- (In French) That's it, I've found one! - (Girl) Me too!
- Yes, but I got here first. - No, I did.
No, I did.
Here. Voila'.
- We need something to cover its head. - Your hat.
- No, Nicole, not my hat... - Your hat!
No!
Stop it, Nicole.
- Where are you going, Nicole? - I'm leaving.
Catch me if you can!
- No, Nicole. Come back! - Catch me.
Nicole, come back.
Nicole! Nicole!
- Nicole, come back! - No!
I'm gonna hide, I'm gonna hide.
(Woman) Nicole?
Nicole!
Oh, Nicole...
Here, I'm going to find you.
Nicole.
Nicole, where are you?
COLD CASE UNKNOWN MURDERER
VENICE 1972
- (In English) Hi, Daddy! - Hi, sweetheart.
Give me a big hug.
- Did you like the plane? - Yes.
I bet you had fun. Are you glad to see me?
Pigeons, where are you? It's me.
I'm here. I'm back. Pigeons!
- Hey, I brought your lunch. Where are you? - (Phone rings)
- Hey, pigeons, where are you? - Hello?
- Come and eat! - Just a moment.
- What are you hiding for? - Roberta, your mother's on the phone.
Oh, goody!
Elizabeth, how are you?
I'm fine, thanks.
Yeah, she got here alright.
Yeah, all in one piece.
Mm.
No, you don't have to worry about it. Yeah, she's beautiful.
- Don't go away. Here she is now. - Let me talk to Mommy.
- Give me the phone! - Wait a moment!
Mommy? There are hundreds of pigeons to play with.
And Venice is much more pretty than I'd imagined it, you know?
And you know, Mommy,
I think Papa was very hurt because you stayed behind.
(Pinball machine bells clinging)
(Man) So what if people do think my editorials are crazy?
Nobody here wants to face up to what I'm writing about.
Venice is a dead town, Franco. There's nothing to do here, no life.
And yet it could become another Las Vegas
with casinos, concerts, cinemas, plus art galleries, theaters.
Don't you see? We could make things really start happening around here.
Now, that's my vision of a new Venice.
Oh, come on!
I have visions of Venice being sunk
with just the rooftops left showing above the water.
And then I imagine a white sailboat blowing along on a breeze with me on it.
It sounds more like one of your fantastic sculptures.
By the way, aren't you working these days? I haven't seen any of your stuff around lately.
I send all the pieces to Beirut for that show at Serafian's, remember?
Hello, Philip, I hear you finally joined Serafiafls little entourage.
Well, there's no point in fighting that man. He always gets his way.
I say, what happened to your face, old chap? Woman trouble?
It was an accident.
I was fencing yesterday morning without putting my mask on.
Mm.
That sounded great, sweetheart. Could you play it again?
Roberta, I bet I know something you'd like to do now.
How would you like to come and see how a newspaper is printed?
- No. - Why not?
I want to listen to the music.
(Laughing)
- I guess I'm not exactly a lady killer. - Out of the mouths of babes and sucklings!
♪ Who killed Cock Robin... ♪
Daddy, that's not the way it goes!
What do you mean, "that's not the way it goes"?
- I want to fly. - You want to fly?
- Oh, yes! - Like the pigeons?
_ ' Yes! (Laughs) OK!
Whoa!
Whoa... there!
Your Majesty!
(I Discordant chord)
Father James!
- Franco, how are you? - Couldn't be better.
No wonder with the fantastic write-ups you're getting.
- Yes, I was lucky. - I'd say it's your talent more than luck.
Oh, Father, I still have a few sketches to give you for your charity sale.
God bless you for it.
- This is my daughter. - You have a little girl?
- I'm surprised. I never see her. - That's cos I don't live here.
I live in London.
A real beauty, isn't she?
- (Franco) Like her father. - Mm, you mean like Mother. (Laughs)
(Projector whirring)
(Doorbell rings)
- Hi, Roberta. - Hello.
Where'd you and your daddy end up going yesterday?
