TV Gold

Continuing the series in a similiar vein to "Secret Army" I would like to talk about this series beginning with this opening paragraph...

You could say that for me to turn my attention to this London Weekend Television WW2 drama series in 2010, on the fortieth anniversary of its original transmission, is certainly quite appropriate. However is “Manhunt” a show that is worthy of praise like “Secret Army” and “Wish Me Luck” or a relative disappointment similar to “Enemy At The Door” and “Danger UXB”. Well Network have done their usual commendable pleasing job in presenting an attractive outer cover adorned with worthy key images of the main series players with inner cover offering brief synopsis and transmission details. The discs themselves are simplistic themselves with total or individual program selection options available. The show itself shamelessly pinches the first movement of Ludwig van Beethoven’s Symphony No 5 as its theme music which although negates the series from having any distinct audio persona is of course suitably emotively moving. The title sequence is I thought also fairly unambitous with black and white lattice patterning momentarily pulling back to reveal single shot black silhouette images of the three series leads against a plane mild red background. Anyway without individual chapter titles I’ve elected to split this down into the parts divided by its original commercial break points when talking about each story…

Right down to business and in an attempt to give you guys a 'feel' for this series lets go to where this started...

### (DISC ONE / 01) ### FARE FORWARD VOYAGERS (by Bruce Stewart) (51:37)
Part One – The opening titles fade to reveal a woodland glade where emerging from the silk of an unfurled parachute caught in the trees above a lone RAF pilot takes a moment to survey the area. Having retrieved and safely hidden the aforementioned material undercover the man takes a moment to look over his identity papers and a couple of photos of personal history he must now keep hidden from all that he may now encounter. We learn that his name is Squadron Leader James Briggs but before we follow him away from the area the camera pans away and a sequence of telex type text begins to flash across the screen. This informative piece of narrative exposition reads “Occupied France, September, 1942 Travail, Patrie, Famille… The Vichy Government rules, and German forces hold the country as far south as the line of Cher… The French people, defeated and demoralized, think there is nothing for them to do but get on with their jobs… however in Paris –“. Following this the episode shifts to present us with the scene in a French motor repair garage where an British Colonel Wilmot is talking with assembled local resistance members about the urgency of their unifying the actions. Shortly after we join this scene the Colonel’s ‘secretary’ Nina takes a moment to remind her superior that it is now dawn (leading one to believe that this meeting has been going on all night!) before joining a young handsome leather jacket wearing man for a cup of coffee. Then without warning the meeting is disrupted by the sudden appearance of machine gun wheilding Germans whom rush in firing indiscriminately at all assembled. In the confusion somehow Nina appears to be the only person to safely escape the ensuing carnage. Switching back to Squadron Leader Briggs and our RFC ace eventually finds his way to the small French village of Bracieux and it is here that having narrowly evaded a German foot patrol he seeks sanctuary in a classroom of the local church. As he hides in the stockroom other men enter, two of whom are the local priest Father Martin (played by Peter Copley (whom during his career has been a guest star in both Doctor Who (“Pyramids of Mars”) and Survivors (“Gone To The Angels”)) and Vincent (a beret wearing Peter Barkworth) whom exchange words about the raid on the garage and the likelihood that the surviving Nina might be making for their position. We momentarily switch to the resistance movements wireless operator, known as Robespierre whom it seems has fallen asleep over his equipment. This is confirmed when his wife, the obviously nervous, highly agitated Denise enters to rest him from his slumber with time approaching midday. Now at this point its interesting to note that, making a series cameo appearance as this character is Yootha Joyce, an actress whom most people, myself included associate with her comedic role as George’s long suffering Mildred in the sit coms “Man About The House” and spin off “George and Mildred”. It’s good to see her getting her acting teeth into a more meaty serious role which helps demonstrate her talents beyond the comedy she is probably best known. The actual locale into which Robespierre (referred to by his wife as Henry) and Denise share scenes appears to be a general ironmongers which I personally was less than convincing. Returning back to the school classroom and Nina is escorted in by the mistrusting local resistance members and after a brief questioning session Vincent orders that they kill the new arrival!

Part Two – We being with Squadron Leader Briggs, now to be known as simply ‘Jimmy’, emerging from his hiding place and attempts to take charge of the situation with the use of a knife. However he is soon overpowered and again after a short interrogative conversation Vincent decides that Jimmy will also be killed. The resistance elect to hold them overnight and this affords Jimmy and Nina some time alone together. Attempting to engage her in conversation Jimmy (and the viewers) learn that Nina is a former student with no family, brought up by aunts and has a Jewish grandmother. Meanwhile in the church vestry Vincent and Father Martin discuss the fate of the two new arrivals. The priest attempts to overrule the resistance leader’s intended execution by asking that he first contacts London by wireless about their identities. Well via Robespierre Vincent is to assume authority over the Squadron Leader and that he and Jimmy are to assist in the safe return to England of Nina for the vital information she has of resistance movement members. On hearing this Nina is vocally outspoken in protesting her rejection of this and this largely concludes this section of the story.

Part Three – Well it’s now the next morning and Vincent, standing in the school classroom is studiously studying a large map of the area as he plans their supposed safe route towards Switzerland. As well as himself, Jimmy and Nina Vincent insists that Robespierre joins them on the journey to which the wireless operator is less than enthusiastic to put it mildly. He supports how essential it is for him to join them as his valuable skills will ensure the survival of a resistance cell that Vincent has spent ten months building up. Father Martin attempts to placate the man’s fears by ascertaining just how long Vincent needs the radio man and from Vincent’s reply he believes that he can return to his wife in about a day. However before the set out there are just two further matters to be taken care of. Feeling that it is an instant giveaway to his true identity Vincent insists that Jimmy lose his wide, very British waxy moustache. Despite his obvious protests including attempting to link it to ‘Kings regs’ he acquiesces and returns much to the amusement of Nina, now clean shaven. Vincent then insists that Nina relinquish her identity papers and although offering fairly minimal protests (in comparison to Jimmy) she hands them over. However whist the resistance leader is otherwise occupied Nina secretly retrieves some letters, something that I suspect may prove costly at a later point in the series. Moments after this Denise rushes in with a terrified tinge in her voice states that a German officer and six men have arrived at the train station and are beginning to conduct a through search of the area. Vincent, Jimmy, Nina and Robespierre quickly depart the building and pile into a low slung black Citroen car which then fails to start. Whilst Jimmy attempts to get the vehicle going by use of a starting handle Father Martin moves to encounter the approaching Germans and then engages them in delaying conversation. Shortly after moving away from the centre of the village our four approach a German military contingent of two motorcycle sidecars and a small armoured tank type vehicle stopped across the road some distance ahead of them. Whilst Vincent and Jimmy talk about possible diversionary tactics they could use to allow them to continue Robespierre slowly disappears unnoticed and returns to his ironmongers shop. Here he searches for his wireless but learns that Denise has taken it away with the initial intention to smash it up. She eventually returns it and our gallant radio operator uses it to send out an SOS message which has the desired effect of galvanising the Germans into investigative action but obviously leads to tragedy. Having driven through a checkpoint with a momentary effective gun shot at the sentry our series lead trio abandon the vehicle and head off into the cover of the nearby woods. The arrival of both cocky self assured Squadron Leader James Briggs and the perceived neurotic Ann Marie Poitiers clearly unsettles the well organised resistance cell run by the self assured experienced leader Vincent in a series opener that hints at worthy character interaction and conflict. There is certainly much that can be discerned about the principle players and I thought it pleasing to note the cameo appearance inclusion of both Yootha Joyce and Peter Copley. However mitigating the admirable intentions this story is limited by a rather cold stage play feel to scenes and location filming that for an uninitiated viewer look a lot like England. Despite its obvious shortcomings this is certainly a most promising start to this series.

...and of the other episode that I watched last week I'd like to say...

### (DISC ONE / 02) ### BREAK-UP (by Derek Ingrey) (51:40)
Part One – As the title sequence ends we have more telex type text appearing on the screen and playing out over a red background broken only by a single strand double black cross ident this reads… “Ann-Marie Poitiers code name “Nina” posses information vital to future of French resistance… Gestapo organising massive manhunt… regard her as parcel for delivery or destruction… London”. We pick up the action with our trio continuing to run through woodland, past a road and then across fields. Whilst they continue on we switch to see Jacqueline, a young seventeen-year-old girl walking along a lane leading a cow. She encounters a uniformed Malice officer on motorbike. The man, whom we quickly identify as Stephen Lewis (better known for playing Inspector Blake in the ITV sit com “On The Buses”) begins to make lecherous advances to the youngster. Naturally she protests and is then pursued into the nearby field by the overbearing Goffre. Close by our trio hear the commotion in the nearby field and Nina’s protests that they try and help the girl fail to engender any action from Vincent and Jimmy. Instead having momentarily looked over the officers bike the two men lead Nina away from the area. Goffre’s amorous advances are eventually halted by the arrival of two plain clothes policemen whom evidentially have some element of superiority over the officer. They do not hide their possible contempt for Goffre and even take a moment to infer, looking over the mans features that he may be Jewish before advising him to be on the lookout for our three fleeing characters, the identities and codenames are now known. Switching back to our trio and Vincent proposes that they wait in their current hidden location until nightfall although this does not gain agreement from his two companions. Infact Jimmy quite rightly states that they are merely ‘wandering around fields like weekend ramblers’. In the general disagreement that follows Nina slowly slips away unnoticed and eventually encounters a farmer having a picnic in a nearby field. Although initially hostile to the intrusion he then offers her bread and wine and having believed her story takes her back to his farm. It is there, later on, that this farmer hides her under the hay he has in the back of his lorry just as Jimmy arrives asking after the missing Nina.

Part Two – When Jimmy departs the farmer takes Nina to a woodcutter friend of his whom he persuades to hide her for two days whilst he arranges travel plans to Paris. This individual is suitably untrustworthy and after the farmer has departed he attempts to rob Nina of the money she has leading to her running off. We have a visible German presence in the area just after this as we observe a truck and two motorcycle outriders patrolling a nearby road. Shortly after talking with the two plain clothes police assisting the Germans Goffre moves to his search area and it is here that unexpectedly, as he rests against a log, that he is assaulted and killed by Vincent and Jimmy. They steal his motorbike which they use for a short distance before eventually ditching it in the lake. The two men then head back into the woods once more however this time their movement through the undergrowth is secretly observed by members of a local communist sect. Vincent and Jimmy are subsequently captured and we see them tied up sitting on the floor of a small clearing. The leader of this group, known as Louis Sampere is a slightly bearded swarthy figure played by the familiar noted actor T.P.McKenna. He does not believe their story and things get worse for the men when the farmer turns up with the unconscious Nina in his arms. He places her carefully on the ground and having approached Jimmy he states that this man is a German!

