- Excuse me, do you speak...
- No.
- Hello.
- Yes.
He's here.
- Let him in. - All right.
Studio 4. Left.
Francesco is waiting.
- Thank you.
"SILENCE"
"THE EQUESTRIAN VORTEX"
"DIRECTED BY GIANCARLO SANTINI"
- Come this way, Gilderoy.
Don't be afraid.
A new world of sound awaits you,
a new world that requires all your magic powers.
- Mr. Santini.
- He'll see you when he has time.
Everything is ready.
It's all for you, Gilderoy.
- D120.
- Is that the first thing you say
when you greet someone?
- Francesco, can I go to lunch now?
- You have to finish the scene.
- I scream better on a full stomach.
- Okay, be quick. You've got 15 minutes.
Giovanni, stop the music.
Now, how about a proper greeting, huh?
What's wrong with you English?
You don't believe in handshakes?
No hugs? No kisses?
Here.
That wasn't so painful, huh?
Don't worry, You'll meet Santini.
He hasn't spoken about anything else this week.
You know, Gilderoy this. Gilderoy that.
You'll see.
Now, you must be tired, huh?
Why don't you have a seat?
- Actually, I'm fine.
No, I... I slept the whole flight.
Actually, that reminds me...
- Francesco...
Is it the bedroom scene you wanted?
- Yes, that's the one.
Come... come, have a seat.
There's a little scene I want to show you.
- Oh, before I forget,
there's a couple of receipts from the flight.
I was wondering if...
- Of course. I'll take care of that.
But not now.
Just give it to me tomorrow,
and I'll reimburse you the money.
- So, uh, what is this?
- Your brief.
Soundtrack.
- Signora Collatina's sacrificial attack is thwarted,
and the tables are brutally turned.
- Strike a light. What's he doing to her?
- Massimo and Massimo, start the demonstration.
- I didn't quite know I'd be working on this sort of film.
- What did you expect?
- Santini said something about equestrian...
- Oh, yeah. A horse-riding girl.
See?
She's just not horse-riding anymore; that's all.
- Again.
- Teresa!
- All right, boys, look what I've got for you.
Belgian chocolates.
Here, have one.
Boss, these are for you. Your favorites.
- You know each other?
Fabio's the son of a very famous Italian director.
Gilderoy is our new mixer.
He supervises all the elements:
voices, dubs, sound effects,
Foley, music...
- Hello.
- Hi. Ciao.
Eh!
- Thank you. - You're welcome.
- Good to see your Italian is improving.
- Where did you find him?
- About that flight receipt...
- Elena, the secretary.
I told you from the beginning,
it is Elena who deals with the expenses.
- Where are you going?
- I'm just gonna see if her mic's too close or not.
Excuse me.
Excuse me?
Sorry to be a pain, but, um...
Could you deal with this receipt?
- Deal?
- It's for my flight to Italy.
Just to get the money back.
- That's not my department. Talk to Francesco.
- I did.
He mentioned that you deal with reimbursements and such.
Um...
Maybe there's been some innocent confusion.
Nobody's fault.
Just language and things.
Could you help me?
Strapped for cash.
Could you deal with it?
- So it's my department now?
- Yes.
- In your own good time!
- Such an ass.
- He's a producer. What do you expect?
Don't get worked up over a film like this.
- If you can call such sordid trash a film.
I've never heard anything so...
- Hey, girls.
If you want to discuss film theory, do it after work.
I don't have time for this.
- Reel 1, scene 6, take 1.
Teresa and Monica surreptitiously enter
the secret equestrian library
and find a treatise on witchcraft.
- Quick, Signora Collatina is coming.
If she sees us here, we'll be expelled from the Academy.
- Wait, look at this.
- "Malleus Maleficarum."
- Is that Latin?
- This confirms what I suspected.
They are here. They are under us.
- How was it?
- Can you play it again?
- Giovanni!
- "Malleus Maleficarum."
- What's that?
- This confirms what I suspected.
