It's me, Carlo. Listen. I'm afraid Evelyn's had it.
'What the hell is that supposed to mean, Doc?'
She had a massive coronary. That's what it means.
Well, get over here. Help me take her home.
'Jesus, what a mess. Well, why to her house?'
Listen. I want you to get your ass over here.
When they find her here, they'll think it was a natural death.
- We better hope so. - Mmm.
Let's go.
No! No!
- Carlo, you think she's real? - Who can say?
She's just the model I've been looking for.
If you need help, don't forget your pals, huh?
- Yeah, we'd do anything for you. - Hey, where's Carlo going?
I thought we were gonna have a game.
He's after big game this time.
Er... Miss.
Smile for the press, please.
Oh, I haven't seen such a face in such a long time.
Oh, that's swell. Great. Perfect.
Say, what do you say we try another angle for a change, huh?
Oh!
Boy, I can see you're a natural.
- Hi, Carlo. - Hi. Sorry, I'm working.
But you were gonna see me now.
I'll call you this evening around 7:30, all right?
- What about our date? - I'm sorry, honey. I'm working.
I'll wait for you here.
- Here's your grapefruit juice, Miss. - Thank you.
What can I get for you, sir?
Oh, nothing, thanks. Never while I'm working.
Mmm.
You're making me nervous. Put it away.
I find nature fascinating.
Your idea of nature is a wild girlie show, I think.
Oh, hold still, please, huh? Yeah. That's it.
Oh, put your hands down.
Miss, I must say you've got a beautiful profile.
You're one girl that doesn't have anything to hide.
Thanks for the information, sir.
- You'd better stop. - Hmm. All right.
Well, you don't know what you're missing.
What?
To have me photograph them, most girls are willing to do anything.
Oh, yeah? Not me.
I suppose you've come across “Harper's Bazaar”, “Vogue”, “Elle”.
Mm-hmm. So what?
They're fashion magazines, the biggest in the world,
- and I work for them. - Mmm.
And you think I can model for fashions in “Vogue”?
Yeah. Pretty sure.
- Really? - We'd better have a look.
Yeah. Let's see.
Well, first of all, you're gonna have to lose a bit of that tummy, baby.
- Huh? - Yeah.
Hey, listen, there's a place I wanna take you. Come on.
- What kind of place? - The sauna. Just what you need.
Healthy. And besides, it'll help you take those inches off.
Hey, move that little thing, will ya?
- What are you doing? - My dear.
I'm just getting rid of these silly encumbrances.
They're no use at all. In fact, they do more harm than good.
You've gotta give the skin air. Let the pores breathe.
See what I mean? What a pair of pores.
- Now... - Are you crazy?
- What if someone should come in? - What the hell do you care?
This could be the beginning of your career, baby.
If you knew how many of the great names in fashion modeling
- began just like you're doing now... - Oh, really?
Yeah. OK, there we are. Now, lie down.
- How do you want me to be? - Oh, it doesn't matter.
Whichever way it is, it'll be beautiful.
Oh, what a piece of... OK, er...
Good. Turn over a little, huh?
That's fine.
Perfect. Now, don't look.
- Why not? - What I mean is don't look at the camera.
That's good.
- Yeah. Marvelous. - How come it's not clicking?
It's not clicking? Oh.
It's not clicking. You're right. Gee, I don't know.
I must have a faulty shutter. Strange.
Oh... what now?
I don't know, I mean... Well, I guess we could, er...
- Hey, you know, I do have an idea. - Oh?
Since it's so hot, I think I'll get into something else.
Hey, you're really out of your gourd, aren't you?
Oh, no. It's just time for the in-depth interview.
- Carlo. - Huh?
I've been waiting half an hour.
Bug off, will ya? Can't you see I'm busy?
Oh, go to hell!
- Now, let's see. Where was I? - There.
Oh, yeah, I remember.
Pig!
Franco, come over here a minute, will you?
Sure, Magda.
Look, I don't need this for today's rehearsal,
but when you shoot for real tomorrow, could you do me a favor?
- Put on a bit more eye shadow. - Sure.
And play down these big highlights under her cheeks.
- Mm-hmm. - I want the girl to look cool.
She mustn't come on too strong for this product.
- OK? - Yeah. Right. Uh-huh.
Don't forget now, huh?
OK, Franco, I'll leave it up to you.
All right, stop the presses.
Ladies and gents, cast your eyes
on the new model for tomorrow's photo service.
Open it. Show it off, honey. That's right. Huh?
This is Lucia.
Oh. You're up to your old tricks again?
Pretty nice, wouldn't you say, Magda, huh?
Tomorrow's work has Patrizia as the model.
You can pay the girl for prior services.
Hey, come on, what she bitchin' about?
- Honey, let me handle this. - You'd do best to stay out of this.
If you want to become a great photographer,
you gotta pick your models with your head, never mind the heart.
And never discuss a colleague's choice, all right?
