earlier option of scaling the 20-foot outer wall like a mountain climber; so they end up Dumpster-diving, hiding in the garbage truck that is scheduled to leave in the morning. Duprez, of course, is well aware that they’re in there, and the following morning he halts the garbage truck long enough to have a bunch of his guards pepper the bins with bullet holes before sending it on its way. No worries, though: sometime during the night, Udall and Ipsy crawled under the chassis and make their escape hanging onto the undercarriage of the truck, Indiana-Jones style. All’s well…
Maxine has made good on her threat to leave the island with Count Rudolf on his yacht, leaving poor Ann out in the cold. It looks even grimmer for her when Dr. Roger Sullivan catches up with her on the beach and admits that he, too, was an imposter. He’s a doctor, all right, but he’s not rich; he was here hoping to raise thirty or forty thousand to build a clinic for kids on an Oklahoma Indian reservation. It seems he failed to interest any of the self-centered rich people he’s met here so far in donating to the cause. But one thing shines through: Roger and Ann have fallen in love, and she is more than happy to take him for just who he is.
Upon saying the farewells in the final scene, Ann and Roger are amazed when they are presented with the Debussy necklace that Maxine and Count Rudolf won in Saturday’s scavenger hunt; and the necklace, of course, is easily enough to pay for Sullivan’s clinic in Oklahoma. So Maxine didn’t forget her best friend after all in her pursuit of riches and a title; we could all use a friend like that. And Udall is reunited with his wife, Kathy, who had such a small role here as to be superfluous. When he’s gone, though, Tattoo accuses Roarke of lying to Udall about his cellmate: Ipsy Dauphin was really the hotel’s master chef, and boy, are they glad to have him back! Okay, Mr. Roarke, we won’t tell if you won’t…
There are glitches in the episode, of course: the fluctuating time of day midway through the episode; the magically vanishing broken rib (maybe Roarke secretly healed it while he was sitting in the sickbay with Udall); the trip-and-fall-while-running cliché; and the “bad guys always miss” phenomenon. During Udall’s first escape attempt, while he’s trying to scale the retaining wall, several guards try to shoot him down, spraying machine-gun fire all over the place but never once hitting the man. This, too, is a hoary old rule of scriptwriting: the bad guys can shoot a gazillion rounds if they want, but Our Hero is magically immune to the guns and always seems to get away unscathed (unless he happens to trip and fall and sprain his ankle, that is). Even though Udall suffers a broken rib, it’s clear enough that he sustained it through falling from his rope, rather than being hit by a stray bullet.
But all in all, this is an enjoyable tale, rife with little twists, shots of humor and happy endings. That may seem trite; but my personal philosophy is, I prefer happy endings in my TV shows, no matter how corny. We have enough unhappy endings in real life; give us the illusion so we can have some hope. And you get that in spades here. No wonder so many of us probably wished that Fantasy Island really existed. Failing that, at least we got to visit once a week. Welcome to Fantasy Island, indeed! (Kim)
After showing the plane flying over the island and the title card, the episode settles into the routine of interfiling the opening credits with the opening teaser. Now, at least, Hervé has moved to the front of the credits for billing purposes: Starring Ricardo Montalbán and Hervé Villechaize as Tattoo. There’s a long shot from Tattoo in the tower, having rung the bell and shouted “Ze plane! Ze plane!”, going down to where Roarke is exiting from the Main House onto the porch, and a red jeep appears.
Who’s Who Among the Stars:
Diana Canova…Ann Dowd
Robert Clary…Ipsy Dauphin
Bert Convy…Gregory Udall
Georgia Engel…Maxine Bender
John Saxon…Dr. Roger Sullivan
A fascinating cast. Diana Canova had not yet begun her run on “Soap” or the later “Empty Nest”; Robert Clary’s run on “Hogan’s Heroes” had ended several seasons earlier during the infamous cancellation of rural comedies and westerns; Bert Convy, whom I know only as a game-show host, was hosting “Tattletales” but not yet beginning his run on “Password”; Georgia Engel’s stint on “The Mary Tyler Moore Show” had recently ended, freeing her up for a lot of appearances on sister Spelling programs “Fantasy Island” and “The Love Boat”; and John Saxon tended to play tough guys on the wrong side of the law or B-movie heroic adventurer types, like Dylan Hunt in Planet Earth, Gene Roddenberry’s second attempt to get his post-apocalyptic Genesis II franchise going.
