Now THAT would've been an amazing episode. The most obvious parallel between
Mission and Prisoner is Chimes of the Big Ben. There are so many great episodes
of Mission out there that were never made. One notable example would be an evil
version of the IMF team manipulating the IMF (the closest we ever got was My
Friend My Enemy).

  There's an episode of the 1970s anime series Gatchaman  (released in the US as
horribly edited versions as Battle of the Planets/G-Force) has an episode that's
a pretty explicit nod to Mission: Impossible. I can't remember the title of it
at the moment, but it revolved around the team making a group of prisoners
believe their terrorist group were breaking them out, instead it's just a ploy
to get them to reveal their secret lair's location. Wildcard (and one that
Mission could've used): one of the prisoners is an undercover agent working on
the heroes' side himself, unaware of the ploy and manages to figure out the
illusion behind the transportation con.

I just watched Twilight Zone "Third from the Sun" this afternoon! I'm very sad
to learn about the passing of such a great character actor from classic
television. He was quite good in all of his performances, a solid professional
actor.

--- In Mission_Impossible_1966@yahoogroups.com, "bellerocorp" <filigrane@...>
wrote:
>
> Actor Joe Maross was born Feruary 7, 1933 and passed away November 7, 2009.
> Appears in countless television series but is remembered on:
>
> "The Twilight Zone"
> (season 1)
> Jerry Riden in "Third from the Sun" (1960)
> (season 3)
> Astronaut Peter Craig in "The Little People" (1962)
>
> "Mission: Impossible"
> (season 1)
> Gangster Frank Bates in "The Frame" (1967)
> (season 2)
> Drug dealer Mark Walters  in "The Widow" (1967)
> (season 5)
> Sheriff Brad Owens  in "Homecoming" (1970)
> (season 6)
> Drug distributor Clegg  in "The Connection" (1971)
> (season 7)
> Gangster Jay Braddock  in "The Fighter" (1973)
>
> ***IMF Out***
>
> Thomas
>

Actor Joe Maross was born Feruary 7, 1933 and passed away November 7, 2009.
Appears in countless television series but is remembered on:

"The Twilight Zone"
(season 1)
Jerry Riden in "Third from the Sun" (1960)
(season 3)
Astronaut Peter Craig in "The Little People" (1962)

"Mission: Impossible"
(season 1)
Gangster Frank Bates in "The Frame" (1967)
(season 2)
Drug dealer Mark Walters  in "The Widow" (1967)
(season 5)
Sheriff Brad Owens  in "Homecoming" (1970)
(season 6)
Drug distributor Clegg  in "The Connection" (1971)
(season 7)
Gangster Jay Braddock  in "The Fighter" (1973)

***IMF Out***

Thomas

"Good morning, Mr Phelps.
"The photos you see are of a place known simply as the Island.  We have been
investigating this place for many years.  We suspect that former secret agents
from England, and other countries, who have been disgraced, in some way or
another, are kept prisoner on this Island.  We've been trying to figure out its
exact location for many years, and we think we now know where it is.  It's in
the Meideranion about 100 miles off the coast of Greece.  The exect lattitude
and longitude are enclosed in the file.
"Your mission, should you choose to accept it, is to infiltrate the island,
figure out exactly who's running it, and free the prisoners.
"As always, if you, or any of your team, are caught, the secretary will disavow
all knowedge of your group.
This tape will self-destruct in five seconds.  Good luck, Jim."
Hissssssssssssssssssssssssssssssssssssssssssssssss!

Best, Doug

Okay, I have finally had time to watch Bag Woman closely and post some brief
thoughts.

Well what a great episode to introduce you to Mission: Impossible, Thomas!

I think this is an excellent episode from the sixth year. As much as I get a
kick out of watching a perfectly timed mission unfold (like Committed of The
Bride) it's also equally fun when once in a while all hell breaks loose, and
everything goes wrong. What's great about Bag Woman is that the troubles just
keep piling up! First Barney is unmasked before he can warn Phelps about the
bomb Casey is carrying. Then Willy's homing receiver is damaged and he loses
Casey's trail. Fife is a difficult villain for the IMF, very cagey and runs a
tight organization. It's a tough task for Phelps to make him panic and warn C6
about the bomb, with a phony story that it was meant for someone else. The false
alarm with the 25 year old bourbon is a great one, we think Barney's in the
clear but soon after the dog attacks him.
The final act is very suspenseful with Casey bravely sticking to her mission
persona even though her cover has been blown. This is similar to the climax in
Act 4 of Crack-Up. It is also an excellent example of how an IMF agent must keep
their nerve and trust in their fellow agents. Casey has no information about
what has been going on, yet she sticks to her story and has faith that somehow
the team will come through for her. It's clear that even if she is killed she
will not give up any information. Overall this is a fun episode for its change
of pace, and I always like to see the team improvise on the fly.

An observation I have made, of course all of my friends know I am a Mission:
Impossible enthusiast and sometimes when they visit I am watching an episode. I
have noticed that they seem to prefer episodes like Bag Woman or Hunted because
the original plan goes awry. They find them to be more suspenseful. Several of
my friends have remarked that Mission: Impossible seems to them like a mini-Bond
movie. So I just wanted to share what I have heard from casual viewers of the
series.

In some trivia: Georg Stanford Brown was married to Tyne Daly (Nerves) from
1966-1990. Of course this made him James Daly's (Shock! The Bank) son-in-law at
the time.