Anyway, all jokes aside for the moment, take a good look at her. Go on.
She's first-class merchandise. Look at her.
Yes, but how are we going to photograph all that stuff?
We'd need a Cinerama screen.
- Please, Carlo, what is all this? - Calm down. Calm down, honey.
Leave it all up to me.
Mario, will you take some shots of Patrizia this afternoon?
- Whatever you say. - Behave yourself, will you, huh?
- She has real possibilities. - And who's this?
A discovery of mine. Do you think she'll work out, Gisella?
Yes. She just might.
Wait till you see her stripped. She's got a sensational body.
I feel we should talk this over. Come into my office, will you?
- Well? - To the office.
Come on, little lady. It's time to work.
She'll have her hands full with Gisella.
Oh, the hell with all of ya. Go on.
That new one there, she's nice.
You think she puts out?
Ask your wife, you jerk.
Perfect.
Now, don't move a muscle. Look over here.
Look at me. No, no.
Look at me. That's it.
Ready?
Waiter!
No, please, Maurizio, there's no sense ordering another bottle.
I can't be late for tomorrow morning, and I don't want to either.
I'm sorry.
Really, Patrizia, the evening's just started.
Now, we made an agreement. If you want to stay, stay.
- But please call me a taxi. - No, come on. Please.
You're not going to leave me here all alone, are you?
I'm very sorry, but I have work tomorrow.
It's the first important assignment I've ever had.
Your wife is very demanding, and she's right.
I've got to be there rested and in shape.
Yeah.
- Come on. Just another half hour. - I'm sorry, Maurizio.
- Well, when then? - Maybe Monday we will try.
Give me the check, will ya?
- Well? - The bill. The bill.
You know, you aren't really very nice to me.
I can do a lot for you to get your career moving.
- Strange. - Yeah, well...
It's the very same thing your wife told me just this morning.
Hmm?
Hmm.
Oh, hi. What are you doing here?
What, is there something you wanted or...
Just a second, Cecil Beaton.
Wow, well.
How about using me as a model?
Well, take a look, Carlo. What do you think? Anything missing?
Mmm. Turn around.
Uh-huh.
You've got possibilities.
And I don't think there's anything missing.
But it'd be stupid for you to ruin your career and do modeling.
You got a good future as a photographer. You know that.
And fashion models are finished in a couple of years.
Three, four at the most.
Plus, you have to know what you're in for.
At least I'm worth a tryout.
Oh, yeah.
After you, Princess.
Ah, honey, you're beautiful, the greatest, stupendous.
Hey, stop it. You're making me dizzy.
So what else is new?
What's new is that I'd like to start all over again.
Mmm. Honey, you said a mouthful.
So that's where you hide your car, huh?
- Nothing like a woman Parker. - Better than being a nosy one like you.
Ooh. Shut up now and give me your keys, will ya?
Here.
Darling, you look just marvelous.
Marvelous. I didn't know you were a motorcyclist.
Well, come in, come in.
Well, if you like something to drink, just help yourself.
Make yourself at home.
Oh, I got that picture just like you asked me to.
Well, let's see. Ah, yes. Here it is.
I can't imagine what you want with it, but since you asked.
I mean, it's just a snap of the group at the studio.
We're all in it. Me, I look awful...
Magda, Carlo, Gisella, Maurizio and that poor girl...
What's her name? She was pregnant.
Oh, yes, Evelyn. Poor dear.
But... are you trying to be funny? What are you doing?
You're spilling my whiskey.
No. No.
What are you doing? What's that knife for?
No! No!
No! No! No!
Please, put that down. No!
What did I ever do to you? No, please!
Mario?
- Have you finished now? - Er... with the body, yes, sir.
- Then it can be removed. - Fine. You can take this away, hmm?
Yes, sir.
The witness is in here, sir.
You came here this morning, hmm? What did you see?
I'm a model for a photo agency.
Well, today was supposed to be my first big chance,
and... I was to pose for him.
This morning, yeah?
Also he asked if I would come by and pick him up.
You were very good friends then, you and this Mario Ferreri?
No. It was purely professional.
But... but in our kind of business,
a person doesn't take long to know who he does and doesn't like.
And you'd never come to this house before today?
No. Not once.
He was supposed to come downstairs. He wasn't there, so I asked the doorman.
I was in a hurry. I was double-parked.
I stepped inside because nobody answered.
I'm not sure then what I did.
I know I shouted and...
and I must have passed out.
Come on, get that leg up. There we go.
OK.
And get Rino in here. Have him clean up the stand.
Doris, try to be natural. Don't stiffen up.
Open that coat a little, for God's sake. Do I have to tell you everything?
Come on, Stefano. Please, relax.
You look like you got a telephone pole up your ass.
That's it. Now, relax.
Magda, give me some light, huh?
Maybe I'll get a picture this morning.
- What's with him today? - I wish I knew. He's crazier than usual.
