Dressed to Kill

The tender moments of intimacy between the couple, a man and woman, are suddenly disrupted by a jarring act of aggression as he (Robbie L. McDermott) abruptly turns on her in the shower's warm embrace. This abrupt shift in mood is followed by another intimate scene, this time set in a cozy bedroom where the woman, Kate Miller (Angie Dickinson), appears to be reflecting on the earlier encounter. Though seemingly satisfied, she doesn't quite seem fulfilled as she lies next to her partner, Mike (Fred Weber). The gentle hum of the radio provides a subtle background accompaniment to their quiet moments together.

As the scene shifts to Kate's daily life, we find her struggling to connect with her son Peter "Pete" Miller (Keith Gordon), who is more interested in refining his computer programming skills than spending time with his mother. The tension between them is palpable, and it becomes clear that Mike may not be Pete's biological father. This adds a layer of complexity to Kate's already troubled marriage.

Seeking guidance from her psychiatrist, Doctor Robert Elliott (Michael Caine), Kate pours out her frustrations about the surprise visit from her mother, who is due to celebrate a milestone birthday in Florida. She also expresses her discontent with Mike's "specialties," which have left her feeling unfulfilled. Elliott offers sage advice, encouraging Kate to direct her anger at Mike rather than him, and shares his own marital struggles, revealing that he finds Kate attractive but is committed to his own marriage.

As Kate navigates her emotional turmoil, she begins to question whether Elliott's counsel stems from a genuine desire to help or a more personal attraction. She poses the same query to Elliott himself, who admits to finding her attractive but emphasizes his commitment to his marriage. Kate ponders the potential risks and rewards of pursuing this new connection, leaving the audience wondering what will become of her tumultuous relationships and her own search for fulfillment.

As Kate (actress name) wandered through the museum's hallowed halls, a chance encounter with a mysterious stranger left an indelible mark. A discarded glove, a subtle nod of acknowledgement, and they began to stalk each other, their paths crossing like parallel lines in a dance. But when Kate finally loses sight of her suitor, she can't help but feel a fleeting sense of relief - until he reappears, his gaze burning with an intensity that leaves her breathless. As the music whispers sweet nothings in her ear, Kate's senses are heightened, her pulse racing like a runaway train.

Their furtive romance is interrupted by a chance encounter with the taxi driver (Sean O'Rinn), whose knowing glint only adds to the sense of excitement and danger that permeates their tryst. The afterglow of passion is short-lived, however, as Kate's world is turned upside down when she discovers her lover's secrets - namely, his diagnosis with a sexually-transmitted disease, which means she too may have already been infected. Her departure from the apartment is hastened by a sense of urgency and panic.

But fate has one final cruel trick in store for Kate. As she stands frozen in the lift, replaying the events that led her to this moment, she realizes with horror that she's left behind a tangible reminder of her encounter - her wedding ring. With no choice but to return to the apartment, Kate is met with a gruesome and unexpected surprise: the blonde woman (actress name), donning a wig and dark sunglasses, raises a straight razor in a deadly arc. Kate's world goes dark as she succumbs to her attacker's blade.

Meanwhile, Elizabeth "Liz" Blake (Nancy Allen) has been observing the chaos from afar. Her gaze lingers on the stranger who fled the scene, his guilt etched upon his face like a scarlet letter. As Liz gazes into the lift, she beholds Kate's battered form, her own reflection staring back at her in the mirror. With seconds to spare, Liz backs away, sensing the danger that lurks in every corner of this dark and foreboding world. The arrival of the cleaning lady (Amalie Collier) only serves as a reminder that even in the midst of chaos, there is always someone watching - waiting for their moment to strike.

As Elliott ponders the cryptic messages left on his answering machine by a man named William Finlay, he becomes increasingly uneasy. The unsettling revelation that someone is attempting to extract themselves from Finlay's very being only adds to his growing sense of trepidation, especially given Finlay's earlier admission to pilfering a straight razor from his office cabinet. Meanwhile, Detective Marino (Dennis Franz) pays Elliott a visit, prompting the latter to grow defensive and deliberately omit any mention of the incriminating phone messages.

As Marino questions Liz about her activities in the building, she confesses to being involved with a married man and reveals her profession as a prostitute. The detective's suspicions are piqued by the absence of any eyewitness accounts of a blonde woman and the presence of Liz's fingerprints on the weapon used in the crime. Marino informs Liz that Ted, the mystery man from out of town, is the only individual keen on tracking him down.

As Liz departs, Elliott finds himself grappling with his own demons. The revelation that his true father had passed away during the Vietnam War weighs heavily on his conscience, prompting him to take matters into his own hands and investigate the case further. In his trusty blue moped, he tails Liz throughout the city, setting up a hidden camera in the rear box to monitor her movements.

