Suspiria (2018) (1-3-12) (Green & Gebert) (Unprod)

Suspiria
by David Gordon Green and Chris Gebert
1/3/12
OVER BLACK:
A piano chord strikes.
FEMALE VOICE (O.S.)

Let us begin...
INT. MUSIC CLASSROOM -- DAY
A YOUTH CHOIR rehearses in a room with mirrored walls. A

CLASS of TWELVE YEAR OLD GERMAN GIRLS practice a song for an
upcoming performance. Despite their youth, these girls are
clearly blessed with exquisite vocals and fundamentals.
Their choir director, VIVICA CRUM (35), watches over each

girl and adjusts posture, volume, etc. She has the seriousness
of a long-time instructor.
THERESA BANNON (30) sits watching their reflected IMAGES in

the mirrors behind her. There is a warmth about her, a woman
completely content in her surroundings.
A SHARP GASP freezes the room as Theresa lifts herself to

balance against a wall. FOR THE FIRST TIME we reveal that
she is NINE MONTHS PREGNANT. She clutches her belly and
breathes... focused with a hesitant, knowing smile.
Students WHISPER to each other with concern.
VIVICA
Theresa?
INT. TAXI -- MOMENTS LATER -- MOVING
A cab drives through the streets of MUNICH, GERMANY - breezing

past slow moving traffic. Horns honk.
Vivica rides with Theresa in the back seat. Theresa breathes

methodically while Vivica strokes the back of her head.
Both women exude confidence and serenity.
EXT. APARTMENT -- ESTABLISHING
An elegant, historical, apartment building.
INT. APARTMENT/HALLWAY -- MOMENTS LATER
Elevator doors open and a midwife, ROBERTA BLANC, greets our

ladies. She is dressed in a ceremonial robe and wears a
surgical mask.
MADAME BLANC
Theresa, let me help you. Relax as
you can. Come this way.
She takes over for Vivica and guides Theresa into the
apartment. Vivica stands, perhaps useless.
2.
The residence establishes a timeless elegance of well-to-do

women embedded in the world of international music.
INT. APARTMENT/BEDROOM -- LATER
Theresa moans in the throws of child birth. She holds onto

the bed as she squats on the floor. Strands of hair stick to
the sweat on her face.
Vivica stands over her partner and wipes her forehead.
Madame Blanc kneels behind Theresa. Another WOMAN enters the

room carrying a basin of water and sets it down. TWO MORE
WOMEN enter to observe.
Theresa closes her eyes and breathes. A song somewhere near

ecstasy.
A woman WHISPERS something in Vivica's ear. Vivica gently

takes Theresa's hand. She squeezes tight.
CLOSE ON THEIR HANDS
A CHILD'S CRY.
MADAME BLANC (O.S.)

She's beautiful.
VIVICA (O.S.)
Oh Theresa. She is beautiful.
Theresa smiles... relieved. Vivica swells with tears.
CUT WIDE as Vivica turns to the new mother.
VIVICA (CONT'D)
Theresa? - Sweetheart?
Theresa starts laughing awkwardly...
Madame Blanc swaddles the CRYING INFANT in a cloth. The CAMERA

FOLLOWS HER into ANOTHER ROOM and settles on an ELDERLY WOMAN
who sits in the shadows looking through the window.
Madame Blanc hands the child to the old woman. The woman
wipes blood from the baby's face with her bony fingers.
MADAME BLANC
My child, you will be taught with
grace and raised through the strength
of our covenant.
(whispers to the child)
AD SATANNAS QUI LAETIFICAT JUVENTUTEM
MEAM. (To Satan, giver of youth and
happiness).
She holds the infant protectively.

3.
MADAME BLANC (CONT'D)

Protect her! Blessed be the child in
the arms of The Almighty!
The women in the OTHER ROOM chant in hushed Latin phrases.
The Ancient Woman nods and then SINGS a wordless lullaby

that will be the THEME TO SUSPIRIA.
Our frame SLOWLY PANS to reveal an ornate emblem mounted on

a wall. It is a hexagram surrounded by an ouroboros. The
symbol representing the Theosophical Society.
MADAME BLANC (O.S.) (CONT'D)

(in a whisper)
You can see it in her little eyes.
She's been looking for us. And we've
been waiting for her...
INT. AIRPLANE -- NIGHT
The image finds its focus and we identify SUZY BANNON (17)
sitting on an airplane staring out the window at her
reflection in the night sky. A light is on above her, but
most of the cabin on this international flight is dark.
MADAME BLANC (O.S.)

That's right little one... Waiting
for you.
EXT. FOREST -- NIGHT
Haunting landscape shots of the dark woods. Cutting through

the wind WE HEAR horrific, pained screams for help echoing
through the trees... Approaching.
CUTTING RIGHT TO THE ACTION:
A YOUNG FEMALE WITH RED HAIR stumbles and looks over her
shoulder. This is a person running to escape a violent and
emotional trauma. Her boarding school uniform is ripped and
she is speckled with blood.
INTERCUT WITH:
AERIAL POV SHOTS race through the woods after her.

SCREECHES/HISSES/WHISPERS - distorted by the heavy wind.
EXT. EDGE OF TOWN -- MOMENTS LATER
The frightened victim, PATRICIA (16), runs out of the woods.

She finds herself in an OLD GERMAN TOWN that hasn't changed
in 200 years. Torn from a fairy tale.
She runs down the cobblestone streets crying for help, banging
on random shop doors desperately.
4.
Up ahead, a row of townhouses. Lights turn on in a window.
Through an elegant iron fence, the CAMERA WATCHES Patricia

fall to her knees. Her quivering voice reverberates:
PATRICIA
Someone...! Please...!
(in French)
Anyone?
The front door of a house opens and a kindly woman, ALMA,

looks to her.
Patricia trembles as she catches her breath. Her pretty face,

streaked with smeared make-up and tears of blood. Lightning
flashes. Her eyes close in SLOW MOTION. We hear a clock TICK.
INT. HOUSE/BEDROOM -- NIGHT
CLOSE ON a hanging clock. Gentle thunder.
Patricia sits on a bed. She has bathed and wears a modest

robe. She is vacant, disconnected from her surroundings.
BERNARD, an older man, stands across the room smoking a pipe.
Alma kneels at the foot of a bed with a bowl of water. She

whispers a prayer in German as she cleans a wound on
Patricia's forehead with a wash cloth. Patricia flinches at
the sound of howling wind outside.
Bernard takes notice of an oil painting depicting the Virgin

Mary that hangs on the wall. He crosses himself.
Patricia trembles. Alma takes her hand as if to read her

palm and then looks into her eyes with compassion.
ALMA
(thick German accent)
You are from the academy?
Patricia nods.
BERNARD
What happened to you?
Alma quickly silences him.
ALMA
Quiet!
BERNARD
Do not go back to that school.
ALMA
It is okay. We will tell no one.
5.
She hands her some money from her pocket.
BERNARD
Sleep now, but leave before dawn.
The train is a short walk from here.
ALMA
Don't be afraid. We will watch over
you tonight.
They lay her into bed. She is exhausted.
PATRICIA
Thank you.
Patricia closes her eyes as Alma ushers Bernard out of the

room. Her breathing becomes calm.
A LONG SQUEAK awakens Patricia from her meditation. She looks

and sees the large window opening slowly inward. Wind blows
through the room.
Patricia gets up and latches it shut. SILENCE.
Looking down, she realizes that she is on the fourth floor

overlooking the cobblestone street. Quick, MYSTERIOUS FIGURES
AND SHADOWS traverse the street. WHISPERS lost in the wind.
She turns in apprehension and walks to her door. She locks

it with a nearby key and pauses. Looks all around.
A light tapping on glass.
Patricia goes to the window. She leans closer for a better

view. She sees a reflection of her face in the glass. As she
steps away, the eyes of her reflection remain where they
were and begin to glow like an X-ray. A light bulb explodes
and begins to STROBE.
SUDDENLY, she is sucked violently to the window. She SCREAMS

and struggles against a supernatural force. Her body seems
possessed as it has a seizure and spins on the wall.
INT. HOUSE HALLWAY -- CONTINUOUS
CAMERA LOW. MOVING FAST. - Bernard runs with heavy footsteps

to Patricia's door and finds it locked.
BERNARD
(in German)
What is the matter in there?! What
is happening?! Open this door! Open
this door!
6.
INT. HOUSE/BEDROOM -- CONTINUOUS
A FIST smashes impossibly through the glass of the window

and grabs Patricia by the neck. She CLAWS to escape. DOZENS
of hands emerge all around her, grasping.
EXT. HOUSE -- CONTINUOUS
We hear SCREAMS. Clouds of low fog drift past in the rain...

