Was I five or six when I asked him about Mother? "The waves," he said. Even what he said about the water in the boathouse. Everything Jonathan ever told me I remember. I don't know why I bother to explain all of this, for the brief three scenes which preface tonight's story will make everything quite clear. Skin and blood under the count's fingernails, indicated he had scratched his assailant, yet none of the three suspects bore any scratches. Mullet obligingly left his fingerprints on the count's wallet Froy had written an incriminating letter and Lord Sorrington's pistol was found on the scene. In each case, there is some corroborating evidence. They were Bernard Froy, an American Mullet, the lift man and Lord Sorrington, an important industrialist. Within a few hours after Count Victor Mattoni was found dead in his London flat with a single bullet hole in his head, the detectives found themselves with three persons, each of whom confessed that he, and he alone, killed the count. Those of you who have been sitting on the edge of your chairs since last time will be glad to know that tonight we shall definitely present the final chapter in our story, "I Killed the Count." For those of you who have missed the earlier installments, or have lost your scorecards, I shall present a r?sum?. But for the benefit of any small children who may have missed some of the plot machinations, here to clarify are two brief scenes from our last show, after which our story continues. For, both Froy and Lord Sorrington confessed to a murder that only one of them could have committed. Before the detectives were quite settled down to work, they are faced with an embarrassingly oversupply of confessions. And another written by Lord Sorrington, an industrialist. Inspector Davidson and his assistant Raines, the investigating detectives, have uncovered a number of clues. It's my personal opinion that this was a contributing factor to his death. There was a single bullet hole in his forehead. First of all, Count Victor Mattoni was found quite dead in the living room of his London flat. I hope you realize the trouble you're putting us to. I'd better fill in some of the details for those of you who were careless enough to miss the first episode. On the contrary, since we were unable to finish the story last time, we shall have another stab at it tonight. Last week's play was also called "I Killed the Count." And you think tonight's is just a revival. Tonight's play is called "I Killed the Count." Now, I know what you're thinking. Well, it's really hard to explain to anyone who hasn't experienced it. I don't suppose any of you are familiar with that word. Tonight's play is entitled "Fog Closing In." Fog. That's very gratifying for a television performer. Unfortunately, tonight happens to be the maid's night out. On the theory that what was good enough for Shakespeare is good enough for us, we planned to open tonight's play with a maid soliloquizing as she dusts. Madam, some of our audience are having difficulty in seeing. You'll see it after the sponsor's story, which like ours, also strive to teach a little lesson or point a little moral. Tonight's story tells about a business tycoon and will give you something to ponder - if you have ever given an employee the sack or if you intend to. "Walt softly but carry a big stick." "Strike first and ask questions later." That sort of thing. In each of our stories, we strive to teach a lesson or point a little moral. I think you will find it properly terrifying, but like the other plays of our series, it is more than mere entertainment. Tonight's story by Louis Pollock is one that appeared in this collection. They're just as good for reading, but they make very poor doorstops. Of course, they can never replace hardcover books. If you haven't already guessed, here is the way it begins. I deliberately cut that number short because it was the music for tonight's story, "Alibi Me," and I didn't want you to know how it comes out. How fortissimo can you get? I trust this has been educational. Let me show you what one of our stories sounds like before it is written. And we arrange them in a manner designed to titillate and confuse. Finally, we garnish this potpourri with a title composed of from one to four words, selected because they are eye-catching and provocative. After it is written, we sprinkle the score liberally with sound effects, and then hire an author to write appropriate scenes to accompany the music, quiet scenes to coincide with the somber passages, and scenes of violence to synchronize with the noisier sections. One of the commonest questions that people ask of a producer of mystery motion pictures is, "Which is written first, the words or the music?" In our case, the background music always comes first.
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