. . . . . . . . . . . . . . . . . . . . . . . . . . . . STUDIO based DRAMA
BBC Plays BBC serials ITV Plays
Dr Finlay Moonstrike Taxi! Troubleshooters The Flying Swan This Man Craig Rainbow City Counterstrike Jazz Age Blackmail
Probation Officer Harpers West One The Plane Makers The Power Game Love Story Mrs Thursday Virgin of the SS Skyport Knight Errant
Hour of Mystery Sword in the Web Jezebel ex UK Out of This World Undermind Mystery & Imagination Callan Saki City '68 Maupassant

Colour code in the above chart only:

BBC ATV A-R ABC Granada . . . For studio based crime series . . Soap Operas . . . . . To MAIN TV Menu
Laughter from the Whitehall
#9 What the Doctor Ordered (1957)
ME offered these contemporary observations: "a most enjoyable hour and a half's entertainment. At no time was the viewer filled with that overpowering urge to switch off the set... gloriously funny in its make-up, this play has an unusual touch of sophistication. Very gently it pokes a finger of fun at the modern craze of tranquillizers and happiness pills, for its main character JG Van Velt (played extremely well by Leo Franklyn ) is the proud owner of a casket of many pills,,, the one he is most interested in has rejuvenation powers, but unfortunatey the labels have come off and it is only by trial and error that the right bottle of pills can be found. The trial period gave ample scope for Brian Rix and Basil Lord as JG's nephews, to create all the merriment they wanted. With Peter Mercier as an escaped criminal, Hazel Douglas as a slighted girlfriend, Barbara Hicks as a would-be breach of promise plaintiff, and Eunice Gayson as a gold digging friend of JG, the story emerged as one laugh after another. Larry Noble as the butler, Elizabeth Chambers as the maid, Garth Adams as the policeman, and Charles Cameron as a solicitor completed the skilled cast

Picture Question: Name the well known actress on the right. Answer

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. . . . . . . . . . . . Armchair Theatre
please click for my review-
2.2 Now Let Him Go 2.23 The Lady Of The Camellias 2.29 The Emperor Jones 2.38 The Widower 3.5 I Can Destroy the Sun 3.9 The Greatest Man in the World
3.16 The Criminals 3.53 Scent Of Fear 3.54 After the Show 3.55 Worm In The Bud 3.65 Doctor Kabil 3.69 Lord Arthur Savile's Crime 3.70 Where I Live
3.85 A Night Out 4.3 Lena O My Lena 4.8 My Representative 4.14 The Cupboard 4.26 The Big Deal 4.27 The Man Out There 4.31 Danger, Men Working
4.36 The Ship that Couldn't Stop 4.41 The Omega Mystery 4.46 The Trouble with Our Ivy 4.50 Night Conspirators 4.55 The Hard Knock 4.57 The Fishing Match
4.60 Afternoon of a Nymph 4.70 The Paradise Suite 4.72 The Invasion 4.80 The Snag 4.87 The Chocolate Tree 4.88 Long Past Glory 4.90 The Swindler
4.91 Sharp at Four 4.92 Last Word on Julie 5.1 The Trial of Dr Fancy 5.2 The Cherry On The Top 5.6 The Importance of Being Earnest 5.9 The Hothouse
5.16 I Took My Little World Away 5.19 The Man who came to Die 6.6 Neighbours 6.10 The Night Before The Morning After 6.11 Don't Utter a Note
6.21 The Noise Stopped 6.22 Dead Silence 7.2 A Magnum for Schneider 7.3 What's Wrong with Humpty Dumpty? 7.6 Reason For Sale 7.11 Call me Daddy
8.1 Compensation Alice 8.14 Mrs Capper's Birthday MYSTERY THEATRE: 1.5 Toff and Fingers 2.2 The Blackmailing of Mr S 3.4 Man and Mirror
THAMES productions: 9.8 Edward The Confessor, 10.7 A Room in Town, 10.12 Mrs Davenport, 10.13 Say Goodnight to Your Grandma, 10.16 Still Life, 13.3 The Office Party, 13.5 Brown Skin Gal, 13.6 Detective Waiting, 13.8 Will Amelia Quint Continue Writing, 13.9 Competition, 14.1 The Left Overs, 14.4 High Summer, 14.8 The Creditors, 15.1 The Death of Glory, 15.3 A Bit of a Lift, 15.5 Red Riding Hood, 15.6 Square of Three, 15.7 Verite, 16.4 According to Rules (final play)

An actor was once quoted as remarking- "the way ABC talks about their Armchair Theatre, you'd think they were creating another Hamlet. How is it then their plays are so bad?" Yes, this was a popular judgement at the time, and I must admit I always avoided the series, especially when it went through what critics regarded as its golden era (1958-1962) under the direction of the brilliant Sydney Newman, whose name became almost synonymous with the jibe Kitchen Sink. He started in April 1958 and soon made an indelible mark on British television drama. Newman built up a talented team of writers who understood the demands of the new medium of television, and who were not merely writing theatrical or film scripts. Amongst these were Harold Pinter and Alun Owen. But more than this, Newman discovered directors who could mould a tv screen in a new way, amongst these were William 'Ted' Kotcheff and Philip Saville.
When Leonard White took over the reins in 1962, he made the series more accessible while managing to retain the unique feel to many individual plays, and the 'glorious disasters' under Newman's reign were eliminated. Perhaps however also, the brilliance of the Newman era had also departed.
ABC made a total of 373 plays, though the series did continue under ABC's successors, Thames TV. There were also 34 additional plays in Armchair Mystery Theatre.

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Now Let Him Go (15th September 1957).
Script: JB Priestley. Director: Dennis Vance.

Only Hugh Griffith could roll his eyes thus. He's a most confused passenger on a late night train that has arrived at the terminus of Scroop. The unusually helpful staff take him to the Railway Arms, where he is put to bed, a local doctor examining him.
He's actually the famous painter Simon Kendall, who knows his "time is running out." A bevy of press surround the pub, where his family descends, though it transpires he'd been trying to escape from them. There's his pompous son Edmund (William Mervyn) a politician, and his drunken daughter. It's significant they do not go to see him for ages, but merely chat in the back room of the pub. The queen's physician attends, and lots of miscellaneous "zombies."
Granddaughter Felicity (June Thorburn) is more welcome, she listens to the old man and agrees to help him in whatever way the muddled old chap wishes. Kendall has taken a liking to the dogsbody at the pub, Tommy (Gerald Lawson, a kind of Wilfred Lawson clone), who has recommended Simon entrusts the estranged son of the landlord, Stan, with this unspecified job. Another to help is Nurse Judith (Ursula Howells), a widow, who also responds to his ramblings. She has to, so do we, "I want a new heaven, a new earth."
Yet another caller is Leo, the dealer who agrees to sell all Kendall's remaining paintings, currently estimated to be worth around £150,000. But it is not yet decided who will inherit them. More relevantly, Simon can't remember where they are. He is sure he had them with him on the train...
What the author is struggling to say, the loneliness of dying, is all too trite and obvious, not to say sad. The "dreadful noise" of a trombone practising in the background a lot of the time just adds to our depression. Maybe it's Edmund's attitude, seeking to get immediate control of his father's estate and those paintings. But Felicity and Stan race to find them first.
As they do so, Simon spends his last hours forgetting his pain and sorting out the problems of others. But the crisis comes when his son demands he sign over his affairs. The tired old man refuses, ranting against administrators like solicitors.
At last the paintings are found by Felicity. Now Simon can "stop worrying." To his doctor he hands his will, in which Felicity, and oddly Stan, inherit all. And the painting he is completing on his deathbed is given to kind Nurse Judith.
More dreadful trombone music, playing Now The Day Is Over. Viewers still watching must have wondered how Priestley could have earned his reputation. Those that were still awake that is.

Critical plaudits were thin on the ground at the time also. "Mr Priestley may know how to write for the stage but I don't think he has mastered the technique of writing for tv" ... "Mr Priestley is still preaching but he cannot get away with it on TV as he can on the stage. His characters must be more vital"
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The Lady of the Camellias (16th February 1958, 9.35pm)

Script adapted by Norman Ginsbury and Jacques Sarch from the story by Alexander Dumas. Director: George More O'Ferrall who was, claimed Ann Todd, responsible for getting this fine actress to perform this celebrated title role.

Stagey, but the plot moves with a satisfying pace, the fine camerawork focussing, in the style of the era, on the facial expressions of the cast.

The talk is all of Marguerite (Ann Todd), once a shop assistant, now "dressed like a princess," moving amongst wealthy admirers, a duke, a count and the wealthy Arthur de Varville (Douglas Wilmer). She toys with them all.
Armand Duval (David Knight) is entranced by her. "He loves you more than anyone else in Paris." And she is smitten by him. But in the best melodramatic tradition, she is prey to a degenerating disease and her sombre private moods contrast with the gaiety of her public profile. Her tragedy is summed up when she poses the hopeless question to her lover, "what happiness can I bring you?"
Thus the seeds of the crisis are set. Further, she is in debt, Arthur will pay them off, so will the count, but the price will be Armand's estrangement, and she cannot face that. Instead she pawns her possessions and she smiles "I'm happier than I ever dared to hope."
But her past reputation returns to haunt her from an unexpected source. Armand's father (Henry Oscar) warns her that Armand's sister cannot marry her rich fiance, with a girl of Marguerite's reputation such a shadow on Armand's family. In the best vein of Victorian moralism, Armand's father puts it rather plainly, "will Armand learn to love you when your beauty begins to fade?" Then the tortuous logic: to prove she really loves him, is she prepared to give him up?
In the fashion of those times, she resigns her love for him for a nobler cause. The modern viewer finds this hard to accept, more so when the score is settled by a duel. Thus Arthur engages with Armand.
As she lies in bed, wasting away, hope drained, her estranged lover returns to her, all crises in the past, misunderstandings miraculously resolved. "Snatch our happiness while we can," is one well-worn line. However one crisis cannot be avoided: "I want to live," she cries nobly, but alas, "so easy to die," as she swoons away in his arms. Yes this was true melodrama, but nicely presented for the tv age

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Emperor Jones
Adapted from the 1920 Eugene O'Neill play. Director: William Kotcheff.

A camera pans along a long corridor into a large room with a primitive throne. It is that of Brutus Jones, self styled Emperor, who exerts doubtful power for his own financial benefit. Smithers (Harry H Corbett) is an unshaven white cockney trader who is not unhappy that the natives are revolting. The Emperor (Kenneth Spencer in the Paul Robeson role) has a dubious past as we learn from his extremely long conversation with Smithers.
But Jones is now self satisfied in his power. "All I do is ring de bell and dey come flying." Yet not today. The drums are beating a war dance, "take more than that to scare this chicken." He struts off down the corridor, where one unfortunate stage hand lurks, leaving Smithers alone by the throne.
Jones is passing through the large studio woods- considering the confines the props are well moved around to create new scenes, though I did spot one stage hand in the background! Jones is becoming ever more edgy, hallucinating. Firstly he sees Charlie with the dice, he relives the moment they fought, the action done in semi slow motion like a ballet. Similar treatment is given to the chain gang, as Jones is brutalised by a white man, whom he kills. At a meeting with semi religious overtones, he sees a slave being sold, now it's his turn- BANG! He's a free man.
Now wilder, sweatier, he sees himself on the slave ship, then with a sound mike following him, he follows a witch doctor who draws him to a fire around which start dancing the restless natives. Something like a 30's musical, the novelty does wear thin, but it finally comes to a climax with ritual slaughter. Smithers shows up as the bullets are trained at Jones. The corpse with the silver bullet is carried on stage, "where's your high and mighty airs now?"

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The Widower

The play starts in the Cafe des Deux Chats where a lonely man is eyeing a young girl. He is rich Paul Marly and after picking up the lady's handbag and returning it to her, returns to his opulent home. But she shows up, to return the pearls he had hidden in her handbag. She is Juliet (Maggie Smith) and wants to know why he should do such a thing.
In short, he needs a wife. He relates how his fiancee had just two timed him, his one desire was to ditch the pearls. He wants her to keep them.
Film of what is a whirlwind romance follows. Several of these brief filmed interludes seem unnecessary, but presumably necessary for the actors to get their breath in a live production.

Gilbert (John Cairney) is Marly's secretary. He has been a friend, a very close friend of Juliet's. Marly knows it and offers Gilbert a raise in salary. Marly's motives are always enigmatic. As for Juliet, it is now clear her marriage was a mistake, for Paul is "too self centred," and she quickly falls for Gilbert. When Paul has to go to London on business, the die is cast. Gilbert is the one to make up for the deficiencies in her married life. In fact, Paul goes away often on business, very conveniently for the two lovers.
She is nearly very happy, except for the straitjacket he has placed her in. She tells him she wants to leave him. He scoffs and departs on another trip.
That evening she lays a diner a deux, but it is Paul who unexpectedly returns. It transpires he has had her watched all this time. He knows. That decides her she will definitely leave him. He cannot countenance that- think of his reputation.
When Gilbert turns up for dinner, he finds her strangled. Gilbert's own scarf has been used. Then Paul shows up. Though Gilbert is the clear suspect, he realises it is Paul who has disposed of her. Paul phones the police and stages a scene where Gilbert ostensibly attacks him and has to be shot.
Paul relaxes in an armchair to await the arrival of the the law. In typical Armchair style, it is left up to us to foresee the next scene. Cyril Campion's play has some merit in Kenneth Hyde's portrayal of the urbane killer, but drifted into a conventional crime drama whereas it could have explored deeper the married couple's doomed relationship

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"Live from Manchester," written by Jimmy Sangster. Directed by Wilfrid Eades:
I Can Destroy the Sun (12 October 1958)

These are the cryptic words sent in a letter to a government official. "Mark it unbalanced anonymous," declares civil servant Henry Walpole (John Barron).
But others have received similar warnings, and not just in Britain, for Petrov of the Russian lot, and Boardman (Robert Ayres) of the USA have been equally perturbed by such communications. And this occurs immediately after talks between the superpowers "have just broken down" over agreement on limiting the H bomb.
Travers of MI5 (Leslie Sands) has received a more detailed letter, convincing him "this is no hoax." Dr Peter Lunn (Maurice Denham) of the Tipston Observatory confirms the writer is no crackpot, for Lunn himself has already witnessed the recent destruction of a minor star, Phobos. The ultimatum is- get agreement on the H bomb within 4 days or else.... Travers gets an ultimatum too: "find that man!" A hard task for he has "nothing to go on at all."
To keep up the pressure, the crank announces he is going to destroy another small stellar body, Atheos. This will surely concentrate the minds of those conducting the talks! Yet the question has to be asked: what would happen if the sun were to be destroyed? Lunn paints a "very serious" scenario- temperature loss, oxygen "non-existent," leading to asphyxia, crust of the earth splitting, earth flung into outer space. Pretty final, in fact.
Spurred by such a peril, Travers feels justified in giving the US and Soviet delegates a lecture on their immorality. It sums up the aim of the play. They must wake up to their responsibilities and stop merely talking and talking. But herein lies the weakness of this play, for it itself is too wordy, the improbable threats of the crank are never given any real visual impact. But perhaps the words are enough: "in 15 to 20 years time our atmosphere... will be so filthy with radiation that our grandchildren will be born into a world of deformity, mutation."
Thus international peace is secured.
But the madman has not been traced. His invention could itself destabilise the world. He and it must be found.
Travers questions "the person who can see what no other human can see," Dr Lunn. In his observatory he'd worked up this whole scheme. We hear about it in this overlong coda. "I wrote those letters..." All prompted by his own desperate concern for the future of the planet. "Already," he warns Travers presciently, "our weather pattern has begun to change..." ah- you've heard that since, haven't you?

This is a typical Jimmy Sangster script - was it left over from his Hammer days?

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The Greatest Man In The World
Script: Reuben Ship. Director: William Kotcheff.

When is a hero not a hero?
3 years into the future, 1961, and America mourns the death of Jack 'Pal' Smurch (Patrick McGoohan). The President (Donald Pleasence) pays tribute to The First Man on the Moon. He praises Smurch's "flawless integrity" though his inner thoughts reveal a different tale.
Actually the moon voyage had not been official, in a rocket designed by a discredited scientist. A reporter fills the president in on Smurch's background.
His old teacher calls him a sadistic monster. He has a criminal record. A press release is utterly different, It praises an American triumph.
Once safely returned to Earth, we finally meet the loudmouthed Smurch at a press conference. "I am king of the world," he boasts, it is evident that nothing of what he says could be printed. Twice his reception to his public has to be postponed. Smurch becomes ever more restless, a virtual prisoner.
Top experts attempt to instruct him as to how a hero should conduct himself. Wearing a general's uniform, he is introduced to the president and there is immediate friction. "I'll say anything I wanna."
The modesty and self effacement that becomes the true hero is completely missing. All he dreams of is money- from endorsements, interviews. As he goes to address his public, he falls over the balcony, or more precisely, is pushed

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The Criminals (December 28th 1958)
Script: Malcolm Hulke and Eric Paice. Director: James Ferman.
A contemporary verdict from Margaret Cowan- "The whole thing is incredible. The action, motivation and execution of the plot are all artificial. It fails to convince and it fails to move. Stanley Baker gives a strong performance as a forceful leader... but it was a losing battle with an unconvincing script."

My own review:
A New Year's Eve party at the office is interrupted by escaped convict Dorell (S Baker). Managing director Crawford (Raymond Huntley), Foley (Allan Cuthbertson), Stone (Peter Swanwick) and Saunders (Frederick Bartman) are forced to help the criminal steal £200,000 from the next door bank. "This is preposterous," correctly shouts the upper class Crawford, and tries to phone home. Dorell pulls out the phone wire adding darkly, "I just saved Mrs Crawford's life." His partner Harry has taken each of the men's loved ones hostage.
It's fine contrast between the executives and the rough unshaven criminal, even if the premise seems rather far fetched. Pinstripes doing the digging! The four strong management team have to excavate a tunnel to the bank to Dorell's barking orders. Whilst Dorell shores up the tunnel, Foley proposes the obvious- phone the police. They don't. A bobby on the beat joins the nightwatchman for a celebratory drink, unaware of the drama in the next room.
Dorell offers the four a cut from the bank, for he knows each of them has financial problems. He's learned that much from the weakest member, Stone. It turns out it's been a complete bluff about the hostages, but this knowledge comes too late for the men, for Dorell now orders them with his gun. As they are now accomplices, he promises them his silence, and even provides them with alibis.
The crisis reaches a head when the nightwatchman has to be blindfolded and tied up. There is no turning back now for The Criminals. But why these fairly upright men are still assisting is dubious- and is a very weak point of the plot.
The New Year rings out, coinciding with the explosion that opens the vault. But this aspect of the play is never exciting or plausible and the characters of the businessmen needed more detailed delineation to explain their motives. For all these reasons, I was not absorbed, even though Stanley Baker is always watchable.
Sacks of cash are passed along the tunnel. "All this money," swoons Stone. Dorell teases them by handing Foley then Crawford his gun. They can't shoot him, and it must be admitted they did have their chances to stop the robbery. Dorell intends to join the four on their planned private plane trip to Germany, but he realises he's left a clue at the bank, and as he retraces his way along the tunnel, it just has to collapse, killing him. The four men argue over what to do, contact the police or grab the money and run. When they find the nightwatchman has amazingly died, it's murder, and flight is their only option. Their reactions at this point are the best part of the story, even though their actual predicament is unbelievable. Criminals always fall out over the loot, and so it is here. The local bobby interrupts the argument and Crawford gets his friends arrested and walks off with some of the loot

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Scent of Fear
Script: Ted Willis: Director: John Moxey.
Comments from 1959 by critic Guy Taylor- "Armchair Theatre returned for its autumn season with a new opening (still not good enough) and a new play - it was not Willis at his best. The first act was excellent, with plenty of tension and first class acting. After the first interval, however, the play suddenly faltered and came to pieces in the third act. This was mainly due to the fact that there were too many revelations all at once."

Most of the action is set on board British World Airways special flight to London, leaving from an Iron Curtain country with 5 VIPs on board, six if a wanted man can get on board. Karl (Neil McCallum) is seeking political asylum, and the air hostess Joan (Dorothy Tutin) takes a liking to him and stows him on board.
Complications! Two extra passengers, Col Kralik, Commissioner of Police (Anthony Quayle) and his wife. He sets Joan on edge. "I wish you a pleasant trip," she bids passengers automatically, but nervously. Kralik in the manner of communist police chats to Joan, though to her it's an interrogation. "You're impulsive," he tells her, as he claims to be an expert in discerning if people are telling the truth. The tension isn't really sustained however, as the faintly irritating Kralik keeps on probing, speculating and supporting his communist ethic.
But this play is all about Joan who's more flustered the longer the trip lasts, still flying over communist soil. Even the crew have noticed it, for normally "if we came down in the drink, she'd make hot coffee and dish it out with the lifejackets."
"Why are you afraid?" the colonel comes out with it at last. "Fear has its own aroma," he tells her, adding that too familar line about answering the questions. Then a surprise! One passenger, Sten, reveals he's from the secret police and starts to question Kralik. "This is a British plane," protests Joan to no avail, as Sten institutes a search for the escaped man.
Orders for the plane to turn back and land on communist soil. But another shock. Kralik rebels. It seems he's been planning to defect. He castigates the secret police for their gestapo-like techniques. Yes, Kralik is a proper communist, fed up with the current regime. "I apologise in the name of my country for this man," he says of Sten. It's Willis' comment on communism. But he also gives the British attitude to communism: "maybe it's because we're all so ruddy indifferent that this sort of thing happens."
This is a strong finish, for now the plane is able to fly serenely on its way to freedom.

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After The Show
Script: Angus Wilson. Director: William Kotcheff.

Maurice (Jeremy Spenser) has been to a play with his grandmother. He is one of the angry young men in an upper class sort of way. According to her, all he really needs is a girl. Hermione Baddeley dominated this scene. We learn Uncle Victor had gone off with a twenty year old model called Sybil (Ann Lynn). News comes that this girl has tried to kill herself. Despite his gran's orders, the ideallist Maurice insists on going to help this "slut."
Her room is a contrast to the opulent surroundings Maurice dwells in. Sybil puts it on for Maurice's benefit, the tears, the fact that she is expecing an unwanted baby. He is right out of his comfort zone. He does kiss her on the lips.
Maurice deals with the landlord who is mollified by the promise of being given the rent owing. Maurice also arranges for the room to be decorated.
She discusses her "sordid" life with him, he is able to see she has been spinning him a pack of lies. 'Tis her cry to get away from her life. In his own way, Maurice is also anxious to break out of his comfortable lifestyle. They get philosophical, "do you think anything good ever lasts?" It's what the play tries to ask as she relates her meandering meaningless life story.
"Are you sure everything you're telling me is true?" he questions. He kisses her again.
Later he returns with a bunch of flowers, she is more cheery and undresses as he looks shyly away, then tarts herself up so they can go to a club. He is out of his depth when Uncle Victor shows up and she smooches up to him. He soon leaves to take his gran to see My Fair Lady.
Afterwards, they return home and talk once more. He waits for the phone to ring. He is supposed to have learned about himself. We haven't learned anything

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Worm In The Bud
Script: JD Stewart, Director: Charles Jarrott

What is old Mr Snow up to? Nosy neighbour Mrs Bratney hsuspects evil, labelling him Crippen, inventing all sorts of wild stories about the man. "You're imagining things," her lodger Susan suggests. But her boyfriend Police Constable Edgar Malone (Barry Foster) has to take official notice, maybe seeing a chance of promotion. Is this investigation or persecution? Well neither really, but Malone is sanctioned to keep watch on old Mr Snow. The interest of the play. is whether there is foundation in the gossipmonger's stories.
After two days, all Malone has to show for, is Mrs Bratney's incessant chattering. But just why had Snow purchased a spade? Answer: the drains. He's a bit "soft upstairs," according to a drainage man (Joseph Tomelty)- he had been called to unblock Snow's drain.
When Snow eventually leaves his house, Malone naturally follows. He is clutching a case. In a graveyard, he fills the case with earth. Then Malone looks round the exterior of Snow's shabby terrace house, but is arrested by police! That muddle sorted, suddenly Snow is nowhere to be seen. Police break in to the house. The first thing they notice is... earth! But Snow himself has died.
Surprising secrets are revealed. Some harsh words for Mrs Bratney, who is unrepentant. As for Malone, he feels ashamed

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Doctor Kabil (6 December 1959)
Script by Gil Winfield, directed by Charles Jarrott.

In the title role is Peter Illing, who is on screen for most of the play and gives a strong performance in a melodramatic story.
Dr Gerard Kabil is an eminent dedicated surgeon, whose wife is a vociferous supporter of the Algerian rebel cause. His loyalties are taxed when he is required to operate on the seriously wounded oil baron Corrazzi after he has been shot by a sniper. For it's this crooked millionaire's money that is keeping the government in power.
Security chiefs refuse to allow Kabil to operate when they appreciate his dilemma, but there is noone else, and, warns the doctor, "if you move him, you will kill him." Whilst a sample of Corrazzi's rare blood group is located, the investigation into Kabil's bona fides is urgently prosecuted.
Kabil's difficulty is exacerbated when he learns his daughter is the man's attacker. Jacqueline is only sorry her bullet hasn't finished off this evil millionaire- "I am going to finish what I've started," she tells her father. "He should be dead!"
So the question is- will Kabil act as a doctor and save his patient, or, as Jacqueline urges, as a true Algerian, and act unhippocratically. When she realises she is to be thwarted, she tries to break into Corrazzi's room, but her father pushes her aside and to Kabil's consternation police chase her. A gunshot. Wounded, she hides in her father's surgery whilst he prepares for the imminent operation. Local police chief (Leslie Sands) discovers her there, but she eludes him, murder in her eyes. Wending her way to the operating theatre, a policeman shoots her down.
Though Kabil knows in his heart of hearts that his daughter needs help, he continues his task of removing Corrazzi's bullet. It's no good anyway- "she's dying." With the patient finally able to hold his own, Kabil is left to reflect on his daughter's tragedy. Corrazzi's money has bought about his own child's death

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Lord Arthur Savile's Crime
Script by Constance Cox from an Oscar Wilde short story. Director: Alan Cooke.
A delicious cast and wonderful script full of witty one liners, hardly your typical Armchair Theatre, perhaps with but a single fault, it could have performed with one less murder attempt.

At Lady Clementina's party, all society is amused by the fortune teller Podgers (Arthur Lowe). The flighty Sybil threatens to break off their engagement, unless Lord Arthur (Terry Thomas) has his palm read. Privately Podgers informs his lordship that "I saw blood." That is, at some unspecified date, it is written that Lord Arthur will commit a murder. He decides he must do it at once, before he marries even.
He consults his man Baynes. A victim or "client" must needs be found. They settle on a relative. As Aunt Clementine is very old, it is to be her. A subtle poison is the best method. Posing as Mr Smith, Lord Arthur buys a poison for his dog. Wrapped in chocolate, the sweet is given to his aunt.
After the funeral Lord Arthur tells Sybil that "nothing can come between us now." But he finds the fatal chocolate is untouched, his aunt had died of natural causes. Another wedding postponement sees the engagement broken off. So he enlists the aid of a foreign gentleman (Eric Pohlman) who is "a humanitarian anarchist." The new client is to be an uncle, the Dean of Paddington.
Dynamite is the preferred weapon, an exploding umbrella. But when the dean fails to take this, he is sent an exploding clock, that will blow up at noon. That fails.
Sybil's overbearing mother is the next target. The anarchist demonstrates to Lord Arthur how to smother her. He demonstrates on Lord Arthur and nearly kills him. They fix an invisible thread at the top of the stairs. A crashing noise. The anarchaist has fallen into his own trap. Not quite dead, unfortunately. Disillusioned, Lord Arthur gives it all up.
Podgers however offers a final opportunity. He has discerned these fruitless murder attempts of Lord Arthur and blackmails him, "you nasty little man." Hand over the money tonight by Cleopatras' Needle. It's too good a chance to miss, and Podgers is pushed into the river. However actually another blackmail victim had already stabbed him.
Not knowing this, Lord Arthur is happily free to wed at long last. News reaches him that Podgers had not drowned, he had been knifed. The failure drives Lord Arthur to consider Uncle Jasper, who as he is about to be murdered reveals the startling information that Podgers has been exposed as a charlatan.
The finish is perhaps more true to Armchair Theatre, but it is open ended enough to imagine the best

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Where I Live (10 January 1960)
Script: Clive Exton. Director: William Kotcheff

This melodrama is pure Kitchen Sink, a reminder of working class values when the woman used to do all the cooking and washing, yes and the ironing too. It's a study of family tensions revolving round the thorny problem of caring for an elderly father. The dialogue is gritty and common and true to life, except for one confrontation which Madge Ryan suddenly turns into a stagey exchange which exposes the whole for what it is- thoroughly unreal. The issue however is serious enough though Exton can offer only the problem, no answer. The drama ignites with the visit of the upwardly mobile brother of Jessy (Ruth Dunning). George (Lloyd Lamble) with his wife Vi (Madge Ryan) oddly echo George and Mildred's Esher inlaws, only this story has naturally no humour.
Before their arrival, there's a well constructed introduction to the characters: Jessy and her husband Bert (Robert Brown), whose name sums up his ordinariness. Dad (Paul Curran) is sitting in the kitchen, bored. Jessy is clearly at breaking point with his presence. George and Vi are coming!- this will relieve some of the gloom for Dad looks on George as "a little tin god," a self employed shopkeeper who has made something of his life, unlike stuck-in-a-rut Bert.
Jessy is determined to discuss dad's future with her brother and sister-in-law. It's their turn to look after Dad. After much inconsequential chatting, Jessy finally seizes the opportunity, as Dad takes his afternoon nap.
Jessy: "We wondered if you'd like to take him for a bit."
Vi: "Take him?"
Jessy spells it out. George is doubtful, Vi says it's "out of the question." Awkward silence.
Dad awakes, and over tea, Jessy forces the issue with him present. "I wouldn't mind that," decides Dad. But George's excuses about being too busy at work are understandable- in Dad's eyes.
Alone with Dad at the kitchen sink (yes, she's washing up), Jessy makes dad face up to why George won't take him. But he can't see the truth and Jessy explodes: "If you think that George is something so marvellous, I don't know why you don't go down and live with him.... your precious George wouldn't have you." She goads him into putting that question directly to George. "I can see where I am not wanted," cries Dad who informs George he's coming to live with him.
Showdown. George claims that at the moment he's just too occupied at work. As the family argue, the camera closes in on Dad, wounded.
He resolves to leave, just leave. Though Jessy has succeeded in showing George up, she realises it's been too hard on Dad. With bad grace George escorts Dad away. The parting shot is of George and Vi driving away, without a word, Dad in the back seat

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A Night Out (24 April 1960)
Script: Harold Pinter, directed by Philip Saville.
A pretentious study of a spinster and her smother love for her only son Albert.

The whine of mother's voice sets the tone of the play. Against all mother's wishes, Albert wants to go out to a works do. She's unreasonable, selfish, using his late father's memory to stifle Albert's existence, warning him not to lead "an unclean life." Various delaying tactics from mother as Albert, in silence, attempts to get ready to leave. She blathers on as he finally departs.
He joins up with two coarse mates, to whom we have previously been introduced in a far too long scene. Predictably, they tease him about his mother.
Act Two is old Mr Ryan's retirement party, at the home of boss Mr King (Arthur Lowe). One of Albert's mates persuades Eileen to "lead him a dance," Albert that is. He's something of a fish out of water in the social chit-chat, though "he's not bad looking when you get close." A moment of embarrassment when Eileen screams "he took a liberty." Mr Ryan's clebrations are marred as Albert walks out, but colleagues follow, ordering him to apologise. What for, asks the aggrieved Albert. The inevitable jibe is stuck into their fight "mother's boy!"
Midnight sees Albert crawling home, to mother's speculation he's been "messing about with girls." She dishes up a meal, and a lecture. Albert sits quietly taking it all in, as the camera zooms in on him. Sacrifice she is going on and on about, as he cracks.
Act Three finds Albert on the dark street. A woman picks him up, and they go to her home. Whilst he listens, yes, the usual pattern, she talks, justifying her position. When he does get in a word, he spins a line about being in films, assistant director even. Though this scene seems improbable, it makes some sense when we understand the woman is broke, in need of cash, though unlike today's fare, Pinter gives us nothing gratuitous. As she starts undressing, he cracks again under her incessant babble. "You never stop talking," he rants, rather truthfully. Incoherently he shouts out his own problems until he finds the strength to order her about, for once a master. Then he exits leaving her on the floor. Weird. Perhaps he decides it's a case of the devil you know.
As day breaks it's back to mother. Of course she's awake to greet him. "Do you know what time it is?" She complains and pleads in her whinging tones as an exhausted and silent Albert suffers, not uttering a word.

This is certainly a brilliant character study of a "retarded" misfit of a loner played by Tom Bell, and his suffocating one dimensional mother, brilliantly portrayed by Madge Ryan, which, if you admire realism, is existentialism at the sharp end. A trifle too painful even

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Lena O My Lena (1960)
Script: Alun Owen. Director: William T Kotcheff.

Set in a Salford food wholesalers, here's a study of male chauvinism in the workplace, and yet another exploration of class differences. This was the sort of entry that won the series critical acclaim, but I find it plain tedious.
Ted the foreman is played by Colin Blakely with his usual brilliant Northern bluntness, though the most interesting minor character is perhaps simple minded Derek (Patrick O' Connell), whom Ted looks after like a child.
Newcomer is student Tom (Peter McEnery) who is looking for a holiday job. He wants to get away from student types, but though he is from a working class background, he's not used to the brash ways he encounters.
Object of his affection is the worldly loud-mouthed Lena (the enticing Billie Whitelaw), who works in the adjacent press tool factory. "You're funny, you make me laugh," she says of his Liverpool accent. He thinks she's "funny" too, the way she shows her working class ideals.
Lorry driver Glyn (Scott Forbes) warns Tom off for "Lena belongs to him." And Ted tries to dissuade Tom from taking her out, but Tom won't listen, taking her to a cafe populated by noisy students: "you're lads, not men," observes Lena. Then they sit alone. "I can't think of anything to say," admits Tom, but she loosens his tongue and they have a long kiss. "You're always thinking too much," she tells him when he declares his love. She doesn't love him in the same way. Here's the core of their differences, he young and innocent, she experienced and worldly wise.
Next day at work "Glyn'll knock his block off." That's what the men are murmuring, though Lena knows he won't be bothered by any threat from Tom. Ted tries to save Tom from himself, but Glyn tells Tom the truth: she'd only been trying to make Glyn jealous. Tom starts a fight but Lena stops them- it was, she admits, only a bit of fun for her- "go back to where you belong." And that seems to be the message of this play.
"It's never easy to learn," are Ted's concluding words. Nor is it easy to watch this self-satisfied analysis of sixties working class, which is very dated today. Perhaps it's because we don't have the same sort of culture clash that it's so hard to see that at the time this was quite avant garde stuff

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My Representative
Script: Kenneth Jupp. Director: John Moxey.

"In-a-rut sales rep Ronnie Page (Paul Massie) spends his life pushing shoddy goods on to his customers. He's not satisfied with the products and he's dissatisfied with himself. His colleague Jack Jones (Glyn Owen) is tired of Ronnie's unfulfilled aspirations to be anything more than just average. Ronnie's "bright understanding girlfriend" Sheila (Sylvia Kay) accepts that he'll never settle down until he tastes success. In an embarrassingly overacted scene, they reminisce as they touch cheeks.
The big chance comes when his "pleasant nitwit" of a boss, the appropriately named Pratt (Laurence Hardy) secures the exclusive rights to The Lotus Line. But he's out of his depth with such a hot fashion potato, though he tries to woo "one of the most celebrated figures in the entire fashion world," Lady Hunt, with a lavish dinner. This ruthless businesswoman has soon got Pratt sized up and her 80-20 offer he cannot accept. Unfortunately Helen Cherry as Gillian Hunt is sadly wasted in the part, for she, like the other characters, are all too stereotyped.
She moves quickly and offers Ronnie the promotion he's been yearning. "You've got to take your chances when you can," for "it's the only way to get on." True, but this is stock dialogue and sums up the author's own limited ambitions and vision perfectly.
Ronnie's loyalty to Pratt is forgotten as he attends for interview at the large fashion house. She outlines her flattering reasons for wishing to head hunt him, she is in a sense a kindred spirit as they both have humble origins. They shake hands and he arranges for Sheila to be his secretary.
Now he's into the swing of the job, we see his hardening through Sheila's eyes. He's enjoying leading clients on, he likes the entertaining, he's absorbed in his work. His next assignment is The Lotus Line, for Pratt had not secured a watertight contract and it's been snatched from him. "We haven't done anything unethical," Lady Hunt says in another stock line, though Ronnie seems to feel a conflict over whether this ruthlessness is a step too far. For Pratt is £20,000 in the red, though kindly says he bears no hard feelings against his former star salesman. However after telling Ronnie this, he shoots himself.
Sheila resigns: "I don't enjoy it any more." I was feeling the same. But Ronnie is where he wanted, "the luckiest man in London." Perhaps. The play concludes suggesting he is not as happy as he should be. But it never explores the ambiguity of his feelings in depth and in the end the whole play falls flat because Ronnie is not a convincingly real character. The script has posed good questions but never answered them. Haven't I written that somewhere before?

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The Cupboard (11th December 1960, Armchair Mystery Theatre)
Script: Ray Rigby. Director: David Greene.

Donald Pleasence was one of the best at playing sinister characters with dark secrets. Here, he's Fred Watson, and the question is, where has his wife Sarah got to? She's been away from their basement flat for four weeks, and now he's flogging off his wife's jewellery for a mere £20 to Bert Spooner, because his rent is in arrears.
His landlord Mrs Sparrow, "all alone in the world" since her husband's unfortunate accident, wants to know why Watson has papered over the cupboard in his bedroom. It seems rather too obvious what he's up to, as he plies her with drink.
The second act of the play sees Watson informing a potential buyer for the property, Mrs Williams, that Mrs Sparrow has gone away to Brighton, and that he, Fred Watson, has the option to purchase the place. He also has her written authority to collect the other tenants' rents.
"I think you've done away with her," shouts Sarah's sister and she calls in Dt Sgt Roberts who soon spots the papered-over cupboard. Despite protests, he smashes the door in. "See anything?" comes Watson's ironic voice. Empty. Privately, he confides to the detective where his wife really is. In a mental home "for a rest."
So it all seems above board. At the moment.
Secretly, Watson meets Mrs Sparrow, whom he's been blackmailing over her husband's fatal 'accident.' Watson's plot is evident- Mrs Sparrow is for that cupboard!
Dt Sgt Roberts is back questioning Watson about the jewellery Spooner has been caught with. Watson breathes a sigh of relief that that is all he's there about. The policeman admires the cupboard that Watson has already papered over again.
We learn the truth about Sarah Watson, that she had run away with a garage owner, though Fred denies this obvious fact. In his sadly naive way, he seems convinced she'll soon be returning from that mental home.
An unforeseen happening knocks Watson's scheme on the head. Mrs Sparrow had apparently asked workmen to solve the damp problem in the building, and today's the day they start work. They break down the cupboard. The game is up, as the play closes with a long close-up of Watson's resigned face

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The Big Deal (5 March 1961)
Script: Jimmy (here as James) Sangster. Director: Julian Amyes.

I enjoyed this play - and I can't often say that of Armpit Theatre- with its well drawn characters and a plot which asks questions about business ethics via an absorbing storyline. The theme is summed up in this line- Business scruples "get in the way of business." This looks a mite like a forerunner to The Power Game with Edward Chapman ideally cast in the ruthless John Wilder role.
Chapman is actually playing Sir Pierson Cale, a "tyrant" head of a company tendering for a multi-million nuclear power project in Iran. But he realises his tender will be "too high" and he demands cost cutting of his underlings so they "shave off" at least "half a million." John Hamilton (William Franklyn) is given a special assignment to ensure Cale's firm submits the lowest bid- Britman's is the rival company best placed to undercut Cales: "get me that figure, Hamilton."
So Hamilton poses as a Mr Northwood and is given work at Britman's. "No unnecessary expenses" is the keynote of the company, and "with no deadwood" on the staff, Britman's looks set fair to win the contract. Can Hamilton get a peep at their submission, hidden in the company safe? Does he want to? For here he finds "a workman's Shangri-la," where all employees are happy to work for the good of the firm. His plan to chat up the boss's secretary (Diana Fairfax) evaporates, and instead he bares his soul to Helen. She gives him the figure, but he just can't use that information. Disgusted at his duplicity, Helen phones the figure through to Cale herself: "now you can go and order your Rolls Royce," she jibes at Hamilton.
On the carpet before Mr Britman next morning, he's surprisingly allowed to keep his job. Grateful, Hamilton promises to try and prove that Cale's now winning bid is fraudulent. But how, how can he prove Cale's figures are impossible?
Helen is persuaded to join in back at work at Cale's, but try as he might, he's not allowed a sight of the successful tender. So, taking a leaf out of the unscrupulous Cale's own book, he uses "terrorisation" to wheedle the data from the costing team leader. Unfortunately Cale catches him in flagrante, and isn't at all perturbed, because he has Hamilton where he wants him- for he's ensured Hamilton's name, as the late head of the costing team, has been put at the head of the cheap tender. "Get out," Cale orders Hamilton. But the latter has his own trump card- demanding £50,000 for silence on the deal. "Evidence of bribery," he tells Cale when he's paid off

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The Man out There (12 March 1961)
Script: Donal Giltinan. Director: Charles Jarrott.
Wildly improbable tale, but really tense.
A Russian manned flght into space. A lot of shaky camerawork to convince us it's for real. A failure- Troika is ordered to "eject," Russian expletives from the astronaut, a major (Patrick McGoohan).
Back at control, the General (Clifford Evans) tries to devise a rescue plan, with the rocket now floating out of radio contact, orbiting the earth. He has five hours before the rocket will crash back to earth.
In an isolated snowbound Canadian trading post we meet a man and wife with quite a different problem. Young Cora (Heather Lyons) is in urgent need of medical help. Whilst he ventures out into the blizzard, stepmother Marie (Katharine Blake) sends out repeated messages for help- "this is an emergency, please answer." It comes from an unexpected source- Troika! Two people who need help badly!
"I am a doctor," the major radios to her. That's fortunate! Diptheria is the diagnosis. There's only one thing to do- "pierce the windpipe from the outside through the neck." Such a terrifying procedure is the only way Cora can be saved. Such a frightening remote controlled operation is surely any parent's worst nightmare. What is worse, such blunt instructions are all Marie is going to get because now the major has drifted out of contact. We follow his reflections on his own dilemma. This is perhaps less absorbing than Cora's drama, however much more world shattering his crisis is.
Another orbit and radio contact is reestablished. Despite his own worries, he encourages her as she dares to attempt the incision: "do it now!" shouts the major. His own chance is dwindling now- "you're talking to a dead man" he admits.
Even less absorbing is the activity at ground control who are explaining away the disaster to the press and announcing their rescue plan.
Next orbit. "You did what had to be done," the major reassures Marie. Now she is able to help him by taking down some important readings from the rocket.
With no way out for the major, it's time for McGoohan to perform his well-oiled raving looony act. His weird singing awakens an exhausted Marie on his last orbit. It's she who can encourage him now- "you mustn't give up." At last she is in a position to appreciate his danger. She thanks him for helping Cora over the worst. But she's quite helpless as she shares his last moments.
Reentry of Troika. Control implement their bold rescue plan. A last message from the major to Marie as he succeeds in understanding what has caused the catastrophe. Then screams and silence.
With Vaughan Williams' grim Fourth Symphony as the title music, we can guess there's not going to be a fairytale end. At least some joy as Cora stirs. Maybe the play would have been better if it had been tighter with Ground Control scenes omitted, and, as surely would happen today, more close-ups of the DIY surgery, which is strangely underplayed here
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Danger, Men Working (7 May 1961)
The script had originally been commissioned by Ulster Television.
Script: John D Stewart, Director: Alan Cooke.

Irish navvies on a muddy, a very muddy hospital building site. Work is already behind schedule in very trying conditions. Experienced general foreman Desmond Docherty urges caution so how can work be speeded up? Workmen are already near to breaking point.
The answer comes in the shape of blustering new boss "Trumbull the Terrible" (Richard Pearson). He "reads the riot act to site manager Erskine Craig (Mark Eden) without understanding any of the technical problems. He also takes a shine to secretary Mary Riley, asking her to come away "strictly business" for the weekend. Though she's in love with Craig, she consents.
"Tough nut" Scanling (Barry Keegan) is appointed new foreman, Docherty given notice: "I need boldness, Craig." Retorts Craig "you couldn't have made a worse choice... there's going to be trouble here."
When it comes, it comes on two fronts.
Firstly Erskine Craig gets wind of Mary's weekend. She's rebuffs Trumbull's advances anyway.
Then Scanling's hard tactics give rise to a deputation from the workers, lead by Jerry (a sadly wasted Leo McKern). "He has neither rhyme nor reason," complains Jerry about Major Trumbull. Management response: Jerry is sacked. Workers get agitated about their working conditions. "You're not going to dictate to me," shouts Trumbull. Craig vainly attempts to arbitrate, but the Major's attitude is too abrasive: "we've had enough Communist tripe from you." A fight breaks out between Jerry and the thick Scanling, and it's left to Docherty to separate the feuding pair. But all those short cuts come home to roost as a muddy foundation collapses with Docherty buried in the rubble.
Now everyone pulls together in some sort of common purpose for the rescue. But nothing can save the arrogant Major Trumbull, who admitting his error takes his leave. Some kind of peace is restored.
Richard Pearson does his usual reliable role as an uppercrust, out of touch with everything except the profit motive. Plenty of authentic Irish on show though Mark Eden's accent wavers a little. The building site set, complete with slime is an impressive creation from Assheton Goreton. But the story itself never quite builds up any sympathy for the characters, it's never quite clear which side of the fence the author is sitting on

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The Ship that Couldn't Stop (2 July 1961)
Script: Christopher Hodder-Williams. Director: Alan Cooke
It's the maiden voyage across the Atlantic of NPS Crusader, a nuclear ship that cruises at over 34 knots. Proud captain is Commodore Grant (veteran Frank Pettingell), and also on board, in the cabin next the reactor, is a physicist Michael Holland "with a death wish" (Donald Churchill) who is predicting a Titanic-sized disaster. He'd worked on the pilot project and knows all the pitfalls.
Passengers are given a tour of the ship by technical expert Tony Roman (Scott Forbes), who reassures everyone, all except Holland that is, who has some pressing questions. "It's like a king sized boiled egg," observes one American, Richard Bollanger (Michael Balfour). But it's his wife Emily's childish desire to press the buttons in the allegedly dead back-up controls that causes the trouble.
The speed of the ship is unaccountably increasing now, a neutron surge seems to be the reason, and stop the reactor seems the only sensible solution. Commodore Grant orders the shutdown but too late, "she's gone unstable." Radiation levels rising. 40 knots!
A warning to other ships in the area to steer clear is given. "There's no way of getting the people off,"- worse than Titanic. No way the engines will stop working.
There is one way but it's dangerous- change the angle of the reflector in the reactor. Holland might be able to accomplish this task, though after delicate remote manoeuvres,"it's not possible." All Holland can do is expose himself to a lethal dose of radiation and move the reflector by hand. He has saved the ship but at cost to himself: "just the way he planned it."
All the technical jargon has the effect of making the incomprehensible very tense and although the merits or otherwise of nuclear power are never discussed, the play makes a definite statement about its dangers
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The Omega Mystery (10 September 1961)
Script: James Mitchell. Director: Guy Verney
This story at least proves that not all Sydney Newman's offerings were dull and drab.

Butler (John Gregson) and Robinson (Donald Churchill) are counter intelligence investigators, who are on their way to a nuclear power station where an experiment has gone badly wrong. They discuss their case whilst the industrious Robinson repairs their broken down car. We learn about all the workers at the lab, but I found this scene too complicated to digest properly. But once there, at a place that reminds Butler of his old prep school, there's a better introduction to the main characters, all of whom, of course, appear to have motives to wreck the place. They'd been working on what they call The Omega Process, which if successful will see the dawn of an era of cheap electricity. Unfortunately the process might have other uses, such as making h-bombs.
In charge of the plant is Kendrick (Frank Gatliff), who believes it must have been an accident.
He's supported in this view by a mathematician, Diamond, who's sure that anyway, the experiment can never work.
Dr Jones (Stanley Meadows) is the inventor of the process, though he's very much opposed to its use as a weapon of war. He is pally with journalist Isabelle, who has been lent the doctor's pass to the lab.
Finally there's Dr Chattalai, whose lab monkey Vashti was the only victim of the recent debacle.
The play is basically a picture of the two sleuths questioning their suspects, trading off comments and personalities. Gregson and Churchill make an entertaining pair, Gregson dour, slightly cynical, matter-of-fact, whilst Churchill provides a balance with some light quips. "You don't leave us much dignity," Dr Jones tells them, as they probe deeper. It's quite an absorbing variation on the usual mystery, with interesting characters, though perhaps too predictable, especially the stock drunken Irishman Diamond.
To get his proof, Butler arranges for the experiment to be reconstructed. Tension builds as Butler sets himself up for the saboteur to attempt to eliminate him. Alone in the lab, Isabelle joins him, but they are both locked in, the air conditioning switched off. "The obvious solution to a very nasty problem I set the fellow." But the question still is- who?
Butler is prepared for the situation, and some deftness extricates them from the lab. Now the experiment proceeds: "suppose the Masked Avenger strikes again?" jokes Butler.
Yes, there's the same disaster, but this time Butler and Robinson are able to demonstrate who is causing the problems. I wouldn't pretend anyone could have guaranteed to have guessed the culprit, but then that's true of almost any detective story. For that's what this is, in essence. "Who'd have ever thought of xxxxx ?"
There's an overlong coda, by way of explanation
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The Trouble with Our Ivy (19 November 1961)
Script: David Perry. Director: Charles Jarrott

You don't know whether to laugh or cry in this wayout variation of Laurel and Hardy's silent classic Big Business, carrying the warring neighbours motif to the ultimate.
"The biggest surprise Surbiton ever had" is planned by the Chards (John Barrie, Gretchen Franklin) on their estranged neighbours the Tremblows (Laurence Hardy, Dandy Nichols). This is suburbia at its exaggerated worst!
"All the neighbours think we're mad," comments Nell Tremblow, though in typical middle class-speak, this only means they prefer to spend their holidays at home. But it's partly true because the couple are fanatical prize rose growers. They exchange plenty of barbed gossip about the Chards who are "a bit peculiar too." More than a bit, for the neighbours haven't exchanged any words for the past three years, ever since Ivy Chard had committed suicide. The Chards blame the Tremblows for it too.
Jack Chard has been harbouring his revenge, and this evening he's begun his plan. To try and learn what he's up to, Nell Tremblow even pops rounds, to break the sacred silence.
The truth comes out- Amazonian Creeper! Says Nell: "that's a funny sort of thing to want to plant." The penny hasn't quite dropped, so she sends her husband to dig deeper. The contrast between the prim Harold Tremblow and the Chards, eaten up with hate, is excellently portrayed. But the "quick growing" tropical ivy even bestirs Harold out of his monotone existence, specially when he realises the creeper is actually growing six inches every five minutes! "Aren't we letting our imaginations run away with us?" he queries. Yes, that sums up this story very well!
A 999 call brings a fireman with his chopper to the Chards, but they soft sawder him til by now it's "galloping" all over the Tremblow's rose garden: "It's unnatural!" Jack jibes at them "say goodbye to your daughter Rose."
Now an eerie silence, "deathly quiet." "It's coming through the letter box."
"I'm dreaming all this," cries the fireman who is now alerted to the danger, but too late. For its stalks are growing into trunks! "It doesn't seem like Surbiton any more!"
How do you end such an inflated fantasy? The couples confront each other in a frenzy, blows exchanged. I think the Creeper was the winner, or maybe the writer who pocketed his fee. It's nearly quite fun, if you suspend your critical faculties

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Night Conspirators
Script: Robert Muller. Directed by Philip Saville.
An ultra impressive modernistic set by Voytek, only the black telephone restricts the action to the 1960's. At this time, there's "a fantastic conclave of power," as top Nazis reconvene in an embassy. Behind closed doors they are introduced to a special guest. In a wheelchair, his face muffled by a scarf is revealed....
"Mein Fuhrer!"
"Sensational," breathes journalist Loder (Peter Wyngarde), the only outsider permitted to attend. Some of the old Nazis think it a hoax, but a general (John Arnatt) who knew Hitler well is sure it is He. "Herr Hitler has returned to be judged - by you." It is explained how Hitler (actually Peter Arne) fled to Iceland. Rather conveniently, he now cannot speak, so his son is his mouthpiece, "a fine looking boy," Adam.
The military solution is straightforward: "he must be shot, without ceremony." More tongue-in-cheek, Loder suggests exhibiting him in a zoo, behind bars naturally. The bishop's solution is what one might expect from the church- "God will find a way of punishing him." Retorts Loder, "well, He's certainly taking his time about it."
So there's an impasse over whether they should try their former leader, or hand him over to the proper authorities. Their deliberations raise some thorny questions about their own complicity in the war, as well as about their current motives for seeking power in the new West Germany, not forgetting the fragility of democracy. Loder is there as a balance, "what have you learned from your experience?" he asks, though it's a rhetorical question. But they give the newspaperman short shrift, reviling his own army of "repulsive snoopers."
This debate is too protracted as they consider whether the new Germany needs a strong leader, not that the aged Fuhrer would be up to the job, he seems but a shadow of himself, though his followers perceive that they could now wield the power in His name. "They want to exploit your father," Loder warns Adam, adding the rather obvious line, "your father made the name of humanity stink."
The Nazi solution is to shoot Loder. At least the general wounds him.
But now the Fuhrer does speak. He announces in a strong voice He assumes power. "Our enemies will tremble before us." Ranting and yet higher Ranting. Just like the rallies of old.
This play has an absorbing plot that threatened to flag under too much philosophy, but thankfully never succumbed. It leaves you pondering deep questions, but also wondering what the conclusion was trying to convey. If anything

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The Hard Knock
Script: Alun Owen. Director: William Kotcheff.

Armchair Theatre at its best, or worst, depending on your point of view. Welcome to that dour Northern grit, even if the opening scene is incongruously in a first class Pullman heading up North. After a long spell at sea, Pat Greevey (Colin Blakeley) is travelling back home to Liverpool.
"My baby's dead," bewails his mother hysterically. Though his brother Kevin has been hanged for murder, Pat is determined to prove Kevin's innocence. This crisis and his return bring a lot of dreary home truths, as Pat struggles to take in the changes in those around him. "The truth hurts." His first shock is that Kevin had actually confessed to the shooting. Pat knows his brother could never have done such a thing.
His useless father blames everyone except himself for Kevin's crime: his mother had spoiled him, his girl friend, his... But Pat knows how to shut his dad up.
Old pal Trevor (Ronald Lacey) in his antiques shop fills Pat in on Kevin: "he was bone idle, your father all over again." Pat cannot recognise the description.
Next, his girl Lil points Pat to the girlfriend. She has no great affection for Kevin either, "he was too soft, stuck up."
At the tennis club Pat encounters Angela (Angela Douglas). The place was clearly socially above Kevin's class, and the girl says everyone found him "hard to get on with." After some eyeballing, she tells Pat, "you're common."
The picture of the killer has been well drawn up, though Kevin finds it hard to reconcile with his own, formed years ago. He goes back to Lil, who tells him of the villains Kevin mixed with. "Our Kevin wouldn't do that."
Clearly however he did. The quest takes Pat to Angelo (Frank Finlay) who is obviously protecting his own brother in any involvement in the crime, so like Pat in his effort to justify Kevin.
"I don't know any more," Pat admits. His own knowledge of Kevin had been entirely misplaced

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The Fishing Match (19 August 1962)
Script: Norman King. Director: Alan Cooke.

Not really a study of the peculiar fascination of fishing. On a thundery day, four men drive to a river in Alf's vintage car. Boney (Peter Butterworth) seems keener on the pub, where Cissy (Yootha Joyce) is pulling the pints. The others, Alf (Edward Evans) and Councillor Reuben (Kenneth Griffith) can't wait for opening time either. Cissy's niece Kath takes a shine to the only young member of the group, shy nineteen year old Peter (Colin Campbell), who dreams of getting out of his rut, destination Tahiti!
The puzzle for the viewer, is, what's it all about? The dialogue is as unreal as the rain which splashes everywhere but actually on the actors. "You're mad, the lot of yer," exclaims Cissy, and who's to say she was wrong? For with the invisible rain still falling, the men help get the pub ready for the time when "the hand points to heaven," good old-fashioned opening time.
The brief appearance of the coarse Eric (Derek Jacobi) shows up Peter for the sheltered boy he is. But Eric is a rival for Kath's hand, and that spurs Pete to action and the pair scrap.
Eric retreats, Kath bathes the injured Pete but she can't reach the upright lad. His heart is in Tahiti, where his dad lives.
12 o'clock, and the pub fills with fishermen because it's raining- odd fishermen is all I can say. After a pointless if jolly two hours, the pub closes. Peter asks his guardian Alf about his dad. It's a highly unreal conversation in front of the stranger Cissy. Kenneth Griffith stands by looking embarrassed, his is a wasted part. As does Peter Butterworth. The discussion is about Peter's dad who left his slut of a mother, though Peter had not known of any of this until now. We have no interest in these unseen people, who have hardly been mentioned until now. It's left to outsider Cissy to protest why Pete has never been told all this before. Or should she have complained about why tell him now? But it helps the boy grow up. Now he is no longer shy. It's his moment of truth as they say. In true theatrical tradition, he expounds his own new perceptions to his silent elders who look suitably baffled, or stunned, or maybe bored. Like us viewers no doubt. Ends Peter, "I can see clearly now."
The rain stops. They've all gone fishin.'

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Afternoon of a Nymph (30 September 1962)
Script: Robert Muller. Director: Philip Saville.
Shakespearean quotes commence this pretentious showbiz parable. "Being normal means being a failure," sums up very well the world that isn't depicted.
Awoken at noon by her suburban mother, actress Elaine (Janet Munro) falls into a reverie as she reflects on last night's dizzy partry. She's an ambitious girl whose agent (Patrick Holt) believes she's destined for great things- "you're going to be very big soon, Elaine."
She's been promised a meeting with great director Francis T Green, the man who makes his artists cry "only after he's slept with them." But is that the only way for Elaine to get on?
Off to work, where director David Simpson (Ian Hendry) directs her Juliet in the famous balcony scene. But it proves to be only a "murderous" version, a mere commercial for chocs! At least David is refreshingly honest about his work- "you call this directing....! Is pineapple marzipan fudge the height of your ambition?" he asks Elaine. For he helps her understand herself, perhaps, as they exchange genuine lines from the Bard, plus a kiss. "Forget all these dry-clean suburban emotions," David advises her. The question is, is he only like all the others too?
"Stand up to these phonies," he boldly warns her, when they meet again at Lord Tony's party. But the "scumbag" David has brought a tart with him, suggesting that indeed he is the same as the rest. Noting Elaine's disappointment, her publicist tries to encourage her- "you've got bigger fish to fry here," he promises. This part is taken by Peter Butterworth who has perhaps the best supporting role, which he plays with fire, a shallow character really only out for number one.
Certainly Elaine starts to believe her own rubbishy publicity, as she outlines to reporters her exotic past- "are they taking your lies with good grace, the gentlemen of the press?" asks David. Now the best and key scene as Elaine sprawls on a balcony and David opens her eyes to the sharks and pimps and pedlars. Hers is "the pose of the professional party virgin," though maybe her ambition to be a "real actress" will help her break from this ghastly circle.
Now the big moment as she's introduced to Francis Green. With more Shakespeare droning in the background she wavers over what to do. She decides, but she doesn't look too happy. Nor was I, trying to watch this introverted examination of the hollowness of the underlings of show business.
"Nothing about you is real," David tells her. And he was right. "You don't understand do you?" he adds. Well yes, but maybe no. You can admire the cleverness of the script, the matching of Debussy's music to the mood of Elaine, but enjoy it?- no it's not meant to be enjoyed. To parody the script, being normal, I failed to enjoy or even admire Afternoon of a Nymph

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The Paradise Suite
This starts at the end of the new Lena Roland (Caroll Baker) movie. Stills from the British premiere, admired by Lena and her right hand man Jamie. Do Americans really talk this way baby? The reviews are glowing. She settles in to her exotic hotel suite bathed in glory. However this room is as much her prison as her fantasy. The life size statue of herself is just one over-the-top item.
A late leaver from the recent party, Frank (Sam Wanamker), a freelance journalist, materialises and they share their dreams. She is 27, thrice divorced. Surprisingly he leaves.
Next visitor, a waiter with the ice. Do you ever go to the zoo, she asks? He is young and attractive.
On the phone is her shrink in Beverly Hills. She's better, she tells him. Conversation is interrupted by Jamie- so much for her quiet night! With him is Donald Stavely, a critic much impressed with Lena's work. She gets him to read aloud his glowing review. He soon departs too, not sure the point of this scene. For clearly Lena is lonely, self centred and neurotic.
The waiter is summoned for a return dose, "I like you." He thaws and she gets him to do The Twist, for a tip, "terrific." But when he doesn't bite, she is in despair.
Frank is her last resort. More toying with him, with plenty of introspection, hers very shallow. "What you're looking for," Frank informs her, "doesn't exist." It has become almost tediously sermonising. She thaws as he kisses. But not for very long, for Jamie is back, and they set off for a night club. Or does she gobble down those tablets first? We don't know for certain, but who cares anyway?

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Invasion
Script: Angus Wilson. Director: Charles Jarrett.

After mock medieval music over the titles, we move to the impressive Swent Abbey, some semi glad girls providing gratuitous scenery. The place has been purchased by nouveau riche Royston, now Lord of The Manor, a part ideally suited to Patrick Wymark. Another branch of his family are polar opposites, the County Set as represented by Clarrie (Frances Rowe) and the scatty Lady Susan (Athene Seyler). Both families have a child, one of whom can't act, Peter and John, they are busy intercepting messages from Mars, "they're going to invade."
Clearly the lads are rambling, and anyway the grown ups have little time for such fantasy. It is difficult to determine whether this is sci-fi, comedy, or social satire. Or none of these.
Act 2 starts in a county pub, the rival families clash over funeral arrangements, while 'strangers' mill around. The play pokes fun at social attitudes though I found it tediously uninteresting. The shouting match breaks up in disarray. Clarrie's butler (Gordon Phillott) offers us one priceless line, corny, before hostilities are renewed, Royston v Clarrie. "I've quite enjoyed this little fight." Sorry I didn't, petty I'd describe it, or even this whole play, in which the 'strangers' without explanation gradually take over, good heavens, the poor old butler has been tied up!
That's the broadest hint yet of what is to come. So yes, it is played as comedy, you can tell that by the music and the tv coverage of the funeral. The ceremony is a mockery. "The invasion is over." Was it ever on? Apparently it is, if you understand the dichotomy of the story at two different levels

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The Snag (4 August 1963)
Writer: Donald Giltinan, Director: Jonathan Alwyn.
A light hearted saga of sixties property development.

One "old dear" stands in the path of progress, to be precise- a new civic centre to be constructed by Goggins. "Calculating cad," Ed Crayshaw, and his charm, is to be turned on Madame Emma, to persuade her to sell her quaint old shop. But behind Emma is the forceful "elephantine dowager" Lady Wittering who stands against "the encroaching desert of vulgarity."
As the pair seem so "bloody minded," Ed turns his attentions on Emma's assistant, her niece Agatha; this to the dismay of Jill Goggins, who rather fancies Ed herself.
Her dad provides Derek Francis with a typically brash role, that of a Northern industrialist, the type of part he plays so beautifully. Judith Furse, as Lady Wittering has a fine forceful role of "a boa constructor," whilst Patsy Rowlands as Agatha wins the comedy acting honours with her spot-on timing. Barrie Ingham as the likeable rogue Ed, has a fun part, but he is not the ideal actor for getting laughs.
So, is it time "to cut loose" for Agatha when her aunt falls ill, and she has to take over the reins of the shop?
For his failure to persuade the old lady, Ed is sacked. He tries smooth talking Jill, but is he just spinning a line to get a toehold back in the firm? She sees through him and sets out with her dad to get her own back: "once more unto the breach, dear dad." Goggins makes his own approach to the ailing Emma. His sympathy is insufficient to bring about any agreement, but they part with mutual understanding.
Ed makes new advances on Agatha in the best comedy scene. She is rightly dubious of his kind words, and no wonder, for Jill has told her the very words he will try on her. But when a proposal is drawn from the reluctant bachelor, the lonely Agatha suddenly becomes the dominant one, and insists he honours his commitment.
The final scene is after Emma's death. "In indecent haste" Ed has married Agatha, since she will inherit the shop. He offers a deal to Goggins. But Goggins' meeting with Emma had borne fruit after all, she has left him shop quite legally, so it's Ed with mud on his face.
The characters are well drawn, but the comedy is always a little too obvious and you are never really sure on whose side your sympathies are meant to lie

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The Chocolate Tree
Script: Andrew Sinclair. Director: Alan Cooke.

Of the Sixties, both in its dealing with race relations and African independence, but also in its dry, cynical approach.
The 'n' word is often uttered by old Isaac Strang, a man who has ruthlessly exploited the natives to build his business, too old now to understand the evil he fostered. His days are numbered, not only because of independence, but also because of family skeletons, the biggest of which is William Jones, "I knew your ma once." The big scene is between these two men, William the new president of the independent country, and the old reprobate, "I'd have married the girl... but blood don't mix." William had power to end the Strang business interests and leave the "shabby genteel" old family to their memories, but revolution brings the end of the new president also.
Zena Walker as Strang's daughter-in-law and carer is conciliatory, Earl Cameron as William offers bland dignity, while Paul Rogers in the meaty part of old colonialist Isaac, is unbearably uncompromising. His gift of a golly to the new president is especially insensitive, though he finds it amusing, indeed maybe the whole play is laughing at itself, though only through the cliches

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Long Past Glory (17 November 1963)

Script: Len Deighton. Director: Charles Jarrott.
Gritty drama more akin to the Sydney Newman era, but at least this proves that under Leonard White, Armchair Theatre had its dour moments.
"What a ghastly place this is." A mysterious damp subterranean hideout where rats, real ones too, crawl as two tramps Charles (Maurice Denham) and Harry (John le Mesurier) eke out a surprisingly peaceful coexistence together. "This is hell, when someone dies here, they go to heaven."
The arrival at their "Acacia Avenue" of Roy makes Charlie and Harry reappraise their relationship and situation. "I don't know how you have the stamina to endure it." True, Harry dreams of "getting away" to Eastbourne, but he never leaves. "I'll go in the morning," he tells Charlie.
The play is a study of the depressing triangle of three men at rock bottom- the garrulous Charlie, his weaker pal Harry, both old school tie types, and the young working class newcomer. Their talk of "wogs" and "Indians" polarises attitudes: "you wouldn't be against them so much," observes the shrewd Roy, "if you knew any."
All this time, the viewer wonders what they are doing here in this God-forsaken wilderness, especially the two upper class gents. "I'm in the Slough of Despond," groans Harry, a feeling with which we can heartily concur. The author uses class differences to expose their natural weaknesses in what seems to be a parable about England: "the painful death rattle of the heart of the Empire." Things come to a head with inevitable violence: "he'd have killed you."
So why do they stay there? A neat coda gives some poignancy, if you haven't splashed into oblivion yourself by then. It has been brilliantly prepared but is nevertheless a surprise. Perhaps it makes the play worth sitting through, so I won't spoil all and reveal the ending
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The Swindler (December 1963)
Script: John Hall. Director: Jonathan Alwyn.
In a station buffet "old college boy off the rails" Alec Waterman (Ronald Lewis) is met by his only friends, Dick and Grace. Dick has persuaded his friend Ed Laurie (William Lucas) to employ Alec, but is manual work his scene? Eventually he is taken on as a timekeeper, dealing with overtime claims, travel expenses and becomes "well liked."
Soon he has taken his workmates into a scheme of his to start a school for adults, "charge a guinea an hour." However this is what had got him into trouble before!
Ed gets worried and Dick attempts to stop the plan since Alec is a discharged bankrupt. "You fool."
Alec's popularity is illustrated at the staff Christmas party, which he himself has organised. But though he tries to get round even his bossv by presenting him with a present from the men, golf clubs costing £50, Ed knows they actually retail for only £40. Trouble is, Alec is not much good, apparently, with figures, though he's good with people.
Ed tells Dick that the men have had doubts about investing their hard earned savings in Alec's school, and have asked for their money back. Dick had better get Alec to see sense before the police are called in.
Alec is at his usual place, The Carpenters' Arms, where he has been lodging, and making eyes at the barmaid. We now reach the key scene, faith in Alec, or lack of it. Now everyone knows of Alec's dubious past, the outcome seems inevitable. The men get their money back, with some invective.
The final scene is back in the station buffet, the penniless Alec consoled by Grace. His flawed character has been well portrayed and you are meant to feel sorry for him. But it's not the sort of play you'd want to watch twice
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Sharp at Four (12 January 1964)
Script: Donald Churchill. Director: Guy Verney

Here's a prolonged study in the dreaded experience of tense waiting, before the result of a job interview is known. Trouble is, Donald Churchill's slight script is just far too easy to predict, even if it is rather well performed.
Personnel Manager CW Boatwright (Derek Godfrey) is interviewing for a new shorthand typist for Mr Sutcliffe, director of the company.
It's the fourteenth interview for Mrs Jean Hobley (Rosemary Leach), "and I haven't clicked yet." She has only one stipulation- each day she must leave "sharp at four" to collect her young son from school.
The interview never gets going as a result. Sutcliffe is looking for something much more feminine, but lonely Mr Boatwright sees in Mrs Hobley a kindred spirit. "If you don't hear from us by five o'clock today," she's told, she will have got the post.
She returns to her flat and awaits that call which will, she's sure, be another rejection. Here's the heart of the play, such as it is, as she starts scouring the jobs vacant section of the paper. "Come on, ring me up," she calls out of her window at the invisible interviewers.
They are continuing their task. Next is Miss Whitehurst. Sutcliffe likes her impressive skills, though Boatwright's mind seems elsewhere. Interviews over, he begins manipulating events to render Miss Whitehurst unavailable. "Put in another ad," Sutcliffe casually suggests. But Boatwright has other ideas.
Less than half an hour to 5pm and Jean's hopes are rising. Her ex-husband phones, wanting to patch things up, but she's having none of it. As five o'clock approaches she's ever more optimistic.
Meantime, Boatwright is moving his efficient and loyal secretary, Miss Fletcher, in the direction of Sutcliffe. As she has a crush on her boss, it's a tough job: "I wouldn't think of leaving you," she affirms to the disappointed Boatwright. Flattery fails, so he plays his trump card. But she's impervious: "I definitely won't leave you, sir." Thankfully Sutcliffe comes to his rescue, with the brainwave why can't he have the reliable Miss Fletcher?
She is now phoning Jean, at just before five o'clock. Jean at first refuses to pick up the nagging instrument. Finally she does, to learn it's bad news. Inevitable depression.
Back at the office, Miss Fletcher is presented with the fait accompli- she's got to work for Sutcliffe. She's talked round by the lure of friendship from Mr Boatwright on a continued basis- "executives do not associate with office personnel out of working hours." Usually, that is.
So now the way is clear for Boatwright to pick up the phone and offer the surprised Mrs Hobley "another position, a job where you would leave at four." Smiles at her end of the line.

My query is, why do we never see her son, as it's so imperative for him to be collected Sharp at Four? Nevertheless, it's all well done, not quite a comedy, nor yet a soap opera

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Last Word on Julie (26 January 1964)
Script: Lynne Reid Banks. Director: Jonathan Alwyn

A portrait of "pain in the neck" Julie Lister, whom we see through the eyes of her friends and acquaintances.
This oppressive story starts with that old trick of watching a headless person, in this instance walking to a letterbox to post four letters. Then she returns to her flat and pops her head in the gas oven.
Julie's first letter is her unofficial will. Her solicitor opens the missive from "our most troublesome female client." It's a sort of "deathbed confession."
Letter no.2 is to her "adored" mother Mary (Joan Miller), who is under the thumb of her sister Jenny (Jessica Dunning), a spikey lady who hadn't had time to talk when Julie phoned last night.
Third letter is addressed to friend Helen whose husband Adam looks on Julie as a "female fiend." The contents set Helen in a panic.
Ex-boyfriend Jimmy (John Bonney) is the recipient of Julie's last letter. It arrives at an inopportune moment, for he's just about to leave on an important assignment abroad. But he chucks it in, to go to Julie's.
So, after this twenty minute introduction, the characters assemble at her flat: "she's not there."

A week on, and still no word. The main focus is on mother Mary, who is convinced her child is dead. She blames Jimmy, as Julie had fallen out with him. Jimmy is going to pieces. He talks with Mary and it appears Julie had lied to both of them. Helen is in a bad way too, having lost her unborn baby through the stress, for Julie's letter had contained allegations about Adam's relationship with Julie.

Two months have passed now, and steps are being taken to declare Julie legally dead. Reflection has led to a hardening of attitudes. Mum still believes the best of her late child, Jimmy is now jobless.
After 45 minutes, we do meet Julie (Sue Lloyd), with her latest boyfriend, an older, richer man (Bill Owen). She is just the seductive, selfish creature we knew she would be. Even Raymond realises "you've got tiny streaks of unkindness," though he hasn't grasped the depths as yet. Raymond is free to marry Julie, as his wife has killed herself- he's quite "indifferent" to her fate, just as Julie is to her past life.
A monologue from Julie is supposed to explain all. Her head in the oven was a bit of a cheat. If the characters are convincing, which they are, and if this is 'realism', then give me fantasy. "Here's looking at you my sweet," utters Bill Owen in the ultimate in corny lines, as a close-up on Julie transforms into a still photo.
In fact, the play is a series of snapshots which fail to make a satisfying or even credible whole. For the writer shows us the pictures, without ever making sense of them, or bringing the conflicts to a resolution. As "slut" Julie concludes, "it must be their fault too"
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The Trial of Dr Fancy (taped May 30th 1962, but not screened until 13th September 1964)-
Script: Clive Exton, Director: William Kotcheff. This was made in the Sydney Newman era. - Quite difficult to successfully construct a television hour around one set, even a courtroom. Especially when one gradually gets the feeling that the author is laughing at us.

Set in 1966 for some reason.
The accused: Dr James Fancy.
The charge: Causing the death of Ernest Spratt, aged 33.
Plea: Not Guilty.
The prosecution (Barry Jones) relates how Dr Fancy had amputated both Spratt's legs, even though, it is alleged, there was nothing wrong with them. Dr Harmon (Ronald Hines), afflicted with an unfortunate stutter, confirms there was nothing physically wrong with the patient.
"That's showbiz," was Dr Fancy's alleged comment when the operation on Spratt failed. In the hands of the defence (an impressive Nigel Stock), the nervous Dr Harmon is but putty- a cruel exchange with the stuttering witness.
Police surgeon Dr Pilbeam, adds to the confusion stating he had not been able to examine Spratt's legs, as Bert the boilerman claimed "he had burnt all the legs."
From Spratt's mother (Dandy Nicholls), we hear that ever since he had gone to buy a new pair of trousers from Penders Department Store, her son had expressed this strange desire to have his legs amputated.
The defence case is that Spratt's operation had been for his "general wellbeing." Ever since 1955 Fancy has been successfully amputating legs, one of the first Charles Lincoln (Norman Bird) testifies he had once been 6ft 3ins (one inch less than the deceased), and had suffered from being so tall. Now, thanks to Dr Fancy, he's living a normal happy life.
Then it's the turn of a psychologist (John Paul) to outline the Cyclops Complex, the desire to become smaller and more childlike again. The treatment is to "remove the physical basis of the condition." The prosecution however argue that the fee for the operation is the doctor's principal consideration.
John Pender (Peter Sallis with almost a Welsh accent) has made it his life's work to help "little people" by opening his Little Man's Shop. Business boomed and he opened several branches, one in Africa even, catering for pigmies.
Says the judge (Kynaston Reeves - a perfect role) in summing up - "indeed the whole of the prosecution case has a touch of fantasy." Or did he mean the whole play?? You can see the end a-coming a mile off....

The jury's verdict proves Exton is poking fun at the British legal system, though less acceptable is his humour, if that's what it be, at the expense of stutterers
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The Cherry On Top (27th September 1964)
Script: Donald Churchill. Director: Guy Verney.
TV Times correctly billed this as the opening play in Armchair Theatre's ninth season.

"Dumb egghead" Flight Officer Audrey Inskip wants to resign her job at a radar station, but her application is turned down. There's a lack of feminity in the service, as she sees it, in those immortal words, she wants to be Alone. "I want to find myself." She may have got a double first at Cambridge, but she wants to be a Woman. A failed romance is the cause for such depression.
At the pub she encounters a kindred spirit, an unsuccessful salesman for Topper Cocktail Cherries (Robert Lang). Looking faintly ridiculous, pathetic even, in his top hat, Bill Hemmings has also failed in the romantic stakes, but unlike Audrey, failure has not dimmed his good humour.
Their chance meeting blossoms slowly as they chat. There's one nice touch as a barman (Ernest Hare) stares quizzically at Bill.
His chance comment on babies gives her the inspiration- what she wants is a baby of her own. That will fulfil her.
The dialogue borders on the surreal as she becomes more and more enthused by the idea, and he praises her unique character. To reciprocate his understanding, as it were, she helps him reflect on his failed love life. But now the talk has become too protracted, the plot is crying out to move forward.
It does, at a crawl. His face registers surprise when he finally clicks. What she is proposing is that he is wanted to be the father: "is it me you're talking to?" No strings either side. She talks him round at long long last, so they repair to the Bunch of Grapes Hotel.
One can imagine how this scene would be staged these days. But here it's so innocent, as the couple settle down to do the deed. He talks very nervously as she undresses. They lie together with inconsequential chatter.
Next day they part. The next scene sees Audrey leaving her job. She's expecting. She's happy. Of course Bill walks off with her
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The Importance of Being Earnest
Director: Bill Bain

Some versions are so indelibly into our consciousnesses that any remake is a very risky affair, the danger of sacrilege ever present. Blithe Spirit is one such, and this is another.
Ian Carmichael as Mr Ernest Worthing is no worse or better than Michael Redgrave's film version, but how could anyone match Edith Evans as the immortal Lady Bracknell? That is sadly an impossibility, though Patrick MacNee offers all the right charm as Algy and Fenella Fielding is simply gushing as Miss Gwendolen Fairfax, a joy to watch and hear. She steals the show from even Lady Bracknell, a thing that that indomitable woman should scarcely have permitted.
Irene Handl as the "repellent" Miss Prism is hardly given much of a chance, but she does her utmost. Susannah York as Cecily is suitably flighty, no more, but who could possibly improve on dear Miles Malleson as Dr Chasuble? Wilfred Brambell hardly offers us even a glimpse the master had exuded.
Here is a straightforward adaptation of the famous play, act two is most ambitious being shot in the gardens and by the church. As for the handbag scene, that immortal word is whispered in revered tones, perhaps befitting such a prized moment in theatrical folklore. But I neither trembled nor laughed.
All in all a very pleasant rush through the play, and while not as sumptuous as the colour film, among the negatives does offer pleasing refinements
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5.9 The Hothouse
Script: Donald Churchill. Director: Guy Verney.
At the annual dance for supermarket employees, 41 year old managing director Harry Fender dances badly with newly married Charlotte, wife of employee Gordon (Donald Churchill).
The next scene is at the store, where we see Gordon does all the advertising announcements. Mrs Anita Fender (Diana Rigg) tells him that he is up for promotion, "it all depends on..." He and Charliotte are invited for a weekend at the Fender cottage, where Harry's pride and joy is his hothouse, tropical plants that is. A long scene establishes Harry's strained relationship with Anita, who suspects he is having an affair.
Gordon and Charlotte turn up late on his Vespa, partly as a result of getting lost, and partly due to heavy traffic. The pointers are all for partner swapping. Harry H Corbett as Harry offers a taste of his Steptoe characterisation, he likes blondes, and Charlotte is just that. Anita gives her a story about Gordon getting a managership if she will make a pass at Harry.
Loyally, Charlotte tells her husband, who is "deeply shocked," but on reflection persuades his wife to go ahead, as he is desperate for the new job. "I'll do it," Anita promises, "because I want to be a good wife to you!"
Anita manufactures a situation where Gordon has to give her a lift on his scooter, leaving Charlotte alone with Harry.
It is so hot in the hothouse that Harry has stripped off, and thus the main scene is reached. She admires his body, but his interest seems oddly more in his plants, which she also tries to admire. Despite her suspenders falling, his conversation remains horticultural. These days, lacking censorship, the play would proceed differently, but when Anita and Gordon return, Charlotte's underwear is found draped in the hothouse. She is in bed swooning. "How did it go?" Gordon asks his wife, echoing our own question. "I did go too far," she admits. Harry informs Gordon that he has got the job. But at what cost we are left to guess.
Next day the guests depart, and Anita receives a surprise
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I Took My Little World Away
Ah, this is the Real Armchair Theatre that we all loved to hate!

A pretty girl at a party (Susannah York), bored with the scene, swaps stories with a tall stranger (John Ronane). The conversation is exactly what you get in a play, not real life. Her best friend Jane had taken an overdose. She goes hysterical at the very thought.
She is Mandy, he Geoff. Away from the party they chat and chat, and chat. Scenes from the party are interspersed to provide contrast, or fill time, what I say is that the extras dancing and the lively music, except for one awful Spanish song, are the most memorable bit of this introspective play by John Hopkins. I must also give credit to Voytek's sets.
In a coffee bar the talking goes on, would a complete stranger listen to her guff about suicide for so long? They make for his flat. Kiss. He talks of gas chambers for he has his own ghosts. She runs off, can't blame her.
He keeps phoning her at her flat. Get knotted sums up her response. She is thinking of following Jane's example.
A policeman calls, asking if she knows Geoff. He has killed himself. For a moment this is a straightforward police investigation, uncomfortably sitting with the foregoing. Perhaps we deserved a slight respite. Then it's back to the angst.
The party is over, Mandy has come back to talk to the hosts- ah at last! Conversation is taking place round the good old kitchen sink where it belongs, I knew it should be there. Exchanges about suicide...

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The Man who came to Die (18 April 1965)
Script: Reginald Marsh, Director: Jonathan Alwyn.

A cold house greets a weekend couple, Michael Richardson (Ronald Leigh-Hunt) and Jo (Toby Robins) who have been celebrating their seventh anniversary. It's all very lovey-dovey: "I don't need alcohol to make me amorous." They anticipate a happy time together, alone.
But then there's a shock- Jo finds Ted Fellowes in the spare bedroom, fast asleep. They argue over whether to awaken him, but there's really no need, for Ted is dead. Neighbour Dr Clarkson (Peter Copley) is phoned, and as it's past 1am it's not surprising he's rather grumpy: "he's killed himself," is the abrupt diagnosis, as he quickly departs.
Inspector Wadcot (the author of this play, Reginald Marsh), in a businesslike way, gets Mike and Jo to recount events. Remarks Mike afterwards: the police have "an uncanny way of making you feel quilty, whether you've done anything or not."
Facts about Ted have been emerging. He was Mike's business partner, and Mike isn't sorry he's dead. He had been overselling insurance policies to locals, including Dr Clarkson.
Bad news- the gun Ted shot himself with belongs to Mike. Mike does a bunk.
Now the scene shifts to an invalid, William Ashcroft, and his sister Mrs Trevington who cares for him. They discuss the death furtively. "I've met you before," observes Wadcot, when they call at Mike and Jo's later.
The play perks up when Mrs Marriott the cleaner (Gretchen Franklin) arrives next morning. "Just having a look at the scene of the crime, inspector, no harm in that," she tells Wadcot. From her, he obtains all the local gossip.
Mark is caught at Waterloo Station. He's brought back to his home and shows the policeman proof of Ted's swindling that he's recovered from their office. Dr Clarkson had been paying premiums of £25 a month. From Mrs Marriott, it seems he had been 'seeing' Mrs Trevington, but this liaison had ceased when her 'brother' had moved in to the village. Questioned, the doctor admits being blackmailed by Fellowes over the affair. Fellowes was also blackmailing Ashcroft. In a curious change of scene to a trial, we hear Clarkson's account of the killing.
Otherwise this is a very straightforward and uninteresting murder mystery, with no message, not at all typical of Armchair Theatre

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Neighbours (15 January 1966)

Script: Arkady Leokum. Director: Paul Almond.

