Original subtitles

(ethereal music)

Downloaded from YTS.MX

Official YIFY movies site: YTS.MX

(rock and roll music)

I Wrapped up in this world of anger ♪

I There's no second chance out here I

♪ Na“ fight your eyes now honey 3

I 'Cause I know just what you fear I

♪ Well I've seen it all before I

♪ And it all comes back to me I

I Well I see your face now honey I

♪ And I know just where you've been a“

♪ With someone someone I

I Well there's someone just like you I

— Wait for me here, I'll be right back. — [Driver] Okay.

I Oh I need someone to take away the blue I

I Someone well there's someone just like you I

I Oh I need someone to take away the blue I

(dramatic music)

George.

George, where are you?

(dramatic music)

Come out.

You can't hide in there any longer.

I know you are the murderer.

I know you did it.

George.

George?

(dramatic music)

— [George] I'll kill you.

Cut.

Okay print this one.

Next set up.

— You okay, honey? — Just fine.

I'm through for the day, right?

— Yeah, you can go. — Okay.

I saw Marc in the corner over there.

So don't keep him waiting, the way you do to me all the time.

[Anne] Thanks Carl, I won't.

— [Carl] Bye.

— [Anne] So long you guys, see you tomorrow.

— [Carl] Is Nora around, Nora?

— Here I am.

— [Carl] Let's walk this next shot through

once or twice, just technically right.

— [Nora] Yeah Carl, I could use it.

This is the staircase shot, huh?

— No that's coming up.

This is just your entrance.

A slow walk past the camera, okay?

— Got it.

— Okay camera. — Quiet on the set.

— [Carl] Speed.

— [Loader] The Black Cat 1A, take one.

— [Carl] Action.

— [Anne] The very first shot this morning,

I was really getting into it, and he jumps up screams for makeup.

There wasn't enough ketchup on my face.

Can you believe that jerk?

— [Marc] Having a spot of trouble with your director, huh?

— [Anne] That man is no director, he's a butcher.

All he wants is blood, blood, and more blood,

And now and then a gut.

— [Marc] He happens to be one of the top grossing directors in the business.

— [Anne] Gross is right.

— [Marc] You actors always complain about your directors, it's like breathing.

— [Anne] Not true, I love working with you, for example.

— [Marc] I think the fact that we're married has something to do with what you're saying.

— [Anne] Not only married but to each other, identify.

— [Marc] George Burns, 1943.

— [Anne] You're infuriating. You know damn well it was Gracie Allen.

— Feminist. — Pig.

— Did you see who got in that car down there?

That's Marc Ravenna.

I did a film with him last year.

He's a fantastic director.

— You say that about every director dumb enough to cast you.

— [Anne] How's the work coming, darling?

— Fine, Dan and I have almost finished the storyline.

— Great, I'm dying to read it.

— Nobody reads it till I have a producer.

— Oh you're so superstitious.

— It's still no.

— [Anne] Who are you going to show it to?

— My agent is working on it.

He's got some nibbles already.

The big problem with producers is

getting them excited with each new picture.

— Well, that's not your end of the business anyway.

Just concentrate on saying things

in a way no one's ever thought of before.

— Jesus honey it's... it's a jungle out there.

If you don't blow your own horn every time,

you end up directing, I don't know, game shows.

Look darling, you know as well as I do.

If I make one single flop I'm out on my can.

— [Anne] I don't think there's much likelihood of that.

More than one critic has called you a genius.

— [Marc] Yeah, and more than one producer

has called me king of the spaghetti thrillers, wonderful.

Well, maybe that's enough business chit—chat for one day.

I'm bushed, I think we can both use some shut eye.

— [Anne] I know I could, today was really rough.

— [Marc] Well, say good night Gracie.

— [Anne] Sara?

Sara, we're home.

— Strange, maybe she's out.

— Come on, with the baby to take care of?

She must be in the kitchen, the light's on.

I'll go see.

(upbeat music)

— Sorry Ma'am, I didn't hear you.

— I'm sorry, I didn't mean to scare you.

How's my baby?

— He's fine, he's through eating.

— I'll take him, Sara.

(baby fussing)

There.

Did he sleep well?

— Like an angel.

How was work today, Ma'am?

— More of the same, this director's a fool.

— There aren't many as good as your husband.

Oh by the way.

— Yes?

— Well, I have a cousin who's a big fan,

a super fan actually of your husband.

And well, he'd really like to meet him.

— Sure Sara, no problem.

You can tell him to come over, what's his name?

— William, he's seen every picture of Mr. Ravenna's at least 10 times.

- All right.

