Original subtitles

- It is done, come.

- What happened?

And how did I get here?

- You fainted.

I brought you home.

- You?

I don't understand.

Just put your mind to it.

- Oh.

I remember now.

I was at the--

- I know.

You were attending another of those foolish seances

you're so fond of.

How many times have you heard me tell you, Liza?

An archaeologist digs into the past with his intelligence,

not his superstition.

Remember?

- I go to those seances, professor, for fun.

It isn't serious.

- Well, I hope not.

Now, get some rest.

Try to dream about the beauty, the grace,

the ancient Greek culture we're going to study in Sicily.

Once we get there and start to do some work on the dig,

you'll forget all about things like seances and black magic.

The plane leaves at 6:30.

Have your bags ready at a quarter past four.

I'll pick you up.

Two meters to the left.

No, no, no.

Yeah, yeah.

Okay.

- Mmmm.

Ah.

Mmmm.

- Robbie.

Look at you.

Why in God's name are you always in the dirt.

Get in here right now.

I have to wash you all over again.

Don't look at me like that.

Come on, get in here, on the double.

- Got the stakes laid out yet?

- Kevin and Sean are taking care of it.

- All right.

Have you seen Liza?

- I saw her heading toward the hill

no more than five minutes ago.

Liza?

Liza!

You startled me, Paul.

- What'd you think I was?

One of your medieval spirits?

- No, it's just that these ruins are so compelling.

They give the feeling that there's

something still alive in there.

- Something probably is.

Rats, stray cats.

You know, for an archaeology student,

you're not being very scientific.

Besides, you shouldn't waste your time

with the dark ages of history.

We're here to study a brighter, more enlightened period.

- Yes, the time of the ancient Greeks.

- Exactly.

- I'm sorry, Paul.

It's just that there's so much here

and I'm fascinated by everything.

- Better concentrate on the dig.

- All right.

You're the boss.

- Professor Evans from the University of Toronto?

- Yes?

- I am the mayor of Santa Rosaria.

I just heard about your arrival

and I wanted to pay a small visit.

- Well, that's very kind.

I was hoping to meet you.

We'll probably be in need of some locals

as our collaborators.

- That is precisely what I wanted to talk to you about.

I'm afraid that you will not,

will not get support from people here.

They, let's say, they do not take well to foreigners.

And then we have a kind of old saying,

the past is dead and the dead must rest in peace.

- Well, I don't think they understand.

We're archaeologists.

We're not, we're not gravediggers.

Now, you're not suggesting that we pack up

and go home, are you?

- I never said that.

I am here to give you all my possible collaboration.

It was some advice based on the facts.

Nothing more, nothing more.

- Well, thank you, Senor--

- Buscemi.

Thank you, Senor Buscemi.

I'll be calling on you.

- And I shall be happy to do what I can do for you,

all that's in my power.

Good luck, Mr. Evans, uh, Professor.

- What's new?

- They're still up there digging.

- Why are they doing it?

Why are they such fools?

Don't they know that the dead must be left in peace?

- So, why are they still interfering, those bastard?

What do they think they're going to get out of it?

- Only misfortune.

Misfortune and ruin.

They'd be better off if they just went home.

Especially that woman.

- They won't.

- In that case, the worst is yet to come.

Okay, you've been on digs and explorations,

I don't know, 10, 15 times in this area

over the last 10 years or so.

That makes you an old hand in my book.

In mine too.

So tell us what you know.

What sort of cooperation can we expect from the locals?

- The mines around here are so full

of fright and superstition

and they're so mixed in together

that they practically close the door in your face.

When I was really involved in underworld archaeology,

I had several problems with the open hostility

of these people.

They can be extremely protective of their cultural heritage.

- You're talking about medieval Sicilian history.

That doesn't interest me.

We're here to study the ancient Greek influence

on the area.

- But these people don't know that.

- Well, what difference does it make?

I mean, what are they afraid of?

- There's an old monastery there on that hill,

at least what's left of one,

and the people in these parts,

they rarely venture up there.

You hear a lot of strange stories about that place.

- What kind of stories?

- That's my whole point.