--- In Mission_Impossible_1966@yahoogroups.com, filigrane <filigrane@...> wrote:
>
> 146-BAG WOMAN
> (produced by Laurence Heath)
>
> Prologue:
> At night, a drunk customer comes out of Duke¹s and crosses the wet street
> when a brown car parks near the place and the driver named Luke Jenkins
> talks to his German Shepherd Jud. He walks towards Duke¹s pool club. Another
> car arrives, parks behind Jenkin¹s vehicle and federal agent Jack Malloy
> comes out. Jenkins gets down the stairs, sits in a booth in front of a
> contact and orders a double Bourbon to the blonde waitress. Malloy sits at
> the bar and orders a drink. Jenkins briefs the contact about calling Fife to
> get a bag. Malloy calls on the phone booth. The waitress brings the drink to
> Jenkins who tells a phone number (KL5-8049) to the contact who is on his way
> to write it down but Jenkins stops him immediately and orders him gently to
> memorize it: ³Come on, man. You got to have more brains than that.² Malloy
> makes a physical description (³Causasian, 40, stocky, bald²) of the contact
> to his superior. The contact leaves the booth and Malloy informs his
> superior he will follow him. Jenkins breaks peanuts and watches Malloy who
> pays his beer tab and exits. The contact gets in his car as well as Malloy.
> The contact drives out. On his way to start the motor, Malloy is threatened
> in the back by the handgun of Jenkins. Malloy pretends not to understand:
> ³What is this, a stickup?² Jenkins orders him to shut down his motor,
> searches his jacket and confiscates his handgun (³Ooh. You sure are
> prepared²). Jenkins orders him to take a walk but Malloy carries on his act:
> ³Hey, look, if you want some dough...² Jenkins insists: ³I want you to take
> a walk, MisterŠ Man² and opens up the car¹s door.  Malloy comes out, Jenkins
> leads him by the tip of his cannon and passes next to his own car where his
> dog barks. They walk in a back alley and head behind crates when a gunshot
> is heard. Jenkins comes out alone, tidies up his gun, returns to his car and
> drives out of there: zoom in on the headlight.
>
> Tape scene:
> In a garage, a pump attendant, in green outfit, refills the water of a car¹s
> radiator when the brown car of Jim arrives. He walks towards Jim who tells
> him: ³Maybe you can help me. I¹m looking for an historical site on Thompson
> Street². The attendant answers: ³Go inside. There¹s a map in the desk
> drawer² and gives Jim a key that he grabs. Jim heads to the garage¹s office,
> sits, unlocks the drawer, takes a A4 envelop and a reel player that he
> plants on a desk.
>
> Summary:
> Gangster Harry Fife asks his lieutenant Luke Jenkins to hire Jean Royce as a
> bag woman to send a briefcase of $100,000 replaced by TNT in order to kill
> greedy C6. Casey replaces Jean Royce to identify the unknown figure C6
> without knowing the real contents of her delivery. Barney, disguised as
> Jenkins, is exposed and wounded and tries to alert Casey of the danger and
> takes refuge to a local doctor named Walter Manning. Jim and Willy save the
> whole operation from catastrophy.
>
> Cast and details:
> € Syndicate executive Harry Fife (with a moustache) played by Robert Colbert
> € Fife¹s hit man Peter Walker played by Glenn R. Wilder (returning from
> ³Blind²)
> € Fife¹s black right-hand man Luke Jenkins (with a fat moustache) played by
> Georg Stanford Brown
> € F.B.I. agent Jack Malloy played by Todd Martin (returning from the season
> 5 ³The Merchant² and ³Takeover²)
> € L.A.-based C6 aka politician Winston Walding played by John Lasell
> € C6¹s hit man Al played by Joe E. Tata
> € Dr. Walter Manning played by Russ Conway (returning from the season 5
> ³Butterfly² and the season 3 ³The Diplomat²)
> € Vet¹s receptionist Miss Stewart played by Victoria Hale (returning from
> the season 5 ³The Killer²)
>
> Guest IMFer
> Featuring vet Dr. Bob Miller (Lew Brown).
>
> Barney Collier
> Barney, disguised as Luke Jenkins, is unmasked by his dog and Fife, wounded
> in the head by Peter's gun (no pun!) that triggers an unsettling distorted
> sight (thanks to a wide angle lens) of people while wandering in the
> streets; Barney is helped by Dr. Manning and sent to the hospital where he
> warns Jim at the last minute.
>
> Lisa Casey
> Casey poses as Jean Royce and has two gadgets: a golden lion brooch-beeper
> to follow her car thanks to Willy and a camera-ring to record C6; Casey is
> handcuffed to the delivery but when C6 will open the briefcase with his key:
> boom!
>
> Jim Phelps
> Jim poses as Chicago gangster Harry Stargess; Jenkins faces his lookalike
> (Barney) in the vet when Jim stings him in the neck with the needle-ring;
> Jim let Jenkins go (via a shot, a broken beer bottle), meets Fife to save
> Casey's skin; Jim watches Jenkins and notes the phone numbers of C6 via
> special binoculars.
>
> Willy Armitage
> Willy only drives a car to tail Casey but during an accident, a van smashes
> his receiver; Willy guns Al down to avoid Casey's violent death at C6's
> office.
>
> Divided story
>
> Act 1
> Bag woman Jean Royce comes out of her building and gets in her blue
> convertible when Jim, accompanied by an agent, puts her under a rest, shows
> his federal warrant, for the following charge: ³unlawful flight to avoid
> prosecution.² Jim opens the car¹s door and orders her to follow the agent.
> Willy waits for in a car and watches them leave. Jim turns around and sees
> Casey coming who activates her brooch-beeper. Willy checks her signal on the
> dashboard. She drives out. Jim watches Willy tailing her by car. At his
> office in a Beverly Hills manor, Harry Fife is browsing a file when someone
> knocks at the door. Peter Walker lets in Luke Jenkins and his dog that is
> ordered to sit and stay. Fife tells Jenkins he has something to show him (a
> black briefcase) but Jenkins first offers him a valuable present: a
> 25-year-old sour mash whiskey from down home. Fife appreciates the act of
> kindness and suggests him to put it in the living-room to drink it later. At
> Martin Animal Hospital (the office of vet Dr. Bob Miller), Barney is already
> dressed in the proper outfit, searches a makeup chest and moves near a
> mirror to do his hair when Bob steps in. Barney takes the latex mask of
> Jenkins from the canvas block and applies it to his face. Jenkins returns to
> the office (shot through the shelves at a remote distance) and Fife explains
> the mechanism of the bag to be delivered for C6 by opening it and showing a
> TNT charge inside which matches the exact weight of $100,000 in unmarked
> bills. Fife continues his demonstration and explains the turn of the key
> that arms the bomb and an anticlockwise turn triggers the explosion and
> Peter exclaims: ³He gets more than he bargained for.² Fife asks Jenkins if
> he knows why does he do this? Jenkins answers: ³Sure. He¹s gotten too
> greedy² and reminds him to check out with Syndicate head Nicholson and
> Stargess. Fife informs Jenkins that the bag will be carried by his friend
> Jean Royce which implies that she will die with C6. Jenkins asserts he
> doesn¹t care about the fate of Jean Royce and that only Jud really matters
> and asks Peter to ride it down to the vet. Fife asks him what¹s wrong with
> Jud? Jenkins reassures him and leaves with Peter (shot through the shelves
> at a remote distance). Fife is tapping the bag. At the office of the vet,
> Barney finishes off his disguise whe someone knocks at the door and Dr.
> Miller opens to Jim. The intercom phone rings and the receptionist warns him
> about the arrival of Jenkins and Jud. Barney tells Jim he is ready. Dr.
> Miller gets out of the room. Jim removes the golden needle-ring from his
> jacket pocket. In the lobby with Peter, Dr. Miller reassures Jenkins about
> the health of his dog. Dr. Miller can¹t handle Jud and asks Jenkins to
> brings it back to his office. Peter moves to the desk and has a chat with
> the receptionist. In the office, Jud barks and Jenkins faces his double
> (Barney) when Jim stings him with the golden needle-ring from the rear and
> supports his body. Dr. Miller locks up the dog in the cage. Jim removes the
> black jacket of Jenkins and Barney searches him. Barney puts on the
