Perry Mason (1957) s05e28 Episode Script
The Case of the Ancient Romeo
Itheme.]
What's in a name? That which we call a rose by any other name would smell as sweet.
So Romeo would were he not Romeo called retain that dear perfection which he owes without that title.
Oh, Romeo, dom thy name, and for that name which is no part of thee take all myself.
Well, Franz? Uh, Miss Adams, why don't you just get your coat by the stage door there and wait for me, hmm? Well, What can l say? The girl isn't bad, but she is not great, either.
Never has a Juliet appeared with the Franz Lachman Repertory Company who was not trained by me personally.
For 20 years, audiences of half the countries of the world have looked to the Lachman Company for one thing perfection.
The Lachman Company does not compromise Franz, the Lachman Company is on its last legs, and they're about to give out.
lt's been coming on for years and everybody else, but you has been able to see it.
The Lachman Company will not open Monday night, Franz, without cash lots of it.
You're broke.
A temporary condition.
Now just a minute.
As your advance man, l blame myself for this, Franz.
The idea of including Jamaica and Bermuda in our world tour was mine, and l was wrong.
But this American tour would put us back on our feet.
And you can't even open.
Your sets and your costumes are tied up in warehouses by a half-a-dozen attachments.
All right, so the girl isn't great.
She's only played Juliet a couple of times in a little tank town theatre, but she is a professional actress.
And, Franz, this girl walked in here with $1,000 in cash.
And a check for 10,000 more.
And look at the signature on that.
Amos Martin.
The hotel man? And no strings.
No partnership No profit sharing.
Nothing.
Except that this girl plays Juliet for the two weeks of the Los Angeles run.
Franz, this is salvation out of the blue.
We can borrow the money somehow.
A bank will surely A bank on a Friday afternoon and we open on Monday? Franz, it's either we take this girl, or we've had it.
The Lachman Company, whatever is left of it, will be history.
$1,000.
And a check for 10.
Call her back.
Uh, Miss Adams.
Miss Adams? My dear, You shall play Juliet in our current engagement here.
Mr.
Scharf, will you have the company assembled here in an hour? Miss Adams, we'll see you then.
Oh, yes, Mr.
Lachman, and thank you.
[squeals.]
Oh, l still can't believe it.
Oh, thank you, Mr.
Scharf.
Oh, come now, l should think you would want to thank your friend Mr.
Martin.
Yes, yes, l should.
A check for $10,000 and 2,000 in cash.
Yes, it displays a considerable amount of, shall we say, friendship.
Well, Miss Adams, it is customary when someone brings new money into an organization that they receive a finder's fee.
l should think $500 would be quite satisfactory.
Fee or no fee, what you're looking for is not there.
l'm not interested in any of the thousand dollars you held out on Mr.
Lachman.
l don't care about any of that.
l only want prove to Mr.
Lachman and everyone that l'm an actress.
All right.
Just don't you stub own toes too badly, that's all.
Are you trying to warn me? Franz Lachman's name still has enough magic to draw the critics who count and the Hollywood people.
lf this a one-in-a-million showcase for you, it's just as important to every member of the Lachman's company.
So? With you playing Juliet and Franz doing Romeo, the rest of the company will be playing musical chairs for leftover crumbs.
And they're not going to like that Or yOU.
Well, good luck, Miss Adams.
Ladies and gentlemen of the Lachman Repertory Company, permit me to welcome you most felicitously to Los Angeles.
As all you know this indeed the high spot of our long tour.
two weeks in the City of Angels 'ere we venture forth to continue our tour across the length and breadth of the country.
Now, before l go into the specifics of our engagement here, l should like to introduce a new member of our company.
The distinguished American actress, Miss Claire Adams.
For the opening presentation of our two weeks of repertory, we shall perform, as scheduled, Romeo and Juliet.
Miss Adams will play Juliet.
Uh, Ellen.
Yes, Franz.
lnstead of Juliet, you will have yourself fitted for a wig and play Lady Capulet.
Uh, Margit? The Nurse.
Which you do so well, my dear.
Now, Steve, instead of Romeo Don't tell me, let me guess.
Since Miss Adams is new to the cast, she will need strength and experience.
Experience that comes with age.
Mr.
Franz Lachman will portray Romeo.
During our engagement here in Los Angeles, we shall have particular need of your services as company stage manager.
Playing the part of Paris will give you time for your other duties.
Uh, Carl.
Friar Laurence.
The assignment of other parts will be posted on the bulletin board.
Steve, l want to see you in my dressing room.
l don't mind not playing Romeo, but he can't do this to you.
Darling, there's nothing you can do.
No? Distinguished American actress.
lt's nice to seeing you, Steve.
l wish l could say the same.
This should enough to take care of the immediate expenses.
$1,000 in cash.
You'll deposit this check at once to cover any additional checks you may have to write.
Amos Martin? An advance against our receipts here in America.
A loan from a very old friend.
No one is to know.
Now, the delivery of the sets all arranged for? - Warehouse is just waiting for payment.
- The costumes? Still in customs.
Until we pay bills, no costumes.
Get them.
l'm tired of your excuses, Mr.
Brock.
l expect every detail of this production to be perfect for Monday night.
- Remember that.
- You remember.
Does your word mean nothing? You promised Ellen more than a year ago that she'd play Juliet for the Los Angeles opening.
Why else do you think l stayed on while you dragged this moth-eaten outfit around half the world? How dare you? How dare l what? Speak the truth? lf your distinguished Miss Adams were any kind of established actress with even half a name, she wouldn't be found dead within 3 miles of this two-bit outfit.
Am l to assume Ellen shares your sentiments in regard to the company? Oh, Franz, can't you see? Can't you see what this Los Angeles appearance could mean to Ellen? She's ready.
It's the moment she's waited years for.
lf the right people could see her now The decision is made.
We will not discuss it.
Rehearsals will start immediately.
We'll continue through tonight.
You have work to do, Mr.
Brock.
l suggest you start on it, now.
And in this rage, with some great kinsmen's bone as with a club dash out my desperate brains? Look, methinks l see my cousin's ghost seeking out Romeo that did spit his body upon a rapier's point.
Oh, stay, Tybalt, stay.
Romeo, l come.
This do l drink to thee.
[Franz.]
Kelvin.
Kelvin, what was in the vial just now? ln it? Why, nothing.
Have l not made it clear a thousand times that in the Lachman Company we do not rehearse with empty cups with empty vials with empty anything? How can l expect to get reality and truth from Claire when you expect her to rehearse with empty air? lt won't happen again.
See that it doesn't.
Mr.
Brock.
The rehearsal was called for 10:OO this morning.
lt is now past noon.
This is Monday, remember? We open tonight.
Or perhaps you don't feel the need for any more rehearsal? You wouldn't have much of a pe_ormance without lights, sets, or costumes.
And where are the costumes, if l may ask? They left the customs warehouse in San Francisco early this morning.
They'll be here.
Sometime before the final curtain, l trust.
If that's not asking too much? Well, we'll rehearse the duel scene.
That is, if you don't mind, Mr.
Brock? Oh stay not, be gone, live and hereafter say a madman's mercy bade thee run away.
l defy thy conjurations and apprehend thee for a felon here.
Wilt thou provoke me? Then have at thee, boy.
Mr.
Brock, l am aware that it's absurd to expect a pe_ormance from you insofar as your new speeches are concerned.
Also, l'm sure you were a magnificent fencer in college.
But this is the theatre, so you will please play the duel as l have directed it.
Maybe the numbers will help you.
En garde.
[groans.]
Oh, l am slain.
What a pity that Shakespeare ordained that Romeo should kill Paris.
l'm sure that to at least one member of the company it would have been more satisfactory the other way.
Eh, Mr.
Brock? LaVerne Moreau.
Remember her, Ellen? ln Canada a few years ago.
How long did Franz keep LaVerne in the company? A week? Ten days? But then, she never played Juliet in some small town little theatre or was it in high school, dear? l'm sorry if my joining the company hurt anybody.
All you're concerned with, dear, is whether Franz likes you.
Margit Bruner, shining star of the theatre, a name l once worshiped as an ideal of what l wanted to be.
A broken-down has-been with a nasty, dirty mind.
What's the matter did Franz love you when you p!layed Juliet? - Why, you - Margit, no.
Don't feel sorry for me.
l know why l stayed with the company.
But you, Margit, you should have left, with Carl, a long time ago.
We were protecting our investment.
Carl's still waiting to get the money back he lent to Franz years ago in England.
And you? What do you mean they can't be opened? Do you realize we have a pe_ormance in less than three hours? Look, mister, this shipment come in from out of the country.
Like l told you, it's still under bond.
You wanted it that way.
Well, that means only a customs agent can break those seals.
