Original subtitles

you

Glad to have you with us. Thank you. No hard liquor, you understand.

Mostly teenagers here.

Of course.

I recommend the Killer Shark.

It's pineapple juice with tonic.

Sounds fine. We'll have two Killer Sharks.

Right. What's going on? I thought this was supposed to be a business

appointment. It is.

Here.

Does this look like business?

$5 ,000.

$5 ,000?

What's going on? You disappear with a client mysteriously and alone, come back

with all the cash, pick me up, and bring me to this.

Oh, Melinda.

I can't hear you.

We're doing this for my client.

And who is this cash money client?

You've heard of Cameron McBain Burgess?

Who hasn't?

The kind of a man every girl wants as a father -in -law.

Millionaire. Civic leader?

Philanthropist?

What kind of a problem could Burgess have that would make him give his

a cash retainer? Apparently, he wants to become an angel.

You're putting me on.

Oh. And by the way, Cameron Burgess' name is not to be mentioned outside the

office. He agreed that only my secretary and an investigator know the fact.

May I have your attention, please?

You know how one cat said to the other cat, How do I get to Carnegie Hall, man?

And the second cat said, Practice and practice.

Yeah! So here's one cat you dig the most. And he's been practicing.

So let's hear it for...

Thanks so much, Mott.

You know, since I came to this country, it's been Annie what's done everything

for me.

Gave me this job and a chance to sing.

So this song's for Annie.

I walk in the same road I used to walk you home.

But this time it's different, I'm walking alone.

Oh, why did you leave me to be by myself?

I feel like a millionaire who's just lost his

wealth.

Oh, how dark and lonesome this...

Road seemed to be, it used to be sunny when you

walked it with me.

Since you've been away, it has never been the

same. Oh, come back my darling and let's start

again.

Oh no.

Are you sure this is the boy your client wants to spot?

Unlimited backing.

Can't even.

Why?

I don't know, Dylan.

I honestly don't know.

No, Mr. Hawley, I can't give you my client's name.

But he says you're the best personal manager in show business.

And he wants you to handle the boy's career.

Your guy wants him put over, huh? Made big time.

Well, he does want to give him a chance.

Now, I'd imagine that first you'd like to hear the youngster.

Find out if he has any talent.

What's that got to do with it? You think it's talent puts over these creepy kids

today? Forget it.

And what does it take? Two things.

Guts and money.

Big money.

You look down there in that street.

Pick out a kid.

Any kid.

Give me enough dough to do the job and in six months I'll have him a national

sensation. Remember Archie and Shell?

The Tongo Trio? I did it for them. They were nothing when I took them. As far as

I'm concerned, they're still nothing.

Anyway, I can do the same thing for this... What's his name of yours?

Sandy Chester. Yeah.

America's new singing discovery.

Did I tell you my terms?

Your man picks up all expenses, I get 25 % and full control. No dice without

full control.

And a contract nobody can break.

I'll draw up an agreement between you and Sandy.

When it's signed, I'm authorized to deliver $5 ,000

for a start.

That'll do.

For a start.

When would you like to talk to the boy?

Right away.

After all, America's waiting to see its new star.

It's just smashing, Eddie.

Think of it.

Cleet Hawley. The Cleet Hawley calling me.

Well, it was sure to happen sooner or later.

Go on.

It's true.

Besides brains, looks, personality, there's a certain, well, quality.

Star quality.

And I've got it.

You've been drinking too many killer sharks.

It's true.

If it weren't, why would a big manager like Lee Hawley be interested in you?

There is that.

Well, let's hope you're right.

Because then that 10 % of me that you have will be worth something.

Enough to fix this place up.

Your name's Andy Chester?

Yes, sir.

You must be Mr.

Cleet Hoyer.

I can't tell you what a thrill it is.

Oh, Henny? This is Mr. Cleet Hawley.

Henny's real old -time show business.

She was a headliner in vaudeville for years and years.

Well, not actually a headliner, but a feature building.

I've sure been a lucky block having somebody like her. She's taught me

everything I know about singing, how to act.

Well, maybe it's not too late to undo the damage.