The mysterious phone calls continue to plague Elliott, with the unknown caller menacingly threatening Liz's life. Desperate for financial support to invest in the company recommended by Ted, Liz requests 500 dollars from an unlikely source and agrees to meet Cleveland Sam (Brandon Maggart) in room 331. Her departure is met with a mix of trepidation and desperation as she realizes that someone is hot on her heels.

A taxi ride takes her further away from danger, but not before she asks the driver to shake off her pursuer. The young cabbie (Bill Randolph), smitten with Liz, offers his assistance in exchange for dinner invitations. When the blonde woman begins to stalk her once more, Liz flees to the underground, only to be confronted by a menacing travesty who sends her scurrying.

As she seeks refuge among a group of black men listening to the radio, one of them, Sonny, presents an even greater threat, his arrival coinciding with the approaching train.

As Officer Samm-Art Williams dismisses Liz's claims of gang harassment as mere fantasy, she's left to confront the very real threat that follows her at the next station. With the police officer's skepticism still resonating in her mind, Liz finds herself face-to-face with a new menace: the gang reappears, causing chaos among the passengers before suddenly vanishing once more. In the brief window of opportunity, Liz seizes the chance to escape, slamming one door shut behind her just as the blonde woman materializes, razor at the ready. Fortunately, Pete intervenes, deploying his anti-rape spray to fend off the attack and save Liz from harm.

As their bond grows stronger, Liz invites Pete into her home, where she shares a secret: her knowledge of the blonde woman's doctor's office visit. Marino's inability to secure a register order has left Liz stumped, prompting her to seek out Dr. Elliott's agenda, hoping to uncover some clue that will lead her to the truth.

Meanwhile, Dr. Levy confides in Dr. Elliott about Bobby/ Bobbi, a patient who has stopped seeing him due to disapproval of their sex change. The doctor's words ignite a spark of intuition within Elliott, leading him to speculate that Bobbi is the lady-in-the-lift killer - and that they're connected to the missing razor. Little do they know, Liz is about to infiltrate their office under false pretenses.

As Liz poses as a new patient, she reveals her own erotic dreams while simultaneously confessing her life as a prostitute, driven by a mix of financial necessity and genuine pleasure. Pete watches from afar, his eyes fixed on the scene through his lens. As Liz searches Dr. Elliott's address book for the elusive Chris Clemens, Pete tries to warn her about the blonde woman lurking within the office walls - but it's too late.

The moment Pete finally cries out a warning, the blonde woman attacks, only to find herself thwarted by Pete's anti-rape spray. In that split second, Bobbi falls victim to the blonde woman's attack, and in the ensuing chaos, the wig comes undone, revealing the true identity of the assailant: none other than Dr. Robert Elliott himself, a wounded man masquerading as his own patient, Chris Clemens.

As the quartet of Levy, Marino, Pete, and Liz convene, Dr. Levy unveils a shocking revelation: Elliott, the seemingly ordinary doctor, harbored a hidden persona - one that craved a sex change operation under the alias Bobbi. This dual identity allowed Bobbi to secretly visit Dr. Levy, seeking guidance on the transformative procedure. Notably, whenever Dr. Elliott's alter ego, Bobbi, felt an attraction towards a woman, their dark alter-ego would brutally eliminate her. This twisted dynamic is exemplified by the blonde police officer Betty Luke (Susanna Clemm), who had been tracking Liz, only to be thwarted by Marino's insistence on infiltrating Elliott's address book.

Meanwhile, as Liz explains the intricacies of sex reassignment surgery to Pete over a casual dinner at a restaurant, he begins to ponder a new investigative direction - one that would involve using himself as the subject of transformation. This bold move would shift his focus from computers to his own identity.

In a parallel narrative, Dr. Elliott's alter ego is given free rein within the confines of a madhouse. A nurse (Anneka di Lorenzo) tends to his needs, only to be strangled by him, much to the delight of the other inmates. Pete extends an invitation for her to stay at his home, assuring her that his stepfather won't mind.

Later, as Liz showers at Pete's residence, she senses a lurking danger. Her intuition proves correct, as a nurse - identical to the one who had previously visited Dr. Elliott - appears before her. Despite being unarmed and defenseless in the bathroom, Liz manages to grab something from the medicine cabinet, readying herself for the impending threat. The razor is swiftly pressed against her neck by the blonde woman, leaving Liz on the brink of terror.

As the scene fades to black, Liz finds herself waking up in Pete's bedroom, still shaken by the traumatic experience. He attempts to calm her down, but the echoes of the violent encounter linger.