All language subtitles for Scorpion with Two Tails

[steam hisses]

[serene music]

[man speaking foreign language]

- Kaere.

[victims scream]

[woman speaks foreign language]

[man speaks foreign language]

[Joan gasps]

- Lariza.

Verb roots?

- The monster isolated them.

It's linking them
to the concepts

of giving, offering,
sacrificing.

- I started dreaming verb roots.

The Etruscans dropped by
and talked to me last night.

I don't know if it was real
or just the words you concoct.

- I certainly wouldn't talk
in Etruscan to you at night.

- Mike?

- You had a spat
with Arthur, right?

- Mm-hm.

- Well, you know what
Etruscan women did

when they argued
with their hubbies?

They hopped in the sarcophagus

with the first male
they bumped into.

10 months.

Aren't we buddies now?

- You're not funny
and you're pushing it.

- No, pulling.

Trying to pull you out of it.

Hm, what a face.

- Oh, not you too.

It's enough with my father,
he lives on another planet.

Yeah, I've had it up to here
with this damn exhibition.

Arthur for nearly a month
now, Dad chewing his nails,

and now these dreams.

They're driving me up the wall.

- How about dinner tonight?

Maybe all you need is
a little distraction.

No more verb roots, hm?

- What are these?

- [Mike] Just arrived.

Curious, huh?

- [Joan] That's
Arthur's handwriting.

- Mm-hm.

He sent them over.

He's doing some research
around Volterra.

[Joan gasps]

[tense music]

- No, no!

Arthur, Arthur.

- Joan.

What's the matter?

[Joan whimpers]

[birds chirping]

[speaking foreign language]

- [Masaccio] Mr. Arthur!

Time to eat!

- [Arthur] You go on,
Masaccio, I'm not hungry.

[speaking foreign language]

- I go, you stay.

Let one get a bite from a snake.

[serene flute music]

- Watch out.

[serene flute music]

- Thank you.

- Do not thank me.

That snake would
never have bitten you.

You are not Italian?

- American.

I study the past, the Etruscans.

- No, Rasenna.

They were called Rasenna.

- Yes, I know.

You're interested in
ancient cultures also?

- Come, I show you something.

[foreboding music]

[Joan gasps]

- Arthur.

Arthur!

Arthur.

[bones crack]
[Joan gasps]

[Arthur shouts]

[phone rings]

- Hello?
- Joan, it's Arthur.

- Arthur!
- Listen, I want you to--

- I was just taking a nap.

I was dreaming about you.

It was horrible.

Where are you?

Are you leaving today?

- I'm not leaving,
the crates are.

They'll be ready for
shipment tomorrow.

I'm sorry if I woke you.

- [Joan] Why aren't
you coming home?

Arthur?
- I can't explain now,

I made a fantastic discovery.

I spoke to your father earlier.

Tell him unless he
sends the telex,

the crates will stay here.

- What are you talking about?

- I'll explain everything later.

Just tell him, no telex, no
crates, he'll understand.

- I'll do no such thing!

Either you tell me
what this is all about,

or you can just go to he--

- [Arthur] I found a tomb in
a cave, an enormous grotto.

It's every archeologist's dream,
untouched like Tutankhamun.

The richest Etruscan tomb--

- Oh, Arthur.

[serene flute music]

There, there's a
pit in the grotto.

A pit with sulfur
fumes coming out of it,

and a tunnel off to one side.

- Yes.

How did you know?

- I...

I dreamt it in a nightmare.

I was there in the grotto,

and this ritual
was taking place.

[suspenseful music]

[Arthur grunts]

Arthur?

Arthur, what's wrong?

Arthur!

Hello, are you there?

Arthur, what's going on?

[bones crack]
[Arthur shouts]

Arthur!

Arthur, answer me!

Arthur!

[man speaks foreign language]

[suspenseful music]

[dog barks]

[engines rumble]

- A lunatic or a burglar.

Even the Italian police,
well, you read it yourself.

They figure it's a burglar.

Arthur was on the phone.

I don't know, he turned
and he saw the guy,

and the guy killed him.

Now what do you wanna
go over there for?

I talked to Heather Hall.

She'll take charge of
shipping the crates

and all the formalities.

- Dad, Arthur was expecting
something from you.

He told me that if you
didn't send him a telex,

he wasn't going to
ship the crates.

Why?

- I hate to tell you this,
but that guy married you

for the foundation and my money.

- How can you?

He was a great archeologist.

- You can be a great
archeologist and
still be a fink.

Want a shot of brandy?

- Dad, you still haven't
told me what Arthur wanted.

- He wanted $100,000 to
dig up some tomb he found.

Now look, Heather will be
back at the end of the week,

she'll fill you in
on all the details.

Now why don't you fly down
to the ranch for the week

and relax and
forget about things?

- Maybe later on when
I come back from Italy.

You know I couldn't be satisfied

with Heather's field report.

[plane engines roar]

[Joan whimpers]

- Joan.

Calm down.

- You really surprised
me, coming along.

Thanks.

[serene music]

[man speaking foreign language]

Inspector, is it
possible there was no one

to come to his aid?

- [Inspector] He was a
guest of Contessa Volumna.

The Contessa is well
known here in Volterra.

