The Sunday Woman

As Chief of Homicide, Santamaria methodically untangles a web of motives among Turin's aristocracy and professionals. He navigates cautious interrogations, balancing professional duty with the risk of clashing with powerful interests. His persistence drives the investigation toward the unexpected link between property, love, and murder.

The bored wife of a frequently away businessman, she becomes an active participant in the investigation and a potential ally for Santamaria. She publicly aids the inspector while privately pursuing a secret rendezvous, blurring lines between motive and alibi. Her involvement reveals how social roles mask personal agendas.

A young clerk in the city's planning department, he is entangled with Massimo Campi and becomes a focal point for pursuit. He is followed by Santamaria, exposing the connection between bureaucratic power and romantic entanglements. His position makes him a potential lever in the killers' schemes.

Widow living with her sister in a crumbling villa, she emerges as the killer motivated by a claim to property and forbidden development. She kills Garrone after discovering an art-covered obstruction to selling the property, aiming to overturn the restriction. Her calculated actions expose the high-stakes politics of real estate and art supervision.

An architect who acts for the Tabusso widow and becomes a victim in the pursuit of property fortune. His involvement in the villa's dealings places him at the center of competing interests. The murder exposes the corrupt interplay between construction, law, and social class.

Wealthy individual with a secret lover, he withholds cooperation to protect his own interests. His romance with Lello Riviera adds a layer of personal risk to the investigation. The dynamic between Campi's privilege and Santamaria's scrutiny reveals the moral complexity of the case.