Part Three – This segment of the story is mostly wordy exchanges between Louis Sampere and his tied up prisoners Vincent and Jimmy which amounts to mere political posturing on behalf of the communists. Aside from this the young farmers daughter finds herself again in trouble although this time the German soldier is merely asserting his authority over the youngster. He orders her to swim across a nearby lake towards where he believes her father is with the intention that the youngster should warn of their presence at his farm should they return. In addition to stating that the girl would swim faster without clothes he throws her bicycle into the water with a satisfying ‘Hail Hitler’ utterance as it sinks into the lake. Following Jacqueline’s subsequent reunion with her father Louis Sampere eventually agrees to our series lead trio to continue their journey towards Switzerland and once again we see them later fleeing away from a main road into the woodlands as the closing credits roll. Although I welcome worthy cameo appearances for T.P.McKenna and Stephen Lewis there is the overriding feeling that “Break-up” is an instalment that is needlessly padded with unnecessarily lengthy scenes. A rather disappointing woodland ramble that I view as having little of particular memorable note.

I return to TVGold today fresh from watching two episodes from the second disc of this title last night and would first like to express my overriding delight at the fifth episode. This is a story that was shot entirely on location, was dramatically tense and exciting, offered some marvellous accompanying suitably used incidental music had featured great regular and guest cast performances. My opinion of "Manhunt" is greatly enhanced from a story that had me applauding such a really enjoyable story.

That's enough praise about last night I think as I would like to turn my thoughts back to the pair that I watched last week beginning with this (beware spoilers!)...

### (DISC ONE / 03) ### ONLY THE DEAD SURVIVE (by Roy Clarke) (51:31)
Part One – Once again as the title sequence ends we have a repeat of the preceding weeks telex type text appearing on the screen, played out over a red background broken only by a single strand double black cross ident before the story begins. There is a bit of mucking about from a couple of soldiers riding in the back of a German army truck with one of them kicking the others rifle from his grasp leaving it clattering down onto the road. This instantly causes the officer to stop the vehicle and having ordered the individual concerned to retrieve his weapon. He then chastises the soldier for his tardiness as he takes a moment to inspect the rifle before they climb back into the truck and drive away. Having ascertained that the troop transport vehicle had safely left the immediate area our trio slowly emerge from the nearby woodland undergrowth with Vincent then leading them to a nearby wicker shack. No doubt momentarily unnerved by their close encounter with German military there is a palpable sense that Vincent needs a moment to mentally regroup before leading Jimmy and Nina on towards a nearby chateau which he states is his mother’s home. Whilst he and Jimmy talk Nina takes this opportunity to get busy with her lipstick and compact which as she moves close to the nearby window opening in the ramshackle structure gains suitably short shrift from their resistance guide. Having then left the structure they immediately drop to the ground close by as just ahead moving through the woodland they observe a German General and a Sergeant casually strolling through the undergrowth. As they move away from their position another more immediate danger presents itself as a pistol wielding swarthy man rushes in and holding Vincent at gun point orders Jimmy and Nina to immediately surrender. Hostility soon fades to friendship as this man, now identified as Franco, recognises his long term friend Vincent. He leads them to a nearby barn where he relates that the chateau is now in the hands of the Germans lead by General Von Trenow (played by the distinguished well spoken Richard Hurndall). Franco agrees at the right moment to attempt to smuggle the new arrivals into the house but for the meantime he suggests that they hide in the barn’s loft. Again Vincent endeavours to maintain control over his charges however, once again, Jimmy and Nina later manage to venture out into the chateau grounds and whilst talking about Vincent’s unflinching stance towards them they are almost detected by the General and his aid. As the military pair walk along by the side of a lake towards their position our duo instantly drop to the ground and there is a momentary burst of suitably appropriate suspenseful incidental music. Later we find Jimmy and Vincent, decked out in dark blue shabby overalls pushing a oversized wheelbarrow through the grounds, with the latter indicating that their ultimate objective is the turret on the left of the chateau. Jimmy expresses his doubts that they would be successful with so much army personnel around however Vincent says that they are just regular military not the ‘boys in black’. These prove fatal last words as suddenly a large SS Gestapo car pulls into the chateau’s driveway.

Part Two – In the palatial surroundings of the chateau’s drawing room General Von Trenow first meets with the newly arrived SS Officer, Lutzig whom is on the trail of our fleeing trio. In my opinion Philip Madoc is marvellously cast as the ruthless, totally driven Lutzig and his portrayal is further strengthened when played against the laid back, restrained performance of Richard Hurndall as the well bred, privileged background General. Now returning to Vincent, Jimmy and Nina and I was initially surprised to find them finding a radio set which they proceed to use, surely heightening their chances of detection! Anyway aside from its use Nina conveys some ‘student philosophising’ about the dispassionate stance adopted by Vincent to Jimmy. Our former Squadron Leader later talks with Vincent and gains the insight that he views Nina as merely a ‘package for delivery’ which he might have to kill should the need arise. Meanwhile Lutzig continues to familiarise himself with the area by paying a call on the local Police station where he asserts that their current reports are totally useless. He suggests that they show some initiative regarding surveillance methods to which the Inspector replies that his duties don’t involve ‘spying on the General’ which Lutzig believes is an ‘unfortunate turn of phrase’. Naturally there is a generally convivial atmosphere between locals and the Germans staying at the chateau where we have the General’s Sergeant polishing his boots around the kitchen table whilst talking with Franco and the kitchen maid. Well a generous quantity of alcohol is invibed and, later that night, in a heavily inebriated state Franco stumbles into the barn and scaring Vincent out of his wits speaks incoherently about his intention of killing the General. The following morning Vincent and Jimmy share a pair of binoculars looking down at the activity in front of the house. We conclude with the now sober Franco taking aim with his rifle on the General.

Part Three – Having seen this our trio rush to prevent Franco from his action and they quickly retreat to the safety of the barn with the intended assassin leading to obvious recrimination primarily from Vincent for what his friend was intending. Conversely there is a marvellously terse, angry exchange between General Von Trenow and Lutzig regarding the latter informing the ranking officer of a death threat from the locals. According to Lutzig there is apparently an individual whom has been ‘shouting his mouth off around the village about killing you’ before unsurprisingly bringing Franco into the chateau drawing room. It is an indication how totally committed Lutzig is to the cause when he says that he ‘believes in the product otherwise I wouldn’t be working for the firm’. The General proposes that the local should be prosecuted within the dictates of military law however rather than a simple execution Lutzig proposes that Franco should be ‘found like a sack’. To this end the concluding sequence of this episode is quite simple in having Franco taken into a iron railing surrounded courtyard where they take his possessions before retreating to lock the gates and then open fire with their semi-automatic weapons. This callous act underpinning the ruthless nature of the Germans is subsequently followed by a poingient show of emotion from Vincent whom, taking a moment to look over his fallen friend and comrade, says that ‘only the dead survive’. The main strength of this third episode are unquestionably the introduction of Lutzig (played marvellously by Philip Madoc) whom perfectly counterpoints Richard Hurndall’s distinguished, generally relaxed General Von Trenow. I was pleased to see Leslie Scholfield (whom some viewers may recognise from his Blake’s Seven (season one “Space Fall”) appearance as Raker) as Lutzig’s Sergeant, Schneibel. Other than that “Only The Dead Survive” feels like a fairly routine tale of German forces occupying a French chateau although the location of this residence does seem a long way from any actual military action which makes you wonder just what military importance it could be.

Last night also featured a rather atypical budget saving 'bottle show' that whilst not reaching the dizzying dramatic heights of the preceeding story was I thought an interesting minimalist experiment.

Meanwhile back to the other episode I watched last week on which I would like to say the following...

### (DISC ONE / 04) ### WHAT DID YOU DO IN THE WAR DADDY? (by Arden Winch) (51:21)
Part One – There is the now customary repeat of the second episode telex type text appearing on the screen, played out over a red background broken only by a single strand double black cross ident before the story begins. We now move into the actual chateau and with a large slightly red oval metal ‘Kommandarteur’ sign placed prominently over a doorway a machine gun wielding soldier stands in the hallway as an officer passes by. Nearby crouched on the stairway attempting not to be discovered our trio carefully look on before taking a moment to move unobserved to the upper levels of the building against momentary suitably tense incidental music. Vincent finds a key hidden up high and out of sight and then leads Jimmy and Nina into a disused large room. This portion of the chateau occupying the top of the turret to which Vincent previously indicated to Jimmy used to be his grandfather’s observatory as indicated by a large slim telescope located close to a nearby window. Aside from the intrusion of the workings of a lift mechanism the room was unremarkable and this is as far as our series regulars would venture through the whole of this story. Meanwhile out on the front porch General Von Trenow and Lutzig talk together about a massive troop deployment in the area apparently to find our fleeing trio. Now naturally attempting to realise this on a television budget would have been impossible so the series gets around this with the use of sound effects of marching and occasional engine noise whist they converse. Again our series regulars are fortunate to find another disused radio set which Jimmy sets about attempting to repair. With so many troops arriving Lutzig orders the General to make arrangements to move the majority of the servants out of the house so that the SS soldiers can stay in the building. This is later confirmed by Jimmy when his curiosity gets the better of him and having carefully crept out of the room peers down and is horrified to discover slumbering military all over the lower area of the chateau.

Part Two – As the Germans and our series regulars sleep a lone female figure approaches the rooftop room. The sound of a key in the lock rests Vincent from his slumber and waking Jimmy they wait either side of the door only to find the familiar figure of Hotense, the faithful slim, plain looking housekeeper of the Countess, before them. With introductions concluded she brings a tablecloth, plates, cutlery and food for the new arrivals to enjoy. Whilst they eat Hotense confirms the presence of the Germans and her being aware of our trios arrival before departing saying that she hopes to return with further food deliveries. Subsequently whilst Jimmy continues his attempts to repair the radio Nina, for whom the pressure of continual confinement is beginning to show, emotionally relates a childhood memory of her being sent to a religious convent ‘punishment room’, something that she directly relates to their current situation. Whilst Vincent seemingly impassively listens onto this heartrending tale Jimmy attempts to make light of their situation by later jokingly relating their surroundings as being ‘locked in the attic of a mad dead astrologer!’ Clearly General Von Trenow and Lutzig come from different social backgrounds, something that is evident when Hotense broaches the subject of the former and eventually the latter being granted an informal social meeting with the Countess. It is their perception of the social classes that best indicates their diametrically opposed viewpoints on the social classes and brings them in momentary terse vocal conflict. We witness the General, Lutzig and Sgt Schneibel’s meeting with Vincent’s mother, the Countess, a silver grey haired, distinguished and elegantly attired elderly lady whom has a request to make of the visiting military. With so many of the locals away because of the war the estate is shorthanded with the imminent harvesting of the wine and she asks if the Germans could offer assistance in this matter. This is only worthy of note because she bizarrely adds that ‘the Kaiser likes a fine wine!’ which gains the obvious looks of puzzlement from both Lutzig and Schneibel.