She has a very big
house and lives alone,

except for an old servant.

- La Contessa is coming, please
make yourself comfortable.

- [Mike] Thanks.

- Shall we?

Both Danta and the Contessa
heard Professor Barnard scream,

but when they arrived in
here, the killer was gone.

- Good afternoon.

[foreboding music]

Mrs. Barnard?

I am Maria Volumna.

- This is Mike Grant.

- Nice to meet you.

Hello again.

- How long had Arthur
been your guest?

- A week.

Your husband first came here

to consult some reference
books in my library.

- I see.

Do you have any idea why
he might have been killed?

- I believe I asked the
Contessa that already.

- Thank you.

I think it's a perfectly
legitimate question

for a wife to ask.

Please sit.

The doors and the
windows were all locked,

and here we are on
the third floor.

When Arthur screamed, Danta
ran in here immediately.

There was no one, and
Arthur was already dead.

We called the police right away,

and they searched
the entire house,

thinking the murderer had
hidden somewhere inside.

- It seemed that he had to
be here, but he was gone.

- Maybe he didn't leave, and
let's say didn't even hide.

Maybe he helped you
search the house.

- Mrs. Barnard
seems to be hinting

that we may have killed
him, Danta and I.

- Senora, it would
take enormous strength

to kill a man in that way.

And besides, why on Earth

would the Contessa
and her servant--

- Yes, apparently no one had
any reason to kill my husband.

Yet someone did.

- Perhaps a thief or--

[knocking]

- Come in!

- La Senora Hull asked
to see Senora Barnard.

- Show her in.

- Prego.

- [Heather] Hello, Joan.

I still can't believe it.

Oh, Mike!
- Hi, Heather.

- Oh, I didn't know
you'd come too.

Contessa.

How are you?
- Hello.

- [Joan] Tell me about the tomb.

- What tomb?

- Arthur was just telling me

he'd found a new Etruscan
Tomb when they killed him.

- I knew nothing about it.

Are you quite sure you
understood correctly?

I mean, we did all of our
research together, Arthur and I.

And Nick here.

Ah, you know each other?
- Hello.

- Nick Forte, Joan Barnard.
- Hi.

- Nick was working as our
driver and general gopher,

besides protecting Arthur.

- Who from?

- Please.

- Joan's father's idea.

He said that, with
the huge illegal trade

in relics over here, we
might run into a snag or two.

- Arthur ran into
worse than that.

- Volterra people are whispering

that the American was
a desecrator of tombs,

and was struck down by
the curse of the lucomons.

- How about you, Contessa?

As a great fan of
ancient Etruscan rites,

what's your opinion?

- The universe is far
stranger than you imagine,

than you could imagine.

- My husband's belongings, his
papers and personal effects,

where are they?

- We examined
everything, but I don't--

- I'd like to see them.

- Certainly, I'll have
them sent to your hotel.

- [Concierge] Welcome, Madam.

Please.
- The luggage, please.

- Bellboy!

- [Joan] Velathri.

- [Heather] Etruscan
for Volterra.

- [Mike] Yeah, they
had TH like us.

- It's from theta.

About the crates for the show.

We have to fill out
insurance papers.

You wanna do it here, or can
you come over to the shipper's?

- Either way.

But first I want to shower.

- Better bring them over here.

- [Heather] Anything
you say, boss.

- To the shipper's?

- To the shipper's.

[foreboding music]

[speaking foreign language]

- The jeweler.

[knocking]

Come in.

Oh, Mike.

- Mind if I come in?

Or do you wanna
rummage in peace?

- There's nothing.

- Well, what do you expect

if the police have
already gone through them?

- Arthur was onto something big.

I was hoping to
find, I don't know.

I guess we'll have to
read all his notes.

There could be something
that's clear to us

but meaningless to the police.

Something camouflaged
in his research, maybe.

One thing I do know, he
wanted Dad to send him money

so he could excavate in secret.

Hey, look at this.

Five days before he died.

- "There are twelve."

- What 12, 12 what?

- I think you're
growing a fixation.

Etruscan phrases, the tomb.

- What 12?

- How the hell should I know?

- Hey, there were 12
Etruscan city-states, right?

Weren't there 12?

- Yeah.

12 cities governed the country.

Together they formed
the Dodecapolis.

Magistrates of the
Dodecapolis convened

in case of dire emergency

or to hear the
lucomon's complaints.

So what?

Arthur knew damn well
there were 12 city-states.

He'd never write it down
with two exclamation points.

- Yeah, he knew better
than anyone else.

There are 12.

[ominous music]

[Joan sighs]

12 what?

- Here you are, Senora.

When I heard the
professor was killed,

I have a serious business.

Our name is 200 years old.

I never thought
to kill the piece,

but I didn't know how to...

- You could have given
it to the police.

- [chuckles] I don't know.

Look at it.

[ominous music]

Now you understand, Senora.

It's very old, very valuable.

Do you know the piece?

- I've never seen it before,
but I feel like it's mine.

[foreboding music]

- [chuckles] Not
that I suspected the
professor, god forbid,

a famous archeologist.

However, it is Etruscan.

- Why two tails?

- According to legend, it
was a symbol of divinity.

