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MISSION: IMPOSSIBLE (S3) Reviews: “The Mind of Stefan Miklos”/”The Test Case” (Spoilers)

“The Mind of Stefan Miklos”: In an abandoned movie theater, Jim is briefed: US agent Townsend (Jason Evers) was found to be a double agent and fed false information, but his contact Simpson (Ed Asner) found out it was fake and denounced Townsend as a traitor.  Aware that Simpson doesn’t like Townsend, the enemy has sent their most brilliant man, Stefan Miklos (Steve Ihnat), to determine whether the information is good.  So whereas in “The Diplomat,” the mission depended on convincing the enemy that real intel was fake, here it depends on convincing them, or rather Stefan, that fake intel is real.

Since Stefan is a brilliant man, this is another one of those episodes where the goal is to work against the obvious, to get him to believe one thing by trying to convince him of the opposite and let him catch the flaws.  They start by swapping out the information drop he’s getting in a statue at an art gallery (curated by Vic Perrin, the Outer Limits Control Voice in a rare on-camera role), substituting Rollin’s picture for Simpson’s (along with some forged  documents).  Meanwhile, Rollin goes to Simpson as Stefan, gets the proof from him, and convinces him he’s been compromised and needs to plan to leave the country.  Simpson is a different type of character than I’m used to seeing Ed Asner play, an insecure, stammering milquetoast and compulsive, nervous talker, but with an undercurrent of bottled contempt and bitterness.  It’s a nicely scripted role and a bit of a showcase for Asner.

Simpson leaves just in time, for the real Stefan arrives, and now it’s Rollin’s turn to play Simpson to Stefan, even adopting Simpson’s shy, nervous mannerisms, and telling him the proof will take a day to get there.  (I thought I caught a major error here; Rollin has studied to pass as left-handed in order to impersonate Simpson, but Stefan doesn’t notice that Rollin’s watch is on his left wrist.  My impression is that left-handed people generally wear their watches on the right wrist.  However, a bit of web research reveals that that’s not always the case.)  So Stefan goes to search Townsend’s apartment and finds a hidden picture of his “secret girlfriend” Cinnamon, a picture that conveniently contains just enough information to let Stefan track her down and determine that she’s planning to leave the country with Townsend.  Stefan intercepts Townsend at the airport and takes him away.

Now, here’s the cool part.  Jim and the team are listening in via a bug in Townsend’s shirt collar, and it seems like Stefan has bought their fake evidence that Townsend’s a traitor.  Jim is worried that he was too clever, that the clues he planted to make Stefan doubt the setup were too subtle.  It’s a rare case where there’s some genuine tension that the team’s plan might fail.  But just before Stefan shoots Townsend, the latter’s pleas of innocence call his attention to a minor discrepancy.  That gets him noticing the rest, and thanks to his photographic memory (which the team was relying on), he recalls a couple of other clues — “Simpson” and Cinnamon with the same matchbook, Cinnamon’s home containing a painting that was at the gallery.  He goes to the gallery and discovers how the documents were switched.  So he becomes convinced that Townsend was framed by the Americans to make Stefan think that the information was fake; therefore it must be real.

And that leads to a nice moment in the coda.  Stefan speaks to the still-bugged Townsend, content in his “victory”; but he says he wishes he could meet the American mastermind who came up with the frame.  He says the man is brilliant, but Stefan pities him; he played the game well, but he lost, and that will destroy him.  As Jim, the real victor of the game, listens in, we see on his face that he feels the same regret about Stefan.

So I wasn’t expecting much from this episode going in; the setup seemed too similar to “The Diplomat,” and some aspects of the scheme seemed too obvious for something that was supposed to be subtle.  But it turns out that was a feature rather than a bug; Stefan was supposed to figure out that he was being led on.  Ultimately we got an episode with some nice bits of characterization and some genuine suspense.  We need more episodes like this, ones where the villains are just as much on the ball as the heroes so that the outcome isn’t a foregone conclusion.

Oh, and there’s a largely original score here too, this time by Richard Markowitz making his M:I debut.  Markowitz did a number of TV scores over the years, but the shows he contributed to the most were The Wild Wild West in the ’60s and Murder, She Wrote in the ’80s.  His score here is nice, but doesn’t really stand out.