They are here.
They are under us.
- Mantel clock,
Nagra 4D tape recorder,
and AKG C61 microphone.
- No time for love letters, Gilderoy.
Help Silvia with the mic.
- I was thinking about this scene.
- You were thinking. Really?
- Yeah.
Just about these screams.
I don't think her and Monica would...
- It's "she and Monica."
You don't say "her and Monica."
It's "she and Monica."
- She and Monica.
- Mm-hmm.
- They are screaming because they are scared.
It's a natural reaction,
but they don't want to be heard by the others
in the riding academy.
- And?
- So maybe we shouldn't scream so much in this scene.
- Really?
- Really.
- I think you shouldn't always question
what I tell you to do when you're being paid to work.
- If I ever see the money...
- What?
- Nothing.
- Are we ready?
- Yeah, I've replaced Teresa's mic with an omni,
so it should give it more space.
- It's Silvia.
Teresa is there. Silvia is here.
- So many names to remember.
- Just think of it like your microphones.
Each one has a name, and you remember.
- Get out!
- What do you mean?
- Come on, get out!
- Giovanni?
- Reel 1, scene 13, take 1.
Teresa and Monica venture
into the poultry tunnel underneath the Academy,
unaware of the witches' putrid corpses.
- Come on, let's turn back.
- Wait, Monica.
I'm sure this is the place where they were buried.
- There's nothing here, I'm telling you.
- I'm sure of it. It smells of chicken...
- So what is the beautiful Elena saying?
- The lantern's about to go out.
- According to the scripture, they were all tortured here.
There must be a clue somewhere.
- Teresa, look at this.
- Where did you find her?
She can't even scream in Italian.
- Come on, she does her best.
- In bed, maybe.
I didn't ask you to fake an orgasm.
You can save that for your next casting director.
Do it again. I want to feel the fear.
- So is Santini coming today?
- He's very busy.
- This is killing my throat.
I need some water.
- Go get a glass of water for this diva.
- Right you are, Francesco.
- And spit in it.
- Take two. Chain saw effect.
- Francesco, you won't believe who's here:
Signora Ladik.
Shall I wait downstairs?
- Lorenzo, get her backing music ready, okay?
- Reel 1, scene 18, take 1.
A spell is unwittingly cast
and the first witch rises from the dead
with a thirst for retribution.
- The witches' revenge.
Now that they rise,
they will do exactly to others what was done to them.
"SILENCE"
- Soul of Christ, sanctify me.
Body of Christ, save me.
Blood of Christ, intoxicate me.
- Santini's coming.
- Giovanni, cut.
Veronica, we'll continue later.
- There he is!
This is the man!
Thank you.
Let me feel this man.
This beautiful, crazy man.
Oh, Gilderoy, this a very special day for me.
A beautiful and big collaboration begins.
So... good studio?
- Yes, it's all right.
- Bigger than your studio?
- Gilderoy's studio is just a garden shed.
- Only two in at a time.
- The mixing room here is very special.
- Well, the Mallard needs a service, but otherwise...
- What needs servicing?
- The Mallard high-pass filter.
- Really?
You know, when you meet someone for the first time,
just try and discuss only positive things.
It's good manners.
- How was I?
- The less said the better.
You hardly sound like you're seconds away
from being penetrated by a red-hot poker.
- I didn't know how intense you want it.
- Well, I think the general consensus
is that a red-hot poker in a woman's vagina
is an intense experience.
- But an intensity that reaches the other side.
You understand what I'm saying?
Maybe now you will find the inspiration
for your performance.
- Let's hope so.
- What's going on?
- Just another scene where Veronica
cannot use her imagination.
- Speaking of scenes,
I was gonna ask you what...
about the film.
- Hey, what do you mean?
- Like, just to know a bit about what happens.
- No, Santini is busy... - It's okay. It's okay.
Francesco.
This is a very specific vision.
But you must help me, Gilderoy.
It's something I want you to respect.
- No, it's not that. It's just...
