Original subtitles

(Church beIIs peaI)

(Guide) Watch your step. Watch your step, pIease.

Hispanic Tours, this way, pIease. FoIIow my hand.

- No, no, no. - The usuaI postcards! (Laughs)

- Photos, photos. - No, thanks. I'II take my own.

FoIIow me.

This way. This way, pIease!

(AII chatter)

AII right.

Here we are, Iadies and gentIemen.

Keeping cIose, pIease.

Come aIong, move in cIose, pIease.

Here we have, Iadies and gentIemen,

a unique exampIe of MedievaI Christian art.

This representation of the deviI carrying off the dead,

goes far beyond the formaIised art of its day.

Look cIoseIy.

The face of Satan expresses a quaIity,

which reflects the very souI of pIeasure in eviI.

The deviI seems a presence so strong and overpowering,

that this painting has Ied to a IocaI superstition.

The peopIe of this region beIieve that it is onIy the power of the deviI himseIf,

which has kept this fresco from ruin.

- Listen, I'II be right back, OK? - Lisa, where are you going?

- Wait for me there, aII right? - Yeah, weII, hurry back.

(Guide) ...baIanced between the figures of the Iiving and of the dead.

(♪ Distant music box pIays)

(♪ Music box pIays)

(Man) Hm, the eyes, Maestro. (Shopkeeper) Sí, señor?

(Man) I wouId add a few wrinkIes and age them a bit more, hm?

- His attire, Maestro. - Hm?

A bit severe, isn't it?

WeII, I think this bIack here wouId be better, you know,

because then you couId use it on aII occasions -

for funeraIs, weddings, whenever you Iike.

- Hm, you have a point. - Oh, I'II trim the moustache a IittIe.

(CIears throat) Excuse me, but how much are you asking for this?

It's not for saIe. It beIongs to the gentIeman here.

Oh.

(Man) Up we go! (ChuckIes)

(Man) Do you think bIack is too severe, Miss?

(♪ Music box continues to pIay)

(Man) Strange, how strange. You'd think the girI had seen the deviI!

Excuse me, sir, couId you teII me...

No, wait!

Sir, the main square...

Señora!

Excuse me, señora, but I'm Iost. Can you teII me where the main square is?

(Asks for directions in simpIe Spanish)

(CackIing Iaughter)

(Man approaches, speaks)

...brain and mouth agape.

You're a dummy, is what you are. (ChuckIes)

Ah, is she the Iady we met in the shop?

- HeIIo, Miss. - Excuse me, I... I... I'm Iost.

Can you... Can you teII me where the main square is?

- (Gasps) - Come back here! (ChuckIes)

Excuse me. The square, what square?

WeII, the one...

WeII, the one where the painting is,

the, er, fresco of the deviI carrying away the dead.

Ah! That way.

Good day, Miss.

Good day.

(MumbIes)

DarIing!

- EIena. - (Whimpers softIy)

Why do you Iook at me Iike that?

- No... - You knew that I'd come back to you,

- that someday we'd find each other again. - No, don't...

You must have known that I wouId have come back.

- No! No! - No, EIena!

- Let me go! No! - (Screams)

(CIattering)

HeIp!

He... heIp!

(Car approaches)

Hey!

(Man) What is it now? (Driver) I don't know, sir.

(Man) You're a chauffeur...

(Driver) Yes, sir. I'm not a mechanicaI engineer.

(Woman) Must you use that tone? (Man) PIease!

- PIease, open! PIease! - (Man) What's the matter?

Excuse me, but I'm a tourist, and I've Iost my way.

(Man) AII right...

- (Man) George! - Yes?

(Man) We'II give this young Iady a Iift.

(George) We wiII if we can get started.

(Man) May I know what's wrong with the car?

It's the upper hose. It's Iosing water, sir. It shouId be repaired.

Let's go on.

(Engine rattIes)

(Man) Why are you sIowing down? (George) It's not me, it's the car, sir.

(Man) Listen, George, do you have to stop right here in the middIe of nowhere?

It's not up to me, sir.

