Delirium (1987) Italiano Darma
The film is about Gioia, a centerfold model for the adult Pussycat magazine. She is harassed by a killer who sends her photos of her co-workers with her own erotic photography in the background. The film was developed as a vehicle for Serena Grandi after the success of the film Miranda (1985).
Category
😹
FunTranscript
00:01:00Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
00:01:30oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
00:02:00Look to your left, Kim. And keep laughing, all of you. Remember, you want to be possessed, Kim. Good. That's it. That's it. Keep laughing. Good. Sexier. Make it sexier. Just a few more, then we can stop.
00:02:18Keep it up. You're water nymphs. Have fun. You're drunk with desire. Touch or laugh. Move around more. Offer yourself, Kim. You love it. You too, Christine. That's it. Good. More abandon. Let yourself go. Surrender to pleasure.
00:02:39You think it was a bright idea? Reshooting that story with Kim? Yeah, I guess so. Even if it's not the same thing. Oh, Tommy knows his work. And Kim's beautiful. But you were something else. I'm getting cold in here. I can't believe it's been three years. It's more like a lifetime.
00:02:59Where's the makeup artist? Okay, come on out, girls. Evelyn! Evelyn! Where's the makeup girl? I don't know. I guess she's inside. What do you mean, she's inside? Oh, here I am. Oh, finally. I'm not paying her to sit on her ass. Look, the girl's makeup is running. Do you mind getting to work? How come your brother always gets so mad?
00:03:26Look, we're losing the light. Here, Kim, let me help you. Gloria. Oh, hello, Mark. I'm watching you. You are? Yes, and I'm going crazy. If I told you I was playing with it, would you come over and help me? Now, don't be angry. It's not true. Don't hang up. I just have to tell you how beautiful you are today. More than usual.
00:03:51Are you wearing your panties now? No, don't pull down your skirt. You don't know how much pleasure I get just watching you. Do you want to let me see you in the nude? I'd be forever grateful. Listen, Mark, you've been watching a show right under your window that isn't so bad. Be happy with that, huh?
00:04:12You're not like those others, Gloria. You could put out my fire, all right. You're a sex goddess. You make my member throb with desire. He wants to penetrate your flower and explode. This is getting boring, Mark. And you're not very funny.
00:04:27Outline her upper lip a little more. Here. Do you have much more to shoot? A couple of hours. I'd say less. The light's going. Come on. Then I'll go inside and help Evelyn. You're all staying for dinner, I hope.
00:04:47Quel dommage. Kelly and I have to catch a plane tonight. We have a fashion show in Paris tomorrow morning. I'm sorry, Gloria. Thanks anyway. Bon voyage. Au revoir.
00:04:59Okay, Kim, let's start over here. Tony, we're ready. Tony. Tony. This guy had just finished making love with a girl. I'm sorry, he said. If I'd known you were a virgin, I'd have taken more time.
00:05:24But honey, she says, if I'd known you had more time, I would have taken my panties off. You're right, Roberto. Evelyn, as usual, the dinner was just perfect.
00:05:40What would Gloria do without you? You're the best at everything. No, no, don't be unpleasant. He doesn't have to work at it. It's a natural gift. Speaking of natural gifts, I found a gift for you.
00:06:09To my darling Gloria. Thank you. They're sweet. Well, after that little coup de theat, I think I shall be going. Good night. Thank you. Good night. I'm coming with you. The night is still young. Good night, Roberto. Thank you.
00:06:32Don't be late, Tony. Tomorrow we'll have to choose the pictures. Okay, boss. Do you need a ride, Kim? No, thank you. I'll stay a while longer. I came with my own car. Okay. Aren't you scared to go home on your own? You never know who you might run into.
00:06:53Just as long as he's cute. Listen, honey, there are times when you and I have the same needs. I'm going to bed now. I want to be at work early tomorrow. The next issue has got to be especially good, seeing as you're back with us. I'm sure it will. Good night. See you soon, Kim. Night.
00:07:23Has it been long since you took an interest in the magazine? It's over a year now, since the day of the accident.
00:07:53Do you like talking about it? Why not? You know, the day you married Carlo, a lot of people thought you were only doing it for his money.
00:08:22Well, don't you believe it. I married because I was in love. No other reason.
00:08:28He never once did he ask me to stop posing in the nude. Instead, he gave me the chance to start a magazine of my own. I was the one who decided to start modeling and put all that behind me because I wanted to be with him and have his children. I was afraid I wouldn't have time for work. Besides, there was Evelyn, always so efficient and ready to help. But maybe Carlo and I were too happy and fate decided to teach us a lesson.
00:08:54I'll never forget that day he was killed. A wind came up and his people turned over. He was like a child who was in love with a toy, determined to reach a record of 200 kilometers an hour. Well, he left me well off. The magazine, everything. And the memories of all we shared in this house. Now I have to start to live for myself again.
00:09:15As well as for Carlo. You're right, Gloria.
00:09:24I'm afraid I bored you. Oh, no, on the contrary. If I didn't have to get up early, I'd stay here all night.
00:09:40You don't have to come with me. I know the way. I'd stop training. I'll call you tomorrow. Bye.
00:09:53Bye.
00:10:23Oh,
00:10:53oh,
00:10:54oh,
00:10:55oh,
00:10:56oh,
00:10:57oh,
00:10:58oh,
00:10:59oh.
00:11:24Oh,
00:11:25oh,
00:11:26oh,
00:11:27oh.
00:11:54Oh.
00:11:56Oh,
00:11:57oh,
00:11:59oh,
00:12:00oh,
00:12:01oh,
00:12:02oh,
00:12:03oh.
00:12:04Oh,
00:12:06oh,
00:12:07oh,
00:12:08oh,
00:12:09oh.
00:12:12Oh.
00:12:16Hello.
