08x09 - The Case of the Tragic Trophy

[bunniefuu]

(theme song playing)

(reporters and photographers
clamoring)

Hey! Hey, quiet!

Quiet, gentlemen.
Quiet, boys.

Mr. Fry's going to make
a statement.

Well, gentlemen,
it's great to be back in L.A.

It's even greater
to see all you boys again.

But the greatest thing
that's happened to me...

Hey, she's a knockout, Tony.

Yes, gentlemen.

Ask, and it shall be given.

Seek, and you shall find.

Knock, as the little lady
knocked on my heart,

and it shall be opened unto you.

Are you, uh, collaborating

with the apostles
on this picture, Mr. Fry?

(laughter)

All right, all right,
I'll talk English.

The little lady got me
to pop the question.

Something no lady's
been able to do before.

Yes, gentlemen.

My fiancée, Miss Kathy Anders.

Oh, Kathy, Kathy.

Say hello to the boys.

Hi.

- Big smile. -Is it true
you're an actress, Miss Anders?

Well, gee, you know,
I really would like to be...

What were you doing in Mexico?

Did you go down there
for a part in his picture?

Where did you and Tony meet?

Well, we met on the set.

You see, I was vacationing
in Puerto Covar, and Mr. Stark--

that's that gentleman
over there--

he's Tony's assistant director,

and he introduced us to us,
and from then on...

And-and-and a week later,
I proposed to her.

Me, Tony Fry.

(laughter)

Well, I guess
that's all there is

to say right now, gentlemen.

It's been a long plane trip,
and the little lady's tired.

Take care of them, Coley.

-(reporters clamoring)
- Wait a minute, boss.

Remember, fellas,
when you file your stories,

the name of the picture--
Forbidden Dust.

You got it, fellas?

Forbidden Dust--
the name of the picture.

Come on, now, hold it.

Oh, it's my best.
Absolutely my best.

If I don't get another
International Film Trophy

-for this one...
- Can I quote you on that?

Quote me in capital letters.

This is the best work I've done
since Toys of Love.

Can we also quote you
to the effect

that your new movie
is a love story

between a young girl
and an older man,

and that your so-called
engagement to Miss Anders here

is nothing
but a publicity stunt?

- Why, you...
- Please, darling.

I want you to understand

that my relationship
with Mr. Fry

has nothing to do with anything
make-believe or artificial.

I wouldn't care if there were
years separating us in age.

Tony is the most vital,

electrifying man
I've ever known,

and I only hope
that I can be worthy

to receive the love of so great
and so talented a human being.

Well, gentlemen,
I think that says it all.

Don't you?

All right, fellas,
drinks are on us.

Forbidden Dust.

Let's go to the bar.

Come on, boys.

Baby, you were all right.

You look me up sometime.

Maybe I'll really give you
a bit in a film.

- Was I really okay, Mr. Fry?
- You were great, kid.

You were great.

Only whoever let that one
wisenheimer in ought to be...

Tony, what worries me
is Pennington Studios.

Now, suppose your publicity
doesn't come off.

Suppose J.J. won't even see you.

Howard, Howard,
you're a chronic worrier.

Haven't you learned by now
that in this town,

what Tony Fry wants,
Tony Fry gets?

- Mr. Anthony Fry?
- Yeah.

Have a message for you, sir.

Golly, I've really never
had to act before.

Oh, you were fine, kid-- fine.

Uh, Howard, take care
of the luggage, will you?

And run the little lady
down to her hotel.

I've got something
to attend to this evening.

Mr. Fry, what should I wear
to that party tomorrow?

Ask my secretary, honey.
Ask my secretary.

I'm busy.

Golly, he-he sounded
a little upset.

Uh, here, would you look
after this stuff?

I'll meet you out
by the taxicabs.

You know, it-it's
such a wonderful opportunity,

but I don't want to do anything

to aggravate him
or upset him or anything.

Oh, kid, you're earning
a fast buck.

Now, relax.

Just do what you're told, huh?

Yes, sir.

Good.

(honks horn)

Well, well, well.

Joannie.

Tony, I've been waiting
for over an hour.

And such patience
will be rewarded.

Tony, stop it.

Someone might see us.

Oh, please sit down.

All right, all right.

Let's go.

DRAKE:
Well, it's not

the clearest picture
I've ever seen, Miss...

James. Kathy James.

I know that, Mr. Drake,
but unfortunately,

it was the best I could do.

All I want to know
is whether or not

you'll be able to identify
that woman for me.

Well, I can start
with this partial license plate,

but it may take a day or two.

Well, you have my number.

I'll expect a call from you.

What about the man
in the picture?

What about him?

Tony Fry, the director.

You want anything on him?

I know all there is to know
about Mr. Fry, thank you.

Oh, you do? I see.

I beg your pardon.

I'm sorry,
but you just don't seem

the type to make
a statement like that.

And just what exactly
does that mean?

Well, the guy does have
quite a reputation.

Look, Miss James-- Kathy--
why don't you

-tell me what this is...
- Mr. Drake,

you were recommended
for your investigative work

and not for anything else.

And you look too young
to be prying

into places
where you might get b*rned.

