TV Gold

Please beware, due to the nature of the second series there are 'major spoilers' in my thoughts about these episodes.

Let's start with this...

(01) THERE AND BACK BY CANDLELIGHT
(by Michael J Bird / Directed by Cyril Coke :: original tx – 8 July 1973)
Although featuring the charmingly relaxed theme tune we find that to refresh viewers memories this first episode of the second season has the opening titles showing Erik sailing away from Aghios Nikolaos with his friend Captain Michael Krasakis slightly pensively watching the departure. To further illustrate their absence we initially see likeable rouge Nestor Turton calling out for the Shepherd’s and barman Nikos in the now deserted business establishment. He initially helps himself to a drink but only one as the sense of atypical silence quickly leads to him scuttling off, clearly unsettled by the absence of his long time friends. Out on the high seas Erik finds the gun that Ann had in her possession and quickly elects to throw it overboard into the water. Surprisingly, I thought, the moment after he has done this the engine on the boat packs up and despite repeated attempts to restart it Erik is unable for the moment to resume their journey. He takes a moment to consult the charts and having subsequently made a temporary repair the luxury motor yacht limps into the nearest costal settlement. It is here, almost twenty minutes into this season opener, that ‘Ann’ eventually recovers consciousness and leaves the boat. Standing on the quayside, clearly in a dazed condition ‘Ann’ does not heed her husbands beckoning some distance from her to return to the boat and instead flees up into the countryside. Her rapid progress is unexpectedly halted when she suddenly rushes into a large amount of bleating sheep, the sound of which comes as quite a shock. This allows Erik to reach her however ‘Ann’, with conditioning clearly gone completely, is totally convinced her identity is Judith Huxley and does not know where or what life she has with the man whom is attempting to reassure her. As they make their way through the local village settlement and then sit briefly at a outdoor café for a drink it is clear that Wanda Ventham’s character is now totally different from the self assured, assertive Ann Shepherd that we knew in the first season. Erik’s resolve to avoid drinking seems to be holding up as indicated both when he initially makes his way through the village (with his politely but firmly (despite a slight nervous shudder) declining locals offer of liquid refreshment to the new arrival) and then ordering a coca cola whilst ‘Ann’ has a brandy at the café. Whilst in this unfamiliar surroundings Erik then elects to take ‘Ann’ to the local hospital where a slightly eccentric but harmless elderly doctor performs a rudimentary examination before saying that it’s not really his field of expertise. He does suggest that Erik takes his wife to see a ‘specialist’ friend of his in Athens but our series lead courteously but firmly rejects this. Having shared a coffee together before they depart the local doctor suggests that the best course of action would be to take ‘Ann’ back to the familiar surroundings of Aghios Nikolaos where there are ‘strands to weave a tapestry of memory’. Erik is not willing to consider this however a sequence of events back there are currently being played out which will eventually necessitate their return. The news of the death of Donald Culley naturally filters back to the United Kingdom and in an office adjacent to Trafalgar Square in London the very man whom supervised Judith Huxley’s training speaks with one of his most loyal secret service operatives. He instructs Nicholson to fly out to the Crete island and, in partnership with the local Police investigate the circumstances of Culley’s death. A worthy important scene however the slightly dodgy CSO images of the Trafalgar Square surroundings superimposed into the three window apertures are, a think a tad noticeably due to the slight yellowing at the edges. Captain Krasakis later has to deal with Nicholson, a representative from the British Embassy and from the Greek Secret Service Major Constantinos (and his deputy). The imposing presence of Constantinos is portrayed by John Salvident, an actor whom featured as the officiating senior military character in the second season Blake’s Seven story “Trial”, deciding on the fate of Space Major Travis. With knowing glances between Nikos and Krasakis with the barman looking up at the Police Captain standing at his office balcony from the quayside it’s good to have Maurice Denham’s likeably, good natured Nestor Turton to offer welcome comic relief. With such an absence of staff at Shepherd’s bar he sets himself up as good natured, ebullient self-appointed barman come security officer. As he wipes down the bar a stranger, known as Gerald Mace, enters the establishment and gives the impression that he is simply a tourist on the island. However when we later see Mace taking an envelope containing money and a gun from the glove box of a car the intrigue regarding what his true reasons for visiting Aghios Nikolaos will certainly get viewers wondering. The investigation into the death of Donald Culley takes an unexpected turn which leads to Krasakis flying out in a (very) small two man helicopter to speak with Erik and implore him to return to Aghios Nikolaos. Against his better judgement Erik eventually agrees and the last scene of the episode sees ‘Ann’ wrapped tightly in a heavy weight waterproof coat recalling the lines ‘how many miles to Babylon? Three score and ten. Can I get there by candlelight? Yes, and back again’. No doubt some worthy literary quotation, the source of which I personally am not familiar with, but it certainly is fitting for this season opener. Admittedly “There and Back By Candlelight” is comparatively relaxed and leisurely in its approach but it certainly succeeds in beginning a sequence of events that should hopefully resolve the central characters tangled relationship.

