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.

One Deadly Owner - Series 2 Episode 4 (Saturday 16th February 1974)

The story...

Model Helen Cook is on the way up but her impulsive decision to buy a white Rolls Royce she can barely afford seems peculiar but she felt she "had to have it". Soon after buying it though strange things start to happen. She hears a scream from inside the car and the car drives itself to a remote location far from her intended destination. This and other evidence lead to her to believe the car is somehow connected with a murder but her photographer and boyfriend Peter believes it's all in her imagination and that overwork is leading her to a nervous breakdown. She does investigate with the previous owner - a tycoon called J.P. Jacey. Mr Jacey is rather world-weary and unsettled after his wife disappeared three months earlier. Despite this he hasn't called the police, apparently because she may have left him for another man but maybe there is a more worrying reason for her departure.

Helen Cook (Donna Mills) starts to notice something is very wrong with her car

Review

This is one of those instalments that sharply divides viewers - a huge favourite of some, one of the worst for others. I am very much one of its supporters and it is a contender for my favourite episode, and has been since I first saw it in 1994 on the second ITC video released. Thanks to that video release this will be a contender alongside Someone at the Top of the Stairs for the episode I have seen the most.

One of the oddities was that this was the only outing released on video in its movie format. This was entirely a mistake as the ATV version was available and indeed was broadcast by Bravo in 1996. Some viewers like myself skipped the Bravo repeat assuming the same version would be shown and therefore missed seeing the ATV original until it was released on DVD, Dolphin did quite a decent job on the new titles, with some astute use of clips. The new music ("Gear Shift" by Dave Richmond) was good and worked well. The original teaser, making clear that Mrs. Jacey had been murdered and her body transported in the boot of the Rolls Royce, though was completely excised - the only instance of a whole teaser being removed in the ITC versions. These sorts of cuts are never popular and the teaser was a strong one. Fans feel unhappy about the American producers adding their own "scenes" or animation but cutting from the original, which should be preserved intact, is a step too far. However one consolation of its disappearance, and maybe the logic of Dolphin, is that it created extra mystery about the fate of Mrs. Jacey until the final minutes, although the viewer would always suspect she had been killed. The DVD release though now means that viewers can see both openings.

The story is suitably unsettling and mysterious. Donna Mills became the first star to return to the show and deserves great credit for her performance - a classic Thriller heroine display. Her character generates a lot of affection. The interplay with Jeremy Brett as her partner and arch-sceptic Peter is very impressive. Again the sceptic role is a commonplace one, especially in the supernatural tales, but it is brought off extremely well. The exact nature of the relationship between him and Helen is never wholly clear. They are definitely professionally involved and probably romantically so as well but there is tension. Although much of this resolves around Helen's preoccupation with the car there are also arguments over her desire for independence and this friction creates another dimension to the story. 

This becomes one of the Thriller whodunits with various characters having had previous relationships with Mrs Jacey and seeming to have a motive for killing her. Writing and direction work well to pour suspicion on these figures but they are fine characters in any regard. J.P. Jacey's relationship with his wife leaves many questions unanswered and he appears to be a man with much going on under a very reserved exterior - including maybe a fancy for Helen. Freddy appears to have been another lover of the missing Mrs Jacey and while he seems to be helpful towards Helen can he really be trusted? His open-mindedness provides a neat balance between Helen's suspicions and Peter's scepticism, as does his warmth with Jacey's reserve. He is another of the Thriller charmers with an obvious attraction for Helen but it's suitably reined in on this occasion. Even Hawkins, the very proper butler, looks as if there might be more to him than meets the eye. However it is Hans who steals the show. He is a funny character but in the best style of the show he also exhibits menace and mystery (another former lover of Mrs Jacey as well as a business rival of her husband), and one never feels he is merely a comic diversion. There are a number of fine acting displays but Eric Lander in this role is excellent. 

The final fifteen minutes of the show are tremendous. Great use is made of darkness, contrasted with light from the car or a torch, to create a very creepy atmosphere. The pieces start to come together and the suspects start to move in. The final shot, of Helen's car back up for sale - with the viewer left to speculate on whether its "possession" has now been purged - is a fine resolution to this memorable outing.

Helen Cook finds herself in the spotlight in more ways than one

 

Spell of Evil - Series 1, Episode 10, Saturday 16th June 1973

The story....