I think my husband would be delighted to meet him.

I She's looking better than the dirty city I

I She's looking at everybody in the eye I

I Everybody looks away from you in New York City I

— Hi. — How'd it go?

— It went okay.

There were no problems.

Baby, why don't you come to bed now, it's getting late.

— I'm just putting the finishing touches on the storyline I worked out.

It goes to Marc's agent day after tomorrow.

— [Nora] There better be a nice juicy part in it for me.

— There's only one female role, very tough, very strong.

But I guess Marc's set on having Anne do it.

— As usual, you just don't push hard enough for me.

— Marc is the director, he does the casting.

I'm just a writer, I have no say in it.

— Oh, so I have your permission to...

put it to him?

(crickets chirping)

(Anne humming)

(music box lullaby)

— [Levana] Sleep little darling.

Sleep and dream while you can.

There's little time left now until the end of all things.

Death is drawing near, very near.

(dramatic music)

— To our next movie.

— To you and the movie.

— To us and the movie.

— Now tell us, no more secrets.

— Of course we can talk about it now.

Dan, would you do the honors?

— Well just for openers,

today the agent found us a producer.

— Really, who is it?

— None other than the great Leonard Levin.

— I thought Leonard Levin was dead. — Dead?

He made so much money in his days of glory.

— In the '605 Nora, before you were born.

— Thank you, darling.

Max, the agent, heard he was shopping

for a project that would put him back on top.

— And so—...

— It's not 100% sure yet, we still have to meet him.

— But, he loved our story. — True.

— They used to call him the producer with the golden touch.

— Well, if he produces it,

that puts you right up there with the big boys.

— Isn't that right? — You bet.

And all thanks to...

Levana.

(dramatic music)

— Who's Levana?

— She's the main character in our story,

and the key to our future.

— Oh I get it, the big secret.

— Now tell us, we won't breathe a word.

- All right.

— Dan, you mind? — Okay.

We got the idea for the movie from a book by Baudelaire.

— The poet of the damned?

— The book's called "Suspiria de Profundis,"

and it's about Levana.

The third mother.

La Mater Lacrimarum.

— Sounds like a flower.

— It's Latin, mother of tears.

— The title rings a bell.

Didn't someone already make this movie?

— As a matter of fact, yes.

It was a big hit when it came out,

reviews, box office, everything.

— Dario Argento directed it.

"Suspiria."

And I must admit it was very very good.

— So why make it again?

— We're not, we're not.

There's enough material in "Suspiria de Profundis"

for 10 movies, 20, and our story is called—...

— De Profundis.

— Don't tell me, it's Latin again?

— Right, out of the depths.

The goddesses of pain are three.

The first two we don't care about, they've been done.

But the third goddess is Levana,

the terrible mother.

She is the evil character in our film.

The drama is repeated inexorably every 24 hours.

As she takes her rest, the elemental forces of evil

gather within her, to bring her to the point of wakefulness.

She moves, she stirs, she seems to feel

the rush of life along her keel.

She senses, she gropes, first with her mind

and her instinct, then with her eyes.

Then she reaches out her hand.

— Then at last she arises from the ice of her bed

to walk the world of men as a living shadow.

— She rules a vast kingdom

from under the triple veil of crépe that covers her face.

She's the mother of madness, the councillor of suicide,

the slash of the dagger, the breath of the dragon.

— The tomb is sacred to her.

She deems holy all that rots and stinks.

She is the life of darkness, with fire in her eye,

fire that makes visible things that shouldn't be seen.

— And she's not content to rend your body asunder.

No, she won't rest

until she's tortured your heart beyond the brink of madness.

— And made us all filthy rich.

— Yeah, you got it, that's Levana.

Soon to be the hairiest, scariest horror film

in the whole history of cinema.

— And I'm supposed to play Levana?

— Yeah, of course.

— Why do you ask? — I don't know.

My fans might not like me playing such a bitch.

— You've played lunatics, murderers before, and they loved you.

How could they help but love you?

— I just have a strange feeling.

All right here's the thing.

You didn't say a word about casting me for the part

until we talked about it with Dan and Nora.

— Are you kidding me?

I wrote it for you.

I tailor made it for you.

— You're not just saying that because we're married?

— Gracie,

you're my Levana.

You are my queen of the witches and evil.

Might I add that

you're also the queen of my heart.

Are you happy now?

— When can I read it?

— First thing tomorrow morning.

— Oh no, now.

— Oh come on, it's downstairs in my study, I'm tired.

— I'll go, where is it?

— It's in my desk in the red folder,

third drawer, left hand side.

