All language subtitles for The Wild Wild West - 2x11 - The Night of the Ready-Made Corpse.EN

( noirish theme playing )

( suspenseful theme playing )

WOMAN:
Ann.

Ann, pull in that horse.

Oh, she'll kill that horse.

She'll ride him to death.

Ann, hold up.

Well, go get her.

It was your idea,
letting her ride him.

( suspenseful theme playing )

( horse whinnies )

( dog barking )

Ann.

Ann.

( whinnies )

( sobbing )

Ann, you all right?

I'm all right.

I guess he shied
at something.

What got into you, letting
that horse run like that?

You might have been killed.

Is that bad?

What are you talking about?

Joe, I...

I can't stand her.

Why does Daddy have to let her
come out here?

How is she?

Okay.

Ann, if you'd listen to
what I tell you about horses--

Shut up.

Who do you think
you're talking to?

I said shut up.

( scoffs )

Come on, honey. I'll take you
back to your school.

You know something, Joe?

I never thought
I could say this...

but I'll say it now.

I could--

Just-- Just don't
say anything, honey.

Come on.

( mysterious theme playing )

Red riding boots.

Aren't they beautiful?
All that hand-tooling.

It seemed like
such a nice gift for Ann.

Or it did when I ordered them
last month.

( chuckles )

Girls and horses.

How long has your ex-husband
had the ranch out there, Jill?

He bought it when we separated
a year ago.

Burt had visions of himself

being the country bachelor,
I guess.

And for a while
it was marvelous for Ann,

when she'd visit him.

Only then along came
this Rita Conover?

She and Burt
are getting married soon.

Ours is supposed to be one of
those, uh, sensible divorces.

You know, th-the kind where
everybody stays good friends.

Only I can't seem to get that
point across to my daughter.

I've looked over this report
from Ann's school.

But I'm not sure
what kind of advice I can offer.

When they told me they were
having a psychologist

give her some special tests,
I thought it was nonsense.

But then I met the psychologist,

and he's a very bright
young man.

"Deep-seated emotional
disturbance. Rebellion.

Flat refusal to adjust
to her father's remarriage".

What does the doctor recommend?

Well, it would be funny
if it weren't so tragic.

He asked about Burt and me

and wanted to know
if there was any chance

of putting Humpty Dumpty
together again.

Jill, from a legal standpoint--

Perry, it isn't
legal advice I want.

I need a friend.

And I thought
if you went to Burt and--

And told him about this, that--

Told him what about it?

Well, if there's any danger of--

Of Ann's really being
seriously ill...

well, the least they can do
is postpone their marriage

for a little while,
don't you think?

This report the only reason

you believe postponing
their marriage

would be a good idea?

Well, of course it is.

You don't think I still love
that man, do you?

( sighs )

Perry, just talk to him.

Burt respects you.

( chuckles )

Where can I reach him?

What is it you're
trying to say, Joe?

Mr. Farwell,

we've only known each other a
short time.

Long enough to speak up.
Here, like a drink?

No, thanks.

Mr. Farwell, it's about
your daughter, Ann.

Yes, Rita said that, uh,

she had a pretty bad spill
the other afternoon.

Well, that's not it, sir.

It's the way Ann feels
about things.

Miss Conover's
an awful good rider, and, well,

to a kid, I guess she must seem
kinda sophisticated.

Kinda pretty
in a fancy way, she's--

What do you mean by that?

Well, sir,

I guess you remember
the first day

that Rita came here
at the ranch.

The day you met her.

I certainly do.

She was driving around
looking for real estate.

Now she's found it, Joe.

But what you getting at?

Sir, I'm only thinking
about Ann.

Well, I figured
it's a kind of a shock

for the father to get married to
somebody who's not your mother.

Heh. Joe, Ann's an overly
imaginative child.

She'll get used to the way
things are. She'll have to.

( phone rings )

Excuse me.

Yes?

Oh, Mr. Mason.
How are you?

What can I do for you?

Is that so?

No, no,
I hadn't heard.

Uh, here, wait a minute,
Mr. Mason.

Joe, um, take that outside,
will you?

We're through talking.
Nothing else to discuss.

Yes, sir.

What kind of tests
you say they gave her?

You'd better walk him
for a while, Rennie.

Oh, and fix that stirrup.
You didn't fix it yesterday.

Here, take him.

Okay, Your Highness.

What?

Okay.

Here. Tie them
around your neck.

You know,
when you walk like that,

you remind me
of a taffy machine?

What's--? What's all this I hear
about a wedding next week?

