"You'll save me," (Doyle to Bodie) and "without Bodie to take care of me" (Doyle to Kathy). Once the plot begins to move along the emphasis is put more and more on Bodie as caretaker and protector of Ray. while B & D are interviewing Marty toward the end of the scene something was happening off camera that both LC and MS found to be funny. just as the camera cuts in when they walk up the gangplank to Brownie's boat, it looks like someone was "boosting" someone else and nearly got his head handed to him.ģ. If you watch LC's face just prior to that, it seems reasonable to say that some funny business was going on.
just after Cowley chews Doyle out for losing the gun and starts to drive away, Doyle gives an odd little jump and looks back at Bodie. Two and possibly three events that we get to share/see thanks to the expense of refilming scenes: (these are open to debate and this is only my take on them)ġ. The "cute banter" stuff is getting smooth – this is the first time they do the "over the top of the car" routine, I believe. Both lads look good and the camera is getting better at focusing on them to advantage. MS has Doyle down now: syntax and diction are perfect for the character. The dialogue, particularly when B & D are bantering, is wonderful. Excellent stunts and camera work as well. There's plenty of action and plenty of relationship material and character development. This is the episode to show someone who's never seen the series. H/H is the ultimate "partner" story: Ray's life is threatened by an old enemy and Bodie saves him. So, a terrific episode, then - all the more so because it appeals to both male and female fans (if not necessarily for the same reasons! )
The finale with Bodie firing the A180 may seem rather gratuitous but it works appropriately with the humorous elements of the script given the opening scene in which he was denied the opportunity to test it and was clearly itching to. Speaking of Preston, all the guest actors are terrific here, including Jeillo Edwards' hilarious cameo as Montgomery's neighbour. Since when did CI5 need one of those? This really should have been picked up at script editing stage. One slight flaw: Preston refuses Doyle entry to his house without a search warrant. (And don't worry – they didn't really destroy the Jag E-Type!) The car-crash scene is splendidly filmed. The East End pub-singer scene is an interesting one (if hardly telegenic!) - much more akin to The Sweeney. As noted elsewhere, one of the series' trademarks. Very much an evolvement of the car scenes from first season stories but this time it goes on for several minutes. The scene in which the lads give Kathie a lift and then get "buzzed" by the Porsche has some terrific, crazy banter. At least Cheryl Kennedy gets a great part here - and she plays it wonderfully. We also meet our first female CI5 agent, Ruth Pettifer (Diana Weston), though she never really got the chance to get involved in the action. However Martin and Lew themselves now appear to be much more comfortable with each other - a huge advantage, of course! The use of 16mm steadicam technology certainly gives this and all following episodes a more 'natural' feel, as we follow the actors more closely around the sets and hear 'realtime' dialogue. The second season introduces the lads' numerical call signs - but there was clearly some confusion over them at this stage and listen out for the appalling continuity errors! The off-beat pre-titles scene is a tad reminiscent of Tara King Avengers. A mixture of pace, action and plot make this a strong episode.
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