15x01 - The Catalanotti Method

Episode transcripts for the TV show "Inspector Montalbano". Aired: 6 May 1999 –; 8 March 2021.
Based on a character created by Italian writer Andrea Camilleri in a series of novels and short stories, each episode of `Inspector Montalbano' tells a stand-alone story of the inspector's astute detective work in and around the fictional Italian town of Vigata.
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15x01 - The Catalanotti Method

Post by bunniefuu »

- Who is it?
- It's Mimì!

At this hour...

I'm coming!

Mimì, why are you here?
What happened?

- I must talk to you. May I come in?
- Of course!

- Something terrible happened!
- What?

You're in your underpants?

I was sleeping.
Next time I'll wear silk pajamas

and be ready to receive you.
lncredible. Come!

- This is what happened.
- Wait. Let me have coffee.

- Then we'll talk about it.
- Alright.

- Well?
- Well...

Less than an hour ago I was at
the home of a very dear girlfriend.

- Were you two playing chess?
- Please, Salvo. This is serious.

- Go on!
- We were in her bedroom.

At a certain point...


- Did you hear that, too?
- Hear what?

Carmelo, is that you?


Go away!

Darn it...


Absolutely d*ad? Are you sure?

He was stiff as a board,
and wasn't breathing.

- Why did you come here?
- What was I to do?

What you didn't do.

Turn on the light and figure out
why that poor man had died.

I got scared, Salvo. Alright?

Alright. I'll ask you another question.

Did you have the sensation
that he had been k*lled

or that he had died
a natural death?

When I got close to him
to check if he was breathing,

I sensed a strange, sweet odor.


- Well, blood...
- Look at your right cuff.

It's blood. He was k*lled!

Was it the first time
you met with this lady?

- No.
- No!

How many other times?


What do these questions
have to do with it?

- It's an alternative.
- An alternative?

Yes! At this hour I am either joking
or will kick you in the ass.

So answer and don't ask questions.
What is this lady's name?

- Genoveffa Recchia.
- What is her name?

Genoveffa Recchia.

Excuse me. Geno...

- What's so funny?
- Genoveffa... Genoveffa Recchia.

- Don't get angry! Sorry!
- I'm not getting angry!

Don't get angry! Sorry!

- What does this Genoveffa do?
- Housewife.

Did you find out
the d*ad man's name?

On the landing
there is written "Aurisicchio".

- Aurisicchio.
- Aurisicchio.

Have you become mute?

No! I'm trying to understand
how we must move,

to officially find out that there's
a d*ad man in that apartment.

What if it were su1c1de?

- Nothing would change.
- Of course it would change!

Because if he k*lled himself,
what do we care?

Someone else will find the body.

I am surprised at your humanity
and sensitivity.

Anyway, we can't risk,

because you must be
the first to enter that home.

- You think?
- Of course!

Do you realize how many fingerprints
you left in that apartment?

Holy Mary! If it leaks out,
I'll ruin a marriage

- and my career.
- Exactly.

What'll we do?

Get the heck out, and I'll see you
tomorrow at the station. Alright?

- Alright.
- Come on!

Come in.

- Good morning!
- Mimì!

Did you think of a solution
for finding the corpse?

Uh... no.

We must find one.

We can't leave him there
until he becomes a skeleton.

I know. I...

Sorry for the noise, Chief.
It slipped!

- What is it, Catare'?
- Chief, I wanted to tell you

that a maid called here twice.

Her name is Giuseppina. I didn't
understand if it was "La voi" or "lo Vai".

- What does she want?
- She says she went

to her boss's house and he was d*ad
in the bed... his bed.

What a lucky ass!

No, sir. We didn't mention anything
about an ass.

No, Catare'.
I wasn't talking to you.

- Tell her we're coming.
- Yes, sir.

And now?

Now we'll go to the site
of your nocturnal delights.

I was thinking about
what we said earlier.

Maybe we shouldn't tell Fazio.

- Why not?
- For my reputation.

Your reputation was ruined
a long time ago.

So don't be obnoxious.
Come on!

By the way, remember to touch
as much stuff as possible.

- You told me, Salvo.
- Then start with the buzzer!

Why doesn't she answer?

Maybe the maid was too scared
to stay with a corpse.

- Call Catarella.
- Yes.

- Hello, sir?
- Catarella?

Where was this maid waiting for us?

Where the m*rder took place.
In Via Almarmaro, .

What the hell are you saying?
We are in Via Biancamano.

The d*ad man is in Via Biancamano!

What should I know about this
Manobianca, Biancamano?

- Wait, I'll check, sir.
- Yes!

- Oh, here. Via La-Mar-mo-ra!
- Via La Marmora?

That's what I said, sir.

What did he say?

That this isn't the address.

- This isn't it?
- No, it's Via La Marmora.

- Via La Marmora?
- Via La Marmora.

Come on, Mimì!

Wait, Salvo. I don't understand.

We weren't called for our d*ad man,

but for another d*ad man.

- There are two d*ad men?
- Right!

- One here and one in Via La Marmora?
- Very good!

- Salvo!
- What is it?

Via La Marmora is that way.

Do you believe there's a d*ad man there?

Of course there is. You told me.

- Please, come in.
- Thank you.

I'll lead the way, Chief.
He's in the bedroom.


He's a photocopy of the other corpse.
They're identical.


There's too little blood.

Do something.
Call Fazio and tell him to come.

- Then call the whole circus.
- Alright.

- Come.
- Thank you.

Giuseppina, tell me the full name
and profession of the d*ad man.

Carmelo Catalanotti, from Vigata.

I'd say around fifty.

His profession...

- Profession?
- That is the problem, Chief.

Apparently, it seemed
that he did nothing.

He woke up in the morning
around : .

Around : he left the house
and always sat at the same cafe.

Then he returned around noon,
or half past,

ate what I had cooked,

and went to rest a couple of hours.

After that, I left,
so I don't know what he did.

He sometimes left for a few days,

but I don't know where he went.

Excuse me.
How did he make a living?

I know that he had some properties.

But maybe... just maybe,
he had shady dealings.

Explain that.

What can I say, Chief?

When he went to the usual cafe
and sat in the usual place,

at times someone
would sit down with him.

They would talk non-stop,
and then he would leave.

How do you know these things?
Did you follow him?

Oh, no, Chief!
Do I look like a gossiper? No!

I know this because
my cousin Amalia told me.

She has a shop right in front
of the cafe.

Oh, I see.
Listen, was he married?

He wasn't married.

His parents were d*ad,
and he didn't have brothers or sisters.

- A girlfriend?
- Not that either.

But he received women.
Yes, he received women.

I noticed it the following morning.

I often found some forgotten lipstick,

panties... You understand?
- I understood, I understood.

- What was his personality like?
- He was a good man.

Every once in a while he got angry
and was frightening.

I advised everyone. They're coming.

Alright! Listen, Giuseppina,
can you make us a good coffee?

Of course, Chief!
I make an excellent coffee!

