Spinoff

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In the fall of 1966, NBC doubled its UNCLE presence. A new UNCLE entry, "The Girl From UNCLE," was added to the network's lineup. The pilot for the show had appeared during the second season of "The Man From UNCLE" (Eps. 52, The Moonglow Affair). MFU had been a hit so NBC probably thought it had a sure winner on its hands.

It didn't. GFU would only run one season. Part of the problem was that Norman Felton and Arena Productions, deep down, didn't believe in the concept of a woman secret agent and it showed. Arena produced GFU primarily because NBC wanted it.

Stefanie Powers, as agent April Dancer, often stayed off to the side during fight scenes. Powers was certainly athletic enough to take a more active role in action sequences but GFU episodes weren't written that way. April suffered in comparison to Diana Rigg as Emma Peel. At the same time GFU debuted, ABC started importing "The Avengers," for American audiences.

Noel Harrison as April's partner Mark Slate shared something in common with MFU's Illya Kuryakin. Slate, like IK, could always be counted on to get bopped on the head. But with IK, you knew he was always going to get the villains back in the end. Slate seemed more like a punching bag.

I'm not a big fan of GFU. I have only a few episodes on tape. So this page isn't intended to be a comprehensive look at the spinoff series. Still, this may give you a flavor.

Credits for the season:
Executive Producer: Norman Felton
Supervising Producer: David Victor
Producer: Douglas Benton
Associate Producers: Max Hodge, George M. Lehr

1. The Dog-Gone Affair.
Writer: Tony Barrett Director: Barry Shear
Original airdate: Sept. 13, 1966

An OK story, though it doesn't seem the strongest episode to launch a new series. On an island near Greece, a bombastic Thrush chieftain (Kurt Kazanar) is conducting experiments on a gas that causes people to move at half their normal speed. April Dancer is enroute with a dog. The animal's fleas contain the antidote to the gas but it must be tested and processed. Mark Slate gets beat up a bit by Thrush henchmen. Stefanie Powers shows off her athletic abilities in scene where she is suspended over a pool of men-eating fish. But in concluding fight, she only knocks out a Thrush chemist (off camera, at that). She spends the rest of the scene holding the dog and looking concerned while Slate gets knocked around by Kazanar's character. Luciana Paluzzi plays the owner of a small hotel who's sweet on Slate but she's mostly wasted here. The original score is by Dave Grusin, who also did the arrangement of Jerry Goldsmith's UNCLE theme that would be used for GFU. Grade: B.

2. The Prisoner of Zalamar Affair.
Writer: Max Hodge Director: Herschel Daugherty
Original airdate: Sept. 20, 1966

Not-so-subtle takeoff of "The Prisoner of Zenda." An Arabian monarch is murdered and his daughter is kidnapped as part of an attempted coup. Luckily, the daughter is a dead ringer for April Dancer. So April takes the daughter's place until the missing princess can be rescued. Exterior of Zalamar airport looks suspiciously like a movie studio. Michael Ansara appears as the vizier, who is plotting the takeover. Just a year earlier (MFU Eps. 36), Ansara had an Arabic role. We have non-Arabs playing Arabs including Abraham Sofer as Omar, an adviser to the slain monarch, and Jason Wingreen as Fahd, a thug. In MFU Eps. 60, Illya Kuryakin and a scientist's daughter are watching this episode on television. This episode introduces the silly idea that UNCLE employs a high school intern (Randy Kirby as Randy Kovacs). At one point, Mark Slate says he's in Section Three, which will not be the first time GFU has trouble remembering that the top enforcement agents are in Section Two. This episode was penned by associate producer Max Hodge, who wrote two Mr. Freeze stories (featuring George Sanders and Otto Preminger as the villain) on the Adam West "Batman" series. The original score is by Richard Shores, who would be the main composer in MFU Season Four. Grade: B-Minus.

