From: "CDR R. A. Benson, USNR" Date: Sat Dec 18, 1999 2:34 am Subject: [probe_control] Introduction and Review I was pleasantly surprised, but surprised, indeed, to discover the existance of a message board and a web site devoted to [i]Search[/i], a one-season effort which was a personal favourite, and directly led to a most treasured personal relationship. Thanks to my dialogues with John and Brian and their graciousness, I will be viewing the eleven episodes they have acquired on tape. However--and this is the thing which inspired my search for [i]Search[/i] tapes--I recently acquired both a copy of the pilot movie, [i]Probe[/i], and a copy of the episode "Let Us Prey"--which arrived at my door to-day, in fact. This was the first episode of [i]Search[/i] I had viewed in twenty-six years; so while it held nostalgic interest for me, I have to concur with John's review that it was a sub-standard episode. Bear in mind, without the context of having viewed the other episodes yet, I had to evaluate this episode on a stand-alone basis. The plotline of "Let Us Prey" confirmed the Fourth Inevitablity of "Benson's Laws of Action/Adventure Television Shows". To wit, in every action/adventure show of significant duration, four plotlines will inevitably manifest: --One: in at least one episode, the hero will acquire amnesia. --Two: . . . the hero will be blinded for most of the episode. --Three: . . . the hero will encounter an exact double of himself. --Four: . . . the hero will be hunted as prey in a confined setting. The notion of the protagonist hunted as prey was original only when Richard Connell wrote "The Most Dangerous Game" back in 1924. Since then, it has been a plot mainstay in virtually every action show, and long before "Let Us Prey"'s airdate, it had been done to death. So, from the get-go, the viewer of this episode knows he is not in for any surprises, just a different take on an old standard. As I recall--and as was implied in this episode itself--I believe that Nick Bianco was a former policeman ( and, I think, of the NYPD), which made his coercion of Fuentes a logical move; however, it was a toothless tactic in this case since (A) Bianco was now a private citizen with no powers of arrest or influence with law enforcement; and (B) even if he had still been a cop, Bianco had no jurisdiction in Mexico. If Fuentes had been the shadowy character he was purported to be, he would have told Bianco to go to Hell when Bianco tried to rattle his cage. I saw no logical reason for Fuentes to fear Bianco's threat--except to advance the plotline. Granted, this opinion was undermined when it was revealed that Fuentes was in collusion with Danzig; but Bianco should have been more suspicious that Fuentes so readily caved in to his threat of exposure. There was a minimal use of the electronic wizardry which was supposed to be the "hook" of the show, even though there was plenty of opportunity--such as when Bianco infiltrated the Alvarez estate. Why wasn't telemetry monitoring for other heartbeats or body heat to let Bianco know where the guards where? Or to let him know that he was walking into an ambush in the house? During the scene when Danzig, the girl, Fuentes, and Richter confronted Bianco in the house and drugged him, why didn't the scanner send these images back to Probe Control (thereby revealing Danzig's complicity), which could have notified the Mexican authorities long before Danzig could have smuggled Bianco to his Mediterranean island? This was my greatest problem with this episode, and the series in general. In the pilot, Cameron and the techs in Probe Control provided knowledge and information not directly available to the Probe. They also served as a "greek chorus" of sorts, providing editorial comment. In other words, Probe Control was something of a "collective" character, with a distinct personality of its own. However, the series rarely made use of this asset. Specifically, in "Let Us Prey"--as John pointed out--Cameron's only purpose seemed to be to provide exposition for the hero's actions. One might advance the argument that Danzig had re-wired Bianco's audio implant receiver and destroyed his scanner, so Probe Control was unable to aide Bianco. A couple of problems with this: first, isn't the fact that the Probes are equipped with this technology supposed to be top secret knowledge? Yes, it might be assumed that, during their romance, Bianco divulged the existance of his scanner and audio implant to Diana Hyland's character; and later, she passed this information on to Danzig. But for Bianco to have revealed this info to the lady during pillow talk seems highly out of character. It might be more plausible for Grover, but not a hard-nosed ex-cop like Bianco. The other problem is that for the bad guy to disable the Probe's equipment is only believable as a one-time trick. If this were to happen episode after episode, the viewer quickly loses confidence in the "ultra-sophistication" of the electronic gadgets, and