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00:00:00To close our show, we bring you a top creation from the House of Doré.
00:00:07Our wedding dress, Babette.
00:00:10A misty dream out of organza and embroidery.
00:00:17Ladies and gentlemen, I thank you in the name of our house for your interest.
00:00:21A beautiful and thrilling month.
00:00:24We would love to welcome you again at our next show.
00:00:26It's too bad that a divorce is so expensive.
00:00:31Oh, George, you're really awful. Really. There's attorneys.
00:00:33Yeah, it just costs too much.
00:00:37Leda, the mistress would like to speak with you immediately.
00:00:42Now, come on. Hurry up, darling.
00:00:43Yes, I'm going already.
00:00:46Yes, please come in.
00:00:47You called for me?
00:00:49You look wonderful, child.
00:00:52Leda, I've got a favor to ask of you.
00:00:55Yes?
00:00:55Mr. Raddick has asked me to...
00:00:58Yes, but you know...
00:00:58Yes, yes.
00:00:59I know you have separated from Mr. Raddick.
00:01:02And I don't know your grounds.
00:01:04And it doesn't concern me.
00:01:06But I...
00:01:07I have spoken a while ago to Mr. Raddick.
00:01:09He is suffering very much under this separation.
00:01:12And he asked me to arrange a talk with you.
00:01:14Madam, that's quite impossible.
00:01:17Leda, you've been working for me for the last two years.
00:01:20And I hope you've always felt at home here.
00:01:22You've had every wish fulfilled.
00:01:24Yes, I know, madam.
00:01:25But in this case, it really doesn't go.
00:01:27You see, Leda, I'm in a difficult situation.
00:01:30Mr. Raddick wasn't only a good customer of mine.
00:01:33I'm also personally obliged.
00:01:35Because my business hasn't always run so well as now.
00:01:38He has often helped me out.
00:01:40Child, you must meet him.
00:01:41I really don't see any other possibility.
00:01:43Speak with him.
00:01:44When?
00:01:44He should be here at any moment.
00:01:46And I would be very thankful if you would wait for him.
00:01:49Good, madam.
00:01:50But I'm only doing it for you.
00:01:51Thank you.
00:01:52Sometimes I don't understand this world.
00:01:55Raddick is really a wonderful man.
00:01:58And besides that,
00:01:59I know he really loves you.
00:02:01Be a little nice to him, my child.
00:02:03One should really be married.
00:02:19One should really be married.
00:02:29So...
00:02:30One should really be married.
00:03:00One should really be married.
00:03:30Gloria, are you still waiting?
00:04:00Marion?
00:04:10Gloria?
00:04:11Gloria?
00:04:13Oh, oh, oh, oh, oh, oh, oh.
00:04:43Oh, my God.
00:05:13Come on, sweetie.
00:05:20Oh, disgusting.
00:05:24Oh, no.
00:05:38Oh, no.
00:05:42Oh, no.
00:05:44Oh.
00:05:46Oh.
00:05:48Oh, no.
00:05:50Oh, no.
00:05:54Oh, no.
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00:09:06But lots of tits, eh?
00:09:09Oh, well, I've seen better. She wasn't that stacked.
00:09:13You must remember exactly. Your evidence is very important.
00:09:15Yes, yes, I know. But I can't...
00:09:18I can't seem to remember anything anymore.
00:09:24I really got a terrible, terrible headache.
00:09:26When she hit me, I didn't know it was coming.
00:09:28She really knocked me for a loop.
00:09:30Yes, I wasn't even thinking anything bad.
00:09:32And then suddenly I flew through the air and then I was already dreaming.
00:09:37And anything else?
00:09:39No. No, actually nothing.
00:09:42That is, I mean, yes.
00:09:44She was wonderful.
00:09:46I mean, you know, Inspector, she would be something to marry if she could just cook.
00:09:53Hello?
00:09:55Ankara's on the line.
00:09:57Oh.
00:09:59I don't want to. I'm not scared.
00:10:01Come on, it's Ankara.
00:10:03Ankara?
00:10:06My God, one just can't get up when one hasn't anything on.
00:10:12Thank you.
00:10:12Come on, give it here.
00:10:29Hello. Mr. Redick, please.
00:10:32What did you say?
00:10:33Yes, my dear.
00:10:35We are all secretaries at the right time.
00:10:38And with the right boss.
00:10:41Hmm.
00:10:42That will be expensive.
00:10:44Ah, he's really not there?
00:10:46My God.
00:10:49Ah, he's hard to reach.
00:10:51Where could he be?
00:10:52Ah, you have a message for me?
00:10:54That sounds better.
00:10:55Now let me hear it.
00:10:56Uh-huh.
00:10:56She wants to know the password.
00:10:59What should I do?
00:11:00That's what you've got to say it.
00:11:00Listen.
00:11:02All right, I'll give you the password.
00:11:04Lita.
00:11:05We've tried everything already, but he's so busy, he's always someplace.
00:11:09Now listen here.
00:11:11Uh-huh.
00:11:12Then I'll see to it that I'll meet him in his apartment, but he should follow my instructions exactly.
00:11:17All right.
00:11:18He must be in his bedroom at midnight alone, in the dark.
00:11:22Then it will continue.
00:11:25Very good, and I thought you only had men in your head.
00:11:28Ah, I'm completely exhausted.
00:11:31Are you?
00:11:31Can I sleep on?
00:11:33I was just so involved.
00:11:36I dreamed I was with Paul.
00:11:38And all alone, he took me in his strong arms and he kissed me.
00:11:42How wonderful.
00:11:43Which Paul?
00:11:44Paul Newman, of course.
00:11:46So if you work hard, I'll give him to you for Christmas.
00:11:49I don't like it when you drag my true love through the mud.
00:11:52I really love him.
00:12:04G'day, mister.
00:12:06Why did you call the police, huh?
00:12:10I had to do it.
00:12:12Someone had attacked me.
00:12:13That picture was gone, and I thought...
00:12:15Huh?
00:12:16What did you think?
00:12:18Well, I...
00:12:18I think I made a big mistake.
00:12:21I told you too much, and that was dangerous.
00:12:26What did you tell the police?
00:12:31Truthfully, truthfully, I...
00:12:32I wouldn't say anything.
00:12:34What did you say?
00:12:52Run!
00:12:53Run!
00:12:54Run!
00:12:56Run!
00:13:01Run!
00:13:02Ja.
00:13:32Ich habe etwas für Sie.
00:13:46Wer ist es?
00:13:47Ist das es?
00:13:48Ja, und es ist schrecklich.
00:13:50Wer hat Lita so gesehen?
00:13:52Du hast nie gesehen, dass das Bild?
00:13:54Nein, nie.
00:13:55Es ist möglich, dass Lita die Bildung für das Bild ohne dich zu wissen?
00:13:59Impossible.
00:14:00Es ist unmöglich, ich weiß das.
00:14:03A few days before she disappeared,
00:14:05she began to paint on herself an artificial sort of birthmark like that,
00:14:09but that's absolutely clear now.
00:14:12That picture was painted after her disappearance.
00:14:15Well, then I'm on the right track.