Down the empty street. A few NEIGHBORS look out their windows.
Some step outside.
INT. HOUSE/HALLWAY -- CONTINUOUS
Alma rushes to join Bernard at Patricia's door. They hear

the cries from the other side.
Alma fumbles through a ring of keys before finding the correct

fit. She throws the door open and sees inside the room...
Wind and rain and broken glass swirl in the strobe as Patricia
crouches on the ledge of the window bleeding from her temple.
She moans and blinks rapidly with her eyes rolled back into *
her head.
Alma and Bernard stare at the disturbing and unnatural image.
Patricia's voice is demonic:
PATRICIA
Beware of the Iris.
Patricia falls over the ledge and disappears.
EXT. GERMAN TOWN -- NIGHT
Alma and Bernard exit their front door as DOZENS OF VILLAGERS

have gathered around. From their perspective WE part the
crowd to see Patricia's body... Her face impaled viciously
on the iron fence post. Blood pools beautifully on the
cobblestone below.
INT. AIRPORT/GERMANY -- EARLY MORNING
CAMERA LOOKS through the floor-to-ceiling window of an airport

and sees the fading engines of a 727. Impressions of travelers
cross in reflections on the glass.
CAMERA PULLS BACK and PANS to see PASSENGERS entering the

terminal as they disembark.
Among the crowd, Suzy carries two shoulder bags and takes
her first breath of curiosity in this foreign country.
She stops behind glass exit doors to pull her dark hair back
and absorb the moment of the circling German advertisements
and conversations. A photographic banner of The Black Forest
says, "Once Upon a Time..."
7.
EXTREME CLOSE-UP SHOTS:
The mechanism of the ELECTRIC DOOR as it closes behind her.

SOUND IS AMPLIFIED- Whir, psssh, tink...
EXT. AIRPORT -- EARLY MORNING
A CAR SPEEDS BY, splashing a puddle onto the curb.
The rain has stopped as Suzy rests her suitcase at the curb.
She steps into the street at a TAXI STAND.
Her effort to hail a cab ends with a blaring horn and SPLASH.
The next cab pulls over. She looks to her heavy bags, then
to the CAB DRIVER. She forces a smile.
Suzy picks up her bags as the driver pops the trunk. She
wrestles the luggage into the car and then closes the trunk. -
SLAM.
INT. CAB -- LATER
Suzy cruises through the lovely small town. Charming villagers

turn to the cab as it passes.
EXT. FOREST -- MORNING
The cab drives through a beautiful winding forest road.
We are drenched in the imagery of the woods, Suzy's reflection

in the window and the facial features of the driver watching
from the rear view mirror.
CLOSE ON: POV of the cab. WATER gathers on the lens. Light
scatters as the optical effects of the water create a
distortion to the image.
EXT. ACADEMY ENTRANCE -- MORNING
The taxi approaches THE ACADEMY.
Suzy watches a NURSE and a TEACHER in the woods as they drive

in. On the other side of the road, she sees TEN OLD FEMALE
STUDENTS in uniform leaping playfully back and forth across
a creek with white ribbons in a rambunctious game.
INT. CHOIR HALL -- MORNING
An ALL GIRL'S CHOIR is lead by a formal looking CONDUCTOR.
SONG CARRIES OVER:

8.
EXT. ACADEMY -- CONTINUOUS
SEVERAL STATIC ESTABLISHING SHOTS: We see the classical

architecture and eye-catching landscape of this prestigious
institution. Beautiful woods surrounding.
INTELLECTUALS, MUSICIANS and GENERAL STUDENTS linger in the

courtyard. - Pedestrians flow in and out of multiple wings
of this ALL GIRLS BOARDING SCHOOL. Some on old bicycles.
Girls age 10 - 18 make up the student body.
Suzy stands next to her bags as she pays the cab driver.
SUZY
Thank you.
She takes in this new environment as the cab drives away.
PAVLO, 50's, is a tall, handsome maintenance man mending a

fence. SHEEP stir in the distance. Pavlo smiles at Suzy.
MISS TANNER (O.S.)

Ah, we've been waiting for you!
INT. ADMINISTRATION OFFICE -- MORNING
Suzy sits down across a desk from MISS TANNER. Tanner's broad
shoulders, thick German accent and conservative dress give
her more intensity than a typical administrator.
MISS TANNER
It is so nice to welcome you to our
institution.
SUZY
Yes ma'am. Thank you.
MISS TANNER
As I'm sure you are aware, we have
the finest academic and artistic
program in the world, designed for
young women like yourself. Students
from seventeen countries studying
the arts and sciences as well as
classes in etiquette and exercise.
Our goal is to achieve perfection of
mind and body and reach the limits
of human capability. The changes
this institution can bring about in
a woman is profound. Where you may
have doubt, soon you will have
certainty.
Miss Tanner opens Suzy's file. Suzy notices tattoos of Latin

text on Miss Tanner's left wrist and a strange symbol on her
left hand. A grid of SURVEILLANCE VIDEO MONITORS of the school
grounds are mounted on the wall beside her.
9.
SUZY
It was an honor to be invited.
MISS TANNER
Short notice, to be sure. There has
been a sudden opening within our
student body.
A KNOCK at the office door.
MISS TANNER (CONT'D)

(in German)
Come in.
CHRISTOPHER, a young assistant steps in. A shy gaze through

greasy hair captures Suzy's attention. He speaks softly with
a German accent.
CHRISTOPHER
You wanted to see me Miss Tanner?
MISS TANNER
Christopher, this is Suzy Bannon.
She just arrived from the United
States. Will you take her belongings
and deliver them to her dormitory
please? Additional luggage and so
forth will be arriving within the
hour.
Suzy smiles at Christopher who looks her in the eye.
CHRISTOPHER
Yes Miss Tanner. Right away Miss.
He picks up the luggage. Tanner dismisses him with a gesture.
MISS TANNER
Very well.
(to Suzy)
Now, we have strict guidelines
regarding communication outside the
school. There are telephone units in
the library that must be reserved in
advance. Otherwise, contact in all
of its various and modern forms is
non-existent here.
Suzy takes a breath and swallows this realization.
SUZY
Yes, my aunt informed me to leave
everything behind.
MISS TANNER
Technology is a crutch.
(MORE)
10.

These devices undermine grammar and
penmanship. With our remote location
you will have no use for them. We
require our students to take an active
step in seeking knowledge. Anything
you want to learn can be found with
the help of our unparalleled staff
and our various collections of
academia in the archives.
SUZY
Yes ma'am. I understand.
MISS TANNER
Now follow me. We will begin our
tour of the facility.
A STUDENT stares into the lens of one of the surveillance

monitors.
INT. GREAT HALL -- MOMENTS LATER
Miss Tanner and Suzy enter a large artfully designed entry

room. The attention to detail is that of a museum. BOLD
COLORS, heavy curtains of textured fabric, elaborate tiles
and a burnished staircase with a railing of golden snakes.
At the far end of the hall, the beautiful MADAME BLANC (the
midwife from the opening) stands by the main doors talking
with TWO FEMALE STUDENTS. She is of the highest formality.
Make-up, hair, jewelry and dress imply this woman is over-
dressed for every occasion.
Miss Tanner turns to Suzy as they cross the hall.
MISS TANNER
I want to introduce you to Madame
Blanc, our Directress.
(calling)
Madame Blanc?
Madame Blanc turns from her conversation.
MADAME BLANC
Yes?
MISS TANNER
I would like you to meet our new
student-
MADAME BLANC
Suzy Bannon. Oh yes.
(to the girls)
Excuse me. If you please...?
The students nod politely.

11.
Madame Blanc joins the ladies in the center of the room. She
looks Suzy over with eyes of honest judgment and takes her
hand.

Suzy Bannon! Such a pleasure to have
you with us. And you join us with
the highest of expectations.
SUZY
Thank you. It's very nice to meet
you as well.
MADAME BLANC
We actually met before. Long ago.
SUZY
We did?
Blanc laughs.
MADAME BLANC
Of course you would never recall.
You were just an infant. I knew your
mother. You have grown to bare quite
a resemblance to her. Pretty. Very
pretty indeed.
SUZY
Thank you.
MADAME BLANC
Such a tragic loss for us all.
SUZY
Excuse me?
MADAME BLANC
Your mother. Taken far before her
time. And how is your Aunt Vivica
feeling?
SUZY
Much better, thank you. Almost
completely back to health.
MADAME BLANC
That's good to hear. I only heard
about her illness through a friend
of a friend. Such a secretive person.
To be honest, we have not always
seen eye to eye. It was only after a
great undertaking on my part that
we... reconnected.
SUZY
It's such beautiful school you have.
12.
MADAME BLANC
(laughs)
Thank you. We work very hard to make
it so and your contributions will
make it shine even brighter I'm sure.
With that, I offer you our academy's
official welcome in the name of the
school's founder, Helena Marcos.
She nods to a large oil painting of a young HELENA MARCOS.

