The Bird with the Crystal Plumage (1970) - A Classic Giallo Thriller ️♂️
The Bird with the Crystal Plumage (1970) is a seminal giallo film directed by Dario Argento, renowned for its intricate plot and stylish presentation. This Italian thriller is a cornerstone of the giallo genre, which blends mystery, horror, and suspense in a unique and captivating way.
The story follows Sam Dalmas, an American writer who witnesses a brutal murder while in Rome. As he becomes entangled in the investigation, he uncovers a series of chilling clues that lead him deeper into a web of deceit and danger. The film is celebrated for its atmospheric cinematography, haunting soundtrack, and the distinctive, visually striking style that Argento is known for.
With its blend of psychological intrigue, shocking twists, and a memorable score by Ennio Morricone, The Bird with the Crystal Plumage remains a classic and influential film in the thriller genre. Its gripping narrative and stylish execution continue to captivate audiences and inspire filmmakers.
#TheBirdWithTheCrystalPlumage1970 #GialloThriller #DarioArgento #ItalianCinema #MysteryAndSuspense ️♂️ #ClassicHorror #StylishThriller #EnnioMorricone #AtmosphericCinematography #HauntingScore #IntricatePlot #PsychologicalIntrigue #CinematicInfluence #CultClassic #MustWatchThriller #MemorableStyle #SuspensefulNarrative #VintageThrills
The Bird with the Crystal Plumage (1970) is a seminal giallo film directed by Dario Argento, renowned for its intricate plot and stylish presentation. This Italian thriller is a cornerstone of the giallo genre, which blends mystery, horror, and suspense in a unique and captivating way.
The story follows Sam Dalmas, an American writer who witnesses a brutal murder while in Rome. As he becomes entangled in the investigation, he uncovers a series of chilling clues that lead him deeper into a web of deceit and danger. The film is celebrated for its atmospheric cinematography, haunting soundtrack, and the distinctive, visually striking style that Argento is known for.
With its blend of psychological intrigue, shocking twists, and a memorable score by Ennio Morricone, The Bird with the Crystal Plumage remains a classic and influential film in the thriller genre. Its gripping narrative and stylish execution continue to captivate audiences and inspire filmmakers.
#TheBirdWithTheCrystalPlumage1970 #GialloThriller #DarioArgento #ItalianCinema #MysteryAndSuspense ️♂️ #ClassicHorror #StylishThriller #EnnioMorricone #AtmosphericCinematography #HauntingScore #IntricatePlot #PsychologicalIntrigue #CinematicInfluence #CultClassic #MustWatchThriller #MemorableStyle #SuspensefulNarrative #VintageThrills
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Short filmTranscript
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00:02:20Come in.
00:02:26Come in.
00:02:32Come in.
00:02:40Come on, Carlo, it's late.
00:02:45Calm down, he'll wait.
00:02:48Do you know that the experts have found your excellent study and have already published it?
00:02:52You know how exciting it is.
00:02:54Sam Dalmas, expert in American literature,
00:02:57reduced to studying the characteristics of the rarest types of birds.
00:03:01And maybe they'll give me a bonus.
00:03:03How are you, Giulia?
00:03:04Oh, fine.
00:03:06He's been out for a month for a fashion magazine.
00:03:08Maybe he'll come back tonight.
00:03:10Are you still in love with her?
00:03:11Yes, more and more.
00:03:13I'll take her with me to New York. We'll leave the day after tomorrow.
00:03:15A serious thing, then?
00:03:16I think so.
00:03:17Good morning, professor.
00:03:18Good morning.
00:03:19The first thing I do in America is to look for a friend, to thank him.
00:03:24I was going through a crisis, I hadn't written a line in months.
00:03:27Go to Italy, he tells me with a dreamy voice.
00:03:29You need peace, tranquility.
00:03:31It's your country, the country of poetry.
00:03:33Nothing ever happens in Italy.
00:03:35The hell with San Rostiro.
00:03:38And me with him.
00:03:39What did I tell him?
00:03:40He convinced me.
00:03:42I toured the country.
00:03:43I saw every monument.
00:03:45Then spaghetti, wine, the air of Rome.
00:03:48Magnificent.
00:03:49But I didn't get over the crisis.
00:03:50And on top of that, I was left without a penny.
00:03:53I couldn't even have paid my return ticket
00:03:55if you hadn't found me this job.
00:03:57And you did a good job.
00:03:59Here's the signature, Mr. Dalmas.
00:04:02Thank you.
00:04:06Hey, Sam.
00:04:08Do you want a copy?
00:04:10I don't need it.
00:04:11I have this.
00:04:35Thank you.
00:05:06Hey!
00:05:17Hey!
00:05:24Hey!
00:05:36Oh!
00:05:41Ah!
00:05:42Ah!
00:05:48Ah!
00:05:51Ah!
00:05:53Ah!
00:06:05Come in.
00:06:12Call the police.
00:06:28Help me.
00:06:31Help me.
00:06:35Help me.
00:07:05Help me.
00:07:35Help me.
00:08:00His wrist is weak, but it doesn't seem serious.
00:08:02He hasn't lost much blood.
00:08:06Go ahead, proceed.
00:08:09Of course.
00:08:10Take the first steps.
00:08:11Right away.
00:08:18Good evening.
00:08:20I'm Inspector Morosini.
00:08:23Tell me everything.
00:08:24Everything what?
00:08:25Everything that happened.
00:08:27I want to know everything you saw and heard.
00:08:29How is he?
00:08:30He'll get over it.
00:08:32Thank you.
00:08:33And what's your name?
00:08:35Sam Dalmas.
00:08:36English?
00:08:37No, American.
00:08:38I was on my way home.
00:08:39I passed by here and I saw it on.
00:08:41There were two people up there.
00:08:43The woman and another.
00:08:45Lay her down slowly.
00:08:47She needs an immediate transfusion.
00:08:52Let me in.
00:08:53I'm not the owner of the gallery.
00:08:57Monica!
00:08:58See?
00:09:00My God.
00:09:05Monica.
00:09:09What happened?
00:09:10Leave her alone.
00:09:11Go away.
00:09:12Is it serious?
00:09:13No, it's not serious.
00:09:14It's just a scratch.
00:09:16Monica.
00:09:17Go away.
00:09:18Leave me alone.
00:09:19I'm Alberto Ranieri, her husband.
00:09:21Calm down.
00:09:22It's not serious.
00:09:23I'm sorry.
00:09:24Monica.
00:09:25Speak.
00:09:26What happened?
00:09:28Monica.
00:09:29Dear.
00:09:30What happened?