To Murano. I watched them make glass.
- Do you know my mother? - Mm! Mm-hmm!
My mother's beautiful, isn't she?
(Chuckles)
When I smile, am I beautiful, too?
You're beautiful even when you don't smile.
- Hi! - How are you?
It's amazing.
She's Elizabeth all over again.
Mm-hmm. Yeah.
- Completely spoiled. - (Chuckles)
How come she didn't come to Venice with Roberta?
I don't know.
We seem to be getting further and further apart all the time.
Well, anyway, that's not what you dropped in to talk about.
Oh, yes, I almost forgot.
- Serafian has returned from Beirut. - Oh, thanks.
Oh, and Gabriella asked about you the other day.
Why don't you call her?
While Roberta's here in the house? I can't. Just don't have the time.
- I'll break it to her gently. So long. - Take care.
A vanilla ice cream cone, please.
Go11 you!
- Gosh, you scared me. - (Chuckles)
Young ladies who insist on munching ice cream cones all by themselves at night
are too grown-up to be scared.
(Church bell rings)
- Hi, Ginevra. - Hello, Franco.
- Let me take your coats. - Thank you.
- Serafian's waiting inside. - Uh-huh.
What's your name?
I'm the Lone Ranger, and Papa is my faithful horse Silver.
- It's a small world. - This is getting to be quite a habit, isn't it?
You know, we were talking about you just now.
I'd watch it. He's feeling more stingy than usual this morning.
Mm. I'll see you around.
- Hello, there. - Bye.
Ho! Trail ends here, partner.
Come in, Franco, come in.
I was just pondering how the artist today
protests that his work has no ties with past tradition.
But that's very wrong.
Artists, essentially, are the mirrors of their age,
as Rembrandt was and Monet.
And since we are aware that history repeats itself,
isn't it obvious that the same themes recur in art,
the same modes of expression?
The artist therefore merely records, he does not create.
- Well, can we discuss my non-creations? - Oh, by all means.
Well, look, Serafian, I've received an invitation to show my sculptures in Paris.
Do you think you can handle the arrangements for me?
Maybe I could. I know everyone in Paris, and it wouldn't take long to organize a show.
I can't spare you.
You know, my clear Ginevra, how helpless I am without your capable assistance.
But Serafian, s'il vous plait!
I do not intend to argue with you.
Please don't mention this again.
You never change, Serafian.
Always the same sweet, generous, warm human being.
(Serafian) Forgive this unpleasantness, Franco.
Now then, take a look at the reviews of your show in Beirut.
The critics were quite enthusiastic about your work, I'm delighted to say.
(Philip) You know how much I adore you, Ginevra.
(Ginevra) Because I'm the only woman
- you are capable of making love with. - (Philip) No!
Because you're the only woman I've ever really wanted.
How many times must I tell you,
- we are taking too many chances. - But you said this wouldn't change anything.
- But chérie, suppose he knew that... - Shh! Be quiet!
Here is the check for the pieces I sold.
I hope this won't be the last one.
You must come with me to Beirut the next time.
Mm.
Since the first show has been such a splendid success,
you'll be quite the lion of the art circle.
Behave yourself, Roberta!
- When is your birthday, young lady? - In February.
Then your zodiac sign is Aquarius.
I guess so. What is an Aquarius?
A constellation of stars that appear in February. This is the symbol.
- Will it bring me good luck? - Yes, of course.
That's very nice of you.
Well, it looks like we both lucked out, sweetheart.
(Serafian) Tomorrow, I'll make arrangements for your new show. Call me in a few days.
(Franco) Right. Come on, nuisance.
Your turn.
- Egizia, come on home now. - Just five more minutes, Mama.
Don't you answer me back, young lady. I said come home, and I mean come home.
- You should be doing your homework. - I don't wanna do my homework.
I don't care what you wanna do. I'm telling you what you're gonna do.
Roberta! Roberta!
It's time for you to be coming home, too.
- Do you want some more wine, Roberta? - No, thank you.