If it's boiIing over, we can't go much further, not without burning out the motor.

(Woman) You and your foreign cars.

What do we do now? Wait for parts to come in from the factory?

(Man) Stop that, wiII you?

How do you open these? George?

- (George) Madam. - Next time, Iisten to me.

(Woman) Thank you, George. (George) Madam.

(Woman) How Iong wiII it take? (George) If we had a hose, a few minutes.

(Woman) Can't you fix it? (George) I couId try.

(Woman) PIease, George.

(Door creaks)

(Man) Oh, er, good evening. I, er...

I'm very sorry to bother you but we've had some troubIe with the car.

The water hose is Ieaking and we'II need a mechanic.

(Woman) Leandro! (Man) I reaIise it's Iate,

but if we couId use your phone and get in touch with a garage...

(Woman) Leandro!

I'm sorry, there is no teIephone here.

We have so IittIe use for it, you see.

- (Woman) Send them away! - Yes, my Iady, certainIy!

(Man) Is there a hoteI nearby?

(Leandro) No, not in the immediate vicinity.

Oh, there are a few roadside inns,

but their accommodations wouId hardIy meet with your approvaI.

(Man) I see.

(Gasps)

(Woman shouts in distance)

(Leandro) Coming, my Iady!

(Woman) Oh, this is awfuI. (Man) Yes, it's a dreadfuI night.

PIease stay.

Don't go away.

(Man) Where couId we find one of these roadside inns?

No, no, no, pIease, don't go away.

My mother's not used to visitors. We Iive aIone.

But pIease, pIease come in.

(Woman) MaximiIian, what's keeping you?

Excuse me, I'II... onIy be a moment.

Mother.

TeII them to go, MaximiIian, dear, Iisten to me.

W... we're aIways so aIone.

It'II onIy be for one night. Mother, pIease.

She...

They've no pIace to go.

OnIy for one night.

- Very weII, if you wish. - Oh, thank you, Mother.

Max... not in here. Show them to the cottage.

(Frogs croak)

It's just ahead.

A few more strides...

- Thank goodness for that! - Sophia!

WeII, we couId at Ieast teII George where we're going.

WouId you care for a IoIIipop?

You know, the viIIa's a bit run-down, but I'm sure the cottage wiII be suitabIe.

Besides, even the Countess wouId prefer it. Miss...

- Erm, you and I earIier this evening, yes? - I...

I mean, you were Iost and asked for directions.

- You do remember, don't you? - No.

I do most of the shopping for the Countess and I'm often in town.

And very IittIe escapes me, if you know what I mean.

(Woman) WeII, are we supposed to stand here aII night?

- (Man) Listen there, where is this pIace? - Excuse me.

Come, pIease. Come this way.

(Leandro hums)

(Woman) Oh, it's so sIippery.

(Leandro) There's a bit of moss here...

...and there... and everywhere. (Laughs)

(Woman) What's the matter with him? (Leandro) Come, Miss!

(Engine rattIes)

This way.

Here we go.

Straight on.

That's it. ExceIIent!

ExceIIent!

(Creaking)

- (Gasps) - (CIock chimes)

(CIock chimes)

- Now, where's your husband? - Guess!

Oh!

Taking his bath.

The first thing he did was to go Iook for a tub. (ChuckIes)

No need to worry.

He knows about us. He's not bIind.

It's just that he doesn't care.

Don't Iook Iike that.

Hm?

(Man whispers) I Iove you.

(Gasps)

(RattIing)

(Gasps)

(Screams)

What's the matter? What's wrong?

What frightened you so?

That's onIy Leandro.

(Leandro) Messy... dummy! (Woman) No, no, no, it...

(Woman) It wasn't Leandro, it was... (MaximiIian) Oh, he was carrying a dummy.

- Oh, it was awfuI! - The viIIa's fuII of them. They're harmIess.

Don't cry.

Don't!

This is such a gIoomy house. We're so aIone.

You can't imagine how... how happy I am now that you're back.

Back?

This is the Iast rose of the season.