Part Three – The main aspect of note for me was in conversation Vincent related that of the eighteen that were on the S.O.E. course he attended one died during training, two died through parachutes not opening and two (presumably himself is one of these) is currently active. Of the other thirteen they were all betrayed and killed by the Germans. Another piece of valuable character insight that we learn here is that Vincent’s father was shot by the resistance because he was a fascist. I would also commend the last scene between Hotense and Vincent where our series regular makes an impassioned plea to merely see the Countess one last time. Vincent believes that she is all he has now and that he might not get any other chance to see her again although Hotense states that such is the security imposed by the Germans the movements of the Countess are strictly limited. Personally I thought this was a marvellously moving emotional performance by Peter Barkworth which convincingly conveyed the tortured emotions of the character at this pivotal point in the story. Any chance of this request being granted however evaporated when Hotense next returned full of panic at the news that the Germans plan to instigate a full and thorough search of the entire chateau! Adopting fairly passable disguises our trio attempt to merge with the other departing servants whom had returned briefly to collect whatever possessions they could carry before leaving the estate for good. There is a last lingering poignant slightly distressed look back at the chateau for Vincent before he turns to move after Jimmy and Nina just before the closing credits. Other than to praise Rosalie Crutchley as the loyal housekeeper Hortense plus the usual fine performances from Richard Hurndall (General Von Trenow) and Philip Madoc (Lutzig) this feels like a fairly low key story with our series trio in hiding once more. There is, as I mentioned before, worthy insight into the backgrounds of Vincent and Nina in a story by predominately lacks any noticeable tension.

For me TVGold is still the best place to talk about classic TV shows as I've never got into things like Facebook, Twitter and running a blog so I'm happy the return once more and offer this about the next 'Manhunt' episode I watched last week, and yeah it's a bit on the long side as I was feeling a bit fiesty on Sunday morning...

### (DISC TWO / 05) ### ONE MORE RIVER (by Bruce Stewart) (51:26)
Part One – Following the now familiar preceding telex type text played out over a red background broken only by a single strand double black cross ident we turn to view our regular trio of characters rushing over a hill and veering to our right. Crouching close to some woodland bracken Vincent takes a moment to unfurl his large map and explains their route ahead to Jimmy. As they look to the middle distance he gestures towards Elliot wood opposite and close to this is a small religious shrine, a point where they intend to rendezvous with the van of local greengrocer Hector. Before they set off Vincent sets about burning identity papers they are carrying but, once more, Nina protests at this and refuses to hand over her documents. From the burning embers of the official paperwork we fade to see the approach of a German military convoy of three vehicles causing Vincent to beckon Jimmy and no doubt Nina to retreat from their vantage point. The three of them then make their way through a field of tall produce plants and over a country path and then cross a plain wooden plank bridge. It is momentarily after this that, significantly, Nina stumbles and drops the identity paperwork she was carrying. Next we fade to see Hector’s van appears trundling down the country lane (accompanied by suitably jaunty gallic incidental music) with Vincent looking on apprehensively as the vehicle stops nearby. He waits as the greengrocer starts to walk closer and begins his routine look over the ground searching for mushrooms for his shop. At this opportune moment Vincent moves to make contact and with a firm handshake says the code phrase that he is ‘very powerful but only one’ to which Hector replies ‘then sleep the sleep of the earth’. With their identities confirmed he beckons Jimmy and Nina to join him however as they slowly move to join the departing Hector at his van a pale blue two-seater car suddenly appears from round the corner of the tall crop field and noticing that the occupants are uniformed malice officers Vincent rushes for cover behind nearby trees and indicates that his travelling companions should do likewise. The new arrivals ask for the local tradesman’s papers but it is when one of the uniformed men notices the dropped identity card nearby that Nina panics, breaks cover and initiates a chase to the strains of suitably tense incidental music. This is indeed used to great effect as eventually both malice move to pursue to stumbling female figure and it is only at this point that Vincent and Jimmy rush from their hiding place to intercept the two men. Whilst Jimmy engages in a physical fight with the lead figure Vincent draws his revolver and shoots first one and then the other when the Squadron Leader is momentary thrown clear in their altercation. It later transpires that during the gunfire exchange a stray shot penetrated the produce lorries oil tank and after only a short distance from the initial meeting the vehicle grinds to a halt. Meanwhile as our four fleeing characters abandon their motorised transport we focus on the first conversation between Major Schneider and Sergeant Adler, two well defined characters whom clearly have diametrically opposed opinions about the detection and interrogation of suspects. Whilst the Major is clearly a man of immediate action the Sergeant, whose background is that of military intelligence, views his methodology as being superior to his ranking officer. Having found the two malice officers hidden in the ditch Major Schneider asserts that as a ‘political killing’ this will be of little interest to the Sergeant but Adler disagrees as this would command his attention more than other cases. He raises the indignancy of the Major by relating his initial findings and suggests that they follow the trail of oil that the departing lorry has left on the ground.

Part Two – Our series regulars and the clearly ailing Hector move to the edge of the undergrowth and look ahead to the bank of the river where a lone German soldier is doing some rudimentary washing of clothes. Naturally Vincent, frustrated at this, anxiously wonders as to just how they could distract him so that they could pass unnoticed. Eventually, and without any word from Vincent, Nina breaks away alone and approaches the soldier and attempts to playfully teach him in the correct way of washing clothes. This seems like a perfect diversion which Vincent and Jimmy, supporting the greengrocer between them, use to slip quietly into the water and begin to make their way across to the opposite bank. However just at the last moment the soldier looks away from Nina and, noticing the three men close by, grabs at his rifle and takes aim firing a couple of rounds in their direction. Although Nina does her best to prevent further action from the soldier Vincent and Jimmy elect to leave Hector behind and flee for their lives. Elsewhere Corporal Adler is carefully following the trail of oil left by the greengrocer’s lorry with an armoured car vehicle following close by. Riding in this are Major Schneider whom, in conversation with the Corporal driving him, is begrudging the fact that he is deferring to the military intelligence methods of this Sergeant. Shortly after as our series trio have moved away Hector is captured by the Germans and we see contrasting interrogation methods employed by Adler and Schneider. Whilst the Sergeant is more diplomatic the Major prefers the direct threatening approach however Adler cautiously waves off this hostile action by carefully pushing away the large razor sharp bayonet held at the mans throat. Shifting back once more to our fleeing trio and our heroes approach a farm building but they hold back when a German troop lorry is spotted parked in the main compound. Whilst Jimmy moves for a closer look there is another frank exchange of views between Vincent and Nina before the former moves to join the Squadron Leader whom is peering closer at the activity in the farmyard from behind a large bale of hay. Shortly after this Vincent returns to Nina’s position where he notices a piece of paper protruding from the blouse of the sleeping woman. He carefully removes it and with Jimmy now joining him it becomes evident to the two men that it is infact Nina’s original identity card. Having considered the possibility that Nina may infact be a counteragent Vincent burns the document thus eliminating a potential safety threat. Eventually the Germans move out of the farmyard and, taking the lead, Vincent makes his way down and encountering the local farmer engages the man in the customary security code phrase exchange that he’d previously used with Hector. Having asserted both of their friendly status Vincent requests transport and food for himself and his two companions and, with the farmer’s compliance, he leads him out of the yard. However just as he moves round the nearby right hand building more armed malice are waiting and order him to surrender immediately! I think the clue here was in the Germans spending such a long time in the farmyard before leaving which adds credence to the farmers assertion that he was blackmailed into helping them by the hostage taking of his wife and children.

Part Three – The lead malice officer, a character called Renard, is played with suitable dour emotionless menace by Milton Johns, an actor whom some viewers may recall from his three appearances in the classic series of Doctor Who. For me it made me primarily recall Guy Crayford, his eye patch wearing returned astronaut whom collaborated with the potato headed Kraals in the Tom Baker story “The Android Invasion”. Anyway returning to this ‘Manhunt’ episode and the threatening stance employed primarily by Renard is summarily suspended by the arrival of Jimmy whom initiates a fist fight with the uniformed individuals which Vincent joins in. There is a tense moment when Nina, having joined the men, picks up a dropped revolver and levelling it at a malice officer confronting Jimmy momentarily hesitates about shooting him. It eventually falls to Vincent to relieve Nina of the weapon as Jimmy dispatches the individual he was in combat with. With the fight concluded the three characters pile into the nearby malice car and out on the road away from the farm and later offer a bluffing salute to Germans waiting nearby. The two individuals here are once again Major Schneider and Sergeant Adler whom despite a proper acknowledgement from the malice car decide to follow the departing vehicle. Up ahead there is the misfortune of descending gates at a railway crossing and although Vincent insists that they attempt to continue straight through the car is brought to a crashing halt by the barrier. The dazed figures of Vincent (now with a cut to his forehead) and Jimmy pull the unconscious form of Nina from the back of the car and head across an adjacent field heading for a nearby road. The Major and the Sergeant are afforded a last appearance in this story when they find the abandoned vehicle and I would at this point offer praise to actors Jerome Willis (whom appeared in the Jon Pertwee Doctor Who story “The Green Death”) and Peter Woodthorpe for their memorable, pleasingly engaging antagonistic interplay. Having evaded more Germans at the road they had been heading for Vincent and Jimmy take a moment to look at the river they had been making for and wonder how best to cross it. Jimmy is horrified when Vincent considers the possibility of killing the still unconscious Nina rather than risk her capture. Fortunately she awakens although the sight of a revolver levelled towards her is a reminder of the current perilous relationship she has, primarily with Vincent. Now nearby there is a method of crossing in the form of a weir and with suitably tense incidental music we watch as our trio wade through water and reeds and then clamber through the metal under structure of the weir as German sentries patrol overhead. Having clambered onto the adjacent bank the sound of gunfire indicates that the supposed ‘free French’ region they were heading for does not exist and with Jimmy asserting that ‘it’s all been a bloody farce’ and that it erases any doubt regarding Nina all that Vincent can say is that, despondently they have ‘about three hundred miles to go’. “One More River” succeeds admirably for presenting exciting, dramatically engaging adventure that benefits greatly from an effective blend of extensive location filming, worthy incidental music and praiseworthy regular and guest cast member performances. The fast paced narrative is convincingly conveyed in such an appealing manner so as to easily enthuse the viewer as to learn its eventual outcome and must surely be considered a strong candidate for one of the finest stories presented in this series.

Moving right along as there is a project I want to start doing tomorrow here are some words about the other episode I watched last week...

