First-rate Hitch. I love that early scene around breakfast. Husband George (O'Neal) sits silently by, enduring wife Mavis's (Browne) air-head blather as she flits around like a blonde butterfly. But George better keep quiet, because she's the boss's daughter entitling him to a big house, servants, and an executive position with the firm. Lovely empty-headed Mavis amounts to real tour-de- force by actress Browne. But who's that dead girl George finds in an apartment. Panicked, he leaves in a hurry along with obnoxious cab driver Kirby (Lindsey) Trouble is Kirby turns up later much to George's chagrin. So how will things sort out for the now besieged George.
Excellent screenplay that builds suspensefully to fill out the hour, without the pitfall of padding. Great character color, even George's dour deadpan that fits the character perfectly. And get a load of old hag Lulu who gives whole new meaning to 'barfly'. But maybe most of all is that really jarring got'cha, one of the best of the series. At the same time, the irony of the got'cha is unexpectedly delicious. Note too, how the episode's central relationship alters as more character is revealed. That's another good subtle feature. All in all, in my book, the hour's just below the series' very best.
(In passing—Mr. Amack's Storyline synopsis gives away much too much. Come on, IMDb, check these out before posting. After all, the episode depends a lot on surprises.)