[static crackling]
[soft string music]
[faint clicking]
[whooshing]
[clicking]
[music stops]
[whooshing continues]
[typewriter clacking in distance]
[luggage clatters]
- Excuse me, do you speak—
- No.
[dial tone hums]
[woman screaming in distance]
[line ringing]
- [speaking Italian] Hello.
- Yes.
He's here.
- Let him in. - All right.
Studio 4. Left.
Francesco is waiting.
- Thank you.
[slow footsteps]
[eerie hissing]
[tape rewinding slowly]
"SILENCE"
[loud whooshing]
[jazzy, ominous music]
"THE EQUESTRIAN VORTEX"
[faint screaming]
"DIRECTED BY GIANCARLO SANTINI"
[faint screaming]
[music distorts and stops]
[projector clicking]
[faint music]
[eerie hissing]
- 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.
[music stops]
Now, how about a proper greeting, huh?
What's wrong with you English?
You don't believe in handshakes?
No hugs? No kisses?
Here. [chuckles]
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...
- [over loudspeaker] 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.
[projector clicking]
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.
[door opens]
[footsteps approaching]
[eerie hissing]
[squishing]
- I didn't quite know I'd be working on this sort of film.
[thumping and squishing]
- What did you expect?
[thumping and squishing]
- Santini said something about equestrian...
- Oh, yeah. A horse-riding girl.
See?
She's just not horse-riding anymore; that's all.
[eerie music]
[projector whirring]
- Again.
[crickets chirping]
[woman gasps]
[horse whinnies]
[woman vocalizing hymnlike melody]
[men and women speaking Italian]
[hooves clopping]
- Teresa!
- [vocalizing hymnlike melody]
[crickets chirping]
[horse whinnies]
[woman giggling]
[crickets chirping]
[woman continues vocalizing]
- 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!
[chuckles]
- 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.
- [vocalizing]
[clacking]
[vocals crescendo]
- Where are you going?
- I'm just gonna see if her mic's too close or not.
[door closes]
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.
[equipment humming]
- 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.
[click]
[whirring and clacking]
[beep]
- 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?
- [shushes]
- This confirms what I suspected.
They are here. They are under us.
- How was it?
- Can you play it again?
- Giovanni!
[clacking]
[organ music fading in]
- "Malleus Maleficarum."
- What's that?
- This confirms what I suspected.
They are here.
They are under us.
[dialogue repeating]
[dialogue repeating louder, echoing]
[music and dialogue stop]
[woman on tape screaming]
[crickets chirping]
[screaming continues]
[woman coughing]
[speaking Italian]
[resumes screaming]
[laughing]
[speaks indistinctly]
[shouts]
[click]
[steady tone]
- [on recording] Mantel clock,
Nagra 4D tape recorder,
and AKG C61 microphone.
[clock ticking]
[ticking continues]
[click]
[clock chiming]
[clock continues ticking]
- 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.
[woman giggling]
[laughter]
- 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.
[projector clicking]
[beep]
- 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.
- [screams]
[voice breaks]
[coughs]
[laughter]
- 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.
- [inhales deeply]
[screaming]
[feedback hums]
- 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.
[Silvia screaming]
[blender whirring]
[gurgles]
[blender whirring]
[blender powers down]
- [on recording] Take two. Chain saw effect.
[blender whirring]
[recording crackles and stops]
[clicking]
[gentle organ melody]
[crickets chirping]
[puffs gently]
[music continues softly]
[organ playing at full volume]
- Francesco, you won't believe who's here:
Signora Ladik.
Shall I wait downstairs?
- Lorenzo, get her backing music ready, okay?
[organist stops]
[no dialogue]
[clicking]
[speaker buzzes]
[click]
[projector clicking]
- Reel 1, scene 18, take 1.
A spell is unwittingly cast
and the first witch rises from the dead
with a thirst for retribution.
[clack]
[beep]
[no audio]
- [moaning eerily]
[gasping and hissing]
[huffing and hissing]
- The witches' revenge.
Now that they rise,
they will do exactly to others what was done to them.
