Story
Action
Pace
Humour
Violence

I've changed my mind about this episode. Whereas I'd previously written that it was a boring, overused plot, hardly enlivened by Doyle's relationship with the girl, of course the drugs investigation is merely an (admittedly mundane) backdrop to the real story - that of the effects CI5's routine investigations can have on innocent people - in this case resulting in disastrous consequences for Doyle. In that sense I think it works marvellously.

I'm not quite convinced Doyle and Ann are right in terms of "chemistry" and Ann seems won over a bit too easily, I think. But the way the actors portray their characters' relationship is realistic and touching. Their dialogue is, as usual, very well scripted. Martin's performance throughout is excellent and very natural. The scene in which he is suspended from duty is terrific on that score. (Of course, perhaps Doyle's "I RESIGN!!" didn't require much actual acting from Mr Shaw! <G>)

The confrontation scene in Doyle's flat is superb - and gives Mr Collins a chance to show what he can do in the drama stakes! Great stuff from both MS and LC there!

One note of interest is that despite the furore over 'Klansmen' a couple of years previously, here Bodie uses a racist term when referring to the black drug dealer, Buzz. (Naturally Cowley looks daggers at him.) One suspects that this was Mr Clemens testing the water!

In her comments below, Sharon notes her delight with Doyle's expertise in the disco scenes. Well in 'Servant of Two Masters' he did say he "took dancin' lessons"!

One oddity. When the CI5 crew are awaiting the arrival of Holly's light aircraft, we hear it land but don't actually see it. (The brief mid-air shot is stock footage.) Perhaps the season's budget was running out - which is possible as this was the final episode filmed for the 1979 block of episodes - or arrangements to hire a plane fell through at the last minute.

Despite the emotional turmoil behind the story, there are some humourous moments - fave scene is in the car where Bodie generously offers Doyle "advice" on how to handle Ann! Bodie's deliberate "gooseberry" moment when he chides Doyle for not having the decency to introduce Ann. The "darling/sweetheart" exchange between the lads when Doyle thinks it's Ann that's coming to visit him. And there's a great little moment where Cowley's secretary-of-the-week, played by Kirstie Pooley, brings in some photos, notices Bodie and the two exchange admiring glances, to which Cowley has to firmly thank her, clearly indicating that she is dismissed! This wasn't scripted and as Gordon Jackson actually calls her Kirstie, one suspects the brief menage-a-trois was ad-libbed.

Yeah - great episode, basically - and would have made a fitting closing for the season when originally transmitted... if only London Weekend Television had had any appreciation of effective scheduling!

In addition to being one of the best all-round episodes (imo) this one is written extremely well. Kudos to Mr Clemens here. He really has caught the essence of the show - the relationship between the two CI5 agents. Numerous scenes in which just the two of them appear are among the best in Pros!

The story has two themes: Bodie taking care of Ray and Us getting to know Ray.

To clear up any confusion: I do not for a moment believe Ray was in love with Ann. He finds her fascinating, granted. She represents a great many things he finds attractive and admirable. But the point is made in the scene in the park that he's only known her seven days. He does say he needs her, but that could mean many things besides love. He never says a thing about marriage - that's all Bodie & Cowley's doing. He never says he loves her and when she dumps him, though he looks stricken, when Bodie goes to him, he accepts his partner by putting his arm around his shoulder. Of course we're long distance on that shot and Doyle does clearly snarl at Bodie before the arm bit. Not to belabor the point but since this story has fostered an incredible amount of discussion in fan circles I felt it necessary to deal with the issue briefly.

[Good points here - but see the Sidenotes section below -Dave]

It is my opinion that what bothers Doyle about it all is facing up to who he really is: a man who practices brutality for a living on a daily basis. This does not jibe well with his self-image and he's clearly disturbed by the revelation. Bodie, on the other hand, knows who he is and doesn't mind a bit. (knows who Doyle is as well as who he himself is)

On to the episode: both men look good. Bodie's nearly always in his now signature black or dark clothing (old tape on this one) and leather jacket. Doyle's sticking with the coat and jeans for the most part though they both backslide into the Awful Plaid Jackets at the end. Excellent close-ups of both throughout. Lovely domestic moments in Doyle's flat & kitchen. <g> He cooks, he kills bad guys, he dances well. Irresistable.

