[theme music] ♪ ♪ ♪ ♪ [chatter] CROFT: Puss!

Puss!

Come on.

Puss!

Good boy, Puss.

You're not coming in, you know.

Come on, get it eaten.

Get it eaten.

It's good for you.

Uh, well, well, well.

Come on.

Come on.

[distant arguing] MAN: I did exactly what we rehearsed!

CROFT: Well.

WOMAN: Oh!

MAN: What do you think-- WOMAN: Oh, really?

Leave me alone!

Leave me alone!

MAN: Well, you're stuck with me, aren't you?

You're stuck with me.

WOMAN: Don't worry about-- MAN: Bad example!

WOMAN: You couldn't act your way out of a paper bag.

You never could!

MAN: You enjoy swanning around this bloody place, don't you?

[woman laughs] You spend more energy on your bloody hurrahs outfit of the show than you do on your performance.

[gunshot] [clatters] [cat meows] [gunshot] [panting] [sobbing] I killed him.

What could I do with him?

Help me.

[sobs] RUMPOLE (VOICEOVER): (ANGRILY) I killed him.

What could I do with him?

Help me.

Or, (DESPERATELY) I killed him.

What could I do with him?

Help me.

Grimble!

Grimble Central!

I killed him.

What could I do with him?

Help me.

PORTER: Grimble!

Grimble Central!

Grimble!

Grimble Central!

Grimble!

Grimble Central!

Grimble!

Grimble Central!

Grimble!

All change for Alaska, Archangel, Greenland, and all points north.

"The air bites shrewdly.

It's very cold.

It is a nipping and an eager air."

Mr. Rumpole!

"'Tis bitter cold, and I am sick at heart."

Albert!

Mr. Rumpole, how are you, sir?

My dear old clerk, Albert Handyside!

Nice to see you, sir.

Let me take your case.

Thank you.

Thank you.

Well, uh, I promised to bring you up here, sir.

First murder we had going.

Of course, it's not exactly the Penge Bungalow job, sir, but a decent little case, sir, in its way.

"Worth the detour," as they say at the Michelin.

[both chuckling] It's a-- lady client, sir.

Oh?

One of the show folk, as they terms them.

One of the show folk?

Yes, I'd definitely say worth the detour.

[both chuckling] You bettered yourself.

Working for solicitors, and in the north of England.

How are things down south, sir?

Oh, down south, much as usual.

Barristers lounging in the sun, munching grapes to the lazy sound of plucked guitars.

[laughs] Here, thank you.

Hotel or the prison first, sir?

Oh, let's go to the prison, Albert.

I'll feel more at home.

ALBERT: Ah, but first of all, I'm taking you home, sir, for a decent tea.

Oh, splendid.

Daisy.

[chatter] I told my senior partner, sir.

I'd told him straight.

My Mr. Rumpole's quite capable of doing this one on his own.

Reminded him, did you?

I did the Penge Bungalow murders alone and without a leader.

Well, that's what I told him, sir.

But, uh, my senior partner seemed to feel that-- Yes, I understand, Albert.

I'm not a QC.

I'm not on the Lord Chancellor's guest list.

And I'm never invited to breakfast in knee breeches.

Always the bridesmaid, never the bride.

[laughs] I'm not so much Rumpole, QC, as Rumpole, queer customer.

Well, it's, um-- it's a murder case, sir, so it's caused quite a bit of local interest.

Yes, of course.

And silk goes with murder like steak goes with kidney.

This Jarvis Allen, QC, he's a competent sort of fellow, is he?

I've only seen him on the bench, sir.

On the what?

ALBERT: Your learned leader sits as recorder here, sir.

He sent a young tearaway from our office up for three years for a punch up at the Grimble United football ground.

There's no particular art involved in getting people into prison, Albert.

What's he like at keeping them out?

Thank you.

JARVIS: You tell us you remember nothing.

ALBERT: Oh, it's the shock, Mr. Allen.

It's wiped out all recollection.

Mrs. Frere-- She's known as Maggie Hartley, sir, in the profession.

Well, I think she'd better be known as Mrs. Frere in court.

Now, Mrs. Frere, Tommy Pierce is prosecuting.

I know him well, of course.

If we went to see the judge-- Skelton's a perfectly reasonable fellow-- I think there's a sporting chance-- I make no promises, mind-- but I think there's a sporting chance that they might let us plead to manslaughter.

RUMPOLE (VOICEOVER): A remarkable talent for getting people locked up.

Of course, we should have to accept manslaughter.

I'm sure Mr. Rumpole agrees with me.

You do agree, don't you, Rumpole?

Much more agreeable doing 10 years for manslaughter than 10 for murder.

Is that the choice you're offering?

JARVIS: I don't know if you've read the evidence, but our client was found with a gun in her hand.

