Kelly falls in love with a beautiful photographer whom Scott believes is involved in the murders of four agents.
Laura Devon (Tatia Loring), Richard Garland (John Irving), John Rayner (Roderick)
17 November 1965
The first time -- but certainly not the last -- that one of the guys falls in love with the wrong woman. Tatia is directed by jack-of-all-trades David Friedkin, who also wore producer, writer and actor hats. Kelly Robinson falls head-over-heels for Tatia Loring, a photographer whom Scott suspects of involvement in the murder of three agents bound for Saigon, not to mention a fourth, John Irving, who is killed with a garrote in the guys' hotel room while Scott is in the shower. Naturally, Kelly doesn't want to believe it, even though Tatia's name is on the back of the photos of three of the dead agents, and has a falling out with Scotty. In the end, though, he concocts a scheme to get at the truth, and in a classic spy game doublecross, sets Tatia up, making it appear to her handlers that she's working for the Americans.
Tatia teeters on the borderline of greatness, with but a few easily overlooked flaws. The opening sequence, in which an agent is murdered in broad daylight on a golf driving range, isn't particularly well-done, and it stretches credibility to believe that a Russian agent would put her stamp on the back of 8X10 photos of her victims. But the episode is enhanced by plenty of great on-location shots (Tokyo) and a superb ending (when Kelly turns the tables on Tatia). The real highlight, though, is the clash between Kelly and Scotty, including a first-rate fight scene in the hotel room (and out into the hallway). Credit Culp and Cosby for the fact that the falling out serves only to cement the bond that viewers are supposed to believe exists between the two agents.
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