All language subtitles for Suspiria.2018.1080p.WEBRip.x264-[YTS.AM].en

Subtitles by explosiveskull

(RAIN PATTERING)

(CROWD SHOUTING
AND CHANTING IN GERMAN)

(SHOUTING AND CHANTING
CONTINUE)

(CLATTERING)

♪ 'Cause I'll be leaving
in the... ♪

(KNOCKING CONTINUES)

Patricia.

♪ That I'll be leaving in the
fairest of the season ♪

♪ Should I stay or should I go ♪

So, I have a patient that is
coming in five minutes.

I can ask him to come back
later, please.

♪ 'Cause I'll be leaving in the
fairest of the season ♪

(CONTINUES SINGING
INDISTINCTLY)

♪ Leaving... In the... ♪

This song, it's stuck
in my head, and it's so loud.

They're going to try and keep
her alive after all.

Markos?

(PATRICIA PANTING QUIETLY)

(LOUD BANG OUTSIDE,
CROWD SHOUTING)

(CROWD CHANTING IN GERMAN)

I have to tell Sara
to get out of there.

She's the only girl
I actually give a damn about.

If I leave without her they may
pick her next.

Or Olga

I should warn Olga, too.

Olga's already figured out
things.

She saw how they groomed me.
(CHUCKLES)

There's more in that building
than what you can see.

(PATRICIA PANTING QUIETLY)

They've been underground
since the war.

And you think
they can hear you now?

(EERIE VOICES
WHISPERING INDISTINCTLY)

At the beginning they gave me things.
Perfect balance, perfect sleep.

Talking with our minds.

But they took my hair.

They took my urine. They took my
eyes!

Now she can see me.

♪ 'Cause I'll be leaving in the
fairest of the season ♪

♪ I'll be leaving... ♪

PATRICIA:
Mother Markos.

Oh, she wants
to get inside of me.

I can feel her.

Oh, I thought I wanted it.

I let it happen.

(GASPING)

(EERIE VOICES LAUGHING,
MOANING)

(GRUNTING, PANTING)

(WHIMPERS SOFTLY)

If they find out I was here they
won't hesitate.

(DOOR OPENS)

(DOOR OPENS AND CLOSES)

(SPEAKING GERMAN)

(BIRD SQUAWKING)

♪ ♪

- (WHEEZING QUIETLY)
- (INDISTINCT WHISPERING)

(WATER SPLASHING GENTLY)

(OBJECTS CLATTERING QUIETLY)

(BANGING, CREAKING)

♪ ♪

(TAKES DEEP BREATH)

♪ ♪

(WHEEZING CONTINUES)

Morning, pastor.

(INDISTINCT VOICES)

♪ ♪

(WHEEZING CONTINUES)

(WHEEZING CONTINUES)

(ANNOUNCEMENT IN GERMAN
OVER P.A.)

(CHATTER IN GERMAN)

(TRAIN RUMBLING AND SCREECHING)

(HEAVY RAIN AND QUIET CHATTER)

(OBJECTS RATTLING AND BANGING)

(DISTANT BANGING)

(CREAKING)

(SPEAKING IN GERMAN)

- You're Miss Tanner.
- Yes, come in.

(PANTING QUIETLY)

TANNER:
Nah?

I tried to call you at your hotel this
morning to ask you if you could reschedule.

- Why?
- Company business. It's not a good time just today.

But here you are.

(SIGHS)

(TAKING DEEP BREATHS)

(CONTINUES BREATHING DEEPLY)

And six, and seven, and eight..

Elbows up. And one...

Come in, Susie.

Miss Millius and Miss Mandel are
the company's apetitas.

And Viva Blanc? I was told she
would be here.

(LAUGHS) Oh dear, you have no
formal training or references.

Your insistence to audition happened
to catch Madame Blanc on a good day.

But you really shouldn't be here
at all.

Do you understand? Yeah? Good.

(SPEAKS GERMAN)

I prefer dancing without music.
Danke shoen. (LAUGHS)

You can keep time
in your head, yes?

(CLEARS THROAT QUIETLY)

(SIGHS)

(LIGHTS BUZZ QUIETLY)

(SHARP EXHALE)

Hypnos. Here we have the line between
the elbows. Face forward. Perfect.

And morphos. Here, not so close
to the face.

More like you're holding
a bird or something.

(PANTING)

(PANTING HEAVILY)

(PANTING CONTINUES IN DISTANCE)

(HEAVY, RAPID PANTING)

♪ ♪

(PANTING)

- (INDISTINCT SPEECH) ..or something.
- They did it when we were in morning rehearsal.

They just put her things in
shipping boxes.

You don't think she had to go
underground, do you?

I don't care what happened. I
just wanted a call.

I'm really worried.

Fraulein Bannion. Kommen Sie.

I've just spoken with Madame
Blanc.

Well done, Miss Bannion.

(LAUGHS)

I imagine you will need to return home to settle
things and make arrangements for moving to Berlin.