Is that any of your business?

Sure it is.

Let go of me
or I'll call Joe.

Maybe I'll call him.

Maybe I'll call
Mr. Farwell.

Hey, boss.

Rennie, please.

Maybe it won't
come off anyway.

How much do you wanna bet
you don't get married next week?

You just keep
your dirty mouth shut.

You too.

O-o-oh, Rita.

No matter what happens,

we can always work out
something nice,

between you and me.

( footsteps approaching )

Rita, can I see you a minute?
No.

Now hold on. Let the old man
speak his piece.

( tense theme playing )

( Rennie laughing)

Were you talking to her?

Who, me? The foreman
told me not to.

Never disobey the foreman.

She's the world's
champion louse.

Rennie,
if that little girl Ann

gets to moping
and jumps off a bridge,

I tell you, I'll...

( tense theme playing )

Well, I've been waiting
for you.

Never mind the drink,
darling.

I wanna get away from here.

I wanna go into town. I--

I want to go anyplace

where you and I
can have a long talk.

Now, wait a minute, Rita,
I, uh--

I just had a long talk
with an attorney.

Perry Mason.

Well?

It's about Ann.

Oh, what about Ann?

Well, apparently--

Apparently,
she's been put through

a hatful of psychological tests

at her boarding school.

Now it isn't just Jill
who's worried about her,

it's everybody,
even a doctor.

Burt, I've done
everything I can

to try to make friends
with your daughter.

I know you have.

She just won't have it, that's
all.

She's made up her mind
not to accept it.

Well, anyway, I thought if I
talk to her again this evening--

Why not talk to me?

Rita, I know
how you feel--

Come out with it. Admit it.

( sighs )

You can't go through
with it.

Your wife's still got you
shackled, hand and foot.

When Jill goes to work
on you with that girl,

you're licked.

That girl is my daughter.

Oh, Burt, I'm-- I'm sorry.

Oh, I just can't take
any more of it, that's all.

I just can't.

Everyone's trying to stop us
and...

( sobbing )

Oh, now, don't cry.

There's just one way for things
to be straightened out.

It's for us to go to Las Vegas
right now.

What?

Not next week,
not next month,

but first thing
tomorrow morning.

Oh, Burt, please.
( sighs )

If it were done,

if we were married,

Ann would just have
to understand.

Oh, darling, please?

Please, Burt?

( mysterious theme playing )

( speaking French )

Hi.

I'm trying a new approach.

( French accent ):
You have to think French.

See?

( speaking French )

( chuckles )

What'd your father say?

Not much.

We went for a little ride.

He said he's going to
marry her tomorrow.

Just like that? That's all he
said?

Oh, yes. He loves her.

He wants us all
to be friends.

Huh. What's so bad
about that?

You don't understand.

No? I'm on my third
father right now,

and I never had it
so good.

I just don't dig you, Ann.

Why'd you wait till now
to make all the fuss?

They've already
got the divorce.

I know. I thought
I got all over it.

Only then my father
met that Rita Conover.

And nobody
would believe me

when I told them
what she's like.

But I know.

Kathy, every time
I see him with her,

I get cold inside,

and I start thinking
terrible things.

I don't know what's
the matter with me.

If he marries her,

I think I'll die.

If you do, will me these new
red riding boots, will you?

Kathy...

how'd you like it
if I gave them to you?

What's the catch?

Just do me a favor.

Tonight.

( suspenseful theme playing )

( tire blows out )

( dramatic theme playing )

( sirenwailing )

( mysterious theme playing )

Blew a tire, huh?

No wonder.

Lucky you didn't turn over
ten times.

What?

We had a report on you,

when you sideswiped
that farmer.

What farmer?

What are you talking about?
I didn't sideswipe anyone.

Let's just see
your license.

I haven't done anything.

This car belongs to Mr. Farwell.
He's my boss.

You going on a vacation,
Mr. Dixon?

No, it's for his honeymoon.

He wanted this car up at
Pine Lake when he gets back.

I mean...

Here, officer.

You'd better look at this.

Yeah.

Guess I'd better.

All right,
what's her name?

Rita...

Conover.

( dramatic theme playing )

You, um, got here
at 10:00 this morning?

Yes. Rita stayed here
last night.

I stayed in town.

I had some last-minute
business things to attend to.

Well, Mr. Farwell, if you were
going to, uh, Las Vegas

to be married today,

why was your car
on its way to Pine Lake?

With, uh,
someone else driving it?

That was the plan.

I have a cabin up there.

We loaded my car with all
the heavy things last evening.

