Stage Fright Page #2

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.
 
IMDB:
7.1
Rotten Tomatoes:
89%
APPROVED
Year:
1950
110 min
664 Views


off or on the stage.

I can't bear to sit by and see

what she's doing to Jonathan.

She's like an evil spirit.

Just look at him!

Ruined, and by a woman.

Now you want me to take the ruins

for a little cruise.

- Well, is that it?

- I thought you could take him...

...across the channel or to the Irish coast.

Then he could hide out a bit.

The journey sounds attractive,

but less so...

...to help a suspected murderer to escape,

particularly with my reputation.

There's nothing wrong

with your reputation.

Oh, indeed.

I rather flattered myself that there was.

As a matter of fact, the customs people

have their eye on me.

I'm suspected of being a smuggler.

- Well, you're not.

- Oh, yes, I am.

One cask of brandy?

That doesn't mean you're a smuggler.

- Two casks.

- That was 15 years ago.

I've done one or two other things since

that I didn't tell you or your mother about.

- Can't have been very much.

- Of course not. Not very much.

Nothing could appear very much

to a murderer's moll.

But I never hope to be appreciated.

Yes, your mother cured me of that.

That's why I never could be bothered

with your mother.

I appreciate you, Father. You and

Captain Kidd are my favorite heroes.

My child, I am not deceived.

If there's one thing I cannot bear,

it's insincerity.

But you've got to help him.

You will help him, won't you?

He's lonely. He hasn't got any friends

but me, and maybe you.

- You will help him, won't you?

- He hasn't got me...

...yet.

You're just dying to get into a part of this,

and you know you are.

A part in this melodramatic play,

you mean?

That's the way you're treating it, Eve.

As though it were a play

you were acting in at the Academy.

Everything seems a fine acting role

when you're stage-struck...

...doesn't it, my dear?

Here you have a plot,

an interesting cast...

...even a costume,

little the worse for wear.

Unfortunately, Eve,

in this real and earnest life...

...we must face the situation

and all its bearings.

Yes.

What do you mean?

Well, Miss Charlotte Inwood

appears to be an expert in garden paths.

I think she's led your young friend

up the garden path.

I think we should hesitate

before we follow him.

- But why?

- I don't know how this bloodstain...

...got onto this dress, but I do know that

somebody smeared it on deliberately.

But why should they do that?

Well, Miss Inwood is an actress,

a very good one.

She has an eye

for an emotional situation.

Supposing she wanted our somnolent

young friend to go to her house...

...and be spotted there.

Well, this sanguinary garment

would provide a very plausible reason.

A very plausible reason indeed.

So that's why she didn't change her dress

before she went to his rooms.

Well, I cannot imagine Miss Inwood

going to see her young man...

Or your young man, whose ever young man

he is, in this nasty, messy condition.

No. This dress is a clue, my dear,

a very important clue.

And though it grieves me, of all people,

to have to say it, Eve...

...I think we should go to the police.

Jonathan! Jonathan, wake up.

Jonathan, how far do you think

you could trust Charlotte?

I'd trust her with my life.

What do you mean?

This bloodstain was put here deliberately.

Don't be ridiculous. You're trying to turn me

against Charlotte, but you can't.

What's this doing here, anyhow?

It should have been destroyed hours ago!

Fool! There goes the evidence

that could've helped you.

I'm doing all this for Charlotte's sake.

You're just jealous of her!

Young man, I'd remind you

you're my daughter's guest.

I'd like better manners from you.

Oh, I am sorry, Eve.

Please forgive me.

I lost my head for a moment.

I can hardly think.

I'm almost dead for want of sleep.

I wonder, would it be too much trouble

if I went to bed?

That is, if Commodore Gill

wants to let me stay.

Your room is at the head of the stairs.

You'll be quite comfortable.

And if you want anything to read in bed...

...you'll find some quite good

murder mysteries in there.

Beg your pardon.

Look, Eve...

But he's just gone...

At last we are alone and unobserved.

You know, I'm beginning to enjoy this.

Father, do you think she arranged

to put the suspicion on Jonathan?

- Do you think she deliberately framed him?

- The thought had crossed my mind.

That was why I reluctantly suggested that

our friends, the police, ought to be told.

But it's too late. Our only evidence

has gone up the chimney.

But we must help him.

He'll do nothing for himself.

He's hopelessly in love with that woman.

It's up to us.

Yes, but it won't be easy.

It is easy.

I'll go to her and see her myself.

- Would that be wise?

- But I don't care if it is or not.

I'll tell her we know how the bloodstain got

on the dress and every move of her game.

I'll make her talk.

It'll be one woman to another.

An impressive situation at any time.

She won't be able to help

but give herself away. You'll see.

I won't see. I won't be there,

and neither will you.

If we're right in what we think,

she's a dangerous woman.

She won't give herself away.

You'd be giving her an alternative.

She has no alternative.

She might murder you.

Oh, don't be so melodramatic, Father.

Look, my love. Face facts.

What is the least that can happen to you

if you tackle this remarkable lady?

She'll at once pick up a little pink

telephone and call the police.

She will then give you in charge

for concealing a fugitive from justice.

Eventually, you will be tried

at the Old Bailey.

Well, if you're lucky, you might get off

with, now, let me see...

...a couple of years, which you will spend

in Holloway prison...

...meditating on the folly of transmuting

melodrama into real life.

Well...

The best thing you can do, my girl,

is to go back to your Academy...

...and practice your soul-shaking antics...

...in surroundings where

they can't do any harm.

After all, this fellow can't possibly

mean all that to you.

But he does, Father.

- Move along, please.

- But I'd like...

Now move along, ma'am.

This is nothing to see.

Hello, Father?

I'm outside the Inwood house.

Outside? Why not inside?

Don't be ridiculous, Father.

The police won't let anyone near the place.

Really? How very extraordinary.

Look, you've done your best.

Come back here...

...and decide about the man

that came to dinner.

Oh, I feel awful. I've been listening

to the people in the crowd talking...

...and they assume that

you-know-who is guilty...

...and all the police have to do

is catch him. It's terrifying.

Yes, but the police may not

think he's guilty.

After all, they work in secret, you know.

They may have their own ideas

about a certain lady.

I wish I knew what

the police were thinking.

- Well, look, why not ask them?

- Well, that's easier said than done.

Oh, just a minute, Father.

- Father, goodbye now.

- Eve...

I'll see you back at the office

about 2:
00, sir.

May I have a small brandy, please?

Madam. Pardon my intrusion,

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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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