Clary’s role is even more interesting, almost typecasting, after his role as French POW Corporal Remy Lebeau in “Hogan’s Heroes” Stalag 13; Clary had, as a young man, actually been incarcerated during World War II in German prison camps. His dual role here as fellow escape artist and prisoner/chef at the hotel mirrors and possibly pays homage to Lebeau, who although he was a prisoner helped all sorts of Allied soldiers escape, occasionally through his fabulous 5-star cooking and baking skills (which I explored in one of my “Hogan’s Heroes” fan fiction stories). Kim’s earlier comments about the French dialogue and accents is more interesting, since Clary actually was French himself and would have been a good castmate for the various prison staff to practice accents with. (Frustratingly, the DVD has Spanish and Portuguese subtitles only; was Sony trying to go for the Latin American audience because of Señor Montalbán’s presence? Sheesh! They didn’t even try for the French-Canadian market…. Again, more proof of Sony’s poor marketing of “Fantasy Island”. I truly hope that Sony will release the remainder of the series, even if it is only like the print-on-demand service that Warner Brothers uses.) Additionally, in a pure coincidence, the role of Count Rudolf was portrayed by Howard Caine, who adroitly played Maj. Wolfgang Hochstetter, the ardent Nazi Gestapo officer in about 37 “Hogan’s Heroes” episodes (and a couple of other similar roles).
I noticed that there is a slight coincidental Star Trek connection here, among the character names. During the run of “Star Trek: The Next Generation”, the crew encountered a powerful alien from a species called the Douwd. In a different episode, titled “The Dauphin”, Wesley encountered a young woman who was going to take her place as ruler of a planet. And in an Original Series episode, the crew encountered a famous scientist who had been missing for a while, Dr. Roger Korby. The common thread that all three had? None of them were what they appeared to be when we first met them in their respective episodes. And Miss Dowd, Dr. Roger Sullivan, and Ipsy Dauphin weren’t whom they appeared to be, either, in this episode of “Fantasy Island”. All coincidental.
Reggie Nalder, who was excellently sadistic as the warden of the Devil’s Island prison, had a memorable Original Series “Trek” appearance in the episode “Journey To Babel”, an episode featuring a lot of alien ambassadors from member worlds of the Federation who were transported by the Enterprise to an important conference. Nalder played the head of the Andorian delegation, Ambassador Shras. If I can find a picture of Nalder as the prison warden Duprez, I’ll post it along with a picture of him as the Andorian. (It should be easy to find a good picture, thanks to the large number of “Trek” fans on the internet.) He’s a very distinctive-looking actor, who was a good choice for both of these parts. Nalder didn’t have a guest-starring appearance, which is a shame, because he put on a strong performance; I think he was actually much better than Bert Convy, who was the star of the “Escape” portion of this episode. Nalder has a very famous visage, because his mouth had been burned in a fire. He also has played a number of vampires, including the lead vampire Barlow in the adaptation of Stephen King’s Salem’s Lot.
In addition, the director of photography on this episode, Jerry Finnerman, served in the same role in some 60 episodes of “Star Trek: The Original Series”. I’ll point out “Trek” connections to “Fantasy Island”, as they are quite frequent, when they come up in future reviews.
This episode helps establish some things that will be de rigueur quite frequently on the series: nearly every episode has scenes shot on the bungalow set; at least once a season, an old castle set is used for a story (in this case, the Devil’s Island prison fortress); and Roarke’s arranging of a fantasy so as to bring another fantasizer to the island to be a (surprise) part of the main guest’s fantasy (in this case, Dr. Roger Sullivan), often leading to romance. (In fact, this happens so often that, in the occasional episode where the love interest doesn’t show up at the end of the story, you almost feel cheated. What’s wrong with that stupid writer?!? But it did help keep the show from becoming stale; it might become boring if every episode ended with a perfectly happy ending!) As for the Devil’s Island prison fortress, there were two sets of shots: there was a long-distance shot of a fortress that appeared to be stock footage (for all I know, it’s the real Devil’s Island prison, but could just as easily be an old Spanish or British fortress somewhere in the Caribbean); and the interior courtyard set, which seemed in design as though it was an older castle set constructed originally for a film or TV show set during the Middle Ages. The long-shot exteriors and interiors did not match; not just in general appearance, but the long-shot exterior appeared to be the only thing on a tiny island, whilst the interior and close-up exterior showed it clearly to be in a jungle setting.