I've never worked on a horror film before.
- Horror film?
This is not a horror film.
This is a Santini film.
True, a Santini film is violence, I know.
But this is the life.
This is the life.
This is part of the human condition.
Please, please, Gilderoy.
Don't call my film "horror" again.
- Slip of the tongue.
- Don't worry. It's okay.
Oh, dai. Come on.
- What are we celebrating?
- Just celebrate whatever comes to your mind.
That's what usually happens in this studio.
- Let's make toast!
- Sounds a little watery.
Is there any fresh marrow?
- Reel 2, scene 25, take 5.
The witch surprises Monica in her sleep
and throws her out of the dormitory window.
- Well, I was hoping for a more dignified end than this.
- What are you complaining about?
You can take it home and cook it.
- I didn't know that you could change my voice so much.
- You ever heard yourself through one of these before?
- May I?
They told me what kind of films you normally do.
- 1/4 inch is 1/4 inch, whatever the film is.
- You never stopped to ask Santini or Francesco
why they hired you.
It doesn't make you curious?
See you, Gilderoy.
- Be careful with that girl.
There is poison in those tits of hers.
- With all your saints,
I praise you,
forever and ever, amen.
Soul of Christ, sanctify me.
Body of Christ, save me.
Blood of Christ, intoxicate me.
Water of his wound, wash over me.
Passion of Christ, strengthen me.
O good Jesus, hear me.
Hide me within your wounds.
Do not let me be separated from you,
defend me from the malicious enemy.
In the hour of my death,
call me and bid me to come to you.
That I may praise you with your saints,
forever and ever, amen.
- Reel 2, scene 28, take 4.
Flashback to the priest
pulling a witch's hair out during her interrogation.
"SILENCE"
- Beautiful long hair...
And now a face just like a ghost.
It is a tragedy to lose hairs.
- How many more scenes like this?
It's just... sorry.
These interrogations.
- These things happened.
Yes.
This is history.
And a film director must be true.
I hate what they did to these beautiful women.
Really, I hate it.
But it is my duty to show.
The world must know the truth and see the truth.
I hate it.
- Hate what? Conchita's cooking?
- Francesco, come here.
- Look at him. He's so hungry.
Look at him.
- Perfect timing.
- What happened?
- It's called a power cut...
- Get off me!
- A big tradition here.
- Oh...
La!
- What are you having? - Watermelon.
- Me too.
- If it stays like this,
we could sunbathe up on the terrace.
- Hey, enough! This is not a banquet.
This is for the interrogation scene.
- What about Massimo and Massimo?
- They're ill.
I know how much you love them,
but you can cope on your own for now.
- Foley's not really my forte.
- Gilderoy, everything is your forte.
This guy can turn a lightbulb into a UFO.
- Really? - Let's hear it!
- Come on!
- Show them the UFO.
He uses it for children's programs.
- Whoa.
This is great.
- Bravo.
- Ask him if he can do bats.
- Gilderoy, can you do bats?
- No...
- Back to work, guys.
- Ask him to do the UFO sound again.
- We've got piles of work to get through.
- How is it?
- We need to do the hair pulling again.
There's also a problem with the condenser...
too much moisture in the capsule.
- You stay here.
I'll ask Elena to make an order.
- Would you mind asking if she's had any news?
- You mean, you want your money again.
- It's just, you said...
- We said reimbursement.
And you think we're not gonna give it to you?
- Yes.
I mean, no.
- You know, I would appreciate it
if you trusted me more.
What I admired about you was that you were an artist,
that you were doing this for the love.
You know how many calls we get every day
from people who want to come here and work for nothing?
'Cause they love what they do.
Money is not their motivation.
But I'll put your request in over the others.
And I'll ask Elena to talk to the accountant.
- Mum's doorbell,
Nagra 4D tape recorder
and C61 microphone.
Sorry.
- Reel 2, scene 34, take 12.
Flashback to the priest stabbing a witch's body
to find the devil's marks.
