All language subtitles for perry_mason_s08e08_a_place_called_midnight

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 on 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 collaborating with the apostles
on this picture, Mr. Fry?

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.

Well, Kathy, Kathy, stay alone with the
boys.

Bye.

Not Christmas, Anders.

Well, gee, you know, I really would like
to... What were you doing in Mexico?

Did you get down there for a part in
this picture? Where did you and Tony

Well, we met on the step.

You see, I was vacationing in Puerto
Cabrera. Mr. Stark, there's a gentleman

over there. He told me to sit this way
for a minute.

And he introduced us to us, and from
then on... And, and, and a week later, I

proposed to her. Me, Tony Fry.

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 him, Polly.

Wait a minute, Polly.

Absolutely my best. If I don't get
another international film, quote me in

capital letters, this is the best work
I've done since Toys of Love. Can we

quote you to the effect that your new
movie is a love story between a young

and an older man?

And that your so -called engagement to
Miss Anders here is nothing but a

publicity stunt.

Who are you? Please, darling.

I want you to understand that my...
relationship with Mr. Fry has nothing to

with anything make -believe or
artificial.

I wouldn't care if there were a hundred
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 gush. Let's go to the bar.

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

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

Only who ever let that one Weisenheimer
in ought to be... Tony!

What worries me is Pennington Studios.

Now, suppose your publicity doesn't come
off. Suppose JJ wouldn't see you.

Howard, Howard, you're a chronic
worrier. Haven't you learned by now that

this town, what Tony Fry wants, Tony Fry
gets?

Ask my secretary, honey. Ask my
secretary. I'm busy.

Oh, he sounds a little upset.

Here, would you look after this stuff?
I'll meet you out by the taxi pass.

You know, it's such a wonderful
opportunity, but I don't want to do

aggravate him or upset him or anything.

Oh, kids, you're earning a fast buck.
Now relax.

Just do what you're told, huh?

Oh, Joanie.

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

Exaggerations will be rewarded.

Don't. Someone might see us.

Oh, please sit down.

All right, all right.

Let's go.

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

All I want to know is whether or not
you'll be able to identify the woman for

me.

Well, I can start with this partial
license plate, but it may take a day or

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 burned.

You know, some people in Hollywood play
off a rough man. 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?

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 on

yesterday. Wait a minute. Hold on,
please.

If it isn't Lady Lydia. Good morning,
good morning. Good morning. Howard, this

man wants to talk to Tom. Well, isn't he
here?

Not awake yet. I had to get the manager
to let me in.

Then forget it. He hasn't changed since
we went away.

But this is long distance. Mexico City.
Mr.

Gomez.

Okay. I'll try.

Hello, Senior Gomez.

No, this isn't Anthony Fry. It's Howard
Stark.

You know, his assistant director.

We met one day on the set.

Yes, we flew back yesterday.

An emergency.

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

Yes, I know. The money.

Well, on Mr. Fry's behalf, I can assure
you that we'll pay off the entire amount

just as soon as the... What?

But that's impossible.

I mean... Hello?

He'll give you only 48 hours to pay off
the $50 ,000.

Either that, or you'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

key scenes.

Oh, and so we have the... And here's
the...

Happy

New Year.

Oh, no.

Oh, no. No, it's not like that last
picture in Spain. That one never even

made. Oh, no, of course not. This is it.
We 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 $50 ,000.

Ah, 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?

Tony, Gomez called.

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

Okay.

You got the racing form?

Now, 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.

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, 10 .30 yet? 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.

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.

Ah, it has been a long time, baby.

Why is this 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, JJ.

Just one thing, Tony. Why do you come to
me now?

As I remembered, you wanted to produce
and finance this baby all by yourself.

JJ.

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 loft?

Water under the bridge, J .J. Kid stuff.

I want to tell you the truth.

The minute I finished writing this
picture, I knew it was the best thing

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 co -producer.

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 24 hours.

Whatever's your pleasure. Take all the
time you want.

I'll need a breakdown of your
departments.

Money's still due. All the figures.

They'll be on your desk first thing in
the morning. That's fine. J .J., you

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's the big
one.

Don't wait too long, baby.

Right, son.

Well, that's it, Joanie.

You just keep on doing what you've been
doing and you'll have nothing to worry

about. Out of my car, please.