credibility goes flying out the window. I have avoided repeating John's remarks in his review of this episode; however, I am forced to agree with his criticism of Bianco's escape from Danzig's lab. If he was that close to Richter, he should have fought with him and tried to grab the rifle. A rifle is a very clumsy weapon in close quarters; and Bianco's self-defence training as a cop should have enabled him to take out Richter and capture the weapon--or at least, given Bianco the confidence to try. For that matter, all of the physical conflicts in this episode were rather limp-wristed. Especially the final struggle between Bianco and Richter. That Richter should be knocked unconscious by lightly bumping his head against the cliff face was absurd, but not as absurd as the idea that Richter--a "trained killer" would reach for the opossum-playing Bianco. A ten-year-old kid wouldn't have fallen for that one. Finally, wasn't it amazing how, after his dunking in the ocean, Bianco's hair dried back into its razor-cut coiffure? Not to mention the marvellous permanent-press of his trousers after being soaked by sea water. The one point of interest for me in watching this episode was evaluating Tony Franciosa as Nick Bianco from an older perspective. As a teen-ager, frankly I was predisposed toward the Hugh O'Brian episodes, and saw the McClure and Franciosa shows as "inferior". Nearly three decades later, I can be more objective about the three leads' performances; and already--despite the tepid plot of "Let Us Prey"--I am already looking at Franciosa's performance more favorably. I look forward to viewing--and reviewing--the other episodes. Adam Benson From: actingman-jc@worldnet.att.com Date: Sun Dec 19, 1999 7:26 pm Subject: [probe_control] Re: Introduction and Review Don't worry, other episodes do hold up very well. But at the same time it is interesting to see problems and weaknesses, as well as strengths...so many years later. >This was the first episode of [i]Search[/i] I had viewed in twenty-six >years; so while it held nostalgic interest for me, I have to concur >with John's review that it was a sub-standard episode. Bear in mind, >without the context of having viewed the other episodes yet, I had to >evaluate this episode on a stand-alone basis. I love this whole section. There is a sometimes fifth plotline, which if it doesn't show up in the action shows, it most certainly does in sitcoms...the "Boxing scenario". Even Star Trek: Voyager did one last season. >The plotline of "Let Us Prey" confirmed the Fourth Inevitablity of >"Benson's Laws of Action/Adventure Television Shows".... From series creator Leslie Steven's script One Of Our Probes Is Missing (the first Bianco episode): "He was undercover man for the Interstate Crime Commission. He's an ex-police detective." "He's fought crime all over the world...He knows the International Underworld from the gutter on down." I don't remember or know if they ever mentioned a specific police force. I think the basis of the threat was that Bianco had info he could turn over to authorities on Fuentes...but looking at the line it IS vague the way it is written. >As I recall--and as was implied in this episode itself--I believe that >Nick Bianco was a former policeman ( and, I think, of the NYPD), which >made his coercion of Fuentes a logical move; however, it was a >toothless tactic in this case since... As we have these discussions, we will often be asking the same question: "Why isn't the scanner picking up off presence readings? I think they quickly got away from this because it took away from the suspense of the agent getting jumped from behind...control could always warn him. In the pilot Creator Stevens has Lockwood's head get stuffed up so he can't hear control and get's jumped on the stairway. In Gold Machine, Stevens has Lockwood lose his hearing in an explosion, which creates another chance to get jumped. It would have been more of a challenge to write stories where the agent's had such an advantage, and the writers would have had to be more clever to work with it, and around it. On the original Star Trek, they always had their communicators taken away and/or something would block the transporter. Bianco's electronics got blocked the second he entered the house, which answer's part of your question, but then it raises the question as to why the scanner wasn't picking up the jamming outside. I also think it took forever for control to determine that there was a definite problem...and they did nothing (like call the authorities). >There was a minimal use of the electronic wizardry which was supposed >to be the "hook" of the show, even though there was plenty of >opportunity--such as when Bianco infiltrated the Alvarez estate. Why >wasn't telemetry monitoring for other heartbeats or body heat to let >Bianco know where the guards where? Or to let him know that he was >walking into an ambush in the house? During the scene when Danzig, the >girl, Fuentes, and Richter confronted Bianco