All language subtitles for 03 The Case of the Shooting Star (1986)

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(indistinct chatter nearby)

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WOMAN:
Hey...

♪♪

(gun clicking)

(laughs)

Cut it.

MAN: Watch your backs, people,
we're coming down.

Props?

What's the deal?

Sorry, Robert.

There's something wrong
with this batch of blanks.

Okay, Suzy, print that, okay?

Ladies and gentlemen,
that's a wrap.

We're gonna pick up the coverage

from here on Friday night

if we can find
a blank that works.

(laughter)

All right.

MAN:
All right, folks, that's a wrap.

Atmosphere, stop by.

Wardrobe, sign your vouchers.

Pick up a call sheet from Carol.

(indistinct chatter)

Thank you. That's a wrap.

Kate!

Hey, Kate!

Front and center,
your director's here.

(laughter on television)

Well, speaking of Rick,

here's the question
that begs to be asked.

- WOMAN: Yes, it does.
- How did he keep his rug on

in those action sequences?

She's not here.

Ah, that much I can see.

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

She 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 in yours?

She forgot some stuff.

She didn't forget, Eric.

She just didn't take it
with her

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 careers

you'll end up managing
will belong

to chimpanzees--
you understand that?

Where is she?

She went out to dinner.

Archer's.

She went out to dinner.

- And it's good-bye time...
- Did you see, uh...

did she go with him?

What do you think?

HOST (on TV): ...with tongues
and their gleaming, and, uh...

Tomorrow night. Thank you,
Donna Scott, for being with us.

(studio audience applauding)

Good evening.

I hope you enjoyed your meal.

Oh, yes, thank you.

- Hello, John.
- Mr. McKay.

- How are you?
- Very well, thank you.

Listen, uh, is, uh,
is Kate Huntley here tonight?

- Why, yes she is.
- Is she?

She's with Mr. Carr.

- Shall I set 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, um...

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
gonna 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, uh, 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 here
and sneak 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-- come on.

- Come 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! Mr. McKay!
Mr. McKay!

Easy, Rob, you don't want
that face in the morning papers.

Especially with a lump on it.

All right...

McKAY (on tape):
I got news for you, lady.

I've been along
for the ride all day.

This is where I get off.

WOMAN: Just give me
a little more time...

McKAY:
Hey, what do we have to do

to get quiet around here?

I can't even hear myself think.

MAN: People, can I have
quiet on the set?!

Thank you.

MAN 2:
All right, work with us, people.

- WOMAN (on tape): Gee...
-(tire screeches)

Just what I thought.

Okay, folks,
we got to go one more time.

Listen, get a new mic
on her, okay?

And we'll go as soon
as you get a level.

Honey, you were terrific,
but your mic stunk, okay?

Can you give me
one more just like that?

No problem.

Jerry, could you help me
get this off?

- Hey, Bobby?
- Yeah.

If I'm just gonna go again,

how about if I cut in even
closer this time?

Uh, okay, look, Ray.

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

Jed, big guy, how you doing?

Fine, Robert.
How-how about yourself?

Look, I need a, uh, small favor.

- Yeah?
-I need to borrow a prop gun.

- Oh, no...
- No, look...

look, look, it's just
for the night, okay?

Robert, those guns are
supposed to be either locked up

or in my sight at all times.

I-I could 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.

JED:
You're what?

With a blank, Jed.

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-it's a set up thing
between him and I.

- Right there on live TV?
- Yeah, but look.

Now, the thing is-is see,

you can't-you can't
tell anybody, all right?

'Cause it's a secret.
You understand?

- You follow?
- I won't tell if you won't.

Okay. All right.

Thanks.

What time does
the Carr show start again?

Uh, 11:00 tonight.

Okay, I'll be watching.

- Okay.
- Okay, stand by, everyone.

First team, take your places.

We're ready for you, Robert.

Okay, Pete.
Thanks a lot, Jed.

Okay.

All right, Pete,
any time you're ready,

- I'm ready.
- All right, folks.

This'll be picture.
We're going again, atmosphere.

MAN: 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...

Okay, uh, Mel,
get ready to cue Louie.

And, uh, 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 two and take two.

Three, stay right where you are.

One, back 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.

DIRECTOR:
And ready two and...

take two.

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

I understand you're appearing
the 12th through the 15th

at the Melodyland Ballroom...

