StageFright (1987) - full transcript

(aka Aquarius, aka Deliria, aka Bloody Bird)

Hey, baby, got the time?

Ah, go to hell.

Stop!

You don't seem to have

understood what I meant.

A whore. You're supposed

to be a whore.

Is it too much to ask?

- But Peter, I...

- Sex. S-E-X.

You know what that is?

Frankly, Collins, it seems

fine to me as it is.

I think you've pushed the erotic

angle about as far as you can.

"The erotic angle” you say?

You call that erotic?

Mr. Ferrari, where have

you been all these years?

When I catch the genius who made this

headdress, I'm going to make him eat it.

You should wear it all the time.

It does wonders for you.

I don't want to scare away the audience

due to your perversions.

All right, it has nothing to

do with it.

But can you imagine the

effect on the public?

The victim rapes her own murderer.

It'll be sensational.

- Betty!

- What is it?

My zipper's caught again.

Again?

I'm here to protect my investors,

not your precious career!

A losing battle in any case.

- How's your ankle?

- It's killing me.

- You shouldn't be working at all.

- Yeah, tell that to my landlord.

In case it slipped your mind,

the show opens in one week.

And as you can see, these

people literally stink.

At this point, either you let me do things

my way, or say goodbye to your...

I'm sorry.

Mark!

Get this damn cat out of here.

And call Sybil on-stage.

Sybil!

Sybil, you're on.

Yes?

What?

Oh. It's positive.

Well, what's it gonna be?

Do I carry on or do we all go home?

There seems to be a misunderstanding.

I'm not criticizing your work,

I just want you to

keep in mind one thing...

That there are some people who like

to fondle the dancers' asses backstage

and some who like to see the dancers'

asses under the lights onstage.

I swear to God I'm going to

kill whoever made this costume.

Stop bitching, honey. You can always go back

to microwaving chili at Mexico Joe's.

Yeah?

And you can go back to selling your ass

in the mens' room at the bus station, darling.

Dominique, Dominique!

All right, come on.

Back to work.

Let's get going with

the scene change.

Is everything ready?

Mark!

Alice, take a break.

I don't want to watch any

more of that crap.

- Where's Sybil?

- She's coming.

Wow, he's sure tough on you.

- It's positive, Danny.

- Christ.

Don't worry. After all,

it's not the first time.

- Sybil.

- Coming!

Okay, we'll talk later.

- Betty, have you seen my purse?

- No. Where did you leave it?

I don't know.

All my money's in it,

and my watch.

Okay, I'll go look in

the dressing room.

- Everything okay, Alice?

- Yes, thanks. Everything's fine.

If there's anything

I can do to help...

How about an advance to cover

rehearsal time? I'm broke.

That will be fine, but finish

with that arm up, all right?

And decisive. Good.

That's all right.

Okay, let's run through

the rape scene.

Get Laurel.

Ms. Laurel?

Ms. Laurel?

Ms. Laurel!

Is our Cinderella

ready to do her scene?

Or does she need more

time to warm up?

Brett, you're a fucking bastard.

A rose by any other name...

Okay, let's do it.

Music!

God, I can't find my watch.

Here it is.

Wow, you must be crazy to

leave it lying around like that.

You're right. If I didn't have

this job, I'd have to pawn it.

Don't worry, dear.

It's only mother.

What's our bright-eyed

ingenue reading now?

- Stanislavski.

- Oh, saints preserve us!

If an actor prepares, it's fantastic.

Let me know when you get

to the part about

earning enough money to

keep body and soul together.

That's information I can use.

Look at Laurel. She's the perfect

example of the method.

She really feels her parts.

Keep it up, sweetie!

Here. This is a hospital. It's

only five minutes from here.

Come.

Oh, Betty, that bastard would

never give me permission to go.

Look, if you're ankle gets any worse

you'll be out of a job in a flash.

Don't be an idiot. We'll go ask Willy

and he'll let us out the side door.

Come on, let's go.

Willy!

Damn!

Willy, do us a favor and

let us go out the service entrance.

Now, y'all know Mr. Collins

doesn't want anybody...

Willy, this is an emergency.

All right.

- There you are Lucifer...

- Willy, let us go out first.

Remember when you come back, lock the door

and put the key back on the shelf.

Okay. Thanks.

What is it, Betty?

The cat.

It crossed my path.

- Are you superstitious?

- I guess, a little.

How come Peter's so mean to you?

Because he left his shrink in London.

Oh, come on. He's not crazy.

He's just panting for your body

- So let him pant a little longer.

- Too late.

What he wants is

a repeat performance.

But I won't share him

with his little chums.