3. The Mother Muffin Affair.
Writer: Joseph Calvelli Director: Sherman Marks
Original airdate: Sept. 27, 1966

Very strange, often silly and lacking in logic. However, Robert Vaughn, appearing here as Napoleon Solo, provides more energy than the typical GFU episode. (Noel Harrison was guest starring over on MFU during this same point in the season.) A major gaffe in the pre-credits sequence as April identifies herself (when communicating with Waverly) as a member of Section One. And Waverly doesn't correct her. Gaffe is more mysterious because the writer of the episode (Joseph Calvelli) worked as associate producer on the MFU during Season One. Boris Karloff shines as an assassin known as Mother Muffin. Karloff actally makes you believe he's an old woman. For much of the show, NS and April run around in Shakespearean costumes (don't ask). A British policeman declares NS looks like "a bloomin' sissy." It would have been interesting to see the Napoleon-April team with a better story, an idea that has been a staple of UNCLE fan fiction writers. Veteran makeup artist William Tuttle has a small role. The score by Grusin is quite good. Grade: B.

4. The Mata Hari Affair.
Writer: Samuel A. Peeples Director: Joseph Sargent
Original airdate: Oct. 4, 1966

A very strange story, without much point. After a dancer is killed, April takes her place trying to catch the killer. Dancer was carrying information about some kind of exotic device. So April is the bait. Mark gets beaten up. They both smoke out the killer and it turns out the device doesn't work anyway. Writer Samuel A. Peeples wrote one of the "Star Trek" pilot episodes ("Where No Man Has Gone Before") but this story isn't up to that level. Director Jospeh Sargent tries his best but he has no story to work with. The score is by Grusin. Grade: D.

5. The Montori Device Affair.
Writer: Boris Sobelman Director: John Brahm
Original airdate: Oct. 11, 1966

Story starts out strong with a pre-credits sequence depicting a Thrush raid on UNCLE headquarters in Rome. But the story goes downhill from there into a dreadful mess. Title refers to an UNCLE communications device that is stolen from the Rome HQ. Edward Andrews is his usual hammy self as a fashion designer in the employ of Thrush. John Carradine greases his hair and parts it down the middle as a ghastly looking Thrush chieftain. Mark Slate spends half the episode knocked out. April uses a nerve pinch (first demonstrated in GFU Eps. 3) to knock out Andrews. Lisa Loring, the onetime Wednesday on "The Addams Family," plays a VERY annoying kid who develops a crush on Slate. The score by Shores is much better than this episode deserved. Grade: D-Minus.

6. The Horns of the Dilemma Affair
Writer: Tony Barrett Director: John Brahm
Original airdate: Oct. 18, 1966

Fernando Lamas, looking "mahlvalous," is DeSada, a Mexican millionaire who's a member of Thrush. His target is Project Gamma, a ``rocket transport'' capable of traveling 5,000 mph. His plan: abduct scientists who are developing the aircraft and subjecting them to a device that drains their brains of their knowledge, leaving them mental vegtables. Pre-credits sequence cuts back and forth between April, infilitrating DeSada's estate as the guest of one of his bullfighters, and Mark Slate with Mr. Waverly back at New York headquarters. Footage from this sequence appears to be the source of Noel Harrison's credit in the main titles of the show. April, meanwhile, looks as if she might be auditioning to perform in a music video of "These Boots Were Made for Walking." Lamas is OK as DeSada and at least projects some sense of menace, a big improvement over The Montori Device. At the end of Act I, April's car goes over a cliff. But the stock footage doesn't match the earlier footage. At the start of Act II, April doesn't seem to be in that much danger as she supposedly holds on for dear life. Mark later pretends to be an "English bullfight critic," a cover that Waverly says "should appeal to your sense of the bizarre." In Act IV, Waverly again can't resist going out into the field, taking the place of the last scientist DeSada needs. The UNCLE chief even shoots a thug with an umbrella gun. The episode doesn't have a true "innocent." The closest thing is a boy pickpocket Slate befriends during a brief stay in jail. Overall, a big improvement from the previous episode. The music by Jack Marshall, best known for the theme of "The Munsters," is OK, but not up to Grusin or Shores. Grade: B.