Look, kid, if you and I get together, you're going to forget everything you

think you know. You're going to start over again, from the top, and learn it

way.

If you get together?

Well, I thought you told the boy over the telephone... All depends on his

situation. All depends on his...

Oh. All right, split, kid. The lady and I have got something to discuss.

But if you're going to talk about me, I ought to be here, shouldn't I?

Look, kid.

There's one thing you ought to start learning right off. I tell you something

once.

Now, split.

I'll send for you when I want you.

It's all right, honey.

There's only one thing we three are interested in.

Your career.

Mr. Holly and I won't have any trouble.

First thing I want to know is exactly where you and the kids stand.

I'll have perhaps 15 minutes before my kids call.

Time for some coffee? Sure.

Paul, what do you have on Sandy Chester?

Who is he?

Nobody. Just another English kid.

His mother died about a year ago and he came over here. In time, he showed up in

Hennyscoop. Why would a capable star builder like Hawley want to bother with

unknown, untried kid like Sandy without even hearing him?

Surely not for the money.

Don't be too sure.

Hawley's often been on the verge of making it, but so far he's always just

missed. The rock and roll business is a bare -knuckled racket.

Some kid makes a halfway name for himself or hits a hit record and the big

snap him up. That would explain why Hawley was so insistent on full control

what he calls an ironclad contract.

Well, I'm afraid I haven't been much help. I still can't explain Burgess'

interest in the boy.

It's not all that intrigues me, Paul.

There's also the fact that Burgess wanted Cleet Hawley and no one else to

Sandy's manager.

Now, why Hawley?

How would a man like Burgess have even heard of him?

All right, all right. Once again from the top.

Go on and enter again.

Let's go, let's go.

All right, applause, applause. Clap, clap, clap, clap, clap. Wait a minute.

Straighten your back.

And turn those feet and you'll walk like a duck.

All right, come on.

Don't grab that microphone as though you're going to throttle it. Pretend

girl. Play up to it. Make love to it.

And straighten that back.

You're going to be somebody. You're going to look like somebody.

Now, go out and make the entrance again.

Look, that's not singing.

Kid.

You're so far from singing, you couldn't reach it in a sleeper jump.

And what do you got me here for? You stay put, Rick. You stay put.

Now, look, you.

From the time you get up in the morning till the time you hit the pad at night,

you're going to learn to do things the Cleet Hawley way, catch? You're going to

learn to walk into a restaurant, to give an autograph.

Yeah, to brush your teeth the way a Cleet Hawley product does it, catch?

All right.

Take five. Take five.

I'll round up your music.

Don't let him throw you, Sandy.

The only way to make it in this business is to put up with the Cleet Hollies.

That's the sad part of it.

But that is how it is.

Did you hear what he said, though? I mean about signing autographs. You think

I'll ever get that far?

I was just going to ask you for your first month.

His former daughter, Sherry.

She's getting to be quite a fan of yours.

That's a bit of all right, that is. I'd like to meet her.

Hey. What's that? Oh, it's one of mine.

Da, da, da.

Surfing moon.

That's real boss.

Cool cats are clinging.

Yeah, yeah, yeah.

Wild waves are winging.

Yeah, yeah, yeah.

Sand dunes are swinging.

Yeah, yeah, yeah.

Cool it.

We were just noodling. I said cool it. Not his style.

Sandy, after a while, we're going to work on these. Right now, I want to

out that entrance.

Cleet!

There's not one of mine here.

And you said that we could... You mean I'm going to have trouble with you?

After everything I've done for you?

That's my boy, Riff.

All right, Sandy.

Make that entrance again. And this time, do it the way I told you.

Ready? All right. Applause.

Clap, clap, clap, clap, clap.

Applause, applause.

All right, kid, make your entrance. Come on, come on.

Okay.

Bye -bye, baby.

Remember you're my baby when they give you the eye.

Although I know that you care, won't you write and declare

that though on the loose you are still on the square,

I'll be gloomy, but send that rainbow to me.

All right, kid, all right.

Take five.

We got things to discuss.

Well, I just wanted you to see where the money goes.

That's quite a change.

Not that you didn't have potential, Sandy.

