but he is already too infatuated with Dolores to reciprocate. Meanwhile, John and Arthur track Angela and her young son to a toy store. John confesses who he is, but Angela is not surprised, as she knows that her husband is himself cheating on her. An attraction grows between John and Angela; once again Arthur helps his friend by pretending to be John's son. Deborah runs into Angela and John at the latter's apartment; she does not appear to be bothered by John's simultaneous desire for the two women. Meanwhile, Dolores almost kisses Charles at one of Christy's concerts, while Christy herself confesses her attraction to Jose. When Charles follows Dolores back home, she eventually leaves her apartment and kisses him before running away. Charles spends the night on a bench outside of Dolores' apartment, following her to a courthouse where Christy observes her and Jose enter a judge's chambers. Christy invites most of the other characters to another concert as Deborah and Angela have a secretive conversation. Later, Angela tells John that she is returning to Europe with her husband and son; she has arranged Deborah to take her place and nurse his broken heart. At the concert, Charles is reunited with Dolores, who reveals that she went to the courthouse to obtain a divorce. He proposes marriage to her (which she accepts). Christy introduces Jose, her fiancé, to the concert's audience. The following day, Charles and Dolores as well as Christy and Jose are married in a double wedding. John tearfully sees Angela off, then returns to his cab, where Deborah is waiting. Cast Audrey Hepburn as Angela Niotes Ben Gazzara as John Russo Patti Hansen as Sam (Deborah Wilson) John Ritter as Charles Rutledge Dorothy Stratten as Dolores Martin Blaine Novak as Arthur Brodsky Linda MacEwen as Amy Lester George Morfogen as Leon Leondopolous Colleen Camp as Christy Miller Sean Hepburn Ferrer (Audrey's son) as Jose Production "The genesis of They All Laughed was that Benny [Gazzara] and I talked a lot about romances and affairs and the battle of the sexes", said Bogdanovich later. "[I wanted] to try to make a personal picture, but not a personal picture like an indie prod. I wanted to hide it, like the old filmmakers in the studio system did. Hide it behind a genre. The genre was private detectives". The film was financed by a filmmaking division of Time