> black-leathered jacket and Jim passes him the handgun. Jim eavesdrops
> through the door and asks Barney for a confirmation. The vet and
> Barney-as-Jenkins go to the lobby while Jim watches unconscious Jenkins
> lying on the floor. Barney-as-Jenkins tells Peter that Jud must stay
> overnight and they exit. Peter greets the receptionist: ³So long, honey.²
> Casey calls Fife in a public phone booth and introduces herself as Jean
> Royce and Fife tells her to be in his office in 30 minutes and gives her the
> adress: 365 Alcorn. Fife is playing with the handcuff of the briefcase.
> Casey gets in her car (she is located next to the Paramount¹s offices) and
> drives while Willy tails her. Jim and Dr. Miller carry the body of Jenkins
> to a bare grey room and sits him on a chair. Jim ties him to the chair with
> a white rope. At Fife¹s office, sat in an armchair, Casey-as-Royce asks
> where is her friend Jenkins? Fife asks if her and Jenkins are good friends
> and she replies: ³Yeah, well, uhŠ he and my first husband served time
> together. I got acquainted with his girlfriend and, uh, when the boys got
> back on the street, we palled around together.² Fife asks her if she knows
> what to do and she replies: ³Bag woman. Skilled labor.² Fife gives her a
> part payment in cash (two bills) and someone knocks at the door. Peter and
> Barney-as-Jenkins come in. Both undercover IMFers greet each other. Fife
> asks Barney-as-Jenkins news about Jud and he tells that the vet has kept it
> for tests. Fife reassures Barney-as-Jenkins about the health of Jud, moves
> back to his desk to grab the briefcase and resumes to handcuff
> Casey-as-Royce. Fife instructs her to let the man at Los Angeles empty the
> contents and bring the bag at his office to get the down payment (three
> bills). Casey-as-Royce asks who is the man at the other end? Fife tells her
> not to worry about that and orders to drive to the Los Angeles¹ big parking
> lot at Sixth and Walnut and stops near the phone booth and waits. Out of the
> blue, Fife asks her to give him his car keys and tells her to use a
> geen-four door hardtop instead that is parked outside. Casey-as-Royce greets
> Barney-as-Jenkins and leaves when Fife reminds her to drive carefully so
> that the bag is well-delivered. She smiles, looks at the bag (zoom in) and
> goes out.
>
> Act 2
> Casey-as-Royce exits the manor and gets in the green car while Willy phone
> Jim to report that she switches her car. Jim asks him about the bag and he
> tells she¹s got it chained to her wrist. Jim asks if her signal is
> pinpointed in the direction finder and Willy confirms and tails her. In his
> office, Fife is checking out figures of receipts with a book account. In the
> lobby, Peter and Barney-as-Jenkins are reading magazines. Peter gets
> impatient and complains about Fife¹s working all day in his office and
> Barney-as-Jenkins answers: ³Money, man. Money, it takes a lot of handling².
> Peter tells Barney-as-Jenkins about the shipment to C6. Barney worries when
> Fife comes out and invites them in his office to celebrate the day. They
> enter (shot through the shelves at a remote distance). Fife orders
> Barney-as-Jenkins to serve the sour mash whiskey. Barney-as-Jenkins moves to
> the shelves and grabs three glasses while Fife lectures Peter about
> ambition. Fife asks Barney-as-Jenkins to serve the good stuff. He searches
> the bottles of the shelves. Fife moves closer and reminds him to get the
> morning present and resumes to his desk. Barney-as-Jenkins is embarrassed,
> suggests to drink it tonight to save it while inserting the ice cubes. Fife
> insists that it is a special occasion, takes a look at his wristwatch and
> recalls the arrival of Jean Royce in Los Angeles. Fife moves close to Barney
> and asks him again to get him his present: ³Luke, will you get the booze?²
> Barney-as-Jenkins tells his boss he is satisfied with that bottle but Fife
> disagrees and persists to obtain his sour mash. Barney-as-Jenkins still
> refuses and justifies himself: ³Look, I tell you, I brought that for you as
> a present. I¹d feel real bad guzzling it up myself². Suddenly, Peter
> volunteers to look for the special bottle. Fife asks Peter to fix the drink
> but Barney-as-Jenkins prefers doing it. He gives a drink to Peter, brings
> two glasses to the desk and offers a whiskey with two rocks to Fife who
> raises his glass to Jean Royce. Barney-as-Jenkins worries. They all swallow
> the vintage. At the vet, receptionist Miss Stewart opens a cage of a dog in
> the back office and serves it the food. She returns to the office and Dr.
> Miller asks her to lock up the place and exits. She takes a bowl, moves to
> Jud¹s cage, unlocks the safety handle, lifts up the grill, slides the food
> and lifts down the grill when the phone rings. She answers and tells a
> customer that the doctor is absent. Jud notices the safety lock. She leaves
> the room. Jud tries to raise the cage¹s grill. Miss Stewart takes off her
> medical coat and leaves the hospital. Jud succeeds in escaping from his cage
> and the office. Casey-as-Royce parks her green car in an exterior parking
> lot when Willy enters, also parks nearby and calls Jim to report he is in
> the L.A. parking lot and waiting for contact. Fife pours himself a whiskey
> and expresses his opinion about Jenkins: ³You know what I like about you,
> Luke? You¹re cold. Cold. (he moves to sit on the sofa) The way you handled
> Jean this morningŠ² Barney-as-Jenkins is not aware of the bobby-trapped bag
> and seems totally indifferent. Fife asks him to recruit three new bagmen in
> the northwest this week and ³including a special like the one this morning².
> Barney-as-Jenkins answers: ³You mean, like Jean?² Fife confesses him: ³You
> know what bothers me? Is that I wasted two bills on that dame.²
> Barney-as-Jenkins worries, offers Fife another drink, gets up, asks Peter
> too and moves back to the shelves. He tells Fife he has people in mind and
> must go back checking Jud at the vet. Peter reminds him that it¹s supposed
> to stay overnight. Barney-as-Jenkins admits that he misses Jud and exits the
> office. Walking in the lobby, he is adjusting his mask and opens the
> entrance door when Jud runs, jumps on him and bites his arm.
> Barney-as-Jenkins is lying on the floor and defends himself with difficulty.
> The noise alerts both underworld men who rush to inspect the lobby and see
> Jud attacking Barney-as-Jenkins. Peter takes the dog by the collar which
> frees Barney-as-Jenkins who faints. Fife notices the latex skin of Barney¹s
> neck: double zoom in (first on Fife¹s face and then on Barney¹s latex skin).
> Fife bends down, grabs the skin and peels off the mask slowly and witnesses
> with surprise Barney who awakes. Fife draws his gun, gets up and orders
> Barney to do the same and to step into his office. Peter lets the dog in the
> lobby and follows Fife in. Fife searches Barney, confiscates his handgun and
> asks him his identity and where is Jenkins? Barney sits on the desk and
> remains mute.  He stands up, tells Fife a few words (³You see, Mr. Fife...²)
> to move closer, gives him a punch in the face as a diversion and jumps
> through the window. Peter points his handgun and fires once at Barney who
> collapses on the tiles of the swimming pool. The bullet hits and scratches
> his right frontal lobe. Barney gets up and runs. Peter goes checking Fife if
> he is alright and is ordered to catch Barney right away. Despite his wound,
> Barney edges his way into the garden, collapses between the bushes, watches
> the blood of his skull, keeps an eye on Peter and carries on running almost
> on his knees when Peter orders him to freeze at the level of the tennis
> court¹s net. Barney turns around and sees Peter aiming at him and moving
> closer towards him.
>
> Act 3
> Armed with a handgun, Peter walks towards Barney who faints on the court.
> Peter turns the body and, out of the blue, Barney grabs Peter¹s tie and
> pushes his head against the net¹s metal pylon to knock him unconscious.
> Peter collapses and Barney stands up and walks with difficulty by using the
> net as a stick. Out of Fife¹s property, Barney is strolling about in a back