[choir fades in]
- [throaty gasping]
[moaning]
[choking]
[cackling, laughing, and sputtering]
[volume increases]
[frenzied wailing and cackling]
[gibbering and shrieking]
[shrieking echoes]
[shrieking fades into distorted electronic music]
"SILENCE"
[static crackles]
[music stops]
[tape zips back and forth]
[eerie voices echoing]
- Soul of Christ, sanctify me.
Body of Christ, save me.
Blood of Christ, intoxicate me.
[eerie voices continue]
[bell tolls]
[door opens]
- Santini's coming.
[woman screaming]
- Giovanni, cut.
Veronica, we'll continue later.
[static clicking]
[dog barking]
- 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.
[dog barks]
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.
[dog whimpering]
- 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.
[knocking on window]
Oh, dai. Come on.
[men speaking Italian]
- [cheering]
[men speaking Italian]
- [whispering] What are we celebrating?
- Just celebrate whatever comes to your mind.
That's what usually happens in this studio.
- Let's make toast!
- [grunting]
[cork pops]
[glass breaks, blanket flaps]
[splat]
- [over loudspeaker] 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.
[blanket flaps]
[splat]
- Well, I was hoping for a more dignified end than this.
- What are you complaining about?
You can take it home and cook it.
[projector whirring]
[glass breaks]
[woman screaming]
[flapping]
[splat]
[glass breaks, woman screaming]
[distorted tone]
[screaming]
[splat]
[eerie music]
[woman vocalizing]
[vocals reverberating and distorting]
[voice reverberating]
- I didn't know that you could change my voice so much.
- You ever heard yourself through one of these before?
[click]
[volume increases]
[voice echoing]
- May I?
[single note echoing]
[chuckles]
[click]
[voice reverberating]
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?
[door opens]
See you, Gilderoy.
- Be careful with that girl.
There is poison in those tits of hers.
[vocalizing reverberates and distorts]
[vocalizing continues]
[recording stops]
- [on recording] 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.
[woman gasps sharply]
[crunching wetly]
- Reel 2, scene 28, take 4.
Flashback to the priest
pulling a witch's hair out during her interrogation.
[beep]
[ominous harpsichord music]
"SILENCE"
[projector clicking]
[crunching]
[woman screams]
[ripping]
[screaming continues]
[screaming]
[dog barks]
[woman moaning loudly]
[scream]
- 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.
[dog barking]
- Hate what? Conchita's cooking?
- Francesco, come here.
[both speaking Italian]
[all speaking Italian]
[dog whines]
- Look at him. He's so hungry.
Look at him.
[loud clunk]
[all groan]
- 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!
[all clapping]
- Come on!
- Show them the UFO.
[objects clattering]
He uses it for children's programs.
[scraping and squeaking]
[steady high-pitched tone]
- [whistling]
[tone warbling]
- Whoa.
This is great.
- Bravo.
[applause]
- Ask him if he can do bats.
- Gilderoy, can you do bats?
[electrical pop and hum]
- No...
[all murmuring]
- Back to work, guys.
- Ask him to do the UFO sound again.
- We've got piles of work to get through.
[splat]
[eerie organ music]
[woman screaming]
[dog barking]
[ripping, woman screaming]
[woman moaning and shrieking]
[door opens]
- How is it?
- We need to do the hair pulling again.
[dog barking]
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.
[door closes]
[woman screaming]
[echoing]
- [on recording] Mum's doorbell,
Nagra 4D tape recorder
and C61 microphone.
[doorbell chimes]
[chimes again slowly]
[crickets chirping]
[motorbike sputters past]
[puffs gently]
[eerie distorted music]
[woman screaming]
[sharp, wet thwacking]
[thud]
[screaming and music continue]
Sorry.
[recording stops]
[tape whirs]
- Reel 2, scene 34, take 12.
Flashback to the priest stabbing a witch's body
to find the devil's marks.
[thunk]
[beep]
[heavy, wet thunking]
[woman screaming]
[wet crunching]
[screaming continues]
[recording stops]
[feedback and static]
- [sighs softly]
- Good job, Gilderoy.
[eerie breathing]
[distorted female voices]
[sounds become louder]
[sounds stop]
[women screaming in distance]
- Hello.
