There is never a sense of urgency to this episode and much padding. They story means to build tension by cutting from a room of 6 or more people waiting for The Bride, Kellerman, who is out for a walk, to return. But it's just a slog, we keep cutting to and seeing that the Bride is in no danger at all so the 6 people thinking and talking endlessly about how she is, builds no tension at all and this goes on for what feels like half the show! None of the 6 friends and relatives are interesting either they are sort of bores really and one character seems to be set up as a possible oddball murder suspect, but he can't, for various reasons be the serial killer at large, so this is just useless too.
Kellerman does what she can with the role, which is almost nothing and she's too young for the part of a woman almost too old to get married, if we believe what the script tells us. She also has no chemistry with her leading man--who has no chemistry with anyone in the episode either, and she has some preposterous lines talking about her love of "poetry" and being "alone for the last time." Even more strangely, her cop fiancé and his cop partner, seem the least bit interested or concerned about her, even when they finally do go out to look for her. These two characters are really poorly acted and written.
So when the episode is mostly filled with people we don't like or care about being worried about something we know they shouldn't be, and then when the police take over and they don't seem at all in a hurry to save the day or deeply worried.... Why then should the audience give a damn either? You don't.
In fact, none of the actors are convincingly English and not much of it really looks like it takes place in London, which is a big proble. The direction is flat, despite some nice foggy street exteriors. David Carradine is good as a creepo--though as an Enlish creepo? And he should have a had larger role and been introduced sooner. I guess he's sort of "doing" Peter Lorre but he does it well.
The pay off to the episode is botched as well. Nice reuse of Herrmann music adds some tension in a few spots but can't overcome flat direction, performances and slow slow pace.
A few minor comic bits work best, one with real Englishman, who most will recognize and Alfred the Butler from the TV Batman series, and the very good Hitch wrap around, involving a giant suggestion box.