Canned goods,
fishing equipment.

I told one of my men to drive it
up there and leave it,

in time to catch a ride back
on the bus.

In the meantime,
I used Rita's car.

We were going to
take it to Vegas

and go straight from there
to the lake.

Now, uh...

Now do you understand?

Oh, yes, I understand you, uh,
packed that car yourself.

Rita and I packed
that car together,

between 6 and 8 last evening.

After that, I went back to town,
to my office, then to my club.

I didn't see Rita after 8:00.

TRAGG:
Well, of course all that
can be substantiated.

Mr. Farwell,

you told someone
to take that other car

up to Pine Lake.

Who was that?

A swamper,
a stableman we have here.

His name is Rennie Foster.

Look, I can explain
why I drove the car.

Never mind, Mr. Dixon.

Is that his statement, sergeant?
Let me have it.

Rennie Foster went into Reseda

to the movies
at 7:00 last night.

You haven't seen him since?

Well, Rennie likes to see
the movie twice.

Then he picks up
a couple of drinks.

Lots of times Rennie don't
show up till noon the next day.

You see,
with a kid like that, it--

Never mind,
I get the picture.

There was no one here
on the ranch last night,

except you and Miss Conover.

She was murdered
during the night, you know.

Right in this room.

Yes, sir.

Only my room,

it's clear back
by the stable wing.

And you stayed
back there all night?

No, as a matter of fact,

I left the ranch
a couple of times.

I left it once around
10:00 or 11:00

to pick up some fruit crates.
I wasn't gone long.

Fruit crates in the night?

Sure, we're expecting pickers
any day now.

You yourself told me we needed
more fruit crates

just yesterday, remember, sir?

I'm afraid
I don't remember that, Joe.

No, I don't remember that.

Sorry.

JILL:
But isn't there anything
you can do, Burt?

You've always said what
a nice man this Joe Dixon is.

And-- And you know
how much Ann likes him--

Jill, what can I do?

Joe's being questioned
about a murder, that's all.

I-I-I've got nothing
to do with it.

Burt,
you can't mean that.

Oh, Jill,
why did you come out here?

There's been nothing but police
reporters all afternoon.

I only thought I might be
able to help that man. I--

( sighs ):
Oh, never mind.

Look, I'm not going
to interfere.

It's not right
to interfere, Jill.

Not even when an innocent man
is in trouble?

And how do you know
he's so innocent?

Answer me. How?

Well, I don't really know.
Of course not, not really.

Well, then keep out of it.

Well, at least he needs
a good lawyer.

And I'm sure
he can't afford one.

Why are you so anxious?
Tell me why.

And why are you so afraid?

Oh, Burt, what is it?

What's wrong?

Or have you changed so very much

from the person I used to--

Jill.

Jill, I'm upset, that's all.
Please, you must believe that--

That there's no reason for us
to be-- To be involved.

Jill.

Burt, I have to.

What if the man is innocent?

Hello.

May I speak to Mr. Mason,
please.

TRAGG:
Oh, yes. They're all innocent.

Every one of them.

All victims
of a sinister plot

to send them
to the gas chamber.

What time was
Rita Conover killed?

Oh, around 11,
the doctor thinks.

Give or take
a couple of hours.

She was stabbed?

Yes, struck a few times too.

There'd been a fight.

And, uh...

well, here.

You'll be, uh, reading this
in the papers, anyway.

Fingerprint report.

You mean Joe's prints were found
on that paper knife?

That's right.

Joe Dixon began drinking
in the afternoon.

Apparently, he kept it up.

You can, uh, take a look
at his room out there

if you like.

Yes, I would like to.

He has a rough temper, Perry,

and he's used it before.

So maybe he hit her a few times,

and then picked up the knife.

Well,

if you want a client
like that, Perry,

I'll have him
brought up here.

And you can talk to him
right here.

Only don't say I didn't warn you
of what you're up against.

But I didn't touch that knife
till the day after the murder.

I guess I must have
started to pull it out.

It's a natural thing to do.

You mean, when you opened
the trunk of the car

and found her body?

I'm telling the truth,
Mr. Mason.

I know, those two men
from the sheriff's office,

they wouldn't believe
anything I said, but--

The laboratory reports say

that yours were the only
fingerprints on that knife.

They don't say your prints
covered other prints, Joe.

They said yours
were the only ones.

Well, don't ask me
to explain it!

I guess you do have
a temper, don't you?

Memphis, Tennessee,
ten years ago.

I spent a little time
in jail, once or twice.

Just overnight,
that's all.