“The Test Case”: The briefing is a blast from the past, a vinyl record in a listening booth in a music store, instead of the tape that’s been standard all season.  The mission: Dr. Beck (David Hurst) has developed an airborne virus (or bacterium, the script can’t decide) that causes instant meningitis, killing in minutes and then becoming harmless, a potent battlefield bioweapon.  The team must discredit and eliminate him as well as retrieving the culture.  The risky plan involves infiltrating a demonstration of the bioweapon for the enemy nation’s top brass (a general played by Bart La Rue, the second time in two weeks that a major Star Trek voiceover artist makes an on-camera appearance), replacing the political-prisoner guinea pig with Rollin, who has to hope Barney can rig the test chamber and swap out the lethal stuff in time.  Meanwhile, Cinnamon plays a reporter who’s actually a spy offering Beck a half-million-dollar bribe to hand over his culture.  Once Jim has replaced the doctor sent to observe the test, he tells the bad guys that he was approached too and describes Cinnamon and Willy (I hope Willy doesn’t find out that Jim called him a “thug type,” though Cinnamon would be flattered that he lopped a decade off her age and described her as “late twenties”), so they’ll monitor Cinnamon’s calls.

Everything goes smoothly at first, with Barney installing a balloon in the test chamber and cutting a hole in the mechanical dumbwaiter’s shaft so he can swap out the bioweapon cylinder with knockout gas.  The plan is to catch the gas in the balloon for later release while Rollin takes a capsule Barney also hid in the chamber in order to fake the symptoms of meningitis up to and including death.  But a minor mechanical fault leads a technician to go into the test chamber, where he sees the balloon.  Once again, something genuinely goes wrong with the plan.  It forces Rollin to improvise; he feigns a panic attack, lashing out at the tech and knocking him out.  Dr. Jim wheels the tech out and ensures he’s kept under.  But Rollin’s improv causes a new problem; his hands are cuffed and he can’t get the capsule into his mouth.  So he drops it on the floor, falls to the floor himself, and scoots over until he can grab it in his teeth (eww, way past the five-second rule there!).  Rollin “dies” and is taken to autopsy, but Dr. Jim “discovers” he’s still alive — and releases the knockout gas so the enemy brass guys seem to fall ill with (non-fatal) meningitis themselves.  Jim accuses Beck of fraud and treason, and Beck pulls a gun on him.  This time, it’s all part of the plan, though Jim’s lucky that Beck wasn’t trigger-happy.  Beck is convinced his only way out is to take Cinnamon’s bribe, so he calls her tapped phone and retrieves the culture from storage — allowing Barney to swap it out for a fake through the dumbwaiter again.  The bad guys confront and shoot Beck, and Jim puts the fake culture back on the dumbwaiter to return it to storage — and of course it’s a bomb that destroys all the cultures.

A fairly routine episode overall, but there were some nice moments where the plan went awry and the characters were forced to improvise.  I think the producers were starting to catch on that they needed to include more uncertainty and suspense into these plots, that the minor snags that cropped up 30 seconds before the commercial and were resolved by 30 seconds after it weren’t enough.

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MISSION: IMPOSSIBLE (S3) Reviews: “The Freeze”/”The Exchange” (spoilers)

“The Freeze”: Jim is briefed by the old 8-track in a parked car trick: Inmate Raymond Barrett (a young Donnelly Rhodes, best known as Doc Cottle in the Battlestar Galactica remake series) is actually an armored-car thief who’s dodging prosecution for his real crime by pretending to be someone else and serving out a shorter sentence, just long enough to wait out the statute of limitations and get the 10 million bucks free and clear.  (How he fooled the criminal justice system into thinking he was somebody else is unexplained.)  The mission is to get him to reveal where he hid the loot before the statute runs out in two days.  We get a dossier sequence, since the mission involves recruiting the prison’s doctor and Barrett’s cellmate, whose cooperation is obtained with a reduced sentence.  We also discover here that Jim apparently plays a role in the gadget design himself, since he’s seen working on a sketch for a gadget involved in the mission before he selects his team.

The plan is to convince Barrett that he has a terminal illness, and at the same time have him happen to discover that a local doctor (Jim) is working on a cryogenic process to freeze people until cures can be found for their diseases (yup, that concept was already around by 1968).  Dr. Jim pretends to be reluctant because it’s illegal to freeze him while he’s still alive (he can’t wait because his imaginary disease is progressive and would be incurable if he waited), but Barrett is allowed to find out that Dr. Jim”s being “blackmailed” by Willy because he illegally froze his terminally ill wife (good grief, he’s Mr. Freeze!), so that gives Barrett leverage to force him to do the procedure.  It’s one of those episodes where the team goes to great lengths to appear to be discouraging the mark from doing what they want him to do, on the assumption that he’d get suspicious if they pushed him toward it too obviously.  But this guy’s no great brain, and he’s not at all suspicious about being told he has a terminal illness just after he encounters the cryonics doctor.  They didn’t have to go to so much trouble to avoid tipping him off.  (And I’m positive I’ve seen the cryogenic chamber in some other show, though I’m not sure if it was in Star Trek.)