In the teaser, when Roarke is talking about the girls and their fantasy, not only do we find out (as Kim mentioned) that they are single and 25 years old, they’ve been best friends since high school. Since we find out later in the episode that they also work together, this is quite likely the first time in nearly ten years that they have become separated, after the events of the fantasy. (Clearly, Roarke picked up on this and realized that, in order to best grow as human beings, they needed to be separated from each other, both in terms of their respective lifestyles and their geographic locations.) Roarke describes want they want: a “glamorous fantasy, [to] live in a modern fairy tale like Cinderella, a jetsetter”. (This won’t be the last time that we encounter a fairy tale wrapped in a fantasy during the series; it seems to happen every season. It also won’t be the last time we encounter a Cinderella fantasy, either.) Tattoo responds: “This time, boss, I think you’ve bitten off more than you can chew.” Roarke follows up, with sarcasm: “It’s reassuring to know I have your unfailing confidence.” Tattoo’s reply: “You don’t have to get mad, boss, no one can bat a thousand.”
After introducing Mr. Udall as a famous magician, Tattoo the greedy pipes up, “Then he must have a lot of money, enough to pay full price for a fantasy.” The wonderfully succinct reply that Roarke came back with and that Kim quoted earlier, about his crassness, is a great quote, showing not only his education but his philosophical side. Udall is the most successful escape artist since his father, and he wants to do his own escape — something which neither his father or Houdini ever did. On that note, the teaser ends.
Produced by Michael Fisher
Created by Gene Levittt
Escape — Written by Steve Fisher
Cinderella Girls — Written by Michael Fisher
Directed by Don Weis
The jeeps now have the familiar striped canopy on top. A few years back, I saw a die-cast model of that type of vehicle on eBay, which was used at a real-life resort in Jamaica. I would have loved to snap the model up…
There are 4 prison guards who came to escort Udall to Devil’s Island, because they think he is a convicted murderer. This, then, is the ultimate challenge for escape. They will take him in the boat down the river to an inlet, and then 15 miles offshore of the main island in this archipelago. (This is the second island we see in this group, after the main one, Fantasy Island. We’ll encounter a few more over the seasons, and while the archipelago probably doesn’t actually resemble that on the map of the menu screen of the FI Season One DVD set in the slightest, at least it is an attempt to geographically place the known landmarks as seen on the series.)
When we are introduced to the bungalow that the girls will be using, it’s the back side of the main house…or rather, the back side of the Queen Anne cottage at the L.A. Arboretum, which was used to represent Paul Henley’s bungalow in the first film. It has been altered, with a red awning over the door. (The production staff quickly realized the inadequacy of dressing it up all the time and soon found a different location for the bungalow exteriors. Perhaps the exteriors are on the Columbia Ranch? So much to learn…)
Inside, we see several beautiful outfits, red or white or blue (a little bit late for the American Bicentennial celebration, isn’t it?). One outfit is described as being like Grace Kelly’s dress from the film High Society, which was produced by MGM. The girls are introduced to Robert Massoon, the most famous beauty expert in the world. (We can’t tell if Roarke has used his services before, and we never see him again, which is a shame, because Alan Sues was great in this role. One would guess that after this, Massoon decided to never work for Roarke again! Unfortunately, we never even get a second scene with him, which is also a shame. If this had been a 90-minute episode, his character definitely would have deserved some extra scenes.) Here’s a great line for Massoon: “As far as glamour is concerned, I can do everything…but in this case, Mr. Roarke, I cannot promise.”
The girls really go through a lot: a massage, followed by a mud mask, shampooing and curling of their hair, manicures and pedicures, and a steambox visit. I don’t know what Massoon was thinking, the girls looked good when he was through with them! In fact, when we first see them afterward, at the pool, Tattoo hits on one of them because he can’t recognize them, so good were Massoon’s results. (After a conversation with a pretty girl in French, where he got turned down, Roarke rejoins him and twits him from his dialogue in the teaser, “Cheer up; as you said, no one can bat a thousand.”)
Roarke: Our two friends from the plane.
Tattoo: That can’t be them.
Roarke: Aren’t they?
Tattoo: They are the same girls?
Then Dr. Sullivan comes up to join the conversation.
Sullivan: You folks get pretty girls here by the bunches, don’t ya?
Tattoo: Just the way I like them.
