Demonia (1990) - full transcript

(suspenseful orchestral music)

(dramatic orchestral music)

(all shouting)

(screaming)

(groaning)

(screaming)

(groaning)

- It is done, come.

(all chattering)

(eerie ambient music)

(breathing heavily)



(screaming)

(screaming)

- What happened?

And how did I get here?

- You fainted.

I brought you home.

- You?

I don't understand.

- [Man] Just put your mind to it.

- Oh.

I remember now.

I was at the...

- I know.

You were attending another
of those foolish seances



you're so fond of.

How many times have you
heard me tell you, Liza?

An archaeologist digs into the
past with his intelligence,

not his superstition.

Remember?

- I go to those seances,
professor, for fun.

It isn't serious.

- Well, I hope not.

Now, get some rest.

Try to dream about the beauty, the grace,

the ancient Greek culture
we're going to study in Sicily.

Once we get there and start
to do some work on the dig,

you'll forget all about things
like seances and black magic.

The plane leaves at 6:30.

Have your bags ready
at a quarter past four.

I'll pick you up.

(sighing)

(light orchestral music)

(hammering) (grunting)

- [Man] Two meters to the left.

No, no, no.

Yeah, yeah.

- [Man] Okay.

(camera shutter clicking)

- Mmmm.

Ah.

Mmmm.

- Robbie.

Look at you.

Why in God's name are
you always in the dirt.

Get in here right now.

I have to wash you all over again.

Don't look at me like that.

Come on, get in here, on the double.

- Got the stakes laid out yet?

- Kevin and Sean are taking care of it.

- All right.

Have you seen Liza?

- I saw her heading toward the hill

no more than five minutes ago.

(ominous orchestral music)

- [Paul] Liza?

Liza!

- [Liza] You startled me, Paul.

- What'd you think I was?

One of your medieval spirits?

- No, it's just that these
ruins are so compelling.

They give the feeling that there's

something still alive in there.

- Something probably is.

Rats, stray cats.

You know, for an archaeology student,

you're not being very scientific.

Besides, you shouldn't waste your time

with the dark ages of history.

We're here to study a brighter,
more enlightened period.

- Yes, the time of the ancient Greeks.

- Exactly.

- I'm sorry, Paul.

It's just that there's so much here

and I'm fascinated by everything.

- Better concentrate on the dig.

- All right.

You're the boss.

(sighing)

(coughing)

- Professor Evans from
the University of Toronto?

- Yes?

- I am the mayor of Santa Rosaria.

I just heard about your arrival

and I wanted to pay a small visit.

- Well, that's very kind.

I was hoping to meet you.

We'll probably be in need of some locals

as our collaborators.

- That is precisely what I
wanted to talk to you about.

I'm afraid that you will not,

will not get support from people here.

They, let's say, they do
not take well to foreigners.

And then we have a kind of old saying,

the past is dead and the
dead must rest in peace.

- Well, I don't think they understand.

We're archaeologists.

We're not, we're not gravediggers.

Now, you're not suggesting that we pack up

and go home, are you?

- I never said that.

I am here to give you all
my possible collaboration.

It was some advice based on the facts.

Nothing more, nothing more.

- Well, thank you, Senor...

- Buscemi.

Thank you, Senor Buscemi.

I'll be calling on you.

- And I shall be happy to
do what I can do for you,

all that's in my power.

Good luck, Mr. Evans, uh, Professor.

(coughing)

(bells ringing)

(men chattering)

- What's new?

- They're still up there digging.

- Why are they doing it?

Why are they such fools?

Don't they know that the
dead must be left in peace?

- So, why are they still
interfering, those bastard?

What do they think they're
going to get out of it?

- Only misfortune.

Misfortune and ruin.

They'd be better off
if they just went home.

Especially that woman.

- They won't.

- In that case, the worst is yet to come.

- [Paul] Okay, you've been
on digs and explorations,

I don't know, 10, 15 times in this area

over the last 10 years or so.

That makes you an old hand in my book.

- [Liza] In mine too.

- [Paul] So tell us what you know.

What sort of cooperation can
we expect from the locals?

- The mines around here are so full

of fright and superstition

and they're so mixed in together

that they practically close
the door in your face.

When I was really involved
in underworld archaeology,

I had several problems
with the open hostility

of these people.

They can be extremely protective
of their cultural heritage.

- You're talking about
medieval Sicilian history.

That doesn't interest me.

We're here to study the
ancient Greek influence

on the area.

- But these people don't know that.