Hey, that's Robert McKay.

What's going on here?

DIRECTOR:
Take three.

CARR:
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.

(audience screaming)

He shot him!

John, what's going on
down there?

(all clamoring)

DIRECTOR: Come on, the music...
get to the music!

All right, all right,
put up a card!

All right, all right, I'm up.

Hit the music and applause.

Fade to graphic.

Go to commercial now!

Peter, move it!

We're clear.

(man clearing throat)

(indistinct chatter)

John?

Another drink, Mr. McKay?

Yeah, please.

Uh, what's, uh, what's going on?

What's the matter
with everybody?

Well, someone has
just shot Steve Carr.

Yeah, I know. I did.

As a joke.

A joke?

Yeah, he'll be here any minute.

He'll, uh,
tell you all about it.

I don't think so.

He's just been admitted
to Lexington General

in critical condition.

- Mr. McKay?
- Not right now.

Detective Harris. Homicide.

MASON:
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.”

(all laughing)

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.

(laughter, applause)

- (indistinct conversation)
- MAN: Thank you very much.

Excuse me.

Excuse me.

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

(quiet laugh)
I'm just relaxing.

How's fund-raising 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 off.

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 it,

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

It's just that I...

I don't sleep very well
at night,

and sometimes, on weekends,
I-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.

(chuckles)

Come on,
let's go back to the party.

- Mother.
- Sharon...

Sharon, what are you doing?

Steve's been shot.

What?!

Where is he? Is he all right?

He's dead.

Thank you.

SIDNEY:
Excuse me.

MASON:
Come in.

Hello, Perry.

Good to see you, Sidney.

I ordered some coffee.

I could use some.

The redeye 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 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've looked like fools
if they hadn't.

Perry, I've known Bob McKay
for years.

Steve Car was his friend.

40 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,
as 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
at his apartment.

We had a couple drinks,

and he got this idea about me
coming onto his show,

and we would fake a shooting.

Was anyone present
during this discussion?

No. There was... No.

Did you tell anyone?

The only one that I, uh...

I told a 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!

Hey, wait a minute!
I don't need you coming in here

and telling me
how bad this looks!

And I don't need you coming in
here and 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?

'Cause 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've
put bullets in the 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
multimillion-dollar

motion picture in New York.

Your points are well taken,
gentlemen.

Bail will be set at, uh,
$150,000 with a stipulation

that Mr. McKay stay,
at all times,

within the municipal boundaries
of New York City.

(bangs gavel)

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.

(wry chuckle)

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 of justice
ain't running you over.

-(McKay scoffs)
- Are you okay, Bobby?

Well, I'm better than okay
and I'm free as far as I know.

Excuse me. Mr. Mason?

This is my stunt coordinator
Ray Anderson.

Ray, this is my attorney
Perry 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.

RAY:
Of course, I thought it was

gonna be
pretty funny myself, but...

You knew about the joke
beforehand?

Well, Well, Bobby was wearing
a radio mic

when he asked Jed
to borrow the prop pistol.

You could hear him,
plain as day, over by the mixer.

Did anyone else overhear
this conversation?

Kate was standing right there.

If, uh, you'll excuse us, sir,

Mr. McKay has bail money
to arrange.

Right.
But listen, Ray, thanks a lot.

Oh, sure. Listen, I'll see you
on the set, good buddy.

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.

DRAKE:
Hello, hello.

Hello, there.

(chuckles)
When'd you get in?

Last night.

Well, well.

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

Anything with a terrace
would do.

Mm-hmm. We're using Perry's
suite as our offices.

Uh, 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.
Mm-hmm.

Only someone switched that blank
with a real bullet.

Do we seriously believe this?

MASON:
We do.

Oh.

Who else knew about the joke?

The, uh, prop man

who's working on the film
Robert's making-- Jed Page--

and, uh, the stunt coordinator,
Ray Anderson,

and Kate Huntley.

MASON: 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 bullet
to 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, uh...
tragic accident...

...and it was... it was
a stupid thing for me to do.

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

about the shooting
incident to anyone.

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 setup.

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

CREW:
Yes!

All right.

Oh, yeah.
There's one more thing.

Uh, there's a guy here...

he's somewhere...

by the name of, uh, Paul Drake.

Paul?

Right here.

Right over here.

