as explained in this previous Blog of mine: http://numbersixwasinnocent.blogspot.com/2009/06/who-controls-past-controls-future-who.html
The complexity of It’s Your Funeral may even have affected the production of it. Derren Nesbitt is documented as having not understood what was going on, and said the episode’s director, Robert Asher concurred with him. This may be because the plot was so serpentine, let’s peel back the onion-skins and try to get some idea of what was going on: The episode opens with a young woman seemingly attempting to gain the help of Number Six in averting an assassination. However the viewer becomes privy to the fact that she is unknowingly being manipulated by the current Number Two to implicate Number six into a plot he otherwise would not know about. As so often is the case in the show, Number Six instinctively grasps all is not as it seems and shares the viewer’s suspicions. We see what he sees, but with more clarity than he ever can.
The episode then segues into a long sequence where a computer is deemed to be able to predict a man’s daily activities by the simple method of accumulating observations and deriving probabilities (much like internet marketing attempts nowadays). During this segment we meet Number 100 – a warder purporting to be a prisoner. He is the inside man. A Kosho match, serving only to give an opportunity to ensure Number Six eventually visits the village watchmaker, then follows these scenes. Thence Number Six meets the young woman again and is convinced that the assassination plot is a real one after all. The key to Number Six’s motivations for his further actions is then profiled;
One small element of this episode that I quite enjoy is the incorporation of Jammers. The suggestion of a group of villagers who set out to confuse and block the village operation is a direct feedback from a feature of the Cold war that was especially relevant in Berlin – the archetype of a cold war village that I featured a while back…
“There was a bit where he had to get on top of me and strangle me and I had to push him off… and he was really strangling me. I looked up and I could see these mad eyes looking down at me and I thought, ‘He’s gone, he’s gone…’ and his face was contorted with rage… and he’s a big man.”