Written by Tony Williamson • Directed by Ray Austin

ORIGINAL ITC SYNOPSIS

There are some things a ghost detective can do better than mortals - and one is to act as an unseen bodyguard. But the man Hopkirk has to watch can see him...

When Jeff Randall is approached by a man named Calvin Bream who claims to be a New York detective needing a bodyguard, it's obvious to Jeff that Marty Hopkirk is the choice for the job. After all, Marty is invisible.

Bream is in danger, he says, because he has put the word around in London that he is trying to recover some negotiable bonds stolen from a client of his in New York. In fact, he is pulling a double-cross on a client named Cranley. Far from being a detective, he is a con-man who has offered Cranley and his associate Miklos Corri an unlimited supply of bearer bonds. To put them off the scent, he says he is only the middle man, and he deliberately makes his clients believe that the top man is Jeff Randall.

To Marty's surprise and alarm, he discovers that an alcoholic-dazed Bream can actually see him, and this is how he comes to discover that Jeff is in grave trouble.

It seems, though, that Bream is psychic only when he is drunk. When sober, he has no idea that Marty exists. But he does confess to Jeff that if Cranley and Corri discover how he has conned them, they will kill him. He really does need protection. Overhearing this, Marty is suspicious. Cranley and Corri have already planted a murdered man in Bream's hotel room, but it is Jeff who is caught by Inspector Large with the body - and Bream, his only alibi, denies ever having seen him before.

Marty decides there is only one way to communicate with Bream, and that is to get him drunk, which he succeeds in doing and warns him that, unless he tells the truth, "I will haunt you." The scared Bream comes clean with the police, but Inspector Large threatens further action against Jeff unless he can bring in the bigger fish within a couple of days.

They turn out to be a couple of very hectic and danger-laden days. Cranley and Corri have lot of hot money which they could get out of the country only by means of bearer bonds, and they're determined to get them.

PRODUCTION & ARCHIVE
Production Code: RH/DCW/4013
Filming Dates:
November 1968 - January 1969
Production Completed:
Late May 1969
Recording Format: 35mm Colour Film
Archive Holding: 35mm Colour Film

UK REGIONAL PREMIERES

Anglia: Mon 28 Jun 1971, 11.00pm
ATV: Fri 16 Jan 1970, 7.30pm
Border: Fri 14 May 1971, 7.30pm (B/W)
Channel: Sun 22 Feb 1970, 9.10pm (B/W)
Grampian: Wed 16 Sep 1970, 8.00pm (B/W)
Granada: Sun 15 Feb 1970, 11.25pm
HTV: Sun 21 Dec 1969, 3.45pm (B/W)
LWT: Fri 2 Jan 1970, 7.30pm
Scottish:
Sun 21 May 1972, 11.20pm
Southern: Wed 25 Feb 1970, 8.00pm
Tyne Tees: Thu 4 Mar 1971, 8.00pm
Ulster: Unconfirmed
Westward: Sun 22 Feb 1970, 9.10pm (B/W)
Yorkshire: Wed 19 Aug 1970, 8.00pm
(B/W) = Transmitted in Black and White
(B/W*) = Transmitted in B/W due to ITV Colour Strike
CHARACTERS & CAST
Jeff Randall
Marty Hopkirk
Jean Hopkirk
Inspector Large
Miklos Corri
Calvin P. Bream
Perrin
Wilks
Manny
Cranley
Pl. Clothes Police Sgt
Girl in Luxury Flat
Parkin
Mike Pratt
Kenneth Cope
Annette Andre †
Ivor Dean
Kieron Moore
Anton Rodgers
Michael Gothard
Peter Jay Elliott
Reg Lye
Anthony Marlowe
Richard Kerley
Penny Brahms
Bill Reed

Annette Andre is credited but does not appear.