Anyway, Barrett wakes up to find himself in the fabulous future world of… 1980!  There are futuristic concept cars in the parking lot, and his hospital room is dominated by what looks uncannily like a modern flatscreen TV.  There’s a bank of small cartridges that contain video recordings that play on the screen.  It’s kind of striking how prophetic it is.  But then Rollin and Cinnamon come in wearing clear plastic raincoats over their hospital scrubs, and suddenly prophetic gives way to B-movie hokey.  But the sequence redeemed itself when Rollin told Nurse Cinnamon to administer “5 ccs of cordrazine.”  Rollin’s a Trekkie!

Rollin tells Barrett about the wondrous changes in the future, including the fact that paper money has been replaced by credit cards and that much of the world he knew has been torn down and rebuilt.  Barrett checks and finds that the cemetery where he hid the money is due to be torn down any day, so that gives him an incentive to break out.

But of course, when he breaks out, he sees that the whole thing was a scam, that he wasn’t really in the future.  But he goes after the money anyway, since he sees a fake newspaper saying it’s one day after the statute expires.   Meanwhile, the cellmate has been snitching to Barrett’s accomplices so they’ll track him down and confront him just as he gets the money.  The accomplice gloatingly tells Barrett that there are ten minutes left on the statute.  Barrett attacks him, takes his gun, and shoots him just as the cops drive up.  So they not only have him on the theft, they have him on murder.  He laughs as he’s taken away.

This episode is fraught with problems.  First off, if Barrett could fool the courts into thinking he was somebody else, surely he could’ve found a more comfortable way to wait out the statute than sitting in jail on a lesser charge (although I guess the idea was that in jail, he was safe from the accomplices who wanted to get the location of the money out of him).  Second, the statute of limitations doesn’t actually work the way it’s shown here.  Under federal law, statutes of limitation don’t apply to anyone actively fleeing from justice, specifically so criminals can’t game the system in just this way.  He hasn’t physically fled, but he has disguised his identity, which does count as a deliberate effort to evade prosecution.  (And that statute was enacted in 1948, so it would’ve applied at the time of the episode.)  Third, why the hell is this an IMF case?  The only thing that’s at stake is 10 million dollars.  There’s not even a token attempt to concoct some lame national-security excuse for involving the team.  Fourth, what was the point of faking a trip to the future just to reveal it as a hoax?  Why would he still go after the money once he realized that someone was trying to trick him into revealing its location?  Wouldn’t he just lay low a while longer until the heat was off?  And if the final step in the plan entailed making him think it was one day after the statute expired, why even bother with the 1980 routine?  They could’ve just, say, had his cellmate beat him up and then have him wake up and be told it was two months later and his sentence — and the statute — were up.  The plot is far more clever and convoluted than it needed to be (a problem with the previous episode, “The Bargain,” as well).

Other inconsistencies: The fake magazine where Barrett reads about Jim’s cryonics research is dated December 1968, but the newspaper he picks up at the end, which is supposed to be a day ahead of reality, is dated August 18, 1968.  Now, magazines are often dated a few months in advance, since they’re really “display until” dates, but I think 4 months is pushing it.  Maybe a fiction magazine could be dated that far ahead (though it would typically be more like 2-3 months), but I don’t think a news periodical would be.   Besides, it was in a doctor’s office, so it would more likely have been the December ’66 issue. 😉  Also, there are photos of the completed cryogenic chamber in the fake article — so why are Barney and Willy only now assembling it and being worried about finishing it in time?

So basically, despite some fun bits in the fake-future sequence, this episode is a complete mess.  Conceptually the weakest and most incoherent of the season so far, though I can’t fault the execution and it’s interesting to see a young Donnelly Rhodes.

“The Exchange”: The first formula-breaking episode of the season begins in medias res as Cinnamon breaks into a vault in an enemy country and snaps pictures of their spy-stuff documents, leaving a window open so she can toss the camera to Jim and Rollin below.  But a pigeon flies in and sets off the electric eye on the window.  Cinnamon tosses out the camera, completing the mission, but gets arrested.  Is this the part where the Secretary disavows any knowledge of her actions?  We’ll never know, since Jim and the team are determined to get her out.  There’s no mention of reporting back to the Secretary or getting new orders — perhaps, implicitly, because the team knows those orders would be to abandon her.  But they’re going to get her back, even if it means taking on their (implicitly West German) allies.  They’re going to break out a prominent Eastern Bloc spy in “Western Zone” custody and exchange him for Cinnamon.  But you can’t have ’60s TV heroes display too much moral ambiguity, so of course they’re going to break him and get his information first, and then trade him for Cinnamon, so that they serve both national security and friendship rather than having to choose one or the other.

