From Dallas, Andrea Wilcox is an aspiring actress who has run away from her husband, Keefe Waterman, and their toddler son. Keefe tracks her down in New York City, locating her during a nude modeling shoot, and he pursues her into the street before forcing her into his car. The couple return to Andrea’s apartment, where he reveals film footage of their son, exposing a private story she hoped to keep hidden. Andrea manages to escape the confrontation and flees to the home of Christopher Neville, a film director who has promised her a role in his upcoming project. Neville, a once-celebrated filmmaker who has recently returned to New York from Los Angeles after a budget dispute derailed his previous movie, toggles between sly charm and mounting frustration. The two come close to a physical encounter, but their moment spirals into a brutal argument that ends with Neville strangling Andrea to death, with the entire act captured by a hidden camera in the room.
When Andrea’s body is found in Coney Island, the police quickly suspect Keefe and arrest him. Neville, sensing a dramatic opportunity, ingratiates himself with Keefe by securing legal help and claiming to have witnessed the arrest firsthand, which helps Keefe secure his freedom. Neville becomes enthralled with the couple’s story and proposes making a film inspired by Andrea’s life. Keefe, initially hesitant, agrees to assist Neville as a technical advisor. In a Salvation Army shelter, Keefe meets Elaine Bernstein, a directionless woman who bears an uncanny resemblance to Andrea. He brings Elaine to Neville, who casts her to play Andrea in the project.
As the shoot progresses, Neville amuses himself with the brutal dynamics on set and even murders Leon Gruskin, a prickly film lab assistant, during a dinner break to cement the intensity of the production. Elaine’s presence adds complexity to Keefe’s life, and the on-set friction intensifies when the actor portraying Keefe reveals he slept with the real Andrea, prompting Keefe to lash out in anger. Later, Elaine and Keefe begin an affair of their own, further entangling the web of relationships around Neville’s film. Neville ultimately decides to fire the actor and cast Keefe in the project, effectively letting Keefe portray himself in the finished work.
Toward the end of filming, Keefe discovers Neville’s reel containing Andrea’s murder. He tries to watch it with Elaine, but Neville arrives and damages the negatives, preventing a full reconstruction of the night on film. Neville then shows Det. Delroy a recently shot love scene between Keefe and Elaine, highlighting a detail connected to a suspected spousicide that threatens to derail the case against Keefe. The detective warns the director that an arrest could be imminent.
Neville calls Keefe to lure him to his house at a precise time and also reaches out to Elaine, inviting her to recreate the night of Andrea’s murder — this time using Elaine. Det. Vickers watches Elaine enter the house from the street, but Keefe slips in through a window and disrupts the scene by pulling fuses and plunging the lights into darkness. Vickers, stationed nearby, can only watch as the moment unfolds. Inside, Neville and Keefe clash in a violent confrontation; Keefe hurls Neville over a balcony into an indoor fountain, a fall that also dislodges a lit element. In a cruel twist, Elaine manages to restore power, inadvertently electrocuting Neville to death.
In the aftermath, Keefe and Elaine depart for the airport, intending to fly back to Dallas. Once there, Elaine plans to assume Andrea’s identity to secure a future for Keefe and Andrea’s son, setting the stage for a hopeful but morally complex new beginning.