Jack.

It's supper time.

How's your appetite?

Come here!

Betty, this is a mental institution.

Psychiatrists are

doctors too, aren't they?

Mark!

Tell Alice to get ready. We'll skip

ahead to the next scene, okay?

Okay.

Listen darling. You're

the one who doesn't understand

this is a psychiatric hospital,

not a first aid station.

Even if your friend was Liza Minelli,

she'd still have to be crazy to get in here.

And if you don't mind, I want that car

removed from our entrance.

It's blocking the door.

- Come on, it's no use. Let's go.

- Wise decision.

You know something?

You're really mean.

Sheila, who are these

lovely ladies?

- Oh, doctor...

- Let us explain...

- Don't worry...

- This is an emergency.

It's all right, girls.

It's all right, it's all right.

Thank you, doctor.

We have a show in rehearsal.

She's a dancer

and she twisted her ankle.

Would you please have a look at it?

- What sort of show is it?

- It's a kind of intellectual musical.

OK, follow me.

Acting on the stage is no bed of roses.

I can understand that.

One false step and "Wham!" You're finished.

But doing it is magic.

Once you're stage-front, that's it.

You go up and down

like a rollercoaster.

You have to hang on for dear life

and pray you'll make it one day.

Sorry, miss. You can't stand here.

Alice, what are you doing?

The doctor's waiting.

Coming.

But who gave her

permission to leave?

No one leaves the studio

without asking me.

Well, the young lady wasn't feeling

too good so I thought...

I couldn't care less!

Sorry, Peter.

I guess she got by me.

And just what the hell do you think

you're supposed to be doing here, then? Hm?

I just saw a

metal door with bars.

Who's in there?

Irving Wallace.

Irving Wallace?

You mean the ripper?

The same. We're keeping him here

while the court reviews his case.

I've never heard about him.

What did he do?

But it was in

all the papers.

God, he did horrible things.

He killed people and chopped them

up into little pieces.

- I think he killed twelve people.

- Sixteen, actually.

- Why?

- Who can say? He doesn't talk a lot.

That should kill the pain for

a couple of hours

but then try to keep the weigh off it.

- Thank you so much, doctor.

- Well, the show must go on, I suppose.

Yes.

- Bye.

- Good-bye.

He's a really handsome guy.

Sometimes I think I'm

in the wrong business.

Look, that must be

Irving Wallace in there.

Come on, Betty. If we don't

hurry up, Peter will kill us.

- What's the matter, does it still hurt?

- No, it's much better.

- I was just thinking...

- What?

About that guy. Wallace.

Listen to this. His last victim

was a sixteen year old girl

and he nailed her to the floor

and then he cut her into pieces.

I don't want to hear.

That's horrible!

I'll leave the door open

but hurry up.

Well, look who's here.

Where on earth have you been?

- Was I called?

- Every name in the book, honey.

Oh, hell...

Let's run through that again.

Without music.

Keep your heads up.

Right?

One, two, and...

One, two, three four, five,

six, seven eight -- stop!

We have a visitor.

Have you forgotten something?

I'm really sorry, Peter.

I thought...

You thought certain rules

didn't apply to you. Eh?

I hurt myself.

Aw. I'm awfully

sorry about that.

You better go home and take care

of whatever it is that's hurting you.

And before you go,

would you clean out your dressing room

and give the key to Laurel?

She's taking over your role.

All right, let's run through

that again. Cue the music.

All right?

Music!

Oh gosh, I left the lights on.

God, get out of here!

I'm very sorry about this.

Forget it.

I think Peter went a little overboard.

I could talk to him.

Let me help you.

I don't need the kind of help

you're offering, thanks.

Get out of my way!

- Danny, have you seen Betty?

- No.

Sorry, Alice.

Not as sorry as I am.

See you.

- Bye.

- Bye.

- Bye, Willy.

- Take it easy.

- Ali.

- Yeah?

Have you seen Lucifer? My cat?

- Who?

- Lucifer, my cat.

Lucifer?

Lucifer? That you?

Kitty!

Where are you?

Where are you?

Come here.

Here, Lucifer!

Where the hell are you?

Wretched cat.

Lucifer.

Where the hell are you?

Go back inside!

Come on!

Lucifer!

Lucifer?

Okay, Peter, just show me how

you want it, for God's sake.

I'll show you once more.

-You'd better!

- Just push her back.

What's going on now?

It's Betty!

This studio's only got

two entrances.

The service door is real

solid and is kept locked.

The guard says he was watching

the main entrance all the time.

Have you checked inside?

We looked everywhere, sir.

All right. Get your men

together and move out.

