All language subtitles for perry_mason_s10e03_shooting_star

Thank you.

Thank you.

All right,

folks, that's a wrap.

Atmosphere, stop by wardrobe, sign your
vouchers, pick up a call, see some

Carol.

Thank you.

Kate!

Hey, Kate!

Front and center, your director's here.

Here's the question that begs to be
asked. How did he keep his rug on?

Not here.

Not much I can see.

I went back to the hotel about half an
hour ago.

Just wasn't feeling well.

She didn't tell me she wasn't feeling
well.

Since when is telling you everything in
her contract?

Since when is taking care of her
wardrobe and yours?

She forgot some stuff. She didn't
forget, Eric. She just didn't take it

to wherever it is she really went.

She's at her hotel. Eric, I can still
smell the perfume she had on before she

left. Now, where is she?

You know, Eric, you're gonna keep
crossing me, and I swear the only

you'll end up managing won't belong to
chimpanzees. You understand that?

Where is she?

She went out to dinner.

Archers. Did she go with him?

What do you think?

I hope you enjoyed your meal. Oh, yes,
thank you.

Hello, John. Mr. McKay. How are you?
Very well, thank you.

Listen, is Kate home? Yes,

she is. She's with Mr. Carr.

Shall I sit another place?

No, no, no. No, that'll be fine.

Thank you very much.

You know, Robert makes me feel like I'm
suffocating sometimes.

I know he doesn't mean to, but he...
Well, that's why sometimes it's good to

step back and take a break.

No wonder they call this the Big Apple.

You never know when you're going to run
into a big worm.

Well, look who's here.

Come on, let's go.

What do you mean, come on, let's go?

I heard you weren't feeling well, so I'm
here to take you home, okay? Robert.

Look, we're just two old friends having
dinner. Come on, sit down, join us.

Oh, you're two friends.

That's why you come over and sleep
behind my back? Is that why?

I didn't want you to know where I was
going because I knew this is how you'd

react. Well, we're getting out of here
and I'm not taking no for an answer.

on. Come on.

Hey, hey, I thought you came to New York
to play a detective, not a jackass.

Don't you have a wife somewhere?

Come on. Come on.

Mr. Carr.

Take it easy, Robert. You don't want
that face in the morning papers.

with a lump on it.

All right.

What do we have to do to get quiet
around here? I can't even hear myself

Thank you.

That's what I thought. Okay, folks, we
gotta go one more time. Listen, get a

mic on her, okay? And we'll go as soon
as you get a level.

Honey, you were terrific, but your mic's
stuck, okay? Can you get me one more

just like that? No problem.

Jer, could you help me get this off?

Hey, Bobby. Yeah?

I'm gonna go again. How about if I cut
in even closer? Uh, okay. Look, Ray, let

me get back with you in just a second,
okay?

Jed, good guy. How you doing? Hi,
Robert.

How's yourself?

Look, I need a, uh, small favor. Yeah?

I need to borrow a prop gun. Oh, now,
look. Come on. Look, it's just for the

night, okay? Robert, those guns are
close to being locked up or in my sight

all times. I'm not gonna get fired, you
know? Jed, you're not gonna get fired.

I'm the director, okay?

Look.

I'm gonna, I'm gonna shoot Steve Carr
tonight on his show.

Do what?

Well, they're blank, Jim. I'm not gonna
use real bullets. What, do you think I'm

crazy? Look, it's a joke.

You follow me? I mean, it's a set -up
thing between him and I. Right there on

live TV? Yeah, but look, you know, the
thing is, you see, you can't, you can't

tell anyone, right? Because it's a
secret, you understand?

Well, I won't tell if you won't. Okay,
all right.

Thanks.

What time does the car show start again?

Uh, 11 o 'clock tonight.

Okay, I'll be watching. Okay. Bye,
everyone.

First team, take your places.

We're ready for you, Robert. Okay, Pete.
Thanks a lot, Jim. Okay.

All right, Pete. Anytime you're ready,
I'm ready. All right, folks. This will

picture. We're going again. We were

so poor, my

folks couldn't afford to buy me any
shoes. They had to paint my feet black.

And lace up my toes. Take two.

And three.

My father and mother were so poor, they
couldn't afford to have children. So the

neighbors had me.

There were five kids in there. Okay,
Mel, get ready to cue Louie.

I'll be honest with you. And two, zoom
out and get ready to pick up Marty when

he joins Steve.

And I thank you.

Hit the applause and cue Louie. And
ready to pick two.

Three, you stay right where you are.

One, wake up, we're coming your way.

Ready, one, and... One!

Oh, it's your first time here, and
you're a very funny guy.

Thanks, Steve.

And... Ready, two, and... Take two.

Okay, let's see if we can get in a
subtle plug for you here. I understand

appearing the 12th through the 15th at
the Melodyland Ballroom.

Hey, it's Robert McKay. What's going on
here?

Take three.

Well, I think you made us all a little
nervous with that material.

Stay with him, three.

Full shot two and take two.

Well, if it isn't Robert McKay, ladies
and gentlemen, crashing yet another

party.

John.

Another drink, Mr. McKay? Yeah, please.

What's going on? What's the matter with
everybody?

Well, someone has just shot Steve Carr.

Yeah, no, I did. As a joke.

A joke?

Yeah. He'll be here any minute. He'll
tell you all about it.

I don't think so. He's just been
admitted to Lexington General in

condition.

Mr. McKay, how are you doing?

Detective Harris, homicide.

There was a trial once when the artist
Whistler sued a man for libel about

remarks he made concerning the fees
Whistler charged for his paintings.

Can you tell me, the opposing lawyer
asked, how long it took you to complete

your painting?

Whistler replied, two days.

And you expect 200 guineas for your two
days' work?

No.

I expect it for the knowledge of a
lifetime.

Which is another way of saying how
important our law library is.

And if you think I've invited you here
tonight to put undue pressure on you for

a contribution, you're right.

Now, what's a beautiful woman like you
doing alone?

I'm just relaxing.

How's fundraising going?

Fairly well.

We're still short of the mark.

Thank you.

I hear you

and Steve are separated.

