Production Number: 3504 Tape Number: VTR/ABC/1854
Working Title (for Remount): 'Zodiac'


John Steed arrives at the home of Dr Peter Neville, a scientist who has been working on a new fuel formula, only to find the man lying ill in bed, in some kind of trance. Clutched in his hand is a feather, which Steed deduces must have arrived in that morning's post. While securing Neville's papers on behalf of One-Ten, Steed notices several books on spiritualism, including one particularly unnerving volume entitled An Occult Grimoire.

Steed takes the feather to Cathy Gale, who is working in the Fossil Room of the Natural History Museum, and asks for her opinion. She agrees that it is a hex symbol used in witchcraft, and suggests that Neville might have been led into a black magic circle and had a spell put on him. When Steed protests that this man is a scientist and hardly likely to fall for such nonsense, Cathy points out that it is not a matter of intelligence but of faith. Black magicians have real power over the people who believe in them. Psychology plays a large part in the control that the warlock or male witch exerts over his victims.

At this moment, the warlock in question, one Cosmo Gallion, is meeting with his employer, a foreign agent called Markel. Markel is as sceptical as Steed, and is reluctant to hand over the agreed fee of 5,000 until the warlock has successfully delivered Neville and his formula to him. Gallion focuses his powers on the scientist...

...Who awakes to hear Gallion's voice repeating his name. Objects in Neville's bedroom seem to move about of their own accord, a strange swirling light hovers in the air, and an image of the warlock himself appears in a mirror. When Steed returns to Neville's house later on, he discovers that the man has disappeared. It would seem that there is something to this black magic business after all.

The Avengers: Series 2, Episode 5
Production Completed:
Mon 7 Jan 1963
Recording Format: 405 Line B/W Video
Archive Holding: 16mm B/W Film Recording


ABC Midlands: Sat 26 Jan 1963, 10.05pm
ABC North: Sat 26 Jan 1963, 10.05pm
Sat 26 Jan 1963, 10.05pm
ATV London: Sat 26 Jan 1963, 10.05pm
Not transmitted
Channel: Sun 27 Jan 1963, 10.35pm
Grampian: Not transmitted
Scottish: Not transmitted
Southern: Sat 26 Jan 1963, 10.05pm
Teledu Cymru: Sat 26 Jan 1963, 10.05pm
TWW: Sun 27 Jan 1963, 10.35pm
Tyne Tees:
Sat 26 Jan 1963, 10.05pm
Ulster: Sat 26 Jan 1963, 10.05pm
Westward: Sun 27 Jan 1963, 10.35pm
ARGENTINA: Tue 11 Apr 2000
Mon 11 Jan 1965
Thu 5 Mar 1998
Mon 3 Jan 2011
MALAYSIA: Sat 21 Feb 1970
UNITED KINGDOM: Sat 26 Jan 1963
John Steed
Catherine Gale
Dr Cosmo Gallion
Mrs Dunning
Dr Peter Neville
Miss Timson
Extra with Dog
 Male Extras
Female Extras
Patrick Macnee
Honor Blackman
Douglas Muir
Peter Arne
Olive Milbourne
John Hollis
Alban Blakelock
Pat Spencer
Philip Mosca
Brian Vaughan
Gordon Gardner
Susan Franklin
Herbert Nelson
Christina Ferdinando
Bill Bradley
Bill Reid
Bill Haydn
Anna Sharkey
Roy Gunson
Maggie Lee
Fred Evans
Gillian Bowden

Not released.


StudioCanal, UK: Camera Script PDF
Stills Gallery


Writer Doreen Montgomery
Series Theme & Music
Johnny Dankworth
Special Wardrobe Designer for Honor Blackman -
Michael Whittaker
Dance Direction
Pat Kirshner
Terry Green
Story Editors
John Bryce (Original) and Richard Bates (Remount)
Leonard White (Original) and John Bryce (Remount)
Peter Hammond

Production Assistant Valerie Brayden
Production Assistant (Timing) - Uncredited
Floor Manager Robert Reed
Stage Manager Nansi Davies
Call Boy John Cooper
Wardrobe Supervisor - Uncredited
Make-up Supervisor - Uncredited

Technical Supervisor Campbell Keenan
Lighting Supervisor H.W. Richards
Senior Cameraman Tom Clegg
Sound Supervisor John Tasker
Grams Operator - Uncredited
Racks Supervisor - Uncredited
Vision Mixer - Gordon Hesketh