STAND-INS
Jeff Randall
Marty Hopkirk
Harry Fielder
Dougie Lockyer
STUNT DOUBLES
Jeff Randall Rocky Taylor
ORIGINAL SOUNDTRACK

Music for this episode was recycled from stock and therefore no release of a soundtrack of When the Spirit Moves You has been issued.

DVD EXTRAS

Network DVD (United Kingdom):
Original UK Title Sequence, Photo Gallery.
Umbrella Entertainment (Australia):

Photo Gallery.

PRODUCTION CREDITS

Writer – Tony Williamson
Series Theme & Musical Director –
Edwin Astley
Creator & Executive Story Consultant –
Dennis Spooner
Creative Consultant
- Cyril Frankel
Producer –
Monty Berman
Director –
Ray Austin

Ronald Liles (Production Supervisor)
Frank Watts and Brian Elvin (Directors of Photography)
Charles Bishop (Art Director)
Philip Aizlewood (Post Production)
Jack T. Knight (Editor)
Malcolm Christopher (Production Manager)
Jack Lowin (2nd Unit Director)
Gerald Moss (2nd Unit Cameraman)

Denis Porter & Bill Rowe (Sound Recordists)
Guy Ambler (Sound Editor)
Alan Willis (Music Editor)
John Rowe (Casting)
Sue Long (Set Dresser)
Bill Greene (Construction Manager)
Val Stewart (Camera Operator)
Gino Marotta (Assistant Director)
Sally Ball (Continuity)
Peter Dunlop (Production Buyer)
Elizabeth Romanoff (Make-Up Supervisor)
Jeannette Freeman (Hairdresser)
Laura Nightingale (Costume Supervisor)
A.J. Van Montagu (Scenic Artist)
Frank Maher (Stunt Co-ordinator)
Cinesound (Sound Effects Suppliers)
and Chambers + Partners (Titles)

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

WHEN THE SPIRIT MOVES YOU • REVIEW

An episode that feels strangely misogynistic, with virtually an all-male cast and the only female protagonist reduced to a non-speaking role with the patronising character name, 'Girl in Luxury Flat'. Unfortunately, Penny Brahm's role in the proceedings does nothing to dispel the charge, and any hope of her rising to the levels of a Laura Watson, a Dandy Garrison, Miss Holliday or Kim Wentworth rapidly turn sour - the 'character' is set decoration, nothing more, and a symptom of the times. The episode itself is entertaining, with strong turns from the excellent Anton Rodgers and Kieron Moore, and of course Ivor Dean is always a joy to watch. An honourable mention also for Michael Gothard, who delivers a memorable second string villain. Tony Williamson's script is good, and the way in which Jeff and Marty are drawn into the adventure is novel. Direction from Ray Austin is again assured, and the regulars are on good form, except of course Annette Andre, who sadly does not appear and whose character is inexplicably not even referenced. It is an episode that is marginally above average overall, which boasts some amusing business for Marty Hopkirk and a fine comic performance from Anton Rodgers. However, the absence of a single female voice from start to finish has to be a minus.

WHEN THE SPIRIT MOVES YOU • DECLASSIFIED

  • Teaser... Calvin P. Bream makes a call on a middle-aged businessman called Cranley at his high rise apartment. Bream apologises for his delayed arrival and explains that he had to shake off three clients to get to Cranley. The other man is concerned that these clients may suspect the nature of his and Bream's business. Bream puts the businessman's mind at rest. Cranley offers Bream a drink. His guest readily agrees, and asks for a whiskey. Bream asks if Cranley has considered the proposition he has made to him. Cranley replies that he found it so attractive that he brought it to the attention of a few friends - "Discreetly, of course." The self-assured smile on Bream's face drops momentarily. He recovers and asks what their reaction had been. Cranley explains that they thought the same as he does, that bearer bonds, freely negotiable outside Britain, are of great interest. "Especially if you have money you don't want people to know about..." adds Bream with a laugh. When asked if he can supply a large number of these bonds, Bream reassures his host that the supply is unlimited, and hands over the £4,000 worth that Cranley had ordered. At this point, a door opens and three men walk in from another room where they have been eavesdropping. They have a menacing air about them. One, with striking Mediterranean looks, is clearly the head of the group, while there is little doubt that the other two, thick set and threatening, are the man's minders. Cranley introduces the new arrival as Miklos Corri. Bream recognises him and appears somewhat shaken. Corri reveals that he wants all the bonds that Bream has. "One hundred and twenty five thousand would do, to begin with," adds Cranley. Bream is taken aback and collapses onto the sofa. It was lucky the sofa was there... Corri gives him two days to deliver. Bream stutters. It will be difficult to get hold of that amount. Cranley reminds Bream that he had said he could get any amount. Nervously, Bream explains that he's just the middleman. Corri is not happy dealing with middlemen, but eventually agrees that Bream should approach his contact on his behalf. He reminds Bream that only a fool would try to con him... if he wanted to stay alive.


