Tod and Buz, still out West, are separated as Tod accepts a short term job at Lake Havasu, Arizona helping to test an experimental boat motor. The main designer is driven and totally ...
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Tod and Buz, still out West, are separated as Tod accepts a short term job at Lake Havasu, Arizona helping to test an experimental boat motor. The main designer is driven and totally immersed in the project - until his long-lost daughter turns up. Tod helps both the daughter and the engineer to come to grips with their lives. Written by
[Tod's voice over while racing on the lake]
Whoever fights the future has a mortal enemy, a faceless enemy, because the future has no being of its own. It steals its being from each man and once it's tricked him of his secrets it appears outside him. A predator he must meet. But it can be met and it can be vanquished if only he will reach out for it with open arms and a hungry heart.
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The visuals of powerboats on Lake Havasu carry this entry. The plot itself is pretty sketchy, mainly involving an obsessed Sandy Mason's drive to monopolize the powerboat business with his new engine design. Why exactly Tod puts up with his abuse once he hires on is not made clear (then again, maybe I missed something). Toward the end, Sandy's estranged daughter Dana (Smith) shows up to add more of a plot, but has the appearance of a last- minute add-on. Anyway, which of the two will Sandy now pay attention to—his needy daughter or his passion for powerboats.
As a whole, the series dwells a lot on lost souls trying to make a connection with others. Here it's Sandy and Dana. Of course being neither a cop show nor a western-- both popular at the time-- the series couldn't depend on crime as a weekly theme. Plus, lost souls allowed head writer Silliphant to wax philosophical as he does here. Anyway, Maharis puts in a token appearance, but otherwise it's all Tod. Larch is commanding, as usual, as the driven Sandy. But I admit I didn't recognize Lois Smith as the comely Dana. For me, she really registered as the barroom drudge in James Dean's iconic East of Eden (1954). There, however, she was frazzled and disheveled, still delivering an affecting performance. Seeing her here, I'm suddenly smitten. All in all, the entry's mainly for those wanting a good look at Lake Havasu, with something of a story thrown in.
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