What for?

I got in a few fights.

That's what
the lieutenant meant, I guess.

They got hold of my record.

Fights?

DIXON:
Yeah, when I get to drinking,
that's all.

But I quit drinking, Mr. Mason.

I quit all that kind of stuff
years ago.

Except for last night?

Now you listen to me!

I took that bottle from Rennie
and took a couple of belts

'cause I was sore at Rita.

I was fed up with the things
she was doing to Ann.

But that's all, you hear?
That's all there was to it.

Joe, how did it happen you were
taking that car up to the lake?

Wasn't that Rennie's job?

Well, I figured
somebody had to do it.

Rennie told me what the boss's
instructions had been

after the car was loaded.

Then when he didn't show up
the next morning--

How could Rennie have told you

what Mr. Farwell's instructions
were after the car was loaded?

That was after 8:00. You said
Rennie went to the movies at 7.

Oh, for the love of--

So he told me
before the car was loaded.

Maybe he told me at supper,
I don't know.

You're sure haven't seen Rennie
since then, Joe?

Of course I'm sure.

Rennie had nothing to do
with this, you hear me?

That's all there is to it.

( mysterious theme playing )

Sure looks to me like Joe took
more than a couple of belts.

Oh, I don't know.

Somebody else could have
left these here.

Otherwise,
this room is pretty neat.

This Rennie's room?
Uh-huh.

Quite a difference.

Paul,
I wonder why Joe Dixon

wants to cover up
for this man Rennie?

Well, maybe he's
covering for himself.

Maybe he asked Rennie
to get lost

so Rennie couldn't
testify against him.

Hmm.

I suppose the police have
an all-out search going.

Heh. All points.

Rennie's the kind of a guy
who'd try to leave town

whether he knows anything
or not.

It's much easier to hide
by staying in one place.

Yeah, sure likes the movies,
doesn't he?

Yes.

This man Rennie certainly
has a favorite here, doesn't he?

Uh-huh. Connie Cole.

Oh, uh, incidentally,
that's from a picture

that's playing now
in Reseda.

You know, Paul,

I once handled a case
for Connie Cole's agent.

There's a crazy idea
that just might work.

You see,
I'm gonna need Rennie.

Heh. Fine, but how
do you find the guy?

I don't. You do.

You're gonna build
a trap for Rennie, Paul.

I'm going after someone
I hope a little easier to find.

Let's go.

( mysterious theme playing )

But I can't answer
any questions, Mr. Mason.

( groans )

And I don't feel well.

I understand.

But you know how much
your mother's hoping

we can get Joe out of this.

But it looks like nobody

can get him out of it.

The newspapers say
his fingerprints--

We've got to try, Ann.

Now, in all the time
you spent at the ranch,

was this man Rennie around?

Rennie?

But I don't know
anything about Rennie.

He's nothing.

Joe wouldn't even let me
talk to him.

That's something in itself,
isn't it?

Now, were there any people
in particular,

who came often to the ranch
with Rita,

people your father
wouldn't know about?

I don't know.

Well, think back, Ann.

You were at the ranch nearly
every afternoon this last week.

I told you.

I don't know.

I can't help Joe.

I want to, but I can't.

I can't.

( sobbing )

Hi.

Thought I'd bring her
a transfusion.

She's real shook.

Here you go, Ann.

I'm not hungry.

Real shook.

I'll bring us back
some new records from town.

( door opens)

Kathy, if you're going to town
you'd better hurry.

You still have
three hours

to make up in the kitchen,
remember?

Yes, Miss Pennock.

KP.

How do you feel, Ann?

Please leave me alone.

I expect we'd better
let her rest, Mr. Mason.

You can't sympathize
with her too much.

She just goes to pieces.

I wish there was something
I could do for her.

You say her roommate's on KP?

Mm. She was posted
for sneaking out

night before last.

Missing at bed check.

Did you catch her
when she came in?

No.

It's especially serious
with Kathy.

She's 16 and one of
the few girls with a car.

She still won't tell us
where she went.

Thank you, Miss Pennock.

I'm just gonna run into town
and get some new records.

I'll be right back.

So long, kids.
I'll be seeing you.

Kathy.

Kathy,
may I ask you a question?

Of course.

Where did you get those boots?

Well, I guess you can
buy them several places.

They are yours, though?
Oh, sure.

See, I-- I've got this
dewy-eyed grandmother who's a--

Kathy,

Ann's mother showed me
those boots.

Now, why did Ann give them
to you?

Are the boots
payment for a favor?

Are you covering up
for Ann, perhaps?

