All language subtitles for 17 - The Adventure of the Sinister

The Hollywood star
is about to be murdered.

Who is responsible for his death?

Was it his jealous wife?

Are you accusing me of something?

The frightened prop man?

And they think I put in live bullets.

The humiliated director?

Me thinks the lady doth
protest too much.

The supercharged press agent?

"Actor shot to death on movie set"?

The frustrated actor?

Poor Gilbert won't be playing
the character.

Maybe you'll give me back
some of my moments.

Or was it someone else?

Match wits with Ellery Queen

and see if you can guess
who done it

Hello, this is Ellery Queen.

I'm calling
about the chemical analysis

of the tea found
in the victim's study.

Well, we won't need
the FBI's assistance, after all.

The case is solved.

I'm collecting all the suspects

at the scene of the crime
at midnight,

when I will prove beyond
a shadow of a doubt

who killed Elizabeth Warner.

Ellery!

I'm okay, Dad.
I finessed her -- bulletproof vest.

Cut!

Okay, now let's do it
the way we rehearsed it!

All

Al, come here and clean up
this mess and redress the set.

At least they got
the furniture right.

Yeah, that's about the only thing.

They sent a whole gang
of men to New York,

measured every inch
of your study

in order for it to be authentic,

and then they hire a sawed-off
old geezer like that to play me.

They should have picked somebody
more like, oh, Brian Donlevy.

Yeah.

They didn't even stick
to my story, Dad.

Did you hear that dialogue?

He finessed her with his bulletproo--

How did he know that she wasn't
gonna aim at his head?

Quiet, please!
Quiet on the set!

Lee, look -- you take too long
to get the gun.

Don't waltz around with her.

Just come barreling in and grab it!

Right. I'll grab it.

All right, now, Pamela,
as for you, look --

you think that you
have killed a man,

and suddenly he gets back up
on his feet.

Doesn't that demand
some kind of reaction?

Well, you said
you didn't want a scream.

I don't!

You screamed
in your last four pictures,

but there must be something else
you can do.

Well, how -- how about an "Oh"?

Oh!

Oh.

Well, that's better than nothing.

Look -- I know you have your mind
on that juicy role

that you had to turn down at RKO,
but try and concentrate on this --

this little gem
that we're shooting here.

Now, Gil,
as for that fall of yours --

that is not the way
a man keels over

after he's been shot.

Now, where's
your stunt double, huh?

He'll show you how to do it.

Hey, you, come on over here.
We need you.

The name is Hewitt, Mr. Raynor,
Mike Hewitt.

Yeah, well, you can forget about it
because Mr. Raynor is wrong.

We don't need you.

Now, wait, Gil.
Look --

Now, you wait a minute, Raynor.

Don't you ever criticize me
in front of the cast or crew

or anyone else for that matter.

And in case you have forgotten,

I am not only the star
of this picture,

but I own a piece of it.

I have script approval,

I have cast approval,
and I have director approval.

Now, I demand an apology.

Gil, all I said was --

I said, I demand an apology.

There was no harm meant, Gil.

I'm -- I'm sorry I snapped.

Let's try it again from the top,
shall we?

You try it again from the top.

Now, wait, Gil.
Look -- I'm sorry!

I'm really sorry!

Lunch.

So, this is how
they make pictures.

Come on, son.
Let's go sightseeing.

Mr. Mallory?

You, uh, remember me?
Publicity.

- Parker, isn't it?
- Pierce, Dave Pierce.

The picture started a week ago.
Where the devil have you been?

Chained to a typewriter --
press releases.

Oh, really?

I haven't noticed anything
in the paper about me or the movie.

You will, sir -- believe me.
I'm working on that right now.

They --
They told you about my wife?

Yes, sir, they did.
Trust me.

If I must.

Okay, what have you got worked out
for me, Parker?

Pierce.

Well, I have it arranged
for you to be photographed

with the real Ellery Queen.

Oh, that's nice.
That'll give a boost to his career.

Now, what are you
gonna do for me?

Oh, have you met Ellery Queen

and his father,
Inspector Richard Queen?

Gilbert Mallory.

How do you do?

My pleasure.

You know, of course,
this is a closed set.

- Now, we -- we didn't know that.
- We were invited.

That's right, Mr. Mallory.
They were invited.

Not by me.

Oh, Gil, I think
there's been a mistake made.