You know, some people
in Hollywood

-play awful rough, Kathy.
-I know all there is

to know about Hollywood,
Mr. Drake.

Yes, and just exactly
how to deal with it.

Now, will you please
just do as you're told?

What?

Oh, I can't hear you.

No, no, no, no.

I said that Mr. Fry
isn't in just now.

No, I don't know when.

Well, I suggest that you try
later on in the day.

He just arrived back home
yesterday.

Wait a minute.
Hold on, please.

Well, if it isn't Lady Lydia.

- Good morning. Good morning.
- Good morning.

Howard, this man wants
to talk to Tony.

Well, isn't he here?

Not awake yet.

I had to get the manager
to let me in.

Hmm. Then forget it.

He hasn't changed
since we went away.

But this is long-distance--
Mexico City.

A Mr. Gomez.

Okay. Okay.

I'll try.

Hello, Señor Gomez.

Uh, no, uh,
this isn't Anthony Fry.

It's Howard Stark.

Uh, you know,
his assistant director.

STARK:
Uh, we met one day on the set.

Uh, uh, yes, uh,
we flew back yesterday.

An emergency.

Oh, no, no,
nothing to do with the film.

Uh, yes, I know-- uh, the money.

STARK:
Well, on Mr. Fry's behalf,

I can assure you that, uh,

we'll pay off the entire amount
just as soon as the...

What?

Oh, but...
but-but-but that's impossible.

I mean, you can't...

Uh, h-hello?

Hello. Hello?

He's giving Tony hours
to pay off the $ , .

Either that,
or he'll get the Mexican court

to okay a forced sale

to satisfy the lien
he has on the negative.

Well, how can he do that?

Look, I read in the newspapers
you brought back

at least three reels
of edited key scenes.

Oh, and so we have, dear lady.

And here they are.

Happy New Year.

Oh, no.

Oh, no, it's not like
that last picture in Spain.

That one never even got made.

Oh, no, of course not.

This is it.

We've got a real beauty
this time.

Where's the film?

Well, Tony was processing it
through Gomez's laboratories

when the senor
discovered we were broke.

He just locked up our negatives

until Tony comes up
with the $ , .

Oh, so that's why Tony
rushed back here.

His target's J.J. Pennington.

He's wired him, he's called him,
but so far, no luck.

Well, what did he expect?

He walked out on Pennington once

right in the middle
of a picture.

Ah.

Well, my three right arms.

How nice to see you all
under one roof.

Morning, boss.

Well, precious, did you miss me?

I lost ten pounds.

Good.

Nothing like a skinny secretary
with a warm heart

to make a man feel at home
in his own apartment.

Where's the coffee?

STARK:
Tony, Gomez called.

He's giving you just two days
to raise the money.

Okay.

Uh, did you get the racing form?

No. Look, we spent a year
putting that picture together.

Every cent you own
is invested in it.

How can you be so...

Howard, baby, Howard,
I've got an angel.

An angel who's going to
finance us all the way through.

An angel named J.J. Pennington.

One night in town, and you've
got him in your hip pocket.

Oh, sure.

What time is it? : yet?

Oh, boss,
will you listen to him now?

I'll bet you haven't even spoken
to Pennington yet.

No, as a matter of fact,
I haven't.

-(phone ringing)
- Uh...

But I expect to.

As a matter of fact,

you might say
it's a foregone conclusion

that I'm just about
to talk to him.

Hello.

Speaking.

Well, how nice to hear
from you, J.J.

Yeah, it has been
a long time, baby.

Well, this is so unexpected.

Well, yeah, I am busy,

but never too busy
for you, baby.

All right, your office?

Give me a chance to wake up,
and I'll be there.

Right, J.J.

Just one thing, Tony.

Why do you come to me now?

As I remember it,
you wanted to produce

and finance this baby
all by yourself.

J.J., I've never forgotten
it was you

who gave me my first break
in this racket.

Yes, and how many times
did I throw you off the lot?

Ha! Water under the bridge, J.J.

Kids' stuff.

I want to tell you the truth.

The minute I finished
writing this picture,

I knew it was the best thing
that had ever come out of me.

Now, you can call it my way

of repaying an old debt
if you like,

but now that the picture's
finished,

I want you aboard
as my coproducer.

Well, let's say a friend
persuaded me to call you.

I'll admit I'm interested,
but I'll need

a little time to think about it.

Say, about, uh... hours.

Whatever's your pleasure.

Take all the time you want.

I'll need a breakdown
of your deferments--

money still due,
all the figures.

They'll be on your desk
first thing in the morning.

- That's fine. -J.J., you make
the right decision on this,

I'll take you for a ride

to the rainbow
with this picture.

Your studio's first
International Film Trophy

in ten years.

I'll be in touch, Tony.

Oh, J.J.?

Remember, that International
is the big one.

Don't wait too long, baby.

Right, Tony.

♪♪

Well, that's it, Joannie.

You just keep on doing
what you've been doing,

and you'll have nothing
to worry about.

Get out of my car, please.

Thanks for the ride, sweetie.

You're a heel,
and a sadist and a...

Sure, sure.