God, why did I marry an actress?

(dramatic music)

(grunts)

— That hurts.

— That's nothing compared to what you'll get if I don't do that lead for Marc.

— I don't doubt it.

I bet you'd kill for a part like that,

wouldn't you?

— Maybe.

(crickets chirping)

(suspenseful music)

— In my dreams I often see Levana,

the eldest of the three mistresses of darkness.

Levana is the one who confounds day with night,

and her face is always hidden by a veil of crépe,

wound three times around her head.

(suspenseful music)

A veil of crépe.

(suspenseful music)

Let's see how this works.

Now, I will become Levana.

(dramatic rock music)

— You can never be me.

You'll never be Levana the witch, never never.

You will never show my face on the screen.

You'll die in agony first.

(dramatic rock music)

(suspenseful music)

— [Marc] Go on, take a little sip.

It's good for you.

That's my girl, now a little more, come on.

Feeling a little better now?

What happened?

Why did you start screaming?

— I don't know.

Where was I when you found me?

— Right there, on the floor by the mirror.

— What about Levana?

— Levana?

You mean my story?

Oh, it's on my desk.

What happened anyway?

— The green slime, the blood, it's gone.

— The what?

— Help me. — Oh no, you need to rest.

— No, I need to find out what happened.

— Listen. — Please.

— Where are you going? — To the mirror.

— [Marc] What are you looking for?

What's wrong with the mirror?

— I don't know, I must have dreamed it.

— Dreamed what?

— This mirror, this mirror broke into a million pieces.

— Oh the mirror broke. — It broke in my dream.

God, what a nightmare.

I must really be overtired,

because in my dream, Levana broke it.

It was so real Marc.

She broke the mirror and dragged me to the ground.

I screamed, I guess I fainted.

It seemed so real, I—...

— It was real darling, it was a real nightmare.

But now everything is fine, you can see for yourself.

Look, you're just stressed out.

— Yeah.

— Let's get some sleep now.

We've both got early calls tomorrow.

(dramatic music)

(wind blowing)

(electricity crackles)

— [Levana] Anne, Anne.

Wake up.

This is Levana calling you.

— Marc, wake up, someone's in the house.

Marc.

— [Levana] Can't wake up.

Come downstairs, Anne.

We have things to talk about, you and I.

(evil laughter)

(suspenseful music)

(dramatic music)

I'm not there, Anne.

I'm not in the mirror anymore, I'm close by.

(dramatic music)

— [Sybil] Anne.

(music box plays)

— Where are you, where did you go?

— [Sybil] I'm here, in the mirror.

(music box plays)

Come.

Touch me.

Please?

That's it.

(evil laughing)

(dramatic rock music)

(wind howling)

(crickets chirping)

(electricity crackling)

(dramatic music)

— Hey there, it's only me.

What's wrong with the fridge, huh?

— I don't know, I pulled the plug out.

Must be a short in the wiring somewhere.

It's a good thing you woke up.

This could have burned down the whole house.

— All we can do is have Sara call the repairman first thing in the morning.

— Yeah, we sure can't live without a fridge.

Well, I think we should have another stab at sleeping.

(crickets chirping) (dog barking)

(suspenseful music)

Look, Anne had two nightmares in a row,

and they were both brought on by our Levana story.

— That's great.

It proves our story's a winner.

It knocked our leading lady right out of her mind, man.

What more do you want?

— It's not funny, Dan.

She had a terrible night.

— I understand, and I'm sorry.

But I still say it's a case of her identifying herself so strongly with the character.

Stanislavski and all that crap.

— Our story idea is only four pages long.

It's not like she read a script or anything.

— Come on, our story and

the picture she's shooting now just

got mixed up in her subconscious.

— What does The Black Cat have to do with Levana the Witch?

— As a matter of fact,

in the story The Black Cat by Edgar Allan Poe,

he wrote the following:

"My wife, who at heart was not a little tinctured with superstition,

made frequent allusions to the ancient popular belief

which regarded a“ black cats as witches in disguise."

See what I mean?

— Black cats as witches in disguise?

— Yeah. — I can see the connection.

And with those two stories coming right on top of each other like that in her mind...

— [Dan] You got it.

— Look!

That's Levin's house.

— [Dan] The future producer of Levana.

— [Marc] Cross your fingers.

— [Dan] Toes, eyes, everything.

— [Marc] Okay, here we go.

— [Dan] Straighten your tie.

— I'm not wearing one.

(suspenseful music)

— Good morning. — Good morning.

— Good morning gentlemen, come in.

Mr. Levin is expecting you.

If you'll just follow me this way, please.