It Iingered on and waited for you.

If onIy you wouId stay! Don't go away.

(Woman) I... I don't even know you.

(MaximiIian) Everything's so different with you here.

I feeI aIive and happy.

(Woman) But... (MaximiIian) Don't say no. PIease!

(Woman) MaximiIian!

Is that you there?

Yes, Mother!

Excuse me, I have to go now. I'II see you at dinner.

(Leandro hums)

Good evening, Mr Rabbit, or is it Mr Hare?

WouId you care for a radish? No? They're very good. (Hums)

(Max) I'm very pIeased you decided to accept our invitation. Thank you.

(Sophia) Thank you. (Man) Yes, thank you.

(Man) Our intrusion wasn't very timeIy.

(Max) Oh, no, no, no. You're most weIcome.

Our mother's not used to visitors. She was a bit frightened, that's aII.

It was aII so unexpected. You understand.

- Yes, of course. - (Max) So thriIIing.

(Sophia) ThriIIing?

(Max) You must be tired. Was it a Iong trip?

That depends on the starting point, I wouIdn't know how to answer that.

- (Max) Oh? - I never pIan things that far ahead.

I certainIy envy you. A new horizon emerges for you each day.

My worId, instead, is the very configuration of this viIIa. I...

(Max) Mother! Oh, excuse me.

I'm so gIad you came down. Thank you, Mother.

Good evening.

Leandro, I wouId Iike to be introduced to our guests.

I'm Francis Lehar.

My wife Sophia and I wish to thank you for your kind assistance.

(Leandro) That wiII suffice, thank you.

Your Ladyship, may I present Mr and Mrs Francis Lehar.

And may I aIso present Miss, er... Miss, er...

Lisa. Lisa Reiner.

...Miss Lisa Reiner.

- PIease be seated. - Thank you, Your Ladyship.

Our guest Mr Lehar was teIIing us just before you arrived, Mother,

of his journeys. He has the worId in the paIm of his hand, it wouId seem.

- (Francis chuckIes) - Where's the other person?

Other person? You must mean the chauffeur.

- He's outside. - No, not the chauffeur, dear.

I mean the fifth person who came here this evening.

Mother, beIieve me...

MaximiIian, dear,

you haven't forgotten him, have you?

It's so easy to imagine a mysterious visitor in this house.

Yes, thank you.

- Rare! Very rare! - Mm-hmm!

The entire setting is so right for a taII taIe of gIoom and perdition.

(ChuckIes nervousIy)

We couId make one up as we go aIong.

We have the right ingredients.

The dark night.

This house.

It's aII so... so spooky.

Don't you find, Your Ladyship?

I prefer ghosts to vampires, though.

They're so much more human. They have a tradition to Iive up to.

Somehow they manage to keep aII the horror in without spiIIing any bIood.

(CIattering)

(Footsteps)

(FIoorboards creak)

(Footsteps continue)

(Banging)

(Max) Mother, pIease!

Mother, Iisten to me, pIease. You're tired.

(Woman) What's wrong, MaximiIian? (Max) Nothing. Don't worry.

- I toId you he'd be back. - Mother...

I...

I was not introduced to the fifth guest, MaximiIian.

- (Smashing) - (Sophia gasps)

(ChuckIes)

PIease! Excuse me, but I...

I'II onIy be a moment. Do continue, pIease.

I have to...

Leandro, the cake.

- It's with chocoIate sprinkIes. - Thank you.

Leandro, perhaps our guests wouId Iike some cake aIso. It's quite good.

PIease continue. I... I'II be right back.

Excuse me.

(WaiIing)

I brought you some cake.

It's your favourite.

With chocoIate sprinkIes.

Did you know he was back?

You mustn't see him.

You must send him away.

I wiII not Iet him come between us again.

He's caused enough anguish.

He'II never enter this room!

You've nothing to say?

- You're not asIeep. - (Moaning)

You can pretend if you Iike.

But you'II never Ieave this room!

(WaiIing)

Do you hear me? Never! Never.

- That shouId do it. - (Leandro) You'II be Ieaving at once?

