We've arrived.
Let go of me!
I don't want to come!
Coward.
It's so dark!
Here's the candle. Don't you run away.
This way.
- Is that the door? - Quiet, coward.
Okay, let's see, show me you're not a litle girl.
Go and get it.
Down there?
- Yes, go and get it back. - Little girl! Go and get it!
Little girl!
- I'm sure you'll like it here. - Yes, it seems like a quiet place.
I see you've already settled in.
So you're a fiIm composer. Interesting.
- And what are you doing now? - A theme for a thriller.
A murder story.
But don't think it's always so exciting.
Sure, it all becomes routine.
But it's better than being in Kuwait building roads with my father.
But those roads allow you to buy a villa like this.
You're kidding.
Then you never live in it and have to rent it, just like we've done with you.
- Where's your car? - Round the back.
Listen, I was thinking, l really like music.
Why don't you call me when you play?
It's difficuIt because I don't know when l'm going to play.
I can record a cassete for you.
Sure.
I like the music in giallo films. So who's the killer?
What a fool, you probably can't tell me, right?
The director won't let anyone see the ending.
She says it's going to be a big surprise.
I guess I'll have to watch it.
Bruno, you've seen Giovanni, the gardener, he lives in the outhouse...
He has all the keys. Any problems, just ask him.
Thanks.
- I'Il do that cassette straight away. - Okay.
What do you think, Bruno?
What can I say, Sandra?
It's the third time I've seen it and it scares me every time.
Really? This is nothing compared to the final reeI.
The one you still haven't seen.
The end of the film you're keeping a secret.
I'm curious, where did you get the idea for the story?
I don't know if you'll understand.
When l was young I couIdn't sleep because I was afraid of the dark.
In the dark any sound is a threat, a danger.
The dark invites monsters, killers.
In the dark it's Iike death's waiting in ambush.
Maybe we don't think about it because we're distracted by other things...
Or perhaps because the sun cancels out the nightmares of the night.
Who knows?
But death is aIways watching us and it's only the darkness that can see it.
- Are you trying to scare me? - No...
I just want you to get into the spirit of the film...
because the music is enormously important.
It has to express the anxiety, the fear, the terror.
It has to underscore the breathing of the killer and his victim...
and it has to invoIve the audience and make them participants.
Are you sure you made the right choice calling me?
That's precisely why I chose you.
I don't want something predictable. You're new to this genre.
That villa I rented for you...
It's a villa where you might feel scared.
So big, so isolated.
There's an insect! A beetle, a spider!
I don't know! It's horrible!
- How are you feeIing? - lt's stronger than me.
I can't stand those creatures. They make my skin crawl.
I've still got goose bumps.
I must look horrible.
Have you got a cigarette?
I haven't seen you before. Are you a friend of Linda's?
Linda? No.
- What is it now? - Your face!
- What about it? - Nothing! Τhat expression!
You must have had quite a fright.
l bet you're wondering who's this lunatic who jumped out of the cupboard.
You must have very special skills...
because that's exactIy what I was thinking.
- You're cute. - So are you.
My name's Katia. I live over the road.
And you like sneaking into your neighbours' homes.
Not always. Only if the tenants are nice.
- Are you staying long? - I've only rented it for a month.
Pity, you won't be staying long then.
Musician?
l adore musicians, they're good at making love.
- How do you do it? - Depends on the answers.
The answers to what?
The reason you were hiding in the cupboard, for example.
WouId you settle for a simple lie, or something more elaborate?
You know you reaIly are cute.
Troublemakers have a gift; timing.
Just think about the Iie you're going to tell me.
It's Tony Rendina. How's it going?
l wanted to ask you, have you recorded that cassette?
Sorry' I haven't had time. I'll do it tomorrow.
You know half the electrics don't work?
Where's the bathroom?
Hold on.
Behind that door on the right, the end of the corridor.
Sorry, you were saying?
You were teIIing me the electrics don't work.
Perhaps the light bulbs are missing.
Sorry about the inconvenience.
The last tenant, Linda, was a bit strange.
She liked the dark.
Ask Giovanni, there should be some light bulbs somewhere.
Okay.
- Any other problems? - No, thank you.
Katia!
Where are you?
I've discovered Linda's secret.
Something disturbing and terrifying.