There you are. They're nice and fresh today.
Ah, thank you.
- Do you know what that is? - Uh...
Well, look, it's a telephone.
- Hello? - Hello?
Hey, would you like to go dancing?
Yes.
Then I'll call for you at eight.
I'll wear a red rose and paddle a gondola made of gold.
Of gold?
Why, only the very best for a little princess with fire engine hair.
Now, if you'll hang up the receiver, I'll show you how to eat it.
- Don't you believe me? - No, it's only a shell.
Watch the way I do it.
See? Inside there's a tiny snail who's very, very tasty. There!
Go on, try it.
- Eugh! - Don't you want a snail?
(Roberta) It's ugly. I don't like it.
(Franco) How do you know you don't like it until you taste it?
(Roberta) I can tell by the way it looks.
Mm... (Laughs)
- What else do you want? - Er... cake.
- I want to play. Can I? - Not now, Roberta.
- Aw... - Alright, go ahead, then.
Hey, Daddy, will you hold this?
Hey, can I play?
You're it!
Hi! I missed you. But I've been tied up all week.
That little redhead's my daughter.
Don't worry, Elizabeth stayed in London.
Come on, let's go to my place and pick up where we left off.
Well, you could've telephoned at least.
Oh, come on, Gabriella, it's been less than a week, for God's sake.
But it seemed longer.
(I Singing Italian song)
(I Song continues)
Look, darling, if you don't mind, I got a lot of work to do, and...
- You want to get rid of me? - Don't be silly.
But you don't want Roberta to see me.
- True? - She's only a child.
You can't expect a little girl to understand these things.
What about the things big girls don't understand?
Oh, come on, Gabriella, there's no need to get mad.
I'm getting mad because I love you, Franco.
Doesn't make the least bit of difference to you, does it?
You're the one who kept on saying you didn't want to get involved.
- Oh! Go to hell! - Hmm.
(Hubbub of children's voices)
Give me back my necklace!
Hey, come on, give it back to me!
Give me back my necklace!
Hey, come on! That's not fair.
Oh, give me back my necklace.
You'd better give that back to me.
Give it to me!
Hey, no, wait! Give me back my necklace!
(Church bell rings)
(Thunder rumbling)
Roberta?
- Roberta! - (Thunder rumbling)
Roberta!
(Knocking on window)
Maria, have you seen my daughter?
Mm-mm.
Egizia, where did Roberta go?
I guess to Claudio Zardin's house.
(Franco) Where does Claudio Zardin live?
- Campiello dell'Orso. - (Franco) Thank you. Good night.
(Maria) Good night.
Can you tell me where Claudio Zardin lives?
- Number 21. - Thanks.
- What is it? - I'm looking for Claudio. Is he home?
Why, no, he went over to see his cousin.
That ain't where he's gone, Mother.
This is Thursday night, and on Thursdays he plays basketball.
Go over to the gymnasium, son.
- The one Father James runs. - I tell you, he went to see Cousin Gianni.
Don't listen to her, son.
- Well, thanks. - It's alright.
Here, catch it!
(Father James) Bring it up!
OK, shoot!
Good shot!
Come on, boys.
Come on!
Keep the noise down!
Alright!
Just a minute, sonny, do you know where I can find Claudio Zardin?
Over there.
- Which one is he? - He's the skinny kid.
- The one standing on the chair with the ball. - Thanks.
- Hey, my ball. - Oh, sorry.
- Hey, give me back that ball. It's mine. - Try and get it.
- Claudio, you know where Roberta's gone? - I don't know her.
But you were with her from what I hear.
It's not true, I wasn't.
- Hey, wait a minute, where'd you get that? - That's mine! Let go!
Where did you get that? It belongs to my little girl. Now stop it!
Father James! Father James!
- Tell me where Roberta went. - Let go!
What happened to her?
- You'd better tell me. - What's the matter, Claudio?
I can't find my daughter, Father, and this kid has this necklace of hers.
Well? Did you see Roberta?
