tag:blogger.com,1999:blog-44435896663006106422024-02-08T04:38:35.545+00:00TV minus 50This week's TV, 50 years agoIvanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.comBlogger301125tag:blogger.com,1999:blog-4443589666300610642.post-71037604758411067262015-06-14T16:56:00.002+01:002015-06-14T16:56:10.229+01:00An end, and a beginning<div style="text-align: center;">
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Dear <b>TV Minus 50</b> readers<br />
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You may have noticed I haven't posted anything here in quite a while. This is because I was getting overwhelmed with keeping the blog on schedule. A lot of work goes in to one of these posts, and as I have to work full time (and maintain some semblance of home life), the weekly deadline's a bit much. So I decided to abandon <b>TV Minus 50</b> and work on other things - mainly my writing about the lurid end of British cinema, which you can find at jollygoodbabylon.blogspot.co.uk, and which I hope, <i>eventually,</i> to make into a book. But, I missed writing about 60s TV - so I decided to start a <b>Doctor Who</b> one-episode-at-a-time blog, recycling stuff I'd already written and writing new posts on the episodes I missed during my various sabbaticals. It's not a very original idea, and while writing it I was missing the context of other TV shows <b>TV Minus 50 </b>put it in to...<br />
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Anyway, to cut a long story short, I've finally decided to put each episode of <b>Doctor Who</b> into context with what else was on TV at the time (the idea that inspired <b>TV Minus 50</b> in the first place - but don't worry if you're not keen on <b>Doctor Who</b> - there will be plenty of other things), but drop the "50 years ago" angle. This way, I can take my time over writing each post, and I can go back and catch up on weeks I've missed. It's all happening at practicallyeverythingmydear.blogspot.co.uk - at the moment I'm editing things I've already written here into the new format, but there will be new stuff coming soon, and I hope you enjoy it.<br />
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Best wishes<br />
<br />
Ivan<br />
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<br />Ivanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.com3tag:blogger.com,1999:blog-4443589666300610642.post-11464556352685699202015-05-12T20:59:00.000+01:002015-05-13T09:12:51.388+01:008-14 May 1965<b><span id="goog_280234201"></span><span id="goog_280234202"></span>Saturday 8 May</b><br />
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Hello everyone. Well, it's been the kind of week in 2015 that makes me particularly happy to disappear into the past, so let's do it.<br />
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There's no <b>Juke Box Jury </b>this week due to a special programme on BBC 1 commemorating the 20th anniversary of VE Day. Funnily enough it's produced by Glyn Jones, who's also the writer of the current <b>Doctor Who </b>adventure, the latest instalment of which follows directly after at the later than usual time of 6 pm.<br />
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We begin with the usual reprise of the previous episode, with the Doctor being informed that he's to be carted off and turned into a museum exhibit. That's the last we'll see of William Hartnell this week. We move outside the museum now to where the TARDIS is being guarded by a pair of Moroks attempting to keep a curious group of Xerons at bay. "Leave it alone!" huffs one of them, in the tone of a weary parent telling their child for the hundredth time not to pick at a scab.</div>
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Barbara, Ian and Vicki watch the scene from the museum doorway and bicker about what to do next. With the Doctor missing, Ian clearly decides it's his turn to be all gnomic: "Choice is only possible when you know all the facts." Thanks for that, very helpful.<br />
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Outside the TARDIS, a grouchy Morok Commander appears on the scene to upbraid the TARDIS guards. Beneath the badger wig are the snarling features of Ivor Salter, one of TV's most distinctive bit-parters. Like his boss, Lobos, who he clearly hates, he's a great one for self-pity.<br />
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Even when a Morok played with endearing incompetence by either Billy Cornelius, Lawrence Dean or Ken Norris sneaks up on our heroes Ian doesn't stop his philosophical chuntering. Instead, he tries to convince the gun-wielding oaf that he and his friends can't be killed because they've seen themselves on display in the museum's future (it doesn't seem to occur to him that, as a rule, animals displayed in museums <i>are</i> dead). This argument making unsurprisingly little headway with the Morok, Ian eventually just leaps on him and tries to get his gun, the sounds of the struggle drawing the attention of the guards outside. An almighty ding-dong ensues (the responsibility of Fight Arranger Peter Diamond, who plays one of the Morok guards).<br />
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Now, this is a bit outside my remit as it's not something viewers in 1965 would have seen, but I'd like to sing the praises of the person who subtitled this story for its DVD release: they've done an amazing job.<br />
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The fight results in Ian, Barbara and Vicki all being separated. Barbara hides in a storeroom where she finds what might be an ill-fated former visitor to Xeros...<br />
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...while Vicki, catching her breath, is grabbed by the young Xerons just as the Doctor was last week. "You've got to trust us!" exclaims leader Tor. "We hate the Moroks! We want to see them dead. Well, you can see we're nothing like them."<br />
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Ian hides from the Moroks behind the TARDIS (ingenious). He's got one of their guns, and sneaks out to force a guard to take him to where the Doctor's being prepared for exhibition.<br />
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Lobos receives a directive from Morok (the planet) instructing him to kill the Xeron rebels. He orders that the air conditioners in the museum start pumping out paralysing zaphra gas.<br />
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Someone enters Barbara's hiding place, and only just avoids a wallop when he reveals himself as Xeron rebel Dako. Rather than take her straight to Vicki he gives her a potted history of the planet's conquest by the Moroks. Before he's finished, the room starts flooding with gas.<br />
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Meanwhile, Vicki's enjoying a meal in the museum canteen with Tor and Sita, who explain to her that the Xerons are slaves to the Moroks, and are taken off world to labour for them once they become old enough (so where are the Xeron parents?). They're trying to fight back. Vicki is inspired with revolutionary fervour for their cause.<br />
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She insists they need to arm themselves. Tor explains that the Moroks' weapons are securely locked up, but Vicki is clearly not going to let this stand in her way.<br />
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It's not difficult to distract and then knock out the sleepy Morok guarding the electronic brain.<br />
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Vicki decides to give the machine's questions a go. As she's unable to give her name and rank successfully it's a no-go. So she decides to have a tinker with it.<br />
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Meanwhile, Barbara and Dako are still under assault from the zaphra gas, Dako succumbing to its paralysing properties.<br />
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Vicki's succeeded in changing the questions the computer asks for access, so she's able to be cheekily honest about her intentions and still get into the weapon store.<br />
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Ian's brought before Lobos, who, somewhat worryingly, he suggests it would be a pleasure to kill. The Morok leader's forced at gunpoint to show Ian what's happening to the Doctor (left to our imaginations for now due to Hartnell's holiday). Is he past being saved?<br />
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Next tonight, it's the last of our visits to Victorian London for the time being.</div>
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We begin in Lausanne, at a hotel run by M Moser (Roger Delgado). His guests include jolly clergyman Dr Shlessinger (Ronald Radd) and his shifty wife (Diana King) and the beautiful Lady Frances Carfax (Sheila Shand Gibbs).<br />
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Upstairs, Lady Frances' maid Marie (Karin MacCarthy) discusses with her waiter boyfriend Jules (Neil Stacy) how her mistress's close association with the Shlessingers has led to her becoming inspired with religious fervour.<br />
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Lady Frances goes for a stroll, followed by a sinister man with a great big black beard, who finally corners her in a churchyard...<br />
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Next thing we're know we're in Baker Street, where Holmes and Watson discuss Lady Frances' mysterious disappearance. She'd been touring Europe after inheriting a great deal of money, and had laid herself open to great risk by taking a number of priceless jewels with her. Her former governess has called Holmes in to find her after having had no word from her for weeks. Having other things to do, he sends Watson to Lausanne to follow the trail.<br />
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M Moser tells Watson all about Dr Shlessinger - he was a missionary in South America but has recently returned to Europe in ill health. They checked out on the same day as Lady Frances. Neither party left any forwarding address, but they were apparently on their way to Baden. Curiously, Lady Frances left Marie behind, after giving her a cheque for the princely sum of £50. Watson speaks to Jules, who claims to know nothing more about the matter. Shortly before she left, Lady Frances had a meeting with a mysterious Englishman. Could she have left to escape him?<br />
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Watson goes to see Marie in Montpelier. Outside her residence is an elderly man, who eagle-eyed viewers will immediately spot is a disguised Holmes.<br />
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Watson is suspicious of a fancy necklace he finds Marie with. She insists she bought this with the money Lady Frances gave her. Suddenly, she spots the mystery Englishman out of the window.<br />
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It's the chap with the great big beard, and now we get a proper look at his face we can see he's played by Joss Ackland. Watson rushes down and demands to know where Lady Frances is, leading to fight which is eventually broken up by the disguised Holmes chucking a shoe at the mystery man's head.</div>
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When the man calms down we learn that he is the Hon. Philip Green. He claims to have been deeply in love with Lady Frances, hence his blind rage on being accused of being behind her disappearance. He and she had been childhood sweethearts, but her father refused to let her marry him. Since the old man had recently died, he had tracked down Lady Frances in the hope that they could now wed. He claims she had nearly been convinced, but had then disappeared.<br />
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Holmes decides to return to London, having deduced that Lady Frances is now back there - whether alive or not remains to be seen. He gets a telegram confirming Dr Shlessinger has a "jagged or torn" ear, furthering his suspicions that the clergyman is in fact a notorious Australian criminal known as Holy Peters. He enlists the aid of Inspector Lestrade in finding him.<br />
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John Woodnutt gives it the full Fagin as a pawnbroker who receives some of Lady Frances' jewels from Peters. Suspicious, he reports them to the police. Holmes sends Green along to the shop to wait for Peters to return with more. This time it's the supposed Mrs Shlessinger who turns up (Diana King, familiar as scatty wives and mothers in sitcoms from <b>Marriage Lines </b>to <b>Fawlty Towers</b> to <b>Are You Being Served? </b>is wonderfully icy in the role).<br />
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Green follows her out of the shop to an undertaker's, and then back to a house in Brixton, where a coffin is delivered.<br />
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Learning that the funeral of someone in that house is to take place at 8 am the following morning, Holmes and Watson call upon the so-called Shlessingers. They claim not to know where Lady Frances is, and to be rather miffed about it as they paid her way and only got a few trinkets in return.<br />
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They claim the coffin contains an old nurse of Mrs Peters' that they'd found living destitute. Holmes opens the lid and finds that the shrivelled corpse inside definitely isn't that of Lady Frances. It doesn't even look much like a human being.<br />
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A police sergeant turns up, and who should it be playing him but Ivor Salter again?<br />
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Watson speaks to the local workhouse matron, who confirms that she did indeed release the old woman to Peters. Holmes confesses to Green that he feels he's failed. But suddenly, he's struck by an idea after recalling that Green had overheard the undertaker saying the coffin was especially made to be deeper than usual. Rushing back to Brixton just as the coffin's about to be carted away, he prises it open to reveal the still just about breathing Lady Frances Carfax, her body placed on top of that of the unfortunate old woman. Unfortunately, Peters and his accomplice escape.<br />
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Sadly, that's the last we'll see of Douglas Wilmer as Sherlock Holmes. Nigel Stock returns as Watson for another series of adventures (in colour!) in 1968, but this time he's paired with Peter Cushing. While this incarnation of Holmes is solving his final case, a brand new series combining sci-fi and espionage is starting over on ITV. Made by ABC, it's the brainchild of <b>Human Jungle </b>writer Robert Banks Stewart, who appears to have been strongly influenced by <b>Invasion of the Body Snatchers</b> and/or <b>Quatermass 2</b>.<br />
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The first person we see on screen in <b>Undermind</b> is the ubiquitous Tony Steedman. Here he plays cabinet minister Hugh Bishop, who's in the police station after a fracas with Detective Sergeant Frank Heriot (Jeremy Kemp) outside their local pub. It's a Sunday afternoon, and the Inspector (Hugh Latimer) wants the matter quickly resolved so "We can all get back to our Sunday lunch, colour supplements and a glass of beer." But Frank, who's come off the worst from the fight, is determined to press an assault charge against Bishop.<br />
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Elsewhere, Frank's younger brother Drew (Jeremy Wilkin) returns to the business efficiency bureau where he works from a trip abroad. His colleague Dr Polson (Paul Maxwell, erstwhile voice of Steve Zodiac) shows off his massive new computer, which "evaluates types of people".<br />
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Drew goes for a drink with Frank, who seems oddly sensitive about the noise in the pub. He's taken aback when the landlord tells them to leave, Frank being unwelcome after the business with Hugh Bishop. He's taken even further back on learning that Frank and his wife Anne split up three months ago. She's played by Rosemary Nicols, and since leaving home has been working as a nanny. When Drew comes to visit, she tells him her relationship with Frank broke down after he suddenly became cold and emotionally withdrawn. She reveals that when she and Frank once saw Hugh Bishop in the local park, Frank had become enraged by his dog whistle. Aware humans aren't able to hear the frequency of a dog whistle, Drew's baffled.<br />
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Drew confronts Frank over his relentless persecution of Bishop. Frank behaves very oddly indeed.<br />
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Bishop is fined £3 for assault, and writes his resignation letter, much to the exasperation of his wife (Moya O'Sullivan). He's inconsolable over the destruction of his career.<br />
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Frank breaks into the house where Anne's staying, but only takes an old newspaper serving as a hat for a golliwog.<br />
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Later, Frank joins Drew and Anne for a drink in the pub. The news comes on the TV, announcing that Bishop has killed himself. Drew's livid at Frank's apparent lack of reaction.<br />
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Anne's baffled by the missing newspaper, but is certain Frank's the thief. Drew gets Frank to call in at his office, and gets him to have a go on Dr Polson's personality monitoring machine. Polson's astonished to find that his results show no fluctuation in his thought patterns whatsoever - except for a spike when an ultrasonic noise was fed in. The results show Frank to be "totally lacking in normal emotional responses."<br />
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Having worked out which paper it was Frank stole, Drew and Anne try to track down a copy to find out what was so important to him. They go to the paper's archives, only to find someone's got there before them and cut a story out.<br />
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Anne manages to get hold of the story from a press clippings agency (Helen Ford plays the snaggletoothed clerk). It's about dogs who mysteriously threw themselves on railway tracks. And there are several other stories about the same thing happening in different parts of the country. Nobody seems to have connected the events. Could it have been ultrasonic signals that led the dogs to kill themselves?<br />
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Polson's attempts to get to the bottom of the bizarre readings come to an end when Frank sneaks into his office, kills him and absconds with his readings.<br />
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The next day, Drew gets to work to find his colleague's dead - and that his brother's been put in charge of the investigation. However, a message on Polson's answering machine that gives Drew an important lead: it seems Frank's readings (or lack of) were identical to those of an air traffic controller in Exeter who caused a plane to crash, killing lots of people..<br />
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Drew visits Frank in the showers after a rugby match: "I want to help you, before you're completely dead as a human being," he tells him. Frank claims not to know what he's on about.<br />
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But he does, of course, and commissions a shifty foreigner (David Swift) to kill Drew.<br />
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Frank plans to take care of Anne himself, but as he approaches her in the park finds himself, not Drew, at the receiving end of the assassin's bullet. As is the form in these situations, Frank's last breaths contain puzzling messages: "I'm not Frank," he tells Anne, also vouchsafing that "there are more of us".<br />
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It actually sounds like he says "<i>four </i>more of us", but it appears this is not the case, as the next scene sees Drew and Anne speculating on how many more people there are like Frank, primed to cause chaos. They could be absolutely anyone. And we're nowhere near the matter of who these people are or what they want yet...</div>
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Next tonight it's <b>The Human Jungle </b>and, quite by accident, tonight's episode makes a fantastic companion piece to the paranoia of <b>Undermind</b>.</div>
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We start with an industrial accident, as crane operator Jeff Broadley (Lloyd Reckord) loses control of the crane he's operating after recoiling in fear from the sun as it emerges from behind some clouds. He then falls out.<br />
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Broadley's taken to St Damien's Hospital with a broken leg, and his violent aversion to light attracts the attention of Dr Jimmy Davis.<br />
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Meanwhile, Dr Roger Corder is occupied with the case of young Stanley (Tony Tanner), in hospital with a mysterious pain that nobody's been able to explain. His girlfriend Wendy (Barbara Ferris) is pregnant, but he refuses to accept that the baby is his.<br />
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Broadley refuses to move wards as the new destination is too bright, so Corder has a chat with him. Broadley's suffering from a delusion that the sun is his enemy, determined to kill him,household electrics are "the sun's fifth column", who want to electrocute him, and most people are its agents, determined to destroy him. As Corder keeps the blinds in his office closed, he's able to convince Broadley that he's his friend - for the time being, at least.<br />
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Jimmy gives Stan the once-over. He's clearly malingering about his pain, but just as clearly he's got significant psychological issues. For one thing, he's an almighty shit-stirrer, and manages to half-convince Jimmy that Corder's planning to sack him. Broadley is moved into the bed opposite Stan, and immediately removes the lightbulb above it. He notices Stan watching him and smashes it in the belief that Stan plans to put it back.<br />
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The wonderful Avis Bunnage, last seen in Thursday's <b>Gideon's Way</b>, appears all too briefly as Wendy's irate mother, determined that Stan should make an honest woman of her. To that end, she's promised to give the expectant parents a deposit on a maisonette and see that Stan gets a job from Wendy's Uncle Charlie.<br />
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Stan's given the job of taking Broadley out for a run in his wheelchair. Broadley, of course, thinks he's taking him outside to kill him, and threatens him in the lift with a broken milk bottle (why there are milk bottles in the lift isn't entirely clear).<br />
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It takes a while to get Broadley out of the lift. When he does, Corder questions him further. He's a bundle of insecurities who feels that his interests (including ballet) aren't manly enough, and feels insignificant compared to his wife, who's highly educated and is now a local councillor. It seems conversations he's had with her about atomic radiation are the root of his fears.<br />
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Stanley's given an EEG test, then gets a visit from long-suffering Wendy (his immaturity is emphasised for us by the fact that he's always reading comics - here Wendy brings him a copy of <b>Tales to Astonish</b>: number 53, as a matter of fact, with Giant-Man facing the Porcupine, one of Marvel's more underwhelming villains). He's not the fussed about the offer of a deposit on a maisonette, he just wants the money.<br />
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Stan tries to make up with Broadley, but only so he can continue to cause trouble - which he does by informing him that Corder intends to amputate his leg. Unsurprisingly, Broadley flies into a panic when he's wheeled off for an x-ray.<br />
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Left unattended for a moment, Broadley borrows another patient's crutches and tries to escape, but ends up locked in the pharmacy by Stan. The sun streams in through the window, causing Broadley to go berserk and smash a load of bottles. When Corder tries to get in, he threatens to drink from one marked Poison. Corder finally gets him out by offering an injection that will make him immune to enemy attacks.<br />
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Jimmy's lost his wallet, and the troublesome Stan is the obvious culprit. Eventually it turns up in Nurse Flanangan's (Bridget McConnell) handbag, much to her consternation. Jimmy doesn't believe she's the thief, but declines to tell her who was: "We don't want to see you sacked for assaulting a certain person over the head with your shillelagh!" When he confronts Stan, he's gobsmacked by his front in insisting the nurse was responsible.<br />
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Broadley's getting better, and is beginning to accept that his delusion is just that.<br />
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Wendy tells Stanley she's decided to break up with him. She's exasperated by his sudden interest in the baby he previously denied any responsibility for. He asks to borrow a couple of quid and she gives it to him, but this is clearly the last she ever wants to see of him.<br />
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Corder decides Stanley can be discharged, but he still has one trick up his sleeve: while Broadley sleeps, he creeps up to his bed and shines a torch in his face.<br />
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Stan tells Corder he's sorry about the incident. Wearily, Corder informs him that "In psychological terms, Stanley, you're what's known as an inadequate psychopath." Stanley seems quite happy with this diagnosis: "Am I really? That sounds rather special." Corder tells Stan there's not much that can be done for him. Stan decides the best response to this is to "get blind stinking drunk." Corder only just prevents him from walking off with a stethoscope: "Would you believe it? Nurse Flanagan must've put it up there."<br />
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It turns out that Stan's trick with the torch hasn't increased Broadley's fears - he was just dazzled. Corder opens the blinds, and for the first time in a very long time he enjoys the sunlight on his face.<br />
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<b>Sunday 9 May</b></div>
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Tonight's <b>Stingray </b>begins with Commander Shore and his daughter Atlanta furtively working on a top-secret mission. breathlessly awaiting the arrival of a pair of mysterious visitors. In the end these turn out to be nobody more exciting than Troy Tempest and Phones.<br />
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Meanwhile, from his underwater palace in Titanica, Titan upbraids Agent X20 on his failure to destroy Marineville, and demands he come up with a masterplan. "A masterplan. I must think," muses the hapless underling. But it's only a few moments before "the perfect plot to destroy Marineville" occurs to him. He writes a letter to Commander Shore under the alias of Professor Sanders, "an authority on teaching dumb people to speak" who wants to lecture at Marineville.<br />
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Should we fail to spot where this is going, we're taken aboard Stingray, where Marina's taken to clapping when somebody says something she likes. It seems a pretty obvious system, but it's too confusing for Phones: "Gee, I can't make out what she's trying to say, Troy." Phones nearly lets slip something about Marina's home which is clearly part of the secret plan he and the others have been working on.<br />
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A letter for Professor Sanders arrives at X20's hideout, supposedly called Rose Cottage, though in fact it appears to be a mansion. It's also the only dwelling on the island, which makes you wonder what on Earth the postal arrangements are. Frankly, I'd like to see a whole episode revolving around this. Anyway, it's an acceptance of his request to come to Marineville.<br />
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Here's a rather nifty gizmo that we see for the first time this week that tracks Stingray's progress in and out of its dock at Marineville.<br />
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And here's Atlanta in "artistic" mode: it turns out the big secret is that she and the others are doing up a new flat for Marina, and giving it an underwater theme so she doesn't get homesick (though she might get seasick).<br />
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This episode was clearly made quite early on in the <b>Stingray </b>production schedule, as it sees Agent X20 chatting away to himself about how he disguises himself, something the dedicated viewer at home will have seen him do many times by now. "This makeup will make my green skin flesh-coloured" is an especially cherishable line. There's a fascinatingly bizarre assortment of junk in X20's place, including a portrait of a sinister Scotsman and a highly unconvincing skull, which, enamoured with his own acting skills (he does a great Peter Lorre, I'll give him that) he picks up to do a Hamlet bit.</div>
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After the lecture, Troy and Phones approach the so-called Professor to ask for his assistance in teaching Marina how to speak. All of a sudden he's got a surgery in Marineville, which he invites them to. He asks to keep Marina in for a week, and gets Troy to speak some "simple phrases" into a microphone, suggesting requesting entry for Stingray into Marineville.<br />
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I'm sure you can see where all this is going: X20 kidnaps Marina (seemingly just so he can explain his plan to her), then returns to Marineville with her in his own sub - with a bomb on board of course - and uses the recording of Troy's voice to gain entry (Phones and Troy, meanwhile, are out in Stingray, and have stopped to pick up some shells for Marina's flat).<br />
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Although the episode's title is <b>Count Down</b>, X20's bomb is, in fact, counting <i>up</i> to 15, at which point it will explode, blowing up Marineville. The dastardly agent himself makes a hasty exit and gets past security dressed as the professor prior to heading back to his hideout.<br />
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Shore is baffled when the real Stingray now returns. Happily, Troy's able to confirm his identity by confirming he knows all about Operation Decorate. Finding the bomb aboard the sub, he sets Marina free and pilots it out of Marineville, ejecting just in time.<br />
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That evening, Marina's presented with her new dwelling place. As Atlanta boasts about her accomplishment, her father groans: "I'm glad we didn't teach Marina how to speak. Can you imagine two talkative women around here? We just wouldn't stand a chance."<br />
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So much for the enlightened Year 2065. Back in time 140-odd years now for an episode of <b>Dr Finlay's Casebook</b> that manages to be highly entertaining despite the unpromising subject matter of Dr Cameron's accounts.<br />
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We first see that redoubtable physician this week telling a distressed woman (Joan Fitzpatrick) not to worry about her husband's medical fee as he knows she's having financial trouble. Make your own jokes about someone called Cameron doing everything he can to help the poor and needy.<br />
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Next he's off to see young Arnie Raymond (Gordon Reid), who's got a heart problem. His father (Malcolm Hayes) is getting a distinguished cardiac specialist to come and have a look at him. Cameron's concerned about him spending his money in this way, but tells the man not to worry for the moment about his own fee.<br />
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Dr Cameron's book-keeper, Miss Scott (Janet Bruce) is going through the Arden House accounts, and is very concerned by the amount of unpaid bills, currently standing at £117 worth ("He gave us a very nice vase of flowers," says Janet of one prosperous businessman who's yet to pay up).<br />
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Dr Finlay's enraged by his partner's lax attitude to getting money off people. "This practice has been sitting very comfortably on the rocks for the past 13 years," huffs Cameron - though part of the reason they haven't been in trouble financially is a windfall from the late Mr Albright, which paid off the mortgage and took care of Dr Finlay's university fees. Nonetheless, Finlay is determined that from now on everyone must pay up front. Cameron is certain that it's not going to happen.<br />
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A call comes in, and Finlay takes it in order to ensure payment. Mr Oddy (Douglas Murchie) has hurt his leg. Finlay has a look, and when he demands the fee straight away ("They call me Pay as You Go Finlay"), Oddy decides him to look at his son Harry (Ronnie Carryl) as well in order to get his money's worth. Harry's body's covered with a mysterious rash. Finlay thinks it's urticaria, but decides to take him back to the surgery (Oddy declines to pay until the diagnosis is properly made). Finlay's attention is caught by Oddy's attractive young housekeeper, Henny Geddes (Amanda Walker).<br />
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Cameron takes a look at Harry and agrees he's got an urticarial rash. Finlay thinks it might somehow be connected to his father, who's relationship with Henny he's highly curious about. Cameron refers him to Janet, "the Tannochbrae encyclopedia". "I am not a tittle-tattle, Dr Finlay" Janet insists, before tattling that the minister's had words with Oddy about the nature of his relationship with Henny before now. Cameron bets Finlay Oddy's fee that Harry's rash is nothing to do with his father.<br />
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Cameron's outraged on receiving his income tax bill: "The miserable, petty jackanapes!" (Andrew Cruickshank gets some splendidly ripe dialogue to roll his tongue around this week). It's for the exorbitant sum of £167, factoring in the Albright legacy, which Cameron did not declare. Miss Scott thinks the taxman's within his rights; Cameron insists Finlay's liable for quarter of the sum as he gave him quarter of the legacy.<br />
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Finlay calls on Oddy and asks him about his relationship with his son. Oddy's not very receptive to this line of questioning.<br />
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Cameron goes to see the tax inspector about his bill, and it turns out to be Mr Raymond with the poorly son. A highly embarrassing situation for both follows, with Raymond insisting Cameron pay the tax bill, even though he hasn't paid his bill from Cameron. The trouble with the will is that the wording of it suggested it was payment for Cameron's services over the years: the doctor's erratic fee-gathering has come back to bite him well and truly on the arse.<br />
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This puts Cameron into a foul humour with his patients: "I've told you till I'm sick and tired, if you live in a pub and eat meat puddings all day, of course you'll be constipated!" he snaps at one unfortunate woman (played by the wonderfully-named Maisie MacFarquhar).<br />
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Miss Scott encourages Cameron to take up his tax problems with the local commissioners. As two of these are patients and the other Dr Snoddie, Cameron thinks he's got it made. However, the panel, led by the extremely camp solicitor Mr Jameson (Douglas Storm) prove tougher than he was expecting.</div>
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After the meeting, Raymond rushes up to Cameron and asks him to come quickly to his son's bedside as the poor lad's taken a turn for the worse. On arrival, Cameron insists that Mrs Raymond (Gabrielle Hamilton) make up some brandy nog. Cameron stays up with the boy all night, and he pulls through.<br />
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Returning to Arden House, Cameron finds a letter from the tax commissioners waiting. He fortifies himself while Janet reads the dread missive.<br />
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Meanwhile, Finlay talks to Henny Geddes about her relationship with Mr Oddy. "Fond of him?" she exclaims "That black pig?" Then she reveals that Harry's rash comes from rolling about in stinging nettles to get time off school.<br />
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Returning home, Finlay finds that Cameron is being forced to pay the full tax bill - and all because he gave quarter of the legacy to Finlay. Still, at least Cameron's won his bet. Though unfortunately for him, Finlay's decided to teach him a lesson by accepting Mr Oddy's fee in potatoes.</div>
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The very definition of comforting Sunday night TV. This show has a lot to answer for.</div>
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<b>Monday 10 May</b><br />
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Jeremy Kemp and Ronald Radd can be seen again in the Victor Canning thriller serial <b>Contract to Kill</b> on BBC 2, alongside such familiar faces as Simon Oates, John Wentworth, Delphi Lawrence and Godfrey Quigley. It's directed by Peter Hammond, so there are probably a lot of overhead shots.</div>
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<b>Tuesday 11 May</b><br />
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Harry Carpenter introduces a profile of Cassius Clay on BBC 1 this evening, while BBC 2 dusts off Josef Von Sternberg's <b>Shanghai Express</b>, with Marlene Dietrich.</div>
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<b>Wednesday 12 May</b><br />
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Tonight's <b>Wednesday Play</b> on BBC 1 is Alan Sharp's <b>A Knight in Tarnished Armour</b>, with a young Brian Cox near the bottom of the cast list.</div>
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<b>Thursday 13 May</b></div>
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<b>The White Rat </b>of the title is Mickey Keston, albino (supposedly, though even in black and white it's not convincing) leader of a gang of thieves, played by Ray McAnally. We first see him in the processing of launching a raid on a fur warehouse with toughs including his appropriately named henchman Yob (David Gregory). The security guard ends up shot after trying to call the police.<br />
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When they get the furs back to Mickey's HQ, Yob's pestered by deadbeat Fingers (Dermot Kelly, playing the same part as in <b>The Arthur Haynes Show</b>, but not for laughs) for odd jobs. Yob sends him away with a flea in his ear (to match the ones on the rest of him, no doubt): "Nothing odd enough for you, mate."<br />
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Mickey (whose closest friend is his pet white rat) is insanely jealous when it comes to his girlfriend Rose (Virginia Maskell), and threatens Yob's life when he mentions his been talking to her. The woman herself then comes to visit.<br />
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Commander Gideon and Chief Inspector Keen are on the case of the fur robbery. Keen's instructed to call in at the local division on his way to a concert with his girlfriend Mary (Sue Lloyd). Note what looks like an early version of Chicken Cottage, etc. in the background as they drive there.<br />
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Detective Sergeant Sid Taylor, an old friend of Gideon's, is convinced Mickey Keston's the man behind the robbery. Showing the kind of sensitivity we'd all hope to see in our law enforcers, Sid notes that Mickey's white hair "makes him look almost like a cretin, but he's not." While Keen's with him he gets a phone call announcing that the guard is now dead. John Horsley is glimpsed briefly as Sid's superior.<br />
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Poor Mary is now informed that she's being whisked off to Mickey Keston's flat, with Sid uncomfortably squeezed in the back of the car (it seems a bit dodgy to involve a member of the public like this, to say the least).<br />
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They gatecrash the party Mickey's in the midst of holding. Mary's subjected to the unwanted attentions of Yob, while Sid tells Mickey about the guard's death. Mickey is entirely unbothered, and threatens to sue him for slander. <br />
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Once the unwelcome guests have departed, Mickey angrily throws everyone else out as well, having become convinced they're laughing at him. He's deeply paranoid about people laughing at his appearance - he can't even believe that Rose really loves him. "You must be crazy," he tells her. He thinks his albinism is what led him to a life of crime: "I wanted to be a doctor for kids. Isn't that a laugh? A kid takes one look at me and he throws up." I dread to think what any real albinos watching would have made of this. Not surprisingly, Rose refuses to put up with all this and walks out on him.<br />
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Sid has an appointment with Fingers, who's selling information about Mickey's gang. Well, you can guess what happens: Yob beats him up, then runs him over with his scooter.<br />
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The next day, Yob, Mickey and Rose are all defiant in the face of Sid's questioning, though Rose very civilly gives him a lift back to the police station.</div>
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Sid's suspicions are roused on Saturday night when Mickey and his gang don't show up at any of their usual haunts. In fact, they're busy stealing a load of industrial diamonds.<br />
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Having had a tip-off, Sid turns up at Mickey's HQ ready to arrest the gang. Note the graffiti on the wall next to Virginia Maskell below: not only does it feature Simon Templar's stickman logo from <b>Gideon's Way</b>'s sister series <b>The Saint</b>, but it appears to be by a Charlie Brooker. Presumably not the popular media misanthrope as he hasn't been born yet.<br />
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Somewhat inevitably, poor Sid ends up getting shot by Mickey, who isn't too keen on the idea of going to prison (I didn't note whether Sid said he'd be retiring soon at any point during the episode but it feels like he should have).<br />
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Inevitably, Gideon hastens to the fading Sid's bedside and swears he'll bring Mickey to justice.<br />
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Yob and the other underlings have been arrested, and Rose is being followed. It emerges that a dodgy sea captain has allowed Mickey passage to Amsterdam on his ship.<br />
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He's brought his rat with him, but it proves to be his downfall as it escapes into a vent and is spotted by Gideon when he comes aboard to find Mickey.<br />
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"I've got two sticks of jelly in here!" warns Mickey when Gideon tries to break in to where he's hidden (I don't think it's meant to sound as funny as it does). Rose comes aboard and tries to talk Mickey into giving himself up, but in the end Gideon breaks in with an axe.<br />
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Mickey lights the fuse, but extinguishes it on hearing Rose's screams. Not that he's best pleased with her: "Liar! Cheat! Bitch! Dirt! Scum! " he spits at her prior to being carried off. It's all a bit much for a Thursday evening.<br />
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<b>Friday 14 May</b><br />
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Tonight's <b>Encore </b>(i.e. repeat) showing on BBC 2 is Keith Waterhouse and Willis Hall's play <b>All Things Bright and Beautiful</b>, starring Thora Hird, Peter Vaughan and John Hurt. BBC 1's eclectic Friday night schedule includes <b>Sykes and a Cold War</b>, a Mel Tormé special and Federico Fellini's <b>Le Notti di Cabiria</b>.<br />
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You can find the full <b>Radio Times </b>listings for this week's programmes <a href="http://genome.ch.bbc.co.uk/1a3d4690742d4cdd807999d079f31efd">here.</a></div>
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<b>And to play us out...</b></div>
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...it's Roger Miller, self-styled "King of the Road", at number 2 in this week's hit parade. It's still the Beatles at number 1. You can find the full chart for this week <a href="http://www.officialcharts.com/charts/singles-chart/19650506/7501">here.</a></div>
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Ivanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.com0tag:blogger.com,1999:blog-4443589666300610642.post-55243947724339326072015-05-03T18:38:00.000+01:002015-05-12T22:36:37.315+01:001-7 May 1965<div style="text-align: left;">
<b>Saturday 1 May</b></div>
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Saturday tea time on BBC 1, and before we whizz off into <b>The Dimensions of Time</b>, let's have a quick look at this week's <b>Juke Box Jury </b>panel. An interesting combination tonight: Chris Andrews, Dora Bryan, Dave Clark and Sarah Miles. Once they've dispensed their own unique brands of justice on the week's record releases, it's time for our second visit to the planet Xeros (for so it is called).<br />
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After a recap of last week's episode, which was much too complicated to go into again here, we're properly introduced to the staff of the Space Museum, our antagonists for the next few weeks. They are members of the Morok race, a people with a vast empire: hence museum keeper Lobos' (Richard Shaw) disgruntlement at being stationed in this dreary backwater. When a technician (Peter Diamond, last seen playing Ian's friend Delos when the TARDIS visited ancient Rome) tells him a piece of equipment's clasps have rotted, he responds with the observation: "Like everything on this planet, including us."</div>
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It's remarkable for a show whose space-baddies are usually single-mindedly bent on conquering everything in their path to suddenly give us a discontented middle-manager like Lobos as a villain. He gets a monologue that makes him sound like Reginald Perrin in space: "If the truth were known, I was just as bored on Morok. Still, it was home, and youth never appreciates what it has. Oh, I don't know what I'm going to do now. Still, let's get on with it shall we? I have to make these reports. [<i>sigh</i>] I don't know." Were it not for the arrival of a messenger (Salvin Stewart) to inform him about the new arrivals to the museum, it seems certain he'd move on to complaining about his mother-in-law next. As they didn't come in a Morok ship, they're not welcome guests: Lobos' curiosity about where they came from only extends to pondering whether they could be used as exhibits for the museum.<br />
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Nor is Lobos particularly bothered about a group of young Xeron rebels who've been stirring up trouble. These are the black-clad youths we saw last week: we get a better look at them this time, and note that their most distinctive feature is their two pairs of eyebrows. The ones we meet are the interchangeable Sita (Peter Sanders) and Dako (Peter Craze), and their leader Tor (Jeremy Bulloch, one of Cliff Richard's chums in <b>Summer Holiday</b>), distinguishable from the others mainly by being noticeably stroppier. They too have clocked the new arrivals, and are hoping they'll have weaponry to help them overthrow the Moroks.<br />
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As it happens, the newcomers are in the very process of acquiring some weaponry, by stealing it from one of the display cases (surely even the Moroks can't be dim-witted enough to display loaded guns - or the Xerons would surely have thought of this already).<br />
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The Doctor's unimpressed.<br />
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He does, however, seem intensely interested in Ian's loss of a button - it sets him off on a train of thought about how the smallest things can change the course of history. He claims he was present when a kettle led to the birth of the steam engine: "I was with that fellow at the time. What was his name?" "James Watt," chips in Barbara for the benefit of anyone who didn't get the joke (considering his general hostility toward the people of Earth when he met Ian and Barbara, I think the Doctor just makes all these stories about knowing historical figures up). Unfortunately (but unsurprisingly), nobody noticed whether the Ian in the display case had the button or not.<br />
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The travellers decide the best way to make sure they don't end up behind glass is to escape the museum and get back to the TARDIS - unfortunately, nobody's quite sure of the way. A fundamental truth of <b>Doctor Who </b>suddenly dawns on Barbara.<br />
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Dithering about what they should do, the Xerons finally decide to kidnap Vicki. In the end, however, it's the Doctor they pull off.<br />
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The old man immediately plays dead (the camera angle allows us a good look at the Xerons' trainers). But we know from past experience what a formidable opponent he can be in hand-to-hand combat, and sure enough, after the others pop off for a bit, they return to find poor Dako bound and gagged.<br />
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The Xerons go off in search of the old man, at which point we discover his ingenious hiding place. Truly, this is one of the most joyous moments in <b>Doctor Who</b> history.<br />
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The Doctor's smugness at outwitting his attackers doesn't last long, though, as he shortly finds himself caught by the Moroks.<br />
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The Doctor's friends are mystified by his disappearance. Suddenly, Ian's struck by an idea of how to map their progress through the corridors.<br />
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Poor Barbara is called upon to sacrifice her cardie to the greater good. Ian has a bit of trouble unravelling it, however.<br />
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Meanwhile, the Doctor comes round from unconsciousness to find himself strapped into a chair in a dark cell. A wall slides back, to reveal the scowling Lobos, who attempts to interrogate him. The Doctor responds by making fun of the museum's low footfall: "Perhaps if you reduced the price of admission, hmm?" It seems the Moroks have done all their conquering of worlds now, and today's Morok youngsters have little interest in the history of space flight.<br />
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When the Doctor continues to be uncooperative, Lobos switches on a mission that makes his thoughts appear on a little portable TV set: instantly he gives away Ian, Barbara and Vicki's location (though as this was their location when the Doctor last saw them and they've now moved on it proves pretty useless to the Moroks).<br />
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After this lapse, the Doctor manages to outwit the machine with a series of fabulously surreal images in response to Lobos' subsequent queries. "How did you get here?"<br />
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Meanwhile, the others have finally found the exit. But what they see outside isn't good.<br />
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Asked where he come from, the Doctor conjures an image of walruses frolicking about on the ice: "Just some old friends of mine!"<br />
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"These are amphibious creatures!" complains Lobos. "You are not an amphibian!" "Oh, I'm not, am I?"<br />
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Sadly, all this fun and games comes to an end, as Lobos decides the only way of dealing with the mischievous old man is to turn him into an exhibit. So, essentially, he's telling him to get stuffed.<br />
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Back in time again now, with the only screen version to date of this particular <b>Sherlock Holmes </b>story.</div>
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It's easy to see why the tale of curmudgeonly cuckold Josiah Amberley hasn't been a favourite with adapters: it's such a straightforward story that you can sense scripter Jan Read and director trying to tell it in the longest-winded way possible to fill 50 minutes of airtime. Still, the episode benefits from a wonderfully grumpy turn from Maurice Denham as Amberley, who we first see t home winning a game of chess with Dr Ray Ernest (William Wilde), as the much younger Mrs Amberley (Lesley Saweard) looks on.<br />
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Next we're whisked to the stairway of 221b Baker Street, where Amberley collides with Dr Watson after a visit to the detective. Holmes explains to his friend that Amberley "was sent to me by Scotland Yard just as medical men occasionally send their incurables to a quack": his wife has disappeared, along with all of his money and Dr Ernest. As Holmes is currently embroiled in "The case of the two Coptic patriarchs", he sends Watson to pay a visit to Mr Amberley at his Lewisham residence. This proves to be a splendidly forbidding location (unlikely to actually be Lewisham), where a mysterious figure in dark glasses (Peter Henchie) lurks about the gates as Amberley scowls from the window.<br />
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Inside, Amberley continues to curse his wife and her lover, lamenting "The black ingratitude of it all!" He tells Watson how he had planned to go with his wife to the theatre on the night of her disappearance - she claimed to be ill so he went alone, leaving her at home with Ernest. When he returned they were gone. Watson notices the walls have been recently painted - Amberley claims he's done this to try and keep his mind off his woes.<br />
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As Amberley talks to Watson about his wife, he becomes so agitated that he tears up their wedding photo.<br />
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Watson tells Holmes about his visit, and that he suspects the mysterious watcher to be Dr Ernest. Holmes startles him by being able to describe the mystery man exactly without any prompting. The detective is disappointed in Watson's failure to approach the local people about their impressions of the Amberleys - particularly the women: "With your natural advantages, every lady is your helper and accomplice." Holmes has, however, sent a few telegrams round and has learned that Amberley was considered both a miser and a tyrannical husband by his neighbours. The case seems a simple enough one of runaway lovers, but Holmes thinks there may be rather more to it.<br />
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Holmes and Watson's landlady Mrs Hudson appears for the first time in an existing episode of the series (she made her debut in the lost <b>The Bruce-Partington Plans</b>). She's played by Enid Lindsey, who was <b>Emergency Ward 10</b>'s original Matron.<br />
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An agitated Mr Amberley turns up, having received a telegram summoning him to an urgent meeting with a clergyman somewhere in Essex. Could this be related to his wife, who has a sister living in the area? Holmes sends Watson off with the old man to keep the appointment.<br />
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As they set off, Watson falling foul of British railways' claret ("Chateau Liverpool Street. Ugh!"), Holmes heads straight for Lewisham to snoop around the Amberley residence.<br />
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Reaching Frinton, Watson and Amberley find it next to impossible to reach the remote parish they need to get to. When they do it turns out to have been a wild goose chase - the vicar didn't send the telegram at all. And Watson and Amberley are stranded in Frinton overnight.<br />
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It was, of course, all a ruse to get Amberley out of the way so Holmes could search his house.<br />
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Holmes announces that he has now found the solution. For one thing, the mysterious man watching the house was Mr Barker, a fellow detective.</div>
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For another, Amberley killed his wife and Dr Ernest by locking them in a room and filling it with gas - he then painted the walls so the smell would cover up the lingering gas odour. Confronted with the truth, Amberley attempts to take a lethal pill, but Holmes swiftly prevents him.<br />
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To prove that there's not really enough story for the running time, we then get a (soundless, except for the hissing gas) flashback to Amberley's dark deed. And he would have got away with it too, if it wasn't for his need to prove his cleverness by going to the police about the matter.<br />
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Back to the present day, and over to ITV, for tonight's visit to</div>
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A particularly intriguing start this week: in a suburban house, as a little child sleeps upstairs, a teenage girl (Francesca Annis), after making the study look like it's been ransacked, calmly ties herself up and locks herself in a cupboard.<br />
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The homeowners, Dr and Mrs Dunn (Gary Bond and Julie Webb) return to find their home in disarray, but are relieved to find their child unharmed. But what's happened to their babysitter, Mary Thomas? After she makes a great deal of noise, they find her, locked in the cupboard.<br />
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The police, in the form of uniformed Sergeant Derek Newark and rookie DC John Bonney, arrive to investigate. Hysterical Mary's been sedated and is taken to hospital.<br />
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Across the road, nosy neighbour Mrs Oliver (Aimee Delamain) takes great delight in watching all these comings and goings.<br />
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The hospital Mary's taken to is St Damien's, so it's inevitable that Dr Roger Corder will be called in to assess her mental state. She's desperate to get out of the hospital and back on with studying for her exams to get into Oxford. Corder's intrigued by her apparent conviction, against the obvious evidence, that she's horribly ugly: "If you've got brains, looks don't matter, do they?"The root of these insecurities about her appearance is soon exposed when her mother (Faith Brook) sweeps in and tells her how awful she looks: "Why do you want to look like a beatnik?"<br />
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Mrs Oliver visits Dr Dunn to pump him for information about the previous evening's events ("I don't want to make a nuisance of myself," she lies) - she has her own idea about who the likely culprit was - a mysterious loner (Vladek Sheybal) who's recently turned up in the neighbourhood and started doing odd jobs for people.<br />
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Mary tells DC Cowan she can't remember anything about the man who tied her up. The star of this scene is the earwigging extra in the next bed.<br />
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Mrs Oliver's horrified to find the stranger lurking about her garden. He claims to be a landscape gardener, and offers is services, but she hurries inside and phones the police (note the dial in the window for indicating how many pints of milk are required - I get all sentimental about these as I used to help my dad on his milk round).<br />
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The police detain the man (who calls himself "Mr Jones") as he works on Mrs Oliver's garden. They accompany him home, prior to taking him to the police station. He seems curiously distraught at having run out of sweets, and is desperate to get more before he goes with them: "I must have sweets, otherwise I'm done for," he moans, cryptically.<br />
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Corder introduces Mary to his daughter Jennifer, who's quite excited to meet someone who's been assaulted. To Mary's shock, the police call to say they're holding a man for the assault on Mary. Jennifer offers her a lift to the station to identify him (I'm not sure how ethical this all is).<br />
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Mary initially fails to identify any of the men, but becomes confused when Jones smiles at her, and, when asked by the police, agrees that he was her attacker. When she takes Mary home, Jennifer invites her to a "wild goose chase" for clues as to the location of a swinging party. Studious Mary is eventually convinced to take a few hours off.<br />
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Barely a week goes by at the moment without Tony Steedman popping up on our screens, and here he is again as Cowan's superior, who's highly sceptical about the whole business of Mary's assault and Jones' arrest. Worried about the alleged attacker's mental state, he gets in touch with Corder.<br />
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Jennifer and her uncredited chums are out following clues, accompanied by Mary, whose brains are proving very useful.<br />
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The clues lead them to a deserted house: they find the location of the party, but Mary refuses to accompany the others, insisting on staying in the ruin as it reminds her of somewhere she used to play as a child. Frustrated Jennifer eventually agrees to leave her behind.<br />
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Corder interviews Jones, who only really comes to life when talking to him about the plants in his office. Corder's convinced that Jones didn't attack Mary, and has deduced that his strange behaviour is down to him attempting to recover from alcoholism without any assistance. Jones admits he has been an alcoholic for 8 years, and that it has destroyed all his relationships with people. Meanwhile, the Superintendent, re-examing the Dunn home, discovers the device with which Mary locked herself in the cupboard.<br />
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Corder visits Mrs Thomas, who continues to harp on about her daughter's looks. "Mary isn't ugly," Corder asks. "Don't you think so?" asks her mother, clearly baffled by the idea she might not be. Corder believes that Mary "makes a fetish of being plain," yet craves attention - hence the faked assault. Corder confronts Mary with the truth.<br />
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Jones refuses to press charges against Mary - all he wants is to take up Corder's offer of help to get on with his life. Mary, however, is now in a very dark place indeed. Ripping up her schoolbooks, she runs away from home back to the abandoned house, where she prepares to commit suicide.<br />
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Corder gets there just in time to prevent her. He tells her not to feel bad about what she's done - after all, she's helped to bring Mr Jones to Corder's attention, so he can get the help he desperately needs. He insists to her that there are more important things in the world than getting into Oxford - though there's a big question mark hanging over whether the episode's ending, with Mary deciding to devote less time to study and more to how she looks, is exactly a happy one.</div>
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<b>Sunday 2 May</b></div>
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Who says <b>Stingray </b>doesn't do character development? This week, we discover something about Atlanta Shore which was hitherto unknown: she takes a strong interest in fish farming. So strong, in fact that she's taking a course on the subject with a Professor Cordo at his atomic fish farm. It works by heating up the water with nuclear reactors, thereby creating an abundance of plankton. This leads to masses of fish swarming to the area: "An everlasting supply of food from the sea!"<br />
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Anyone hoping for an entire episode devoted to futuristic fish farming developments is to be sadly disappointed, however. Suddenly, something goes wrong with the camera outside the fish farm and it shows something Atlanta wasn't supposed to see: a life size replica of Stingray that the Professor intends to use in this week's plot to destroy Marineville (and Troy Tempest: everyone's got a personal vendetta against Troy Tempest).<br />
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Whipping out a gun, the Professor announces that the replica "was made by my faithful underwater friends - but inside it is AN EMPTY SHELL!"<br />
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After nipping to Marineville for a bit to see how much Atlanta's friends are enjoying themselves without her, we pop back under the sea to learn a bit more about these friends of the Professor - apparently "a highly intelligent undersea race" discovered by his father years before.<br />
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Atlanta's now held captive, but is released from her bonds in time for Troy, Phones and Marina to pay a visit in the real Stingray. To stop her getting out of line, there's a gun wired up under the table which is aimed at the place set for Troy and will shoot him (in the groin, presumably) as soon as the Professor touches a concealed button (Atlanta probably wouldn't be all that bothered if it were Phones who got shot, and might actively encourage it in the case of Marina).<br />
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In the circumstances, the Professor proves excellent company at dinner: "Fish is always on the menu - but then this <i>is </i>a fish farm!" he quips, to much merriment. Atlanta's attempts to drop hints about the real situation are not successful.<br />
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Professor Cordo's undersea friends turn out to be the very same baddies we saw last week, their spell in Marineville prison having clearly done nothing to salve their warlike urges. They remove the real Stingray with a giant magnet, replacing it with the replica.<br />
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After dinner, Atlanta contacts her father, insists that he take back one of her library books ("It is PERSONALLY VERY IMPORTANT TO ME") - could there be a secret message in here? Troy, Phones and Marina swim back out to Stingray to get back on with their patrol, only to find that it is but a husk (a remarkably detailed one, mind you)...<br />
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...and the nefarious fish farmer closes the airlock to prevent their return, stranding them outside.<br />
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Looking in through the window they realise the truth that Atlanta is the Professor's prisoner.<br />
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The underwater creatures are now at the helm of Stingray, and heading for Marineville.<br />
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Commander Shore's found Atlanta's book - <b>Trapped in the Depths</b> by Professor Cordo. If you knew it was a message it'd be a pretty obvious one, but as he doesn't all it represents to him is a rattling good read.<br />
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Troy writes a message on the side of the Professor's base (it's not quite clear what with) and points the camera at it. Happily only Atlanta sees it.<br />
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The trapped Stingray crew set to bunging rocks down the Professor's inlet pipe to cause a fault, but it takes so long for them to make any difference that eventually they collapse from exhaustion - well, Troy and Phones do: as ever in these situations the amphibious Marina's perfectly fine, looking on impassively as her comrades prepare to breathe their last.<br />
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Finally the Professor is distracted for long enough for Marina to shuffle her chair over to the airlock controls and open it with her hairdo.<br />
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Marina coaxes the drowsy Troy and Phones inside, where they confront the Professor over his evil plans. Troy demands that he call off his friends: "Curse you, Tempest!"<br />
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What actually happens next in terms of vanquishing the enemies and getting Stingray back is left to our imaginations: the next thing we know we're in Commander Shore's bedroom, where Atlanta tells him off for not understanding what she was trying to tell him. Still, he enjoyed the book, so that's the main thing.<br />
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Back in 2015, Simply Home Entertainment, who have released the existing episodes from <b>Dr Finlay's Casebook</b>'s first two series on DVD, have just announced that these will be followed by the remaining 1960s episodes later in the year. Sadly that's too late for my purposes, so for the time being I'll have to rely on my scrappy bootlegs. Tonight's episode has several chunks of its audio missing - whether that's a problem with just my copy or not I don't know, but happily the story's easy enough to understand even without all the dialogue.</div>
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We begin with Dr Finlay attending kirk for the first time in months, dragged along by the disapproving Janet. There he meets attractive young Esme Stewart (Renny Lister), but she's dragged off by her stern father (Alan McNaughtan) before they can be properly acquainted.<br />
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Back at home, Mr Stewart warns his daughter against associating with potentially eligible men like Finlay. In fact, he doesn't want her having any friends at all: "You're not like every other woman," he thunderously informs her. He scorns her protests that she's at the age to marry: "Do you think any man would want to marry a woman like you?" It seems clear that Stewart's attitude to Esme is bound up with his feelings toward her mother, who ran off with a farm labourer.<br />
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After examining Millie Scorgie (Mary Drew Robinson), one of those patients who have acquired all manner of ailments after thumbing through a Household Medical Almanac, Dr Cameron has a look at Esme, who's been suffering from a bad cough. Mid-consultation he's called away to a woman in labour, and asks Finlay to make out Esme's prescription. She can't get away fast enough.<br />
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Later on, Millie, who arranges the kirk flowers along with Esme, encourages her to come along to a church social that evening. When her father goes out, Esme puts on an old dress of her mother's and informs a porcelain doll that she's going to the social in the hope of seeing Dr Finlay, who she's smitten with.<br />
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Esme goes along to the social, but Finlay isn't there. She finds a young man to dance with, however.<br />
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Stewart returns home ahead of his daughter, and is livid to find she's not home.<br />
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Later, Finlay comes across a dishevelled but happy-seeming Esme on the road and gives her a lift home, though the car breaks down on the way.<br />
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Esme sneaks upstairs and relates to her doll her happiness at the time she spent with Dr Finlay. Her father enters, and sets about beating her (there's a shot of the doll, broken on the floor - all very symbolic).<br />
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Some time later, Cameron comes to examine Esme, who shows every sign of being pregnant. She refuses to say who the father is, so Cameron has a chat with her father. It turns out that Esme's been pregnant before, but miscarried: Stewart puts it down to the "bad blood" from her mother, and has kept her out of the company of men ever since. He's determined to find out who's responsible for his daughter's condition. Cameron cautions him not to bully her, but it seems unlikely that's going to do much good.<br />
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Indeed it doesn't. Stewart beats his daughter once more, and she says that Dr Finlay is the father of her baby, having made love to her in his car. Cameron is summoned to be told the news and refuses to believe it. He tries to get the name of the real father out of Esme, but she continues to insist it was Finlay. Stewart threatens to write to the medical council about Finlay unless he does the decent thing by his daughter.<br />
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Cameron talks to Finlay, who's appalled by Esme's accusation. As they ponder what to do next, a letter arrives that determines Cameron to go up to the Stewart house with Finlay straight away.<br />
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Cameron and Finlay reveal to Stewart that the letter contains the results of lab tests on Esme, who is not in fact pregnant at all: the symptoms she shows are the result of her disturbed emotional state due to Stewart's abuse of her. Finlay and Cameron prepare to take Esme to Glasgow for treatment - Stewart thinks it's a ploy to spirit her away and abort the baby, but is eventually shamed into realising just how much damage he's done to his daughter (frankly, rather more tangible punishment would have been nice).<br />
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<b>Monday 3 May</b><br />
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Next, a rare <b>TV Minus 50 </b>appearance from a show which, due to the total lack of interest in Rediffusion's archive by its current owners, is unlikely to ever get a DVD release.</div>
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This episode of <b>No Hiding Place</b> is set in the seedy world of greyhound racing - as such, the poor image quality in the copy I've got on disc actually helps to heighten the atmosphere.<br />
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John Woodnutt plays a top dog trainer, exulting in yet another win: "We've got a derby winner there or my name isn't Joe Briggs," he announces, so that we know what he's called.<br />
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Maureen Flynn (Maureen Davis) and Jerry Dempsey (Donal Donnelly) are a pair of sweethearts who work at the track. He's just been given his notice, and is reluctantly applying to a crook named Harry Lavey for work.<br />
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In even more of a sorry state than Jerry is Maureen's father Smokey (Liam Redmond), who insists he's only filling in sweeping up at the track until he resumes his career as a top dog trainer. He tries to get his unimpressed daughter to put a good word in for him with Briggs.<br />
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In Maureen's flat later that evening, Jerry reveals that Lavey's offered him £300 to fix a race. Smokey turns up, drunk and hoping to stay. Jerry suggests that he go and see Lavey too.<br />
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Lavey (Glyn Houston) owns a local snooker club, where he hangs out with his lieutenant Alf Lister (Glenn Williams). Smokey approaches him for work, and Lavey offers him a fiver to put a bet on Thief of Baghdad, a Joe Briggs dog that's a dead cert in a race at a flapping track (an independent one outside of London).<br />
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Maureen and Jerry prepare to take the dog to the track. From their manner it's clear there's something ever so slightly dodgy going on.<br />
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Briggs' wife (Betty England) answers a call from an unknown Irishman who wants to speak to her husband (we can barely hear the dialogue in this scene above the Animals belting out "Bring It On Home to Me" on a dimly-glimpsed pop show on the telly (presumably <b>No Hiding Place</b>'s Rediffusion stablemate <b>Ready, Steady, Go!</b>). The mysterious caller warns him of some funny business going on at the stadium where Thief of Baghdad's racing. Briggs decides to go along, just to be sure.<br />
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I don't think this is a real place, and even if it was I don't think it would be spelled like this:<br />
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Smokey places a bet with Bert Conway (Howard Goorney), then, spotting Briggs, approaches him in the hope of getting some work. Briggs, however, is distracted by what's happening on the track: he notices something strange about his dog.<br />
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The next day, two boys happen upon Briggs' body: he's been murdered.<br />
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Detective Chief Superintendent Lockhart (Raymond Francis) and his sidekicks Detective Sergeants Russell and Perryman (Johnny Briggs and Michael McStay) are on the case. Race vet Mr Lovejoy (Arthur Hewlett) informs them that Thief of Baghdad had to be put down after winning the race due to a broken leg, but insists she wasn't doped.<br />
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Lockhart interviews Bert Conway, who says he immediately thought something was wrong when the permanently destitute Smokey bet £40 on a dog. He paid up nonetheless, out of fear of Harry Lavey and his men (he only gives Lavey's name by a slip of the tongue).<br />
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Russell goes to see Maureen and a clearly anxious Jerry at the track. Jerry claims not to have known that Briggs was at the track. He denies being the Irishman who called the murdered trainer.<br />
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Lockhart summons Lavey, who proves less than cooperative. <br />
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Smokey turns up on Maureen's doorstep once more, hoping to hide from the police, who he thinks want to pin Briggs' murder on him. He admits that he made the call to Briggs in the hope of seeing him to ask about work. Jerry relieves him of the money he won on the dog for Lavey and takes him off to an empty flat where he can hide. While they're gone, Lockhart pays a call on Maureen, having worked out that she's Smokey's daughter. She claims she rarely sees her father, but he notices the suspicious roll of notes, which Jerry put in her handbag.<br />
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Smokey tells Jerry he knows that he swapped Thief of Baghdad for another of Briggs' dogs, Queen of Fiji, on the fateful night. Smokey reveals that it was switching a dog which ended his career as a trainer, and warns Jerry of the dire consequences of such an act.<br />
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A frantic Jerry calls Lavey about getting Smokey out of the way.<br />
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Redmond, Davis and particularly Donnelly all give tremendous performances, and the story benefits greatly from keeping the stiff detectives on the periphery of the action. The highlight is an incredible scene where Jerry nervously sounds Maureen out about how she'd feel if her father were to suddenly die. She proves sceptical of his insistence that the old man's suddenly suicidal.<br />
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The detectives are getting close to the truth, and call in Lovejoy, who confirms that the dog in Queen of Fiji's kennel isn't the right one at all.<br />
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Lavey and Lister call on the now insensibly drunk Smokey with the terrified Jerry, who's commanded to hang Smokey and make it look like suicide. The law arrive just in time, Maureen having told all. It seems unlikely there's a glowing future ahead for poor Jerry.<br />
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<b>Tuesday 4 May</b><br />
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On BBC 1 tonight, documentary <b>Born Chinese</b> asks the question, what are the Chinese really like? Those uninterested in finding out can watch W C Fields in <b>Tillie and Gus </b>over on BBC 2.</div>
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<b>Wednesday 5 May</b><br />
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Tonight's play on BBC 1 (following on the heels of a Liberal party political broadcast from David Steel) is Sam Thompson's <b>Cemented with Love</b>, starring Harold Goldblatt, Elizabeth Begley and Anton Rodgers.</div>
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<b>Thursday 6 May</b></div>
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Tonight's <b>Gideon's Way</b> is one of the best so far, benefiting from a top-notch guest cast and very much playing to the show's greatest strength, its vivid London locations. We begin at a bustling market, where Mrs Wray (Carmel McSharry) moves among the crowds with her little son Peter(Alan Baulch). Silently egged on by his mother, Peter snatches the purse of a shopper (Zohra Sehgal), but is seen. He proceeds to scarper, his progress through the market and into the unglamorous streets beautifully filmed by director Cyril Frankel.<br />
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As fate would have it, young Peter ends up running straight in front of a car containing Commander George Gideon. Terrified, the boy drops the purse and escapes once again. Gideon elects to take the purse to the local Superintendent.<br />
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Said Superintendent (Wensley Pithey), Hemingway by name, is currently on the receiving end of a torrent of abuse (but no swearing, obviously) from local crook Mark "Frisky" Lee (the ever-dodgy Maxwell Shaw), after searching his flat while he was on holiday in Bermuda. Frisky goes quiet when Gideon arrives, and is rattled by the Commander's insinuation that he's involved with the area's recent epidemic of child pickpockets.<br />
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Meanwhile, poor little Peter faces his mother's wrath for committing the cardinal sin of the pickpocket by running. She locks him in a cupboard to mend his ways...<br />
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...then pops round to see Mrs Cowan (Avis Bunnage), a receiver of stolen goods (much to the anguish of her law-abiding tailor husband (Harry Towb)). Mrs Wray just glimpses a shadowy figure in the back of the shop.<br />
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This is Happy Hardwick (Jack McGowran), an associate of Frisky's who lives with him, and at whose door has been laid the blame for Frisky's house getting searched. Mrs Cowan gives him a coat with various stolen valuables sewn into the lining and sends him on his way back to Frisky.<br />
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Frisky, meanwhile, is consulting with his lawyer, Gabby Lyon (Sidney Tafler), but throws him out for mocking his less-than-legitimate activities.<br />
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Frisky's wife Ada (Suzan Farmer, much too posh for the part) refuses to know about anything illegal he gets up to. Her hard-faced mother, Mrs Clarke (Angela Baddeley) is less circumspect.<br />
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Happy sneaks in, but is seen by Frisky, who proceeds to rough him up.<br />
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The next day is a Sunday, and Gideon's plans to go for a picnic with his wife are interrupted by the news that Frisky Lee's been stabbed to death.<br />
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Happy, who protests his innocence but knows he's the prime suspect, is hiding out with the Cowans.<br />
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Mrs Clarke certainly thinks Happy was the culprit, having heard he and Frisky fight again during the night. Both she and Gabby deny all knowledge of Frisky's child thief racket.<br />
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Mrs Cowan bundles Happy out of the door when the police turrn up. He spent the night on the Cowan's sofa, and what should David Keen find down the side of it but a bloodstained knife?<br />
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Hemingway thinks it's an open and shut case, and sends his men out to scour the streets for Happy. Gideon (probably realising there's still two-thirds of an episode to go) suspects there's rather more to it, however.<br />
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Gideon sends a WPC out to find the boy thief he briefly encountered. She spots him as he wends his way home from another day on the rob.<br />
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Back home, he's scolded once more, this time for stealing food and toys for himself. It's back in the cupboard he goes.<br />
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Gabby Lyon goes to see Gideon, having had an attack of conscience. He's disgusted by the thought of children being involved in crime, and suggests the police search a large warehouse Frisky owned had mysteriously refused to sell despite its vastly increased real estate value. Keen and his men find Happy there, and chase him to the rooftop, which he falls off and promptly dies. But other than this, the place is entirely empty. Gideon remains convinced there's still a "Mr Big" behind it all who was responsible for Frisky's death.<br />
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Gideon pays a call on Mrs Wray. Finding Peter cowering in the cupboard he arranges to have him taken into care and his mother arrested for child abuse. After she admits she took all the stolen goods to Mrs Cowan, Gideon decides to pay her a visit.<br />
