Talking Stone Film

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BLOOD AND BLACK LACE Directed by
MARIO BAVA What’s got into you?
Why did you come here? Don’t you realise
that Isabella could see us? – Have you got any?
– No. I can’t take this any more. If I don’t get some soon
I’ll go crazy. Don’t be like that, Franco.
Have you tried asking lsabella? We had an argument. She even stole what I had,
damn her. Try to hang on in there. When I’ve finished work
we’ll find some. Trust me. I’ll help you. Now go. I’m counting on you.
Thanks. I’ll be waiting. Bye. Isabella.
Your scarf. Thank you. – Bye.
– Bye. What’s wrong? The sign’s fallen off again. – Do you want me to go and fix it?
– No, not tonight. You can do it in the morning. Same old story…
Isabella’s late again. I don’t know what’s wrong with that girl.
This is the third time. There’s no need to get angry,
just give her a hefty fine. l certainly will, and I’ll fire her
if she’s as late as she was yesterday. – Good night, Madame.
– Good night. Nicole. Look at this dress.
Try to take more care of the clothes. There’s another show tomorrow.
Look at this. – I’Il be more careful. sorry.
– You’re always rushing off out of here. You’re all the same,
that’s all you think about. What does she expect?
she’s so annoying. It’s not easy being a widow. Isabella! No, thanks. – How Iong were the lights off?
– Ten minutes. How long
had the girl worked for you? About two years. What was she like? Very lively. A bit unruly, but there’s
nothing bad I couId say about her. As far as you know,
did she have a lot of friends? Inspector,
I’m not going to be much help here. I’m the managing director. You should ask the two girls
who lived with her. I can’t believe it. Such a terrible thing.
I still can’t get my head round it. Poor thing,
she was always so cheerful, so… Come on, stop crying.
It’s not going to do any good. Inspector silvestri, this is Countess
Cristiana, the owner of the company. – Good morning.
– Good morning. Haven’t I met you before, madam?
Or am l mistaken? Yes, we have actually met before. Because of my husband’s accident. Exactly.
It was a car accident. I imagine you’Il be able to help me.
You must know alI about your girls. Inspector,
this isn’t a boarding school. l don’t know or care
about what they do when they’re not here. All right,
I’m going to be in the studio. – Will you excuse me?
– Of course. Come on, Peggy.
Stop crying. What good is it going to do? Come on. What time was it
when you went out to fix the sign? About seven. It was banging and the
noise was irritating Madame Cristiana. I went out and fixed it
as best I could. I protest! Mr Morlachi,
I demand an expIanation. I’d only just come through the gates
when these men grabbed me. – Ask the inspector.
– Inspector? Calm down
and tell me why you’re here. – I’m Marquis Riccardo MorelIi…
– All right, but answer my question. He’s come to pick me up.
He’s my fiancé. Fiancé! – Why are you laughing?
– Because we live together. Did you know Isabella? Isabella? You introduced us once,
didn’t you? Yes, I guess I knew her,
but only by sight. I see. Come on, Peggy. Be strong. Stop crying. lt looks like
she’s the only one who’s upset. They were very good friends. – Did she live with you two?
– Yes. Who had she gone out with?
Who was the last person to see her? I don’t know. Leave her alone. Everybody knows
who Isabella’s lover was. – Who are you?
– Cesare Lazzarini, fashion designer. – Will you tell me his name?
– Whose? The lover’s. Scalo. Franco scalo,
the famous antique dealer. – Police. Where’s the inspector?
– ln there. I can assure you
I don’t know anything. – Excuse me a second.
– sure. It’s confirmed. ShalI I go? – Yes, go.
– All right. So… Tell me, what kind of relationship
did you have with Isabella? – We were friends.
– Or lovers? I’m going to admit to something,
but you mustn’t be shocked. l don’t believe in permanent
and everlasting relationships. I understand. Do you know what this is? No, I don’t. – What is it?
– Cocaine. It was found
in your friend Isabella’s house. In Isabella’s house? – so you didn’t know about this?
– No. Never mind. But I must ask you
to remain at my disposal. I’ll see you again. Autumn Evening. Turn around. AlI right, you can go.
Quickly. – What’s wrong, Cesaretto?
– lsabella was supposed to model this. – You’re right.
– Who should I give it to? Let’s see… – Peggy…
– Not me, please. I can’t. For heaven’s sake don’t cry
or you’Il ruin your make-up. – Greta, you model it.
– No, l’m sorry, I can’t wear it. – Don’t be silIy.
– lt’ll bring me bad luck. – someone’s going to have to model it.
