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The Episode Guide to Series 5B (1967) of The Avengers

Episode 21 - You Have Just Been Murdered

continuity and trivia
  1. 2:47 - Jarvis is completely out of focus in the close-up.
  2. 4:43 - Steed has an enormous Ansaphone to record his telephone calls.
  3. 10:45 - Breaking the rules: there's a bloodspot on Jarvis' shirt, despite the bible of this era stipulating blood was not to be shown.
  4. 11:57 - Cyd Child runs to the car and drives off.
  5. 13:02 - Cyd gets to climb the wall and jump to the tree as well.
  6. 13:42 - The lion that was "the last thing [Sir Andrew] saw before [he] died" from Death's Door is outside Rathbone's front door.
  7. 19:01 - There's nothing written on the glass bottom of the tankard in the midshot, but at 19:04 in the close-up, there it is.
  8. 21:45 - A stand-in drives Rathbone's car in the long shots.
  9. 22:52 et passim. - The location for "Bridge Farm" is Tyke's Water Lake and bridge.
  10. 24-25 - There's some excellent intercutting of Diana mid- to close- shots with Cyd's action work in the fight scene with Frank Maher.
  11. 30:57 - Unwin's 'phone number is 7913, but I'm not sure which exchange he was on.
  12. 32:51 - Needle starts his broadcast with "Welcome to Channel B".
  13. 36:44 - Steed has a CB radio in the Bentley today, it must be pretty crowded under the dashboard.
  14. 37:32 - Is it Rocky Taylor or Paul Weston driving the Bentley? It's hard to tell, but it's not Patrick Macnee.
  15. 39:45-4:05 During the fight scene in the river, Mrs Peel's hair goes from dry to very wet, then dry, then wet again.<

    Dry...

    wet...

    wetter...

    dry!...
    ©1961-9 CANAL+IMAGE UK Ltd All Rights Reserved
  16. 41:10-42:30 - After the fight, her hair dries a bit too quickly on the way to the hay stack, and at one point is wetter again. By the end, it's been restyled and lacquered!

    wettest...

    wet...

    drier...

    too dry...
    ©1961-9 CANAL+IMAGE UK Ltd All Rights Reserved
  17. 41:26-41:31 - Along the way to the haystack, the dolly of the camera is in view for a few seconds (it's much more obvious on a computer than on a television - you see almost all the wheel, and see the chalk distance marker go round a few times).
  18. 43:00 - the television camera is labelled "Needle TV" - must have been a regional ATV station...
  19. 46:00 - How did they not hear Steed climb on the roof?
  20. 48:20 - Emma hands over a 1947 ha'penny to make the million - ha'pennies, that is; which is still a tidy £2,083 6s. 8d.
  21. Running time: 49'17"
A note on the timecodes
Where I have listed two sets of timecodes, the first is from the 2009-11 Optimum Releasing/Studio Canal DVD sets, any other timecodes are from the A&E and Contender DVD sets from a decade beforehand.
The new releases have been remastered and their frame rate has been changed, resulting in a shorter running time. However, the picture quality has increased markedly. I assume this is because they used a simple 2:2 pulldown (24 @ 25) when converting from the original film masters (film runs at 24 frames per second, while PAL runs at 25fps, the new DVDs are in PAL format).
This pulldown was also the cause of audio errors on many episodes, especially for Series 5, as the audio sped up to match the new rate (4% faster), rather than being properly pitch-shifted. Checking the dialogue sheets, which list the feet and frames of the reels, it looks like the speed change is around 5.04%, so there may be some cuts as well - probably from around the commercial breaks and ends of reels, as they amount to about 25 seconds. All my assumptions are based on the episodes having been filmed on standard 35mm film, which has 16 frames per foot and runs at 24 frames per second, so a minute of footage uses 90 feet of film (1,440 frames).
These audio errors have been corrected in the currently available DVDs, but the 2:2 pulldown remains. There is also the addition of a Studio Canal lead-in, converted to black and white to match the episode for Series Four, but colour for Series Five, adding an extra 18 or 19 seconds to the runnning time and making it harder to match timecodes with previous releases. It's annoying that it has been slapped on every single episode, Series 1-3 didn't suffer this indignity.
The previous Contender and A&E DVD releases didn't seem to suffer from these problems, so I assume they either used soft telecine and preserved the original 24fps rate of the film (my preferred option in DVDs) or they used 24 @ 25 pulldown (2:2:2:2:2:2:2:2:2:2:2:3 Euro pull-down). Let's hope the much-rumoured bluray release will revert to native 24fps with soft telecine so we won't have these problems again.
© Piers Johnson 1993-2011