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

(02) A KIND OF TREASON
(by Michael J Bird / Directed by Viktors Ritelis :: original tx – 15 July 1973)
The theme tune accompanies a more traditional type of opening titles with first Eric at the wheel of his boat then ‘Ann’ standing on shore dipping a pair of thick rimmed sunglasses before giving way to a slow pan of the landscape vista of Aghios Nikolaos. This gives way to a overhead shot (slightly covered top left by green fern) of two wicker chairs and table on the quayside with a couple of boats gently bobbing up and down in the sunny morning harbour water nearby. Lastly we fade to an elderly woman casually tossing seed from her skirt pouch across furrows carved in a large ploughed field. This second episode, which is titled “A Kind of Treason”, will be best remembered for the bizarrely surreal dream sequence imaginatively realised by director Viktors Ritelis, something that I suppose will be the main selling point of the second season on DVD. As the opening titles fade we initially see a black and white photo of ‘Ann’ sleeping. This is vertically torn away in strips to reveal the sight of ‘Ann’, wearing a safari suit, standing on a deserted beach. Shards of silver paper briefly waft into sight from the left whilst looking towards the lapping sea waves two medium sized wagon wheels, one propped against another can be seen. Slowly a figure fades into sight, a well built man wearing swimming trunks, wades out of the water and helps a horse (which has been playfully rolling on its back) to its feet and leads it towards ‘Ann’. This image fades to be replaced by seven suit and tie wearing figures with umbrellas standing away from the water with another man darting through attempting to reach her. Suddenly this image is presented in inverted colour with the frantic figure attempting to reach ‘Ann’ before the others, now thirteen of them, whom now are starting to rush towards her. We then see a blood stained hand crawling in the sand, it’s process halted when a white suited figure stands on it, pressing it into the grainy ground. This individual standing alone, wearing reflective sunglasses is the next sight we see (apparently played by series creator Michael J Bird). Running to escape the menacing suited male figures ‘Ann’ crashes into a large reflective ‘Miralon’ mirrored wall which has the numbers ‘153’ on it. Nearby, seated she sees the sunglass wearing, suited figure whom gets up and walks away. ‘Ann’ picks up the wicker chair and hurls it at the mirrored wall (which now has the number ‘72’ on it) which immediately shatters. We then see a middle aged woman wearing priestly robes beckoning her to approach a stone alter on the other side of a pool, down on the beach, with the white suited men in close attendance. On the alter is a large polished silver metal high curved lid serving container to which ‘Ann’ lifts the lid to reveal a severed human hand set on a plate in the midst of a large selection of vegetables. It suddenly starts to move and then next we find this hand seemingly floating in mid air, just below the camera, crawling menacingly towards the retreating ‘Ann’ with nothing but the lapping waves of the sea behind her. As it begins to make contact and start to cover her nose and mouth ‘Ann’ wakes up screaming which immediately brings Erik rushing to her side. This whole surreal ‘dream sequence’ is played out with unsettlingly eerie incidental music and certainly makes for an extremely unusual atypical scene with which to open the story. Well after the viewer has recovered from such a jarring visual experience the remainder of this second story proceeds in a more typical and dramatically engaging tone with much of interest to praise and comment on. Credit is certainly due to Anthony Stamboulieh as series regular Nikos whom has a great emotive scene, in a prison cell, with the recently returned Erik Shepherd and you can always rely on Maurice Denham’s good natured Nestor Turton to appreciably lighten the tone whilst he acts as tour guide for the mysterious Gerald Mace. There’s some worthy personal history on offer with the past friendship that ‘Ann’ has enjoyed with Erik, Nestor and Nikos as the large number of black and white photos she finds in the Shepherd bedroom seem to indicate happier times in Aghios Nikolaos. Whilst Captain Krasakis makes inquiries about Judith Huxley through Interpol (naturally gaining the interest of the London Secret Service) the bar is visited by Sir Hugh Russell, whom although under the pretext of wanting to hire Erik’s boat it is his profession of psychiatrist that belies his real reason for visiting the island. Adding to the intrigue purveying the small tourist locale Chicago businessman Samuel Kingdom Webber visits the bar and attempts to gain Erik’s interest in a hotel management job which seems reminiscent of a similar type of offer that came his way during the first season. Anyway Erik entertains the notion by accompanying Kingdom Webber out into the country and takes the wheel of the American’s large white Cadillac car (something observed through camera mounted binoculars used by the mysterious Gerald Mace). This episode benefits greatly from location filming with country roads proliferated with occasional elderly locals escorting their load carrying donkeys and goats through the countryside. You’ll also see back in Aghios Nikolaos locals playing backgammon and Erik bartering on the quayside with fishermen, attempting to get the best price from his business. Erik and Samuel eventually encounter, up in the countryside a group of archaeologists lead by a Doctor Dartington and his assistant Imogen Lundquist. As their locals continue the business of changing a wheel on one of their vehicles, Dartington occupies Kingdom Webber whilst Erik talks with Imogen. Once again we encounter another ‘lady friend’ of our series lead and there is the inference that they had a past ‘presumably romantic’ association seven months previously. Although no doubt overshadowed by the memorably surreal opening dream sequence “A Kind of Treason” is indeed quality dramatically engaging drama and continues the more serious Shepherd focused aspect of the second season. Although they are clearly the focal point other regulars do offer worthy contributions to the satisfying viewing experience whilst the unique picturesque tourist aspect of the series is maintained through pleasing location filming and incidental music.