7. The Danish Blue Affair
Writer: Arthur Weingarten Director: Mitchell Leisen
Original airdate: Oct. 25, 1966

The plot, such as it is, concerns a Thrush power beam of some sort and a microdot that had been hidden in cheese and consumed by Stanley Umlaut (Dom DeLuise). In reality, the episode shows that clunkers such as episodes 4 and 5 of this series were not a fluke; by now, a trend had been well established. As in the earlier misadventures, April and Mark spend a lot of time flailing about against adversaries who really ought not be much trouble to take out. Harrison's Slate comes across as particularly incompetent. He's easily captured by three Danish fishermen who mistakenly believe Slate, and not Thrush, is responsible for killing fish in the area. This supposedly highly trained agent, casually getting dressed after some scuba diving, can't hear three amateurs sneaking up on him. What's more, they beat the crap out of him. Indeed, it's hard to figure out what Mark is doing except padding the running time of the episode. Powers's April fares only slightly better. Henchpeople Hansel and Gretel look so ridiculous that even "Batman" producer William Dozier wouldn't hire them. Lloyd Bochner as the Thrush "mastermind" has bad teeth and comes across as a moron and not much of a threat. Director Mitchell Leisen (1898-1972) is one of the reasons Billy Wilder became a director; Wilder thought Leisen incompetent and that Leisen's directions had ruined scripts that Wilder penned with Charles Brackett. Wilder decided he needed to become a director to protect his scripts. Among the cast, Leo G. Carroll is fine, but doesn't have much to do. Among the crew, only composer Richard Shores seems to have earned his paycheck, again turning in a score much better than the material he was working with. Alas, Shores is overwhelmed. While the composer could keep episode 5 from getting the lowest mark, even he can't prevail here. Grade: F.

8. The Garden of Evil Affair
Writers: John O'Dea and Arthur Rowe Director: Jud Taylor
Original airdate: Nov. 1, 1966

A maddenly uneven episode, which veers from being quite good to silly and everywhere inbetween. On the plus side: Noel Harrison's Mark Slate comes across as an able operative, a big improvement over the previous episode. Also on the plus side is a one-scene appearance by Khigh Dhiegh, the future Wo Fat on Hawaii Five-O, as a Thrush leader (the actor will appear again in the series shortly in another role). On the silly and awful side is a protracted scene in Act III, where Mark is being chased across a West Berlin movie studio that looks suspiciously like MGM's Culver City, California, studio (including palm trees in one shot). Anyway, the story involves the cult of Cambodyses, which Thrush has used as assassins. The cult, however, is chafing under this arrangement and has its own plans. A scientist has developed a "formula" (I put the word in quotes because the science behind this idea is shaky even by U.N.C.L.E.-universe standards) where a long-dead person's consciousness can be transferred to a living being, as long as that person is a direct descendant. The cult wants to transfer the consciousness of its founder into the mind of a woman who is the only living descendant of Cambodyses. First, however, the cult -- as well as U.N.C.L.E. and Thrush -- have to find the woman (Sabrina Scharf). It turns out she's working as an actress in a Western being filmed at the previously mentioned film studio. (An aside: if a Western filmed in Italy is a "Spaghetti Western," would that makes this movie a "Sauerkraut Western"?) The cult members, by the way, are trained to be killers from birth. They ingest small amounts of poison, starting when they are babies. They develop an immunity and are like "human snakes" -- who can kill by scratching their intended victims. That's an interesting concept but the execution here is very mixed. For one thing, as depicted, cult members have very dark, long, pointed fingernails (resembling Herman Munster's fingernails, in fact). While that makes it easy for the view to spot, it also comes across as rather corny. On other fronts: we learn Mark can read and speak German fluently; Randy Kovacs, the U.N.C.L.E. intern must be a dim bulb (actually asking Waverly if the cult might kill April after it discovers it kidnapped her by mistake); and Waverly seems to have a fondness for April, musing it will be "quite lonely around here without Miss Dancer to brighten up the place" if she should perish. The score is a combination of original music by Jeff Alexander (primarily the goofy chase in Act III) and stock music by Dave Grusin and Richard Shores. Grade: C but it could easily have been at least one letter grade better if Douglas Benton & Co. had toned down the silliness.