  • Production Brief... When the Spirit Moves You was the thirteenth episode to go before the cameras. It was the third episode to have been written by Tony Williamson, who had previously written Who Killed Cock Robin? and Whoever Heard of a Ghost Dying?, and it also witnessed the return to the director's chair of Ray Austin, here in charge of his third episode of Randall and Hopkirk (Deceased). His most recent credit on the series at the time, however, had been as writer of That's How Murder Snowballs.

  • Williamson's script was written as All You Have to Do is Ask, and it was under this title that it was filmed. The phrase is one employed by Calvin P. Bream in the pre-titles teaser. The change of title to When the Spirit Moves You appears to have been taken during post-production.

  • The director of photography role for this episode was shared between Frank Watts and Brian Elvin, as both had filming commitments on Randall and Hopkirk (Deceased) and Department S during November and December 1968.

  • When the Spirit Moves You featured no role for regular star Annette Andre, and it is likely that the production team were utilising her time filming All Work and No Pay, an episode which had the character of Jeannie very much to the fore. These episodes were in simultaneous production, so it probably doesn't mean that Andre was given a holiday, as one might be led to believe. Despite her non-appearance, Annette Andre retained her contracted credit in the opening title sequence.

  • Ivor Dean makes his second appearance as Inspector Large, having debuted as the character in Whoever Heard of a Ghost Dying? Alongside him is actor Richard Kerley, credited here as 'Plain Clothes Police Sgt.'. Kerley would return as Inspector Large's right hand man in Money to Burn and Could You Recognise the Man Again? In these episodes, he was credited as Sergeant Hines, and it is fair to assume that he is playing the same character as he does in When the Spirit Moves You.

  • This episode is the first in a while to employ the 'Pepper's Ghost' technique, whereby a translucent image is projected into the camera lens by means of mirrors from an adjoining part of the set. It had last been used on the programme in the fourth episode to be filmed, A Sentimental Journey. Generally, the 'Pepper's Ghost' scenes were long-winded and awkward to set up in studio, and therefore directors would use alternative methods, often "in-camera", where possible. However, some effects, such as having Marty move through solid objects, were only possible to achieve using the time-consuming technique. It is utilised twice in the episode - first when we see Marty in close-up from Bream's perspective, and later when he demonstrates to Bream his ability to walk through walls.

  • Actor Michael Gothard appears in two sequences shot against a row of wooden-doored garages in this episode. It was at first difficult to tell whether these were shot on location or not due to convincing lighting, but the same garages appear in the subsequent episode, Never Trust a Ghost, where a wider angle reveals them to be part of a painted backdrop / photographic enlargement in the studio.

  • Production slates surviving on behind the scenes footage reveal that sequences around the Randall and Hopkirk offices were filmed on the 9th (in-studio, with actor Michael Gothard) and 22nd January 1969 (on location, at Springfield Road, Harrow, featuring a double for actor Anton Rodgers). Additionally, the two establishing shots taken at the Atlantic Hotel on Devonshire Terrace were filmed on 14th March 1969 according to a production slate retrieved from the World Backgrounds website.