She is the elderly woman we recall from the opening sequence.
MISS TANNER
I am sure I do not need to tell you
of the renowned spotlight Miss Marcos'
legacy shines upon this school. Her
teachings and philosophies are the
core of this Academy.
A dog BARKS off screen. Madame Blanc immediately turns.
A young boy ALBERT (9), is in the entryway. His awkward

demeanor is exaggerated by his schoolboy attire. A German
Shepherd, BRUNO, runs past. The dog growls.
MADAME BLANC
Albert, enough of your games. How
did Bruno get inside?
ALBERT
I got the dog. I found him.
MADAME BLANC
I told Pavlo specifically to keep
the him outdoors. And it's time for
your piano lesson. Take him out and
wait for me in my office. And do
wash your hands.
Albert turns. He pulls the dog hard by the collar.
Madame Blanc's true charisma begins to show itself. Her light

confident smile is unlike Miss Tanner.

(to Suzy)
My nephew Albert. Adorable isn't he?
Suzy smiles bashfully and nods.

(to Miss Tanner)
She is very shy.
Madame Blanc stares at her deeply. Subtly, her eye color has
changed. Something is different in her aura.
13.

We are pleased that you are here.
And I have the highest of hopes for
you.
SUZY
Thank you.
Madame Blanc turns to Miss Tanner.
MADAME BLANC
(in German)
I approve. Please continue.
EXT. GARDENS -- MOMENTS LATER
Miss Tanner opens the doors to an idyllic garden area.

Flowers, old statues, benches and manicured bushes lead toward
splendid meadows near the forest. YOUNG GIRLS do cartwheels
on the lawn. A few OTHER STUDENTS pass by laughing. A
PAINTING CLASS is being taught in the sculpture garden they
look at Suzy as she passes.
Pavlo, the man Suzy saw outside earlier, passes them with a
wheelbarrow full of gardening tools. His dog runs to catch
up with him. Miss Tanner smiles as he wrestles playfully
with his dog.
MISS TANNER
Ah, here is Pavlo, our general
handyman.
(to Pavlo)
Say hello Pavlo.
Pavlo stops and acknowledges the women with nod.

Quite the gentleman. He is obsessed
with his appearance. And quite
handsome. Don't be afraid to say so.
As he smiles, we see his full set of FALSE TEETH.

He is very proud of his smile. Ever
since he got his new teeth.
Miss Tanner gives him a suggestive nod and then carries on

around him. He watches closely as they pass.

Last year he ate so much candy and
sweets that his teeth became black
and decomposed in his mouth. Doctor
Verdegast took him away one morning
and brought him home a day later.
(MORE)
14.

(claps)
A new man!
INT. PERFORMANCE HALL -- MORNING
Close on FEET. - Dance shoes take the magnificent stage as a

class of YOUNG GIRLS (12-15) rehearse.
The class is being taught by MISS RAMSDEN. Her sharp features

and slender build still fit beautifully on the stage. Her
hair is cropped tight, slicked down and parted like a man's.
She critiques, conducts and commands.
They perform to LIVE MUSIC. A lit cigarette rests on the

edge of a piano next to a pair of sunglasses. They belong
to DANIEL, a blind piano player. His eyes are cloudy from
severe cataracts. One is surrounded by scar tissue. A
METRONOME keeps the pace. The music is up-beat and felt.
Suzy and Miss Tanner enter and observe.
MISS TANNER
Once you have passed our physical
exam, you will fulfill the
requirements of grace and flexibility.
And it is at our semester selections
that Madame Blanc takes our top girls
to an exclusive training and
counseling excursion with a jury of
our most enlightened educators. If
you excel, you might be chosen.
A bell rings.
INT. HALLWAY -- DAY
Girls of all ages walk the hallway between classes. They

talk amongst themselves.
INT. CLASS ROOM -- MOMENTS LATER
The door opens. Miss Tanner and Suzy enter an academic

classroom where MISS AMIEL is beginning to discuss calculus.
The class is settling in.
OLGA turns her head. She is a tall, beautiful Danish blonde

with cat-like eyes who sits beside the stunning MIRIAM.
MISS TANNER
Excuse us Miss Amiel. Attention
please! I would like to introduce
Suzy Bannon. A new student of the
academy who will be joining your
classroom.
15.
MISS AMIEL
Welcome, Suzy. So nice to meet you.
Take a seat by the corner. Under
your desk, you should find everything
you need.
Suzy steps forward into the intimidating crowd of her fellow

students. Awkward smiles emerge as she moves to her seat.
SUZY
Is this the seat she said was mine?
MIRIAM
No, that one is Lelanna's. You sit
there.
SUZY
Oh, I'm sorry. Thanks.
MIRIAM
Thank you.
MISS AMIEL
Miriam, manners!
MIRIAM
Just having fun.
Olga turns from in front of Suzy. Miriam watches suspiciously.
OLGA
You'll have the bed next to the
window.
SUZY
Excuse me?
OLGA
They told me you are my new roommate.
I'm Olga. The empty bed is yours.
Room 405. You can decorate however
you like.
SUZY
Oh. I haven't even been to the room
yet- I need to go unpack actually.
So... very nice to meet you.
Olga smiles. Miss Tanner and Miss Amiel whisper discretely

in the doorway. SARAH, a frail and pale looking French girl
with glasses turns to Suzy.
SARAH
Welcome to the academy.
SUZY
Thanks. What's your name?
16.
SARAH
Sarah.
SUZY
I'm Suzy.
Suzy looks around the room and notices the other girls are
staring at her. Someone snickers. Suzy gives a nervous laugh.
MISS AMIEL
We will be fine from here, Miss
Tanner.
With a nod, Miss Tanner leaves.
MISS AMIEL (CONT'D)

It is wonderful to have you here
Suzy. I'm certain the girls will
make you feel right at home.
Suzy smiles and blushes.
INT. SUZY/OLGA'S DORM ROOM -- NIGHT
CLOSE ON A FINGERNAIL being polished. Olga sits on her bed

in her underwear painting her nails. Suzy looks out the window
of her new room and begins to unpack. Olga doesn't look up.
SUZY
This is a serious place. Everyone is
very serious. I guess I wasn't
prepared for how isolated it would
be here. We're in the middle of
nowhere.
OLGA
You'll get used to it. And don't let
the faculty intimidate you. It's
what they do to test the new students.
It's not that serious. They like to
take you off guard. They tell us it
brings our insecurities to the surface
so that we can shed all the doubt we
have within us. Or some such nonsense.
If you free yourself from repression,
all of your pleasures rise to the
surface of your senses.
SUZY
So that's how they speak with
everyone?
OLGA
Of course. They're very weird aren't
they? Do you know why you were chosen
to come here?
17.
SUZY
My mother and aunt went to the school-
OLGA
No. I mean here. In this room.
SUZY
I was told there was a sudden opening.
OLGA
My roommate Patricia was sent home
last week. She was expelled for being
dishonest. She was keeping secrets
and emotions from the staff and
falling behind in her studies. She
was a little foolish. Trust me, the
charm of this place comes when you
surrender to their philosophy. It
actually works far better if you
don't resist.
Suzy looks to a bookshelf and sees a photo of a beautiful

red headed girl.
SUZY
Is this Patricia?
The moment is interrupted by A KNOCK on the door. Olga covers

herself with a blanket.
OLGA
It's open. Come in.
The door opens slowly. It's Christopher carrying a large

trunk. Olga leans back, removes her blanket and casually
spreads her legs.
OLGA (CONT'D)
Oh yes, Christopher. Did you come to
service us?
Christopher blushes. Suzy hides her smile.
SUZY
You can put that by the window.
CHRISTOPHER
Suzy? Miss Tanner wanted me to make
sure you have all that you need.
SUZY
Yes, thank you. I think I do.
They smile at one another. There's a connection.
OLGA
Ciao, Christopher.
18.
He turns and closes the door. She closes her legs.
OLGA (CONT'D)
He was blushing. Did you see that?
SUZY
What?
OLGA
I'm not sure he's ever seen a girl
in her underwear before. He's cute...
Just doesn't have any-
Olga rubs her fingers together indicating money.
SUZY
He has a funny smile.
OLGA
I know he does. Do you have a
boyfriend back home?
SUZY
No. I don't. I lived with my aunt
and she was very strict about my...
relationships.
OLGA
On occasion the teachers will take
us into the town for this and that...
But the people don't really like us
here.
SUZY
Why not?
OLGA
Well, if you ask me... The men are
afraid of our education and the
empowerment of women that this school
promotes. And the women? They don't
like us because all of their men
want to fuck us.
Suzy looks at the highly stylish/expensive decor of her new

roommate, not knowing how to respond.
Olga blows a quick breath on her wet fingertips.
INT. HALL -- CONTINUOUS
Christopher listens with his ear pressed against their door.
INT. CLINIC -- MORNING
This clinic has a modern feel to it. Bright lights buzz from
the cabinets. Sterilized tools gleam.
19.
DR. VERDEGAST
Good morning Miss Bannon. I am Doctor
Verdegast!
DR. VERDEGAST is a very cheerful German doctor. One lens of

his glasses is significantly thicker than the other. He is
followed by his short, plump, female nurse YAPHA who looks
more like a man than Dr. Verdegast does.
DR. VERDEGAST (CONT'D)

This is my nurse, Yapha. As with all
new students I'm going to begin with
a physical exam. I assume you've
been through this before?
SUZY
I had a check-up before I left home,
so I'm not sure I understand why I'm-
Suzy sits in a medical gown on the exam table as Verdegast

snaps his rubber gloves.
DR. VERDEGAST
Simply procedure. Do you drink
alcohol?
SUZY
No.
Verdegast lifts her hands and examines her fingers.
DR. VERDEGAST
Mm hmm. Do you smoke cigarettes?
SUZY
No.
DR. VERDEGAST
Excellent. Please sit up straight.
He lifts her hair and examines her neck.