00:14:16I will continue, but it will cost you $50,000.
00:14:20I'll agree.
00:14:21I've got to have that girl back, because I love her.
00:14:23And please, find out who painted that picture.
00:14:25All right.
00:14:25Give me $25,000 as first payment.
00:14:28The other $25,000 you'll pay when I bring Lita, dead or alive.
00:14:32Here, $25,000.
00:14:34It's my personal check.
00:14:35Don't move.
00:14:35Take it.
00:14:36Don't turn on the light and sing something nice so that I know you're still here.
00:14:39All right.
00:14:40Good night.
00:14:43You'll hear from me.
00:14:43Please, what should I sing?
00:14:45I can't sing.
00:14:46I'm absolutely unmusical.
00:14:47All right, then.
00:14:49Count Oliver wandered mornings along the beach at San Juan
00:14:53to give his horse some water,
00:14:55to give his horse some water,
00:14:57to give his horse some...
00:15:00Aren't you well?
00:15:01What a stupid question.
00:15:03I feel perfect.
00:15:04I thought I heard the sir singing.
00:15:05Well, certainly I was singing.
00:15:06What's the matter now?
00:15:07Didn't you think it was all right?
00:15:08So then I didn't make a mistake.
00:15:10No.
00:15:11I'm very happy that art is still appreciated in our house,
00:15:14even if it is so late.
00:15:15Good night, sir.
00:15:17Good night.
00:15:18Ouch!
00:15:19Quiet.
00:15:20You're too fat for Paul.
00:15:22There are all those photos.
00:15:25In the last two years,
00:15:26there have been eight women disappearing under the same circumstances.
00:15:30What gives you the idea that they were all murdered?
00:15:32There are other reasons why women disappear.
00:15:34You ran away more than once yourself,
00:15:36and not only from home.
00:15:37Isn't that so?
00:15:38Don't talk so stupidly.
00:15:40That fits to me.
00:15:41There again, you're right.
00:15:42What do you want?
00:15:43Men love dumb women,
00:15:44and that's the most important thing for me.
00:15:46If that makes you happy.
00:15:48Then how...
00:15:48But it is really so.
00:15:49All those cases are similar in some way.
00:15:51Everywhere the same traces of violence.
00:15:53But most men are slightly brutal.
00:15:55Do tell me.
00:15:56There must be a guy with long and strong fingernails like claws.
00:15:59Do you like that, too?
00:16:01Oh!
00:16:02The evidence and places of occurrence fit together.
00:16:05Here, on one of the Caribbean islands, on Topatara,
00:16:09a mulatto disappears.
00:16:11Traces of a battle in her bungalow.
00:16:14On different pieces can be found scratches that run parallel
00:16:17and are very deep.
00:16:19You see, it's always the same.
00:16:21A few months later, Camilla Pearson, a model, disappears.
00:16:25A similar case.
00:16:26She was last seen with a man about 40 years old.
00:16:31Southern type.
00:16:33Camilla's last residence was a third-class hotel.
00:16:37All the girls were either dancers, photo models, or mannequins.
00:16:42No one knows whether the girls are dead or not.
00:16:44They could have been kidnapped, but I don't believe it.
00:16:46Because if it dealt with white traffic,
00:16:48one could find out about it through the international organizations.
00:16:51Only in the case with Lita is there any evidence,
00:16:53and that's the photo.
00:16:54What does your masculine intellect make of it?
00:16:57Well, if you saw the picture,
00:16:59you might think it was painted at the hour of her death.
00:17:02That would mean we are dealing with an insane murderer.
00:17:05What kind of case do you always choose?
00:17:07I don't think for a second that I'll be the next victim.
00:17:10Hmm.
00:17:10Afraid?
00:17:11Come on, over here.
00:17:30There.
00:17:32But, my lady, do you greet all your guests this way?
00:17:35Only our favor.
00:17:36What do you want?
00:17:36Mr. LeMond sent me.
00:17:38I'm supposed to look at your house.
00:17:39Uh-huh.
00:17:39He said you're only here for a short while,
00:17:42and I'm looking for something in this size.
00:17:43And secondly, I like the situation I'm in, I mean.
00:17:46Of course, when I think it over,
00:17:47I can stand it like this.
00:17:50Hold me tight, my darling, and never let me go.
00:17:52How did you get in here?
00:17:53No, how else?
00:17:54Through the door.
00:17:54You must understand I've got a peculiar habit.
00:17:56I always go through doors.
00:17:57Peculiar bird.
00:17:58Do you like him, or should we throw him out?
00:18:00Oh, mamma mia, don't do that to me.
00:18:02Just let me get up.
00:18:03You have no idea who you are sending away.
00:18:06Well, let's hear it.
00:18:08You'll hardly believe it.
00:18:09I'm Vittorio Freda.
00:18:20It's very nice here.
00:18:21Yes, I like it very much.
00:18:22I'll be staying here this winter.
00:18:23Did you do this all by yourselves?
00:18:24I did the foundation.
00:18:25She did the rest.
00:18:26Now, you've seen everything, so get lost.
00:18:27No, I still haven't seen the bedroom.
00:18:29Sorry to disappoint you.
00:18:30You can't go in there right now.
00:18:31Paul Newman's there.
00:18:32I'll wait.
00:18:33Ah, is my throat dry again today?
00:18:35How about a drink?
00:18:36I only have a Coke in the fridge.
00:18:38I'm not sure you deserve having it.
00:18:39What a pity it would be.
00:18:41May I ask you to disappear the same way you came in, through the door?
00:18:44Yes, yes, I always go through the door.
00:18:46That's what I had to say.
00:18:46But, children, this is a day of the missed opportunities.
00:18:49I must see you again.
00:18:51Ciao.
00:18:51I'll never leave this down.
00:18:53I really don't care for that type.
00:18:56I find him wonderful.
00:18:58Oh, you find them all wonderful, but now we're going to work.
00:19:01Oh, I don't want to.
00:19:03I don't feel like it.
00:19:04I thought you wanted to earn some money.
00:19:05You should think of Hollywood.
00:19:07We need diamonds as big as nuts.
00:19:10What should I do?
00:19:11I'd say that you'd take dress number 3A and then to the gallery.
00:19:14Oh, it's really wonderful.
00:19:17Fantastic.
00:19:18Even at the entrance, these treasures.
00:19:22Oh, and there I'm overwhelmed, enthused, exciting.
00:19:25Such a beautiful child and so much blood.
00:19:28Are you the master?
00:19:28I'm a critic.
00:19:29Ask over there.
00:19:30Oh, wonderful.
00:19:32Exorbitant.
00:19:33I'll ask over there.
00:19:34One doesn't know where one should first look.
00:19:38Oh, doesn't she look like Snow White as if she were asleep?
00:19:43Scouterbrained female.
00:19:44Oh, only once to be tied like that.
00:19:47Well, that could be had.
00:19:48Are you the creator?
00:19:49Sorry, no.
00:19:51But the master must be somewhere to be found.
00:19:53Are you him?
00:19:54Oh, no.
00:19:55It's Datcher over there.
00:19:57Do you work here, my good man?
00:19:59Yes.
00:19:59Please see to it that I can meet the master.