If you tried to get any more details,

the whole thing seems to slip through your fingers

like a handful of eels.

Silence is the usual form of response.

But one thing's sure.

And you can believe this.

They're perfectly ready to kill

just to defend that silence.

- How horrible.

- It's ridiculous.

- It depends on your point of view.

Around here, human life has less value than a feeling.

- What kind of feeling?

- Whatever.

Love, loyalty, honor, gratitude.

- I don't understand.

- It's not so easy.

It's a part of their old culture.

Culture.

Yeah, culture.

And it has its roots centuries in the past.

- Centuries of ignorant superstition.

Well, it's late.

- Wait a minute.

I'd like to know more about the monastery.

- If I were you, I would forget

about the monastery, young lady.

- Well, thank you, Porter.

You've been a big help.

- Any time.

Thank you.

- Pleasure.

See you later, Paul.

- Right.

- Oh my.

Oh my God.

Who are you?

What do you want?

- You're the one who's going to tell me what you want.

You're not going to discover anything down here.

Nothing of interest for someone like you.

- Don't you dare try to interrupt the work we're doing here.

We have the authority of your government

and we intend to have it respected.

Is that clear?

You're going to pay for what you're doing.

I swear to it.

It's the word of Turi DeSimone,

the butcher of Santa Rosaria.

- Hey. - Paul.

- Take it easy.

What's all this about?

- I found the bodies of five crucified nuns

down there in the crypt.

- Okay, I don't what tricks your mind is playing on you,

but you'd be well advised to forget this place

and I'm gonna tell you once again,

stay away from here.

- But there were satanic symbols and evil writing on the--

- Stop it!

Now, whatever you think you saw, it'd better for all of us

if you just forget it.

Our welcome is thin enough as it is around here.

- Paul, you've gotta listen to me.

- No more of this!

Just do what you're told.

- Okay, Paul.

- I know I didn't leave the lights on.

Hell.

Ah, that's a grand idea.

I was gonna ask you to play us a song.

If you really want, let's try this one.

Maybe it's not.

I see you can't sing at all

The Irish motion!

More, more, more!

- Liza, are you there?

Yes, Paul, come on in!

Come on now.

Ah, yeah!

More, more, more, more.

Come on, now, come on, now.

- Liza, no!

No, Liza, don't go away.

No, turn around.

You mustn't go.

Don't go.

Listen to me.

Stay here, Liza.

Do you hear me, Liza?

Liza!

- I can't stop.

I must go.

Please, Paul, I must.

Let me go.

- No, no.

You mustn't go.

Liza, come back!

- How do you get so dirty, Robbie?

How do you do it?

Next time you go in that mud,

you know what I'm going to do to you, huh?

Mm-hmm.

- Honest.

Come on.

Hi, Susie.

- Come on.

You won't find Paul around the camp, Liza.

He went out with the others to the new site.

Now get going, but behave.

He left word, though, that you should get some rest.

They won't be needing you at the moment, okay?

Robbie, I just don't believe it.

Do you have a secret supply of mud?

What am I gonna do with you?

- Sir, could you...

Excuse me.

Does anyone know where the local hall of records is?

- Excuse me, miss.

Behind the church.

There is a sign on the door.

You can't miss it. - Thank you so much.

- Too bad for her if she wants to shed light

on things around here.

- For all of us.

- Miss.

Excuse me.

Are you looking for something?

- Yes, I'm looking for the chronicles of Santa Rosaria.

- Santa Rosaria?

All the chronicles for Santa Rosaria are there.

But no one's ever shown the slightest interest in them.

You're the first person who's ever asked.

- You don't mind, do you?

- Not at all.

The desk is here.

I certainly hope you enjoy your reading.

- I know what they're like.

They're not about to get out of here.

And if we don't stop them before it's too late,

it'll be a curse on us.

- What is there to do about it?

- Amputate before gangrene sets in.

- Who's there?

- Speak softly.

If anyone sees me talking with you, I'm dead.

- What do you mean?

Why would anyone--

- There is no time to explain.

I know what you are looking for.

And I know you didn't find it here.