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Only Mr Cowan's at home though, and when Gideon suggests his wife might have been involved in murder he promptly spills his guts. Mrs Cowan's round at Frisky's house, having a celebration of some kind with Mrs Clarke as Gabby looks on in distaste.<br />
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Gideon arrives, and pins the murder on Mrs Clarke, who was assisted in framing Happy by Mrs Cowan. Ada comes round from the heavy sedation she's been under in time to agree with this analysis.<br />
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<b>Friday 7 May</b></div>
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An eclectic schedule on BBC 1 tonight includes <b>Sykes and a Bird</b>, the return of <b>The Good Old Days</b> and the Polish film <b>Eve Wants to Sleep</b>.<br />
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You can see the week's full BBC listings from the <b>Radio Times <a href="http://genome.ch.bbc.co.uk/c25e8016b297441ab1378f1fd0cb19b9">here.</a></b><br />
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<b>Outside the box</b></div>
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<b>And to play us out...</b></div>
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...it's Cliff Richard, at number 2 in this week's singles chart with "The Minute You're Gone". The Beatles continue to hog the top spot, as is their wont.<br />
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Ivanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.com0tag:blogger.com,1999:blog-4443589666300610642.post-38016650500900103312015-04-24T17:04:00.003+01:002015-04-24T17:04:51.937+01:0024-30 April 1965Hello, hello! It's good to be back (Oh. Perhaps I could have phrased that better). Anyway, I hope you've enjoyed yourselves during my absence - I've been taking some time to enjoy the sunshine and do some things away from my computer screen. But frankly, I've had enough of 2015 now: the present's a nice place to visit but you wouldn't want to live there. So back to 1965 it is.<br />
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<b>Saturday 24 April</b><br />
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Tonight's <b>Juke Box Jury </b>line-up (Val Doonican, Judy Huxtable, Julie Rogers plus bloody Pete Murray again) is a bit dull, so we won't dwell on that. Instead, let's clamber aboard that deceptively roomy old police box once more. While I was away, the Doctor and his friends defeated the terrifying Animus on the planet Vortis, and then had an adventure in the Holy Land involving Richard the Lionheart (not the one from the Danzigers' TV series).<br />
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When we join them tonight they're still dressed in their medieval finery (Ian's open shirt is the result of various punishing ordeals rather than a fashion statement), but on their way to their next adventure. And goodness it's a strange one.<br />
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At the controls of the TARDIS, our heroes suddenly stop, entirely motionless...<br />
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After a look at the outside of the ship - a rocky landscape dotted with various ships - we return to find the crew coming returning to life. But something puzzling's happened:<br />
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<b>Ian</b>: Doctor, we've got our clothes on!<br />
<b>The Doctor</b>: Well I should hope so, dear boy.<br />
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What he means is that they're now wearing their "ordinary, everyday clothes", although Vicki clearly isn't, her usual vaguely futuristic tunic having been replaced by a party frock. Unlike the others, the Doctor's not at all curious about what's just happened - he's just happy about the time saved in changing. "It's just time and relativity, my dear boy," he says, which is a bit confusing as he's looking at Barbara at the time.<br />
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Vicki pops to the food machine for a refreshing drink, only to drop the glass - which shatters, then puts itself together and leaps back into her hand (the reverse-footage effect is obvious but still pretty effective).</div>
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The Doctor doesn't seem inclined to believe her story - besides, he's more interested in the gathering of spacecraft outside the ship - especially as they all come from different periods of history. He deduces that they're in a space museum, and decides to pop out and have a look.<br />
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As soon as he's out of the door he spots another curious thing - the most advanced stage of soil erosion he's ever witnessed (I don't know why they didn't just make the whole story about that, really).<br />
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Ian notices something even more puzzling:<br />
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The gang head for a nearby structure, and just as they're pondering how to get inside, the vast doors open and a pair of burly men with silly hairdos exit. The time travellers conceal themselves rather poorly, but even though Vicki sneezes loudly, the men don't seem to notice them at all - and what's more, the men and everything else around them are entirely silent (though viewers at home get to hear a selection of wonderfully eerie library music tracks).<br />
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The travellers dart through the open doors for a look at the museum. Hartnell has a struggle with his lines that's even factored into the DVD subtitles this time.<br />
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"I always thought I'd find it some day," the Doctor muses of the museum. Most of the exhibits are standard man-in-a-spacesuit stuff, but there's one our chums are particularly taken aback by.<br />
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Well, they're all taken aback except for Vicki, who knows about the Daleks (their invasion of Earth from earlier in the series took place 300 years before her time), but she seems never to have seen so much as a picture of one. She thinks it looks friendly (actually she's probably just saying that to tease the others). But there's little time to discuss this, as they all have to hide again, this time from a pair of formidably-eyebrowed youths dressed like puppeteers. But though these two are clearly having an animated conversation, the travellers can't hear them at all.<br />
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Things get even stranger as Vicki naughtily goes to touch an exhibit, only to find her hand passes right through it. It's the same for the travellers with everything else in the museum (but isn't Ian leaning against the plinth in the above picture? And how come they're able to walk on the floor?). More youths pass, and fail to see the travellers even though they're looking right at them.<br />
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The Doctor finds another highly unexpected exhibit - the TARDIS. He decides not to worry about how it got there or any of the mysteries he's encountered and just head off. But that doesn't quite work out.<br />
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And there's an even more troubling exhibit directly opposite this one...<br />
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What is going on? Well, Vicki thinks she might have an answer: "Time, like space, although a dimension in itself, also has dimensions of it's own." That doesn't quite seem to clear it up, so the Doctor ventures his opinion that the TARDIS "jumped a time track," so the travellers got to the museum before they'd actually arrived (I wonder if Max Bygraves' catchphrase "I've arrived, and to prove it I'm here" was an influence on writer Glyn Jones?). All they need to do is wait around for the TARDIS to arrive properly and they'll become fully corporeal once more and be able to stop the chain of events that led to them becoming museum pieces.<br />
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Well I'm glad <i>you</i> do, dear. Nonetheless, the Doctor seems to be right. A few seconds after he's delivered his assessment of the situation, the TARDIS does indeed land, the events of the episode are repeated in a series of jump cuts, the burly men find footprints outside the TARDIS, and the Doctor announces "We've arrived"...<br />
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Well, that made no sense whatsoever, but in the most wonderful way. Back in time now, and back to more conventional narrative.<br />
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Tonight's <b>Sherlock Holmes </b>begins with a truly astonishing sight - Tony Steedman with hair! I barely recognised him. <br />
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He's Lord Farningham, who's had some worrying dealings with the Prime Minister. His wife (Stephanie Bidmead) lurks outside his office in a cloak, before rushing off for an appointment with the episode's title character.<br />
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Mr Milverton (Barry Jones) seems quite charming and cuddly at first, but soon reveals himself as a wicked blackmailer with some seriously compromising goods on Lady Farningham: she wrote about a trade agreement between Britain and Arabia to a young man she was having a dalliance with, and the information's now reached the Sultan of Turkey, causing a major international incident. Milverton wants 7000 guineas ("Less vulgar than pounds, don't you think?") to stop him informing Farningham it was his wife's fault. The man's childish glee in tormenting his victim is a horrible thing to behold.<br />
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Once a sobbing Lady Farningham's departed to try and raise the money, Milverton gets another visitor, a blackguard named Captain Fitzallen (Derek Smee), who was entrusted with some rather delicate letters by a comrade, but has decided that instead of delivering them to the young lady who wrote them he'd enlist Milverton's services in extorting money from her.<br />
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The author of the letters was Lady Eva Brackwell (Penelope Horner), whose engagement to Lord Dovercourt their appearance would place in jeopardy. But Lady Eva proves to have rather more spunk than most of Milverton's victims, and goes to see Sherlock Holmes about his threats. It turns out that Milverton's well known to the detective as the "king of blackmailers", the most feared man in London.<br />
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Nonetheless, Holmes decides to take him on. He tries to negotiate with Milverton over the price, but the toadlike blackmailer won't budge: he particularly wants to make an example of Lady Eva in the hope it will make some of his more recalcitrant victims more co-operative. So Holmes decides to resort to other methods.<br />
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It's too late for Lady Eva's case to have any effect on Lady Farningham, however: her failure to pay up in time has prompted Milverton to send the compromising letter to her husband: as a result, he shoots himself.<br />
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Reading of the suicide, Holmes immediately links it to Milverton, who he admits repulses him more than any murderer. Holmes has invited Milverton round to collect Lady Eva's payment (Holmes has stated that Milverton is "As cunning as the Evil One", and the glint in his spectacles from the studio lights gives him an appropriately demonic appearance).<br />
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Watson locks the door, and he and Holmes threaten Milverton with violence if he doesn't surrender the letters. The blackmailer complies, and Holmes burns them, only to be told that they were just scrap paper - Milverton still has the real ones, and this latest debacle hasn't made him any more inclined to surrender them without payment.<br />
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Holmes' next effort is to adopt the alias of plumber Sidney Escott and set about romancing Milverton's maid Agatha (Ann Penfold), while pumping her for information about Milverton and his household. It seems a bit callous really, as she clearly likes him a great deal, though he insists to Watson that he's got a love rival who snap Agatha up as soon as Sidney mysteriously vanishes.<br />
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The information he's got from Agatha enables Holmes to plan a burglary of Milverton's house (Watson puppyishly insists on tagging along, proudly making silk masks for the expedition).<br />
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The thieves are startled to find Milverton up and about and receiving a mysterious, veiled visitor. Supposedly a client with compromising information to sell, this in fact turns out to be the vengeful Lady Farningham, who shoots the blackmailer dead.<br />
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The concealed Holmes and Watson overcome their astonishment at this scene, raid Milverton's safe, burn the contents and abscond, Watson nearly being caught by the pursuing under-gardener.<br />
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A short while after they return, Inspector Lestrade (Peter Madden) pays a call, hoping to enlist Holmes' aid in solving Milverton's murder. Holmes respectfully declines, though he and Lestrade have a good chuckle about the escaping suspect's apparent resemblance to Dr Watson...<br />
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Back to the present now, but over to the other side, for tonight's forage in<br />
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There are some corking <b>Human Jungle </b>episodes that I've missed while on hiatus: patients included Margaret Lockwood as an actress terrified of ageing (whose age, ironically, was given as 10 years younger than Lockwood's own), Flora Robson as a headmistress with paedophile urges (which she came to accept were nothing to worry about) and Alan Dobie as an interior designer unable to choose between business-minded Barbara Shelley and dog-obsessed weirdo Rita Tushingham. Sadly, tonight's is a bit disappointing in comparison - however, this series continues its run of first rate guest stars with an appearance from the great Roger Livesey.<br />
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We begin with a wordless pre-episode title sequence of a a group of beautiful young people enjoying themselves in the water. We mainly focus on a glamorous (uncredited) blonde woman, whose behaviour seems a bit erratic. Taking the wheel of a speedboat, she nearly drives it straight into her swimming friends a couple of times, before finally crashing it...<br />
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The relevance of this scene is mysterious at first: rather than following it up directly, we're whisked to Dr Roger Corder's office, where his lawyer friend Jack Lamont (Donald Pickering) introduces him to his client Grace Charlton (<b>The Plane Makers</b>' Ann Firbank), who wants Corder's help in proving that her father was of unsound mind when he made his will (under which she didn't inherit anything). It seems an impossible task: Grace's father, Sir William Bridley, died in 1958, while the will was made back in 1944. That was the year that Grace married against her father's wishes - but she thinks that the scale of his opposition to the marriage was such that he must have been out of his mind at the time. The will states that when the legatees - Grace's mother, aunt, brother and sister - each die, their share of the money must go to charity to ensure Grace gets nothing (it turns out it was Grace's sister Victoria we saw meet her doom at the start of the episode; her brother, meanwhile, was severely brain damaged during the war).<br />
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Moved by Grace's sob story about her money worries due to her farmer husband being incapacitated by an accident, he decides to investigate, though he doesn't have much hope of success. He pays a visit to Grace's mother, Lady Bridley (Nora Nicholson), who seems evasive about her relationships with her husband and daughter. Her domineering sister-in-law and carer Agnes (Sonia Dresdel) is more forthright about her dislike of her niece and veneration of her late brother.<br />
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Corder's next visit is to the family's former doctor (an uncharacteristically affable Allan Cuthbertson) - who, Corder is surprised to learn, was also Victoria Bridley's first husband. He ventures the medical opinion that she was "off her rocker", hence the fatal crash, and thinks Grace has a persecution complex.<br />
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We flash back 20 years to the young Dr Fisher being asked by Sir William (Livesey) to sign a statement confirming he was of sound mind when he cut Grace out of his will. Does this wrap the matter up, or was Fisher simply trying to get in with the old man as he had his sights on his daughter?<br />
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Along with a weekly big name guest star, another (and considerably less welcome) addition to the second series of <b>The Human Jungle</b> has been a series of comedy subplots involving Corder's daughter Jennifer. This week's sees her (accompanied by excruciating "funny" music) spot a dog in a pet shop window and impulsively buy it, causing all manner of hilarity (ahem) around her father's Harley Street flat.<br />
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Back at the main plot, Corder pays a visit to a former colleague of Sir William's played by the currently ubiquitous John Wentworth. He sings the dead man's praises as a pioneer of employee rights - and he shares everyone else's dislike of Grace, who he thinks has an unreasonable grudge against the whole world.<br />
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Another flashback shows us Sir William sounding off about his reasons for opposing Grace's marriage - her fiancé was a conscientious objector, which he considered an insult to casualties of war like his son.<br />
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Corder talks to Grace, who claims the reason nobody likes her is because her father's unreasonable behaviour provoked her into insolence and bad manners whenever he was around. We now flash back from her perspective to Sir William's violent reaction when he learned she was pregnant by a conchie.<br />
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For backup of her view of her father's mental state, Grace suggests Stephens (Russell Waters), an old family servant who saw Sir William at his worst. Jimmy Davis is sent along to see him, and hears the story of how he was fired by a wrathful Sir William for supposedly stealing a pair of cufflinks. He backs up Grace's story that Sir William was an entirely irrational tyrant - but then, he's clearly got an axe to grind.<br />
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Finally, Corder returns to the home of Lady Bridley, in the hope of getting her alone. Sensing this, she fakes illness, and Agnes is expelled while Corder treats her (the supposedly frail old lady enjoys a smoke and a glass of whisky when left alone). She reveals that on the day of Grace's wedding, Sir William had been seized by a sudden, unfounded conviction that Grace wasn't really pregnant but had lied to gain his consent to the marriage. It was while in the grip of this that he changed his will. She agrees he was of unsound mind to ensure that Grace is taken care of, but admits that she doesn't really like her daughter or want anything to do with her - certainly not enough to jeopardise the easy life she enjoys with Agnes running around looking after her.<br />
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As skeletons in the cupboard go, the revelations in this episode are a bit of an anti-climax compared to some of the show's previous stories (I'm especially thinking of paedo Flora Robson). Tyrannical parents were clearly something of a preoccupation for writer Bill McIlwraith, whose most famous work, the play <b>The Anniversary</b>, was filmed in 1968 by this episode's director, Roy Ward Baker, with Bette Davis as one of cinema's most vivid castrating mothers.</div>
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<b>Sunday 25 April</b><br />
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What does Sunday mean...?</div>
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Yes, <b>Stingray</b>, which happily is as potty as ever (sadly, the show's most head-spinning episode to date - featuring the Steve Zodiac puppet from <b>Fireball XL5 </b>as an actor playing Troy Tempest in a movie based on the exploits of Stingray, happened while I was away).</div>
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This week's baddies have funny fins on on their faces and a secret base under the sea, from which their craft emerges with the explicit intention of being seen and fired at by a WASP sub.</div>
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It turns out their ship is made from a new metal which they've now been able to prove is entirely indestructible. Unlike what the ill-fated WASP sub's made of.<br />
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The dastardly pair are now ready to embark on their new project: "The complete and utter destruction of Marineville".<br />
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Troy and Phones are disturbed at breakfast by the news that the mysterious sub is attacking. Atlanta was in the Marineville supermarket when she got the call.<br />
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Action stations are manned, and the craft's missiles are repelled, though the ship itself escapes without a scratch.<br />
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To decide how to combat the menace of the indestructible sub, a meeting is called, and it's clearly a stressful one as everyone's given a cigar (except Marina).<br />
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It's decided that WASP needs to enlist the aid of top scientist Professor Burgoyne, who's "known to be a bit eccentric" (he's the nut of the title, you see). Troy's sent to pick him up.<br />
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Burgoyne proves to be a standard anti-social eccentric type, whose monotonous cadences aren't a million miles away from David Graham's Dalek voice (but without the ring modulator). He and Commander Shore immediately get off on the wrong foot.<br />
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We're treated now to a spectacularly pointless scene aboard the enemy ship, with the senior baddy (we can tell he's in charge because he's got a beard), who seems to be called Groupon, informing his subordinate that he's going on a break: "If you have any problems, call me."<br />
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On that bombshell, we pop back to Marineville, where Professor Burgoyne has set up shop in a remote abandoned building and is working to discover a new metal powerful enough to destroy the enemy's new metal.<br />
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He manages to blow up his base, but survives the blast with the new metal ready to go.<br />
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Here's Troy Tempest looking quite extraordinarily rugged and ready to kick some aquatic posterior.<br />
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The professor's missiles prove a roaring success. The villains survive the attack, however, and are given a proper bollocking by Commander Shore. They're going to be locked up for a bit then sent back to their people with a dire warning never to mess with WASP again. Mess with us surface dwellers at your peril.<br />
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Next tonight, one of our occasional Sunday night visits to Tannochbrae, the sleepy little Scottish village that experiences a quite remarkable number of medical emergencies.<br />
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Here's something rather strange. Does anybody know what, exactly, the below means?<br />
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Anyway, Merger's script begins with a daring escape from an army hospital - all the more daring as the escapee, Corporal Ian Grant (David McKail), only has one fully working leg. The other was due to be amputated by army surgeon Colonel North (Moray Watson). Grant's father Hamish (Callum Mill) is waiting for him, and takes him back to his home in Tannochbrae.<br />
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Meanwhile, at Arden House, Dr Cameron's confined to bed. He thinks he's the latest victim of the measles outbreak plaguing Tannochbrae, but Dr Finlay and Janet think it's just a cold.<br />
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North mounts an expedition to find Grant, whose leg has to come off within 48 hours to stop the sarcoma infecting it from fatally spreading.<br />
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It turns out that Hamish Grant is a former soldier who also had his leg amputated. He's been bitter about it ending his career ever since - understandably so, as we later discover all he had was a bit of frostbite. He now has a deep distrust of army doctors, and calls Finlay in to look at Ian instead, claiming that he hasn't yet seen a doctor. His diagnosis is entirely different from North's: he thinks it's just an abscess in Ian's leg, and that there'll be no need for amputation at all.<br />
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Neighbour Dr Snoddie (Eric Woodburn) visits Arden House to remonstrate with Finlay over his lax attitude to the measles outbreak. On learning that Cameron supposedly has the disease he beats a hasty retreat.<br />
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Colonel North's men, led by Sergeant Ross (Roy Godfrey) arrive in Tannochbrae in search of the missing patient. When they reach Hamish's greengrocer's shop, he denies all knowledge of his son's whereabouts.<br />
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Specialist Sir William Duffy (John Harvey) is called in to have a look at Ian's leg, and agrees with Finlay's diagnosis. Meanwhile, Colonel North is equally certain of the danger to Ian's life if he isn't found and delimbed.</div>
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Snoddie answers a call from North about Grant's disappearance, and informs Finlay of the truth about Ian's presence in Tannochbrae. A young Brigit Forsyth appears as the hospital receptionist.<br />
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Finlay angrily confronts Hamish about his deception: he's been forced into an ethically difficult situation by taking on another doctor's patient.<br />
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North arrives in Tannochbrae, insistent that the leg has to come off immediately. Finlay and Duffy are astonished, but North's certainty leads Duffy to question his own diagnosis.<br />
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The only way to confirm who's right is to do an exploratory operation and see if any pus comes out of the leg. If so, it's just an abscess and the leg can be saved. Happily, the pus flows freely (there's a sentence you don't get to write every day).</div>
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Dr Cameron's still clinging on to the belief that he's got measles, proudly exposing his chest to reveal the rash that's now come up. Dr Finlay breaks it to him gently that it's just prickly heat.<br />
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<b>Monday 26 April</b></div>
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Today's a little bit special, as for the first time ever we visit a certain little motel on the outskirts of Birmingham. ATV had been running <b>Crossroads</b> (created by Peter Ling and Hazel Adair, who had previously inflicted <b>Compact</b> on BBC viewers) since November 1964, but tonight's is the earliest episode to have survived into 2015. It's quite a sad and lonely thing, as there aren't any more existing episodes after this until November 1966: we're left with mere fragments of storylines and characters, never to see them resolved. Of the people we see here only indomitable motel proprietress Meg Richardson (Noele Gordon) and her future husband Hugh Mortimer (John Bentley) survived into the show's well-remembered 70s heyday - for several of the others this is all we'll ever see of them.<br />
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The episode begins by reprising the arrival at the motel of Doreen Carroll (Jacqueline Noon, whose stilted performance is everything you want out of <b>Crossroads</b>), estranged wife of motel employee Philip (Malcolm Young), to the shock of Philip's current love interest, receptionist Christine Fuller (Alex Marshall).<br />
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The reason for the estrangement is that Doreen's been in prison for some unspecified crime (which seems to be connected with Philip having done time in a military prison after a court-martial). He admits to her that he's planning on a divorce, and she furtively asks him for some money.<br />
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Christine, it seems, is more than a little jealous (the plot developments may make little sense out of context but at least we've got the glorious original Crossroads decor to focus on).<br />
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Next we find ourselves in the home of the Jarvis family, owners of the local newsagent's. Dick Jarvis (Brian Kent), husband of Meg's sister Kitty, is being praised for his achievements in amateur dramatics by neighbour Ruth Bailey (Pamela Greenall). Young Brian Jarvis (David Fennell) is being very sullen.<br />
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In the Crossroads kitchen, Spanish chef Carlos Rafael (Anthony Morton) greets cheery cleaning lady Mrs Blundell (Peggy Aitchison). There's a classic <b>Crossroads</b> moment as a boom shadow moves out of shot at the left of the screen at the exact same moment Aitchison fluffs her lines. Carlos is in his motorbike gear ready for a trip to Malvern to see his wife Josefina, who works in a girls' school there.<br />
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Christine confronts Philip (who seems to be taking clothing inspiration from Ian Chesterton) about Doreen. He insists it's all over between them, and offers to take Christine and her young son Mark on a day trip to Malvern - which is clearly quite the place to be.<br />
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Carlos and Josefina (Jill Betts) are certainly enjoying themselves there, romping about on film. Unfortunately, Carlos's bike breaks down, so they head back to Josefina's school.<br />
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Back at <b>Crossroads</b>, Brian pops in to romance secretary Janice Gifford (Caroline Lister). He's not happy about Ruth getting her feet under the table with his father.<br />
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Meanwhile, Meg and Hugh are enjoying a drink together (she entertains him with a broad Brummie accent which is supposedly an impression of Mrs Blundell - although from what we've seen of Mrs Blundell she sounds nothing like it). Hugh tries to educate Meg in "the secrets of top management" - essentially, delegating all her duties to underlings. Hugh reveals that he plans to buy a large house for sale nearby, with the eventual aim of living there with Meg.<br />
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At the school, Carlos and Josefina are being very animated and Latin as they try and decide what to do next. Josefina pops off to get changed and Carlos darts into an office to avoid some approaching schoolgirls. It's occupied by Miss Henderson (Meriel Hobson), who mistakes him for a man come to fix her electric fire.<br />
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She pops out for a bit, returning to the shocking sight of one of her employees apparently being ravished by an electrician...<br />
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This being <b>Crossroads</b>, we get a brief "sting" shot post-credits. It's exciting stuff.<br />
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So that's it for <b>Crossroads</b> now until next year, unless a new cache of episodes are found and swiftly made available.</div>
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<b>Tuesday 27 April</b></div>
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New sitcom <b>The Bed-Sit Girl</b>, from <b>The Rag Trade</b> writers Ronalds Wolfe and Chesney and star Sheila Hancock, continues on BBC 1, with Dilys Laye, Ronnie Stevens, Derrick Sherwin and George A Cooper also appearing. On the same channel later on in the evening, viewers could enjoy the latest instalment of the documentary series <b>Einstein</b>, with Robert Rietty (who, back in 2015, died last week) providing the great man's voice. For viewers who find that a bit too highbrow, BBC 2's <b>The Vintage Years of Hollywood </b>offers Preston Sturges' sublime 1942 screwball comedy <b>The Palm Beach Story</b>.</div>
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<b>Wednesday 28 April</b></div>
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BBC 2's sitcom <b>The Airbase</b>, starring two of British TV's most prolific Rent-a-Yanks, Alan Gifford and David Healy, comes to an end this evening. Over on BBC 1, tonight's <b>Wednesday Play</b> is Jean Benedetti's <b>The Good Shoemaker and the Poor Fish Peddler</b>, starring John Barrie. This is followed by <b>Viewpoint</b> on the work of Dorothy L Sayers.</div>
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<b>Thursday 29 April</b></div>
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ITC's rather bland <b>Gideon's Way</b>'s been chugging along for a couple of months now - the whole time I've been off, in fact. Being an ITC show, none of the episodes are directly connected with each other in terms of plot development, so there's no story so far to report. It's just a series of cases for doughty Commander George Gideon of the Yard (played by doughty John Gregson).<br />
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Tonight's begins with an old lady being run over. With her dying breath, she tells a pair of puzzled ambulance men that she nursed the wife of a man named John Borgman, and that he poisoned her.<br />
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The news reaches Gideon, who sends his right-hand man David Keen (Alexander Davion) to interview the doctor who attended the dying Mrs Borgman (an uncredited Ian Fleming). He insists there was nothing fishy about the woman's death.<br />
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Borgman (Walter Brown) is a high-flying businessman. Our first sight of him is as he fires Ben Samuels (Meredith Edwards), an employee of many years' standing who's been found to have stolen company funds. Borgman's secretary Clare Selby (Erica Rogers) reported Samuels, and takes a malicious delight in his dismissal.<br />
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Borgman's second wife is played by Vanda Godsell so, as you can imagine, things are pretty fraught at home. She's convinced he's having an affair with Clare.<br />
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And she's not wrong. After their latest row he heads straight for Clare's flat. Gideon spots him going in as he drives past on the way to the pictures with wife Kate (Daphne Anderson) and son Malcolm. Young Malcolm's played by Giles Watling, son of <b>Plane Makers</b> star Jack and brother of actresses Dilys and Deborah. Fast-forward to 2015 and he's a Conservative councillor in Frinton who unsuccessfully stood for Parliament in the 2014 Clacton by-election after incumbent Tory MP Douglas Carswell defected to UKIP.<br />
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Anyway, back to 1965: poor Ben Samuels stole the money to help his sick wife (Patsy Smart), and finds himself unable to break it to her that he's been fired. While Clare and Borgman smooch elsewhere, he gives her a bowl of poisoned French onion soup (they had it on their honeymoon, though presumably without the poison), then shoots himself.<br />
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David Keen, meanwhile, has learned that while his wife was dying, Borgman was carrying on with the more attractive of her two nurses, who disappeared to Australia shortly afterwards. Norman Bird and Glyn Houston play Superintendent Lee and Sergeant Carmichael, who are put on Borgman's trail, using Samuels' fraud as an excuse to get a good look round the office. Gideon orders the first Mrs Borgman to be exhumed - it turns out she had enough morphine in her "to kill an elephant".<br />
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Lee and Carmichael find a secret drawer in Borgman's desk. Its contents don't look good for Borgman...<br />
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A further fly alights on Borgman's ointment in the form of Jane Kennett (Delphi Lawrence), the former nurse to his wife, now back from Australia and after money for her continued silence. Unable to get hold of him, she targets Mrs Borgman instead, and is grudgingly paid off.<br />
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Borgman's lawyer Cuthbertson (John Gabriel) insists that the warring Clare and Mrs Borgman pretend to be friends for the benefit of Borgman's defence. They agree to put their animosity on hold, though it clearly sticks in both craws.<br />
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It looks like the case against Borgman may be well and truly demolished by crack defence barrister Sir Percy Richmond (Raymond Huntley). It doesn't help that Fred Lee's past skirmishes with Richmond have left him absolutely terrified of the QC. Richmond's killer piece of evidence is that the desk in which the morphine was found previously belonged to a peer who was found after death to have been a long-term morphine addict. It looks like Borgman's going to get off - until a suddenly confident Lee reveals that the kind of bottle the morphine was in wasn't manufactured until long after the junkie peer had died. Hooray for justice!<br />
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<b>Friday 30 April</b></div>
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Early evening Reg Varney sitcom <b>The Valiant Varneys </b>is in the midst of its second series on BBC 1. Viewers who stick with the channel have <b>Sykes and a Protest</b> and a filmed stage production of Ronald Millar and Ron Grainer's musical <b>Robert and Elizabeth</b> (ie Browning and Barrett) with Martin Landau, John Clements, Keith Michell and Sarah Badel to look forward to.</div>
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<b>And to play us out...</b></div>
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It's the Beatles, at the top of the hit parade again with their latest, "Ticket to Ride". That's all for now, see you next week.</div>
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Ivanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.com2tag:blogger.com,1999:blog-4443589666300610642.post-74986033778357806802015-03-21T21:59:00.000+00:002015-03-21T22:09:15.224+00:00I'm having a holiday from blogging for a bit. See you soon.<div class="separator" style="clear: both; text-align: center;">
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<br />Ivanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.com0tag:blogger.com,1999:blog-4443589666300610642.post-87170389136234538732015-03-11T14:25:00.000+00:002015-03-11T14:25:22.803+00:006 - 12 March 1965<b><span id="goog_737611904"></span><span id="goog_737611905"></span>Saturday 6 March</b><br />
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Evening viewing on BBC 1 tonight commences with <b>Jukebox Jury</b>: this week's panel consists of Tom Jones, currently storming up the charts with "It's Not Unusual", glamour girl Jennifer Jones (no relation), the ubiquitous Pete Murray and the sex kitten of Tannochbrae herself, Barbara Mullen. On <a href="http://www.bbc.co.uk/doctorwho/classic/episodeguide/pasb/webplanet.pdf">original paperwork</a> on the BBC's <b>Doctor Who </b>website, we can see that the songs they passed judgment on included the Mighty Avengers' "When Blue Turns to Grey", Jackie Trent's "Where Are You Now" (as heard in Granada's <b>It's Dark Outside</b>), Del Shannon's "Stranger in Town", Cliff Richard's ""The Minute You're Gone" and the Shangri-Las' "Give Him a Great Big Kiss". Sadly, what they thought of these tunes has not been recorded.<br />
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Happily, the programme following after <b>Juke Box Jury </b>is still available for us to marvel at.<br />
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Last time we saw Ian Chesterton and his insectoid lady friend Vrestin, they were caught in a landslide (with no escape from reality). This week, the landslide's reprised (with what sounds like someone laughing raucously on the soundtrack), and the pair land in an underground cavern whose mysterious inhabitants threaten them with strange perspex weapons.<br />
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Jacqueline Hill's back from her week off, so it's time now to see how Barbara's getting on in the...<br />
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The answer is, not very well. The work she's forced to do by her Zarbi taskmasters - putting heaps of vegetation in Vortis's acid streams so the Animus can use them as the raw material to grow its Carsenome - is tiring stuff, and it doesn't help that she can barely breathe the planet's atmosphere. "Everything seems to flare when I look at it," Barbara tells her workmate Hrostar - which explains the vaseline all over the lens. Hrostar laments that with his wings pulled off by the Zarbi, he'll never fly again (or play the banjolele).<br />
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Hrostar explains that the Zarbi are "just cattle" under the control of the Animus. He, Vrestin and the late Hrhoonda were part of an advance guard sent to Vortis to liberate the creatures. It hasn't worked out.<br />
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We're led to believe that the Zarbi are ruthlessly driving their Menoptra slaves to death, so it's a bit jarring to see Barbara and Hrostar walk past a Menoptra and Zarbi who look for all the world like they're having a good gossip together.<br />
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Meanwhile, back at the Carsenome, the Animus isn't best pleased with the Doctor since Ian's escape. "Use the spider, child!" exclaims the Doctor as a Zarbi advances on Vicki with a gold mind-control harness. But too late. The Animus explains that it intends to kill Vicki to force the Doctor's obedience, but he refuses to be threatened. He claims to have worked out that the Menoptra's invasion force are massing on the planet Pictos. Hartnell's brilliant as the defiant Doctor: "If you waste time in idle vengeance, you will all be annihilated."<br />
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The Doctor manages to secure Vicki's release: the way the larvae gun threatening her's butted out of the way by a Zarbi is hilarious, but imaginative (same goes for the whole story, in fact). The Animus' response to the Doctor's revelation is to set an alarm off all round the planet to getthe Zarbi on battle stations.<br />
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We now get a proper look at the creatures who are holding Ian and Vrestin captive. Goodness knows this story's given us plenty of bizarre spectacles, but these shuffling, sleeping bag-clad, Muppet-like beings, who call themselves the Optera, are something else altogether. Their leader, Hetra (Ian Thompson) talks in a ridiculous French accent and jumps in the air every time he gets excited. Like when he sentences the prisoners to "Ze liquid [jump] death!"<br />
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Back at the crater, Barbara and Hrostar, along with another pair of Menoptra, Prapillus (Jolyon Booth) and Hlynia (Jocelyn Birdsall), have noticed that the Zarbi have largely abandoned the area. Despite Barbara's protests, the Menoptra are convinced that the Doctor must be helping the Animus. As ever, it's left to Barbara to tell a bunch of dithering aliens what to do: she decides they should head for the Sayo plateau, where the invasion spearhead is due to land, to warn them that the Zarbi are wise to attack. First, however, they'll have to escape.<br />
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Restored to her senses, Vicki terrifies a Zarbi with the dead spider, making it drop its gold harness so the Doctor can get a good look at it. Why does gold have such strange properties on Vortis, and can he turn them to his advantage?<br />
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Back at the crater, Prapillus and Hrostar wrestle with the Zarbi guard while Barbara and Hlynia tip the larvae gun over.<br />
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The poor creature ends up squished against a wall.<br />
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The Doctor's put the gold harness on his astral map as part of an incomprehensible plan to defeat the Animus using the power of the TARDIS. There's an explosion, and the Animus demands a report from him on what's going on. Unfortunately, the device he's been using to record the Menoptra's signals switches itself on at that very moment and reveals to the Animus exactly where they'll be landing.<br />
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A Zarbi gets up close and personal with Vicki to put her back under control. This time the Doctor suffers the same fate.<br />
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The Optera prepare to fling Ian and Vrestin into a chasm of fire. But happily it transpires that they worship the Menoptra as gods - though Vrestin explains to them that they are themselves Menoptra who never progressed beyond the larval stage due to the baleful influence of the Animus.<br />
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To fully convince the Optera she's a Menoptra, Vrestin unfurls her wings, prompting an orgy of worship.<br />
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Barbara and her friends get to the plateau just in time for the arrival of Captain Hilio (Martin Jarvis) and his suicide squad. It's too late to call the mission off, and besides, the Zarbi are here.<br />
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The balletic sequence that follows, of the Menoptra landing <i>en masse</i> and being slaughtered by the Zarbi is pretty impressive in its way.<br />
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After that bloodbath (not that there was actually any blood on show), some light relief would be very welcome. So it's over to ITV for <b>The Worker</b>. And perhaps I was in an unusually good mood when I saw it, but Charlie Drake doesn't seem quite so awful this week.</div>
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We begin with Charlie back at the labour exchange, after having lost a job as a plumber. It takes nearly 10 minutes for him to relate the story of how it happened - in summary, he was called to remove a woman's toe from a tap, was caught by her suspicious husband, and ended up with it on his own toe.<br />
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Mr Whittaker thinks that trying to find Charlie work is "taking pity on an evil creature," and relates the fable of the snake (the same one told much more catchily in Al Wilson's Northern Soul classic "The Snake"). Charlie finds it hard to follow his reasoning, but professes that he's been trying to better himself intellectually with improving television programmes: "<b>Robert Boothby Entertains</b>: three of 'em all sitting round a table smoking and trying to look as if they'd just ate their dinner. 26 million people were watching <b>Coronation Street</b>, and I'm watching <b>Robert Boothby Entertains</b>. Last night, Mr Wicketer, I was a minorrery audience." Mr Whittaker tries him with another couple of wise sayings ("It's a long lane that has no turning." "The M1.", "A rolling stone gathers no moss." "Billion pound a year and a guitar full of dandruff."), and then it's time to send him for a new job. Appropriately, it's at Send Us Your Problem (SUYP, pronounced "Soup"), an organisation who claim to be able to help people with absolutely anything.<br />
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Angela Douglas, best known at the time as the younger woman Kenneth More was shacked up with), plays the SUYP receptionist, who's had a row with her boyfriend, the Harmonious Relationships advisor (Robert Mill) - I believe that's called irony. Charlie, having been inspired by Mr Whittaker's proverbs, manages to restore the harmony to their relationship with a well-timed "It is no good locking the stable door after the horse has bolted").<br />
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Charlie's sent in to see manager Mr Brinkley (Henry McGee, who'll replace Percy Herbert as the show's frazzled labour exchange clerk from the show's second series on). Baffled by his habit of drawing various items out of his pockets in little flip-top cases (watch, glasses, cigarette case, sweeteners), Charlie somehow spirits up one of his own for his finger. He then delivers a sententious "You can fool all of the people some of the time," etc., which causes Mr Brinkley to suddenly chuck all of his little cases away in the happy realisation he can do without them.<br />
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On his way to see the personnel manager, Charlie's grabbed by a man in a white coat (Mark Singleton, who was also in last week's episode), who implores him to play snooker. As a former schoolboy champ, Charlie's more than willing to do so. It's all part of an experiment on behalf of an aristocrat who wants to know how to play the game without smashing any fragile objects. The room in which they play is full of such objects, and Charlie manages to break all of them.<br />
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A butler pops in with a tray of brandies and soda, and Charlie even manages to break that. Still, when he relates another proverb to the white-coated gent, the idea suddenly strikes him that the answer is to use a larger room.<br />
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All seems to be going swimmingly for Charlie at SUYP, so Mr Whittaker's astonished to see him back at the labour exchange the next day, having been fired after his first assignment...<br />
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Back to BBC 1 now for tonight's<br />
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In a country house, a young lady (Norma Vogan) collapses at the piano as a young man (Paul Harris) watches from the bushes outside. Michael Robbins prepares to set a slavering mastiff on this lurker, and amongst all the mayhem we just have time to note that the man who the girl was playing for before her collapse was Patrick Wymark, <b>The Plane Makers</b>' John Wilder, and a first-rate guest star by any reckoning.<br />
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The next time we see Mr Wymark, he's interviewing young girls alongside Sheila Keith, who in the future will become an unlikely horror icon. She's Miss Stoper, proprietor of an employment agency, he's Jephro Rucastle, who's looking for a governess for his young son. After he's dismissed every other girl as unsuitable, his eyes light up on the sight of Violet Hunter (Suzanne Neve). He offers her the astronomical sum of £100 a year, but there are some very odd conditions attached: to satisfy the curious fancies of his wife, she will need occasionally to wear particular clothes and sit in a particular place, as well as being a photographic model for Mr Rucastle. Violet's happy to go along with this, but draws the line at Rucastle's demand that she have her hair cut short. As they're unable to agree on this, the interview is terminated.<br />
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At 221b Baker Street, Sherlock Holmes is in despair. No interesting cases have come his way in months, and a letter from Violet Hunter announcing she's coming to see him for employment advice seems to be the last straw. Watson points out they've had exciting cases in the past with unpromising beginnings.<br />
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It's too late to do anything about it now anyway, as Violet is here. She relates her experience to Holmes (as we've already seen it this seems a bit of a waste of time), who's immediately fascinated by Mr Rucastle's strange requests. Violet's now had a letter from him begging her to reconsider, and as he's now offering her £150 a year she feels inclined to accept. Impressed by her self-possession, Holmes sends Violet on her way with a promise that he will come to her aid if ever she needs it.<br />
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Violet's new employer brings her to his Hampshire estate, the Copper Beeches. There she meets surly manservant Toller (Michael Robbins) and the seemingly charming Mrs Rucastle (Alethea Charlton). These two share a sinister glance as Violet is taken out to meet her new charge.<br />
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Young Edward Rucastle (Garry Marsh) gives Violet an immediate impression of his character by merrily squishing a mouse with a brick (the flattened animal - presumably not real - appears on screen for a fraction of a second). Even more worrying than Edward's cruelty is his toadlike father's proud encouragement of it: Mr Rucastle seems obsessed with his son one day becoming a great and powerful man.<br />
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The final member of the household is Toller's wife (Margaret Diamond), the housekeeper, who seems to be doing her very best to creep Violet out.<br />
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When Violet goes off to bed, the Rucastles discuss their fiendish plans - though not enough for us to fully twig what's going on. All we really know is that Mrs Rucastle's having second thoughts about it all.<br />
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As Toller feeds the fearsome dog kept to scare off the intruders the estate's apparently plagued with, Violet explores her room - and discovers a hank of chestnut hair identical to that which was cut from her own head.<br />
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Next day, Violet changes into the electric blue dress that the Rucastles have stipulated she wear, and plays piano to entertain them. They seem oddly keen that she be positioned in a particular way, and when the young man we saw earlier peers through the bushes again, Rucastle has Violet shoo him away.<br />
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Violet (allowed out of the house only under Toller's watchful eye) telegraphs for Holmes. Escaping Toller for a bit, she dines with the detective and recounts all that's happened so far. No slouch in the deduction department herself, she's decided that the Rucastles have employed her to impersonate someone who's either been done away with or is hidden somewhere in the house. It seems likely that this is Rucastle's daughter from his first marriage, who is supposedly now living in Philadelphia.<br />
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Holmes sets Violet to measure the length of the corridor outside her room. Returning after doing so, she bumps into sinister Mrs Toller. When Violet mentions to Rucastle the next day that she's noticed there's a part of the house that isn't used, he informs her that this is his darkroom: "I have your likeness up there."<br />
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Holmes has learned there's no Alice Rucastle living in Philadelphia. But is it possible that Rucastle is hiding Alice for her own good, to protect her from a man who might do her harm? Holmes thinks Edward's cruel nature was inherited from his father, so it's unlikely the man would be acting from noble motives. Holmes and Watson plan to visit the house when the Rucastles are out - the problem will be getting the Tollers out of the way and avoiding the dog.<br />
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Violet locks Mrs Toller in the cellar when she goes to get her husband a bottle of gin. The man gets so drunk that he's unable to let the dog out to feed it.<br />
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So far, so good: but when the Rucastles are only a short way down the road, Jephro insists they turn back, having deduced from Violet's shifty manner that someone is planning a visit. Unaware of the fiend's approach, Holmes and Watson find the room in which Alice has been imprisoned - only to find that she's gone. Holmes is confronted by the angry Rucastle, who locks him in the room and goes to fetch the dog.<br />
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Watson shoots the lock out and he, Holmes and Violet rush downstairs - only to find Rucastle being savagely attacked by his own guard dog.<br />
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Watson shoots the dog, and saves Rucastle's life. The episode concludes with a comic interlude as Watson becomes convinced that Holmes and Violet are now engaged. He's crestfallen when Holmes informed him that the proposal he made to the young lady was, in fact, the offer of a job as headmistress at a girls' school. Holmes thinks it'll give her an excellent start - "If she can manage to avoid the trap of matrimony.<br />
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One, two, three and we're back in the 1960s now (and on ITV) for tonight's venture into<br />
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Who's experiencing mental distress this week? Why, it's Johnny Sekka as ferry pilot Alvar Bell, who keeps getting terrible headaches and hallucinations.<br />
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The sequence of events in tonight's episode is kicked off when Nancy Hamilton, receptionist to Dr Roger Corder, boards his boat to take her nephew (a pre-<b>Oliver!</b> Mark Lester) to the zoo (note that Alvar has a golliwog - a present from his kids, no less - as a mascot). She's alarmed when he sees a tunnel up ahead as too small to steer the boat through, and nearly crashes it.<br />
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A concerned Nancy tells Corder and Jimmy Davis about the incident - she thinks Alvar needs help. Corder's adamant that they can't recruit patients, but when Nancy voices her fears that Alvar could crash a boat full of children, Jimmy decides to go and have a casual word with him.<br />
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After taking a ride on his boat, Jimmy has a chat with Alvar and mentions he's a psychiatrist. Alvar admits he'd like to see one, and Jimmy gives him Corder's card.<br />
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He puts it in his receipt book, where it's found by his jealous and troublesome conductor, Harry (Inigo Jackson).<br />
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Alvar arrives at Corder's surgery just as he's finishing with Maria Donati (Gita Denise), a highly paranoid Italian restaurant owner.<br />
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Alvar's immediately intimidated by the drugs on display in Corder's office. Having seen Nancy in the office outside, he suddenly remembers where he knows her from: "I was snared!" He storms out.<br />
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However, Harry's followed him to Corder's office, and reports to concerned boss Mr Scollick (Patrick McAlinney) that he's seeing a psychiatrist.<br />
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Alvar's wife Rita (Dolores Mantez) brings their kids for a ride on the boat - it's not to be, though, as Alvar's suddenly fired by Scollick, who doesn't want to take a chance on a man with mental health problems.<br />
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Convinced it was Corder who told Scollick he was seeing him, Alvar attacks the psychiatrist with an iron bar outside his office (by and large this episode's a very sensitive portrayal of recent immigrants to the UK, but it's more than a bit jarring that the first black patient the show's given us is the one who beats his doctor up).<br />
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Confined to a hospital bed for a couple of days, Corder's badgered by his daughter Jennifer, who's convinced he knows who assaulted him though he refuses to talk about it. Inspector Thomas (Donald Morley) arrives to question him about the accident, having found a hat at the scene: "We think we know the kind of man who'd wear that sort of hat - it'd be a West Indian."<br />
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With the identity of his attacker seemingly confirmed, Corder's still determined to help the man, and sends Jimmy to visit his home (TRETCHIKOFF KLAXON). Alvar's out looking for work but Rita has a long expository chat with Jimmy. It turns out that as well as working all day on the ferry, Alvar was working all night at a jazz club. Even though they didn't need the extra money a second job brought in, Alvar had been "one of the best jazz musicians in Trinidad" and was loath to give up music. As a result, he's been working nearly 24 hours a day.<br />
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Jimmy reports back to Corder, who instantly works out what Alvar's problem is: "Pep pills and extreme fatigue play just the same tricks as a schizoid mind." Corder feels obliged to help Alvar as he lost him his job, and sends Jimmy and Jennifer along to the Cloud Seven club to talk to him. He's not interested.<br />
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Rita's been to see Scollick, and has found out it was Harry who lost Alvar his job. On finding out, Alvar flies into a rage and goes to see gangster Johnny the Ironmonger (Frank Olegario), obtaining a gun in exchange for a wad of bills.<br />
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Corder goes to the Bells' flat and learns from a distraught Rita that Alvar's out to get Harry: "When a brown man from Trinidad like Alvar gets betrayed, he doesn't rest until the score's settled. It becomes a sort of obsession."<br />
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Learning Alvar has a gun, Corder sends Jimmy back to the club to try and talk him down. But Alvar, much the worse for drink, still doesn't want to talk, and vanishes after his performance. The ferry, which doesn't usually go out at night, has been hired for a private party, so it seems obvious where he's headed.<br />
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When Harry goes to get some crates of booze, he finds Alvar pointing a gun at him and confronting him with the true, racist reasons he wanted Alvar fired.<br />
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Corder arrives just in time, reminding Alvar that is in reality a kind and decent man who'd never shoot anyone. It works, of course, and Alvar's sent off with the advice that he needs to concentrate solely on his music in future. As someone who does a day job as well as more creative endeavours on the side, I empathise with Alvar - though I haven't quite reached the stage of attacking psychiatrists with iron bars yet.<br />
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<b>Sunday 7 March</b><br />
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Tonight's episode of <b>Stingray</b> is a sequel to the earlier <b>Star of the East</b>, and I think we should all be impressed that they've actually been broadcast in the right order.<br />
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A call comes through to Marineville announcing the imminent arrival of Eastern potentate Ali Khali, twin brother of El Hudat, who, as you may recall, is currently languishing in Marineville jail. We know instantly there's something fishy (sorry) going on because the voice relating the message is unmistakably that of Titan's Surface Agent X20. As Ali Khali is president of one of the world's richest countries, it seems safe to assume he'll be arriving in the swankiest aircraft possible. It's not.<br />
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Having been ousted by yet another counter-revolution, this rickety contraption, piloted by X20 in Biggles disguise, is the best that Ali Khali could manage. The plane flies right past Marineville and X20 bales out, leaving Ali Khali to die horribly in the inevitable crash.<br />
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But, against all odds, Ali Khali manages to get control of the plane, and flies it back toward Marineville.<br />
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On his island, X20 catches his master up on the progress of his plan: it was he who engineered the coup that unseated Ali Khali, and the next stage is to convince El Hudat to aid the undersea people's conquest of land and then spring him from jail to take over the throne once more.<br />
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Ali Khali's landing is more than a bit bumpy: before finally coming to rest, he manages to destroy half of Marineville, including the control tower.<br />
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Not that he's especially bothered about this, as he's convinced WASP were behind the revolution.<br />
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Having sneaked into El Hudat's cell in the guise of his lawyer. X20 gets his assent to Titan's plans.<br />
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Anyone assuming the Ali Khali puppet was just the El Hudat one reused is in for a surprise when the two appear on screen together, Commander Shore having brought the former ruler to see his incarcerated twin.<br />
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When Shore's not looking, X20 knocks out both Ali Khali and the servant who's imprisoned with El Hudat, and sneaks out with the evil twin (well, they're both <i>quite</i> evil).<br />
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Shore realises what's happened almost immediately, but still too late to prevent X20 and El Hudat's escape. Ali Khali, as you can imagine, is not best pleased. Stingray heads off in pursuit of X20, with Ali Khali aboard.<br />
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Troy Tempest realises who's behind the affair when he notices that the ship taking El Hudat back to, er, Hudatvia, is one of Titan's mechanical fish. The supervillain himself, meanwhile, gives us a presentation on his plans: "Within three months we will have a quarter of the world's land masses in our power!"<br />
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Aboard Stingray, Ali Khali's perving all over poor Marina just like his brother did. Can't a woman look at some pictures stuck on a bit of paper in peace?<br />
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That's not the only similarity between the brothers.<br />
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Stingray eventually catches up with the fish, torpedoes it, and recaptures El Hudat. For a brief moment, when he's splashing about in the water, it's like watching <b>Gerry Anderson's The Robert Maxwell Story</b>.<br />
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Both brothers are now aboard, but how to tell them apart? Shore decides the best thing to do is just imprison them both, ideas of human rights and that sort of thing having clearly been abandoned by the era of <b>Stingray</b>.<br />
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<b>Monday 8 March</b><br />
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The future David Bowie makes an early TV appearance tonight on BBC 2's <b>Gadzooks! It's All Happening</b> as lead singer of Davy Jones and the Manish Boys. Adrienne Poster [<i>sic</i>] also guests. If that doesn't meet the musical tastes of all viewers, the monthly classical music show <b>Workshop</b>'s on later in the evening, or, over on BBC 1, the Carl-Alan awards "for outstanding achievements in the world of dancing and dance music." Over on ITV, the <b>Play of the Week</b> is William Inge's <b>Come Back, Little Sheba</b>, starring Martin Balsam.<br />
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<b>Tuesday 9 March</b><br />
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Tonight's <b>Danger Man</b> takes us to France for the second week in a row. A moneylender (uncredited even though he gets plenty of lines - I'm sure I've seen the actor before but can't name him. Anyone?) is having trouble with a difficult client (Donald Houston), who's threatening him rather than the other way round.</div>
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Ravel's <b>Bolero</b>'s playing on the stereo, and when it reaches its loud climax, the moneylender is shot dead.<br />
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The killer pops outside to prepare his car to go and dispose of the body, but on the way back slips on a paisley scarf and hits his head, losing consciousness shortly after he's back inside. Next morning the postman thoughtfully pops the scarf through the letterbox.<br />
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The man's awakened by the fall of post on his face, and slowly comes back to his senses, seemingly shocked that there's a body in his flat. He goes back out to his car, this time observed by a sinister pair of men in dark glasses (Jerome Willis and Frank Maher).<br />
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John Drake arrives at the British embassy in Paris. The ambassador (David Hutcheson) has called him in to investigate the disappearance of an embassy official named Edmund Bierce, who was meant to be delivering an important and highly confidential report. The ambassador's adamant that Bierce was brought up far too well to be a defector.<br />
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Drake goes to see the man's frosty wife, played by <b>The Human Jungle</b>'s Mary Yeomans. She insists her husband's always been fanatically patriotic: "Fascist?" "A Tory" "Yes..."<br />
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Mrs Bierce's emotions finally come to the surface when Drake suggests her husband may have had a secret life: she slaps his face. However, she admits to him that Bierce was often out late playing poker with American journalists.<br />
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But one such journalist (Bill Nagy) insists he never really played poker with Bierce: this was just a story he agreed to go along with. He doesn't know what Bierce was really up to.<br />
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But then, suddenly and much to the alarm of his secretary (Alison Seebohm), Bierce returns just as if nothing's happened. He's the killer we saw at the start of the episode. As far as he seems to be concerned, nothing <i>has </i>happened: he claims to have no recollection of the day he was missing at all. But he still has the report.<br />
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Drake's not convinced by Bierce's story and continues investigating him (alongside former <b>Coronation Street </b>star Ernst Walder) as he takes the report to a conference in Bonn.<br />
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After the conference, Drake spies on Bierce with his in-car CCTV system. Bierce changes his clothes and combs his hair differently, then phones someone, identifying himself as Nigel.<br />
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Drake follows him to a block of flats, where he's greeted enthusiastically by a young woman.<br />
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Bierce stays the night. When he leaves the next morning, Drake, in the guise of a German encyclopedia salesman, pays a visit to his girlfriend (Wanda Ventham). Believe it or not, she doesn't send him away but invites him in for coffee and tells him all about her feller, who has to go away a lot, gambling.<br />
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Next, Drake follows Bierce to the flat we saw at the start of the programme. Hanging around until he leaves, he breaks in and looks around. He finds an address book with a missing page, and does the old trick of rubbing pencil lead over the following page to see what it said.<br />
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Before he can do anything, another girlfriend of Bierce's, Nicole (Nicola Pagett, very vivacious in her first screen appearance) arrives, noticing that, as per the episode's title, the mirror's new. It's made out of some kind of fancy plastic.<br />
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Drake goes to the address on the page, and is assaulted by the two men in shades, who interrogate him about Bierce's whereabouts. They do something nasty to his fingernails.<br />
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Bierce visits Drake in his hotel room - he knows Drake's been trailing him and begs him not to tell the ambassador about his secret life. Drake tells him he hasn't finished his investigation yet, and doesn't know what he'll do.<br />
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Drake returns to the flat, and has another look at that curious mirror. Cutting into it with a knife, he finds the body of Dupoirier sealed behind it.<br />
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At that moment. Bierce returns. Initially he tells Drake that Dupoirier was an enemy agent who was blackmailing him, but eventually admits he's just too enamoured of his new lifestyle to give it up. He puts the <b>Bolero </b>on again and gets his gun out.<br />
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Drake, however, remains supremely unruffled, realising Bierce can only kill if his quarry makes a move against him. Finally he disarms the man, who runs outside and is swiftly shot by the lurking men in dark glasses. Dying, he asks Drake not to tell his wife about the other women.<br />
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<b><br /></b>
<b>Wednesday 10 March</b><br />
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Tonight's <b>Wednesday Play </b>on BBC 1 is John Hopkins' <b>Horror of Darkness</b>, directed by Anthony Page and starring Alfred Lynch, Glenda Jackson and Nicol Williamson.<br />
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<b>Thursday 11 March</b><br />
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Tonight's episode of <b>The Saint</b> is set in New York, which means it features a lot of dodgy American accents from British actors. These include John Bluthal in the pivotal role of talk show host Ziggy Zaglan, even though he got plenty of practice doing voices for <b>Fireball XL5</b>. Fortunately there are some real North Americans in the cast, including William Sylvester as Ziggy's producer Ralph Damien, who's trying to convince a reluctant Simon Templar to appear on the show.</div>
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Genial onscreen, Ziggy is an egomaniacal nightmare off it, firing hapless crew members for the tiniest mistake. Determined to get Simon on his show, he sends glamorous assistant Lois (Jane Merrow) to twist his arm. Simon's always happy for some female company, but shows no sign of thawing, as he thinks the show's terrible: "I had an hour to kill. I must say he was very successful in murdering it."</div>
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Ziggy's brother Paul (William Dexter), makes the shock announcement that he's leaving his job of head writer on the show. But what especially worries Ziggy, Ralph and Ziggy's agent Ted Coblin is Paul's intention to write a tell-all book about Ziggy and his circle. They particularly fear the public learning the story of someone called Arlene McCleery.<br />
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While in the midst of dictating the book to tape, Paul's disturbed by a man (Donald Sutherland) who enters his home, helps himself to a drink and announces that he's Arlene McCleery's brother. He's heard about Paul's book, and he doesn't want its revelations tarnishing his sister's name. Announcing that he intends to kill Paul, he knocks him unconscious.<br />
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The next day, Lois finds Paul dead, apparently by suicide.<br />
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Inevitably, Simon decides to stick his oar in, deciding that it wasn't a suicide at all as Paul was far too happy to do away with himself. Besides, Paul's tape was left running while he was assaulted by McCleery, and Simon heard it all. He doesn't tell this to exasperated police chief of the week Captain Williams (Fred Sadoff).<br />
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Simon investigates Ziggy's boat and discovers that this is likely where Paul's rope came from. He catches Ralph sneaking around there too.<br />
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Simon tells a worried Ziggy, Ralph and Ted that he knows Paul was murdered, and intends to find the culprit. Ted's offer of $20,000 for a brief TV appearance if he'll leave the case alone is politely declined. Ziggy's shirt, covered in pictures of New York landmarks, is undeniably horrible but I sort of like it. As Simon leaves, one of Ziggy's servants hands him a card with McCleery's address on it.<br />
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Simon decides to pay a visit to McCleery, and sends Lois off to check Ralph and Ted's alibi: they were supposedly watching Annie Ross perform in a nightclub.<br />
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McCleery's not in, so Simon breaks in and noses around his apartment. Photos of a beautiful young woman (presumably Arlene) are everywhere, and his bookcase is full of English Penguins, including this one, which is on my own bookshelf.<br />
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McCleery returns, and insists that he didn't kill Paul - his threat to do so was just drunk talk. But he's consumed with anger over the death of his sister, an 18 year old aspiring opera singer who appeared on Ziggy's show and became "hypnotised" by his decadent lifestyle, which eventually led to her being drowned - though as she could "swim like a dolphin", McCleery's convinced there was foul play. The police arrive and arrest him for Paul's murder, having been tipped off by a mysterious informant.<br />
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At the nightclub, Annie Ross, playing herself, tells Lois that the show the previous evening was cancelled because she was ill: "Darling, without me, how could there be a show?"<br />
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Simon's worked out who killed Paul, but on his way to tell Ziggy somebody puts nails in the path of his car (yes, that old chestnut) and forces him off-road. Simon shoots at the saboteur, but misses.</div>
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Eventually he makes it to Ziggy's house, where he explains that Paul was strangled and then strung up. Ralph lets slip that he knows McCleery was arrested, exposing himself as the informant and, by extension, the killer - he'd covered up Arlene's death after she fell down some stairs at a party by throwing her over the side of the boat. Simon punches his lights out, mainly because he hasn't hit anyone so far this week.<br />
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That's the last in the present series of <b>The Saint</b>, and after last week's exciting episode it seems like a bit of a damp squib to go out with. From next week until he returns in the summer, Simon's Thursday night slot will be occupied by a new ITC crime fighter, Inspector Gideon of the Yard.</div>
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<b>Friday 12 March</b><br />
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Stubby Kaye is the special guest on tonight's <b>Kathy Kirby Show</b> on BBC 1, while ITV's <b>Cinema </b>looks at the making of Dirk Bogarde's new film, <b>The High Bright Sun</b>, in Cyprus.<br />
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Full <b>Radio Times </b>listings for this week's BBC programmes can be found <a href="http://genome.ch.bbc.co.uk/9c8cf301692f460e937dcf57c3bf2769">here</a>, while you can see ITV listings in the full issue of <b>TV World</b>, the Midlands <b>TV Times </b>alternative <a href="http://radiosoundsfamiliar.com/complete-tv-times-march-1965.php">here</a>.<br />
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<b>Outside the box</b><br />
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<b>Wednesday:</b> Goldie the Golden Eagle is recaptured and returned to London Zoo after being loose for 13 days and becoming a familiar sight to walkers in Regent's Park.<br />
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<b>Thursday</b>: Sylvia Plath's <b>Ariel </b>is published posthumously.<br />
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<b>And to play us out...</b><br />
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It's Tom Jones again: "It's Not Unusual" is at number 2 in this week's hit parade, just under the Seekers. You can see the full chart for the week <a href="http://www.officialcharts.com/charts/singles-chart/19650304/7501">here</a>.<br />
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Ivanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.com0tag:blogger.com,1999:blog-4443589666300610642.post-17082338394763620742015-03-04T21:14:00.000+00:002015-03-04T21:20:33.378+00:0027 February - 5 March 1965Hello chums. This week's post is a bit later than usual as I've been under the weather in the past week and barely been able to string two words together (some might say that's business as usual). So forgive me if I'm not up to my usual mediocre standard at present.<br />
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<b>Saturday 27 February</b><br />
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<span style="text-align: justify;">It's become traditional that I begin my summary by announcing the week's </span><b style="text-align: justify;">Juke Box Jury </b><span style="text-align: justify;">panel, so here goes: Jane Asher, Georgie Fame and </span><b style="text-align: justify;">Two-Way Family Favourites </b><span style="text-align: justify;">presenting duo Jean Metcalfe and Bill Crozier have been selected to cast their ears over the latest discs. Next it's the third in our weekly visits to the planet Vortis, where the Doctor finds himself addressed by the spooky voice of the unseen being called the Animus.</span><br />
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The Animus is under the impression that the Doctor and his friends are members of the Menoptra race, who are apparently massing in space ready to invade Vortis. In response, the Doctor starts talking like an astrologer.<br />
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The Animus isn't won over by his protests, and a strange gun thing mounted on the wall shoots at the TARDIS. The only effect it has, however, is to send all the Zarbi into a right tiswas (it doesn't take much to do this). The Doctor's delighted to find that, whatever the reason the TARDIS lost all its power, the problem's been righted by Vicki accidentally realigning the fluid link and getting its shields working again. Our heroes are now able to depart - the only snag is that Barbara's missing (and remains so all week, as Jacqueline Hill's on holiday).<br />
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On the planet's surface, an actual Menoptra, Vrestin, is scouting about, but flies off at the sound of approaching Zarbi.<br />
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The Animus demands to know how the TARDIS shield works, having decided it would be an ideal defence against the Menoptra. It offers the Doctor his freedom in exchange for the knowledge, and reveals that Barbara has been taken to be a slave at the Crater of Needles, "beyond my great web". The Doctor claims he can't do what the voice asks, but offers to get out his astral map to show where the Menoptra are gathering. The Zarbi hold Vicki hostage while the Doctor and Ian pop into the TARDIS to get it.<br />
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Vrestin comes in to land near the control centre, but our attention's diverted by a hapless Zarbi who wanders straight into the camera.<br />
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The Doctor and Ian briefly rest in the TARDIS, Ian keen to know the old man's opinion on the "beasties" who've captured them. The Doctor states the bleedin' obvious: "To use a term of Earth's, I suppose we should call them insects," . Ian says that he once saw a colony of ants eat their way through a house (in a film, surely?), and speculates that the Zarbi could do the same with a mountain. "So relentless, so indestructible," he muses - though from what we've seen so far the Zarbi seem to be more of a danger to themselves than anyone else. The Doctor's more interested in the mysterious "Queen of the Ants" who he's been speaking to.<br />
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They shuffle out the astral map, a cumbersome device that has to remain plugged in (fortunately it's got a long extension cord). The Doctor instructs Ian to track down Barbara, and has a plan of how it can be done.<br />
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He insists that the Zarbi "put him through" to their mistress, with one of the most glorious lines in <b>Doctor Who </b>history.<br />
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The Doctor claims that the power the Animus exerts over the centre is interfering with the working of his map, and manages to get it turned off for a bit (the Zarbi suddenly become entirely passive).<br />
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Ian makes a break for it, and the Doctor gives Vicki some chocolate to ease her worries: "He's really very good at this sort of thing," he tells her - a nice little moment that reminds us of how the relationship between the time traveller and his companions has developed since the show began.<br />
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Ian feels his way out of the centre, bumping into a Zarbi that definitely <i>hasn't</i> been pacified. It's not the most edifying of spectacles, but if you've ever wanted to see a man wrestle a giant ant, this is the show for you. <br />
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Ian eventually gets the better of his arthropod antagonist and legs it. The Animus, having learned of his escape, switches the power back on around the Doctor and Vicki and they soon have one of the previously placid Zarbi rearing up against them.<br />
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Vicki gets one of the gold controlling harnesses placed round her neck, but the Doctor gets the Animus to release her by threatening to withdraw his help in defeating the Menoptra (he does his hyperactive charades with the Zarbi again.<br />