I've been putting some more words together to give you guys (and myself!) an idea about what this series is like and would like to start with this...

(03) A VERY LONG SPOON
(by David Weir / Directed by Cyril Coke :: original tx – 22 July 1973)
The continuing narrative ‘spy story’ approach of this series is maintained as the third episode opens early one Sunday morning and still struggling to remember Ann awakens to find Erik not lying on the bed by her side. He eventually comes into the room carrying a tray containing sundry breakfast things which leads to the inevitable conflict about Ann’s lack of memory. Desperate to fill in the gaps she suggests contacting visiting psychiatrist Sir Hugh Russell, an idea that is vermantly dismissed by Erik. Despite this Ann writes a letter and gets Nestor to hand deliver it to the medic’s hotel. The following day we witness her interrupting Sir Russell’s exercise bike riding activity where he initially dismisses her initial plea for help. However Ann’s persistence eventually leads to his grudgingly agreeing to a brief half hour session but he really doesn’t hold out any chance of success. We then see Ann, lying on a settee in the psychiatrist’s hotel room, being injected with a sodium pentathol truth drug. As she slowly slips into a semi conscious trance like state Sir Russell takes a moment to make a phone call to his ‘colleagues’ to inform that ‘she is now under’. He returns to his patient and as he persuasively talks to her memories of past events as featured in “The Climbing Wave” (season one, episode nine) and “There and Back By Candlelight” (season two, episode one) come flooding back, some of which are in inverted colour together with the words of her secret service ‘control’. As the visions fade and she comes out of it Ann is astonished to be faced by Cotton, the very man whom had guided her training prior to her new life in Crete. It now transpires that Sir Hugh Russell and Nicholson are both working for Cotton and all three are present in the room. We are presented with another revelation as once Erik enters the room he and Ann learn that Donald Culley did not work for them! Whomever employed him will undoubted send someone else to recruit Ann and Cotton requires Ann to adopt a ‘sacrificial goat’ role in exchange for his clearing their Shepherd’s bar friend and barman Nikos whom has admitted to killing Culley to protect Ann. Professor Dartington and Imogen once again feature beginning with Erik and Captain Krasakis visiting their dig site when they announce that their excavating have unearthed a skeleton. Aside from this initial sequence the pair also feature in a more social setting, that of a evening party held at the Douglas hotel at the invite of Sam Kingdom Webber whom continues his attempt to persuade Erik to accept his offer of managing a hotel for him. We’ve got more light-hearted moments with Nestor firstly where we see him attempting to balance a number of glasses on his forehead to the great consternation of the elderly black head scarf and dress attired local woman working behind the bar. Later we have a touchingly pleasant scene where Nestor attempts to teach Ann to paint beginning with the series co-lead gaining inspiration from some initial pencil sketches on a blank sheet of white paper. There is some passing mention to the events conveyed during first season story “A Tiger in Bristol” however it soon becomes evident to Nestor that Ann has no knowledge of this. Although Nestor’s life seems as relatively carefree as ever there seems to be trouble brewing in the shape of his dealings with the mysterious Gerald Mace. This suspicious character now pays Nestor to spy on the movements of Erik and Ann and report back on their activates and whom they speak to, something that obviously unsettled our likeable rouge. In the developing Shepherd narrative there is much of significance on offer in third episode “A Very Long Spoon” which is offset by some worthy lighter moments courtesy of Nestor Turton which makes for another worthy instalment of this second season.

and of the other episode from last week...