- Well, what difference does it make?

I mean, what are they afraid of?

- There's an old monastery
there on that hill,

at least what's left of one,

and the people in these parts,

they rarely venture up there.

You hear a lot of strange
stories about that place.

- What kind of stories?

- That's my whole point.

If you tried to get any more details,

the whole thing seems to
slip through your fingers

like a handful of eels.

Silence is the usual form of response.

But one thing's sure.

And you can believe this.

They're perfectly ready to kill

just to defend that silence.

- How horrible.

- It's ridiculous.

- It depends on your point of view.

Around here, human life has
less value than a feeling.

- What kind of feeling?

- Whatever.

Love, loyalty, honor, gratitude.

- I don't understand.

- It's not so easy.

It's a part of their old culture.

- [Paul] Culture.

- [Porter] Yeah, culture.

And it has its roots
centuries in the past.

- Centuries of ignorant superstition.

Well, it's late.

- Wait a minute.

I'd like to know more about the monastery.

- If I were you, I would forget

about the monastery, young lady.

- Well, thank you, Porter.

You've been a big help.

- Any time.

- [Liza] Thank you.

- Pleasure.

See you later, Paul.

- Right.

(bells ringing)

(ominous orchestral music)

(gasping)

(suspenseful orchestral music)

(gasping)

- Oh my.

Oh my God.

(gasping)

Who are you?

What do you want?

- You're the one who's going
to tell me what you want.

You're not going to
discover anything down here.

Nothing of interest for someone like you.

- Don't you dare try to interrupt
the work we're doing here.

We have the authority of your government

and we intend to have it respected.

Is that clear?

You're going to pay for what you're doing.

I swear to it.

It's the word of Turi DeSimone,

the butcher of Santa Rosaria.

(eerie ambient music)

(heart beating)

(breathing heavily)

(suspenseful orchestral music)

(rocks rumbling)

(suspenseful orchestral music)

(flash bulb popping)

(screaming)

- Hey.
- Paul.

- Take it easy.

What's all this about?

- I found the bodies
of five crucified nuns

down there in the crypt.

- Okay, I don't what tricks
your mind is playing on you,

but you'd be well advised
to forget this place

and I'm gonna tell you once again,

stay away from here.

- But there were satanic symbols
and evil writing on the...

- Stop it!

Now, whatever you think you
saw, it'd better for all of us

if you just forget it.

Our welcome is thin enough
as it is around here.

- Paul, you've gotta listen to me.

- No more of this!

Just do what you're told.

- Okay, Paul.

(ominous orchestral music)

(humming)

- I know I didn't leave the lights on.

Hell.

(woman laughing)

(gasping)

(grunting)

- [Man] Ah, that's a grand idea.

I was gonna ask you to play us a song.

- [Man] If you really
want, let's try this one.

Maybe it's not.

(light acoustic guitar music)

♪ In no man's fair city ♪

♪ Where girls are so pretty ♪

♪ 'Twas there that I first
met sweet Molly Malone ♪

♪ She was over a wheelbarrow ♪

♪ Through streets wide and narrow ♪

♪ Crying cuckles and mussels ♪

♪ Alive, alive, oh ♪

♪ Crying cuckles and mussels ♪

♪ Alive, alive, oh ♪

♪ She died of a neighbor ♪

♪ And no one could save her ♪

♪ And that was the end
of sweet Molly Malone ♪

♪ Her ghost wheels a barrow ♪

♪ Through streets wide and narrow ♪

♪ Crying cuckles and mussels ♪

♪ Alive, alive, oh ♪

♪ Once more then ♪

♪ In no man's fair city ♪

♪ Where the girls are so pretty ♪

♪ 'Twas there that I first
met sweet Molly Malone ♪

♪ She was over a wheelbarrow ♪

♪ Through streets wide and narrow ♪

♪ Crying cuckles and mussels ♪

♪ Alive, alive, oh ♪

- [Man] I see you can't sing at all

♪ Alive, alive, oh ♪

♪ Crying cuckles and mussels ♪

♪ Alive, alive, oh ♪

♪ In no man's fair city ♪

♪ Where the girls are so pretty ♪

♪ 'Twas there that I first
met sweet Molly Malone ♪

♪ She was over a wheelbarrow ♪

♪ Through streets wide and narrow ♪

♪ Crying cuckles and mussels ♪

♪ Alive, alive, oh ♪

- [Man] The Irish motion!

(all cheering)

(light acoustic guitar music)

(all whooping) (all chattering)

More, more, more!