Cinnamon gets interrogated by Strom (John Vernon), but won’t talk except to give a phony name.   (Even though she’s  a famous supermodel, the bad guys have absolutely no information on who she really is.)  Strom’s medical advisor Gorin (Robert Ellenstein) notes a blip in her vital signs when Strom threatens solitary confinement, revealing that Cinnamon has the most common phobia of fictional heroes, claustrophobia.  Seriously?  I’m sure there must’ve been prior episodes where she had to hide in a small space or crawl through a duct, but she showed no sign of this.  Then again, it was implied that it was more a latent fear that Gorin amplified with drugs.  They work on Cinnamon for a while, and they get as far as extracting Jim’s first name from her.

Jim meets with Strom, pretending to be a Swiss official, and offers to exchange Cinnamon (under her fake name) for the spy Kurtz (Will Kuluva), an offer Strom is eager to take.  While there, Jim surreptitiously snaps photos of Strom’s office.   Meanwhile, Rollin sneaks Kurtz out of prison in the bottom of his motorized wheelchair, substituting an inflatable dummy in his place (and how the team got a lifelike inflatable dummy of a notorious spy on such short notice is never addressed).   They take Kurtz to a warehouse and put him in a crate, then fake a drive across the border using sound effects and a hydraulic rig to make him feel like he’s on a moving truck (again, where did they get this on short notice?!).  He ends up in the replica of Strom’s office, with Jim posing as Strom’s replacement, convincing him that Strom was arrested for treason and Kurtz had better report everything he did in the West if he doesn’t want to be found complicit in the treason.  Once Kurtz finishes his report, the team reveals that he’s been tricked and take him to the exchange.

At the border checkpoint, the trade is about to take place when the Western Zone officials come up and try to recapture Kurtz.  Rollin shows them half the information Kurtz gave and promises the rest after the exchange is complete, so they back down.  The trade is made, and Jim gives Cinnamon a trenchcoat to keep her warm — and Strom strafes them with bullets before driving off.  Naturally, the trenchcoat (and Jim’s) was bulletproof, so the team is all safe and reunited.

It’s a nice idea for a formula-breaker, showing something going seriously wrong with the assigned mission for once (although they still complete it) and forcing the team to go off-book and even work against their allies to rescue their teammate.  Unfortunately it never really feels like an improvised rogue operation.  Aside from Cinnamon’s torture scenes, it plays out too much like a routine episode, and the team’s ability to whip out all these elaborate gadgets and props perfectly tailored for this rushed, improvised mission is on a par with the Adam West Batman’s running-gag ability to pull impossibly apropos Bat-equipment from his utility belt as needed (and as it happens, the prison where Kurtz was held was represented by the same stock footage used for Gotham State Penitentiary in Batman).  As for the torture scenes themselves, playing frightened/vulnerable/sad isn’t really playing to Barbara Bain’s strengths; when she cries and wails, she tends to remind me of Lucille Ball, undermining the sense of drama.  And the really interesting angle of the team going against their orders and their allies to help their friend wasn’t sufficiently developed.  So in the final analysis, “The Exchange” feels like a missed opportunity; what could’ve been an exceptional episode takes too few chances and turns out too ordinary.

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MISSION: IMPOSSIBLE (S3) Reviews: “The Play”/”The Bargain” (spoilers)

“The Play”: Jim’s contact in the opening is a woman whose kids are playing on a rooftop swingset and slide.  She directs him to a ladder to the upper level, and he helps the little girl up onto the slide as she goes by (but in the next shot, she’s just starting to approach the slide).  The tape on the rooftop tells him to stop Kuro (John Colicos in the second of his three M:I appearances), Minister of Culture in an Eastern-bloc country called the UCR, from undermining the pro-American Premier Vados (Barry Atwater, so it’s Kor vs. Surak in Star Trek terms) with an aggressive anti-American propaganda campaign.  Jim destroys the tape “in the usual manner” of tossing it into the adjacent chimney that’s been blowing smoke in his face the whole time.  (Then Jim notices that the little girl heard his secret briefing, so he has to throw her off the roof.  No, I made that part up.)