Studio Teddington 2
An ABC Network Production


Placing Warlock in an episode guide is a tricky business. It's not simply a case of production order versus transmission order. Though scripted as Cathy Gale's introduction, Warlock went into production (in July 1962) as Honor Blackman's second Avengers episode, after Death Dispatch. However, the episode as screened was not completed until some six months later, when three scenes were remounted, removing references to this being the first meeting between Steed and Cathy. For the purposes of this episode guide, we have elected to place Warlock according to when it originally went into production. This is when the majority of the recorded material was committed to tape, and this also tallies with the episode's production number. It is a little strange that Warlock was held back for so long, because it has a lot going for it. It has a suitably quirky story angle, what with all the black magic and Cosmo Gallion (Peter Arne) toying with his voodoo dolls. There's plenty of visual appeal, in the form of some unusual apparition effects and some decidedly dirty dancing by the devotees Julia (Pat Spencer) and Mogom (Philip Mosca). Even at this early stage in her adventures, the character of Mrs Gale seems almost fully formed, appearing noticeably less tolerant of Steed's immature antics than she was in Death Dispatch, and using a judo throw for the very first time on Steed! Perhaps this episode's long stay in production hell had something to do with its dark and atypical subject matter, or the number of production gaffes, which include a dog with stage fright and a warlock with butterfingers. However, there's plenty of Avengers magic in here, too.


  • Production Brief... This episode represents Doreen Montgomery's sole contribution to The Avengers as a credited script writer though she would return to the show to create the film-era character of Emma Peel. It is quite likely that she had a hand in establishing the back-story of Cathy Gale, too, given that Warlock was originally intended to be the character's debut. Furthermore, a memo issued by producer Leonard White on Thursday 8th February 1962 suggests that Montgomery may have briefly held some kind of story-editing role on the first few Cathy Gale scripts. In his memo, White states that: "with the change-over in script-editing (Doreen Montgomery's departure) the new format scripts will be somewhat longer in coming to fruition."

  • Though the subject matter of Warlock would later be described as "horrific" by ABC's managing director Howard Thomas, it was not deemed to be a cause for concern on 20th June 1962, when the company's script supervisor Anthony John gave his report on the story's content to Thomas: "One or two small deletions and amendments have been made in the script, which is now acceptable. As you will see from the synopsis, the story revolves round black magic and the director, Peter Hammond, is well aware of the pitfalls, and I think he is treating the whole episode very sensibly. If it comes out in the way he has described, it should be a good episode ratings wise."

  • Camera rehearsals for Warlock commenced at 10.00am in Studio 2 at Teddington on Friday 6th July 1962, concluding with the pre-recording from 8.45pm of the second scene of Act 3 (set in and around Cathy's car). This scene, coded VTR/ABC/1854A, would be played into the main recording of the episode the following evening. The session ended at 9.00pm, and the actors and crew reconvened at 10.00am the next day, Saturday 7th July 1962, working towards a dress rehearsal between 4.15 and 5.30pm, and the main recording session between 6.30 and 7.30pm. This was not the final recording, however...

  • A full six months later, three scenes were partially remounted, in order to remove references to this being Steed and Cathy's first encounter. The scenes in question were Cathy's introduction in the Natural History Museum in Act 1; the aforementioned Act 3 scene in Cathy's car; and the very last scene of the episode, including the end credits. The new material was rehearsed some time after Saturday 29th December 1962, recorded on Monday 7th January 1963, and then physically edited into the episode's master videotape. The episode was transmitted from videotape on Saturday 26th January 1963 at 10.05pm, though some ITV regions commenced their transmissions one day and half an hour later, on Sunday 27th January at 10.35pm.

  • No producer or story editor is credited on screen or in TV listings for this episode. Leonard White was the producer during the initial recording, with John Bryce as his story editor, as listed in the camera script. However, by the time the remounted scenes were committed to tape, White had been succeeded by Bryce as producer, with Richard Bates now fulfilling the role of story editor. It was evidently deemed preferable to credit no one rather than to name just one man or both men in each of these roles.

