Forecast: Low Clouds and Coastal Fog

Has the feel of an episode from HAWAIIN EYE, replete with surfers, popular cop show at the time. Who better to direct than Charles Haas, who headed that series.

Lovely Inger Stevens is at her desperate best, remembered for her famous appearance on the TWILIGHT ZONE, as a driver who meets an ominous hitch-hiker. Instead of one person, Stevens (Karen) has a lot of company in this drama. She plays a housewife left alone by her husband (Simon Scott) in their lonely beach house -- surprised by a knock at the door?

I agree with the last reviewer, its all foggy and creepy, but the acting is what will keep you glued to the story. Karen has the luck of meeting some surfer dudes, however, a desperate man named Sanchez (played by Christopher Dark), really needs her help, and she locks him out. Consequences...

Dark, who passed suddenly in the early 70s, is excellent. A role he may be best remembered for in a short career. Also co- starring Richael Jaeckel (Tom) and Dan O'Herlihy. This episode marks the acting debut of Greg Morris, playing a doctor.

Top writing by Lee Erwin, long time writer for PEYTON PLACE.

Erwin and Haas were a wise choice by Hitch to handle this material. They get the job done, as you will see. The ending switches back to Hitch with a twist you would never expect, and it's sobering. The Malibu beach shots are beautiful in between the insanity.

Did you catch it? In the hospital waiting room scene, there's a guy reading a newspaper --but you can't see his face. Strange the actor wouldn't be seen, which brings the question. Was that Hitch, pulling a fast one? He would do stuff like that.

Recommended for fans of Inger Stevens. A terrific role for her.

Best of SEASON 1 EPISODE 17 remastered. Note, according to Amazon, the series was also released on dvd in Europe and may not play on American made dvd players. Always check with the seller.

Stumbled upon this late night. Fun, and disturbing, and satisfying. Recommend.

Really preferred the half hour episodes but this hour long one was superb. Very well written with a very good cast. The pacing was also good enough that it almost seemed like a half hour episode. Won't give the ending away except to say you'll probably be as surprised as I was.

This young woman is alone in a beach house. She is married to a much older rich man. It is foggy and sort of creepy. She is settling down when the doorbell rings. It's a Hispanic man who wants to use her phone. He is out of gas and his girlfriend is alone in the car. It is perfectly understandable that she won't let him in. What transpires is that the woman is now in the hospital and the man from the door is about to be taken into custody. He threatens her as he is taken away. What then happens is a trip to the hospital to see how the woman is and she is confronted by the man she turned away. She has befriended some surfers and actually goes out with them. But there's more to the story. Well done little drama.

Well staged and fairly suspenseful episode. Looks like Sanchez (Dark) wants to get even with Malibu housewife who wouldn't let him in her house to make an emergency phone call. Now Sanchez' girl-friend is dead and he doesn't care that Karen (Stevens) was alone and understandably frightened on that fog-bound night. Why won't he understand since she now feels all kinds of remorse.

Since it's Hitchcock, you know things can't be as they seem. But how are they really. Good thing Karen has the three strapping beach boys protecting her until husband gets back from San Francisco. But what's taking hubby so long, and why's weirdo writer Simon (O"Herlihy) hanging around and drinking up all her booze. Then there's that beeping fog horn reminding us minute by minute of the menace. No doubt about it, Karen's a Woman In Danger.

Sad to see that sparkling actress Inger Stevens in the flower of life, knowing she would soon die by her own hand. And catch Sinatra buddy Christopher Dark as the revenge-obsessed Sanchez. Though good, this isn't a top entry since the ending appears too contrived to be satisfying. Nonetheless, there're the usual series compensations to carry us along.