  • Exact filming dates for this episode are unknown, but as it has been established that Frank Watts and Brian Elvin shared their duties between this episode and Department S in November and December 1968, and that second unit filming took place in January and March 1969, we can at least suggest a November to March filming period. A fully edited version of this episode was completed by late May 1969. It would receive its first UK broadcast on Sunday 21st December 1969 at 3.45pm when it aired in the HTV region.


  • On Location... When the Spirit Moves You boasts only a modest set of locations, with no centrepiece as such. However, the episode witnessed a timely return to the Springfield Road home of the Randall and Hopkirk offices. There was also some day-for-night filming performed in the exclusive Primrose Hill area of North West London which at the time was being regularly visited by The Avengers (Tara King's apartment is at 19A Chalcot Crescent). More details in Locations: When the Spirit Moves You.


  • Appearing This Week... The real villain of this episode, Miklos Corri, was played by the Irish actor Kieron Moore. Kieron was born Ciarán Ó hAnnracháin (Anglicised: Kieron O'Hanrahan) on 5th October 1924 in Skibbereen, County Cork. The family he was born into was staunchly Irish Gaelic-speaking. His father Peadar was a writer and poet and his interests clearly influenced his children, as Kieron's sister Neasa became a stalwart of the Raidió Éireann Players, his brother Fachtna a musical director at Raidió Éireann, and his second sister Bláithín a harpist with the National Symphony Orchestra. Kieron was not immune to the draw of the arts, and when he was invited to join the Abbey Players in the 1940s, his acceptance meant that his medical studies at University College Dublin were cut short. His time in theatre in Dublin was short but his performances well received. By the age of 19 he made his British stage debut as Heathcliff in an adaptation of Emily Brontë's Wuthering Heights (a role he would reprise four years later in 1948 for BBC Television). His first film role was as an IRA man in The Voice Within (1945), and at this time he was acting using his Anglicised name, Kieron O'Hanrahan. This was soon to change. Alexandra Korda, the acclaimed Hungarian film producer and director, was so impressed with Kieron's performance in the West End hit Red Roses for Me that he awarded Kieron a seven year contract with London Films, and this coincided with him adopting the stage name Kieron Moore. A succession of films followed, commencing with a leading role in A Man About the House (1947), the only mis-step being his role of the suave Count Vronsky in Anna Karenina (1948) opposite Vivien Leigh and Ralph Richardson, for which he received the worst notices of his career. Perhaps unfortunately, it is for this role that he is best remembered today. Kieron's film career took him to Hollywood in 1951, where he had parts in the biblical epic David and Bathsheba and Ten Tall Men, a vehicle for Burt Lancaster. Further roles across the Atlantic followed, including Darby O'Gill and the Little People (1959), which ranks among the best received live action films made by Walt Disney Productions. Meanwhile, Kieron made many films and television programmes in Britain, including roles in two episodes of Overseas Press Club - Exclusive!, a 1957 series based on true events as reported by foreign correspondents. Moving into the 1960s, Kieron turned in an acclaimed performance in the comedy-thriller The League of Gentlemen, and soon became a favoured television actor, appearing in ITC's Danger Man and Sir Francis Drake, and the BBC's Zero One and Vendetta, among others. When he appeared in Randall and Hopkirk (Deceased), he had just filmed a Department S episode, Dead Men Die Twice, also for When the Spirit Moves You's director, Ray Austin. After his appearance as Miklos Corri, Kieron's screen roles were almost exclusively for ITC, in The Aventurer, Jason King, The Protectors and The Zoo Gang. The latter would prove to be his final screen credit as he chose to retire from acting in 1974 to become a social activist on behalf of the Third World, and this led to him working with the Catholic Agency for Overseas Development (CAFOD) for nine years. During that period, he made two documentaries, Progress of Peoples (filmed in Peru) and The Parched Earth (filmed in Senegal). In later life, he turned to project managing, magazine editing and voice-over work, prior to his retirement in 1994 to the Charente-Maritime in France, where he joined the church choir, became a hospital visitor and enjoyed reading French, Spanish, English and Irish literature. Kieron Moore passed away aged 82 on 15th July 2007 and was survived by his wife, Barbara White, who he had married sixty years earlier after meeting her during filming of The Voice Within, their daughter Theresa and sons Casey, Colm and Seán.