Mr. Mason,
I know I ain't oughta be

telling you everything
she can think of and--

Kathy, wasn't Ann the one
who sneaked off the other night?

I promised.

Please don't ask me.

Please.

Of course I taught her
how to drive.

Out of the ranch
is the ideal place

to get her used to the wheel.

But that doesn't
necessarily mean

that she'd climb out
of a dormitory window and--

And go joyriding
in her roommate's car.

You're protesting
too loudly, Mr. Farwell.

Look, I'm not protesting
loudly enough.

Ann's a sick girl.

You've got no right
to cross-examine her.

I wasn't aware that I had.

What do you call it, then?

Mr. Farwell,
your daughter's been

chewing herself to pieces
over this,

and not because
I've been questioning her.

( phone rings )
Mr. Mason, I want you--

Yes, Della?

Oh.

All right,
hold on a minute.

Will you excuse me, please?

Paul find him?

Yes, Paul?

Perry. Well, we got
Rennie Foster, all right.

In fact,
we got half of Reseda.

That was some stunt
you dreamed up.

And now the theater manager
wishes you'd come out here

and help him explain
to his customers

why Connie Cole
never really showed up.

As soon as he put out that sign,
the joint was jammed.

And Rennie Foster
fell for it too.

He joined the crowd.

Only, so did a couple
of Tragg's men.

It looks like Rennie
really wasn't

out at the ranch after 7:00.

Oh, well, he didn't sit through
just one show,

he sat through
two complete double bills.

He gave the ushers a bad time.
They remember him.

And then, after all the drinking
he'd done,

he apparently fell sound asleep.

You mean they had to throw him
out of the theater that night?

No. I mean the manager found him

and woke him up at 10:00
the next morning.

Your would-be witness spent
the entire night of the murder

in a theater.

All right, Paul.

Thanks.

Mason,
I really must go now.

But you understand,
don't you?

If you wanna
talk to Ann again,

you get my permission first,
not the school's.

I've a feeling the next time
I talk to Ann, Mr. Farwell,

will be in court.
What do you mean by that?

I intend to subpoena
your daughter as a witness.

Why, you can't do that.

A young girl in court?
Why, I won't let you.

You should also be warned
that if the district attorney

brings her in court,
I intend to cross-examine her.

I'm trying to find the truth,
Mr. Farwell.

Mister--
No matter who gets hurt.

It'll be too bad if a girl
in her state of mind

has to be brought
into court.

Della, don't you think
I realize that?

Under the circumstances,
what would you have me do?

( dramatic theme playing )

( tense theme playing )

And you say rigor mortis
is usually complete

within ten to 12 hours?

Then, doctor, what is your
opinion on the time of death?

Well, taking in
all the other factors too--

Temperature, p.m. lividity
and so on.

--I'd say Miss Conover died

sometime between 10:00
and midnight.

Thank you, doctor.
Your witness.

Doctor, you ascribe
Miss Conover's death

to a stab wound
with this paper knife.

How deep was that wound?

Four and a half inches.

Would it have required
a powerful stroke?

Only moderately.

It's a very sharp weapon.

MASON:
Would it have required
the strength of a man?

DOCTOR:
Not necessarily.

Now, you mentioned
postmortem lividity.

Was this observable
on both sides of the body?

Yes, in some degree.

But doesn't such general
discoloration

usually indicate that, um,
a body had been moved

a few hours after death,

and then allowed to settle
in a new position?

Yes, but not too many
hours later.

Uh, besides, if the rigor mortis
were complete,

the body could not have
been put in the car.

Exactly.

It's your opinion, then,

that the body was not
put in the car the next day,

nor was it put there
immediately after death.

Now, doctor, in your opinion,
when was that body moved?

I'd say sometime between
two and five hours after death.

In other words, between
the hours of 12 midnight

and 5 in the morning.

So it would seem
that someone returned

to the scene of the crime
in order to move the body.

Thank you, doctor.
That'll be all.

Call Mr. Rennie Foster
to the stand.

Uh, well, she was giving me

some instructions
about how to fix a stirrup,

because I guess I hadn't
done it right the day before.

Uh, I suppose that was
about 5:00.

Was Miss Conover angry or upset
at the time?

No. I mean, not with me,
she wasn't.

But then I get along
with everybody.

I never have no trouble.

Mm-hm.

Was it then, at 5:00,
that you saw the defendant,

Joe Dixon, approaching?

Uh, yes, sir. I mean, he looked
kind of red in the face,

and he said, uh,
could he see her for a minute.