But I'm also an old, old friend
who remembers everything.

Some people today
might not quite understand.

Tony, I'm warning you,
leave me alone.

I won't be used again--
not ever.

I'll k*ll you before I'll...

Want to bet, sweetie?

Good night, Joannie.

(tires squeal)

Well, hi, kid.
What are you doing here?

Oh, well, I was just on my way
to Tony's apartment

to see what time he needs me
for publicity tomorrow.

Oh, I'm sure Lydia would have
phoned you if there...

Hey, that's my camera.

I forgot it last night,
didn't I?

Well, thanks
for bringing it over.

Come on.

Where is he?
On the phone in there?

Yes, and I don't want
to disturb him,

but I'm sure there's nothing
new on the schedule, Kathy.

Maybe I'd better wait
just to make sure,

-don't you think?
- Suit yourself.

- Want a drink, kid?
- No, thank you.

Well, maybe if you have
something in the kitchen.

Ginger ale or something.

I'll take a look.

No, no.
No, you don't want anything.

Come on, kid. No point
in you hanging around.

-I only thought...
- Come on, come on.

Now what's the big idea, anyway?

- Don't know what you're
talking about. -Hanging around.

Now, you know there isn't
any publicity stuff...

I just wanted to be here
in case he needs me...

In Mexico, you were a sweet kid.

You said your only ambition
was to become an actress.

- So I introduced you to him...
- And I appreciate it, Mr. Stark.

- I'm only...
- What are you really up to?

- Nothing, nothing...
- Then don't crowd your luck.

- Stay out of his hair.
- Yes, sir.

- Now go on back to your hotel.
- I'm sorry.

- Go on, go on, b*at it.
- All right, all right.

Anders, please.

Thank you.

Excuse me, ma'am.

Are you Miss James?
Miss Kathy James?

No, no. My name is Anders.

Sure, I know.
Would you mind coming with me?

Who are you?
I haven't done anything wrong.

It's all right, miss.
I'm not a policeman.

I'm just a gate guard
in the studio.

Studio?

Pennington Studios.
The boss wants to see you.

Who?

J.J. Himself.
He wants to see you right away.

Do you mind?

(knocking)

Come in.

I brought her up the back way,
sir. I'm sure nobody noticed.

That's all right, Joe.
That'll, be all. Thanks.

Thank you, sir.

Sit down, won't you, Kathy?

Please.

What is it you wanted to see me
about, Mr. Pennington?

I guess you don't remember me,
do you?

No.

You used to sit
behind the camera

with your father, sometimes.

Couple of my first pictures.

Oh.

Of course,
you were four or five.

That was before your mother
took you back East, I guess.

But I've seen a couple of
wallet snapshots since then.

Then that's why he called me
Miss James instead of Anders.

Yes.

Pretty silly name, that Anders.

What's this all about, Kathy?

Well, I've really always wanted
to be an actress very badly,

and so when Tony
asked me to marry him, I just...

I ought to spank you with this.

Of all the cheap,
obvious publicity stunts

I've ever seen...
Typical Tony Fry stuff.

Mr. Pennington,
I have to get ahead somehow.

Now, Kathy,

for a girl who's father
is one of the finest cameramen

in the world, one of the nicest,
and kindest men

I've ever known,
for his daughter

to get mixed up in a thing
like this, doesn't make sense.

Is?

Is? Was.

Was, was, was...

Now, Kathy.

Daddy was all those things.

But you left something out,
didn't you?

Daddy is one of the greatest
drinkers in the world.

Oh, yes, he's earning
his title again.

But that's something
you wouldn't know about.

Oh, yes, I do.
He was on the wagon for years.

And the man who drove him
back to it was Tony Fry.

Yes, I know all about
that fiasco in Spain.

Your father being blamed
for the picture

never getting off the ground...

blamed by the backers for not
getting their money back

because his preliminary film
came back

with liquor spots all over it,

blamed by Tony Fry
for everything.

It's not true.

I can't prove it,
and nobody can prove it for me,

but it's not true.

Daddy didn't drink
until afterwards.

He didn't do
all those things he said.

Kathy, he tangled
with the wrong man.

A cheat, a fraud, a liar.

So why on earth you're trying to
tangle with the same Tony Fry...

Mr. Pennington,

there's only one way
to deal with Hollywood,

and with a creature like him,

and we both know
what that one way is.

Now look here...

Well, I've got a chance.

I'm going to make Tony Fry
clear my father's name.

I'm going to make him
eat his own dirt,

if it's the last thing I do.

I could blow this great, big
publicity up, couldn't I?

But I've got something
even better.

I'm getting something on him.

I don't know what it is
or who it is yet,

but when I find out,
I'm gonna expose him...

Now just a minute!

Hollywood isn't exactly
what you say.

- Your father would agree.
- My father doesn't...

Your father's in Denver.

We could ask him.

What?

One of my men located him
a couple of weeks ago.

He's not drunk.

He's sick.

Why didn't anybody tell me?

Well, he didn't want
his family told

until he could pull
himself together.

But that'll be quick,
don't worry,

because he's going to photograph
a big, big picture for us,

and when he's through here,
every studio in town

will be lining up.

