All language subtitles for Alfred.Hitchcock.Presents.S02E26.I.Killed.the.Count.2.1080p.PCOK.WEBRip.AAC.2.0.H.265.-EDGE2020_track3_[eng]

Good evening.

Tonight's play is called
"I Killed The Count."

Now, I know
what you're thinking.

Last week's play
was also called

"I Killed The Count."

And you think tonight's
is just a revival.

On the contrary,
since we were unable
to finish the story last time,

we shall have
another stab at it tonight.

I'd better fill in
some of the details

for those of you
who were careless enough

to miss the first episode.

I hope you realize the trouble
you're putting us to.

Just don't let it
happen again.

First of all,

Count Victor Mattoni
was found quite dead

in the living room
of his London flat.

There was a single bullet hole
in his forehead.

It's my personal opinion

that this was a contributing
factor to his death.

Inspector Davidson
and his assistant Raines,

the investigating
detectives,

have uncovered
a number of clues.

Among them, two letters.

One led them
to a Bernard K. Froy.

And another written
by Lord Sorrington,
an industrialist.

Before the detectives were
quite settled down to work,

they are
faced with an embarrassingly
oversupply of confessions.

For, both Froy
and Lord Sorrington
confessed to a murder

that only one of them
could have committed.

I'm certain
this is all quite clear.

But for the benefit
of any small children

who may have missed
some of the plot machinations

here to clarify

(PANTING) are two brief scenes
from our last show

after which
our story continues.

The Count was murdered
last night.

I'm sure you didn't expect
me back quite so soon.

But I think it very important
to summarize

the minutes
of our last meeting.

First of all,

Count Victor Mattoni
was found quite dead

in the living room
of his London flat.

There was a single bullet hole
in his forehead.

It's my personal opinion

that this was a contributing
factor to his death.

Inspector Davidson
and his assistant Raines,

the investigating
detectives,

have uncovered
a number of clues.

Among them, two letters.

One, which led to
Bernard K. Froy.

And another written
by Lord Sorrington,

an industrialist.

Before the detectives were
quite settled down to work,

they are
faced with an embarrassing
oversupply of confessions.

For, both Froy
and Lord Sorrington
confessed to a murder

that only one of them
could have committed.

(PANTING)

I'm certain
this is all quite clear.

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.

The Count was murdered
last night.

Yeah, I know.

I killed him.

Did you say
you killed him?

Yes, that's right.

I killed the Count.

You see, Inspector,

Mattoni was married
to my daughter Helen.

Oh, no. Really, sir?

She was at finishing school
in Italy when they met.

She was young. He seemed
glamorous, I suppose,

and she never really knew
what sort of man he was
until after they were married.

She learned
soon enough then.

Drunken, dissolute.

But I won't go into that.
It isn't very pretty.

She stuck it
as long as she could,

and then came home
to us.

When was that, sir?

Less than a year ago.

SORRINGTON:
That was the first
we knew of the marriage,

and we were appalled
at the change in her.

A happy, charming girl

reduced to a frightened,
trembling neurotic.

If only that had been
the end of it, it wouldn't
have been so bad.

In time, she might have
recovered her health.

She had their child
to live for.

Six months old now.

But Mattoni
followed her here.

You... You're probably
not aware, Inspector,

but my wife died recently.

Oh, no, sir. My...
My sincerest condolences.

She was frail
to begin with

and felt things more keenly
than most of us do.

Her distress over what Helen
had been through in Italy
made her seriously ill.

When Mattoni came here,

he insisted that Helen
go back to him,

threatened the child
if she didn't,

threatened to sue
for his custody.

It was too much,
it killed her.

One can hardly blame you for
being bitter, sir. Although...

Of the two people in the world
I cared for most,

my wife is dead and

my daughter had nothing to
look forward to but misery.

So I killed him.

I see.

Would you...

Would you care
to tell me how, sir?

Oh, to begin with,
I took the flat next door,
as you know.

For a fortnight I listened
to Count Mattoni's movements
through those doors.

It soon became evident
that he was incapably drunk
every night by about 11:00.

One of the liftmen
would come in later on

and get him into bed.

But not on Thursdays.

So, last night,
after I'd heard no sound
for more than an hour,

I managed to slip

the bolt on this side
of the door and came in here.

I had my own pistol
fitted with a silencer.

(SNORING)

Sorrington?

What are you doing here?

I've come to kill you,
Mattoni.

But I found I couldn't shoot
even a specimen like you
in his sleep.

Oh, no, please. Please,
I'll do anything you want.

I'll give her a divorce.

I'll do anything, please.
I promise.

You know I wouldn't
trust your promises.

Please, please
don't kill me.