  • Opposite Moore, playing Calvin P. Bream, was the much-loved actor Anton Rodgers, a stalwart of ITC shows and later to become a star of television situation comedy. Anton was born Anthony Rodgers in Wisbech, Cambridgeshire, on 10th January 1933. His early education was at The Royal College of St. Peter in Westminster, better known as simply Westminster School. The establishment stands in the precincts of Westminster Abbey in London, is one of Britain's leading independent schools, and dates back to the 11th century. Later, he was enrolled at performing arts schools the Italia Conti Academy and LAMDA, and first appeared on the West End stage at the tender age of 14 in Carmen at the Royal Opera House, Covent Garden. During a career encompassing seven decades between 1947 and his death in 2007, Anton enjoyed considerable success in film, television, stage and voice work. His theatrical career took him from London's West End to local repertory theatre to the Edinburgh and Chichester festivals and New York's world famous Broadway. In film, he also made his mark, appearing in the Carry On series on two occasions, Scrooge and The Man Who Haunted Himself (both 1970), The Day of the Jackal (1973), Dirty Rotten Scoundrels (1988) and The Merchant of Venice (2004). However, it was on British television that Anton Rodgers became a household name, famous for his role in the gentle situation comedies Fresh Fields and French Fields (Thames Television, 1984-1986 and 1989-1991), which focused on the lives of a devoted middle-class suburban couple. He repeated this success at the BBC between 1989 and 1994 with May to December, another comedy, this time about a widowed solicitor who marries a much younger woman. However, Anton also turned his hand to drama, his characters often having a light-hearted side, having starring roles in series such as Zodiac, Noah's Ark and C.S. Lewis - Beyond Narnia. His ITC roles included The Sentimental Agent episode The Height of Fashion, a Danger Man (Yesterday's Enemies), a Gideon's Way (The Nightlifers), A Double in Diamonds (an entry in The Saint series), a memorable turn in the two-part Man in a Suitcase, Variation on a Million Bucks, plus an episode each of The Champions (Reply Box No. 666), Department S (One of Our Aircraft is Empty), Jason King (All That Glisters) and Return of the Saint (The Debt Collectors). He was also cast as one of Patrick McGoohan's Number Two adversaries in The Prisoner (The Schizoid Man). Anton Rodgers was twice married, first to Morna Eugenie Watson in 1959, and then from 1983 to Elizabeth Garvie, 24 years his junior, who he had met filming the 1982 drama series Something in Disguise for Thames Television. His final stage engagement was in the touring production of Alan Bennett's The History Boys in 2006, but sadly ill health forced his withdrawal from the production. He passed away on 1st December 2007, and was survived by his wife Elizabeth. He fathered five children in his life, two (a son and a daughter) with his first wife, and three sons with his second.