The setting is a swish modern American property in commuterland, in the best district. The Robinsons, Chuck and Mary, are preparing to receive potential buyers for the house. "They happen to be negroes" so this "simple business transaction" could influence neighbours' opinions, indeed predicts Chuck "it will get a little rough."
After this scene setting, enter Bill and Vicky Kingsbury. You have to put aside the improbable plot of this couple spending so much effort entertaining these possible buyers. The meeting starts with idle and rather dull opening chat, sellers doing most of the running. The ice is only broken when Bill is entertained by Chuck's absurd advertising gimmick, his latest creation in his advertising job. Oh yes, Vicky does get to be shown round the house. We learn she used to be a nightclub singer, but now is bringing up their two kids.
"For Pete's sake, we're gettin' all involved now," though I found it hard to get into this museum piece studying racist attitudes. Yet the real clash proves to be one of ideals: "you're tellin' me I got to act a certain way." In fact it's all to do with a rather contemporary issue, as Bill and Vicky are only moving into this area for the school. "I don't think I understand," declares Mary, of Vicky's way of life. The line sums up the play just too well.
Though a sale has been agreed somewhere along the way, Chuck seems to want to impose his suburban ideals, but Bill isn't having any: "I don't want to hear all that!" Community is not part of his vocabulary.
So how it's going to pan out?- that's the only interest in this play. Chuck dances with Vicky as Bill dances with Mary. What will the neighbours say?! I never met a couple of sellers like these, and though I know house buying is a fraught process, 'twas never like this in my experience. There's no reality at all in the dialogue. Moments of truth as Bill's lack of education is exposed, but also the fact he's a successful self-made man.
A kind of climax is reached when Bill proposes to tear up the contract unless Chuck begs him not to. Deal off. Yes, house selling is tough. But then it all changes as self-made man is revealed to be a famous composer- Mary is his greatest fan!
Mary apologises. Just shows celebrity status covers a multitude of sins. But nothing can hide the flimsy structure of Neighbours. Perhaps Dick Gregory as Bill nearly holds the story together, yet he would have had to have been a saint to succeed

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Don't Utter a Note (9 April 1966)
Script: Anton Delmar. Director: Patrick Dromgoole.

In this light comedy, two sisters Florence and Nellie inherit their brother Charles' arto deco home. "As living examples of Christian charity," they see the opportunity to extend their charitable works, not only to family, newlyweds Nicholas and Sally, but also to Basher Bates (Sid James) as they continue their attempt to "lead him into the paths of righteousness." Some hope with Sid!
Their joie de vivre is rather curtailed when it's shown some of Charles' cash he's left hidden round the place is forged. A printing press in the secret cellar gives them the idea of helping the vicar out by printing the parish magazine. For once Christians are not shown only as eccentric extremists, though the two good sisters are evidently tempted. And from little acorns.... A few extra pounds for their good works wouldn't come amiss. "I think it would be unwise to say anything of this to Basher!" But they need his 'expertise,' and after giving his trademark chuckle, Sid is persuaded to set the presses a-rolling. With some enthusiasm too. Sgt Howlett (Peter Bowles) briefly threatens to upset this paradise when Florence gives him a ten shilling donation, but fortunately Nicholas retrieves it.
The anonymous charitable gifts snowball, with numerous grateful recipients. Would they "have kittens if they really knew where the cash came from?" And Basher has now his eyes set on a £1,200 sloop, South Sea Lady.
With the help of the Adult Delinquents Association the forged notes are distributed across the country as the operation reaches fantasy proportions- they even plan to pay everyone's income tax! It is inevitable some of the Delinquents are not that reliable. Arnold, inebriated, "louses it up." Here comes Sgt Howlett, after Arnold has talked freely. Thankfully this policeman isn't too bright and only wants the sisters to take Arnold under their wing, and he leaves them with the fine line "may I say that I think you two ladies are doing a grand job." Ironically it's Florence, unusually slightly the worse for drink, whose tongue is loosed. But who believes such a nice old lady?
Ending this piece of absurdity was always going to be difficult, but the author keeps to the spirit of his play. "We've got to get out of the country," advises a worried Basher, and that sloop is the perfect solution. A quick bunk with forged francs and lire, and they have a new start....

This is a lively bit of fun that moves along so briskly you don't have time to worry about its improbability. With Sybil Thorndike and Athene Seyler occasionally sparking it off as the eccentric sisters, who needs the red tape of the Lottery Fund?
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The Noise Stopped
Script John Hale. Director: Charles Jarrott.

Charles (John Nettleton) is at loggerheads with his younger wife Diana (Gwen Watford). What she doesn't know, or we yet, is that he's lost his job in his own old family firm. But self made entrepreneur Henry (Leslie Sands) knows it and ribs Charles obliquely when he comes to dinner with his downtrodden wife Maggie.
Stock characters you could say, the dinner conversation ranges from politics, age, idealism, all of it dominated by Henry and barbed, also, for us, most dull. When they leave, Charles and Diana row (any coincidence with real life characters is quite accidental), she accuses him of having an affair. He's remarkably unresponsive.
"What she needs is a man," remarks Henry to his wife. You fancy he fancies Diana. He reveals why he'd been so cruel toward Charles but his pomposity is burst by a heart attack. Maggie merely stares at him in his suffering. End of Henry.
A subplot is built round Charles' son by his first marriage, David, who has just "chucked" his university course. Charles doesn't bat an eyelid. Charles admits to David he's been sacked, though £10,000 compensation has softened the blow. Oh, Ruth is the reason David has thrown it all in. Then the next crisis, Diana has a bad dream, yes this is Armchair Theatre at its worst.
Henry's funeral, you could write the small talk yourself reflecting on life's fragility, "how long will you live?" As for Charles, he's chuffed he has outlived Henry.
Maggie and Diana's tete-a-tete. The former returns Diana's love letters to Henry. Diana reciprocates, "burn the lot."
At the eleventh hour, Charles confesses to his wife he's unemployed. He'd not been with another woman, merely job hunting, though he's come to see he'll never get another job at his age. He's going to begin a new life, will she come with him or no? She declines. They part. A phone call from David happily back studying, reunited with Ruth, if you wanted to know.
This is a play very modern in its approach, the technique is to build up crisis upon crisis, not giving anyone, not least the writer, time to worry about developing characters properly. Which brings us to the final scene of Charles in his garden looking through a telescope. Anyone know why? Anyone care why?

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Dead Silence (10 September 1966)
Script: Monte Doyle. Director: John Moxey.
No dialogue in the openng five minutes, which doesn't really succeed in intriguing us. Who is the Peeping Tom? Who is he spying on, from his small room? As it turns out to be not directly relevant to the denouement, it's a puzzle. Eventually, we realise he's a caretaker and he's taking a bouquet now to Miss Shaw. After five and a half minutes' economy of silence, the dialogue begins. It's to establish she's all alone in this luxury block of flats.
Now more dialogue saving, or is it more padding? This time someone is banging on a drum in the background, most irritatingly, as another bouquet arrives, but this time a scream, and a shot.
Ten minutes in, we move to a police station, the infallible Chief Inspector Newton who "lives by the book" (Patrick Allen), and his loyal assistant Bob Bedford (Glyn Edwards) are introduced in much the same detailed way. But this technique is too slow for an hour-long play, and any interest in the murder is evaporating after six more minutes painting the picture of a dinosaur amongst detectives, one of the old school, as he himself readily admits. Patrick Allen plays him with that familiar brand of rugged grit.
His investigation of Carol Shaw's death is conducted with autocratic precision. But as the drums start their din, he discerns something that makes his attitude change. It's this discovery that's at the heart of the play. His underlings debate whether the 100% clear-up rate of this "sadist" will remain intact, as he is up to something. Surely he's not tampering with the evidence? His erratic behaviour hasn't gone unnoticed by Bedford and his other more antagonistic colleagues. Why is he not playing it straight, as he always does? He has cleared the area around the flat in order to pursue his "odd" inquiries: "what the hell is he up to?" Newton interrogates the caretaker, who lies. "I don't think you're telling the truth," notes the sagacious Mrs Masters, who knew Miss Shaw as the nurse who had cared for her late husband in his dying months. "Any men friends?" persists the abrupt Newton.
Pathetic dope addict Len (Ronald Lacey) is summoned to meet Newton at Miss Shaw's flat- why there, not the station? Len admits she supplied his dope.
Next is Mrs Masters that he questions in the flat. Or is it she interrogating him? "What are you hiding inspector?" We learn Carol Shaw had obtained her supply of drugs from Mr Masters, causing him immense suffering. That's why she killed the girl. Drum roll as she produces a gun. A shot.
Newton is on the carpet next morning to account for Mrs Masters' suicide and his own erratic performance. Why had he deviated from the book? At last he explains to Bedford just why. An excellent twist to end. And there's time for one last rumble of those drums

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A Magnum for Schneider (4 Feb 1967)
Script: James Mitchell. Director: Bill Bain
Perhaps I had better start by admitting I am not really a fan of Callan. Maybe the evocative music is the best thing in this seedy drama.

Callan (Edward Woodward) is a disillusioned man- "I used to like my trade." His conscience has rendered him too "soft" to be a licensed killer, but now he's being given a chance to prove himself by killing Schneider.
Yet still Callan wants to know too much about this German, he wants to know the reason he has to kill the man. On his first encounter with Schneider he finds a common interest, which seems genuine, in model soldiers. "I wonder what the hell he's done," ponders the broody Callan. These moments when he shares his inner thoughts are perhaps the best feature of the play.
From the repulsive Lonely, Callan purchases a gun, but complications follow when he finds Scotland Yard are already pursuing inquiries into Schneider. It seems he is suspected of gun running, and a probing of Schneider's safe confirms this for Callan. His mind is now made up. Poetic justice demands the criminal is shot with one of his own smuggled weapons- a Magnum.
Though the interesting morality issues are explored mildly, and Callan's doubts over his job are quite absorbing, the story takes for ever to get to the crux, which is when Callan goes to play soldiers with his target. To cover himself, Callan has left a confession of murder on his tape recorder, which is promptly erased by his faceless superiors. Indeed Callan is constantly shadowed by 'them' (in the shape of Peter Bowles), and to protect this faceless man, Callan is finally forced to eliminate Schneider. But regretfully, one feels. "My God, you took your bloody time!" Too long, I felt.
He's a fine anti-hero, if you like. But no cold blooded killer. And Callan knows that, as he hands in his resignation

Callan series
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What's Wrong With Humpty Dumpty?
A typical Armchair play about one of those sixties' trendies, David (Donald Houston) a middle aged tv documentary maker who talks pretentious rubbish, which is barely suffered by his obedient wife Hilary (Katharine Blake).
The scenes jump smartly from the couple to male caricature David and his mistress, young Caroline (Lynn Redgrave), the dialogue is stagey so that one asks, are these real people? The pair talk, or rather he does the talking, as if she fully comprehends, about his forthcoming documentary on Darlington.
Hilary writes children's stories, hardly appreciated by her husband. He is watching a cartoon (Foo Foo) with Caroline, and doesn't get home until 2.30am. A suspicious Hilary encounters Caroline at the trendy boutique where the latter works. It is evident Humpty David is riding for a fall.
A row about the pendant he had bought at this shop is the catalyst. At the Happy Haddock, David spots the two women eating together. They go to David's flat, and he feigns surprise.
"You two, do you know each other?" queries Hilary. He dithers in embarrassment. "I've got to tell her," decides Caroline. David is in pieces, "just like Humpty Dumpty... in his own self importance."
An echo of the Laurel and Hardy theme strangely plays, as he escorts Caroline home on the tube. "I thought you loved me, you self-centred Humpty Dumpty."
For the final scene, he is back in his own bedroom. His wife rounds on him. "I deserved that," he sort of admits. The ending sums up the cartoon-like quality of the play. whether you find it funny, perhaps depends on whether you find the characters at all likeable, and indeed believable

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Reason for Sale (4th March 1967)
Script: Derek and Donald Ford. Director: Patrick Dromgoole.

The opening shows off the impressive set of the lavish home of an enigmatic Hungarian widow, Ylena (Nadja Regin). She and her stepdaughter Anna are showing their home to prospective buyers. One is Ben Lewis (William Lucas) of the Paisley Group, who manage private country houses. The characters are well drawn and quickly, Anna being the most odd, seeming to hint that there is more to the sale than meets the eye.
As Lewis is leaving, Ylena invites him to stay to dinner. But this is only the first of the downward steps that leads a promising story into an abyss of unlikelihood.
The odd Anna believes Lewis is from the police and she tells him her father Ferenc had been killed. A writer he had been, who had fled Hungary in the 1956 uprising. Ben Lewis starts to wonder if Ylena hasn't manufactured events so he can stay the night.
After some serious words with her, Ben retires for the night to find Anna in his bed. Now we start to border on the improbable as the two talk more of the alleged murder. She points him to the extensive cellar. In the dark, he creeps down there, and what does he find? A recently bricked up wall. But then, does he see the dead Ferenc alive?? Ylena is there next minute and explains he might have seen her husband's portrait, which has mysteriously been taken from above the fireplace. It was Anna playing tricks, explains Ylena, for the girl is mad.
Ben asks to see Ferenc's death certificate as he kisses Ylena. Reality is evaporating as the cameras come closer and closer to focus in on their kiss.
Such intimacy gets him to admit that he's come unofficially to investigate Ferenc's death. They now struggle as he tries to force her to admit she killed him. Anna then teases him as the action becomes more frenzied and incomprehensible. "You're mad," Ben tells them, or is it me?
For Ben had been blackmailing, as yet another revelation is bombarded on us. This must absolutely have lost most viewers, well it did me at least.
But before you can reel from that, Ferenc appears, alive and well. The two men face up. "Talk sense," screams Ben, as if anyone could now. It seems Ben is to decide his own punishment and he is goaded into shooting Ferenc, though the gun explodes in his own face. "It was his trial," utters the resurrected man seemingly by way of explanation, and if you swallow that, you are a true Armchair Theatre devotee.
Reason for Sale this was titled. Can't have been many buyers

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Call Me Daddy
Script: Ernie Gebler. Director: Alvin Rakoff.

An opening scene grabs the attention with the ever eccentric Donald Pleasence singing happily in his flash dressing gown, awaiting a caller in his expensive flat. Miss Smith (Judy Cornwell) arrives on cue. She makes a contrast to his eager anticipation. Her heart is definitely not in their agreement that is to last seven days. Apparently her boss, Benjamin Hoffman has some hold over her fiance, Tom, who has committed some crime.
"It's monstrous, what you're doing to me." Yes, he's the original "dirty old man," and who better to capture all the comic creepiness of this role than Pleasence! Deliciously, he describes himself as "an embarrassed currant bun."
But her initial fears are somewhat calmed, when he offers to take her out to dinner. But when they come back, he tells he it's "time to embrace her fate." Into bed, she shaking in pjyamas. Then a surprise, he's taking sleeping pills! "You are safe until 6am," he concludes.
At 3am, she is still not asleep and decides to leave. Why she doesn't is not so convincing.
6am, the alarm rings. Off for... a walk on Wimbledon Common! Then breakfast as he sings merrily in a comic chef's ensemble. She starts to relax, "you can call me Janet if you like." The tension has gone, but this serves only to reveal the implausibility of it all. Comedy is now to the fore.
How can it end? At last she asks him what this "cultural exchange" is really all about. Is he just mad? "You treat me as if you're my father," she almost jibes. Yes, it seems he's just a frustrated old bachelor.
This night she wears a nightie. "If I told any sane person about this...." Or any sane viewer. She again presses him as to his intentions. "When the fruit is ripe," he answers enigmatically, "it falls from the tree."
For the last evening she wears a new dress. She wants to go out swinging, and he turns out to be the original oldest swinger in town.
Now that night she is first into bed. A provocative pose. Only Goodnight.
Next day, time to leave. She gives it him straight. "You never even kissed me," which may be an accusation or complaint. Apparently all he wanted was to be a father figure. They part on the worst of terms. "I wanted you to care about me," he finally confesses. She bids him Goodbye. Perhaps she ought to have added Good Riddance.
But even yet, the torture is not over. It's only the start!! No this is not gritty realistic theatre, it's theatre for the voyeuristic

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Compensation Alice (1st July 1967)
Script: Jack Rosenthal. Director: Patrick Dromgoole.

"Isn't that gorgeous?" asks Alice (Sheila Hancock) of a 20 guinea hat in a fashionable boutique. But "it's for mods and rockers," not for one Alice of the Women's Guild. "It's a bit young for madam," explains the shop assistant, "perhaps in your flapper days...!"
For she's fighting anno domini: "you're not 16, love." Back in her suburban home with Wilfrid (Robert Lang) she despairs of her marriage: "I've done nothing exciting for twenty years." Her husband is much more content as he does his office work in bed: "Wilfrid, why don't you talk to me any more?" Their stalemate is in stark contrast to their Swiss au pair Lisa, who's enjoying a lovely time with her young man.
"I suppose I couldn't go to Switzerland and be an au pair girl," muses Alice to Lisa. She decides it's time for a "giggle" as she pretends to look pregnant. The boutique assistant accuses Alice of stealing, but realising the mistake offers £5 by way of compensation. That sets Alice off. In a cafe some more "excitement" as she introduces broken glass into her ice cream. Her staid friend Beryl insists on complaining, and another £5 in compensation is the result. Alice is soon earning more compensation, this time from a motorist who almost runs her over. She'll soon be able to afford that hat!
We find out the reason for Wilfrid's working at home. At his office he works with his friend Cecil selling insurance, or rather not selling insurance, for they spend all their time talking and playing about.
So that evening, Wilfrid has more work to do at home. Alice is wearing her new hat. "Alice, have you unhinged?" She does look faintly absurd. But there's no time for more, because the once-happy Lisa is crying the place down. Her boy friend isn't so keen as her on marriage. It's more than a little embarrassing this scene, though it's supposed to be funny. Even more incredible, Lisa admires Wilfrid, masterful character. And she loves Alice's happy lifestyle. As a study of mid-life crisis, this would have been a better play exploring Alice once she has bought her hat. Instead the play degenerates. Alice realises her faux pas, Wilfrid offering her twenty quid for her never to wear it again.
To make it moral, all the compensation is returned. Now Alice is happy performing the household chores, happily it would seem. One senses that the author's good idea has been all but lost. Amazing how so many writers can't finish off their good plots. Even someone of the reputation of Mr Rosenthal

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Mrs Capper's Birthday

It's hard to believe that Noel Coward could write a script right up Armchair Theatre's street, but this one is the goods, meandering and plotless. This version is not funny either, though it aims to analyse middle aged loneliness. The play was adapted for tv by William Marchant and the director was Guy Verney.

Happy Birthday, Hilda (Beryl Reid)!
'Tis her fiftieth birthday, though what follows looks more about someone in their sixties. She shares a house with the suffocating Alice, living on memories of her Fred who died in the war. Also in the house are Audrey and her husband Tony, but this Sunday morning, after a wild party, it's not he but Bobby, and Hilda Capper helps the rather unsympathetic Audrey to cover her tracks when Toby returns home.
With Alice in church, Mr Godsall (Arthur Lowe) takes advantage and brings Mrs Capper a present, and a hesitating proposal. It's a good offer, he's a prosperous tobacconist, but she confesses she is too set in her ways now.
To see her granddaughter (for once, a real baby) and daughter Maureen (Pauline Yates) plus her husband Jack, Mrs Capper travels by bus, "old cow" Alice accompanying her. Another present, then they all go to Chez Maurice to celebrate.
By now you are puzzling if this is to be anything more than a character study. That first scene with Audrey seems vaguely irrelevant, and Godsall's proposal forgotten. Here, camp waiter David adds one more unneccessary character, but he is upstaged by the final visit of the night, to a "slummy" downtown pub where a noisy drummer pounds out the worst cabaret ever. Even Mrs Capper admits she's a bit tired of it all, and if she was, I certainly wouldn't want to say her nay. Beryl Reid does work hard to hold the scenes together, but there's no cohesion for her to hang on, and, for me, no depth to her. As a final insult, an improbable guest, reliving his old haunts is famous film star Kenny Blake (George Baker). He joins all present to sing Happy Birthday, "after all these years." It would have just needed the queen to drop down the pub to add her half century telegram in person for the insult to viewers to be complete. Noel Coward, I could have written a better play than this- I think

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Edward the Confessor (1969)
Script: Leigh Vance, Director: Henry Kaplan.
Edward Gobey (Ian Holm) is a habitual visitor to the police station, confessing to numerous lurid murders. The usual police response is "run away, there's a good fellow."
Widow Mrs Blaxill (Beryl Reid) is his landlady and they enjoy a cosy friendship, which is now spoiled by the appearance of Gobey's old school acquaintance Gland (Alfred Burke), a seedy driving instructor. He's one of those strong characters who has Gobey under his thumb.
So which of the three is the play, a crime drama, a comedy, or a love triangle?
I thought it was a comedy, for that was Beryl Reid's forte. To support this view, there's also a snippet of Edward Gobey at his work of conducting a door-to-door questionnaire, and the questions are of an intimate nature. It's supposed to make you laugh. But no, perhaps it's a love affair, because Gland is now moving in to the lodgings and is quickly making advances to Mrs Blaxill in the kitchen, then in the bedroom. However you always feel this play might be a crime story, with Edward putting his confessions to good, if rather corny use, by eliminating his rival. But he ponders the deed too long, and only stiffens his resolve after hearing sounds of their lovemaking. Back to comedy, as although he toys with gun and axe, his protest appears limited to cooking his own breakfast. However he does announce he is going away for the night...
Finally the deed is prepared, and in the dark that evening he creeps back, and the axe falls.
Time now of course for another confession. As usual he explains how he did it. "I shot him!" He's not believed.
To absolve himself from any accusation of being too obvious, the author now embarks on a series of surprise, occasionally clever, revelations. "Indestructible old" Gland is still at the lodgings! Gobey had got the wrong victim! Gland goads his rival but the play now turns into an overlong study of the tragic figure Gobey, as the pair talk for what seemed like eternity to get behind the rationale of it all. Yes this play fell between three, no four stools.
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Toff and Fingers (Armchair Mystery Theatre, 3 July 1960)
Script: Robert Kemp. Director: Robert Tronson.
The opening shots of a train puffing over a viaduct to romantic Scottish music, evokes the mood of an old film. To add to this flavour, some muffed lines and the odd dodgy prop.
In the title roles are Roger Livesey as Toff and Harold Goodwin as Fingers. Seeking to elude the law, they are posing as servant and master. "I've got everything it takes to make a gent," remarks a wistful Toff, "except the money." And now, after a successful snatch of £20,000, they are to hide away in the remote Auchenlochan Hotel.
The 'Colonel' makes a favourable impression on residents there, including Cooke (Robert Dorning) who is eager to talk about the crooks who have robbed Brassworth's London store of £20,000. Lord Brassworth happens to be the local laird, very unpopular with locals as he is forcing the crofters to give up their grazing rights. Gallantly, Toff contributes to their fighting fund thus winning a good name amongst the locals. Higgins, his man, alias Fingers, also creates a favourable impression, by joining in the local poaching. He gets itchy fingers when he hears from Perkins, butler at Brassworth's castle, that the gold dinner service is being shipped from London for a special occasion. But the more level headed Toff can see the risks: "I don't know how another £20,000 is going to make us better off." Anyway, having won their trust, he doesn't want to betray his new found friends.
But the guests, and the hotel owner, widow Mrs Cameron, start gossiping about the cash that's been spotted in Toff's room. Are they dropping hints when they tell him of "nouveau riche bounder" Brassworth's gold dinner service? "Society will always need a Robin Hood." But Mrs Cameron is worried enough to contact her brother at the Yard.....
Against his better judgement, the Colonel has been persuaded to open the local sale of work. The minister welcomes him whilst the Colonel shifts anxiously in his seat, as listeners are informed of the colonel's fine war record. In response, Toff answers that he's charmed by "a dreamland where a man can recapture his lost illusions."
With inquiries being made, however innocently, about his past, it's time for Toff to pack his things. But the Yard have been making inquiries too and Dt Supt Chisholm has traced them through fingerprints. "It's a fair cop," is Toff's awfully corny response, and just as he'd been considering helping himself to that gold dinner service before departing....
But the detective is human, and agrees to preserve Toff's good name amongst the locals, if only to avoid the embarrasment of their knowing their fair had been opened by a swindler. So it's an ending quite in keeping with that olde-worlde atmosphere we'd begun with. The train steams away with its prisoners: "thank you inspector, you're a gentleman too."
Though a pleasant character study of intangible perfection, this is ultimately charmless, sadly. Livesey adds moments of the lugubrious, as he almost parodies Roger Livesey.
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The Blackmailing of Mr S (26 July 1964)
Script:Michael Gilbert. Director: Robert Tronson.

John le Mesurier seems ideally cast as a gentle solicitor Mr Sparrow, who runs an efficient office, mainly thanks to his right hand man Varley (Peter Butterworth). The smooth running is also due to the behind the scenes efforts of ex army sergeant George (Peter Vaughan).
Less serenity however, when secretary Miss Angie Dundas (Jo Rowbottom) tackles Mr S on the subject of his dubious tax returns. She demands a pay rise! George is also in on the blackmail, and wants an even bigger rise.
"Call their bluff," is Sparrow's first response, after consulting Varley. He persuades Varley to listen in to the next confrontation, then to give the crooks a taste of their own medicine. However the plan backfires when Varley turns out to be the brains behind the scheme- he wants a golden handshake of £5,000. But how can Mr Sparrow find such a large amount of money? Swindle the clients, proposes Varley. It seems poor Mr S has been doing this already anyway, perhaps thanks to his laid-back approach to his work.
Mulling over his problem, Mr S is befriended on the train home by fellow traveller Angus Kendrick (Robert James). At Mr S's home, Angus admires a Faberge collection. Is it coincidence that Kendrick is the cousin of Miss Tripp, a client Mr S is now swindling?
You feel almost sorry for Sparrow: "have any of you thought this thing out to the end?" he inquires of his blackmailers. Or perhaps he was asking the author whose play ambles on, without developing satisfactorily, or providing any new insights into the blackmailing motif.
Yet Mr S gets his own back by persuading the crooks to keep their money in the firm's strong boxes. They might suspect a catch, but what is it?
Tis down at the bank, where Mr S is packing away his precious Faberge collection. But before he can do a bunk to Rio, Kendrick locks him in the vault. He knows his cousin has been swindled. "I wasn't really stealing at all" is Mr S's rather hollow excuse, rather like this story, which despite some charming touches from le Mes, is a rather feeble apology for a crime caper. Perhaps the unexpected ultimate casting against type of John le Mesurier was the most inspired part

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Man and Mirror (Armchair Mystery Theatre, 13 June 1965)

Script: Robert Muller
Are the characters believable? - Not for me.
Are they sympathetic? - Hardly.
Is the denouement credible? - Daft is a simpler, better description.

GP Geoffrey Manners (Maurice Denham) lives with his brother Edward (Richard Pasco) and mother Isabel (Sybil Thorndike) in a dark mansion. Mama believes "someone is trying to kill me," but is she imagining it?
Edward is a frustrated composer, who spends more time bemoaning his bored existence than in any desultory composition.
Geoffrey attends to his patients, studying the latest Freudian theories, and suffering from recurring headaches. His one love is his chameleon. Apparently its colour changes are significant, not only in biological terms, you see. Let's face it, they're all batty. Or is it the author, for daring to inflict such depression on us?
Clock ticks louder, chameleon changes colour, as Edward, Jekyll and Hyde-like seeks a lady's pleasure.
Fretting with good cause is Isabel, for someone is certainly trying to frighten her. Her murky past, or more correctly, her late husband's murky liaison is the root of her angst. She contacts the police about her fears. They have just received another, anonymous, communication, accusing one of the brothers of something unspecified but obviously some nasty deed. She then discusses with the doctor Edward's schizoid character. It's all caused by his repressed past, in this repressive house, ruled by a dominant matriarch.
Edward wears a wild look in his eye as the crisis looms. "You do understand?" Geoffrey asks Edward. Apparently he does. He's the only one though. He has to rid himself of one nature, in order to become "one whole man."
'Tis all part of the doctor's plan to get Edward to act. Will he? He can't do what a man has got to do, so Geoffrey does himself. He's the potty one, as if you cared. But he's stopped in his foul act.

This is the sort of play that Armchair Theatre was celebrated for. It was the sort of play that may have won the critics, but certainly lost the viewers. And for me, the viewer is hardly ever wrong, not me anyway

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10.7 A Room In Town

Script: Donald Churchill. Director: Guy Verney.
These two old Armchair regulars produce a new wave story, which begins in bed with the obligatory naked Ted or Edwin (George Cole) and Margo (Dawn Addams). They are actually neighbours, his wife Betty (Pauline Yates) is certainly no bitch.
Into this calm, comes Betty's discovery of a bill in Ted's pocket. It relates to a flat in London. "You're being naughty again," she tells herself, driving straight to this flat. "How vulgar."
She plans her revenge. Unwittingly, she asks Margo to babysit, so that she can catch Edwin before his next assignation. When she explains her reason, Margo is shocked. Betty's plan is to hide in the wardrobe and attack this unknown lover with a mallet.
As a matter of some urgency, Margo meets Ted at the pub, where they mull over what they could do.
That night, Betty hides with her mallet in the flat. A girl shows up, but with Frank, Edwin's golfing partner. After they enact a scene, his tortuous explanation manages to persuade her that this is his flat. Betty insists Frank receive some compensation for her error. This consists of stripping off, "you just say yes or no."
Betty returns home to tell her babysitter Margo that Edwin is "perfectly innocent." Later Edwin thanks Frank for his help, "you carried it off..." The final scene is back at the flat, Ted and Margo happily return together, in the clear. But who's in their bed?

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10.12 Mrs Davenport
Script: Noel Robinson. Director: Peter Duguid.
The play starts promsingly, but loses momentum, once the intial theme is played out.

Miss Julie Spencer has been called to High Trees in Winchfield. She is an interior designer and is to make the house "very up to date." Yet it is clear that this is not a business visit, "I think we may have met before," client Mrs Pamela Davenport suggests.
"It's THE girl." Yes, the one whom Richard Davenport, on the verge of retiring, has had a fling with. The interest is in what the family are going to do about it. But Julie's response is, "I don't even know him." Despite her name, she is married.
Mrs Davenport herself is too dignified to question her hsuband over it. Then comes the rather fanciful explanation: Julie and her new husband had stayed at High Trees recently, when the house was unoccupied. She had answered the phone when Mrs Davenport called the house, and pretended to be Mr Davenport's lover, as a joke you understand. "An extraordinary story." It is really. Mrs Davenport faints. When she comes to, the mundane conversation is renewed, revealing her prejudices and weaknesses.
The play drags until Richard returns home. Pamela leaves them alone, and they chat inconsequentially about the war, and so forth. Then the girl departs, leaving Mrs Davenport to reflect with her husband. "It was a misunderstanding." And a let down

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10.13 Say Goodnight to Your Grandma
Script: Colin Welland who also stars as Tony. Director: James Goddard.

"Meeting of the matriarchs" on account of newborn Cressida. Two grannies vie with each other before Jean and Tony, the happy couple, arrive, "where's my little baby then?"
A certain hogging is what the parents had expected, dreaded. Then verbal sparring. A chance remark on christening starts Jean off, breastfeeding or not is another awkward topic. Tony's mum introduces the ideas with relish, driving Jean's mum off home. Jean becomes ever more disturbed by "the terrible destructive ogre" that is her husband's mother, whose raking up photos of Tony's old girlfriends stirs matters up further, encouraging Tony to drop in on his old mates.
Tony brings his old gang, all male, back to the home to share old times with ma. Jean determines, this is "war!" After a booze up, the boys all merry, she shows up, flirting outrageously "like some tart." When she starts a striptease, it's the breaking point. The baby awakes, and suddenly an angry ma and her son are speechless, the former moaning however, "I'll never forgive her."
The men, subdued, all help prepare baby's sterilised drink, while ma sits in stony silence. The gang leave, and ma quietly goes up to bed, maybe a wiser woman.

The baby was real, and somehow cried when it should and was blissfully quiet most of the time- I wonder how many takes it needed! This play of the mother-in-law from hell adds nothing new to the genre, indeed it bears an utterly cynical view of life, worst case scenario

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10.16 Still Life
Script: Ronald Duncan. Director: Dennis Vance.

In a posh house by the Thames, Patricia (Margaret Rawlings), "not a day over...," gloomily reflects on the fact that she is "finished" as an actress. Theona her daughter is coming for the weekend with working class Trevor, both aspiring actors. He has Patricia's measure, with her existence a mere "fabric of lies."
The couple rehearse their new roles, Patricia offering her advice, showing her daughter how to play one scene with erotic overtones. It's very unsubtle and obvious. "Trevor will never make an actor," Patricia concludes, and after an exchange of insults, theatrically managed, she storms out in one of "her moods."
She finds Trevor repulsive yet attractive. Not at all palatable is Theona's admission that she has a sex life with him. What emerges is the several personae of Patricia, as mother, wife, and actress.
"Without a shirt on," Trevor offers "exhibitionism" in her lustful eyes. She taunts her docile husband David dramatically, "Trevor has tried to make love to me." He knows her too well to believe her.
Next scene is between the scantily clad Trevor and the ageing actress. All faintly embarrassing. "Trevor, kiss me," she begs. But a kiss on her forehead does not satisfy her, well it wouldn't. So she feigns tears when David and Theona next see her. But they are not, as she had hoped, jealous. She offers her version of the scene we have just witnessed, should you be interested. I wasn't. Nor was her family, until Trevor returns for a final rant at them all.
These were stereotypes of characters in a stagey play with nothing at all surprising in the wordy script

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13.3 The Office Party
Script: Fay Weldon. Director: Voytek.
A plush bank. A piano is wheeled in, ready for a retirement party. The manager (George A Cooper) is leaving, "they'll be glad to see the back of me." His second-in-command Richard (Peter Barkworth) is hoping to take over the reins. But the focus is on Richard's secretary Julia (Angharad Rees) who has recently discovered that she is pregnant, father fellow worker Paul (Ray Brooks).
So to the main event. The staid manager is at the piano, with a repertoire of old time songs. Rachel, a friend of Julia, stirs it up by pointing out to Julia that Paul is in the arms of another. Inconsequential scenes follow, establishing the cattiness of the employees, Rachel spreading Julia's news, despite promising not to. Paul's friend, the "too crude" Roy drops the surprise to Julia that Paul isn't going to marry her. The tedious characters are well portrayed, yet together make up a tedious story.
Richard gathers the group for a speech by the manager, this is edited thankfully. Then more chat before Paul tackles Julia, the brewing row finally erupts.
They both seek consolation and advice, separately. Into this comes Richard, bored with his wife, to dance with Julia. That spurs Paul into trying to interrupt. What could be a promising full scale punch up is dissipated by the retiring manager who takes them aside. He asks Julia if it is true that she is pregnant. He even blames Richard. "Dismiss her," he orders, without realising that he is no longer the boss.
"The party's over." Thank goodness! But not the play, for more scenes follow, the one with Paul and Julia is essential, a few others have rows. Our couple leave together. You are left thankful that you do not work in this bank

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13.5 Brown Skin Gal, Stay Home and Mind Bay-Bee
Script: Robert Holles. Director: Mike Vardy.
What the title means, please send me your answers... It is a song sung at the end by Cy Grant, very nice too, but the relevance was lost on this poor viewer.

A group of bored housewives, children at nursery school, enjoy a good gossip. They include Ruth (Billie Whitelaw) who since her divorce has been living alone, and is now advertising for a preson to share her home. Though a woman applies, she lets it to a young Irish electrician, Roger.
"What are you waiting for?" Roger's oversexed mate asks. She appears to be waiting for him too. Both have their fantasies.
Sitting in the garden in deckchairs they share their thoughts, she lends him a book: Sexus. She tells her gossips all about him. "Are you enjoying your lodger?"
He reaches crisis point, smartens himself up and nervously knocks on her door. In the end her asks to lend him milk. More he is unable to do.
Roger's mate Arthur is not so sexy either, he fails to pull an attractive barmaid. But goaded by Arthur's own boasting, Roger takes home a waitress Arthur has paired him up with.
Ruth is having her own fantasies, and in a flimsy nightdress calls at Roger's door. She finds the waitress there, about to ditch him. He realises he has missed out.
He wasn't the only one to miss out. The play finishes with more gossipy women, "the lodger's gone." Much ado about nothing, you could say

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13.6 Detective Waiting
Script: Ian Kennedy Martin. Director: Peter Duguid.

This particular Lewis (Richard Beckinsale) is a young police detective, "selfish, arrogant and moody." To get him off the super's back, he is assigned to watch a known crook, James Cummings. Though "we want him nicked," Sgt Bassett doesn't give the youngster any chance.
Lewis knocks at the posh house of the villain, and is sent packing. He waits outside in his car. Cummings threatens him to force him to move off. In return, Lewis sits tight, asking about a lorry of stolen brandy.
Arthur, Cumming's nancy heavy, finally asks Lewis in so he can put his questions. No answers of course. It's the classic story of the little v the big man. "If you don't go away..."
Tony Blond is Cummings' partner in crime, and Lewis travels to Brighton where he hides out. The two crooks become jittery and argue over how to dispose of the brandy.
Councillor Harding is leaned upon, to get Lewis off the villain's back. "You're rocking the boat." A "sizeable" discussion concludes with the super giving Lewis his backing.
Cummings invites Lewis in from his car, for lunch. Some moments of humour break up the tension. Lewis is relentless in his pursuit, so the next trick is a girl, paid by Cummings very obviously, whom Lewis follows to an empty property, where he is duffed up, not unexpectedly. Photos are taken of Lena kissing him.
"I did warn you," Cummings later tells the detective, who is told about the brandy and a frame-up to make Lewis appear bent. But Cummings has fallen out with Blond over Lena, who is Tony's pregnant daughter. A deal is offered to retrieve the brandy.
Lewis returns to wait in his car, creating a neat trick to divert the lorry of stolen brandy to Cummings' house. Possibly the ending is the weakest part of the story, though maybe in the tradition of loose ends Armchair
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Will Amelia Quint Continue Writing 'A Gnome Called Shorthouse'?
This disjointed play offers moments of wit under the dross of verbiage. Beryl Reid in the title role doesn't sparkle as you feel she might, and Sheila Steafel is sadly wasted.
The plot is set via inconsequential chat in the bathroom (why?), Lewis Denham (Richard Vernon) publishes the children's books of Amelia Quint, "she had a real flair." Titles like Smelly Albert. Trouble is she has stopped her flow and gone off to Italy. After some salacious discussion, Lewis sends his man Miles to lure her "back into harness."
We meet AQ living it up in the sun, fawning over "the pretty one," a toyboy named Nico. She is happy being ravished, at least on camera, filmed by director Giulio. It is thus that Miles finds her and persuades her to return to England.
He and Lewis meet AQ at the airport, where Kate is anxious to interview her for a magazine. Kate is a male nom de plume (don't laugh). Enter AQ, a sight to behold with Nico and Giulio in her train.
Miss Tindall is another seeking an exclusive, and Lewis drives with her, down to AQ's new residence. They find her dressed as a tart (don't laugh) filming with Nico as a sailor. She confesses that she hates her juvenile creations. Has she "sadistic fantasies?" Yes, to a little fat dwarf. Not the answers Lewis wants to hear.
The climax is a publicity launch. The script flounders around with more salacious conversation, the gist of which shows that AQ is a changed woman. Or maybe she is just tipsy, as she offers a final nonsensical soliloquy. Her image has been tainted, "to pursue the knicker at the end of the rainbow." That about sums it up

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13.9 Competition
Script: Douglas Livingstone. Director: Kim Mills.
A well dressed polite boy spouts poetrty to himself, O To Be In England. Is there any such child? Was there ever?
Ray is the offspring of the redundant Jim, who is to take him to some competition where he is to render this poem. Debbie is more normal, off school, rather uncommunicative, daughter of Jim's coarse friends Tony and Joyce. They tell Jim the bad news that they are moving away very soon, as Tony has got a job. For implausible reasons, they come to the competition also.
A tedious wait for Ray's competition to begin, leads to a tedious exchange on the niceties of the English language. After a slight tiff, Ray registers, and his dad and friends go off to the pub. Debbie, who might have been drawn more fully into the story, is left to attend the actual dull event, everyone recites Home Thoughts from Abroad, whcih must have made for an excruciating morning. Thankfully we bypass most of it, only to listen in to inconsequential chatter over drinks. Perhaps it's intended to demonstrate why Ray is as he is. It also becomes clear, what we suspected earlier, why Jim doesn't want his friends to move.
At the competition, Ray patiently waits his turn. Debbie livens up, querying Ray's motivation, which he is unable to articulate. She taunts the lad over Jim's "mucking around with my mum."
Despite the distraction, Ray gets through to the finals, in case you are interested in the original storyline. His dad certainly isn't, though he does come with Joyce to listen to the end of the event. Tony sees them together and creates a minor kerfuffle. Ray reprimands his dad, and the two men exit the room as Ray commences his turn in front of the judges. The two men kind of make up, Tony unwilling to believe the worst of Jim, skirting the issue.
They enjoy a celebratory cup of tea. Ray won. Two scenes form an anticlimax, maybe to spin out time? Then a final scene Ray with his dad, "you know what I mean." He didn't. I don't think I did either, but Ray concludes with a nice parody of all that poetic piffle
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14:1 The Left Overs
Script: Donald Churchill. Director: Jonathan Alwyn.

A wordy play about salesman Mike (Anton Rodgers) who returns to his untidy flat to find a woman in his bath. She is Jane (Ann Bell), a one night stand of Ted, his roommate, now away at work. Mike makes small talk, trying to show off and impress her. You've seen this sort of permissiveness many times before, and despite the good acting, offers nothing original.
He persuades her to phone his boss, pretending to be phoning from a hotel in Coventry. She tidies his flat while he goes out, but when he returns he finds his office have phoned. He smashes the French windows. His dopgy hotel expense claims will be found out. In fact he has been swindling his firm for the past five years like this. But she admits she is on probation herself- for forging cheques!
The couple swap notes as our interest flags. She tries to convince him that he will never be prosecuted, but it is all too tedious. It transpires they had both used their ill gotten gains to fund their children's education.
The long, long awaited phone call from Mike's boss. Nervously he answers. He confesses his sins. She had been correct, a veil will be drawn over the sordid affair. The couple kiss. Though he is now out of a job, they don't care... Aaah! Or urgh

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14.4 High Summer
Script: Terence Rattigan. Director: Peter Duguid.

As this starts, you might believe you are watching one of those Thirties' country house films, only this is in colour, and the set is real and very expansive. Here "nothing ever happens, or is allowed to."
Old reprobate Sir George (Roland Culver) watches an interminable game of cricket, when who should show up but Jack Huntercombe, disgraced son and heir, sent down from Oxford six years ago. He's returned to "surprise them," with his bit of frothy fluff, Miss Amy Sprott. While his mother is delighted, Colonel Donovan his future step father is not. Jack claims he needs cash, half a million or so, or he will have to sell the house he technically owns. A devious method of extracting cash from his family.
After a formal dinner, his motives are explored with his schoolgirl sweetheart Margaret. He does love the place, but his shady past with scandals political and romantic, are revealed.
"You should marry her," George advises the wayward prodigal. Now it has all become rather too serious for such empty surroundings, not a 1930's film at all. Amy knows her own time is up, yet she doesn't see Jack marrying Margaret, he cannot anyway apparently. Lady Huntercombe is given notice to leave, unless she renounce her love for the despised Donovan.
This portrait of a privileged wastrel tries to make him sympathetic, or is he simply "unworthy?" The truth is that he is, and next day Jack takes his leave, not au revoir, and as was stated earlier, nothing ever happens. It did not

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The Creditors
Adapted from Strinberg's play and directed by Philip Saville.
This is Saville at his most frustrating,and you can only admire the cast for maintaining their seriousness, despite the philosophical fireworks. Oh, or was it supposed to be a comedy? Surely not, nobody talks like this.

Sweden 1954. We join the middle of a tete a tete between artist Adolphe and a man he has met during his wife's absence. The friend has taken the artist into a voyage of discovery about himself and Tekla his wife, one analysis is that she has devoured him with her dominance. "I long for her," the husband confesses, "but I'm afraid of her." From a huge photo of her on the wall, this friend points out her character flaws. They have one child, which she refuses to see, since it reminds her of her ex husband.
Next scene is her return, with friend hiding in the bedroom listening. She calls her husband "brother," and easily gets him to reveal his new aspiration to be a sculptor. She perceives someone has manipulated him into doing this. The couples' interaction varies from childish games to character assassination, this section marred by weird electronic sound effects. Even more daft is his wielding a knife at her, yes he is "strange." He admits, "I am a child." Well childish for sure. But with childlike perception, he has seen her for what she really is, and he collapses, very appropriately.
The next scene in this triangle is of course with her and the so-called friend, who in case you didn't guess, is her ex. "You've become quite philosophical," he correctly tells her, amen to that. If only 'twere not so. Though he says otherwise, it seems he might want her back. Husband, who has been listening in, goes beserk when they kiss. It is now that she perceives what her ex has been up to, his motivation as unreal as their unreal philosophical exchange, which thankfully concludes at long last on a sour note as the ex departs. The finale is in the best, ie worst, Armchair style

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15.1 Death of Glory
Script: Robert Holles. Director: Gareth Davies.

This opens in a quarry, where blustering right wing imperialist Bill Turnbull leads his rabble of three, including the belligerent Cyril. Bill lives with 'Sergeant Major' Reg (Bill Maynard), his bedroom is full of toy soldiers, where he imagines he really is in the thick of action back at the quarry. Then he dons a smart uniform, off on parade!
While Reg has gone to the pub to get pissed, Bill has proudly marched in his uniform to a band rehearsal. Attendance is poor, perhaps because he rules with a rod of iron. However a young recruit has turned up, but she is "a tart," Bill has no time even for her excellent trumpet playing. The rehearsal is pretty raucous, as even Bill has to concede.
As Fred jokes non-PC style in the pub, Turnbull imagines his band's triumph at the village fete.
Foulkes is an old buddy of Fred's, who turns up at the pub. He bursts Reg's feeble bubble, and a deflated Reg makes his excuses, returns home and collapses. The mood has swung violently. Also spoiled is Bill's fete fantasy, which is ruined by Cyril trying to take over the baton.
At the pub, truths about Reg are revealed. Bill returns home and finds the corpse.
The funeral service is interrupted by Bill who is clearly very emotional. At the wake afterwards, conversation is dominated by Aunt Marjorie, interminably dominated. I think the play is intended as comedy, though it is more a character study, or should I say, assassination. It is certainly a strong part for Warren Clarke as Bill, a prototype for Windsor Davies in It Ain't Half Hot Mum, only much more of a fascist, "he'll be breaking out in little swastikas any second."
The punchline, such as it be, is a revelation about Reg, that is hardly worth waiting for. Then a final sad scene as Bill visits the army recruiting office. No this was not comedy, or pathos, it was, well, simply Armchair Theatre
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A Bit of a Lift
Script: Donald Churchill. Director: Dennis Vance.

Alec (Ronald Fraser) meets Penelope (Ann Beach) at a wedding. He chats her up at the reception in a hotel, talking about their exes. Though there is "no future in it," he books a double room, no 145, giving plenty of time before she has to catch her 7.14 train to Banbury.
Frank Haslam is at the station recording his suicide note to his wife Brenda, "rotten cow." After he posts it, he books into the hotel where the reception happens to be taking place, room 154.
While he writes farewell letters, Frank and Penelope are stripping in the dark. Alec decides to have a cold bath- no ensuites here- and wanders off to find the bathroom. Maybe it's the drink, for when he returns, it is to room 154. It is dark. "You've come adrift somewhere."
Alec is full of apologies, and shares a drink with Frank during an overlong explanation. Frank is rather jealous. Then Alec bids his leave, only he cannot go, because he cannot recall his room number. He could ask at reception, only he has forgotten the false name he'd booked in under. As Frank tries to help him remember what that was, Frank finds his own spirits reviving.
Eventually Alec recalls the name, and Frank goes down to reception to find out the room number. Room 145. But it is Frank who creeps into this room. It is dark.
"That was great!" He returns to his own room and sends Alec to 145. But Alec finds Penelope already packing, "you really are super at it." He retorts, "but I've never done anything."
Frank dashes to the 7.14 train, where he finds Penelope. I'm not sure how he recognises her since it had been dark in the bedroom, but never mind. I think you're supposed to smile, if not laugh, as Frank explains to her what happened

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15.5 Red Riding Hood
A close up of an old lady eating, is never a way to excite my attention. This is Thelma who is being looked after by her granddaughter Grace (Rita Tushingham). She also cares for her bedridden father who is facing eviction.
We meet Mr George (Keith Barron) at granny's home, to the rather unsubtle accompanying Peter and The Wolf music. He is a little weird in his actions, we see why at the end of act one, blood!
Wearing an obvious red cape, Grace calls on granny. She knows Henry George only vaguely, but tells him she is bored with her librarian's job. Stay here, he urges.
More Peter and The Wolf, as she rests, apparently satisfied with George's explanation that granny has gone away. Awaking, she tries the bathroom door, but it is locked. She sips tea in her bedroom with George. George apparently knew Thelma as he changed her library books for her, and also played the piano for her. They use some of granny's savings to buy some sherry. "I can do anything I like," she happily decides.
Bedtime. He offers her a kiss. No more. Then she notices a bloodstain, The truth dawns. What is in the bathroom?
She smashes the door. Nothing suspicious! So she fills the bath, but from the taps there flows blood. Mr George finds her thus. She kisses him. They are both weirdos. Thelma's pension book provides necessary funding for an orgy of fun.
But it is over at last. Mr George says it is. But not for her. She relives it all. The ending is typical Armchair, a knife and screams

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15.6 Square of Three
Script: PJ Hammond. Director: Derek Bennett.

"Moody," that's Private Orange, who is fed up with life in the army. Orders ain't orders according to him, "stuff the parade!" Put on a charge, he has to be carried from his bed of laziness to be seen by Dr Major Broome (Gordon Jackson). Is he "going to be bothered to understand?"
The private says he is losing his individuality. His restless background is perceptively probed by the major. Orange has "nowhere to go," the original Angry Young Man, insolent also.
He is placed in a cell, while the major reflects on his case. The doctor questions Orange's roommates who say he had "funny ideas." The army chaplain visits the prisoner, their conversation veers towards the purpose of life, but their wavelengths are very different.
This is in contrast to the major, who arranges for a mate to see Orange. But it is not a success.
That night, the major discusses the squaddie with his girl friend, "a breath of fresh air." Orange could face two years in the glasshouse.
But next morning, Orange is missing. Who released him? Probably the story needed a pep after so much talking. The incessant drum banging however is irritating.
The major finds Mrs Orange at home, she clearly does not understand, or want to understand her son's "sulks."
Where is Orange? He has returned to his bed in his billet. Again he is locked up, to the anger of his lance corporal, who duffs Orange up. Injuries are serious.
The major reflects on the square of three, that is escalation of events. Yet "life is normal" in the army

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15:7 Verite
Script: Howard Schuman. Director: Piers Haggard.
The start in black and white is "a bit phoney," as the script confesses. A call to actors by actors.
Director of this pretentious froth is the self opinionated Mik, who is mooting as his next masterpiece, "a map of his psyche." That's "fascinating," according to his audience of two, the actors seen in the clip, married couple Clive and Shirley.
Clive "fawns" in admiration for the guy, his blind worshipping of Mik causing him to invite Mik to stay, their flat becoming subsumed in props for his latest nonsense. Shirley is more open minded than Clive, having penetrated the director's "adultery," philosophical that is.
More b/w rushes from his latest film of London. Way out, like the tap dancing Betsy in front of the naked Mik lying in bed. "She's very open," admits Clive: "she felt something and expressed it." Betsy becomes guest number two, a useless specimen in terms of practical living. But celebratory champagne for stardom is beckoning. Two more guests show up, they dabble in White Magic.
The tap dancing is so awful, Mik has to endure a "heavy" scene with Betsy, so "brilliant" that somehow she is grateful. Er really?? The only slight interest is how this play dare finish, obviously it must be unconventional. The all-wise Mik declares that "no film is ever finished..." perhaps that's a clue.
Shirley attempts some tapping. Then the preview of the finished article. Shirley feels it makes her "look like an idiot." Yes, she sees it as it is, man. However Mik's acolytes certainly do not concur. Though this play may be poking gentle fun at these weirdos, sadly it did nothing at all for me, unless you count bringing on a headache.
Thus we reach the long desired ending, "they finished us." Chaos out of chaos, admits Shirley. But Clive ain't listening to his wife. The black and white finish says it all, which is nothing.
Perhaps this was the most relevant verdict, "apocalyptic rubbish." But maybe Sydney Newman would have approved
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According to Rules
Wealthy industrialist and minister Charlie Menton tells his son Brian coldly, "you couldn't run a bingo hall." In the old days, Menton had been involved, allegedly, with Jack Conway, in a terrorist bank robbery. Now Jack's son is, on Brian's testimony, being sent to jail. That night Jack creeps into Menton's bedroom, with a gun, ready to shoot unless he gets a confession.
Later it is Jack who is found shot. Inspector Ned Flaherty investigates, learning a few truths about Jack and Menton's shady past from his own father. Menton denies involvement, claiming his son Brian had driven Jack safely home after their encounter.
Eagle eyed Flaherty spots a bullet hole in Menton's office. By the time he has been granted a search warrant, the wall has mysteriously been dismantled.
But that night, with his sergeant, he breaks in to the office and under the floorboards they find traces of blood. Evidently Conway's corpse had been removed from here, Brian is under suspicion, but he is nowhere to be found. Flaherty's dilemma is that his son is involved with an O'Connor, and Menton uses this as a lever.
Brian turns up and makes his statement. "He's innocent," of that Flaherty is sure. A showdown between Ned Flaherty and Charlie Menton over their respective sons, blackmail the order of the day.

This is not quite a straightforward crime story, would you expect anything else from Armchair Theatre? Indeed this was the final entry into this long series, and it finishes with a most appropriate line, "lie down with pigs, and they're sure to come up smelling!"

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ITV Plays
The 'Play of The Week', Armchair Theatre and 'Television Playhouse' were regular weekly highspots in ITV's serious output.
But by the mid sixties, it was clear that the one-off play was a dying creature, often replaced by a group of plays based around a unifying theme. Certainly by now it was being proposed 'the single television play must die.' America, for commercial reasons the arbiter of taste, had seen the virtual death of such plays except for big budget productions. Wrote Anthony Davis in 1968, "must Britain go the American way? The odds seem stacked against the single play." Why? More expensive to produce. Certainly the days when The Play was the centrepiece of a night's entertainment had gone by this date, and not that many viewers mourned its passing.

Armchair Theatre
Play of The Week
Half Hour Story (Rediffusion, 1967/8)

The Anatomist (ATV 1956)
Women In Love (A-R 1958)
Drama '61 #6 The Big Pride (ATV 1961)
The Lover (A-R 1963)
A Midsummer Night's Dream (A-R 1964)
The Human Voice (Rediffusion 1966)
Television Playhouse #2.17 Your Name's Not God, it's Edgar (Granada 1968)
Special Co-Respondent (Granada Jan 1970)
Saturday Night Theatre #3:6 The Policeman and the Cook (Anglia Dec 1970)
see also Quay South (ATV, 1955)

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ITV Play of The Week
The chief weekly drama offering on ITV, lasting ninety minutes, later eighty.

9.51-54 A Choice of Coward (Granada 1964)
10.19 Women Beware Women (Granada 1965)
10.43 The Death of Bessie Smith (Granada 1965)
11.1 Strife (1965)
12.1 A Catching Complaint (1966)
12.23 The Crossfire (Anglia 1967)
12.27 The Investigation (1967)
12.29 Person Unknown (Anglia 1967)

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Half Hour Story
Rediffusion produced these playlets near the end of their operation.

1.1 Shelter
1.5 Gentleman Caller
1.19 George's Room
2.11 Goodnight Albert
3.1 Stella
3.3 57th Saturday
3.6 Thief

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1.1 Shelter (May 1967)
Script: Alun Owen. Director: Alan Clarke.

Studio rain is bucketing down in a park, as a woman (Wendy Craig) seeks shelter in a greenhouse. Seated at a table here is a stranger (Colin Blakeley). When he tries to chat her up, she responds, "I'm a married woman." He is belligerent and unpleasant, nevertheless she lights his fag. Talk veers from the "epicene" statues on display, to Stephen her husband. Is he why she is here? Conversation isn't at all lifelike, improbable is the right word, I say that because he is a stickler for language. We get everything from tired anti-Norwich sentiment to her "attractiveness." Quite how he gets her to open up about early boyfriends, who knows. He analyses why she married Stephen- would a stranger do this? Would she reveal herself like she does? It seems she has this moment of truth, except it is only of interest to herself, this is an actor's play, not a viewer's.
"You're damned odd," she tells him, which doesn't explain why their conversation is so prolonged. Though thankfully the print I saw is only about fifteen minutes, maybe ten minutes was snipped off their conversation, though it is still fourteen too long. She breaks into tears, "there is no shelter," she cries- from her problems that is. "We'll see," he answers.
That week, Rediffusion were also screening the children's series Write a Play. I bet that if this had been submitted to that, it wouldn't have made even the short list

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The Gentleman Caller

The dim Spotty (Tony Selby) and his brother Clack (Mike Pratt) are getting on each other's nerves, Spotty is out of a job and hasn't paid his rent to his brother. Into this squalid dump, a man from the ministry calls in the shape of one Hicks (George Cole), a mild mannered official if ever there was one.
Basic questions are asked, Spotty had left his last employment because he was fed up with it. "This is absurd," observes the official at last, "you're darned idle the pair of you." An unfortunate observation, which angers the belligerent Clack. "there'll be trouble."
So far so good. But in the stand-off, the pair face up to Hicks and it becomes personal and unpleasant, turning what is a finely observed comedy study into something darker. Hicks sticks to his guns, refusing to guarantee to sanction Spotty's dole money, so Clack uses his brother to threaten to kill Hicks. "Preposterous" indeed, summing up what the play has descended into. Spotty is egged on to produce his belt and strangle Hicks, who, in desperation, yields finally and agrees to ensure payment is made. Exit official at the double.
The ending was, to me, meaningless. A way of filling in the alloted time

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George's Room
Script: Alun Owen. Director: Alan Clarke.

A door bell rings. And rings. A young woman eventually gets up and answers the front door. A bowler hatted gentleman is inquiring about her spare room. She is a young widow, chatty, maybe a bit simple. He is more formal than she, unmarried- we glean all this as they chat over coffee, no hurry to view the room. Her late husband George, older than she, had used the room, she rarely went in.
Whether this conversation has any root in reality, I doubt. She makes sensuous movements, "the way you look at me," he smiles.
Finally the subject turns to what he has come here for, but she is in no hurry to show him the room. When he does get to see it, she waits outside. We never see inside either. "Monastic," is his verdict when he emerges. Maybe that also describes herself. She insists the room remain as it is.
More personal discussion follows, two strangers talking, but I found it did not ring true. He offers her his advice as an older man, "you're made for men!" She rejects his flirtation but he gets her to admit that her marriage was to say the least old fashioned. She was afraid of George. He persuades her to make a rare venture inside the room.
That's the finish. We are left to guess the rest. Maybe it was a satisfactory spot to conclude, to imagine the continuation, but my guess it that Alun Owen wasn't used to writing twenty five minute stories and simply ran out of time

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Goodnight Albert
Script: Roy Minton. Director: Alan Clarke.

"What are you doing up at this hour?" it's Albert, home late after "gadding about." He has been with "a cracker."
He works down t' pit, and lives with gran, whose husband died of silicosis. She fears the same for Albert and urges him to find a safer job in t' factory. He's "thought about it," if only he'd stuck at football, he "could have had a good life."
He is too full of his holiday plans to Skeggy, "a double room for Mr and Mrs Wilson." He laughs as she anxiously listens. "You'll end up with her in trouble." The truth is that she perceives that he will leave her on her own. "It's a holiday," that's all," he insists. Responds gran, "she's a scrubber."
The conversation drags on, they need a tv licence, or will he take the set when he leaves? Talk moves on to Albert's mum, remarried, "nip up there, when he's not," urges gran. We get to see their different perspectives on life, which may be very cleverly done, but thank goodness they at last bid each other Goodnight.
Oh dear, he starts nattering anew. "I couldn't leave you." No answer.
Next morning early, he sets off for work. What he doesn't realise is that gran has died. The director pans the camera over her still body. I think it is supposed to be a surprise twist, even though it has been carefully prepared

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Stella
Script: Alun Owen. Director: Alan Clarke.

Stella (Geraldine Moffatt) is smoking pensively in her flat. Her waiting is over when a man (Ray Smith) comes in, "get out!" she shouts.
After two years it's all over, she tells him. Fed up with him, she walked out a week ago.
"I do love you," he protests.
"I took a leaf out of your book," she snidely tells him, adding that she thinks he is no man. More leopard.
He wants to talk it through, she luckily says, "no talks sonny boy." She's had enough. Unfortunately despite what she says, the talk continues, and continues. His mother is the stumbling block, she is really "home" for him. Calling him a fool, surely he will catch on, but no, he orders her to return to him. Kiss me, he demands. Would you believe it, after mental struggle, she does.
It's later. She is lying on the bed, and instead of close ups of their faces, we are now offered a profile of her semi naked body. "I feel I've been run over," she mutters. There follow some home truths on both sides. "You're a drama queen," that's his line: he is quite callous. He makes attempt number two to make her come back.
"I don't need you," she repeats. It's getting monotonous. We are back to facial close ups. After several more shouts of "Out!" he does depart, if that makes any sense.
This ending does conveniently round off the play, though I wasn't convinced that he actually would have left. But very glad that he did

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The Fifty-Seventh Saturday

On his bike, middle aged stereotype northerner McCarthy (Ronald Fraser) turns up for his weekly visit to Mavie (Frances White). She has prepared a special meal today of mackerel (in custard!), but he rejects that and prefers a simple egg. She takes that personally, though he reassures her that she is much better than his wife at cooking. So she dabbles with the fish as he eats his egg. They discuss their stagnant relationship, he is in his forties, she is 27, in fact it's her birthday today, not that he has remembered.
She had hoped that he might take her out to celebrate, but he turns this against her, making out it's her fault. They make up with a kiss. Then she makes preparations, and strips down.
In part two, they are in bed, and she persists in asking him about a night out in the West End. She dreams of being with him for longer than their three hours each Saturday. "That can never be," he tells her, "I'm no good at deceiving!" She is more keen to talk, dreaming of bearing his three children, "all like you!" They are at cross purposes.
A cup of tea before he has to leave. They go over old ground. He will be back as usual next week. As he fetches his bike, she tackles him about his non-existent wife. "I love you."
He rides away. No future in their relationship, you wonder what they ever saw in each other

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Thief
Script: Alun Owen. Director: Alan Clarke.

A woman (Sian Phillips) is relaxing at home when a caller knocks at the door of her posh flat. It is Tony Grand (Alan Lake) who eyes her, and inquires if she has lost anything. Her gold cigarette case. She offers him a drink. "I nicked it," he confesses.
The reason was so that he can chat her up. She, half amused, plays along. They explore the definition of thief, an occupation he has recently given up on. He explains he could have just thrown the stolen article in the river, but is sure she will fall for him. "Oh really...?" she queries.
The two are very different, or are they? He points out that he had seen her "steal" cigarettes in the hotel lobby, to fill her case. "That's not stealing," she objects. But he cites other possible examples of pilfering that she might have done.
A waiter brings in an expensive dinner. "Thievin' makes you hungry." Will he "pounce?"
She refuses to show him her legs, but then she does roll up her sleeve, seductively. "Bare shoulders." That stuns him into revealing why he had ever been a thief. But he's given that up now.
She is thawing. "Why do I interest you?"
Then draws back, "before it's too late you're going."
He does. But her cigarette case has gone. Perhaps she will see him again

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The Anatomist
(February 6th 1956, repeated on Jan 7th 1959 on A-R)
Script by James Bridie, adapted for tv by Denis Webb.
Made at National Studios, Elstree. Produced and directed by Dennis Vance for Towers of London.
It was reported that Adrienne Corri fell spraining her wrists during filming, but her long sleeved costume enabled her to carry on.

The year is 1829, groundbreaking scientist Dr Robert Knox is lecturing on human anatomy in Edinburgh. "The barnstorming fellow" is played with a grim but bearable humour as only Alastair Sim can, the play happily reuniting him with his protege George Cole as his "enthusiastic" assistant Walter Anderson. Less enamoured of Knox's experiments, indeed "horribly worried" is the perceptive Mary Belle (Jill Bennett), Walter's intended.
Conscience is not something that impacts on Knox, though he stands aloof from the activities of janitor Davy Paterson who pays seven or eight pounds to the body snatchers, Sack Em Up Men, Burke and Hare (Diarmuid Kelly and Michael Ripper).
But Walter cannot but be concerned with the morality of it. He has a conscience, a heavy one it is, and after disputing with his fiancee about Knox's experiments, he goes to get drunk at The Three Tuns. There he is consoled by "bonny" Mary Paterson (Adrienne Corri), but as the gravediggers are short of a "good fresh juicy young corpse," they resort to disposing of bonny Mary.
She is deposited at the mortuary in the dim half light of dawn, when "dead men stirred." Her limp body has a striking effect on Walter, "she was so beautiful," and he dares to shout at his master, Dr Knox, "I believe she has had foul play." This is the best confrontation in the play, as Knox shows himself a man who is able to suppress his conscience.
The final act, six months on, sees public rioting after Burke has been hanged on Hare's testimony, men baying for Knox's blood. Defiantly, Knox vows to continue his lectures, "exhilarating," he describes it. But in a frank admission, it is clear that in his heart of hearts he recognises what has been going on is evil. Bravely he vows to lecture his students, even on the steps of St Giles.
Don't ask how, but somehow the play ends on a happy note, with Sim's mood reminiscent of his famous jovial portrait at the end of the film Scrooge, as Walter is reunited with his Mary Belle.
The play nearly falls into too much philosophising about whether the study of anatomy is a proper Christian act, an important issue at the time. But not quite, though the claim seems just a little too fanciful that "Knox will be remembered when Bonaparte and Wellington are forgotten." Above all, this is a forceful study of a pioneer, "the comparative anatomist has curiosity... he institutes a divine search for facts." Yes facts. Divine facts. You know, maybe some of our current men of science would do well to recheck their evolutionary theories, and base them more on the actual facts
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Special Co-Respondent
Script: Angela Huth. Director: Tony Wharmby.

Nine hours late, Sasha (Maureen Lipman) shows up, waiting impatiently is Robert (William Simons). After lengthy excuses, "boring story," is a truthful verdict, it seems they used to know each other. She's never been to his flat however, and though you probably aren't interested, we learn his mother died two years ago. In case we hadn't guessed the purpose of her visit, they decide it's time for bed, since it has to be like this.
"Got up as Clara Bow," Sasha joins him under the blankets, "what a sight!" So, "what are we going to do?" I hadn't guessed that once upon a time they had been married, separated these five years. "Take it off," he proposes, and with a smile, off comes her wig. They are waiting for a third party, and of course the interest is whether anything might happen. "If we did go back...." They settle down, cuddling.
Act Two. it's morning, the visitor shows up, a Mr Horobin. Talk is inconsequential and awkward, mostly about his unusual job. Frankly it's an utter letdown. She admits to him that she is not "a regular," and asks him what is uppermost in her mind, suppose the arrangement were off? "Not routine at all," admits Horobin. Interest now is whether it is off or not.
To the formalities. Robert signs the necessary. Horobin departs.
In silence, the pair sit. "We lost our chance."
"Funny really!" Er, no, I thought not. Some nice moments, but amusing, no. Frostily arguing about their children's schooling, she departs, taunting him by removing her wig. Not a happy ending
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The Policeman and The Cook
Anglia Television, December 1970. (On YouTube)
Adapted from a Wilkie Collins short story, the central character is Police Constable Gough, played by Michael Crawford. He is none too happy with his lot under Inspector Pennyquick (Reginald Marsh). His big chance could come when Priscilla a cook ("very nice too, eh?") bursts into the police station to report a murder at 14 Rider Street.
Newly married servant Zebedee is the dead man, and his wife has confessed. However Gough is not so green as to be swayed, and asks his own questions. Dr Macleish, a drunken Scot, also places no credence on the confession.
Mrs Zebedee walks in her sleep, the doctor confirms to the inspector who has now arrived and is in charge. All the inhabitants of the boarding house are questioned, yet it seems there is one further unseen presence.
From A Dear Friend is inscribed on the murder knife, the identity of that friend however is unresolved. Gough role now is to question the domestics. Miss Priscilla Smith is not your steroetyped cook, young and attractive, "you afraid of something, miss?" asks the young Gough who is clearly smitten with her.
Act 2 takes places after the inquest. The police inquiry seems to have made no progress. Mrs Zebedee is cleared of the crime. Gough is assigned to re-examine the house to find the missing person, but there is no sign, though his suspicions are drawn towards one of his own colleagues, Sgt Gribble. Sounding a bit more like Frank Spencer, he enthusiastically chats to the cook. "I loved yer," he declares, from when he first saw her, but what has she to fear?
The truth is revealed when Gough unearths an army deserter and facts about Zebedee's dubious past. The denouement isn't entirely satisfactory, though it is pure Victoriana. Most absorbing is the study of divided loyalties with a little poor acting compensated for by a lot of good especially from Gwen ffrangcon-Davies. This is a curious diet of melodrama, "you're imagining things!"
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Women In Love
A two hour collection of six international playlets to mark Associated Rediffusion's third anniversary, shown on Wednesday 24th September 1958.
Here's one viewer's barbed comment (TV Times no 155), "such tepid, milk-and-water women wouldn't have raised the eyebrows of our strictest Sunday School teachers."
The stories were linked by George Saunders, who describes himself rather charmingly as the "masculine dreamer."

Here are reviews of the stories I have seen-
Story 1, After So Long. This is about Henry's longwinded encounter with "a jewel of a girl" called Topazzia (Scilla Gabel). It starts as a happy reunion, but "there's something you didn't tell me-" she now has children. Not that as Henry, Terence Morgan's character's reaction rings at all true. (Script: Bridget Boland. Director: Julian Amyes)

Story 4, Song Without Words, includes location shooting in Stockholm. On a boat tour, tourist Robert (John Fraser) attempts to beat the language barrier and pick up a Swedish blonde called Karin (Ann-Marie Gyllenspetz). It's all done in the style of a latter day silent film, a gallant but failed attempt to show a love story with little verbal communication. (Script: Michael Meyer. Director: Peter Graham Scott who was also in charge of overall production)

The final Story, 6 The Stowaway, is set on a boat off the south of France where eligible bachelor David (Daniel Massey) is sleeping in the Honeymooners' Cabin: "such a pity" but there's no woman on board to share it. But as it happens, there is a stowaway hiding in his cabin, Felice (Yvonne Monlaur), and a romance that teeters on farce develops, and then dies, in a nicely constructed finish. Also appearing were Henry Kendall as Ashley, Andre Maranne as the steward and Guy Deghy as Mr Morand. (Script: Charles Terrot. Director: Ronald Marriott)

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The Big Pride
(ATV Drama 61, #6, May 28th 1961)
A calypso singer introduces "Sutlej and Dowling, a man burning with a big pride." Three black convicts "decked out in misery."
Their leader, Sutlej (William Marshall) is an intellectual with a chip, brought on by years of humiliation at his unjust lot: "when you are a slave, you can only breed slaves."
Smallboy Dowling (Johnny Sekka) is still the apple of his mother's eye, even though "I've finished with prayin'."
The third of the trio is Van Kruze, a less well drawn character, only useful to further the plot.
This day, they are to break out. They tie up their guard. Van Kruze, unknown to the other two, throttles him. It seems to be a simple task escaping.
Van Kruze wants to go it alone and is soon caught. Dowling needs to keep with the experienced Sutlej, who has a scheme. The pair enter the head office of boss man on the island, Randall. For his half brother has provided Sutlej with the lowdown on "first black tycoon" Randall's illegal activities.
"How much?" asks Randall. "I'm after much more than money," replies Sutlej, for it's freedom and a leg up in society that he craves.
"Impossible," Randall tells him, but he has to concede. The convicts are thus put up in a posh hotel, the very building where Dowling's mother slaves in the kitchen.
"All this is like a dream," smiles Smallboy, but their smugness is wiped away when they hear the guard has been killed. "Sit tight, wait till de shooting die down."
This good advice however turns out to be impossible when Sutlej learns his girlfriend Dolly is to marry a white: "I don't want my child growing up as any white man's boy."
He has to meet Dolly, but this is one complication of the plot too many. The racial issues are relevant to the 1960's, but they cannot be explored fully in this 55 minute play. The best character is Dowling's mother (Nadia Cattouse) who can see the futility of her son's actions. "Oh Absalom," she screams rather absurdly, but this futility isn't conveyed to the viewer.
As Sutlej and Dowling trudge through a swamp to elude the police dogs, it seems hopeless. Sutlej takes his bottle of poison, though Dowling tries to dissuade his hero from doing so. Too late. Sutlej grovels in the mud, and with his dying breath attempts to nerve Dowling to face his grim future

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Strife
Opening scene: outside factory gates in the snow. Then two contrasting scenes: chairman John Anthony (John Phillips) sitting in luxury, even if under stress. Then in the bitter cold, workers' wives, "not a stick to put on the fire."
The freezing workers are inspired by David Roberts (played by Fulton Mackay as an unlikely Welshman), and they meet up with management, who warn them "no compromise." Union leader Simon Harness does not support the action because the men's demands are too high. "We'll die first."
Enid Underwood, wife of John's son attempts to understand the women's plight, and tries to help Annie, Roberts' wife, "you haven't even got any coal." The two cultures have little comprehension of the other. A futile encounter follows between Mrs Underwood and Mr Roberts. but not even Annie can dissuade her husband from the course he has set.
At the factory gate, Harness attempts to persuade the workers, "you'e going too far." Though some turn against their leader, Roberts gives an impassioned speech and gets them to carry on "a fight against a blood sucker." Here are Granada values at their rawest, the cause made by Roberts into a wider one. But Annie Roberts is dead- that ends his oratory.
The scene moves to the chairman and Enid, "I tried to help her." Fearing shareholder wrath, the board argue about ending the dispute, though John Anthony utterly refuses to contemplate such a move, "the iron hand" is his weapon. He claims he is acting for the future of the industry. Once again we get a wider perspective. It's a well told even if very black and white drama. However a majority of the board agree to use Harness as a go between.
The board meet the workers and Harness, and agree a compromise, "strike's at an end." Neither Anthony nor Roberts are satisfied. "They've thrown us both over." Two broken men, "all this-and what for?"

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A Catching Complaint
A play of its era, reflecting the new morals of the Sixties, uncertain of its own attitude, as uncertain in fact as the characters in it.
So many possessions, reflects Marjorie (Diana Fairfax), all amassed by husband Nicky (Derek Godfrey). Her reflections continue at intervals through the story.
Mrs Wiltshire (Hylda Baker) is preparing a meal for guests, when domestic bliss is interrupted by a phone call from Sheila, his ex-wife, who demands that he take in their daughter Joan, "it's your turn now," she rants. His retort is, "I'm not her father." A matter of some dispute.
After preparing the meal, an oddly unnecessary domestic scene with idle chat, the two guests arrive, and over the "splendid" dinner, Marjorie continues her morbid reflections. She realises her house is "empty."
The doorbell rings, in walks Joan, made to wait in the kitchen, where she receives sage advice from cook on the lines that money can't buy everything. But she is evidently besotted with her rich father, even though she's never seen him.
Nicky goes out with his guests, leaving Marjorie behind at home. She makes a fruitless phone call to Sheila, before a tete-a-tete with Joan, one that arouses maternal feelings, "I wish I could have stayed a child for ever." That line sums her and her shallow husband up so well.
At a club, a bit the worse for drink, the philanderer in Nicky is exposed, they discuss the catching complaint of unhappiness, a shallow concept. He picks up a young girl, who gives him the brush off, as does a second.
Marjorie has an eyeopener when she visits Sheila's squalid home. She thinks it best if Joan goes back, since she knows her husband will reject Joan. Marjorie departs the wiser and reflects on her own childhood. She takes Joan back home, on the way passing the drunken Nicky, Joan gasping "is that my father?"
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The Crossfire
(screened 9th February 1967, recorded 26 Jan 1967)
Script: Anthony Saven. Director John Jacobs (Anglia TV).

In Algiers, Dr Sorel and his team tend the sick on both sides of the war, white settlers and muslims. Sorel (Eric Portman looking a little frail) has spent his whole life in this country, and despairs of the fighting. Now death threats have been received from whites objecting to his treating the enemy, even for humanitarian reasons: "we're not going to stand for any more of your communications with monkeys," is how the offensive threat reads. But Sorel cannot renounce his beliefs, and particularly not when he is asked to treat a paraplegic eight year old boy who has been badly injured in a bomb blast.
The play would have been much improved if it had focussed on the doctor's dilemma, rather than pursue the parallel stories which are :
1. His daughter is unhappily married to Hugo (Peter Wyngarde). He is treasurer of the white band planning a "major clash;" they are lead with military precision by Palice (Patrick Barr), though the younger faction, typified by the embittered Vedoni (Philip Locke), "the ideal revolutionary," is the one who has threatened Sorel.
2. Sorel's daughter meets an old friend Paul Dupre (Ian Hendry) who is working on behalf of the French government to bring to book perpetrators of the atrocities.
To link these themes, Hugo is asked what he would do if his wife went off with another man. "that would be simple," responds Hugo, "I'd kill him."
A long scene with Dupre interrogating a suspect raises questions of the ethics of the rebels, but doesn't really further the action.
Hugo attempts to persuade Sorel to leave Algiers "before it's too late," but he will not, he's committed to foster cooperation between both the warring sides. "You are in serious trouble," Hugo warns, and he knows.
Operation Sunset is the rebel's elimination of those whom they see as traitors. It should not start until Palice orders it, but Vedoni is over eager. Sorel is top of the hit list. He's rounded up, punched and kidnapped. He is facing trial by a court he cannot recognise. The charge: he's a traitor. His defence: "there's no duty or even right as a doctor to pass moral judgement." He is philosophical about his fate. He protests against all the barbarism.
The trial is interrupted by a crisis in the rebel cause. Sorel is returned to treat his patients, but Vedoni arranges a firing squad to end his life. Dupre has got wind of it all, but reaches Sorel too late.
Hugo is arrested and Paul comforts Sorel's daughter

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Person Unknown
Play of the Week 12:28 (recorded March 15th 1967, screened 23rd March 1967, Anglia TV)
Adapted by David Butler. Director: John Jacobs.

The opening scene, a new women's residential hall, sets the scene of mystery well.
The warden Jane Canning (Elizabeth Sellars) has returned after a night out with Ian Conway (John Gregson) and her younger brother Gilbert (John Wood). He's a detective, and she'd marry him, if she did not feel responsible for Gil, a brilliant but rather erratic and self-centred character.
News is given Jane that one of the first year students Kay Ramsey is missing. She is later found dead in a quarry.
Insp Conway investigates with the aid of Sgt Brandon (Michael Coles). We watch their systematic sifting of the facts.
Beth (Felicity Kendal) and Margo shared a room, but weren't very close to the dead student. They know she had a boy friend called Paul and had recently been seeing a sailor cousin named Andrew.
The tragic news is broken to Kay's mother. Part two begins as mysteriously as the opening act. A half seen figure is searching the warden's office. Enter Jane, to be "startled" by Gil. We hear he had been Kay's maths tutor. The pair comment on her similarity to Anne, whoever she might be.
You always feel he is the obvious, too obvious suspect, for he has no alibi, he was alone when Kay died, preparing for an important conference speech to mathematicians.
The motive for murder becomes clear, for the girl was pregnant. Jane is upset by Ian's questioning, but it's his job to probe. Yet Gilbert is not the only suspect, Andrew seems to have loved Kay, though he denies being the child's father.
The final act begins with Jane burning a photo. Gil is running off to his conference abroad. The photo is of Anne, Gil's wife, who had destroyed his career. Gil blames himself for her fatal car crash. He knew Kay quite well, she had been starting to act like Anne. Gil admits "taking her to the quarry," because she had to meet someone there, who he doesn't know. She had been going to run away with this person.
"No evidence of another man," is Inspector Conway's verdict, which increases the tension in his dealing with Jane. Gil is stopped as he is about to leave, and faces arrest. His clever response is to try and show that Conway himself could equally be the guilty man. "What Gilbert said, it sounded so convincing," sighs the worried warden.
The writer has used the old trick of making everyone suspicious, for now we learn that even Sgt Brandon knew Kay. Thus it is almost farcical, I was just waiting for the only one not to fall under suspicion, the warden herself, to be denounced as a serial killer. I suppose it's a change from the butler doing it, but it made for an unsatisfactory ending
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The Investigation
After Granada ended the series The Verdict is Yours, and before Crown Court in the 1970s, the company made this one-off courtroom drama in 1967, introduced by Mike Scott who warns viewers it is not suitable for children.
Eighteen men are accused of war crimes, nine witnesses testify against them. A survivor (Laurence Payne) describes his experience in the concentration camp, "I lost my family." Women identify their tormentors. More harrowing accounts, but although using documentation from an actual trial, it comes across too much as a mere play: the stark set up accentuates the horror of their words. Those accused respond with lines such as "I always acted decently... orders had to be obeyed." Another retorts, "wild accusations."
One woman testifies that she had to record many "fictitious" deaths, and she had witnessed prisoner interrogations. Horrific deaths are described. The chief officer denies involvement, "it was a concentration camp, people were not there for a rest cure."
Unpleasant operations on young women are described. One witness (Anthony Dawson) describes the corpse chamber, one officer "liked to shoot people in the legs first." The answer: "it was a question of annihilating a philosophy." Injections of prisoners is described. The defence attempts to offer mitigating points, "our thinking was taken away from us."
After 60 minutes, there is a needful break. Then questions resume. A judge (George Sewell) admits presiding at a court, A camp doctor, who had previously served his sentence, has a diary which offers decisive detail.
The mood becomes ever more oppressive as we reach the gas chamber, it is hard to keep concentrating in the face of such horrors. These days, the court scene would have been embellished with graphic film of the actual crimes, but this presentation, an examination of the viewers' minds, is effective. It is noted that those higher in authority have not as yet been brought to trial. The defence (John Paul) and prosecutor (Peter Copley) clash. Then one defendant makes a concluding statement, he is "torn apart emotionally," and he repeats the line, "we only did our duty." Verdict is pronounced
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The Lover (A-R, March 1963- networked except to STV and Border, who refused to transmit this, though eventually they did show it at 11.04pm on June 24th 1963)
Introduced as "Harold Pinter's latest play," TV Times described it thus, "This is not a story about the eternal triangle, but one might call it an eternal quadrangle." My own benighted comments:
Pretentious silhouetted hand movements drum irritatingly to start off this drama.
Scene 1 proper- a husband inquires of his wife if her lover is calling today.
Scene 2- slightly gratuitous. She prepares for his arrival. The camera lingers on her legs.
Scene 3- Return of husband. Matter-of-fact conversation about her lover. He's a cold fish. They discuss her lover and he describes his own whore.
Next day, same again. Today the milkman calls, fresh just like the stereotyped purveyor of milk. Then her lover arrives, Max, no surprise it's actually her husband.
The couple play around, he's under the table now, caressing her legs. She rolls under to join him. Whatever turns you on, that's the expression. He departs, rather unfulfilled today. Apparently she's not his ideal woman.
The last act- his return as man of the house. He suggests quietly she does not entertain her lover in the house any more. "I'll knock his teeth out," he threatens. And he has finished with his whore too. She is baffled at his change. Perhaps the viewer who is still watching is too.
That drum returns, with some questions as to its function. Goaded, she reveals she has other lovers, that's what she says. He attempts to be another, tantalising her. Back to under the table. I was there ahead of them. Whatever Pinter intended by this, I can only assume he was paid well by furniture manufacturers, probably MFI, for the story was about as robust as anything that firm ever made
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A Midsummer Night's Dream - June 24th 1964, 9.10-11.10pm.
"Beauteous" Hermia (Maureen Beck) and her love for Lysander (John Fraser) never grabbed me, but Jill Bennett as the "transparent" Helena was much more idiosyncratic, wistful and indeed appealing. Patrick Allen was Patrick Allen, ditto Peter Wyngarde who came across as almost a panto demon.
At Quince's Cottage were assembled the more popular commercial attractions, led by Benny Hill as Bottom, who gave the role his own occasional cheeky little laugh. I liked his scene when he manipulated poor Arthur Hewlett as Snug's face. But old stager Miles Malleson as Quince seemed the most seeped in his part, uttering his line "he's a very paramour," as only Malleson can. Alfie Bass as Flute and specially Bernard Bresslaw as Snout must have disappointed the popular audience, as they never uttered even one of their catchphrases.
Directed by Joan Kemp-Welch with some fine close-ups, and one striking visual moment when a match was lit, superimposed on the scene as Snug and Snout are scared off by Puck. That of course, could never have been done on stage, and this was only one example which showed some care had been taken to make the play into a televisual one.
Perhaps the best done comedy moment was when Bottom as a "monster" is wooed by the spirited Titania (Anna Massey). You just longed to see Benny Hill's face, but that of course was impossible, hid behind the mask of an ass.
So there was much to admire, my favourite scene was the stunning effect, despite the cramped studio, of the fairies' ballet, to the accompaniment, naturally, of Mendelssohn's enchanting music.
TAM recorded 3,855,000 viewers for this, the largest ever for a Shakespeare play on tv (29%)

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A Choice of Coward (Play of the Week 9.51 to 54)
The pompous introductions from the author himself nearly lost this viewer before we ever get going, as I am by no means a Noel Coward fan. Four plays were transmitted in this Granada series shown in August 1964.