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Once Vicki's regained her senses, the Doctor sends her in to the TARDIS to fetch a box which, it turns out, contains one of his "specimens". Vicki's response is understandable in the circumstances.<br />
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No, it's not <i>that </i>kind of specimen, of course. But whether it's any more pleasant all depends on how you feel about spiders, because inside the box is a dirty great big one in a glass case. The Zarbi certainly aren't keen. In fact, they seem absolutely terrified of it.<br />
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While this has all been going on, Ian and Vrestin have been getting acquainted outside. When we cut to William Russell and Roslyn De Winter they spend several seconds waiting to be cued before the characters resume the conversation they're meant to be in the middle of. Vrestin's clearly keen on Ian, having given him the curious pet name of "Heron"(it's nice that Ian's got a space girlfriend for once, Barbara being the one who usually finds eager companions of the opposite sex all over space and time). Having agreed to accompany Ian to the Crater of Needles, Vrestin supplies an enormous chunk of exposition for Ian (and the viewer): the Menoptra were formerly the dominant life form on Vortis, while the placid Zarbi were "essential to the life pattern of this planet". But the Zarbi were "made militant" by a "dark power", and the Menoptra took flight (literally) to one of the strange new moons that had mysteriously appeared in the sky. The use of the word "militant" in particular makes it sound like writer Bill Strutton was aiming at an anti-trade union message (or maybe just an anty trade union message) - a reader informs me that anti-Communist messages are common in Mr Strutton's work. The Animus's HQ is known by the potent name of the Carsenome, reflecting how its malign influence has spread on the planet like a cancer. The Menoptra are now prepared to take back their world before the Carsenome eats up the whole planet.<br />
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Their conversation's eventually interrupted by the tell-tale boobly-bobbly noises of oncoming Zarbi. They find a hiding place, only for the ground to collapse beneath them...<br />
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Next, let's hop over to ITV for a brand new sitcom from ATV. The star is Charlie Drake (who also co-writes and sings the theme tune), and, like (I suspect) many people of my generation, I've only really been exposed to him before in that clip of him being knocked unconscious live on TV. I must admit it's a state I much prefer him in. I find his schtick a pain in the arse, to be honest - like a slightly more belligerent Norman Wisdom (who I'm not too keen on either). Anyway, while I may not be a fan of its star, <b>The Worker </b>has some excellent guest stars, and is fascinating as a (skewed) window into a long-lost world of work.</div>
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And of unemployment, too. We open at the labour exchange, where Mr Whittaker (Percy Herbert) sends the jobless who come to him off to new opportunities with motivational speeches. Until, that is, he comes to Charlie - who, we learn (after an interminable observational comedy routine about how people are always asking him what he wants even when it's obvious), has been coming to the Labour exchange every week for the past 20 years. He doesn't have any trouble actually getting work (this is an era of near-full employment, remember): the problem is keeping it. He turns up at the exchange every Monday and is sent off to a new position, gets the sack every Tuesday and comes back on Friday for his wages.<br />
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Charlie left his most recent job after injuring himself when clocking in. Mr Whittaker claims there are no jobs available, but then, as if by magic, a vacancy comes in over the phone and Charlie's sent off to Tottenham to take up his new duties - but first come the bewildering admin procedures a new employee's subjected to: "the machinery of organisation".<br />
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He checks in with impassive secretary Dilys Laye, her attention devoted entirely to an impressive adding machine, though he manages to establish from her what the job entails: putting plastic aeroplanes into boxes of cornflakes. Eventually he forces a kiss on her to make him pay her attention (yes indeed, yuk).<br />
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Charlie eventually gets in to see the personnel manager (Lloyd Lamble), who pays him little more attention than the secretary.<br />
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Next he has to see the cheerful aptitude consultant (Joan Benham), who subjects him to a series of psychological tests. When questioned about their significance she quickly reveals herself as a bundle of barely-suppressed neuroses.<br />
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After this it's the welfare officer (a wonderfully oleaginous Aubrey Morris), whose queries about the new employee's personal life call the fidelity of Charlie's girlfriend uncomfortably into question..<br />
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Charlie's now due to see the medical officer, but he's not around, so Charlie has to sort himself out. The biggest audience laugh of the episode comes when Charlie fiddles about with himself using a pair of forceps.<br />
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Hoping to finally get to work, Charlie finds there's no escaping the Accounts department.<br />
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Charlie finally gets on to the shop floor at 4.45, just as the machines are being shut down. His fellow workers agree to keep them on a bit longer so he can get the knack of what he's meant to be doing, but as he tries to get to work he's mobbed by people wanting him to sign up for things: union membership, works outing etc.<br />
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A frazzled Charlie returns to the Labour Exchange, having (of course) lost the job. In what was left of the day he managed to box 4800 aeroplanes - but all in the same box.<br />
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Viewers not keen on Charlie Drake pratting about could instead tune in to BBC 1, where there's sinister doings afoot in Cornwall.<br />
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Tonight's <b>Sherlock Holmes </b>adventure begins with the genuinely disturbing spectacle of a pair of wild-eyed old men (Derek Birch and Frank Crawshaw) laughing uncontrollably as they sit at cards (the terrifying sound of their laughter would, many years later, be sampled to great effect on a Moon Wiring Club track). A woman (Camilla Hasse) sits with them, seemingly insensible. This grim scene is discovered by a distraught housekeeper (Nora Gordon).<br />
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As is often the way when something unspeakable transpires in a remote place, there's a famous detective holidaying nearby, Sherlock Holmes having been sent to Cornwall on doctor's orders. He's bored out of his brain, and welcomes the arrival at his holiday cottage of a panicky vicar (John Glyn-Jones), who tells him all about the horrible events of the night before. The three ghastly figures we saw were the Tregennis siblings, George, Owen and Brenda. Brenda is now dead, while George and Owen are hopelessly insane. <br />
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Holmes readily agrees to find out how this all came about, and then receives another visitor - Mortimer (Patrick Troughton), another Tregennis sibling, who escaped whatever fate befell the others when he left them the previous evening to return to his lodgings at the vicarage.<br />
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Holmes heads to the Tregennis cottage to examine Brenda's body, passed by the cart taking the insane brothers into care.<br />
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Mortimer claims that he lived apart from the others due to a row about money, but that this was all sorted out many years before. He says that he and his brothers had spotted someone lurking outside the night before, and Holmes clambers out of the window to investigate. When Mortimer joins him, Holmes "accidentally" shoves him into the mud in a ruse to examine his footprint.<br />
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As Holmes and Watson walk back to their cottage (the Cornish locations are the main thing in this adaptation's favour, other than its startling opening scene), they spot someone within - smoking a cigar, so unlikely to be the housekeeper.<br />
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It turns out that their uninvited guest is the aptly named Dr Sterndale (Carl Bernard), a famed explorer with a residence nearby. He demands to share in all Holmes' knowledge about the Tregennis case. Unimpressed with his brusque manner, Holmes shows him the door. Sterndale becomes more placid, revealing that he's a distant cousin of the Tregennises and knows them well. He was due to embark on a new expedition to Africa, but was called back to Cornwall by a telegram from the vicar apprising him of their terrible fate.<br />
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When Sterndale departs Holmes decides to follow him. Again the locations are put to good use, as the detective stalks the explorer across country and into the village.<br />
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When Sterndale conceals himself to listen in to a conversation between Mortimer and the Vicar, we're treated to an unsuccessful (but all the more charming because of it) attempt at matching up location film and studio-shot VT. Mortimer informs the vicar that his brothers seem to be hopeless cases.<br />
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Holmes, who was watching Sterndale watching the others, continues his pursuit of the explorer as he returns home. Meanwhile, Watson pops over to see the vicar, who seems rather chary about the telegram he supposedly sent Sterndale.<br />
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The next day, Holmes and Watson call on Mortimer, only to be greeted by an extremely flustered vicar: "We are devil-ridden, Mr Holmes!" Mortimer, you see, is dead - and he seems to have died in the same way as his sister (though he looks a lot less scary).<br />
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Holmes finds a mysterious, foul-smelling powder near the lamp in Mortimer's room, and deduces that the "strange and toxic effects" of this substance when burnt are responsible for what happened to the Tregennises. So, throwing caution to the wind (and by this point in his sojourn in the country probably desperate for a fix of <i>anything</i>), he decides to give it a go. He and Watson sit down and burn the powder. The nightmarish nature of its effects are conveyed by Douglas Wilmer's facial contortions: he certainly gives good rictus.<br />
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The open window seems not to limit the drug's powers, and it's only thanks to Watson coming to his senses for long enough to drag Holmes outside that the pair avoid their doom. Holmes dashes back in to get the lamp, and chucks it in the sea.<br />
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Holmes pinpoints the acquisitive Mortimer as Brenda's killer. But who caused his death? Well, the options are a bit limited and Dr Sterndale certainly seems the most likely person nearby to know about an exotic drug from a far-off place.<br />
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Confronted, Sterndale confesses that he and Brenda Tregennis were in love, a relationship complicated by Sterndale's estranged wife, and that he knew Mortimer was the killer because of the interest he showed in "the devil's foot" - the preserved root from which the powder was extracted. So he took his revenge.<br />
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Holmes allows Sterndale to travel on to Africa unimpeded, on the condition that he does not return.<br />
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And finally, this week's case study of a specimen inhabiting<br />
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The object of the programme's scrutiny tonight is Tim Gotha (Edward Judd, who, the credits inform us, appears by arrangement with Columbia Pictures Corporation), a construction engineer doing all he can "to get ahead in this rat race". His wife, Margo (Sylvia Syms, last seen in Tuesday's <b>Danger Man</b>), with her penchant for alcohol and affairs, isn't helping matters. The pair have a blazing row, overheard by their children, Cressida (Rachel Clay) and Robin (Michael Audreson).</div>
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All of a sudden things become a lot more blazing.<br />
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Tim puts out the fire, but the reason for it seems a mystery. Could it possibly have been the work of little Robin, whose bedroom floor is littered with broken toys, a testament to his inability to bear his parents' increasingly fractious relationship?<br />
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Deciding Margo needs help, Tim gets her an appointment with Dr Roger Corder. She reveals to him that she blames herself for Tim not being more of a success than he is, as she's a rubbish wife and a useless hostess.<br />
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Corder accompanies Margo home to meet her children. I think little Robin is my new style icon.<br />
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Corder gets the reticent Robin to engage with him, but Tim isn't happy to see the psychiatrist in his home. Judd and Herbert Lom have a proper toupee-off. Corder's interested in Tim's whole wall of portraits of his prestigious German ancestors, and thinks Tim's suffering under the weight of them. Angry at the implication that he's the one who needs therapy, Tim fires Corder.<br />
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Corder's daughter Jennifer makes her first appearance of the series, her hair having been seriously peroxided. For anyone who can't remember what she looked like before, there's a handy photo reminder on Corder's desk. We're also reminded that Corder has a receptionist, Nancy, when she pops in to tell him that Tim's come to see him. <br />
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Having hit Margo the night before when they had a row, Tim's now willing to accept that he needs help. He tells Corder he regrets marrying Margo, and only did so because she was pregnant. Corder sees the lack of love Tim experienced as a child as the root cause of his problems. He thinks Tim needs to lose his obsession with his ancestors and realise he could be a better man than any of them.<br />
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Corder returns home that evening to find Jennifer's left arrows directing him to a tape-recorded message in which she instructs him to have a look at a book she's acquired, <b>The Great Families of Europe</b>, that could help with the Gotha case.<br />
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Here's Tim in his office, an image I show you purely because I like the health and safety poster on the wall.<br />
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The prolific Philip Latham turns in a bit part as a man from head office breathing down Tim's neck about the completion of his latest project...<br />
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...which is in trouble due to the intransigence of shop steward Jack Smethurst (his character's named Red, in case we didn't get it), who's planning a walkout over health and safety issues - even though he's been receiving a hefty bonus to ignore those very problems.<br />
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There's an accident on site, and Tim heads to the hospital, where Wanda Ventham appears briefly as a nurse. Corder happens to be there as well, and confronts Tim with the fact that he was, in fact, adopted by the Gotha family. Tim claims it's a smear put about by a jealous cousin, but Corder knows better - his father was in fact impotent and he's really the son of a wood carver (on his visit to the Gotha home Corder noticed some wood carvings that seemed not to fit with Tim's character). The nurse informs Tim that the workman has died.<br />
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Returning to the building site, Tim resolves to jump from a great height, but his saved by works foreman Darkie (Harold Goldblatt).<br />
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Some time later, Corder pays a visit to the Gothas, or the Schumachers as they now are, Tim having decided to return to the surname of his birth. Recovering from their recent ordeals, the family now seem happy - though if you ask me all those guns on the wall look a bit ominous. "Water is going to find its own level anyway," says Corder, sagely. "A little alcohol mixed in might speed its progress" - which is as good an excuse for a drink as any, I suppose.<br />
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<b><br /></b>
<b>Sunday 28 February</b><br />
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Tonight, it's another of <b>Stingray</b>'s frequent dream episodes - though given how bizarre things often get in the show's reality you wonder why they bother.<br />
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Troy Tempest's bored: he, Phones and Marina are all on standby in case there's an emergency but nothing's happening (Phones is busying himself with some Charles Addams cartoons stuck on a bit of paper).<br />
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Suddenly the alarm sounds, and Commander Shore informs them they'll be needed shortly - but no further information seems to be forthcoming, and Troy falls asleep.<br />
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He wakens to find it's time to take Stingray out, which he does. The nature of the emergency is still mysterious, though. We're given heavy hints about what's coming by Shore grumbling about Troy wanting to be "the big man" and insisting he'll "cut him down to size". "Why's the Commander trying to make me look small?" Troy wonders.<br />
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Suddenly, Stingray bumps up against what appears to be a wall of glass. A pan out reveals that the ship is now in a fish tank.<br />
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Understandably perturbed by this development, the crew decide to get on their hover chairs and have a look round their new environment. The actual miniature aquanaut figure that we see briefly is woeful.<br />
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They appear to be in a lavish, gigantic dining room. There's even a TV set - which they switch on and watch a news report about their own disappearance.<br />
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Inspecting the huge table in the centre of the room, Troy finds that the places are all laid for various antagonists he's come up against over the course of the series.<br />
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And the place at the head of the table is reserved for the most antagonising one of all.<br />
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Our heroes quickly hide as a gigantic Aquaphibian enters, dressed, comically, as a butler.<br />
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When he disappears again, Troy notices some discreetly labelled secret papers, which he unfurls to reveal full plans of the Marineville defence system.<br />
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Troy and Phones put a call through to Shore, who seems oddly unbothered by Troy's supposed disappearance and just tells him to stop playing tricks.<br />
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Everyone has to hide again as the Aquaphibian returns, this time accompanied by Agent X20, who's gloating about how his latest plan is such a success (we'll pause for just a moment to ponder: X20's identity is supposedly still a mystery to all at Marineville, so how come Troy's dreaming about him?).<br />
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The aquanauts decide there's only one thing for it: they'll have to set fire to the plans - which they manage easily enough with a bottle of brandy and some matches. But the fire gets out of control - and how are they going to get back into Stingray as they're all somehow much larger than it now?<br />
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As Troy awakens from his slumber to learn that the emergency's past, we remember the benefit of a dream story: you don't have to come up with an ending.<br />
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<b>Monday 1 March</b><br />
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Anyone who finds tonight's BBC 2 documentary on the electric chair a bit depressing can switch over to watch Michael Aspel presenting the final of the Miss England competition over on BBC 1 shortly afterwards.<br />
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<b>Tuesday 2 March</b><br />
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Tonight's <b>Danger Man </b>begins in the glamorous surroundings of a Notting Hill laundromat, where John Drake looks on as a furtive young woman (Kathleen Breck) retrieves a packet from a washing machine.</div>
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The girl heads to France with the packet, and Drake follows (with his fishing rod) after, checking into a hotel in Burgundy and learning from the register that the girl is one Kathleen Mary Martin.<br />
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In the hotel bar that evening, Drake finds himself coolly appraised by Suzanne (Ann Lynn), supposedly a holidaying schoolteacher.<br />
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She's soon overshadowed by the arrival of the gregarious Monsieur Lamaze (Warren Mitchell), a wine broker who insists Drake try the local product (and looks thoroughly offended when the nearby Kathleen orders an orange juice).<br />
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Drake follows Kathleen up to her room and confronts her about her activities. She immediately breaks down and reveals that she's being blackmailed by a man who has photos of the pair of them (having sex, we infer) which she doesn't want her parents to see. She is to carry defence secrets (in microdots hidden in a bag of confetti) to a chateau when she goes for a guided tour the following day. Drake announces that he will accompany her.<br />
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The crowds at the chateau prevent Drake seeing the woman (Sarah Brackett, who also had a small role in the previous week's episode) who takes Kathleen's handbag until she's nearly got away.<br />
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The woman makes off on a bike, and Drake nicks one from the chateau to follow after her, disturbing the peace of an elderly lady (sometime Hollywood character actress Anita Sharp-Bolster in a blink and you'll miss it part) in the process.<br />
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Drake stops at the old lady's house when his quarry briefly pauses outside - he exits to find her departing with both bikes. So he returns to the hotel - and finds Kathleen dead in her room. The bit part actress playing the maid who discovers him leaning over her body is hilariously awful.<br />
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Drake finds himself hauled before Police Inspector George Benson, and flung in a cell, where he gets a bottle of wine and a monologue on the effectiveness of the guillotine from jailer Victor Brooks. He cuts it short by knocking the jailer out and escaping.<br />
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Drake heads for the home of Monsieur Lamaze, who claims to believe entirely in his innocence. But after Lamaze shows off his Napoleon memorabilia they sit down to dinner, and Drake discovers that Lamaze's servant is the woman who eluded him earlier. There's not much time for this to sink in, though, as the police arrive at the door and Drake has to make his escape by tipping the table over on Lamaze and crashing through the patio doors.<br />
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He finds an outside entrance to Lamaze's wine cellar and hides in there, but the police come looking, so he tips an enormous wine racking on them and legs it once again.<br />
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This time he runs into the headlights of Suzanne's car. She gives him a lift back to her cottage, telling him she believes in his innocence (he's understandably sceptical). But after she's made him an omelette she pulls a gun on him. She's an agent for the French government, with her own burly henchmen (Larry Taylor and Michael Balfour), and she wants to know what he's up to. He appropriates Kathleen's story for himself (he changes the bit about a man having photos of the two of them having sex, though it would have provided a pretty damn good reason for blackmail in 1965).<br />
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Believing Drake works for Lamaze, Suzanne sends him back to get his co-operation with the French. Lamaze admits he had Kathleen killed - he had her bedroom bugged so he's fully aware that Drake's a British agent. Drake explains that the French want Lamaze to continue spying on the British, but to cut them in on whatever he finds out. Drake, however, wants to take Lamaze back to Britain to reveal the full details of his spy network.<br />
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Lamaze agrees to fall in with Drake's plan. Suzanne and her henchmen are on their way, and he drugs a bottle of wine to put them out of action. But he takes Suzanne off for a confab, and Drake begins to puzzle over why it's taking so long for the two burly chaps to be knocked out.<br />
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It turns out Lamaze only put sugar in the wine - he's been plotting with Suzanne and has now decided to do the bidding of the French. Suzanne has her men take Drake to the police, but the inspector no longer believes him to be guilty of Kathleen's murder - the real killer, Lamaze's gardener, has confessed. The inspector offers Drake a glass of wine before he goes, but the agent's wary: "Every time I'm offered a glass of wine these days, two men come and take me away."<br />
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Drake returns to Lamaze's house. The fishing rod he was so keen to take with him is in fact a gun which fires self-adhesive microphones. He sets one outside the window where Lamaze and Suzanne are chatting - happily, they're on the subject of the members of the spy network, and Drake gets all the details on tape.<br />
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Next, Drake puts the two henchmen out of action and follows Lamaze and Suzanne to the airport, where a plane is prepared to take Lamaze back behind the iron curtain.<br />
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"Have a glass of wine?" the strangely familiar pilot asks a perturbed Lamaze.<br />
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What a tremendous episode - funny, plotted with enough twists and turns to make you dizzy, dark (the death of poor Kathleen) and with an exuberant guest turn from Mitchell, who makes the morally repugnant Lamaze into a genuinely likeable character.<br />
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<b>Wednesday 3 March</b><br />
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On BBC 2 this evening Spike Milligan presents his poetry and jazz show "Muses with Milligan" (John Betjeman is among tonight's guests) followed by a Horizon report on "The Great Computer Scandal". Later in the evening, viewers not keen on tonight's <b>Wednesday Play</b> (Marie Laine Douglas's <b>Campaign for One</b> with Barry Foster and Jeremy Kemp) can tune in to <b>The Hollywood Palace</b>, presented by Liberace and with performers including Edward G Robinson, Shani Wallis, Rowan and Martin and elephants Bertha and Tina.<br />
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<b>Thursday 4 March</b><br />
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The current series of <b>The Saint </b>comes to an end next week, which is a shame because, the odd dull episode aside, it's seen a major improvement in the quality of the show. The best episodes have been as exciting as anything comparable offered by the cinema, and tonight's, scripted by Terry Nation and directed with tremendous verve by John Gilling (who was turning out some excellent horror films for Hammer and other companies at around the same time is among them.<br />
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We open at the Royal Festival Hall (stock footage of which the British programme-makers proudly show off for the benefit of their international audience). Simon Templar's there, enjoying a concert in the unlikely company of his regular sparring partner Inspector Claude Eustace Teal. <br />
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Teal's dozy state tips us off that he's not primarily there for the music. The real reason he's there is to point out a particular member of the audience to Simon.<br />
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This is Bernhard Raxel (Andre Morell), a multi-millionaire whose knack for making money has earned him the title "The Midas Man" (this episode is, in effect, Roger Moore's <b>Goldfinger</b>). Teal has reason to believe that his way of increasing his wealth isn't exactly legal, and that he and his personal secretary, Mr Crantor (William Lucas) are planning the biggest crime in history. Teal wants Simon's help in finding out exactly what it is.<br />
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How did Teal get this information? Well, he's got an inside man, who Raxel calmly dispatches on learning he's an informer (the distinctive blond actor who plays him had a similarly uncredited part in Tuesday's <b>Danger Man</b>). Peter Jeffrey plays Marring, another of Raxel's partners in crime.<br />
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Sarah Lawson plays Betty Tregarth, a workaholic scientist whose colleagues have finally pressed her into going on holiday. Her brother David (David Saire) - clearly gay - helps her pack. It's unusually easy to pinpoint where Betty lives - Oslo Court in St John's Wood.<br />
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Teal takes Simon to the airport (which Betty's also en route to), and explains his task further: he will have to impersonate Carl Munster, a renowned safecracker due to arrive in the UK to join Raxel's gang. Simon's the only possible candidate for the job, as he's the only safecracker as good as Munster. Alexandra Bastedo is on hand in a secret room at the airport to effect Simon's transformation.<br />
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Shortly after Betty arrives at the airport, she's approached by a "police officer" who informs her David's been in a car accident, and asks her to come with him. She's taken to a grim hovel of a place and locked in a room where Raxel addresses her via CCTV. He wants her to reproduce a nerve gas she's been working on for him - and to assure her co-operation he's kidnapped David and is subjecting him to all manner of tortures. Initially, she refuses. If my gaydar peeped on sight of David it pretty near exploded upon Raxel's response: "Pity. He really was quite a good looking young man" (Morell gives a gorgeously smooth villainous performance, but there's more than a whiff of old queen about it).<br />
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Eventually, Betty agrees to help Raxel, and is instructed to inject herself with a sedative (that's two people injecting themselves in one week).<br />
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In the guise of Munster (you'll be surprised to learn that Roger Moore's New York accent isn't terribly convincing), Simon is instructed to present himself at the Rake's Progress club, where he's greeted by <b>Carry On</b> actor Cyril Chamberlain.<br />
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Inside the club, Simon encounters a very forward young lady (Maggie Wright), who, on discovering he's not armed, throws him into the lift.<br />
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When it stops he's greeted by Crantor and the Marring, who set him the job of opening a safe while handcuffed, before the room fills with cyanide gas. It's tricky work, but he manages it. Marring, however, remains extremely sceptical about their new colleague's identity.<br />
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Betty awakens in a lab fully equipped for her to start manufacturing the gas. Raxel (in person this time) explains that he intends to use the gas "to steal several hundred million pounds". Raxel explains to Simon that he's recruited "the elite of the criminal profession" to help out in his scheme. He tries to quell Marring's suspicions by arranging for Munster's girlfriend to fly out from New York to identify him.<br />
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Raxel explains his scheme to the assembled crooks: he intends to steal both printing plates and special paper from the Bank of England in order to make millions of pounds of undetectable counterfeit notes.<br />
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Raxel puts Simon's safecracking skills to the test once more in a reconstruction of the Bank of England vault - Simon does a double take when he sees one of the dummy guards (could it be because it bears a strong resemblance to Patrick McGoohan?). Raxel explains that he has a special device that interferes with the impulses controlling time locks to enable breaking them.<br />
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An insight into Simon Templar's literary taste: he reads Isaac Babel's <b>Collected Stories</b> in bed while waiting for his police contact, Gray (John Forbes-Robertson, later to play Dracula in Hammer Studios' dying days), to get in touch. Gray has trouble getting through, so climbs over the wall into Raxel's grounds, where he's killed by Marring, whose suspicions increase when he later finds Simon examining the corpse.<br />
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But it looks like the matter of his identity is now to be settled for good as Munster's good lady, Gloria Mancini (Carol Cleveland) has arrived. Simon's as surprised as Marring when she positively identifies him straight away.<br />
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With this matter seemingly cleared up, Raxel decides to bring the job forward to that evening. The Bank of England doesn't know what's hit it (kudos to the chap below for his really wonderful "Argh, my head" acting).<br />
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The job goes ahead as planned, but, once the rest of the gang have removed their gas masks, Raxel, Marring and Crantor pelt them with gas bombs to ensure they're the only ones who get a share in the money. Simon escapes this onslaught and leaps on the back of the truck as they shoot their way out.<br />
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Their destination is the grimy house seen earlier, which Betty, David and Gloria have all been removed to prior to being disposed of. As Raxel crows about his success, Simon makes his presence known and an almighty ding-dong ensues.<br />
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Gloria, revealed as a police woman who replaced the real Gloria when she entered the country just as Simon did Munster, gets stuck in to the battle, disarming Raxel. He nearly knocks the gun out of her hand, but eventually falls foul of the gay brother.<br />
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We end with the happy revelation that, though the gas was intended to be fatal, Betty changed the formula to ensure it only stunned people.</div>
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<b>Friday 5 March</b><br />
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Tonight, the recent series of <b>The Likely Lads </b>begins a repeat run on BBC 1, followed by <b>Club Night</b> from the Lyceum Rainbow Club, Barnsley. Guests include Jimmy Jewell and Ben Warriss, Armand and Anita, and Nino and Wendy Frediani.<br />
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You can find full <b>Radio Times </b>listings for this week's BBC programmes <a href="http://genome.ch.bbc.co.uk/bacae499a6514e90a5252c9c556459e8">here.</a> <br />
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<b>Outside the box</b><br />
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<b>And to play us out...</b><br />
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It's Wayne Fontana and the Mindbenders, at number 2 this week (the Seekers having reached number 1), with their contention that "The purpose of a man is to love a woman, and the purpose of a woman is to love a man". Some of us have found quite a different purpose, thank you very much Mr Fontana. You can find the full chart for the week <a href="http://www.officialcharts.com/charts/singles-chart/19650225/7501">here.</a><br />
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Ivanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.com1tag:blogger.com,1999:blog-4443589666300610642.post-82496118584149521282015-02-23T16:28:00.000+00:002015-02-23T19:40:14.826+00:0020-26 February 1965<b>Saturday 20 February</b><br />
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Hello again. This evening's viewing on BBC 1 begins, as ever, with<b> Juke Box Jury</b>. Lulu, Roy Orbison and the <b>NME</b>'s Chris Hutchins are all perfectly natural choices to debate the merits of new single releases, Marjorie Proops being this week's off-beam choice of panel member. Talking of off-beam, tonight's episode of <b>Doctor Who</b> builds on the strangeness of last week's to provide easily the most downright bizarre 25 minutes the show's yet given us.<br />
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Last week's breathtaking cliffhanger saw Ian incapacitated beneath a giant web, Barbara - controlled by a mysterious force - walking straight towards a pool of acid, Vicki trapped in a TARDIS gone haywire, and the Doctor discovering to his horror that the ship had vanished.</div>
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It's Barbara's thread we pick up first: she's steered away from the deadly pool by a swarm of those noisy giant ants from last week. The episode's title comes to the aid of anyone who hasn't yet worked out what they're called.</div>
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Elsewhere, the Doctor comes to Ian's aid, the webbing that trapped him having now disappeared. "My face! What's the matter with it?" Ian exclaims, having been left with mild burns. Sadly the Doctor doesn't venture a critique, but simply tells him that as the TARDIS has vanished he can't get him any medical aid.<br />
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Barbara continues to be drawn onward by the force that's got hold of her bracelet (shot from below for extra eeriness), and it turns out the Zarbi aren't the only inhabitants of this planet: she's being watched by a curious bee person.<br />
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The whole thing's remakably experimental for something going out at 5.25 on a Saturday evening, and you have to applaud the ambition behind it, utterly bonkers as it all is. Williams Hartnell and Russell are now called on to do "gasping for breath" acting as their ADJs pack up and they take them off to get used to the atmosphere. The Doctor draws Ian's attention to strange ridges where the TARDIS appears to have been moved. "Been dragged away. Dragged away," says Ian, delivering his lines with an aggression more suited to a <b>Wednesday Play</b>.<br />
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And we now get to see the TARDIS careering across the studio floor, presumably pulled by the same force that's got hold of Barbara. Inside, poor Vicki's still being tossed about, and the scanner's showing images of those troublesome Zarbi.<br />
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Three bee people now surround Barbara: these are Vrestin (Roslyn De Winter), Hrostar (Arne Gordon) and Hrhoonda (Arthur Blake) - De Winter is the mime expert who choreographed both these and the Zarbi in an attempt to create an insect-like and otherworldly kind of movement. She certainly succeeded in coming up with something very strange. The creatures remove the bracelet from Barbara's wrist and throw it in the acid, freeing her from the unseen force.<br />
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As the Doctor and Ian continue to explore, Ian inadvertently plonks his foot in what looks like some kind of chrysalis. The Doctor recognises it as a trace of beings known as the Menoptra, who hail from the planet Vortis. Never mind struggling to breathe, Hartnell's having enough of a struggle remembering his dialogue as the Doctor shares his knowledge about the planet which, on a prompt from William Russell, he remembers is in the Isop galaxy, "Many light Earths - light years from Earth" (the subtitles on the DVD of this story are very charitable to Hartnell, changing his fluff to "very like Earth", even though everyone involved with the production's expended great effort to create the effect that isn't). "And yet, the Vortis hasn't a moon," he ponders, gazing at the various satellites in the sky above.<br />
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The TARDIS continues on its journey, comically waddling about.<br />
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Barbara tells her story to her rescuers (who we assume are the Menoptra the Doctor was talking about). They're in conflict over what to do with her.<br />
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The Doctor and Ian find themselves surrounded by the Zarbi and their bizarre accomplice (which the Menoptra refer to as a "larvae gun") and are marched off. The strange electronic sounds made by the Zarbi are almost constant on the soundtrack of this week's episode, eventually becoming a struggle to sit through (my other half's told me off for watching this as they do his head in so much).<br />
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The TARDIS having come to a stop, Vicki exits, finding herself inside a strange, brain-like structure. It's not long before she too has Zarbi coming at her.<br />
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One of the creatures peeks through the open doors of the TARDIS, but is suddenly repelled and sent spinning all over the set.<br />
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Vicki's shortly joined by the Doctor and Ian.<br />
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Barbara too is attacked by Zarbi, who place a strange metal harness round her neck to control her.<br />
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The Menoptra have a sort of crystal radio set that they're dithering over using to get reinforcements, as it might lead the Zarbi to where they are. Eventually they do - the bizarrely-accented Vrestin warns somebody of "the power of the Animoose", but shortly afterwards the Zarbi appear with the zombified Barbara and they have to smash up the radio and fight the creatures. Hrhoonda is killed by a Larvae gun, Vrestin escapes, and Hrostar's held captive with Barbara.<br />
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Hrostar removes Barbara's harness to free her from the Zarbi's power. Like her bracelet it's made of gold, which the Zarbi are able to use to "morphotise" people. Hrostar explains that they'll be taken to the "crater of needles" and put to work of some kind. Rather harrowingly, the Zarbi shred his wings to prevent him escaping (to be honest, the idea of it's more harrowing than the actual sight of a man in a bee costume being pecked at by two men in ant costumes).<br />
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Meanwhile, the Doctor appears to be playing charades with the Zarbi in a bid to communicate with them. It's not very successful.<br />
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Then suddenly, a strange, cobwebbed device descends over the Doctor's head, and a spooky voice (Catherine Fleming) asks "Whyyy dooo yooou come nooow?"<br />
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I'm struggling to find words to express just how peculiar this <b>Doctor Who </b>adventure is, though as there's another four weeks of it they've plenty of time to come to me. I'd guess that most people reading this have seen it already, but if you haven't I really think you should. You may not find it the most enjoyable experience, but it's certainly like none other you've ever had.<br />
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Moving on: Douglas Wilmer and Nigel Stock first played Sherlock Holmes and Dr Watson last year in an adaptation of "The Speckled Band" for the BBC anthology series <b>Detective</b>, and now they've got a full series of their own (it's actually the second series to spin off from <b>Detective -</b> the first, based on R Austin-Freeman's Dr Thorndyke stories, had a short run a few months before and gave perpetual supporting player Peter Copley the lead role for once).<br />
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And where else should the series begin but a Turkish bath, where Holmes receives an urgent telegram from top diplomat Sir James Damery.<br />
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<b>Holmes</b>: He wants to see me.<br />
<b>Watson</b>: Here?<br />
<b>Holmes</b>: I think not, Watson.<br />
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Instead, Holmes receives Sir James (Ballard Berkeley) in his rooms at Baker Street. He wishes to enlist Holmes' aid against perhaps the most dangerous man in Europe. Holmes has heard that one before, and he and Watson refer to Moriarty and Colonel Sebastian Moran as previous foes who could merit that title. This may seem an odd move, precluding the series from adapting "The Final Problem" and "The Empty House" for the screen, but in fact those stories (along with "A Scandal in Bohemia", another notable omission from the stories chosen for the series) had been optioned for filming in the States, meaning they were unavailable anyway.<br />
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But I digress. The man Sir James has in mind is a nefarious Austrian who got away with murdering his wife two years before. Holmes, having heard of him, is sure she's not his only victim.<br />
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Sir James believes Gruner (who, as well as being an expert on Chinese porcelain, "collects books and pictures... and women") plans to carry out another crime with impunity, and has come to Holmes an behalf of an extremely prestigious client who wishes to remain unknown ("I am accustomed to having a mystery at one end of the case, but to have it at both ends is too confusing," Holmes tells him, in Wildean fashion). Violet de Merville, daughter of the much-decorated General de Merville, and much favoured by Sir James' client, has fallen head over heels for Gruner's considerable charm, and plans to marry him in spite of all warnings. Holmes is engaged to persuade her otherwise, in any way possible. Holmes decides to "start with the very lowest circles" and explore Gruner's underworld connections.<br />
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To that end, he and Watson visit an insalubrious music hall to see a crook named Shinwell Johnson. There we're treated to a full-bodied Marie Lloyd routine by Anne Hart (better known these days as Mrs Ronnie Corbett). As an aside, her performance of "G'arn away" proves a nightmare for whoever did the subtitles on the show's US DVD release, and who's comprehensively defeated by the song's torrent of Cockney slang (looking the lyrics up wouldn't have been that difficult, surely?). Especially hilarious is the admittedly obscure "Strike me up a mulberry" transmuting into "Strike me up with Aldridge", which raises all sorts of questions.<br />
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Anyway, if I keep digressing like this I'll never get this post finished. Norman Mitchell plays Shinwell Johnson, who clams up when asked about Gruner.<br />
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The singer's moved on to "My Old Man" now. Among the audience is Rosemary Leach as an especially unenthusiastic sex worker.<br />
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The scene changes to the home of Baron Gruner, brought to resoundingly camp life by Peter Wyngarde, whose accent really has to be heard to be believed ("Thet would be delait-fool"). Jennie Linden plays poor Violet, deep under the vicious brute's spell. We get the impression of a very kinky relationship indeed and, Bluebeard-like, he forbids her from entering his study.<br />
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When Gruner peremptorily sends Violet away we learn that Holmes has been hovering outside the house waiting to get the dastard alone. Gruner warns Holmes off. "That is the very advice I had intended to give you," responds the detective, informing the Baron that the whole might of the British establishment will be against him. But Gruner gloats over the "post-hypnotic suggestion" under which he holds Violet by sheer force of his personality, insisting there'll be no way of putting her off him.<br />
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Holmes returns to Baker Street to find Johnson waiting for him. He's brought someone with him: the sour-faced doxy we saw earlier on. Her name's Kitty Winter, and it seems Gruner was responsible for bringing her to her current station in life - due to which she nurses a passionate hatred toward him. Kitty knows of two other murders Gruner's committed, as well as how evidence can be found: Gruner keeps a book with details of his "collection" - all the women he's brought low over the years - "He collects women like some men collect butterflies" - in a drawer in his forbidden study. She's more than happy to co-operate with Holmes in defeating the Baron, determined to see him "In the mud with my foot on his cursed face."<br />
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But before resorting to any more drastic measures, Holmes decides to bring Kitty to see Violet in an attempt to change her mind about the Baron. Violet nearly falters at the sight of this previous victim of her fiancé, but his Dracula-like power over her proves too strong. Kitty departs with a dire warning: "You may be lower than I am before you're through with it." The searing intensity of Leach's performance makes for a startling contrast with Wyngarde's flamboyant malevolence.<br />
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Outside, Holmes is set upon by a pair of Gruner's henchmen. He ends up badly bruised, but commands Watson to spread the news that his injuries are far worse than they actually are.<br />
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Assured of his triumph, Gruner enters Violet's details into his book. He's heading for New York in three days, meaning Holmes has to step up his plans to defeat him.<br />
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Holmes assigns Watson to become an expert on Chinese porcelain overnight to ensnare the Baron. Watson does his very best.<br />
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Holmes supplies Watson with a priceless Ming bowl (from the illustrious client's collection), and sends him off to interest Gruner in it while he and Kitty sneak in and steal the book. Nigel Stock's wonderful as the increasingly nervous Watson, whose supposed expertise fails to stand up to Gruner's intense scrutiny.<br />
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Gruner swiftly realises something dodgy's going, and rushes to his study, only to have vitriol thrown in his face by the vengeful Kitty.<br />
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Faced with the true extent of Gruner's perfidy as outlined in his book, Violet's shocked out of her infatuation with him. Kitty gets just a month in prison, and Watson's astonished to discover that their client really is the highest in the land.<br />
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Finally tonight, the very welcome return of a <b>TV Minus 50</b> favourite. And as returns go. this is a pretty sensational one - surely the only time a TV show's kicked off its second series with the sight of Joan Collins having a breakdown at Charing Cross tube station.<br />
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A friendly commuter (and you don't get many of those) comes to the young lady's aid, but as he's busy trying to free her handbag from where it's got stuck in the escalator she suddenly sashays off, stripping off as she goes.<br />
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Having entirely removed her clothes (and, as you'd expect, caused quite the consternation among everyone she passes), she reaches the platform and tries to throw herself beneath the wheels of an oncoming train - though the station staff reach her just in time.<br />
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Visiting a colleague, Dr Tate (Derek Godfrey) to borrow some equipment, Dr Jimmy Davis is astonished to see the woman who attempted suicide. He recognises her as Liz Kross, a former patient at St Damien's who was discharged just a few days before, her mental health apparently restored to normal. It's clearly undergone a major relapse, as she's now entirely unresponsive.<br />
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Dr Roger Corder heads for Tate's hospital for a look at Liz, who's proving entirely resistant to any treatment. It seems that her previous breakdown was caused by her mental distress at taking work as a stripper. But she'd decided to give it up, so what could have caused this latest episode? Although she's no longer in their care, Corder and Jimmy decide to investigate.<br />
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While she was with Corder, Liz had refused to talk about her family, having been terrified they'd find out about her job, but Jimmy tracks them down. Or so he thinks. Though he's invited in by Morticia Addams-alike Angie (Margaret Whiting), he's soon ordered out by the disabled Mr Kross (Clifford Evans), who insists he has no daughter named Liz.<br />
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Mrs Kross (Kay Walsh) follows Jimmy out, however, and informs him that Liz is indeed her daughter, and she's been desperately worried about her. She and Angie meet with Corder - they had no idea that Liz had been admitted to hospital, but fill in some of the gaps. Liz took the stripping job in order to save up enough money to send her father to an American doctor who could be able to make him walk ("A final bid to earn his affection," notes Corder, who's diagnosed Liz's relationship with her father as the root of all her problems).<br />
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It gradually becomes clear what transpired between Liz's discharge from one hospital and admission to another. Once cured, she returned to the family home, bright-eyed and bushy-tailed, with the cheque that would pay for her father's cure. But, having learned how she earned the money, he bitterly rejected her and tore the cheque up. The result: instant mental collapse.<br />
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The question now is how to bring Liz back out of the dark. Corder thinks that gaining her father's approval is the only thing that can cure her, so Angie agrees to try talking him round. When she and her mother come to see Liz, they claim they've got him to agree to see Liz, but he's too unwell to do so this time. Liz doesn't acknowledge their presence: she's only got eyes for Dr Tate's abstract sculptures.<br />
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But eventually Liz catches that ball they keep throwing at her, and from there she rapidly returns to engaging with the world.<br />
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Finally she reaches the stage where she's ready to go and see her family. Angie and Mrs Kross watch from the window as Corder drops her off, and it becomes horribly clear that Mr Kross doesn't know anything about Liz's visit - in fact, they've given him pills to ensure he sleeps all the way through it. They pass this off to Liz as being all part of his condition, and Angie (an ambiguous character performed with brilliant coldness) talks Liz into writing out the cheque again for cash in the hope they can get Mr Kross cured without ever knowing where the money came from.<br />
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But Liz insists on going in to see her father. The door slams shut and he awakens, livid at seeing her in his home again. In his ranting, it becomes clear that Liz isn't his daughter at all, but the result of an affair Mrs Kross had - and he's hated her all her life.<br />
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The result of this trauma is that Liz walks off before Corder can come from her. Discovering she's missing he subjects the Krosses to his icy contempt before heading off to track her down.<br />
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Liz is back at the tube station, dazed and confused once more. She's swept into a lift by the oncoming crowd. Trapped against the grill, conflicting voices fill her mind...<br />
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...and the lift reaches the surface. Liz exits into the daylight, not removing her clothes but buttoning them up, laughing with relief. The revelation that Kross isn't her father has freed her from the need for his approval, and we're led to assume that her mental health problems are now well and truly behind her. The <b>Human Jungle</b> stories are supposedly based on real case histories, and I can't help thinking that things probably weren't quite that clear-cut in reality.<br />
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It seems a bit odd for a programme to start its second series with a story that features its hero as minimally as this does, but I think finding fault with a show that gives us Joan Collins as a paranoid schizophrenic stripper is just being churlish really.<br />
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<b>Sunday 21 February</b><br />
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Tonight's episode of <b>Stingray</b> pulls off the remarkable trick of being genuinely creepy for much of its length. It begins at sea with a drifting boat, its sole occupant collapsed and staring into space.</div>
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Stingray answers the distress signal and picks the unfortunate mariner up. He's taken to Marineville Hospital, which I like the look of.<br />
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The handsome (for a puppet) doctor is unable to work out what's wrong with him, however, despite the impressive array of flashing lights at his command.<br />
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Marina, we learn, has got some time off, and is enjoying a girls' night in with Atlanta Shore. Well, Atlanta's enjoying it anyway, merrily yakking away with nobody to interrupt ("I have to admit the conversation's a bit one-sided," she says at one point - I like to think that Marina can't actually bear her company, but is unable to tell her so). Here's something pretty mind-boggling: the magazine (or whetever it's supposed to be) that Marina is looking at seemingly features a photo of a real, non-puppet person.<br />
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There's no time to puzzle over that conundrum though, as strange things are happening at the hospital: the nurse looking after the comatose Thompson (for such appears to be his name) finds herself (well, I say herself - the puppet's clearly one previously used for a male character that's been repurposed with not entirely satisfactory results. Still, it's not for me to judge people's sense of gender identity) incapacitated when he comes to and whips out a wristwatch with mysterious powers. Note the use of a real human hand and a puppet in the same shot - I don't think they've done this before.<br />
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Lieutenant Fisher's the next person to fall victim to the watch's strange spell, crashing his car into a lamppost as a result.<br />
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Atlanta wakes in the night to find Thompson terrifyingly peeking round her door ready to put her out of action too.<br />
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The doctor's working round the clock to find a way of bringing the increasing number of victims out of their mysterious comas, but soon finds himself in one as well.<br />
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It seems that now Commander Shore is the only person in Marineville still up and about (his barber's definitely gone under, if his stubble's anything to go by). But he too collapses when the watch makes its strange sound, falling right on his chair's controls and driving it straight at the camera.<br />
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It's just Marina who manages to resist, presumably because she's not human.<br />
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She dashes to the control centre to get in touch with Troy and Phones, who are out patrolling in Stingray. Obviously, as she can't talk, the whole business proves quite tortuous, but eventually they work out a one tap of the mic for yes, two for no system that enables her to summon them back to Marineville.<br />
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It seems Marina really does like Atlanta, as she sits a sad vigil at her bedside - only to be locked in by the prowling Thompson (note the green nail polish on Marina's close-up hand).<br />
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Troy and Phones are astonished to find everyone in Marineville unconscious.<br />
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They head for the hospital and hear Marina banging away. Once rescued, she eventually alerts them to the danger of the watch. Poor old Phones gets used as bait for Thompson, but once he whips his watch out Troy shoots his out of his hand. As soon as it's broken, the sleeping spell is too - and the eerie atmosphere that's made the episode so compelling up to that point disperses almost as quickly as it rushes to a prosaic conclusion.<br />
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The last thing Thompson recalls seeing before going into his trance was a strange ship rising out of the water - so Troy concludes that everything is the work of a(nother) undersea race, who are planning to invade Marineville. We never get to see what they look like, as Stingray swiftly blows up their ship. "Well, I guess that's ended their little plan," notes Phones. "Yep, emergency over," responds Troy.<br />
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<b>Monday 22 February</b><br />
<b><br /></b>
Long John Baldry, the Hoochi Coochi Men and Marianne Faithfull all show up on tonight's <b>Gadzooks! It's All Happening</b> on BBC 2. For those who like their music a little more sedate, there's a new series of <b>Date with Doonican </b>on BBC 1 straight afterwards. The <b>Radio Times </b>advises viewers to send any requests to "Val Doonican, BBC, Manchester 1" and also that the programme is directed by a Bernard Herrmann. Surely not <i>the </i>Bernard Herrmann?!<br />
<b><br /></b>
<b>Tuesday 23 February</b><br />
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Tonight's espionage adventure begins with <b>The Plane Makers</b>' Robert Urquhart becoming aware that a pipe smoking man's spying on him. Understandably enough this makes him rather uneasy but he doesn't say anything to wife Sylvia Syms or their very smart children.<br />
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Instead, he heads off to work, with the pipe smoking man in hot (well, lukewarm) pursuit.<br />
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Having settled behind his desk, he then dashes off again, grabbing a taxi to Heathrow (it must be said that what we see of the entrance to the airport isn't very impressive, looking more like a garden centre than a major air terminal).<br />
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John Drake's called to the presence of Admiral Hobbs (who seems to have been demoted to Commander this week) and apprised of this vanishing act. Turns out the chap's Charles Glover, an authority on modern China - which of course makes him suspect straight away. Drake's ordered to track him down and bring him back. The obvious lead is Mrs Glover, who Drake follows when she goes on a sudden trip to Greece.<br />
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Having planted a bug in her suitcase at the airport, Drake checks into an adjacent hotel room and listens in to her phone conversation with a man promising to take her to her husband.<br />
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Drake gets to the little island she's summoned to before she arrives. Enjoying a smoke and a read outside the hotel, he's pestered by Nikos (the always shifty Maxwell Shaw), a local ne'er-do-well.<br />
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When Paula Glover arrives, Drake (calling himself Kimball this week) comes to her rescue when her Greek fails her with the hotel clerk, and gets her to agree to dinner with him as fellow Brits. She's not overkeen on the local delicacy of octopus.<br />
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They go on to a bar where Nikos is twisting the night away with his "little friend". Muscling in on their conversation, he reveals through the medium of a marked card that he's Paula's contact. Though he can't see the card, Drake notes her astonished reaction.<br />
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When Nikos goes to Paula's room later to get her - he plans to take her to Albania, where Glover's waiting - he finds the bug and realises that Drake is an agent. He interrupts Drake in the midst of sabotaging his boat, but Drake swiftly disarms him.<br />
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Drake tells Paula that if she goes with Nikos she'll end up in China, where she'll be forced to live in exile, separated from her children. She agrees to insist that Glover be brought to her rather than the other way round so that he can be persuaded to return to England. Drake assures her he will not be punished.<br />
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Nikos offers to pay Drake off ("Beware of Greeks bearing gifts," is the inevitable response), but is grudgingly obliged to bring Glover to meet Paula. He's resigned himself to living in China, but he's got no time for spies of any stripe: "Kimball and Nikos. You know, they're professionals in a kind of chess game. We're the pawns."<br />
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Paula changes Glover's mind, which Nikos seems surprisingly relaxed about. Drake's certain he's planning something further.<br />
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And so it proves. The next morning, the ferry due to carry the Glovers to Corfu to get the plane back doesn't turn up. Drake borrows a rowing boat from an ungainly youth with a lovely jumper to look for it, but is swiftly capsized by Nikos, who leaves him to drown and heads to the Glovers' room with a sheaf of British newspapers all leading with the story of Charles' defection.<br />
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Convinced that Charles will be jailed if he returns home, the Glovers head for the Albanian border with Nikos. Drake, who isn't dead, follows in a stolen truck.<br />
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As Nikos ushers the Glovers over the border, Drake catches up. Nikos shoots him and causes him to fall off a high rock. Horrified, Paula runs back to come to his aid, followed by Charles.<br />
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The police, on the trail of the stolen truck, arrive and nab the wanted Nikos. Drake returns to England with the Glovers, assuring them of their safety. But the minute they're back at Heathrow, Charles is pulled aside by the police. Drake heads for the phone to get Hobbs' aid, but none's forthcoming. "But you gave me your word!" exclaims a furious Drake.<br />
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"Did I, Drake?" smirks his boss. Paula walks sadly away. A fantastic pay-off to a middling episode.<br />
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Next tonight, a rare appearance around these parts by <b>World in Action</b>, which has a fab new title sequence making the production of a current affairs series look like the most exciting thing in the whole world.<br />
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The subject of tonight's programme is Malcolm X, who was assassinated on Sunday. Actor Barry Johnson brings some of the man's most inflammatory speeches to life, and, horrifying as many of their sentiments are, it can't be denied he was a great rhetorician.<br />
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James Baldwin appears briefly to take Britain to task for its part in America's race problems: "One can say a great many things against America, but one can't say the doctrine of white supremacy was born there."<br />
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Mr X gets to speak for himself in the documentary only very briefly, pointing out that white people are a race of devils with much the same certainty you might point out that a pigeon is a kind of bird.<br />
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Hats for dogs make an unexpected appearance as a symbol of white America's consumerist excess while the country's black population was forced to live in squalor (I'm sure these dog hats also appeared in the series' JFK documentary - they must just be wheeled out regularly to show how bonkers Americans are).<br />
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A long passage of interview footage with adherents of the Nation of Islam ensures you'll never want to listen to the phrase "the honorable Elijah Muhammad" ever again. They denounce Mr X as a traitor.<br />
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However, after leaving their group he still had an enthusiatic following among its more violent elements (this lot don't look all that violent, to be fair).<br />
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In the weeks before his death Mr X visited Britain, one of his stops being Smethwick, which had seen racial tensions bubble over during the previous year's general election.<br />
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He was killed shortly after returning. <b>World in Action </b>doesn't mince words about his legacy: "The real tragedy is not in the form of his death, but in the manner of his life, for behind him he had left an America in which he had played a part in making it more difficult for black man and white man to live together."<br />
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We're shown the startling image of a black Jesus (X was firm in the belief that the white man had brainwashed the black into believing Jesus was white) - which seems to have been thrown in mainly to give a section of the audience a fit of the vapours - and some rather intrusive footage of a family grieving at the funeral of a black man killed, we assume as a result of black/white violence. The impassioned speaker at the funeral on whom the programme ends is sadly unnamed.<br />
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<b>Wednesday 24 February</b><br />
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Tonight's <b>Wednesday Play</b>, <b>The Confidence Course</b> is something of a milestone, being the first written by Dennis Potter. Dennis Price and Stanley Baxter are the stars, with Artro Morris, Neil McCarthy and Yootha Joyce the most familiar other names in the cast.<br />
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<b>Thursday 25 February</b><br />
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It's Thursday evening, so it's time for <b>The Saint</b>. However, tonight's offering feels nothing at all like an episode of <b>The Saint </b>- it's more like a b-movie horror script that somehow got filmed for the series by mistake. This is not in any way a bad thing, just a very odd thing.<br />
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If the great big caption reading "Haiti" at the beginning of the episode isn't enough to tip viewers off that there's voodoo in the offing, the dance routine that follows it, with a chap decked out in full Baron Samedi gear and leaping about in a pentagram, just might do the trick.<br />
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The dancer finishes his act by vanishing in a puff of smoke, much to the entertainment of the strictly segregated audience, with black Haitians at the back and wealthy white people at the front. Among the latter group, inevitably, is Simon Templar. <br />
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After the show, Simon's approached by a young local named Sibao (played by half English, half Burmese Jeanne Roland - obviously exotic beauty was a more important qualification for the role than looking convincingly Haitian). In a spooky alternative to the weekly "The famous Simon Templar" gag, she sprinkles dust on his table and gets him to wipe it off, revealing his name in glowing letters underneath.<br />
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The remarkable thing about <b>Sibao </b>is how unequivocal it is that magic - of the voodoo kind at least - really works. The only character who seriously questions this obvious fact is the unsympathetic Mr Kreiger (Jerry Stovin), a loud-mouthed American drunk staying at the same hotel as Simon. Sibao is renowned as the most powerful local practitioner of voodoo, but Kreiger insists he can explain all her apparent powers. After he has a go at feeling her up, she reveals a name in the dust.<br />
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Despite his protestations, Sibao insists this is Kreiger's real name. She leaves the table to join a dapper white man (John Carson) who's just made his entrance. Simon's host, Atherton Lee (Nicholas Stuart) explains that this fellow, who goes by the unlikely name of Theron Netlord, is a "political opportunist" who's been involved in various recent revolutions.<br />
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Netlord's clearly an opportunist where Sibao's concerned as well: "You are one of the great ones," he tells her. "You have been given powers denied to the rest of the world." He's not happy with her using them for parlour tricks.<br />
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Simon chucks Kreiger out of the club when he quarrels with a waiter. Driving back to the hotel, Kreiger loses control of his car and crashes into Sibao and her brother Tano (Tracey Connell). Sibao's a bit bruised, but Tano dies instantly.<br />
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Despite crashing into a tree, Kreiger's still alive and well. For now, at least: when the passing Saint picks up the wounded Sibao she calmly informs him that Kreiger will be dead before sunrise.<br />
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Simon brings Sibao to Dr Farrere (Kevin Stoney), who's become resigned to the locals placing more trust in magic than his skills. He explains to Simon that Sibao's apparent lack of concern about her brother's death is down to the belief that he isn't really dead at all, he's just moved on to another stage of life.<br />
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Yet it seems to be necessary that Kreiger's life must be taken too. Sibao's father (Christopher Carlos), the local houngan (voodoo priest) performs a ceremony which causes his son's corpse to disappear, only for his invisible, disembodied spirit to visit Kreiger's room and break his back in precisely the way Tano's was broken - Simon's car, on its way to Kreiger, suddenly stops while this visitation takes place. Pretty scary stuff.<br />
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Rooting through the late Mr Kreiger's things, Simon finds an FBI ID card identifying him as Agent David Grant. Simon calls a contact at the Pentagon (professional Yank Bruce Boa), who confirms that Grant was in Haiti to investigate Netlord - he was only pretending to be a drunk. Which suggests that it wasn't alcohol that caused him to crash, but sabotage.<br />
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Another FBI man, Brinkley (John McClaren) flies out to see Simon, and recruits him in the effort to prevent whatever Netlord's up to in Haiti.<br />
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Simon goes to see Netlord, claiming to be a student of voodoo. Netlord claims that thanks to Sibao and her father he knows more about the subject than any other white man. He shows off his own powers of pain control by holding his hand over a lighter flame without flinching. He boasts that he and Sibao will soon be married, and invites Simon over to dinner to celebrate.<br />
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Later that day Simon receives a gift in the post from Sibao: a medallion which the hotel cleaner identifies as a powerful charm - though whether it does the recipient harm or good is all down to the intentions of the sender. Simon <i>thinks</i> that Sibao wishes him well.</div>
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Simon is greeted at the Netlord residence by Sibao, who reveals that her bruises have now entirely healed (as good an excuse as any for a great big close up of Jeanne Roland's shapely leg, I suppose). Sibao cautions Simon not to mention the medallion to Netlord: it turns out that she doesn't want to marry him at all, but is being pressed into doing so by her father. Realising that the marriage will result in Netlord learning all the secrets of voodoo and becoming all-powerful, Simon determines to sabotage it.<br />
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The wedding is to take place that very evening, and preparations are taking place in front of a rather cute monkey-like idol. Seeing death in the flames, Sibao warns her father that Netlord must not learn the remaining voodoo mysteries, but he pooh-poohs her concerns.<br />
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Simon tells Netlord he plans to prevent his scheme of becoming the most powerful man in the world, but discovers that the would-be voodoo master has drugged him. He manages to land a few punches even in his groggy state, but when he pulls a gun Netlord's able to calmly take it from him. He reveals that it wouldn't have worked anyway, firing it at his own head to prove that bullets don't work on him any more.<br />
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Netlord shoots Simon, and heads out for his final initiation. Simon comes round to find that his medallion caught the bullet.<br />
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Simon staggers to the hounfort with Sibao's aid, and at her insistence the houngan allows him to speak. He decides to put Simon and Netlord to the test of serpents, which involves their hands being held over a basket of snakes: the dishonest man gets bitten. Sure enough, it's Netlord the snakes sink their fangs into.<br />
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Netlord now threatens Sibao's life to ensure he gets the knowledge he needs, but she casts a spell that causes him to drop the knife. Shortly afterwards, he expires from the snake's poisonous bite. The houngan shows Simon the basket: all it contains is a load of old rope (I wonder if writer Terry Nation was making a joke about his job consisting of making a load of old rope seem exciting).<br />
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For anyone wondering if <b>Sibao </b>marks a new, supernatural direction for <b>The Saint</b>, I can inform you that it was actually made well before any of the more mundane episodes already shown this year, so we're already back to business as usual. The episode makes for an interesting footnote in the careers of both Roger Moore and John Carson: Moore's first outing as James Bond in 1973 will return him to much the same milieu as <b>Sibao</b>, while Carson will play a nefarious voodoo master again later in 1965 in Hammer's <b>The Plague of the Zombies</b>.</div>
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<b>Friday 26 February</b><br />
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Now for this week's second welcome return...<br />
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Where <b>The Human Jungle</b> was able to pick up as if it had never been away, the opener of this second series of <b>It's Dark Outside</b> has a 75% new regular cast to introduce: only William Mervyn returns, as the implacable Chief Inspector Rose. As a result, the episode's murder investigation plot is pretty slight: but, as we've come to expect from this series, it's chilling stuff nonetheless.<br />
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In an entirely blank space, estate agent Hosea Pitt (Brian Wilde), whose upbringing has left him a religious obsessive, begs an impassive woman, Ruth Mahl (Pamela Ann Davy, one of my favourite TV actresses) for an audience with a mysterious "She". Ruth refuses to grant it, instead urging Hosea of the importance of getting rid of his wife.<br />
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In a set supposed to represent a shooting gallery but no less minimalist than the previous one, new regulars Veronica Strong and Anthony Ainley canoodle. She's commercial artist Claire Martin, he's Detective Sergeant Hunter, and they're engaged. Like many couples of the time, they're waiting till they can find the ideal flat before they marry.</div>
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Next we're in a Chinese restaurant, which apart from a couple of banners is another curiously blank set . Ruth is dining with Mrs Pitt (Delena Kidd, from <b>Secret Beneath the Sea</b>) and trying to persuade her to leave her husband. She points out that it's an entirely sterile marriage, and Mrs Pitt never does anything to encourage her husband anyway. "Bitch!" mutters Claire, sat at a nearby table with Hunter.<br />
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If those sets (not to mention the story content) weren't curious enough, there's another quirk when Claire and Hunter say their goodbyes, and the camera pans up from Anthony Ainley's head before fading to the scene in the flat above (the first set we see that looks like an actual place)...<br />
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...where the final new regular character, Fred Blane (John Stratton), shuffles about, pouring himself a drink - he's clearly well on his way to alcoholic stupor already. Claire enters, calling out a cheery "Hello, love."<br />
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Hunter returns to the office he shares with the terminally dull Sergeant Pritchard (Rex Boyd), forever droning on about the latest instalment in the condensed Hundred Most Important books he's wading through. The police recruitment poster on their wall is rather special.<br />
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We learn that Fred is a journalist who Claire, a sucker for waifs and strays, has been looking after as he reminds her of her own alcoholic father. He's been working on an article about the mysterious "She" we heard of earlier - the leader of a religious cult called the Chosen Persons, whose cardinal rule is total honesty with oneself.<br />
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Elsewhere, Ruth Mahl is frantically trying to escape from an attacker, who eventually corners her.<br />
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Hunter's called to the scene of her murder (she's been beaten to death), and recognises her from the restaurant. Act One comes to a close with the arrival on the scene of Inspector Rose, who intends to take full charge of the case.<br />
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There's an awkward scene at the Pitt breakfast table, with Mrs Pitt insisting that she won't be got rid of. Pitt assures her he doesn't want her to go anywhere, but that he felt forced into the arms of the Chosen Persons by his fears about his business, which the leader was able to assuage. They agree he'll move back out of the spare room. Pitt heads to work, without his walking stick for once, and his wife chuckles as she reads in the paper about Ruth's murder.<br />
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Hunter discusses the murder with Claire. The women in the restaurant talked about a man with a stick - could this be a clue to the murderer?<br />
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Note that it's roses Claire's drawing.<br />
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Rose brings Hunter up to speed on the Chosen Persons: their leader's real name is Shirley Grot, but she goes by the rather more grand Chosen McDavid. They decide to pay her a visit: they're granted an audience with the leader (Valerie Hanson), but her assistant Sarah (Anna Stuart) insists on them washing their hands seven times before speaking with her. Rose lets Hunter wash for both of them.<br />
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All McDavid will tell the detectives is that shortly before her death Ruth had been expelled from the order for trying to extort money from Pitt in exchange for an audience with McDavid. As Hunter leaves he bumps into Fred Blane, who's still working on his piece on the Chosen People.<br />
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Next, Hunter and Rose visit the Pitts. Hunter recognises Mrs Pitt straight away from the restaurant but before they can question her Pitt confesses to the murder, claiming he killed Ruth because of her insults toward his wife - he left his stick behind at the flat.<br />
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Fred speculates to Claire that McDavid works on people's sense of guilt to isolate them from their families and submerge them within the cult.<br />
