Written by Donald James Directed by Jeremy Summers


Jean Hopkirk is the subject of some strange psychic phenomena when efforts are made to persuade her that her late husband is trying to contact her. But why?

Not surprisingly, Jean Hopkirk is worried and frightened when a poltergeist apparently gets to work in her apartment. Furniture and fittings fly in all directions. She just manages to telephone Jeff Randall before the 'phone is cut off. Scared, she rushes from the house, and the two interested onlookers watch with satisfaction. They make a strange pair in their old clothes which make them look like traditional undertakers. They are, in fact, brothers Henry Foster and George Foster.

They drive off in their old-fashioned Rolls Royce as Randall arrives. The fleeing Jean sees him and tumbles into his car and tells him what has happened, confiding: "I've had this feeling for some time now... that Marty is trying to contact me."

The ghostly Marty Hopkirk overhears this, and make a desperate appeal to Randall to assure her that she is wrong. There's something more sinister behind the strange happenings, but Jean is hard to convince and quite unsuspecting when approached by the Foster brothers with the offer of a job, saying they are spiritualists with a scientific approach. They want her to check out anybody who applies to them.

The unseen Marty accompanies her when she goes to their house in the country, and even he is startled when Henry Foster tells her that there is a third spirit present - the spirit of her husband and that he is trying to get a message through to her. Nevertheless, he is still convinced that they are phoney.

Jeff Randall enlists the aid of an actress named Laura to approach the Fosters in the guise of a wealthy widow trying to trace a long lost son, and persuades Jean to use her as a test case before accepting the job. From Jean's point of view, it seems to work out well: she will get commission for introducing a client. But for Laura, the outlook is bleak. The Fosters tell her that they are going to kill her and that when she gets to the other side, she is to contact Marty Hopkirk and bring him back to speak to his wife...

It appears that the Fosters have carried out their threat when Randall and Hopkirk go to the old house to investigate. They come to the conclusion that the Fosters have some crazy idea of making new spirits, and it looks as though Jeff will be the next victim. And Jean is in increasing peril.

What lies behind it all? The Fosters have some very strange ideas.

Production Code: RH/DCW/4012
Filming Dates:
November - December 1968
Production Completed:
Mid-May 1969
Recording Format: 35mm Colour Film
Archive Holding: 35mm Colour Film


Anglia: Unconfirmed
ATV: Fri 26 Sep 1969, 7.30pm (B/W)
Border: Fri 16 Jan 1970, 7.30pm (B/W)
Channel: Fri 26 Sep 1969, 7.30pm (B/W)
Grampian: Thur 26 Feb 1970, 7.00pm (B/W)
Granada: Fri 26 Sep 1969, 7.30pm (B/W)
HTV: Fri 26 Sep 1969, 7.30pm (B/W)
LWT: Sun 5 Oct 1969, 7.25pm (B/W)
Sat 26 Feb 1972, 11.10pm
Southern: Sun 12 Oct 1969, 7.25pm (B/W)
Tyne Tees: Sun 19 Jul 1970, 9.05pm
Ulster: Fri 26 Sep 1969, 7.30pm (B/W)
Westward: Fri 26 Sep 1969, 7.30pm (B/W)
Yorkshire: Fri 26 Sep 1969, 7.30pm (B/W)
(B/W) = Transmitted in Black and White
(B/W*) = Transmitted in B/W due to ITV Colour Strike
Jeff Randall
Marty Hopkirk
Jean Hopkirk
Henry Foster
George Foster
Laura Watson
Pawnbroker's Clerk
Man in Laundromat
Mike Pratt
Kenneth Cope
Annette Andre
Alfred Burke
Dudley Foster
Adrienne Corri
Noel Davis
Michael Rathborne
Jeff Randall
Marty Hopkirk
Harry Fielder
Dougie Lockyer
Jeff Randall Rocky Taylor

Selections from the incidental score for this episode have been issued on Randall and Hopkirk (Deceased): Original Soundtrack by Edwin Astley, Network, 2008.


Network DVD (United Kingdom):
Photo Gallery.
Umbrella Entertainment (Australia):

Photo Gallery.