Um... not only is Paul

a, uh, real honest-to-goodness
private eye,

but he's, uh...

he's working very hard
to clear me,

so I-I would really appreciate

any help you can give him.

Okay?

Let's make a movie, guys.

Mr. Page?

Yo.

DRAKE:
Oh, hi.

The name's Paul Drake.

- JED: Yeah.
- All right.

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

JED:
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 there's something else.

Robert McKay never would have
killed Steve Carr on purpose.

Never.

Why?

'Cause they were friends?

Well, 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.

The 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?

It's a thought.

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?

MASON:
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.

MASON:
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.

MASON:
Any ideas?

His 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.

Hey.

I didn't do it.

I want to believe you.

Why don't you try?

I didn't do it.

You gotta believe that.

And I love you very, very much.

Come on.

Okay, cut it and print it.

Okay, folks.

New setup across the street.

Kate, for God's sake,
we gotta 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, do you?

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

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

Yeah.

(trailer door shuts)

- Yeah?
- Hi, I'm Paul Drake.

I'd like to speak with Kate.

Um, she's changing.

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

I'm afraid
it's gonna take her a while.

And after that,
she's gonna study her lines.

And after that,
she's got to go say them.

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 do 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 Ms. Huntley I'll be back.

You know, um...

I'm afraid it's gonna be
a waste of your time.

(sighs)

Carr was putting the moves
on Kate, so McKay blew him away.

It's that simple.

I wish it were.

(McKay speaking indistinctly)

♪♪

Freeze!

(camera shutter snapping)

What did you think I was,
some kind of urban guerrilla?

- DRAKE: I didn't know
what you were. -Thank you.

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

How do you know I'm a detective?

Mmm, just part of my job.

I'm a reporter.

For whom?

Does it matter?

Well, I suppose it was
The New York Times,

you'd tell me, right?

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

What's that?

40 zillion people watched
Robert McKay pull the trigger

and you have to help
Perry Mason defend him.

Michelle Benti. 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, uh...

N-National Informer.

(grunts)

The Informer, like in "Cow
in 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 is that?

Can't we... I mean,
you've been thrown onto this set

you know
absolutely nothing 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 on the 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 to be his friend.

I have an obligation
to my client.

Just trying to make your job
a little easier.

- All right.
- Mm-hmm?

If something comes
of the information you give me,

then you'll be the first
to know.

That's it?

That's it.

(chuckles)

Better than nothing, I suppose.

Okay, deal.

For now.

Sorry about that.

♪♪

MAN (over speaker):
The stage is closed.

I'm going to have
to ask you to leave.

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 Towne.

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.

(scoffs)
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.

Roll camera!

MAN:
Camera "A"!

McKAY: Hey, Ray, we're ready
when you are.

Just give us a signal, okay?

Mr. Anderson!

Not now. I'm busy.

MAN: All right, people,
we're rolling!

Why do I get the feeling you've
been avoiding me all day?

Look, kid, I got

a three-story backward fall
to do here.

If I don't push off and land
just right,

I might break my neck.

Ray, here.
The script supervisor says

you got to wear this, okay?

Wait a minute.
I didn't figure on an overcoat.

Raymond, what's the holdup?
Are you ready?

Let's go. Can we go?

DRAKE:
You know, the way I hear it,

you should've changed jobs
by now.

Didn't McKay offer you a shot at
directing one of his pictures?

Only,
for the last two years now,

it's always been
the next picture.

McKAY:
Okay, we're rolling.

And action, Raymond!

Okay! All right.

Cut it, print it, and wrap it!

Thank you very much,
ladies and gentlemen,

for a great day's work.
Good job, Ray.

Need a hand?

MAN: Get this stuff, guys.
Let's go, let's go.

Hey, Ray?

Ray?

Ray?!

Okay, all right, all right,
get back.

Get me a paramedic quick.
Get him.

MAN:
Let's get a paramedic in there!

Paramedic right now!

DRAKE:
Mr. Anderson, are you all right?

You could've caused me

a real problem up there,
good buddy.

Let's not let it happen again.

Okay?

You made your point, good buddy.

Now take your hand off
of my collar.

Thank you.

Hey, so was I, 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, you know?

Just tell me what he said.

Michelle, you'll get something
when I'm ready!

I'm on a deadline.

So is McKay.

MAN:
Okay, look back. Good, good.

Nice one... all right,
come on, smile... smile, Sharon.