It's been on and off for the last six
months.

Mainly all of them.

How's Sharon?

I don't see her very much.

Unless, of course, I buy an issue of
Vogue when she's on the cover.

Allison?

Are you all right?

I keep telling myself that it's over.

That I should stop fighting him.

That he let me go, so I should just let
him go.

It's just that I don't sleep very well
at night.

And sometimes on weekends I drink a
little bit too much.

I don't have an occupation.

And I have a husband that sometimes
doesn't call me back.

Other than that, I'm fine.

Really. I'd like to help.

You already have.

Come on. Let's go back to the party.

Mother.

Sharon. What are you doing?

Steve's been shot.

Where is he? Is he all right?

He's dead.

Thank you.

Excuse me.

Come in.

Hello, Perry.

Good to see you, Sidney.

I ordered some coffee. I could use some.

The red eye from L .A. is starting to
get to me.

When we were in law school, you couldn't
afford to go to the movies, much less

produce them. Sit down. Thank you.

I suppose you've read that Robert McKay
was arrested.

Yes. He's directing and starring in our
picture with a budget of $30 million.

We're not a major studio, Perry.

If we shut this down, and we'll have to
if we lose McKay,

It's a disaster for us.

So, uh... You want me to represent him?
Immediately.

I was on the phone the entire flight out
here.

The police charged him with murder less
than five minutes after Carr died.

They would have looked like fools if
they hadn't. Perry, I've known Bob McKay

for years.

Steve Carr was his friend.

Forty million people watched McKay
commit murder.

Perry, I know you believe that no matter
what the circumstances...

A person is entitled to the best
possible legal defense.

That presents a problem.

Allison Carr has been a good friend for
more than 20 years. I'm not sure I could

represent McKay.

Perry, it's a personal favor to me.

Go and talk to McKay.

Just talk to him.

It was a joke.

It was, um, it was just a stupid joke.

Look, uh... Steve and I patched things
up in his apartment.

We had a couple drinks, and he got this
idea about me coming on to his show, and

we would fake a shooting.

Was anyone present during this
discussion?

No, there was no... Did you tell anyone?

Tell anyone? I, uh...

I told the prop man.

Did anyone have access to the gun?

I put the gun... I put the gun in my
glove compartment.

But I didn't lock it.

Can you explain how a round of live
ammunition got into the gun?

No, I can't.

Mr. McKay...

You just shot and killed a man on
nationwide television.

And you're going to ask the court to
believe that someone put a live shell in

your revolver?

Yes, I am.

You publicly fought with Carr the night
before.

Why should we believe this story of
yours?

Why?

Because it's true, that's why.

Well, that's not good enough. Wait a
minute. I don't need you coming in here

telling me how bad this looks.

And I don't need you coming in here
putting me down.

I didn't murder Steve Carr. And I don't
care if you believe that or not, because

that's the truth.

Forget about me, Mr. McKay.

Why should anyone believe you didn't
kill him?

Because he was my friend.

I'll see you at the bail hearing.

How could you do this?

I think he's innocent.

He killed Steve.

He pulled the trigger on the gun, but
someone else could have put bullets in

gun.

I don't believe I'm hearing this.

How could you possibly defend that man?

I thought you were my friend.

Allison, I am your friend.

But McKay deserves his day in court.

Get out?

Your Honor, this is a case in which the
risk of flight is substantial, to say

the least. On the contrary, my client is
under enormous pressure to complete a

multi -million dollar motion picture in
New York.

Your points are well taken, gentlemen.

Bail will be set at $150 ,000, with the
stipulation that Mr. McKay stay at

all times within the municipal
boundaries of New York City.

Well, Counselor, we meet again.

That we do.

I would prefer a fair fight, but I must
admit it's reassuring to know that I

have 40 million eyewitnesses at my
disposal.

If you were going to kill someone, Mr.
Reston, would you do it in front of 40

million people? No.

But then I'm not Robert McKay.

That's right.

You're not.

Ray, what are you doing here? I'm just
making sure the wheels are adjusting.

you okay, Bluffy? Well, I'm better than
okay. I'm free as far as I know.

Excuse me, Mr. Mason.

This is my stunt coordinator, Ray
Anderson. Ray, this is my attorney,

Mason. Hey, Perry.

Listen, next time you get an idea for a
practical joke, you clear it with me.

You got that? Yeah, don't worry about
it.

Of course, I thought it was going to be
pretty funny myself, but... You knew

about the joke beforehand?

Well, Bobby's wearing a radio mic when
he asked Jed to borrow the prop pistol.

I could hear him playing his day over by
the mixer.

Did anyone else overhear this
conversation?

Oh, Kate was standing right there.

If you'll excuse us, sir, Mr. McKay has
bail money to arrange.

Right. Now, listen, I think... Oh, sure,
listen. I'll see you in a sec, good

-bye. Okay, thank you.

That's good news. I mean, that's great.

Now we can prove that shooting Steve was
supposed to be a joke, right?

A strong case could be made.

That you wanted to be overheard.

To set up this murder.

Oh.

Look.

Who's to say you didn't switch the blank
in that gun with the real bullet?

Although it does prove something.

What's that?

That at least...

Two other people could have.

Hello, hello.

Hello there.

When did you get in?

Last night.

Well, well, I... really didn't need
anything quite this expensive.

Anything with a terrace would do.

We're using Perry's suite as our office.

Your room will be ready shortly.

Well, I guess we won't be here long. You
see an instant replay of the shooting

every time you turn on the television
set.

McKay did pull that trigger, but he
thought he was firing a blank.

It was a joke for the audience.

Some joke.

Only someone switched that blank with a
real bullet.

Do we seriously believe this? We do.

Oh.

Who else knew about the joke?

The prop man who's working on the film
Robert's making, Jed Page.

And the stunt coordinator, Ray Anderson
and Kate Huntley.

They were all on location that day. They
all had access to the glove compartment

of Robert's car, which is where the gun
was stored.

Anybody on Steve Carr's side of it know
about this joke? I don't know that yet.

Even if they did, how would anyone know
what kind of bullets were put in that

gun?