> alley and ends up in the street. Despite the pain and the unbalanced state,
> he forces himself to remain stoic and bumps into the bystanders as a drunk.
> His field of vision gets wider and wider, people avoids him, he closes his
> eyes, shakes his head and opens his eyes quickly. Barney stops his course
> near a power box and a pylon, looks around and stares at a sign (zoom in)
> that reads: ³Dr. Walter Manning ­ M.D. ­ Phone 749-1190² in the other side
> of the street. Barney crosses the street, avoids a station wagon then a
> white car which hoot their horns at the last minute, breaks in the doctor¹s
> office. On his way to collapse on a black-leathered armchair in the waiting
> room, he drops a desk lamp when a door opens. Dr. Walter Manning rushes to
> support Barney, examines his skull and asks him what¹s going on? Barney begs
> him to call 476-7310. The doctor refuses. Barney insists heavily (³It¹s a
> matter of life and death²), repeats the number and faints. The doctor
> composes the number. At the grey detention room, the phone rings (a red
> signal blinks) and Jim picks it up. Dr. Manning introduces himself and
> informs Jim that a black man is badly hurt in his office and asks him to
> call. Jim asks him his location? At the office of Fife, Peter apologizes to
> have let go the impostor. Fife guesses the whole IMF scheme: the abduction
> of Jenkins at the vet¹s (admire the face mask of Barney), agent Casey posing
> as Jean Royce to go to L.A. Peter asks him what will he do? Fife answers and
> smiles: ³Well, I¹m just going to sit back and enjoy it. You see, she was
> supposed to identify C6, but instead she¹s just going to get blown up right
> along with him.² Casey is still waiting in the parking lot and Willy is
> watching her. A blue car parks next to Casey¹s vehicle, a man in suit comes
> out, walks to her front seat and asks her the bag. Casey refuses, shows her
> chain and explains Fife¹s idea: ³He wants your man to empty it, and he wants
> me to bring it back to him.² The man orders her to get in his car and leads
> her by holding her arm. Willy takes a look at the signal, backs up to get
> out of the parking lot to tail them and at the exit, a truck collides with
> the back of his car and the shock drops the receiver on the floor. The
> driver comes out to apologize and Willy picks up the broken receiver and
> watches the end of the road to pinpoint Casey but nothing. Jim parks his car
> next to the office of Dr. Manning, steps in and calls the doctor who informs
> him that an ambulance drove Barney to the hospital and he used to notify the
> police. Jim insists to talk to Barney and asks him his health state. The
> doctor tells him that Barney has a graze from a bullet. Jim begs him to
> follow him to the hospital because of the urgency. The doctor agrees. At the
> grey detention room, the phone rings. Willy hangs up the phone of his car
> and keeps an eye of his watch. C6¹s man parks his blue Plymouth and leads
> Casey (by holding her arm) to Kingby - Stover building. He lets her in the
> apartment and orders to sit on a chair next to the desk. He calls his boss
> on the phone and explains Fife¹s bag woman idea and informs him he is at the
> office to avoid the house. C6 confirms he is on his way. The man walks to
> the bar and is fixing a drink with rocks. At the hospital, after receiving a
> sedative (off-camera), Barney is sleeping on a bed with a bandage on his
> forehead. Jim asks the doctor to awake Barney. The doctor refuses. Jim
> insists when Barney babbles: ³Bag. BagŠ Got toŠ² Jim bends down and tries to
> communicate in vain. The doctor tells him that Barney is fighting to
> recover. Jim asks him where is the nearest public phone? Jim worries about
> his team. They exit to go down the floor below. Suddenly, Barney tries to
> get up while both men cross the corridor. Jim calls the elevator. Barney
> strolls about in his bedroom, opens the door, walks against the wall of the
> corridor. Both men step into the elevator car when Jim sees Barney, runs
> along with the doctor and talks to Barney who warns him that Casey must be
> stopped because she carries a bomb. In his car, Willy picks up the phone and
> answers to Jim who calls from the public phone booth and orders him to stop
> Casey carrying a bomb. Willy tells him he lost her trace and his directional
> system went out because of an accident. Jim worries in silence: zoom in!
>
> Act 4
> Jim returns to the detention room, stops near the desk, thinks twice, feels
> irresolute and looks at sleeping Jenkins that he starts to untie and backs
> off. He picks up the phone, hangs up fast and moves back to search the trash
> of the room. He finds a beer bottle that he breaks against the wall near the
> door and tidies up the pieces on purpose. He walks towards the desk, tidies
> up the phone inside a drawer and comes out a needle from his pocket. He
> injects a drug on Jenkins¹ arm to bring him around, watches his face for a
> reaction and leaves the room slowly. He locks the detention room from
> outside when Jenkins regains consciousness and can¹t untie his bonds. He
> takes a look around the room and sees the pieces of bottle: zoom in. He
> starts to swing his chair while Jim eavesdrops. Jenkins stands up, walks and
> bends down to grab a big piece of glass and cuts his strings. Jim still
> eavesdrops at the door. Jenkins frees himself, gets up and tries to open the
> closed door. Jim stands aside and hides behind a column of the wall. Jenkins
> smashes in the door and runs away. Jim returns to the room, moves to the
> desk, takes back the phone and calls Fife and introduces himself as Stargess
> from Chicago and tells him he is in town, has urgent informations and will
> come to his house. At the office of C6, Casey asks Al if something is wrong?
> Al carries a glass and confesses the chain of her wrist keeps him from
> having a big time with her tonight. At Fife¹s office, Peter and Jenkins step
> in. Jenkins explains his vet¹s abduction when the bell rings. Peter goes at
> the door and Fife offers Jenkins to fix himself a drink. Jim enters and
> introduces himself as Harry Stargess to Peter. Jim crosses the office (shot
> through the shelves at a remote distance) and introduces himself to Fife who
> does the same with his two men. Jim starts the society talks and Fife
> interrupts him to warn him he is very busy. Jim informs him that the bag
> woman he sent to Los Angeles is a cop. Fife knows it and Jim asks him what
> is he going to do about it? Fife tells he¹s got everything under control.
> Jim lectures him and reveals that C6 is the most important man for the
> operations of the West Coast organization. Fife tells him C6 became too
> greedy. Jim stands for C6. Fife repeats that he has everything under
> control. Fife greets Jim who leaves, escorted by Peter. Jenkins asks his
> boss if he is in trouble. Fife confirms and briefs Jenkins. Jim gets in his
> car and exits when Jenkins comes out of the manor and drives his brown car.
> At a crossroad, the car of Jim is parked in the street, watches Jenkins
> driving and tails him. The door of an elevator opens, a man comes out, walks
> in the lobby (we only see his feet) and unlocks the door of C6¹s office. He
> steps into the room, greets Casey and asks Al where is the bag? The man is
> C6 and he takes the bag (Casey takes pictures of him with her ring) and
> tells Casey to inform Fife that he disapproves his new method of delivery.
> Jenkins stops his car and goes to a public phone. Jim parks nearby and
> watches the dial¹s numbers through his binoculars. At his office, C6 opens a
> top drawer from his desk, takes a small key from a red planner notebook and
> moves back to Casey when the phone rings. Al answers and orders C6 that
> Jenkins says not to open the case. C6 moves to the phone and talks to
> Jenkins. Casey worries. Jim calls an informer and tells him the number
> (213-749-1190) to locate on the spot. Jenkins warns C6 that Casey is a cop
> and she picked up the wrong bag which was for a fink up north. C6 and Al
> stare at Casey. Jim receives the adress and calls Willy to send him at C6¹s:
> 4727 Marshall Boulevard, suite 2601. Willy drives in a hurry. Jenkins