If you want the truth, come to my place tomorrow,

12 o'clock.

It's the only house outside town.

You won't have any problem finding it.

Go now, quick.

Yeah!

Come on!

Come on, play that guitar.

Get to your feet.

Yeah!

Come on.

I ain't sitting down, I ain't sitting down.

Come on.

Move it, move it, boys.

Come on, boys and girls.

What's wrong with ya?

Click your feet.

Pick your feet up, come on.

That's my girl, that's my girl.

That's right, we're almost there.

We're just getting going.

That's it.

- Don't you know there are people

trying to sleep around here?

Give me that.

Goodnight.

- Easy.

Well, I think you're a shit too.

- Hey, Sean.

Get down here.

- Here I am, brother, here I am.

- Look at ya.

Look at ya.

You can't even keep on your feet.

You're about as steady as a swelling parachute.

- Sure, you're the one who was wobbly here.

I'm as straight as an arrow.

What the devil are you wanting anyway?

- Look at this place.

This is a perfect spot

to have a few drinks.

And enjoy each one of them in holy goddamn peace.

Not even Evans is going to bother us here.

- It isn't exactly what I call perfect.

But you might consider it reasonably uncomfortable.

- Let's go.

Poor old Finnegan.

What happened?

She died.

- Hey, pipe down for a second.

- What is it?

- Didn't you hear it?

- What was I supposed to hear?

- A voice.

A woman's voice.

- Oh, come off it.

I don't think this is doin' yas a lot of good.

- This time I'm sure.

It's a woman's voice.

There's no doubt about it.

If you would take the time

to lay off your phony Irish accent,

maybe you'd hear it too.

- Come back here, Kevin.

Hey, where are you going?

Stop actin' like a fool.

- If there's a fool here, Sean, it's you.

- You're an ass.

Come back.

- I think there's a party going on.

Hey, hey, I see you.

You can't get away from me.

- Kevin, what happened, lad?

Kevin, where are ya?

Kevin?

Kevin!

Okay, Inspector Carter, so you're from Interpol.

But what good are you gonna do around here?

- I know this area of the world pretty well, Professor.

My wife, Linda, is from these parts.

They're not a bad lot,

but they're overly influenced by superstition.

They will interpret this accident as a sign from heaven

and hold you responsible for whatever happens

all around here.

Rain and hail included, understand?

- What do you think I should do?

- Stay away from them as much as possible.

They're touchy and very superstitious.

Anyway, I'm around.

If you need me, you know where to find me, okay?

So long.

- Thanks very much, I'll call you.

- Don't pay attention to them.

They are my friends,

the only ones I can trust.

Go.

Please, sit down.

- Why don't you tell me why I'm here.

- You are here to learn the truth,

whatever may happen.

- What do you mean?

- Often the truth can be dangerous.

Dangerous for him who speaks it,

and dangerous for him who hears it.

- And you're not afraid?

- My death is predetermined.

It's written in the stars.

No one can escape his destiny.

I will tell you the story of the old nunnery on the hill.

A tale of violence and sin and blood.

It's been hundreds and hundreds of years,

and yet I can see it all,

as if it happened just yesterday.

There were five nuns in the convent.

All of them were young and beautiful.

And each of them had a covenant with Satan.

At least that's what was said about them.

Back then, some townsfolk even talked about

certain wild orgies which were supposed to have taken place

beneath the nunnery.

No one was able to confirm the rumors.

Those young men in the area

who were supposed to have taken part in the orgies

vanished mysteriously.

And just as mysteriously, the terrible fruit

of those infernal nights, also vanished.

- Hurry, please, Mary.

Please, Mary, please.

Then, one night, the time came

to put an end to the sacrilege.

There was an uprising among the population of Santa Rosaria.

They forced their way into the convent

and the five nuns were crucified.

Their bodies were left to rot in the very crypt

where they had consumed their ugly deeds.

- It was horrible.

I saw the bodies.

They were still nailed to the crosses.

- Forget that you've seen them.

Don't say a word about it to anyone.

Not if you want to stay alive.

You know what happened now.

And just let it be at that.

Go now.

Go and don't turn back.

