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Dressed to Kill (1980) Poster

Goofs

Continuity 

After Liz grabs the razor that Elliot drops in the elevator, she begins to running toward the screaming housekeeper, with her purse left on the ground in front of the elevator door. As Liz leaves from the apartment door the housekeeper goes into, her purse now appears over her arm.
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When Kate writes the second letter, the first one disappears and reappears on the table between shots.
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When Kate gets into the cab after the museum there is a specific rate listed on the outside of the cab. When she gets out there is a different rate.
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The steps outside the Museum alternate between dry and wet.
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In the museum, Kate is wearing pantyhose. When she leaves and is inside the taxi, she is not.
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Outside the museum, Bobbi picks up the glove twice.
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When Kate wakes up after her sexual encounter with Warren, the clock by the bedside shows the exact time of 7:18 and 47 seconds PM. We then follow her in real time around the flat and when she is back at the bed a little later looking for her panties, the clock shows 7:21 and 15 seconds, exactly 2 minutes and 28 seconds later. However, the actual elapsed film time is 3 minutes and 15 seconds.
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Crew or equipment visible 

Once the action heightens during the museum sequence, and we have now switched from tracking shots to steadicam shots, there is one steadicam pan in particular (from Dickinson's point of view) that reveals the on-set lighting equipment at the top of the frame.
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Factual errors 

At 55 minutes in the unrated version, Keith Gordon looks in the visor of his Super 8 camera. The format of the visor is 'Cinemascope', which has never been really possible with S8. Later, when we view the resulting movie, it is in the standard 4/3 format.
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Revealing mistakes 

After Kate Miller (Angie Dickinson) has been attacked with the razor in the elevator, the first close-up of her face shows the blood already dried, which would be impossible if the attack had just taken place.
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Although Peter Miller uses a suction-cup audio pickup to overhear the closed-door conversation between Detective Marino and Dr. Elliott, it's apparent in the view from inside Marino's office, as they get up to leave, that the large windowed door does not actually have any glass in it.

Reflections off the door glass can be seen during outside shots, but it was presumably removed for the interior scene in order to keep the waist-level, upward camera angle from revealing all the overhead lights when the door is swung open.
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See also

Trivia | Crazy Credits | Quotes | Alternate Versions | Connections | Soundtracks

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