The Crazy Kill - Series 5 Episode 4, Saturday 3rd May 1975 (ITC Movie title "The Fear Is Spreading")

The story...

Garard and Filton are two escaped convicts. Filton seems relatively unthreatening but that certainly can't be said for Garard who is a certified psychopath and a great danger to the public. To make matters worse Garard soon steals a shotgun and the pair go looking for a hideout, killing two police officers along the way. The place they find is occupied by a distinguished doctor and his partner. Garard makes it quite clear that blood will be spilled if either of them raise the alarm. Meanwhile a young American journalist - Tracy Loxton - is heading to visit the doctor's wife to discuss her priceless collection of poster art. She could not be calling at a worse time...

Garard (Anthony Valentine) threatens Dr Henson & Hilary (Denholm Elliott & Claire Nielson)

Review

Checking recently I discovered that on the Internet Movie Database this is the third highest-rated episode of Thriller, surpassed only by A Coffin for the Bride and The Double Kill. It's clearly then made a strong impression upon viewers and those high-ratings aren't based on just a handful of votes but over a hundred. This is one of those cases where my rating differs a little - for me it is a strong outing but not one of the very best - but there's no right or wrong with ratings and it's fascinating to compare with the wider cohort of viewers. While I'm not quite as won over as the general audience it is certainly a highly impressive episode and quicker-paced and more gripping than the previous week's Won't Write Home Mom - I'm Dead, also penned by Dennis Spooner from a story by Brian Clemens.

One of the key features here is the appearance of two proletarian convicts as villains. Thriller occupied a predominantly middle-class world - perfectly exemplified by the wealthy Hensons - and even its villains were usually middle class, refined and well-spoken. That is certainly not true of Garard and Filton whose accents mark them out as intruders in a social as well as a physical sense. Garard clearly likes the luxuries that Henson has to offer such as silk ties and linen shirts but he is an outsider. Later in the story Tracy's unexpected arrival leads Garard - equally unexpectedly - to impersonate a role as Henson's butler and it is a role he clearly enjoys, as well as being a quietly entertaining diversion for the viewer. A villain brandishing a shotgun a la Garard is a sight more typical of The Sweeney than Thriller. Working class villains resurfaced with a vengeance a year later in Kill Two Birds. In the later story gang leader Gadder bears some similarity with Garard - both are dominating and happy to use violence. However the psychopathic Garard is cut more from the traditional Thriller cloth; Gadder by contrast is a professional acquisitive villain with a very rational mind.

Garard has already killed before arriving at the house. The Hensons will be next if they slip up. He is a truly intimidating figure. Even his sidekick Filton is not safe from his brutality. Filton comes across as a rather pathetic personality. It isn't exactly clear why the pair are together - maybe they are friends, although Garard's behaviour towards him is often anything but friendly. Perhaps Filton is along for the support or skills he can offer (for example he does show some electronic know-how to tune into police communications). Whatever the reason his position is a precarious one. He is described as "small fry" and his offending background is not clear. However his rather disturbing remark to Hilary that he is inside for "looking after the ladies - a little too well" - suggests he is a sex offender and may be rather more dangerous - at least towards women - than his shambling demeanour implies. Indeed both he and Garard at times respond to Hilary in ways that suggest that sexual violence is a possibility - or a threat. The two are a neatly contrasting pair. Anthony Valentine is excellent as Garard while Juan Moreno, returning from his mute role in A Place to Die, performs well as Filton.

Hilary finds herself uncomfortably close to a shotgun

The hostage scenes are extremely tense and very well done. Much credit goes to Denholm Elliott for a first-class acting display as Dr. Henson. Claire Nielson is also very impressive as his partner Hilary. The pair are on a knife edge, knowing that an indiscretion could be fatal. Our sympathies are with them but maybe the opening scene should have signalled that these are more complex characters than might be supposed. Later excellent writing backed by excellent performances brings an extraordinary twist and we see them - and indeed Garard and Filton - in a very different light.

Into all this has stumbled American journalist Tracy Loxton, aiming to interview Mrs. Henson. She is unaware of the danger of Garard until well into the action while Dr. Henson and Hilary are very clearly at risk. Later though the risk to Tracy becomes all too clear and it takes an unconventional course. Tandy Cronyn as Tracy is not the most memorable of Thriller heroines - indeed it is clear that Denholm Elliott and Anthony Valentine are the stars and the captivating performers here - but she gives a sound display and makes a particularly good impression in her later scenes, particularly with Denholm Elliott.

The police enquiries take up quite a large part of this story, as they do in The Colour of Blood and File It under Fear. The police characters are nothing exceptional but there are some notable aspects. Brook (played by Alan Browning) is one of the few conventional, competent detectives in the show. He is a tough, straight-talking, authoritative man in traditional police drama mode. However even he has a weakness with attacks of malaria about which he is clearly sensitive. His Inspector is all too happy to seize on this matter and more generally question his judgement. The dissension within the senior police ranks is a fascinating sight rarely seen but probably quite realistic. The Inspector clearly resents the intervention of Brook and the consequent loss of authority. However Brook proves to be correct while he is shown up as complacent and petty. The Sergeant snipes at the Inspector in an obvious attempt to curry favour with Brook who takes him to task for this attitude. The constables get on with their jobs without getting embroiled in such politics. The deaths (off-screen) of two of their colleagues bring them together but their superiors remain at odds. Although these aspects are fascinating they are not sufficiently compelling, particularly given the amount of time devoted to the police characters.

These reservations do not prevent this being a very engaging and tense outing. Maybe it would have been useful to have had another Dennis Spooner story in the final series to reduce Brian Clemens' workload and show if he could build further on this fine script.

Won't Write Home Mom - I'm Dead - Series 5 Episode 3, Saturday 26th April 1975 (ITC movie title "Terror from Within")

The story...

Abby is an American who arrives in the UK looking for her boyfriend Doug. She comes to a village where she believes he stayed but can find no trace. She has a telepathic link with him and still hears him call her name; she is worried but still has hope. Also in the village is a bohemian group of mainly American artists, most notably Alan Smerdon, a half-cousin of Abby's she hasn't seen since childhood.

Abby has high hopes of Doug visiting Alan for his birthday party, especially as his sister was also due to come. However neither of them arrive and she then fears the worst. She starts to investigate with dangerous results.

Review

This was Pamela Franklin's second Thriller apearance in quick time in early 1975. Her earlier episode Screamer is controversial but generally well-regarded, although I find it disappointing. This outing gets a less favourable reception from fans on the whole, commonly considered one of the show's lesser episodes. Indeed that was generally my view but on very recent viewing (the first time in many years) I was very impressed and feel it has a lot more to offer than it might first seem,

Prolific TV writer Dennis Spooner (a long-time colleague of Brian Clemens) supplied his first script on-screen for Thriller here with the other - The Crazy Kill - airing the following week although in each case Clemens wrote the story outline as he did for all Thriller episodes. The basic story is certainly a very good one - a young woman arrives in an isolated small town to find her boyfriend missing. The presence of a telepathic link between them adds another dimension. Most viewers have found the actual results on-screen underwhelming, chiefly because the episode is seen as very slow. It certainly is slow although that can also be seen as atmospheric or useful in developing a mood of unease and I would tend to subscribe to the latter on recent viewing. Each viewer draws their own conclusions - which can change over time - and there is no right or wrong about whether an episode satisfies viewers but often it is useful to revisit a production to see how it comes across years later. Sometimes (maybe most of the time) opinions are little changed but occasionally they become notably more or less favourable.

