When a bomb goes off in a restaurant where he is eating, causing some fatalities, Bodie assumes that he was the intended victim. In fact the real target is a seemingly inoffensive ... See full summary »

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Writers:

(creator), | 1 more credit »
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Cast

Episode cast overview, first billed only:
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Brian Forrest
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Peter Crabbe
Rachel Herbert ...
Madge Forrest
Rod Culbertson ...
Arthur Pendle
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Braddock
John Bay ...
Haskell
Deirdre Costello ...
Sally Pendle
Robert Rietty ...
Gino
Robert Dorning ...
Padgett
Hilary Ryan ...
Carol Forrest
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Grant
Alan Leith ...
MacNeil
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Storyline

When a bomb goes off in a restaurant where he is eating, causing some fatalities, Bodie assumes that he was the intended victim. In fact the real target is a seemingly inoffensive accountant who actually has been given a new identity after giving evidence against a gang of American mobsters. The chase is on as to who will reach him first - the villains, the F.B.I or Bodie, with a puzzled Doyle in tow. Written by don @ minifie-1

Plot Summary | Plot Synopsis

Genres:

Action | Comedy | Crime

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Details

Release Date:

28 October 1978 (UK)  »

Company Credits

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Did You Know?

Trivia

The scene where the Triumph crashed was no carefully-staged accident: the car skidded and collided with camera operator John Maskall. See more »

Goofs

When Braddock's Triumph 2000 chases Bodie's Ford Capri for the second time, Bodie turns his steering wheel to the left (as seen from an interior shot) but the car turns sharply to the right (as seen from outside). See more »

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User Reviews

 
A cracking episode: perhaps worth of study
24 April 2010 | by (London) – See all my reviews

Never less than competent, "The Professionals" was however quite variable. But when it was good it was good in all departments. Something seemed to inspire all concerned to give their best. Sometimes it was a particularly good script. Here the direction/editing seems to have been the stimulus. Nearly every character gives more than simply delivering their lines - even baddies are individuals with a degree of depth, visually expressing thoughts at the end of their pieces of dialogue; the editing delaying cuts to allow the viewer to see those thoughts.

More obvious are the very spirited indeed desperate fight scenes. Bodie was never more aggressive, Doyle hardly ever more hard pressed and near the end of his tether. John Carson glided easily between urbane pleasantness and almost demonic anger. Cowley never more gentle and charming when charm served his purpose. It appears that the screenplay has been imaginatively and intelligently understood and perhaps more drawn out of it than originally existed, a kind of additional depth has been created and put into the performances.

As it seemed that good direction had been the key to this episode I checked on this directors filmography and all was explained - following this has been a very successful Hollywood career. It maybe that this episode of The Professionals is worthy of study by film students. It taught me something.

With a not hugely bigger budget (35mm, better camera-work, some minor cast changes) and longer running time this could have been worthy of a cinema release.


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