9. The Atlantis Affair
Writer: Richard Matheson Director: E. Darrell Hallenbeck
Original airdate: Nov. 15, 1966

April and Mark are on a Carribean island looking for Professor Antrum (Sidney Blackmer), a scientist seeking for the lost continent of Atlantis. It turns out a cavern on the island leads to the last surviving part of Atlantis. What's more, the cavern contains crystals that, when exposed to light, creates a beam of intense light and destructive power. This plotline is courtesy of veteran science fiction/fantasy writer Richard Matheson, one of the leading writers of the original "Twilight Zone" series, including the classic show ("The Invaders") where Anges Moorehead plays a mute woman menaced by miniature aliens who turn out to be U.S. astronauts. Snagging Matheson was a coup for producer Douglas Benton. Benton also seems to have secured a somewhat higher production budget for this episode from Executive Producer Norman Felton and/or the MGM brass. Director E. Darrell Hallenbeck uses the extra funds reasonably well in staging a speedboat chase. Even better: Matheson and Hallenbeck depict April and Mark as competent agents instead of dolts. Noel Harrison does a fair amount of physical activity fairly convincingly and doesn't just get beaten up. Stefanie Powers looks fairly convincing in a fencing sequence. This doesn't mean this is a pefect episode. Claude Woolman as Thrush collaborator Honore Le Gallows seems too campy a character for my taste. He's a landowner on the island (whose property includes the cavern to Atlantis) and likes to dress up like a 17th Century French nobleman. Khigh Dhiegh is Colonel Frank Faber, a supposedly top Thrush agent, isn't as interesting as he was in his previous appearance (where he was just listed as a "Thrush director" and apparenty a different character than this episode). In the climatic sequence, Dhiegh is supposed to have a look of horror, but it comes across as unintentionally comical. Still, compared to previous crappy episodes (and some bad episodes yet to come), this installment is one of the better in the series. Trivia: one-time Tarzan Denny Miller, at 6-foot-4, is probably one of the tallest U.N.C.L.E. guest stars and here he's one of the few male innocents in either U.N.C.L.E. series. The stock score is by Grusin and Shores, and includes a lot of Grusin's music from episode 3. Grade: B-Plus.

10. The Paradise Lost Affair
Writers: John O'Dea and Arthur Rowe Director: Alf Kjellin
Original airdate: Nov. 22, 1966

Words fail me about how awful this episode is. April and Mark have a relapse of Dolts Disease. Or perhaps they suffered amnesia and forgot EVERY bit of training they ever received. April acts like a "poor defenseless woman" rather than the trained agent she is supposed to be. Mark, claiming to be a Black Belt, is as unimpressive as can be imagined. I wonder if writers O'Dea and Rowe had a bet with fellow GFU scribe Arthur Weingarten to see who could turn out the worst story. As bad as Weingarten's scripts were for eps. 7 and 21, the O'Dea and Rowe team "win" (and the viewers lose). The agents infiltrate a Thrush ship sailing in the South Pacific and steal some charts that show the courses for submarines to travel for smuggling. We're told this is really important, but four decades later, DVD pirates in China make much money in a week than Thrush would from this caper. Anyway, the Thrush ship explodes following a ruckus that April and Mark start. They end up on an unchartered island run by Genghis Gomez VIII (Monte Landis), the story's nominal villain (at least until Act IV when Thrush shows up in force). Alf Kjellin, normally a good director, fall down here. The performances from all concerned are hammy and just terrible. If this had a dancing gorilla, it'd be the worst U.N.C.L.E. production ever. Trivia: Fred Waugh, David McCallum's main stuntman over at MFU, shows up as Gibbons, a Thrush thug, and even gets a few lines. The stock music is by Grusin and Shores (who, thus, legitimately escape any blame for this mess). Grade: F-Minus (lowest grade available).

13. The Little John Doe Affair
Writer: Joseph Calvelli Director: Leo Penn
Original airdate: Dec. 13, 1966

In Rome, April has to protect a free-lance gangster (Pernell Roberts) with extensive knowledge of the Mafia. (That term isn't used in the show, instead it's referred to as "Murder Inc." or "The Syndicate.") Title refers to the hit man with a club foot (Wally Cox) assigned to silence the threat. Roberts character starts out shallow but becomes more three dimensional as the story progresses. The notion of the hit man with an unsuspecting family has been done elsewhere but Cox is very good. He has very little dialogue until the second half of the show. April comes across as very self reliant. However, the producers' preference that April not fight very much causes some problems. For example, after an attempt on the life of the Roberts character, April lets him fight one of Little John Doe's operatives. It would seem as if an U.N.C.L.E. agent might want to take care of such a threat herself. The copy I saw doesn't explain why April wears glasses for most of the episode. She also carries a gadget that can analyze the chemical composition of objects (letting her know there's a bomb in a meal being served to her). How the device works isn't explained. The ending also is a little too pat, with April talking Little John Doe out of a last murder attempt. April's bad luck with her wardrobe continues, with an especially hideous outfit for the pre-credits sequence; this is how someone dresses when they're operating undercover? Also, April claims to be in Section One again! A scene with some singing alter boys includes some of the same boys who appeared in MFU's The Children's Day Affair. To read the perspective of one of them, click here. Writer Calvelli appears as the Rome police chief. A solid episode, thanks, I suspect, to the no-nonsense direction of Leo Penn. The stock score is by Grusin and Shores. Grade: B-Plus.

