All language subtitles for Il medaglione insanguinato

A demonic element, with Lucifer present,

can also be found in 'The Damned'
by Luca Signorelli.

Here's the detail.

l win!

Thank you, Jill.

- Has Emily been in my study?
- Why?

Look what she's done.

Why's that slide among my demons?

Okay, that's all.

Mummy!

No! Mummy!

Emily! Daddy's here

Her medicine, straight away.

Thank you. Don't be scared darling.

Calm down.
- She hasn't had a fit for a while.

Here, drink this.

Feel any better?

- Don't go daddy.
- l won't, don't worry.

All done, Emily. You can get up now.

You can put her coat back on, Miss.

Nothing to worry about. She's had
another one of her attacks,

she still hasn't recovered
from the death of her mother.

lt takes a long time
and a lot of patience.

l have to go to Italy tomorrow.

ln that case, you should
take her with you.

- l'm very busy.
- l know, Michael,

you have your documentary to shoot,
but try to spend time with her.

A trip together will do her some good.

Her dependence on you...

is much like a neurosis.

Leaving her alone in London
could be a mistake.

l'd have to take Jill
to keep her company.

She needs a change of scenery.
New faces, new experiences.

Okay, you've convinced me.

- l'll see you in an hour.
- Don't be late dad.

lt's so boring waiting for you.

Okay, l'll be quick. Bye-bye!

- What are you looking at?
- Their faces, they're in pain.

lnteresting, isn't it?

We don't know who painted it
or where it's from. Nothing!

- Countess Cappelli ought to know.
- True.

But that's the only slides she sent
without documentation.

Who's you executive producer in Rome?

That American girl,
what's her name...

Joanna Morgan.
- Ask her about it.

Why not?

Can l have my tickets for Rome, Mary?

Here.

Why three?
- l'm taking Emily and her nanny.

ls the BBC paying for everything?
- l hope so!

Remember, our audience is huge
and they don't want to be bored.

l know. l only make dull documentaries,
that's why l work for you.

- It was your mother's music box.
- Did you give it to her?

- Yes.
- Can l have it?

Of course you can. Here.

- Where did you buy it?
- In Italy, mo years ago,

in a shop. The owner said
it had a strange history.

Very interesting.

Can l keep it? For ever?

Sure, if you like it that much.

Go and see if Jill has finished packing.
- Thanks daddy.

Go and get your yellow coat,
l'll finish packing.

Come on Emily, don't be like that.

Your father and l have to go to Paris,
as you well know.

Jack will be here with you.
We're not abandoning you.

l don't want to be alone.

l don't want to.

Emily, why are you wearing
your mum's dress?

So l can dream of her.

She was a lovely woman.

Daddy gave it to me.

- Michael Williams?
- No, but l wish l was.

Everyone's a comedian.

l saw mummy.

That's impossible, Emily. You know that.

ls anyone here called Michael Williams?

- Are you sure?
- That's what it says here!

l expected you to be alone.
l'm Joanna Morgan.

- This is my daughter, Emily.
- Are you Mrs Williams?

No, she's my nanny.

- Jill Perkins, pleased to meet you.
- Joanna's the executive producer.

Not a great start, but my car's outside.
Welcome to Rome.

lt's just like all the postcards
you sent me.

Wait until you see Spoleto,
you'll love it.

Don't get your hopes up,
this is all l could find.

Okay, l'll see you tomorrow.
- Until tomorrow then. Thanks.

Bye-bye.

This house is so old,

l bet mummy wouldn't have liked it.
Right, dad?

You're wrong, darling.
This house isn't old, it's ancient.

Look.

- Good evening.
- Good evening

Excuse me, is supper ready?

- At this time?
- If they're hungry, prepare something.

Please, come in madam.

The water's boiling, l'll have spaghetti
ready in no time.

That's good, you're making progress.

l hope you didn't bring me here
for piano lessons.

- Of course not, relax.
- Supper's ready!

What's wrong, aren't you hungry?

Dad, aren't you scared of making
a documentary about the devil?

Of course not, the devil doesn't exist!

lt's all an old myth.
- But he existed many years ago.

l don't think so.

- Would you like some?
- Thank you.