Yes.

Stupid place to have it if she was planning a murder.

All the same, it leaves us without a defense!

Really?

Do you think so?

I was, uh-- I was looking at that statement of Alan Copeland, the, uh-- And known as a juvenile, I believe, Mr. Rumpole.

Juvenile, yes.

"I've worked with GP Frere for three seasons.

GP drank a good deal.

Always interested in some girl in the cast.

A new one every year."

Ah.

Jealousy might be a powerful motive for our client.

That's a two-edged sword, Rumpole.

Two-edged, yes.

Most swords are.

"He quarreled violently with his wife, Maggie Hartley.

On one occasion, after the dress rehearsal of the master builder, he threw a glass of milk stout in her face in front of the entire company."

JARVIS: Yes, yes, she's had a good deal of provocation.

We can put that to the judge.

But that only reduces it to manslaughter!

What you want in a murder is an unlikable corpse.

Then, if you've got a likeable defendant, you're off to the races.

Why, who knows?

We might even reduce the crime to innocence.

JARVIS: Rumpole, as I've had to tell Mrs. Frere very frankly, there is a clear admission of guilt, which is not disputed!

Yes, what she said to the stage doorman, Mr, uh-- Mr. Croft.

Croft, yeah.

Yes.

Uh, "I killed him.

What could I do with him?

Help me."

You've read that, at least?

Yes, I've read it.

That's the trouble.

What do you mean?

The trouble is, I read it, I didn't hear it.

None of us did.

I dare say Mr. Croft didn't have it spelled out to him with all the punctuation.

Really, Rumpole, I suppose they make jokes about murder cases in London.

But what if she said-- what if our client said, I killed him.

What could I do with him?

Help me.

That's the reading.

What?

The reading of the line.

Tell them that.

Tell them how I said it.

Oh, my dear lady.

I'm afraid I am hardly in a position to tell them anything.

Who am after all but the aging juvenile?

The reading of the line, as you call it, will have to come from your leading man.

In this case, your leading counsel, Mr. Jarvis Allen, QC.

[car door closed] Ah!

Uh, there we are, Albert, the scene of the crime.

You can always learn something from the locus in quo.

Well, I do feel we ought to have asked Mr. Jarvis Allen along, sir.

Oh, he's not interested in the scene of the crime.

He's only interested in doing deals with the learned judge.

Mr. Derwent is at the front of the house.

Yeah.

Best way to get to him is through that back door.

Come on, I'll put some lights on for you.

Thank you.

[clanging] "Can this cockpit hold the vasty fields of France?

Or may we cram within this wooden O the very casques that did affright the air at Agincourt?

Oh, pardon!"

MAN: Who is it?

Oh, pardon me.

The name's Rumpole.

We telephoned.

MAN: Down here.

I'm in the stalls' bar.

Mr. Derwent, I believe you're in charge of the Frere-Hartley players.

DERWENT: Well, what's left of them.

Decimated, that's what we've been.

I mean, if you've come with a two-hander for a couple of rather untalented juveniles, I'd be delighted to put it on.

I suppose you are in the business.

Business?

Well, you know, show business, the profession.

Oh, no.

Another profession altogether.

But not, sir, quite as old as yours.

Oh, um, only our, you know, old manager left us in a state of total chaos here.

[sniffs] You know, they can't hear of an active shot dead in Grimble, but half the character men in Spotlight's onto me for a job.

Well, I've told them nothing's gonna be decided till after Maggie's trial.

We're not reopening till then.

It wouldn't seem right somehow.

What other professions?

We're lawyers, Mr. Derwent.

Oh, Maggie's case.

My name is Handyside of Instructing Solicitors.

And this is Mr. Rumpole from London, junior counsel for the defense.

[sniffs] A London barrister in the sticks!

Fred Grimble's hardly the number one touring date.

All the same, I suppose murder's a draw anywhere, isn't it?

Would you care for a tiny rum?

Oh, yes.

Thank you.

A drop of orange or as she comes?

No, just as she comes.

Thanks.

I always take a tiny rum for the vocal cords.

I mean, we depend on the cords in our professions, don't we?

Mr., uh-- Handyside.

I'll have a light ale, thanks very much.

We, uh, just wanted to get some idea of the geography of the place, if you don't mind.

No, it don't bother me.

The money we've turned away, you wouldn't believe it.

[sniffs] You can't buy publicity like it.

No, I suppose not.

I mean, week after week, all you know, was one little patter-- "Maggie Hartley took her part well."

Now we're all over the front page, and we can't play.

Breaks your heart.

Really, it does.

Oh.

Poor old GP.

Well, at least he's sober tonight, wherever he is.

[sniffs] [glass clinking] Was the late GP Frere-- Well, not that his performance suffered.