Magda, throw the light up. No, to the left.
To the left. Oh, no.
Jesus, Stefano, you look like your pet cobra just died.
Look, you're wearing a coat that's worth thousands of dollars.
It's not plastic. It's warm. It's soft. You gotta let us feel that, huh?
- And, Doris, you, the same thing. - But, Carlo, I...
It's a fabulous coat you're wearing.
Now, make the guy who wants to buy it wanna come.
- What do you mean, come? - Come, as if you're in the sack with Stefano.
- Listen, Carlo, you're asking for a fat lip. - Enough's enough, Carlo. Get off it.
Who the hell does he think he is?
Magda, I don't want you to wash them out completely.
You don't understand a goddamn thing.
Why don't you just put a flag over them, they'll really look like corpses.
Look, I've had it. If you think you're being funny, you're pretty wide of the mark.
- Wonderful, isn't he? - I've had it.
- I've had six months of you this morning. - Throw me that robe, Magda.
Oh, OK, kids. OK, you're right.
I think we can use a little break, huh?
I humbly ask your kind forgiveness, all right?
- I'm sorry, Doris, honey. Really I am. - Sure. Forget it.
- Nothing's working out this morning. - Forget it, Carlo.
No kidding, Stefano. Well, we're try this afternoon, huh?
- Yeah. Sure. - OK.
- I'm going out for coffee. - Oh, yeah?
Well, have them put some milk on in it, some saltpeter.
Maybe I should at that. Come on.
Try it. It might do you some good.
- Thank you, Inspector. - Not at all.
Well, poor Mario had been working for me for the last two and a half years
as an assistant photographer
and even as chief photographer on some of the less important assignments.
Who's usually to be found in the studio?
Well, this is really Grand Central Station.
For certain jobs, I call in other photographers.
Then there's a great turnover in models of both sexes.
However, Mario Ferreri was a salaried employee, wasn't he?
Not salaried, no. It just so happens he only worked here.
The same is true of Carlo Bianchi and Magda Cortini.
But there are no fixed contracts in any of their cases.
This Mario, isn't there anything you can tell me of his, er...
Well, a little more...?
You know, I wonder if any particular man or woman you knew of
had any sort of close relationship with him.
I'm sure you understand what I'm driving at.
Once my employees are out of the studio, they're free to do whatever they please.
I don't know anything at all concerning their private lives.
The ideal employer. I admire that.
Only you're far from being the police's ideal witness.
There's nothing you can tell me about him even after two and a half years?
I'm not fond of spreading dirt or gossip, you know.
I suppose there's one thing I could say.
Mario gave the impression of not being at all interested in women.
- He was a homosexual? - That wasn't what I told you.
All I said was I got the impression he wasn't interested in the opposite sex.
A lot of girls pass through these doors, Inspector.
I just find it a little strange that he never made a pass at any of them.
I don't know if there was anything more concrete to it than that
or if he had any particular friends anywhere.
And if you come right down to it,
isn't it your job to find these things out, Inspector?
Yes, of course.
Well, thanks for your help. I'll act on it.
And you have my word that I'll disturb you as little as possible.
Goodbye.
Ah, just one more thing.
Have you, by chance, come across the name Giulio Castelli?
No. Is he a model? Or perhaps he's with another agency.
No, he's not a model.
He was an MD, and he was murdered over a month ago.
Opened up just like Mario Ferreri.
Good evening, Mrs Mayer.
You bitch, you love it, don't you?
Are you crazy?
Oh! What was that for?
You're a cheap whore.
Why am I a whore? Do you mind telling me?
Come on, you freaked out. What did I do?
What's going on with you and Carlo, huh?
How long have you known him? You've been banging him.
Yeah, we're big buddies.
He promised to find me work, obviously with you.
I see. And you're just buddies, is that it?
Well, young lady, if you see Carlo one more time, you've had it.
That's none of your business. Do you think you own me or what?
I wanna be a fashion model, not a kept woman or a slave.
I have a business dinner. I'm going now.
And your job is to sit here and wait for me. Don't move.
We'll talk about your career when I come back.
- And don't answer the telephone. - Anything you say, Mrs Legree.
Remember what I told you about Carlo.
Stay away from him for your own good.
Ah, yes. Well, if you give me a job, I can do what you want.
If not, you'll have to do without me.
How clever. A little blackmail, is that it?
Don't get any ideas into your empty little head, my sweet.
- You could be very sorry. - Oh, sure.
Anyhow, I know whatever you're going to do for me,
you'll do out of pure friendship.
Isn't that right?
I've warned you.
Gisella, is that you?
Gisella?
Mwah!
Good morning.
Got in kind of late, didn't you?
Morning.
- How much sugar do you want? - Just one, thank you.
And a little milk.
- A little what? - Milk.
You're a barbarian. You can't ruin good coffee like that.
You really want it?
Damn right I do.
- Cold? - That's right.