Your husband brought it to
me to have a chain put on.

I thought it was
probably a gift for you.

Even a scientist may
have his weaknesses.

- You thought he had
stolen it for me?

- No, no, stolen, god forbid.

The owner of this
pendant has been dead

for at least 2,000 years.

The professor, how
can I say, found it.

[speaking foreign language]

- The necropolis is
just over the hill.

This may be a millstone,

but what it's doing next to
a temple is anyone's guess.

- [Mike] Maybe the miller
was a part-time priest.

- [Heather] You know,
ancient bread...

[eerie flute music]

[Heather chatting]

- [Mike] That dais, the
crater of Eophroneus,

the one in the Metropolitan,
that was found here, wasn't it?

- [Heather] Yeah, but
if the Monte Abaconea...

Yeah, they could probably
dig around here for centuries

and never find it all.

You know, farmers around
the province of Lacciu

are constantly plowing up new
discoveries in their backyard.

- Mrs. Barnard!

- More.
- I'm not getting any closer

to the edge, Gianni,
I'm telling you.

- [Gianni] Vaveni, Vaveni,
stay where you are.

Okay, give me some action.

Show me some legs.

More angles.

No, Hilda, fanny, fanny.

Stephanie, squat, go on.

Fanny, proceed.

- Where'd she go?

- She's down there.

- [Gianni] Close it up, close
it up, try to be reasonable.

Okay?
- I think you'd better

get her back to New York.

[Gianni chatters]

Give him a hand.
- Change?

[camera shutter clicks]
Face forwards again.

- Excuse me.
- Change.

Hilda, squat.

Could you move, please?

- Oh yeah, I'm sorry.

[eerie music]

[foreboding music]

[gasps]

[man speaking foreign language]

[Joan gasps]

[tense music]

Arthur!

[Arthur shouts]
Arthur!

[Nick grunts]
[Joan yelps]

[Joan gasps]

- Joan.

Are you all right?

What's the matter?

- Want to cry.

- Why?

- I, I don't know.

- No more tombs,
not for today, huh?

Come on.

- [Joan] I keep having
these strange visions.

Worms and things.

- [Mike] Well, this place
does have atmosphere,

but let's not overdo it.

- [Heather] Well,
don't you see anything?

- [Gypsy] Watch out.

Long shadows lie in your path.

[Mike chuckles]

- This make you see
things a little better?

- You betcha, Mister!

Days of glory await you,
and great happiness.

- Thank you, I don't
believe in that.

- You do not believe,
granter of gifts?

- What did she call you?

- The stone you have gathered
here is a piece of your life.

[eerie music]

- [Joan] What?

Who is it?

- You will find other stones,
and will come to know who,

past and future.

- Okay, that's
enough, can't you see?

She said she didn't want you to.

- I have already received
more than I deserve.

- Help, help!

There's a dead man over here!

[people clamoring]

[tense music]

[woman whimpers]

[serene flute music]

[door creaks]

- Welcome back,
granter of gifts.

- Who are you?

Why do you call me that?

A gypsy in Cerveteri
called me that

just before a man was killed.

- [Aulos] I know nothing.

I am only an old man.

- Why granter of gifts?

What does that mean?

- It is written, know thyself.

Eternity is made
of cycles of life.

Each cycle is a gift.

My own was already at its end,

but a man close to your heart
gave me a little more time.

- What man?

- He who prolonged my cycle.

He has already ended his own.

It is not easy

to understand the
designs of the gods.

- You mean Arthur, don't you?

You know who killed him?

- Tomorrow you
will see the light.

[tense drum music]

- Got a mark.

This is it.

Damn it, it's the right mark.

He must have marked
the wrong crate!

We'd better open them all up.

- You got all night for that.

- But it's got to be here!

- Somebody stung you, Mulligan.

I'm sorry.

- Whatever it is, if
you just give me time!

- An old friendship deserves
faith, two weeks' faith.

[tense drum music]

[lid crashes]

[solemn music]

- Don't worry.

Come.

Now we have to climb.

But you will recognize the way.

[serene flute music]

[water dripping]

- Where are we?

- It is you who must
lead me, immortal one.

[steam hissing]

- What's that noise?

- The breathing of Charon.

[water bubbling]

- I know this place.

This cavern.

The vapors.

It can't be just a coincidence.

I dreamt about all
this in New York.

How could I?

I've never been here before.

I've never been to Italy.

I've never been
in Europe, never.

Yet I...

I feel like...

It feels like I've come back.

- The immortals
always come back.

- Stop playing mysterious.

Why did you bring me here?

What is this place, who are you?

What does all this mean?

- I did not know
until I saw you.

I've been waiting for you.

I knew you would come,

because I have no living
sons or grandsons.

I am the last, you understand?

So I knew it was time.

- Time for what?

[foreboding music]

- I do not know.

Do not ask me.

This is the place, but
do not ask me what place.

I do not know.

- Give me the lamp.

I'll see what place it is.

- The light is yours.

- In my dream, there
was something...

On this side.

Like a big archway.

Or an entrance.

[Joan speaks foreign language]

And Terran held the scorpion.

[gasps]

12, there are 12.

They were 12 crates.