The episode revolves around the heroine's concern about a missing person. This is a noted similarity with the Series 2 episode One Deadly Owner but in both cases the teaser makes clear that this person has actually been murdered and the hope they might be found alive and well is a forlorn one. The episode title here makes even more emphatic that the person concerned is dead. This is made more poignant here because the missing person is not a stranger to the heroine but her boyfriend. It's an interesting question whether the episode might have been more effective if the fate of the boyfriend (Douglas) hadn't been made clear in the teaser and viewers also held out hope he would return. While that would have its advantages it would also mean that the episode would lose some of its melancholy character - events here (and in One Deadly Owner) can become sadder because viewers know that he is dead and ultimately Abby is going to discover the tragic truth. There is of course still mystery about who killed him - and why. It might also be argued that, with this being Thriller, viewers would always suspect that the missing person had been killed so there may have been little value in not making this clear from the start. The teaser itself is a good one to draw attention as we see Doug frightened and anxious before being stabbed by an unknown assailant, then falling against the piano keyboard to create a jarring, discordant sound. 

The hippy artistic community is a weak spot. By the mid-1970's hippies had faded away but the message hadn't always got through to TV producers. The "American" ancillary characters such as Hank are rather stereotypical and of limited value. It is an irony that the episode with the highest number of American characters should contain not a single American actor. Thankfully these ancillaries are not seen that often. Their presence early on does help to create a contrast between their high-spirits and hedonism and the seriousness - even sadness - of Abby. They also provide a contrast with the intense and simmering Scottish sculptor Frank.

Abby (Pamela Franklin, right) with artist Beryl (Suzanne Neve)

The other members of the community are rather better. Alan and Beryl (an English woman) are the central pair. Like the rest of the "community" they are funded by their wealthy families. However both of them try to stress that they have rejected materialistic values and are now trying to create something meaningful. Abby notes the hypocrisy of them saying this while happy to live off their parents' money - a practice of some middle class "radicals". 

Frank is a sculptor (although his sculpting largely consists of him continually scraping a small block of wood. In fairness convincingly depicting creative work on screen is difficult). He is on the fringe of the community and - like Abby - he is uncomfortable with their ways. Artistic life seems to have mellowed him and led him away from aggression but it doesn't seem to have extinguished all combativeness which never seems far from the surface. He is offended by the snide comments of the snobbish bank clerk about the artistic community. Maybe he has some loyalty to it but equally he doesn't challenge Abby's criticisms of Alan and Beryl. 

Identity theft is a distinctive angle taken up by the story. Today it is very topical and highly sophisticated but in the 1970's little skill is required for the subterfuge - a faked signature of Alan Smerdon seems to be sufficient. Abby hasn't seen him since childhood so she is none the wiser. Whether Abby's boyfriend Doug was killed because he had stumbled upon the fraud is unknown. Much of the episode is occupied with Abby wondering about the fate of Douglas, hoping that he will turn up but being disappointed. She cuts a very melancholy figure in what is generally a very bleak tale, not just in its themes of loss and uncertainty but also in the cold, lonely and harsh winter landscape.

The telepathic link between Abby and Douglas makes this a seemingly supernatural story (although it's not impossible Abby is imagining he is contacting her) and possibly more could have been made of the subject. It is largely restricted to her hearing him whisper her name, almost pleadingly. The lack of any further detail makes his fate rather enigmatic from her viewpoint but it limits its potential within the episode. Maybe if there had been more communication between them before his disappearance it could have been explored further. This story could easily have been rewritten without the telepathy altogether as a conventional mystery but it would have been best to make full use of an intriguing angle.

The performances, leaving aside the minor hippy characters, are sound. Pamela Franklin is typically dependable and Ian Bannen broods along capably. Oliver Tobias and Suzanne Neve are good value as the central artists. The direction by James Ormerod is distinctive and impressive. Light and dark are very well-contrasted throughout and there are a lot of location scenes including night-time ones that are especially effective. There is also some striking use of visual effects with a few scenes shot through coloured filters. Although the daytime outdoor scenes don't offer the same potential for directorial flair the cold, wintry landscape and bare trees do contribute well to the bleak atmosphere. 

James Ormerod directed three episodes including the last to be broadcast in the UK - Death in Deep Water - and there are certainly similarities between this and the latter in extensive use of remote location scenes and general emphasis on "atmosphere" rather than pace. The later outing has generally had a much better reception among viewers, perhaps because of its more daring story elements and "noirish" feel and while Death in Deep Water is probably the better episode - indeed one of the best in my view - this one is underestimated.  As mentioned earlier the teaser and the theme of a missing person draw parallels with One Deadly Owner but there are other similarities. Both also involve a Rolls-Royce which is somehow connected with murder and in each case there are shots highlighting its luxurious interior and of it driving at night. It may be no coincidence that Series 5 producer Ian Fordyce had directed One Deadly Owner and he may have contributed ideas to James Ormerod here, especially as it was Ormerod's first Thriller episode. All these elements add up to an instalment that is certainly not one of the show's greats but which has rather more to offer than it might first seem. 

Notes 

Perhaps due to the presence of Ian Bannen but maybe also the cold, wintry landscape I can't escape thinking that this episode is set in Scotland! This is despite the fact that he is the only Scottish character. Other viewers may have cases where they find it hard to shake some curious idea about where an episode was set or other events within it.

The ITC movie version was renamed "Terror from Within", a misleading title given the low-key events on screen although it may provide a valuable reference to the voices (supernatural or imagined) that Abby hears. This is somewhat similar to the other renamed episode featuring "Terror" - "Anatomy of Terror" (originally An Echo of Theresa) which was also similarly slow-paced and more about mystery.

On Friday 2nd September 1983 this episode (in its movie version) was broadcast by four UK TV regions (Border, Yorkshire, TSW and Channel) - the most of any episode on a particular date.

The Double Kill - Series 5 Episode 2, Saturday 19th April 1975

The story... 

Hugh Briant - an American living in the UK - seems to have an ideal life living in a huge house loaded with valuables, married to a wealthy English woman called Clorissa. However things are not as ideal as they seem. Hugh is going around bragging not just about the treasures in his home but also its lack of security. He seems to be asking to be burgled - and indeed he is. He has grown tired of his wife and sees a burglary as an opportunity to find a man who will dispose of her. The first burglar who comes along blanches at the idea of getting involved in murder but the second - called Max Burns - is a different prospect. At first Briant thinks he needs to blackmail Burns into committing murder but it soon becomes clear that Burns is actually happy to do the deed for suitable reward. 

Briant returns home to find that the deed has been done but not only has Burns not followed the agreed plan but he has framed him for the murder. To make matters worse Briant is dealing with a detective who is only too prepared to believe in his guilt....

Review

An extraordinary episode which draws universal acclaim and certainly one that competes for the pinnacle of Thriller. It is excellent viewing for the first-timer but a delight for those who have seen it before as they see the finely crafted pieces slot into position. The best episodes often have some longeurs or limitations of some small sort but not this one. It is remarkable how it maintains inspiration throughout.