The action starts with the sudden and mysterious death of businessman Tony Mansell's wife. Some months later he unexpectedly decides to write to Modernmates, a marriage bureau. Almost as soon as he sends the letter he receives a reply from the seductively-voiced, glamorous Clara Panton. When they meet they immediately hit it off. That same afternoon Tony asks her to marry him.

The marriage seems a happy one. However Tony's housekeeper Mrs Roberts and secretary Liz are both suspicious of Clara whose background is a mystery. There are a few strange events and small accidents. However later things take a much more violent turn. Tony's secretary feels she must investigate while he seems totally unaware of the terrible danger he faces.

Review

This was the final episode in the UK of the first series of Thriller. I first saw it as part of the Bravo repeats in 1996 and remember having high hopes thanks to an enticing story premise. However it didn't live up to that promise and that underwhelmed response is common among fans. Subsequent viewings over many years didn't much change my feelings but on the last couple of occasions I have felt more positive and feel it has more to offer. While it's never been one of the big fan favourites it is fondly viewed by some. What can explain these contradictory opinions?

There are some powerful elements in place but generally the episode has suffered in comparison to the later witchcraft episode Nurse Will Make It Better, one of the best-remembered Thriller outings and certainly one of its most positively regarded supernatural tales. The contrast between the witch characters and actresses playing them in each has been seen as key. In the later story the deeply sinister character of Bessie is played by Diana Dors with remarkable aplomb. Despite the actress's reputation for glamour Bessie is played as a dowdy, androgynous figure and her seeming gentleness and lack of anger make the evil that she does seem much more disturbing. 

By contrast in Spell of Evil, Clara (Diane Cilento) is glamour and sultriness personified and the performance is anything but low-key.  Clara can be extremely warm - indeed seductive - but she is very quick to anger and far more likely to ring alarm bells. This isn't just in terms of personality but also outfit and her clothing make-up and jewellery is distinctly over-the-top - she literally rattles at times! Clara can still be very disturbing, notably when she is casting her spells (these scenes are very skilfully directed) - but the histrionic nature of her character can make her seem hard to take seriously.

An unnerving meeting with Clara for Tony's employees Liz (Jennifer Daniel) and Suzy (Linda Cunningham)

However more recently I've tended to see Clara and the very broad performance of her as much of a virtue as of a vice. The character can be a lot of fun and maybe there is an element of the pantomime villain about her which isn't always a drawback. There's some appealing humour. When Tony's colleague George first hears Clara on the phone he is clearly enthralled but warns Tony "I had an uncle with a voice like that"! Later when Tony tells Clara he's puzzled Modernmates never followed up their meeting she replies jokingly "You mean you got me for nothing!" Most teasingly when he enquires how she managed to find his ex-directory number she tells him, "Don't you know darling I'm a witch? All women are." There's some amusing frostiness between Clara and the other females in Tony's life, most notably housekeeper Mrs Roberts and secretary Liz who are both highly and rightly suspicious of her. Late on there is some black humour with the eccentric witchcraft expert with a broad Welsh accent - it was very unusual to hear any regional accents in Thriller. Actor William Dexter wasn't Welsh so there was a deliberate plan to use the accent for the part. 

Perhaps there is a something of an "end of term" feel to this story. Series 1 was concluding and had been a success and maybe this feeds through into a more carefree approach here. Earlier in the series or maybe in later series this story might have been focused in a much darker, more intense way, not unlike Nurse Will Make It Better. It would be wrong to think that this is a fairly frivolous affair and there is certainly still menace, most notably late in the proceedings, but on the whole it does offer some lightness of touch, whether that is appreciated is very much in the eye of the viewer and even that as in my case can vary over time. Even when one sees an episode can shape its rating. I saw this after Nurse Will Make It Better and it did seem to suffer by comparison but back on original transmission it is this story that came first and for some viewers the later witchcraft tale may have been the one seen as wanting. Whatever the case it's probably for the best that the producers turned out two very different takes on the subject rather than making both very dark - or somewhat light. 

A Place To Die - Series 1, Episode 7, Saturday 26 May 1973

The story...