(whooping)

- Liza, are you there?

- [Liza] Yes, Paul, come on in!

(vocalizing)

(all vocalizing)

- [Man] Come on now.

Ah, yeah!

More, more, more, more.

Come on, now, come on, now.

(thunder crashing)
(rain pattering)

(eerie ambient music)

(thunder crashing)

(wind howling)

- Liza, no!

No, Liza, don't go away.

No, turn around.

You mustn't go.

Don't go.

Listen to me.

Stay here, Liza.

Do you hear me, Liza?

Liza!

- I can't stop.

I must go.

Please, Paul, I must.

Let me go.

- No, no.

You mustn't go.

Liza, come back!

(eerie ambient music)

(crowd shouting)

(ominous orchestral music)

(screaming)

(crowd shouting)

(screaming)

(screaming)

(breathing heavily)

(suspenseful orchestral music)

(light orchestral music)

- How do you get so dirty, Robbie?

How do you do it?

Next time you go in that mud,

you know what I'm going to do to you, huh?

- [Robbie] Mm-hmm.

- Honest.

Come on.

- [Liza] Hi, Susie.

- Come on.

You won't find Paul around the camp, Liza.

He went out with the
others to the new site.

Now get going, but behave.

(sighing)

He left word, though, that
you should get some rest.

They won't be needing
you at the moment, okay?

Robbie, I just don't believe it.

Do you have a secret supply of mud?

What am I gonna do with you?

(mysterious orchestral music)

(bells ringing) (birds chirping)

- Sir, could you...

(men chattering)

Excuse me.

Does anyone know where the
local hall of records is?

(speaking foreign language)

- Excuse me, miss.

Behind the church.

There is a sign on the door.

You can't miss it.
- Thank you so much.

- Too bad for her if
she wants to shed light

on things around here.

- For all of us.

(eerie orchestral music)

- Miss.

(coughing)

Excuse me.

Are you looking for something?

- Yes, I'm looking for the
chronicles of Santa Rosaria.

- Santa Rosaria?

All the chronicles for
Santa Rosaria are there.

But no one's ever shown the
slightest interest in them.

You're the first person who's ever asked.

- You don't mind, do you?

- Not at all.

The desk is here.

I certainly hope you enjoy your reading.

(coughing)

(dog barking)

- I know what they're like.

They're not about to get out of here.

And if we don't stop them
before it's too late,

it'll be a curse on us.

- What is there to do about it?

- Amputate before gangrene sets in.

(mysterious orchestral music)

(blowing)

(footsteps thudding)

- Who's there?

- Speak softly.

If anyone sees me talking
with you, I'm dead.

- What do you mean?

Why would anyone...

- There is no time to explain.

I know what you are looking for.

And I know you didn't find it here.

If you want the truth,
come to my place tomorrow,

12 o'clock.

It's the only house outside town.

You won't have any problem finding it.

Go now, quick.

(suspenseful orchestral music)

- [Man] Yeah!
(upbeat acoustic guitar music)

(all chattering) (all clapping)

(all laughing) (all singing)

Come on!

(vocalizing)

Come on, play that guitar.

Get to your feet.

(all cheering)

(laughing)

Yeah!

Come on.

(all chattering)

I ain't sitting down,
I ain't sitting down.

(laughing)

Come on.

Move it, move it, boys.

Come on, boys and girls.

What's wrong with ya?

(vocalizing)

Click your feet.

Pick your feet up, come on.

That's my girl, that's my girl.

That's right, we're almost there.

We're just getting going.

(laughing)

(all chattering)

That's it.

(laughing)

- Don't you know there are people

trying to sleep around here?

(muttering)

Give me that.

Goodnight.

- Easy.

Well, I think you're a shit too.

(eerie orchestral music)

(dreamy orchestral music)

- Hey, Sean.

Get down here.

- Here I am, brother, here I am.

- Look at ya.

Look at ya.

You can't even keep on your feet.

You're about as steady
as a swelling parachute.

- Sure, you're the one
who was wobbly here.

I'm as straight as an arrow.

What the devil are you wanting anyway?

- Look at this place.

This is a perfect spot

to have a few drinks.

(grunting)

And enjoy each one of them
in holy goddamn peace.

Not even Evans is going to bother us here.

(grunting)

- It isn't exactly what I call perfect.

But you might consider it
reasonably uncomfortable.

- Let's go.

(chimes ringing)

Poor old Finnegan.

- [Kevin] What happened?