### (DISC TWO / 06) ### OPEN HOUSE (by Jonathan Hales) (51:14)
Part One – Beyond the title sequence and accompanying standard telex type text played out over a red background broken only by a single strand double black cross ident this sixth episode begins in an atypically stark, and chilling fashion. We view an empty, spherical birdcage hanging up in a well appointed drawing room. We fade to look at a similarly deserted farmhouse kitchen and then over to the hallway where aside from the lamps hanging down from the ceiling the same silent atmosphere pervades the dwelling. Into this, with revolver in hand, Vincent (still with the cut on his forehead gained during “One More River”) cautiously ventures through the front door, furtively looking round whilst calling out to the occupants announcing his arrival. Jimmy and Nina eventually join him and the three momentarily pause in the kitchen. Whilst Nina moves to make tea the men set out to properly explore the house. Although Vincent notes a peculiar smell in the hallway they find the rest of the building totally unoccupied. Having returned to the kitchen where he initially dismissively knocks a mug containing a hot beverage from Nina’s hand, Vincent conveys that the main use of the house was as a resistance arms dump and a major ferrying point to the north. In their time together there is further animosity between the three characters and in particular Vincent and Jimmy. The former insists on the Squadron Leader’s dog tags as, now that ‘free France’ is an illusion, he believes that the former pilot could be a possible deserter about to surrender to the Germans to become a prisoner of war and questions the manner of his arrival. This ultimately leads to a physical fight between the two men, something that I suspect has been a long time coming and will certainly clear the air between these two characters.

Part Two – Naturally with such a rowdy altercation the second part of this story begins with our trio anxiously looking out of the window for any activity from the nearby German forces to investigate the commotion. Although we gain the impression here that the enemy is moving about outside there is surprisingly no interest in the building at this point. Our series leads evidently relax slightly as indicated by Vincent allowing Nina to afford herself the luxury of having a bath whilst the two men make another search of the house. Later we find the refreshed Nina cooking in the kitchen and spending time alone with Jimmy. It is definitely a telling, worthy scene for these two characters where initially the Squadron Leader unburdens himself regarding his negative opinions about Vincent. This seemed relatively easy compared to Nina whom he finds hard to classify. Jimmy believes that she is ‘figuratively speaking a virgin’ whom ‘co-operates too easily with Vincent’ and thinks they have a ‘brother/sister relationship’. This gains a marvellously reproachful response from Nina whom is deeply distressed by ‘the fate of her country’ with actress Cyd Hayman rising admirably to the challenge of delivering these lines with pleasing passion and conviction. However Jimmy remains unconvinced about her wallowing in persecution and that the ‘Jewish routine’ will simply not wash with him. Despite this outward hard edged persona he mellows as when Nina is emotionally distraught he moves to comfort her and the characters share a momentary passionate kiss to conclude the scene. It is during this embrace that Nina subtlety dips onto Jimmy’s pocket and relieves the Squadron Leader of his dog tags. There are two aspects that suspend their intimacy together. Firstly the sound of German troop movement outside and secondly Vincent beckoning them into the hallway where he has realised what the curious familiar smell is that he noticed earlier. It is the aroma of almonds which, he surmises, can be likened to plastic explosives. Searching around Vincent finds a switch which opens a hidden door leading into a flight of stairs down to the cellar beyond. It is here that he and Jimmy smooth away earth on the floor, remove a few planks of wood and discover a ticking time bomb. With direction from Vincent the two men carefully set about defusing the device and all appears to be going well however whilst Jimmy later returns to the kitchen he and Nina suddenly hear an explosion from below. This second part concludes with the sight of the inert form of Vincent lying on the cellar floor!

Part Three – Well as a lead character so relatively early into the series you wouldn’t expect Vincent to die at this point and you’d certainly be right. We open this third part of this story with Jimmy and Nina tending to their colleague in the drawing room, plying him with some probably very good Cognac. Despite obvious female protests Jimmy elects to have a look outside which affords Nina some time alone with Vincent. After conveying the reason why the Squadron Leader will return is the fact that she has his dog tags Nina proceeds to spoon feed broth to Vincent. Nina has obviously gained a better understanding of the typical personal survival nature of Jimmy and supports this with the charming although slightly unsettling childhood school tale of the ‘scorpion and the frog crossing the river’. There is then an interesting reflection back to “One More River” with Nina evidently being aware of the ‘tossing of a coin’ regarding whether it would be Vincent or Jimmy whom would kill her rather than help to carry her supposed unconscious body under the weir. There is the sound of gunfire outside that effectively concludes their cosy chat together with Vincent presuming that Jimmy is now infact dead. With her help he intends to leave the house but Nina is insistent about staying. Vincent makes a grab for her and dragging the woman into the hallway is surprised when Jimmy suddenly returns. He says that coupled with an increased military presence the Germans are now beginning an intensive search of all properties in the area and with five minutes if they are lucky before they are detected the trio move to rapidly flee. Initially Jimmy helps Nina in carrying Vincent away but then, in the kitchen, grabs at the discarded explosives which he returns, and arms, in the cellar. With our three series leads having departed the farmhouse there is a momentary peace once more and, returning to look at the empty spherical birdcage (which I believe is clearly a suitable metaphor for the story in general) the story concludes atypically without the familiar series theme tune. Instead we have a simple fade to black and as the white lettering cast and crew credits are shown we only have the sound of the Germans breaking in followed by the eventual explosion. After the dramatic, totally location filmed, well paced adventure of “One More River” the stark simplistic style of the introspective “Open House” is obviously initially quite jarring. To have a story that only features the three regular cast members seems a brave move however the antagonistic love/hate relationship surrounding Vincent, Jimmy and Nina provides for worthy character interaction and development. This is ably demonstrated in the physical confrontation between Jimmy and Vincent and the praiseworthy kitchen scene between Jimmy and Nina. In tone “Open House” feels almost like a minimalist ‘Sapphire and Steel’ mystery with an empty house made all the more suspenseful by occasionally used appropriate unsettling incidental music. As a standalone piece of drama it is definitely an admirable success however its weakness I feel is that it doesn’t feel too connected to the general occupied France continuing narrative.

I'm off to have a look at the 7th and 8th episodes tonight so catch you guys later!

Some words on the better of the two episodes I watched last week...

### (DISC TWO / 07) ### BETTER DOUBT THAN DIE (by Harry Green) (50:51)
Part One – As the titles and initial caption fade we see in the midst of an abandoned shack Vincent pensively looks out at the rain lashed vista beyond. Moments later Jimmy enters carrying the unconscious form of Nina which he carefully lays on the floor before berating their current location and the unfeeling nature of his nervous travelling companion. In response to his acknowledging that it is a ‘traps latrine’ Vincent replies that it is infact an ‘old toll house’. Then approaching the inert form of Nina it is evident to Vincent, Jimmy and the viewers that the woman is clearly in a comatosed state. We switch to the kitchen of a large country house where a distinguished looking gentleman is taking a moment to look over some documents by the table. A noise from outside causes him to abandon this and he strides over to a large collection of firearms. Having selected a shotgun he turns and levels the weapon as the shambling figure of Vincent enters. The character of Louis is I feel well cast as the noble features of actor Peter Cellier I believe adds further credence to this local authority individual. To my recollection Cellier went onto play Mr Parsons, an employment service inspector whom has to deal with series lead James Shelley in “Signing On”, an episode of the long running ITV sit com. Returning to ‘Manhunt’ and Louis interrogates the unsavoury new arrival in the same clipped, well spoken manner that he imbued Parsons. It transpires that Louis is Vincent’s cousin and that our series regulars real name is Captain Joseph Arthur Reynolds. Having eventually become convinced as to the veracity of his claim Louis offers Vincent a long black leather coat which used to belong to one of his estate gamekeepers although he uses this opportunity to make a quick telephone call. Out of earshot of our series regular he speaks the coded phrase that he has ‘two pigs in fallow’ to which he gains the expected response of ‘this isn’t the vets you dam fool!’ The next scene is set in an undertakers establishment where we instantly notice that the manager of this business is played by none other than Bernard Hepton, an actor whom needs no introduction as he later found fame as popular BBC series “Secret Army” character Albert Foiret. In this episode of ‘Manhunt’ he plays a bespectacled funeral director called Simon whom adds further credence to the local resistance escape line operations that our trio have stumbled upon. At his direction it is the Doctor whom first visits the toll house where he makes a preliminary examination of Nina. With Jimmy and then shortly after Vincent in close attendance they are joined by two funeral service employees carrying a large coffin. Ultimately it is Jimmy whom agrees to be smuggled out of the toll house and adopting a vampire like posture in the box this first part concludes.

Part Two – We begin with the sight of the Doctor (with Simon’s wife in close attendance) washing the hair of Nina whom is sitting in an old tin bath placed on the floor of one of the upper bedrooms above the funeral business. Downstairs whilst Jimmy is eating some food supplied by their hosts another coffin is wheeled in with this one containing Vincent. Their reunion is suddenly cut short with the sound of approaching footsteps outside. Simon and his staff quickly hide the two men in nearby coffins and as the funeral director and his employee Phillip take their places at table by the meal two German machine gun holding soldiers enter the premises seeking two coffins. Initially they are suspicious and despite Simon’s best efforts to manoeuvre them away the Sergeant makes to look inside the centrally located coffin. At gunpoint he insists that the local occupants move away with hands above their heads and then proceeds to open the box to find… a dead pig! Happily the local ‘black market’ activities of the locals are of no interest to these soldiers and having got the assurance that the coffins they were asking for would be delivered as agreed they depart. Later Jimmy and Vincent join Simon in the drawing room of the house where the funeral director tersely questions the pair. He is more suspicious of the Squadron Leader however Jimmy’s insubordinate manner aggravates Simon to such an extent that he physically strikes him during their attempted debrief. There is good reason for the locals suspicion of Jimmy in particular as a bogus RAF pilot insinuated himself into their line recently. Our series regular does himself no favours when, as this second part concludes, it transpires that he has gone outside on his own, his destination unclear.