00:20:01I might want to buy a few of his pieces.
00:20:03For cash.
00:20:05I'm sorry, but Mr. Tiller is not here.
00:20:08That's unbelievable.
00:20:09He must dedicate himself to his business.
00:20:12Please, come with me.
00:20:18Excuse me, but this lady would like to speak to you.
00:20:22Good day, madam.
00:20:23I've got you.
00:20:25Now I can live, master.
00:20:28Oh, no.
00:20:28I'm just the director of the gallery.
00:20:31Please have a seat.
00:20:32Thank you.
00:20:40I'm very happy that I've been able to meet you.
00:20:43My name is Anastasia dos Santos.
00:20:46I am the Countess de la Contagia and the Marquesa Cumbre Sardinas.
00:20:49Oh, my beloved director, many pieces from your house will beautify my lonely life in Brazil.
00:20:55I would like to buy pictures, especially statues.
00:20:58I love statues more than anything else.
00:21:01Oh, madam, please.
00:21:03I'm very unhappy that I must tell you...
00:21:05My dear friend, I must get to know the master.
00:21:07I cannot live without the master and his works anymore.
00:21:11And you, you will really help me.
00:21:14I will pay you any price for it,
00:21:16and I will do anything for the one who fulfills my heart's desire.
00:21:19My dear director.
00:21:21But that is impossible.
00:21:24I understand.
00:21:25He is a sensitive man, some sort of genius.
00:21:28What was his name?
00:21:29Something like Papagano?
00:21:31Paganini?
00:21:32No.
00:21:33His name is Klaus Tiller.
00:21:36But he talks to no one.
00:21:38I'm not so sure about that.
00:21:40If he would only see me, then perhaps I could model for him.
00:21:44I do have a wonderful figure.
00:21:47Hmm, with some imagination, one could imagine that.
00:21:51Nevertheless, I have to disappoint you.
00:21:53You can't get to meet him because he's not here.
00:21:56You dare tell a Cumbres Sandin is such a lie?
00:21:59Please believe me.
00:22:00Even I only get to talk to his lawyer.
00:22:02Mr. Tiller himself, I've never seen.
00:22:05But the worst of it is that I'm not authorized to sell.
00:22:08Not even one of his works of art.
00:22:11Even for that, you would have to contact his personal lawyer in Paris.
00:22:15But I'll do everything in my power.
00:22:17Oh, you are so generous, mister.
00:22:19Albert.
00:22:20Albert Garimbaldi.
00:22:22Oh, my dear Albert.
00:22:24I would like to return my gratitude.
00:22:26But I just don't know how.
00:22:29I am agreeable.
00:22:30Please consider me at your disposal.
00:22:32Then I can expect you this evening.
00:22:34I have a heavenly bungalow.
00:22:37The summer night will inspire us.
00:22:40And Montevani's violins will enchant us.
00:22:47Most gracious lady, I'll use this afternoon to rest myself so that I'll be fresh this evening.
00:22:52So far I've played along, but now it's the end.
00:22:54Now listen to me.
00:22:56I've already told you I don't want that, Grandpa, and I keep telling you.
00:22:59No, no, no.
00:23:00Darling.
00:23:01Leave me alone.
00:23:01Look here, you want to earn money?
00:23:05Then one must work a bit.
00:23:07That's the way it is.
00:23:08You're almost at your goal.
00:23:10You in Las Vegas.
00:23:12And Frankie boy comes.
00:23:14And then he greets you personally.
00:23:17And Dean Martin stands at the bar and Frankie sings only for you, strangers in the night.
00:23:23Then you've got them both.
00:23:25Dean and Frankie.
00:23:27Dean and Frankie.
00:23:28Yes, that would be heavenly.
00:23:30And what do I have now, my grandfather?
00:23:32You must, you must, you must.
00:23:35Swallow it, my darling, okay?
00:23:39I'll get the microphones ready.
00:23:41We haven't much time.
00:23:49Maybe this will bring us further.
00:23:52And don't get too undressed so he doesn't get a heart attack.
00:23:55Okay.
00:23:58And please, stay around the microphone all the time.
00:24:03And how?
00:24:04The way you always do it.
00:24:06On the couch.
00:24:07Hmm, that's him now.
00:24:08I think it's starting.
00:24:10Okay, good luck.
00:24:14Oh, director.
00:24:23Oh, countess, I'm so happy to see you again.
00:24:26May I?
00:24:28Oh.
00:24:28A little present.
00:24:29Oh, such wonderful flowers.
00:24:32You're a cavalier of the old school.
00:24:34Your hat, please.
00:24:35Thank you.
00:24:35Thank you.
00:24:38Dear director, I've got to serve you myself.
00:24:40I let the servant off for tonight so we wouldn't be disturbed.
00:24:45Careful.
00:24:45I'll manage.
00:24:46I'll manage.
00:24:50Hmm.
00:24:53A drink, Albert?
00:24:56Yes, please.
00:24:56But not too strong.
00:24:58I invented a cocktail especially for you.
00:25:01Certainly something mild.
00:25:03We both want to have something from this evening, don't we, my dear?
00:25:11Just a moment, dear director.
00:25:17Oh.
00:25:18Shh.
00:25:19Watch out.
00:25:19Did you call me?
00:25:20Oh, yes.
00:25:24That is the wild cry of passion that the women of my land call to the man they love as they
00:25:30chase them through the pampas.
00:25:35That hurt me.
00:25:36I didn't know you were nearsighted.
00:25:38Now, a little rum and a little olive oil.
00:25:47Be careful.
00:25:48We still need him.
00:25:49And on top of that, a little whiskey.
00:25:52That'll make it good.
00:25:55You're brutal.
00:25:56Small fry.
00:26:02Countess, you were gone so long.
00:26:04I've missed you so.
00:26:05Mm-hmm.
00:26:07Thank you.
00:26:09Please.
00:26:15Is it too strong for you?
00:26:17Yes.
00:26:19Oh, you are wonderful.
00:26:26Breathtakingly beautiful.
00:26:27My dear director, you wanted to tell me about the painter?
00:26:31About the painter?
00:26:32We can talk later on.
00:26:33No.
00:26:34Tell me about the master.
00:26:36You know I need him like I need air to breathe.
00:26:38Air, air.
00:26:39Yes, it's getting too warm for me, too.
00:26:41My beloved, come back.
00:26:44Couldn't we just...
00:26:46If possible, I have very little on.
00:26:47Haven't you noticed that yet?
00:26:49And if I get in a draft...
00:26:51Come on over here.
00:26:52Absolutely not.
00:26:53Not on the sofa.
00:26:54I certainly couldn't talk to you about painters.
00:27:00I'm a quiet and discreet lover, understand?
00:27:05Oh, the flowers.
00:27:07I find it romantic when the perfume of flowers surrounds me.
00:27:12But let's talk about the master.
00:27:13I don't know anything more about him than you.
00:27:15He paints and he's a sculptor.
00:27:17But he does contact you about business matters, doesn't he?
00:27:20No, no.
00:27:21We do everything through his lawyer.
00:27:24Well, then I can never buy one of his works.
