By Tina Wyngarde-Hopkins

Having watched Checkmate countless times over the years, I’ve come to the conclusion that the plan to escape was not No.6’s own, but that of the Authorities – perhaps to prove to him that escaped from The Village was impossible, and that any future attempts would therefore be futile. Let’s look at the evidence:

As the story begins, we see the Villagers is taking part in a game of human chess. Although the three opening moves a standard, the fourth: ‘Knight to Knight’s Bishop’ is rather bemusing, which begs the question – if black represents authority, might that be an indication of their ability to change the rules at will?

We are then introduced to the enigmatic ‘Man with the Stick’, who blatantly grabs the attention of No.6 by ignoring the sudden presence of Rover while all the other villagers remain perfectly still. Surely if he had not been working on the side of the authorities, he’d have been attacked without question? Having made the acquaintance of this gentleman, No.6 is informed that if an escape plan is to be successful, then he must first distinguish between “black and white” – meaning, between Prisoner and Guardian. No.6 is told that this might be achieved by judging the attitude of each individual, suggesting that the more assertive among their number must therefore be Guardians.

Initially, he decides to apply this test to ‘The Rook’ (No.58), who had dared to make a move on his own initiative during the chess game the previous day. Having perceived that ‘The Rook’ is an individualist, No.6 feels that he is someone in whom he can confide. This was of course his first major mistake since No.58, having undergone rehabilitation at the hands of No.2, is himself intimidated by No.6’s apparent air of authority and is convinced that he is a Guardian.

Having been specifically sought out to attend the so-called “rehabilitation” session at the hospital, I suspect that No.6, and not ‘The Rook’, was the main subject of No.2’s experiment. By observing No.6’s reactions to number No.58’s apparent distress, No.2 may have learned much more about his guest’s behavioural patterns than might have otherwise been allowed. By subliminally pointing him in the direction of ‘The Rook’, No.2 had already begun to take control of the game.

As No.6 busies himself with his recruitment of more villagers ‘The Rook’, fearing that he himself may be implicated, presumably decides to betrays his new comrade by reporting his movements to No.2. This, of course, was exactly what had been expected.

Meanwhile, No.6’s continued rejection of ‘The Queen’ might’ve proved to be his second fatal error. If we are to assume that the story is based on the game of chess, then it must be accepted that ‘The Queen’ is the most powerful piece on the board, if only for her great mobility – i.e. she can move as far as she likes along any horizontal, vertical or diagonal line. Perhaps if No.6 had had a less arrogant, chauvinistic attitude toward her, he may have realised this. Ergo, she just might have proven to be his greatest ally(?).

Might we also speculate that by sending ‘The Queen’. out to openly pursue No.6, No.2 had, in effect, satisfied his quarry’s expectations, and had thus thrown him off his game?

Since the men in the Control Room appeared to be taking the radio message regarding the supposed plane crash as fact, it becomes apparent that No.2 was working alone. It’s at this point that No.6 fails to consider the possibility of a patrol of the coastal perimeter. He also fails to question the somewhat convenient positioning of the MS Polotska when broadcasting his Mayday. In his role as the grandmaster, and with the assistance of ‘The Rook’, No.2 is able to predict each and every move that No.6 will make in advance, and having placed his chess pieces perfectly on the board, No.6 soon to find himself in check!

The most puzzling incident of all, however, is the look of absolute astonishment on No.6’s face when he sees No.2 on the two-way monitor and realises that The Polotska is in fact their ship. Surely for a man of such intelligence and biting suspicion, the possibility must have occurred to him?

Checkmate!

In Conclusion

This episode, which was the first of the series in which No.6 was not seen as the only individualist in The Village, demonstrates how efficient and effective the authority’s surveillance systems were – proving how unlikely the possibility of escape is.

We also learn of a huge flaw in the make-up of No.6 character – that being his loss of reason when presented with what he considers to be a sure-fire means of escape. For someone so naturally suspicious, he certainly appeared to take ‘The Man With The Stick’ at his word. Clearly No.2 knew No.6 somewhat better than he knew himself, and he used that knowledge to teach his unruly ‘guest’ a lesson.

Anyone for a game of chess?