I mean, he didn't act any worse when he was drunk.

[sniffing] What I admired about old GP was his selfless concern for others, you know.

He never left you with the sole responsibility of entertaining the audience.

You know, he'd always try and help by upstaging you or moving on your laugh line.

He once-- he once tore up a newspaper all through my long speech in Waiting for Godot.

You wouldn't do that, would you, Mr. Rumpole?

Not in anyone's long speech.

Well, of course not.

Uh, Ms. Christine Hope.

Ms. Hopeless, I called her.

God knows what GP saw in her.

She did that audition speech from St. Joan, you know, all breathless and excited as if she'd just run up four flights of stairs because angel voices were calling her about a part in Crossroads.

RUMPOLE: [chuckling] DERWENT: Oh, we could do something with her, old GP said.

I know what I told him-- burn her at the stake.

ALBERT: Yeah, Mr. Rumpole?

RUMPOLE: Yeah?

ALBERT: Our client.

RUMPOLE: Ah, yes.

DERWENT: Your client, my leading lady.

[sniffs] I suppose both our shows depend on her, really.

No doubt about it, though, she is good.

Maggie is good.

There's a quality, you know, perfect truthfulness.

Absolute reality.

ALBERT: Truthfulness?

DERWENT: Well, it is very rare.

[glass clinks] ALBERT: Oh, would you be prepared to say that in court?

DERWENT: Is that what you came here for?

RUMPOLE: Oh, no, no.

We, uh-- we'd like to see the scene of the crime.

[broken glass shatters] Hmm.

Any help to you, is it?

Oh, it might be.

It's what we lawyers call the locus in quo.

Do you really?

How frightfully camp of you.

It's what we actors call a dressing room.

Hmm.

Of course, they don't really live in the real world at all.

It's all make-believe to them.

Dressing up in fancy costumes.

JUDGE: Dressing up?

Yes, I suppose so.

You don't think she appreciates the seriousness?

JARVIS: I'm afraid not, Judge.

Still, if she wants to sack me-- of course, it puts Rumpole in an embarrassing position.

Are you embarrassed, Rumpole?

Yes, Judge, dreadfully embarrassed.

Still, there you are.

She seems to have made up her mind.

She wants to be represented by her junior counsel.

Very embarrassing for you both.

Yes.

Does she give any reason for dispensing with her leading counsel, Jarvis?

She said-- I can remember her exact words.

She said she thought Rumpole would be better casting.

Better casting?

Whatever can she mean by that?

Better in the part.

Oh, dear.

Is she very pretty?

She's an actress.

Yes.

Yes, I supposed she is.

Do you have any views about this, Tommy?

No, Judge.

When Jarvis was instructed, we were gonna ask your views on a plea to manslaughter.

Manslaughter, eh?

Eh, do you want to discuss manslaughter, Rumpole?

No, Judge, I don't believe I do.

Hmm.

If you'd like an adjournment, you can certainly have it.

Your client may want to think about manslaughter or consider another leader.

If she should have leading counsel in a case of this seriousness.

I think we can dispense with the adjournment, Judge.

I don't really see any point in looking for another leading counsel.

You don't?

No, I don't honestly think anyone else would get the part.

[chatter] I must say, I take an extremely dim view of this.

Oh, really?

An extremely dim view.

Yes.

On this circuit, we have a tradition of loyalty to our members.

Yeah, it's a local custom, is it?

Certainly, it is.

I can't think of anyone on this circuit carrying on with the case after his leader had been sacked.

It's not in the best traditions of the bar.

Yes, well, of course, loyalty to one's leader, it is extremely important.

But one mustn't forget the other great legal maxim, must one.

JARVIS: Why?

What's that?

The show must go on.

Good Lord, look at the time!

Well, it's been nice chatting to you, old darling, but I've got a number of things to do.

Uh, Mr. Rumpole?

RUMPOLE: Yeah?

Did the judge grant it?

Grant what, Albert?

An adjournment, so we can approach another leader.

My senior partner was particularly keen we should get an adjournment.

Yes, well, I'm sorry, Albert, but I'm afraid he's gonna be disappointed.

I pleaded with the Judge, Albert.

I almost went down on my knees to him.

But would he grant me an adjournment?

No.

No, Rumpole, he said.

The show must go on.

Oh, cheer up, old darling.

There's only one thing you must remember to say to your senior partner.

Oh, what's that?

Just say, Penge Bungalow murders.

[chuckles] [chatter] I don't know if any of you, ladies and gentlemen, will have actually attended performances at the Theater Royal, but all have passed it-- going up the Maken's Road in a trolley bus on the way to the Grimble United football ground.

[laughter] Now, maybe there aren't many dedicated theatricals among your number.