00:09:31What?
00:09:32We don't know.
00:09:34I hope your wife can tell us.
00:09:36Tell her.
00:09:38By the way, do you know why you were here at this time?
00:09:44I was reviewing the accounts.
00:09:48I was waiting for you to come back.
00:09:53Monica.
00:09:55Come on.
00:09:56Back, back.
00:09:57Let the barrel pass.
00:10:05Please, back.
00:10:06What happened?
00:10:09Where were we?
00:10:11I saw something strange.
00:10:14Just an impression.
00:10:17I can't put it on fire, but in my memory there is a detail that doesn't fit.
00:10:22Concentrate.
00:10:23Try to remember.
00:10:24I tried, but I can't remember.
00:10:28Let's see if I can help you.
00:10:30You saw someone coming out of this door, right?
00:10:33Yes, but this side was in the shade.
00:10:36The door was almost ...
00:10:38Don't touch anything.
00:10:40Do like us.
00:10:41Put your hands in your pocket.
00:10:43It's the only way not to leave marks.
00:10:46And it will save us a lot of trouble.
00:10:48On the stage you can see the sculpture of a warrior.
00:10:50A bronze on the wall.
00:10:52A kind of petrified tree branch.
00:10:57On the ground floor, an irregular blood trail
00:11:00runs from the service door
00:11:03about three meters from the entrance glass.
00:11:07Apart from the blood, there is no other sign of collusion.
00:11:11All right.
00:11:12So, in your opinion, he would have come down from here.
00:11:14He wouldn't.
00:11:1612.50 meters.
00:11:20Let's measure from the glass to the ladder.
00:11:44Blood.
00:11:45Enough! I can't stand it anymore!
00:11:50It's the sixth time I've told you this damn story.
00:11:55I've already told you everything I know.
00:11:57Every detail.
00:11:59I don't know that woman.
00:12:01I've never seen her before.
00:12:05So, Chief, let's see, let's try to remember.
00:12:08How was this strange black figure
00:12:10that you say you saw running away?
00:12:12It was not distinguished.
00:12:14I was too far away.
00:12:15I saw only two shadows.
00:12:17Listen, I'm tired.
00:12:19I'm leaving for the United States the day after tomorrow.
00:12:21I have a thousand things to do.
00:12:23Oh, really?
00:12:24And you already have all the documents?
00:12:25Yes.
00:12:27Do you have your passport here?
00:12:29Yes.
00:12:30Can I see it, please?
00:12:33Sure.
00:12:37Thank you.
00:12:45Hey!
00:12:47What?
00:12:48The passport.
00:12:49We'll keep it for now.
00:12:51Are you kidding? I can't leave without it.
00:12:54You're not leaving.
00:12:56You're a very important witness.
00:12:58You admit that you saw something significant
00:13:01that is now running away from you.
00:13:03And until the investigations are over,
00:13:05you'll stay here.
00:13:06What do you mean, I'll stay here?
00:13:08Maybe you don't know, Mr. Dalmas,
00:13:09that in our city, in the last month,
00:13:11three inexplicable crimes have been committed.
00:13:15Three murders of women.
00:13:17And apparently all of them without any purpose of profit or anything.
00:13:22So we are convinced of the presence in the city
00:13:25of a dangerous maniac.
00:13:28But what makes our investigations particularly difficult,
00:13:32and that's why we need everyone's help,
00:13:35is that we are almost certain
00:13:37to find ourselves in front of a lucid madman.
00:13:42In everyday life, he's a normal person.
00:13:45And he behaves like all of us, or like you.
00:13:49Me?
00:13:50Yes, you. Why not?
00:13:53Let's suppose you're the madman.
00:13:55You enter the gallery, attack the woman,
00:13:58and then when he tries to escape,
00:14:01you happen to be trapped between the glass doors.
00:14:05Are you out of your mind?
00:14:08You can't throw yourself at a stranger and accuse him of murder.
00:14:11But no one accuses him.
00:14:13He's doing me the third degree. I want to talk to my consulate.
00:14:19Hold this.
00:14:21Call whoever you want.
00:14:22Even the president of the United States.
00:14:26He's a tough guy, isn't he?
00:14:28Leave it.
00:14:29This is a copy of the Monti case.
00:14:38TVA.
00:14:40I want to cancel a reservation.
00:14:43Sam Dalmas.
00:14:47I'm flying to New York the day after tomorrow.
00:14:52Yes, thank you.
00:15:37THE GALLERY
00:15:52Watch out!
00:16:07He's hurt. He doesn't need anything.
00:16:10No, no. I'm fine. Thank you for your help.
00:16:22Sam!
00:16:24Is this how you introduce yourself after a month?
00:16:26You have a face.
00:16:29Hey!
00:16:31Isn't it better if you come to bed?
00:16:33Sure.
00:16:35Was the work hard today, darling?
00:16:41No.
00:16:43It's just that...
00:16:46In a few hours, I witnessed an attempt at murder.
00:16:49I suffered a third degree from the police.
00:16:54They withdrew my passport and we're not leaving.
00:16:58And finally,
00:17:00all I needed was a handkerchief.
00:17:07You know,
00:17:09it's the usual.
00:17:12Sure.
00:17:13And now you're going to tell me the whole truth.
00:17:19I may be stupid, but this is the truth.
00:17:30Yes.
00:18:00I'm sorry.
00:18:17Go on with the perverts.
00:18:19Look at them, Mr. Dalmas.
00:18:21The killer could have mixed with the crowd to see if the woman was dead.
00:18:25And knowing the eyewitness, he then attacked her.
00:18:28It's no wonder such a maniac is a sexual pervert.
00:18:32Aldo Sarti, 42 years old, 8 convictions, sadomasochist.
00:18:37Sandro Lorrani, 31 years old, exhibitionist, 8 convictions.
00:18:43Mario Zandri, 66 years old, sodomite.
00:18:48Giacomo Rossi, 50 years old, 3 convictions for corruption of minors.
00:18:56Rubatelli Luigi, also known as Ursula Andres, 26 years old...
00:19:01Petrini!
00:19:02Yes, sir.
00:19:03What's he doing here?
00:19:05How many times do I have to tell you?
00:19:07Ursula Andres is in the group of perverts, not perverts.
00:19:10I don't believe it. Among these pigs...
00:19:12Come with me, Mr. Dalmas. I have something interesting to show you.
00:19:16We subjected this glove to a rigorous microscopic examination
00:19:20and we have obtained a lot of information.
00:19:23The blood is from the same group as Monica Ranieri,
00:19:27from which we can deduce that the aggressor carried it when he hit her.