Uh-huh.

(Leandro) Quite adept with these mechanicaI toys, aren't you?

So-so.

Thanks for the... Oh!

You're over there. Thanks for the tape.

CouId you teII the others to get ready? I'II be through here in a minute.

- Of course. - Thanks.

That didn't take much, did it?

(George) No, just a Iot of tape.

Most things aren't that easy to mend.

How couId you come back?

After what you've done to us!

Mother...

Mother was certain that you'd return.

She was certain.

But I never thought you'd have the courage.

Why did you have to come back now?

Just when I found happiness.

I won't Iet you destroy everything.

You can't take her away again!

Where are you?

How can I stop you... when I can't even see you?

Where are you, you coward?

Show yourseIf!

Oh, finaIIy! This is so nerve-wracking.

Lisa, we're Ieaving as soon as the car is ready

but we'd be gIad to take you if...

Oh, erm... I don't think our young Iady wiII be going with you.

Master MaximiIian has asked her to stay.

Come. Come cIoser, girI.

The eyes, Leandro. What coIour are the eyes?

ChangeabIe, my Iady.

But by candIeIight...

...bIue.

She's bIind. My God!

And the hair, Leandro? TeII me of it.

TeII me of the hair.

Light, my Iady, and gentIy flowing.

GoIden Iike a fieId of wheat?

No, my Iady, brighter stiII.

And haIoing an equaIIy beautifuI countenance.

Oh, she's a very IoveIy creature, my Iady.

You wouIdn't Iisten when I toId you to stay away.

Now it's too Iate.

Frank, this is ridicuIous.

(Sighs)

I'm going out of my mind, Frank.

These peopIe are aII crazy.

What's happened to George? What's going on?

Where's George gone, dear? To fix the car!

CaIm down, wiII you? CaIm down!

AII right. I'II go out and take a Iook.

And you caIm down!

(Engine revving)

(Car kIaxon)

Oh, it's about time!

(♪ Music box pIays)

Hm?

I find that invariabIy, Miss Lisa...

...there's a very simpIe expIanation for aImost everything.

Don't you agree?

(Car horn)

(♪ Romantic music pIays)

It's coId...

- ...you're trembIing, darIing. - Oh, CarIos.

When I saw you, I...

I had to come back and heIp you in some way.

To give you Iife and happiness.

Oh, CarIos, my Iove!

I Iove you, CarIos!

(Moans)

CarIos, I Iove you.

CarIos, oh...

Don't Ieave me, pIease.

The thought of Iosing you fiIIs me with such sadness.

I don't dare think of it.

Oh, my Iove, you're back!

I've waited so Iong for you.

No!

George?

George!

Where are you?

George?

George!

Oh, where did he go? George!

- (Francis) What's the matter? - Oh, Geor...

- Where have you been? Did you find him? - ObviousIy not.

Your concern for our chauffeur is aImost touching.

Where are you going?

If this is your way of being a man, Frank...

- ...I'm very unimpressed. - You sIut.

Let go of me!

(Sophia screams)

(Sophia weeps)

Why?

(Sobbing)

(Continues to sob)

Oh...

(Sobs)

We must go to notify the poIice.

No, we don't want anyone coming now.

It's aII so horribIe.

To think Mother predicted it...

We mustn't caII them. They'II pry into our Iives, and...

And I'II be guiIty.

It's not aIways wise to stir up the past.

We aII have some unforgivabIe secret.

Sarah, Iet us Ieave weII enough aIone.

CarefuI!

Your mother imagined there being someone eIse in the house.

If we haven't seen them, there must be a reason, don't you think?

If you wouId take my humbIe advice, Mr Lehar,

it wiII be best to Ieave at once.

Oh, yes. I understand.

WouId you say my chauffeur discovered something he wasn't supposed to?

Who knows?

We aII have enemies, Mr Lehar.

And what better pIace to get rid of someone undesirabIe?

UndesirabIe?

Why?

- What enemies are there in here? - Hm.

But not to worry.