We're not all ogres, you know?

There are some people
who like nice people.

I'm sorry.
I didn't know.

Well, Kathy,

I don't blame you.

But you see how silly it is

for a kid to just hurt
herself...

hurt others, maybe, too,

by, well, I don't know
what it is you think

you've got on Tony Fry...

WOMAN:
Anybody home?

Oh, in here, Joanne.

- Hi.
- Hi.

Oh, I'm sorry.

I was driving by
and I saw your light.

PENNINGTON:
Well, that's all right.

This is Kathy James, the
cameraman's daughter, remember?

Well, of course.
Hello.

PENNINGTON: My wife, Joanne.
Any reason why

we can't take Kathy home
for a bite and drink?

Well, not unless the children
have b*rned the house down.

- Well, good.
- Excuse me. I'm sorry.

- Very sorry.
- Kathy.

(rings doorbell)

Hello.

Oh, Mr. Fry.

What are you doing here, kid?

What's with the film?

Nothing. Nothing.

Oh, wait a minute.
Wait a minute.

(screams)

(glass breaks)

(locks door)

You're not leaving here
till you tell me

what you're trying to pull
on Tony Fry.

You're gonna stay right here
till you tell me

what's so special
about this film.

All right. All right.
Come on.

- No, please.
- Tell me.

- What's on this film?
- Nothing, nothing.

- Tell me!
- Please, let me go.

(screams)

COLEY: (knocking on door)
Boss! Boss, you all right?

Boss!

- Hey, boss?
- What's going on?

I don't know.
Something's wrong in here.

(knocking, shouting)

Hey, could you help us? We think
somebody's hurt in there.

-(loud crash)
- Listen.

♪♪

He's dead.

Dead.

(phone rings)

Hello?

Oh, Paul...

No, you didn't disturb me.

No more than you usually do
at this hour. What's up?

DRAKE:
I'm sorry, Perry.

I'm in kind of a bind.

Well, don't ask any questions

because I haven't got
any answers.

Well, I've got a client
who's in an awful rough jam.

MASON:
Good evening, Miss James.

(gasps)

Who are you?

How did you get in my room?

Forgive me for alarming you.

My name is Mason.
I'm a lawyer.

A friend of Paul Drake.

He called and asked
that I stop by to see you.

He thinks you might be
in serious trouble.

Trouble?

Why would I be
in any kind of trouble?

Where have you been
for the last hour?

In the park...

sitting and thinking.

About Anthony Fry?

Maybe. Why?

Kathy...

I'm here to help you.

Tonight Anthony Fry
was m*rder*d.

Oh...

While there are probably
a hundred people

with a hundred motives
for k*lling Fry,

you were the one who was seen
leaving his apartment

just a few minutes after he was
found with his head bashed in.

Oh, no!

(sobs)

Go ahead, Kathy.

We'll talk
when you're ready.

You mean, after she clouted him
on the head,

she ran out into the hall?

That's right. She stayed
there for several minutes

scared to death,
trying to collect herself,

and then she saw someone coming.

So then she sneaked back
into the apartment,

picked up the contents
of her purse,

and ran out the back way.

That's her story.

She's admitting she k*lled Fry.

- She thinks she did.
- What do you mean by that?

Well, she doesn't know how long
she was out there

in the hall, and there is
a back door to that apartment.

Sure, from the outside,
on the balcony.

Somebody else could have come in
while she was in the hall.

Exactly.
So find that photograph.

What photograph?

The one she said
she had in an envelope,

showed you in your office.

It was in her purse, she said.

Well, it's not there now.

I still held a grievance
against Tony, yes.

He pulled some raw deals on me
in the past,

but business is business.

He wanted my studio
to release his latest picture--

the one he just completed
in Mexico.

I was to let him know
in hours.

Were you also going
to let him know

that you were aware
of his financial bind,

and that late last night
you were trying to negotiate

with a certain Senor Gomez
in Mexico City,

in regard to his $ , lien
on Fry's negative?

Are you insinuating that...?

Let's save ourselves some time,
Mr. Pennington.

I have contacts in Mexico City.

Well, I'll admit I was trying
to outmaneuver him.

If you knew Fry, that was
the only way to deal with him--

keep two steps ahead.

Or two steps behind.

Looking for the crown jewels?

(Stark gasps)

Oh, come on, I'll help you.

Come on in, Mr. Drake.
Join the party.

Hello, Miss Lawrence.

I don't get it.

Well, this is Paul Drake.

Last night, he helped when
we broke down the door.

He's a private investigator.

I'm trying
to save a client of mine

a lot of unnecessary trouble.

Last night, she may have lost
an envelope in this room--

one that might prove
embarrassing to her,

and several other people
if it were found now.

Well, why come to my desk?

I didn't see it.

Maybe it got mixed up

with that bunch of papers
Tony had in here yesterday.

No, couldn't have.
I took them earlier.

You?

Well, he wanted

to double check
the financial report

he was preparing
to show Pennington today.

He asked if I would glance over
the papers

to make sure
everything was in order.

Oh. Well,
where are the papers now?

STARK:
In a drawer in my apartment.

What time did you leave Fry
last night?