(suspenseful music)

— [Marc] Good morning, sir.

— No need to be so formal.

My friends call me Leonard.

— This is Dan Grudzinski, we wrote the story together.

— You did a damn fine job.

Know what I like?

I like it that you told your whole story in four pages.

You see this pile of crap here?

Hundreds of pages of nothing but bull and hot air.

Now you boys cut right through to the meat.

You didn't waste my time.

And in this business, time is money.

(camera motor buzzes)

(switch clicking)

Sit down!

I can handle it myself.

Nadine, why are you standing there, come push this thing!

Push!

Gentlemen, follow me.

Push, damn it!

Let's go talk this over.

I need two or three days of meetings with you and various other people,

before I decide whether or not I'll produce Levana.

(crickets chirping)

— Same time tomorrow, Ma'am?

— That's right Oscar, thank you. — Pleasure.

— Good night. — Good night, Ma'am.

— Sara?

Bills, bills, bills.

How come no one ever sends money?

(crickets chirping)

— [Repairman] Afternoon Ma'am.

— I'm glad you're here.

What's the problem?

— The freezing element shorted, and some acid leaked out.

That's what made all the smoke.

— Oh I see.

Where's the girl who let you in?

— She took the baby upstairs.

Would you mind signing here, please?

Here's your copy.

— Okay, are you sure it's working now?

— Oh yes, of course, the work is guaranteed.

— [Anne] Oh, that's great.

Do you need me down here anymore then?

— No, I'm through, I can find my way out.

— Thanks a lot. — Anytime.

(suspenseful music)

— Who are you? — I'm William.

You are just like in the movies.

I'm Sara's cousin.

— Oh yes, Sara told me you were coming.

I see that you've already made friends with my little boy.

— Yeah, he's really cute.

Can I hold him?

— Well, he should be going to sleep, we don't want to excite him.

Why don't you rock him a little instead?

See, he likes that.

Where's Sara?

— In the other room, I think.

Is your husband home?

— No, he's still out.

You want my autograph, don't you?

— Yeah, and a picture too.

— I don't know if Marc will be home for dinner tonight.

You might have to come back.

— That's okay, I live close by.

— Oh, then there's no problem.

Be a good boy, Marc Junior,

and William will rock you to sleep.

I'm going to talk to Sara.

Sara?

(knocking on door)

Sara?

(rock and roll music)

Sara?

— Mrs. Ravenna.

— Getting ready for tonight?

— Yes, Jimmy and Lida and I are going dancing.

You don't mind do you?

— Of course not, tomorrow night too.

I told you it was all right.

I can handle the baby.

Just get his things arranged before you go.

Is your cousin going with you?

— My cousin?

— He is a little young.

— You mean William, he couldn't come today.

— What, but?

You mean the boy in the baby's room isn't your cousin?

— What?

(dramatic music)

(dramatic rock music)

— [Anne] Sara?

— What's wrong, Mrs. Ravenna?

— I can't open this thing, it's stuck.

— Jiggle the handle, don't you remember?

It's just sticks a little.

(dramatic rock music)

You're all right, thank God.

— What... what's wrong, Ma'am?

— There was... there was a little boy here.

He seemed to know about everything.

He said his name was William, and he touched the baby.

— There's no one here now.

And the window's locked.

— But he was here.

I don't care how crazy it sounds,

he was here, and I spoke to him.

— The repairman. — What?

— He must have brought the little boy with him.

— [Sara] What repairman?

I called, but they said they couldn't send anyone till the day after tomorrow.

— But.

(suspenseful music)

Wait a minute.

That's impossible.

(dramatic rock music)

It was working just a few minutes ago, he fixed it.

The receipt's gone.

Could I have dreamt it?

(contemplative music)

(baby coos)

(birds singing)

— So you think you're ready for the big time?

— [Marc] Yes sir... Leonard.

— Well, I hope you don't think it's easy because it's not.

It's tough.

It takes guts.

It takes guts, brains,

luck and dedication.

(cat growls softly)

Anyone who's ever worked in a Leonard Levin production

knows that I demand a total commitment.

Do you understand what a total commitment is?

It's your heart.

Your soul.

And your brains.

Are you ready for that, Marc?

— I'm used to hard work.

Nobody gave me a free ride to where I am now, sir.

— Good...

because I've decided to produce Levana.

I'll give you everything you need to make a production worthy of my name.

I'll create such excitement over this project that the major distributors

will be cutting each other's throats just to get a piece of it.

— I'll do my best, sir.

— Me too.

How can we thank you?

— Don't thank me.

Thank Levana.