Thank you.

Well? What'll we do?

What'll we do?
Wait for the coffee.

No! I meant about our corpse.

Again? Our corpse?

Our corpse? Your corpse.
You found him.

Thanks a lot.

- Good morning.
- Good morning.

Who are you?

Antonia Nicoletti,
the new head of Forensics.

- Oh! Since when?
- A week. And you?

Domenico Augello, vice-chief.

- Pleased to meet you.
- My pleasure.

Do you mind accompanying my men
on the scene of the crime?

Absolutely not.
Come with me!

- You must be Montalbano.
- My pleasure.


We were about to have coffee.
You want one?

No, thanks.
I'm going to work, too.

- Allow me to lead the way.
- Please.

You're not coming?

No. I'd be in the way.
The room isn't too big.

Hey, Doctor Barresi.

- I found traffic.
- How are you?

- Fine, and you?
- Not bad, thank you.

You won't anticipate anything?

No. I'd like you to take a look
because something is fishy.

- Meaning?
- I don't know.

He is lying on the bed
completely dressed,

and very elegant.
He is even wearing shoes.

You can tell he is d*ad only
because he has a knife in his heart.

I don't know.
It's all very theatrical.

- Where is he?
- Over there in the bedroom.

- I'll go.
- Alright.

- Chief! Your coffee.
- Thank you.

Now I'll gladly have that coffee.

- Here.
- Thank you.

- Sugar?
- No, thanks. This is fine.

- Why aren't you with your men?
- They know exactly what to do.


No, it's good.

I think this case
will give you a hard time.


I don't know.

I've the sensation...
that it's false, a big act.

Where were you before coming here?

In Calabria.

Was the transfer a punishment
or a promotion?

A parking.
I didn't get along with my colleagues

so they found a temporary solution
for me. But it's a long story.

If I invite you for dinner,
will you tell me about it?

I don't go to dinner with colleagues.

- Your men are calling you.
- Let's go.

- Well, it was a pleasure.
- Thank you.

Let's hope these homicides continue,
so we'll see her again.

Meanwhile, while waiting
for the next homicide,

why not tell her about your corpse?

- Chief!
- Yes?

He seemed a bit strange to me, too.

The man should have died
from that s*ab, but we'll see.

Alright. Thanks a million.

- Sure. Goodbye.
- Goodbye.

- Good-day. Chief...
- Hey, Fazio.

Sorry I'm late.
Catarella told me about the homicide.

Don't worry about being late.
Will you take him to the d*ad man?

Yes, sure. Come, Giuse'!

- Will you wait for me?
- No, I'm going to the office.

- Come in!
- Chief. Am I disturbing?

Come, come. Well?

- What was your impression?
- What can I say?

He was k*lled with a knife s*ab,

but his jacket and shirt
aren't soiled enough.

Forensics didn't find blood
in the other rooms.

I think he was k*lled elsewhere
and taken there.

I wonder what the reason was
for this big act.

I don't know what to say.
Let's wait for the autopsy results.

I must go now. See you in two hours
on top of Via delle Scale.

I have to show you something.

- Fazio!
- Hey, Chief.

You want an ice-cream?

An ice-cream.

No, Chief.
I'm not too crazy about sweets...

Come, I'll offer you an ice-cream.

Good morning.
- Good morning.

- What flavor?
- Lemon.

- Lemon.
- A lemon ice-cream, and for me...

- You have lemon and strawberry?
- Yes.

So, strawberry. Lemon and strawberry.

- Do you make them?
- Only artisan ones with us.

Artisan ones!

- You said lemon and strawberry.
- Yes.

See the home on the first floor
with that balcony?


Inside there, lying on a bed,
completely dressed,

is a m*rder man who is identical
to the one in Via La Marmora.

- Are you kidding?
- No, I'm serious.

How do you know?

Thanks to that jerk
and ladies' man, Mimì Augello.

What did Augello do?

I can't tell you.

But we can't go inside there
to discover the corpse,

because Mimì Augello
wasn't supposed to be there.

So do something.
Try to find out as much as possible

on this m*rder man
whose name was Aurisicchio.


I think this Catalanotti
was k*lled somewhere else.

I thought that, too.
But taking the body to the car,

to the front door,
and then up the stairs, is a big risk.

Sure! So what do you mean?

I think he was k*lled in
an apartment in the same building.

So we must put pressure
on the tenants, including the doorman.

That is a good intuition.
You go ahead, and I'll join you.


- Hello?
- Chief! Chief!

There's someone on the phone
who says he's head of Forensics.

But actually, it sounds like a woman!

Let me talk to her.

- Hello?
- Hi.

I'm calling to inform you
of initial results.

There are no fingerprints
on the handle of the knife.

The m*rder either cancelled them
or was wearing gloves.

Now we'll see if we find
something in the car.

Oh, I see. Alright.

- Thank you for calling.
- Yeah, sure. See you. Bye.


- Chief!
- Hey, Fazio.

- I bring news.
- Tell me.

I can say with absolute
certainty that Mr. Augello's body

isn't Aurisicchio.
- Why is that?

- Because I talked to him on the phone.
- Oh. Tell me about it.

A man in Biancamano
asked me what I was doing there.

I answered that I wanted to talk
to Mr. Aurisicchio.

He said he no longer lived here.
He'd left Vigata after the summer.

The apartment is empty,
waiting to be rented.

If I wanted to talk to him,
he gave me his phone number.

- And you called him.
- Yes, and he said

that he moved to Ravenna for work.

He entrusted the apartment
to an agency called Casamica.

- Did you call the agency?
- Yes.

They told me to call in four days

because the owner is on vacation
in Stromboli and he has the keys.

What real-estate agency is it?
We must get into that apartment.

An anonymous phone call?
A letter?

No, because we'd have to investigate

on who wrote the anonymous letter,
or on who called.

- I have an idea.
- What is it?

I must first talk to Augello about it.
Get in, and we'll go together.

Holy Mary! Aside from the penthouse
where there's a pretty year old,

the average age of the rest of
the building is over !

- Did you find anything out?
- No. They don't know one another.

Two hours lost,
and still two flights to cover.

I'll offer you coffee.
Could you fill in for him, please?

I have an idea on how to
officially discover your corpse.

- Really? What?
- I'll tell you. Come.

- That corpse isn't Aurisicchio.
- It's not Aurisicchio?

- No.
- How do you know?

Fazio talked to him
a few minutes ago on the phone.

- So who is he?
- I don't know.

We must find out.
As for the other matter,

which is officially finding out
that there's a corpse in that house,

you should cover the same
itinerary as the other night.

- From Genoveffa's balcony...
- Genny! Her name is Genny.

From Genny's balcony,
descend to the balcony below.

Go inside the house, see the corpse
and make out an official report.

What will I tell Genny?
Up, down... What should I do?

Tell her you must find the wallet
that you lost the other evening.

Yes, but I would officially
involve Genny.

She is married, Salvo.