[Aulos screams]

[suspenseful music]

[Joan gasps]

Help, help, Senor!

The light went out!

Can you hear me?

Can you hear me?

Senor!

Where are you?

Guide me with your voice!

So I can find the right tunnel!

[rats screeching]

[Joan yelps]

[bats shrieking]

[Joan yelps]

[Joan screams]

[steam hisses]

Where are you?

[engine rumbles]

No.

No, no, no!

Let me go! [screams]

[jet engines roar]

- [Mulligan] Taxi!

- Where to?

- Volterra.

- Oh, that costs a lot of money.

- Let me worry about that.

Just get me there fast.

[engine revs]

- [Valet] Hello, sir.

- [Mulligan] Good morning.

- Mr. Mulligan.

- I thought you were gonna
meet me at the airport.

Where's Joan?

- That's why we didn't come.

She left the hotel yesterday
afternoon in a taxi,

and nobody's seen her since.

- Have you got a car?

- Yeah, it's right there.

Mike's already gone and
talked to the police.

- All right, give me the car.

There's somebody
I gotta see alone.

Take care of the taxi
and the bag, would you?

- [Valet] Yes.

- The crates arrive okay?

Any breakage?

- Not yet.

- You sound as if you
know where Joan might be.

- Well now, maybe I do.

- You know how the prince is.

He is cautious.

- That's not the word.

Not if he thinks I had
my daughter's husband

killed just for--

- Not just for, but also for.

- Yes, business is
business, isn't it?

Now I'd like to see my daughter.

- Do you really think
I know where she is?

- I sure do.

[bell rings]

- Well, she's here,
but only by accident.

- Yes, Senora?

- Bring the girl here.
- Yes.

[door closes]

- Aren't they a little obvious?

- They're legal.

There's been a great revival

of private enterprise over here,

and that includes
security forces.

- Joan is all right, isn't she?

- Well, she's a lot better
than when we found her.

- Dad!

- It's all right,
baby, I'm here.

Everything's all right now.

Was all this necessary
with my daughter?

- Oh, come off it.

You're a drug pusher, and you--

- Yes, yes, I help smuggle
drugs into the States,

but I'm just a link in a chain.

You can't always make the
choices you want to in life.

- You had Arthur killed
because he found out what you--

- [Mulligan] No, Joan, I
never had anyone killed.

- "There are 12," that's what
Arthur wrote in his diary.

I couldn't figure
out what it meant

'til I saw the other crate,
and then it was all clear.

Arthur found out there
were 12 crates, not 11,

and the 12th one
was full of heroin.

And that's why you
had him killed!

- Yes, 12 crates, because one
was supposed to stay here,

and the other with heroin in it

was supposed to go in its place.

Yes, Arthur stumbled on the
drug traffic, how I don't know.

But Arthur wasn't the only
one to discover the heroin.

Whoever else did hijacked
it, then eliminated him.

They had to kill Arthur,
he was the one link

that would have led
me right to them.

- I'd like to believe you,
Dad, but the way he was killed,

the way they were all killed.

- Whoever murdered Arthur was
creating a little theatrics

to throw the police
off the scent.

Or do you really believe
that 2,000 year old zombies

go around killing people?

- Your father is right, Joan.

Or is there something you
know that will make him wrong?

- That crate is worth
a fortune, honey.

That's 300 pounds
of pure heroin.

700 million dollars
on the street.

Talk about Etruscan treasures.

- That's not money,
that's death.

- Yes, my death if I don't
come up with that crate.

You know where it is,
Joan, you said so.

You see, another
great choice in life.

Either you tell me
where that crate is

or you sign your
father's death warrant.

It's up to you.

- The crate is in a cave.

[gun cocks]

[foreboding music]

- [Volumna] This is
the prison guard's.

He says we may need it.

- Very thoughtful of him.

Sorry, honey.
- Go on.

[gun fires]
[Joan yelps]

[Volumna shouts in
foreign language]

- Bullets through window,
the whole car is armored.

Go!

[suspenseful music]

Yes.

Yes, she's taking us there now.

A cave, she says.

- Tell him to send help
or they'll kill us all.

- Yes, please understand.

Three men at the
turnoff to Renccula.

- Masaccio!

You there?

Hey, they're coming!

I couldn't get rid of
them, now they're after us.

[foreboding music]

Masaccio?
[steam hisses]

Who's that?

Masaccio!

You, what the hell
do you want here?

Who asked you to mix in?

Why the...

Very funny.

Come on, Masaccio, cut it out.

We gotta get that stuff
out of here, and fast.

Then you can take your share

and do whatever the
hell you want with it.

[tense music]

Masaccio, if you and
your greasy friends

are trying to pull a
fast one, I swear I'll...

Come on out.

Stop fooling
around, come on out!

Masaccio!

[Heather grunts]

[bones crack]
[Heather yelps]

- [Volumna] I never knew there
was a cave here, incredible.

[Volumna coughs]

- Wait, it could be dangerous.

- [Bodyguard] Over here!

[bodyguard coughs]

- Oh no.

No.

He's the one who
brought me here.

[Joan sobs]

- Contessa!

Look!

[group coughs]

- Heather!
- Why?

- She said she knew nothing.