Part Three – Jimmy returns and is obviously subject to further immediate questioning from Simon. We learn that he’d actually gone into a local café, put his watch on the counter and attempted to gain cash for the timepiece from the patron in full view of German soldiers whom were frequenting the establishment at the time! Returning to the kitchen of the farmhouse and we see Louis, now in full Police uniform talking with the Doctor. The physician says that he has no interest in the war situation and that although stating that he is ‘on the side of men and women not blood stock’ he assures Louis that should events go against him ‘he’d make sure’, using an equestrian turn of phrase, ‘he isn’t put down’. Meanwhile in the bedroom above the funeral business Nina is finally awake and sitting up in bed. The Doctor insists that she gets dressed and, with Simon’s wife again in attendance, the physician opens a box containing many fine clothes and accessories that used to belong to his granddaughter. Later the Doctor speaks with Simon and Vincent in the drawing room where he enquires as to Nina’s real name and age. Vincent replies that although he believes her to be twenty he doesn’t know of any other identity for the woman. It is the Doctor’s opinion that she has now mentally regressed to a fifteen-year-old schoolgirl! The only way that she will gain her memories back is that she has to ‘get to be a woman again before they can get together on the plane that will be flying them back to England’. Vincent is obviously shocked by this and is not prepared to do the deed so he then attempts to persuade Jimmy whom forcefully says no. Well with it falling to Simon’s employee Phillip the newly liberated Nina joins everyone in the drawing room where they gather around the wireless to listen to the BBC personal messages. With the expected code of ‘better doubt than die’ bicycles are laid on for the three and Simon and we see them set out into the snowy countryside and wait to look up into the night sky. However with so much of the series still to run you just know that our trio will not be escaping just yet from France and a cloudy sky put pay to any prospect of escape in this story. Naturally the biggest appeal of “Better Doubt Than Die” has got to be the guest appearance of Bernard Hepton whose character helps imbue the central premise with a reassuringly familiar ’Secret Army’ feel to proceedings. Infact Hepton seems to even imbue the character of funeral director Simon with the mannerisms of his latter café/restaurant owner particularly in the last scene of Part Two when questioning Vincent and Jimmy. The main disappointment for me however has got to be the lack of participation of Nina with actress Cyd Hayman being almost totally sidelined thanks to the comatosed nature of her character. On balance however I think “Better Doubt Than Die” is a reasonably satisfying offering.

and as proof that not all episodes in this series are good here are some words about last weeks other episode...

### (DISC TWO / 08) ### A DIFFERENT KIND OF WAR (by Jonathan Hales) (51:21)
Part One – Beyond the titles and initial telex text caption we see a lady in a dark green full length dress lighting a candle on a Christmas decoration before moving to the window. She peers out at the snowy exterior and spies our trio positioned close to bales of hay. She then retreats back to the stairs of the property and we watch as she passes a festive tree and on towards a gun lying on the table. This sequence is matched by worthy, suitably unsettling incidental music which adds to the mystery of the situation that our trio are about to find themselves. With once again Vincent leading them in they gain entry into the building with the woman initially hospitable but with the new arrivals at their ease she suddenly pulls a gun on them and asks whom they really are! Ten minutes into the episode and they are joined by Vincent’s former friend Paul, someone whom he has not seen for almost six years. At this initial point we learn that the woman, whom now trusts the new arrivals, is called Yvette and that she is Paul’s sister however this does not satisfy Vincent. To his knowledge Paul never had a sister so an element of mystery remains. Meanwhile later Nina spends time alone in an upstairs bedroom where she happens on some newspapers in a cupboard. They are of German origin and the headlines are all regarding the persecution and deportation of Jews. This sequence is effectively matched by German military chant incidental music and attempts to maintain a sense of tension and mystery about the occupants of the house.

Part Two – Naturally as we being this section of the story Nina is overtly suspicious of Paul and Yvette, the latter we learn is infact, quite innocently the formers half sister. Other than learning that Paul and Joseph (as Vincent is referred to by his hosts) used to be school days fascists there is, in my opinion, little of note in this second part. It appears that Paul still holds to those ideals and Jimmy believes him to be a Nazi. The self doubts of their hosts and infact Vincent as well prove too much for Nina and we conclude the following Christmas Day morning with the occupants of the house discovering an open window and our series regular having fled from the property.

Part Three – The initial portion of the concluding part of the story finds Jimmy and Yvette eventually moving to the bedroom where there is a momentary period of romance between them. However this is merely to put the woman off her guard as the Squadron Leader follows Vincent’s advice in ‘keeping an eye on her’. Outraged at the deception there is a minor scuffle before Yvette pulls a gun on our series regular. There is another altercation between the two characters and I’m sure it’s pretty obvious as to the outcome. Meanwhile Paul and Joseph return to the house with Nina with the woman apparently having traversed five kilometres through the arctic snowdrifts surround the property. Whilst they were away and subsequent to his interaction with Yvette, Jimmy has found official German documents that confirm Paul’s active Nazi credentials. He implores Vincent to kill him but when confronted by Paul at the bedside of the prone inert form of Yvette the former school friend is unable to pull the trigger. I have to say that I was relatively surprised when Nina takes the gun and carries out Jimmy’s recommendation, particularly after the mental state of mind she was in during the previous story. Again ‘Manhunt’ goes down the minimalist single location/limited cast route however whilst “Open House” was a worthy opportunity to further explore the interactive nature of our series trio “A Different Kind of War” lacks the same dynamic flare. Admittedly it starts off well with the mystery of Yvette but although its great to see Julian Glover I feel sure the rekindling of political schooldays over Christmas will hardly enthuse many viewers whom had no doubt been expecting a more robust and excitingly memorable narrative. In my opinion it lacks the immediacy of wartime danger prevalent in other instalments in this series and will I believe ultimately consign it sadly to be one of the more forgettable stories ‘Manhunt’ has put forward.


Now back to my other creative project in addition to episodes 9 & 10 tomorrow!

I return for some words about another episode...

### (DISC THREE / 09) ### BETRAYAL (by Elwyn Jones) (51:34)
Part One – This episode marks a change to the opening titles with the loss of the initial telex text caption and the addition alongside our series trio of additional regular character Gratz played by Robert Hardy. We open with our three leading characters waiting outside a local café in the snow lined ground. Having distributed out some currency Vincent instructs his two charges to enter the establishment separately with him leading, however should he give the signal that there is trouble (by blowing his nose) they should not follow him in. So as he approaches the counter to order a drink we immediately notice a familiar face serving him. No doubt in preparation for the role in which he is best known we find actor Glynn Edwards as the café’s patron Emile. Later during the 70s he would start out plying alcohol, friendship and occasional advice to Arthur Daily and Terry McCann at the Winchester Club during the highly popular and successful ITV comedy drama series ‘Minder’. Here in this ‘Manhunt’ episode he finds, after serving Vincent, a rather rowdy male customer whom it later transpires works as a plain clothes operative down at the local SS headquarters! Although the potential trouble this individual offers fades away with his departure Emile directs Vincent and his two travelling companions into the backroom of the establishment. It is here that he not only realises they are the three currently being hunted by the Germans but that Emile is part of the resistance movement and proposes a means of moving them swiftly away from the area. This initially involves providing them with work tickets to join other machine gun assembly workers down at the local munitions factory supplying weaponry, under duress, for the Germans. From here it is hoped that they can be smuggled onto the regular trains that leave twice a week from the factory with the next one leaving in two days time. In the next scene we look upon an office in the local military headquarters where we have the return of the sadistic fanatic Lutzig played so marvellously by Philip Madoc. However high command have decided that the Oberstfurhrer needs help in locating the trio and to this end he is joined by Sergeant Gratz, a courteous and respectful individual played by Robert Hardy. For me it becomes readily apparent that we have an interesting dynamic between these two characters where in contrast to their rank it appears that Gratz establishes a moral and more reasoned, intellectual high ground to the less practical, impatient approach to the detection and capture of our fleeing trio that Lutzig employs. It’s worth noting that Gratz states that it has now been six weeks since Lutzig began his pursuit of our series leads, as featured in “One More River” (episode 5) so it’s understandable why a new approach is now deemed necessary. Down at the factory and after punching their time cards at the gate their contact called Paco leads Vincent, Jimmy and a balaclava wearing Nina (referred to as a boy) away to the machine shop of the establishment. It is here that they are given basic instruction in the assembly work before they are joined by a patrolling German officer and soldier. Having effectively bluffed his way out of appropriating the new arrivals to his work detail and with the military having now departed their conversation takes on a more focused approach to the resistance operations within the factory with the man saying that they ‘all live in a world of shadows’. Suspicion about fellow employees is obviously rife within the establishment, no more so that their radio operator Jacques whose recent transmission coincided with the capture of a RAF pilot they had been hiding.

Part Two – The interplay between Gratz and Lutzig continues with the Sergeant demonstrating a more intellectual, calculating persona than the brutish and impetuous Oberstfuhrer. Gratz has an interesting perception of our fleeing trio when considering the value of pursuing them when he says “mice I like to catch if I can catch a lion”. He further goes on to state that he believes resistance member Vincent of more importance than downed RAF pilot Jimmy for the valuable local contacts and network information he would have. Personally I liken the contrasting of approaches between Gratz and Lutzig to that which we see for Kessler and Brandt in “Secret Army”. Returning to the factory machine shop and during his conversation Vincent insists that Jacques sends a message to London to bomb the train on which the trio will be using to leave the area. However when the radio operator leaves the room Vincent speaks with their factory worker contact and conveys his wish that they should monitor the man’s transmission closely so that the fact that the train is to leave Tuesday not Wednesday is clearly sent. In the office shared by Gratz and Lutzig we are surprised to see the arrival of the rowdy customer of the café seen at the beginning of the episode which apparently, in the course of the story, occurred three and a half hours ago. He is berated for his sudden appearance but despite this relates his initial café visit and the strangers whom entered the establishment. Gratz recommends that Lutzig instigate an investigative raid on the café. Meanwhile Gratz intends to monitor the precise details of the noon transmission. Back at the factory and Jimmy stands over Jacques with the wireless operator stating his standard transmitting patterns and the message he intends to send twice will begin with the phrase ‘the igloo is empty’. All that Lutzig finds during his intensive search of the café is a women’s clothing including a coat and his decision to take Emile in for questioning.

Part Three – Having returned to their shared office Gratz is suitably dismissive of the fairly negative results Lutzig’s search of the café brings. He berates his techniques when he says that he ‘didn’t expect him to find anything’ and that he ‘should have just noticed rather than made an arrest’ because this ‘merely alerted the occupants at the factory’. This is indeed a fair summation as in the machine shop our trio and their factory contact are suitably anxious about the Emile’s capture and they initially consider an emergency wireless transmission at 4pm, something that Vincent rejects. The plan is that our three regulars will be smuggled out in work boxes fitted with air holes aboard the train and this obviously gains the reference back to the coffins as used in episode seven (“Better Doubt Than Die”). Loaded onto individual trucks taken to the train (because of the dense packing of goods) there then follows intricate details of the train movement from the factory. However these plans ultimately fail to be entirely successful as whilst Nina later waits alone in the machine shop Gratz enters with an armed soldier. Although the papers of Jacques whom attempts to warn about the Germans arrival prove acceptable Gratz states with cool emotion that Nina should come with them. Although alarmed at this she attempts to run it is the sudden arrival of Lutzig that reinforces her fate and with the SS officer slowly following, no doubt with an air of tainted satisfaction because he was not able to make the capture himself, the episode closes. The obvious appeal of “Betrayal” is not only the return of Philip Madoc playing the ruthless SS officer Lutzig but that he is marvellously counterpointed by the intelligently analytical Sergeant Gratz. For me I think that the overall premise of this story shares certain similarities with the first season ‘Secret Army’ finale “Be The First Kid…” with the Germans so very close to our fleeing series regulars whom are desperately attempting to facilitate a discrete exit from the area. For its tense drama premise and worthy character interplay “Betrayal” is a worthy and enjoyable instalment of war time drama.