- [Sean] She died.

- Hey, pipe down for a second.

(women laughing)

- What is it?

- Didn't you hear it?

- What was I supposed to hear?

- A voice.

A woman's voice.

- Oh, come off it.

I don't think this is
doin' yas a lot of good.

- This time I'm sure.

It's a woman's voice.

There's no doubt about it.

If you would take the time

to lay off your phony Irish accent,

maybe you'd hear it too.

(ominous orchestral music)

- Come back here, Kevin.

Hey, where are you going?

Stop actin' like a fool.

- If there's a fool here, Sean, it's you.

- You're an ass.

Come back.

(women laughing)

- I think there's a party going on.

Hey, hey, I see you.

You can't get away from me.

(yelling)

- Kevin, what happened, lad?

Kevin, where are ya?

Kevin?

Kevin!

(screaming)

(women laughing)

(siren wailing)

- [Paul] Okay, Inspector
Carter, so you're from Interpol.

But what good are you
gonna do around here?

- I know this area of the
world pretty well, Professor.

My wife, Linda, is from these parts.

They're not a bad lot,

but they're overly
influenced by superstition.

They will interpret this
accident as a sign from heaven

and hold you responsible
for whatever happens

all around here.

Rain and hail included, understand?

- What do you think I should do?

- Stay away from them as much as possible.

They're touchy and very superstitious.

Anyway, I'm around.

If you need me, you know
where to find me, okay?

So long.

- Thanks very much, I'll call you.

(door clicking)

(sighing)

(bells ringing)

(dog barking)

(door creaking)

(sighing)

(gasping) (cat meowing)

(cat meowing)

- Don't pay attention to them.

They are my friends,

the only ones I can trust.

Go.

Please, sit down.

- Why don't you tell me why I'm here.

- You are here to learn the truth,

whatever may happen.

- What do you mean?

- Often the truth can be dangerous.

Dangerous for him who speaks it,

and dangerous for him who hears it.

- And you're not afraid?

- My death is predetermined.

It's written in the stars.

No one can escape his destiny.

I will tell you the story of
the old nunnery on the hill.

A tale of violence and sin and blood.

It's been hundreds and hundreds of years,

and yet I can see it all,

as if it happened just yesterday.

There were five nuns in the convent.

All of them were young and beautiful.

And each of them had
a covenant with Satan.

At least that's what was said about them.

Back then, some townsfolk
even talked about

certain wild orgies which were
supposed to have taken place

beneath the nunnery.

(percussive music)

(moaning)

No one was able to confirm the rumors.

Those young men in the area

who were supposed to have
taken part in the orgies

vanished mysteriously.

(moaning)

(gagging)
(intense orchestral music)

(gasping)

And just as mysteriously,
the terrible fruit

of those infernal nights, also vanished.

(dramatic orchestral music)

(gasping) (breathing heavily)

- Hurry, please, Mary.

(bell ringing)

Please, Mary, please.

(breathing heavily)

(baby crying)

(baby crying)

(ominous orchestral music)

Then, one night, the time came

to put an end to the sacrilege.

There was an uprising among the
population of Santa Rosaria.

They forced their way into the convent

and the five nuns were crucified.

Their bodies were left
to rot in the very crypt

where they had consumed their ugly deeds.

- It was horrible.

I saw the bodies.

They were still nailed to the crosses.

- Forget that you've seen them.

Don't say a word about it to anyone.

Not if you want to stay alive.

You know what happened now.

And just let it be at that.

Go now.

Go and don't turn back.

And ask God to help you.

(breathing heavily)

- Inspector.

Inspector.

- Yeah?

(grunting)

Got anything interesting for me?

- Just some traces of blood.

I don't know what to make of this.

- The boat's been open for three days.

There's no sign of the guy.

No one's seen him anywhere.

- Andy, I don't want
any more responsibility.

Ganini.

- Yes, sir?

- Tow this boat over to the main port.

Anchor it next to the police launch.

Andy.

- Yes, sir?

- This is one the locals
can have all to themselves.

I'm gonna claim it's
out of my jurisdiction

on a technicality.

Got that?

- [Andy] Loud and clear, boss.

- So, let's clean up the details

and hand it over to
them as soon as we can.

We've gotta put a tracer
out on this guy for openers.

If he's wounded, just
maybe he got to a hospital.

What else, Andy?

Oh yeah, just make sure
you got complete notes

on everything you found
above and below deck.

Then I don't need to listen to any flack

our of the boss' mouth
about sloppy paperwork

and presentation, okay?