(04) BESIDE A CROOKED STILE
(by Michael J Bird / Directed by Viktors Ritelis :: original tx – 29 July 1973)
There seems to be a lot of symbolism on offer in “Beside A Crooked Stile”, the fourth episode of this second season of “THE LOTUS EATERS” but then with Viktors Ritelis in the director’s chair I guess it is to be expected. I thought the initial brief scene of the local lady laying out tarot cards on the bar counter counterpointed with the pensive stares of Ann and Erik worked well. Also worthy of praise is having found that his boat, the ‘Joanna’ has had a padlocked chain attached to the wheel Erik looks up at Captain Krasakis on his balcony and, having exchanged a brief glance the Police Officer looks to his left where a small bird resides in a metal bared cage. Naturally the inferred ‘sacrificial goat’ role that Ann seems destined to play for the British security service is upper most in Erik’s mind and he believes he has a way that his wife can be prevented from doing this. He goes to nearby Iraklion to speak with Yorgos Marukakis, a well-built, muscular, beared man whom Erik has worked with before in mild law breaking endeavours. Whilst speaking with the oily vest wearing motor mechanic he pleads for Yorgos’ and his associates assistance in breaking Nikos out of prison. Whilst he listens and ultimately declines Erik’s request Marukakis takes great delight in smashing a windscreen, tearing off a door and front bumper of an elderly white car which clearly is ready for scrap. Back at Shepherd’s bar Erik’s fidelity to Ann is challenged when Imogen bestows a passionate kiss on the man she’d previously had an affair with. Although she is satisfied that a romantic flame no longer burns between them and is content to remain ‘just good friends’ Doctor Dartington watching behind the undergrowth leading out onto the rear open area of the establishment temporarily gets the wrong idea. The aspect of symbolism is undoubtedly most relevant to Nestor which begins when he offers some long stemmed lilies to Ann. Whilst graciously backing out of the room he almost collides with the local black outfit attired woman barmaid whom, horrified at seeing the lilies, grabs the long stemmed flowers and rushes to the open rear of the premises and throws them to the ground. It is undoubtedly the powerfully moving, well realised last twelve minutes of this story which will best linger in the memories of viewers and it begins innocently enough with the setting up of a child’s fairground ride close to the quayside of Aghios Nikolaos. We see Ann and Imogen in the midst of the crowd enjoying the local celebrations however the sudden momentary sight of the white suited, sunglass wearing figure from her nightmare visibly shakes our series co-lead. Nestor is his usual roguish self and having been forcibly thrown out of a nearby pub by the owner he maintains his good natured persona as he then joys the children riding the tinsel adorned merry-go-round. His demeanour soon evaporates when he sights Gerald Mace, the mysterious newcomer he has been recently been trying to avoid standing close by. They have a verbal confrontation on the ride as it spins round and Nestor plainly refuses to spy on the Shepherd’s or have any more to do with this clearly unsavoury individual. Mace is unwilling to let the matter lie and attempts to blackmail Nestor into continuing to work for him. Definitely Ritelis is to be commended for the chilling symbolistic way in which the tragic sequence of events play out with peoples reactions, a mixture of joy (the children enjoying the fairground atmosphere) and deep sadness (local barmaid screaming) giving the scene such emotional resonance. Atypically for the series this fourth episodes features the closing credits played over the rotating children’s merry-go-round ride in darkness whilst a lone guitar plays a fairly sombre piece of music. Another worthy episode with a distinctly sobering, deeply sad ending which will no doubt leave viewers just what may be in store for the Shepherds in the remainder of the series.

With a word about 'major plot spoilers' in my posting I'd like to say the following about the first episode I watched last week...