1 Present Laughter- After expounding his thoughts on the star system, NC kicks off his own star vehicle with Peter Wyngarde in NC's role, perhaps not sporting the "thinning hair," but otherwise ideal as "God", who has not quite grown up. His ex-wife's accusation prompts the undeniably erroneous response, "I have never overacted in my life," his many failings show up, for me, in his overindulgent seduction by his leading lady (Barbara Murray), the remainder of the play revealing its consequences, "I wish I were dead." I liked the contrast Joan Benham provided as his so efficient secretary, James Bolam was excellent as an over enthusiastic junior writer, and Ruth Porcher had a lovely little part as the inscrutable daily. But it has to be that "the unmitigated cad" steals the play
2 Blithe Spirit - NC commences with a rant against those "verbose, ill-constructed" modern plays of no substance. He was right there!
Then I started to warm to this condensed 72 minute version which moves at a cracking pace under the direction of Joan Kemp-Welch. Hattie Jacques' bulky presence is of course wildly eccentric as Madame Arcati, but also amazingly balletic whilst Griffith Jones is simply marvellous darlings in the master's role. I had to keep reminding myself that I was watching Griffith Jones as the "astral bigamist," who plays the role so much better than Rex Harrison. Only Joanna Dunham as the "earthy, ethereal" Elvira is a trifle disappointing, acting rather woodenly, even if she does make a sensuous ghost. Maybe this really ought to have been Fenella Fielding's role? For those brought up on the film version, this is a pleasant surprise. Quite stagey, but so well edited from the original play that it really is an improvement! I wonder what NC made of it all? Yes it was certainly "one of the most enjoyable five minutes I've ever spent"
3 The Vortex - "It established me both as a playwright and actor," NC tells us, rather self centred, but he does then puncture his own ego.
Tony Bateman is in NC's role, while the "whacking good part" of the "flaunting" Florence is by Margaret Johnston. She sprawls elegantly on the sofa, married to David but besotted with young Tom who enters after 25 minutes, too long time character setting, to sweep Bunty off her feet, up till now she's engaged in a perfunctory way to Florence's son. Act 2 moves to a country house party, the atmosphere of 1925 superbly authentic except for an anachronistic reference to a Charlie Kunz record, but once again the plot is too verbose, maybe this is what the idle rich of those days enjoyed. The resulting hysteria when the shallow relationships are shattered is well done, with Florence providing an acting tour de force as she is faced with the reality of ageing, "but you can't see it." The gaiety of the opening dies away in despair, at least for the viewer if not quite for the characters, for I never found I cared enough about these toffs. As it is, the jolly closing music and credits of the cast in Charleston mood are dreadfully out of place
4 Design for Living - a play about "moths in the pool of life," unconventional Gilda (Jill Bennett), in love with penniless artist Otto (John Wood), but now drawn to successful writer Leo (Daniel Massey). All three are jolly good pals, and jolly shallow. Otto leaves in disgust when she has it off with Leo. After a year with Leo, Gilda feels "something's missing," and that of course is Otto, now a success. Though both men love her she feels they no longer need her, so she goes off with Ernest who is already a success. Finally a boring two years on, with the smart set and her prim husband she's reunited with her former lovers for some half hearted home truths in an "equivocal" ending that's how Coward describes it, though it's no ending, to me he's taken the coward's way out and given us a Kop Out
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Women Beware Women
Set in a high flown language of medieval Florence, this starts with sixteen year old Isabella being blindfolded, in order to be introduced to her future husband, the fop Ward, "let her agree on love afterwards." However her uncle Hippolito desires her truly. Thus is set the scene for a complex story adapted from a novel by Philip Mackie. He was a fine Granada producer, but I think this task was beyond even him. The subtleties of the characters' lecherous relationships were never at all clear, despite valiant attempts to keep the viewer up to speed with welcome asides to camera by the likes of Livia (Gene Anderson).
The plot whistles through in manifold vignettes, the central character is Bianca (Diana Rigg) and her loveless dalliances. Married to Leantio (William Gaunt), she is wooed and won by the Duke (Clifford Evans), though I must confess I found her changing moods difficult to fathom.
When Leantio spies his wife lusting, he sees through "the strumpet" and on the rebound starts an affair with Livia. What with everyone having it off with everyone, or so it seemed, tragedy is inevitable, starting with the depressed Leantio, who might almost have been as depressed as the viewers. "Lust will have vengeance," that's the line that summed up the story. At a masque celebrating the duke's marriage, rich in intrigue, the death toll escalates:
Isabella collapses poisoned,
Livia ditto,
An arrow in the back of uncle,
Next goes the duke, and finally
having poisoned off the wrong man, it's goodbye Bianca.
I may have missed the odd death, the stage is bestrewn with corpses. Oh dear, dear, wherefore has thou done this Mackie?
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The Death of Bessie Smith
(Granada, TV Playhouse 10:43, June 28th 1965)

It's 1937 in Memphis. "Goddam nxxxxr records" give father (Robert Ayres) a headache. Playing them is his daughter, a frothy nurse (Patricia English) who works in a "secondrate" white hospital with the fewest patients you ever did see, a model for NHS practice surely. Forgotten legend Bessie Smith ("is she still singing?") is admitted after a car smash. This is two thirds of the way through the play, the first act of which is used to define the deadbeat staff who are to 'treat' her. The final act has yet more inconsequential talk whilst the "nxxxxr" has to wait.
Personally, I can't take this static type of play, an actor's play perhaps, but shouldn't the author Edward Albee be sued under the Trades Descriptions Act for saying he's putting an incidental historical context to a play which is really examining Southern racist attitudes? A true historical analysis would rather have started with the excellent final scene when black driver (Earl Cameron) confronts our white nurse, "I never heard of such a thing."
Donald Sutherland as the distracted intern gives it all a veneer of credibility, but only a veneer.

Note: Pat English's part was originally to have been played by Gene Anderson who said of the role: "it's a horrible part- I play the nurse who refuses coloured Bessie entry to a white hospital- and a great challenge." Sadly Gene died suddenly before the programme was recorded.

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The Human Voice
(Rediffusion, November 1966)
Script: Jean Cocteau, adapted by Clive Exton
Director: Ted Kotcheff. Set designed by Michael Yates
TV Times summary: "A virtuoso part... the voice of her caller is never heard... but a good actress can make the audience imagine every word he is saying to her."

Flaxman 4924. This is Hampstead 1507. That sums up this Jean Cocteau play with the one character, a lady in turmoil, played by Ingrid Bergman. Torn photos lie on the floor when we first encounter her, lying on her bed uttering inexpressible groans. Her only companion an alsatian with a terrifying growl, no comfort.
One solution only to her woes... light a cigarette. Jilted, she is about to leave the flat when the phone rings. Hope renewed, she embarks on the first of several lengthy telephone chats in which we ever only hear her side. Someone must be well off to afford such long calls. For her there is now still hope, "you're not to blame," as the conversation centres on such profundities as searching for his driving gloves, I am sure they must be symbolic of something profound, can't tell you what.
The problems of phone calls in those days are realistically portrayed with party line interruptions, being cut off, so frustrating for her, and for incomprehending viewers. Finally the line goes dead. She has an interminable wait for him to dial again. To pass the time, another fag, despite her statement to him she hardly touches the things (though that's not quite how the author expresses it). She bathes in tears of nostalgia until she grasps the nettle and phones him. Engaged.
Another attempt gets through, but it's only someone called Henry who answers. Tears, increasingly hysterical.
But after a while, a long long while, he rings again. She is more frosty at first, but gradually sinks into her deepest woe. "I couldn't feel my heart beating any more." Perking up a mite, she recalls the good times. Back to the depths and she chucks the phone down. Talk of suicide, mood swings, dreams, "I would only love you all the more..." He rings off. Can't really blame him. She is back on her bed of woe where it had begun. She is praying he will somehow ring again. Good Lord, he does!
"We shall sit here for ever," she fantasises to him, the phone lead threateningly twisted round her neck. "I love you," is her last contribution, repeated and repeated.
I am sure this can be described as a brilliant solo performance, there are impressive camera shots directed by Ted Kotcheff proving this must be tv at its most mature, yet I must say I found it exceptionally hard going. Patrick McGoohan could have done the sequel, Human Voice 2, if the author cared to write the story from the other end of the line. This is a play for intellectuals to argue over, for benighted students to have to study for their university degrees, for ITV to claim it was a patron of the Arts, oh but is it enjoyable?

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Your Name's Not God, It's Edgar
Screened December 9th 1968 (ITV Playhouse 2:17)
Script: Jack Rosenthal. Director: Michael Apted

What an awful start to this northern play, as scenes of t'north are accompanied by an irritatingly jokey rendition of Jerusalem. Followed by Lily's reflection of what this song means, if anything.
Edgar (Alfred Lynch) is under t'thumb o' his dad (Jimmy Jewel). Flashbacks to his youth reveal his deep seated awareness of original sin, especially (this was the sixties) in relation to the female form. When his mam had got "a bug in her belly," it's connected in the lad's mind with his original sin. Now she's died, but was it because he'd watched a rude film?
Left alone, "great white Buddha," his malingering bedridden dad is the bane of Edgar's life, spoiling his romance with the plain Phoebe (Yootha Joyce), or is it an excuse? His friend's nickname Blessed Art Thou, from t'Bible, might give us a clue as to the attraction to the opposite sex that Edgar longs after, maybe lusts after, though his veneer is a respectable religiosity.
Perhaps this nonsense is summed up best by one long scene in which Edgar converses with a beast of the field. The latter talked more sense to me. Matters with Phoebe reach crisis point, and Edgar adopts his dad's "childish" ploy of feigning illness. But after eight long years, Phoebe is remarkably persistent, "I'll wait for yer," she promises. Why, she must be desperate.
A weekend away from dad in London's fleshpots may "drown his conscience." However it seems uneventful, though back oop North, Phoebe seems to be hitting it off with dad, "would you like a sherbert fountain?"
But Edgar has discovered Phoebe's more attractive double in the big city. "There's other things in life besides sex," and though it's mostly talk, she does seduce him.
Returning home, Edgar finds dad up and about, "nothing wrong with yer." Truth downs on t'lad, it had dawned on us before we fell asleep a long while ago, truth regards his dad and his own guilty inner feelings. "Round the twist he always was," and you'd be too after suffering this pseudo comic sixties twaddle. But I canna give yer a fair review, as I never liked this play one bit

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BBC Plays
ONE OFF PLAYS
It is Midnight Dr Schweitzer (1953) A Man from the Sun (1956) The Cold Light (1956) Without Love (1956) The Government Inspector (1958) This Day in Fear (1958) The School for Scandal (1959) Brand (1959) Who. Me? (1959) Soldier Soldier (1960) Where The Difference Begins (1961) A Smashing Day (1962) Late Summer Affair (1962) Whistle and I'll Come to You (1968) Maigret at Bay (1969)

Summer Theatre 31 The Critical Point (1960)
World Theatre 4 Mother Courage and her Children, 5 The Dark is Light Enough
Laughter from the Whitehall 21 Is Your Honeymoon Really Necessary? (1960), 26 Wolf's Clothing (1961), 42 Don't Just Stand There (1965), 43 Rookery Nook
Sunday Night Theatre 2.4 The Wind and the Sun, 2.5 The Squeeze, 2.10 Tuppence in the Gods, 3.43 Sword of Vengeance, 4.3 The Slip
Suspense: Call from a Customer (1963)
Festival (1963): 4 Stephen D, 26 John Bull's Other Island, 29 Everyman, 32 Bloomsday
Wednesday Play (1964-1970)
Wednesday Thriller (1965): 2 The Lift. 3 The Babysitter. 5 The Imposter
Six (1964): 1 Diary of A Nobody, 2 The Chase, 3 Don’t I Look Like a Lord’s Son?
Five More (1966): 1 Shotgun, 4 Strangers, 5 Exit 19
Thirty Minute Theatre (1965-1973)
Theatre 625: The Seekers (May 1964): 1.1 The Heretics, 1.2 The Idealists, 1.3 The Materialists
Sunday Night: 1.38 The Death of Socrates
Television Theatre From ... (1968)
Chicago Conspiracy Trial (1970)
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Television Theatre From ... (1968)
1 Wales - Zombie
Maria (Elizabeth Hughes) is a little late for her appearance on a show directed by Gareth (Trevor Bannister). Before recording beings, she is introduced to the host Stuart (William Dexter). They have a run through, it seems she is here because it's Leap Year and had wirtten a letter saying who her ideal husband would be. Gareth is hardly impressed with her quiet voice and argues with Stuart about his handling of the interview, "I'm not David Frost!" Certainly it's not "compulsive viewing." It's unfortunate that she overhears Stuart describing her as a zombie. Now he is splitting from his girl friend Anne.
Maria chats with another guest on the programme, Carol, who regards the whole thing as "some kind of joke." Gareth tries to presuade Stuart to get Maria "to open up," but he retorts, "I'm no Bernard Levin." Orders Gareth, "find out the truth, we'll be on air soon." Maria also confronts Stuart about his comments about her, and so the tension is well built up, before the show ever begins.
Maria is asked about her choice of husband, Howard, who is a famous boxing champion. As Stuart probes her responses, she talks of "a vile pig," her stepfather, whom she had left. She finds it a surprise that Stuart is married, "don't talk to me about loving." She exposes his lying, his relationship with Anne- "it's going too far," cries Gareth. The programme ends with an apology. Anne leaves in silence

2 The South West - The Sharers
On a rooftop a lad pops a pipe down a chimney- soot billows into the fireplace, "it's that damn boy again." He's Michael.
Jenny has been out with a man, but giving him the brushoff, she returns home to be dressed down by her mother. In her shed she finds Michael hiding. She fetches food for him. Next morn they converse about their alienated mothers, their common bond. A stilted conversation, "do you want to be neurotic?" The difficulty is that he is not that convincing as an actor. He relates how his mum goes "on and on," always moving to a new district because, as he believes, she doesn't like to see him making any friends. As for Jenny's mum, she merely hates men. They decide to go on a date.
Off to Weston, film of them by the pier, closed. To a bowling alley. Evening draws on. Michael becomes very worked up that Jenny is having to move to Manchester, and faced with losing his new friend, he confronts Jenny's mum with a knife, "I'll kill you." Rebuffed, he runs off, that proves to be the end. A story that goes nowhere and adds nothing desperately new

3 The Midlands - Sinking Fish Move Sideways
Jerry jumps on to the Coventry to London train at the last moment, and takes a seat near another passenger, Sheila, who rejects his advances, "all I ask is peace," so he promises to be as a quiet as "the grave." Of course it wouldn't turn out much of a play if he was silent, and he pays for her coffee and they start talking about themselves, he sharing a Turkish proverb or two, one of which is the odd title of this story.But their conversation is bland, nothing to interest any viewer, and on arrival they part, he offering to meet her on the 6.15 back home. Her destination proves to be a prison, where she meets her embittered husband, He has changed and doesn't want to see her ever again. Jerry has gone to a morgue, to identify his dead wife. Suicide. No note.
Having absorbed their backgrounds, not entirely what they had revealed on their outward trip, Jerry waits hopefully for Sheila on the evening train. She joins him. Their masks must be removed- but not in this play. That's left to our dulled imagination, thus the play really misses its mark. All the couple do is make a date
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Who, Me?
A gang is brought into a police station after a break-in at a tobacconist's. To break down the three men's alibis, Dt Sgt Tom Hitchin (Lee Montague) starts with The Shrimp, "you've been telling lies for so long, you believe them." His alibi is scrutinised, "what were you doing, whistling outside the shop?"
Much more cheeky is Eddie, and even less co-operative. Hitchin's technique is to try and make Eddie doubt himself. Are his clothes stolen? He is required to remove them, which he does so ignominiously. Among his personal possessions is a photo of a girl, not his wife, could this be a lever for Hitchin? Eddie nearly talks- but doesn't.
The final gang member is Len, "what makes you tick?" Hitchin gets him to open up, talking over his problems, "nobody wants you." He plays Len against the other two, putty in ihs hands. "Confession is good for the soul." He is nearly ready to grass, but he doesn't.
Police discuss how to move the inquiry forward. Eddie's home is searched, this brings out the antipathy of his crooked mother. The gang are led away to a cell.
A slightly odd final scene in here. Lee Mongtague holds the whole play together, though you are left questioning what was the message, if any. Maybe back in 1959 when this was made, it had novelty value

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The Critical Point (July 31st 1960)
Set in a research lab, a chimp is undergoing "biochemical change," a topic that might prove controversial, except that "the human species comes next." In charge of the project is Prof Mortimer (Mervyn Johns), with his assistants Philip Gage, and Miss Helen Schroeder, an American. Mortimer wants to move to this next stage of experimentation but his team cannot agree.
A subplot involves Philip' stormy relationship with his neglected wife Margo (Lana Morris), who suspects him of having an affair with Helen. Yet this turns from subplot to a developing crisis, Margo is killed.
"We are not prepared," protests Helen, when Philip suddenly volunteers to be guinea pig. Interruption from Insp Snaith, who wants to interview Philip. But he is now in the tank, undergoing deep freeze treatment. Why had he suddenly decided to be the guinea pig? To escape the consequences of his wife's murder?
Next day is scheduled his unfreezing. Insp Snaith watches proceedings along with an independent observer Prof MacPherson. "Heat on," and Philip's body temperature slowly rises. Heart begins to pump, "he's alive again!" Return of consciousness, is the brain undamaged? The camera blurs, sounds are distorted, as Philip recalls the row with Margo. Recovery is on a knife edge, the main proiblem is that the heartbeat is too obviously made by a drum. "What's happening?" Pulse falling, "he's dead." Snaith's hard questions cannot be answered.
Helen has perceived that Mortimer had killed Philip deliberately. The professor confesses to the police, before delivering a kind of epilogue to his assistant

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Late Summer Affair June 1st 1962, 21.25-22.55.
Having seen his wife Joyce off to the seaside, Frank (Nigel Stock) rubs his hands in joyous anticipation. At Brill's coffee house, he is lucky to chat up a girl in glasses, Barbara (Wendy Craig). Because of the rain, she starts sneezing, so after visiting the cinema, he escorts her to his home, where she takes a bath. What time he prepares a meal, singing all the while. Oh dear, she feels unwell, temperature 103, so he makes up a sofa bed for her.
Next day, she is recovering, opening up about her sad life. Actually she had just quit her awful digs. She even asks him what he thinks his wife might say, if she knew Barbara had stayed the night.
Diane is Barbara's friend and she comes round for girly chat, while Frank has gone to tell Brill at the coffee house of his happy time. He returns to cook the two girls lunch. "I'm a terrible nuisance, aren't I?" admits Barbara, in an increasingly frustrating storyline. "Nobody's ever looked after me like this!" She asks him about friendship without sex. Our interest is really in how it will all end.
Calling each other Darling, he introduces her in a pub to his rather coarse friend Charles. She gets away as quick as she can, and back at his home, they kiss deeply. Happiness is short lived: a telegram- "she's coming home this afternoon!" As she becomes ever more hysterical, he tries to reassure her, "nothing's changed." Very optimistic.
Days later, he is back at the coffee house, chatting with Brill, who has taken on Diane as a helper. Enter two customers, Charles, with Diane. "Does she love you?" Frank inquires of Charles. "Never asked her," is the reply

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Mother Courage and Her Children
Set in the Thirty Years War, Flora Robson is in the title role, singing with marching soldiers, not exactly tunefully. One of her sons, Ellif is recruited for the war effort.
Two years later, she meets up with him, now a successful soldier, she is selling war goods, but so many are starving, Her son 'Swiss Cheese' is in charge of the army cashbox, and despite Mother Courage's bribery, is shot for alleged irregularities. Fearing for herself and daughter Kattrin, she even claims not to know her dead son. The denial drives her to grief.
Six years on, in 1632, Kattrin is in severe distress, her mother reflects with the chaplain over the evils of war. Bells ring for peace, "everything will be all right." All Mother Courage's stock will now be devalued, and the chaplain is rebuked by a Swedish cook, for his poor advice on the issue. "You profit from the war," is an apt comment on the dealer, but "the war was a washout." In the changed circumstances, Ellif is shot for killing, this witnessed by the chaplain and the cook.
However, sorry to report that the war ain't over after all. It rages on, dispirited men everywhere, seen in an effective scene, shown in silence.
Mother Courage rejects the cook's offer of running his inn, since he rejects the disfigured Kattrin. The two women are left to pull her cart alone.
In the eighteenth year of the war, a night attack is planned on Halle. Peasants pray, "there is nothing we can do to stop the bloodshed." But Kattrin bangs loudly a warning drum, "she's out of her mind." Soldiers threaten her, but she will not be browbeaten, and has to be silenced. However the town has been alerted in time.
Mother Courage cradles her dead daughter, "have you noone left now?" Alone she must pull her wagon

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The Dark is Light Enough (World Theatre #1.5)

Where has the Countess got to? Her son, the deserter Captain Richard Gettner has shown up, his mother had been looking for him. Edith Evans plays The Countess, but this isn't one of those grand opening entrances of hers, even though the part was written for her. This 1954 play, set in the nineteenth century Hungarian war, looks as though it is aping the great Bard, only not that well, allegedly a comedy, though I never laughed once. More a dark pondering of the human soul. The main pleasure is listening to some of The Countess' pronouncements: "bad and good eat at the same table... the downtrodden in their turn, tread down... protect me from a body without death... at the heart of all right causes, is the cause that cannot lose."

The storyline: Gettner is pursued, "the house is surrounded by soldiers." Peter, Count Vichy, is taken hostage until the deserter is handed over: "no good will ever come of Gettner," so this would be "a poor exchange." A complication is his love for Penelope, wife of Peter, indeed when Peter returns, it is clear he is aware of his wife's infidelity. Gettner leaves, "not one word."
End of the revolution. Also the end for The Countess, looking frail she takes it philosophically. The bad news draws Gettner home, though it turns out to be a trick. Nevertheless, The Countess does expire

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The Death of Socrates
A coffin is being constructed for a man who has been convicted for speaking out the truth. In 399BC, Socrates had been condemned to death.
Focus on the coffin, and on the prisoner conversing with his visitor, who tells Socrates that he could escspe, "you're taking the easy way out."
That is not how Socrates sees it. For him, it's a simple matter of Right and Wrong. He talks philosophically about Obligation. Yet is his punishment wrong in itself? From the prisoner's point of view, the state is always right, "you must obey, not complain."
In the next scene he talks of his own writings, and why he must not take his own life, "philosophy is death." His hearers are not convinced by his argument. Yet Socrates is not afraid to die. Disintegration of the non valuable, simplicity of the soul, immortal, known by intuition, life "surely must go on, straight to God," unlike "the prison bars of the flesh."
Leo McKern offers an intense performance, in what is in effect a monologue. "The body is simply a waiting room." A depressing portrait of physical deterioration, "I can't convince you, can I?"
To end, Socrates takes the proffered poison

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The Heretics
We are The Devil's creation - "this is heresy."
1166 Oxford. Master weaver Gerard (Michael Bryant) is interrogated by Edmund (Derek Godfrey), representative of the bishop. Accused claims he is a simple Christian and will not answer questions on the sacraments. Edmund reasons with the prisoner, sharing his own background, in an attempt to remove the pride of Gerard. No movement from him.
Lashes are adminstered, while Edmund prays for the prisoner's penitence. Though he cry out, he refuses to yield, "you are a heretic." Then Edmund turns to Gerard's followers- one is Margaret who had been sold to a merchant who had abused her. Though she had run away, she had showed her sin- according to the interrogator- by not attending church since. She refuses to say if Gerard is her lover and is taken away to be stripped. "It is God's will," declares Edmund. To prevent her humilation, Gerard speaks up. He relates how the plague had rent his family, raising issues of God's care for the dying. He had been scarred by the sight of his own relations being burned as heretics. But he does not repent as required.
The scene moves to prison, Gerhard admits that he had been unable to feel God during his scourging. Yet his spirit is unbowed. Next day judgement is pronounced on the group. All refuse to recant, even the simpleton Jan. "You will all burn in hell," promises Edmund, who does try to make one final personal appeal to Gerard. He relates the struggle of faith within St Augustine, as well as his own, "there is only good and absence of good."
One last chance in court to unburden souls- really this scene could have been melded with the last. Gerard offers his response, "God is my Lord"- again overlong- "sparks of divinity trapped in the devil's world." Verdict pronounced, "let justice be done."
One of the most unpleasant conclusions to any play in this era, not scenes to relish at all. The issues seem far removed from today's world, thus it's hard to understand the church's severe intolerance
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The Idealists
Building paradise again, "the world of nature will return." Aspirations of the French Revolution, though the opening scene of chaos among prisoners hardly conjures up this. Captain Gerard (Michael Bryant) restores order, but is clearly uneasy, from his comments to second-in-command Edmonde, about the morality of it all, "we have made a desert of their France." Edmonde's solution is to shoot all rebels. Without a trial? queries Gerard. He interrogates the owner of the captured chateau, Marguerite (Suzanne Neve), who begs Gerard to save her husband Charles. But that is, says Gerard, beyond his powers, as the two dispute over which side God is on. Gerard admits Charles' fate of hanging is senseless, "you know it's senseless, but you still do it." The answer: "we had to change the world, there was no other way."
Forged banknotes are discovered in the cellar. Marguerite refuses to betray the man who made them. Some prisoners have died amid their terrible conditions. Gerard stops a citizen soldier from mistreating one the the wretches, "burn the lot." But even the hard Edmonde speaks up for justice for these prisoners, their trial on the morrow will determine their fate. However, until the man wanted for forgery gives himself up, examples must be made, Edmonde claims, for the sake of the Revolution.
Gerard blames God, and even Rousseau's Nature for causing such chaos. In speaking of her anticipated death Marguerite observes to Gerard, "you're cold." Now in each other's arms, all the talk is of God. They even kiss, "this is from God..."
"Noone must be left behind"- all prisoners must be tied in pairs, taken to the seashore and left to drown- that's the order. Gerard cannot comply. "What happens to them is no concern of ours," is Edmonde's standpoint. However Marguerite has prayed, and tells Gerard that God has told her to betray the forger. In return her husband must be spared. The man is Jacques, she blurts out. Gerard cannot agree to her bargain, indeed her intervention means the death sentences must be carried out. Her own trust is God is thus shattered. The ending merely spells out blandly the fate of the prisoners
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A Smashing Day (Fri Aug 17th 1962, 21.25-22.25)
Two men wait outside a cinema showing The Millionairess. Lennie (Alfred Lynch) is "always running away from women," according to Stan his mate (John Thaw, who really relishes his role).
Lennie meets up with Anne (June Barry) and they get talking, as you do. After a lot, a lot of small talk, you have to question whether author Alan Plater knows how to engage an audience. He did later, but here he only alienates us. Lennie tries hard to date her.
At the dance hall. he meets up with Stan, and doesn't quite click with anyone. Not surprising really, since the music is forty years out of date! Though "not madly in love," Lennie boasts that he has a date, "it's what you don't say, matters." After more laddish chat, Stan's advice is "get another bird." Might that be Liz (Angela Douglas) who dances the quickstep with him? Lennie takes her to the park, where their eyes meet, extreme close ups indicate this. This ultra long scene continues with giggling, and of course a kiss, eventually a longer kiss. He is happy, "a smashing day!"
Next we are at a wedding reception, where best man Stan offers advice to Lennie on the lines of marriage is "a very good thing for some people." Lennie replies, his speech thankfully much more abrupt.The bride turns out to be Anne.
Back home, the couple prepare for Lennie's job interview. En route, he stops off at a cafe to talk to his dad, surprisngly contemporary music is in the background. Then he encounters Liz, "I'm in love with you." He wanders the streets, "I'll be a dad tomorrow."
Dear Mr Plater, I'm so glad your scripts improved after this abysmal early effort. Was it a comedy? More like a tragedy of modern living
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The Materialists
"The nature of man is evil," Prof Edmund (Geoffrey Bayldon) informs us, he claims the scientist is in charge of history.
1942 Auschwitz. Another prisoner collapses. In silence, an officer finishes him off. 15295 Hofmann (Michael Bryant) is "a political," warned that "when you cease to be a number, you do not exist." He meets his old friend the professor, who had joined the party "as a matter of convenience." In contrast, Hofmann has been incarcerated, and now has room only for hate, "we keep warm by burning Jews."
Mass sterilisation is the prof's research project, Hofmann is taken on as assistant, to hrlp run clinical trials. "Sullen bitch" Margorzato 55604, a Pole aged 31 is selected. "Animals don't cry." Himmler approves the drug being used on her. As he treats her, Hofmann has to work hard at not losing his overpowering hatred. Hofman confronts his boss, whose response is, "it's an order- what else can I do?"
Hofmann decides the experiment must be terminated. "We can refuse consent, or else we let them win." He argues with the prof over their values, "we are only numbers." We can transcend nature. The prof realises his life has been wrong. Hofmann is sent back to his camp, where he collapses, "I'll not submit." Even here, he concludes, "love exists." But the play's message is very very bleak

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The Wind and the Sun (Nov 13th 1960)
Anne (Francesca Annis) is cooking breakfast for 11 year old brother Ian, before waking daddy and taking mummy a cuppa in bed. It's clear all is far from well, in this play which is all conversation, at times oppressive, sometimes a bit too contrived and extreme. For example, Dad, Lewis Miller, warns Ian that he needs to grow up (well, he does play with dolls), "don't start taking after your mother." Yes, this is another study of a break-up of a marriage.
The two children go to school, where despite what Ian has asserted to his father, he is bullied.
Ruth their mother works as a model- never quite explicit whether this is in the nude- and that evening consults a marriage counsellor, "we're always quarrelling." She unburdens herself, in a scene much longer than any previously. Ruth returns home to find Anne preparing the meal, but she is too distracted to listen to her daughter's worries.
In an odd scene, shopkeeper Mr Harper calls on the parents to warn them that Ian has been spending a lot on sweets of late. Lewis asks if Ian had stolen money. Once alone, the couple row about their children, their strained relationship, their work. The youngsters are naturally upset by what they overhear, despite the fact that Ruth told the counsellor that they were unaffected. Her goading does make Lewis decide to get advice.
A second long scene with the counsellor, Lewis admitting their relationship had deteriorated after the birth of Ian. He had an affair, now over. In tears, Lewis says that he despises Ian as a sissy, for that is the heart of the problem- Ruth so obviously favours Ian.
When Lewis gets home, he finds Boris, Ruth's boss there, nothing untoward, but once they are alone, the couple are at each other again, his affair with his secretary, he suggests that she go and live with Boris. She storms out. But what of their children? Lewis dubiously has a heart to heart with his son, who insists he would miss his mother, not what Lewis wants to hear, "your mother doesn't help you very much." This becomes too over the top to be credible. Ian persuades Anne to talk to daddy, who challenges him, "I don't understand why you don't get on together." So now both children are in despair, and though not shown, Anne makes an attempt at suicide. At least that brings Ruth back home. The two adults explore options.
Much later, Lewis consults the counsellor again, and is told the fable of the wind and the sun. He returns to his flat, alone. Then we see Ruth cuddling Ian. Dad phones, but is cut off. Anne isn't there- she's wandered off and is in the arms of some man.
All very realistic perhaps, all very depressing certainly, but there was no other way for this to end

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The Squeeze
Big Tom (Stanley Baker) narrowly escapes a roof fall down a coal mine. A flirty medical sister treats his injured arm as he tells her, "there was a squeeze on." This is "a differential reaction to pressure," according to Big Tom's studious son Tommy, who is planning to go to university. However he also wants to prove himself, by swimming out to The Buoy and back. His mother Shirley is worried that Tommy might not make it.
Big Tom has nightmares that night- not for the first time. It's mid age crisis, his own personal Squeeze, which is what this play is all about.
Next morning Shirley waits anxiously, as Tommy begins his long swim. She is so used to waiting, waiting for Big Tom to come home each day safely, but this additional wait proves an unbearable pressure. But Tommy returns triumphant. It's enough to make his father bow to Shirley's inexorable pressure and take a job above ground, becoming a potman.
Months later, Tommy returns from college to meet his dad in the pub, where he is being mocked for leaving the coal face. The scene is none too convincing, as he proves to his detractors that he still has the strength.
The scene depresses Tommy, who finds help in putting things in perspective from his grandpa, something about nakedness, and chapel, if you will.
"I'm not the man you married," Big Tom confesses to his wife, worse follows when he admits to her that he had been with that "amateur tart" of a sister. His way of showing he's still a man. Despite her earlier demands, Shirley decides it would be best for him to go back underground. But how can he ever be "what "he used to be?" This dialogue goes round in circles for too long, real characters, yes, but somehow unreal now, the issue of ageing largely lost. Maybe grandpa does offer an answer, but his response to Big Tom smacks not of any venerable wisdom. "What are we to do, grandpa?" The reply is to the effect that Men are like Little Boys, make of that what you can. "I'm going back," announces Big Tom
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Tuppence in the Gods
The Hoxton Variety Palace is owned by Sarah, who is approached by down and out Rosie (Dandy Nichols) to give her a chance in the No4 spot, with her husband Herbert. Sarah is doubtful, her heart is with her granddaughter Fanny, her own home grown star. She has been encouraged to go on stage by her successful friend Marsha (Patsy Rowlands), and sings for us Put on Your Ta-Ta. We also see Rosie and her husband singing Skylark and a dull Temperance song, as well as actors imitating the great Gus Elen and Dan Leno.
Agent Walter (Frederick Bartman) falls for Fanny, and dines her at Romanos, where they watch a tired Leno performing- he does five shows a night, that explains his world weariness. Walter also encounters Connie, a star in America on the Bioscope, and he becomes certain that variety's future is in films. This becomes the main plot, with Rosie being signed up for the Bioscope, as the whole future of the music halls is thrown into doubt. When Walter persuades Fanny to sign up as well, poor Sarah collapses and dies. The future of the Hoxton is precarious, and the plot devotes too much time around this.
Walter continues his championing of The Bioscope, showing Fanny an improbable film he is making of Dan Leno in his Tower of Loindon sketch, "like magic isn't it?"
Throughout, songs intersperse the story, some are inspiring, others plain third rate, possibly composed for this play. Better are those classic music hall numbers- mostly sung, not conveying the broadness of variety seen in the halls, but inevitable due to the confined studio space. One or two small groups perform some dancing numbers. Vivienne Martin offers real sparkle as Fanny and it is only a wonder that her career never quite took off to stardom. Michael Voysey's play is full of dubious historicity, in the last analysis only another Show Must Go On shows, but it is performed with honours by the strong cast
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Sword of Vengeance
A stagey play taking place in 1629 France, at the end of the long bitter war won by Catholics. The setting is a last Protestant stronghold, the castle of Donadieu (Richard Johnson), where many refugees shelter. Pastor Bertheleu urges realism, despite threats of torture.
Two Catholic noblemen, en route to Nimes to make the king's proclamation, sheter in the castle that night, Lavalette (Donald Houston) and du Bosc (Patrick Troughton), the latter is recognised by Judith, daugher of Donadieu as the man who murdered her mother and many children, when Catholics had overrun their village. Donadieu sees his chance for revenge, "God has sent him to me." He debates the moral issue with the pastor.
Escambarlat (Ronald Radd) offers Lavalette as well as the audience some light relief with his poetry, but he is hardly "as silent as the grave" in passing on information about his fellow Protestants. After a protracted meal and a toast to Peace, Donadieu confronts Lavalette with "the crimes of war." Lavalette counters with his own stories of Protestant atrocities. The issues are real enough, though the characters never quite convincing, pawns to convey the author's aims.
The pastor's warning of world weariness sticks in Donadieu's throat but after his friends beg him, he kneels in mock humility to beg forgiveness from "a murderer."
"Our world has collapsed," Donadieu is escorted away by the Catholics, but against Lavalette's urgings, du Bosc can't resist humiliating the defeated by boasting of his war crimes. Vengeance comes from a surprising source
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Is Your Honeymoon Really Necessary?
Shown in the series Sunday Night Play #1.8. First of two Rix versions, performed with gusto.

Mrs Rosemary Vining (Rona Anderson) is Lawrence's second bride, carried in by him, "oh darling, I'd rather have walked." While she retires to prepare, first wife Yvonne turns up, claiming their divorce is invalid, and demanding £3,000 to go away.
Hemming the butler can only offer a whisky, and Lawrence phones Frank, his lawyer. Rosemary is now ready in her negligee, but he seems to be afflicted with nerves, "time you were in bed." Yvonne however, demands he comes to her room.
Next morning, the two wives must be kept apart. Frank arrives, tasked to "make her see reason." But the two wives do meet, and Yvonne is introduced as the wife of Frank! It's "a pretty low game," especially as he has to stay the night with her. Some nice visual humour from Rix. Frank queries, "what she's going to do with me?!" Best he can do is hide in the dressing room. We peep into both bedrooms, Lawrence jumpy, Frank very nervous.
Next morning, Hemming finds "things are not what they seem." Frank even admits he'd done "the most dreadful things." Over breakfast, Yvonne talks about her own first husband, "a dreadful rotter." Lawrence gets his own back offering his scathing comments on his first wife. However, Frank has now fallen for her, as news comes through that the divorce was legal. Anyway, Rosemary makes it clear she knew about Yvonne all the time, and a kiss ends the fun

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Wolf's Clothing
Always hard to summarise a farce, but this one has nobody claiming to be someone else, and nobody hiding. Yet it is farce, based on the simple premise of changed bedrooms.
Julian Calvert (Brian Rix) is married to Sally (Elspet Gray) whose main vice seems to be that she is always truthful. He is in a rut, "you make life too comfortable for me," he tells her. He is so ultra reliable that she wishes he might show a little more adventure.
Coming to stay with them is Janet (Jan Holden) who has rowed again with husband Andrew (Brian Reece). The bedroom change is unknown to the two men...
Next morning the women realise the mistake. Andrew admits he had accidentally slept in the maid Yuli's room, though in fact the darkness hid that it was with Sally. Anyway, "she didn't take any notice." Eventually it dawns on Julian that "I slept in the same bedroom as Janet... if I were with her..."
Sally truthfully confesses, "it was all perfectly innocent." She is pleased her husband is so upset, until he announces he is leaving her. She sees a changed, indeed improved, man. So she tarts herself up, and against his new resolve, it is Andrew who kisses her. That does make Julian angry and jealous.
The final part of the play is less satisfactory. Robertson Hare plays Julian's boss, you feel the script has accommodated him too much, as he asks Julian in his best voice, "did you take liberties with the girl?" Julian admits he had "blotted his copybook." It is Sally who somehow explains everything away, or nearly does so
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Rookery Nook
Performed with all the gusto and accomplishment you expect from the Whitehall regulars.
Set in a boarding house in 1926, Mrs Leverett (Joan Sanderson) is awaiting the delayed arrival of Gerald Popkiss (Brian Rix). Cousin Clive (Moray Watson) offers to wait instead, he has a motive, in that he wants Gerald help him get away from Gertrude, who is married to the downtrodden Harry.
A surprise visitor, clad in pyjamas, is Rhoda, who has been thrown out of her home by her German stepfather. When Gertude shows up with her husband, Rhoda has to "lurk" in the kitchen. Next morning, the daily discovers that Rhoda has spent the night here, Gerald tries to bluff his way out of it. To get her away, Gerald makes poor Harry borrow some of his wife's clothes, to let Rhoda leave not in pyjamas.
Gossip has spread, thanks to Mrs Leverett, and Poppy is one jealous visitor when Clare, Gerald's new wife, shows up. Explanations are needed, Rhoda apparently "radiates purity and innocence." Her line is less convincing when Poppy emerges in her underwear. "What is the meaning of this?" Excuses in the best tradition of farce are forthcoming, "it sounds a very unlikely story." The angry stepfather ought to be their "trump card," but he has suddenly turned amenable, no longer "a beast in human shape." But he does deservedly turn on Gertrude and Mrs Leverett
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The Lift

In a "dump" of a block of flats, due for demolition, the "confounded" lift breaks down again. Of Flat 43, Hodge (Ronald Leigh-Hunt) calms the female passengers, one starts to panic, but thankfully the lift restarts and all is well.
Hodge's estranged son Roy (Patrick Mower) visits, the pair are on different wavelengths, in different worlds, Roy a successful developer, indeed he has won the demolition contract on this property. Dad is recovering from divorce three years ago, is his son having him tailed? "I can feel his eyes." It is clear, to Roy, that dad needs a psychiatrist. But the air isn't cleared when Roy learns dad is leaving his money to Julie, Roy's ex. Roy's peace offering gift is rejected, indeed when Roy examines this antique, its message is "his days are numbered."
He phones Julie, who is too pre-occupied to listen. Hodge goes out, unwisely using the lift. The inevitable happens, and this time, alone, his response is different, "get me out of here." Several emergency phone calls only confuse him, he slowly disintegrates. "I am not mad." Everyone else, mind you, has been driven potty.
Next day the porter finds Hodge raving in the faulty lift, "you all right?" It's enough to put you off ever using an old lift, or even a new one. But as The Wednesday Thriller this was more The Filler, no thrills, no frills, nothing

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The Babysitter

"You're not a pleasant sight," Beryl (Yootha Joyce) observes to her husband Mr Seam (Kenneth Griffith), though with a fag in her mouth, she can hardly talk!
This Gothic thriller is far too zany, Griffith seriously over the top, to make it little more than a curiosity piece.

Upstairs in their dark house is their "little one," Ross, as unbalanced as they, older too. Beryl is all for "hurrying nature," the plan being to employ a babysitter, and one is found, a Miss Efoss (Norah Nicholson), who claims to have a fear of ticking clocks. She is shocked by what she finds upstairs, but is encouraged by a gift of Kooky, a black cat. Now Ross has nightmares about cats.
"Be careful with Kooky- wouldn't do to find her upstairs!"
The inevitable comes about in a psychedelic sequence with cats, Ross driven insane. "What a thing to happen."
Miss Efoss, collapses under the strain- and evidently she will be next for the treatment

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Diary of a Nobody
The Domestic Jottings of a City Clerk, one Charles Pooter, who narrates throughout in silent film style. The title says it all. It's about nothing and achieves nothing.
Charles introduces his wife Carrie and their suburban home by the railway- this brings on the first of many corny jokes. Son Willie has returned home jobless, "I don't often makes jokes"- that's one indisputable line. One object of 'fun' is the door scraper, another blancmange. Mrs James comes to stay, filling Carrie's head with "a lot of nonsense" about dresses. She chases Willie, now called Lupin, round the garden. Carrie takes up manicuring on Mrs James' advice.
Charles starts to paint- everything he can find, in red, the flower pots, even the bath. An interminable sequence. When he takes a bath of course, his hands, to his horror are "full of blood."
Chewing over his happy marriage with Carrie, they are disturbed at midnight when Lupin returns home drunk, "I'm engaged." Daisy is eight years older than he. The couple dine with a Mr Finsworth where a dog licks Charles' red painted boots, result they are now white again.
More slapstick before Lupin's engagement party with ridiculous silly games, ending with a variation of the old custard pie routine. The can-can offers more silliness. Lupin is offered a job in Charles' own office, oh dear, Lupin wrecks the happy home.
"I wonder I waste my time entering these insulting observations in my diary," writes Charles, never did he write a truer word. If director Ken Russell's reputation rested on this film, then he's to be feted among the dustbin directors of children's television

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The Chase
Director: Michael Elster
The title might suggest thrills, but this is more an intermittent chase, with stunt work, never a sustained drama.

Howard Bowles (Ken Jones) parks his white car to go to a shop. When he comes out, he reverses over a motorbike that he cannot see in his mirror. The bike belongs to Scratch (Melwyn Hayes), and since the car drives straight off, he and his three friends pursue Howard on their bikes, surrounding the offending vehicle on a clearway. When it stops at traffic lights, an argument breaks out. The car speeds off, they in pursuit. Somehow, not clear how, he loses them along a quiet road, though they do catch up with him. As Howard speeds away, one rider is knocked into a ditch.
On to the M1, then the car pulls off at a services area. Howard sits down for a cuppa, but the gang surround him, before being ejected from the cafe. They plan their strategy, "we're in the right."
Howard drives off, cautiously, behind a police car, until he exits the motorway, but the motorcyclists are there in waiting. Down a country lane, there he had to stop, his car needs water. As he gathers a bucket of water, the gang advance, "we can settle this." Scratch demands £400 for repairs. As Howard is dubious, his car is scratched. Though Howard drives away, they pursue, and he knocks one off the road. Thus only one is left when Howard next stops. Realising he cannot shake this one, George (Rodney Bewes) off, Howard tries to reverse his car into George. Not a success. Raining heavily, Howard's shadow still on his tail.
Finally Howard alights at a Northampton hotel, where he phones Norah to explain what's wrong, but meets with little success. From the window of his hotel room, he espies George outside, ever waiting. Howard starts to write a note when George phones him and learns of the accident. George rides off, his friend is more important- that is the message.
That's it
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Don't I Look Like A Lord's Son?
Script and direction: Joe Massot.
Tv report of the train robbery, to scene of a lad (Brian Walsh) in his bedroom, who is awoken by his mother. Further on the news, with film of a police hunt along railway lines. The lad dresses and admires himself in the mirror, before packing his bags into his sports car.
As he drives, he reflects on his life, imagining living in lordly surroundings. Over Tower Bridge to posher houses, then an advert for a stately home with maids washing the floor. Past Buckingham Palace, "that's a nice bit of property," to a mews, where parcels are delivered. Presents for the man (Aubrey Morris), not however paid for. The lad orders a new suit, to more admiring looks at himself, "without clothes, I'm nothing." He pays by cheque.
Now in a chauffeur driven Rolls with a girl (Wendy Richard), destination a jewellers. Suddenly he snatches an exquisite piece, dashes off, leaping into his sports car. High speed through the back streets. He stops at The Roaring Twenties, a nightclub that seems more calypso. Here he tells the girl that she looks like a tart, certainly her accent is Cockney.
Alone to an amazingly empty airport, where, for some reason, he phones about a friend's stolen car. He tells us his ambitions, two nuns stare at him in bemusement. Like the viewer. So he wanders off, the place still deserted, obviously to achieve this was the biggest expense of the whole film. That's the end.
A mixture of dreams and reality, hard to make sense, the sort of film I could have easily made, except for the clearing of the airport. Maybe they took advantage of a bomb scare? Or maybe a strike was on?

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Shotgun
Based on a Japanese story, reflecting three attitudes to an affair, it seems the adaptors found this as confusing as did this viewer.

Joshua (Nigel Davenport) tramps a lonely beach, gun menacingly at the ready.
Dear Uncle Joshua, Vicky (Petra Markham) reads from her mother's diary. "I have to die," she had written. Vicky and her sister try to keep her awake, ambulance arrives too late. Vicky wirtes her own thoughts to Joshua as he tramps the lonely shore. "I'm sorry," he joins her in her bedroom.
In a flashback we see mother arriving at Helmsdale Station and taking a taxi to join Joshua on the old beach, except she finds him with another. So she embarks on her own affairs, never satisfied. Introspection on her lack of real love.
Joshua reflects on the suicide note, one long scene by a fast flowing river has dialogue too muffled, as he struggles to catch a fish. All "a mistake" apparently. Now we are at a school in another confusing but thankfully brief flashback. Clandestine meetings, interminable. "I knew it must come to an end." Thank goodness for that, as we see one scene repeated in part. Her diary reveals that she never loved Joshua, so no wonder he searches elsewhere, though no sane viewer cares a hoot anyway. "Like a dream," she utters, more a nightmare

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Strangers
(August 1st 1966, 21.55)
On a ferry from the Scottish mainland are two passengers. To get out of the wind, Catherine (Charlotte Rampling) goes below and reads a book. Her eyes catch those of another traveller, Ian, who walks up on deck.
At the quay, he is greeted by his fiancee, "glad to be back?" He has returned from the big city to see his father. Catherine is here to visit her Aunt Sarah and family, and she goes to their large house and walks the grounds.
Ian enjoys fishing with his dad. She plays the piano. He is clambering on the rocks with his fiancee, discussing their future, "you've changed, Ian."
Catherine is riding a horse on the shore, it struggles in deepish water. Ian visits his pal Jimmy who works at a brewery. Catherine goes on a guided tour of this place, his eyes follow her.
At a dance, Catherine is easily bored with her dull partner. Next day, she goes cycling. Ian is kissing his fiancee, gratuitous close ups. Catherine is back to the beach, swimming, with her aunts watching. Ian shoots wildlife.
Time for the return boat. On the ferry our two strangers' eyes meet. Here is a formless lifeless montage, maybe the writer and director John Irvin believed the scenery was compensation, adding to the symbolism he seems to be aspiring to. In fact the Scottish accents are sometimes hard to fathom, art for art's sake allegedly

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Exit 19
Close-up of lovers, fairly gratuitous, typical Philip Saville. The Man, rather conventionally, proposes marriage, that brings on the caption board, Modern Woman's Guide to Marriage.
Questions to Her, a model, film of this is viewed on a projector, this has to be edited. The numerous questions and brief responses are mostly about Men, interrupted by our editor, for no good reason, answering the phone.
Questions to Him, many the same, but contrasting responses. He sounds awfully intellectual, he's the editor, and discusses what to cut with his producer, as if we are at all interested in this skill. Same questions are revisited, now edited, clever dick stuff, eh?
In a Maserati - what else?- a Woman pontificates on Boys. A speeded up action chase is a mere interlude. Because now it's more of those interminable questions- this film has travelled nowhere, intimately mundane, everything from shoe size to orgasm. It drags on from marriage to children.
Cut to interview with an aged director who explains past attitudes "conforming to the code." Then our pair in whites, have a go at tennis, as you do, ending inevitably with a messy romp on the court. A caption explains, This Scene Is Not Needed, a surely unncessary addendum.
"I'm getting married," explains our Editor, as scenes of married bliss transport us back a century. More odd captions. A form of ceremony. Of course the significance of the title now dawns, or does it?
An attempt to portray a contemporary view of sex, that is so much of its time as to have drowned in its own orgiastic complacency
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Stephen D
Script: Hugh Leonard, from James Joyce's Portrait of a Young Man...

"Amen, so be it," the musings of Stephen Dedalus (Normal Wooland), starting under the table as a naughty child. Boarding school, floggings naturally,"lazy idle little loafer." "I want to go home." Happy Christmas, but no respect for the church from father. Later, in the pub, Stephen sees through him.
"Give us a kiss... slowly," Here are women, mixed with a lecture on hell and its "stench." Need for confession. Promise of reform with sacrament. His vocation: holy orders? Instead his free thinking atheism, rejected by his college. To the billiards hall "a born sneerer." Rejection of his contemporaries, "Ireland is an old sow..." No, he does not believe in God, even reprimanding his own mother for believing in the Ascension and such like. "God can do all things," is her response. He is "supersaturated" with this religion that he rejects and still fears. The death of Isobel is a catalyst, "you're going to heaven-" according to mother.
"I will not serve," that's his final defiance.
I found this difficult to empathise with, so much introversion, a character whose inner spiritual turnoil is alien to most people today, yet what you can grasp is the author's view of the bankruptcy of Roman Catholicism in practice

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John Bull's Other Island
George Bernard Shaw's play is set in 1904, main character is "true Englishman" Tom Broadbent (Ronald Fraser), an ideallist, if also a naive civil engineer. He dreams of establishing a garden city in Ireland, and enlists the assistance of Tim, who is the parody of the Irish, "no Irish talk like that," business partner Larry Doyle (Daniel Massey) confides to Tom.
They arrive in Rosscullen, once Larry's home, and here we meet more stereotypes, the priest and the madman. Also Nora, to whom Larry had once been enamoured. Staying with the Doyle family, Tom falls for the charms of the place, and for Nora, though she puts this down to the poteen. The locals are weary of the rich exploiting their land and want Larry or even Tom to represent them in parliament. Larry informs the plethora of Irishmen, people like Matt and Barney, how it is, indeed every Irish actor worthy of the name appears to be in this cast. Their political discussion is prolonged, but throughout the play music is introduced to lighten the mood.
"What's the matter with you all?" asks Tom's butler, who neatly sums up the failings of the Irish. After a comedy interlude with a pig, it's Tom who is made to stand as an MP, "the fools prosper" seems to be the idea behind it. The protestant Keegan is very much spokesman for the author, with his world weary disillusionment.
Larry shares with Nora their shared memories, and she realises that he only wants to leave. Tom comforts her, "you have inspired me," he smiles at her. She rejects his advances however, yet he decides that an Irish No must mean Yes, and gauchely tries to hug her. Finally she succumbs, Tom deciding this is also an ideal piece of electioneering. Larry gives his blessing to them, despite some regrets.
To Keegan, Tom outlines his "efficient" British vision for the land, "I will bring money here." However Keegan has his doubts, grave doubts, for "a land of derision," and concludes with his own vision
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Everyman
An updated version of the sixteenth century morality play, yet retaining ye olde fashioned language. The start offers clever clever stills, which make little sense, before the introduction in pseudo religious language of actor Alan Dobie, who plays the title role.
An angry Voice of God accompanies scenes of gamblers and strippers, "the people do clean forsake me." Reckoning for Everyman. Despatch of a Messenger of Death, who speaks in ludicrous language. Will Everyma's friend Fellowship accompany him on his journey? "To God I forsake you." So also says Cousin, and Everyman also perceives that his treasure cannot go with him- this amid loud guffaws. Somewhere I got lost, as Everyman is beaten up (too much violence on tv, unnecessary that is) but Good-Deeds offers that her sister Knowledge can join him.
To a folk hymn, he resolves on confession. To church, he kneels. Repentance. Penance- thou must suffer scourges, be ye warning. The play is most decidedly a harking back to a different era, a different moral outlook, so maybe this highfalutin script is appropriate. Apparently the scourging must be self inflicted, maybe that's symbolical, yet his reform bringeth about Good-Deeds' healing. Film of him in a Merc- I got lost again. A judge, a hangman, and several others join Everyman for his new pilgrimage, yet they all abandon him, except good old, or young, Good-Deeds, "I will abide with thee."
He addresses camera with a warning, afore Death casts its dark shadow. Epitaph. I doubt if this makes much sense to Anyman, or even Anywoman. That's not quite The End. Everyman's funeral, in rain naturally. Lecture from the priest. Different yes, Watchable even, but thou requirest much patience, brother and sister, Amen
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Bloomsday
based on James Joyce's Ulysees, set in Dublin 1904.
Scene one on a housetop effusing poetic beauty. Next, mundane cooking of breakfast. Contrast between wistful writer and drabness of the morning bed, characters sharing their inmost thoughts, lady in bed even bursting into song. Contrast also the British gent and the Irishman, it's unpleasantly soporific until she starts singing again, "what are you singing? asks her partner- my answer: it's hard to tell.
What does metapsychosis mean, she asks. Anyone want to know? She yawns, not the only person to do so. Back to our dreamy young man, at work in school, "old England is dying," yet that's surely not the only doomed place. Back to the proto singer, still in her bedroom.
A funeral adds to the oppresive gloom. Irish reflections on life and religion. Throughout conversation is interrupted by thinking out loud, and it becomes hard to concentrate as much as the characters themselves find, more dialogue emerges from mind than mouth. Discussion about Hamlet does not slow down the plot, since this is barely discernible. "What have I learned today?" My conclusion is, that if you do appreciate this, you're victim of the Emperor's new clothes. "May I say a word in your telephone?" With language such as this, how come the author achieved such a reputation? Don't reply to that.
After much drink, talk of love, life, justice by "the new apostle to the Gentiles." Our singer's "dream husband" is viewed via her imaginings and corny old fireworks. Then our dreamer collapses around tarts, disillusioned, "count me out." Me too. Singer is back in bed, "ask him to stay the night?" However "the disintegration of obsession" persuaded me not to stay, however symbolic be the effluence. Most decidedly, her eating gently the apple must be significant, "there's nothing like nature." The end, thankfully
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Where The Difference Begins
T'Yorkshireman Wilf Crowther (Leslie Sands) says goodnight to 61040 his locomotive, and comes off duty. He walks to his terrace home where 'mother' is seriously ill, his sons have come home to be there at the end. Richard (Barry Foster) is here with his fiancee Gillian- he is now divorced from rich first wife Janet. Scientist Edgar (Nigel Stock) turns up, and is immediately moralising.
After 45 years on the LMS (despite 61040 of the LNER), Wilf is to retire in a few months. He reflects on parental sacrifices made to improve the lot of the children. What follows is a series of one to one conversations probing the theme of upward social mobility. Perhaps the oddest is that between Wilf and his dead wife, though little grief is portrayed apart from this scene.
These conversations continue next day, Edgar and Richard, Edgar and his wife Margaret, Aunt Beatie and Margaret, as philosophical exchanges are overworked, static plot. Saddest is Wilf with Uncle George, who has lost his marbles, "he were a fine strong feller." The two brothers are the main focus of the dialogue, they fall out when the plot receives a minor jolt- Edgar has informed Janet. She is coming!
Richard cuts her off at Westgate Station. She is real middle class. In the buffet, they chat. It's not all over as far as she's concerned despite his many failings. But he reveals that Gillian is pregnant, that heads her off coming to see the family. Gillian shows up in the buffet with suitcases, "I'm going home." But she doesn't.
They cuddle up and compose a semi-comic tale for their future child, a story of capitalism that reflects all the play's arguments.
Preparations for t'funeral, "I shall be glad when it's over." Wilf, "poor sod," has one too many and blurts out truths to Edgar and Richard. He won't come to live with either of them, "a fish out of water." "You're not my sons," he says sadly, his final rant estranges everyone, even the viewer. Yes, the characters are well acted, but the script needed serious editing, far too much transparent political flag waving
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Men At Arms
Guy Crouchback (Edward Woodward) potters aimlessly amid Italian ecclesiastical buildings, as characters are artlessly introduced, none too coherently. He returns to England to enlist in an officer training school. Mixed with film of the unit training, are scenes in the mess, where he meets the unusual Apthorpe (Ronald Fraser), conversation is awkward, veering on the tedious, even if the latter considers it quite the contrary.
The blustering Brigadier is introduced with his hunting anecdotes. Guest Night involves more earnest conversations plus some horseplay. Guy is slightly injured in this.
His ex-wife is now staying at Claridges, and they meet up, he admitting he's done "nothing" in the past eight years. She by contrast has married twice.
Training moves to Southlands, the place is "a shambles." I think it is put in the story to depict the aimlessness of army life. Guy loses his temper with one lad, and makes confession to the priest, who befriends Guy. The group are a failure, the brigadier tells them, and after a week's leave, they will return, but only some of them will. Guy spends the break attempting "making love" with Virginia, as technically, the priest has told him, he is not divorced in the eyes of the church. Apthorpe tries to interrupt them to no avail. But in any case Virtginia, ironically, refuses to have a "casual affair."
Back in training, Apthorpe offers a comedy interlude with his Thunderbox, a commode, which the brigadier delights in using himself. It is hidden, but the brigadier gets his own back, so it has to be hidden elsewhere. The sequence concludes with the brigadier blowing up the Thunderbox, with Apthorpe in it.
Finally some proper action. His dad gives Guy a keepsake. A beach landing party, in which the one casualty brings "a black mark" on Guy's career. Apthorpe is in hospital with some fever. Guy smuggles some whisky for him, but this proves a poor idea. Apthorpe makes his will. Guy returns home "under a cloud." As you may gather from this, I was losing attention fast
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Officers and Gentlemen
Guy has returned to England to clear his name. Some actor imitates Churchill's voice, lauding Brigadier Hook, now on a Scottish isle with commandos, in charge is Captain Tommy Blackhouse, his ex's ex. He meets up with an old mate Trimmer now calling himself McTavish (Tim Preece), all "hopelessly upper class." Apthorpe's belongings he gives to 'King Kong.'
Interlude with McTavish on leave, trying to pick up old acquaintance Virginia. More comedy of sorts with Dr Rees, a dietics expert: McTavish is volunteered to eat "heather and seaweed."
Abrupt change to Africa, Guy seeped in admin, Col Tommy in charge as Hook is lost after a plane crash. McTavish is sent on a doomed mission to occupied France or somewhere, which actually turns out "a first class show," at least that's the official line as seen in the papers.
Off to Crete for Guy, "the whole place is a shambles," no wonder with the useless Major 'Fido' Hound in charge, little faith in his ability.
McTavish becomes a figure to "boost civilian morale," and he is reunited with Guy. McTavish serenades Virginia on the phone, "go to hell." He's not the hero his image has been branded.
A retreat off the island, Hook's or rather Hound's men must leave last. One traitor exposed. What comes across is the men's lack of comprehension, only following orders, instituted by those at the top, at a safe distance. Philosophising drags the story out, "one chance in five" of survival.
Now safe, somehow, Guy reflects on the waste, "an awful business." Versions of events vary from Guy's own recollections. But what exactly does he remember?
News is in that Hook has turned up in Abyssinia. Guy is sent back to England, even though he doesn't want to go
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Unconditional Surrender
The story ambles on, the ending however very rushed. But after 90 long minutes, that's understandable.
With his father, Guy reflects on the war, "I don't care who wins." When the old man dies, more introspection. Guy drifts into jobs, meeting up with Ludovic again, now a successul writer for Survival magazine. Tommy gets Guy a job as liaison officer.
Virginia is broke, and maybe, now that Guy is well off, has eyes on remarrying him. However Guy is posted on a course, Commandant Ludovic in charge, an odd recluse not wanting to be recognised. His behaviour becomes ever more erratic. Frank, Guy's nephew, is also on the course, the pair speculate whether their unseen boss might be a Gestapo agent. The course is on parachuting, but Guy hurts his leg when landing and is hospitalised. Bored, he discharges himself, staying with Uncle Peregrine. Virginia enlists uncle's aid in trapping Guy, getting him to marry her, because he sees it as one unselfish action "beyond the call of duty."
In his Catholic confession, he says he wants to die. Coincidentally, Ludovic's forthcoming novel is titled The Death Wish.
Guy's latest mission is to help patriots in Yugoslavia, the promoted Frank now Guy's boss, the redoutable Hook also shows up. Guy meets one refugee whom he is sadly unable to help, not his job- but when Rome falls, he is in a position to do so.
Virginia gives birth, but is killed by a bomb in London, though baby Gervase survives. Ludovic's novel is published. Hook cracks up and has to be shot. Gossip surrounds Guy's relationship with the refugee, who has opened Guy's eyes.
A postcript is set in 1951
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Suspense (A series of 48 plays screened in 1962 and 1963)
2.16 Call from a Customer (April 15th 1963)
It starts almost Reggie Perrin-like as a bank manager kisses his wife goodbye. We move to the bank, opening time 10am, Gilbert Turner is the manager, his first client is a Mr Carter (Derek Blomfield), who is ushered in by chief clerk Young.
Back home, Sally Turner (Iris Russell) has a strange caller: Mr Merrick wants to contact the bank urgently. Once inside the house, his manner changes, and he draws a gun. Phoning the bank, he speaks to Mark Carter, "she'll do as she's told." A frightened Sally adds to her husband, "do as Mr Carter tells you." Carter's demand is that the cash from the night safe be brought into the manager's office. Then the morning takings.
The frightened Turner informs Young that Carter is from Special Branch. A hitch occurs when employee Miss Sheila Clarke asks for time off this morning to meet her fiance. She is so persistent that it is agreed she leaves, as long as she keeps quiet about this clandestine police operation. However Turner knows she is a gossip. Also her boyfriend is a policeman.
Sally chucks coffee over Merrick, though he prevents her running off. Another half hour and the money will be ready to be removed from the bank.
Inadvertently, Sheila blurts out about Special Branch, "sounds a bit fishy." Supt Aitken phones the city bank, ostensibly about his overdraft. Enough is revealed to indicate to police that there is danger.
The cash is removed from the bank, exit the robbers, but the police are waiting for them. A car chase along snowy roads.
Merrick has not heard from the gang. Turner panics, since his wife is still a prisoner. No phone call to Merrick could prove fatal. Merrick loads his gun.
Carter has been caught and is persuaded by Supt Aitken that unless he co-operates, he will be party to a murder, "you're going to swing." Carter must phone his partner. He dials. "It's all over"
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The Wednesday Play
The drama department at the BBC earned a top class reputation for producing quality tv plays. The genre culminated in the gritty realism of the Wednesday Play, this was sixties television at its most dour. I have to confess that this is not what I enjoy on my television screen, and ironically it was only because the BBC recruited top ABC man Sydney Newman, that their dramas really descended from stagey theatrical plays to the kitchen sink abyss. Critics of course will love anything they don't understand, and a lot of the Wednesday Play output was just that, down to earth language with down to earth situations, that dragged the nation down into its pit. Television reflects life, was the excuse, but television also moulds life, and mould be the word.
Having ranted against it, let's conclude on a positive note, and recommend the excellence of some modern day classics, from which I single out John Hopkins' Fable, hard going, depressing even, but almost prophetic.

2.4 Fable (1965)
4.33 Way off Beat (1966)
5.7 Cathy Come Home
84 In Two Minds (1967)
117 The Golden Vision (1968)
122 The Gorge
132 On the Eve of Publication
146 Last Train Through Harecastle Tunnel (1969)
148 Mark II Wife

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The School for Scandal
The main characters are introduced by a narrator. This is a straight adaptation of the 1777 play, with a strong cast. In minor roles, Athene Seyler as "a little talkative" Mrs Candour steals her two scenes, while James Bree as Moses offers an eccentric servant in the style, later, of Leonard Rossiter.
Old Sir Peter (Felix Aylmer) and his young wife Lady Teazle (Joan Plowright) are at odds again over her latest extravagance. Was it a mistake to marry her? "I was a fool to marry you." His ward Maria wants to marry Charles, but there is much gossip and backchat from the cast of "old maids" who see Charles in very different light to Sir Peter. Such as the indomitable Lady Sheerwell (Frances Rowe).
Finally we are introduced to Maria, and then the impecunious Charles (Tony Britten), a glass in his hand. Sir Peter has arranged for Charles to be "scrutinised," by Sir Oliver, Charles' rich uncle whom he has never seen. Here's the stuff of farce, especially since Sir Peter suspects his wife of an affair with Charles, when in fact it his Charles' brother Joseph whom she has eyes on. Joseph has some of the best moments, as he periodically reveals his thoughts to camera.
Unwittingly, Sir Peter confides in Joseph, seeking his advice about a possible divorce, overheard, behind a screen by Lady Teazle. As they converse, she understands that Joseph's real love is actually Maria. Here is farce, with Lady Teazle behind the screen, and Sir Peter hid in a cupboard, as Joseph attempts to talk to his brother, steering away from any hint of the truth. But truth will out, the matter to be decided by a duel. Well, so the gossip goes, but in fact, the brothers learn of the trickery of their uncle and all ends happily, Sir Peter and his wife reconciled, somehow or other
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The Chicago Conspiracy Trial
(Sunday October 4th 1970, 20.15-22.50, BBC-1: with one break for The News)

Eight leaders of a riot are brought to trial, "the most important political trial of the century."
Narrated by Tony Church.
Judge Hoffman: Morris Carnovsky
Prosecution lawyer Schultz: Neil McCallum
Defence lawyer Patterson: William Kunstler
Defence lawyer Weinglass: Robert Loggia

An ambitious lengthy production.
140 minutes of courtroom drama might have been over optimistic in peak viewing time. Yet the drama is sustained, due to the near violence that is always present in the courtroom, and which occasionally overspills into unseemly scenes, quickly scotched by the judge, who remains a key figure in his inability to understand. In the end the defence and one defendant even admit they feel sorry for him!

My review: Part 1, Part 2. Part 3

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Part 1
The 74 year old judge reads the charges against eight defendants, relating to treason, and causing a riot. All are on bail, except a black man, Seale, who is additionally charged with murder.
The government attorney presents his opening statement, then the defence, a noted civil rights lawyer representing all of them except Seale, who requests to conduct his own case. The judge quickly shows his weakness by refusing the petition. "Free speech denied." The jury have to retire to decide if Seale's case should be heard.
The background: a Festival of Life had been planned. An undercover policeman describes hearing a defendant say, "tomorrow we are going to storm the Hilton." A key witness, Pearson, testifies also, then undergoes a tense cross examination.
A dispute arrives over whether the Vietnam Protest Day should be recognised in court. Amid ill feeling, the judge rules against the defendants' request.
An FBI agent offers his account of the rally. Seale complains loudly, demanding to make a statement. Denied. It is Seale's birthday, and his co-defenders disrupt proceedings, and Seale labels the judge "a racist."
A police cadet's testimony about the riot is disputed, since a key report written at the time has disappeared. Seale wants to question him, but is not permitted so to do. "The court has the right to gag you," threatens the judge, as Seale vociferously objects.
At the end of the session, the defendants refuse to rise as the judge leaves. The dispute escalates next morning, when the prosecution attorney objects to proceedings even before the court is in session. After a slanging match, Seale is forced to sit down. He is eventually ejected from the court, which recesses. When the trial resumes, the judge has been as good, or bad, as his word, and Seale is now in court gagged and tied to his seat

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Part 2
The gagged Seale makes protesting noises. As intransigent as ever, the judge demands he be silent. Seale writes a note repeating his demand to be given his rights. "He has a right to defend himself," the defence lawyer objects. Recess.
After an interval, proceedings resume, Seale, ungagged, is silent. Lawyers argue the issue, and finally Seale is permitted to speak, "a special occasion." However the judge insists Seale stands while addressing the court. As Seale refuses, the judge declares him in contempt and sentences him to prison for four years. Seale is removed from the court.
A police witness relates profanities which he had heard from the defendants. This had been the catalyst for the fighting. Various other witnesses testify, including a nurse who states that the police threw rocks.
The background to the youth movement behind the demonstration is given: it is against decadent American values. It is explained why the Vietnam war is a racist war. The judge declares all this "irrelevant." Another leader of the group explains how they had peacefully tried to "exorcise the Pentagon," and begun Yippie, the festival in question. There had been no plan to incite violence, though the prosecution insist that it was just that, "you want to wreck our society."
A bomb deployed in Vietnam is shown, but the judge dismisses this propaganda. This leads to more shouting with cries that the judge is "chief prosecutor."
The defence want to call Abernethy, a prominent civil rights activist, but as he is not yet present, the judge orders the trial to continue. "This is not a fair trial," protests the defence, but after applause, the judge confirms that he will not wait for Abernethy, who later supplies a written statement.
A description of the march is interrupted by defendant Dellinger. The judge reprimands him for his vile language, and terminates his bail. Fighting breaks out, and the court has to be cleared

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Part 3
It's more of the same, as another defendant refuses to be quiet, "I won't be silenced." Personal comments are made about the judge. After five months, we reach the final statements. The prosecution dispute the claim that the convention was ever intended to be peaceful, a riot was "created," like "a people's uprising." In reply, the defence state that everyone has a constitutional right to dissent. The lawyer points to the turmoil among young people. It's a moving speech. Then the final word from the government side, "they don't have the stomach to struggle for the ultimate good... violent opposition to law falls beyond legitimate dissent."
The judge addresses the jury, ironically warning them against bias.
After they retire, the judge deals with the serious contempt of court which all defendants are guilty of. Ditto the two defence lawyers, one of whom highlights the "repressive conduct" of the judge, who sentences them all to varying lengths in prison.
Some days later the jury deliver their verdict. Only some of the seven are found guilty of causing a riot. Then in the most sombre part of the hearing, defendants make speeches quietly. They focus on politics and the unjust war. Perhaps the revolution they aspired to never fully occurred, as this section becomes cerebral, and perhaps overlong, nevertheless, emphasising the importance of this trial. "The machines are sending human beings to jail."
Case closed. An appeal is lodged. This account of events was made prior to the outcome of those appeals. I felt that the programme brings over the appalling narrowness of the judge, and suggests the FBI, as the defence maintained, were making scapegoats of a bunch of way out hippies. I suspect the programme makers intended that to be so, what the actual evidence suggested is harder to determine

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Play of the Month 4.6
A 90 minute final episode with Rupert Davies as Maigret
Maigret At Bay
The longer length permits a goodly helping of location shooting, and leads to a more lucid story line than usual.

In August 1968, Maigret is consulting his doctor, with retirement only five years away. A hysterical girl phones him, and he slightly improbably (because he cannot sleep) goes to meet her at the Cafe Desire around midnight. She is Nicole, and the kindly inspector escorts her to a nearby hotel.
Next day, Maigret is asked to resign. She is niece of the President of the Court of Appeal, and she accuses him of attacking her in the hotel bedroom. We see her version of events, which diverges from Maigret's.
Though forbidden to investigate, Maigret does, encountering a wall of silence. Lapointe is assigned to discover who this enemy of Maigret might be, and why he is being framed. Possibly it is connected to a series of jewel robberies, for Maigret has assigned men to watch Manuel Palmari, who isn't an entirely convincing actor. When Maigret questions him and his girl Aline, he is told they do not know this Nicole.
She is traced, a student at the Sorbonne, a member of the notorious 100 Key Club. One of her sponsors is a dentist who lives opposite where Palmari lives.
Another jewel robbery, and Maigret is on the carpet for investigating his own case. He is sent on leave.
That makes no differencve. He returns to Palmari, and Aline informs him that she had seen Nicole entering the dentist's house, the time was 10pm. Maigret's thoughts turn to abortion. Francois, the dentist, had a traumatic wartime experience, and is a very weird character. Not what you want in a dentist! His assistant Mlle Motte tells Maigret that her boss uses the club to find clients, "he doesn't fo it for the money." He buries victims in his back garden. Maigret persuades her to betray this perverted criminal, he is actually gassing his next victim when Mlle Motte phones him.
All is revealed, including the contents of the back garden.
This finishes with Maigret strolling aside the Seine, his retirement not long away

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It is Midnight Dr Schweitzer (Feb 22nd 1953, second performance Feb 26th 1953)
This is primitive tv drama, based on one set, the story in real time, with dialogue and little action, nevertheless an interesting historical document. Indeed unlike modern historical reconstructions, this is acceptably close enough to reality. However there is never any very probing analysis of Schweitzer's motives, as the various sub-plots, even though they are all drawn together by the end, detract from a proper focus on the main man.

Midnight on a fateful night in 1914 in an African hospital. Dr Schweitzer (Andre Morell) plays Bach, as his nurse, Sister Marie (Greta Gynt) stands by, looking discontented. "It seems to me some people just give the money, whereas others give themselves." She's restless over her vocation and the doctor, maybe for the viewer's benefit too, goes over the reasons why he himself has given up a great career, even leaving behind his family.
But the philosophising is interrupted by a sick child who has been rescued by the priest Father Charles (Douglas Wilmer) from having her throat cut by superstitious natives. So the doctor attends the girl whilst Marie and the priest discuss the meaning of life, until I rather echoed Schweitzer's own comment "I grew impatient of talk."
Marie's lack of happiness may be related to the Commandant who now enters with the governor to spout politics. The latter is clearly antagonistic towards the doctor, possibly as he's German, and war seems imminent. "I hate war," is Schweitzer's stance, especially of course, if it means an interruption of his medical supplies from Europe.
There's more work, even at this late hour, when seven "monsters covered in enormous tumours" are brought in for treatment. This brings on a religious argument about suffering and God's existence, before Father Charles makes his farewell, possibly for the last time with war so near: "God be with you."
After 50 minutes we have an Interval, with a record of Schweitzer himself at the organ.
The next evening, the governor declares his love for the nurse "with the great heart." But she still isn't happy. The governor is here to give the pacifist doctor protection, but the offer is rejected, unwisely as it turns out, for natives break in and steal the medicines. There's unrest on account of war being declared: "the white men of Europe have started a great palaver. The tribe of the commandant is fighting the tribe of the great doctor." It drives the doctor to despair, and suddenly it's Marie who needs to bolster Him. Some Bach soothes them.
The commandant shares his love for Marie, who happily responds: "one single moment of happiness,".... but then "happiness is not thinking of others." They both have a higher duty. This becomes evident as Father Charles staggers in, a native sword in his back. All reflect on his death.
It's sufficent to make the commandant see that he must return to Europe, and for Marie to realise that her life is with the doctor: "I shall put my joy aside."
However there will be no joy at all, for the governor will be closing the hospital, for he has orders to intern Schweitzer at midnight. The doctor bemoans, not his own fate, but the fact that leprosy and all he has striven to fight, will now return to the peoples. There's a last tour of his hospital, and a soliloquy. He prays.
But Marie pledges herself to running the hospital alone. Schweitzer plays Bach until he is taken away at midnight
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The Government Inspector (February 1958)
A fine study of corrupt Russian country town officials, awaiting the arrival of a government inspector from St Petersberg. Or is he already here? The worry is that their numerous indiscretions may be revealed. The preparation for the arrival of this visitor is very well executed.
Mild hysteria follows when it seems that the visitor is indeed already in town, residing in a seedy hotel. In fact he is a "sponger, a scoundrel," but mistaken for the genuine article. Tony Hancock plays the impoverished junior clerk, who is believed erroneously to be the inspector, and he is invited to transfer his lodgings to the mayor's own house. John Phillips plays the mayor, with Helen Christie as his hopeful wife.
The gossip has it that this inspector is "grave and dignified," though in fact he is trying to get his head round why everyone is treating him with so much generosity. All the local dignitaries seek to impress the inspector, who starts to luxuriate in his own fantasies of grandeur, and maybe a little the worse off for drink he's been plied with. He wins a conquest in the mayor's wife too, not to mention her daughter.
A bribe from the judge, a loan from the schools superintendent, a gift from the health commissioner, leads him to expect numerous other little donations, and even the favours of the daughter, to whom he proposes.
"It's got to end sometime," his servant advises, so they leave before obsequiousness can end.
The mayor's dreams of high society come crashing down when the postmaster reveals, "he isn't an important man." This, discovered by opening his mail. A splended tale of the swindlers swindled. "Some jackanapes will make a play about it!"

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Soldier Soldier (February 16th 1960)

A Caledonian Fuselier (Andrew Keir), 200 miles from barracks, is stranded in a northen town. In a pub he boasts to the locals of his regiment's glorious victories, and after they all become tiddly, police are called.
Joe 'Nosey' Parker (Maurice Denham) helps him elude the law- Joe is ever hopeful of getting a seat on the local council, and in this soldier he can see a way. For his friends Charlie (Frank Finlay) and wife Ida, have a son called Tommy in the same regiment- they haven't heard from him for two years since he came home on leave bringing to stay his new Irish bride Mary.
Here is Coronation Street, before its birth, only with Southerners acting, throwing in the odd "eeee" for good measure. The soldier spins a tale that Tommy has been sent to jail- for murder. False evidence of course, and he promises he will fight for justice for Tommy if the family hand over "the shekels."
For the next few days they wait on him hand and foot. The play explores the shaky foundation to his yarn, and characters' reactions to it. Joe sees it as his chance for the council, demanding to know why the authorities hadn't informed Tommy's family. All Mary wants is someone to cherish her, and once the soldier has been given "all their savings," she runs off with him.
After a night together she comes back, alone. Like a bad penny he returns too. His smooth talking squeezes more cash from the family. Mary has seen through him (at last!) but needs him, "I'm comin' with yer." But he has no more time for her, though he leaves her some of the money and disappears. She leaves separately.
Finally Mrs Parker uncovers the truth about the lies. What the point of the play was, only the author knows. I think it were supposed to make you laugh, by gum. How the soldier could stay awol for so long, who knows? Perhaps this was a pilot for the Wednesday Play, it certainly wasn't for Coronation Street!

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The Cold Light

German scientist Wolters (Marius Goring) wants to stay in Britain. The year is 1940. But he is also approached by Buschmann, who had once been a colleague in the Communist party.
He is interned, sent away on a ship, "treated like criminals." Witnessing the treatment of a sick fellow prisoner, Wolters considers rejoining the party.
In 1941, Sir Elwyn recalls him to London, with an offer of a job, whose aim is "the destruction of his former fatherland." Absolute allegiance is essential. Wolters also meets Hjoerdis, Sir Elwyn's wife, an old friend.
Now it is 1943, and Buschmann makes contact with Wolters, and "scientific public property" is exchanged.
On to 1945, in New Mexico. Even though Germany has surrendered, plans for a new bomb are detailed, "I haven't got a country- or a soul," Wolters declares pathetically. Though towards Sir Elwyn's wife, maybe he has. This is a portrait of an enigma of a man, two facets to him However it is a very bitty portait.
Start of a new life together? "It's impossible." At Sir Elwyn's party, there is an odd sequence between husband and wife: "can't you see how desperately I need you." Her classic response is to puff on a fag, a truly laughable moment. To his drunken guests, Sir Elwyn announces details of his new "baby." "This thing will never be used." However it will "put the world to rights," Sir Elwyn envisaging a second strike on Moscow. The reaction is, in "worst possible taste." Amid party jollity, a debate on loyalty to one's country, the characters exiting to a hokey cokey. Radio announcement about Hiroshima. Not sure if this play conveyed any message.
1946- Wolters gives more secrets to a new contact, in a London fog- Buschmann has "ceased to exist," apparently. In 1949, Sir Elwyn is faced with evidence that Wolters is a traitor, and he commissions Northon to test Wolters' bona fides. It takes an eternity to find no actual evidence, Then introspection between Sir Elwyn and his wife again, also Wolters and Northon, before at long long last, some evidence is unearthed, possibly. A final scene with Hjoerdis alone, Northon delivers Wolters' message to her

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A Man From The Sun
A play written and produced by John Elliot shown on Thursday November 8th 1956 (BBC).

An early study of the tension surrounding black immigrants into England. Rather predictable responses, "I don't want a crowd of blacks living round me," but with some interesting insights, "here there is no colour bar, but in people's hearts."
The tale mainly revolves round Cleve (Errol John) newly arrived to join his cousin Alvin (Cy Grant), his wandering round the docks conveys well his loneliness. Here we meet the sympathetic and supportive Brent (the excellent Earl Cameron), already settled in his new land, who helps one lost young beauty queen Ethlyn whose thin clothing has already given her a cold. She nearly comes a cropper at the hands of a prostitution racket, but is rescued by one of the few sympathetic white characters, Church Army worker Miss Prior (the ever reliable but prim Beatrice Varley).
Cleve is given a calypso welcome by Alvin and his extended family, plus a few home truths about life in England. Getting a job, that's his first task, and he is lucky to get one on a council building site. However here he meets opposition from a traditional union leader Bale (Colin Douglas) whose cronies believe "the borough is going downhill with the influx of migrants." His daughter Maggie has an "unfortunate liaison" with a black man.
Embroiled in a rather poorly done racial argument, Cleve and his opponent are given their cards. Like Ethlyn, he's offered a chance of easy money by Prince and his prostitutes, but Brent is on hand to save him, and Maggie even helps him, perhaps a little patronising it might seem, with English pronounciation lessons.
Ethlyn too finds happiness at a revival meeting and a council meeting throws out a proposal by residents to segregate white and black on a new estate.The solution seems to brush the problem under the carpet, but the play ends on a happy upbeat note with a calypso wedding and speeches from all and sundry.
This was a most interesting play, perhaps too many characters to develop them in sufficient depth, and too complex issues to cover properly, such as Alvin's own morals, but I liked the positive characters of Brent and Miss Prior and the West Indian music contrasted well with some drab and grey London streets

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This Day in Fear (July 1st 1958)
starring Patrick McGoohan (James Coogan) with Billie Whitelaw (Mrs Coogan), Donal Donnelly, Hugh Moxey, Harold Berens.

Police believe "law abiding" citizen James Coogan needs protection as The Movement is after him. But Jim hasn't told his family or colleagues at work about his IRA past, which he has now put well behind him. But when it seems he is really going to be "live bait," he accepts the police offer.
Spasmodically the tension is notched up, but in between there's too much flagging. At last the climax, as Jimmy calmly accepts his fate. He explains his previous philosophy to his uncomprehending wife, before the priest, present to hear Jim's last confession, coaxes the truth out of him.
A neat conclusion leaves his political assassins baffled and the way of the gun is exposed for what it is

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Brand (August 11th 1959)

Author: Ibsen, Producer: Rudolph Cartier.

Patrick McGoohan won plaudits for his powerful portrayal in this pseudo religious drama, but for me, even The Prisoner is more comprehensible than this drama which lacks a storyline. Be a martyr if you want to sit through it all.

St John Roberts under the headline 'Magnificent McGoohan' gave this glowing account- "'If you do not give all, you give nothing,' says Brand. This is the rule by which he lives and which he mistakenly serves God. The Doctor, tending his dying son replies, 'Your love account is as white as a virgin sheet.' These two lines provide the background of a play that is powerful, passionate and moving. Beautifully produced by Michael Elliott, it starred Patrick McGoohan in the greatest role he has yet appeared in on tv. He gave a truly magnificent, monumental performance as Brand, a performance of granite, strong and solid- until he discovers humanity glimmering within him- a discovery which is made too late. McGoohan was more than ably supported by Patrick Wymark as the scheming mayor, Dilys Hamlett as his pitiful wife and Peter Sallis in two clever cameos. Neither must one forget striking Olive McFarland as Gerd"

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Whistle and I'll Come to You
(May 7th 1968, Omnibus #1.17)

Michael Hordern plays a Cambridge professor staying in an isolated hotel. Finding an ancient whistle, he blows it and lo, a treatise on survival of death, before some slightly spooky occurrences in his bedroom.
Lovely scenery with a fine solo from Hordern (who else could utter "Rumpled" like him?) but forty minutes is way too long for this MR James short story and, despite Jonathan Miller's pompous introduction which purports to be a serious analysis, I think I believe I experienced no "terror"

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Thirty Minute Theatre (BBC2, 1965-1973)

3.13 The News-Benders 10th Jan 1968)
3.20 The Interview (28th Feb 1968)
4.4 The Chequers Manoeuvre (30th Sept 1968)
6.8-6.13 Waugh On Crime (Dec 1970-Jan 1971)
7.6 Getting In (25th Oct 1971)
7.15 Under the Age
7.29 Mill Hill
7.30 King's Cross Lunch Hour (29th May 1972)
7.32 Knightsbridge
7.33 Bermondsey
8.4 Thrills Galore (4th Sept 1972)
8.7 I Spy a Stranger
8.9 Scarborough
8.24 You Me and Him (22nd Feb 1973)

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Waugh on Crime
Six stories about Inspector Waugh, played by Clive Swift, assisted by PC White.
The six plays attempted to create a modern-style Sherlock Holmes detective, who deduces the facts and solves the crimes.

