In the city of Latina, a young Yugoslavian girl with questionable morals called Norma Zejzler (Corrigan) lives and works.
She is the mistress of Claudio Santini (Merli), who is married to the young teacher Luisa (Pitagora), who in turn well knows about the love relationship of her husband.
One day the charred body of a woman is found in Norma's house, possibly it is even Norma herself.
Luisa is incriminated (the motive is jealousy) by the district attorney Turrisi (Balsam) as being guilty of the murder.
Although some elements have not been cleared up, the woman is sentenced to ten years in prison.
Then she leaves the prison three years earlier because of her good behaviour.
She is received by the lawyer Marco Manin (Hill) who during the past trial was the assistant of the attorney for the defence.
After many years lawyer Manin is still puzzled about the final verdict, and between him and the woman a love story begins.
Later on it is discovered that Norma is still alive and is now living together with Claudio.
This time Luisa does really kill Norma, and after her arrest lawyer Manin, who now defends Luisa at the trial, discovers that the woman had indeed been only sentenced because of the carelessness of the district attorney Turrisi.
The truth comes to light:
Claudio Santini together with his mistress had killed and burned another girl who had to pass off herself as Norma.
At the end Manin succeeds to incriminate Santini and to clear up the circumstances, but Luisa commits suicide when listening to the verdict.

For this story with mysterious and dramatic overtones Giorgio Gaslini has written a short, but effective score.
At the time of the film's release Cinevox had issued a 33 rpm vinyl album with nine selections in stereo and two tracks on a 45 rpm vinyl single.
For this CD we could use the stereo master of the album issued in 1972 and we have discovered four unreleased tracks which now results in a total time of 37'35.
For the character of Luisa and her tormented story Gaslini has written a romantic and sad theme with classical flavour for guitar and orchestra that evokes the whole private drama of the young woman made so coldly public in the court (Tr. 1).
It gets reprised for solo guitar (Tr. 5) and can also be heard in the second part of Tr. 6 and Tr. 7 and in the final suite (Tr. 13).
The macabre side of the story which is all about a murder and the search for the truth is rendered by passages of dissonant music where the Luisa theme comes back (Tr. 2), by the long and ghostly experimental piece Evanescenze (Tr. 3), by bucolic motifs with a classical flavour (Tr. 4, Tr. 11, Tr. 12) and a fascinating blues theme for piano solo (Tr. 8).
An OST with a very European flavour which really deserves to be rediscovered and by an author, who is not only among the greatest Italian jazzmen, but who did succeed in offering soundtracks of high artistic value for the cinema which we want to preserve on CD with big joy.