And ask God to help you.

- Inspector.

Inspector.

- Yeah?

Got anything interesting for me?

- Just some traces of blood.

I don't know what to make of this.

- The boat's been open for three days.

There's no sign of the guy.

No one's seen him anywhere.

- Andy, I don't want any more responsibility.

Ganini.

- Yes, sir?

- Tow this boat over to the main port.

Anchor it next to the police launch.

Andy.

- Yes, sir?

- This is one the locals can have all to themselves.

I'm gonna claim it's out of my jurisdiction

on a technicality.

Got that?

Loud and clear, boss.

- So, let's clean up the details

and hand it over to them as soon as we can.

We've gotta put a tracer out on this guy for openers.

If he's wounded, just maybe he got to a hospital.

What else, Andy?

Oh yeah, just make sure you got complete notes

on everything you found above and below deck.

Then I don't need to listen to any flack

our of the boss' mouth about sloppy paperwork

and presentation, okay?

Inspector, Inspector, for God's sake, look.

- What's gotten into all of you?

Why aren't you here to greet me?

Ungrateful beasts.

There are people

who deserve that kind of treatment.

- I'd hold my tongue if I were you.

- Tongues can wound people badly

but they can't kill them.

Four people have already paid with their lives

for the curiosity of someone else.

That is a heavy price.

- What do you mean by saying that?

How they met their deaths?

- There's nothing more to explain.

Just that somebody's going to have to make up

for the wrong that's been done.

- Stop talking like that.

I don't like riddles.

Just lay it on the line.

- I've already said too much.

I've got my own neck to look out for.

Here's the steak.

Good day, Inspector Carter.

- Good day, Turi.

- This way, Lieutenant.

- Okay.

As I was saying, Professor,

in these detective stories that I read,

it's almost a criminal with an identity problem.

Somebody who has to leave a signature on his work.

- Well, if that's the case here,

he left the signature of a monster,

someone who's totally deranged.

- You could be right, Professor.

But we don't wanna jump to conclusions.

You see, killer's come from all walks of life.

You'd be surprised at the kind of characters we turn up.

- Probably, but there's no doubt in my mind,

well this one's an insane butcher.

- Now you wouldn't, by any chance, be referring

to a local butcher, would you?

- No, I'm not referring to any butcher in particular.

I simply mean that whoever murder Porter

has the instincts of a butcher.

- Young Turi.

It could be a possibility.

But like I said, we mustn't jump to conclusions.

You see, in these novels that I read,

the detective who jumps to conclusions

is almost always wrong.

Haven't you found it to be that way too, Professor.

- I told you, I don't read detective novels.

- That's right.

You did say that, now, didn't you?

Now, take this report I have here from Interpol.

It brings up some interesting possibilities.

Ones I've never considered before.

- What kind of possibilities?

- Another suspect.

Someone I never would've thought about.

- May I ask who?

- Why certainly, Professor.

It's you.

- Me?

You're joking, of course.

- No, actually, I'm quite serious.

But don't get upset.

You see, had you read some of those detective novels

that I was telling you about,

you'd know that when you do a murder investigation,

you do a rundown on every possible suspect.

And yours turned up something, how should I say it,

rather unexpected.

- What did you discover about me that's so unexpected?

- Well, Professor, you sure this is something

you wanna hear about?

- Yes.

It's interesting.

- First of all, I'd like to ask you some questions

if I may.

- All right.

Ask anything you like.

- Your feelings about Porter.

Were your friends, enemies, what?

- Well, I had no special feelings about him

one way or the other.

We were colleagues, fellow archaeologists.

The difference is he was a marine archaeologist

and I work on land.

- Were you always cordial with each other.

- More or less.

More or less?

- Yes, we were cordial.

What are you getting at?

- Well, this report seems to indicate otherwise.

Says here,

ah,

according to this, about 10 years ago,

you publicly refuted one of his publications

and effectively accused him of being a fraud.

- That's an old story that was forgotten long ago.

- It's on the record at the University of Toronto.

- Universities keep records everything.

Don't put too much importance

on a strictly professional disagreement

that wasn't that serious in the first place.

