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The Episode Guide to Season 4 (1965-6) of The Avengers

Episode 21 - A Touch of Brimstone

Episode Rating

Subject 0-5 Subject 0-5 Subject 0-5 Subject 0-5
Direction
4½ stars
Music
4½ stars
Humour 5 stars Intros/tags 5 stars
Villains 5 stars Plot 5 stars Emma 5 stars Sets/Props 5 stars
Overall
(0-10)
It doesn't get much better than this. Wyngarde is fantastic as the villain, and Mrs Peel looks fantastic, both before and after her drug-altered Queen of Sin transformation. A great plot and debauched characterisations, fantastic sets and great acting by the ensemble cast. 10 stars

The Cars

Marque/Model/Type Number Plate
Bentley UW 4887
Four-horse carriage Chippenham Stage

Who's Killing Whom?

Victim Killer Method
click a name to see the face
VIP Willy Frant V* electrocution
Lord Darcy Willy Frant V* trapdoor into river
John Cartney V* John Cartney V* & Emma trapdoor into river (accidental)

continuity and trivia

Cartney certainly eats lively chocolates! The close ups of his armchair have been recut with the television footage in the editing room, but this means we see the chocolate on the chair before he picks them out of the box.

22:28 - Steed's patent hangover cure, which he calls "National Anthem" comprises two eggs, sugar and worcester sauce.

39:30 - Emma turns tail and hears for the staircase when the box is opened to reveal TNT inside the fireworks boxes - but there's no way she could have seen if from where she was.

43:53 - the couldn't have sex scenes on Sixties television, but we come close here. Cartney says Mrs Peel is theirs, to de with as they will. The men rush her and carry her around the room with the women throwing petals over her, before descending the stairs. At that point the camera cuts back to Mrs Peel's snake, no longer flaccid in her hands but now before the fire, it's long neck rearing up and erect.

Mrs Peel's snake seems to... uh... grow from a reasonably sized python when she's holding it to a much larger constrictor when it's crawling around the mantel. Paging Dr Freud!

Cast notes

© Piers Johnson 2000-9