Facts & Figures

• Checkmate (or ‘The Queen’s Pawn’ as was its original title), was the third episode of The Prisoner to be shot. Filming began on Saturday 17th September, 1966 at Portmerion in North Wales, but Peter only took up residence in ‘The Green Dome’ some six weeks later at the beginning of November. All his scenes were filmed at Elstree Studios in Hertfordshire.
• Part of the set seen in Checkmate was originally constructed for the making of the war film, The Dirty Dozen, which had been shot at Elstree earlier in the same year.
• Although Checkmate was one of the earliest episodes of the series to be recorded, it was the 9^th episode to be broadcast in Britain, and the 11th in the USA.
• The karate chop that Peter executes as No.2, was totally authentic, and had been rehearsed behind closed doors for weeks prior to filming.
• Checkmate was the only episode of The Prisoner to show an interior view of the sinister Watchtower.
• Peter once said that the most nerve-racking part of playing No.2 was Patrick McGoohan’s insistence that he played the character as himself!
• In a recent poll in Six of One – The Prisoner Appreciation Society magazine – Checkmate came runner up only to Arrival in a vote of favourite episodes.
• One of the most puzzling comments in the episode comes from ‘The Man With Stick’, who congratulates No.6 on playing a “fine game of chess”. The fact that No.6 had merely been a lowly Pawn and had moved just two squares, didn’t appear to concern him!
• The only memento that Peter kept from his all-too-brief appearance in the series were the plimsolls he wore as No.2.
• Prisoner expert, Roger Langley, lists Peter amongst his top 20 favourite actors from the series, which boasts over 200 individual performers. He says the smooth but cold No.2: “Portrayed by Wyngarde fights to keep himself under control. The nearest we see to a show of aggression is the splitting of a plank by a deft karate blow. The village leader, with his scarf draped across his shoulder, could be a college professor. He is well-spoken, well-mannered and obviously well-bred. He is full of charm, but appears capable of applying whatever degree of force might be needed. Wyngarde capably brings off a performance of a man who will use his own disciplined methods to exert power over those who would conspire against him”.

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Where imitation is the sincerest form of flattery!

The Two Ronnies Series 3 – Episode 5

Broadcast: 22nd November, 1973. 11 mins.

Ronnie Corbett took the role of Jason King, who is in Oxford to pick up an award for “Services to mankind… and womankind.” 

We find him in a punt on the river with his girlfriend, Angela Fitzupton (played by Julie Crosthwaite). Suddenly, Angela screams out and points to a body which his lying partly in the river. Jason is horrified when they reach bank, but only because the corpse is wearing the same shoes as him!

Ronnie Corbett as Jason King

Walking close to the river is the famous crime writer and criminologist, Miss Wilberforce (Ronnie Barker), who Jason visits to enquire if she saw anything suspicious while she was out catching butterflies. We learn that the body is that of a Don from one of the Oxford colleges who, it transpires, had been poisoned with deadly nightshade. The twist in the story is that the prime suspect, Professor Sax, and Miss Wilberforce are one and the same.

Detectives On The Edge Of a Nervous Breakdown Series 7 -Episode 1

Broadcast: 22nd April, 1993. 32 mins.

The Comic Strip was a periodic series of satires and spoofs that helped bring alternative comedy to the mainstream and forge a comedy reputation for then-new Channel 4. The title itself was a parody of the 1988 film, ‘Women On The Verge Of A Nervous Breakdown’.

In a sequel to feature film spin-off, ‘The Bullshitters’ featuring the characters Bonehead and Foyle (for this read Bodie and Doyle of ‘The Professionals), who are called in to solve a 70s-style murder. Unfortunately, so are 70s detectives Shouting George of The Weeney (Jack Regan – ‘The Sweeny’) and Jason Bentley of Department Z (Jason King – Department S), and 90s Northern detective Dave Spanker (Dave Spender – ‘Spender’).

Jason Bentley, played by Peter Richardson, owns a 1970s retro clothes shop called Flares ‘R’ Us and, of course, drives a Bentley Continental at a very sedate, unhurried speed, as he’d portrayed here as having claret in one had (Jason King never drank Claret, as his favourite tipples were vintage Champagne or Stornoway Whisky). Nevertheless, he rues the day when drinking in such a way might be made illegal.

Peter Richardson as Jason Bentley

When it comes to solving crimes, Bentley prefers to make no visible effort at all, as he anticipates that all the plot devices required to solve the case will arrive by themselves in due course.

The film employed techniques of metafictional parody to make overt critical comparisons between 1990s TV detective shows and their 1970s counterparts. The editorial line taken throughout the film presents a very affectionate portrayal of several of these 1970s shows, despite acknowledging their use of methods and styles that had since become somewhat clichéd.

When Peter was interviewed on ‘Pebble Mill’ (BBC1 – 6th May, 1994), he said he was flattered by the film, but insisted that Jason King would never wear crushed velvet.

Jeremy Clarkson Promotional Film

Filmed: Friday, 8th May, 2015

Presenter, Jeremy Clarkson, donned a false moustache and a garish pink cravat to shoot a short sequence to publicise his up-coming arena tour of the UK, and paid homage to Jason King with his ‘Jason Clarkson’ send-up.

Clarkson as Jason Clarkson

Clarkson had become a free agent following his high-profile departure from BBC show ‘Top Gear’, was seen jumping from his vintage Jensen sports car – another seventies throwback – and rolling across a large mat as a camera crew filmed close by.

Above: Peter and Janet Blair with members of the crew

JULY 1961

(i) The first day of action takes place on the set at Beaconsfield Studios and involves Peter, in the role of Professor Norman Taylor, being pursued down the corridors of Hempnell College by an enormous eagle, which is seen towards the end of the film.