- She must have been
with Arthur when he hit

on the 12th crate, and
decided to make her own play.

And since Arthur
was an obstacle.

[coughs] Damn sulfur.

- She's been killed the
same way Arthur was.

- She never could have
handled it by herself,

but she picked the
wrong partners.

[tense music]

- I don't think the prince
will have much trouble

solving that problem, and
someone is going to pay dearly.

[Joan speaks foreign language]

[man coughs]
- We'd better not waste time.

Show us where the crate is
before someone moves it again.

- Sure, the crate, the money.

Two people murdered
right in front of you,

three other people
killed already.

And all that the Contessa
can think about is money.

This, this is a sacred place.

This grotto, these
purifying vapors,

sacred for thousands of years!

And all you can
think of is wealth.

Then I answer you, Maria
Volumna, walk thy path.

- Why do you say those things?

- Immortal Sartis, King Attis.

King Redel, we,
builders of towers.

We Tiryns, we masters of iron.

Sons of the hot
bowels of the earth.

Oh Charon, hear me!

From the 7,000
tomes of Sardinia,

thy children struck Baum!

Oh keeper of the abyss,
guardian of the eternal cycles!

Oh Charon, hear my call!

They have desecrated--

[Maria gasps]
[gun fires]

The nightmare.
- No!

- And desecrated the sacred
womb of mother Earth!

[man shouts]
[gun fires]

[Joan gasps]
- Joan!

- No!
[guns firing]

[man grunts]

[man yelps]

[man shouts]

- Charon!

Answer my plea!

Bury the transgressors!

[steam hisses]

[explosions boom]

[cave rumbles]

[man shouts]

[screams]

[debris clatters]

[steam hisses]

[heart monitors beeping]

[foreboding music]

[men speaking foreign language]

[breath hissing]

- Ah, she's out of danger now.

You better go get some rest or
we'll have to reanimate you.

- I want to see her.

- No, she's still
under anesthesia.

We took a bullet out of her.

It was right up
against her heart,

as if the pericardial
had stopped it.

[chuckles] Let's say
it was incredible luck.

Or a miracle, if you like.

- Read, approved, and signed.
[typewriter clicking]

Are you finished?
- Yes.

- Sign here.

- Poor Dad.

- Now you can fly home.

If we need to
question any further,

it can be done through
our consulate in New York.

Of course, if you should
remember anything helpful,

I'd be most curious to know

why you were shooting at each
other before the tremor hit.

[chuckles]

- Well, I'll help you all I can,

because I've
decided not to leave

until I found out the truth.

- [Mike] What's going on?

- The trail is
closed, landslides.

- Well, we'll be very careful.

- I'm sorry, but we
cannot let you pass.

This area's restricted.

The tremor uncovered a big
Etruscan tomb up on the hill.

- You hear that?

Arthur's tomb, I
knew he'd never lie

about something like that.

Mike, I've got to see it,
after all that's happened!

- There's no chance we could--
- Sorry.

- Listen, I'm the wife of...

I was married to Arthur
Barnard, the archeologist.

You've probably heard of him.

Please let us by,
just for a look.

- I am very sorry, Senora.

You must go to the
town hall in Volterra,

and there ask for a pass.

I'm sure they will
give it to you.

[gentle music]

- Incredible.

This is...

Excuse me, but
this is incredible.

- Hey, hey.

- I'm sorry, but her face.

I'm so confused.

My name is Paolo Domelli,
I'm an archeologist.

I'm studying the wall painting
of a new Etruscan tomb.

You may think it's silly,
but there is a portrait there

that looks exactly like her.

Please accept my apologies.

- Paolo.

Paolo, we'd better
be on our way.

- Professor, look
at the resemblance.

- Oh.

She could have been the model.

[Paolo laughs]

- I'm Arthur Barnard's widow.

I would like to see the tomb,
but I don't have a pass.

Could you get us through?

- Wait.

A colleague of ours
couldn't come today,

and we have a permit
for three people.

I'm sure Professor Sorensen
would be very happy

to have you come along, if...

- Mike, do you mind?

- I hope you'll be so kind

as to bring her back to
the hotel afterwards.

- Of course.

- Have a nice time.

- Thank you.
- Professor.

Don't get lost.

- Mike.

Mike!

- You are the light.

That's an Etruscan expression.

- I know.
[Sorensen chuckles]

- [speaks foreign
language] Extraordinary.

Yeah.

[suspenseful music]

- [Paolo] Watch your head.

[water bubbling]

- Please, the light.

[foreboding music]

[men chat quietly]

[gasps]

[men chat quietly]

- [Aulos] The immortals
always come back.

- It was yours.

- See what I mean?

- Kaere.

- We are already
trying to decipher it.

You know, Etruscan
is easy to read

because the alphabet is
derived from the Greek,

but what the words mean
is almost a total mystery.

- I know.

- To immortal Kaere.

[Sorensen speaks
foreign language]

That could be dedicated.

But you can read it better here.

As far as we know,

Kaere was the only female
lucomon the Etruscans had.

The lucomons, apart from
being absolute rulers,

believed themselves
to be immortal,

moving from one life cycle
to another for all eternity.

Right this moment, I'd have
to say they were right.