In the changes that came
through on scene 243,

some of my very best lines
were given to you.

That's right, Briggs.
It's my picture.

Step aside, please.

He calls that a bulletproof vest?

You could shoot through
that with a B.B. gun.

You heard what he said -- lunch.

Break for one hour.

I -- I'm sorry about Mr. Mallory.

Oh, it's not your fault, Mr. Pierce.

Well, I'll try to make up for it.

We'll start with lunch on me.

Okay if we eat
right here on the lot?

Oh, I'd like that.

Well, let's go.

This is the real glamour treatment,
son -- studio commissary.

No telling what big stars you'll see,
maybe even Alice Faye.

Keep your eyes open, son.

This is the real Hollywood.

Hey, Dad, which one is Alice Faye?

Be quiet and eat your bologna.

If you're looking for glamour,

I'm afraid you picked
the wrong studio.

This one operates
on a very thin shoestring.

They should have
mentioned that

before they brought us
all the way out here.

By the way, they're gonna pay
our fare back, aren't they?

Absolutely.

Oh, I beg your p--
Oh, you're Ellery Queen.

And you're Inspector Queen.

I'm Lionel Briggs.

I'm you in the picture.

That's very unusual casting.

Well, thank you, sir.

Mr. Briggs, what are those
colored pages in your script?

Oh, they're changes, rewrites.

Rewrites?

Yes, you see, when changes
are made in the script

before the day's shooting,

all the revisions come through
in different-color pages.

Oh, I see.
I didn't know that.

Thank you.

Well, I certainly hope we have
a chance to get together, sir.

I want to capture the real you.

They must have had their eyes
closed when they cast him.

Chester Morris would have been
perfect for the part.

Dave?

Yeah?

Why don't I get any colored pages?

Look at my script.

It's white as snow.
I didn't get any rewrites.

Yes, I know.

The author's a forgotten man
in Hollywood.

So is the publicist.

I don't get them, either.

Well, if they don't want me to know
what's in the shooting script,

why'd they bring me out here?

Pictures, publicity, interviews --
Uh-oh.

- Is that Hedy Lamarr?
- Unh-unh.

Trouble -- Mrs. Gilbert Mallory.

Excuse me.

Mrs. Mallory?

Mrs. Mallory?

Looking for your husband?

Dave Pierce, publicity.

The picture's shooting
on this stage, isn't it?

Oh, let me check on that.
They -- They could be on location.

Yes, I believe something
was said about Griffith Park.

Hiya, Dave.

So, my husband is in Griffith Park,
and the stunt man is on Stage 27

Is something wrong?

I guess you've never heard
of the battling Mallorys.

They make Punch and Judy
look like Hansel and Gretel.

- We ready?
- Yes, sir.

See if Mr. Mallory is in the mood.

If he's not, we'll get some
close shots on the others.

Mr. Mallory?

We're ready to roll, Mr. Mallory.

You don't have
to knock the door down.

I heard you the first time.

Gilbert, darling!

Claire, precious!

- Rat.
- My favorite spy.

Ex-favorite.

Don't be childish.
We were only rehearsing.

For what?

Claire, I've had enough
of these scenes.

I could overlook the ships
that pass in the night,

but when you humiliate me
by openly flaunting --

Good-bye, darling.

And I do mean good-bye.

What's everybody standing
around for? Let's go to work.

All right, this will be a take,
ladies and gentlemen.

Let's do it for posterity.

Quiet, please!

Places!

Hit your lights!

Ready on sound?

Roll them!

Action!

Hello, this is Ellery Queen.

I'm calling about
the chemical analysis of the tea

found in the victim's study.

Well, we won't need
the FBI's assistance, after all.

I'm gathering all the suspects
at the scene of the crime at midnight,

when I will prove beyond
a shadow of a doubt

who killed Elizabeth Warner.

Ellery!

That's --
That's better.

Ellery!

Cut!

That was fine, Gil, very believable.

Gil?

Gil!

Aah! Aah!

Keep it out of the papers?

Impossible.

"Actor shot to death on movie set"?

That sells papers.

Well, like it or not, you're gonna
see headlines, big headlines.

Thank you.

Harris?

Where's that director -- Raynor?

He got called
to the producer's office.

Call him back.

I don't want anybody to leave yet.

Keep everybody on tap.

And tell me
when Captain Blake gets here.