- [Ganini] Inspector,
Inspector, for God's sake, look.

(bells ringing)

(door creaking)

(bells ringing)

(woman laughing)

(eerie synth music)

- What's gotten into all of you?

Why aren't you here to greet me?

(cat screeching)

(cats growling)

(gasping)

Ungrateful beasts.

(cat meowing)

(gasping)

(cats screeching) (screaming)

(cat meowing)

(whimpering)

- [Turi] There are people

who deserve that kind of treatment.

- I'd hold my tongue if I were you.

- Tongues can wound people badly

but they can't kill them.

Four people have already
paid with their lives

for the curiosity of someone else.

That is a heavy price.

- What do you mean by saying that?

How they met their deaths?

- There's nothing more to explain.

Just that somebody's
going to have to make up

for the wrong that's been done.

- Stop talking like that.

I don't like riddles.

Just lay it on the line.

- I've already said too much.

I've got my own neck to look out for.

Here's the steak.

Good day, Inspector Carter.

- Good day, Turi.

(men chattering)

(bells ringing)

(dog barking)

- This way, Lieutenant.

- Okay.

As I was saying, Professor,

in these detective stories that I read,

it's almost a criminal
with an identity problem.

Somebody who has to leave
a signature on his work.

- Well, if that's the case here,

he left the signature of a monster,

someone who's totally deranged.

- You could be right, Professor.

But we don't wanna jump to conclusions.

You see, killer's come
from all walks of life.

You'd be surprised at the
kind of characters we turn up.

- Probably, but there's
no doubt in my mind,

well this one's an insane butcher.

- Now you wouldn't, by
any chance, be referring

to a local butcher, would you?

- No, I'm not referring to
any butcher in particular.

I simply mean that whoever murder Porter

has the instincts of a butcher.

- Young Turi.

It could be a possibility.

But like I said, we mustn't
jump to conclusions.

You see, in these novels that I read,

the detective who jumps to conclusions

is almost always wrong.

Haven't you found it to be
that way too, Professor.

- I told you, I don't
read detective novels.

- That's right.

You did say that, now, didn't you?

Now, take this report I
have here from Interpol.

It brings up some
interesting possibilities.

Ones I've never considered before.

- What kind of possibilities?

- Another suspect.

Someone I never would've thought about.

- May I ask who?

- Why certainly, Professor.

It's you.

- Me?

You're joking, of course.

- No, actually, I'm quite serious.

But don't get upset.

You see, had you read some
of those detective novels

that I was telling you about,

you'd know that when you
do a murder investigation,

you do a rundown on
every possible suspect.

And yours turned up something,
how should I say it,

rather unexpected.

- What did you discover about
me that's so unexpected?

- Well, Professor, you
sure this is something

you wanna hear about?

- Yes.

It's interesting.

- First of all, I'd like
to ask you some questions

if I may.

- All right.

Ask anything you like.

- Your feelings about Porter.

Were your friends, enemies, what?

- Well, I had no special
feelings about him

one way or the other.

We were colleagues, fellow archaeologists.

The difference is he was
a marine archaeologist

and I work on land.

- Were you always cordial with each other.

- More or less.

- [Andy] More or less?

- Yes, we were cordial.

What are you getting at?

- Well, this report seems
to indicate otherwise.

Says here,

ah,

according to this, about 10 years ago,

you publicly refuted
one of his publications

and effectively accused
him of being a fraud.

- That's an old story that
was forgotten long ago.

- It's on the record at
the University of Toronto.

- Universities keep records everything.

Don't put too much importance

on a strictly professional disagreement

that wasn't that serious
in the first place.

And besides, how does that
relate to Porter's murder?

- Maybe it doesn't.

On the other hand, this report indicates

that it was quite serious.

That in fact, you were
the one who ended up

being discredited and
you lost your position

as head of the department.

Do you remember what the
disagreement was about?

It's all right, I'll refresh your memory.

It concerned the head of a statue

which the victim found
at the bottom of the sea.

The head, which interestingly enough,

had been severed from its body.

- Hey, Professor, what's the news?

What do we got?

- [Woman] What's going on here?

- Later, okay?

- What is this?

- Are we gonna stay here or not?

I'd like to know.

- [Woman] When can we get our things out?

(all chattering)

- [Man] Did he say anything to you?

- [Man] Nothing, nothing.

No news.

I don't know what to do here.

- Liza.

- What is it, Paul?

- I'm debating whether to
close down the exhibition

and go back to Toronto.

