I absolutely adore this story! It was the first Ace of Wands serial that I got in a VHS tape swap in the mid-nineties, and the show went from “this might be nice to see if I can ever find anybody with episodes” to “Who has this?! I must have more!!” immediately.
In it, an armored car leaves a large cash delivery at an abandoned house in a deserted street, and Mikki desires a holiday to a remote seashore that she would never normally visit. Tarot’s questioning leads him to a wild conclusion: the ordinary-looking man that Mikki met outside her bank is an amazingly powerful hypnotist. Mr. Peacock is played by Brian Wilde, who would go on to huge mainstream success with regular roles in the sitcoms Porridge and Last of the Summer Wine later in the seventies.
I learned of Ace of Wands through Roger Fulton’s seminal Encyclopedia of TV Science Fiction, which suggested the show’s offbeat villains were something like those from Batman. That’s a really poor comparison; Mr. Peacock, Quabal, and Mr. Spoon are far too quirky and strange to be limited like that. But what amazed me when I saw it was how this story by P.J. Hammond takes a very natural turn into becoming almost a pilot for a proto-Sapphire & Steel, and not even remotely like Batman. As Tarot tries to project the seashore image back to Mr. Peacock, it’s accompanied by haunting sound effects and camera tricks, building to the phenomenally creepy reveal of Mr. Peacock watching our heroes through his sitting room mirror, and gently sing-songing “I’m coming to get you,” like a child playing hide and seek. They could have restaged this scene precisely in 1978 with David McCallum and Joanna Lumley in the middle of that story about the railway station, with Wilde playing one of the ghosts.
Bringing this post back to Earth for a moment, one reason among many that Ace of Wands seems sloppy and amateurish even by 1972 standards is that none of the episode endings are actually shot like endings. Events happen until the credits roll. There’s no sense of style, no closeups, no crash of music, nothing visually dramatic at all. The story reaches its cliffhanger moment and suddenly there are closing credits. The episodes, in other words, have their endings edited into place rather than having endings actually filmed or taped. But the cliffhanger to this story’s first episode is so thunderously good that it surpasses the clumsy production. “That was crazy,” our son shouted. “Tarot thought he was on a high building when he was really standing on a rock!” And Chas, standing four feet away from him, was hypnotized into thinking he was trapped in a room with no doors. It’s such a wild and imaginative moment that the thrill completely overwhelms the limits of the production.