Don't you believe it. That kid's a product. I made him. All right, kid,

Well, that's the sample.

I had to give him a new hairdo, a bath, new clothes.

Now starts phase two. The buildup.

Yeah.

Donnie Merrill.

Publicity. Harry Mason.

Hello. You got those phone shots?

Right here.

These are for the fan mags.

Yeah, yeah, yeah.

Yeah, a few months of these and that kid with the two left feet we saw at the

coop will be the dream boat of every chick in the country.

And that takes bread, Mr. Mason.

Money, money.

From the vouchers you've been sending me, I'd say you've been spending bread

like water.

Make that bread on water.

I've got a few dates lined up for Sandy out of town.

Easy ones.

When he gets back here...

Then he'll be ready for the choice or spots.

And a record.

I'm going to get that record into the hands of every disc jock in the country.

See where the money goes?

You mean you have to pay them to play his records?

Of course not.

That's illegal.

But we offer incentives.

Same for the fan mags.

Cleet can get you top exposure for your dollar.

You wanted this kid on top, Mason?

Only one way to do it.

My way.

Now.

Let's talk serious money.

I sank 50 grand in my last project.

I'm talking the same kind of money here. I want it up when we get back to town.

And no more vouchers. I hate paperwork.

I'll report to my principal.

He'll want to know precisely what he's buying for his money.

Well, among other things, he's leasing one of the choicest collections of

skeletons in show business.

I've made kind of a hobby of skeletons.

Oh, there's nothing like it when you're promoting new talent to be able to pull

out a nice choice skeleton and kind of rattle it around.

Or putting it another way, knowing where the bodies are buried.

Oh, you're with it, Counselor, you're with it. You tell your principal that.

On that, you have my word.

I think the Counselor's chickening out.

Mr. Burgess, at the moment, Mr.

Hawley has the boy on tour. But when he gets back next week, he wants $50 ,000

free and clear. No vouchers, no accounting.

Purely on good faith alone.

By what day?

You're not actually considering giving him the money on his terms.

Well, I was aware when I first came to you there'd be considerable expense

involved if we expected results.

Expense, yes.

But... Let me come to the point. If you're determined to go ahead with this,

recommend very strongly you do it with another manager.

You mean Fire Pete Holmes?

Oh, Mr.

Mason, this is my wife, June.

Pleasure, Mrs. Burgess.

I'm sorry if I'm intruding, but I just happened to overhear... My wife knows

about our arrangements, Mr. Mason. You can speak freely.

Of course.

Here's a full report on Mr. Hawley prepared by the Drake Detective Agency.

This report concludes that Mr. Hawley is less than exemplary and hardly the

person to be entrusted with a large sum of money.

Well, the point is I don't know very much about show business, but they tell

that if you want results quickly, you've got to go through people like Hawley.

They all agree he's the best at getting results quickly.

But what about lasting results?

Mr. Mason, I'm sure that Cameron picked the best lawyer available to draw up a

contract that would protect the boy.

A contract can only protect Sandy financially. It can't govern his day -to

relationship with his manager. And that's what concerns me most of all.

From our telephone conversation this afternoon, I gather that you're not very

happy with Hawley's attitude, his manner of dealing with the boy.

But discipline, I'm sure, is just as important in show business as it is in

anything else.

Well, if Hawley's a little strict or hard, I'm sure it's just his way of

the job done.

It's not only that.

It's his methods.

He suggested, for instance, that in promoting the boy, he wouldn't hesitate

use, I think he said, skeletons in the closet.

But he meant to form a blackmail. In fact, although he doesn't know who you

that's one of the messages he told me to give you.

That he knows where the bodies are buried.

Well, I'm sure you're able to deal with Hawley, and I'm certain I am.

Now, let's get on with it, Mr. Mason. No, take a look at that report.

You'll note that the youngsters Hawley did put over broke away from him at

first opportunity. And all of them, to a man, said that Hawley did everything he

could once they'd broken away to destroy them.

Now, is that what you want for Sandy Chester?

Because with Mr. Hawley as his manager, I'm afraid that's exactly what you'll

get.

All hail the conquering hero.

Ah, Mr.

Burgess' discovery.