But it also fascinates me.
I don't know if I should teIl Angela, she might not understand.
I'm scared to keep it to myself. It's like a bad feeling.
Help!
"It's a secret, nobody must know"
"Yes... Linda!"
"Nobody must know"
"Yes... Linda!"
"Nobody must know"
"It's a secret"
Hello?
Julia, is that you?
- What are you doing? - Sorry if I disturbed you.
- What's in that sack? - Nothing, newspapers and old magazines.
- Wait, l'll give you a hand. - No, I can manage.
Thanks.
Cigarette?
I,m curious' what was the previous tenant like?
Linda.
I didn't see her very often.
She wasn't here Iong, then she left.
Tony doesn't like renting the house out for very long.
And I mind my own business.
- Then you don't know Katia. - No, not at all.
Goodnight, Giovanni.
What's wrong? Don't you recognise me?
Sorry, Julia' I was lost in thought.
But what are you doing here? Shouldn't you be in Naples?
Right.
Sorry if I drove 200 kiIometres to spend a few hours with you.
But judging by your reaction maybe l should have stayed in Naples.
- I'm sorry. - I'll go, if you want.
No, what are you talking about?
I just didn't expect to find you here.
I didn't want to turn up unexpected. l even tried to let you know.
I tried calling but I couldn't get through.
- When? - About an hour ago.
Before I left the motorway.
- It was you then. - Why?
Nothing, because strange things are happening here.
Really? Strange, how?
Strange, very strange.
How do you untie this thing?
It unties, it doesn't untie.
It unties.
Okay, let's forget about the cut tape...
the torn-up diary' the footsteps, the noises...
But how do you expIain the bloodstains? You saw my trousers.
Yes, I saw them. It really looks like a bIoodstain.
But why don't you also add that fouI smell from the pool to your list?
What the heIl are you saying? What about it?
You're starting to bore me with this story.
Something happened here last night.
- That girl, Katia, disappeared... - Was she pretty?
Don't joke, I'm really worried something might have happened to her.
Yes, someone kiIled her while you were playing, happy now?
Okay, okay... You think I'm making it up.
Sure, I manage to get a night off, I come running here to you...
and you waste precious minutes to tell me a strange story about a girl...
who hates beetles but Ioves locking herself in your cupboards.
To be fair, I wouldn't beIieve it if you told me.
Now you're being reasonable.
Admit you spent your time with a young admirer...
and I promise I'll settle the score by tonight...
Then we won't talk about it again, okay?
Actually, I'd prefer something else.
You'd have to break a record because l'm leaving in exactly fifty seconds.
Why the hurry?
You're saying that because it's about my work.
- That isn't work' it's fun. - You still haven't come to see me.
You should, you know. It's a great show.
Don't look at me like that.
I'll come and save you if a pretty girl tries to seduce you before she dies.
What if she really is dead?
And that was her blood.
The diary!
Katia wrote that she'd discovered something and she had a bad feeling.
Of course!
The killer must have arranged to meet her here.
They wanted to know what she'd found out.
Those phrases I recorded would make sense.
Wait, I wrote them down.
"Secret", "Yes, Linda", "Nobody must know".
And naturally the gardener's the killer.
You say that because you haven't seen him.
My Iove' I think Sandra's horror films are getting to you.
I'll see you next week.
Look out for your admirers.
It's pointIess. It's locked.
There are still some things from the last tenant in there.
But I can ask her to clear the room if you need it.
No, thanks, if there's one thing here there's plenty of, it's space.
- Can I offer you a coffee? - No, thanks, l've had two already.
- I came about the pooI. - Yes, it's starting to smell.
I think it's the filter. I've asked Giovanni to replace it.
- How are you settling in? - Well, apart from a few surprises.
- I found a girI in a cupboard. - Lucky you, was she pretty?
Why are you aII so worried if she was pretty?
Yes, she was.
But there were a whole series of strange events last night.
I don't know if I should tell you. My girlfriend thinks I'm making it up.
- I'm sorry about aIl that. - Forget it.
Do you know that girl, Katia?
Yes, curly hair, a bit crazy?
Yes, that's right, the girl in the cupboard.
She used the pooI when the other tenant was here.
- Linda? - Right, Linda Iived here before.
The one who left her things locked in that room.
What's she like?
