All language subtitles for Strip Nude for Your Killer [1975]

- Hello?
- Hello? It�s Giulio.

- There�s been a mishap with Eveline.
- What do you mean, mishap�?

She went into cardiac arrest.

- Help me take her to her place.
- You butcher1 But why her place?

Don�t argue.
Get over here right away.

When they find her here,
they�ll think she died of natural causes.

Let�s go.

Leave me alone!

- Here comes some water!
- You got my towel wet.

- So, what do you think?
- You forgot to shave this morning.

Cut it out, already!

Get a load of her.

- It�s our fairy godmother.
- She could give you a heart attack.

- I feel ill already.
- What a beauty.

- Damn!
- I want my mommy.

- Is that stuff real?
- You�ve got to feel it to believe it.

- Give me a minute, and I�ll find out.
- Let us know if you need help.

We�re willing and able.

- Where�s Carlo going?
- He�s on the hunt.

- He�s going fishing.
- Right, fishing for pussy.

Damn, she�s hot.

Excuse me, Miss.

Smile for the press.

I�ve never seen such an interesting face.
Magnificent.

There we go.

There. Now let�s get one from behind.

There.

This angle is marvelous.

What a beauty.

Hi, Carlo.

- Excuse me. I�m working.
- You�re leaving?

- I�ll call you tonight.
- But I came here for you.

- Can�t you see I�m busy?
- I�ll be waiting for you.

Here�s your grapefruit juice, Miss.

- Can I get you anything?
- No, nothing. I�m here on business.

Cut it out.
You�re annoying me.

Nature fascinates me.

You�ve got a rather obscene
idea of nature.

- Why won�t you let me photograph you?
- Hands off!

Your profile�s not half bad either.

You�ve got nothing to hide.

I�ve known that for a long time.
But cut it out!

All right.

You don�t know what you�re missing.

What might that be?

Usually girls will do anything
to be photographed by me.

Why?

Ever heard of Harper�s Bazaar?
Vogue? Elle?

What about them?

They�re the biggest fashion magazines
in the world, and I work for them.

I�d be a great fashion model.

- You sure about that?
- Of course.

Good, good.
Let�s take a look.

Well...

- You�re a bit heavy in the midsection.
- What do you mean?

Let me take you someplace nice.

- Where?
- To the sauna.

It�s what you need,
and it�s good for your health.

- Move that little tummy.
- Watch it!

- What are you doing?
- Time to get rid of this old rag.

It isn�t helping you.
In fact, it does more harm than good.

You need to let your skin breathe,
let your pores breathe.

Let�s see.

- Look at those pores.
- Are you crazy? They could see us.

What do you care? This could be
the beginning of your career.

You can�t imagine how many girls
started by taking off their undies.

- Really?
- Come on. Hold still.

All done now.

Lie down. Come on.

- How should I lie?
- You look good in any position.

Wow! You look really great.

OK, just a moment.

Yes, like this.
Why don�t you turn over?

- Like this?
- That�s right.

Good girl. Like that.

- Don�t look.
- Why not?

I mean don�t look at the camera.

That�s right. Good girl.

- Why isn�t it clicking?
- It�s not? Hey, you�re right.

I don�t know.

It must be stuck.

So what now?

Well, I don�t know.

Actually, I have an idea.

Since it�s so warm in here,
I think I�ll undress as well.

What are you doing?
Are you crazy?

Let�s turn this
into an in-depth interview.

What if someone comes in?

It�ll be more exciting.

Carlo, I�m waiting for you.
What�s this?

- Get out! Can�t you see I�m busy?
- Go to hell.

- Where were we?
- Here.

- That�s right.
- Pig.

- Anselmo?
- Yes, Magda.

Come here.
As I mentioned,

not for the screen tests today,
but for tomorrow�s shoot,

you should accentuate
the shadowing under her eyes.

And then blend the foundation
on her cheekbones to make it all lighter.

- Otherwise it�ll be too bold, right?
- Of course.

Remember that for tomorrow.

- For now, it�s fine like this.
- OK, Magda.

Stop the presses, everyone!

I�ve found the model
for tomorrow�s shoot.

Let them see you, darling.