6 In Which Inspector Waugh Knows the Criminal But Not The Crime

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In Which Inspector Waugh Knows the Criminal But Not The Crime

PC White is at the docks and asks customs officer Frederick Walter (Moray Watson) to keep an eye open for a crook. Waugh spots an old acquaintance Isaac Ephraim (Joe Melia) who has just arrived from abroad in a dusty almost new Rover. "One of the cleverest criminals I've ever met."
Waugh has his car searched. Ephraim claims he has been overseas Backing Britain, selling boiled sweets, "lemon flavoured," announces PC White, who samples one. A watch is found hidden in a pocket lining. Ephraim claims he had lost it, and inevitably produces a receipt for it. Waugh examines a punctured tyre, which has been replaced with a new foreign tyre. Another receipt confirms this.
Finally Waugh spots Ephraim's rare mistake: though the car is very dusty, the tool kit is sparkling clean. The tools are continental metric, not British Imperial, "those spanners are made of platinum"

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The News-Benders
Script: Desmond Lowden. Director: Rudolph Cartier.
Robert Larkin (Nigel Davenport) is attending an interview with JG (Donald Pleasence) of the Classified World News Service. The interviewer knows a lot about Larkin, about the limited number of documentaries he has been making since his alcoholism. JG holds every last detail of Larkin's private life too. JG knows, he reveals, because of an implant put inside Larkin during an operation. Thus JG knows all about Larkin's split with his girl friend Sheila, and his reconciliation with his wife.
Larkin listens bewildered to all this. Then JG gets to the point. He is offering a job with the newsreel department of CWNS, his job will be to "plan the news for 1973," five years hence!
Larkin is taken to a room where news is planned, for example, the first US/Russian moon landing. Code Icarus is a satellite that stops all weapons, "this is going to happen," explains JG, and even Larkin has to concede, "you can do it."
So will Larkin join the team? Questions Larkin has are answered. The service began in 1945, "we control all crises." The H bomb is an invention, money is the key controlling influence. The concept is interesting, the play's interest is whether Larkin will 'bite.' "The machine's taken you over," is the obvious reflection.
JG proves that Larkin has little choice but accept the job, as he sinisterly reveals in a chilling conclusion. Here's an imaginitive playlet, all talk and very cerebral, and at least you know it's only a story. Or is it?

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The Interview
Feb 28th 1968 by Barry Bermange.
Directed by Donald McWhinnie

More specifically this should be titled The Interview Waiting Room.
Inconsequentially and intermittently, candidates chat until one gets down to the subject at hand: "were they all as boring as this one, all those other interviews you've had?" Thankfully, half way through the boring wait, we learn that one interviewee, Dennis Gray, had a wife who died "in a boating accident."
After this is established the others decide to teach him to speak German. Why?- you might well ask, that is if you are still interested. For the author is determined to inflict his own mundane experience on us, but as each interview lasts but a few minutes, it's not very true to life.
At last, it's Dennis' turn! His fellow candidates greet him in the most improbable conclusion to any interview.
Nothing is made explicit which is a cheat, even though we know what we know, I hope. It is quite a clever end, but not worth 29 minutes wait

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The Chequers Manouevre
Script: Charlotte and Denis Plimmer. Director: Christopher Barry.

In the wide open spaces, a helicopter lands. A machine gun is assembled. "We are here to plan an assassination," the brigadier (Ernest Clark) announces to the assembled group of four others. Target is the Prime Minister. "Assassination is the sincerest form of flattery," is one original line.
The gun man is Nixon (Michael Ripper), the best in his field, along with The Professor (Geoffrey Palmer), Bert (Derek Newark) and the PM's own secretary Miss Partridge. The job will be done near Chequers, as the PM arrives for the weekend.
The Rolls he travels in has a thin glass window, too poor to stop Nixon's machinery's seven or eight rounds, "that's the end." Inevitably anyone else in the car will be killed also.
With a replica Rolls, Nixon demontrates how the ambush will work. "Dead as a doornail." Watching this planning is becoming too frustrating, as the brigadier relapses into recalling a previous triumph. Now an afterthought- in fact it's to fill in the half hour. The car has one or two possible routes to Chequers, arriving from different directions, so the Prof will phone ahead to say which is being used on the day.
The brigadier is confident of success. He departs by helicopter with The Prof. As cameras pull back we see what we might have expected, that we are on Ministry of Defence property. In case you hadn't guessed, this was a training exercise

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Getting In
Script: Mavor Moore. Director: John Heflin.

A weird opening shot of a close up of an eye looking through a magnifying glass. The eye belongs to an offical (Robert Hardy) and his visitor is Thomas (Joss Ackland): another close up, this of their shaking hands.
The interviewer offers, "we want to be sure you'll be happy here." The interest is what place exactly this is. Thomas is interrogated about his marital separation, his view on kids. He sees the place as "an oasis." The questions probe Thomas' attitudes to sex, Would he belong here? How adaptable is he?
His frequent jobs suggest boredom. More questions on larceny, extortion, "have you ever used a pistol?"
The official is doubting if Thomas will fit in. More questions on punishment, untidiness, also "mental untidiness," and his attitude to giving up worldy goods. His thoughts on Spirit. "Why do you have to turn everything around?" a goaded interviewee finally fires back at the official.
The room is darkened, it goes red, then blue. its meaning? Who knows. A baffled Thomas waits as the interviewer makes copious notes.
What do you believe in? The theme of punishment recurs. What has Thomas done wrong, to he ashamed of? Probing reveals Thomas, as he gazes at himself in a mirror, does not really like himself. His inner soul is exposed.
He does need to join, but is rejected. Thomas shouts his complaints, but is offered no reasons for the decision. Though the men part amicably enough, we never did find out what this place was all about, did we? Perhaps it didn't matter
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Mill Hill
Script:John Mortimer. Director: Michael Hayes.

Close up of dentist Roy (Clive Revill) treating a patient, then kissing her goodbye. He seems slightly the worse for drink. His colleague Peter (Peter Cook), is off for the afternoon. In fact he is off to see Denise (Geraldine McEwan), Roy's partner.
"The coast is clear! You needn't be shy," she tells him, though he is. He has this "terribly awkward" fetish, he reveals, as she removes her dress. As she takes off his tie, he confides, in a roundabout way, that Sir Walter Raleigh is his hero, he must dress up as him. Further, she must dress as "a weak and feeble woman."
"Don't tell me I'm Henry the Eighth," she jokes. She must even wear a crown. "Oh my darling!"
Then they must re-enact the puddle scene. So far, the fantasy has been, if not credible, then interesting. But it cannot go much further like this and becomes too absurd by half.
"What's he doing here?" The interrupter is Roy himself, and he is offered an elaborate explanation which turns to anti-climax. "It's not every day that a man comes home..."
She tries to explain that the famous puddle was actually near Mill Hill, close to where they are. They were rehearsing for a pageant. The play is fading away as Roy demands to see their enactment of the scene. He shows them how to improve on it, in the style of a bullfighter.
"It was awful," claims Peter, and here I was in absolute agreement. It spurs Peter on into making a clean breast of it, only a determined Denise cuts him short and Peter is sent away, apparently to fetch her child from school. But in fact he returns to the surgery, leaving the partners to enjoy themselves in the bedroom
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King's Cross Lunch Hour
Script: John Mortimer. Director: Gilchrist Calder.

Into a dingy room backing the railway, enter a man (Joss Ackland) and a woman (Pauline Collins), wearing thick coats. After small talk, in which we learn he is the boss, she the secretary, he declares his love. They sit on the bed. It's cold.
The manageress interrupts. He has spun her some tale about them being married, eventually she leaves. But the sec cannot believe the string of lies that he has spun, a fantasy about her travelling down from Scarborough today, leaving behind their children.
He has to remind her that the whole basis is "not real," as the play disintegrates into pointlessness. He tries once more to get back to basics, why they are here, "we are alone here together."
Another interruption from the manageress, to light their fire. The process takes a long time as cash is a problem, and she departs after an argument.
The girl decides that she does not want to talk, which is why, from what the manageress was told, they are here. The dialogue is forced, all but cribbed from Mortimer's script for Lunch Hour, a film made ten years previously, though mercifully this is shorter. Yet still far too long. 25 minutes too long. Their hour is up, so she walks out. In vain he calls her back. He stares round the empty room and leaves also.
Every writer can be forgiven an occasional off day, yet to inflict the same miserable story twice upon the public smacks of sheer laziness. Unless Mortimer believed he really had created a masterpiece? If so, I am certain he was sadly deluded

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Knightsbridge
Script: John Mortimer. Director: Mark Cullingham.
Mrs Muriel Stokes (Googie Withers) is out when her daughter Francesca and fiance Henry (Donald Churchill) call at her posh Knightsbridge home. He is a tv interviewer, famed for his piece with the Archbishop of Canterbury. While they wait, Francesca takes several phone calls on her mother's behalf. She has been advertising in the local shop, and the couple assume that her money has been raised via the oldest business in the world. She returns, and they treat her nervously, especially when a visitor calls, "it won't take five minutes."
The engaged couple have a dispute, and Francesca goes for a lie down, while Muriel returns for a cuppa with the admiring Henry. Her "stamina" is amazing, she will make an ideal interviewee, "compulsive viewing." He asks if she enjoys it, obviously they are at cross purposes, and while the humour of the situation is refreshing at first, the joke wears far too thin.
Henry goes so far as to admit he'd prefer Muriel. She is clearly talking about antique furniture, only Henry can't grasp that. He goes so far as to kiss her. Enter Francesca, appalled. "She's going to give it up," Henry announces, before the truth dawns on him.
What follows is a disentangling of attitudes, with some slight sermonising against the writer's bete noires, and the couple leave.
Muriel is alone. The phone rings. Another customer. "It's the full personal service," she says.
Misunderstanding is the essence of farce, yet here it is based on a shaky foundation, turning fantasy into mere implausibility. At least it is fun for a short while

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Bermondsey
Script: John Mortimer. Director: Claude Whatham.

Nice Christmas carols are on the tv as Rosemary pours a drink. It's Christmas Eve. Enter Bob (Dinsdale Landen) who promises young Rosemary that he will inform his wife "after the 'oliday."
Bob, who seems nothing more or less than a slob, is married to Iris (Rosemary Leach) but clearly he is tired of her, as he tells his best mate Pip (Edward Fox), They reminisce on their good times in the army together. The latter has "done all right for himself," unlike Bob, whose existence is utterly dreary, for he is in "a bit of a rut." Why he should interest us, only the writer knew.
But then we learn why. The two men kiss, surely an early example on tv. It changes our perspective.
"Where's the spirit of Christmas?" The answer is surely- not here! For this is no seasonal uplifter. Iris questions Pip what he thinks of Rosemary. He is a musician and offers a satirical scenario. He prefers being here than with his posh mother at Christmas. Why? she queries. She does not accept his explanation. For herself, she is prepared to reveal that she is seeking real love. "You love him, don't you?" she asks Pip pointedly, "I know what's going on." The truth is out about Bob and Pip, and she seems to accept it, she had always known, though less obvious is why she has brought up the subject now. Indeed Pip asks that question. Fair enough, the answer is Rosemary. She is "a great big dream," and Iris asks Pip to tell Rosemary about him and Bob. She tackles her no good husband, trying to make him see that he is following a fantasy.
The four toast Christmas with Irish coffee. Rosemary inquires who exactly is Pip. No straight answer as the other three sing The Holly and The Ivy. But then all is revealed, if you cared. Rosemary, the weakest of the four, listens and very predictably leaves. A twist to finish might not have gone amiss
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Thrills Galore
Script: Rhys Adrian. Director: Donald McWhinnie.

A familiar Sunday scene in a pub, with the usual small talk, "hello" and variations as a sort of joke is repeated ad nauseam. That and the cold weather are the main topics of conversation, which is incessant. Derek (Bryan Pringle) is latest to arrive, and the welcoming dialogue is repeated. Then Michael (Bryan Magee) turns up for another round of the vocabulary, the novelty has worn very thin. It's noticeably all men, except for those behind the bar.
More chat is about another local, The George, under new management. Then off to the bog with Derek, this is really authentic stuff. A one way conversation in here. After another round (drinks and talk), Derek gives his goodbyes/cheerios, in a variation on the theme. Those left gossip about Derek, until a latecomer Eric (John Sharp) appears, a refugee from The Wheatsheaf. "It's changed hands-" he reveals the exciting ins-and-outs of various local pubs, "that's what I heard." He brings bad news of some suicide, Welsh Jones, "funny bloke." Last orders, and the scene moves from claustrophobia to a dismal street. The bus stop is where the action isn't. "John is dead," though the men dispute if the information is correct.
The titles, very amateurishly done, follow, clearly the title Thrills Galore is highly ironic. A study of pub culture that the actors try hard to instil any form of life into, but the end product is simply appalling
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Under The Age
Script: EA Whitehead. Director: Alan Clarke.

Close up of garish make-up, this is Susie (Paul Angelis), behind the bar at a seedy alehouse. Enter two yobs, who order beers. Non-descript conversation. More beers, have one yourself, but Susie prefers wine. The yobs take the piss, that's the word. Susie's idle male helper behind the bar, tells them a few secrets about Susie. Susie pulls his hair for that. More beers, Susie offers to take them to a club, but two girls enter and change the dynamic.
"Piss off," Susie tells them- yes really- the reason is that they are under age. But the yobs give the girls their beers, as tension mounts. But as to the point of the play, maybe it was being daringly modernistic: there's much talk nowadays about BBC finances, well saving the pay of this writer would have been a wise first way of cost cutting. At the end the yobs paw the girls and off they go, leaving Susie stranded. Back to the make up.
This was a serious waste of my BBC licence fee

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I Spy A Stranger
Script: Jean Rhys. Director: Mark Cullingham.

"Steps will be taken that you do not like," so reads an anonymous letter to Mrs Sarah Hudson (Mona Washbourne). In her extensive garden she mulls over a past event with her friend Mrs Trant (Noel Dyson). The letter referred to Laura who was lodging with the Hudson's, locals are suspicious of her as she is "a foreigner."
The action alternates between the two old women discussing the issue, and scenes with Laura reflecting on her own past, partly through her scrapbook in which she has pasted clippings of the war. Mrs Trant reads this with little comprehension. "Why was there all this trouble?"
It's all "too complicated," and not helped by Sarah's unsympathetic husband. Trouble is, Laura "got on the wrong side of everybody."
More anonymous letters exacerbate the tension. An air raid brings on the climax, Laura becomes hysterical. At least the antagonism is explained, for up until now the setting had not been made clear. But during the war, to where can Laura go? A doc refuses to certify her, although she may be "mad as a hatter."
But go she must, and as she is forced to leave the sanctuary of her room, she does so kicking and screaming, in a distressing scene. After she calms down, she is driven away, destination Parkview Sanatorium. Sarah is left to mull it over

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Scarborough
Script: Donald Howarth. Director: Peter Cregeen.

The scene is a farm barn near the sea. A naked couple lie in the hay, Evelyn and Dan. They get up, kissing, very happy. All very poetic. They are fruit pickers. A third lad is also in the barn, Victor. Evelyn finds him in tears. "Nothing" is wrong, claims Victor before he too kisses her. Yes, this is the eternal triangle, albeit on a somewhat intellectual plane.
Over breakfast, Evelyn takes up the "nothing" theme, when Dan asks her what she is worried about. Nothing? Everything is wrong with this play, from a theme with nothing new to offer, down to the false dialogue that is so unreal. A silence for half a minute suggests the writer had nothing to say either, maybe it was his finest moment. Weird camera shots don't help either. One thing is evident. Dan doesn't realise that she and Victor had once been lovers. Maybe she finds it hard to choose between them. As a basis for plot, this might be good, except that the three characters aren't real, they don't grab you, and they ain't that good as actors.
Sleeping arrangements for the next night bring on a climax. "What's going on?" Answer: nothing, that's my opinion anyway. Yet there is, should you be involved at all. Whom will she opt for? I didn't care myself, I doubt if the writer did either.
The rain sheets down, washing away our last vestiges of interest. Dan exits. The ending is appropriately offbeat, more nakedness, did the BBC pay people for this? A mumbling of philosophy to conclude. The title was Scarborough, whatever that implied, but it might as well have been Bridlington, or Brighton or Ballspond

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You, Me and Him
Script: David Mercer. Director: Barry Hanson.

Coster (Peter Vaughan) is relaxing, listening to a record, and starts imagining, "you should never have done it." It's his conscience rebuking him, though what he sees is a different side of himself, a figure loafing in bed. A man at a desk is his other alter ego, his work face. The three characters discuss Coster, even threaten to introduce " a fourth party," Lord help us. The talk ranges from women to Vietnam, it's very hard to get any handle on what the author intends. Probably he didn't intend any more than for us to admire how clever it is to watch one actor playing three roles, conversing with each other.
"Mumbo jumbo," said man number two, how right he was. We reach the nub of the man's conscience, wrestling with some event 27 years ago. This theme drifts in and out, like any confusing dream, the best you could describe it, is a tour de force for Peter Vaughan, who unfolds three different facets of his character.
Now we're getting somewhere," one declares at long last, though where that was is lost on me, "know what I mean?" asks man two. Can this ever end? Each man seems to have some flash of light, at least I think he may have done. A bolt of lightening might have been merciful.
"I was trying to say..."
"Yes?"
Oh, never mind

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Without Love (December 13th 1956)
Script: Colin Morris, Producer: Gilchrist Calder.
Scene 1 plunges straight into the original postwar generation clash. Working class dad Jim (Alfred Burke) of 14 Paradise Street argues with an "out of control" 17 year-old who lives "in a different world" to her father and stepmother.
The upshot is that Jacky (Clare Austin) leaves home to join friend Betty (a fuller Billie Whitelaw), hostess at a club. According to the barmaid there, Jacky's "just a baby, the first man that shows her affection, she falls for it." A Yank- and she's pregnant, and he's gone.
Now she's in the dock, charged with being drunk. Mrs Hammond, her probation officer (Barbara Couper), hears her sorry tale of how lonely she is now she has had her child fostered. But she can only offer advice and it's Betty who's more likely to help Jacky solve her financial crisis.
Thus it is that she's picked up by the smooth talking Tony (Paul Stassino) whom she naively falls for. He persuades her to earn cash by being a prostitute. To the courtroom again, in her finery, and a second interview with Mrs Hammond. More heart to heart with the probation officer echoing the writer's purpose: "a girl will give anything to get a man to stay with her. Oh, the clients have nothing, just pound notes." Observes her counsellor: "you obviously don't know anything," for the youngster cannot see through Tony's facade. Mrs Hammond's prediction of the future is not what Jacky wants to hear: "he's a parasite who won't stand on his own."
There's no happy ending to a play that doesn't offer much, except a touching performance from the rarely cheerful Jacky. But the ending is quite effective as she fades from the courtroom, leaving others to reflect on her fate, and the rounded probation officer to offer a gleam of light with her own settled existence
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12 Fable (1965)

A kind of 1984 state where apartheid in reverse is in operation.
White man Len (Ronald Lacey) is a government employed driver, in the service of his black boss Mark Fellowes (Thomas Baptiste), a famous writer, "the authentic voice of protest." But Fellowes is under house arrest and Len, now unemployed, is forcibly transferred from his family in London to a work reservation in remote Scotland. His wife Joan appeals to Len's former boss to take up his case, but Mark's campaigning work is rendered ineffective by his wife Francesca, who, to ensure her husband does not incur further official wrath, secretly burns his current writings which are pressing for social justice.
In Scotland, Len finds his new master harsher, and his master's wife enigmatic, pumping him about Fellowes. Len is accused of raping her, but he succeeds in escaping and flees back to the despairing Joan who has been forcibly rehoused. Rather improbably, Len is able to shoot the head of state, as the story becomes too extreme, losing its main and most absorbing emphasis on the morality of the new order. There's civil unrest. The media are manipulated. News of the president's death is kept quiet, until the proper moment. Greater segregation of black and white.
A key scene is when Joan, now a necessary prostitute, gets to see Mark Fellowes and almost opens his eyes. Television pictures expose the late Joan's "sordid" life, slanted for political ends. It leaves a bleak and depressing ending, the only ray of hope being in campaigners like the sadly toothless Mark. "What battle are you fighting?" Francesca demands of him. He's the frail reed for the future.
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64 Way off Beat (1966)

This is really Sydney Tafler's play. He dominates the action as "The Mr Bradshaw," upper crust hairdresser in a regional kingdom of thee own. But Gordon Reid as "innocent, impecunious yet talented" Norman has the most sympathetic part, of a working class lad who's groomed by Bradshaw to partner his innocent daughter Linda (Helen Fraser) in Come Dancing style events. But Norman's only being used by the ruthless Bradshaw to enable his daughter to leap out of the Novice Ballroom class. "Where would you be without me, Norman?" But when the pair actually kiss, the tale becomes what it has always threatened to be, the usual Sixties Clash of Culture and Class Differences. On the night of the Big Competition, a touch of bribery to the adjudicator (Jimmy Hanley- "it's in the bag") fails to help the overbearing Bradshaw achieve his goal

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In Two Minds
Script: David Mercer. Director: Ken Loach.
Anna Cropper was made for this role with her sad melancholic looks, as the Schizophrenic Kate. "She's sick isn't she?" is how her dad Joe explains it in a nutshell. But of course he can only see his side, for this is yet another generation gap study. "She's brought shame on this house," cries her mum Dolly.
The characters are seen through the eyes of a psychiatrist, in the manner of those invisible tv interviewers a la Esther Rantzen. The trouble with this sort of drama is that it can be so predictable, like this. The characters must have their moments of self truth during chats with the shrink, who never does more than probe with more and more questions.
"Sometimes I want to go, but I feel that I can't," is how Kate feels guilty, trapped at home. She can't make that break.
And that is only the first third of this play! Katie's sister Mary is added to the recipe, she is one who has made that break, so no wonder her answer is, "get her out the way from these lot." Thus there are plenty more heartaches for the family, revelations of abortion, "nuclear war," even, allegedly.
Off to hospital for Kate. There mum's drone never cheered me up, I think it was supposed to have that effect on Kate. I think I am going round the twist too. Dolly tried to kill her. "I don't exist." And other such dreary angst.
The next section of the play is seen through Kate's clouded eyes. She pals up in the madhouse with Paul (George Innes) who advises her to play the game if she wants to be free. She doesn't and her treatment is like that of a child. Another parental visit ends in even more crying and tantrums as Kate can't fast forward (unlike myself) their grumblings and mutterings. Mum and dad keep repeating their viewpoint, and this play could, heaven help us, go on for ever and ever and ever. You just write the same words, maybe in a different order, dad saying his line, mum hers, no understanding.
Result- for Kate that is (me, I was beyond saving), she withdraws yet more into herself as Chief Shrink (Patrick Barr) ends the torture with a lecture to students whom the author portrays as maybe as wise as their master, or indeed as unwise as their master. She is "childish," explains Mr Expert. Plus a lot more technical jargon. It's the recycled plot all over again! What's the treatment? The students proffer their ideas. The doc demonstrates his own brutal method- "it does work." Well he thinks so. "The outlook is not very good," declares a more perceptive student." Who needs electric shock treatment? Just show this.

This is a play that deserved to be junked, instead of which my favourite programmes have been wantonly destroyed, now isn't that real madness?
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117 The Golden Vision (1968)

A unique footballing docu-drama directed by John Boorman.

Jeff is a single-minded Everton supporter, his mates ditto.
I'm a footer fan too, but this is a turn-off unless you like airy-fairy realism. Even the fanaticism is somehow muted, perhaps as Everton aren't doing that well, and dead characters lead to dead drama. Gratuitous night club scenes to spice it up, it's only for nostalgia, for the back to back terraces I mean, that you could view this.
I'm only sorry Ken Jones whom I think a fine comedy actor, got roped into this glimpse of 'reality.' "Golden?"- no, the old days weren't always so

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122 The Gorge (1968)

Script: Peter Nichols. Director: Christopher Morahan.
The tedium of home movies as seen by sixth former Mike, the main characters introduced in this novel way, silent film accompanied by the family's own commentary. Mike is "fed up to the back teeth," reliving the day his mum and dad showed Uncle Jack round the Bristol area. It has been meticulously organised by dad, Wells Cathedral on film, then to Cheddar Gorge. If Mike watches bored, why shouldn't we? The place is jam packed with tourists as we gradually see less on film, more 'live'- perhaps the BBC were running out of film? Mike finds most interest in trying to date 15 year old Christine, and that's the main interest for us also. There's a mysterious religious motif as the family move off to lunch, singing Rock of Ages, absolutely ghastly. That's how Mike looks, and us. Far from the madding etc, picnic is in a quiet field al fresco, to a long jazzy soundtrack, which seemed to me more like padding than anything. But then the whole story is full of mundane inanities.
Conversation is inane too, the goaded Mike at last crying out, "shut your damn face" to his dad, though this outburst is politely ignored as the picnic drones on. Actually, Mike, I'd been shouting the same thing in my mind for some while. However Christine's family, of a different social status, have also pulled into the field, at a discreet distance from the "vulgar" family, they have their meal too. An annoying bee drives the two families together, though Mike and Christine have both sneaked off separately for a walk. The mix of some film continues as we see them meet up and then it's live as they talk at length, slagging off their respective parents. I think the suggestion might be that they'll be the same as their parents in later years.
The two sets of parents are now making friends, when a religious nut comes along spouting mumbo jumbo. I couldn't see the relevance, probably the preacher couldn't either, but it's not on the lines of your sins will find you out. For now Mike and Christine are sunbathing in the bushes, she is clearly more forward, asking Mike if she is "nubile."
An invasion of more tourists into the field, many Hell's Angels who start snogging, what time Christine has stripepd off to soak up the sun, or something.
"Time we were pushing on," Dad suggests and both sets of parents go for a walk as well. You can anticipate what's next. Well, not quite. That's why Mike is looking so gloomy, he can't do what she clearly wants and half naked dashes away, only to stumble upon his own mum and dad in an almost compromising situation.
Another long jazzy sequence depicts packing up time. Then the long trail home, cars nose to tail. Dad's car conks out, Christine's dad crashes into him, lots of significant looks and one long traffic jam. Only one lone cyclist can get through, that's the religious nut, perhaps there's a message there, God knows.
But as for humble me, I haven't a clue what the writer was trying to get across, if he was trying to say anything he was a very clever man. But more probably he just wrote it to earn a bit of cash. Manfred Mann must have been paid a little for that music too. Looking at it today, this is the very worst face of 1960s tv, an attempt at the radical, maybe the titillating, that reflects the pointlessness of life that afflicted so many
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132 On The Eve of Publication
Script: David Mercer. Director: Alan Bridge.
Leo McKern shares with himself, and us, his morbid thoughts as only McKern can, that is Rumpole-like. These are his dying thoughts as his new novel is about to be published, while he sits at a sumptuous banquet with people he mostly despises, in a kind of Alzheimer hazy flashback recalling his murky past, through his mumblings hoping to convince of something or rather the person he cares for, daughter Emma, one souvenir from his many relationships.
This is not a likeable man, outspoken for sure, his memories are perhaps intended to lure us into his repellent world as he explains his mind to Emma, at least in his own mind. No doubt this yields an actor's tour de force, but for this viewer it was a cacophony of meaningless words and bitter unpleasantry.
Then we should admire the director who rather cleverly uses silence as the camera swings on the other characters in his thoughts, seen to speak yet we hear not. Lots of close-ups, just an occasional glimpse of the impressive dining table round which the ghastly guests are gathered.
His ramblings and reminiscences grow ever more tedious, I think we're meant to sympathise with his mental angst and physical pains, "I shall burst."That reminds me, there are the urinals too, as you'd expect in The Wednesday Play, and Mr McKern's long trek down bland corridors to and fro frequently. His turmoil is all about his marxist past, now there's a good old 60s chesnut, "where am I going?" Thankfully he does go, not the loo, but off this mortal coil, and everyone's out their misery.
I suppose the era was one of searching for answers which never came, and this play certainly doesn't offer any, or any hope, or any pleasure, or anything
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146 Last Train Through Harecastle Tunnel (1969)

A study of that spotty phenomenon, the train spotter, young man Benjamin Fowler (Richard O'Callaghan), whose conversation only comes alive when discussing railways, otherwise he's a non entity. Rather like those dull Great Railway Journeys programmes, this is a montage showing his uninteresting encounters with disparate humans.
It starts at work, full of annoying camera angles, smutty talk of the lads' weekend activities. Next on a train with more man-talk from army men, a contrast to Fowler's nerdity. In the buffet car, he chats with a married couple whose daughter is disinterested, Benjamin is more at home with the mother figure (Noel Dyson).
He puts up at a boarding house, which happens to be run by an ancient railwayman of the old school (Joe Gladwin). The two hit it off with talk of the North Staffordshire, whether viewers are hooked, there's room for doubt. The old man takes to Benjamin like a son, his own son the effete Jacky is entirely bored with railways. But dad persuades him to go on the last train with Benjamin, but then Jacky disappears. On the train to Kidsgrove is an acknowledged expert on signalling Judge Grayson (John le Mesurier), who represents what Benjamin is likely to grow into, inhabiting his own world. Conversation is enthusiastically and entirely along railway lines.
Next day Fowler calls at Grayson's home, a shrine to signalling, and they play at trains, Benjamin's attention is distracted by lovemaking in the garden, though the Judge is utterly oblivious. Over tea with the family it is time for reminiscences and revelations about a young lover. The significance of it was lost on Benjamin, and me.
Back in London, Benjamin hands a precious Last Ticket to Grayson's dear old friend, a violinist, the significance of all this lost on me. The final scene is back at work, for tedious chat about the past weekend. It is as dull as the start, and indeed the middle. Benjamin has but one word to contribute to the small talk, "he'll never know complications, whether emotional or social." This final line appears to be the message of this play, which has gradually run out of any puff it offered, shunted into an exceptionally rusty siding

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148 The Mark II Wife (1969)
directed by Philip Saville and written by William Trevor

"A piece of cheap rubbish," that's one line from this play that sums it up for me.
What is Hell? Perhaps being isolated at a party of "damned half wits" as neurotic Anna MacKintosh discovers. This is a tough part for Faith Brook who conveys well her "escape into madness," driven by her knowledge that Edward her husband is having it off with a 19 year old.
She has this half felt intuition that has brought her to this party where she knows she will find him come in with her, while other guests puzzle over who this stranger is, for she is "completely out of it." Someone will go mad here tonight she darkly explains, though it is her that's going round the twist, "I shall escape into madness," she mutters to herself. She certainly drove me there.
The other guests don't help. Flirtatious Bodanski (Philip Madoc at his best) might help her forget her jinxed marriage. It's the General and Daphne Ritchie in whom Anna eventually confides. She gets it out: Edward is leaving her for his Mark II wife, the telling makes her crack up, hedgehogs on her wedding day, that sort of thing. A wild dance half naked with Bodanski, she is escorted upstairs. Now alone in a bedroom, she phones her shrink Dr Abbot that rather modern phenomenon, an on-line counsellor.
Downstairs stunned silence reigns, "most embarrassing, some kind of Scott Fitzgerald." According to Mrs Ritchie, their host's daughter Elsie Engelfield is the one Edward is running off with. Gossip abounds. But then Anna, after her reassuring phone call, makes herself up watched by the peephole eyes of Bodanski, and announces to all and sundry that it had all been in her mind.
She makes her prolonged goodbye to the other guests, apologising for her behaviour, "the mark II wife is something entirely in my imagination," all that intuition stuff had been "phoney."
Angry guests watch her departure, "let's forget it all." Yes, let's. But no, here comes Elsie, daughter of the host, subject of all that gossip (Joanna Lumley), and she tells mummy and daddy she has brought "her gorgeous Edward MacKintosh" with her.
So Anna wasn't imagining it all, she was wrong, it wasn't all in her mind, it was real all that madness, This play has driven me round the bend, that's real enough, and anyway I have changed my mind also, for this one thing I do know, and it's not a phoney intuition, Hell was surely The Wednesday Play.
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BBC Serials
the very essence of Lord Reith's vision for the BBC.
Our Mutual Friend (1958/9)
Bleak House (1959)
Great Expectations (1959)
Barnaby Rudge (1960)
Oliver Twist (1962)
Dombey and Son (1969)
Little Women (1958)
The Long Way Home (1960)
The Splendid Spur (1960)
The Secret Garden (1960)
Paul of Tarsus (1960)
The Adventures of Tom Sawyer (1960)
The Treasure Seekers (1961)
Stranger on the Shore (1961)
Katy (1962)
Silas Marner (1964)
Count of Monte Cristo (1964)
The Reluctant Bandit (1965)
Pride and Prejudice (1967)
The Railway Children (1968)
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Stranger on the Shore (1961)
The adventures of au pair Marie Helene (Jeanne Le Bars) who comes to live with the Gough family in Brighton. Only five stories were made, though there followed in 1962 a sequel Stranger in the City. Most memorable for one of the best ever theme tunes, written by Acker Bilk. Though the plots are enjoyable, they some times border very close to a lesson in English for foreigners.

2 (Oct 1st 1961, 4.45pm) - a neighbour reprises episode one, asking about why police called at the Gough's house. All a mistake, as though Marie Helene had been reported missing, she was actually in her room. Today is Saturday, the au pair is hanging out the washing, when Penny's boyfriend Robert phones to ask her to a dance. Mr Gough is watching cricket on the telly, but goes to Podger's private shed, when Marie Helene dares enter it. "We had women in the Greek Resistance, you know," he informs his son, who answers, "on purpose?"
The afternoon is spent showing the au pair round town- to musical accompaniment. In a shop they meet another au pair, Nicole, whom Mrs Gough invites to tea. That evening Mr and Mrs Gough attend a concert, leaving Marie Helene to look after Podger. He turns his nose up at supper of a boiled egg, and chooses his own meal. Penny enjoys the dance, "crazy, daddy-o," even though there seem to be no other dancers in camera shot.
Back home, Nicole calls unexpectedly, bringing several boyfriends, and there's music and dancing, despite Marie Helene's protests. Podger watches on dispassionately. The neighbour complains in vain about the noise. "You can't behave like that in England." Finally Marie Helene turfs the visitors out. Thus all is quiet when the Goughs return, though the dreadful mess tells its own tale. Podger sticks up for the au pair, who is in tears
4 - Penny's boyfriend Bob finds his car has been stolen so Mr Gough phones the police. Next day, it's burnt toast for breakfast, and news comes that the car has been found. On the seat is Marie Helene's scarf. When a policeman calls, she takes Podger's dubious advice and runs away, "I want to go home." He takes her to Palace Pier.
The neighbour decides that she must be a spy,and might get seven or ten years in prison, Podger half overhears this terrible news and runs off. Everyone searches for the au pair and Podger, who has taken her fishing, maybe with the idea of catching her some food, as she is hungry. In The Lanes, he sells his rod and buys a couple of bananas, and they spend their time dodging their searchers. To the Aquarium, where he leaves her so as to fetch more food. The neighbour says he has found where the au pair is, and Mr and Mrs Gough dash to the house, only to discover that this person isn't Marie Helene. Since the Aquarium is now closed, the au pair has to wander the streets in the dark, police still looking for her. She calls at a house, number 49

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Little Women with Phyllis Calvert
2
Jo and Meg have been invited to Mrs Gardner's New Year's Eve party. Much discussion about dresses, gloves, Jo's attitude, "I don't care what people say." Amy and Beth make them violet posies. Meg's new shoes are uncomfortably tight, while hot air tongs do curl her hair, even if Jo overdoes their use, "that doesn't look too bad."
To the party, dancing is in full swing, but Jo is sitting and yawning before Laurie invites her. His first name is really Theodore. "I hate my first name too," Jo confides. Meg twists her ankle dancing, "you're not going to faint are you?" Jo spills coffee on her dress, and it is left to Laurie to take them home in his carriage, through the snow.
Amy and Beth hear how the evening went before they have to retire to bed. Laurie catches a cold and has to take medicine, his grandfather confines him indoors until he improves.
Jo calls, to cheer him up, her sisters watching as she gains admittance to his home. After telling Laurie all about them, she asks why he has no father or mother. She tells him she aspires to be a writer. His grandfather returns unexpectedly, "so this is what you do when I'm away." But they settle down to tea.
"You are lucky," Beth tells Jo later. Mother informs her children about Laurie's sad past. In his house, Laurie is allowed to play the piano for his grandfather

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The Secret Garden (1960)
A pity the lead Gillian Ferguson as Mary Lennox isn't more convincing as an actress. There were better to choose from, but maybe not within budget. Prunella Scales offers sympathetic support as Martha the maid, Peter Hempson is Colin Craven, while Colin Spaull shows his ability as Dickon.
Location sequences were filmed at Penshurt Place.

Most of this serial has survived:
2 Misslethwaite Manor
3 Cry in The Corridor
5 I am Colin
6 Tantrum
8 I Shall Live for Ever and Ever

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2 Misselthwaite Manor
In her " big gloomy room," Mary is awoken by the busy maid Martha. She is told a lot about the house "Can't you put on your own clothes?" gasps an incredulous maid. Mary doesn't comprehend much about her new surroundings either. She has to wear different clothes. Martha does help Mary wash and dress, though not to the girl's approval. "Put on my boots," she orders Thomas, who has brought up the breakfast. After he extracts a Please from her, he obeys.
Enter Mrs Medlock, who informs Mary that she will not meet her uncle Mr Craven today. She is only permitted to go to certain parts of the house.
The meal is not a success, since Mary refuses porridge, and then bacon. After eating toast, she is allowed to explore the garden, "part of the gardens is locked up," Martha explains, "nobody has been inside it for ten years."
In the orchard, Mary sees a pretty bird flying above the walled garden. Ben, the gruff gardener, tells her it is a Robin Redbreast. "I'm lonely," she blurts out. "Would you be friends with me, robin?" Ben tells her that there had once been a door into the secret garden, but "it isn't there now."
Mary returns to her room, "there's nothing we can do," she sighs. Thomas offers to play a game of cards, a version of Snap, "very silly," she scoffs. In any case, Mrs Medlock does not approve. Muses Mary, "I wonder why everyone has to be so quiet in the house?"

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The Cry in the Corridor
Every day the same, for nearly a month, Mary still searching for a door into the secret garden. Ben the gardener tells her about snowdrops, and Mary quizzes him about the garden behind the wall. They watch the robin. Does it show Mary where a large key is buried?
Martha's mother Susan has come to tea, and asks if Mary could come to meet her family. Agnes Medlock refuses, since Mary's "as prickly as a porcupine."
But Mary does actually laugh at one of Thomas' jokes, when he pretends to be old and crochety. He tells her that her uncle Mr Craven had the garden locked up when his wife died. "Then there is a door!"
Martha tells Mary what she knows about the secret garden, and suggests that Mary start her own garden. Mary writes to Dickon, asking him to buy some flowers and tools. They are interrupted by a crying sound, the wild wind explains Martha. "It's in the house," insists Mary. So, once alone, she resolves to explore the house, despite Mrs Medlock's orders not to leave her rooms. She walks long corridors, and investigates several rooms. From the window of one, she notices her uncle arriving home by carriage. She overhears a maid telling him that she is resigning. Hearing the crying anew, she wanders down several passageways to a room in the East Wing. "Miss Mary," it's the voice of Mrs Medlock, "what are you doing here?"

Secret Garden

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I Am Colin
On the bleak moor, Susan Sowerby waits for Craven, to tell him that his niece Mary is "very lonely." He agrees to Mary visiting her and daughter Martha.
"Dickon says I'm getting fatter," Mary confides to Martha. For the first time- thanks to Susan's intervention- Mary meets her guardian. "I forgot you," he explains feebly. She asks if she might play more out of doors, and when he asks if she wants anything else, she requests "a bit of earth." That impresses him.
It is a stormy night. Mary is restless. She hears more crying, "that's not the wind." Despite Mrs Medlock's orders, she wanders forth in search of the cause. She locates the room and discovers in a bed a sobbing boy, who asks her, "who are you? Are you a ghost?" His name is Colin Craven, "I never let people see me, I can't walk." His father hates him. He hates the garden too, adds Mary. Colin's nurse overhears them, so Mary has to hide behind the curtains. The nurse is rudely dismissed.
"I'm glad you're not a dream," Colin remarks to Mary, who tells him all about herself. Colin explains that he is permitted to have anything he wants, "everyone has to please me." He wants to see this garden, and together they resolve to make it come alive as their own secret.
He shows Mary a portrait of his mother, "I hate her for dying." Mary sits by his bedside and sings him to sleep

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A Tantrum
Martha is singing All Things Bright and Beautiful as Colin is being nursed. After dismissing his nurse, Colin asks the maid to fetch Mary.
It is "a lion's den," Martha warns, and "if Mrs Medlock finds out..." She tells Mary that "nobody knows exactly what's wrong with the boy." Mary's view is that "he's a very spoilt boy." Martha thinks fresh air might do him good.
Impatiently, Colin has waited for Mary to be brought. She compares him unfavourably with Dickon. "I'm going to die," is Colin's stock response. Mary's answer is "perfect nonsense!" They start to get on but are interrupted by an angry Mrs Medlock and the doctor, who prescribes more "rest and quiet." But Colin must have his way, and insists Mary be allowed to visit at any time.
Over tea, Mary tells Colin about Dickon, whom we see talking to the robin. Why not bring Colin into the garden? It could help him think more positively.
Colin has been fretting since Mary has not been to see him. He threatens to send Dickon away, if he stops her coming to him. Selfish- they shout at each other. "I shan't come back," cries Mary, and that brings on a bout of sobbing from Colin.
That night a storm rages. Colin refuses nurse's medicine, "my back," he screams becoming ever more hysterical. Vainly the servants try to calm the lad. Then Mary is drawn to the room by the hubbub, "Everybody hates you," she shouts at him. His lump on the back is only "an hysterical lump," and to prove it, she feels over his back, "there's not a single lump." Quiet from Colin at long last. Even Mrs Medlock has praise for Mary. Nurse makes a nice hot drink and Colin promises to go outside with Mary. She tells him all she imagines about the secret garden, as he drops off to sleep

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8 'I Shall Live For Ever And Ever'
"Filled with magic" is the secret garden. Colin outlines to Ben, Dickon and Mary his scientific experiment: "I'm going to be as strong as Dickon." As they listen, he chants, "the sun is shining - being strong - that is the magic - in me." Then he walks unaided round the garden, "the magic is making me strong."
The other three watch in amazement, but are sworn to secrecy until Colin is strong enough to prove his cure to his father. Mr Craven is at present "on his wanderings." Dickon does however inform his mother Susan.
The doctor and nurse are still concerned over Colin's bad back. Nor is he eating anything though he is gaining weight. Some pretence is necessary, though Martha has noted the improvement.
The portrait of Colin's mother, once hidden, is now visible in the boy's room. Mr Craven hears a voice from his wife calling to him "in the garden." He receives a letter from Susan, asking him to return home. "I almost feel alive again."
The garden is bursting with blooms. Dickon gives thanks, singing The Doxology, then the others join in. Susan joins them letting the children know that Colin's father is coming home. "Just what I wanted," sighs Colin.
Mrs Medlock tells the returning master how Colin seems to have changed. In the secret garden, here he is found amid joyful laughter. "Father, I'm Colin! The garden did it."
Martha tells Tom that she don't understand it, as all the servants gather to hear Ben tell the good news. They see Colin and his father walking together. Mary and Dickon quit the garden happily

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The Adventures of Tom Sawyer (1960)
A 'different' BBC classic serial, in that, to match the American setting, classical music is ditched in favour of some pleasing folk music by Peggy Seeger.
This adds to the US atmosphere, but though the young actors are not that bad, maybe it says it all that the star part, played by American Fred Smith, was never seen on tv again. The same can be said of his partner in crime Huckleberry Finn, played by Mike Strotheide. Janina Faye as Becky is the one who does clearly stand out. The stories are wrapped in childhood fantasy, but somehow in this version the children emerge as trite and slightly to highly irritating.

1 Clever Tom
2 A Cure for Warts
3 The Saving of Muff Potter
4 Gone But Not Forgotten
5 Noble Tom
6 Buried Treasure
7 Lost and Found

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The Treasure Seekers (1961)
A Sunday teatime serial of E Nesbit's story, with
Philip Latham starring as Mr. Bastable, with his children Anthony Klouda as Oswald Bastable, Jonathan Collins as Dicky Bastable, Sara O'Connor as Alice Bastable, Hilary Wyce as Dora, and Richard Williams as Noel Bastable, Mark Mileham as HO (the twins).
Though these serials were the forte of the BBC, something's gone wrong here! I am sure the problem is that nearly all the child actors are simply not convincing, and put six of them together and you create the recipe for a wooden production. Thankfully the children do start to interact slightly better as they gain familiarity with each other, Jonathan Collins perhaps the most improved. Sarah O'Connor is the most natural and fetching, Richard Williams nicely assured. It spoils Nesbit's story, which in any case is not quite The Railway Children, though it tries to offer the same kind of touching scenes.

1 The Council of Ways and Means
2 Good Hunting
3 Held to Ransom
4 The Deadly Peril
5 The Golden Nectar
6 The Poor Indian

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1 The Council of Ways and Means

The character Oswald Bastable talks to camera, introducing his siblings.
A Mr Jenkins calls to see their widowed father, as a matter of urgency. Obviously financial. As the children are also short of cash, they discuss how to raise funds. Dora, the eldest, takes up the idea of a treasure hunt. In the cellar are some spades, though Noel, the daydreamer and poet, is no use in finding such things.
Once spades are located, the children commence digging in their garden. Albert from next door joins in and the hole grows in size.
Now it is as tall as the children, but the ground caves in half burying poor Albert. He groans and moans unconvincingly until his uncle comes to his rescue. The children explain why they were digging, hoping to locate some secret tunnel. "Your chances of success are small," he advises them sadly, but then, what do they see? A half crown! Then another- "I wonder if there are any more?"
Daddy returns home and is proudly shown the two coins. Then they enjoy a family storytelling, all about a lovely princess, each child adding a new imagined segment, and it becomes too tedious. It is ended when "very nasty and threatening Mr Jenkins" calls again

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2 Good Hunting
"Hello," Oswals greets us, and takes us to his siblings at the dinner table. The maid brings in the pudding, castigating these "simple lot of children."
Their next money spinning idea is to sell Noel's poems, Oswald taking Noel on the train up to London (expense no object!). It so happens that in their compartment is a Mrs Leslie, a kind authoress, who listens patiently to Noel's poem. "Splendid," she declares.
Back home, the other four play charades, father joining in, "I'm completely baffled." The sctors seem to enjoy it, though the scene is far too long, contributing nothing to the storyline.
At the office of The Daily Recorder, Oswald and Noel find it hard to get to see the editor, until they mention the name of Mrs Leslie. That gains an introduction to the editor (Leonard Sachs), who reads a poem, then bursts unaccountably into laughter. But he politely says, "I like your poetry very much." The children explain why they need the money, and are given a guinea. When they tell about their father's friend Lord Tottenham, another five shillings is given for the information. By way of thanks, Noel solemnly reads his new poem, Lines On A Noble Editor.
"That was good hunting," Oswald concludes

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3 Held To Ransom
"Tonight," Oswald advises us, "we're going to try out HO's idea for becoming bandits." It's a good moment, since Dora is away. Noel has to go to the dentist.
In Greenwich Park, the four lurk, and picnic, then behind a large wall discover A Princess (Michele Dotrice in her tv debut). Noel responds by introducing himself as a prince. The boys carry her outside the wall, and she offers them chocolate drops as she reveals her very long name, she is fifth cousin removed of Queen Victoria. She sings for them, in German.
"I've got to marry you now I've found you," insists Noel. An elastic band does for the ring. Then they play Grandmother's Footsteps, but are interrupted by the princess' real grandmother, who orders the Bastables off. So the children retreat home.
It's night, and wearing masks in the street, the four plus Noel pretend they have kidnapped the princess. A policeman surveys them suspiciously. They hear footsteps, and hide to pounce on a victim. It's neighbour Albert. Blindfold, he is dragged to their home, or "dungeon." Albert is in tears, but is given his tea, with jam. Noel composes a ransom note for Albert's uncle, a demand for £3,000.
A jovial uncle meets these "bandits," complaining Albert isn't worth such a sum. He offers eight pence. Ransom paid, the children happily share chesnuts with uncle, who does point out the children have been a trifle thoughtless. What might Albert's mother have felt?
The children tell him about the princess, and Albert's Uncle tells them his own made up story of a princess, they chipping in with occasional improvements. This becomes an interminable story, "to cut a very long story short..."
As Oswald admits at the end, "we didn't get much treasure out of bandits"

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4 The Deadly Peril
Oswald: "we are all getting despairing." He reminisces of happier times.
An advertisement for a partnership for a mere £100 sounds attractive, except for the cash. Why not borrow it?
"A generous benefactor" ("a GB") advertises to lend, so the children eagerly go to see him. On film they see a few sights of London, including the new statue of Queen Victoria. Mr Z Rosenbaum (George Pravda) is a moneylender, faintly surprised at the sight of his visitors, "your father doesn't know you've come to see me?" Oswald explains that they are trying to revive the family fortunes. Rosenbaum advises against investing in this partnership, but gives them some helpful tips, a bottle of perfume and fifteen shillings, plus the taxi fare to Charing Cross. "You are a generous benefactor." Rosenbaum also writes to Mr Bastable, who tactfully suggests to Oswald that in future the children consult him first.
Oswald dreams of rescuing some old gentleman who is in deadly peril. He decides they could rescue Lord Tottenham and so they trail his lordship as he strolls on the heath. "Help," Tottenham cries out, as a dog attacks him. Actually it's Albert's dog that the children have brought with them. At first Lord Tottenham is "very much obliged" and is prepared to offer them half a sovereign, before he realises that it is they who have set the dog on him. Oswald explains why they did it. They are forgiven, and sheepishly return home.
They play Happy Families with father, "it could go on all night," indeed it seems to. Dora proposes they send his lordship a present. So next day, the children offer their home made presents to his lordship, "i have never been so pleased"

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5 The Golden Nectar
Earn two shillings a week- thus an advertisement though later according to Noel it's two pounds, who righteously claims that he'd only rob rich people in order to give to the poor and needy. His big idea is to invent a medicine and sell it at two and ninepence a bottle, The Bastable Cure for Colds.
Conversation is interrupted by a noise downstairs. Is it a cat? "Burglars would never turn the light on." It proves to be a burglar, "turn out your pockets," he is ordered. In good humour the crook tells them, "I was a highwayman once," earlier he had been a pirate but had got seasick. They offer him a drink but another interruption turns out to be a real burglar. The first burglar accosts the second, "I give in." He promises to turn over a new leaf, but then makes a break for it. Then father returns home, and it turns out that the first burglar is no burglar but father's friend. "Off to bed with the lot of you."
Parcel for Richard Bastable, a bottle of Castille Amoroso. It's a sample. Commission of two shillings for selling a bottle. The cork is removed, badly, and Dora sips like one does medicine. Then Oswald, then Dickie, "it's simply beastly." However Noel brands it The Golden Nectar of the Gods. From this, they concoct their own mixture to make it "nicer."
First sample is to a lady caller. Alice offers her a taste. "You wicked little girl," cries the lady, who threatens to tell their mother. Now she is dead. That upsets Alice "Don't cry old girl," consoles the bland Oswald.
A second possible buyer is Mr Jones the butcher, "would you like to taste it?" It's a little sweet and corky, is his verdict, but kindlily, on behalf of his brother he says, orders half a dozen bottles.
But when father tastes the medicine, he only bursts into laughter

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6 Lo! The Poor Indian
"Someone important is coming to dinner," in fact their late mother's brother. Eliza the maid must tidy up.
Alice's idea of divining rods is the children's last attempt at finding treasure. Using an umbrella, she chants, asking to be shown the gold. Dig here, she commands- by the living room door! Floorboard pulled up, and half a sovereign found! The children decide to buy food for a feast on the morrow.
Uncle arrives, lately in India, the children must be very quiet. They speculate whether he is very poor. Eliza's meal isn't exactly good, so Oswald invites uncle to their feast.
He arrives promptly, conversation is a trifle awkward at first, but "the magnificent spread" helps no end. "I've never eaten a better dinner." Dora asks him about Janey their late mother. They tell him about their various schemes for restoring the family fortunes. But he will not accept their kind charity, only accepting a token threepence. Then he discusses a business arrangement with father.
The children and father are invited to a meal on Boxing Day with uncle. His home is "a jolly red house," hardly as they had imagined. Also present is Lord Tottenham and some of the other friends the children had encountered. They exchange presents. Then uncle announces that the Bastables are to live here. "Oh yes, thank you... you're not poor after all." Noel composes his own poem about kind uncle.
As a postcript, Oswald tells us of their bright future, public schools and all that, "goodbye"

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Taxi! (1963/4)
These two series, each of thirteen 45 minute stories, starred Sid James in a rare dramatic role. The tales of a London taxi driver, Sid Stone, his cab is RYK 424: "Right mate, 'op in!" The series was created by the ubiquitous Ted Willis.
1.5 The Villain (August 7th 1963)
Sid has backed another loser, and to vent his frustration, pulls his mate Fred's leg, who responds with some bad news- their taxi's clutch is slipping. About to phone the garage, Sid learrns this is another joke.
Now Sid is off to work, his first fare, an Indian (Peter Elliott) challenges the £2 price to London Airport, "you are all robbers."
Then Sid shops rogue cabbie Jack Melia (Alan Curtis), who's touting illegally for fares by pushing to the front of the rank at Paddington Station. However calling in the police makes Sid unpopular in some quarters as The Villain, although admittedly Jack has always been a villain himself, though now as he is set to lose his licence, he has some sympathy from his fellow drivers. Others however fully support Sid's stance.
When Sid is out, Jack's wife Julie (Jennifer Jayne) calls to give Fred such a sob story about her children suffering because of her husband's stupidity, that the smitten Fred promises to persuade Sid to let Jack off. She bids a fond farewell with a kiss.
"All I want is a bit of peace," cries Sid as Fred drives him personal like, to Albany Street police station. Yet it's all a bit odd, as Fred phones to tell Julie the good news, Brixton 9621, yet Sid knows Jack lives in Forest Gate. "Something a bit dodgy going on 'ere mate."
So mate Terry drives Sid and Fred round to Brixton. They seem to come to an amicable arrangement with Jack and Julie, until the talk turns to their poor children. Terry has now brought the real Mrs Melia from her Forest Gate home and the potential bigamist is exposed, "'e deserves all 'e gets." Sid and Co exit to the sounds of a marital bust up, "you dirty rotten liar."
But one person seems happy, that's Fred, for it all means Julie must be available
Drama menu . . . For Sid in Citizen James

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Love Story (ATV)
One off plays. The series ran for eleven series between January 1963 and January 1974, 128 hour long stories were shown.

I have:
10.13 My Brother's House (March 28th 1973)
starring Sydney Tafler and
Mary Kerridge,
with Freda Knorr as Sandra Miller and
Leonard Whiting as Nicholas Miller.

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DR FINLAY'S CASEBOOK (BBC)
One of the BBC's most popular 1960s drama series, it started in August 1962 and ended after nearly 200 stories, now in colour, in early 1971. I must confess that a few of the stories are more grimly akin to the Wednesday Play than good light drama.
The young Bill Simpson was in the title role, and held his own with established stars Andrew Cruickshank as the senior and irascible Dr. Cameron, and Barbara Mullen as Janet MacPherson, perhaps almost too twee, but a huge hit at the time.
In 1967 a Radio Times reporter visited the location where Dr Finlay's Casebook was being filmed. In the best BBC tradition he starts his article with the disappointing news "Tannochbrae doesn't exist," and then continuing "until recently the location of the Finlay filming was an official - but widely known - secret." The town of Callander, 36 miles from Glasgow, was the setting. Apparently until the railway station suffered the indignity of the Beeching axe in 1965, porters would allegedly shout "Tannochbrae... Tannochbrae," as trains pulled in. "If you follow the directions to Dr Finlay's house you'll find yourself outside a rather austere guest house which overlooks the town. Inside you'll be welcomed by a kindly efficient Scotswoman Mrs MacIntyre... during the last few years she has noticed that stones keep disappearing from her drive- taken by eager souvenir hunters."

Surviving stories issued on dvd:
1 It's All In The Mind (1962), 2 A Taste Of Dust, 3 The Quack, 4 Conduct Unbecoming 5 What Money Can't Buy, 6 Cough Mixture, 7 Carver Tam, 8 What Women Will Do, 9 Snap Diagnosis, 10 The Dragon Plate, 11 A Spotless Reputation, 12 Behind Closed Doors, 13 A Time for Laughing (1963), 14 Clean Sweep, 15 The Heat of the Moment, 16 Cup, Hands or Cards?, 20 A Questionable Practice, 27 The Polygraph, 28 A Present from Father (1964), 29 A Test of Intelligence, 43 The Spirit of Dr MacGregor, 49 The Red Herring, 50 The Confrontation, 56 Right to Live (1965), 59 Charity Dr Finlay, 61 The Gate of the Year, 62 Off The Hook, 63 The Next Provost But One, 66 A Little Learning, 67 Belle, 68 In Committee, 69 Another Opinion, 70 The Spinster, 71 Medical Finance, 72 Beware of the Dog, 73 Doctors Lines, 74 The Deceivers, 75 The End of the Season, 76 A Woman's Work, 77 The Immortal Memory, 79 The Phantom Piper of Tannochbrae, 99 Written With the Left Hand (1966), 101 Crusade, 105 Gifts of the Magi, 118 Call In Cameron (1967), 119 The Sons of the Hounds, 120 A Question of Conflict, 121 Advertising Matter, 122 A Happy Release, 129 Buy Now- Pay Later, 132 Tell me True, 138 The Public Patient, 139 A Moral Problem (1968), 140 The Cheats, 141 Conscience Clause, 169 Lack of Communication (1969), 176 Opportunity and Inclination, 177 A Late Spring (1970 colour), 179 Comin' Thro' the Rye, 181 Not Qualified, 183 Dorrity, 185 The Honeypot, 187 A Good Prospect, 188 Responsibilities, 191 A Question of Values, 192 The Burgess Ticket

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It's All in the Mind

In Glasgow in 1928, Alan Finlay is preparing for his finals, he's every hope of becoming a surgeon, the best student in his year. As for his friend Mary, he's every hope of her also.
Like most students he's hard up, owing rent to Mr and Mrs Grant with whom he boards. When Mrs Grant (Joyce Heron) finds he has been cooking a herring in his room, he nearly receives the order of the boot.
Mr Grant goes missing. He catches a train and alights at Tannochbrae where he puts up in a local hotel. He enjoys a grand old time drinking with the widowed owner Annie Barr, "I didn't exist until I walked into this hotel."
With no news of her husband, Mrs Grant is distraught. Despite his romance with Mary, Finlay finds he cannot help hemself trying to find Grant, whom he has diagnosed as suffering from amnesia. Simple detective work leads him to Tannochbrae and the hotel. I don't know you, claims Grant.
"Proper doctor" Cameron talks to Grant and Finlay. Go back to Glasgow, the real doctor advises. However as the last train has gone, he will put them up for the night.
Over a whiskey, Cameron imparts to Finlay the true diagnosis, Grant is pretending. "Wrong," disagrees the student doctor, "he's not a fake." Finlay sits in on Dr Cameron's examination of Douglas, another malingerer. However Finlay points out that one of the patient's feet is shorter than the other, that explains his problems. Cameron admits he must be correct.
Next day Finlay and Grant return, Finlay telling Mrs Grant the truth. Grant doesn't recognise her, but gradually they become reconciled.
The results of the finals, "congratulations, Dr Finlay." Sir William sends for his star pupil. He has received a letter recommending Finlay for the post as surgeon, it's from Dr Cameron. But Sir William dashes Finlay's hopes saying he is not detached enough to become a surgeon.
Dr Cameron is in the big city, to suggest Finlay becomes a GP. "Assistant to some old fool" is not for this young doctor. But when he realises Cameron's diagnosis of Grant was absolutely correct, he has a change of heart, and it's off to Tannochbrae wi' him

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A Taste of Dust
Dr Cameron fiddles, or at least makes a show of violin making, while Dr Finlay becomes all hot and bothered over the latest scarlet fever epidemic. Interesting how understated this is as we watch Margaret Scott succumb. Finlay decides that the outbreak must be down to the local dairy farm. This is run by Rab Hendry, an experienced farmer aged 50, with his "bonnie" wife Jean aged only 22. "Shut up your dairy," demands our eager doctor, when he spots milker David Orr has the disease himself.
The first appearance of Dr Snoddie is typical, he's playing carpet golf and seems most reluctant to intervene. "Criminal complacency," snorts Finlay, "I know I'm right," he insists to Dr Cameron. But the senior partner has some choice words for his assistant, "high words," resulting in one month's notice.
Hendry's soilictor (Ian Fleming) brokers a meeting between his client and Finlay. The gist of it is, apologise or there'll be a court case.
After a mildly supportive chat with Cameron, Finlay sees what he must do. And he is correct in that analysis of the milk supports his actions.
"You're an intolerable young prig," is Dr Snoddie's way of thanks. At least Margaret has recovered, but the pregnant Jean is now down with the fever. She and the baby recover, thanks to Dr Finlay, but Rab does not.
Finlay reflects on his own human shortcomings, but this story just misses coming to the boil

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The Quack
In a bustling Clydebank shipyard, young Robbie (Frazer Hines) collapses. His stepmother Jessie Grant makes him a poultice, but Dr Finlay diagnoses TB in his ankle. Mrs Grant is worked up, angry Robbie will be unable to earn any money, but Finlay warms to the eager young lad who is keen to better himself.
As he collects a leg iron for the lad, Finlay bumps into the pompous Doctor Lestrange (Alfred Marks) who lectures the young doctor on the worthlessness of this equipment. Finlay takes his girl friend to one of Lestrange's 'demonstrations,' his "quest to heal." In his miracle contraption, a deaf man is cured, "that's impossible." Finlay interrupts when the healing of a man's wrist is attempted, but he is shouted down by the audience.
When Lestrange hires a town hall near Tannochbrae, Finlay attempts to ban the show, but without success. You can guess Mrs Grant, tired of Finlay's protracted cure, is keen to take Robbie to the meeting.
Lestrange removes the "leaden weight" after sitting Robbie in his miracle machine. "You're going to walk properly again." Another interruption by Finlay. But stepmother and Robbie agree to the removal of the leg iron. Robbie walks. Applause.
He's cured. He certainly is not taking Finlay's advice and putting his leg iron back on. He returns to work but he soon discovers his leg isn't right. "He's falling!" In hospital he lies badly bruised, his ankle very damaged. Dr Finlay cheers up the apologetic Robbie, then has some harsh words for the wicked stepmother who is very contrite.
Another Lestrange show, he's now in Dumbarton, is interrupted as usual by Finlay. He introduces Mrs Grant who testifies against the quack. When Finlay adds his own invective, a riot closes the meeting down.
Robbie perks up in hospital when he is reconciled to Jessie

Gi' yeself a wee trip back tae the Doctar Finlay menu
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Conduct Unbecoming
Dr Finlay says he looks "damn silly" dressed to the nines in his kilt. But he makes Lord Sinclair's party, but with a black eye, for an obstreperous patient Charlie Bell (James Beck) had brawled with the good doctor, who had come off second best.
At the gathering of top people, Finlay feels uncomfortable until he pals up with Miss Elspeth 'Lizzie' Malcolm (Iris Russell), the Lord's cousin. Finlay returns home at 4am.
Sgt Tanner (Victor Brooks), late of the Black Watch, runs the local gym. Though he's an Englishman, he's the man who can train Dr Finlay to be a match for Charlie Bell. Punch balls and long runs are the order of the day.
The training is going well, so is his blossoming relationship with Miss Malcolm. Tea at her home. Could she check her slight heart murmur? He suggests more exercise for her, so together they roam the hills. Then a clinch. But what about girlfriend Mary in Glasgow, asks Dr Cameron.
"Is there gonna be a fight?" Dr Finlay is asked to treat Charlie, who is ill in bed. Amid insults, the damaged arm is examined. "It's life or death," declares the good doctor, but Charlie's mother refuses to allow her son to go to hospital, some history of Dr Cameron's fatal treatment of her late husband.
This problem means Finlay is late for his rendezvous with Lizzie. Dr Cameron has to reprimand his colleague, in an attempt to bring him to his senses. She's older than him too. Yet Finlay stubbornly calls on his "patient," and even declares his love. Aah. But she cannot marry him, she admits she is too old for him. Aah.
Charlie is better and taunting Finlay once more. But Finlay doesn't feel it right to fight his patient. No, "ye can't hit 'em, and ye can't kiss 'em"

To yon start o' Feenlay
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What Money Can't Buy
Shepherd George and Beth Dallas are over forty and she is happily expecting their first child. But she has a weak heart. Despite Dr Finlay's concern, she is determined to have her baby born at home.
The doctor also has to treat rich Angus McKellor (Archie Duncan), who has a fishbone stuck in his throat. Out it comes and a pleased patient, the archetypical Scottish miser, offers Finlay a guinea or some shares in a gold mine.
At the obstetrics department in Glasgow Hospital, Alan Finlay meets up with his girl friend Mary Davidson who has just received a proposal of marriage from another doctor, Dr Robertson. Finlay is really here to get some advice from Sir William for treating Mrs Dallas.
Finlay takes Mary to McKellor's cocktail party, a bustling noisy event, where our doctor decides to invest £100 in yet more gold mine shares. "McKellor's made a mug of you," gloats Dr Cameron, who is in irascible mood in this story, especially with Janet.
However the shares go up, with the profits Finlay could purchase a practice of his own in Glasgow and marry Mary.
Mrs Dallas has been persuaded into hospital, but it's so noisy and lonely she discharges herself. Finlay is so busy inquiring about a practice that he cannot be informed until she's home. She goes into labour. No oxygen, "I wouldn't like to be handling that case." Mary urges Dr Robertson to create a precedent and send the much needed oxygen cylinder to the Challis' remote cottage. She takes it there in person by taxi. The baby is born.
Finlay has been too occupied to be informed that the share price is tumbling. Not that he would have purchased that crumbling practice anyway

Doctar Feenlay menu, foo the noo
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Snap Diagnosis
Alex (Patrick Troughton) is Dr Cameron's gardener, but refuses to plant his geraniums. His wife Annie, who has a black eye, says he is "listless." He's down at the police station accused of causing a disturbance in the street, "what the hell came over him?"
"Awkward customer" Dr Snoddie says he is mad and has to be certified, and asks Dr Finlay ro sign the necessary required second medical certificate. Even Annie wants this, for the sake of their bairn Elspeth. But Finlay is no rubber stamper, result being the inevitable clash of doctors. "He's a lunatic." Finlay believes Alex is suffering from thyroid deficiency. Words fly about like incompetence and laziness and spite, "I won't sign that."
Dr Cameron 's main concern is over his colleague's lack of professional etiquette. But he supports him confronting Snoddie, obfuscating the matter, "this is blackmail." Even more obnoxious is midwife Mistress Niven who attempts to sow seeds of doubt in Annie's mind about Finlay's diagnosis. She calls on Cameron to stir it up, but Janet gives her short shrift.
Alex was responding to treatment when he is taken once more to the police station, wandering round in his pyjamas. "Ye're not as well as I thought," admits Finlay, though he does appear to be a lot better. The doctor needs all his negotiating powers to prevent a police prosecution.
A crisis interrupts Finlay- Elspeth is dying. Or so says Mistress Niven, congested lungs. She is wheezing terribly, and Finlay calls in Cameron for advice. While he's away Niven administers a poultice against orders.
Arrival of Dr Cameron, who sends the midwife packing, asking for a hairpin. "Why it's a miracle." Cameron provides a simpler explanation. Alex is better too. Dr Cameron's garden now looks a treat

Ye can return tae Dr Finlay menu

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The Dragon Plate
Dr Cameron's oldest and wealthiest patient is dour Louise, cared for by her niece Sheila. "A lamb to the slaughter," Dr Finlay is invited to tea, and puts his foot in it with his comments about a Chinese plate that Cameron has long coveted. Tea is a mere excuse to ask about a minor cyst: Wednesday 3pm Finlay will cut it out, payment the plate.
Fifty to one, Cameron offers Janet that Finlay won't get that plate, but he has to back down when Finlay triumphantly produces it. But it is soon evident is is only a cheap repro, not the real thing.
Louise insists on a second opinion over Cameron's diagnosis of her cough. So a consultant is called in by Carmeron, fee fifty gns. He's Dr Hamish Robertson, who is Finlay's rival for the hand of the fair Mary. Finlay however seems to be giving Sheila much more attention, inviting her to the pictures.
"Highway robbery," declares Hamish, over his astronomical fee. But Cameron has an ulterior motive, he wants Hamish's opinion on Sheila's heart condition that she refuses to acknowledge. Of course, Louise won't pay the bill, hundred to one Cameron bets Hamish. The argument upsets Sheila who collapses. While Hamish treats her, Cameron castigates the old lady for her meannness.
Cameron is discharged by Louise. "I'm not coming back," Sheila tells her aunt, who finding herself all alone, has a change of heart, even sending Cameron the real plate. Hamish confronts Alan Finlay over Mary. This is not resolved, but it is still a very enjoyable episode

Foo the noo, mon, off wi' ye tae Dr Finlay menu
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A Spotless Reputation
The Hackett family have moved from Bristol to north of the border after husband Edgar's business had failed. His brother-in-law has landed him a part time job as insurance salesman, and thanks to Alice, he obtains another part time post at the hospital. Alice is the sister of Sir Gordon, the Beef Baron, whose son Robin is having dizzy spells. Dr Cameron treats him, suspecting a hereditary condition, that Sir Gordon refuses to accept.
Edgar's son Lionel is running a temperature but though Dr Finlay is not too concerned, Mistress Niven sees the lad, and guardedly hints at problems, which sets the parents scurrying through medical textbooks.
Dr Cameron tears Mistress Niven off a strip, but afterwards reflects that there could be truth in her suspicion of smallpox. The family are put in quarantine and the full might of Dr Snoddie is put into operation, reluctantly by him. The Isolation Hospital has to be reopened. But Edgar needs the money, and has to continue collecting his insurance monies. He and his wife are sure Lionel only has chicken pox.
The boy is actually having the time of his life in the hospital, the only patient, fussed over by the nurses. Dr Finlay obtains specialist opinions, but it seems that Finlay has been overcautious, for, thankfully, it really is only a case of chickenpox.
The Glasgow express crashes into a local, that diverts Finlay to the scene of the wreck. It's fortunate, concedes Snoddie, that the Isolation Hospital is available for treating the injured. He thanks Dr Finlay for that, but still teases him over the smallpox.
Robin was one of those killed in the accident. Dr Cameron is in a way thankful, for he knows Robin would soon have gone blind. Dr Finlay is also grateful to Mistress Niven and thanks her for helping out in the train disaster

Hast ye awa' an' see the Dr Finlay menu

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Cup, Hand or Cards?
Jenny the school teacher has TB, "I was going to be married next month."
One shilling is the fee charged by Miss Sutherland (Beatrix Lehmann) of 12 Argyle Street, a newly arrived fortune teller, and several impressionable patients of Finlay and Cameron are consulting her. Mrs Cochrane is one to who she returns the fee, with a fateful look. This lady is soon asking Dr Cameron, who tries to cure her of the mumbo jumb, even though she is indeed ill. The doctor perceives Miss Sutherland is a grave danger to his patients. In fact, Jenny dies and Cameron is faced with his conscience, could he have spotted her illness earlier?
So Janet is dispatched with a shilling, "you'll live long, but you won't enjoy it." Stunned, Janet returns to the surgery. Apparently she's got "women's trouble." She consults Dr Snoddie.
Time for action, Cameron confronts the fortune teller. She informs him he has Crane's Disease.
In Glasgow, he discovers her background, why she resigned from her long serving job as a nursing sister.
Not without some self interest, Cameron returns to Miss Sutherland to persuade her to resume the work she was so good at. In fact, vandalism brings matters to a sudden head. At least Janet now knows there is nothing wrong with her!

Dinna hurry back to Dr Finlay menu

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A Questionable Practice
Weary after treating a measles case at the end of a long epidemic, Dr Finlay asks for his overdue leave, that to begin next Saturday. Dr Cameron is ruffled and Janet attempts to keep the peace.
Finlay sees a practice in Dunirsk up for sale, at the very modest price of £300. "You're wasting your time," advises Cameron, when Finlay tells him.
Dunirsk is a fishing community and Finlay is invited to stay with Dr Robert Fairbanks at his little home. The equivalent of Janet settles him in to this "grand wee practice." It is a little puzzling that Fairbanks' son Jonathan is not taking over the business, for he is a newly qualified doctor.
Finlay sits in with Fairbanks as he treats Alistair, then they go to attend Ian McIntyre, who needs to go to hospital for an x-ray, which reveals a fatal lung abscess.
Dr Cameron has made discreet inquiries about Fairbanks. He is pleased with the answer he receives. We learn later that Dr Fairbanks is not qualified.
Dr Fairbanks helps young Alistair purchase the redundant boat of McIntyre, "he's the best hearted man in the world."
Jonathan returns home, full of himself. He is all set up with a top job in his chosen field of psychiatry. He is stunned by the revelation that his father is a quack, and he takes it very unsympathetically. The two real doctors nearly come to blows over Jonathan's perceived course of action.
Finlay has to have a difficult conversation with Fairbanks. This is a fine part for actor James Gibson. Undoubtedly he makes a good doctor, but Finlay has no option: stop practising is the stark reality.
Dr Finlay returns home to make a few barbed remarks

Return frae the hols to Dr Finlay menu

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The Red Herring - A pulled muscle, that's Dr Finlay's first diagnosis, though it proves very wide o' the mark. Mrs Dobie has had to carry water quarter of a mile for the past fortnight, for Dr Snoddie has closed down her well, because of a possible outbreak of salmonella. But Snoddie is "dithering," that's what Finlay accuses him of. Janet prepares the meal, baked Virginia ham and a smoked herring, that Dr Finlay had purchased from Hardy at the local shop. "A toast to the cook," proposes Sir James for the "magnificent" ham, "you are a genius." But that night, staying with Dr Cameron, Sir James is taken ill, has he overeaten? He is rushed to the cottage hospital. Dr Cameron surmises food poisoning, it must have been that herring as he was the only one to eat that. Dr Snoddie takes his chance to be just a trifle sarcastic, "he seems to be enjoying it." But Sir James is not the only suffering one. Several others contract salmonella, but none had eaten herring. A biopsy is what Dr Cameron proposes to very strong objections from Sir James, "you're not being a very good patient." The result is very serious: trichonisis, a count of over seven thousand, well above that which is fatal, so little chance of a cure. Thus Janet feels simply awful about it, feelings are tense at Arden House. Suspicion has now fallen on that ham. Dr Cameron questions Janet over her food preparation while Snoddie tracks down the source of the infected pork at Hardy's shop. "Who bought the sausages?" Many folk, including Mrs Snoddie!
Latest to go down is Haggarty, apparently he had eaten some of the sosses raw! "You can't be serious." Mrs Dobie has worsened. Typhoid diagnoses Dr Finlay. She never eats sausages. However she does admit she'd drunk water recently from her well.
The story brings over well the difficulty doctors soemtimes face diagnosing illnesses. However somehow Sir James recovers and is full of praise for "bright lad" Finlay who has correctly worked out what was wrong with Mrs Dobie. But how Sir James became ill remains a mystery. However privately it is no mystery at all. In the kitchen at Arden House, Dr Finlay spots Janet's bad procedure
Take a wee look at the Dr Finlay menu

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The Gate of the Year
Dr Cameron is spending the new year in Edinburgh with an old friend. Janet ensures he travels withut his moth eaten old favourite scarf.
So Dr Finlay has to cope on his own. He succeeds in turning down "wee drams" in honour of the season, at least in most homes he visits.
The landlord's 12 year old son Bobby has an obstruction which Finlay deems sufficiently serious to send him to Lanark Hospital. Dr Cameron's best paying patient Mrs Paton refuses to see the junior doctor. Davy is "a malingerer" according to Cameron's notes, and is sent away with sugar pills. Lots of other little cases too.
Janet sends herself to Mrs Paton with some figs, unbeknowns to Finlay. They work the trick. Bobby is discharged, he had only been suffering from seasonal indigestion, a fact which Dr Snoddie gleefully pounces upon. However the lad is brought to Finlay suffering more pains, and Finlay has to call in Snoddie who is forced to concur with Finlay's diagnosis. The good doctor himself takes the lad to Glasgow in his car.
He returns just in time to see the new year in with Janet. But seconds later he is busy again, with an internal haemorrhage, and blames himself for not diagnosing his patient properly earlier. Then a night call to a Mr Robertson, which proves a vindicative false alarm, from Davy, who is incensed he hadn't been given a sick note.
Dr Cameron returns refreshed, laden with gifts, plus a nice new scarf

Scotland for ever! Get ye to the wee Dr Finlay menu

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Off The Hook
Finlay attends a lecture on hynposis. In the audience, Dr John Forbes professes he is sceptical, so the lecturer gives a demonstration. Dr Finlay is asked to satisfy himself that Forbes has indeed been hypnotised, and proves it by standing on the patient.
Fired with enthusiasm, he practises his new skill on Janet, as Dr Cameron looks on sceptically. Cameron is treating the dour Buchanan, who has a hook instead of a hand, a war injury. His son Ian could rewire Arden House- it's badly in need of updating.
Finlay is asked to examine Hilda Brown who is subject to violent headaches. Here's a chance for "a wee test." Janet watches on amazed. Finlay then chats with her father (Fulton Mackay), a pawnbroker, who reveals he isn't actually her father, her real name is Hildegarde.
Ian begins the rewiring. His dad gets drunk after being made redundant. He relives his nightmare on the Somme, shouting outside Brown's shop, "Herr Braun," smashing a window. Cameron examines him in jail.
As he continues rewiring, Ian says he had tried to kiss Hilda, but she had rejected him, even though she clearly likes him a lot.
Under hypnosis, Hilda exhibits clear memory suppression. Finlay gets her to revert to age 8, "mummy isn't dead... Tommy killed her." Confessing a fear of a hook, she begins talking in German.
Cameron tries to persuade Buchanan to have an artificial hand fitted, but his inferiority complex he will have to solve himself. Ian gives him a few home truths. However, there is one problem he can sort out, a difficulty Ian has with the wiring. As he does this, Hilda is in the surgery, under hypnosis. It's a put up job, Buchanan converses with her in German, as the cause of her deep fear is revealed. It is also a revelation to him.
Though it doesn't quite end happily ever after, Cameron has to admit hypnosis has produced a remarkable cure as Buchanan tries out a new hand. However it looks as though he may not be convinced as he picks up his old hook and old prejudices
Spirit away to the Finlay menu

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The Next Provost But One

Union man Councillor Hepburn was pipped to it in the local elections by Henry MacAlpine. The former sees his chance to score when MacAlpine, who runs the local garage, crashes his £1,000 new car into Betsy's front gate.
Dr Finlay is called in to put in a few stitches, but the patient makes light of the fact that all during the recent campaign, he had been suffering dizzy spells.
Betsy's gate is repaired first thing next morning, but MacAlpine's reputation is harder to repair. Betsy's vivid imagination has her telling Hepburn that she had seen the guilty party driving at 90mph, and as the car was serving around the road, rumour spreads that he had been drinking.
The police ask Finlay's opinion about whether MacAlpine was drunk. Dr Cameron advises his young partner not to get embroiled in the political undertones to the case, but Finlay feels it incumbent to write his report and state his honest opinion.
Finlay has to dash off to a wedding and Janet has to post his letter. During the wedding reception in Glasgow, the penny drops, and the doctor realises it is an ear disorder that has MacAlpine is suffering from. He hastens back to find Cameron is already treating the patient for this problem.
Janet apologises for not posting the letter, for which Finlay is duly thankful.
While the story does highlight the dilemma of the medical profession in such political situations, you can see why AJ Cronin had become unhappy with the direction some of the stories were taking

Och aye man, off wi' ye tae the Dr Finlay menu

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The Spinster

Dr Finlay is paying a rare visit to the church, "I've been a bit, er...."
Afterwards, he is introduced to Dr Cameron's patient Miss Esme Stewart (Renny Lister), who lives with her dour dather. According to him, she's "not like other women." Indeed she has no friends. Finlay is dismayed by her low self esteem, brought on by her stern parent.
It seems her mother had run off with a farm labourer when she was young. Not surprising. Without her father knowing, Esme attends the Annual Social and enjoys dancing. She goes off with a man. Later as she walks home alone, Dr Finlay in passing offers her a lift.
Inevitably when she returns home late, an unpleasant scene follows.
Three months on, Dr Cameron is treating her. He is sure she is pregnant. For the second time, the first "didn't live." Cameron has harsh words for her father, who in turn, though this is not seen thankfully, takes it out on Esme.
Dr Finlay is accused of being the father. Dr Cameron tries to get her to admit she's making it all up. She won't deny it, she is going to marry Finlay. All Cameron's wisdom is required, for Stewart is writing to the Medical Council.
The two doctors march in force on Stewart's house. "You haven't got a case." The reason- Esme is not pregnant. (Rather a cop out.) They shout against Mr Stewart, then Cameron quite gently informs Esme that she is going away from here...

Note- At times the classical background music is too obtrusive, though the 1920s dance music at the social has an impressively authentic sound

Noo it's time to git ye back tae the Dr Finlay menu, mon

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Medical Finance
Children are playing on and around Dr Cameron's car, parked outside a house where the doctor is treating a "free" patient, he even hands out some fresh food.
He is also treating Raymond, who can afford Cameron's services, even though he may not pay promptly.
Cameron's own accounts are in a mess. Miss Scott does her best, but with over £500 in unpaid bills, what can she do? The trouble is some folk offer payment in kind.
"It's time charity comes to an end," Finlay insists. One such scrounger is Oddy, who only promises to pay up once his treatment is completed. He also asks the doctor to examine Harry who is frequently absent from school with a mysterious rash. It seems the lady who looks after Mr Oddy is not the lad's mother. Discussing Harry's problem with Cameron, Finlay bets him that it is an allergy, while Cameron favours a psychological cause.
A legacy is seeing the practice through its rocky finances. However a letter from the tax office proves to be a demand for unpaid tax on the bequest. Cameron storms to the tax office in person to discuss this outrage, the man dealing with the case is none other than Raymond. He offers no satisfaction, indeed informs Cameron that he will have to pay a fine! No wonder some of the doctor's patients get the sharp end of his tongue.
An appeal. The committee hears Cameron's case. Three local dignitaries, including Dr Snoddie are on the panel. Cameron explains that the wording of the legacy was a joke, typical of his late parient, but he comes to see his position is precarious.
However Raymond's son, is feverish, and as a matter of urgency, Cameron leaves the appeal to treat the boy.
The committee send their decision by post. Not a success. Finlay completes Oddy's treatment, and after an unsatisfactory conversation with Oddy's "concubine," he learns how Harry keeps getting these rashes.
The tax bill must be paid, but at least they can put Oddy's payment toward it, except he has paid up in potatoes
Off wi' ye tae the Dr Feenlay menu

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. The Immortal Memory
Dr Finlay is treating Mrs Duff, whose new spectacles are causing her problems, probably the lenses are wrong.
Her optician is Robert Young (Garfield Morgan). He is on the bottle, his wife Christine covering up for him as best she can.
He is secretary of the Burns Society. Dr Cameron is quoting Robbie to Janet as he prepares his address to the Society. Dr Finlay tries to speak to Young about his problem. The optician takes offence and later takes it out on his wife. They come to blows.
As Cameron is driving along the road, he encounters Young, the worse for drink. His wife has left him, taking his daughter with her. Both of them consult solicitors.
The Burns Society hold a committee meeting in Young's home. It is very amicable, though afterwards Cameron has a few wise words for Young. But the optician says he has no health problems.
To the Burns Night Supper. Though Finlay is "allergic" to them, Cameron insists he attend. After the feasting, Young introduces, in slurred tones, the guest speaker.
Next day Finlay gives Janet a blow by blow account of Dr Cameron's lecture, something about how Burns died. Cameron himself, a little the worse for wear, has persuaded Young to have a health check. He fails the eye chart test. He admits he has a problem. It is incurable. He should know, he's an optician. So Cameron looks at his eyes. He calls in Finlay for a second opinion.
He explains what is wrong to Christine, all it was was a husk from seed he feeds to his canary.
As Cameron spouts more Robbie, we see the Youngs happily getting together again
Och aye, off tae Dr Finlay's menu?