McKay always uses a .357 Magnum in his
movies.

It's his trademark.

I'm afraid Allison is in no mood to be
helpful, but I'm going to try to see her

again.

Paul, I'd like you to check out those
people Della just mentioned.

Oh, by the way, nice to see you.

It was a tragic accident.

And it was a stupid thing for me to do.

And it was a very senseless way for a
good friend to die.

But it's over and life goes on, I guess.

Now, on the advice of my attorney,
that's all I, uh... That's all I can and

say about the shooting SNF anymore.

And as of today, this set will be closed
to all media personnel.

The last thing we need to be doing is
tripping over reporters every time we're

trying to get a set up.

I mean, we're making a hit movie here,
are we not?

Yeah!

All right.

Oh, yeah, there's one more thing.

There's a guy here.

He's somewhere by the name of Paul
Drake. Paul?

Right here?

Right over here.

Not only is Paul a real honest -to
-goodness private eye, but he's working

very hard to clear me. So I would really
appreciate any help you can give him.

Okay? Let's make a movie, guys.

Mr. Page?

Yo. Oh, hi.

Name's Paul Drake.

Yeah.

Boy, oh boy, you got everything in here,
don't you?

Oh, you bet.

Let me ask you something.

Any ideas as to how a live round got
into that gun that McKay used on Steve

Carr?

It had a blank in when Robert put it in
his car. That's all I know.

But I'll tell you something else.

Robert McKay never would have killed
Steve Carr on purpose. Never.

Why? Because they were friends?

Oh, sure.

So what you're saying is one of the film
crew did it?

No, I never said that.

Look, this is family. Everybody here
loves Robert.

None of these people would do anything
to hurt him.

Problem is, maybe somebody did.

Wait a second.

Are you saying somebody here did this
just to get Robert?

What if it wasn't Steve Carr they were
out to get? What if it was McKay?

I hope I'm not making a mistake letting
you come by here.

I mean, you can't possibly justify what
you're doing.

Of course I can.

Why are you here?

Sharon, I think we should listen to what
he has to say.

Why? Because I'm convinced McKay is
innocent.

He's an actor.

He's supposed to be convincing.

They were friends for 20 years.

They fought, but they also played jokes
on each other.

They were friends, Allison.

Now, be honest, both of you.

Do you really believe that Robert McKay
would want to kill Steve?

I'm not sure.

Did Steve tell you Robert was going to
pretend to shoot him?

No, I hadn't... I hadn't spoken with him
in at least two weeks.

Someone else he might have told?

Someone connected with his show?

That's possible.

Steve didn't leave anything up to
chance.

Any ideas?

As producer?

Director?

What about girlfriend?

I wouldn't know.

Perry, I don't even know why she's
talking to you.

I

didn't do

it.

I didn't do it.

I want to believe you. Why don't you
try?

I didn't do it. You've got to believe
that.

And I love you very, very much.

Okay, cut it and print it.

Okay, folks.

New setup across the street.

Kate, for God's sake, we got to talk
about this. About the picture?

What's it to you?

Kate's a professional. She's here to do
a picture.

Is that what you want to talk about? I
want to talk about us. You don't mind,

you? Then I'm afraid she'll be in her
trailer.

Robert, we're ready for the next setup,
okay? Yeah.

Hi, I'm Paul Drake.

I'd like to speak with Kate.

Uh, she's changing.

Well, that's all right. I'll wait.

I'm afraid it's going to take her a
while.

And after that, she's going to study her
lines.

And after that, she's got to go sailing.

And after that, she's going to have to
have lunch. And after that, she has to

study more lines, et cetera.

Just... What can I do for you?

I understand she overheard Robert
telling the prop man what he was going

to Steve Carr.

So?

Did she happen to tell anyone?

Just me.

No one else.

How can you be certain of that?

It's my job.

Tell Miss Huntley I'll be back.

You know, um... I'm afraid it's going to
be a waste of your time.

Carl was putting the moves on Kate. I
assume that Kate blew him away.

It's that simple.

I wish it were.

Did you think I was some kind of urban
gorilla?

I didn't know what you were.

Thank you.

A detective is supposed to know these
things, isn't he?

How do you know I'm a detective?

Just part of my job.

I'm a reporter.

For whom?

Does it matter?

Well, I suppose it was the New York
Times you tell me, right?

Your name is Poldrake, and you've got a
big problem.

What's that?

Forty zillion people watched Robert
McKay pull the trigger, and you have to

Perry Mason defend him.

Michelle Bente, how do you do?

You still didn't tell me who you work
for.

I don't see why that is so important.

Why is it such a secret?

It's not. I work for the National
Informer.

The informer -like in Cowan, Indiana,
glows in the dark.

Look, I'm a reporter, and I'm covering a
story, and I just think we can help

each other out.

How's that?

Yeah, well, I mean, you've been thrown
onto this set you know absolutely

about, and I think you have a little
background information to catch up on.

Which you can fill me in on, of course.

Exactly.

So what do you think?

I think you should take that tape
recorder out of your pocket and put it

bench here so I can see it.

My problem is I'm locked off that set. I
need a set of eyes and ears.

Which is where I come in.

That's right.

Why should I do that?

Paul, I have dirt on everyone on that
set.

I know why Eric Brenner hates Robert
McKay. I know why Ray Anderson pretends

be his friend.

I have an obligation to my client.

Just trying to make your job a little
easier.

All right.

Something comes of the information you
give me.

And you'll be the first to know.

That's it?

That's it.

Thank you.

Better than nothing, I suppose.

Okay, deal.

For now.

I'm here concerning the death of Steve
Carr.

Who are you?

Face to face, I'd be glad to tell you.

Thank you. My name's Mason.

You're representing Robert McKay. That's
right. And you are?

Peter Town.

Good.

I understand you directed the Steve Carr
show.

I used to.

Just the way Steve Carr used to be
alive.

If you're looking to help McKay, try
someplace else.

All right, Superior Court with a
subpoena.

Why don't you do that?

Mr. Towne, I'm only interested in
ascertaining the facts.

Even Allison Carr cooperated.

I'll bet she did.