> returns to his car. C6 unmasks Casey but she pretends not to understand. C6
> asks her if the government knows his identity and asks her the purpose of
> her assignment (to incriminate, to identify)? Casey continues her innocent
> act. C6 threatens her. She persists to play her bag woman role and C6
> informs her that Al is about to kill her. Al draws his handgun from his
> pants. C6 specifies: ³Nice and neat Al. Then get rid of the body.² C6 is on
> his way to leave the office, Al points his gun at Casey when Willy bursts
> in, guns down Al, holds C6 and moves to ask Casey of she¹s alright. C6 feels
> annoyed: zoom in on his face. Willy and Casey read the newspaper whose
> headlines show the indictment of C6 when Jim and Barney come out of the
> hospital. Willy and Casey walk to join them (the hand-held camera turns
> around the four IMFers in a circular motion). Willy asks Barney how he feels
> and gives him the newspaper to read. Barney answers: ³Feeling fine². They
> all smile and start to walk out: freeze frame.
>
> Comments:
> Actor Robert Lewis Colbert is known for his part of Dr. Doug Phillips in the
> 1966 sci-fi series ³The Time Tunnel² and his character of Harry Fife is
> treated as a gentleman gangster who talks nice. Actor Georg Stanford Brown
> is the star of the 1972 cop series ³The Rookies² and his character of Luke
> Jenkins is dressed as a Black Panther militant (as Barney specifies it
> during the apartment scene: ³Š like they were a uniform²), i.e., a
> black-leathered jacket, a white turtleneck sweater and black slacks that
> remind season 5¹s youth movement era: see Billy Walsh in ³Takeover² or
> Paris. As in ³The Miracle², Willy wears the same brown-leathered jacket. As
> in many season 6, minor characters have no credits: bag woman Jean Royce. As
> in "Shape-Up" (also written by Ed Adamson and Norman Katkov and directed by
> Paul Krasny), Jim ties in an executive foe (Jenkins) to a chair in an empty
> detention room containing only a telephone planted on a desk. As in "The
> Freeze", the same newspaper named "The Star-Dispatch" is used and mentions
> that C6 is indicted at the end. As in ³Blind² and ³The Miracle², a Federal
> agent is exposed during the prologue. As the season openener (³Blind²) and
> others (³Shape-Up²), the bar is once again called ³Duke¹s². As in the season
> 5 ³The Amateur², the prologue starts with a drunk customer. The buildings
> sets near Jean Royce¹s neighborhood are recycled for the neighborhood office
> of ³Mannix². As in ³Underwater², cinematographer Ronald W. Browne shoots
> through the shelves at a remote distance and it became a motif trick-shot
> for Fife¹s office; Ronald W. Browne uses again the gimmick of the scale of
> shots in the same frame thanks to a wide angle lens to suggest something
> weird or threatening: during Act 2¹s sour mash toast, Barney-as-Jenkins¹
> face is seen in profile in the foreground and Peter in the background, and
> during Act 4 at C6 apartment when he unmasks Casey: C6¹s profile in the
> foreground and Al¹s face in the background. As in many season 6, notice the
> 70¹s design through utilitarian objects as telephone: Jim uses a white
> portable dial telephone in the grey detention room. During the apartment
> scene, Jim explains to the team that Fife works under King Nicholson and his
> new partner Harry Stargess from Chicago. The immorality of the gangsters is
> encapsulated by Jenkins¹ indifference to mankind (i.e. Jean Royce) and his
> preference to animals (Jud) and Fife also cares for the pet. As in ³The
> Bride², Fife is a gangster dealing with money deliveries. Act 4 contains a
> dialogue blooper because Jim calls on the phone Harry Fife by the name of
> Terry Fife. During the course of the episode, two hit men on duty try to
> flirt with women: Peter and Miss Stewart at the vet¹s and Al and Casey at C6
> office. The bag people (the bald man of the prologue and Casey) carry on
> saying the expression ³no sweat². As In ³Nerves², Casey carries a
> brooch-beeper.
>
> Review:
> It¹s a variation of ³The Killer² because it deals with theme of the
> unidentified top brass figure (Scorpio/C6) and it¹s the final showcase for
> Greg Morris. This episode concludes Barney¹s triptych of tough undercover
> assignments started with "Mindbend" and then "Blues". Oddly enough, three
> moments are vaguely reminiscent of the previous ³Minbend: Barney jumps out
> of the window, Barney wanders in the street and the hospital epilogue a la
> ³My Friend, My Enemy². After ³Underwater², this is the second and final
> master of disguise Barney entry. After the season 5 ³Hunted², this is second
> episode in which Barney is unmasked, injured and tracked down. One of my
> favourite episodes because it shows two IMFers (Barney and Casey) in real
> jeopardy and on the razor's edge and illustrates very well the season 5
> concept of human failure and the urgency of such situation thanks to Paul
> Krasny¹s film-making: first in Act 2, the compromising 25 years old bottle
> of whiskey to celebrate Fife's plan (³Luke, will you get the booze?²), the
> attacking dog that removes the face mask and, then, in Act 3, the concussion
> that makes Barney loose his balance (notice the expressive distorted
> subjective viewpoint of injured Barney who walks and wanders in the crowdy
> street: it¹s all done with a wide angle lens that makes fast tilted pan
> shots and recaptures sun halos and punctuated with Jerry Fielding¹s abstract
> and martial score for ³The Execution²). The night prologue in the pool club
> contains "Intrigue" from Lalo Schifrin¹s album.
>
> Stock music:
> € ³Blues² (prologue: at night, a drunk customer comes out of Duke¹s and
> crosses the wet street)
> € "Intrigue" (prologue: Luke Jenkins meets a contact at Duke¹s pool club)
> € ³Encore² (prologue: Jenkins points a handgun at Malloy who is sitting in
> his car; Act 2: Casey gets in the green car while Willy phone to report the
> car¹s change; Jud notices the safety lock and Miss Stewart leaves the room;
> Act 3: Willy gets out of the parking lot when a truck collides with the back
> of his car; C6¹s man parks his blue Plymouth and leads Casey by holding her
> arm to a building; Act 4: Jim returns to the detention room; Jim returns to
> the detention room and calls Fife; Fife complains to Jim-as-Stargess about
> C6¹s greediness; C6 unlocks the door of his office and meets Casey; Jim
> calls an informer to locate¹s C6 phone number)
> € ³The Visitors² (prologue: after the killing, Jenkins returns to his car
> and leaves; Act 1: Barney finishes off his disguise in the office of the
> vet; Fife plays with the handcuff of the briefcase; Casey-as-Royce looks at
> the bag and goes out; Act 2: Casey-as-Royce parks her green car in an
> exterior parking lot; Fife confesses Barney-as-Jenkins that he wasted two
> bills on Jean Royce; Act 3: Casey is still waiting in the parking lot and
> Willy is watching her)
> € "Flip Side" (Act 1: Bag woman Jean Royce comes out of her building)
> € ³The Bride² (Act 1: Barney does his hair and applies the latex mask of
> Jenkins; Act 4: C6 moves to the phone and talks to Jenkins)
> € ³The Numbers Game² (Act 1: Fife opens the special bag containing a TNT
> charge)
> € ³Takeover² (Act 1: Jenkins faces his double and Jim stings him with the
> golden needle-ring from the rear; Act 4: Willy nabs C6 in the office)
> € ³Pilot² (Act 2: Fife moves closer to Barney and reminds him to get the
> morning present)
> € ³The Contender² (Act 2: Fife asks Peter to fix the drink but
> Barney-as-Jenkins prefers doing it; Act 3: Barney collapses next to the net
> of the tennis court; Barney faints and the doctor composes the number)
> € "The Execution" (Act 2: Jud runs, jump on Barney and bites his arm; Act 3:
> Barney finally exits from Fife¹s property and wanders unbalanced in the
> street)
> € "Blind" (Act 2: Barney jumps through the window to escape from Fife¹s
> grip; Act 3: In his car, Willy picks up the phone and answers to Jim)
> € "The Miracle" (Act 3: Barney tries to get up from his bed to warn Jim on
> his way down to the public phone; Act 4: Jim gets in his car and exits when
> Jenkins comes out of the manor and drives his brown car)
> ***IMF Out***
>
> Thomas
>