Freezing.
Milk...
I haven't got any.
Well, since it's the first time, I'll pardon you.
But next time, I better not have to remind you.
Milk is good for you.
It gets your corpuscles going, especially after a strenuous evening.
Ah, it could be at the door.
I certainly hope so.
Hurry, honey. The coffee will get cold.
Hup, hup, hup, hup, hup.
- What's that for? - Let the blood get back to my head.
- Get the rocks out first. - Ah-ha!
Anyhow, coffee's served, master.
But remember one thing. This is just for today.
Don't get used to it, huh?
Mmm... I know the old trick.
The first time you treat us all like kings.
Coffee and the paper in bed, eh?
After a bit, we get the plates in our faces, huh?
Shut up. Your coffee needs drinking.
Mmm.
Mmm...
It's marvelous, my dear. Thank you.
You ruined it with milk. I don't see how you can drink it at all.
Well, it's better. When you put milk in it, you get bigger molecules. That's physics.
It's stupid of me to explain. You don't understand a damn thing anyhow.
Mm-hmm... a person doesn't have to be Einstein
to know if a cup of coffee is good or not.
Milk in coffee is like water in wine.
Both are ruined. That's the truth.
You see this? Look.
It's Lucia.
She was killed like Mario.
Oh, God. I just don't believe it, Carlo.
Hey, wait a minute.
- How did you know her? - What?
You're the one who brought her to the studio.
Now, listen. Don't start asking stupid questions.
This whole thing is too complicated already.
That girl showed up all alone that day,
and Gisella liked her face a lot.
I took a little film of her, but I didn't know her.
I'd never seen her before. I hope you understand.
- Yeah... - Is that clear?
Yes. You don't have to strangle me.
I'm sorry. Sorry, honey.
“Found in the baggage compartment of her car,
“the girl was grasping an earring.
“And this is the only lead the police announced.”
Hey, look at this, Carlo.
- Doesn't that earring look familiar? - Mmm...
No. Doesn't mean a thing to me.
I can hardly see it.
Carlo, I have a strange feeling.
I swear I've seen that earring.
So, Mr Bianchi,
you confirm that you had never seen the victim, Lucia Cerrazini,
before the time two days ago when she first came to the studio.
Is that correct?
Yeah, not before she came to the studio.
So obviously, you hadn't known her before then.
No, I'd never known her. No.
However, the doorman says he saw the two of you coming in together.
Can you explain that?
Explain? Yeah, of course. You're absolutely right.
Well, she was standing at the main entrance, I...
I figured she was looking for the studio and... I took her in.
She was here when I came.
I did not call her, send for her or have her taken in.
I figured someone else brought her.
Perhaps Mario.
Yeah.
Mario Ferreri.
Too bad that Mario Ferreri was murdered
and can't confirm that little particular.
His testimony would be highly valued.
And dead men don't talk, do they?
Would you mind telling us where you were in the early evening yesterday?
Right here. Working, in fact.
About 8:00 or shortly after, I went out for a business dinner at Fourrier's.
The waiter can confirm that.
And so I suppose...
there's no way you could have seen Lucia Cerrazini last evening, am I right?
Now, look here. I've told you all I could dredge up for you.
It's all I know.
Please understand. I'm very behind in my work because of all this,
and I can't lose any more time.
May I ask if there are any other questions you want me to answer, sir?
I have the impression that you've forgotten that I'm investigating two murders
and that both of the victims can be linked up to your studio.
Just hold on a second, Inspector. I don't happen to think that's true.
Why, I saw that girl Lucia just once only.
- It means nothing. - Once only. That's true.
That was just enough to get the girl murdered.
Too many coincidences and too many dead bodies, I'm afraid.
At any rate, I'm told you made an offer of work to the young lady.
I said I'd run a test on her, nothing more.
Well, I'd appreciate it if you kept in touch.
Of course. If I'm not here, I'll leave a message telling where I've gone.
That's very kind of you.
- Thank you. Goodbye. - Goodbye, Inspector.
Ma'am.
Now, hold on. Hold on, Gisella, will you?
I'm a little confused.
How could it happen, a thing like this?
- You're asking me, for God's sake? - Of course.
You were with her last night. You didn't tell that to the police.
But you were the one who brought her here, Carlo,
and I didn't tell that to the police either.
But, by God, I know.
What do you know, Gisella? What do you know?
- Go on. Say it. - Bastard!
I'm not going to put up with you one minute longer.
You were the one this time too, weren't you?
You're out of your freaking mind. You don't know a damn thing.
You ought to be in a bug house.
Listen. I'm warning you.
Go carefully before you get into even worse trouble.
Doris! Hop in. I'll give you a lift.
No, thanks. I'm almost there. Don't bother about me, Maurizio.
Oh, if I offer you a lift, it means it's no bother at all.
On the contrary. Come on in, Doris. I really would like it if you would.
- Really, there's no need. - Oh, come on.
