Original subtitles

("Alfred Hitchcock" theme music)

- Good evening.

The suggestion box is the mark of the enlightened company.

We have had one for years.

We offer prizes to our workers for the best suggestions,

but so far have been unable to make any awards,

since these suggestions are usually unsigned.

We used to have a woman do this work,

but some of the suggestions were improper.

This first suggestion is directed at me.

I'm touched, but I'll have to return it.

I never accept gifts from employees.

And now this evening's drama, it is

about a disappearance, sudden, startling, and frightening.

It follows this suggestion from our sponsor.

(engaging dramatic music)

- Dear, dear, come back here.

Come back!

Hey, you come away from here.

(dark dramatic music)

- Welcome home.

- [Thomas] Huh?

- Thomas, my lad, the wandering boy returns.

Is greeted warmly, a small crowd to be sure

but all heart, warm, friendly.

- Knock it off Steve.

- Knock it off?

Is that the way they really talk in New York?

I know you've seen the movie.

- There's a young woman lying there strangled to death.

You're going to be flippant about it?

- Oh, one gets used to it.

- I think you should know this Stevie-boy,

cynics put my teeth on edge.

- Oh maybe that's not what I meant, and maybe it is,

but she's the fourth in a row, four of them,

her age, 30ish, wouldn't you say?

All strangled to death with a silk stocking.

It began when you are on holiday in New York.

Everybody's frightened, especially the women.

(bell rings)

- Hey you, stand back.

I told you, stand back.

- All I want--

- All you'll get is stand back, do you hear me, lad?

(dramatic music)

- Any pattern to this?

- Only the stocking.

Something else, they're all of an age, 30ish,

like her, wandering the streets alone,

small, anonymous lives, then found

in an alley or at a river bank.

There's a pattern there if you want it.

Happy Wedding Day, old boy.

- Thanks

- She's lovely.

- She's lovely.

- Met her aboard ship, huh?

- At paddle tennis.

- Enchanting.

- Yes, we won.

- Oh, doubles?

- Mm hmm, not always though.

- Oh, drenched with moonlight, the pink champagne,

all that sort of thing, huh?

- And games, it was a pleasure cruise.

Her mother, and father, and other planned

tour citizens to see the old world.

- Lovely, yeah?

- From within, she loves poetry, Keats,

Shelley, Lord Byron, that sort of thing.

- Much happiness, old boy, I'm proud to be

your best man and a little sad too.

- Why?

- Well, losing a jousting companion,

I'm all alone now on the field of battle.

- Oh.

- You know, Marie, and Jan, and Tinker,

and oh they will miss you, they really will.

- You have my permission to console them.

- Thanks, oh I shall, I'd be proud to, thanks.

I say, Tom--

- Mm hmm.

- I really am, I'm really happy for you.

I'm sorry that it had to be on a day like this.

- It has to be today.

Her parents are sailing tomorrow to continue the cruise.

- You love her very much, you're a lucky man,

beautiful girl, and sensitive, poetic, young--

- She's not all that young.

- [Steve] No.

- 30ish I should say.

That's right, 30ish.

(dramatic music)

Oh, there's the gatehouse.

Now there's this tradition about it

that Ben Jonson worked on it as a bricklayer with--

- Trowel in hand and book in pocket.

(laughs)

- Book in pocket.

- Tell me more.

- Why did you choose this place, Sally?

- The guidebook said it was lovely, and it is.

Poets once walked here.

- Why did you ask to meet me today?

- The guidebook says it's one

of the most romantic spots in London.

- It's bad luck to see one's bride on the wedding day

Didn't you know that?

- From childhood.

- It's not that I mind.

You really are quite exquisite.

Do you know that--

- It really would be bad luck to touch your bride before...

It all happened so quickly, didn't it Tommy?

- That's why you wanted to see me.

- So quickly, don't you feel it?

- Perhaps.

- You see, I felt it.

I knew you weren't the kind of man

to do things by whirlwind, whether romance or--

- You wanna call it off Sally?

- Tommy, I'm 31-years-old and unmarried.

My parents worry about that.

I think they'd be very hurt.

- Do you love me?

- Yes, very much.

And so swiftly I can never believe it.

- And it frightens you?

- It's gonna be a lovely, romantic, and marvelous wedding.

Will you be there?

- My tailor would very hurt if I weren't.

He hasn't slept in 36 hours.

- Well I guess we can't disappoint them, can we?

My mom and dad, and your tailor.