00:12:17Your blonde model has just been murdered. Her body's floating in your swimming pool.
00:12:21Her body's floating in your swimming pool.
00:12:23Do you hear me?
00:12:25You're not very funny, Mark.
00:12:28I'd much rather hear your vulgarity than this stupid excuse to phone me.
00:12:33She was killed with a Page Four.
00:12:35Believe me, Gloria, it wasn't a pretty sight to watch.
00:12:38Didn't you hear anything?
00:12:39No.
00:12:42If you wanted to frighten me, you have.
00:12:45Now let me get some sleep, please.
00:12:48Too bad you turned the pool lights off.
00:12:50I might have been able to see the murderer's face.
00:12:53It might have been a woman.
00:12:54She had long, blonde hair.
00:12:55Are you listening?
00:12:56Yes.
00:12:57Do you want me to call the police?
00:12:59You're not putting me on, Mark.
00:13:01Oh, no way.
00:13:03Well, shall I call the police, or will you?
00:13:05No, wait. Let me go and look first.
00:13:06Listen, Gloria, you'd better not.
00:13:08You won't like what you see there.
00:13:10Only a wild, crazed animal could kill someone like that.
00:13:13You'd better stay in the house.
00:13:21Evelyn?
00:13:26Evelyn!
00:13:51Evelyn?
00:14:07Oh, I'm sorry.
00:14:09I didn't mean to scare you.
00:14:11I... I just went into the kitchen to get a drink.
00:14:14Mark just phoned me.
00:14:15He said that he saw Kim murdered in the kitchen.
00:14:19He said that he saw Kim murdered in the pool just now.
00:14:22And you believe him?
00:14:24That boy's sick. He's sick in the head.
00:14:26Don't pay any attention to him.
00:14:27Go back to bed and forget it.
00:14:30Nothing has happened, I'm sure.
00:14:31Come on. I'll bet on it.
00:14:34Good night, Gloria.
00:14:36Good night.
00:14:48Good night.
00:15:18Good night.
00:15:49Shit on you!
00:16:00Good morning.
00:16:03Good morning.
00:16:05Good morning.
00:16:08Good morning.
00:16:11Good morning.
00:16:15Good morning.
00:16:16Good morning.
00:16:17Good morning.
00:16:18Good morning.
00:16:19Yes, the lighting's good.
00:16:20Can you use that one?
00:16:21I don't know.
00:16:22I prefer this one.
00:16:23Look.
00:16:24Yes, it's got movement.
00:16:25But so does this.
00:16:26And I like the line of her body.
00:16:27What do you think, Gloria?
00:16:29Oh, they're all good, Roberto.
00:16:32Tony, I know you'll pick the right ones.
00:16:34And Kim is marvelous.
00:16:38OK.
00:16:39Let's go with these three.
00:16:40Yeah.
00:16:41Just a moment.
00:16:42I'll connect you.
00:16:43Oh, before I forget, Evelyn.
00:16:46Kim left her lighter last night at my house.
00:16:49Will you give it to her?
00:16:50Mm-hmm.
00:16:51She'll be happy to know she didn't lose it.
00:16:53Why don't you go into the other office to choose the pictures?
00:16:57Because it's yours.
00:16:58Well, in there I feel like a fish out of water.
00:17:02Well, then put on your scuba gear.
00:17:05There's a shark waiting for you.
00:17:07Laura.
00:17:08I couldn't get her out.
00:17:09She knew you'd come in sooner or later.
00:17:11And so she waited.
00:17:12She's waited in there for a year?
00:17:14Oh, not quite.
00:17:15But over an hour, for sure.
00:17:17Come on.
00:17:18Find an excuse.
00:17:20She'll just come back another time.
00:17:22Ah, and I was feeling so good.
00:17:24Tear her to pieces, Gloria.
00:17:26Otherwise, she'll tear you to pieces.
00:17:38Ah, welcome back, Gloria.
00:17:41And to what do I owe this pleasure?
00:17:48Are you here for the usual reason?
00:17:50I say suffering has enhanced your beauty, my dear.
00:17:53But not my willingness to deal with you.
00:17:56But why don't you want to sell me your magazine?
00:17:59I know there are better things you'd like.
00:18:01For example?
00:18:03To live.
00:18:05You might travel.
00:18:06You have plenty of money.
00:18:08Ah, my dear.
00:18:10When I think of how you were when I saw you for the first time,
00:18:13you were so provincial and ready to do anything for money.
00:18:18I had to support Tony and myself then.
00:18:20And as you can see, I did it.
00:18:23It's funny.
00:18:24Now you're the one who needs me.
00:18:26Don't you ever think of thanking those who lent you a hand in the past?
00:18:30And who should I thank?
00:18:32Me, for example.
00:18:34You never helped anyone for nothing, Flora.
00:18:37Don't give me that.
00:18:38You're too selfish.
00:18:39But I was the one who got you started in modeling,
00:18:42or you'd have turned into a cheap prostitute.
00:18:44You and your brother Tony didn't know where your next view was coming from in those days.
00:18:48Why, if it hadn't been for me, you'd be walking the street.
00:18:51If you hadn't had the good fortune, darling, to have known me.
00:18:54Walking the street, no.
00:18:56A prostitute, maybe.
00:18:58When there's nothing else.
00:19:00Even prostitution's a way of keeping alive.
00:19:02How much do you want?
00:19:03This is funny, you know.
00:19:04Here I am the victor.
00:19:06When you fought off all those men...
00:19:08Oh, my men.
00:19:10They never meant anything more than a Kleenex.
00:19:12Something you use and throw away.
00:19:15Girls are precious, though.
00:19:17You know how to hit someone where it hurts most.
00:19:20I do.
00:19:21And you?
00:19:23When I said I wouldn't work for you any longer,
00:19:25you did everything to ruin me.
00:19:28You even did your best to turn my husband against me with your vile lies.
