her to consume his feces. She is killed at the end after having her breasts burned by the President. In a lost or deleted scene, she appears killed by hanging. Benedetta Gaetani – Admired by the President because of her buttocks. Although she is not present in the blue ribbon ceremony, Benedetta is also killed in the massacre. In a lost or deleted scene, during the final tortures, the Bishop sticks pins in her anus. Olga Andreis as Eva; a soft-spoken girl who is friends with Graziella and in love with Antiniska. After Ezio's death, because of her delation, she doesn't appear again in the movie, leaving her fate unknown. In a lost or deleted scene, after Ezio's killing, she tries to escape from the castle. She is pursued by the four masters, who finally shot her. Dorit Henke as Doris; Beautiful and rebellious; the most undisciplined of the girls. She is killed at the end. In a lost or deleted scene, she is ripped by the Bishop. Antiniska Nemour – In a lesbian relationship with Eva. She is killed at the end. Anna Troccoli – Inexperienced, shocked and innocent. Attempts to run away, and gets her throat cut and the corpse is put on morbid display by a Catholic icon. Character names The Masters are known only by their respective titles (Duke, Bishop, Magistrate, President), while the various youths are either unnamed or are referred to by their actors' real names. The exceptions are Maurizio Valaguzza (Bruno), Bruno Musso (Carlo Porro), Lamberto Book (Lamberto Gobbi), Gaspare di Jenno (Rino), Marco Lucantoni (Ferruccio Tonna), Faridah Malik (Fatimah), Olga Andreis (Eva), and Dorit Henke (Doris). Production Conception Pasolini's writing collaborator Sergio Citti had originally been attached to direct the intended adaptation of the Marquis de Sade's The 120 Days of Sodom. During the creation of the first drafts of the script, Pasolini appealed to several of his usual collaborators, among them Citti, Claudio Masenza, Antonio Troisi and specially Pupi Avati. While collaborating with Citti on the script, Pasolini was compelled to transpose the setting of Salò from 18th-century France (as depicted in de Sade's original book) to the last days of Benito Mussolini's regime in the Republic of Salò in the spring of 1944. Salò is a toponymical metonymy for the Italian Social Republic (RSI) (because Mussolini ruled from this northern town rather than from Rome), which was a puppet state