15. The Faustus Affair
Writer: Jerry McNeely Director: Barry Shear
Original airdate: Dec. 27, 1966

Story starts out mediocre and gets worse as it progresses. Raymond Massey is B. Elsie Bubb, frustrated artist with a thing for satanic images. Bubb, for reasons that aren't very clear for much of the episode, is trying to enlist the aid of Professor Quantum. Eventually (but long after we cease to care), we find out that Bubb is an unsuccessful painter and that he intends to turn all the other paintings in the world white. Yeah, right. You know you're in trouble when Randy Kovacs figures inthe action scenes. Juvenile episode, not very funny. Writer McNeely's scripts always depended on humor to be effective and this mess just isn't amusing, much less funny. The one thing that prevents this episode from getting an F? April actually holds a real UNCLE Special, instead of her normal "girl's gun." Of course, actually using the gun is another matter. Massey had a long, distinguished career. This is not one of its highlights. Perhaps Massey and John Caradine (see episode 5, above) had a bet to see who would look the most ridiculous. About the only person to come out of this with their dignity intact is Leo G. Carroll as Mr. Waverly. The stock music is by Grusin and Shores. Grade:D.

20. The Fountain of Youth Affair.
Teleplay: Richard DeRoy Story: Robert Bloch and DeRoy Director: E. Darrell Hallenbeck
Original airdate: Feb. 7, 1967

One of the better episodes. Gena Rowlands is Baroness Ingrid Blangstead who has developed a formula for retarding the aging process. She's providing it to the wives of diplomats and other officials and then blackmails the husbands. The Baroness also has a formula that causes more rapid aging. April ends up mud wrestling with one of the Baroness' women flunkies. Slate ends up in a pen with a wild boar. Both wear some really bad clothes in this episode, especially in the pre-credits sequence. Co-plotted by Robert Bloch. The stock music is by Grusin and Shores. Grade: A.

21. The Carpathian Caper Affair
Writer: Arthur Weingarten Director: Barry Shear
Original airdate: Feb. 14, 1967

Perhaps producer Douglas Benton thought he scored a coup when he signed the great satirist Stan Freburg as a guest star. True, Freburg as Herbert Fummer comes across as amusing and sympathetic. But Benton might have been better off hiring Freberg to write an episode instead. Had that occurred, we would have been spared this insipid mess. One suspects writer Arthur Weingarten must have tried writing a script for the Adam West "Batman" series only to see it rejected -- as being too slapstick. Not one, but two deathtraps seem like "Batman" ripoffs, including April and Herbert stuck in a giant toaster. They get out of it only through sheer dumb luck. Ridiculous, unfunny situations abound. Not even Leo G. Carroll gets through this unschathed. Finally, I wish somebody at Arena Productions knew something, anything about golf. Jack Cassidy, as a Thrush chieftain, supposedly is on a golf green (judging from the flagstick in the ground). Yet, the grass is far too tall for a putting green and Cassidy is using a pitching wedge to hit golf balls. A similar gaffe occurs in MFU's Season Three. The plot, such as it is, concerns Mother Magda (Ann Sothern), a Thrush leader who has substituted doubles for LBJ, DeGaulle, Queen Elizabeth, Mao Zedong and others. Maybe the producers of the 1979 "Wild, Wild West Revisited" TV movie got the idea from this. If so, they gleaned the wrong lesson. The stock music is by Grusin and Shores. Grade: D-Minus. Freburg's presence barely keeps this from descending into the F category.