Right.

Excuse me.

Oh, Lieutenant, how do you size it up
-- accident or murder?

My son and I were discussing it.
He has a theory.

Well, I don't know how you work it
in New York, Inspector,

but out here we don't fool
around with theories

until we've studied the facts.

Well, now, that's what we've
been doing, Lieutenant,

and I think you should know
about Mrs. Mallory --

That she saw Pamela Courtney

coming out
of her husband's dressing room.

I know about that.
They had a squabble.

No, now, see --
it wasn't exactly a squabble.

All she said was something
about overlooking ships

that pass in the night,
but not being humiliated.

How do you know what she said?

According to the other witnesses,

her voice was so low
that nobody could hear her.

He could -- the sound man.

The microphone was on.

We question everybody in New York --
just routine procedure.

We would have gotten
around to him.

Now, thank you, gentlemen,
but I really don't need your help.

Well, in that case,
we won't hang around.

Come on, Ellery.

Oh, come on, Dad.
Don't you think we ought to tell him?

He doesn't care that Mrs. Mallory
didn't leave before the shooting.

Mrs. Mallory?

People saw her leave.

No.
They thought they did.

But her bag is here,
so it's very likely that she's here.

How do you know
that that's her bag?

That's her monogram, and she
was carrying it when she came in.

You could look inside
for identification, just to be sure.

Harris!

Yeah, Lieutenant?

Mrs. Mallory -- she's still here.
Find her.

Right.

Ellery, I'm going to buy one of those
maps of movie stars' homes.

Maybe I can find out
where Dottie Lamour lives.

Good. Good idea.

Richard.

- Richard Queen.
- Ben!

- Well, I'm a son of a gun.
- You know Ellery.

Since he was that high.

Ellery, this is
Captain Benjamin Blake --

Sergeant Blake when he used
to carry you piggyback.

How do you do, sir?

Say, aren't you a little
off your beat?

Ellery sold a book.
I came along for the ride.

Well, it looks like you landed
right in the middle of a homicide.

Do you think it's murder?

Ellery's theory, too.

- Lieutenant.
- Yes, sir?

Have you met
Inspector Queen and his son?

Yes, sir.

Well, that's fine.

I want you to hang on to them.

They can be a big help to you
in this investigation.

Great.

Richard, I'm sure glad you're here.

We'll catch up on things later.
Nice seeing you, Ellery.

Lieutenant,
you listen to these fellas.

Yes, sir.

Salt of the earth, that fellow.

Must be an inspiration
to work for a boss like that.

Mind if I sit down?

Whatever you want, Inspector.

Lieutenant,
what is the meaning of this?

I found her in her husband's
dressing room, Lieutenant.

I wanted to be alone.

Is that all right with you?

My hus--

I have a few questions,
Mrs. Mallory.

Now, I understand,
during the lunch break, you --

Won't you sit down, dear lady?
You must be under a terrible strain.

Yes, I am.

Thank you.

Now, you were saying, Lieutenant?

I think the Lieutenant
was going to ask

about the pistol in the prop box.

Mrs. Mallory was standing next to it.

Well, yes, I suppose I was.

But if you'd spent as much time
as I have on sound stages,

you'd know that property boxes
are always kept locked.

Anyway, I had no reason
for wanting to see my husband killed.

I loved him.

Yes, but you resented
the way he flaunted his affairs.

Yes, I did.

I resented it on his last picture,
too, with the script girl,

but I didn't kill him then...
and I didn't kill him now.

You started to leave the stage,
and then you came back.

Would you mind telling us why?

Yes.

Yes, I decided I was being foolish.

I wanted to talk
to Gil between takes

and try to convince him
to call off this production.

Gil's company was putting up
half the money,

and I thought
it was a terrible mistake.

He wasn't right for the part,
and the script was a disaster

and getting worse
with each revision.

You won't get any argument
from this quarter.

But your last words to him were,

"Good-bye, darling,
and I do mean good-bye."

This is absurd.

The real bullets must have
been put in by accident.

Why would anyone have worked out
such a bizarre plan?

Well, you see,
people under severe stress --

I was not under severe stress,
just... average stress.

Are you accusing me of something,
or may I go home now?

All right, Mrs. Mallory,
but I may want to get back to you.

You have my number.

Well, I'm going sightseeing.

Coming?

