All language subtitles for Stage Fright (1987) DVD

(aka Deliria, aka Bloody Bird)

Hey, baby, got the time?

Ah, go to hell.

Hey, what was that?

What happened?

I heard a scream!

The killer! He's struck again!

Another victim of the killer!

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 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.

And the kitties?

Besides, what does the victim
seducing the killer have to do
with anything?

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!

Alicia, 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, Alicia?
- 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 on.

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.

(Betty)
How come Peter's so mean to you?

(Alicia)
Because he left his shrink in London.

(Betty)
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?

Betty, this is a mental institution.

Pyschiatrists are
doctors too, aren't they?

Tell Alice to get ready.
We'll skip ahead to the next
scene, okay?

Okay.

(Nurse)
Now just one minute, honey. 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 immediately 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.

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.

Interesting. I'm fascinated
with the theater...

It's no bed of roses. One false
step and "Wham!" You're finished.

I can understand that.

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.

It's like a disease.
It's all crazy.

So it looks like you came to
the right place after all.

Sorry, miss. You can't stand here.

Ali, 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!

(Mark)
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
that actor who went berserk?

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
three or four hours, but try
to keep off it as much as you can.

- Thank you so much, doctor.
- Well, the show must go on, I suppose.

- 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, Alicia.

Not as sorry as I am.

See you.

Bye.

- Bye, Willy.
- Take it easy.

- Ali.
- Yeah?

Have you seen Lucifer? My cat?

- Who?
- Lucifer, my cat.

Lucifer? That you?

Where are you?

Kitty!

Where are you?

Come here.

Here, Lucifer!

Where the hell are you?

Wretched cat.

Where the hell are you?

Lucifer!

Lucifer?

Lucifer!

Okay, Peter, just show me how
you want it, for God's sake.

Just push her back like --

What's going on now?

It's Betty!

What the hell's going on?

We covered the whole area but
there's no trace of the killer.

He seems to have vanished
into thin air.

This studio's only got
two entrances.

The service door is real
solid and is kept locked.

The guard says he's been 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.

Come on, guys.
Let's go inside.

Sybil, we're going inside.

Honestly, she has no enemies.

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 neighborhood.
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 Alicia to stay behind
for a while. I'll explain later.

Mark?

Tell that journalist
I'd like a word with him.

Okay.

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.

Bye, Mark.

Bye.

- 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?

Alicia, 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.

(Brett, sing-song)
There's no business
like show business...

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, Alicia?

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!
- 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, "Gloria."

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.

Don't you know that I'm freaking out?

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.

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
letch, 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.

Brett's waiting in
the wings, Peter.

Okay.

- Corinne? Ready?
- Ready.

Okay. Lights?

And music!

-So when I heard Peter was doing
a show in America, I said to Danny --
-Shh!

The hair.

Your lover.

Reaching...

and...

(Peter)
To the bed.

(Peter)
Brett?

Where's Brett?

- Peter. Peter!
- Not now.

Brett, that's your cue.
What are you waiting for?

Brett, what are you waiting for?

(Peter)
Monster...

The service entrance is locked
and the key's gone!

What are you talking about?

Don't just stand there.
Grab her!

(Peter)
Grab her!

That's it.

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!

- She's still alive! Oh, no...
- 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!

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.

It's not here.

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!

My little wife is worried about
my health, so what do I get? Spinach.

Can you believe it?
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!

(Peter)
It's no good. They'll
never hear us.

We've got to find the key.

All right. Don't panic.

Stay close together.

We've got to look for
a flashlight somewhere.

I think there's some candles
in make-up, Peter.

All right, let's go then.
Stick together.

Stick together, right?

Wait!

So 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?

Ferrari?

Where's he gone to?

Ferrari?

Ferrari!

Let's get out of here.
Back to the girls!

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 can't stay here all night,
I'll go crazy! Don't you
understand that?

But Peter, we can't
stay in here.

He could block the doors and
set fire to the whole place.

That was a drill bit.

Do you realize?

That was a drill bit.

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.

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?

Wouldn't you know it...

Mark?

Help me push!
Push!

Sybil! Stop it

and do something!

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? The workshop!

We can find everything
we need to defend ourselves.

And to get out of here.

All right.

Come on. And this time
we stick together.

Alicia, can you make it?

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.

- 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.

Come on.

Danny!
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!

Help me, for God's sake!

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.

(inaudible)

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!

No! No!

Miss. Miss!

(male reporter)
Miss, can I ask some question?
Are you hurt?

Did you kill him?

How did you do it?

Miss, how did you do it?

(female reporter)
Did you know the killer?

(male reporter)
Miss.

Did you kill him?

(reporters continue)

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 have to know to
remove the safety. It's easy.

But you didn't put a
bullet in the chamber.

Willy, I found it!

(remembering)
They call it
"The Soundstage Massacre...

Eight horribly mutilated bodies
were found at

the Modern Studios
this morning as police..."

(thinking)
Eight?

(thinking)
Why eight?

(thinking)
Laurel...

(thinking)
...Brett, Mark...

(thinking)
...Sybil, Danny...

(thinking)
...Peter...

(thinking)
...Corinne...

(thinking)
...Ferrari...

And...

Eight. Where's the ninth?

Ali!

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, Ali?

Right between the eyes.

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.

Corrections and English translation
by LoudLon