00:27:26Yes, through one single person.
00:27:29Who is that?
00:27:29Me.
00:27:30Oh, and you'll help me?
00:27:33My dear child, I'll do everything for you.
00:27:36But it's not so easy.
00:27:37What's the matter?
00:27:38That cocktail was wonderful, but I think it is confusing me completely.
00:27:42That's what happens when one drinks only one.
00:27:45And so I'll quickly mix another for my little pampas, sweetie.
00:27:53He's too far from the mic.
00:27:54I can't hear a word.
00:27:55That isn't important now.
00:27:57I've just thought of something.
00:27:58You know, those pictures in the gallery are similar to the photos of the girls who've disappeared.
00:28:02Exactly like I told you about the figure I had seen.
00:28:04Then try to buy whatever you'll sell.
00:28:06Ah, I'm happy enough if I can get the figure we really need.
00:28:09Then besides that, it's a question of the money.
00:28:11I don't like to part with it that easily.
00:28:14To the next one.
00:28:15Exert yourself.
00:28:16Mm-hmm.
00:28:20Here I am.
00:28:22Yoo-hoo.
00:28:24There.
00:28:25Thank you.
00:28:26Cheers.
00:28:28Why don't you take your jacket off?
00:28:33You were so warm.
00:28:35You really don't have anything against you.
00:28:38Oh, you should feel at home here.
00:28:39My house is yours.
00:28:43Olé.
00:28:47You little tiger.
00:28:49And now we'll play a game that the women of my country love.
00:28:53I ask you something, and by every answer that is correct, you get a piece of my wardrobe.
00:28:58That's a fair offer, so everybody gets what he wants.
00:29:02Do you agree with that?
00:29:03Yes.
00:29:03Just ask me.
00:29:04Ask me.
00:29:05For the first question, who is the master?
00:29:08Personally, only his attorney knows him.
00:29:11He lives in Paris.
00:29:12And what is the name of his attorney?
00:29:15Barker.
00:29:16Barker is his name.
00:29:18I can't hear anything.
00:29:20Louder.
00:29:20Louder.
00:29:21A little louder, please.
00:29:23The man's name is Barker.
00:29:24Barker and Ferris.
00:29:25I'll go out.
00:29:26I'll go out.
00:29:26I'll go out.
00:29:27I'll go out.
00:29:27Please give me something.
00:29:28Guess what?
00:29:30Oh, sure.
00:29:32Oh, well.
00:29:35What's the matter, darling?
00:29:36I believe I saw someone rush and buy over there.
00:29:40Quiet down.
00:29:41I'm by your side, honey.
00:29:42Yes.
00:29:43And now I have a special wish for you to fulfill.
00:29:47Sell me the figure number 12 out of the catalog, my darling.
00:29:51Whatever you want, I'll sell to you.
00:29:53Everything you want, just keep asking.
00:29:55The figure 12.
00:29:57It is yours.
00:29:59I agree.
00:30:00Do you want it on paper?
00:30:02Yes.
00:30:03Yes, but finally give me a piece.
00:30:05I agree.
00:30:06Just a moment.
00:30:11I'm only getting a pencil and paper.
00:30:13Here we are.
00:30:15By darling, I just took KSI a blank piece of paper.
00:30:18Then we'll go into my office and make out a contract.
00:30:21No.
00:30:22That'll take too long for me.
00:30:24You wouldn't cheat me.
00:30:25I'll believe you so.
00:30:26Here.
00:30:27Thanks.
00:30:29Which piece?
00:30:31Ask him the price.
00:30:32Come on, ask more prices.
00:30:34Come on.
00:30:35The price.
00:30:36Come on, I can wait any longer.
00:30:38Hmm, and what must your little darling pay for the figure?
00:30:4310,000, that's all.
00:30:44Oh, that's way too much.
00:30:47How much do you want to pay?
00:30:48Half of that.
00:30:49Oh, good.
00:30:50Okay, it's told.
00:30:51Who, who is that?
00:30:54Good evening.
00:30:56My personal name.
00:30:56You may.
00:30:57I thought you had given her the night off.
00:30:59Yes, but she made a mistake.
00:31:02But why?
00:31:03What does she want here?
00:31:04She hasn't got anything on.
00:31:05The poor child is given to sleepwalking.
00:31:07Don't wake her up.
00:31:08Let's keep on playing.
00:31:09Answer my last question and you can take everything off.
00:31:12I can't stand it anymore.
00:31:15Ask me more.
00:31:16I will.
00:31:17Please tell me the name of the painter, hmm?
00:31:20Klaus Tiller.
00:31:21No, that's not his real name.
00:31:23That's only his professional name.
00:31:25I want to know his real name.
00:31:27I must know it.
00:31:28And I thought you didn't want a fully dressed countess.
00:31:31His real name is...
00:31:33Oh, come on.
00:31:35After it.
00:31:35Nuts!
00:32:02He's gotten away.
00:32:03We have neglected our morning gymnastics, my child.
00:32:08Mm-hmm.
00:32:11Tell me.
00:32:13What are we going to do with our guest?
00:32:15Take him away.
00:32:15What else?
00:32:21We can't have any police here.
00:32:22We'll first take him down into the garage.
00:32:24Huh?
00:32:30It's not necessary.
00:32:31Where could it be?
00:32:32It can't be true.
00:32:33It can't be a recorder.
00:32:36What do you mean?
00:32:37Here, there must be something on it.
00:32:40Naturally.
00:32:48Come on, we've got to hurry before they return.
00:32:51Ah, little bat can't hurt him now, the old sack.
00:32:53I know him.
00:32:55I know him.
00:33:00Who is that?
00:33:00It sounds a lot like my beautiful Italian.
00:33:03Think once about something else.
00:33:05Hello, friends.
00:33:07It's starting now.
00:33:08One, two, three.
00:33:10Oh, man.
00:33:14Oh.
00:33:29Oh.
00:33:31Oh.
00:33:31Oh.
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00:36:47Ja.
00:36:58Boy, there sure is a lot of junk around here.
00:37:02There she is. You can load her up.
00:37:04Okay, fellas, take a hold of it.
00:37:06Be careful now.
00:37:07Behind these lines, suddenly there comes the shock.
00:37:10The primeval violence of fight and with these colors is a composition of genius.
00:37:14The break between body and...
00:37:15Oh, excuse me. I didn't mean to disturb you.
00:37:17You're not bothering. Come on in.
00:37:19Oh, is it fantastic?
00:37:21I am so happy that I finally possess the work of the master.
00:37:24Are you the manager? I'd like to pick up my figure.
00:37:27No, he is not. I am the manager.
00:37:29I represent Mr. Caramboldi.
00:37:32Well, I've come for the figure number 12.
00:37:34Mm-hmm.
00:37:36Number 12 was sold to the Countess Cumbre Sedinas.
00:37:39Is that you?
00:37:40And I would like to have that picture as well.
00:37:42No, that is impossible.
00:37:43Yes, that is the signature of Mr. Caramboldi, but I'm sorry, we'll have to wait until he comes.
00:37:48And when will that be?
00:37:50That I don't know either.
00:37:51Now, listen to me. I bought the figure and I've paid my 10,000 and all I want is my property.