She told me she was going back to her house, Father.
Run along.
She isn't there.
I'm afraid she might've gotten lost somewhere.
I bet if you go home now you'll find her waiting for you.
I hope you're right.
(Blows whistle)
Alright, boys, everybody line up over here. Come on, Roberto, Gianni.
Angelo, throw the ball.
(Girl) 'I don't know what all these buttons are supposed to do.
'Besides, you know what Daddy always says about playing games we're not supposed to.
'Oh, look out!'
Roberta!
(Girl on TV) 'I told you so! Look what you did.
'Wait till Daddy sees that you made an explosion.
'I bet he's going to give you a spanking. Yes, he is!
'And I'm gonna tell him you were pushing all those buttons.'
(Phone rings)
Hello?
Still nothing?
But that's ridiculous! I'm positive Roberta wouldn't just run away, Inspector!
Yes, I've looked in every house on the block.
For Christ's sake, Inspector, I told you all that before.
Yes, call me as soon as you hear anything.
Goddamn police aren't doing a thing!
Franco, getting angry at the inspector isn't gonna solve anything.
Yeah, I know.
He's doing all he can.
Just a question of time. They'll bring her back to you.
(I Music over dialogue)
There hasn't been a child murder in Venice for years.
- Got any clues, Inspector? - I'm afraid not.
In this type of killing, the motive's psychological.
Whoever did it is insane.
With a little luck we'll manage to catch him.
I don't think you can catch pneumonia!
- Why? Why did I leave her alone? - Stop it!
I might as well have killed her with my own hands.
Why did I have to leave her alone? I killed her, don't you understand?
- It's all my fault. - I'm as much to blame as you are.
I should've been here, too.
We have to help each other now, darling. We've got to help each other to be strong.
(Sobs)
Apparently, he'd seen her speaking with an old woman by the river.
A strange old woman, he said,
covered from head to toe in black and wearing a veil.
But the old woman was never found.
And there was another coincidence, Franco.
Neither of the children was sexually abused in any way.
Let me take a look at that.
- Hey, Marchesini, someone to see you. - Alright.
(Dialogue inaudible)
Well, look, that was all in the past. Nothing more can come of it.
The police did all they could do, so, er... I'm sorry.
But you can't give me back my kid again.
And that's what matters.
Look, your daughter and Roberta's murder are too similar to be coincidental.
Look, mister, I don't want to waste your time. There's nothing more I can tell you.
So, if you don't mind, I'll get back to work.
I'm sure we're on the right track. That man knows more than he was letting on.
Don't build up your hopes.
In any case, what does it all matter now?
Look, why don't you go to the house?
Try to rest.
Why can't I go with you? I'm afraid to be alone at the house.
For God's sake, there's nothing to be afraid of. Here.
Look, I won't be long, huh?
Take the next canal bus.
(Gunshot)
Speak your mind, stranger.
Did the Marchesini family use to live here?
Hey, wait a minute.
I'm trying to find the Marchesini family. Do you know where they've gone?
They've all gone away.
I know that. But where have they gone?
- Here's your bat. - If you don't mind,
I don't have time to play ping pong today.
- Just one little game. - What about...
Oh, yes, the Marchesinis. Such an unfortunate family.
Use your backhand, like this.
What made them move?
The mother nearly went crazy when the little girl was found dead, poor soul.
She kept insisting she could see Marinella's ghost. Such hallucinations!
And to add to all these troubles, the husband was out of work.
But then Bonaiuti's lawyer helped him get back on his feet.
And he made sure the mother got proper care.
I hear that Bonaiuti's got money.
Not enough to buy back his reputation. They say he rather fancies little girls.
How much do you know about the murder?
I wasn't here at the time. I was in China when the child was killed.
Play a match of ping pong.
If you can't play ping pong, don't get mixed up in politics.
You've been very kind, Father James. Thank you.
If there's any other way I can help you, please let me know, Mrs. Serpieri.
I will, Father.
(Church bell rings)
I want to go away with you.
