the Church of Taren Capel. Iago discovers that Capel has already programmed several robots in Kaldor City to become killers, with only a trigger phrase — specified in his diary — required to activate them. The diary is also kept with Capel's genuine skull, recovered from the desert. The play closes with a grand piece of misdirection, with Iago managing to convince Uvanov of the danger but with the robots being triggered: this created expectations that the following plays would deal with a robot-destroyed city. Taren Capel also saw the apparent departure of Carnell, although the character may have returned in the following play: it is likely, however, that the Carnell in Checkmate was a projection of Iago's mind and/or the Fendahl, rather than the actual psychostrategist. Checkmate Checkmate by Alan Stevens continues directly after the events of Taren Capel, and whilst it ostensibly deals with Uvanov and Iago's struggle to contain the threat of the killer robots, it becomes clear as the play progresses that another plot is being hatched: the Church of Taren Capel seem more concerned with Capel's skull than with his diaries, and eventually the skull is used to bring forth the Fendahl (mirroring events in the television serial Image of the Fendahl). At the close of the play, Iago is shot and apparently dying, when the Fendahl (through Iago's paramour) offers him a deal. This seems to involve him going back in time and killing his lover, although this may have been an illusion created by the Fendahl for its own ends. Following the release of this play, and the death of Russell Hunter, it was generally assumed that the Kaldor City audios had reached a natural end. The Prisoner This was a 20 minute play featuring Paul Darrow and Peter Miles reprising roles they had played in the Kaldor City series, written by Alan Stevens and Fiona Moore for release on the CD The Actor Speaks: Paul Darrow, produced by MJTV. The play features an interrogation between Kaston Iago and Firstmaster Landerchild, whereby Iago attempts to convince his interrogator that they are both figments of something else's imagination. In fact, this is a technique that appears to work so well that by the end of the play, both characters seem to disappear. The title refers to the writers' interest in the ATV series The Prisoner, and whilst it also suggests that (like that TV