All language subtitles for The.Alfred.Hitchcock.Hour.S03E22.Thou.Still.Unravished.Bride.1080p.PCOK.WEBRip.AAC.2.0.H.265.-EDGE2020_track3_[eng]

("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)