- [in Greek] 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.
[phone dial clicking]
Here.
[line ringing]
- It's ringing.
- Hello.
- Uh, Mr. Luigi?
- [in English] 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.
[projector clicking]
- 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.
[beep]
[no sound]
- [moaning eerily]
[no sound]
[gurgling and moaning]
[speech-like vocalizing]
[throaty gurgling]
- Francesco...
[whispering in Italian]
- [gibbering]
- 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.
[gibbering continues]
[loud bang]
- [gibbering frantically]
[eerie whooshing and whining]
"SILENCE"
[silence]
- Please, Gilderoy, don't let them hurt me.
[breathy hissing]
[eerie chorus]
[slow distorted music]
[gong resounds]
[woman screaming]
- You missed the cue again.
Don't turn it off.
Just wait for it to come around again on the loop.
[screaming continues faintly]
Giovanni?
- One minute, Francesco.
- Look, hold it still.
It's not gonna burn you.
[sizzling]
Try to be more deliberate.
Here— nice big sizzle.
[sizzling fades]
- Reel 3, scene 44, take 9.
Flashback to the interrogation of a witch,
in which a red-hot poker is inserted into her vagina.
[clicking loudly]
[gong resounds]
[woman screams]
- 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?
[footsteps retreating]
[door opens and closes]
[paper rustling]
[gentle flute music]
[woman laughing]
[birds chirping]
[music continues on tape]
[water bubbling]
[pen clicks]
[water bubbling]
[woman screams]
[click]
[louder, deeper boiling sound]
[boiling noise intensifies]
[boiling intensifies]
[sizzling and distorted whooshing]
"SILENCE"
- Body of Christ, save me.
Blood of Christ...
[sounds stop]
- Reel 3, scene 51, take 2.
Flashback to the priest drowning a witch
in a barrel of boiling water.
[beep]
[splashing]
[woman gasping and sobbing]
[distorted music]
[woman screaming]
[bubbling]
[splashing]
[splashing continues]
[woman gasps]
[woman screams]
[slower splashing]
[splashing stops]
[gentle bubbling]
[bubbling stops]
[soft splashing]
[music fades]
[eerie music echoing]
d d
[hissing]
[gongs resound at different pitches]
- 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...
[dog barking]
[Santini speaking Italian]
- 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.
- [scoffs nervously] 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.
[eerie music]
- [gulps softly]
- You are changed.
I feel it.
- No great shakes.
- [over P.A.] Signor Santini. Signor Santini.
Telephone call for you.
- You and me, we will talk.
[music on tape slows and stops]
[rewinds at high speed]
[door opens and closes]
[eerie female vocalizing]
[music fades]
[intermittent wheezing]
[clock ticking softly]
[ticking stops]
[crickets chirping]
[twigs crackling softly]
[crackling continues]
- What are you doing?
- This reminds me of home.
- The power cuts?
- [chuckles] No.
The twigs.
[crackling softly]
- [coughs]
[crackling softly]
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.
[coughing]
Be careful with Santini.
That baby smile is there for a reason.
You don't see that?
- ON
Get me accounts.
[phone clicks]
Give me that phone.
[line ringing]
- Hello.
- Listen, the game's up, old boy.
- [in English] 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.
[bell tolling]
- Well, I'll call the airline.
I'll get the information myself.
I'll call the airline!
[click]
[woman speaking Italian]
[overlapping voices speaking Italian]
[voices overlapping and echoing]
[eerie music]
[voices continue]
[sounds intensify]
[woman screaming]
[sounds stop]
[woman crying softly]
- My throat's better now.
[crying continues]
- We've moved on to Foley.
- Can I? Just once more.
- Which reel?
- Forget the reel.
I just need to scream; that's all.
[inhales deeply]
[screaming]
[distorted echo]
[screaming slowly fades]
[eerie wailing]
[match strikes]
- 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.
[men speaking Italian]
[tape rustling and crackling]
"YOU PRESSED ALL THE WRONG BUTTONS,"
"NOW TRY THE RIGHT ONES. SILVIA"
- Whore!