(dramatic music)

— [Levana] You can never be me.

You'll never be Levana the witch, never never.

You will never show my face on the screen.

You will die in agony first.

(dramatic music)

— [Marc] Let's take a fresh look at supernatural things.

Examine it in the light of day, you know what I mean?

— [Esther] The light of day can be very harsh,

not always illuminating though.

— [Marc] We're serious, and we're ready to do our homework.

— [Dan] The point is, we'd like to hire you as consultant on this movie.

— [Marc] We discussed it with our producer,

Leonard Levin, who by the way is a great admirer of yours.

He thinks it's a terrific idea.

— Oh Leonard Levin, yes.

I do know him.

What's the film going to be about?

— We don't want to offend anyone's religion,

or be blasphemous, or sacrilegious, nothing like that.

We know where that can lead.

— I couldn't agree more.

But what exactly do you have in mind?

— Well, we've already got the storyline blocked out.

Before we get down to writing the screenplay,

we'd like some pointers about reincarnation.

— Reincarnation?

For instance?

— Well, the story is about a witch who lived in Prague in the 13th century.

She gets reincarnated as a 20th century woman.

Her name is Levana, and she's a kind of—...

— What?

— Levana, that's the witch's name.

— Where did you get that name?

— I found it in a Baudelaire anthology.

— What do you mean, a Baudelaire anthology?

You want to make a film about Levana, and you don't know what the source is?

— It was an Englishman, Thomas De Quince y, who wrote about Levana in 1845.

— I didn't know that. — Obviously.

It was merely his translation of an earlier text.

And as it happens, I think I have the original text in my bookshelf.

This is not a work of the imagination.

It's a chronicle, a history.

The story of the most terrible witch that ever lived.

Levana.

Her soul is eternal, and cannot be destroyed.

And she can take over the body of anyone

who concentrates on her hard enough.

— That's great.

Do you mind if we borrow the book for a few days?

— Oh, I most certainly do.

I'm sure it would help you write your script,

but that's not what it was intended for.

— But professor, we—...

— I'm sorry I can't help you.

And let me warn you, don't use that name, change it at once.

— What name, Levana?

— Yes, don't use it.

Don't take the risk of summoning her.

— Yes, I get it.

Thank you very much for your time, Professor.

Let's go, Dan.

— I'd love to see the book, but I understand.

— No you don't understand, I'm serious.

— Yeah so am I, and I've got a movie to make, bye.

— Easy Marc.

Marc?

(door slams shut)

(suspenseful music)

(dramatic music)

— [Esther] But one day the third mother will return to the world of men,

to wreak her vengeance on the sons of the sons of those who had burned her at the stake.

If she takes the body of a young woman,

born under the sign of the sixth moon,

there will be no way on Earth to stop her.

But if she is first reincarnated in male form,

she will have to sacrifice a newborn child

in order to regain the powers that will make it possible for her to carry out her complete revenge.

Oh my God, I wonder.

(crickets chirping)

(phone ringing)

— Hello. — [Nora] Anne?

— Hi Nora, how are you? — I'm fine.

Marc was just here, he asked me to call you

to say he was gonna be a little late.

He and Dan just left together, excited as hell.

— What happened?

— Well, it looks like the deal with Levin's all set.

All they've got to do now is sign the contract.

They went out to dinner with agents and lawyers and all that.

— You happy? — Yeah, am I.

— Well I'm not, at least not entirely.

Dan goes into total isolation when he's writing.

He's like a monk.

There's no reasoning with him till he's finished.

— Poor Nora.

— He's already told me he's not gonna be home tonight.

He wants to get started right away.

— You mean start writing right away?

— Yeah, he's going down to our house in the country.

He says it's the only place he can write without any interruptions.

— Artistes, when Marc's getting ready to shoot, he disappears for days on end.

Then when he finally shows up, he's too exhausted to say hello to me.

— Yes, I know.

And I just climb the walls.

I gotta get going.

— Happy climbing, darling.

— [Nora] Thanks a lot.

(suspenseful music)

(phone ringing)

— Hello? — Hello...

Is this Dan Grudzinski, hello?

— Yes speaking, who is this?

— Esther Semerani, you came to my office to discuss—...

— I remember, what's the problem?

— I must speak to Marc Ravenna at once.

I called your house, and your wife gave me this number.

Is he there with you?

— No, I don't know where he is.

What's the matter?

— I'm not sure, I have to check something first.

But it could be a matter of life and death.

I mean that Mr. Grudzinski.

And be careful, you could be in danger too.

I'll get back to you when I'm sure.

— Hello, hello?

Hello?