Perhaps your idea of relaxation after a hard day's work is the telly and a pint of Grimble ale, but-- RUMPOLE (VOICEOVER): Oh, dear, a comic.

The Robb Wilton of the northwestern circuit.

--past the Snailsham roundabout, on the corner opposite the Old Britannia Hotel, where we've all celebrated many a win by Grimble United.

[laughter] RUMPOLE (VOICEOVER): Why don't you just tell them, the prisoner is represented by Rumpole of the Bailey, a smart-alecky lawyer from London who has never even heard of Grimble United, let alone the Old Britannia Hotel.

--in a case of willful murder.

Now, in this case, members of the jury, we enter a different world, alien to most of us-- the world of the show folk.

They live a strange life, you may think, a life of make-believe.

On the surface, everyone loves everybody.

You were wonderful, darling, said to men and women alike.

Oh!

It's-- RUMPOLE (VOICEOVER): Shall Rumpole heave himself to his hind legs and protest against this rubbish?

No.

Rumpole shall sit still and assume a look of bored indifference.

PIERCE: But underneath all the good companionship run deep tides of jealousy and passion, which welled up in this particular case, members of the jury, into brutal and, say the Crown, quite cold-blooded murder.

Now-- RUMPOLE (VOICEOVER): Murder is a draw, that little gnome in the theater was perfectly right.

The judge's wife is here, Lady Skelton, front row of the stall, in her special matinee hat.

PIERCE: --fire a gun at you.

RUMPOLE (VOICEOVER): Sheriff of the county in fancy dress, Mrs. Sheriff of the County.

PIERCE: --to hurt you-- RUMPOLE (VOICEOVER): Oh, dear me, she's forgotten-- PIERCE: Common sense-- RUMPOLE (VOICEOVER): --her opera glasses.

PIERCE: --isn't it, ladies and gentlemen?

Anyone who uses a gun does so at his or her-- RUMPOLE (VOICEOVER): And the star of the show-- PIERCE: --peril.

RUMPOLE (VOICEOVER): --my client.

Looking as I told her to look-- ordinary.

PIERCE: Now this is not a case which depends on complicated evidence, members of the jury, or points of law.

It simply amounts to this-- the murder weapon, a revolver, was found in the defendant's hand as she stood over her husband's dead body.

A bullet from that weapon penetrated the sternum and entered the heart.

Ladies and gentlemen, the defendant, as you will see on your abstract of indictment, is charged as Margaret Frere.

But it seems she preferred to be known by her maiden name, and that may give you some idea of this woman's attitude to her husband of some 20 years, the deceased, in this case, the late Gerald Patrick Frere.

CROFT: I think both of them were shouting.

PIERCE: And then?

CROFT: I heard a second shot.

Did you go into the room?

Oh, it were a mess.

A right mess.

Glass broken, blood.

He was sprawled in his chair.

I thought he was drunk for a moment, but he weren't.

And she had this, uh, pistol, like, in her hand.

And she said-- Can you remember what she said?

Not too fast.

Just follow His Lordship's pencil.

She said, I killed him.

What could I do with him?

But what did you understand that to mean?

It is not what this witness understood it to mean.

It is what the jury understands it to mean.

My Lord, the witness was there.

He could form his own conclusions.

Please, gentlemen, let's try and have no disagreements.

At least not before luncheon.

I think Mr. Croft may answer the question.

I understood it to say she was so fed up with him, she didn't know what else to do.

But-- to kill him.

Yes, My Lord.

Did she say anything else that you remember?

I think she said, help me.

Yes.

Just wait there, will you, in case Mr. Rumpole has some questions.

Yes, just a few.

When you saw the deceased Frere slumped in his chair, your first thought was that he was drunk?

CROFT: Yeah.

Had you seen him slumped in his chair in his dressing room drunk on many occasions.

A few.

Quite a few.

CROFT: Yeah.

After performances, he would go back to his dressing room and stay there drinking?

CROFT: Some night.

Most nights.

Well, yeah.

Yes.

And most nights, he would be the worse for drink?

Some nights.

Oh, Mr. Croft, I can quite understand that loyalty to your late employer prompts this hairsplitting.

Were there some nights when he wasn't the worse for drink?

Did he ever celebrate with an evening of sobriety?

My Lord.

RUMPOLE: Mr. Croft, when you went into the room, the deceased Frere was nearest to the door?

CROFT: Yeah.

- Two or three feet away.

CROFT: Well, that's all.

And my client was standing halfway down the room?

CROFT: Yeah.

Holding a gun?

We-- he told us that!

RUMPOLE: Now also in that dressing room, there was a mirror, a cheval mirror, and it was broken?

Yeah.

And that broken mirror, was at the far end of the room away from the door?

Yeah.

So that to have fired the shot that broke that mirror, my client would have had to turn away from the deceased and fire in the opposite direction.

