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For those of you who've driven across the USA, or long distance anywhere on your own, this story resonates as the mind can race and feel paranoia when on a long lonely trip into unfamiliar places with only yourself for conversation.

Inger Stevens was wonderfully cast as the lone driver traveling across America, her sensitive and delicate features conveyed a vulnerability that had you worried for her, even when she took on the companion sailor ostensibly for protection against the unsettling apparition of the hitch-hiker. I remember the first time watching, wondering whether he'd protect her or sexually assault her.

The portrayal of the hitch-hiker was also done splendidly, not physically threatening or even overly menacing, just very unsettling.

Shabby hitch-hiker keeps reappearing as young woman drives cross-country.

Great episode. Perhaps the most haunting of all the entries. Serling's adaptation of the Louise Fletcher radio play is first rate, one of the best of the series. Everything entertaining and artistic comes together as Inger Stevens' cross-country trip descends from bright sunlight into the depths of midnight. There's suspense (the railroad crossing), humor (the sailor thinking it's his lucky day), mystery (what is this with the hitch-hiker), and finally pathos ( in a rear-view mirror). I particularly like the subtle way the final scene is handled with the superb camera work and expert use of half light and shadow. Notice how the camera shots become progressively tighter as the tension inside the car mounts. Also, there's the well-timed blinking neon in the final scene to convey a subtle transition. And for those who care-- there's a taste of radio drama in the voice-over sequences where Stevens is riding alone. Radio drama, of course, could not allow dead air time, so script writers such as Fletcher had to become skilled at verbalizing what the character is thinking. It still shows in these traveling sequences. (A half-facetious observation-- strange how so much of cross-country America looks like the scrub lands of southern Cal. But then, as good as the best shows are, TZ was never a big-budget series.) Anyhow, this is one of those haunting episodes that stays with you. So don't miss it.

There are so many great episodes of "The Twilight Zone" that it would be difficult to rank them...but there are four or five that would definitely be near the top of the list. This is one of them. You can count on Syfy to air this one during every TZ marathon.

One reason it is my favorite -- this was the first episode of "The Twilight Zone" I ever saw, when it aired late at night on our local PBS station back in the early 1980s. I had no idea a show like this even existed and I was hooked immediately. The foreboding opening narration assures the viewer that a tale of suspense is about to unfold and you won't be disappointed as our protagonist, Nan Adams, drives across the country. She encounters numerous obstacles on her trip and first-time viewers will be on the edge of their seats a few times in the ensuing half-hour -- the train crossing sequence is chilling and Leonard Strong's recurring Hitchhiker character just adds to the growing dark atmosphere.

This episode was also my introduction to the beautiful Inger Stevens. She was a master of her craft and does a magnificent job of using facial expressions to convey Nan's growing sense of frustration and doom as the trip reaches its climax. It was not until a few years later that I learned of how Inger's life ended so tragically early but she left a legacy of great performances, this being one of them.

The ending was just classic "The Twilight Zone", with Rod Serling's closing narration perfectly written and stated. I give "The Hitchhiker" 10 out of 10 and urge anyone who hasn't seen it to give it a view. Definitely worth your time!

Hop in for the ride. The Hitch-Hiker is very well made and among the most scary Zones. Nan (Inger Stevens) is making a long road journey alone and sees an unimposing looking hobo thumbing for a ride - only she sees him again, and again...and...oh dear...again! The scenes where Inger Stevens interacts with other actors work better than the ones she plays alone (or with only guess who appearing). A story all too often imitated now but in parts quite effective, even for those who know what's going to happen ( there's a nice jumpy moment about thirteen minutes in).

Take this shortly before bedtime, but for those of you of a nervous disposition I suggest take one of the comedy TZ's to follow for pleasanter dreams.

TZ trivia - the original radio play was written by Lucille Fletcher who was earlier married to TZ composer, the great Bernard Herrmann.

I love this one, and it's definitely one of the ones where I'll stop whatever I'm doing and watch it, despite seeing it many, many times. Inger Stevens was terrific in a classic TZ episode where she is essentially the whole show. She was apparently very talented and had such a sad ending just ten years after this episode aired.

Great acting from Inger, she leads this episode flawlessly. The storyline was interesting and felt authentic, with a solid twist at the end.

Although I didn't include this episode in my dozen favorite episodes of TTZ It seems to be rated among the ten highest by the fans And I certainly don't argue with it's quality.

Inger Stevens was a striking actress. Perhaps knowing about her real life tragic ending makes this episode even more poignant. The series trademark-A great twist ending-Is surely here.

On creepiness alone I'd say this episode is definitely one of the series' most unnerving. If I am completely honest with myself maybe it's creepiness is such that that is why I didn't include it in my dozen favorites. It's certainly not due to a lack of quality:)

It's only natural I suppose with a show like this to attempt to second guess the twist at the end and just occasionally I guess it right. So it was with this episode starring the sadly ill-fated Inger Stevens as a young woman on a road trip across America, who after a roadside recovery man repairs a tyre blow-out for her, telling her in passing just how lucky she was, then keeps seeing a shabbily dressed old man beckoning her to give him a ride. The funny thing is no one else can see him and no matter how far she gets in her journey, he's always there, thumb-raised, waiting for her at the next stop.

I doubt I was the only one to predict the outcome here but even if the rest of it did seem a little padded at times, especially her encounter with a young sailor whom she unnecessarily attempts to proposition just to keep her company, it was still spookily entertaining most of the way through.

Miss Stevens makes for a credible damsel in distress in what was pretty much a one-hander in an episode which made me think of later films like Spielberg's "Duel" or "The Vanishing" which inhabit similar territory. A well up-to-standard episode.

This is one of those stories that is timeless. It's somewhat basic, but so evocative and so we'll executed that it stands the test of time. The performance of the main character is so poignant and hauntingly emotive, so as to drive the core of this story right through your heart in the form of an icicle.

But the best thing about this one is how it's shot... The close ups. The shadows. It's delicious, every last frame of it.

The best episodes of the Zone are bigger than the series and seem to stand on their own as pillars of cture and of narrative art. This is definitely one of those. Once you've seen it, you will have registered it in your brain and it will stay there.

This episode is always hard for me to watch because of the tragically tortured soul that is Inger Stevens. She plays her part so intensely and real that I believe the hitch-hiker exists in all of us. She had many demons inside that was conveyed into her character in this episode and "The Lateness of the Hour". She is so beautiful and vulnerable that it still hurts deeply she finally succeeded in squelching her demons in 1970.

This episode has always been in my top 10 of Twilight Zone episodes because of its haunting tones and feeling of total acceptance at the end.