And besides, how does that relate to Porter's murder?

- Maybe it doesn't.

On the other hand, this report indicates

that it was quite serious.

That in fact, you were the one who ended up

being discredited and you lost your position

as head of the department.

Do you remember what the disagreement was about?

It's all right, I'll refresh your memory.

It concerned the head of a statue

which the victim found at the bottom of the sea.

The head, which interestingly enough,

had been severed from its body.

- Hey, Professor, what's the news?

What do we got?

What's going on here?

- Later, okay?

- What is this?

- Are we gonna stay here or not?

I'd like to know.

When can we get our things out?

Did he say anything to you?

Nothing, nothing.

No news.

I don't know what to do here.

- Liza.

- What is it, Paul?

- I'm debating whether to close down the exhibition

and go back to Toronto.

- Why?

After what happened to Sean and Kevin and Porter,

you have to ask why?

- Yes, I agree it's horrible,

but we just can't leave now.

- Why not?

- Because, because we just can't.

We owe it to our four friends who died

to find some explanation.

Because we're scientists.

Aren't we obliged to investigate at the very least?

- No.

- No?

But, Paul.

- I said no.

- Excuse me.

I hate to interrupt you,

but I found something.

I think you should have a look at it.

- This is what I was looking for.

Come on.

If we stay, it'll be to continue this investigation

and nothing more.

- Yes, Paul.

- Jesus.

- Inspector, Turi's wife is inside.

She's hysterical.

She's already woken up half the town

with her screaming.

Her husband didn't come home last night for dinner

and when she came down here to look for him,

she found the door open.

She looked, she couldn't find him anywhere

and she's afraid that maybe something serious has happened.

You know, we've already had

too many people dead around here.

- Come on inside.

- Okay, now look, why don't you tell us the whole story

all over again from the very beginning.

Oh, no, no, I can't.

No.

You might remember some detail

that you left out

the first time you went through it, right?

Oh, no, no, please.

Okay, so your husband didn't come home

at dinnertime and--

Oh, God.

I just can't go through it again.

I just can't.

Please.

Now look, you want us to help, don't you?

Come on, try.

Let's hear the beginning again.

I don't know what happened to him.

I went to look for him and he wasn't there.

I don't know where he is.

My God.

They haven't cloth this way for centuries.

Oh, where is he, where is he?

Oh, Senora, you can do it if you try.

We wanna find him as much as you do, okay?

No, please, no.

- You know what I'm saying?

- Andy, come on outside, will you?

Keep everyone out of the cold storage locker.

- I'll take care of it.

- Professor, the people in the town have gone crazy.

They wanna destroy the, the monastery.

They've got weapons.

They're coming up here.

- Go.

Finish packing up, we'll get everything.

Okay.

- Go on.

- Liza.

Liza.

All this stuff is happening, isn't it?

- Yeah, I think so.

- Robbie, Robbie!

Robbie.

John, John.

Yeah, what is it, honey?

- Have you seen Robbie lately?

- Robbie? - Yeah.

- Isn't he on the beach?

- I don't know.

Look, he's been gone two hours, that kid.

I'm always so worried.

Can you go look for him.

- Sure, I'll look for him. - Please hurry.

Robbie, Robbie!

- Robbie.

Robbie!

- Papa, papa, help me.

Papa.

- Robbie.

Robbie.

- She's taking me away.

Help me.

Please, papa.

- Robbie, Robbie, where are you, Robbie?

- Papa, papa, papa!

Papa, help me, papa.

- No!

- Where are you, papa?

Papa, papa!

- Robbie, don't move, Robbie.

No, don't move, Robbie.

- Papa.

- No!

- But, papa.

- Liza.

Liza, Liza.

Liza.

Liza.

- Oh, Robbie.

- Liza.

Liza.

Liza.

Liza.

No.

- Stop.

Just a moment.

Let's burn her.

That'll show her.

That'll take care of her.

Burn her.

- What's going on?

What's going on?

Okay, back back.

What's going on?

What is it?

- Liza.

Let's get outta here.

- Liza!

Liza.

Liza.

Liza.

Oh, Liza.