Surely, that's a question for the jury to decide.

The witness was there, he can form his own conclusions.

What's the answer?

Well, I suppose she would.

You suppose she would?

Wouldn't that depend, Mr. Rumpole, on where the deceased was at the time that particular shot was fired?

Exactly!

As Your Lordship pleases.

Now let us turn to the little matter of what was said when you went into the room.

CROFT: Oh, I can remember that perfectly.

Ah, the words, yes, perhaps, but it's the reading that matters.

The what, Mr. Rumpole?

RUMPOLE: Uh, the-- the will the stress, My Lord, the intonation.

Oh, it's an expression used in show business.

JUDGE: Perhaps we should confine ourselves to expressions used in law courts, Mr. Rumpole.

Certainly, My Lord.

She said that she had killed him.

And then-- what could I do with him?

Help me.

Yeah.

Meaning, what could she do with the dead body and asking for your help.

My Lord, surely that-- He was there!

She didn't mean that she had killed him because she didn't know what else to do with him.

Well, Mr. Croft, what's the answer?

Did she?

I can't be sure how she said it, My Lord.

[chatter] What a perf, Mr. Rumpole.

What?

Your performance, a knockout.

Oh, really?

Well, here, thank you.

Thank you very much.

What I admired most, well, you know, was your timing.

You know, the pause before you started the cross-examination.

Pause?

Mm.

You took a beat of nine.

I counted.

Nine?

Seconds.

Did I?

Did I really?

- Hmm.

Built up the tension, of course.

I see what you were after.

You really must let me know if you ever want a job in rep. Mm.

Yeah.

[chatter] [whimsical music] (WHISPERS) 2, 3, 4-- Have you any questions, Mr. Rumpole?

(WHISPERS) It's the timing, old darling, is the pause.

7, 8, 9, now.

(NORMAL VOICE) Now, Mr. Alan Copeland, you knew that the deceased, Frere, owned a revolver.

Do you know where he got it?

He was in a spy film, and it was one of the props.

He bought it.

Ah, but it was more than a bit of scenery, wasn't it?

It was a real revolver.

Unfortunately, yes.

Did he have a license for it?

Oh, yes.

He joined the Grimble Rifle and Pistol Club and used to shoot at targets.

I, uh-- I think he fancied himself as James Bond or something.

As James who?

RUMPOLE (VOICEOVER): Of course, the old sweetheart, knows perfectly well.

He's just giving his much-loved performance of judicial ignorance.

RUMPOLE: A character in fiction, My Lord.

A person licensed to kill.

He also spends a great deal of his time sleeping with air hostesses.

[laughter] JUDGE: Mr. Rumpole, we have quite enough to do in this case dealing with questions of fact.

I suggest we leave the world of fiction outside with our overcoats.

RUMPOLE: I entirely agree with Your Lordship's suggestion.

Where did Frere keep his revolver?

Usually in a locker at the rifle club.

Usually?

A few weeks ago, he asked me to bring it back to the theater for him.

He asked you?

I'm a member of the club myself.

- Ah.

- Oh, really, Mr. Copeland?

And what's your weapon?

A shotgun, My Lord.

I do some clay pigeon shooting.

Did Frere say why he wanted his gun brought back to the theater?

COPELAND: Well, there have been some burglaries.

I imagine he wanted to scare any intruder-- if he saw one.

You had no idea that he had ammunition for it-- in the theater?

No, sir.

I had no idea.

Now, you have spoken of quarrels between Frere and his wife?

COPELAND: Yes, sir.

RUMPOLE: On one occasion, in front of the entire company, he threw a drink, a glass of milk stout, into her face.

That was after the dress rehearsal of The Master Builder.

Er, the master what, Mr. Rumpole?

A builder, My Lord.

Well, yes, that would be a Henrik Ibsen, would it not?

Henry Gibson?

RUMPOLE: Certainly, My Lord.

Now during their quarrels, did you ever know my client to retaliate in any way?

COPELAND: No, sir.

Never.

May I say something, My Lord?

Certainly, Mr. Copeland.

Ms. Hartley, as we know her, is an exceptionally gentle person.

Thank you, Mr. Copeland.

Mr. Copeland, you've told us you shot clay pigeons at the rifle club.

Yes.

Nothing much to eat on a clay pigeon, I suppose.

RUMPOLE (VOICEOVER): Oh, dear.

Local comic dies the death in Grimble.

Frere asked for his pistol to be brought back to the theater.

Did his wife know about that, do you think?

I certainly didn't tell her.

RUMPOLE (VOICEOVER): Oh, Pierce, my old comic, was that a wise question for you to ask?

May I ask why you didn't tell her?

I thought it would make her very nervous.

I certainly was.