in the house and drugged >him, why didn't the scanner send these images back to Probe Control >(thereby revealing Danzig's complicity), which could have notified the >Mexican authorities long before Danzig could have smuggled Bianco to >his Mediterranean island? They did drift away from the elements you describe. I think they tried to get even further away in the last eight episodes (the second Probe set)...but even then they still would come back to it in certain sequences. It was a shame of course, because those were the elements that made the show different, and special. I know Bryan hates the show Seven Days, but if anyone out there has been watching it, they've been doing stories that all but ignore the time travel element this season...so that you could change one or two lines, and the story could be done on any show...I've often thought they might have been trying to do that to Search as the show went on...which of course was a mistake. >This was my greatest problem with this episode, and the series in >general. In the pilot, Cameron and the techs in Probe Control provided >knowledge and information not directly available to the Probe. They >also served as a "greek chorus" of sorts, providing editorial comment. >In other words, Probe Control was something of a "collective" >character, with a distinct personality of its own. However, the series >rarely made use of this asset. Specifically, in "Let Us Prey"--as John >pointed out--Cameron's only purpose seemed to be to provide exposition >for the hero's actions. I've wondered about this myself over the years. At the end of the pilot, Ullie knew about the scanner, in Goddess Of Destruction the oriental underground knows to take away Grover's scanner and hit him in the mouth in just the correct way so he can't use his dental contact. There might be other examples I can't think of at the moment. Also, how much does a client get told about Probe's methods? If they are paying all that money...etc. And, how are these clients communicating with Control? Does World Securities send a camera man with an obvious two way set up out to talk to the clients? (Remember, Danzig is facing a camera...which he is aware of...and is talking to Cameron. There are other episodes where this is done.) I suspect it wasn't something World Securities went out of it's way to mention, but at the same time it wasn't secret...although I realize this isn't a satisfactory explanation. As for the rest of it, we will see again and again where the scanners get taken, or the agents refuse to use them, or something like that happens (there go those transporters again.) >One might advance the argument that Danzig had re-wired Bianco's audio >implant receiver and destroyed his scanner, so Probe Control was unable >to aide Bianco. A couple of problems with this: first, isn't the fact >that the Probes are equipped with this technology supposed to be top >secret knowledge? Yes, it might be assumed that, during their romance, >Bianco divulged the existance of his scanner and audio implant to Diana >Hyland's character; and later, she passed this information on to >Danzig. But for Bianco to have revealed this info to the lady during >pillow talk seems highly out of character. It might be more plausible >for Grover, but not a hard-nosed ex-cop like Bianco. The other problem >is that for the bad guy to disable the Probe's equipment is only >believable as a one-time trick. If this were to happen episode after >episode, the viewer quickly loses confidence in the >"ultra-sophistication" of the electronic gadgets, and credibility goes >flying out the window. Feel free to repeat >I have avoided repeating John's remarks in his review of this episode; >however, I am forced to agree with his criticism of Bianco's escape >from Danzig's lab. If he was that close to Richter, he should have >fought with him and tried to grab the rifle. A rifle is a very clumsy >weapon in close quarters; and Bianco's self-defence training as a cop >should have enabled him to take out Richter and capture the weapon--or >at least, given Bianco the confidence to try. > >For that matter, all of the physical conflicts in this episode were >rather limp-wristed. Especially the final struggle between Bianco and >Richter. That Richter should be knocked unconscious by lightly bumping >his head against the cliff face was absurd, but not as absurd as the >idea that Richter--a "trained killer" would reach for the >opossum-playing Bianco. A ten-year-old kid wouldn't have fallen for >that one. > >Finally, wasn't it amazing how, after his dunking in the ocean, >Bianco's hair dried back into its razor-cut coiffure? Not to mention >the marvellous permanent-press of his trousers after being soaked by >sea water. > >The one point of interest for me in watching this episode was >evaluating Tony Franciosa as Nick Bianco from an older perspective. As >a teen-ager, frankly I was predisposed toward the Hugh O'Brian >episodes, and saw the McClure and Franciosa shows as "inferior". >Nearly three decades later, I can be more objective about the three >leads' performances; and already--despite the tepid plot of "Let Us >Prey"--I am already looking at Franciosa's performance more favorably. > >I look forward to viewing--and reviewing--the other episodes. > >Adam Benson > > > >------------------------------------------------------------------------ >Want to send money instantly to anyone, anywhere, anytime? > >You can today at X.com - and we'll give you $20 to try it! Sign > >up today at X.com. It's quick, free, & there's no obligation! >http://click.egroups.com/1/332/3/_/100251/_/945502474 > >-- Check out your group's private Chat room >-- http://www.egroups.com/ChatPage?listName=probe_control&m=1 My permanent address is actingman@iname.com From: "Jim Alexander" Date: Mon Dec 20, 1999 5:49 pm Subject: [probe_control] "Let Us Prey" Analysis I very much enjoyed Commander Benson's detailed and insightful analysis of "Let Us Prey"... AS WELL AS John's feedback on the Commander's comments! Welcome to the list, Commander Benson!!! Glad to have you on board! Jim Alexander jima@wevv.com From: "Jim Alexander" Date: Thu Dec 30, 1999 3:32 pm Subject: [probe_control] Discuss! >... The Trek clips would have to be posted on a hidden site, >since Paramount has been going around sueing everybody on >the net. We'll see. -------------------------------------- You're quite right, John. They pretty much started that practice a year or two ago. Litigious, ain't they? -------------------------------------- >... After seeing Murrow I'll have to add to my treatise becasue >there are even more differences. You can go to egroups.com >and go to the probe_contorl list and read the past messages, >which includes the set treatise. ------------------------------------- You are correct, sir! Thanks for the reminder! ------------------------------------- >The entire crew kept changing (or at least the women were) >during the first 15 episodes. Cameron was the only holdover to >the new set. ------------------------------------- Hmmmmmm. I wonder if there's any connection between having a 'new set' and having a 'new crew'? ------------------------------------- >... PROBE Programed Retrieval Operations...the last two letters >being top secret. That's from the pilot. The novel doesn't even >have the scene where that's stated, so it doesn't cover it. ------------------------------------- Hmmmmmm. The MOONROCK novelization doesn't cover it, either? Seems like in a lot of the TV novelizations of the time (U.N.C.L.E. included) certain 'explanations' were often included for readers of the books, that were never (or almost never) mentioned in the actual TV shows. -------------------------------------- >... By the way, there's no such thing as S.E.A.R.C.H. -------------------------------------- I'm sorry for the misunderstanding. When I typed that, I was referring to my mentioning to Leslie Stevens my amateurish comic book, NOT the TV show. ------------------------------------- >... TV Guide used to say things like "SEARCH headquarters" or >"SEARCH is hired to..." but that was always wrong. Search was >the final name of the show, but it had no other significance >except part of the Probe division's job description was "the >search and recovery of that which was missing." And that was >when it was called "Probe". ------------------------------------- Yes sir. Understood. I agree But do I recall the phrase 'Search Division' being used once or twice, in kind of a throwaway capacity? ------------------------------------- >... By the way, as I type this, it occures to me that these >discussions can, and maybe should, take place on the mailing >list, to share with all, and to encourage the others to join in. -------------------------------------- So...? DISCUSS!! :) Jim Alexander jima@wevv.com ---------------------------------------------------- > >... I am now scanning my Classic Trek slides, and I have some > >third season title slides that when I got them were deep blue. The >lettering > now looks white. > ------------------------------------- > Ahhhhhhhhh! A 'classic Trek' fan!!! Something ELSE we have in common! Let me > know if/where I can see those scans!!! I'd love to see'em!!! > -------------------------------------- > Ah! Understood! > > I do NOT have any Film Clip Frames of that set. > > And what IS the main difference(s) between the 'pilot' set, and the set in the > first few episodes...??? I remember you differentiating between the two of > those. > ----------------------------------- > Did the entire 'crew' change with the move to the new set? Did any 'old' cast > members survive the transition? Griffin? Miss Keach? Kuroda? > > If memory serves, we had an all-new 'team' on the all-new 'set' (besides > Cameron, of course). > > Oh, and lastly... what DOES 'Probe' stand for? I remember Lockwood telling > Ullie the meaning for the first three letters, but he never gets to the last > three... > > Does the novelization shed any light on that???