  • On 28th January 1963, two days after Warlock was transmitted, Howard Thomas wrote to Brian Tesler, ABC's Controller of Programmes, noting that the episode had much in common with a black magic storyline being commissioned by Julian Wintle for another ABC series, The Human Jungle. "Could you have the scripts checked and perhaps also see whether there is any adverse reaction to the horrific edition of The Avengers?" asked Thomas. "It would not surprise me to learn that Doreen Montgomery had written The Human Jungle story under another name." On 19 February 1963, Tesler wrote back: "Warlock was returned last week from its non-simultaneous transmissions among the affiliates, and I re-ran it. I also re-read the Wintle script for Powers of Darkness. I'm satisfied that, apart from the basic coincidence of black magic as a subject, there is no similarity between the two stories. John Kruse, who wrote the Wintle script, is the originator and story editor of Human Jungle: it's unlikely that he and Doreen Montgomery are one and the same. There has been no adverse reaction to the Avengers episode." Shot on 35mm film by Independent Artists for ABC Television, The Human Jungle ran for 26 episodes across two series between 1963 and 1965. Created by Ronald J Khan, who was credited on screen as "assistant to the producers", and produced by Julian Wintle and Leslie Parkyn, the show starred Herbert Lom as psychiatrist Roger Corder. Powers of Darkness was listed as the twelfth episode of The Human Jungle in an illustrated brochure publicising the series which was issued by ABPC in February 1963. However, this episode was subsequently pulled from the schedule, replaced by a different script from the pen of John Kruse, entitled Over and Out. The reason for the dropping of the script is unclear, but the similarities cited between it and Warlock are almost certain to have played a part. This was not the end of the road for the Powers of Darkness script, which was for a while on the books of Fitzroy Films, a company created in May 1963 by Ronald J Khan, Herbert Lom and Lom's wife Dina, who planned to produce it as a feature film, entitled The Powers of Darkness. Ultimately, it went unproduced.

  • When The Human Jungle came to an end, Wintle's next television producing role would be on the film era of The Avengers. During this time, the introduction of new female regular characters into the show would make the difficulties and false starts surrounding the creation of Cathy Gale seem like a walk in the park by comparison but that is another story...

  • From the Cutting Room Floor... The three scenes from the original version of Warlock that were subsequently excised and replaced with freshly recorded scenes are here reproduced in full.

  • According to the camera script, Cathy's introductory scene as originally recorded would have played as follows:

Steed approaches Cathy in the Fossil Room of the Natural History Museum. She turns from her examination of an ancient human skull.

CATHY: Mr Steed?

STEED: Mrs Gale?


STEED: I'm sorry it's just that I didn't expect to find you so attractive. There's a dear old lady reader I know who turns out every day on a bicycle wearing a sou'wester. I suppose I expected you to look something like that.

CATHY: Aren't you being a bit old-fashioned, Mr Steed?

STEED: Should I say oilskins?

CATHY: I was told you wanted some information about black magic practices?

STEED: Yes. (HE HOLDS UP THE FEATHER.) I think this is called a hex symbol.

  • In an earlier draft of the script, quoted in The Avengers and Me, written by Patrick Macnee with Dave Rogers (1997), the scene plays out a little differently...

A temporarily shut-off room of the museum. There are glass cases containing specimens, a mammoth skeleton, maybe a reconstruction of a dinosaur. Cathy Gale is working at a table. She looks up.

CATHY: Mr Steed? Do come and sit down.



STEED: I'm sorry it's just that I didn't expect to find you so attractive.

CATHY: Just because you have to meet me at the British Museum you expect tweeds and glasses. Isn't that a bit old-fashioned of you, Mr Steed?

STEED: Perhaps, but I find it a relief in this fast-moving world.

CATHY: I was told that you wanted some information about black magic practices.

STEED: Yes. (HE HANDS HER THE FEATHER.) I think this is called a hex symbol.

  • In the transmitted version, rather than express any surprise at Cathy's good looks, Steed quotes from Hamlet, having been inspired by the sight of Cathy holding up the skull. The remainder of the scene, though mostly re-recorded, generally follows the original camera script, with the exception of small modifications such as Cathy no longer using a respectful "Mr" when addressing Steed. The remounted footage resumes as Steed alights from Cathy's car near the start of Act 3, replacing the following exchange in the camera script...

CATHY: Tell me what you've found out.

STEED: Cosmo Gallion has a pretty compact set-up. It's well organised. A smooth operation... and he's obviously got a lot to hide.

CATHY: No I mean about me.


CATHY: I know you've been snooping about my life. Did you find something to interest you?

STEED: You were married at nineteen and you went to farm in Africa. Your husband was killed four years ago, so you came back to this country. You have an honours degree, you're an expert horsewoman, an excellent photographer and a first-class shot. In fact, you're almost too good to be true. Could you pass me my umbrella?

CATHY: If you had asked me, Mr Steed, I could have told you all that, and saved you the trouble of having me followed.

STEED: Followed?