Have you ever seen that much spaghetti?

So, is everything alright?

lt's great. l'm so glad
you let me come along.

l have to go out now,

l've got an appointment,
with a real countess, in a palace!

Will you be late?

l hope you're fast asleep
by the time l get back.

- Come home soon. - l'll say there's
a young lady waiting for me.

Bye.

Can you tell me where
countess Cappelli lives?

Turn right, it's number 45.

Thank you.

- Who is it?
- Michael Williams,

l'm here to see the countess.

Come in.

Go ahead.

The countess with count Cappelli,
menty years ago.

Please have a seat, she's expecting you.

lf l'm not mistaken, you're a Capricorn.

Born in early January.

You're quite right, countess.

Has someone told you about me?
l could tell by reading your letters.

l must thank you for helping me
with my documentary.

lt would be impossible without you.
- You're too kind.

l was hoping you could tell me
something about this painting.

Good heavens! l threw this away,
how can it be...

lt's the only slide you sent
without documentation.

l don't know how it got
among the others.

lf l were you, l wouldn't use it.

- l want it for the opening shot.
- You have plenty of similar material.

Take my advice, don't use it.

l don't want to insist,
but that painting is important to me.

lf you're quite sure.

What do you find so interesting?

The style. It's hardly a masterpiece.

The demons in it?

This is what's caught your eye.
Isn't that right?

The burning woman.

lt reminds you of your wife's death.
Doesn't it?

l don't understand.

How do you know?

Sometimes, l can sense
other people's thoughts.

Listen to me. This painting is cursed.
You're fascinated already.

Forget it. It will only bring
you misfortune.

lt's just an old painting.

Please, take my advice. Don't ignore me,
as many others do.

lf l'm warning you of danger,
then the danger exists.

The painting is vital to my documentary.

l'd be grateful if you could tell me
everything you know.

You're stubborn,
like all English people.

l didn't send you any documentation...

because l haven't finished gathering it.

Have you discovered anything new?

lt seems the painting simply appeared,

the work of a saint...
or perhaps a demon.

Mere legends. Predictable ones at that.

Can you find out any more?

l'll see what l can do.
It may take some time.

Remember, l'm doing this
against my will.

Demons, slate 47, take 1 .

Here, in the chapel of St John
and St Paul in Spoleto,

we find another important
12th century painting.

This is the only fresco to show
the murder of Thomas Beckett.

Here you can see the archbishop,

and here, the knights sent
by the king to kill him.

- Cut!
- How was that?

- Fine.
- Thanks.

Let's try the zoom lens on the details.
The sword first,

then the heads of the knights.
- Is that all?

Do the sword above
the archbishop's head as well.

Have you got that?
- No problem.

- Don't tell me you found the painting?
- In an old villa, here's the key.

- Do you need me?
- No, we know what to do.

Okay, let's go then.

lt's not that far from Spoleto.

- What a strange place.
- l was warned against coming here.

Apparently, there's a demon here.
Anyone who enters...

- That doesn't bother you?
- l wouldn't mind meeting him!

- Aren't you scared?
- Not in the least.

How did you get the keys to this place?

lt's a deserted villa.
A national foundation looks after it,

but l have my ways!
- Why did we use that side door?

The main entrance is closed.
It's an old ruin.

- Now where?
- Maybe that way.

l can see some stairs.

lt's incredible!

Even though it's surrounded
by much better paintings...

it still grabs your attention.

Shall l call the crew?

Yes, please.

Okay, like that...

start with the angel,

then pan until you reach the painting.

Right. Clapperboard! Rolling...

Slate thirty.

Slowly, slowly.

That's it.

Stop there.

Now zoom in.

Close up on the girl.

lt's a promise!
As soon as we finish working.

- You really don't want to let me in!
- l'm sorry,

l felt it pull back and got scared!

Hardly surprising,
given our surroundings.

Would you give me hand, my dear?
- Not at all.

You're countess Cappelli aren't you?
- How did you know?

- Michael... Mr Williams
has spoken a lot about you.

l'm Jill Perkins, their nanny.

Pleased to meet you.
Is this your first trip to Italy?

l'm English as well, you know.

l came here when l was your age
and l never went back.

These places are fascinating.