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Once Pitt's been questioned, Rose tells Hunter that though the man "wears his guilt like a second skin" he probably didn't kill Ruth Marle: for one thing, his stick wasn't found in her flat, but was discovered hidden in an empty flat his firm are selling. Hunter speculates that Mrs Pitt might have committed the crime and framed her husband, but Rose doesn't think that fits either. His plan is to return the stick to its hiding place and see who comes and gets it.<br />
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On his way, Hunter calls in to see Claire, and finds her horsing about with Fred. He storms out before they can explain: "I've got an appointment with someone who's even more of a bitch than you are, if that's possible."<br />
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The retriever of the stick turns out to be none other than Chosen McDavid herself: "I killed her because I loved her, and I trusted her and she betrayed me." If Fred's earlier sardonic reference to Ruth as McDavid's girlfriend is anything to go by, it's not just spiritual love she's talking about.<br />
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Claire's moping in her studio, with Jackie Trent's "Where Are You Now (My Love)"? on the Dansette (a reader informs me that the song was written especially for this series - which is exactly the sort of thing I'm supposed to know). Hunter pays a visit, and she explains the nature of her relationship with Fred. He seems to be satisfied - for now.<br />
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Pitt's appalled by the news of Chosen McDavid's arrest. Much to his wife's chagrin, he begins pondering which religious sect to turn to next.<br />
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Hunter is called to Rose's presence, fully expecting a ticking-off for something. But instead, the Chief Inspector praises him for his part in the investigation, and announces that Hunter is to be his new assistant. Given absolutely no choice in the matter, the bewildered Sergeant is sat down and handed a pile of case files to plough through. If it looked like Fred was going to complicate his relationship with Claire, it's certain Rose is going to to do so even more.<br />
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Before the end credits there's a caption slide advertising the next episode.<br />
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Sadly I won't be featuring <b>Specimens Walk on Their Hind Legs, Too</b> here next week as it no longer exists. In fact, only one other episode from this series of <b>It's Dark Outside </b>does. I will, of course, be taking a look at it in due course.</div>
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<b>Outside the box</b><br />
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<b>Saturday</b>: The USA's unmanned <i>Ranger</i> spacecraft lands on the moon.<br />
<b>Tuesday: </b>Bridget Riley's exhibition <i>The Responsive Eye</i> opens at the Museum of Modern Art in New York, drawing worldwide attention to her work for the first time. Also, one of the world's most beloved Englishmen, Stan Laurel, dies aged 74.<br />
<b>Wednesday</b>: Jennie Lee, Minister for the Arts, announces that the government will increase arts spending in pursuit of "a gayer, more cultivated Britain".<br />
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<b>And to play us out...</b><br />
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It's the Seekers, up 3 places to number 2 in this week's singles chart with "I'll Never Find Another You", the Kinks having ascended to the top spot. You can see the full chart for the week <a href="http://www.officialcharts.com/archive-chart/_/1/1965-02-20/">here.</a><br />
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<b><br /></b>Ivanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.com2tag:blogger.com,1999:blog-4443589666300610642.post-64389096714441325822015-02-17T16:56:00.002+00:002015-02-18T15:58:53.160+00:0013-19 February 1965<div style="text-align: left;">
<b>Saturday 13 February</b></div>
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Tonight's <b>Juke Box Jury </b>panel on BBC 1 is an especially intriguing one: Marianne Faithfull, Brian Epstein, Adrienne Posta (still spelling it Poster at this stage) and Ted Ray. Once judgement has been passed on this week's new records, viewers are whisked off to a distant galaxy for the start of a brand new adventure from Bill Strutton, a brand new writer for the series.<br />
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In the recap from last week's episode, Ian wonders where the TARDIS is being mysteriously dragged down to. The episode's title obligingly answers him.<br />
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The travellers' Roman holiday now well and truly over, they climb back into more mundane garb (including a fetching anorak in Ian's case) before taking a proper look at their new surroundings. It's a barren sort of landscape - Ian thinks they're on the moon. But in that case, what's the mysterious force that's dragged them there?<br />
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Vicki gets a headache from unpleasant, high-frequency noises the others can't hear (though the viewer can, and they do get rather painful after a while)...<br />
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...which are being made by strange, ant-like (and really rather cute) creatures bumbling around outside the ship (note the use of vaseline, or something similar on the camera lens to give the effect of an alien atmosphere). Evolution has curiously granted these creatures one pair of thick, human-like legs which they walk around on while their more insectoid upper appendages dangle about.<br />
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Back aboard the ship, the Doctor continues to fiddle about with the controls, eliciting a hilarious eye-rolling response from Barbara before she nips off to get Vicki some painkillers. Finally it seems like he's managed to get the ship to take off, but it quickly returns, seemingly influenced by the actions of the ant-creatures and their even more bizarre looking companion. Suddenly the noises are audible to all of the travellers, and the TARDIS begins to shake. <br />
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The ship's now completely out of power, and Ian and the Doctor decide to go outside and find out what's caused it. As it's unknown whether the atmosphere's breathable, the Doctor gets out a couple of ADJs - Atmospheric Density Jackets, sort of space anoraks - for them to wear. It turns out he can use his ring as a secondary door-opening mechanism by waving it in front of a light (much like how many of us get into our places of work these days). By this stage in the show's development, William Hartnell giggles almost permanently throughout his performance<br />
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Barbara gives Vicki something she claims will make her sleep, which seems very odd as they're aspirin (perhaps she's banking on the placebo effect). Vicki's never heard of them - they seem "a bit medieval" to her "You wouldn't like it if I wanted to stick leeches all over you, would you?" she asks, unanswerably.<br />
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This is a really lovely character scene of the kind we don't often get between the show's regulars, which charmingly sketches in some of Vicki's futuristic background: medicine was one of the subjects she studied at a very young age, by computer for "almost an hour a week". Barbara eventually talks her into taking the tablets: "After all, it would save me having to put make-up on and dance around a fire in order to get rid of evil spirits." Barbara only now gets the chance to tell Vicki about her own adventures in Rome, when the girl notices the gold bracelet she received as a gift.</div>
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The Doctor (who has a matching hat to go with his ADJ) is fascinated by the rocks of mica outside the ship (he describes them as "magical", which seems slightly out of character), and the bizarre echoes created by the landscape. Ian gets out his gold pen for him to take notes - but it immediately vanishes from his hand. "Whatever power's got hold of the TARDIS has taken your pen!" gasps the Doctor when he's finally convinced it wasn't a conjuring trick.<br />
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It seems those aren't the only things it's got hold of - Barbara suddenly feels a strange force pulling at her braceleted arm (she doesn't think to take the bracelet off, though).<br />
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Outside, the Doctor and Ian come across a vast pyramid: "What's that at the top?" wonders the Doctor, spying the strange winged figure that surmounts it. "Well it isn't Nelson!" chortles Ian. "No, no pigeons," agrees the Doctor.<br />
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Ian stumbles upon a little pool, which he's about to wash in before the Doctor stops him. He dangles Ian's tie into the liquid, which immediately sets fire to it. "We very nearly had the remnants of a Coal Hill teacher in there instead of his wretched old, ragged old tie!" the old man points out when Ian complains about this act of sartorial vandalism.<br />
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All of the Doctor and Ian's actions are being spied on by one of the ant creatures, sneakily (and adorably) hiding behind a convenient rock.<br />
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Ian spots the creature's reflection in the pool as it peeps out at them, though it swiftly darts out of sight. But the strange noise it makes can still be heard.<br />
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Aboard the TARDIS, all of the instruments in which are now going haywire, with the console spinning round and all sorts, Barbara can hear the noise too, to a deafening extent. The mysterious force pulls her out through the open doors.</div>
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Ian and the Doctor hear Vicki calling after her, but Ian's suddenly caught in a thick, web-like substance.<br />
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Barbara's being drawn inexorably onward, and it looks like she's heading straight for the pool of acid...<br />
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Meanwhile, Vicki's trapped in the increasingly out-of-control TARDIS. When the ship tilts, she falls on some controls, and the ship takes off...<br />
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...much to the horror of the approaching Doctor ("My ship!" Hartnell gasps once it's vanished, a weight of mourning in his voice). Now THAT's a cliffhanger for you - and what a bizarre and compelling episode that was. <br />
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The Zarbi, we gather from the end credits, were the ant-creatures. Most viewers would probably have been aware of this already, though, as they'd been heavily publicised prior to broadcast as an attempt to reproduce the popularity of the Daleks (since flying in the face of Sydney Newman's "No Bug-Eyed Monsters rule" had been such a success it seems only natural to follow up with monsters that were <i>all</i> bug). Here's <b>Daily Mirror </b>cartoonist Stanley Franklin's take on the coming of the Zarbi, riffing on the race tensions of recent election campaigns.</div>
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The pre-publicity certainly seems to have done the trick: <b>The Web Planet</b> achieved an astounding 13.5 million viewers - the highest the series had managed to date (and the highest it would get for the whole of the 60s).</div>
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<b>Sunday 14 February </b><br />
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I think it's fair to say that <b>Stingray </b>wouldn't be many people's first port of call if they were looking for a satirical view of international relations (however broad-brush)- so this week's episode is wonderfully unexpected. The star of the title is the one on the flag of a fictional Arab nation whose name I can't remember and didn't write down. The star of the episode, however, is this nation's dictator, the grotesquely obese El Hudat, who claims his engineers have invented an invincible ship, which he hopes will pave the way to his country becoming a member of WASP.</div>
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"I don't know how you have got along without me!" the gross despot chuckles as he prepares to sign the papers securing his entry into the organisation. Unfortunately, news arrives that there's been a revolt in his country and his brother's now on the throne, rendering his application void (cut to flag being taken down, accompanied by "Wah-wah-wah" music). El Hudat's the most vivid character <b>Stingray</b>'s yet given us: except for reasons of unintended hilarity <b>Stingray</b>'s dialogue's rarely notable, but writer Alan Fennell gives the gross despot some gloriously imaginative Eastern exclamations: "Sphinx of a thousand starless nights!" "You are the small toe, as well as the large, of the camel's foot!"</div>
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"What are you shaking your head for, green-haired one?" he asks Marina, and becomes extremely attracted to her on learning that she's mute. "If I had a country I would take her back to it!" He exclaims, the old smoothie.</div>
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Commanded to leave the meeting after his outburst on discovering he's been deposed, El Hudat is nonetheless allowed to stay the night at Marineville. Smarting from Commander Shore and Troy Tempest's high-handed treatment of him, the former dictator plots to revenge himself on Troy by striking "at his heart".<br />
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Next day, Marina's vanished. She's been abducted by El Hudat, who plans to whisk her off to Monte Carlo. On the way, he regales the poor thing with self-aggrandising stories: "Even the oil recognised my greatness - it gushed forth and made my country rich!"<br />
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Marineville sends a fighter plane, which has a good go at El Hudat's ship but is swiftly shot down. Can Troy stop the mad despot, who's now gone on a destructive rampage? He scores a direct (and very colourful) hit on a cargo vessel.<br />
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Troy heads out in Stingray, diving when El Hudat fires to give the impression that he's been sunk. Marina sheds silent tears at Troy's apparent demise.<br />
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But that evening Troy sneaks aboard the ship, releases Marina, and knocks out the nattily-bearded captain (off screen - puppet fights are never dignified), and announces that the ship's headed for Marineville.<br />
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El Hudat's brought before Commander Shore, but WASP aren't able to punish him themselves - instead, it's a matter for the World Court. But then news arrives that there's been another coup, and El Hudat's back in power. He greedily seizes the offer of becoming part of WASP - and is then informed that means he can be chucked in prison for five years there and then.<br />
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As El Hudat bellows threats of vengeance from his cell, the episode ends with his flag being run down the pole once more, suggesting yet another in the country's endless round of regime changes. See, satire. Of sorts.<br />
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I had hoped to feature this week's episode of <b>Dr Finlay's Casebook</b>, entitled "Charity, Dr Finlay" and scripted by the up-and-coming Robert Holmes, but sadly I can't find the disc it's on. In fact I think I might have thrown it away when I was moving house. People like me are exactly why so little 60s TV still exists.</div>
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<b>Monday 15 February</b><br />
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In the first of a new series on BBC 1, <b>The Rare Ones</b>, E F Schumacher goes to Asia in search of "The Lion and the Unicorn" (the unicorn of the title's actually a rhinoceros, but that doesn't sound as good). Over on BBC 2, the Nashville Teens, Dave, Dee, Dozy, Beaky, Mick and Tich and Screamin' Jay Hawkins all do their stuff in <b>Gadzooks! It's All Happening</b>. Later in the evening a new thriller serial, <b>Reluctant Bandit</b>, commences, with a cast including William Mervyn and Patricia Haines.</div>
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<b>Tuesday 16 February</b></div>
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Tonight's <b>Danger Man</b> is as off-beat an item as you could hope to find on ITV of a Tuesday evening. Where the earlier <b>Colony Three</b> roughly sketched the basic situation that would mutate into Patrick McGoohan's subsequent show <b>The Prisoner</b>, tonight's instalment is almost a template for that series' more surreal elements.<br />
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We start in innocuous, if unusually casual fashion, with John Drake merrily bowling along a country road in a sports car (as opposed to his usual Mini), failing to stop for a hitch-hiking tramp (Francis De Wolff).<br />
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Suddenly, a football descends from the sky, and Drake swerves to miss it, crashing the car...<br />
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Drake comes round, seemingly unharmed (as is his car), and returns home to find another agent, Fletcher (Peter Gill, in his last screen role - he'd give up acting shortly after to concentrate on writing and directing for the stage) waiting for him. He's leafing through Drake's copy of <b>From Russia With Love</b>, a knowing reference in more than one way - not only is James Bond a clear influence on the character of John Drake, but this edition of the book ties into the film, in which Francis De Wolff also appeared.<br />
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Drake's told to go and see a superior at M9, "Happy" Lovegrove (Eric Barker), who's been trying to find out about his gambling habits. "You've been attracting a lot of attention lately," Lovegrove snorts. "It's my personality," responds Drake in his most debonair fashion. "I try to fight against it, but without success."<br />
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Drake supposedly owes a casino owner named Alexander £500 (Lovegrove's riotous laughter on being informed that the only Alexander Drake knows is the Great is an early indication things aren't quite right), and is sent to pay him a visit.<br />
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There's another Bond reference in the shape of Desmond Llewellyn, irascible gadget-provider Q in the film series. Here he plays the doorman of Alexander's club, who seems to think he knows Drake, and whose face has an unnerving habit of turning into that of Lovegrove.<br />
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Everyone else in the club seems to think they've seen Drake before too, including Elaine Pearson (Adrienne Corri), Alexander's glamorous secretary. She brings him to the inner sanctum of the man himself: Drake seems not to notice that he has the same face as the tramp from earlier on.<br />
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The matter of the £500 is suspiciously easily resolved: Alexander readily believes Drake's protests that it is in fact another John Drake who ran up the debt. As Drake heads off, he collides with merry widow Elsie Fairbrother (the wonderful Patsy Rowlands), who takes an instant shine to him and drags him over to the table to bet for her.<br />
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There, he notices Elaine placing bets (Elsie refers to her as "the one in the green dress", adding another layer of oddness by drawing attention to a colour the viewer's unable to see), watched by an unknown man (Edward Underdown). And now it's the croupier (Terrance Hooper) who briefly transmogrifies into Lovegrove.<br />
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Drake reports back to the "real" Lovegrove - he's suspicious about this other Drake, who he doesn't think really exists. As well as seeing Lovegrove everywhere, Drake's now haunted by his laughter. He's sent to the M9 doctor, who, inevitably, Drake sees as Lovegrove. The feeling that we're through the looking glass is amplified by the reversed letters on the doctor's sight chart.<br />
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Returning to the club, Drake tries to pump Elaine for information. She lets him walk her home, and Alexander's there waiting for him.<br />
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Alexander reveals that he knows Drake's an M9 agent, referring to identities he's adopted in previous episodes and, in an especially inventive touch, laying down cards with photographs of them as he plays patience. He demands £10,000 to keep quiet - the signature Drake provided to prove he wasn't the other John Drake has in turn been forged on an IOU.<br />
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The unsympathetic Lovegrove thinks Drake wants the money to pay off more gambling debts, and refuses to pay up. Drake storms out (Patrick McGoohan thumping a desk in rage would become a very familiar sight on TV in a couple of years), but returns to find the doorman from the club nonchalantly perched on Lovegrove's desk.<br />
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It's getting worse: at home that evening, Drake even sees his own reflection as Lovegrove. But he doesn't have time to puzzle over it, as two city gent types (Peter Butterworth as "Umbrella", Mike Pratt as "Briefcase") have somehow invaded his flat to demand the money.<br />
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A fight inevitably ensues - both men are beaten easily enough.<br />
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Alexander's so desperate for the money that he even offers to lower the amount. Elaine has a suggestion for how he can get hold of it: the only time she ever bets is when the roulette wheel's been fixed by Alexander for a particular client. She suggests Drake follow her betting to secure a win. There's a wonderful parody of womanising heroes like Bond and Simon Templar as Drake appears poised to snog Elaine - but instead reaches behind her for something.<br />
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Lovegrove confirms that the mystery man at the casino was a naval captain - Drake thinks Alexander fixes the wheel to pay men like this for secrets. This meeting occurs while Lovegrove occurs while his superior's picking out a pair of glasses. Why? Well, why not? It provides another especially bizarre moment as Drake suddenly sees his superior wearing a succession of particularly outlandish frames.<br />
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Drake's next strange vision is his car, suddenly all smashed up, and wheeled beneath his flat window by Doorman-Lovegrove and the two gents ("Briefcase" isn't played by Mike Pratt now, but in these circumstances that hardly seems to matter).<br />
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Shortly afterwards, Drake's visited by a man in funereal garb (John Cazabon) hawking insurance. Inevitably he turns into Lovegrove the moment he's over the threshold.<br />
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Drake goes back to the club and, with Elsie by his side, bets along with Elaine. Clearly wise to his game, the Croupier/Lovegrove ushers him aside, but he escapes to Elsie's flat ("I haven't been so happy since Norman died!" she exclaims)<br />
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The croupier enters, and he and Drake fight - though part-way through Drake gets distracted by his reflection and starts fighting that instead. It fights back.<br />
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Alexander appears, only to be accidentally shot by the croupier (Elsie's entirely unbothered by all these goings-on). He's followed by the Doorman, who reveals himself as the real mastermind behind Alexander's operation. He plans to protect it by getting rid of Drake and Elsie - but Drake shoots him first, and he vanishes into thin air. The other villains follow.<br />
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Next, Drake shoots his own reflection, then finds his gun turning on him of its own volition.<br />
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Backing away from his own arm into the bedroom, Drake finds himself in bed with Lovegrove, with Elsie preparing a fearsome-looking injection for him...<br />
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...and then he awakes, to find Elsie as a nurse, the croupier and doorman as ambulancemen, and Lovegrove as the doctor tending to his wounds from the smash-up. Imaginative viewers may wish to extrapolate the significance of Elaine from her uncanny resemblance to Drake's friend (and implied old flame) Pauline, seen a few weeks back.<br />
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"It was all just a dream" is usually such a disappointment, but as its clear almost from the outset here, <b>The Ubiquitous Mr Lovegrove</b> is a highly diverting hour of strangeness - though as the 60s wear on, flights of fancy like this will increasingly seem less like curious diversions and more like the standard route.<br />
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Over on BBC 1, it's the last episode in the present series of <b>Marriage Lines</b> and - though two further series were broadcast - the last one known to exist. It's pleasing then, that it sees the return of two characters from the show's first series - Kate and George Starling's former neighbours Peter and Norah.<br />
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George is finding the boredom of life as a parent a struggle - unable to go out like he could when he and Kate were childless, he's stuck in every night doing a jigsaw. He's done the same one 14 times. It's not much of a Saturday night (he snorts in astonishment at Kate's suggestion that there might be something good on the telly), and George wishes he could go back to "the good old days". "You'd better hitch a lift with <b>Doctor Who</b>," Kate tells him, sternly.<br />
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The monotony's broken by a phone call - it's Peter and Norah, visiting London from Edinburgh. George invites them round for a casual supper.<br />
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Kate immediately starts to fret about impressing their guests- Peter has a swanky job now, and he and Norah live in a big house. Surely a Sunday joint brought forward by a day is going to look a bit pathetic?<br />
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Kate heads out to the shops to get something more impressive, pressing George for a pound. Deciding the cheap red wine they've got left from New Year won't cut it she sends him off to get some Beaujolais and a bottle of sherry.<br />
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<b>George: </b>Who drinks sherry?<br />
<b>Kate</b>: Civilised people!<br />
<b>George</b>: Everybody turns it down, then it clutters up a cupboard till you make a trifle or we get invited to a bottle party.<br />
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"You used to lend her our washing powder and he was sick in our loo," George reminds Kate, in a doomed attempt to get her to calm down about Peter and Norah's visit. Instead she worries about how much her dress will clash with the candles.<br />
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George is appalled by the posh grub Kate's brought back from the shop - a tin of lumpfish caviar ("6/6 for an ounce of imitation frogspawn!"), artichoke hearts, "birds without their heads" (ie <i>oiseaux san tete</i><b style="font-style: italic;"> </b>- veal burgers, basically), and most bizarre of all, "rainbow sugar". George is amazed she got that lot for a pound - and is informed Kate's opened an account at the store.<br />
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Eventually Peter arrives, without Norah - she's having a nap at the hotel and will arrive shortly. Having done a pub crawl on his way, Peter's pretty well lubricated, and, on being presented with baby Helen, proceeds to spill beer all over her.<br />
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Norah arrives, gagging for a glass of cheap red wine, though she can't have one as she's pregnant.<br />
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Totally absorbed in her own forthcoming baby, Norah shows no interest at all in Kate and George's. This greatly upsets Kate and leads George to an angry outburst. Norah bursts into tears, and George and Peter nearly come to blows.<br />
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Desperate to save the evening, George tries to get a smile out of his guests by reminiscing over previous episodes. It doesn't go well.<br />
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The doorbell rings, and salvation arrives in the form of a pair of Scottish newlyweds (Stuart Monro and Christina Gray) in search of the wife's uncle. George gets them to come in, in the hope that their presence will prompt happy reminiscences of past times for the others. It works - and what's more the young Scots both love sherry.<br />
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The series comes to a lovely end with George joining Kate at Helen's cot, and mock-toasting their future with her.<br />
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<b>Wednesday 17 February</b><br />
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Comedy thriller serial <b>Night Train to Surbiton</b>, with Nicholas Parsons, Eleanor Summerfield, Fabia Drake and John Bluthal chunters on over on BBC 2, while tonight's <b>Wednesday Play </b>on BBC 1 is Eric Coltart's <b>Wear a Very Big Hat</b>, the second of the series to be directed by Ken Loach. Neville Smith (who gave a truly awful performance in <b>Doctor Who</b>'s French Revolution story) and <b>The Likely Lads</b>' Sheila Fearn star, with John Clive, Alan Lake, William Gaunt, Marji Campi and Ken Jones also in the cast.</div>
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<b>Thursday 18 February</b></div>
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This week, Simon Templar's in Cornwall - specifically, at an out-of-the-way inn called the Weary Traveller. He's come in response to a letter from young Julia Jeffroll, asking for his help. He helps himself to beer and sandwiches and waits for her to appear. When she does, she's played by the beautiful Suzanne Neve - he must have a sixth sense about these things.<br />
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Simon checks in under his usual alias of Sebastian Tombs, though thankfully there's no dodgy American accent to go with it this week. Julia's called him in because of the mysterious noises that haunt the inn at night and the furtive, frightened behaviour of her father (Michael Gwynn), who recently came back from abroad and purchased the inn (she gave up her job in London to come and help him run it).<br />
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Any thoughts of things that go bump in the night are swiftly shunted aside, however - it's immediately clear that anything dodgy going on at the inn is the work of its only guests beside Simon - a rum trio of former Royal Engineers. On a sliding scale of geniality they're bluff Captain Portmore (Howard Marion-Crawford), edgy Weems (Norman Bird) and "maniac" Kane (Percy Herbert). The writer of the episode is Norman Hudis, who provides a few snippets of dialogue that wouldn't seem out of place in one of his <b>Carry On </b>films ("This is an inn," Jeffroll reminds Weems when he demands Simon be ejected. "As far as he's concerned it's an out," comes the response - earlier, Simon responded to Jeffrroll informing him there was no hot water with "Never mind, I personally plan to keep out of it.").<br />
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Kane arrives at the inn with a case which he forcibly prevents Julia from touching: this and his generally unpleasant attitude lead he and Simon to a bout of fisticuffs. Simon inevitably comes off best, and Julia's chuffed that someone's finally stood up to this ghastly man.<br />
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Later that evening, Simon sneaks in to Kane's room for a look in the case - it's full of dynamite. He and Julia notice Jeffroll and Weems driving off in an army truck Jeffroll claimed was unserviceable. Simon suspects Jeffroll's being blackmailed into involvement in whatever the crooks are up to.<br />
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Investigating the cellar, he finds Portmore and Kane busy digging a tunnel, and talking about a job that'll get them £100,000 each. "I know what that means to you," Kane sneers to his colleague, "400,000 double whiskies".<br />
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Julia romanticises over legends of smuggling, but Simon works out the rather more mundane truth about where the tunnel leads to: a nearby prison.</div>
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The mastermind behind the scheme turns out to be Jeffroll's solicitor Yesterman (John Gabriel), who is being paid a million pounds to spring a wealthy client, Bellamy (Edward Cast) currently detained at Her Majesty's Pleasure. Yesterman's seen Simon, and recognised him as the Saint. In spite of Jeffroll's protests, the others determine to kill him.<br />
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Bellamy's currently in the prison infirmary, where Yesterman pays him a visit, dropping hints about the escape plan as they pore over a document "There is a <i>get out</i> clause, it operates from <i>today..."</i><br />
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Kane places a bomb in the engine of Simon's car. The Saint, meanwhile, has pinpointed Bellamy as the escaping crook from the fact Yesterman's his solicitor.<br />
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Julia's sneaked into the cellar and learned the time of the breakout. "Even as a child, I was disobedient," she tells Simon. "Yes, well, you know what happens to disobedient children," he says, sternly. "They get whacked. And that's what I should do to you." It's probably for the best that this doesn't develop any further. Instead, Julia reveals to her father that she knows all, and tries to talk him out of his part in the plot.<br />
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Julia goes off with Simon in his car to alert the police, but on learning about the bomb, Jeffroll races after to warn him, followed in turn by Kane and Weems. Hearing all the commotion behind him, Simon stops his car in the middle of the road. A man who looks extraordinarily unlike Roger Moore gets out.<br />
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Kane shoots Jeffroll, who crashes his car. As Kane and Weems hop out to get him, a huge explosion alerts them to the destruction of Simon's car - and, they assume, Simon.<br />
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Jeffroll gets tied up in the cellar (poor Michael Gwynn suffered a very similar fate in <b>Danger Man</b> just a few weeks back too), as the others get on with the final stages of the plan.<br />
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Bellany reads what appears to be an article about strippers in <b>Man's Life</b> magazine as he waits to make his escape. At the appointed hour he rushes to the shower room and disappears down a hole in the floor.</div>
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He's followed by a guard, who's sadly crushed when the tunnel is dynamited once Bellamy's out of it. The villains celebrate their success - but discover that the suitcases supposedly full of money are in fact just full of rubbish. Simon has another ding-dong with Kane, the police arrive to apprehend the crooks, and Julia's compensated for her father's imprisonment with £75,000 - half the reward money. Simon spends the other half on a new car.<br />
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<b>Friday 19 February</b></div>
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Deryck Guyler and Kenneth Cope guest star in tonight's episode of Roy Kinnear sitcom <b>A World of His Own</b> on BBC 1, which is followed by <b>Club Night</b> from the Lyceum Rainbow Club, Bradford, with Charlie Chester, David Hughes and Sheila Buxton on the bill.<br />
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<b>Outside the box</b><br />
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<b>Sunday</b>: The one millionth Mini rolls off the production line at the British Motor Corporation's Longbridge plant.</div>
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<b>Tuesday</b>: The British Railways board publishes its second report since the infamous Dr Richard Beeching took the reins, suggesting that all but the most mainline of stations will be closed.<br />
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<b>Thursday</b>: Gambia becomes independent from the UK.<br />
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<b>And to play us out...</b></div>
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It's the Kinks, at number 2 in the hit parade with "Tired of Waitin' for You". And no doubt they're tired of waitin' for the Righteous Brothers to vacate the top spot as well.<br />
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Ivanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.com0tag:blogger.com,1999:blog-4443589666300610642.post-62710255850248183942015-02-10T14:00:00.000+00:002015-02-10T17:12:14.428+00:006-12 February 1965<b>Saturday 6 February</b><br />
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Another Saturday evening, and once the four and a half hours of <b>Grandstand</b> (a good-sized portion no doubt devoted to Sir Stanley Matthews' final football match at the record age of 50) are over with viewers once more get to hear an ill-assorted group of celebs' views on the week's single releases. On the <b>Juke Box Jury</b> this week we have the marvellously unlikely combination of Thora Hird and Gene Pitney, plus Radio Luxembourg DJ Don Moss and teenage singer Linda Lewis.<br />
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Once musical justice has been done (and been seen to be done), it's time to bring <b>Doctor Who</b>'s adventure in ancient Rome to a fiery end.<br />
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Last week, the credits rolled as Ian seemed about to have his head separated from his neck by his supposed friend Delos, while the Emperor Nero bayed for blood. But, instead of making the fatal chop, Delos turns on the Emperor and he and Ian engage in combat with the imperial guard.<br />
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The male slaves manage to escape, but Barbara remains in Nero's clutches. Aware that she tried to betray him, the Emperor draws his sword, vowing revenge... but it's actually one of his guards he runs through, for not fighting hard enough. For Barbara he has other plans...<br />
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...as does his jealous wife Poppaea, who summons Tavius before her and demands Barbara be discharged (dealing him a slap across the chops and a threat to his life when he tries to talk back).<br />
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Barbara tells Tavius Nero's using her as bait for Ian, who he'll have guards waiting for when he returns. He promises to help them escape - it'll get Poppaea off his back into the bargain. Barbara, still unaware that visiting musician Maximus Pettulian is in fact her friend the Doctor, tells Tavius that Nero plans to set lions on him in the arena.<br />
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Delos and Ian discuss their next move: Ian decides to take a leaf out of the Doctor's book: "He dives in and usually finds a way."<br />
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The Doctor and Vicki happen upon Nero's plan for a new Rome (to be named after himself), which jogs the Doctor's memory about the city's fate.<br />
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Tavius once more tries to attract the Doctor's attention ("Must you hiss my name from all corners?") - this time to warn him what Nero has planned. Also, Tavius is finally explicit about the conspiracy he's been hinting at for the past couple of weeks: it seems that the real Maximus Pettulian's true purpose in Rome was to assassinate Nero. The Doctor seems rather tickled by the idea.<br />
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Exit Tavius, enter Nero, bursting to tell the Doctor about his planned appearance in the arena. The Doctor lets the Emperor know he's aware of what's in store for him through the use of the most groansome puns.<br />
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Nero's attention's soon distracted from all this though: the<i> pince-nez</i> the Doctor's holding behind his back catch the sunlight and set fire to Nero's plans. The Emperor's initial rage ("I'll have you both killed over and over again!") - suddenly transforms into joy as a new idea hits him: the Senate have blocked all his plans for rebuilding Rome to date, but if they city were to burn down they'd have no choice but to rebuild it.<br />
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The Emperor rapidly puts his new plan into action, gathering together a horde of budding arsonists who he promises to remunerate handsomely for setting fires across the city.<br />
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Tavius picks out Ian, hiding among the pyromaniacal crowd, and brings him to Barbara. The pair hug enthusiastically.<br />
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Nero sets his torchbearers on their way. My favourite's the chap below, who looks like he's having the time of his life. Sadly the still image doesn't show you the merry way he scurries off (I keep almost deciding I'm going to learn how to do GIFs).<br />
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As Tavius leads Ian, Barbara and Delos out of the palace and on their way, they're set upon by Sevcheria. Delos casually puts him out of the way by shoving a burning torch in his face.<br />
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Delos decides to head for home, while Ian and Barbara set off in the direction of the villa where their adventure began. As he wishes them luck we learn Tavius is a Christian, which in 64 AD was perhaps more of a guarantee of being a kind and charitable person than it is now. The casting of a man with a face as grim as Michael Peake's as a character who turns out to be such a thoroughly good person was a masterstroke.<br />
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One person who seems to be enjoying himself even more than Happy Torch Man is William Hartnell, who's clearly been having a ball with the comic opportunities he's been given in the past four weeks. The story gives him one last opportunity to indulge himself as he and Vicki stand on a hill looking at the blaze. Vicki, marvelling at her "first real sight of history" points out that, despite all his rhetoric about not interfering, the Doctor was responsible for the whole thing. His initial indignant protest gives way to great amusement, Hartnell's face doing some truly remarkable things as the camera closes tight on it.<br />
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The Doctor's chuckle segues impressively into the crazed laughter of the Emperor, strumming at his lyre as per the legend while the city burns.<br />
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Ian and Barbara get back to the villa first, picking up just where they left off, Ian stinging Barbara with her own joke about going to the fridge. Barbara lets slip that it was she who cracked the vase over Ian's head, precipitating their whole ordeal of the past four weeks. In response, he dunks her head into a fountain.<br />
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But there's no time for larking about - the Doctor returns now, decreeing that they must now all head back to the TARDIS (Ian nicks a vase for a souvenir).<br />
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Back aboard the ship, Vicki, who's been trying without success to impress Barbara with her stories of Rome, is alarmed to be told the Doctor can't always control the vessel fully. And that seems to be even truer now than usual...<br />
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<b>Sunday 7 February</b></div>
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The fiery theme of yesterday's <b>Doctor Who</b> carries over into this evening's amusingly titled <b>Stingray</b> (sadly it doesn't feature a villain called Ralgex, even though it would be a brilliant name).</div>
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WASP (do we call it WASP? Or the WASPs? I'm never quite sure) has sent a cute little beepy probe down to survey the ocean floor. The increasing use of these unmanned craft is a boon to Troy Tempest, who gets much more leisure time as a result. He spends this hanging out with his chums at the Blue Lagoon, taking in the smooth jazz sounds of house band the Wasps. Marina's trying out another new hairdo, but nobody seems to notice.<br />
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The probe's suddenly gone quiet, and Shore deduces that it's fallen down an extinct undersea volcano.<br />
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Troy shows off to his friends by ordering a magnum of Champagne, even though Atlanta's scared of the sound of popping corks. Luckily for her it never does get popped, as everybody's called back to work.<br />
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Troy, Phones and Marina are sent to recover the lost probe (they have to take a "high frequency tracking pack" with them to make sure they don't drop off the radar as well). When they reach the volcano they find themselves being pulled inexorably down...<br />
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...until they reach a mysterious hangar-like area, 1000 feet below. There, a voice commands them to swim out to a nearby airlock, on pain of being torpedoed.<br />
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Troy and Phones venture out, leaving Marina behind as per, and find that beyond the airlock is a lift, which carries them down even further.<br />
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All this travelling deep beneath the Earth's surface (again) has done something very peculiar to Troy's hairdo.<br />
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When the lift reaches its destination Troy and Phones alight, finding themselves in a curious chamber. Its two occupants eventually pop out from behind a pair of rocks, though why they were hiding is less than clear. Their names are Turata and Fragil (pronounced "Fraggle"). They announce that this is what remains of the city of Voldana, and that they are the "sole survivors of Centralius, the mighty civilisation [they say] that has lived under the Earth for thousands of years."<br />
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"I will explain," says Turata - who we can tell is the leader because he's got a beard and does all the talking - in the face of Troy and Phones' blank looks (well, I suppose they always look blank). Happily, he has a pointer and diagram handy. The rest of the Centralians were killed the last time the volcano erupted, and it's about to do so again. They've been sucking down craft in the hope of escaping in one of them. Stingray's the first that they can do so in.<br />
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But if this were simply about a pair of friendly subterranean beings being evacuated to the surface there wouldn't be much of a story. The snag in rescuing Torata and Fragil is that Troy and Phones only have breathing apparatus for two people. So the Centralians nick it from them at gunpoint, ("You dirty rats!" exclaims Troy, though this hardly seems the time for James Cagney impressions),. "We would not want to prolong your suffering, we are humane people," says Turata, confusingly, before shooting out the wall just so the Aquanauts will be killed by molten lava.<br />
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This episode is really just an excuse for a load of pyrotechnics, and on that basis it's very impressive.<br />
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Turata and Fragil make their way to Stingray, but discover they can't get in, so they have to go back, hoping Phones and Troy aren't yet dead.<br />
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As yet they're not quite dead, just gawping at the melting set.<br />
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When the Centralians return, the Aquanauts bash them over the heads with rocks, and escape with them just in time to take them back to Marineville, where they'll languish in jail.<br />
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Stingray gets away just as the volcano erupts, though it's badly knocked about by the resulting tidal wave.<br />
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Atlanta's so happy to hear that Troy survived she starts crying. She's probably not all that bothered about the others.<br />
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<b>Monday 8 February</b></div>
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I neglected to mention last week that BBC 2's Monday evening pop programme <b>The Beat Room</b> has now been restyled as <b>Gadzooks! It's All Happening</b> (yes, really). Christine Holmes and Alan David are the presenters and the regular acts are the Three Bells and the Mike Leander Combo (featuring the Beat Girls). Special guests tonight are the Rockin' Berries and the Graham Bond Organisation.</div>
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<b>Tuesday 9 February</b></div>
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This week's dip in the murky waters of espionage begins with Ramon Torres (played by Harold Goldblatt, whose screen roles to date have included Concepta Hewitt's father in <b>Coronation Street</b>) returning to his native Spain from exile in Paris. Wanted by the police, he's there under an assumed name, and meets up with a group of rebels who promise to take him to his son's house. He gets to the front door, but a sinister man (<b>Stingray </b>voice artist David Graham) is waiting for him. He's a police inspector, and his men seize Torres and take him to prison, where he's sentenced to death - an announcement that leads to a wave of protests - which, in turn, lead to John Drake arriving on the scene, in the guise of a journalist.</div>
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The first thing Drake does on arriving at his hotel room is to check for bugs - and he's not disappointed. Aubrey Morris, in swarthy makeup and a greasy black wig, is in an adjacent room listening. Drake puts the bug out of action and leaves for a bit - returning to find Morris's character, Fortunato Santos, pretending to fix his telephone.<br />
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Drake warns Santos against spying on him, but the sneaky little man plants another listening device when Drake answers the door to British diplomat Sir Duncan (Andre Morell), who's most perplexed by his silent gesturing once Santos scurries out, not to mention his production of a tape recorder to fool the listener into thinking he's still in the room.<br />
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Sir Duncan brings Drake to the offices of Security Minister General Ventura (Martin Benson). He and his American counterpart (Alan Gifford) are their to plead for Torres' release.<br />
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While there, Drake meets up with American agent Kemp (Charles Tingwell), an old sparring partner. Neither's convinced the diplomats will have much luck, so Kemp suggests Drake get involved with his plan to spring Torres from prison with the help of the underground.<br />
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"But didn't he spring someone from captivity last week?" you might be thinking, and you'd be right, but this week's episode goes off on quite a different tangent. For a start, the underground leader known as El Ferro (Brian Worth) is not a very friendly character, and is as suspicious of Drake as Drake clearly is of him.<br />
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Drake's meeting with El Ferro and his gang is interrupted by the apprehension of a blind match seller outside the bar - it's really that sneaky Mr Santos again.<br />
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Later, Drake receives a visit from one of the rebels, young Maite (Sonia Fox), who quizzes him about his intentions. He tells her he doesn't believe El Ferro wants to rescue Torres at all - his capture has drawn worldwide attention to the rebel cause, and having Torres as a martyr would be the best thing that could happen to them. Besides, as far as Drake's concerned all the evidence points to Torres being a cold-blooded killer rather than a hero. Maite protests that Torres only killed in response to a massacre carried out by General Ventura - which she's seen film of. She takes Drake to see Carlos Bisbal (Eric Pohlmann, in cuddly mode), the filmmaker (formerly a great cameraman during Hollywood's silent era, he claims) who recorded the footage, but who now works as a projectionist at a tatty local cinema.<br />
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Carlos shows Drake the film. It confirms for him that Ventura ordered the massacre, but also that El Ferro's not out to rescue Torres: if he knows of evidence this compelling, why wouldn't he publicise it - unless he wanted to make sure Torres isn't released? The rebels themselves soon turn up to confiscate the film, roughing up poor Carlos. Drake escapes with a print of the film by diving through the cinema screen. The set decorators have dressed the cinema's lobby with some posters for real Spanish films, but also, less expectedly. portraits of a trio of British film stars of the 50s: Richard Todd, George Baker and John Fraser (who'd guested in a previous <b>Danger Man</b>). Who knows, perhaps they were all especially big in Franco's Spain.<br />
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Drake heads straight for Sir Duncan with the film, but the diplomat, horrified by the idea of using "sordid, pornographic evidence" to discredit the General, swiftly hands it to his right-hand man, Colonel Montes (Richard Leech) when he comes calling - much to Drake's frustration. The wonderful Andre Morell gets disappointingly little screen time but perfectly sketches his exasperatingly pious character. Patrick McGoohan, too, is fantastic in this scene, as Drake just about manages to keep a lid on his anger at Sir Duncan's blithe betrayal.<br />
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It turns out, however, that Kemp has another positive copy of the film, which he has flown to London. Drake's taken to see General Ventura, who won't officially sanction Torres' release, but agrees to help out with a jailbreak.<br />
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So Drake sneaks in to the prison with a group of musicians, and swiftly constructs a pretend double bass so Torres can sneak out with them. He finally gets him out of the country in the guise of an English aristocrat.<br />
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Next tonight, a glimpse of rush hour on the London Underground in the mid-60s.<br />
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George Starling makes the dreary commute home from work, all the adverts on the train ganging up to remind him of his new duties as a father (we get enough of a glimpse of the route to see that he travels by the Central Line).<br />
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A former colleague, Michael (Trevor Danby) welcomes George to "the Fathers' Club", pointing out that it has its advantages too: there's a tax cut, women will take him more seriously... and Mr Dickson (Arnold Diamond), George's former boss, who fired him after an "incident in Birmingham" suddenly looks more kindly on him too, offering to help George out with insurance matters, and intimating that he could get his old job back.<br />
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As a result of this, George lords it over his friend Ronald (Rex Graham), who's been trying for kids for ages (not by himself, I hasten to add) when they meet up for a pint.<br />
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Kate's still in hospital. A rather merry George comes to see her and Helen, nearly squashing the unfortunate nurse (Elizabeth Chambers) when he enters. Kate isn't upset that her husband stopped by the pub on the way. In fact, she tells him, "You're much nicer when you've had a few."<br />
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After the hospital, George pops in to see his parents, who reminisce over his own birth: "Never seen such a wrinkled little shrimp," chortles his father. "Good lord, if I'd been a fisherman I'd've thrown him back!"<br />
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If that's not embarrassing enough, George now has the next door neighbours (John Kidd and Betty Romaine) to contend with, as they pop round and share their memories of his childhood. When his mother whips out a naked baby photo he has a strop, though it's interrupted by Kate ringing to say she's being turfed out early and he'll have to come and collect her.<br />
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Having offended his father, George isn't able to get a lift, so the Starlings have to rely on an extremely grumpy taxi driver (Frank Partington, who makes a right hash of his few lines), who they end up having to pay out of their copper jar.<br />
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Kate's driven to distraction by the state of the flat and George's general uselessness in helping with the baby.<br />
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Happily, George's parents turn up to the help out. But while Mrs Starling's a godsend, her husband proves to be as much use as his son, using the boiling water for sterilising to make a lovely pot of tea. The end. Next week it's the last in the present series of <b>Marriage Lines</b>, and indeed the last episode of the show that still exists.</div>
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<b>Wednesday 10 February</b><br />
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Tonight's <b>Enquiry</b> by David Dimbleby into the stresses facing the nation's GPs is available to watch at the BBC's archive site <a href="http://www.bbc.co.uk/archive/nhs/5144.shtml">here.</a> The GP in question is a Dennis Potter lookalike reaching the end of his tether over the 100+ patients he has to see each day in exchange for very poor remuneration and being permanently on call. Highlights include his nurse's amazing cat's-eye glasses, his insistence that an understanding wife is essential for all GPs, and the interview with an extremely ill-at-ease private patient who looks like a 1950s serial killer.</div>
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<b>Thursday 11 February</b></div>
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The opening caption of this week's <b>The Saint</b> announces that we're in a "South America" just as nebulous as last week's "South East Asia", though the dialogue clarifies that we're in an unpleasant backwater called San Carlos. As soon as he leaves the airport, Simon's accosted by bungling heavy Julio (the very funny Alvaro Fontana), who wants to take him to his boss, one General Cuevas.</div>
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Simon makes short work of Julio, then heads for his destination: Scottish pub the Crown and Heather, run by another member of his global old friends network, Fergus MacLish (Alex McCrindle). Fergus has called on Simon for help as he's been swindled out of his life savings by a con artist calling himself Professor Humphrey Nestor.<br />
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Simon checks into the hotel where Nestor (Hugh McDermott) is staying with his beautiful daughter Alice (Jacqueline Ellis) with a plan to turn the tables on them. As soon as they spot him they decide he'd be an ideal next target for their scam.<br />
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On arrival in his room, Simon finds it's already occupied by Quintera (Alan Tilvern) of the National Security Police, who's been waiting for him. Having learned of his altercation with Julio, Quintera warns Simon to be on his guard as General Cuevas is a very dangerous man who's plotting to seize control of the country.<br />
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Meanwhile, the General himself (Walter Brown) is busy tearing a strip off Julio (who's already had his sleeve torn off by Simon). He's determined to get Simon out of the way, figuring, reasonably enough, that he poses a major threat to his plans.<br />
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Simon makes contact with the Nestors as his accustomed alter ego, hick American businessman Sebastian Tombs, and pretends to be highly impressed with the golden frog they show him: they claim it's an Aztec artefact and that there's a whole cave full of them in the jungle, but that they need help financing a full scale expedition to fetch them (some are enormous) while avoiding the neighbouring headhunters. Simon bites.<br />
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Simon returns to his room to find Julio waiting. but sends him flying with a single punch. However, he ends up knocked out by his burly colleague Paco (Barry Shawzin).<br />
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At Cuevas' hideout, the General welcomes Colonel Vargas (Alan Curtis), who looks suspiciously similar to a certain president of Cuba. He's returned from a nearby country with a consignment of guns to help aid Cuevas' revolution.<br />
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Nestor's busy planning the bogus expedition, having secured the services of simple Indian guide Loro - in reality a cigar-chomping Yank (played by Maori opera singer Inia Te Wanata), who suggests they buy the headhunters' favour by supplying them with guns.<br />
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Nestor's kidnapped and taken to Cuevas: he protests that he doesn't really have any guns, but Cuevas forces him to take some with him to give to his men stationed in the jungle. Meanwhile, Simon and Alice get to know each other better.<br />
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In exchange for a promise to bring Cuevas and his gang to justice, Simon (who wears an <i>enormous</i> cravat on the expedition) has obtained an official document from Quintera granting him the rights to the gold in the area where the frog cave supposedly is - there isn't any there, of course, it's all a ruse to trap the Nestors.<br />
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The expedition sets off by boat - the captain's played, uncredited, by Frank Singuineau, who played the major role of the Minister in <b>Fable</b> a couple of weeks ago. Vargas lurks below with the guns.<br />
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Jacqueline Ellis's facial expression when Alice spots a crocodile is something to treasure, and the pop-eyes obviously run in the family judging by her father's reaction to a threat from Vargas.<br />
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Loro's hired a group of pretend head-hunters, and even supplied his own papier-maché head. I think that the squeamish Indian he gleefully freaks out with it is an uncredited Dino Shafeek (in reality a different sort of Indian), later to star in <b>Mind Your Language</b>.<br />
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Anyway, it all ends with Simon throwing Vargas overboard after a scuffle, Cuevas and his men being arrested, Simon conning the Nestors out of $20,000 for a share of his mining rights, and Alice thanking him as it's finally convinced her father to retire, which she's been nagging him about for ages. And they've ended up in the black after selling Cuevas' guns to the government. Neither of the Nestors are likeable enough for this to be a satisfying ending.<br />
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<b>Friday 12 February</b></div>
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Kathy Kirby (no relation) is a difficult woman to avoid at the moment. Not only is she singing for Britain at the Eurovision Song Contest, this year, she's also got a new series of her very own show on BBC 1. Adam Faith is her special guest this evening.<br />
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This week's BBC TV listings from the <b>Radio Times</b> can be found at the BBC Genome project <a href="http://genome.ch.bbc.co.uk/cc114aaab8a04f05b2ac5a4817d72f97">here.</a></div>
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<b>And to play us out...</b></div>
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It's the Righteous Brothers, whose original version of "You've Lost That Lovin' Feelin'" has leapfrogged over Cilla Black's cover and landed in the number one spot in this week's hit parade.<br />
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You can see the full chart for the week <a href="http://www.officialcharts.com/archive-chart/_/1/1965-02-06/">here.</a></div>
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Ivanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.com2tag:blogger.com,1999:blog-4443589666300610642.post-62364408734588070852015-02-05T19:06:00.001+00:002015-02-05T19:06:05.932+00:0030 January-5 February 1965<div style="text-align: left;">
<b>Saturday 30 January</b><br />
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Today's main TV event is the afternoon's live coverage of Winston Churchill's funeral. Kenneth Williams, watching with his mother and clearly fed up with the mourning that had gripped the country for the past week, tells his diary "Thank goodness this dreary saga will soon be finished."<br />
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If he tuned in to tonight's <b>Juke Box Jury </b>on BBC 1 while he fretted over the looming opening of the doomed initial production of Joe Orton's <b>Loot </b>he didn't bother to record the fact. Paul Anka's the big name on the panel, and he's flanked by Stubby Kaye, actress Julie Samuel (currently on big screens across the land in the Gerry and the Pacemakers film <b>Ferry Cross the Mersey</b>) and the current Miss World, Dorset's own Ann Sidney (who's in the midst of a long-running affair with Bruce Forsyth).<br />
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Once these fripperies are over it's time for another educational visit to ancient Rome: after the recap of last week's cliffhanger (including mangy-looking lions), almost the very first thing we see is the Emperor Nero whacking his annoying slave Tigillinus (Brian Proudfoot) over the head with a lyre.</div>
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The skulking Tavius is still trying to attract the attention of the Doctor (who, yo may recall, is posing as the musician Maximus Pettulian). He seems to have an important message to impart, but the Doctor can't make head nor tail of it.<br />
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The Doctor reminds Vicki of his rules of non-interference in history in William Hartnell's trademark garbled fashion: "We must not interfere with the course of progress, or try to accelerate man's achievements or progress" (presumably this only applies to Earth history prior to the 1960s, as he never seems to mind getting stuck in anywhere else).<br />
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Meanwhile, Barbara meets her mistress, Nero's wife Poppaea (Kay Patrick). I like the way Barbara calls her "Madam" like she's a customer in a department store rather than the Empress of Rome. Anyway, Nero takes an instant liking to the new handmaiden, meaning Poppaea takes a similarly rapid disliking.<br />
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The many curtains of Nero's palace are ideal for people to conceal themselves behind, bedroom farce-style, and the Emperor does so, waiting for his wife to exit so he can make a play for Barbara.<br />
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A chase ensues, with Vicki getting in the Emperor's way (without, of course, seeing the face of his quarry). She then ducks into another chamber, where she's confronted by a stony-faced woman (Ann Tirard).<br />
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Nero tries to catch up with Barbara, but this time it's the Doctor who impedes his progress. Not knowing it's his friend the Emperor's in pursuit of, the old man's greatly amused by his antics.<br />
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Locusta, the lady Vicki intruded upon, turns out to be very pleasant, and gives the young time traveller an introduction to her role as court poisoner, supplying deadly potions to anyone who might desire to bump someone off. She's kept very busy by the endless intrigues of the Roman court.<br />
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Things get even more Ray Cooney as Nero finally catches up with Barbara, only for the Doctor to once again get in the way, and for Poppaea to intrude as Barbara frantically tries to hide under the bed. This week everybody else is just support to Derek Francis as the priapic Emperor.<br />
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Eventually we get back to Ian and Delos, still languishing in their cell prior to facing the lions in the arena. They're next door to Barbara's rustic cellmate from last week, who tells Ian all about his friend's fate.<br />
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The Doctor relaxes in a sauna with Nero, who informs him a banquet's to be held in his honour that evening.<br />
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Vicki's still learning about the gentle art of poisoning, but hides when Poppaea comes seeking Locusta's expertise, having decided to put Barbara out of her way for good.<br />
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Despite the worrying implications of the below dialogue, it's actually a bracelet that the Emperor gives Barbara.<br />
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Vicki's switched the drinks in the belief that Poppaea will get the dose of poison, but the other drinker is actually Nero. The Doctor rushes to prevent him from drinking (reaching his presence at the precise moment Barbara departs). The Doctor's not especially concerned about the Emperor's welfare, he just wants to make sure history isn't altered.<br />
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Sceptical, Nero gives the drink to the bothersome Tigillinus, who promptly expires upon drinking it. Things aren't much better for Locusta, who's sent to the arena by a vengeful Poppaea.<br />
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It's time now for the banquet, at which the Doctor's due to perform. How can he conceal his inability to play the lyre? Very cleverly, in fact, by explaining only those with the most sensitive hearing will be able to make out the notes he plays, and then only miming playing (Nero's blasé "He's all right, but he's not all <i>that</i> good" to a fellow diner is hilarious). The Doctor confides to Vicki that he got the idea from the story of the Emperor's New Clothes, which, of course <i>he </i>told Hans Christan Andersen.<br />
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Riven with jealousy at the rapturous response the Doctor's performance receives, Nero hits on a diabolical plan for revenge.<br />
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But Barbara remains the Emperor's top priority. Deciding that there's nothing more likely to inflame a woman's passion than watching two men fight to the death, he arranges a special show for the pair of them in the arena. Sevcheria chooses Ian and Delos (who I'm sure didn't have a moustache last week) as the combatants.<br />
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Before the fight, Nero discusses his plans for his rival musician with Sevcheria: he plans for the Doctor to perform in the arena, with a grand finale consisting of him being torn apart by lions.<br />
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Ian and Delos are brought in to fight. Ian's stunned recognition of Barbara puts him off his guard long enough for Delos to get him on the floor. Nero's unequivocal on what must happen next: "Cut off his head!"<br />
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Next tonight we look at the second (and earliest existing) episode of a new ABC crime series.<br />
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Paul Garston (Keith Baxter) is a wildly successful young businessman. Anyone who's ever read my attempts at reviewing episodes of <b>The Plane Makers</b> will understand that I struggle a bit with the ins and outs of his business deals which make up a chunk of the episode, but the important thing is he has a nattily-dressed secretary (Vanessa Thornton).<br />
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He also has an underling, Eric Hart (Peter Barkworth) who, being a self-made type, he relentlessly mocks for being one of the old school tie brigade.<br />
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Maurice Hedley pops up as Mr Wheeler, the banker Garston's hoping to tap for a multi-million pound loan. Hedley was last seen in the previous week's episode of <b>The Saint</b>, and it's nice to see his career's survived the resignation of Harold Macmillan, who he'd cornered the market in playing variations of.<br />
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Elsewhere, Ray and Anne Johnson (Robert Tunstall and June Barry) celebrate their first wedding anniversary. Well, he's the one doing most of the celebrating, she doesn't seem especially bothered about it. She evades his awkward questions about where the expensive dress she's wearing came from.<br />
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Puzzled by Garston's curious reaction to a phone call he receives, Hart gets Garston to admit he's being plagued by calls (to his unlisted number) threatening him with death. He's loath to go to the police about it as the merest whiff of scandal could jeopardise the loan from Wheeler's, which are famously a model of moral rectitude.<br />
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Hart enlists the aid of the show's lead character, private investigator Frank Marker (Alfred Burke), who looked after security for Garston before striking out on his own. He makes it clear to Hart that his current reduced circumstances are worthwhile to be his own man.<br />
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It turns out, not wholly surprisingly, that Anne Johnson is carrying on with Garston behind the back of her husband, a Garston employee. They get at it quite enthusiastically (that's commercial television for you).<br />
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Meanwhile, Ray Johnson's mother (Sheila Raynor, <b>The Plane Makers</b>' Mary Sugden) voices her disapproval of her son's choice of bride. She never cooks him a proper Sunday dinner, and what's more she's got a wardrobe full of frocks that she could never have afforded to buy.<br />
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"Her aunt's not well," Ray insists when his mother notes that Anne's abandoned him once more. "Nor's my foot," is the tart response.<br />
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Garston appraises Frank of his situation while completing a jigsaw with enormous pieces that echo the show's title sequence. Marker's acting as his bodyguard, but pretending to be his chauffeur.<br />
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Garston hosts a barbecue (very new and hip in 1965) with Hart and his non-speaking wife and Anne as guests, along with Mr Tympson (<b>Secret Beneath the Sea</b>'s Peter Williams), who's unwillingly surrendered his company to a hostile takeover from Garston. Marker engages Anne in conversation: she insists she sees their relationship as strictly temporary, describing herself as "a tourist" in his high-flying world.<br />
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But Marker's interested in Garston's past relationships as well as his present ones. His wife Eva (Caroline Blakiston) walked out on him 18 months ago and now owns a pottery shop, but when Marker visits her she insists his immersion into the lifestyle of a ruthless business tycoon forced her out. She speaks the episode's curious title by way of pointing out that Garston's too generous for anyone close to him to want him out of the way. But she's now engaged to another man - could it be she who wants her husband out of the way?<br />
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Ray's deduced that Anne's been spending her time with his boss. She's not particularly bothered by his discovery, insisting she'll carry on doing it anyway.<br />
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In the splendidly seedy surroundings of Cray's Kosher Nosh Bar, Ray meets up with the flamboyant Mr Ellis (Robert Mill) - "Sit down, Cocky" - and pays him to have Garston beaten up.<br />
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However, it's not Garston on the receiving end of the beating but an unfortunate servant. Garston witnesses the whole thing from his window, but thinks it best not to intervene.<br />
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Ray's called back to the Nosh Bar, but it's not Mr Ellis who's waiting for him but Frank Marker, who's tracked Ellis down and got him to spill his guts. Ray insists he had nothing to do with the threatening phone calls, and Frank agrees to keep the beating hushed up as long as he cooperates with his plan to expose the villains.<br />
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Anne comes to Garston, claiming that Ray made the phone calls and now wants £50,000 to keep quiet about the affair. Garston agrees to pay £20,000 but the "husband" Anne brings to his flat to collect the money isn't Ray (it's Bruce Montague, later to star in <b>Butterflies</b>).<br />
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Anne's over the moon with her haul, until she has a visit from Frank, who points out that, though the bundles have notes at either end, it's all plain paper in between. He offers her £10,000 to reveal who partnered her in making the phone calls and extracting the cash from Garston.<br />
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Turns out it was Eric Hart, who Garston understandably dismisses. He's slightly miffed to learn that as well as the £10,000 of his money Marker's given Anne he's given Ray another £10,000 "in lieu of one wife". Garston asks Frank to come back to work for him, and scorns his wish for independence when he refuses: "You're not Shane, you know. riding off into the sunset. You're just another man in a dirty old mac." Which sums up the ethos of the show nicely.<br />
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<div style="text-align: left;">
<b>Sunday 31 January</b></div>
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All episodes of <b>Stingray</b> are ridiculous to some degree, so it's nice that tonight's lets us know straight away just how ridiculous it's going to be with the sight of Lieutenant Fisher wearing a Groucho disguise. He sees no problem with using his workplace as a testing ground for potential outfits to wear to Atlanta Shore's fancy dress birthday party (it's rather wonderful, in a show where everyone's ostensibly American, that they all use an idiom as British as "fancy dress"). Atlanta's father does have a problem with it, however: "The only way you could look good is to get a complete new face," he snarls - something I think should definitely be reported to Marineville HR. In fact, Commander Shore is gloriously curmudgeonly about the whole notion of a fancy dress party: "Fun?! We're here to work, not dress up as clowns. Most of the people in Marineville look stupid enough as it is without putting on costumes."<br />
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But what costumes! The host herself is decked out as a harem girl (though I'm more interested in that soft toy on her bed)...<br />
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...while Marina has decided to come as a beatnik (and supercool she looks).<br />
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Phones has opted for a full-on suit of armour, though he swiftly abandons the idea when Atlanta points out it might limit his dancing.<br />
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Even Shore's reluctantly trying on costumes (how long ago did Atlanta send these invites? These people clearly can't like her that much if they only put their outfits together at the very last minute).<br />
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Troy Tempest's bought Atlanta a delightful drumming monkey as a present, but still hasn't decided what to wear. It may be irrelevant anyway, as Shore informs him he and Phones are on call that evening and may have to forget about the party and come to the aid of a ship carrying radioactive isotopes.<br />
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Atlanta, meanwhile, is choosing the records for her party. I like the sound of "Go Go Go".<br />
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Troy's turned to his "Pictorial History" book for costume inspiration. He makes it to the stone age before falling asleep.<br />
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He's awakened by Shore, who informs him that the ship carrying the isotopes has sunk and he'll have to go and rescue them. So off he and Phones go in Stingray, and when they reach the site of the sinking they're astonished to see what looks like a group of underwater cavemen, who swim off with one of the isotopes.<br />
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Phones and Troy follow these undersea savages to a cave, where their attempts to warn the cavemen about the danger of radioactivity are met with a bombardment of rocks.<br />
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Troy and Phones hide for a bit and venture out when the cavemen settle down to worship their new discovery. They soon fall into a cunningly concealed pit.<br />
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The cavemen open the case, and soon enough they're feeling poorly, especially the eldest member of the tribe. Troy and Phones crawl out of their pit with a promise to save the ailing oldster. They give him some anti-radiation pills and are given the time it takes to throw three spears in their direction for him to come round.<br />
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Just as he seems about to, Troy wakes up. Yes, it was all a dream, and it's given him a ripping idea for a costume. He comes to the party as an unfeasibly well-groomed caveman...<br />
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...only to find that Fisher, Phones and Shore have all had the same idea (note that Admiral Denver's wearing the same outfit as when he went mad and thought he was Captain Bligh - you'd have thought he'd want to avoid any reminder of that embarrassing episode). Given the lack of female puppets in the show, I'd be willing to bet that the blonde lady we see from behind is Dr Venus from <b>Fireball XL5</b>.<br />
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<b>Monday 1 February</b></div>
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BBC 1 marks Stanley Matthews' upcoming final match with a special tribute programme, while BBC 2 broadcasts the concert marking the re-opening of the Royal Festival Hall.<br />
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<b>Tuesday 2 February</b></div>
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Tonight's <b>Danger Man </b>is a mini-heist movie, and a great deal of fun. It starts with young couple Susan and Keith Turnbull (Jane Merrow and John Breslin) arriving in Geneva from Bucharest, where they've been living. He's evasive about the reason they've left, and she becomes highly suspicious when he's taken off to talk to the police. After he's been with them a while she goes looking for him, and is just in time to see him bundled into a van by a pair of heavies. Showing enviable gumption, she leaps into an unattended car and gives chase.</div>
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Susan follows the van to the Romanian embassy, then heads for its British counterpart to report the kidnapping of her husband. Forbes (John Welsh) the First Secretary isn't eager to help, claiming that as the Romanians say they don't have Keith there's not a great deal he can do. After a frustrated Susan departs he gets on the phone to his boss, who he assures that Susan's ignorant of her husband's job as an M9 agent.<br />
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Turns out he's wrong: Susan's next action is to get on the phone to old friend John Drake, who agrees to put off his next assignment for a couple of days to come and rescue Keith. His plan is to break into the embassy and get him back - as the Romanians claim not to have Keith they can hardly complain when somebody takes him from them. To this end he enlists the aid of Bernhard (William Lucas), a former agent turned winemaker, and his lady friend Annette (Kate O'Mara).<br />
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Drake gets a hotel room directly opposite the Romanian embassy (that's lucky), and decides to pay it a visit, in the guise of a man with secrets to sell. He finds it staffed by vintage character actors: John Cater's at the lowest rung of the ladder, and Jack May's his immediate superior.<br />
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Michael Gwynn's the Colonel who calls Drake when he's back in his gloriously-wallpapered hotel room to arrange a rendezvous.<br />
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What an evocative image of the era the shot below is: Drake's waiting in the car for his embassy contact. Once he's in the passenger seat, Drake promptly drives the car up a ramp into the back of a lorry, which takes it back to Bernhard's place.<br />
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Bundled in a carpet, the Colonel is unable to see, and Susan and Annette make clattering office sounds to create the impression that he's been brought to the British embassy. I love that cow ornament.<br />
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Bernhard's scrubbed up his wine cellar to look like a cell, and it's there that the Colonel is taken. Drake demands he write a letter calling for Keith to be exchanged for him. He scoffs at the notion that the Romanian government think him that important, but Drake tells him he'll spread the news that he's defected to the West.<br />