00:19:32Well, I'm not selling out, Flora.
00:19:34You'd better forget it.
00:19:36Now go.
00:19:37Okay, when you're poor again and you're too fat to make out with men, call me.
00:19:41You still have some capital.
00:19:43You know, those pictures you once posed for.
00:19:46I'd always be willing to buy them back again.
00:19:50I'm sure that you'd realize a good profit.
00:19:52Oh, naturally, my dear.
00:19:54I couldn't offer the same price.
00:19:56Those photographs still have some value.
00:19:59But mostly as souvenirs.
00:20:03There was another souvenir that you wanted from me and never got.
00:20:07And that you begged for.
00:20:09Be careful, Gloria.
00:20:11Don't make me change my feeling for you to hate.
00:20:14I warn you, the hate of a woman can be very bad.
00:21:29No!
00:21:59Evelyn.
00:22:25You know you shouldn't drink.
00:22:27You shouldn't drink.
00:22:28It's bad for you.
00:22:30What's wrong?
00:22:33I found this under the door.
00:22:39Oh, my God.
00:23:01Damn her.
00:23:09Inspector, take a look at this pitchfork.
00:23:11I found it in the gardener's tool shed.
00:23:19Looks like it's never been used before.
00:23:21Yeah.
00:23:22Strange.
00:23:27I've got a sample of the pool water.
00:23:29Take it to the lab for analysis.
00:23:32I don't think they'll find anything new.
00:23:34Just playing it safe.
00:23:36To the lab, too?
00:23:37Yeah.
00:23:38Any sign of burglary?
00:23:40No, nothing.
00:23:49Did you see him?
00:23:51He looks like anything but a cop.
00:23:53Because you watch television too much.
00:23:57You always make us out to be different than we are.
00:24:05I'm sorry.
00:24:06Forget it.
00:24:07I'm used to it by now.
00:24:08Since I joined the force, my hardest job is to get people to trust me.
00:24:11They usually take me for a hood.
00:24:13Please sit down, Inspector.
00:24:17I questioned that kid, Mark.
00:24:19He didn't try to hold back.
00:24:21He told me exactly what he witnessed here last night.
00:24:24I was absolutely certain he saw a murderer.
00:24:27He's the only witness we have, but I don't think he'll be very useful.
00:24:32All we know is the murderer was blonde.
00:24:34But there are lots of blondes, both men and women, and wigs besides.
00:24:38But why send that photograph?
00:24:40And pose Kim's body in front of a poster of me?
00:24:43And why was she killed?
00:24:44Right here, at my house.
00:24:47If we had the answers to all your questions, the case would be solved now.
00:24:50But by sending that photograph of her here, it looks like it points to me.
00:24:53Why?
00:24:54I don't know.
00:24:55And that's not the only thing that's baffling.
00:25:03It's either a warning or an attempt to implicate you.
00:25:06We'll investigate the background of that model and find out who her friends were.
00:25:08Inspector Corsi.
00:25:09Excuse me.
00:25:10Can I send the men back now?
00:25:41Your breakfast is served.
00:25:47You know you shouldn't spy on your neighbors.
00:25:49It's not very nice.
00:25:51Have you finished?
00:25:53I'll do as I like.
00:26:11Your father called from London last night.
00:26:13But you wouldn't answer.
00:26:14He said he'd call back today.
00:26:16Well, tell him I'm out.
00:26:18What about your mother?
00:26:21She's still on vacation.
00:26:23Enjoying herself.
00:26:25Anyway, I don't give a good damn about either of them.
00:26:29Oh, thanks.
00:26:40Holy God.
00:26:59The beautiful model's corpse was found this morning in a garbage bin on Via Calderolo.
00:27:05Now, you are the news vendor who discovered Kim's body, whose picture appears on the cover of this magazine.
00:27:10Tell us in your own words how it happened.
00:27:12Well, I'd just finished unwrapping new issues of Pussycat and was going to put the plastic in the trash bin when I saw her, poor girl.
00:27:19Then what did you do?
00:27:20I called the police.
00:27:21And how did you feel?
00:27:22What was your reaction?
00:27:23Well, I was shocked.
00:27:25Sick almost.
00:27:26To see her like that, eyes staring at me, blood all over her dress.
00:27:30Especially after seeing her so pretty and sexy on that cover picture.
00:27:33What?
00:27:35You owe her thanks of murder, huh?
00:27:37Mark, how can you say that?
00:27:39The one who killed her did you a favor.
00:27:41Your magazine's going to sell like hotcakes now with her picture on the cover.
00:27:44Isn't it?
00:27:55A favor?
00:27:58Only a sick kid like him could come up with an idea like that.
00:28:02Why do you talk to him?
00:28:05It's just that I pity the kid.
00:28:11Who are you calling, Evelyn?
00:28:13The printer.
00:28:14Ruggiero, is that you?
00:28:16Good.
00:28:17I was afraid you'd already left.
00:28:19Listen, I want another press run.
00:28:22Oh, you'd already figured we'd need one.
00:28:24Good.
00:28:25Yes, that should do it.
00:28:27I'll talk to you later.
00:28:29My God, Evelyn, do you think we should be exploiting her murder?
00:28:32Gloria, you're a publisher.
00:28:33You can't afford to pass up this chance.
00:28:35No, it's a mistake, Evelyn.
00:28:36Gloria, I'm always trying to increase our circulation, and now's the perfect chance...
00:28:40I want you to call Ruggiero back and cancel it.
00:28:42What for?
00:28:44By doing that, do you think it would bring Kim back?
00:28:47You know it wouldn't.
00:28:48So why?
00:28:49Yeah.
00:28:51I think Evelyn's right.
00:28:53Even though the killer didn't mean to do you a favor.
00:28:57How many copies are they printing?
00:29:03Well, come on.