– l will. Good. Come on, hurry up. Why doesn’t that surprise me?
she’s so cynical. AlI right, you can go. Turn round. Good. Walk. Hold on a second. Something’s missing. The brooch!
The green brooch. We can fix that now.
Where is it? Isabella brought her own.
She kept it in one of these boxes. Here it is. Look what l’ve found.
Isabella kept a diary. It’ll be an interesting read. Listen. “He’s a man who arouses
deep and desperate feelings in me. “I’d be prepared to die for him.” Let me see. – I don’t think we’ve got the right…
– What are you doing? Are you all mad? Does this seem like the right time?
Go on, off you go. Get ready. I think we should give this
to the police. I found it and I’d like
to hand it in myself, if you don’t mind. As you wish. Ray of MoonIight. – Ηello?
– HeIlo. Hello, Franco. Why didn’t you come? I was on my way out
but I’m not feeling well. You know why. Sure, I understand. Try to come right away.
I’ve got some. Listen, Franco.
I’ve found a diary. – lsabella’s diary.
– What? Isabella’s diary?
Who else knows about it? Everybody, unfortunately. l realised too late that there could be
something compromising about you in it. I kept it
and said I’d hand it in to the police. Good. We’ll have time
to take a look at it. – I’ll come straight over.
– You don’t sound well at all, Franco. Franco! Franco, can you hear me? Yes, Nicole. Sorry, I can’t even breathe. But
now you’ve got some I’ll feel better. Bye. I’ll see you soon. Hurry up, girIs.
Greta, you’re on next. – Everything all right there, Marco?
-Yes, Madame. – Cesaretto, where were you?
– I’m here. I looked everywhere for you.
Why do I have to do everything myseIf? – Nicole?
– What is it? Telephone call. – For me?
– Yes, for you. – Hello?
– Hello. Nicole, is that you? – Yes. Who’s speaking?
– It’s Franco. I can’t make it over there.
I feel too ill. You come over. Please. Now.
I feel like I’m suffocating. How am I supposed to get away? AlI right, I’ll do my best. I’ll try to come right away. There, it’s all right now. Peggy, Franco’s sick.
He needs me. I need to rush over and see him.
Will you lend me your car? But the show’s not over yet. I don’t care. Give me the keys
but don’t let anyone see you. Hold on. – Peggy, what are you doing?
– Nothing, just getting my handkerchief. The alarm switch is hidden
in the gIove compartment. AlI right. Thank you. ANTIQUEs Franco? – Have fun but don’t come home too late.
– Don’t worry. Marco! I want to keep you company
till Tao-Li gets back. Aren’t you scared
of being at home on your own? I’m actually very tired
and I’d like to go straight to bed. But you’lI have to stay up
till Nicole brings your car back. PIease. AlI right. As you wish.
Come in. Thank you.
I didn’t want to leave you. I’d have worried about you
being alone in that house. – Clarice, are you still here?
– Good evening, miss. Yes, I’ve only just finished. Didn’t Miss Τao-Li
come back with you? She’s gone to a party.
she’ll be home Iater. Clarice Iooks after us. I’ll be off, then. I left your dinner
in the oven to keep it warm. If Miss Tao-Li wants her concoction,
it’s ready. she just needs to heat it up. Thank you, Clarice.
Good night. l’ll see you tomorrow. Good night. Peggy… – You always refuse to Iisten to me.
– I listen to you. You don’t. And I’m tired of telling you
the same thing over and over. I’ve told you a thousand times. Sadly I’ve fallen in love with you. But you don’t care.
Why not? Calm down and come here. You see… I’m not well. I know you think I’m besotted,
and that drives me insane. I’m sick, unhappy… Don’t be like that. l understand you.
I’m your friend. Come on, cheer up. – l’ll have one of your cigarettes.
– No! stop! Leave it. What is it? I just wanted a cigarette.
What have I done? I’ll get it for you.
You’lI mess up my bag otherwise. Here. Hello? Good evening,
it’s Inspector silvestri. I’m sorry to bother you.
I’m calling about your car. We found it unlocked and abandoned.
Had it been stolen? No, I lent it to my friend Nicole. Yes. Yes, she asked to borrow it so she
couId visit a friend who wasn’t well. Has something happened? I’d rather speak to you about this
in person. I’ll come over to your house. AlI right, I’ll be here. What’s going on? They’ve found my car but not Nicole.
Oh, God, what’s happened to her? – Is the inspector coming?
– Yes, he wants to speak to me. I’ll be off, then. I’d rather the police
didn’t find me with you. Yes, it’s best
if nobody knows you came here. Yes, it is best.
Especially for you. – I’m sorry.