(05) THE WELL DIGGERS
(by Michael J Bird / Directed by Cyril Coke :: original tx – 5 August 1973)
Naturally there is low key opening to this fifth episode as above the closed Shepherds bar Ann and Erik reflect in their own way on the sequence of events played out during the previous instalment. Whilst sleeping the words of Cotton dwell on Ann’s mind. For Erik, he wanders down to the bar and having glanced briefly at a photo of he and Nestor on a fishing trip takes a cigarette from a packet and looks round at his silent business. He momentarily toys with a tall bottle of wine but eventually elects not to drown the sorrows he is obviously feeling at the loss of their dear friend. He then gets a call from Sam Kingdom Webber whom suggests that they should meet and we then see Erik down on a deserted beach where the American is playfully tossing pebbles out to see in a vain attempt to smash a bottle bobbing in the water. He encourages Erik to join him in the ‘destroyers’ game and with three stones each our series co-lead fails to hit the target with any of his throws whilst Sam is more successful. Sam suggests they talk and there then follows the pair riding through the fairly barren Crete countryside in the American’s large white Cadillac car which we can see has Texas licence plates. Rather than travel in total silence Sam says they should listen to ‘real music’ and his choice through an eight track cartridge (something that really dates this series and possibly those viewers whom clearly remember this (sorry as a child I’m amongst them!)) he plays Vivaldi’s ‘Four Seasons’. Their conversation offers worthy recap background on Ann and previous episode and season developments but it is when they are stopped as construction workers prepare charges for demolition of a rock face on a new road that this episode offers up the most interesting plot development of the second season. Erik is convinced that Sam works for the CIA but, and coinciding with the explosions of the charges, he states that infact he works for Soviet Counter Intelligence! Erik and Sam then drive onto the site of Sam’s new hotel complex which is significant because puzzlingly certain portions of the conversation as the two men walk around the site is played out in front of stock location photos. This is clearly evident as there is slightly dodgy CSO (Colour Separation Overlay) in use as there is a vague but easily discernable yellowing around the actors. One can only speculate as to why this approach was necessary, maybe it was on Health and Safety grounds. Our travelling duo then stop the car at Professor Dartington and Imogen’s archaeology site and whilst Erik talks with the archetypal hat, glasses and pipe smoking academic Sam uses the distraction to secretly appropriate a small figurine statue. Back at Shepherds bar Ann leaves the establishment to walk around the town however on this occasion a yellow shirt wearing man moves to follow her. She later brings the matter to Erik’s attention when he returns and this time when she leaves the bar Erik follows and intercepts the stranger only for him to turn round and say that he is an undercover local Policeman. Naturally Michael Krasakis takes a very dim view of Erik’s action against one of his officers and in a worthy interplay between the two friends in his office the Captain shows uncharacteristic anger towards his civilian friend. I guess a principle reason for Captain Krasakis interest in Ann is following returning a now repaired piece of fishing equipment she vividly recalls a amusing trip the three of them shared indicating that her memory has now fully returned. There is a lighter moment for Ann in this story with Professor Dartington paying a solo visit to Shepherds bar where he finds her and the local barmaid in the kitchen making a local food dish. He invites her to a lunchtime meal at a nearby local restaurant and we then next see them at table in an open air patio overlooking the picturesque vista of Aghios Nikolaos behind and below them. Unexpectedly Dartington gains a call from Imogen saying there had been a minor accident with one of the workers at their dig site and he has to make his apologies to Ann and leave. Slightly dazed at being alone Ann glances round at the scenery before she is suddenly rested from her momentary daydream by the unexpected appearance of Gerald Mace sitting at her table. Mace speaks to her as if he is the person whom is going to reactive her with a view that they should leave the island immediately together. Naturally Ann reports back to Cotton and Nicholson that Mace had said that he wanted her to ‘leave the day after tomorrow’. Further to his talk with Sam, Erik has other plans for Ann and, for her own safety he says that he has ‘arranged to leave Ann with friends’ which later transpires having taken her into his confidence asking Imogen to hide his wife at their archaeological site (a locked stockroom shed). I thought it interesting that the last scene to feature Cotton and Nicholson has the British secret service operatives talking whilst children at the hotel enjoy the black and white slapstick antics of a Charlie Chaplin film. The episode draws to a close on a country lane where driving a green car Imogen meets up with the occupant of a yellow VW beetle car. She informs Gerald Mace that his cover has been blown and he should leave Crete immediately however their conversation is being observed in the nearby hills as on the other end of a handheld telescope Sam Kingdom Webber watches with interest. There is definitely a lot of worthy detail on offer during “The Well Diggers” (an instalment that like the preceding episode ends atypically without the familiar theme tune and accompanying titles, instead offering a shot of the stolen figurine standing a green cloth whilst slightly edgy incidental music plays) where plot twists and story developments certainly drive the action forward preparing the way for the season and series finale.

and of the other (also with the same 'beware major plot spoilers' warning)...