Bag Woman is a fine hour of suspense and one of the best Season 6 episodes, but
I wouldn't consider it excellent.

  I have no problems with an episode where things go wrong (on the contrary, The
Exchange and The Field are prime examples of how it can be done right) but
appearently in Bag Woman the mission goes wrong because a veterinarian forgets
to properly lock a dog in a cage.

  That is something I can't quite put my finger on Season 6, it's just strange
seeing the IMF tackle such small scale assignments. Working with veterinarian
offices for example, something that would have never happened in Seasons 1-5.

  Then there's Barney becoming a master of disguise just like in Underwater. I
bought it in The Hostage and Hunted because at least there he was not required
to fake his voice. Here you can clearly tell the writers didn't care anymore,
giving Barney a Rollin Hand role.

--- In Mission_Impossible_1966@yahoogroups.com, "erikemiller" <erikemiller@...>
wrote:
>
> Crane was an associate producer for the series for much of the show's life. I
do appreciate his ability as a bridge mastermind, I would imagine that this
would be the perfect training for a producer of Mission: Impossible. Since
bridge is a very complicated card game that relies on intuition, planning, and
nerve. On the other hand, Crane also had to deal with the severe budget cuts of
season seven.
>
> Regardless, I will post my thoughts of "Bag Woman" soon (over the weekend). I
have been too busy to devote time to this excellent episode but I promise that I
will watch it tonight and post my thoughts by the weekend.
>
>



We are all impatient to read your review of "Bag Woman".
For the anecdote, "Bag Woman" was my former introduction to MISSION
back in the 70's: I still remembered injured Barney wandering in the streets.
As for Crane, he let die MISSION during its final season.
Crane was not a literate man: he never read a script during his producer
assignment.
All previous producers supervised the scripts.
Crane was interested in cost and figures.
In my opinion, Crane was trying to emulate Paul Krasny.
Crane's film-making was adequate only during season 4 and 5.
The only real good Crane was "Ultimatum" because he returned to his season 5
style.
***IMF Out***

Thomas

Crane was an associate producer for the series for much of the show's life. I do
appreciate his ability as a bridge mastermind, I would imagine that this would
be the perfect training for a producer of Mission: Impossible. Since bridge is a
very complicated card game that relies on intuition, planning, and nerve. On the
other hand, Crane also had to deal with the severe budget cuts of season seven.

Regardless, I will post my thoughts of "Bag Woman" soon (over the weekend). I
have been too busy to devote time to this excellent episode but I promise that I
will watch it tonight and post my thoughts by the weekend.