Hey, Dad, there's a note
pinned to my script --

"Special-effects department --
ask for AL"

You ask for him.
I'm gonna find Dottie Lamour.

I want to talk to that prop man.
What's his name?

Garvin, sir -- he's not here.

He's not here?
He better be here.

I told you not to let anybody go.

He was already gone --
took off like a shot.

Well, find him.

Find Al Garvin.

"Ask for Al" -- props.

What do you mean, crummy work?
I made them myself.

Wait a second.

Uh, exc--

Take your hat off.

Okay?

Bernie, he loves them.

Okay, baby, see you later.
You're a sweet heart.

Here. And if that moron
doesn't like this batch,

I'll come over and rap
them over his head,

except the bottle
won't be candy glass.

It'll be the real thing.

Uh... excuse me.

No, excuse me.
Hold this a second.

I'm looking for Al Garvin.

He's in props.
This is special effects.

Oh, well, I got a message from him
asking me to look for him.

Your name Queen?

Yeah, Ellery Queen.

Let's see your studio pass.

- Oh, can I put this down?
- Oh, sure.

That's not it.

Here it is.

Tool room, in the back.

Thank you.

Hey, haven't I seen you
somewhere around the lot?

Huh?

The hat?

No, no, that's some other person.
Thank you.

Mr. Garvin?

Oh, Mr. Queen,
I'm glad you came.

Well, I'm not so sure I should have.

You know Lieutenant Braden's
looking for you.

Oh, Mr. Queen, I'm not hiding out,

but I wanted the chance
to talk to you first.

See, I've read some of your books,
and you've got brains.

Well, that's very flattering, but --

Now, they think I put in live bullets,
don't they?

Well, I didn't.

I put in a full clip of blanks

when I first got to the stage
this morning,

and I've never reloaded. I swear.

You didn't replace
the three blanks

that were shot
before the lunch break?

No. Now, my guess is --

somebody slipped some live
cartridges in early this morning.

They left three blanks on the top
so that if anybody looked at the clip,

they'd see nothing but blanks.

I see.

But... if the prop box
is kept locked --

Yeah, I know. I know.

But about 10 minutes after I got here
this morning and unlocked the box,

I got a phone call.

Now, the phone's all the way
across the other side of the stage,

and by the time I got there,
whoever called for me hung up.

So, you think it was a ruse
to get you away from the prop box?

Had to be.

And you're sure the box was locked
during lunch?

And the pistol was in it.

Well, why didn't you tell all this
to the police?

Because I was afraid they'd
find out about my sister.

Your sister?

She was script girl
on Gilbert Mallory's last picture.

He made a big play for her,

and she broke up with the nice
young fella she was going with,

and then Mallory dropped her.

She's just a kid.
She took it hard.

I still think you ought
to tell the police.

I don't know, Mr. Queen -- cops?

My dad's a cop, and they're not
at all like they are in the movies.

They can be very understanding.

All you got to do
is tell them the truth,

and you got nothing to worry about.

Thanks for the advice, Mr. Queen.

Well, you didn't tell me
you threatened to kill Mallory

in front of witnesses.

I forgot that.

He didn't tell us, either.

We asked around.

We don't theorize, Mr. Queen.
We dig.

Oh.

Now, according to this map
of the movie stars' homes,

Alice Faye lives
right down the street.

Now, why don't we go take a look?

She might be out
beating a rug or something, huh?

No, Dad, we're staying here.

Well, why are we here at all?

Well, because Mr. Raynor invited us
and because Al Garvin's in jail.

Well, I don't see why having
a late breakfast outdoors

is going to get him out.

Welcome to Rancho Raynor.

There's some scrambled eggs
over here, gentlemen,

or caviar there, if you prefer.

Alice Faye here, by any chance?

Michael, darling, your Sunday
brunches are sheer heaven.

And your presence decorates them
so beautifully, my dear, but then,

blondes go with anything.

All right?

Everything all right?

There's Dave.

Maybe he'll introduce me
to a movie star I've heard of.

If you're giving me a bum steer,

you'll never get another item
in my column.

Baby, the picture's not going
to be cancelled.

Trust me.

That's not what Louella's saying.

You're not holding out on me,
are you, Davey?

Baby --

Any idea who's taking over
poor Gilbert's part?

Well, there are a number of stars
being considered and --

Hold it.

Darling, I almost
didn't recognize you.

What have you done
to your face?