00:29:04Here it is.
00:29:05The printer told me how many they ordered a little while ago.
00:29:09Oh, this is awful.
00:29:16Pour me a martini.
00:29:22Oh, forgive me, Lily.
00:29:28Isn't it a little early to be drinking?
00:29:30It's not quite 9.30 yet.
00:29:32Oh, well.
00:29:33My liver's about to explode anyway.
00:29:44The photographer said he should be finished with them by noon.
00:29:48And you say that Sabrina says she won't be coming back.
00:29:52That's right.
00:29:53She signed an exclusive contract with Pussycat.
00:29:57At double the salary that we offered her.
00:30:01That bitch is getting the best we have.
00:30:12Sometimes you just hit on the right idea by accident.
00:30:15Come on, I'll show you the studio.
00:30:17Fine. I'm curious.
00:30:28Here's a set.
00:30:29Well, what do you think of it?
00:30:31Do you like it?
00:30:32I think it's fantastic.
00:30:34And this is where I see Sabrina.
00:30:36Lost and alone in a world out of time.
00:30:38Haunted by surreal nightmares.
00:30:41Well, what do you say?
00:30:43It'll cost me a fortune.
00:30:44But how can I say no?
00:30:46I've got to go.
00:30:47I've got to go.
00:30:48I've got to go.
00:30:49I've got to go.
00:30:50I've got to go.
00:30:51I've got to go.
00:30:52I've got to go.
00:30:53I've got to go.
00:30:54I've got to go.
00:30:55I've got to go.
00:30:56It'll cost me a fortune.
00:30:57But how can I say no to you?
00:30:58I knew you'd like it.
00:31:02If you'd brought Evelyn,
00:31:05it wouldn't have been so easy.
00:31:08That's the reason
00:31:09I only brought you along.
00:31:15Oh.
00:31:16I've got to talk to the set designer.
00:31:17Do you mind waiting?
00:31:18How long will you be?
00:31:20Fifteen minutes.
00:31:21Okay. I'll have a look around.
00:31:26Hey, Johnny, you shouldn't scare the girls like that.
00:31:42Yeah, I suppose you're right, but if she'd seen you without your make-up, she'd have
00:31:47probably fainted.
00:31:48When you see the chief of the other tribe, you pick up your sword.
00:31:58Yeah, but don't forget, the last shot I had, the sword went...
00:32:01Gloria!
00:32:02Alex!
00:32:03How are you?
00:32:04Fine, and you?
00:32:05Okay, let me look at you.
00:32:06Ah, you're prettier than ever.
00:32:07Oh, listen, I've got a ten-minute break.
00:32:08Oh, good.
00:32:09Do you want to talk for a while?
00:32:10Do you mind?
00:32:11Why not?
00:32:13I didn't recognize you dressed like this.
00:32:14I know.
00:32:15How long has it been?
00:32:16Over three years, huh?
00:32:17Yeah.
00:32:18And it was my fault.
00:32:19I don't want to rake over the past, but I want you to know that deep down, I knew you
00:32:20were the right girl for me, and that if we kept going together, it would have ended in
00:32:21marriage.
00:32:22And the very thought of marriage really scared me.
00:32:23I'm sorry.
00:32:24I'm sorry.
00:32:25I'm sorry.
00:32:26I'm sorry.
00:32:27I'm sorry.
00:32:28I'm sorry.
00:32:29I'm sorry.
00:32:30I'm sorry.
00:32:31I'm sorry.
00:32:32I'm sorry.
00:32:33I'm sorry.
00:32:34I'm sorry.
00:32:35I'm sorry.
00:32:36I'm sorry.
00:32:37I'm sorry.
00:32:38I'm sorry.
00:32:39I'm sorry.
00:32:40I'm sorry.
00:32:41I'm sorry.
00:32:42I'm sorry.
00:32:43I'm sorry.
00:32:44I'm sorry.
00:32:45I'm sorry.
00:32:46I'm sorry.
00:32:47I'm sorry.
00:32:48I'm sorry.
00:32:49I'm sorry.
00:32:50I'm sorry.
00:32:51I'm sorry.
00:32:52I'm sorry.
00:32:53I'm sorry.
00:32:54I'm sorry.
00:32:55I'm sorry.
00:32:56I'm sorry.
00:32:57I'm sorry.
00:32:58I'm sorry.
00:32:59I'm sorry.
00:33:00I'm sorry.
00:33:01I'm sorry.
00:33:02I'm sorry.
00:33:03I'm sorry.
00:33:04I'm sorry.
00:33:05I'm sorry.
00:33:06I'm sorry.
00:33:07I'm sorry.
00:33:08I'm sorry.
00:33:09I'm sorry.
00:33:11Oh, I'm sorry.
00:33:12I didn't mean to talk about him.
00:33:13I don't mind.
00:33:14After all, if we hadn't broken up, I would never have known, Carlo.
00:33:20I guess I owe you one, Alex.
00:33:22Well, hang on.
00:33:23I'm about to make you a proposition.
00:33:28Come on, Alex.
00:33:29You got me on pins and needles.
00:33:31What's the proposition?
00:33:32Am I supposed to believe that a leopard can change his spots?
00:33:36Yeah, why not?
00:33:38A big battle has been changed into a lamb by a very sexy bogey.
00:33:42Oh, Alex.
00:34:09Now, change your expression to one of pleasure.
00:34:11That's it.
00:34:12Good.
00:34:15Thanks.
00:34:16Tony just called.
00:34:17He said the pictures are going to be great.
00:34:20I want you to have a look at the proofs for the next issue.
00:34:23Has Alex called me?
00:34:24Here?
00:34:25No.
00:34:26He's been gone more than a week and he hasn't even called the house yet.
00:34:29Maybe he's having trouble with the phones in Yugoslavia.
00:34:31I know the problems Alex has.