00:19:32See these grains?
00:19:33They are tobacco residues that show that he smokes expensive cigars.
00:19:37The traces of tobacco that the fingers have left on the gloves
00:19:41allow us to establish that he smokes Havana cigars.
00:19:44Now look at this.
00:19:46It's our most exciting discovery.
00:19:49It's a cashmere wool fiber that is produced only in England.
00:19:54We also found this inside the glove.
00:19:57In short, what we know is that it is certainly a man who smokes cigars,
00:20:03who dresses with a lot of dexterity and, above all, that he is skinny.
00:20:06We were able to deduce this from the wear of the glove.
00:20:09Then we subjected the glove to other tests
00:20:12and we passed all the data to the electronic laboratory.
00:20:15Here are the cards.
00:20:16I'm ready.
00:20:17Come and see.
00:20:20The first test
00:20:28Here, this is the shape of the aggressor,
00:20:31reconstructed with an approximation of about 90%.
00:20:37And these are the first personal data that can be collected on him.
00:20:41The same data can be statistically referred to
00:20:44about 150,000 inhabitants of our city.
00:20:49The prejudices that can be attributed to the characteristics
00:20:52developed by the brain are almost all detained.
00:20:59Well, what else are you waiting for?
00:21:01Do you think it's easy to check the alibis of about 150,000 people?
00:21:07And listen, Adalmas, I have nothing to base myself on, except my intuition.
00:21:12But I am convinced that you really saw the killer that night.
00:21:17But I've already told you I didn't see him.
00:21:19Concentrate, Mr. Dalmas, please.
00:21:21Try to relive that night.
00:21:24No, it's useless.
00:21:27I've thought about it a lot of times.
00:21:29I know there's something that escapes me, but I can't find it.
00:21:37Ah, Monica Ranieri left the hospital
00:21:40and went back to her house on Bruxelles Street, number 35.
00:21:48May I go now?
00:22:04Which floor?
00:22:05Fifth.
00:22:17Thank you.
00:22:26I'm really sorry, Mr. Dalmas, but my wife can't see anyone.
00:22:30She's under the effect of sedatives at rest.
00:22:33You understand.
00:22:35After all that has happened...
00:22:39And what did he want to talk to you about?
00:22:42Well, nothing special.
00:22:45I just wanted to relive that night.
00:22:48I think I saw something that could lead to the murder.
00:22:53But I don't remember.
00:22:55And I thought your wife could have helped me.
00:22:58My wife has already told the police everything she knows, on various occasions.
00:23:03I don't see the reason to still subject her to that tormenting memory.
00:23:07I understand.
00:23:12Can I ask you a silly question?
00:23:14If you like.
00:23:15How tall is she?
00:23:171.82 meters, I think. Why?
00:23:21Nothing.
00:23:25Curiosity.
00:23:26Anything else?
00:23:27No.
00:23:30No, I'm sorry to have disturbed you.
00:23:33Looking for cigarettes?
00:23:34Yes.
00:23:35Here they are.
00:23:41Goodbye, Mrs. Ranieri.
00:23:44Goodbye.
00:23:52I told you to play with your hands.
00:23:54Yes, sometimes you can make a mistake.
00:24:07First victim.
00:24:10Committed in an antique shop.
00:24:12Went out every night at the same time.
00:24:14And was found killed in a park.
00:24:17Park?
00:24:18Three kilometers from the shop, in the opposite direction of your house.
00:24:24Here are two first questions.
00:24:25Which ones?
00:24:26Why so far away and why in a park?
00:24:29Maybe she was going to her boyfriend.
00:24:31Second victim.
00:24:32A prostitute.
00:24:34She was killed under a bridge where she was going with her clients.
00:24:38They suspected the protector.
00:24:40A certain Garullo.
00:24:42But his alibi turned out to be iron.
00:24:46Where can I find him?
00:24:50You can't.
00:24:52He's in jail.
00:24:53Or at least he was there until a month ago.
00:24:54Good.
00:24:57Okay, the third one.
00:24:58Number three.
00:25:00She was a student.
00:25:02She was killed after she had left a cinema.
00:25:07Okay.
00:25:09And now?
00:25:12I'll start with the first one.
00:25:14From the antique shop.
00:25:30Good morning.
00:25:31Good morning.
00:25:33Do you want something?
00:25:34Yes, of course.
00:25:35Of course.
00:25:37I see you're interested in porcelain.
00:25:40You have a magnificent taste.
00:25:42These pieces are wonderful.
00:25:45Rare specimens.
00:25:46Yes, yes, I see.
00:25:47How much is this?
00:25:49300.
00:25:51If you're interested, we'll agree.
00:25:53Let's go.
00:26:04Isn't this the shop where that poor girl worked?
00:26:07Excuse me?
00:26:08Yes, that poor girl who was murdered.
00:26:12Poor, poor girl.
00:26:15What a horrible end she had.
00:26:17What was she like?
00:26:19Very nice.
00:26:20But she was...
00:26:22a bit peculiar, you see?
00:26:25People said she preferred women.
00:26:29Not that I cared.
00:26:31I'm not a racist, after all.
00:26:35I remember that evening as if it were yesterday.
00:26:38I hadn't sold anything.
00:26:40I was just about to close.
00:26:43And then they bought a painting that was on sale.
00:26:45Did you sell it?
00:26:47No, not me.
00:26:48The girl.
00:26:49I was behind the counter.
00:26:51And then...
00:26:53I left without even saying good evening.
00:26:57Shortly after...
00:26:59they found her dead.
00:27:03And what was that painting like?
00:27:06It was strange.
00:27:08It was...
00:27:10very macabre, too.
00:27:13Do you want to see it?
00:27:14Is it still there?
00:27:16No, I only have a photo for the archive.
00:27:18Oh, yes.
00:27:19Of course.
00:27:20I'd be interested.
00:27:24I'll show it to you.
00:27:34Here it is.
00:27:42Can I borrow it?
00:27:44Oh, no.
00:27:45We don't usually do that.
00:27:48No.
00:28:06Hey!
00:28:07What is it?
00:28:09Nothing.
00:28:10I have nothing.
00:28:15What is it?
00:28:16It's a picture of a painting that is strangely linked to those crimes.
00:28:21There's something perverse about it.
00:28:24Do you think so?
00:28:29Darling!
00:28:35It makes me shiver.
00:29:16It makes me shiver.
00:29:46Come on.
00:29:54Thank you.
00:29:58Is something wrong?
00:30:00No, nothing, darling.
00:30:02Good night.
00:30:16Good night.
00:30:46Good night.