- Good job, Gilderoy.
- Hello.
- Anyway, it's better to talk when I finish.
Okay, bye.
- Has the order come through
for the replacement ReVox servo drive circuit?
- No.
- Maybe tomorrow, then?
- Maybe.
- That thingamajig...
- I told you, it's not my department.
- Yes, yes, uh...
Francesco said you said there was someone in accounts.
- You want to speak to Luigi.
- Who?
- Luigi.
He has your receipt.
He's in the other building.
Here.
- It's ringing.
- Hello.
- Uh, Mr. Luigi?
- He's in a meeting.
- Oh, well, maybe you could help.
I have a receipt for a flight...
- You have to talk to Luigi about receipts.
- Yes, he's here.
- Uh, c-c-could you tell him that Gilderoy called?
- He'll come over and find you.
- That's great. Right you are.
- Jean-Michel Van Schouwburg is waiting for you.
- Who?
- The goblin.
- Reel 2, scene 37, take 1.
The dangerously aroused Goblin prowls the dormitory
and tries in vain to molest Teresa,
who makes a swift retreat.
- Francesco...
- Lorenzo's saying you've been messing with his faders.
Did you ask if you could do that?
- No, I just thought it would lower the noise floor.
- I think you're forgetting this is not your studio.
Try and be more considerate.
"SILENCE"
- Please, Gilderoy, don't let them hurt me.
- You missed the cue again.
Don't turn it off.
Just wait for it to come around again on the loop.
Giovanni?
- One minute, Francesco.
- Look, hold it still.
It's not gonna burn you.
Try to be more deliberate.
Here... nice big sizzle.
- Reel 3, scene 44, take 9.
Flashback to the interrogation of a witch,
in which a red-hot poker is inserted into her vagina.
- Soul of Christ, sanctify me as well.
What's your problem?
- I can't do this...
stuff.
- Gilderoy, you're here to do a job.
Now, you do what I tell you.
It is just a film.
You're part of it.
You can see how all this is put together.
What... what's your problem with this?
- Maybe it's best I go home.
- Gilderoy, let me just tell you
what it is to be a professional.
It's very simple.
You cooperate.
You don't question.
You don't argue.
You don't look at your watch.
You just do the work you're told to do
and keep your personal opinion where it belongs.
Am I clear?
"SILENCE"
- Body of Christ, save me.
Blood of Christ...
- Reel 3, scene 51, take 2.
Flashback to the priest drowning a witch
in a barrel of boiling water.
- This tells us how to lift the curse.
We have to conduct a human sacrifice.
The whole Academy is cursed.
It's no surprise that all these tortured witches...
- Guys, that's fine for now.
- Francesco, have you seen Fabio?
- He's hanging out on the terrace.
- I've got a little present for him.
- You didn't see the recording light?
- What light?
- Never mind. We need to get this scene done.
- No problem. I just came by to see how it's all going.
- You can't keep bringing the dog in here.
It's not professional.
- Come on, don't be like that.
We need him for the frequencies.
Everyone knows dogs can hear high frequencies.
- So you brought the dog here for professional reasons?
- You didn't know?
Who's the professional now?
- Make sure he doesn't poo in the studio.
- Who? Gilderoy or Alfonso?
Wait, wait.
I want a discussion.
How's everything?
- Fine.
- Francesco tells me you are trying to escape.
No.
It's a misunderstanding.
- I thought so.
There's no reason to escape.
Gilderoy, this is going to be a fantastic film.
Brutal and honest.
Nobody has seen this horror before.
- You can say that again.
- Let me question you, Gilderoy.
When you see these women,
do you see Catholic or witch?
Do you believe God, Gilderoy?
- I...
I'd rather not get technical.
- You English...
Always hiding.
How can I get close to you?
Is it so hard?
Where I come from,
we swallow the seeds.
- You are changed.
I feel it.
- No great shakes.
- Signor Santini. Signor Santini.
Telephone call for you.
- You and me, we will talk.