This is Lucia.
What do you think, guys?

Another hooker, right?

Isn�t she fantastic?
Look at her. Isn�t she cute?

You�ll do the shoot
with Patrizia, as planned.

Pay for your hookers
out of your own pocket.

How dare she?

- Calm down.
- You shut up. It�s not about you.

If you want to be a good photographer,
you have to be a bit more detached.

Learn to control yourself.
Above all, never question my choices!

OK?

Besides, take a good look.
I mean, are you kidding?

I�d say she�s pretty great.
Just look at all this business.

Where are you going to fit
all that business?

We�d need a wide screen.

- She really hates me.
- Calm down. Don�t make a fuss.

Mario, take a few test shots
of Patrizia tonight.

- All right, Maestro.
- Come on. Behave.

I�m telling you, she�s not half bad.

Who do we have here?

My new discovery.
What do you say, Gisella?

Well, she might have potential.

And I�m sure she has a great body
when she�s naked.

Let�s talk about it.
Come with me to my office.

Come!

- What should I do?
- Go ahead.

Come here, Patrizia.
Let�s get some work done.

Our boss will take care of her.

Go on.
Get out of here.

Who�s that new girl?
Who�s doing her?

Ask your wife, you ass.

Perfect.

Don�t move, OK?

And now look at me.

Come on. Look at me!

Waiter.

No, Mr Maurizio.
Please don�t order another bottle.

I already told you earlier
that I don�t want to stay out late tonight.

But the evening has just begun.

We had an agreement.

You can stay if you like,
but call me a cab, please.

Come on, Patrizia.

You�re not going
to leave me alone, are you?

I�m sorry, but I have to work tomorrow.

It�s the first big shoot of my career.

Your wife is very demanding,
and rightly so.

I have to be well rested.

- Come on, Patrizia.
- I�m sorry.

- Just a minute.
- Maybe next time.

The check, please.

- Well?
- Let me pay the bill.

You weren�t very nice to me tonight.

Remember that I could do a lot for you.

Funny.

That�s exactly what your wife told me.

What are you doing here?

Well?

Patience, Maestro.

Well, look at that.

Do you think I could be a model too?

Take a look.
You be the judge.

Or am I missing something?

Not bad.

Turn around.

- Well?
- You�re not bad at all.

You�ve got it all.

But why on earth would you want
to become one of these bimbos?

As a photographer, you have a future.

As a model, your career would last
at most two or three years.

And you�d have to know how to work it.

Well, put me to the test.

That�s it.

Like that.

Hang on.

After you, Princess.

You�re beautiful, magnificent.

- No! You�re making me dizzy.
- That�s my intention.

Carlo, it was wonderful.

If you like, we can start all over.

You put the car in the alley.

Excellent parking job, my dear.

- There wasn�t room in front of the agency.
- Good for you. Give me the keys.

What an outfit.

I didn�t know you rode a motorcycle.

Come on in.

Pour yourself a drink.
Make yourself at home.

I got the photograph you asked for.

Here it is.

I can�t imagine why you wanted it,
but that�s your business.

It�s a group photo we took
in the agency a few years ago.

Look, we�re all there.
Me, Magda, Carlo, Gisella, Maurizio.

And that poor girl who was pregnant.

Poor thing.
She was so cute.

What are you doing?

The glass is overflowing!

What are you doing?

No, please.

What have I ever done to you?

I beg you!

Mario.

- Are you done?
- With the body? Yes, Prosecutor.

- Then they can remove it.
- All right. You can take it away.

All right, Chief.

This way, Prosecutor.

Why did you come here,
and what did you see?

You see, I�m a fashion model.

Today was supposed to be
my first important photo session,

and Mario is...

was a photographer,
an assistant at the Albatross agency.

He asked me to pick him up.

So you were friends,
you and Mr Mario Ferreri?

No, I hadn�t known him long, but...

In our line of work,
it doesn�t take long to make friends.

- You know what I mean, Chief?
- Had you ever been here before?

No, this was the first time.

When I got here, he wasn�t downstairs,
so I asked the doorman.

I was in a hurry,
so I came up and knocked.

The door was open, so I came in.

And then... I can�t really remember.

I screamed, and then I fainted.