What made you change your mind so suddenly?
Isn't that what you wanted?
Trust me, Philip.
I want to get as far away from Serafian as I can.
Do you know how many months I've waited to hear you say that?
We can leave whenever you say, darling.
But it's not going to be easy to just walk out on them like that.
Nothing's easy, Philip, is it?
I just know there's no future for us if we don't make our own decisions.
Why don't you get undressed?
Hmm?
I told you I'll do it, but I just don't think the timing's right.
- Look, you've waited this long... - That's why I don't want to wait any longer.
I'm going to get out now.
But don't you see it's too dangerous, Ginevra?
Just remember, you're in this up to your neck.
I won't change my mind. If you want to stay, that's your affair.
That old lech still wants you, doesn't he?
And we both know he'll stop at nothing to keep you here.
I'm scared, Philip, I'm really scared.
I must go before it's too late, you understand?
But listen, Ginevra...
You mustn't do anything rash, or you'll give the game away.
(Man 1) Ginevra's free to do what she likes.
- (Man 2) You mean what Serafian likes? - (Door closes)
(Man 1) He'll pay for what he's done to her.
(Footsteps and tapping)
(Door slams shut)
My dear Franco.
It was quite a shock.
Bonaiuti just told me about the tragedy.
- If there's anyway I could help... - No.
Why don't you go with me to Beirut?
No.
I can't think of anything at all right now, except...
the man who killed Roberta.
Call me if you change your mind.
- Please. - Alright.
- I'm leaving tomorrow. - Thanks for your concern.
Mr. Serpieri?
Mr. Bonaiuti will see you now, sir.
Thank you.
Spare me any explanation, Serpieri, I know why you've come to see me.
To ask why I got so involved with the Marchesini murder case.
(Chuckles)
- Isn't that so? - You're right.
Nobody does anything without a reason.
What was yours?
Let's say philanthropy, Serpieri.
My main desire is to help others.
Yeah, so I've heard.
As you see, I'm a wealthy man.
And this gives me the possibility to assist whomever I like.
Mm-hmm.
Philip Vernon mentioned your case.
I can imagine it's been a horrible ordeal.
I was discussing it the other night with Inspector De Donato.
The police seem to be working in a blind alley.
Yeah, that's why I'm here.
And that's why I'm following up certain leads of my own, Mr. Bonaiuti.
For example a wealthy lawyer who's been known to molest children.
I won't permit that.
- Get out of my house. - Look, my child is dead.
And you've got to tell me what you know about the Marchesini murder.
As much as you do.
Good day, Mr. Serpieri.
- Alright, Bonaiuti. - (Bell rings)
Andrea.
Would you please show this gentleman out?
And send the maid in - I spilled some grain.
Oh, Mr. Serpieri.
The best of luck for your new show in Beirut.
- (Franco) Where's the phone? - (Man) By the window.
Ah, thanks.
Yeah, Inspector De Donato, please.
Er, Inspector De Donato?
Well, where the hell is he? You know?
No.
Yes, alright, I'll call back.
Hello, Elizabeth?
Yeah. Yeah, I know.
Sure. Listen, has Cuma come to the house yet?
He hasn't, huh?
Well, look, when he gets there, tell him to stay with you until I get home.
No, I don't know when. Just ask him to wait.
Look, Elizabeth, I can't talk now.
(Elizabeth) 'Franco?
'Franco!'
(Window slams open)
(Creaking)
(Water running)
(Screams)
- Elizabeth, what's the matter? - I was just cleaning the bathroom.
God, you gave me such a fright!
(Sobs)
(Sabers clashing)
Touché.
Keep your arm up.
Touché.
Hurry... hurry.
And challenge!
Touché.
(Speaks French)
I arranged two tickets.
- I'm very grateful to you. - Oh, it's no trouble at all.
Why, Franco! What brings you here?
I was just watching. I've never seen this before.
Do you two know each other, by the way?
- Yes. - Mm-hmm.
We met this afternoon.