No, because we'll say that
she heard noises,

and called the police because
she thought a thief was stealing.

You went to check and lost your wallet

on the balcony below.
So you went down, etcetera.

- Sounds good.
- Alright.

- May I help you?
- What are you having?

- A coffee.
- Two coffees, please.

- And some water.
- Some water.


"First encounter".

I had the impression
that he was lying.

I'll meet him again because
if I find out that he lied to me,

Giacomo would be ideal."

"Second encounter."

"I have rarely met a person
who can't give up

any pleasure
that life has to offer.

His problem is money.
I will see him again."


"First encounter. It was very difficult
to have her open up.

It took several hours.

she is very open to a friendship,

but as soon as
I try going beyond that,

and want more intimate information
on her life, she closes up.

I've come to the conclusion
that it's not her personality,

but she must have had
a very strong negative experience

that has influenced her behavior.

And this is what interests me
about her."

"Adalberto Lai".

"I, the undersigned Adalberto Lai,
receive a loan

from Mr. Carmelo Catalanotti
in the amount of , Euros,

that I commit to returning
within months

as of today's date."
Et cetera, et cetera.

"I, the undersigned, Carmelo Catalanotti,

receive on today's date
from Mr. Adalberto Lai,

the agreed upon sum.
Nothing else is due me."

A usurer with a kind heart.

- Find anything out?
- Absolutely nothing!

In this building nobody
knows anyone.

I don't think they even have
condominium meetings.

- Will you put the seals back?
- Yes.

- Remember what you must do tonight.
- Of course!

I think it fell down there.

Mimì, you prefer your wallet to me?

No, I don't, but I must recuperate it.

- You'll get it later.
- No, I must get it now. Excuse me.

I'll be right back. Ok?

Only minutes, love.

Don't hurt yourself.

Did you get hurt?

No, everything is fine.

But I don't see the wallet.

- It must have fallen inside.
- Alright.

I'm going in!

Who is it?

What is going on? Come in!

Salvo... Disappeared!

- Genoveffa isn't there?
- Not Genoveffa!

Our d*ad man is gone.

- He's not on the bed!
- Where did he go?

- I don't know! He disappeared!
- Did someone take him away?

Surely he didn't leave
with his own legs.

- Well, what do we care?
- What are you saying?

This frees us from our problem
of being the ones to find him.

When they find the d*ad body
they'll let us know.

- Right! So we just wait?
- We'll wait.

You wait in your home.
I'm going to sleep.

- Good night!
- Good night.

It's becoming a habit.

Chief, there's engineer
Rosario Rosario.

He is asking for you
personally in person.

- He's on the phone?
- No, sir. He's here.

- Have him come in!
- Yes, sir.

Please, Mr. Rosario.

Good morning.
I'm Chief Montalbano.

Good morning.
I am Rosario Lo Savio.

Please, sit down. What is it?

Yesterday I found out about
the death of Carmelo Catalanotti.

He was my friend...

Excuse me.

I'm here because I think
I was the last person to see him alive.

The last person to have seen him
alive was surely the m*rder.

Right. Then next to the last.

Yes. Tell me how it went.

I am a member of "Trinacria Arte",

the most important amateur theater
company of the province.

The day before yesterday we finished
performing around midnight.

How do you remember him?
Agitated? Different than usual?

No, he was absolutely serene.

Did you have the impression
that he had an appointment?

- No, I didn't.
- I see.

How many people
are there in this theater company?

Eighteen members,
ten men and eight women.

What did Catalanotti do?
Actor? Director?

First of all, he was the number one
financier of "Trinacria Arte".

But he was also an excellent
character actor,

and a very serious director.

Very prepared, with his own,
particular idea of theater.

Explain that.

- I'll try to explain.
- Yes.

Carmelo wanted that every actor,
in performing his role,

start with something
deeply personal.


A trauma, a moment in his life,

a wrong love.

A very private, profound,
intimate experience,

that could be useful
for what the work required.

I see.

So if the work dealt with a widow,
he looked for a widow?

Not so precisely.

But he began to dig into
the intimate life of an actor

to find, for example,
the equivalent of a sense of absence.

As, in fact, a widow's state.

He was very talented in this.

+What are you preparing at the moment?

- "The Tempest" by Shakespeare.

Did Catalanotti take part
in the performance?

No. He was preparing as director,
but never missed our tryouts.

What was he preparing as director?

A work by a modern English author.
I'm not familiar with it.

I'd like to see
one of the Shakespeare rehearsals.

Whenever you want.
We are in Via dei Frati .

Via dei Frati .

- Goodbye, again.
- Goodbye.

- Fazio!
- Yes?

- Remember Augello's corpse?
- Of course I do.

It's become more complicated
because the body can't be found.

What's that mean?

It means that Mimì
returned to Via Biancamano

and the body was gone.
They took it away.

It means that someone
has the keys to the apartment.

Right. Call the agency and ask
if there is another set of keys.

I'll call right away.

Mimì! Do you know what time it is?

Sorry. I didn't sleep much last night.

- The thought of the missing body?
- No! I went to see Genny.

She stayed on the balcony hours
the other night, worried,

because I went in the apartment
and never showed up again.

- So I went to comfort her.
- Did you tell her about the body?

- Of course not.
- Good!

I told her that when
I entered the apartment

I noticed there was
something strange,

so I came here at the station
to do some research.

- Guess what she said?
- What did she say?

That she'd heard noises downstairs
on the preceding days.

But the apartment is empty
and nobody lives there.

Chief? I called the agency
but they didn't know anything.

- Call the owner.
- I did. There aren't spare keys!

The agency head has the only set.

I see. I'm going to eat.
See you later.


- Good-day, Enzo.
- Good-day, Chief.

I'll bring you a delicious
tuna tartare.

- Good-day.
- Hi.

- Waiting for someone?
- No, why?

I usually eat at this table.

Oh, please.

- May I?
- Sure!

Thank you.

Do you prefer
that I sit somewhere else?

No, on the contrary.

- You didn't finish your dessert.
- What?

- You didn't like the dessert?
- I am enjoying it slowly.

What did you find
in Catalanotti's car?

Nothing important.
No significant biological traces.

They didn't transport him
or k*ll him in that car.

- May I ask you a question?
- Yes.

Do you have a boyfriend?

You ask me just like that?

- Sorry. I was out of place.
- No.

Anyway, I am alone.

It's just that I haven't found
the right man yet.

And you?

I live alone, but I am not alone.

I see.

I have to go.

Thank you for your company.

I'll leave this with you.

- Did you ring?
- Yes. Good evening.

I'm Chief Montalbano.

My pleasure. Attorney Antonio Scimè
of Trinacria Arte. How can I help you?

Mr. Lo Savio invited me,
but I don't want to disturb.

Not at all.
We aren't rehearsing because

we're organizing a celebration
for our dear friend Carmelo.

- But if you want to come inside...
- With pleasure. Thank you.

- I'll lead the way.
- Thank you.