- And all those tour people, it'd be like having

a cricket match canceled because it rained.

- Tommy?

- [Tommy] Yes.

- Touch me if you want.

- Mm mm, bad luck, remember?

- Tell me more about this place.

Please, Tommy.

- It had an evil reputation once, the haunt of rogues

and beggars, there was a pillory there and many executions.

In the year 1586, Anthony Worthington who conspired

to murder Queen Elizabeth I was put to death there

with nine of his accomplices.

And in 1647, Otis Bruxton was also executed.

Why am I talking about morbid history

when my own job is filled with it right now?

Stocking murders, mayhem--

- I'm going back to the hotel, Tommy.

- I'll come with you.

- [Sally] No that's all right, I...

Happy Wedding Day.

- [Tommy] You too, Sally.

(engaging romantic music)

- What was that for?

- Didn't you like it?

- Sure I did, I loved it.

I've got so many things to do,

last-minute touches on Sally's dress,

the caterers, the flowers--

- It's exciting isn't it?

What I like is a rapid wedding, two young people meet

and right away they wanna get married.

It's a good omen, love should happen quickly.

Sally, you have a nice walk?

- Fine.

- Sally, are you all right?

- [Sally] I'm fine.

- I wanna see you in your dress

in case there are any last minute changes.

- Yes, mother.

- What's bothering our daughter is premarital jitters.

- I've got them too.

You excited, darling?

- I don't know, mother.

I'm 31-years-old and I don't know what I feel,

whether I'm excited or frightened.

I'm 31-years-old and I don't know

if I'm ready to get married.

- Darling, don't be frightened.

He's a very gentle man.

- Yes, he is.

- And you are 31, try on the dress.

- At my age, a white wedding dress.

It'll fit fine.

- But Sally--

- Mother, it'll fit fine.

- Are you going out again?

- Yes.

- Sally, you've got to be at the chapel at eight o'clock.

That's only four hours away.

- I know mother, don't worry about it.

- But Sally, you can't--

- Mother, listen, the man I'm gonna marry

wanted to touch me this afternoon.

It shattered me.

What happened inside of me was terror.

I'm going out for a while.

- Everyone woman--

- Please don't try to answer it for me, mother.

I'm gonna walk and think about it,

and when I get back I'll be fine.

- All right, darling.

(door closes)

- Is she nervous?

- Some women are never meant for marriage.

Did you know that?

- Well Sally is bright, and she's lovely,

and if you permit a cliche, I personally

don't feel I'm losing a daughter but I'm gaining a son--

- A policeman?

- Well they come in handy.

- In London?

We live in Vincennes, Indiana.

(door knocks)

- Come in.

- They found a girl in Soho this morning,

strangled with a stocking.

- How about that, uh, very British, uh,

four in a month, very, very British.

Shades of Jack the Ripper, uh?

- [Mrs. Benner] Shades?

- I like London, where's Sally?

- [Mrs. Benner] In her room.

- Is she still gonna marry that cop?

- Son, what kind of talk is that?

- Is she still gonna marry that cop?

- Yes.

- Sweet of you to invite us to the wedding.

It was very sweet.

- She means we're just ship-board acquaintances and all--

- Imagine, married to a cop.

- Elliott!

- Hello everybody.

(greetings said)

- Where are you going?

- Out.

- Why would you wanna go out now?

- For a walk, I love walking in the city, father.

And I wanna do it alone.

After I'm married I won't be alone, ever again.

- Of course you will, darling.

- Never, won't be the same.

Anyhow I have to go to the druggist

to pick up some cosmetics.

- Chemists, that's what the British call druggists.

Chemists.

- You need to trim Elliott, you're a little scraggly.

- You better be careful that's all.

- What?

- Well, girls are getting strangled

all over the place in London town.

You want me to go with you?

- Thank you, Elliot, see you at my wedding.

- Be careful.

(dramatic music)

- She should've let me go with her.

(ominous music)

(dark dramatic music)

(delicate piano music)

- Wine of the country, Vino della Pace,

it took some doing to find this, believe me,

all the way from the good old USA,

where the earth is the greatest.

And the rainfall, natural rainfall

versus man-made irrigation.

Well, a toast before the ceremonial, shall we?

To the blushing bride.

Is she in her bedroom blushing?

- She's--

- Well we can soon fix that.

Let's send her in a little bubbly.

- She's not here.

She hasn't gotten back from her walk.

- Well, why not?

- I really don't know.