It would appear that you and I move in the same circles.
(Franco) It's a small world.
(Man) Change partners, please.
My compliments, Ginevra.
You're in perfect form.
Thank you, Philip.
(Man) Pucini, Manon, on the floor, please.
I'll see you tonight, then.
- Serpieri... - What?
I have something important to tell you.
- Can we meet later? - Wherever you say.
The Progresso Cinema, at ten tonight. Don't be late, alright?
Why, what's it about?
Mm... Not here.
You're wanted on the telephone.
Well, what was so urgent?
I'm falling apart, I suppose.
Please come home with us.
Listen, sweetheart, I can't right now. I'm on to something.
Franco, give it up, huh?
- Look, Ginevra is going to talk. - Can I see you a minute?
- I won't be long. - Right.
Why in the hell don't you trust me, Elizabeth? I know what I'm doing.
You might be killed, too, Franco.
I love you.
Oh, Franco, please listen to reason, please.
Can't we just try to forget what's past?
Look, Elizabeth, don't make this thing more difficult for me now.
I just can't handle it.
- Oh, Franco. - Go home and wait for me there.
They need me at the paper. I'll see you later.
I never counted on that happening.
(Gunshots on film soundtrack)
(r Music playing)
(Soundtrack, indistinct)
(Gasps, chokes)
(Chokes)
Ginevra!
- Wait a minute, you! - (Screams)
(indistinct shouting)
(Woman) The first thing I saw was the girl slumped over her seat with blood all over.
If you have any idea who might have done it, then tell me, Serpieri.
Don't play at cops and robbers. It's dangerous.
What did the deceased want to speak to you about?
I don't know, but she said it was very important, Inspector.
That's about all I got out of her this afternoon.
Obviously it had to do with Roberta.
She must've known something. That's why she was killed.
Well, I'd take the hint if I were you.
Let me see what's in her purse.
(Birds tweeting)
(Door buzzer)
(Buzzing continues)
Alright, you goddamn pervert, tell me who killed Ginevra last night.
Ginevra?
- You say she's dead? Oh, my God. - Yeah.
She was strangled with the cord of this pendant.
And this is yours.
That's Aries. Virgo's my month. It's on the desk.
Then get it!
Here it is.
You're in this up to your neck anyway.
There are too many coincidences.
You knew Ginevra, and you knew the Marchesini family.
I didn't know the Marchesinis.
And Ginevra and I weren't really friends.
I met her at a party once.
When she read about the child's murder, she...
asked me if I'd do something to help the family.
Ginevra struck it rich after she came here.
- Who was she holding up? Serafian? - I don't know.
Why don't you ask him?
I don't know anything about it.
She was his mistress. Or rather another one of his possessions.
Serafian is a vicious man, Serpieri, a monster.
I swear he's gonna pay for this.
We all Will.
I want you to do me a favor.
(Church bell rings)
I came to say goodbye, Cuma, but do give the house keys to Franco.
You're leaving?
You know how obsessed Franco is now.
I just can't take it.
He still believes that Roberta's death was his fault.
There's nothing more I can do.
You can't go now. You've got to help him, Elizabeth.
He needs you now more than ever.
It's no use. He doesn't want to listen to anything I say.
And you know how scared I get.
I feel like I'm going to pieces.
I'm afraid leaving is the only logical solution. Don't you?
Why don't you keep these, Elizabeth, in case you change your mind.
I'll write to you and keep you informed about everything that happens.
If you need me for anything at all, you can call me at the office.
And I mean that.
(Elizabeth) Thank you.
That's all I can tell you, Inspector.
I'm sorry I haven't been of much help.
Uh, forget about these.
- Here, take a look. - What are they?
Tickets for Caracas. The travel agency sent them over yesterday.
One is made out to Ginevra Storelli, the other to Frangois Roussel.
- Who is Frangois Roussel? - I never heard the name.
I don't recall that Ginevra knew anyone called Roussel.
If she was your private secretary, how come you know nothing about this trip to Caracas?