No, no, I can start right now.

(LAUGHS) Good!

This is Miss Boutaher, our
technical director.

Guten tag.

And this is Miss Vendegast, she
acts as house mother.

...for our dancers
who reside here.

Where do you come from?

Ohio.

(CHUCKLING)

We operate as sort of a cooperative, as
we cannot pay our dancers a lot of money.

We offer dormatory style homes,
rent free.

You don't charge anything at
all?

Not a mark.

In this company we fully understand the
importance of a woman's financial autonomy.

Normally we would be full at this time
of year, but we have had a room open.

Yeah. Patricia's.

Do you know Patricia?

SUSIE:
Mmm...

No, I heard some girls talking
about her in the hall.

(DOOR SLAMS)

Now that you're one of us, I won't be coy. Patricia
has just left the company under sad circumstances.

We think she won't be back, so
there's room if you want.

We'll send you one of our girls
to help you with your luggage.

After lunch? It's alright for
you?

Yes! It's all... yes. It's
perfect.

(CHUCKLING)

- (THUNDER CRASHES)
- (KNOCKING AT DOOR)

- Hello, hi, I'm sorry I'm late. It's the rain.
- Hi.

Whenever it rains, everyone jumps in a
cab and like an idiot I just let ours go.

Hi, I'm Sara, and we're going to have
to take our chances on the street.

Do you have an umbrella?

Oh, when you weren't here by 6, I had
to take the room for another night.

God, Susie, I'm sorry, everything
was a mess at the company today.

- (LAUGHS)
- Why are you smiling?

I'm sorry, um, when you said Berlin a
second ago you said everyone in Berlin

and I just thought, that includes
me now, I live in Berlin.

Yes, congrats. I heard you were
a sensation today.

Have you called your
family yet, to tell them?

Miss Blanc came
into my audition.

- But she left right after.
- She's incredible.

The way she transmits her work, her energy. When it
shines on you it's addictive is the word for it.

She's tough. She kept the
company alive through the war.

When the right just wanted women to shut off
their minds and keep their uteruses open.

There was Blanc.

Thank you. (SPEAKING IN ANOTHER
LANGUAGE)

What? Was that French?

(LOUD BANG, RATTLING)

(YELLING IN DISTANCE)

It's a bomb! I can smell it.

There's a bank that way.

Don't you know what's happening
here?

The hijackers are negotiating the
release of the prisoners tonight.

The RAF. Baader Meinhoff.

They kidnapped an executive,
during war, the Nazi SS

an officer, and now he run's the
German employer's association.

You don't get how awful that is,
do you?

I'm sorry.

I'm just worried about my
friend.

(ALARM RINGING)

(PANTING QUIETLY)

(VENDEGAST HUMMING A TUNE)

(CONTINUES HUMMING)

(DOOR OPENS, CLOSES)

Danke shoen.

(QUIET, INDISTINCT CHATTER)

(RADIO STATIC)

(INDISTINCT CHATTER)

(PANTING)

(CHATTER IN GERMAN)

(TRAIN WHIRRING AND RATTLING)

(CHATTER)

(BUZZING, DOOR OPENS)

♪ ♪

♪ ♪

(INHALES DEEPLY)

(QUIET CHATTER)

♪ ♪

(KEYS JINGLING)

(BIRDS SQUAWKING AND TWEETING)

(TAKES DEEP BREATH)

Bedrooms are on the second
floor.

(INDISTINCT CHATTER
AND LAUGHTER)

(GERMAN CHATTER AND MUSIC
PLAYING OVER RADIO)

(SIGHS)

Why don't you try speaking to
me like you love me? Hm?

For a change?

This is my room. And here... is
yours!

- (CHATTER AND LAUGHTER CONTINUE IN OTHER ROOMS)
- We're neighbors

You can knock on the wall if you
ever need anything.

(GRUNTS QUIETLY)

(DOOR OPENS AND CLOSES)

- Good morning. Good morning.
- Hello. - Good morning.

How's your knee? Okay?

(INDISTINCT CHATTER, RAIN IN
BACKGROUND)

- Thank you.
- (QUIET CHATTER)

We have some happier company
business today, we have a new dancer.

This is Susie Bannion, who is
joining us from America.

I was privileged to witness her audition
yesterday, we are very lucky to have her.

Would you like
to say something, Susie?

Um, I don't know.

- Hello
- (LAUGHTER)

I feel like I'm not even here
yet, I don't know.

You join in whenever you feel ready, but
there's no rush. Welcome to our little family.

- I'm Susie.
- Hi.

Alright, so for today's rehearsal, I want to
pick up exactly where we left off with Volk.

I've spoken with Olga, and she's
going to dance Patricia's part.

And, Sara, I'd like you to dance
Olga's part.

Is everyone happy with that? Ok,
good.

(MID-TEMPO PIANO MUSIC PLAYING)

No, no no, music off please! One
moment.

Ok, so, and one and two and three.
You pull it from the ground, alright?