An intruder in the house in the teaser maybe suggests an attempt on the life of the sleeping Clorissa but things turn out to be rather different. The burglar doesn't even need his own weapon as he discovers a gun. He is immediately discovered not by Clorissa but by her husband. Hugh is actually in the room in the darkness. He appears to have been laying in wait, switches the light on and, cool as a cucumber, invites the burglar to kill him. The intruder though cannot do it - he is not a man of violence. Hugh decides to let him go because "You're not the man I thought you were" and the viewer can see matters are rather peculiar. Why would anyone behave in this way? What sort of man is he looking for? 

All is soon revealed. Hugh and Clorissa are not getting on. They seem to have little in common. She is clearly dissatisfied with his drinking and gambling. There is a real edge between them. Their marriage is on the edge of breakdown. However it is only when a second intruder breaks in that we see his real intentions. Hugh catches Max Burns but the outcome is very different to the first time. Max proves to be a far more challenging customer and maybe even at this point Hugh should have realised he had miscalculated.

All is not well between Hugh & Clorissa Briant - but Hugh thinks he has a solution

Individuals seeking the death of their spouses is a staple of the murder-mystery yet was used surprisingly little in Thriller. Once the Killing Starts is the other main example in the show but the circumstances here are unusual. In the earlier episode the motivation is the common one - the murderer is motivated by his desire for another woman. Money is another frequent motive. Here though the motivation largely appears to be Hugh's boredom with his wife and marriage. Although Clorissa is very wealthy, money doesn't seem to be a factor, although it may lie behind the scenes. There is no sign of "another woman" although Clorissa's remark about Hugh's dalliance with a member of the former house staff suggests Hugh is capable of womanising. This is the only episode where marital discord is openly depicted. Even in Once the Killing Starts the Lanes appeared to be content - the Professor's desire to get rid of his wife was well-hidden.

Hugh intriguingly seems to have connections with the criminal world, either in the past or even the present. His dialogue with Max makes clear that he understands about trade in stolen goods. His composure in the face of danger and his ambitious murder plan hint that he may have been down this road before. He may be a man who has experienced or dealt violence. So much is left open to speculation.

After this elaborate build-up the story more than lives up to expectations. Burns has deliberately framed the attack to incriminate Briant. However Max Burns is not the sole source of his problems. He had not banked on the tenacious - but deeply unscrupulous - Superintendent Lucas. Lucas seems determined to nail him as the killer. It says so much for the story and the performances that one has sympathy for Hugh. This is a man who organised the murder of his wife and has been correctly identified as a killer by Lucas. However he is innocent of this attack. He has been stitched-up by Burns and Lucas and there seems no way out. Even worse Burns is exploiting the situation for his own gain and to add insult to injury it becomes clear that he and Clorissa were far from strangers to each other. Briant is left in a terrible predicament - albeit one he has ultimately brought on himself.

However there are yet more extraordinary twists in store thanks to an indiscreet comment that seems to offer hope for Briant. The police are also able to make a breakthrough in a remarkable way and the scene is set for one of the greatest climaxes in the history of Thriller. 

There are just so many great characters and performances. Gary Collins made three very fine appearances in the show (all as villains) but this has to be the very best. Stuart Wilson though may even be better as Max Burns. He is exceptional in conveying Burns's menace and vindictiveness. Peter Bowles is a real turn-up as the duplicitous Lucas. He is best known for charming, somewhat slippery characters, usually in comedy, but this is an exceptional "straight" performance although Lucas's toying with Hugh can raise a smile. Lucas ranks with Dexter in Come Out, Come Out Wherever You Are as the most memorable Thriller detective. Like Dexter he acts in a grossly unprofessional manner but believes the end justifies the means. His methods are unacceptable but he is right - Hugh is a killer.  Penelope Horner is excellent as Clorissa, a very sympathetic figure who clearly has had to endure much from Hugh. 

Of the ancillary characters the principled Detective Player is highly impressive. It is a great contrast to see him in action with the unorthodox and cynical Lucas. John Flanagan gives a very fine account. The part of Paul provides a little humour through his plummy voice and drunken behaviour. This minor role - very important at the end - is quite effective but it is surprising that James Villiers gets second billing when other actors had far more substantial parts.  

Of course the deceptions near the end may be a little hard to take for some ultra-realistic viewers. However such behaviour is not inconceivable and such allowances set up a top-class story. However even without these it would be a superb effort. There is so much to appreciate here. This is certainly one of those episodes highly recommended for anyone new to the show but it has so much to offer everyone.

Notes

The unknown rock instrumental playing on the radio in Max Burns' flat can also be heard in Death To Sister Mary during a party scene. It is also heard frequently in the serial The Siege of Golden Hill, also produced by ATV and broadcast a few months after this episode.

If It's a Man - Hang Up! - Series 5 Episode 1, 12th April 1975

The story...

Suzy Martin - an American model based in London - seems to have everything going for her. That is until she starts to receive disturbing, threatening phone calls from an unknown man. Suzy's predicament intensifies when her brother Peter is knocked down and killed by a hit-and-run driver; while the police believe it was an accident she is convinced it was a deliberate act by the phone-caller who had mistaken Peter for a boyfriend. The calls do not stop and there seems a real risk of her being physically attacked so a policeman involved in her case called Henry Venner persuades her to spend some time at his country cottage for her own safety. However is Suzy really going to be safe there?

Review

Whichever way you look at it, this is an exceptional episode. It is certainly exceptional in a factual sense. It was the only original story made in an extended format to fit a ninety minutes slot (seventy-five of screen-time).  The original extended version also had its own unique titles and score using strings and brass. However a shorter version using the conventional Thriller music has been available as well in addition to the ITC movie version. As a result it has a complicated history covered more fully in Martin Marshall's excellent book A Thriller in Every Corner.. In terms of quality fans are divided but it probably has more supporters than detractors and in my view it is one of the strongest and most entertaining instalments. The review will concentrate on the extended version, which seems to be the one that aired originally in the UK in 1975 although there's no particular difference in quality between the longer and shorter ATV ones.

Voyeurism is the key subject of this story. Suzy is a model and as such is being observed all the time. As a woman she is aware - and uneasy - about being judged in terms of her appearance. The stalker though is going much further. Not only is he spying on Suzy in her most private moments but he is terrorising her. She knows she is being watched and his phone calls are very frightening. How far will he go? The story focuses on a common fear of women. The heavy breathing and tormenting voice of the stalker even from the start are very disturbing, with skilful direction adding to the fear.

This is a whodunit, and a classic of its type. An assortment of suspects is arrayed very quickly. There are two would-be / ex-boyfriends in photographers Greg and Terry both of whom are angling for Suzy, but how far will they go? The fact that the two see each other as bitter rivals both in a professional and romantic sense adds to the intrigue. The caretaker Murchison perhaps fits the stalker stereotype more closely: a middle-aged man, infatuated with Suzy but clearly out of her league, and already seen to eavesdrop on her. Italian student Bruno has no past history with her but does show an interest. However his attitude seems ambivalent. He remarks on her being "smug" and that she should not live alone: he cannot be discounted. Later the young policeman Henry (or Hal) joins the fray. Hal appears to be very supportive but struggles with anxieties about his disfigured face and relations with women. He is smitten by Suzy but may not be as faithful as he seems. Of course such is the formula that one should doubt whether any of these suspects is the guilty man. In the whodunit the obvious suspect is rarely guilty - or is this one of the exceptions? Innocent or not, none of them inspire total confidence. If it isn't one of them, who could it be? Formulaic it may be but the suspects are still lined-up with great aplomb by Brian Clemens. Excellent suspenseful direction and fine acting makes the results very convincing and satisfying.

