Stage Fright

Synopsis: Jonathan Cooper is wanted by the police who suspect him of killing his lover's husband. His friend Eve Gill offers to hide him and Jonathan explains to her that his lover, actress Charlotte Inwood is the real murderer. Eve decides to investigate for herself, but when she meets the detective in charge of the case, she starts to fall in love.
Director(s): Alfred Hitchcock
Production: IMAX
  2 wins & 1 nomination.
Rotten Tomatoes:
110 min

- Any sign of the police?

- No, no sign.

- Looks like we're getting away with it.

- Good.

- How far is it to your father's boat?

- Two hours with luck.

Your luck seems to be very good,

touching wood.

Could you tell me now what happened?

I'd really like to know.

Only if you feel like it.

It's Charlotte Inwood.

- She's in a jam.

- That doesn't surprise me.

No, this is serious, Eve.

Deadly serious.

She was all over the place.

I had to help her. Anybody would have.

I was in my kitchen. It was about 5:00.

The doorbell rang, and I went downstairs

to see who it was.

Jonnie, you love me. Say that you

love me. You do love me, don't you?

I think he's dead. I'm sure he's dead.

I didn't mean it. I didn't mean it.

- Who's dead?

- My husband.

We had a terrible quarrel about you.

Oh, he was vile.

You know the sort of things he can say.

He started to hit me.

I grabbed something.

I was out of my mind with fear.

Oh, what am I to do?

Darling, pull yourself together.

He may not be.

The curtains, Jonnie. Draw the curtains.

I thought I had some brandy.

Here, drink this.

He was an abominable man.

Why do women marry abominable men?

- Where was all this?

- In my bedroom.

- Anyone else in the house?

- I left the servants in the country.

I drove up early to have an hour's rest

before the performance.

Oh, what shall I do?

I can't go on. I can't.

- Has anyone seen you?

- No. I don't think so.

There wasn't a soul in the street.

I jumped into my car and came here.

It's parked around the corner.

Oh, Jonnie, what will they do to me?

Don't tremble like that. We'll find a way.

We'll see you're all right.

But you must call the theater.

I can't play tonight.

Tell them I'm ill.

Heavens, it'll be true enough.

No, you must go on tonight.

You've got to.

As if nothing had happened.

Nothing has happened.

You drove straight to the theater,

do you understand?

You haven't been home at all.

Now, get that into your head.

But my dress. There's blood on it.

- I must go back and change.

- No, you can't do that.

Or I could go myself.

Oh, darling, could you?

There's no one there.

I'd give you the key.

There's a blue dress like this

in the big cupboard... to my window in the bedroom.

Here's the key.

- Are you sure the servants aren't back?

- No, but you must hurry. Oh, please, Jonnie.

This is my only chance.

- You will, won't you?

- It's a risk.

Let me think a minute. I mean...

Well, you know I want to help you, but...

Go or don't go. It's all the same.

I thought you loved me.

- Doesn't matter now.

- Oh, my dear. My darling.

I'd do anything for you. You know that.

I'll be as quick as I can.

It was your maid, Nellie.

Oh, yes.

She was going to the house to pick up

some shoes I need for the show.

- Did she recognize you?

- I don't know.

You ought to get to the theater. The police

are bound to go there to tell you the news.

Give me my belt, darling, will you?

Oh, Jonnie, what have I done to you?

If Nellie recognized you,

it won't be safe here.

- You ought to go away.

- I don't think that'll do much good.

But they'll come here.

You must go at once.

Oh, my dearest darling,

you have saved me.

We must think of you now.

You've got to hide.

What do I care what happens to me?

Your job is to try to forget everything.

Let me do the worrying. I'll find a way.

Then we'll start again,

won't we, you and I?

No more stealth and cheating and lying.

I must hurry, darling.

But I worry about you.

Well, you mustn't. You're an actress.

You're playing a part.

- No nerves when you're on.

- I'll try.

My dress!

- I'll get rid of that. Don't worry.

- Don't come down.

We shouldn't be seen together.

- Au revoir, my darling.

- Au revoir.

And for heaven's sake, don't worry.

- Yes?

- May I speak to Miss Eve Gill, please?

Oh, dear, no. I'm afraid she isn't in.

She was going for the weekend

to her father...

...but I thought she'd be back.

- Yes, that's right. She got back last night.

She's had rehearsals all day today

at the Royal Academy of Dramatic Art.

You know, the RADA.

Do you know when she...?

Where she is now?

Didn't you hear?

She's at the RADA rehearsing.

- Jonathan Cooper?

- Yes.

We're police officers.

May we see you for a few minutes?

Most certainly. Please come in.

- Tell you that I can't possibly

accede to your request.

I've come to this decision after giving

the matter my earnest consideration.

Stop me if ever there was

such an ungrateful child!

No, darling. Don't run your words

into one another.

- The child most shamefully.

Is it not in your memory

that we, too, years ago...

...suffered the follies and fevers of youth?

If our blood runs cooler

and more temperate, let us not account... ourselves for virtue, but place it

to the credit of the soothing balm...

...of the passage of years

that we have fortifications...

...against the distempers of juvenility.

You were wont to be kinder than this.

No, Papa, you are cruel.

If all parents were of your mind...

...marriage would be an impossibility. Then

what would become of the human race?

- Go away. What are you doing here?

- The police are after me. Do you see them?

You have not, I hope,

forgotten the tragedy...

They think I killed a man.

Can you hide me on your father's boat?

Are you so heartless as to wish...?

They've just gone.

I was under the impression that this

was a class of intelligent students...

...trying to master an extremely

difficult and beautiful art.

I haven't the pleasure of knowing you,

young man...

...but I shall report your behavior

to Sir Kenneth.

Now we will begin the rehearsal again,

with the other cast.

- This cast think acting is fun and games.

- I'm terribly sorry, Miss Ashton.

- Oh, Jonathan.

- Let's go. Have you got your car here?

It's parked in front. I'll show you

to the back entrance and pick you up there.

Eve, do you hate me... that you know

about Charlotte and me?

Why, I could never hate you, Jonathan...

...because we're...

We're such old friends.


Well, just because.

But I do wish I'd taken lessons

on the second fiddle.

Good old Eve.

Bring him in here.

It's warmer.

Do you think I behaved like a fool?

On the whole, I think so.

I think your boyfriend

has behaved like a fool.

I have a strong premonition

that I'm going to behave like a fool.

- It's infectious.

- Do you mean you're going to help him?

Why not?

He's a friend of yours, isn't he?

- Oh, yes.

- I see.

More than a friend, eh?

When I'm with him, I get a feeling

in here that... That's sort of...

Yes. Well, we'll go

into the symptoms later.

Meanwhile, I take it you're either

keen on him or still hungry.

I'm in love with him.

You've roped him, but he's not yet

broken to harness. Is that it?

I wish Charlotte Inwood was in...

Oh, do you?

I've seen her on the stage.

She'd have made me laugh,

if I hadn't been strictly on my guard.

Well, she couldn't make me laugh,

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Whitfield Cook

George Whitfield Cook III (April 9, 1909 – November 12, 2003) was an American writer of screenplays, stage plays, short stories and novels, best known for his contributions to two Alfred Hitchcock films, Stage Fright and Strangers on a Train. He also wrote scripts for several TV series, including Suspense, Climax! and Playhouse 90. more…

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Submitted on August 05, 2018

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