- What are you doing?
- This reminds me of home.
- The power cuts?
No.
The twigs.
How are you getting on with Santini?
- All right.
- Really?
I overheard you trying to get your money back for the flight.
If you talk to people like that,
you'll never get anywhere in this place.
- Why? Was I being rude?
- That's exactly it.
You should be rude.
Nobody pays money here unless they have to.
- I have asked several times.
- You don't just ask here.
You shake your fists, and you shout.
You push these pigs until you get them into the corner.
Be careful with Santini.
That baby smile is there for a reason.
You don't see that?
- Oy!
Get me accounts.
Give me that phone.
- Hello.
- Listen, the game's up, old boy.
- What?
- No more jumping through hooks.
You give me my money, or I'll...
- Wait. Just stop there, okay?
We already checked your ticket,
and there was no flight from Heathrow on the 28th of March.
- But that's when I flew.
- We called the airline.
We can't issue a reimbursement
for a flight that never existed.
There is no record.
- Well, I'll call the airline.
I'll get the information myself.
I'll call the airline!
- My throat's better now.
- We've moved on to Foley.
- Can I? Just once more.
- Which reel?
- Forget the reel.
I just need to scream; that's all.
- May I help you?
- He used me.
I knew he would.
I try my best to do my work,
and it's never good enough.
It always comes to the same thing.
I'm just a whore to them.
Nothing more.
I said "no."
I said "no" so many times.
He kept touching me here.
I feel so cheap, Gilderoy.
I feel so dirty and cheap.
Tonight I'll exact my revenge
and show Santini the real meaning of a curse.
Tonight, I'll destroy what is most precious to him
and bring the bastard to his knees.
I promise you.
"YOU PRESSED ALL THE WRONG BUTTONS,"
"NOW TRY THE RIGHT ONES. SILVIA"
- Whore!
- Good morning, gentlemen.
I trust the day finds you in good spirits.
Santini, I must congratulate you
for the unique motivational methods
you employ with your actresses.
I know how important it is for a director
to show how priests searched witches' bodies
for marks of the devil.
So I find it strange that you only bother searching
round the breasts.
I do not have devil's marks on either breast,
but you will find his marks on all my tapes.
Yes, that's right. Teresa has been erased.
All that work lost.
- Turn it off!
- What did she say?
- Giovanni, check the reels.
What the hell did you do to her?
- I was just tickling.
What's the big deal with a bit of tickling?
Come on!
- What are you doing?
Would you mind cleaning this up?
- I'll check the backups.
- Boys, we've got cocktails out on the terrace...
- Not now.
- What happened?
Did you get the dog to rewind a tape?
- Get out!
- There's no need to behave like that!
- He brought Silvia here.
What a disaster.
- Don't worry; we'll start again with someone else...
- How? When? There's no time!
- Fabio will find someone else.
- He's going on holiday.
- Let me talk to him.
- Listen...
I don't want anyone like Silvia.
And find an Italian this time.
- Francesco, Chiara's reel has been erased.
- Whore!
- That last girl is really something.
She could even give the dog a hard-on.
- Elisa.
So what's this Elisa like?
- What are you trying to say?
Giancarlo, nothing will ever change.
- It will. It will.
- Ask Fabio what Elisa's like.
Giovanni, next scene!
- Reel 4, scene 60, take 1.
The stealthy Signora Collatina
approaches her sacrificial victim.
- Massimo and Massimo, a bit slower this time.
"SILENCE"
Who's there?
I will call the police!
I will.
- Who's there?
Who's there?
I will call the police.
I will!
- Without adequate light,
their survival depends on the grazing of the grassland.
Late spring in Box Hill,
and the chalk downland is ablaze with color.
The views from the North Downs attract visitors from all over.
Salomon's Memorial offers panoramic views of Dorking,
the South Downs, and Leith Hill.
Some of our rarest orchids adorn parts of Box Hill,
particularly the Burford Spur and the Mole Gap beyond.