Writer Donald James
Series Theme & Musical Director
Edwin Astley
Creator & Executive Story Consultant
Dennis Spooner
Creative Consultant
- Cyril Frankel
Monty Berman
Jeremy Summers

Ronald Liles (Production Supervisor)
Gerald Moss (Director of Photography)
Charles Bishop (Art Director)
Philip Aizlewood (Post Production)
Harry Ledger (Editor)
Malcolm Christopher (Production Manager)
Jack Lowin (2nd Unit Director)
Frank Watts (2nd Unit Cameraman)
Val Stewart (Camera Operator)
Michael Meighan (Assistant Director)
Sally Ball (Continuity)
Denis Porter & Dennis Whitlock (Sound Recordists)
Guy Ambler (Sound Editor)
Alan Willis (Music Editor)
Anthony Arnell (Casting)
Sue Long (Set Dresser)
Bill Greene (Construction Manager)
Peter Dunlop (Production Buyer)
A.J. Van Montagu (Scenic Artist)
Frank Maher (Stunt Co-ordinator)
Elizabeth Romanoff (Make-Up Supervisor)
Jeannette Freeman (Hairdresser)
Laura Nightingale (Costume Supervisor)
Cinesound (Sound Effects Suppliers)
and Chambers + Partners (Titles)

Made on Location and at Associated British Elstree Studios, London, England
An ITC Production


By the twelfth episode, Donald James was already essentially a Randall and Hopkirk veteran, having written just under half of the episodes made, and although All Work and No Pay is a fine entry in the series, it does unfortunately score some own goals in its plotting. For starters, the Fosters' plot barely holds water, their idea being to kill someone so that they will act for them in the afterlife, contacting spirits on their behalf. Surely killing someone is a sure way to discourage co-operation, even in the spirit world... Also, the Fosters seem to fall rather conveniently for Laura's trick of swimming naked across the lake, and where did she find that newspaper to cover her modesty? My last point is not made in any great seriousness, and of course the presence of the newspaper provides a great one-liner from Marty, "You don't want to believe everything you see in a newspaper, Jeff." There is however, also the question of how the Fosters' manufacture their poltergeist happenings, which appear to be achieved via electronics and radio waves, but there is no attempt to give the viewer an explanation. It's one of several narrative weaknesses in this episode that the viewer has to overlook really, and it's not actually that difficult to do so, as the episode is superbly directed by Jeremy Summers, and features a small but superb guest cast. Alfred Burke and Dudley Foster as the episode's main protagonists are a match for anyone in the series, and both clearly had a ball playing their characters. Adrienne Corri, another well-respected performer, turns in a memorable performance as Laura Watson, a character that really could have done with making a return appearance. In all, a highly entertaining episode that at times eschews narrative logic but which delivers in abundance in all other areas.  


  • Teaser... On a residential street late at night, a distinctive vintage Bentley tourer approaches, its yellow headlights scything through the gloom. It turns right and shortly afterwards is brought to a halt by its driver in the roadside opposite Jean Hopkirk's apartment. The vehicle is carrying two immaculately dressed rogues, brothers Henry and George Foster. The pair gaze up towards Jean's window, and see that the room beyond is illuminated - their victim is at home, so their plan can be set in motion. Henry reaches under the steering wheel and retrieves a small case, which he hands to his brother George. George removes the cover of the case and a compact control device is revealed beneath it. He extends a radio aerial and studies the device's controls. He turns the unit on and adjusts a couple of controls, after which he and his brother turn their gaze once more to Jean Hopkirk's window. Inside, Jean is reading, stretched out on her setee. Suddenly she notices one of her china vases flying across the room before her. She reacts, startled as it careers into a picture on the wall to her left, and shatters. Then her dining table rises from the floor and rapidly falls back, toppling over. A small chair hurtles across the room and smashes her television. She drops to the ground and reaches for the telephone. She grabs the receiver and calls Jeff, who is at home in bed in his pyjamas, strumming at his guitar. He picks up the phone when it rings and hears the sound of things breaking before Jeannie's panicked voice cuts in. Jeff asks if she's at some kind of party, but quickly realises that something is wrong. Jean pleads for Jeff's help. He puts the receiver down and throws on his overcoat without bothering to change out of his yellow bedwear. Minutes later, he is on the road. Jeannie, meanwhile, runs out of her flat and up the road. She runs out into the path of an oncoming vehicle - Jeff's! He slams on the breaks and manages to stop the Vauxhall just in time...