Living here is like living out of time.

l was very young and very much in love.

Just like you. Isn't that right dear?

Why so sad?

You must be Emilia.

No, l'm Emily.

Of course, Emily.

Where did you get that medallion?

Dad gave it to mum, now it's mine.

Good morning countess!

You've met my daughter.

l came to see how your work
was progressing.

lt's going well, thank you.

We've finished for today. Let's go!

Excuse me. l have bad news.

l spoke to the lab, there's a problem
with the footage from yesterday.

l'm going to Rome to see what's wrong.
Do you want to come?

- Certainly.
- Don't go, daddy.

l have to. l need to know what happened.

- Then l'll come with you.
- You stay here with Jill. Bye.

l'll be back this evening.

How about a nice ice cream,
with lots of toppings,

just the way you like it.

What the hell is that?
It looks like a ghost.

lt's shaped like a person.

I
It must be a mechanical fault
a problem during the print.

Maybe a double exposure.

lt's in every shot.

Stop and rewind.

Stop and continue from there.

Stop there.

Okay, continue.

Look at the girl in the picture,
they're identical.

Thanks, lights please.

lt's as if the image came o_
the angel at the start of the shot.

Perhaps it wanted to be
in the painting too.

- Have you checked the negatives?
- It's there too, notjust the print.

- We'll have to shoot it again.
- Back to the villa then.

l'm afraid so. Can you call Spoleto?

Sure. Get me the crew in Spoleto.

Okay. We were expecting you.

lf you can't make it...
do you want to speak to Emily?

l'd like to spend every day with you.

l want you so much.
It won't always be like this.

One day, something will happen.

One day, something will happen,
and we'll be together forever.

Who are you talking to?

- No-one.
- You're smoking!

At your age!
- Bitch! What do you want?

Your father's on the phone.

You shouldn't break a promise, dad.

Can l wait up for you?
Joanna's with you, isn't she?

Okay, see you tomorrow.

- He's not coming home tonight.
- l know, problems with the film.

- There's always something!
- What do you mean?

Nothing.

l didn't think you'd make us
work 12 hours a day!

We're going to rebel,
tomorrow there'll be a strike.

You can deal with the producer.

lt looks a little hot.

Can l use yours?

Why the serious expression?

l don't mean to pry,
but is Jill the right nanny for Emily?

How do you mean?

l'm not sure. Jill always seems so sad.

She takes on a lot of Emily's sadness.

Emily hasn't been the same
since her mother's death.

She makes life di_icult for her.
- Jill is in love with you,

but you haven't noticed it.
- Don't be ridiculous.

Jill's lived with us for years,
she's like one of the family.

She's very fond of me, that's all.

- Are you certain?
- Nothing is certain.

Right now, l'm tormented by a doubt.

A question only you can answer.

And that is?

I
l don't know whether to finish dinner
or ask you if you'll take me home.

Thank you.

A hot bath, a good whisky...
a man can't ask for more!

Well l could do with a cigarette.
l don't drink.

Why?

- Have you got the key?
- l always leave it here.

What a fright!

lt was just a bat.

- What are you hoping to find?
- l don't know.

We did a panning shot
from the painting to the angel,

and from the angel...

Daddy!

Daddy! No!

lt's double-edged. Why?

Please Emily, calm down!

That's enough!

Stop it!

Where do you think you're going?

Help!

Stop!

Help me!

For God's sake! You'll fall!

- Calm down.
- Call a doctor, please!

Why do you think something's
happened to Emily? - l don't know.

l have to find out if she's okay.

She had another attack. A nightmare.

She's sleeping now. - l gave her
a sedative. l'll return tomorrow

l'll see you in the morning.

- How did she hurt you?
- She started throwing things.

She scared me.

She's so horrible to me.

l should go back to London.

Please stay. You know how much
we care about you.

We need you.

l thought you were still in bed.

l had a nightmare.

lt was one of the worst l've ever had.

Jill told me. Do you feel better now?

- Would you like some tea?
- No.

They're identical, as you can see.
What can it mean?

l don't know yet.

When you bought this medallion,

you became caught in a web.
You'll never escape from it.

lt's just a coincidence.

l bought it at random.