00:37:55Do you understand? Outside is my moving van and my workers are waiting.
00:37:58Yes, but Countess, I really haven't the authority.
00:38:00That doesn't interest me and I'm taking it along with me.
00:38:02It's absolutely absurd what people ask of me.
00:38:05Come on, boys, hurry up.
00:38:06I really must protest.
00:38:07The fact is incontestable. The lady has paid for it. She can take it with her.
00:38:10Finally, a reasonable man.
00:38:13Mm-hmm.
00:38:14What is your name, my friend?
00:38:17Oh, my name is Malou and I'm from Interpol.
00:38:19Hmm, you've come at the right time.
00:38:21We're under police protection, boys.
00:38:22I hope you're responsible for everything.
00:38:23You're speaking with the famous Francis Malou.
00:38:25I want to thank you. You're really my savior.
00:38:34Oh, yeah. I only want to see that justice is carried out.
00:38:38I never really knew that the police were such wonderful people.
00:38:42I've always heard that the police had the same tendencies as criminals.
00:38:47It is said in the modern criminal psychology, but you're no criminal.
00:38:51That can be seen immediately.
00:38:53Yes, I'm an Englishman.
00:38:54Oh, I love England.
00:38:58The Beatles, the Queen, and the mail robbers.
00:39:03You happen to know any of them?
00:39:05No.
00:39:06What a pity.
00:39:10Stop. Stop. Wait. The lady belongs to me here.
00:39:12Look, Mac, let us get this thing loaded.
00:39:15One step further.
00:39:16What do you want of me? The sculpture belongs to me.
00:39:19Then you've made a tremendous mistake.
00:39:21I am in the right. Even the police are convinced.
00:39:23This lady is bound to me through a contract.
00:39:25Here is my receipt.
00:39:26I don't care.
00:39:27I'll let you have it.
00:39:28Police.
00:39:29Oh, please forget it. One wouldn't believe it looking at you.
00:39:31Just keep the reading.
00:39:32I'd be glad to put more documents at your disposal.
00:39:35Also, you have bought it and you have bought it.
00:39:37Whatever you see in that thing.
00:39:39She is a unique piece of art. Load her up.
00:39:41Stop. Let go of her.
00:39:42Maybe you guys will make up your mind sometime today.
00:39:44I'd like to eat some lunch and my buddies would like to get off of work.
00:39:47She will not be loaded. That thing belongs to me.
00:39:50Shut up.
00:39:51Oh, my dear, dear inspector, help a defenseless woman to her rights, will you?
00:39:56I got one of those standing in my garden.
00:39:58You're here to protect the weak.
00:40:00Yes.
00:40:00Do you have any sisters?
00:40:02Then you must know how women suffer.
00:40:05Have you any idea what it's like inside of me?
00:40:07No, not yet.
00:40:08Then tell him to take off.
00:40:09You're absolutely right.
00:40:11What are you waiting for? The statue belongs to the madam.
00:40:13Bella signorina, you have insulted an Italian.
00:40:16I despise you.
00:40:18Oh, yes. She'll survive.
00:40:19Okay, you guys, pick that thing up.
00:40:21Don't break it.
00:40:29Thank you.
00:40:30I would really like to see you again.
00:40:32But I'm sure you're a very busy man.
00:40:34Oh, yes. How one takes it.
00:40:35I do sometimes have a free day.
00:40:36Give me your telephone number.
00:40:38You're a policeman.
00:40:39Look for me, and if you find me, you can keep me.
00:40:45Okay.
00:40:53Chin Chin.
00:40:54So, darling, you've really earned this.
00:41:03You're telling me.
00:41:04I've been working for days without a break, knocking around with Italian playboys here,
00:41:08seducing grandfathers, and you lie in the sun and watch over your luxurious body.
00:41:13There's nothing we can do about it.
00:41:15We've got to find your playboy.
00:41:16We'll have to turn the whole city upside down, but it can't be so difficult.
00:41:19Well, there are only a few bars frequented by these types, and where shall we start?
00:41:24In the flamingo.
00:41:24We'll have to turn the whole city upside down, and we'll have to turn the whole city upside down, and we'll have to turn the whole city upside down, and we'll have to turn the whole city upside down, and we'll have to turn the whole city upside down, and we'll have to turn the whole city upside down, and we'll have to turn the whole city upside down, and we'll have to turn the whole city upside down.
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00:47:43yes but it isn't finished yet you see i've only been here a short while
00:48:13Vielen Dank.
00:48:43Vielen Dank.
00:49:13You had asked me for my name.
00:49:22You shall know it.
00:49:26My name is Klaus Thieler.
00:49:27I painted Lida Regny and many other girls.
00:49:34And now a new work will be completed.
00:49:46I painted Lida Regny.
00:49:50Oh, oh, oh, oh.
00:50:20Let's go!
00:50:28You could have used something other than that.
00:50:30Oh, next time I'll take laughing gas.
00:50:32And I'll take you alive for me.
00:50:35I can't get any air because that unshaven idiot grabbed me around the throat,
00:50:39and then you come along and give me the rest.
00:50:41Girls, this was such a hot night,
00:50:43and I thought I was so far that nothing could excite me anymore.
00:50:46Inspector Tanner.
00:50:47This is Tanner.
00:50:48Uh-huh.
00:50:49I'm speaking. This is Red Lips.
00:50:51Is it really you?
00:50:52Yes.
00:50:53Then listen to me very well.
00:50:55I sent to you by mail the solution to a very important case.
00:51:02Naturally, there's no point to it if you don't even read the mail.
00:51:05Yes, naturally.
00:51:07Well, take a look now.
00:51:09Or can't you even read?
00:51:11It's not here.
00:51:12Yes, yes. It must be there. I mailed it.
00:51:15Huh?
00:51:16I think you spoke to me.
00:51:17Nonsense.
00:51:18That's not healthy. Have you finally got it?
00:51:20Yes, yes. I believe this is it.
00:51:21So then read it, my dear.
00:51:25Bye-bye.
00:51:29Hello?
00:51:30Hello?
00:51:31My dear Inspector Tanner, I'm giving you a chance to arrest a murderer.
00:51:44His name is Kloss Tiller, and he lives at Santrinas de la Jara.
00:51:48Man, do something now.
00:51:49Hello there.
00:51:50Hello.
00:51:51Huh?
00:51:52Looking for somebody?
00:51:53Yes.
00:51:54Who actually lives in this house?
00:51:55We live here.
00:51:56Oh, no. I'm looking for someone by the name of Tiller.
00:51:58Tiller?
00:52:00Tiller?
00:52:01Don't know him.
00:52:02Ugh.
00:52:03Okay, then our dear Inspector has strained himself out of the house.
00:52:05I'm looking for someone by the name of Tiller.
00:52:07Tiller?
00:52:08Don't know him.
00:52:09Ugh.
00:52:10Okay, then our dear Inspector has strained himself for nothing.
00:52:11I don't care if he has.
00:52:12I just want to get away from here.
00:52:13But Tiller has disappeared without a clue, and we're to suffer here.
00:52:16Understand me, finally.