Ah, yes. Prolonged neck, curving
inward at the spine. Natural alignment
in the thoracic and lumbar. Good
posture. Yes, Yapha?
Yapha nods in agreement. Suzy looks confused as Verdegast

smells her hair.

And well groomed from your head to
your extremities. Lovely.
(MORE)
20.

First we require all students to
give non-invasive blood samples
through a fingerprick and after that
has been collected...
(smiling big)
We will begin the examination!
SERIES OF SHOTS:
-Yapha pricks Suzy's finger for a blood test.
-Suzy steps onto a scale. Confident.
-Her height is taken. Self-assured.
-Verdegast listens to her heart beat. Strong inhale.
-Yapha snips a hair sample. Curious.
-Verdegast tests her reflexes. Determined.
-Verdegast shines a light in her eye. Submissive.
EXT. GARDENS -- DAY
Suzy and the girls take pictures with LARGE FORMAT CAMERAS.
INT. CLASS ROOM -- DAY
Suzy and the girls wear HEADPHONES and take a LATIN test.
INT. ART CLASS ROOM -- DAY
Suzy and the girls paint with their hands on canvas in

abstract form. Daniel plays piano for them. Everyone laughs
and enjoys themselves.
EXT. SCHOOL GROUNDS -- DAY
A group of YOUNG GIRLS (10 to 12) perform gymnastics on vaults

and rings in the haze of the day.
Suzy stretches with a group of CLASSMATES, including Olga,

Sarah and Miriam. The girls chat with one another while
keeping a watchful eye on Suzy, sizing her up.
Miss Ramsden is dressed in formal attire with a whistle

hanging from her neck.
MISS RAMSDEN
All right girls, line up!
The students take their places at an imaginary starting line.

21.
MISS RAMSDEN (CONT'D)

One lap around the school grounds.
Suzy, if you fall behind just stay
on the path. It will lead you back.
Okay, ladies!
She blows her whistle and the girls take off running.
EXT. WOODS -- MOMENTS LATER
Suzy leads the pack, looking over her shoulder. She pushes
hard, trying to prove herself to her new classmates. Olga
and Miriam are not far behind.
Suzy glances over her shoulder again. This time her toe
catches a root sticking out of the path and she takes a dive,
headfirst into the dirt. Suzy tries to gather herself as the
other students rush past, accompanied by snickers and giggles.
Suzy sees Miriam running away laughing.
MIRIAM
Keep your eyes on the trail Suzy!
As Suzy crawls to her knees. Sarah stops to help.
SARAH
You okay?
SUZY
I'm fine. I wasn't watching where I
was going and tripped.
SARAH
Don't worry, you can run with me.
I'm really good at finishing last.
Come on.
Sarah runs off with a smile. Suzy follows.
EXT. SCHOOL GROUNDS -- LATER
Olga, Miriam and the rest of the group are waiting as Suzy
emerges from the woods. Her shirt is stained with dirt.
Sarah follows closely behind her.
MISS RAMSDEN
Here they are. Sarah once again
leading from behind. And Miss Bannon
leaving herself with room for
improvement. Hopefully you will set
your goals higher in the future.
Miss Ramsden shakes her head in half amused disappointment.

She looks at her watch and claps.
22.

Okay, ladies! Get cleaned up and
hurry to class. Come on, come on.
Suzy looks around at the campus.
SUZY (O.S.)
I miss you already.
INT. LIBRARY -- NIGHT
Suzy slouches at a row of public telephones divided by

partitions. STUDENTS work quietly at tables nearby. A
LIBRARIAN (50), monitors the students from her desk. A VOICE
speaks through bad reception.
SUZY
I'm not sure I belong here.
INTERCUT WITH...
INT. AUNT VIVICA'S LIVING ROOM -- NIGHT
Suzy's AUNT VIVICA is in an apartment in New York City. She

sits in a rocking chair speaking with Suzy.
AUNT VIVICA
We've been over this Suzy. The
isolation will be good for me and it
is a great opportunity for you.
SUZY
I know. You're right. How are you
feeling?
AUNT VIVICA
Much better. I feel stronger every
day.
SUZY
That's so good. I'm so glad. I met
Madam Blanc and she asked about you.
AUNT VIVICA
She did? And how is she?
SUZY
She's okay. She said you had a falling
out or something. Why didn't you
tell me that?
AUNT VIVICA
There are things in life you must
discover for yourself. I wanted you
to see the institution through your
own eyes.
(MORE)
23.
AUNT VIVICA (CONT'D)

In some ways my hope is that you
will find your true reflection there.
I recognize certain strengths and...
You are there because I made a
promise. I want you to make your
mother proud. Besides, Isn't it
lovely? Even more beautiful than you
imagined?
A YOUNG STUDENT next to Suzy is reading "The Uncanny" by

Sigmund Freud.
SUZY
Yes, very pretty.
AUNT VIVICA
Suzy, you need to know that it was
the school who came looking for you.
They sought you out because you are
a brilliant, young, beautiful woman.
You are your mother's daughter. Only
hers. You must live for yourself,
but keep her in your heart.
Through the static, voices speaking in German can be heard.

Phone lines bleeding together.
Suzy notices the LIBRARIAN smiling at her.
AUNT VIVICA (CONT'D)

(static)
I should go. I'll talk to you soon
sweetheart.
SUZY
I miss you.
AUNT VIVICA
I know, Suzy. I miss you too.
More static tempered with faint laughter. A dial tone.
Suzy notices a dark skinned TEACHER with eyes unnaturally

far apart standing perfectly still staring at her. She is
difficult to see in the shadows of a book shelf.
EXT. GARDENS -- EARLY MORNING
Pavlo pulls a chain to ring a large BRASS BELL in the gardens.

His dog Bruno BARKS. Christopher laughs and soothes him.
INT. DINING HALL -- DAY
Suzy sits alone at a long wooden table in the dining hall.

She eats breakfast. Sarah sets her tray on the table and
sits next to her.
24.
SARAH
Do you mind if I join you?
SUZY
Please. Of course.
Suzy stares off into space.
SARAH
Are you all right?
SUZY
Yes, I'm just... I don't know...
SARAH
Getting used to this place? Home
sick?
SUZY
I haven't been sleeping, and when I
do I have the most vivid dreams.
SARAH
The subconscious mind never sleeps.
Suzy smiles.
SUZY
It's hard moving some place new in
the middle of the school year.
Everyone already knows each other. I
know it's silly, but-
Suzy looks around. Miriam sits with a few of the popular

girls, laughing amongst each other.
SARAH
Many of us were practically raised
together. Morbid thought.
Christopher walks in from outside. He smiles and nods at

Suzy. She tucks her hair behind her ear and dodges his gaze
awkwardly.
SUZY
I think it's kind of beautiful in a
way. When I first arrived I had a
weird feeling I've never felt before;
the feeling of a community. The fun
and the work and the education is a
collective... Like a family. I've
never had any close friends or
brothers or sisters. I was schooled
by my aunt and she was always very
strict.
25.
SARAH
Your aunt was a teacher?
SUZY
In some ways. She's always taken
care of me. I never really knew my
mother. She passed away when I was
very young.
SARAH
I'm sorry.
SUZY
...And it was never like a normal
school. We would study nature and
elements, survival and random things.
SARAH
How strange.
SUZY
She would make me memorize a book
backwards and sing it to her under
water. Stuff like that. There was no
purpose.
SARAH
That's crazy. My parents shipped me
off to study here years ago. I don't
even know them. Only what I see of
them during holidays. I think they
prefer it that way.
Suzy sees a group of THREE MYSTERIOUS TEACHERS walking through

the dining hall with Miss Ramsden.
The sounds of the kitchen rise with an ambient rumble.
In the blink of an eye, a stack of plates CRASH to the ground.
In the kitchen, we see several WORKERS wearing aprons yelling

aggressively at a nervous, shy, pregnant employee, VEDA (35)
around a mess of broken plates.
OVERHEAD CLOSE UP: a pot of soup boils on a stove.
INT. NATATORIUM -- EVENING
The Academy's INDOOR SWIMMING POOL is an ornate structure.
CAMERA TRACKING FROM ABOVE. Christopher swims underwater. He

comes to a rest and takes a breath.
OLGA (O.S.)
Is it cold?
26.
Olga startles him as he turns to see her standing above him.