During the scene, Peter is required to hurl various items in the direction of the giant bird, which will be superimposed onto the film in post production. As a precaution, Cinematographer, Reg Wyre, suggests that the Director might consider placing a piece of Perspex in front of the camera in case Peter were to accidently hit the lens.

However Director, Sidney Hayers, dismisses the idea, saying: “He’s as much chance of hitting the lens as I have hitting the moon!”

As the camera starts rolling, and Peter begins screaming and hurling objects around the room, a bottle flies out of his hand and straight into the camera lens – shattering it into an infinite number of pieces. Trust Peter to prove the boss wrong!

(ii) American actress, Janet Blair, arrives on set at her usual time of 9.30am. She’s to feature in a scene with Peter and Margaret Johnson, who plays the evil College Principal, Flora Carr.

Above: Janet Blair with Lochanvir the Eagle and his trainer the Eagle

The sequence focuses on Flora as she attacks the defenceless Tansy, who is confined to bed. Thankfully, her husband, Norman, arrives home in the nick of time, and succeeds in rescuing his wife from the clutches of the wicked crone.

Sadly, this particular scene was cut from the European version of the film, but it did survive in the American release, which has the alternate title, ‘Burn, Witch, Burn’. (Please see a still which was taken during the sequence below).

Above: This scene featuring Peter, Janet Blair and Margaret Johnson was cut from the final edit

(iii) It is 7.30am, and the cast and crew have boarded a bus which is heading to Taplow in Buckinghamshire, which is to double as the village of Hempnell.

The main shot of the day will involve Peter crossing a narrow road near his fictional home, as he makes his way to the college after what had proved to be an eventful weekend.

The scene calls for Peter to step out into the road just as a large van comes into view around a sharp bend, and almost hits the visibly shaken Professor.

Sidney Hayers discusses the sequence with Peter – advising that he would prefer to use a stunt double. But when Peter insists on doing his own stunts wherever possible, Hayers decides to shoot the piece in close-up as opposed to the original long-shot. A short debate is had between Peter, Hayers and the Stunt Coordinator, during which Peter is assured that he will be perfectly safe.

(It should be noted at this point that it was Hayers’ who was certain that Peter wouldn’t hit the camera lens with a projectile in an earlier scene, only to have been proved disastrously wrong!)

To be on the safe side, Hayers orders a dummy run in order to ensure the safety of his leading man, but as the time of the actual ‘Take’ draws ever closer, the Stunt Coordinator begins to show increasing signs of doubt.

As Hayers calls for order on the set, Peter takes up his position on the pavement on the opposite side of the road to the College entrance. Right on cue, the van rounds the bend, but as Peter steps out, the HGV passes much closer than had originally been expected, and clips Peter. Thankfully, a quick check by on-set medical staff confirms that he hasn’t been badly injured, and he’s given the all clear to carry on.

(iv) Director Hayers appears to have chosen the coldest day of the year to take the cast and crew to a Cornish beach, where several crucial scenes are to be shot

Above: Peter and the crew filming on the cliffs at Porthcurno Beach, Cornwall

Peter is put through his paces high up on a steep cliff face, where he’s instructed by Hayers to both climb and descend some dangerous-looking rocks, over and over again until the Director is happy with the ‘Take’. A longshot is then added of Peter running along a deserted stretch of beach in broad daylight, that was later given the effect of being filmed around midnight.

Meanwhile, Peter’s co-star, Janet Blair, concludes her scenes on the beach, where she’s sprayed with water as she’s seen to be walking from the waves. Once the Director is happy with the shot, Ms Blair is brought dry clothes and is allowed to change into them.

(v) For one particular sequences in the film, Sidney Hayers chose to use a 9mm lens to show the action from Janet Blair’s dazed point of view. During the early Sixties, the zoom lens was hardly ever used in film-making, and so Night of the Eagle became a forerunner for the particular technique.

One of the scenes where this method was used was during the sequence at the cliff-top cottage, where Tansy is coming out of her trance. She opens her eyes to find Peter and a doctor looking down at her. Hayers said that he’d used the method to distort the two men’s faces – i.e. to elongate their noses, giving them the look of an eagle.

Peter, however, didn’t share Hayers’ view of the shots, and was none too pleased with the result. When he eventually saw the ‘Rushes’ of that day’s filming, he apparently yelled: “Sidney, you’re not going to use that! For God’s sake!” He did!

Gallery

Peter and director, Sidney Hayers. go over a few points on set

Peter with crew members – including, Sidney Hayers (Director), Eric Bayman (Sound), Gerry Turpin (Camera)

Filming the scene in which Peter, as Professor Taylor, pursues his wife, Tansy, who has boarded a bus to their weekend cottage on the coast

Peter with Judith Stott who played Margaret Abbott in the film.

Woollen cardigans and coats are the order of the day between takes on an obviously chilly beach

Peter and Sidney Hayers on the cliffs at Porthcurno Beach

Peter and members of the crew on the cliffs at Pedn Vounder Beach

Peter being filmed running down Pedn Vounder Beach

Peter and his Welsh Corgi, Cassio

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