Where might I find that? Sounds like GROUNDHOG DAY with space refineries.
I have always enjoyed this episode. I attribute its weak points to general "third season-ness." I do give some credit to the notion that this is one of those stores that could work best on its face by treating the series as a "broad strokes" anthology, with the characters as a "cast of players" thrown into various scenarios, without strongly-defined personal characteristics. But, accepting it as a series that is meant to be consistent across episodes...
Sure, Kirk's behavior/emotional state were a bit weird. Maybe they could have thrown in a line about him having come down with the Rigellian Fever that was raging aboard the Enterprise, and being affected in its early stages. Or Flint was doing some trickery to manipulate his emotions.
I've seen comments moaning about Spock "suddenly" having this musical affinity and knowledge of Brahms out of the blue. Well, no. Spock was already shown to be a competent and accomplished musician with the Vulcan lyre/lute/whatever it's called. I'm sure that Amanda would have included human composers in his music lessons from an early age. And Spock has repeatedly shown encyclopedic knowledge of all kinds of random fields of expertise, throughout the series.
Flint himself was somewhat of an enigma, of course. If he was indeed Da Vinci and Brahms... well, we know what these figures actually looked like, and they didn't look like James Daly. There are photographic portraits of Brahms at different stages of his life, and he was seven inches shorter! So maybe Flint's "tissue regeneration" included the ability to alter his physical makeup including his face and build. Or he was really, really good at disguises, like Sherlock Holmes. But this is just being nitpicky, of course. We as the audience are meant to accept the "fact" that Flint really is the same person as Brahms.
Kor
Sure, Kirk's behavior/emotional state were a bit weird. Maybe they could have thrown in a line about him having come down with the Rigellian Fever that was raging aboard the Enterprise, and being affected in its early stages. Or Flint was doing some trickery to manipulate his emotions.
I've seen comments moaning about Spock "suddenly" having this musical affinity and knowledge of Brahms out of the blue. Well, no. Spock was already shown to be a competent and accomplished musician with the Vulcan lyre/lute/whatever it's called. I'm sure that Amanda would have included human composers in his music lessons from an early age. And Spock has repeatedly shown encyclopedic knowledge of all kinds of random fields of expertise, throughout the series.
Flint himself was somewhat of an enigma, of course. If he was indeed Da Vinci and Brahms... well, we know what these figures actually looked like, and they didn't look like James Daly. There are photographic portraits of Brahms at different stages of his life, and he was seven inches shorter! So maybe Flint's "tissue regeneration" included the ability to alter his physical makeup including his face and build. Or he was really, really good at disguises, like Sherlock Holmes. But this is just being nitpicky, of course. We as the audience are meant to accept the "fact" that Flint really is the same person as Brahms.
Kor
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And not only performance, but also music theory (structure) and how music relates to mathematics and language. Early in the third season, Spock solves the mystery of the
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Pretty sure Bixby was writing him as having actually been all those people.
I really can't picture him thinking "I...am Brahms's roommate who helped him write stuff."
Yeah, but Bixby wasn't troubling himself to reconcile James Daly's lack of resemblance to Brahms. Daly could pull off Methuselah and Solomon, but he doesn't look like the recent guys.
And by the time Flint finds himself in 1800s Europe, he would definitely be minimizing his public image. Ghostwriting for front men would be a natural outlet for his genius.
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Flint was Brahm's father's brother's nephew's cousin's former roommate.
Was the casting Bixby's problem to solve though? He was just writing it.
I feel like, when the written page is realized differently on film out of production necessities, we make a choice. We can explain it (the public face of Brahms was just Flint's front man) or we can let the reality of Star Trek flicker for a moment and ignore it (a warp nacelle hit with blue spill).
When there's no choice, I look the other way. But Flint's mug I can explain.
Since I'm just stupid TV viewer, I have no idea what those guys looked like. 
The whole episode is a fantasy. I accept the Enterprise shrinking down and not smashing through the floor of Flint's lab. I can accept his appearance doesn't match all of them. Hell, it's 200-300 years into the future. He could have altered his appearance.
The whole episode is a fantasy. I accept the Enterprise shrinking down and not smashing through the floor of Flint's lab. I can accept his appearance doesn't match all of them. Hell, it's 200-300 years into the future. He could have altered his appearance.
That works. If you let stuff slide, the episode plays as intended. And that's consistent with your known preference for recreating the vintage experience. As credulous kids, we just rolled with it.Since I'm just stupid TV viewer, I have no idea what those guys looked like.
The whole episode is a fantasy. I accept the Enterprise shrinking down and not smashing through the floor of Flint's lab. I can accept his appearance doesn't match all of them. Hell, it's 200-300 years into the future. He could have altered his appearance.
At this age, I'm in the camp that says the Enterprise was suspended in Flint's transporter buffer, upon which he based a tabletop hologram that weighed nothing. But however he did it, what a moment! You can't make this stuff up.