Dr Bruce Nelson is about to start a job as a doctor in what seems like an idyllic English village. For his American wife Tessa this also appears to be a dream location. The villagers are remarkably friendly - too friendly perhaps, especially towards Tessa who they seem to treat with reverence. Although Bruce sees nothing amiss Tessa starts to feel uneasy. One of the villagers Nick - who is mute - behaves very strangely around her. She finds evidence that the previous doctor was very worried by the villagers and starts to fear that his death by falling down the stairs may not have been an accident. She has good reason to worry because the villagers are engaged in devil-worship and believe from her appearance that she is to be a bride of Satan - a "marriage" for which the bride makes the ultimate sacrifice....

Review

The first series here revisited the theme of Satanism first explored in Someone at the Top of the Stairs but this time focused on a village community rather than the residents of a single house. The earlier episode certainly attracts some criticism (mainly focused on its final stages) while broadly appealing to viewers. This one though produces starker divisions of opinion and in particular seems to have fared less well with new viewers who've discovered it on DVD. It has always though been one of my favourites and still has some strong support.

The story premise is an excellent one. The subject matter is very dark and the community and its practices very strange and sinister. The danger always in these circumstances is that strangeness over-balances into silliness and viewers find events hard to take seriously. There are elements here which risk that, most notably near the end of the story. However for me it stays on the right side of the line.

One of the beauties of the DVD set was finally being able to see the original teaser in full uncut form in its proper place. The teaser is one of the most dramatic, and very powerful in its original form. The story then progresses well, suitably unsettling the viewer. Events are largely predictable but the execution is good. Tessa Nelson performs the standard Thriller heroine role - at first flattered by the attentions of the villagers, then bemused and ultimately very frightened as the evidence of shocking events emerges. Her husband Bruce - again not untypically - plays the entirely rational role, seeing nothing untoward and trying to reassure her - unsuccessfully. 

Alexandra Hay's performance as Tessa divides viewers in a similar way to the episode itself. Some find her highly unconvincing. Others, like myself, feel she gives a good account and capably displays Tessa's range of emotions in a demanding role. Although i feel she does well other actresses may have given a stronger display and maybe this is an episode that didn't require an American guest star - several other Series 1 episodes had proceeded with no American in the cast.

The villagers are very well portrayed. The cast is large with many minor characters but the image of an evil community is very clear. Glynn Edwards is particularly notable as the gamekeeper Lob, with his consultation with Bruce really showing that there is something untoward. This is a rare scene of tension as the friendliness of the community is otherwise stressed, and this makes their evil secret all the more shocking. The character of "Mad Nick", skilfully played by Juan Moreno, is especially disturbing. Making this character mute was a fine decision and makes him all the more unsettling. His scenes with Tessa in her home are very powerful.

Tessa (Alexandra Hay) with Bess (Lila Kaye) & Nick (Juan Moreno)

The final part as the extent of the danger to Tessa becomes apparent is very strong. The climax itself though could be better although it is certainly dramatic. However overall this is a very fine production and another sign of the strength of the first series.

Notes

It appears that this episode (and one scene in particular) was the reason the Series 1 set received a "15" certificate.

The resemblance between this and The Wicker Man, also released in 1973 is difficult to miss. Both productions deal with the theme of a community seeking and finding a newcomer who meets the qualities they require for a sacrifice to their gods. It might be easy to think that A Place to Die was derivative of The Wicker Man. It did actually reach the screen before the film's debut in Autumn 1973 but production of the latter was concluded before that of the Thriller episode. When Brian Clemens wrote the story idea, and Terence Feely the script, is not certain but it is a possibility that they were aware of The Wicker Man and gained some inspiration from it, although it is equally possible that there is no connection at all.

The ITC movie version has some impressive and fitting music and retains the original episode title  but accompanies it with a jaunty font that seems more suitable for a cartoon than a thriller.

Someone at the Top of the Stairs - Series 1, Episode 3, Saturday 28 April 1973

The story...

Chrissie and Gillian are students on a budget looking for somewhere to rent. They are surprised and delighted to discover a very affordable room in an old house. Although a few odd things happen Gillian in particular settles in well but Chrissie becomes increasingly anxious. When a man called Thurston calls looking for his missing daughter and it becomes clear that landlady Mrs Oxhey is lying about what happened to her the worries become increasingly intense. Chrissie senses danger but Gillian seems oblivious to the threats around her...

Review

In 1994 this was the first episode I ever saw in its entire form when it was released on ITC video and retains a special place for that reason. This story got me hooked on Thriller, it is widely popular and must be one of the most seen of all. It was the first venture in production to focus on the supernatural (although Possession aired a week earlier) - something that happened quite often in the first series - and is one of the most frightening and powerful tales, albeit with certain limitations.