Quite normaI. Rather young.
Also rather pretty.
Why all this interest in Linda?
It's not exactly her.
The fact is, I got the impression...
I don't know, that Katia came here to meet Linda.
Does Linda still have the keys?
I don't know, you'll have to ask Giovanni.
He's a strange one as well.
- The phone. - Are you leaving or will you wait?
No, I have to go.
I'II see you when I get back from Kuwait.
Goodbye.
Yes, hello?
Listen carefully...
Everything you're doing is pointless.
I'm going to kill you!
Who's speaking?
I'll kill you!
You're the same old idiot!
But I scared you, be honest.
How did you recognise me? Listen, Bruno...
I've had a great idea.
I want to see you. Let's say at seven, at the studio.
Try to be on time.
Were you looking for me?
- Can I help you? - I'm looking for Katia.
- Are you a friend of hers? - I'm Angela.
- Didn't she mention me? - We didn't have the time.
If you see her, tell her I'd like to talk to her.
That's the point. She hasn't come home.
She disappeared last night, around eleven.
How come her diary's still there?
She came here to get it back.
Right, and someone tore it. Do you know anything about it?
I haven't been back since Linda left.
She was so kind. She let me use the pooI.
- You can use it when you like. - Do you mean that?
Then I'll use it right now.
Hold on. Listen...
- Second thoughts? - No, it isn't that.
I just want to ask you some questions about Katia.
lt's not that I'm curious' it's just that she suddenly appeared here...
and then she disappeared without even saying goodbye.
Typical Katia.
- Have you known her Iong? - We live together.
Just here, across the road.
We're models.
Well, we'd like to be. For now we get by doing door-to-door.
You know what it is? Doorstep sales.
WouId you be interested in a series of books on pre-Columbian culture?
There are tons of photos, it doesn't cost a lot.
- No, thanks. - It doesn't matter.
You're a little girI!
Little girl!
"I waited till eight for you. You'll find me at home."
I'm almost certain l've uncovered a series of murders.
There's still a possibility it could all be in my head...
and l'm getting carried away.
But I don't think so.
There's too much evidence.
Something terrible happened in this house.
What was Katia and Angela's secret?
Who is Linda?
l feel her presence, and the presence of death.
And it's all around me.
But strangely it doesn't frighten me.
I find it almost fascinating...
because Katia and Angela were killed here...
but what happened to their bodies?
Where are they hidden?
It's me, Bruno.
I found your message.
It's a good thing you came, I've got something to tell you.
- Is this aII the whiskey you've got? - I'm sorry but I finished it.
There's miIk, coffee, and yoghurt, it's all I can offer you.
I could never live with you.
I'd never ask.
So you're saying two girls were killed in this house.
- You don't believe me, right? - It seems so strange.
- Why haven't you called the police? - Because they wouldn't believe me...
- but it's the truth. - And l'm meant to believe you?
- Of course you do. - It isn't easy.
The thought that there are dead bodies in here frightens me.
Why? Do you think they could still be here?
The killer wouldn't have had much time to get rid of them...
and there are so many places where they could have hidden them.
Apart from the fact that they could have buried them in the garden.
- Have you looked in all the rooms? - No.
- Not aII of them, one of them's locked. - A locked room? Where?
Down in the basement.
The previous tenant keeps her things there, Linda.
- What's her surname? - How do I know?
I knew a Linda, but it can't be the same one.
Besides, it would be an incredible coincidence.
- What do you know about this Linda? - I aIready told you...
Her name was on the torn-up diary and it's on the recording.
- Who's the Linda you know? - I just know it can't be her.
Let's have a look at the room.
This is the room.
We'll have to figure out a way to get in.
- It's open! - I swear it was locked.
If someone opened it...
- You think that... - The bodies are hidden in here?
You hold it.
Newspapers?
Nothing here, either.
Tennis balls!
- lt doesn't make sense. - What are you saying?
- It's impossible! - What's impossible?
It really is the same Linda.
What makes you think it's her?
- It's a strange story. - You had no idea she lived here?
No, how could I? I haven't seen her for two years.
But now I'm more than convinced it's her.
What about these tennis balls?
They were her obsession, her nightmare.
When she was young she would hear them bouncing at night.
- Like in your film? - Yes, Linda was my inspiration.