Well, where is this customs agent? There was some fellow in uniform here about an hour ago, Steve.
But he asked for Franz and l told him he couldn't be disturbed just yet.
You stupid fool.
Can you reach the man? Well l don't know at this hour.
And there's also the matter of the shipping charges.
Haven't you paid them? He paid them all right on Friday.
Only your company check was no good.
Now we'll need cash.
You wrote a check that was no good? l only found out about it Iate this afternoon.
There was some sort of mix-up at the bank, that's all.
Mix-up.
That's a new name for it.
Now, what kind of a crack is that? l'll have it straightened out in the morning.
ls that so? Well, give the man the cash he wants.
l haven't that much left.
Carl, will you take this man out to the box omice and see that they give him the cash? This way.
lf you're trying to accuse me of something, Franz, don't hint.
Just come out and say it.
There should have been more than enough money.
What happened to that _10,000 check of Amos Martin's? l deposited it on Friday.
l guess it wasn't early enough to cover, that's all.
You guess? The real question, Mr.
Brock, is how many checks did you write against it and to whom? Just what are you implying? This bill, for example, from Johannesburg.
Authorized by you.
On what authority? l can explain that.
You better be able to.
Did you really think l was unaware of what you've been trying to do? Well, you won't get away with it.
Oh, l won't stop you not alone, that is.
But the police, l am sure, will be more than interested.
Happily met, my lady and my wife.
That may be sir, when l may be a wife.
That maybe must be love, on Thursday ne_.
''What must be shall be.
'' What must be shall be.
That's a certain te_.
[Steve.]
Come you to make confession to this friar? [Claire.]
To answer that, l should confess Perry, is it me or is this new Juliet so frightened and nervous she can't remember her lines.
Let's just say that she's not Katharine Cornell.
Did we have to come? Steve Brock, the man playing Paris, is the brother of old Navy friend.
He sent us the tickets.
Said he wanted to consult with me after the show on something important.
God shield l should disturb devotion.
Juliet, on Thursday early will l rouse you.
Till then, adieu, and keep this holy kiss.
[Carl.]
And finding him, the searches of the towns suspecting that we both Margit, where is Franz? Tomb scene starts in a few minutes.
Kelvin was whispering to him a few minutes ago.
Seemed very excited about something.
Now, Franz is telephoning.
Thank you.
[Franz.]
And the police must be here at exactly 1 1 :30.
l don't want the pe_ormance disrupted.
Yes, at the stage door.
l will meet them and explain further.
Thank you, Lieutenant.
Franz.
You heard the call? Yes.
Just as well.
These trunks and other matters, Mr.
Brock.
l warn you, you've only started answering questions.
No longer just to me, to the police.
What's this all about? Well, don't ask us.
You're the one, buster.
What have you been doing with the company's dough? What? The old man is really out to nail you.
Steve, your cue, you're on.
[Friar Laurence.]
clothed in a dead man's Oh, stay not, be gone, live and hereafter say a madman's mercy made thee run away.
l defy thy conjurations and apprehend thee for a felon here.
Thou provoke me? Then have at thee, boy.
The numbers, eh, Franz? Careful, Franz, you may forget your own direction.
Steve, in the name of heaven.
Perry, l don't care what Shakespeare wrote.
Right now, my money's on your friend Steve.
[Man.]
Curtains.
Kill the lights.
Backstage.
Steve! [woman screams.]
l won't do it, Steve.
Don't ask me, please.
But what else can we do? It's either that or - Mr.
Mason? Ellen, did you - She didn't talk, but l think we'd better, Steve.
The police are looking for you.
Why did you run out of that theatre? Not because l killed Franz.
On stage you certainly looked as though you were trying to.
Yes, l know.
l l didn't mean that Franz should fall, Mr.
Mason.
l just wanted to give him a bad time for a few minutes.
When his sword hit my face, l lost my head.
And when he fell l suddenly realized what 'l'd done.
l just couldn't discuss it with myself.
l couldn't face anyone.
You didn't know that Lachman had been stabbed? No, l went back to the hotel and changed.
Came here and heard about the stabbing on the radio.
Then l called Ellen a little while ago.
What happened to your sword? l don't know, threw it aside.
Why? lt's missing, Steve.
You didn't take it with you? No believe me, l did not kill Franz Lachman.
l believe you didn't kill Lachman.
l'll do my best to help you.
But only on the condition that you turn yourself in.
Steve, if you didn't do it, it's wrong to run.
All right, Mr.
Mason, call the police.
You know we're always glad to cooperate with you, Perry.
Anything we can do to help a struggling attorney.
Of course, you know better than to remove any evidence.
Thank you for warning me, Andy.
Mr.
MacRae, just as the curtain was coming down last night, someone called out to kill the lights.
Do you remember who that was? l don't think l do.
l wish l could help Steve.
He's a nice guy, but l don't see what l can tell you.
Mr.
Mason, there's still no sign of the murder weapon, is there? No.
Why do you ask? Well, it's it's strange, not a sign of Steve's sword.
You're sure it was Steve's sword that killed him? l never said that.
Didn't you? Uh, Mr.
and Mrs.
Bruner.
Mr.
Mason? l realize that Mr.
Lachman was a friend of long standing and that discussing his death may Don't apologize, Mr.
Mason.
The only regret l have over Franz' death is that he borrowed my life's savings and never paid me back.
Mrs.
Bruner, theatrical gossip has it that possibly Franz Lachman's death represents a greater loss to you than to your husband? No need for delicacy, Mr.
Mason.
You're asking if there was some sort of special relationship between Franz and me.
The answer is no.
There never was, Mrs.
Bruner? - Why - Please, Carl.
No, Mr.
Mason.
There have been many Juliets down the years since l played the part.
l no more resented the last than l did the first.
The last, Claire Adams? Anything you want to know about that one, ask Phil Scha_.
He brought her to Franz.
Oh, come now, Mr.
Mason.
The theatre's no nursery school, and actors aren't noted for behaving exactly like monks, no, sir.
l wasn't asking you to characterize or assassinate an entire profession.
l inquired only about Franz Lachman.
Okay, so he was big enough to like playing with girls without getting called a sissy.
Answer your question? And occasionally that resulted in some rather inopportune casting? [chuckles.]
You lawyers.
Oh, sure, it happens.
Margit Bruner? Whatever she may have been to Franz, she was a great actress.
Ellen Carson's also a great actress, and she never gave the Franz so much as the right time.
What of Claire Adams? Her? Strictly a minor league actress.
But you can take my word for it, Franz got nowhere with that one.
Oh? lsn't that why she got the part? You kidding? She bought her way into the company for 12 grand.
Just a moment.
l understood from Steve that money was given to Mr.
Lachman by a personal friend, a Mr.
Amos Martin? Personal friend? Franz never met Amos Martin.
He never set eyes on him.
Martin gave the dough to Claire Adams to buy herself a part in the show.
Years Years l have knocked around in this racket.
A dancer, a singer, bit parts, cigarette girl in nightspots.
Anything to hold on, to be ready for that big break when it came.
And this was it, the break l'd dreamed about.
lf it If it meant other people losing out, l just couldn't help that.
Can you understand that, Mr.
Mason? l might never get another chance.
There was nothing personal between you and Mr.
Lachman? No no, of course not.
And Amos Martin? No.
l met Mr.
Martin in Las Vegas many years ago.
Just a casual acquaintance? l didn't say that.
- More than casual? - Please, Mr.
Mason He gave you _12,000 to help you buy yourself a break in show business.
Why? l Oh.
l just can't tell you anything more, Mr.
Mason.
l couldn't reach Amos Martin.
According to his omice, he's been at his ranch for the past ten days.
lt's about a hundred miles north of here.
And he can't be reached there because he's fishing.
What about Claire Adams? Well, that could be something.
Several years ago, Martin was involved with a Las Vegas dancer named Claire.
There were rumors in the gossip columns.
And about that time, Mrs.
Martin sued him for divorce.
Then, all of a sudden, the girl drops out of sight, and at the same time, Mrs.
Martin drops the divorce suit.
The 12 grand could be a delayed payom.
All right, keep working on it.
And, Paul, the shipment of costumes from South Africa You're not the only one interested in that shipment.
- The police? - No, not that l know of.
But l understand some of the customs boys have been around asking questions about those costumes.
[door opens.]
Uh, Mr.
Mason, there's something you've got to know.
The police already know.
l had to tell them.
And l felt that if you knew it, it might help Steve.
The thing is there was someone else in the theatre last night backstage.
He said he was a special friend of Miss Adams and he wanted to watch her pe_ormance.
But he didn't want to make her more nervous by knowing he was there.
He gave me a hundred dollars.
And l showed him a place on the backstage stairs where he could watch without getting in anybody's way.