Steve's dead.

Now, Allison and that daughter of hers
can get what they've been after all

along. His money.

Did Steve tell you that?

Many times.

And now I've told you, so your day
shouldn't be a total loss.

It seldom is.

Okay, so was I right about Brennan and
Anderson or what?

Yeah, it looks that way.

Yeah?

Come on, don't hold out on me, Paul.

I don't have anything.

Can we go somewhere and talk, maybe?
Michelle, you'll get something when I'm

ready. I'm on a deadline. So is McKay.

Okay.

Hey, let me go on the other side of her,
will you?

Yeah, try one on the other side.

Good. Good.

Sorry. Excuse me. All right.

Take a break.

Mother told me I'm supposed to
cooperate.

I brought you to this museum once. You
were very young.

I remember.

You've always been a very good friend.

My representative McKay doesn't change
that.

I love my mother, Perry.

I don't care what she says. You're
hurting her.

Believe me, she's been through quite a
lot.

Were you close to Steve Carr?

No.

Did you like him?

No, not particularly.

Why not?

Because of the way he treated my mother.
Does this really matter?

It might.

Did you talk to Carr the day he was
murdered?

No.

Look.

When Steve married my mother, he made it
very clear to me that he just didn't

want to have me around.

So that's why I got shipped off to
school in Europe.

Now, I was very angry at first, but I've
come to realize that in the long run,

he really did me a favor because that's
where I got started in my modeling

career.

Sharon, where were you between three and
six the afternoon of the murder?

Why?

That's when the gun that killed Steve
was left unattended in McKay's car.

I was with my mother.

I'm sorry I had to ask.

Yeah, you should be sorry.

And I learned that Ray Anderson has
broken a few bones in the years he and

have worked together.

And McKay has broken more than a few
promises to him.

So you think Anderson might have put the
bullets in that gun in order to frame

McKay?

Or Kate Huntley's manager, Eric Brenner.

He's not all that fond of McKay himself.

I haven't been able to speak with Kate
yet.

Kate?

So, Terry, where do we stand on Allison
Carr?

She didn't know McKay and her husband
had planned the fake shooting. At least

that's what she said.

So we don't rule her out?

No, we can't rule out anyone who might
have known about that shooting.

Even her daughter?

Even her daughter.

McKay said his car was parked on the
same street on which they're filming.

So whoever armed that gun could have
done it while McKay was occupied.

I'll buy that.

The editor, a fellow named Tommy, has
arranged for you to see the footage of

film shot that day.

Yeah, Paul.

There just might be something on that
film.

I'll go over there first thing in the
morning. I know. They're expecting you

20 minutes.

20 minutes?

But it's...

You two have a nice dinner.

Hey, Frank.

Got away?

Not entirely.

Let me put it this way.

How soon can we see a print of that
stolen footage?

Tomorrow morning.

You see, that's what I don't understand.

We keep all the negative stock in a
vault.

So why would he bother sealing that film
when all we have to do is make another

print? You see, I don't understand that.

I guess he was looking for the same
thing we were. Something incriminating

that film.

Which means we're on the right track.

Perry Mason.

Bella Street.

Robert McKay. This is Michelle Benton.
Hi, how do you do? Hello. I know you.

You're a reporter.

At the moment, she's with me.

Perry, picture of a thief.

Recognize him?

Too bad.

He's our man.

Hello. Well, the honest to goodness P
.I.

Mind if I ask you a few questions?

You can ask me a lot of questions.

They're not going to need me for a
couple of hours.

Want some coffee?

No, thank you.

Would you happen to know this gentleman?

Never seen him before.

And I'm good at recognizing faces.

So much for that idea.

Tell me something.

Do you think Robert did it or not?

What?

Kill Steve Carr on purpose?

I don't think so.

Perry Mason doesn't think so.

Why?

You think so?

I don't know.

The last time I saw those two together,
they were at each other's throats.

Robert thought there was something going
on between Steve and me.

He's the possessive type, huh?

He can be a real jerk.

But he can also be wonderful.

I always swore I would never, ever fall
in love with an actor.

I guess that pretty much makes me the
jerk, doesn't it?

Ah, so what are you doing here?

Besides bothering Miss Huntley.

You're not bothering me, Eric. We were
just talking.

I was asking her if she recognized this
gentleman. Do you?

No. Try looking at his face.

So I looked.

I still don't know.

Now, if you'll excuse us. Eric, you
don't need to be rude.

No, that's all right. I can understand
why he doesn't want you to talk.

I'm trying to help the man who'd like
nothing better than to see him fired.

The man who thinks he's nothing but a
two -bit hustler that you refuse to let

because you tend to be too loyal for
your own good. Get out of here.

Of course, let's not forget McKay's in
love with her.

When it comes to threats, that's the
biggest one of all, isn't it, Eric? I

you'd better leave here.

Now.

And he has a temper, too.

Maybe even bad enough to put a bullet in
a gun.

Hello, Mr. Towne.

Mr. Mason.

Somehow I didn't expect to find you
visiting Mrs. Carr.

Well, she asked if I'd help arrange the
memorial dinner we're having for Steve

tonight.

Since I wasn't busy, I said yes.

Would you look at this photo, please?

Okay.

Now what?

Do you recognize him?

Would it help McKay if I said yes?

Possibly.

Well, then it gives me great pleasure to
say no.

I'm well aware that Peter Town doesn't
much care for me.

Then again, I don't think he much cares
for anyone.

How long had Steve known him?

Well, they were college roommates.

Way back then, they swore that not only
would they make it in show business, but

they'd make it as a team.

And he did.

The only problem was that nobody knew
that Peter's side of the team existed.

Thanks.

He was Steve's director, but not his
partner or his friend. Is that it?

Well, I don't know the details.

But I do know that Steve was absolutely
adamant that no one other than Peter

direct his shows.

Was Peter allowed to work with...

Anybody else?

Well, he got offers for specials, things
like that.

But Steve always managed to make sure
the deal fell through.

Do you know this man?

No, I don't.

Why?

He may be able to lead us to whoever
switched that blank.

Allison... Is Sharon working?

Yes, she is.