00:34:34They're either blondes or brunettes.
00:34:36Didn't you say it changed?
00:34:38Yes, but I don't know how much.
00:34:40Look.
00:34:41On page one, a photo of Sabrina.
00:34:43On page three, answers to Gloria's letters.
00:34:45And Wolf says she's almost finished writing them.
00:34:47And then...
00:34:48Of course he called me.
00:34:50Oh, please don't mention his name or he might come back again.
00:34:54He spent days in here asking us all kinds of questions.
00:34:57Come on.
00:34:59Can we go on?
00:35:03Roberto.
00:35:05I'm going with Sabrina.
00:35:09I could see she's the kind of girl who's not exactly lacking initiative.
00:35:14I'll see you later.
00:35:19Tony.
00:35:22Yeah, what?
00:35:24You're going to take her back to our studio?
00:35:27I don't know.
00:35:30Enjoy yourself.
00:35:35It's so hot in here I can't breathe.
00:35:38The windows are all open.
00:35:39In fact, I'm beginning to feel chilly.
00:35:48Come on, darling.
00:35:50Don't take it so badly.
00:35:53You know it happens to a lot of men sometimes.
00:35:56Yeah.
00:35:58You must be an expert.
00:36:01You don't have to be.
00:36:02You don't have to be insulting just because you're angry.
00:36:05Better to just laugh it off.
00:36:08Yeah, you're right. I should.
00:36:10I guess I work too hard.
00:36:32Hello?
00:36:33Spoleto?
00:36:35Hotel Grazia?
00:36:36Oh, good evening.
00:36:37I'd like to speak with Senor Alex Worth.
00:36:41He's an actor.
00:36:42He's shooting a motion picture there.
00:36:47Oh, there's no one shooting a film there now.
00:36:50I'm sorry.
00:36:52Goodbye.
00:36:54Let me know if you need me to pose or for anything else.
00:36:56Yeah, sure.
00:37:03Ciao.
00:37:05Ciao.
00:38:02Oh, my God.
00:38:32Oh, my God.
00:39:03Hmm.
00:39:06Yeah.
00:39:13Good morning, Tony.
00:39:14Hi.
00:39:16I hear sales are booming.
00:39:17They should.
00:39:19Thanks to all the work you've done.
00:39:27I've been calling Sabrina for days.
00:39:29She's probably gone out of town.
00:39:30Perhaps on a job.
00:39:32Just like that?
00:39:33Oh, come on.
00:39:34You know how models are.
00:39:36Yeah, I know.
00:39:37But I find it strange because she was expecting a call from me the next day
00:39:40to let her know how the pictures came out.
00:39:42If she was leaving the next morning, why would she ask me to call?
00:39:47What you're saying is that she asked you to call the night you slept together.
00:39:50Is that it?
00:39:52Oh!
00:39:53Oh, no!
00:40:01Oh!
00:40:10Not again.
00:40:20She was found this morning.
00:40:22By some children.
00:40:23She was in a pond.
00:40:25The coroner says she's been dead a few days.
00:40:27I was probably the last one to see her alive.
00:40:30The last one, no.
00:40:31You're forgetting her killer.
00:40:37What's that strong odor of perfume I smelled on her?
00:40:39It's strange.
00:40:41That perfume helped kill her.
00:40:43Essence of tuberose.
00:40:45You mind explaining, Inspector?
00:40:47How could perfume kill her?
00:40:49It attracts bees.
00:40:50They must have been infuriated first.
00:40:52Then, attracted to the odor on the model's body,
00:40:54they began to sting her.
00:40:55It's certainly a devilish way to murder.
00:40:59What about that photo?
00:41:03You've convinced yourself the killer's real target is you, right?
00:41:06It seems to be obvious now.
00:41:08Look, try not to worry.
00:41:10And don't look for motives.
00:41:11Because that's our work.
00:41:13I think from those photos, it's obvious I'm going to be the next victim.
00:41:16And when I asked Corsi, he said not to worry.
00:41:18He'll find the motive, he said.
00:41:20It's my picture with those dead girls.
00:41:22If it's not for that, for what?
00:41:23It's a threat, that's for sure.
00:41:25But maybe he just wants to scare you.
00:41:27But do you think that someone who's already killed two women
00:41:30only wants to scare me?
00:41:32To commit crimes like that,
00:41:34he must be paranoid.
00:41:36One can't guess what he's thinking.
00:41:42But there's something else.
00:41:45There's some detail I seem to have forgotten.
00:41:49Madam, may I go now?
00:41:51No, you may not.
00:41:53Yes, thank you.
00:41:55What were you saying?
00:41:57That poster of me with the dead girls.
00:41:59It's an old picture and only one person could have the negative.
00:42:01Who?
00:42:03Roberto.
00:42:05I gave him all those old negatives to hold that I got back from Flora.
00:42:07You have to tell Corsi.
00:42:09I better not.
00:42:11Why?
00:42:13The police would suspect him at once.
00:42:15They'd slap him in jail right away.
00:42:17Two girls, both were models, and he's gay besides.
00:42:19He probably doesn't have any alibis
00:42:21for either of those murders.
00:42:23I'm guessing.
00:42:25You know, he spends the night going around,
00:42:27looking for men.
00:42:29I didn't want to tell you, stupidly.
00:42:35A lot of those negatives
00:42:37and a lot of valuable other stuff
00:42:40was stolen from my place.
00:42:45I'd invited around a couple of kids.
00:42:49Roberto, are you trying to tell me
00:42:51those negatives are in the handbag?
00:42:53Are they in the hands of the murderer now?
00:42:56Probably.
00:42:58But not necessarily.
00:43:01It's not absolutely certain
00:43:03that the negatives the murderer has
00:43:05are the original ones, Gloria.
00:43:07That big poster of you in the shots with the bodies
00:43:09could have been made from a dupe.