Based on this thread, I watched it again last night. Impressions:
They have four hours to get the meds and start treating the crew. Very - VERY - short ticking clock. This is the seed of the issue.
(Anyone else notice that at this point in the series Shatner says "shtardate" like Sean Connery?)
James Daly is outstanding. This piece of dialog is so rich:
Constantinople, summer 1334. It marched through the streets, the sewers. It left the city by ox cart, by sea, to kill half of Europe. The rats, rustling and squealing in the night as they, too, died. (Shudders at the memory) The rats.
The music, the way the camera pushes in as he remembers and pulls back out when he's done, coupled with Daly's performance is gold.
Louise Sorel is also classy and never looked lovelier. The trick shot she made is great fun.
Most of the mystery works, the story is carried along in "do what you can" sets that carry props and set pieces from their storeroom just enough to fill the imagination. The lack of budget is clear, but doesn't hurt the story.
Spock and McCoy keep everything on track and for most of it, Kirk still expresses concern for his crew.
Such as in this log, with the odd double digit number after the "point":
Captain's log, stardate 5843.75. Have I committed a grave error in accepting Flint's word that he would deliver the antidote to us? The precious time I have let pass may result in disaster for the Enterprise and her crew.
It turns sharply when Kirk loses focus.
KIRK: Come with me. I offer you happiness.
RAYNA: I've known security here.
KIRK: Childhood must end. You love me, not Flint.
First, Kirk goes from having odd emerging feelings to total commitment. Jokes and inflated rep aside, this is ridiculous. He's like 36. He's known enough women to know this isn't that serious.
KIRK: Come with me. I offer you happiness.
Do you? Are you going to drag her along, leaving her in your quarters while you're on the bridge and going on landing party missions into danger? Or are you going to resign...?
KIRK: Childhood must end. You love me, not Flint.
Does she? Where's your evidence? She's shown fascination, but she doesn't initiate hugs, she's apparently never had one. She isn't sure what this "pressing of the mouths" is. Is a really bad line and a horrible turn in what was a really solid journey.
Kirk is off the deep end here.
KIRK: Stay out of this. We're fighting over a woman.
Okay.... Dude that's not a the get out of jail free card you think it is.
Kirk remains off the charts through the fight and his relentless pressure. And he is relentless. He ignores Spock. Flint carries some blame, but compare their approaches.
KIRK: She's human! Down to the last blood cell, she's human. Down to the last thought, hope, aspiration, emotion, she's human!!! The human spirit is free. You have no power of ownership. She's free to do as she wishes.
SPOCK: Gentlemen, I urge you to stop. There is a danger.
That's your red flag, Jim.
FLINT: No man beats me.
KIRK: I don't want to beat you. This is no test of power. Rayna belongs to herself and she claims the human right of choice to be as she wills, to do as she wills, to think as she wills!!!
FLINT: That's what I've worked for.
KIRK: Rayna, come with me.
FLINT (plaintive): Stay.
That's Flint's approach. Just one word.
Kirk? Hammers.
Who Killed Rayna? They both had a hand in it, but if Kirk just said "jeez, a robot? I have three upstairs" and left, she'd be "alive." But he kept pushing and pushing. Flint gave Kirk the gun. Kirk pulled the trigger.
Now, this is where it's salvaged.
Kirk knows this.
KIRK: A very old and lonely man. And a young and lonely man. We put on a pretty poor show, didn't we? If only I could forget.
He's not just mourning Rayna. He feels the horrible weight of pushing her to overload and death just as she finally achieved life. He destroyed one life and ruined another. This is what he's not able to live with. He didn't do it for the greater good. Not to save the galaxy .Not even to save his ship. That was already in the bag. But because he lost his objectivity.
Looking at it that way, the episode doesn't let Kirk off easily. But Spock does and that's the sweet gesture.
McCoy, by the way, is still off base. He still doesn't get Spock. Spock understands love.
MCCOY: Considering his opponent's longevity, truly an eternal triangle.
Look at Spock when he says this. He understands. McCoy though...he may understand love, but he's still got a way to go with Spock.
So my original assessment stands. Top class episode until Kirk flips out, off character. Comes back in the very end. But if this were a Twilight Zone or Outer Limits, it would be amazing.
They have four hours to get the meds and start treating the crew. Very - VERY - short ticking clock. This is the seed of the issue.
(Anyone else notice that at this point in the series Shatner says "shtardate" like Sean Connery?)
James Daly is outstanding. This piece of dialog is so rich:
Constantinople, summer 1334. It marched through the streets, the sewers. It left the city by ox cart, by sea, to kill half of Europe. The rats, rustling and squealing in the night as they, too, died. (Shudders at the memory) The rats.
The music, the way the camera pushes in as he remembers and pulls back out when he's done, coupled with Daly's performance is gold.