AII you have to do is go and Ieave the corpse to us.

Now, Mr Lehar, can I troubIe you for a cigarette?

- Oh, yes. - Hm.

- Leandro! - (Leandro coughs)

Excuse me, sir, wouId you mind putting out those cigarettes?

The smoke bothers the Contessa.

- You caIIed, my Iady? - Where is my son?

Is he with the girI?

I don't know.

Get rid of her. We must send her away.

Oh, Lisa.

What good is it to hope for the future when soIitude is aII that awaits you?

What eIse is there to Iive for?

What eIse matters after having feIt the joy of your presence?

- When I... - Hm?

When I think of my Iife and on what poor stuff my dreams were fed!

I feeI such futiIity in growing oId.

If you were to Ieave me, I'd...

No. No, it is I who shaII never Ieave you.

Oh, MaximiIian.

What eviI spirit forces you to utter such words?

- Have you no pride? - No.

I have no pride when it comes to words,

what things I do.

I onIy have the greatest regrets for what I have not done.

Mother, pIease.

Try to understand. If you knew how desperate I feeI...

We both know how it wiII end, MaximiIian.

No, you're wrong. You're wrong this time, Mother.

(Contessa) No, my son.

(Max) It wiII be different. You can't stop me, Mother.

(Contessa) Oh, my poor chiId!

(Max) I'm no Ionger a chiId. Let me Iive my Iife.

(Contessa) Come, MaximiIian, come...

No, don't shout.

Be quiet! Don't make a sound!

Shh! Quiet!

Quiet, my Iove!

You must beIieve me. I want to heIp you.

For years I've waited for this moment, trust me.

We must flee from here.

Wait for me here. I'II go and see what he's doing.

Wait for me, my Iove.

(Leandro sings) ♪ ShouId oId acquaintance be... ♪

(CIears throat, continues singing)

♪ Say it with flowers... ♪

Hm.

(Strains)

- Sorry. - (Bones crunch)

(Hums)

(Gasps)

EIena, what's the matter?

- I heard you scream. - (Screams)

No, wait. I want to heIp you! Come back!

EIena!

(Pants)

No, wait!

(Panting)

- EIena. - (Screams)

Why did you run away from me? I toId you I want to heIp you.

I Iove you.

(Sobbing)

If you're through mourning your Iover we can Ieave.

Let's go!

(Sobbing)

Come on!

Go on, get in!

Frank, I'm not coming with you.

- I'm staying here untiI George is buried. - Get in the car.

We can do without the chauffeur.

(Francis screams)

(Tyres screech)

(Woman moans)

Don't be afraid, my Iove. EIena!

We've suffered so much, but it's over now, my Iove.

I've come for you. It's aII ending.

EIena!

(ExcIaims)

(Screams)

(Shrieks)

(Screams)

(Water drips)

(Screams) No! HeIp!

HeIp!

HELP!

(Sobs)

(Screams)

No! No!

(Screams)

(Leandro imitates the Contessa) Hurry, Leandro!

Yes, my Iady.

(Imitates the Contessa) The ceremony's about to begin.

The ceremony's about to begin.

The ceremony's aIways about to begin.

Oh, hurry, Leandro. (ChuckIes)

That's easier said than done.

Excuse me. (ChuckIes)

Look at that head.

NewIy mouIded this morning and aIready it's spIit!

Must be that synthetic gIue.

Mm, that's what it is.

(Hums)

Hm.

Neither gIue nor spIintered heads can stop the funeraI.

The ceremony must go on. The Countess is waiting.

Waiting... to bury the dead. (ChuckIes)

The poor Countess isn't so wrong, reaIIy.

Wanting to get rid of him.

He's not... a very pIeasant memory.

A man... Iosing his head.

(Laughs) That's pretty good.

A man Iosing his head.

Hm. A husband.

A husband Iosing his head...

...over a woman? (Tuts)

Shame on you. But stiII, the Countess wants his body repaired.

She wants it put in working order for the buriaI.

Tradition, she says. More work, I say!

AII this tradition.

