The Decapod
Teleplay by Eric Paice
Directed by Don Leaver
Production Schedule
Episode 34
Production Number : 3507
VTR/ABC/1979
Teddington Studio 1 & Rehearsal Room 2A
First Reading
Friday 31st August 1962, 10.30a.m., REHEARSAL ROOM 2A, Teddington Studios.
Rehearsals
31st August-Sept.11th inclusive, REHEARSAL ROOM 2A, Teddington Studios.
Camera Rehearsal & Recording
Wednesday September 12th 1962, 10.00-21.00.
Thuursday September 13th 1962, 10.00-18.30 (VTR: 1830-1930) STUDIO I, Teddington.
Running time
Actual running time with bumpers: 51'19"
The bumpers between the acts are generally 10 seconds from fade in to the "End of Act" bumper to the end of audio before the commercial, a 10 second still without audio, then cut to the next act bumper. This would play with the theme for around 10 seconds. Accordingly, with the episodes being in 3 acts, the running time of the action is approximately a minute less than listed above, minus the opening and closing credits (normally 0'16", with a 2" fade, and anywhere from 0'41" to 1'20", hard cut or 1" fade or mix, respectively).
Transmission
| London |
13th October 1962 |
| Sydney |
28th October 1963 |
| Melbourne |
21st May 1964 |
Murders
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click a name
to see the face
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Transport
Minutiæ
- 0:52 - the girl has just stepped out of the shower, but has full eye makeup on.
- 5:07 - The microphone takes a moment getting to Julie as the camera shifts, and we almost completely miss the line "No I can't break away".
- 20:33 - The false Decapod gets caught on the ropes when he tries to vault them.
- 21:56-8 - the cameraman is still changing lenses when the director switches to his camera.
- 27:09-27:41 - there's a smudge on the camera lense, top centre, for the shots of Venus on the 'phone in the club. It's there again when Harry jumps Steed in the cloakroam (28:11), when Steed looks for Borb in the hallway (32:20), when Edna come slooking for Venus (35:41), the reverse shots of Borb at the rigside (42:00-44:00) and Steed's close-up when he's talking to Venus after Borb's death (49:30), so it's definitely on the lense rather than the transfer plate.
- 39:15 - Dave Lee's trio start playing in the background, even though the action is taking place in the embassy.
- 46:51 - Stepan walks up the steps in the gym at the back of the set (going to his mark for 48:05) as the two 'decapods' fight, and Steed and Venus ignore him completely.
- 50:17 - was Wolfe Morris a late replacement or did they spell his name wrong? You can see his name has been pasted onto the caption card.
Times are from the re-mastered 2009 Optimum Releasing DVD set, any times in brackets are from the previously released DVD sets which had frames with interference or banding deleted, resulting in shorter running times.
The Songs
Venus Smith sings two songs, accompanied by the Dave Lee Trio.
- "You're Getting to be a Habit with Me" [4:14, 1:22 long]
- "I Got It Bad" [29:02, 2:04 long]
The Dave Lee Trio comprised Dave Lee, Art Morgan and Spike Heatley in 1962, all highly respected jazz players. Dave Lee also co-wrote the hit Avengers tie-in single "Kinky Boots" b/w "Let's Keep it Friendly" with Herbert Kretzmer (who wrote the lyrics for "Togetherness" from The Murder Market). Dave also composed the Peter Sellers/Sophia Loren comic song "Goodness Gracious Me" with Kretzmer.
Lyrics in blue italic are not sung by Julie
Lyrics in green italic are inaudible.
Lyrics in red italic have been adapted or ad libbed.
You're Getting To Be A Habit With Me
Al Dubin & Harry Warren, 1932
Every kiss, every hug,
Seems to act just like a drug
You're getting to be a habit with me
Let me stay in your arms,
I'm addicted to your charms
You're getting to be a habit with me
I used to think your love
Was something
That I could take, or leave alone
But now I couldn't do
Without my supply,
I need you for my own
No I can't break away
I must have you every day
As regularly as coffee or tea
You've got me in your clutches
And I can't get free -
What can I do?
I'm hooked on you, Cos'-
You're getting to be a habit with me -
From the musical "42nd Street"
I Got It Bad (and That Ain't Good)
Duke Ellington & Paul Francis Webster, 1941
Though folks with good intentions
Tell me to save my tears
Well I'm so mad about him
I can't live without him
Never treats me sweet and gentle
The way he should
I've got it bad
And that ain't good
My poor heart
is tempramental
Not made of wood
I've got it bad
And that ain't good
But when the weekend's over
And monday rolls around
I end up like I start out
Just crying my heart out
He don't love me like I love him
No, nobody could
I've got it bad
And that ain't good
Lord above me, make him love me
The way he should
I got it bad
And tha-t ai-n't goo-d