Your attention. Chief Montalbano
has come to see us.

Welcome, Chief.
Thank you! Come, come.

She is Mrs. Elena Saponaro,
a member of the management.

Giovanna Zicari, lead female role.

- Filiberto Vullo, lead male role.
- Good evening.

Calogero Granturco,
our administer.

- Hello. I didn't want to interrupt.
- Good evening.

You're not disturbing.
We met to establish

how to pay homage
to our great friend, Carmelo.

Yes, the attorney told me.

We've almost finished.
If you want to sit down...

- Yes. May I sit there?
- Absolutely.

Thank you.

Elena, what were you saying?

I don't think that any word,
any song,

any hymn to the world
can be on the level

of the merits
of such a great director...

Stop with this clown act!

Maria! Why a clown act?

Because none of you ever
appreciated Carmelo's value.

You always considered him
too strange!

Maria, we always gave him
everything he wanted,

but he was never satisfied!

Oh, come on!

The best commemoration
you can do for him is silence.

Excuse me. Who is she?

Maria del Castello.
She had hoped to work with Carmelo.

Maybe he would have chosen her
for the work he was preparing.

I need a list of the components
of the company.

No problem.
Tomorrow I'll bring it to the station.

Perfect. Many thanks.
Excuse me for the interruption.

- Goodbye.
- Good evening.

Always the same story!

Excuse me!

Maria! Maria, may I talk to you?

No! I don't speak to strangers.

I am Chief Montalbano.
I want to talk about Catalanotti.

If I answer, will you leave me alone?

Of course.

Well, what is it?

Did you work with Catalanotti?

I hoped to, but it was all
wasted energy.

Why wasted energy?

Because Carmelo put me to
a tough test, as he did with everyone.

And I was very strong,
because I wanted that role.

But in the end, he decided

that I wasn't capable of facing it,
and that's how it ended.

But it doesn't stop me from
acknowledging that he was a genius.

None of them is at his level.
They are all dilettantes.

How did you react
to his excluding you?


I certainly can't say that I was happy.

But I ended up accepting it.

Well, good night.

Good night.

- Good-day, Enzo!
- Chief, I was thinking of you!

Some fresh seafood starters arrived.
Shall I prepare them for you?

- Ok, I'll sacrifice myself.

- Good-day, Enza.

What can you tell me
about Catalanotti's m*rder?

- Did you know him?
- He'd been a customer here weeks.

But he only came in the evening.

- Sit down.
- Actually, I can't...

Tell me. Did he come by himself?

No. He was always with
the same woman.

A woman in her forties,
blond, lots of makeup.

But I don't know her name.

She was so obnoxious,

a phenomenal ball breaker!

She was never satisfied
with any dish.

It was either overcooked,
or not cooked enough.

Did she get along with him?

No! One evening they called
here to talk to Catanalotti.

When he returned to the table,
that woman made such a commotion.

"How do they know you are here?"

- "Who did you tell?"
- What did he say?

He tried to tell her
it wasn't anything important.

But she kept insisting.

She got up and left, yelling.

They never came back after that day?

Yes, two days later,
as if nothing had happened.

Nice and peaceful at their table.

Do you know if they came
with one car or two?

One, I think because
on the night of that commotion,

Catalanotti asked me
to call a taxi for him.

- Here you are.
- Thanks, Enza.

You're welcome.

- You have to go now.
- When we eat...

- Right.
- We don't talk.

- Excuse me.
- Lucky are the eyes that see you.

I've been busy
with our corpse since yesterday.

I even went to the port
to ask the fishing boat people

if they'd seen a d*ad boy
in the sea.

One that was nicely dressed,
with a jacket, a tie...

- What did they say?
- They hadn't.

Don't be upset. Sooner or later
your d*ad man will surface.

Meanwhile, give me a hand
with another investigation.

At your disposal.

Let's start with saying that
Catalanotti was a medium usurer.

What does "medium" mean?

That he lent money
with an interest that wasn't very high.

He owned real-estate and was
a director/actor in a theater company.

He also liked dealing with psychology.

What can I do?

He sometimes went to eat at Enzo's
with a blond,

who was all decked out
with a lousy temperament.

- He was an actor?
- Yes!

Then we should look among
the actresses in the company.

Here is the list.

I'll be as quick as possible.

Thank you.

I am very grateful that you called me

because you'll give me the chance
to talk about Carmelo's death.

You see, after Catalanotti's death,

I sensed that there was
a sort of suspicion among us.

As if each of us was convinced
that whoever m*rder Carmelo

was someone in the company.

So the best thing to do
was not to trust anyone.

Excuse me. Had there been big arguments
between the company and him?

Yes. This could happen,
but that is not the matter.

- Are you a theater expert?
- Not really.

There, you see?
Catalanotti had a particular method.

Yes. Lo Savio told me
about his method.

No, Chief! Rosario never wanted
to do tryouts with Carmelo.

He didn't submit to this experience.
But I did.

Then tell me about it.

You see, the trial the actor
was subject to,

didn't take place here,
but in particular places.

He once took me
to a dilapidated place.

Not only that. I was blindfolded.

Carmelo I want to stop!

Please, Carmelo!

Enough, please!
Let's stop here, Carmelo!



Why are you yelling?

- Because...
- What?

- I thought that...
- What?

That there were mice.

Sit down!

He had an extraordinary capacity
to penetrate inside

your deepest thoughts.

At times, unconfessed thoughts.

Later, after the third trial,
I gave up working with him.

Also because none of us
wanted to, anymore.

Later on we had many arguments
in the company. You can imagine.

He wanted to add other people
to the group,

even people without
theater experience.

Often they were people
with mental problems.

Like that Maria you saw
the other night. Remember?

Yes! Who do you think was most intimate,
among the actors and actresses

in the company,
with Catalanotti?

Surely two actors.
A man and a woman

who had recently worked with him

in "Happy Days" by Samuel Beckett.

Her name was Eleonora Ortolani.
She was a great character actress.

The actor is my colleague,
Ernesto Lopez.

Mr. Lo Savio told me
that he was preparing a new performance.

Yes, "Dangerous Corner" by Priestley,
an English theater work.

If you want, I've a script.

Yes, thank you.
What does it deal with?

It's like an introspective
mystery story, in a man's intimacy.

There is a poster, "Happy Days",
with Ortolani and Lopez.

- This is the script.
- Thank you.

"Happy Days".

"Happy Days"! "Happy Days"!

An unforgettable performance!

One of those that remain imprinted
in the life of an actress.

It is something unrepeatable,

To interpret this role,
what kind of method

did Catalanotti use with you?

He took me out of season,
to a splendid hotel at the sea.

We spent beautiful days together.

Or at least I think so.

- How do you mean that?
- You see on the first day,

he took me to the beach
in an isolated place.

A lifeguard followed us with a shovel
and an umbrella. And then...

I'll be back in a half hour.



Help! Help!

But nobody was in the area.

Another day something
even more awesome happened.