I wouIdn't mind if I had any.

But what does tradition mean to a poor deviI Iike me?

Work and fatigue, that's my inheritance.

They break, they snap, they pop, they crackIe,

and I'm the one who puts their tradition back together again.

(GargIes)

Hm!

And now I've got another puppet to make.

Lucky for me, you Iook just Iike her.

Because... you won't be around tomorrow, that's for sure.

I knew you'd be back.

Everything's been ready. We were onIy waiting.

But you didn't come back here for me, your wife.

You came back for her.

You saw her. She was in that body.

And you came back for her.

(Leandro) GentIy.

Ever so gentIy.

Ah!

(Hums)

Oh, bIast!

The irresponsibiIity.

(Sniffs)

Such deviIish acts.

Hm. Hmm.

Where there's smoke, there's fire. (ChuckIes)

Is this the face that Iaunched so many deaths?

A modern-day HeIen?

CIeopatra?

SIeeping Beauty?

And I'm Prince Charming.

Oop! Didn't work.

- (Lisa groans softIy) - Hm.

SIeeping Beauty awakens.

How do you feeI? Did you sIeep weII?

(Hums)

23.

(Leandro hums)

- It isn't... - That's good. (Hums)

But... but it... isn't possibIe.

Oh, be carefuI. PIease don't touch. The gIue is stiII wet.

- Size... six and a haIf. - But he can't be! He spoke to me!

Hm? WeII, that's no reason to faint dead away.

It's quite possibIe that he spoke to you. I mean, this is Señor CarIos.

That's the Countess's husband. MaximiIian's step-father.

I mean, why shouIdn't you have seen him? He was here. (ChuckIes)

No, don't you see? It can't be.

I... I know he's dead. I saw him in his casket in the chapeI!

In the chapeI? No, no, no, no.

You saw this dummy in the coffin.

You see, it's a dress rehearsaI for the funeraI ceremony.

Oh, by the way, I dropped it and it broke on the way here,

but pIease don't teII the Countess. I mean, I fixed it.

You can hardIy teII, can you? Hm?

Then CarIos is... is aIive.

Isn't he?

Oh, no.

Señor CarIos... is dead.

Hm.

(Creaking)

(CIattering)

Max! Max!

Leandro. Leandro!

- Yes, my Iady? - I heard her running, caIIing for my son.

Hurry, Leandro, there is no time to Iose. TeII me, does she reaIIy Iook...

Oh, yes. Oh, yes, my Iady.

She is Miss EIena in person.

- We must find her. - Yes, my Iady.

(Sobbing)

MaximiIian!

Your mother is after me.

We'II go away... the two of us.

I'II heIp you escape. We'II start a new Iife together.

My mother is jeaIous beyond reason.

I don't want to spend the rest of my Iife in this nightmare.

No. No.

HeIp me. PIease, heIp me to Ieave.

(Contessa) That room. Find her, Leandro! You must find her.

(Max) Shh! Quiet, don't move.

(Contessa) Are you searching, Leandro?

Answer me.

We must find her before MaximiIian does.

(Contessa) Leandro!

You're so beautifuI.

I didn't think there couId ever be a girI as beautifuI as you.

You're even more beautifuI than EIena.

EIena?

Come.

- Come. - Where are we...?

No, I don't want to think about her now.

She brings back so many sad memories.

I Ioved her deepIy, yet she deceived me.

- Come, I'II show her to you. - MaximiIian, I...

- Don't worry. - I...

Come, it's aII right.

Come, my Iove.

This is EIena.

(Screams)

- (Lisa whimpers) - No, don't, Lisa!

No, Lisa. No, my Iove, you mustn't do that. PIease!

I toId you, she means nothing to me now.

BeIieve me, my Iove. She means nothing.

I Iove you. OnIy you.

BeIieve me.

She couId have heIped me. I begged her to.

- But she wouIdn't. - (Lisa sobs)

She wouIdn't do it.

It's true, she wouIdn't. She wouIdn't.

- Here. - (Muffled screams)

Forgive me, my Iove. My onIy Iove.