No dossier sequence, since it’s just the standard team, minus Willy (that’s two in a row with less than the complete cast).  The apartment scene involves testing a “Cone of Silence”-type gizmo that somehow uses “radar” to block sound from outside and ensure the person under its influence hears only what’s transmitted through the gizmo; this is tested by firing a gun next to Rollin’s ear while he’s under the Cone of Silence, which is kind of mean given that he was almost deafened in that exact same way back in the first season’s “The Frame.”  But then, since when did this show have continuity?

Cinnamon portrays an American playwright who’s written a play that a crowd (of actors hired by the team) denounces as anti-American.  Jim and Rollin are her actors, playing the US president and UCR premier.  The plan is to convince Kuro to put the play on in his own country, something he thinks will score a propaganda coup, an anti-American play written by an American, and painting Premier Vados in an unflattering light.  But the team hits a major snag when Kuro insists on casting the UCR’s top actors in the leads instead of Jim and Rollin.  And this is what makes it such a cool episode.  Instead of the usual crises that get resolved in 30 seconds, this time the team has to spend most of the episode trying to get their plan back on track.  First, Rollin goes to one of the two great actors, Enzor (Michael Tolan), and tempts him with a deal to play Lear on Broadway.  After convincing Enzor that it isn’t a test of his loyalty, he switches identities with Enzor, who, being an actor in the M:I-verse, is naturally an expert at making totally convincing masks (though he doesn’t do voices, apparently).  Then Rollin takes on Enzor’s identity and makes such a jerk of himself that the other actor storms out of the production, leaving Kuro no choice but to bring in Cinnamon’s preferred actor, Jim.  Cinnamon and “Enzor”/Rollin go to the premier and warn him that Kuro’s changes to the play paint him damningly, so he’ll come to the theater and hear a rehearsal.  The Cone of Silence, which Barney has installed over the premier’s seat, feeds him the fake, prerecorded lines, which are phrased to fit the mouth movements of the actors reading the normal lines that Kuro is hearing.  Basically it comes down to the subtle distinction between satirizing Vados, which the open-minded premier is fine with, and outright slander such as accusing him of having a mistress and embezzled funds in a Swiss bank.  Kuro gets dragged away, bewildered at this turn of events.

This is an enjoyable episode because it’s refreshing to see the team’s clockwork plans thrown off track and require them to struggle to fix things.  It creates an element of suspense that’s too often missing.  The episode also benefits from a very nice original score by Robert Drasnin, who does clever and novel things with the familiar Schifrin themes and adds a lyrical leitmotif for Enzor.  And it features one of Barney’s most awesome gadgets ever, which I can only think to call a U-turn screwdriver — it uses a head with a couple of gears in it to let him turn a screwdriver head pointing backwards, so he can undo the screws on the outside of a grate from the inside.  That’s utterly brilliant.

What bothers me about the episode, though, is that it basically depends on the team quashing the freedom of expression in another country.  They get Kuro removed from power simply because he engages in anti-American propaganda.  Which seems pretty hypocritical.  On a less philosophical note, John Colicos’s character here is not nearly as rich and interesting as the previous character he played (in “The Reluctant Dragon”).  A lot of the dialogue writing is rather heavy-handed.

“The Bargain”: Jim gets the briefing in the office of a roller-skating rink, as though a guy in a 3-piece suit walking through a skating rink would somehow be inconspicuous.  The mission: deposed dictator Neyron (Albert Paulsen in the third of his five M:I appearances) is making a deal with mobster Layton (Warren Stevens) to finance his counter-coup to return to power in exchange for legalized gambling in his country.  Naturally this must be stopped, and for the first time in three weeks we have the whole regular team doing it.  Neyron’s Miami estate is impregnable, so Barney, Cinnamon, and Willy have to get invited in as his new chef and his assistants, after the team convinces his old chef to quit (off-camera).  Meanwhile, Jim and Rollin check into Layton’s mob-owned hotel and convince him that Rollin is a wealthy recluse who seems to want to buy the hotel but is secretly making another kind of deal.

Now, here’s the bizarre part: the plan involves using various tricks and drugs to make Neyron think he’s come down with a rare disease that grants the power of precognition.  Yes, you heard me, they made him think he came down with a bug that lets him predict the future.  This culminates in showing him a pseudo-“holographically” projected film of Layton (actually Rollin in disguise) confronting him over a deal gone wrong and shooting him.  Meanwhile, Jim and Rollin convince Layton that the wealthy recluse is horning in on his deal with Neyron, so he goes to Neyron’s home to take back the bonds he paid him — and coincidentally says and does almost exactly what Rollin did in the film, so Neyron will pre-emptively shoot him.  And Jim calls the cops so Neyron will be arrested (though you’d think an investigation would reveal that the cops got the call before the shooting happened).