How long was he there? l'm not sure.
But when all the excitement happened, two men ran out.
One was Steve, and l think the other one was this fellow.
Where do you think you're going? We came to see Mr.
Amos Martin.
Mr.
Martin is not seeing anybody.
Now, get out of here.
You know, Paul, it's too bad we didn't bring Claire Adams along.
Mr.
Martin might have been more hospitable.
Who the devil are Perry Mason.
Are you representing Claire Adams? Do you think Claire needs a lawyer, Mr.
Martin? l told you to get om this property.
There is the matter of a check, Mr.
Martin, for _1 O,000 drawn by you in favor of the Lachman Repertory Company.
lt might save you a great deal of trouble if l knew why it was drawn.
l've been here at my ranch for the last ten days.
The Los Angeles Police did call me long distance.
Somebody named Scha_ discussed me with them.
l shall tell the police what l have to, Mason.
l will tell you nothing.
Just how long does it take your private plane to make Los Angeles? Half an hour? Twenty minutes? Whelan.
Look, Mason, for the last time, l told you.
l know, we're just leaving.
Thank you for the hospitality.
Sure hit home about that plane.
l noticed a wind direction sock fastened to the top of a tree.
l thought you had.
l don't image it was put there just for the birds.
Paul, Steve mention something about a mix-up at the bank.
l'd like to find out about it before the police do.
Paul, you know it's against the rules.
But, Helen, l'm such an old customer.
Not old, Paul.
Long time, but certainly not old.
Well, as far as l know, the Amos Martin check was perfectly all right.
But there'd been a silly mistake.
It was drawn on the wrong bank.
The wrong bank? You mean he had no account? Not in City Trust, the bank the check was written on.
His account had been closed for over a year, so they returned the check to us.
And you still have it at the bank? Oh, no, we mailed it back yesterday.
Where did you mail it? To Mr.
Brock, in care of the theatre.
Yes, there is a letter here for Steve.
From the bank? l'm not sure, but l think l saw the bank's return address.
Came early this morning.
Mr.
MacRae, the contents of that envelope can be very important to Steve.
l haven't the authority to give you the letter.
Please, please, don't ask me.
Give it to him, Kelvin.
He's his lawyer.
He'll take it to Steve.
Well, if l can just find it.
l know l put it here somewhere.
Oh, here it is.
- Thank you.
- l'll just take that, Perry.
Seems we started from opposite directions to reach the same place.
This is addressed to Steve Brock, Andy.
So it is and is therefore evidence in this case.
You wouldn't be thinking of withholding evidence, Perry? All l want to know right now is that envelope contains what l think it does.
Then l'll be perfectly content to wait until we're in court to see it again.
Well, that seems only reasonable.
There's has to be a check in there.
Uh, incidentally, l have news for you.
Steve Brock's missing sword has been found.
Where? ln a trash barrel at the end of the alley outside the stage door.
Just beyond the point where Steve Brock rushed past you and Della right after the murder.
When we found it, there were still blood stains on the sword.
Playing Juliet in the Los Angeles opening was very important to me.
lt was the combination of years of work.
The defendant, Steve Brock, as l understand it, was more than a little concerned about your career.
Were you in love with each other, Miss Carson? Possibly engaged to be married? Yes.
Some months prior to this time, the defendant received an omer of a lucrative motion picture acting contract.
Did he tell you why he turned that contract down? He wanted to stay with me, to work with me, to help prepare me for Los Angeles.
And was that the only reason as far as you know that he was so anxious to stay with the company until the Los Angeles opened? As far as l knew, yes.
How did he react, Miss Carson, when he found out that not you but Miss Adams would play Juliet in the Los Angeles opening? He We were both disappointed.
A dream was shattered, years of work wasted, a lucrative contract thrown away, and the defendant was merely disappointed? Cross-examine, Mr.
Mason.
Uh, Miss Carson, at the time of the murder where were you standing? Downstage left, in the wings.
Could you see across the stage to the wings on the other side to the circular staircase omstage right? Yes, l could.
Did you see a man, dressed in street clothes, standing on those stairs, watching the performance? Yes, l did.
ls that man in the courtroom now? Can you point him out? l'm sorry, Mr.
Mason.
No.
l didn't get a good look at his face.
Steve was positively livid with anger.
l remember him saying to Ellen, ''Franz can't do this to you.
'' Ellen answered there was nothing Steve could do about it.
Steve paused for a moment, and then said just one word, ''No?'' Thank you, Mrs.
Bruner.
Yours, Mr.
Mason.
[Mason.]
Mrs.
Bruner, where were you standing at the time of the murder? l was holding a book on the scene.
Among other things, our Juliet needing occasional prompting in her lines.
l was standing all the way down stage right, just inside the proscenium.
And did you see this gentleman standing on the stairs backstage? Yes, l saw him.
And before you ask, Mr.
Mason, no, l didn't recognize him.
A few days before the opening, Thursday evening, l believe it was, Franz himself rather bluntly summed up our position.
The company was flat broke.
We couldn't open.
Couldn't continue our tour.
Were you the only one to whom this information was imparted or was anybody else the time of your conversation with the decedent? Yes, there was one other person.
Steve Brock.
Well, now l understood you were the company manager.
Why was Mr.
Brock there? Ever since South Africa, when it looked as though the tour was about to fold, Steve just well, just moved in and took over.
l didn't mind.
He said getting the company to Los Angeles was terribly important to him.
He got us here.
Thank you, Mr.
Bruner.
Your witness.
Mr.
Bruner, where were you standing at the time of the murder? Yes, yes, l saw the man, Mr.
Mason, but whether you like it or not, l'm afraid that it was impossible to see him clearly enough for any identification.
l have no further questions.
Mr.
Bruner, just a moment.
l have some redirect.
l appreciate your irritation with defense counsel's repetitive fishing trips to that backstage staircase and to the mysterious Mr.
X of his, so let's put the ghost to rest once and for all before the prosecution's patience is mistaken for foolishness.
Mr.
Bruner It's apparent from previo! us testimony that this Mr.
X is the one who actually left the theatre and passed Mr.
Mason and Miss Street in the alley before the defendant did.
Now, l ask you, sir.
From where he was standing on that staircase, could that man have descended, moved to stage center, killed Franz Lachman, and still have gotten out of the theatre ahead of the defendant? No, sir, it would have been physically impossible.
He would not have had time.
The person Claire Adams said gave her the dough was the same man who signed the check Amos Martin.
Thank you, Mr.
Scha_.
Cross-examine.
Mr.
Scha_, at the moment Franz Lachman fell on the stage, a voice cried out ''Curtain.
'' While another cried ''Kill the lights.
'' Now where either of those voices yours? Yes.
l hollered ''Curtain.
'' Did you also order the stage lights put out? No.
No, that wasn't me.
But the electrician swears that the order came from somebody downstage right, where you were.
So it might have been the fella standing on the stairs.
lt sure wasn't me.
l knew Mr.
Martin about oh, about five years ago, in Las Vegas, we were friends.
Good friends.
And when we broke up, we made an agreement.
So it came as no surprise to you when a messenger delivered _12,000 for him as a sort of investment in the theatrical company, merely to showcase your acting talents? Well, no, l l thought it made sense.
Miss Adams of all the people in the Lachman Company, was there anyone who knew about you and Amos Martin in Las Vegas? Yes.
Steve Brock.
Well, he was in Las Vegas around the same time that l l knew Amos Martin.
l did not phone Miss Adams.
l did not write that check.
l knew nothing of the Lachman Company and l couldn't have cared less if l had known.
Obviously somebody who knew of my relationship with Miss Adams forged that check.
Your witness, Mr.
Mason.
Mr.
Martin, were you inside the theatre the night of the murder? Were you watching the performance from the stairs backstage? No.
These are flight plans signed by your personal pilot, Henry Whelan.
The Monday night in question, he flew you from your ranch to Glendale Airport, arriving at T:40.
You flew back to your ranch at 1 1 :5T.
l ask you again, Mr.
Martin.
Where were you that evening? l was at my ranch until 6:45.
That, Mr.
Mason, was evening.
Later that night, l did fly into town on business.
l had some papers to sign at my omice in the Stevens Building.
My pilot, Henry Whelan, dropped me om there and later picked me up.
lf you don't believe me, Mr.
Mason, ask him.
That, Mr.
Martin, is what l intend to do.
On Friday morning, you went to a bank, presented a passbook and signed withdrawal slip, and withdrew _2,500 in cash.
Was that your money? Why, no, sir.
l was doing a friend a favor.
Later that same morning, a phony check and _2,000 in cash was delivered to Claire Adams.
You heard Mr.
Martin testify that was not his money.
Suppose you tell us whose _2,500 you withdrew from the bank.