It's a bit silly. I mean, because I'm almost at the studio.
- You know that. - Honey, please get in.
I gotta talk to you. It's important.
All right. What about?
I'll tell you right away, but not here, huh? OK?
Not here? What do you mean?
We're going to a place where we can talk in comfort.
- What's wrong with the car? - Wait. You'll see. You'll see.
This is a lucky day for you. Just sit back and relax.
Hey, Maurizio, you're driving crazy. You can't pass here.
Don't be afraid. Don't be afraid, young lady.
You're with one of the world's greatest drivers.
Look at this, huh? Huh?
Not bad, huh?
I should have been a race driver.
I love fast, powerful cars. They excite me.
Don't they get to you too?
Not me. I'm scared to death. Would you please let me out now?
Oh, no. No way at all. Besides, I told you I have to talk to you.
- Then stop here and we'll talk. - No, no. Not here. Not here.
Where the hell do you think you're taking me?
You'll see, little girl. You'll see. It's a marvelous place.
And afterwards... Oh, ho! Afterwards you'll be a very happy girl.
- Will you please let me out? - Oh, it's impossible, my dear.
Besides, you can't flip this car over. Let me show you how it holds the road.
Oh! Slow down!
- Don't worry. Don't worry. - Watch out! There's a red light!
What are you talking about, red? It's as green as your face.
Watch this. Watch this. Oh-oh! Ole!
Oh, please slow down. I think I'm sick.
Nonsense. Fight it. Mind over matter.
Come on, Maurizio. I've had it.
- Take it easy. - Will you stop now? Stop it. Stop, please.
- Hold on. We're almost there. Be patient. - I'm out of patience.
Come on now. Will you let me out of this car?
One more minute. We're nearly there.
Maurizio, I'm not kidding anymore. I've had it.
- Take it easy. - Let me out!
Sure. You can get out. You can get out. We're here now.
Thank God.
Why did I have to get the craziest boob in Milan?
You stay away from me from now on.
No, no, no, please. Don't go anywhere. Doris, stay here.
- Quiet. Quiet. Quiet down, Doris. - No! Let go of me, damn you.
Everybody'll hear you.
I don't give a good goddamn if the whole world hears it.
- I wanna get out of here. - I understand. I'll call you a taxi.
Just quiet down. Don't yell.
- I'll yell all I want to. - Just relax, honey.
There's a pretty thing I wanted to show you.
Ah, sure, sure. I can imagine what a pretty thing you have.
Here. Wait a minute. I'll turn the light on.
Jesus.
There we are. Isn't it beautiful? Isn't it great?
Look at this place, huh? You like it?
I know this place. I've seen it already.
- Yeah. - Take your hands off me.
What are you talking about? You were here before?
A couple of times with your wife.
- Now I really must go. - No, no, Doris, please don't.
How much do you want? I'll give you whatever you want.
A hundred thou? Two hundred thou... Half a million? Whatever you want.
I'll give you all this money, whatever I have.
But promise you'll make love to me, huh? Huh? Please.
Boy, you're off base, Maurizio.
I don't know what kind of ideas you've got in your head, but I'm no chippy.
And what about your wife?
If she should ever learn that I was here playing games like this with you,
I wouldn't be working much.
- I know Gisella. - Come on, please.
Do you really think she gives a damn about me or what I do?
I don't know really.
I just know that she'd never forgive us for having a quick fling.
I wonder who that is.
Hello. Hello?
Hel... hello!
Oh, it must have been a wrong number.
OK, enough is enough. I'm going. I've had it.
No, you're not going anywhere. Get back here. Sit down!
There. Don't move, understand?
Oh, you kicked me!
Watch out. You're gonna make me lose my head, Doris.
You know what I might do? I'll-I'll-I'll murder you!
Let go! You're a madman! Let go of me!
- Yeah, I'm a madman! Mad about you! - OK. OK. I'll do whatever you want.
- You will? - Yeah. Sure.
- You're so wonderful. - Hey, come on.
Not like that. That hurts. You're crushing me. Just a minute.
Let's get undressed at least.
Yeah. Get undressed...
- What about you? - Get undressed...
Who, me?
I'll get undressed. Look.
You're so pretty, Doris.
So pretty.
- Come on. - Just one second.
Look at you!
Hey, hurry it up, will you?
Yeah, I'll be right there. Oh, you're a wonder.
- There. - Doris. Oh, Doris. You're wonderful.
Doris...
- Well? - No.
- What happened? - Nothing.
- What? - Just what I said.
Oh, don't take on so... Don't cry.
Don't worry. It's not tragic.
It is tra... tragic.
You can do it. You can do it.
No, I can't do it.
All right. We'll wait.
- All right? - All right.
You're not the first person who's gone through that.
Don't make an opera of it.
Ah, I've never made it with a girl. Never once!
My mother told me that I would, but I haven't.., not yet.