Oh, about : .

Coley was with me.

Uh, he went to his apartment.

Then I went back to mine.

Uh, oh, Tony asked me
to leave the door unlatched.

I-I assumed
he was expecting a lady friend.

Did he say who?

STARK:
No. No, he didn't.

I was alone

right here in my own apartment
last night, Mr. Mason.

That's my story,
and I'm stuck with it.

Only I didn't k*ll the boss.

Me-- I worshipped the guy.

Howard Stark said that earlier,

you and he left Fry's apartment
together.

Is that correct?

Yeah. Yeah, he was carrying
this big pile of papers

the boss wanted him to read.

And you merely came in here
to watch television?

Now, you make it sound like
I need an alibi.

It's possible.

(knocking)

Coley Barnes?

Oh, what are you doing here,
Perry?

I'd like
to ask you the same thing.

I sent for the lieutenant,
Mr. Mason.

I have something
I want to surrender to him.

Something you found, perhaps?

Piece of paper.

An agreement
signed by Tony Fry and myself.

An agreement which states
I put up $ ,

to get his picture rolling
in Mexico.

That's a lot of money.

(laughs)
You bet it is.

But the point is,
I own most of that picture.

Now, whether he's alive or dead,

that film is mine,
lock, stock, and barrel.

So, if you think I'd have
any reason to k*ll Tony Fry...

We've already arrested
the person we want, Mr. Barnes.

About ten minutes ago.

We've had her
under constant surveillance

ever since you contacted her
last night.

Kathy James?

Uh-huh.

Something else you don't know.

Tell Paul Drake he can stop

looking for that picture
in the envelope.

- We found it.
- Where?

Underneath the dead body
of Tony Fry.

ANDERSON:
It was visibly obvious

the decedent
had been struck on the head

by some instrument.

Lieutenant,
I call your attention

to this
International Film Trophy

which was won by the decedent,

and which, I understand,
habitually stood on his mantel.

I ask if you had it subjected

to laboratory analysis,
and if so, with what result?

Yes, sir,
it was thoroughly tested.

We found blood and hair here on
the top portion of the trophy.

Blood and hair of the exact same
type as that of the decedent.

And here, on the only place
where the surface is smooth,

we were able to lift

an identifiable set
of fingerprints.

And can you tell me
whose fingerprints those were?

The defendant's, Kathy James.

Thank you, Lieutenant.

Now, Lieutenant,

this envelope bears your
identifying mark, I believe.

Yes, sir.

Would you please tell this court

where the envelope was found,
what it contains,

and what your investigation
concerning it disclosed?

ANDERSON: Well, the envelope was
found under the body of Tony Fry

when he was removed
by the medical examiner's men.

The envelope contained
a single photograph--

a picture of the decedent,
Tony Fry,

greeting a woman in a car,
kissing her.

BURGER: Were you able
to identify the woman

that the decedent was kissing?

ANDERSON:
No, sir.

Well, what did
your investigation

of this envelope
and picture reveal?

Both the envelope
and the picture

had on them
identifiable fingerprints

of the defendant, Kathy James.

The fatal wound
was a depressed fracture.

Now, the bone itself held
a clearly defined impression

of the instrument
that struck the blow.

In my opinion,
it's highly probable

that an instrument
with the same configuration

as the top of this trophy
inflicted the fatal wound.

Thank you, Doctor.

Your witness, Mr. Mason.

Were there marks from one or
two blows on the head, Doctor?

Two.

Now, you testified
as medical examiner,

your opinion was
that death resulted

from a massive
subdural hemorrhage

caused by the impact

of an instrument
on the parietal region

-of the decedent's head?
- That's correct.

By the two blows combined,
or was death caused specifically

by only one of the blows
to the head?

By only one of the blows.

The non-fatal blow--

could a woman have inflicted it?

EXAMINER:
Easily.

MASON: And while this woman
was standing there,

facing the decedent,
holding the trophy

in one hand,
do you think this woman,

with her rather limited
strength,

could have inflicted
the fatal blow?

From my experience,
I'd say yes.

MASON:
Oh, aside from the effects

of the two blows,
the direct effects,

was there other brain damage,
Doctor?

Well, yes, there were some.

Some lacerations
to the other side of the brain.

Lacerations in one
or in two places on the brain?

Well, just one, I believe.

MASON: When a person's head is
in motion, or is free to move,

a severe impact causes
a sort of backlash,

and the brain is lacerated

at a point directly opposite
the point of impact.

- Isn't that so, Doctor?
- Yes.

But if the head
weren't free to move,

if it were, let's say,
resting on the floor,

and there was a severe blow,

there wouldn't be lacerations

opposite the point of impact,
would there?

No, there wouldn't.

Then isn't it possible
that one blow was struck

while Tony Fry was standing,

and the second
while he was lying on the floor?

EXAMINER:
Well, it is possible, I suppose.

Mr. Pennington,
you stated to the prosecutor

that you'd just returned to your
office when Kathy James arrived.

May I ask where you'd been
earlier in the evening?

I was at a meeting
with my lawyer

to draw up a contract
for the picture

that Fry had just completed
in Mexico.