00:52:17I don't care if he has.
00:52:18I don't care if he has.
00:52:19I just want to get away from here.
00:52:20But Tiller has disappeared without a clue, and we're to suffer here.
00:52:22Understand me, finally.
00:52:23I don't want to wake up at night and find a crazy person coming here in the room and grabbing
00:52:28me around the neck.
00:52:29I want to get away from here.
00:52:30No one will get you around your beautiful neck as long as I'm here.
00:52:33That's what you say.
00:52:34Hello, ladies.
00:52:35Oh.
00:52:36What is it?
00:52:37Flowers for you.
00:52:38Nein, ich will nicht. Ich will nicht.
00:52:40Ich will nicht. Ich will nicht.
00:52:42Ich will nicht. Ich will nicht.
00:52:44Ich will nicht.
00:52:46Ich will nicht.
00:52:48Hallo, Mädels.
00:52:50Oh!
00:52:51Was ist es?
00:52:53Ja, natürlich.
00:52:54Danke, danke.
00:52:55Für die Balcony.
00:52:56Even die Jugendlichen versuchen mich.
00:52:58Was ein Dich.
00:53:00Hmm.
00:53:01Von einem Known Admirer.
00:53:03Das ist toll.
00:53:04Das ist von Malou.
00:53:06Was ist ein Dich.
00:53:08Was ist ein Dich.
00:53:09Ich bin mit dem.
00:53:10Komm zurück.
00:53:11Komm zurück.
00:53:29Oh, such a dirty deal.
00:53:32And I was just at the hairdresser.
00:53:36We had luck.
00:53:38Oh!
00:53:39Oh!
00:53:45I don't understand what you have against the trip.
00:53:49I don't know either.
00:53:51Maybe for a change we should go to the sea.
00:53:55We'll look for a wonderful island under the blue sky.
00:53:59And in the area of Ankara.
00:54:01In case we need money from Radek.
00:54:03We will lie on the sand.
00:54:05And the sun will turn my body into gold.
00:54:08And the sea.
00:54:09Oh, I mean…
00:54:10It's so cold.
00:54:11...
00:54:15Oh, come on.
00:54:16No, we're not.
00:54:17No, we're not.
00:54:18No, I'm not.
00:54:19No, no, man.
00:54:20No, no.
00:54:21No, no.
00:54:22No, no, no.
00:54:23No, no, no.
00:54:24I do not.
00:54:25No, I do not.
00:54:25No, no, no.
00:54:26No, no, no.
00:54:27I do not.
00:54:28No, no, no.
00:54:29Yes!
00:54:30No, no, no.
00:54:31I've wished for this for a long time. Vacation is something wonderful.
00:54:54When the sun burns on one's stomach and one has nothing to do but to lay around.
00:55:05We are all alone and no one to bother us.
00:55:11Well, think of this.
00:55:13What are you doing here?
00:55:14Oh, I was just going to ask you the same.
00:55:16We're relaxing. We need our peace.
00:55:19Say, are you still angry at me over the sculpture?
00:55:23What do you mean? How could anyone be angry at you?
00:55:27That satisfies me.
00:55:30The living is short. One should use every second.
00:55:35Hey, cut that out.
00:55:38All right, then, we'll continue this evening.
00:55:40You're living at the Mercario. I will call you.
00:55:43You know that, too?
00:55:44Oh, Vittoria, Freda knows everybody, and everybody knows him.
00:55:47Oh, how wonderful that I've met you, and I hope you'll relax, too.
00:55:51Ciao. Ciao.
00:55:56Well, relax, Virginia.
00:56:05I don't understand why you brought that thing along.
00:56:08The people at customs thought we were traveling with a corpse. It's embarrassing.
00:56:13Do you think I'd leave this costly item at home? I have a feeling we can still use this thing.
00:56:22Hello? Yes?
00:56:24Let him invite you and then bring him back here with you. We'll check him out and see what he's up to.
00:56:36Uh-huh.
00:56:37I can't think of anything better to do than to check him out.
00:56:39Hello? Vittoria? Yes?
00:56:41Good day. I had reserved a room under the name of James Bond.
00:56:54How come the name James Bond?
00:56:55And one doesn't notice, we're from the police.
00:56:57James Bond?
00:56:58Apartment 45, boy.
00:57:00How do people get to use the name James Bond?
00:57:06Good afternoon. Are cell phones?
00:57:08Oh, pardon me. Oh, pardon me. I'm Waffle. Sorry.
00:57:12There's two rooms for next week. Okay. Fine.
00:57:17She's here again. And it is wonderful.
00:57:24Oh, bella signorina. Oh, bella signorina.
00:57:32Luck has brought us together back here in Napoli.
00:57:40Just like a fragrant summer flower. Like the fragrance of a summer night.
00:57:49Are you my life? Are you my luck? Oh, bella signorina.
00:58:01Luck has brought us together. So stay with me.
00:58:09Thank you. Thank you.
00:58:17Oh, that was wonderful.
00:58:20Waiter.
00:58:23Number three, please.
00:58:24Right away, sir. But what do you mean by number three?
00:58:27Why, every child knows that.
00:58:28There are four kinds of martini cocktails.
00:58:30Number one, four parts gin and one part martini.
00:58:32Number two, five parts gin and with the cork from the martini bottle lightly over the edge of the glass.
00:58:37Number three, pure gin and a martini bottle placed on the table. And when drinking, just staring at it.
00:58:43And number four, pure gin. And always think about the martini.
00:58:47So, if I understand you correctly, I should bring you a four-part gin.
00:58:50Exactly, that's it. And some fresh blood for the birds.
00:58:53Yes, sometimes.
00:58:55Without fantasy, one's life isn't worth anything. And one doesn't only need it when drinking.
00:58:59Let the blue flower of your fantasy bloom off.
00:59:02Be careful. Once I begin, I can't stop it.
00:59:04Did something drop?
00:59:06No. I find the carpet so beautiful, a wonderful old piece.
00:59:10I'd be careful.
00:59:11So?
00:59:12But we can forget about it now.
00:59:13You forgot to order for the ladies, so I brought two of them.
00:59:14Good.
00:59:15To a blonde girl who can't be matched.
00:59:16Oh.
00:59:17Aren't you well? I hope it isn't serious.
00:59:18Oh, no. My grandmother always doesn't.
00:59:19Oh, no.
00:59:20My grandmother always doesn't.
00:59:21Oh, no.
00:59:22But we can forget about it now.
00:59:24But we can forget about it now.
00:59:25You forgot to order for the ladies, so I brought two of them.
00:59:26Good.
00:59:27To a blonde girl who can't be matched.
00:59:32To a blonde girl who can't be matched.
00:59:34Oh.
00:59:43Aren't you well? I hope it isn't serious.
00:59:45Oh, no.
00:59:46My grandmother always did this when the drink was too strong.
00:59:49Down under the table.
00:59:50And stay like this for a while.
00:59:51Yes, if it helps.
00:59:52But don't you find it a little uncomfortable down here?
00:59:55Oh, no. I don't mind that.
00:59:57At least I'm alone with you, Vittorio.
00:59:59Mm.