At random.

There's no mystery,
Emily had one of her attacks.

You haven't told me everything.
How do you explain your wife's death?

l told you, the police asked
hundreds of questions.

Even l came under suspicion,
but l was cleared.

lt wasn't an accident, Michael.

She was killed by an evil force.

l see a presence too strong to be human.

Death, again.

Your life's in danger.

- That's absurd.
- You are loved by three women,

but there's a fourth presence.

There's hatred. An unbridled hatred.

An unleashed force,
as strong as an earthquake.

Here's death... by water, fire or both.

A journey. Perhaps you'll return
to London and...

Countess.

Do you think l believe any of this?
- l'm not given to frightening people,

it gives me no pleasure at all.

Let's get back to why l'm here,
have you discovered anything new?

Two hundred years ago, a girl died
in that villa. It was a mystery.

No-one knew how it happened.
Her corpse vanished.

The painting appeared the same night.
No-one knows who painted it.

Thank you. Now l can finish
my documentary.

The girl who died was called...

...Emilia.

Emily seems a lot better.

- Would you like another drink?
- Why not?

Do you have any cigarettes?
- They're in my bag.

Why did you cut o_ part of this photo?

l don't know what you mean.

You wanted to remove Emily.
You're in love with Michael, aren't you?

You're wrong. l'd go back to London
tomorrow if it wasn't for her.

Since her mum died,
it's as if we've been cursed.

You three need something to help
you forget what happened.

l'll see what l can arrange.

Don't worry about the photo,
l won't say a word.

Come on, let's go!

Good shot! My turn.

l win!

l beat you!

l beat daddy!
- Well done.

Show o_!
- l'll get it.

Let's play hide and seek! l'll start.

Come on Michael, let's hide!

One, mo, three, four...

Twelve, thirteen, fourteen...

POLICE STATlON

Sorry to keep you waiting.

This is your statement, please sign it.

After your lawyer's read it, of course.

How's your devil hunt in Spoleto going?

This isn't a devil hunt, inspector.

l'm working for the BBC.

Excuse me.

Yes doctor, go ahead.

Certainly. Of course l will.

Thank you.

Sorry about that.

The countess is helping you, isn't she?

Why do you ask?

We found her address
in the victim's bag.

ln her bag?

Didn't your wife also die
in mysterious circumstances?

My wife's death was an accident.

Perhaps l misread the report.

Sign all three copies.

Please stay in Spoleto until
we've finished our investigations.

l have to go back to London with
the body. l'll return as soon as l can.

Goodbye.

- l'll see you when you return.
- Thank you.

Why did they take so long?
l was getting worried.

They asked Scotland Yard
for information about me.

By the way, l lied a little. l said we
were together in the woods.

No problem, l told them the same thing.

- It's dangerous, lying to the police.
- So is telling them the truth.

Why did Jill have the countess'
address in her bag?

Thank you.

- Good morning countess.
- l need to speak with you.

Did Jill's death convince you
of what l said?

lt was simply a tragic accident.

- No it wasn't.
- Even the police accept that.

- Don't go back to Spoleto.
- l have to finish my work.

Stay in London, please.
Don't come back to Spoleto.

l'll think about it.
l'm running late.

Excuse me.

Let's go, we're late.

lt's going to hit us! What should l do?

Start the engine!

What? It won't start.

We're going to miss the plane.
What can we do?

l don't know.

Maybe the countess is right.

l never liked that old lady.

Watch over us, merciful Lord.

We commend to your embrace
the soul of our beloved sister Jill

and commit her body to the earth.

Earth to earth, ashes to ashes,
dust to dust.

ln sure and certain hope of the
resurrection to eternal life

leaving our mortal spoils to be worthy
of the glory of heaven

in accordance with our wishes
and by your infinite mercy, O Lord.

The Lord bless her and keep her
and be gracious unto her,

in the fullness of yourjoy,
for ever and ever.

Amen.

How could this have happened?

- It was a tragedy, Mrs Perkins.
- l've got a letter from my daughter,

her last one. She was terrified.

- You mustn't torture yourself.
- Please, you must read it.

Read it with your own eyes, it's as
if she knew what would happen.