Gravity, remember. And everyone
from here, please? And Tanner

One and two and three. And one and two
and three (CONTINUES COUNTING IN GERMAN)

- This is shit. Such shit.
- Ok.

Ok, why don't we all break for
ten minutes.

- You can't even be bothered to respect your lies
- Miss Ivanova!

No no no no no. It's ok.

Let's face this.

Patricia is gone, Olga. We don't know where. If she's
gone into hiding, she wouldn't have told us, would she?

- She was have told someone.
- We know she had dealings with people who were interested in targets.

- We know there was another bomb in Kreuzberg last night.
- She wouldn't do that.

Shhshhshh. She wanted to live her beliefs.
Who doesn't admire that?

There's so much to change in the world. If she wants to live
in a cellar filling bottles with petrol, that's her choice.

And who won't be heartbroken if
she's shot by police.

(SOBBING):
You manipulate everything.

- She didn't trust you because
you are hypocrites!

- Will you take Olga
to her room, please, Tanner?

No, Miss Tanner!

Call Olga a cab. She's had
enough.

And is going to pack her things and
get the fuck out of this box of rabies.

(OLGA SOBBING)

(TANNER LAUGHING)

BLANC:
I'm sorry about that.

It's a hot thing we do.

Ok, so, who will dance the
protagonist?

- Sonja?
- I can't. Not yet.

Caroline?

Very well. We'll manage. I suggest
that we all take it from the top.

SUSIE:
I'll dance.

I know it. It's in the
documentary.

I-I've seen it a hundred times
at the library.

Sweetheart, we rehearsed this
piece

for ten months
before we performed it.

- I've seen it in person too.
- First do it alone, then.

We don't want to put the others
at risk.

The last thing we need

is someone to get kicked
in the ribs.

All right?

♪ ♪

(TAKES DEEP BREATH)

Ok, stop. Stop, stop.

Alright. Clear your head. I want you
to start over. Have you stretched?

This is no joke.

(QUIET CHATTER IN GERMAN)

- (DOOR OPENS)
- (LAUGHTER CONTINUES)

- (LAUGHTER STOPS)
- Olga.

(MUFFLED, DISTORTED WHOOSHING)

(MUFFLED, DISTORTED WHISPERING)

- (WHOOSHING, WHISPERING STOP)
- (LAUGHTER RESUMES)

(LAUGHTER CONTINUES)

(EXHALES)

(GRUNTING, SNIFFING)

(LAUGHTER ECHOING)

(PANTING)

WOMAN:
Olga.

Come over here! Come.

Come to me.

(INDISTINCT VOICE)

(WHIMPERS, SOBS)

(SOBBING,
SPEAKING INDISTINCTLY)

Remember you start on one with the music, and if you
feel ill at any time, just stop. You start here.

And...

(PIANO MUSIC PLAYS)

(GROANS)

(GASPS, COUGHS)

(PAINED GASPING)

(GRUNTS)

(YELLS, COUGHS)

(GASPS, GRUNTS)

(PAINED GRUNT)

- (CRUNCHING)
- (GASPS, SCREAMS)

(PAINED GASPING)

Louder!

(MUSIC VOLUME INCREASES)

Bravo. Bravo, Susie.

(PAINED GASPING)

(GROANS, GASPING)

(PAINED GASPING)

(GASPING WEAKLY)

(SOBBING)

(AGONIZED SCREAMING)

(GASPING)

(BREATHING RHYTHMICALLY)

(PANTING, WHIMPERING)

(SCREAMS, WHIMPERS)

(PAINED SCREAM)

(SCREAMS)

(PAINED GASP)

(WHEEZING)

(BREATHING WEAKLY)

(PANTING, WHIMPERING)

It'll pass.

You're not the first dancer who
lost the room.

(INHALES DEEPLY)

I'm not usually dizzy.

An occasional collapse is a
vocational hazard I'm afraid.

I... I didn't... I
didn't collapse.

You're on the floor and that's
not where the dance ends.

I was trying not to throw up
in your studio.

Susie, it's fine.
It was wonderful.

Sara, could you take her to her
room please?

You can rest
for the rest of the day.

(QUIET CHATTER)

- How unlikely.
- OK, come on girls. Let's go.

And one, and two, and three.

BLANC:
And...

(CLEARS THROAT)

(TRICKLING)

(BIRDS CHIRPING)

(PANTING)

No, Susie. We have to study
America.

I said no.

WOMAN:
Susanna.

(PANTING)

(HUMMING QUIETLY)

♪ ♪

♪ ♪

(WHEEZING QUIETLY)

(WHEEZING)

(INHALES DEEPLY)

(GROANS QUIETLY)

(RASPY GROANING)

(GROANING)

(CHUCKLES QUIETLY)

- (GRUNTS)
- (WHEEZING WEAKLY)

(CLUNKING)

(WHEEZING WEAKLY)

You don't look better.

Or are you this pale
all the time?

I will leave you.

Good night.

The Amish split from the
Mennonites in the 17th century.