– l’ll see you tomorrow. See you tomorrow. “I caught Peggy trying to steal
1 00,000 lire from my bag. “She started crying
and told me she needed it. “She’s pregnant
but can’t deal with the scandal. “I lent her the money
because I felt sorry for her. “Tomorrow I’ll ask the bastard
for 200,000 lire.” WHERE Is THE DIARY? I burnt it…
I burnt it… I burnt it! Miss Peggy? Good evening. Sorry, I know it’s late for visiting,
but this is an urgent matter. Don’t worry.
PIease, have a seat. What’s it about? Charles, you can go. I got back a short while ago
and found Nicole in my shop… murdered. My God! I’d gone to the studio
to pick Nicole up. Remember?
We bumped into each other. I looked everywhere
but I couldn’t find her. So I went back home. Believe me,
I’ll never forget what I saw. Sorry, but why did you come here
instead of going to the poIice? Nicole was my friend. She was kiIled in my shop. The poIice are bound to blame me. I need an alibi. – You’ve got to help me.
– Me? What have I got to do with this? You’re in as much trouble as I am. We need to say that we were together
at the studio until we left. I’ll vouch for you
and you’ll vouch for me. – lt’s in both of our interests.
– You’re insane. The poIice have no reason
to suspect me. You’re the one who’s in a fix.
Maybe you really did kill her. No. Call the police right now
or I’ll do it. Go on, then,
and you can tell them about the lOUs. What lOUs? The IOUs you signed to guarantee
a seven million lire loan for lsabella that you couldn’t pay. Is that true?
Riccardo, you didn’t telI me. Is it true? Oh, my God. My dear Marquis,
you haven’t got a penny to your name. You’re compIetely ruined
and afraid of the scandal. That’s a pretty good reason
to kill Isabella and maybe Nicole too, to make sure
the police didn’t get hold of the diary. Who knows, maybe
all the expiry dates were written in it. What diary?
I don’t know anything about it. Don’t lie, Riccardo. I told you
Nicole had found Isabella’s diary. As you can see, we’re tied
to each other by a strong thread. If you don’t want the police
sticking their noses into your business, you’d better do as l say. I’ll go back to my shop now
and call the inspector. I’ll tell him that we were together
all the time. All right? Good night. Why won’t you believe me?
I burnt that diary. lt contained things about me
that I didn’t want people to know. I burnt it.
I swear I burnt it. Believe me.
Believe me! No! How did that girl get in here? – she had a key.
– How come? I’d given it to her. – she used to visit me sometimes.
– Her as well? You mustn’t think that I… I’d left IsabelIa for Nicole. How many other people
had keys to that door? Nobody else. – Except me, of course.
– Of course. Did you take drugs with her too? – What are you saying, Inspector?
– Come on, scaIo! Who are you trying to kid? You’ve got a drug habit.
It’s written all over your face. I can even teIl you
where you get your drugs. And… as for the girls who,
shall we say, keep you company, or who try to fight your habit,
like lsabella did, or who take drugs themselves,
Iike this one… That may welI be the case, but it doesn’t mean
that I’m a murderer. Besides, I have an alibi.
l was with… I haven’t asked you about that… yet. We’ll talk about it in good time. – When?
– Right now, in my office. – Do you recognise it?
– Yes, that’s the one. – Are you sure?
– Yes. Hold on. l wrote down
the first few numbers. Here we go… 4, 5, 3.
What did I teIl you? Did you see
if a man or a woman was driving? A man, definitely. He was all in black
and he didn’t seem to have a face. Maybe he was wearing a mask. Maybe, l don’t know. I looked at him
because l heard a horn. – What horn?
– The car horn, Inspector. It beeped, but not for very long. Then suddenly it stopped. Could there be an alarm
connected to the horn, Zanchin? Hold on, I’ll check. Yes, there is one. It’s at the back
of the gIove compartment. – How Iong did it beep for?
– I don’t know. – Not very long, like I said.
– Tell me how long. That’s it.
Pretty much that long. If you didn’t know where it was,
you’d take a while to find it. Right. But if you did know
where it was hidden, you’d only need a few seconds. Come through. After you. Have a good look at these men. Did you ever see any of them
in Miss Peggy’s car? – HeIlo, Mr Morlachi.
– Hello, Clarice. You know him?
You’ve seen him in the car? Of course she’s seen me. In the car and walking, Iots of times.
All perfectly normal. I didn’t say it wasn’t. Let’s keep going. – Him. l saw him in the car.
– Of course. Big deal. What’s the point of this?
It’s all a farce. Be quiet. You didn’t just see me, did you? Open your eyes, you idiot. Him, for instance.