She said she was with you the afternoon
of the murder.

Yeah.

We were shopping.

Am I to infer from that question that
one or both of us are suspects?

I had to ask.

I guess I've never found a graceful way
of doing it.

Okay, Bob, these memories are ready.
We've got to go now. Okay, all right.

Gene. Hang on a minute. We got the
talkie in there? Yeah, they started on

We're coming. We're coming. All right,
let's get out of here, guys. Come on.

You again?

Get out.

All right, but before I do, I want you
to take a look at something. Get lost.

You know, you'd be a whole lot less
suspicious if you were just a little bit

more cooperative.

All right, here we go.

And action.

You better buckle up, boy.

Now, what was it you wanted me to take a
look at, kid?

Ever seen this guy?

Nope.

Figures.

Thank you.

You look terrible.

Oh, thank you.

So did he recognize the photograph?

Michelle, how would you feel if you'd
come inches from a cardiac arrest, your

life passes before you in the blink of
an eye, and somebody runs up and asks

a story?

I'd say that they were, you know,
totally insensitive.

You would? Yeah, and I'd offer to take
them somewhere and buy them a drink.

Really? Yeah.

Totally off the record.

You're buying?

Yep.

Off the record.

Steve Carr was a man like any other man,
only richer.

He loved life.

And now that he's gone, we're all a
little bit poorer.

In fact, some of us are going to be a
lot poorer.

But on a more serious note, most of you
know that Steve and I went to college

together. We had big dreams.

Most of which came true.

Steve lived life fast and hard.

And if it was short, it sure was fun.

I miss you, Steve.

We all do.

Your mother's arranged a very nice
tribute.

Well, the guest list needs to be heard,
but on the whole, it's certainly more

than he deserves.

Do you know this man?

No, I don't.

And regardless of my feelings toward my
stepfather, I really think it's a bit

tacky of you to be on the job at a
moment like this.

They really have to excuse me.

The man in the picture?

Excuse

me.

Young man, may I talk with you a moment?

Of course I'm all right. I just wish I
could have gotten a better hold on him.

What's wrong with your hand?

Nothing. When I grabbed him, something
came off on my hand.

Makeup. Green makeup.

Green makeup.

Let's go again.

I got news for you, lady. I've been
along for the ride all day. This is

where I get off. What do you think,
Paul?

See something?

Well, nothing that would make me want to
steal it.

Well, if there's anything incriminating
in this film, it's lost on me.

I'd say our mystery man was given a bum
steer.

Let me take a look.

Will you look at this?

I think I have something.

At least one of us has.

Well, the makeup on that young man made
me think that maybe, just maybe, he was

an actor.

I got this year's player's guide, and
there he is.

Dak Foster.

Is there an address there?

No, but his agent's listed.

Okay, Paul.

Track him down.

I'd better. They're paying me big money.
Sure, that'll make up for what you

don't get here.

Were you a little nervous tonight? A
little tense.

First time.

Robert McKay, ladies and gentlemen,
crashing yet another party.

He shot him. Somebody call an ambulance.
He shot me.

That was an excerpt of the Steve Carr
show that was broadcast the night of the

murder. Is that correct?

That is correct. We collected it as
evidence that same night.

I show people's exhibit A, which has
been confirmed by ballistics

tests to be the murder weapon. Do you
recognize that?

Yes. It has my marks on it.

Where did you find this weapon?

Mr. McKay's car.

After you found it, did you examine it?
Yes.

Did you find any blanks in this gun? No.

Five live rounds and one expanded one.

Thank you.

No further questions?

Your witness?

No questions.

You may step down.

I don't get it. Why did he bring all
that up?

Because he knew I would.

He must intend to discredit your story
before I get the chance to present it.

I called John P. Howell to the stand.

Mr. Howell, you are the maitre d' at
Archer's restaurant, is that correct?

Yes, sir, that's correct.

Did you see Mr. McKay and Mr.

Carr at the restaurant the night before
the murder?

Yes, sir.

Did anything happen between them?

Well, they got into a fight.

Fight? You mean they were arguing?

No.

Mr. Carr hit Mr. McKay.

So you would say they appeared to be
angry?

Oh, yes.

Mr. Carr hit Mr. McKay and knocked him
down.

Can you be sure they were angry? Perhaps
they were just joking?

Objection.

Calls for speculation.

Improper opinion.

Sustained.

No further questions.

Witness.

Mr. Howell.

Your clarity in recalling certain events
the night before Mr. Carr's death is

remarkable.

Now, what about the night of his death?

Did you see Mr. McKay that night?

Oh, yes. I showed him to a table.

About what time was that?

It was around 11 .45.

Since the Steve Carr show was broadcast
live, that means Mr. McKay had just left

the TV studio.

What did Mr. McKay say to you?

Well, he ordered a cocktail and then he
ordered dinner, the burgundy duckling.

Your memory is remarkable.

Well, I remember because I told him it
would take about a half an hour to

prepare. A half hour?

How did Mr. McKay respond?

He said that would be all right and that
he was in no hurry.

So how would you describe his mood, Mr.
Howell?

Actually, he was quite pleasant, almost
jovial.

Would you say he was in a joking mood?

Objection. Move to strike.

Relevancy.

Sustained. No further questions.

You want me to give somebody else first
crack at this kid? Fine.

He's just gonna be the next Tom Cruise.

Bozo.

It's open.

Mr. Freeman.

Here. Fill this out, put your 8x10s on
it. Do it out in the hall. I'll get back

to you sometime.

I'm Paul Drake.

And I'm busy.

You didn't return my call, so I thought
I would come down here and speak to you

personally. I'm thrilled.

Now, get out of here. Now, look it. I
took time out of a very hectic schedule

come down here and talk to you about
using one of your actors in my new

Your new series?

New York Heat.

Oh, you must be... Paul Drake.

Yes, I'm sorry. My service didn't get
the message to me. I'll fire them first

thing in the morning. Please, sit.

I'm sorry if I seem rude, but my analyst
recently died.

You handle an actor by the name of Dak
Foster.

Oh, he's a fine boy. Fine actor. Delight
to work with. I saw him in an off

-Broadway play at one point.