- Why?

After what happened to
Sean and Kevin and Porter,

you have to ask why?

- Yes, I agree it's horrible,

but we just can't leave now.

- Why not?

- Because, because we just can't.

We owe it to our four friends who died

to find some explanation.

Because we're scientists.

Aren't we obliged to
investigate at the very least?

- No.

- No?

But, Paul.

- I said no.

- Excuse me.

I hate to interrupt you,

but I found something.

I think you should have a look at it.

- This is what I was looking for.

Come on.

If we stay, it'll be to
continue this investigation

and nothing more.

- Yes, Paul.

(ominous orchestral music)

(grunting)

(ominous music)

(gasping)

(breathing heavily)

(eerie ambient music)

- Jesus.

(knife twanging)

(woman laughing)

(blood dripping)

(gasping)

(metal rattling)

(grunting)

(ominous music)

(groaning)

(grunting)

(gagging)

(all chattering)

- Inspector, Turi's wife is inside.

She's hysterical.

She's already woken up half the town

with her screaming.

Her husband didn't come
home last night for dinner

and when she came down
here to look for him,

she found the door open.

She looked, she couldn't find him anywhere

and she's afraid that maybe
something serious has happened.

You know, we've already had

too many people dead around here.

- Come on inside.

(sobbing)

- Okay, now look, why don't
you tell us the whole story

all over again from the very beginning.

- [Woman] Oh, no, no, I can't.

No.

- [Andy] You might remember some detail

that you left out

the first time you went through it, right?

- [Woman] Oh, no, no, please.

- [Andy] Okay, so your
husband didn't come home

at dinnertime and...

- [Woman] Oh, God.

I just can't go through it again.

I just can't.

Please.

- [Andy] Now look, you
want us to help, don't you?

Come on, try.

Let's hear the beginning again.

- [Woman] I don't know
what happened to him.

I went to look for him
and he wasn't there.

I don't know where he is.

(ominous music)

- [Inspector] My God.

They haven't cloth this way for centuries.

- [Woman] Oh, where is he, where is he?

(sobbing)

- [Andy] Oh, Senora, you
can do it if you try.

We wanna find him as much as you do, okay?

- [Woman] No, please, no.

- You know what I'm saying?

- Andy, come on outside, will you?

(all chattering)

Keep everyone out of
the cold storage locker.

- I'll take care of it.

(all murmuring)

- Professor, the people in
the town have gone crazy.

They wanna destroy the, the monastery.

They've got weapons.

They're coming up here.

- Go.

Finish packing up, we'll get everything.

- [Man] Okay.

- Go on.

(suspenseful orchestral music)

- Liza.

Liza.

- [Man] All this stuff
is happening, isn't it?

- Yeah, I think so.

- Robbie, Robbie!

Robbie.

John, John.

- [John] Yeah, what is it, honey?

- Have you seen Robbie lately?

- Robbie?
- Yeah.

- Isn't he on the beach?

- I don't know.

Look, he's been gone two hours, that kid.

I'm always so worried.

Can you go look for him.

- Sure, I'll look for him.
- Please hurry.

- [Both] Robbie, Robbie!

- Robbie.

(suspenseful orchestral music)

(all shouting)

Robbie!

- Papa, papa, help me.

Papa.

- Robbie.

Robbie.

- She's taking me away.

Help me.

Please, papa.

- Robbie, Robbie, where are you, Robbie?

- Papa, papa, papa!

(screaming)

Papa, help me, papa.

- No!

- Where are you, papa?

Papa, papa!

- Robbie, don't move, Robbie.

No, don't move, Robbie.

- Papa.

- No!

- But, papa.

(screaming)

(eerie ambient music)

- Liza.

Liza, Liza.

Liza.

Liza.

- Oh, Robbie.

(woman laughing)

(screaming)

- Liza.

Liza.

(suspenseful orchestral music)

(all shouting)

Liza.

Liza.

(suspenseful orchestral music)

No.

(grunting)

(all shouting)

(groaning)

(all shouting)

- Stop.

Just a moment.

Let's burn her.

(all shouting)

- [Man] That'll show her.

That'll take care of her.

Burn her.

- What's going on?

What's going on?

(all murmuring)

Okay, back back.

What's going on?

What is it?

(all murmuring)

(groaning)

- Liza.

(dramatic orchestral music)

(all murmuring)

- [Man] Let's get outta here.

- Liza!

Liza.

(coughing)

Liza.

Liza.

Oh, Liza.