That was after you knew
of Fry's $ , debt

to the Mexican Film Laboratory.

PENNINGTON: Well, I knew
about that ten minutes

after he walked out
of my office, Mr. Mason.

I hate to say this,
but that film was

about the best thing
he'd done in ages.

Humane, sensitive.

I wanted it, Mr. Mason.

And I probably
would have met his price

no matter what he asked.

You know how it is.

He... he depended on me.

Whenever he'd want a drink
or-or a massage, Of...

(laughs)
just someone to talk to,

why, he'd-he'd yell out Coley,
and, well, I'd be there.

Me-- I was... I was closer
to him than his own shadow.

But apparently,
not the night he was m*rder*d?

No, sir, I was alone that night

in my apartment
watching television.

You said
that you turned off your set

when you heard a woman scream,
is that correct?

COLEY: Yes. There-there was
this crashing noise,

some kind of commotion,
but then it stopped.

BURGER:
Well, what happened then?

W-Why, I mean, a few minutes,
I got to... got to worrying

that maybe the noise was coming
from the boss's apartment.

So that's when
I took a walk down the hall.

Then-then Howard came along,

and we kicked in the door
and found Tony.

A couple of seconds later,
I saw her,

the defendant,
running across the courtyard.

But I couldn't catch her.

Now, you testified
that you didn't see Tony Fry

that evening
after you left his apartment

until you returned
and found him dead.

But did you, by any chance,
during that interval,

speak to him?

Yes, sir, he called.

He called on the phone to see
if I could dig up , bucks

in a hurry and in cash.

$ , in cash?

Did he give you any reason

for wanting that large a sum
of money in cash

and in such a hurry?

He sure did.

I remember exactly what he said.

He said that no-good dame

was blackmailing him,
blackmailing him, Tony Fry,

and if it was the last thing

in the world he would do,
was fix her wagon, but good.

He phoned me
that he'd called Coley,

and that... and that
Coley couldn't help him.

Did he ask you directly
for the same amount of money?

No. Uh, he just wanted to know

if I'd checked over
the contracts he gave me.

Uh, if-if there was any way
that he could possibly justify

asking Pennington
for an advance--

uh, to get his hands on $ ,

in a hurry.

Well, I-l told him
that I didn't know, but, uh,

that as soon as I'd gone over
the rest of the papers,

I'd come over to his place,
and we could talk about it.

Uh, a half an hour later, I did,

and that's when I saw Coley
pounding on the door, and...

(sighs)
...and we found him dead.

Did Fry tell you
on the telephone

who was blackmailing him,

or what he was being
blackmailed about?

No. Uh, all he said was, um...

"That blackmailing tramp
has got me over a barrel,

and all on account of that
picture, that lousy picture.”

BURGER:
You're sure, now--

there can't be any mistake
about this-- he said "picture?”

"Picture.”

Of course I could identify her,
Mr. Burger.

It was her I saw running.
Kathy James.

You're absolutely sure,
Miss Lawrence?

Well, my apartment window
overlooks the courtyard.

And when I heard this commotion,

Coley yelling for
somebody to "stop..."

well, just as I looked out the
window, she ran into the street.

There's no doubt about it,
Mr. Burger.

It was Kathy James.

As janitor, I got to
take the trash out

the night before pick-up...

sometimes six, sometimes
seven or eight barrels.

Now, that's what I was doin'
when I saw her-- the defendant--

runnin' through the courtyard.

When she saw me,
she slowed down to a walk

till she thought I was
out of sight. But I wasn't.

I looked back.

Saw her turn and run upstairs.

And were you in that courtyard
a little while later,

when the defendant ran down
those balcony stairs

and out through the courtyard
into the street?

Sure was.

Mr. Barnes,
he ran out after her,

and I ran out after both of 'em.

That's when I saw her
drop something--

something she was carrying--
got caught in a bush, I guess.

Did you, by any chance, happen
to pick that "something” up?

Yes, sir.

It was this long roll
of celler-loid.

By celluloid, sir,

do you mean this roll
of photographic film?

Yes, sir, that's it.

Yes, sir, this is the type
of film I sold to the defendant.

I am positive.

How can you be so sure, sir?

Well, it's exceptionally
fast film.

You can almost
sh**t in the dark.

I don't get many orders for it.

Yes, but how do you happen
to remember the defendant

as that particular customer?

Well, because at the same time,

she picked up the prints
for a partial roll of film

she had left for developing
the afternoon before.

I call your attention now
to this picture

which shows Tony Fry,
the decedent in this case,

kissing an unknown woman.

Is this one of the pictures
Kathy James picked up?

ANDERSON:
Yes, sir.

It is.

♪♪

I'm sorry to interrupt you

in the evening like this,
Mr. Mason.

Quite all right,
Mrs. Pennington.

But for Kathy's sake,

there's something
you just have to know about

-before the hearing is over.
- Here, won't you sit down?

Thank you.

I can tell it rather quickly...

You want to tell me that
Tony Fry was threatening you

with some sort of exposure.

Tony was the only person
in the world who knew that!

How did you find out?

By adding the proverbial
two and two.

