A science-fiction flavour pulls this episode away from its stablemates, and creates a new television genre along the way. Michael Gough plays the diabolical mastermind perfectly.
- red and black woolen jacket with fake fur at hem line and collar, fastened by three frogs, matching knee-length skirt and black high heels, black leather gloves and handbag.
- Tailored wool suit with skirt, four cloth covered button on jacket waist, thin lapels small shoulder pads, tailored breast, short jacket-skirt with no vents, large flat chevron flap-covered pockets on hips, knee length skirt (zipped up back), grey rollneck cotton skivvy (long-sleeved), black gloves and stiletto patent leather heels
- (2) without the jacket
- karate pyjamas with white belt
- red chinese-style jacket with yellow piping (no collar, vent slits on hips, just below waist length, open in front held at neck with a gold pin), with knee-length dress (long-sleeved, probably also red, with a thin belt at waist), black stiletto heels
- thick black pullover under thick, coarse-knitted double-breasted jacket with silver buttons
- black leather overall with black rollneck skivvy (long-sleeved), knee-high boots
- (8) with leather jacket (two short vents, flat slit pockets)
- (7) with black wool head scarf, driving gloves and knee-length skirt, black heels
- Pale grey single breasted three-piece suit, two vents, felted collar, hard buttons, slanted covered hip pockets, matching bowler, white shirt, light silk tie.
- (1) with a knitted tie, grey umbrella with whangee cane handle, white city shirt with pinstripes and solid collar - later without the bowler
- suede-fronted brown cardigan with wide lapels, brown slacks and chelsea boots, black rollneck shirt
- navy chalk stripe three-piece single breasted suit, single vent. Worn with a white shirt and dark tie, with gemstone tiepin, and Cheslea boots.
- brown serge suit, single-breasted and double vented, waistcoat with wide lapels to match the jacket, black umbrella with whangee handle, black Chelsea boots and black bowler hat. A beige shirt and deep crimson tie with blue and orange flower pattern.
- Grey single breasted three-piece suit, two vents, flap pockets, lapels on the waistcoat. Worn with dark shirt (probably khaki) and metallic tie (probably bronze), subsequently with thick tan overcoat with dark collar, then without it again
- (6) with tan overcoat
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.