They were worried the Mennonites
were becoming too liberal.

"They", not "we"?

You've left religious thinking
behind you then?

Are you not comfortable talking
about these things?

I don't know why we are.

It's difficult not to be curious
about you.

In two days you've auditioned,
been accepted and danced a lead.

How did your journey towards us
begin?

I went to New York, to the
Martha Graham Center.

I saw you there three times.

I went once by bus and I
hitchhiked the other two.

That's risky.

Were you punished?

Yeah.

But I felt I had to see you.

What did it feel today to dance Volk
in front of the one who made it?

I know that's a vain question.
Let me ask you another.

When you were dancing
what did it feel like

inside you, inside your body?

It felt like what I think it
must feel like to fuck.

You mean to fuck a man.

No, I...
was thinking of an animal.

(CHUCKLES)

You looked...

I'm going to ask Caroline to
work on your jumps with you.

Yours are nowhere near good
enough yet.

We'll have to build you up.

So that I can dance the
protagonist when you perform it.

I need to see you dance at this
level time and time again.

I can do it.

Olga made Volk seem like such
heavy lifting.

She never understood the heart
of Vol.

She lacked conviction.

I'm relieved she's gone.

Thank you for your help
with that.

(KNOCKING, DOOR OPENS)

Madame Blanc wants me to dance
the protagonist in Volk.

I didn't think it was going to
be like this.

She's so kind.
(LAUGHS)

That's wonderful.

Are you all right?

I'm fine. I was just...

I was just thinking about what Olga
said in rehearsal... about Patricia.

SUSIE: What do you mean?

SARA: She was active
in some political groups.

No one knows where she is
really, if she's all right.

Was it true... what Olga said?

Yes.

Patricia didn't trust
the matrons.

And I never understood why.

If I asked you for a favor
tomorrow would you do it?

Yes.

- (GRUNTS)
- We might get caught.

Okay.

(HEAVY BREATHING)

(HEAVY BREATHING CONTINUES)

GIRL (WHISPERING):
Mother. Mother.

(INAUDIBLE)

Mother. Mother.

WOMAN (WHISPERING):
Susanna.

(SCREAM)

(OBJECT SHATTERS)

(INDISTINCT VOICES, PANTING)

(GASPING, SHRIEKING)

(DOG BARKING IN DISTANCE)

(DISTANT BARKING CONTINUES)

(PAPER RUSTLING)

(SIGHS)

- Guten Morgen.
- Guten Morgen.

Guten Morgen.

Okay, well, let's meet soon.

- (INDISTINCT CHATTER)
- (CHUCKLING)

(CHATTER CONTINUES)
Yeah, right across from...

Yeah, no, I'm ready. I'm
almost out the door.

- I'll see you soon.
- Marketa.

- Marketa, come on.
- I'll see you soon.

Come on.

(INDISTINCT CHATTER)

(WHISPERS):
Come, come, come.

(DOOR CLOSES)

Are you sure no one's coming?

Oh, I'm sure. Don't worry.

Nobody comes here
during the weekend.

(LAUGHING)

Patricia's isn't here.

Try looking for Olga's.

SARA:
Olga...

She's not here.

I just need a number.

For her parents.

Or someone who can tell me for
sure she is or isn't in Berlin.

How odd.

(RUMMAGING)

(DISTANT LAUGHING)

1961.

(LAUGHING)

1955.

1949.

It's bizarre.

Here kitty, kitty, kitty.
Here kitty, kitty, kitty, kitty.

(LAUGHTER)

(LAUGHTER CONTINUES)

(RAUCOUS LAUGHTER)

(LAUGHTER CONTINUES)

(LAUGHTER CONTINUES)

There's nothing. Come on.

- (DOOR OPENS)
- (GIGGLING)

WOMAN:
Sit down.

This morning we turn our instincts inward. Miss Milius,
Miss Mandel, can you close the mirrors please?

Miss Marks, no music.

I want to start work on a new
piece, a piece about rebirths.

The inevitable pull that they exert,
and our efforts to escape them.

We learn it now, but Susie, you
will improvise freely at its heart.

I'm interested
in your instincts here.

The piece will be called Wieder
Offnen, Open Again.

Allez.

One, two, three, four,
one, two, three, four...

(COUNTING CONTINUES)

(DISTANT COUNTING)

(MUFFLED BREATHING)

(GASPING)

(PANTING)

(COUNTING CONTINUES)

One.

♪ ♪

(PANTING)

Did something happen?

- Hmm?
- To you, during it?

No.

Did you... did you...

Did you feel something there?

- Someone?
- (LAUGHS)

Or just something.

What made you say that?

I don't know.

- Am I confusing you?
- (CHUCKLING)

No, it's, um...

It's odd... It's the...

The sort of thing Patricia would
say. Bizarre.

Come on.

Let's get changed or Sonia will
leave without us.

I've got a dress you can wear.

Double caposhi.