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Dr Finlay and the Phantom Piper of Tannochbrae
Dr Cameron's ancient car gives a bang and conks out in the middle of nowhere. From nowhere a bagpiper appears, and without a word, repairs the vehicle. He has evidently got at least one screw loose, muttering something about the batallion of soldiers that surround him.
Lord Morcroft (Ian Colin) is proposing to erect a memorial to his son Hugh, tragically killed in the war, though a few locals are opposed to such a waste of money when so many local needs press. This viewpoint is expressed by dour local teacher Andrews (Kevin Stoney) who refuses to act as secretary to the council committee formed to oversee the project. In fact, he is not merely opposed to the scheme, but violently against this "eyesore," ranting against Morcroft's "masterstroke of egotism." Andrews decides to take Morcroft to court for calling him a conchie.
John, the loony bagpiper is also against it, and even fights with his lordship. For this, he's locked in the police cell, though when Dr Cameron examines him, the "soft in the head" piper is placed into Cameron's custody. But in the hospital the piper keeps his fellow patients awake by playing his wretched pipes. In the middle of the night, a grumpy Cameron has to be fetched to restore order. Once John has been calmed, he tells Cameron of his wartime guilt.
Armed with this information Dr Cameron invites Andrews and Lord Morcroft to a Caledonian Supper. Enter John, piping in the meal, then relating his horror story in the trenches. Lord Morcroft's son had been with him, "a fine lad." Amazing coincident, but Andrews had been there also.
As a result, despite Cameron's advice to his colleague never to meddle in politics, the council revise their plans and plan a Morcroft Children's Ward in the hospital. The final line from our doctors sums up this mystifying story, "Blessed are the peacemakers, they shall inherit the war." Perhaps The Wednesday Play wasn't so obscure after all- no wonder AJ Cronin said he wasn't pleased with some of these stories. As serious drama it is distinctly lacking, as attempted humour, it falls flat
Hoots mon, make your return tae Dr Finlay menu

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Call In Cameron
The emphasis in this story is too much on the patients, Cameron's ethical dilemma is never properly explored.
Will Geddes looks pretty depressed, Beth his wife is worried about him. But Dr Cameron cannot certify this man as insane. Once Will had been kindness itself, now he sits in his armchair, morose, refusing to go into an institution voluntarily.
Both are found dead. The obvious sequence seems that he shot her then himself. In court Geddes' employee Thomas Brown (the lively Fulton Mackay) states that Geddes had been brooding as usual the night he died. Next morning, it was he who had found their bodies. A contrite Cameron says he had failed, he should have persuaded Geddes to seek specialist help. Jane, Will's sister says she never approved of the marriage, "we were not good enough for the Wilsons." Sam Wilson, one of Beth's relatives is a dour uncompromising Scot, who expects to inherit the Geddes farm.
However it is Jane who takes possession of the £2,000 farm. Sam contests the will. It's a complicated case of Scottish law, which I think it runs thus- if Will had murdered Beth, Sam would inherit. If it could be proved Will really was insane then as well as destroying their name, Jane would inherit. Cameron's evidence will be crucial, and over such a responsibility he falls ill.
But Janet has a wee word with Thomas.
In court, Cameron has to reveal the streak of insanity in Will's forebears.
Taking Janet's hints, Thomas offers marriage to Jane. She says she will think about it. But she then marries Sam. The sudden end of what is not a masterpiece
Much ado etc at Dr Finlay menu

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The Sons of the Hounds
Dr Alistair Campbell (Stephen Murray) is retiring from his Harley Street practice, and moving, in his Rolls, to... Tannochbrae. His first encounter on a narrow bridge with Dr Cameron, is acrimonious. Neither will back their cars, but Cameron is in a hurry to treat Mrs Armstrong, and so he ungraciously gives way. With his rich patient, Cameron is sharp, for she has disobeyed doctor's orders.
Dr Finlay is also in trouble with the new arrival, for he is fishing on Campbell's loch, something that has been traditionally done in the past, and he is ordered "to get the hell out of it."
Thus "friendship and goodwill" is not what Cameron is prepared to offer, despite Campbell's surprising sudden bonhomie. For it seems Campbell is restless in retirement, and over a friendly meal, offers to buy out Cameron's practice. Since the answer is firmly in the negative, he sets up as a rival doctor.
This "medical dilettanti" is soon addressing the Ladies Guild on the subject of why husbands fail to understand the true state of their wives' health. Soon some patients defect to his practice, including Mrs Armstrong.
"We cannot compete," sighs Dr Cameron, who suggests Finlay take over and run the practice single handed. So Dr Finlay confronts the "carpetbagging" Dr Campbell, but the latter is in a position of strength and Finlay comes up against a brick wall.
It's played strictly for laughs. Campbell's undoing is the Harley Street prices he charges. Patients flock back for "the man has priced himself out of his practice."
In a final humiliation for the posh doctor, two cars face another impasse on that narrow bridge

End o' the competition, safely back tae Dr Finlay menu

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A Question of Conflict
In the cottage hospital lies a holidaying fisherman, who had collapsed by the river. McVie has appendicitis, but Finlay spots complications. Dr Cameron confirms his diagnosis, problems with his blood platelets, so despite the danger, an operation has to be postponed.
What proves to be a more complex problem however is Sister Agnes Mackay, who challenges the diagnosis and proves intractable when the doctors want to administer a new unproven treatment. She collapses when Finlay argues with her. Finlay at once becomes sympathetic, but she will not permit anyone to examine her. It's surely overwork, decides the doctor.
McVie is treated and despite anxious moments, his crisis passes. A second offer to examine Sister is refused, it's only the menopause, she insists. However Dr Cameron manages a quiet word with her, even though she still won't submit to an examination. Dr Snoddie has also noted the irascible behaviour of Sister Mackay and wants to have her removed, calling an emergency meeting of the hospital board.
McVie takes a turn for the worse, temperature 102. Finlay injects the patient, and Sister collapses again. She admits she has a problem with one eye. Now that McVie is more stable, she agrees to the inevitable. She has heart problems, prognosis "not very good."
At the board meeting, Finlay speaks out about her illness. Cameron breaks the bad news to Sister Mackay, who takes early retirement. But it is a happy ending, since she moves into a riverside cottage that she had always coveted

Retire tae Dr Finlay menu

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Buy Now- Pay Later
Peggy is taken by ambulance to hospital- emergency! Her ruthless rich husband Henry Davidson (John Paul) accompanies her. He wants a male heir. But the child is stillborn.
Finlay is in love. His attentions are centred on Barbara (Tracy Reed), daughter of the rich businessman. He even tells Janet he is thinking of marriage. But Barbara is positive they could never settle down in the same house as Dr Cameron and Janet, and suggests they move to London. But Finlay has no money to set up in practice on his own, though of course she could help there.
Barbara has been trying to cheer up Peggy, who is naturally very depressed. Peggy is her step mother. She is not much older than Barbara and seems to have married Henry in order to provide him with a son. It's sad that he never even pays another visit to her in hospital, for he is too busy planning to move back to London.
Alan Finlay has a rival! Larry has recently driven up from London in his sports car. Barbara rows with Alan, who discusses his future with his partner, Janet offering wee words of advice too.
Alan, Larry and Barbara make up a threesome to climb a mountain. As it happens Peggy nearly drowns in her bath while they are away. An urgent phone call, in the days before mobiles, to a lonely mountain outpost, and somehow Dr Finlay is informed of the accident. Not sure why he needs to be recalled, since Dr Cameron is dealing with the crisis, but then there were only two on the mountain. Baerbara doesn't want to go back and spoil their climb.
Attempted suicide, Cameron informs Henry, who seems unconcerned. "What's wrong wi' ye?" Cameron blurts out. Some well chosen words at least stirs the rich man into some sort of action.
It is also the end of Dr Finlay's romance

so return tae Dr Finlay's menu

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Tell Me True
Ruth Goodall is a ward maid, who is dumb. Miraculously she recovers her powers of speech. Dr Finlay examines her, and sees a chance for making medical history.
Dr Cameron is sympathising with Crawford the local minister (Jack May), who finds it hard to sleep ever since his wife died six months ago. Miss Janet MacPherson is in his eye, and he asks permission to "come courting." Cameron is naturally dubious but advises Janet of the minister's aspirations.
The pair meet, he suggests Janet pray for guidance, he certainly has the gift o' the gab. She promises to consider his proposal. "Quite unsuitable," declares Cameron firmly.
Finlay is fascinated by the way Ruth writes, for it is back to front. Could she be The Finlay Symptom? Tests convince him that her perceptions are reversed. Dr Snoddie is naturally suspicious, all ready to interfere, his belief is that Ruth is fit to return to her work, "she's "a mental defective."
Dr Cameron finds the minister much more cheery. He cannot dissuade him from plans to marry. "I'm going to marry him," declares Janet, maybe opposition from her employer has made her mind up for her.
She volunteers to test Ruth independently, aided by her intended. The girl is asked to draw Janet, the picture comes out upside down, "I could have sworn I was better looking than that!" Ruth even spells everything backwards. Finlay's theory is that she has reverted to young childhood, to a time when she was happy. Hypnosis will cure her. Crawford asks Ruth if she agrees to this treatment. She signs the consent form. Instant success!
Crawford apologises for any doubts he had about Finlay's ability. He now realises that it is only a housekeeper he wants, not a wife. Fortunately Janet wishes to remain a housekeeper also- with Dr Cameron. As Finlay shrewdly observes, "you only said yes to spite Cameron"
Back tae the norm at the Dr Finlay menu

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Responsibilities

"You've no time for girls," dad (Nigel Green) warns his son David, who is shortly off to start his training to become a doctor. However he does love Margaret, but she is prepared to wait until David has qualified, before they marry.
But David's dad knows none of this. He is a widower, working at a hotel. But dad has his own secret, he wants to marry the housekeeper at the hotel, Mrs Struthers. But it's "a secret" that he doesn't want David to know about, for fear it will upset his studies.
The characters are well introduced, though the denouement is more disappointing. David's studies are briefly seen, but suddenly he falls ill, and dashes home "feverish." Dr Finlay examines him and takes a blood count. He gets a second opinion from his partner. Cameron sees David as his kind of protege. He proudly shows David his own gold medal, an achievement David himself aspires to.
The blood count confirms their worst fears. It is leukemia. Margaret has come to see David, David's dad grudgingly permits it.
Finlay and Cameron discuss the lad's future, and his father's. Margaret discovers David dead.
Mrs Stuthers bears the bad news to David's father. The reactions of them both and Margaret are very different.
David's medical books are removed as Cameron talks to the stunned father, amid slightly deep questions

Tread ye softly back tae Finlay menu

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A Question of Values
Jenny Daker has a bad attack of asthma. She lives in a damp tenement over the canal, hardly conducive to one in her condition. Her brother Alister is bitter at his lot, he is the only breadwinner, for his dad Mat (Robert Urquhart) cannot find employment.
Finlay had been called away from a five course dinner to treat Jenny. He returns to the meal at the home of the Lockharts, a striking contrast to the rooms he has just left.
Lockhart is planning an auction to raise money for "the deserving poor." Cameron is persuaded to donate his violin. But Finlay finds all this very "patronising," and the two doctors later clash over ideologies. Janet attempts to soothe the waters.
Actually the Dakers may be poor, but on their mantelpiece is a broken clock, nevertheless antique, and a painting, "may be a Constable." Alister brings the clock to Arden House, asking Finlay to value it. In turn, Finlay takes it to Lockhart.
Mr and Mrs Daker argue over selling the clock, or not to sell. Mat wants to keep it, a precious heirloom. But it does not work! He doesn't want to know its value, when Finlay returns it. But Finlay lets on that Lockhart will offer £300. But Mat loves beautiful things, and will not sell. That drives Alister from home. He does not return. Mrs Daker has to buy food on credit, it might "force him to sell."
Lockhart values the painting. But it is worth very little, a copy. Mat asks Janet, then Lockhart for a job. The latter stumps up £350 for the broken clock.
At the auction, we see the restored clock in pride of place in Lockhart's home. Under the hammer is Cameron's violin. Matt buys it! The Dakers have purchased a new home, and Mat's practising is not music to his family's ears

Another wee peep in Dr Finlay's Casebook

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SAKI (Granada) - The Improper Stories of HH Munro

Programme 1 (July 1962)

Two Granada favourites introduce the first tale: William Mervyn as Sir Hector and Richard Vernon as Major Caterham.

The Stampeding of Lady Bastable- the one occasion when a titled lady (Martita Hunt) who "loves owing" was persuaded to pay up, believing the end of the world was nigh. Clovis is to be foisted on her ladyship, "an expensive guest," Lady Bastable believes "it's only a matter of time" before the Revolution sweeps the world. It comes sooner than she expects, "like the fall of the Bastille," as Clovis induces the servants to feign rebellion. But sadly the tale is all too slight

A Holiday Task - a nice little tale of The Lady with No Name (Fenella Fielding), who asks for help in a Brighton hotel, since her mind has become blank, "deuced awkward." Major Caterham loans her £10 to pay her bills and discover her identity. She's sure she is a titled lady. Foolish man! He never gets his money back, all he learns is that she is the Lady Croquet Champion, "is this man raving mad?"

The Way to the Dairy - There's a gleam in the eyes of Nora Nicholson as she plays Aunt Amy, who's come into a fortune. Veronique and Christine have been promised they will inherit a quarter each, but "rotter" and gambler Roger (Philip Locke) will get the other half. They take her to Dieppe to demonstrate to her what a wastrel he is, and there she succumbs to the fever of the Tables, so now "she's worse than Roger ever was." Anyway "she thoroughly enjoys herself"

Sredni Vashtar -This is the name of a large ferret polecat, worshipped by ten year old Konradin. His suffocating cousin (Sonia Dresdel) has sold his pet black hen, as it's "her duty." He prays to Sredni Vashtar that it will "do one thing for him," there's a scream. The end

A Defensive Diamond - a very minor narrative with Sir Hector giving a crass bore (Peter Bathurst) short shrift as he commences one tall story after another, only for Sir Hector to top it with one of his own. The final one is of a motor car which falls into a pond which immediately dries up. The reason- the vehicle was full of blotting paper

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MAUPASSANT (Granada)
TAM ratings for the series were excellent: the first programme Wives and Lovers on June 20th came 12th with over five million homes watching. #3 on July 4th came 15th, #4 on July 11th came 12th, #5 July 18th was 13th, #6 July 25th was 15th and #7 on August 1st 10th.

Programme 5 (July 18th 1963)

A Sale -
The trial of a drunken husband who's offered his wife for sale (with Barbara Hicks, Bryan Pringle)

A Family Business -
Is grandma "soft in the head"? The quack doctor advises her son "Mother Nature must call the tune." She does and gran "goes to her reward" sparking very differing reactions from son and daughter-in-law. But the quack has got it wrong and gran revives to reveal she has heard those family rows her 'death' has caused. Remarks a relative: "I've never been to a funeral like this one before!"

The Devil -
When a miserly peasant (Jack Smethurst) engages a sitter at a fixed price for his dying mother it's hardly in the sitter's best interest to keep mum alive. Indeed she is finally scared to death with tales of the devil. However this black tale lacks any real payoff

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OUT OF THIS WORLD (ABC)

ABC's innovative 1962 Saturday night series with Boris Karloff himself (pictured) as the host- this shot is from a trailer for the series, which ran to a mere 14 stories, most of which are sadly wiped.
Behind the acclaimed series was ABC's Sydney Newman, and his departure for the BBC was probably the main reason the series never ran to more than one run. Behind the scenes, the mastermind was Irene Shubik who also left for the BBC, and went on to continue the genre with Out of The Unknown, which posterity has treated a little kinder in the way of survivals.
Sadly only this one story seems to have survived...

3 Little Lost Robot
Introduction by Boris, rose in hand, the hobby of the general (Clifford Evans) who runs Base 7 space station.
The year is 2039. Chief Engineer Black (Gerald Flood) tells one unhelpful robot to "get lost." It follows his instruction.
Robot psychologist(!) Dr Susan Calvin (Maxine Audley) is summoned to devise a method of detecting it from among its 20 identical brothers. The chief problem is that this Nesta has been modified without authorisation. First law of robots is always to protect human life, but it has been modified to allow "humans to be harmed... a killer."
She talks with Black, who clearly has an antipathy towards the machines. Calvin plans to show all 21 robots a human in danger, the modified robot is not expected to intervene, so will be exposed. But Lost Robot doesn't fall for that trick, "he knows enough to pretend he's like the others."
Experiment two is similar, except for a high voltage cable, only the modified one will understand the danger. Another failure.
Black remains sceptical as Calvin interviews each robot in turn. He's right in that the robots all answer identically, "we're facing a mutiny of robots."
One final attempt, this time it is Calvin herself who will be exposed to danger. Lost Robot's superior knowledge will prove its downfall. "Gamma rays will kill you," she warns each robot. Lost Robot falls into her trap, she calms the errant object, but Black is determined to punish it, and ends up strangled for his pains. The Lost Robot is no more, maybe I detected a tear in the eye of its brothers.
The general thanks Calvin, presenting her with a rose, but she offers a chilling warning regarding the robots, "they cannot forget."
Imaginative, if slightly overstretched storyline, with a poetic conclusion. It needs to be seen of its time, made on the cheap, but of its time, superior

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UNDERMIND (ABC)
Imagine John Wyndham writing a hybrid of The Human Jungle and The Avengers. Mastermind behind the series was actually Robert Banks Stewart, who wrote some of the scripts, Michael Chapman was the producer. The scenario- unknown subversives are trying to destroy our society by undermining public confidence in the top people, and the institutions they run.
ABC were having difficulty negotiating networking time in 1965, so the series was not fully networked. It was screened in the ABC region and a few others starting on May 8th that year, but only shown on other ITV channels later that summer.
These are the 11 episodes:
1 Instance One
2 Flowers of Havoc
3 The New Dimension
4 Death in England
5 Too Many Enemies
6 Intent to Destroy
7 Song of Death
8 Puppets of Evil
9 Test for the Future
10 Waves of Sound
11 End Signal
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HARPERS WEST ONE (1961, ATV)
The staff included widowed personnel officer Harriet Carr (Jan Holden), with her secretary Julie Wheeler (Vivian Pickles), also public relations officer Mike Gilmore (Tristram Jellinek), and male staff controller Edward Cruickshank (Graham Crowden). The chairman of the store was Aubrey Harper (Arthur Hewlett).
The Second series in Autumn 1962 saw new regulars alongside Jan Holden- Philip Latham as the male staff controller Oliver Blackhouse, Bernard Horsfall as PRO Philip Nash, with old timer Wally Patch as the security man. After a few weeks, a new receptionist was introduced named Susan Sullivan- and the actress who played her? She was Wendy Richard. The series was devised by John Whitney and Geoffrey Bellman, though the on-screen titles note that Diana Noel and Derrick de Marney provided the initial idea.
For cast details of some of this series.

My review of Story 1.5, shown on July 24th 1961 and featuring John Leyton.
Preparations are well in hand for the opening of the new Self Service Record Department. Johnny St Cyr and the Saints are coming at 11am to open it! He's a big idol in the pop world- "just a few twitches in the right place, fifteen thousand girls fall at your feet. What a way to go!" Or, if one is more jealous of his good looks- "a truly regal figure in the age of the indifferent."
The morning of the event sees Geoff Turner (John Kelland) getting a lucky break with the sale of a 600 guinea piano, to be "delivered today." But he's still in financial difficulties despite this windfall and he fiddles a colleague's commission. His expectant wife comes into the store telling him she's got to go into hospital "for a check-up."
Now Johnny arrives with the screaming fans- "isn't 'e lovely?" He signs autographs. However there are some snags- problem one is the group's pianist gets drunk. Geoff agrees to act as a "fill-in." Problem two- Johnny's wife Maureen (Gwendolyn Watts) appears, wanting to talk desperately with her husband. She shares her sob story with Geoff's wife.
Finally we get to the pop songs. Geoff does well accompanying. But afterwards he's on the carpet in front of his boss, Cruickshank. He's lucky not to get sacked.
The day ends with Geoff having a heart-to-heart with Johnny. He learns life at the top can be lonely- "it's not all milk and honey." But Geoff is offered the job of pianist with the group- but it will mean separation from his wife....
Although a straightforward story written by Richard Harris, there are some insights into the rather pathetic existence of top pop stars, with a contrast well delineated with the ordinary shop worker's struggle to meet ends meet
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Episode details of some of the 32 Harpers West One stories:
1.1 June 26th 1961 starring Jan Holden, Graham Crowden, Tristram Jellinek, Arthur Hewlett. With Pauline Stroud (Jackie Webb), Fred Griffiths (George Barrard), Vivian Pickles (Julie Wheeler, Miss Carr's secretary), Jean Gregory (Miss Springer), Jean Harvey (Miss Lindrum), Susan Lyall Grant (Valerie Pritchett), Sylvia Melville (Mrs Sayers), Blanche Moore (Mrs Templar), Frederick Peisley (Albert Fisher, floorwalker), Katherine Parr (Mrs Pritchett), Maureen Davis (Maureen), Hazel Bainbridge (Connie Fleming), Pamela Greer (Sheila Selby), June Murphy (Eileen Mitchell), Brian Hankins (Metcalfe), David Broomfield (Adler), Michael da Costa (Clegg), and John Dunbar (Ernie Wedge).
1.2 July 3rd 1961 starring Graham Crowden, Tristram Jellinek, Arthur Hewlett. With James Villiers as Lucien Harper, and Eynon Evans as Len Garrett. Other regulars: Vivan Pickles, John Dunbar. Also in the cast: Jeremy Bisley (Wesley Pickering), Joyce Hemson (Lily Oakes), Christina Gregg (Hilda Garrett), Felicity Young (Jane Carpenter), Natalie Kent (Customer), Edward Burnham (Emlyn Lewis), Dixon Adams (John Crawford), Leslie Weston (Charlie Sweet), Jill Melford (Sylvia Stephens), Dorothy Batley (Lady Burnette), Jean Marlowe (Miss Wilson), Malcolm Webster (Morton Edwards), Trevor Baxter (Compere), Sheila Raynor (Mary Garrett).
1.3 July 10th 1961 - written by Owen Holder. Starring Jan Holden, Graham Crowden, Tristram Jellinek, Arthur Hewlett. With Maxine Holden as Araminta Green. Regulars: Vivian Pickles, Pauline Stroud. Also in the cast: Pauline Winter (Mrs Goddard), Hilary Crane (Lucy), Bridget McConnel (Joyce), Joyce Cummings (Miss Berry), Violetta Farjeon (Freda), Gillian Cobbold (Diana), Una Venning (Mrs Walby), Carole Allen (Jessie), Thelma Holt (Maisie), Norman Bowler (Roger Pike), William Young (Bob Trevor), John Clarke (Bill N'Gya), Jeanne Mockford (Mrs Marks), Winifred Hill (Mrs Rush), Gerald Anderson (Douglas Hurst), and Roger Avon (Charlie Wilson, in several future stories).
1.4 July 17th 1961 - script: Jeremy Paul. Director: Peter Sasdy. Starring Jan Holden, Graham Crowden. With Richard Briers as Patrick Wainwright. Other regulars: Pauline Stroud, Vivan Pickles, Roger Avon (Lift man). Also in this cast: Norman Bowler (Roger Pike, who became a semi-regular), Judy Child (Dolly Freeman), Anna Cropper (Yvonne Seymour), Louise Dunn (Anne Bailey), Douglas Muir (Mr Seymour), Emrys James (Donald), Jean Challis (Elspeth Seymour), Bessie Love (Customer), and Patrick Boxill (Supervisor).
1.5 July 24th 1961 (my review above) Script- Richard Harris. Director: Wilfrid Eades. Starring Graham Crowden, Tristram Jellinek, Arthur Hewlett, with John Leyton as Johnny St Cyr. Other regular: Vivan Pickles. Also in this cast: John Kelland (Geoff Turner), Clovissa Newcombe (First salesgirl also in 1.8), June Speight (Second salesgirl), Eric Thompson (Peter Green), John Woodnutt (Mr Macalister), Norman Pitt (Mr Newbold), Fred Hugh (Commissionaire also in 1.8, 12), Patricia Rogers (Mary Turner), Monty Landis (Monty Davison), Gordon Rollings (Sammy Rivers), Mary Barclay (Mrs Brander), Gwendolyn Watts (Maureen). Though not credited in TV Times, the on-screen credits also add these cast members: Vicki Wolf, Delia Wicks, Janette Rowsell, June Ritchie and Andrew Lawrence.
1.6 July 31st 1961 Script- John Whitney and Geoffrey Bellman. Director: Philip Dale. Only star in this story was Graham Crowden. Other regular: Vivan Pickles. With Arnold Bell as Pascoe (also in 1.12). Also in this cast: Peter Layton (Ronnie Cobb), David Coote (Ginger Hunkin), Joyce Hemson (Lili Oakes also in 1.9), Carole Lorimer (Beryl), Pamela Conway (Thelma), Angela Douglas (Shirley Arnatt), Robin Wentworth (Ted Arnatt), Irene Arnold (Rose Arnatt), Ian Percy (Gary Arnatt), Anthony Woodruff (Mr Fox), Philip Ray (Joe Stock), Michael Segal (Frank Mercer), Roy Denton (Lift man),Raymond Hodge (Police sergeant).
1.7 August 7th 1961 - Script: Diana Noel. Director: Peter Sasdy. Starring Jan Holden, Tristram Jellinek, Norman Bowler and Jean Harvey as Miss Lindrum (first seen in the first story, but now in a starring role), with Noel Hood as Miss Duke, and Brian McDermott as Peter Charlesworth. Other regulars: Vivan Pickles, Judy Child (previously in 1.4), Roger Avon. Also in this cast: Norman Chappell (Tom Fowler), Trevor Maskell (Bill Annerley), Francesca Annis (Jenny Bates), James McLoughlin (Paddy O'Hara), David Brierley (George Barton), Annette Kerr (Miss Smith), Grace Newcombe (Mrs Cranleigh), Katy Wild (Penny Angel), Betty Henderson (Customer), Daphne Freman (Maggie O'Hara), also appearing: Jacqueline Lacey, Barbara Archer, Lissa Gray, Katherine Newman, Lilian Grassom, Patricia Clapton.
1.8 (August 14th 1961) - Script: Dail Ambler. Director: John Knight. Starring Jan Holden, with Norman Bowler and Donald Morley as 'Man.' Other regulars: Vivian Pickles, Pauline Stroud, Joyce Hemson, Fred Griffiths, Fred Hugh, Clovissa Newcombe. Also in this cast: Bridget Armstrong (Gillian Hulls), Adrienne Poster (Cathy Hulls), Shirley Thieman (Joan Balred), Liane Winters (First Italian girl), Mia Karam (Second Italian Girl), Elizabeth Reber (Elizabeth Hamble), Muriel Zillah (Waitress), Bill Cartwright (Packer), Vincent Charles (Maintenance man), Joe Ritchie (Fireman), Fred McNaughton (Policeman). This was Adrienne Poster's TV debut, playing a child who hides herself in the store's lift.
1.9 (August 21st 1961)
1.10 (August 28th 1961) - Script: Max Marquis. Director: Philip Dale. Starring Jan Holden, Graham Crowden and Norman Bowler. Plus: Vivian Pickles, Joyce Hemson, Also in the cast: Norman Scace (Henry Bastable), Mary McMillen (Laura), Barbara Joss (Jennifer), Patricia Garwood (Joan Moore), David Rose (Ken Ford), Jeremy Longhurst (Walter Stone), Dennis Edwards (Simon Wood), G Ruthven Mitchell (Customer), Robert Desmond (Flash boy), Juno Stevas (Wanda Savage), Sidney Vivian (Ted Moore), Marion Wilson (Dolly Moore).
1.11 (September 4th 1961) - Script: Richard Harris. Director: Dennis Vance. Starring Jan Holden, with Gerald Andersen as Douglas Hurst (also in 1.12, 2.14), Tenniel Evans as Charles Underwood and Richard Longman as Wilfred Ashton. Plus: Vivian Pickles and Norman Bowler. Also in the cast: William Gaunt (Robert Stacey), Veronica Strong (Betty Elliott), John Rutland (Assistant), Dorothy White (Elisabeth Ashton), Edward Phillips (Waiter), June Monkhouse (First customer), Sydney Bromley (Second Customer), Harriet Petworth (Third Customer).
1.12 (September 11th 1961) - Script: Bill Craig. Director: Philip Dale. Starring Jan Holden, Graham Crowden and Arthur Hewlett, with Gerald Andersen and Arnold Bell. Plus: Vivian Pickles and Fred Hugh. Also in the cast: David Gregory (Bob Prior), Jill Booty (Liz Barton), David Graham (Anderson), Fred McNaughton (Johnson), Billy Milton (Middleton), Grace Newcombe (First customer), Frances Cohen (Miss Egret), Tim Pearce (Joe Stobbart), Pat O'Reilly (Second customer).
1.13 (September 18th 1961) - Script: G Bellman and J Whitney. Director: Peter Sasdy, and starring Jan Holden, Graham Crowden, Tristram Jellinek and Arthur Hewlett. With Derek Francis as Hinchcliffe. Plus: Vivian Pickles, Norman Bowler, and Pauline Stroud. Also in the cast: Cameron Hall (Rumbold), Michael Da Costa (Clegg), Janet Bruce (Mrs Brice), Jeanne Mockford (Woman), Keith Marsh (Snaithe), John Brooking (Bamber), Charles Morgan (Gurney), Henry McGee (Roberts), Lilian Grassom (Miss Huxtable).
End of series 1

Second series:
starring Jan Holden, and new characters: Bernard Horsfall as Philip Nash PRO. Philip Latham as Oliver Backhouse, male staff controller.
Other semi-regulars: Gordon Ruttan as Jeff Tyson, assistant to Nash, Jayne Muir as Frances (Fanny) Peters, secretary to the PRO, Rona Leigh as Tracey Wiggin, receptionist. Veteran Wally Patch played the security man, though he is not in any of the stories of which I have details.
2.1 (Monday September 17th 1962 8pm) - Script: G Bellman and J Whitney. Director: Dinah Thetford. Producer: Rex Firkin, starring Jan Holden, Bernard Horsfall, and Philip Latham. Other semi-regulars: Gordon Ruttan, Jayne Muir, Rona Leigh. Also in the cast: John Kelly (Painter), John Garvin (Chadwick), David Calderisi (Nicolas Ortega), Elizabeth Ashley (Mrs St Clair), Gay Cameron (Ruth Byng), Derek Benfield (Cedric Gilbert), Andre Charise (waiter), Gerald Case (Gerald St Clair), Paul Bacon (Tilling), Beaufoy Milton (Harry).
Synopsis- Nicholas Ortega, the Spanish salesman in the Antique Department at Harpers, is given a present by a wealthy customer, Mrs St Clair. This leads to unexpected trouble for Ortega, both from his girlfriend Ruth, and also Mrs St Clair's husband. Seeking publicity on a new French cheese, Philip Nash takes a journalist to lunch at a restaurant where he has arranged that Harpers' cheese will be on the menu. This gets the publicity, but catches the Food Department unawares.
2.2 (September 24th 1962)
2.3 (October 1st 1962)
2.4 (October 8th 1962)- Script: Jeremy Paul. Director: Geoffrey Nethercott. Starring Jan Holden, with other regulars Gordon Ruttan, Jayne Muir, Rona Leigh. Philip Grout as Len Carson. Also in the cast: Iris Russell (Shirley Medhurst), Rex Graham (George Medhurst), Peter Fraser (Keith Lacey), Ann Davies (Angela Clarke), Sheila Bernette (Pat Williams), Keith Anderson (Martin Cobb), Jennifer White (Gillian), Nigel Green (Marinus Van Leut), Michael Beint (First reporter), Dixon Adams (Second reporter).
Keith Lacey, a young assistant in the photographic department, and his girl friend Angela, break a valuable camera.
2.5 (October 15th 1962) Script: Raymond Bowers. Starring Philip Latham and Arthur Hewlett, with one other regular Jayne Muir. Also in the cast: Patrick Troughton (Notril), Nita Moyce (Miss Springer), Colin Douglas (Mr Sweet), Pauline Devaney (Laura Harrison), Dorothy Smith (Miss Bigley), Barbara Archer (Sara Turner), Elizabeth Hart (Mrs Hunt), Godfrey James (PC Hunt), Carole Ann Ford (Marilyn), Anthony Gardner (Winston), Michael Haughey (Ted), Antony Sadler (Charlie).
2.6 (October 22nd 1962)- Script: Richard Harris. Director: Royston Morley. Starring Jan Holden, Philip Latham, Bernard Horsfall and Arthur Hewlett.
With other regulars Gordon Ruttan, Wendy Richard as Susan Sullivan, Philip Grout. Also in the cast: Geoffrey Palmer (Harry Adams), Bruce Beeby (Pat Woodthorpe), Mark Burns (Dennis Scott), Maitland Moss (Landlord), Anne Blake (Berenice Sheridan), Nan Braunton (Miss Osborne), Joe Ritchie (Ernie), Royston Tickner (George).
Harriet has entered an art competition set up by the London Guild of Shopkeepers. The artistic, and not so artistic, employees submit their entries- with surprising results.
2.7 (October 29th 1962) Script: Jeremy Paul. Director: Hugh Rennie. Starring Jan Holden and Philip Latham. With other regulars Jayne Muir, Gordon Ruttan, Wendy Richard. Also in the cast: Rosemary Miller (Christine Willett), Ray Barrett (Joe Willett), Marina Martin (Sonia Hemming), John Barcroft (Frank Busby), Sheila Raynor (Mrs Braithwaite).
When Harpers decide to feature the marriage problems of a young bride in the house magazine, they choose Christine WIllett. But her marriage is no ordinary one.
2.8 (November 5th 1962)
2.9 (November 12th 1962) Script: G Bellman and J Whitney. Director: Royston Morley. Starring Jan Holden and Philip Latham. With Jayne Muir. Also in this cast: Frances White (Daphne Sinden), Anna Turner (Mrs Riddler), Judy Child (Mrs Sinden), Sheila Beckett (Miss Underwood), Charles Lamb (Jennings).
Oliver Backhouse, off duty, meets a girl who badly needs a job. He tries to help her, and she is taken on by Harpers. But people start talking.
2.10 (November 19th 1962) Script: Richard Harris. Director: Philip Barker. Producer: Royston Morley. Starring Philip Latham. With Jayne Muir. Also in this cast: Richard Vernon (Arthur Purvis), William Gaunt (Ralph Malden), Brian Steele (Roy Turner), David Webb (Gordon Moffatt), Gerald Harper (Rex Staple), Fred Ferris (Charlie Warren), Brenda Dunrich (Mrs Dangerfield), Ann Way (Miss Melhuish), Ian Wilson (Mr Watkins), Raymond Adamson (Ronnie).
Purvis realises that life is passing him by, so he takes a surprising step to get himself out of the rut.
2.11 (November 26th 1962)
2.12 (December 3rd 1962)
2.13 (December 17th 1962) Script: Jeremy Paul. Director: Philip Barker. This story starring Jan Holden, Philip Latham and Jayne Muir. Also with Gordon Ruttan (Jeff Tyson), Wendy Richard (Susan Sullivan), Francis Matthews (Tony Mayfield), Andrew Downie (Duncan Brodie), Pamela Buckley (Amita Leggat), Hilda Fenemore (Mrs Hedges), Robert Webber (Mr Smallwood), Leonard Monaghan (Robert Hedges), Maitland Moss (Max Beverley), Bruce Wightman (Ticket collector), Betty Romaine (Lady customer).
Tony Mayfield has sidestepped fate all his life, until the day that Duncan Brodie arrives at Harpers
2.14 (December 24th 1962) Script: Robert Holmes. Director: Gerald Blake. Producer: Royston Morley. This story starring Jan Holden, Philip Latham, Bernard Horsfall, Arthur Hewlett. With Jayne Muir, Wendy Richard, Gerald Andersen as Douglas Hurst. Also in this cast: Pauline Winter (Jane Harper), Helen Christie (Lois Hurst), Frederick Piper (John Ramsey), Nora Gordon (Edith Cramb), William Douglas (Robert Edwards), Arthur Mullard (Alf Enwright), Michael Graham Cox (Edgar Cartwright), Margot Lister (Miss Benson Brooke), Hana Pravda (Mrs Schrader), Katherine Page (Miss Adamson), Malcolm Russell (Hardcastle).
Harpers holds its annual party for former members of staff. For one of them, John Ramsey, it is an evening that changes his future.
2.15 (December 31st 1962)
2.16 (January 7th 1963)
2.17 (January 14th 1963)
2.18 (January 21st 1963)
2.19 (January 28th 1963- final ever story)
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Hour of Mystery (1957)
ABC's miscellany of quite primitive tv dramas hosted by Donald Wolfit
1.3 The Woman In White
For the prologue, Donald Wolfit shows us a gun from his museum. Then he introduces this Victorian classic.
On a London street walks a woman dressed in white. She is named Anne, and she is an escaped lunatic.
After a six month honeymoon, Sir Percival (Ewen Solon) and his bride Laura (Sarah Lawson) are returning to their London home, accompanied by a couple they met on their travels, The Count (Eric Pohlmann) and his wife. At the house to greet them is Maria Holcombe, Laura's sister, who has taken a dislike to Percival, believing Laura was only married for her money.
It seems she is right for Sir Percival is soon trying, unsuccessfully, to force her to sign an unspecified legal document. "You have just seen Percival at his worse," comments The Count.
The Woman in White slips in to the house. "I should have warned you," she tells Laura. But what of?
Maria is taken ill with a fever and Laura gets worn out nursing her. The Count, who happens to be a doctor, treats Maria, but it seems despite appearances, he is in league with Percival. The pair inform Laura that Maria suddenly travelled north, and that The Count will accompany Laura to join her. "I shall not be seeing you again," she promises her husband, as she has now realised his motives, but he thinks this too.
In the final act, Laua is now dead, of heart failure, according to the doctor. Maria cannot find any evidence of murder, nor can Walter, Laura's former admirer. But can the Woman in White throw any light on it? Anne is once more incaracerated in her asylum, but her mother also refuses to reveal the secret, but strangely, she is certain Sir Percival will soon die.
Before Maria and Walter, The Count helpfully recounts the events of the night of Laura's death. They then produce their trump card, Anne's mother. "A damnable lie," protests Sir Percival, on hearing her allegations. But she relates how he had invented his own parents' marriage so he could gain an inheritance. Anna knew his secret, and he has been paying Anna's mother to keep it quiet also. There's a nice twist to end the drama, as the schemers fall out.
The play is a little slow to get going, but the mystery and sense of evil builds well to a satisfying climax. The final scene was reshot, as on the first take, a gunshot offstage sounds more like a whimper!

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Moonstrike (1963)
with Gary Hope and Michael Culver

Three surviving episodes of the 27 made:

16 A Good Friend

17 The Biggest Bandit

22 The Factory

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City '68
Stories of urban life, set in a fictional Lancashire city. Harry Kershaw was the producer.
1.9 Love Thy Neighbour? (Friday February 2nd 1968, 9-10pm)
Script: Anthony Skene. Director: Cyril Coke.
A homage to the curse of road congestion, and the crusade to ease it. Not profound, but fun.
One frustrated owner of a fleet of lorries, Bernard Gilpin, calmly parks his juggernaut in the centre of town, right in the middle of the crossroads! He winds up in court, but the case provides publicity for the local paper's campaign for car sharing.
In Cherrywood Avenue, there are four who travel daily to work, each in their own cars. There's Martin (Jerome Willis), a solicitor with a shiny Rover, there's Harry (Reginald Marsh) the blunt Northern type, and Walter Whittaker (Bernard Hepton). All happily married. The fourth is Miss Alison Palmer (Wanda Ventham). The first jumps the lights and is nearly arrested, the second gets road rage, the third a parking ticket, while the last can only flash her eyes at the car park attendant to persuade him to squeeze her in. Thus they return home tired and frustrated.
Harry is back late at 8pm, just as his wife Hilda (Yootha Joyce) finishes watching Coronation Street, she mulls over the car sharing idea with the other wives, and though the three men are reluctant, Miss Palmer is more than happy to share with three men.
Day One, Martin drives and is stopped by the police again. Otherwise all goes well and the four share a drink before the home journey. Next day it's Alison's turn in her sports car. She carries three fawning males, "sweet girl." Though she has a slight prang, the gallant males can't take too much trouble to help her. It's all very set piece, but the actors do it very well.
The wives certainly notice the change in their husbands, who have smartened themselves up. "I reckon she fancies me." So, "who's going to have first go?" After drawing lots, Martin wins and he enjoys an evening flirting and champagne before reaching home late to his amorous wife, "terribly tired," is his excuse.
"My time tonight," claims Harry. But the wives decide they must "put a stop to it," but when they break into Miss Palmer's house, they learn her terrible secret. They decide to do no more, except celebrate with champagne.
Of course we viewers try and guess what this mystery is. The three men are sharing a celebration of Alison's birthday. They all arrive home rather the worse for wear. Yet all three receive the warmest of welcomes.
The morning after, the three find out the hard way this secret. "I really am awfully sorry about all this," Miss Palmer smiles
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Mrs Thursday

Ted Willis dished up another winner for ATV with this series of the charlady as the boss. Kathleen Harrison used all her skill in the title role, she needed it too, for some of the stories were pretty dire.

Series 1 and 2 have been issued on dvd

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Virgin Of The Secret Service (1968)
was perhaps one of ATV's most maligned studio bound series. The stars were: in the title role Clinton Greyn, Veronica Strong as Virginia Cortez his fiance, John Cater as Doublett, Virgin's boss, Alexander Dore as von Brauner, and Noel Coleman as Colonel Shaw-Camberley
The series was a kind of Boys Own drama of Captain Robert Virgin who has to stop the enemy in the shape of Karl von Brauner from bringing down, gasp, the Empire. Gad!
Viewer reaction was probably worse than for even The Prisoner, with even TV Times finding few viewers to praise it. Here are some typical comments from numerous disgruntled viewers: "load of rubbish"... "childish and over-acted".... "a load of tripe. The adverts are far more entertaining"... "unadulterated drivel, and badly acted drivel at that"... "please spare us the agony of such rubbish. They must think the viewing public have the mentality of 12 year olds".... "I failed to find anything remotely entertaining in it".... "please do not sell it abroad. Foreign viewers would never believe that anyone could put together such a programme." Ted Willis had created the series, but this must have been one of his seriously off days.
My review of 1 Dark Deeds on the Northwest Frontier
"Damn it all, that's not good enough," yells Col Richards of the 7th Punjab Cavalry, maybe echoing the verdict on this series, though in fact he is complaining about the murder of cavalrymen, and gad sir, even worse, the loss of Major Hamilton's three fingers. If the restless natives are not behind the killings, then who is? Croquet on the lawn- Cpt Virgin is commissioned to find out.
In Afghanistan, a celebrated butterfly expert Theodor Green (Cyril Luckham) is captured by Princess Katerina. She hates all English, as they killed her husband. She's backed by, gasp, the Russians. With their help she plans to invade India, but the plans are hidden in beads which Theodor's 18 year old daughter Polly inadvertently finds.
In by balloon descends Virgin, discerning Polly is being molested. The attackers scatter before him, "oh captain, how can I ever thank you enough?" cries Polly clutching her breast. She is whisked by ballooon to safety, away to the 7th Punjab, and "the joy of 800 rough tough lusty fighting men." When Col Richards realises Virgin is "one of them," he agrees to arrange for him to meet the local emir. But before that happens, another murderous attack on Polly, her screams saving her as Cpt Virgin dangles from the lightshades to chase off the intruders, "Miss Green, are you all right?" "Oh yes, captain," (swooning), though the captain isn't bright enough to see that the intruders are after something, her beads in fact. With the arrival of the enigmatic Mrs Cortez, there's now a chaperone for Polly.
The emir's emissary, the wasir (Denis Shaw) has his confab with Virgin, but it is interrupted by another attack. This time Mrs Cortez is on hand to sensuously bathe Cpt Virgin's wound.
"You bumbling cretins," screams Katerina, "this Captain Virgin is a fly in the soup." So she leaves it all to her ally, von Brauner. "I shall recover ze beads and send Captain Virgin to his final resting place," (evil cackle).
But Virgin has found Green in Katerina's dungeon, but maybe it's a trap by the evil von Brauner, for Virgin finds himself locked inside the jail with the butterfly expert. Absurdly he had brought Polly with him too! Von Brauner snatches her beads, and the attack on India is now imminent.
"There may be one slender chance," offers the gallant captain, it's a carrier pigeon. There's another ray of hope as Mrs Cortez has followed them all and learned that the veiled princess is not the legendary beauty of her reputation. She is locked in her boudoir.
"If you have one stroke of decency in you..." appeals Virgin to von Brauner, but of course he has none, and "the entertainment commences," that is the execution of the prisoners. Mrs Cortez however impersonates the queen rather well and the deaths are called off by her. There is an unseemly scuffle and many scores are settled. "The British Empire will be a safer place without her."
There are several ways of playing this Boys' Own stuff. The straight laced, which is largely how the lead Clinton Greyn plays it. Or you can act childlishly, a la Cyril Luckham. Or the usual method is to overact, the approach adopted by Alexander Dore as the evil German, and by Bernard Hepton as the colonel, and most splendidly by Patience Collier as the ranting princess. But on any count, the mixture here never gels at all
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THE POWER GAME (1965-1969) with Patrick Wymark as Sir John Wilder. Series One.
1 The New Boy, 2 Lady for a Knight, 3 Hagadan, 4 The Politician, 5 Point of Balance, 6 Saturday's Women, 7 The Switch, 8 The Crunch, 9 Late via Rome, 10 Persons and Papers, 11 Trade Secret, 12 The Man with two Hats, 13 Confound their Politics
To series 2 . . or to Drama menu

Series 2. 1. Nothing's Free - John Wilder: "Nobody knows I'm back in London." He's attempting to set up a 50 million international deal with the aid of Dutchman Vrieling (Eric Porter). The shadow of the NEB chairmanship resurfaces also, but is it now "a dead horse"? A typical line: Susan: "You're lying John." Sir John: "Isn't everybody?"
2. Ambassador Status- Lady Wilder: "Why is everything so incredibly boring?" But things perk up when she encounters a divorced civil servant (Patrick Allen). For Sir John there's no sign of Susan. It's the brush off! While Wilder family problems dominate, at Bligh's Ken is sorting out the African deal whilst Caswell is building his foundationless empire at the NEB
3. Grounds for Decision - "That's what Bligh's specialise in: unknown quantities." It's "bare knuckles" between Ken and Sir John with "old faithful" Don for once the key player, as Wilder's personal animosity for Hagadan threatens his undoing
4. The Front Men - Bligh's finds itself on the Arab Blacklist so Sir John tries to weave his way round it whilst avoiding, with some underhand deals, a sacking from the firm
5. A Matter for Speculation - "International panic" as Wilder flies to Rome after land speculation threatens a big Italian deal. But the ones "crucifying" his deal are none other than Lady Wilder and Don! For once Caswell Bligh wins the day
6. The Big View - "Never heard of them." Just who is the Italian to whom Sir John is subcontracting work, and why? Answer: He makes Plastic Houses! And why is a storeroom being improved? Answer: Caswell's moving in- and he's pushing for Susan's promotion too
7. The Dead Sea Fruit - "Why in God's name don't you leave him?" old friend Esther (Elisabeth Sellars) asks Lady Pamela. An absorbing script explores the ramifications as Pamela withdraws her financial support for Sir John threatening "incredible trouble." Finally the showdown, when she finds him (innocently as it happens) with Susan, in where else?, Brighton
8. The Chicken Run - "Big Dam Big News." Ken travels to Africa but is he "a boy in a man's world"? So Sir John flies out to compete with bids from the Russians, Chinese... and Hagadan. But is Bligh's competing with Bligh's? Ken's offer of a bribe seems to finish his chances
9. Safe Conduct - "Pack up and go home," Ken is advised after his failed bribe. He doesn't accept "with good grace" his deportation order, and he leaves Africa with Caswell trying to manipulate Hagadan on to the board of Bligh's. Whilst Sir John is still fighting for the contract there's a coup so they all have to return home for the climax: "someone get the smelling salts out for Wilder"
10. The Side of the Angels - A ten million bridge contract designed by "the original old gentleman" Sir Gilbert. Such a "constipated memorial" that Caswell demands it be redesigned, but Ken opposes dad ("you've meddled for the last time") whilst Sir John is secretly winning over the minister at a health farm. Guess who gets his way? "The dog ran away with the spoon."
11. Tax Return - "Since Pamela left him, he's become more childish every day." So it figures that Sir John must be in line for a peerage. Don Henderson is sent as a go-between to Pamela, "the only person that can deal with both." Pamela is unmoved even when Don urges Sir J is genuine: "if you said Timbuctoo, John would meet you there." Finally a frosty meeting, but can it be a reconciliation?
12. Where do I Want to Go? - "You can always tell the man today by the company that keeps him." Thus Don reflects on his career in an "007-ish" story with Susan giving Sir John the brush-off and Bligh's defending a "hell of" a profit on the M23 job. Will scandal force Caswell back to the helm?
13. There's No Such Thing as a Dead Heat - "End of bubble- pop!" Susan chucks champagne in John's face and Caswell's NEB is wound up, so he has to return to Bligh's "to play Hitler." Exit Don, but then also Ken, making Caswell agree to sell. But "this is not the sixth form at St Hilda's" and Caswell's price is the head of his arch enemy: "if you are going to organise shipwrecks, you must expect to get your feet wet."
To series 3 . . or to Drama menu

Series 3
1. One Via Zurich - How 'Little Napoleon' Wilder is appointed as Roving Ambassador for Trade under "featherbed nonentities," but with his boss Caswell Bligh, "have the hospitals been warned?" The shortish main story revives the African contract episode in series 2 as Sir John employs "the methods of gangsters" in a Zimbabwe-style crisis. But Wilder's no Danger Man and British engineers are released rather by blackmail, Don Henderson an unwitting pawn
2. The Big Nothing- "Smooth and sexy" Helen appeals to Sir John after Caswell turns down a project in Andarovia, an unstable state with rich mineral deposits. Wilder weaves his web with Zurich money men, while Pamela Wilder is drawn to his PR, Lincoln. The long knives are sharpened (yet again) as Wilder raises his funding himself, "your move I think." But it's his "quaint morality" that comes to the fore
3. The Outsider - This series got going at last with that familiar ruthless Wilder negotiating with Polish diplomat Novak amid security fears. Off to Warsaw, where Wilder tries to "pound into the ground" Russian competitors for a big export deal. But it's the stolid British ambassador who is the real enemy and Wilder's devious scheme exposes him, "it's slippery in the pigsty"
4. The Goose Chase -Pamela vies with Margo Fellowship for the best guests for her diplomats' party. She's assisted by Lincoln Dowling, but they are both being manipulated, as is even Sir John, who is sent on a mission to Vienna. Behind it all is the rather irritating Prof Mobbs (Michael Aldridge) with his sidekick Nightingale (Terence Rigby) who hog the story, deviously testing Lincoln's patriotic loyalty, "this isn't the KGB." Not quite as clever as it thinks
5. Private Treaty - On instructions from Lady Wilder, the family home is put up for sale. That much is clear, but the storyline starts confusingly. Why is Sir John wandering unshaven round the grounds in his pyjamas?- "you're remarkably confused, John." Marital bickering gives way to out-Caswelling Bligh in this too bitty story, Wilder too devious, yet seemingly ensnared in trivia
6. Without Prejudice -"I think I have Wilder now," declares the confident Caswell. "Who is working for whom?" asks Dowling, and I don't blame him. The answer takes long to sort out as Caswell attempts to frame his old enemy using the Race Relations Act, but for once it is Lady Wilder who trumps both their schemes, in the final part of this schoolboyish three part story
7. Cat is You, Bird is Me - To win over an eccentric Swiss gnome, Wilder is sent to a banking congress in Geneva. What persuades him to attend, is his new interpreter Perpetua (Felicity Gibson), "she's only 20 but the poor man could drown." He even tries the disco with her, though he ain't dressed for it, and doesn't understand the language, man. "He becomes "unglued," with worse to follow on the way home through customs. Lady Wilder by contrast doesn't emulate him in a weekend with Lincoln Dowling
8. Standard Practice - £230 dinner expenses at The Balkan Star claimed by Don Henderson, and he's not even on the payroll. Caswell Bligh sees the chance to remove him, but it transpires the meal was with Ken Bligh, now on his uppers, who is hoping to win the contract for a "piddling highway" in Albania. Ken is but a pawn in Sir John's "dabbling in miracles" in a compromise of ideologies to show up Caswell, who collapses under the pressure
9. The Heart Market - Lord Bligh has a heart attack in Somalia, ironically while his delegation is in the country to win a contract for building hospitals. "Twentieth century Roundhead" Bligh is despatched to Britain where he tries to buy a new heart, to the background of wangling contracts for the hospitals job. But can anyone be bought? Ken Bligh tells it straight to his father, "what do you want a heart for? You've got along without one so far"
10. The New Minister - MPs vying for the post, Sir John favours "sexpot" Mrs Bunty Lovell, "Westminster's answer to Brigitte Bardot," allegedly. "She's the only one I can control," that's why. But while he lobbies for her, she acts more like a "feller" and is more than his match in a power showdown. Maybe the favourite for the job is Garfield Kane (Barrie Ingham), "Mr Instant Success," and he's busy chatting up Pamela Wilder. Sir John leads Kane up a French garden path, and Bunty up a Russian one, but for once he is outmanoeuvred
11. Drinks on Sunday - "Those boys'll twist your arms," two Americans Wilder is cultivating to swing the deal away from the French line Kane is angling for. So busy is Sir John that the ignored Pamela succumbs to Dowling's invitation to her flat. "Harmonious concord" is never in evidence in this pointed acerbic script that concludes with a "booze up" at Sir John's
12. Triangles - Kane out to topple Wilder and by default Lincoln Dowling also. One back will get broken, or one heart, while someone else may "lose their place in heaven." So Dowling is promoted to Djakarta, forcing him to bring his relationship with Pamela Wilder to a resolution. After a slanging match the issues are half resolved and some sort of conclusion reached, though for Pamela it's one "terrible mistake"
13. Mergers - Don Henderson is "a moral ostrich," Lincoln Dowling vacillating, while Kane and Wilder lock horns. There's a lot of jumping ship, who will end up in bed with whom in a fascinating final power struggle?

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The New Boy

At home, "enjoying the quiet life," John Wilder is on the phone to Sir Gerald. Actually the life is "beginning to pall a little."
Sir Gerald ("he doesn't know much,"), on the board of Bligh Construction, is set to be the new chief- at present Wilder has "no power" on this board, and his opposition to President Caswell Bligh's new contract is a lone voice.
Wilder meets up with Don Henderson, who passes on how Corbett (see The Power Game) is getting on. The two of them admit to each other that they know nothing about civil engineering, but hatch their scheme: Wilder to "gallop to the rescue."
Tea at the Wilders, Kenneth Bligh is guest, more progressive looking than his father, persuaded to vote against Sir Gerald's rubber stamped nomination. He will put forward John Wilder. "Most unwise," is the reaction. Caswell tears his son off a strip, "it smells of Wilder... a Wilder wangle."
In any event, Wilder turns down the possible appointment on current terms, he demands full control. The board have no choice but to let "Wilder run loose." But Caswell accepts his son's letter of resignation and confronts the newcomer, "it didn't work, you can't put the screws on me." After an exchange of slanging, Wilder declares to the president what is needful to be done. "It's yours, let's see if you can hang on to it." They will be joint managing directors

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Hagadan
Wilder is researching Bligh's organisational past. He discusses with Ken Bligh the relative merits of winning a contract for motorway building, or a hydroelectric project in Africa. He travels with Ken to the site of a new motorway under construction.
Dining with a bored Pamela, she tells him she will not contemplate divorce. Then to a board meeting, and then an evening with Susan. She asks about marriage, but he can't give a straight answer. She tells him about her last affair- another married man.
Then it's off by private plane with Susan- destination Italy, to meet Frank Hagadan (George Sewell), an expert in constructing cheaper motorways. Wilder promptly offers him a job. Ken however, has decided that Bligh's will not tender for the motorway contract.
Hagadan dines with the Wilders. She has had a detective watching her husband, and knows all about the other woman. She has lunch with Frank, "what do you do with yourself in the evenings?" So while John spends another night with Susan, pumping her for information on the motorway contract, Pamela can't make love to Frank, who perceives her lack of commitment.
Hagadan is able to produce a cut price contract, "based on rationalisation," for Wilder's perusal. Ken cannot believe it. Bligh's cannot commit to two large contracts, which will they put in for? "The best man always wins."
Pamela makes another date with Frank

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Saturday's Women

Don has returned to Britain from Venezuela, and is surprised to be met at the airport by a chauffeur, who is actually awaiting Ken Bligh's return from Africa. The airport is extraordinarily quiet!
Ken arrives home with "a bloody nose" after his trip, time for a luxurious breakfast. His father's appearance is hardly welcome, the deal having collapsed, "I'm not going to say I told you so." Caswell brings news that John Wilder has secured the motorway contract. He reckons further that Wilder got Ken to tender a low bid for the Africa contract, to ensure he didn't win. "I'm going to reassume more control," father informs son.
Don is despatched to meet Wilder at his home, but only meets a disgruntled Pamela. For Wilder is at Susan's for the weekend. She is asking John questions about divorce, impossible he insists. Somehow she allows him more access to confidential documents. He phones Don, asking him to tell Ken about the Venezuela trip, and admitting he is not really interested in any motorway project. This is all part of a scheme to get father and son at each other's throats. "Either way, I get rid of one of them."
Wilder's only blot is that Susan is demanding marriage. Otherwise no more confidential stuff. But has Caswell cracked?

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The Crunch
Sir Lewis is dead, Sir John Wilder's meeting with him has to be cancelled. John is arguing with wife Pamela, demanding to know where she has been. He doesn't know of her affair with Hagadan, who is masterminding the machine that will undercut competitors for the motorway contract.
Wilder tries to find out from Don Henderson what Pamela gets up to when he is not at home, "who is it?" Caswell's view is, "serve him right." He may well be right, though I find Wilder's relationship with mistress Susan the hardest to stomach. Caswell speaks bluntly to Pamela, his worry being that if Hagadan is sacked, the contract will collapse. He offers her the use of his country cottage.
"It's got to stop," Don tells Hagadan, to which the response is, "get stuffed." The two lovers discuss their dilemma.
Susan tells John that the gossip is that it is Frank Hagadan- it seems unlikely that such gossip would not have reached him earlier.
The reception is the moment when the great machine is to be unveiled. Beforehand, Wilder has it out with Hagadan, "does she love you?" Answer, "do you?" Hagadan is given three weeks to finish his work then he must leave. The promotion goes ahead in a tense atmosphere

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Late Via Rome

During a board meeting, Ken Bligh telegrams, "please call Mr Straker," relating to the North Africa project. Kemp is a new board member. Over lunch, Wilder discusses him with Susan. It seems either Wilder or Caswell Bligh will have to step down from the board. Kemp tries to pump Susan, but fails to get a bite- maybe Lady Wilder might prove more promising?
Ken has flown back to face a furore, the contract is set to make a huge loss, according to Billy Straker. He wants to back out, surprisingly Ken seems very confident of his position- he has unearthed some fact about his father's dealings with Straker during the war. The pair had also worked with Bob Kemp, new chairman of the board.
The Wilders throw a party, Susan is present and brushes with Pamela Wilder who has also invited Caswell, against her husband's wishes. Privately, Ken proves to Wilder that Bligh's will make a profit on the project, and even draws admiration from the great man

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Persons and Papers
Looking bullish, John Wilder has decided to also go for the motorway contract as a joint venture. This pleases Ken who is tasked with Don of sorting out a partner, while John takes a short holiday.
Sefton wants Susan to be transferred to another post in order to curtail Wilder influence on the board. However, it is not Susan who Wilder is away with, for we see him at a ski resort with Pamela his wife. Though they discuss their affairs, neither can be sure of future intentions. Nor is Sefton convinced that Susan might not be a security risk if she stays where she is.
Back from holiday, Wilder is plunged into a preliminary meeting with motorway partners. The shock is that Frank Hagadan is adviser to the other lot, and harsh words are soon exchanged, "perhaps it would be better if you shut up." In private, Wilder fumes at Hagadan's reappearance, though in public, he simply disbands the meeting.
That evening, he goes to Susan's flat, to call it all off, though that proves not so easy. At his suggestion, Pamela also meets up with Frank, it's all over she says. Unfortunately the script takes too much time to establish all this.
Ken has set up a new partner, to Wilder's anger, and the pair have a heart to heart about their joint roles. Wilder cannot but be impressed by how Ken has developed, having to grudgingly yield, "I leave it all in your capable hands"

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Trade Secret

Question in the house re- two members of the same company on the National Export Board, This is really variations on a theme, the main variation being how Bligh's obtained the Matabelia contract. A frosty board meeting cannot winkle out the truth.
But privately, to his wife Justine, Ken claims it was all down to the Old Boy network. Wilder however doubts if this is a right explanation, ditto Sefton Kemp on the board. Wilder does some research into paper companies of Bligh's, revealing anomalies, over which Caswell appears very worried. An issue is that Matabelia's political stance is not one that American finance could support.
Wilder sees a chance to get Caswell's slightly shady dealing to force him to resign from the board. Ken however, cannot give his support to what amounts to a "breaking" of his own father. Caswell wrestles with his own position, "I've done nothing dishonest," he informs his son. However he has told the board a slight untruth.
Wilder finds Susan colder towards him, tired of being used by him, and she announces, "I've asked for a transfer."
To Bob Gillingham, chair of the board, Caswell offers his resignation, which is accepted. However on the minister's orders, Bob has to tell Caswell, that the resignation is not accepted

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THE PLANE MAKERS (1963-1965)
with Patrick Wymark as John Wilder, who gradually develops into the seriously ruthless character that made The Power Game so memorable. This series offered a number of one-off character studies, some very memorable, others less satisfactory. For the pick, Marie Lohr as Miss Geraldine (#2.20).

1.1 Don't Worry About Me (Feb 4th 1963), 2.1 Too Much to Lose (Sept 16th 1963), 2.2 No Man's Land , 2.3 A Question of Sources, 2.4 All Part of the Job, 2.5 Don't Stick Your Head Out 2.6 Old Boy Network, 2.7 Any More for the Skylark? 2.8 A Matter of Self Respect, 2.9 Costigan's Rocket 2.10 The Thing About Auntie, 2.11 The Cat's Away, 2.12 Strings in Whitehall, 2.13 The Best of Friends 2.14 How Do You Vote? 2.15 One Out All Out! 2.16 Loved He Not Honours More, 2.17 Bunch of Fives 2.18 The Smiler, 2.19 In the Book , 2.20 Miss Geraldine, 2.21 A Condition of Sale, 2.22 A Paper Transaction, 2.23 A Job for the Major, 2.24 A Matter of Priorities, 2.25 Bancroft's Law 2.26 The Homecoming, 2.27 Sauce for the Goose, 2.28 How Can You Win If You Haven't Bought a Ticket?
3.1 Empires Have to Start Somewhere, 3.2 Other People Own Our Jungles Now, 3.3 A Lesson for Corbett 3.4 The Golden Silence, 3.5 The Island Game , 3.6 It's a Free Country- Isn't It? 3.7 A Question of Supply, 3.8 The Flying Frigates, 3.9 Only a Few Millions 3.10 The Salesmen, 3.11 Appointment in Brussels, 3.12 A Hoopla of Haloes, 3.13 The Firing Line

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THE SWORD IN THE WEB
My review of surviving programme 3 The British Pilot
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This forgotten 1962 ABC drama series recounted true stories of the French Resistance. The tales were based on the memoirs of Philippe Vomecourt.
This series was produced by Michael Mills. He took the main stars for some filming to actual spots where incidents took place in France, including The Berry, The Loire, and The Sologne.
Scripts were by Arthur Swinson. Sets designed by Patrick Downing. Incidental music composed by Jean Wiener and played by the Orchestra of the Garde Republicaine de Paris. French TV expressed an interest in buying at least some of the stories, anyone know if they ever did so? Certainly other British TV companies spurned the series, though Anglia did screen it on Friday nights.
Inexplicably it was screened in ABC's own tv area late on Saturday nights, later moving to Sunday afternoons, and was not networked.
The star was Alex Scott as Jacques St Martin, "in 1941 I was the leader of a resistance group based in the town of Ravanche in Central France. My job was to collect information and to sabotage the German war effort. But from time to time, I had to scrap all my plans to deal with a sudden emergency."
Other regulars appearing in the stories were Roddy McMillan, Paul Curran, David Kelsey, and Maxine Holden.

Details of the 12 stories. I am grateful to Des Martin for some of the episode titles.

1 A Foot in the Door (September 29th 1962, 11pm-11.45)- early in 1941 the first Resistance leader is dropped into enemy territory. He forms a group of locals brave and patriotic enough to join him, with other trained operators dropped from England.

2 The First Air Drop (October 6th 1962, 11pm)

3 The British Pilot (October 13th 1962, 11.15pm-midnight)
Synopsis: A man in the uniform of an RAF pilot walks into a little town in unoccupied France in the summer of 1941. Has he really been shot down by the Luftwaffe, or is he a Gestapo stooge? The local Resistance group needs time and obscurity to organise resistance to the Germans; nevertheless they try to save him from internment, but are nearly destroyed by the English pilot.
Cast: Alex Scott (Jacques St Martin), Roddy McMillan (Antoine Roche), Paul Curran (Henri Morin), David Kelsey (Marc Fielding), Angela Halley (Pat Vyner), Miriam Raymond (Madelaine Roche), Joseph Tomelty (Drunk), George Curtis (Redon), Eric Dodson (Station sergeant), Leon Peers (Flt-Lt Dickson), Michael Collins (Policeman), Ralph Nossek (Vibraye), Paul Dawkins (Police sergeant), Edward Cast (Longue), Nellie Hanham (Mme Rubin). Note- this episode is still extant

4 The Priest of St Quentin (October 20th 1962, 11pm)

5 The Senegalese (October 27th 1962, 11pm-11.45, shown on TWW Sat Nov 21st 1962 at 11.05pm)
Synopsis: The Germans in occupied France hunt down and execute French colonial troops without trial. When four Senegalese soldiers, hiding in woods near Choleau, begin murdering the Germans in the town, the Mayor, the German Commandant and the Resistance face a situation which can only end in tragedy.
Cast: Alex Scott (Jacques St Martin), Roddy McMillan (Antoine Roche), David Kelsey (Marc Fielding), Angela Halley (Pat Vyner), Maxine Holden (Alix de la Cour), Michael Mellinger (Pierre Durrand), Ruth Kettlewell (Mme Matours), Yemi Ajibade (Jean), Louis Mahoney/ Alaba Peters/ Alien Bahow (Senegalese), George Carter/ Brian Sheehy (German Soldiers), Robert Sansom (Mayor), Graeme Bruce (Connard), Carl Duering (German Commandant), Carl Conway (German Adjutant), Philip Madoc (Sgt Wassner).

6 The Informer (November 3rd 1962, 11pm)
Synopsis: The greatest danger to the men and women of the Resistance is not the Gestapo, the police, or the Milice. It is the ordinary Frenchman who will sell them to the enemy for money. The greatest enemy is the informer.
Cast: Alex Scott (Jacques St Martin), Roddy McMillan (Antoine Roche), David Kelsey (Marc Fielding), Paul Curran (Henri Morin), Maxine Holden (Alix de la Cour), Jane Eccles (Old lady), Blaise Wyndham (Touvois), Donald Morley (Alphonse Chavrier), Ian Macnaughton (Perichon), Louis Haslar/ Peter Mason (Vichy Policemen), Cyril Shaps (Claude Garnier), Max Brimmel (Troppot), Diana Davies (Waitress), Robert Hunter (Dupont), Jerry Jardin (Contact).

7 The Alibi (Sunday November 11th 1962, 2.40-3.25pm)
Synopsis: To new members of the resistance dropped in from Britain, it is the first few hours in occupied territory which are the most dangerous. Alix's first assignment is to provide two new agents with their alibi.
Cast: Alex Scott (Jacques St Martin), Roddy McMillan (Antoine Roche), David Kelsey (Marc Fielding), Maxine Holden (Alix de la Cour), Angela Halley (Pat Vyner), Jeremy Ure (Pierre), Barry Keegan (Marcel Auray), Robin Parkinson (Felix), Ann Tirard (Mme Felix), Aubrey Morris (Hedges), Patrick Troughton (Tournay), Clifford Earl/ Paul Stockman/ Royston Tickner (Policemen), Reginald Jessup (Gestapo Officer), Norman Pitt (Railway porter), William Buck (Jean-Marc). Note- this episode is one of two of this series still extant

8 The Railway Job (Sunday November 18th 1962, 2.40pm)
Synopsis: When one man of a Railway Resistance group is caught by the German field security, the whole organisation is endangered.
Cast: Alex Scott (Jacques St Martin), David Kelsey (Marc Fielding), Maxine Holden (Alix de la Cour), Simone Lovell (Marie Morelle), Thomas Heathcote (Guy Morelle), Bernard Horsfall (Jean Thillot), Cyril Cross (First Feldgendarme), David Beale (Second Feldgendarme), Alison Frazer (Janine Thillot), Frank Gatliff (Hauptmann Fieber), Judith Nelms (Madame Grisson), Arnold Locke (Brugnon), Roy Pattison (Archet), Kenneth Watson (Lannes), Nancy Manningham (Viki Thillot), Richard Wharton (Roux), Colin Cresswell (Mortagne).

9 The Double Agent (Sunday November 25th 1962, 2.40pm)
Synopsis: The leader of a Resistance group needs a sixth sense if he and the group are to survive. This sense arouses the suspicions of Jacques St Martin when he meets a new agent.
Cast: Alex Scott (Jacques St Martin), Roddy McMillan (Antoine Roche), Paul Curran (Henri Morin), David Kelsey (Marc Fielding), Maxine Holden (Alix de la Cour), Angela Halley (Pat Vyner), David Cargill (Yves), Robert James (Roland), David Lodge (Lasalle), Joan Pethers (Louise), Dallas Cavall (Margnet), John Boyd Brent (Otille), George Galsworthy (Gaston).

10 The Munition Factory (Sunday December 2nd 1962, 2.40pm)

11 The Hazard (Sunday December 9th 1962, 2.40pm)

12 The Tunnel (Sunday December 16th 1962, 2.40pm) - final story

Appearing in one of the stories for which I have not got cast lists were: Laurie Leigh, Ronald Radd, Jeffrey Segal, and Tony Thawnton.
If you can add any information on The Sword in the Web, I would be pleased to hear from you.
Menu
The British Pilot
"In 1941 I was the leader of a resistance group based in the town of Ravanche in Central France. My job was to collect information and to sabotage the German war effort. But from time to time, I had to scrap all my plans to deal with a sudden emergency." Jacques is advised a British pilot has been arrested by local police. He offers to act as interpreter but encounters an official brick wall. "One of us has got to get in that place somehow."
But how to get into the police cells? Marc must get himself arrested, Antoine accuses him of stealing 5,000 francs from him and after a scuffle in the police station, Marc is locked up. In the cells are also the pilot as well as a drunk. But is the pilot genuine? Whatever, the pilot is suspicious that Marc might be a Nazi infiltrator. The drunk is a distraction and Marc can make no progress.
The robbery charge is withdrawn and Marc is released, none the wiser.
The prisoner is transferred to a bigger police station where Jacques makes another appeal to act as an interpreter. This offer is accepted. Name of pilot: Flt Lt Dixon. Jacques asks some jolly patriotic questions to test his Britishness. Pat wires to Britain about Dixon. Reply- a pilot of this name is currently missing.
So Jacques tries to persuade the chief of police Inspector Vibraye, but he is too much in the Nazi thrall to agree, though Jacques finds an ally in Inspector Longue. But the worry is, is Longue leading them into a trap? "It's an immense risk."
"There mustn't be a slip up." Longue says the pilot is being taken away for interrogation at 9.30 next morning. At the Hotel du Midi, the Resistance plan their move. Disguised as police, promptly at 9.15 the party calls at the police station to collect Dixon. But there's a technical hitch, no counter signature on the documentation. It's a new rule the Resistance had not known about. Fortunately Longue intervenes and Dixon is removed seconds before the real police escort checks in. A genteel car chase then Dixon is safe. Celebration with a drink, Dixon has a good chance of getting back to England.
Jacques: "we'll fight until there isn't one German left in France"
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PROBATION OFFICER
ATV invested a good deal of time and research before putting on this, the first British hour-long studio-based series. Originally it had been announced during the summer that it would be screened in a Saturday evening slot (after Oh Boy!), but in the end began transmission on Monday 14th September 1959. At the start it had been planned for a half hour slot, scriptwriter Julian Bond spending "many hours," indeed the best part of a year, researching the project. En route, it was decided that the new hour long format would be more suitable. 26 stories had been planned, but because of its success, the series was extended to 39. With 20 of these 39 stories featuring in the Top Ten, inevitably a second series of 40 stories followed, it ran from Autumn 1960, and there was a final series of 30 - with a break for a strike- from Autumn 1961 to Autumn 1962.

Click for my reviews of surviving stories from series 1 on the Network dvd:
1.1, 1.2, 1.3, 1.5, 1.6, 1.7, 1.8, 1.13, 1.14, 1.15, 1.16, 1.22
Drama menu

Here are details of some of the stories.
SERIES ONE
John Paul as trainee probation officer Philip Main in stories nos 1, 2, 3, 4, 5, 7, 8, 9, 11, 12, 13, 15, 17, 18, 19, 20, 23, 24, 28, 29, 31, 33, 35, 37 and 39.
David Davies as Jim Blake in stories 1, 2, 3, 4, 5, 7, 8, 10, 11, 12, 15, 16, 17, 19, 21, 22, 23, 26, 27, and 29 (his last story).
Honor Blackman as an "attractive" woman officer Iris Cope, "but there is no love interest- discarded as puerile." She faded from the series- she was in stories 1, 2, 4, 5, 6 (starring alone), 9, 12, 14 and 15.
Iris Russell played officer Joan Fiske in stories 27, 30 and 36.
John Scott as Bert Bellman in 1, 2, 3, 4, 9, 11, 12, 15, 20, 22, 24, 25, 26, 32 (starring role), 34 (starring again), 38 (starring) and 39.
also AJ Brown as Judge (from story 12 as Judge Kempton) in 1, 2, 3, 7, 8, 10, 12, 13, 14, 16, 31. (Other actors played other judges in some other stories.)

1. (Sept 14th 1959) written by Julian Bond. New probation officer Philip Main reports for duty. He is an ex-army officer who has only received a few weeks' basic training. He is introduced to Jim Blake, a senior official and an old hand at probation work. He also meets Iris Cope, one of two women attached to the office. A youth named Arthur (Melvyn Hayes) who unwittingly smokes drugged cigarettes is arrested for breaking and entering.
2. (Sept 21st 1959) written by Julian Bond directed by Christopher Morahan. The "colour problem" in Notting Hill as teddy boys (led by Larry Martyn) threaten Johnny (Lloyd Rekord). Earl Cameron is also in this story.
3. (Sept 28th 1959) written by Julian Bond, with Richard Vernon and Arthur Lovegrove- my review is above. 'GT' wrote "Probation Officer... is looking tired already. John Paul looks positively exhausted as he trudged through a silly story and all-forgiving end. Even the production looked a bit laboured."
4. (Oct 5th 1959) written by Julian Bond directed by Christopher Morahan, with Alfred Burke, John Scott and Geoffrey Palmer.
5. (Oct 12th 1959) written by Julian Bond, with Alfred Burke and Annabel Maule
6. (Oct 19th 1959) written by Julian Bond directed by Christopher Morahan, with Julie Hopkins, Derren Nesbitt, Grederick Piper, Noel Dyson, Charles Lloyd Pack and Susan Hampshire.
7. (Oct 26th 1959) written by Julian Bond, with William Kendall
8. (Nov 2nd 1959) written by Julian Bond, with William Ingram, Jess Conrad
9. (Nov 9th 1959) written by Julian Bond directed by Hugh Rennie, with John Bonney, Kevin Stoney
10. (Nov 16th 1959) written by Tessa Diamond directed by Christopher Morahan, with Thorley Waters, AJ Brown, Gwen Nelson, Michael Crawford
11. (Nov 23rd 1959) written by Julian Bond directed by Hugh Rennie, with Harold Goodwin, Paul Eddington, Peter Madden, Dorothy Gordon.
12. (Nov 30th 1959) written by Tessa Diamond, with Sebastian Shaw, Ralph Michael and Carol Ann Ford.
13. (Dec 7th 1959) written by Julian Bond directed by Christopher Morahan, with David Markham, Joyce Heron, plus Patrick Newell, Tony Quinn.
14. (Dec 14th 1959) written by Peter Yeldham directed by Hugh Rennie, with James Sharkey, Patricia Healey, plus Rose Alba, Anthony Woodruff.
15. (Dec 21st 1959) written by Julian Bond directed by Christopher Morahan, with Betty Hardy, George Roderick, Lane Meddick, Charles Leno.
16. (Dec 28th 1959) written by Julian Bond, with Charles Gray and Pauline Letts, plus Stratford Johns.
17. (Jan 4th 1960) written by Phillip Grenville Mann directed by Christopher Morahan, with Wensley Pithey and Hazel Hughes.
18. (Jan 11th 1960) written by Phillip Grenville Mann, with Wensley Pithey, Hazel Hughes plus Stratford Johns, Katharine Page.
19. (Jan 18th 1960) written by Julian Bond directed by Christopher Morahan, with David Lodge, Murray Melvin plus Bryan Pringle, Laurence Hardy, Bernard Archard.
20. (Jan 25th 1960) written by Peter Yeldham directed by Hugh Rennie, with Glyn Owen, Dorothy Bromiley plus Michael Crawford, Michael Balfour.
21. (Feb 1st 1960) written by Julian Bond directed by Hugh Rennie, with Meier Tzelniker, Harold Goldblatt and Harry Lockart, plus Marie Burke, Paul Eddington.
22. (Feb 8th 1960) written by Phillip Grenville Mann directed by Christopher Morahan, with Redmond Phillips, plus Susan Richards, Avis Bunnage, Dinsdale Landen. Storyline; An old aged pensioner's pride leads him into trouble.
23. (Feb 15th 1960) written by Peter Yeldham, with Sandor Eles, plus Charles Morgan. Storyline: Typecast Sandor Eles played Stefan, a 20 year old Hungarian refugee.
24. (Feb 22nd 1960) written by Peter Yeldham directed by Hugh Rennie, with John Gabriel and Margaret Anderson, plus Geoffrey Palmer, Edward Jewesbury.
25. (Feb 29th 1960) written by Julian Bond. No 'regular' star in this story which starred Duncan Lamont as George Brent and Avril Elgar as Maisie Brent with Ilona Ference and Colin Campbell.
26. (Mar 7th 1960) written by Phillip Grenville Mann directed by Josephine Douglas, with Cyril Luckham and Alexander Archdale, plus Anne Lawson.
27. (Mar 14th 1960) written by Julian Bond, with Carmel McSharry, plus Vi Stevens, Annika Wills.
28. (Mar 21st 1960) written by Peter Yeldham, with William Hartnell, plus Geoffrey Hibbert, Shelagh Fraser, Emrys Jones. Hartnell played a merchant seaman. Some location shooting was done at London's Albert Docks.
29. (Mar 28th 1960) written by Phillip Grenville Mann, directed by Josephine Douglas, with Emrys Jones and Betty McDowall, plus John Sharp.
30. (Apr 4th 1960) written by Julian Bond, with Maureen Beck, plus Betty Huntley-Wright.
31. (Apr 11th 1960) written by Peter Yeldham directed by Hugh Rennie, with Peter Illing, plus Geoffrey Palmer.
32. (Apr 18th 1960) written by Phillip Grenville Mann, directed by Geoffrey Nethercott, with Patricia Mort, Alan Browning, Olga Dickie, Ronald Lacey
33. (Apr 25th 1960) written by Julian Bond, directed by Christopher Morahan, with Percy Herbert, Madge Ryan and Margot van der Burgh, plus Christopher Beeny. (The series had been extended because of its success up to this 33rd story, but six further stories were then announced)
34. (May 2nd 1960) written by Peter Lambda, with Jessica Dunning, John Lee and Campbell Singer.
35. (May 9th 1960) written by Peter Yeldham directed by Geoffrey Nethercott, with John Barrie and Brian McDermott.
36. (May 16th 1960) written by Phillip Grenville Mann, directed by Christopher Morahan, with Nora Nicholson, Oliver Johnston and Dandy Nichols.
37. (May 23rd 1960) written by Tessa Diamond, with Ian Hendry and Donald Churchill.
38. (May 30th 1960) written by Peter Lambda, directed by Geoffrey Nethercott, with Jack Gwillim, Mary Kerridge and Ballard Berkeley.
39. (June 6th 1960) written by Julian Bond, directed by Christopher Morahan, with Keith Faulkner who plays a neo Fascist put on probation for painting swastikas on a synagogue wall and then robbing it.

SERIES TWO (40 stories).
The series returned in September 1960. John Paul continued to star as Philip Main, the only other semi regular character to return being John Scott as Bert Bellman. Other characters were introduced: Jessica Spencer adding some glamour as Maggie Weston, Jack Stewart as Andrew Wallace, Main's immediate superior. None appeared in every story.