  • Michael Gothard, excellent in When the Spirit Moves You as the henchman Perrin, was an English actor born in London on 24th June 1939. As a school leaver, he had no clear ambition and consequently wandered around Europe, paying his way doing menial jobs. During this time, he spent a year living in Paris' Latin Quarter and even found work as a photographic model. It was not a career in which he felt comfortable. He eventually set his heart on acting and upon his return to England at the age of 21, he found a job at  London's New Arts Theatre as a scenery shifter. After auditioning, he landed the lead role in an amateur movie and, in his spare time, joined an actors' workshop to gain experience and hone his technique. Before long, he was rewarded with his first major role, in the BBC's Out of the Unknown science-fiction anthology series. The episode, The Machine Stops, was an adaptation of a 1909 short story by E.M. Forster, and Michael was accorded co-star status with Yvonne Mitchell. For an inexperienced actor, it was a remarkable performance, and it led to Australian director Don Levy casting him in his challenging 1967 film, Herostratus, which concerned a young man (Gothard) who was driven to commit suicide in public by throwing himself from a tall building. Tragically, both men would later commit suicide themselves. The film brought Michael acclaim, but no major work. Consequently, he appeared in both Randall and Hopkirk (Deceased) and Department S in second-string roles, the demands of which were really beneath his ability. Slowly, he came to prominence and began to become known for playing unusual characters, often psychologically damaged types, and as he moved into the 1970s he began to work more regularly. Roles in Ken Russell's The Devils (1971), the 1972-73 television series Arthur of the Britons (in which he played a regular role as Kai, a Knight of the Round Table), a recurring role in The Three Musketeers and The Four Musketeers films in 1973 and 1974, and the menacing, non-speaking Belgian villain Loque in the James Bond film For Your Eyes Only (1981) further cemented his reputation. He continued to work in television and film, but the depression which he had suffered from for most of his life became more of an issue. Unfortunately, it was during a bout of melancholia that he committed suicide by hanging on 2nd December 1992. His final role was in David Wickes' 1992 television movie of Mary Shelley's Frankenstein, in which he played alongside Patrick Bergin and Randy Quaid. He was an actor of great versatility, who possessed the intangible ability to draw the camera to him, and his legacy is an impressive one. 


  • Trivia... There's an amusing in-joke in evidence at 7 minutes and 35 seconds into the episode, when we see Jeff has a photographic enlarger in his office. There are several prints in a box that rests on the base of the unit, and the one uppermost depicts an outstretched hand, an obvious nod to the imagery in the regular title sequence.

  • Marty's haunting of Bream involved his appearing on the ceiling, with Kenneth Cope depicted laying beside the ceiling rose of an electric light. This shot was achieved by building a small set on the floor which featured a lightbulb on a rigid cable and shooting down from above. It is a very effective and memorable shot. Later, the shot was used again with a rippled glass effect added optically in post-production, the effect denoting that the image is Bream's recollection rather than a new haunting by Marty.

  • We learn in this episode that Jeff has an account with the Rossiter and Block (Merchant Bankers) Limited. It is highly unlikely that he is one of their most prized customers... Meanwhile, Miklos Corri banks with the Martinside Bank Limited.

  • Apparently, Marty can sense a negative aura, and in this case, it is because there is a dead body hidden in the room he and Jeff are in (Bream's room at the Atlantic Hotel).

  • Actor Anton Rodgers played several scenes in this episode with a cut to his lower lip that was not adequately covered up by the make-up department. It is particularly visible in the first scene at Cranley's apartment.

  • The 'Rossiter and Block (Merchant Bankers) Limited' sign put up on the Elstree backlot for this episode can be seen briefly beside the same door in the Department S episode, The Last Train to Redbridge. With this episode having been filmed in late 1968 (in common with When the Spirit Moves You), this suggests that backlot scenes for both were filmed within days of each other.

  • This is one of only four episodes in the series to have been presented on DVD with their original British opening titles, on the Network release of the series, the other episodes being Never Trust a Ghost, Money to Burn and The Man from Nowhere. These episodes were mastered from standard prints and the title sequence was added during mastering by Network DVD to approximate how they would have looked on their original British transmissions.


  • Only You, Jeff? Calvin P. Bream can see Marty, but only if he is under the influence of alcohol. This presents Marty with a problem when it is imperative to get Bream to act on his behalf, particularly when Bream is sober and unaware of his spectral guest. It is not explained in the series whether this ability extends to anyone who is deeply inebriated or equally whether or not Bream is a latent psychic whose abilities are opened up by alcohol.


  • Ghosts and Ghoulies... Marty is the only ghost on show in When the Spirit Moves You, but clearly one ghost is more than enough for Calvin P. Bream. And this is the one where he famously haunts from the ceiling!