Steve Brock's.
Thank you, sir.
Your witness.
Mr.
MacRae, during the performance, you accosted Franz Lachman and insisted you had to talk to him.
What was that about? l l don't remember.
l assume you do remember that your trip to the bank was the first of two trips? You went back on the day after the murder and you rented a safe deposit box.
Why, Mr.
MacRae? lt was a personal matter.
You are under oath in a court of law, Mr.
MacRae.
Now, why did you rent that safe deposit box? All right, Mr.
Mason, l confess.
[chattering.]
[gavel slams.]
But please, believe me, l took only one of them.
One of them, Mr.
Mason.
One of what? The jewels, they were real.
The fake jewelry on the costumes.
It had be cut om.
The costumes shipped from South Africa.
Somebody had used them to smuggle precious gems into this country.
Yes, but l told Franz.
l told him about the jewels during the performance and he called the police.
But he was killed.
l was afraid to tell anyone.
Afraid to give back the one jewel l took.
Afraid l'd be killed, too.
One moment, Mr.
Mason.
Mr.
Burger, would you approach the bench, please? Now, gentlemen, the introduction into the proceedings of this new element, this matter of possible smuggling, would appear to me to justify a continuance at this time.
Mr.
Mason, apparently you were aware of this aspect of the case, but you, Mr.
Burger.
Your Honor, not only has our omice been aware of this aspect of the case, but has been working with the United States Customs Omice on the matter.
Although it will unquestionably play a large part in the Superior Court trial, we did not deem it a necessary part of this preliminary hearing.
Now, if learned counsel will stand aside for a moment, l think a few questions can put this matter in its proper perspective.
Mr.
Mason? No objection, Your Honor.
Go ahead, Mr.
Burger.
Mr.
MacRae, who shipped those costume from Cape Town? Steve.
And to whom were they consigned? Why, to Steve.
Now, who normally completed the packing of costumes before they were shipped? [Kelvin.]
Usually l did.
But who packed them in Cape Town? l started.
He came to me, said it was late.
l was tired, and he said he'd finish the job for me.
Who was the man who was the last person to handle those costumes? Who shipped them himself and consigned to himself? Who is that man? Steve.
Steve Brock.
Andy, may l speak with Steve for a moment? All right.
What are we doing here, Mr.
Mason? l convinced the judge that demonstrating the exact positions of the principals at the time of the murder was of sumicient importance to convene the afternoon session of the hearing here at the theatre.
Now, we don't have much time.
l need a couple of answers.
One, packing those costumes and shipping them to yourself, why? Have you seen our costumes? No, l wasn't about to let Ellen open in Los Angeles in those moth-eaten rags.
So l had a whole new set of costumes designed and custom-fitted for her in Johannesburg.
Franz didn't know, and l didn't want him finding out.
The $2,500 Kelvin got for you? Well, 2,000 was for a trip to New York for Ellen and me.
A honeymoon trip.
The other 500? The 500 was to pay for those costumes l had made in Johannesburg.
lt's a lot of money, l know, Mr.
Mason, but not because of smuggled gems, l swear.
Ladies and gentlemen, the court has ruled that we may conduct this demonstration.
lt is part of a preliminary hearing, and His Honor feels that in the interests ofjustice we may take certain procedural liberties which would hardly be permitted in a jury trial.
Though l may interpose questions to any of you at any time, let me remind you, you are all still under oath.
Now, if you will be good enough, each of you stand in the exact position you occupied just before the lights went out.
Now, Mr.
Brock, will you please pick up your sword.
Now, you just knocked the sword from Franz Lachman's hand.
He lies there sprawled on the stage floor.
Exactly where were you at that time? Just about here, center stage.
l l couldn't believe what happened.
l just stared at him.
The audience was stunned.
There was a moment of silence.
Then you, Mr.
Schaft, shouted Curtain.
Someone else shouted ''Kill the lights.
'' The electrician pulled the master switch.
There was darkness.
Confusion.
Exactly what did you do, Mr.
Brock? Well, l was boxed in by the set here, so l turned and ran this way.
Now wait a minute.
There was someone here.
l bumped into someone.
l'm sure of it because that's where l dropped the sword.
All right, drop it.
Go on.
then l turned and ran for the door.
Uh, then l bumped into something else here.
A stage-brace or something.
l fumbled around for something to cover me.
When l saw a light at door.
Somebody was leaving.
So l picked up a cloak and went to door and out to the alley Where l passed you, Mr.
Mason.
That leaves three unanswered questions.
who shouted to kill the lights? And 3, who picked up his sword? Miss Adams, this morning you testified that the _12,000 you received was delivered by messenger.
We found the messenger.
He is prepared to swear that when he entered the foyer of your apartment house, the clerk sent him right up, told him you were expecting him.
What Well, that is You were expecting him because you'd received a call earlier that the money was coming, isn't that so? Yes.
Now, that call came from a man who knew of your ambitions, also knew of your relationship with Amos Martin in Las Vegas.
There was no reason for you to doubt that Amos Martin's check was legitimate.
Later, when you learned it was a forgery, this man knew he could trust you because you'd be afraid to reveal his identity as the forger.
No doubt he contacted you after the murder, to make sure you'd keep quiet.
Now tell us who was that man? No.
No please Miss Adams, that man is not the murderer but he is the man who stood on those stairs! .
That man was present, not to watch you, but as a member of the smuggling ring.
He was here to pick up the smuggled jewels.
What? Was that man Amos Martin's pilot, Henry Whelan? Yes.
Your Honor, with your permission, may we proceed without Mr.
Whelan? Go ahead, Mr.
Mason.
Uh, Mr.
Drake, would you climb the stairs? Mr.
MacRae, is that where you sent the man to stand and watch? Uh, yes, yes, up there.
Miss Carson, is that where you saw the man standing? Yes, just about there.
- Mr.
Bruner? - l think so, yes.
Mr.
Schaft? Yes, right there.
Mrs.
Bruner? He was standing almost exactly where Mr.
Drake is standing.
And you, Mrs.
Bruner? were you standing exactly where you are standing now? Certainly.
Mrs.
Bruner, what, in stage language, is a tormentor? Why, it's a [Mason.]
It's a fixed curtain or wing on each side of the stage behind the proscenium arch.
A tormentor Mrs.
Bruner, that wa_ in place during the entire third act.
Paul.
Tell me again, Mrs.
Bruner, tell me exactly where the man was standing? l didn't see him.
l must have been mistaken.
No, not mistaken about seeing him.
Mistaken only about where you were standing.
Not here, Mrs.
Bruner.
But over here in front of Phil Schaft.
Now, was it you Steve bumped into? Was it you who picked up the sword he dropped? No.
Mrs.
Bruner, l submit that you put real jewels in place of costume jewelry on the theatrical costumes.
Through, MacRae, Franz learned the truth and called the police.
You had to act.
Had to act before they came.
When Steve lost his head, you saw your chance.
Your husband wasn't on the other side of the stage.
He was right there, beside you.
Yes.
Yes, but please So it was your husband Carl who shouted to put the lights out.
lt was your husband Carl who picked up Steve's sword.
And it was Carl who Stop it.
Stop it! Yes, l killed Franz.
l was a partner for 20 years.
Only for 20 years, he fed my hatred with his scorn.
The smuggling was a way to be free of him.
How could l let him live when he found out.
Yes, l killed him.
l'd do it again! A thousand times, do you hear? l'd kill him again a thousand times! The smugglers provided the 2,000 in cash to get the costumes out of hock.
But, they still needed the forged check, and Claire to reopen the show, and create an excuse to get at the costumes.
When Schaft pocketed half that cash, the checks you had to write, Steve, couldn't past the bank because they were holding the forged Martin check.
So the whole plan started blowing up in their faces.
And when the bank sent that check back to you, Steve, at the theater.
The Bruners grabbed it in hopes of covering anything that might lead to the smuggling.
But what was Claire frightened of? Why didn't she tell the truth about Whelan right away? She honestly thought the 12,000 was a belated thank-you from Martin because she had stepped out of the picture to save him from a messy divorce action.
lt wasn't until after the murder that Whelan told her used that involvement, anonymously, to blackmail Martin five years ago.
He threatened to lie and involve her in that blackmail unless she kept quiet about it.
And of course, Whelan knew that Martin would think twice before causing any trouble, even about forgery.
Whelan and the Bruners.
blackmail, smuggling, and murder.
Will all great Neptune's ocean wash this blood clean from my hand? Huh? Didn't you read Margit Bruner's confession? lt was Margit Steve bumped into.
Margit who picked up the sword, put it in her husband's hand, and sent him out to commit murder.
Oh, you mean, like that lady in Hamlet.
Macbeth, Paul, Macbeth.
Subtitled By J.