Then regarding the other episode I watched last week I'd like to say...

### (DISC THREE / 10) ### WITH A SORT OF LOVE (by Vincent Tilsley) (51:28)
Part One – This tenth episode of ‘Manhunt’ begins with Gratz arriving at the office of his headquarters with his newly captured prisoner and Lutzig in tow. However when the SS Obersturfurer moves to follow them towards the cells the Sergeant states that he prefers to conduct the interrogation alone and that here he recognises no outside authority of other branches of the military service. Reluctantly Lutzig therefore is forced to allow Gratz entry into the cell alone and strides back no doubt disconsolately to the Sergeant’s office. Meanwhile our fair-haired German unemotionally insists Nina perform a full strip to which she reluctantly complies with the camera suitably positioned behind. Returning to the office and it is here that we see Lutzig using the phone to contact his superior (whom is based at the SS headquarters a mere two hundred meters away) in an attempt to override Gratz’ authority and thereby gain control of Nina’s interrogation. At this point in the episode Gratz is at a tactical disadvantage as his own ranking officer, Colonel Von Gebhardt, is not present so when he learns of Lutzig’s action he attempts to force the pace of the interrogation. It is only when he makes some derogatory remarks about Nina’s sexual activities that she finally vocally protests at the prostitute inference a full eleven minutes into the story. This gains a puzzlingly bewildering ventriloquist performance from Gratz at her sudden vocal retort. Interrogation is temporarily suspended when SS Colonel General Helldorf arrives and requests Gratz presence in the Sergeant’s office. Personally I think the cigar smoking, over ebullient performance rendered by the familiar acting presence of Iain Cuthbertson is a praiseworthy and memorable character. Sergeant Gratz is not overtly intimidated by the ranking officers arrival and we learn that the Colonel General was formerly a pork butcher and from August 1933 he was a paid Police informer. Helldorf has the measure of Gratz and with respect for the man he states that firstly he is a brave individual, secondly he has him lined up for a possible transfer to the SS and thirdly he is “a bloody fool whom looks like a pigs head with an apple in your mouth when I told you!”

Part Two – Back in the cell and now wearing her old clothes Nina is tucking into a plate of food that Gratz has brought her. The Sergeant has been noticeably accommodating to his prisoner offering soap, lipstick, drink and the use of an electric fire and from his perspective she now looks quite presentable. Gratz seems to tire of the continual stonewalling of his interrogation methods and goes to lie down on a nearby bunk where he pretends to rest his weary head and whilst he mumbles away keeps a hold of a gun under his pillow. Believing this is her opportunity to escape Nina, with knife in hand, approaching the slumbering German. However suddenly the Sergeant sits bolt upright and wide awake levels the revolver at the approaching woman. As merely a trick to see if she was capable of killing he disarms her whilst referring back to the murder of Paul in episode eight (“A Different Kind Of War”). Once again further interrogation is suspended with Gratz speaking with his recently returned superior Von Gebhardt whom has further details about his prisoner. This is clearly a key scene in this story, particularly for any viewer whom had missed the season opener, as the Colonel refers back to episode one’s (“Fare Forward Voyagers”) garage resistance meeting and the valuable knowledge that they believe Nina has in her possession. Helldorf’s offer of a possible transfer to the SS is clearly playing on his mind when Gratz returns to Nina with his instructing his secretary prisoner to take down a dictated memo in which he declines the offer. The subsequent interplay leads into an amusing impersonation of Hitler with the use of monocle shaped item and pen as a cigarette. Naturally taken off guard by this approach Nina is totally unprepared when Gratz suddenly descends into the rage of repeatedly striking her on the face and into a physical attack which climaxes with the German lying over his prisoner on the desk in a potential rape like posture.

Part Three – Personally I thought it quite a surprise to find, at the start of this concluding segment of the story, Gratz in smart suited plain clothes entering the secretarial office where he berates his junior Dosler regarding his derogatory opinion of the female prisoner. However this is a clever way of illustrating the change of temporary authoritive status the Sergeant has in this portion of the story. This scene faded into a subsequent meeting with Colonel Von Gebhardt in the Sergeant’s office where his ranking officer offers treasonable opinions regarding the outcome of the war and the mental state of their Furher. This visibly shakes Gratz and there is a definite shift in interrogation perspective when he returns to Nina. The Sergeant is disconsolate about his current health at the age of thirty-seven and personal future prospects. This ironically leads to a retort from Nina with her saying that she previously had an affair with a fifty-two year old music professor when she was a youngster. There is the symbolic gesture of Nina putting on Gratz’ glasses as she dispassionately listens to his dismissive opinion of the current war situation and possible fate of Hitler. Whilst this is played out there is a dramatic development away from the cell as Lutzig and Helldorf arrive with an arrest warrant for Colonel. It appears that a written betrayal of the officer has found its way into their possession (a full three hours previously) and it is initially considered that this comes from Gratz. The Colonel is incredulous at what he believes his Sergeant has done and in the subsequent close physical confrontation a shot is heard. This accident is then followed by Gratz shooting the panicked Dosler whom it transpires that as the guilty party the young man, fearful of possible reprisals, failed to sign the document. There is one final scene between Nina and Gratz where with the Sergeant breaking down in tears and being comforted by his former prisoner in the darkened cell helps complete the total reversal of roles that these two characters had at the beginning of the episode. As a postscript the last three minute scene features Jimmy, Vincent and Jacques talking about Gratz and Nina with the series regular resistance member once more considering whether it is best to either kill or rescue their female charge. Evidently Gratz has, at this point, taken Nina away from the prison cell and we see them sharing a bed in his apartment. Vincent enters the darkened room with revolver drawn and as the episode ends is confronted by Nina turning to the intruder similarly armed ready to defend herself. Ostensibly “With A Sort of Love” is a two-hander story with the majority of the story centred on the shifting interrogative perspective of Sergeant Gratz and his prisoner Nina. The intellectually astute Gratz beings stoically resolute with his character veering between manically unstable to excessively violent as he initially succeeds to dominate the nervous and totally withdrawn Nina. The appeal of the piece is naturally the interplay between these two characters as events develop away from the cell, most notably the treason and betrayal of Gratz’ superior. “With A Sort of Love” succeeds in further fleshing out the character of Sergeant Gratz whilst reinforcing the importance of the information Nina is supposed to be carrying. Another pleasing minimalist cast tale that is certainly worthy of praise.

Casting my mind back to last weeks pair of episodes, the first of which leads me to say the following...

### (DISC THREE / 11) ### THE PRICE OF RESISTANCE (by Hugo Charteris) (48:54)
Part One – Pulling back from the resplendent metal swastika paperweight resting on the desk we see Lutzig enter the local malice office of a small French town to which he believes our trio have now fled to. We see him momentarily question the senior officer on duty as likely locals whom could be hiding them whilst looking over the office which he has commandeered. We switch to the residence of Herni and Celestine Mossac whom are respectively the local Doctor and midwife. Now I get the impression that the roles of these characters are the direct opposite of the general ironmonger shop owners Robespierre (referred to by his wife as Henry) and Denise as featured in the first episode (“Fare Forward Voyagers”). Celestine is the more calm and practical whilst Henri conveys a heightened sense of panic and terror of the activities of the occupying German forces. To give the Doctor added believable credence we find what I believe is inspired casting in the form of James Bree whom later in the 70s went onto so marvellously play Gaston Colbert in the first season of “Secret Army”. The fear that Henri has in ‘Manhunt’ is best indicated early on when hearing armed transport from outside when he says to his wife that it is extremely unusual at ‘5pm in January’ for such military manoeuvres in the area. Shortly after this our trio arrive, still decked out in the factory overalls they gained during episode nine (“Betrayal”). As they are subsequently escorted from the kitchen and up the stairs Jimmy makes some ‘piped piper of Hamlin’ comment as he notices a large variety of infant pictures on the wall. On the upper level of this dwelling we move into a makeshift hospital ward and it is here that we learn that following the destroying of two locomotives by resistance the ‘bosh’ are buzzing around the area ‘like angry wasps’. Naturally Jimmy is openly dismissive that they have entered an area that is ‘already cordoned off and short of food’ but Vincent is insistent that they had to come here for the possibility of a phone call that he is hoping to receive. The local drinking establishment is presided over by amiable barman Jean Pierre Lasalle whom with a nickname of Papa ‘tries to keep everyone happy’. Unexpectedly Lutzig (with Schneibel in close attendance) enters which forces the proprietor to invent a plausible reason for the Doctor’s visit which appears to convince the SS officer. It’s worth noting that playing Jean Pierre Lasalle is actor Reginald Marsh whom is better known for playing Sir Denis, boss to Terry Scott’s character in the long running BBC TV sitcom “Terry and June”. Returning to our trio and their host Celestine and a flicker of momentary recollection passes across Nina when Jean Pierre Lasalle is mentioned with her quickly saying that she had a cousin whom was similarly named although whether this is totally believable is open to conjecture. As this first part moves to its conclusion a tannoy announcement penetrates the kitchen with the Germans announcing that three locals have been taken as hostage for the surrendering of our series leads.

Part Two – We open with a brief sight of uniformed Russian soldiers dismounting from a troop lorry into a flurry of snow flakes, no doubt stirred up by a nearby wind machine. As if to confirm this during the conversation Lutzig has with the three hostage locals he says with cool dispassionate demeanour that these prisoner of war military personnel have no mercy, no pity and behave just like animals. Having retired back to the upstairs ‘hospital ward’ Nina openly and forcefully questions the value of the information she’s supposed to have and the cost of life to those whom have helped them so far concluding with the simplistic “Why are we so valuable?” utterance. Strangely this is somewhat countered by her knowledge that Jean Pierre Lasalle is “the key resistance leader in this area whom is worth all three of us ten times over”. It’s interesting to see Nina’s attempt to vocally goad Vincent into decisive action in the regard of shooting her after she has told all she knows, something that he is both unwilling to do and views as being unnecessary.