That�s all I know.

- Lift your leg.
- All right.

Get Rino to clean the running board!

Doris, act natural.
You�re too stiff.

Open the fur coat a little.
Do I have to tell you everything?

Stefano, don�t just stand there.

Relax. Loosen up.
You�re not working for free.

Magda, shine the spotlight on them.

- Let�s get this shot already!
- What�s with him?

- I know. Geez!
- Places!

- OK, turn it slowly.
- What�s wrong with you?

Stefano, this is not a funeral!

That fur is worth millions!
It�s not plastic.

It�s real, warm, soft,
and you have to let us see it.

The same goes for you, Doris.

You�re wearing a fabulous fur.
You have to purr inside. Enjoy it!

- Enjoy it how?
- Like you have a cock between your legs!

- You crossed the line.
- I won�t tolerate such vulgarity.

- What�s gotten into him?
- Magda, the light should be indirect!

Put a French flag over them.
They look like corpses.

That�s it!
You think you�re funny, but you�re not.

- I�ve had enough for today.
- Let�s take a lunch break.

- Magda, can I have my robe?
- All right. All right, guys.

You�re right.

I�m sorry.
Please accept my apology.

- Doris, I�m really sorry.
- OK, I accept.

- Stefano, sorry. See you later, OK?
- OK, OK. I�ll be at the bar downstairs.

- Good. Drink some chamomile tea.
- All right.

- Try and relax.
- I will. Turn the lights off.

- Thank you, Chief.
- You�re welcome.

Ferreri had been working for me
for two or three years now.

He was an assistant photographer

and also worked as a photographer
on the less demanding shoots.

Who are the regulars here
at the agency?

Well, it�s a revolving door, really.

For some shoots,
I hire other photographers,

and the models are always changing.

But Mario Ferreri worked full time, right?

Yes, like Carlo Gunther
and Magda Cortis.

They basically work exclusively for me,
but they�re not bound by a contract.

Concerning Ferreri, can you tell me
anything a little more...

Maybe he was friendlier
with someone in particular, for example?

You know what I mean,
don�t you, Mrs Mayer?

Outside of this office,
they�re all free to do as they choose.

I don�t know anything
about their private lives.

But it�s strange that, after three years,
you don�t know anything at all about him.

One notices certain things,
even unintentionally.

I don�t like to gossip, Chief.

All I can say is that Mario seemed
to have no interest in women.

- Was he a homosexual?
- That�s not what I said.

All I said is that he showed
no interest in the girls.

So many girls come through here.

In three years, I have to admit it�s strange
that he never approached any of them.

But I don�t know if he frequented...

let�s call them certain circles.�
It�s up to you to figure that out.

- Don�t you think, Chief?
- Yes, of course.

Thank you for the excellent advice.

I�ll try to bother you
as little as possible, Mrs Mayer.

By the way, have you ever heard
of a Giulio de Castelli?

No. Why?
Is he a model?

No, he�s not a model.
He was a doctor.

He was killed a month ago
in the same way as Mario Ferreri.

Good day, Mrs Mayer.

My compliments.
My compliments, Miss.

Do you like it, you little whore?

You�re crazy! Why?

You�re a whore.

Why am I a whore? Tell me!
Honestly!

What have I done to you? Tell me!

What�s going on between you and Carlo?
How long have you known him?

- How long have you been doing it?
- We�re friends.

He promised me he would
get me some work. And if you won�t...

So you�re just friends?

If you see him again,
you�ll be in big trouble! Understood?

How dare you?
Do you think you own me?

I want to be a fashion model,
not a kept woman or a slave.

I have to go.
I have a business dinner.

All you have to do
is wait here for me.

Don�t go anywhere.

We�ll talk about it
when I get back.

- And don�t answer the phone.
- Yes, Mistress.

That man could ruin you.

Remember it, for your own good.

If you let me work, I might listen.

If not, you�ll have to learn
to live without me.

What do you mean?
Do you think you can blackmail me?

Don�t get any funny ideas, honey.
You might regret it.

I�m sure that whatever you do for me
will be done out of friendship.

- Isn�t that so?
- I warned you!

Gisella, is that you?

Gisella?