Suzy with photographer Terry Cleeves - one of a number of suspects in her case

Carol Lynley does a great job in conveying Suzy's terrible predicament. She does not know with whom she can feel safe. She can no longer live her own life and feels dictated to by her pursuer. She knows he is not a man to be ignored after the murder of her brother. He even cruelly toys with her devotion to her dog Toby. He clearly knows a lot about her and how she can be manipulated.

One of the most fascinating aspects of Suzy is her feminism. Thriller was a very traditional programme and this is the only example of an openly feminist character. Refreshingly Suzy stands up for herself and leads an independent, single life - until the stalker makes it impossible for her. She is assertive in resisting both Greg and Terry and maintains her right to write for a feminist magazine. She picks up on Hal's lazy remark that, "All women are late." In other episodes these sorts of generalised sexist remarks passed uncorrected but not here. There is of course the arguable contradiction about a feminist working as a model but Suzy feels quite correctly that support for women's rights does not have to be at the expense of physical attractiveness. Intriguingly Carol Lynley expressed similar feminist viewpoints and had a similar professional background to Suzy, so it's possible that this influenced the casting or the writing of the part.

Another likeable aspect of Suzy is her open-mindedness. She is a beautiful woman who could pick almost any man but she is happy to consider a relationship with Hal despite his facial disfigurement. She appreciates his personality and supportiveness. The anxiety of Hal about his appearance is though an understandable one, rarely covered in film and TV. In a society obsessed with physical attractiveness someone like Hal can feel neglected and unhappy. She helps to build his confidence but never in a patronising way.

Away from the main story there are some interesting relationships. Betty's play for Greg is notable. She appears to offer him support given his frustrations with Suzy and altercations with Terry. Maybe a romance is on the cards or is Greg still more focused on Suzy and keeping his ex-wife onside? Sue Holderness early in her career makes a strong impression as this enigmatic character. Unusually the policemen featured are constables with no senior ranks involved. The banter between these officers (Richard Lovell and Hal) is also highly engaging - friendly but still with a competitive edge..

The final stages as Hal takes Suzy to hoped-for refuge are very well-done and it soon becomes apparent that Suzy hasn't found a place of safety. The closing minutes are both nerve-racking and poignant and involve so many twists that even at the end one wonders if another one may come. 

Overall Shaun O'Riordan's direction is first-class but the acting performances are uniformly impressive. Gerald Harper was the billed British star but he has very fine support. David Gwillym, always a fine actor, deserves particular credit as Hal - protector or persecutor? In a very small role Michael Cronin will stand out to many viewers as the future "Bullet" Baxter, the very firm but fair PE teacher in Grange Hill. There is a great deal to appreciate here. Probably the shorter version - appearing erroneously as the "official" one on the DVD set - is a little better for the viewer as it is tighter and has the benefit of the superior woodwind score but it is excellent to have the choice of two very impressive versions. The new titles and music produced for the extended version when it premiered also show the very satisfying results that can occur when these are produced at the time by the original creators with the original cast as compared to those added long afterwards by different companies for the ITC movie versions. It is certainly a shame that no other extended editions were made - this one shows there was potential in a longer format even if the standard length probably fits Thriller the best.

Notes

The ITC movie version was the only to be given an on-screen copyright date other than 1974 - here given its correct production date of 1975. All the others were billed as being made in 1974 even though most were made in 1973 and 1975.

Where the Action Is - Series 4 Episode 6, Saturday 8th February 1975 (ITC Movie title "The Killing Game")

The story...

Two men are playing a card game - the exceptionally wealthy Walter "Daddy" Burns and Tommy Vaughan. Tommy loses and Burns outlines a new game in which two guns will be placed on a revolving table - one with live bullets, the other with blanks. The wheel will be spun and Vaughan is to pick up the nearest gun and have first shot at Burns. He has to hope he gets the gun with live bullets even though that will mean killing Burns. The wheel is spun, he picks up the nearest gun and shoots at Burns but it becomes evident he has picked the one with blanks; Burns is unharmed and - despite Vaughan's pleas for mercy - shoots him dead.

Action then switches to Eddie Vallance, a young American gambler in a casino. He loses and is then invited to meet a very attractive woman. In her room his drink is drugged and he loses consciousness. When he awakes he finds himself in a large house - the same one owned by "Daddy" Burns. The woman he met was Ilse - Burns's girlfriend. Eddie then learns that he is not allowed to leave the house - if he tries he will be shot. 

Eddie plays various games against Burns who insists he is the best poker player in the world. a claim that Eddie disputes. Eddie certainly needs to prove Burns wrong because a very special final game is planned. At the end of a poker match Eddie will go through the same lethal "game" as Tommy Vaughan and either he or Burns will be dead. Burns doesn't seem keen on losing so Eddie knows he is playing for his life against all the odds... 

"Daddy" Burns (James Berwick) - a dangerous opponent in every sense of the word

Review

Although this episode rarely gets mentioned in dispatches it has a solid reputation and arguably under-rated. Without question it has a very unusual setting and theme but it works well and is probably the most stylish outing.

The teaser is both remarkable and very powerful. Burns's scheme with the guns is deeply disturbing but he isn't ruffled at all. Tommy Vaughan on the other hand is understandably very frightened (a strong performance by Larry Cross). The difference in reactions should maybe have alerted the viewer that Burns had an ulterior reason for his confidence. The arrival of Eddie Vallance shows we are going to be watching a very slick operator. Eddie is effortlessly cool and stylish. He has tremendous wit and resilience. He is placed in an extraordinary situation - drugged and transported to a mysterious house from which there is no escape. He is confused but he never loses his cool and keeps on top of his game.

The house and its estate, from which there is no escape, bears some resemblance to the village in The Prisoner.  Not only that but like Number Six he is rendered unconscious so that he can be taken there. Maybe the similarity is a little too strong but it is still well done. The gentility of the staff is quite amusing - particularly the remark that they can only wound Eddie if he tries to escape - "We're not allowed to kill you Sir." Eddie does try to get out but despite his own ingenuity - just like Number Six - he finds the odds are too great. The staff such as Winters are too canny - and addicted to gambling - to be defeated.

Eddie Vallance and the deceptive Ilse (Edd Byrnes & Ingrid Pitt)

Daddy Burns is a great villain. Although genial on the surface it doesn't take long for a rather nasty substance to emerge. Winning is everything for this man but he has to find new and illicit means of excitement. His arrogance is just a cloak for a combination of corruption and insecurity. Although he likes to give the impression of a man of exceptional talent and boldness he can only succeed by stacking everything in his favour. Tommy Vaughan could not expose him and paid with his life and a similar fate seems to await Vallance.