CATHY: You, or one of your minions, have been following me since the night you found me in Neville's study.

STEED: You must admit it was a bit strange finding you breaking into someone's house.

CATHY: Did I break any bones?

She starts the car and drives off at speed.

  • In the televised version, Cathy's life in Africa is touched upon, but with reference to her knowledge of witchcraft, and it is no longer suggested that Steed has been having her followed. The final remounted scene is the very last scene of the episode, which underwent considerable revision. Though the pub setting remains the same, the camera script ends with One-Ten putting in an appearance, instead of the rather weak boxing gag that was eventually broadcast...

CATHY: Thank you. I needed that.

STEED: Want another?

CATHY: No, thank you.

STEED: The doctor says Cosmo Gallion died of a heart attack.

CATHY: I suppose you could call it that. Gallion had complete faith in his power to harness evil and he believed that if he failed it would destroy him.

STEED: Tell me, something that interests me... Why if you weren't under his spell did you attend that grisly ceremony? As far as I could see, they were just about to cut you up. What did you do it for fun?!

CATHY: When I find a hunt worth joining, I like to be in at the kill.

She makes to leave.

STEED: Can I see you some time?


STEED: Can I phone you?


STEED: Can I write you a letter?

As Cathy leaves the pub, the camera moves to reveal One-Ten, who has overheard the conversation. From outside, the slamming of a car door is heard, followed by the sound of the vehicle driving away fast.

ONE-TEN (TO STEED): All the same, I think she enjoyed herself.

  • An earlier version of this scene, quoted in The Avengers and Me, is different again. Instead of Steed pursuing Cathy, it is Steed who is the less willing member of the partnership. This draft of the script gives One-Ten a much more prominent role and also reveals the full name of Gallion's client, Markel...

The barmaid brings a drink to One-Ten, who pays.

BARMAID: Thank you, sir.

ONE-TEN: Have you any crisps?

BARMAID: Yes, sir.

ONE-TEN: I'll have a packet.

The barmaid produces them. One-Ten opens the packet, and starts to eat. The barmaid brings him his change.

ONE-TEN: Thank you.

He eats another crisp, then turns as Steed and Cathy enter.

ONE-TEN (TO STEED): You're late!

STEED: I'm sorry. (TO CATHY) I'd like you to meet...

ONE-TEN (SMILES): Hello, Cathy. Half a bitter as usual?

CATHY: Please.

One-Ten turns to the barmaid.

STEED (TO CATHY): Is this where you get your laugh?

CATHY: That's right. (PAUSE) One-Ten wanted a woman used on this one. We knew you'd hate to work with a woman, so I didn't give you a chance to say no.

STEED: I should have been told.

CATHY: Well, you did try to find out, didn't you?

STEED (SMILES): You keep your secrets very well.

CATHY: No better than any other woman.

STEED: That stuff about you being a widow? Was that true?

CATHY: Oh yes... there were one or two things I wanted you to know.

One-Ten returns with the drinks.

ONE-TEN: Cheers.


ONE-TEN: We've identified the dead man as Sergei Ilyich Markel. He's been on our list for some time. The other thing is the verdict on Cosmo Gallion. Coronary thrombosis just like Peter Neville. (TO CATHY) He must have got quite a shock when he saw that you were immune to his... power.

STEED (TO ONE-TEN): It was a clever trick.

ONE-TEN: Yes. You should get on well together.


  • On Location... Three specially filmed location sequences were used during the production of Warlock, one in each act of the episode. The first of these depicts Steed walking along Cromwell Road, London SW7, and entering the Natural History Museum (duration 30 seconds). Sound was recorded on the film, though the camera script also indicates that the music described as "LINK, PACE SEXY" was played in separately from grams. The second sequence opens with a shot of a street sign indicating the junction of Covent Garden and Russell Street, London WC2. We then see Steed walking through Covent Garden fruit and vegetable market and entering the White Lion pub at 24 James Street (30 seconds). It is likely that the sounds of market traders, a clock chiming, and Steed's footsteps were on the film, though the script does not actually specify this. The most elaborate sequence occurs during the third act. Filmed at night, at an unknown location, it shows Steed arriving at and breaking into Gallion's Bookshop, fighting and chloroforming the guard dog along the way (1 minute 45 seconds). Sound for this sequence was recorded on the film.