She dips her toes in and flicks water on his face.
OLGA (CONT'D)
It's not so bad.
His clothes have been set at the side of the pool beside a
towel. She holds his pants up and folds them neatly.
CHRISTOPHER
What are you doing?
OLGA
Don't be such a slob.
CHRISTOPHER
You're not supposed to be in here
after hours.
OLGA
It's okay. Neither are you. But we
won't tell anyone?
She looks into his eyes, but he is unresponsive and turns.
OLGA (CONT'D)
So, what do you think of Suzy?
CHRISTOPHER
The new girl? I like her. She's not
like the others.
OLGA
What do you mean? Not stunningly
beautiful like me?
CHRISTOPHER
No. She doesn't walk with her chin
in the air like you.
OLGA
Don't talk to me like that.
CHRISTOPHER
(whispers)
Then don't assume you know what other
people think about you.
He pulls away from her, takes a breath and goes under water.
CAMERA LEADS HIM AS HE SWIMS AWAY IN SLOW MOTION. Olga takes
a key off of his key ring and leaves.
Suzy lies in bed in the dark. Olga breathes heavily as she

sleeps.
27.
An argument in German comes from outside an OPEN WINDOW.
Suzy gets up and steps toward the window. She looks out and
down three floors to the gardens below. Albert stands beside
a LITTLE RED HEADED GIRL in a nightgown who is his same
height, but over-weight. Madame Blanc and Miss Tanner
reprimand her.
Pavlo watches from the shadows. He sees Suzy in the open

window.
EXT. GARDENS -- CONTINUOUS
We hear distorted conversation through static and hiss. AUDIO

FEEDBACK hits a high pitch.
INT. SUZY/OLGA'S DORM ROOM -- CONTINUOUS
Suzy closes the window.
OLGA (O.S.)
What are you doing?
Suzy jumps as she turns from the window to see Olga standing
behind her.
SUZY
Oh my god! You scared me.
OLGA
It's two o'clock in the morning.
SUZY
I know. What are you...?
OLGA
Shh! Do you want to stare out the
window all night, or come with me
and have some fun?
INT. HALLWAY -- NIGHT
Doors quietly open and SEVERAL GIRLS tip toe out of their
dorm rooms and down the hall.
INT. NATATORIUM -- NIGHT
Olga and Suzy slowly enter to see several of the girls are
stepping out of their nightgowns and slipping into the
swimming pool. Some are naked, making out, etc.
OLGA
It's the only wing of the school
that isn't monitored by cameras. We
can say anything or do anything we
want here. Free of their ears and
eyes.
28.
Olga laughs and then removes her clothes and jumps into the
pool with the other girls.
Suzy modestly watches and then discreetly gets into her

underwear and joins them. Several girls dunk and splash each
other with the playful freedom and spirit of their youth.
Miriam and TWO OTHER GIRLS drink from a bottle of wine, take
each other's clothes off and have sex on the steps of the
pool. It's an eye-opening moment for Suzy's innocent eyes.
A HIGH ANGLE CAMERA gives us the feeling they are being

watched.
INT. HALLWAY -- MORNING
CLOSE UP of a wire being pulled through a hole in the wall.
Albert runs down the hall. CAMERA FOLLOWS FAST behind him.
Pavlo stands on a ladder fixing some electrical wiring. He

sees Miss Ramsden down the hall.
Albert runs past laughing, playfully.
MISS RAMSDEN
Albert!
INT. ANOTHER HALLWAY -- CONTINUOUS
Girls walk to and from class. Suzy enters the corridor

carrying her school books.
We continue to follow Albert as he runs. He breaks through a

horde of students and makes a quick turn into-
CLOSE ON Suzy's feet as she continues her walk to class.
INT. KITCHEN -- CONTINUOUS
A GERMAN GAME SHOW is on television.
WORKERS IN WHITE peel potatoes. EXTREME CLOSE UP.
INT. HALLWAY -- CONTINUOUS
Pavlo works on the electrical wiring. He is obviously very

frustrated. Cursing under his breath. Miss Ramsden stands
below as he speaks to her in a cryptic conversation.
PAVLO
The school is falling to pieces.
29.
MISS RAMSDEN
Watch your words Pavlo.
PAVLO
I don't care anymore.
MISS RAMSDEN
Remember your debt.
PAVLO
I owe them nothing.
Miss Ramsden walks away, looking back over her shoulder.
As Albert runs into the kitchen laughing. He looks around at

the workers and then slowly holds up his finger... "shhhh."
Pavlo touches wires together... A SPARK.
The lights go out.
Suzy is startled as Albert rushes out of the kitchen.
She looks inside the kitchen and sees silver stacked in random
castles. Pots, serving trays, gratin dishes and sharp knives
balanced. Veda stands polishing a LARGE KNIFE. It catches
the sunlight. The glare blinds Suzy as if the light comes
from within.
DISSOLVE TO:
INT. STUDIO -- MOMENTS LATER
Sunlight pouring in through the window FLARES THE CAMERA

LENS.
The attic studio is decorated with models and diagrams of

the human body. A dark, mechanical, primitive facility. 15
STUDENTS perform contortions and stretches on old devices
from the 1950s made of wood, straps and leather, each girl
supervised by a teacher on this medieval dominatrix looking
exercise equipment.
MISS EEBSEN wanders through the subjects of the class.
MISS EEBSEN
Practice daily. These methods will
enhance your flexibility and open
you mind to the experiences between
pleasure and pain.
(MORE)
30.
MISS EEBSEN (CONT'D)

They increase your muscle tone, your
range of movement and improve co-
ordination.
Suzy enters the classroom. Miss Ramsden approaches her and

guides her to a machine.
MISS EEBSEN (CONT'D)

You are building stamina by pushing
your body to the limit. You are
working the global muscle groups as
well as the more intrinsic muscles
which tend to be under-used. Meditate.
Stretch your mind as well.
Miss Ramsden supervises Suzy as she stretches her back,

curving backward over the exercise equipment, arching
dramatically with her arms crossed. It looks painful.
SUZY
It hurts...
MISS RAMSDEN
Concentrate Suzy. Ignore the pain!
Find the pleasure. I will teach you.
SUZY
I can't.
Suzy fights the pain and looks away from the intense stare
of her instructor.
Sarah stretches with substantial ability on the table next

to her. She looks toward Suzy with concern.
Suzy grimaces as Ramsden lifts her upside down on the five-

pointed machine. The gears and belts spread her legs apart.
SARAH
You're hurting her.
A TEACHER smacks Sarah with a small teaching stick, forcing

her attention back to her exercises.
Suzy strains, upside down, her face is beginning to lose

color... Her body goes limp.
MISS RAMSDEN
Suzy?
SUZY
Let me down! I have to stop. I need
to get up. I don't feel well.
Miss Ramsden spins her down and helps her off the table.
Suzy stumbles to her feet, dizzy.
31.
MISS EEBSEN
Suzy! What is the matter with you?
You cannot quit. Look at these hard
working girls! You can do this, but
you have to work!
Suzy holds her stomach and vomits.
The students stop their exercises. A few disgusted girls

groan. All eyes on Suzy. The concerned stare of Miss Eebsen...
INT. HALLWAY -- AFTERNOON
CAMERA FOLLOWS LOW. - Madame Blanc's heavy footsteps walk

along the tile floor next to Miss Eebsen. Her limp creates
an awkward rhythm. Her look seethes. Miss Ramsden follows
behind them.
MADAME BLANC
What happened?
MISS EEBSEN
She was sick in class like a dog.
Unable to keep up with the rest.
MADAME BLANC
Is Dr. Verdegast here?
MISS RAMSDEN
Yes, Madam. Inside. To be fair, I
was pushing her-
She finds a cluster of 12 YEAR OLD STUDENTS dressed as WILTED

IRISES in the doorway of the school infirmary.
MISS EEBSEN
Come on, come on, run along!
Eebsen and Ramsden scatter the students. Madame Blanc enters

the clinic.
INT. CLINIC -- AFTERNOON
Suzy spits out a thick milky liquid. Yapha tries to squeeze

a bag of the substance into Suzy's mouth through a tube.
DR. VERDEGAST
Hold still. Drink it!
SUZY
What is this?
DR. VERDEGAST
Swallow. It will make you feel better.
SUZY
It tastes terrible.
32.
YAPHA
And take these pills.
Suzy is held down in the bed by Dr. Verdegast and Miss Tanner.
She cringes and resists the bad taste of the medicine.
MISS TANNER
You must drink your medicine. It is
a mixture of goat's milk and organic
herbs from our gardens. Dr.
Verdegast's recipe.
Madame Blanc enters sternly and witnesses the struggle. She

gently caresses Suzy's arm.
MADAME BLANC
How is she?
Dr. Verdegast turns to Madame Blanc and straightens up. Suzy

finds a comfort in Madame's touch.
DR. VERDEGAST
She's quite disoriented. We are going
to put her on an IV. I suspect a
mild episode of vertigo caused by
stress and fatigue and lack of fluids.
MADAME BLANC
When is the last time you ate?
SUZY
Last night.
DR. VERDEGAST
She ate very little and complained
of nightmares. Other than some
darkness to her urine, nothing out
of the ordinary.
SUZY
I can't do it. What is wrong with
me?
MADAME BLANC
It is all part of adapting to your
new environment. You are exhibiting
side effects of your cleansing. You
can do it! Look me in the eye and
believe it.
She turns to the doctor as she exits.