R.
Media Services, Inc.
Burbank, CA
What's in a name? That which we call a rose by any other name would smell as sweet.
So Romeo would were he not Romeo called retain that dear perfection which he owes without that title.
Oh, Romeo, dom thy name, and for that name which is no part of thee take all myself.
Well, Franz? Uh, Miss Adams, why don't you just get your coat by the stage door there and wait for me, hmm? Well, What can l say? The girl isn't bad, but she is not great, either.
Never has a Juliet appeared with the Franz Lachman Repertory Company who was not trained by me personally.
For 20 years, audiences of half the countries of the world have looked to the Lachman Company for one thing perfection.
The Lachman Company does not compromise Franz, the Lachman Company is on its last legs, and they're about to give out.
lt's been coming on for years and everybody else, but you has been able to see it.
The Lachman Company will not open Monday night, Franz, without cash lots of it.
You're broke.
A temporary condition.
Now just a minute.
As your advance man, l blame myself for this, Franz.
The idea of including Jamaica and Bermuda in our world tour was mine, and l was wrong.
But this American tour would put us back on our feet.
And you can't even open.
Your sets and your costumes are tied up in warehouses by a half-a-dozen attachments.
All right, so the girl isn't great.
She's only played Juliet a couple of times in a little tank town theatre, but she is a professional actress.
And, Franz, this girl walked in here with $1,000 in cash.
And a check for 10,000 more.
And look at the signature on that.
Amos Martin.
The hotel man? And no strings.
No partnership No profit sharing.
Nothing.
Except that this girl plays Juliet for the two weeks of the Los Angeles run.
Franz, this is salvation out of the blue.
We can borrow the money somehow.
A bank will surely A bank on a Friday afternoon and we open on Monday? Franz, it's either we take this girl, or we've had it.
The Lachman Company, whatever is left of it, will be history.
$1,000.
And a check for 10.
Call her back.
Uh, Miss Adams.
Miss Adams? My dear, You shall play Juliet in our current engagement here.
Mr.
Scharf, will you have the company assembled here in an hour? Miss Adams, we'll see you then.
Oh, yes, Mr.
Lachman, and thank you.
[squeals.]
Oh, l still can't believe it.
Oh, thank you, Mr.
Scharf.
Oh, come now, l should think you would want to thank your friend Mr.
Martin.
Yes, yes, l should.
A check for $10,000 and 2,000 in cash.
Yes, it displays a considerable amount of, shall we say, friendship.
Well, Miss Adams, it is customary when someone brings new money into an organization that they receive a finder's fee.
l should think $500 would be quite satisfactory.
Fee or no fee, what you're looking for is not there.
l'm not interested in any of the thousand dollars you held out on Mr.
Lachman.
l don't care about any of that.
l only want prove to Mr.
Lachman and everyone that l'm an actress.
All right.
Just don't you stub own toes too badly, that's all.
Are you trying to warn me? Franz Lachman's name still has enough magic to draw the critics who count and the Hollywood people.
lf this a one-in-a-million showcase for you, it's just as important to every member of the Lachman's company.
So? With you playing Juliet and Franz doing Romeo, the rest of the company will be playing musical chairs for leftover crumbs.
And they're not going to like that Or yOU.
Well, good luck, Miss Adams.
Ladies and gentlemen of the Lachman Repertory Company, permit me to welcome you most felicitously to Los Angeles.
As all you know this indeed the high spot of our long tour.
two weeks in the City of Angels 'ere we venture forth to continue our tour across the length and breadth of the country.
Now, before l go into the specifics of our engagement here, l should like to introduce a new member of our company.
The distinguished American actress, Miss Claire Adams.
For the opening presentation of our two weeks of repertory, we shall perform, as scheduled, Romeo and Juliet.
Miss Adams will play Juliet.
Uh, Ellen.
Yes, Franz.
lnstead of Juliet, you will have yourself fitted for a wig and play Lady Capulet.
Uh, Margit? The Nurse.
Which you do so well, my dear.
Now, Steve, instead of Romeo Don't tell me, let me guess.
Since Miss Adams is new to the cast, she will need strength and experience.
Experience that comes with age.
Mr.
Franz Lachman will portray Romeo.
During our engagement here in Los Angeles, we shall have particular need of your services as company stage manager.
Playing the part of Paris will give you time for your other duties.
Uh, Carl.
Friar Laurence.
The assignment of other parts will be posted on the bulletin board.
Steve, l want to see you in my dressing room.
l don't mind not playing Romeo, but he can't do this to you.
Darling, there's nothing you can do.
No? Distinguished American actress.
lt's nice to seeing you, Steve.
l wish l could say the same.
This should enough to take care of the immediate expenses.
$1,000 in cash.
You'll deposit this check at once to cover any additional checks you may have to write.
Amos Martin? An advance against our receipts here in America.
A loan from a very old friend.
No one is to know.
Now, the delivery of the sets all arranged for? - Warehouse is just waiting for payment.
- The costumes? Still in customs.
Until we pay bills, no costumes.
Get them.
l'm tired of your excuses, Mr.
Brock.
l expect every detail of this production to be perfect for Monday night.
- Remember that.
- You remember.
Does your word mean nothing? You promised Ellen more than a year ago that she'd play Juliet for the Los Angeles opening.
Why else do you think l stayed on while you dragged this moth-eaten outfit around half the world? How dare you? How dare l what? Speak the truth? lf your distinguished Miss Adams were any kind of established actress with even half a name, she wouldn't be found dead within 3 miles of this two-bit outfit.
Am l to assume Ellen shares your sentiments in regard to the company? Oh, Franz, can't you see? Can't you see what this Los Angeles appearance could mean to Ellen? She's ready.
It's the moment she's waited years for.
lf the right people could see her now The decision is made.
We will not discuss it.
Rehearsals will start immediately.
We'll continue through tonight.
You have work to do, Mr.
Brock.
l suggest you start on it, now.
And in this rage, with some great kinsmen's bone as with a club dash out my desperate brains? Look, methinks l see my cousin's ghost seeking out Romeo that did spit his body upon a rapier's point.
Oh, stay, Tybalt, stay.
Romeo, l come.
This do l drink to thee.
[Franz.]
Kelvin.
Kelvin, what was in the vial just now? ln it? Why, nothing.
Have l not made it clear a thousand times that in the Lachman Company we do not rehearse with empty cups with empty vials with empty anything? How can l expect to get reality and truth from Claire when you expect her to rehearse with empty air? lt won't happen again.
See that it doesn't.
Mr.
Brock.
The rehearsal was called for 10:OO this morning.
lt is now past noon.
This is Monday, remember? We open tonight.
Or perhaps you don't feel the need for any more rehearsal? You wouldn't have much of a pe_ormance without lights, sets, or costumes.
And where are the costumes, if l may ask? They left the customs warehouse in San Francisco early this morning.
They'll be here.
Sometime before the final curtain, l trust.
If that's not asking too much? Well, we'll rehearse the duel scene.
That is, if you don't mind, Mr.
Brock? Oh stay not, be gone, live and hereafter say a madman's mercy bade thee run away.
l defy thy conjurations and apprehend thee for a felon here.
Wilt thou provoke me? Then have at thee, boy.
Mr.
Brock, l am aware that it's absurd to expect a pe_ormance from you insofar as your new speeches are concerned.
Also, l'm sure you were a magnificent fencer in college.
But this is the theatre, so you will please play the duel as l have directed it.
Maybe the numbers will help you.
En garde.
[groans.]
Oh, l am slain.
What a pity that Shakespeare ordained that Romeo should kill Paris.
l'm sure that to at least one member of the company it would have been more satisfactory the other way.
Eh, Mr.
Brock? LaVerne Moreau.
Remember her, Ellen? ln Canada a few years ago.
How long did Franz keep LaVerne in the company? A week? Ten days? But then, she never played Juliet in some small town little theatre or was it in high school, dear? l'm sorry if my joining the company hurt anybody.
All you're concerned with, dear, is whether Franz likes you.
Margit Bruner, shining star of the theatre, a name l once worshiped as an ideal of what l wanted to be.
A broken-down has-been with a nasty, dirty mind.
What's the matter did Franz love you when you p!layed Juliet? - Why, you - Margit, no.
Don't feel sorry for me.
l know why l stayed with the company.
But you, Margit, you should have left, with Carl, a long time ago.
We were protecting our investment.
Carl's still waiting to get the money back he lent to Franz years ago in England.
And you? What do you mean they can't be opened? Do you realize we have a pe_ormance in less than three hours? Look, mister, this shipment come in from out of the country.
Like l told you, it's still under bond.
You wanted it that way.
Well, that means only a customs agent can break those seals.
Well, where is this customs agent? There was some fellow in uniform here about an hour ago, Steve.