Come on. Good.

Nice, nice.

Okay.

All right, Tommy, go on the
other side of her, would you?

Would you, Tommy?

Yeah, try one
on the other side now.

Good, good.

I'm sorry.
Excuse me, please.

MAN:
Ah, all right. Take a break.

(sighs)

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 representing McKay
doesn't change that.

(sighs)

I love my mother, Perry.

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

And believe me,
she's been through quite enough.

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... (sighs)

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 3:00 and 6:00

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.

DRAKE: And I learned that Ray
Anderson has broken a few bones

in the years

he and McKay 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, Perry, 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've 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 the film shot that day.

You know, Paul, there just might
be something on that film.

I'll go over it
the first thing in the morning.

No, no, they're expecting you
in 20 minutes.

Twenty mi...?!

But it's...

All right.

You two have a nice dinner.

Tommy?

Tommy?

(clattering)

Hey!

(man yells)

MICHELLE:
Hey, Drake.

He got away.

Not entirely.

Let me put it this way.

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

Tomorrow morning.

Uh, you see,
that's what I don't understand.

We keep all the negative stock
in a vault,

so why would he bother stealing
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
on that film.

Which means
we're on the right track.

Perry Mason, Della Street,
Robert McKay,

this is Michelle Benti.

Hi. How do you do?

Hello.
- know you.

You're a reporter.

At the moment, she's with me.

Perry, a picture of our thief.

Damn.

Recognize him?

Too bad.

He's our man.

Oh, this is great.
This is just great.

I give you the biggest break
that you have had

so far in this case, and what
do you give me? The boot!

Michelle, when I have something,

you'll be the first
to know, all right?

All right, maybe not the first,
but you're going to be up there

on the list,
I promise, okay?

(knocking on door)

Hello.

Well, it's 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.

Hmm.

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?

(door opening)

Ah, so what are you doing here,

besides bothering Miss Huntley?

He's 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 him.

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,

man who thinks he's nothing
but a two-bit hustler

that you refuse to let go

because you tend to be too loyal
for your own good.

Get out of here.

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

When it comes to threats,
that's the biggest

- one of all, isn't it, Eric?
- I think

you 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, uh,
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 Towne

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 they 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.

I'm sorry.

So am I.

Okay, Bobby, Bobby,
the cameras are ready.

- We've got to go now.
- Okay, all right, Pete.

We got the talkie in there?

All right, 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.

McKAY (over radio): All right,
Ray, here we go.

And action.

You better buckle up, boy.

(tires screeching)

(car horn honks)

(horns blaring,
tires screeching)

McKAY:
And cut. Excellent.

Ray, the passenger was
a great touch.

I love it.

Now, what was it you wanted me

to take a look at, kid?

You ever seen this guy?

Nope.

Figures.

(chuckles)

All right, thank you.

You look terrible.

Oh, thank you.

So, did he, uh,
did he recognize the photograph?

Michelle...
(clears throat)

...how-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-and somebody...

runs up and asks for a story?

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

- You would?
- Yeah.

And I'd offer to take him
somewhere and buy him a drink.

- Really?
- Yeah.

Totally off the record.

All right.

- You're buying.
- Sure.

Off the record.

Steve Carr was a man
like any other man.

Only richer.

(laughter)

He loved life,
and now that he's gone,

we're all a little bit poorer.

In fact, uh, some of us
are gonna be a lot poorer.

(chuckles)

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.

Excuse me.

Hello, Sharon.

Your mother's arranged
a very nice tribute.

Well, the guest list needs
a little work, but on the whole,

it's certainly more
than he deserved.

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.

You'll really have to excuse me.

Any luck?

That's the man in the picture.

Excuse me.

Excuse me, please.

Excuse me.

Young man, may I talk
with you a moment?

Young man?

Sir, sir.

- Hey.
- Wait.

(man in distance speaks indistinctly)

- You all right?
- 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.

(tires screeching)

You all right?

I told you
we were being followed.

What do you mean "we"?

All right.

Let's go again.

(Drake clears throat)

MAN (on film):
All right! Slate!

MAN 2:
Action!

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

- This is where I get off.
4 told you...

What do you think, Paul?
See something?

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

And cut it.

- You all right?
- Are you okay?

Um, could you just get me
some ice, please?

Get me, get me
the medic, please.