The battle of wits between Burns and Vallance is marvellous. The dialogue just crackles with panache, particularly from Eddie but Burns is great value as well. Eddie in particularly excels when it matters most at the end in the final "death game". Edd Byrnes gives a super display as Vallance in an inspired piece of casting - just right for such a stylish part and maybe there could have been mileage is spinning-off such a memorable character into a private detective / agent series of his own. However Irish actor James Berwick is also outstanding as Burns. His American accent is exceptionally well done and will convince many a viewer that they are seeing the real thing. The two actors bring out the best in each other and all their scenes are engaging and entertaining without ever lacking dramatic edge.

Ingrid Pitt is best known for her horror roles and has a rather different task here, albeit still playing a character on the wrong side of the tracks. Ilse has a smouldering sexuality and her attraction to Eddie is evident but she probably has an even greater attraction to money and success. Burns will satisfy her as long as he is on top but she is clearly prepared to change sides if it suits her. Ingrid is fine in this enigmatic role.

Overall this intriguing episode seems to be on the boundary between Thriller proper and a somewhat different - but also engaging - investigatory or adventure show. One viewer perceptively suggested that the storyline and characters could have fitted into one of the ITC action series, particularly The Saint. Eddie's wise-cracking, coolness under pressure and stylish look bear comparison with Simon Templar but with other private detectives / secret agents or playboy-type investigators. This isn't though a criticism and shows the versatility of the series that it could have an episode bordering on those shows as well as others that were more squarely focused on fear, suspense and even horror. 

There are some limitations which prevent this being one of the higher-rank of Thriller. There is maybe a lack of pace, with the story perhaps needing an extra dimension. The gambling references can be a touch complex at times, although they are still manageable. Winters is quite an engaging figure but the other staff members could have had more impact. The close of the episode seems rather abrupt and could have either been developed a little further or better edited. However these are small reservations and this is a satisfying episode - even down to its splendidly slick title.

A Killer in Every Corner - Series 4 Episode 5, Saturday 1st February 1975

The story...

Sylvia, Helga and Tim are students thrilled to be invited to the home of renowned psychologist Professor Carnaby to learn about the experiments he is conducting into how conditioning techniques can be used to prevent violent behaviour. At the home they find two men - Boz and George Kesselheim - whose violent outbursts can be controlled simply by the Professor playing them a specific piece of music. However both Tim and Helga later go missing and Sylvia starts to fear that the Professor is not all he seems. She fears she is in great danger with Slattery - a journalist also staying at the house - her only ally...

Review

Another popular outing among fans. While I wouldn't place it in the show's top rank - testimony to the exceptional quality of many of its counterparts - it is certainly highly impressive and creates tension skilfully leading to an excellent final ten minutes or so. 

This was the closest Thriller ever came to science fiction. Carnaby is a rare scientist highlighted in the show. His experiments take the powers of conditioning to remarkable levels. On the surface he is an extremely courteous and supportive man but in reality he is prepared to conduct the most shocking experiments on unknowing subjects. Cleverly the exact motivations and morality of Carnaby are never stated. Is he a villain? Probably, but not of a conventional sort. He does not seem prepared to use violence himself but is happy to use his "staff" in such a way. He claims to be conducting these experiments in order to cure those with homicidal tendencies and that may be his sincere intention. Carnaby is best described as amoral. He experiments on people with the same lack of feeling as a scientist would test on chemicals or maybe animals. He is more committed to science than to human life. He is quite prepared to deceive people and play with their lives. Good may ultimately have emerged from his experiments but at what price? Patrick Magee seemed to specialise in villainous or sinister roles and gives a typically good account on this occasion.

Professor Carnaby is witness to Boz's destructive tendencies - but believes he can control them

Boz and Kesselheim are making progress thanks to the Professor but they remain deeply unstable and insecure. The scene in which Kesselheim taunts Boz who then cuts him down is very strong. Boz in particular has great loyalty to Carnaby, and maybe with good reason, but Carnaby still treats him almost as a plaything. These parts are well-performed with Max Wall especially notable in a straight role. Fellow comic actors / comedians Arthur English and Ken Jones had appeared in the previous series in small but memorable parts. Max had a much darker role to play but showed it was well within his compass.

The students are all very likeable. They are enthusiastic and feel tremendously privileged to spend time with the Professor. It seems too good to be true - and so it proves. Joanna Pettet as Sylvia fills the American blonde heroine role with aplomb. She conveys skilfully the traditional heroine qualities - warmth tempered by perceptiveness to danger. There was a tendency towards blonde heroines in the later series of which she is a very good example and this may be why she was one of the few American guests to return for a second appearance in the rather less heralded AMidsummer Nightmare in Series 6.

The final ten minutes or so as Sylvia comprehends the deadly events in the house are very strong. There is an excellent mixture of chasing, stalking and struggling as Sylvia tries to save herself from Carnaby and latterly one of his "staff". This is not unlike the events of I'm the Girl He Wants To Kill, albeit neatly compressed into a few minutes. The climax is also unusual and probably rather more realistic (though still dramatic) than most in Thriller. 

All considered a very accomplished effort and one can see why it has made such a strong general impression.

Notes: 

Four of the seven featured characters are killed. This proportion of over half is the highest of any episode.

For the fourth episode out of five in Series 4, characters are seen travelling on a train.

For the second consecutive episode it's revealed that a character has to carry papers to prove he is not a murderous lookalike and a character is left unsure whether the man she is with is being truthful about his identity and whether he is safe or dangerous.

For the second time in three episodes a character finds that their sighting of a dead body is confounded when it goes missing.

The end credits of the movie version are one of the few to scroll over a freeze-frame of the final shot - less "creative" but more effective and less distracting than the bizarre and commonly inaccurate artistic montages that were usually used.

 

Killer with Two Faces - Series 4 Episode 4 (Saturday 25th January 1975)

The story...

Bob and Terry Spelling are identical twins but with a fundamental and deadly difference - Bob is a successful architect; Terry is a psychopathic killer confined in an institution for the insane. Terry manages to escape by overpowering staff and impersonating the prison doctor and then and goes on a killing spree, mainly of women who he considers "perfect" and with whom any relationship to his twisted mind can only go into decline. He takes advantage of his exact likeness to Bob and this puts Bob's friends and contacts in particular danger including American fashion designer Patty Heron who he has just met...

Review

This was one of the earlier episodes I saw when it was included in the Bravo repeats in 1996. It disappointed me then and has done on subsequent viewings. My experience has certainly not been unique and it generally comes well down viewers' Thriller ratings. However on my very recent viewing I was pleasantly surprised to really enjoy it. I'm certainly not going to say that this must now be considered a "Thriller classic" or that my past views were wrong. I hadn't watched it for many years and sometimes that means an episode is viewed with a much fresher mind which can lead to a much more positive - or negative - rating. Maybe next time I'll find it disappointing again but perhaps it does show that opinions can change over time and it's always important to speak as we find and not be led so much by past experience or other ratings.