You will soon. Soon.
And right now you can come help me do up the back of my dress, all right?
- Yeah. - Find the button?
Yeah. Doris...
- Thank you very much. - Listen, er...
Huh?
- You won't tell anyone? - I'd just be cutting my own throat.
In two minutes it'd get straight back to your wife.
- You're marvelous. - Thank you, dear.
There you go. Yeah.
- Here, Doris. - Huh?
I want you to take this anyhow. I promised it before.
No, it's a lot better I don't take it.
Oh, you must. You made love with me. You were nice to me.
No, please. I really mustn't.
You know, if your wife finds out you've spent all this money,
she could ask what in the world you spent it on.
No, I would never tell her anything like that.
No, really.
Suppose... suppose we pretend I've done all of this out of a sense of duty.
For the excitement of sinning.
But above all of that, to get back at my boss.
Do you want me to drive you to town? Huh?
No. A cab will take me there slower.
And besides, we shouldn't be seen together, you and me.
- So long. - Mmm... yeah. So long.
You've really been very nice, Doris.
- Bye. - Bye-bye.
Oh, Mama, Mama. Why does it always end this way?
You're the only one that can make it happen.
The only one.
Is that your husband?
Mm-hmm.
I asked you... What have you found out about the vicious killer?
- Cover him. - Have you found him?
I assure you the police have not been idle.
Would you look carefully at this earring, please?
Is it familiar? Is it yours?
I can wait. Think it over.
Signora, aren't you feeling well?
I'm so sorry. It's foolish.
You must understand... it's so horrible, everything I've been going through.
Of course. I understand completely.
Please, may I go now?
Certainly. We'll drive you home now.
Think it over carefully. First a photographer.
Then one of your models.
But most of all, the proprietor of your studio.
The key to the whole mess is at the Albatross Agency.
And, lady, you're the one who can find it.
- Hello? - 'Albatross Studios?'
Yes, this is the studio. Who's speaking, may I ask?
'Doesn't make a damn bit of difference who I am.'
Look, please, who's speaking? Who is it, for God's sake?
'I know quite a bit about what you've been up to,
'and if you don't want me to start telling people,
'you have to bring me ten million lire the day after tomorrow.'
- Ten million lire? You must be crazy. - 'You heard me.'
- But how do you expect me to make that? - 'It's not much.
'Any newspaper would pay a hell of a lot more.'
No, I'm afraid it can't be done.
'I think it can. And I think you'll bring the money to Via Mossara
'at ten o'clock Wednesday night, beneath the overpass.'
Via Mossara at ten o'clock on Wednesday night.
That's fine. I'll be there. I'll see you.
Carlo?
Who is it?
Who is it? Who's there?
'Police Station. Sergeant Rossi speaking.
- 'May I help you?' - 'Open the door, for God's sake!'
Carlo, is that you? Hold on a minute. I'm terribly sorry, my mistake.
- 'Will you open the damn door, please?' - Here I am! I'm coming.
- Oh, Carlo. - Give me a hand with these, will you?
If your boyfriend's here, I'll leave peacefully. You don't have to hide him.
Mmm...
No, just a minute. There's something I wanted to show you first. Come on.
Oh, what is it now? Listen, we were off to such a good start there.
- Shut up, will you? Come on. - You shouldn't interrupt things like that.
It's bad for my corpuscles.
Well, let's see what was so important to stop all that, huh?
Look at this.
- What's so important about that? - Look.
The earring.
Here.
Hmm?
- They're identical. - Maybe, but what's the big news?
What do you mean, “maybe”?
Well, there could be a million of that type of earring around town.
Well, you got a point, all right.
We should look for the answer around the studio.
Yeah. It's strange.
- I don't know. - Know what, honey?
I don't know how it happened.
The murderer...
.could be one of us.
Hmm. Why not?
One of us. Yep.
I could have done it.
- Or you. - Now don't talk nonsense.
- Or Gisella. - Mmm...
Yeah. There were four men.
Two have been gotten rid of.
That leaves me.
And I feel too hot to be a corpse, baby.
And the telephone call?
So what? What does that mean?
They made an appointment on Via Mossara.
If they were talking about money, it was just a business thing.
Ten million lire worth.
But... shouldn't we call the police? Huh?
What? Are you crazy?
You call the police, you're asking for bad trouble.
We better keep our noses clean.
I got better things to do, and I'm gonna do one right now.
Aw, come on, honey.
Did I ever tell you you look terrible with clothes on?
Well, at least you're predictable.
No! No!
Oh...
You... Carlo.
Bastard. You...
Forget it. He's gone. No way we can find him now.
Yeah, I guess you're right. But I'm not looking forward to telling the inspector.
- Ah, we'll have to call in to headquarters. - Bastard's probably home by now.
Get them send out some more men and a couple of searchlights.
Any luck there?
No, sir. He gave us the slip. Too dark.
This is agent 71.