Carmelo asked me to get
inside the hole again.

There was a big revolver.

It weighed a lot, and suddenly
it became an extension of my hand.

A desire to use it
was slowly growing inside of me.

So I tossed it far away,

but not far enough
to be unable to reach it.

In fact, after a while,
I began digging the sand around me.

I wanted to get out and reach
the revolver. I wanted to sh**t.

I don't know who, just sh**t!
The lifeguard, Catalanotti, I don't know!


From that day on,
everything was clear to me.

I realized what the problem was
for who faced "Happy Days",

and why Winnie, the lead female role,
has a revolver.

Tell me something.
You are an amateur company.

Then why did you submit
to such committing trials?

Chief, it was like a cure.

My boyfriend and I,
after every performance,

felt like running.

Because we felt so... How can I say it?
So free, so loose.

And you think Catalanotti used
this method only with the theater?

I don't know.

You see, even if Carmelo

had this capacity
of going deep into intimacy on stage,

I never associated with him
outside the theater.

You know, I wouldn't want
that Carmelo's death

reveal certain personal aspects
that the two of us...

had purposely hid in life
with a silent pact.

Before giving me the part,

Carmelo had me crawl
for a whole month,

explaining to me the difference
between how a serpent

and a worm crawls.

And he absolutely expected me
to become a worm,

even in the way of thinking.
- Listen, Mr. Lopez,

did you know he was a usurer?


- And you're not surprised?
- No.

- Why not?
- You see, Chief,

I always thought that a man like him
was capable of anything.

I think he felt
a certain pleasure when...


When he discovered
one of our hidden shames!

His extraordinary gift
was that of involving us in his game,

having us slowly surrender
to our resistance.

You want my idea?

Could it be that Catalanotti
was a victim of a sort of rebellion?

What do you mean?

If Lopez told the truth
and Catalanotti was capable

of reducing a man to being a puppet,
maybe one of them,

when facing such a particular trial,
rebelled and lost his head.

Right. There's a lot of work to be done.
Mimì, any news?

I went to talk to Enzo,
and asked him about Catalanotti.

At Enzo's restaurant?
What's he have to do with it?

He always went to eat there
with a blond. Well?

He remembered that one night

when Catalanotti was with the blond,
Anita called.

That is all I know.

- Anita!
- Anita, yes!

I have to go check something.
See you later!

- What the hell are you doing here?
- Me? What the hell are you doing here?

You scared me to death.

Oh, God.

You don't know what I found out
from these documents.

Catalanotti was a usurer.
He was a shark, and not only!

He transcribed all the conversations
he had with his creditors.

There is a closet full of them.

- I know.
- You know?

I know everything.

Look at what you did
with your beard.

I'm sorry.

What shall we do?
Eat out, or you'll come to my place?



Because we must think
about our duty.

- Come here!
- You didn't understand. Get to work.

Alright. These registers
deal with Catalanotti,

the usurer,
while these in the closet

are the tryout results
that he had with his actors.

They should all be read.

In fact, I have a proposal.
We'll split them!

We'll give them a quick glance,
chose the most interesting profiles

and look closely at them.
- I agree.

I like it so much when you say
you agree.

Chief Montalbano, I am surprised
at you. Go do your duty.

Let's go do our duty.

What are you two doing here?

What are we doing here?

This morning you left saying
you'd come right back to the office.

Your cell phone is off,

nobody answers at home,
and nobody is there!

We were worried after a while!

Worried about what?

I don't know! You could've been
doing an investigation by yourself!

What the hell are you saying?
Have you eaten?


Adelina made meat rolls
with potatoes.

But you set the table, alright?

I don't know how.
You do it!

I propose that Adelina
be made a saint.

- Saint Adelina! A saint.
- Always!

Getting back to work,

I thought of doing something
you didn't think of.

- What?
- So...

In the Catalanotti home
there are two cabinets

with about files inside.

They are the results of the tryouts
that he did with aspiring actors.

I went there and looked
at all of them.

That's where he was.

About ten of these files
are very interesting.

I will go back tomorrow
and look at them closely.

- You want me to come, too?
- Where?

- To Catalanotti's house.
- Why?

- It could be useful.
- No, but...

It may be useful, but I've my own
method. Mind your own damn business.

I still don't know who Catalanotti's

blond girlfriend is,
but I think I am on the right track.

- Well, I have the keys.
- What keys?

To the apartment in Via Biancamano.

The real-estate agency manager
returned earlier from Stromboli.

- Is it my corpse's apartment?
- Yes!

- I'll go. Give them to me.
- Everyone stop. I'll go!

- Hello?
- It's Livia!

Livia? Hi.

I've been looking for you
since yesterday. Where are you?

I am here

with Fazio and Mimì.

We are talking about
a very, very important case.

I wanted to tell you I'm coming
tomorrow morning on the first flight...


No, what? No need to pick me up.
I'll catch the bus.

No. It's that...

I'm sorry but I'll call tomorrow
and explain calmly.

Right now I can just say
it's useless to come because...

You won't find me.

Alright. I'll wait for your phone call.

- Bye, bye...
- Bye.

Now we can focus on the situation.

- Hello? What is it?
- It's me.

Can you wait a couple of seconds?

- You have to leave.
- Weren't we supposed to stay...

- No, get up! Get up, come on.
You have to go.

- Will you let me finish eating?
- Eat something at home!

Go on. You have to leave.
Go away!

Not even some coffee.

- See you at the station tomorrow.
- Perfect. Thanks.

- You're still there?
- Of course.

How did you get this number?

Don't forget that I am a cop.

Anyway, it's nice to hear your voice.

But I didn't call
to have you hear my voice.

Oh, no? Why, then?

To say that tomorrow
we can't see each other.

Why? Then let's see
each other right away.

I have to go to Palermo,
and don't know when I'll be back.

- I'll call you in the afternoon.
- No! I'll call you.

"Dangerous Corner".

Come in.


Come and read this.

Remember when we supposed
that someone

had rebelled against Catalanotti's
cruel tryouts?

Well, this is the theater work
he was going to put on stage.

It offered Catalanotti
a chance to go wild

with his imagination,
up to extreme limits.

There is everything in here.
A homicide, maybe two,

money lent,
money never returned. Everything!

So you would restrict
your field of investigation

to all those who did a tryout
for the performance?


But you just said it deals with
money stolen, money never returned.

- And so?
- Catalanotti was also a shark.

So the investigation field
remains quite vast.

You're right.
Excuse me a minute.

- Hello? Are you back?
- No.

I'm returning from Palermo
in the afternoon.

Good. Then we can go to dinner
somewhere this evening.

No, we'll meet at Catalanotti's home
at ... to work.

Alright. See you later.


- Hey, Mimì!
- What are you doing here?

No. What are you doing here?

I was looking for you.
I saw you and stopped you.

Why were you looking for me?
Find another corpse?

Don't talk about our corpse
because I get palpitations.

I told you.
It's your corpse. You found him.

Anyway, what is it?