01:00:00For me, he doesn't get a single peseta.
01:00:05You are a strange girl.
01:00:06Oh, me?
01:00:08Ah, when I think it over what I've experienced with you,
01:00:10it all began on the floor.
01:00:12There, I couldn't love you because I was held fast,
01:00:14and then a statue separated us.
01:00:16And now we're spending the night under the table.
01:00:19I don't know how I've earned that.
01:00:22Really?
01:00:24Now, make up your mind at last.
01:00:26This up and down is getting too boring for me in the long run.
01:00:28Come on, we'll go to my place.
01:00:29Hmm, with pleasure, but right away then.
01:00:31Yeah.
01:00:32Come on, darling.
01:00:33Come on, darling.
01:00:34Come on, darling.
01:01:04Come on.
01:01:34Come on.
01:02:04Come on.
01:02:06Good evening.
01:02:07I'm very grateful to you.
01:02:09Who are you?
01:02:10What are you doing here?
01:02:11I'm a friend.
01:02:13Just passing by.
01:02:14Don't be frightened.
01:02:15You can go back to sleep.
01:02:17The matter's settled for now.
01:02:19But please, give my very best regards to your friend, the Countess de Santos.
01:02:24What?
01:02:25Oh, excuse me.
01:02:26I forgot to introduce myself.
01:02:27Inspector Malou.
01:02:28Ah, the famous Malou.
01:02:29What are you doing on this island?
01:02:31I'm making sure that they...
01:02:32Oh, pardon.
01:02:33I mean that no pretty girls get murdered here.
01:02:36Nice of you.
01:02:38You and your girlfriend are completely different.
01:02:41But you do have something in common.
01:02:43Let us say then that you joined up to create a figure like Zorro or the Phantom.
01:02:49It would be very difficult to identify them.
01:02:51We have something in common.
01:02:53Oh, you have that.
01:02:54I admit that's something very important.
01:02:56Take your size, your colouring, the shape of your lips, very red lips.
01:03:01Oh, I find that very interesting.
01:03:03Explain it to me a little bit closer.
01:03:05No, no, no.
01:03:06Now I haven't got any time.
01:03:07We'll come back to it later.
01:03:08But don't forget, Malou is on your side.
01:03:14Bye-bye.
01:03:24And what about your girlfriend?
01:03:25Won't she wake up?
01:03:26Of course not.
01:03:27Don't be afraid.
01:03:28When she sleeps, she sleeps.
01:03:29Are you sure?
01:03:30But darling, I want to be alone with you.
01:03:32And if she should wake up, she's as nice as I am.
01:03:35You'll see.
01:03:37Come on, kiss me.
01:03:38We've wasted too much time already.
01:03:51What's the matter?
01:03:52Has your courage deserted you?
01:03:53Did you?
01:03:54I'm sure she didn't hear anything.
01:03:55You don't even have to be very quiet either.
01:03:57You're just saying that.
01:03:58Oh, she sleeps like a log.
01:04:06Well, come on.
01:04:09Finally alone.
01:04:10Yes.
01:04:17Well?
01:04:18I'm ticklish.
01:04:19No.
01:04:20No.
01:04:22No.
01:04:27Enough.
01:04:30Let's try, man.
01:04:31The page.
01:04:33Yes?
01:04:34Stop it.
01:04:35Stop it.
01:04:37He will tell us everything.
01:04:38He won't get a word out of me.
01:04:39He loves martinis.
01:04:41The youngster has earned his bottle.
01:04:44For whom do you work?
01:04:47I don't know, I...
01:04:49You can't think of anything, sweetie.
01:04:52For whom do you work?
01:04:54Answer.
01:04:55For Tiller.
01:04:58Now, come on, tell me.
01:04:59Why does Tiller want that sculptor again?
01:05:01I don't know.
01:05:03I really don't know why.
01:05:09He can't get enough. He drinks just like a fish.
01:05:20You still haven't answered my question. Why does he want the sculpture?
01:05:23Stop it.
01:05:25We are here.
01:05:27Oh, yeah.
01:05:29Now come on over here.
01:05:33Hello. How is everybody?
01:05:35Alcoholics are really horrible. What now?
01:05:43Hello. Hello, everybody.
01:05:48And it looked like he could take a lot. It's always the same with these muscle men.
01:05:52Yes. Hey, I've got an idea.
01:05:54What is it?
01:05:55Hold it.
01:05:59Nice job. It's broken.
01:06:01Yes.
01:06:05It's a girl.
01:06:11It's horrible.
01:06:13Yes.
01:06:14Now I know why he had to have that sculpture back.
01:06:17She's got to disappear. What are we going to do? Where can we take her?
01:06:21I don't know.
01:06:22Best thing to do is leave her in there and plaster her up and deliver her.
01:06:26Huh?
01:06:26Two beautiful presents for Tanner.
01:06:28Huh?
01:06:28Huh?
01:06:28Huh?
01:06:28Huh?
01:06:28Huh?
01:06:28Huh?
01:06:28Huh?
01:06:28Huh?
01:06:28Huh?
01:06:29Huh?
01:06:29Huh?
01:06:30Huh?
01:06:30Huh?
01:06:31Huh?
01:06:31Huh?
01:06:32Huh?
01:06:32Huh?
01:06:33Huh?
01:06:34Huh?
01:06:43Uh-oh, I...
01:06:44Sant!
01:06:44Sant!
01:06:47Shut your mouth
01:06:48Huh?
01:06:54Huh?
01:06:57Huh?
01:06:57Huh?
01:06:58Huh?
01:06:59Huh?
01:07:00Huh?
01:07:01Huh?
01:07:03Huh?
01:07:03Huh?
01:07:04Huh?
01:07:04I love you, Mama.
01:07:09It's so nice that you're by me.
01:07:17Mary? Mary?
01:07:20Hey?
01:07:22He's on the line.
01:07:25Hello, Mr. Raddick.
01:07:28Yes, make a proposal.
01:07:31I would like to have the other 25,000 very soon.
01:07:34Lita Renia is by me.
01:07:39Yes, yes, that's right.
01:07:41I don't know if he'd still like her.
01:07:44No, no, you can't talk with her.
01:07:47Yes, that'll be fine.
01:07:50Tonight at nine.
01:07:52Okay.
01:08:01Hello. Well, how are you?
01:08:04Countess, I brought this for you.
01:08:06Oh, what a surprise, Malou.
01:08:10Oh, the beautiful flower.
01:08:13It doesn't matter. There's a lot more out in the garden.
01:08:15Come on in.
01:08:17Oh, no, no, no, no. Actually, I didn't want to bother.
01:08:19Hello.
01:08:19We know each other.
01:08:21To what do we owe the honor of this visit?
01:08:23Number one, naturally, I wanted to see you.
01:08:26And wanted to ask you if you knew a certain Vittorio Freda.
01:08:30And if you spent your expensive alcohol on him.
01:08:33Oh, Vittorio Freda.
01:08:35Never heard of him. Don't know what you're talking about.
01:08:37And then I wanted to invite you both to dinner.
01:08:43My friend has a date, but I'd love to.
01:08:46But this is very unpleasant.