  • Production Brief... All Work and No Pay was the twelfth episode to go before the cameras. It was the fifth episode to have been written by the prolific Donald James, and it witnessed the return to the director's chair of Jeremy Summers, who had directed The Smile Behind the Veil two months previously, here delivering his second episode of Randall and Hopkirk (Deceased).

  • Malcolm Christopher, who had been Production Manager on episodes of The Saint for ITC, took over the Production Manager role from this episode. He replaced Jack Morrison, who had filled the position on all episodes between Who Killed Cock Robin? and That's How Murder Snowballs. Christopher's association with ITC continued into the 1970s, and saw him engaged as Production Manager for the entire series of The Persuaders! and Production Supervisor for Return of the Saint towards the end of the decade.

  • Meanwhile, second unit director Jack Lowin was joined by cameraman Frank Watts, as Brian Elvin had moved across to work on Randall and Hopkirk (Deceased)'s sister series, Department S, a series which had also emploted Watts' talents. He would go on to work on a large number of ITC series, including Jason King, The Adventurer, The Protectors and Space: 1999.

  • While most of the poltergeist disturbances such as flying ornaments, rising furniture and so on were achieved by the employment of 'invisible' wires, some were hand-operated just off camera. These latter instances included the table that Jeff and Jeannie are hiding beneath for protection at the Fosters' during their ordeal, and the sword that Jeff has to fight off with a chair. However, the shot of the sword approaching and passing to the left of the camera at 42 minutes and 24 seconds was achieved optically in post-production.

  • Exact filming dates for this episode are unknown, but in his DVD liner notes, Andrew Pixley states some filming was carried out in November 1968. A fully edited version of this episode was completed by mid-May 1969. It would receive its first UK broadcast on Friday 26th September 1969 at 7.30pm when it aired in the ATV, Channel, Granada, HTV, Ulster, Westward and Yorkshire regions.

  • Appearing This Week... Brothers Henry and George Foster rank among the most memorable villains of Randall and Hopkirk (Deceased) and a fair modicum of their impact can be attributed to actors Alfred Burke and Dudley Foster. Burke was born in Peckham, London, on 28th February 1918, the son of Sarah Ann O'Leary and William Burke. He was educated at Leo Street Boys' School and Waltham Central School, both in Peckham, and at fourteen appeared set for a career in railway repair. He soon became a club steward and also worked in a silk warehouse. His interest in the performing arts led him to join a local amateur dramatics group, and in 1937 he won a scholarship to RADA. His acting career started two years later at the Barn Theatre in Shere, Surrey, and he made his London debut at the Watergate Theatre. By the time he filmed All Work and No Pay, Alfred had established himself as one of the most dependable character actors of the era, and was best known as the down at heel private enquiry agent Frank Marker in the ABC/Thames series Public Eye. In all, Burke played the part for ten years from 1965, and it is genuinely one of the finest character portrayals in television history. His ITC appearances, All Work and No Pay aside, were exclusively in the Fifties and early Sixties, with roles in The Adventures of Robin Hood, H.G. Wells' Invisible Man, Interpol Calling, Danger Man, Sir Francis Drake, Ghost Squad, The Saint and Espionage. Prior to his death at 92 on 16th February 2011, he appeared on stage at the National Theatre aged 90 as the Shepherd in the 2008 revival of Sophocles' Oedipus by Frank McGuinness, and had six years earlier featured in the hit feature film Harry Potter and the Chamber of Secrets as Armando Dippet. He was survived by his wife Barbara and their four children, who had arrived as two sets of twins, Jacob and Harriet and Kelly and Louisa. He was cremated at Golders Green Crematorium, coincidentally the same location in which Mike Pratt's ashes were scattered in 1976. "Alfie" was a gentle, down to earth man. He may be gone, but he has left a remarkable legacy... and Randall and Hopkirk (Declassified) wholeheartedy recommends the Network DVD releases of Public Eye.