--- In Mission_Impossible_1966@yahoogroups.com, "John K. Balor" <balor1999@...>
wrote:
>
> Very interesting comments, Erik.
>  
> Perhaps we could relate this to why season seven is so good with Crane, the
Bridge mastermind, at the control.  How much influence did Crane have over
season six?
>  
> John
>
> --- On Thu, 11/12/09, erikemiller <erikemiller@...> wrote:
>
>
> From: erikemiller <erikemiller@...>
> Subject: [Mission_Impossible_1966] Re: Season seven
> To: Mission_Impossible_1966@yahoogroups.com
> Date: Thursday, November 12, 2009, 2:56 AM
>
>
> I felt sad when I found out that Crane was murdered. It's a horrible fate that
I wish on nobody. The fact that the case remains cold after almost 25 years
probably means that his killer will never be brought to justice.
>
> In other trivia about Crane, he was a world class bridge player. He achieved
the rank of "Life Master" in the American Contract Bridge League. Since I have
always found bridge to be a difficult game to grasp I have a lot of respect for
his achievement in that field.
>
> But back to "Bag Woman" I promise I will post my comments on it within the
next 24 hours.
>
>
> --- In Mission_Impossible_1966@yahoogroups.com, "erikemiller" <erikemiller@>
wrote:
> >
> > Barry Crane is an interesting person in the history of the series. He was an
associate producer for the series since its beginning, and he directed some
great episodes like "The Double Circle" "Death Squad" "Flight" "The Catafalque"
"Incarnate." I wish I could have known what went on during the seventh year as
the series producer. Overall, I agree with you Thomas that budget cuts hurt the
series in the last year.
> >
> > Another mystery regarding Crane; he was murdered July 5, 1985 and the case
remains unsolved to this day.
> >
> >
> > --- In Mission_Impossible_1966@yahoogroups.com, "erikemiller" <erikemiller@>
wrote:
> > >
> > > Well I'm not even really thinking about year seven right now. Tonight I
will watch "Bag Woman" and post my comments tomorrow under that thread.
> > >
> > > --- In Mission_Impossible_1966@yahoogroups.com, "bellerocorp" <filigrane@>
wrote:
> > > >
> > > >
> > > >
> > > >
> > > >
> > > >
> > > >
> > > >
> > > >
> > > >
> > > > > Ah good, let's keep the discussion of season seven on an abstract
level, not touching upon particular episodes.
> > > > >  
> > > > > You are right about the beginning of the season being good and
powerful.  In fact, of all the seasons so far, I believe this might perhaps be
the best and the most powerful beginning.  Are you sure the quality will drop as
the season progresses?  I hope not.  The impression I get from watching the
first episodes of the season is that this is as good as Mission Impossible ever
got.  It's simply fantastic.  It's the BEST!!!
> > > > >  
> > > >
> > > >
> > > >
> > > >
> > > >
> > > > You're too optimistic and over the top but I like your enthusiasm, by
the way.
> > > > The writing will fall apart as well as the film-making and you'll
realize it
> > > > soon enough: the cutting edge series will become bland because
> > > > too many Syndicate stories dry out the well of creativity.
> > > > Enjoy the genesis of season 7 which keep traces of season 6.
> > > > You will see hollow stories in the last third and even in the second
third.
> > > > I think the casting director doesn't select charismatic guest stars for
season 7.
> > > > Witness the shoe strings effect on a luxurary series thanks to budget
saver
> > > > producer Barry Crane.
> > > > Season 7 is so crippled that even good directors (example: Reza Badiyi,
Paul Krasny)
> > > > give an inferior results compared to previous seasons.
> > > > ***IMF Out***
> > > >
> > > > Thomas
> > > >
> > >
> >
>
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>

That's "The Fortune", it's a retool of The Elixir (with a more believable
payoff) and not a very good episode despite the killing of a major IMF agent.

  "The Pawn" as I said is fantastic, one of the few episodes that could've easily
been a 1960s episode. Another one is "The Cattle King."

The only two episodes I really liked in the later series, and the only
ones I'd really be willing to see again, are "The Pawn" (I think that's
the title; it's the one where Penghlis impersonated a chess champ) and
the episode where Terry Markwell was killed off (don't recall the
title).

ACJ

I felt sad when I found out that Crane was murdered. It's a horrible fate that I
wish on nobody. The fact that the case remains cold after almost 25 years
probably means that his killer will never be brought to justice.

In other trivia about Crane, he was a world class bridge player. He achieved the
rank of "Life Master" in the American Contract Bridge League. Since I have
always found bridge to be a difficult game to grasp I have a lot of respect for
his achievement in that field.

But back to "Bag Woman" I promise I will post my comments on it within the next
24 hours.


--- In Mission_Impossible_1966@yahoogroups.com, "erikemiller" <erikemiller@...>
wrote:
>
> Barry Crane is an interesting person in the history of the series. He was an
associate producer for the series since its beginning, and he directed some
great episodes like "The Double Circle" "Death Squad" "Flight" "The Catafalque"
"Incarnate." I wish I could have known what went on during the seventh year as
the series producer. Overall, I agree with you Thomas that budget cuts hurt the
series in the last year.
>
> Another mystery regarding Crane; he was murdered July 5, 1985 and the case
remains unsolved to this day.
>
>
> --- In Mission_Impossible_1966@yahoogroups.com, "erikemiller" <erikemiller@>
wrote:
> >
> > Well I'm not even really thinking about year seven right now. Tonight I will
watch "Bag Woman" and post my comments tomorrow under that thread.
> >
> > --- In Mission_Impossible_1966@yahoogroups.com, "bellerocorp" <filigrane@>
wrote:
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > > > Ah good, let's keep the discussion of season seven on an abstract level,
not touching upon particular episodes.
> > > >  
> > > > You are right about the beginning of the season being good and
powerful.  In fact, of all the seasons so far, I believe this might perhaps be
the best and the most powerful beginning.  Are you sure the quality will drop as
the season progresses?  I hope not.  The impression I get from watching the
first episodes of the season is that this is as good as Mission Impossible ever
got.  It's simply fantastic.  It's the BEST!!!
> > > >  
> > >
> > >
> > >
> > >
> > >
> > > You're too optimistic and over the top but I like your enthusiasm, by the
way.
> > > The writing will fall apart as well as the film-making and you'll realize
it
> > > soon enough: the cutting edge series will become bland because
> > > too many Syndicate stories dry out the well of creativity.
> > > Enjoy the genesis of season 7 which keep traces of season 6.
> > > You will see hollow stories in the last third and even in the second
third.
> > > I think the casting director doesn't select charismatic guest stars for
season 7.
> > > Witness the shoe strings effect on a luxurary series thanks to budget
saver
> > > producer Barry Crane.
> > > Season 7 is so crippled that even good directors (example: Reza Badiyi,
Paul Krasny)
> > > give an inferior results compared to previous seasons.
> > > ***IMF Out***
> > >
> > > Thomas
> > >
> >
>

If you honestly think Seasons 6 and 7 are Mission: Impossible at its best, you
are going to have an orgasm with the 1988-1990 series. :D

USA International used to show repeats of them back in the 1990s, and they have
been uploaded on YouTube.