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The Colonel reluctantly agrees to draw a plan of the embassy basement showing where Keith is held. As he does so director Don Chaffey gives us a rather marvellous point of view tracking shot that takes us through the embassy corridors to Keith's cell.<br />
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Drake's decided that the only way he and Bernhard can get into the embassy is via the private hospital that backs on to it. He concocts an elaborate ruse whereby they visit the hospital pretending to be doctors, with Susan playing an aristocratic English patient in hysterics after being abandoned by her boyfriend. Gerard Heinz plays the sympathetic hospital doctor and Margo Johns (who must be well-used to hospital acting after her stint on <b>Emergency Ward 10</b>) the sister.<br />
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When the Sister attempts to usher the fake doctors out of Susan's room to allow her to rest, she has a convenient screaming fit. Annette turns up in the guise of her sister-in-law, and Drake and Bernhard sneak off to find a window to climb out of.<br />
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As they scale the building opposite, Annette ingeniously makes a phone call to Jack May to get him away from his window-facing desk.<br />
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Bernhard nearly cops it when a drainpipe he's shinning up suddenly bends, but Drake manages to rescue him.<br />
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They find an open window and put the room's occupants out of the way with a gas gun, which, once they've managed to liberate Keith, they deploy again to deal with the assembled embassy staff rushing to capture them.<br />
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Susan and Keith are happily reunited, but Mr Forbes is highly disapproving about the affair. Until, that is, the British ambassador lavishes him with all the credit for it.<br />
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Next tonight, <b>Marriage Lines</b>, and this series continues to serve Prunella Scales poorly: Kate Starling's still confined to her hospital bed and only appears this week in a series of cutaways as she becomes increasingly alarmed by the phone calls George makes to her, as he's with a different woman each time.<br />
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The first is his colleague Stephanie (Katy Greenwood), who tries to get his attention while he's telling Kate he'll be late visiting her as he has to wait for a client to come and pick up a document. <br />
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Another pair of colleagues, Arthur and Dennis (Peter Tuddenham and Denzil Ellis) suggest that while Kate's in hospital George should grab his last chance of enjoying the company of other females. George is appalled. <br />
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The client George is expecting, Mr Blackley, sends his secretary, Rose (Wendy Hall) instead. As George has some information he has to give Blackley in person he agrees to accompany her to his house, which is on the way to the hospital. So he calls Kate to apologise for further delay, and this time she hears Rose talking: "I can hear that girl whispering again." "No you can't, it's another girl."<br />
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Mr Blackley hasn't arrived home yet, so George waits with his flirtatious wife (the wonderful Patricia Haines, essentially reprising the role of man-eating posh bird she played in <b>Steptoe and Son</b>). She lets George use the phone to call Kate again, but forces him to sit next to her on the couch to make the call. Inevitably, Kate hears Mrs Blackley's voice.<br />
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Luckily Mr Blackley (Noel Coleman) arrives home before his wife can make any further moves (and it turns out that everything George had to tell him he knew anyway), but she gets him to accept a lift to the hospital.<br />
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As he climbs into the car beside her, Arthur passes by, pleased to see that George appears to have taken his advice.<br />
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The car won't start, so George has to make his own way to the hospital. First he darts into a phone box to inform Kate he's going to be even later (on the wall behind the phone box you can just make out a poster for Robert Hartford-Davis's <b>Saturday Night Out </b>(1964).<br />
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Inevitably, the call's interrupted, this time by a girl (Jacqueline Daryl) who needs to call an ambulance ("Can you tell me how to dial 999?" she asks, perplexingly). By this point Kate is in full panic mode about her husband's procession of female companions.</div>
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Next George heads to a nearby pub, to use the phone there - without buying a drink, much to the offence of the landlord (Peter Hughes) - "What's the matter, don't I use the right aftershave?"<br />
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Yes, once again a lady interrupts the call - this time it's Miles's girlfriend Sandra, in search of her errant beau, who she broke up with for seeing a girl named Cherry but has now changed her mind. Kate rings off, livid.<br />
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Arthur now happens by the pub and is astonished to see George on his second woman of the evening.<br />
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George and Sandra discover Miles in the other bar with Cherry (Lyn Pinkney).<br />
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George retreats back to the public to try the phone again, only to be accosted by Cherry<br />
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Miles gets George to one side and asks if he can hide from the two girls at his flat. Too late now to go and see Kate, George is planning to visit the pictures, and gives his key to Miles, who scarpers as soon as he gets the chance.<br />
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And who should sit next to George at the cinema but Rose, the secretary? And who should be sat behind him but Dennis?<br />
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Appalled by his sudden inability to shake off the opposite sex, George swiftly heads back home. While the main feature, <b>Siege of Rome</b>, seems to be made up, there's also an advert in the lobby for the curious horror b-movie <b>Devil's Partner </b>(1961), which you can watch on Youtube if you like.<br />
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://ytimg.googleusercontent.com/vi/xcczp4tSM70/0.jpg" frameborder="0" height="266" src="http://www.youtube.com/embed/xcczp4tSM70?feature=player_embedded" width="320"></iframe></div>
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Miles is surprised by George's early return home as he's busy entertaining another girl, Pinky (Alison Seebohm) in the Starling flat. Pinky obligingly answers the phone for George, and who should happen to be on the other end...?</div>
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<div style="text-align: left;">
<b>The Ladies' Man</b> is by far the most entertaining episode of <b>Marriage Lines</b> so far this season, with a brilliantly frenetic turn from Richard Briers as the increasingly frustrated George.</div>
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<div style="text-align: left;">
<b>Wednesday 3 February</b></div>
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Patrolling by the canal, PCs Jock Weir and Fancy Smith stop for a laugh at PC Taylor, up to his waist in water as he supervises a dredging operation.<br />
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Fancy just misses being hit by a teenage tearaway (Lindsay Scott-Patton) with an air rifle. As he unsuccessfully chases after him, he loses his cap in the canal.<br />
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There's no time to worry about that, though, as he and Jock have to come to the aid of Tandy (George Little), a canal worker who's been set upon by "teds" and who treats them to an extended tirade about the filthy state of the canal.<br />
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He's not the only person bellyaching about that particular subject: canal supervisor Briggs (John Arnatt) comes to Sergeant Watt with a demand that the police do more about the hooligans who are making a mess of the canal. Watt's keen to comply just to keep the charmless Mr Briggs away from the station.<br />
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Aged lock keeper Towser (Wilfrid Lawson, who as usual is barely intelligible, but in a very enjoyable way) joins Tandy for a cup of tea at the canalside caff, grumbling about the loud music (it's Major Lance singing "Um, Um, Um, Um, Um, Um"). Tandy takes great joy in mocking the old man and hiding his biscuits (those who've become used to my enthusiasm for biscuits will understand my need to list the biscuits available at the caff: "Cream, wafer, shortbread, chocolate, dark, and ginger." Towser decides on plain, which wasn't even given as an option - he's clearly one of those off-menu orderers).<br />
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Tich Evans, the boy who shot at Fancy, gets on the receiving end of Towser's ire when he comes in and makes a racket with the fruit machine.<br />
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On his way back to the cottage, Towser spots someone emerging from under the canvas cover of a boat and run off. He reports it to the police as a theft, and isn't happy about the scepticism with which his claim is greeted by DC Lynch and PCs Graham and Baker. Going for a look at the boat, Lynch is forced to admit that it does indeed look like it's been broken into.<br />
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However, the boat's owner, Ted Stone, insists no robbery took place, and Briggs isn't happy with the investigation. Watt points out that he's the one who wanted a police presence at the canal.<br />
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Lynch goes to the caff and has a chat with the surly owner, Stobbart (David Blake Kelly), who's very cagey when asked about Ted Stone.<br />
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Next Lynch goes with Briggs and Watt to see the taciturn Mr Stone (Jeremy Young) himself. He proves thoroughly uncooperative.<br />
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Fancy finally catches up with young Tich, and offer to forget about his using the rifle if he'll give information that will help the investigation.<br />
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However, Towser now claims he made a mistake, and didn't really witness a robbery at all. It's abundantly clear that someone's threatened him.<br />
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But Tich reveals that he saw the man leave the barge as well, and claims that it was Tandy.<br />
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Watt thinks it's Stone who's been getting at Towser, and is appalled to learn that Briggs has let him go off in his boat. However. he's deduced that Stone and Tandy are involved in smuggling, and, along with a customs and excise man (Peter Fontaine) aims to catch them at it when Stone returns.<br />
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They decide to watch from Towser's cottage, but when they get there they find that the old man has been beaten unconscious.<br />
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Eventually, Stone's partner appears: it's not Tandy but a third man involved in the racket - Stobbart. As Fancy captures him, he loses another cap in the canal. It turns out the men were smuggling knock-off watches: "Not worth a fiver apiece". As the episode ends it's uncertain whether poor old Towser will recover or not.<br />
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<b>Thursday 4 February</b><br />
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A caption at the beginning of tonight's episode of <b>The Saint</b> gives us the rather vague information that it's set in "South East Asia". And, as was compulsory for at least 75% of things set in South East Asia at the time, it's got Burt Kwouk in it. His is the first face we see, in fact, as he crawls through the undergrowth and spies on an isolated farmhouse, one of whose occupants is, of course, The Famous Simon Templar.</div>
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Also in the house with Simon are two of TV's most prolific guest actors, Peter Copley and Godfrey Quigley. Copley plays Don Morland, the owner of the farm, and Quigley his neighbour Max Valmon, who's eager to buy it from him. The appropriately named Suzan Farmer plays Morland's daughter Jean. Simon's squeeze of the week. <br />
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Kwouk's native rebels cut Morland's telephone line and subject the house to a barrage of shooting, killing a servant in the process (they were aiming for Simon, but he got in the way.<br />
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Simon sneaks out to radio for help, leaving Jean to defend the farmhouse after her father's wounded. She's a bit nervy with her gun at first, but quickly comes over all <b>Avengers</b>ish once Don loses consciousness.<br />
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Simon gets a message through to nearby British troops commanded by the rather dishy Geoffrey Frederick as Major Rowley.</div>
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One of the rebels breaks into the Morland house, but happily Simon returns in time to defend Jean by casually shooting him dead.</div>
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Simon reveals that, rather than just coming to South East Asia to see the Morlands, he's in fact on a mission from the British government to find a mysterious Communist agitator known only as Julias, who is believed to be behind this rebel uprising (it's very odd for Simon to be on an assignment of this kind - maybe it's the one John Drake put off to go to Geneva).<br />
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Valmon returns the next day, still angling after the farm. Despite the previous night's occurrence, Morland still won't sell. So Valmon decides to apply extra pressure by refusing all right of way to his land. And as the nearest village is on his land, anyone from it who comes to work for Morland will be made homeless.<br />
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Suspicious of Valmon's claim that he simply wants to increase his farming area, Simon and Jean decide to have a look round his land, undeterred by the enormous signs warning against trespassing, the patrolling tigers and the spikes sticking out of the ground, one of which Jean nearly impales her face on when she trips.<br />
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Eventually they stumble upon a Buddhist shrine, which unexpectedly stinks of petrol. Even more unexpected is the generator Simon finds concealed inside a plinth.<br />
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Meanwhile, Morland, who went off to see his lawyer about Valmon, finds himself abducted by rebels and brought before his nasty neighbour and his associate, Julias (Leo Leyden), who gets disappointingly little screen time after the big build-up Simon gave him. They threaten to send Jean to a labour camp if he doesn't cooperate.<br />
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Jean's increasingly worried about her father's absence, so Simon goes to look for him, giving her a goodbye snog as he heads off to face Valmon and his troops. The tart.<br />
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As he sets off, he encounters farm manager Harlun (Kristopher Kum), horribly disfigured after a run-in with a rebel wielding a rake-like deviced calculated to make it look like a tiger attack.<br />
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Soon enough the man attacks Simon, but is swiftly put out of action. But there are more where he came from and they manage to knock Simon unconscious.<br />
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Jean barricades herself in the farmhouse, but makes the mistake of letting the other farm manager, Angkor (Kenjin Takari) in: the innocent-looking old man he proves to be an incognito rebel soldier.<br />
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Simon comes round at the feet of Julias, who it turns out he also has a personal vendetta against him for killing a friend of his.<br />
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Valmon admits that the real reason he wants the Morland property is to increase the size of the airstrip that's already been created on his land. His justification for working with Julias and the rebels illustrates a familiar colonial mindset of the time.<br />
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<b>Valmon</b>: Six months ago, when the country became independent, the government was taken over by a bunch of wogs. They started ordering <i>us </i>about. Telling us what we could do, and what we couldn't do.<br />
<b>Simon</b>: Seems reasonable. It's their country.<br />
<b>Valmon</b>: Their country! Without us they'd still be in their straw hats.<br />
<b>Simon</b>: I'd say whatever you've put into this country you've taken out again with considerable interest.<br />
<b>Valmon</b>: We've earned it. Every penny of it! I'm not going to have any little jumped-up official telling me what to do. I'll smash this government by any means I can find.<br />
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Valmon, of course, is deaf to Simon's reasonable protestations that he's no reason to think the new regime will treat him any better.<br />
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A plane comes in to land, ready to fly Jean off to the work camp. The uncredited actors playing the pilots certainly look South East Asian, which is more than a lot of other shows manage to achieve, but the verisimilitude's broken a bit by their extremely mundane English accents. We don't see that much of them though, as they swiftly crash the plane, Simon having fiddled with the landing lights when he was out on his recce.<br />
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In the consternation caused by the crash, Simon's able to off Valmon, while Julias' demise at the hands of the army happens off screen, which seems a bit of an anticlimax.<br />
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<b>Friday 5 February</b><br />
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Tonight, BBC 1 brings the Circus Sarrasani into viewers' homes, while Ivor Cutler takes charge of <b>Off Beat</b>, BBC 2's programme "for tired music lovers".</div>
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<b>Outside the box</b><br />
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<b>Monday</b>: The Queen and Duke of Edinburgh arrive in Ethiopia for a state visit.<br />
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<b>Thursday</b>: The Confederation of British Industry is founded. Exciting stuff this history, isn't it?</div>
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<b>And to play us out...</b></div>
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...It's Cilla Black, performing her version of "You've Lost That Loving Feeling" on ABC's <b>Thank Your Lucky Stars</b>. She's at number 2 this week, while The Righteous Brothers' version of the song, which for some unknown reason (ahem) is better remembered, is directly beneath it at number 3 (the Moody Blues have conquered the top spot this week). You can see the full singles chart for the week <a href="http://www.officialcharts.com/archive-chart/_/1/1965-01-30/">here</a>. </div>
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Ivanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.com1tag:blogger.com,1999:blog-4443589666300610642.post-63937877313223737602015-01-29T22:26:00.003+00:002015-01-30T11:13:10.854+00:0023-29 January 1965<b>Saturday 23 January</b><br />
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This evening's televiewing on BBC 1 starts off with Angela Douglas, Del Shannon, Wolf Mankowitz and Virginia Lewis (no idea) sworn in on <b>Juke Box Jury</b>. Among the records in the dock tonight are Tom Jones with "It's Not Unusual", Wayne Fontana with "The Game of Love" and Millie with her cover of "See You Later, Alligator". Following this there's more hi-jinks in the ancient world for<br />
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Attentive viewers may recall that the last story Dennis Spooner was credited as writing saw the Doctor light-heartedly whack a man over the head with a shovel. This week Spooner develops the character's violent streak further by having him tussle with Ascaris, the mute assassin who's been sent to kill him (by a centurion who believes him to be the lyre player Maximus Pettulian). The Doctor doesn't show much surprise at this sword-wielding figure's intrusion, he just gets stuck in.</div>
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The old man has at his foe with such vigour that the viewer comes to feel sorry for poor Ascaris, who's clearly out of his depth. Finally, presented with the spectre of Vicki advancing on him with an amphora, he jumps out the window - much to the Doctor's disappointment: "You know, I am so constantly outwitting the opposition I tend to forget the delights and satisfactions of the gentle art of fisticuffs!" (you can hear an increasing self-awareness creeping into the show here with the acknowledgement that, rather than just being a hapless traveller in space and time, the Doctor's job is to fight the baddies). The Doctor boasts to his young charge that he taught the Mountain Mauler of Montana everything he knows - and goodness knows mauling a mountain's no easy task.</div>
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A change of scene is announced by a grandiose intertitle:</div>
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Arrived in the eternal city, Barbara doesn't have much of a chance to see its wonders as she's bunged in a cell by Sevcheria prior to being put up for auction. She's understandably upset, but not at the extreme level of glumness of her elderly cellmate (the splendidly named Dorothy-Rose Gribble, who colours her role in with a West Country accent, all "bain'ts" and "thankees").<br />
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Elsewhere, Ian's been put to work as a galley slave, under the iron rule of <b>Carry On</b> actor Gertan Klauber. As you might expect, it's hard work, and Ian and his co-slave Delos (Peter Diamond) are nearly breaking under the strain.</div>
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As she waits to be auctioned. Barbara catches the eye of a prospective buyer named Tavius (the ever-sinister Michael Peake), whose hopes of snapping her up without having to bid are dashed by greedy Sevcheria.</div>
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Salvation of a kind is at hand for Ian and Delos as their ship runs into the choppy waters and, when the galley master loses his balance, the slaves seize their chance of both escape and revenge.</div>
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The Doctor and Vicki now arrive in Rome, passing the slave auction and comically missing Barbara's appearance on stage by a matter of seconds.</div>
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Tavius succeeds in snapping the erstwhile history mistress up for the princely sum of 10,000 sesterce.</div>
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After the ship capsizes (something related to us in money-saving dialogue), Ian and Delos are washed ashore, and set about freeing themselves from their bonds. Ian convinces his new chum to come with him to Rome to find Barbara...</div>
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...who is at that moment being introduced to her new life as a slave. As slavery goes, it's quite a cushy number: Tavius, you see, works for the Emperor Nero himself, and Barbara is due to be a handmaiden of the Empress Poppaea. </div>
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Tavius is called away from being mildly lechy toward Barbara by the arrival of the supposed Maximus Pettulian. The comedy highlight of the episode is Tavius' attempt to get the Doctor's attention via "psst"ing at him. When he finally succeeds, the old man's left baffled by his mysterious whispered asides to him.</div>
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There's no time for elaboration though, as now the Emperor (an outrageously camp turn from Derek Francis) makes a suitably grand entrance.</div>
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Nero demands to hear the Doctor play his lyre, but the wily traveller manages to avoid being exposed by instead flattering the Emperor into playing himself. But surely he can't avoid playing the instrument forever...?</div>
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Ian and Delos arrive in Rome, but swiftly find themselves at swordpoint.</div>
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Poking around at the palace, the Doctor discovers a body hidden behind a curtain, and is perplexed to realise it's the centurion who met he and Vicki on the road to Rome.</div>
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Back behind bars, Ian comes face to face with Sevcheria once more, and is informed that he will have to fight for his life in the arena. Cue stock footage of lions.</div>
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As mentioned last week, tonight also sees the start of a new ABC drama series, <b>Public Eye</b>, starring Alfred Burke as down-at-heel private investigator Frank Marker. The series' first episode is lost, but I'll be taking a look at the second next week.</div>
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<b>Sunday 24 January</b><br />
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The gun of the title is mounted on a submarine piloted by the chap below with the cuboid cranium (whose appearance may seem remarkably familiar to anyone who's seen sci-fi sitcom <b>Red Dwarf</b>). His name's Maritamis, and we first see him using his enormous weapon to blow up an island.<br />
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Maritamis is a member of a race who reside in a beautifully designed, starfish-shaped city beneath the sea.</div>
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They're led by a blue-skinned "Mighty Leader", who sounds very American in contrast to the exaggerated English accent Ray Barrett gives Maritamis (I could probably tease a metaphor about the relationship between the two countries out of this if I wasn't in a bit of a hurry). The leader's plan is to obliterate the entire civilisation of the surface-dwellers. Next target: the entire West Coast of the USA.</div>
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But the WASPs, having noticed that three islands have been destroyed in a week, are on to Maritamis. Stingray tracks down his ship and blows it up before he can carry out his mission of devastation.</div>
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But Maritamis escapes, and in no time he's back with another ship (I like the little crab painted on the side), and with a new target in his sights: Marineville.</div>
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The WASP interceptors are able to prevent any serious damage, though Atlanta only narrowly avoids being hit by a falling tannoy.</div>
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Marineville's best scientists having pinpointed the location of the underwater city, Troy and Phones head out to find it (oh yes, Marina's there too - she can be seen in the background stroking her seal pup).</div>
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It's clear that this episode was made before <b>Subterranean Sea</b>, which was broadcast before it, as we're told that this is the deepest the sub's ever been (in fact, Troy actually notes in wonder "This is a subterranean sea!"). The water when you get this deep is yellow, which is a bit icky. Despite nearly being paralysed by the pressure, Troy and Phones manage to reach the city.</div>
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But Maritamis (whose lovely eyelashes are showcased in the image below) is waiting for them, and prepares to fire a missile...</div>
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Happily Marina, whose aquatic nature means she's not affected by the pressure, chooses this moment to finally come to the rescue and blast Maritamis' ship to bits. And then follows this up by destroying the city (and presumably all its inhabitants too).</div>
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"I think she's the greatest girl in the world!" Troy later enthuses to Phones as the pair of them gaze on her portrait.</div>
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The evening's TV schedule is disrupted by the announcement of Sir Winston Churchill's death. At 8 pm the BBC broadcasts tributes to Britain's wartime leader from the Prime Minister and Britain's other political leaders, followed by a special obituary programme narrated by Michael Redgrave. All of this can be seen on the BBC's Archive site <a href="http://www.bbc.co.uk/archive/churchill/">here</a>.</div>
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As a result, this week's <b>Hugh and I </b>and <b>Sunday Film</b> are postponed, but the schedule returns to normal in time for tonight's visit to Tannochbrae.<br />
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As Ian Hamilton (Bryan Marshall) anxiously phones the doctor to announce that his wife Peggy's gone into labour, the woman herself (Jennie Linden) seems quite relaxed about the whole thing, just sitting back and fondling her pussy.</div>
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Peggy and Ian are known as the golden couple of Tannochbrae: fine physical specimens and champion players of tennis and rugby respectively. Everyone at Arden House expects that theirs will be an especially bonny baby. Anyone familiar with drama of any kind will immediately suspect this is a portent of trouble ahead, and so it proves: the boy is born with a clump of hair at the base of his spine - a sure sign of spina bifida.</div>
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The baby proves to be paralysed from the waist down, and visiting consultant Dr Geddes (Noel Johnson) confirms there's no hope of a corrective operation.</div>
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Poor Peggy's devastated by the news, and doesn't want anything to do with the child. Dr Cameron thinks she's reacting especially badly as she's lived a charmed life up to this point and this is the first thing that's ever gone seriously wrong for her.</div>
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Despite Dr Finlay's best efforts, Peggy remains resistant to seeing her baby. Cameron notes that Peggy's had a strong maternal instinct ever since she was a child, and gives his friend a dire warning: "A strong maternal instinct that's twisted and turned in on itself is a destructive and dangerous force."</div>
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Ready to be discharged from the hospital, Peggy's trying not to think about her child, insisting all its toys be given away and focusing on getting back to her normal size. She wants the baby, which she admits she feels "repulsion" for, kept in the hospital until he can be put in a home, but is eventually persuaded to hold him.</div>
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Some weeks later, Finlay calls in to see how the Hamiltons are getting on. He cautions Peggy not to use the angora blanket the baby's been sleeping with as it could suffocate him - but is that what she wants? He asks her housekeeper, Mrs Douglas (Jean Taylor Smith) to keep a close eye on her.</div>
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At Arden House, we're treated to a prime example of the <b>Reader's Digest</b>-type dialogue typical of <b>Dr Finlay</b>:</div>
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<b>Janet</b>: I hope you'll soon be finished with that sink, Dr Cameron. That's if you'll be wanting vegetables for your supper.</div>
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<b>Cameron</b>: It is a question of priorities, Janet. Weighing a delicate bloom against the mundane carrots.</div>
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<b>Janet</b>: That argument does not apply, Dr Cameron. We are having cauliflower!</div>
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Talk at the dinner table inevitably turns to the Hamiltons: Ian's dropped out of the rugby team to spend more time at home as he's so worried about Peggy. Finlay thinks it's the worst case of post-natal depression he's ever seen, and Cameron's concerned that Peggy could be suicidal. Janet hits on the idea of getting her nurse friend Florrie Gow (Virginia Clay) installed at the Hamiltons', and once this is accomplished pops round to find out the gossip.</div>
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Popping out into the garden to see the baby, Janet makes a terrible discovery: he's dead.</div>
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The child was suffocated - could it have been by that angora blanket Finlay told Peggy not to use? The long white hairs Dr Martin (Roger Snowdon) finds that the child breathed in suggests it could well be.</div>
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Janet's sent to the Hamiltons' to get a sample, to confirm yay or nay. But it turns out that it's not the angora blanket that suffocated the baby but the couple's Persian cat.</div>
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Yes, the killer was hidden in plain sight all along, and after Peggy, cleared of suspicion, realises she really did love her poor baby, the credits roll over an image of the creature, who looks, it must be said, thoroughly unrepentant.</div>
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<b>Monday 25 January</b><br />
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Among tonight's programming on BBC 1 is a special edition of Panorama in which the great and good line up to pay further tribute to Churchill. It can be found with the other Churchill programmes at the link above.<br />
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<b>Tuesday 26 January</b><br />
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It seems there was no episode of <b>Danger Man </b>broadcast this evening. I don't know what was on instead (more about Churchill?), but we won't worry about that. Instead we'll head straight for BBC 1 for this week's edition of<br />
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As this week's episode mainly consists of an extended fantasy sequence imagining how family life will pan out for the Starlings, it gives Richard Briers and Prunella Scales a chance to show off their range playing older versions of their characters. Well, it's mainly Briers who has the chance as it's George's fantasy and Kate's fairly peripheral to it.<br />
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The Starlings' first baby, "Huge Helen" is followed a few years later by "Big Belinda". Kate frets about the cost of weddings for two girls. "If this one looks anything like Helen there won't be any weddings, will there?" responds George.<br />
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A struggling Kate relies on George's charm to get the badly behaved Helen (Janette Sattler) to eat: "I can't imagine Gina Lollobrigida leaving her supper, can you?" Kate, we discover, is pregnant with a third.<br />
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This time it's the long-awaited George Jr. His christening sees the first use of a far from convincing photomontage technique that crops up throughout the episode.<br />
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Next thing we know, it's time for the Starlings (extremely prosperous in George's vision of the future) to send their son (John Howard) away to boarding school.<br />
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Now George imagines Helen (Waveney Lee), Belinda (Kate Allitt) and George Jr (John McGee) as rampaging teenagers who won't allow him a moment's peace. Richard Briers' performance as the harassed, pernickety middle-aged father skirts close to the one he'd give as Martin Bryce in <b>Ever Decreasing Circles</b>.<br />
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Next, Helen's bringing a young man home to ask for her hand in marriage. He's a "fab dreamboat" named Dave, who dresses in a leather jacket with no lapels. As he's played by Jonathan Cecil we can tell straight away he's not the rebel he's made out to be - indeed he was just putting on an act so George didn't think he was wet. In fact he's a very sensible French polisher who earns £25 a week. And everybody calls him David really.<br />
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Of course in George's mind all this is happening in a time no different to the one he lives in, but if <b>Marriage Lines </b>had kept going until Helen was of marrying age it would happen in the early 80s. Rather than a mod, David would be masquerading as a New Romantic, and George would immediately be tipped off that he wasn't the tearaway he pretends to be by the very fact that he and Helen wanted to marry. And £25 a week wouldn't be anywhere near as impressive.<br />
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The wedding day arrives. And if this was the 80s it's likely Helen's wedding dress would look very different. I don't think I've ever seen one with a collar before.<br />
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Hoping to get George Jr married before Belinda to ease the financial burden, his father encourages him to go after a bridesmaid.<br />
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The future significant events in the Starlings' lives are all shown to us in photos - in the final image of an elderly George and Kate George looks remarkably like the interpretation of <b>Doctor Who </b>Peter Cushing will bring to the big screen later in the year.<br />
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There's a rewarding end to the episode: after George's reverie is broken by a phone call from Kate, we stay with her in the hospital as she starts to imagine her version of how the future will be, with a struggling George dressed in a frilly pinny and her effortlessly in control of the home and the children...<br />
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<b>Wednesday 27 January</b><br />
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A lot of shows to get through this evening, beginning with <b>TV Minus 50</b>'s first visit of the year to Britain's most beloved street.<br />
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And I'm happy to announce the <b>TV Minus 50</b> Autumn/Winter collection, with exciting fashion looks for men...<br />
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...and ladies.<br />
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Annie Walker's seeing off her young charge Lucille Hewitt, who's going hiking with her friend Rosemary (in truth they're going dancing in Blackpool). Stan Ogden's squatting outside number 13 with a fag: "Have you ever seen anything so soft?" laments daughter Irma. "C'mon Dad, get up. It looks as though you're drunk."<br />
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In fact, Stan's waiting for milkman Bert Lodge (William Crossdale), of whom he wants to enquire about a job, having realised a milkman has "A job where you knock off at opening time."<br />
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Meanwhile, Elsie Tanner's busy making number 11 look as undesirable a property as possible, even manufacturing her own damp patches. The reason? It looks like the mission hall may be closing down, so its custodian, Ena Sharples, will need somewhere new to live. As she's recently been left number 11 in the will of Elsie's former landlord, she's eyeing it up as a new home - an idea Elsie's desperate to put her off.<br />
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In the street, Ena happens on Ken Barlow, who offers her the opportunity of "doing a bit of ton-up stuff on the M6" on his new motorbike. Violet Carson struggles a bit with her dialogue: "You know, in the old days we thought nothing of baking - biking down to er, well, Bakewell."<br />
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Val Barlow's pregnant, and dressed in an astonishing cardigan-like garment and polo neck. She and Ken discuss the simmering tension between Tanner and Sharples with her Uncle Albert, who warns: "If you've lived as long as I have you'll be well aware that wars always start on a Sunday."<br />
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Miss Nugent and Mr Swindley have a brief run-in with a hostile Ena on their way to do some overtime at Gamma Garments. An uncharacteristically uncharitable Miss Nugent tells Swindley she thinks Ena deserves to lose her home for "all the times she's made you look small", and moves on to ponder the psychological reasons for Ena's enmity toward him: "Perhaps you actually resemble, facially, someone from her past. A cruel father or an intolerant teacher, and perhaps, unknown to herself, Mrs Sharples is punishing you for her own unconscious hate of this other man."<br />
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Swindley seems a tad sceptical of this theory.<br />
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As Ena practices the organ in the mission hall, Annie listens, rapt: "Whatever else I may say about Mrs Sharples, Jack, you've got to admit she has a lovely touch." "Aye, and Elsie Tanner'll give her a lovely touch when she catches up with her," responds her husband.<br />
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Finally, Ena descends upon the Tanner household. Dennis has fixed it so the house is filled with smoke, and sneaks off to jump up and down upstairs so flakes of ceiling fall on the choking landlady.<br />
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Ena beats a retreat, seemingly convinced that the house isn't fit to live in. But she reveals to Minnie Caldwell that she knows exactly what Elsie's up to - "They've dressed it up like <b>The Fall of the House of Usher</b>" - and is still determined to turf Elsie out. "She's the worst actress since Jean Harlow," she says of her tenant. Minnie offers Ena a room, but for Ena that's the very last resort, which she'll only turn to when either she or Minnie is unable to look after themselves. Until then, she needs her own place: "I like to have a room where I can undo me corsets in front of the fire and nobody to say me nay."<br />
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Elsie heads to the Rovers for a much-needed drink. "By 'eck, I could slap that face!" is how Len Fairclough cheerily greets her.<br />
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It's not long before Ena follows Elsie in, passing a letter to her via Annie: it's her notice to quit.<br />
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As a brass band in the street outside strikes up "All Things Bright and Beautiful," the inevitable fight commences. "Nowt'll separate those two now, short of death," predicts Jack.<br />
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Things really get going when Elsie throws Ena's handbag out into the street, the two women following shortly after.<br />
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It soon comes to blows, Ena calling the others to witness that Elsie "started the physical side of this." "I'll throw the physical side of you over that wall, you bandy-legged old bat!" responds Elsie.<br />
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Dennis tries to break them up, with no success. The other residents are absorbed in the show, especially Hilda Ogden, who begins cheering for Ena (Irma takes Elsie's side).<br />
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Things reach a head when Ena smashes the front window of number 11 with her handbag.</div>
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It falls to Mr Swindley to put a stop to proceedings by revealing that the fight's pointless as the mission hall won't be closing after all.<br />
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But it's a personal matter for Ena now, and she tells Elsie she'll make her pay. It's Elsie, however, who gets the last word: "You're still me landlord, are you? Well you'll pay for that window." Incredible.<br />
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Next we stay up north but change channels for tonight's<br />
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This week writer Alan Plater brings us an engaging tale of suburban strife. Guest star Philip Latham is brilliantly aggravating as Thomas Martin, who arrives at Newtown police station wanting to talk to report a theft.<br />
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When he finally gets to see Inspector Barlow and Sergeant Watt, Martin reveals that he is himself the thief in question. In his capacity as a churchwarden, he's been keeping hold of money given to him by parishioners rather than passing it on to the vicar: £5 17s 6d altogether ("I'll probably stop now."). It's by way of a protest against Reverend Corbett, who's far too liberal for his liking and wants to send the money "to places like Africa". "He used to Ban the Bomb, did you know that?" Martin's been redistributing the money himself: "To old people. And fellow countrymen." Martin's keen that the vicar finds out about what he's been up to.<br />
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As Watt shows Martin out, actor Marcus Hammond, playing PC Taylor, drops his telephone, and spends the rest of the scene fumbling about with it.<br />
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Having seen Martin only briefly before heading out on patrol, PC Graham's convinced he's "A proper nutter." And now he and PC Baker are sent to pick up another one: a drunk who's been bothering a pub landlord. "Can't move for nutters these days. Must be the stuff they put in the bread."<br />
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<b>Emergency Ward 10</b>'s Jack Melford plays the landlord, who's managed to lock the drunk (Reginald Barratt, last seen around these parts as a crazed scientist in <b>Doctor Who</b>) in his understairs cupboard. "Come on you old slag!" Graham exhorts the captive, then sits with him on his lap all the way back to the station.<br />
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We now pop over to the home of Reverend Corbett (Francis Matthews), where the beleaguered vicar is being subjected to phone calls from a woman claiming "Everyone knows what you do with young girls."<br />
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That these phone calls have become a frequent occurrence and are placing a strain on Corbett's relationship with his wife (Sheila Shand Gibbs) is communicated with brilliant subtlety by her reaction when Sergeant Watt turns up at the house to interview the vicar: when Watt says he's come in relation to a complaint a man's made, her reaction, "A man?" seems half relieved, half scared things are even worse than she thought.<br />
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Plater brilliantly establishes the kind of trendy, glorified social worker vicar Corbett is by having him wearily note to Watt that Martin "takes his religion very seriously." "You're a policeman, and you think the church is a place to find weirdies," he says. For him, it's the chance to help the weirdies of the world that makes the job worthwhile. He refuses to take any action against Martin, but Watt insists the crime will need to be prosecuted nonetheless. In the end, Corbett speaks up for Martin when the case is heard, and he ends up with a conditional discharge<br />
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Corbett says nothing about the phone calls and they continue, though the recipient of one of them is the bewildered Mr Reynolds (Michael Brennan, owner of TV's most fearsome visage). He reports the call to the police straight away.<br />
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The outfit sported by Mrs Reynolds (Mary Hignett) is marvellous, by the way.<br />
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Learning that the calller called Reynolds "Vicar", and that the Reynolds' number is only one digit different from the Corbetts', Barlow goes to question the parson. Corbett admits he's been receiving the calls, and that he knows who's making them: a former member of his flock who fell in love with him and react badly when he spurned her advances. Initially reluctant to give her name, he caves in when Barlow suggests she might one day harass someone with less Christian charity and a more violent temper than he.<br />
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The culprit is lonely widow Mrs West (Carmel McSharry), who Barlow sets about interrogating. Initially denying any knowledge of the calls, she eventually breaks down when forced to recall Corbett's cold attitude toward her: "He's supposed to like everybody!" McSharry is absolutely brilliant here.<br />
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As the episode draws to a close, Mr Martin makes an unexpected reappearance at the station, seeking another confidential chat. This time it's about Mrs West. He informs Watt that she's the way she is due to a possessive mother and a stepfather who "did things". She ran away and got married at a fairly advanced age, and her husband's not actually dead - he left her when it emerged he was already married to another woman. Martin knows this not because he's a nosy neighbour, but because he's her brother. We find out what their relationship's like in the final scene, as they both head for the police station exit at the same time, Mrs West making no acknowledgement of Mr Martin's presence.<br />
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While all that was going on BBC 2 was casting a cool eye of the situation of women in the mid-60s.</div>
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The fact that the programme's presenter, James Mossman, is a man, means it has the feel of looking at women as slightly exotic, unfathomable creatures: "Few women really know how to live without a man's domination," he notes wryly at the outset. "Though this doesn't stop them grumbling about it." His first interviewee, Mandy Ralph, admits she feels envious of young, umarried women, but thinks it was worth giving up "the fabulous holidays and the parties every night" for her children. She thinks men are very noble to sacrifice all that too.</div>
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Next up is Brigid Brophy, the stone genitals placed over her shoulder as she talks about sex surely intentional. She thinks contraception's set women free "morally and legally" by allowing them to have sex without the threat of unwanted children, and that it's also helped to make both sexes more responsible parents. Modern advances in childcare have "done a great deal to emancipate men from the feeling that they're no good to babies."</div>
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Sarah Miles is interviewed in the tropical birdhouse at London Zoo. Her view is that as men have been the dominant sex for so long it must be because they're better at it. She'd love a man at home to fetch her slippers for her but "He could put the slippers down in a very domineering way if he wanted to." Her insistence that she wants both a dazzling acting career and a family life leads Mossman to comment that she wants the best of both worlds. "Of course I do," she laughs. "I'm a woman!"</div>
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By contrast, Moira Shearer gave up her ballet career to look after her children, who she keeps behind bars. She opines that a woman who goes on being successful throughout her life has "a masculine mind".</div>
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"Where can men escape from women today," ponders Mossman. "Except in clubs and lavatories?" Even the clubs are no longer a certainty: "Women increasingly impinge," he notes, as he meets <b>Evening Standard</b> pop correspondent Maureen Cleave in one formerly all-male establishment. She talks about women's greater freedom to travel and have careers, but notes that while her married friends are jealous of her she's likewise jealous of them.</div>
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Mossman next visits a plummy member of "the vintage profession" named simply as Veronica. She thinks that if more women wore sexy lingerie around the house their husbands wouldn't need to come to her.</div>
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"I'm very conscious of being a woman, and I enjoy it," says Eleanor Bron. The thought of giving up her career to have babies "fills me with horror". "I do tend to think that men are lovely, and women are a threat," she admits.</div>
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Next we visit a girls' comprehensive school run by the formidable Margaret Miles, who offers an assessment of women's situation at the time that seems especially interesting with 50 years of hindsight: "These girls won't have to fight the old feminist battle for equality with men, but they will have to fight."</div>
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A selection of her decidedly elderly-looking sixth formers chip in with their own views: "For years and years the man has always taken the lead and it's worked very well. I see no reason for it to change", "I don't think a woman should make a fool of a man in public." None of the girls are exactly feminist firebrands, the most radical remark being that a woman's security should exist outside of her marriage.</div>
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We're now privy to the thoughts of an unnamed "woman psychiatrist", who thinks some women would be better off without children. She adds that in the past the only women able to make advances were those who could stand up to men on their own terms and stand up to "masculine standards of success". "I think nowadays men prefer women to be women, and this makes life much easier immediately.</div>
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The final word goes to Gladys Marsden, 77 year old veteran of the women's suffrage movement. Weighing up the rights women have gained versus the new pressures on them, she sums up how life is for women in 1965: "Freer, but worse".</div>
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You can watch <b>A Woman's Place</b> at the BBC Archive site <a href="http://www.bbc.co.uk/archive/marriage/10510.shtml">here</a>.</div>
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Back to BBC 1 now for <b>TV Minus 50</b>'s first look at 60s TV's most groundbreaking drama strand (the off-air recording these images are taken from is of the show's broadcast in an early BBC Four theme night, hence the text cluttering the screen).</div>
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Tonight's play was originally scheduled for last week, but postponed for fear it could affect the outcome of the Leyton by-election. Its controversial nature's plain from the very start: images of savage violence against black people in South Africa are followed by smooth narrator Keith Barron describing the situation in Britain. When he mentions the Head of State, an image of a black man (Andre Dakar) appears on screen. Britain, we learn, is a country ruled by its black minority.<br />
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We're now introduced to Len and Joan (Ronald Lacey and Eileen Atkins), a white couple who live with their children in a high-rise in London. A letter arrives informing Len that, like all unemployed white men, he will have to move to a labour camp in Scotland. He's sure it's an error, as he has a job working as a chauffeur. Then he opens another envelope and learns he's been fired. Soon the police arrive (led by Rudolph Walker) to take him away.</div>
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Footage of Len and other men being dragged out of their homes is appraised coolly by men working for the state broadcaster. The news editor (Leo Carera) decides the public don't need to know about it.</div>
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In an attempt to have Len returned, Joan goes to see his former employer, the sympathetic Mark Fellowes (Thomas Baptiste), and his markedly less sympathetic wife Francesca (Barbara Assoon). They're unable to help as Len was actually employed by the government to drive Francesca: Mark is a writer held under house arrest for writing books urging equality between white and black people. The best the Fellowes can do is give Joan a supply of food (though Francesca would rather not even do that).</div>
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Despite his arrest, Mark continues to write anonymously for an underground journal, convinced his impassioned pieces will eventually make the country see sense. He gives them to Francesca to take to the publisher. Instead, she burns them.</div>
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It's not surprising that Francesca doesn't want life made more difficult: she's regularly harassed by the security men stationed around the house, and now has to put up with Joan's constant visits for food. She refuses Joan's requests to speak to Mark again, until eventually the increasingly desperate white woman spits in her face.</div>
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Up in Scotland, Len finds an apparently sympathetic listener to his woes in Lala (Carmen Munroe), the wife of his camp overseer (Dan Jackson), who seems interested in "the Movement", which aims to liberate white people. But when her husband finds the two of them together she cries rape, and Len is slashed and beaten senseless (off camera).</div>
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Joan, her children having been put in care, has been forced to move to filthy new digs, where she's subject to the advances of a sleazy neighbour (George Rodrick). Soon the police arrive at her door in search of Len, who's escaped from the hospital where he was recovering.</div>
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Battered, desperate Len returns to his old flat to find it's now occupied by his former neighbours (Sally Lahee and John Rapley). He flies into a rage and attacks the unfortunate man, then flees.</div>
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Out in the street Len meets up with Joan, who, having heard of his escape, is in the vicinity looking for him. They run through the streets back to her room, where Len tells her about the Movement and his own plans to further it by assassinating the Head of State.</div>
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Len proves as good as his word, and is swiftly captured and interrogated, offering a stream of false information on non-existent conspirators.</div>
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It's reported that he committed suicide in his cell, though Joan doesn't believe it,</div>
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She's now being pimped out by her sleazy neighbour to all the local men.</div>
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In response to the attack on the Head of State, white people are being rounded up and sent to "work camps", which, of course , are really something far more sinister. Joan returns to the Fellowes house one more time to beg for help, and finally gets to see Mark. We discover the limits of his solidarity with white people when he recoils from her touch. She tries to tell Mark the truth about the camps, tries to tell him she's seen Francesca burning his articles, but he's (deliberately?) unable to understand what she's telling him.</div>
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Francesca obtains an audience with the minister (Frank Singuineau) who's responsible for dealing with white people, and tells him about the foul, disease-ridden prostitute who's been hassling her husband.</div>
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Soon enough, Joan's surprised to welcome a gentleman caller who's black, that sort of thing being expressly forbidden. But this one's embrace brings death, and her pimp meets a similarly grisly end.</div>
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The viewer can't help but feel uncomfortable at the camera's insistence on dwelling on their corpses. They're being viewed by the editor, who agrees to use the images on TV: "Prostitutes, pimps, murderers, living right here among us. We have to know. The people have a right to be told." The play's bitter irony is at its most searing here.</div>
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At the Fellowes' home, Francesca confronts Mark about the true purpose of his writing: he doesn't really care about white people, he just wants to show his own people the error of their ways. She urges him to keep writing, keep acting as the conscience of the British people, but not to fret too much about the casualties: "They're white, they're different - they're animals, little better."</div>
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The play closes with the camera returning to linger on Len and Joan's body, as Barron's voiceover ironically assures the viewer that such terrible things as these could never <i>really</i> happen.</div>
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The intentions of Hopkins, director Christopher Morahan and their collaborators - to literally bring the horrors of apartheid home to viewers (assumed to be white and British-born) by presenting them in the most uncomfortably visceral terms - were undoubtedly noble. But <b>Fable </b>makes for deeply uncomfortable viewing for quite another reason - the one that saw its transmission delayed. Despite its opening of scenes from South Africa and the dialogue's many ironic reversals of familiar racist tropes, it's wide open to misinterpretation: a viewer who tuned in mid-programme could easily assume they were watching a dire warning of what would happen if, to borrow Enoch Powell's infamous phrase of a few years later, the black man gained the whip hand. Despite its aims, in a political climate where an election could be won by a Tory candidate telling voters "If You Want a Nigger for a Neighbour, Vote Labour", <b>Fable</b> seems breathtakingly misguided.</div>
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<b>Thursday 28 January</b><br />
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Tonight's adventure for <b>The Saint</b>, a routine whodunnit wreathed in sci-fi/horror atmospherics, takes him to Scotland, specifically to shoot grouse on the estate of Colonel North (Maurice Hedley), whose daughter Marge is Simon's love interest of the week. Dour gillie Simms (Donald Bissett) grumbles about the nearby scientific research station: "They've ruined the shooting for twa seasons!"<br />
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As it gets dark, Marge's dog Sinbad goes missing, and Simon sets off to look for the beast. Instead, he comes across a mysterious, concealed figure wielding a light that burns the bark right off a tree, who proceeds to knock him unconscious.<br />
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Coming round, Simon returns to Colonel North's house, where he meets Ingram (James Maxwell), the research station's security chief, and Oakridge (Robert McLeod), one of the scientists.<br />
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Sinbad's still not back, and neither is Simms, who also went to look for him. So everybody sets off in search of them both. And soon enough they find them. Sinbad's alive and well, which is more than can be said for Simms. He's fallen down a hole, but has mysterious injuries that were clearly caused before that.</div>
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Later, at the research station, a nosy security guard overhears Oakridge talking to an unknown listener: "I helped you create this evil. Now I've got to destroy it. He must be told of our secret experiment! He must see the result! Your stupid desire to experiment outside the limits of the laboratory has already cost a life!"<br />
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Unsurprisingly after all that, Oakridge's life is next to go. He's found in the lab, having expired while writing something on the floor (has anyone ever actually done this?). Assuming he wasn't just trying to right something along the lines of "Cor, what a life!" what could the mysterious letters mean? Well, they look like "Cop", which is something Oakridge disparagingly called Ingram, so he's the prime suspect.<br />
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The other main scientists are Professor Rand (Ronald Ibbs), the irascible head of the research station, and the smooth, vaguely Germanic Professor Soren (Robert Dean).<br />
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A curious red herring pops up in the shape of a blobby artificial life form Professor Soren's created.<br />
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Snooping about in the bowels of the station, Simon finds the strange device wielded by his assailant.<br />
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Simon sends Marge off to get a mysterious book. On her way back to him she gets out of her car to investigate a mysterious roadblock. Yes, it's that old chestnut: when she returns she's attacked by the masked man.</div>
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But pleasingly, she gives as good as she gets.<br />
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By the time Simon comes to the rescue Marge has already seen off her attacker. The tome Simon sent her in search of proves to be a Russian-English dictionary (oh yes, at some point along the way it was revealed that Oakridge was really Russian). He discovers that "C" in Russian is the same as "S" in English. Oakridge lapsed into his native language as he died, and was trying to expose Soren as the killer, Of course, Soren has a gun in his pocket ready to be whipped out in the event of being exposed, and a boastful speech prepared about how he created "the classic death ray".<br />
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When Soren attempts to escape with the ray, Simon shoots it out of his hand, inadvertently training it on him and causing him to burn to death.<br />
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Simon decides that, all things considered, it's a machine the world's better off without.<br />
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<b>Friday 29 January</b><br />
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On BBC 1 tonight, Kathy Kirby (no relation) sings <b>A Song for Europe</b>. Six songs, actually, with the choice of which one competes in the Eurovision Song Contest left for viewers to decide (spoiler: Peter Lee Stirling's "I Belong" wins the vote).<br />
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<b>Outside the box</b><br />
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<b>Saturday</b>: The <b>Daily Telegraph</b> reports on a proposed solution to parking problems in Britain: a single-seat "commuter's car" which can be parked in a vertical position.<br />
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<b>Thursday</b>: Prince Charles' O level results are announced to the public. He got five of them: English language, English literature, history, Latin and French.<br />
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<b>And to play us out...</b><br />
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It's Sandie Shaw with "Girl Don't Come", which is not intended as an instruction and as such is badly missing a "The". Also it should be "Doesn't". If we can't look up to pop stars as exemplars of grammar what are they for? Anyway, she's at number 3 in this week's hit parade (Georgie Fame remains in the top spot).<br />
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Ivanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.com1tag:blogger.com,1999:blog-4443589666300610642.post-86084039378359520462015-01-18T21:40:00.000+00:002015-01-18T21:40:04.474+00:0016-22 January 1965<div class="separator" style="clear: both; text-align: left;">
<b>Saturday 16 January</b></div>
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Tonight sees the fabulously unlikely figures of Richard Wattis and <b>Maigret</b> star Rupert Davies judging the week's pop releases in <b>Juke Box Jury </b>alongside a pair of more readily explicable choices, <b>Evening Standard </b>pop correspondent Maureen Cleave and Eurovision Song Contest host Katie Boyle. Viewers who stayed tuned to BBC 1 after this strange experience had another one in store...</div>
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You may remember that last week's episode ended with an almost literal cliffhanger (a cliff-faller, to be truly literal) as the TARDIS tumbled off a precipice shortly after landing. It would be natural to expect tonight's instalment to follow directly on from this, but it doesn't. Instead, it whizzes us forward in time: the ship lies covered in ivy, and the Doctor and Ian are, most unexpectedly, living it up in a Roman villa.<br />
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It seems the travellers have been staying here for some time, and have made themselves quite at home. But while the Doctor, Ian and Barbara are enjoying a well-earned rest, Vicki, having been promised an abundance of adventure when she stepped through the doors of the TARDIS, is thoroughly bored.<br />
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But it looks like we've happened upon our heroes just in time for the adventures to recommence: as Vicki and Barbara head to market danger appears to be quite literally lurking round the corner in the form of the sword-wielding Ascaris (Barry Jackson), who hides in the bushes and watches as they pass.<br />
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Other eyes are watching too: these belong to Sevcheria (Derek Sydney) and Didius (Nicholas Evans), the slave traders of the title, who decide that Barbara and Vicki would be an ideal pair of acquisitions. They bribe a stallholder at the market (Margot Thomas) for information on them, and it's only now we learn that they've been staying at the villa for about a month in the guise of friends of the owner (who's currently off campaigning), living on the proceeds of their garden produce.<br />
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Entertaining the shoppers is an elderly lyre player (Bart Allison), whose flowing white hairdo seems a tad famili. When he packs up his instrument and toddles off, he's grabbed and stabbed by the lurking Ascaris.</div>
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Back at the villa the holidaymakers enjoy a lavish meal of peacock breast in orange and juniper sauce and ants' eggs in hibiscus honey (chef Barbara having either thrown herself into the cuisine of the era or discovered a faddy 21st century cookbook in the TARDIS library). It sends the Doctor quite giddy.<br />
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When the Doctor announces to his startled companions that he plans to make a trip to Rome, Dennis Spooner, acting as both script editor <i>and</i> writer this week, pushes the show further into sitcom territory than ever before:<br />
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<b>Doctor</b>: I don't believe I'm under any obligation to explain my movements to you, Chesterfield.<br />
<b>Barbara</b>: Chester<i>ton</i>.<br />
<b>Doctor</b>: Oh, Barbara's calling you.<br />
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Excitement-hungry Vicki talks the Doctor into taking her with him, but, peeved with Ian and Barbara for being stickybeaks, he refuses to let them come too. After he's set off, Ian and Barbara get squiffy and lark about the villa. It's wonderful to see the pair of them letting their hair down (well, Barbara has to comb Ian's down): especially cherishable is Barbara mischievously sending Ian to the fridge for ice.<br />
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But soon enough there's trouble in paradise, as Didius and Sevcheria descend upon the unwitting pair. This week, even the fight scenes descend into comedy: as Ian tries to fight off the invaders, Barbara, rather than heeding his call for her to flee, comes to his aid with a heavy vase - unfortunately, the person whose head she smashes it over is Ian. As a result, both teachers are carried off.<br />
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As they set out on their journey, the Doctor and Vicki stumble upon the body of the unfortunate lyre player. As the Doctor examines his instrument they're approached by a centurion (Dennis Edwards) who's looking for Maximus Pettulian, the man who lies dead, to take him to play at Nero's court. Eager for a chance to meet the emperor, the Doctor pretends to be the dead musician: "She keeps an eye on all the lyres," he says of Vicki, a line either brilliant or terrible depending on your tolerance of puns. Either way, it's as good an example as any of the kind of dialogue found in this story.<br />
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Sevcheria and Didius, meanwhile, are bargaining with a very jolly slave buyer (Edward Kelsey). He ends up with a job lot of male slaves, including Ian. Barbara, however, is being taken to Rome to be put up for auction.<br />
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The Doctor's already voiced his suspicions of the centurion to Vicki, and it turns out they're well-founded: it was he who sent Ascaris to kill Maximus Pettulian (Nero being unable to cope with the existence of any musician better than himself), and he now scolds the assassin for not carrying out his task. Ascaris, being mute, is unable to explain, and is sent to do the job properly...<br />
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<b>The Slave Traders</b> is tremendous fun, but if you put yourself in the place of a viewer in 1965 (which I suppose is what I'm meant to be doing), it would be easy to conclude that <b>Doctor Who </b>has completely lost it.<br />
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Over on ITV, the last in the present series of <b>Redcap </b>sees Sergeant John Mann dropped by helicopter into a jungle, where he meets with a patrol led by Major Frazer (Graham Crowden) and his close companion John Bell (Robin Bailey), a civilian scout. Much to Frazer's chagrin, Mann is there to take statements from three of his men in connection with a murder appeal.</div>
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As far as Frazer's concerned this is a trivial matter compared to the mission he's on, and Mann is forced to join up with his patrol as it moves on.<br />
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Mann's suspicious that the three men he's after, Lance Corporal Gentry (Roland Curram), Private Burroughs (David Burke) and Private Fox (Anthony Colby) are all together on this patrol, having previously all been stationed in different places. None are forthcoming with any information about their former comrade Pike, who's been convicted of murder in Germany.<br />
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That night, as the enemy come closer to the camp, Mann is rudely awakened by Sergeant Job (Ewan Hooper) and forced to join the defence. While he's on duty, Fox informs him that Pike is not, in fact, guilty of the murder. Mann bats him away, as it's hardly the time.<br />
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But unfortunately, there isn't going to be another time for Fox.<br />
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Frazer opines to Bell that Mann's becoming "a kind of Jonah" to the patrol. The scout informs him that it couldn't be the enemy who killed Fox: he was shot from behind at a range much closer than would have been possible. Mann confronts Gentry, who he thinks joined up with the patrol deliberately to warn the others of his visit.<br />
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Next, Mann talks to Burroughs, informing him that Fox revealed all before he died. Prompted by this, Burroughs confesses to the murder of Dorothea, a German girl who the four men (plus four others no longer serving) took it in turns to "take care of". When she announced her marriage to a "fat German businessman", they all felt betrayed, but it was Burroughs who snapped first, though Pike was the one fingered for it.<br />
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Mann fights with Burroughs to get hold of the bayonet he killed Dorothea with, but Frazer, concerned with his mission above all else, insists Mann return it and that the issue be dealt with later.<br />
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Nonetheless, Frazer's aware there are now two distinct groups in the camp, and that he, Mann, Bell and Job are in danger from Burroughs and his friends. Mann tells him it's worse than he thinks: he's deduced that it was Job who killed Fox. The danger increases as a message comes over the radio that Pike's committed suicide: if Mann, Frazer and Bell are got out of the way there's now no need for the truth to ever come out.<br />
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Job, who proves to be very much the ringleader, plans to see to their disposal, but Bell, ever one for the practical solution, shoots him dead. The other two prove easily overpowered, and the next day Mann departs with them in the helicopter.<br />
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<b>The Patrol</b> is distinguished by excellent performances all round, and particularly Guy Verney's tense direction, which makes the jungle set seem genuinely oppressive. The highlights of the episode are a pair of bravura tracking shots that circle the whole set, showing what each character's up to in turn.</div>
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Next week <b>Redcap</b>'s slot will be filled by a new ABC series, <b>Public Eye</b>. Unfortunately, only two episodes from the first series are known to still exist, and the opener isn't one of them. Those that do will be featured here in due course.</div>
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<b>Sunday 17 January</b></div>
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Tonight's episode of <b>Stingray</b> tells us, for what I think is the first time (I may just not have been paying attention) in what year the show is set - 100 years after it's broadcast.<br />
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Oddly, that plaque commemorating Arago Rock lighthouse isn't at Arago Rock, but at Marineville, where the gang discuss the extinguishing of the light: it turns out that an airbase has been built nearby, and the light would just be confusing for the planes (presumably nobody's that bothered about ships crashing into the rock). Lighthouse keeper Frank Lincoln has been forced to switch off the light leave the place that's been his home for many years (in reality, all the lighthouses in the US - where this is presumably set - have been keeperless since 1998). As he rows off, Frank takes a sorrowful look back - and notices that the light's back on. This almost instantly causes a plane crash.<br />
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Returning to find out what's going on, Frank is confronted by a green man with dreadlocks (well, it looks better than white men with dreadlocks, anyway).<br />
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Commander Shore sends <b>Stingray </b>out to find out why the light's still on. The show's usually brilliant model work falls down a bit here: when Troy Tempest climbs out onto the hull to ascend to the lighthouse the little model man affixed to the sub is less than convincing - particularly as it's missing the bright yellow waterproof Troy's meant to be wearing.<br />
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Troy heads for the light, and like Frank before him is stopped from shutting off the light by the mysterious green man.<br />
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Horror movie logic comes into play here. with Phones following after Troy, and being captured in his turn: note that where the green man touched both Troy and Frank's hands, he confronts poor unloved Phones from over the other side of the room. Still, he comes up quite close behind as he forces Phones to accompany him into the very depths of the building, where Troy and Frank are being kept prisoner.<br />
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As usual (for the purpose of discussing their plans) there are two enemy beings occupying the secret underground lair. Their names are Lorif and, amusingly enough, Cromer.<br />
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<tr><td class="tr-caption" style="text-align: center;">I'm fairly sure that's Cromer</td></tr>
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Lorif and Cromer are determined that the "great light" must remain unextinguished, as they rely on it to power their civilisation. A tasteful mural in the wall slides back as we're treated to an explanation: the light causes anemones on the sea bed to open and give off energy which these people have found a way of harnessing (sounds plausible).<br />
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Unfortunately for Lorif and Cromer, the light gets shut off from central command at Marineville. They agree to give Frank 30 minutes to get it working again before they kill the others.<br />
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Instead, Frank heads out to Stingray to get help from Marina. Clearly unaware of the fact that she can't speak, his frustration at her not answering his questions about how to get a message to Marineville is hilarious.<br />
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Eventually he manages to get the light switched back on for long enough for Phones and Troy to be released, but it's shut off immediately after, leaving Lorif and Cromer cursing the double-crossing surface people.<br />
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At the party to present Frank with a lifetime service medal, Troy feels guilty about the whole destroying a civilisation thing. So he arranges for a light to be placed underwater. Lovely.<br />
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<b>Monday 18 January</b></div>
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BBC 2 viewers tonight are treated the to first instalments in a pair of new series. <b>Writers' World</b> sees Simon Raven talk to authors including Kingsley Amis, Robert Graves, William Golding and Laurie Lee about their school days, while following directly after is a new thriller serial, <b>Hit and Run</b>, starring Joseph O'Conor and Rosalie Crutchley.</div>
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<b>Tuesday 19 January</b></div>
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We join John Drake tonight in the fictional South American state of Santo Marco (well obviously it's not fictional from his point of view), where chaos runs rampant in the streets, with rioting and shooting all over the shop. From a high vantage point, Drake watches as a glamorous woman (the fabulous Jill Melford), clearly not a local, hands envelopes to a group of men. Relieving one of the men of his envelope, Drake finds it's full of money.<br />
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Drake catches the same flight to Heathrow as this mysterious Lady Bountiful, and trails her Bentley into the city (note that visitors to London in the mid-60s were greeted by enormous fags).<br />
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Drake's quarry alights at the Society for Cultural Relations with South America, and naturally enough he follows her in. Her name's Certhia Cooper, and he blags his way into her office in the guise of a travel agent. A very well informed one, aware that she's spent about £250,000 of the society's money supposedly bringing culture to Santo Marco, but in fact paying agitators to bring down the current government. Certhia refuses to discuss the matter, instead promising to arrange a meeting with someone who can explain matters.<br />
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When Drake returns home, he finds tell-tale signs that an intruder's hiding in his flat. He doesn't get to see the man, just his hand, with distinctive skull and crossbones ring, as he departs. Drake traps it in his front door - look at that blood!<br />
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Next Drake pays a visit to his reporter friend Pauline (the also fabulous Adrienne Corri). Certhia once worked on her paper, where it seems she slept her way to the top before departing for her new lucrative role. Pauline's burning hatred of the woman is a joy to behold: she scoffs at Certhia's ridiculous name: "I looked it up once - it was a bird. A tree creeper. Very appropriate." Immediately after, there's a phone call from the woman herself: "Certhia darling! What a lovely surprise!" (nobody could accuse this episode of being a tract on female solidarity).<br />
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It's Drake Certhia wants - she's arranged a meeting for him with a top official at the society. Hastening to the address in Mayfair, Drake's taken aback to find that the man he's meeting is Lord Ammonford (Bernard Lee), one of the most hallowed names in the business world. Drake explains to the peer how his money's being spent, but it comes as no surprise - as far as he's concerned, the society's helped the people of Santo Marco "to climb out of a swamp of ignorance and primitive bondage". Naturally the society's activities are working to keep in place a system reliant on Ammonford's other business interests.<br />
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Ammonford immediately pegs Drake as working for the foreign office in some capacity, and cautions him to leave the matter well alone. As he leaves with a flea in his ear, Drake encounters the charming Lady Ammonford (Joyce Carey).<br />
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The next day, Drake is called to the presence of the foreign office's most senior mandarin, Sir Joseph Manton (Richard Caldicot, always the man to call on for these sort of parts), who pooh-poohs Drake's alarming claims, and puts him on a month's leave.<br />
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But Drake's not prepared to let the matter drop. After a gloating visit from Certhia, he decides to head back out to Santo Marco. He's informed there's no record of his booking and the flight's full up. As Certhia swans in and picks up her tickets he remembers that Ammonford owns the airline.<br />