You saw him too, didn’t you? Do you only want to know
who went in the car with Miss Peggy? Why? Because that gentleman
came to the house last night. He came with Miss Peggy. At Iast we’re getting somewhere. You bastard! What are you trying
to insinuate? Do you want to ruin me? That’s enough. Bloody murderer! Damn you!
Own up to it. You’re the murderer. Inspector, have him examined.
He’s impotent. That’s why he hates women. He’d kill
them aIl because he can’t have them. Why don’t you tell the inspector
that that’s why your wife left you? Oh, my God.
Oh, my God, I’m suffocating. – HoId his shoulders.
– Calm down. Take him to the infirmary. No!
Let me go! Let me go! – None of you knew he had epilepsy?
– I didn’t know. You can go. Goodbye, Clarice. I’m very sorry but I’m going to have
to keep you here, Mr Morlachi, and you too, Mr Lazzarini. – What does “keep you here” mean?
– It means l’m legally detaining you. Excuse me, lnspector,
but you need a good reason to do that. Nicole’s murderer
had been in Peggy’s car before because he knew
where the alarm switch was hidden. – Can I go?
– Can I? No, you’ll stay here too. This is absurd.
I’ve provided an alibi. – The marquis confirmed it.
– lt’s true. We were together. Don’t worry, gentlemen,
I haven’t forgotten. You were together until gone 1 1 .
Nicole was kiIled after 1 0. – so why do you need us?
– Well… When I called Peggy
to tell her that we’d found her car, it was about half past 1 1 . I got to her place
a quarter of an hour later, but she was no longer there
and the house was in a complete mess. Maybe they killed her too
and hid her body somewhere. As far as this last event is concerned,
gentlemen, I’d say your aIibi was pretty useless. It’s already nine o’clock. Why do we have to sit in the dark?
As if we weren’t scared enough already. Do what you want,
but try to stay calm. How can we stay calm? Aren’t you worried
about everything that’s happened? I’m scared too, I admit it. But there’s no point in panicking. I wish some of the men
would come back. We’re the only ones left
at the studio. Hello? Mr Morlachi, at last.
What’s happened? What? That’s ridiculous. Why?
What right do they have? Oh, yes. I see. AlI right. Of course. Yes, don’t worry. AlI right. – They’ve detained all five of them.
– Why? Clearly the police believe
that one of them is the murderer. I knew it. Madame… can we go? Yes, please go. Be strong. – Good night.
– Good night. I really envy those three living together. At Ieast they can keep
each other company. – l’m going too, Madame.
– Yes, of course. Wait… Why don’t you come
and sleep at my house tonight? What?
I just live round the corner. Why should I go all the way to yours
out in the country? I could come and sleep
at your house, then. No, I’m sorry,
but I’d rather be on my own. And I think you’d feel
even more afraid at my house. Aren’t you scared on your own?
They lived with you. Isabella’s been killed,
and Peggy… Yes, I know. But I’m certain
that nothing will happen tonight. AlI the men have been detained and I’m sure
one of them is the murderer. – Good night, Madame.
– Good night. Madame, I don’t want to go home,
l want to sleep here. No, my dear. You need to go
Iike the others. Good night. But I’m frightened.
I live out of town in a house on its own. Don’t be a baby, Greta.
We’ve got a big day tomorrow. Work must go on. Listen… Isabella and Nicole
were mixed up in a nasty business that doesn’t concern us. We’ve got nothing to be frightened of.
Do you understand? Off you go.
Don’t worry. – Good night, Madame.
– Good night. Good night. Miss… Miss, the marquis called to say that something came up
and he’s stuck in town. I know.
Can you make me some tea, please? Right away, miss. Hello? Hello? I’ve brought your tea, miss. Just a moment, please. Come in. Leave it up there, Charles.
l can do it myself. Good night, miss. Did you see how the murderer
attacked that poor girl? He must have used a red-hot iron.
We’re dealing with a madman here. Or a homicidal sex maniac. – Who only kills beautiful girIs.
– Exactly. Perhaps female beauty
makes him lose his head and kill. We’re going to have
to start again from scratch. lnspector, Forensics are outside if you
want to see the footprints in the garden. The footprints start over there. The murderer drove up here
on this road, got out and walked down the slope
to the house. Τhe prints match the ones
found in the studio gardens. – Are you sure?
– Yes, we took casts of them. I could have sworn the culprit
was one of the five men we detained. – We’ll have to reIease them at once.
– Of course. This time they reaIly do have
a cast-iron alibi. And I provided them with it. Riccardo Morelli.