00:43:11I'm sorry, I don't understand, Roberto.
00:43:13Technically, there's no problem.
00:43:15All you've got to do
00:43:17is take a photograph of a photograph.
00:43:19You've got as many negatives as you like.
00:43:20Obviously, when you print them,
00:43:22the quality becomes more grainy.
00:43:25But once you've blown it up
00:43:27to six feet by six feet,
00:43:29it's impossible to tell the difference.
00:43:31Then we're back to where we started from again.
00:43:36I hope you're not too disappointed
00:43:39to find out that I'm not the murderer.
00:43:42No, no, don't think that.
00:43:44I never believed it was you.
00:43:50Don't turn the light on.
00:44:20I have one.
00:44:25I do want to admire you, Gloria.
00:44:51No!
00:44:53No!
00:44:55No, let me go!
00:44:57Shut up!
00:44:59Don't force me to murder you.
00:45:06Juanita.
00:45:21Tell me that you love me.
00:45:23Tell me!
00:45:40Gloria.
00:45:42Gloria, it's okay.
00:45:44It's okay, nothing's happened.
00:45:46It's just a bad dream.
00:45:48Oh, God, it's terrible.
00:45:51Dr. Lorenz is here.
00:45:53Thank you, you may go.
00:45:55Hello, Mark.
00:46:02What are you doing?
00:46:04I'm taking my daily walk.
00:46:06I'm just stretching my legs, Doc.
00:46:12Keep on treating it as a joke,
00:46:14and you'll never forget it.
00:46:16You'll never forget it.
00:46:17Keep on treating it as a joke,
00:46:19and you'll never get out of that chair, my boy.
00:46:22You quack.
00:46:24You think I'm enjoying myself
00:46:26being nailed to this chair day after day?
00:46:28No, I know how much you're suffering.
00:46:30But I also know that your paralysis
00:46:32doesn't have any physical cause.
00:46:34That's what you say.
00:46:36My father and my mother,
00:46:38it's what you all like to think.
00:46:40You say there's no damage to my spine, eh?
00:46:42So you figure all that's wrong
00:46:44is right here in my brain, huh?
00:46:46Therefore,
00:46:49it's simply my fault that I'm crippled.
00:46:52Sounds like you enjoy playing the victim.
00:46:55Yeah, sure.
00:46:57I like being that.
00:47:00You know, Doctor,
00:47:02you're pretty smart after all.
00:47:04The truth is, you don't want to walk.
00:47:06You have a mental block
00:47:08because you feel responsible
00:47:10for Chin-Ti's death.
00:47:12You don't want to walk.
00:47:13You feel responsible for Chin-Ti's death.
00:47:16Yes, you're right.
00:47:18She hadn't been in my car.
00:47:21Chin-Ti might still be alive.
00:47:25And I'd be walking.
00:47:29And we'd even have been married.
00:47:34My God.
00:47:40No.
00:47:41No.
00:47:43No.
00:47:45Oh, God.
00:47:47No, please.
00:47:57She work in blue films also?
00:47:59Only this one.
00:48:01But the public seems to have forgotten it.
00:48:05Glory is quite respectable now.
00:48:12Do we have to watch anymore?
00:48:14Leave it alone and sit down.
00:48:26Good morning.
00:48:28This must be important
00:48:30if you called us all here.
00:48:32I've decided to accept Flora's offer.
00:48:34You want to sell the magazine?
00:48:35I have no intention of working any longer here
00:48:37after all that's happened.
00:48:39It seems the best solution.
00:48:41But it's not as though you killed them.
00:48:43But my pictures with those dead girls,
00:48:45are you forgetting that?
00:48:47Or doesn't it worry you?
00:48:49Well, it won't help selling the magazine.
00:48:51If the killer wants you,
00:48:53it won't solve the problem.
00:48:55Or are you going to go somewhere and hide?
00:48:57Throwing away all your work
00:48:59and hours of work
00:49:01won't solve the problem.
00:49:02But if I stay here, you'll kill me.
00:49:32I'm going to kill you.
00:50:02I'm going to kill you.
00:50:32Shit.
00:51:03Shit.
00:51:24Hey!
00:51:26What's your hurry?
00:51:28Oh, good, I'm all right.
00:51:30Say, what are you doing here?
00:51:32I came to get you.
00:51:34Our appointment, remember?
00:51:36That girlfriend of mine is expecting us.
00:51:40But how did you know I'd be coming here today?
00:51:43I know everything.
00:51:45And what I don't know, I imagine.
00:51:48Isn't today the anniversary of Carlo's death?
00:51:51Yes.
00:52:33There we are.
00:52:42What did you watch?
00:53:03Are you really sure you want to do this?
00:53:05Well, since I haven't sold the magazine yet,
00:53:07I thought I'd model again,
00:53:09like in the old days.
00:53:11Hey, I haven't got anything against the idea.
00:53:13I think it's great.
00:53:15I'm coming.
00:53:19Sorry.
00:53:20Hi, Tony.
00:53:21Susan, this is my sister, Gloria.
00:53:23I'm glad to meet you finally.
00:53:25Tony's always talking about you.
00:53:27Oh, what does he say?
00:53:29Oh, he thinks you're the greatest.
00:53:30The most beautiful, the most...
00:53:32Hey, hey, come on now.
00:53:34Tony always exaggerates.
00:53:44Yeah, this place is perfect.
00:53:48What's over there?
00:53:49Children's clothes.
00:53:52Gee, I didn't know it was so big.
00:53:54Hey, be careful.
00:53:56Sofia.
00:53:57Frankly, Tony, I think you're asking
00:53:59a lot of personal customer service.
00:54:01How could I refuse Tony anything?
00:54:03He's filled the house with flowers and candy.
00:54:09Yes, phone calls, caviar, champagne.
00:54:12He's always calling you.