The basic story idea is certainly a good one - a tale of an escaped serial killer with the added dimension of confusion over identities. Admittedly the confusion with identical twins is something of an over-used idea but the foundation is promising. The escaped psychopathic serial killer had been the basis for one of the earliest and best-remembered Thriller outings - The Colour of Blood. Maybe for some viewers that was part of the problem - the story seeming somewhat derivative. The Terry Spelling character has also been seen as much less magnetic than that of Arthur Page (played by Norman Eshley) in Colour. There is no doubt that the characters are very different - Page is a younger man, outwardly charming, even playful in his demeanour and certainly very attractive to women; Terry Spelling by contrast is more introverted and lugubrious, less self-confident except when he goes in for the kill. Overall Page has better screen-presence but it would have been too tempting and too easy to just create a very similar character. The very different personality of Terry does create an important difference from the earlier episode - not as memorable but a useful variation and perhaps quite fitting for someone who (unlike) Page has been in custody for years and is more worn-down and less self-assured.

Ian Hendry was one of the best-known and most popular TV actors of the 1960's and 1970's and he has a heavy load here having to play both Spelling twins. He does a very good job even if the characters are not as compelling as others in Thriller. In fact both Bob and Terry largely come across as similar personalities. At first Bob - when he meets Patty Heron on the train - is a rather annoying, pushy "ladies man" type character but later he settles down into a more serious, even downbeat style. For example we see him resisting the advances of his former fiancee Jenny soon afterwards, feeling he cannot trust her. Discovering that his brother was on the loose also inevitably dampens his mood - not just worries about what Terry would do but also subject to being mistaken for him. This similarity in personality and even clothing (Terry having accessed Bob's flat and taken some of his clothes) does add to the confusion which is useful on-screen with those encountering the twins unsure whether they were with the safe or the deadly one. 

Villains in Thriller would often have a "trademark" and Terry is no different . He has a preocuppation with perfection and often uses the word "perfect" in prelude to his attacks. The use of this word is similar to the very sinister repetition of the word "marvellous" in Someone at the Top Of the Stairs although the impact was greater in the latter, perhaps due to it being used by many characters and adding to the macabre atmosphere of that house and its residents. The term does have a deeper significance here as it reflects how the twins' father had been preoccupied with achieving standards of perfection and Terry in particular had struggled to meet these, causing a difficult relationship with his father.

Donna Mills made her third and final appearance in the show as Patty but this is the least memorable. She is certainly not helped by a bizarre hairstyle which seems an architectural construction in itself! She acquits herself quite well, notably in the later stages as she starts to realise that the man she is with is not Bob but the highly dangerous Terry.

Patty struggles to work out whether she is with the safe or deadly Spelling twin

The police characters here are sound. There is an echo of Sign It Death in the way that they fail to notice a body hidden in a trunk. The other major character is the wealthy but rather dislikeable Mr Bradley (well-played by David Lodge) whose new fully-automated home forms the setting of the latter stages of the action. It's possible that the unappealing nature of Bradley plays a part in some of the low ratings but I feel the character's abrasiveness serves a useful role including tension with both Bob Spelling (who designed the house) and Patty.

There is quite a high body count in this edition but this does not always augur for a strong Thriller which is often at its best when the murders are used sparingly and attention focused on suspense. In this respect The Next Victim from the final series is rather similar (although probably a greater offender). Interestingly in both there is a scene of an attempted murder. Attempted murders - except at the climax of the hero or heroine - were unusual in the show where the villains were almost always successful in their actions.

Overall while this certainly not Thriller at its best it still has the capacity to intrigue and entertain and maybe benefits from fresh viewing. It's also possible it may be better received by viewers who see it before The Colour of Blood and who don't come to it with those expectations from what is arguably the show's definitive "psychopath" story.

Notes

It is perhaps a touch unlikely that in the later stages both Bob and Terry Spelling are wearing identical clothes even down to the same tie! However it makes other characters' confusion over who they are seeing more profound.

TV movie title-watch

These start with a very good, haunting refrain from a musical box with a rotating ballerina. Dialogue from Terry Spelling is interpolated into a murder in the opening titles, a technique that was also used in the new titles for Good Salary - Prospects - Free Coffin (renamed "Mirror of Deception")..

Night Is the Time for Killing - Series 4 Episode 3, Saturday 18th January 1975 (ITC movie title "Murder on the Midnight Express")

The story...

The action opens with an attempt to kill Ivan Malov, an Eastern European defector. It then switches to a young American woman, Helen Marlow. She is booked onto a luxury train journey to aid her recovery from a nervous breakdown following the death of her fiance. An Australian traveller, Bob, befriends her but it is tough going as she is still very depressed. Her distress becomes much worse when she seems to see a dead passenger. Bob and others assume she is hallucinating but she is quite convinced. However there are people on the train who are not what they seem, and who have murder on their mind...

Review

My first impressions of this episode were fairly lukewarm but it has grown on me and I would now consider it to be very good, albeit some way from the top rank.

The teaser of an attempted assassination and intelligence conference seems oddly disconnected from an anxious young woman boarding a train but later it makes sense. The choice of such a clearly English actress as Judy Geeson to play an American did not inspire early confidence. This is no criticism of Judy but rather a wish that either an American actress had been hired or - better still - the character rewritten as English. Either solution would have created a better result. As it transpired Judy does a very good job in a demanding role but I'd always prefer a character to be played by someone of that nationality.

The smoothie Bob (played by James Smillie), the only Australian character seen in the programme, is a little annoying at first with his rather obvious charming of Helen but when he moves into serious mode the results are much better. Helen's experience of loss and depression is very well depicted. Her struggle to be taken seriously as she starts to see very disturbing things is skilfully conveyed. This scenario occurred on a few occasions in Thriller, with Bob in the familiar intermediary "sceptical but open-minded" position, but it is neatly accomplished.

Bob tries to support a shaken Helen

Although these two might appear to be at the centre of the story there is no doubt that the dominant character and the chief reason for its appeal is that of Hillary Vance who is possibly the most entertaining figure seen in all of Thriller. He is brilliantly funny. Unlike Matthew Earp in his two episodes, Vance uses his wit against others. A remarkably cultured man, he is devastatingly sarcastic, turning particularly on the hapless waiter. Charles Gray is quite superb in this part and there is no doubt that it raises the episode above the ordinary. Again in a typical Thriller touch it is never quite clear what Vance does. Granted he is a diplomat - but where does he work, and why should he be so important to Malov - and to Malov's opponents? Vance never talks of anything political but of course that does not mean he has no such interests. As in all the espionage stories it is clear that the Eastern bloc are up to no good but the exact nature of their activities is unclear. Evidently they want to eliminate the defector Malov but why is never established.

The theme of impersonation was used in the other two espionage stories but this is the most elaborate of all. The physical and vocal impersonation of a key character is perfect and is effectively science fiction; it may be stretching credibility but it's important to make the story work.

The climax is a strong one and matters are rounded off with a great final line. In addition the episode provides an early sight of Duncan Preston - later a long-time Victoria Wood stalwart - in a straight role as part of a newly-wed couple with his wife played by Jacki Piper, another performer more associated with comedy but in no way out of place here. Overall a strong and often under-rated effort, and definitely for me the best of the three espionage tales

Notes

For the third time in the first four episodes of Series 4 a train is a key setting, although this story is set almost entirely "on board". Euston station is featured. Bob's leaping across the tracks at the climax may not have impressed safety experts! The TV Movie version was retitled "Murder on the Midnight Express" and the new titles were one of Dolphin's better efforts backed by an excellent strident piece by Syd Dale - "Danger - Musicians at Work".

