Series 5 — Episode 3
Escape In Time
by Philip Levene
Directed by John Krish and Roy Rossotti
Steed visits the barber
Emma has a close shave!
Production No E.66.6.2
Production completed: October 10 1966. First transmission: January 23 1967.
Regional broadcasts
Broadcaster | Date | Time |
---|---|---|
Rediffusion London | 27/01/1967 | 8:00pm |
ABC Midlands | 28/01/1967 | 9:10pm |
ABC North | 28/01/1967 | 9:10pm |
Anglia Television | 27/01/1967 | 8:00pm |
Border Television | 29/01/1967 | 8:10pm |
Channel Television | 27/01/1967 | 8:00pm |
Grampian Television | 13/12/1967 | 8:00pm |
Southern Television | 23/01/1967 | 8:00pm |
Scottish Television | 28/01/1967 | 9:10pm |
Tyne Tees Television | 28/01/1967 | 9:10pm |
Ulster Television | 14/12/1967 | 7:30pm |
Westward Television | 27/01/1967 | 8:00pm |
Television Wales & West | 25/01/1967 | 8:00pm |
TV Times listing
8.0 The Avengers
starring
Patrick Macnee
as John Steed
and
Diana Rigg
as Emma Peel
in
Escape in Time
By Philip Levene
In which Steed visits the barber … and Emma has a close shave!
Cast also includes
Thyssen | Peter Bowles |
Clapham | Geoffrey Bayldon |
Vesta | Judy Parfitt |
Anjali | Imogen Hassall |
Sweeney | Edward Caddick |
Parker | Nicholas Smith |
Tubby Vincent | Roger Booth |
Josino | Richard Montez |
Paxton | Clifford Earl |
Mitchell | Rocky Taylor |
Designed by Wilfrid Shingleton
Music by Laurie Johnson
Directed by John Krish
Produced by Albert Fennell
and Brian Clemens
Executive Producer
Julian Wintle
ABC Television Network Production
International broadcasts
Broadcaster | Date | Time |
---|---|---|
ABN2 Sydney, Australia | 11/04/1967 | 8:00pm |
ABV2 Melbourne, Australia | 10/04/1967 | 8:00pm |
ABC New York, USA | 10/02/1967 | 10:00pm |
ORTF2 France | 23/07/1968 | 8:30pm |
Suisse Romande, Switzerland | 8/07/1968 | 8:35pm |
French title | Remontons le temps | |
ZDF Germany | 26/09/1967 | 9:15pm |
German title | Fahrkarten in die Vergangenheit | |
KRO Netherlands | 28/05/1968 | 9:10pm |
Dutch title | Vlucht in het verleden | |
Svizzera Italiana | 5/07/1974 | 9:00pm |
Italian title | fuga nel tempo* | |
Spain | 9/10/1967 | 4:20pm |
Spanish title | Escapatoria a tiempo |
* Italian listings showed this as 10pm, as Italy observed Summer Time and Switzerland did not.
This episode was moved up the schedule in the United States, displacing The Bird Who Knew Too Much, which had originally been scheduled for February 10 1967. That episode would screen four weeks later, on March 10 1967.
Episode Rating
Subject | 0–5 |
---|---|
Direction | 4 stars |
Music | 3½ stars |
Humour | 3½ stars |
Intro/tag | 3½ stars |
Mastermind | 4 stars |
Plot | 4 stars |
Emma | 4 stars |
Set Design | 4 stars |
Overall (0–10) |
8 stars |
I like this episode, but there are points where I would like more. Maybe more sustained humour, and a less stereotypical Thyssen would do it.
Mrs. Peel’s Grand Hunt Ball invitation turns out to be a
summons from Steed, and they set out to discover what’s become
of the world’s most wanted criminals.
They’re on the trail of Josino and follow him as he acquires a
stuffed toy and a shaving cut. Steed takes the same path and
ends up going through time to 1790! Emma follows, much to the
gang’s surprise and confusion, and finds herself in the Tudor
era after the mastermind cottons onto her. A leap across time
saves Emma from the stocks and exposes Thyssen’s fraud.
Exit the Avengers in a veteran taxi - Emma in the driver’s
seat and Steed with a face full of soot.
The Cars
Marque/Model | Colour | Number Plate |
---|---|---|
MGB | white, red upholstery | 5038 KM |
Lotus Elan S3 | glacier blue | SJH 499D |
Triumph T120 motorcycle | red/silver | B00 54 |
Rolls-Royce Hearse 20/25, coachwork by Woodall Nicholson | black | RW 6425 |
Four-horse carriage | blue and yellow | - |
Bentley Speed Six 1926 | British racing green | RX 6180 |
Unic Taxi 1908 Owned by Lord Montagu and on display at Beaulieu - National Motor Museum. |
burgundy/black | MD 1480 |
Who’s Killing Whom?
