24 5.23: "Day 5: 5AM - 6AM"

Written by Howard Gordon and Evan Katz
Directed by Jon Cassar

In which Jack must work with Henderson to stop Bierko from unleashing one final terrorist attack on the nation, while Martha begins gathering allies to help uncover Logan’s activities…


Status Report

It’s always tough when the series ends in a two-episode finale, because it can be difficult to keep the events separate in one’s mind. At least the producers resist the urge to present the episodes as one big episode, preferring to just air them back-to-back. For the purposes of the reviews, however, and the interests of ensuring that future DVD or TV airings will get distinct commentary, this covers only the penultimate episode of season 5.

The episode begins in the same unlikely point where the previous installment left off: with Bierko and his men in command of a Russian submarine, intent on using it to inflict massive casualties in protest of the peace accord signed in the season’s first few hours. Does it wrap things up a bit? Sure, but it also distracts from the massive plot holes used the force the story in this direction (like, say, the nerve gas being vented in a matter of minutes, allowing Bierko and his men to control the sub without masks, or exactly one friendly surviving!).

There is one good thing about the situation: Jack is still forced to work with Henderson. That has been one of the benefits of the recent episodes. The surviving friendly is a typical “24” red-shirt, used to make things easier for the writers. Time that would otherwise be wasted on getting into the submarine is circumvented by having the red-shirt provide an opening (though, of course, at personal cost). Rooney’s moral issues are an easy source of tension.

While the writers might have tossed in a needless distraction with Bierko’s escape and return to prominence, the real story (the game against Logan) continues in the background. Martha is exactly the right person to step into Jack’s place while he’s distracted, and her alliance with Agent Pierce is just plain fun. It would have been better if the writers had focused solely on the maneuvering between Jack’s allies and Logan’s allies, but that ship has sailed.

Submarines are particularly interesting (and challenging) for film purposes because of the unique style and layout. It’s not something that many civilians will ever see, and so it has a certain voyeuristic flavor to it. Filming in those cramped spaces is not quite as fun, however, and it’s impressive how well the production crew pulled it off. It’s not perfect, but considering the constraints of network television, this is quite good.

It’s a bit too easy for Rooney to draw away Bierko and the majority of his guards, leaving the control room exposed. And predictably, Henderson disarms the missiles and Jack kills Bierko with seconds to spare. Since Henderson had to work alone, they get to have another confrontation once Henderson sees an avenue of escape. Finally, there is a moment of emotional outlet for Jack, and it’s quite brutal (in a coldly satisfying way).

With Bierko and Henderson dealt with (in a way that spells trouble for Jack, thanks to Rooney, who already feels morally compromised), the plot returns back to where it should have remained: the chess game with Logan. And once again, a reason is contrived to place Jack in a position of limited resources. It’s still not clear why the writers needed to waste some much time with the attack on the sub, but one gets the sense that it was to buy time for themselves.

It would be too easy for Jack to be in immediate contact with Martha, Pierce, or Novick, but the fact remains that they are all allies. The moment when Novick realizes the truth is one that was postponed far too long. As Chief of Staff, he really dropped the ball. Happily, once Novick makes his choice, he takes decisive action and Jack makes contact. (And for those who love the idea of Martha and Pierce, there’s a nice little scene that actually manages not to go too far.)

Just when the episode and plot gets back on track, the writers trot out the most annoying and unnecessary plot contrivance yet: Chloe’s ex-husband. And sure enough, he happens to be in the building already, even though the place has been under intense security for hours after the nerve gas attack and there was no reason for him to be there. It’s the very definition of contrived and ridiculous, and another sign that the writers wrote themselves into a corner and grasped at every straw possible to get out of that hole.

By the end of the hour, the final confrontation between Jack and Logan is in the wings. Martha manages to play Logan, and damned if she isn’t great at it. For all his faults (and those tossed onto him by the writers, ruining his more noble frailty from the earlier episodes of the season), Logan loves his wife. She knows just how to get past his defenses. Others might be able to exert their influence through threats, but she owns his heart. (One gets the feeling it’s not the first time she feigned interest in her husband!).

Of course, this episode brings up a number of continuity issues. First and foremost, wasn’t Wayne Palmer going to see to his brother’s body? Whatever happened to Wayne? Considering how well served the character was by his return, it would have been better to see him involved at the end. Also, this business with Chloe’s ex-husband is ludicrous and smacks of a retcon tossed into the mix when writers try to substitute real character development with a quick “fix” where none is needed.


Final Analysis

Overall, this episode is much like the season as a whole. Just when it looks like things are back on track and moving in the right direction, the writers feel the need to toss in ridiculous and unnecessary “twists” to keep up the impression of complication. It’s hard not to notice that this is the direct result of improvisation, thus proving out that a lack of preparation can kill credibility.

Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4

Final Rating: 6/10

Season Average (as of 5.23): 7.0