Or Mr. Holley's creation, who knows which.

Sandy's late.

Now, if we're to believe those newspaper clippings, the tour was an unqualified

success.

Or Dottie Merrill is a great press agent.

Why, Adela, you're becoming cynical.

That's showbiz.

Well, Sandy, welcome home.

You look wonderful. How did it go?

First rate, Miss Street.

The audiences all seem to like us.

Good to see you again, sir.

Don, I've just been reading about you. You've become quite a celebrity.

Not really.

Well, maybe in a few small towns.

But we're back in Los Angeles because Cleet's setting up a recording date.

Well, that's good, isn't it? Good?

I think it's little short of a miracle.

Perry Mason's office.

Just a moment, please.

It's the police.

They're looking for Sandy.

Don't do anything foolish now.

Just try to stay relaxed. Stay right where you are.

Now just take it easy up there, young lady. We've got the fire department

coming. We'll get you down.

Stay right where you are. Relax.

Don't make any moves. Stay right where you are. That's right. Try to relax.

We'll have you down in a little while now. Just be careful.

No, no, no. Don't make any moves. Stay right where you are.

That's the girl. Hold on.

Now you're fine.

They're on the way.

No, no. Don't move around. Stay right where you are.

Dotsie, what's going on? Take a look at the sign.

Don't try anything up there. Just stay where you are.

Be careful now.

Kids are crazy these days.

Why would she pull a stunt like that?

Tell me the truth, Sandy.

Do you know that girl?

Honestly, sir, I've never seen her before.

We've been trying to talk her down for a half hour.

She could break her neck.

Sandy, I just hope this isn't a stunt.

We've got to get that girl down.

Do you know the song Surfing Moon?

I think so.

Can we use the microphone, please? All right.

All right, honey, if you'll just sit still.

I'm going to sing for you.

how you feel, Cleet.

It was a crazy shtick, but we hit the front pages.

Well, don't blame me. It wasn't my idea.

What'd you expect Sandy to do? Just stand there and refuse to sing? Let the

get hurt?

Well, I don't understand why you're so teed off with me.

Sherry, if you ever, ever pull a stunt like that again to help me, I'll... Dad,

I'm sorry.

It got so late, I wondered if you were coming to rehearse.

Miss Scoop of the Year here and I were detained in juvenile court.

The judge finally released her in my custody, which may or may not have been

smart move on his part.

Now, Dad, you wouldn't have let them lock me up.

Do you know how much it's going to cost me for those fire trucks and the police?

Well, maybe Cleet will help out.

Cleet? Well, after all, he did get us a lot of publicity.

Oh, like, wow, didn't we, though?

Everybody in the country wants to hear Sandy Chester sing your song, Surfing

Moon.

Everybody except one guy.

And he's the only one that counts.

Please. He's in New York pitching an album deal.

And you had to cut the ground right out from under him.

How? The only two in the record exec wants to buy is a single called Surfing

Moon. Oh, Tom!

Dad, did you hear that?

So, that's why you climbed out on that billboard and had that crazy sign

painted. You don't want to build Sandy.

You just want to plug your father's song.

And it worked, too.

Except that Cleet didn't call the shots.

And when he doesn't, head for the bomb shelters, baby.

This check and letter are going back to Mr. Burgess by special messenger.

Cashier's check for $50 ,000.

You sure don't see many of those.

I imagine Cleet Hawley may be a little disappointed in not receiving it. He may

receive it anyway, but not from me.

You mean Burgess is going to deliver it on his own? Well, he says he's paying

for results, and Hawley apparently is getting results.

You think the last thing a man with Burgess's reputation would want would be

associate with someone like Hawley?

Well, he hasn't actually associated with him.

The contract is between Hawley and Sandy.

And I've been acting for Burgess while he remained anonymous.

But not anymore.

Once he gets that letter, I'm through. I washed my hands of the whole thing.

And Sandy Chester?

No, Paul, I can't do that.

I still feel responsible for that boy.

Anything I can do?

Maybe there is.

There are still some big unanswered questions in this affair.

Why was Cleet Hawley so willing to take on an unknown boy without ever hearing

him? And why was Cameron Burgess so anxious to sponsor an unknown boy in the

first place?