But he asked for Franz and l told him he couldn't be disturbed just yet.
You stupid fool.
Can you reach the man? Well l don't know at this hour.
And there's also the matter of the shipping charges.
Haven't you paid them? He paid them all right on Friday.
Only your company check was no good.
Now we'll need cash.
You wrote a check that was no good? l only found out about it Iate this afternoon.
There was some sort of mix-up at the bank, that's all.
Mix-up.
That's a new name for it.
Now, what kind of a crack is that? l'll have it straightened out in the morning.
ls that so? Well, give the man the cash he wants.
l haven't that much left.
Carl, will you take this man out to the box omice and see that they give him the cash? This way.
lf you're trying to accuse me of something, Franz, don't hint.
Just come out and say it.
There should have been more than enough money.
What happened to that _10,000 check of Amos Martin's? l deposited it on Friday.
l guess it wasn't early enough to cover, that's all.
You guess? The real question, Mr.
Brock, is how many checks did you write against it and to whom? Just what are you implying? This bill, for example, from Johannesburg.
Authorized by you.
On what authority? l can explain that.
You better be able to.
Did you really think l was unaware of what you've been trying to do? Well, you won't get away with it.
Oh, l won't stop you not alone, that is.
But the police, l am sure, will be more than interested.
Happily met, my lady and my wife.
That may be sir, when l may be a wife.
That maybe must be love, on Thursday ne_.
''What must be shall be.
'' What must be shall be.
That's a certain te_.
[Steve.]
Come you to make confession to this friar? [Claire.]
To answer that, l should confess Perry, is it me or is this new Juliet so frightened and nervous she can't remember her lines.
Let's just say that she's not Katharine Cornell.
Did we have to come? Steve Brock, the man playing Paris, is the brother of old Navy friend.
He sent us the tickets.
Said he wanted to consult with me after the show on something important.
God shield l should disturb devotion.
Juliet, on Thursday early will l rouse you.
Till then, adieu, and keep this holy kiss.
[Carl.]
And finding him, the searches of the towns suspecting that we both Margit, where is Franz? Tomb scene starts in a few minutes.
Kelvin was whispering to him a few minutes ago.
Seemed very excited about something.
Now, Franz is telephoning.
Thank you.
[Franz.]
And the police must be here at exactly 1 1 :30.
l don't want the pe_ormance disrupted.
Yes, at the stage door.
l will meet them and explain further.
Thank you, Lieutenant.
Franz.
You heard the call? Yes.
Just as well.
These trunks and other matters, Mr.
Brock.
l warn you, you've only started answering questions.
No longer just to me, to the police.
What's this all about? Well, don't ask us.
You're the one, buster.
What have you been doing with the company's dough? What? The old man is really out to nail you.
Steve, your cue, you're on.
[Friar Laurence.]
clothed in a dead man's Oh, stay not, be gone, live and hereafter say a madman's mercy made thee run away.
l defy thy conjurations and apprehend thee for a felon here.
Thou provoke me? Then have at thee, boy.
The numbers, eh, Franz? Careful, Franz, you may forget your own direction.
Steve, in the name of heaven.
Perry, l don't care what Shakespeare wrote.
Right now, my money's on your friend Steve.
[Man.]
Curtains.
Kill the lights.
Backstage.
Steve! [woman screams.]
l won't do it, Steve.
Don't ask me, please.
But what else can we do? It's either that or - Mr.
Mason? Ellen, did you - She didn't talk, but l think we'd better, Steve.
The police are looking for you.
Why did you run out of that theatre? Not because l killed Franz.
On stage you certainly looked as though you were trying to.
Yes, l know.
l l didn't mean that Franz should fall, Mr.
Mason.
l just wanted to give him a bad time for a few minutes.
When his sword hit my face, l lost my head.
And when he fell l suddenly realized what 'l'd done.
l just couldn't discuss it with myself.
l couldn't face anyone.
You didn't know that Lachman had been stabbed? No, l went back to the hotel and changed.
Came here and heard about the stabbing on the radio.
Then l called Ellen a little while ago.
What happened to your sword? l don't know, threw it aside.
Why? lt's missing, Steve.
You didn't take it with you? No believe me, l did not kill Franz Lachman.
l believe you didn't kill Lachman.
l'll do my best to help you.
But only on the condition that you turn yourself in.
Steve, if you didn't do it, it's wrong to run.
All right, Mr.
Mason, call the police.
You know we're always glad to cooperate with you, Perry.
Anything we can do to help a struggling attorney.
Of course, you know better than to remove any evidence.
Thank you for warning me, Andy.
Mr.
MacRae, just as the curtain was coming down last night, someone called out to kill the lights.
Do you remember who that was? l don't think l do.
l wish l could help Steve.
He's a nice guy, but l don't see what l can tell you.
Mr.
Mason, there's still no sign of the murder weapon, is there? No.
Why do you ask? Well, it's it's strange, not a sign of Steve's sword.
You're sure it was Steve's sword that killed him? l never said that.
Didn't you? Uh, Mr.
and Mrs.
Bruner.
Mr.
Mason? l realize that Mr.
Lachman was a friend of long standing and that discussing his death may Don't apologize, Mr.
Mason.
The only regret l have over Franz' death is that he borrowed my life's savings and never paid me back.
Mrs.
Bruner, theatrical gossip has it that possibly Franz Lachman's death represents a greater loss to you than to your husband? No need for delicacy, Mr.
Mason.
You're asking if there was some sort of special relationship between Franz and me.
The answer is no.
There never was, Mrs.
Bruner? - Why - Please, Carl.
No, Mr.
Mason.
There have been many Juliets down the years since l played the part.
l no more resented the last than l did the first.
The last, Claire Adams? Anything you want to know about that one, ask Phil Scha_.
He brought her to Franz.
Oh, come now, Mr.
Mason.
The theatre's no nursery school, and actors aren't noted for behaving exactly like monks, no, sir.
l wasn't asking you to characterize or assassinate an entire profession.
l inquired only about Franz Lachman.
Okay, so he was big enough to like playing with girls without getting called a sissy.
Answer your question? And occasionally that resulted in some rather inopportune casting? [chuckles.]
You lawyers.
Oh, sure, it happens.
Margit Bruner? Whatever she may have been to Franz, she was a great actress.
Ellen Carson's also a great actress, and she never gave the Franz so much as the right time.
What of Claire Adams? Her? Strictly a minor league actress.
But you can take my word for it, Franz got nowhere with that one.
Oh? lsn't that why she got the part? You kidding? She bought her way into the company for 12 grand.
Just a moment.
l understood from Steve that money was given to Mr.
Lachman by a personal friend, a Mr.
Amos Martin? Personal friend? Franz never met Amos Martin.
He never set eyes on him.
Martin gave the dough to Claire Adams to buy herself a part in the show.
Years Years l have knocked around in this racket.
A dancer, a singer, bit parts, cigarette girl in nightspots.
Anything to hold on, to be ready for that big break when it came.
And this was it, the break l'd dreamed about.
lf it If it meant other people losing out, l just couldn't help that.
Can you understand that, Mr.
Mason? l might never get another chance.
There was nothing personal between you and Mr.
Lachman? No no, of course not.
And Amos Martin? No.
l met Mr.
Martin in Las Vegas many years ago.
Just a casual acquaintance? l didn't say that.
- More than casual? - Please, Mr.
Mason He gave you _12,000 to help you buy yourself a break in show business.
Why? l Oh.
l just can't tell you anything more, Mr.
Mason.
l couldn't reach Amos Martin.
According to his omice, he's been at his ranch for the past ten days.
lt's about a hundred miles north of here.
And he can't be reached there because he's fishing.
What about Claire Adams? Well, that could be something.
Several years ago, Martin was involved with a Las Vegas dancer named Claire.
There were rumors in the gossip columns.
And about that time, Mrs.
Martin sued him for divorce.
Then, all of a sudden, the girl drops out of sight, and at the same time, Mrs.
Martin drops the divorce suit.
The 12 grand could be a delayed payom.
All right, keep working on it.
And, Paul, the shipment of costumes from South Africa You're not the only one interested in that shipment.
- The police? - No, not that l know of.
But l understand some of the customs boys have been around asking questions about those costumes.
[door opens.]
Uh, Mr.
Mason, there's something you've got to know.
The police already know.
l had to tell them.
And l felt that if you knew it, it might help Steve.
The thing is there was someone else in the theatre last night backstage.
He said he was a special friend of Miss Adams and he wanted to watch her pe_ormance.
But he didn't want to make her more nervous by knowing he was there.
He gave me a hundred dollars.
And l showed him a place on the backstage stairs where he could watch without getting in anybody's way.
How long was he there? l'm not sure.
