Production Number: 3504 • Tape Number:
Working Title (for Remount): 'Zodiac'
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
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.
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...
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
PRODUCTION & ARCHIVE
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
UK REGIONAL PREMIERES
Midlands: Sat 26 Jan 1963, 10.05pm
ABC North: Sat 26 Jan 1963, 10.05pm
Anglia: Sat 26 Jan 1963, 10.05pm
ATV London: Sat 26 Jan 1963, 10.05pm
Border: 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
CANADA: Mon 11 Jan 1965
FRANCE: Thu 5 Mar 1998
GERMANY: Mon 3 Jan 2011
MALAYSIA: Sat 21 Feb 1970
UNITED KINGDOM: Sat 26 Jan 1963
CHARACTERS & CAST
Dr Cosmo Gallion
Dr Peter Neville
Extra with Dog
Camera Script PDF •
Writer – Doreen Montgomery
Series Theme & Music – Johnny Dankworth
Special Wardrobe Designer for Honor Blackman - Michael
Dance Direction – Pat Kirshner
Designer – Terry Green
Story Editors – John Bryce (Original) and
Richard Bates (Remount)
Producers – Leonard White (Original) and John Bryce
Director – Peter Hammond
Production Assistant –
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
Supervisor – H.W. Richards
Senior Cameraman – Tom Clegg
Sound Supervisor – John Tasker
Grams Operator - Uncredited
Racks Supervisor - Uncredited
Vision Mixer - Gordon Hesketh
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.
WARLOCK • DECLASSIFIED
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."
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
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
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
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...
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:
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...
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 (SURPRISED): Mrs Gale?
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
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
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
CATHY: If you had asked me, Mr Steed,
I could have told you all that, and saved
you the trouble of having me 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
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
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.
makes to leave.
STEED: Can I see you some time?
STEED: Can I phone you?
STEED: Can I write you a letter?
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.
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...
barmaid brings a drink to One-Ten, who
BARMAID: Thank you, sir.
ONE-TEN: Have you any crisps?
BARMAID: Yes, sir.
ONE-TEN: I'll have a packet.
barmaid produces them. One-Ten opens the
packet, and starts to eat. The barmaid
brings him his change.
ONE-TEN: Thank you.
another crisp, then turns as Steed and
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?
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,
STEED (SMILES): You keep your secrets
CATHY: No better than any other
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.
returns with the drinks.
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...
STEED (TO ONE-TEN): It was a clever
ONE-TEN: Yes. You should get on well
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.
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.
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.
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.
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.
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.
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
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).
photographs indicate that Peter Arne was originally
going to bare his chest during his final scene,
further sexing up the occult ritual that is
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.
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
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:
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.
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
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!
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
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