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The nightclub scenes are, yet again, an overwhelming embarrassment and full of forced and non-fluid interaction, while the hints that Rob's motives might be less than altruistic are unengaging and ponderous.
The staged stabbing twist that allows Rachel to go undercover must have looked great on paper, but was bafflingly realised. For a start, the ambulance is almost there before she hits the ground and the frenetic pace appears to be an attempt to prevent the audience from being able to pause for thought. Why didn't one of her MI5 pals pose as a civilian and go in the ambulance with her?
Quite often it seems that the act of thinking is counterproductive to any enjoyment of Spooks: Code 9. In that sense, the show can claim to be Orwellian in nature - albeit inadvertently and much to its own detriment.
Nonetheless, at least this was an attempt to create some interesting drama and propelled the plot in new directions. Crucially, it allowed a wonderful guest turn from Anthony Flanagan as the devious Tom. However, his scenes were somewhat marred by Ruta Gedmintas' unconvincing delivery as Rachel.
There was a rare moment of inspired humour when Kylie discreetly grabbed Vik's shirt button and planted it on Peter Norris - and promptly told him it was an explosive device that would detonate should he deviate from the plan. Kylie was also a key part of the bullet-strewn climax, which gave a brief shot of adrenalin to the narrative. It must be said though - how on earth did everyone keep missing each other from point blank range even though they were on moving cars?
Finally, a much-needed sense of plot progression finally arrived when it emerged that the perpetrators of the 2012 bombing may well still be alive. It's criminally taken four episodes to rouse a modicum of interest, but is it too little too late for Code 9?
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