Leave a patrol car here, get it?

To keep an eye on things.

All right.

Come on, guys.

Let's go inside.

Sybil, we're going inside.

Do you know why anyone

would do such a thing?

No.

- She came out of there? And can I quote you?

- Sure.

We'll be going now. There'll

be a police car here all night.

Do you think you'll catch him?

We're combing the neighbourhood.

It's just a question of time.

Thank you.

Peter, the rehearsal hours are over.

Should I send the kids home?

Yep. But not everybody.

Ask Laurel, Corinne,

Brett, Sybil and Danny...

and Alice to stay behind

for a while. I'll explain later.

Okay.

Mark?

Yes?

Tell that journalist

I'd like a word with him.

Okay.

You got a moment?

What a disaster. And just

a week from opening night.

A disaster for that poor girl,

all right. But not necessarily for us.

Anyway, it's not a week 'til

opening night. It's three days.

We open on Saturday.

You crazy?

You get some extra money together

and I promise you, in three days

this show will open.

Tomorrow, when the newspapers

hit the streets,

there's going to be a line

a block long outside our box office.

Get it?

Come on. Let's have

a little talk with the journalist.

See you tomorrow.

Good night.

Bye.

Bye, Mark.

Bye.

Whispering.

- Who's going to tell her family?

- The police will handle it.

She wasn't from around here.

Came from Boston.

Did you know her well?

No, we only hired her

two days ago

for the costumes and, well,

you know...

Mr. Collins, I'm going now.

This is the key.

- Peter...

- Just a minute.

Y'all make sure those fires are out

before you leave, and lock up good.

- All right, sure.

- Later.

What's happening, Peter?

Can we leave?

No. We're going to carry on.

First, can you do me

a little favor?

Lock the door

and hide the key.

Go on. Do as your director says.

I just want to say a few words.

What's happened tonight has been a

horrifying experience for everybody here.

But we mustn't let it demoralize us.

We must carry on.

At least for Betty's sake.

So let's take ten minutes' break.

Let's get ready, let's get concentrated,

let's get back to work. Right?

Alice, that applies to you, too.

Mark?

Give me the script.

I want to make some changes.

Nobody said anything about overtime.

You'll be paid immediately.

At this very moment, Mr. Ferrari

is preparing the cash.

I talked to some journalists outside

and they told me some things about

our psychopathic killer.

For instance, Brett: your character

will no longer be an anonymous owl.

He will have a real name.

Irving Wallace.

How lucky for you, Peter.

Well, goodnight everybody.

The changes we've got to make

are mostly in opening scenes.

Peter, open this door.

Open the door!

All right!

I'll open the door.

And everyone can go home,

and stay home,

and we'll forget the whole thing and

cancel the show.

How long had you been out

of work before this, Alice?

Laurel? Brett?

How about Sybil and Danny?

You all accepted this job on a percentage

basis because you were in the shit.

None of you are stars. Nor am I.

But this is our big chance.

We can fill the theater and get a

five or six month run out of this.

You know that people have a

morbid curiosity about murder.

And they're going to line up

for blocks to see a show

in which one of the actresses has

been murdered

by the real-life maniac in the plot.

Can't you understand that?

But Betty wasn't an actress.

I told the newspapers she was.

It wasn't enough to say she was

just a little wardrobe mistress.

- You're scum.

- No I'm not.

I'm honestly shattered

about Betty.

But I need the money.

And I need a hit.

Just like all the rest of you.

Here's your money.

How do you like this weather?

Rain, damp, humidity.

It's all great for my rheumatism.

- Sybil!

- Don't look, please...

I feel sick just like last time.

Uh-uh, Sybil. Not like last time.

There'll be no abortion this time.

I don't want you to.

- But Danny, you know what we said...

- I know.

But we'll make it. You'll see.

We're going to be rich and famous with

our names up in lights ten feet high.

All three of us?

What is this?

The Late, Late Show starring

Mickey Rooney, Judy Garland and

Shirley Temple?

- Brett, get into costume, will you?

- Don't rush me.

Laurel, Peter says to find something sexier

in wardrobe. There's a new number for you.

Move it, everyone, will you?

We haven't got all night.

Move it, come on!

All right, guys.

No stupid jokes tonight, okay?

Brett, you cut it out right

now or I'm going to scream.

- My God, that sounds like Laurel!

- What's going on?

What the hell's going on?

God damn it, Brett, you make

me sick!

- Is that supposed to be funny?

- I don't know what you're talking about.

- I was freaking out!

- It wasn't me!

All right, cut that out,

both of you!

We're quite late enough as it is.