Part Three – On visiting the three hostages sitting on the abundance of straw laid out in the cell fifteen hours after being taken Lutzig returns with a proposition. He offers them a five hour ‘parole’ where they can return to their homes and speak with other locals to tell them of the plan of sending in the Russian military to carry out their ruthless search if the fleeing trio have not been surrendered. Whilst playing cards on the desk in the ‘hospital ward’ room Jimmy is naturally curious about the time Nina spent with Gratz but our female series lead is unwilling to divulge what transpired during that time. Later with the news, primarily related by Jean Pierre to the Moussacs, of the impending military search Celestine takes steps to instigate a suitable cover for our heroes. In a scene that is largely carried by sound we witness the midwife enter the hallway carrying a baby. She carefully lays the wrapped bundle on the nearby settee before taking out a sheet and apron from a nearby chest. Then Celestine moves through and out of sight through the backdoor in the kitchen. We hear some clucking of a chicken and subsequent blunt impact before this character returns and wearing the partially blood soaked apron and carrying the similar stained sheet she picks up the baby and goes up to the ‘hospital ward’. Here she passes the wrapped infant into Nina’s hands and with her lying in bed with Vincent seated nearby she conveys the plan of attempting to bluff the Germans into believing that they are man and wife farmers from the North whom have had a haemorrhage related birth of their child. With the use of seemingly convincing papers the malice officer seems to be convinced and moves to leave. So what of Jimmy I hear you ask? Well our Squadron Leader hides in a large wicker basket although there is a scary moment when a rifle wheedling Russian soldier makes free with his bayonet and his insertion in the container results in a large forearm gash flesh wound for Jimmy. As they depart Celestine successfully persuades him to gain a Russian soldier military escort for a mere two hours to transport the ‘farmer couple’ back home. We close this story with Celestine driving a car through the night, the Russian by her side whilst in the back Nina, Vincent and the infant sit with Jimmy resting in the footwell in front of them. I guess it’s the interesting juxtaposition of resistance member married couple aided by the welcome appearance of James Bree that is the best aspect of a relatively undemanding piece of war time drama. "The Price of Resistance" is satisfying enough but considering the complete episode it feels for me hardly that memorable an instalment.

It never fails to surprise me the surprise guest cast whom feature in these episodes and I've had a brief look at some of the people whom will appear in the fourth disc having taken a brief look over the contents of this disc. In the meantime I've just got time to polish off the third disc with this...

### (DISC THREE / 12) ### THE ENEMY YOU KNOW (by Jonathan Hales) (51:13)
Part One – Atypically for this episode the opening titles feature not only our series leads but also the characters of Gratz and Adelaide. We open with two German soldiers passing by a large La Lapin Bouleverse establishment poster advertising the forthcoming performance of singer Adelaide. Their attention is momentarily distracted by Nina passing by and on towards the adjacent building to join Vincent and Jimmy whom are also about to enter. Within the lower ground floor locale of this nightclub our trio gain a distinctly unfriendly welcome from barman Jean Baptiste whom begins to forcefully eject the newcomers. However it is only when the smart suit wearing owner Michel enters that Vincent gains the opportunity to convey their previous route and belief that they might find help here. This cuts no ice with him but when Nina relates knowledge of Michel’s resistance credentials the nightclub owner shows a level of respect to the woman. With the area crawling with SS military personnel providing safe accommodate for our three series leads seems an impossible prospect for Michel instead he proposes that they ‘be hidden in plain sight’. To this end Nina is decked out as a high class waitress whilst Jimmy dons an apron and woolly cap to aid his cover of simple minded cleaner. He appears to take to this with distinct relish as he uses his mop to playfully cajole newly arrived German soldiers, much to the displeasure of Michel. In response to the pleas of the assembled audience the nightclub owner moves to the stage and announces the entrance of the establishment singer Adelaide whom renders a French lyric number accompanied by Vincent on the piano. It’s pleasing enough but certainly does not have the same lasting appeal as we later see in the BBC’s “Secret Army” series. Whilst the patrons are suitably enthused Nina goes about her waitress duties although she is visibly shaken to have to serve Lutzig. Her nerves get the better of her and she eventually rushes away… and straight into the waiting presence of Gratz!

Part Two – This section of the story begins after the nightclub has closed with a pleasing horizontal tracking camera shot concluding around the table with the characters talking about the implications of Gratz’ unexpected arrival. Michel proposes that the three new arrivals move away quickly to Bordeaux but Nina believes this to be a mistake but will initially not explain her reasoning for this. It appears that the Sergeant would like to talk with Nina alone which obviously raises the question of her safety in the minds of all assembled. There is a similar puzzled atmosphere in the local German headquarters with Lutzig keen to assert his overriding military authority in the area to the intelligence Sergeant. In no uncertain terms Lutzig states to Gratz that “You’re becoming a pest and I don’t tolerate pests” and then further insults him by saying that “You reason like a Jew, you’re mind is too devious, it’s furtive, it’s diseased, you’d probably call it sophisticated”. With a suitable air of indignation gained from his meeting with Lutzig Gratz eventually leaves and in his absence we are no doubt surprised to see the SS Officer entertaining nightclub singer Adelaide in the private quarters room adjacent to the office. It is evident that there is a degree of romance between the characters whom share the same low opinion of the recently departed Sergeant. Switching back to the nightclub and having politely asked Jimmy to leave we have a highly significant key lengthy scene between Nina and Vincent. The added unforeseen complication of Gratz forced Vincent to confess his love for Nina and we witness a passionate kiss between the two characters here. Although despite this Vincent still needs to learn what Gratz knows about them and insists Nina keep the appointment. Nina is clearly distressed at the seemingly casual regard Vincent has for her safety and considers herself to be ‘a walking disease with all this information in my head’. As an example of this Nina mentions that there is to be “a very big resistance meeting in Bordeaux” with “all the resistance heads for the whole region will be present.” On the subject of the appeal of Gratz to her Nina states that he is “safe and secure” and has “no doubts about what he wants” and that her fear is merely for herself in the company of such a man. Well the meeting does eventually take place and affords this story with its only location filming along a central fairly wide footpath in a country park where our two characters sit on a nearby white painted metal bench. During their time together Gratz poignantly signs a verse of a Beethoven song in German which roughly translated states ‘Oh what joy it is to draw breath in the free air’, something that obviously has the desired unsettling effect on Nina. Nearby their meeting is covertly observed by barman Jean Baptiste. Meanwhile back at the nightclub Jimmy is his usual jovial self whilst Vincent briefly plays the piano. Amidst this the Squadron Leader poses the question “what have you done to that girl?” before refreshing his colleagues memory of their ‘returning Nina to London’ mission. Vincent reasons that allowing Nina to meet Gratz will hopefully indicate that she is seemly expendable to the Germans and he considers that if things should go wrong maybe Jimmy could take over in their ultimate objective. Just moments after this conversation is concluded Adelaide suddenly appears from behind a curtain forcing Jimmy to hastily revert to his ‘simple cleaner’ persona before being sent away to clean the performers dressing room. The nightclub singer is openly dismissive of the establishment and conveys her imminent intention to find employment elsewhere. When Vincent and Jimmy are once more on their own they ponder as to whether Adelaide can be trusted if indeed she has heard the secret conversation they were having.

Part Three – Now wearing a full black leather SS Officer coat Lutzig enters Adelaide’s dressing room and not willing to tolerate the playfully mocking attitude of Jimmy brutishly hits the Squadron Leader before the nightclub singer eventually enters. Whilst he recovers Jimmy unassumingly listens to the conversation and then is warned of the dangerously aggressive nature of the departed SS Officer by Adelaide. In a subsequent scene Adelaide conveys to Vincent that she is moving to Bordeaux and invites the pianist to join her there. Eventually he agrees to this but then gains a grudging acceptance that Jimmy join them as well. There is one further location film shot of Gratz and Nina with the latter attempting to conclude their meeting but the Sergeant conveys that the military are about to raid the nightclub and that she would be safer with him. Shortly after Vincent and Jimmy have left the establishment that evening it is totally silent despite a healthy amount of customers. Clearly La Lapin Bouleverse is suffering from the absence of Adelaide and her pianist. Then suddenly a contingent of armed German soldiers lead by Lutzig enter ultimately resulting in eventual gunfire and loss of life of those present. Meanwhile, in a German staff car traversing a road out of the area Gratz hums a tune as a sleeping Nina momentarily wakes and enquires as to where they are heading. The Sergeant says that he is taking her to the coast and the sea air of Bordeaux. There is worthy scenes between Vincent and Nina and Gratz and Lutzig in a story laced with many worthy plot twists and series developments. "The Enemy You Know" is definitely one of the better offerings ‘Manhunt’ has offered which pleasingly advances the relationships of key series characters.

Right lets come back for another couple of episodes beginning with this...

### (DISC FOUR / 13) ### A WAY TO DIE (by Andrew Brown) (51:07)
Part One – This is another episode that has a different opening titles main cast members line up this time only featuring Vincent, Jimmy and Adelaide. We open in a crowded Bordeaux night club where we see Vincent seated in front of a piano briefing Jimmy about a resistance contact phone call he would like the Squadron Leader to make. They are momentarily interrupted by a golden silk coloured blouse wearing waitress called Francine whom acknowledges to the two men how the customers have increased significantly with the arrival of the singer. It’s interesting to note a surprise bit of casting here as sporting a long blonde wig is a very young Nerys Hughes, an actress whom later found fame in Carla Lane’s Mersey sitcom “The Liver Birds”. As Adelaide emerges onto the stage and begins to sing a plaintive slow ballad in French to a rapt appreciative audience including Lutzig to the accompaniment of Vincent tickling the ivories Jimmy moves away to the employee only portion of the establishment. Initially he is delayed in using the telephone because of a German making a call thus correspondingly leaving our resistance pianist to continue longer than usual. This later gains a reproachful response from Adelaide but fortunately this apparently doesn’t unduly raises her suspicions. Eventually using the telephone Jimmy speaks to the operator and having requested the number of 9575 conveys the coded message Vincent has told him to use. The voice on the other end of the line fails to offer the expected reply instead this comes from Francine when she unexpectedly moved up behind our series lead whom further adds a suspicious attitude to the identity of the supposedly simply minded cleaner. The two of them move away from the corridor and into an adjacent dressing room where Jimmy is able to suddenly turn the tables on the waitress and placing a firm restraining neck grip on the young lady gains a frank admission from her. It appears that Francie works for the resistance and is present in the nightclub to monitor the activities of Adelaide. Francine conveys to Jimmy that the new singer has been reporting to the SS on resistance activities in the area for about seven months. There is a shocking conclusion to this section of the story with a brutal attack on Francine by three male assailants in the corridor outside the dressing rooms and it is only the timely arrival of a gun toting Adelaide that is able to halt the physical assaults of the waitress whilst his two associates hold her down. With the trio driven off Adelaide now joined by Jimmy and Vincent move to comfort Francine, her face bleeding around her nose and mouth from the severity of the assault.

