Metro-Goldwyn-Mayer, Inc. v. Antioch Theatre Co.

367 N.E.2d 247, 52 Ill. App. 3d 122, 9 Ill. Dec. 813, 1977 Ill. App. LEXIS 3259
CourtAppellate Court of Illinois
DecidedAugust 17, 1977
Docket61530, 62286 cons.
StatusPublished
Cited by12 cases

This text of 367 N.E.2d 247 (Metro-Goldwyn-Mayer, Inc. v. Antioch Theatre Co.) is published on Counsel Stack Legal Research, covering Appellate Court of Illinois primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
Metro-Goldwyn-Mayer, Inc. v. Antioch Theatre Co., 367 N.E.2d 247, 52 Ill. App. 3d 122, 9 Ill. Dec. 813, 1977 Ill. App. LEXIS 3259 (Ill. Ct. App. 1977).

Opinion

Mr. JUSTICE McNAMARA

delivered the opinion of the court:

This suit was brought by nine motion picture distributors, each with a branch office in the city of Chicago, for an accounting to recover additional percentage license fees from defendants for underreporting the gross admission receipts of the latters’ movie theaters. After determining that the plaintiffs were entitled to an accounting, the trial court heard evidence as to damages. On November 6, 1974, the court entered judgment in favor of plaintiffs and against defendants in the sum of *79,290.63 in additional license fees and *12,372.72 in interest, a total of *91,663.35. Subsequently the court entered an additional order against defendants awarding fees and costs to the various plaintiffs in the amount of *19,500.00 for false pleadings under Section 41 of the Civil Practice Act. (Ill. Rev. Stat. 1971, ch. 110, par. 41.) Defendants appeal from all orders while plaintiffs cross-appeal only the amount of the principal judgment and interest.

Defendants are comprised of one individual, Henry C. Rhyan and four corporations, all located in Illinois: the Antioch Theatre in Antioch; the Liberty Theatre in Libertyville; the McHenry Theatre in McHenry; and the Family Outdoor Theatre in Grayslake. Rhyan operated the four motion picture theaters as an individual proprietor prior to January 1, 1967, up until August 1,1968. From that time through November 30,1973, Rhyan operated the theaters as corporate entities, with himself as president and managing agent. Rhyan thus was the controlling force behind each of the theaters throughout the period covered by this litigation, January 1,1967, to November 30,1973. During this time period, defendants leased numerous pictures from plaintiffs to be shown in the theaters.

When Rhyan contracted to license a motion picture from an individual distributor, he used an agent, Della M. Gallo, to make the preliminary contracts with the distributor and to negotiate the terms of the agreements. Gallo, working under the name of Independent Theatre Service, represented between 30 to 40 other exhibitor accounts besides Rhyan’s. Each of Rhyan’s theaters paid her 25 to 35 dollars per week to take care of their bookings. Gallo’s authority did not include agreeing to any specific film rental terms without obtaining the prior approval of Rhyan.

During the period of this litigation, over 700 films were exhibited in the four theaters. Separate booking arrangements and rental terms were negotiated for each film. Defendants admitted to having shown these films on the dates listed. For the full understanding of this litigation, we must provide an explanation of the intricate process through which the theater operators and picture distributors reach a final contractual accord.

Defendants participated in three types of licensing arrangements with plaintiffs. The simplest license was the “flat rental” arrangement wherein a specified amount was agreed upon between the parties as a fee prior to the film’s showing. These films generally were used as second features and are not at issue in this case. In the second type, a “firm percentage” arrangement, the percentage of gross receipts to be received by the distributor was agreed upon in advance. Only 34 such contracts are here involved. Thus the bulk of the licenses involved in this suit are of the third type, the “reviewable percentage film license.” This type is the most common arrangement in the industry as well as the most indefinite regarding the terms of the agreement itself. A range between two percentage figures generally is determined before the film is shown. Sometimes only one figure is given, but in either instance the contract is marked as reviewable. After the film has run at a specific theater, the final percentage is determined through negotiations between the operator’s agent and the distributor’s branch manager. It is this latter negotiation phase which constitutes the crux of the damage portion of this lawsuit. While many factors unrelated to gross intake contribute to the resolution of the eventual terms, it is apparent that the determination of the final percentage rests primarily upon an accurate box office report of gross admission receipts.

After denying defendants’ motion to strike and dismiss the complaint, the trial court stayed discovery in the case until the right to an accounting was resolved at trial.

Mr. Philip Komfeld, an auditor for plaintiffs’ law firms for 20 years, testified for plaintiffs that he had been involved in over a thousand audits of theaters and was well acquainted with the procedures involved. On June 11, 1969, plaintiffs’ law firm wrote Rhyan requesting that it be permitted to inspect the box office reports and other books and records pertaining to the exhibitions, tickets, admissions and income of each of the defendant theaters. Defendants’ counsel replied that the records would be available for inspection in his office. On September 16, 1969, Komfeld appeared at the office per mutual assent. The only records produced were purported to be the cashiers’ daily box office statements on all percentage pictures shown between 1964 and May 1969. These statements included the date, the title of the picture, the opening and closing ticket numbers for that day, each price class, and the receipts as computed from the ticket numbers and price class. Komfeld accepted these records without prejudice, but informed defense counsel that additional records would be needed. On September 19, 1969, Komfeld reached the conclusion that the distributors had been defrauded. He noted that the box office records from October 1967 to March 1969 did not appear to be authentic as they showed no signs of wear and seemed to have been prepared recently. He also noted that the handwriting on the records appeared to be identical even though different cashiers located in several locations supposedly had supplied them. Komfeld observed that the records of the ticket numbers reflected gaps in the continuity between the closing day of an engagement and the opening day of the next engagement, an indication of unrecorded ticket sales. This occurred only during the period from October 1967 to March 1969 (referred to throughout the testimony as “the bad period”). Such a gap, according to Komfeld, “is a very strong reflection on the reliability of the records.” Komfeld also noted that only during the “bad period” were there no check marks on the statements indicating the verification of the computations by someone other than the cashier. Komfeld informed defense counsel of the results of his examination and stated that a proper audit would require the original cashier’s box office statements, plus bank statements, duplicate deposit tickets, a cash journal and a general ledger. A few days later, defense counsel informed Komfeld that Rhyan had recopied the box office statements since the originals had become water soaked and were no longer available.

Shortly thereafter, defense counsel produced bank statements for the four theaters. These statements reflected the daily deposits which each theater made into their separate accounts. The Grayslake Drive-In slips consisted of admissions only, but the other slips contained both admissions and concessions receipts. Komfeld was shown photostated copies of duplicate deposit tickets from the Liberty Theatre on which certain notations had been blocked out. He was told that these notations pertained to the admissions and concessions and only the total deposit was showing.

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367 N.E.2d 247, 52 Ill. App. 3d 122, 9 Ill. Dec. 813, 1977 Ill. App. LEXIS 3259, Counsel Stack Legal Research, https://law.counselstack.com/opinion/metro-goldwyn-mayer-inc-v-antioch-theatre-co-illappct-1977.