Let nothing happen to her.
Yapha secures the drip chamber and injects Suzy with an IV.
33.
DR. VERDEGAST
Hold still.
Suzy opens her eyes and breathes.
The doctor holds Suzy's face in his hands and brushes her
cheek. His eyes are distorted through the thick lenses of
his glasses.

You're fine Suzy. You are special.
The administrators here have been
waiting for you... They're here to
help you.
CLOSE ON the sink as water goes down the drain. Suzy has a
hot wet towel and washes her face.
She looks around the room. The lights buzz.
Olga steps up in the doorway behind her. As Suzy sees her in

the reflection- She JUMPS- startled.
OLGA
How are you feeling?
SUZY
Oh my god!
OLGA
I got sick when I started my program
here too. Many of the girls do. It
really effects your mind and body in
ways that you would not expect.
A knock at the door.
SUZY
Come in.
Pavlo enters with a tray of food. Olga holds the door.
SUZY (CONT'D)
Thanks Pavlo, just put it over there.
PAVLO
I hope you feel better.
Pavlo sets the tray down and then leaves. Olga looks at the
assortment of pale foods and a carafe of WINE.
SUZY
They put me on a restricted diet.
34.
OLGA
With wine? I didn't get that
treatment.
SUZY
The doctor says it will lower my
blood pressure, increase my immune
system and build up my blood cells.
OLGA
I wouldn't trust everything the good
doctor tells you.
SUZY
Why not?
OLGA
Verdegast is an old man who likes to
examine young girl's bodies.
SUZY
Isn't that his job?
OLGA
I suppose. But do you know his
history? The history of this academy?
Do you know of the mysterious death
of Helena Marcos, the founder of our
school?
SUZY
No.
OLGA
Marcos became demented and pushed
the school to focus on the occult
sciences. Then suddenly she dies in
a circle of fire trying to raise the
dead. She was institutionalized until
she died. There was no explanation
for her death. It was as if life
just evacuated her body. Her prize
student Monica Blanc took over, making
the school what it is today. Quite a
turn of events. Some of the girls
say that Marcos is still alive living
among us and Madame Blanc exploits
her power.
SUZY
What power?
OLGA
The power of the devil.
SUZY
Shut up.
35.
OLGA
If you could feed from the strength
and beauty and minds of young girls
and live forever, wouldn't you?
SUZY
Why would anyone stay here if all
that's true?
OLGA
(taunting)
It's the most elite academic program
in the world.
(laughing)
But it's not true. I've been here
for six years and and each year the
stories we make ourselves believe
become richer and richer.
Olga walks to the bathroom.
OLGA (CONT'D)
But at the end of the day, every
girl who graduates finds great success
in life. You can't argue with that.
Suzy stares into her glass of wine. She looks hesitant about
drinking it. As she tips it back, she sees something moving
in the liquid. She jumps back and drops the glass. It
shatters.
A WHITE MAGGOT wriggles on the floor in the spilled wine.

Suzy bends down to inspect it.
INT. DORMITORY HALLWAY -- CONTINUOUS
Sarah walks down the hallway talking to ANOTHER GIRL. She

stops and scratches an itch on the back of her neck and then
dusts her shoulder. She looks up to the thick cracks in the
plaster ceiling...
Sarah screams as she sees dozens of the little slivering

insects dropping from the ceiling.
INT. SUZY/OLGA'S DORM ROOM -- CONTINUOUS
CLOSE ON: Olga as she shaves her legs in the shower. Maggots
crawl out from between the tiles above her and on the walls.
We CUT OUT WIDE to see her silhouette through foggy glass as

she screams.
INT. DORMITORY HALLWAY -- CONTINUOUS
CAMERA LOW AND LEADING Miss Tanner as she marches down the
hallway with Veda beside her. Chaos. Students run out of
their rooms investigating the infestation.
36.
They pick them out of each other's hair and pull them from
their clothes. Little girls rush past her screaming.
MISS TANNER
Where are they?! - Show me!
Pavlo walks behind her. The girls form lines on either side
of the hallway.
PAVLO
They're everywhere! The entire floor!
MISS TANNER
You let this happen?!
GIRL #1
It's disgusting!
Olga steps out wrapped in a towel. Christopher joins as well.
OLGA
Where are they coming from?!
CHRISTOPHER
They're falling from the ceiling!
Miss Tanner looks up and stops.
MISS TANNER
Everyone down stairs! Now! Now I
say! Evacuate the halls immediately!
The students scurry away as Miss Tanner, Pavlo and Veda reach
the attic access door.
Tanner turns to Pavlo and smacks him in the back of the head.

What did I say to you?!
Pavlo nods, seemingly familiar with this behavior. Christopher

watches with concern from afar.
INT. ATTIC -- NIGHT
The two women walk up the long staircase.
The attic is a tall unfinished storage room. Exposed beams,

furniture under white sheets, large identical wooden boxes,
items wrapped in clear plastic. Miss Tanner looks at Veda.
MISS TANNER
Don't let ANYONE come up! Do you
understand me?! Madame Blanc will be
very upset. Be prepared to accept
the consequences.
37.
Veda rubs her belly and feels the kick of her unborn child.
CLOSE ON the crunch of maggots under her feet as Miss Tanner

walks along the attic floor. She passes several standing
mirrors and observes her reflection in the glass.
She gets to a long WOODEN CRATE. She approaches it with

distaste, but leans in for a closer look.
She takes her boot and kicks the crate. MAGGOTS FALL. She
kicks it again. WOOD SPLINTERS. - She lifts a panel looks
inside. We do not see what she sees.

(to herself)
What has become of us?
She turns to Veda.
EXT. DORMITORY -- NIGHT
An eerie chipped stone statue of a woman in pain stands in

the garden. A PLAQUE says: "HELENA MARCOS" and underneath,
"There is no education higher than truth". The lights of the
institution are on and shadows move through windows. We see
Pavlo's dog barking. - CAMERA CRAWLS around the disturbing
expression of the statue.
Suzy opens a door and steps outside looking around. A SECURITY

CAMERA monitors her. She looks to the statue, turns to the
woods, looks back at the school and when she turns back
around, Daniel, the blind man, is standing in front of her.
She gasps and grabs her chest.
DANIEL
Where are you going?
SUZY
I don't know... I was getting fresh
air.
He touches her shoulder and the side of her neck.
DANIEL
Take me inside Suzy. I'm lost. Please
take me inside.
INT. LIBRARY -- NIGHT
The walls are painted to resemble the Academy courtyard.

CLOSE ON AN ILLUSTRATION OF THE GARDEN STATUE.
Dozens of students are gathered around Madame Blanc, Miss

Ramsden and Miss Tanner. Albert stands staring at his aunt.
38.
MADAME BLANC
We order cases of food by mail from
a firm that we thought to be reliable.
We use the attic as overflow storage.
Obviously, some of the food must
have arrived spoiled and that was an
oversight on our part.
GIRL #1
It was awful. They were in my hair.
GIRL #2
One got in my mouth.
Other girls giggle. Daniel escorts Suzy into the room.
MADAME BLANC
Ladies, please! Pavlo will arrange
for fumigating in the morning. In
the meantime, we've made a makeshift
arrangement.
(to Albert)
Go and see how they're getting along,
will you dear?
Albert nods and runs off.
MIRIAM
Where will we sleep?
MADAME BLANC
The staff is turning the ball room
into a dormitory. No one will be
allowed to leave the facility. It is
already late and in any case the
inconvenience will only be temporary.
Another STRANGE TEACHER sits disturbingly still in the shadows

of a book shelf. Her head is too small for her body. If you
blinked you might miss her.
INT. BALL ROOM -- NIGHT
Albert leads us in as he crawls on the floor, snarling and

barking at Pavlo's dog.
CAMERA HIGH AND WIDE/MOVING. Several hard working servants

dressing dozens of cots and setting up white sheet dividers
along a rope that is strung to section off the room.
INT. BALL ROOM -- MOMENTS LATER
Daniel stands next to a gramaphone that plays an ITALIAN

OPERA RECORD as the girls settle into their beds quietly.
There are distorted glass windows that overlook the room.
Christopher closes a white curtain that divides them.