She didn't like Spoleto,
she wanted to come home.

lt was a tragic accident,
l don't know what else to say.

l don't believe that.

Good evening, Mr Williams.

Good evening.

- Is there anything l can do?
- No thanks, darling.

- Do we have to go back to Spoleto?
- l have to finish my work.

l hate that place. l hate it!

Michael! Hi, it's Joanna.
How are you?

Thanks for calling.
It's been a terrible day.

l'm worried about Emily.
She doesn't want to go back to Italy,

but l can't leave her here.
- Bring her along, l'll keep her amused.

Really? l'd be so grateful.

l need company too.
- l'll split my working day,

which shift do you prefer?

The night shift.

l'll see you tomorrow. Bye.

Emily! Open up!

- Nazareno!
- Yes, countess?

- l need to talk to Mr Williams.
- He's still in London.

But, how...

Why must we go back to Spoleto
and that witch? - To finish the film.

She scares me. London's so lovely!

Don't worry, we'll be back in a week.

How can he be in London?
l saw him a moment ago.

Miss Giovanna said
they'll be back this evening.

When he arrive, tell him to visit me
at once, understood?

- Not much to understand.
- Immediately.

- It's very important.
- Don't worry countess.

lt's hardly a challenge.

- He sat down, but there was no chair.
- The countess wants to see you,

she says it's important.
- l'll head over there.

l'm going back to the hotel to get
my things. Back in half an hour.

Be back in 15 minutes, that's an order!

Why the long face? Come on.

- Is she staying with us?
- l asked her to. She's very nice.

l hoped l'd have you all to myself.

One day, you'll grow up and leave me!

l hate you.

Miss Joanna is coming to stay with us.

Really?

Open the door Emily. Come on!

We should try to be friends.

Come on. l don't bite!

Fine. If that's how you want it.

- Do you see what l mean?
- Of course.

l don't think your daughter likes me.

She's just a little girl.

Would you like a drink?

Why's the devil always shown with horns?

Experts di_er on that count.

There are di_erent theories,
but they're all based on legend.

Why the cloven hoofs?

lt's a symbol of great sexual potency.

So, do you have cloven hoofs?

- You're either being very sweet,
or you're lying. - What do you mean?

- l thought l disappointed you.
- You don't know me!

My faith in you is unshakable.

- A glass of wine?
- l don't drink.

Here's a secret... neither do l.

- Daddy!
- l'm here.

Don't be scared, l'm here.

Don't be scared darling.

- At last! You have to read this.
- Is it about the painting?

Listen: ''Spoleto, 24th of June, 1774.

''My darling, l spent a night in torment,

''tortured by a thought
that gives me no peace,

''a question that tears at my soul.

''Why does my love cause me such guilt?

''l am yours. My heart beats for you.

''The punishment must a_ect us both,

''because we are together.''

- Where did you find this letter?
- At the villa.

What does that have to do with...

My darling, my love contains a curse,

Now l understand.

An evil curse opposes my happiness.

Why must the sweetest sentiment
cause such bitter pain. Why?

l am prepared to fight evil with evil.

l have decided. Tonight...

anything that opposes
the flames of my passion...

will know the strength of my fury.

Do you see now? Your wife is dead,

Emily's nanny is dead.
Your own life is in danger.

The tragedy that happened
mo centuries ago will occur again soon.

Emily's in danger.
Run to her, take her away.

Every moment you spend in Spoleto
holds danger for her

and all those close to her. Go!

At once! Before it's too late!

Help!

l don't know how this happened!

Open this door! Open it!

Mummy, why do always take dad away?

Oh my God! Help!

Mummy, forgive me.

Forgive me.

l didn't want to!

l hate you!

Daddy!

This is the only way we can be together.

l fought the curse and its evil.

But my e_orts were vain.

A question still torments me.

Why is it that love,
a source of happiness for others...

brings me only death.

Why is destiny so relentless?

Why must evil always triumph?

Why?

WHY?

THE DEVIL EXISTS.
HE IS THE HIDDEN ENEMY,

SOWING ERROR AND MISFORTUNE
IN THE DESTINY OF MAN.

POPE PAUL Vl

Translated by Benedict Green

Subtitles: Sub-ti Ltd London
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