01:08:48I'm very sorry you can't join us.
01:08:50Maybe it'll work out some other time.
01:08:52Postponed is canceled.
01:08:52Well, you see, I promised my friend Tanner that I'd bring you along.
01:08:56And now I don't know what I should tell him,
01:08:58because he's anxious to meet you.
01:08:59Mr. Raddick is awaiting you.
01:09:09Thank you.
01:09:17Please, come closer.
01:09:22Mr. Tiller, what are you doing here?
01:09:26You'll find out right away.
01:09:29I've been invited.
01:09:32Please call Mr. Raddick.
01:09:36As you wish.
01:09:37Let's call Mr. Raddick.
01:09:40Naturally, we have both waited an awfully long time for this moment.
01:09:45Thank you.
01:09:59I think it's about time we brought this force to an end.
01:10:12Leader Renny was only a bait to get you to come over here, you know.
01:10:32The murderer gives the instructions to find his victim.
01:10:34I really admire you, but you're dangerous.
01:10:39Actually, too dangerous.
01:10:42I feel it.
01:10:43I must bring my work to a quick end.
01:10:46I wanted only you from the beginning.
01:10:49And now I will accomplish my masterpiece, finally.
01:10:53With you.
01:10:54It began as I first saw you in my apartment.
01:11:07You fascinated me.
01:11:10I've never been able to rid myself of that feeling.
01:11:12And now I will paint you.
01:11:24Just like I painted all the girls before you.
01:11:28Your death will make my work everlasting.
01:11:30No one will ever find a trace of you.
01:11:37No, Mr. Raddick.
01:11:39You made one mistake.
01:11:40Too many of my friends know that I am here.
01:11:44Sorry, but they can't help you.
01:11:46Marpo!
01:11:47Marpo!
01:11:47Marpo!
01:11:47Marpo!
01:11:48Marpo!
01:11:48Marpo!
01:11:49Marpo!
01:11:49Marpo!
01:11:49Marpo!
01:11:50Marpo!
01:11:51Marpo!
01:11:52Marpo!
01:11:53Marpo!
01:11:54Marpo!
01:11:55Marpo!
01:11:56Marpo!
01:11:57Marpo!
01:11:58Marpo!
01:11:59Marpo!
01:12:00Marpo!
01:12:00Marpo!
01:12:01Marpo!
01:12:02Marpo!
01:12:03Marpo!
01:12:04Marpo!
01:12:05Marpo!
01:12:06Marpo!
01:12:07Marpo!
01:12:08Marpo!
01:12:09Marpo!
01:12:10Marpo!
01:12:11Marpo!
01:12:12Marpo!
01:12:13Marpo!
01:12:14Marpo!
01:12:15Marpo!
01:12:16Marpo!
01:12:17Marpo!
01:12:18Marpo!
01:12:19Marpo!
01:12:20Marpo!
01:12:21Marpo!
01:12:22Marpo!
01:12:23Marpo!
01:12:24Marpo!
01:12:25Marpo!
01:12:26Marpo!
01:12:27Marpo!
01:12:28Marpo!
01:12:29Marpo!
01:12:30You know everything, and so tonight we can only be happy, right?
01:12:34Yes, but for that we've got time later.
01:12:37I really can't tell you anymore.
01:12:39You see, it could be very important.
01:12:41Now come on.
01:12:43Ta-ding, ta-ding, ta-ding.
01:12:47But then you must promise me that this will come to an end with this story.
01:12:51I don't want to hear anymore.
01:12:53All right, the millionaire Roddick gave us the job to find Lita Regni.
01:12:56We have found her, and my girlfriend is cashing in at this very moment.
01:13:00$25,000, and you have solved a big case.
01:13:20I don't think he understood you.
01:13:24Maybe I speak of my language.
01:13:26Yes, that could happen.
01:13:27What Roddick has returned since when?
01:13:30What do you mean, returned?
01:13:32He lives in Ankara.
01:13:33Yes, I know.
01:13:34They're here at his office.
01:13:35But he has lived on this island, and he has made his money here.
01:13:38Later he went to North Africa.
01:13:40Yeah, yeah, yeah, yeah.
01:13:41Well, say it finally.
01:13:42What's the matter?
01:13:43Tiller lived in North Africa a long time.
01:13:45Is that a coincidence?
01:13:46How long ago was that?
01:13:47Just about four years ago.
01:13:48Four years ago.
01:13:49That would be about right.
01:13:50And your girlfriend is now with him?
01:13:52Yes, and we've got to go there now.
01:13:54Come on.
01:13:55Yes.
01:13:55What's the rush?
01:13:56Oh.
01:13:57I just wanted to arrest you, Red Lips.
01:14:00Inspector, I swear to you, everything is in order.
01:14:02We know who the murderer is.
01:14:03That's something I know too, my friend.
01:14:06His name's Klaus Tiller, and it won't take very much longer, and we'll have him.
01:14:10And there's something else I know too.
01:14:12You have unhappily fallen in love with this girl, whom I shall now arrest.
01:14:16My God, Tiller, we've got to go after her.
01:14:25Let's go.
01:14:25Hurry up.
01:14:30The time has come.
01:14:31Go now.
01:14:34I don't need you anymore.
01:14:36Let me stay with you this time.
01:14:39As you wish.
01:14:42I'll work without soul.
01:14:44My next will be much better.
01:14:45Morpho?
01:15:05Through the science of modern psychiatry and the use of psychothrope substances, it became so.
01:15:14And believe me, it wasn't easy.
01:15:16It took me years to do it.
01:15:20Believe me, he's a true friend, and he made it possible to develop a new line of art.
01:15:28The art of fright.
01:15:30Everything I am, I am through him.
01:15:35Morpho?
01:15:36She belongs to you, my friend.
01:15:56No.
01:15:58No.
01:15:58No.
01:15:58Everything's all right.
01:16:21Come on, untie her.
01:16:22Did you understand?
01:16:23Yes, I...
01:16:24Go on.
01:16:25Make it snappy.
01:16:36Turn around.
01:16:41Thanks, love.
01:16:42Now, hurry up.
01:16:43We've got to get away from here in a few minutes.
01:16:45Oh, I almost forgot something.
01:16:51Just a minute.
01:16:53Hmm, where should I put it?
01:16:56Very decorative.
01:16:57Come on.
01:17:18Take a look around here.
01:17:23Look at that.
01:17:24You guys go over there.
01:17:26Spread out.
01:17:27Hmm?
01:17:36My dear Inspector Tanner, excuse the untidiness in the house, but it couldn't be done any other way.
01:17:41I personally don't like to be painted.
01:17:43Thousand kisses, your red lip.
01:17:44Fine.
01:17:46I hope it has been made.
01:17:47auf.
01:17:48pertany of regret.
01:17:50Oh.
01:17:50Yes.
01:17:51Oh, oh.
01:17:52Okay.
01:17:52Ah, wait.
01:18:01Oh, shit.
01:18:01Oh!
01:18:01Yeah.
01:18:02I'm not, man.
01:18:03Oh, shit.
01:18:04Oh, shit.
01:18:04Uh,
01:18:09Oh, shit.
01:18:11Oh, shit.