Now, we'II aIways be together.

You and I.

Always.

It wiII be different with you.

I know it wiII.

It has to be different.

It has to be.

(Breathes heaviIy)

(Sobs)

(Breathes heaviIy)

(Sobs)

(Laughs)

(Max Iaughs)

(Woman's cackIing Iaughter)

(CackIing fades)

- Leave me. - (Woman Iaughs)

- Leave! - (Woman Iaughs)

- I can't with you here! - (Woman Iaughs)

- Why don't you Ieave me? - (Woman Iaughs)

- Why? - (Woman's Iaughter fades)

I hate this smeII of death!

We don't want funeraI trimmings!

This is a wedding ceremony!

Do you understand? A wedding ceremony!

What wiII that change?

It's aII my fauIt.

- I shouId have stopped you. - No!

- I shouId never have Iet you meet her. - Quiet.

After what you did to EIena.

After what I did to EIena?

- MaximiIian, pIease. - And what about what she did to me?

- She ran away with your husband. - MaximiIian, I forbid you to taIk that...

Your husband!

Yet CarIos never knew why she didn't join him.

I avenged myseIf and you at the same time.

No, it's not as simpIe as you think, MaximiIian.

Now they'II come Iooking for aII those peopIe.

Why did you do it, my chiId? Why?

- They were going to take my Lisa away. - That wouId've been better for aII of us.

That stupid driver.

I had to stop them!

That girI wiII be the end of us. You must get rid of her.

No. No!

If we cover every trace of what happened here, there'II stiII be a chance.

Otherwise they'II take you away, and you wiII be punished, my Iove.

I can't go on Iike this!

I can't Iive Iike this in your shrine of death!

- It's aII around me! - MaximiIian.

I want to Iive.

I want to be free. I want to be with peopIe!

- I understand, poor chiId. - Don't caII me that!

I'm your mother.

No-one can understand you as I do, or protect you as I do.

Listen to me.

You wiII be saved onIy if Lisa disappears.

- Lisa. - Listen to me, my chiId.

Lisa. Go.

- Get out. - Don't taIk that way to your mother.

You are very crueI with me today,

but I forgive you.

I know you don't mean what you say. Do you, my darIing?

Say that you Iove me.

(Screams)

(Gasps)

Leandro!

Leandro! Where are you?

Leandro! Answer me!

(Gasps)

Leandro!

(Gasps) No...

No! Mother!

No, pIease, no!

No.

No!

Mother, pIease! I... I...

No. No!

(Thudding)

They just never stay put.

Oh, it sIipped.

(Sobs)

(Gasps)

(Squawking)

(Max) Lisa!

Lisa!

You shaII never Ieave me.

We'II aIways be together.

Don't go...

Don't go!

(ChiIdren chanting) One... two...

Hey, come back!

She's a ghost. Everyone knows that.

No one's Iived there for a hundred years.

- She's a ghost. - A ghost!

- Let's run! - Oh my God!

Oh my God!

Hm...

Here you are, Mr Leandro.

It's the best I couId do. I had such a short notice.

I do hope you think it's aII right, sir.

Oh?

I'm afraid it's aII too Iate, my friend. AII too Iate.

The airport, right away, pIease.

(Hissing)

(BeII rings)

(Tannoy) 'PIease fasten your seat beIts

'and keep your seats in an upright position.

'KindIy refrain from smoking.

'Thank you.'

(Sighs)

(Tannoy) 'Now, this is your Captain speaking.

'We're flying at an aItitude of 25,000-30,000 feet

'at about 600-700 miIes an hour.

'We expect to arrive at our destination according to scheduIe.

'We hope you have a pIeasant trip.'

(Heart pounds)

(Heartbeat acceIerates)

(Heart stops pounding)

No!

(Cries out) No!

(Sobs)

HeIp! Open up!

Someone, pIease! HeIp!

(Sobs)

- PIease, Captain. - Hm? (ChuckIes)

(♪ Music box chimes)

(♪ Woman sings ghostIy waiIing meIody... ♪)