- Well I do, she just got interested in the landmarks.

She forgets about the time.

- On her wedding day?

- Oh boy, they got him here, landmarks,

Wellington, Trafalgar, Buckingham,

Essie sneaked behind the Coldstream Guard and waved.

I took her picture.

(60s rock guitar music)

* Skies where the lights are bright, pretty baby *

* Don't you get it through your head, but you did *

* Don't want you out at night, the pretty baby *

* And don't want you strangled, yeah, yeah *

* Nothing could make me feel so bad *

* As to see you stretched on a marble slab *

* Stay where the lights are bright, the pretty baby *

* Don't want you out at night *

* Stay where the lights are brights, the pretty baby *

* You're making me nervous, a wreck, yeah, yeah *

* I don't want you found some night, the pretty baby *

* With a stocking 'round your neck, yeah, yeah. *

* Don't let the man get a stranglehold *

(door knocks)

- There she is.

- No she isn't.

She has a key, why would she knock?

(door knocks)

- [Myrna] Anybody home?

- She'll be here.

You want my word of honor on it?

- Look who's here, hiya Ducks.

- Myrna.

- Hello, everybody.

- Hello Myrna, how nice of you to come.

- Why, maids of honor always show up don't they?

Why didn't anybody show up I was waiting at the chapel?

What happened?

- Have some bubbly.

- Thank you.

- You know, of course this is my third wedding

since the first of the year?

Of course, I mean as maid of honor, being social director

on a ship, introducing people, this is my--

- Maids of honor do, brides don't always.

Cheer up.

- Oh, where's Sally?

- She's not here, she just isn't here.

- Well, where is she?

- I don't know where she is.

- You don't know?

- Please, she went out for a walk

hours ago and she hasn't come back.

(stirring emotional music)

- To golden palaces, strange minstrel see,

fountains grotesque, yule trees, bespangled caves,

echoing grottoes full of tumbling waves and moonlight.

You say you are from America.

- Yes.

- [Sutherland] And you like Keats?

- Oh, I love him, read some more.

- No, no, no, that's past my dinner time.

However, I shall be open a bit late

this evening if you care to return.

- I have so much to do.

- Yes, well I don't think you'll find

an edition like this in America,

privately printed, a limited edition.

- Oh, I thank you very much.

- Fine.

- I almost ran away on the day of my wedding.

- Sally didn't run away, something's happened to her.

- Nothing's happened to her, honestly, on my word of honor.

- Did you know that, that I almost ran away?

I almost did.

- Your drink okay?

- Did she say where she was going?

- Landmarks.

- Myrna, What could have happened to her?

- Evening, dearie.

Walk with you a bit?

The likes of us shouldn't be walking alone,

especially with that weirdy chap about,

and him twisting stockings around

girls' necks, doing his murders.

Safety in numbers, I always say,

especially for the likes of us.

- The likes of us?

- Yeah, else why'd you be in this part of town, huh?

- The guidebook said Shelley once walked here.

- Who?

(phone rings)

- Hello.

You have to speak up, I can't hear you.

I'm sorry but I can't--

- Here, give me that.

Hello, who is this?

- Happy wedding, everybody.

(hums Wedding Song)

- Who is this?

Hello?

- What's a matter?

- Just shut up, Elliott, please.

- Who is this?

This must be a bad connection.

- All you have to do is jiggle the receiver--

- Hello--

- Ask the operator but jiggle the receiver,

and ask the operator to give you another line.

Here, let me do it, let me do it.

Hello operator, operator, hi.

I broke the connection.

- What's a matter, what's going on?

Mother?

Mother, what's going on?

- Nobody seems to know, dear.

(phone rings)

- Hello.

Oh, yes this is much better.

Who is this?

Oh Tommy, Tommy you can't talk to her.

Well, she isn't here.

She went out for a walk a long time ago.

She hasn't come back.

I don't know.

I said, I don't know.

She's gone, that's all.

My daughter's gone.

(dark dramatic music)

- The second half of our story will be on view presently.

I have filled boxes like this with suggestions

that the station break be abolished,

just how successful I've been will be apparent in a moment.

- Oh, put that down Essie.

(dramatic music)

Thank you Essie.

- Her mother's worried, she's terribly worried.

(dramatic music)

- I bought you this, you and Sally, but I guess

I can take it back since there's not gonna be a--

- Elliott, please be quiet, for mother.

- Mother, if there's not gonna be any wedding--

- Elliott, shut up, for mother.

