Dempsey-Kearns Theatrical & Motion Picture Enterprises, Inc. v. Pantages

267 P. 550, 91 Cal. App. 677, 1928 Cal. App. LEXIS 429
CourtCalifornia Court of Appeal
DecidedMay 9, 1928
DocketDocket No. 5807.
StatusPublished
Cited by12 cases

This text of 267 P. 550 (Dempsey-Kearns Theatrical & Motion Picture Enterprises, Inc. v. Pantages) is published on Counsel Stack Legal Research, covering California Court of Appeal primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
Dempsey-Kearns Theatrical & Motion Picture Enterprises, Inc. v. Pantages, 267 P. 550, 91 Cal. App. 677, 1928 Cal. App. LEXIS 429 (Cal. Ct. App. 1928).

Opinion

HAHN, J., pro tem.

Plaintiff prosecutes this appeal from a judgment rendered in favor of the defendant in an action seeking to recover $2,356.76, claimed due and owing from defendant, arising out of a contract entered into between the parties. The evidence was presented to the court either by stipulation or by testimony which was not disputed.

In October, 1921, a written contract was entered into wherein the defendant herein was the party of the first part and designated as “manager”; the plaintiff herein was the party of the second part and designated as “producer,” and Jack Dempsey and Jack Kearns were the parties of the third part and designated as “artists.” The contract in question is an extended one, and we will quote only such paragraphs as we deem material for our consideration. They will be referred as numbered in the written agreement.

“First. The Manager agrees to engage and employ, and the Producer engages to furnish and secure the services of the said Artists during the period of this contract.
“The Producer agrees that said Artists will render their exclusive services to the Manager, as herein provided, during the term of this agreement.
“Second. The said Manager agrees to organize, assemble and put together the vaudeville show around Jack Dempsey as champion heavyweight pugilist of the world, in which show the said Dempsey and Kearns shall render their services as herein provided.
*679 “Fourth. The said Manager guarantees to the said Producer twenty (20) weeks’ employment, and the term of this contract shall be for twenty (20) or more weeks.
“Fifth. . . . Whenever a week is lost by travel, as hereinbefore provided, the Producer shall receive no pay for said week, nor shall the said week be considered as one of the weeks of the term of this contract or of the guarantee of employment given to the said Producer.
“Sixth. The Artists shall not be required to appear in more than three (3) shows a day, except on Saturdays and Sundays, when four (4) shows may be given.
“Seventh. Out of the gross receipts at the box office of the theatre or theatres in which the Artists appear, there shall first be paid to the Producer by the Manager the sum of four thousand dollars ($4,000) per week, after which there shall be paid from such receipts the cost of the show in which said Artists are appearing, said cost to include transportation, salaries of artists and expenses of an advance man, but the aggregate cost of said show, aside and apart from the four thousand dollars ($4',000) paid to the Producer as therein provided, shall not in any event exceed the sum of twenty-three hundred and seventy-five dollars ($2375).
“After the aforesaid payment of four thousand dollars ($4,000) shall have been made to the Producer and the cost of the show, as provided in the preceding paragraph, then there shall be paid to the manager the sum of four thousand dollars ($4,000) or as much thereof as the gross receipts will permit. Thereafter any surplus remaining, after the payment of the war tax, shall be divided fifty per cent (50%) to the Producer and fifty per cent (50%) to the Manager.
“The payment of the four thousand dollars ($4,000) to the Producer shall be as follows:
“Two thousand dollars ($2,000) in American currency and two thousand dollars ($2,000) in Canadian currency in the cities of Winnipeg and Vancouver;
“The payment of the Producer in all other Canadian cities shall be in American currency;
“Any moneys due to the Producer under the splitting arrangement shall be paid in Canadian currency;
*680 ‘ ‘ Otherwise, all other payments shall be in American currency.
“Ninth. The Manager guarantees to the Producer that the minimum receipts of the Producer for each week that the services may be rendered by the Artists as herein provided shall be not less than the sum of four thousand dollars ($4,000).”

Attached to and made a part of the contract is what is termed therein as a “printed form of contract.” This printed form contains extended provisions specifying the authority of respondent “as manager” to determine the place, time, and manner of giving the vaudeville shows and also establishes with considerable detail the duties and obligations of the players who are therein designated as “artists.” The form contract makes use of the terms “salaries” and “employment,” as, also, other terms commonly used in declaring the relation of employer and employee.

The controversy here involved arose out of the fact that the box office receipts for a Sunday night performance given in Kansas City were stolen from respondent’s safe in the office of the theater, where the money had been placed by respondent’s agent for safekeeping. It was stipulated in open court that the loss of the money was in nowise due to any negligence or carelessness on the part of respondent or his agent.

Subsequent to the theft respondent refused to make settlement with appellant on the basis of the box office receipts taken in at the Sunday night performance, contending that this money was partnership funds, and that, inasmuch as the loss was not due to any negligence on his part, he was not accountable to appellant for any of the proceeds from that performance. It seems to have been conceded by respondent at the trial that had the money not been stolen, plaintiff would have been entitled to payment, by reason of the Sunday night performance at Kansas City, in substantially the amount set forth in the complaint.

The case was tried by both sides upon the theory that the determination of any liability on the part of the respondent to the plaintiff would depend upon whether or not the contract in question constituted a copartnership. Plaintiff contended vigorously that there was no copartnership, but rather an agreement between independent parties. Defend *681 ant resisted plaintiff’s claim on the ground that the contract did constitute a copartnership. Briefs filed by both parties on the appeal are largely occupied with a discussion of the question as to whether or not there was a copartnership.

It appears from the contract and the evidence presented at the trial, that appellant had no part in fixing the price of admission to be charged for the shows, nor any authority in employing the help or players, or in fixing their compensation. The box office receipts were in the possession and charge of respondent’s agents and were by them deposited in the separate accounts of the respondent carried in the name of the different theaters. Respondent and his agents alone had the right to check on these funds, and all payments were made during the life of the contract to appellant by checks drawn upon respondent’s bank accounts and signed by him or his agents.

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Bluebook (online)
267 P. 550, 91 Cal. App. 677, 1928 Cal. App. LEXIS 429, Counsel Stack Legal Research, https://law.counselstack.com/opinion/dempsey-kearns-theatrical-motion-picture-enterprises-inc-v-pantages-calctapp-1928.