(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!
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?
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!
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