Details of some stories in this series:
2.1 Monday September 12th 1960. Storyline: A youth (William Simons) guilty of assault, is 'put back' before sentence by the magistrate (Henry Oscar) for a probation officer's report. The lad is persuaded by Philip Main to leave his family, who are nothing but a bunch of thieves. But while preparing to leave, his two brothers return home having stabbed a man in a street brawl. Their young brother is required to give them an alibi. But when the charge turns to murder, their alibi evaporates, and the youth is given a fresh start, thanks to the probation service. Script: Peter Yeldham.
2.5 Monday October 10th 1960
Script: Peter Yeldham. Director: Royston Morley.
Starring Jessica Spencer. Also starring Hugh Sinclair (Dr Sesnik, a psychiatrist), Faith Brook (Vera Nolan, his patient), Terence Alexander (Eric Nolan) and Henry Oscar (magistrate). With Gladys Boot (Mrs Lane), Anthony Dawes (Bob Charlton), June Elvin (Jean Charlton), Christine Lindsay (Miss Whittaker), Aileen Britton (Mrs Andrews), Douglas Muir (Mr Judd), Leonard Osborne (Henry Shand), Leon Garcia (Ted), and David Gregory (Jim).
2.12 Monday November 28th 1960
starring John Paul with Barbara Lott as Peggy Bowman.
Cast also included: Charles Kay (Kenneth Wheatley), Suzanne Gibbs (Carol Wheatley), Maurice Colbourne (Dr Barry), John Huson (Dt Insp Turner), Frieda Knorr (Receptionist), Douglas Hill (Harry), Dixon Adams (George), Michael Hunt (Jim), and Bruce Wightman (Taxi driver).
Script: Peter Lambda. Director: Philip Dale. producer was Antony Keary.
2.13 Monday December 5th 1960
With Jessica Spencer, Jack Stewart, Richard Caldicot as Richard Paget, Maurice Hedley as Magistrate and Catherine Feller as Pamela Williams.
Cast also included: Anna Cropper (Janet David), Derek Sydney (Brian), Marjorie Rhodes (Mrs Williams), Terence Knapp (Mr Lucas), Barry Steele (Clerk of Court), Edward Burnham (Club customer), William Young (Police constable), Vivienne Burgess (Policewoman), Josephine Price (Policewoman), and Royston Tickner (Charles Doherty).
Script: William Woods. Director: Rex Firkin.
2.15 Monday December 19th 1960
starring John Paul with Jessica Spencer, Jack Stewart, and Glyn Houston as Roy Gardner.
Cast also included: Clive Colin Bowler (Leslie Gardner), Constance Wake (Marcia Davis), Armine Sandford (Dorothy Marshall), Allan McClelland (Leo Marshall), Emrys Leshon (Dt Dgt Bell), Earle Grey (Magistrate), Roger Rowaland (First policeman), and Richard Steele (Second policeman).
Script: Phillip Grenville Mann. Director: Peter Sasdy.
2.20 January 23rd 1961
Starring John Paul, also starring Meredith Edwards (Jack Resdshaw). Among the rest of the cast were Clive Colin Bowler (Leslie Gardner), Valerie White (Mary Farrell), Betty Cardno (Eleanor Redshaw), and Marian Chapman (Gillian Redshaw).
2.21 January 30th 1961
Script: Phillip Grenville Mann. Director: Peter Sasdy.
Starring John Scott, Jessica Spencer. Also starring Brian Murray (Dickie French) and John Arnatt (Sgt Conway). With Douglas Sheldon (Teddy Lukins), Terry Wale (Johnny Cazzo), Gillian Muir (Merle Newman), Arthur Lowe (Roy Delgarno), Leon Shepperdson (PC Kenneth Sandall), Josephine Price (Woman PC Marion Bennett), John Boyd-Brent (Station Sergeant), Philip Hrout (Station Constable), and Blaise Wyndham (The Colonel)
2.22 February 6th 1961 with John Paul, Jessica Spencer.
Script: Peter Yeldham. Director: James Ferman. Also starring Henry Oscar (Magistrate) and Edward Underdown (Charles Hamilton). With Noel Hood (Meg Hamilton), Anita Sharp Bolster (Judith Carrington), Blanche Moore (Agnes Robertson), Barry Steele (Clerk of court), Peter Swanwick (Mr Prentiss), Reginald Green (Jailer), William Gaunt (Police Officer), Rita Davies (Woman Police Officer), and Jennifer Browne (Secretary).
2.26 March 13th 1961
starring John Paul with Leonard Sachs as Angelo Fiordicelli, Henry Oscar as Magistrate (he is also in some other stories), and Jack MacGowran as Long-Ears.
Cast also included: Valerie White (Miss Farrell), Verity Edmett (Nina), Olive Sloane (Mrs Peacock), Betty Cooper (Chairman), David Webb (Johnnie), Julie Martin (Carol), Pat O'Reilly (Shirley), Kenneth Seeger (Smoothie), Irene Arnold (Shopper), Victor Winding (PC Bates), Eunice Black (Sgt Williams), and Richard Kneller (Jailer).
Script: Helen Francis. Director: Philip Dale.
2.27 March 20th 1961 with Jessica Spencer.
Script: Helen Francis. Director: Antony Kearey. Also starring Derek Blomfield (Willie Stuart), Annette Carell (Olivia Crichton), Cyril Luckham (Laurence Crichton) and Jane Wenham (Muriel Stuart). With Claire Marshall (Lizzie Belling) and Norman Pitt (Leonard Whiteman).
2.29 Easter Monday April 3rd 1961
starring Jessica Spencer, John Scott, Dermot Walsh as Richard Carver, and Betty Huntley-Wright as Joan Carver.
Cast also included: Tamara Hinchco (Annette Carver), Michael Wynne (Johnny), Basil Beale (Police constable), Kathleen St John (Landlady), Laurel Mather (Mrs Smith), Charlotte Selwyn (Dancer), and Benn Simons (Taxi driver).
Script: Julian Bond. Director: Royston Morley.
2.31 April 17th 1961
starring John Paul, with John Scott, Henry Oscar (Magistrate), and George Baker (Bill Walker).
Cast also included: John Crocker (Harry Jessop), Manning Wilson (Anthony Meredith), John Harvey (Deputy Governor), Edward Evans (John Hammond), Geoffrey Palmer (Padre), Andrew Downie (Doctor Gordon), Victor Winding (Prison officer), Peter Layton (Hockley), Bill Maxam (Johnston), Maurice Travers (Prisoner), Judy Child (Waitress), and Denis de Marney (Clerk of Court).
Script: Peter Lambda. Director: Philip Dale.
Storyline: Ex prisoner Bill Walker is determined to go straight, but as soon as potential employers see his blank employment card it's hopeless. Philip Main helps find him lodgings and get him a job.
Note: Members of the House of Lords were shown this episode on May 17th.
2.34 May 8th 1961
starring John Paul, with Robert Flemyng as George Anson.
Cast also included: Geoffrey Chater (Sir Hector Jones), Patricia Mort (Peggy Wallace), Joe Gibbons (Sgt White), Fred Hugh (Landlord), Joan Phillips (Girl), and Jeremy Bulloch (Mail boy).
Script: Julian Bond. Director: Peter Sasdy.
2.36 Whit Monday May 22nd 1961
starring John Paul, with Fulton Mackay as Larry, Ellen McIntosh as Dorothy, and Gladys Henson as Rosie.
Cast also included: Walter Horsbrugh (Magistrate), Victor Platt (Mr Bull), Pamela Tagg (Shirley King), Jon L Gordon (Mr King), Brian Lown (Jimmy King), Judy Child (Mrs King), Michael Logan (Headmaster), William Young (Tom), Muriel Zillah (Barmaid), Colin Fry (Fred), David Stuart (PC Pemberthy), Humphrey Heathcote (Gaoler), Ivor Dean (Clerk of Court), Christopher Banks (Usher), Edward Dentith (Police inspector), Roger Avon (Sgt Matthews), Brian Hankins (PC Johnson), and Gina Yates, Delena Scott, James Luck, Lynda Temple as Schoolchildren.
Script: Peter Lambda. Director: Philip Dale.
2.37 May 29th 1961
with Jessica Spencer, John Scott, Robert Brown as Harry Barnett, and Miranda Connell as Sue Barnett.
Cast also included: Anthony Daws (Charles Lang), Pauline Wynn (Veronica Lang), and Laidman Browne (Divorce Commissioner).
Script: Julian Bond. Director: Royston Morley.
2.38 June 5th 1961
starring John Paul with Brenda Bruce as Fay Loring, Sam Kydd as Arthur Netterfield, and Jill Ireland as Netta Loring.
Cast also included: Lisa Daniely (Carmen di Cunha), Kevin Brennan (Jack Smith), Laidlaw Dalling (Richard Haley), Nita Moyce (Irene), Robert Mill (Young man), Lissa Gray (First young woman), Delia Corrie (Second young woman), Jean Burgess (Dancer), and Michael Harding (Casting director).
Script: Helen Francis. Director: Peter Sasdy.
2.39 June 12th 1961
with John Scott and also Henry Oscar as Magistrate.
Cast also included: David Coote (Vic Donovan), Tim Pearce (Mike), Riggs O'Hara (Freddy), Russell Waters (Mr Donovan), Irene Richmond (Mrs Donovan), Irene French (Kathy Donovan), Philip Anthony (Ted Cooper), Delena Kidd (Mrs Cooper), AJ Brown (Judge- also previously in series 1), Fred Kitchen (Prosecutor), Reginald Smith (Cinema manager), Frances White (Girl in the tube), Margot Lister (Middle-aged lady), Desmond Perry (Sergeant), John Barry-Hayes (First constable), and John Baker (Second constable).
Script: Peter Yeldham. Director: Royston Morley.
2.40 June 19th 1961
starring John Paul with Jessica Spencer, John Scott, and Cyril Raymond as John Carter. Cast also included: David Hemmings (Harry Carter), June Ellis (Janet Carter), and Michael Hammond (Peter Carter).
Script: Julian Bond. Director: Antony Keary.

SERIES THREE
The series returned on September 25th 1961. Owing to an Equity dispute the series terminated after 11 stories on December 4th 1961, but returned when the strike was settled on May 7th 1962 for 19 further episodes.
John Paul and Jessica Spencer remained the main stars, appearing in some of the stories. John Scott made occasional appearances also. Main's new assistant, Stephen Ryder, was played by Bernard Brown. After the dispute ended, Windsor Davies replaced John Paul, playing probation officer Bill Morgan.
The location of the series was moved to the suburban town of Goodford.
Antony Keary was again the producer until the enforced break. For the 1962 stories, Rex Firkin was the producer from May 1962 (3.12 on), though Hugh Rennie also alternated producing some of the programmes (from 3.16).
3.1 September 25th 1961 starring John Paul with Jessica Spencer and Bernard Brown.
Also in this cast: Edmond Bennett (Charles Oakley), Ronald Pember (Mr Grabger), Myrtle Reed (Miss Kemp), Jane Asher (Patsy), Felix Felton (Mainwaring), Sheila Raynor (Mrs Granger), John Barrett (Police sergeant), and Norman Mitchell (Police constable).
Script: William Woods. Director: Antony Keary.
Synopsis: A father seeks help from the Probation Office for help in supporting two families.
3.4 October 16th 1961 with John Paul. Script: Helen Francis. Director: Philip Dale. Also starring Harriette Johns (Lavinia Woodruff), Michael Aldridge (Col Murray) and Mark Burns (Dominic Woodruff). With Eric Hillyard (Shop assistant), Fred Ferris (Chairman), William Douglas (Policeman), John Hurt (Norman Bailey), Robin Wentworth (Butch Patterson), David Garth (James Kemp), Richard Pescud (Barman), Nita Moyce (Col Ellen Murray of the Salvation Army), Peggy Marshall (Elsa), Margaret Bull (Lt in the Salvation Army), and Andre Charise (Roger Guillaume).
3.7 November 6th 1961 with John Paul and Jessica Spencer. Script: Anne Francis. Director:Antony Keary. Mary Redwood, already on probation for larceny, is caught stealing again and brought to court by her father. But Maggie suspects the fault may lie more with the parents than their daughter. Also starring Olive Milbourne (Mrs Redwood) and John Boxer (Mr Redwood). With Frances White (Mary Redwood), Nicholas Edmett (Donald Smith), Howard Goorney (Mr Smith), Cameron Hall (Fred Stewart), Joan Metheson (Miss Farley), Dorothy Primrose (Miss Stockton), Marion Jennings (Magistrate), Carmen Silvera (Mrs Riccardo), Laurel Mather (Borstal officer), Cheryl Molineaux (Rose), John Bull (Charlie), Michael Culver (Yank), Edward Ogden (Police Sgt), Pauline Jefferson (Woman PC), Anthony Sheppard (Policeman), and Thomas Hammerton (Fat man).
3.9 November 20th 1961
Synopsis: The Lawsons are foster parents to Paddy, an abandoned child, and love him dearly. They hope to adopt him legally, but first his mother must be found to give her sanction. Suppose she wants him back? Script: Helen Francis. Director: Peter Sasdy. With Maureen Prior as Mrs Lawson, Brian Badcoe as Mr Lawson, Susan Maryott as Susan Dreier, Geoffrey Chater as Sir Giles Enton, and Godfrey Quigley as Michael White.
Also in this cast: Hazel Hughes (May Harper), Brian Haines (Hans Dreier), and Martin Lawton (Secretary to Sir Giles).
3.10 November 27th 1961 starring John Paul with Jessica Spencer.
Also in this cast: Nadine Hanwell (Catherine Thorpe), Bridget Wood (Pamela Thorpe), John Wentworth (Mr Thorpe), Vivienne Burgess (Mrs Thorpe), Brian Hewlett (David Williamson), John Harvey (Mr Williamson), Marion Jennings (Mrs Campion), John Barrett (Sgt Franks), Lewis Wilson (Detective), and Josephine Price (Woman PC).
Script: William Woods. Director: Peter Sasdy.
Synopsis: Pamela Thorpe, not quite 16, has been in love with David, the boy next door, and he apparently loves her, too. Yet suddenly he is arrested for brutally attacking her. At the juvenile court the reason for David's strange action is revealed.
3.11 December 3rd 1961 with Sandra Dorne as Sally Bates, Anthony Sagar as Sgt Donald Bates.
Also in cast: Betty Baskcomb (Mrs Hartley), John Dane (Jixey Carter), Dixon Adams (Bill Kirby), John Kidd (Mr Glover), David King (Insp Mills), Beaufoy Milton (Magistrate- also in 3.17), Billy Milton (Police solicitor), Colin Rix (First pc), Barry Raymond (Second pc), Fred Hugh (Barman), Gay Hamilton (Glover's secretary), and Patricia Clapton (Hazel).
Script: Peter Lambda. Director: Geoffrey Nethercott.
Synopsis: Police Sgt Bates feels that his young wife Sally does not measure up to his ideals, and their difficulties comes to a head when her behaviour threatens to jeopardise his career as well as their marriage. There are two sides to any marriage, and that of a young woman to an older man raises its own particular problems.
3.14 May 21st 1962 with John Scott.
Also in this cast: John Ronane (Leo Walker), Annette Crosbie (Jennie Walker), Edward Evans (Tom Langley), Terence Soall (Andrews), Joan Phillips (Ruth), Tony Arpino (First man), Morris Sweden (Second man), Kitty Attwood (Old woman), and Gordon Waine (Barman).
Script: Peter Yeldham. Director: James Ferman.
Synopsis: Leo has a secret that he has managed to keep from everyone at the office, and from his wife- he is gambling heavily. When it looks as though his weakness may lead to dishonesty as well, the probation officer is called in. Can he help Leo?
3.15 May 28th 1962 with John Scott, and Bernard Brown.
Also in this cast: Mary Hinton (Mrs Ryder), John Thaw (Stan Liddell), Mary Yeomans (Gloria Plumb), Charles Morgan (Supt Roberts), Richard Bird (Mr Nathan), Edna Petrie (Mrs Nathan), Frederick Peisley (Jones), and Fred McNaughton (Prison Officer).
Script: Julian Bond. Director: Hugh Rennie.
Synopsis: Stephen Ryder believes that Stan Liddell, who has just been released from prison, means to go straight this time. Then Stan is arrested for housebreaking. Is he guilty, or has he been framed, as his girlfriend claims?
3.16 June 4th 1962 with Windsor Davies, and Bernard Brown.
Also in this cast: Donald Hewlett (Jonathan Shaw), Margaret Wedlake (Lorna Shaw), Cameron Hall (Barney Donelly), John Frawley (Jeweller), Maitland Moss (Second jeweller), Frank Hawkins (Sgt Haynes), Vincent Charles (Charles Oakley), Fred Kitchen (Chairman), Jennie Goossens (Secretary), Bryan Kendrick (Reporter), Eric Dodson (Debt collector), and Wilfred Carter (Maxwell).
Script: Wilfred Greatorex. Director: Philip Dale.
Synopsis: Jonathan Shaw, an ex-army officer with a good home and an executive job, visits a London West End jeweller. He uses a worthless cheque to buy a gold watch which he sells at another shop for cash. The probation officer discovers that Shaw has more problems than he is prepared to admit.
3.17 June 11th 1962 with Jessica Spencer.
Also in this cast: Bill Owen (Mr Chapman), Annette Robertson (Shirley Chapman), Avril Elgar (Miss Charles), Fred Ferris (Mr Grant), Howard Douglas (Mr Spurgeon), Gloria Leftwich (Margy Chapman), Janette van Loon (Lucy Chapman), Beaufoy Milton (Magistrate), Michael Ross (First interviewer), Doel Luscomb (Second interviewer), Edward Webster (Detective), and John Clark (Jamaican).
Script: William Woods. Director: James Ferman.
Synopsis: Chapman has been going steadily downhill for years and it is left to Shirley, the eldest of his three daughters, to look after the home and the family. She cannot cope with her job as well and in desperation goes to see Maggie Weston.
3.18 June 18th 1962 with Windsor Davies.
Also in this cast: Glyn Houston (Mr Drew), Maureen Pryor (Mrs Drew), Karl Lanchbury (Alan Drew), Edward Martin (Peter Simpson), Peter Layton (PC Merrick), John Wentworth (Colonel Pellew), John Kidd (Mr Martin), and Jean Trend (Secretary).
Script: Julian Bond. Producer: Hugh Rennie.
Synopsis: Alan Drew is stopped by police for giving a school friend a ride home on the crossbar of his bicycle. His parents expect that he will hear no more about it- or receive an official caution at worst. But the police decide to take proceedings and the probation officer becomes involved.
3.19 June 25th 1962 with Jessica Spencer.
Also in this cast: Irene Browne (Mrs Bostock), Jack Lambert (Chairman of the Court), Alexander Dore (Clerk of the Court), Harry Walker (Police Superintendant), Naunton Wayne (Sir Herbert Renton), Topsy Jane (Amcilla Carol), James Langley (Boy Scout), Geoffrey Tetlow (Police Constable), Philip Garston-Jones (Man with dog), Gillian Hume (Lady Magistrate).
Script: Julian Bond. Director: Phil Brown.
Synopsis: A well meaning ex-suffragette animal lover lets a strange dog off its leash. An accident follows, and she takes the dog from its owner. A bewildering scene in the magistrates' court ends in a week's remand- and a job for Miss Weston sorting things out.
3.21 July 9th 1962 with John Scott.
Also in this cast: George A Cooper (Leslie Moore Senior), Elizabeth Ashley (Mrs Moore), Diarmid Cammell (Leslie Moore Jr), Tenniel Evans (Peter Jones), Arthur Hewlett (Mr Henderson), John Crocker (Mr Perivale), Edward Higgins (Police inspector), David Coote (Terry Baines), Suzanne Gibbs (Nora Clark), Joyce Hemson (Mrs Ruddle), Colin Spaull (Ginger Ruddle), Robert Sansom (Frank Merritt), Colin Rix (Tomlinson), Margaret Elliott (Miss Walters), Zoe Hicks (Moore's secretary).
Script: Wilfred Greatorex. Director: Hugh Rennie.
Synopsis: When young Leslie Moore gets into trouble with the police and Bert Bellman goes to see the lad's father, an influential local industrialist, the Probation Service finds itself up against a tough customer.
3.22 July 16th 1962 with Windsor Davies.
Also in this cast: Nigel Arkwright (Mr Thomas), Jenny Laird (Mrs Thomas), Larry Dann (Tommy Thomas), Judith Geeson (Wendy Thomas), Richard Bebb (Mr Turner), June Elvin (Miss Burke), Raymond Hodge (Mr Norris), Mollie Maureen (Mollie), Royston Tickner (Man in factory), Anthony Sadler (First youth), Charles Conabere (Second youth), Peter John (Third youth).
Script: Barbara Waring. Director: Royston Morley.
Synopsis: Tommy Thomas is not very bright and, at the factory where he works, becomes the butt of the other boys' jokes. Tommy's efforts to win their friendship with stolen cigarettes only lands him in more trouble, but it also gains him the help of the Probation Officer.
3.23 July 23rd 1962 with Jessica Spencer. Also with Christa Bergmann (Anna), John Arnatt (Ralph Cooper), Mary MacKenzie (Wynn Cooper), Hugh Janes (Tim Cooper), Hannah Watt (Joyce Walker), David Brierley (Brian Walker), Carmen Silvera (Mrs Thomas), George Little (Club owner), Stephen Hancock (Community Centre Warden), John Murray Scott (Michael), Kristin Helga (Julia), Sybilla Kay (Reni), Philip Voss (Paul) and Derek Newark (Customs Officer).
Script: Anne Francis. Director: Rex Firkin.
Anna Schmidt, a German girl, arrives in this country to live au pair with an English family. Miss Weston befriends her at the airport and tells the girl to call her if ever she needs help. It is not long before Anna finds she is in need of a friend.
3.24 July 30th 1962 with Jessica Spencer and Windsor Davies.
Also in this cast: Mary Jones (Mrs Seton), John Hurt (Johnny Seton), Janina Faye (Jenny Seton), Johnny Briggs (Vince Bennett), Jill Rowbottom (Liz), Tim Pearce (Tony Sloan), Alexis Kanner (Micky), James East (Fred), Angus Mackay (Crompton), John Kelly (Old lag), Ken Jones (Cafe proprietor), J Mark Roberts (Det-Sgt), Nigel Goodwin (PC).
Script: Bill Craig.
Synopsis: When Vince Bennett went to prison for assault he blamed Johnny Seton and swore vengeance when he came out. Now, when Vince is released two years later, Johnny is frightened and goes to the Probation Officer for help.
3.25 Holiday Monday August 6th 1962 with Jessica Spencer.
Also in this cast: Olaf Pooley (Camille), Frank Pettingell (Fulmer), Liz Fraser (Lorna), Erik Chitty (Zufi), Anthony Dawes (Hunt), Billy Milton (Tom), Rona Leigh (Cigarette Girl), Wally Patch (Messenger).
Script: Raymond Bowers. Director: Royston Morley.
Synopsis: When probation Officer Hunt is injured in a fire, Maggie Weston is sent down to relieve him. She assumes that one of Hunt's clients, Camile Paro, is a woman. But by the time she has discovered her mistake she has already become very much involved in Camile's rather dubious affairs.
3.27 August 20th 1962 with John Scott and Bernard Brown.
Also in this cast: Anthony Booth (Ron Barrett), Nicholas Edmett (Terry Barrett), Ethel Gabriel (Mrs Vincent), Robin Wentworth (Mr Barrett), Violet Lamb (Mrs Davies), John Barrett (Howarth), Frank Seton (Lucas), Michael Robbins (Harry Craig), Meadows White (Storekeeper).
Script: Richard Harris.
Synopsis: Ron Barrett comes out of jail determined to make a fresh start in life. He turns to his younger brother Terry for help, not knowing he is already on probation, and Terry, while trying to help him, becomes involved in a fight. Probation Officer Bert Bellman becomes very concerned about the two brothers and tries to guide them away from more serious trouble.
3.28 August 31st 1962 (now on Fridays at 9.15pm) with Windsor Davies and Bernard Brown.
Also in this cast: Brian Wilde (Edward Gregory), Jacqueline Lacey (Janet Gregory), Tom Criddle (Michael Stockwell), Leslie French (Francis Bash), James Bree (Donald Nash), Billy Milton (Reg Jenkins), Olive Gregg (Librarian), Eric Elliott (Magistrate).
Script: Jeremy Paul. Director: Geoffrey Nethercott.
Synopsis: Bill Morgan and trainee Stephen Ryder tackle the problem of why Edward Greogry, a university professor, should resort to crime in order to raise money to finance an expedition to Persia. Morgan and Ryder have a difference of opinion as to the correct way to deal with the professor and his complexities.
3.29 September 7th 1962 with Jessica Spencer and John Scott.
Also in this cast: Mervyn Johns (Mr Todd), Amy Dalby (Miss Gilmore), Michael Robbins (John briar), Elizabeth Orion (Judy Briar), Peter Craze (Tony Briar), Robin Ferriday (Dicky), Leonard Monaghan (Midge), Brian Phelan (Len), Desmond Llewelyn (Mr Forbes), Gabbriel Toyne (Chairman of the Court).
Script: Bill Craig. Director: Geoffrey Stephenson.
Synopsis: For 30 years Mr Todd, head keeper of the Jubilee Park, has successfully defended his little kingdom with pride and determination and he cannot accept the unwarranted vandalism by modern youth upon his life's work. Probation Officer Bellman is called in after Mr Todd is taken to court on a charge of assault against a schoolboy whom he catches damaging his trees, and Bellman finds himself the mediator in a fight between the old and new societies.
3.30 September 14th 1962 (last programme) with Jessica Spencer.
Also in this cast: Jennifer Daniel (Jackie Pendle), James Bolam (Alan Pendle), John Harvey (Colonel Saunders), Diana King (Mrs Saunders), Frazer Hines (Tom Harvey), Peter Bayliss (Detective), Keith Pyott (Magistrate), Frank Henderson (Clerk).
Script: Ken Taylor. Director: Cecil Petty.
Synopsis: Jackie Pendle, a shy gentle girl, finds herself before the magistrate for stealing from an antique shop. Why she did this is a mystery to everyone in the court and Miss Weston is given a week to find out her background.

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During the story, Main is briefly introduced to the Probation officer team, including Iris (Honor Blackman).
It's Philip Main's first day on duty, reporting to the senior officer, Blake who takes Main to Court 1 for a morning's cases. First up is Arthur Finney (Melvyn Hayes), accused of breaking and entering a chemist shop. After some remarks about justice, Main accompanies Blake as they prepare a report on the lad.
Arthur's mother is asked, "what made him do it?" She says he had changed recently, perhaps because of her new boyfriend Fred. Unfortunately, she is not a convincing actress, and we see little more of her, just as well.
Next the two officers interview Arthur, who is "not very helpful." It's a prison officer who puts them wise, he's "a junkie."
Fred tells the officers about Arthur's "fancy ideas," and his aversion to work. "Stand by him," Blake urges vainly.
Blake delegates Main to listen to Arthur. The lad does open up about tensions at home. He breaks down. At least he's a good actor.
Main, and the viewer, is filled in on drug addiction. It's agreed that Arthur needs to face up to his problems. But in his cell he gets withdrawal symptoms and has to be sedated.
Main struggles to produce his report. On the one hand, the prison psychiatrist says Finney is "dangerous." Main discusses it all with his boss, who offers useful tips as to how to present his case in court. Then the real thing, Blake watching on. "I believe he could be helped," is the gist of what the new officer says. Thus Arthur is placed on probation, "he's all yours, Mr Main"

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The problems of a mixed marriage in 1960 are explored with some skill from several points of view. Certainly there is "trouble coming" for 19 year old Johnny (Lloyd Rekord), son of Mr Alexander (Earl Cameron), since he is in love with a white girl, Mary from down the street.
You puzzle why and how Alexander would get probation officer Main to get involved, and come to talk to Johnny, or how Iris Cope probation officer has time to see Mary. But they do.
The colour bar is seen in practice in an incident on film. Main listens to Johnny sing a calypso before arguing "on controversial ground." It's a learning curve for him too. Mary also is "off her head," according to her mum, whose main concern is what neighbours think. Iris tries to face Mary with her feelings, and "have you thought about the children?" Iris' visit is not a success, and Mary's mum gives her the sharp end of her tongue. However her dad does take up Iris' suggestion, if reluctantly. He calls on Mr Alexander, and both men agree over their aims. But they see no solution.
An attempt at romance between the two probation officers, who decide to adopt a laissez faire approach. But events overtake them. A white gang tail the courting couple. Johnny is attacked and his face slashed, but he gives as good as he gets and badly injures one of the gang.
Time moves on. Johnny is appearing in court. Mary has not seen him. But her dad tells her what has happened and she rushes off to provide evidence of Johnny's provocation. It's interesting that none of the white gang seem to have been charged.
The question of an unbiased jury is posed. But the judge displays much wisdom in pronouncing his verdict

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1.3 (28th Sept 1959)

Late into court again, Philip Main finds himself drawn to his latest charge, an aged Irish drunk spouting cliches ("prison's been more a home to me...") who certainly overwhelms our trainee with his gift of the gab. "Do you really mean to change?" asks the naive Main. "Pigs might fly," is the comment of Main's older and more experienced colleague.
So Morley (Paul Farrell) promises not to touch another drop if he's found an understanding home to stay in. It's his last chance, but is such an old recidivist ever likely to reform? Main's prepared to back his judgement, even to standing him some drinks at the local. Main's so busy being taken in by all this blarney, he misses an appointment with Arthur Finney (Melvyn Hayes), a tougher and younger client, currently in hospital as a junkie. Finney, tired of waiting, absconds.
Too late, Main realises his mistake. He combs the dark streets for Finney, he tries Tooting Broadway underground, the bus garage, the parks.
News of Finney comes with the morning. A sleepless Main dashes to a coffee bar, whilst Morley awaits his return in his office. Idly looking round, Morley helps himself to the petty cash, though he does at least have the grace to leave an IOU!
Main manages to straighten up Finney's problems but Morley's case is another story. The contrast between the two probationers is well drawn, with just a hint that, despite their differences, Finney could well end up like Morley. Morley is back in court. The judge warns him he failed to take that Last Chance. After prison sentence has been pronounced, Main observes to his ex-client: "you never had any intention of making a go at it"

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5
In a wordless opening, we watch Mrs Eva Grantham getting up, and making her husband Len's morning cuppa. He (Alfred Burke) awakes. She has to dash off to work. Where were you last night? he asks, before she departs. More silence as he reflects. He phones an old army friend, Philip Main.
Main himself is at work, cradling what seems to be a lifeless baby- its crying off camera is highly unconvincingly done.
After seeking advice from his boss, Main interviews Len. He's a little older than his wife, whom he married while stationed out in Germany. He says she has been seeing another man, her boss Arthur. She says they only have 'supper' together, though Len suspects more. Main decides to write to her. Unsurprisingly this does not improve matters.
The couple row. "There is nothing between us," Eva assures Len. They do kiss and make up, and she agrees to talk to Main's colleague, Iris Cope.
Eva opens up about her past in Hamburg, where she had been a prostitute. Iris listens, offering suggestions.
But Len has written to Arthur and to Arthur's wife, and she is sacked from her secretarial job that she enjoys. That causes her to pack her bags.
"A damn silly thing to do," Main tells Len. Go crawling and apologise, is his advice. So the couple meet up by the Thames, in a scene that is hardly realistic.
This story is way beyond his line of duty, as Main himself admits, not a case for probation officers by any stretch of their remit. The final scene is at the Grantham's flat. Iris and Philip Main have been invited for a celebratory drink. But everything is very much on edge

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6
Caroline West, Carrie, is put on probation after a charge of petty stealing. The opening scenes are short and muddled in presentation, with background music erratic and intrusive, director Christopher Morahan seems to have been attempting, and failing, something avant garde.
What is clear is that Iris Cope has a tough job with Carrie, who fails to keep her appointments. Instead she is hanging out with friends in a coffee bar. Joe (Derren Nesbitt) picks her up, with some line about giving her a start in show biz.
Miss Randell takes over Carrie's case from Miss Cope. She does get Carrie to open up a little, but only a little. Carrie is "a rebel without a cause."
Joe persuades Carrie that he needs cash to pay his rent, she could easily "borrow" it off her dad, an unsympathetic character who has washed his hands of his erring daughter, thinking more about the harm she might do to his medical practice.
In fact, Carrie helps herself to some cut glass, her parents' wedding present. But she discovers that Joe is using the money raised in a crime, and she is persuaded to drive the getaway car. Carrie waits nervously as Joe's gang break into a house. They speed away but police give chase along utterly deserted roads. The car crashes into a dustman's cart and the chase is ended, "she'll live."
In court, the judge passes sentence, making "an example of you all." Joe gets seven years. As for Carrie, she is remanded in custody. Poor Iris Cope feels she has failed. A stark story that offers little hope

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7
In court is Colonel Hubert Chester (William Kendall) who we have seen smashing the windscreen of a car which failed to stop for some children at a zebra crossing. This is not the first time he has performed such an action, in fact 171 cases are recorded, though the colonel himself reckons it's more like 200.
Jim Blake tries to understand the military man's motive: it seems he feels he has a duty to warn drivers who do not stop at crossings.
Philip Main is at the Scrubs, to interview Nobby Clarke, who is shortly to come out on probation. The surly prisoner is very unco-operative, even though Main promises to find him a job. Once out, he does take the job, but proves unreliable.
Main also visits the colonel, who has been placed on probation. A completely different type of case. The colonel is doubtful whether he can keep to the terms of his probation, and not smash any more windscreens. But he is persuaded to start a campaign with the youngsters in the area, and this inspires his military type zeal, "very soon, we'll have the whole country covered." Delinquent youths are put to the task of keeping crossings safe. There is a long sequence on film showing him at work.
Clarke, with a chip on his shoulder, rants about his lot, Main listening patiently. When the ex prisoner chucks in his job. his wife leaves him, and he comes to Main's office to beg for help. Main will try and get his old job back, a new start.
"Let you both down," admits the colonel. He could resist it no longer, when he saw a car zooming over a crossing. He has broken probation. Main talks to the judge privately. They agree he is "not a delinquent," and Main makes a strong plea for this "robust exponent of chivalry."
A happy compromise is found when the colonel's energies are put to good use, as he is made a lollipop man. The two contrasting cases for Philip Main don't sit very happily together, the case of Nobby Clarke tails away, and you feel the colonel's motives might have been explored more deeply. Nonetheless, William Kendall gives us a pleasing portrait of the single minded colonel
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After some lively dancing in a club, Larry Melvin picks a row with Con Barnes (William Ingram) over, of course, a girl. Con is just "out of the nick," and the fight turns ugly with broken bottles, before being broken up by police.
Probation reports are required. Jim Blake interviews Larry, who seems to be taking the mickey. Con, bitter and without hope, is seen by Philip Main.
Then Blake calls on Larry's respectable parents. They open up about their only son, they admit Larry has a history of bullying, he'd even threatened his own mother- for money.
The girl in the dispute, Lily, is no angel, but speaks up for Con. His parents had been killed in an air raid. Admittedly, she had not stood by Con when he'd been sent to jail. In fact she'd had it off with Larry and had his baby. However Larry had ditched her, and she pleads for Con to be given a chance.
Main decides to try to talk to Con again. After several fruitless chats, Main begins to understand Con's despair at "the system." A few swipes at the need for penal reform are evident. Con shows some change when Main talks about Lily and her child, though he confesses, "I'm not going to be much use for either of them."
However he is willing to try and make a go of it, grateful for the support from Main that sees him placed on probation. As for Larry, he's "at the end of the road," time for the bully to "have to take it."
It seems we might be getting a happy ending, but not so. A filmed sequence depicts the end of the tale, before Main has a sobering moment

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13
Ban the Bomb declares an orator in pouring rain- the speech becomes very tedious, though his audience seem rapt. The group of them march with placards to Number Ten. Prof Wood hands in a petition, while his assistant (Patrick Newell) suggests a brick through the sacred windows might aid their cause. In the ensuing scuffle, one of the mild protestors, Fry (David Markham), accidentally knocks a mounted policeman off his horse.
In court, Fry's wife says her husband is a pacifist. But he has pleaded guilty, even though it seems to have been an accident. The judge wants to give a conditional discharge, but Fry "cannot agree" to being bound over. He is placed on remand.
Philip Main itnerviews him. "I never meant to hurt that man," declares Fry, but on his principles, he cannot renounce his right to protest about nuclear weapons.
Main talks to his employer, a librarian, who has some reservations about "the pernicious literature" that Fry sometimes purchases. Then Main talks to Mrs Fry who sees her husband as "a failure." She wants him to give up his "folly."
Main returns to Fry to explain how his family will suffer for his idealism. The two sides of the conflict are well brought out, even though you feel Fry is a little too self centred and stubborn. His daughter Rose visits him, and he explains his mind is set on being sent to jail. He puts his position lucidly, and she comprehends. But she rows with her less empathetic mother and brother Rupert.
Back in court, Main explains Fry's position, and the judge pronounces his sentence

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Seedy music as we watch two night bobbies arrest two females assaulting "a slimy creep." Kathie Morgan, a prostitute, and her 18 year old partner Joyce Langley, are charged.
Iris Cope interviews the latter, who claims she is willing to give up the life and return to her parents. Kathie says she'd rather serve her jail sentence than spend two years with the probation officer.
When Iris visits Joyce's parents, it is evident that though they are supportive, they are keeping something back. Mrs Langley's main concern is what the neighbours think. Back in court, Iris speaks up for Joyce, who is placed under her care.
Joyce is found an office job. But her friend Frankie attempts to lure her away. Though Joyce stands firm, she does quit her "lousy" job and tells Iris she is leaving home, "they don't want me." Iris, perhaps unwisely, tries to persuade the girl otherwise, but what she later learns is that Joyce is an adopted child.
The girl heads for Leicester Square and into Frankie's arms, "stay with me, I'll fix you up."
Joyce has disappeared, Iris decides to play a waiting game, not knowing Joyce is living in Frankie's flat. He informs her he is broke. She offers to work. There is only one option... "Do you want me to?" she twice asks him.
Joyce fails to report, as per her probation order, and Iris has to have a warrant issued. It is clear Joyce is not happy earning Frankie his money, and though he does offer her a mink coat, they row as she sees him for what he is. She returns home. Her mother closes the door on her. The future looks bleak. Police pick her up, soliciting.
In court, the judge listens to Iris Cope before pronouncing his verdict.
Note: Honor Blackman has need of the prompter on one occasion

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During a thunderstorm, Philip Main interviews Belcher, who is back in prison once more. His seventeen year old daughter Myrtle has been caught stealing from her employer. Main suggests he might consider probation, so Belcher can return home to care for his family. For Mrs Belcher is ill.
Iris Cope interviews the girl, who inadvertently reveals that her dad had encouraged her to steal.
Visitng the family home is an eye opener. Myrtle's younger sister Miriam is here with her young brother who ought to be put to bed. No sign of any food. The whole place a tip. Philip Main goes shopping, Iris does some cleaning. Then the four of them have a meal before Main gives the two children a bedtimne story. The case is discussed with a juvenile officer. Mother returns late from work, coughing badly. The officers make an appointment to see her on Sunday afternoon.
Belcher is unwilling to be made "a housewife," and refuses to permit his children to be placed in a home.
Myrtle's main chance, Iris believes, is to stay at a probation hostel.
Mrs Belcher collapses and is taken into hospital. That forces the issue. Philip chats with the two youngsters, "we're going to take you away... I'm sure you'll like it." The trouble is that they cannot be boarded together, and amid a distressing scene they are separated. There are no winners

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1.16

Richard Bate (Charles Gray) pleads guilty to GBH after a row in a pub. He has an excellent war record, and the judge orders a probation report.
Jim Blake's job is to interview Bate. Why was he drunk? "I'd lost my job. I'd lost my wife." He relates "the whole dreary story." He had built up a successful business but "I made one mistake," which was underestimating a takeover. His wife Heather had locked him out.
Blake talks to her and hears the other side of their disagreement. Now we find out that he spent far too much time drinking. Numerous times he had renounced the bottle, but never to any lasting effect.
Blake confronts him with the truth that he is an alcoholic. We hear how he has a reliance on booze to boost his self confidence. Blake advises him to try AA where he shares his problem with a member.
Bate is placed on probation for two years. Heather Bate asks to see Blake, who tells her "he hasn't had a drink for six weeks." Should she have him home? Blake cannot answer that. But he does reveal her husband's lack of confidence, a thing he had never admitted to her, "I'd no idea."
Blake's advice is wait and see how her husband progresses with a new job. The inevitable crisis comes. To his digs he brings a bottle of whisky. Wisely he phones AA, and the next moments awaiting his mentor's arrival are tense. Will he take a drink? Dramatic music. Finally he pours it down the sink.
Six months on he is reconciled to Heather. It is very understated

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22
Charlie seems worried, "they won't put me away, not at my age?" His wife Annie and grandson Tommy (Dinsdale Landen) try to reassure him.
Their new radio is up to date with the installment payments, but at the expense of raiding the gas meter. "You were a respectable old man- once."
Charlies is placed on probation. Jim Blake indulges in some theories about helping the aged (like doubling the pension!) before meeting Cahrlie and his family in his home. Son John suggests the 70 year old should be placed "in a home," the implication seeming to be that such homes are not the thing. John's sister Phyll, Tommy's mother, disagrees. In fact John has designs on the house for his own son who needs to get married. But then, so does Tommy, once he announces his engagement to Shirley.
Blake suggests Charlie obtain part time work to bring in some money. It's not easy to find someone prepared to take on an old man, but finally a job is found, and Blake kindly drives him to his new employment in a garage.
The issue of where the grandchildren should live- is this the catalyst for Charlie's breathlessness? Or, though this is not suggested, was Blake's notion of employment misguided? Whatever, the story offers some fine character studies, though the ending borders on the melodramatic.
After the funeral, Annie invites Tommy and Shirley to live with her. The essence of the story might be summed up in the advice my old grandad used to give me, Never Grow Old

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Blackmail (Rediffusion)
Two series of one-off plays were
produced in 1965 (14 stories) and 1966 (13 stories).

For some background data

Some original synopses

My reviews:

1.6 Cut Yourself a Slice of Throat

2.2 The Cream off the Top

2.12 Vacant Posssession

Picture: Jane Hylton in a missing story

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2.2 The Cream off the Top (Friday October 7th 1966)
Script: John Hawkesworth. Director: John Harrison
James Maxwell was a pretty average actor, in my view, but here he gets out of character to give a fine portrayal of a self assured, greedy and highly irritating leech of a blackmailer.
He plays Arthur Logan who has just came out of jail after a failed business operation. His partner Gerald Barker (Michael Lees) escaped detection, and Logan wants his just desserts. The first scene sees Barker, now a successful boss, returning from a business trip in Portugal. A job for Logan seems a small price.
"Dead hot" is Logan at the legal stuff, and soon he's taking over the antiquated department, muddled over by Arbuthnot (Arthur Brough). He is soon requiring some extra payments from Barker, say £1,000 and £200 a week, and he even calmly shows to his victim, how he can effect savings to pay. "I have no intention of causing hardship." He smiles like a Cheshire Cat. The bemused Barker can only accede. "I'm doing you a favour," Logan tells him.
Thus Logan is able to buy a new Porsche. He also snoops round Barker's Uxbridge house. He's a very sinister character is Logan.
Now Logan has taken over from Arbuthnot. You wonder how much more Barker can take. So desperate is the victim, he even offers Logan his job as MD.
But Logan has other and more grandiose schemes. Barker must sign an agreement to agree to purchase a failing high street business run by White (Ralph Nossek). It's not the business Logan wants, but the premises are situated next door to a bank....
Perhaps Logan has taken a step too far. "I'm going to tell the police," wails Barker, but he dare not. Instead he points a rifle at his tormentor, "I'm going to kill you." But Logan knows he hasn't the bottle. His only alternative is suicide.
Into the dead man's shoes steps Logan. The widow, Ann (June Thorburn) is initiated by Logan into her late husband's criminal past. The newspapers are certain to get on to the scandal. How to hush it up? £6,000 will do, as blackmail begins again....
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Vacant Possession
John and Paula Kinsey are shown by Fletcher an estate agent (Brian Murphy) round a run down but spacious town house. It bears all the hallmarks of gracious living, but one snag is that there is a sitting tenant, a Mrs Pearce (Daphne Heard), "you can't evict me." Her room is "squalid," it smells, her collection of budgies are her one joy of existence.
John says he will only buy the lovely house if the tenant leaves. Barr, the seller, tries to persuade Mrs Pearce with cash, £200... £500. But she likes too much her current room. So Barr contacts someone to persuade her to leave.
In the dark, Mrs Pearce hears strange noises, heavy footsteps, doors rattling, "what a night!"
Next morning she confronts Lew and Vic two uncouth men in the house who claim to be "decorators." They make fun of her budgies, and as one window is jammed, Vic smashes it. Her blocked wastepipe is made worse. They scare her unpleasantly. Fortunately she recognises Vic and threatens to tell his mum. Improbably this reduces the dim Vic into submission and the pair make amends and tidy up the room.
Barr is surprised to find them thus occupied. Lew sees a chance to make some money, and sides with the old lady.
The asking price of the house is reduced to £4,500, down by two thousand, and against their better judgement, the Kinseys are tempted to buy.
They move in, Mrs Pearce discretely watching from her room. In their first night in their new home, scarey noises, heavy footsteps. John Kinsey knocks on the tenant's door to find out what is going on. Inside he meets the decorators, who tell him their "auntie" wants to stay. However £2,500 would persuade her to leave by next Monday. A deal is agreed.
Lew and Vic expect their cut. But the wily old Mrs Pearce has slipped away, with the full payment, in a taxi with her birds, leaving nothing for the decorators

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BLACKMAIL - series 1 details
1.1 Take Care of Madam (Friday September 10th 1965, 9.40pm)
VTR June 9th 1965 (ninth of the series to be made- tape W2913). Director: Peter Moffatt. Rehearsals at Bedford House Gymnasium
1.2 Kill Me (Sept 17th 1965)
VTR March 19th 1965 (second to be made- tape W2748). Director: Marc Miller. Rehearsals at Wembley Congregational Hall
1.3 A Nice Little Family Fiddle (Sept 24th 1965)
VTR June 9th 1965 (thirteenth of the series to be made, tape W2966). Director: Peter Moffatt. Rehearsals at Bedford House Gymnasium
1.4 The Red House (Oct 1st 1965)
VTR May 12th 1965 (seventh to be made, tape W2856). Director: Peter Moffatt. Rehearsals at Brunswick Boys Club
1.5 The Lowest Bidder (Oct 8th 1965, originally scheduled for Oct 15th)
VTR May 19th 1965 (eighth to be made, tape W2870). Director: Marc Miller. Rehearsals at Wembley Congregational Hall
1.6 Cut Yourself a Slice of Throat (Oct 15th 1965, orig scheduled to be shown before 1.5)
VTR March 30th 1965 (the third to be made, tape W2767). Director: Stuart Burge. Rehearsals at St Andrews Parish Church Hall
1.7 Call Me Friend (Oct 22nd 1965)
VTR April 28th 1965 (fifth to be made, tape W2826). Director: Quentin Lawrence. Rehearsals at Wembley Congregational Hall
1.8 The Case of the Phantom Lover (Oct 29th 1965)
VTR June 30th 1965 (twelfth to be made- tape W2948). Director: Joan Kemp-Welch. Rehearsals at Bedford House Gymnasium
1.9 Snakes and Ladders (Nov 5th 1965)
VTR Feb 24th 1965 (first of the series to be made). Director: Peter Moffatt. Rehearsals at Wembley Congregational Hall
1.10 Tricks of the Trade (Nov 12th 1965)
VTR April 14th 1965- fourth to be made, filming on April 8th/15th.) Director: Marc Miller. Rehearsals at Wembley Congregational Hall
1.11 Cobb (Nov 19th 1965)
VTR May 5th 1965 (sixth to be made). Director: Marc Miller. Rehearsals at 'Granada'
1.12 The Taming of Trooper Tanner (Nov 26th 1965)
VTR probably made June 23rd 1965) Director: Marc Miller. Rehearsals at Wembley Congregational Hall
1.13 First Offender (Dec 3rd 1965)
VTR probably made June 16th 1965). Director: Peter Collinson ("contract director" acc to files). Rehearsals at Bedford House Gymnasium
1.14 Stockbrokers Are Smashing: But Bankers Are Better (Dec 10th 1965) Director: Joan Kemp-Welch.

Series 2 details
2.1 Care and Protection (Friday September 30th 1966, 9.10pm)
Director: John Moxey. (VTR Aug 24th 1966). Rehearsals at Granada Room 2 (Aug 9th-22nd)
2.2 The Cream Off the Top (Oct 7th 1966)
Director: John Harrison. (VTR Sept 21st 1966, fourth of this series to be recorded). Rehearsals at Granada Room 2 (Sept 6th-19th)
2.3 Boys and Girls Commute to Play (Oct 14th 1966)
Director: Quentin Larence. (VTR Sept 14th 1966, third to be recorded). Rehearsals at Mansergh Woodall Club NW8 (Aug 26th-Sept 12th)
2.4 The Setup (Oct 21st 1966)
Director: Fred Sadoff. (VTR Oct 5th 1966, sixth to be recorded). Rehearsals at Granada Room 3 (Aug 16th-Sept 5th)
2.5 A Man of Reputation (Oct 28th 1966)- originally titled In the Public Eye.
Director: Joan Kemp-Welch. (VTR Sept 7th 1966, second to be recorded). Rehearsals at Granada Room 2 (Sept 20th-Oct 3rd)
2.6 Lone Rider (Monday October 31st 1966 9.10pm- some regions continued screening the series in the Friday slot)
Director: Peter Collinson (Note- Gordon Flemyng originally was to have directed). (VTR Oct 19th 1966, eighth to be recorded). Read through on Oct 3rd. Rehearsals at Granada Room 4 (Oct 4-17th)
2.7 The Haunting of Aubrey Hopkiss (Nov 7th 1966)
Director: Marc Miller. (VTR Oct 12th 1966, seventh to be recorded). Rehearsals at Granada Room 1 (Sept 26th-Oct 10th). The TV Times billing was, "Aubrey Hopkiss, an Inspector for the National Anmal Humane League, has a choice between his family or his principles. Which will have to be sacrificed?" The original Rediffusion billing, that was not issued, ran, "Fox-hunting is merely an efficient way of destroying vermin say the county leaders. But Aubrey Hopkiss, Inspector for the National Animal Humane League, does not believe in slaughter for pleasure. Can he be blackmailed into giving up his principles?"
2.8 The Sound of Distant Guns (Nov 14th 1966)
Director: Michael Lindsay-Hogg. (VTR Sept 7th 1966, fifth to be recorded). Read through Sept 12th. Rehearsals at Granada Room 4 (Sept 13-24th)
2.9 The Tax Man Cometh (Nov 21st 1966)
Director: Chris Hodson. (VTR Nov 16th 1966). Read through Oct 31st. Rehearsals at Granada Room 2 (Nov 1st-14th)
2.10 Please Do Not Disturb (Nov 28th 1966)
Director: Marc Miller. (VTR Nov 23rd 1966). Read through Nov 7th. Rehearsals at Room 1 RAOC Stores Duke of York's HQ SW3, (Nov 8th-21st)
2.11 The Man Who Could See (Dec 5th 1966)
Director: Michael Lindsay-Hogg. (VTR Nov 30th 1966). Read through Nov 14th. Rehearsals at Granada Room 4 (Nov 15-28th)
2.12 Vacant Possession (Dec 12th 1966)
Director: Peter Moffatt. (VTR Dec 7th 1966). Read through Nov 21st. Rehearsals at Granada Room 2 (Nov22nd- Dec5th)
2.13 I Love Ivor Diver Why the Devil Doesn't He Love Me? (Dec 19th 1966- originally scheduled for Nov 21st)
Director: Peter Moffatt. (VTR Nov 9th 1966). Read through Oct 24th. Rehearsals at Granada Room 4 (October 25th- November 7th)
To Blackmail start

BLACKMAIL - a few synopses , based on Rediffusion's own material:

1.2 Kiss Me (Sept 17th 1965)
Dr Siegfried Klein (Eric Pohlmann), a shady impecunious doctor in Paddington, receives an emergency call one night. He goes to a deserted house, but returning to his car, a stranger orders him to get in. On their way to the man's office, he tells Klein what he wants. Kill me. The man is Charles Lorrimer (Joss Ackland), an investment agent. He has embezzled a large sum, and doesn't want to go to prison for the sake of his daughter and invalid wife. They are to be provided for by two insurance policies. Having found evidence of Klein's own shady practices, he blackmails Klein. £200 if he kills him painlessly. They arrange a time to meet at this office to carry out the murder.
That night at home, Lorrimer both loves and dislikes his wife because of her childish attitudes. But miraculously after twenty years of marriage he at last sees his wife as a real person. He is about to break his appointment, when his secretary phones. The Fraud Squad want to see him. He kisses his wife goodbye.
Klein departs from Lorrimer's plan since he says his own safety is at risk. He administers an injection and soon Lorrimer is in agony. He learns that the drug used was phenol, difficult to detect. Lorrimer loses his nerve, cries for mercy, begs for his life to be saved. Klein scoffs. Lorrimer slumps forward as though dead. Klein revives him, since he had only injected tap water. He has taught Lorrimer a lesson. He tells Lorrimer to enjoy life, and he has protected himself against any comeback. He takes his £200, raises his hat politely and departs

2.5 A Man of Reputation (Oct 28th 1966)
Sir James Belmont, a medical crusader with high ambitions, is offered a safe seat in Parliament and a Government post. His wife Rosalind persuades a hysterical girl, Jean Williams, with whom James has been involved, to go abroad.
Rosalind, sick of her husband's affairs, threatens to leave him. He pleads that his life-saving work is more important than their own feelings and she accuses him of blackmail. She finally consents to stay, but under threat of leaving. She, too, is blackmailing.
Rosalind's sister Marianne has been involved with James also, and he now wishes to break it off, out of prudence. But she threatens that if he drops her, she will wreck him with scandal. She's the third blackmailer.
Act 2. Collins, James' political sponsor, warns him not to risk scandal. At home, Marianne, with her husband Lewis, frightens James with her innuendos. James takes her aside and insists their affair is finished. He resists her threats, but, basically a weakling, succumbs to her charm. Rosalind finds them embracing.
James insists he is only trying to shake Marianne off. But he has made another dinner date with Marianne without telling his wife.
Act 3. A showdown by Rosalind, who admits she will never leave James, challenging him to break this date.
The day before his adoption as candidate, his nomination still secret, James is laying a foundation stone. At the party after the ceremony, Marianne's veiled threats become more and more dangerous. Collins guesses the position and takes her away.
But it is not Marianne who talks. Jean Williams has had a breakdown and got herself arrested. Collins has taken care of her and 'killed' the story. There will be no scandal, as long as James does not seek public office. The nomination is withdrawn.
James is shattered- he has lost. Marianne the blackmailer has lost. But Rosalind, who only wants her husband, soothes him, smiling. She has won
Here's a contemporary report: "The plot was even older than the hills, and an obvious first cousin to The Power Game. The play was infinitely worth watching because it was beautifully directed by Joan Kemp-Welch, and superbly acted by the three main characters. David Langton gave a most convincing portrayal of the vulnerable Sir James. His very human struggles evoked our sympathy even though we knew him to be egotistic and utterly selfish. There was a touching tenderness in his vain efforts to resist the bitchy over-sexed wife of a millionaire sister-in-law. a gift of a part which Jennifer Jayne handled with just the right touch of boredom. Isabel Dean as the longsuffering wife had the hardest task, but brought it off with full marks. This very sensitive and accomplished actress brought every possible shade of feeling into what could have been a wrong character had it been wrongly handled. All the way through, one had tremendous sympathy for this couple who loved each other in their own fashion and who made so many fruitless attempts to start again. The script was well constructed with natural flowing dialogue but it wasn't enough. If direction and acting had not been on such a high level, the experiment might have misfired altogether"

Synopsis of 2.10 Please Do Not Disturb (Nov 28th 1966), based on Rediffusion's own material (first draft 20/10/66)
Vera Bissett (Pinkie Johnstone) , an American student on study exchange at the LSE, is walking along the street late one evening, when she is accosted by Kenneth Rogers (Peter Blythe), a young man in his early twenties, who spends his life in and out of mental institutions. He is schizoid.
She takes him to the flat of childhood friend Johnny Franks. He shares it with Philip and Tony, both of whom are up at Oxford. Forming an almost permanent part of this menage are Diana, Philip's girl friend, and Frieda, who is semi-engaged to Tony. Vera persuades Philip and Tony to let Kenneth stay with them, but when Philip returns, he objects, since Kenneth is not the kind of person he wants any truck with. But when the others apply pressure, Philip yields.
Act 2. A week later, Kenneth is established in the group. His uncomfortable acuteness of perception is threatening "the conventional attitudes typical of this kind of student group." Johnny is unable to decide whether he should fight his parents or not, Tony and Frieda's engagement is revealed for what it is, and shattered Diana has been forced to see Philip's narrowmindedness.
On Kenneth's prompting, Diana challenges Philip, who attempts to throw Kenneth out. But Johnny overhears and lets Kenneth sleep in his room, because he is going to see his parents. Philip is thwarted, Kenneth sweetly triumphant.
Act 3. Next day. Johnny, having met his parents, is neurotically undecided whether he should tour Europe with friends as he wants, or to stay home in the vacation with his family. Vera, walks out on him, aware she is partly responsible for Johnny's indecisiveness and, more importantly, that she has been making use of his weaknesses. Tony and Frieda, unable to tolerate Kenneth, announce their departure. Diana has not returned. Johnny leaves for the airport. Vera, after her moment of truth, returns to America. Left alone in the flat are Philip and Kenneth.
Philip says he is going home to his parents, but Kenneth can stay in the flat as the rent is paid. Kenneth refuses, since in giving there is no love. He needs people, not possessions. Philip screams abuse at him, and the final shot is of Kenneth facing more loneliness alone. This sounds like the sort of angst ridden play that I would have certainly switched off!

Synopsis of 2.12 Vacant Possession (Dec 12th 1966), from Rediffusion's final synopsis (dated Nov 1st 1966)
"Part 1: John and Paula Kinsey are inspecting a broken down period house in North Kensington, with a view to purchasing it. However one room in the house, a potentially splendid drawing room, is occupied by Mrs Pearce, a filthy unpleasant woman in the sixties, who surrounds herself with budgerigars. Fletcher, the smooth estate agent's representative, says that she can probably be persuaded to move. But when Barr, the actual landlord, discusses the matter with Mrs Pearce it is obvious she has no intention of leaving, even though he offers her £500. Realising that he stands to make a loss on the house, Barr arranges for two young layabouts to terrorise Mrs Pearce into quitting. Barr: 'Mind you, I don't want anything nasty to happen, but she is causing me certain problems.'
Part 2: Alone in the house, Mrs Pearce hears strange noises coming from upstairs. It is a night of terror, and in the morning she plucks up courage to go upstairs where she finds Vic and Lew. They claim to be decorators. They go to her room and virtually wreck it under the guise of 'doing an estimate.' Mrs Pearce realises she knows Vic's mother. And the simple Vic is terrified that she will tell on him. Lew: "that sounds suspiciously like blackmail to me.'
Part 3: When Barr drives up to the house he is astonished to find Vic and Lew making Mrs Pearce's room tidy. And when Lew hears that Barr has offered the old woman money to quit, he ushers Barr from the room, saying that he is acting as Mrs Pearce's 'business consultant.'
Fletcher has called at John and Paula's flat and told them that the landlord is prepared to knock £2,000 off the price. If they moved in they would have a very good legal case against Mrs Pearce. Because the house is in an area that is 'coming up,' John and Paula decide to take the chance.
They move in to the newly decorated house. But their first night is one of surprise. Strange noises seem to come from Mrs Pearce's room. John investigates and discovers Vic and Lew with the old lady. They threaten him to such an extent that when they suggest that he pays the old lady £2,000 to move, he readily agrees. Next day Vic and Lew call to see the old lady and collect their share. But she's gone and taken the cheque with her. The last we see of her is in a taxi surrounded by her budgerigars and heading for another room in an area which is 'coming up'"

To Blackmail start

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This Man Craig
BBC Scotland made this popular drama series about a science teacher. It starred John Cairney as Ian Craig, with Ellen McIntosh as Margaret Craig. It ran for two series, 52 episodes

Surviving story:
1.5 Dougie
Dougie Seaton (Graham Reid) cycles home from school, his mother is mixing medicine for his bedridden dad Alec (Nigel Stock), who had been a hero in his army days. "The army's the life for me," declares his carefree son. Alec now runs a building firm, but currently has to conduct business from his bedroom.
With his wife, Ian Craig is mulling over pupil Dougie's lack of application, "nice boy, nice smile." He might have added strong Scottish accent. He discusses the lad's prospects with Roberts, the headmaster who believes Dougie is "one of the ones who don't want to know." However Craig sees his untapped potential. Both men have time to wetch Dougie playing soccer in the school team.
After the match, some of the lads indulge in climbing a wall, but scarper at the approach of the law.
It's Sunday, and the head has time to call on Craig at home, with news about some boys breaking in to another school, indulging in vandalism. A policeman had recognised Dougie. Young Jimmy Craig admits to his dad that he'd been another of them. Craig calls round on the Seatons.
In fact it's awkward, they already know about the vandalism. They don't wish to punish their son. "He doesn't work," observes Craig, "because he doesn't need to." But his father's only concern is that "he's a very happy boy." However privately, Alec does confide that his own days are short, and that he doesn't want the boy to be aware of it. Craig urges them to face reality, indeed Dougie already knows about his dad, who gives his offspring a heart to heart

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Skyport (Granada TV)
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click for The Spanish Girl review


Tales of the World Wide Travel agency, with Ginger Smart, played by George Moon.
When it started transmission on July 2nd 1959, it was predictably badly received: "although Granada claim that this is a new programme it is nothing more than 'Shadow Squad' with wings. The plot is just as corny though an attempt has been made to humanise some of the characters by setting the story against an air terminal background with passengers bringing their travel and human problems into focus without being too dramatic. It is surprising how believable George Moon makes his dialogue and it is even more surprising that John Whitney and Geoffrey Bellman have written it."
Other regulars in the cast: Lisa Gastoni played an interpreter (her last appearance was in story 11) and Gerald Harper also appeared as the airport duty officer David (up to story 14).
Other duty officers were: Edward Woodward in stories 18 to 23, before Manning Wilson as Jim Wilson became the regular duty officer, co-starring in stories 24-32, 34-41, 44-52. Edward Judd was First Officer Freddie Lock in stories 38-41, 43-46, 48-52. Katherine Page played Miss Harker, Ginger's secretary in several unspecified early episodes. Jane Parsons played one of the earlier air hostesses, named Sally Grant, again in unknown stories. Pauline Stroud was a later hostess Katie, in stories 42-52. Joy Stewart was another occasional hostess, Miss Jackson in 42, 47, 49 and 52, but she first joined the series at the end of 1959, as Ginger's secretary. With the plays being recorded live, regrettably TV Times had no details of the casts for any of the earlier stories, but what there is has been reproduced here.
Others who stated they appeared in Skyport, not listed below were: Pamela Beckman, Peggy Ann Clifford, Lorenza Colville, Hugh Cross, Noel Dyson and Endre Muller. Several sites state Barry Foster appeared at some point, but I have not yet myself found any definite evidence for this. One uncredited extra in one of the first thirteen stories was Anastasia Ubale, who went on to be a hostess on the Granada quiz Concentration.

Programme Details: (For some details on this list, my thanks to Des Martin)
A total of 52 stories were broadcast weekly, for one whole year.
1 (2nd July 1959)- without a break, the series continued on from Shadow Squad. A report stated "extensive" filming was done at London Airport. The stars were billed as George Moon, Lisa Gastoni and Gerald Harper. Script: John Whitney and Geoffrey Belman. Director: Stuart Latham
2 (9th July 1959)- the billed stars were George Moon and Lisa Daniely.
4 (23rd July 1959)- with George Moon also Lisa Daniely and Gerald Harper. Script: Leonard Webb. Designed by Tom Spaulding. Directed by Micahel Scott.
8 (20th August 1959) written by Owen Holder, directed by Graham Evans. A man from their past causes some anxious moments for Ginger and David.
9 (27th August 1959) written by Donal Giltman, designed by Tom Spaulding, directed by Adrian Brown. How can anyone be in danger in the transit lounge?
10 (3rd September 1959) possible synopsis: Lady Susan Hayward is vague about her luggage.
11 (10th September 1959) - this is probably The Spanish Girl, the only surviving story: review.
12 (16th September 1959) written by Jan Read, directed by Graham Evans. Lady Hayford accepts without question the make-up box she is handed.
13 (23rd September 1959) written by Owen Holder, directed by Claude Whatham. A national idol flies out, hoping to start a new career.
14 (30th September 1959) written by Hilary Cookson, designed by Denis Parkin, directed by Graham Evans. Mr Justice Thirkell is off on a holiday to Majorca.
15 (7th October 1959) written by Hilary Cookson, directed by David Main. Has Andre Lavand a double- or is he playing a double game? Two attractive young women come to the airport to see him off to Paris, but he tells one of them he has never seen her before.
16 (14th October 1959) written by Owen Holder, directed by Graham Evans. A brilliant medical specialist arrives at the airport the worse for drink. The airport's doctor knows him well, and learns his secret.
17 (21st October 1959) written by Cedric Wallis, directed by Christopher McMaster. A colonel with two tickets to Paris puts Ginger in a spot of bother with a mother and an angry husband.
18 (28th October 1959) written by Louis Marks, directed by Graham Evans. There's a Very Important Person arriving at the airport.
19 (4th November 1959) written by Cedric Watts, directed by Christopher McMaster. Ginger finds it's easier to sell something than give it away.
20 (11th November 1959) written by Lewis Davidson, directed by Graham Evans. Ginger is asked to lock a black case in the safe. Three times he comes to collect it. Ginger begins to think he's being taken for a fool.
21 (18th November 1959) written by Owen Holder, directed by Christopher McMaster. One time ace racing driver Jeff Murray is trying to make a comeback. At the airport with his wife Jane, he meets an old friend by chance, who causes him to have second thoughts about his career.
22 (25th November 1959) written by LF Lampitt, directed by Douglas Hurn. Patricia Castle is rather too high spirited for her Swiss finishing school, and creates a big problem at Skyport. A report stated this episode was titled The Runaway, and featured Elizabeth Zinn in the leading role.
23 (2nd December 1959) written by Jan Read, directed by Herbert Wise. A brother and sister ballroom dancing act are leaving Skyport for South America and plan some publicity, which ends in unfortunate consequences.
24 (9th December 1959) written by Owen Holder, directed by Douglas Hurn. New duty officer Jim Wilson arrives at Skyport and has a difficult start dealing with a ticket for Paris.
25 (16th December 1959) written by Louis Marks, directed by Chris McMaster. Ingram, who has pioneered a new approach to brain surgery, is flying to America to receive an award in recognition of his research. But before he can board his plane, a crisis catches up with him.
26 (23rd December 1959) written by Owen Holder, directed by Graham Evans. Pilot Bob Reeves is flying to Paris and back, but it's no ordinary night flight.
27 (30th December 1959) written by Cedric Watts, directed by Adrian Brown. Holden is an unsuccessful artist who is flying to America to make his name. One of his paintings causes a rumpus at Skyport and to help restore peace, Ginger comes to grips with the fundamentals of art.
28 (6th January 1960) written by Owen Holder, directed by Graham Evans. Mr Chapman is due to fly to Kuwait on business. But his chance of bringing off a big deal seems lost when his ticket is sold in error.
29 (13th January 1960) written by Jan Read, directed by Adrian Brown. Monsier Plessey, a couturier, arrives at Skyport with his mannequins for his important fashion show in London, but finds his collection has disappeared.
30 (20th January 1960) written by Keith Dewhurst, directed by Chris McMaster. A pale girl is waiting at Skyport, nervous, tense.
31 (27th January 1960) written by Owen Holder, directed by Adrian Brown. A new sales director and a tearful girl spell trouble for Ginger.
32 (3rd February 1960) written by Jan Read- no George Moon in this story- he had been taken ill during rehearsals. Fog at Skyport. It is thwarting a plane from landing, and on it is a small boy. A surgeon waits impatiently below unable to treat him. (Note- Paul Maxwell claimed his first UK part, playing a Canadian pilot, was in Skyport in Feb 1960, and this seems the most likely story.)
33 (10th February 1960) written by Jan Read, directed by Derek Bennett. This story sees Ginger beginning his new career as an air steward, and his experiences at training school are seen.
34 (18th February 1960) written by Tony Yates, directed by Adrian Brown. Ginger Smart's first flight as a steward is to Dusseldorf. So excited is he, that he fails to notice everything taking place around him.
35 (25th February 1960) written by Cedric Watts, designed by Seamus Flannery, directed by Derek Bennett. Good friends Miss Price and Miss Wentworth are off on holiday.
36 (3rd March 1960) written by Louis Marks, designed by Seamus Flannery, directed by Jean Hamilton. It's a night to remember for Ginger on his first night in a strange country.
37 (10th March 1960) written by Neil Kingsley, designed by Roy Stonehouse, directed by Derek Bennett, producer: Michael Scott. Jim Wilson helps an attractive German girl in distress. But in London's West End with her, even with Ginger for company, he's out of his depth. Note: in fact George Moon fell ill during rehearsals, and did not appear in this story.
38 (17th March 1960) written by Barry Letts, designed by Tom Spaulding, directed by Jean Hamilton. A man with a stiff leg causes trouble on the Rome flight.
39 (24th March 1960) written by Harry Driver, designed by Roy Stonehouse, directed by Derek Bennett. A mild unassuming little man almost misses his plane. Had he not made the flight, there might have been no murder.
40 (31st March 1960) written by Leonard Fincham, designed by Seamus Flannery, directed by Jean Hamilton. A killer is waiting for a VIP on his way to England. Starring George Moon, Manning Wilson, Edward Judd and June Parsons. Others in the cast: Laine Winters (Air hostess), Joy Stewart (Miss Jackson), Andre Dakar (Dr Ambrose), Ewen Solon (Insp Collins), Nona Williams (Young girl) and Brian Rawlinson (Peter Mansell).
41 (7th April 1960) written by Lewis Davidson, designed by Seamus Flannery, directed by Derek Bennett. A stranger named Laslo is obstructing passengers painting a mural in the lounge. Starring George Moon, Manning Wilson, Edward Judd and June Parsons. Others in the cast: Melvyn Hayes
42 (14th April 1960) written by Owen Holder, designed by Roy Stonehouse, directed by Jean Hamilton. Miss Jackson is taking a modest holiday abroad but finds herself at the most expensive hotel, with glamorous clothes provided, and a Portuguese count as escort. Ginger comes to the rescue when things get out of hand. Starring George Moon, Pauline Stroud and Joy Stewart. With Julian Somers (Mr Bowles), Susan Travers (Miss Van Reinn), Charles Lloyd Pack (Charles), Ferdy Mayne as the Marquiss Camillo de Castillo, and Michael Collins (Saunders). Note: Collins was seriously injured in a car crash on his way to the studio and had to be replaced.
43 (21st April 1960) written by Jan Read, designed by Roy Stonehouse, directed by David Main. Katie is out to get her man- the captain on the plane on which she is air hostess. Their petty squabble threatens to leave Katie Ginger and Freddie stranded in Madrid- unless Cpt Jarvis can be persuaded to make peace. Starring George Moon Edward Judd and Pauline Stroud. Others in the cast: Ronald Leigh-Hunt (Captain Bill Jarvis), June Cunningham (Melinda Murray), Dorothy Bath (Mrs Ford-Jones), and Reginald Lang (Barajos station manager).
44 (28th April 1960) written by Leonard Webb, designed by Roy Stonehouse, directed by Jean Hamilton. What is the reason behind Dr Haltbrecht's desperate flight to Athens? Starring George Moon, Manning Wilson, Edward Judd, Jane Parsons and Pauline Stroud. Others in the cast: Joseph Furst as Dr Haltrecht with Paul Hardmuth (His brother), Martin Sterndale (Waldman), Derren Nesbitt (Phillipe), Jennifer Wilson (Diane), Pauline Letts (Miss Holmes).
45 (5th May 1960) written by Owen Holder from an idea by Fenton Bresler, designed by Terry Pritchard, directed by Eric Price. Two American newspapermen are chasing the same scoop, and a tough battle is made more complicated by a young girl. Starring George Moon, Manning Wilson, Edward Judd, and Pauline Stroud. Others in the cast: Suzanne Fisher (Judith), Stratford Johns (Lloyd Calvert), Alison Bayley (Mrs Bartington), Angela S... (Tina, her daughter), Michael Barrington (Passport Officer).
46 (12th May 1960) written by Keith Dewhurst, designed by Seamus Flannery, directed by Jean Hamilton. Ginger has an odd assortment of passengers, including a man with a passion for ships, a drunk, and a newly wed couple. Starring George Moon, Manning Wilson, Edward Judd, Jane Parsons and Pauline Stroud. Others in the cast: Brian O'Higgins, George Pravda, Ewen MacDuff, Andre van Gyseghem, Ray Mortt and Renny Lister.
47 (19th May 1960) written by Peter Caldwell, produced by Jack Williams, directed by Eric Price. Why is Scotland Yard interested in the emigration of the Connell family? Starring George Moon, Manning Wilson and Jane Parsons. Others in the cast: Gerald Case (Mulligan), John Ruddock (Flint), Patrick Newell (George Connell), Hazel Douglas (Jenny Connell), Ann Chapman (Claire, their daughter), Robert Cawdron (Insp Davies), and Joy Stewart (Miss Jackson).
48 (26th May 1960) written by Leonard Fincham, designed by Roy Stonehouse, produced by Jack Williams, directed by Jean Hamilton. A beautiful film star is on Ginger's plane, but trouble comes in the shape of a mysterious baby passenger. Starring George Moon, Manning Wilson, Edward Judd, and Pauline Stroud. Others in the cast included Betty Huntley-Wright (Mrs Langdon).
49 (2nd June 1960) written by Owen Holder, designed by Peter Caldwell, produced by Jack Williams, directed by Eric Price. A boy is caught running away from the plane just arrived from Jamaica. Ginger suspects he was a stowaway. But why is he so pleased at being sent back again? Starring George Moon, Manning Wilson, Edward Judd, and Pauline Stroud. Among others in the cast: Johnny Sekka (Sampson) and Lloyd Lamble (Chief-Insp Prior).
50 (9th June 1960) written by Terry Pritchard, produced by Jack Williams, directed by Jean Hamilton. A retired film star meets her ex-husband, a film director, flying back from Italy. He is planning her comeback when he receives some vital news which sends him rushing off to Hollywood. Starring George Moon, Manning Wilson, Edward Judd, and Pauline Stroud. Others in the cast: Guest star Patricia Roc as Iris West, with Alan Tilvern as Phil Harvey and Michael Aldridge as Dr Michael Davis, Iris' husband.
51 (16th June 1960) produced by Jack Williams, directed by James Ormerod. An enchanting little girl called Caroline tries to smuggle her puppy through customs, but Ginger soon finds there's a much more serious matter on his hands- espionage. Starring George Moon, Manning Wilson, Edward Judd, Jane Parsons and Pauline Stroud. Others in the cast included: Arnold Diamond (who wrote the script and plays Chief Preventive Office), Elaine Miller (Caroline), Jack Wollgar (Patterson), Mercy Haystead (Miss Bourn), Henry Longhurst (Westwell) and Dudley Sutton (Deans).
52 (23rd June 1960) written by Owen Holder, designed by Terry Pritchard, produced by Jack Williams, directed by Jean Hamilton. In this very last story, Ginger buys some property shares abroad on behalf of the travel company, but are they worth anything? Starring George Moon, Manning Wilson, Edward Judd, Jane Parsons, Joy Stewart and Pauline Stroud. Others in the cast: Barry Letts (Fitzmaurice), Laine Winters (Fatima), Norman Pitt (Hendrix), Moira Kaye (Marion) and Daphne Oxenford (Matron).

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The Spanish Girl
The only surviving story. Transmission date probably September 10th 1959. (ITN Source lists the episode as MAY 10th 1959, which is impossible as the series hadn't commenced then!)

Cast included the regulars: George Moon, Katharine Page, Lisa Gastoni and Gerald Harper.

A problem off the Madrid flight. Immigration are so alert they have spotted a discrepancy in the surname of the passenger called Maria (Eira Heath),"a bit of a dish," though perhaps this appellation was by 1959 standards. The girl has come to England as an au pair for Mrs Galbraith, and is supposed to be met by Mr Galbraith from Wolverhampton, but he's not turned up. As she's a client of the World Wide Travel Agency, she is seen by Mr Ginger Smart, who rabbits on topically about football, "too bad you missed Billy Wright."
Miss Pooch acts as interpreter, then phones the number she's given, 5730. But by this time a Mr Hamilton has called for Maria, in place, he says, of Galbraith. But this surprises Miss Pooch when she returns, for it seems the Galbraith's have just left for a holiday in Corsica. They had cancelled Maria's offer of employment.
"It doesn't look good," admits Duty Officer David. But though Maria left, she returns to airport reception and Ginger questions here more, with Miss Pooch's assistance. Something about coming to England to get married. Ginger talks to Hamilton, who states Maria had indeed come here to meet her boyfriend, a jazz trumpeter he thinks. Ginger, David and Hamilton soon sort out this storm in a teacup. But as she had lied to get into this country she will have to be deported. But then there is a surprise development, for Peter Galbraith turns up. He's her boyfriend, seemingly quite respectable. A neat little ending, with Maria promising to apply for a visa so she can get married to Peter.
This story finishes with Miss Pooch telling Ginger Smart that she has got a job in New York, so is leaving the series

To Skyport

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Knight Errant (Granada)
There were two series lasting an hour each, the first of 37 stories in 1959-1960, the second of 38 stories in 1960-1.
"Knight Errant '59. Quests undertaken, dragons defeated, damsels rescued. Anything, anywhere, for anyone, so long as it helps. Fees according to means." Starring in series 1 was John Turner as a Twentieth Century Sir Lancelot, Kay Callard as his chic and sophisticated assistant Canadian Liz Parrish, and Richard Carpenter as third in command Peter. William Fox as Toby was introduced later in the series and became a semi regular star. The second series saw a new cast headed by Hugh David as publisher Stephen Drummond, ably assisted by Frances Graham, his secretary (Wendy Williams, in real life his wife). Among the distinguished scriptwriters were Roger Marshall, Philip Mackie, Harry Kershaw, Robert Banks Stewart, Clive Exton and Philip Levene.
The series appeared frequently in the Top Ten TV ratings even though director Derek Bennet, writing in 2003, described it as "a dreadful thing... it had awful scripts, bad acting and a lack of control." It was panned by the critics too. Under the corny headline "This Could be a Real K-n-i-g-h-t-m-a-r-e," critic Guy Taylor described first episode, Harry Bonkers, on October 13th 1959 thus:
"Here we have a boyish, rather silly young man who sets out to rescue people in distress. His first client is a young and pretty heiress, who hears mysterious noises from an empty flat upstairs. There was nothing original in the story which could have been neatly packaged in 30 minutes. Philip Mackie has tried to give us something a little different from the stern-faced private eye and the mechanical police officer. He has created instead a handsome bachelor, ex-Army officer and ex-public schoolboy, a Fleet Street journalist, Liz Parrish, who has an eye on the accounts, and a Colin Wilson type character called Peter Parker. John Turner as Adam Knight will develop well in this role if he is given more adult dialogue and Kay Callard as Liz, manages to combine sombre efficiency with charm. She also has a nice sense of humour. Richard Carpenter as Peter who claims not to be an angry young man but doesn't convey to his audiences what he really is, makes up a team who have a lot of hard work in front of them to make this series a real success. Adrian Brown's direction did much to strengthen the weaknesses in the script, but I still have a feeling that more children than adults will enjoy Knight Errant '59."