Part Two – We begin with Adelaide tending to the wounded Francine reclining on a sofa and whilst the nightclub singer is occupied Jimmy adopting his simple minded cleaner persona uses his desire for alcohol to mask his appropriating the vocalists gun from her purse. Our series duo eventually depart and outside the dressing room Jimmy happens upon Francine’s purse. He takes the opportunity to look inside and aside from a lipstick, comb, a few coins and a token medal which did little to save her from the assault the identity card of the waitress confirms that she is twenty-four and single. As usual Vincent is openly suspicious of Francine and even contemplates killing her, something that Jimmy verdantly opposes. In their absence I was puzzled by Adelaide’s decision to give Francine a rather unflattering impromptu haircut almost as if this is some punishment like the collaborator stance employed in the opening scene of Season Three Episode Twelve ‘Secret Army’ story “Bridgehead”. Thankfully Vincent and Jimmy return before it goes quite that far and their presence is enough to hastens Adelaide’s departure. With a wide brimmed floppy black hat and large fox fur stole wrapped around her shoulders there is certainly a ‘privileged persona’ aspect about the singer when she goes to phone the resistance contact number, with the same negative results. Back in the dressing room and with Francine’s strength returning Jimmy feels it necessary at this point to offer an impassioned outburst to Vincent about the fact that they have been on the run now for four months utilising a lengthy list of methods when repeatedly hiding and escaping from one locale to another. He makes the assertion that Nina has ‘put a bloody curse on us’ and with the belief that Vincent ‘for 35 years has not knowing love’ has endangered their survival. Referring back to their first meeting in “Fare Forward Voyager” where he had initially intended to kill him Jimmy swore that he’d get his revenge on Vincent for that and at this moment pulls a gun on his series regular with the intention of pulling the trigger. Thankfully due to the insistence of Francine this doesn’t happen and when the subsequent conversation turns to the upcoming important resistance meeting the young woman tells of a deserted warehouse in the Rue Simon area of the docks. Apparently it is an out of the way place which is difficult to find which leads her to offer to lead the two men down there. For the brief location filming it’s a darkened night shoot with the three characters making their way along cobble streets to the building. We revert back to the studio as Vincent and Jimmy enter a multi level interior set where our duo make their way up to the raised rear area waiting for the arrival of attendees for the forthcoming meeting. Flipping back to the nightclub and Adelaide enters her dressing room to find Lutzig awaiting her where the SS officer offers a bottle of expensive perfume for the continued affections of the singer. In conversation Adelaide mentions of three strangers, the female waitress and two men, one a simple minded idiot and the other her pianist whom she believed were making their way down to the warehouse. Naturally Lutzig makes the incorrect assumption that this trio are the very people whom he has been attempting to capture for such a long time. So with it “all arranged for tonight” with armed SS soldiers blocking off adjacent streets this segment of the story provocatively concludes.

Part Three – Now for me this is the portion of “A Way To Die” that I feel is needlessly drawn out with little of note transpiring for most of its length. Effectively it’s a massive set piece which attempts to raise the tension of the eventual confrontation between our series leads and the approaching German forces. Admittedly there is some pleasing interaction between Jimmy and Vincent where the former has his own fanciful ideas about what the educated pianist will do over the war. Following a warning phone call from the resistance our duo are made aware of the German military trap they have walked into and surveying the nocturnal surroundings out of a nearby window the two men notice a roof sniper keeping vigil on the warehouse. With an hour before dawn it is proposed that one of them should attempt an escape through a skylight whilst the other attempts to cause a distraction. At a toss of a coin Jimmy is elected to make the break for freedom with Vincent saying that there are primarily two things he must promise him to do when he safely gets away from the warehouse. Firstly to find Nina and Gratz and secondly get Nina to England. With this satisfactorily established with the Squadron Leader Vincent is in contemplative mood when he says the reason why their attempted mission was ultimately doomed to failure was because “They (meaning London) ignored the human element and that was the mistake”. With the time that they expect the Germans to make their move against them drawing ever closer nerves, particularly in Vincent, are beginning to show when he insists that he gains the further promise from Jimmy that he kills him. Despite his bravado and training Vincent is scared of torture and knowing that he will ultimately break under interrogation he reasons that a quick death from a roof top aimed bullet fired by fellow escapee would be preferable to what he would face in the hands of his captors. Well the natural sequence of events do indeed play out and as we fade towards the closing credits it appears that Vincent has been killed and whilst the Germans check on the condition of their captive Jimmy disappears across the rooftops of the early morning darkness. With the absence of Nina, currently travelling with Gratz the series wisely elects to focus on Vincent and Jimmy when the two men accompany Adelaide to a Bordeaux nightclub. This portion of the story is worthy due to the cameo appearance of plucky resistance operative Francine whom under the cover of a waitress keeps a close eye on the activities of the new arrivals. The casting of Nerys Hughes in this important role is definitely noteworthy however Alfred Lynch provides the most memorable aspect of the story in his impassioned exchange of views with Vincent. Although the eventual fate of the two men down at the dockside warehouse is suitably tense and exciting it is the lack of tighter direction and any suspenseful incidental music in the concluding section of this story that for me renders “A Way To Die” as probably one of the weaker offerings that the series has put forward.

Few internet problems but back with thoughts about the other episode I watched last week which goes something like this...

### (DISC FOUR / 14) ### ONE WAY HOME (by Jonathan Hales) (47:15)
Part One – The opening titles are tweaked once more and this time reflecting a continued fragmenting of our regulars only features main cast members Jimmy and Adelaide. We open to the sight of a simplistic rural household where a woman is going about her chores returning from cleaning the bathroom and making her way back into the kitchen. It is here that we observe a young boy cleaning his grey coloured bicycle whilst listening to a rousing French radio broadcast. The youngster, known as Philippe, is wearing the uniformed outfit of a black beret and cravat, pale blue roughly hewn shirt, black shorts and long black socks denoting his position in the location French youth movement. He is a very forthright, outspoken individual whom is conveying distinct fascist tendencies, something that is clearly evident to his mother and sister. We learn that the mother of this boy washes clothes for the Germans whilst his father has gone away for forced labour in Germany. Meanwhile in an upstairs bedroom the blonde haired Francine, still sporting the bruised complexion gained from the previous story attempts to rouse the inert form of Jimmy from his slumber on her bed. With him now awake Francine departs having managed to gain a promise that he stay in the room until she returns. However our restless series regular has no intention of remaining and attempts a discrete exploration of the house. It is when he later enters the kitchen and moves to inspect the upturned bicycle that Philippe returns. There is an altercation and having subdued the youngster Jimmy moves to check on the still moving form of the boy lying on the floor. At that moment Allard, an imposing black cloth flat cap and dark fabric coat wearing man, enters the residence and levelling his gun at Jimmy insists that the stranger take a seat. Again another physical conflict between characters takes place and this opening portion of this story concludes with Jimmy lying unconscious on the floor by Allard’s feet.

Part Two – It is Francine whom is seen mopping Jimmy’s brow with a cold cloth as the Squadron Leader regains consciousness before Allard returns to the kitchen and gains the strangers compliance to this time sit down at the kitchen table. Allard is naturally opening hostile to Jimmy and his two fleeing accomplices whose presence in the area is causing nothing but problems for the local resistance movement. He proposes smuggling the RAF officer on board a freighter heading to Sweden however our charismatic character is obviously unwilling to consider this option. Allard states that they were aware of the raid on the warehouse, the information of which was conveyed by Allard’s contact whom is none other than Adelaide! Despite Jimmy’s openly hostile suspicions about the nightclub singer Adelaide states that she is a double agent, someone whom is prepared to work for whomever pays. As she prepares to leave the high class vocalist offers some free information to Jimmy when she says with the usual cool self assuredness that Vincent is infact alive and has been taken back to Paris with Lutzig. Now the key aspect to this segment of “One Way Home” is the eight minute two-hander scene between Jimmy and Philippe in the youngsters bedroom where the good natured series regular attempts to win over the trust and understanding of the youngster whom he’d quite by accident had a physical altercation with. Jimmy is his usual relaxed and amiable self however Philippe is nervous and suspicious and full of fascist ideology in their frank exchange of views regarding the war. In particular the youngster makes reference to Dunkirk to which our likeable series regular says that he was flying over the key military engagement. At the scenes conclusion Jimmy seems relatively worn out from attempting to make the boy see the reality of the situation and how his actions regarding reporting the authorities about his presence in the house could have a bearing on his mother and sister.
Part Three – We open with the brief sight of Jimmy attempting to repair the puncture in Philippe’s bicycle moments before Allard returns. The local resistance man is obviously worried as to the location of the youngster whom has strong loyalties to the French youth movement. Jimmy is disconsolate about his conversation with the boy stating that it was “brow beating a 14-year-old and I didn’t like it”. There is a clear sense of ‘time running out’ for Jimmy in this segment of the story with the nearby horn sound of freighter down at the nearby docks and there is almost the possibility that he might have to settle for this option. However Adelaide returns and with smug indignation relates that the local Germans are finding it highly amusing that Sergeant Gratz has been seen together with Nina frequenting various establishments ‘across the river’ from their current location. With it being a mere three hours away this spark of hope in being able to fulfil his promise to Vincent spurs on Jimmy to both remain in the area and use Adelaide as guide to where Nina can be found. Allard is understandable deeply suspicious of this and questions Jimmy as to whether he can trust Adelaide in this or whether he should instead take the safer option of fleeing on the freighter to Sweden. Ultimately Jimmy sides with accompanying the nightclub singer which leads to Allard issuing the promise of “If you find her [Nina] don’t come back or I’ll kill you if you do!” before he departs the kitchen. There is a momentary tender scene between Jimmy and Francine where our series regular is unable to persuade the young woman to accompany him on the attempted rescue of Nina. As the story concludes she remains momentarily on her own, suitably crestfallen at the loss of Jimmy whom she has clearly developed some considerable affection for. However just before we fade to the credits Philippe makes an unexpected return with the young boy alone and slightly tearful, presumably at the thought of what he was about to do which could have imperilled the safety of his mother and sister. Viewers will no doubt take some element of satisfaction in the knowledge that Jimmy’s conversation with Philippe in the youngsters bedroom did after all have some lasting effect. Once again we have another fragmenting of the core trio and with Nina still missing and Vincent (presumably) seriously wounded this is the opportunity for Jimmy to take prominence. Not only does it neatly tie up the outcome of the warehouse raid it gives the lead character a worthy opportunity to convey the seriousness of the wartime situation on a highly impressionable youngster whom unchecked would clearly have imperilled the lives of his family just to follow his duties as a fascist motivated French young movement member. As well as being a pleasing opportunity to have Nerys Hughes reprise her role as undercover resistance member Francine you also have the worthy casting of George Sewell as Allard brings a believable resonance to the movements heightened concerns about Jimmy and his colleagues trouble evoking travels across the region. Just like the previous story “One Way Home” is of course (presumably) merely a transitory pause in the continuing ‘returning Nina to London’ narrative which should re-gather pace in the following epic two part story. Despite this the fourteenth instalment of ‘Manhunt’ is relatively pleasing fare when you consider it employs minimal cast and setting with its inherent strengths stemming from worthy character interaction.


Hope to come back next week with thoughts about the series first two-part story!