Brett, I don't want

anymore of your jokes.

- But I... it wasn't me!

- Is that clear?

Hurry up and get on-stage.

I can't. I can't find

my costume.

Well, look for it!

If you can't find it,

wear the spare.

What a drag!

Brett, the truth.

It was you, wasn't it?

Give me a break.

I swear it wasn't me.

I mean tonight, of all nights.

I wouldn't!

Who was it, then?

Probably that dirty

leetch, Ferrari.

Where the hell is it?

Here it is.

And now, ladies and gentlemen:

Irving Wallace.

Thank you, thank you.

- Brett's not here.

- Call him, then.

Danny, would you mind working

the music and the lights?

This is the cue sheet.

Just follow the numbers.

Brett, go on.

Okay.

Brett's waiting in

the wings, Peter.

Okay.

- Corinne? Ready?

- Ready.

Okay. Lights?

And music!

The hair.

Your lover.

And...

To the bed.

Brett?

Where's Brett?

- Peter, Peter!

- Not now.

Brett, that's your cue.

What are you waiting for?

Brett, what are you waiting for?

Monster...

The service entrance is locked

and the key's gone!

What are you talking about?

Don't just stand there.

Grab her!

Grab her!

That's it.

Stop Brett...

Listen to me. I think that

maniac is hiding in here.

Have you gone

out of your mind?

Go on, kill her!

Kill her!

Jesus Christ, what's the knife

got to do with anything?

That's not Brett! Stop him!

Stop him!

Don't touch her.

Mark, call an ambulance. Hurry.

- Why did he do it?

- It wasn't Brett, don't you understand?

Then where is Brett?

Corinne, lie still.

The doctor's on his way.

The telephone is dead. Somebody's

ripped the wires out of the wall.

The police car's outside.

The main door's locked, Peter.

Give me the key!

Where's the key?

I gave it to Corinne.

Corinne, the key to the main door.

Where did you put it?

The key! Where's the

key, for God's sake?

Leave her alone!

Can't you see?

She's dead.

We've got to find the key!

We've got to find the key!

This is her bag.

Maybe it's in here.

Damn!

Where is it?

Where's the key?

I told Corinne to hide it.

- The service entrance.

- That's locked, too.

We're locked in.

If we yell, maybe

the police would hear us.

They'll hear us!

Let us out!

Help!

Can you believe it?

Spinach!

My little wife is worried about

my health, so what do I get? Spinach.

You're too fat anyway.

Too fat?

That's muscle, boy.

- She thinks you're Popeye.

- Fuck Popeye.

Somebody help us!

Open the door!

Please! Please!

It's no good. They'll

never hear us.

We've got to find the key.

All right. Don't panic.

Stay close together.

Let's look for a flashlight.

There's some candles

in make-up, Peter.

- Really?

- Yes.

All right, let's go then.

Stick together.

Stick together, right?

Wait!

What are we

going to do now?

We're going to look for the key.

- All right, come on. Let's...

- Peter? Where is Ferrari?

Ferrari?

Where's he gone to?

Ferrari?

Ferrari!

Let's get out of here.

I don't understand. He's got

the key, why doesn't he go?

He could try to

escape in the dark...

Yeah, he'll go, all right. But only after

he's killed every last one of us!

Cut that out!

There's six of us.

He's not going

to kill all of us.

We'll just have to

stay in here all night.

But it's 10:00 now. Willy

doesn't get here 'til 8:30.

I'll go crazy!

Don't you understand that?

Calm down!

But Peter, we can't

stay in here.

He could block the doors and

set fire to the whole place.

He's having fun!

Do you realize?

He's having fun!

Maybe there's a

skeleton key somewhere?

It's kept in Willy's office.

I saw it in there once.

Well let's go!

What are we waiting for?

All together, though.

All right.

I can't. My ankle hurts

too much. I'll never make it.

You just stay here, then.

Lock yourself in.

No. No one is to be

left on their own.

It's still hurting a lot?

Sorry.

I should have listened

to you in the first place.

Maybe Corinne would

still be alive.

Maybe they would all still be

alive if she'd listened to you.

You heard what the police said.

She brought him back with her.

Stop it! Do you want to

kill each other now?

Let's keep calm, all right?

Danny and I...

...will go to the office.

And Mark...

Stay here with the girls.

Let's go.

I can't leave Sybil in here.

Christ's sake, will you do what I say?

Otherwise, none of us will get out of here alive.

Go on. We'll be all right.

Please.

All right?

- Will you stop mewling?

- Can't you leave her alone?

It's getting on my nerves. And so

you know, you're getting on my nerves...

Stop it. Let's try and

keep calm, eh?