- Thanks.
- You okay?

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.

McKAY:
Let me, uh, let me take a look.

DELLA:
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 Players' Guide,

and there he is.

MASON:
Dak Foster.

Is there an address there?

No, but his agent's listed.

Okay, Paul, track him down.

(Drake barks)

(Della laughs)

I'd better;
they're paying me big money.

CARR: Good, that'll make up
for what you don't get here.

(Marty and audience laugh)

Were you
a little nervous tonight?

MARTY: A little tense,
you know, first time.

CARR:
Well, if it isn't Robert McKay,

ladies and gentlemen,
crashing yet another party.

(audience screams)

MARTY:
Oh, my God!

He, he, he shot him!

Somebody call an ambulance!

He shot Steve!

(theme music playing)

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.

RESTON:
Where did you find this weapon?

HARRIS:
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 expended 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.

RESTON:
I call

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.

RESTON: Fight--
you mean they were arguing?

HOWELL:
No.

Mr. Carr hit Mr. McKay.

So you would say
they appeared to be angry?

(chuckles)
Well, yes.

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

Can you be sure they were angry?

Perhaps they were just joking.

MASON:
Objection.

Calls for speculation.

Improper opinion.

Sustained.

No further questions.

Your 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, um...

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, uh, he ordered dinner,

the, uh, 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, uh...

he was quite pleasant,
almost jovial.

Would you say
he was in a joking mood?

Objection. Move to strike.

- Relevancy.
- Sustained.

No further questions.

Y-You want me to give somebody
else first crack at this kid?

Fine, he's just gonna be
the next Tom Cruise.

Bozo.

(knocking)

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, sol
thought I would come down here

-and speak to you personally.
- I'm thrilled.

- Now get out of here.
- Now, lookit, I took time

out of a very hectic schedule to
come down here and talk to you

about using one of your actors
in my new series.

Your-your new series?

New York Heat?

- Oh, so you must be, uh...
- 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-I'm sorry
if I seemed rude, but...

my analyst recently died.

You handle an actor by the name
of Dak Foster.

Oh, yes. 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, w-well,
I'm afraid he's working.

I have to see him today.
Unfortunately,

I'm heading back to L.A.
on a 6:00 flight.

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

Mr. Drake, Michelle Benti,
National Informer.

I was wondering, sir,
if I could ask you

-just a few quick questions?
- What is going on?

Have you cast your series yet?

And what kind of talent have you
found here in New York City?

Why don't you people
leave me alone?

How did you find out I was here?
Now, wait a second.

- Did somebody in your agency
tip her off? -No...

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 gonna give you a story
about unethical practices.

No, I-I'm innocent!
I'm ethical, I swear!

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

- Well, I was just...
- Now. Go. -Come on!

Sorry. It was
a terrible misunderstanding.

You've been offensive,
uncooperative and impolite.

I think I'll let myself out.

No, please! Wait! Here...

Uh, this is the address
you'll find Dak at in Queens.

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

Mr. Freeman, thank you.

(clears throat)
Got it.

- Great, let's go. -Michelle,
I can't take you with me.

(whistles)
Taxi!

What-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 Dak.

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 in 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-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 bonus

and maybe finally I'm able
to leave that rag. What...

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.

I'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, uh,
this witness brought himself

to the attention of my office
less than an hour ago

and, believe me,
I was as 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 trial, Mr. Reston.

I would've expected you
to be above such behavior.

Your Honor, I am very sorry

and I'm well aware
of how this must look.

But I'm also convinced
that this witness's testimony

is very important
to the People's case.

Mr. Mason, you have every right
to a continuance,

and I have every intention
of 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 has no objection.

RESTON: 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 reshooting 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, um... 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.

All right, 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,
Ms. 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.

MASON:
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
loved better

than a good practical joke.

That's all, Ms. Huntley.

Thank you very much.

Your 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.

RESTON: So he would be familiar
with their operation?

Yes.

Can't we assume that he would be
completely aware

that anyone standing next
to the sound mixer

-could overhear everything
he said? -MASON: I object!

Calls for speculation
on the part of the witness.

Calls for...
complete conjecture.

Mr. Mason,
if you don't mind,

I'd like to answer the question.

MASON:
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
and withdraw the question.

Motion granted.

Ms. Huntley...

how far away were you standing
from Robert McKay

when you overhead 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.