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

1962 Jaguar Mk X
Registration unclear
Driven by Calvin P. Bream (we assume)
 
1965 Ford Zodiac Mk III
Registration JKX 442C
Driven by Calvin P. Bream
Also appeared in:
Randall and Hopkirk (Deceased) - 'Could You Recognise the Man Again?'

1966 Ford Galaxie 500
Registration LMV 1D
Driven by Perrin and Wilks

Also appeared in:
Department S - 'The Man from X'
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'

 


  • Seen It All Before? The opening shot of the silver Jaguar car parked outside Kings Court, London NW8, was also used in the Department S episode Soup of the Day. As this episode of the sister series was filmed in June 1969, it seems likely that the shot was filmed by the second unit for Randall and Hopkirk (Deceased) and then re-used for Department S.

  • After pawning his apartment curtains and carpet in All Work and No Pay, Jeff has obviously retrieved them!

  • To represent the interior and lift of the Atlantic Hotel, set elements previously used to represent the hotel where Hendy was staying in My Late Lamented Friend and Partner were called into service and redressed to a small extent.


  • Cock Ups... If, as you would be expected to think, the car parked outside Cranley's apartment block at the very start of the episode is meant to be Bream's, then it undergoes a magical transformation from a silver Jaguar Mk X to a white Ford Zodiac Mk III when he arrives outside the Randall and Hopkirk offices 4 minutes and 47 seconds into the episode!

  • At 5 minutes into the episode, we see a shot of Perrin, parked up in his Ford Galaxie 500, looking across to Bream in his Ford Zodiac, which has just pulled up outside Randall's offices. A little later he reports to Corri that he has followed Perrin, though the editing implies that he was parked up before Bream was. For someone who was following, Perrin seems to have arrived first! How did he know where Bream was going?

  • At 5 minutes and 28 seconds, Perrin reports to Corri. He tells him that Bream has called at the offices of Randall and Hopkirk, and that "Hopkirk's not with us any more." Since the conversation reveals that neither Perrin or Corri know of Randall's business, it seems a bit of a leap that out of all the businesses listed on the doorplate, it has to be Randall that Bream is calling on. Also, Perrin must have remarkable eyesight, reading that small sign from the driving seat of his car at the roadside!

  • At 9 minutes and 55 seconds, Bream's glass refills all by itself. As Marty appears it is nearly empty, but when the camera cuts to close-up, it is half full. Then we cut to a side view and the glass is even fuller. No wonder this man gets drunk easily!

  • At 14 minutes and 10 seconds, Marty is seen leaning against Jeff's dining table, waiting for his friend to recover consciousness after the beating meted out by Perrin. As Jeff awakes and Marty rises, the table is disturbed as he moves away. A bit too corporeal...

  • At 19 minutes and 50 seconds, when Inspector Large arrives at the Atlantic Hotel, he tells Jeff that "someone heard a shot," and that it is this that has triggered his call. Since the dead man was actually killed the previous night in Jeff's flat, we can only assume that Miklos or Perrin has telephoned the police anonymously to land Bream in hot water, but this is not explained in the episode...

  • At 40 minutes and 39 seconds, Marty blows open Jeff's cabinet which contains his whiskey. The shot is taken from within the cabinet, but we clearly see that the shelving is open, without a backboard. The camera switches to the reverse angle, and as if by magic, the cabinet has a back to it! This is of course an example of the experimental photography that the Randall and Hopkirk (Deceased) team was always willing to try, but a tighter angle would have achieved the same effect without it looking wrong.


  • And Finally... In some small way, When the Spirit Moves You promotes the excessive consumption of alcohol. Marty is initially full of disdain at Bream's alcoholism until he realises that when under the influence, the con-man can actually see him. Suddenly, Marty makes it his mission to get Bream completely tiddly. "Get drunk, see Marty." Not the most memorable tag line, but it sounds rather enticing...

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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