(cat meow growls)

(cat screeches)

(gasping for air)

— [Levana] I am the life of darkness.

And I'm not content to rend your body asunder.

I won't rest until I've tortured your heart, beyond the brink of madness.

(evil laughter)

(heart beating) (bones cracking)

(loud explosion)

(groaning in pain)

(train rumbling)

(cat growling) (typewriter keys clacking)

(suspenseful music)

(screaming in pain)

(suspenseful music)

Anne.

Anne.

I've come back for you.

I'm downstairs.

I'm waiting for you.

(suspenseful music)

(grunting)

(thunder rolling)

That's right.

Come.

Come to me.

(dramatic music)

(music box plays)

— Hi Anne, I'm Sybil, I've been waiting for you.

— Sybil, but that's impossible.

You are... you're only a hallucination.

— No Anne, I exist.

And I've been inside you since you were born,

just as she has always been inside you, Levana.

— Levana?

— Yes, there's very little difference between a fairy and a witch.

Come closer.

I want to help you step into another world.

Come, touch me.

(music box plays)

That's right Anne, touch me.

Please.

Please touch me.

(glass breaking)

(gasping)

(loud exploding)

(dramatic music)

That's it.

Do you see it, Anne?

It's her knife.

Levana's knife.

The time has come when you must choose.

Pick up the knife, and become Levana,

or leave it, and stay who you are.

— [Levana] Good, Anne.

You made the right choice,

and you know what you must do with it.

The baby's in the other room.

Go, do it.

(suspenseful music)

— Anne, what are you doing, have you gone crazy?

— What are you talking about, Marc?

See, just movie tricks.

I'm acting, Marc.

I'm rehearsing for Levana.

I don't want to kill the baby, I wouldn't dream of it.

— Okay, I know that.

Just give me the knife, the rehearsal is over.

Yeah, give it to me.

(grunting)

Hey, I don't want to change your act here or anything, come on.

Ease up, I'm your director.

— Yes, you're absolutely right.

(groaning in pain)

I don't need your direction, anymore.

I can direct myself.

(dramatic rock music)

(groaning in pain)

(suspenseful music)

— [Marc] And what happened after I killed you?

— [Anne] Well it turns out I wasn't really dead.

I woke up and realized, it had just been another nightmare.

I think it was the sound of your car that woke me up.

— [Marc] Okay, then what happened?

— I got up, I was still shaking like a leaf.

I...

In the dream I tried to kill, to kill the baby,

to kill you, you killed me, you killed me.

— I was so confused. — All right.

— All right. — I got up as you were coming in.

And I don't know what came over me.

I just ran into the baby's room.

I had to make sure it was just a dream, but.

— But?

— Oh my God.

This is the way I found it.

I screamed, and you came running.

Marc, where's my baby?

— Jesus, Anne.

All right.

Now.

You were asleep, dreaming.

And you didn't hear anything?

Whoever did this must have made a hell of a racket.

Where's Sara?

— She's out, this is her night off, she went dancing.

Shouldn't we call the police?

— No no, I'd rather go myself.

You stay here, and don't move, whatever happens.

Do you understand me?

— Yes Marc, please hurry back.

— I'll be home soon, I promise.

— Marc, why did they do it, we're not rich?

— Maybe it's not money they're after.

(dramatic music)

(calm music)

(doorbell ringing)

— What's wrong, did you forget something?

— Let me in.

(suspenseful music)

(horn honking)

— Marc.

(horn honking)

(suspenseful music)

(car crashing)

(coughing)

Dan, what happened?

— I'm too late.

The witch...

Your baby...

Sacrificed, because they know.

(stammering)

— Don't try to talk, I know it's Levana.

— It's not Lev...

not Levana.

(contemplative music)

— It's not Lev...

Not Levana.

That's what he said.

Levin, Levin!

Levin!

Levin!

— [Marc] It's hard to find the right words.

I honestly don't know what to do anymore.

The whole thing's gone out of control.

— You don't really think that Anne could've?

— Who else, Nora?

There was no break—in, she was alone in the house,

and that writing on the wall.

It's so obvious.

— You mean to tell me she's doing things she's not aware of?

— I didn't think there was any real danger, now this.

— I think you should go to the police.

— No, I can't do that to her.

It would destroy her career.

— Well, it's not going to do her career much good

when you announce to the press that you've chosen me

to play the part of Levana, and not your wife.

— That's different, it happens all the time.

People split up, they get divorced, they remarry.

I just don't want it to get around

that she's losing her mind because her marriage is falling apart.

That makes me the bad guy.

And you know what that makes you.