Good morning.
You got back late last night.

- Good morning.
- How much sugar?

Just one teaspoon.

- And a drop of milk.
- Milk?

You�re a barbarian.
You want to ruin my coffee with milk?

- Do you insist?
- I insist. I want milk.

- Cold?
- Cold. Freezing.

- I don�t have any.
- Since it�s the first time, you�re forgiven.

Next time, don�t forget.

Milk is good for you,
especially after a busy night.

Wait.

- Maybe they�ve delivered it.
- Hurry it up, then.

The coffee will get cold.

- What are you doing?
- Restoring blood flow to my head.

You must be a little crazy.
Coffee is served, sultan.

Let�s be clear: it�s a one-time thing.

Don�t get used to it.

I know your tricks.

At first you�re all nice to us.
Coffee in bed, the paper, full of solicitude.

Then you throw the dishes at us
and demand alimony.

Shut up and drink, you curmudgeon.

Good for you.
It�s delicious.

I don�t see how that�s possible,
since you ruined it with milk.

I like it like this.
It has to do with chemistry.

A girl majoring in physics
explained it to me.

No point trying to explain it to you.
You wouldn�t understand.

You don�t need a fancy degree
to know when a cup of coffee is good.

Milk in coffee is like water in wine.
It ruins it, plain and simple.

ASPIRING MODEL
SAVAGELY MURDERED

Savagely murd..

Damn. Look at this.

Murdered.
She was murdered just like Mario.

By a sadist.
A maniacal madman.

- Where did you meet her, Carlo?
- What?

You were the one
who brought her to the agency.

Listen.

Don�t ask stupid questions.
Things are already too complicated.

- Let go!
- Do you understand?

That girl showed up on her own.

Gisella saw her and told her
she would give her a try.

- But I had never laid eyes on her.
- Let go of me.

- Are we clear?
- Yes.

- Do you understand?
- Yes. There�s no need to strangle me.

I�m sorry. I�m sorry.

Found in the trunk of her car
clutching this earring.

For now, this is the only clue.�

Hey, look at this.

Does this earring look familiar?

You can�t see it very well.

No, it doesn�t look familiar.

Carlo!

This earring...

I think I�ve seen it before.

So you, Carlo Gunther,
head photographer,

confirm you saw the victim,
Lucia Cerezer, for the first time

just two days ago
when she showed up at the agency.

Is that right?

Yes, for the first and last time.

So obviously
you didn�t know her before then.

No, I didn�t know her.

The doorman said
he saw you two arrive together.

Why is that?

Yes. He�s right.

I ran into her
at the entrance to the building.

I knew she must be coming
to the agency.

That�s all.

I found her here at the agency.

I wasn�t the one who brought
that girl in for an interview.

Maybe someone else brought her in.

Mario Ferreri, for instance.

Of course.

Mario Ferreri.

Too bad Mario Ferreri�s dead

and can�t confirm that story.

He can no longer testify.

In any case, ma�am,

would you mind telling us
where you were yesterday evening?

First, I was here at work.

Then I had a business dinner
at the Majestic.

You can verify that if you like.

So yesterday evening,

you had no opportunity
to see Lucia Cerezer, naturally.

Chief, I�ve told you all I know.
I have nothing to add.

I have a lot of work to do,
and the police are wasting my time.

If there�s nothing else,
you have no reason to stay.

I�d like to point out one thing, ma�am.

Two murders have been committed.
Both victims worked for you.

Just a minute.
That remains to be seen.

That poor girl only came
to the agency once.

Only once, yes.

But it was fatal to her.

Too many coincidences,
too many dead bodies.

Besides, you had promised her
some work.

I said I would give her a try out.

Please make sure
you remain available for questioning.

Of course, Chief.
You can reach me anytime.

- Thank you, ma�am.
- Goodbye, Chief.

Hang on a second, Gisella.
I don�t understand.

- How could this happen?
- You have the nerve to ask me?

Of course! She was with you,
and you didn�t tell the police.

But you brought her here,
and you didn�t tell that to the police.

But I know!

You know what?
What do you know, you bitch?

Stop it!

I have no intention
of tolerating your behavior.

- It was you, again!
- You�re crazy!