Louise Sorel is also classy and never looked lovelier. The trick shot she made is great fun.
Most of the mystery works, the story is carried along in "do what you can" sets that carry props and set pieces from their storeroom just enough to fill the imagination. The lack of budget is clear, but doesn't hurt the story.
Spock and McCoy keep everything on track and for most of it, Kirk still expresses concern for his crew.
Such as in this log, with the odd double digit number after the "point":
Captain's log, stardate 5843.75. Have I committed a grave error in accepting Flint's word that he would deliver the antidote to us? The precious time I have let pass may result in disaster for the Enterprise and her crew.
It turns sharply when Kirk loses focus.
KIRK: Come with me. I offer you happiness.
RAYNA: I've known security here.
KIRK: Childhood must end. You love me, not Flint.
First, Kirk goes from having odd emerging feelings to total commitment. Jokes and inflated rep aside, this is ridiculous. He's like 36. He's known enough women to know this isn't that serious.
KIRK: Come with me. I offer you happiness.
Do you? Are you going to drag her along, leaving her in your quarters while you're on the bridge and going on landing party missions into danger? Or are you going to resign...?
KIRK: Childhood must end. You love me, not Flint.
Does she? Where's your evidence? She's shown fascination, but she doesn't initiate hugs, she's apparently never had one. She isn't sure what this "pressing of the mouths" is. Is a really bad line and a horrible turn in what was a really solid journey.
Kirk is off the deep end here.
KIRK: Stay out of this. We're fighting over a woman.
Okay.... Dude that's not a the get out of jail free card you think it is.
Kirk remains off the charts through the fight and his relentless pressure. And he is relentless. He ignores Spock. Flint carries some blame, but compare their approaches.
KIRK: She's human! Down to the last blood cell, she's human. Down to the last thought, hope, aspiration, emotion, she's human!!! The human spirit is free. You have no power of ownership. She's free to do as she wishes.
SPOCK: Gentlemen, I urge you to stop. There is a danger.
That's your red flag, Jim.
FLINT: No man beats me.
KIRK: I don't want to beat you. This is no test of power. Rayna belongs to herself and she claims the human right of choice to be as she wills, to do as she wills, to think as she wills!!!
FLINT: That's what I've worked for.
KIRK: Rayna, come with me.
FLINT (plaintive): Stay.
That's Flint's approach. Just one word.
Kirk? Hammers.
Who Killed Rayna? They both had a hand in it, but if Kirk just said "jeez, a robot? I have three upstairs" and left, she'd be "alive." But he kept pushing and pushing. Flint gave Kirk the gun. Kirk pulled the trigger.
Now, this is where it's salvaged.
Kirk knows this.
KIRK: A very old and lonely man. And a young and lonely man. We put on a pretty poor show, didn't we? If only I could forget.
He's not just mourning Rayna. He feels the horrible weight of pushing her to overload and death just as she finally achieved life. He destroyed one life and ruined another. This is what he's not able to live with. He didn't do it for the greater good. Not to save the galaxy .Not even to save his ship. That was already in the bag. But because he lost his objectivity.
Looking at it that way, the episode doesn't let Kirk off easily. But Spock does and that's the sweet gesture.
McCoy, by the way, is still off base. He still doesn't get Spock. Spock understands love.
MCCOY: Considering his opponent's longevity, truly an eternal triangle.
Look at Spock when he says this. He understands. McCoy though...he may understand love, but he's still got a way to go with Spock.
So my original assessment stands. Top class episode until Kirk flips out, off character. Comes back in the very end. But if this were a Twilight Zone or Outer Limits, it would be amazing.
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Really excellent points. It’s true that a fresh rewatch always reveals or reminds me of an important detail or clever plot device or powerful line of dialogue in even the weakest of episodes.
In universe, explanations for Kirk's crazy behavior:
1. Flint overbuilt into Rayna too many pheromones, which worked overtime on Kirk due to his close proximity with her.
2. Kirk was suffering from the effects of Rigelian fever.
3. Rayna was the perfect woman/match for Kirk; love is a mystery. YMMV
.
1. Flint overbuilt into Rayna too many pheromones, which worked overtime on Kirk due to his close proximity with her.
2. Kirk was suffering from the effects of Rigelian fever.
3. Rayna was the perfect woman/match for Kirk; love is a mystery. YMMV
.
This, and what others have said about her design making her extraordinarily quick to fall in love with.
It would help explain:
KIRK: You realised what was happening. You kept us together, Rayna and me, because you knew I could bring her emotions alive.
I agree.
This script writer didnt have a clue who Kirk was. Requiem for Methuselah replaced Kirk with a wimpy captain who abandoned his crew to die while falling in love with a friggin android after an hour or so. Apparently there wasn't a script editor or producer (certainly not Roddenberry) who cared enough to point out these problems.
I hate this episode.
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