PROSECUTOR:
What was Miss Conover's answer?

Well, she slapped him
in the face and she walked away.

Mr. Foster, do you have
any concrete knowledge

as to why she slapped his face?

Uh, well, they'd been
fighting all week.

I know Joe was kind of sore
about the way

she'd been treating the kid,
Ann, over there.

PROSECUTOR:
When Miss Conover walked away,
what was Joe Dixon's attitude?

Uh, well, he blew his stack.

He said how Rita was
the world's champion louse.

How he could beat her brains in.

Then he grabbed the bottle
out of my back pocket

and drank half of it,
right then and there.

Joe, I'm sorry.

PROSECUTOR:
Thank you.

Your witness.

Mr. Foster, do you always
carry a bottle with you?

No. I--
For a man who drinks so much,

you have a remarkable memory.

Now, how many drinks had you
on that afternoon and evening?

None. I don't drink
when I'm working.

Just carry the bottle with you
for company, is that it?

Now, what was Joe Dixon wearing?
Jeans, I guess.

Was he standing in the sun
or in the shade?

I don't remember--
Was he smoking?

I-I don't know.
Did Miss Conover slap him

with her right hand
or her left hand?

I object, Your Honor, to this
kind of cross-examination.

May it please the court,
prosecution has elicited

some surprisingly detailed
testimony from this witness

not only regarding
a face-slapping,

but regarding Mr. Farwell's
instructions

concerning his car
and other matters.

JUDGE:
I agree you have every right

to try to impeach this witness,
Mr. Mason. Proceed.

MASON:
Yes, Your Honor.

Mr. Foster, were you ever
in trouble with the law?

Well, I...

You implied you were not
drinking that evening,

but haven't you ever been
apprehended for drinking

or perhaps vagrancy, for causing
trouble in some theater?

I must remind you
you're under oath.

Sir, I'm wanted for manslaughter
in Tennessee.

( crowd murmuring )

Order. Order.

Your Honor,
that's all right,

because I told
them everything.

I didn't lie
about anything.

When I called
the police headquarters

and asked to see
every available record, why--?

Your Honor,
may it please the court,

but the records
that counsel is referring to

are no part of this case
and he had no right to see them.

The witness has never been
convicted of a felony.

And furthermore,
this last testimony

would not have been
proper here,

if the witness hadn't
inadvertently stated

that he'd never had
any trouble with anyone.

The matter, therefore,
is quite immaterial.

I suppose it
would be immaterial

to ask if the witness
has been offered

some sort of
official immunity

in return for his
willing testimony here?

We resent that, Your Honor.

It must be apparent to counsel

that this witness would tend
to be prejudiced

in behalf of the defendant.

After all, the two men
are stepbrothers.

Or wasn't counsel aware
of that fact, either?

If defense counsel wishes
a recess at this time,

the court will consider it.

Well, Mr. Mason?

No. We'll continue,
Your Honor.

I have no further questions
of Mr. Foster.

You may step down.

I'm sorry, Mr. Mason.

But it's just that I've always
tried to protect the kid.

I know I should've told you
he was my stepbrother,

but I never told
anybody else.

And with all this
Tennessee stuff...

Rennie's stupid, Mr. Mason,
but he ain't bad.

He had nothing to do
with this--

JUDGE:
Call your next witness,
Mr. Prosecutor.

PROSECUTOR:
And what time was that,
Mr. Farwell?

I left Miss Conover
at the ranch at 8 p.m. sharp.

What did you do then?

I stopped by the Fernwood School
for Girls for a few moments

to a visit with
my daughter in the car.

Then I drove into town
to my office.

Sometime after midnight,
I went to my club to sleep.

Now, once more, concerning
the next morning:

You arrived at your ranch
at 10:00, is that right?

Yes, yes, it is.
I particularly remember,

because I had to open the gate

for a truck
from the rug cleaners.

Miss Conover was planning, uh,

quite a bit of cleaning
and redecorating

while we were away.

I think that's all,
Mr. Farwell. Thank you.

Mr. Farwell...

about the rug men.

Did they enter the room with
you?

Yes, yes, they did.

They expected to see
Miss Conover.

When I found she was missing,

they asked if they could wait.

Then you stated that after
a while you became concerned

that Joe Dixon
wasn't on the ranch either,

so you finally called
the police,

who had just received the report
of your car being stopped.

Is that all correct?

Yes, yes, it is.

If the, um, rug men
hadn't been there, Mr. Farwell,

would you have called anyone?

Well, I don't understand.
What do you mean?