Oh, hello.

Enjoying the party?

We just got here.

Dave, is there a chance
the picture will be cancelled?

I hope not.

I need the job.

Oh, excuse me.

Yeah?
What is it?

Have you talked to Raynor?

I haven't been able to get to him.

Well, here's your chance.

All right, all right.

This thing is too sweet.

See that you get
the next one right.

Mr. Raynor, did you get that memo
I sent you about Mike?

He'd be great in the part.

I don't gamble on unknowns,

especially stunt men
who think they can act.

Well, I've -- I've had a few roles,
Mr. Raynor.

You didn't happen to catch me
in "Western Stallion"?

I hate cowboy pictures.

Wayne Morris played the lead.
I was his best friend.

He was fantastic in the role.

He stole the whole picture.

Why don't you give him a screen test?
Look, David --

you talked me into giving your pal
here the job of doubling Mallory.

Now, get him off my back,
or I'll can both of you.

"Western Stallion." Ohh.

Big shot.

Three flops in a row.

Mr. Raynor... I'd like to speak
to you a moment

about the blue pages
that came in yesterday.

Oh, come on, Briggs.

Working a six-day week
is tough enough.

Can't I have Sunday off?

But they've already taken most of
Inspector Queen's best lines away

and given them to Ellery.

Now, even the best scene, the
confrontation scene with the butler --

that's the only chance
I have to illuminate

the dynamic
essence of the character.

It's been cut out completely.

It was Gilbert Mallory's idea,
wasn't it?

We'll talk about it tomorrow.

Well, look -- now that poor Gilbert
won't be playing the character,

maybe you'll give me back
some of my moments.

Tomorrow, Briggs.

- You know...
- Hmm?

...he's right about that butler scene.

It was the best scene I had.

Tell me -- as the author,

what do you see as the dynamic
essence of the character?

The dynamic what?

I see him as seething with frustration
and trying desperately --

even though ineffectually --
to establish a viable relationship

with his son.

Well, I think I'll try
to establish a relationship

with the lady over here.

Yeah.

Now, that's a facet of his character
I never would have thought of.

Excuse me.

Pamela, darling,

has your agent firmed up
the RKO deal?

How could he?

I'm not available.

You will be
if they cancel this whodunnit.

This is a new low --
Sunday brunch, as usual.

The king is dead.

Long live the king.

- Who got the part?
- Oh, come off it, Claire.

- Life goes on.
- I think you should know, Inspector,

that my husband was planning
to replace Mr. Raynor

as director of this picture.

That's a lie.

You haven't had
a decent credit in years.

If they yanked you off this picture,
you'd be through.

That's a brilliant performance,
Claire.

The screen lost a very fine ingenue
when you retired.

Yesterday you said it was Pamela
who did it on purpose,

and now it's me.

I'm beginning to think
that you're afraid

somebody is gonna say it was you.

I'm not a bit afraid of that
because I know it wasn't me,

and so do you.

Inspector, me thinks the lady
doth protest too much.

Well, well, well,
looks like I have hit the jackpot.

Well, now, look --
don't print any of this.

It's bad for the industry.

Just be careful I don't finish
what Gil started.

My lawyer and I have just
finished going over his will.

Oh, where did you find it,
by going through his pockets?

Gil's company belongs to me now.

So, you stay on as director
only if I want you to.

So, don't you push me around,
Michael.

And if I thought you had
anything to do with his death...

I'd stop this production right now.

Excuse me, Mr. Raynor,

but have you shown
these gentlemen your collection?

Collection?

What collection?

He's a big-game hunter.

He knows all about guns.

He could even put lead into blanks
and make real bullets out of them.

Couldn't you, Michael?

Yes, of course... if I wanted
to do it the hard way.

The truth is, I didn't do it any way.

I'm sure everything will be
thoroughly checked, Mrs. Mallory,

including the source
of the ammunition.

Thank you very much, Mr. Raynor,

for the glimpse of Hollywood
beneath the tinsel.

I was happier with the tinsel.

Son, do you think you could
tear yourself away?

- What?
- We're leaving.

Say good-bye.

Dad, what about the brunch,
the caviar?

I don't like fish eggs
in my corned-beef hash.

Oh, Inspector Queen --

Don't bother me.
I don't want to be studied.

I knew that would be his attitude.
Irascible, isn't he?