00:54:14You have a very persuasive brother.
00:54:16What do you think if I posed
00:54:18with just this wind jacket on?
00:54:20Uh-huh, good idea.
00:54:22Or maybe better yet,
00:54:24nude on the ski.
00:54:26Oh, modestly wearing a scarf.
00:54:30Would you like to visit the other floors now?
00:54:32Oh, yes, I would.
00:54:42Pretty good shot, huh?
00:54:44This is the men's department.
00:54:46This is still men's clothing.
00:54:48Men's sportswear, shirts, sweaters,
00:54:50underwear, socks, you name it.
00:54:52They're as stylish as our clothes now, aren't they?
00:54:55Yeah, we do everything we can to please the ladies.
00:54:58They're all becoming more vain than we are.
00:55:00Oh, you're just jealous.
00:55:02Come here a minute.
00:55:03Tony, please.
00:55:05Listen, what are you doing with it?
00:55:07Maybe we could have some fun.
00:55:08Okay, but calm down.
00:55:10You come on strong, don't you?
00:55:15Hey!
00:55:17Hey!
00:55:19Come on, it's beautiful up here.
00:55:21Tony!
00:55:32Hey!
00:55:34Hey!
00:55:36Come on, it's beautiful up here.
00:55:50Susan, come on, you can play with fire later.
00:55:55You want to leave me alone here, huh?
00:55:59Come on up now, Tony.
00:56:10Now it's your turn, Gloria.
00:56:15You can't be lucky.
00:56:21Huh?
00:56:26It's your turn to die.
00:56:46Susan?
00:56:50Susan?
00:57:20Ah!
00:57:24Ah!
00:57:30Susan, where are you?
00:57:32Susan!
00:57:50Susan!
00:58:20Susan!
00:58:50Ah!
00:59:20Ah!
00:59:43Ah!
00:59:50Ah!
01:00:21Ah!
01:00:32Now it's your turn, Gloria.
01:00:36You can't escape.
01:00:50When we went to the department store, there was no trace of either Tony or his girlfriend.
01:01:00They'll probably turn up in a few days, but who knows where.
01:01:20Ah!
01:01:50Ah!
01:02:04Ah!
01:02:21Gloria.
01:02:26Drink it.
01:02:32Evelyn, would you open the curtains?
01:02:34It's so dark in here.
01:02:43Ah!
01:02:45Ah!
01:02:53Is that better?
01:02:57It wasn't a nightmare this time, was it?
01:03:00You have to fight it, Gloria. We all have to.
01:03:05I know I have to, Evelyn. I have to go on living.
01:03:09I'll go get your pills. I won't be long.
01:03:12If you need anything, there's the maid. I'll be right back.
01:03:42Oh!
01:03:54Oh!
01:04:02Oh, no!
01:04:05Oh, my God!
01:04:12Oh!
01:04:37Ah!
01:04:43I wonder where we'll find the other body.
01:04:45Yeah, I wonder, too.
01:04:49Hey, wait.
01:05:00All right.
01:05:02Looks like the same killer, all right.
01:05:04Yeah, I'd say so.
01:05:13Oh!
01:05:35What do you think, Inspector?
01:05:37Am I going to be the next victim?
01:05:43Yes, hello?
01:05:44Hi, Gloria. It's me, Alex.
01:05:46Alex! How are you?
01:05:49I'm so glad you called.
01:05:51You finished your film? You back?
01:05:53No, baby, I'm sorry.
01:05:56But I'll be in Rome Monday.
01:05:59Gloria, I miss you.
01:06:12I love you.
01:06:42Oh!
01:07:12Oh!
01:07:42Oh!
01:08:12Oh!
01:08:42Oh!
01:09:06Break the glass.
01:09:07Come on, hurry.
01:09:08But, Inspector, we don't have a search warrant.
01:09:10I don't care. Break it.
01:09:12Come on.
01:09:43Hello, who's speaking?
01:09:45This is Inspector Corsi.
01:09:47Stay away from that photographer, Roberto.
01:09:49But do you suspect him?
01:09:51You mean he's the murderer?
01:09:52I haven't time to explain now.
01:09:54Just do what I say, and don't open your door to him.
01:09:56We're coming right over.
01:10:02Gloria, let me in.
01:10:06I have to see you.
01:10:07Alex!
01:10:08Alex!
01:10:10I have to see you.
01:10:12Evelyn!
01:10:13Evelyn!
01:10:16Evelyn!
01:10:19Gloria!
01:10:22Wait!
01:10:33Gloria!
01:10:35Gloria!
01:10:40Oh!
01:10:43Gloria, wait!
01:10:49No!
01:10:50Help me, somebody!
01:10:51Why are you running away?
01:10:56Gloria!
01:10:58I have to talk with you!
01:10:59It's me, Roberto!
01:11:05Stop! Wait!
01:11:10No!
01:11:11Help!
01:11:15Oh, my bad.
01:11:16Gloria, help me.
01:11:20I'm sorry.
01:11:36I can't understand any of this.
01:11:38Roberto obviously must have hated women.
01:11:41And especially you, Gloria.
01:11:43And why did he kill Tony? He liked him.
01:11:45It's difficult to know a killer's mind.
01:11:47But in the department store, what I clearly remember had a woman's voice.
01:11:51No, it wasn't a girl.
01:11:53The voice you heard at that moment might have sounded like a girl's voice.
01:11:57Assuming you're right.
01:12:00Why doesn't the rest of it make sense?
01:12:02That car that killed him, for example, why didn't it stop?
01:12:05I've got to blot it out or I'll go mad, too.
01:12:20Who is it?
01:12:21This is Mark. I see the police are there again. What gives?
01:12:24How does it feel to be surrounded by death?
01:12:26Stop calling, you fool!
01:12:35I'm sorry.
01:12:56Our battle seems to have finished.