Nervous of what, exactly?

RUMPOLE (VOICEOVER): Careful, Pierce.

Never re-examine unless you're sure of the answers.

Well, I was always afraid GP would get drunk and lose it off at someone.

RUMPOLE (VOICEOVER): Oh, excellent witness for the prosecution.

This was the revolver you removed from the scene of the crime?

It is.

It had a number of sets of fingerprints on it.

It had your client's fingerprints on it.

And those of the deceased.

Yes, but I understand-- Yes is enough.

Thank you-- Let him answer.

What do you understand, Inspector?

I understand that Mr. Frere used the pistol at the shooting range, My Lord.

Exactly.

It's clear, is it not, that two chambers had been fired?

It is.

One bullet was found in the cheval mirror and another in the body of the deceased Frere.

That is so.

Now-- if the person who fired the first shot pulled back the hammer in order to fire a second shot, the revolver is now in a condition to go off with the much lighter pressure on the trigger, is it not?

POLICE INSPECTOR: Oh, that is so, yes.

Yes.

Thank you, Inspector.

Inspector, whether the hammer was pulled back or not, a woman would have no difficulty in firing this pistol.

POLICE INSPECTOR: Certainly not, sir.

Yes.

[gun clicks] Thank you, Inspector.

RUMPOLE: You say you heard voices shouting?

CHRISTINE: I heard GP, yes.

RUMPOLE: Did you hear my client's voice?

I can't be sure.

RUMPOLE: Ms. Hope, why were you waiting at the stage door?

Somehow, I can never bear to leave.

After the show's over, I can never bear to go.

I suppose I just love the theater.

Or did you just love GP Frere?

You waited for him always at the stage door, did you not?

He left his wife there and took you home.

Sometimes, he took me home.

RUMPOLE: Why?

It was late.

And I couldn't always get a bus, so he walked me home.

It wasn't very far.

RUMPOLE: And went in with you to your lodging?

Just to say good night.

Did those good nights sometimes last till morning?

We used to talk, sometimes-- quite late-- about the theater.

Ah, yes, it's a fascinating subject, Ms. Hope, the theater?

CHRISTINE: Oh, yes.

Terribly fascinating.

Gave you two plenty to talk about until 6 o'clock in the morning, did it?

We weren't talking all that time.

No.

But he frequently stayed with you until 6 o'clock in the morning?

(MUTTERS) Sometimes.

You're dropping your voice, Ms. Hope.

Sometimes, My Lord.

Ms. Hope, when you heard Mr. and Mrs. Frere quarreling, do you think they were quarreling about you?

I suppose it's possible.

Because the late GP Frere was your lover, was he not?

[sobs] Do I have to answer that question, My Lord?

No, not really, Ms. Hope.

I won't insist.

There, you see?

You can remember all sorts of things when you try.

Perhaps.

When I have a sympathetic counsel.

I can't work with anyone hostile.

That dress is absolutely right.

Do you think so?

I wore it in Time and the Conways.

Now listen to the questions.

Answer them as shortly as you can.

Every word to that country comedian is giving him a present.

Just stick to the facts and, uh, not a word of criticism about the dear departed.

You want them to like me?

I don't think they'll find that very difficult.

Do I have to swear on the Bible?

Well, it's customary.

I'd rather affirm.

Don't you believe in God?

I suppose he's a possibility.

He just doesn't seem to be a very frequent visitor to the East Grimble rep.

I know a Grimble jury.

Look, if you could swear on the Bible-- The audience would like it?

The jury.

They're not too keen on agnostic actresses.

Is that your opinion?

Well, uh, I suppose that puts it in a nutshell.

All right in the West End, is that it?

No good in Grimble.

Of course I want you to be yourself.

No, you don't.

You don't want me to be myself at all.

You want me to be an ordinary north country housewife, spending just another ordinary day on trial for murder.

Naturally, you're nervous.

Well-- time to go.

I'm bloody sick to the stomach every time I go on.

Good luck.

Never say "good luck!"

It's bad luck to say good luck.

MAGGIE: He told me he was very much in love with Christine.

RUMPOLE: With Ms. Hope?

MAGGIE: Yes, with Christine Hope.

He wanted her to play Amanda.

RUMPOLE: Yes, that is the role for the leading lady.

Then what was to become of you?

He wanted me to leave the company, go to London.

He never wanted to see me again.

And what did you say to that?

I said I was terribly unhappy about Christine, naturally.

Yeah.

Uh, would you just tell the ladies and gentlemen of the jury what happened next?

He said, it didn't matter what I said.

He said he was gonna get rid of me.

He opened the door of the dressing table.

Was he standing, then?

I-- I would say staggering.

Yes.

And then?

He took out the revolver.

Yes.

This one?

I-- I think so.