I'm thinking about centering my new
series around an unknown.

That's Dak.

How can I reach him?

Um, well, I'm afraid he's working.

I have to see him today. Unfortunately,
I'm heading back to L .A. on a 6 o

'clock flight.

I'm afraid I just can't reach him.

Mr. Drake.

Michelle Benton, national informer. I
was wondering, sir, if I could ask you

just a few quick questions. What is
going on here? Have you cast your series

yet, and what kind of talent have you
found here in New York City? Why don't

people leave me alone?

How did you find out I was here? Now,
wait a second. Did somebody in your

tip her off? Is it true you're using one
of Mr. Freeman's clients? Look,

Freeman, nobody treats me this way. You
want to publicize your agency?

All right, come on, sweetheart. I'm
going to give you a story about

practice. No, I'm innocent. I'm ethical,
I swear.

Then get rid of this person. Get out.
Now!

Come on! Go!

It was a terrible misunderstanding.

You've been offensive, uncooperative,
and impolite. I think I'll let myself

No, please. Wait.

Here.

This is the address you'll find Dak at
in Queens.

I'd take him myself, but my car was
stolen.

Mr. Freeman, thank you.

I can't take you with me.

Taxi!

What do you mean?

Just what I said. I can't take you with
me. Paul, I'm having a little bit of

trouble understanding this deal we have
here. It seems to me just a bit one

-sided. I mean, I get you a picture of
Doc.

You use it to track down his agent. I
help you with him. So what do I get?

Michelle, I'm investigating a murder.
I'm not covering a kidnapping by aliens

and a UFO.

You and I had a deal. And don't be so
damn condescending. I'm sorry. I didn't

mean that. Taxi!

I can't take any more of this. Michelle,
this is just a story for you, is it

not? Is that what you think?

Paul, my editor is very hot for this
story. I deliver and I get a big fat

And maybe finally I'm able to leave that
rag. Do you think I like working for

the informer?

This story is my chance to look for
something better.

Michelle, I like you.

And I would like to be able to help you.

So come on, let's go.

Get in.

You'll probably regret this.

All right, Mr. Reston. What is all this
about a surprise witness?

Your Honor, I have requested this recess
to ask for your and Mr. Mason's

indulgence.

Because I wish to call an additional
witness to the stand.

This morning I was under the impression
Mr. Reston had called his last witness.

So was I.

And I hate surprises, Mr. Reston. Your
Honor, this witness brought himself to

the attention of my office less than an
hour ago. And believe me, I was

surprised to hear that he wishes to
testify as you are.

Just who is this witness?

Eric Brenner.

He was on location with the film crew
the afternoon before the murder.

Should I wonder what further surprises
you have in store for us, Mr. Reston?

Mr. Mason is entitled to be advised of
all prosecution witnesses prior to

Mr. Weston.

I would have expected you to be above
such behavior.

Your Honor, I am very sorry, and I'm not
aware of how this must look.

But I'm also convinced that this
witness's testimony is very important to

people's case.

Mr. Mason, you have every right to a
continuance, and I have every intention

granting you one.

Is that how you wish to proceed?

Your Honor.

If Mr. Reston has a great need and
wishes to put Mr.

Eric Brenner on the stand, defense is no
objection.

And what did Mr.

McKay do with the weapon after the prop
man, Mr. Page, loaded it and gave it to

him? He put it in his car in the glove
compartment and then he went back to

refuting the scene.

And did anyone go near the car after
that?

No. Not a soul the whole rest of the
afternoon.

Why are you so sure?

Because we spent the next three and a
half hours on the same shot.

I spent the whole time right across the
street from McKay's car.

So it was never out of your sight?

No, sir.

And no one went near it, let alone reach
into the glove compartment to, say,

exchange the alleged blank?

For a real bullet?

No, sir.

Thank you, Mr. Brenner.

That's all?

I have no questions.

But I would like to reserve the right to
recall the witness.

And you may step down, Mr. Brenner.

Does that mean you've got something in
mind?

Yep.

I think he smiles too much.

So, because Mr.

McKay was wearing a radio mic, you could
hear everything that he and the prop

man, Mr. Page, were saying?

Every word.

And what were they saying, Miss Huntley?

Well, basically Robert was saying he
needed to borrow a prop gun.

And Jed was saying no, he wasn't going
to let him.

But Mr. Page changed his mind.

Once he found out why Robert wanted it.

Why did he want it?

So he could pretend to shoot Steve Carr
on the show that evening.

As a joke.

A joke?

Robert was actually going to fire a
blank.

He said he and Steve had it all planned.

Objection. Move to strike.

Hearsay.

Sustained. Testimony is stricken.

Mr. McKay was well known for his habit
of playing practical jokes, was he not?

There's nothing Robert and Steve love
better than a good practical joke.

That's all, Ms. Huntley.

Thank you very much.

You're a witness, Mr. Reston.

Had you worked with Robert McKay on any
films prior to this one?

Yes, several.

During the making of those films, did he
have occasion to wear a radio

microphone?

Certainly. They're quite common,
especially in action films.

So he would be familiar with their
operation?

Yes.

Can't we assume that he would be
completely aware that anyone standing

the sound mixer could overhear
everything he said?

I object.

Calls for speculation on part of the
witness. Calls for complete conjecture.

Mason, if you don't mind, I'd like to
answer the question.

Your Honor, I withdraw my objection.

You're saying that because someone is
accustomed to wearing a wireless

microphone, we should assume that person
is aware that people are listening in.

Actually, quite the opposite is true.

I'm so used to radio mics that I usually
forget I'm wearing one.

Or that people can hear me.

Your Honor, I move to strike the
witness's answer as non -responsive. I

the question.

Motion granted.

Ms. Huntley, how far away were you
standing from Robert McKay when you

him talking about this joke?

I was across the street.

So you could see him?

Yes. Was there any indication that he
could see you?

He smiled at me.

Which means that he saw you standing
next to the sound mixer and saw you

listening. That's all. No further
questions. None at all.

Robert.

Let's be quiet.

He might be shooting.