As with The Colour of Blood, the teaser is brief, simple but very powerful as Sally Thurston meets the man at the top of the stairs. The boarding house is appropriately unsettling and exceptionally well-designed by Tony Waller. The other residents of the house are "marvellously" creepy - ostensibly very friendly but with evil lurking just below the surface. The character of the child Jonathan is probably the most disturbing, alongside that of Mrs. Oxhey. Alethea Charlton as Mrs. Oxhey, and Peter Cellier, in a typically refined and upright part as Colonel Wright, are in great form. There are sexual and voyeuristic angles to the Satanic events in the house that certainly crank up the tension. The "party" the residents throw for Gillian is especially well done (below). 

Gillian (Suzy Carne) finds the party with the other residents not what she was expecting

Chrissie and Gillian are well-developed characters, skilfully portrayed. Both serve as templates for later stories. Chrissie is the archetypal blonde American heroine. She is unnerved from the start and becomes increasingly scared. Her anxiety though does protect her from the dangers around her. On the other hand the likeable, upbeat but blasé Gillian is clearly heading for trouble.  

There are some reservations which hold this back a little. Acting at times is unconvincing. The off-screen killing of a cat that Chrissie had adopted certainly does trouble me but was no doubt included to further emphasise the depravity lurking within the house. The scenes near the end as the truth about the house and its residents tend to attract a lot of criticism, even among fans of the episode, but I feel they work well and the truth about what has been going on is undoubtedly shocking. There are some flaky elements in the very last moments but overall the conclusion is good. Overall supernatural episodes - and productions in general - seem to have a greater tendency to divide viewers and can run the risk of "going over the top" or even seeming parodic. This can be particularly so when they explore devil-worship but I feel here the episode stays on the right side of the line whereas A Place To Die later in Series 1 tends to attack more of that type of criticism..

This is a bold episode in its treatment of Satanism and sexuality and no future story covered quite this territory. Its rather shabby setting and focus on characters of fairly modest means is another refreshing element. Anyone who has lived in a bedsit will recognise the old-fashioned furniture and tatty decor of Gillian and Chrissie's room. Very few of us have ever enjoyed the wealth and opulent lifestyles of many central Thriller characters but many will have been students, had to live on a tight budget and resided in run-down properties and so these conditions can have extra resonance, 

Mr Thurston explains that his daughter Sally was pregnant and hints that Mrs Oxhey offered some kind of "service" in this regard, maybe even facilitating an abortion; even the suggestion of this issue is bold for a production of the time. Despite its supernatural theme the socially realistic nature of the house perhaps makes this connect very strongly with viewers and amplifies the horror. The design of Cartney's Victorian room is another excellent touch. Altogether, it is no accident that this is one of the show's best-remembered outings - a very fine effort. 

Notes

Laura Collins appears only in the teaser which is one of the shortest - and best. She is credited for her brief role in which she screams but has no dialogue.

David de Keyser as Cartney makes the latest arrivals of any starring actor, appearing only in the final ten minutes.

Peter Cellier and Alethea Charlton had appeared two years earlier in an episode of Thames's suspense series Shadows of Fear - Repent at Leisure.

ITC Movie title-watch

The painting on the closing credits shows Chrissie and Gillian running away from the house, even though this did not happen in the story. While Chrissie would no doubt have happily done so, Gillian was very contented and more than happy to stay. Both sets of titles are accompanied by a suitably, chilling piece of music by Nick Ingman & Tony Kinsey - "Cause for Concern" - and the opening titles by Film-Rite which recreate someone climbing the stairs and scenes of a despairing partly-seen resident are I feel excellently done and among the very best which were produced.

 

Possession - Series 1, Episode 2, Saturday 21st April 1973

The story...

Newly-weds Penny and Ray Burns move into what seems like a dream home in the countryside. However renovations in the cellar make a disturbing discovery - a body buried under the concrete floor which turns out to be a previous owner who disappeared twenty years earlier. A shocking discovery in its own right but strange things start happening in the house with Ray at the centre of them...