The story of a chiIdhood trauma that turns someone into a killer.
- You mean Linda... - I can't say she's the killer...
but I got the idea for the fiIm from her memories.
The rest is the work of my imagination.
The difference between fantasy and reality...
is sometimes so smalI that they cross paths.
You stiIl haven't shown me the last reel of the film.
How does it end?
Do you think there's a connection between my film and what's happening?
I don't know, also because I don't know what's happening anymore.
Did you hear that?
Someone's upstairs.
They're above us, in the living room.
They sound like a woman's footsteps.
Linda?
- The footsteps have stopped. - What could they be doing?
Idiot!
- They must have heard us now. - l don't know.
- I don't hear any footsteps. - Sure, but l don't think they've gone.
- Why have they come back? - You should know...
The kiIler aIways returns to the scene of the crime.
- What shall we do? - You're asking me?
You're the expert on these things, l'm just a musician!
Be quiet! Do you really want them to hear us?
- Where are you going? - I can't stay here forever.
Wait for me!
Did you see that?
- Wait here. - What are you going to do?
You saw the knife, we shouId wait.
- My god, it's you! - Who did you think it was?
I don't know.
After everything you told me the other night...
Why were you hiding?
Hiding? What are you talking about?
You're the one who comes and goes waving a knife around.
Stop that, we're all scared enough.
I don't think we need to continue.
It's obvious we all got a bit too carried away.
My love, l'm so sorry.
If you knew how scared I was.
I saw a shadow behind the curtain, I didn't recognise you, and...
You're telling me! I was ready to strangle you.
Seeing as all's weIl that ends weIl, I can go home.
It's been quite a night.
- This is yours. - And this is yours.
If I stiIl had some whiskey this wouId be the right time to offer you some.
Keep the milk and yoghurt for your breakfast.
Thanks for eνerything.
- Are you okay going home alone? - I think so.
Even if I've discovered l'm quite the coward.
Goodnight.
My love.
- What is it? - l'm just curious...
What were you doing down there with Sandra?
- Don't tell me you're jealous. - Who knows?
How come you're here? What about the show?
If you're about to lie to me it had better be good.
It's the second time you've turned up unannounced.
The show's been suspended...
and if you don't believe me you can read it in the papers tomorrow.
And why has it been suspended?
They charged us with obscenity. Can you believe it?
A play by Mae West is considered obscene.
I guess I should have seen it.
- What is it about? - Female homosexuality.
I'm not surprised, peopIe don't want to know about it.
You know, for a moment earIier' I really thought you wanted to kilI me.
And I'll always leave you with that doubt.
Wait! I have a surprise.
Don't come straight away.
WelI?
Can I come?
Where are you?
I thought you liked girls in cupboards.
Only if they're being chased by black spiders.
Is it yours?
Are you forgetting we met on a tennis court?
- Who are you? - Who am l?
A young actress full of talent.
Who's going to be rich and famous and have lots of lovers.
Even if' for now, she has to settle for a simple musician...
full of dreams but without a penny!
Ours really is a great love.
It won't last long but it will be unforgettable!
Where are you?
Linda, is that you?
Why don't you say something?
No, don't cry.
Yes, I know, what's happening is very strange.
l didn't betray you' I just used your story for the film.
The rest was all unnecessary.
Please, Linda. You know, l haven't told anyone...
and we can meet if you want. Please, say something!
Good morning. Working already?
Good morning, Giovanni. Have you seen Julia?
Who? That blonde girl who was with you?
Sure, I saw her earlier.
- She was just by the outhouse. - Are you sure? She got up early.
Right.
It's none of my business but your friend must suffer from insomnia.
She's always around here at dawn.
She was by the outhouse the other day as well.
But I shouIdn,t be surprised' I can't sleep myself, sometimes.
By the way, the new filter for the swimming pool has arrived.
- What are you doing? - What?
- How come you're already up? - l needed to relax a bit.
I haven't slept, I had such a headache after listening to your stories.
Yes, call them stories.
Two girls have disappeared and they might have been kilIed in this house.
What are you talking about? Don't start that again.
Please, not again.
You've changed since you started working with Sandra.
I don't recognise you anymore.
- You see bodies everywhere. - I haven't seen anything...
- I just have my suspicions. - Enough!