Although Jim Smillie as Bob played the only overtly Australian character in Thriller other Australian actors did appear in the show including one in this episode - Alister Williamson as secret service agent Barkley - but he was playing an apparently British character. Reg Lye was another Australian actor to appear in Thriller (two episodes - Spell of Evil and Good Salary - Prospects - Free Coffin, playing a caretaker on both occasions) but no reference was made to his Australian background. Australian actors appearing in British shows in that era played apparently and sometimes overtly British characters quite frequently, something that meant they weren't restricted to just playing Australians.

Nurse Will Make It Better - Series 4 Episode 2, Saturday 11th January 1975 (ITC movie title "The Devil's Web")

The story... 

Charley Harrow - daughter of an American diplomat - is left paralyzed from the waist down after a riding accident, Charley finds it very difficult to cope with her condition and her depression and violent outbursts make her unmanageable for the nurses brought in to care for her. That is until the arrival of Bessie Morne who somehow connects with Charley, lifts her mood and gives her hope. Amazingly one day - and seemingly thanks to Bessie - Charley is able to walk again. A miracle cure - but one that comes with a devastating price...

Diana Dors as Bessie

Review

A great episode, certainly the best of Series 4 for me. While this may not be cited as an ultimate favourite as often as other supernatural outings such as Someone at the Top of the Stairs or One Deadly Owner it also doesn't attract critics in the way those episode sometimes do. It has some minor limitations but it does very little wrong and deserves its fine reputation.

Witchcraft had been previously covered in Spell of Evil but the results were less than outstanding. This is far better in all regards - story, characters, performances and direction. Maybe it is the tale of evil inveigling itself into a family which makes such an impact. The Harrows are happy and prosperous and then Charley suffers her terrible accident. Unsurprisingly she becomes upset, bitter and almost unmanageable. Into this transformed situation comes Bessie. Her warmth and kindness are evident. She does not get ruffled by her new charge and starts to make progress but the viewer can tell that all is not well and Charley's sister Ruth is alive to trouble. Against seemingly impossible odds Bessie works wonders - with a little help from down below. The price to be paid for Charley's miracle cure will be immense.

Ruth & Suzy Harrow look up in amazement as their sister Charley stands at the top of the stairs. Their father & Carson are also astounded.

This is a very dark and disconcerting tale. Bessie's mild-mannered personality makes her evil-doing all the more unsettling. At no point does she get angry or raise her voice. Even under challenge she responds in a taunting and utterly confident manner. Charley is a headstrong character even before her accident and she provides ready material for Bessie who transforms her into something very deceitful and destructive. 

Edgar Harrow provides a familiar role as a sceptic, failing to see Bessie's Satanic work until it is almost too late. Security man Carson initially has a similar position but very soon he starts to sense all is not well. Ruth, however, in true heroine mode (and typically for an American guest star!) is alert to danger right from the start and she proves to be a formidable opponent for Bessie. 

The character of the drunken priest Lyle is maybe surprisingly absent for the great majority of the episode, particularly given Patrick Troughton's profile as an actor. Aside from the teaser and two brief wordless scenes he does not appear until the final ten minutes. Carson and Simon are two more fine characters while the briefly seen Fullers (especially the wicked Mrs. Fuller) are memorable. The only let-down is Suzy who is a little annoying, unaided by a hideous bubble perm. These characters still need strong performances and they get them. Diana Dors is marvellous and shows that behind her celebrity image lay a very capable and under-rated actress. Undoubtedly she is the chief reason for the episode's high reputation. Andrea Marcovicci is one of the best American guests and plays the heroine part beautifully. Ed Bishop, Patrick Troughton and Michael Culver are all very impressive. Ed was restricted to guest appearances after UFO but his display here shows his great ability which deserved starring parts. Although Linda Liles's legs seem to move more as the paralysed Charley than any able-bodied character - and her American accent is almost non-existent - she is still in fine form. The direction is excellent, with the spells and scenes when Bessie's book and box are examined especially unnerving. Astutely we never know the contents - the looks of horror say it all.

The climax is generally good - like that in Spell of Evil it is not wholly convincing due to limitations in special effects but it's still better done than in the earlier episode. Earlier on the off-screen killing of Carson's dog Porter is rather unpleasant. It is intended to signify the evil spirit brought into the house (& that the dog - unlike most of its human counterparts - senses something wrong with Bessie) but it would have been best avoided and is maybe the only real fault.  Despite this though, one of the very best and most memorable stories.

Notes

It's been speculated that the name "Simon Burns" may well be a pun on the theme of fire in this story. It may even be a hint of the possible fate for him if Bessie is not thwarted. Most likely it is sheer coincidence but an example of how the show opens up such readings to viewers. Burns was a surname used very frequently in Thriller and Brian Clemens said he often picked names simply because they were earlier to type (!) than for any narrative reason although it's not impossible he may have felt it an appropriate story to use it again.

In common with Spell of Evil this is one of the small number of Thriller episodes not to feature either a police officer or private detective. The security man Carson does handle some of the investigations and protection duties that an officer might have done but against a supernatural threat the characters realise that they need help rather different than conventional law enforcement.

Patrick Troughton contends with David de Keyser in Someone at the Top of the Stairs and Ralph Bates in Murder Motel (Series 5) for the star character in Thriller who appeared for the least screen time although unlike those characters he did feature at both the beginning and end of the episode.

Screamer - Series 4 Episode 1 (Saturday 4th January 1975)

The story...

American Nicola Stevens is working in Britain for the US Embassy. She is travelling by train to see her friends Jeff and Virna Holt when a female passenger draws attention to a newspaper story about a rapist in the area who has not been caught - the police just have a basic description that he is man with short, blond hair. This news does make Nicola uneasy but her anxiety increases even more when the woman gets off at the next stop and a man with short, blond hair gets on and sits opposite her. Nicola is relieved to get off at the next station and makes her way quickly to where the Holts live. She opens the door, gets inside but has left her keys in the lock. When the Holts return they are horrified to see Nicola with her clothes torn and that her worst fears have occurred - she has been raped. For Nicola recovery is a long and difficult process. She often sees the face of her attacker when she looks at men - sights that terrify her but also leave her determined for revenge.

Review

Although there is concern about some of its content this is generally a popular episode among fans. Not with me though. I have never been impressed and it contends with Murder Motel for my least favourite episode. Why the discrepancy?

For almost thirty years Screamer was handicapped by appalling titles added for the ITC version which was the only one available. These gratuitous and tasteless scenes showed the prelude to a rape, although clearly not that of Nicola Stevens. They were poorly done as well - badly directed and performed and clearly shot in the USA. They were totally at odds with the subdued nature of the episode and could only mislead viewers - either into switching off believing they had stumbled upon an amateurish production, or to watch on thinking they were due to see something with lots of sex and violence. Film-Rite had a pronounced tendency for taking such liberties but these are the worst titles of all. However the DVD releases have restored the ATV version to its correct place and the ITC titles can be discarded. However even in ATV form I am not happy with the story.