It bothered me that your husband
was willing to do business

with a man he obviously hated.

I insisted.

I begged John to see him.

Yes, that's true.

We have three
little children, and...

Oh, Mr. Mason...

you must know from Kathy
that young people

can make horrible mistakes.

When I was a young actress, I...

It's really not important,
Mrs. Pennington.

- You needn't tell me.
- But poor Kathy!

They keep adding more and more
evidence against her.

You've done the best thing
you could do by coming here.

Now, if you'll just come...

Joanne! You didn't tell me
you were coming down here.

- You didn't say...
- It's all right, Mr. Pennington.

Everything's all right.

But I would appreciate it

-if you'd return home alone.
- What?

You're the one whose help
I need now, Mr. Pennington.

Della, get Paul in here
right away, will you, please?

Miss Lawrence,
I'm correct, am I not,

in understanding that
you have worked for many years

within the motion picture
industry?

Many years, yes.

You were aware
of the impending contract

between Anthony Fry
and J.J. Pennington,

a contract, shall we say,
favorable to Mr. Pennington?

Well, when a man is broke
and his back is against the wall

he'll grab at any straw.

So Anthony Fry's financial
troubles started some time ago,

beginning, I assume, with that,
uh, unproduced Spanish picture?

Well, if you mean that over
a quarter of a million dollars

went down the drain,
yes, that's true.

But was it Fry's
quarter of a million?

No. There were Eastern backers.

Miss Lawrence...

I'm informed by Mr. Pennington
that it's possible

for a film project to be started
and later stopped

in such fashion that some
one person can still profit?

Substantially profit
despite the loss to others.

Well, if what you're driving at
is that Tony received

a salary advance of $ ,

from the Spanish thing,
yes, he did.

But that is less than half
his usual fee.

But, then, Tony Fry did have
at least that much-- $ , ?

No, he did not.

He'd put every cent that he'd
received in that salary advance

from the Spanish film
into the Mexican film.

He was broke,
stone-cold broke.

Is that why you waited
to blackmail him?

What?

The "blackmailing tramp”

he mentioned in speaking
to Coley and to Stark,

now, that wasn't Kathy James--
it was you, wasn't it?

You don't know
what you're talking about.

Mr. Pennington has further
suggested to my investigators

that Tony Fry
may never have intended

to go through with
the first project in Spain.

They are now uncovering evidence

to suggest that
he simply used the project

to raise
a hundred thousand dollars,

and kept it from
looking like a swindle

by blaming
the project's breakdown

on a once-alcoholic cameraman.

Oh, no, now,
how-how-how could he?

By destroying
another man's reputation

to cover his own
illegal intentions.

Really, I don't know at all

-what you're talking about.
- Don't you?

Didn't you go
with Tony Fry to Spain?

Didn't you help send

deliberately contradictory
sh**ting orders

to Kathy's father?

Aren't you as guilty
as Tony Fry of fraud,

criminal fraud against the
investors in the Spanish film?

But I didn't know
what he was doing.

Didn't you?

Didn't you alone tend
to Fry's books and records?

- You had to know.
- Well, I...

That was a-after he started
the Mexican film.

Oh.

You didn't put things together

until Fry
no longer had any money.

Money for a blackmail payoff
to keep you

from telling the truth
to the investors,

to keep you from sending
Tony Fry to jail.

Now, you say you were in your
room the night of the m*rder.

Doesn't your room
lead out to the balcony?

Couldn't you have easily gone
from your apartment

to Fry's along that balcony?

(whispers):
No.

No.

And after hearing
the struggle inside,

after hearing Kathy
run out the other way

into the front hall,

couldn't you have entered
the apartment

and k*lled Tony Fry?

I didn't! I didn't!

He was to receive money.

His deal with Pennington
then made it possible

for you to blackmail him.

All right!

All right, I did blackmail him,
but I didn't k*ll him, I didn't!

And as far as
the Pennington deal,

I wasn't the only one
who was affected by that!

There was Coley Barnes!
Ask him!

Just ask him!

You ain't pinnin'
no rap on me, buster.

I didn't go out on no balcony.

And I didn't go sneakin' in
no back doors, either.

Fry used the $ ,
he had defrauded

and your $ , to start
the picture in Mexico, right?

So what if it was my money?

It was honest money.

Money I earned racing
at every track in the country

for the past ten years.

Sure, I backed him.

Fry showed me how
I could triple my money

once the picture was released.

He was my friend.

- And you were his?
- Hm. Are you kiddin'?

Me and him, they didn't come
any closer than the two of us.

Is that why you
signed the contract

with J.J. Pennington,

making an assignment
of your rights and interest

in the film to him,

literally throwing
Anthony Fry to the dogs?

How did...

Al right.

So I boxed Tony in on the rail

and let Pennington move up
on the outside-- so what?

I had to protect my investment,

-didn't I?
- Against your best friend?

(scoffs)
Best friend!

The only friend Tony Fry
ever had was Tony Fry!

Now, that chiseling no-good
would've thrown me

to the dogs
if he ever got the chance.

Oh, but that's how he was.

You know how long
Howard Stark was with him, huh?

years, that's how long.

