he dealt every day in his pre-prison life; a semi-drunken encounter with a woman who tries to steal his money and using his detective skills to trace the wife of a fellow inmate from the prison he has just been released from. Marker meets his parole officer, Mr Hull (played by John Grieve) and gets a job with a local builder, Mr Kendrick. In the third episode of the series, "Paid in Full", a colleague at Kendrick's yard has his pay packet stolen (workers in Britain were still paid in cash, rather than by cheque or bank transfer, in the late 1960s). Although completely innocent of any wrongdoing (as he points out, he would be stupid to steal the money as it would immediately end his parole and send him back to prison) Marker is placed under immense pressure by Kendrick's other employees once they find out he is an ex-prisoner. The episode ends with Marker reluctantly agreeing to give up the job at Kendrick's, and graphically illustrates the problems faced by ex-convicts as they try to reintegrate into society. "Paid in Full" also contains a scene where Marker visits an antiques shop in Brighton to enjoy his newfound freedom to purchase something with the money he is earning. A conversation ensues with the old lady who owns the shop, wherein Marker explains some of his family history. The fourth episode in the Brighton series, "My Life's My Own", is a direct sequel to the Armchair Theatre play Wednesday's Child, though the role of Shirley is played by Stephanie Beacham in Public Eye and Prunella Ransome in the earlier Armchair Theatre episode (the other two overlapping roles are played by the same actors, however). This episode is also notable for an early television treatment of a lesbian relationship. The Brighton series sees Marker establish a platonic friendship with Mrs Mortimer. Although he is told that she is a widow, she later confides in him that she has a husband who left her, and who she presumes is still alive. She tells the probation service she is a widow because she feels it would be more socially acceptable for a widow to be seen to take in ex-prisoners as lodgers—an interesting comment on the social attitudes of late-1960s England. Towards the end of the series, Marker works briefly for another enquiry agent, Rylands—in "The Comedian's Graveyard" he is hired to trace