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Home To Judgment
Will Geer & Robert Culp

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Season 3 -  originally broadcast
January 8, 1968

French:  "Une réunion de famille" (A Family Reunion)

Writer:  Robert Culp
Director:  Richard C. Sarafian

When they bungle an assignment and become the hunted rather than the hunters in a deadly cat-and-mouse game across a rugged Midwest prairie, pursued by a powerful and mysterious band of criminals, Kelly and Scotty  secretly take refuge at the isolated farm of Kelly's aunt and uncle.


Will Geer (Uncle Harry), Una Merkel (Aunt Alta), Robert Donner (mailman), Bob Sampson (cowboy), Walter Coy (Sheriff Homer), Michael Preece (phantom #1), Allen Pinson (phantom #2), Gene Lebell (unknown man)


Synopsis:  Kelly and Scotty seek refuge on the farm of Kelly's aunt and uncle, unbeknownst to the old couple.

Highlights/Comments:  Two tremendous performances.  Build up immaculate with fear and suspense overwhelming.  Most emotional experience of the season Rifle side shot Music excellent ... Kelly, reflecting on their lifestyle "Here I feel like a criminal."  Too riveting to take notes.

  Composer EARLE HAGEN comments on the inspiration for his remarkable score for HOME TO JUDGMENT

"I had nothing in mind when I first ran "Home To Judgment." It was so stylized that I felt the normal I Spy approach would not work. When I looked at a new show to score, I would try to find a key scene that would help me determine the combination I would use.

In Home To Judgment there were two. The first was the opening sequence which with the split for the main title ran over six minutes. The second was the scene where the killer with the blinding light comes to get them. I knew there was no way dramatically that my regular combo, a big dance band, plus percussion, would work for this picture.

Una Merkel

After thinking what I could use to heighten the dramatic stakes and carry me through the long chase, I called my contractor, Wally Popp, and told him I wanted to hire the following orchestra: two pianos, two harps, 4 basses, 4 French horns and 6 percussion. There was a long silence and Wally said, "Sure you Do." I had a hard time convincing him that that combo was what I really wanted. With a six minute plus opening with no dialogue and a tremendously tense killing sequence, the combination made exactly the sounds I heard in my head before I wrote them.

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