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Wouldja Believe More 55th Anniversary Catch-Up Viewing?
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Get Smart
"Hubert's Unfinished Symphony"
Originally aired March 19, 1966
Wiki said:
Max and the Chief are going to meet Hubert (a CONTROL agent and violin player) after his performance. When he bows at the end of his show, he gives Max and the Chief a signal that means he is in trouble. When they go backstage to meet with Hubert, they find him dead in his room. The only clue as to who killed him is written in a piece of music on Hubert's desk.
Max and the Chief are there to get the name of KAOS's new Mr. Big. Unwilling to pass a group conversing backstage, Hubert (Andre Philippe) ducks into his dressing room and starts writing on a piece of sheet music, only to be shot by a silenced pistol. When the agents arrive, Max assumes that he must have left a clue in his violin, and deduces that Mr. Big's name is Stradivarius.
A police lieutenant (Richard Webb) questions Max and the Chief, who are operating under aliases, and the people from the corridor who were the last to see Hubert alive--hall owner Badeff (Bert Freed); his assistant, Nicola Darby (Sarah Marshall); and narcissistic pianist Wolenska (John Myhers). Afterward, the agents question Agent 44, who's been undercover upside-down in a violin case, for any information he may have. When Max and the Chief discuss their plan while searching for clues onstage, Max insists that they use a ridiculous-looking contraption shown in the episode's Frndly still that I knew could only be the Portable Cone of Silence:
It works better that the regular one audibly, but they have trouble removing it afterward. Max manages to get out of his half to find various parties of interest sneaking around in the dressing room; first Nicola, then Badeff, then finally Wolenska, whose attention Max draws to the unfinished symphony that Hubert was writing. Between visits, Max tries to free the Chief from the Portable Cone, eventually succeeding...by accident, of course.
99 joins the investigation posing as a piano protege, observing Wolenska as he tries to play the symphony, the pianist bringing to attention to an unusual arrangement of notes that spell BADEFF...upon which we learn that he's Mr. Big and Darby is in cahoots with him. Max and 99 piece this together themselves afterward, only to be caught by Badeff, Darby, and a goon named Boris. The agents are kept backstage while Wolenska is playing, his piano set to explode when he starts the symphony, destroying the evidence. Max crosses an electrified floor using a Helio-Coat (a trench coat with two balloons that deploy, ebabling him to float); 99 shoots Boris and holds the others at bay with a violin gun that's fired by running the bow across the strings; and Max rushes onstage to TV Fu Wolenska and remove the bomb. Afterward, he's hurt that the audience doesn't applaud for his rendition of "Chopsticks".
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The Decades airings that I've just started recording skipped the "Ship of Spies" two-parter (April 2 and 9, 1966), which brings us to the penultimate episode of Season 1...
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Get Smart
"Shipment to Beirut"
Originally aired April 23, 1966
Wiki said:
KAOS is using clothes designer Richelieu (Lee Bergere) to smuggle plans and one of the models tries to sell information to Max. When Max shows up at the boutique, somehow the model has become a mannequin. Furious that Max spent a ton of money and didn't get any information, the Chief takes Max off the case. 99 then goes undercover as a model (against the Chief's orders) and Max disguises himself as a mannequin in order to break the case.
Multiple visits to Richelieu's salon result in Max making contact with the wrong models and buying their expensive gowns because they coincidentally drop phrases such as "smart," "86," and "chaos". Eventually he makes contact with Mildred Spencer (Judy Lang), but she's seen talking to him and abducted in the back before she can give him the info he needs. When she doesn't return, Max has the place raided by CONTROL agents. Richelieu has an alibi for Spencer's disappearance, but Max sees the dummy and insists that it's her. For some reason, the Chief thinks that this particular incident warrants taking Max off duty for psychological tests. We learn that the mannequin is her, covered in a fast-hardening solution. 99, who establishes that she has modeling experience, voluntarily goes undercover for Max's benefit.
Max has to keep in contact with her using a Cologne Phone, with which he has to spray himself in the face to talk. She confirms how Spencer was killed, and Max comes to the salon in disguise, sporting a bowler, umbrella, monocle, and goatee. He tries to stand still in a rain-simulating mannequin display to eavesdrop on Richelieu and his assistant, Luchek (Allen Emerson), talking about how they're smuggling the plans to Beirut in microfilm concealed in the gowns. Max briefs the Chief via shoe phone, following which he's caught by Luchek, whom he shoots with a gun concealed in a hairbrush. He finds 99 having been sprayed with the solution and gets her to a steam bath in time to get it off...though he's also brought a bunch of actual mannequins, assuming they're all victims needing rescuing.
Back in his office, the Chief bawls both agents out for acting off the books, but returns Max to active duty.
There's an Abbott & Costello-style running gag regarding, who, what, how, when, where, etc., though it feels half-baked.
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Sounds a little bit like Tom Petty, I thought.
He sounds like very early Billy Joel to me in this one:
Well, that got my week off to a great start.
Happy to be of service.
Never heard this one before. The song is okay, but I love that Jack Davis cover.
Can't say I'd ever heard this one in my life, either. And as you can see, it slipped under my radar when it entered the chart, just entering the Top 20 this week. Add it to the list of oddball one-off forgotten hits that I might end up adding to my collection, but probably won't get around to.
How you doing in there, James? Can I get you a sandwich? Some iced tea?
Not sure what that means, but this one's got some pep.
A total obscuro to me, and not very memorable.
Now this one's a bona fide classic indeed!
My favorite song from one of my favorite bands. Those were the days.
It does have a good times-signy vibe. First-hand recollection? Maybe...