39.
Olga smiles and SHARES A SECRET that passes down a line of

girls in their nightgowns.
A PALE GIRL sneaks a candy bar from under her bed and takes
a bite. She feeds a crumb to a white mouse.
Miss Ramsden tucks a girl into bed. She looks over her
shoulder at Suzy.
ANOTHER GIRL reads a book called, "House of Peacocks".
Miss Ramsden walks through the curtains, surveying the

makeshift sleeping quarters.
MISS RAMSDEN
This will do nicely. Is everyone
comfortable?
THE GIRLS
(in unison)
Yes, Miss Ramsden.
MISS RAMSDEN
Good. The faculty and myself will be
upstairs. This unfortunate event
will be resolved in the morning.
Good night to you all. Sweet dreams.
THE GIRLS
Good-night-Miss-Rams-den.
Pavlo escorts Ramsden behind the curtain.
The ballroom chandeliers go out and the music fades. Sarah

lies in a cot next to Suzy.
The girls look up to see Christopher on a ladder setting up

another curtain divider.
Suzy stares at him. Olga slithers up behind her.
OLGA
I wouldn't stare too long.
SUZY
I'm not staring.
SARAH
(to Suzy)
Don't listen to her. She cries because
she tried to seduce him once and he
rejected her.
Olga sticks out her tongue.
SARAH (CONT'D)
Whore.
40.
MISS TANNER
Quiet now! Go to sleep.
Olga flips off Sarah and climbs into bed.
SARAH
I can't stand her.
SUZY
Go to sleep.
Suzy rests her head on her pillow. She watches the silhouettes
of her teachers moving behind the white curtains and in the
windows above. She hears muffled voices whispering.
EXT. ACADEMY -- NIGHT
Establishing.
IMAGES of statues from the garden/birds flutter...
Suzy tosses and turns.
IMAGES of maggots feasting on food in flickering TIME LAPSE.
INT. BALLROOM -- CONTINUOUS
The girls are all asleep.
Suzy, in the midst of a vivid dream, rolls around under her

covers. The scale of her bed is abstracted, now infinitely
larger as she swims under a sea of illuminated white sheets.
CAMERA floats through the hallways of the school.
Suzy's POV down a hallway: dark, the walls and ceiling are
made of billowing cloth.
As she enters, CAMERA TRACKS her move from OVERHEAD.
CAMERA TRACKS SUZY
-Sounds of winds, whispering and strange breathing IN REVERSE.
CAMERA TRACKS SUZY
EMERGENCY LIGHTS spill down in periodic pools as the slow

motion droning of a warbled fluorescent ballast pulses
rhythmically.
EXTREME CLOSE UP on Suzy sleep walking in the hallway as the

droning gets louder and faster. We hold on her face for a
very long beat as she stares.
Suddenly, all sounds suck out to silence.
Suzy blinks...
41.
INT. BATHROOM
Suzy stares into a mirror under the heavy, buzzing,

fluorescent light of a stark bathroom.
She splashes water on her face and drinks from the faucet.
She hears a voice:
PATRICIA (V.O.)
Beware of the Iris.
She turns and sees no one. She hears sounds of distant metal
clanging and the groans of the pipes as they drain.
A small vent in the wall behind her reveals an unrecognizable

eye watching her through a peep hole. Suzy does not notice.
We see her though the WIDE LENS distorted P.O.V. of the spy.
INT. HALLWAY -- MOMENTS LATER
She steps into the hallway and turns-
Someone blocks her way. She GASPS and turns to run, but her
arm is held. She thrashes and punches at the person.
CHRISTOPHER
STOP!
He reaches for her. She skillfully punches him across the

jaw and swings back with an elbow. He grabs her arms, gripping
forcefully. She takes his legs out from under him and takes
him to the ground. He flips her over aggressively and gets
close to her face.
SUZY
Get off of me!
CHRISTOPHER
Be quiet. You shouldn't be here.
He lets go of her and rubs his cheek.
A crash is heard. And an old woman's SCREAM. Footsteps scurry.
SUZY
What was that?
A door slams in the darkness. Pavlo slowly crosses the hall

in the distance with his shirt off. He breaths heavily and
holds his leg with a pained look on his face.
SUZY (CONT'D)
I want to know what's happening! I
heard someone scream.
42.
CHRISTOPHER
Calm down. Calm down. It's not the
right time to be talking.
SUZY
Why not?
CHRISTOPHER
If you'll please trust me and go
back to your bed.
He looks over his shoulder.
CHRISTOPHER (CONT'D)
Please Suzy. I beg you
Suzy looks terrified.
INT. BALLROOM -- MOMENTS LATER
Suzy cautiously enters and climbs back into bed. She looks
to her soft spoken and inquisitive friend who sits waiting.
SARAH
Where have you been?
Suzy turns and sees Christopher for a split second in the

doorway. He walks away.
SUZY
I went to get a drink of water.
SARAH
When I woke up and you weren't here,
I was worried about you... Shhh. Do
you hear that?
Suzy takes a moment to listen. There is a strange breathing

coming from above. IT IS A VAGUELY ARTIFICIAL SOUND OF SOMEONE
REPEATEDLY GASPING FOR BREATH. Suzy looks uneasy.
SUZY
What is that? There's something out
there.
SARAH
Whatever it is, it's up there... On
the other side of the glass.
Her finger points the way. - The strange breathing gets

louder. Reality is heightened as our CAMERA BOOMS UP giving
us a view of the obscured figure hidden behind the glass
windows above them. The sound of a breathing machine takes
over, pumping and pulsing a hypnotic rhythm.
SUZY (O.S.)
This place is evil Sarah.
43.
SARAH (O.S.)
I know.
An elaborate mind-bending sequence of shadows and strobe

lights ANIMATE the hammered glass to the beat of the breathing
machine. It serves as a short intermission in the reality of
what will END THE FIRST HALF OF SUSPIRIA.
FADE TO BLACK.
"PART II"
EXT. -- MORNING
A new day. - A group of STUDENTS stroll the campus. WHITE

VANS of exterminators are parked outside.
INT. LIBRARY -- MORNING
Suzy dials a number on the telephone. It rings and rings.
INT. AUNT VIVICA'S LIVING ROOM -- DAY
Vivica sits in her rocking chair listening to her phone ring.
INT. LIBRARY -- MORNING
Suzy hangs up.
INT. HALL -- CONTINUOUS
The school is busy with morning activities. Students stroll

to their classes as usual.
Veda cleans the floors on her hands and knees.
Daniel walks through the crowd, led by his walking stick. A

CHEERFUL STUDENT sees him and takes his arm to guide him.
They walk past Miss Tanner speaking to a PEST CONTROL WORKER.
MISS TANNER
Get rid of this filth. Leave no chance
of a plague like this happening again.
We have delegates from all over Europe
on our faculty. Even the slightest
imperfection could shine a horrendous
light on this academy!
EXT. GARDENS -- CONTINUOUS
Pavlo hammers a fence-post into the ground. Christopher

assists him.
Nearby, Bruno rushes by, followed by Albert who is laughing

and making barking sounds.
44.
A painting class takes place in the sculpture garden.
Suzy stands at her easel in front of a half finished landscape

painting of the front gate of the school. She squints as she
watches the EXTERMINATORS put on white protective suits to
fumigate the premises.
Miss Ramsden strolls the garden, supervising the class.
MISS RAMSDEN
Very nice Suzy. It's beautiful.
SUZY
Miss Ramsden. Can I speak with you
for a moment?
Miss Ramsden takes Suzy aside around a bush.
SUZY (CONT'D)
Is one of the teachers ill?
MISS RAMSDEN
Why do you ask?
SUZY
Last night, in the ballroom, I heard
something. It was an awful sound.
Like someone was having trouble
breathing.
MISS RAMSDEN
Not to my knowledge. Although, it is
an old building that is constantly
settling. I'm sure that is what you
heard.
SUZY
Okay. Of course. Settling. I'm sure
that's what it was.
MISS RAMSDEN
Are you finished with your questions?
SUZY
Yes Miss Ramsden. And thank you for
your compliment.
(forced sincerity)
I feel like this place is starting
to inspire me.
MISS RAMSDEN
Very good. Back to your painting
then.
Miss Ramsden continues on her way. Suzy makes eye contact

with Sarah as she sits back down at her easel.
45.
SARAH
She is lying.
SUZY
I know. We need to find out what's
going on.
A SLOW MOTION SERIES OF SHOTS
-The exterminators fumigate the dormitory halls in a cloud

of white smoke.
-Suzy and Sarah sneak up across the hall and into the attic.
-Daniel plays the piano for a dance class in the practice

studio.
-Suzy and Sarah explore the attic with towels over their
mouths. It is covered with a white fumigation power.
-The Girls Choir scampers down the hallway in matching robes

and bare feet.
-Suzy and Sarah peek through a crack in Madame Blanc's office

doorway. They see her visibly upset with someone on the
telephone. There is a painting of an IRIS that is elevated
on the wall. Madame Blanc traces it with her finger.
-The landscape of the institution as another class of girls

run laps.
BACK IN THE GARDENS
A DOG BARK IS HEARD. A PIERCING SCREAM.
CAMERA behind Albert as he runs through the sculpture garden.
Albert holds his hand in pain. Blood seeps from a wound in

his wrist. He shakes.
MISS RAMSDEN (O.S.)