After he checks his pocket watch, we meet Count Rudolf. The girls use the cover story that they are heiresses. Ann is in oil, and Maxine in shipping. (She adds that she loves sailors, which is pointed dialogue because Rudolf is wearing the outfit of a wealthy yacht owner, complete with sailing cap.) Maxine and Rudolf (whom she’ll soon start calling “Rudy”) team up for the Scavenger Hunt, an excellent ice-breaker. The prize? The fabulous Debussy necklace. (We’ll see bits and pieces of the Scavenger Hunt.) The writer Ian Cooper Smith is here, and wants to team up with Ann, but instead she winds up with Dr. Roger Sullivan. (Saxon seems out of character here, and I actually think that he should have been the magician seeking a challenge, while Bert should have been the physician. But that perception might be colored because Bert will play a doctor in a later episode.)
The guards use a cool old jeep to take Udall to the prison. Warden Duprez shows him a prisoner who got three days in a sweat box for stealing extra food. “Imagine if you try to escape.”
Flipping back to the Scavenger Hunt, we see that Rudolf and Maxine are riding a contraption halfway between a golf cart and a rover, with a fringe on top. So far, at this point, they’ve found a bicycle tire, a bird’s nest, and a silver spoon; they still need to find a red ball and a duck.
Roger and Ann aren’t really trying (Rudolf and Maxine are having a fabulous time getting to know each other and searching the list!), and we find out that Roger has been on an Indian reservation in Oklahoma, where he saw kids playing with a ball. His memory seems to be a sad one. He tells us he used to be a pediatrician, and he wants to put a combination casino and racquetball club on the Strip in Las Vegas, and charage a $10,000 membership share. Unfortunately, nobody’s bought in yet. And that’s a shame, because that actually sounds like a good idea and something that would have caught on in real life back in the 1970s.
In prison, Udall’s cellmate gives him his last American cigarette. His cellmate is “The Great Dauphin”, who “died” 10 years ago…asking Roarke for his own, ultimate, escape challenge. Obviously, he’s failed.
We get our first view of sets used for casino scenes, banquets, and special events. That’s where we find out that Maxine and Rudolf won the Scavenger Hunt and the Debussy necklace. Other items from the Debussy collection will be up for auction, and oh, there’s a rule: everyone must submit bids on at least one item up for auction. Ann frets because she doesn’t really have the money. At midnight, there will be a masquerade ball.
While in the prison mess hall, Udall palms a spoon and notices a ceiling vent.
We meet, very briefly, Mr. Harmon, who is having fun with his fantasy. He’s about to have lunch with Charlie’s Angels. (Clearly a cross-promotional stunt; as Kim said, did he meet the actresses or the actual members of the Townsend Detective Agency? This is one of three mentions of “Charlie’s Angels” in “Fantasy Island” that I am aware of. It appears that, in the Fantasy Island Universe, there is a real Townsend Detective Agency as well as a “Charlie’s Angels” television series based on it. But Tattoo seems to forget that there is a real-life basis for the show, that they’ve been on the island before, in the second and third episodes where they were mentioned; that’s bad continuity, but the series is light on continuity; it’s also bad writing, as it makes Tattoo look bad, and that happened a lot, driving poor Hervé nuts.)
Roger comes dressed as Peter Pan, or perhaps Robin Hood. It turns out to be the latter, when he asks Ann to be his Marian. She turns him down, because of her increasing discomfort with the whole scenario and lying about who she is. Maxine, who now refers to the Count as Rudy, tells Ann he has a yacht and that they are going on a trip for two days. She’s very happy, having a grand time, and is very comfortable with him. As she says to Ann, “Who am I saving myself for? Smitty in the machine shop? Guys on the assembly line?” She’s perfectly happy to go off with Count Rudy.
We find out that the cellmate’s name is Ipsy, and that he tried 7 years ago to escape and was caught, and got 3 days in the box.
Maxine calls the Count “Rudy”, in public, and he is happy with that. Tattoo is playing a masked gentleman, and wonders how Roarke knew it was him. (Tattoo always seems to forget his stature, and the writers play this up a lot, again making Tattoo seem stupid.) Maxine tells Ann that Rudy wants to take her home, to his family. She told the Count the truth about her being poor, but it doesn’t matter, for they love each other. As she says in a great quote, “All my life I’ve been a size 10, trying to fit in a size 8, and he likes me as a size 10.” He likes her just as she is. She’s probably a refreshing change from what he’s used to: honest, telling it like it is, not after his money but his heart. And she makes him laugh, so he is happy with her.
So, Ann decides to tell Roger the truth. The writer, Ian Cooper Smith, who is a real hoity-toity type, thinks she is gauche. Embarassed, Ann runs off. Roger, who likes her for herself, throws a drink on Smith. Smith looks for Roarke to essentially tattle on Roger.