(crying)

- Darling, don't cry.

I can't bear to see you cry.

Sally's all right, you will see.

Tommy knows what to do, he'll find her.

- Of course he will, Mrs. Benner.

(dramatic music)

(suspenseful music)

- Maybe you don't understand, Tommy.

Like really understand, I've known you such a short time,

such a little time, what Sally means to us,

how we've loved her and cared for her,

wept over every hurt and bruise.

Do you understand?

- Yes, Mrs. Benner.

- I'm sure that you English cops, you're so, so--

- We're what Elliott?

- So polished, smooth, classy that's the word, classy.

- How nice of you to say so, Elliott.

But do tell us how we're, classy.

- Yes, do tell us Elliott because we'd really like to know.

- I mean, everybody's in a panic.

Sally's gone, disappeared.

Any you, especially you, Tommy,

she's supposed to be your wife tonight,

and you play it so cool, so Scotland Yard.

And these stocking murders...

Women.

- Go on, Elliott.

- Mother.

- Yes dear, what is it it?

- [Elliott] You know I mean?

- Of course we do Ducks, you do make friends rapidly.

- Look here, Tommy...

Thomas, old boy--

- When did you see Sally last?

- Early this afternoon, quite early.

- She just went out?

You know where she went to?

- She said to the drug store, I corrected her.

I said you people call it chemists.

- Oh, bully for you, Elliott.

- Well that's what you people call it.

- Did she say which drug store?

- The closest one I should think.

She said she wanted to get a few things.

- She said something else.

Sally said something else.

- What?

- She said she wanted to go alone.

- Well, I tried to stop her.

- I mentioned about the mur--

- To go alone.

She said it was the last chance she'd have to be alone.

- Do you have a recent photograph of her?

- Yes, we have a snapshot, it was taken aboard ship.

- That'll do.

- I'll get it.

- Yes, I took that snapshot.

I posed her and I got the light just...

Well, it's my hobby.

- How was she dressed?

Was she waring anything distinctive, anything that--

- She had on a light wool suit,

and that silver chain with a key on it,

a wine steward's key.

It was a souvenir she picked up on board ship.

Find my daughter, Tommy.

Bring her back to me, she was--

- We'll do all we can Mr. Benner.

I'll alert the Yard.

We'll do all we can, come on, Steve.

- Tommy, Tommy, you were pretty

late for the wedding yourself.

Anybody else notice with all the goings on?

I did.

I was thinking to myself, the bridegroom, is he gonna show?

Or has he got second thoughts about--

- Remind me to get you one, one day, Elliott.

- Give me what?

- What you said, a second thought.

(playful music)

(dramatic music)

What about it, Tommy?

- What about what?

- You were quite late.

I waited almost two hours for you.

The best man gets as jittery, as a, well as a--

- As a what?

- The metaphor escapes me for the moment.

Had you intended to go through with it?

Do you really love her?

I'm sorry, of course you must do.

How stupid of me when...

I suppose we'd better ask that chemist,

though there is someone that I'd much rather ask.

- Who's that, old man?

- Myrna, the social director.

I wonder if she remembers that childhood game.

Of course she must, they always do, finally.

(dramatic music)

- Yes, yes she was here all right.

- May I see that please, sir?

Oh yes, she is a love, isn't she, Dad?

- Give the gentleman back his photo.

That's a good boy.

- When was she in, Mr. Guerny?

- [Mr. Guerny] This afternoon, sir,

the exact hour I couldn't really say.

- Did she buy anything, Mr. Guerny.

- Yes.

- [Tommy] What?

- Lipstick, very pale pink, yes,

some facial tissues, eyebrow pencil,

bought a chocolate and yes, some vanishing cream,

oh and a vial of cologne.

- Vanishing cream and now she's vanished.

- Oh, that is a good one.

- Have you any idea, Mr. Guerny

where she might have gone from here?

Did she by any chance--

- I know where she went.

- Where?

- Well, she walked about for a bit,

window-gazed for a bit, then she went into Sutherland's,

you know the bookshop, poets, limited editions,

rarities, and all that sort of thing.

- Now how would you know that?

- [Guerny Jr.] Because I followed her.

- Do you mind telling me, why?

- 'Cause I like Yanks I suppose.

I like the way they walk.

Well they've got a style all their own, haven't they?

So I followed her to Sutherland's and returned.

- He has his funny little ways, you know.

- Did you talk to her?

- Oh no, I wouldn't have dared.

That would've spoiled it.