Well, I don't like to be threatened, Mr. Hawley.

Well, how did you find out about me?

What's it matter?

Let's just say I got friends.

And when I smell a double cross, I do something about it. Now, nobody's double

crossing you.

All right, then. Where's the bread? The cash? The cash? It was supposed to be up

for me the minute I got back from New York.

It's ready.

But my attorney won't deliver it.

He's advised me against going any further with you.

Now listen, Clyde, I'm going to level with you.

You think that kooky little girl on the billboard got newspaper space? What kind

of coverage you think they'd give the real story of why Cameron Burgess, civic

leader, is playing angel to the career of Sandy Chester?

Think it over, friend. Think it over.

It's urgent that I see you right away.

Very well, Mr. Burgess, within the hour.

Now, calm down.

I'm sure we can find Henny easily enough.

I don't know what's happened to her, Mr. Mason.

When I went down to the coop, it was shut down.

A sign on it that it was closed for non -payment of taxes.

And she's moved too and left no forwarding address.

I suppose business became slack and she couldn't meet her expenses.

But she had the money.

I knew she was worried about those taxes. That's why I told Cleet to send

the 10 % right away.

Henny had 10 % interest in you?

I told Cleet it had to be like that when I signed with him.

And Cleet Hawley agreed to that?

Of course.

So I've got to find out what happened, where she is.

Mr. Mason, Henny's about the last friend I've got.

I wouldn't let her down.

We'll check the court records.

I promise you'll be able to talk to her, certainly by tomorrow.

Good on you, sir.

Would you have her catch me in my dressing room at the recording studios?

We're doing Surfing Moon tomorrow.

And Henny will get a great thrill out of that.

Now, how about you, Sandy?

Is everything else going well?

I don't really know, sir.

It seems as if... Well, everything's happening just as Cleek said it would.

The tour dates and now this chance to make a recording.

You're not happy about it?

It's... Just that everyone around me seems to hate everyone else, or compete

with everyone else, or envy everyone else.

And I can't understand why.

When Cleet Hawley came out the hen is and wanted to take me on, I thought it

a whole new world opening up.

But now that I've seen it, I'm not sure I want to be part of that world.

When I said confidential, Mr. Mason,

That's exactly what I meant.

I didn't tell Cleet Hawley you were backing the boy, Mr. Burgess.

Then how could he possibly have found out about me? That I can't answer.

And you still refuse to deliver the check?

Absolutely. And my advice to you remains the same.

Get rid of him.

No, no, I... I can't do that now. I... I must turn over the money.

Mr. Burgess, I have the feeling that you're acting under duress.

Now, if you'd care to tell me what it is, I might be able to suggest a course

action. Is Cleet Holly threatening you?

No.

No.

That's my problem.

I'll have to handle it myself.

I said I'd sell you Surfing Moon.

This gives you the rights to the whole song.

Look, that sand for brains daughter of yours crawling up on that billboard cut

the rug out from under me. I don't want to buy your song. You two are forcing it

on me.

Sherry's only a kid, Cleet. She was trying to help me.

She doesn't know about it. Riff, Riff, baby, there are a couple of things she

doesn't know about.

Now, do we wise her up or do you sign that paper?

Hi, Dad.

You're supposed to be in school.

Oh, high school can get along without me for one afternoon.

Especially when Sandy's taping a new hit song, our song.

Come on in.

That two -bit piano player.

What you got?

Ah, album covers.

This one's nice.

This one stinks.

Why don't you go easy on Riff, honey?

Why don't you let me take care of the business, honey?

We've got Burgess right where we want him.

He's coming through with a check for $50 ,000, no strings attached.

What are we going to do with all that money? We're going to go places.

Okay, Ed, reading me in two?

Two's clear. Try number three.

The wire's crossed over here somewhere.

It's murdered to locate.

Who, Mr. Hawley?

Mr. Hawley wanted an echo chorus on the kid. I think he went to the chamber to

set it up.

ten percent.

So what did you give Annie?

The back of my hand. What else?

Pull these vultures out of the gutter. They think they got a claw on you for

rest of their lives.