00:31:16Good night.
00:31:17Good night.
00:31:46No!
00:32:12No!
00:32:14No!
00:32:15No!
00:32:18No!
00:32:19No!
00:32:45Thank you.
00:33:15Who is it?
00:33:16It's Morosini.
00:33:20Hello.
00:33:22How are you?
00:33:23Fine. Come in.
00:33:25I wanted to look for the door.
00:33:28But no one lives in this house.
00:33:31No.
00:33:33They'll demolish it soon.
00:33:35My contract expires in a week, so they let me stay.
00:33:43Would you like some coffee?
00:33:45Thanks, maybe.
00:33:47It's just what I need.
00:33:49I spent the night...
00:33:53Here, thank you.
00:34:07How are you?
00:34:15Here.
00:34:23When?
00:34:24Last night.
00:34:27A 28-year-old young woman lived alone.
00:34:30The same black wall.
00:34:33No sign, no trace, nothing, really.
00:34:37Even the newspapers are starting to hear
00:34:39that the four murders are linked.
00:34:42Giulia, this is Inspector Morosini.
00:34:45Nice to meet you.
00:34:47Excuse me.
00:34:50Have we met before?
00:34:53No, I'm sure we haven't.
00:34:55Hey, look here.
00:34:58Oh, God.
00:35:03Of course, if I allowed myself to come at this hour,
00:35:07it's because I had a specific reason.
00:35:11I'd like to show you some of the evidence I've collected.
00:35:15Why don't you want to leave him alone?
00:35:18No, Giulia, calm down.
00:35:20No, he's not even Italian,
00:35:22and you're putting his life at risk.
00:35:24They've already tried to kill him, don't you know?
00:35:26What makes you think they won't try again?
00:35:28What you're doing is a trick.
00:35:30You're not returning his passport
00:35:32and at the same time you're taking his life.
00:35:35Shall we go?
00:35:39Excuse me.
00:35:41I'm sorry.
00:35:47I'm sorry.
00:36:00All right, all right.
00:36:02So?
00:36:04So, nothing.
00:36:06I thought about it and thought about it again.
00:36:08Nothing at all.
00:36:10I still have them in front of me.
00:36:27I can't think of anything else.
00:36:29But...
00:36:31And yet I know there's something.
00:36:39Thank you.
00:36:50Thank you.
00:36:52What are you going to do now?
00:36:56I'll keep thinking about it, but for my own reasons.
00:36:59Do you need help with your investigations?
00:37:04You're already making me walk, aren't you?
00:37:06Yes, but it's only to protect you.
00:37:09I'd like to talk to the protector
00:37:11of the second victim,
00:37:13that Garullo.
00:37:15Well, that's easy.
00:37:17Inspector, they're here for that TV interview.
00:37:19All right.
00:37:21Let's show off in front of a few million viewers.
00:37:23What will they say?
00:37:25I don't know, some spectacular lies
00:37:27and some wise warnings.
00:37:29And all our forces are mobilized.
00:37:31This, in summary, is the situation.
00:37:33For the moment, I can only add
00:37:35that we are following a trail
00:37:37that we are certain
00:37:39of the murderer.
00:37:42I appeal to the citizens
00:37:44to remain calm
00:37:46and to communicate to the police
00:37:48even the smallest suspicion,
00:37:50as well as to take greater precautions
00:37:53and to keep an eye on them.
00:38:03You go on ahead,
00:38:05and then I'll see you.
00:38:07Yes, this is Inspector Morosini.
00:38:10Hello.
00:38:12Hello.
00:38:14I really appreciated your statement
00:38:16on television.
00:38:18Who are you?
00:38:20Let me speak.
00:38:22I'm the person you're all looking for
00:38:24uselessly.
00:38:26Record the call on Morosini's phone.
00:38:28You have no trace in hand,
00:38:30no clue.
00:38:32And to show you
00:38:34that your threats don't scare me,
00:38:36I announce that in a week
00:38:37there will be another murder,
00:38:39the fifth.
00:38:41Ready.
00:38:46Keep it well in balance.
00:38:48It's very heavy.
00:38:50It's a good example of cosmic sculpture.
00:38:52The aggression has not impressed us,
00:38:54and in two days
00:38:56we will open a new exhibition
00:38:58of sculptures and bas-reliefs.
00:39:00So everything will change here.
00:39:02Yes, of course, the sculptures will be replaced.
00:39:04Mr. Ranieri.
00:39:05Yes?
00:39:07Please take a look at the position of the panel.
00:39:09I'll be right there.
00:39:11I'm sorry, right?
00:39:13Pleasure to see you again.
00:39:15My pleasure.
00:39:19I want to thank you again
00:39:21for what you did for me that night.
00:39:23Without your intervention
00:39:25that madman would have killed me.
00:39:27I recovered from the wounds,
00:39:29but I live in a state of terror.
00:39:31You saved my life.
00:39:33Monica, excuse me.
00:39:35Thank you.
00:39:37I don't think so.
00:39:39See you soon.
00:39:44Look, what do you say to put it like this?
00:39:46It won't be perfectly straight,
00:39:48but from below you can see better
00:39:50and then there's a better light play on the bridges.
00:39:52Yes, of course, you're right.
00:39:55Of course.
00:39:57It was my girlfriend, goodbye.
00:40:01Where are you going?
00:40:02Where are you going?
00:40:05You said goodbye.
00:40:07I always say it,
00:40:09if I don't get it.
00:40:12Ah, it's like that.
00:40:16What do you want from me?
00:40:18I want to find the killer.
00:40:21Good.
00:40:24Right, goodbye.
00:40:26But I don't know what to tell you.
00:40:29But don't blame me the next day when she's dead.
00:40:32Poor thing.
00:40:34And now I'm in jail
00:40:36and those poor children have to work without me.
00:40:39Who protects them?
00:40:41With that monster that roams the streets.
00:40:44Goodbye.
00:40:46Why did they arrest you?
00:40:48Well, nothing.
00:40:50Someone hurt me.
00:40:52All the evidence is false.
00:40:54They have it with me, goodbye.
00:40:56They say I favor and exploit prostitution,
00:40:58but I'm innocent.
00:41:00Look,
00:41:02do I look like a fool?
00:41:04No, no.
00:41:06Tell me the truth.
00:41:08Do I look like someone who can exploit women?
00:41:10Of course,
00:41:12if they give me a little gift from time to time,
00:41:14I don't say no.
00:41:16But what is it?
00:41:18Listen, you're talking about the killer.
00:41:20I'm sure of one thing,
00:41:22that he's not one of us, goodbye.
