A wonderful episode though I agree with Sharon it is marred by revealing the killer right at the start. Despite Barry Martin's (Glyn Owen) treacherous actions, you can't help but like the character, so the story would have worked better if we hadn't known about his actions until well into the story: to be suddenly jolted by the realisation of what he is up to would have been far more effective, I think.

However overall I think this is a superb episode. How do Bodie and Doyle tackle somebody not only as well-trained but possibly even more highly-skilled (certainly more experienced) than themselves? Plus the fact that the lads trust, respect and like Barry – Doyle even sees him as being their "mentor" in some ways. Yes, makes for a great story from that point of view. The final scenes are a psychological stalemate ("I've got the drop on you.") but perhaps aren't convincing enough.

The pre-title scene where the railway porter finds Ballard's body has a very Avengers feel about it – particularly with Laurie's accompanying music.

Ruth Pettifer is downgraded to Cowley's chauffeuse – perhaps because this episode was actually the first to be filmed for the second season and actress Diana Weston was only originally contracted to star in this one story but the producers later decided to keep her on for 'Hunter/Hunted' and 'First Night'. That's my theory, anyway.

At least Pam Stephenson gets a better role this time! Do give her a close check-out – it's worth the effort <G> Sadly this was the last time we saw her in the series :-(

Sadly the episode has yet another Cheesy Ending involving Cowley and his beloved Pure Malt Scotch.

"You know what the trouble is with you two, don't you?" / "Yeah – we're outnumbered!"

For instance: When Bodie (LC) accidently drops his gun from his holster at the gym and Doyle (MS) ad-libs: "Shot your foot off."

For instance: the very realistic tone given by setting a scene in the emergency area of the hospital. The background noises are undeniably those of a working ER.

For instance: Bodie's cream trousers. Do give them a closer checkout. It's worth the effort. <G> Doyle's aren't bad, either. There is one notable camera shot taken of both of them from behind that... Well, watch the show.

When Cowley's injured and both men are waiting anxiously in the hallway, there's some nice unspoken material as they sigh and peer and attempt to peek at their boss and then fall asleep in the hall while keeping vigil.

The way they snap at one another while looking for Barry Martin is also good. They'd be angry and on edge so taking it out on one another is a nice touch.

The scene with the guy at the Chinese restaurant is a cute one.

The camera work while they're on the stairs trying to talk their way into Barry's girl's flat is good as is Doyle's comment: "Never far apart."

Both men are lean and lovely so even if the story line fails to please, they will.

BUT:
It makes no sense that after Bodie is hurt, Doyle is unable to shoot. That does not work with what we know of Doyle's character.

The camera work there at the finale is painfully awkward. The editing was awful, too.

The silly scene with the grapes and the booze in the hospital is also off – given that one of the trusted agents of CI5 has turned bad and just been killed.

Not a great episode but worth watching if not listening to. Just do lots of fast forwarding and pay no attention to the so-called story.

Oh, yes. In the credits Ruth Pettifer is refered to as "CI5 girl". Well, so much for equal opportunity as seen in 'First Night'. Do we hear any reference to "CI5 boys"?

(And, yes, gentlemen, Pamela does look fetching in this one.)

The gym where Barry and the lads have their little "work out" is Vale Farm Sports Centre, Watford Road, North Wembley. Thanks to Barbara ? who does aerobics training there these days!

Great Marsden Mansions is located among Ranelagh Gardens, SW6 - on the north side of the river, close to Putney Bridge. In fact the same block had been used for Cowley's apartment in a previous episode.

Pam Stephenson takes the lads for a drink at a pub called The Blue Anchor at the east end of Lower Mall, right by the Thames in Hammersmith. (If you're using the link here, Lower Mall on the southern edge of Furnival Gardens). CONFIRMED

The Chinese takeaway is on the corner of Southwick Street and a tiny alley called Rainsford Street in the Marylebone area. The property is now run as a Malaysian restaurant. (Thanks to Sue Beach and Bob Rocca for info and pic respectively)

The exterior shot of the hospital Cowley is taken to was actually good old Cadby Hall in Hammersmith but this huge complex was sadly pulled down years ago. The interior shots were probably of a real hospital but we've yet to discover which one.

In the scene where Culbertson is waiting in Barry Martin's flat, there is a close-up of the former with cigarette smoke rising up by his jacket lapel. However it isn't until AFTER this that we see him actually light up! (Thanks to Chris Saffell).

In the hospital scene, we track Doyle past a large glass window in which some of the camera crew are reflected! (Thanks to Colin Ogden)

Glyn Owen is best remembered for the 1980s nautical soap Howard's Way.

Tony Steedman (Culbertson) was a character actor who would pop up in myriad ITC series during the 1960s, then stuff like The Sweeney. Regularly crossed the Atlantic in the 1980s to appear in rubbish like The A-Team and The Fall Guy but had more success with a part in Bill and Ted's Excellent Adventure. Probably best remembered, though, for his role in the seventies sitcom Citizen Smith where he played Shirley's (Cheryl Hall) dad.

Neil Hallett (David Hunter, head of Special Branch) should be familiar to Avengers fans and, as usual, several ITC shows. His career never took off and he ended up in various sex comedies that the cash-starved British film industry survived on in the late 70s. Passed away in October 2005.

Although this episode was telecine'd through LWT's Bosch machine and used for the six-episode run in the London area in 1991, this is not what we've got with the BRITE print we see today. The picture is a bit soft though the contrast is very strong almost to the point where bright areas are almost "whiting out". There is a lot of dirt on the film and several "tramline" scratches. There is a very noticeable colour shift from blue to green then back to blue again during the scene where Cowley confronts Barry Martin in his apartment. The Bosch print used in 1991 - wherever it is now - had a sharper picture.