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Exposing Ammonford as a crook is becoming an obsession for Drake: he returns to Pauline in the hope of digging up some kind of dirt on the man. Little seems to be known about him bar his humble origins in a Welsh village.<br />
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Drake heads to said village, and finds that while the residents are all very proud that such a distinguished figure hails from there, no two of them describe the young Ammonford in the same way.<br />
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Pauline's exerted her feminine wiles to get into the records of the passport office, where she's unearthed Ammonford's first application, naming him as Peter Jones of Pennygwynt Farm. Drake heads directly there - just in time to join the procession to Peter Jones' funeral.<br />
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Drake gives a lift to a man at the funeral (Colin Douglas), only to come upon a road accident staged so his passenger - the man with the skull ring - can get the opportunity to rough him up for interfering.<br />
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More determined than ever to bring him down, Drake faces off against Ammonford once more, revealing he knows his history to be a sham. "I can ruin you, Drake," the peer informs him. "Physically, professionally, mentally, you name it. And there's nothing you can do to harm me in return." Lee is stonkingly good as Ammonford, coming across as genuinely dangerous but also regretful about the less pleasant activities required to protect his interests. However, the star of this scene is undoubtedly the bizarre sculpture below, which looks like the halfway point in an attempt to sculpt a Dalek by sticking lots of lemons together.<br />
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After receiving Ammonford's stick, Drake returns home to be confronted with Certhia's seductive carrot. He demands £10,000 to leave the matter alone, but their meeting's interrupted by Pauline. <br />
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Having seen Certhia off, she puts Drake on a new trail: he goes to see Lady Ammonford's former nanny (Patsy Smart), claiming to be writing a biography of the great man, and borrows a photograph: it shows Lady Ammonford's sister's wedding, and the chauffeur in the background looks very familiar...<br />
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Drake pays a visit to the hire car firm the man worked for: after its employees set him up on a drink driving charge and he escapes from the police (this is nothing if not an eventful episode), he pays a visit to a former driver (Jack Bligh) who identifies the chauffeur as one George Foster. Who, it turns out, was a married man.</div>
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The next stop is the home of the first Mrs Foster (Barbara Leake), who, it emerges, has never divorced Lord Ammonford, and has been paid very well to keep silent about the matter.<br />
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It's nearly time for Drake's final confrontation with Ammonford, but there's enough time to squeeze in a catfight between Pauline and Certhia (note that below Pauline is clutching a presumably Beatles-inspired gonk of the kind which would feature in Robert Hartford-Davis' barmy pop movie <b>Gonks Go Beat</b> that same year). I love Corri and Melford so much that I dearly wish these two had been given their own spin-off.<br />
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Ammonford proves unimpressed by Drake's threats to expose his bigamy: he knows the media's too scared of him to touch the story. But Drake has a final ace up his sleeve: Lady Ammonford. He just has to sow a few doubts in her mind for the whole thing to suddenly become clear to her. Unable to cope with his wife discovering she's not, in fact, his wife, Ammonford promises to divest himself of all his interests in Santo Marco. He and Drake part on quite amicable terms, in the circumstances.<br />
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Things are a bit lighter over on BBC 1, where George Starling is about to wake up as a father for the very first time.<br />
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It's the night after Miles' birthday party, which, idiotically, he held on a weeknight. He's now hungover to buggery, but things are even worse for George, who collapsed on his sofa and failed to wake for 9 am, which is when he'd promised to be at the hospital to see Kate and their new baby.<br />
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George desperately tries to think of an excuse for his absence. Miles suggests he looks crumpled enough to have been hit by a car. I very much like Miles' curtains. I wish I knew what colour they were.<br />
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George heads off, without even enough money to buy flowers (one of the most mind-boggling things about TV of this era for a 21st century viewer is that people can't get money without going into the bank). Miles gets a call from the hospital, and is forced to bluff a reason for George not being there...<br />
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...which we don't get to hear. Instead we join George outside the hospital, desperately trying to dishevel himself to account for his absence.</div>
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He's greeted by the formidable Sister Bulmer (Molly Urquhart), and informed that both his and Kate's parents have already seen the baby. Which makes him feel even worse.<br />
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"Did you have a good time?" he asks Kate when he finally gets to see her. Turns out it was a quick and easy birth (as births go), but learning that even the butcher's sent flowers doesn't make George feel any better.<br />
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George finally gets to see his daughter, who, apart from her blue hands, pointed head and chapped face is seemingly beautiful. Kate tries to convince George the baby's got his mouth, but he's more concerned by her having Richard Dimbleby's nose.<br />
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A wealth of telegrams have arrived from both sides of the family. George considers Kate's family's efforts to be very stiff and formal, but considers those sent by his relatives a hoot. Kate points out that they all make exactly the same joke about the name of Starling.<br />
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It's only just occurred to George that the baby will cry all night, and he's finding it hard to adjust to being called Daddy. Kate's worried he's disappointed they didn't have a boy, particularly as all the names he suggests for the baby (Christine, Samantha, Nicola, etc) can be shortened into boys' names. Eventually they decide on Helen. After much angling, George finally learns from Kate what Miles said on the phone about him being late: that he'd offer a full explanation when he got there. She's waiting.<br />
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<b>Wednesday 20 January</b><br />
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Tonight sees the return of a show that hasn't made one of its sporadic appearances around these parts in ages.<br />
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As they patrol the streets of Newtown, Jock Weir and Fancy Smith are called to aid Bert Lynch (who's recently joined the CID) in his investigation of a supermarket burglary. The £350 takings the manager, Mr Cassidy (Bernard Kay) carelessly left in a drawer overnight have gone, and Lynch thinks he seems remarkably unbothered by it.<br />
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As the police depart the scene, an old codger, Brian (George A Cooper) furtively tries to find out what's going on. "Have you a tin of bootlaces?" he asks in a doomed attempt at seeming nonchalant.<br />
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Brian's next seen paying a visit to brassy Clara (Renny Lister, wife of Kenneth Cope) in search of her boyfriend Arthur, who he thinks robbed the supermarket.<br />
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Lynch, however, has decided that as there's no evidence of any break-in the culprit is surely Cassidy. He offers this opinion to Inspector Barlow in the presence of Cassidy's boss Mr Unsworth (<b>The Plane Makers</b>' Reginald Marsh, looking far less avuncular without his moustache and pipe).<br />
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Brian's still searching for Arthur, and his next port of call's a snooker club run by Percy (Jack Woolgar), who clearly knows and dislikes Brian of old. There's still no sign of the elusive Arthur.<br />
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Meanwhile, Unsworth, satisfied that Cassidy was indeed the robber, decides to avert scandal by laying him off with a month's pay. Cassidy reacts with a fit of hysterics before agreeing to go on his way.<br />
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Brian finally finds Arthur (James Culliford) working at a seedy nightclub, though he's beaten up by the doorman (Peter Schofield) before he gets to meet him. When he eventually does it emerges that Brian's recently been released from Strangeways, where the pair of them had previously served time together and developed a father-son relationship, Brian teaching Arthur all he knows.<br />
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Brian manages to cadge a fiver off Arthur and immediately blows the lot on booze (and in 1965 a fiver could buy you a lot of booze), finishing a wild binge with an arrest for being drunk and disorderly.<br />
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Brian's greeted at the police station by Sergeant Blackitt, who knows him of old. Brian informs the Sergeant it was a friend of his who robbed the supermarket, which rather upsets Lynch's view of events.<br />
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Lynch has his conscience pricked in the canteen by the intellectual PC Baker (Geoffrey Whitehead), who tells him he could have ruined Cassidy's life with no good cause. <br />
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When Blackitt informs him there's room for doubt, Lynch goes to see Brian, and offers to pay his drunk and disorderly fine in exchange for information about the thief.<br />
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Barlow learns that several other shops in nearby towns were turned over in the same manner that weekend, making Lynch's suspicion of Cassidy look increasingly unlikely. Consumed with guilt, Lynch goes to visit the poor man, but it turns out he's already taken a lucrative new job in Southampton.<br />
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Meanwhile, Arthur returns to Clara to ask for money, having gambled all the proceeds of his last jobs away ("Ooh, you're certainly licking all the ice creams" she says on learning he's been sleeping with a Chinese woman).<br />
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Arthur's got a new shop in his sights (that certainly sounds like a very specialist brand of tea).<br />
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He gets a look at the shop's safe through the cunning ruse of getting the shop assistant (Connie Merigold) out the back to tell her his missus left a brassiere she'd just purchased in the shop the other day. Much merriment ensues as she goes to ask her colleague Mavis about it. Meanwhile, Arthur cases the joint.<br />
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When Clara goes out that evening, Arthur gets his tools ready for the job. Throughout, bizarrely, he talks to the photo of a small dog (the Bonzo of the title).<br />
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He even talks to Bonzo while he's breaking into the safe.<br />
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But Arthur slips: after successfully getting the money out of the safe he decides to have a little nap - but doesn't awaken till the next morning, when Weir and Smith notice the open window at the shop and rush to arrest him.</div>
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<br />
He's very cool about the whole thing, not even that bothered about having left Bonzo behind. Lynch marvels at how he's taking it all in his stride, but the more experienced Blackitt, mindful of Arthur's former mentor, makes a prediction about the cool young thief's future: "One day he'll come in here skint and be glad of a mug of a tea."<br />
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We stay oop North for tonight's next offering, over on BBC 2.<br />
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The first thing we see in tonight's <b>Likely Lads </b>is Terry Collier's sister Audrey (Sheila Fearn) pashing wildly in the back of a fancy car with her new fella, Mario (George Layton).<br />
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Spying them at it, the passing Terry and Bob are left with no choice but to bounce the back of the car up and down.<br />
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Scarpering into Terry's house before they can be identified, they settle down to their fish, chips and brown ale. Terry, it appears, is outraged that his sister's dating an Italian hairdresser (inevitably he's nicknamed him Teasie-Weasie), and Bob's insistence that Mario's actually from Hull doesn't help: "Hairdressers, Italians, people from Hull - they're all the same!" Dramatic irony abounds as Terry sounds off about the Italian bloke at work's garlicky breath while eating out of an enormous jar of pickled onions.<br />
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Terry can't understand why Audrey finished with her previous boyfriend, Big Des. He was a brilliant wing half and he could down 12 pints, go home and get changed and head out for the evening - what more could a woman want?<br />
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Enter Audrey, aware Bob and Terry were doing the rocking and livid with the pair of them. Her insistence that Mario's as English as Terry somehow prompts her brother to do slitty-eyes. Oh dear.<br />
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Bob, meanwhile, mocks Transylvanians with the strategic placement of a couple of chips when Audrey alleges that "If I brought Dracula here and he downed 10 pints you'd be a fan of his for life and all."<br />
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Audrey's bringing Mario to tea the next day as Terry is due to go to the match with Bob. Terry has his own plans to get rid of Mario, however: offering the lure of a meat pie, he inveigles an uncertain Bob into agreeing to seduce Audrey (who he insists he's never thought of as a woman before) while he takes Mario to the pub - the idea being that she'll be so upset at her boyfriend being lured to the boozer she'll throw herself at whoever shows her any tenderness.<br />
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Terry bails out of watching the match in order to join Mario and Audrey at tea with his mum. The conversation segues from Terry's musings over how Mario can cut his own hair to the story of a doctor who removed his own appendix - which Terry bizarrely illustrates by pointing a fork at his crotch.<br />
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After tea, Terry convinces Mario to accompany him to the pub for a swift half. Liaising with Bob, Terry sends him on his way with a promise to keep him in beer for a week. Back at the Collier household Audrey's livid with Terry for leading Mario astray. Could she be ready to fall for Bob's charms?<br />
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The answer's no, as it happens: when Bob turns up to confess his love for her she's initially taken aback but quickly spots Terry's hand in the whole sordid business, and turns the tables by coming on to Bob. Eventually he threatens to cry rape unless Bob tells her why to find Terry and Mario.<br />
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Meanwhile, at the Black Horse, Terry's discovered that Mario (real name Ernie - you can't be a ladies' hairdresser called Ernie) is a good bloke (and a demon darts player) after all.<br />
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So the sudden appearance of a furious Audrey, trailing a quivering Bob in her wake, is less than welcome.<br />
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After much recrimination, Audrey and Mario make up and depart. Bob reveals to Terry that after all the evening's travails he's realised he really does fancy Audrey. Terry doesn't take the news well.<br />
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That's the last in the present series of <b>The Likely Lads</b>. The show returns later in the year, but only one episode from its second seres still exists. Rest assured that I'll write about it here.</div>
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A bit of proper TV history now: tonight's entry in BBC 1's <b>Wednesday Play </b>strand was due to be John Hopkins' <b>Fable</b>, set in an alternative Britain where black people hold the reins of power. Clearly a controversial idea to begin with, it was made even more so by the by-election due to take place in Leyton on Friday, in which "the colour issue" was playing a significant part. As a result, it was postponed by a week (the Labour candidate in the election was Patrick Gordon Walker, who had been made Foreign Secretary despite losing his seat in Smethwick the previous year to Conservative Peter Griffiths, whose controversial campaign included the slogan "If You Want a Nigger for a Neighbour, vote Labour". The plan was to parachute Walker into this safe Labour seat instead - the circumstances of his previous defeat were inevitably foregrounded, and against all expectations he ended up losing to the Tories again). I'll be taking a look at <b>Fable </b>next week.</div>
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<b>Thursday 21 January</b><b><br /></b><br />
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Tonight's episode of <b>The Saint </b>finds Simon Templar on a visit to a hotel in Baden-Baden, a town whose name is so inherently funny that it seems utterly out of place in serious dialogue. Nonetheless, our cast give it a good try.<br />
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Simon's attention's alerted by a fellow guest (Nigel Davenport) who's behaving in a very furtive manner. This chap, Mr Boyson, is in touch with the sinister Dr Schreiber (Victor Beaumont), who has found a "specimen" for him that's "perfect in every way". Tony Booth plays Schreiber's assistant, Hans, who's warned to "Ztop eating zose epples in here!".<br />
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If Simon's interest was piqued by Boyson, it's thoroughly aroused by the arrival at the hotel of the beautiful Julia Harrison (Stephanie Randall), daughter of Boyson's deceased business partner, in search of him. Upon spotting her, Boyson heads upstairs and tries to kill her by pushing a heavy vase on top of her. Has anyone ever actually been killed by this? Julia isn't, as Simon comes to her rescue.<br />
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They repair to Boyson's room to question him about the £250,000 he's absconded with from the company's funds, but before any explanation can be offered, Boyson has a seemingly fatal heart attack (some marvellous acting here from Mr Davenport and Ms Randall).<br />
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Schreiber and Hans now appear, just in time to spirit Boyson's body away. Simon notes that they also take his briefcase, which he suspects contains the missing money. He and Julia head for Schreiber's clinic, where the doctor confirms that Boyson is quite dead. I love his specs: they'd be ideal for someone with no eyebrows.<br />
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On Simon's insistence, they're even shown Mr Boyson's corpse in the morgue. But the briefcase is handed back with nothing in it, and the Saint, deeply suspicious, returns shortly after driving off.<br />
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It's about time for the mid-episode fight sequence, and here it is, as Simon sets to with a guard at the clinic. He polishes him off without any trouble, of course, and heads inside for a look at the safe.<br />
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With no luck finding the money there, Simon pops to the morgue for another look at Boyson's body, and finds that it's not Boyson at all but some unfortunate stiff wearing a Nigel Davenport mask (I wish I had one of those), which, on being confronted by the baddies, Simon spends the rest of the scene wearing like a glove.<br />
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It turns out, of course, that Boyson faked his death in order to abscond with the money, Schreiber providing medication to bring on an apparent heart attack. As the fiends tell Simon their plan prior to disposing of him, Julia races to the clinic with Inspector Glessen (George Pravda), this week's grumpy, Saint-hating policeman.<br />
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At the clinic a massive ruck takes place, with Simon taking on all three baddies. It looks like he's going to beat them until Boyson finds a gun and forces him into one of the morgue drawers, whacks him round the head and shuts him in.<br />
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The episode's title is the name of the train on which Boyson's due to travel to Switzerland and begin his new life. Where the early part of the episode led us to believe he was being manipulated by Schreiber it turns out it's actually the other way round: he's got a hold on the doctor due to his knowledge of the grisly medical experiments he carried out during the war, and forces him to go and finish Templar off (it seems actor Victor Beaumont was a barely more savoury character in reality - he's reported to have been a member of Jimmy Savile's circle of child abusers). Inevitably, Simon gets the best of him and heads off with Julia in a race to join the train at its next stop.<br />
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Director James Hill pulls out all the stops to make the last quarter of the episode, with Simon and Julia racing the train and boarding it in search of Boyson an Hans, breathlessly exciting stuff. We pause briefly to note that the steward Simon bribes to overlook his lack of ticket is played by the adorable Ernst Walder, previously Elsie Tanner's son-in-law.<br />
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As the episode races to its conclusion it transmogrifies into a cross between a Hitchcock pastiche and a forerunner of Roger Moore's relentlessly jokey Bond films: as Simon knocks on compartment doors in search of his quarry he happens upon a chap who doesn't look a great deal like Hitler, but whose moustache, combined with Simon's bewildered expression, leads us to suppose he's meant to.<br />
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Julia, meanwhile, is busy being captured.<br />
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Simon finally happens upon Hans, who he inevitably bests in a fight, exposing him to steam torture to find out Boyson's whereabouts.<br />
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Boyson plans to throw Julia from the train. Simon invades the compartment of an elderly English couple (Totti Truman-Taylor (Aunt Sally in TV's first version of <b>Worzel Gummidge</b>) and Ernest Hare) to climb outside ("How extraordinary!" "Must be a foreigner, dear." "Why?" "He didn't shut the window").<br />
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The ensuing battle ends with Boyson pulling the emergency cord to stop the train prior to leaping from it. Unfortunately he leaps right into the path of another train. The fool.<br />
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The episode's wonderfully bathetic ending sees the Inspector inform Simon that he's been fined for parking his car overnight at the station. Julia offers to pay.<br />
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<b>Friday 22 January</b><br />
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Following on the heels of Ernst Walder's appearance in <b>The Saint </b>last night, <b>Coronation Street </b>wife Anne Cunningham returns to TV, now the wife of Roy Kinnear in the first episode of sitcom <b>A World of His Own</b>, sadly lost to the ages.</div>
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<b>Outside the box</b><br />
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The ailing Sir Winston Churchill remains the focus of much of the week's news, with <b>Private Eye</b> christening him "The Greatest Dying Englishman".</div>
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<b>And to play us out...</b></div>
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It's the Moody Blues, up 7 places to number 3 in the singles chart. The Beatles have finally been toppled from the number 1 spot by Georgie Fame, and currently reside at number 2. Anyway don't let me keep you. If you gotta go, well, you'd better...</div>
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Ivanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.com2tag:blogger.com,1999:blog-4443589666300610642.post-36260882730488379592015-01-10T17:56:00.002+00:002015-01-10T17:56:29.467+00:009-15 January 1965<b>Saturday 9 January</b><br />
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I wish I could tell you more about this week's edition of <b>Juke Box Jury</b> as it features the dream team of Peggy Mount and Dusty Springfield on the panel (alongside Pete Murray and actor David Healy), but sadly, beyond that, I can't (I'm not being evasive, I simply don't have any more information). Instead, let's <a href="https://www.blogger.com/blogger.g?blogID=4443589666300610642#" id="_GPLITA_0" in_rurl="http://s.srv-itx.com/click?v=R0I6NzgwNjg6ODk1OmNyYWNrOmE1MTQzZTE3ZjBjMGEzMTc4ZWM1NTE2ZTc3NDViMmIwOnotMTc1MC00NTg1MTY6d3d3LmJsb2dnZXIuY29tOjIzMTM3ODoxMGJhMzFiY2Q1MjVkN2E1ZGJjMGNiNzMyMWYzNTA1NTowOTIyYzU1YTk5YmM0NjIyYjBkY2UwMzc4MTY4OWZlMjoxOmRhdGFfc3MsNzI4eDEzNjY7ZGF0YV9mYixubzs6NTE3NDEzNA&subid=g-458516-b69ee18105d64ca3901a02cfa0c1678c-&data_ss=728x1366&data_fb=no&data_tagname=P" style="background: transparent !important; border: none !important; display: inline-block !important; float: none !important; font-weight: bold !important; height: auto !important; margin: 0px !important; min-height: 0px !important; min-width: 0px !important; padding: 0px !important; text-decoration: underline !important; text-indent: 0px !important; text-transform: uppercase !important; vertical-align: baseline !important; width: auto !important;" title="Click to Continue > by BuyNsave">crack<img src="https://cdncache-a.akamaihd.net/items/it/img/arrow-10x10.png" style="background: transparent !important; border: none !important; display: inline-block !important; float: none !important; font-weight: bold !important; height: 10px !important; margin: 0px 0px 0px 3px !important; min-height: 0px !important; min-width: 0px !important; padding: 0px !important; text-decoration: underline !important; text-indent: 0px !important; text-transform: uppercase !important; vertical-align: super !important; width: 10px !important;" /></a> on with tonight's<br />
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When we left Ian Chesterton last week he was standing on a ledge, about to be either impaled by spikes or precipitated into a pit occupied by a growling monster. Well, he's still there, but happily he manages to squeeze past the spikes and back to the Doctor's side.<br />
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Meanwhile, Barbara Wright's helping young Vicki tend to the ailing Bennett, who collapsed shortly after being introduced to her (I think it's her hairdo that did it).<br />
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As for the terrifying monster, it's next seen emerging from a cave next to the crashed spaceship, Vicki feeding it like it was a pet (a hapless crew member is plainly visible behind the creature, until he makes a swift exit upon realising he's being filmed). Barbara, who's found a gun, spots it out of the porthole (or whatever a spaceship has), and, as if she's applying for the role of Honor Blackman's replacement in <b>The Avengers</b>, dashes out to what she imagines to be the rescue and shoots the unfortunate creature dead.<br />
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The late "Sandy" was poor Vicki's only friend in the universe, so she's understandably distraught at his tragic demise. Barbara's pleas that she thought she was trying to help fall on deaf ears as the grieving Vicki collapses in tears. I wonder if she took this kind of gung-ho attitude to bullying in school.<br />
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Vicki's chastising of Barbara is suddenly interrupted by the appearance of Ian and the Doctor, who've found their way out of the cave. The Doctor tries to cheer Vicki up by telling her she looks a mess, while Ian's got an, erm, interesting nickname for the fiend whose been terrorising her.<br />
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Plainly chuffed to have a youngster to coddle once again, the Doctor shuffles the teachers off so he can be alone with Vicki and convince her to forgive Barbara. He also reassures her that he'll have a word with Bennett and they'll find a way to deal with Koquillion.<br />
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Bennett won't let the Doctor into his room, so he forces his way in (seemingly unworried by any delicate situation that might arise. Meanwhile, Barbara makes friends with Vicki and she and Ian tell the disbelieving teenager where they come from. It turns out that the present year is 2493, which. Vicki points out, means Barbara's about 550 years old. She's not thanked for this piece of information.<br />
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The Doctor's discovered that the supposedly bedridden Bennett is missing from his quarters, which, upon investigation, he finds to contain a tape recorder that plays "Keep out" messages, a device enabling him to hear what's going on elsewhere in the ship (he tunes in just in time to hear Vicki say she likes him), and a concealed trapdoor.<br />
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Exiting through the trapdoor, the Doctor finds himself in an ornate chamber (well, as ornate as the budget would stretch to). Upstairs, his companions find him gone ("He wouldn't go off without telling us," frets Barbara, ignoring the fact that this is precisely the sort of thing he does every week). The place the Doctor finds himself in is the People's Hall of Justice - the ideal venue for him to confront Koquillion - or Bennett, as he's also known (there <i>was </i>no actor called Sydney Wilson! I wonder if any viewers at the time rumbled the baddie by noticing how much he sounds like Titan from <b>Stingray</b>). His fearsome appearance is, in fact, a ceremonial costume of the "Dido people", as the Doctor calls them.<br />
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In classic exposed murderer style, Bennett explains that he killed the other occupants of the ship to conceal his earlier murder of a crew member, for which he had been arrested before the crash. The invitation the natives extended to a reception for the crew was genuine, and it was Bennett who engineered the explosion that killed both the Earth and Dido people. He kept Vicki alive to back up his version of events, dressing up as Koquillion to convince her how monstrous the natives were.<br />
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Now, of course, Bennett intends to add the meddling time traveller and his companions to the list of casualties. But the Doctor's a trickier opponent than he expected, and wrestles with him over his magic spanner.<br />
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Besting the old man, Bennett's poised to throttle him when two big blond chaps appear, and cause him to fall down a pit when he backs away in terror.<br />
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Next thing we know we're back at the TARDIS, and the Doctor explains to his friends that these were the surviving people of Dido out for revenge. There's just one last thing to sort out: the Doctor goes to speak to poor, all-alone Vicki, and asks her if she'd like to join him on his travels. A jaded 21st century eye may well find its brow rising at an old man promising a teenage girl an abundance of adventure, but this is a magical moment. Vicki's the first person to come aboard the TARDIS by invitation, and it's especially significant that the Doctor goes to seek Ian and Barbara's consent before asking her (they give it enthusiastically even before he can). Strange that it should take the departure of the only character actually related to the Doctor to make the ship's occupants seem like a family.<br />
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Lovely as all this is, there's still all that adventure the Doctor mentioned, which we're reminded of when the TARDIS land on the edge of a precipice, and swiftly tumbles off it...<br />
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By the way, <b>Desperate Measures</b> is another of those fearsomely generic titles that masses of TV shows have resorted to when they couldn't think of anything else. As well as <b>Doctor Who</b>, it's been used as an episode title by (among others) <b>Burn Notice</b>, <b>Walker, Texas Ranger</b>, <b>Casualty</b>, <b>Doctors </b>(twice), <b>Stargate SG-1</b>, <b>Holby City</b>, <b>Heartbeat</b>, <b>The Bill</b>, <b>Party of Five</b> and, most recently, <b>Toast of London</b>.<br />
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Next tonight, <b>Redcap</b>. As it centres on a near exclusively male military it's not surprising that this show's featured few substantial female roles to date. However, the plum part in tonight's episode (scripted by <b>Z Cars</b> creator Troy Kennedy Martin, brother of <b>Redcap</b> script editor Ian Kennedy Martin) is that of Wendy Stateland, an Eastender now running a refugee home in West Germany (or is there more to it than that?). Barbara Jefford gives a tremendous performance in the role.</div>
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The episode begins with the calm suicide of a British army officer, Major Trust (the actor who plays him isn't credited)...<br />
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Sergeant John Mann's soon on the scene , though Trust's second in command, Captain Pelley (Philip Bond) seems to take great pleasure in being obstructive. What Mann does manages to find out is that Trust gave a cheque for £100 to a Captain Fitztormey, which was cashed at a shady venue known as the Wine of Life Club. The discovery in the Major's office of several books on making love leads Pelley to reveal that Trust had recently been romancing Mrs Stateland.<br />
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Trust's batman, Private White (Peter Birrel) proves equally evasive. Mann suspects drugs are somehow involved in the Major's death - the Wine of Life Club is also his only lead in the case of three soldiers currently being treated for addiction.<br />
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Pipe-puffing staff sergeant John Collin tries to dissuade him from following up this line of inquiry as it's outside his jurisdiction, but of course that isn't going to stop him.<br />
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Captain Pelley pays a visit to Wendy Stateland, who it's clear he knows well. Their meeting's interrupted by the arrival of Mann.<br />
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As you may know, I feel compelled to feature any close-up of a plate of biscuits which presents itself.<br />
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Anyway, Mann learns from Mrs Stateland that there are currently only six invalids staying in her home: nobody's needed refuge from anything for a while. She doesn't seem especially moved by the news of Major Trust's death, or to hold his memory in much esteen:<br />
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<b>Mann</b>: He's dead.<br />
<b>Wendy</b>: He always was.<br />
<b>Mann</b>: He took his own life.<br />
<b>Wendy</b>: No, I think his mother was responsible. Not only her, I think there must have been a series of dramatic things happen to him at Sturmey Heath, or whatever his public school was.<br />
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The sinister figure of Wendy's colleague Ernst (Frederick Jaeger) now appears to show Mann out. After he's left we see a glimpse of the relationship between the two, leading us to wonder who's really the boss.<br />
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Mann next pops into the interestingly-decorated Wine of Life Club, but finds nobody around except for Private White, who's been beaten up and is lying comatose out by the bins.<br />
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Mann's ordered to drop the case and instead focus on a Private Richards, who's in hospital after falling off a wall when he tried to escape a detention centre. Happily for Mann, Richards is just a few beds away from Private White. But Richards proves more interesting than expected in himself, as the attendant doctor and nurse (Yvonne Antrobus) shows signs of being a heroin addict (extremely dull trivia: this episode features both an actor who was in the TV version of <b>Doctor Who</b>'s first encounter with the Daleks (Philip Bond) and one who was in the film version (Yvonne Antrobus)).<br />
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Mann learns that a young lady called Ursula Leinster (Christa Bergman) has been trying to see Private Richards and seeks her out. She turns out to be pregnant by him, and agrees to lead Mann to the people he obtained the drugs from.<br />
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Longtime readers (if there are any) may be aware of my love of a good 1960s party scene. We haven't had one in ages, so the one that transpires at the Wine of Life Club is especially welcome. Captain Pelley's there with a German dolly bird.<br />
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I always have a favourite in these sort of scenes and here it's this lady, who despite her mature years (compared to the other dancers) is frigging away (or whatever the current dance craze may be) for all her worth.<br />
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It turns out to be Ernst and assorted henchmen who are peddling the drugs, and Mann approaches them to ask for some. He claims he's not in work mode, but the next thing he knows he's waking up in Wendy Stateland's bed, having been injected with something nasty the night before.<br />
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Mann realises that, as Wendy's still able to get whatever medication she wants for her refugees even though there are hardly any left, she's been obtaining great quantities of prescription drugs which she's been selling on. She reveals to Mann the reason Major Trust killed himself.<br />
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<b>Mann</b>: He killed himself because he couldn't have sex?<br />
<b>Wendy</b>: I don't understand it. I thought how much happier he ought to have been.<br />
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Wendy intends to let Mann go, but warns him that she'll have all evidence of drug peddling cleared up before he can return with the civilian police.<br />
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As Wendy's packing up to clear out she's visited by Captain Pelley, another of her clients, arrives and propositions her in the hope of a fix.<br />
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Shortly after, Mann returns, explaining to Wendy that the drugs still in his bloodstream will act as evidence of what she's been up to. Jefford is incredible delivering Wendy's final speech, revealing that she and her husband were bright young Oxford graduates who came out to Germany with a genuine desire to help people in need, but that her humanitarian intentions deserted her when her husband did.<br />
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Next week's <b>Redcap </b>is the last in the present series. Over on BBC 2, movie fans could tune in to <b>Cinema 625</b> for a showing of Franco Rossi's <b>Friends for Life</b> (1955). You can watch the film on Youtube, but it's in Italian without subtitles. When I had the closed captions translated into English I got the most startling results.</div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/wtDrqDY75kg?feature=player_embedded' frameborder='0'></iframe></div>
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The most significant TV event of tonight is the first episode of <b>Not Only But Also</b>, with Peter Cook, Dudley Moore and guests John Lennon (reading some poems what he wrote), Norman Rossington, Professor Bruce Lacey, Sheila Steafel and Diahann Carroll. The BBC have released a "Best Of" (dreaded words!) compilation of the series, and there are various sketches available to view on Youtube, but as it's impossible to work out what comes from which episode I've sadly decided to leave the show alone.</div>
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<b>Sunday 10 January</b></div>
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Tonight we find perennial spare part Lieutenant Fisher centre stage (at least for a bit) in the driving seat. Of Stingray, actually, which he needs to command as part of his aquanaut training. Commander Shore listens in to his progress accompanied by Troy Tempest, who clucks like a mother hen over what's happening to his beloved ship.<br />
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Soon enough the ship's confronted by one of Titan's mechanical fish, and Lt Fisher discovers to his horror that Stingray's missiles aren't working.<br />
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Hit by a missile, Stingray crashes into some rocks - the nuclear reactor's broken and the crew are forced to don their unflattering radiation gear. It's of little use, though, the ship's hopelessly wrecked and their doomed.<br />
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But then it all turns out to have been a simulation. Fisher's distraught that he failed miserably, but Shore informs him that the situation he was put in was deliberately impossible, and that his response to it has ensured he's passed this stage of his training. The next bit is to pilot the <i>real </i>Stingray (seems a bit odd that a sub that we're forever being told is the only one that can avert catastrophe is so blithely used for training exercises).<br />
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Next Commander Shore has to deal with the mild annoyance of having a duplicate computer delivered by mistake. He doesn't even look in the box, which is a shame because the dastardly Agent X20's hiding in there, spying (as is his wont). He learns Stingray's going out to the missile range the next day, and hatches a wicked plan.<br />
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Fisher's been invited round to Marina's flat that evening, but when he rings the doorbell nobody answers. Concerned, he lets himself in...<br />
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...and is confronted by a surprise party. The idea is to relax him for his trip out in Stingray tomorrow (though I must say the alcohol that appears to be supplied seems a bad idea...)<br />
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Meanwhile, Agent X20 is rigging missile target number three up with enough explosives to get rid of Stingray once and for all.<br />
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This makes for a very tense situation when Fisher begins firing, with great big close-ups of the worried staff back at Marineville thrown in (though why they'd be worried, as they don't know about the explosives, I'm not sure).<br />
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The target goes up in one of <b>Stingray</b>'s lovely big explosions when it's hit, downing the sub.<br />
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To finish the job, X20 pops out and affixes a sticker bomb to Stingray.<br />
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Are the crew fated to die? Well, perhaps not, as, although there's no time to get another sub out to them, Shore comes up with the idea of getting a plane to drop a diver who can come to the rescue. As Troy's the only person up to the swimming, and the available planes only carry one person, he has to rapidly learn how to fly a plane as well.<br />
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It all ends happily, of course, and the episode concludes with a slap-up meal that sees the men of the WASPs all dressed in those bizarre bronze dinner suits that seem to be regulation wear. It's no wonder Troy needs a couple of stiff ones.<br />
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Today's film matinee on BBC 1 is Alfred Hitchcock's <b>Notorious </b>(1946).</div>
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There's more thrills and spills from 1940s Hollywood later in the evening with Ray Milland and Charles Laughton in the excellent <b>The Big Clock</b> (1948).</div>
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<b>Monday 11 January</b><br />
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Among tonight's programming, members of the public vie to beat the panel (consisting this week of the cast of the London Palladium's <b>Aladdin</b>, led by Arthur Askey) in <b>Pick the Winner</b>, presented by Gay Byrne, while the North West competes against West Scotland in tonight's <b>Come Dancing</b> on BBC 1.<br />
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<b>Tuesday 12 January</b></div>
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Tonight's <b>Danger Man</b> gets off to an intriguing start as a breakfasting African gentleman, Mr Odzala (Thomas Baptiste) is visited in his splendidly decorated flat by a sinister chap (ubiquitous TV bit-parter Ivor Salter) who attempts to strangle him, and gets a pot of hot water flung in his face for the trouble.<br />
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The next thing we see is John Drake, waiting in a country lane for the arrival of a prison van containing Ed Bowden (Tom Gill), a convict shortly to be released. Bowden's been approached in prison by the attacker we saw at the top of the episode (newly detained at Her Majesty's pleasure), with an offer of work on the outside. Determined to go straight, Bowden's decided to tell about this in the hope that somebody might make it worth his while.<br />
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Drake promises Bowden decent remuneration for his information, but tells him he'll have to stay inside a bit longer: Bowden's to take Williams up on his offer, and Drake will pretend to be him in the outside world, making contact with his prospective employers. Leaving Wormwood Scrubs in Bowden's place, Drake's met in a caff by an elderly gent (Roger Maxwell), who puts him on a train, where he makes contact with a businesslike chap (Alan Wheatley), who gives him some money, in exchange for which he's now a member of the mysterious "Order".<br />
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Drake's eventual destination is a house called Lyndon Manor. As he makes his way to the annexe where he's been told to go, he meets a frosty young woman (the very beautiful Georgina Ward), who seems baffled by the number of strange men congregating in the annexe, but nonetheless gives him a lift.<br />
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The door's opened to Drake by a butler played by Erik Chitty, and enters to find four other men recently released from prison and in the same boat as him: Pratt (Jack McGowran), Taylor (John Cairney), Johnson (Robert O'Neil) and Hutchinson (David Cargill). <br />
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Eventually they're taken up to the big house to meet their new boss, known only as the General (Jack Gwillim), and his aide Major Latour (Lee Montague), late of the French resistance. These are a pair of right-wing nutters who've taken it upon themselves to rid the world of "decadent and corrupt demagogues", and impose order upon the world. The ex-convicts are to be paid "more than the Prime Minister" in exchange for executing anyone the Order considers dangerous (the General leaves halfway through to meet the girl, who he's clearly well acquainted with).<br />
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Only Hutchinson seems opposed to the idea, and is ushered out, and told there'll be other duties for him. The others are given money and instructed to go to London for a wild night out to "blow off steam" before they commence their intensive training. But when they get to the flat the General keeps for such purposes, they discover a disturbing story in the news.<br />
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Deciding Hutchinson's death must be a coincidence the men prepare to go out on the town, but Drake suggests it might be a better idea to stay in: he knows girls who can come to them. When he gets on the blower it's actually to Admiral Hobbs, and the spectacle of Drake chatting up down the phone is hilarious.<br />
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Hobbs sends out Agent Jackson (Dorinda Stevens), accompanied by a bevy of girls ready to sacrifice all for their country (Martine Beswick, Judy Huxtable and Ann Colston). Drake gets Jackson alone and catches her up on what he's found out so far.<br />
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Their jolly over, the men return to London, where they're sobered by the revelation that everything they did was recorded on tape (though Drake cunningly managed to avoid this).<br />
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Their first lesson is from Mr Sen (a brief cameo from Zia Mohyeddin), a member of the Indian thuggee cult who demonstrates the most effective way to strangle someone with your tie.<br />
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Training in other methods of killing follows, including harpooning.<br />
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Drake sneaks out to take delivery of a parcel dropped with seeming carelessness from a butcher's van. It contains a joint of meat - nothing unexpected there - except, when you Drake lifts the top off like a lid, he discovers there's a radio inside.<br />
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But his subterfuge is cut short by the girl, who's come to do some shooting. Drake shows her how it should be done, and in the course of their conversation he learns that she is in fact the General's wife, so is naturally curious about what's going on with the strange men. Despite her airs, graces and almost comically plummy voice, she's supposedly worked her way up from the Glasgow slums (it seems unlikely, but then I suppose that's the point). Major Latour, angry with Drake for straying, cuts their conversation short. Later that night, he steals into the house to plant the listening device that was also in the meat, and overhears a conversation that suggests the General's marriage isn't a very happy one.<br />
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Training continues the following day. Taylor, seemingly disillusioned with the whole thing, suggests that he and Drake try to make a break for it. Drake refuses, but is awakened in the night to armed guards interrogating him about Taylor's escape.<br />
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Drake's sent to the motel (probably given a generic name, like that in ATV's <b>Crossroads</b>, rather than directly inspired by it) to kill Taylor with an exploding briefcase, but instead tells Taylor (resplendent in a wonderful dressing gown).<br />
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It turns out to be a trap for Drake, who's the one really suspected of wanting to escape. He attempts to do so, and the ensuing car chase ends with him crashing into a tree.<br />
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Drake's brought back to the house and interrogated, and reveals that the Order's operations at an end, with the police due to arrive shortly. Everyone's too stunned to do anything, except the General's wife, who bursts in with a rifle - she's been part of the Order all along and with Drake dead nobody will know of her involvement. The police smash their way in before she can shoot, and Drake ruefully informs her that if she hadn't revealed herself he would have given her the benefit of the doubt.<br />
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Over to BBC 1 now, where Kate and George Starling's baby, which should've been born five days ago, is conspicuous by its absence.<br />
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Kate's longing for the baby to finally make its appearance ("I can't wait for the day when I can walk down the road without leaning slightly backwards"), while George seems to have lost all interest. The doctor's not offering any help beyond joking that the baby's waiting for the warmer weather.<br />
Rather than face another night at home with poached fish and mash (apparently the only thing Kate's allowed to eat), George wants to go out to Miles' birthday party. Kate doesn't feel up to it, and pretends she's suffering twinges in order to prompt George to go without her.<br />
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Instead, he's flung into panic mode and rushes downto get a taxi. Kate guiltily tells him to get rid of it, but after he does she suddenly experiences a real twinge.<br />
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Kate sheepishly informs George (exhausted from rushing up and down many flights of stairs) that she really does need to go to hospital.<br />
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George manically rushes around trying to get a taxi without success. Kate gets one straight away. Finally they arrive at the hospital (George's father's paying for Kate to have a private room). At this time, of course, it was considered far from compulsory for the expectant father to wait around while his wife gives birth, so Kate encourages him to go along to Miles' party and leave her to it.<br />
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George hastens to the party, where he's enthusiastically greeted by Miles (Edward De Souza) and his girlfriend Sandra (Juliet Harmer). Their enthusiasm wanes as he proceeds to spend the rest of the evening telling everybody at great length about the joys of his impending fatherhood.<br />
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"Most people left before they fractured their jawbones yawning," a riled Miles tells George when he notices the crowd's thinned out a bit. But George's main concern is that he hasn't yet heard anything about Kate. Sandra calls the hospital for him, and he discovers he's now the father of a baby daughter. This happened two hours ago - he wasn't told because he forgot to leave Miles' number at the hospital.<br />
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Miles' neighbour (the marvellous Damaris Hayman) turns up to angrily protest against the noise, but changes her tune when she learns one of the partygoers is a new dad. But George is distracted from her hearty congratulations by his conviction that he's already failed as a father...<br />
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Next tonight, I can say something I've been looking forward to for weeks: it's the final episode of <b>The Plane Makers</b>.</div>
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We begin with John Wilder (wearing another splendid dressing gown) hunched over a chessboard. His wife Pamela points out to him that he doesn't know the rules of the game. "I know enough to knock the table over," he growls, ominously.<br />
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As a result of canny manoeuvring last week, James Cameron-Grant is due to be appointed Joint Managing Director of Ryan Airframes, a move Wilder vehemently opposes. David Corbett's not keen on it either, but his basic philosophy is to be for anything Wilder's against.<br />
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The lovely Kay Lingard's compiled a list of Grant's advertising clients, and Wilder's overjoyed to see that some of them are suppliers to the Scott-Furlong group, meaning Grant's appointment could be seen as a conflict of interests.<br />
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Wilder prevents Grant from accepting the job by going public with the list, meaning that's one threat, neutralised. But there's another looming. Corbett's assigned computer expert Mr Mollett (Joby Blanshard) to carry out a projected cost analysis on the VTOL project over the next five years.<br />
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Corbett gleefully (well, as gleefully as he gets) informs Wilder that the contract is due to go £100,000 over budget: as Wilder's ultimately accountable for this it will certainly spell disaster for him.</div>
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Corbett approaches Grant about the figures in the hope he'll leak them as revenge for his appointment being blocked. But Grant refuses: he's actually pleased about what happened, as it puts him in a better position for a more powerful role later on. So, instead, he sends the figures to Laura Challis. But she proves a more decent person than he expected, and instead of leaking the figures she gives them to Pamela Wilder (not knowing that Wilder already knows about the costs).<br />
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Wilder phones the Minister and Sir Gordon Revidge, and summons them to an urgent meeting the following day. But he's still got something up his sleeve: his next move is to arrange for a press conference to be called, but that it be made known that Corbett called it.<br />
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The following day, after the condemned man's hearty breakfast, he reveals the bad news to his superiors. But he already has a plan to mitigate it: his resignation. However, it must be made to look like noble self-sacrifice, and there are conditions attached: Wilder secures the promise of his long-desired knighthood from the Minister, and a seat on the board of Revidge's merchant bank.<br />
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All that remains now is his final confrontation with Corbett, to which Patrick Wymark and Alan Dobie give their all. He tells him what's happened, and that it'll have to be Corbett who faces the press. His parting shot is to tell Corbett his mistake was to try and get others to do his dirty work: "You're still an amateur."<br />
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And with that, in an extended credits sequence, John Wilder leaves Scott-Furlong behind.<br />
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This isn't, however, the last we'll see of him: the freshly knighted Wilder returns later in the year (along with several other <b>Plane Makers </b>characters) in a new series, <b>The Power Game</b>.</div>
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Tonight's offering from <b>The Vintage Years of Hollywood</b> on BBC 2 is Preston Sturges' wonderful <b>Sullivan's Travels</b> (1941).</div>
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<b>Wednesday 13 January</b></div>
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Tonight's episode of <b>The Likely Lads</b>, <b>Chance of a Lifetime</b> sadly no longer exists. I don't know whether tonight's <b>Wednesday Play</b> does. It's <b>Sir Jocelyn, the Minister Would Like a Word</b>, by novelist Simon Raven, with Michael Hordern as Sir Jocelyn and Derek Francis as the Minister.<br />
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<b>Thursday 14 January</b></div>
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Tonight Simon Templar's in London, gaming at the Baytree Club with his latest squeeze, film star Oonagh O'Grady (Penelope Horner) and her agent (Henry Gilbert), who rejoices in the name of Tex Goldman, which sounds like a spoof of what an English person thinks an American would be called<br />
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As we all know, trouble has a habit of following Simon around: tonight it comes in the form of a pair of armed robbers, Orping (John Stone) and Corrigan (Anthony Wager) who hold up the club's proprietor (Edward Underdown) for £23, 560.</div>
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Orping and the driver, Enright (Norman Florence) get away with the money, leaving Corrigan behind when he gets in a tussle with a commissionaire (who Orping shoots dead). Simon follows Corrigan back to his flat, and roughs him up (note blood running down the chin again - practically the only place it's ever seen on TV at the time - presumably for budgetary reasons more than anything else: it's easy for someone to just pop a capsule of fake blood in their mouth).</div>
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But before Simon can get any information from Corrigan, Orping (waiting outside) shoots him from behind. He has some very dramatic death throes.</div>
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The gang has another member, a Mr Nilder (Redmond Phillips), whose main function is to look grumpy in a dressing gown What's more, we discover that the mastermind is none other than Tex Goldman. The gang have got one last job they want to carry out, but first they want to rid themselves of the Saint.</div>
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Conveniently enough, Simon's neighbour, Mrs Donaldson (Faith Kent) has a room to rent directly opposite his flat. Orping takes it, and prepares to snipe (John Stone's intense performance as a frighteningly cold-blooded killer is the best thing about this middling episode).</div>
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But before Orping gets a chance at him, Simon spots the gun pointing right at his flat, and comes up with a plan.</div>
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After getting a bewildered Oonagh to purchase a bust of Julius Caesar for him from an antique shop (for the imperial sum of £21 10s), Simon cunningly positions it so it looks like someone's sitting in the window, getting Oonagh to bring it a drink to complete the illusion. There's a hilarious continuity error here: when we switch to the point of view of Orping in the house opposite, the bust's suddenly acquired what looks like a Beatle wig. The continuous cutting between these two perspectives proves highly chortlesome.</div>
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When Orping shoots, Simon pulls a string attached to the bust and it falls to the floor, creating the impression that he's been successfully assassinated. In the belief that their chief adversary's out of the way, the crooks plan their next move, a mail van robbery (Tex has also decided to get with this week's dressing gown theme). What they don't know is that Simon's outside the window listening to their every word.</div>
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The elaborate set-up for the robbery is put in place, Tex surveying it all like chess pieces on a board.</div>
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But, on Simon's instructions, the van's drivers have been replaced by policemen. These actors are uncredited, which is a shame as the one on the right is hilariously inept. His tortuous delivery of his only line, "Action's fine, I just don't want to get killed," is something to treasure.</div>
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Anyway, his hopes prove forlorn as both he and his colleague do indeed end up dead at the hands of Orping, for whom the revelation they're policemen doesn't act as any kind of deterrent - if anything, it spurs him on. Still believing Simon to be dead, he concludes that Tex betrayed him, and resolves to cut out his heart.</div>
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Meanwhile, Simon pays a visit to the patently useless Mr Nilder, and forces him to open his safe (artfully hidden behind a pair of glass fish sculptures) and hand him the gang's ill-gotten gains.</div>
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Simon drags Nilder off with him to the police (even managing to get him out of his dressing gown, and Tex returns to find the money gone. Orping arrives to kill him, but ends up being the one shot.</div>
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Tex's last minute attempt to escape is swiftly put a stop by the Saint. And that's that for another week!</div>
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<b>Friday 15 January</b><br />
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On BBC 1 tonight, <b>Frankie Howerd</b>'s joined by a mouth-watering guest cast including Hugh Paddick, Arthur Mullard, Yootha Joyce, Julian Orchard and Felix Bowness. This is followed by a documentary on the famous circus family the Great Wallendas.<br />
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<b>Outside the Box</b><br />
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<b>Sunday</b>: George Melly joins the <b>Observer </b>as its first pop culture critic (a sign of the increasing seriousness with which the fripperies of the entertainment world were being taken).<br />
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<b>Thursday</b>: The Prime Ministers of the Irish republic and Northern Ireland meet for the first time in 43 years.<br />
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<b>Friday</b>: Sir Winston Churchill is reported to be seriously ill. Today also brings the following story in the <b>Daily Telegraph</b>, headlined <b>'Beatle' Hair is Danger in Factories</b>:<br />
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<i>Legislation which compels women factory workers to wear hair nets should be extended to men with "Beatle" hair styles, says Dr Alan J Byron, of the Royal Hospital, Sheffield, to-day.</i><br />
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<i>A new type of industrial accident, he writes in the British Medical Journal, had resulted from young men's long hair. Much of it was torn away, and sometimes the scalp, too, because it became inextricably tangled in moving machinery.</i><br />
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<i>He cites a case history, a boy of 17 with hair of average length 9in He is employed as a machinist at a cutlery firm.</i><br />
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<i>His hair became entangled with a rapidly revolving lathe. As his head was pulled toward the machine he violently jerked it away and a substantial wedge of hair, measuring 5in by 2in was torn away, but no scalp was removed with it.</i><br />
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<b>And to play us out...</b><br />
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It's Georgie Fame with "Yeh Yeh", up five places to number two in this week's singles chart (the Beatles, and their dangerous hair, are still at number one).<br />
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Ivanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.com2tag:blogger.com,1999:blog-4443589666300610642.post-60180673391407983242015-01-03T16:26:00.001+00:002015-01-03T22:12:30.080+00:002-8 January 1965<div style="text-align: left;">
Hello, and Happy New Year to you. I hope you had a lovely festive season. Regular readers may have noticed that I've had a few weeks off, and sadly that means there are quite a few wonderful things I didn't get to cover. But there's an exciting new year of TV ahead of us, so let's crack on with it.<br />
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<b>Saturday 2 January </b><br />
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Viewers of BBC 1 this evening could witness a dazzling panel consisting of Val Doonican, Charlie Drake, Fenella Fielding and Twinkle passing judgement on this week's pop releases in <b>Juke Box Jury</b>. And if they stayed with the channel afterwards they could enjoy the start of a brand new adventure for</div>
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It'll come as no surprise that the Doctor and his chums put an end to the Daleks' domination of Earth, but one of the most significant TV moments I missed during my impromptu break was the departure of Susan from the TARDIS crew. In a questionable display of grandparenting, the Doctor actually locked the teenager out of the ship to force her into the arms of her recently acquired love interest David Campbell (he's promised to come back one day, but given the unreliability of the TARDIS that may have been a wee bit rash). It seems the original plan was for the gloriously unsympathetic Jenny to come aboard in her place, but sadly that never happened, so the tantalising prospect of her being rude to all manner of aliens and historical figures must remain in our imaginations. Instead, the Doctor, Ian and Barbara arrive on an alien world with nobody to twist their ankle and whinge.</div>
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But straight away we're introduced to a likely new candidate for the role, perky young Vicki (Maureen O'Brien), one of the surviving occupants of a crashed British spaceship. The only other is grumpy, bedbound Bennett (Ray Barrett, who does the voices of Commander Shore and Titan in <b>Stingray</b>), who rapidly pours scorn on her claims that the rescue ship they're expecting's arrived ahead of schedule, and reminds her to beware of someone called Koquillion, who'll kill them if he learns they're to be rescued.<br />
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Of course, the craft that her instruments have detected is the TARDIS. <b>The Powerful Enemy</b>'s credited writer is David Whitaker, who had ended his stint as <b>Doctor Who</b>'s story editor the previous week, but the distinct air of sitcom about the episode's TARDIS scene seems like the work of his more comedy-oriented successor, Dennis Spooner. The ship lands while the Doctor's having a nap. This is not what you want to hear someone say when you wake them up.<br />
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There's a laugh-out-loud moment as Barbara informs the Doctor that "the trembling's stopped": "Oh, my dear! I'm so glad you're feeling better." "No, not me, the ship!" Just as we notice that the Doctor seems to be a much more cheerful character without his bothersome granddaughter around, the old man gets all choked up as he finds himself automatically calling for her to open the doors. Barbara gently suggests he tell her how to do it (it's number four switch, trivia fans).<br />
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The TARDIS has landed in a cave where there's a curious smell the Doctor finds familiar. For once, though, he doesn't seem bothered about finding out what's causing it, instead leaving the others to explore while he has another nap. "Maybe we're seeing a new side to the Doctor," muses Barbara, echoing this viewer's thoughts. Ian rather insensitively suggests the old man's getting decrepit.<br />
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As they go for a look round, we're treated to a fantastic reveal of the episode's title character, Koquillion in a crash zoom out from actor Sydney Wilson's fascinating Ray Cusick-designed mask to reveal that he's loitering next to the ship.<br />
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Ian and Barbara spot the crashed ship, and are just discussing whether to tell the Doctor about it (you know what it's like when he gets involved) when they're confronted by the fearsome figure of Koquillion. Ian lets slip that they have a companion, and Koquillion, brandishing a curious spanner-like object, insists he go and get him. As he heads off, Koquillion proceeds to push Barbara off the ledge they're standing on to the ground below, then uses his curious gun to trigger a rockfall sealing Ian and the Doctor within the cave.<br />
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Meanwhile, the Doctor's realised they're on the planet Dido, which he's visited before. He's perplexed by Ian's description of Koquillion as he knows the planet's inhabitants as peaceful people.<br />
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Vicki finds Barbara, only slightly hurt after her fall, and hides her in the spaceship prior to a visit from Koquillion, who tells her that, unlike her and Bennett, he wasn't able to save them from his bloodthirsty people..<br />
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When Koquillion pops in to see Bennett, Vicki uncovers Barbara and tells her what became of the rest of the ship's crew, including her father: they were all invited to a reception by the natives (she was ill and couldn't go), where they were massacred. Bennett, the sole survivor, managed to crawl back to the ship, and they've been at the tender mercies of Koquillion (the only native of Dido Vicki's seen) ever since. Vicki informs Barbara that her friends are now dead (well, misery loves company and all that). Once Koquillion departs Barbara gets to meet Bennett, who's far from pleased to see her.<br />
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Happily the Doctor and Ian aren't dead, of course, but are trying to make their way out of the cave to rescue Barbara. To do so, they have to negotiate a narrow walkway over a pit containing a growling fearsome-looking beast.<br />
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There are ornate handholds in the wall, but one of them turns out to trigger a booby-trap: Ian will have to risk being impaled or take his chances in the pit below...<br />
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Next tonight it's the last in the present series of <b>The Arthur Haynes Show</b>, though the version present on the show's DVD release looks to be a compilation rather than the full show broadcast this evening: it begins with a sketch hinging on Christmas being round the corner, which would be a bit odd for a show screened at the beginning of January. It involves tramps Arthur and Dermot attempting to sell Nicholas Parsons their snow clearing services (despite the unseasonable warmth). The sketch's best joke has Arthur paint a cross on Parsons' front door to indicate he doesn't want snow cleared, then try to sell him paint removal services. By the way, another version of the Post Early for Christmas poster seen in the sketch can be seen in its full-colour glory along with other mid-century classics in <a href="http://www.theguardian.com/artanddesign/gallery/2014/dec/05/post-early-beautiful-vintage-christmas-reminders-from-the-royal-mail-in-pictures">this recent <b>Guardian</b> feature.</a> </div>
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We stay with the tramps for the second sketch, which sees them running a bank and transport service for their fellow tramps (Arthur harbours dreams of becoming the new Charles Forte).<br />
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Music comes from the ever-cheerful Joe Brown, performing "Waiting for the Robert E Lee," one of the most inescapable tunes of early 60s light entertainment.<br />
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The final sketch of the series is another variation on the theme of Haynes, Kelly and wives Patricia Hayes and Rita Webb making a spectacle of themselves in posh surroundings: here, a swanky works do to which shop stewards Haynes and Kelly have been invited in the expectation they wouldn't come. They do turn up, of course, though they're a bit late as Rita had trouble getting her stays on. Uptight manager Parsons is predictably embarrassed by their uncouth ways. There are gales of audience laughter as Haynes asks Parsons' wife "Have you got a pin? Only my mate's dickie keeps popping out," and the grim farrago concludes with him training a fire extinguisher on a blazing Christmas pudding, and then, for no especially good reason, on Ms Webb.<br />
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That lot'll all be back later in the year. Next this evening, an episode of <b>Redcap </b>that'll be especially enjoyable for anyone who enjoys seeing people point at maps.</div>
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Near a British army base in Germany, a local man is hit by a car, and left to die at the roadside. The only witness, the man's son, says that there were British soldiers in the car. John Mann's called in to investigate, renewing his acquaintance with the jovial Captain Ritchie (Ewen Solon). The CO, Major Silk (Gary Watson) is significantly less jovial, while Inspector Bowrich of the local police (John Abineri) is downright hostile.<br />
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The car belonged to a local businessman who spent the evening with a "well-known lady". Mann suspects Bowrich may be trying to pin the killing on the British army in the hope of getting shot of them. But the troops, particularly brash Private Dobing (Michael Standing) and edgy Corporal Loveridge (Michael Blackham) clearly know something about the incident. David Battley, who was rehearsing for the disastrous original tour of Joe Orton's <b>Loot</b> when the episode was broadcast, plays the gangling Corporal Meadows. Battley and Blackham had both appeared in <b>Redcap</b> before, as different soldiers - the impression gained is that British army troops are more or less interchangeable. Oh, and note the shadow of a retreating microphone in the top right corner of the below shot.<br />
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Ritchie takes Mann out to a local nightspot where Lotte Leibrun (Patricia Denys), the lady the dead man visited, hangs out. She doesn't prove very helpful.<br />
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It emerges that Major Silk is especially sensitive about any incidents involving his men as he's courting Christine Pelling (Jennifer Wood), the daughter of a local bigwig (Guy Deghy) who's a bit anxious about being seen to fraternise with the British.<br />
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Mann realises the key to the whole business is the ridiculously difficult initiative test Silk set the troops on the day of the man's death (this is where all the maps and pointing comes in). Dobing and Loveridge ended up showing their initiative by nicking a car to drive back to camp, and unfortunately ended up running the poor German over.<br />
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The two men are arrested, but Mann confronts Silk about setting his men such a difficult task, and the episode ends with a chastened Major agreeing to support the young soldiers through their trial. That's about it, really. If there are any other nuances to this episode I've missed due to the state of torpor induced by all that stuff about maps, please write in and let me know.<br />
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Over on BBC 2 this evening, the <b>Cinema 625</b> series of films from around the world stops off at Czechoslovakia for Jiri Weiss's <b>Romeo, Juliet and Darkness</b> (1960), about a young man who hides a Jewish girl in his attic during World War Two. It ends as well as you'd expect. Still, along the way they do manage to have some fun with a guinea pig in a book.<br />
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<b>Sunday 3 January</b></div>
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Tonight's <b>Stingray</b> begins by relating the tale of how Commander Sam Shore lost the use of his legs. It came about when a pair of chaps in marvellous polo necks (one of whom appears to have a cigar stuck to his lower lip) picked up a mysterious sounding underwater...</div>
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Shore, dressed in the hoody that appears to have been the WASP uniform at the time, went out in a sub to investigate the mystery craft. The unknown sub blew up a drilling station and downed Shore's ship, leaving the bloodied Commander on the verge of death.</div>
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Back in the present day (whenever that is), Commander Shore's having recurring nightmares about the incident. The best thing about this is that we get a peep into the bedrooms of both Shore and Troy Tempest, who Atlanta insists on calling to his aid (what exact expertise Troy has in preventing nightmares is unclear).<br />
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Shore recounts the next stage of what happened: as he drifted, maimed, he was suddenly rescued by a mysterious, white-haired figure who radiated calm and benevolence (and appears to have an albino bat clinging to his chin). Shore christened this mysterious figure "the Ghost of the Sea".<br />
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A new mining project is about to go ahead - will the strange submarine turn up again on its mission of sabotage? Well, yes, of course it will, otherwise this would be a very uneventful episode. Shore joins the Stingray crew as they head out after it. They corner the mystery craft and Troy and Marina swim out to confront its occupant (Shore warns them to watch out for "giant crawling clams")- but when they board the ship, the bird has flown (or swum, rather), and the ship's controls are poised to explode.<br />
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Troy and Marina escape just in time, and, returning to Stingray, they spy the pilot of the craft - caught in a clam! And Shore recognises him as the Ghost of the Sea! Troy swims out to rescue him, and he quickly absconds, but returns in another ship to signal, in "international code" (how does he know this, exactly?) that he will cease his campaign of sabotage and wishes to make contact with the Terrainians. And that's the end of a curiously slight adventure.<br />
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Rather weightier stories can be found in the film adaptations of great literary works also broadcast today. ITV offers Merle Oberon and Laurence Olivier in William Wyler's 1939 adaptation of <b>Wuthering Heights</b>...<br />
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...while later in the evening, BBC 1 screens Elliott Nugent's 1949 version of <b>The Great Gatsby</b>, starring Alan Ladd. Here's Shelley Winters about to be hit by a car...</div>
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... and here's the decidedly unconvincing effect when she is.</div>
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<b>Monday 4 January</b></div>
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Viewers of BBC 2 this evening could enjoy a "candid portrait" of Jane Fonda, while ITV's <b>Blood and Thunder </b>series of plays offers a production of Rowley and Middleton's <b>The Changeling</b> with a cast including Derek Godfrey, Kika Markham, Nerys Hughes, Esmond Knight and Patrick Troughton.</div>
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<b>Tuesday 5 January </b></div>
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Tonight's <b>Danger Man</b> features the wonderful Graham Crowden as Commander Braithwaite, director of a nuclear research facility in the Western Highlands of Scotland, who's discovered that a top secret file is missing from his briefcase.<br />
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In London, John Drake's interest is piqued, as the fingerprints on the case are those of a man named Jock Lawson, who was sought by the police 20 years before for passing information to a foreign power. But Lawson died before the police could get him...<br />
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Drake comes to the base in the guise of an auditor named Preston, and puts up the backs of most of the employees. Braithwaite, the only person who knows Drake's real identity, refuses to believe that any of the "first rate chaps" under him could be up to no good. As a frustrated Drake scathingly puts it: "Any man with an eight handicap or under couldn't possibly be a Communist agent." <br />
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The Commander and his wife (Barbara Lott) accommodate Drake, and at their home he meets Sheila Sutherland (Francesca Annis), come to stay the night as weather won't permit her return to the isle of Herta, where she lives.<br />
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Deciding Herta might be worth investigating, Drake accompanies Sheila back to the island the next morning. Fisherman Donald McKinnon (Brian Phelan) grudgingly agrees to ask his parents to put Drake up for the night. Duncan Lamont plays the gregarious Mr McKinnon and Julie Wallace his wife, who might almost have been the model for <b>Father Ted</b>'s Mrs Doyle.<br />
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Drake's suspicions have been aroused by the sight of a Russian fishing boat tied up at the harbour, and its crew roaming the town. He follows them to the local tavern, whose keeper is played by veteran actor Finlay Currie, still hale and hearty at 86. <b>The Plane Makers</b>' Duncan McIntyre plays the shifty Mr Mackay, who seems well in with the Russians.<br />
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Drake manages to buy a bottle of vodka from the Russians, and discovers that this, too, has Jock Lawson's fingerprints on it.<br />
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Paying a visit to the abbey where Sheila (who's developed a crush on him) lives, Drake meets her father, pompous novelist Magnus Sutherland (an extremely camp performance from Nigel Green), who is open about his hostility to the nuclear plant.<br />
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Later that evening, Drake spots Sheila signalling from the abbey with a light, and follows her to find that the recipient of the signal was Donald, who she's carrying on with without her father's knowledge.<br />
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Later on, he spots Mackay behaving suspiciously around the abbey, and, upon investigation, gets involved in a fight with the man's burly helpmate.<br />
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Returning to the McKinnon cottage, Drake discovers that his cameras and fingerprinting equipment have all been destroyed.<br />
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Suspecting Donald, Drake catches him as he's rowing out to sea, making a daring leap into his boat. Drake taunts Donald by exaggerating Sheila's interest in him, and the subsequent punch-up sees both of them pitched overboard. Donald grabs on to a rope attached to the boat, leaving Drake stranded. He's eventually rescued by the passing Russians.<br />
