The ultimate woman-as-victim thriller must be one in which the woman is disabled. The catch in Wait Until Dark is that Audrey Hepburn's Susy is extremely canny: the game is watching her outwit her tormentors not in spite of her blindness but by way of it. Three men terrorize Susy in their attempt to find a heroin-stuffed doll which is either hidden or lost in her apartment. Alan Arkin, Richard Crenna and Jack Weston are thugs given to theatrics; they relish the ever-changing charade they are putting on around Susy, effecting a seemingly unending parade of cops, doctors, distraught husbands...and dead men. And if anyone is "blind," it is Susy's photographer husband (Efrem Zimbalist, Jr.), who can't see his wife for his obsession with her self-sufficiency. "I was best in blind school today," she coyly plays into his hand. But when later, rather more sadly, she says, "I'll be anything you want me to be," we see what has been called the superhero syndrome that is at play here, and the kind of desperate will (his, hers, ours) that is behind it. Finally, whereas most films avoid the subject, much of Wait Until Dark's suspense and interest lie in the everyday ways in which Susy functions in her home. (The film's rather leaden roots in a stage play are evident in its chamber setting, but this has the advantage of putting Susy at her best advantage.) So, what's wrong with this picture? Just that, once into the unrelenting onslaught, one has to ask about a story predicated on terrorizing a blind person: That's entertainment? Someone must think so, to judge by the frequency with which this particular story reappears in contemporary TV movies.