Review

This was the first supernatural offering to appear on screen in the UK, a week before Someone at the Top of the Stairs although the latter had been produced earlier. Maybe some lessons had been learned because this is a more polished affair. It is perhaps more measured and less likely to raise the doubts provoked in some viewers by Someone..., although for me the latter retains the edge due to its more sinister and provocative quality. Both episodes are though highly impressive and probably the most frightening instalments of the show. Maybe the fact that both take place almost entirely in domestic settings makes them closer to our experience and therefore more unsettling.

Another advantage that Possession has for me is its small cast and intense focus on a few household sets. The only location filming consists of establishing shots of the new family home in a deserted countryside. This could very much have been performed in the theatre. Only five characters feature much on screen - Penny, Ray, Cecily, estate agent Kellet and Filson - and this allows them to be more strongly drawn. The small cast and limited sets also heighten the atmosphere. Maybe some critics may feel the pace is a little slow (a common criticism of Series 1) but in this case that is no bad thing as it allows the tension to rise further. 

Possession almost revels in its traditional English identity. There is no American character in sight, with the only American influence being the opening radio report of President Eisenhower's accession in 1953. Almost certainly had this been made two or three years later there would have been an American character squeezed in - most probably in the Penny Burns role. The American characters are fine but those episodes without one work perfectly well. Having said that the image of England portrayed here - rural, affluent and traditional - is one that often meets with American approval.

The teaser is short and highly impressive. It is very stark with no dialogue save for the radio report and with the murder off-screen, epitomising the Thriller style. There are no twists or real surprises in the story. It is a very straightforward one. Almost immediately it is clear that Ray Burns is the murderer, the only real doubt being whether he is "possessed", mentally disturbed or a killer who is triggered by certain circumstances - in particular the prospect of money. The success is how well it depicts the slow uncovering of Ray's secret and what he will be able to do before being unmasked and apprehended. John Carson is a mainstay of the British horror genre and is excellent here - as he is in a rather more dishevelled role in Come Out, Come Out, Wherever You Are. He handles with ease the depiction of an apparently normal, likeable man who clearly has a sinister edge and is prone to transformation into a deranged killer. Ray plays the role of sceptic very well as his wife - in typical Thriller heroine style - very soon senses danger. His jokiness about the seance is particularly effective. Later we start to see him realising he has a problem and struggling to overcome his possessed or troubled mind and these tensions are skilfully handled by Carson.

Penny is the first blonde English heroine seen in the series. She is probably the most traditional woman seen in the programme, a housewife who spends much of her time in the kitchen. She is quite happy to "obey" her husband which certainly dates the series but works very well within the story. Despite her traditional role she is still quite prepared to outline her discontents and ultimately confront Ray. Joanna Dunham has to play "on edge" almost throughout but does a very good job. The role of the medium Cecily Rafting is excellent. Cecily's total confidence in the face of great danger is extraordinary. The seance (below) and her attempts to "cleanse" Ray are superb, chilling viewing. Hilary Hardiman deserves great credit for her performance in a very demanding role. She was an actress with few screen appearances and on the surface of this episode that is unfortunate as she had much to offer.

Kellet, Ray and Penny watch anxiously as Cecily passes-out during the seance

The character of the builder Filson is another attraction. Filson is both amusing but very disconcerting, most notably when he looks on in the cellar behind an oblivious Penny. His remark about the police working in the cellar and, "none of them paid-up union members," is both funny and a welcome reference to the wider social world. Athol Coats is in fine form in this role. It’s not absolutely clear whether all the humour was intended but it still works well. With his broad rural accent Filson was one of many yokel characters to create unease in the series - A Place to Die and Kiss Me and Die being other notable examples. The estate agent Kellet is another example of a fine part. He is in two minds about the possibility of psychic influences and falls neatly in between the likes of Penny and Cecily on the one hand and the sceptic Ray on the other. Kellet's final line is a great one and James Cossins gives a strong performance.

There is a gruesome dimension to the story that is rarely seen in the earlier series. Blood appears on the 1953 calendar and in another scene. The uncovering of the skull and remnants of Miss Millington's skeleton is quite strong stuff and one wonders whether the producers then backed away from such blood-letting. Despite all this the violence is kept off-screen with none of the murders actually seen, and this was always one of Thriller's strengths.

The climax of the story is good if flawed. It is maybe a little clichéd but it's still dramatic and very effective. The violence at this climax is not wholly convincing but Thriller never depended on realistic violence for its success. Despite these small reservations about the climax this is one of the best and certainly most disturbing instalments.