I'm sick!

Oh, wouldn't you know it?

It's driving me insane!

Mark?

Help me quick!

Push!

Sybil! Help us!

Do something!

Sybil.

Sybil!

Sybil.

No!

All right. That's enough.

I'm not going to sit around here

to be slaughtered like a pig.

He got that in the workshop.

Why didn't I think of it before?

We can find everything

we need to defend ourselves.

- And to get out of here.

- Alright.

Come on. And this time

we stick together.

- Alice, can you make it?

- Yes.

You look after her.

Follow me.

I want to try to

force the door.

Okay.

I'm ready.

Let's go.

- Go on ahead.

- What are you going to do?

- Do as I say.

- Let's go.

- There he is!

- Oh, God!

Up there!

- Come on! Hurry!

- No, Peter, don't!

Danny, that way.

Cut him off.

Run.

Hurry!

Danny! Danny!

Danny, wait for me!

Wait for me, Laurel!

Let go of me!

He's gone in there.

Die! Die! Die!

Stop it, Peter.

That's enough!

It's over.

Jesus Christ, it's over.

His hands are tied.

- It's Brett.

- Brett. Christ.

Then where's the killer?

So he's still alive.

He's still alive!

Sybil!

Peter!

Peter!

Danny, no.

What are you doing?

Wait! He's crazy!

Don't leave me!

Peter!

Peter, wait for me!

Peter, there he is!

Get away from me.

Get away!

Stop!

Why are you doing this? What's

the point of killing me, too?

Listen. Listen!

You leave me alone

and I leave you alone. All right?

No!

What's the matter with that

mechanic? I think it's a short.

He should have seen it,

for Christ's sake.

- Yes!

- See if it's on!

-Is it on?

-Yes!

Take a look at the other one!

No.

- Yes!

- That's Okay!

Laurel?

Laurel!

Where is everybody?

Don't you think I look

a little like James Dean?

Sure, and I look

like Marlon Brando.

A little bit.

Get away!

Easy, easy!

Did someone get away?

Miss. Miss!

Miss, how did you manage to get away?

Please gentlemen,

can't you see she's in shock?

Leave her alone!

Did anyone else survive?

Miss! Look this way!

Can you stop now!

It's pointless!

Is it true that there was a

police car outside the theatre?

Why didn't he kill you?

You'll get all the

answers at the Police Station.

Come on!

Just one picture, Miss!

How come were you

locked inside with the killer

and you didn't try to escape?

Come on!

Come on!

Let us through now!

Come on!

Yes Sir, of course.

I don't know if your back

will hurt in the next 48 hours?

Feeling better now?

Yes, thank you.

And thank you for this.

Would you like me

to call a taxi for you?

- That is kind.

- All right.

My watch.

Willy?

Willy!

What're you doing here, Miss Ali?

Willy, I lost my watch.

I think it must be inside.

I can't let you in. The police

told me I can't let anybody in.

Willy, it's very expensive.

I've got to find it.

I can't disobey my orders.

Willy, please.

Pretty please?

Okay, honey. I'll do

anything for you.

It's already in the

afternoon newspapers.

There's a picture of you, too.

They call it

"The Soundstage Massacre."

"Eight horribly mutilated

bodies were found

at the Modern Studios

this morning as police..."

- You all right, Ali?

- Yeah. I'm fine.

The gun you found

wasn't empty, you know.

It was loaded all right, only

you forgot to take the safety off.

You would've gotten him

if you'd taken off the safety.

That gun's a cannon.

I would've blown his

head off with it.

Bet your bottom dollar, I'd have

got him right between the eyes.

You could've handled that gun.

That gun shoots by itself.

You just need to put a bullet in the chamber.

And take the safety off.

Didn't you see it?

Just one shot between the eyes.

Willy, I found it!

They call it "The Soundstage Massacre...

Eight horribly mutilated bodies

were found at

the Modern Studios

this morning as police..."

Eight?

Why eight?

Laurel...

...Brett, Mark...

...Sybil, Danny...

...Peter...

...Corinne...

...Ferrari...

Eight. Where's the ninth?

Alice!

Alice!

I just went to get the gun.

I only wanted to show you how

to put a bullet in the chamber.

See that?

I got him right between the eyes.

Just like I said.

Right between the eyes.

God damn.

See that, Alice?

Right between the eyes.

Ali...

Just like I said.

Right... right between the eyes.

Ali.

I got him... right between

the eyes, Ali.

I got the motherfucker

right between the eyes.

Right between the eyes, Ali.

Just like I said.

Right between the eyes.

Subtitles © Chain Production 2021