The press would kill me.

I have to straighten her out.

— What about the baby?

— The baby I'm sure is fine.

She probably hid him some place.

She may be losing her grip to a certain extent.

She wouldn't do anything to hurt the baby.

— Well that's something anyway.

— You're something.

(calm music)

(suspenseful music)

— Levin?

Levin?

(suspenseful music)

(cat meow growls)

(suspenseful music)

(cat meow growls)

(suspenseful music)

— [Leonard] Anne.

Anne.

— I'm here Mr. Levin, and I want my baby back.

Either you give him to me right now, or I'll shoot.

— [Leonard] Don't bother.

You'd only be wasting your time.

— Give me my baby, or I'll kill you.

— [Leonard] Come closer, Anne.

(wheelchair whirs)

Take a good look at me.

What do you see?

— My God, oh my God.

You're dead.

— Yes.

I still have a voice, thanks to Levana.

She does all the talking.

— Where's my baby?

I want my baby back.

Why did you take him?

— We took your baby because...

we had to.

To protect him from you.

You're dangerous, Annie.

So Marc will get your baby,

and he'll marry Nora.

Nora?

Surely you know about Nora and Marc?

— What are you talking about?

— Nora is going to play Levana in Marc's movie,

and she'll take good care of your little boy.

You can depend on that.

— Depend on? No I wouldn't, she couldn't.

Marc? Oh no, this is all wrong.

What am I doing here?

What is this place, just another dream, another nightmare?

— [Leonard] That's right.

— Am I really crazy?

— Yes, kill yourself.

It's the only way, do it.

Do it Annie, yes.

It's the only way you can wake up.

Pull the trigger, Annie.

Do it.

Just think,

all you have to do is pull the trigger

and you solve all your problems.

Do it.

Do it.

Pull the trigger.

Yes, do it.

— [Anne] No.

(gun fires)

(gun firing)

(gasping)

— Why didn't you listen to me?

(gun fires)

(dramatic rock music)

— You, you killed Levin.

— First Dan, then Levin, now it's your turn.

— Why, what did I ever do to you?

— Nothing, we hardly even knew each other.

This is nothing personal, I'm just following orders.

— What orders?

(gun firing)

(groaning in pain)

Where's my baby?

Where is he?

— Nora. — Nora?

Nora?

(dramatic rock music)

♪ She's looking better than the dirty city ♪

♪ She's looking at everybody in the eye ♪

♪ Everybody looks away from you in New York City ♪

♪ Ain't nobody looks directly at a passerby ♪

♪ Whoa whoa whoa good looking ♪

♪ Do you need the admiration? ♪

♪ Good looking ♪

♪ You have won by acclimation ♪

♪ How long do you think you'll stay ♪

♪ Whoa whoa whoa good looking ♪

♪ You're looking ♪

— Open the door, I know you're in there.

♪ No one's looking ♪

♪ You could hide the rest for me yeah ♪

♪ Anywhere you go the very air you breath can kill you ♪

— Nora?

I But she ought to know there's more at stake than you can see I

— Nora?

♪ Whoa whoa whoa good looking ♪

♪ Do you need the admiration? ♪

♪ Good looking ♪

♪ What will be your last temptation? ♪

— Hello Anne, you've come for your baby, hmm?

I Whoa whoa whoa good looking I

— You can have him.

Go ahead, take him.

No one's stopping you.

— Why did you do it, Nora?

Why in God's name did you do it?

— The same reason I took Marc away from you, Anne.

For Levana.

She made me do it.

We're all just pawns in your game.

— My game?

— Oh come on, don't be so naive.

You must know what's going on,

or you'd never have left Levin's house alive.

— [Anne] Nora, what are you talking about?

— We thought we'd calculated your every move.

But you beat us.

You were far stronger than we imagined.

— Where's Marc?

— Oh, he's on his way home.

He's going to be a little delayed.

He's not supposed to interrupt you and Levana.

— Me and—— — Go home, Anne.

Levana is about to visit you in person.

It had to come to this, it was inevitable.

A meeting, face to face.

— What are you talking about, are you crazy?

— Why don't you just go see for yourself?

— Nora.

— Get out of here, Anne, go home.

Go home!