I have dynamite news!

I know who the blond is.

- Catalanotti's blond?
- Yes!

Alright. We'll talk about it
tomorrow morning.

Tomorrow morning?
I know her name, Salvo.

Anita Pastore! She owns
a chocolate factory

inherited from her family.

Did you find anything else out?

Yes, her phone number and address,
but I want you to tell me what to do.

Can't we talk about it
tomorrow morning?

Look into my eyes.

- Yeah...
- Where are you going?

- Why?
- Why?

The wine, you're all dressed up,
you're in a hurry to leave.

Where are you going?

To dinner at Adelina's. May I?

It's me.

I'm here, in the studio.

Did you eat? I brought
some fantastic sandwiches.

No, thanks. I'm not hungry.

Get a chair and come here.
I'll show you something.

You're late.

Yes. I met Mimì who had me
lose time. Forget it.

- Read here.
- Here?

"Giuseppe Fusaro, Town Hall usher,
particularly neurotic.

If provoked, has unexpected
and uncontrolled reactions.

Maybe too dangerous to deal with."

There are initials here: HP.
What do you think it means?

They're the initials for someone.

No! There is no one here with
those initials. It's senseless.

Wait a minute.

Of course.


The initials are those
of the theater works that Catalanotti

had put on stage
or was working on. See?

HP for "Happy Day",
DC is for "Dangerous Corner",

- And so?
- So we must find the files

of the tryouts Catalonotti had done
for the work he was preparing.

"Happy Days" is by Becket. "Dangerous
Corner" isn't. I don't know it.

I'll tell you about it.
But shall we have a glass of wine?

- Yes.
- I'll get the bottle.

"The truth is too burdensome
for everyone.

They decide not to talk to anyone
about it.

Olwen, who had pulled the trigger,

seems like the only one
to come out clean.

While Robert is desperate.

Because he realizes that the reality
he's lived in until then,

is just a world of illusions.

The truth is totally different...

What anguish. And now?

Now we must concentrate
on the "Dangerous Corner" tryouts.

We must especially concentrate
on the actors

that were tested for the ambiguous roles
or that committed an offense.

Like what?

I think we can limit ourselves
to three roles:

Martin who commits su1c1de,

but is accused of taking
a big sum.

Olwen who is the real m*rder,

even if she k*lled to protect herself
from an attempted r*pe.

And finally Gordon, married to Betty,
but in love with Martin, too.

It's like being
in an Agatha Christie story!


Let's get to work. Come on.

- What is it?
- Break.

Thank you.

- What time is it?
- About . You want sugar?

- No, thanks. I take it black.
- Me too.

- I had a strange dream.
- What?

There was a d*ad man on a stage.

- Catalanotti?
- No, it wasn't him.

But he was perfectly dressed like him.

He was wearing a suit, a tie,
polished shoes.

In fact, at first I didn't understand,

but then realized he was d*ad.

How did you find out?

That is what is strange. I was the
only person who knew he was d*ad.

All the other spectators
didn't know.

They were quite serene.

Even if I couldn't see his face well,

at a certain point I realized
that his shirt had blood stains.

You dreamed of Mimì Augello's
d*ad body!

- Who is Mimì Augello's d*ad body?
- Now I'll tell you.

- Will you excuse me a minute?
- Go ahead.

- Livia!
- Salvo!

I was waiting for your call
that never arrived. What happened?


- This is not a good moment.
- What do you mean?

Listen, I am tired.

If something is the matter,
have the courage to tell me.

I said it's not a good moment.
I can't waste time now.

You can't waste time?
Talking to me is wasting time?

Oh, no, of course not.
It's just not a good moment.

Tell me when I can call.

I can't tell you right now.

Ok. If you won't talk, then I will.

I am tired of always
waiting for your phone call,

a visit, a...

any sort of proposal. I am tired!

I wait and wait...
I've been waiting a lifetime.

Is it normal that you don't
call me for days?

That you don't care to know
where I am, what I am doing?

There is only one explanation.

That you don't love me anymore.

Or not enough
to do something for me.

I am tired of always having
to put you first.

I want to think about myself, too!

Talking on the phone like this
is great, huh?

If there's no other way...

Then let's end it here.

Hello? Salvo?


You're not saying anything?

Come in!

Catalanotti's blond woman is here.

Anita Pastore?
Then call Fazio and come.

Please, madam.

I don't know why
I was called in.

Good morning, madam.
I am chief Montalbano.

Please, sit down.

We'd like to know about your
association with Carmelo Catalanotti,

who, as you know, was k*lled.

I certainly didn't do it.

I don't doubt that.
But I'd still like to know

the nature of your relationship.

Couldn't we have talked about it
at the cafe out in front?

It's even breakfast time.

Madam, if you put it that way,
this is an informal chat,

but we go through official
procedures if you prefer.

Look for a good lawyer.

The D.A. will call,
and question you for two hours.

What do you want to know?
If I had an affair with Carmelo?

- No, not at all.
- What was it?

A strange work relationship.


We met months ago.
A girlfriend introduced us.

When Carmelo found out
I had a chocolate company

he started b*mb me
with questions.

I realized his interest
was authentic,

and when he invited me
to dinner, I accepted.

Carmelo was very good
at making me feel at ease.

He had me talk about myself.

Then our encounters
became a habit.

So the relationship
was that of friends.


No, I wouldn't say that.
Only I talked.

About myself and my work.
I knew nothing about Carmelo.

He was interested
in the company dynamics,

my relationship with my brothers,
with my employees.

Why is that?

He wanted to write a novel
dealing with a family company.

And modestly speaking,
he'd have me read the first draft.

Which is something
I'm very proud of.

Rightly so. You said
you have a family business.

Who participates in it,
besides you?

My brother Paolo.

Until years ago, there was also
my brother Giovanni but he died.

Alright, What changes?
He committed su1c1de.

Oh, I'm sorry.
Can you tell me about it?

Excuse me, but what does this
have to do with Catalanotti's death?

Let me decide that.

It was a sad and complex story.

Some money was missing from
the company and Paolo was convinced

that it was Giovanni's fault.

I didn't really agree.

Giovanni was offended,
and became depressed.

But he didn't defend himself.

For me, his su1c1de,
was proof of his responsibility.

Did Catalanotti ask you questions
on this su1c1de?

My gosh, he tormented me.

He wouldn't stop.
He even wanted a photo of Giovanni.

Then he told me his brother
had committed su1c1de, too.

Giovanni was too fragile.

He didn't know how to react
to the difficulties of life.

So what will we do now?
Must we talk much longer?

Because I have things to do.

Madam, you can go if you want.
We've finished.

- May I go?
- Yes. Fazio, accompany the lady.

- Goodbye.
- Goodbye.

Why did you let her go?

Because I realized what Catalanotti
was really interested in.

Then let us know, too.

Having met a family that
more or less

had the same family problems
as his next performance.

There were two brothers there, too,
and one committed su1c1de.

He always started with a real fact.