- [on recording] 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!
[machine powers down]
- 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!
[both shouting]
- There's no need to behave like that!
- He brought Silvia here.
[mechanical whirring]
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!
[tape crackling]
[woman speaking Italian]
[projector clicking]
[distorted music]
[eerie hissing]
- 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.
[footsteps tapping]
[dramatic music]
[eerie hissing]
[music stops]
- Massimo and Massimo, a bit slower this time.
[footsteps tapping faintly]
[eerie whooshing]
"SILENCE"
[footsteps tapping]
[footsteps stop]
- [snoring softly]
[doorbell rings]
[groans softly]
[doorbell rings]
Who's there?
[doorbell rings]
Who's there?
[doorknob rattling]
[thumping on door]
I will call the police!
[rattling and thumping continue]
[silverware rattling]
[metal clangs on floor]
[rattling at door stops]
[rattling at door resumes]
[whimpers]
[rattling and thumping]
I will.
[rattling stops, door creaks]
[eerie whooshing]
[clack]
[projector whirring]
[doorbell rings]
- [in Italian] Who's there?
[doorbell rings]
Who's there?
[doorknob rattling, thumping on door]
I will call the police.
[rattling and thumping continue]
[silverware rattling]
[metal clangs on floor]
[rattling and thumping]
I will!
[louder rattling and thumping]
[distorted hissing]
[static booms and crackles]
[woman speaking indistinctly]
[banging and crashing]
[woman speaking indistinctly]
[glass breaks]
[distorted sounds continue]
[sizzling]
[distorted clicking and beeping]
- [in English] Without adequate light,
their survival depends on the grazing of the grassland.
[birds chirping]
[pastoral music]
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.
[church bells ringing]
[single bell tolling]
- 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.
[overlapping voices]
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.
- [sighs]
- Reel 4, scene 66, take 3.
Signora Collatina tells her students
that the witches are back,
and that regrettably, the massacres will continue.
[projector whirring]
- AH this destruction breaks my heart.
[bells dinging]
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.
[bells and chains clatter]
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.
[recorder clicks off]
[no audio]
- Soundtrack.
- Signora Collatina's sacrificial attack is thwarted,
and the tables are brutally turned.
- Strike a light. What's he doing to her?
[eerie music]
- Massimo and Massimo, start the demonstration.
[thudding and squishing]
- I didn't quite know I'd be working on this sort of film.
- What did you expect?
[thudding and squishing]
- Santini said something about equestrian...
- Oh, yeah, a horse-riding girl, see?
She's just not horse-riding anymore; that's all.
[thudding and squishing]
[eerie music]
[music intensifies]
[music stops]
[equipment humming]
- 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.
[door creaks]
[no audio]
[eerie music]
- 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.
[projector clicking]
[gong resounds]
[Monica speaking indistinctly through headphones]
- 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.
- [dull screaming]
- 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.
[projector clicking]
[gong resounds]
[Monica speaking indistinctly through headphones]
- Wait, Monica.
I'm sure this is the place where they were buried.
[Monica speaking Italian]
I'm sure of it.
Why else would they try to keep us out?
[Monica speaking Italian]
According to the scripture, they were all tortured here.
There must be a clue somewhere.
[Monica speaking Italian]
- [screams]
- 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.
- [screams]
- Again!
- [screams]
- 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.
[warbling tone]
- 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!
[harsher tone]
- [sobbing and whimpering]
[tone echoing]
[groaning]
[louder, harsher tone]
[whimpering]
[high-pitched tone]
[gasping, sobbing]
Go to hell! You and your film!
- Where's she going?
[tone whistles and stops]
Elisa.
We were only joking.
- Find another Teresa.
Get off me! - Elisa, we need you!
[distorted buzzing]
[chain clanking loudly]
[distorted buzzing]
[pulsing electronic tone]
[zap]
[faint crackling]
[click]
[ethereal organ music]
- 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.
[eerie whooshing]
[female voices whispering]
[crackling]
[crackling and whooshing]
[intermittent warbling tone]
[click]
[eerie organ music]
[whooshing]
[rhythmic whooshing]