(engine cranking)

(dramatic rock music)

♪ Wrapped up in this world of anger ♪

♪ There's no second chance out here ♪

♪ Nail tight your eyes now honey ♪

♪ 'Cause I know just what you fear ♪

♪ Well I've seen it all before ♪

♪ And it all comes back to me ♪

I Well I see your face now honey I

♪ And I know just where you've been ♪

♪ With someone someone ♪

♪ Well there's someone just like you ♪

♪ Oh I need someone to take away the blue ♪

♪ Someone well there's someone just like you ♪

♪ Oh I need someone to take away the blue ♪

♪ Clench your fist oh so tight ♪

♪ And kick down anything in your way ♪

♪ Spit your words right out now ♪

♪ But you ain't got nothing to say ♪

♪ Well I've seen you walk away ♪

♪ But I don't know Where you go ♪

(dramatic music)

— You summoned us, what is your command?

— I ordered you to stop Anne, and you failed.

Your efforts were pitiful.

— My powers are weak.

You always knew that.

If I'd had your help—...

— You shouldn't have needed it.

And now time is running out.

It's too late for more failures.

I'll have to act myself.

You're worthless to me now.

(loud exploding)

Now it's your turn.

Do it.

Do it.

(eerie buzzing)

And now, clear little Anne, our worlds will collide.

(evil laughing)

(calm music)

— There, darling.

Sleep now, sleep.

(calm music)

(wolf howling)

(eerie buzzing)

(wind howling) (thunder crashing)

(electricity crackling)

(suspenseful music)

(eerie ringing)

- Hi. - Hi, William.

Did you have a good time tonight? — Yeah, a great time.

— I'll bet you did. The more blood the merrier.

As you can see, I now know everything, and I'm still alive.

So you can stop bothering to create telepathic illusions for me.

— Yeah I know, the game is over.

(eerie buzzing)

— That's a good girl.

You know you can't fool me anymore with your hallucinations and mind tricks.

— When did you catch on? — Just now actually, driving home.

It suddenly dawned on me.

You've been spinning visions around me like a spider spins a web.

You're just a, what's the word?

— There is no word.

I'm the next step in evolution.

I'm superhuman.

— You're a mutant.

— With the power of my mind, I have taken the place of your God.

Whatever I think, happens.

All creatures obey my command, without even knowing it.

— I don't.

I'm the only one you can't command.

So I'm the only one you fear.

I'm the only one who stands in your way.

— Really?

Let's see you stop me.

Die.

Die!

(groaning in pain)

(electricity buzzing)

(loud exploding)

(laughing)

I told you so.

Nothing can stop me now.

(evil laughing)

— Sorry Sara.

But I can control time now.

I can send it reeling backwards.

You see Sara, you're not really that strong after all.

— All right, I can't destroy you.

But you can't destroy me either.

We'll just have to share this world.

Half good, half bad.

— You're wrong again, Sara.

I might not be able to destroy you,

but there are others who can.

(grunting)

(dramatic rock music) (groaning in pain)

Christ.

(dramatic music)

(electricity crackling) (loud exploding)

(dramatic music)

(crickets chirping)

(music box plays)

Hello, Sybil.

— Hi Anne, I knew you'd come to say goodbye.

— My world is back in order now.

— Oh yes it is, I know that.

— No more dreams, no more nightmares.

— That's good, all evil has ended.

This is really the best of all possible worlds now.

Marc loves only you, Nora's your very best friend,

and Sara isn't a monster.

She's just a good kid with a lively imagination.

— And Leonard Levin is confined to a wheelchair.

But he's very much alive.

— He's going to produce Marc's movie,

and it'll be one of the biggest, greatest smash hits ever.

— And will everyone live happily ever after?

— For sure, 'cause even with your special power,

you're content with things as they are.

— I have Marc, I have my baby.

I know what love is.

Who needs more?

— Goodbye Anne, goodbye Levana.

— Goodbye.

— [Sybil] Goodbye.

(ethereal music)

— [Levana] I'm not dead.

I'll be back,

in the body of your child.

(evil laughing)

(dramatic rock music)

♪ Wrapped up in this world of anger ♪

♪ There's no second chance out here ♪

♪ Nail tight your eyes now honey ♪

♪ 'Cause I know just what you fear ♪

♪ Well I've seen it all before ♪

♪ And it all comes back to me ♪

I Well I see your face now honey ♪

♪ And I know just where you've been ♪

♪ With someone someone ♪

♪ Well there's someone just like you ♪

♪ Oh I need someone to take away the blue ♪

♪ Someone well there's someone just like you ♪

♪ Oh I need someone to take away the blue ♪

♪ Clench your fist oh so tight ♪

♪ And kick down anything in your way ♪

♪ Spit your words right out now ♪

♪ Cause you ain't got a thing to say ♪

♪ Well I've seen you walk away I

♪ But I don't know Where you go ♪

♪ And I see your lying eyes ♪

♪ But you ain't gotta thing to show for someone... ♪