- Strange girl, a puzzlement really,

evanescent, do you know the word, evanescent?

- Yes sir.

- Yes, I don't think I'm likely to forget her.

No, not likely.

- Why not, Mr. Sutherland?

- Oh, she asked me to read for her.

That's something no one has done for years,

many years, and I felt a stirring in these old bones.

A victim of foul play, did you say?

- No, we didn't say that, Mr. Sutherland.

Why did you?

- Well, foul play is very rampant these days,

and she had an aura of the victim about her,

relative to the description of the other victims that is.

It was Keats I was reading to her.

Yes, Keats, but then it was time for my dinner.

However, I invited her to return.

- Did she?

- Oh, she never left, she browsed while I was in the back

of the shop withy my milk and sandwich.

Yes, I recall she was particularly beguiled by the poem

which goes, "Thou still unravished bride of quietness."

She listened, thanked me, and left.

- For where?

- [Sutherland] Oh, the Hoop and Wine, I should think.

- The pub.

- It is the sort of place she had to go

to and she asked and touted the Hoop and Wine.

It has a feel about, it's musty, but there are

distant echoes of golden tongues lathed in the wild.

- Good night, Mr. Sutherland.

- Strangled, you think?

Strangled with a silken hose like the other victims?

- We don't know.

- Oh yes, yes, yes, yes.

(eerie piano music)

- Well gentleman, what's it gonna be?

- Oh, a couple of pints for me.

- All right so, officer.

- Will you take a look at this?

- Huh, the young lady done something?

- She's missing on her wedding day.

- [Steve] It's a pity, don't you think?

- [Barkeep] Yeah.

- May I see that?

- Of course.

- There you are sir, thank you.

- Her wedding day.

Thank you, chaps.

- Lovely girl.

- Woman, more to the woman, wouldn't you say?

- You know her?

- Do you?

- Yes.

- Strange.

- Why do you say that?

- I thought at first you were police.

So thoroughly police the ever so gentle shockwave

you chaps create wherever you...

But then if you were, how would know a woman like Sally?

Riddle me that.

- That's not important.

What's important, Mr.?

- It's Clarke, Edward Clarke.

- Now what's important, Edward, is that you know her.

How did you manage that?

- She came in, she saw me, we smiled at one another.

I admired her necklace.

- Oh what kind of a necklace was that?

- A chain with a key on it.

Women like her often speak to me.

We had a drink, there was a rapport.

I asked her to walk with me and she did.

Then I came back here.

- And now she's missing.

We, I beg your pardon.

We haven't had a trace, have we?

- No, she's a loner, she told me about that,

how solitude is like a lover.

I'm sure that wasn't original with her.

- Where is she?

Do you know where she's gone?

- I should think.

- Think what, Edward?

- Well I should think if I were a derring-do chap,

or a newspaper chap, or the police, I would--

- You would what, Edward?

I'm really interested.

- Why, have the river dragged, of course.

- Oh, it's a very long river, Edward.

It's a...

Where do you think one might look?

(dramatic music)

- We sat here for a while, Sally and I, and we talked.

- You talked and then you strangled her, didn't you?

- There's a chill, I'd like tea.

- Sit down, Edward.

- I'd like to move around a bit.

I'd like tea.

- We all would, there's no time for it.

The occasion doesn't call for it.

- What now?

- You mentioned the river.

- That's right and someone said it was a long river,

and I agreed, and then someone asked

where they start dragging, and I smiled.

- Edward, what do you do?

- I'm a hunter.

- Hunter of what?

- People, I do that, I hunt people.

- Do you kill them?

- We're all of us, murderers,

in our deepest hearts murder most foul--

- Edward, you hunt people, tell us about that.

- I meet them in pubs, in shops, and we talk,

and I hunt them, what makes them cripples inside,

and I get involved with them, sometimes,

when we find one another interesting.

Do you understand?

- Yes.

- [Edward] Do you understand?

- How do you earn your living?

- I don't have to worry about that.

- Have you ever been arrested?

- [Edward] Yes, but not convicted.

- What was the charge?

- It had to do with girls.

- [Steve] How?

- The police said they were quite young, too young in fact,

which of course is ridiculous, since girls

inherit the knowledge and guile of grown women.

Therefore--

- Therefore what?

- I make sure the ladies are quite mature

before I concern myself with them.

- 30 or thereabouts?

- Well, older than I am.

They seem to take a delight in that,

that I'm younger than they, I permit them that.