Victim | Killer | Method |
---|---|---|
Karl Blechner | Waldo Thyssen? V* | ? [prior to episode] |
Jubert | Waldo Thyssen? V* | ? [prior to episode] |
President Bibigyn | Waldo Thyssen? V* | ? [prior to episode] |
Clyde Paxton | ‘Bruno’ Thyssen V* | 16th Century pistol |
Tubby Vincent | ‘Edwin’ Thyssen V* | Stabbed with a Jacobean dagger |
Colonel Josino | Waldo Thyssen? V* | ? |
The Fashions
Continuity and trivia
- 1:38 — It’s those doors again! You might remember them from From Venus with Love and The Bird Who Knew Too Much, amongst others.
- 2:45 — great set design for the “time tunnel”, I especially like the conveyor belt in the floor.
- 2:57–3:39 — There’s a fragment of celluloid or something caught top left of the screen when Paxton wakes up in the Elizabethan room. It remains for the tracking shot, so it’s stuck to the camera lens.
- 4:15 — Ball invitation is propped up against the bird sculpture.
- 4:28 — Steed utters the old chestnut, “one of our best agents”. It’s surprising how oftne the best agents are the ones killed!
- 4:32–5:27 — There’s a hair caught top right/centre of the lens in the mortuary scene.
- 8:21 — The cameraman loses focus as Peter Bowles walks towards the camera & Tubby Vincent.
- 8:27–8:37 — When Tubby Vincent escape Thyssen after being stabbed, Thyssen has his back to the death masks and is thrust sideways, yet ends up slumped against the door, several yards away.
- 9:21 — The cameraman loses focus when Emma walks towards the camera holding the note about Josino.
- 11:42 — Mackiedockie Court must be near Tom Savage’s studio (The Bird Who Knew Too Much), as they’re both near the same Stone Street. And they must both be near Purbright & Co. (Quick-Quick Slow Death and How to Succeed .... At Murder) which is on Mackiedockie Street.
- 13:53–14:55 — In the motorcycle fight scene, it’s rather obvious that there’s a stunt double, as the chalk marks on Diana Rigg’s pants are nothing like those on the performer who leaps over (and into!) the motorcycle - Cyd Child, getting a minor injury.
Cyd tells the tale that they redid the scene several times, but every time the director declared it wasn’t close enough. They re-shot the scene one more time and the motorbike hit her, after which she went up to the director and asked, “Was that close enough?”
both legs & arms
sleeve only
right leg
©1961–9 CANAL+IMAGE UK Ltd All Rights Reserved - 19:10 — Anjali says that Steed was estimated to be 6′ 2″ tall, and weighs 170lbs; he confirms this is correct, although it is different to what Remak calculates in Killer.
- 24:30 — Thysen introduces Steed to his ancestors.
1570
Matthew Thyssen
Tudor inquisitor1600?
Bruno Thyssen
Elizabethan sportsman1680
Edwin Thyssen
Jacobean duellist1790
Samuel Thyssen
Georgian philanderer1870?
Herbert Thyssen
Victorian squire1967
Waldo Thyssen
Sixties criminal
- 28:28 — Lens flare in the top right corner of the screen.
- 28:43 — Lens flare in the top left corner of the screen.
- 31:07 — There’s something stuck to the lens top right as Smith marches Mrs. Peel into Thyssen’s sitting room. It reappears at 33:20–34:25.
- 34:25 — “I appreciate your appreciation.”
- 36:36 — There’s a corrupt frame on the DVD.
- 38:53 — the holes in the stocks are too large to actually restrain Mrs. Peel.
- 39:05, 40:54, etc. - You can just see the flare guard in the very top left corner of the screen in the angled CUs of Thyssen. It reappears at 43:40–43:59 during the fight and 47:06 when they re-enter the Sixties room and find Vesta still cuffed to the pillar.
- 43:42 — Rocky Taylor is standing in for Patrick Macnee during his dance with the pike.
- 44:59 — Stunt doubles for Peter Bowles and Patrick Macnee (Rocky again) but Diana Rigg does all her own work in the fight scene.
- 47:06 — Upon finding Vesta handcuffed to a pillar in the 1960s, Emma asks, “Didn’t we get the vote?”
- 47:18 — Bird sculpture back near the door again.
- Running time: 49′22″
Cast notes
- The executioner is played by stunt regular Terry Plummer - he’s seen at his best (although, as always, uncredited) as Frederick in A Surfeit of H2O, but turns up in The Superlative Seven (his only credit, despite being in thick Chinese makeup), Never, Never, Say Die and a host of other episodes.
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).
Thankfully, the new blu ray releases for series 4–6 appear to use native 24fps with soft telecine so the running times and pitch all seem to be correct again along with a much grreatly improved picture quality, most notably in the Tara King episodes which are finally back to their original glory.