But did that matter to Fry? No!

He even dumped Howard Stark!

But that's ridiculous,
Mr. Mason.

Tony didn't dump me.

Why, at the very moment
he was k*lled,

I was doing some work for him.

Going over the papers
he gave you,

compiling the reports that
J.J. Pennington had demanded.

Well, that's right.

And when you were
going through those papers,

wasn't there a receipt from
the Writers Guild of America,

a receipt indicating that
Anthony Fry had registered

the script of that picture

with his name as
the only credited author?

Well, how-how...

And hadn't Fry prepared
for J.J. Pennington

a tentative credit list...
and a list of people

he wanted to be placed
on salary with the studio?

And wasn't your name
missing from both lists?

HOWARD:
No, no... please...

Fry told Coley
he was finished with you.

Wasn't that his way
of telling you?

Well, he-he had no right.

MASON: Tony Fry never wrote
a picture like that before.

He was known for his hard,
two-fisted action films.

How could he have written
a script so sensitive, so human

that people who've
seen it being sh*t

say it's the finest thing
he's ever done?

Well, he promised me.
He-he swore...

Coley Barnes financed this film,

and he's called
a silent partner.

What do they call a man
who writes a movie script

and allows another man
to take full credit for it?

Don't-don't-don't, please.

Wouldn't you call him a fool
or a weakling

who can't stand
by his own creation?

Yes, yes, yes, yes!

Yes, I wrote the script!

(panting):
I wrote it! I...

I-I'd been working on it
on and off for over five years!

When I finished, I didn't know
if it was good or bad,

so-so I brought it to Tony.

He liked it.
He said he wanted

to produce
and direct it himself.

And that was before
the Spanish project.

He said he had to do
the Spanish picture

to-to fulfill
a prior commitment.

But believe me, Mr. Mason,

I didn't know that he
was gonna use Kathy's father

as a patsy to get his hands
on money to make my story!

I wouldn't have let him!

But you let him put
his name on your story.

Well, he said his name
carried more weight,

that-that it had to be that way,
the two of us sharing credit.

Tony's idea of sharing was

-to take everything.
- So when you discovered

that Fry was planning
to cheat you...

it would've been simple for you,
a tenant in that same building.

Oh, no.
Oh, no, you don't!

I didn't go
in that balcony door!

(panting):
I didn't go near Tony's place

until we broke in the front way
and found him dead!

Your-Your Honor... Your Honor,
it could've been anybody.

Now, anybody could have broken
in the back way, sure, but...

but I swear I didn't!

If it please the court,

perhaps instead of arguing
the obvious irrelevance

of this line of questioning,

Mr. Mason would permit me
to recall one of my witnesses.

The janitor
of the apartment house.

Yes, sir, I was in the courtyard

when I first saw Kathy James
come there

and run upstairs, like I said.

And where were you after that?

Well, I was still busy
with the cans.

I swept up the gate
and the pool.

But still in the courtyard?

Still where you could observe
that balcony

and see the back door
to Mr. Fry's apartment?

Yes, sir,
I was there all the time.

And who did you see

sneaking into that apartment
by way of that balcony?

Nobody, sir.

Not one single person,
man or woman, came hear

that balcony door,
or came through the courtyard.

I swear
there wasn't a single soul.

Until when, sir?

Until, well, until after
the m*rder.

Until she, the defendant,
come running out

with Mr. Coley Barnes and
Mr. Drake chasing after her.

Thank you, sir.

Thank you for so clearly
exploding

Mr. Mason's little theory.

On the contrary!

Thank you
for so clearly telling us

the identity of the m*rder*r.

For so clearly pointing to the
only person who could have

struck the fatal second blow
to Tony Fry's head.

When Mr. Barnes and
Mr. Drake were running out

to the balcony after Kathy,

what were you doing,
Mr. Stark?

You were kneeling beside Tony,
weren't you?

Feeling his pulse?

Looking around
for a w*apon, perhaps?

I-I-I thought he was dead.

Then-Then he started to moan...

just like I moaned, when I,
when I read those papers,

read what he was doing to me.

Read...

Everything just, just started
spinning around:

all those years of being
a floor mat for him,

a lousy errand boy.

So I picked up that trophy,
lying there on the floor,

I picked it up and, and I...

Yes, yes, I did it.

Then when they got back in
that room,

Tony wasn't moaning any more.

(sobbing)

There was arbitration
by the Writers' Guild

regarding credits on
the picture.

When Pennington releases it,
it will say,

"Screenplay by Howard Stark.”

Well, he'll still be serving
his life sentence

when it hits
the late, late show.

Poor Mr. Stark,
selling himself short

to a heel like Fry
for so many years

and expecting gratitude.

Well, Kathy, we get out of life
what we deserve,

no better, no worse.

Well, if that's the case,
I've worked very hard today,

and I think I'm deserving
of a delicious steak dinner.

The question is,
of course, do I get it?

Yes, with one condition.

What's that?

That I'm home before midnight.

Why midnight?

Because that's the time
for the late show.

Tonight they're showing
an adventure movie

photographed by Kathy's father.

I wouldn't miss it
for the world. Let's go.

(theme song playing)