But when all the excitement happened, two men ran out.
One was Steve, and l think the other one was this fellow.
Where do you think you're going? We came to see Mr.
Amos Martin.
Mr.
Martin is not seeing anybody.
Now, get out of here.
You know, Paul, it's too bad we didn't bring Claire Adams along.
Mr.
Martin might have been more hospitable.
Who the devil are Perry Mason.
Are you representing Claire Adams? Do you think Claire needs a lawyer, Mr.
Martin? l told you to get om this property.
There is the matter of a check, Mr.
Martin, for _1 O,000 drawn by you in favor of the Lachman Repertory Company.
lt might save you a great deal of trouble if l knew why it was drawn.
l've been here at my ranch for the last ten days.
The Los Angeles Police did call me long distance.
Somebody named Scha_ discussed me with them.
l shall tell the police what l have to, Mason.
l will tell you nothing.
Just how long does it take your private plane to make Los Angeles? Half an hour? Twenty minutes? Whelan.
Look, Mason, for the last time, l told you.
l know, we're just leaving.
Thank you for the hospitality.
Sure hit home about that plane.
l noticed a wind direction sock fastened to the top of a tree.
l thought you had.
l don't image it was put there just for the birds.
Paul, Steve mention something about a mix-up at the bank.
l'd like to find out about it before the police do.
Paul, you know it's against the rules.
But, Helen, l'm such an old customer.
Not old, Paul.
Long time, but certainly not old.
Well, as far as l know, the Amos Martin check was perfectly all right.
But there'd been a silly mistake.
It was drawn on the wrong bank.
The wrong bank? You mean he had no account? Not in City Trust, the bank the check was written on.
His account had been closed for over a year, so they returned the check to us.
And you still have it at the bank? Oh, no, we mailed it back yesterday.
Where did you mail it? To Mr.
Brock, in care of the theatre.
Yes, there is a letter here for Steve.
From the bank? l'm not sure, but l think l saw the bank's return address.
Came early this morning.
Mr.
MacRae, the contents of that envelope can be very important to Steve.
l haven't the authority to give you the letter.
Please, please, don't ask me.
Give it to him, Kelvin.
He's his lawyer.
He'll take it to Steve.
Well, if l can just find it.
l know l put it here somewhere.
Oh, here it is.
- Thank you.
- l'll just take that, Perry.
Seems we started from opposite directions to reach the same place.
This is addressed to Steve Brock, Andy.
So it is and is therefore evidence in this case.
You wouldn't be thinking of withholding evidence, Perry? All l want to know right now is that envelope contains what l think it does.
Then l'll be perfectly content to wait until we're in court to see it again.
Well, that seems only reasonable.
There's has to be a check in there.
Uh, incidentally, l have news for you.
Steve Brock's missing sword has been found.
Where? ln a trash barrel at the end of the alley outside the stage door.
Just beyond the point where Steve Brock rushed past you and Della right after the murder.
When we found it, there were still blood stains on the sword.
Playing Juliet in the Los Angeles opening was very important to me.
lt was the combination of years of work.
The defendant, Steve Brock, as l understand it, was more than a little concerned about your career.
Were you in love with each other, Miss Carson? Possibly engaged to be married? Yes.
Some months prior to this time, the defendant received an omer of a lucrative motion picture acting contract.
Did he tell you why he turned that contract down? He wanted to stay with me, to work with me, to help prepare me for Los Angeles.
And was that the only reason as far as you know that he was so anxious to stay with the company until the Los Angeles opened? As far as l knew, yes.
How did he react, Miss Carson, when he found out that not you but Miss Adams would play Juliet in the Los Angeles opening? He We were both disappointed.
A dream was shattered, years of work wasted, a lucrative contract thrown away, and the defendant was merely disappointed? Cross-examine, Mr.
Mason.
Uh, Miss Carson, at the time of the murder where were you standing? Downstage left, in the wings.
Could you see across the stage to the wings on the other side to the circular staircase omstage right? Yes, l could.
Did you see a man, dressed in street clothes, standing on those stairs, watching the performance? Yes, l did.
ls that man in the courtroom now? Can you point him out? l'm sorry, Mr.
Mason.
No.
l didn't get a good look at his face.
Steve was positively livid with anger.
l remember him saying to Ellen, ''Franz can't do this to you.
'' Ellen answered there was nothing Steve could do about it.
Steve paused for a moment, and then said just one word, ''No?'' Thank you, Mrs.
Bruner.
Yours, Mr.
Mason.
[Mason.]
Mrs.
Bruner, where were you standing at the time of the murder? l was holding a book on the scene.
Among other things, our Juliet needing occasional prompting in her lines.
l was standing all the way down stage right, just inside the proscenium.
And did you see this gentleman standing on the stairs backstage? Yes, l saw him.
And before you ask, Mr.
Mason, no, l didn't recognize him.
A few days before the opening, Thursday evening, l believe it was, Franz himself rather bluntly summed up our position.
The company was flat broke.
We couldn't open.
Couldn't continue our tour.
Were you the only one to whom this information was imparted or was anybody else the time of your conversation with the decedent? Yes, there was one other person.
Steve Brock.
Well, now l understood you were the company manager.
Why was Mr.
Brock there? Ever since South Africa, when it looked as though the tour was about to fold, Steve just well, just moved in and took over.
l didn't mind.
He said getting the company to Los Angeles was terribly important to him.
He got us here.
Thank you, Mr.
Bruner.
Your witness.
Mr.
Bruner, where were you standing at the time of the murder? Yes, yes, l saw the man, Mr.
Mason, but whether you like it or not, l'm afraid that it was impossible to see him clearly enough for any identification.
l have no further questions.
Mr.
Bruner, just a moment.
l have some redirect.
l appreciate your irritation with defense counsel's repetitive fishing trips to that backstage staircase and to the mysterious Mr.
X of his, so let's put the ghost to rest once and for all before the prosecution's patience is mistaken for foolishness.
Mr.
Bruner It's apparent from previo! us testimony that this Mr.
X is the one who actually left the theatre and passed Mr.
Mason and Miss Street in the alley before the defendant did.
Now, l ask you, sir.
From where he was standing on that staircase, could that man have descended, moved to stage center, killed Franz Lachman, and still have gotten out of the theatre ahead of the defendant? No, sir, it would have been physically impossible.
He would not have had time.
The person Claire Adams said gave her the dough was the same man who signed the check Amos Martin.
Thank you, Mr.
Scha_.
Cross-examine.
Mr.
Scha_, at the moment Franz Lachman fell on the stage, a voice cried out ''Curtain.
'' While another cried ''Kill the lights.
'' Now where either of those voices yours? Yes.
l hollered ''Curtain.
'' Did you also order the stage lights put out? No.
No, that wasn't me.
But the electrician swears that the order came from somebody downstage right, where you were.
So it might have been the fella standing on the stairs.
lt sure wasn't me.
l knew Mr.
Martin about oh, about five years ago, in Las Vegas, we were friends.
Good friends.
And when we broke up, we made an agreement.
So it came as no surprise to you when a messenger delivered _12,000 for him as a sort of investment in the theatrical company, merely to showcase your acting talents? Well, no, l l thought it made sense.
Miss Adams of all the people in the Lachman Company, was there anyone who knew about you and Amos Martin in Las Vegas? Yes.
Steve Brock.
Well, he was in Las Vegas around the same time that l l knew Amos Martin.
l did not phone Miss Adams.
l did not write that check.
l knew nothing of the Lachman Company and l couldn't have cared less if l had known.
Obviously somebody who knew of my relationship with Miss Adams forged that check.
Your witness, Mr.
Mason.
Mr.
Martin, were you inside the theatre the night of the murder? Were you watching the performance from the stairs backstage? No.
These are flight plans signed by your personal pilot, Henry Whelan.
The Monday night in question, he flew you from your ranch to Glendale Airport, arriving at T:40.
You flew back to your ranch at 1 1 :5T.
l ask you again, Mr.
Martin.
Where were you that evening? l was at my ranch until 6:45.
That, Mr.
Mason, was evening.
Later that night, l did fly into town on business.
l had some papers to sign at my omice in the Stevens Building.
My pilot, Henry Whelan, dropped me om there and later picked me up.
lf you don't believe me, Mr.
Mason, ask him.
That, Mr.
Martin, is what l intend to do.
On Friday morning, you went to a bank, presented a passbook and signed withdrawal slip, and withdrew _2,500 in cash.
Was that your money? Why, no, sir.
l was doing a friend a favor.
Later that same morning, a phony check and _2,000 in cash was delivered to Claire Adams.
You heard Mr.
Martin testify that was not his money.
Suppose you tell us whose _2,500 you withdrew from the bank.
Steve Brock's.
Thank you, sir.