You don�t know what you�re saying.
You�re delirious.

I�m warning you, Gisella.
Watch your step, or I�ll make you regret it!

Doris!

- Can I give you a ride?
- No, thanks. I�m almost home.

It�s no trouble, really.
On the contrary.

- Get in, please. Do me a favor.
- There�s no need.

- Come on. Be nice.
- Honestly!

Why should I?
I�m almost home.

Please, Doris.
I have to talk to you. It�s important.

- Well, what is it?
- I�ll tell you everything, but not here.

- What do you mean? Where then?
- Where we can talk in private.

- What�s wrong with right here?
- You�ll see. You won�t regret it.

Just be patient.

What are you doing?
You can�t pass here.

Don�t be afraid.
You have nothing to fear with me.

I�m good, aren�t I?

- I should have been a race driver.
- Mr...

Fast cars excite me.

- It�s the same for you, right?
- Not at all. Please let me out.

I can�t allow that.

- I told you. I have to talk to you.
- Then stop and we�ll talk.

Not here, not here.

- Where are you taking me?
- You�ll see. It�s a nice place.

You�ll be glad you came.

Let me out, please.
Watch out.

Listen to the motor purr.

- I know how to handle cars.
- Careful!

Don�t worry. Trust me.

- It�s a red light!
- What red light? Look! It�s green.

- What are you doing?
- Relax!

Slow down. I�m going to be sick.

It�s all in your mind.
It�ll soon pass.

Maurizio, will you please stop?
I can�t take it anymore.

Stop! Enough, stop!

Just a second. We�re almost there.
Be patient.

I�ve run out of patience.
I want out now!

Be a good girl.

If you don�t stop,
I�m going to jump out of the car.

- All right, all right.
- Let me out!

We�re here.

About time!
You�re out of your mind.

- I never want to see your face again!
- Don�t leave, I have to talk to you! Please!

- Leave me alone! I�ve had it.
- Quiet. They�ll hear us.

I don�t care.
I want a taxi, everyone! Help!

OK, I�ll call you a taxi! Don�t yell.

- They�ll hear us.
- I don�t give a damn!

- I want to show you something nice.
- I�ve seen plenty already.

Be nice.
I want to show you something.

- Let�s turn the lights on. It�s more intimate.
- Right, intimate.

Come in. Look around.

What do you say?
Do you like it here? Don�t be afraid.

It�s your cottage. I know.
Why did you bring me here?

Get your hands off me.

When did you come here?

A couple of times with your wife.

- I have to go now!
- No, please!

How much do you want?
100? 200? Half a million?

Take whatever you want,
but you have to make love to me.

You have to make love to me, Doris.

What do you take me for?

I�m not a whore, you know.
I�m a working woman.

And what about your wife?

If she found out that I cuckolded her
and came here with you,

I�d never work again.
I know Gisella.

My wife.
Do you think she cares about me?

I don�t know if she cares about you,

but I know she would never
forgive me for such a betrayal.

Hello? Hello?

Must have been a wrong number.

Well, I�m going.

That�s it! I�m leaving.

No, you�re not leaving!
Do you understand?

Don�t move!

What did you do? I�ll...

Watch out!
Don�t make me lose control!

- You don�t know what I�m capable of.
- Get off me!

- I could kill you, you know!
- Let me go. You�re crazy!

- I�m crazy about you!
- All right. Do whatever you want.

- Really? Do you want it too?
- Yes.

- It�s going to be wonderful.
- Wait!

You�re squashing me.
You�re ruining my dress.

Wait a minute!
Let me take it off.

Yes, please!

- Take it off.
- All right.

- Take it off.
- What about you?

Yes, me too. Look.
I�m taking my clothes off too.

Good boy.

You�re so beautiful, Doris.

There.

- Come on.
- I�ll make it quick.

- Good boy.
- Here I am.

- Come on. Hurry up.
- Here I am.

- You�re so beautiful, Doris.
- Come on.

You�re delicious, Doris.

- What�s happening?
- Nothing�s happening.

- What?
- Nothing ever happens.

Come on.
Don�t be like that.

Mommy.

Why do you want your mommy?
What�s wrong?

Why is it always like this?