Well, he's grouchy
in the morning, yeah.

But with a keen policeman's eye
at all times.

I remember what he said
about that phoney bulletproof vest

Mallory was wearing.

He was right, too.

What about the vest?

Well, if Mallory had been
wearing the original vest,

he'd be alive today.

It was bulletproof.

Why didn't he wear it?

Well, at the last minute,
there was some change.

He was given a simulated vest.

By whom?

By the prop man, Al Garvin.

Those memos have to be here
somewhere.

Ah, here we go.

Now, here's the first one.

Thanks.

"Due to changes in scene 231A,

Gilbert Mallory will need
a bulletproof vest."

Signed -- "Michael Raynor.”

Yes, I sent it.

It's dated Friday the 17th,
the day before yesterday.

I got it early that morning,
and here's the other one.

Ah.

"Vest unacceptable.
Wardrobe is making one to order.”

Signed -- "Michael Raynor,"
same date.

I got that just before
wrapped on Friday.

Yes, again.

Now, I wonder if we could see
that bulletproof vest.

- Sure thing.
- Yeah?

Why did you wait until the last minute
to make the switch, Mr. Raynor?

Well, Mallory said
the real bulletproof vest

made him look fat.

I fought him on it, but I didn't
have a chance of winning.

Was that in front
of the entire cast and crew?

No, no, we discussed it off the set.

I see.

Was there anybody else there?

Yes, yes, Pamela Courtney.

Al, you sure that's the same vest
you gave him?

It's the only one we have.

It's -- It's real.

As strong as armor plates.

Bullets wouldn't have gone
through this.

That's a shame.

Yes, it's a shame.

"Memo to director Michael Raynor --

Watch your step, Mike.

Gil Mallory's widow, Claire,
may be wearing basic black,

but she is seeing red -- ink, that is.

The little lady's angry enough

to shut down the new
Ellery Queen quick flick

before the budget goes out of sight.”

Hi, Dad.

I thought you were going
to Grauman's Chinese.

Just to see the footprints.

My feet are exactly
the same size as Pat O'Brien's.

Where is everyone?

They're shooting on location today.

Something bothering you, son?

Just running
through the sequence, Dad.

Al Garvin took the pistol
out of that prop box

and brought it here on the set.

Who'd they get to play Ellery?

I hear Lee Bowman turned it down.

Now, I got that straight
from the guy who sells souvenir's

in front of Grauman's.

Didn't bother to check the clip,
he says.

So, the live rounds might be
in the gun -- might be in the gun.

I've been rereading
the original script.

- Much different from what we saw?
- No.

The difference is in where it goes.
It starts out the same way --

Ellery is dialing on the telephone,
and he's talking,

and then he walks over here,
walks way over here.

Then he gets shot.

Look out, son. You'll put your hand
right through that glass.

It's all right, Dad.
It's just candy glass.

What?

Harmless glass for a special effect
that wasn't used.

It wasn't used. I wonder
why that scene was changed.

The director wanted it changed.

Did he say why?

Money.

If Ellery's stunt double went
crashing through that glass,

it's $200 a stunt.

Now, Raynor was trying
to save every nickel

he could to make himself
look good.

How'd you feel about that,
Mr. Briggs?

Well, it didn't bother me at all,

as long as I didn't lose
any more of my lines.

You know, I lost some
this morning in the green pages.

I don't want you to think
that I'm the kind of actor

that goes around counting his lines.

Mr. Briggs, in the original script,
how many lines did you have?

243.

I've lost 97.

97? They're trimming me down
to a walk-on.

Excuse me, Dad.

You know, the change
in that script might be important.

What?

Well, in the original script,
the unrevised one.

Now, the distance from that door
to that window

is approximately 20 feet.

A pistol aimed at a man's heart

at that range could very easily miss.

And the way the script was changed,
it's close-up, point-blank.

It couldn't miss.

We had better have
a talk with Mr. Raynor.

Do you have a moment, Mr. Raynor?

No. Camera here!

We were just wondering
why you changed the scene.

Scene 231A.

Because I thought
it would be better.

Look, Queen -- I don't have
to explain anything to you.

You signed away your rights,

and you have no control
whatsoever over your material.

I know that.
I'm not criticizing.

Well, then what is it all about?

We're just wondering
why you altered the material.

Because I got this idea
of Ellery finessing her

with that bulletproof-vest gimmick.