DRAKE:
Let's be quiet.

They might be shooting.

-(clatter)
- MAN: Quiet, damn it!

MICHELLE (whispers):
They're shooting.

Oh, hell. Cut! Rick, get
that thing out of there

before it decapitates somebody.

Oh, get me a space blanket.

(sighs)

- You! Over here.
Me?

You. I want you to work.

Stand right over here.

Hold this...

...just about... there.

And don't let it down
until I say cut.

Fine.

Okay, Rick. We've got fill.

Let's roll 'em. Take six.

(quietly):
Do you know a Dak Foster?

Welcome to the wonderful world
of low-budget filmmaking.

Where's Dak?

He's right over... there.

(thunder crackling)

(thunder crackling)

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?

TOWNE:
That's right.

MASON:
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, uh, 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?"
-(gallery murmurs, gavel bangs)

So far, we've been subjected to

your low, juggling,
carnival approach.

- JUDGE: Order!
- Now we want to continue on...

What exactly do you mean
by "we?"

(gavel banging)

Just one minute, both of you.

Step up here.

(gallery murmuring)

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 demonstrate

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 stand.

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

Perhaps the esteemed counsel
for the defense was so amenable

at the 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.

(gavel bangs)

MAN:
Cut!

That wasn't bad, was it?

- Loved it.
-(Dak laughs)

MAN:
All right, 30 minutes now.

And that's all, because if we
don't get the next shot by then,

we're not gonna
get the next shot,

and the producer's
gonna pull the plug,

and you know what's gonna happen

to all those back salaries
of yours.

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

How you doing?
I'm Paul Drake.

This is my girlfriend
Michelle Benti.

- Dak Foster.
- Hi! How are you?

Fine. Do I know you?

I don't think so.

Where, uh...
where are you guys from?

California.

Oh, maybe I met you out there.

What do you guys do?

Uh, 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.

There's work, no money.

And it's not exactly
the kind of credit

you'd want to put at the top
of your bio, either.

Well, thank God
for makeup, huh?

So what about the, uh...
the Robert McKay shoot?

What about it?

Any work there?

I wouldn't know.

MAN:
What do you mean, he's not here?

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

they kick us 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, uh, friend here's an actor.

Why don't you use him?

- No, that's, uh...
- Yeah. Yeah, that's an idea.

- We can... we can slap
a wig on him. -That's fine.

- We can do some weird angle,
deep shadow stuff... -Right.

- Girls?
- I'm just down here to watch.

- That's okay. -RON: Get this guy
in wardrobe, okay? Come here.

DRAKE:
No, no, no, really, I can't.

I can't.

Listen, I got three weeks'
worth of back pay

that says you better, mister.

(laughs)

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 tape The Steve Carr Show.

If you would step down
out of the witness box,

I'd like you
to explain to the court

exactly how you used them.

Step down.

The 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.

MASON:
Did, uh, 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 the curtain

and then carry them all the way
to their seat.

Once the guest was seated,
how was it used?

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

MASON: And that was
your normal procedure?

I did it that way for 11 years.

Then I can assume,

since Steve Carr's guest
was already seated

when Robert McKay came
through the curtain,

that camera one 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?

(theme song playing)

- Welcome, Marty, welcome.
- All right.

- Nice job.
- Thank you.

MASON:
Now that is camera two.

- Oh, Steve, you're too kind.
- No, it's your first time here.

- MASON: And that would be
camera three. -Thanks, Steve.

(laughs) Coming from you,
that means something.

- Not much, but something.
- MASON: Back to camera two.

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

- Great. -Here, I understand
you're appearing

the 12th through the 15th

at the Melodyland Ballroom.

I'd better.
They're paying me big money.

CARR: Were you
a little nervous tonight?

- Freeze it, please.
- MARTY: Mm-hmm.

MASON:
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?

Well, you see, um...

(sighs)

Yes.

(gallery murmuring)

(gavel bangs)

JUDGE:
Order.

- Order!
-(gavel banging)

(gallery quiets)

Isn't it true

you would have to have had
camera three in position

to get that shot?

Yes.

MASON:
Isn't it true you knew

Robert McKay was going
to make an appearance on

the show that night?

(sighs)
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
assignment in Los Angeles?

Yes.

Isn't it true

that Steve Carr prevented you
from accepting that assignment?

We were having
a contract dispute.