- Don�t take it so hard.
- Easy for you to say.

Come on. It happens.

No need to be so dramatic.
You�re certainly not the first.

Yes, but I�ve never been able to do it.

My mother said that sooner or later
I would be able to, but I haven�t.

Come on, baby. Don�t cry.

- Come zip up my dress.
- Of course.

- Come on. Good boy.
- Here I am.

- Listen, Doris.
- That�s perfect.

You won�t tell anyone, will you?

God forbid.
I don�t want Gisella to find out.

- Good.
- Thank you.

There you go.

Here, Doris.

This is for you.
I made you a promise.

I�d better not take it.

Why? You made love to me.
You were nice.

No, I�d better not.

If your wife finds out
you spent a lot of money,

she may force you to tell her why.

I�d never tell.

Let�s say I did it just for fun,

for the pleasure of sinning

and to cuckold my boss.

- Can I give you a ride?
- No, thanks. I�ll take a cab.

Best not to be seen together.

- Bye.
- Bye.

You were very nice, Doris.

Mommy.

It�s like this every time.

I can only do it with you.

Only with you.

- Is this your husband?
- Yes.

He�s the third victim.
And what have the police done so far?

Well, Chief?

The police have done something,
Mrs Mayer.

Take a good look at this earring.

Could it be yours, perhaps?

No.

Are you sure
you�ve never seen it before?

Mrs Mayer, are you all right?

I�m sorry. I�m in shock.

You understand.
It�s all so horrible, so monstrous.

I understand, Mrs Mayer.

May I leave now, Prosecutor?

Of course.
I�ll have someone go with you.

Think about it.

First a photographer, then a model,
then the owner of the agency.

The key to everything, Mrs Mayer,
is at the Albatross agency.

You must help us find that key.

Hello? The Albatross agency.
Who is this?

That's irrelevant, Mrs Mayer

I don�t understand.
Who is this? What do you want?

/ know a lot about you.

If you want me to keep quiet,

/ want ten mi/ion
within the next two days.

- Ten million within the next two days?
- Yes.

- But how can I do that?
- It�s not much.

Any newspaper would pay a lot more.

It�s impossible, I tell you.

Nothing is impossible.
I�m sure you�ll find the money.

Bring it to me two days from now
at 10pm.

Via Mozart, under the overpass.

Two days from now at 10pm,
Via Mozart, under the overpass.

All right. I�ll be there.

Who is it?

Who is it?

Well, who is it?

113. State the nature
of your emergency.

- Magda, it�s me!
- Carlo, it�s you! I�ll be right there.

I�m sorry. I made a mistake.

Will you open the door?

I�m coming, darling.

Finally.

No use hiding the other man
under the bed. I�m leaving.

No, wait, I want to show you something.
Come here.

- Now what?
- Hush.

- We�d gotten off to such a good start.
- Hurry.

You shouldn�t interrupt things like that.
I�m already getting a headache.

Well, what is it?

Look.

- Where? I can�t see anything.
- Look.

The earring.

Here.

- See? It�s the same one.
- It could be.

- It could be?
- There must be tons of them around.

But you�re right.

The key to everything
has to be connected to the agency.

It�s weird.

- I don�t understand.
- What?

How is it possible?

That means...

The killer must be one of us.

Why not?

One of us.

It could be me.

- Or you.
- Don�t be silly.

Or Gisella.

Four men.

Two are already gone.

I could be the third victim.

Becoming the third corpse
would really bust my balls.

The earring
and then that phone call.

Well, what did you hear?
She made a date in Via Mozart.

If they talked about money,
it must be some kind of deal.

A deal for ten million lire.

Shouldn�t we tell the police?

Are you crazy?
The police are always trouble.

Let�s stay out of it.

Don�t you ever have anything
more pleasant to think about?

Come on.

Take this stuff off.
You always have so many clothes on.

You�re terrible.

Damn it.

You...

Carlo... damn you.

No luck. He�s gone.

It�s too dark.

You may be right, but the chief
is going to scream his head off.

He must have reached the street
by now.

Let�s call headquarters
and get more men over here.

Maybe a couple of search lights too.

- Did you find him?
- No, Chief. It�s too dark.