Please don't kill me.
Have mercy on me.
For heavens sake, don't...

Good heavens, man,
can't you even...

(BOTH GRUNTING)

(GRUNTS)

(GUN FIRING)

SORRINGTON: I dragged
the Count's body
across the room

and put it in the big wing
chair near the window.

And that's that.

I was afraid that someone
might have heard the shot,

so I didn't turn on
the light in my flat

and didn't see the shell case.

I left immediately afterwards
and only remembered later

that I had
left the pistol behind.

But, of course, I couldn't
come back for it then.

You've found that, too,
I suppose.

DAVIDSON:
Oh, no, sir, we haven't,
as a matter of fact.

(KNOCK ON DOOR)
DAVIDSON: Come in.

It's me, sir,
you wanted me?
Yes, Peters.

We should like to take
your fingerprints, sir.

If you'll step over here,
Peters will attend to it.

Well, I suppose
you must.

Left hand first, sir.

DAVIDSON:
During your struggle
with the Count, sir,

did you happen to notice his
wallet drop from his pocket?

No, I didn't.

But, of course, it could
easily have done so
in the darkness.

DAVIDSON:
You didn't pick it up?
No.

Excuse me, sir.

Here's the pistol,
just as he said.

Oh, this is yours?
Yes.

My initials are on it,
I believe.

Oh, yes,
so they are.

You understand, sir, that
after what you've told me,

it will be my duty
to detain you.

Yes, of course.

That's all, sir.

Clifton,
there's an empty flat

in the next wing
on this floor.

Will you escort
Lord Sorrington there
for the time being?

He's being held.
Yes, sir.

I'm much obliged to you, sir,
for being so cooperative.

Not at all.

Peters, have them call me
the minute they've checked

these prints and Froy's with
the ones on the banknotes.

Yes, sir.

Rather convincing a story,
I should say.

Yes, sir. My money's
on His Lordship, sir.

Well, it's hardly
a betting matter, Raines.

Oh, yes, sir.

Now, it's a pity it couldn't
have been the American.

Well, don't
give up hope, sir.

(PHONE RINGING)

Hello? Speaking.

Yes.

Good, good.

Huh?

Oh, there was?

I see. Thanks.

The bullet that killed
the Count was definitely fired
from his own gun.

No fingerprints worth
anything, too smudged.

And there was
some skin and flesh

found under the nails
of his right hand.

Apparently the killer
got scratched a bit.

Oh, Clifton, see if
Lord Sorrington's arms,

or his hands, or his face,
or neck, or anything

show recent scratches,
will you?

Yes, sir.

May I see your hands,
please?

Oh, sure.

And your wrists.

Would you mind
loosening your collar?

What for?

Oh, just one of our games.

Thank you.

Don't mention it.

I believe you said
you killed Count Mattoni.

Yes. That's right.

Would you tell us why?

I suppose
it'll come out anyhow.

I killed him
because of his wife.

His wife?

Yes.

You see, I happen
to be in love with her.

She wasn't living with him
when I met her.

She was here in England.

She had left him for good
and no wonder.

Would you like me to tell you
some of the things
he did to her?

No, I don't think
that'll be necessary.

We will assume
that you disapproved.

Yeah. Well,
he followed her
here from Italy

and started
to try to get her
to come back to him.

He wouldn't even
talk about a divorce.

Of course, she couldn't get
one here, or in Italy either,

if he wouldn't
give her grounds.

She'd had a baby by then,
a little boy.

And he threatened
the child?

Yeah, how did you know?

He said if she didn't
come back to him,

he would sue for custody,
and charge that...

All kinds of stuff.
And he would, too.

He couldn't prove it,
of course,
but that wouldn't stop him.

It would get into
all the papers

and there'd be
a big smell.

You know something?

What?

He was crazy.
Helen hated him.

Yet he wanted her
to go on living with him

so he could torture her
some more.

He wouldn't see me,
he was afraid.

So I wrote him,
and said I'd make
a big cash settlement

if he'd give Helen a divorce.

And said I'd kill him
if he didn't.

He didn't even answer.

So you killed him?

Well, not like that.

I mean, well,
what happened was,
you see,

I just wanted to scare him,
and I wanted that letter.

I never should have written
it, of course.

He could
make it sound terrible
in any sort of trial.

Yes, he could.

Anyhow I snooped around here
some at nights

and had found that
there were duplicate keys

to the flats
in the porters' lobby.

So last night,
while the elevator
was on a trip up,

I got the key to this flat
and slipped up the stairs.

DAVIDSON: What time was that?

FROY: Oh, around 1:00,
I guess.

FROY: I had a gun with me,
but it wasn't loaded.

I only wanted to scare him.

(TYPEWRITER CLACKING)

What are you doing here?
How did you get in?

