05x28 - The Case of the Ancient Romeo

[bunniefuu]

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, doff 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 I 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 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.

It'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,
I blame myself for this, Franz.

The idea of including Jamaica and Bermuda
in our world tour was mine, and I 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 t*nk town theatre,
but she is a professional actress.

And, Franz, this girl walked in here
with $ , in cash.

And a check for , 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.

$ , .

And a check for .

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, I still can't believe it.
Oh, thank you, Mr. Scharf.

Oh, come now, I should think you would
want to thank your friend Mr. Martin.

Yes, yes, I should.

A check for $ , and , 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.

I should think $
would be quite satisfactory.

Fee or no fee,
what you're looking for is not there.

I'm not interested in any
of the thousand dollars

you held out on Mr. Lachman.

I don't care about any of that.

I only want prove to Mr. Lachman
and everyone that I'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.

If 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 I go into the specifics
of our engagement here,

I 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.

Instead 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,
I want to see you in my dressing room.

I 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.

It's nice to seeing you, Steve.

I wish I could say the same.

This should enough to take care
of the immediate expenses.

$ , 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.
I'm tired of your excuses, Mr. Brock.

I 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 I stayed on

while you dragged this moth-eaten outfit
around half the world?

How dare you?

How dare I what? Speak the truth?

If your distinguished Miss Adams
were any kind of established actress

with even half a name,
she wouldn't be found dead

within miles of this two-bit outfit.

Am I 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.

If 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.
I 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 I see my cousin's ghost

seeking out Romeo

that did spit his body
upon a rapier's point.

Oh, stay, Tybalt, stay.

Romeo, I come.

This do I drink to thee.

[Franz]
Kelvin.

Kelvin, what was in the vial just now?

In it? Why, nothing.

Have I 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 I expect to get reality
and truth from Claire

when you expect her to rehearse
with empty air?

It won't happen again.

See that it doesn't.

Mr. Brock.

The rehearsal was called
for : this morning.

It 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 performance
without lights, sets, or costumes.

And where are the costumes, if I may ask?

They left the customs warehouse
in San Francisco early this morning.

They'll be here.

Sometime before the final curtain, I 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.

I defy thy conjurations
and apprehend thee for a felon here.

Wilt thou provoke me?
Then have at thee, boy.

Mr. Brock, I am aware that it's absurd
to expect a performance from you

insofar as your new speeches are concerned.

Also, I'm sure you were
a magnificent fencer in college.

But this is the theatre,

so you will please play the duel
as I have directed it.

Maybe the numbers will help you.
En garde.

, , , , ,

, , , and .

[groans]
Oh, I am slain.

What a pity that Shakespeare ordained
that Romeo should k*ll Paris.

I'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?

In 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?

I'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 I once worshiped as an ideal
of what I wanted to be.

A broken-down has-been
with a nasty, dirty mind.

What's the matter,
did Franz love you when you played Juliet?

- Why, you--
- Margit, no.

Don't feel sorry for me.

I know why I 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 performance
in less than three hours?

Look, mister, this shipment come in
from out of the country.

Like I 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 I told him
he couldn't be disturbed just yet.

You stupid fool.
Can you reach the man?

Well I 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?

I only found out about it
late 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?

I'll have it straightened out in the morning.

Is that so?

Well, give the man the cash he wants.

I haven't that much left.

Carl, will you take this man
out to the box office

and see that they give him the cash?

This way.

If 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 $ , check
of Amos Martin's?

I deposited it on Friday.

I 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?

I can explain that.

You better be able to.

Did you really think I was unaware
of what you've been trying to do?

Well, you won't get away with it.

Oh, I won't stop you-- not alone, that is.

But the police, I am sure,
will be more than interested.

Happily met, my lady and my wife.

That may be sir, when I may be a wife.

That maybe must be love,
on Thursday next.

"What must be shall be."

What must be shall be.

That's a certain text.

[Steve]
Come you to make confession to this friar?

[Claire]
To answer that, I 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 I should disturb devotion.

Juliet, on Thursday early will I 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 : .

I don't want the performance disrupted.

Yes, at the stage door.

I 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.

I 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.

I 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, I don't care what Shakespeare wrote.

Right now,
my money's on your friend Steve.

[Man]
Curtains. k*ll the lights.

Backstage.

Steve!

[woman screams]

I 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 I think we'd better, Steve.

The police are looking for you.
Why did you run out of that theatre?

Not because I k*lled Franz.

On stage you certainly looked
as though you were trying to.

Yes, I know. I-- I didn't mean
that Franz should fall, Mr. Mason.

I just wanted to give him
a bad time for a few minutes.

When his sword hit my face,
I lost my head.

And when he fell,
I suddenly realized what I'd done.

I just couldn't discuss it with myself.
I couldn't face anyone.

You didn't know
that Lachman had been stabbed?

No, I went back to the hotel
and changed.

Came here and heard about the stabbing
on the radio.

Then I called Ellen a little while ago.

What happened to your sword?

I don't know, threw it aside. Why?

It's missing, Steve.
You didn't take it with you?

No-- believe me,
I did not k*ll Franz Lachman.