Make sure everything’s there. Massimo Morlachi. Come in. Mr Morlachi, I’d Iike to speak to you
for a moment if I may. Yes, dear. Come in. Mr Morlachi, I’m a caIm woman,
l’m not at all nervous. But I find the thought of a sex maniac
prowIing around our studio really very disturbing. I’ve decided
to take some holiday. I’ve booked a seat
on the flight to Paris tomorrow. Paris? – All right, Tao-Li.
– Thank you. By the way, are you still living
in the countess’s house? – Yes. Why?
– Nothing. Just memories. When the count was alive
I’d often go and visit them. It’s a beautifuI house. I remember being able to see
all over Rome from the terrace. Yes, but right now
I’d rather see the rooftops of Paris. – l don’t doubt that. Have fun.
– Goodbye. search as much as you like. I burnt
everything that could compromise you. When I heard you’d been arrested I got rid of Peggy’s body. They couId have found it. And I killed Greta
to give you an alibi. Perfect. Perfect but horrible. I don’t know how I did it. I’d never have thought
I’d have the strength to kill. But I did it for you. I can imagine what it cost you. But tell me, how did you manage
to take Peggy’s body to Morelli’s house? I didn’t take her there myself. I just put her in the boot… and Greta did the rest. Why did you decide to use Greta? Well, l knew
she’d be on her own at home. – That made everything easier.
– Well done. The police are convinced
they’re dealing with a sex maniac. Isabella, Nicole… Peggy… and now, with Greta,
that makes four. Stop it. Sweetheart, what’s wrong? Kiss me. Are you worried, darling? What a mess. lt’s all because
of that stupid idiot Isabella. Her blackmail
had become unbearable. Money, money and more money. PreciseIy because
she unfortunately found out… that my husband’s death
wasn’t an accident, she should have realised that it was
both foolish and dangerous to push it. But no… No… The more we gave her,
the more she wanted. – she asked for it.
– she thought she had us on a string. She felt like she was
the only witness to a perfect crime. Her death wouId have been
perfect too, if onIy that bloody diary
hadn’t cropped up. But it’s all over now. We’ve got nothing to worry about now,
darling. Nothing at aIl. No, that’s where you’re wrong.
Very wrong. The two of us
will never have any peace until we give the police a culprit. Peace! Listen to me. We’ll never get away with it unless we put a face
to their sex maniac. UntiI they catch him
they’ll be watching us. AlI the girls who were killed
worked at the studio. They’ve got no proof against us
but the case has become a sensation. It’s all over the papers.
The scandal’s raging. We need to find a solution. So what do you want to do? I know, darling.
We should go away to the moon. We need to kilI one last time. And you’ll be the one who does it. – No.
– Yes. They’re definitely watching me. Don’t worry, darIing,
I’ll create a perfect alibi for you. Stay caIm. No, Massimo.
You can’t ask me to do a thing like that. I refuse. l can’t do it.
Do you understand? You’ve done it already. Yes, you’re right,
I’ve done it already, but I had a very different motive then. You were in danger.
I had no choice. I knew that if I didn’t do it I’d have lost you forever. My love for you
gave me the strength to do it. But it was horrible. Horrible! Don’t cry. Listen to me. You need to do what I say.
You have to kill Tao-Li. You have to make it look like suicide.
Do you understand? They’Il find the mask by her side and think that she was the culprit. If we don’t do it, everything we’ve done
so far will have been pointless. You’re surprised to see me alive,
aren’t you, Massimo? Your plan was certainly
very ingenious. It was going to be perfect,
just the way you like it, but you didn’t reckon on the shop awning breaking my fall. PIease… Be quiet. I know very well what you’d like to say.
You’d like to deny it. But I saw you with the jewels.
You planned everything. Only you knew that I’d use the ledge
if I was in danger. Remember? You were the one
who suggested it. It was your idea. Cristiana,
I swear it was an accident. Do you really still think
that you can fool me? Yes… Yes, it was a very ingenious plan. They’d have found me
dressed like this and everything
would have been clear and you’d have been free. Now I understand
why you wanted to marry me in secret and in such a hurry. You were so in Iove with me.
so in love. You were,
but with my villa, the house, the studio, my money… You wanted to get your hands
on everything I own by killing me. Cristiana, I beg you… You’re wrong, darling.
It’s not true. It’s not true. You’re imagining it all, darling.
Believe me. I swear, Cristiana… It was just an accident.
I didn’t mean it to happen. How could you think that? I love you, darling, so much. We’ll go away.
We’ll be together forever. I’ll never leave you. Police… Get me… Get me Inspector Silvestri…

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