Or would you have just pretended
to go off toward Las Vegas,

knowing that later
you could go up to Pine Lake

and in secrecy
dispose of the body

which was being delivered there
in your own automobile.

Object, Your Honor.

Sustained. Mr. Mason,
you will confine yourself

to proper cross-examination.

The, uh, police also stated

that an anonymous call
from a farmer

who claimed his car
had been sideswiped,

led to the stopping of your car
and the discovery of the body.

Yet an examination of your car

showed no evidence
of any collision.

Therefore, it must be assumed

that the anonymous call
was made

only to induce the police
to search your car.

I'm gonna ask you, Mr. Farwell:

Are you the person
who made that anonymous call?

I certainly am not.

No further questions.

JUDGE:
You may step down.

Call your next witness,
Mr. Prosecutor.

Call Wilmer Beaslee, please.

Perry.

CLERK:
Raise your right hand.

Do you promise to tell
the truth,

the whole truth,
and nothing but the truth?

BEASLEE: I do.
CLERK: State your name.

BEASLEE: Wilmer Beaslee.
CLERK: Be seated, please.

PROSECUTOR:
Will you state your occupation,
Mr. Beaslee?

I am a theatrical booking agent
for Memphis.

Tennessee, that is.

Now, have you ever known
the defendant?

Briefly. I tried to avoid him
whenever I could.

Would you state
the circumstances?

It was about 12 years ago.

Mr. Dixon was married
at the time

to a 16-year-old girl
named Georgia Hale.

I think she walked out on him
shortly afterwards.

She was stage-struck,

and she kept hounding me
to get her a job.

Was that how you happened
to meet her husband?

Oh, my, yes. He didn't like
the idea at all.

That man has a terrible temper

when he has a few drinks
in him.

PROSECUTOR:
Just answer the question.

Did you get Joe Dixon's wife,
Georgia Hale, a job?

Oh, not exactly. I'm afraid
she didn't get much of anywhere

until a couple of years later
when she went to New York,

and changed her name
to Rita Conover.

Thank you.

( mysterious theme playing )

I hadn't heard from her
in years, Mr. Mason.

And there she was
at the ranch one day.

She had a big car and she was
a little short of money.

She spotted Rennie

and she knew he was wanted
back in Tennessee.

You mean she tried
to get money from you?

Blackmail was better than
alimony any day.

Guess that's why I always
felt so sorry for Ann.

She was the only one
who really saw through Rita.

Knew how conniving
and downright mean

she really was.

Stay with your own story, Joe.

Well, that's about it.

My new boss came home then.
Burt Farwell.

And Rita, she says she's out
looking for real estate,

and then the first thing
you know,

they're going out
to dinner together.

You didn't tell Farwell
who she really was?

How could I?

Rita could put Rennie in prison,
don't you understand?

Because of a tramp like Rennie,

you were going to let
all those people be hurt?

Mr. Mason,
once you start covering,

once you start hiding things,
you can't stop.

I wanted to tell
Mr. Farwell the truth. Honest.

I started to that same day
before she was killed.

Then I didn't and...

Then it was too late.

Is that all of the story, Joe?

That's all of it.

All right, Joe.

Come on, Paul.
We've got work to do.

( dramatic theme playing )

Call Ann Farwell to the stand.

CLERK:
Ann Farwell to the stand.

I can't.

You've got to.

CLERK:
Ann Farwell, please.

Go on, honey.

What'll I say?

Well, just tell the truth.

( somber theme playing )

Raise your right hand.

Do you solemnly swear
the testimony

you're about to give
will be the truth,

the whole truth,
and nothing but the truth?

I-- I do.

State your name.

Ann Farwell.

Be seated, please.

Ann, how long have you known
Joe Dixon?

About a year.

See him often?

Twice a week,
sometimes more

when he gives me
riding lessons.

You like him, Ann?

Very much.

Ann, did Joe know
how you felt

about your father and mother
splitting up?

About your father
marrying Rita Conover?

ANN:
Yes. We talked about it
all the time.

PROSECUTOR:
Did Joe ever tell you
how he felt about it?

He--

He understood,
better than anyone.

Then he didn't approve of it,
either?

No.

Joe...

He knew how much
it was hurting me.

PROSECUTOR:
Did he ever threaten
to do anything about it?

I--

I don't remember.

PROSECUTOR:
Ann.

You've sworn to tell the truth.

You know you do remember.

Joe didn't kill her.

I know he didn't.

Ann.
Please, I--

Ann, I didn't ask you
what you thought

about his guilt or innocence.