The most obvious area for unease, commonly cited, is a remark by the lady talking to Nicola on the train. She warns her of the rapist and then jokes that at her age rape could be taken as a compliment. Unsurprisingly this comment has caused concern. It is offensive, even if not meant seriously, but it must be placed in context. Back in the 1970's flippant attitudes to rape were sadly quite common, and they can still occur today.

Other than this though, the story deals with rape in a sensitive and well-informed manner. Nicola demonstrates that rape can happen to any woman and is not inflicted only on those who are "sexually irresponsible" who have some way supposedly "provoked" the attack. The police treat her case sensitively and seriously, not doubting her story or questioning her behaviour as happens all too often to victims in the real world. The medical staff also give her great support. However a revelation at the end - though in some ways a remarkable twist - results in a very unsatisfactory conclusion. 

Nicola's unease escalates during her train journey

Another unhelpful aspect is the depiction of the female officer assigned to trap the rapist. This woman - an almost entirely silent statuesque plain-clothes officer - seems to be included chiefly for the benefit of male viewers. Shots of Inspector Charles leering at her and seeming sexually intimidated by a very attractive woman much taller than him could almost have emerged from a cliched Seventies sitcom rather than a sophisticated drama. The officer does skilfully physically outwit a prospective attacker, offering a different dimension to the normally physically helpless stereotypes of women, but overall the character just seems to be included for sex appeal and even weak comedy value than for more progressive purposes. In another story this would be less obtrusive but it really jars in a drama about male sexual violence.

There are further limitations of the episode for me. The Holts are a very pedestrian couple and unfortunately are on-screen a great deal. Inspector Charles is one of the most unedifying Thriller detectives and makes for very uncomfortable viewing. The German private detective Balsam (played by Wolfe Morris) is a quirky figure with some witty lines, and things do pick up with his arrival. The edge with Charles livens things a little but the end results are only mildly effective.

Nicola is a fairly interesting figure but better is expected of the chief character. Pamela Franklin does a good job in this role, especially passing well as an American. Most impressive is how she communicates Nicola's unease on the train when the man she suspects as the rapist sits opposite her. It is clear that Nicola is a complex and troubled person and there is some interest in her faltering recovery. She clearly has a good pair of lungs judging by the repeated screaming but that does become rather wearying for the viewer. Her hallucinations are a feature of the story as Nikki imagines the man's face in many different places. Some of these are very clearly signalled as men around her suddenly take on the man's face but on other occasions there is no sign which can be confusing. 

These manifold depictions of the man provide a lot of screen time for Jim Norton. Firstly he appears genuinely on the train as what we later discover to be a silent German tourist. These scenes are well-performed and directed, appropriately disconcerting. Secondly, we see him extensively and with voice as the English farm-worker. He finally appears extensively in Nicola's obvious hallucinations. Jim does a good job in these complicated parts.

There are other strengths. The direction is excellent as Nikki rushes home, closes the door with relief behind her and then we see that she has left the key in the door. The closing minutes which take place in semi-darkness are suspenseful and well done. Generally the story improves in the final part but it isn't enough to counteract the negatives.

To end on a positive note, it's rare that one can look on one of the least favourite episodes of a series and still find it worthwhile viewing. A mediocre episode of Thriller is still worthy of examination, and there are few productions for which that is true. Many other viewers have found more to appreciate and so it's particularly important to check it out and draw your own conclusions.

Notes

In contrast to the gratuitous opening titles on the ITC movie version the end artwork is comparatively subdued and avoids the curious and often inaccurate montages usually seen. 

By coincidence Nicola Stevens was also the name of a nurse in another ATV drama airing at the same time - General Hospital. 

The Next Scream You Hear - Series 3 Episode 6, Saturday 6th July 1974 (ITC movie title "Not Guilty")

The story...

Bernard Peel (Christopher George) is an American businessman living in England, married to an exceptional corporate lawyer. He returns home from a party one evening, has a drink and falls asleep. He is woken by the doorbell and is alarmed to find the police. They tell him they have been tipped-off about an incident involving him and his wife. He is utterly incredulous. An inspection of the house shows evidence of a violent incident and of a female visitor but Bernard denies all knowledge. Matters get far worse when the boot of his car is opened and his wife's body is found.

Bernard Peel is shocked to find the scene of an apparent crime - and himself under suspicion by the police

Bernard is arrested by the police for the murder of his wife. He strenuously denies responsibility and calls in the services of the foppish but remarkably skilled private investigator Matthew Earp (Dinsdale Landen). Earp approaches the case with typical incisiveness and is true to his word that he will prove who killed Jennifer Peel.

Review

The third series opened with five quite exceptional stories so maybe it was too much to expect its closing member to match that standard and so it proved. Even allowing for that it is one of the least impressive episodes of Thriller, although it does have its virtues.

The story premise is quite a novel one for the show. The onus is on trying to clear a suspect who the police feel certain has killed his wife, whereas usually stories were either whodunits or made clear the identity of the killer from the start. Of course if Bernard Peel is not the killer the quest is to find the real culprit. Unfortunately the action never really catches fire, maybe because so many of the characters are quite unremarkable. There is no problem with the performances but very few make a real impression. The outstanding exception of course is the fabulous Matthew Earp. Earp was the only character to reappear in Thriller and he is excellent, just as witty and incisive as in An Echo Of Theresa. It has to be said that neither episode was particularly distinguished and both rather need this character's presence although a contrary view might be that it may have encouraged an over-reliance on him which could have been devoted to developing the story or other characters more. There is always the risk that the quality of a star character or actor can be a distraction from the whole  but maybe it was sensed there wasn't enough depth or quality elsewhere so it was best to give Earp such priority.

Dinsdale Landen was made for this role and it would have been useful to see him in further adventures, either within Thriller or elsewhere. Once again he shows not just mental acumen but physical prowess and bravery. There are also some neat exchanges with Gifford (Edward Hardwicke) the detective who quietly resents Earp's involvement as well as his enormous fees.

Matthew Earp (right) with Tulliver, Bernard Peel and Maycroft in happier times at the party before the dramatic events

Of the remainder of the cast Christopher George does a fair job as Bernard Peel. Hans Meyer has a nice part as a director of Peel's business who is clearly suspicious of him and unhappy about being down the pecking order. There is a note-worthy appearance by veteran actor Richard Todd as Tulliver, one of Bernard's colleagues. Suzanne Neve returned in another key role in Won't Write Home Mom - I'm Dead in Series 5 while Belinda Mayne does a nice turn as a rather unhelpful and unenthusiastic shop assistant whom Earp encounters..

The twist at the end is one of the most inventive. In a better episode this would have been a hugely satisfying conclusion but here it's really just the television equivalent of a consolation goal. Judged away from the Thriller context this would be quite good value and the show - even when a little off-form as here - is still well worth watching.

Notes

Gifford applies the handcuffs to Bernard Peel in a fraction of a second, displaying amazing skill and speed.

Christopher George's wife Lynda had been the star of the preceding story Come Out, Come Out Wherever You Are.

ITC Movie title-watch 

1974 was a big year for the martial arts and they make an appearance here, with karate being employed by one assassin. Unfortunately they also make for a very silly piece of art-work on the movie end-titles in which a fist above what is supposed to be Bernard Peel's head (though looking more like Lieutenant Colombo) appears to be pulling his hair!