  The best episodes on YouTube are The Pawn and Reprisal (with Lynda Day George).
The remakes of The Killer and The Legacy are not bad (in fact, The Legacy has
some superior aspects to the original).

Where to you see these shows recently? The only time I saw them was when they
were aired on the network back in 1988-90. I don't think Paramont owns the
rights to the show. It may but I think the show was done by an Australian
production company but the rights can still be Paramont's, I don't know.

--- In Mission_Impossible_1966@yahoogroups.com, "franciscopedro39"
<franciscopedro39@...> wrote:
>
>  I would consider purchasing the first season of the 1988-1990 series. I'm
pretty sure Paramount can profit from releasing it, as far worse shows out there
have had DVD releases. If we follow this "no one would buy it" rule, then no one
would have purchased the post-Landau/Bain episodes of the original series on DVD
either.
>
>  The 1988 series is a little bit underrated... it has A LOT of flaws (mostly
1980s cheese and too much interference from McGyver and James Bond films) but it
does have brilliant episodes that could've been episodes from the original
series. I would much rather watch it than the last two seasons of the original
show. At least it's a return to international intrigue and espionage aspects of
the 1966-1971 years, not a standard 1970s police series.
>
>  The Plague is an excellent episode featuring Maude Adams playing a villainess
(something she was robbed out of doing with Octopussy).
>
>  The Pawn, involving chess and defection, is also good.
>
>  The Greek is another winner.
>
>  Reprisal is a must see, the IMF teaming up against a master of disguise
attempting to frame Jim Phelps. Lynda Day George is in it also.
>
>  Last but not least there is Target: Earth, one of the best "mission gone
wrong" episodes of any Mission: Impoissible series.
>
>  Sure, there are plenty of awful episodes (The Fueher's Children)... but there
are some aspects the show got right, as much as purists clinging to the original
show refuse to admit. It actually had the guts to kill off a regular (something
Bruce Gellar considered doing to the guest agents in the original notes for the
1966 show). Phil Morris IMO is a more charismatic actor than his father and did
much better when given serious acting roles. The late Tony Hamilton (once a
serious contender to play James Bond, though turned down supposedly due to his
homosexuality) is also a much better actor than Peter Lupus was. A shame he was
wasted in many episodes. And though her acting is a bit uneven, I quite liked
Jane Badler as the Cinnamon-esque character. She is food for the eyes and was a
fantastic improvement over Terry Markwell.
>

--- In Mission_Impossible_1966@yahoogroups.com, "erikemiller" <erikemiller@...>
wrote:
>
> Well I'm not even really thinking about year seven right now. Tonight I will
watch "Bag Woman" and post my comments tomorrow under that thread.
>

Thanks. At last, someone who is focused on season 6. Good move!

Thomas

Barry Crane is an interesting person in the history of the series. He was an
associate producer for the series since its beginning, and he directed some
great episodes like "The Double Circle" "Death Squad" "Flight" "The Catafalque"
"Incarnate." I wish I could have known what went on during the seventh year as
the series producer. Overall, I agree with you Thomas that budget cuts hurt the
series in the last year.

Another mystery regarding Crane; he was murdered July 5, 1985 and the case
remains unsolved to this day.


--- In Mission_Impossible_1966@yahoogroups.com, "erikemiller" <erikemiller@...>
wrote:
>
> Well I'm not even really thinking about year seven right now. Tonight I will
watch "Bag Woman" and post my comments tomorrow under that thread.
>
> --- In Mission_Impossible_1966@yahoogroups.com, "bellerocorp" <filigrane@>
wrote:
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> > > Ah good, let's keep the discussion of season seven on an abstract level,
not touching upon particular episodes.
> > >  
> > > You are right about the beginning of the season being good and powerful. 
In fact, of all the seasons so far, I believe this might perhaps be the best and
the most powerful beginning.  Are you sure the quality will drop as the season
progresses?  I hope not.  The impression I get from watching the first episodes
of the season is that this is as good as Mission Impossible ever got.  It's
simply fantastic.  It's the BEST!!!
> > >  
> >
> >
> >
> >
> >
> > You're too optimistic and over the top but I like your enthusiasm, by the
way.
> > The writing will fall apart as well as the film-making and you'll realize it
> > soon enough: the cutting edge series will become bland because
> > too many Syndicate stories dry out the well of creativity.
> > Enjoy the genesis of season 7 which keep traces of season 6.
> > You will see hollow stories in the last third and even in the second third.
> > I think the casting director doesn't select charismatic guest stars for
season 7.
> > Witness the shoe strings effect on a luxurary series thanks to budget saver
> > producer Barry Crane.
> > Season 7 is so crippled that even good directors (example: Reza Badiyi, Paul
Krasny)
> > give an inferior results compared to previous seasons.
> > ***IMF Out***
> >
> > Thomas
> >
>

Well I'm not even really thinking about year seven right now. Tonight I will
watch "Bag Woman" and post my comments tomorrow under that thread.

--- In Mission_Impossible_1966@yahoogroups.com, "bellerocorp" <filigrane@...>
wrote:
>
>
>
>
>
>
>
>
>
>
> > Ah good, let's keep the discussion of season seven on an abstract level, not
touching upon particular episodes.
> >  
> > You are right about the beginning of the season being good and powerful.  In
fact, of all the seasons so far, I believe this might perhaps be the best and
the most powerful beginning.  Are you sure the quality will drop as the season
progresses?  I hope not.  The impression I get from watching the first episodes
of the season is that this is as good as Mission Impossible ever got.  It's
simply fantastic.  It's the BEST!!!
> >  
>
>
>
>
>
> You're too optimistic and over the top but I like your enthusiasm, by the way.
> The writing will fall apart as well as the film-making and you'll realize it
> soon enough: the cutting edge series will become bland because
> too many Syndicate stories dry out the well of creativity.
> Enjoy the genesis of season 7 which keep traces of season 6.
> You will see hollow stories in the last third and even in the second third.
> I think the casting director doesn't select charismatic guest stars for season
7.
> Witness the shoe strings effect on a luxurary series thanks to budget saver
> producer Barry Crane.
> Season 7 is so crippled that even good directors (example: Reza Badiyi, Paul
Krasny)
> give an inferior results compared to previous seasons.
> ***IMF Out***
>
> Thomas
>