I didn't pry into her private life, Inspector.
Then I assume you weren't aware that Miss Storelli had quite a large bank account.
No, not at all.
That's very odd.
Her salary was standard, nothing more.
They say that she was your mistress, Serafian.
They say a lot of things that are wrong.
- So you're going to Beirut? - Yes, for an art show.
A pity, isn't it, in light of this whole tragedy.
Unfortunately, I'm afraid it's too late to cancel it.
Well, here you are, Inspector.
I'll make sure my attorney knows where I can be reached.
Don't hesitate to call me if anything turns up.
Fine.
Oh, Serafian, you have no idea who this is?
No, should I?
This locket was found next to your secretary's body.
- You've never seen her? - I'm afraid not.
Well, thanks for the ride.
Go on.
(Groans)
Would you like the tea served now, sir?
No, take these bags to the station, Andrea, I don't want anyone to know I'm leaving.
Oh, and don't forget to lock the door when you go out.
Philip?
'This is a recording. Philip Vernon is not at home.
'If you wish to leave a message...'
(Door closes)
(Groans)
(Church bell rings)
Tie the boat around the back where no one can see it.
Costin?
Costin!
Right here, Mr. Serafian.
Should anyone ask, you haven't seen me today.
Yes, sir.
Ugh!
Hey, isn't anybody here?
Oh, Mr. Serpieri. It's a pleasure to see you.
Look, I wanna know where Serafian is.
- Is he here? - I'm terribly sorry. He's not in.
Do you know where he's gone, where I can find him?
Well, he's leaving for Beirut this afternoon,
but he did mention he was going down to the old wharf this morning.
- Your selections will fetch a nice price. - I'm sure.
Why, Franco, good morning.
Good morning. Have you seen the stuff Serafian is donating to the charity sale?
Look, it's simply magnificent. And what about your sketches?
- Can you drop them over sometime? - Excuse me, Father, but some other time.
Oh, Mr. Serpieri, we'll be anxious to have news of your show in Beirut.
It'll be a sensational success, I know it.
- Thank you for your cooperation. - Pleasure.
Oh, will you sign this receipt, Father?
(Church bell rings)
- Hey, you know a man named Serafian? - (Costin) What of it?
I've been looking around the wharf because I was told he might be here.
- Have you seen him today? - No, I ain't seen nobody.
(Franco) Thanks for the help, friend.
Hey! (Groans)
Ugh!
I'm afraid he got away. I'm a lousy shot.
Are you alright? Here, let me help you up.
- Did you see who it was? - No, I didn't get a glimpse of his face at all.
(PA) 'Passengers recently arrived from Milan may board the coach for Venice at exit 7.
'Passengers to Venice, please board the coach at exit 7.
'Passengers for Rome, please proceed to gate 4.
'Flight 103 is now boarding.'
(Cuma) Elizabeth.
Well, this is a surprise, isn't it?
I was out here, seeing some friends off.
Why'd you come back?
I made a mistake.
I thought about everything that you said.
And I knew that you were right.
For the first time, Franco really needs me. I just couldn't run away.
Does he know you're back?
No. Don't say anything.
I want it to be a surprise.
I won't.
(Horn blares)
(Franco) I thought this old warehouse was abandoned.
(Man) Well, it was... till I started looking for a couple of cheap rooms.
I kind of like living in out-of-the-way places.
Come on in. I'll see if I can patch up that cut.
(Bang)
- You're certainly up on your first aid. - My mother was a nurse.
I think you knew her. Her name was Ginevra Storelli.
I thought your name was Roussel.
That's the name I go by.
Roussel was her maiden name. She didn't want them to know about me.
And this must be yours. It was you that hit me over the head, right?
I thought you were one of them. I'm sorry.
I wanted to find out who killed my mother.
But all I came up with was this.
What is it?
You'll see in a minute. Watch.
Who's the guy who's got his back to us?
The man they were protecting.
The man that killed my mother and your little girl.
I'm so ashamed that my mother could've let herself be degraded like that.