  • There is one more segment of exterior location work used in this episode, though this was recorded on videotape rather than film. This is the insert of the Act 3 scene in and around Cathy's car, which was recorded at an unidentified location, most probably within the Teddington Studios complex. This scene was originally taped on Friday 6th July 1962, though most of the material was remounted on Monday 7th January 1963 the actors' misty breath attests to the cold temperature.

  • Trivia... It is possible that John Bryce had planned to give Warlock a different title along with the other changes carried out during the remount. In one of his first memos as producer of the series, dated 17th December 1962, Bryce refers to this episode as Zodiac. In the fullness of time, the original title was retained, quite possibly as any replacement would have necessitated the remounting of the teaser scene in addition to the three sequences that were deemed important to re-record.

  • The opening credits of this episode see the introduction of a new caption card for Honor Blackman as Cathy Gale, this time showing her in profile. This image would be reused during several subsequent episodes.

  • Cathy's first scene ends with a typical bit of 'foreground interest' courtesy of director Peter Hammond. The viewer sees the book Cathy is holding through the open jaws of a tiger skull. The camera script seems to indicate that the shot should have been taken through the "hollow eye" of the skull, rather than through its mouth. Perhaps the shape of the prop skull necessitated a slight change of plan.

  • During Cathy's second scene, she addresses Steed rather formally as "Mr Steed", somewhat betraying the fact that this episode was originally intended to be the characters' first meeting. Other instances of such formality have been eradicated by the remounting of Cathy's first scene.

  • In the camera script, Cathy tells Cosmo Gallion that she was born at midnight on 5th October 1932, a Wednesday. In the recorded episode, she is a couple of years older her date of birth is 5th October 1930, a Sunday. This revision brings the character's age closer to that of the actress: Blackman was born on 22nd August 1925. It is possible that Cathy is lying about being born at the stroke of midnight in order to attract Gallion's interest, though the actual date appears to be the truth she gives the same date of birth to Steed in The White Dwarf.

  • Patrick Macnee works in a little sympathy for Mrs Dunning (Olive Milbourne) when she and Steed discover that Neville (Alban Blakelock) has gone missing from his bedroom. In the camera script, Steed bluntly instructs the woman to: "See if he's anywhere else in the house, will you, Mrs Dunning?" On screen, he is somewhat more considerate: "Now, all right, Mrs Dunning. Now, you just go and see if he's anywhere in the house. That's it."

  • In what could be a hangover from the story format of the Dr Keel and Dr King episodes, there is a slight medical angle to the plot, which begins with a man (Neville) falling ill, requiring the attention of a GP and ultimately a pathologist.

  • The opening shot of Act 2 echoes the series' end credits, with two distorted silhouettes the shadows of the pathologist (Gordon Gardner) and his assistant, Miss Timson (Christina Ferdinando) cast against the wall of the mortuary.

  • John Hollis, who plays Markel, put his distinctive bald head to good use during an acting career that spanned more than forty years. He often portrayed sinister, foreign or alien characters, such as Lando Calrissian's cyborg aide in The Empire Strikes Back (1980), a Kryptonian elder in the first two Superman movies (1978 and 1980), the maverick scientist Sondergaard in the Doctor Who serial The Mutants (1972) and an unnamed character who is clearly supposed to be Ernst Stavro Blofeld in the opening sequence of the James Bond film For Your Eyes Only (1981). Prior to taking on the role of Markel, he played a very similar character, the Intel agent Kaufman, in the BBC science-fiction serial A for Andromeda and its sequel The Andromeda Breakthrough (1961 and 1962). Hollis would return to The Avengers in the episodes The Cybernauts (1965), The Superlative Seven (1967) and Legacy of Death (1968).

  • Rehearsal photographs indicate that Peter Arne was originally going to bare his chest during his final scene, further sexing up the occult ritual that is depicted.

  • The name of Philip Mosca's character is given as Mogam in the script and in TV listings, but as Mogom in the episode's end credits. This may indicate a minor typographical error on the caption card.

  • Bloopers... At 5 minutes and 38 seconds into the programme, we hear the impact of a small object that Patrick Macnee has knocked to the floor as Steed leaves Neville's bedroom.

  • At 6 minutes and 30 seconds, 8 minutes and 41 seconds, 34 minutes and 59 seconds, 36 minutes and 4 seconds, and 48 minutes and 46 seconds there is picture distortion where the remounted scenes have been physically spliced into the original videotape. These disturbances, called off-locks, result from the temporary loss of line synchronisation at the splice points. They would have been apparent when the episode was originally transmitted but may have worsened on subsequent replays, such as that from which the surviving telerecording was filmed. The addition of the new material also creates a few small continuity errors and other technical problems: Honor Blackman's hair has more volume to it in the remounted scenes; a few unwanted frames of the old material remain after the second edit point; the seat of Cathy's car has been reupholstered; and at the final edit point the background noise of the pub is suddenly cut off.