(SINGING IN GERMAN)

(GIGGLING AND SHOUTING)

♪ ♪

Susie!

(INDISTINCT CHATTER
AND LAUGHTER)

Oh, Susie!

(INDISTINCT CHATTER
AND LAUGHTER)

(PANTING)

(SHUDDERING BREATHS)

(OBJECT CLATTERS)

(DISTORTED, ECHOING BREATHS)

(PANTS, GRUNTS)

(GASPING)

(DISTORTED VOICES)

Is it true?

(SHOUTING)

- (PANTING, GASPING)
- (SCREAMING)

(DISTORTED SHOUT)

(DISTORTED, GRUFF GROAN)

(DISTORTED SCREAMS
AND ECHOING VOICES)

SARA (ECHOING):
Is it true?

I know who I am!

I know who I am!

(DANCERS MURMURING QUIETLY)

It's all right. It's OK.

Is she all right?

It's just a nightmare.

Markos company special.

I'm surprised it took this long.

Hey, let me know
if she needs a Valium.

(GROANS)

(LAUGHING)

She's right. I dreamt of
hairballs and toilets

for three weeks before I got
a decent night of sleep here.

Move over.

I've only ever slept in bed with
my sister.

SARA:
We're sisters now.

♪ ♪

♪ ♪

♪ ♪

(BUBBLING)

(TEAKETTLE WHISTLING)

♪ ♪

WOMAN:
Herr Klemperer?

(TYPEWRITER CLACKING
AND DINGING)

And one, and two, and three,
and one, and two, and three...

(COUNTING CONTINUES)

(INDISTINCT CHATTER)

Do you want to do the jumps?

OK

And one, and two, and three,
and one, and two, and three

No, elbows higher.

All right, one moment.

Susie, part of the jump is muscle,
and that will develop as you condition

but you seem to have an aversion
to them and I don't quite see why.

- Are you so happy to be stuck to the earth?
- (LAUGHS)

There's a yield before the push which I
don't think you're quite understanding.

Caroline. Could you come and do
a series for us, please?

Thank you.

And now you.

♪ ♪

What I really want is to be on
the floor right now anyway.

Well, of course. That's because you're mistaking
physical weakness with artistic preference.

And because you're tired.

At this point, the jumps are opposing
the pull of the structure but...

It's soon for that,
don't you think?

The floor work is-is keeping
the other dancers pushed down...

So this-this could echo that.

...on-on a slightly higher
point of elevation.

If I stay close to the ground now, and go
straight into the jumps where you have them later

Then that's more to the point.

The resistance is more emphatic.

Right?

I don't know how aware you are

of what times we lived through
here 40 years ago.

Out of which
this piece was made.

We learned a great cost through those
years, the value of the balance of things.

Every arrow that flies
feels the pull of the earth.

But we must aim upwards.

We need to get you in the air.

(CHATTER)

Leave her, leave her, leave her!

(CHOKING, SHUDDERING)

(GASPING)

(SOBBING)

(CHUCKLES SOFTLY)

I heard it. I hope...

I'm looking for a dancer
from your company.

Who are you looking for?

You are Sara.

Yes. May I help you?

I am a friend from Patricia.

I don't know what to make of
any of this.

I know the kind of thing she was involved with, but I can't
see how any of this woud be happening inside the company.

Well, she describes something like a revolutionary
organization and a crisis of leadership.

With Markos very ill...

I live there. I have friends there.
I don't see any evidence of this at all.

No one has ever approached me or any
of the other girls as far as I know.

Well, read this.

What is this?

This is Patricia's diary.

Mother Markos, mother Meinhof

The dance rehearsal,
polital action

these two areas in Patricia's
life were of equal importance.

This is how transformation
happens.

How delusion is made.

Delusions are lies
that tell the truth.

- This says "witches."
- Mmm.

Maybe Patricia's fantasies
about witches

they are her way of processing
some other form of intrigue.

The company's a family. There's
a lot of love there.

Love and manipulations, they share houses
very often. They're frequent bedfellows.

Sorry, I don't see this.

Eat.

Eat.

(QUIET CHATTER)

Only...

maybe the police,
they missed something.

Our Patricia, she did spoke of
whole hidden areas of the building.

Actual rooms that are secret.

I don't want to be
disrespectful. I don't.

- But you're asking me and I'm telling you.
- Oh, please.

It's a dance company. We're not
talking about anything else.

Sara. Please, only look closer.

Thank you for caring for
Patricia

but I hope
you don't come again.

(DOOR OPENS)

(DOOR CLOSES)

- Good night.
- Good night.

Sara, hurry up.

I'm tired. I need the bathroom.

- Good night, Doll.
- Good night.

(MUSIC PLAYING,
LAUGHTER IN DISTANCE)

WOMAN:
She hasn't come back yet?

Maybe she's seeing somebody.

(INDISTINCT CHATTER, LAUGHTER)

Part of the issue always is not being
able to see your body in the space.

One angle in one mirror or
on film is not enough.

Movement is never mute. It is a
language.