A review of the second programme of series two, The Jazzman, on September 22nd 1960 was also unenthusiastic. Under the headline "Knight Errant Rides Shakily Again," Guy Taylor wrote: "Hugh David as Drummond is potentially a better choice for the hero of this series than John Turner but he does not have much chance in 'The Jazzman' by William Hood. Graham Evans directed. The story was quite promising as a character study of an irresponsible father, but developed too slowly. As a plot for Knight Errant it was weak. In fact, he seemed largely superfluous to the action although Liz Parrish (Kay Callard) from the original team makes a welcome return and pulled him through as she did his predecessor."
My reviews of surviving stories: 1.5 The Golden Opportunity (Nov 10th 1959), 2.16 The Joker (Jan 12th 1961)

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The Golden Opportunity
"Office boy" Peter gets his chance when he's the only one in the office and a posh lady Mrs Vakozky (Joan Young) asks him to spend 100 sovereigns. Why? sensibly asks Liz, when she comes in, that's the mystery in a plot that threatens to be like Brewster's Millions.
But though the coins are technically legal tender, no shop will accept them. Rather reluctantly Adam's advice is sought and he learns that six of the sovereigns are fake, though all the others are genuine. But even the duds, a jeweller confirms, are of excellent quality.
Mrs Vakozky is now in Switerland so Peter and Liz fly there to stay at the Pension Dufour. "The old trout" refuses to provide any kind of explanation, so Liz refuses to give her what she wants, an affidavit saying the coins were refused at various shops.
Having been plied with drinks, Peter later does hand her the affidavits, unbeknown to Liz. We are shown that they are needed in a court case in the trial of Mr Vakozky, so why does his wife now burn the evidence? And why is Liz now in prison?
Peter gets some answers in jail, where George Vakozky reveals he has made half a million out of his coin making business. However the plot almost loses itself in explanations, a twist is needed and, to be fair, we get one, in that George has been double crossed by his wife. Peter has to admit to the imprisoned Liz that he had given the affidavits away, "she latches on to all the loot and leaves hubby languishing."
So Adam Knight rides to Liz and Peter's rescue. In court he produces the affidavits and the case against George is dropped. Back in the hotel he reveals all to his juniors
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The Joker
Script: Roger Marshall.
Frances Graham is on holiday in a studio mockup of a Swiss chalet. The guests ski and pass their rather world weary lives at gambling, they include Tony Carter (Anthony Newlands) a cabaret performer, a la Noel Coward. "Like sirens luring the sailors to their doom," guests are losing their cash, Julie is just one of several. One however, Alan Faber (John Bonney) is resisting the lure of the tables, but only because he is already in debt to the tune of £1,500. Surely he's "a worthy cause" for Knight Errant Limited, his money is owed to Carter after their poker game.
"Our luck must turn," Frances urges him, offering to lend him £40 to win his fortune back, "I know we'll be lucky." Though this hunch is only based on intuition, it seems to be correct. After some wins, "if this comes up, I'll be in the clear," cries Alan. "When," Frances corrects him. But she is wrong. So she has to phone the colonel to ask boss Stephen to send her some more money.
Alan goes skiing with another guest, Judy (Irene Hamilton)- the scenery is an unconvincing mix of film and studio. Then back to the hotel. A revived Alan challenges Carter to double or quits, but is refused. Other guests want some excitement however so the game does go ahead. Thus when the colonel brings the necessary £1,500 to the hotel to buy Alan's IOU, the sum now stands at £3,000.
But is Carter a swindler? If he is, it's none too obvious. However, it is noted he never wears glasses, except when gambling. An examination of his room reveals these glasses enable him to see transparent markings on the cards, invisible to the naked eye.
Now there is one more game, odds evened up. A straight cut, Carter and the colonel. "The end of my run," Carter has to admit and this "unethical" guest hastily departs.
A final skiing joke concludes this very well used storyline
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Callan
starring Edward Woodward. See also: A Magnum for Schneider
1.1 The Good Ones Are All Dead (1967)
1.6 You Should Have Got Here Sooner
2.1 Red Knight, White Knight (1969)
4.2 Call Me Sir (1972)
4.3 First Refusal
4.4 Rules of the Game
4.5 If He Can, So Could I
4.6 None of Your Business
4.7 Charlie Says It's Goodbye
4.8 I Never Wanted The Job
4.11 The Richmond File- Call Me Enemy

CALLAN (1974 film directed by Don Sharp, Lee International Studios, 4*)- Schneider is Callan's target, the two men have a common love of model soldiers. We watch detailed preparations, as he gets to know his victim. The advantage of this film over the tv series is the location shooting and character building, the minus is the slower pace. Callan is more violent: a car chase delivers the necessary mayhem, but is fairly pointless, before the moment of truth in a tense war game
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1.1 The Good Ones Are All Dead (1967)
A tale of Nazi hunters and the quest for the holocaust perpetrators.
Hunter leans on Callan to restart his work for "one job." His target is Nico Stavros, an SS killer, today a businessman.
Callan poses as a bookkeeper and is employed by the ex-Nazi, and he seems so respectable, Callan wants to be sure. Stavros' secretary Jeanne who seems to be the man's girl friend too, takes a dislike to Callan.
The man's belongings are secretly searched. A lot of valuable jewellery. Then a huge safe is found. 'Lonely' is needed to get this opened.
Stavros is attending a gala night at Covent Garden. Berg, an Israeli who can identify him, is sent there, while Callan forces open the safe. Inside is a large trunk of war mementoes. Callan removes bullets from a gun and pores over ledgers, and finds gold nuggets- "from tooth fillings." He is convinced. Berg confirms his identity also.
In a rare moment of truth, Callan admits that he has even got to like using a gun. Jeanne knows Callan is not all he appears, and tells him she too knows who Stavros really is, but says he has changed. A kind of plea for mercy.
Stavros dons his old SS uniform and points his gun at Callan. He intends to shoots him, but cannot go through with it. Actually he doesn't know the bullets have been removed.
"Will they never forgive me?" he questions.
Callan prevents him committing suicide so he can be handed over for justice. "It's what they want."
However Callan turns a blind eye to the potassium cyanide

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1.6 You Should Have Got Here Sooner

Lonely is duffed up by an intruder, searching for something Lonely had recently nicked. The property of recently escaped spy Dan Pollock, top secret in fact. Since this microfilm is not found, Callan, who had been instrumental in putting Pollock behind bars, examines all the hot property Lonely had stolen. Eventually he lights on a wallet with a hidden recess, which contains an address in Sussex.
Callan first goes to the flat where Lonely had been at work. It is empty. Then he drives down to Sussex, Meres is there, "what an extraordinary coincidence."
The posh house is the property of Susan Lyall and her mother, the former had been Pollock's girl friend. Callan finds no sign of Pollock. However, later the spy phones Susan up, asking her for the ring he'd once given her.
Callan returns to find Lonely has been duffed up again. He plans to get back at Meres, who is pestering Susan and her mother. This time, Pollock is with him, and he asks Susan to leave the country with him. Her mother is horrified. Meres promises they can go, as long as they hand over this ring. She does so, but it turns out to be a replacement.
Enter Callan, ahead of Col Hunter. Pollock is taken away, and they learn that the ring with the microfilm had been sold by Mrs Lyall to pay for their opulent home

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2.1 Red Knight, White Knight (1969)
New boss 'Hunter' (Michael Goodliffe) wants to know all about Callan. "The colonel thought he was very good, sir." The two of them clash almost at once.
From Moscow comes a defecting KGB man Bunin (Duncan Lamont), but, warns Callan, he's "a nutcase." From London Airport, he is whisked away incognito in an ambulance.
Getting down to brass tacks, Bunin claims an even more senior colleague wants to defect, but in order to increase his chance of a safe passage out of Russia, he will only defect to Britain's top man there. Such an offer only increases Callan's doubts over his motives. Under a loose house arrest, Bunin only has Callan to keep him company.
After taking advice, Hunter declines Bunin's proposal, "it's very irregular."
Lonely has been tailing a man who had arrived in the country along with Bunin. He is Goncharov. The question is, is he out to silence Bunin? But then the two of them are seen to meet- not sure what happened to this house arrest.
Meres interrogates Bunin again. It is clear that Bunin is only here to kill off the new man Hunter. "We must draw him." The story gets across the tediousness and tenseness of their waiting, perhaps a little too tedious for this viewer.
A chauffeur arrives to transport Hunter back to town. It seemed pretty obvious to me what was going on, yet both Hunter and Meres are incredibly blind to the d

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Call Me Sir!
Callan discusses with Bishop about his future. "I want to get out," Callan insists, but that is impossible. By car, Bishop takes Callan to London and shows his new home, posh and bullet proof. "What's it all about?" The KGB may try to eliminate Callan. Though he doesn't want it, Callan is promoted, "it could make him- or break him." He does not want to take over as Hunter, but he has no choice. He is briefed.
Callan tries to trace Lonely who is hiding scared. He is actually having his portrait painted by Miss Flo Mayhew (Sarah Lawson).
Day One in his new job, Callan finds Cross resentful. There is one Red File, it's Lonely's! "We've mislaid him." Naturally Callan wants to rescind this order. He searches hostels and eventually finds Lonely, "you're in dead trouble." In fact Lonely has already survived one explosion. It has now dawned on him that Callan must be a spy.
Callan gets his team to search the doss houses for Lonely- though in fact he is now safely hidden in Callan's home. "Emigrate," is Callan's advice.
Cross calls on Callan at home, ostensibly to apologise for his attitude. But he also claims to know where Lonely is, "he's here." Callan's secretary attempts to deflect attention, but Lonely scarpers. He seeks refuge with Flo. It turns out she is on The Other Side. She is caught

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First Refusal
New driver for the grandly named Mobile Communication Force is Lonely, though "he has an IQ of two and a half." To keep him silent, he has to sign the Official Secrets Act. "I don't understand a bloomin' word." A nice moment.
A middleman named Kitzlinger is offering to sell the names of ten British contacts. He wants £100,000 from the Brits, otherwise, he will offer the list to the other side.
Already Kitzlinger has contacted someone he believes is from the other side, though actually it is Toby Meres, who tells Callan, "you're a good man."
Meres and Cross are to "panic" Kitzlinger. Suspect for removing the classified documents is Myra Kessler, and Meres obtains the lists, but apparently it is in an unbreakable code. She is picked up but she refuses to give the key to the code. She is almost persuaded when she produces a gun and the tables are turned. Thus the £100,000 has to be paid out, and Kitzlinger then hands over the key to the code. Kitzlinger is then rounded up for a trip to The Mindbenders. That's because the list is useless. Bang! Meres shoots Kitzlinger, quite needlessly. Meres is ordered to pursue Myra's contact Bristac

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Rules of the Game

Music organiser Adam Medov, aged 39 (Mike Pratt), is selected as being the spy to be deported in a tit for tat exchange, despite the fact that he's "extremely pleasant."
Cross has to do the harassing, phone calls, scaring wife and daughter Alevtina. Also gunshots, close to the mark. You're meant to feel sorry for them, and you are. "Why can't they be original?" Medov informs his embassy, and claims he is actually a top agent.
Lonely is not at ease as a taxi driver, especially having to help get Cross away sharply.
Callan is complaining he is left too much in the dark, but all he has to do, Bishop insists, is get Medov deported. One file Callan has been refused access to, is that of Neville Dennis, so Callan breaks into this agent's flat to learn what is being kept from him. He is bashed on the nose- by Dennis. They are old acquaintances, "I am a friend!" He is the one being exchanged apparently, and he tells Callan why it is so. This is a nice part for James Cossins, a world weary part. Callan extracts the truth from him.
Medov and his daughter ask Cross for asylum. KGB agents hover as Lonely prevents their pursuit of Medov. Callan interviews Medov, who says he had told them that he was a top agent, but he isn't really. The story is left hanging

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4.5 If He Can, So Could I

Is Cross falling apart after his last assignment? A report from Snell says so. He needs to be cleared, so Tony Meres questions and tests him. "I'd shoot my own brother," affirms Cross. But Snell is not satisfied. A judo test is next, oddly starting in slow motion, and after a lot of grunting, Cross wins through, at least as far as Callan is concerned. Despite misgivings from Snell, Cross' doubtful grading is removed from 'the file' on Callan's recommendation.
Cross is sent to "nurse" a dissident Russian poet named Trofimchuk. The pair have their philosophical differences, which apart from being too obvious, slows down the plot. Some spy named Burov or Vadim is after him. But then Cross oversteps himself and is shot himself. "He's dead." Red Alert.
A guilty Callan speeds to the scene, against the rules. He discovers one sick poet, yet able to explain his angst (unfortunately).
Meres provides a likely address where the killer might be hiding, Lilac Farm Worksop. Callan dashes there and kills him.
Then in his flat, the worse for drink, he shares his turmoil with a baffled Lonely. Next day Callan is reprimanded severely, "you killed unnecessarily." His job is no more

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4.6 None of Your Business
Enemy agent killed in road accident. Documentation on his person is perfect, lecturer Paul West is believed to have supplied these papers.
Back from Cross' funeral, Callan is suspended. Mears interviews West, telling the prisoner that the dead person was a KGB man. But West saw him as "a friend" and won't be convinced. "I want names, dates, places," demands Mears. West dies in custody, poisoned. Mears questions his girl friend.
Callan discovers that Lonely has been ordered not to drive him in the taxi any more. He asks his superior for his passport, but that ain't possible. So Callan approaches Lonely, who knows a man. As a result, Lonely is persuaded to reveal where Callan lives by his contact, Lucas. In retribution, Callan calls on Lucas, then on the man Lucas uses to forge passports. This man is under surveillance by Mears. In charge of the racket is Reeves (Brian Murphy). Callan "leans" on Lucas and the gang are flushed out while Reeves is playing bridge. Though he eludes Mears and Callan, he is finally caught.
Callan meets the new Hunter

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Charlie Says it's Goodbye
Poignant story, "you're back where you were, David."
James Pallisser (Dennis Price) needs watching, possible defector. Callan meets him with Mrs Susan Morris (Beth Harris) at a Polish Trade Fair run by Komorowski. "She's a bit of all right," comments Lonely, who spots that Palliser is being protected by a heavy called Trent.
Callan visits Susan in her flat above her fashion shop. Her husband had committed suicide after being questioned by security a while back. Callan attempts to apologise, "I think I'm in love with you." The snag is "they don't let you go."
Palliser is getting nervy and the day before Trent is due to shepherd him out of the coutnry, he goes to Trent's flat. Lonely chucks milk bottles at Trent's door, enabling Callan to gain entry and snatch Palliser. Trent escapes, swearing revenge.
Hunter is furious because Callan has got involved with Susan- an anonymous letter has tipped him off. "Who sent that letter?"
Not Pallisser or Trent, Callan discovers. That only leaves one person...
Komorowski asks for asylum. The truth emerges, painful, very painful, for Susan had tipped off Hunter. Really to try and get Callan sacked. But that can never be as Trent tries to shoot Callan as he chats with Susan in her shop. Callan has to kill him. The scene frightens Susan and their romance is at a sad end

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I Never Wanted The Job

A couple step out of a taxi, but two villains immediately shoot dead Edward, and take away the girl. Watching fearfully on is the taxi driver, Lonely. He flees to Callan, and finds himself in trouble: he ought not to have taken any fare. As it is, he is involved in some gangland killing. "When they catch up with you..."
That's what does happen. He is accosted by the two killers, "I never saw nothing," cries Lonely pathetically. His cab is smashed.
Lonely returns to Callan, "the cab's bust!" You feel sorry for Lonely.
Vic Abbot the boss tears off his men, and wants them to find out who owns the taxi, "get rid of both of them." A third visit to Callan's flat by Lonely is at point of gun. But Callan is prepared, forcing the killers to take him to their leader. "What's the deal?" Lay off Lonely. After a slanging match, Callan departs, leaving Vic puzzled as to Callan's motives. Another slanging match between Callan and Lonely, who walks out in anger only to be run down by the gang. A showdown follows by the taxi, with shooters as Callan rescues Lonely from their clutches, then real shooting commences. After a little help from Meres, Callan rounds them up. In the busted taxi they pursue Vic in his Jag.
Hunter has both agents on the carpet before Callan makes it up with Lonely

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The Richmond File- Call Me Enemy

Not one of the better stories. The old theme of two enemy agents closeted together.
Lonely has delivered Callan and Richmond (TP McKenna) to a secret lonely mansion, they are quite alone, unless you count the surveillance cameras installed so that Hunter can watch.
"I'm on nobody's side now," claims Richmond, who simply wants to be anonymous after his apparent defection. To get this, he offers to reveal the name of the traitor in British intelligence.
But it seems that the location ain't that secret, since somebody fires (and somehow misses) at Richmond. The two old protaganists reminisce, "it's getting a little unhealthy." Finally the traitor's name is given, that of Toby Mears. Callan refuses to believe it. Enter Mears, plus a gun. It's not loaded however, though a slightly tense scene ensues.
Back at hq, a debate is on about what to do. It becomes gradually more tedious, and Callan even summarises the situation, in case anyone has nodded off. Richmond neatly sums up the ambivalence of Callan's own position, then surprises him. Callan is knocked unconscious, and it is Mears who revives him. "He's gone"

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Mystery and Imagination (ABC)

1.3 The Fall of the House of Usher
1.4 The Open Door
4.1 Uncle Silas
4.2 Frankenstein
4.3 Dracula
5.1 The Suicide Club
5.2 Sweeney Todd
5.3 The Curse of the Mummy

ABC produced three short series of these stories of gothic melodrama during 1966 and 1968. This was one of the few series to survive the end of their franchise, for a fourth series of three stories, now under Thames TV banner was screened in late 1968, with a final group of three stories shown in 1970.
Recording of the series at ABC Teddingtom Studios began on Wed June 30th 1965. First to be made was titled Number 13 by MR James, eventually shown in series 2 (#2.1). Other 1965 recording dates were scheduled: 15 July The Flying Dragon (shown as #2.3), 28 July The Tractate Middoth (#1.5), 11 Aug The Phantom (#2.5) 26 Aug Fall of House of Usher (#1.3), 9 Sept The Lost Stradivarius (#1.1), 22 Sept Lost Hearts (#1.6), 6 Oct Canterville Ghost (#1.7), 21 Oct The Body Snatcher (#1.2), 3 Nov The Open Door (#1.4), 18 Nov Carmilla (#2.4), 2 Dec Whispering Death - no indication this was made, based on a Walter Scott story, adapted by Hugo Charteris, to be directed by Patrick Dromgoole, and 15 Dec The Beckoning Shadow - originally titled Old Mrs Jones (#2.2)

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The Fall of The House of Usher
Freely adapted from Edgar Allen Poe's story.
Madeleine Usher (Susannah York) is mighty scared after her father's death, and seeks comfort from Richard Beckett. "The shadows" scare her, the root of her fever is her brother Roderick (Denholm Elliott) who insists she return to their house. "Do not let him take me." But next day Madeleine has gone from Richard's house.
Becket goes to the house of Usher, with its weird murals, cobwebs and oppressive atmosphere. Madeleine is in a state of catalepsy. Treated by a local medic, she is dreaming of Richard rescuing her.
Believing his sister to be evil, Roderick attempts to keep her apart from Richard. He may be right, for she finds Richard and shows him the gruesome family vaults under their house, full of decaying corpses. "Are you afraid of bones, Richard?"
To get Richard to leave, Roderick gets Lucy, Richard's fiancee, to join them. It does bring events to a head, Madeleine needing to kill her, so she can possess Richard. But her murderous attack is cut short. But Lucy breaks off the engagement, "she's enchanted you," she warns Richard.
Roderick believes he is going mad, though his acting is more akin to Kenneth Williams in a Carry On! Maybe it's this viewer who was being driven potty. That dark night Roderick tries to bump Richard off. Madeleine tries to kill her brother, but, even though she very much wants to, cannot. Her heart fails and she is incaracerated in a coffin. She scrapes the lid inside her coffin and Dracula-like emerges and into Richard's arms.
The story is all very atmospheric and dramatic, the sets impressive, but this adaptation is none too scaring or even that coherent

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The Open Door
Col Henry Mortimer (Jack Hawkins) receives a telegram advising that his son Roland is seriously ill. The boy screams a lot, and his mother worries, "he doesn't even know me."
However he recognises his father well enough when he returns home. Roland says he is hearing cries in the ruins of a large old house near them. Whatever the cause, he is worrying to distraction. The colonel promises the boy he will sort out the problem.
That nght he keeps watch in the ruins with his faithful Corporal Jones. The set is impressive with lighting and spooky sounds to match. Despite extensive scares and weird cries, they are unable to get to the bottom of the mystery.
Dr John Simson believes it's a matter of mass delusion, but agrees to accompany the colonel next night at 11pm. For a long time there is silence apart from the doctor's ramblings, but then they hear a cry, "let me in." Next morning, they go back to the ruins and note that a juniper bush has disappeared.
Mr Moncrieff (John Laurie), a minister, is next to be consulted. Next evening the three of them stand watch and listen to the same pleading voice, "let me in." Moncrieff addresses the disembodied voice and tells it to "go home." He seems to know who it is and tells the unseen child his mother is not here. With a dose of prayer amid unlikely snowflakes, the spirit departs.
Moncrieff explains later, perhaps necessary but only slightly convincing.

An unusual story, sad because Jack Hawkins underwent his throat cancer operation shortly after this recording, and his discomfort is clearly visible

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Uncle Silas
Recorded by ABC in June 1968, though first screened by Thames TV.

A great heiress is Maud, but not a great actress, to the severe detriment of this play. Her "forbidding" father refuses to speak to her about Uncle Silas, some dark secret.
Her old crow of a governess is even more grotesque, Madame "Lamorge," Rougierre, who hastens father's death. This is high camp, over the top melodrama. Until Maud attains the age of 21, she must be under her guardian Silas, who will inherit when, sorry if, she dies. His very impressive gothic mansion is where a moneylender had died in mysterious circumstances.
Though Silas looks weird with his ultra long white hair, yet after what has preceded, he is hardly sinister, or even mad. However Maud is a virtual prisoner, her warder is the unpleasant keeper Hawkes, something of an enjoyable cross between Long John Silver and Frankenstein.
Silas desires that she marry his son, a repulsive wastrel. She could never do that!
It's an impressive set, the one where Maud explores the tower where the moneylender had been disposed of, only the mood is spoiled by the acting. "Let us have no more melodramatics," demands Uncle Silas, very much to the point.
The first shaft of light is when it transpires that Silas' useful offspring is already married to the flighty Sarah. But then back to dark evil, as Madame locks Maud in the tower room, "you mean to murder me." That's correct, my dear. Here's a Brian Clemens-style finale, tense, and of course over the top, thundering organ

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Frankenstein
There was this philosophy student in Heidelberg by the name of Herr Frankenstein, Victor Frankenstein (Ian Holm). He is a genius, "I know I am."
Probing the mysteries of life's very source, he has scant time to welcome to the city his cousin and intended Elizabeth (Sarah Badel), leaving her in the capable hands of his friend Henry. He even asks her to leave. The reason- a storm is brewing ideal conditions for him to try and create new life, to act as God, even though he believes not in such.
His experiment is more of a triumph than he dare imagine, in fact it horrifies him. The Being escapes, wandering the countryside, finding shelter with a blind man. This is never Karloff or Hammer, a sad story of a slightly disfigured monster, drawing out the religious and moral overtones of the original, as well as the doomed romance.
"We are enemies," The Being warns its creator, and in its anger kills Elizabeth's younger brother. Her companion Justine is accused of the crime, and even though Elizabeth and Henry are confident she is innocent, and Frankenstein also knows this truth, none can save her from execution.
Frankenstein tries to tell Henry of his crisis, but the latter seems surprisingly unconcerned. "What I have done must be undone."
What follows becomes too conflated in order to fit in with the time limitation. The Being demands his own companion, and then it will be satisfied. Instead Frankenstein kills that object of desire, thus The Being seeks it revenge. Henry is next for the chop. The pathetic creature becomes the pathetic creator, as Frankenstein marries Elizabeth in his bid for happiness. The Being terminates that opportunity, and Creator and Creature face each other for a showdown, yet which is which? There is no light. This is not a horror story. It's tragedy

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Dracula

In padded cell number 34, warders unwisely untie their prisoner. He breaks free, escaping to His Master, who is at a genteel household, thereby causing a severe attack of the vapours. The home is of Dr Seward, his curious guest Count Dracula, played by Denholm Elliott as though all foreigners must act suspicious. As for the poor guests, they are summed up by Joan Hickson as Mrs Weston, who might well be playing one of her lesser comedy roles.
After that, the funeral sequence looks more like Macbeth's witches. The good doctor's love for young Lucy contrasts with Dracula's evil designs. The scene where he emerges, at night naturally, from his cemetery grave is visually effective as he swoops to the sleeping innocent Lucy, digging in, literally, his teeth. However, it isn't frightening. A second visit is almost laughable. Poor Joan Hickson is really needed to do a Miss Marple on the situation.
Lucy walking at night "with joy beyond understanding" presents an excellent disturbing scene as she devours Mina. Yet more disturbing is Lucy's demise, the amazing thing is that the cast manage to retain straight faces. Visually in the clever dick mould is Dracula's own demise or perhaps disintegration

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The Suicide Club
Prince Florizel of Bohemia (Alan Dobie), with his friend Colonel Geraldyne, being tired of London and indeed life, don disguises, thirsty for an "unusual experience." The prince poses as Goodley an elderly academic, the colonel as The Major.
In a pub they are offered free cream tarts by one James Morris, who has spent his last £400 on tarts. Goodley's fellow feeling prompts him to burn his ready banknotes. All of them are ruined, "determined to die." Thus it is that Morris leads them to The Suicide Club.
They obtain admission to a grand mansion where roulette is taking place. The Woman in Black lures them into a side room for a meeting with The President. Fee paid, they are enrolled.
Members gather round a table, and giant playing cards are dealt. Death's High Priest is selected and The Victim. Morris draws the Ace of Clubs, the sign he is to be the killer. The oldest member draws the Ace of Spades, the death card.
The story moves on. The Woman in Black, now The Woman in Purple, offers "amorous dalliance." But not for The Prince, for he, as Goodley, draws the dreaded Ace of Spades. The President himself draws the killer card- it's all fixed of course. The Prince must proceed along The Strand, then down Cobbler's Court where he will be given up to his fate.
Of course The Prince fails to show up, returning to his palace. The only honourable outcome apparently is that The President must be felled in a duel.
The two newest club embers, Lt Rich and Major O'Rooke, "the pick of London," help entrap The President who has shot Morris. A duel with swords against The Prince, now in is own persona, "this is an outrage."
"Aaargh!" Accidentally the loser conveniently falls dead into an open coffin. Laughable

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Sweeney Todd
Freddie Jones in the title role is strange casting. He is not in the Tod Slaughter mould, neither melodramtaic nor sinister, perhaps slightly pathetic. We meet him "polishing off" Martin, a rich customer, despatching him from barber's chair to the dank cellars. His valuable pearl necklace is the object of his greed.
Mistress Lovett is the object of his desire. He offers her a token of his esteem, the stolen necklace. She knows it is genuine and cannot accept the gift. Sell it, she urges, and she will gladly take the cash.
A jeweller offers him a paltry sum, knowing the goods must be stolen. Todd demands £8,000, that is refused, Todd goes beserk and cries of Stop Thief ring round the district. Todd runs off to find shelter in a den of thieves. He pretends these jewels must be fake, but it is only his barbering skills that enable him to escape their clutches.
Into the clutches of Dr J Fogg, Tobias, Todd's assistant is despatched. He knows Todd's guilty secret. "He thinks I'm a murderer," Todd tells Fogg, who runs a lunatic asylum. However it seems Todd's own conscience is driving himself round the twist, for surrounded in his cellar by the skeletons of his murdered victims, he can find no peace.
A beadle investigates a complaint of an "abominable stench" emanating from his cellars. He has to be sent to the cellars. A new assistant is required. One lad applies who is "all alone in the world," Charlie. He looks more like a girl however, though Todd cannot see this obvious fact, and even takes a liking to the child, sure he sees a likeness in him of someone he knew.
Todd dresses up as a rich lord and obtains a cheque for £7,500 from Mundel a private banker, using the necklace as surety.
Come with me," he invites Mistress Lovett, now he has the money. She is all eagerness now, but he throws her fawning back into her face, calling her Mistress Slut. She, he poisons. Time for Charlie, alias Charlotte, to expose herself, not literally. She proclaims herself The Avenger of all those Todd has killed. The pearls had been intended as a present to her as Martin's fiancee. Police face Todd with charges of murder, but where are your witnesses, demands Todd with some confidence. Now follows a highly dubious twist to the story. Surely we know the fate that will befall Todd in his own barber's chair...?
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The Curse of the Mummy
Mike Hall's impressive set of an Egyptian tomb opens the drama. Some sort of ritual slaying. Virginal princess and all that, who imbibes poison. Hammer addicts no doubt recognise the scenario.
Miss Margaret Trelawny wakes up with a scream. She finds her dad prostrate on the floor. His room is like a recreation of an Egyptian palace- or tomb.
She asks for Dr Malcolm Ross (Patrick Mower with his nice face on for a change). Trelawny had been drugged. Claw marks on him. A potent odour in his room. His safe may be the target for the intruder who had been in his room.
An archaeologist Corbeck is found lurking in the garden. He had been sent by Trelawny to Egypt to find something. He's got it! In Trelawny's secret room is a mummy who bears this uncanny resemblance to Margaret. Of course. Mummy has a severed hand. Trelawny, now recovered, plans to revivify the mummy. "What's he take us for?!"
The Queen of Egypt will be brought back to life. A sacred cat destroyed. Corbeck is worried, can't blame him for that. Margaret is distraught. "What's going on in this?" asks the cool arm of the law, in the shape of a bemused police inspector.
"I don't really know," replies Ross, echoing my own thoughts entirely. But all Hammer fans know, though this is slow burning Hammer, almost extinguished, expired Hammer. "Now at last..."
With lanterns fetched from Egypt by Corbeck glowing as if it is Hallowe'en, tension rises among those still not somnulent as the queen is brought back. But the old crucifx stops the nonsense. Screams. Some corpses. The Mummy has gone.
Those who have survived are treated to a happy ending. Somehow. No surprise that after this, no more came of this series

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Counterstrike (BBC, 1969)
starring Jon Finch as Simon King and Sarah Brackett.
Simon King is sent to our planet to prevent The Invasion of the Centaurans, aliens who plan to take over The Earth as their own world is a-dying. The series started with some promise, but fizzled out. In the last analysis, the best bit must be that snazzy opening theme tune.
1 King's Gambit - Jeffries, a worker at Penfield Electronics in Suffolk is electrocuted in the lab. Baldock the MD is in the process of marketing a revolutionary new radio that retails for only ten shillings, but it's a far more sinister apparatus in fact, as it is able to brainwash anyone listening to it. Journalist Simon King investigates the accident and gets shot in the shoulder for his pains, and is taken to hospital. His blood is found not to be human blood! He discharges himself at once, but Mary, a doctor, learns his secret, that he represents an Inter Galactic Conference seeking to prevent inhabitants from another planet, the Centaurans, from taking over the "backward" Earth. "It can't be true." The Centaurans have already began the process of infiltrating British society, as at Penfield. They paralyse human brain centres with their radio, so to learn the constituents of these radios, King steals one from the electronics factory. However Baldock is waiting for him, and it takes a lot of sophisticated gadgetry, and Mary's aid, for King to escape
2 Joker One - Observer West is killed in New York so Simon with Mary goes there to lecture on Population Explosion. The alien plan, organised by Prof Gustav Pinot (Robert Beatty), but not aided by his unwitting wife (Barbara Shelley) is to disperse microbes above Berlin. Simon is to be the fall guy, instead he prevents the tragedy in this too protracted story, the ending entirely the stuff of farce, unwitting farce
3 On Ice - Simon and Mary are stranded with scientists on an Antarctic base that looks a lot like a studio despite the howling wind and snow. Who are the Centaurans here, creating a fungus that will apparently accelerate global warming? The story has characterisation but little drama, too much tedious talk in the sub zero wastes. "I couldn't have lasted much longer," cries Simon, and nor could I, though at least the irritating Taffy (the irritating David Jason) gets bumped off
4 Nocturne - "Not So Simple" Simon is subjected to "mental engineering" to make him kill psycho scientist David Plunkett (Kevin Stoney). In impressively staged nightmares he is killed by Plunkett only to wake up when the fatal shot is fired. This makes an interesting study in shadowy dream world as Simon's Mission Impossible-type task aims at getting him arrested. The ending you might say is another blunder by Doc Morrissey (John Horsley) but he's not the Reginald Perrin variety, he plays The Chairman, here planning the Centauran scoop through an hallucinatory drug and it's a good job Simon isn't simple and sussed what was going on, or am I dreaming that?
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The Long Way Home
A 1960 BBC serial about an exciting escape from a Belgian POW camp. Subtitled The Escape The Germans Allowed, this was the story of four English officers who tunnel out of a camp in the north of occupied France. The Nazis permit them to break out and remain at liberty- but why?
The four were Capt Gill played by Nigel Arkwright, Lt Anson played by Barry Letts, Neil Wilson playing Gunner Parker and James Sharkey as Capt Miller. Amongst others in the cast were Laurence Hardy (Col von Stretzheim), Patrick Cargill (Herr Grosnitz). William Mervyn appeared as a French policeman.
Script and production by Shaun Sutton.

1 The Tunnel
May 1943. "Getting out of the camp was only the beginning, you still had to get out of Nazi Europe."
Our hero, Lt Anson, has been captured after his ship had been sunk. But only five days in the POW camp, and he escapes. Six hours of freedom, and he is caught, surrounded by Nazi soldiers.
The Camp Commandant interrogates him, demanding to know how he escaped. Of course, Anson's not saying, so he's sent to the cooler.
A tunnel has been completed, but there's the usual danger of it being discovered by the Nazis. The hut where the tunnel begins is indeed searched, only a matter of time before the entrance is spotted.
To distract them, a message is relayed to Anson to reveal how he got away. "I walked out of the camp," he explains simply.
This is too far fetched even for the Commandant, however Grosnitz, a Gestapo officer incredibly believes Anson. The escape had been via the main gate, Anson bolding wearing a Nazi uniform. For confessing, he's allowed out of solitary and is able to rejoin his colleagues in the tunnel hut.
The tricky Grosnitz is at the camp to put an end to the stream of escapees, 51 to date, 17 never recaptured. He has orders from Himmler to allow another escape. The spy network will inform him when that's due, and his plan is to have his own agent among those who escape.
The usual tunnel collapse, one soldier Raynor needs medical attention. But that leaves a vacancy for tonight's escape. So Anson will make his second break in 24 hours!

Note- part 2, the escape itself, is sadly missing

3 The French Resistance
Four POWs have escaped, but the Gestapo are keeping track of them, the plan is to discover and smash the French Resistance movement.
The four have jumped off a train at Arondville, where the chief of the police (William Mervyn) arrests them. He seems to be cooperating with the Nazis, but he is actually an ally.
They are locked in a cell, but a secret opening, and they are out! The Resistance have them, but suspect they might be Nazis, so Gaston their leader (Derek Francis) quizzes them about the old country, and becomes satisfied they are British. He proposes they resort to the "unexpected," and do not make for Switzerland, but Spain, using bicycles.
Grosnitz of the Gestapo has now taken control of the camp, and he makes for Arondville, where an informer introduces him to Joubert (Arthur Lowe), who relates what has become of the escaped prisoners. Joubert receives his reward- some cash, but then a bullet.
The four are provided with Nazi uniforms and papers, and just elude Grosnitz.
Note- down the cast list is Jack Smethurst as "also appearing"

4 Cross Country Run
After a frustrating wait, during which Gaston quizzes the newly dressed Nazis on their credentials, five bicycles are forthcoming from Gerard, one each for the escapees, as well as a rickety old one for Philippe, Gaston's son (Frazer Hines), to act as their guide as far as the next Resistance group. "They won't get five kilometres," Gerard moans.
Unfortunately but predictably, the front tyre on Philippe's bike goes flat so when the four approach their destination, they are shot at by the French Resistance, local leader a madman named Savonac. Gunner is shot in the leg, before Philippe is able to run up and explain. The "tough surly ruffian" Savonac takes them to his farm, but isunwilling to help the injured man. "Carry him," he coldly suggests.
Fortunately Gaston turns up and proposes they 'borrow' Savonac's lorry, and now in civvies again they reach Chateau sur Seine, having left Gunner safely hidden in a boathouse. Le Lapin Gris is the cafe they must make for, where 'ello 'ello, the local Resistance leader Rene, sorry Pierre, promises to help them. But the SS raid his cafe and the three have to get out. They help themselves to a SS car and they're away, but on their own, links to the Resistance cut off.
Worse, though they don't know it, a traitor has left behind information for Grosnitz, telling him their destination is Spain

5 The Boathouse
Following the north bank of the Seine, the trio abandon their stolen vehicle, "it's a long walk." They decide to follow their plan and go south, and split up, a rendezvous agreed at a churchyard around midnight.
Anson returns to the boathouse to help the wounded Gunner Parks. The place is being guarded by a young lad and his older sister Marie (Nanette Newman). She's in love with Richard, an English agent, who is overdue from a mission. Late and wounded, the agent reaches the boathouse, with a coded message that must be sent urgently to London.
Grosnitz is aware of all these activities, but he learns too late that the army are on to Richard and are going to arrest him at the boathouse. But they are too late anyway, Richard has died from his wounds. They open fire on Anson and Parks, who are with the ubiquitous Gaston, and while Anson transmits the message, Parks is hit. He dies. The army swoop and Gaston and Anson are arrested. Grosnitz intervenes and orders them to face the firing squad

6 The Spanish Frontier
"Noone likes to be shot," jokes Gaston. The two prisoners are taken out of the boathouse, the firing squad prepare to shoot. But Marie has stolen a lorry and drives straight into them, the sentenced men leap aboard and they're away. Pursuit is impossible as the Gestapo car has been immobilised. After thanking her, Anson and Gaston, who's a wanted man now also, make for a rendezvous, in the little village of Saint Laurent, two miles from the Spanish border.
The trip across France is covered in no time, too little time, but then there's a frustrating hold up. They are met by Resistance man Batiste, Miller joins them, but where has their fellow escapee Gill got to? "We are mad," but they decide it is their duty to find out what had happened to him. Inquiries at a cafe reveal he has been arrested by the Gestapo who are staying at Chateau Montaigne, "your friend is finished."
Miller offers to take there some champagne that has been ordered, but Grosnitz is watching, "we've got them all now." In the kitchen of the castle, delivery is made. Miller and Anson explore the chateau and discover a guard in a drunken sleep outside a turret room.
"I've been expecting you," is the greeting from Gill

7 Over the Line
Gill is sipping champagne and smoking a cigar. He thinks he is being terribly well treated by the French Resistance, but the newly captured Miller and Anson disabuse him. They are to be shot.
Miller is interrogated. In front of Grosnitz we discover that it is Miller who is the spy, a German named Gerhardt. Grosnitz is suitably elated, "we are now in a position to destroy the entire Resistance organisation from one end of France to the other."
Miller baulks at the idea of his former 'friends' being shot, but has to agree. The slightly odd plan is to allow them to escape, then shoot them as they attempt to flee across the border.
The arrival of a high ranking Nazi changes all that. He orders the three prisoners to be handed over to him, and he escorts them out of the chateau. It is Gaston in disguise.
Miller is forced to reveal his true character as he points a gun and forces his former comrades to walk into the trap Grosnitz has prepared, "you rotten swine." However once again it's Gaston to the rescue, at the cost of a bullet to himself, nothing serious, thus he prevents Anson and Gill being shot by Miller. A gun battle with Grosnitz's gang, in which Anson's cricketing skills come in handy ends in glorious victory for The Brits.
Grosnitz faces disgrace, as the three reach the safety of Spain

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The Flying Swan (1965, BBC)
Was this the Beeb's answer to Crossroads? There are uncanny similarities, down to the owner being a widowed lady. This one had a superior setting, a hotel by the Thames, Margaret Lockwood starred as widow Mollie Manning, with her daughter Julia as Carol Manning, an air stewardess. Other regulars each week were Molly Urquhart as Jessie Macdonald a general factotum, Wendy Hall as Prue the receptionist, Tom Watson as Fred Potter the bar steward, and Nerys Hughes as his girl friend Maisie. There were other characters, mostly guests, who became semi-regulars in the series too. The series marked the return to a tv series of Margaret Lockwood who eight years previously had played the manager of a larger London hotel in a series called The Royalty. "A team of well known writers has been assembled for the first thirteen stories," viewers were informed, and in the end the series ran for 26 stories, which were recorded at Gosta Green Studios in Birmingham, on Fridays, a week in advance of transmission.

Two surviving stories:
2 Trial and Run
3 Double Trouble
#23 The Waiting Time, Sept 4th 1965
Interesting contemporary comments on this programme, towards the end of the second batch of stories:
"The programme itself has changed for better in a number of ways. The stock characters have disappeared, the relationships between the people are sounder, the personalities of Mollie and her daughter are more positive, and they are actually much more an integral part of the story. Above all, the action is not restricted entirely to the static hotel but is leavened with a litte- and only a little, but what a difference it made- outside filming. What a pleasure it was too to hear women talking like real women for once. This script by Sheilah Ward was kept spinning along in its quieter moments by some very real mother and daughter backchat...
This story concerned a mysterious young man (Joseph Morris) who took a job as a temporary waiter. When he began giving away all his worldly possessions it seemed likely that he knew he was about to die, but the surprise twist was that he was about to enter a monastery. It was a well kept secret, and the short scene in which he explained his decision was handled well by the writer and by Campbell Singer as the boy's father, and William Dexter as The Chaplain. The serial aspect of The Flying Swan is at present tied up with whether or not Mollie will go to the West End with a play and whether Carol should or shouldn't stay to run the hotel or go away herself to finish her training as a pilot. Involved in all this were two excellent character studies by Maurice Durant and John Welsh. In the background this week was Molly Urquhart as Jessie, a character that given scope could rival Ena Sharples. I was also rather taken by Norman Mitchell's bearded and erudite barman. One cannot help wondering... what might happen if Mollie should go to the West End and shift her hotel there- in Park Lane for instance. At 199"

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Details of all the stories:
1 Lady in Waiting (March 27th 1965, 6.40-7.25pm) with Lana Morris as Marion Watson. Apart from the regulars, the rest of the cast were: Richard Owens (Geoff Hunter), Jessica Dunning (Julie Knight), John Barrett (Harry), Garry Marsh (Charlie Manders), Simon Prebble (Peter Chambers), John Rapley (Chris), David MacMillan (Duncan), Alan Browning (William Cross), Sarah Etherington (Sue). Script: Donald Wilson. Director: Christopher Barry. Synopsis: Mrs Watson, a nervous woman, arrives at the hotel with an implausible story of her broken down car.
2 Trial and Run (April 3rd 1965) Also in the cast: Darryl Reed (Richard Stamford), Philip Bond (Conrad Stern), Alexander Bastedo (Suzanne Stern), John Barrett (Harry), Garry Marsh (Charlie Manders), Jessica Dunning (Julie Knight), Elizabeth Howarth (Mrs Stamford), Salvin Stewart (Lawson), Richard Owens (Geoff Hunter), and Hamish Roughead (McWhinnie). Script: William Templeton. Director: Michael Ferguson.
3 Double Trouble (April 10th 1965) Also in the cast: Richard Owens (Geoff Hunter), John Barrett (Harry), Robin Hawdon (Robert Sterling), Clifford Parrish (Peter Riley), Neville Barber (A waiter), Hugh McDermott (Dwight Cooper), Patricia Haines (Miss Edwardes), Eileen Helsby (Girl in bar), Wendy Gifford (Irene Starke), and Nicholas Brent (Detective). Script: Vivienne Knight and Patrick Campbell. Director: David Giles.
4 Love and Marriage (April 17th 1965) Also in the cast: John Barrett (Harry), Patricia Haines (this story as Emma Fischer), Hugh McDermott (Dwight Cooper), Wendy Gifford (Irene Starke), Clifford Parrish (Peter Riley), Neville Barber (A waiter), Donald Pickering (Richard Starke), Simon Merrick (George Hampton), Sean Barrett (John Grafton), And Suzan Farmer (Mary Grafton). Script: Michael Pertwee. Director: Christopher Barry.
5 Angel Face (April 24th 1965) Also in the cast: John Barrett (Harry), Hugh McDermott (Dwight Cooper), Robin Hawdon (Robert Sterling), Clifford Parrish (Peter Riley), Bernard Archard (Alan Dale), Nicholas Young (David Dale), Judy Geeson (Sonia Dale), James Kerry (Dr Ellwood), and Edward Cast (Inspector Frobisher). Script: Michael Pertwee. Director: Michael Ferguson. A family book into the hotel, head of the family is Alan with his two children, 17 year old gangling public schoolboy David and Sonia, a year his junior, both well mannered tearaways. Alan drenches himself with a syphon then creates a scene in the dining room.
6 The Spanish Couple (May 1st 1965, 6.50pm) Also in the cast: Hugh McDermott (Dwight Cooper), Robin Hawdon (Robert Sterling), Clifford Parrish (Peter Riley), Alex Farrell (Mulligan), Iza Teller (Charito Moreno), Carole Douglas (Luis Moreno), Cameron Miller (Mr Tatlock), and John Flint (Mr Addison). Script: Jan Read. Director: David Giles.
7 The Streets (May 8th 1965, 7pm) Also in the cast: Hugh McDermott (Dwight Cooper), John Barrett (Harry), Robin Hawdon (Robert Sterling), John Flint (Mr Addison), Philip Ray (Andrew Carr), Nora Nicholson (Mabel Chislehurst), Mark Burns (Eric Stanton), John Law (Mr Halliday), Michael Graham Cox (Postman), Barbara Cavan (Mrs Travers), and Kay Patrick (Jean Denning). Script: William Templeton. Director: Christopher Barry.
8 The Tyrant (May 15th 1965, 6.40pm) No Molly Urquhart but also in the cast: Hugh McDermott (Dwight Cooper), Robin Hawdon (Robert Sterling), John Flint (Mr Addison), Kay Patrick (Jean Denning), Richard Coe (Waring), William Mervyn (Alexander Curtis), John Boyd-Brent (George), Paula Edwards (Waitress), John Dawson (Head Waiter), John Bailey (Mr Bower), John Brooking (Roy Curtis), Sally Lashee (Mary Curtis), Simon Ward (David Curtis), and Richard Jacques (Surveyor). Script: possibly John Barber. Director: Michael Ferguson.
9 An Ideal Guest (May 22nd 1965) No Nerys Hughes, but also in the cast: Hugh McDermott (Dwight Cooper), Robin Hawdon (Robert Sterling), John Flint (Mr Addison), John Boyd-Brent (George), Paula Edwards (Waitress), Neville Barber (A waiter), Noel Trevarthen (Dt Sgt Alan Cooke), John Barcroft (Jimmy Hyde), Douglas Livingstone (Mr Hammond), Paul Harris (Mr Clements), Nilo Christian (Susan), David King (Inspector Hughes), and Michael Miller (Charlie Glover). Script: Robert Barr. Director: David Giles.
10 Company Property (May 29th 1965, 7pm) Also in the cast: Garry Marsh (Charlie Manders), Hugh McDermott (Dwight Cooper), Robin Hawdon (Robert Sterling), John Barcroft (Jimmy Hyde), John Boyd-Brent (George), Jessica Dunning (Julie Knight), Christopher Greatorex (Alistair Vawdrey), Malcolm Webster (Dan Sykes), Nadja Regin (Tania Sykes), Geoffrey Keen (Sir Donald Fletcher), Ian Colin (Ewart Rogerson), Edward Dentith (Bruce Rentoff), Eric Dodson (First delegate), and Richard Armour (Second delegate). Script: Anthony Steven. Director: Christopher Barry.
11 The Knock Out (June 5th 1965, 6.45pm) Also in the cast: Garry Marsh (Charlie Manders), Hugh McDermott (Dwight Cooper), Noel Trevarthen (Dt Sgt Alan Cooke), Jessica Dunning (Julie Knight), John Flint (Mr Addison), Norah Gordon (Mrs Reynolds), Philip Howard (First regular), Walter Henry (Second regular), John Rapley (Chris), Michael Segal (Higgins), John Cater (Moss), Steve Plytas (Tauber), Arthur Pentleow (Jackman), and Roger Milner (Mr Poole). Script: Jan Read. Director: Michael Ferguson.
12 A Question of Time (June 12th 1965, 6.40pm) No Molly Urquhart but also in the cast: Garry Marsh (Charlie Manders), Noel Trevarthen (Dt Sgt Alan Cooke), Robin Hawdon (Robert Sterling), Jessica Dunning (Julie Knight), Ronald Ibbs (Mr Thompson), Tenniel Evans ( Mr Meredith), Arthur Hewlett (Mr Cawston), James Ottaway (Mr Bailey), and Joan Peart (A woman). Script: Robert Barr. Director: David Giles.
13 The Cupboard (June 19th 1965, 7.00pm) Also in the cast: John Boyd-Brent (George), Hugh McDermott (Dwight Cooper), James Kerry (Dr Ellwood), Noel Trevarthen (Dt Sgt Alan Cooke), David MacMillan (Ian Nicholson), and Derek Bond (Dr Fane). Script: Norman Crisp. Director: Christopher Barry.
Note: This was the last story to feature Wendy Hall, Tom Watson, and Nerys Hughes, who all left the series.
The programme took a week's break.
14 In Quarantine (July 3rd 1965, 9.40pm) This story Margaret Lockwood and Julia Lockwood starred with Molly Urquhart. Also in the cast: Garry Marsh (Charlie Manders), John Boyd-Brent (George), Hugh McDermott (Dwight Cooper), James Kerry (Dr Ellwood), Ballard Berkeley (Dr Stokes), David MacMillan (Ian Nicholson), Jeffrey Wickham (Estven Zupalochyef), Gertan Klauber (Predrag Denkovich), Ian Norris (Brad Lomax), Christina Taylor (Alice), Gillian Royale (Rosalind, who appears in all the remaining stories), David Brierley (Geoff Fenn), Iza Teller (Charo), David Pinner (David), Howard Goorney (George Bromwell), Peter Jesson (Police Constbale), and Molly Weir (Sister Campbell). Script: Malcolm Hulke. Director: Michael Imison. The whole hotel is put in quarantine when Carol is suspected of carrying a contagious disease. Sister Campbell confines her to bed.
15 The Boardroom (July 10th 1965, 9.30pm) Julia Lockwood starred alone in this episode. Also in the cast: Hugh McDermott (Dwight Cooper), John Flint (Mr Addison), David MacMillan (Ian Nicholson), Gillian Royale (Rosalind), Iza Teller (Charo), David Pinner (David), Colin Pinney (Mr Webley), Thelma Whiteley (Diane Foster), Finuala O'Shannon (Miss Florian), George Sewell (Harry Venner), Brian Hawkins (Mr Sullivan), and Basil Dignam (Sir Alan Campbell). Script: David Weir. Director: David Giles.
16 The Gold Rosette (July 17th 1965, 9.40pm) Once again, Julia Lockwood starred alone. Also in the cast: Hugh McDermott (Dwight Cooper), David MacMillan (Ian Nicholson), Gillian Royale (Rosalind), Iza Teller (Charo), Basil Dignam (Sir Alan Campbell), Brian Hankins (Mr Sullivan), Carlos Douglas (Luis Moreno), Christopher Coll (Arnold Henshaw), Sydney Arnold (Charles Grafton), Janice Dinnen (Margaret Anne-Baxter), Norman Mitchell (Piers Franklin), John Baskcomb (Fat Man), John Moore (Thin Man), and John Dawson (Head Waiter). Script: Dick Sharples. Director: Christopher Barry.
17 A Chapter of Accidents (July 24th 1965, 9.55pm) This story Margaret Lockwood starred with Molly Urquhart. Also in the cast: Hugh McDermott (Dwight Cooper), Gillian Royale (Rosalind), John Boyd-Brent (George), Iza Teller (Charo), Norman Mitchell (Piers Franklin), Jack Allen (Harry Sutcliffe), Frederick Bartman (Henri D'Aragon), Elizabeth Knight (Frances Grainger), Eileen Dale (Nurse Braddock), Len James (Edward Candover), Isa Miranda (Hella Corellini), Patti Brooks (Secretary), Margaret Christiansen (Jo), Patrick Connor (Jack), and Robin John (Len). Script: Bob Stuart. Director: Michael Imison.
18 The Age of Consent (July 31st 1965, 9.15pm) This story Margaret Lockwood starred with Molly Urquhart. Also in the cast: Hugh McDermott (Dwight Cooper), Gillian Royale (Rosalind), John Boyd-Brent (George), Iza Teller (Charo), Norman Mitchell (Piers Franklin), David MacMillan (Ian Nicholson), James Kerry (Dr Peter Ellwood), John Flint (Mr Addison), Basil Dignam (Sir Alan Campbell), Frazer Hines (Jonathan Steele), Perlita Neilson (Sarah Barnes), Alvaro Fontana (Tony), Roger Hammond and Richard Kane (Booth and Joe, of The New Post), and Peter Halliday and John Carlin (Eddie Frazer and Rogers of The Sunday Star). Script: Margot Bennett. Director: David Giles. A young girl appeals for protection from newspaper reporters. The secret she is hiding proves her as clever as she is pretty.
19 Stage Fever (Aug 7th 1965, 9.35pm) This story Margaret Lockwood starred with Julia Lockwood, and Molly Urquhart. Also in the cast: Gillian Royale (Rosalind), John Boyd-Brent (George), Norman Mitchell (Piers Franklin), David MacMillan (Ian Nicholson), Annabel Maule (Leonora Croft), John Welsh (Leslie Rhodes), Roy Marsden (Tony Hassall), Maurice Durant (Mr Crossley), David Saire (Douglas Parker), Eveline Garratt (Joney), Jacqueline Jones (Angela), Heather Downham (Jackie), Stephen Yardley (Brian Bullman), and Sidney Vivian (Harry Dennison). Script: Jan Read. Director: Christopher Barry.
20 Relative Proof (Aug 14th 1965, 9.10pm) This story Margaret Lockwood starred with Julia Lockwood, and Molly Urquhart. Also in the cast: Gillian Royale (Rosalind), John Boyd-Brent (George), Norman Mitchell (Piers Franklin), David MacMillan (Ian Nicholson), Roy Marsden (Tony Hassall), James Kerry (Dr Peter Ellwood), Lionel Wheeler (Donald), Rosamund Greenwood (Miss McLean), Mary Merrall (Lucy Wilkinson), and Cyril Luckham (Jonathan Wilkinson). Script: Peter Steele. Director: Richmond Harding. When a wealthy lady advertises for her long-lost brother, a claimant soon appears, but Mollie is suspicious of him.
21 Group Mania (Aug 21st 1965, 8.50pm) This story Margaret Lockwood starred with Julia Lockwood, and Molly Urquhart. Also in the cast: Gillian Royale (Rosalind), John Boyd-Brent (George), Norman Mitchell (Piers Franklin), John Welsh (Leslie Rhodes), Iain Gregory, Michael Elwyn and James Culliford (The Anybodies), Cheryl Molineaux (Sue), Donald Hoath (Mr Evans), William Kendall (Brigadier Chiswick), Joan Newell (Freda Marsh), Gordon Whiting (Max Taylor) and Geoffrey Wright (Reporter). Script: John Hailstone. Director: David Giles. A pop group invades the hotel and clashes with a mysterious guest who shuts himself up alone in his room.
22 Shock Tactics (Aug 28th 1965, 9.15pm) This story Margaret Lockwood starred with Julia Lockwood, and Molly Urquhart. Also in the cast: Gillian Royale (Rosalind), Hugh McDermott (Dwight Cooper), Norman Mitchell (Piers Franklin), John Welsh (Leslie Rhodes), Maurice Durant (Mr Crossley), Garry Marsh (Charlie Manders), Joan Newell (Freda Marsh), Chris Williams (Tony Freeman), Avis Bunnage (Mrs Payne), Madeleine Mills (Linda Payne), Charles Hodgson (Mike Roberts), David Drummond (Dr Pearsey), and Fred Hugh (Electrician). Script: Sheilah Ward. Director: Innes Lloyd. A beauty contest, a pretty girl, an ambitious mother, a £5,000 prize, and a cunning scheme.
23 The Waiting Time (Sept 4th 1965, 9.20pm) starring Margaret Lockwood with Julia Lockwood, and Molly Urquhart. Also in the cast: Gillian Royale (Rosalind), Hugh McDermott (Dwight Cooper), Norman Mitchell (Piers Franklin), John Welsh (Leslie Rhodes), Maurice Durant (Mr Crossley), Garry Marsh (Charlie Manders), John Dawson (Head Waiter), Joseph Morris (Martin Selby), Campbell Singer (Colonel), and William Dexter (Chaplain). Script: Sheilah Ward. Director: Richmond Harding. Everyone likes Martin, the new young waiter at the hotel. But his behaviour is more and more eccentric.
24 Open Day (Sept 11th 1965, 10.00pm) starring Margaret Lockwood with Julia Lockwood, and Molly Urquhart. Also in the cast: Gillian Royale (Rosalind), Hugh McDermott (Dwight Cooper), Norman Mitchell (Piers Franklin), John Welsh (Leslie Rhodes), Garry Marsh (Charlie Manders), Janice Dinnen (Margaret Anne-Baxter), John Boyd-Brent (George), Natasha Pyne (Jane Fenshaw), Georgina Hale (Amanda Hirst), John Kelland (Barry Strickland), Ferdy Mayne (Ben Bannister), Rachel Kempson (Isobel Fenshaw), John Ringham (Adrian Fenshaw), Judith Gice (Mrs Grange), Mary Kerridge (Josephine Hurst), and John Boxer (Colin Hurst). Script: Peter Steele. Director: David Giles. Founder's Day at the local school involves the parents, pupils, and Mollie, in a series of crises.
25 The Diamond Pendant (Sept 18th 1965, 9.50pm) starring Margaret Lockwood with Julia Lockwood, and Molly Urquhart. Also in the cast: Gillian Royale (Rosalind), Hugh McDermott (Dwight Cooper), Norman Mitchell (Piers Franklin), Garry Marsh (Charlie Manders), Janice Dinnen (Margaret Anne-Baxter), John Boyd-Brent (George), Ferdy Mayne (Ben Bannister), John D Collins (Gerald), Jo Maxwell Muller (Wendy), Anthony Sagar (Albert Towers), Geoffrey Denton (Colonel Barnby), Victor Lucas (Eliot Fordyce), Robert Russell (Dt-Sgt Davies), Alister Williamson (Police Sgt Waters), Roy Marsden (Tony Hassall), and Bert Palmer (The Tipstaff). Script: Jan Read. Director: Innes Lloyd. A series of thefts in the hotel lead to unexpected disclosures about the guests.
26 The Contract (Sept 25th 1965, 9.35pm) starring Margaret Lockwood with Julia Lockwood, and Molly Urquhart. Also in the cast: Gillian Royale (Rosalind), Hugh McDermott (Dwight Cooper), Garry Marsh (Charlie Manders), Norman Mitchell (Piers Franklin), John Welsh (Leslie Rhodes), Janice Dinnen (Margaret Anne-Baxter), John Boyd-Brent (George), Ferdy Mayne (Ben Bannister), Brian Anderson (Frank Simpson), Joe Ritchie (Thompson), Michael Finlayson (Russell), Patrick McEvoy (Jones), Victor Lucas (Eliot Fordyce), and Marie Lawson (Waitress). Script: NJ Crisp. Director: Richmond Harding. Carol pilots her first plane- and Mollie decides on her own future.

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Trial Run
Not an impressive start with Margaret Lockwood eating with her mouth full while talking to her daughter over her wanting to become a pilot. As a hostess, Carol had been stabbed in Rome- but fortunately only slightly.
Inquiring at reception if a room be available is famous racing driver Conrad Stone, with his 'wife' Suzanne (Alexandra Bastedo). She could be Brigitte Bardot according to young Richard Stamford. But what are the pair afraid of?
Next morning Charlie is off to the races, he invites Mollie, but she is far too busy. Barman Fred enjoys a cosy chat with Maisie, sharing their plans for the future.
Richard is given Stone's autograph and even starts up his sports car, which is in the (very small) hotel garage. As the door is closed, no wonder he is overcome by the fumes.
He is carried out unconscious, but Stone refuses point blank to drive him straight to the hospital. The reason why becomes clear to viewers: he is worried he might be found out, as he had knocked down a pedestrian last night, and that man is lying in a critical condition in hospital. Stone's "callousness" angers Mollie, and she writes a letter to him telling him to quit the hotel.
Richard's father comes to see how his boy is, he is separated from his nervous wife, and the couple row.
Fred works out that Stone must be the reckless driver. He tells Mr Hunter where the car is now. Stone has brought a mechanic to repair it.
Suzanne realises that Conrad Stone "has no heart," and admits about the accident to Mollie. Having read the letter, Stone has an angry altercation with Mollie. There follows a surprising ending
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Double Trouble
Looking up Carol, is dashing pilot Robert Sterling, "absolutely gorgeous." He offers Fred and Maisie some homely advice before he meets Mollie, who becomes a trifle alarmed at the adventures he relates that have happened to her daughter.
Then Carol shows up- with a baby! "Good Lord!" cries Mollie. Carol explains she had been left holding it at the airport. Robert recognises it as having been on his flight from Frankfurt. Jessie cuddles the baby, everyone coos over it.
MD of Agroseal, Cooper asks Mollie if his business can hire her rooms, and she sorts out his requirements with his "right hand man" Miss Edwards (Patricia Haines). Then a bombshell: in private to Mollie, Robert states his belief that Miss Edwards is the baby's mother. Carol confirms it.
Mollie shows Miss Edwards round the hotel, last stop the office where baby is resting. Miss Edwards expresses no interest.
Robert chats with Cooper, it turns out Robert's dad is a busienss competitor of Cooper's. Cooper claims Miss Edwards has just flown in, not from Frankfurt but Paris. Miss Edwards can't be the mother therefore.
Miss Edwards informs her boss that Mollie's accommodation is satisfactory, but the owner "behaved oddly." Fortunately Cooper is not swayed and awards his contract to Mollie's hotel.
Police trace the real mother, a German named Emma. As they wait for her to collect her baby, Robert attempts to persuade Carol not to train as a pilot. "I'm not going to teach you to fly," he tells her.
Emma arrives to collect her baby. She proves to be the exact double of Miss Edwards, Emma's last line however is a bit improbable, "he's not my baby!"

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Jezebel ex U.K.
My reviews of
1 Sea of Doubt
4 The Unforgotten Country
Menu

The byline of this 1963 ABC series was: "A Ship- the Sea... and People."
It was only partially networked, but must have been quite a success as other regions showed recordings later in 1963.
Regulars in the series were
Ernest Hare as the ship's Captain,
Alan Browning the Chief Officer Steve Rettar,
Emrys Jones as the purser Lawton, with
Cavan Kendall his assistant Carr and
Patrick Bedford the barman Pomeroy.
Guy Verney was producer and directors included Jonathan Alwyn.
Theme music was by ABC's Robert Earley

In all there were thirteen stories.
First story was transmitted on Saturday 30th March 1963 at 6.30pm (ABC Midlands/ The North) and was Sea of Doubt starring Heather Sears and Pete Murray. The series started in Sydney with the Jezebel returning to England, with newlyweds Larry and Maxine (the two stars), others in this opening story being Mark Dignam, Patrick Holt and John Bonney. others in the cast were Margaret Courtenay, Reg Lye, Keith Anderson, David Webb, Fredric Abbott, Walter Sparrow (a semi regular as a sailor), and Jeffrey Ashby (semi-regular as a dining steward). Problems arise when Larry starts to suspect his wife has murdered a child back in Australia.
Send a Telegram was story no 2, with Guy Doleman, Jennifer Wright, Mark Eden and Shirley Lawrence. Also with John Trenaman, Roy Stephens, Haydn Jones, Terence Brook, Morris Perry, Timothy Parkes. An everyday story of a live nuclear warhead getting lost in the Pacific.
Story no 3 on April 13th was Sister Ship about ex- racing driver Robert Steele (Terence Alexander) and his wife (Miranda Connell). Also starring were John Turner and George Coulouris, with in smaller roles, Garfield Morgan, John Forbes-Robertson, Dudley Jones, Morris Perry, and Jeffrey Ashby. Things go mysteriously wrong with the Jezebel's new radar system. The problem is no unconnected with Robert Steele. others in the cast were Gordon Sterne, Job Stewart, Philippa Gail, Robert MacLeod, Gillian Raine, Roberta Huby and Mavis Villiers.
Story number 4 was The Unforgotten Country (20 April), Jezebel en route from Port Said to Aden. With Jeremy Spenser as Naresh Patel and Georgina Ward as Christine Roberts, among the cast were also Hylda Baker, Patrick Mower and David Lander. script by Martin Worth.
The fifth story (27 April) was Slow Boat to Nineveh, the ship was entering the Atlantic, when a mysterious Frenchman causes "strange things" to happen. The story starred George Pravda, Neil Hallett, Richard Carpenter, Margaretta Scott and Noel Howlett. Also appearing were Linda Marlowe, Sheila Brennan, Frederick Piper, Anthony Viccars, Maurice Durant, Walter Sparrow, and Bill Nagy.
Sanderson and the Sea was the sixth story, and starred Maurice Good in the title role, with Hugh Paddick and Juliet Cooke. Amanda Barrie also appeared, along with Michael Wynne, Ian Clark, Stephen Thorne, Margo Croan, Peter Hager, and David Webb.
Story 7, now shown at 9.10pm on 11th May was Return to Look Behind, with Charles Hyatt as Gabriel Thompson, on his way home to Trinidad. However his warm overcoat hides something.... Also starring were Margaret Anderson and Jacqui Chan.
The eighth story on 18th May was The Four-Legged Stowaway. Script: Michael Noonan. Director: Jonathan Alwyn. O'Dwyer (Patrick McAlliney), the Jezebel carpenter, is not believed by Lawton when he reports seeing an untethered dog on board. Keith Henderson (Robert Urquhart) is a physicist travelling to USA to take up an appointment with his wife Connie (Gwen Cherrell) and his three children Helen (Jane Asher), Tony and Joanna. Also in the cast: Leonard Rossiter and Avice Landon.
Next week, the ninth story was The Long Cool Drop (25th May) which starred William Sylvester and Helen Lindsay. With Gordon Sterne, Phillipa Gail, Robert MacLeod, Gillian Raine, Roberta Huby, Mavis Villiers, and Job Stewart (as Dr Stannard the ship's doctor, a semi-regular character). One of two Canadian Air Force Officers returning home on the Jezebel, falls mysteriously ill.
On June 1st the tenth story Bitter Lemon in Biscay written by Hugh Leonard had a strong cast of Gwen Watford as Miss Beecher and Maurice Denham. Others appearing were Maitland Moss, Ewan Roberts, Betty Hare, Anthony Verner, Bridget Wood, and Job Stewart. Mr Appleby is a difficult passenger with a bulging briefcase.
The last few programmes of the series were not shown as stated in TV Times.
Story No 11 on 22nd June had been scheduled for 8th June originally. It was Love and Let Love with Richard O'Sullivan as Paul Brooks and Kika Markham as Ruth who fall in love on board. Ernest Clark and Georgina Cookson as Paul's parents are not too keen. Also in the cast were Lisa Daniely, Alan MacNaughtan, Anna Wing and Geoffrey Palmer.
On 15th June the story advertised was The Long Voyage. It was recorded on June 11th. The ship now docking at Gibraltar where a high pressure businessman, Byrne (Brian Nissen), comes on board. He seems obsessed with retired architect George Gladstone (Kynaston Reeves). Other stars in this story are Joan Haythorne and Elizabeth Shepherd. Also in this story were Brian Nissen, Victor Platt, June Ellis, and Bart Allison.
The last story was probably The Stand In.

Others to appear in one of the stories, not sure which, were Donald Hewlett, and Muriel Pavlow.
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Sea of Doubt

Sailing from Sydney to Hobart, "all visitors ashore."
We are introduced to some of the crew, as well as a few of the apparently scanty number of passengers. You never feel they are on a cruise. Here is Larry newly married to Maxine, played by Pete Murray, who at least never drops his Aussie accent, and Heather Sears, "there's an awful lot about you I don't know." Larry admits he is a gambler, indeed this voyage is courtesy of his winnings. Then he reveals his dad was a cheap petty crook.
Newspapers are full of the kidnapping of a ten year old boy. Next day news comes of the lad's death. A sub plot is the appearance on board of forged fivers. Maxine starts to wonder if Larry is involved, especially as his car turns out to be very like the kidnapper's. Is it coincidence? Things look grim. The couple sleep apart.
At Hobart, the police in the shape of Patrick Holt, also with Aussie accent, come on board. We are kept guessing as kind Mr Tucker (Reg Lye) sorts out the marital difficulties. The dramatic music, as police home in on the killer, is over the top. An arrest is made, but as for those fivers, we never find out

Jezebel ex-UK

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The Unforgotten Country

Naresh (Jeremy Spenser), whose father is a tea merchant in Bombay, is returning home after his education in Britain. But does he really now see England as his real home? He does the twist with Norma, who is travelling with her mother (Hylda Baker), emigrating to Australia. Though she's "a smashing good looker," she has another admirer in Alec (Patrick Mower).
Miss Christine Roberts (Georgina Ward) has a taste for Benjamin Britten, like Naresh, but she has worries of her own. He tries it on with her, unsuccessfully.
Naresh decides he doesn't want to go back to India. The decision made, he is cheered, but a young Indian stowaway begs for love from his fellow countryman. Naresh is trying to be "too damned European," according to the Westerners, as the story skirts racial issues. But why should he go back? "India is not the Taj Mahal," he rants at them, "it's millions of people with not enough to eat." Perhaps the main reason this exchange isn't convincing is that Naresh is played by a British actor.
The stowaway jumps overboard. He is saved, cue more political speak. Disappointments and moments of truth, "I'll never be one of them."
Interesting that once a prompter whispers a line to Jeremy Spenser, unnecessarily as it turns out

Jezebel ex-UK

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The Count of Monte Cristo (BBC)
This was a much praised version, because it was true to the original Dumas novel. It was typical of the high class BBC Sunday serials, shown at 5.30pm on Sundays during October to December 1964.
Alan Badel starred, with Natasha Parry as Mercedes, Philip Madoc as Fernand, and Michael Gough as Villefort.
It was very obviously studio bound, and has to be viewed within the constrictions this required. Somehow, when you see Edmond Dantes with his hair blowing in the wind, you know it is caused by the wind machine. Thus swashbuckling drama this is never.
1 The Plotters
2 The Chateau d'If
3 The Abbe Faria
4 The Perilous Journey
5 The Isle of Monte Cristo
6 A Garden in Auteuil
7 Unlimited Credit
8 Evidence of a Crime
9 News from Janina
10 A Challenge
11 Dishonour
12 An End to Revenge
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The Plotters

On board what is obviously a set of a ship, Edmond Dantes skilfully anchors his ship into the port of Marseilles.
He brings Pierre Morrel the tragic details of the death of the late captain Leclerc, and returns his sword, "we are all mortal."
Danglers has some grudge against the self confident Dantes, and informs Morrel that Dantes had stopped off unnecessarily at Elba. The implication is that he is in league with Napoleon. It is alleged Napoleon had handed him a packet.
Mercedes is enamoured of Dantes, and accordingly she rejects advances made to her by Fernand. When her hero returns, Dantes is introduced to Fernand, "the rejected lover."
Danglers suggests ways to Fernand of how he might get Dantes sent to prison, to clear the way for him with Mercedes. That letter Dantes has from Napoleon would do the trick. Danglers even composes such a missive and the pair of villains then congratulate Dantes hypocritically over his forthcoming marriage. However Caderousse knows his duty to warn Dantes of this plot

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2 The Chateau d'If

Political discussion overshadows the eve of the wedding of Villefort ro Renee. The former justifies his changing sides to her aristo parents, claiming Napoleon was "a discredited usurper." As a lawyer under the new regime, he must guard against supporters of the old emperor.
At a different happier gathering, Morrel proposes a toast to Edmond and his fiancee Mercedes. A jovial Dantes thanks his loyal friends, at which we see Fernand flinch. Then a rap on the door, it is the law. Edmond is required to answer some questions.
Nothing daunted, he goes to meet Villefort, who asks, "did you serve with The Usurper?" But Dantes claims to have no political opinions. The letter that Villefort has is not his handwriting. Dantes explains why he had landed at Elba.
"I believe you," says Villefort, and the letter is burned. Dantes must be detained temporarily.
However, after this brief detention, Villefort's duplicity becomes apparent, for under guard Dantes is transported by carriage to a boat. Gradually the horror of his situation dawns, as the boat lands at a rocky island fortress. This silent scene well conveys Edmond's emotions.
"No man ever broke free from this place." Cold and comfortless, Edmond is seething with the injustice of it.
Mercedes tries to elicit information from the cold Villefort, "I cannot help you." She shouts in reply, "you are the criminal!"
Dantes attacks his guard. That menas he will be thrown into a deep pit

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3 The Abbe Faria

Dantes is led into the deepest dungeon, his only near companions dead or near dead, though in his cell, he is imprisoned all alone, a scene in near silence, the more impressive for that.
Villefort explains that this Bonapartist agent has confessed, "the Usurper has sailed from Elba."

It is five years later. The Inspector General of prisons finally happens to hear Dantes' complaint that he has had no trial. Dantes is promised that his case will be examined. However Villefort's "brilliant career" has taken him to Paris, and the inspector cannot intervene.

Years later, Dantes' solitude is broken only by visits of his gaoler. However other sounds awake the echoes, and Dantes makes happy contact with a fellow human being, a fellow prisoner, the abbe (John Wentworth), a political prisoner, "imprisoned for an ideal." In his own words he is "a somewhat pampered prisoner," and has been digging for years, though "I had miscalculated," he admits, his tunnel reaching only Dantes' cell. Though the old abbe warns of the impossibility, they dream together of finding their lost freedom

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4 The Perilous Journey

Dantes is told of the abbe's dream of riches, a great treasure, hidden from the Borgias. They make plans for a tunnel to dig their way to freedom. Daniel asks one favour of the priest, to teach him all he knows.
Mercedes has a child, Fernand's. But she doesn't look happy.
Slowly the tunnel is constructed, long and tedious work. As the pair do so, they converse, and the abbe helps Dantes perceive why he had been incarcerated here. Villefort is "a greater scoundrel than I first believed."
Sadly the abbe collapses, "there is nothing to be done." The dying man hands Dantes the clue to the treasure. Amid Dante's sorrowing, the abbe expires.
The corpse is carried from the cell, but in fact it is Dantes. He is carried to the cliff edge, and thrown into the sea. Weighted by chains, he sinks. But he frees himself and swims to freedom.
A ship picks him up. Jacopo provides some much needed food. Impressed by Dante's seacraft, the captain gives him the wheel. Destination: the Isle of Monte Cristo, the treasure island

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5 The Isle of Monte Cristo

The ship berths. Dantes has a shave and tidy up. Jacopo's brother takes him to the island. He finds a cave on the shore, amid more location shooting than is usual. He climbs a cliff, recalling the abbe's instructions. Using explosives, he blows open a cave. Eureka! Inside he finds a huge chest. It is brimming with gold and jewels.
He insists on meeting Thomson, who is a banker. At first suspicious, Thomson warmly greets his exceptionally rich new client. Dantes discharges his debts, firstly to his rescuers, then to Morrel, who had apparently attempted to get Dantes freed. Now he is "a ruined man," all due to Villefort. He is about to do himself in, when Thomson brings him the good news, "it's like a miracle."
Dressed as a priest, Dantes meets Caderousse the tailor, and tells him Dantes died in prison. He wanted to find out the reason for his long confinement. Catabousse is pumped with a bribe. His partners had been "the worst villains in the world," Danglars has become very rich and Fernand the fisherman has enjoyed a glittering army career. As for Mercedes, now one of the greatest ladies in all France, she married Fernand. News that is a bitter blow to Dantes.
Their conversation is cut short by soldiers who are arresting a "potential" murderer. His intended victim: Villefort!

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6 A Garden in Auteuil

Dantes saves the "lunatic" Bertuccio from arrest, rewarding his guards handsomely. Bertuccio tells Dantes of the riots in which his brother had died, he had received no justice from Villefort.
He relates how he had planned to kill Villefort when he visited a pregnant widow. This we watch in flashback. Bert attacks, "thy death for my brother's." The identity of Villefort's mistress is not known, though we can guess. Dantes leaves leaving behind a smallr eward for Caderousse.
Thomson reports that the baby has been sold into slavery to a Turkish sultan. He has also obtained the letter which had denounced Dantes, which he shows to Edmund. Jacopo is given instructions to sail to Constantinople.
At Dantes' request, he is given a Nubian slave. He is also fofered a dancing girl. He also buys the slave daughter of Ali Pashur, part of his scheme of revenge on his enemy. She tells dantes how she ended up here, after her father had been betrayed.
In a confusing scene, we leave Edmund, and are introduced to a host of characteras who then meet Edmund. He had saved one Albert from some bandit chief. He had a busy life hadn't he?

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7 Unlimited Credit

In Paris, Edmund Dantes is introduced to a new circle of friends by Albert, whose life he had saved. In the uniform of the new French conquerors, they breakfast together.
Albert takes Dantes to meet his mother, Mercedes herself, and they part with very mixed emotions.
With a banker's note from Thomson in Rome, Dantes approaches Baron Danglars for unlimited credit, over which there is this "slight difficulty." The baron does not want to do any such thing, but is forced to recognise Dantes' bona fides, and six million is eventually forthcoming. As a now favoured client, the Baron takes Dantes to meet his family. Danglars recommends that Villefort's second wife should show Dantes around the city!
Edmund tells his slave in seclusion that she is "free," but she tells him, "I will never leave you."
Albert talks to his mother about Edmund. Dantes, "he pleases me." Edmund is arranging for Madame Danglars' horses to run wild. Thus next morning as Dantes watches on from his new home, 27 Avenue des Champs Elysees, the horses run out of control amid screams from Mme Danglars and her companion Mme Villefort

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8 Evidence of a Crime

The passengers are escorted away to safety, after the crash. Valentine has fainted, though Mme Danglars is unhurt, and the nearest home is that of Dantes. Maximillian cares for them.
Mme de Villefort promises Dantes that he will meet her husband, when he comes to collect their daughter. He thanks the count for services rendered. The two men philosophise at length, talking of justice and retaliation.
"I had not noticed the time," breathes de Villefort, though this viewer certainly did.
Albert admits to Maximillain that he is not in love with Eugenie, even if their parents expect their arranged marriage to go ahead.
Thomson confides to Dantes that Baron Danglars is not quite as solvent as he was, any further setback might prove fatal. Armed with this knowledge, Dantes enlists two rogue gentlemen, bribed with a small fortune, to pose as rich Lord Cavalcanti and his son Benedetto. He sets them up in a country home, once the home of de Villefort's father-in-law.
At a dance we are served another dose of philosophy, Eugenie offers her protest against the degrading role of women in society. Dantes announces that the skeleton of a newly born child had been dug up in the grounds of his country home, "buried alive"

episode 9

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9 News from Janina
Mme Danglars is perturbed by Dantes' announcement. She had born de Villefort's love child, but is the child yet living?
Danglars takes Dantes aside and denies he has been in any kind of financial difficulty. The banker also inquires after Cavalcanti's financial status. Dantes hints that he is very well off. Of course he would. The man is seeking a wife for his son... If Danglars travels to Janina, he will learn of Fernand's crookedness.
Albert informs Dantes that Mme Danglars is confined to her bed with migraine, and he blames Dantes. But Albert is very grateful that he no longer needs to marry Eugenie.
"Your ruin will shake France," Mme Danglars warns her former lover. Desperate, de Villefort makes inquiries as to Dantes' identity. Just who is he?
From Janina, Danglars receives a report of Fernand's treachery. It's "a monstrous calumny," he tells Albert his son. Danglars calls off the forthcoming marriage that would have united their two families.
Dantes resorts to bribery, a telegraph officer is bought off with "your entire income for twenty five years." All he must do is send a message...

to part 10

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10 A Challenge
Dantes' bribery works. A message is sent To The Minister of the Interior...
The president and his ministers have Fernand in their presence. A female witness, who proves to be the daughter of Ali Pashur, testifies how Fernand had had her father executed before selling her into slavery. "A wicked plot," protests Fernand, but not convincingly.
Baron Danglars is handed a copy of Dantes' dubious message, a chance to make a fortune again. "Sell every bond you posess," he is advised.
Dantes thanks Cavalcanti for his silent assistance and dismisses him suddenly, despite Cavalcanti's son now being engaged to Mlle Danglars. At the opera, as Dantes peacefully watches from his box, Albert bursts in demanding satisfaction. Dantes' plan is to kill him in a duel.
Beauchamp attempts to offer an apology on Albert's behalf, plus an explanation, but Dantes is uncompromising. He now seems harder, more ruthless, less sympathetic even.
Pistols at 8am! Mercedes herself, Albert's mother, pleads with Dantes, but he is hard, unswerving in the course he has set himself. In a long scene, he treats her with sad disdain as they rake over the past together, "for fourteen years I rotted in a dungeon."
She begs for her son to be spared, even if she and Fernand receive their punishment. He yields, but now says that his only alternative is to be killed himself. Such is honour

next part

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11 Dishonour

"There is a god above us," confesses Mercedes to the disillusioned Edmund. "I know my duty now." She leaves him.
Edmund's slave Haydee has witnessed the scene. "She was a ghost," Edmund sadly informs her.
The duel. Edmund knows he must die. To Maximilian, he hands his will. But Albert has been learning a lot of facts, and comes begging Edmund to accept his apology. They shake hands.
Bernadetto is refusing to obey his dad, he won't give up his engagement, their argument ends with Cavalcanti's death.
Fernand approaches Edmund. He cannot accept that Albert has apologised. Breathing vengeance, he challenges Edmund, while bursting to know Edmund's identity. All is revealed by Edmund, again betraying the unpleasant side to his character. Fernand later shoots himself.
Valentine is insistent that she cannot betray her father, even for her lover. But they do kiss. Danglars signs the marriage contact, "a marriage of convenience"... for him. However proceedings are interrupted by police, who arrest the future bridegroom. He is put in prison, accused of murdering his father. But he succeeds in running away.
Eugenie also runs away, with Louise, to Italy.
Edmund sends a message to Bernadetto that will save his life

final episode

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12 An End to Revenge
Danglars, "covered in ridicule," faces up to Eugenie's flight. He's a laughing stock. Edmund consoles him, but subtly. At least Danglars has five million, ah but he owes that and more to Edmund, who annexes the money. Then Beauchamp brings Danglars news of a further crisis relating to his investment with Don carlos in Spain, "you are a ruined man."
Abduct Valentine, Edmund advises Maximillian, do it while de Villefort is in court. Here we have the dramatic revelation by a young man that he is the son of de Villefort, who had been burried alive after his birth by his own father. His mother never knew of such evil. In a daze, quite in the best style of a Merry Pason, de Villefort admits all. Then Edmund tells him who he really is. Michael Gough gives us one of those wild rants as only he can.
Danglars is now solvent again, but Bernadetto forces him into a room with locked bars. He must pay dearly for even one square meal. Danglars says he would rather starve, though soon hunger brings him to begging. Edmund reveals his identity, "I am the man you sold in dishonour." Thankfully, Edmund softens and forgives the gibbering wreck.
Edmund has a very sad parting with Mercedes, who can only repeat, "I believed you dead." Her only desire now is her son's happiness.
Half of Edmund's fortune is for the betrothed Valentine. Haydee is freed by Edmund, if that be her wish. But it is not, she is not his daughter, she wants only to be his mistress, his wife... Edmund oddly spouts more philosophy when maybe that is not exactly what she most desires

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Our Mutual Friend
A BBC serial shown in twelve parts (1958/9),
a brave attempt to serialise a complex book,
if you don't know the story, this adaptation is hard to follow.
The star was Paul Daneman as John Rokesmith, with
Zena Walker as Bella Wilfer,
Rachel Roberts as Lizzie Hexam and
Richard Pearson as Mr Boffin.

Part 1, Part 2, Part 3, Part 4, Part 5, Part 6,
Part 7, Part 8, Part 9, Part 10, Part 11, Part 12

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1
Passenger John Harmon is sailing to London to inherit £100,000. His resemblance to Radfoot the third mate is commented upon by many.
One condition is that he marry Bella Wilfer, whom he has never met. Her family are none too well off, she lives with her dominant mother, longsuffering papa RW, and younger sister Lavinia, unfortunately nicknamed Lavvy. She is informed of the legacy of a kind old gentleman, that she will be rich if she marries John Harmon. If he should fail to do so, all the money will be passed to the man's loyal employee Boffin.
With Radfoot, Harmon hatches a scheme to have a prior look at this Bella, in case she prove awful. When the ship docks, Radfoot takes John to an insalubrious pawnbroker Roger Riderhood.
George is distraught. He is, or rather was, an admirer of Bella. She has to give him the brush off.
John Harmon is drugged by Radfoot and Riderhood, his body dumped in a rowing boat and tipped overboard where the current is strong. Then these two villains fall out among themselves, and Radfoot goes the same way. But somehow Harmon has struggled to the river bank...

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2
Scavenging on the Thames is Gaffer Hexam and his daughter Lizzie (Rachel Roberts), "robbin' a dead man."
On a corpse they find soaked papers relating to John Harmon, who has "come into a lot of money." Since the name of Mortimer Lightwood is also found, Hexam sends his young son Charley (Melvyn Hayes) to see this man.
Lightwood is at a party, relating Harmon's good fortune. Charley brings the papers and takes the lawyer and his friend Eugene (David McCallum) to see the corpse in a mortuary. They are joined by a stranger who looks suspiciously like Harmon. "It's John Harmon all right," declares the attendant. The 'stranger' is required to leave his name and address. Name of Julius.
Lizzie learns from Miss Abbey, who runs a pub, that her father is likely involved with some of the murders on the river. Miss Abbey believes Riderhood must have killed Harmon. Lizzie decides home is no place for a lad like Charley, and gives him her savings so he can get himself an education.
At first Gaffer is wild when he discovers his son has run away. But he concedes, "he's welcone to go." The tension causes Lizzie to swoon

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3
A visitor for Mortimer Lightwood, his client Mr Boffin, he is the one who has by good fortune obtained the money that was to have gone to the late John Harmon, Richard Pearson plays Boffin as a muddled but genuine philanthrope, and the story lights up with his presence. He wants Lightwood to offer a £10,000 reward for Harmon's killer. He also wants Miss Bella Wilfer to ber given something.
She naively calls herself "a kind of widow." Her family receive a young visitor, who wants to take the vacant apartment. Name of John Rokesmith, though we recognise him for who he is. "I've never seen a man I dislike more," Bella declares, rather unfortunately.
Silas Wegg has one wooden leg. Boffin selects him as a man who can read to him, since he himself cannot read. Boffin is also approached by Rokesmith, offering his services as a secretary.
Silas asks dealer Mr Venus, Preserver of Birds and Animals, about paying for his leg. Venus is too distracted, for he has fallen in love, but it can never be since she dislikes his current occupation.
Mrs Boffin is dreaming of moving up in society. She agrees with Boffin that they must help Bella. She expands the scheme to Bella living with them, and also that they should adopt some poor young orphan, and call him John (Harmon)!
Thus next morning the Boffins begin their task, and call upon the Wilfers. Lavinia refuses to countenance the idea of accompanying her sister to the Boffins, but Bella accepts

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Rokesmith examines all the confusing paperwork that Boffin has had difficulty sorting out. The pair shake hands, Roskesmith will be his secretary. When Boffin moves, Rokesmith will live also in the house. He is shown the room where Harmon Sr had died.
Sophronia and Alfred have just got married. The happy couple are hardly happy, since they have now discovered that neither owns any property, and they realise "we've been taken in." They form an odd pact to swindle others.
The Boffins visit Betty Higden with a view to adopting baby Johnny. No fee, but she has one request, that she is buried decently, when her time comes.
Wegg has got his new leg bone from Venus. The two discuss the dead man's dust mounds, and what might possibly be hidden in there. They resolve to find out that very night.
Eugene tells Lightwood that his father, MRF, wants him to marry. They are approached by Riderhood, who wants to make an Alfred David, an affidavit. Then he will claim the £10,000 reward. How does he know Hexam killed Harmon? "He told me."
They make for the police station. Police search for Hexam, but his boat is unoccupied. His body is found, strangled. Is it an accident? Eugene meanwhile has fallen for Miss Lizzie Riderhood

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Sophronia's friend Georgina admires the taste of Sophronia's husband Alfred. Georgina doesn't want to marry herself, but Alfred has Fledgeby in mind for her. Actually he owes Fledgeby a lot of money.
Young Charley Hexam longs to see his sister Lizzie, but Headstone his schoolmaster advises against this. As Charley is adamant, the two of them call on her at her workplace, where she works with Jenny Wren. Jenny's father is a drunken sod, spending all his earnings on booze. It's an insalubrious place, which Charley wants her to quit. But she cannot. Could Headstone help her?
Eugene, Charley also dislikes, despite the fact that he wants to clear Lizzie's father's name. With Lightwood, he reflects on the story so far, when Charley accompanied by Headstone, faces up to him, demanding Eugene keep away from Lizzie.
Boffin is puzzled as to why Rokesmith hardly socialises at all. Mrs Higden sends her helper Sloppy to tell the Boffins that baby Johnny is ailing.
Jenny and Lizzie enjoy some tranquility in the garden of her customer, Riah. His boss is Fledgeby, a hard taskmaster.
Bella visits her family, querrels with Ma, "all disagreeable together." But to her Pa she gives money, and in his best new clothes they dine at a restaurant, sharing secrets. She needs to marry into money, she confides in him

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6
Poor baby John has died. The Boffins plan to find "another Johnny," even if he will not be renamed by this unlucky name. Mrs Boffin settles on adopting Sloppy, but he says he cannot possibly leave Betty Higden.
Headstone, on behalf of Charley, appeals to Lizzie with "a case." He is not very lucid, but will talk to her again.
Rokesmith, in disguise, returns to Riderhood's hovel. He shows the villain a knife, it's Radfoot's knife. Rokesmith is also wearing Radfoot's coat. Rokesmith tells him, "your trumped up story cannot be true." Riderhood must admit this, then go fifty fifty with Rokesmith over the reward. Rokesmith tries to learn the current whereabouts of Charley and Lizzie.
Bella apologises to Rokesmith for her rudeness to him. But she spurns his advances.
Mrs Higden asks Rokesmith if Sloppy can stay with the Boffins. Her solution, since Sloppy won't leave her, is "to run away." She reckons the lad would make a fine cabinet maker.
Headstone with Charley return to Lizzie, and finally declares his love. He offers her marriage, which is what Charley also desires, but the inevitable answer is no. Headstone sees Eugene Wrayburn as his rival for her hand.
Charley is upset when this happens and tries to persuade his sister, she refuses, and they part angrily.
Riah comforts Lizzie, who warns Wrayburn about Headstone

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7
Mrs Fledgeby listens to Lightwood's account of his most famous client, "everybody disappeared."
Mrs Lammle informs Mr Twemelow of the plot involving Georgiana. She feels guilty about her husband's scheming.
Bella visits Ma to cook her a meal on her wedding anniversary. Ma has her usual toothache. Bella tells Pa as they rpepare the meal that she finds that Boffin is becoming "capricious." She confesses that her head has been turned by all the wealth herself.
Riah discusses business with Fledgeby, "dishonoured bills" is his trade. The latter is informed by Lammle that "the game's up," regarding his scheming over Georgiana. He asks Lizzie's whereabouts, Riah merely says she is "at a distance," and that Wrayburn is pursuing her.
£200 a year is fixed as Rokesmith's pay by Boffin. Despite this, Boffin is trying to save money, since he perceives that "everybody's hand is dipping into our pockets."
Mrs Boffin also notes the change in her husband.
Riah is asked by Miss Jenny if he could try and improve her lazy father. They speak of fading happiness. They go to speak to Miss Abbey on Lizzie's behalf. "She has left town." Riah produces a paper "I've done Lizzie's father wrong." Into Miss Abhey's pub is carried a drowning man, none other than Riderhood. His daughter carries him home

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8
Mr Venus and Wegg almost fall out over not discovering anything yet in the Mounds. Boffin brings more books for Wegg, then finds a bottle in the Mounds. He says that the Mounds are going to be cleared soon.
It seems Wegg has found something, and not informed his partner. It is John Harmon's will. Venus takes possession of it. He says he is smitten with Miss Riderhood.
Betty begins her long walk to London. Filmed sequences show her struggling on through the countryside. She is accosted by Riderhood, and hands him some cash so she can proceed onwards. Further on, she collapses. Lizzie finds her, and promises to post her letter to Boffin. She dies in her arms.
Sophronia and Alfred muse over their financial embarrassment. She suggests that she snitch on Rokesmith over his advances to Bella. She also begs Fledgeby to obtain an extension from Riah. She then tells Boffin about his secretary.
Venus mentions the discovery of Harmon's will to Boffin.
Miss Jenny castigates her father, who has earned another fine. Though Eugene asks her about Lizzie's whereabouts, Jenny refuses to divulge her secret.
After Betty's funeral, Sloppy is in tears. Lizzie is admitting to Bella that she is "terrified" of Eugene. Bella confides to Rokesmith that "fortune is spoiling Mr Boffin"

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9
Eugene Wrayburn consults Mortimer about his financial worries. They are interrupted by Dolls, who offers to find out Lizzie's whereabouts- for a price, "deplorably underhanded."
Eugene knows he is being followed by the schoolmaster, Headstone. The latter too is offering a bribe- to Riderhood for the same information.
Miss Jenny learns of the duplicity of Riah, "the tightest screw in London." Twemelow and Fledgeby are at Riah's place of business, the former worried he must soon pay off his debt in full.
Boffin reprimands Rokesmith severely for "tampering" with Bella's affections. Suspecting him of financial gain, he dismisses his former secretary angrily. Rokesmith bids Mrs Boffin and Bella a fond farewell, causing Bella to give her benefactor a piece of her mind, in a semi comic scene labelling him "a monster." She cannot "stay here" any longer and bids the family a tearful farewell, with a parting shot at Boffin, "your money has turned you to marble."
At his lock, Riderhood encounters Wrayburn, money changes hands. Headstone also gives him two sovereigns. The schoolmaster is for ever following Wrayburn, and plans to dress up like Riderhood, for reasons we will discover.
Mrs Lammle begs Twemelow to keep silence. In return for this, she reveals that Riah is only acting for his principal, who is actually Fledgeby.
Bella returns to her dear Papa, RW, and Rokesmith follows on and the couple kiss. "My blessing on you both," smiles papa.
Boffin gives the Lammles cash. Mrs Lammle also receives £15 and some trinkets from Georgiana.
Sighs poor Mrs Boffin, "I do wish we could be our old selves again"

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10
RW takes Bella home, cold mutton and lettuce are all the cold Mrs Wilfer can offer. She says she had expected this all along. Bella finds that George is now courting Lavvy, he has "very good prospects."
Headastone is still followjng Eugene Wrayburn. He is at the lock, staring into the water, a suitable spot for drowning. What's he up to, ponders Riderhood.
Boffin takes Venus to Mr Wegg, who informs the unfortunate Boffin, "we have you in our power." They "talk terms." Sloppy must be dismissed. Then the estate must be shared, "I'll be ruined, Wegg." Boffin is given sight of the fateful will.
Bella is taken by her papa to a church in Greenwich, where they link up happily with John Rokesmith.
Lizzie meets Eugene and reminds him of the social difference between them. She is determined to "fly" from him, but ere they part he kisses her. He is by the river, where Headstone attacks him, pushing him into the water. Lizzie hears his cry, and drags him out, stunned.
Bella has written to her mother revealing that she has married Rokesmith. This draws her mother's severe displeasure, "viper!" Such language! The end result is that George's engagement to Lavinia is sealed. However mother also resolves to allow Bella home. But they are happy if impoverrished in their own little nest. John talks to her of becomnig rich, but she is content as she is, after seeing the effect that money has had on Boffin.
Headstone, wearing clothes identical to Riderhood, cuts his wrist slightly. Riderhood bandages it. Then Headstone goes alone to the river, and discards his clothing, throwing it in a bundle into the river. But Riderhood has been watching

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11
Young Hexam informs Headstone that Eugene Wrayburn is dead, and he castigates the schoolmaster angrily.
Wrayburn is not quite dead, but lying battered in bed. He begs Mortimer not to have his attacker brought to justice- for Lizzie's sake.
Miss Jenny finds Fledgeby moaning "odd noises," having been deservedly beaten up by Lammle. She apologises to Riah for doubting him, and learns the truth about Fledgeby's evil activities. She warns that Lizzie might be in danger from Fledgeby.
Her worthless dad has taken her savings, spent it on drink, and got run down by a horse. "He never did well." As she grieves, Mortimer calls, Eugene has begged for Jenny to be brought to him.
Miss Jenny finds Lizzie Hexam beside Eugene's bed. The couple are now in love. Eugene whispers to Jenny. "I know what he wants." It is to marry Lizzie.
Lightwood invites Bella to the wedding, but John refuses to go. He says he has "good reason." So Lightwood and Bella travel by train to Eugene. At the station Headstone learns the reason for their journey and collapses.
A touching scene twixt Eugene and Lizzie, "live for me."
Lightwood bumps into John Rokesmith, recognising him as Julius Handford. Such "extraordinary conduct" needs explanation. First John begs Bella privately to trust him. It is all related to John Harmon's murder. Police call to take away John alias Julius...