  • Alongside Burke as George Foster was a real Foster, actor Dudley Foster. Sadly, his story is not one with a particularly happy ending. He was born in 1925 in Brighouse, Yorkshire, and was a graduate of Joan Littlewood's famous Theatre Workshop which had started in the North of England before settling at its permanent base, the Theatre Royal Stratford East, in 1953. Foster was a very versatile actor, and he flitted between drama, sitcom and children's television. With his lean looks, perfect diction and piercing gaze, he was often cast as villains and, for similar reasons, policemen. Notable roles were in Francis Durbridge's thriller Bat Out of Hell (1966), Doctor Who - The Space Pirates (1969), three episodes of The Avengers - The Hour That Never Was (1965), Something Nasty in the Nursery (1967) and Wish You Were Here (1968) - along with ITC appearances in The Four Just Men, Danger Man, Ghost Squad, The Saint, The Persuaders! and Jason King. He also turned in memorable performances in four episodes of the classic BBC situation comedy Steptoe and Son, and featured in the second series Catweazle episode The Ghost Hunters. All Work and No Pay was not the only time he acted alongside Alfred Burke, as Foster was a guest player in three episodes of Public Eye - the wonderfully titled I Went to Borrow a Pencil, and Look What I Found (1965), It Had to be a Mouse (1966) and Mrs Podmore's Cat (1972). Unfortunately, off screen Dudley Foster's life was not always a happy one, and British television and film lost a talented performer with much more to give when on 8th January 1973 he hanged himself, taking his own life at just 48.

  • The other 'name' performer in All Work and No Pay was Adrienne Corri, a very successful television actress who was familiar to ITC audiences, having previously featured in The Count of Monte Cristo, Sword of Freedom, The Buccaneers, William Tell, H.G. Wells' Invisible Man, Danger Man and The Champions. Today, she is probably best remembered for her shocking three-minute appearance in Stanley Kubrick's A Clockwork Orange (1971), although she made memorable contributions to David Lean's sprawling epic Doctor Zhivago, Hammer's Vampire Circus (1972), and the Danziger's version of Edgar Allen Poe's The Tell-Tale Heart (1960). On television, she made her mark in series such as A Family at War (1972), Armchair Theatre and Doctor Who (in the serial The Leisure Hive (1980) where she again played alongside her co-star from The Tell-Tale Heart and Vampire Circus, Laurence Payne). Adrienne was born Adrienne Riccoboni on 13th November 1931 in Glasgow, Scotland, to a Mancunian mother and Italian father. She was active in television, film and theatre for an impressive 43 years, between 1949 and her retirement from the business in 1992. Her final appearance was in the well-remembered and successful television series Lovejoy, which starred Ian McShane.

  • On Location... This episode returned to one of the most recognisable filming locations in British adventure series of the 1960s, the impressive Stanmore Hall, a period gothic style mansion which is Grade II* listed. It had originally featured, albeit briefly in The Trouble with Women. Additionally, there is good use of the Maida Vale locations, with Annette Andre on location at Lauderdale Road, home of Jeannie's apartment, along with brief visits to the ever dependable Elstree Studios backlot. More details in Locations: All Work and No Pay.

  • Trivia... The Foster brothers' beautiful Bentley 3 Litre Low Door Vanden Plas Tourer, manufactured in 1934, remains a working vehicle today. It was originally purchased by the Hollywood actor Robert Montgomery and delivered to his London home in May 1935 by Jack Barclay Ltd. The car was shipped to America for Montgomery's use in September of the same year. It is unclear when it was returned to Great Britain, prior to its employment in All Work and No Pay, but by the time it received an extensive restoration in 2000, it was back in the United States. Between 2000 and 2009, it resided in the prestigious Keeler Collection in Latham, New York, where it was maintained to a scrupulous condition, before it was sold for 184,253 (approx. 165,115 in 2009) to its new owner who lives in Germany. When the car was originally registered in 1934, the colour of its bodywork was recorded as being green, but when it appeared in Randall and Hopkirk (Deceased) it had been repainted in black. The 3 litre engined model was in production between 1933 and 1936 and a total of 1,771 examples were manufactured. Today, BXM 514 sports its original engine, chassis (registration B63DK) and bodywork, and its livery has been returned to the original green.