RUMPOLE: What was its effect on you when you first saw it?

I was terrified.

Did you know it was there?

No.

I had no idea.

And then?

Then-- he seemed to be getting ready to fire the gun.

You mean he was pulling back the hammer?

- My Lord.

- Yes.

Please don't lead, Mr. Rumpole.

My Lord.

I think that's what he did.

I didn't look carefully, naturally.

I was terrified.

He-- he was waving the gun.

He didn't seem to be able to hold it straight.

And there was a terrible explosion.

I remember glass, dust, everywhere.

Mrs. Frere, who fired that shot?

My husband.

I think-- Yes?

I think he was trying to kill me.

After that first shot, I saw him getting ready to fire again.

Was he pulling the-- Please don't lead, Mr. Rumpole.

(MUTTERS) Oh, do sit still, Tommy.

Your act comes later.

He was pulling back that-- that thing.

My Lord, if the usher might stand next to Mrs. Frere and, uh, hold the gun.

JUDGE: You wish to stage a demonstration, Mr. Rumpole?

RUMPOLE: If Your Lordship pleases.

We're all quite sure that thing isn't loaded?

Oh, quite sure, My Lord.

After all, we don't want another fatal accident.

Really, My Lord, that was quite improper!

I'm not sure I heard what Mr. Rumpole said.

He spoke of an accident.

(MUTTERS) That's right.

Don't remind the jury.

(NORMAL VOICE) I apologize to my learned friend, My Lord.

Mrs. Frere, how far was your husband standing from you?

Very close.

As close as that.

He raised the gun.

Usher, would you be so good?

I was trying to stop him.

I-- I got hold of his hand to push the gun away.

I pushed it back.

I think-- I think I must have forced back his finger on the trigger.

[gun clicks] There was another terrible explosion.

I never meant-- I don't-- [sobs] - Yes.

MAGGIE: I never meant-- Yes, thank you, usher.

Ah!

Mrs. Frere, when Mr. Croft came in, you told him that you would kill your husband?

Yes, I had-- by accident.

What else did you say?

I think I-- I said, what could I do with him?

I meant, how could I help him?

And you asked Mr. Croft to help you?

Yes.

Mrs. Frere, did you ever, at any time, have any intention of killing your husband?

Never.

[sobs] No, never!

[sobbing] Usher, a glass of water.

[sobbing] Bloody play-acting!

RUMPOLE: In a few hours, this case will be over.

You'll go home, put the kettle on, and in a short time, you'll forget all about this little theater about the angry, drunken actor and his wretched infidelities.

This case has only been a few hours out of your lives.

But for the lady I have the honor to represent, all of her life is in the balance!

Is that life to be broken?

Is she to go down in darkness and disgrace?

Or can she go back to her own world to bring us all joy, and laughter, and entertainment once again?

Ask yourselves that question, members of the jury.

And when you ask it, you know there can only be one answer.

[claps] (WHISPERS) Not now, Daniel.

You're alone.

Mm?

Oh, yes.

Albert's just popped next door to the magistrates' court for a touch of dangerous driving.

The show must go on.

You don't like this part, do you?

I can't stand it.

It's like waiting for the notices to come out.

Waiting for hours with a rumbling tum for the jury to get back.

Dry mouth, smoke too much, drink too many cups of tea.

And think of all the things that I should have said.

There you are, dear.

Thank you, Elsie.

No sugar, thanks.

Well, we, uh-- we've got work to do.

Work?

Yes, in case they find you guilty of manslaughter.

Only that?

Oh, that's the worst.

I think I've got all the facts of mitigation.

I just want to get the history clear.

Now you started this company with GP Frere-- It was my money.

Every bloody penny of it.

Well, I don't think we need to go into the financial side.

You know that idiotic manager we had then did?

He gave GP a contract worth 50% of the profits for an investment of nothing, and a talent which stopped short of being able to say a line and pour out a drink at the same time.

Anyway, I never paid his percentage.

We don't need to say that, will we?

No.

50% of 10 years' work.

He reckoned he was owed around 20,000 pounds.

He was going to sue us and bankrupt the company.

I don't think you need to tell me any more.

So don't feel too badly, will you, if we're not a hit?

They should be back soon now.

It's all a game to you, isn't it?

What a wonderful game of let's pretend-- the costumes, the bows, little jokes, [laughs] and the onion at the end.

Onion?

An old music hall expression.

You know, what makes the audience cry?

Oh, I was quite prepared to go along with it and wear the makeup.

You didn't wear makeup?

Well, no.

That was brilliant of you.

You're a marvelous performer, Mr. Rumpole.

Don't let anyone tell you different.

It's not a question of-- performance!

Isn't it?

No, it is not!

At this moment, the jury are assessing the facts, trying to discover where the truth lies!