MASON:
Which he won.

Yes.

How did you feel about that?

TOWNE:
I didn't like it.

One more question.

How would you characterize him

when he told you Mr. McKay
was going to be on the 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?

(quietly):
Yes.

Thank you.

No further questions.

JUDGE:
Mr. Reston?

Mr. Towne...

as fond as you were
of Steve Carr,

and, uh, being familiar

with the stormy friendship
with Mr. McKay,

weren't you apprehensive
when you heard

that McKay was going
to appear on the show,

carrying a gun?

Yes, in fact, I was.

Yes, I should think so.

Thank you.

JUDGE:
Witness may step down.

Court will recess
until this afternoon at 2:30.

(gavel bangs)

Uh, Your Honor, defense would
like an one-hour extension

to examine new evidence.

We can do better
than that, Mr. Mason.

Court will adjourn until
tomorrow morning at 10:00 a.m.

(gavel bangs,
gallery murmuring)

What new evidence?

Robert...

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

Well, we use one, two,
sometimes more if, uh...

if we're shooting a stunt.

- A stunt?
- McKAY: 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.

With the film that was stolen?

It would have been,
if Dak Foster had known

there was a second camera.

DELLA: 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?

Yup.

Della, where's Paul?

Oh, that was Paul on the phone.

(rips paper off pad)

LEE: Okay, Paul,
you ready for a take?

- Yeah.
- MAN: Stand by, please.

All right, this is it.

MOS. Let's roll 'em.

And action!

(camera shutter clicks)

- See if you can catch me now.
-(grunts)

(grunting)

Why did you steal that film?

(yelling)

(grunting)

(yells)

(grunts)

(panting)

That him, Paul?

Oh, yes.

DRAKE:
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... a stunt
in which the 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.

MASON:
Did it involve using doubles?

Wasn't necessary.

It was a fairly minor stunt.

And in the course
of this minor stunt...

Ms. Huntley suffered
a minor injury, is that correct?

BRENNER: She hurt her ankle
during one of the takes.

She was treated by the nurse on
the set, Mrs. Brenda Saunders,

is that correct?

As a matter of fact, she was.

Mrs. Saunders...

would you please stand?

Now, you insisted on carrying
Ms. Huntley over to the nurse,

is that correct, Mr. Brenner?

Yes.

Thank you.

And you insisted
on staying with Ms. Huntley

while the nurse applied ice
to her 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.

JUDGE:
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 that day,

Mr. DeVito, is that correct?

Uh, yes, sir, that is correct.

Mr. DeVito...

who are these people?

Uh, just spectators.
You know, people who come down

because they, uh, 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.

DeVITO:
Yeah, I see what you mean.

Everyone seems
to be facing forward

except for that one person
right there.

MASON: Yes,
that person has turned away.

Now, look closely.

What do you see?

Uh, just that it's a woman.

- MASON: Mr. DeVito...
- Stop.

You don't have
to go any further.

I did it.

(gallery murmuring)

-(gavel banging)
- JUDGE: Order!

Any 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...
- MASON: 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
of 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?

ALLISON:
Yes.

MASON:
Do you want us to believe

it was because he was worth
more to you dead than alive?

ALLISON:
Yes.

And then you'd inherit
all his money.

ALLISON:
Yes.

MASON: 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?

- Am.
- And that if you are convicted,

you may spend the greater part
of your life in prison?

SHARON (whispers):
Please stop this.

She's trying to protect me.

(Sharon sighs)

You know I did it, don't you?

Yes.

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

(sighs)

MASON:
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.

MASON: 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, uh...

he wanted to make up
for the past, that...

he wanted to help me
with my career.

So when I got
to his apartment... (sighs)

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
gonna 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
i-if I didn't come across,

that he would tell my mother
that 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?

SHARON: I walked around
for a while, and then...

I went to the movie set.

I-I can't remember
how I got there.

But I stayed in the crowd
and then I s-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.

(crying): Steve Carr
ruined my mother's life.

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

(clears throat)

Well, this has been
a most involved matter,

but the truth seems
to have become self-evident.

The court will entertain
a motion, gentlemen.

MASON:
Mr. Reston?

Your Honor, the People move
for a dismissal.

- Case dismissed.
-(bangs gavel)

(sighs)

DRAKE: Well, you finally
got your story.

I sure did.

- And 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?