Top left: The Bentley as it appeared in All Work and No Pay Other photos date from 2009 when the car was listed for resale

  • We learn in this episode that Marty can tell when the telephone is about to ring, seconds before it actually does. We also get an idea of how long he and Jeannie were married, since he reminisces about his bachelor days of "six or seven years ago". He is however, not impressed when he finds Jeff in Jeannie's flat in his pyjamas, with his wife. Jeannie, meanwhile, reminds Jeff that the detective agency has been running for about six years, so it would seem that Marty married Jeannie and went into business with Jeff at approximately the same time. Knowing Marty, he would have seen the venture as a way of providing financial security for himself and his new wife.

  • Also, we see Jeff trying to pawn some items, but the Foster brothers pay the pawnbroker not to accept anything. However, Jeff later manages to pawn the curtains and carpet from his apartment.

  • At the start of the episode, we find Jeannie reading The Penguin Dictionary of Saints by Donald Attwater, published in 1965. Undoubtedly this was an ITC in-joke concerning the highly successful adventure series The Saint, which had ceased production after six years just prior to the creation of Randall and Hopkirk (Deceased).

  • This is one of only four episodes in the series which doesn't feature Jeff in a hand-to-hand fight with an adversary. The other episodes that feature this unusual turn of events are Money to Burn, The Ghost Who Saved the Bank at Monte Carlo and The Ghost Talks. However, his luck hasn't changed completely, as he has to fend off a poltergeist attack in which he is faced with flying ornaments, furniture and a sword with a life of its own, and we also hear that, mirroring the Randall and Hopkirk company cashflow, Jeff's own bank account is in a bad way - he is 27 overdrawn. Jeannie also points out that after six years, the fact that he is still lunching in the local Laundromat is a sure sign that the business has not improved.

  • Following their transmission of My Late Lamented Friend and Partner in black and white, the Tyne Tees ITV channel moved to colour broadcasts in time for the second episode in their run - All Work and No Pay. The region's Pontop Pike transmitter switched to colour on Friday 17th July 1970 and Tyne Tees transmitted All Work and No Pay two days later at 7.30pm.

  • Only You, Jeff? Henry Foster claims to be in contact with Marty and tells Jeannie that he has a message from her late husband. Marty is present when Foster makes this claim and retorts that he is not in contact with him, is completely unaware that he is there, and that his message to Jeannie is that Foster is a fraud. Needless to say, the message is not heard by Foster, and not delivered to Jeannie!

  • Ghosts and Ghoulies... Marty is the only ghost we see in this episode, and although there are a number of poltergeist incidents, they are all faked by the Fosters.

  • The Vehicles... Appearing in this episode were the following wonders of transport...

1934 Bentley 3 Litre Low Door Vanden Plas Tourer
Registration BXM 514
Driven by Henry Foster
1968 Vauxhall Victor FD 2000
Registration RXD 996F
Driven by Jeff Randall
Also appeared in:
Randall and Hopkirk (Deceased) - used extensively throughout the series
Department S - 'The Last Train to Redbridge'

1964 Austin 7/Mini
Registration BAP 245B
Driven by Jean Hopkirk

Also appeared in:
Randall and Hopkirk (Deceased) - 'My Late Lamented Friend and Partner', 'You Can Always Find a Fall Guy', 'Never Trust a Ghost' and 'Somebody Just Walked Over My Grave'
Department S - 'The Man from X'
The Persuaders!
1967 Lotus Elan Plus 2 (Type 50)
Registration LPW 120E
Driven by Laura Watson (not seen driving in episode) and Henry Foster
Also appeared in:
Randall and Hopkirk (Deceased) - 'The Smile Behind the Veil'
Department S - 'The Last Train to Redbridge'
1967 Ford Zephyr 4 Mark IV
Registration DLR 477E
Driven by Police Constable
Also appeared in:
Randall and Hopkirk (Deceased) - 'That's How Murder Snowballs', 'The Man from Nowhere'


  • Seen It All Before? Another visit to the Elstree Studios backlot, this time to one of the street sections, here representing a yard area of the Fosters' mansion. The sequence also features the 1967 Lotus Elan Plus 2, registration number LPW 120E, last seen being driven by Hilary Tindall as Cynthia Seaton in The Smile Behind the Veil.