Or rather, if the prosecution had proved their case.

Oh, I'm tired, worn out.

There's so much acting!

I tell you, in the theater, we haven't got time for all that.

We've got our livings to get.

I think they want you upstairs now.

You're ready, dear?

Yes, Elsie.

CLERK: Would your foreman please stand?

Have you reached a verdict on which you are all agreed?

We have, My Lord.

[chatter] ALBERT: You did it, Mr. Rumpole!

My senior partner will be over the moon about this one.

Alone and without a leader.

It's the Penge Bungalow job all over again, sir.

Oh, is it Albert?

In that case, I wasn't defending an actress.

DERWENT: Triumph, my dear.

Total triumph.

Congratulations.

You told me she was truthful.

Well, I meant her acting.

I mean, that is quite truthful, not to be faulted.

That was all I meant.

Yes.

Well.

Congratulations, Rumpole.

It was a bloody good win.

Oh was it?

Well, I-- hope so.

Coming to the circuit dinner tonight?

What, tonight?

You'll enjoy it.

The Midland Hotel.

They've got a pretty decent drop of claret.

Oh, splendid!

[chatter] COPELAND: You will send us copies, won't you?

You will send us copies?

MAN: --taking a vacation?

No.

COPELAND: Well, there are a lot of work to do.

We've got to get-- - I want to get back to work.

I think-- [chattering continues] MAGGIE: Yes, I'd love to do that.

[camera shutters clicking] I think we ought to go now.

Uh, thanks very much.

It's lovely, thank you.

Where are we going?

I think I should just-- Here are the keys.

[chatter] [hammer banging] Mr.

Junior, in the matter of Rumpole.

Uh, Mr. Senior.

Mr. Senior, I will read the indictment.

"Count 1, deserting his learned leader in his hour of need on the occasion of his leader having been given the sack, are particulars of offense.

Mr. Senior, have five minutes elapsed?

Five minutes having elapsed since the loyal toast.

Gentlemen, you may now smoke.

Thank you.

It was said Rumpole did add considerably to the seriousness of the offense by proceeding to win in the absence of his learned leader.

Mitigate!

Uh, Mr.

Junior, has Rumpole anything to say by way of mitigation?

Uh, Rumpole?

The show had to go on.

What?

What did Rumpole say?

Sometimes, I must admit sometimes I wonder why.

Speak up!

What sort of a show is it, exactly?

Have you ever consider what we are doing to our clients?

Has the port got stuck to that end of the table?

Seeing that they wear ties and hats, keep their hands out of their pockets, keep their voices up, remember to call the judge "My Lord."

[chatter] Generally behaving like grocers at a funeral, whoever they may be.

One minute.

What do we tell them?

(WHISPERS) What do you make a profit?

RUMPOLE: Look respectable, we say.

Look suitably serious.

Swear on the Bible.

Say nothing that might upset a jury of lay preachers.

[chatter] What do we ever find out about our clients in all these trials?

Mm?

Do we ever get even a fleeting glimpse of the truth?

Well, do we, or do we put a-- a hat on the truth and a serious expression in order to please the audience?

Uh-- I mean, of course, the jury, and my Lord, the judge.

Do you ever worry about that at all?

Do you ever-- Time's up.

Eh?

Oh, yes, all right.

Quite all right.

Performance is over.

Mr. Senior.

Rumpole's mitigation has, of course, merely added to the gravity of the offense.

Yes.

Rumpole, at your age, with your experience of the bar, I'm surprised that you weren't proud to get the sack.

And your further conduct in winning the case shows a total disregard for the feelings of an extremely sensitive silk.

MEN: Yeah, yeah.

The least sentence I can pass is a fine of 12 bottles of claret.

MEN: Hear.

Hear.

MR. SENIOR: Have you got your checkbook on you?

Well, members of the mess will now entertain the company in song.

Yeah.

Come on, Tommy.

Come on.

Tommy, let's have a "The Road to Mandalay"!

I'm looking forward to this.

♪ Roll me back to Mandalay ♪ Where the whole flotilla lay ♪ ♪ Can't you hear those paddles stroking ♪ MEN: ♪ From Rangoon to Mandalay ♪ ♪ On the road to Mandalay ♪ Where the flying fishes play ♪ ♪ And the dawn comes up like thunder ♪ ♪ Out of China ♪ Across the bay [rhythmic tapping] ♪ By the old Moulmein pagoda ♪ ♪ Lookin' eastward to the sea ♪ There's a Burma girl sitting ♪ ♪ And I know she RUMPOLE (VOICEOVER): Oh, I've had quite enough of show business.

TOMMY: ♪ Oh, the wind is in the palm trees ♪ Taxi!

Where to, gov?

South!

[theme music] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ [audio logo]