You mean he didn't wear it
in the original scene?

No, she fires and misses.

Then he dives through the window
and makes out that he's been hit.

Mr. Raynor?

Sonny North...
your new Ellery Queen.

Hello, Mr. Raynor,
good to see you again.

- Sonny, welcome aboard, huh?
- Thank you.

Yes. Have you read the script?

Read it, loved it, and raring to go.

There are one or two minor points
that we'll discuss later, okay?

Whatever you say, Sonny.
This is your picture.

Great.

- Have you met your leading lady?
- No, as a matter of fact, I haven't.

Pamela, sweetheart, come over
and meet your new star, hmm?

I wished for someone tall and
handsome, and my wish came true.

Welcome, Sonny.

Thank you, sweetheart.

I'm going to like this, Mr. Raynor.

Hmm. Oh, and your stunt man.

Mike Hewitt.

Mike.

Mike's gonna need lifts.

He doesn't look any more like you
than the man in the moon.

What's she doing here?

Keeping an eye on her investment.

Well, then she really is worried.

Oh, she was here
the first thing this morning,

after her script changes arrived.

Raynor wanted to put a few kids
playing on the road

to heighten the action
of the car chase.

She put a quick stop to that.

Quiet, please, this is picture.

All right, sound of car!

Stay here, Elizabeth. I'll decoy.

All right, Sonny, out.

Hewitt.

Pick it up after his line
up there at the rock.

Get in the car the same way he did.

Drive down there,
to where the road curves

at the edge of the cliff
and go into a skid.

Now, we've got a second camera
down there, and we'll get a close-up,

so make it a good one, huh?

- Okay.
- All right.

Let's shoot it.

Roll, please.

Action!

Right.

Well, it was murder, all right.

The brake line was cut.

That narrows the suspects
in Mallory's murder by one.

Why Hewitt?

Maybe he knew something
about the first murder.

Or maybe it was a mistake.

Maybe the killer was
after the new Ellery Queen.

Well, we know one thing for sure --
it wasn't Garvin.

He was in jail.

Somebody's trying to put
the whammy on this production,

and I have
a definite suspect in mind.

Sergeant Velie?

My name is Harris, Inspector.

I'm sorry.
I forgot where I was.

I want you to locate
Pamela Courtney for me, please.

Yes, it's true -- I tried to get out
of my contract.

I hate this picture.

The killer in a whodunnit never really
has a good scene until the end.

Oh, now, that's not always true.

That's only when the writer
wants the suspect

to remain inconspicuous --

Ellery, this is no time to talk shop.

Miss Courtney has just admitted
something very important.

Are you ready
to make a statement?

A statement? Yes.
Yes, I am.

I, Pamela Courtney, being of sound
mind, did not kill anybody.

How's that?

You got a better offer
from another studio.

Yes, but RKO decided
to postpone their picture

until I finish this turkey.

And when did you hear about that?

My agent called early this morning --
before the accident.

You can check if you want.

You could have rigged the car
before your agent called,

and you didn't have time
to unrig it afterwards.

In the first place, you can put
what I know about cars in your eye,

and you wouldn't even blink.

In the second place,
really, Lieutenant,

do you think I would murder two men
just to get an Oscar-winning role

in a major motion picture?

Dad? Excuse me.
Lieutenant.

What is it, son?

We've got a unique situation here.
We should take advantage of it.

Of what?

We have two murders
with completely different methods,

but one thing in common
not usually found in a murder.

What's that?

They're both on film.

So, do you want to roll it again?

Dad?

Let's see the second feature.

All right.

Go on to the second reel, please.

Mark.

Action!

Hello, this is Ellery Queen.

I'm calling about the chemical
analysis of the tea

found in the victim's study.

Well, we won't need
the FBI's assistance, after all.

I'm gathering all the suspects
at the scene of the crime at midnight,

when I will prove beyond
a shadow of a doubt

who killed Elizabeth Warner.

Aah! Aah!

Ellery!

That's it.

I don't think
we have to see it again.

Thank you.

Did you see the look on her face
when she pulled the trigger?

Now, that's a cold-blooded killer
if I ever saw one.

She's supposed
to have a cold-blooded look.

That's the part she's playing.

She's not that good an actress.
I'm bringing her in.

Then you could have a set.
Or did you forget Al Garvin?

I didn't forget.