Never mind.

What do you want?

I want that letter
I wrote you.

What letter?
You know what letter.

The only one I wrote you.
Get it.

I threw it away.

I was fool enough
to write it,

but I'm not fool enough
to believe that. Get it!

All right.

It's in that cabinet
over there.

I have to get the key
out of the drawer
in the table.

Take it easy now.

(GUN FIRING)

FROY: I was so scared
that someone would be there
any second

that I didn't dare
turn on the light.

I hadn't expected
anything like that.

I only remembered my gun
because I stumbled over it.

I forgot the letter.

I guess you found that, too,
haven't you?

No, we haven't been through
his effects thoroughly yet.

Do you suppose the key
to the cabinet
is really in there, sir?

Well, we'll see.

Yes, here it is.

Yeah, I can quite see
why you'd want it back.

I'd have been better off
to have let him keep it.

Yes, so would he,
wouldn't he?

Yes, Mr. Froy, did you happen
to notice the Count's wallet

drop to the floor,
during your struggle?

No.

You didn't by any chance
see it on the floor
and pick it up?

No. Why?

I'll have to ask you to wait
in that empty flat again.

Okay. But what's the point?
What's the delay?

I don't understand.

Now, you've got your man,
haven't you?
What are you waiting for?

I must say you seem eager
for the gallows, Mr. Froy.

I just want to
get it over with.

Clifton?

Yes, sir.

What about Lord Sorrington?
Any scratches?

No, sir.
No sign of one anywhere.

All right, that's all.

Yes, sir.

Lord Sorrington hasn't
any scratches, either.

Oh, that seems rather
inconsiderate of him,
doesn't it, sir?

Does it seem plain now, sir,
which one of them is lying?

No, of course, it doesn't.
And put that away, Raines.

Confound it all,
I've never had two people

competing for a murder before.

Well, that's what makes
the work seem so interesting,
isn't it, sir?

Each case is different.

We'll get to the bottom
of this somehow, you'll see.

It may mean a bit more work,
a bit more digging,

but we'll do it.

The old bulldog spirit,
eh, sir?

Well, let's get on with it.

We'll take the other tenants
on this floor first,

and bring me some lunch.

You know something, sir?
What?

We've got too much
evidence, sir.

Oh, nonsense, Raines.
How could we have
too much...

It is rather plentiful,
isn't it?

RAINES: Inspector, this is
Miss Louise Rogers.

Inspector Davidson.

DAVIDSON:
How do you do,
Miss Rogers?

How do you do?

I'm sorry to disturb you,
we shan't keep you long.

Would you care
for a cup of tea?

Oh, no, thank you.

I believe you just arrived
in London, is that right?

Yes.

Where do you usually live?

Oh, my people live
in Lincolnshire.

I see. Miss Rogers,
a man was found murdered
in this room last night.

Oh, how awful.

His name was Count Mattoni.

A tall, dark fellow
with a little black beard.

Did you ever see him?

No, I don't think so.

Where were you last night?

Oh, I stayed in.
I felt too tired to dress

so I ordered my dinner
in my room.

Then I read my book
for a while and went to sleep.

What time was that?

Oh, I should think
about half past ten.

You didn't wake up
during the night

or hear a sound, a shot?

No. No, I didn't.

Well, I think that's all,
Miss Rogers.

I'm very obliged to you.

I'm sorry, I couldn't
be more helpful.

Thank you. Goodbye.
Goodbye.

No help there.
Who's next?

Miss La Lune, sir.

Oh, yes, the dancer.
Tell Clifton to bring her in.

Yes, sir.

Raines,
perhaps you would like to.

Yes, sir.

Inspector? Inspector?
This is Miss La Lune.

Oh.

How do you do,
Miss La lune?
How do you do?

Now, what time
did you get home
last night?

About 2:00.

We went to
the Golden Salamander,
after I finished.

It closes at 1:30.

My friend brought me
straight home.

Did your friend bring you
up to your door?

Yes. He almost didn't.
We had to walk.

I said he was no gentleman
to leave me there,
but he said...

Just a minute.

You mean, you didn't
come up in the lift?

I certainly do.
We rang and rang.

Then when we finally got here
there was the elevator empty,
on this floor.

And you didn't see anything
of the liftman Johnson?

No. I'd have told him
a thing or two if we had.

Four flights of stairs.

And him in there
drinking with the Count.

Now, did you hear anything
on this floor, from this flat?

Did you hear a shot?

No, not a sound.

What's your friend's name?

Mark. Mark Smith.

And did Mr. Smith
come in with you?

At that hour?
Why, Mr. Davidson.

Did he?

Well, just for a second.
Just to say good night.