- Agent 71. Come in, please. - 'What is it, 71?'
Get an ambulance over to Via Brasile on the double.
I got a hit-and-run here.
Scissors.
Dressing.
- We can exclude fracture, I'd say. - Mm-hmm.
However, there might be complications.
Lucky he has such a hard head.
Very lucky. And I hope there's no concussion.
You never know with blows of this nature.
Better take him to his room now and let him rest.
And, nurse, no visitors till morning.
- You finished? - Uh-huh.
OK, we can go.
Got another date with Gino tonight?
Are you kidding? I volunteered for overtime tonight, like an idiot.
- 'Hello?' - Hello, honey.
'Carlo, where are you? What's happened?'
'Nothing. What's new?'
I've just seen the inspector. He was looking for you.
'He came there to the house? What did he want?'
- He said Gisella was murdered tonight. - 'Yeah, I know.'
Carlo, where are you? Are you all right?
Now listen to me. I'm absolutely perfect, don't worry.
But I... There's something to do right away.
Go look in that trash can in the alley behind the agency.
Look inside. You'll find a reel there.
Boy, I sure hope you can find it.
Infrared. It's been exposed. You know the kind?
'Yes, of course.'
You've got to go and get it and develop the film immediately.
- 'Why? I don't understand.' - Just move it.
Go on, honey, please. I'll call you in the studio in an hour. Goodbye.
Oh, damn.
Huh...
Hello. Carlo? How are you?
Magda, this isn't a social call. Don't worry about me. Did you get it?
Yes, I went and got it. The film was where you said.
Yes. Yes, I developed it already.
No, no, it's very clear. The negative is perfect.
Of course I know how to do it, darling.
Yes, I did. I did.
Have you made the prints?
Yes, but they haven't dried yet. A few more minutes.
Yes, of course.
Sure, I looked at the negatives. You can see...
Magda. Magda! Magda, what's going on?
'What the hell's happening there? Where are you?'
Carlo, Carlo, the lights just went out.
What should I do? Carlo, I'm afraid.
Ah, it's only a jump in the current.
Just to be safe, you'd better go to the locker in the corner.
There's a revolver beneath all the papers. You better get it.
- All right, but hang on. - 'OK, but hurry, honey.'
'Hello? Magda? Hello? Are you there?'
I found it. What am I supposed to do now?
'Go to the main light switch near the door and turn it back on.
'That's all you have to do. Now go on.'
All right. Only please stay right there. Will you, please?
Go on! Get with it. You're wasting too much time, honey.
OK, OK.
Magda! What is it?
'Hello?'
Hello? Magda!
What happened?
Damn it!
'Drastic new austerity measures
'were announced by the government today
'which will affect all sectors of the economy.
'Increases in the price of gasoline, meat, grains and vegetables
'will go into effect at midnight.
'A government spokesman confirmed the likelihood
'of a new special tax on incomes over eight million lire.
'Here's a flash bulletin from our Milan desk.
'The murderer who has been terrorizing the metropolis
'for the last 10 days seems to have struck again.
'This evening, a woman was brutally murdered in Via Mossara
'beneath the overpass on the outskirts of the city.
'The name of the victim is Gisella Montani...'
Oh, no!
'Thirty-seven years old, director of the Albatross Photographic Studio,
'the place that seems to be in the middle of this terrible series of crimes.
'She was the wife of Maurizio Montani,
'a man murdered less than 24 hours ago.
'For those of our listeners who may not be familiar with the case,
'we remind you that this is a chain of five brutal murders
'which the authorities are sure were committed by the same person.
'The first to fall victim to this mad killer was Dr Giulio Castelli,
'a noted Milanese gynecologist.
'The second victim was Mario Ferreri,
'a photographer for the Albatross studio.
'The third was an aspiring young fashion model named Lucia Cerrazini,
'who is believed to have worked at the Albatross agency.
'As we said earlier, the succession of events has terrorized the city of Milan.
'The district attorney, on an interview made less than an hour ago,
'has said that the police are stepping up the pace of their investigations
'and it seems that positive results can be expected soon.
'And now for a look at the weather...'
Oh, Stefano! I didn't hear the door open.
Did you hear about Gisella? She's been murdered too.
- I'm terrified, Stefano. Aren't you? - Don't worry about it.
Oh, my God. How is it you're not afraid?
I'm living a nightmare.
I'm so afraid, and you're never here.
I didn't tell you before.
The other day after work I ran into Signor Montani.
It was on the same day that he was killed.
He was waiting for me in his car.
God knows why he picked on me, poor bastard.
He wanted to take me to that little house they had, the one outside the city.
Of course I wasn't interested.
Maybe you don't know, but he tried to put the make...
on every girl who came in the agency.
I almost felt sorry for him.
Magda!
Son of a bitch.
Stefano.
Hey, but...
This evening...
Weren't you supposed to see her tonight?
I can't stand any more beatings. Honestly, I can't.