But Annie's my best friend.

She took care of me. Gave me my first break.

Kid. I thought we understood each other.

A Cleet Hawley property is a one man show and nobody but nobody cuts in. I'm

your property.

Ten minutes.

Recording studio. Sandy Chester tape.

Cleet.

You're going to give any of 10 % or the money due so far or... Or what?

Or you and I are through.

Right now.

What? You can call it off. I'm not singing.

You little jerk.

86 me out, will you? You do that and you'll never work again. Never.

You can't afford to do that.

You've invested too much money on me already.

Me?

Invest in you?

It's your father's, though.

He's your angel.

You're crazy.

I don't have a father.

Yes, you do, Sandy.

Sandy, allow me to introduce your old man, Cameron Burgess.

I didn't know you existed, Sandy, until three months ago when I received a

letter from your aunt.

While your mother was alive, she forbid her sister to tell me.

And I wished it would have stayed that way.

Well, I didn't want you to find out.

Surely not this way.

Our deal was he wasn't to know.

Deals change.

Hey, Cleet, how about that echo?

We roll in five minutes, echo or no echo.

I just wanted to help you have a career.

I was afraid if you knew about me, you wouldn't accept it.

Right. And whatever I have taken.

Without knowing it, I want you to give back.

And you can call off all this.

Possessions, our deal, everything.

Now listen, Buster.

You read me loud and clear or I'll throw you back in the gutter where you came

from. When that tape rolls, you sing.

Because you've got a contract with me to sing what I say, where I say, when I

say. Or you don't sing at all, ever.

Now just a minute, Mr. Hall. Stay out.

I don't want your help.

Five minutes, punk.

Be here.

Mr. Mason.

I'm in luck. I was hoping to catch you before you left your office.

I wanted to give you this.

Your husband is still determined to do business with Cleet Hawley?

He asked me to give this to Cleet, but I wasn't able to.

I want you to give it back to my husband.

That would be rather embarrassing.

I'd rather he be furious with his lawyer than with his wife.

Well, I'm off to San Diego to spend the night with my sister. By the time I get

back, he'll have cooled off.

Well, that's the first time I have seen a woman take three suitcases and two fur

coats for one overnight trip.

I know you're experienced in such things, Paul.

But maybe you just don't know how the other half lives.

Will somebody please snag Sandy Chester and Cleet Hawley and shoot them down to

recording? This crew's on salary here.

Hey, we're five minutes late now.

Mr. Mason, could you help me get a seat?

I'll try, honey.

It is going to be all right, isn't it? I mean, how could those squares even

think a good kid like Sandy could murder anybody?

They have a pretty strong case against him.

I just know it's going to be all right. And you'll tell him that I'm here and

what I said.

And tell him not to be so hard on his father.

That poor man has been through so much.

I'll tell him, honey. Now you wait right here. I'll see about getting you

inside.

Your Honor, the state intends to show that this murder took

place because the defendant in this case fell into the familiar show business

trap of believing his own press notices.

The decedent, Cletus Hawley, was a thoroughly established, highly

trainer and manager of talent.

He took an unknown boy, Sanford Sandy Chester, under his wing, signed him to a

personal contract, and then molded and trained him into an exploitable

personality ready to be launched on a successful career.

This boy, however, unfortunately developed an inflated sense of his own

importance. The star became too big for his mentor.

And when the manager, Cletus Hawley, now deceased,

became disgusted with the behavior of his new star and threatened to wreck his

career on the very threshold of success, this boy, tragically and willfully,

stabbed his manager to death.

Then the defendant's apparent success, his so -called career, was not based on

any natural inherent talent or ability to perform.

but on a carefully engineered and completely false build -up manufactured

and the deceased Cletus Hawley.

It's routine.

And Cleet was a past master at it.

It's simple, really. You hire a hundred screamers like those kids outside, plant

the gig, and you can make an overnight sensation out of a wooden Indian.

What about the girl on the billboard? Was that part of the build -up? It

out to be.

And it sure kicked the kid's career into orbit.

But it wasn't Cleet's idea or mine.

The little chick ad -libbed the whole bit.