Perhaps five minutes?

Perhaps.

And was the lift still on
this floor when he left?

I don't know.
Wait a minute.

No. No, it wasn't here.

He must have rung for it,

because I heard it
come up to this floor,

pick him up
and go back.

You can hear the doors,
you know.

Yes. And you didn't hear
anything else?

No.

Well, thank you,
Miss La Lune.

I believe
that's all we want to...

Unless, of course,
Raines has something?

No, sir,
I don't think so.

Good.

Well, thank you again,
Miss La Lune.

Here's Johnson, sir.
Good.

Come in, Johnson.
Yes.

Now then,

I want straight answers
and no evasions, Johnson.
Is that clear?

Yes, sir.

All right.

Now, you were on the lift
last night. Is that right?

Yes, sir.

Now, what time did you
bring Miss La Lune up?

I don't know exactly.

About what time?

I'm not sure.

I told you I wanted
straight answers, Johnson.

You didn't bring her up
at all, did you?

No, sir.

All right.

Now, what was the lift
doing empty

on this floor at 2:00?

Where were you?
I don't know.

You don't know?

Please, sir, I wasn't
on the lift last night.

I swapped with Mullet, sir.

With Mullet?

We often do that, sir.

Why didn't you
tell us this before?

I didn't think
it mattered, sir.

Didn't you?

Well, that's all, Johnson.
You can go now.

All right, sir.

Now we are getting somewhere.

Yes, sir. Where?

Well, don't just stand there.
Get Mullet.

Yes, sir.

Haven't you a uniform,
Mullet?

Why aren't you
wearing it?

I didn't have time
to change, that's why.

With everybody chasing me,
do this, come here, do that.

Nonsense, you had
plenty of time.

Well, I couldn't find it.
It was gone out of my locker.

Oh.

I know I've seen you
somewhere.

Now then, you're on the lift
every night
except Thursday night

when Johnson
takes your place.
Is that correct?

(PHONE RINGING)
Yes, sir.

Only last night, Johnson
didn't take your place,
did he?

And you were on the lift.
Raines here.

Yes, sir.
Yes.

You see, I had
a tip on the dogs
for Monday night.

Johnson didn't mind,
so we swapped about.

Why didn't you
tell us before?

You didn't ask.

RAINES: Yes.

Did you leave the lift
any time during the evening?

No, sir.

Then what was it doing
empty on this floor
at 2:00 this morning?

Long enough
for Miss La Lune
to walk up

four flights of stairs
and go to her flat?

Were you putting the Count
to bed, as usual?

Oh, no sir,
not last night, sir.

He never expected me
on Thursdays.
I didn't come near this flat.

Then what was the lift doing
on this floor? Where were you?

Excuse me, sir.

It's about
the fingerprints, sir.
Well, what about it?

They don't match either set
we sent down, sir.

DAVIDSON: I knew it.

I knew
they weren't going to.

Confound it, Raines...

But they have identified
them with the files
at the Yard, sir.

They belong to
a Pat Lummock.

He had a bad record
about 20 years ago.

They want to know
if they should send us
out a photograph, sir?

Oh, do they? No, thank you.

I don't need
Pat Lummock's photograph

when I've got Pat Lummock.

Wonderful memory, sir.

Yes, never forget a face.

Now then, you better
come clean, Mullet.

Lummock, or you'll be
in serious trouble
with your record.

Because it happens
that in the Count's wallet,

found here on this floor,

there were two banknotes with
your fingerprints on them.

Now you'd better tell me
all you know

about this murder
and who you're shielding,
and I want the truth.

Do you understand?
The truth.

All right.

Oh, heavens,
you'll never believe me now.

With my record,
you'll never believe me.

I killed Mattoni,
I didn't mean to.
Honest, I didn't.

What?

(STAMMERING)
Now see here, Lummock.

Are you seriously contending
that you killed Mattoni?

Yes, sir, that's right.
I killed the Count.

Oh, no. No, no.
No, two's enough.

Every Tom, Dick and Harry
who enters this flat

telling me
he killed the Count.

I don't have to stand
for this sort of thing.

I won't have it. Do you hear?

I won't have it!

Well, we've done it again.

We still haven't
finished the story.

How extremely careless of us.

But I promise you on my honor

the truth will be out
next time.

I've excused the actors
until we return

when they will present
the final act of our play.

Unfortunately since
you are all accessories
after the fact,

I cannot permit you
to leave the room.

You may, however,
discuss the case

among yourselves.

Who killed the Count and why?

Only one person
could have done it.

Was it Mullet, the liftman?

Did Bernard Froy do it?
Was it Lord Sorrington?

Or was it a fourth person?

Who is the guilty party?

Tune in next time
and find out.