That Catalanotti was really strange.

Did you know he was writing a novel?

Of course he wasn't!
Even his brother's su1c1de wasn't true.

He never had a brother who committed
su1c1de. He was a manipulator.

He turned people inside out
like a sock.

I realized it in reading
the notes in his files.

By the way, how far have you gotten
with the reading?

Uh, Mimì...

It's a long and complicated matter.

Here. This is the room
and this is the bed.

Wait before turning the light on.
First check if...

the shutters are closed
or they'll see us from outside.

You're right.

You make me nervous
standing there. lnspect the other rooms.

- Sure.
- Go on.

I inspected the house,
but didn't find anything interesting

aside from a collection of paintings.

I, instead, found a spot
that could be blood.

- Oh. Where?
- There!

I cut a piece of sheet.

Good for you.

What can you say?

I don't know.

Something is not right.


I don't know.
This bed is too clean.

Clean in what sense?

In the sense that, aside from that,
I didn't find anything else.

It's very strange because
usually there is always something.

Epithelial formations,
hairs, something...

A human being, alive or d*ad,
always leaves a trace.

- And so?
- And so I don't know.

I can't say, right off the bat.

I'll have that analyzed
in the lab. We'll see what they say.

Give it to me.

There we go.

- What a nice smell. What is it?
- Smell it?

Sugar and cinnamon.

- Marvelous.
- But I would do this.

Let's do this.

- Oh, directly from the pan?
- Sure.

- Shall we start?
- Should I taste?

Go on, taste!

How is it?


- Who made it?
- Adelina.

Who is Adelina?

Adelina is my governess.

Thank you.

- The wind has gone down.
- Yes.

You must have realized
that I was very perturbed

by the phone call
I received the morning

after the night we spent
at Catalanotti's home.

Yes, but don't worry.
You don't owe me an explanation.

But I want to talk about it with you
because it concerns you.

- It concerns me?
- Yes.

The call was from my girlfriend, Livia.

I think I mentioned
that I'm not alone.


Livia and I have been together
a long time.

She lives in Liguria.

It's the best way
to have a long-lasting relationship.

- What?
- Being together without being together.

But please, go on.

Because I am very curious
to know how it concerns me.


Livia is very important for me.

She is a wife, a companion, a friend.

We've been together
for I don't remember how long.

But I realized that recently
our relationship has changed.

For example, the distance
which used to be an incentive

for wanting to be together, doing
things together. It increased desire.

But now it's just distance.

I realized we don't make
an effort anymore

to be together,
to cultivate our relationship.

What've I got to do with it?

I realized all this with you.

I am happy with you, I want to be
with you, always have you near me.

- I don't know. I want to stay with you.
- Salvo, I am leaving.

Yes. I thought of that, too.

I'll ask for a transfer, anything.
But I don't want to lose you.

I want us to live together.

- Can I ask you something?
- Sure.

Did you ask yourself what I want?

Did you ask yourself
if I want to live with you, too?

If what you feel,
I feel in return?

If I want to have you
close to me in my future, too?

Why should you think that a young
woman, who is fairly attractive

and with a career that is going well,

can't wait to be with a man?

Doesn't it cross your mind that
if I'm alone, it's because I want it?

And not because I am lesbian,
or am anti-social,

or because men disappointed me.
But just because I like it this way.

I like being without a husband,
without children.

I like being with myself.

Excuse me.

Excuse me.

- Bye.
- Bye.

- Hello?
- Were you sleeping?

- Yes. Why are you already up?
- Sorry. Maybe it's too early.

- It's that I worked all night.
- Where?

After you took me back,
I wasn't sleepy and went to the lab.

I analyzed some findings
from Via Biancamano.

- And so?
- There are no organic traces.

What do you mean?
And the blood stain?

It's fake! A compound that is used
for special effects in movies.

- Special effects in movies?
- Yes, exactly.

And the other tests?

Nothing much. A mixture of
esters, alcohols, saturated acids.

- In other words, wax.
- Wax?

Yes. Wax, Salvo. Normal wax.

- What does it mean?
That, I don't know.

Did someone put candles
near the d*ad man?

I wouldn't say so.

They were small slivers
of pale pink, blue, black wax.

- I'm d*ad tired and going to bed.
- Yes. Rest up.

- Thanks.
- Bye, Salvo.

Come in!

- Excuse me!
- Come and sit down.

So, these are Catalanotti's files.

They are the result of an attentive
and long selection we made.


You said...

"They are the result of an attentive
and long selection we made."


I did it, Mimì! Me, Mimì!

Here are the profiles of the actors
that have psychic anomalies

or a natural tendency
toward every form of transgression.

Those more willing to rebel
against Catalanotti's impositions.

Exactly! But Catalanotti
doesn't put name and last name,

address and phone number.

There's just a photo.
So you must identify them.

It won't be an easy job,
but start right away.



Good morning, Chief.
This is Doctor Barresi.

Doctor Barresi, good morning!
Did you find anything out?

Yes, and listen to me attentively
because the matter is strange.

Catalanotti's death seemed caused
but a knife s*ab.

But in looking at the heart injury
I noticed another serious injury

done just before.
- He was s*ab twice?

No. The other wasn't
a knife s*ab,

but an injury caused
by a myocardium heart att*ck.

- A heart att*ck?
- Yes.

You mean that when he was s*ab,
he was already d*ad?

Exactly. The man had just died.

Anyway, I'll send you the results
as soon as possible.

- Alright, thanks. Goodbye.
- Goodbye.

Catalanotti died of a heart att*ck.

- Excuse me.
- Come.

Good morning.
I'm Chief Montalbano.

Excuse me, Chief.
I hadn't recognized you.

Michele Tedesco, owner of Casamica.

- My pleasure.
- Please, sit down.

How can I help you?

I came for some information
on the apartment

belonging to Mr. Aurisicchio
in Via Biancamano.

I gave the keys to one of your men.

Yes, in fact I have them here.

I came to talk about the double report.

Double? In what sense?

The first one by
Mrs. Genoveffa Recchia,

who lives upstairs
from Mr. Aurisicchio's apartment,

and who heard, despite knowing
that the apartment is vacant,

some strange noises at night, among
which the muffled cries of a woman.

What? I know nothing about it.
I just got back from Montelusa.

We'll clarify that later.
The second report is much more serious.

- Did you ever enter that apartment?
- Of course.

Did you see the paintings?

Sure, a very important collection.

So much that Aurisicchio wanted me
to be present during the visits.

I photographed the paintings
and sent the photos to the owner

who noticed that some of
the more precious works were missing.

You surely realize what delicate
situation you are in.

Are you sure that...
I mean, are you sure

that the door was not broken into?
- There is no sign of it.

- Good morning.
- Good...

- Good morning, Chief.
- Oh!

Good morning, miss.

So, I was saying...

Someone probably took the keys

belonging to Mr. Aurisicchio
to steal those paintings.

It could be.

- Excuse me, who kept the keys?
- Me.