00:41:24We don't do certain things.
00:41:26He must be a gentleman, you understand?
00:41:28One with the money.
00:41:29Only then do they come up with strange ideas.
00:41:38You see,
00:41:40they too have a kind of code.
00:41:42And compared to some others...
00:41:44That man has been following us for an hour.
00:41:46Morosini sent him.
00:41:48He's our bodyguard.
00:41:50In short, that guy, goodbye,
00:41:52has a kind of harem,
00:41:54and it's the harem that keeps him.
00:41:56Hey, taxi!
00:41:58How old are you?
00:42:00Do you like to walk?
00:42:02Thank God.
00:42:04In short, goodbye has its own philosophy.
00:42:06If you expect everything from women,
00:42:08nothing from you.
00:42:11Run!
00:42:16Stop!
00:42:18Run!
00:42:20Stop!
00:42:26Well, I'll take care of it.
00:42:38Come, stay here, they'll be with me.
00:42:41As soon as you can, warn Morosini.
00:42:43Now, don't move.
00:42:49Oh!
00:43:19Hey!
00:43:49Hey!
00:44:19Hey!
00:44:49Hey!
00:45:19Hey!
00:45:20There's someone following me.
00:45:22Who's following you?
00:45:24There he is!
00:45:26Who is it?
00:45:28I don't know.
00:45:32Hey!
00:45:34Who's following you?
00:45:36I don't know.
00:45:38Hey!
00:45:40Hey!
00:45:42Hey!
00:45:44Hey!
00:45:46Hey!
00:45:47Hey!
00:46:17Hey!
00:46:47Mrs. Johnson!
00:46:49Mrs. Johnson!
00:46:51Mrs. Johnson!
00:46:53Listen, have you seen one with a blue cap and a yellow jacket?
00:46:56Yes, sir.
00:46:58Where did he go?
00:47:00Inside.
00:47:18Excuse me.
00:47:20Yes.
00:47:24It was a tough bone for me, but I worked hard.
00:47:27And then I took the same bone again with a hook,
00:47:30and it fell dry.
00:47:33Guys, we want to talk about the problems of our category.
00:47:38Damn!
00:47:39But do you want to hear about them?
00:47:41There is the problem of insurance and indemnity for permanent injuries.
00:47:45Guys, listen to me, or I'm out of here.
00:47:50Let's go to Spain.
00:47:53First live, a hook and a mount.
00:47:56Who knows?
00:47:57I don't know.
00:48:01Let's go to the next one.
00:48:03I don't want to think about it anymore.
00:48:14The agent died without regaining consciousness.
00:48:18Fracture of the spinal cord and skull.
00:48:21Are you sure you can recognize that man?
00:48:26You can't forget a face like that.
00:48:28Why?
00:48:30You have to identify the participants in that meeting.
00:48:33All of them, even if they left.
00:48:35I want names, photos, criminal records, everything.
00:48:38Go.
00:48:39Wait a minute.
00:48:40Put a couple of our best agents to protect these two.
00:48:43Keep an eye on them night and day.
00:48:48I'm sorry I put you in this mess.
00:48:51Follow my advice.
00:48:53Go back to the United States.
00:48:56No, not now.
00:48:57I feel closer and closer to the truth.
00:49:00The killer knows that in confusion,
00:49:02there is something that can accuse him.
00:49:04And that's why he's trying to stop me.
00:49:08Even at the cost of disguising himself.
00:49:11Tom.
00:49:13Take the documents.
00:49:22All right.
00:49:23Saturday and Sunday we're out together, if I can.
00:49:29I love you.
00:49:30Me too.
00:49:37Bye.
00:49:38Ciao.
00:49:39Ciao, amore.
00:50:08Bye.
00:50:38Bye.
00:51:08Fuck.
00:51:34What?
00:51:35Fide da mignotta, te volevano fa' fuori, mannaggia.
00:51:41Già, ora devo trovarlo.
00:51:44Certo che ti aiuto, addio. Aspetta un poco.
00:51:55Sì, sì, sì. Ci sono.
00:51:58C'ho il tipo giusto. Costa caro, però sa tutto su tutti.
00:52:04Ah, ok.
00:52:07Ehi, resta solo fra te e me, capito?
00:52:11Niente...
00:52:15Polizia!
00:52:16Polizia, addio.
00:52:17Stai tranquillo.
00:52:22Chiama il biliardo caramba e chiedi dello...
00:52:27Fifilagna. Dilli che ti manda addio.
00:52:31L'ascensore! Ma lo volete mettere?
00:52:35Chi sei?
00:52:37Sor Filagna.
00:52:39Vieni avanti. Entra.
00:52:41Non se potevamo vede' al bar de sotto, no? Cinque piani a piedi.
00:52:45Me so' spormonato.
00:52:49Chi è quella?
00:52:50E' un'amica. Possiamo parlare. Siediti.
00:52:53No.
00:53:00Amore, fama capisce. Io non so niente.
00:53:04Non ho visto niente e non conosco nessuno.
00:53:10Che vuoi sapere?
00:53:12L'altra sera, verso le undici, un tizio ha cercato di farmi fuori.
00:53:17Poi è scappato ed è entrato nell'hotel palazzo.
00:53:22Ma che cerchi?
00:53:25Ci sono i microfoni?
00:53:26No.
00:53:27Ma mi stai a sentire. C'era un raduno di expungili in quell'albergo.
00:53:31E lui era vestito...
00:53:33Lo vuoi mandare in galera?
00:53:35Questo no, ma gli voglio parlare.
00:53:37Niente da fare.
00:53:39Cento.
00:53:41Cento che?
00:53:43Mila.
00:53:51E tu ti fidi?
00:53:54Tieni.
00:53:58No, non posso.
00:54:14Ehi, ma quando mi fai sapere qualcosa?
00:54:16Mai.
00:54:18Forse domattina.
00:54:24Pronto?
00:54:28Sì?
00:54:48Allora, che dovrei fare?
00:54:51Torni in America.
00:54:54Ti metti in delitti.
00:54:56La mia pazienza ha un limite.
00:54:58Ma chi parla?
00:55:01La sua ragazza è con lei?
00:55:03Sì.
00:55:04È giovane e molto bella.
00:55:06Vuole vederla morta.
00:55:08Perché se lei non la smette, io la ucciderò.
00:55:21Torni in America.
00:55:23Ti metti in delitti.
00:55:25La mia pazienza ha un...
00:55:30Torni in America.
00:55:32Ti metti in delitti.
00:55:34Hai sentito quella specie di cigorio?
00:55:36Voglio sapere cos'è.