Udall decides to make his move. He won’t take Ipsy with him. He uses the spoon handle as a key to escape his cell, then goes into the mess hall. He used the spoon again to pry down the vent screen (or was it as a screwdriver?). After pulling the screen up behind him, he crawls through the shaft. Just in time, as two guards come in to drink coffee. He emerges on the roof, and slides down a drainpipe into the inner courtyard. He uses a rope to lasso a block on the outer wall, then climbs up. The screen falls down, alerting the guards in the mess hall. After the cliché of usually bad shooting (mentioned above by Kim), Udall is caught after he fell and broke a rib.
Roarke visits him the next day in the prison sickbay, and I agree with Kim, he must have healed Udall without us knowing. That was probably not part of the fantasy… Udall decides to quit, let Roarke win. But Roarke tells him it’s all for real: No giving up — spend the rest of your life here. He’ll have to explain to Udall’s wife, Kathy, that he isn’t coming home. He hands Udall another cigarette, saying it was a gift from Ipsy — his “last American cigarette, saving it for Christmas.”
Ann has run off to the beach where they saw kids playing earlier with a ball. Roger finds her there. He tells her his truth. He lives in a battered trailer. He’s a doctor, that’s true. The kids on the reservation — that’s true. His fantasy was to raise $30,000 to $40,000 for the kids, to build a new one-story clinic, with all the necessary equipment.
Udall is ready for another attempt, seemingly healed. And he still has the spoon. This time, he decides to take Ipsy with him. They go up through the vent as he did before, and come down the drainpipe towards the inner courtyard. Passing a guillotine in the courtyard after the alarm was sounded, Ipsy trips and “hurts his ankle.” After another struggle with his conscience, as Ipsy encourages him to go on without him, Udall comes up with a new plan — hide in the garbage. It gets dumped out to sea 5 miles out, beyond the sharks that hang out very close to the island. (One wonders if the sharks can’t handle the garbage…or if they are really even there.) In the morning, when the garbage truck is ready to go out, Duprez emerges to the courtyard and tells the truck to stop, ordering his guards to shoot the garbage. He knows, somehow, that Ipsy and Udall are in there. After a dozen or so rounds are fired into the garbage bins (but strangely, nothing oozes out like you might expect), the truck rolls out, showing us its license plate: F-22. In the jungle, we see that Ipsy and Udall are hiding in the undercarriage, unscathed but presumably very smelly… We don’t see them out to sea, but presumably they swim back the last ten miles.
Ann is ready to leave the island, but we find out that Maxine has already left with Rudy. And she left Ann the necklace — which they can sell for enough money to build the clinic. Ann is going to be with him at the clinic…
And Roarke tells Udall that his greatest escape was… “from competing with his father”. Udall wondered where Ipsy was…and then we find out that he’s really the master chef at the hotel!
Executive Producers Aaron Spelling and Leonard Goldberg
Executive Story Consultant Skip Webster
Associate Producer Mike Vejar
Unit Production Manager Harry F. Hogan III
Music by Elliot Kaplan
Music Theme by Laurence Rosenthal
Alan Sues as Andre Massoon
Howard Caine as Count (Count Rudolf, that is)
William Beckley as Ian
Bernie Kuby as Harmon
Lisa Blake Richards as Kathy
Peter Makos as the Sergeant
and Reggie Nalder as Duprez
Director of Photography Gerald Perry Finnerman, A.S.C
Art Directors Ross Bellah & Fredrick Hope
Film Editor Dick Van Enger, Jr. A.C.E.
Set Decorator Ted Lake
Camera Operator Bob Bergdahl
Make-Up Supervisor Ben Lane
Wardrobe Selected by Grady Hunt
Assistant Director Michael Messinger
Location Coordinator Michael K. Looney
Gaffer Tony Pistone
Key Grip Leonard Bukey
Stunt Coordinator Roy Harrison
Special Effects Bill Clove
Casting by Lynn Stalmaster & Associates …. Toni Howard
Casting Supervisor Al Onorato
Filmed at the Burbank Studios
A Spelling/Goldberg Production
In Association With Columbia Pictures Television
Uncredited in the episode, but listed at the Internet Movie Database:
Sharleen Rassi, Key Hair Stylist
Lindsley Parsons III, Second Assistant Director
Claudia Gilligan Ivanjack, Painter
Larry L. Fuentes, Special Effects Coordinator
Arnold Baker, Assistant Post-Production Supervisor
Running time: 49 minutes 07 seconds on DVD