  • The Stanmore Hall location had previously been seen in The Trouble with Women as the base of the Society of Spiritualists. Once wonders if the Fosters were hosts and active members!

  • To represent the interior of the Fosters' mansion, the hallway and study sets, seen in most of the previous episodes of the series in one form or another, were again redressed.

  • Cock Ups... It takes just 26 seconds for the first cock-up to present itself, when Henry Foster pulls the car over opposite Jean Hopkirk's flat. The sequence cuts from an on-location shot on Lauderdale Road to an in-studio shot against a painted backdrop. The style of house depicted in the backdrop is not present on Lauderdale Road and does not match the previous shot at all. The framegrab below is a composite of two separate frames.

  • In the scene commencing at 1 minute and 3 seconds in which Jean Hopkirk is subjected to a supposed poltergeist visitation in her lounge, wires can be seen in some shots depicting vases, tables, etc being levitated. This is also the case with similar happenings later in the episode at the Fosters' mansion. These effects would have been difficult to achieve without wires being visible on Randall and Hopkirk (Deceased)'s budget and with the technology of the time, and it is to the credit of those working on the series that the wires are often very hard to pick out even on modern telecine transfers viewed on large screens.

  • At 1 minute and 30 seconds, as part of the poltergeist attack, a small chair flies across the room and smashes the protective glass screen of Jean's television (not the actual tube). When we see it again a few seconds later, the television is lacking the broken glass!

  • At 3 minutes and 3 seconds, we see Jeff in the Vauxhall, slamming on the brakes. This is shot in studio against a blue screen, but there is no street background optically printed over the shot. This could simply be an instance of cost-cutting.

  • At 7 minutes and 54 seconds, when Jeff is partaking of his lunch at the laundromat, we see Marty is sitting beside him, but further back than Jeff. When the shot cuts to the front, the pair are level. When the shot cuts back to the side view, again they are staggered. This is a compositional consideration, but still it looks a little odd.

  • At 9 minutes and 27 seconds, Jeff drives Jeannie around four central London streets - Charlotte Street, Goodge Street, Tottenham Court Road and Grafton Way, all in W1. However, due to the haphazard selection of optically printed background footage from the World Backgrounds BP 1009 reel, their journey actually makes little geographical sense and we see the same buildings going past the windows on a couple of occasions. Was Jeff enjoying the conversation so much that he was going around in circles? The route is different for each:

    • Jeff's route is Charlotte Street (opposite Scala Street) then down Goodge Street to the junction with Whitfield Street. We pick him up again after he has turned off Tottenham Court Road onto Grafton Way.

    • Jeannie's route is Charlotte Street past the Tottenham Street and Scala Street intersections. She then turns on to Goodge Street (twice!) and we then pick her up again on Tottenham Court Road by the row of shops that used to be between the deep level shelter entrance and Lloyd's Bank.

    We wouldn't normally cry "cock-up" for backgrounds not making geographical sense, but the repeated shots of the same buildings land it slap bang in the middle of cock-up territory!

  • At 25 minutes and 44 seconds, the shadow of a moving boom microphone can be seen on the upper part of the wall, swapping left and right between Kenneth Cope and Mike Pratt as their characters' conversation about Laura Watson is played out.

  • At 32 minutes and 51 seconds, we see Jeff ring at the front door and stand waiting for a response. When he is let in to the entrance hall some twenty seconds later, he appears already to have got past the front door as there is a brick wall behind him when George opens the door to him.

  • At 44 minutes and 2 seconds, Mike Pratt, having cut the electric cable to the lock above the door at the Fosters' with the sword, tries to swipe at lock itself and break it off. He fails to make any impression, but then continues as if he has!

  • And Finally... One wonders whether the Foster brothers' audacious scheme has been hatched out of desperation when faced with mounting bills resulting from so many years of failed spiritual experimentation. The costs involved in replacing broken chinaware alone must have caused them to remortgage their mansion several times over!

Plotline: Scoton Productions / ITC UK Transmissions by Simon Coward and Alan Hayes
Review by Alan Hayes Declassified by Alan Hayes
with thanks to Alys Hayes, Vince Cox, John Holburn, Anthony McKay and Andrew Pixley

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