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Mr McKinnon talks to Drake to apologise for his son's actions, and in the process reveals that he is in fact the supposedly dead Jock Lawson. As Drake prepares to take him to the mainland the other islanders (convinced he's a meddling customs man investigating their duty free booze racket), led by Sutherland turn out in an attempt to stop him. They don't succeed.<br />
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McKinnon/Lawson is utterly bewildered by his arrest, and Commander Braithwaite's also bemused that Drake's fingered this chap he knows well from the island. Suddenly, there's a terrible discovery: McKinnon's fingerprints were on the briefcase as he helped Braithwaite with his things last time he visited the island. And the missing file has been in Braithwaite's desk all along. The episode's title is McKinnon's weary response to Drake's embarrassed apology. McKinnon prepares to return to the island, but it's no good: the police still want him for his offence 20 years before. The Commander's affable incompetence has destroyed his life.<br />
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There's lighter fare over on BBC 1, with the return of Richard Waring's popular young marrieds sitcom. <br />
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We're into the show's third series now: I wasn't able to feature the second at <b>TV Minus 50</b> as the BBC have lost it (along with the two further series following this one). There have been a few changes since we last saw Kate and George Starling: they've moved to a new flat, and Kate is now heavily pregnant. And what's more, the show's title's lost its definite article.<br />
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The Starlings are struggling to come to terms with their approaching parenthood: George in particular isn't happy with the way their lives have already changed: it's impossible to move in their poky flat without tripping over baby paraphernalia of some kind. Kate's understandably upset by his insistence on referring to the baby as "a ruddy cuckoo". He's also not greatly sensitive about the changes to Kate's body: "It seems ages since I was able to put my arms right round you."<br />
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This evening they're supposed to be visiting their friends Ronnie and Midge, whose lives have supposedly been completely unchanged by having a baby, to find out how it's done. But Kate's forgotten and is expecting a visit from Sarah and Henry Hamilton (Sonia Graham and Patrick O'Connell), friends of friends with a pram to spare. When they turn up they prove to be jumper and duffle-coat clad lefty types who want a tenner for the pram and try to offload all sorts of other old junk on the bewildered Starlings. </div>
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"The baby's got more seats than the Liberal Party!" sighs an exasperated George, looking around at what they've acquired and kicking the pram, injuring his foot in the process.<br />
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The Starlings eventually make it out to see Ronnie and Midge (Moray Watson and Elvi Hale), who are very smug about how easy they've found parenting. It turns out the pair rarely actually see their child, instead relying on a baby monitor (a very hi-tech gadget in 1965) to let them know how it's doing. It provides them with hours of entertainment.<br />
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Ronnie and Midge's other new obsession is astrology: they've got hold of an Old Moore's Almanack and have Ronnie Jr's entire life mapped out according to his star sign. They've also discovered that they're perfectly astrologically compatible, which it turns out Kate and George aren't - much to their distress.<br />
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In the aftermath of this discovery, the Starlings overdo their affection to one another. Then George has a wardrobe fall on him. Then he falls into a cot. And discovers Kate's cut up his pyjamas to make rags to clean up after the baby with. It seems he really is doomed.<br />
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Happily, the episode concludes with a phone call from George's mother (Diana King), in the course of which she reveals that she and his father's signs don't match either, and they've done all right. Phew.<br />
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Back over on ITV, it's the penultimate ever episode of<br />
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John Wilder's away again this week (last week's episode, which saw he and Laura Challis stranded together in Brussels, was really rather good), which means of course that all the other characters spend most of the episode talking about him. Dominating proceedings this week is Peter Jeffrey as James Cameron-Grant. He's decided to leave politics for the business world, and has his eye on the job of Managing Director at Ryan Airframes. The rivalry between Wilder and David Corbett is now entering its endgame, and Grant wants to be sure to support the man most likely to give him the job. So he spends the episode sounding various people out about Wilder, including his therapist Dr Renkle (David Langton), Henry Forbes and Don Henderson. The surprising amount of things he finds in Wilder's favour is the "Hoopla of Haloes" of the title.<br />
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Meanwhile, Corbett's resorted to sifting through Wilder's expense claims in search of wrongdoing. In the process he learns that Wilder's secretly been wooing prospective American buyers over the potential for the new VTOL jet's pressure innovations to be used in civilian planes. Corbett decides to get one over on Wilder by giving the Americans a demonstration, but when Forbes doesn't turn up for the test, Grant persuades a reluctant Corbett to give it a go instead. Afterward, Grant tries it himself, but manages to sneak out Corbett's results rather than his own. They reveal Corbett's very ill, but Grant won't hand over the information unless Corbett agrees to give him what he wants...<br />
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Gosh, it's all so cut-throat, isn't it? Next week, the final battle between Wilder and Corbett.<br />
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Were I a real 1965 TV viewer rather than a pretend one, I would have eschewed <b>The Plane Makers</b> in favour of tonight's offering in BBC 2's <b>Vintage Years of Hollywood </b>series. It's Rouben Mamoulian's musical comedy <b>Love Me Tonight</b> (1932), which, you probably won't be interested to know, is one of my very favourite films.<br />
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<b>Wednesday 6 January</b></div>
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One of the most significant things I missed while <b>TV Minus 50 </b>was off air was the start of a new BBC 2 sitcom by Dick Clement and Ian La Frenais, which is now in its fourth week.<br />
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The series charts the life and loves of Terry Collier (James Bolam) and Bob Ferris (Rodney Bewes), a pair of youngsters who live somewhere up north and work together as electricians in a factory. Or at least they <i>did </i>work together: this week's episode sees Bob, always the harder working and more conscientious of the two, seconded to an office job. Terry's aged colleague Cloughie (former Sensorite Bartlett Mullins) issues a dire warning that now Bob's mixing with the elite he'll leave Terry behind.</div>
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Scoffing at this, Terry goes to meet Bob as he leaves the office. Well, actually he's gone to watch the secretaries leaving the office - meeting Bob is just an added bonus. The even more lecherous Blakey (Richard Moore) doesn't even have that excuse.<br />
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When Bob appears it's with two very attractive young women: his boss's secretary Judith (Anneke Wills), who he's hesitantly trying to romance, and her friend Sally Anne from Personnel (Didi Sullivan), who takes an instant shine to Terry.<br />
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This meeting's broken up, however, by flashy sales rep Bill Nesbit (Michael Sheard, only 26 at the time, remarkably enough), who's also got his eye on Judith. The lads decide to go for a drink...<br />
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...and both feel much the worse for it the following day. The coffee machine in Bob's office is clearly considered very posh, though predictably enough it doesn't work properly, and he has to go into a meeting with his irate boss Mr Holgate (Eric Dodson) with a cup of oxtail soup rather than the jolt of caffeine he was hoping for.</div>
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At lunchtime, Bob once again tries his arm with Judith, and once again Nesbit intrudes. He tries to discourage Bob from attending the big works social the following evening - most of the girls already have dates, "And those who don't range from nil to desperandum."<br />
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That evening Bob tries to knuckle down to the coursework necessary for him staying in the office, but Terry turns up to try and lure him out for "a swift half", which inevitably means a night of drunken debauchery.<br />
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The night of the social dawns, and Bob takes Terry along as his date. They dive in to talk to Judith and Sally Anne while their dates are dancing. Terry takes the mickey out of Nesbit as he sleazes over the girls. "You may look like a stuffed penguin," he tells a disapproving Bob, "But you don't need to act like one."<br />
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"You mustn't be jealous," Terry tells Nesbit as he takes Sally Anne off for a dance, "You can have a dance with me later on."<br />
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But Nesbit informs Holgate that Terry's a factory worker, and as such banned from taking part in the dance. Bob sticks up for his friend against the stupid rule, and decides he's had enough of these stuck-up clerical types, and wants to go back to the factory: "You can keep your dance. And your drawing board. And you can stick 'em up your -"<br />
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But the evening's not been a total loss: as the boys prepare to leave they're stopped by Judith and Sally Anne, who want to come with them to the Black Horse. They're up for a bit of slumming, and who are Bob and Terry to refuse?<br />
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<b>Thursday 7 January </b><br />
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Tonight's episode of <b>The Saint </b>has Roger Moore in the director's chair, and he clearly has a high old time bringing to life an action-packed script. Supposedly based on a Leslie Charteris story, its tale of various people in search of a huge sum of money has the fingerprints of writer Terry Nation all over it.<br />
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The setting for Simon Templar's adventure this week is London, where he only narrowly avoids being hit by a car. A crook of his acquaintance named Ardossi (John Bennett) appears and warns him that the car's driver, a recently released convict named Farnberg, is out to kill him.<br />
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Simon calls a number given to him by Ardossi, and gets through to a man named Frist (Michael Peake), who's looking to hire someone to kill the Saint. Stowing himself in a packing crate, Simon has himself delivered to the factory that Frist operates out of.<br />
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Look at those marvellous vintage health and safety posters.<br />
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Simon confronts Frist, but Farnberg (Robert Hutton) is lurking in the shadows of his office ready to pounce on Simon. And what's more, Ardossi swiftly arrives to join the fight against the Saint too (the car wasn't supposed to kill Simon, it was simply so Farnberg and Ardossi could lure him somewhere where they could dispatch him more discreetly - as he might perhaps have guessed from Frist telling an unknown caller both that he was planning to have someone killed, and where to meet him).<br />
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Simon manages to get away from his assailants, and as they pursue him he's picked up by a passing car driven by an old acquaintance, Major John Dunstan of US Air Force Security (crooner Dick Haymes).<br />
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Later that evening, Simon receives a visit from a police officer (Nicholas Courtney), who informs him that Frist has been found dead. Farnberg's the obvious suspect, but Simon doesn't think it fits.<br />
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It turns out that eight years ago Farnberg was stationed at a US Air Force base in England when he and several comrades were imprisoned for an armoured car robbery. Simon thinks that now he's out he's after the loot, and knows the Saint is the only man who can stop him. Simon's intrigued by the presence in Frist's office of the complete works of crime novelist Eileen Wiltham, and also by Farnberg's mention of a woman named Ballinger. Working out that the woman in question is the wife of another US airman, Simon has a root round her house, and finds that she also has a full set of Eileen Wiltham's novels. As well she might: when she returns to find Simon in her house, Eileen Ballinger (Elizabeth Weaver) reveals that she <i>is </i>Eileen Wiltham.<br />
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Simon intrigues Eileen enough to make her agree to dinner at his flat, where he suggests that her husband was involved in the robbery, and may have hidden the cash. Eileen informs him that her husband died in a plane crash two days after the robbery.<br />
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Farnberg's clearly got the same idea as Simon: Eileen no sooner gets home than he ties her up and demands to know where the money is.<br />
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Simon comes to her rescue: it's rather wonderful how the first thing he thinks to do to ease her nerves is give her a stiff drink and a fag.<br />
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The next day, Simon and Eileen pay a visit to Chuck Powers (Richard Easton), the co-pilot in Mr Ballinger's crashed plane, who now resides in a care home, scarred both physically and mentally (the physical scars look more like the result of pressing his face against a wire fence). He doesn't prove much use.<br />
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The doctor who pulled Ballinger from the wreckage, played by Douglas Muir, formerly Steed's boss in <b>The Avengers</b>, can only offer the curious detail that the airman rambled on about someone called Richard Reason before expiring.<br />
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Dunstan reveals there was no Richard Reason stationed at the airbase, and Eileen realises that her husband was actually saying "Riches and Treason", the name of a novel she was working on at the time, and never managed to finish: as it featured an armoured car robbery it seems odd that she hadn't thought of it in connection with the crime before. Could the manuscript hold a clue? Farnberg and Ardossi think so, and they kidnap Eileen (Farnberg gets aware with her, but Dunstan shoots Ardossi dead, much to Simon's distaste).<br />
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The ensuing chase ends with Farnberg getting his foot caught in a railway track, and meeting a grisly end as a result.<br />
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The manuscript leads Simon and Eileen to realise that Ballinger used the money to buy diamonds, and that these have been hidden all along in Eileen's fish tank, where they couldn't be seen in the water (I'm sure you're supposed to empty these things out more than once every eight years). Upon this discovery we learn (not at all unexpectedly) that Dunstan is after the diamonds himself (he's the one who killed Frist, as most viewers would surely have instantly realised).<br />
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Simon swiftly overpowers him, and turns both him and the diamonds (reluctantly in their case) over to Inspector Teal, who's conveniently turned up that very moment.<br />
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<b>Friday 8 January</b></div>
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Among tonight's programmes, BBC 1 offers Frankie Howerd in another unlikely situation by Ray Galton and Alan Simpson, while viewers of BBC 2 could enjoy <b>Between the Lines</b>, a programme of Scottish songs introduced by Fulton Mackay and featuring a young Tom Conti among its participants.</div>
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You can read the <b>Radio Times </b>listings for this week's BBC programmes <a href="http://genome.ch.bbc.co.uk/5f558e1d154d4e4fa1b58af52496adfa">here</a>, and the full London edition of this week's <b>TV Times <a href="http://radiosoundsfamiliar.com/complete-tv-times-january-1965.php">here</a>.</b></div>
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<b>Outside the box</b></div>
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<ul>
<li style="text-align: left;">The New Year's honours list sees Stanley Matthews become the football world's first knight</li>
<li style="text-align: left;">Monday: T S Eliot dies aged 76</li>
<li style="text-align: left;">Thursday: Ronnie and Reggie Kray are arrested on suspicion of running a protection racket</li>
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<b>And to play us out...</b></div>
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It's the Beatles with "I Feel Fine", which was the Christmas number 1 and is still clinging to the top spot.</div>
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Ivanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.com4tag:blogger.com,1999:blog-4443589666300610642.post-29088035879302208432014-12-10T18:51:00.000+00:002014-12-10T18:51:14.384+00:005-11 December 1964<div class="separator" style="clear: both; text-align: left;">
<b>Saturday 5 December </b></div>
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Viewers staying tuned to BBC 1 after hearing Diahann Carroll, Vic Lewis, Pete Murray and Sandie Shaw pontificate on the week's pop releases in tonight's <b>Juke Box Jury</b> have another rip-roaring episode of <b>Doctor Who</b> ahead of them.</div>
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It starts off with a daring raid on the Dalek ship (which, by the way, is beautifully designed by Ray Cusick), in which the Doctor is saved from robotisation at the very last minute. His travails have left him groggy and disoriented, which means William Hartnell gets quite a cushy gig this week, with few lines and a lot of loafing about. The attack on the ship is superbly choreographed and tremendously exciting, though the most notable thing about it is surely the pixie hood sported by Jenny. If the history of fashion in <b>Doctor Who </b>is ever written, several chapters will surely be needed to do this garment justice.<br />
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In the course of the battle the rebels are separated, with Susan and David hiding from the Daleks while Barbara returns to base with Jenny, Dortmun (somewhat abashed as his bombs didn't work) and Tyler. The latter decides to go off on his own, while the other three plan to make a potentially dangerous trip across London to get more supplies (most of the other rebels have been killed by now, so we wonder what's going to happen to the poor extra cowering in the background with the others).<br />
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Ian's still aboard the ship, which is now en route to the Dalek mine works in Bedfordshire. He's set upon by his former cellmate Craddock, now a Roboman. But of course a robotic zombie proves no match for a Shoreditch science teacher, and Ian and another captive, Larry Madison (Graham Rigby) dispose of the defunct Dalek slave by shoving him down a waste disposal chute.<br />
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Susan and David are still keeping out of the way of the invaders. She's obviously taken a liking to him, as she suggests he come travelling in the TARDIS, but he's determined to help rebuild society on Earth once the Daleks are defeated. Fellow rebel Baker (Richard McNeff) dumps the unconscious Doctor on them before heading off on his own way. He plans to go to the Cornish coast. He doesn't get far.<br />
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The shots of Barbara, Jenny and Dortmun travelling through an abandoned London, with Daleks prowling everywhere and monuments covered with alien graffiti are incredible, and made all the more tense by the insistent percussion of Francis Chagrin's score (though the shot of a Dalek with Big Ben in the background reveals to us that the invaders haven't managed to dislodge London's true masters, the pigeons).<br />
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Eventually they make it to a derelict transport museum, where Dortmun huffs over failing to take the metal of the Daleks' casings (which he's imaginatively christened "dalekenium") into account when making his bombs. As Jenny rains on Barbara's parade by scoffing at her insistence that the Doctor must still be alive, Dortmun heads outside to chuck bombs at some approaching Daleks, meeting a predictable end as a result.<br />
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Jenny's reaction to Dortmun's death shows she's not so tough after all, but there's no time to stop and mourn - she and Barbara have to hide as Daleks storm the building (interrogating a headless dummy as they go).<br />
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The Doctor's come round to find his place in Susan's affections being usurped by David, whose wonderful plans she can't stop enthusing about. Initially miffed at not being the leader of their little party, the Doctor eventually decides to defer to David in order to please his grandchild.<br />
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Ian and his new friend chat in hiding aboard the Dalek ship. Madison's heard that, for some unknown reason, the Daleks are after the Earth's magnetic core. The ship lands in Bedford, and the captives are herded out (including the blonde lady we saw last week).<br />
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Elsewhere, the Doctor, David and Susan conceal themselves as the Robomen return, this time bringing with them a bomb with them, the Daleks having decided to destroy London altogether...<br />
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A quick bit of trivia: a look on IMDb suggests that "Day of Reckoning" is one of TV's most over-used episode titles, having also graced episodes of such diverse series as <b>The Alfred Hitchcock Hour</b>, <b>Lovejoy</b>, <b>Maverick</b>, <b>The Adventures of Black Beauty</b>, <b>Bonanza </b>and <b>The Bill </b>(twice), among many others.<br />
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Anyway, over on ITV, tonight's <b>Arthur Haynes Show</b> commences with an interminable sketch featuring Arthur and Pat Coombs as elderly aristocrats, with Dermot Kelly as the equally aged butler who, we discover, is both a relative of Arthur's and the real father of several of the pair's children.<br />
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The most notable aspects of the sketch are the portraits of Arthur and Dermot's ancestors and its conclusion, which sees Arthur and Dermot heading off to bed together.<br />
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The next sketch shakes its head at the crazy unisex haircuts of the young, ending on a reveal of a bewigged Arthur as the similarly-coiffed father of the bride.<br />
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Tonight's musicians, Kenny Ball and His Jazzmen are announced by a very nice graphic. Their song seems to be all about someone's tragic death. It's undermined a bit by Kenny's cheesy grin.<br />
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The final sketch takes us to a golf club, where chisellers Arthur and Dermot take advantage of the tradition that anyone who gets a hole in one buys a round of Champagne by planting balls in holes all over the course. There's some nice knitwear on display.<br />
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And we stay with ITV for tonight's next show.<br />
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The conventional on-screen episode title format is rejected this week in favour of scrolling the title across the screen, in what I can only assume is a deliberate attempt to annoy people trying to take screenshots for blogging purposes.<br />
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That was <b>The Boys of B Company</b>, in case you didn't get it. What is B Company? I probably don't hear you ask. Well, it's "a boarding school for young soldiers", where youths spend a year in a mock-army environment in order to be fast-tracked for promotion when they join up to the real thing. Geoffrey Lumsden's the Major in charge, Ric Hutton's his second in command, and the ubiquitous Bryan Mosley is the Sergeant Major. Directly in charge of the Boys is Boy Sergeant Major Duffy (Richard O'Sullivan) (all the young soldiers have "Boy" before their rank, meaning there are a lot of Boy Privates on parade).<br />
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Sergeant John Mann arrives to investigate two recent occurrences: the attempted suicide of a boy named Bellamy and the unruly behaviour of young Pickering, who tore up all the flowers in the camp before stealing a car and attempting to rob a post office.</div>
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Mann visits Pickering (the very pretty Karl Lanchbury, later a regular in the horror films of Spanish director José Larraz), who's consistently refused to discuss the reasons for his behaviour, keen that it should instead all come out in court. However, Mann manages to winkle the reason for both his rebellion and Bellamy's suicide attempt out of him: the brutal treatment of the boys at the camp by the sadistic Duffy.<br />
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Pretending to have been sent by the Ministry of Defence to find out about the camp in order to write a recruiting pamphlet, Mann shadows Duffy as he goes on his rounds, and discovers that he's quite open about the violence he metes out to the other boys.<br />
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A new recruit called Christmas (Nabil Ghawi) is predictably mocked, while Winger (Malcolm Patten) has his beloved guitar gleefully destroyed and Wilson (Barry Evans, of 70s sitcom fame) is forced to kiss Duffy's boot.<br />
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Mann calls on the sceptical Major to intervene, but by the time he does so, Wilson's led a violent revolt, and Duffy is discovered beaten senseless. A fine grounding for a future in warfare indeed.<br />
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<b>Sunday 6 December</b><br />
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As the episode's title suggests, tonight's <b>Stingray </b>unites the worlds of undersea adventure and pop music. The latter is provided by Duke Dexter, a teen sensation whose every performance of his song "Something to Shout About" (seemingly his <i>only</i> song) reduces offscreen teenage hordes to screaming wrecks. <b>Stingray</b> doesn't get much right in its vision of the future, but Duke's gold bodysuit is a spot-on prediction of glam rock.</div>
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Mind you, there are some equally noteworthy ensembles sported by the WASP staff who've gathered to watch him on TV. Commander Shore, predictably, thinks Duke's a load of rubbish. "He's still the biggest thing since the first man on the moon," insists Atlanta. Her father grumpily suggests that the moon might be the best place for him.</div>
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At this point in Duke's performance, his amp, possibly overloaded by his raw sex appeal, blows up.</div>
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The next day, nefarious Agent X20 watches as a kinkily-outfitted special messenger arrives with, well, a special message for Commander Shore. He rushes off to a top security meeting, and is understandably miffed to learn it's all about Duke Dexter's intention to perform at Marineville, supposedly as part of a WASP recruitment drive.</div>
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X20 desperately wants to know what the meeting was about, and it doesn't prove difficult to find out as it's splashed all over the front page of the Marineville paper the next day (I thought Marineville was a workplace, rather than an actual town - maybe it's both).</div>
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X20 reports the information to Titan, who, despite having no idea who Duke Dexter is, decides that if he merits all this fuss he must be worth kidnapping. X20 dons a cunning (not to mention nightmarish) double disguise as "X", a security agent pretending to be a crazed fan.</div>
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With Duke's entrance to Marineville impending by the (heard but not seen) crowds who've descended on the base, Troy Tempest is drafted in to act as a decoy, which involves dressing in a white polo neck and running past the screaming horde. It ends up being far worse an ordeal than he could have imagined.</div>
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"X" suggests that Duke escape the crowds by making for an out of the way little place he knows - which is, of course, his clifftop hideout (Phones, who accompanies Duke, doesn't recognise the place despite having been there a few weeks back). Once X20 is alone Duke he provides him with a meal - we guess from the crash zoom into his drink that it's drugged.</div>
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The unconscious pop star is dragged aboard X20's sub and spirited away to Titanica. A long and repetitive chase sequence follows - despite its admirably silly premise this is an especially boring episode - but the WASPs are unable to catch them. In Titanica, we learn what Titan has in store for Duke: a thank you for turning Terrainians into screaming wrecks, encouragement to keep up the good work, and a glass of drugged octopus juice as a reward.</div>
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Duke is returned to the surface none the worse for wear, and his concert goes ahead - having learned that "X" was in fact a phony, Shore's somewhat cavalierly chalked this massive security breach up as a publicity stunt. The denizens of Marineville enjoy Duke's performance, as do those of Titanica, whose ruler bops along in company with his spy and guards. "If they keep this up they will be ready to be conquered in no time at all!" Titan chortles. It's a bit rich for a programme as merrily mindless as <b>Stingray </b>to laugh at how the masses are reduced to idiots by vapid popular culture.</div>
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And now for something far more sober: the first in a three-part adaptation of Ford Madox Ford's <b>Parade's End</b> sequence of novels, made for BBC 2's <b>Theatre 625</b> series (named after the time in the evening the channel commences broadcasting at weekends - there are also <b>Cinema 625 </b>and <b>Jazz 625</b> strands). Here are some images from its striking photomontage title sequence:<br />
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It's 1914, and life in Britain is about to change forever. Ronald Hines plays Christopher Tietjens, a civil servant with one of the most brilliant minds in the country. His wife, Sylvia, has just left him. His friend Vincent MacMaster (Fulton Mackay) is sympathetic, his father (Charles Carson) and elder brother Mark (Ronald Leigh-Hunt) are more worried about the effect on the reputation of their family of solidly respectable Yorkshire land owners.<br />
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Having since ditched the man she left Tietjens for, Sylvia is now living in Germany at her mother's residence at Lobscheid. Mrs Satterthwaite, as her mother's called, is played by Sylvia Coleridge, looking like an ancient and befeathered mummy. She has a pet Catholic priest, Father Consett (Godfrey Quigley), who disapproves of Sylvia's immoral ways and thinks Tietjens a fool for not taking advantage being a Protestant and divorcing her.</div>
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Sylvia's decided to return to her husband, but still has a seething resentment for him which she intends to assuage by corrupting their young son (we're left to wonder in what way). The leering devil mask on Mrs Satterthwaite's wall is appropriate as Father Consett thinks Sylvia's possessed, and threatens to exorcise the demons within her with holy water (she recoils like a vampire from this threat).<br />
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Father Consett predicts Tietjens will go after another woman, and we assume it's no coincidence that his words are directly followed by the appearance of Judi Dench as Valentine Wannop, a young suffragette who, along with her chum Gertie (Annette Robertson), is larking about on a golf course, frustrating the patriarchy by pinching their balls.</div>
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Tietjens and MacMaster are at the clubhouse, where the irascible General Campion, Tietjens' godfather, holds sway. He's played by Tony Steedman, who looks every inch the apopleptic old military gent, but was in fact only 37 at the time (he's one of the actors whose age seems to remain constant throughout his career - at this point his real age hasn't yet caught up with it).<br />
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Frank Pemberton, <b>Coronation Street</b>'s Frank Barlow until he became a victim of the show's first cast cull a few months back, plays one of a pair of club members who savagely chase down the unfortunate Gertie, with cries of "Strip the bitch naked!" Valentine implores Tietjens to intervene, and he does, but not before the poor girl's been thoroughly traumatised. The General's horror at his son abetting suffragettes is exacerbated by his gossipy MP brother-in-law Paul Sandbach (Frank Gatliff), who claims to have seen Valentine (whose father was an old friend of Tietjens' father) with Tietjens in London.<br />
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Valentine and Tietjens meet again when they both attend a breakfast gathering at the home of Dr Duchemin, a great man of letters who MacMaster wishes to consult for the book he's writing on Dante Gabriel Rossetti (Valentine's eccentric novelist mother, played by Lally Bowers, gatecrashes). But MacMaster's interest suddenly shifts to Duchemin's wife Edith (Sylvia Kay) - the two of them fall in love at first sight.<br />
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Mrs Duchemin seems absolutely terrified, and well she might, as it turns out that her husband is a dangerous lunatic. As played by Robert Eddison he's something straight out of a horror film, and the scene at the breakfast table where MacMaster manages to keep his violent impulses in check by keeping his mind focused on literary matters is genuinely tense. However, it's only a timely intervention by his burly handler that prevents him detailing the events of his wedding night to the assembled guests.<br />
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Once Duchemin and the other guests are out of the way, MacMaster and Edith succumb to the inevitable.<br />
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While taking tea with the Wannops, Tietjens receives a curt telegram from Sylvia agreeing to his request that she return (it just says "Righto"). He and Valentine head out in a cart to take the recovering Gertie home. On the way back, she holds his hand - and at this precise moment General Campion drives out of nowhere in a motorcar, injuring the horse. An embarrassed Tietjens bandages the animal with a scrap from Valentine's petticoat as his shocked godfather watches.<br />
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Tietjens reunites with Sylvia, but their meeting's made even worse than it might have been by the arrival of another fateful telegram, this one announcing that his mother's died.<br />
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The crazed Duchemin has by this time been put away. His wife and her lover decide to spend a weekend away at a hotel near the Tietjens' country house.<br />
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Their trip is marred however, by finding that General Campion is staying at the same hotel. Terrified of discovery, MacMaster convinces Tietjens to accompany the distraught Mrs Duchemin back to London. But guess who should look through the window of their carriage as he comforts her? Yes, it's General Campion again! I found it very hard not to laugh out loud at this scene.<br />
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Sandbach is now pouring anti-Tietjens venom into the ear of another grumpy General, Ffolliott (Erik Chitty): supposedly, Tietjens had Duchemin put away to get at both his money and his wife. They're overheard by Tietjens' father.<br />
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Nicholas Pennell appears briefly as Valentine's brother Edward, informing the viewer that war has been declared with Germany, and that all his German student friends must now officially be considered his enemies.<br />
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Elsewhere, Valentine tries to comfort a distraught Edith, who wants to know how to get rid of a baby (Valentine gets the impression it's Tietjens', though Edith informs her that she loathes him as, despite his supposed wealth, he sponges off MacMaster).<br />
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Robert James, owner of the most remarkable face on television, plays the devious Mr Ruggles, assigned by Mark Tietjens to find out the truth behind the rumours swirling around his brother. We don't have much confidence it'll work out well for Christopher.<br />
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At the Tietjens residence Sylvia lambasts her husband for not being sufficiently angry about her affairs, which we sense were all just a doomed attempt to get him to notice her (Jeanne Moody is really fantastic in this scene).<br />
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Tietjens has now been called up: in its present situation England has no use for his mind, so he must press his body into its service. He says an emotional goodbye (or as emotional as this supreme example of the stiff upper lip gets) to Valentine.<br />
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But there's one more unpleasant piece of news in store before he goes. Tietjens Senior has died in a "shooting accident", shortly after Ruggles fed back that Christopher had a child with Valentine, both she and Edith being his mistresses.<br />
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Obviously a quality production, but not exactly a barrel of laughs.<br />
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Viewers this evening are presented with a choice of World Wars by the BBC, with Billy Wilder's <b>Five Graves to Cairo</b> (1943) starring Erich Von Stroheim as Erwin Rommel, the centrepiece of the evening's schedule on BBC 1.<br />
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<b>Monday 7 December</b>: Tonight's viewing includes, on BBC 2, a documentary about town planning in Birmingham, followed by a panel discussion on the same subject.<br />
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<b>Tuesday 8 December</b><br />
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As well as the usual espionage thrills, tonight's <b>Danger Man</b> offers us a convincing portrayal of domestic abuse between Gregori Benares, a shady representative of a corrupt government (a performance of flesh-creeping vileness from Howard Marion-Crawford) and his young English wife Helen (Suzan Farmer), who's started to notice that the people he does business with have a habit of dying in mysterious circumstances.<br />
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This has also been picked up on by M9 in London: Benares has been tapping a lot of governments for money, and the individuals he taps tend to either die or fall from grace soon after. Admiral Hobbs assigns John Drake to investigate, his cover this week requiring rather more effort than usual: he's to replace the manservant at the villa Benares has rented in Rome. Drake proves his butling mettle to the villa's owners, Sir Charles and Lady Fielding (Frederick Piper and Elizabeth Ashley) at a dinner party at the Admiral's house. They give him the thumbs up and he flies out to await his new master's arrival.<br />
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Benares arrives in company with his wife (what an outfit!) and his sinister chauffeur Jospeh (John G Heller). It's clear he takes an instant dislike to Drake, who finds it difficult to prevent his contempt for the revolting crook bubble to the surface of his obsequious exterior. His dry response to Benares' suggestion that he's not come across the tradition of the servants being assembled to greet the lady of the house is hilarious: "Oh yes, indeed I have, sir. In the cinema."<br />
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While Benares delights in having servants to push around, it's clear his wife feels deeply uncomfortable with having people wait on her - due to her humble background she feels like a fraud surrounded by all this luxury. "We're all frauds in one way or another," Drake assures her, and he's a man who knows whereof he speaks. She and Drake strike up an immediate bond when he brings her breakfast the following morning, with him suggesting an exquisite menu of local produce for the guests they expect the following evening. Vulgar Benares, unhappy with anyone but he holding sway in the household, rides roughshod over this by insisting that lobster, caviar and pheasant be served - and to hell with whether they're in season or not. Drake leaves them together in the bedroom, and hears Benares strike his wife. Patrick McGoohan is incredible here, his face barely registering any expression but nonetheless making us aware that bringing down Benares is now a personal crusade.<br />
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The Benares' dinner guests are Mr Armstrong (Mervyn Johns) and his daughter Judy (a pre-nose job Francesca Annis). After dinner, Drake retreats to the basement, where he's set up surveillance equipment in a wine barrel. He listens in to Benares trying to extort money from an uncooperative Armstrong.<br />
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The next day, Judy and Helen plan to go shopping, but Benares informs his wife that her friend's cancelled. In fact, she's being kidnapped by his goons.<br />
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That evening, tensions come to a head between Drake and Benares, with master telling servant that he just isn't servile enough, and attempting to force him to heel. Drake makes a succession of whisky-and-waters for Benares, each one unsatisfactory. Despite his cool exterior, Drake eventually gets so worked up that he smashes a glass in his hand. Benares is more than happy with this result. It's a brilliantly played scene, directed for maximum tension by Don Chaffey.<br />
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Drake pays a visit to Armstrong, and reveals his true identity, but, fearing his daughter will come to harm, he denies anything's happened to her. Drake whips out his snazzy Memocord tape recorder, which says otherwise.<br />
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Drake may have secured Armstrong's cooperation, but Strotti (John Cazabon), his personal security man, proves to be less keen on allowing news of the kidnap to get out, and has Drake set upon by the police. A little gentle force soon gets them out of the way, though (a wonderful "Aaaaargh!" issues from one of them as he's thrown from the top of the stairs.<br />
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Drake makes his exit by crashing through a window, while clutching his umbrella and bowler hat. John Steed himself would be proud of the way he stops to put his hat back on before dashing off.<br />
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From witnessing Benares signal to his henchmen, Drake is able to work out where Judy is being held. It's a gloomy old abandoned house, festooned with cobwebs, where she's kept bound and gagged.<br />
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Drake rescues her and, for the second week in a row, defeats the heavies by finding inventive uses for an umbrella.<br />
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Finally, he confronts Benares, making it clear he takes great pleasure in his downfall.<br />
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Poor Helen, still unaware that Drake's any more than a simple butler, is startled but not especially upset that her husband's been carted away by the police. She explains to Drake that she married him because of the material comforts on offer, things that, coming from a humble background, she'd never dreamt of before. No she must return to her boring old life. "To me, you are a very real person," he tells her, as big a moment of emotion as he ever gets. And the little wink he gives to the watching Judy as Helen departs is fantastic. What does it mean? An acknowledgement that they share the secret of his identity, or a statement of his intention that this isn't the last he and Helen see of each other?<br />
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We stay on ITV for, yes, you guessed it, everyone's favourite...<br />
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This week's <b>Plane Makers</b> is especially hard work as much of the dialogue is devoted to recapping previous events of the series, meaning that any new developments are buried beneath an avalanche of exposition. In its favour, its very first shot is of Harriet Evans looking daggers at David Corbett, and it also sees the return of Kay Lingard, whose presence has been sorely missed the last couple of weeks.<br />
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We also meet Don Henderson's secretary, named simply as "Trilby" in the credits, and played by the oddly-named Chip Coveney. She's very drab-looking compared to Kay and Harriet, but what we see of her relaxed, jokey relationship with her boss is a lot of fun.<br />
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The episode's main gist is that John Wilder has gone rogue and is courting a group of German buyers interested in the new jet, without consulting anyone else (their limousines arrive like something from a Hollywood musical, their drivers' every movement perfectly synchronised, and depart to the strains of "The Ride of the Valkyries"). Everyone wants NATO as a whole to buy the planes, but it seems that, nearly 20 years after the end of World War 2, trading with the Germans alone is still a sensitive issue.<br />
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After a great deal of waffle along the way, the episode ends in tremendous style, with Sir Gerald Merle and the increasingly machiavellian Laura Challis (I can't recall if anyone's called her "Poison Challis" yet - if not it can surely be only a matter of time) descending on Wilder (along with most of the rest of the episode's cast) to demand his resignation. Their plan is to install Don in his place as Managing Director, which is certainly news to the bewildered Sales Director. Patrick Wymark is at his sly best as Wilder responds: as the Germans have now decided to buy the British jets, the French have shelved their plans for an alternative fighter plane and will follow suit. The other NATO countries are now ripe for the picking. His enemies are forced to depart with their tails between their legs and leave him to get on with things. This isn't the end of the matter, of course: we've another five episodes of to-ing and fro-ing to go.</div>
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<b>Wednesday 9 December: </b>Tonight's <b>Wednesday Play</b> on BBC 1, written by Roger Manvell, concerns the plot by Nazi officials in July 1944 to kill Hitler. John Carson, Charles Lloyd Pack, Peter Copley, Joseph Furst and Cyril Luckham are among the plotters. BBC 2 offers viewers <b>Top Beat</b>, a live pop special featuring Brian Poole and the Tremeloes, the Nashville Teens, the Miracles, Wayne Fontana and the Mindbenders, the Yardbirds and Brenda Lee, among others, all introduced by Alan Freeman.<br />
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<b>Thursday 10 December</b><br />
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Tonight brings a classic episode of <b>The Saint</b> with a good value guest cast and a hugely entertaining script from Norman Hudis, who wrote the early <b>Carry On </b>films and will shortly be departing for the US to provide scripts for <b>The Man from UNCLE</b>, among other things. It begins with Simon Templar in the House of Commons, of all places - it turns out that one of his many female friends, Janet (Jennifer Wright) is now the wife of Christopher Waites (Anthony Bate), Minister of International Trade.<br />
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Christopher and Janet invite Simon to stay with them for the weekend, promising him an old-fashioned country house mystery. They jest, of course, but the signs are that there's going to be plenty of mayhem and intrigue nonetheless. For a start, Christopher's being blackmailed by a pair of rather swishy young men (Jeremy Burnham and Mike Pratt) over a letter he wrote to his mistress, Denise Grant, known as "Government" Grant thanks to her predilection for affairs with politicians, and played by one of my favourite 60s actress, the fabulous Justine Lord. The problem with this particular letter, written when Waites was a treasury official, is that it includes a tip about the forthcoming budget which Denise made a bit of money off the back of. As such, it could spell doom for his political career. Denise claims the letter was stolen from her, but she would say that, wouldn't she? In exchange for the letter they want a copy of a speech he's due to make which contains key financial information they could make a killing out of ahead of time.<br />
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Simon's fellow house guests are a shifty bunch. Michael Gough and Jean Marsh (an ominous couple if ever there was one) play Janet's bitchy alcoholic brother Colin and his carping wife Helen. Maxwell Shaw plays Spencer Vallance, "the Mayfair Michelangelo" and John Bryans sticks out like a sore thumb as shabby mathematician Mr Anthony.<br />
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Christopher sends his speech to the House by special messenger, but the poor man's killed when his car is rammed by the blackmailers. They're unable to get into the briefcase containing the speech and leave the car to be discovered by Simon (blood trickling down people's chins is a recurring image this series.<br />
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Simon takes the briefcase back to the Waites, who decide to keep it in their safe. The conversation's overheard by Mr Anthony, who rushes to the phone - though he's prevented from making a call by Colin, who's speaking to his bookmaker (while wearing an incredible dressing gown).<br />
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To find out more about the assembled guests and whether they might want to get their grubby mitts on the speech, Simon consults society columnist Ken Shield (Moray Watson), who gives a pithy summing up of each of these shady characters ("He's at his best with oils," he says of Vallance, "Being an oily character". The highlight of this scene is the almost subliminal appearance of an uncredited Stuart Guidotti, whose starring role in <b>Secret Beneath the Sea</b> I wrote about in great detail in the early days of this blog, as an errand boy.<br />
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Learning of Christopher's "friendship" with Denise, Simon pays her a visit, only to find her in the process of clearing out. "I'm busy!" she spits at him, trying to slam the door in his face, and crying "I'm still busy!" when he won't let her. "Ah, one of the Still-Busys of Going Away?" he inquires. Eventually he barges his way in, but their conversation's interrupted by the blackmailers (unsurprisingly, they're working with Ms Grant). A fight ensues (Denise's cuddly poodle's nearly dislodged from its spot on the sofa!), and concludes with Simon being knocked out by a blow to the head.<br />
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Janet, ruthlessly ambitious on her husband's behalf beneath her sweet exterior, visits Denise aboard her boat, the Jolly 'D', and offers to get her the speech as long as she leaves Christopher alone in future. Their meeting is splendidly catty: </div>
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<b>Denise</b>: I only wish I'd thought of approaching you originally.<br />
<b>Janet</b>: Are you capable of anything original?<br />
<b>Denise</b>: Ask Chris.<br />
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Surprisingly, Jeremy Burnham's character is revealed to be romantically involved with Denise. His other playmate doesn't have much time for this relationship.<br />
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Having returned to consciousness, Simon swiftly tracks down and neutralises both blackmailers.<br />
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But he's still convinced that someone in the Waites house is also involved in the whole ghastly business. He lies in wait by the safe that night, expecting that someone will attempt to get hold of the speech. There's a drawn-out sequence shot from the villain's point of view so we can't see their face, which is more than a bit pointless because a) we can tell by their dressing gown-clad arms that they must be Colin, and b) we've already seen him discussing his plans to steal the speech that evening with his wife. Unsurprisingly, their turns out to be another character after the speech, who swiftly gets Colin out of the way. It's Spencer Vallance, a revelation that raises barely a shrug as he's character' who's been sketched with only the barest outline. It's a damp squib of an ending to an otherwise tremendously enjoyable episode.<br />
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Early on in the episode the Prime Minister makes an appearance. His face is discreetly concealed, but we can tell by his voice that he definitely isn't Harold Wilson.<br />
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<b>Friday 11 December</b>: Tonight's lineup of BBC 1 includes a show I dearly wish still existed for me to be able to go into greater detail about: the first in a series of comedy plays starring Frankie Howerd and written by Ray Galton and Alan Simpson. This one guest stars Patrick Cargill.<br />
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<b>And to play us out</b>: It's the Rolling Stones, up two places and displacing the Supremes from the number 1 slot in the week's singles chart with their "Little Red Rooster". You can see the full chart <a href="http://www.officialcharts.com/archive-chart/_/1/1964-12-05/">here</a>.<br />
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<br />Ivanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.com4tag:blogger.com,1999:blog-4443589666300610642.post-71481350054084232862014-12-03T20:28:00.000+00:002014-12-03T20:28:48.223+00:0028 November - 4 December 1964<div style="text-align: left;">
Good evening (or good whatever time of day you're reading this). Come, take my hand and we'll traipse together through the highlights of another week's televiewing.<br />
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<b>Saturday 28 November </b></div>
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BBC 1's evening programming begins with an edition of <b>Juke Box Jury,</b> the panel this week consisting of Lulu, Jean Metcalfe and Morecambe and Wise. Sadly I've no more information to give you about this historic meeting of minds; instead, we must pass on to the programme following directly after.</div>
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You may recall that last week's episode concluded with the startling vision of a Dalek rising from the waters of the Thames. Any viewers hoping to find out this week what, precisely, a Dalek was doing in the waters of the river Thames are doomed to be disappointed, however. In the absence of any other explanation we can only conclude it was just enjoying a dip.</div>
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The Doctor and Ian are understandably shocked by the sight of one of the foes they thought they'd defeated in another time and world (though Ian, oddly, only seems to be certain that it's a Dalek when he hears it speak), but, having bested the metal monsters before, the Doctor's all bravado. Despite the Dalek being obviously able to kill him there and then he scorns its threats to do so, and laughs off its claims that the Daleks now rule the planet. Considering the character would expend so much energy in future preventing invasions of Earth, it's remarkable that his reaction on encountering one for the first time is complacent disbelief that such a thing would even be possible: "Before you can attempt to conquer the Earth you will have to destroy all living matter!" But conquer they seemingly have, and once the Dalek's bid its Roboman slaves to cart their captives off, it goes off on a little power trip, deliriously chanting "We are the masters of Earth," as its eye dilates furiously.<br />
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Susan and Barbara have been appraised of the Daleks' presence by the rebels they share the underground base with. Solemnly they listen to a radio broadcast from the invaders, entreating any errant humans to surrender (it's not much of a programme, but it's still better than anything you get on Radio 1).<br />
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"Obey motorised dustbins? We'll see!" scoffs Dortmun, becoming the first person in the show itself to point out that there's something ever so slightly silly about the Daleks' appearance. He's just finished work on a bomb which he hopes will see the invaders off.<br />
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Barbara and Susan are entrusted to the care of blunt and unsympathetic Jenny (Ann Davies, Mrs Richard Briers), who sets about finding them some work to do. She's no time for Susan's malingering, and the teenage nuisance's obtuseness seems to be winding up David Campbell (who charmingly refers to the invaders as "Dalliks") as well. "No, Susan, I've <i>told</i> you, you've got it wrong," he sighs at her inability to understand that it's not the helmets the Daleks' slaves wear that are called Robomen but the men themselves (there really is no hope for her). Several of these helmets have been salvaged by the rebels from dead Robomen (the poor dears have a tendency to go mad and top themselves).<br />
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Ian and the Doctor are brought to a Dalek ship, the Doctor explaining that this is all taking place a million years before their encounter with the Daleks on Skaro, and that these Daleks can move about on non-metallic surfaces thanks to the dish each one wears on its back (he's clearly making most of this stuff up off the top of his head to make Ian think he knows what's going on).<br />
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These dishy Daleks are commanded by a fancy one with a black lid and stripes, who sees to the execution of another captive, Thomson (Michael Davis) when he attempts to escape (the creatures' habitual battlecry isn't yet in place).<br />
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David's planning an attack on the ship. Meanwhile, it turns out that part of the reason for Jenny's icy demeanour is as a coping mechanism in the face of the horrors she's experienced (her brother's among the robotised, for example).<br />
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Aboard the Dalek craft, the Doctor and Ian are plonked in a cell with the downbeat Larry Craddock (Michael Goldie), who fills in some of the gaps in the tale of how the Daleks came to control Earth (his cellmates having decided to go along with his suggestion that they've missed everything due to being on the moon): he reveals that most of the planet's population were wiped out by a plague sent by the Daleks prior to their arrival (plagues would feature heavily in writer Terry Nation's future works, most vividly in his 70s drama series <b>Survivors</b>). As Craddock recounts the tale of the invasion, we're shown some members of the remaining population (including a very buxom young blonde extra who I'm sure was in <b>Emergency Ward 10</b> a couple of weeks back) being rounded up.<br />
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Nobody knows exactly what the Daleks want, only that they've started a huge mining operation in Bedfordshire, where the captives not converted into Robomen have been put to work. The Doctor's noticeably uninterested.<br />
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At the rebel base, Dortmun, who clearly sees himself in the combined roles of Barnes-Wallis and Churchill in this conflict, addresses his troops: "One victory will set this country, the whole of Europe, alight!" But the rebels might have a better leader in their midst in the shape of Barbara, who, despite the obviousness of the idea, is the first person to suggest that the Robo helmets be used as disguises.<br />
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Noticing a curious apparatus in the corner of the cell, the Doctor deduces that it's an elaborate way of opening the cell door using refracted light beams (he conjectures that this is the way Daleks open doors as they don't have hands, but it still seems a ridiculous amount of faff).<br />
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And, indeed, it's meant to be, as it was in fact an intelligence test (notably, the Doctor gets practically everything wrong this week). The door opens, but the Daleks are waiting right outside to have him removed for robotisation. It's less than clear why someone would need to be clever to be turned into a robot - maybe the Daleks are trying to get rid of clever people, or maybe they've some way of extracting their knowledge. Who knows? Either way, things aren't looking good for the old man. He even finds himself being disrobed in front of his enemies.<br />
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Outside, the group of disguised rebels, led by David and Carl Tyler, mount their attack, and despite a few casuaties, manage to infiltrate the ship. But will it be too late for the Doctor..?<br />
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At this point I'd normally take a look at <b>The Arthur Haynes Show</b>, but this week's episode is among the missing, so I'll crack on with tonight's<br />
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A very strange one indeed, this: something's clearly wrong in the barracks of a regiment recently returned from Borneo - the privates are running wild, and Graham, the sergeant who normally keeps them in line (Brian Wilde, in a brutish performance very different from the roles he's best known for), can only glower at them from behind bars, having been locked up and demoted to private after drunkenly insulting the CO.<br />
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Sergeant John Mann returns disturbed runaway Private Brown (a beautiful young Hywel Bennett) to the camp, and despite his initial determination to head straight off again, finds himself drawn into finding out why the young soldiers are behaving so lawlessly.<br />
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The spooky, perpetually Patience-playing CO (Joseph O'Conor) and uptight Major Stokeley (Allan Cuthbertson) are cagey, but an intriguing visual effect links the CO with the psychologically vulnerable Brown.<br />
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When Mann departs, the CO tells Stokeley why he's not stepping in to control the men: "Something - or someone - is pushing that platoon. I'm going to keep that lot together till it bursts, and the pus comes flying out." The look of distaste on Allan Cuthbertson's face on being treated to this graphic metaphor is wonderful.<br />
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It turns out that the troops think they're being haunted by the ghost of an officer killed in an ambush in Borneo, a belief someone's fostering with the use of a sinister dummy. And the CO thinks there's witchcraft afoot. The culprit behind both the dummy and the dead officer straying into the dangerous area where he was killed is finally revealed as the frightening, ever-laughing Private Molt (Griffith Davies). But Mann's not able to stop a party of men, led by Graham, going out to confront the ghost, with the eventual result that the ex-sergeant is carried off, having been driven mad by the ghosts inhabiting his own mind. <br />
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<b><span style="font-weight: normal;">Reading my rather incoherent synopsis back I realise how difficult it is to explain what actually happens in this episode: it's primarily a mood piece, the true star of which is </span><b>Avengers </b><span style="font-weight: normal;">alumnus Bill Bain's stylish direction.</span></b><br />
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<b>Sunday 29 November</b><br />
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Tonight's <b>Stingray</b>, the most relentlessly bizarre yet. begins by introducing us to Frank and Joe, a pair of alleged hepcats (that's even the name of their ship) who speak in absurd "Daddy-o" type lingo that must have seemed embarrassingly dated even in 1964. Their plan to search for a legendary underwater jewel forest hits a snag when their sub's denied a certificate of underseaworthiness by Commander Shore. Troy Tempest thinks it's because he's an old grump who's not with it, but I suspect it has more to do with the fact that the Hepcat doesn't even seem to have a roof, something (and I confess I'm no expert) that seems pretty essential for a submarine.</div>
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The daft pair decide to go in search of the jewel forest even without WASP approval, and unsurprisingly they swiftly run into trouble, meaning Stingray's called out to save the gormless twerps. As it cruises to the rescue, we receive an insight into just what Marina's role aboard ship is: she does the sewing, of course.<br />
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Thankfully those ghastly beatniks are sent on their merry way, but after saving their lives, Troy falls down a crevasse and, his air supply dwindling, passes out.<br />
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He comes round to discover he's completely out of oxygen - and yet he's still able to breathe! Casting his scuba mask contemptuously aside ("Who needs oxygen?!"), he enjoys floating about unfettered - and eventually stumbles across the very bejewelled grotto that Frank and Joe were looking for, exulting that he's now the richest man in the world.<br />
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The next thing we know, he's living beneath the sea in a classically-themed palace, in a sort of <i>menage a Troy</i> with Atlanta and Marina, who act as his more than willing slaves, with Phones as a sort of butler.<br />
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Troy voices his longing that Marina could speak, leading in to a premature performance of her theme song (it's still used at the end of the show, for the benefit of anyone not heartily sick of it). Atlanta seems to now be over her jealousy issues, appearing to quite enjoy the musical interlude. Once Troy's finished serenading Marina, she reveals that she is actually able to communicate with him mentally (in the unmistakable voice of Sylvia Anderson).<br />
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Commander Shore turns up to beg Troy to give up his life of luxury and return to active service but he's laughed to scorn.<br />
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There's trouble in paradise, though, in the form of a group of Aquaphibians, who mount a full-scale attack on Troy's palace. The ensuing chaos sees Troy trapped helplessly beneath a toppled pillar. I know I said last week that <b>Stingray </b>does explosions well, but this time things are taken a little too far when a perfectly innocuous bowl of fruit blows up on being hit by another pillar.<br />
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Just before he blacks out, Troy sees Phones standing before him with an oxygen mask, and he comes round to discover that most of the episode was a fantasy caused by his oxygen starvation, and he's not really the richest man in the world after all. As he recovers tucked up in bed, we notice that Marina is now wearing a stethoscope round her neck. Is there anything she <i>can't </i>do?<br />
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On reaching the end, the viewer's likely to surmise that they themselves have experienced an especially barmy dream. You can experience it for yourself below:</div>
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<object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="https://ytimg.googleusercontent.com/vi/xeIh_I97Jw8/0.jpg" height="266" width="320"><param name="movie" value="https://youtube.googleapis.com/v/xeIh_I97Jw8&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="https://youtube.googleapis.com/v/xeIh_I97Jw8&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
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Hard as it may be to believe, that episode of <b>Stingray</b> isn't tonight's main TV event: that honour falls to a gala variety performance on BBC 1 to celebrate Sir Winston Churchill's 90th birthday. The participant list as as good a cross-section of establishment-friendly (and indeed 90 year old-friendly) entertainment in 1964 as you could hope to find: Arthur Askey, Ian Carmichael, Roy Castle, Alma Cogan, Kenneth Connor, Billy Cotton, Cicely Courtneidge, Jimmy Edwards, Margot Fonteyn, Kathy Kirby, Ted Ray, Harry Secombe, Andy Stewart and Reg Varney and the Cliff Adams Singers to pick just a few names. Churchill was to die less than two months later, and I'm not convinced that he wasn't hurried on his way by that lot.</div>
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<b>Monday 30 November </b></div>
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It's St Andrew's Day, and to celebrate, BBC 1 shows a special programme of Scottish country dancing (if there's one thing we get a lot less of on the BBC in the 21st century it's Scottish country dancing - unless BBC Alba are hogging it all).</div>
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<b>Tuesday 1 December </b></div>
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Tonight's <b>Danger Man</b>, with a clever and witty script from Philip Broadley, stylish direction from Don Chaffey and a magnificently urbane performance from Patrick McGoohan, sees the show at the top of its game.</div>
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Proceedings get under way at a nuclear power facility in France, where a tea lady has an accident.</div>
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As she's played by Dawn Addams, whose sole purpose in everything she ever appears in is to be glamorous, we can be sure that she's not really an ordinary tea lady. And indeed, when she pops off to the loo to straighten herself up we learn that she's a spy who's managed to pilfer a top secret file.</div>
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In London, overgrown schoolboy agent 1056 (Patrick Newell) is cock-a-hoop at having been called in by the stony-faced Admiral (this week named in the credits as Hobbs) to fly out to the Cote d'Azur to aid John Drake in his latest mission. Drake's on the trail of A J A Kent, the man behind the secret theft we saw at the top of the show and others like it, hoping to reel him in using F6, a secret rocket formula, as bait.<br />
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Drake's having a high old time, enjoying the sun and spying on his neighbour Martine, the erstwhile tea lady. He sets about grabbing her attention at a casino - he introduces himself as Peter Simons, but she can tell straight away he's really a John (!) - playing the louche playboy role to the hilt:<br />
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"What do you do, John?"<br />
"Do?"<br />
"Yes, what do you do with your life?"<br />
"Nothing, but I do it terribly well."<br />
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Drake startles Martine by giving her a note to take to her boss, Kent. The man himself (Niall McGinnis, like Addams making his second <b>Danger Man </b>appearance in just a few weeks), who wears a Phantom of the Opera-type mask to conceal horrific acid burns (which are left to the viewer's imagination) - "like a Jack of Spades, in profile" is Drake's description - is intrigued by Drake's missive: it's simply a postcard with "F6" on the back.<br />
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Kent sends another henchperson, Peter Sellers lookalike Genicot (Frederick Bartman) to raid Drake's hotel room. He's snapped by a camera concealed in an alarm clock. Drake surreptitiously slips his photo to 1056 to identify.<br />
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Turns out Mr Genicot's a local martial arts instructor, and a splendidly-attired Drake pops along to his gym in the hope of a Judo lesson. The brawl that ensues (Drake ends up on top, natch) is notable chiefly for the hairstyles of the female spectators.<br />
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Drake gives the bested Genicot the photos of him searching his room to give to Kent. In response, Kent sends his own photographer to trail Drake (hence the episode title). Meeting Martine for a drink, Drake bemuses her by giving the bartender a wodge of cash in exchange for the cute St Bernard statuette behind the bar. <br />
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It's the barrel he's after: he ties it round the neck of one of Kent's vicious Alsatians with a reel of film inside that shows a fragment of the F6 formula. Thoroughly intrigued, Kent decides it may be worth negotiating with Drake -after one last test.<br />
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Kent requests the pleasure of Drake's company, and requests that he accompany Martine to a lavish party that night to ensure the safety of the priceless diamond necklace Kent's lent her (he never leaves the house himself due to his disfigurement).<br />
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The party's on a private island owned by millionaire Emilio Puzo, and there Drake is set upon by two costumed thugs. As if the sight of Patrick McGoohan fighting a pair of burly men off with a beach umbrella wasn't amazing enough, he also uses it Mary Poppins-style to float to the ground after jumping off a rock.<br />
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Drake leaves the necklace behind on the island to show Kent he's interested in bigger things. In response, Kent offers him $25,000 and a job in his organisation in exchange for F6.<br />
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But suddenly things unravel for Drake. As he lounges on the beach updating 1056 with his situation (a very funny scene in which Patrick Newell addresses all his lines to the bathing beauty he's lolling against), Kent's personal snapper takes some pictures - and Martine recognises 1056 as a man who was asking questions about Genicot. Kent decides Drake must die.<br />
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Martine invites Drake to her stylish pad, where she intends to give him a drugged drink, but of course he swaps the glasses and she's out like a light. Enter Genicot, whose attempt at pushing Drake off the balcony ends with him dangling instead.<br />
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The police arrive to cart off the crooks, Drake awakening Martine by shoving her (presumably rather pungent) shoe under her nose. Kent himself is easily taken care of: Drake just threatens him with his own guard dogs (which like Drake a lot better than their owner).<br />
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Next tonight, <b>The Plane Makers</b>, and after the emotional wallop packed by last week's episode we're back to the usual tedious wranglings. At least this instalment is easier to follow than some.<br />
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Patrick Wymark's got yet another week off, and the lead role this week goes to Alan Dobie as David Corbett, which was never going to be much fun as the whole point of the character is that he's a pain in the arse. His quarrel this week is with the firm providing radar equipment for the new fighter jets. As he's informed by splendidly shabby engineer Mr Lockett (George Waring), it's gone wrong. Corbett wants to obtain new radar units directly from their American originator rather than the English firm that makes them under licence.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8jJ0miaHFkv2KF4IE9FngSc65eQBpFqGnbbpjXbRZmhFFgJ-mdDCGsOTDcxCfUYat6kisk9YwPIFk19HwVa4aimuPA3MSZntu1g113TNgPmQpMU_HyjVhAsy8ymiD3oBKYLlLCsaxmmo/s1600/PM2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8jJ0miaHFkv2KF4IE9FngSc65eQBpFqGnbbpjXbRZmhFFgJ-mdDCGsOTDcxCfUYat6kisk9YwPIFk19HwVa4aimuPA3MSZntu1g113TNgPmQpMU_HyjVhAsy8ymiD3oBKYLlLCsaxmmo/s1600/PM2.jpg" height="300" width="400" /></a></div>
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But this move is obstructed by Mr Nightingale from the ministry (Geoffrey Chater, who was in the show last year as Scott-Furlong's PR chief) - in an age when British Industry is still a thing, buying outside it for a government contract is a controversial move, and there are all sorts of hoops that must be jumped through. By the way, Nightingale's colleague Hunt (John Crocker) has a really marvellous beard).<br />
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After James Cameron-Grant and Laura Challis have one of their exposition meetings, Grant's approached by Sir Henry Manning (Michael Collins), MP for the constituency the radar factory's in, with concerns about the loss of work there if Corbett goes directly to the Americans. In an era of near-full employment any potential loss of jobs on a large scale is seen as a political disaster. And it could be a personal disaster for Grant too, as his PR firm handles several companies Manning's on the board of.</div>
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Anyway, it all proves academic as the American company have got too many orders in their books to fit Corbett in. However, Grant learns that the the American radar devices came to be used by Scott-Furlong as a favour from John Wilder to the US firm, a major buyer of Sovereign jets. Happily, Lockett discovers only a minor adjustment needs to be made to the current radar units for them to work.<br />
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The highlight of this episode is discovering that Corbett's secretary, Harriet Evans, isn't at all keen on him. "You know, when I came into this business," he drones at her, "When you hired someone you also hired his loyalty." "That was before <i>you</i> came into this business." she mutters under her breath.<br />
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It's also rather wonderful to see the Minister wafting a cigarette holder about. We don't see today's politicians using these enough.<br />
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Finally, here's some tea and sandwiches.<br />
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Also tonight, BBC 2 dusts off the 1931 Marx Brothers comedy <b>Monkey Business</b> for its movie strand <b>The Vintage Years of Hollywood</b>.</div>
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<b>Wednesday 2 December 1964</b><br />
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Patrick Wymark's absence from this week's <b>Plane Makers</b> can perhaps be explained by his presence on the other side tonight in BBC 1's <b>Wednesday Play</b>. The strand's remembered today for its hard-hitting contemporary dramas, but it was actually a lot more diverse than that: tonight's offering is a production of Henry de Montherlant's 1950 play <b>Malatesta</b>, set in the 15th century.<br />
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<b>Thursday 3 December </b><br />
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Like John Drake, Simon Templar's in the south of France this week: Marseilles, to be specific. There, he nearly runs over a man named Suza (Philo Hauser) as he collapses after being shot by gangster Abdul Osman (Paul Stassino).<br />
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Elsewhere, Laura and Toby (Wanda Ventham and Scot Finch), a pair of English youths, row after he tries to impress her with a display of reckless driving.<br />
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Laura storms off (once the car's stopped), and is picked up by a passing Simon, with whom, like most women, she falls instantly in love. She takes him home to meet her father, the wealthy, and curiously named, art collector Galbraith Stride (Brewster Mason).</div>
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Local Police chief Colonel Latignant (Arnold Diamond) pops in to see Simon, tells him that Osman and his men are members of a crime syndicate called the Latini, and buggers off with one of the Saint's ties.<br />
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At the swanky nightclub which Simon accompanies Laura to that evening, the owner, Dali (Arthur Gomez) is being roughed up by Osman and his heavies (William Marlowe and Alan Curtis) for defaulting on his protection payments (Osman threatens to poison the cream for the clientele's coffee if he doesn't get the money!).<br />
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Leaving Toby and Laura together in the hope they'll make up, Simon wades in, getting Osman to back off by telling him he saw him kill Suza.</div>
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Osman's next port of call is the home of Galbraith Stride, who, we discover, is in fact the head of the Latini (it's quite nice to have it revealed early on in the episode rather than dumped on us as a last minute twist). Osman has designs on his position, though, and decides to make Stride uncomfortable by romancing his daughter (who's entirely ignorant of her father's criminal activities).<br />
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Meanwhile, Simon narrowly avoids becoming the Latini's latest victim...<br />
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...then finds himself offering advice to a lovelorn Toby (whose combined cup and cravat are worth mentioning, especially in conjunction with the bathroom wall behind). Simon's appalled to hear that Laura's now stepping out with Osman.<br />
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The two are getting pretty close - at a party aboard Osman's yacht they even interlock their noses. Clements, Osman's drunken accountant (Rory MacDermot, who certainly looks the part) tries to warn Laura how dangerous her new feller is, but proves too paralytic to get the words out - and is brutally assaulted by Osman for trying.<br />
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Simon goes to see Stride, having worked out that he's the Latini boss. He announces his intention to bring both Stride and Osman to justice, but easily disarms Stride when he falters after pointing a gun at him. Simon knows Osman would have no such compunction in pulling the trigger.</div>
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Stride tries to get rid of Osman by offering him control of the Latini's African and Middle Eastern divisions, but it's not enough for him. A briefly-seen maid at the Stride residence is played by an uncredited but instantly recognisable Kate O'Mara.<br />
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Osman's keeping Laura captive aboard his yacht, but it's not long before Simon comes to the rescue (punching people seems a lot more civilised if you do it wearing a cravat). Stride turns up too, only to be shot dead by Osman, who's then shot dead by Clements. Simon deals with the henchmen. It's decided that the truth about Laura's father should be kept from her. We end on the cheery news that poor Clements will be dead of liver damage within a month.<br />
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Also tonight: BBC 2 shows <b>Murder Mistaken</b>, a suspense play by Janet Green (screenwriter of "social problem" thrillers <b>Sapphire </b>and <b>Victim</b>) starring the tantalising pairing of Pamela Brown and Julian Glover, and BBC 1 subjects viewers to Part 3 of <b>The Singing Ringing Tree</b>.<br />
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<b>Friday 4 December 1964</b><br />
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Tonight's TV offerings include, on BBC 1, a special <b>Dick Emery Show</b> guest-starring Joan Sims.<br />
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This week's full <b>Radio Times </b>listings can be found <a href="http://genome.ch.bbc.co.uk/12bdd66ca8fb41e2a763ec0d88b42e31">here.</a><br />
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<b>Outside the box</b>: That power dispute I told you about last week is settled on Monday. I know it's been troubling you.<br />
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<b>And to play us out</b>...<br />
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It's the Kinks, at number 2 in the singles chart with "All Day and All of the Night" (the Supremes are still at number 1). You can find the full chart <a href="http://www.officialcharts.com/archive-chart/_/1/1964-11-28/">here.</a><br />
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Ivanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.com2tag:blogger.com,1999:blog-4443589666300610642.post-22564497834114956542014-11-26T19:41:00.000+00:002014-11-26T20:59:51.125+00:0021-27 November 1964Hello. Welcome to the new, weekly format <b>TV Minus 50</b>. Pleasingly, we kick off with a bit of a TV milestone.<br />
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<b>Saturday 21 November</b><br />