- Where?
- In this drawer.


Then do something.
Put them inside and lock it.

There. I need a paperclip...

Excuse me, miss.
Do you have a hair pin?

- Of course.
- Could you kindly come?

What should I do?

Insert the hair pin in the lock
and try opening the drawer.

I don't know if I can do it.

It's easy. Try inserting it
and rotating clockwise.


This greatly upsets me
because it means that anyone

could have taken the keys.

Right. How many employees
are there in this agency?

One. Miss Del Castello.

But I didn't do it.

- Of course not.
- Oh, no.

I have to go now because it's late.
We'll talk again soon.

- Alright? Thanks a million!
- Alright, Chief. At your disposal.


A moment of patience.
We're taking the saint to be repaired.

- Hurry up. Come on!
- What are you doing?

We're taking Saint Francis
De Paula to be repaired.

- Repaired? What for?
- Because a lit torch

melted his feet.

- Melted his feet?
- Yes, Chief. It's made of wax.

Wax! Where are you taking it?

To Fela, where there's
a factory of wax statues.

- Alright...
- We'll be finished in minutes.

Sure. Have a good day.

- Good evening.
- To you.

Come on, let's hurry.

It's made of wax.

Come in.

- Excuse me.
- Mimì, come.

You know what? I think all these women
have made you turn senile.

- What do you mean?
- The d*ad man.

Since you touched him
you should've noticed something.

- What?
- That he wasn't a real corpse.

- What sort of corpse was it, then?
- A wax corpse.

Wax? What the hell
are you talking about?

I just came back
from the "Palumbo" wax factory of Fela.

They made your d*ad man.

Life size, fully dressed
with a sh*t in his heart.

What was this big act for?

Theater. Catalanotti
used it for his tryouts.

Your d*ad man performed Martin.

- Hello?
- Chief! Chief!

There is a German
I don't understand.

- But he urgently needs to talk to you.
- Does he speak German?

- No, he speaks like us.
- Then let me talk to him.

Hello? My name is Michele Tedesco
from the real-estate agency.

Oh, Mr. Tedesco. What is it?

After your visit I put Maria, my
under pressure

and she confessed!
So I fired her on the spot!

Did you ask her what she did
in that apartment?

She took her lover there.

But she insisted that she did not steal

those paintings.
She has nothing to do with it!

I see. But I must talk to Maria.

- How can I do that?
- She is an actress... or thinks she is.

Tonight they are debuting
at the "Satyr icon" theater of Montelusa.

Alright, thank you.
I'll keep you informed.

I must tell you something.
You and Fazio, come with me!



Now listen to me.
This is Maria's address.

I want to search this girl's apartment.

The D.A. won't give authorization.
We don't have elements.

- I want to go there!
- Without a warrant?

- Without a warrant!
- How can we?

She has a performance tonight
at Montelusa.

Late afternoon, go outside
her apartment and be a lookout.

- When she goes out, call me.
- What about me?

You stay here at the station
until we call you

to tell you that we're outside
the apartment.

So if anything happens,
you'll cover for us. Alright?

I want to go rest now
because I am tired.

See you later.

What did he say?

He said he is tired.


In all these years,
have you ever heard him say he's tired?


Hi, Salvo.

I was about to call you.

Oh! To tell me what?

To say goodbye. I'm leaving tomorrow.

I was given an urgent transfer.

- Salvo?
- Can we see each other?

That is why I am calling.

They're picking me up in an hour
and taking me to Siracusa.

My ex-boss organized
a goodbye party and...

I can come to Siracusa tomorrow.

I would really like that.

As you wish.
But my train leaves at noon.

Then I'll see you at :
at the station. Alright?


- Fazio.
- Maria Del Castello just left.

- I think the coast is clear.
- Ok, I'm coming.

Holy Mary!
Chief, there's a d*ad man under here.

- A d*ad man?
- Right!

The circle is closing in!

Good evening.

- Good evening.
- May I have a ticket?

There is no performance tonight.
There isn't an audience.

What? Who am I?

Excuse me a moment. Wait.

This evening I was to perform
"The Human Voice" by Cocteau.

But considering the presence
of a very special spectator,

I will improvise for him...
and only for him.

For a long time...

I tried to be a respected
and respectable girl.

As my family had taught me to be.

And only here,

only here, on the boards
of the stage did I...

feel that I was truly myself.

And at the theater I met Carmelo.

He explained that I could be free,

even outside the stage.

But above all, thanks to him...

I became a woman.

He took me just once,

but it was enough to make me
his prisoner,

completely submitted to him.

And finally, "Dangerous Corner" arrived.

He told me I could do a tryout
for Olwen.

Then he had second thoughts. "You...

should excite a man and then k*ll him?

You will never be able.
I'll find someone else."

I begged him.

I begged him to at least
have me do a tryout.

So he pushed me to show him
I was ready for anything.

He asked me to try
in a secret place, and I...

stole the apartment keys
in the agency and gave them to him.

He gave me an appointment
for the following evening.

When I arrived, the door was ajar

and the apartment
was completely dark.

So I called him, but he didn't answer.

I slowly entered.

Once I was in the room,
I saw a body on the bed

and I screamed.

He turned on the light and said,
"You see?

See that you're not ready?

Don't make me waste time.
I am going home!"

I... I followed him.

I followed him to his home
like an abandoned dog.

When we got there,
I kneeled in front of him.

I begged him.

He mockingly looked at me and said,

"Alright, Maria.
I'll give you one last present".

And then...

he took some pills from his pocket
and swallowed them.

"Come, Maria, come.
Lie down here on the bed next to me.

Put your hand on my pants
and when you feel I am ready...

do what you have to do."

I... obeyed.

At a certain point I looked at him
He had...

an idiotic smile

on his face.

And so without thinking,

I grabbed the knife
and s*ab it in his heart.

But he didn't move.

He just kept on smiling.

I left him there and went away.

I returned to Via Biancamano,

disassembled the puppet
and took it away.

Do you believe me if I tell you that...

I never regretted it,
even for a minute?


Can you give me minutes
before arresting me?

I have no intention of arresting you.

Why not?

I told you the truth.

I k*lled him. I am a m*rder!

The autopsy stated
that when you s*ab him,

he'd already died of a heart att*ck.

You didn't k*ll anyone.

I'll see you tomorrow at the station.

- What is it, Chief?
- Fazio!

The girl confessed.

But I told her that Catalanotti
was already d*ad.

I said to come to the station
tomorrow morning at : .

Make out the report
and take it to the D.A.

He already received
Doctor Barresi's test results.

She will get by with little.

Aren't you coming
tomorrow morning?

I'm doing something.
I'll be away from Vigata all day.

- Good night.
- Good night.


I'm glad you came.

How's the investigation
on Catalanotti going?

Solved. You were right. It was the
possible Olwen for the performance.

- But she didn't k*ll him.
- Who did?

It's a long story.
Sure you want to know now?



What now?

Now we are here.
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