- Officer 71 calling Dispatch.
- This is Dispatch. Come in.

I need an ambulance on Via Brasilia.
It�s urgent. A man is wounded.

Scissors.

Bandage.

- I don�t think there�s a fracture.
- I agree, Professor.

I still think we should keep him
under observation for a while.

- Between us, he�s got a hard head.
- Yes.

Let�s hope there are no complications.

You never know with head wounds.

Take him to his room
and let him rest.

He�s not to be disturbed.

- Are you done?
- Yes.

Let�s go.

- Are you going out with Nando tonight?
- No, I have to work overtime.

Another lonely night.

- Hello? Who is this?
- It�s me.

Carlo, where are you?
What happened?

Nothing.

The police chief was here.
He was looking for you.

He was there?
What did he want?

- He said they killed Gisella.
- Yes, /know

Carlo, where are you?
Are you OK?

Listen to me.

I�m fine, relax.
But I can barely move.

Do as I tell you.

In the alley by the agency,
there�s a garbage can.

There�s a roll of film inside.

It�s that infrared film.

- It�s special film. Do you know it?
- Yes, of course.

- Go get it and develop it right away.
- But I don�t understand

Do it right away.

I�ll call you in an hour
at the agency, OK?

- Carlo? How are you?
- Forget about that. I�m fine.

Tell me how it went.

I found the film.
It was where you said.

Yes.

I already developed it, yes.

No, it�s perfectly clear.
The negatives are perfect.

Of course I know how.
You think I don�t?

- Yes, I did.
- Did you print the photos?

Yes, but I�m not done yet.
It�ll take a while longer.

Yes, of course.

Of course I looked.
On the negative, you can see...

Hello? Magda?
What�s happening?

Answer me! What happened?

Carlo, the lights went off.

What should I do?
Carlo, I�m afraid.

It�s probably just a fuse.

But in the cupboard near the door,
there�s a gun in the bottom drawer.

- Go get it. Quickly.
- OK, but you stay right there.

- OK but hurry.
- Stay on the line.

Hello? Magda?

Hello?

I found it. Now what?

The fuse box is near the halt

Flip the switch. Be quick.
Don�t be afraid Go on.

OK, Carlo, but you stay there.
Do you hear me?

Go on, I said.
Don�t waste any more time!

OK. Wait there.

Magda! What happened?

Hello? Hello?

Magda! Answer me!

kidnappers escaped
in a stolen Alfa 2000.

From the traces of blood
found on the back seat of the car,

it seems that at least one
of the kidnappers was wounded

And now some breaking news
from Milan.

The ruthless assassin who�s been
terrorizing the city with his crimes

has struck again.

This evening,
under the Via Mozart overpass,

on the outskirts of the city,
a woman was savagely murdered

It was Gisella Pozzani,
32 years old.

She owned
the Albatross modeling agency,

which appears to be at the center
of this string of crimes.

The victim�s husband, Maurizio Pozzani,
was killed last night.

For those unfamiliar with the case,
there have been five brutal murders,

which can all be attributed
to the same person.

The first to fall victim
to the assassin�s blows

was a doctor, Giulio de Castelli

The second victim
was Mario Ferreri

a photographer working
for the Albatross agency.

The third victim was an aspiring model,
Lucia Cerezer,

also somehow connected
to the same agency.

These murders have put the entire city
on high alert.

In a recent interview,
the prosecutor in charge of the case

declared that the police
have intensified their investigation,

and that they have finally gathered
some solid evidence.

Oh, it�s you, Stefano.
I didn�t hear you come in.

Have you heard about Gisella?
Her too.

- It�s horrible. He�ll kill us all.
- Don�t be ridiculous.

But Stefano, how can you not see it?

These are terrible times.
I�m so afraid.

You�re never here.

You know,
I didn�t mention this before,

but I ran into Maurizio
the other day.

It was the very day he was killed.

He tried to pick me up
on the street.

Who knows what the poor guy
was thinking.

He wanted to take me to their cottage,
that one outside the city.

Of course, I declined.

Believe it or not,
that man made a move...

He made a move on all the girls,
poor guy.

I almost felt sorry for him.

Magda!

Damn it!

