"Are you ready?"

SUNNY MORNING in a mountain pasture deep in the Gennargentu Mountains of

central Sardinia.

Six men, four Sardinians and two Romans, work beneath an airy shed built of

timbers cut from the surrounding forest. Small sounds they make seem magnified

in the vast silence of the mountains.

Beneath the shed, hanging from rafters with their bark still peeling, is a

huge mirror in a gilt rococo frame. The mirror is suspended over a sturdy

livestock pen with two gates, one opening into the pasture. The other gate is

built like a Dutch door, so the top and bottom halves can be opened

separately. The area beneath the Dutch gate is paved with cement, but the rest

of the pen is strewn with clean straw in the manner of an executioner's

scaffold.

The mirror, its frame carved with cherubs, can be tilted to provide an

overhead view of the pen, as a cooking-school mirror provides the pupils with

an overhead view of the stove.

The filmmaker, Oreste Pini, and Mason's Sardinian foreman, a professional

kidnapper named Carlo, disliked each other from the beginning.

Carlo Deogracias was a stocky, florid man in an alpine hat with a boar bristle

in the band. He had the habit of chewing the gristle off a pair of stag's

teeth he kept in the pocket of his vest.

Carlo was a leading practitioner of the ancient Sardinian profession of

kidnapping, and a professional revenger as well.

If you have to be kidnapped for ransom, wealthy Italians will tell you, it's

better to fall into the hands of the Sards. At least they are professional and

won't kill you by accident or in a panic. If your relatives pay, you might be

returned unharmed, un-raped and un-mutilated. If they don't pay, your

relatives can expect to receive you piecemeal in the mail.

Carlo was not pleased with Mason's elaborate arrangements. He was experienced

in this field and had actually fed a man to the pigs in Tuscany twenty years

before a retired Nazi and bogus count who imposed sexual relations on Tuscan

village children, girls and boys alike. Carlo was engaged for the job and took

the man out of his own garden within three miles of the Badia di Passignano

and fed him to five large domestic swine on a farm below the Poggio alle

Corti, though he had to withhold rations from the pigs for three days, the

Nazi struggling against his bonds, pleading and sweating with his feet in the

pen, and still the swine were shy about starting on his writhing toes until

Carlo, with a guilty twinge at violating the letter of his agreement, fed the

Nazi a tasty salad of the pigs' favorite greens and then cut his throat to

accommodate them.

Carlo was cheerful and energetic in nature, but the presence of the filmmaker

annoyed him-Carlo had taken the mirror from a brothel he owned in Cagliari, on

Mason Verger's orders, just to accommodate this pornographer, Oreste Pini.

The mirror was a boon to Oreste, who had used mirrors as a favorite device in

his pornographic films and in the single genuine snuff movie he made in

Mauritania. Inspired by the admonition printed on his auto mirror, he

pioneered the use of warped reflections to make some objects seem larger than

they appear to the unaided eye.

Oreste must use a two-camera setup with good sound, as Mason dictated, and he

must get it right the first time. Mason wanted a running, uninterrupted closeup of the face, aside from everything else.

To Carlo, he seemed to fiddle endlessly.

"You can stand there jabbering at me like a woman, or you can watch the

practice and ask me whatever you can't understand," Carlo told him.

"I want to film the practice."

"Va bene. Get your shit set up and let's get on with it."

While Oreste placed his cameras, Carlo and the three silent Sardinians with

him made their preparations.

Oreste, who loved money, was ever amazed at what money will buy.

At a long trestle table at one side of the shed, Carlo's brother, Matteo,

unpacked a bundle of used clothing. He selected from the pile a shirt and

trousers, while the other two Sardinians, the brothers Piero and Tommaso

Falcione, rolled an ambulance gurney into the shed, pushing it slowly over the

grass. The gurney was stained and battered.

Matteo had ready several buckets of ground meat, a number of dead chickens

still in their feathers and some spoiled fruit, already attracting flies, and

a bucket of beef tripe and intestines.

Matteo laid out a pair of worn khaki trousers on the gurney and began to stuff

them with a couple of chickens and some meat and fruit. Then he took a pair of

cotton gloves and filled them with ground meat and acorns, stuffing each

finger carefully, and placed them at the ends of the trouser legs. He selected

a shirt for his ensemble and spread it on the gurney, filling it with tripe

and intestines, and improving the contours with bread, before he buttoned the

shirt and tucked the tail neatly into the trousers. A pair of stuffed gloves

went at the ends of the sleeves. The melon he used for a head was covered with

a hairnet, stuffed with ground meat where the face would be along with two

boiled eggs for eyes. When he had finished, the result looked like a lumpy

mannequin, looked better on the gurney than some jumpers look when they are

rolled away. As a final touch, Matteo sprayed some extremely expensive

aftershave on the front of the melon and on the gloves at the ends of the

sleeves.

Carlo pointed with his chin at Oreste's slender assistant leaning over the

fence, extending the boom mike over the pen, measuring its reach.

"Tell your fuckboy, if he falls in, I'm not going in after him."

At last all was ready. Piero and Tommaso dropped the gurney to its low

position with the legs folded and rolled it to the gate of the pen.

Carlo brought a tape recorder from the house and a separate amplifier. He had

a number of tapes, some of which he had made himself while cutting the ears

off kidnap victims to mail to the relatives. Carlo always played the tapes for

the animals while they ate. He would not need the tapes when he had an actual

victim to provide the screams.

Two weathered outdoor speakers were nailed to the posts beneath the shed. The

sun was bright on the pleasant meadow sloping down to the woods. The sturdy

fence around the meadow continued into the forest. In the midday hush Oreste

could hear a carpenter bee buzzing under the shed roof.

"Are you ready?" Carlo said.

Oreste turned on the fixed camera himself. "Giriamo," he called to his

cameraman.

"Pronti!" came the reply.

"Motore!" The cameras were rolling.

"Partito!" Sound was rolling with the film.

"Azione!" Oreste poked Carlo.

The Sard pushed the play button on his tape machine and a hellish screaming

started, sobbing, pleading. The cameraman jerked at the sound, then steadied

himself. The screaming was awful to hear, but a fitting overture for the faces

that came out of the woods, drawn to the screams announcing dinner.