Box Hill's multitude of habitats
make it a haven for all manner of flora and fauna.
The glades and grassland of the Gallops,
Donkey Green, and Mickleham Downs,
the River Mole,
along with the box and beech woodlands of Juniper Top
with their flint, clay, and chalk soils
are each as unique as the different characters
associated with Box Hill.
- It's dawning on us
that this is not the work of a crazed killer
but the violent force of undead witches.
But the violent force of undead witches.
They strike and kill at random.
They will find us wherever we are.
Now we can only pray
and hope that this comes to an end.
Teresa, I'd like to see you in my office afterwards.
I believe you know something about this curse.
- Chiara, it's out of sync.
- Reel 4, scene 66, take 3.
Signora Collatina tells her students
that the witches are back,
and that regrettably, the massacres will continue.
- All this destruction breaks my heart.
Two students, Monica and Valeria, such tender things
brutally taken from us.
It's dawning on us
that this is not the work of a crazed killer
but the violent force of undead witches.
They strike and kill at random.
They will find us wherever we are.
Now we can only pray and hope that this comes to an end.
Teresa, I'd like to see you in my office afterwards.
I believe you know something about this curse
and how it came about.
- Soundtrack.
- Signora Collatina's sacrificial attack is thwarted,
and the tables are brutally turned.
- Strike a light. What's he doing to her?
- Massimo and Massimo, start the demonstration.
- I didn't quite know I'd be working on this sort of film.
- What did you expect?
- Santini said something about equestrian...
- Oh, yeah, a horse-riding girl, see?
She's just not horse-riding anymore; that's all.
- Excuse me.
Will we be recording here?
- Are you Teresa?
- Elisa.
No, I mean Teresa, yes.
Do you mind if I go through my lines?
The chicks didn't make it.
I don't know what happened.
I just walked out to see how they were,
and it was just awful.
Torn to bloody pieces.
Not even eaten.
It must've been the magpies.
All this blood by your shed.
One by one, heads ripped off, all feathers gone.
The parents are literally screaming.
They were just a day or two away from leaving the nest.
It's horrible here.
I was so much looking forward to the next few days.
It must have been the magpies.
How was I?
- All right.
- Here comes the Sabbath, there goes the cross.
Drunk on serpents' semen and bloated with bile.
A whore's menstrual syrup with a black widow's venom.
A chiffchaff's plumage infested with lice.
Our vile, thick elixir runs through your veins.
Here comes the Sabbath, there goes the cross.
- Wait, Monica.
I'm sure this is the place where they were buried.
- How is she doing?
- Terrible.
Mumbling and moaning. Listen.
- According to the scripture, they were all tortured here.
There must be a clue somewhere.
- Teresa, look at this.
- Cut. Cut.
See what happens when you let Santini's dick
direct this film?
Again.
- Reel 1, scene 13, take 3.
Teresa and Monica venture into the poultry tunnel
underneath the Academy,
unaware of the witches' putrid corpses.
- Wait, Monica.
I'm sure this is the place where they were buried.
I'm sure of it.
Why else would they try to keep us out?
According to the scripture, they were all tortured here.
There must be a clue somewhere.
- Cut. Cut.
Even a hamster could do a better job than that.
How about being a little more convincing?
- Francesco, I need to rewind the tape...
- Leave it. Just let her scream.
- Again!
- Gilderoy, go out there and give her hell.
- I can't.
- Make her cry!
Are you going to do it or not?
Huh?
- Easier this way.
- Excuse me.
There's a terrible noise coming from the headphones.
- Keep them on. You need your cue.
More. - It's already too much.
- More! More!
Go to hell! You and your film!
- Where's she going?
Elisa.
We were only joking.
- Find another Teresa.
Get off me! - Elisa, we need you!
- Father, we praise you and proclaim you as our Lord.
Eternal Father, the entire Earth worships you.
Angels sing to you and the powers of heaven.
Holy, holy, holy, Lord God of the Universe.
Heaven and earth are full of your glory.