- "Dedicated to immortal Kaere.

"Lucomon, granter of gifts.

"Guardian of the sacred treasure
at the eternal banquet."

- Sacred treasure?

Excuse me, but why
did you say that?

- Because that's
what's written there.

My husband was a
great archeologist.

[crickets chirping]

- She swears up and down
there's a crate there.

I'm just curious.

Anyway, we leave the car
here and we follow this track

to this fork, okay?

From then on, it's up to you.

Darling, come in.

These are two friends

who are going to help us
find the you-know-what.

They're professionals.

- How do you do?

I'm Gianni Andrucci.

- How do you do?

- We already met.

I am the photographer who was
with the girls in Cerveteri

when your friend Mr.
Forte was killed.

You remember us?

- I think so, yes.

- So you are agreed?

We prepare instruments
and meet you at sunset

at the turnoff to Renculla.

- Okay, but the police?

- No, don't worry, I'll
get everything we need, hm?

See you tomorrow.

[tense music]

- [Mike] Joan,
aren't we better off

leaving well enough alone?

- I don't want the police
to find that stuff.

- [Gianni] Let's go.

- Well?

[rocks rumble]
[Joan yelps]

Let's hope the whole
mountain doesn't cave in.

- We've got to dig here.

- You sure?
- Yes.

- [Gianni] Shouldn't
be too much.

- Okay, let's go
to work, come on.

Oh, you better wait by the pool.

Someone come, you warn us.

- All right.

- [Gianni] Come on, come on.

Ready?
- Go!

[engine rumbles]

[engine whirs]

- Give me the sections
and the weld angle.

And now we'll see what's
on the other side.

This is how we tell
what's in a tomb

without having to open it.

- [Joan] Mike, over here.

- My god.

[Gianni chuckles]
- Did you find anything?

- [Joan] Did we ever?

[tense music]

- That seems to
be it, all right.

The seals have been broken.

- They were when I first saw it.

Just think, they're
packed with--

- Well, getting buried
shouldn't be the guide's risk.

So as the client, I'll go, okay?

Pass me the light.

- Well?

- It's empty.

- That's not possible.

Was this for the
sake of the crowd?

- Come take a look.

[Joan grunts]

- [Joan] Oh, oh no.

[knocks]

- Joan!

[knocking]

Joan?

Joan!

[knocking]

Joan!

- [Joan] Paolo, what
are you doing out there?

- I'm sorry, but the man at
the desk didn't let me come up,

so I came up.

- Come on in.

[door closes]

Where's Mike, Mike?

Mike?
- I doubt he's here.

The man told me he left,

giving strict orders
not to disturb you.

- What's up?

- Two things I thought
were kind of important.

One, Dr. Sorensen
deciphered the inscription

and you were 100% right.

You know the one
beneath your portrait?

I mean, that painting of
Kaere that resembles you.

- [Joan] And second?

- Second, that tomb had
already been broken into.

That is, unless the
Etruscans smoked Naccionale.

- What?

- They found a cigarette
butt in one of the vases.

- Oh, come on.

Somebody on the crew
probably dropped it

in there by mistake.

- No, the tobacco was all moldy.

Must have been inside that vase

for at least a couple of months.

Somebody definitely
broke into that tomb.

- If you're thinking
of Arthur, forget it.

He didn't smoke.

- I'm not thinking
of Arthur so much

as the person who was with him.

- You mean someone who smokes
Naccionale could have...

[phone buzzes]

Hello?
- Excuse me, Senora,

[knocking]
but a customs official

is on his way up to see you.

- Yes, he's already arrived.

Thank you for warning me.

- Senor Mike Grant?

- No, I'm Paolo
Domelli, a friend.

I'm an archeologist.

- [Officer] Senora Barnard?

- Yes, what's happened?

- [Officer] I'm afraid you
have to come with us, Senora.

- All right, where?

- We found a crate
with a government seal.

One of those you shipped to
New York about a month ago.

- Okay, I'll get my coat.

- For the show?

They were all full
of well-known pieces,

each one numbered and cataloged.

- It's in there.

We found a hole in the wall.

We lodged it in there, it was.

Someone broke the seals
and stole the relics.

- There never were
any relics in there.

That, that's all I have to say.

- According to the weigh-in,

11 crates left Rome and 11
crates reached New York.

Senora Barnard, I think you
have a great deal more to say.

Please don't try my patience.

What was inside this one?

Oh dear.
- What's wrong?

[Joan screams]

- Joan!

[wind howls]

[rocks clatter]

[tense music]

[Joan gasps]

[Joan gasps]

[Joan grunts]

[Joan shouts]

Joan!

Joan.

Joan.

Come.

Joan, you cut yourself.

[wind howls]

But...

But there's no cut.

Then where did all
this blood come from?

- Cold.

- I have a blanket
in the car, come on.

- Mike was in it, too.

I feel, I feel like my
head is going to burst.

What am I saying?

Poor Mike.

He just wanted to help me.

- Calm down.

- When he saw the crate, though,

I mean saw it was empty,
he wasn't surprised.

Not at all.

Like he already knew.

- Were you alone?

- No, there were two grave
robbers that we hired.

- You know their names?

- One, one was a
photographer called Andrucci.