00:55:38Cosa può aver prodotto un suono simile?
00:55:40È la sola traccia che abbiamo.
00:55:42Provvero.
00:55:44Bene.
00:55:46Che intende fare lei adesso?
00:55:51Non lo so.
00:55:53Quando il rischio era solo mio era più semplice, ma ora...
00:55:56Maledetto quadro.
00:55:58Chissà che cosa nasconde.
00:56:00Forse quella donna assomiglia alla prima vittima.
00:56:03Ma è un disegno rozzo.
00:56:05Potrebbe essere chiunque.
00:56:07Non lo so.
00:56:09Forse quella donna assomiglia alla prima vittima.
00:56:11Ma è un disegno rozzo.
00:56:13Potrebbe essere chiunque.
00:56:29Pronto.
00:56:31So, Filagna, non ho saputo niente.
00:56:33Ma se ti interessa, ce n'è che se bucile che chiamere Sirinca.
00:56:37Lui forse ne sa qualche cosa.
00:56:39Abita in una baracca a periferia.
00:56:41Via Angiolieri 39.
00:56:43Angiolieri 39.
00:56:48Pronto.
00:56:50Pronto!
00:57:07Pronto.
00:57:37Pronto.
00:57:45C'è nessuno?
00:58:07C'è nessuno?
00:58:37C'è nessuno?
00:59:07C'è nessuno?
00:59:37C'è nessuno?
00:59:50Osservate l'oscilloscopio.
00:59:52Per dimostrarle che le sue minacce non mi fanno paura,
00:59:55le annuncio che entro la settimana ci sarà un altro omicidio.
00:59:59Il qui.
01:00:01Bene.
01:00:03Ora sentiamo l'altra telefonata.
01:00:05Torni in America.
01:00:08Dimentica i delitti.
01:00:10La mia pazienza è un limite.
01:00:15Notate una differenza tra le due registrazioni?
01:00:18Certo.
01:00:20Le onde della prima macchina erano differenti da quelle della seconda.
01:00:23Esattamente.
01:00:25Vedete, ogni voce umana, non importa quanto sia alterata,
01:00:30possiede un suo caratteristico rapporto di intensità sonora tra i suoni delle vocali.
01:00:35Ora, quando analizziamo le intensità dei gruppi di vocali di queste due voci registrate,
01:00:40troviamo che mentre la prima raggiunge un indice di 5 per il livello delle basse
01:00:46e di 12 per le alte,
01:00:49la seconda va soltanto da 4 a 10.
01:00:53Che vuol dire?
01:00:55Che le voci non appartengono alla stessa persona.
01:00:59Ma ne è sicuro?
01:01:01Assolutamente.
01:01:02Allora ci sono due assassini.
01:01:04Sembrerebbe di sì.
01:01:06O forse uno solo che cerca di confonderci facendo parlare un complice.
01:01:12E cioè, lo stesso che ha cercato di ucciderla è che lei ha trovato morto.
01:01:18E ora passiamo a quel suono che ci avete dato da esaminare.
01:01:22Lo abbiamo isolato e confrontato con centinaia di suoni simili.
01:01:26Abbiamo sovrito il campo dei suoni prodotti da mezzi meccanici,
01:01:29officine, fabbriche, cantieri, porte elettriche,
01:01:34macchine a gettone, elettrodomestici e altro.
01:01:37Ma finora non l'abbiamo potuto definire.
01:01:42E allora?
01:01:44Continueremo a provare.
01:01:47Va bene, grazie.
01:01:53Insomma, siamo di poco a zero.
01:01:55Lei che fa?
01:01:57Parto dopodomani.
01:01:59E' una frase che mi sembra di aver già detto.
01:02:04Quaranta pagine.
01:02:06Piene di fatti, periodi deliranti.
01:02:08Ho riscoperto che c'era.
01:02:09Il personaggio è azione.
01:02:10Bene allora.
01:02:11Mi ha scatenato.
01:02:12Metti anche questi.
01:02:14Mi è tornata la frenesia di scrivere.
01:02:16E di quella cosa che ti ossessionava, ti sei ricordato?
01:02:19Non ci sono riuscito.
01:02:21Senti questo.
01:02:25E' un rumore in una telefonata dell'assassino.
01:02:29Potrebbe essere una traccia, ma da capire che...
01:02:33Allora, che dovrei fare?
01:02:35Torni in America.
01:02:38Rendimenti inelitti.
01:02:40La mia pazienza a un limite.
01:02:42Chi parla?
01:02:44Ehi, un momento.
01:02:45Fammelo sentire ancora.
01:02:48Che vuoi fare?
01:02:50Torni in America.
01:02:52Rendimenti inelitti.
01:02:54La mia pazienza a un limite.
01:02:57Chi parla?
01:02:58La sua ragazza è con lei.
01:03:00Non lo so.
01:03:01Mi rammenta qualcosa.
01:03:03Vuole vederla morta.
01:03:05Ma no, mi sbaglio.
01:03:07Peccato.
01:03:11Un momento.
01:03:13Un momento.
01:03:18No, vero.
01:03:21Lo sai.
01:03:25Ancora non ci credo.
01:03:27Che cosa?
01:03:28Che perdiamo stasera.
01:03:30Credi che mi piacerà l'America?
01:03:32Senti, mi fai portare via il nastro?
01:03:34Sono sicura che mi piacerà.
01:03:36Se mi viene in mente qualcosa di nuovo...
01:03:40Prima che parti, ti telefono.
01:03:44Ciao.
01:03:48Ci pensi?
01:03:50Sono le nostre ultime ore in questa casa.
01:03:56Mi ami davvero?
01:04:00Quanto tempo abbiamo?
01:04:02Quanto che?
01:04:04Prima che parte all'aereo.
01:04:07Otto ore.
01:04:09Forse vi basta.
01:04:11Aspetta un momento.
01:04:13Ehi!
01:04:14Ma che altro vuoi fare adesso?
01:04:16Sam!
01:04:18A chi telefoni?
01:04:30Pronto?
01:04:32Pronto?
01:04:34Parlo con l'antiquario?
01:04:36Qui è Sam Dalmas che parla.
01:04:38Quell'americano che le chiese la fotografia di quel quadro naif.
01:04:41Si ricorda?
01:04:42Ricordo perfettamente.
01:04:45Esatto.
01:04:47Mi potrebbe dire il nome di chi l'ha dipinto?
01:04:49Certo. Si chiama Berto Consalvi.
01:04:52Berto...
01:04:54Consalvi.
01:04:56Mi sa dire dove lo potrei trovare?