Thanks for the ride, sweetie.

Sure, I heal.

A saint is enough. Sure, sure.

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

Some people today might not quite
understand.

Joanie, I'm warning you. Leave me alone.

I won't be used again, not ever.

I'll kill you before I'll... Want a bet,
sweetie?

Good night, Joanie.

Hi, kid. What are you doing here?

Well, I was just on my way to Tony's
apartment to see what time he needs me

publicity tomorrow.

Oh, I'm sure Lydia would have phoned if
there... Hey, that's my camera.

Oh, I forgot it last night, didn't I?

Well, thanks for bringing it over.

Come on.

Uh, 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.
I 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.

What's the big idea anyway?

I 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

you need 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.

only wanted to help him. 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. All right. Beat
it.

James, Miss Kathy James.

No, no, my name is Anders.

Oh, sure, I know what you might do with
me. Well, 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 a

Studio?

An Incan studio.

The boss wants to see you.

Who? JJ himself.

He wants to see you right away. Do you
mind?

Back way, sir. I'm sure nobody noticed.

That's all right, dear.

That'll be all, thank you. Thank you,
sir.

Do you know how I want you, Kathy?

Please.

Why do you think 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.

A couple of my first pictures.

Oh. Of course, you were four or five.
That was before your mother took you

east, I guess.

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

And 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 sort of...
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 whose father is one of the
finest cameramen in the world, one of

nicest and kindest men I've ever known,
for him to join and get mixed up in a

thing like this doesn't make sense.

Is.

Was.

Was, was, was. Shut up, 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

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

It's not true.

I can't prove it. 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, you 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?

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, Kathy. 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 creepy publicity up,
couldn't I? But I've got something even

better. I'm eating something on him.

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

But when I find out, I'm going to depart
him. Now, just a minute.

Hollywood isn't exactly what you say.
Your father would agree.

My father doesn't agree. Your father's
in Denver. We could ask him.

What?

One of my men located him a few weeks
ago. He's not drunk.

He's sick.

Why didn't anybody tell me?

Apparently he didn't want his family
told until he could pull himself

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.

Well, you see how silly it is for a kid
to just hurt herself?

Hurt others, maybe, too.

But I don't know what it is you think
you've got on Tony Fry.

Anybody home?

Oh, in here, Joanie.

Hi. Oh, I'm sorry.

I was driving by and I saw your light.

Oh, that's all right.

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

Well, of course.

Hello. My wife, Joanne.

Any reason why we can't take Kathy home
for a bite?

Drink? Well, not unless the children
have burned the house down. Who goes?

Excuse me. I'm sorry.

What are you doing here, kid?

What's with the phone?

Nothing. Nothing.

Oh, wait a minute. Wait a minute.

You're not leaving here till you tell me
what you're trying to pull on Tony Fry.

You're going to stay right here until
you tell me what's so special about this

film.

All right. All right. Come on. Tell me.

What's on that film?

No, something's wrong in here. Where is
somebody in here?

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

He's dead.

Dead.

Hello.

Oh, Paul.

Oh, you didn't disturb me.

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

I'm sorry, Perry.

I'm in kind of a bind.

Well, don't ask any questions because I
haven't got any answers.

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

Good evening, Michelle.

Who are you?

How'd 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.

Just sitting and thinking.

About Anthony Fry?

Maybe. Why?

Kathy...

I'm here to help you.

Tonight, Anthony Fry was murdered.

Oh.

While there are probably a hundred
people with a hundred motives for

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.

Go ahead, Kathy.

We'll talk when you're ready.

You mean after she clattered him on my
head, she ran out into the hall?

That's right. She stayed there for
several minutes, scared to death, trying

collect herself.

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 killed 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 the
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 the
envelope, showed you in your office.

It was in her purse, she said.

But 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

Mexico.

I was to let him know in 24 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 $50 ,000
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, nor two steps
behind.

Looking for the crown jewels?

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 out
of unnecessary trouble.

Last night she may have lost an envelope
in this room. One that could 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

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?

In a drawer in my apartment.

What time did you leave, Fry, last
night?

Oh, about 9 .30.

Coley was with me.

He went to his apartment, then I went
back to mine.

Oh, Tony asked me to leave the door
unlatched.