(06) AND IF YOU HAVE TIME, LORD
(by Michael J Bird / Directed by Viktors Ritelis :: original tx – 12 August 1973)
Down at the Airport Passport Control we find Gerald Mace flying out of Crete as the sixth and final second series episode “And If You Have Time, Lord” begins. Naturally Cotton is incredulous with this development and instructs Nicholson to immediately find Ann Shepherd. He goes to the bar where he thoroughly searches the premises despite the vocal and physical protestations of the local barmaid but is obviously unsuccessful. We have the surprising plot twist of Captain Krasakis and Erik visiting the archaeology site where Imogen is implicated in a smuggling operation and is summarily deported from the island. The first sea going vessel available just happens to be Russian and although she is of Swedish nationality their first port of call is Leningrad, somewhere that Sam Kingdom Webber, also onboard, is more than happy to act as guide for the new passenger. The emotional fall out of Imogen’s betrayal between Ann and Erik leads to some meaty emotional dialogue for Wanda Ventham to convey with believable passion to her co series lead. This results in Ann’s visit to Captain Krasakis where she offers up a confession which implicates her as the killer of Donald Culley thereby proving barman Nikos is innocent of the charge. Naturally with her signature on this document Michael has no alternative but to place Ann under immediate arrest although due to the nature of the contents of what she has stated in written form he has to refer the matter to Greek intelligence as to how to deal with the matter. In the meantime and with no provision for female prisoners in the Police station Michael says that Ann is able to return to Shepherd’s bar on bail although she prefers to instead check into a local hotel believing that there is ‘too much history, no future’ at the establishment that has been home for ten years. Although she has left the bar Ann later returns when Michael arranges for both she and Erik to be present, believing it is a less formal setting in which to convey what the Greek security service have decided in this matter. Apparently there will be no trial for Ann however with her residents permit revoked she has just thirty-six hours in which to leave Crete. Michael has no instructions about Erik Shepherd whom is perfectly entitled to remain on the island if he so should wish. We then have the sight of a drop of blood on a white lily which instigates a brief sequence of Ann standing alone on a deserted beach slowly turning round on the spot looking at her surroundings with momentary shots of Nestor riding the silver foil covered children’s ride as featured in the last scenes of the fourth episode. This is matched by a piece of plaintive soothing music and a loan female voice adding to the relaxed contemplative feel of a scene which I feel works well conveying the emotionally difficult situation Ann now faces. Then, with Ann no longer present in Shepherds bar we have a worthy short scene between Michael and Erik and with his Police officer friend having left our male series co-lead takes a moment to inspect the wilting leafs of the lotus tree in his open patio area contemplating his future. Erik then has his own symbolic scene when wearing an overcoat and carrying an umbrella he visits the hillside cemetery to pay his respects to dearly departed friends (barmaid) Katerina and Nestor whom are buried next to each other. The windy, rain and thunder coincidentally greatly increase as he stands over the graves in a particularly evocative, well realised scene that has become so typical (and I believe highly praised) of director Viktor Ritelis and is something that is touched on in the tenth and eleventh pages of the ‘Viewing Notes’ booklet. Naturally it will come as no surprise that Erik decides to give up his boat and the bar (tossing the keys to recently freed Nikos) to be at Ann’s side and it’s a suitably emotionally moving, well realised final scene at the airport as Captain Michael Krasakis bids a tearful goodbye to his dear friends Erik and Ann Shepherd. With them boarded the Olympia airlines aircraft and lifting off away from the island the viewers are left wondering just where in the world they could possibly find happiness and a peaceful life away from the interest of so many secret service organisations. It was made clear in this episode that they would not be welcome on the United Kingdom and although Erik hinted that he might possibly visit Russia its certainly an enigmatic way to conclude both the second season and the series as well. I feel “And If You Have Time, Lord” satisfactory concluded the central premise of the Shepherds however this six part tale seemed to largely lack the easy going good humour and unique atmosphere of the first year due to its attentively challenging ‘spy story’ premise.

and that polishes off both seasons of 'The Lotus Eaters', definitely a well worth getting type of series on DVD. Tomorrow a new month and a new series for me to have a look at, hope to come back soon to talk about it.