Okay, so, seriously — making a guy think he’s precognitive?  That’s really reaching.  And it’s totally unnecessary to the story.  They could’ve done it without any of the fake disease/psychic power stuff, just taken the bonds from Neyron’s safe and done the same sting with Layton.  That might’ve ended with Neyron shot instead of Layton, but then the cops could’ve arrested Layton, or else Neyron’s bodyguards would’ve dealt with him.   Either way, the mission would’ve been accomplished.

So a mediocre and unbelievable episode, and one with no new music to interest me (though it used some worthwhile stock cues, including a lot from “The Contender”).  My favorite gadget this week was an inflatable case that could change from looking like an attache case to looking like a doctor’s bag, so Jim could switch identities quickly.

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Federation social studies

Star Trek: DTI: Watching the Clock established that the Federation Council created the Department of Temporal Investigations in 2270.  Since part of what Star Trek: Forgotten History is about is showing how that happened, I’ve spent most of today trying to figure out stuff about the Federation Council as of 2270.  While novels like Articles of the Federation have done a lot to define the nature and membership of the Council in the 24th century, as well as establishing various 23rd-century Federation presidents, and while Star Trek IV: The Voyage Home actually shows us the Council as it’s constituted in the mid-2280s, I found that essentially nothing has been established about its members as of 2270, at least as far as Memory Alpha and Beta can inform me.  So I couldn’t crib any existing characters for councillors; I had to make them all up from scratch.  (The novel The Lost Years did establish a couple of councillors’ names, but its version of events around that time is incompatible with the modern literary continuity, or at least with Ex Machina.)

So first off I had to figure out what worlds were known or likely Federation members as of 2270, either within canon or within Trek Lit continuity.   Since the council chamber seen in TVH had 60 seats (2 sets of 3 tiers with 10 seats each), I figured the Council might’ve had 50-plus members as of a decade and half earlier.  And when I put together a list of members, drawing first on canon, then on the Lit continuity, then on reference books like Star Charts and the Encyclopedia, and then on sites like Memory Beta (in order of priority, not time), I ended up with 40-odd certain or probable candidates, which is close enough to provide a good roster while leaving some wiggle room for what later books might establish.  (And I had to do a lot of winnowing down of Memory Beta’s list of Federation members, many of which don’t make sense to count as members at all.)

I won’t give my list here, since it’s tentative and conjectural.  But I’ve included a number of the species glimpsed in the background in “Journey to Babel,” and made sure to put them on the sub-councils (similar to congressional committees) that are featured “onscreen” in the novel, along with a few species from the TOS movies, mainly TMP.

So even though I’ve only added a thousand words to the manuscript today, I’ve done a lot of work.  Tiring stuff, and I kinda lost track of time (good grief, it’s 9 PM already?), but it’s nice to have the opportunity to fill in another unexplored slice of the Trek universe.

MISSION: IMPOSSIBLE (S3) Reviews: “The Cardinal”/”The Elixir”/”The Diplomat” (Spoilers)

“The Cardinal”: The tape is in a closed library (Jim has the key), and the mission is to stop aspiring Eastern European dictator Zepke (Theodore Bikel) from replacing his country’s beloved Cardinal Souchek (Paul Stevens) with an impostor who will endorse Zepke and let him take power.  (Amazing how many of these nameless Eastern European countries in the M:I-verse are able to fend off totalitarianism through the charismatic influence of a single spiritual leader.)  Somehow Zepke has taken over an entire monastery and replaced its nuns and monks with his soldiers in order to hold Souchek prisoner while the impostor, Nagorski, studies him in preparation for the big broadcast.

Barney uses a gizmo that deploys a long metal pipe (flattened and coiled up within it, so IMDb’s trivia notes say) up to Nagorski’s window and sends up mosquitos that will infect him with a bacillus.  Jim and Cinnamon show up as a doctor and nurse with a convenient flat tire, so Zepke will get them to tend to his impostor.  Rollin then shows up as an old friend of Souchek’s and declaims him as an impostor, so that Zepke will want to bump him off.  Conveniently, the team is aware that Zepke’s preferred method of assassination is suffocation, which in this case means sealing Rollin in a crypt downstairs, and of course Rollin’s cross is a gadget for lifting the lid.  He needed to get into the crypt to open the door from the inside so Barney and Willy could get in, since it’s rigged with a deadfall if opened from outside.  But the tunnel caves in behind B & W and they’re in danger of suffocation themselves if Rollin can’t get out in time, though of course he does.  They sneak into the room where Soucheck is held hostage and Rollin puts on a Souchek disguise to serve as a diversion as Zepke watches through the one-way mirror.   Jim and Cinnamon put the impostor in an oxygen tent that mists up, providing concealment as B & W remove stones from the wall, pull out the impostor, and let the real cardinal take his place in the bed, impersonating his own impersonator, so that when Zepke lets him make his speech, he ends up denouncing him and then escaping in the press of reporters.  For a moment, I was afraid that the impostor would get assassinated in the cardinal’s place (now that the real one was no longer needed), but instead Zepke’s major (Barbara Babcock, disguised as a nun) discovers him bound and gagged and rushes to warn Zepke, arriving moments too late.