All right. Now, according to your previous testimony, it was that stunt

precipitated the final argument between the defendant and the decedent. Is that

right? The Teeters were screaming for a disc of Sandy doing Surf and Moon.

On the recording date, Sandy told Cleet that he wouldn't sing under his

management.

You just didn't do that, Cleet Hawley.

Split on Cleet, and after that, nowhere's Bill.

Cleet would just pull the rug.

And Sandy Chester knew that, didn't he?

Knew that Cleet was about to pull the rug from under his career.

Objection. Mr. Berger is leading the witness.

I'll withdraw the question, Mr. Mason.

You're witness.

I have no questions at this time.

You say you overheard part of the conversation between the decedent and

defendant? How is that possible if you weren't in the same room?

The engineers were having some trouble with crossed wires.

What sort of trouble?

Harry, I checked with the studio electricians. With those wires crossed,

were only two places Riff could have overheard that conversation over the

monitors. Sandy's dressing room and the echo chamber.

Where Cleet was buried? Right here.

And this conversation took place only a few minutes before the body was

discovered? Yes, sir.

Thank you.

Cross -examine, Mr. Mason.

Mr. Lawler, your daughter told the court that in all the years you worked for

Mr. Hawley, he paid you a meager salary. You wrote songs, turned them over to

your employer for nothing.

To be published under his name.

Now, why, Mr. Lawler?

It was a job.

Steady.

I show you this paper.

States Exhibit F.

A paper found in the pocket of the deceased.

An assignment of all rights to the song entitled Surfing Moon to the benefit of

Cletus Hawley for good and valuable consideration.

What was the good and valuable consideration Cletus Hawley paid you?

Nothing. You gave him the song?

Why, Mr. Lawler?

What was the hold that Cletus Hawley had over you all those years?

I refuse to answer the question on the grounds that my answer may tend to

incriminate me.

You're taking the Fifth Amendment?

You're afraid of incriminating yourself in Cletus Hawley's murder?

No. Then answer the question.

I refuse to answer on the grounds that... Now, one moment.

Mr. Mason, in view of this surprising turn in the witness's testimony, I'm

to adjourn this court until 2 o 'clock this afternoon to give Mr. Lawler

opportunity to obtain advice of counsel.

This court stands adjourned.

You sure put that guy over the jumps.

It has to be done, Lawler, to get at the truth.

What does it have to be done?

Perry, I've searched a lot of records. I've had my people check old friends and

relatives of Riff. I've gone through old newspaper files. It's perfectly clear

to me what Hawley had on Riff. It's all in the report I handed you.

It's a combination of circumstances.

Some people never learn to face the truth.

It all started at a drinking party. On the way home, Riff had an accident. His

wife was killed instantly.

He wasn't arrested?

Cleet Hawley was the first one on the scene.

It's my guess he told the police the wife had been driving. Riff wasn't even

held. But the worst he might have faced was involuntary manslaughter.

Yes, but how could he face his daughter?

Actually, she wasn't really his daughter. She was born before Riff met

mother. Then Riff must have lived in dread of Sherry finding out how he'd

her mother, turning against him, probably leaving him.

You can see why I'd do almost anything to keep it quiet.

Work for next to nothing, give away songs, or commit murder.

Maybe it's better to live with our mistakes than to try to correct them.

It was a wartime marriage, a matter of a legal affair.

Sandy's mother knew it wasn't any good as quickly as I did.

She wrote me in France that she'd had it annulled.

Of course, the boy never knew about me, so I was trying to help him anonymously

through you.

Mr. Berger? No.

Your office is on the telephone.

Oh, thank you.

Seems as if everyone who's come in contact with Hawley was suffered in some

for him. That's right, Paul.

You know, I want to help that boy.

But the only way I can do it is to implicate his father.

What do you mean?

I'd have to put him on stand.

You can't do that.

Put me on instead.

For what purpose?

Because I was the one that brought him together with Cleet Hawley.

Cleet and I were... We were very close.

That's before I met Cameron.

Then you told Cleet that Sandy was Burgess' son.

Why? Well, the truth is... Cleet and I were going away together.

On your husband's $50 ,000?