I believe you didn't k*ll Lachman.
I'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 k*ll the lights.
Do you remember who that was?

I don't think I do.

I wish I could help Steve.
He's a nice guy,

but I don't see what I can tell you.

Mr. Mason, there's still no sign
of the m*rder w*apon, 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 k*lled him?

I never said that.

Didn't you?

Uh, Mr. and Mrs. Bruner.

Mr. Mason?

I realize that Mr. Lachman
was a friend of long standing

and that discussing his death may--

Don't apologize, Mr. Mason.

The only regret I 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 I played the part.

I no more resented the last
than I did the first.

The last, Claire Adams?

Anything you want to know about that one,
ask Phil Scharf.

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.

I wasn't asking you to characterize
or assassinate an entire profession.

I 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?

Isn't that why she got the part?

You kidding? She bought her way
into the company for grand.

Just a moment.

I 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 I 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 I'd dreamed about.

If it-- If it meant other people losing out,

I just couldn't help that.

Can you understand that, Mr. Mason?

I might never get another chance.

There was nothing personal between you
and Mr. Lachman?

No-- no, of course not.

And Amos Martin?

No.

I met Mr. Martin in Las Vegas
many years ago.

Just a casual acquaintance?

I didn't say that.

- More than casual?
- Please, Mr. Mason--

He gave you $ ,

to help you buy yourself
a break in show business. Why?

I--

Oh.

I just can't tell you
anything more, Mr. Mason.

I couldn't reach Amos Martin.

According to his office,
he's been at his ranch for the past ten days.

It'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 grand could be a delayed payoff.

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 I know of.

But I 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.
I had to tell them.

And I 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 performance.

But he didn't want to make her
more nervous by knowing he was there.

He gave me a hundred dollars.

And I showed him a place
on the backstage stairs

where he could watch
without getting in anybody's way.

How long was he there?

I'm not sure.

But when all the excitement happened,
two men ran out.

One was Steve, and I 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?

I told you to get off this property.

There is the matter of a check,
Mr. Martin, for $ ,

drawn by you in favor
of the Lachman Repertory Company.

It might save you a great deal of trouble
if I knew why it was drawn.

I've been here at my ranch
for the last ten days.

The Los Angeles Police
did call me long distance.

Somebody named Scharf
discussed me with them.

I shall tell the police what I have to,
Mason.

I 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, I told you.

I know, we're just leaving.

Thank you for the hospitality.

Sure hit home about that plane.

I noticed a wind direction sock
fastened to the top of a tree.

I thought you had.

I don't image it was put there
just for the birds.

Paul, Steve mention something
about a mix-up at the bank.

I'd like to find out about it
before the police do.

Paul, you know it's against the rules.

But, Helen, I'm such an old customer.

Not old, Paul.

Long time, but certainly not old.

Well, as far as I 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?

I'm not sure,

but I think I saw the bank's return address.

Came early this morning.

Mr. MacRae,
the contents of that envelope

can be very important to Steve.

I 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 I can just find it.

I know I put it here somewhere.

Oh, here it is.

- Thank you.
- I'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 I want to know right now is that envelope
contains what I think it does.

Then I'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, I have news for you.

Steve Brock's missing sword
has been found.

Where?

In 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 m*rder.

When we found it,
there were still blood stains on the sword.

Playing Juliet in the Los Angeles opening
was very important to me.

It was the combination of years of work.

The defendant, Steve Brock,
as I 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 offer

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 I 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 m*rder,

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 offstage right?

Yes, I could.

Did you see a man, dressed in street clothes,

standing on those stairs,
watching the performance?

Yes, I did.

Is that man in the courtroom now?

Can you point him out?

I'm sorry, Mr. Mason.

No.

I didn't get a good look at his face.

Steve was positively livid with anger.

I 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 m*rder?

I was holding a book on the scene.

Among other things, our Juliet needing
occasional prompting in her lines.

I was standing all the way down stage right,
just inside the proscenium.

And did you see this gentleman
standing on the stairs backstage?

Yes, I saw him.
And before you ask, Mr. Mason,

no, I didn't recognize him.

A few days before the opening,
Thursday evening, I 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 I 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.

I 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 m*rder?

Yes, yes, I saw the man, Mr. Mason,
but whether you like it or not,

I'm afraid that it was impossible to see him
clearly enough for any identification.

I have no further questions.

Mr. Bruner, just a moment.
I have some redirect.

I 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 previous 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, I ask you, sir.

From where he was standing
on that staircase,

could that man have descended,

moved to stage center,
k*lled 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. Scharf.
Cross-examine.

Mr. Scharf, at the moment
Franz Lachman fell on the stage,

a voice cried out "Curtain."

While another cried "k*ll the lights."

Now where either of those voices yours?

Yes. I 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.

It sure wasn't me.

I 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 $ ,

for him as a sort of investment
in the theatrical company,

merely to showcase your acting talents?

Well, no, I-- I 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 I-- I knew Amos Martin.

I did not phone Miss Adams.

I did not write that check.

I knew nothing of the Lachman Company

and I couldn't have cared less
if I 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 m*rder?

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 : .

You flew back to your ranch at : .