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12
At Miss Abbey's inn, John and Bella listen in as the policeman sorts out a question of identification. "It's Harmon!"
Bella is quite happy as she is, but John wants to show her the house he has inherited. She is dubious until she finds it is the home of the Boffins. Nrs Boffin relates the whole story to Bella. Yes, her husband is John Harmon. Mrs Boffin and husband Nic had even secretly witnessed their wedding. In fact Boffin had thankfully only been "pretending to be a bear."
"And that's the end of the story, Bella, my love." Yet there are loose ends to be tied up. Venus is to marry Miss Riderhood. He accompanies Wegg who is going to force Boffin to "stump up." His trump card is old Harmon's will, but it turns out, he made many such and the latest one is the one that matters. Thus Wegg is thwarted, "you're a precious old rascal."
Bradley Headstone is interrupted in his class by none other than Riderhood, uttering veiled threats. The story later actually ends rather curiously with the pair fighting beside the river and falling in.
Before that, we see Bella's pa RW visiting the new home. He is to stay as John's new secretary. The whole family join them, Mrs Wilfer as pompous as ever, or as John describes her amid laughs, "delicious."
Bella gets John to invite Lizzie and the Boffins and Sloppy to stay with them too. Eugene has recovered, happy in his new life with Lizzie. And Miss Jenny has "taken up" with her Prince Charming, Sloppy

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Barnaby Rudge (1960)
BBC serial in 13 parts,
John Wood starred in the title role, with
Jennifer Daniel as Dolly.
Joan Hickson plays religious Protestant Mrs Varden, and offers the brightest moments, especially when encouraged by her servant, the redoutable Miss Miggs, played by Barbara Hicks. Their comedy is a fine contrast to the author's main purpose.
For this is set at the time of the Gordon Riots, Dickens' consummate skill portrays dark recesses of the human soul, indeed his observations on the swaying of men's opinons to evil ways became all too true in the next century. Even today, his words are sometimes uncomfortably close to the truth vis a vis incitements to hatred

Part 1, Part 2, Part 3, Part 4, Part 5, Part 6, Part 7,
Part 8, Part 9, Part 10, Part 11, Part 12, Part 13

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The opening scene is far too verbose, introducing plot and characters tediously and synthetically. It's hard to follow, so my apologies if my resume is wanting.
In the year of our Lord 1775, in a driving storm, Edward sets out from the Maypole Inn Chigwell, on the twelve mile walk to London. He is going to see his beloved Emma Haredale, niece of wealthy Geoffrey Haredale, "not alive nor yet dead." He is elder brother of Reuben, Emma's late father. He'd been murdered, his servant Rudge had also been killed defending his master. Murdered by the gardener allegedly. One day the man will be caught and brought to justice.
In this pub is a ragged stranger who also leaves for London in the rain, but on horseback. On the road, he bumps into locksmith Gabriel Varden, and warns him of death to come. Evidently the two are sworn enemies.
Miss Dolly affords some light relief with her talkative mother, "it is my duty to suffer." They are awaiting Varden's return home. But he has stopped at the Maypole.
Here the landlord's son Joe has been reprimanded by his father for his inquisitiveness, and he rebels against being ordered about. Varden sympathises with him.
Later Varden bumps into Barnaby Rudge, a simpleton, who has found a man who has fainted. Varden takes him to Mary, Barnaby's mother, who cares for him. Edward has also been robbed, Mary is already nursing him. She is evidently frightened by the stranger who "haunts" her house

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Dolly welcomes home her father after his long night out. She serves him breakfast as he relates how he had rescued a stranger. He tells Dolly he is unaccountably worried for widow Mary Rudge. Sim, something of a fop, makes silly faces as they chat. She becomes worried when she learns Joe Willet might be "seeking his fortune."
Miss Emma meets Barnaby. "Steel," is the word he keeps oddly repeating. Mr Edward had fought a duel, when he was robbed- that's the gist of his rambling. Emma writes to him.
Edward's pompous father John Chester visits his ailing son who cannot as yet be moved. He is disappointed when he learns that his son's intended is only Emma Haredale. Now she is a Catholic.
Migg's, Mrs Varden's companion listens eagerly to the ramblings of Sim, "these 'prentices will throw off serfdom."
Barnaby dreams weirdly over Edward's sleeping form. Varden calls to see how he is getting on, "very restless." He questions Mary about the "ruffian" who is troubling her. Barnaby tells Varden of his dreams of "high churches falling down... he's waiting for us."
Edward awakes and thanks Varden for his assistance. He relates his ordeal, how he was attacked. But as to the robber's identity, Edward does not know, though Varden surmises it might well be the stranger who was at The Maypole.
Then Varden eturns home, Miggs ungraciously welcoming him. He leaves his wife Martha reading from The Protestant Manual. He muses to himself over marriage and Miggs' chances of ever getting wed. It would take someone mad to marry her.
An odd sequence follows that night. Sim creeps from his room watched by Miggs. He unlocks the front door with a key he has made and leaves. Miggs blocks up the keyhole and awaits his return

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Sim wanders round the studio streets before joining an udnerground gathering, of which he is Captain. He sits foppishly as one Mark Gilbert is initiated. He works for a hosier called Curzon, who is damned by this group. The Captain pompously reads out the society's manifesto. Joseph Willet of the Maypole Inn is also denounced: the reason is that he loves Dolly Varden.
Sim returns home to discover he has been locked out. He begs Miggs to come down to let him in, for a kiss she might do so. She faints comically and he has to carry her upstairs.
Willet the landlord bids his son Joe farewell. His destination is the Vardens, where he collects a letter from Emma to Edward, in which she begs him not to come to see her, on account of his health.
John Chester puts up at the Maypole, and gets Barnaby to deliver a message to Geoffrey Haredale, Catholic. A reply is required.
Joe brings a nosegay for Dolly, but Varden persuades him to give it to his wife. That makes her "faint," as she rants on as usual, Miggs confirming how unwell is her mistress.
As he waits, Chester discusses with Willet the sins of the catholics. Then Barnaby returns with a reply.
Edward thanks Joseph for coming to him. The latter admits he is in love with Miss Dolly

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At The Maypole, discussion is centering on the wild animal that is Hugh. Talk also runs to Haredale who has come to meet Chester- the locals excitedly expect there to be a duel of some description.
Haredale's niece Emma meanwhile is happily greeting Chester's son Edward, "I forbade you to come." They embrace. The impediments to their marrying form the basis of their conversation.
Chester and Haredale are old enemies and their meeting is conducted very coldly and formally. But they agree on one matter, that "the attachment" needs their attention. Edward and Emma cannot marry as Haredale is a Catholic, and in any case Chester needs his son to marry into money. The two agree on "a little diplomacy" to sever the relationship.
After a comedy interlude at the inn, when a corpse is wrongly anticipated, speculation is rife as to whether Chester was the one who murdered Haredale's brother all those years ago.
Haredale returns home, to find Emma in Edward's arms. Get Out is in effect what he tells the man. Then he begs his niece to obey him and not see Edward again.
Edward has it out with his father. He asks to make his own way in life. But his father explains his financial woes, thus Ned, Edward, must "marry well" so debts can be paid off.
The robber bursts in to Mrs Rudge's house demanding food and money. When Barnaby comes home, the robber hides, and she gets Barnaby off to bed early. The robber perceives that it was Barnaby who had interrupted his attack on Edward, and he swears revenge

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Edward calls on the Vardens and takes "a dish of tea." He asks if Dolly could deliver his letter to The Warren. Martha has one of her turns, "when I'm dead and gone..." This is brought on by Varden's very inncoent proposal that he and Martha accompany Dolly to Chigwell. Miggs talks her mistress round. The histrionics over, Miggs confides privately to Simon what the "flat faced puss" has been ranting on about.
Dolly delivers the letter and collects a reply from Emma, to whom she confides that she is not really in love with Joe- even if she is. Mr Haredale accosts her as she leaves, wanting to know about the letter. He asks if Dolly would consider becoming a companion for Emma.
As Dolly returns home, Hugh stops her, uttering threats. Joe intervenes, but she has lost the reply as well as the bracelet Emma had given her. Hugh hands this letter to John Chester, who warns of circumspection, especially in the matter of drinking.
Barnaby is dreaming with his mother of better times with "gold," when they are "far, far away."
Miggs is told of the adventures of the Vardens when they finally get home. She sees Joe's rescue as heroic, exaggerating its scope to Simon, who is not so impressed, "his days are numbered"

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In bed, John Chester receives Simon Tappertit, who brings a private letter. The latter takes his time in revealing his business. He suggests Chester talk to Mrs Varden about John's son Edward, He adds that Joe Willet is a dangerous enemy who would do anything to hurt Chester, "destroy him sir."
Mary Rudge talks over her husband's murder with Haredale. She tells him she is turning down his annuity so she can "begin life anew."
Overflowing with flattery, Chester meets Mrs Varden, "the Protestant Manual, my favourite book." Having commenced on the right tack, he confides in her about his son Edward's attachment to Emma, her foster daughter. Edward has "ruinous habits." John Chester also runs Joseph Willet down and the pair reach an udnerstanding.
Edward discusses the situation with Joseph, then hands him a second missive for Emma, niot having hear from her. But Joe's father forbids him to leave the inn, so Joe asks Hugh to deliver it.
Emma is worried she has not received a reply to her letter to Edward. His latest letter has been handed over by a drunken Hugh to John Chester.
Joe packs his bag, intending to leave for good, "I've done with The Maypole." He is going to become a soldier.
Varden tells Haredale of his suspicion that Mrs Rudge is harbouring the robber in her house. Varden and Haredale find Mary and Barnaby are not at home, she has "fled." John Chester tells them he has "bought them off"

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After another secret underground meeting, Simon ponders "great thoughts," directed against "the towering masters." A stranger overhears them, and demands shelter, where he can hide.
John Chester advises Emma that his son is unworthy, and she believes him, resolving never to see Edward again. Edward asks Betsy to bring Emma to him, but is offered only a cold reply. However Emma is clearly distressed. "my mind and heart are given to another," is her answer to him.
Edward Chester has it out with his father, over Emma, "who has changed by vile means." He must disobey his own father. "Take your own path," is the unpleasant response, "and my curse with it."
Joe is in a pub, where a recruiting sergant paints a rosy picture of life in the army. He offers Joe a drink and a trip abroad. Joe is tempted.
Emma informs her uncle that she has renounced Edward. He sympathises, "the difficulties would have been many," not least since she would be deserting her Catholic faith to become a Protestant.
That arch Protestant, Mrs Varden, lectures her longsuffering husband on Papists, "remember Bloody Mary." She's off to a Protestant meeting.
Varden advises Joe against running away to become a soldier. Instead he encourages Joe to declare his love to Dolly. But she coldly bids him goodbye. That gives Simon encouragement, even though Dolly really does love Joe.
It is two years later. In a wild storm, news comes to John Willet of a ghost in the church, that of the murdered Rudge, the steward...

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Leader of the Protestant cause is Lord George Gordon, though the mind behind him is the obsequious Gashford. A rabble rousing speech brings in the worst elements. They are dedicated to the repeal of the new liberal laws for catholics, "no Popery!"
As a Catholic, Haredale confides to Emma that he is worried about the ravings of such a "madman." In the room where Reuben had been murdered, Willet informs Haredale of "the idle tale" of Rudge's ghost haunting the church.
The "sacred cause" is receiving donations from many sources, including Simon Tappertit's United Bulldogs. Martha is urging her husband to join the Protestant Association, but he is too wise to heed Mrs Miggs' assertion that "the Pope's sending an army to slaughter us all!"
Barnaby is still dreaming of finding gold. His mother offers a passing blind stranger, Stagg, a glass of water. It turns out he is here on behalf of she-knows-who and demands £20. Stagg then tempts the simple Barnaby with a vision of gold, before departing, temporarily, with a part payment. Mrs Rudge resolves to take Barnaby away with her to London on the morrow.
Gashford is amassing a petition as Gordon addresses an enthusiastic mob. Dennis the hangman is one fanatic, "no Papists interfering with me." Gashford stresses that their actions must be lawful, yet selects Dennis to be one of the leaders to hand in their petition to Parliament.
Hugh signs the petition and delivers a letter to Gashford

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Haredale tells Varden he is urgently seeking the missing Mrs Rudge and Barnaby. He intends to spend the next days at their old house, "there are mysteries..."
Hugh tells John Chester, soon to be Sir John, that he has joined the cause "to settle off old scores." Chester intends to use Hugh to create "disturbances" that will bring down Haredale - and the government
At The Boot, Hugh attends an Association meeting, where drink flows freely. He chats with Simon and Dennis, "I hate the Papists." He says he hopes Joe Varden is dead.
Dennis reflects on his artistry in his peculiar employment, revealing that all his clothing has come from his clients. "A strange sort of man," comments Simon, who addresses the gathering on the subject of the petition.
Dolly is at home, asking her father where Haredale has got to. Miggs is melodramatically warning of "blood and gore" that will come from the Papists. Varden has no news of "runaway" Joe. That upsets Dolly.
Mrs Rudge and Barnaby stop at an inn for a drink. A man takes a fancy to Barnaby's raven Grip and wants to buy it. Meeting a refusal, he has them turfed out. So they continue their way to London, where Barnaby fondly believes he will find his pot of gold.
Sir George Saville, "friend of the Papists," takes Haredale to Parliament to give him assurances that Catholic freedoms are assured. Haredale is confronted by Gashford, with Chester and Lord Gordon. Gashford is denounced as a thief, which causes Hugh to strike Haredale. Angry, Haredale picks himself up, but is persuaded to get away by boat

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Four groups march on Parliament, singing rather repetitively the well known John Bunyan hymn. Barnaby wants to join them without in the least comprehending the purpose, but believing what he had been told about crowds can lead him to find gold. His mother despairs when Lord Gordon himself persuades him to join up, "he's not in his right senses." He joins Hugh on the road, and carries their banner. Hugh stuffs him with fine promises.
Lord Gordon greets the marchers, 40,000 of them, though not all on camera! The petition, an enormous scroll, is handed in to Parliament. Scenes become chaotic, just like Parliament you might say. MPs decide to delay their response- now that is typical. The marchers are turning ugly. General Conway warns against entering the sacred premises, soldiers stand by to enforce his order, and the angry crowd have to disperse. Barnaby still carries the Protestant banner.
"The cause is lost," the artful Gashford declares to his followers. His advice, "do nothing," seems unlikely to be obeyed. Hugh and the rabble are stunned by such inaction and start on "a little mischief."
They vandalise a Catholic church, then begin looting. The house of a possible papist sympathiser is attacked. The Lord Mayor calls it mere "high spirits," afflicted by a blind eye that Nelson might have envied.
Varden is reprimanding the excitable Miggs, who fears for her life. Captain Simon Tappertit returns here, the worse for drink, proffering a paper that will guarantee the home is safe from looters. Despite Miggs' hysteria, Simon declares that he is leaving "for ever." For once, even arch Protestant Martha Varden is distressed. She sees the light. Her collection box is smashed. Simon's 'guarantee' is ripped up. Bravely, Varden removes the shutters on his property

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The rioters are all resting, excepting Barnaby who is "playing soldiers like a boy," marching up and down with his banner.
Captain Tappertit plans his "hexpedition," of carrying off Dolly. Gashford brings news of a £500 reward for witnesses against them. Barnaby is left behind to guard "nothing in particular." He introduces Grip his raven to Lord Gordon. He is advised to flee before the military arrive.
John Willet cannot believe there have been riots. Emma tells Dolly similarly. Both women claim to have forgotten their lovers.
Willet is soon disabused when the gang demand free drinks at his pub. They grab them too. Dennis even wants to hang the poor landlord, but the men are too busy, off to The Warren and Haredale.
Haredale is on his way back to The Warren. At The Maypole he discovers Willet trussed up. Willet is convinced that "a dead man" had been with the gang. Haredale hurries home only to find The Warren on fire. No sign of Emma or Dolly, but he does meet the 'dead' Rudge, whom he escorts away at point of sword.
The two women are prisoners, "no murdering." Dennis has his fancy of being "worked of," Simon is as blunt, proposing marriage to Miss Dolly. The answer he receives is, "you're a dreadful little wretch!" Hugh is being promised his own reward, the dubious prize of Miggs.
The magistrate still refuses to allow the military to intervene. However they have captured one prisoner: Barnaby

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The mob learn that Barnaby is imprisoned in Newgate, "we'll break the jail open." Captain Simon knows a better idea, Varden was the jail's locksmith, and he will be forced to open up.
Inside, Rudge Sr is reflecting with the actual murderer on the crime of which he has been accused. "You can be saved yet," the blind stranger promises.
Varden refuses to help when the gang burst into his house, Miggs offering light relief as it is ransacked. She becomes even more hysterical when she is told that it is not Simon but Hugh to whom she has been promised. "i pronounce The Pope," she yells.
Barnaby nearly strangles his own father, until his identity is revealed. In the chaos outside the jail, Joe Willet manages to rescue Varden while a fire is being started. Panic amongst the prisoners who are chained. Some are released in a surprisingly well staged crowd scene for the era.
Mr Dugdale gives Varden shelter. Joe and his companion promise to find Dolly and Emma. Outside the inn, the rioters smash windows and break in, helping themselves to free beer.
King George III reads a solemn declaration that the military have been called in.
Miggs is complaining about "combing and titiwating into whitening and sepulchres," whatever that means. Emma Haredale reprimands her for her raving. Gashford offers to take Dolly home, and Emily to her uncle, but is it a trick?

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The devious Gashford is prevented by Joe from his scheme, and lead away to the Tower. He offers to provide evidence against Lord Gordon. The grovelling Dennis is also in jail, "at the other end of the rope." Hugh attacks him, since he'd been betrayed by the hangman, but the scene is overlong.
At the Varden's, Joe brings news of Haredale's rescue, amid joyous interruptions from Miggs.
Sir John Chester is informed by Varden that Dennis and Hugh are to be hanged. Before she had been hanged, Hugh's mother had told her son certain facts. Hugh is John Chester's son. Varden urges Chester to use his influence to save Barnaby from his fate. He is visited by his grief stricken mother. He says he is happy to face death. She also sees her jailed husband, a typical Victorian piece of melodrama.
Haredale is reconciled to Edward Chester marrying his niece.
The hanging party: Dennis is more than scared, Hugh not downcast, Barnaby optimistic. Hugh makes a final confession, that he had snatched baby Barnaby from his mother, and he curses his father.
Martha Varden tries to comfort poor Mrs Rudge. But Varden has saved Barnaby, and she is cheered, though Barnaby seems more concerned for his pet raven Grip.
Haredale stands in the wreckage of his home. He meets up with John Chester, a swordfight is the outcome, and death. "My debt is paid, revenge is not sweet."
A toast from Varden and the return of Miggs, who is "spared" for a final moment of humour

The End. To Barnaby Rudge start

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Oliver Twist (1962)

in 13 episodes
Bruce Prochnik as Oliver Twist, with
Max Adrian as Fagin and
Peter Vaughan as Bill Sikes.

Critical acclaim contrasted with the public complaining that this was not the comfy Sunday afternoon serial they had become used to. Certainly this version is more true to Dickens than many subsequent plagiarisms that we are very familiar with today.

Part 1, Part 2, Part 3, Part 4, Part 5, Part 6, Part 7,
Part 8, Part 9, Part 10, Part 11, Part 12, Part 13

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Part One
In a bleak hovel, a boy had been born, his mother (Jane Merrow) died.

Now the lad Oliver is nine years old, and Mr Bumble has to take the child before The Board, "he is wery small." Oliver, in tears, is told he will be taught a trade, and is taken to The Big House.
Like all the other poor inmates here, he is fed, after a fashion, on an assembly line. They are all hungry, treated "worse than dogs are." More gruel is needed, and they draw lots as to who shall make the request at the next meal. That most famous scene has Oliver, under peer pressure, walk up to make his demand for More.
Mr Bumble is summoned. The Board are informed, "revolution!" Oliver must be locked up, "an evil influence." An offer of five pounds is made for anyone taking him on as apprentice.
Undertaker Mr Sowerberry is persuaded by Bumble to take a chance on Oliver. Take him for a month "on liking"

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"He's very small," comments Mrs Sowerberry on encountering Oliver. He is given "cold bits" to eat and has to sleep with the coffins. Up next day at six, awoken by Noah Claypole, "you're under me, Work'us."
Sowerberry notes "an expression of melancholy on his face," he'd make a useful mute, and thus accompanies his master to a grieving mother. Claypole, aroused with jealousy at Oliver's apparent promotion over himself, taunts the lad over his late mother, making Oliver hit out. The boy screaming, has to be locked in a cellar, as Mrs Sowerberry has an attack of the vapours. Bumble is called to deal with "the young villain," who is prescribed gruel from henceforth. Even Mr Sowerberry has to concede that a thrashing is necessary, this is heard off camera.
Early next morn, Oliver creeps away. London 70 miles

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Outside The Whte Hart, Oliver is befriended by Dawkins, aka The Dodger. After buying Oliver a meal, he takes him to "a respectable gentleman" name of Fagin. Oliver is introduced to Fagin's other boys, and is given a drugged drink.
When Oliver comes round, he sees Fagin gloating over a cask of jewels. The boys return from their "work" and Oliver sets table for them. He asks to be taught to do as they do.
Thus he learns to pick pockets, seeing it as "a good game." He meets Nancy and Bet who are unsure Oliver is suitable for such a life. Nancy has come from the excecution of two of the boys. The two women fight over Bill Sikes, who is away at present.
Oliver is ready to go to work. Off with The Dodger and Charley Bates, they spot a likely "old cove." It goes wrong, Oliver runs off, but is knocked down. Police are called

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A bookseller tells the police that he is sure Oliver is not one of the boys who did the robbery, and the lad collapses. The man whom he was accoused of robbing, Mr Brownlow, takes him away in a cab. At Brownlow's home, Oliver is laid in a bed, and cared for by Mrs Bedwin. They wait for the lad to recover before deciding on his future.
The Dodger is sure Fagin will not be pleased to hear that Oliver has gone. In fact Fagin is more furious than The Dodger can comprehend, for he has been visited by a Mr Monks, who wants to see Oliver "transported," even hanged, anything legal. £500 reward is promised. Bill Sikes interrupts the row between Fagin and The Dodger. They decide that Nancy is the ideal one to go to the police office to learn what has happened to Oliver. Dressed as "a regular lady," Nancy reluctantly obeys. When she returns, she tells them Oliver is not there, but that some old gent had taken him away. Search must be made, "we may stop his mouth yet."
Oliver is in brighter spirits. Mrs Bedwin is unaccountably in tears because he is recovering! Oliver is fascinated by a portrait of a lady above the mantlepiece, "a beautiful lady." Mrs Bedwin does not know her identity. Mr Brownlow asks Oliver, who is "very happy," about his companions. Oliver says that the two were The Dodger and Charley and they work for Fagin. The boy becomes distressed. Mr Brownlow becomes concerned that Oliver is worried about the portrait. He notices a likeness...

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Proudly Oliver shows off his new clothes, his old ones given away to a peg seller at the door. However, this is Nancy, and she informs Bill Sikes, who has just extracted payment from Fagin for his last job. "He's at a home in Pentonville."
Fagin is puzzled why anyone is looking after the boy. The plan is to keep watch and wait for an opportunity to grab Oliver when he leaves the house. That proves earlier than they expect.
Mr Brownlow has a heart to heart with the boy, "let me stay here," begs Oliver. Mr Brownlow learns about Oliver's past. This tale is interrupted by the arrival of an old friend, the self-opinionated Mr Grimwig, who is complaining as usual, on this occasion about orange peel. A suspicious man, he sees in Oliver nothing to trust. Maybe this inspires Mr Brownlow to entrust Oliver with a task. Go to the bookseller and pay the money owed. A five pound note is given to the lad. Mr Grimwig thinks he will never come back.
Nancy spots Oliver and she tips off Bill. Amid the crowds, Nancy grabs hold of the boy, shouting at him and telling people that he is her lost little brother. Despite Oliver's protestations, Bill takes him away.
It's 8 o'clock, the time fixed for the hanging. Oliver is back in Fagin's clutches. Poor Mr Brownlow is visibly distressed

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Poor Mr Brownlow and Mrs Bedwin have to yield to the sad truth that Oliver is not going to come back. But they rightly surmise that his old companions might have snatched him.
Bill returns Oliver to Fagin, the pair of rogues squabble over the fiver Oliver was carrying. Bull's-eye the dog stops Oliver from running away. In vain Nancy protests, screaming at Fagin.
A reward of five guineas in the newspaper attracts Mr Bumble, who takes the coach to London. Grimwig is less impressed with the advertisement, sceptical of any result. But Bumble is able to enlighten Mr Brownlow about Oliver's past "criminal tendancies." He recounts how Oliver had attacked Sowerby. Sadly, Mr Brownlow is convinced, though Mrs Bedwin still retains faith in "the dear gentle child."
Fagin and Bill are lining up their next job, a crib in Chertsey. But a small lad is needed to gain entrance into the property. Oliver is ideal. Quietly, Nancy warns Oliver that "you can't help yourself," adding darkly, "if I could help you, I would."
Fagin assures Monks that after this robbery, Oliver will be in his power. Monks hands Fagin a sealed document for safe keeping.
As he prepares for the robbery, Bill displays his gun to Oliver, menacing him, threatening him

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Bill Sikes breaks open a window through which Oliver can climb. (It looked large enough for any of the gang to get through!) When an alarm rings, the lad is shot in the arm, and Bill has to rescue the lad. In their need to get away, the bleeding boy is dumped in a ditch.
Mrs Corney the matron, is being propositioned by a fawning Mr Bumble, "oh Mrs Corney, what an angel you are!" The "irresistible duck" proposes. The pleasure is interrupted by her regrettably having to attend to a dying pauper, Sally, who tells the matron that she had nursed Oliver's mother and robbed her of a gold trinket.
Fagin and his gang welcome back Toby, Bill's helper who has got back having eluded the law. Fagin is very worried what has happened to Oliver.
Giles and Brattles, servants of Mrs Maylie, relate to the good lady and her adopted child Rose, how they had shot the intruder. Their boasting is interrupted by a knock at the door. When it is opened, Oliver's body is found slumped on the ground. They recognise the lad. Mrs Maylie has Oliver put to bed.
Fagin asks Nancy, where Bill is, and Oliver. But she has no news. He must have the boy back, "worth hundreds of pounds to me." Later he is accosted by Monks who badly needs to know what has happened. Nancy overhears their conversation. "I'll get him back," promises Fagin

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Oliver's fever is passing. He insists to the doctor that he would never have robbed the house. Mrs Maylie and Miss Rose resolve to help the boy, and not involve the law. However the Bow Street Runners have already been informed, and two inspectors, Blathers and Duff, investigate in their own incompetent way. Good Dr Losberne covers up for Oliver, so that when the servants are interviewed, they now doubt that the intruder was Oliver.
Nancy is fretting, worried Bill has been caught. But he returns eventually, "as weak as water," after eluding police. He orders Nancy to fetch drink and food, and she perceives that she means nothing to him at all.
Monks is so worried that Oliver might yet live, that he makes for Chertsey where Oliver indeed is.
Oliver talks with Miss Rose, an orphan also, the two have much in common. Her father had died when she was three, and Mrs Maylie had taken her in and given her a happy home.
Dr Losberne has been up to London and, while confirming the substance of Oliver's story, has learned that Mr Brownlow has gone away to the West Indies.
Bumble and his new wife, the matron, are having words, in a comedy interlude. Monks approaches him about the birth of a boy twelve years back, young Oliver. Bumble says that the matron will reveal more of the lad's background, for a consideration

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Rose is at the piano when she suddenly collapses. Oliver dashes off to fetch Dr Losberne. The boy also takes a message for Mrs Maylie's son Harry.
As a storm rages, Bumble and the matron call on Monks, who is oddly perturbed by the thunder. She tells Monks about how she had nursed the dying Sally, who had robbed Oliver's mother as she was bearing her son. In Sally's dead hand was a pawnbroker's ticket, which the matron redeemed. Here it is, a wedding ring inscribed Agnes. Monks casts it into the river. He is triumphant.
Harry comes to Rose's bedside. He wants to marry her, but his mother is opposed, since sadly nothing is known of Rose's past. Eventually Rose's crisis passes.
The Dodger brings his loot to Fagin. Bill has now been nursed back to health by Nancy, and is demanding cash from Fagin, who promises to supply same. Monks brings Fagin his news, Nancy overhears them talking. Whatever she hears, it makes her pale and haggard, and she prays how she might find a way "to help the boy"

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10
This episode is a little ponderous.
Rose has recovered, so Harry takes the opportunity to propose. But she cannot say yes.
In the garden, Oliver spots Fagin, lurking. Nothing much seems to be made of the incident.
Noah (also called Morris) is on the run from Sowerbury, along with Charlotte who has stolen £20 from Sowerbury. At The Three Cripples inn, they pause for the night, but it so happens Fagin is there and he overhears their conversation, and sees in Noah a kindred spirit whom he can usefully employ. Having plied them with drink, Fagin makes his offer.
Nancy bravely goes to Miss Rose and warns her about Monks. For the first time, we learn that Monks is Oliver's older brother. Then Nancy has to return to her hovel, and Bill, but promises to be on London Bridge late each night in case she has learned more to pass on to Rose.
Mr Brownlow is back from abroad, and Miss Rose takes Oliver to him. Oliver's former friend is keen to believe the best of the lad, even if Grimwig is sceptical. Mrs Bedwin is thrilled also, "I knew he would come back." Rose tells Mr Brownlow what Nancy had revealed to her.
Bill refuses to let Nancy go out at night, to London Bridge, and this greatly distresses her

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Nancy meets her unpleasant fate: this is done without any of the gore with which such a scene would be depicted today, but it is effective in conveying the evil of Fagin and Sikes.

On London Bridge, Miss Maylie waits in vain for Nancy, since Bill has kept her away. Nancy never shows up.
Oliver enjoys tea with Rose who has confided in Mr Brownlow.
For a beginner Noah Bolter has already pleased Fagin with his takings. It mitigates the criminal's distress over news that The Dodger has been arrested. Fagin asks Noah to keep watch on Nancy and find out who she is meeting.
At The Three Cripples, Noah is shown who Nancy is, and follows her to London Bridge. Here she meets up with Rose and Mr Brownlow. Noah overhears Nancy refusing to betray Bill, and on the understanding that Fagin also be not prosecuted, she reveals where Monks can be found, with a full description of him. Then, though she knows her fate, and despite urgings from Rose, she returns 'home.'
Dr Losberne offers Rose and Mr Brownlow advice on how to deal with Monks. He suggests Harry would be "a usefully ally."
In deep darkness, Bill Sikes is informed of Nancy's betrayal. Breathing fury, he goes to Nancy, "Bill don't kill me."
A little late, Sikes realises what he has done

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Miss Maylie is dreadfully upset over Nancy's death, feeling in some way responsible.
Mr Brownlow and Dr Losberne go to The Three Cripples to flush Monks out. Harry's job is to get Oliver, "for Nancy's sake," to show him where Fagin's hideout is.
Here Fagin is worried that Bill Sikes will come here and give him away. But Bill is in hiding, though he shows up at The Star of India, where the bloodstain on his hat gives him away. Bulls' Eye, Bill's dog, is included in the wanted man's description, so Bill decides he will need to dispose of it.
Oliver is at first unable to find Fagin's, until he spots Charley who goes straight to Fagin's lair. Brownlow interviews a nervous Monks, the aim is to force him to admit that Oliver is his brother, despite the fact that there is no evidence since the will had been destroyed, as well as Oliver's birth certificate.
Fagin's is raided by police, and though Charley and his mate run off, the others are arrested, including Fagin.
Charley makes for The Three Cripples, where Bull's Eye also slinks in

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Sikes is in hiding at the inn, going beserk when his mates threaten to give him away. Attempting escape, he climbs on to the roof, and with a rope, begins to lower himself to the ground, only he falls to his death.
Brownlow forces Monks to make a statement, admitting that Oliver is his half brother. Bumble and his wife are called to ocrroborate, "I always loved that boy," declares the beadle. He also offers his famous line, "the law's an ass."
Monks has to reveal the contents of the will, the motivation for Monks' actions. Fagin has a copy of it. He is anxiously awaiting the verdict of the jury. Guilty. The judge pronounces sentence.
To obtain the will, Brownlow takes Oliver to the priosner's cell. Fagin's ravings are overlong and over dramatic. "Where are the papers?" the boy whispers to Fagin. Then Fagin is dragged to the place of execution.
The truth is revealed about Rose, which is good news for Harry. Though she still will not marry him, he persuades her, and they kiss.
Grimwig is ever doubtful whether Brownlow has been wise to care for Oliver for good. A toast to Oliver Twist, and even Grimwig joins in

To Oliver Twist start

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Bleak House (1959)
with Diana Fairfax as Esther Summerson
Colin Jeavons as Richard Carstone
Andrew Cruickshank as John Jarndyce
Iris Russell as Lady Honoria Dedlock
Elizabeth Shepherd as Ada Clare
Timothy Bateson as Guppy
John Phillips as Mr. Tulkinghorn

Part 1, Part 2, Part 3, Part 4, Part 5, Part 6, Part 7, Part 8, Part 9, Part 10, Part 11

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1
Esther Summerson's aunt Miss Barbary has died, so the young orphaned woman needs a new home, and a John Jarndyce offers her just that, via solicitor Mr Kedge. She travels to London to meet two other orphans, Richard and Ada, who are also being taken under the benefactor's wing.
The Lord Chancellor questions each of them before signing the papers. The question is, why have these three received such kindness?
A Miss Flite ("she's mad") sees herself in these young people, only many years ago: "her case has been rather protracted," admits Mr Kedge.
The three compare notes: none has ever met Jarndyce, Richard tells Esther that he is awaiting a court decision on a legacy, then he will be independent. It's oddly similar to Miss Flite's predicament. They meet her in her impoverished room, owned by the unsavoury landlord Krook. He relates an odd tale about Tom Jarndyce who committed suicide here years ago: "Jarndyce and Jarndyce had killed him." The point is certainly drummed home, that the writer has no high opinion of the law. Miss Flite herself reveals to the three that she is eternally waiting for her case to be settled.
Next day, Esther and her new friends travel by carriage to their new home, Bleak House. A man hands them a letter just before they arrive. They draw up in front of the spacious building, "our new home"

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John Jarndyce greets the three, who are full of thanks. He tells Rick that the gloomy name Bleak House was given by his ancestor Tom. Richard promises he is forgetting about the lawsuit. "We're going to be so happy here!" exclaims Ada.
John tells Esther a little about her misty past. All Esther knows is that her mother had been her "disgrace." He hands her the keys, "make of Bleak House a home for all of us."
Sir Leicester Dedlock is advised by solicitor Tulkinghorn, not to employ Rick. Jarndyce had written to him asking for a job to be found for the young man. Lady Dedlock is mysteriously upset by the handwriting on Jarndyce's letter.
Guppy visits this home and sees Lady Dedlock's portrait. He recognises the face, but cannot place it. This lady is involved in the Jarndyce lawsuit. A maid tells Guppy of the legend of the Ghost Walk, how at the time of the civil war, Lord Dedlock had caused his wife to become a cripple. She haunts the terrace with her ghostly footsteps.
Tulkinghorn asks Snagsby about the handwriting. It was written by a man called Nemo, apparently, a writer who lives at the dingy premises run by Krook. He is found dead. "He sold his soul to the devil." Miss Flite sends for the doctor, who reveals that the man had died from an overdose of opium. A portmanteau in his room offers no clue as to his real identity.
Rick must make his own way in the world. He declares his intention of taking up a career in medicine. All seems set fair

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Richard Carstone enthuses over his prospects in the medical world. Guppy fixes a time for him to meet Mr Kenge. Very gauchely, Guppy, with his courage screwed by a glass or two, informs Miss Esther Summerson of his good prospects- but this scene becomes too protracted. She puts him in his place. But he hints he could find out about Esther's mysterious past.
In Kenge's office, Rick learns that Kenge's cousin in Chelsea, Bayham Badger, is willing to offer a position. He is the third husband of the current Mrs Badger, a long winded lady. Here, the two girls meet Allan Woodcourt, an impoverished doctor dedicated to helping London's poor. He shocks Esther with stories of starving patients. She offers her help.
Tulkinghorn informs Lord and Lady Dedlock about the death of the man named Nemo. Revealed at the inquest was the fact that his name was Hawdon. In the Ghost Walk, steps echo.
Rick has proposed to Ada, so Jarndyce offers him words of wisdom. For the time being, Ada will remain with Jarndyce, while Rick is away learning his profession. Privately Jarndyce confides in Esther that he is worried about Richard's "want of character."
Lady Dedlock selects the plainest of dresses for her journey to London. She plans to talk to Tulkinghorn alone. "That is strange," observes Hortense, her maid.
Rick is off also, and bids farewell to his family, with a kiss for Ada

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Rick takes a very laid back approach to his doctoring apprenticeship, more rest than "grind."
Jarndyce and Esther visit Miss Flite, who is rambling about receiving interim payments from the Lord Chancellor. "I'm the Lord Chancellor," quips Krook, as he meets Jarndyce for the first time, not a pleasant meeting at all.
Lady Dedlock walks the dark street, asking Jo the sweep, who had discovered Hawdon's corpse, where he is buried. He leads the way. Later Tulkinghorn questions Jo about whether anyone has approached him, and if so, whom? But Lady Dedlock had disguised herself.
The steps on the Ghost Walk are louder!
Esther is told that Richard is not making a good pupil, and she promises to inform her guardian. "It's not quite in my way," Rick eventually admits, dimly realising his own failings.
Mr and Mrs Woodcourt to see Esther! Esther is upset to learn that there is a Mrs Woodcourt. But it turns out to be his mother, his very domineering and particular mother, and she is a little cold towards Esther, looking for a more suitable match for her offspring. The news is that Woodcourt is to become doctor on a ship. Esther, sobbing, watches them leave. But he had left a posy of flowers for her.
Rick is now "really set" on a career in law, but will he fare any better? He thinks so, though Jarndyce is yet to be convinced of his "steadiness." Jarndyce tells Esther why he has taken her up, her surname isn't Summerson, but what it is, he does not know

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Eagerly, Rick rushes into signing the papers that will article him to Kenge- despite Jarndyce's advice to be take more time considering this important step.
Guppy shows Rick the ropes, rather coldly, before visiting Snagsby, who is dealing with Jo, whom a policeman has found with half crowns in his possession. Jo's explanation that he had been given a sovereign is not believed. By chance while here, Guppy bumps into Snagsby's clients, the Chadbands who had raised Esther. Guppy listens interestedly as Mr Chadband performs his comedy routine.
In London, Jarndyce spots Lady Dedlock in the rain outside his house. He invites her in and Esther thinks she recognises her. Has Miss Summerson lost both parents?" Lady Dedlock inquires. Clearly, she recognises Esther. Hortense her maid ditto. She is dismissed.
Snagsby tells Tulkinghorn about the mysterious woman who had searched out Hawdon's grave. Tulkinghorn employs a detective named Bucket to investigate.
Guppy, smitten by Esther, persuades his pal Tony Jobling to live in Hawdon's old quarters. He believes Krook knows more than he is telling about Esther. In fact we learn that her real surname is Hawdon.
Tulkinghorn gets Jo to identify Lady Dedlock as the woman who had tipped him, but in fact it is only Hortense dressed up in the part. Bucket traces a Mr George, an acquaintance of Hawdon, and it so happens that Rick is taking fencing lessons with the man! We learn that George had indeed been a friend of Hawdon, and taken on the man's debt after he had died, paying moneylender Smallwood the interest each week.
Jarndyce angrily opposed Rick's latest wheeze. He wants to join the army. The law is not for him, and the cost of getting out of his obligations is considerable. His engagement with Ada is off, and Rick departs on ill terms

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William Guppy makes Tony jump when he pays him another visit. Tony is nervy, says he keeps seeing the dead man. He has learned that Krook has Hawdon's papers, "we've got to get those letters." They hatch a scheme.
Not on the best of terms, Rick bids Jarndyce farewell. He still has the nerve to ask for the £5 that he owes Mr George. Jarndyce hands it over and Mr George asks for some advice. He had taken on his friend's debt when he died, and now the money is being demanded in full, alternatively a specimen of handwriting must be produced. Jarndyce gives his opinion. Mr George meets Esther and thinks he recognises her.
Three orphans are in need of help, says Miss Flite. Their late father had been a debt collector and thus the children are shunned by many. Miss Flite takes Esther and her guardian to see them living in poverty, "no fire, and the weather's so cold." The eldest Charlotte or Charley is thirteen and takes care of Tom aged 9 and Emma, 6 months. Jarndyce blows his nose, "something shall be done," he promises. "We've not been kissed," says Charlie pathetically, "since mother died."
Mr George has gone to inform Tulkinghorn that he cannot pay, but will supply a specimen of Captain Hawdon's handwriting. The lawyer is hardly appreciative, and George departs in anger.
Guppy laboriously tells Lady Dedlock about Esther's likeness to "someone," eventually coming round to the fact that it's her ladyship. Her name is Esther Hawdon. "What is that to me?" asks Lady Dedlock coldly. Guppy reveals that he will shortly be in possession of Hawdon's letters, and he will show them to her ladyship.
Guppy and Tony go to Krook's room. It is midnight. what is that burning smell? They stumble on the corpse of Krook. Where are the letters?
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Jo is scared, "I'm going away."
Richard writes to John Jarndyce, accusing him of being biassed in the lawsuit. Esther asks to write a reply. She has a new maid, Charley, who has come to live with them. Charley's brother Tom is at school, baby Emma with Miss Blinker. Rick refuses to withdraw his accusations, unconvinced that John Jarndyce is utterly indifferent to the lawsuit. He has engaged another solicitor to contest the will. He begs Ada to come with him, and they kiss goodbye.
A distraught Tony warns Guppy that he will not stay at Krook's house a moment longer. Lady Dedlock also meets Guppy, who apologises for not bringing the letters. They "seem" to be destroyed, though later he asserts that they are, to her ladyship's relief.
Tulkinghorn is worried when he hears that Jo has disappeared, and despatches Bucket to search for him. Jo is wandering the countryside, in the pouring rain. Somehow he ends up at the Jarndyce home. He has a high fever, and a bed is made for him in the barn. Jo is raving, but talks of Esther, "she looks like the other one." He falls into sleep.
Esther is aware that his fever is contagious, and self isolates, as the expression now is. Charley refuses to leave her side.
Bucket hovers in the vicinity, causing Jo to run off.
Charley is upset as Esther develops the fever. When John hears, he goes to her room. She cannot see him
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Charley is cheered that Miss Esther is happily recovering. She can see again, but a look in the mirror reveals her face has been sadly disfigured.
Miss Flite has walked twenty miles to visit her. She is still awaiting the outcome of her legal case, she rambles on about her troubles, then relates how Mr Woodcourt had been shipwrecked. But having treated survivors, he has returned to England.
Tulkinghorn informs Sir Leicester that Vholes has been engaged by Richard Carstone as his new solicitor. But "nothing done" as yet, as per usual, to the anger of Richard, who blames John Jarndyce for his present plight. He has no money to pursue his case, so Vholes suggests he marry into money, but Richard will not countenance using Ada in this way.
The truth comes out. Lady Dedlock confides in Esther, "I am your mother." She had believed what Miss Barbary her sister had told her, that Esther had died. She has only learned the truth recently. Their conversation becomes disappointingly stilted, though not intended as such.
Tulkinghorn tells Lady Dedlock that he has discovered all the details, but is unsure how to use the information. He says his sole concern is to protect his client Lord Leicester.
Esther has been advised by her guardian to tell Guppy to cease his inquiries, since the facts are now all known. Guppy is confident that Esther is ready to accept his earlier marriage proposal. When he meets her, he is very thankful she is still turning him down, since her appearance has so changed.
Jo is now in the hands of Scragsby, with Dr Woodcourt treating him. He learns how Miss Summerson had aided Jo, but Jo never was able to thank her, since he had been taken secretly away by Bucket.
Esther receives a surprising letter from her guardian. Rather improbably, he declares his love, "answer when you can." Unsure of Dr Woodcourt's intentions, she falls into her guardian's arms
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In serious debt is Richard Carstone, Vholes proposes a way out of his difficulties: marry Ada. Richard is persuaded that this would be "the best for her."
He writes to Ada, who decides she must go to Rick, "oh Ada, this is so wrong," Esther tells her, since cousin John has not been told. Ada discovers Richard in reduced circumstances, "your place is by my side." On one thing Richard is determined, his lawsuit must be settled. They marry.
Jo is at death's door, treated by Dr Woodcourt, and cared for by George. He wants Esther to know his sorrow at passing the fever on to her. Dr Woodcourt teaches him the Lord's Prayer, as Jo passes away. George blames Tulkinghorn, and breathes vengeance.
In a nice comedy interlude, the lawyer is being told by Snagsby about the "hovering" maid Hortense. Her pestering is disturbing. Tulkinghorn deals with her, or tries to. "You're mean and shabby," she expostulates, demanding he find her a new position. In return, he counters by threatening to get her sent to prison.
Lady Dedlock listens to Tulkinghorn, who has decided that it is his duty to tell her husband. But he dangles the threat, it may be "tomorrow, or a week hence."
Dr Woodcourt brings Jo's message to Esther. Jarndyce takes the opportunity to ask the doctor to pass on to Richard some money, but they both know it will be refused. Esther walks with Woodcourt in the garden (actually the studio), then they sit and he declares his love again. She reveals she is to marry Jarndyce. He can't believe it. But Jarndyce names the day.
In a storm at night, Tulkinghorn is shot. All that is needed now is a Sherlock Holmes
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10
"Not a pretty sight," the late Tulkinghorn, "I wouldn't say he was liked."
On the case is Bucket, probing questions to Woodcourt. Chief suspect is George who had been heard to threaten the lawyer. George is with his friends Mr and Mrs Bagnet, who are the ones owing the lawyer money. They are interrupted by Bucket, who has come to arrest George. He admits he had gone to see Tulklinghorn last night, but received no reply to his knocking on the door.
"I can't believe it," observes John Jarndyce, when Dr Woodcourt breaks the news to him. Sir Leicester Dedlock tells Bucket that he has put up a £100 reward. The detective's ears prick up when he learns that Lady Dedlock had seen Tulkinghorn that fateful night. Obliquely, he tackles her ladyship on the subject. Both she and Bucket have received a curt unsigned note "Lady Dedlock Murderess."
In jail, George is remarkably upbeat, knowing he is innocent. He refuses legal help, he doesn't trust lawyers. He says he saw a woman leave the house when he went to Tulkinghorn's.
Bucket returns to Leicester and has to inform him of the "bad blood" between Lady Dedlock and the dead man. But it is Hortense he arrests, explaining how he had set a trap for the ex-maid. She had written those notes. But she believes she has "won," because she has got her own back on the Dedlocks. But Lady Dedlock, fearing her own arrest, has run off.
Richard Carstone is coughing badly. But he is expecting his lawsuit to be settled against Jarndyce. Despite John offering financial aid, it is flatly refused.
Bucket asks Esther and John to help him trace the missing Lady Dedlock
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Fast rides the carriage after Lady Dedlock. Ever more weary, she is roaming the countryside. Bucket, as well as Esther, is on the trail, he is informed that "she went away north." But the detective perceives that he had been given duff information, for she is returning to London.
A distressed Sir Leicester hears from George that George's mother is none other than Mrs Rouncewell, his servant. A beautiful reunion, and a job back in Sir Leicester's service for George.
Bucket, with Miss Esther, is two hours behind her ladyship. She has reached Scragsby, who directs her to the cemetry, where Esther's father lies buried. But she collapses at the gate, that's where Bucket discovers her. She is dead.
Lady Dedlock's letter to her daughter is opened by John Jarndyce. It reveals how much she loved Esther, who is comforted by Allan Woodcourt.
The will once in Krook's possession is read to Richard and Ada. Success is certain. John begs Richard to return to Bleak House. He will not.
Guppy calls on John, bringing his fussy old mother. In a comedy interlude, he offers a firm proposal of marriage to Esther. But all he receives is "a definite rejection," most definite.
Woodcourt is with the dying Richard, waiting for the outcome of his lawsuit. It's "a monument of chancery practice," since the will has been "swallowed up in costs." You are left in no doubt what Dickens thought of lawyers! Richard sees at last that he has wronged John Jarndyce, and agrees to his "coming home." But he is too unwell for that to happen, although repentant. His dying speech is melodramatic in the style of the era.
Charley is decorating the new home provided by John for Allan Woodcourt. Naturally it is for Esther too. A happy finale
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Dombey and Son (1969)

A fine adaptation of Dickens' novel, this was BBC classic drama at the height of its powers, before it finally threw aside many of its aspirations of being elitely highbrow.
Starring John Carson as Paul Dombey with
Kara Wilson as Miss Florence,
Pat Coombs as Lucretia,
Hilda Braid steals most of her scenes as the upright opinionated Louisa, and
Barbara Mitchell offers a fine comedy cameo as the redoutable Mrs MacStinger.
1 Dombey & Son - & Daughter
2 Money and Mr Dombey
3 Blimber's Academy
4 A Voyage for Walter
5 Edith Granger
6 Love and Mr Dombey
7 The Second Mrs Dombey
8 The Woman From Beyond The Seas
9 Mr Dombey Rides for a Fall
10 Flight
11 The Survivor
12 Vengeance
13 Dombey and Daughter

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1 Dombey & Son - & Daughter
Born to Mr Paul Dombey (John Carson), a long desired boy, also to be named Paul. His Destiny is to run the prosperous family shipping business. Sadly, Paul Sr has no time for his firstborn daughter Florence.
The dithering Dr Parker Peps is concerned about the mother's health, though Paul's garrulous sister Louisa is of the opposite view. Her friend Miss Tox (Pat Coombs) brings a small pincushion as a present for the "littler Dombey."
That very day, Mrs Fanny Dombey dies. Tox locates a nurse for the babe, Polly who is married to Toodle, a stoker on "one of them new railroads." Polly is oddly renamed Richards and has to give all her time to baby, leaving Toodle to care for her own five youngsters. Shots of these are on film, and mix slightly awkwardly with the studio videotape scenes.
We meet a green new shipping clerk Walter who has just began working for Dombey's business. He lives with his Uncle Sol, who runs a very unsuccessful shop.
Florence, 'Miss Floy,' finds solace in the motherly Polly, even though she is cared for by a governess, Miss Susan Nipper (Helen Fraser). Her father virtually ignores Florence.
But these three females surreptitiously sneak off to Camden to visit Polly's family, in particular the eldest Biler, who Dombey has generously offered a place in a school. Since Biler is now dressed as "a toff," local lads beat him up, and in the confusion poor Florence is snatched by an old woman, Mrs Brown (Fay Compton). The motive: robbery

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2 Money and Mr Dombey

"I am lost," cries poor Florence, wandering the streets.
It just happens that Wally comes upon her, and carries her safe to Uncle Sol. Thence in a hackney to the Dombey home.
Floy thanks her saviour, "I shall never forget you." Even papa seems grateful for a mere second.
Mrs Richards is blamed, despite Floy's protests. The nurse is discharged.

Some years later, the precocious young Paul is asking his father what money is. "What can it do?" Answer anything. Yet young Paul is perceptive enough to see that it cannot make him strong. Nurse Wickam is caring for the lad, as well as his sister. He is delicate.
Louise recommends Mrs Pipchin, who runs a "select" institution in Brighton. Florence must accompany the boy.
The place is, of course, severe. Dombey visits his son weekly.
Uncle Sol is facing bankruptcy, so Captain Cuttle proposes that Wally ask Dombey for help. They travel to Brighton for this purpose. Dombey considers the request, and tries to involve his son in the deal. Floy is not to be consulted however. It is decided. The money will be advanced.
Floy is "quite taken" with Wally

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3 Blimber's Academy

Young Paul needs to be educated. Mrs Pipchin recommends Mr and Mrs Blimber. Head boy Toots, possibly an empty headed young gent, talks to the lad while Dombey is escorted round the premises. Miss Cornelia Blimber is entrusted with Paul's lessons.
We meet James Carker, assistant to Dombey. His brother John once robbed the firm, and is condemned to menial tasks. Wally Gay however treats him kindly. Wally is to be sent to Barbados, a blow since he will miss Miss Floy.
Cormelia writes her first report on her student, admitting "it will be painful" reading for Dombey Sr. At a school meal, the lad faints. Floy visits him in his bed. The naive boy informs Mrs Pipchin that when he grows up he will live with his sister in the country, and keep all his money in a bank.
Paul Jr is carried to a carriage and taken home. He is carried indoors, and Susan greets him. "I thought he cried when he saw me," the observant boy tells his sister about his father

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4 A Voyage for Walter
Wally calls at the home of Captain Cuttle, and is let in by the "vixenish" Mrs MacStinger. He wants advice about his new job, particularly, how to break the news to his Uncle Sol. Cuttle promises to do this.
In fact, Cuttle approaches Carker, who is most encouraging about Walter's prospects in the West Indies, even though we can tell he is lying.
Susan is in search of Mrs Richards since Paul is "withering away." Wally helps her find the good lady, who is pleased to stay with "my pretty boy." The reunion also offers Flo the chance to see Wally again. "Remember Walter," are almost the final words of Paul to his dumbstruck father.
Next scene is the burial. "Only child," is what Dombey has asked to be on Paul's headstone, but the stonemason corrects that error.
Louisa offers Flo plenty of advice, most condescendingly, to be like a Dombey and "make an effort." Mr Toots also calls on Miss Dombey, but though an admirer, he is utterly tonguetied. But he does bring the god Diogenes that Paul had loved so much, that pleases Flo.
Wally is all packed for his long voyage, and bids his uncle farewell. Flo also says goodbye, promising that she will take care of Sol. Cuttle brings Wally a parting gift.
After a period of mourning, DOmbey makes the decision that Wally should not go to Barbados. However Carker happily informs him that Wally has already departed.
Florence begs her father to let her comfort him. He rejects her, but informs her that she is now mistress in the house

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5 Edith Granger

Major Bagstock is with Dombey on the train bound for Leamington. It so happens that the husband of Mrs 'Richards' is the stoker, and he reveals that Dombey's protege The Biler has "gone wrong." We learn later that he has been "wagging," that is absconding from his school.
At that spa town, Bagstock introduces Dombey to the effusive Mrs Skewton, who is accompanied by her daughter, Mrs Edith Granger, a widow.
James Carker is informed by his brother John of sister Harriet's illness, "there is no such person," is James' cold response. He takes the opportunity of using Bob The Biler for his own ends, by getting Sol to employ the lad. "I want to know everything about him." His purpose is really to find out more about a young lady who visits him, Florence.
Toots pays another clandestine visit to the Dombey home, and gives Susan Nipper a little kiss. Then he runs off. Flo is told by her that there is still no news of Wally's ship. Eventually getting past the formidable Mrs MacStinger, they call on Captain Cuttle, who is with Uncle Sol. "No news. Nothing."
Dombey admires the paintings that Edith has done. She plays the harp as Bagstock and Mrs Skewton plan a little matchmaking

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Love and Mr Dombey

Carker calls on Miss Floy Dombey, who is just off to stay with Sir Barnet while her father is away in Leamington.
Cuttle is told the news that Sol has gone, leaving his will in the old sailor's hands. Cuttle resolves to escape from the MacStinger hold, secretly, at dead of night, so he can mind Sol's shop.
Carker joins his boss and raises a toast to Edith. According to Bagstock, privately to Edith's mother Mrs Skewton, Dombey is "bayonetted." Dombey takes Mrs Edith Granger for a trip to Warwick Castle.
Carker rescues Edith from the clutches of Mrs Brown, an old crone. Mrs Skewton continues her matchmaking, I found her too over the top, "he will by tomorrow." But Edith is less certain, since all this nonsense has failed on several occasions previously. One thing is clear, she does not love Dombey. Carker perceives that also.
Mrs MacStinger is bowled over by Cuttle's sudden financial generosity to her, it's his way of salving his conscience.
Miss Floy returns home to find Toots hanging around. The place is being refurbished, according to instructions. She is introduced to Mrs Skewton and Edith, who gives Floy a hug, "she will soon be your mama"

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7 The Second Mrs Dombey

Lucretia is happy, so is Louisa. But the impending change of the new Mrs Dombey has taken Louisa "by surprise," and Lucretia is unaccountably in tears. She had "designs" on him herself, though Louisa dismisses such a hope as an "absurdity."
Edith asks Flo to stay at her home after the wedding, for reasons that Flo does not comprehend. Edith tells her mother what she has asked Flo to do, and it is clear she is worried that Flo might otherwise be "perverted" by Mrs Skewton, "you will leave her alone." It is evident Edith is also having second thoughts about her impending marriage.
The wedding in church is on film. Lucretia watches in tears, while a lurking grin is on the face of Carker. He is in on some secret.
Toots comes with a prize fighter, The Game Chicken, to see Cuttle. He is here to find out if the newspaper report be correct. A ship has been reported sunk - is it Wally's? Toots admits to Cuttle that he adores Miss Dombey himself.
Carker seems happy to read the newspaper report. When Cuttle questions him about it, the sailor is quickly sent packing

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8 The Woman From Beyond The Seas

Back from honeymoon, where Paris was "cold" according to Dombey, this is already sign of their doomed marriage. Flo tells Edith about Wally being drowned, "I was fond of him." She asks her new mother to help her come closer to her father.
John Carker's sister helps a poor homeless woman, who says that she was once a convict. This tramp, Alice, goes to London and finds her mother Mrs Brown, she who had robbed Flo when a child. She had also cursed James Carker. Alice "spits" on him, "ask James who I am."
"The ill matched couple" become the gossip of London. After a dinner with guests, the pair fall out, much to the amusement of James Carker. Next day, he tells Edith that Flo had been neglected by her father, hardly news. But Carker does malign Flo's dubious friends, including Wally, now dead. It seems to be his way of trying to reach some "agreement" with Edith.
Mrs Skewton suffers a stroke.
Alice spots James leaving the Dombey home, "he won't be the same when I've done with him"

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9 Mr Dombey Rides for a Fall

Toots confides in Ned Cuttle, of his earnest desire to get to know Miss Dombey better. Rob Toodle deserts Cuttle.
Mrs Skewton is recovering from her stroke, but fails to recognise Bagstock. Though Edith is attending her ailing mother, Dombey picks this time to blame her for her over expenditure. In future Mrs Pipchin will be housekeeper. Between the ill matched pair, there is no love, and never will be.
Mrs Skewton takes a constitutional, but is accosted by Mrs Brown and Alice. Edith hands over money. Mrs Skewton becomes delirious and imagines seeing a stone arm.
Cuttle opens the last will of Sol. He leaves everything to Walter- if he is still living.
The fearsome MacSinger catches up with the browbeaten Cuttle, demanding to know if he will be returning. "I'm scuppered."
Toots is at the Dombey's again, tongue tied in Flo's presence. She tactfully cuts him short as he stutters his intentions towards her.
"Lost rascal" Rob is asked by Carker to tell Edith not to be so kind towards Flo. Dombey calls on his employee at home, and is surprised to see Edith's portrait on a wall. After leaving, Dombey falls off his horse

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Flight

Mrs Pipchin nurses Dombey, only Edith and Carker are allowed to visit him, thus Flo is coldly turned away. Bravely Susan reprimands her master, putting in a word on Flo's behalf, "if you knew her value right..."
Susan is given the order of the boot, and leaves next day, to Flo's bemusement and dismay. Flo begs Toots to take care of Susan as her carriage departs. Toots takes the opportunity to ask Susan of his chances with Flo, "I should say never!"
Carker reveals to Edith his true feelings towards his hard master, then relays the message about Edith not concerning herself with Flo.
Mrs Brown threatens Rob, unless he tell her more of Carker's activities.
For their wedding anniversary, Dombey plans a dinner. But his wife says she will not attend, leading to wild argument. She begs that he allow her to go, but he cannot countenance the stigma of separation. Even Carker becomes rebellious.
Next morning, Dombey learns that Edith has left, with Carker. When Flo expresses her sympathy, Dombey strikes his daughter. She runs away in tears

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The Survivor

Flo flees to Uncle Sol, only to find Captain Cuttle in residence. "Keep me here." Cuttle is ultra obliging.
Bagstock J tackles Dombey about the trouble, his advice is to challenge James Carker. John Carker brings the company books to Dombey's house, but is instantly rebuffed. However the books clearly show that James Carker had been gambling with the company's money, "he shall be brought to account."
Dombey makes his way to Mrs Brown and Alice, who have news of the whereabouts of Carker and Edith. They wheedle the information from Rob, who under the influence of drink, reveals the couple had left for Dijon.
Cuttle relates to Flo the tale of a ship that broke into pieces in a storm, only two survivors who were rescued by another vessel. Cue Walter, the couple embrace. Toots welcomes his rival somewhat doubtfully, "I'm afraid you must have got very wet!" Flo asks him if he knows of Susan's whereabouts. Toots undertakes to find out.
Miss Tox is dismayed to learn that Dombey, "deranged by grief," has left home. Dombey has travelled with Bagshot on the road to Dijon...

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12 Vengeance
John Carker is informed that he has been dismissed- on account of his brother James, who may well have bankrupted Dombey's business. Alice tells John how in the past, James had refused to help her, and now she has got her own back by revealing to Dombey, where is the secret tryst of James and Edith. But she regrets too late, "I don't want his blood on my hands."
In Dijon, Edith has shocked James by admitting she has used him, in order to escape a loveless tyranny. When Dombey turns up, James hastily slips away. Looking much the worse for wear, James reaches a station, but is unlucky, for Dombey is there too. James backs away, too cornily into the path of an express.
Walter has found lucrative employment on a ship, and stutters to Flo his intentions. They kiss. Thanks to a distraught Toots, she is reunited with Susan. Sol shows up for a happy reunion. He had written often to Ned Cuttle, but all his letters had been posted to Cuttle's old address, that of the MacStinger.
The wedding of Wally and Flo, she is given away by Ned. Toots, in tears, takes Susan's arm.
Dombey has returned home, where he receives a letter from Walter, telling him about Flo's marriage falls off his horse

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13 Dombey and Daughter
Slightly disappointing finish to this excellent adaptation, for the events of several years are compressed severely.

Dombey is not at home to anybody, the shame of his bankruptcy. Even sister Mrs Chick is refused, he is sulking in his room, looking woefully bedraggled.
John Carker puts it down to Dombey's pride, but with his sister resolves to give brother James' ill gotten money to him. Alice, who is ailing, reveals the truth about Edith, her mother Mrs Brown supplying the details.
Toots is married to Susan, and worships her. Flo resolves to see her father, "that brute of a man" according to Susan, "I have come home." She tells her father that she has had a baby boy. In tears, they are reconciled. He goes to live with her and Walter.
MacStinger, in wedding dress, gives Cuttle a mighty fright, but it is good news, for Cuttle, she is to marry Jack. Cuttle's advice to him is to "sheer off," but it is too late.
Flo meets up with Edith, who will never ever be recomciled to her husband. But the two women part on very friendly terms.
Dombey and Sol toast Walter and Flo. Toots and Susan are overjoyed at the birth of another baby. On the beach we leave Dombey playing with his grandchildren, young Florence and young Paul

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Great Expectations (1959)
with Dinsdale Landen as Pip, Colin Jeavons as Herbert Pocket and Michael Gwynn as Joe Gargery. Marjory Hawtrey as Miss Havisham.
An oppressive, drawn out serial, interesting as that fine actor Dinsdale Landen's first really big tv break.
part 1
part 2
part 3
part 4
part 5
part 6
part 7
part 9
part 10
part 11
part 12
part 13

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Part 1

Bleak moors, where lies a hangman's noose, this is Pip's route to the graveyard, where lie his mother and father. He weeps. He is accosted by Magwitch, escaped convict who demands Pip bring him a file and food, or forfeit his life. The use of close ups enhances the terror of the situation.
The lad returns home, a none too happy abode, even though it is Christmas Eve. As he is late, Mrs Gargery gives Pip a beating. Then tea. Joseph is surprised Pip gobbles down his food so quickly. As warnng sirens boom from the prison, Pip retires to bed, nearly as dark and gloomy as outside on the moor. In the graveyard, Magwitch shivers, cold, scared and hungry, imagining the boy be "snug and warm."
Pip has nightmares too, and rises very early, creeping downstairs where he gathers food, drink and a file. Out on the marsh he bumps into another convict, who runs off. Then to the graveyard to deliver his goods, "I'm glad you be enjoying your breakfast, sir," as the food is rapidly consumed. Pip mentions the other convict- that alarms Magwitch, especially when Pip adds that the man had a scar on his cheek. Pip goes back home. Hard to appreciate that this is Christmas Day

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Part 2
Pip is worried that the missing food will be discovered. He covers it up as best he can, like putting tar in the brandy.
"Merry Christmas," Joe greets him, though Mrs Gargery has no time for all that, busy preparing the festive meal. Mr Wopsle calls with a present for her. To church, where the solemn sermon is on the lines of "some burden of guilt on your soul." Apt for Pip.
Mr Wopsle joins them for lunch, as well as Mr Pumblechook, it's something of a feast, and Pip gets another sermon of sorts. Out comes the brandy. "Tar!" complains Pumblechook. Next on the menu is a pork pie, sadly Pip knows it is no more. But luckily the meal is interrupted by a sergeant, and Joe and Pip join him in the search for the convict.
Pip watches anxiously as the soldiers scour the marshes. They reach the churchyard. No sign. "Don't let them catch him," Pip whispers to Joe.
Now it is dark, and two convicts are seen fighting. Soldiers seize them, Magwitch claims he had almost been murdered. The other claims similarly, unpleasantly they shout at each other. But as soldiers escort them away, Magwitch kindly makes up the story that he had stolen the things from the Gargery house

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3

Joe is singing in his blacksmith's, Pip his odd job boy is learning to write, "what a scholar you are." Pumblechook brings news of a possible benefactor, since rich but reclusive Miss Havisham has asked for Pip to go and play with Estelle.
Pip has to smarten himself up, and he is taken to a large house and introduced to the aloof Estelle. She leads him upstairs to the room of Miss Havisham. Pip enters a dark room lit by candles. "Her broken heart," she reveals to him, "so melancholy," Pip observes. He has to summon Estelle, and the two play cards "to break his heart."
Sadly he returns home, confiding to Joe how much he hated the visit, since Estelle has made him realise he is so "common."
A second visit, some humiliation though sometimes Estelle is kind. "How do I look today?" She wants to see him cry, so does Miss Havisham, who shows Pip her cobwebby dining room, on the table her great wedding cake. She reveals her sorrow, and promises she will help him.
In the garden, Pip is forced to fight Hubert, much his own age. Pip lands a first punch, and more, as Estelle watches on. "You may kiss my hand," she tells the victor

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11

After the tragedy, Pip calls on Mr Jaggers who confirms that £900 is to be invested on Herbert's behalf. Mrs Estella Drummle inherits Miss Havisham's estate. Pip still loves her, and tries to get the lawyer to reveal all he knows about her past. As ever, Jaggers talks obliquely, but indirectly does suggest that he had helped the girl when she was young. Pip perceives that silence on the subject is golden, yet has nightmares.
With Herbert, he plans Magwitch's escape via a rowing boat on the Thames. However, they are being watched.
Pip is invited to come to the marshes at nine tonight, to learn the whole truth. Suspecting a trap, Herbert follows. Pip is tied up by Orlick, who gloatingly readies himself to beat up Pip. In an unpleasant scene, Orlick tells Pip that Compeyson is to wreak his revenge on Magwitch.
"Now you're going to die." But Herbert shows up in time. It is now even more urgent to get Magwitch as soon as possible out of the country

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Katy
A 1962 adaptation of Susan Coolidge's novel, necessarily rather compressed.
The star was Susan Hampshire always slightly too old as Katy Carr, and Michele Dotrice as Clover Carr. John Welsh made a sympathetic father, but the scene stealer is Sandra Michaels as the ebullient Rose Red.

Part 1
Part 2
Part 3
Part 4
Part 5
Part 6
Part 7
Part 8
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The Troubleshooters
BBC drama that ran for 7 series
starring Ray Barrett, Geoffrey Keen, and Barry Foster.
The first series titled MOGUL has been issued on dvd, or rather the surviving episodes have been put out:

1 Kelly's Eye

2 Young Turk

5 Tosh and Nora

7 Out Of Range

11 Stoneface

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1.1 Kelly's Eye (Wed July 7th 1965 8pm)
Kelly's Eye is one of Mogul's oil rigs, searching for North Sea Oil. On the radio, a strike is announced: but this is a surprise to those working on the rig. The Mogul board charge Peter Thornton with uncovering who leaked the information.
Suspicion falls on three men who had separately left the rig on the Wednesday in question. Archie Turner (Jack Watson, the man in charge, had gone home to sort out his five year old lad. Norman Reeves (Frank Williams) is a scientist working offshore, who needed to return to the lab onshore. Finally Al Sevens (William Sylvester) an experienced driller, needed to see a doctor.
Peter reminisces with Arthur, as the two are old buddies. Nothing untoward is revealed so Peter returns to shore for a chat with Archie's wife Joan. But she is not in, her boy being cared for by a neighbour.
With his secretary, Peter goes to a club to meet Alderman Frank Hardacre, whom we have seen earlier handing a bribe to someone, "I wouldn't know anything about that." Al is at this club, downing pints. He'd been there before "getting tanked up," and now he shoots his mouth off. It seems likely that he is the leak.
Joan Turner is at the station, bound for London. "I'm leaving," she informs Peter, since she's fed up with her husband being away so much. It comes out that they had rowed, and it was he who had walked out.
Brian Stead has gone on tv and said precisely nothing about any oil strike. Meanwhile on Kelly's Eye there is a blow out, and Archie helps prevent a serious leak of a different sort.
Archie is contrite when Peter tells him about Joan. He admits he went to the club and opened his mouth a bit too wide.
Though Peter won't shop Archie, Stead forces him to reveal the name, and Archie is given a shore job

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Young Turk
In an arid Middle East wasteland, Baker, a Mogul operative is shot dead. Driscoll (Barry Foster) is his replacement, his task to lead negotiations to secure oil rights in the region.
His contact is Charles Andrews (Cyril Luckham) who has lived in the country for thirty years with his wife and daughter Sue. Driscoll stays with them, and hardly gets a word into the conversation.
The two men drive to the scene of Baker's death. Then to Colonel Grant, the sheik's adviser. Driscoll is given sound advice on the etiquette of dealing with the potentate, though Driscoll wants everything to be much more straightforward and direct. Thus to Driscoll's frustration, the first meeting with the sheik makes little progress.
A rival American company, Zenith, are also after the deal. Driscoll confronts their chief man Reugen, but the pair fall out when Driscoll undiplomatically suggests that the Americans might have had Baker killed.
Half a million in gold is agreed as a down payment preliminary to any deal. Though Andrews is now convinced the deal will be lost, Driscoll gives him the demeaning job of errand boy to collect the gold from the city. It is a long trip.
Driscoll's bluntness and failure to observe etiquette cause negotiations to be terminated. "I made a hash of it," he admits. Andrews is furious, and writes a complaint to head office.
They return to Britain where the old employee learns why Driscoll had been sent, it is fairly self evident to us anyway

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Tosh and Nora
Tosh Drinkwater (John Tate) reports back on board his ship, late as usual. His excuse this time however is novel- he is expecting a baby, at least Nora is. Slightly surprising since he is 55 and actually they ain't married.
This slow moving story gives us a portrait of the reprobate seaman, while separate scenes depict Nora (Jane Hylton) in her dreary existence on shore. The scene between her and a friend (Rita Webb) is almost poignant, you sense tragedy is impending, and it's the skill of the writer that he keeps us guessing.
Tosh's ship has broken down in Egypt. "I've got to stop all that sort of lark," he tells his mate Johnson (Jack Smethurst)- so he is not going ashore, but saving his cash, and he lets Johnson go and see Lizzie, his girl in port. But the delay to the ship means it is not possible for him to be back in England in time for the birth.
So he joins his mates, who are on a familiar boozze up, and announces his intention of jumping ship. Though actually his firm intentions get distracted by Liz...
However Johnson lets slip to her about Nora, that is nearly the end of a beautiful friendship etc etc. In fact it really is, because Tosh is dragged back to his ship. But here he receives good news, Mogul intends to fly him home. Bad news follows, Nora has had a fall. Tosh is rushed home.
He is reunited with her. "I've had a baby." Not exactly much Troubleshooting going on here, but a very human story

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Out Of Range

David Izard, son of the Mogul company secretary, is brought by Thornton to look over the operation in North Africa. Chris Dornley is a Mogul geologist working in the Sahara. He is to take David into the desert to learn the business. Guiseppe is the local Mogul rep, "he can fix anything."
Thornton remains in Tripoli examining the company files, while David enjoys Guiseppe's party, and after a girl dances in front of him, he is mesmerised.
Back to serious business, the convoy starts next morning on their journey into the desert. David is pretty green, and disobeys Chris' orders, but does discover a limestock rock, suggesting a possible spot for exploration.
Thornton orders a reorganisation of the operation, which he believes is heading in the wrong direction. The group is summoned back from their trip. But Chris continues with his exploration for a couple more days. When one mechanic falls ill. David volunteers to take him back to the desert base camp. But he breaks the rules by returning alone to rejoin Chris. Inevitably he faces a problem. He becomes lost in a sea of sand. His Land Rover conks out.
A search party is despatched. "Where do we look?" David's father Willy back in London takes it philosophically, though his mother is distraught. The couple fly out to Africa.
This is never a parched-in-the-desert drama with David stranded with a dead vehicle, no water left. I'm afraid I was rather echoing Willy Izard's attitude, I couldn't care less.
His parents are talking about David in the past tense. Recriminations follow between Willy and Chris. The last shots are of the endless desert

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Stoneface

Bob Driscoll is sent to New York to check if Mojida, a Canadian Indian, could make a good troubleshooter. Nicknamed Stoneface, he is currently in charge of oil drilling in Saskatchewan.
John Slade is boss at the New York office. Bob has to convince Slade not to flood the African market with cheap oil.
Stoneface cones upon a difficulty in drillnig, a gas pocket. He says he is unable to travel to New York for any interview. But Bob orders him to attend, so second-in-command John Paul Godin is left in charge. But he is impatient to make progress and disobeys orders, cutting corners.
Mojida has got to New York, in his hotel he encounters racial prejudice. He goes to meet Bob, and is offered the job of a troubleshooter but based in London. Such travel is not welcome to him.
Back at the rig, the inevitable disaster. Mojida dashes back, Bob going with him. Mojida tears a strip off Godin, it becomes personal. Worse follows- a huge fire.
Bob learns much about the second class status of folk such as Stoneface, though things are "improving." With the help of Godin, Mojida gets the fire extinguished, but in the process he is injured. Surprisingly Bob Driscoll recommends Godin to take over

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Rainbow City (BBC1)
starring Errol John as Jamaican solicitor John Steele.
This was one of the BBC Midland region's failed attempts at a soap opera. Swizzlewick had proved a disaster, and despite lengthy trials, United had no more success.
Three pilots were completed in March 1967, and after BBC executives approved the programme, it went out on July 5th 1967 for six weekly stories. The star was Errol John as John Steele, with Gemma Jones as his wife Mary.
The BBC described the serial as asking "the questions, Why do Jamaicans come here? and How do they get on?" From audience response, this proved another dismal failure

Surviving episodes:
2 Why You Marry?
3 A Better Fortune
4 Beards and Turbans
6 Always on Sunday

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Why You Marry?
Johnny Steele is holidaying with his parents, and also meets old friend Sheila, who is now married. They talk about their old gang before he meets them over drinks. A few too many drinks. Why did he marry an English girl?
It's raining when the party breaks up, but some of them drive to Coopers Club. He dances with Sheila, telling her about his last case, in which a Jamaican got killed. Is John tempted to stay here?
But though he says he will reflect on that, he must return, with a quarter of a million Jamaicans in Britain. He has friends in England, even if some "shut the door on us."
Back in Birmingham, he is reunited with his wife Mary in their modern detached house. He tells her of a job offer back in Jamaica, "it's up to you." In his office, he remembers his last case. Then he meets client Mrs Maynard, who wants a divorce, because her husband George has beaten her up. She has a black eye. He has walked out. John meets him and gets his side of the story. George says he wants to escape to Canada, because when he had been promoted to bus inspector, he had been persecuted. He had taken it out on his wife as a result.
John reflects on his own future. He meets Mr and Mrs Maynard together, like some marriage counsellor. It seems they are off together to the land of opportunity. But next day she surprises John, by saying she has changed her mind. She wants a divorce. Johnny decides his own future too, telling Mary "we're staying here"

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Beards and Turbans
Saadat Hussein is given notice to quit by his landlord Baxter. Saadat is going to a tribunal to complain about the high rent he is being charged. Other tenants are divided about this, including Kevin Moore, "time this lot were sent home." This Irishman and his wife start off as too much of a parody. He complains about the noise being made by his neighbours, but is soothed by offer of a drink. It's fairly aimiable until they are joined by Saadat, who refuses a glass, "I don't drink." The point about cultural differences is very laboured.
But although Saadat may be right about his "filthy" apartment with the rain coming in, the other tenants won't support his case in court.
He relates a typical example of prejudice, one ignored by police, "I don't believe a word of it." Jackson points Saadat in the direction of John Steele, who has is mother-in-law staying.
At the tribunal, Steele questions Baxter, and Moore testifies in the landlord's favour. But he also reveals the previous tenant to Saadat had only paid half the sum demanded of Saadat, and Steele gets Moore to concede that the rent Saadat is charged is "daylight robbery."
The verdict gives Saadat a significant reduction in rent. With Steele afterwards, the tenants hold a celebration

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Always On Sunday

Jackson meets singer Marian Lee at a club, but when her purse goes missing, she asks him, "you know a good lawyer?" Even though it's Sunday, she insists Jackson takes her to see John Steele. "I want advice."
But they find the lawyer isn't home.
He has gone with wife Mary and daughter Jill to see his parents-in-law. While Jill is escorted next door, they can have a serious discussion. John wants Jill to attend a school in Jamaica. though Mary is unsure whether she wants this. Ivor, her father, tries to get John to appreciate Mary's "sacrifice... sooner or later this was bound to arise." Ivor's desire is for John to "accommodate himself to us." His wife is even less understanding. The argument gets heated, ending with jibes at slavery and even the last war. The discussion is unproductive, the dilemma is well explored, even if the dialogue sometimes grates.
"It'll be all right, I promise." John is all for turning his back on her parents, but Mary persuades him to persist. She is willing to come with him to Jamaica.
As for Marian, she never does get to see her lawyer, though Jackson keeps her entertained. "You can't afford resentment," that's the closing message

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The Jazz Age (1968)
A series of individual plays
recreating different aspects of the Roaring Twenties

2 Post Mortem

7 Mr Jack Hollins Against Fate

12 Winner Take All

14 Tip-Toes

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Mr Jack Hollins Against Fate

Hollins (John Barrie) is your brusque successful Northern businessman. "Outspoken," but allowing his daughter Minnie the independence of living in her own flat, albeit in the basement of his house. But he absolutely refuses to allow her to move to a flat sharing with her "flibbertygibbet" friend Sarah, "how utterly beastly of him."
Though Minnie does try to love him, she falls for Captain Jack Cope- he drove a bus during The Strike, and he even meets Hollins' approval since his dad has a title. But will Jack agree to their marrying? He will not provide any dowry. Sir Maurice, Jack's father, and Hollins agree in principle to the marriage, with no settlement on Minnie. That's highly unconventional, but Hollins will not be "forced." Father and daughter agree on one thing: a quiet wedding, he to save money, she so she need only invite a few friends. But he does insist on a church wedding, and what he says goes.
Off on honeymoon, which time he takes a cruise in a slightly confusing sequence. Then he visits them in their mews cottage, Julian has given up his army post, to Jack's disgust. He is shocked by their bohemian lifestyle, and cannot countenance Julian working as a mere artist, "I won't have it." He tells them he will provide no more money, indeed he tries to donate his fortune to a memorial commemorating his late wife. This pathetic figure collapses. Sadly, Minnie leaves his lifeless body

Jazz Age Menu

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Winner Takes All
The plot is reduced to essentials, via the device of a narrator (Malcolm Muggeridge)- it's not badly done, but could, you feel sure, have been so much better.

Birth of a baby boy, silver spoon in mouth, Gervase Kemp-Cumberland, then two years later a brother, Thomas.
Death duties have reduced mother (Joan Greenwood) to slightly reduced circumstances. Gervase will inherit the ancient pile, so expensive to run, as for Tom, she finds him a job as a motor mechanic in Wolverhampton. Here, he falls in love with Gladys who talks with a Midlands accent, and he takes her home. But mother cannot countenance any such mariage for Tom, he is only nineteen after all. He is sent packing to a sheep farm in South Australia, leaving mother's time free to search for a wealthy match for her eldest.
Two years later, Tom returns with Bessie, a farmer's daughter. Her dad is well off. After dancing When The Red Red Robin with Gervase, it seems as though Bessie might be more enamoured with the family mansion, and at a party, mother reveals that she had, while in London, bumped into Gladys. Of course we know this is no coincidence. But he has forgotten all about her, "I want only Bessie."
But his mother's matchmaking brings him round and he tells Gladys, "I was only a boy then." The two are married, as are Bessie and Gervase. They all live happily ever after

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Tip-Toes
Gershwin's 1926 musical is necessarily limiting on a tv stage, with a running time of only sixty minutes. But it is bright and breezy, opening at Palm Beach Station with Rollo and Sylvia singing and dancing Nice Baby. The Three Kayes are to perform at their celebration party, but he sends them away, since he had once been engaged to Tip Toes. Her partners Hen and Al resolve to help her find a real millionaire to marry. As she waits for the return train, she bumps into a kindly stranger, Steve, Sylvia's brother, who helps her since she's broke, and she sings I'm Just A Little Girl.
In the Surf Club, the song Lady Luck, Steve sure is green, yet he can be taught, singing When Do We Dance? Posing as society folk, the three hoofers sing Three Charming People. Steve and Tip Toes sing That Certain Feeling, then a lively charleston, Sweet and Low Down, danced with some verve. Tip Toes decides that she cannot trick Steve, and leaves, only to be run over by a motor. Steve picks her lifeless body up, she comes round with amnesia. She even thinks he is her husband! He invites her to a party on his boat, Liberty Belle. Little Girl song is reprised. The two men of The Kayes sing Great Little World.
Rollo is in trouble, his wife has found an old photo of him with Tip Toes. She tells brother Steve that Tip Toes is not what she seems, "I fell for you hard," she admits, why, she's just ordinary.
"I'm not as dumb as I was," says Steve. After that her memory returns, "I'm Tip Toes." Steve tells her he is "dead broke."
But that's love, they kiss and make up, sing Go To Sleep. At the club, the song Take Your Smile For me by Tip Toes, then after all misunderstandings cleared up, a reprise of some songs
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Reluctant Bandit (1965)
with William Dexter and Patricia Haines
1 Return to Sicily
2 Quiet Day in an Fillipo
3 Not So Quiet in Montebianco
4 The New Mafia
5 The Great Attack

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Joan Plowright

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