You realize, don't you, if I do put you on the stand, it'll destroy your

marriage.

But I may be able to save my husband's son.

Now, Mr. Lawler, I presume you had opportunity to consult with counsel on

desire to plead the Fifth Amendment?

Yes, sir.

All right, Mr. Mason, you may now repeat your question.

Your Honor, I wish to withdraw the question. I'm finished

with the witness.

Very well.

The witness may stand down.

I have nothing further, Your Honor. I'm satisfied that the state has proved its

case. The prosecution rests.

Defense calls as its first witness, Mrs. Cameron Burgess.

Thank

you.

Raise your right hand.

Do you swear to tell the truth, the whole truth, and nothing but the truth?

State your name, please.

Then you pretended to be in sympathy with your husband's desire to finance

son's career, but actually this was only a means of getting money from him.

That's true, yes.

What did you intend to do with that money?

Cleet and I were planning on running away together.

When you asked your husband for the cashier's check, ostensibly to deliver

Holly, you intended to go to the recording studio, pick him up, and never

home?

Yes. Did you go to the studio?

Yes.

But I got there too late.

Cleet was dead.

And she'd killed him.

Who killed him?

Objection! That little publicity woman who'd been making such a big play for

him. She must have found out about Cleet and me.

Order!

I will have order!

You maintain under oath that it was you and not Mrs. Burgess with whom Cleet

Hawley was planning to run away?

That's right. As soon as he got the money from her husband.

It's clear enough now.

As soon as she found out that Cleet was using her.

That it was Burgess' money he wanted, not his wife.

She killed him. Mr. Mason, I'm not going to allow these unsubstantiated charges.

It must be as obvious to you as it is to me that...

One of these witnesses is lying.

Do you have any evidence to offer that would assist the court in

Your Honor, there is a witness now present in the courtroom who may be able

throw some light on the question.

Now, would you tell the court, please, which of these ladies was telling the

truth?

How should I know?

Well, didn't you hear Cleet Holly talking to one of them at the recording

studio?

Well... Weren't you in Sandy's dressing room, waiting to talk to him when the

technicians got the wires crossed and fed the microphone signal into part of

public address system? You must have been, Henny.

Otherwise, how would you have known that Mr. Burgess was Sandy's father?

Well, I... I heard it here in court.

But you mentioned it to me in the lobby before court opened, remember?

Hasn't the time come for the truth, Henny?

When you heard over the PA what Cleet Hawley was going to do to Sandy, destroy

his career, his future... Cleet Hawley told me nobody cuts in on a piece of a

Cleet Hawley product.

So for Sandy's sake, I gave him my 10%. I said I wouldn't tell Sandy.

But I warned Cleet if he ever did anything to hurt him, he'd have

to answer to me that day in the studio.

When I heard Cleet talking, so vicious, I went looking for Cleet.

Cleet was in the echo chamber.

I went in and I killed him.

Sandy's like a son.

If you hadn't been able to get him off, I wouldn't have let anything happen to

him.

I'm leading my own one -man war against primitive noise by organizing the

society for the preservation of my kind of music.

And just what is your kind of music? Good old sentimental ballads like

Flugey and Beat Me Daddy Ate to the Bar?

Clay's hit parade is made up of Strauss waltzes, the two -step, and Irish

ballads. And what's wrong with that?

Sandy?

Hello, Mr. Mason.

Mr. Drake. Hi, Sandy.

Sandy's the best busboy I ever had.

Well, don't give him compliments. Give him a raise.

Sandy, I understand you're keeping busy.

Well, let's see.

In the morning, I take voice, dancing or acting class.

I work here all day.

And when I'm finished, I'll go down to Riff Lawler's new club. Maybe do a

of songs.

Oh, Riff's opened a club.

Come on now, Mr. Mason. I know you're supposed to act like it's a secret, but

Sherry already told me. You talk my far...

Mr. Burgess into advancing Riff the money. Well, that's not entirely true,

Sandy. I made the arrangements, but it was your father's idea.

Well, if you're going to do any of that caterwauling tonight, you better take

off that jacket and get moving.

Thank you, sir.

Good night.

Shame about that boy.

Heart of gold.

And a tin ear.