They must've been forcing her to do those things, Mr. Serpieri.
(Franco) Looks like she had enough on them to fill a book.
(Roussel) I don't know anymore.
Sometimes I don't want to know the truth.
If only I'd killed Serafian today.
Down at the dock.
And that other bastard.
I met Serafian once or twice.
My mother them I was a friend.
He was very generous to me.
He helped me get a job in Paris, where my mother was from.
I didn't understand then why they wanted to keep me away from Venice.
Could've been Philip Vernon in that chair.
Well, only two people can tell us - Bonaiuti and Serafian.
Serafian's in hiding.
But Bonaiuti will talk.
Murdered, I tell you.
He was found dead in the aviary, all slashed to ribbons, I heard.
And the birds he collected were hopping all over the room
and pecking at his eyes.
Listen, Franco, don't be an idiot.
Elizabeth is back. She's gone to the house.
Forget the whole thing, I tell you.
Franco.
Franco!
Can't you go any faster?
Sure, when we get out of the canal.
(Serafian) I knew you'd come running here.
This time I've had enough. I'm not going to cover up for you any longer.
(Man) I told Serpieri everything would've been alright,
but you... you tried to stop me.
(Serafian) I've always tried to make myself believe that you were sick,
when you killed, you didn't know what you were doing.
But those murders were calculated in cold blood.
It's got to stop! It's going to stop now.
(Man) I had to kill Ginevra. She was gonna talk.
And then Bonaiuti sent Serpieri that letter she'd given him.
(Serafian) If Serpieri had received the letter, he would already have gone to the police.
(Man) I can get the letter back. There's still time.
(Serafian) No. It's too late.
I'm going to have you put away before you can do any more killing.
(Man) No! No!
'I didn't mean to kill the little girls. But...
'But they had...
'They had red hair, just like our mother's hair.
'And if I'd let them live,
'they would've grown up and become whores! Like our mother.
'But I wanted to save them so they would stay pure.
'So I struck and I struck.
'And when I struck...
'the stone was red with blood,
'and red rivers flowed... flowed through their blood-red hair.
'And I saved them. I saved them from becoming sinners.
'Our mother sinned when she sold her body to the devil.'
(Door creaks open)
(Straining, groaning)
So you killed Roberta! You killed Roberta!
And you killed Ginevra because she was blackmailing you, Serafian's brother.
Who?
And you killed Bonaiuti because he had a letter for you.
What letter?
What the hell do I know? I took it to your house.
- What was in the letter? - Let go of me!
(Gasps)
(Screams)
Help! Help me!
Won't somebody help me?
Franco!
(Gasps)
Father James!
(Snoring)
Father James!
Who's there?
Where's Father James? I've got to see him.
The Father isn't in.
Heavenly Saints, you left the door wide open.
Where did he go?
They called him to the hospital. A little baby just died, six months.
Meningitis. So sad.
- When will he get back? - Well, anytime now, I suppose.
Now look, lady, won't you sit down?
There's plenty of empty seats. There's no point standing.
(Door slams shut)
You mustn't look so worried.
Here, take a pew. He'll be here soon.
(I Discordant chords on organ)
(Gasps)
(Groans)
(Screaming)
(Reporter) With us now is Inspector De Donato who headed the investigations.
Inspector, can you give us some of the details on the murders?
(De Donato) Certainly.
The case was unusually difficult,
but happily we solved it thanks to the ingenuity of our collaborators.
This article on the death of a redheaded French girl
was instrumental in informing us about a certain Father James
who had been interrogated by the French authorities,
and that clinched our suspicion.
I presume the man knew he was about to be unmasked,
so he killed himself.
I must reemphasize, gentlemen,
that this has been one of the most complex and difficult cases in my entire career,
and I want to make it perfectly clear that many thanks are due
to all those who cooperated with the police department.
To bring this case to a successful conclusion.
Franco!
You didn't hear the end of it.
The inspector says Father James was an impostor.
He wasn't a priest at all.
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