Get me a space blanket.

You, over here.

Me? You, watch your work.

Stand right over here.

Hold this just about there. And don't
let it down

until I say cut.

Aye.

Okay, Rick, we've got Phil.

Let's roll him. Take six.

And foster.

Welcome to the rare world of low -budget
filmmaking.

Where's Dak?

He's right over there.

You directed the Steve Carr show, did
you not, Mr. Towne?

Yes. Every night for 11 years.

So you were directing the show the night
he was shot?

That's right.

Mr. Towne, did you know Robert McKay was
going to make an appearance on the show

that night?

No, I did not.

Your Honor, I have a number of important
questions to ask of this witness.

But first, I'd like to set up a
demonstration

recreating the events of the murder.

Right here in the courtroom.

Wait a minute, Mason. Exactly what kind
of a three -ring circus are you

proposing we run here?

What do you mean by we?

So far, we've been subjected to your
low, juggling carnival approach. Order!

we want to continue on... What exactly
do you mean by we?

Just one minute, both of you.

Step up here.

You gentlemen are forgetting something
here.

I make the arrangements here.

I make the rulings and I make the
observations.

Now, if what you're suggesting, Mr.
Mason, is a motion for me to decide, why

don't you make one?

Your Honor, it is extremely important
that the defense be allowed to

the actual circumstances of the crime.

We're sure that the prosecution would
have no objection to our search for the

truth.

We did not object when Mr. Reston
suddenly wanted Eric Brenner put on the

Your Honor, I submit that that was a
different case.

Perhaps the esteemed counsel for the
defense was so amenable at that point

because he already had this little trick
in mind.

Perhaps. All right, let's put an end to
all this.

Mr. Mason, if you're representing that
this is important to your case, I'll

grant the request.

I am, Your Honor.

That'll be the order.

Well, that wasn't bad, was it?

Loved it.

All right, 30 minutes now. And that's
all because if we don't get the next

by then, we're not going to get the next
shot, and the producer's going to pull

the plug, and you know what's going to
happen? All those back salaries of

So let's go. Let's move it, okay?

How you doing?

I'm Paul Drake.

This is my girlfriend, Michelle Benton.

Hi, how are you?

Fine.

Do I know you?

I don't think so.

We're, uh... Where are you guys from?

California.

Oh, maybe I met you out there.

What do you guys do?

We're actors.

Unemployed right now.

Lots of that going around.

Yeah, well, we heard you were making a
movie here and we thought maybe we could

hustle a little work.

Well, there's work, no money.

And it's not exactly the kind of credit
you'd want to put on top of your bio

either.

Thank God for makeup, huh?

So what about the Robert McKay shoot?

What about it?

Any work there?

I wouldn't know. What do you mean he's
not here?

We have to shoot the scene where he
kills the vampire now before they kick

out of here.

It's the damn finale.

What's the monster supposed to do, keel
over and die of a heart attack?

What?

What, Gordon didn't show up?

He must have got that soap he was up
for. Damn!

Hey, Ron.

My friend here's an actor.

Why don't you use him?

Yeah, yeah, that's an idea. We can slap
a wig on him. We can do some weird

angle. I'm just down here to watch.
That's okay.

Get this guy in wardrobe, okay? Come
here. No, no, no, really. I can't.

I can't.

Listen.

I got three weeks worth of back pain. It
says you better, mister.

Now. Now, as you can see, this area
represents Steve Carr and his guest.

And here we have the curtain where Mr.
McKay made his entrance.

Is that clear?

Yes. Now, those three X's represent the
three cameras you used to take the Steve

Carr show.

If you would step down out of the
witness box, I'd like you to explain to

court exactly how you used them.

Step down.

first X represents camera one.

What was it focused on? Camera one holds
Steve Carr in a close -up.

All the time?

Yes. Now, that position there, what was
it used for?

Camera two is used for a wider two -shot
of Steve and his guest.

Did that ever vary?

No. And camera three?

Camera three is called the swing camera.

If someone performs or makes an
appearance, it will hold the person from

curtain and then carry them all the way
to the seat.

Once the guest was seated, how was it
used?

It would then hold the guest in a close
-up.

And that was your normal procedure?

I did it that way for 11 years.

Then I can assume since Steve Carr is
guest...

was already seated when Robert McKay
came through the curtain, that camera

was a close -up of Mr. Carr, camera two
was a two -shot of Mr.

Carr and his guest, and camera three was
a close -up of the guest.

That's what you said, isn't it?

Yes. Good.

Now, let's look at the tape.

Bailiff?

Now, that is camera two.

And that would be camera three.

Back to camera two.

Freeze it, please.

Now, Mr. Towne, which one of these three
cameras was taping Mr. McKay?

How did any one of them anticipate Mr.
McKay's entrance?

Isn't it true it would be physically
impossible for any one of them to swing

over in time to catch his unexpected
entrance through the curtain?

Water. Isn't it true you would have to
have had camera three in position to get

that shot?

Yes.

Isn't it true you knew Robert McKay was
going to make an appearance on the show

that night?

Yeah, yeah.

Steve, uh... Steve told me that Robert
McKay would be on the show.

He told me about the gun, the joke,
everything.

You may return to the stand, Mr. Towne.

You were very close to Steve Carr, were
you not?

Yes, very close.

Isn't it true that you were recently
offered an important directing

in Los Angeles?

Yes. Isn't it true that Steve Carr
prevented you from accepting that

We were having a contract dispute.

Which he won?

Yes. How did you feel about that?

I didn't like it.

One more question.

How would you characterize him when he
told you Mr. McKay was going to be on

show? Did he seem frightened,
apprehensive?

No.

Isn't it true that you lied about that
because you didn't want to be suspected

of putting that live ammunition in
Robert McKay's gun?

Mr. Towne, isn't it true you lied about
that?

Yes.

Thank you.

No further questions.

Mr. Wesson.

Mr. Towne.

As fond as you were of Steve Carr, and
being familiar with the

stormy friendship with Mr. McKay,
weren't you apprehensive when you heard

McKay was going to appear on the show
carrying a gun?

Yes, in fact, I was.