26. The Double-O-Nothing Affair
Writer: Dean Hargrove Director: John Brahm
Original airdate: March 21, 1967

What's this? April Dancer comes across as an intelligent and capable agent? Mark Slate, rebounding from an injury and a potentially grave mistake, rebounds thanks to courage and brains? Yes. Once and for all, April and Mark demonstrate they could have been lead characters viewers could care about and root for. The major credit goes to Dean Hargrove, arguably the best writer for The Man From U.N.C.L.E., who scripted the pilot for GFU back during Man's second season. Just to be clear: this ain't John Le Carre. The episode is breezy and fun. But the jokes (certainly the majority of them) work. The episode has humor but NOT at the expense of the lead characters. The story concerns "mobile attack forces" of Thrush, led by George Kramer (Edward Asner), a one-time officer in the U.S. military who got court-martialed (no mention of which service or the reason). Mark infilitrates one of the mobile attack teams and has made key recordings that could permit U.N.C.L.E. to figure out where the assault teams are based. Mark, on the run from Thrushmen, drops his recorder in a car while he tries to escape. Mark doesn't realize the car is occupied by an accountant (Sorrell Booke), who's picked on at work and his personal life. As a gunfight ensures, the accountant drives away and Mark is wounded in the leg. April, who has also been part of the operation, is put in charge by Waverly, who's unhappy with Slate's performance. Over the course of the episode, April takes out a Thrush agent (Don Chastain) via a dart and, in a sequence set in Central Park, sets up Thrush agents so they shoot each other. Mark, meanwhile, poses as a Thrush inspector after deducing that Kramer's operations is based underneath a used-car lot (which looks suspiciously like the exterior of a movie studio). As stated before, this ain't John Le Carre, but it works. There's actual wit instead of idiocy (see the review for episode 10, above). This is arguably a contender for best episode of the series. The stock music is by Grusin and Shores. Grade: A.

29. The Kooky Spook Affair.
Writers: John O'Dea and Arthur Rowe Director: Richard Bennett
Original airdate: April 14, 1967

In the series finale, Mr. Waverly leads a team of UNCLE agents who capture Mr. Beaumont, the top ranking Thrush official in the U.K. April and Mark's undercover work helped set up this triumph. In order to convict Beaumont, UNCLE needs April's testimony in court (evidently Mark didn't see as much as she did). Beaumont (Edward Ashley) is quite displeased at this turn of events and orders Thrush's unnamed "Man of a Thousand Faces" (apparently a male version of Dr. Egret, though that character isn't mentioned here) to make the hit. Simultaneously, Mark inherits a country manor from a distant relative. Other relatives, including Lady Bramwich (Estelle Winwood), have other ideas. On top of everything else, a seeming ghost (played by Noel Harrison in closeups, and David McCallum's primary stuntman, Fred Waugh, in long shots) keeps showing up. These two plot lines naturally come together when Mark is assigned to protect April and they decide to look over Mark's new property. Stefanie Powers is sporting a new, shorter hairstyle that suits her and is probably more practical for action scenes (if, of course, the producers had ever let her do more than the few token action scenes she ever did). As usual, April and Mark make their usual fashion statements. April wears a bright yellow overcoat that, if possible, is even a brighter yellow than the one Warren Beatty donned to play the title character in the 1990 "Dick Tracy" movie. Director of Photography Harkness Smith apparently was so taken by the coat, he uses yellow lighting in interior scenes. Mark, meantime, seems to be comfortable with his pink power shirt. (Question: could Mark have been a forerunner of what, in 2003, are called metrosexuals? In addition to his clothing choices, he spends as much time with his hair as April does with hers in this episode.) The cast also includes character actors Arthur Mallet and John Orchard, who appeared in prior GFU episodes. Also, one of the disguises worn by the "Man of a Thousand Faces" is a London policeman, played by Richard Peel, who also played a policeman back in "The Mother Muffin Affair." (He was the chap who dismissed Napoleon Solo as a "bloomin' sissy.") Interestingly, April doesn't seem to notice the resemblence when she and Mark encounter the bogus policeman out in the English countryside (although she does figure out the policeman is a fake). Another quibble: Mark doesn't take good care of his automobile. He leaves the roof down on his convertible just in time for drenching rainstorms. Yet, the car seems as good as new at episode's end. For all of this, the episode isn't bad. There are the inevitable silly touches but they're kept to more or less a minimum. The stock score is by Grusin and Shores, with the former's "Mother Muffin" score being recylced a fair amount here. For Grusin, this is the end of his UNCLE association. Shores was about to get busy as MFU's primary composer for the upcoming fourth season of that show. Grade: B. Click here to return to the Man From U.N.C.L.E. page.