Doyle's reaction to Benny's death is most interesting. Moments before he's revealed to Ann how he cares about the boy then he dismisses him as "only an informer". Yet Ray is clearly trying to keep from crying. A very complex man! Nice work by Martin Shaw.

The dialogue (again terrific writing) between the principals is excellent. During the "car banter" scenes we learn a great deal about them and their relationship. It really is like being a fly on the wall. Well done.

Ann's character comes across a bit flat, but that's not really a surprise. She avoids the "Dead Girlfriend of The Week" syndrome by virtue of dumping Doyle but she's just a foil for larger things. To sum up: Ray makes a black and white choice: his job and Bodie vs a woman. No contest.

We get to watch Doyle dance! (thanks, MS) WOW!

In this one Bodie (Lewis) does his "cuddly killer" thing. No one does it better! Thanks to Lew's skills we have a Bodie who can rip off a shot and kill but who also camps with his partner, looks devastated when Doyle rages at him and is truly concerned for Doyle's well-being and happiness. His body language and facial expressions go from the extreme of killer-soldier to mischievous "little boy" frequently. He is at his most endearing when he allows Ray to hit him so that Ray will feel better. When he's stuck with another agent while Doyle is suspended we see how terrible Bodie would be with any other partner.

Excellent editing in this one. Good use of back & forth scene cuts to advance the plot!

Best line? "...that crafty, randy old toad..."

One does wonder how the heck Ann got deep into CI5 headquarters in order to hear Doyle browbeating her father. Given the position of the interrogation room she had to have entered at street level and gone up at least one floor. And she makes it all the way back outside without being stopped. Eh? Where's security when you need it.

Very good work during the final moment between Bodie and Doyle at a long range. We can see them but not hear what they say and that was far, far more effective.

The energetic music used in the disco scene is a piece entitled "Give it All You've Got" and available on Bruton's CD "Tribute to the 70s Volume 1". It's not available commercially, so the best bet is to look out for used copies.

When the episode completed filming, it was found to be running to around 58 minutes. As such many of the scenes between Ann and Doyle ended up being cut in post-production editing, unfortunately. One of these included Doyle telling Ann that he loved her and wanted to marry her.

Patricia Hodge (Ann) had a successful TV career in the 1980s, with a string of roles in classic TV productions such as Rumpole of the Bailey, Edward and Mrs Simpson and The Life and Loves of a She-Devil and the loopy The Cloning of Joanna May. However she got her own show with Jemima Shore Investigates. Currently a regular in Miranda Hart's eponymous sitcom.

William Russell (Holly) appeared in many 1950s movies. Ironically he would play a washed-up matinee idol in an episode of Shoestring many years later. Appeared as one of the first assistants to William Hartnell in Doctor Who. Well respected in the entertainment fraternity, mainly appearing in theatrical productions.

Ray Ashcroft (the CI5 chap co-opted to work with Bodie) is now better known for his five-year stint as DS Daly in The Bill.

Christopher Guard (Tony) played French revolutionary Marius in the excellent 1978 TV adaptation of Les Miserables. Hosted the kids' storytelling series Jackanory quite a few times during the late 70s/early 80s and had a stint on the BBC's long-running medical drama Casualty in the mid-90s.

Val Pringle (the black guy with the flash car!) is best remembered by sci-fi fans as "element" Lead in Sapphire and Steel. He doesn't appear to have acted in any UK production since the early 80s and, in fact, moved to Lesotho, Southern Africa at some point. Tragically it would appear that he was murdered by burglars who raided his home just before Christmas 1999 (Thanks to "Kevin" for info).

Peter Burton (Conroy) played Major Boothroyd, "Q", in the first James Bond film Dr No. He was going to continue in the part but was unavailable for filming when the producers started on From Russia With Love. Other than that, he doesn't appear to have had any high-profile roles and retired around 1986. (Thanks to Paul Beresford).