Overall, an average episode.  The setup is too familiar, and the scheme relies too much on the team being able to predict details with improbable accuracy.  How’d they know which rooms the cardinal and impostor were in?  And how’d they know suffocation-happy Zepke would put Rollin in the crypt instead of just putting a plastic bag over his head or something?  It’s too contrived a scenario.  But there are a couple of positive points.  Paul Stevens is credible as someone Rollin could impersonate, since there’s a strong resemblance.  There’s a nice continuous shot where we see Stevens as Rollin-in-cardinal-guise begin to remove his prosthetics, then the camera pans to Barney & Willy stowing their equipment, then it pans back to Landau pulling off the last bits of makeup, with the two actors no doubt switching places while the camera looked away.  There’s a decent attempt to create a genuine sense of danger for Barney & Willy with the rockslide.  And the episode’s biggest strength is another all-new (or nearly so?) Jerry Fielding score.

“The Elixir”: Okay, now they’re getting lazy — the tape sequence seems to be in the studio’s screening room, where Jim tells the technician that he’s “here for the special showing” (talk about your unsubtle code exchanges).  For the second week in a row, we deal with a wannabe dictator, this time Riva Santel (Ruth Roman), long the power behind the throne of her Latin American country and now on the verge of announcing her full-fledged takeover following the sudden death of her husband (though whether she orchestrated that death is, I think, not established).  And for the second week in a row, the villain’s plan depends on an impending TV broadcast, in this case a broadcast to mobilize her followers to launch a coup and impose martial law, playing on her personality cult.

Now, this being a female antagonist in a ’60s show, naturally she’s vain and preoccupied with her fading looks, and the team’s gambit plays on that.  Cinnamon plays a TV hostess interviewing Riva, and the team lets Riva “discover” that Cinnamon is actually nearly 70 years old and rejuvenated by a revolutionary new technique involving silicone injections, surgical lasers (surprising to hear a mention of laser surgery in 1968), and hormone treatments.  Naturally she wants the procedure done to her, and Dr. Rollin can only do it the morning before the big speech, so as a precaution she pre-records her speech on videotape.  Barney and Willy have managed to tap the camera feed (through the power cord, somehow — I don’t think it works that way) and make their own tape copy of the speech, which Barney edits to make it sound like a farewell address rather than a call to arms (how convenient that she gave him everything he needed).  The assisting doctor of the week does the surgery on Riva, and she’s covered in bandages.  She’s kept sedated long enough that the taped speech has to be used, and Barney has switched the original tape for the edited copy.  Cinnamon impersonates Riva long enough to get word to the premier that she’s crossed the border, and then the speech plays announcing her retirement.  The real Riva, outraged, pulls off the bandages to reveal that she’s now played by a different actress!  Yes, the rejuvenation surgery was a myth, but apparently it is really possible to totally transform someone’s face in just two hours — which makes one wonder why M:I-verse spies and impostors rely so much on masks. Anyway, nobody believes she’s Riva and she gets hauled away as a lunatic.

Another mediocre episode, too much like the previous one and too reliant on the implausible surgical techniques.  Ruth Roman is unconvincing as a woman who’s built a personality cult around her beauty and charisma, since she really doesn’t have much of either.  And the tape-editing trick is unconvincing, since Barney’s splices are somehow able to produce a seamless edit with no image jumps.  There’s never any sense of peril for the mission or the team, except for a bit where Barney’s camera connection is interrupted when someone trips over the cord, and then some random extra plugs it back in a moment later (without even an intervening commercial break).  Everything unfolds too conveniently for the team.  The episode doesn’t even offer any new music.