01:12:59Though you certainly were a tough adversary.
01:13:01I'm sorry, my dear. I'm putting you out to pasture.
01:13:06You know, I suppose I really ought to thank you.
01:13:09I'm getting rid of a lot of bad memories.
01:13:11It's a shame you're so insensitive, Flora.
01:13:14I would have given it to you for the asking.
01:13:18Are you so proud of yourself now?
01:13:23Well, I'm not.
01:13:25I'm not?
01:13:27I'm not.
01:13:29I'm not.
01:13:31I'm not.
01:13:33I'm not.
01:13:35I'm not.
01:14:05Evelyn?
01:14:09Evelyn?
01:14:12Keel, where's Miss Evelyn?
01:14:14She's gone, madam. She took all her things.
01:14:16She left this letter for you.
01:14:23Gloria, forgive me for leaving like this,
01:14:25but I work for you, not the magazine.
01:14:27So what sense would it make for me to stay on,
01:14:29regretting what we no longer have?
01:14:31Good luck.
01:14:32She must think I have a will of iron.
01:14:34She wanted me to go on with the magazine
01:14:36after all of those killings.
01:15:03Yes, hello?
01:15:06Hello?
01:15:32Oh, no.
01:16:03Oh!
01:16:07Tony!
01:16:09Oh, dear God, no!
01:16:32Gloria?
01:16:58Now it's your turn, Gloria.
01:17:03You can't escape.
01:17:10It's your turn to die.
01:17:13Come out! Show yourself!
01:17:15Kill me if you must! I can't take anymore!
01:17:19It's your turn, Gloria.
01:17:29Now it's your turn, Gloria.
01:17:33You can't escape.
01:17:41It's your turn, Gloria.
01:17:44How would you like to die?
01:17:47The police took the pitchfork I used to kill Kim,
01:17:50and I didn't have time to get more killer bees
01:17:52that liked Sabrina so much.
01:17:55But I'll think of something.
01:17:57Maybe on the evening of the murder,
01:17:59but I'll think of something.
01:18:01Maybe on the order of how I did Susan.
01:18:23Tony!
01:18:25It's me.
01:18:27What's the matter?
01:18:30Don't you like me?
01:18:32Don't you like me?
01:18:35Oh, no!
01:18:38I haven't become a transvestite.
01:18:41I'm not even very good at that.
01:18:44But why, Tony? But why?
01:18:48You should know, Gloria.
01:18:50You're the only one I love.
01:18:52I've always loved you.
01:18:55I've always loved you.
01:18:57Since we were kids.
01:19:00Tony, you killed those poor girls!
01:19:01What made you do that?
01:19:03You ought to thank me.
01:19:05Yeah.
01:19:06That bitch, Kim,
01:19:08was trying to take your place as a model.
01:19:10And Sabrina, your place in bed.
01:19:12And I didn't want that.
01:19:13And that little salesgirl, Susan,
01:19:15was trying to trap me.
01:19:17Even Roberto wanted to betray me.
01:19:19No, Tony, no!
01:19:20I'm dead, Gloria.
01:19:23Everyone thinks I'm dead.
01:19:27I could have run away,
01:19:28but I figured,
01:19:30while you're alive,
01:19:32I'll never be free.
01:19:36But first,
01:19:38I want to see you naked one more time.
01:19:40No!
01:19:41No!
01:19:42No!
01:19:43No!
01:19:44No!
01:19:47Tony, stop!
01:19:48Help!
01:19:51Help!
01:19:52Help!
01:19:59Help!
01:20:00Help!
01:20:10Help!
01:20:15And now, Sabrina,
01:20:16no, I can't.
01:20:17For the last time,
01:20:20just for me.
01:20:23No, Tony,
01:20:24please don't ask me that.
01:20:32No!
01:20:34You know what you're doing.
01:20:37Oh, yes, I do.
01:20:38You belong to me.
01:20:39Only me.
01:20:41Go on.
01:20:47I've always loved you, Gloria.
01:20:51Every part of you.
01:20:58Your lips.
01:21:04Your eyes.
01:21:07Your nose.
01:21:11And your tongue.
01:21:22And the curve of your white throat
01:21:25that leads to the valley
01:21:26between those rose-capped hills.
01:21:41Help!
01:21:43Help!
01:21:45Help!
01:21:47Now I want to see them.
01:21:56Nobody else will ever caress your body again, Gloria.
01:22:06No.
01:22:07Oh, no.
01:22:08No.
01:22:09No!
01:22:10Now this.
01:22:11Take this off, too.
01:22:13No.
01:22:15I said take them off.
01:22:20Tony!
01:22:39Is my brother alive?
01:22:41Yes, he'll make it.
01:22:42Though I'm afraid he'll need a wheelchair
01:22:44the rest of his life.
01:22:46I'm sorry, Inspector.
01:22:47She's still in shock.
01:22:48She has to sleep.
01:22:49Yes, I'm going.
01:22:52I hope that from now on,
01:22:53life will be better for you.
01:22:56We'll see.
01:23:01Get well soon.
01:23:04You must try to sleep now.
01:23:08Call me if you need me.
01:23:39Help!
01:23:41Help!
01:24:08Help!
01:24:39Did I frighten you?
01:24:40I'm sorry.
01:24:42I just had to see you.
01:24:50Here.
01:24:51Thanks.
01:24:52Gloria, you won't mind if I phone to tell you
01:24:54that you're beautiful.
01:24:56More beautiful.
01:24:57Of course you can, Mark.
01:25:00Do you know that I'm getting better?
01:25:02I'm beginning to walk a little now.
01:25:05I'm so glad.
01:25:06It's good to see you again.
01:25:08And you...
01:25:09You get better, huh?
01:25:10Yes.
01:25:17Don't forget me now.
01:25:18Promise?
01:25:20I won't.