[foreboding music]

- Andrucci's place, but
they say he's not in.

- [Joan] Well,
the lights are on.

- [Paolo] Okay,
can't hurt to try.

- [Joan] If he's our
last link to Mike.

- [Paolo] Keep your
fingers crossed.

[doorbell chimes]

- [Gianni] Who the hell is
calling at this time of night?

- Friends.

- [Gianni] Haven't had any.

- Please, we'd like
to talk to you.

- Oh, Senora Barnard, it's you.

Please, sorry, come in.

You never know.

Someone might get
funny ideas into his...

Let me show you the way.

You caught me in the
middle of a little work.

I take pictures on the side.

You know, to make
a little extra.

[Paolo laughs]
Etruscans are in right now.

Hilda, show the leg
a little bit more.

There, that's it.

Julie, lean back.

That's the angle, fine, hold it.

Now remember those positions.

Okay kids, go take a break
while I talk to my friends here.

There's beer in the fridge.

Please.

- Why didn't I think of
setting Etruscans like that?

- We do what we can, judging
from some of the frescos.

Up the stairs.

They were pretty good at
erotic art themselves.

Make yourselves at home.

Excuse the mess,
you know how it is.

Now, to what do I owe the
pleasure of this visit?

- Did you hear
about Mike's death?

- Yes.

Senaldi just called me.

- I don't drink, thank you.

- [Paolo] Are these
cigarettes yours?

- [Gianni] Oh sure, go ahead.

Ever go in there before?

- [Paolo] Could be, my name is--

- [Joan] What is that?

- A crystal.

Obsidian, I think.

It's not worth anything.

- Black prism of King Lido.

[foreboding music]

Look, Joan.

These are the so-called
stones of life.

The longer a person lived,
the more important he became,

the more stones he
had in his tomb.

They didn't just signify age.

They must have had some,
some other meaning.

If these stones
were in one tomb,

its occupant must have
been very important.

Since you don't have
any vase around here,

where do you throw your butts?

It doesn't take
cello combs, Gianni.

I found one of your butts
in a vase in the tomb.

Were you there with
Professor Barnard?

- That came from there.

- Did you take it?

- Professor Barnard wanted to
excavate the tomb in secret.

Masaccio called me because
he couldn't manage it alone.

I called Senaldi and Tonino,
and we all went together.

We left Tonino on guard
outside while we broke in.

- But there was only
a two-four wall.

Why did you need four men?

- The professor said that
wasn't the actual tomb,

but just an antechamber to it,

and that it could be the
discovery of the century.

Tutankhamun was nothing
compared to this, he said.

[foreboding music]

[men chat excitedly]

- There is a fortune
in here, a fortune!

- Remember, don't
touch anything.

I told you, don't
touch anything!

- [Gianni] It was the
most beautiful example

of Etruscan burial
architecture I'd ever seen.

Wall paintings, statues, vases.

But when you are
in the business,

you think of beauty
only in terms of money.

The professor had said
there would be an entrance

to the main tomb, but we
couldn't find anything.

If there was, it
was well-hidden.

Then the professor
got another idea.

- Maybe the treasure of
the Dodecapolis is here.

- [Gianni] It was
possible, of course,

but tales have
been told like that

about every major
find for centuries,

and we didn't react,
because right then,

we were more interested
in immediate results.

[Arthur chatting]
[Gianni gasps]

[Gianni shouts]

- [Senaldi] Help, help!

- Let's get him outside!

[Gianni screams]

Help.

- [Gianni] Later he said he was
sure the treasure was there,

that we just had to dig for it.

- [Paolo] Did he tell
you where to dig?

- He didn't know himself.

And in a way, someone made
sure he never found out.

And Masaccio, that
turned him weird.

He said that he'd
already found a treasure,

and just needed
someone to sell it to.

But he hadn't found anything.

Nothing Etruscan, anyway.

- What did Mike want that
night we went into the grotto?

He didn't just want that crate.

- No, it was to find out
who killed the professor

and the others.

He said that there was
something down there,

and he wanted to find it.

I'll go downstairs
and get some more.

[tense music]

- Why are you scared
of touching it?

- I'm not scared.

It's like respect, I think.

It's sacred, Paolo.

It's sacred.

[Joan breathes heavily]

From Sartis, on great ships.

Ships, did I say ships?

You're right, they frighten me.

Whenever I touch
them, I feel dizzy.

- Take it, Joan.

- No, I don't want to.

- Take it.

- No.
- Take it.

It could help us to
discover the truth.

- No, Paolo, I can't.

- Don't you want to know?

- Andrucci knows,
he could tell us.

But he won't come back.

- What?

I'll go see.

[Gianni gasps]

- [Hilda] Gianni!

Gianni!
[Gianni chokes]

Gianni, Gianni!

- [Joan] He's downstairs!

- [Hilda] Certainly
cuts a low profile.

Gianni, what do
you want us to do?

Can we get dressed?

- [Joan] He went
to get some wine.

Isn't he there?

- Nobody answers.

You sick?

- It's all right, thank you,

I'm fine.
- Joan?

He's not in the kitchen.

And the door is wide open.

- If this is a joke, it stinks.

- [Man] What's happening?