01:04:59Sì, abita in un paese poco lontano, a un'ora e mezza di treno.
01:05:02E come si chiama?
01:05:04Aviano.
01:05:06Grazie.
01:05:07Grazie moltissimo.
01:05:09È stato un piacere.
01:05:11Un'ora e mezza di treno, ce la faccio.
01:05:13Devo parlare con quel pittore.
01:05:14La prima ragazza fu uccisa dopo aver venduto il quadro di una ragazza uccisa.
01:05:17Come non ci ho pensato prima. Ci deve essere un legame.
01:05:19Tornerò tra quattro e cinque ore.
01:05:20Prepara le valigie.
01:05:24Non devi preoccuparti. Basta che resti in casa.
01:05:26Due agenti sorvegliano l'ingresso.
01:05:28Chiudi la porta e non aprile a nessuno.
01:05:30Ti voglio bene.
01:05:32Non avrei dovuto fidarmi.
01:05:34Sono una scema!
01:05:38Metti il catenaccio e qualunque cosa ti servisse chiama Morosini.
01:05:41Ciao. No!
01:05:53Grazie del passaggio.
01:05:54Ce n'era dalla stazione fino a qui?
01:05:56Di niente.
01:05:58Diretta a me. Non ci vada.
01:05:59Quello è matto.
01:06:01Se gli prendono i cinque minuti...
01:06:03Grazie anche del consiglio.
01:06:05Lo segua.
01:06:06Ah, senta.
01:06:07Se ci vai, è inutile che cerchi la porta.
01:06:09Ha murato tutto quanto il piano terra.
01:06:11Porta e finestre comprese.
01:06:13E un'entrata ci sarà, no?
01:06:15Beh, sì, c'è.
01:06:16Ma non è detto che riuscirà ad entrare.
01:06:18Se la sua pace non gli piace, lo lascerà fuori.
01:06:36Consalvi!
01:06:40Berto Consalvi!
01:06:42Che c'è?
01:06:44Voglio comprare un tuo quadro.
01:06:46Per farmi che?
01:06:48Per appenderlo.
01:07:10Perchè hai murato la porta?
01:07:12Per via degli scolciatori.
01:07:18Così nessuno entra, se io non voglio.
01:07:21E poi sono cavoli miei.
01:07:24Nessuno, ho visto un tuo quadro e mi è piaciuto.
01:07:27E che cos'era?
01:07:29E' stato un cioccolato.
01:07:31Un cioccolato?
01:07:34Non lo so, non lo so.
01:07:37E che cosa era?
01:07:39Non lo so, non lo so.
01:07:41Non lo so, non lo so.
01:07:43Non lo so, no.
01:07:45Che cosa era?
01:07:47Non lo so.
01:07:49Non lo so.
01:07:51It was a man who killed a girl.
01:07:56No, I don't do that stuff anymore.
01:08:01I've entered a mystical period.
01:08:06I only paint mystical subjects.
01:08:11Why?
01:08:13Why, why? Because I feel mystical.
01:08:16Is there something wrong?
01:08:18No, nothing, nothing, of course.
01:08:23What inspired you to paint that picture?
01:08:27Do you want to eat?
01:08:29Yes.
01:08:41It's a true story, from many years ago.
01:08:49Drink.
01:08:52Enough.
01:08:55How old are you?
01:08:58About ten, more or less.
01:09:04In a village, a maniac attacked a girl.
01:09:11And he tried to kill her.
01:09:16She was saved.
01:09:20And he ended up in a asylum.
01:09:32Better.
01:09:37So, did you want to buy a painting, or not?
01:09:45Of course.
01:09:48Come with me.
01:09:51You'll like it.
01:09:53A first-rate painting, very rare.
01:09:58Hey, hurry up!
01:10:01Close the window, quickly!
01:10:05Ouch!
01:10:11Here you are.
01:10:14I got you.
01:10:21Damn cats.
01:10:24Beasts.
01:10:28They always manage to make a few holes and escape.
01:10:39Why do you keep them in the cage?
01:10:42The less they move, the more they get fat.
01:10:46What do you do with the fat cats?
01:10:52I eat them.
01:10:58Why? Don't you like cats?
01:11:02Really?
01:11:07I've never eaten them.
01:11:09Never before?
01:11:11This one.
01:11:13Not bad.
01:11:15Take it. 200,000.
01:11:17No.
01:11:18Too much?
01:11:20Let's say 150,000.
01:11:22No.
01:11:25Let's say 100,000.
01:11:27No.
01:11:3050,000!
01:11:39Hello?
01:11:40Are you still with me?
01:11:42Yes, where are you?
01:11:44Don't worry, I'm on my way home.
01:11:46How did it go?
01:11:48I talked to him, but I didn't get anything.
01:11:50Listen, it's foggy and the trains are moving slowly.
01:11:53I'll be late.
01:11:54Oh no, we'll miss the plane.
01:11:56Don't worry, I'll be on time.
01:11:59Is everything okay?
01:12:00Yes, Carlo called.
01:12:02He wanted to talk to you urgently.
01:12:04He says he found out something interesting.
01:12:06What?
01:12:07He didn't want to tell me.
01:12:09I told him I was alone at home,
01:12:10so he told me to call him as soon as I got back.
01:12:12Okay, see you soon.
01:12:14Bye.
01:12:20Bye.
01:12:50Bye.
01:13:20Bye.
01:13:36Sam?
01:13:39Sam.
01:13:51Sam!
01:13:54Sam.
01:14:21Sam.
01:14:29Oh no.
01:14:50Oh no.
01:14:53Oh no.
01:15:20Oh no.
01:15:50Oh no.
01:16:20Oh no.
01:16:51No!
01:16:54No!
01:17:16Julia!
01:17:18Julia!
01:17:25Sam.
01:17:28Sam.
01:17:38Julia!
01:17:39Julia!
01:17:50Sam.
01:17:53Sam.
01:18:23Oh no.
01:18:54It's a cry of the ornithus nevalis.
01:18:56A magnificent bird with silver feathers that look like crystal.
01:19:00What's so strange about it?
01:19:02Well, that the only place in the world where it lives is the southern Caucasus.
01:19:12Are you sure?
01:19:14I'm very sure.
01:19:17Will you buy me a drink?
01:19:19I deserve it.
01:19:23In addition, the levallis almost never manages to acclimate to a foreign land.
01:19:29In Italy, so far only one has managed to make it live.
01:19:33Hey, what are you doing? Are you crazy?
01:19:35Wait a minute.
01:19:37There's one here.
01:19:38Yes, that's what I was telling you.