Stefano.

But...

Tonight.., weren�t you supposed
to meet her?

I can�t take your brutality anymore!

I just can�t take it!
Why do you treat me like this?

What have I done to you?

I don�t understand you lately.
What�s happened?

- What did I do?
- You talk too much, bitch!

Stefano, not to I only talk to you,
anybody else.

I love you.
I�m your woman.

I�ve always done everything
you�ve asked,

even the most humiliating things.

I�ve never held back.
You can�t treat me like this.

Stefano, I�m afraid.

- What�s happening to us?
- Oh, shut up.

You have to tell me what�s going on.
Why won�t you tell me anything?

I love you, Stefano.

Take me away.
I can�t stay here anymore.

I thought I locked all the doors.

Oh, God! The light.

Stefano, are you sure you locked the door
when you came home?

I�m afraid, Stefano.
I�m afraid.

Stefano!

Answer me!

Stefano, is that you?

My God!

It�s horrific.

Magda.

Wake up!

Magda, it�s me.
Wake up.

Come on. Hurry up.

Where are we going?

There.

Quiet! Keep quiet!

Just a few more steps.

Come on.

Damn it!

Here we are.

- I�m tired.
- Come on.

There you go.

Wait a second.

There, there.

- Are you spraying me with water?
- Come on. Wake up.

My head hurts.

I�ll bet it does.

They must have given you
a whole bottle of whiskey.

- You smell like a drunken sailor.
- It hurts.

Come on, Magda.

Can you sit up?
Wake up, beautiful.

- I think I feel better.
- Really?

- Don�t slap me.
- OK.

Get up.
We have to get out of here.

Wait. I can�t feel my legs.

Don�t you understand
we can�t spend the entire night here?

- Why not?
- There�s no time to waste.

Carlo, darling.
Have I ever told you I love you?

Oh, please! You�re telling me
this bullshit now?

We have other things to do.

Do you know the man
in the picture is Stefano?

Yes, I saw it,
but Stefano has been killed too.

- Killed?
- Yes, killed. And Doris as well.

- Doris?
- Yes, Doris!

Stefano was blackmailing Gisella.
He knew something.

Maybe he�d seen her with Lucia.

But when Gisella was killed,
he was 15 feet ahead of her.

The killer struck her from behind.

Look here.

- See? Here you can only see Stefano.
- I don�t understand.

But I saw the killer.
He was wearing a biker�s outfit.

It was the same man
I saw coming out of Doris�s house.

- Does he want to kill us all?
- It appears that way.

I bet it was the same person
who attacked you

and took you to Doris�s
to throw suspicion on you.

I don�t know anything. All I remember
is water gushing from a tap.

That�s it. The tap!

- That�s got to be the key.
- Shouldn�t we call the police now?

No, forget the police.
First I have to be sure about something.

- Let�s go. Where�s your car?
- In front of the agency.

Let�s go get it.

- It must be here.
- What do you expect to find here?

Later, later.
Just relax, OK?

- I�m coming with you.
- No, you wait here. Don�t move.

Carlo, help!

- Are you OK? Are you hurt?
- No, it�s nothing.

Get in the car.
Come on. Hurry.

Patrizia.

Eveline.

You... damn you.

You killed her.

It was you.

And you...

You were supposed to be
the last to pay.

Eveline. You remember her, right?
She was Patrizia�s sister.

- Her sister?
- But that�s not all.

They were more than just sisters.
Their bond was unhealthy.

They were... different.

Then Eveline got pregnant.

While she was getting an abortion,
she died of cardiac arrest.

- And Patrizia was traumatized.
- Actually, she went crazy.

It�s not so much that her sister died.
It�s that she betrayed her.

She took it out on us at the agency,
as if we had killed her.

Of course.

- But who got her pregnant?
- I have no idea.

I just hooked her up with a doctor,
a friend of mine.

- I scared you, right?
- You�re such an idiot.

Never do that again.

Let me comfort you.

I�ll send you straight to heaven.

- That would never have happened to me.
- Really?

I take the pill.

Well, let�s not take any chances.

There. Good girl.

- Carlo, what are you doing?
- Like this.

- No, Carlo!
- I�m kidding.