I asked you if you ever
heard him,

Joe Dixon, the defendant,

threaten to do something
about your problem.

Please.

I--

Yes.

I guess he did.

PROSECUTOR:
When?

The last time was...

the day she was killed.

He was taking me home.

He--

He said there were times

when it was all he could do
to keep from...

PROSECUTOR:
From what?

He didn't mean it.

He was just angry.

PROSECUTOR:
He said it was all he could do
to keep from what, Ann?

From...

wringing her pretty neck.

Thank you, Ann.

Your witness, counselor.

Ann, you just said that

Joe took you home
on the day of the murder.

I meant to say school.

What time did he take you
to school?

About 2:00
in the afternoon.

And then what?

My mother
was waiting for me.

She wanted to take me home
for the weekend.

Did you go?

No.

Why not?

I wanted to be alone.

I felt so awful
about what Daddy was doing.

I just wanted to be alone.

So your mother left you
at school.

Did you see your father
that day?

Yes.

In the evening.

He came by in the car
and we went for a little ride.

You talked?

Yes.

What did you talk about?

Rita.

He said there was no way
of changing anything.

That he and Rita were going to
be married the next day.

Was that the end
of the conversation?

No.

I tried to change his mind,

but it wasn't any use.

So he took me back to the dorm.

Then what did you do?

Then I--

I went to bed.

MASON:
You stayed in bed?

ANN:
Yes.

Ann,

are you sure
you stayed in bed?

Yes.

Now, Ann...

didn't you leave
the dormitory?

Didn't you borrow
your roommate's car

and go back to the ranch
to see Rita?

Yes.

I did.

Why did you do that?

I wanted to talk to her.

I wanted to tell her

what she was doing to my mother.

I wanted to tell her

about how Mother cried
every night

and everything else.

That's all.

I wanted to talk to her.

And then?

I--

I got there.

And I left the car
out on the highway.

And--

And--

And what happened then, Ann?

I can't tell you.

I can't.

( sobs ):
I can't.

You'd rather let Joe go
to the gas chamber? Is that it?

No.
Is that it?

( shrieks ):
No.

( crowd murmuring )

Order. Order.

I'll declare
a five-minute recess

to let the witness
compose herself.

( dramatic theme playing )

Ann.

Ann.

Ann.

Oh, Ann.

Ann.

Stop.

Let me talk to you, Ann.

I don't want to talk.

I killed Rita.

( crowd murmuring )

ANN:
I killed her.

No, you didn't.
I can prove you didn't.

I did.

Who are you trying to protect,

your father or your mother?

What--?
Come down from there.

( sighs )

Oh, dear God.

You must have seen me there.

Oh, but darling,
I-I didn't kill her.

We quarreled, that's all.

I thought we could talk
sensibly.

And-- And then she lost
her temper and--

I saw you run
out of the house.

You got in the car
and drove away.

Oh.

And then what did you do, Ann?

I didn't know what to do.

After a while, I went inside
and found Rita dead.

Oh, poor baby.

I sat down and tried to think
for a long time.

Then I called you.

Then that's why you said
you killed her.

To protect your mother.

Oh, Burt.

And that's why you were willing
to let Joe take the blame.

You were protecting Ann.

You were all protecting
each other.

And now that at last
we have that truth,

there's only one person
who could have killed.

( suspenseful theme playing )

( dramatic theme playing )

Rennie confessed
to the whole thing.

Seems almost proud of it.

I guess he likes to see
his pictures in the papers.

MASON:
Rennie'd gone too far this time.

Rita was gonna turn him over
to the police.

He'd been drinking
and arguing with her.

When you arrived,
he went into another room.

When you ran out,
he took advantage

of the chance to kill Rita
and have you blamed.

But I thought
Rennie had an alibi.

He did. Just as soon
as he got back to that theater

where he'd been in trouble
with the ushers before.

He found a fire door
still unlatched and got back in,

which isn't too much of a
problem for an old popcorn boy.

Incidentally, he made that
anonymous telephone call,

made it from the theater.

A very grateful stepbrother.

Well, I am so ashamed of myself.

I thought if I kept quiet--

( sighs )

Well, you see, Perry,
I wanted to protect Burt.

I wanted to protect him,

well, just like he tried
to protect Ann.

Yes.

You three are still acting
like a family, aren't you?

Oh, I don't know about that.

But, well, it's like Burt says:

Sometimes it takes
a terrible thing happening

to make you realize

how much you really care
for one another.

( uplifting theme playing )

Thanks, Joe.

( noirish jazz theme playing )