Your witness.
Mr.
MacRae, during the performance, you accosted Franz Lachman and insisted you had to talk to him.
What was that about? l l don't remember.
l assume you do remember that your trip to the bank was the first of two trips? You went back on the day after the murder and you rented a safe deposit box.
Why, Mr.
MacRae? lt was a personal matter.
You are under oath in a court of law, Mr.
MacRae.
Now, why did you rent that safe deposit box? All right, Mr.
Mason, l confess.
[chattering.]
[gavel slams.]
But please, believe me, l took only one of them.
One of them, Mr.
Mason.
One of what? The jewels, they were real.
The fake jewelry on the costumes.
It had be cut om.
The costumes shipped from South Africa.
Somebody had used them to smuggle precious gems into this country.
Yes, but l told Franz.
l told him about the jewels during the performance and he called the police.
But he was killed.
l was afraid to tell anyone.
Afraid to give back the one jewel l took.
Afraid l'd be killed, too.
One moment, Mr.
Mason.
Mr.
Burger, would you approach the bench, please? Now, gentlemen, the introduction into the proceedings of this new element, this matter of possible smuggling, would appear to me to justify a continuance at this time.
Mr.
Mason, apparently you were aware of this aspect of the case, but you, Mr.
Burger.
Your Honor, not only has our omice been aware of this aspect of the case, but has been working with the United States Customs Omice on the matter.
Although it will unquestionably play a large part in the Superior Court trial, we did not deem it a necessary part of this preliminary hearing.
Now, if learned counsel will stand aside for a moment, l think a few questions can put this matter in its proper perspective.
Mr.
Mason? No objection, Your Honor.
Go ahead, Mr.
Burger.
Mr.
MacRae, who shipped those costume from Cape Town? Steve.
And to whom were they consigned? Why, to Steve.
Now, who normally completed the packing of costumes before they were shipped? [Kelvin.]
Usually l did.
But who packed them in Cape Town? l started.
He came to me, said it was late.
l was tired, and he said he'd finish the job for me.
Who was the man who was the last person to handle those costumes? Who shipped them himself and consigned to himself? Who is that man? Steve.
Steve Brock.
Andy, may l speak with Steve for a moment? All right.
What are we doing here, Mr.
Mason? l convinced the judge that demonstrating the exact positions of the principals at the time of the murder was of sumicient importance to convene the afternoon session of the hearing here at the theatre.
Now, we don't have much time.
l need a couple of answers.
One, packing those costumes and shipping them to yourself, why? Have you seen our costumes? No, l wasn't about to let Ellen open in Los Angeles in those moth-eaten rags.
So l had a whole new set of costumes designed and custom-fitted for her in Johannesburg.
Franz didn't know, and l didn't want him finding out.
The $2,500 Kelvin got for you? Well, 2,000 was for a trip to New York for Ellen and me.
A honeymoon trip.
The other 500? The 500 was to pay for those costumes l had made in Johannesburg.
lt's a lot of money, l know, Mr.
Mason, but not because of smuggled gems, l swear.
Ladies and gentlemen, the court has ruled that we may conduct this demonstration.
lt is part of a preliminary hearing, and His Honor feels that in the interests ofjustice we may take certain procedural liberties which would hardly be permitted in a jury trial.
Though l may interpose questions to any of you at any time, let me remind you, you are all still under oath.
Now, if you will be good enough, each of you stand in the exact position you occupied just before the lights went out.
Now, Mr.
Brock, will you please pick up your sword.
Now, you just knocked the sword from Franz Lachman's hand.
He lies there sprawled on the stage floor.
Exactly where were you at that time? Just about here, center stage.
l l couldn't believe what happened.
l just stared at him.
The audience was stunned.
There was a moment of silence.
Then you, Mr.
Schaft, shouted Curtain.
Someone else shouted ''Kill the lights.
'' The electrician pulled the master switch.
There was darkness.
Confusion.
Exactly what did you do, Mr.
Brock? Well, l was boxed in by the set here, so l turned and ran this way.
Now wait a minute.
There was someone here.
l bumped into someone.
l'm sure of it because that's where l dropped the sword.
All right, drop it.
Go on.
then l turned and ran for the door.
Uh, then l bumped into something else here.
A stage-brace or something.
l fumbled around for something to cover me.
When l saw a light at door.
Somebody was leaving.
So l picked up a cloak and went to door and out to the alley Where l passed you, Mr.
Mason.
That leaves three unanswered questions.
who shouted to kill the lights? And 3, who picked up his sword? Miss Adams, this morning you testified that the _12,000 you received was delivered by messenger.
We found the messenger.
He is prepared to swear that when he entered the foyer of your apartment house, the clerk sent him right up, told him you were expecting him.
What Well, that is You were expecting him because you'd received a call earlier that the money was coming, isn't that so? Yes.
Now, that call came from a man who knew of your ambitions, also knew of your relationship with Amos Martin in Las Vegas.
There was no reason for you to doubt that Amos Martin's check was legitimate.
Later, when you learned it was a forgery, this man knew he could trust you because you'd be afraid to reveal his identity as the forger.
No doubt he contacted you after the murder, to make sure you'd keep quiet.
Now tell us who was that man? No.
No please Miss Adams, that man is not the murderer but he is the man who stood on those stairs! .
That man was present, not to watch you, but as a member of the smuggling ring.
He was here to pick up the smuggled jewels.
What? Was that man Amos Martin's pilot, Henry Whelan? Yes.
Your Honor, with your permission, may we proceed without Mr.
Whelan? Go ahead, Mr.
Mason.
Uh, Mr.
Drake, would you climb the stairs? Mr.
MacRae, is that where you sent the man to stand and watch? Uh, yes, yes, up there.
Miss Carson, is that where you saw the man standing? Yes, just about there.
- Mr.
Bruner? - l think so, yes.
Mr.
Schaft? Yes, right there.
Mrs.
Bruner? He was standing almost exactly where Mr.
Drake is standing.
And you, Mrs.
Bruner? were you standing exactly where you are standing now? Certainly.
Mrs.
Bruner, what, in stage language, is a tormentor? Why, it's a [Mason.]
It's a fixed curtain or wing on each side of the stage behind the proscenium arch.
A tormentor Mrs.
Bruner, that wa_ in place during the entire third act.
Paul.
Tell me again, Mrs.
Bruner, tell me exactly where the man was standing? l didn't see him.
l must have been mistaken.
No, not mistaken about seeing him.
Mistaken only about where you were standing.
Not here, Mrs.
Bruner.
But over here in front of Phil Schaft.
Now, was it you Steve bumped into? Was it you who picked up the sword he dropped? No.
Mrs.
Bruner, l submit that you put real jewels in place of costume jewelry on the theatrical costumes.
Through, MacRae, Franz learned the truth and called the police.
You had to act.
Had to act before they came.
When Steve lost his head, you saw your chance.
Your husband wasn't on the other side of the stage.
He was right there, beside you.
Yes.
Yes, but please So it was your husband Carl who shouted to put the lights out.
lt was your husband Carl who picked up Steve's sword.
And it was Carl who Stop it.
Stop it! Yes, l killed Franz.
l was a partner for 20 years.
Only for 20 years, he fed my hatred with his scorn.
The smuggling was a way to be free of him.
How could l let him live when he found out.
Yes, l killed him.
l'd do it again! A thousand times, do you hear? l'd kill him again a thousand times! The smugglers provided the 2,000 in cash to get the costumes out of hock.
But, they still needed the forged check, and Claire to reopen the show, and create an excuse to get at the costumes.
When Schaft pocketed half that cash, the checks you had to write, Steve, couldn't past the bank because they were holding the forged Martin check.
So the whole plan started blowing up in their faces.
And when the bank sent that check back to you, Steve, at the theater.
The Bruners grabbed it in hopes of covering anything that might lead to the smuggling.
But what was Claire frightened of? Why didn't she tell the truth about Whelan right away? She honestly thought the 12,000 was a belated thank-you from Martin because she had stepped out of the picture to save him from a messy divorce action.
lt wasn't until after the murder that Whelan told her used that involvement, anonymously, to blackmail Martin five years ago.
He threatened to lie and involve her in that blackmail unless she kept quiet about it.
And of course, Whelan knew that Martin would think twice before causing any trouble, even about forgery.
Whelan and the Bruners.
blackmail, smuggling, and murder.
Will all great Neptune's ocean wash this blood clean from my hand? Huh? Didn't you read Margit Bruner's confession? lt was Margit Steve bumped into.
Margit who picked up the sword, put it in her husband's hand, and sent him out to commit murder.
Oh, you mean, like that lady in Hamlet.
Macbeth, Paul, Macbeth.
Subtitled By J.
R.
Media Services, Inc.
Burbank, CA