“The Diplomat”: Jim gets the tape briefing in a park: Agents from the Nameless Enemy Power have stolen the locations of America’s missile command centers, which could enable a pre-emptive strike.  There’s no way to get the information back, so the team has to discredit it, make it look like the real info is fake info planted by American agents.  For once, the dossier sequence serves a purpose, because instead of the usual setup where every mission happens to call on the talents of the regulars (or where the regulars are used even if someone else would logically be a better choice), we get something closer to the original concept of the series, where Jim recruits several new faces specifically for the mission.  Their target is enemy agent Toland (Fernando Lamas), who’s well-connected in Washington, so instead of trying to pass off Cinnamon (who isn’t in this episode, the first time this season that the whole cast hasn’t been used), they recruit a real diplomat’s wife, Susan (Lee Grant), to seduce Toland and set up a situation where he gets to see her important husband’s book of missile data in her safe.  Rollin plays a paparazzo blackmailing Susan, so that Toland will pay him off for the photos, whereupon a “grateful” Susan will open the safe for him so he can steal the codes and verify the information they have.  Meanwhile, Jim pretends to be an enemy agent, but the team makes sure the bad guys discover the fakery so they’ll know he’s an American spy — so when he hands them the real information, they’ll be convinced it’s fake, and that Toland, who’s just brought them the same info, must also be a spy (ergo, as usual, the bad guys off their own agent).

What’s interesting about this is that Toland is known for poisoning the women he woos and uses, so Susan, a civilian, is in genuine danger of her life.  They can’t fake her poisoning because he’d recognize it as such.  So they have to let him genuinely give her a sleeping-pill overdose and have the guest-doctor-of-the-week standing by to resuscitate her after Toland leaves.  (All these guest doctors — I’m beginning to see why, when they later brought in Sam Elliott to replace Peter Lupus as a regular, they made his character a doctor.)  It adds interest to the briefing scene when Jim and the others have to convince an uncertain Susan and her husband to agree to risk her life for the good of the country.  And there was a moment during Susan’s poisoning when I wondered if they might be daring enough to actually have her die.  Although, of course, it ended up being resolved far too easily and neatly.  Still, the unusual setup added some spice to the formula, and Lee Grant was an engaging special guest star.  So this one goes in the above-average column, though it’s less than it could’ve been.  (As is the music.  Gerald Fried gets credit for the score, but he adds only a few brief cues and some diegetic music, the rest being stock.)

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A heck of a productive day

I didn’t get any writing done on Star Trek: Forgotten History yesterday, and I wasn’t sure I’d be able to do much today.  When I sat down to start writing, I felt sleepy and unfocused, since I’d had a big lunch (pizza!).  So it was very slow going at first, but I pushed through and got a major scene done.  That was more than enough to count as a good day’s work at this early point in the process when I have plenty of time.  But I was eager to get on with the next sequence that would take me to the end of the chapter — and kind of a significant transition point in the book.  So I sat down and started on it, knowing I had about three and a half hours until my TV show came on.  And aside from a short break in the middle, I ended up writing for most of that period.  And when I finished and did the word count, I discovered I’d written 5800 words today.  Which is an amazing tally, and more than a quarter of the total count so far, as well as getting me up to around a quarter of the total target length fo the book.  I guess it’s because I had a milestone I really wanted to get to — that’s the sort of thing that often prompts me to keep going until I get there — but it’s still a remarkable day’s work.  Heck, if I could do the same every day, I could finish the book in less than two weeks.

On top of that, I decided that I didn’t really need the next scene I had in mind, and could just fold the relevant points into this chapter.  So I’ve saved myself some work in addition to doing a great deal of work, and that pushes me even farther ahead.

Though in a sense, what I’ve just finished was the easy part.  But I’ve got plenty of time to work through the rest.  I can’t remember the last time I made such excellent progress so early in a novel.

And now I’m sleepy.  *yawn*

Dawn probe reaches Vesta orbit!

Yesterday, July 16, 2011, NASA’s Dawn space probe entered orbit around the asteroid (or more properly, protoplanet) Vesta, the second-most massive object in the Main Asteroid Belt.  This is a mission I’ve following with interest, and I made a previous post about it back in April.  But now I can reveal why I’m particularly interested in this mission — because my upcoming novel Only Superhuman is set in the Asteroid Belt, and much of its action takes place on habitats around Vesta (or around Ceres, which Dawn will visit in 2015).  The novel mentions little enough about Vesta itself that I hope I won’t have to do any rewrites as a result of Dawn‘s findings, but I’m going to keep my eye on this just in case, and who knows — maybe I’ll get to write more about Vesta in a sequel.

Here’s the NASA press release:

http://dawn.jpl.nasa.gov/feature_stories/spacecraft_enters_orbit.asp

And here’s the clearest photo of Vesta to date, taken on July 9:

 Dawn photograph of Vesta

So… we now have direct experience of Vesta.  I guess that means we aren’t Vestal virgins anymore! 😀