Why do you treat me this way?
- What have I done to you? - Ah!
What have I done to deserve this?
Oh, God, I'm afraid I can't take it.
Shut up and stop bugging me all the time! You talk too much!
Stefano, I only talk to you. Not anyone else!
You know, I'm your girl, don't forget.
You know I always did every single thing you'd ask.
Certain things I never thought anybody could ask me ever.
If it pleased you, I didn't mind.
- Stefano, why... why are you like this? - Oh, shut up!
Please tell me what's going on. Why won't you tell me anything?
Please, darling.
I love you.
Please take me away from here. I can't live like this.
Someone opened that door.
Stefano, do you remember... did you close the door when you came in tonight?
Oh, darling, I'm afraid.
- No! - Stefano!
Stefano? Stefano?
Answer me!
Stefano!
Oh, no...
Oh, my God.
Oh! Magda. Magda!
Magda, wake up.
Come on, honey, wake up. It's me, Carlo.
Come on, wake up!
Carlo...
Oh, God.
We gotta get out here quick. Come on.
Quiet, honey.
- Shut up. - Where are we going?
Just a few more steps now.
- We're almost there now. - I don't feel so great.
Yeah, I know. Hang on to me.
Hold on now.
- Let's sit down. - Yeah, OK. Sit here.
There you are.
- You feel better now? - Yeah.
Now don't move. Hold it now.
- There. - What are you doing?
- Nothing. It's just water. - That's not nice.
- It's just water. Now wake up. - My head hurts.
Yeah, I know, honey. Gee, you smell like a still.
Somebody must have slipped you half a bottle of whiskey.
- But my head hurts! - I know. Now try to wake up, baby.
Come on, be a good girl. You can do it, come on.
- I feel much, much better. - Oh, good. I'm proud of you.
- Hey, quit punching me out, will you? - OK, OK. Now come on.
Come on, you can stand up now. We've gotta get out of here.
Hold on a second. Somebody stole my legs.
Magda, please try to understand. We can't waste the whole night here.
Why not, honey?
Because we haven't got a second to lose, that's why.
Oh, Carlo, sweetheart, did I ever tell you that I love you?
Oh, give me strength.
Please, do you think this is really the time to start talking shit like that?
We've got more important things to do.
Oh, yeah. You know the man in the picture was Stefano?
Yeah, I know, I saw it. But the fact is, Stefano's been killed too.
- Stefano? - Dead and done for. And Doris too.
- Doris? - Yeah, Doris. Doris.
Stefano was trying to blackmail Gisella.
He might have seen her with Lucia, I don't know.
But when Gisella was killed, Stefano was two or three yards in front of her.
But the murderer hit her from the back, you understand?
Here, look. Look.
Look here. You see? You get it? All you can see is Stefano.
When I saw the murderer, he was wearing a motorcycle getup,
the same one I saw coming out of Doris's house.
- Then he means to kill all of us. - Yeah. Seems so, doesn't it?
It's got to be the one who attacked you at the studio,
then took you to Doris's to throw the suspicion on you.
Oh, I don't know anything.
All I remember is the sound of water coming out of a tap.
Of course, the tap! Yeah, it's gotta be that.
You know, we should call the police now.
No. Get that idea out of your head, baby.
Come on. I've got to make sure of one thing first.
- Where's your car? - At the studio.
OK, let's go get it.
OK, I think this is it.
Would you mind telling me who or what...?
Later, later. Don't worry about a thing.
Shall I come with you?
No, wait right here. And don't move.
Carlo! Carlo, help!
No! Carlo, please, help me!
Magda!
Carlo! Help!
Magda! Magda!
- Are you all right? Are you hurt? - I'll be OK.
Get in the car. Hurry.
Oh, no.
Patrizia.
Evelyn.
Evelyn!
You! May God curse you.
You were responsible for her death.
You... should have...
should have been the last person to pay.
- Evelyn. You remember Evelyn? - Mm-hmm.
- Evelyn and Patrizia were sisters. - Oh.
And that's not all.
There was something much more between them than just old sisterly love.
Mmm... something much stronger.
Then Evelyn got herself knocked up and got an abortion.
But she died of cardiac collapse.
- And that drove Patrizia crazy? - You'd better believe it.
Not so much because of Evelyn's death, but because she betrayed her.
So Patrizia decided to take it out on everyone at the studio,
as if we were responsible.
Who got her pregnant? Do you know?
No. I just helped her find a doctor.
- I scared you, didn't I? - Carlo!
Don't do that anymore, OK?
I apologize.
I'll show you just how sorry I am.
What are you waiting for? Are you being careful?
Don't worry, I'm on the pill, honey.
Oh, how nice.
It's better not to run any risks though.
- That's my girl. - Er...
- Hey, what do you think you're...? - Just a minute. You'll see.
No! Er... no!
- There. - Nah! No!
- I... I was just joking. - Oh!