I ask you again, Mr. Martin.
Where were you that evening?

I was at my ranch until : .
That, Mr. Mason, was evening.

Later that night,
I did fly into town on business.

I had some papers to sign at my office
in the Stevens Building.

My pilot, Henry Whelan, dropped me off there
and later picked me up.

If you don't believe me, Mr. Mason, ask him.

That, Mr. Martin, is what I intend to do.

On Friday morning, you went to a bank,

presented a passbook
and signed withdrawal slip,

and withdrew $ , in cash.

Was that your money?

Why, no, sir.
I was doing a friend a favor.

Later that same morning,
a phony check and $ , in cash

was delivered to Claire Adams.

You heard Mr. Martin testify
that was not his money.

Suppose you tell us whose $ ,
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?

I-- I don't remember.

I assume you do remember that your trip
to the bank was the first of two trips?

You went back on the day after the m*rder

and you rented a safe deposit box.

Why, Mr. MacRae?

It 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, I confess.

[chattering]

[gavel slams]

But please, believe me,
I 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 off.

The costumes shipped from South Africa.

Somebody had used them to smuggle
precious gems into this country.

Yes, but I told Franz.

I told him about the jewels
during the performance

and he called the police.

But he was k*lled.

I was afraid to tell anyone.

Afraid to give back the one jewel I took.
Afraid I'd be k*lled, 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 office
been aware of this aspect of the case,

but has been working with the United States
Customs Office 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,

I 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 I did.

But who packed them in Cape Town?

I started.

He came to me, said it was late.

I 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 I speak with Steve for a moment?

All right.

What are we doing here, Mr. Mason?

I convinced the judge that demonstrating
the exact positions of the principals

at the time of the m*rder
was of sufficient importance

to convene the afternoon session
of the hearing here at the theatre.

Now, we don't have much time.
I need a couple of answers.

One, packing those costumes
and shipping them to yourself, why?

Have you seen our costumes?

No, I wasn't about to let Ellen open
in Los Angeles in those moth-eaten rags.

So I had a whole new set
of costumes designed

and custom-fitted for her in Johannesburg.

Franz didn't know,
and I didn't want him finding out.

The $ , Kelvin got for you?

Well, , was for a trip
to New York for Ellen and me.

A honeymoon trip.

The other ?

The was to pay for those costumes
I had made in Johannesburg.

It's a lot of money, I know, Mr. Mason,

but not because of smuggled gems,
I swear.

Ladies and gentlemen, the court has ruled

that we may conduct this demonstration.

It is part of a preliminary hearing,
and His Honor feels

that in the interests of justice
we may take certain procedural liberties

which would hardly be permitted
in a jury trial.

Though I 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.

I-- I couldn't believe what happened.

I just stared at him....

The audience was stunned.

There was a moment of silence.

Then you, Mr. Scharf, shouted--

Curtain.

Someone else shouted "k*ll the lights."

The electrician pulled the master switch.

There was darkness. Confusion.

Exactly what did you do, Mr. Brock?

Well, I was boxed in by the set here,

so I turned and ran this way.

Now wait a minute.
There was someone here.

I bumped into someone.

I'm sure of it because that's where
I dropped the sword.

All right, drop it.

Go on.

then I turned and ran for the door.

Uh, then I bumped into something else here.

A stage-brace or something.

I fumbled around for something to cover me.

When I saw a light at door.
Somebody was leaving.

So I picked up a cloak and went to door
and out to the alley

Where I passed you, Mr. Mason.

That leaves three unanswered questions.

, who was the man
who shouted to k*ll the lights?

, whom did Steve bump into?

And , who picked up his sword?

Miss Adams,

this morning you testified
that the $ , 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 m*rder,
to make sure you'd keep quiet.

Now tell us who was that man?

No.

No-- please--

Miss Adams, that man is not the m*rder*r,
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?
- I think so, yes.

Mr. Scharf?

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 was in place

during the entire third act.

Paul.

Tell me again, Mrs. Bruner,

tell me exactly where the man was standing?

I didn't see him.

I 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 Scharf.

Now, was it you Steve bumped into?

Was it you who picked up the sword
he dropped?

No.

Mrs. Bruner, I 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.

It was your husband Carl
who picked up Steve's sword.

And it was Carl who--

Stop it. Stop it!

Yes, I k*lled Franz.

I was a partner for years.

Only for years,
he fed my hatred with his scorn.

The smuggling was a way
to be free of him.

How could I let him live when he found out.

Yes, I k*lled him.

I'd do it again!

A thousand times, do you hear?

I'd k*ll him again a thousand times!

The smugglers provided the ,
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 Scharf 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 ,
was a belated thank-you from Martin

because she had stepped out of the picture
to save him from a messy divorce action.

It wasn't until after the m*rder
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 m*rder.

Will all great Neptune's ocean
wash this blood clean from my hand?

Huh?

Didn't you read Margit Bruner's confession?

It was Margit Steve bumped into.
Margit who picked up the sword,

put it in her husband's hand,
and sent him out to commit m*rder.

Oh, you mean, like that lady in Hamlet.

Macbeth, Paul, Macbeth.