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.