Yes, I should think so.

Thank you.

Witness may step down.

Court will recess until this afternoon
at 2 .30.

Your Honor, defense would like a one
-hour extension to examine new evidence.

We can do better than that, Mr. Mason.

Court will adjourn until tomorrow
morning at 10 a .m.

What new evidence?

Robert.

How many cameras are used when you're
shooting a scene?

Well, we use one, two, sometimes more if
we're shooting a stunt.

A stunt?

Uh -huh.

That's what you were doing all the while
that gun was in your car?

Shooting a stunt.

Yes, I have it. Thank you.

This isn't the same film we saw before.

Well, it's the same scene shot by a
second camera in slow motion.

Is it the film that was stolen?

It would have been if Doc Foster had
known there was a second camera.

Well, I don't see anything incriminating
in this one either.

Robert, could we look at that again,
just the last part?

Sure, why, you see something?

Yeah.

Della, where's Paul?

That was Paul on the phone.

Okay, Paul, you ready for a take?

Yeah. All right, this is it.

MOS, let's roll them.

And action!

This is happening now.

Why'd you steal that bomb?

That him, Paul?

Oh, yeah.

I know you stole that film out of Robert
McKay's editing room.

I just want to know who sent you.

Mr. Brenner, would you please describe
for the court what happened in the scene

they were shooting that afternoon during
the time...

Robert McKay's car was not out of your
sight.

Sure.

It was a stunt in which a car tries to
run over the characters that Robert and

Kate play.

They roll out of the way, it bangs into
a parked car and drives off.

Did it involve using doubles?

Wasn't necessary. It was a fairly minor
stunt.

And in the course of this minor stunt...

Miss Huntley suffered a minor injury, is
that correct?

She hurt her ankle during one of the
takes.

She was treated by the nurse on the set,
Mrs. Brenda Saunders, is that correct?

Matter of fact, she was.

Mrs. Saunders, will you please stand?

Now, you insisted on carrying Miss
Huntley over to the nurse, is that

Mr. Brenner?

Yes. Thank you.

And you insisted on staying with Miss
Huntley while the nurse applied ice to

ankle, a process which took over five
minutes. Is that correct, Mr. Brenner?

Yes. And you still contend that not
once, not once during that

time...

Did you take your eyes off Robert
McKay's car?

Of course I took my eyes off it, but
only for a moment.

Over five minutes, Mr. Brenner. Over
five minutes.

Over five long minutes.

That's all, sir.

You may step down, Mr. Brenner.

I call Mr. Joseph DeVito to the stand.

Now, this is the footage you shot when
you were operating the second camera

day, Mr. DeVito, is that correct?

Yes, sir, that is correct.

Mr. DeVito, who are these people?

Just spectators, you know, people who
come down because they want to see how a

movie's shot, I guess.

When I had this footage transferred onto
tape, I had them enlarge this frame.

Because there's something peculiar about
one of those people.

Yeah, I see what you mean.

Everyone seems to be facing forward
except for that one person right there.

Yes, that person has turned away.

Now, look closely.

What do you see?

Just that it's a woman. Mr. DeVito.
Stop.

You don't have to go any further.

I did it.

Further demonstrations of this sort and
I will have this courtroom cleared.

I took the blank from the gun and I
replaced it with a real bullet.

Your Honor. Your Honor.

I call Allison Carr to the stand.

Mrs. Carr, did you kill your husband?

Yes, I did.

You went to the movie set where Robert
McKay was filming and put a live round

ammunition in his revolver. Yes, I did.

Why did you kill your husband?

Because I hated him.

Why did you hate him?

Do you want us to believe it was because
you wanted a divorce and he was

unwilling to give you a satisfactory
financial settlement?

Yes.

Do you want us to believe it was because
he was worth more to you dead than

alive?

Yes.

And then you'd inherit all his money?

Yes.

Is that the real motive for this murder?

Mrs. Carr, are you aware that the
penalty for premeditated murder under

circumstances such as these...

Is punishable by life imprisonment?

I am. And that if you are convicted, you
may spend a greater part of your life

in prison? Stop.

She's trying to protect me.

You know I did it, don't you?

Yes.

And you know I'm going to have to put
you on the stand.

Your Honor, at this time I call Sharon
Loring.

I first met Steve Carr when I was 17,
when he married my mother.

On the day of the wedding, he tried to
seduce me.

He tried several times after that, which
is why I decided to go to school in

Europe, to get away.

Did you tell your mother?

No, I never told her.

I didn't want to hurt her.

When was the last time you saw Steve
Carr?

On the day that he was murdered.

He called and he asked me to lunch.

I didn't want to go, but he said that he
wanted to make up for the past that...

He wanted to help me with my career.

So when I got to his apartment, he was
laughing about the stunt that he was

going to pull on the show.

And that's when he told me about Robert
McKay.

Then what happened?

He tried to seduce me again.

Except this time he wasn't going to take
no for an answer.

He, uh...

He hit me and he tore up my clothes.

And I fought back.

But then he said that if I didn't come
across, that he would tell my mother

we'd done it anyway and that she'd think
I was a tramp.

So I ran away.

What did you do?

When you left the apartment?

I walked around for a while and then I
went to the movie set.

I can't remember how I got there.

But I stayed in the crowd and then I saw
Robert McKay put the prop gun in the

glove compartment.

So I went to the store and I bought some
real bullets.

And then when everybody was taking care
of Kate Huntley...

I exchanged the blanks for real bullets.

Miss Loring, why are you stepping
forward at this time?

When you showed my mother the picture of
my boyfriend, Dak, she came to me and I

told her everything.

Today she's trying to protect me and I
can't let her do that.

ruined my mother's life.

I killed him, and I'm not sorry that I
did.

Well, this has been a most involved
matter,

but the truth seems to have become self
-evident.

The court will entertain a motion,
gentlemen.

Mr. Esten?

Your Honor, the people move for a
dismissal.

Case dismissed.

Well, you finally got your story.

I sure did.

Then what do you get?

An evening with you.

That'll be my story. Uh -huh.

And for once, it'll just be the two of
us.

Thank you.

You ready?