I just don't know
what to do with him.

You could turn him loose.

I've got it.

Scene 231A -- that's the clue.

I know who killed
Gilbert Mallory and Mike Hewitt.

You know who killed them?

Was it Mallory's wife
or his current mistress?

Or was it the director,
the prop man who hated him?

Or was it somebody else?

And why was Hewitt,
a stunt man, killed?

Tell you one thing --

my dad was right when he said
the killer made a mistake,

but when... and what?

I've got to be up
for a dawn shot tomorrow,

and he roused me out
in the middle of the night.

Now, what is this all about?

Mr. Queen will tell you.

Aah. Yes, as soon
as Miss Courtney gets here.

She also refused to come
when I called her.

I insist upon knowing
what this is all about right now.

I'm sorry.
I'm directing this scene.

Ah, enter Miss Courtney.

You'll be interested to know
my lawyer is on his way.

Oh, well, he's more than welcome.

Be seated.

Two murders have been committed,

and we're here to re-enact the first
one in the hopes of getting

a confession from the killer.

Just like in an Ellery Queen novel,
hmm?

Yes. The scene is written
in the original script,

not the revised version that came
through with the pink pages.

Mrs. Mallory, may I see that script?

You're the director.

Now, scene 231,
before it became 231A.

The prop man has given
the pistol to Pamela,

and she waits behind the door.

Oh.

No, no, that won't be necessary.
Just sit down.

I'll continue this.
Thank you.

Now, she's waiting behind the door
for her cue, with Inspector Queen.

If I may -- Excuse me.

Ellery is dialing his telephone --
dial, dial, dial.

And, "Action!"

Hello, this is Ellery Queen,
blah, blah, blah.

Will prove beyond a shadow
of a doubt, et cetera,

et cetera, et cetera.

Here's a sound behind the door.
Whirls around.

Cue!

You all right, Ellery?

Yeah, Dad, fine, thanks.

That's it.

The original script, as written,

except I wouldn't have
been shot by my Dad.

Miss Courtney would have
done the honors.

That's the way it would have been

if Mr. Raynor hadn't put through
the changes.

Now, there's a stunt involved
in the original scene,

so you would have used
a stunt double.

You would have filmed in a long shot
before getting a closer shot

of the star, as you did in location.

A brilliant deduction.

So, the gunshots would have been
fired at Mike Hewitt, the stunt man,

instead of at Gilbert Mallory,
the star.

Would you please
come to the point?

I already have, Lieutenant.

Mike Hewitt, the stunt man,

was the murderer's target
from the beginning.

Mallory's death was a mistake.

What?

The killer thought that Mike Hewitt
would be in the scene

when Pamela pulled the trigger.

Question -- Why did he think that,

since the scene had already
been changed?

Answer -- He didn't know.

Pamela Courtney knew.

She got the pink pages
on Friday night,

as did Lionel Briggs
and Al Garvin, the prop man.

The director, of course --
he made the changes.

And as for Mrs. Mallory,
she got all her husband's changes.

I didn't even know the stunt man.

But you knew him, Dave.

You knew him well enough
to get him a job.

Well, he -- he was a friend.

I doubt that very much.

What was it you said to me

about publicists
not getting the changes, either?

You never got the pink pages.

When you had Al Garvin
called to the phone

and you reloaded the prop gun
with live rounds,

you had no way of knowing

that Mallory would play
the scene instead of Mike Hewitt.

You had nothing against Mallory.
You hardly even knew the man.

It was Hewitt.

You don't have to say a thing.

Well, you -- you know?

Enough.

Well, I don't know.
Tell me.

Well, uh, Hewitt was an extra
on the last film I worked on.

The star was on the verge
of a breakdown.

Only pills could hold her together.

Her drug supplier was arrested, and,
well, I -- I had to keep her going...

so that I wouldn't lose my job.

She -- She died... from an overdose.

Hewitt found out
that you gave her the pills.

Threatened to tell the police.

And you knew that he'd never let
you off the hook, so you killed him?

Missed him in 231A, got him in 98B.

Velie -- I mean, Harris --

Excuse me.

Take him in.

How did you find out
about his motive?

I didn't.

You said you knew.

I finessed him.

Ellery.

Yeah?

If we drive along this street
real slow,

maybe we'll see Norma Shearer
walking her dog.

Well, it's worth a try.

It's worth a try.