It's a series of energetic shapes written
in the air like words forming sentences.

Like poems.

Like prayers.

Spells?

When you jump it's not the height but
the space beneath you that matters.

Every leap into the air
must be a coup de foudre.

- I don't understand.
- A strike of lightning.

A bolt of love, in fact.

That's beautiful.

There are two things that dance can
never be again: beautiful and cheerful.

Today we need to break the nose
of every beautiful thing.

And if you are going to be a
dancer you must learn French.

When you dance the dance of another, you
make yourself in the image of its creator.

You empty yourself so that her
work can live within you.

Do you understand?

Yeah.

You're in a company now. You have to find your right place.
You have to decide what you want to be for this company.

Is it the head? The spine?
The sex? The heart?

The hands.

I want to be this
company's hands.

♪ ♪

Higher... Higher... Higher...

Higher... Higher! Higher!

- (GRUNTING, PANTING)
- Higher.

Higher! Higher!

Higher!

Higher. Higher! Higher!

Higher! Higher! Higher!

Sometimes I only need
to be told twice.

(CHUCKLES SOFTLY)

(FRANTIC CHATTER IN GERMAN)

(DISTANT CLATTERING, FOOTSTEPS)

(DISTANT FOOTSTEPS,
MUFFLED CHATTER)

(DISTANT, MUFFLED CHATTER)

(DISTANT, MUFFLED CHATTER)

(FOOTSTEPS)

55, 56, 57, 58, 59-

(DISTANT WHIMPER)

60, 61, 62, 63.

65, 64, 63, 62.

23, 22, 21.

10, 9, 8, 7, 6...

Two, one.

(FIRM TAP)

(FIRM TAP)

(HOLLOW THUD)

(HOLLOW THUD)

(CLUNKING)

♪ ♪

(RATTLING)

(CREAKING)

♪ ♪

♪ ♪

(GASPS SOFTLY)

(QUIET CREAKING)

(SHOUT, GROAN NEARBY)

(YELLING NEARBY)

(DISTORTED SCREAMS)

(SCREAMING CONTINUES, MUFFLED)

(CHANTING)

(CHANTING CONTINUES)

Patricia wrote about three mothers, lost
in time, predating all Christian invention.

Pre-god, pre-devil. Mother
Tenebrarum, Mother Lachrymarum

and Mother Suspiriorum.

Darkness, Tears and Sighs.

I saw images of that last night in
porcelain and these very fine things.

You can tell they have money.

Patricia said that Markos claims
to be one of the three.

But there is disent amongst them. She
wrote about Markosites and Blancites.

An internal division.

Madame Blanc's
involved in this?

Do they believe they're witches?

You can give someone your
delusion, Sara.

That's religion.

That was the Reich.

The Reich had these things.

Insignia. Esoteric ritual.

These mothers, yeah, they could be codenames for founding
members with metaphoric histories, I don't know.

But I do know you're living with
dangerous people.

- Patricia could still be in-
- (DOOR OPENS)

...in there.

They could be holding her
in the building.

Well, I can not promise that your searches will
come back to inspect a cabinet full of porcelain

after all that has happened.
But we can try.

And in the meantime you must take care
of yourself. Perhaps you should leave.

You have somewhere you can go?

I'll figure it out.

And I think you should
put this back.

Or better still,
you leave it here.

Not good for them
to know that you have it.

(RATTLING)

♪ ♪

(DOGS BARKING, DISTANT CHATTER)

(WHISTLES BLOWING IN DISTANCE)

- (WHISTLING)
- (SHOUTING IN GERMAN)

(DOG BARKING)

(QUIET CHATTER)

(SPEAKING GERMAN)

(DOOR OPENS)

(QUIET, ECHOING WHEEZING)

(WHEEZING CONTINUES)

Is anyone among you sick? Let him call for the
elders of the church, and let them pray over him

anointing him with oil
in the name of the Lord.

And the prayer of faith shall
save him that is sick.

And the Lord shall raise him up.
And if he has committed sins-

(WHISPERS):
My daughter.

...they shall be forgiven him.

My last one.

She's my sin... She's what I
smear on the world.

(WHEEZING)

You're making some kind
of deal with them.

I don't know what you're
talking about.

How can you know what they're
going to ask you in return?

Sara, whatever you have in your
mind, nothing is wrong.

You just haven't
seen the bill yet.

Nothing's wrong.

♪ ♪

(QUIET, INDISTINCT CHATTER)

What's the matter with you?

Huh?

You don't be so afraid about the
white, Susie.

They need to see you
from the very back row.

Where is Sara?

She came early in the morning

did her makeup and left.

(QUIET CHATTER IN GERMAN)

(CHORUS VOCALIZING)

(CHORUS SINGING IN GERMAN)

(QUIET, INDISTINCT CHATTER)

(BELL RINGING)

Girls, Vier Minuten!

Four minutes!

Vier Minuten!