I assumed he was expecting a lady
friend.

Did he say who?

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.

Honey, I didn't tell the boss.

Me, I worship the guy.

Howard Stark said that earlier you and
he left Fry's apartment together. Is

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.

You make it sound like I need an alibi.

It's possible.

Cody Barnes?

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?

A piece of paper.

An agreement signed by Tony Fry and
myself.

An agreement which states I put up $200
,000 to get his picture rolling in

Mexico.

That's a lot of money.

You bet it is.

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

And whether he's alive or dead, that
film is mine.

Lock, stock, and barrel.

They couldn't have any reason to kill
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

night. Daddy 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.

obviously the decedent had been struck
on the head by some instrument.

Lieutenant, I call your attention to
this international film trophy, which

won by the decedent, and which I
understand officially stood on his

ask if you had it subjected to
laboratory analysis, and if so, with

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

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. Please tell this court where
the envelope was found, what it

And what's your investigation concerning
it disclosed?

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

greeting a woman in a car, kissing her.
Were you able to identify the woman that

the decedent was kissing?

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

struck the blow.

In my opinion, it's highly probable that
an instrument with the same

configuration as the top of its trophy
inflicted the fatal wound.

Thank you, Doctor.

What is it, Mr. Mason?

Were there marks from one or two blows
in 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

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?

Easily. 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.

Aside from the effects of the two blows,
the direct effects, was there other

brain damage, Doctor?

Well, yes, there was some. Some
lacerations to the other side of the

Lacerations in one or in two places on
the brain?

Well, just one, I believe.

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

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?

Well, it is possible, I suppose.

Mr. Pennington, you stated to the
prosecutor that you'd just returned to

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

just completed in Mexico.

That was after you knew of Fry's $50
,000 debt to the Mexican Film

Well, I knew about that ten minutes
after he walked out of my office, Mr.

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 depended on me.

Whenever he'd want a drink or a massage
or just someone to talk to, he'd yell

out, Coley, and I'd be there.

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

But apparently not the night he was
murdered.

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? Yes. There was this crashing
noise, some kind of commotion, but then

stopped.

Well, what happened then?

Well, I mean, a few minutes later, I 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 Howard came along, and we kicked in
the door and found Tony.

A couple 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 $25 ,000

a hurry and in cash.

$25 ,000 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.

Blackmailing him, Tony Fry.

If it was the last thing in the world he
was going to do was fix her wagon.

But good.

He phoned me that he'd called Coley and
that Coley couldn't help him.

Did he ask you directly for the same
amount of money? No.

He just wanted to know if I'd checked
over the contracts he gave me, if there

was any way that he could possibly
justify asking Pennington for an advance

get his hands on $25 ,000 in a hurry.

Well, I told him that I didn't know, but
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.

Half an hour later, I did, and that's
when I saw Coley pounding on the door

and...

and we found him dead. Did Fry tell you
on the telephone who was blackmailing

him or what he was being blackmailed
about?

No.

All he said was that blackmailing Tramp
has got me over a barrel, and all on

account of that picture, that lousy
picture.

You're sure now? There can't be any
mistake about this. He said picture?

Picture.

Of course I can identify him, Mr.
Berger.

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. Berger.

It was Kathy James.

As janitor, I got to take the trash out
the night before pickup.

Sometimes six, sometimes seven or eight
barrels.

Now, that's what I was doing when I saw
her, the defendant, running through the

courtyard. When she saw me, she slowed
down to a walk because 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, and I ran
out after both of them. That's when I

saw her drop something. Something she
was carrying got caught in the blister,

guess.

Did you by any chance happen to pick
that something up? Yes, sir.

It was this long roll of celluloid.

My celluloid, sir.

Do you mean this roll of photographic
film?

Yes, sir. That's it.

Yes, sir.

This is the type of film I showed to the
defendant. I'm positive.

How can you be so sure, sir?

Well, it's exceptionally fast film. You
can almost shoot in the dark.

You 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

roll of film she had left for developing
the afternoon before.

I call your attention now to this
picture, which shows Tony Fry, the

this case, kissing an unknown woman.

Is this one of the pictures Kathy James
picked up?

Yes, sir.

It is.

I'm sorry to interrupt you in the
evening like this, Mr. Mason.