If you reaIly must know, l don't like Sandra.
There's something wrong with her.
Seems to me there's something wrong with you this morning...
and not just this morning, when l think about it.
You come and go without any explanation...
Don't trouble yourself, just think of your murders.
Thank you. I didn't want to trouble you.
God, it's heavy!
Slowly.
Like that... Mind your hands.
Thanks.
Yes?
Are you sure you've never seen Julia in this house before?
Listen, I don't care who comes in and out of this house.
- I just do my job. - Really?
Then you aIso don't know that Angela and Julia have disappeared.
What's happened to them?
How do I know?
They must be dead.
Sure, Giovanni, it wouIdn't be so unusual.
I hope you're kidding.
I'm not kidding at all.
I assure you l'll find out the truth.
You're blocking the sun.
Listen to me.
You look so worried, my love. What is it now?
This is no laughing matter.
- I have to Ieave for a few hours. - Go ahead, I'll stay by the pool.
That's exactly what I don't want, I'd feel better if you came with me.
Don't start that again.
Do you have to be so inconsiderate?
AlI you know how to do is stay here and sunbathe.
Why? What else should I do?
Think about it...
lf there really was a killer wandering around the house...
wouldn't they have tried to kiIl us by now?
The other night you were scared out of your wits with a knife in your hand.
Yes, but the other night I was scared and it was dark...
Today it's sunny and l see things differentIy.
Do what you want, but be careful.
Of what? Of who?
I sometimes wonder why we're still together.
You're not the only one.
Of course I love you.
I already told you.
A kiss.
Okay, okay.
Excuse me.
Hello? Naples? Duze Theatre?
Hello? Speak up.
The Duze theatre?
Yes. Who's speaking?
I'd Iike to talk to the director of the theatre company.
That's me, but speak up because l can't hear anything.
Listen, I heard your show's been suspended.
Is it true you've been charged with obscenity?
Charged with obscenity? What the hell are you talking about?
It's a show for schools, sponsored by the Education Board.
Perhaps we're not talking about the same show.
Does the actress JuIia Rubini work for you?
JuIia! Are you a friend of that lunatic?
Actually...
You teIl her from me, we haven't reported that little stunt of hers...
but it will cost her very dearly, because we'll make her pay the fine.
Why? What has she done?
You don't know?
She disappeared on the opening night and we haven't seen her since.
When did it happen?
Last week, and if you're a friend tell her not to call us, goodbye!
Hello?
It's ready to be sent out.
I'd like to see the last reel of the film?
You know Sandra won't let anyone see it.
Does she ever get off the phone?
Yes, hold on...
Okay.
Okay, mum, l'Il be round for dinner tonight.
I can't finish it unless l see it. Sandra knows, I have to work.
Okay, tonight.
I don't know anything. The reel's in the editing suite.
What is it?
What a mess! Look at all this.
- Who was in here? - How do I know?
But I know what wiII happen when Sandra finds out.
Look at this, they've cut it to pieces.
- It's the last reel of the film. - It was, half of it's missing.
- Can you fix it? - It's junk, how can I fix this?
Okay' let's give it a shot, but lots of pieces are missing.
It wilI take a miracle to put this back together.
But that's the same scene.
Are you sure it's the last reel?
Of course I'm sure, this is what they left us.
Look at the state of it.
Would you mind rewinding it?
The key to everything was meant to be in this reeI.
- What was her secret? - What secret?
I see the same kids pIaying with a tennis balI.
Kids? But that's a woman!
Go back.
Who is she? I haven't seen her before.
Do you know about this?
No, it's meant to have a twist ending and that's the scene that's missing.
These frames just happened to be left behind.
Who knows? That woman's probably the killer in the film.
In the film?
I think I'm beginning to understand.
I thought of you as well!
Don't be afraid!
I don't want to hurt you, I want your blood!
Don't be a IittIe girl, come out!
I'm not a little girl!
Poor Sandra, she'd figured it alI out without even realising it.
Yes' she knew Linda's secret but she didn't know Tony was Linda.
The shock he suffered as a child had traumatised him.
His female side had taken over but Tony couldn't accept it.
He projected his hate on other girls who reminded him of himself.
But what reason did he have to kill them?
Perhaps for the simplest reason...
to prove to himself that he wasn't afraid.