(QUIET CHATTER CONTINUES)

(DOOR CREAKING OPEN)

(PANTING)

(QUIET CHATTER)

(DANCERS WHISPERING
INDISTINCTLY)

PATRICIA (WHISPERS):
Sara. Sara.

Patricia. Patricia.

Patricia, I knew it! Sorry it
took me so long. I'm so sorry.

- What did they do to you?
- They would come here every day.

It's all over now.
I'll get you out.

The performance is starting upstairs.
Everyone will be looking the other way.

Get up. Get up.

Patricia!

Patricia, get up!

Get up.

(SCREAMS)

(SCREAMS)

Sara!

Sara!

(WHEEZING)

- (BELL RINGING)
- (QUIET CHATTER)

(RINGING STOPS)

(CHANTING)

(CHANTING):
Markos! Markos! Markos! Markos!

(QUIET CHATTER)

(WHISPERING)
Marketa, where is Sara?

(WHISPERING)
Sara!

- I don't know.
- Is she upstairs?

No. I looked.

TANNER: Just dance
as if she's with you.

(GRUNTING, PANTING)

(WHEEZING NEARBY)

Sara!

(SARA GASPING)

Go.

(SPEAKING GERMAN)

(DISTANT SQUEALING)

(SHUDDERING BREATHS)

♪ ♪

(RAPID PANTING)

(AGONIZED SCREAMING)

♪ ♪

(SCREAMS)

(RHYTHMIC BREATHING)

(SCREAMING)

No.

Sara, lie still.

- No! (GASPING)
- Sara.

Please!

(SCREAMS)

No! No!

♪ ♪

(RHYTHMIC BREATHING)

(RHYTHMIC BREATHING CONTINUES)

(RHYTHMIC BREATHING CONTINUES)

♪ ♪

(RHYTHMIC BREATHING CONTINUES)

♪ ♪

(RHYTHMIC BREATHING CONTINUES)

(RHYTHMIC BREATHING CONTINUES)

(RHYTHMIC GRUNTING)

(RHYTHMIC BREATHING
AND GRUNTING)

♪ ♪

(RHYTHMIC BREATHING CONTINUES)

(PANTING)

(SCREAMING)

- (MUSIC STOPS)
- (PEOPLE GASPING)

(SCREAMING)

(SARA PANTING, WHEEZING)

(QUIET CHATTER)

(SARA SCREAMS)

(SPEAKS GERMAN)

(WHEEZING, GASPING)

(CHATTER IN GERMAN)

(SARA CONTINUES WHEEZING
AND GASPING)

(SARA CONTINUES WHEEZING
AND GASPING)

(GASPING QUIETLY)

♪ ♪

- (GASPS)
- (WIND WHISTLING)

(VOICES SCREAMING,
WHISPERING INDISTINCTLY)

(DOOR OPENS)

SUSIE (TELEPATHICALLY):
I'm sorry I went off book.

MADAME BLANC (TELEPATHICALLY): This can't happen
again. You're only just starting to understand, Susie.

We brought Sara back upstairs to try
to complete the performance in time.

- But then you derailed it.
- Did I hurt those people?

Not this time.
They saw her dance.

That's all.

It's all a mess, isn't it?
The one out there...

(SPOKEN ALOUD):
The one in here.

The one that's coming.

Why is everyone

so ready to think
the worst is over?

(TELEPATHICALLY): I could
explain everything to you.

I think it would be wrong,
though.

(GASPS QUIETLY)

One, two, three, four...
(COUNTING CONTINUES)

♪ ♪

♪ ♪

Herr Doktor.

♪ ♪

(LAUGHTER, INDISTINCT CHATTER)

(CHEERING, APPLAUSE,
INDISTINCT CHATTER)

(SPEAKING FRENCH)

(PANTING)

(GRUNTING)

♪ ♪

(GRUNTS)

(QUIET, INDISTINCT CHATTER)

(WAITER SPEAKING FRENCH)

(SONG PLAYING IN FRENCH)

(FESTIVE CHATTER)

(SONG CONTINUES PLAYING
IN FRENCH)

(PANTING QUIETLY)

♪ ♪

(CHUCKLING)

(ANKE WHIMPERS)

♪ ♪

♪ ♪

(SINGING IN GERMAN)

(SINGING CONTINUES)

(SINGING CONTINUES)

(SINGING CONTINUES)

(LAUGHTER)

♪ ♪

♪ ♪

(PANTING QUIETLY)

(GASPING)

(SHRIEKING)

(GROWLING, SHRIEKING)

(SHRIEKING LAUGHTER)

(ECHOING FOOTSTEPS)

(DISTORTED, DISTANT SCREAMS)

♪ ♪

(HEAVY BREATHING)

(DISTORTED, DISTANT SCREAMS
CONTINUE)

♪ ♪

(RHYTHMIC BREATHING)

(WHEEZING, RHYTHMIC BREATHING)

(WHIMPERING)

(SOBBING, MOANING)

(GASPING)

(PAINED WHIMPERING)

(KLEMPERER WHIMPERING)

I'm ready, Madame.