It's quite all right, Mrs. Dennington.
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. Bennington.

needn't tell me.

But poor Kathy.

Why do you keep adding more and more
evidence against her? I've done the best

thing you can do by coming here.

Now, if you'll just come... Joanne, you
didn't tell me you

were coming down here.

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?

Florence, I'm correct, am I not, in
understanding that you have worked for

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
trouble started some time ago,

assume, with that 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 $100

,000 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.

$100 ,000.

No, he did not.

He 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 the blackmailing?

What? The blackmailing tramp he
mentioned in speaking to Coley and

That wasn't Kathy Jane.

It was you, wasn't it? You don't know
what you're talking about. Mr.

has further suggested to my
investigators that Tony Fry may never

to go through with the first project in
Spain.

They are now uncovering evidence to
suggest that he simply used the project

raise $100 ,000 and kept it from looking
like a swindle by blaming the project's

breakdown on a once -alcoholic
cameraman.

Oh, no. How could he? By destroying
another man's reputation to cover his

illegal intentions. 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 shooting 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.

That was 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 murder.

Doesn't your room lead out to the
balcony?

Couldn't you have easily gone from your
apartment to Fry's along that balcony?

No.

And after hearing the struggle inside,
after hearing Kathy run out the other

into the front hall, couldn't you have
entered the apartment and killed Tony

Fry? I didn't. I didn't.

He was to receive money.

And 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 kill 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 putting no rap in me, Buster.

I didn't go out in no balcony.

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

Fry used the $100 ,000 he had defrauded
and your $200 ,000 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?

You kidding?

Me and him?

They didn't come any closer than the two
of us.

Is that why you signed a contract with J
.J. Pennington?

Making an assignment of your rights and
interest in the film to him?

Literally throwing Anthony Frye the dog?

How did you... All right.

So I boxed Tony in in a rail and let
Pennington move up on the outside. So

I had to protect my investment, didn't
I?

Against your best friend?

Best friend? The only friend Tony Fry
ever had was Tony Fry.

And that chiseling no good would have
thrown me to the dogs if he ever got the

chance.

But that's how he was.

Not long Howard Stark was with him, huh?

Fifteen 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.

At the very moment he was killed, I was
doing some work for him.

Going over the papers he gave you.
Compiling the report that J .J.

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

with his name as the only credited
author?

Well, 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?

No, please.

Fry told Coley he was finished with you.

Wasn't that his way of telling you?

Well, he had no right.

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

He promised me. He swore. Coley Barnes
financed this film, and he's called The

Silent Partner.

What do they call a man who writes a
movie script and allows another man to

full credit for it?

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

Would 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. I wrote it.

I've been working on it on and off for
over five years.

When I finished it, I didn't know if it
was good or bad, 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 fulfill a prior commitment.

But believe me, Mr. Mason, I didn't know
that he was going to 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.

He said his name carried more weight
than it had to be that way for the two

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 have

simple for you, a tenant in that same
building.

Oh, no. Oh, no, you don't. I didn't go
in that balcony door.

I didn't go near Tony's place until we
broke in the front way and found him

dead.

Your Honor, Your Honor, it could have
been anybody. Now, anybody could have

broken in the back way, sure, but I
swear I didn't.

If it flees 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 by 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 near that balcony door or came

the courtyard. I swear there wasn't a
single soul.

Until when, sir?

Until, well, until after the murder.
Until she, the defendant, come running

with Mr. Coley Barnes and Mr. Drake
Chase and after.

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

murderer. 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 weapon, perhaps?

I thought he was dead.

Then he started to moan.

Just like I moan when I...

But I read those papers.

Read what he was doing to me.

Read... Everything just started spinning
around.

All those years of being a floor mat for
him. A lousy errand boy.

That coffee lying there on the floor.

I picked it up and I... Yes,

I did it.

And when they got back in that room,
Tony wasn't moaning anymore.

It was arbitration by the Writers Guild
regarding credits in the picture.

When Pennington releases it, it will
say, Screenplay by Howard Scott.

Well, he'll still be serving his life
sentence when it hits the late late

Poor Mr. Stark.

Selling himself short to heal like fire
for so many years.

And expecting gratitude.

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

of a delicious steak dinner. The
question is, of course, do I get it?

Yes, on 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 make it for the world.