01:19:40It's considered almost a miracle that it can live.
01:19:43Where?
01:19:44And where do you want to find such a specimen?
01:19:46At the zoo?
01:19:47At the zoo.
01:19:51The cage is right at the bottom of the zoo.
01:19:53Over there.
01:19:55Over there?
01:19:56Yes, yes.
01:19:57They keep it alone.
01:19:58It doesn't live with any other animal.
01:20:00It's over there.
01:20:01But it looks like they're going to move it.
01:20:03It can't even stand the smell of other animals.
01:20:18Ranieri.
01:20:20He called from his house.
01:20:21But yes, now I remember.
01:20:22The phone is next to the window.
01:20:26No!
01:20:28Monica.
01:20:31Come.
01:20:32Let's go, come.
01:20:42Open.
01:20:45It's broken.
01:20:48With the knife.
01:20:52Don't shoot.
01:20:53Don't move.
01:20:54You have no choice.
01:20:57Surrender now.
01:21:02What else do you want to do?
01:21:05No.
01:21:06Stay still.
01:21:07Throw that knife.
01:21:08No!
01:21:13Throw the knife.
01:21:17Don't come near me.
01:21:23Stay still.
01:21:25What's going on?
01:21:27Where did you hide it?
01:21:28Julia, come here.
01:21:35Help!
01:21:36Help!
01:21:37Pull me up.
01:21:38Help me.
01:21:39I don't want to die.
01:21:40What should I do?
01:21:42Help!
01:21:43No!
01:21:44I don't want to die.
01:21:45Don't leave me.
01:21:48I beg you.
01:21:50Save me.
01:21:53I can't resist.
01:21:54I can't resist.
01:22:12Yes, it's true.
01:22:15It's me, the murderer.
01:22:18I killed them all.
01:22:21Take care of my wife.
01:22:26She wanted to...
01:22:29stop me.
01:22:34I loved her.
01:22:44I loved her.
01:22:53I'm sorry.
01:22:55I was irresponsible.
01:23:10I'm Inspector Morosini.
01:23:11Send me the homicide section.
01:23:14Yes, sir.
01:23:29Did you see where the girl who was with me went?
01:23:31She was behind us when we entered the house.
01:23:33Don't you find her?
01:23:34No.
01:23:36I haven't seen her since.
01:23:37Are you sorry?
01:23:38I didn't see her.
01:23:44I'm sorry.
01:23:52Did you see a girl with long hair?
01:23:54Yes.
01:23:55A while ago.
01:23:56Are you sure?
01:23:57Yes.
01:23:58Where did she go?
01:23:59Over there, with two people.
01:24:00Thank you.
01:24:02Thank you very much.
01:24:03Bye.
01:24:04Bye.
01:24:10The thief was smart.
01:24:12I'm sorry.
01:24:13What?
01:24:14Did you see a young woman wearing a long satin hair a while ago?
01:24:19A black, regrettably no turquoise.
01:24:21I did see her.
01:25:01Do you understand?
01:25:26Excuse me, did you see a girl with long brown hair...
01:25:29Is it a grey waterproof?
01:25:31Yes, it went in there.
01:25:33That door?
01:25:34Yes, that one.
01:25:36Thank you.
01:25:41This one?
01:25:42Yes.
01:25:59Thank you.
01:26:29Thank you.
01:26:59Thank you.
01:27:29Thank you.
01:27:59Thank you.
01:28:29Thank you.
01:28:30Thank you.
01:29:00Giulia!
01:29:01What have you done to her?
01:29:03Answer me!
01:29:30It was you!
01:29:46Now I remember.
01:29:48Yes, it was you who had the knife in your hand.
01:29:51You were trying to kill your husband and he was defending himself.
01:29:56I see everything clearly.
01:30:00Giulia!
01:30:30Giulia!
01:31:01No!
01:31:22No!
01:31:23No!
01:31:29Help!
01:31:54It's time.
01:32:20You will die.
01:32:24You will die.
01:32:28You must die.
01:32:32Like the others.
01:32:41Hurry up. Come on.
01:32:44Here.
01:32:45All together. Come on.
01:32:49Come on. Be brave.
01:32:54How is Dalmas?
01:32:56How did you find me?
01:32:58Giulia.
01:33:00Giulia?
01:33:02Yes.
01:33:04She's hurt, but she's alive.
01:33:06And you?
01:33:07Is everything all right?
01:33:09Be brave. Let's go.
01:33:10Come on.
01:33:12As Commissioner Morosini, who conducted the investigations, has already told us,
01:33:16the Sipario has finally fallen on this tragic event
01:33:19that has kept an entire city on the alert.
01:33:22Monica Ranieri, completely out of her mind,
01:33:24is hospitalized in a psychiatric hospital.
01:33:27Her husband, who loved her to the point of becoming her accomplice,
01:33:30has lost his life in an attempt to remove suspicions from her.
01:33:34Commissioner Morosini,
01:33:36can you explain the causes that, in your opinion,
01:33:38have led this woman to commit such horrible crimes?
01:33:46Good evening.
01:33:49Excuse me.
01:33:51Anyway,
01:33:53I believe that the most qualified person to answer the questions
01:33:57is Professor Rinaldi,
01:33:59the well-known psychiatrist who...
01:34:01who was our...
01:34:03our consultant during the investigations.
01:34:06And...
01:34:08Yes, if you want, Professor...
01:34:10I thank you.
01:34:11For the moment, we can only say this.
01:34:14Ten years ago, Monica Ranieri,
01:34:16a subject certainly born with paranoid tendencies,
01:34:19was attacked and, on that occasion,
01:34:22suffered a trauma.
01:34:23But hers was a cold madness
01:34:25that remained latent for ten years,
01:34:27until the day she relived the horrible scene she had lived,
01:34:30painted in the painting of a naive painter.
01:34:33Her madness woke up
01:34:34and exploded violently, irresistible.
01:34:37Strangely, she identified not with her own victim,
01:34:40but with the aggressor,
01:34:41perhaps to free herself unconsciously of his terror.
01:34:44To explain, instead, the behavior of her husband,
01:34:46who, to ward off suspicion from his wife,
01:34:49had potentially become a murderer,
01:34:51we must believe that he suffered from a psychosis induced,
01:34:54that is, he suffered the nefarious influence of the paranoid wife,
01:34:58to such an extent that he himself became a psychotic homicide.
01:35:11And to think that they had told me,
01:35:13Go to Italy, it's a quiet country,
01:35:15nothing ever happens there.
01:35:43THE END
01:36:13THE END
01:36:43© transcript Emily Beynon