<b><br /></b>After watching an edition of <b>Juke Box Jury </b>with the tantalising lineup of Alma Cogan, Spike Milligan and Liza Minnelli, viewers of BBC 1 could settle themselves down in front of a thrilling new adventure for<br />
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It's an adventure of a far grimmer kind than anything the show's previously given us, setting out its stall straight away with a ragged figure tearing some kind of apparatus from his neck before immersing himself in the Thames.</div>
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Immediately after the water closes over the man's head the TARDIS makes its entrance by the riverside, its occupants' joy at being back in London swiftly dispersing as they notice the state of decay their surroundings are in (Ian's initial blithe rejoinder to the Doctor's concerns about the "time factor" is that it wouldn't matter if he and Barbara returned "A year or two either way" - a startlingly cavalier attitude when you think about it: explaining their disappearance would be one thing, having to hide out somewhere until they actually left quite another). But they soon realise this is London of the much further future, and a deeply unappealing future at that, and prepare to return to the ship and try again.</div>
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But it's never that easy, is it? This time Susan, ever the liability, goes exploring and ends up bringing a ton of rubble crashing down upon the TARDIS and rendering it inaccessible. She also hurts her ankle, though by now that seems about as noteworthy as pointing out that she breathes. Her grandfather's patience has clearly worn as thin as this viewer's, and he offers some stern words before heading off with Ian to look for some kind of tool to cut through the obstructing girders.</div>
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A nearby warehouse looks promising, and among the debris there the two men find a rather unconvincingly mocked-up desk calendar that gives them some idea of just how far into Ian's future they've travelled (though, presuming it's far out of date by this point, it doesn't tell us when these events take place).</div>
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Further investigation brings to light the corpse (stabbed in the back) of another man in the same curious get-up as the one we saw drown. Ian's fascinated by the whip he was carrying, while the Doctor gets down to examining his headgear: first he observes that it's "some form of adornment", before coming to the scarcely more helpful conclusion that "They've invented some form of personal communication!" (He communicates this to Ian, personally).</div>
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As well as being the grittiest instalment of <b>Doctor Who </b>to date, <b>World's End</b> is also by far the most exciting: while Ian nearly falls to his death after opening a door to nowhere, Susan and Barbara are forced to accompany a pair of gruff men, Carl Tyler (Bernard Kay) and David Campbell (Peter Fraser) through the derelict streets of London (a tremendously atmospheric sequence shot on film - this story sees <b>Doctor Who</b>'s first significant use of outside locations, and some of its most effective ever) as they flee from the "Robomen". The women are taken to an underground base where they encounter grumpy wheelchair user Dortmun (Alan Judd), seemingly the leader of this group of rebels (Susan's less likeable than ever in this scene - after Barbara's pressed into agreeing to cook for the group, she's asked what she can do: "I eat," she responds stroppily). But what are they rebels from? Could it be whatever was in the flying saucer that passed overhead earlier?</div>
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<tr><td class="tr-caption" style="font-size: 13px;">Whatever's happening in this grave new world there's clearly no place for elephants</td></tr>
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<span style="text-align: left;">Murder, suicide, near-fatal accidents, flying saucers, robotic zombies, whips - this episode already has it all. But there's one more thrill in store - one that fans who'd seen the trailers and seen the cover of the </span><b style="text-align: left;">Radio Times</b><span style="text-align: left;"> would have spent the whole time anticipating. In the episode's closing seconds, as Ian and the Doctor are cornered by a gang of Robomen with nowhere to go but the river, it finally appears, from somewhere nobody would have expected, and with a promise that next week there's more where it came from...</span></div>
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In tonight's <b>Arthur Haynes Show</b>, music is provided by both Acker Bilk (again) and the Countrymen, a band whose origin I've not been able to discover, but whose version of "Cielito Lindo" (you know, it's that Mexican song that goes "Ay, ay, ay, ay," etc.) sounds less than authentic.</div>
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The first sketch this evening, which sees Arthur and wife Patricia Hayes visit the House of Commons in an attempt to blackmail their MP (Nicholas Parsons) into keeping his tiny majority by paying for the upkeep of their elderly relatives, is notable for the appearance a truly horrific portrait of Winston Churchill (who Hayes knows mainly as the man who once swindled her Aunt Else out of 30 bob).</div>
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The show concludes with Arthur and Dermot descending on the home of a spluttering old Colonel (Parsons in a character part, for once) with a request that he command the regiment they've cobbled together from a band of ex-services tramps. The sketch has a decent satirical thrust in Arthur's suggestion that the world needs more wars in order to keep old soldiers in employment, but it's chiefly memorable for being completely derailed by a spectacular fluff: "I've had enough cockypop for one day!", as a result of which Haynes deliberately muddles his lines up.</div>
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Staying with the military theme, we move on to tonight's <b>Redcap</b>, a slight but entertaining tale by <b>TV Minus 50 </b>favourite Julian Bond that makes for a pleasant breather after last week's brutal thriller. Though it's a shame they couldn't have delayed this one a few weeks, as the action takes place at New Year (in the opening scene a glam TV announcer reveals that amongst the expected fare a new US sci-fi series, <b>The Frontiers of Fear</b>, is starting that evening - it sounds great).</div>
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Young officer Harry Barr (Giles Block) doesn't get to see it though, as he has to report for duty...</div>
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Barr's been at this training camp for three weeks, and is determined to prove himself "a good sort" to the men. As such he doesn't take much convincing to accompany roguish Sergeant Greatorex (Barry Keegan) for a New Year drink at the mess (where future <b>Love Thy Neighbour </b>star Jack Smethurst tends the bar).</div>
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A few swift ones later, Barr's easily talked into ringing in the New Year with the Highland regiment down the road. They drive there in an army truck which, on the way back, the extremely inebriated Barr drives straight into a pillar, knocking it over.<br />
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Greatorex and Sergeant Jones (Bernard Lloyd) do their best to cover up for Barr, trying to make it look like persons unknown hit the wall driving out of the camp then abandoned the vehicle. But when Sergeant John Mann is called in to investigate it's not long before Barr decides to do the decent thing and confess, though he knows it'll be the end of his army career.</div>
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Mann grants Barr the chance to tell his CO (Ronald Leigh-Hunt) of his guilt - so he's astonished to be informed that the incident has in fact been pinned on another man entirely, camp nuisance Trooper Kelly (Harry Littlewood), who happily confesses to Mann that he was responsible. </div>
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Troubled by the men of the camp laughing at him, Mann confronts the Colonel, who, without admitting anything, tells Mann what a shame it would be for a promising officer to have his career ruined when a soldier already in trouble for being AWOL, who would suffer no greater punishment for this crime as well, would make a convenient scapegoat.</div>
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There being nothing more he can do, a frustrated Mann departs, telling the staff sergeant (Colin Rix) to add his name to the monument commemorating the regiment's victories. But before he drives off, in a gorgeous bit of acting from John Thaw, he permits himself the tiniest of wry smiles.</div>
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Bernard Kay makes his second appearance of the evening in a small part as a colleague of Mann's who, after several attempts, eventually gets the straitlaced sergeant to come to the pub with him (meaning that Mann ends up conducting his investigation with a massive hangover).</div>
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Among the other programmes on offer for viewers this evening was <b>Shalom! </b>a special show featuring the cream of Israeli cabaret - as emblematic an example of early BBC 2 programming as you could hope to find.<br />
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<b>Sunday 22 November</b><br />
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Centre stage in tonight's <b>Stingray </b>is taken by the nefarious Agent X20, who shows that his imitations aren't limited to Peter Lorre. For starters, he also does Liberace - though. in a bathetic cutaway we learn that he's not even playing the piano - the music's coming from a tape recorder. Besides, his outfit's not quite flamboyant enough, although he does amp up the camp with a chandelier that lights up when he gets a call from his boss.<br />
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This week Titan's decided that the best way to deal with Stingray is to make its crew appear incompetent - which X20 plans to do by using an echo sounding machine to distract them while they're on escort duty (it sounds more like "ass guard" duty the way Commander Shore says it) with a ship towing a huge tube full of oil. Phones picks up an echo from the mission and Stingray chases after it, with Titan's forces blowing up the tube while their attention's elsewhere (if there's one thing <b>Stingray </b>does well it's explosions).<br />
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As a result of this, Phones is suspended from duty pending a full check-up to prove he's fit for duty. The most important things about the episode, though, are the disguises that X20 adopts: first, a decidedly pervy looking window cleaner as he spies on a WASP meeting (suffering a comedy fall from his swinging stage in the process), and second, as a psychiatrist (a look seemingly based on David Lloyd George) who approaches Phones promising to give him the all-clear (in an astonishingly idiotic move, he invites Phones to visit him at his hideout).<br />
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Of course, what he's really trying to do is to <i>drive </i>Phones mad. I love this shot of the patient enjoying a contemplative post-therapy fag.<br />
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I didn't pay all that much attention to how it ended, but I'm sure it all turned out for the best. More memorable than the outcome is where the WASP personnel celebrate it: the Blue Lagoon bar, which has some truly remarkable decor.</div>
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If you want to see <b>An Echo of Danger </b>for yourself (and goodness knows I wouldn't trust my synopsis of it), it's available to watch on Youtube here:</div>
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Also available to watch on Youtube should you be so inclined is Michael Cacoyannis' <b>A Girl in Black</b>, a Greek film shown later in the evening as part of BBC 2's <b>Cinema 625 </b>series. It's an archetypal Depressing Foreign Film, which climaxes with the drowning of a boatload of children.<br />
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Indeed. it was a day of especially solemn viewing on BBC 2, which also broadcast <b>Requiem for a President</b>, commemorating the anniversary of John F Kennedy's assassination, and the 26th and final instalment of the milestone documentary series <b>The Great War</b>.<br />
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<b>Monday 23 November</b><br />
<b><br /></b>Among tonight's programming on BBC 1 was the <b>Bewitched </b>episode <b>Help, Help, Don't Save Me</b>, the second half of which (why not the first half I don't know) you can watch below (in colourised form).<br />
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<b>Tuesday 24 November</b><br />
<b><br /></b>Tonight's <b>Emergency Ward 10</b> begins with an internal monologue from the increasingly troubled Sister MacNab (yes, she's <i>still</i> worried about this new shift system).<br />
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Another decent guest star has popped up at Oxbridge: William Sylvester, American star of a myriad British B-movies, squeezed into the rather ill-fitting role of Mr Simmons, a camp fashion photographer (frequently used phrases include "Ducky" and "Old love") who nonetheless has an eye for the ladies and has managed to twist all the nurses in his ward round his little finger. He has a heart condition but refuses any overtures for a corrective operation, fearing the long-term convalescence would damage his career. Brusque Dr Grant's attempts to charm him into it are a predictable failure.<br />
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Mr Simmons is on the lookout for a new model with a face that make the world sit up and take notice, and he thinks he's found it in Nurse Kwai Kim-Yen (Pik-Sen Lim). I can't see it myself.<br />
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Elsewhere, Les Large meets with Dr Hicks (Geoffrey Sumner), a GP who's taken an interest in him, "I didn't come here to say I liked your pretty face," he tells the younger doctor, but nonetheless makes a date with him that evening.<br />
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Giles Farmer is glum because his fiancée Louise Mahler has swanned off to London to assist an old friend, Crichton Akasava, in obtaining aid for their war-torn country (of which Louise's brother's just been made Prime Minister). Les's advice: "Find a party somewhere, barge in on it, and get sloshed." Perfectly sound, and it's pretty much what Rex Lane-Russell and Jane Beattie are doing. But the hostess, Amanda Brown, had been hoping to get Rex all to herself.<br />
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It's an incredibly sophisticated gathering, with swanky canapés like little sausages, and cheese and pineapple on sticks. As Rex and Amanda get to know one another, poor Jane's left with just a teddy bear to talk to.<br />
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Louise reveals that Akasava's asked her to come back to Africa with him, but before she and Giles can discuss the matter Les interrupts, bearing the news that Dr Hicks wants him to stand in for him at his evening surgery three nights a week. It will mean the end of Les's money worries, and he's so happy he feels up a passing Sister Ransome.<br />
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The Sister's remarkably forgiving about this unwanted intrusion into her personal space, but nonetheless hurries off to inspect the new nurses' flats with MacNab and Doughty. They're all perfectly nice, but who's that moving about upstairs?<br />
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We'll never know, I'm afraid. <b>Emergency Ward 10</b> carried on until 1967, but no further episodes have been made commercially available, and I'm not sure if any more exist (which is a great shame, as the 1964 Christmas special, with a patient imagining the regular cast as famous figures in medical history, sounds amazing). I'm already feeling the pain of withdrawal, but will try to overcome it as we move on to tonight's next show.</div>
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In the Indian jungle, a man is killed by cyanide fumes after he smashes the bottle he's been using to kill butterflies. All very tragic, but what's it got to do with John Drake?<br />
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Drake's been called in by Security Chief Khan (the usually pretty Zia Mohyeddin, lit to look craggy and tired), who suspects the dead man's boss, stayed-on British officer Colonel Blakeley (Michael Trubshawe), of being up to no good. Posing as a travel agent scouting for new tourist locations, Drake aims to find out more about the Colonel by charming of his spinster daughter Joanna (Virginia Maskell).<br />
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As well as the genuinely Indian Mohyeddin, the cast features three of British TV's most ubiquitous all-purpose foreigners: George Pastell (as the civil servant passing secret information to Blakeley, which he's somehow smuggling out to the Chinese), Warren Mitchell (as his complicit boss), and John Bennett (as <i>his</i> boss, the minister scandalised by their betrayal) - Mitchell and Bennett, of course, were British-born, and there's heavy irony in Mitchell's career playing foreigners from every corner of the globe ending when he found fame playing a Cockney xenophobe.<br />
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Also, after his suave turn as Louise's diplomat brother in <b>Emergency Ward 10</b>, Frank Olegario's back to playing bit-part heavies.</div>
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If that lot don't look especially convincing as Indians have a look at this browned-up pair who attack Drake in the jungle.</div>
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There's an especially good fight scene later on, with another heavy staging an alternative version of <b>Psycho</b>'s shower scene before being set upon by Drake (the pair end up in the most remarkable position).<br />
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Eventually it's revealed that the Colonel's getting the information out of the country in the form of that 60s favourite, the microdot, which he affixes to the wings of butterflies he exports. Virginia Maskell gives a delicate performance as wasted beauty Joanna, whose loyalty to her father proves an insurmountable obstacle for Drake, but, due to the 50 minute adventure series format, her character feels a bit underdeveloped.</div>
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Finally, a mention of the actress who appears briefly as the Colonel's housekeeper. Not because she's particularly good, but because she rejoices in the glorious name of Zoe Zephyr.<br />
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Now, it's that moment of the week when I face the dread spectre of another <b>Plane Makers</b> episode. Happily, tonight's turns out to be by far the best so far this series, and one of the best altogether.<br />
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After being in the background for most of this series, lovely Arthur Sugden's thrust into the spotlight tonight. Chatting contentedly to his wife, Mary, and sloshing down his cup of tea before heading to work, he's blissfully unaware of the nightmare that lies ahead of him.<br />
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Now the Scott-Furlong group's secured a government defence contract, security chief Major Farrell (Cyril Raymond, Celia Johnson's husband in<b> Brief Encounter</b>) is tightening everything up in preparation for a visit from Mr Greening from the ministry (Meredith Edwards). Greening's clearly a tough customer - he doesn't even accept a biscuit when he's offered one.<br />
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Trouble descends upon Arthur when a top secret file is found to be missing from his office (his Ryan Airframes counterpart, Bob Fraser, secretly took it in exasperation at the lack of co-operation he was getting). A livid Arthur's given the third degree and has his office turned over.</div>
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His frustration increases as a pair of security goons (Bryan Mosley and Keith Anderson) turn up at his house and start interrogating his wife. He refuses to let them search his house, which they warn him isn't going to look very good...</div>
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Greening's men have discovered several more black marks against Arthur: his narrow avoidance of a court-martial during the war, his refusal to fight in Korea, his brother's criminal record. Greening decides these add up to someone altogether undesirable, and decrees that Arthur's access to sensitive files be revoked, thus putting paid to his work on the military contract.<br />
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The file is returned, but Arthur's wrong in thinking that's the end of the matter: for Greening the file is no longer relevant - the important thing is that he's been tested and found wanting. "The file was a keyhole," he notes at one point, "And through it we shall look, and see a whole room." He's a truly terrifying figure, a banal little man ("They make them to order for the civil service," as one character jokes) who who delights in hampering progress and destroying lives by catching people like flies in a web of red tape.<br />
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John Wilder's spitting feathers over Arthur's suspension - not because of any personal loyalty but because he thinks the contract needs his expertise. The board are all for sacking Arthur, but Wilder convinces them to give him a day to resolve the matter.<br />
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And, knowing that Wilder usually gets what he wants, the viewer can be in no doubt that Arthur will be vindicated. But it doesn't happen: Wilder's attempts at pulling strings get him nowhere, and when an emissary from the Minister turns up at the last minute it's not to save the day but to inform Wilder how much his own position's been jeopardised by sticking up for Arthur.<br />
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Arthur refuses to take a less senior position working elsewhere in the firm, so Wilder can do nothing but offer him a hefty retirement package in return that he keep quiet about the reason he left. Left with no other option, Arthur returns home, his career all of a sudden a thing of the past. Reginald Marsh is magnificent throughout, progressing from fury to sheer bewilderment, and ending as a man broken by the arbitrary rules of a system nobody can understand. It's a horrifying but all too convincing fate for his character, particularly as he was by far the most likeable in the show. <b>The Plane Makers </b>without him scarcely bears thinking about.<br />
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Anyway, as you'll know, the secretaries of <b>The Plane Makers</b> are an enduring interest of mine, and this week we get a couple of new ones (along with the disembodied voice of Kay Lingard). Gormless Cockney Miss Wilson (Helen Cotterill) is a temp standing in for Arthur's usual secretary, the lovably raddled Margie, who's off seeing to her ill sister, while Mr Greening's needs are catered to by the mannish Miss Parsons (Edna Landor).<br />
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<b>Wednesday 25 November</b></div>
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Tonight's viewing included, on BBC 1, the first part of splendidly-titled thriller serial <b>Ring Out an Alibi </b>and <b>Mr Douglas</b>, an entry in the <b>Wednesday Play</b> strand by popular historian John Prebble, starring Michael Goodliffe and Jean Anderson and set at the time of George III's coronation. </div>
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<b>Thursday 26 November</b></div>
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In 1964, grown men being interested in toys was rather more of a novelty than it is now. The toy enthusiast here is the grotesque Lewis Enstone (John Baskcomb), whose other main interest is in being an unscrupulous and downright unpleasant businessman. His hobby allows us some fascinating glimpses at 1960s toys (this is the sort of thing I'm fascinated by, anyway), including ones based on Yogi Bear, Noddy, Bugs Bunny, and, most interestingly the Beatles, who appear as Pelham Puppets.<br />
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Simon Templar's alerted to Enstone's dodgy business practices by his lady friend of the week, Claire Wheeler (Rosemarie Reede, who didn't do a great deal else). She thinks he's being blackmailed, but on investigation Simon finds that in actual fact he's paying bent shop steward Duggan (David Lodge) to keep the men at Costello and Hammel Electronics on strike, in order to help facilitate Enstone's takeover bid. </div>
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Simon has a brutal fight with Duggan, which concludes with a wry shot of a convenient Ministry of Pensions and National Insurance poster.<br />
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Enstone discovers that his wife, Marjorie (Jeanne Moody) and his PA, George Fowler (Maurice Kaufman) are having an affair, and goes beserk, throwing her out but refusing her a divorce.<br />
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Partly in reaction to this, and partly because of the success of his takeover bid, Enstone gets drunk with his new business partner John Hammel (John Paul). Shortly afterwards, he's found dead, having apparently shot himself.<br />
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Inspector Teal thinks it's an open-and-shut case, Enstone having committed suicide after learning of his wife's unfaithfulness, but Simon's convinced Hammel and his partner Albert Costello (Inigo Jackson) are responsible, particularly after learning that Costello's a whiz at inventing new electronic gadgets (including a cigarette case that pre-lights your fags for you).<br />
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After the customary last-act punch-up, Simon discovers the unpleasant truth: Hammel presented the drunken Enstone with a new toy invented by Costello, a gun that you look down the muzzle of to see a film (of a chimpanzee dressed as a cowboy, which was the style at the time). He swapped the gun with a real one when Enstone wasn't looking, and that was the end of the toy lover.<br />
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<b>The Man Who Loved Toys</b> is an entirely throwaway <b>Saint</b>, notable only for the toys themselves and the especially unpleasant way the title character comes a cropper.</div>
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After her appearance in <b>Danger Man </b>on Tuesday, Virginia Maskell could be seen again this evening alongside James Donald, Michael Bryant and Philip Locke in a production of T S Eliot's <b>The Cocktail Party</b> on BBC 2. Early evening viewers of BBC 1 could enjoy the second episode of <b>The Singing Ringing Tree</b>, a bizarre East German fairy tale that lodged itself firmly in the minds of a generation of children, largely due to its villain, a terrifying cackling dwarf liable to pop up from anywhere. Sadly, the production's sumptuous colours wouldn't have been seen by British viewers.<br />
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<b>Friday 27 November</b></div>
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Tonight's televisual treats included, on BBC 1, <b>Sykes and a Cold War</b> with guest stars Dick Emery and Dandy Nichols, followed by <b>The Kathy Kirby Show</b> (the <b>Radio Times </b>helpfully advised viewers that guests The Morgan-James Duo were appearing at the Cabaret Club, Manchester) and "serious" sci-fi series <b>R3</b>. For those who didn't find Kathy Kirby sufficiently highbrow BBC 2 offered <b>The Bolshoi at La Scala</b> and a documentary on Luchino Visconti.</div>
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You can read the Radio Times listings for this week at the BBC Genome Project <a href="http://genome.ch.bbc.co.uk/e15a91295e194be292b1553b0c4b8606" style="text-align: center;">here.</a></div>
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<b>Outside the Box</b></div>
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On Friday, Britain's power unions announced that they would start balloting for strike action (obviously that's not the <i>only </i>thing that happened in the news this week, I'm being selective).</div>
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Phew. Well, I hope you enjoyed all that. Any feedback on the new format would be very gratefully appreciated.<br />
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<b>And to play us out...</b></div>
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Here's the Supremes with this week's number 1 single, <b>Baby Love</b>, up four places from number 5. You can see the full chart for the week <a href="http://www.officialcharts.com/archive-chart/_/1/1964-11-21/">here.</a></div>
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Ivanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.com4tag:blogger.com,1999:blog-4443589666300610642.post-70324104765877713852014-11-21T13:50:00.002+00:002014-11-21T13:55:10.456+00:00Advertisement<div style="text-align: center;">
<a class="profile-picture u-floatLeft media-thumbnail js-nav js-tooltip in" data-original-title="BBC Genome" data-send-impression-cookie="true" href="https://twitter.com/bbcgenome" jquery18305850473067751361="1718"><img alt="BBC Genome" class="avatar" height="200" src="https://pbs.twimg.com/profile_images/534684878642491393/W75M_G0L_reasonably_small.png" width="200" /></a></div>
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Dear friends of <b>TV Minus 50</b><br />
<b><br /></b>
The first post of the new weekly <b>TV Minus 50</b> isn't ready yet, I'm afraid, but I thought I'd alert you to something really rather amazing that has recently appeared on the internet. <b>BBC Genome</b> is a new resource where you can access listings (taken from the Radio Times) for programmes on all the BBC's radio and television channels stretching back to 1934 for free. <br />
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<a href="http://genome.ch.bbc.co.uk/">You can find BBC Genome here.</a><br />
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Obviously it's a massive boon to me, though as usually happens when I see TV listings of the time I realise that, due to relying in large part on incomplete transmission details from places like IMDb and a fair bit of guesswork, I've got something wrong. In this case it's the transmission dates of the BBC's adaptation of <b>The Count of Monte Cristo</b>, which rather than the summer, where I put it, in fact commenced broadcasting in October (the show's IMDb entry lists the cast of one episode and the transmission date of one episode - I took these to both be from the final instalment, but in fact the transmission date was for the first. All very confusing. And dull). Best not even to think about ITV transmissions - I've long since become resigned to viewing the programmes as broadcast by a composite of the various regions.<br />
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As well as showing me where I've been going wrong, <b>BBC Genome </b>has made me feel wistful about all those programmes lost forever, and ones that may as well be for all the likelihood of them ever being made available: I'll never get to see <b>Komm Mit! </b>or <b>Having a Baby</b>, or <b>Curtain of Fear</b> (I believe it's the Iron Curtain rather than a literal curtain being referred to, which I suppose makes the loss a bit more bearable). Or will I? Who knows, maybe having given us the menu, the BBC will eventually get round to serving the dishes on it (or what's left of them). But if the day comes, dear reader, when their whole archive is available to view, I will probably contemplate the task ahead of me and go quietly, irretrievably mad.<br />
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See you soon<br />
<br />
IvanIvanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.com0tag:blogger.com,1999:blog-4443589666300610642.post-40726587305566972002014-11-17T09:49:00.003+00:002014-11-17T09:49:55.780+00:00Transmission breakDear viewers<div>
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Thanks very much to those of you who regularly tune in. I hope you've enjoyed my recent posts, but due to those twin demons of work and life I've had a bit of a nightmare getting them out on time lately - and due to this I think there's been a bit of a drop in quality. It is, of course, entirely my own fault for setting myself the lunatic task of going into forensic detail about all these old programmes. It's changed from something I love doing to a dreaded chore.</div>
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So I've had a rethink. <b>TV Minus 50</b> will be off air for the rest of this week and will return next week (date TBC) in a new, digested weekly format: there won't be anything like the same level of detail, but hopefully there will be a renewed sense of fun about proceedings as I change from a broken man sobbing over a keyboard at the tsunami of <b>Plane Makers </b>episodes approaching of me back into someone keen to share his love of 1960s TV (and other things) in all their brilliance and silliness.</div>
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See you next week</div>
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Ivan</div>
Ivanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.com0tag:blogger.com,1999:blog-4443589666300610642.post-19115775247446929392014-11-15T00:00:00.000+00:002014-11-15T00:00:06.983+00:00Sunday 15 November 1964<div class="separator" style="clear: both; text-align: center;">
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Tonight, we join Stingray out and about, pursued by a funny little submarine that fires a torpedo at it, causing much perspiration for Troy Tempest and Phones (I thought I'd show you a picture of Phones sweating this week, for a change).<br />
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The torpedo scores a direct hit, but it turns out that it was just a test, the other craft being piloted by...<br />
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...also known as Jacques Jordan (and that's the <i>World </i>Navy, in case you were wondering. Jordan is French, which means, of course, that he's a devil with the ladies. And that he pronounces Navy "Nay-VEE".<br />
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Atop a high cliff not far from where the tests are taking place is the hideout of the silver-skinned Peter Lorre impersonator Agent X20, who reports to his boss Titan (you may remember these two from the show's first episode) that "The missile would be an invaluable asset in your war against Troy Tempest and Stingray." X20 determines to get hold of it.<br />
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Meanwhile, back at Marineville, Atlanta Shore is assisting Marina in planning a dinner party.<br />
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The guests are Phones, Troy and Jordan, who spends the whole evening smooth-talking Atlanta, much to Troy's ire (it's his own fault for paying more attention to Marina, if you ask me.<br />
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Even Marina's new outfit and hairdo don't break the tension. Eventually, Troy decides he's had enough: "We're with it in the WASPs too, you know!" he yells, before angrily driving off in his snazzy sports car.<br />
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The next day, Marina receives a modest bunch of flowers from Troy to apologise for his behaviour the previous eveming.<br />
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Atlanta, meanwhile, gets an enormous one from Jordan. There is nothing about the below image that isn't amazing.<br />
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During the next round of tests, Jordan's ship is hi-jacked by Titan's henchcreatures, who force him to arm his torpedo prior to sending it after Stingray. He tries to warn Troy about what's happening via the medium of bad puns: "FIRED is the right word, Tempest. This one is going to be DEAD on arrival."<br />
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The warning proves a bit too oblique, but luckily, Stingray manages to swerve the torpedo this time. Troy threatens to blow up Jordan's sub and the Aquaphibians scarper, making it look like Jordan acted alone. Commander Shore prepares to court-martial him, but Troy and Phones arrive to clear him, having spotted the fishmen's craft and blown it up.<br />
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Jordan may be exonerated of trying to murder Troy, but Commander Shore nonetheless brands him a coward for surrendering to the Aquaphibians' request (it's hard not to read a World War Two subtext into this), and Atlanta decides she prefers Troy to that dandified braggart after all.</div>
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Next tonight, a special <b>Armchair Theatre </b>production of one of the best-known plays in the English language. I'll assume that my readers are familiar with its complexities of plot and felicities of dialogue, and focus on the specifics of this version.</div>
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The Aubrey Beardsley-inspired images that accompany the opening titles are reflected in the paintings which cover every wall of Algernon Moncrieff's abode. Patrick Macnee as Algernon and Ian Carmichael as Jack "Ernest" Worthing give exactly the performances you'd expect them to, and as such are great fun. So is Pamela Brown, giving a subtle, unmannered performance as Lady Bracknell (her delivery of "A handbag?" is a gasp of astonishment) - a much more attractive figure here than the gorgon she's usually depicted as. Fenella Fielding seems like ideal casting as Gwendoline: for one thing she's as close a vocal match for Joan Greenwood, who played the character in the 1952 film, as you could get, and for another she resembles Pamela Brown enough for the script's hints that she'll turn out exactly like her mother to hit home. Unfortunately, her performance in the first act is far too broad, overshooting the archness required by the text and coming to earth squarely in the realms of panto. Happily, she calms down in time for Gwendoline's glorious verbal duel with Susannah York's Cecily. York is fantastic, giving the role the exact combination of innocence and worldliness it requires. We first see her on film, romping about in the countryside in images of pastoral loveliness sadly marred by the poor quality of the surviving print. Also unfortunate is the decision to shoot the early scenes at Jack's country property on film - the combination of Wilde's consciously artificial dialogue and the real outside world just doesn't work. What's more, Irene Handl, as Miss Prism, has a nightmare with her lines, at one point referring to "political comedy" instead of "political economy". Her performance throughout is disappointingly stiff, as is Wilfrid Brambell's as Dr Chasuble. Charles Lloyd Pack is cast as Merriman, which means he has little to do except look pained.<br />
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Sadly, the combination of cast and play sounds a lot better than it actually turns out to be.<br />
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Ivanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.com0tag:blogger.com,1999:blog-4443589666300610642.post-91457387244566171232014-11-14T00:00:00.000+00:002014-11-14T00:00:09.996+00:00Saturday 14 November 1964<div class="separator" style="clear: both; text-align: center;">
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Tonight's <b>Doctor Who </b>is an odd one: the current story was recorded in four episodes, but prior to broadcast it was decided there wasn't enough going on in the last two. So they were edited into a single instalment, meaning the equivalent of an entire episode was cut. While the pace may have been improved, we're left with several events which are only fully explicable by reference to the excised material. The actual footage is long lost, but the DVD of the story includes an illuminating reconstruction made up of redubbed and newly shot scenes, as well as some CGI effects that are as pointless as they are terrible. I'll let you know where tonight's episode suffers from the loss.<br />
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We ended last week with the miniaturised Susan and the Doctor in danger of drowning as Smithers (blissfully unaware of their existence) pulled the plug out of a full sink. Fortunately they've managed to hide in the overflow pipe. But they're not safe yet, as the plug is put back in and the sink filled once more...<br />
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Forester's turn at the sink has been cut, as has a scene with Ian and Barbara hiding from the cat which reappears from the last episode. The next thing we see is Ian and Barbara swinging down into the sink to see what's become of their friends (Barbara's increasingly unsteady after her exposure to DN6 last week).<br />
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The Doctor and Susan, alive and well, crawl out of the plughole to greet them. Dudley Simpson's glockenspiel-heavy score is here so loud it drowns out the characters' dialogue.<br />
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Forester's made the necessary changes to Farrow's report and phones through to Whitehall pretending to be the late man from the ministry (He disguises his voice via the ingenious method of putting a handkerchief over the speaker.<br />
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This might be enough to fool simple-minded civil servants, but busybody local telephone operator Hilda Rowse (Rosemary Johnson) can tell at once he's not Mr Farrow. The bad news for Forester is that Hilda's husband Bert (Fred Ferris) is the local police constable. The good news is that he's not terribly competent.<br />
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A long scene with the time travellers discussing the deadly insecticide and arguing about whether to do anything to prevent it originally followed here. In a way it's removal's a good thing as it was pretty tedious - without it, however, our heroes' sudden determination to intervene rather than head straight back to the TARDIS seems a bit mystifying. In the broadcast version we cut straight to Ian and Susan finding Smithers' notebook, with the DN6 formula handily displayed for all to see. "We might even find a cure!" enthuses Barbara. As she's still keeping her condition to herself nobody knows what she's wittering on about. At their present size they can't read the formula, so the Doctor suggests they each pick a bit of it and build up a map of the gigantic piece of paper. The actual doing of this is cut from the broadcast version, and we go straight to the Doctor recoiling in horror at the result: "The inventor has made this insecticide everlasting!" It could have devastating effects on all animal life.<br />
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The others become increasingly aware of Barbara's distress, but she still won't discuss the reason for it, making out she's simply hungry.<br />
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The Doctor spots a telephone, and decides they should try to let the outside world know about the problem pesticide. So they head off in the direction of the gargantuan device.<br />
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Susan and Ian climb the mountain of flex to the receiver, and the whole gang combine their strength to lift it (even weak-as-a-kitten Barbara has a go). Propping it up with corks they all shout into it together. After all that it proves useless: Hilda can't hear them and her voice is just an indistinguishable bellow to them.<br />
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The loud noises coming from the receiver cause Barbara to collapse. The Doctor realises her hanky's covered in insecticide she wiped from her hand. The poor woman comes round to a scolding from the old man. Happily, he thinks he knows how to cure her: "Her protective cells are too small to cope with the molecules of poison in her bloodstream" - so the only thing for it is to get her back to normal size, making the dose of poison 70 times weaker.<br />
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Ian asks the Doctor to confirm he can get them back to normal size. His answer doesn't inspire confidence: "Oh yes, of course I can, dear boy. Yes, of course I can. I hope." Barbara, however, is determined that the need for the world to be notified of the danger of DN6 is more important than her survival.<br />
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Forester, trying to make a phone call, has been alerted to the phone in the lab being off the hook. He's understandably puzzled to find it propped up by corks. Smithers, meanwhile, is alerted to the smell of DN6 [in the unedited version it's clearer what he's smelling: the cat, who's died after coming into contact with the deadly spray].<br />
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The travellers may not have got the message through as they'd hoped, but nonetheless Hilda is very puzzled by the strange goings-on at Smithers' cottage, and calls up especially pretending to have a call for Farrow. Forester does his hanky trick again and Bert listens in, agreeing that it's not Farrow and heading off to investigate (Fred Ferris's helmet appears to be too small: he can't get the strap past his nose).<br />
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The Doctor's decided the best course of action to alert people to what's happening at the cottage is to start a fire, which the adventurers achieve by switching on a gas tap then taking a run at a matchbox with a match. There's a can of insecticide nearby which will make a convenient explosion, though the Doctor warns his companions to steer clear as to them it'll have the effect of a thousand pound bomb. "It'll be just like the air raid, Grandfather, do you remember?" asks Susan, as she and her grandfather reminisce over a visit to World War Two.<br />
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Smithers has discovered to his horror that DN6 has killed every living thing in his garden. He warns Forester, but the businessman simply points a gun at him. Happily he's then blinded by the exploding DN6.<br />
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Bert Rowse arrives on the scene, and will no doubt find out what's going on, but the focus now is on our inch-high private eyes and their return to normal size.<br />
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The return trip to the TARDIS did not survive the editor's shears, instead we're back in the ship just as the Doctor prepares to set everything right. He's brought a giant grain of wheat with him to confirm their change in size, and as the ship grows it slowly dwindles to the size you'd expect a grain of wheat to be.<br />
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Suddenly Barbara feels much better, but the Doctor's peeved that the scanner's broken again [he fixed it before they took off, but that was cut], and he can't see where they've landed...<br />
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The opening sketch of this week's <b>Arthur Haynes Show</b> sees the show's regulars (including Nicholas Parsons, back after his week's sabbatical) as factory workers clocking off: Arthur makes the clock pay out like a fruit machine.<br />
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Next, Arthur and Dermot are bin men whose assault on the knocker of 10 Downing Street draws the attention of Constable Nicholas Parsons. His insistence that they desist draws a typically belligerent response: "That house belongs to the country, mate. He's only in there cos it goes with the job." As there's now a "working class" government in power, Arthur suggests that for all Parsons knows he and Dermot could be members of the cabinet.<br />
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The real cabinet choose that moment to arrive: "And did you notice, not one of them was wearing a flat cap," Arthur huffs. Fellow bin man Leslie Noyes arrives from round the back with the PM's rubbish. It's full of empty wine bottles, which Arthur examines with disgust: "German Hock... French Chablis... Italian Chianti... There's not one bottle of British wine been drunk in there!" So they refuse to take any of them, pleading import duties.<br />
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If you've ever wondered what people did on trains before the advent of laptops, Parsons can be seen clacking away at a portable typewriter, much to the irritation of fellow passenger Arthur. In response to learner typist Parsons' insistence that "people can practice on trains if they want to", Arthur whips out his trumpet.</div>
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Which seamlessly moves us on to tonight's musical guest, the late Mr Acker Bilk (late in 2014, rather than 1964, I should clarify), who gets an unprecedentedly lengthy slot that takes up a third of the episode's running time. Near the beginning there's a curious effect that makes it look like Bilk and his colleagues are taking their turn at being trapped in the space-time vortex.<br />
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The final sketch sees Arthur and Dermot, and respective wives Patricia Hayes and Rita Webb, lowering the tone on the Cote d'Azur. "It's much more posh than it is at Southend, grumbles Patricia, but Rita's mind is elsewhere: "Cor, look at them men!"<br />
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The men are similarly taken with the local talent: "You know something, Dermot? My missus never looked like this."<br />
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It's this kind of insensitivity from the blokes that eventually leads to Rita bursting into tears: "We'd just as well have stayed in Southend and get wet without her splashing her tears all over the place," grumbles Arthur." But she's quite happy once she's got a lollipop in her hand.<br />
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Arthur orders some beers from a nearby waiter: "Beer!" "Oui, oui" "No, just beer!" as well as egg and chips all round: "Understandy eggy?!" Of course the waiter turns out to actually be English.<br />
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We conclude with an excited Rita changing into her swimming cossie to take a dip, her leap into the water rendering the menfolk drenched.<br />
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Next, <b>Redcap</b>. Tonight's episode of the globetrotting military thriller series is set in Cyprus, where Sergeant John Mann is competing for the attention of the ridiculously busy Colonel Morris (John Ringham).<br />
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The titular Corporal has disappeared along with three British army rifles, and Mann is in town to find him. McCann, it emerges, had a lucrative sideline in nudie photos, and the Colonel speculates that he might have been killed by a local angry that the Corporal was using his daughter as a model. McCann's room is entirely decorated with his work, and his bed is covered in blood. He hasn't taken his toothbrush or razor.<br />
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Mann's investigation is interrupted by the arrival of Intelligence man Lovelock (Jerome Willis) and his sidekick Jenkins (Arthur White). Lovelock's treating McCann's disappearance with the guns as a political matter ("A sparrow can't tweet on this island without someone, somehow, somewhere making political capital out of it) and doesn't take kindly to Mann's involvement.<br />
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Unbeknownst to Lovelock, Mann has copied down the address of a woman named Ariane, which he found in the room. He goes to visit, but is obstructed by a gun-wielding youth (Kurt Christian - full title Baron Kurt Christian von Siegenberg) who he nonetheless makes short work of, dumping him in a cupboard.<br />
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Ariane (Maria Andipa, nowadays owner of a gallery in Knightsbridge) also has a gun ready for anyone who tries to get in her door, but Mann climbs up via the balcony and takes her from behind.<br />
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Ariane claims that a local villain named Orestes and his gang assaulted McCann while he was photographing her, then ran away, leaving the wounded Corporal behind. She claims they stole McCann's gun because they wanted to kill someone and make it look like a British officer was responsible.<br />
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UN duty officer Colonel Mahadi (Lloyd Reckord) tells Mann that this is exactly what he was afraid of - there's clearly a major diplomatic incident brewing. He mentions to Mann that there was a fight the previous evening between Northern and Southern Irish soldiers, and as McCann's an Ulsterman, Mann wonders if he might have been involved.<br />
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Mann meets with seedy local police Inspector Gregoriou (Warren Mitchell), who admits that McCann was one of the three men arrested. His possessions were returned to him on his release, but he left some photos behind which Gregoriou is very much enjoying.<br />
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Windsor Davies plays a Quartermaster Sergeant, who gave McCann a gun in error, not realising he was already in possession of one: "He was a nice chap," he says of the Corporal. "Mind you, he was nutty about women's chests." He's got one of McCann's photos. "Can I keep it?" asks Mann. "Aye, but bring it back. Don't bend it, like."<br />
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Lovelock tells Colonel Morris that McCann was mixed up with a Greek far right organisation who want to incriminate the British in an assassination. Mann shares his reconstruction of the night of McCann's vanishment: He had his first gun taken while photographing Ariane, lost the second in the fight that caused the bloodstains on his bed, then stole a third while the Quartermaster was distracted.<br />
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The Colonel gives Mann till morning to find McCann: if he doesn't succeed the Corporal will be reported to the Greek government for gun-running. Mann and Lovelock visit the last place Orestes was known to reside, but instead, in an extremely grim scene, discover two dead bodies, crawling with flies. And a note: "So Die All Traitors" (given the content of tonight's <b>Doctor Who</b> it seems appropriate that the flies are summarily dispatched with DDT).<br />
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But there are three chairs, and Mann speculates that there was a third victim, who's since been removed. He's right - a girl (Barbara Bennall) was shot too, but has been removed to the home of her parents (Dallas Cavell and Mercia Mansfield) by Corporal McCann (Ian McNaughton). The girl dies, and her father entreats the wounded McCann to help avenge her death - but McCann's only interested in getting the guns back.<br />
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As Colonel Morris helpfully sums up for any viewers who've got a bit lost: "So McCann and his Communists are out looking for Orestes and his Anarchists, who are going to assassinate the devil knows who with a British gun!" It turns out that the aim is to kill as many UN operatives as possible, and the whole thing ends with a lot of fisticuffs. In the end McCann's charged with going AWOL but everything else is dropped.</div>
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That was all a bit <i>too </i>breakneck. I'm craving <b>Emergency Ward 10 </b>and its rows about shift patterns now.</div>
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Ivanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.com0tag:blogger.com,1999:blog-4443589666300610642.post-80677525457877198482014-11-13T00:00:00.000+00:002014-11-13T22:53:47.500+00:00Friday 13 November 1964<div class="separator" style="clear: both; text-align: left;">
I don't know if tonight's <b>Emergency Ward 10 </b>was written with the ominous significance of its broadcast date in mind, but it certainly sees the staff of Oxbridge General Hospital suffer a great deal of bad luck. The first person to fall victim to ill fortune is Giles Farmer, who falls off his bike in a curious pre-title sequence shot outside on film. His fiancée Louise Mahler is initially distressed, then amused.</div>
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When we first see Les Large he's still beaming with joy after winning £200 on Little Bit of Fluff, eliminating the financial worries that have plagued him since his car crash. Louise refuses to share in his rejoicing: "Gambling of any kind is criminal. It ought to be forbidden by law."<br />
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She's got both a lovely surprise and a nasty shock coming: Giles presents her with a new engagement ring to make up for the loss of the other one, and this one has real diamonds in it. But when she frets that he can't afford it he reveals the money came from his win on the horse. Louise is disgusted, and they have a blazing row, culminating in him calling her an old-fashioned prig and her angrily giving the ring back.<br />
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Giles is called to the bedside of Mr Springer, who's sunk into despondency after being financially ruined by his son-in-law continuing to take bets on Fluff at 10/1 while the odds were shortening daily.<br />
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But when Giles departs, Mr Springer has a look at the paper - and discovers some startling news...</div>
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Les and one of those conspicuously silent nurses are having a look at a new admission, hale and hearty rugger bugger Mr Prentiss (John Collin, in a role very different to the hard-bitten 'tec he played in Saturday's <b>Redcap</b>), an old friend of Charlie Booth's who's in at his GP's insistence with suspected appendicitis. He doesn't think it's anything worth worrying about, and Les agrees and lets him go (I suspect we'll be hearing more about this).<br />
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In the very crowded shot below, Michaela Davis talks to Giles about his and Les's wins, only to be scolded by the newly draconian Jane Beattie. The deeply unappealing Peter Bacon puts his oar in, and, once the nurses are out of earshot, tells Giles of his intention to make a move on Michaela.<br />
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He's not slow about it, either, following her into the sluice and subjecting her to his especially grating bland of clownery, and informing her she'll be accompanying him to the social event of the year, the League of Friends dance. Bizarrely, she doesn't tell him to piss off, and we're subjected to a truly nightmarish close-up of his blubbery lips as he makes kissy faces at her.<br />
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Mr Springer tells Giles he's got something important to show him in the paper. Elsewhere, Les reads something in his own copy that appals him. And in the women's medical ward, Amanda Brown shows Louise something in her copy that she thinks she should know about. Louise heads off, at which point Amanda overhears Rex Lane-Russell telling Charlie he's got nobody to go to the dance with, and angles after being his date. But he tells her there's no way she'll be well enough to go, sternly informing her that even though she's being let out in two days she'll need two weeks of complete rest. Her sights clearly set, she asks him to pop round for a drink once she's recovered.<br />
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Misfortune strikes once more, with Les and Giles commiserating over the story in the paper: in their excitement at hearing their horse had one they switched off the radio before the announcement that it had been disqualified. Les is back where he was, and Giles will have to return the ring.<br />
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Les has to explain to his bank manager that he won't be depositing the money as discussed (one thing that certainly seems like a lot more hard work in the 60s was money), but arranges an appointment that afternoon and hopes to charm him into agreeing to a loan.<br />
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The programme makers clearly wanted to make as much use as possible of their location filming this week, as there's a brief and entirely pointless scene of Les also having bike trouble.<br />
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Back on VT, an uncharacteristically assertive Ivor Gittings asks Jane to accompany him to the dance. Impressed with his bold new manner she agrees. He confesses he got the idea from a woman's magazine.<br />
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On film again, Michaela contemplates a poster for the dance, clearly wondering whether she's made the right decision.<br />
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But then Les asks her to go with him, clearly expecting her to say yes, so she tells him she's going with Bacon in the hope of making him jealous. He's more incredulous than anything else, especially when the man himself turn up and he and Michaela go all lovey-dovey. "What a bird, eh?" Bacon observes as Michaela departs. Les declines his offer of a drink.<br />
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Louise apologises to Giles for being so intolerant of his gambling, explaining the root of it: "Africans are obsessive gamblers, It's one of the three things that are holding us back: gambling, smoking hemp and corrupt politics." Crikey. She asks for the ring back, so a shamefaced Giles admits what happened: as she wanted to talk to him about something in the paper he thought she knew already. But it turns out that's not what she read about at all the story that upset her was about civil war breaking out in her country. Communications have been cut off and she doesn't know whether her family are safe...<br />
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Ivanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.com0tag:blogger.com,1999:blog-4443589666300610642.post-90785743764222431322014-11-12T00:00:00.000+00:002014-11-12T00:00:00.207+00:00Thursday 12 November 1964<div class="separator" style="clear: both;">
The opening teaser of <b>The Saint</b>, with Simon Templar chatting to the viewer at home, is always a bit self-reflexive (or whatever the current jargon is), but tonight's is even more so than usual, featuring, as it does, a pair of students (Nicholas Pennell and David Jackson, barely recognisable as Lofty from <b>The Larkins</b>. Their characters are listed in the credits as "Intelligent Undergraduate" and "Husky Undergraduate" respectively) watching Simon at a hotel bar and joking about him being the heroic type regularly approached by women in need of help. Simon is at pains to assure the viewer this isn't always the case at all: he's perfectly able to have a drink in a bar without coming to the aid of a damsel in distress. But lo and behold, here's a terribly upset Annette Andre: "My name is Madeleine Gray and my life's in danger!" Simon even conjures up his halo himself this week by noting that she's come to him "Because I'm the famous Simon Templar."</div>
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Madeleine tells Simon she's received her note threatening her life if she keeps an appointment with chemical company owner Hobart Quennel. She explains further that her father's a brilliant scientist whose new invention is worth millions. Simon offers to take her for dinner, but informs her that he doesn't believe a word of it. Madeleine storms out, and Simon goes to confront the students, who he's sure set him up. When he realises they didn't he races after her - she's on her way to Quennel's house, followed by what must surely be one of the most sinister gangs of crooks ever seen on TV, consisting of Peter Vaughan, Neil McCarthy and Michael Robbins.</div>
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Outside the Quennel residence there's fisticuffs aplenty with Morgen (McCarthy) and Smith (Robbins) trying to drag Madeleine away with them but being interrupted by Simon, who, of course, bests both men.<br />
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As the heavies slink off, Simon and Madeleine are approached by Vaughan's character Walter Devan (nobody seems sure how to pronounce his surname), who Madeleine knows well as Quennel's PA. They all head to the house, to be told by the aged butler (Ian Fleming - not that one) that Quennel's not in. His curiosity piqued as to what's going on, Simon takes Madeleine home and she explains her father's discovery of Process G: "a revolutionary new way of making synthetic fibres". An American company's offered Professor Gray a million dollars for the formula, but being a patriotic type, he's been trying to negotiate with Quennel's Quenco instead - though they've been oddly uncommunicative. So Madeleine was meeting with Quennel in a last ditch attempt to get something sorted. Simon decides to go and talk to the businessman in her place.<br />
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On his return to the Quennel home, Simon's greeted by the fabulous Justine Lord as Quennel's deranged nymphomaniac daughter Andrea: "Good evening." "It is <i>now</i>... My, but you're big and strong!" The plainly terrified Saint is saved from her clutches by her disapproving father (Geoffrey Keen). Simon demands to know what's going on with Process G, but Quennel claims that his scientists have shown it to be utterly useless. He seems baffled by the Americans' plan to pay so much for it, and promises to investigate further. Simon's convinced that Devan's behind whatever's going on.<br />
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After reporting back to an astonished Madeleine, Simon returns to his hotel room to find Andrea waiting for him (Why's he staying in a hotel in London? He lives there!).<br />
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A startled Madeleine walks in to find Andrea forcing a snog on Simon. He quickly boots the troublesome vamp out, responding to Madeleine's question of what she wanted with a hilarious glance. Madeleine's concerned because her father's not answering the phone.<br />
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The pair of them head to Professor Gray's home - there's no sign of him, but Simon discovers Morgen snooping around the lab. He demands to know where Gray is - shooting some bottles as a warning.<br />
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It escalates into another big fight, continuing the trend of increased violence in the show: Simon nearly gets acid in his face and the eventually beaten Morgen has blood dripping all done his chin. He agrees to talk, but is shot in the back by Smith before he can. Smith gets away.<br />
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The detective on the case of Gray's disappearance is not Claude Eustace Teale this time but the altogether friendlier Inspector Malloy (Robert Bruce).<br />
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Quennel visits Madeleine to sympathise over her father's disappearance. He says his scientists' reports don't add up and he's convinced there must be more to Process G than he's been told (he's being so nice that it's obvious he'll turn out to be the baddie).<br />
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Devan has mysteriously vanished, and Simon pitches up at the hotel room of Process G's American prospective buyer Cy Imburlaine (Ed Bishop, who, you may remember, was in the show last week as someone else) pretending to be him. Imburlaine knows he isn't as he's met Devan, and the two have a fight (for no real reason other than that this is what happens in <b>The Saint</b>). Afterward, Imburlaine insists he has no idea where either Devan or Gray are.<br />
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Once more, Simon finds Andrea in his hotel room. This time she's totally pissed. "I suffer from a kind of agitated boredom," she slurs in explanation for why she's pursuing him. She's surprised to be asked where Walter Devan is, as he's at home with her father.<br />
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At the Gray house. the kindly constable assigned to look after Madeleine notes that the lab's on fire and goes to investigate, leaving her at the mercy of Smith, who promises to take her to join her old man.<br />
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Simon returns to the Quennel household with Andrea. The industrialist cheerfully admits that he arranged Gray's kidnapping: it's all part of the dirty tricks you occasionally have to get up to in business. Gray wouldn't accept his offer for Process G, so he's decided to be extra persuasive.<br />
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Quennel offers Simon a job at £100,000 a year (in 1964 money!), but when the Saint turns him down he's roughed up by Devan and Smith.<br />
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Simon's taken off to join the Grays. Andrea confronts her father, and gets beaten up by him (this episode's remarkable for its violence against women).<br />
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Quennel's captives are kept in an air raid shelter on his grounds, and Simon's given 5 minutes to persuade the professor (Moultrie Kelsall) to sign over his formula. Instead, he sets to rigging up a device that will electrocute anyone who both stands on a wet newspaper on the floor and touches the metal doorknob.<br />
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Yes, it does sound a bit of a long shot, and there are a few tense moments when it looks like Devan won't fall foul of the trap. But eventually he does, enabling the captives' escape.<br />
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Simon confronts Quennel, only for Andrea to inform them that she's already informed the police about her father. She's the sort of character who almost always ends up tragically dead, so given Justine Lord's tremendously entertaining performance it's rather wonderful that not only does she survive but she sweeps in at the end of the episode, glammed up to the nines, just as Simon's trying to convince the students how unremarkable his life is.<br />
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This series of <b>The Saint </b>has been tremendous fun so far, and this is another winner.Ivanhttp://www.blogger.com/profile/16238278453004957454noreply@blogger.com3tag:blogger.com,1999:blog-4443589666300610642.post-57636467410119612352014-11-10T00:00:00.000+00:002014-11-10T00:00:03.087+00:00Tuesday 10 November 1964<div class="separator" style="clear: both;">
For a change, tonight's <b>Emergency Ward 10</b> follows up directly on the last episode's cliffhanger, with a reprise of Staff Nurse Pat Lyle's terror at being confronted with a sinister intruder.</div>
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The opening title zooms into view as Les Large, returning to the hospital after his crushing encounter with Lena Hyde, hears Pat's scream and rushes to her aid.</div>
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The masked marauder turns out to be the grotesque Peter Bacon playing a practical joke. Les is appropriately rough with him.<br />
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Meanwhile, the Royal Hotel bar really is proving the place to be tonight: not only is Louise Mahler there waiting for her fiancé Giles Farmer, but the three Sisters (more <b>Macbeth</b> than Chekhov, if we're honest) have congregated to celebrate Doughty's birthday. MacNab tells the others about Louise's lovely engagement ring: Doughty's envious as she never got anything that nice from any of the young doctors she was engaged to. She explains there was nothing else to do when she started her career in nursing : "If you knew that part of Ireland, you'd know what I mean". Their conversation inevitably moves on to Matron's new shift system, and Ransome tells the others that even she isn't sure it's working. Doughty insists they need to give it a fair crack of the whip and suggest ways it can be improved, but MacNab is still nothing but negative.<br />
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A deeply upset Louise (in a lovely blouse) confesses to Giles that she's lost her engagement ring, after taking it off and putting it in her pocket to avoid scratching patients with it. She's searched the hospital grounds to no avail.<br />
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Back at the hospital, Amanda Brown's improving, and is even planning a holiday. You'd think the incident where her mother broke her back would have put her off skiing, but not so: she and Rex Lane-Russell bond over their experiences at the same resorts.<br />
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Les and Giles swap tales of woe. Having lost at love, Les decides to pin his hopes on money, specifically the money he's hoping to collect from Mr Springer if his horse, Little Bit of Fluff, wins. Giles, hoping to buy Louise another ring, decides to have a flutter as well.<br />
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Mr Springer continues to run his betting shop from his hospital bed, to the exasperation of the nurses. It's wonderful seeing an actor of Ronald Radd's quality guesting on <b>Emergency Ward 10</b>, and the rest of the cast all look like they're having a fantastic time whenever they're on screen. Writer Diana Morgan provides him with a hilarious monologue about the useless son-in-law who's running the business in his absence, and his delivery of it is an absolute joy.<br />
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Sister Ransome tentatively suggests to a more than usually frosty Matron that the new shift system has one or two problems to be ironed out.<br />
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Rex Lane-Russell's feeling a bit under the weather, and combats his feeling of peakiness by balancing a glass of Beecham's powders on his forehead. Jane Beattie pops in to see him and is disheartened to note that he seems to have lost all interest in her - it looks like his thoughts are now on Amanda Brown.<br />
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Pat Lyle's recovered from her fright, and Les is astonished when she sticks up for Bacon in response to his continuing tirades against the imbecilic young doctor.<br />
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Les is moved to compose a rhyme in his head: "I do not like thee, Dr Bacon/ With your happiness I'm not taken". Clearly he thinks better of it.<br />
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Amanda receives a visit from sweet but gormless Maureen Parkin (Therese McMurray), who rooms in the same house as her. Amanda's a bit mysterious, asking Maureen to bring her a book she needs for some visitors she'll be receiving the following day.<br />
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As Louise and Sister MacNab discuss whether anyone could have stolen the ring, they're interrupted by Nurse Pollock (Jane Evers), who we haven't seen before. Could this be significant?<br />
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Amanda refuses a cup of tea from Nurse Pollock, but when Sister MacNab later chides her for not drinking enough fluids, she claims she's bored with water and didn't know she was allowed anything else. What on earth is going on?<br />
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MacNab voices her concerns to Louise that Amanda might be suffering from some form of amnesia, but leaves this problem aside to make her lack of enthusiasm for the new shift system perfectly clear.<br />
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The race commences, and the tension mounts for Mr Springer. Little Bit of Fluff wins, and Les and Giles jubilate. But for Mr Springer it means ruination...<br />
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Next tonight...<br />
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Tonight's episode begins with a gripping scene featuring a beautiful woman (Lelia Goldoni) being stalked through the streets of London by burly Barry Linehan.<br />
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Finally she eludes her pursuer, and reaches the home of an old friend; of ours too: it's John Drake. This was the third episode of the revived <b>Danger Man</b> to be made, and at this stage Drake was still portrayed as American, as he had been in the show's original incarnation. It looks like the decision to make the character English was made during the making of this episode, as Patrick McGoohan's accent constantly changes throughout (and not simply when he's adopted an alias). Drake's also portrayed as a much more gregarious figure than we've become used to, enthusiastically welcoming his former colleague Liza Lansig into his home and being an almost overbearingly solicitous host.<br />
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Of course his joy at seeing Liza may to some degree be an act: as soon as she tells him about the man following her he pops out to have a look, heading straight for a phone box to ask his boss (not the sinister Admiral this week but the far more genial figure of Brigadier Gorton (Raymond Adamson), who even has a comic sidekick, Mumford (Edwin Apps) if they've got anybody on Liza's tail.<br />
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Before Drake gets home, Liza has a good root round his flat looking for a gun. Finding one, she secretes it in her handbag.<br />
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Drake presses Liza into going out for lunch with him, but she absconds from the taxi on the way there. Drake follows after her into a health food shop, but there's no sign of anyone but the proprietor, Mr Sustri (Kenneth Adams). From his name and his references to studying in Delhi I think he's supposed to be Indian, but you'd certainly never know it from looking at him. "I'm having a little trouble with weight," claims Drake. "Oh yes, the affluent society," Sustri sagely nods.<br />
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When Drake leaves with a slimming aid, Liza emerges from her hiding place at the back of the shop and obtains an envelope from Sustri. The displays behind him are fascinating.<br />
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Drake, who was hiding in the next shop's doorway, follows after Liza when she leaves the shop, and, failing to get a cab, tries to drive after hers in the car belonging to her other pursuer, being attacked by the man and nearly running over a policeman in the process.<br />
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As a disgruntled Drake confesses to Gorton, it turns out that the man following Liza was <i>also</i> a policeman, Foster of Special Branch. who was on to her for using Sustri's fake passport service. Gorton's worried about Liza's fears of being pursued, as she was recently treated at a mental hospital for a persecution complex.<br />
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Liza's complex was a result of being tortured in East Germany by a man named Pohlman, an ex-head of security and now government minister who she became obsessed with killing. She's attempted to kill him before and, in spite of the assurances of Dr McKenna (Noel Howlett) that she's fully cured, Gorton fears she'll try again.<br />
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Drake and Foster return to the shop and confront Sustri over his passport racket. He admits to forging a Swiss passport and East German visa for Liza. Realising she's gone after Pohlman again, Drake obtains his own fake passport and follows after in the guise of her husband<br />
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James Maxwell plays Pieter, an East German contact of Liza's who refuses to furnish her with Pohlman's address until she has a breakdown, and he agrees to get it for her in order to end her suffering.<br />
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As Pieter leaves Liza's hotel room Drake arrives, warning her that "You can't wipe out blood with more blood". She's in no mood to listen.<br />
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Pieter meets up with Drake and confirms that Liza wants to kill Pohlman. George Mikell, who was in <b>Danger Man</b> in a different role just a couple of weeks back, plays Wilhelm Berg, the stony-faced son of the local police chief, who tries to obstruct Drake's attempts to see his father.<br />
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Drake eventually gets to see Colonel Berg (Andre Van Gysegham), and warns him that his "wife" is Liza Lansig. Berg is clearly terrified by the name, and agrees to deport Liza, but seems oddly reticent to stop her from assassinating Pohlman.<br />
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Pieter warns Drake there's no way that the government will deport Liza: instead she'll be whisked off somewhere that "she'd be better dead."<br />
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A man in the hotel restaurant hands Liza a piece of paper with Pohlman's address. Drake sees it but he's prevented from stopping her exit by the police, who intend to physically force him out of the country. Pieter comes to his aid and a fight ensues, in which the police come off worst. Pieter and Drake follow after Liza.<br />
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Liza reaches Pohlman's house and hides in the bushes with a gun, unaware that Wilhelm Berg is hiding in the bushes with a separate gun trained on her.<br />
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Pohlman (Ernest Lindsay) takes a seat on his balcony and Liza takes aim, but is prevented from shooting by Drake. So Berg shoots Pohlman dead instead. Drake realises that Colonel Berg intended to allow Liza to kill Pohlman to further his own ends.<br />
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Drake sets an elaborate trap for the Bergs by spreading false information that Liza is trying to escape to the West. Wilhelm follows the supposed Liza through a hole in the fence to the other side, only to find British forces, and a girl who isn't Liza, waiting for him.<br />
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Drake informs the Colonel that his son is now in the West, and that it will be spun to look like he defected because of a girl. The Colonel is forced to agree that Liza be exchanged for Wilhelm.<br />
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A middling instalment, that. Next tonight, <b>The Plane Makers</b>, which is driving me ever closer to the end of my tether.<br />
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The most interesting things about tonight's episode are the eyebrows of actor Henry McCarthy, who plays a French aeroplane manufacturer, Monsieur Evrais (he doesn't do the accent) whose company have developed a plane very much like the one John Wilder is trying to get a government contract for.<br />
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Evrais accompanies Camille Tonnelier (Robert MacLeod), French minister for the Integration of Expenditure, to London, where they meet with a group of backbench MPs influential in the field of aviation - including Sir Gerald Merle and James Cameron Grant. Tonnelier's realised that NATO will only want to buy one type of plane, and offers to give each man a full dossier on the Evrais plane so they can judge whether or not it's better than the Ryan Airframes one. If they think it's better, he wants them to lobby for it, otherwise the French will want to see the specs of the English plane. The country with the successful plane will leave the way clear for the other to provide NATO with troop carriers. "If this sort of thing becomes a habit there'll never be any need to join the common market!" chortles jolly old Samuel Hesterby (Carleton Hobbs).<br />
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Patrick Wymark's away again this week, meaning Jack Watling gets top billing as Don Henderson. He's called to the presence of Sir Gordon Revidge, who wants to undermine his loyalty to John Wilder: he warns Henderson that the problem with being a "Wilder man" is that eventually Wilder feels obliged to return one's loyalty - and as he doesn't like that feeling it means you're for the chop. Revidge intimates that he could get Henderson a seat on the board of Ryan Airframes if he plays his cards right. Don responds that while being a Wilder man may have its pitfalls, being a Corbett man is more than he could bear.<br />
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Merle appears and relates the events of the morning's meeting. Revidge is appalled to learn that he refused to take a dossier because of the conflict of interest in him being on the Scott Furlong board. I think I should point out that the strange wart thing above William Devlin's eyebrow seems to grow bigger every week. Don and Laura Challis are sent off to get details of the dossier from those who did get one.<br />
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Obviously Laura has an advantage here, being romantically involved with Cameron-Grant. She prepares a fancy dinner at his flat that evening, Wendy Gifford's licking of her skewer presumably intended to perk up viewers who may have fallen asleep during the seeming aeons it's taken the episode to get to this point.</div>
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Like everybody else, Grant and Laura talk interminably about business. Though more scenes could do with ending on a note of pure <b>Acorn Antiques</b> as this one does, with the following dialogue delivered in hilariously sultry tones: "I've a mild impression that you're using me, James." "I should always be delighted for you to use me, Laura." "I think my partridges are burning." "Good."<br />
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Anyway, after a load more to-ing and fro-ing, the whole thing ends with Grant agreeing to show Revidge his dossier in exchange for seats on the boards of both Scott-Furlong and Ryan Airframes. Then, moments after the deed is done, Revidge discovers, to his horror and Grant's vast amusement, that the contents of the dossier is all over that day's papers.</div>
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Condensed to about 10 minutes, that might have been bearable. Anyway, here are some more nice outfits. See you on Thursday (that's Wednesday in 2014 time).</div>
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