  • At 12 minutes and 57 seconds, there clearly isn't enough room for Neville's wardrobe doors to open properly a consequence of limited space in the studio for the set of Neville's bedroom.

  • At 14 minutes and 2 seconds, Alban Blakelock (Neville) stands on and crushes what appears to be a bit of set dressing, as he descends the stairs, producing a loud crunch.

  • At 19 minutes and 46 seconds, Douglas Muir (One-Ten) refers to one of Cosmo Gallion's previous victims as Watherson. However, elsewhere in the episode the unfortunate physicist is referred to (by Gallion and Steed) as Watterson. This is the result of inconsistent spellings in the script.

  • At 20 minutes and 6 seconds, Macnee squirts some soda into his glass and rather overdoes it his cup runneth over. The actor remains steadfastly in character: Steed, who already appears disappointed with his drink, now looks downright disgusted by what the pub's pesky siphon has made him do! He is noticeably more careful when he adds an additional dash of soda.

  • At 22 minutes and 53 seconds, the camera gets in too close to Blackman, casting a shadow on her forehead. Then, as she moves away, the cameraman loses focus on her for a few seconds.

  • At 23 minutes and 11 seconds, Cathy and Steed notice the dead Mrs Dunning for the first time. Her position on the floor of the set makes it hard to believe that they did not see her before another victim of restricted studio space.

  • At 26 minutes and 20 seconds, Peter Arne fumbles with Gallion's clipboard for a moment and then drops it. "So sorry," says Gallion to Cathy, and Arne to the director and audience.

  • At 26 minutes and 36 seconds, the camera bumps into something while closing up on Blackman.

  • At 27 minutes and 45 seconds, a rather inappropriate bit of music is played over Arne's and Blackman's lines. No music is called for at this point in the camera script. This may be a cue that was supposed to have played over an earlier scene, the location footage of Steed approaching the pub, listed in the script as "GRAMS: PACE BUSY".

  • At 31 minutes and 40 seconds, the canine performer playing the guard dog can be heard barking over the dialogue between Arne and John Hollis (Markel). It is possible that the mutt was distressed by the sound effect of a dog growling, which had been played over the end of the previous scene. The dog begins barking again at 34 minutes and 1 second, as the theme tune plays out and Gallion's disciples enter the bookshop at the start of Act 3. Clearly the creature was not a fan of Johnny Dankworth's music!

  • At 48 minutes and 49 seconds, Steed says that Gallion was working for Mogom. He should have said Markel. It is quite possible that this error was in the script for the remounted scene, rather than being a mistake by Macnee. Six months after working on the rest of the episode, it is doubtful that either name would be fresh in Macnee's mind, so it seems unlikely that the actor would mix them up.

  • Stop Press... Max North's Telereview column on page 5 of Manchester Evening News on 26th January 1963 was full of excitement about Warlock, the episode that was due to be transmitted that night: "Secret agent Steed, played by Patrick Macnee, and his co-opted helpmate, Cathy, played by Honor Blackman, are involved in black magic in tonight's Avengers episode on ITV. The chase begins when a scientist who has perfected a new fuel formula is found in a coma. Steed diagnoses particularly foul play and finds clues that the scientist belonged to a black magic circle. Was he the victim of a witch's spell? Whatever the result, the writers of the series deserve a good mark for finding yet another out-of-the-rut setting for their good-humoured thrillers."

  • And Finally... Whether this episode is viewed in transmission order or in the sequence in which it entered production, there is an unfortunate bit of repetition in each of the subsequent episodes in the progression. The next transmitted episode, The Golden Eggs, featured Peter Arne as a completely different character, Julius Redfern, which may have caused viewers some confusion. In Warlock, the villains are after the formula for a revolutionary new fuel which is of course also the subject of the next episode to go before the cameras, Propellant 23. Perhaps Neville was working on Propellant 22!

Plotline by Richard McGinlay UK Transmissions by Simon Coward, Alan Hayes and John Tomlinson
International Premieres by Denis Kirsanov Ministry Verdict by Richard McGinlay

Declassified by Richard McGinlay with Alan Hayes

With thanks to Dave Matthews, Dave Rogers, Piers Johnson, Jaz Wiseman
and StudioCanal for their kind assistance


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