- Tell us about Sally Benner.

Sally Benner, the girl in the pub.

- She was older than I.

- Was?

- But she knew right away there was a quality about me,

a depth, sensed it, she was in a way grateful for me.

She needed someone she could adjust to,

for there was a kind of vagueness about her,

something unfilled, which of course is true

of those who use poetry as a crutch,

who hug to themselves the seeming splendors of another age.

I understand about things like that.

You see, only a few people recognize

this quality in me, a depth.

- A depth, Edward?

- Yes.

- I understand exactly what you mean.

All of us want to be known for what we are,

what sets us apart, what makes our selves special.

- That's right.

- We see it everyday in the newspapers.

- Yes.

- Yes.

Someone else, not us.

- Yes.

- Edward, you said the police should drag the river.

- I remember, I said that.

- You put Sally in the river, didn't you?

She resisted you and you killed her.

(dark dramatic music)

- It could have been an accident.

- Then you did kill her?

- Strange girl, all I had to do was say

that Byron walked here, or a prince,

or that just there had been had been a historic bonfire,

and I reached out my hand to here and she came--

- You tried to make love to her and she resisted you--

- Tommy, I'll take it from here.

Tommy!

- It could have been an accident.

- She started to run, tripped, and she fell

and she hit her head didn't she?

And then you strangled her with her stocking,

like you did all the rest.

- I must hand it to you, I really must.

- Where did you throw her in, show us.

- I must compliment you on an excellent effort,

but that's not exactly the way it happened, you know.

I ran after her, yes, but after that it was different.

- Where did you throw her in?

- I'll show you.

(dark dramatic music)

There.

- [Tommy] You're sure?

- [Edward] Just there.

- Well we better start them dragging the river.

- Tommy, I'll do that, I'll call the Yard.

After they get here you'd best be with the family.

I'll call the Yard.

- And the papers, and the photographers.

(sinister music)

- I'm so ashamed, you must hate me.

Please don't hate me, Tommy.

- [Tommy] Oh no, I love you very much.

Where were you?

We were looking all over London for you.

- Walking, seeing London at night.

There's a night tour, you know, bus.

- [Mrs. Benner] But, Sally, this was your wedding night.

We thought something terrible had happened to you.

- I know mother.

Tommy I'm sorry.

- I thought you were dead.

I came back to console the family, I--

- How could you have thought I was dead?

- Well, all's well that end's well, bubbly for everybody.

- I wanna talk to you.

Now listen--

- First hold me.

- [Tommy] I love you so much, Sally.

- Oh, I'm so glad.

- Tommy, when I left I asked myself

if I really loved you, maybe I was just desperate

because here I am of this age

and nobody but you has ever asked to marry me,

and I thought wouldn't it be terrible

to get married and not be sure.

So, I needed this time to thank.

And now I am sure.

I do love you Tommy and please marry me, oh please.

- You know, when I phoned you tonight

and they told me that you were missing,

I was really phoning to tell you that I wasn't sure.

I didn't know whether I loved you or not.

I didn't know if I wanted to marry you.

Now, I know.

This thing that's happened, has made me sure.

And we're gonna get married tonight.

- Well, it's so late--

- Tonight, I'll find somebody.

The mixture as before, the wedding is on.

- Oh Sally, I'm so glad.

- I don't feel I'm losing a daughter,

I'm gaining a policeman.

- You get dressed and look beautiful, I've got a phone call

to make and then I must go out.

Bye doll, I'll be back.

It's Inspector Bonn, would you

connect me with Scotland Yard, please?

They're dragging the river for you, did you know that?

- Dragging the river?

- Some psychopath confessed to murdering you

and throwing your body in the river.

(sinister music)

- I told you I killed her, but not like you said.

I ran after her, yes, but after that it was different.

- I discovered that the suggestion box

hadn't been opened for years and years.

I wish we had taken the trouble, for some of the oldest ones

in the bottom of the box are quite good.

This one for example.

"Why not put wheels and a gasoline

on the sled and call it a truck?"

What is all the more remarkable is that when this suggestion

was made, the wheel hadn't been invented yet.

But, he provides a drawing.

Unfortunately we cannot reward this man.

He is no longer with us.

And I'm afraid this man isn't either.

"Help, I am being held prisoner in the secretarial pool."

Poor fellow, it's too late now.

We must remember to look at these sooner.

Next week we shall return with another story

and of course, some commercials.

(lively mystery theme music)

(engaging theme music)