(CHORAL SINGING)

(SOBBING)

You look afraid.

(LAUGHS)

She's afraid for you.

(CHORAL SINGING CONTINUES)

(HISSING, CHATTERING)

There will be nothing of
you left inside.

Only space... for me.

I came here for this.

You've all waited long enough.

It is happening.

It is happening!

(SINGING)

(RHYTHMIC GRUNTING
AND MOANING CONTINUE)

(SHRIEKS)

You come here.

Hmm?

You must have no doubts, Susie. If you do, I can take
you back. I can take all of this from your head.

You can forget everything.

I want this to be pure.

We all know what you want.

(STRAINING GRUNT)

This isn't for vanity.
This isn't

art!

There's something wrong here. Can you not feel
it? This isn't right. We have to stop this now.

We've been on two sides of this
for too long now.

(CHANTING)

(SQUISHING, CRUNCHING)

(WHEEZING)

If you accept me

you must put down
the woman who bore you.

Think of that false mother now.

(LABORED BREATHING)

Reject her.

Expel her.

You have the only mother you need here.
Death to any other mother. Say it.

(SCREAMING)

Death to any other mother.

(WHIMPERING)

(SHRIEKING CONTINUES)

(TAKING DEEP BREATHS)

Who are you?

For whom were you anointed,
which of the three mothers?

Mother death.

(WHEEZING, WHIMPERING)

Mother Suspiriorum.

I am she.

(WHEEZING, WHIMPERING)

(CHOKING, GASPING)

(MATRONS SHRIEKING)

(DEEP GROWL)

Markos.

(SHRIEKING CONTINUES)

Markos!

(MOANS SOFTLY)

(GROANING)

(GASPING, SOBBING)

(PANTING)

Markos!

Markos.

(PANTING)

Death to any other mother.

Markos.

Markos!

Markos!

Markos!

♪ Unmade ♪

♪ Unmade ♪

♪ I swear
that there's nothing ♪

(DISTORTED VOICES
HISSING AND SCREAMING)

♪ I swear there's nothing... ♪

I am the mother.

(DISTORTED VOICES SCREAMING
AND GROANING)

♪ ♪

- What do you ask?
- To die.

Mother, we're so tired.

(SOBBING, MOANING)

- What do you ask?
- To die.

I want to die.

Sweet girl.

What do you ask?

Tired.

♪ Come under my wings ♪

♪ Come under my wings ♪

♪ Come under my wings ♪

- ♪ Under my wings. ♪
- SUSIE: Yes.

Dance. Dance. Keep dancing.

It's beautiful.

It's beautiful.

It's beautiful.

(ECHOING DEEP BREATHS)

(ECHOING GASPS)

(GASPING)

(QUIET CHATTER IN GERMAN)

Good. Good.

(SIGHS)

(SINGING IN GERMAN)

(GASPING, PANTING)

(GRUNTING)

(WHIMPERING)

(BIRDS CAWING)

(PANTING)

My god, what a night.

I definitely drank
too much wine.

(SPEAKING FRENCH)

(CHATTER CONTINUES IN FRENCH)

Guten Morgen.

Good morning.

- (GRUNTING)
- (HUMMING A TUNE)

(WHIMPERING)

(GASPING WEAKLY)

(GASPS, GRUNTS)

(QUIET CHATTER IN DISTANCE)

(QUIET, SHUDDERING BREATHS)

♪ ♪

♪ ♪

(DOOR OPENS)

I regret what my daughters
did to you.

I wasn't in a position
to prevent it.

I believe you deserve
to know the truth.

Your wife did try to make it
south

to Teplice.

She was apprehended by border
guards

in the woods
just outside of Glashütte.

She was then taken
to Theresienstadt camp.

She lived there for 20 days.

On the 11th of November, 1943

the commandant of the camp,
a man named Burger...

ordered all 40,000
detained there

stand outside in the cold
for a census.

Hours and hours passed.

Some hundreds died of exposure.

Your wife had two women
with her as she died.

Women she had befriended

who made her feel
that she was not alone.

Her final thoughts were of her birthday when
you took her to a concert as a surprise.

Chopin and Brahms.

(WHIMPERING, SOBBING)

It was the first time
you held her hand.

She was cold when she died.

But she wasn't afraid.

She was thinking only of you.

(KLEMPERER SOBBING SOFTLY)

Of Anke Meier...

...of Patricia Hingle...

...of Sara Simms...

...of Susanna Bannion...

of all the women
of your undoing...

...every memory will vanish.

They will melt away in the sun

and be gone.

(GASPING, CHOKING)

(DISH SHATTERS)

Herr Doctor.

(TAKING DEEP BREATHS)

- Ja?
- Ja.

(TRAIN APPROACHING)

(QUIET, INDISTINCT CHATTER)

(CHATTER CONTINUES IN GERMAN)

♪ ♪

♪ ♪

♪ ♪

Subtitles by explosiveskull