- Gianni's playing games.

Gianni!

- [Paolo] He's disappeared.

- You mean run?

- I don't know.

He's not here.

- Why, what could
he be scared of?

- Of choking, of letting
himself go, who knows?

If he was working
with Mike, he might...

He might be one of the killers.

- He was there in Cerveteri
when they killed Nick Forte.

Do you think Mike--

- I don't know anything.

You're the one who was there.

[water trickling]

- [Joan] How did that happen?

[Joan screams]

[suspenseful music]

- [Hilda] Gianni!

- [Joan] What happened?

- [Paolo] We've got
to go to the grotto.

- [Joan] Andrucci.

- [Paolo] The gray tomb
must be the entrance

to something
incredibly important.

- Is that why you
took the prism?

- [Paolo] Maybe
you have a power.

Some kind of counter
with that ancient world.

In your hands, it
could give us the key.

- [Joan] You take it.

- It'll be dawn before long.

[foreboding music]

- Its place was on
the sphinx's head.

- Joan.

What are you doing?

Joan, come back, you'll
suffocate in there!

Joan.

[Paolo coughs]

These gases are poisonous.

Joan, what are you trying
to do, kill yourself?

[Paolo coughs]

[water bubbling]

Steps?

[coughs]

[ominous music]

[steam hisses]

[gasps]

[Paolo gasps]

[Paolo coughs violently]

[dramatic music]

- The one great
power, the cosmic egg,

the anti-universe,
the white hole.

- Joan.

Where is the treasure?

Joan!

We're here.

This is the place. [laughs]

You found it!

Now tell me where
the treasure is.

- The blind don't know
that light exists.

Showing it to such
as them is pointless.

They don't see it, Paolo.

The treasure is there.

There is the end and
the beginning of time.

There, matter is
contrary, opposing.

- Looks like a diamond.

If it were,

it'd be better
than 1,000 colors.

If we could...

- Don't touch it, Paolo.

Don't touch it!
[Paolo grunts]

- It's pushing me away!
- Antimatter, antigravity!

If you touch it, Paolo,
you, if you touch it--

[crystal warbles]

The crystal is
surrounded by a void,

protected by a force that
is contrary to gravity

and which pushes the air away.

Otherwise it could not survive.

It would have been destroyed
at the beginning of time.

Matter and antimatter
could not coexist

if it were not for
gravity and antigravity.

Only in this way
can the universe be.

- [Paolo] How long have
you known these things?

- It's like they were
talking to me from inside.

Let's get out of here.

All this belongs
to the immortals.

- So you are the last
of the immortals.

Now tell me where
the treasure is.

The real thing this time!

Otherwise, I've turned
a lot of people's heads.

I'll turn yours too, lucomon.

- You're the killer, aren't you?

- Yes.

But I'm afraid I can't
take all the credit.

- Are you going to kill me?

- If you really are immortal,

you don't have anything
to worry about.

[Joan gasps]

- I am guardian to
the sacred treasure!

- And if you don't tell
me where I can find it,

you're going to stay down
here for the rest of eternity.

- The eternal cycle is the
greatest treasure of all!

[Joan moans]

[suspenseful music]

[shouts]

[Joan whimpers]

Mike!

Mike!

- I'm sorry, Joan,

but I should've known
which side you were on.

Paolo Domelli, you're
under arrest for murder.

- Wonderful, Mike,
but I don't think so.

[gun cocks]

- Sulfur vapors do
terrible things to guns.

[gun clicks]

[men grunt]

[Joan gasps]

[Joan gasps]

[tense music]

[Joan yelps]

[men grunt]

- [Joan] Leave him alone!

Leave him alone!

Let him go!

[Joan grunts]

[Joan yelps]

- All right, bitch.

[Joan yelps]

Where is the treasure, or
I'll kill the both of you.

Where is the treasure?

- [Joan] Charon, Charon!

- Die.

- Charon.
- Die!

[Joan gasps]

[tense music]

[man speaking foreign language]

No.

No.

[Paolo grunts]

[bones crack]

[foreboding music]

[coughs]

- Joan!

- Oh, Mike. [whimpers]

Oh, Mike.

[serene music]

You studied Etruscan history
solely to spy on my father?

You should have told me you
were with the narcotics bureau.

By the way, you never told me

how you found out that Paolo...

- I'll show you.

The prince you said your father
and the Contessa mentioned

turned out to be the Turkish
poppy grower, and a dead end.

Then Andrucci sold me
some photos he'd taken

in Cerveteri the day
Nick Forte was killed.

They showed somebody watching us

from the mouth of
a tomb entrance.

The Italian police
blew the shots up,

big enough for us to
identify him as Paolo.

Recognize the glasses?

- [Joan] Yeah.

- You know, the one thing
I still can't seem to grasp

is how you managed to kill
Paolo after he knocked me out.

- I didn't kill him!

And there were only the
three of us down there,

you, me and him.

- Maybe you're a witch.

- [sighs] I never know
whether you're joking or not.

- It's why you're
in love with me.

[uplifting music]

Let's get married.

- I'm not sure it's a good
idea to marry a suspicious cop.

- Well there's one thing
you can do for him, shut up.

[Joan chuckles]