Albert?!
Miss Ramsden rushes outside to soothe him.

What happened?
Miss Tanner arrives on the scene.
MISS TANNER
What is going on?
MISS RAMSDEN
He's been bitten.
46.
MISS TANNER
Albert, tell me how this happened!
Albert sniffles and squeezes his eyes shut in pain. Pavlo

rushes into the garden, followed by Christopher.

You! Your disgusting animal has bitten
the boy! That miserable creature
tried to mutilate a child!
PAVLO
No! My dog would not hurt a soul.
The boy must have-
Miss Tanner motions to Miss Ramsden.
MISS TANNER
Quickly, escort Albert to the
infirmary to see Dr. Verdegast!
CHRISTOPHER
It was an accident!
Miss Ramsden takes Albert by the arm and leaves.
MISS TANNER
You can surely hear the poor boy's
scream, you idiot!
PAVLO
Ah yes, poor Albert, always provoking
my dog. Poking and grabbing him!
Now he gets what he deserved.
Miss Tanner's face is red with uncontrollable rage. She

approaches the large man with no fear.
MISS TANNER
Have him put to sleep. I never want
to see that beast at this school
again. Or I will kill him myself!
PAVLO
To hell!!! I won't allow such threats!
MISS TANNER
Then you will leave! You are
dismissed. Your employment here is
finished! But your debts are far
from repaid!
PAVLO
You will have no one to fix this
place. Only I know what goes on HERE!
47.
CHRISTOPHER
Pavlo relax!
Windows from the dormitories open. Girls look and listen.
MISS TANNER
Leave now! We will send your
belongings.
PAVLO
This place is all you have. You steal
the souls of these students. You
suck them of their will! I can escape
from this place where you are trapped.
(to the schoool)
All of you! Trapped! Do you not
understand?!! Get out of here!
MISS TANNER
Go! You are a raving lunatic!
Bruno joins Pavlo who knocks over the statue of Helena Marcos
with all his strength. It smashes on the ground. THREE
TEACHERS escort him away as he rants. Christopher steps to
the background, uncertain.
EXT. SUZY/OLGA'S DORM ROOM -- DAY
Sarah and Suzy look out the window at the occurrence.
SUZY
Trapped. Pavlo said we are trapped.
What do you think he meant by that?
SARAH
I don't know.
SUZY
Think about what we heard last night.
Think about this place Sarah. There's
something wrong. You're the only one
that can help me. You're the only
one that I trust.
SARAH
I don't want to stay here anymore.
SUZY
I am trapped. I can't leave. I have
nowhere to go.
SARAH
What do you mean?
48.
SUZY
Six months ago, my aunt got very
sick. She started getting migraines
and then her joints started to swell.
Soon she couldn't walk. She was bed-
ridden and couldn't eat. It
practically happened overnight. She
said it was the same disease my mother
died of and her doctor told her she
had only a short time to live. Soon
after, we were visited by three older
women. Holistic doctors, who said
they had heard of her condition and
could help her. They came every day
and prayed with her. They would hold
hands in the living room and meditate.
When I would ask her about the women,
she told me she had a tumor that
medical science could not cure, so
with the help of alternative medicine
maybe the cancer would go into
remission. And it did. It started
getting smaller and smaller with no
explanation. Leaving almost as quickly
as it came. To the point where the
doctor said it was a miracle. Now,
part of her recovery requires that
she have strict isolation... So she
sent me here to finish school.
Sarah inspects a photo of a YOUNG SUZY with her aunt.
SUZY (CONT'D)
Madam Blanc and the school reached
out to her. She said everything that
I knew would be challenged here.
That everything she had taught me
would be tested and that before my
mother died, the one thing she hoped
is that I would follow in her
footsteps and discover the truth
about her.
SARAH
It's your legacy.
SUZY
Something like that.
A small mouse scurries across the floor and into a crack

between two loose bricks. Suzy watches it disappear, looks
perplexed and drops down to her hands and knees.
SARAH
What was that?
49.
Suzy crawls toward the loose brick and gently wiggles it out
to reveal a small space between the walls.
She gestures for Sarah to keep quiet as she reaches in and

pulls out a SMALL BOOK with a lock on it.
SARAH (CONT'D)
What is it?
SUZY
Looks like... It's a diary.
SARAH
I've seen it before. That's
Patricia's. She must have left it.
Let me see.
SUZY
No.
SARAH
She's my friend. Let me send it to
her.
She tugs it from Suzy's hand.
SUZY
No, Sarah. It's private.
Sarah looks perplexed.
SARAH
How do you know?
A KNOCK AT THE DOOR. The girls hide the diary.
SUZY
Come in.
Christopher opens the door. Both girls stand there awkwardly,

looking guilty.
CHRISTOPHER
Hi.
SUZY
Hi.
CHRISTOPHER
You have a phone call in the library.
INT. LIBRARY -- DAY
Suzy holds the telephone.
SUZY
Hello?
50.
INTERCUT WITH...
INT. AUNT VIVICA'S LIVING ROOM -- DAY
Her aunt sits in her room.
AUNT VIVICA
How are you, dear?
Suzy looks around suspiciously.
SUZY
I'm okay. How are you?
AUNT VIVICA
The treatment is working. There is
almost no evidence that the tumor
ever existed.
SUZY
That's great news. I'm so happy for
you.
AUNT VIVICA
And now that the treatment is
completed, I've decided I want you
to come home.
SUZY
Home?
AUNT VIVICA
I miss you Suzy. Are you happy there?
SUZY
Yes.
AUNT VIVICA
Are you alone?
SUZY
Yes.
AUNT VIVICA
Please come home. Please.
Suzy shakes her head.
SUZY
I'm sorry. I can't. Not yet. I love
it here.
AUNT VIVICA
No you don't.
SUZY
Why are you testing me?
51.
Vivica begins to cry. She doesn't know what to say.
AUNT VIVICA
I love you Suzy. Know that. I loved
your mother too.
SUZY
I know.
AUNT VIVICA
Good bye.
SUZY
I'll see you again.
Suzy hangs up the phone.
Aunt Vivica hangs up her telephone. THREE WOMEN sit perfectly

still like statues in the background. Her demeanor is stoic.
She looks to the women with concern. One woman strokes a
small pagan doll.
WOMAN #1
Let her go. Regardless of her
upbringing, Suzy is not your child.
She is a child of the covenant. As
you can see, her choice has been
made. She is a daughter of the
institution now.
Aunt Vivica begins a quiet rage.
AUNT VIVICA
I surrendered her to you and your
violent disease! You told me I would
be left alone!
WOMAN #2
Don't forget. Suzy was born with a
clear purpose. She lives to continue
the life of Helena Marcos. There is
no need for your resistance.
AUNT VIVICA
She's innocent and pure. She's the
opposite of everything your narrow
beliefs stand for. I used to believe
in the ideals of Theosophy along
with her mother. We saw beauty in
the outside world, but we were so
foolish. Before Theresa died I
promised her that I would never let
you take Suzy from me. That's why I
escaped. To protect her from you.
52.
WOMAN #1
We are not the ones to be feared
Vivica.
AUNT VIVICA
Then let the devil challenge her
himself. If you'll excuse me now,
I'd like to be alone. Get out!
EXT. NIGHTCLUB -- NIGHT
A DRUNK GERMAN MAN with his shirt unbuttoned rides a

motorcycles in circles in the street outside a raging
nightclub.
INT. NIGHTCLUB -- NIGHT
CLOSE UP on overflowing steins of beer- toasting.
The pub is packed with LOCALS, singing with drunken joy.
GERMAN BODY BUILDERS celebrate with traditional SCHUHPLATTLER

DANCING: Bavarian body-slapping. PROVOCATIVE WOMEN DANCE
NAKED on poles on either side.
Pavlo drinks heavily as he ignores a RAMBLING DRUNK MAN.

Pavlo taps out morse code onto the table with his fingers.
He CALLS OUT to the dancers as they conclude with a violent
Barbarian-like finale.
Daniel stands in a corner sipping a glass of wine.
INT. CLINIC -- NIGHT
Suzy sleeps in her uncomfortable bed. Yapha opens the door

and looks in on her.
INT. HALLWAY -- NIGHT
Yapha steps out and joins Madame Blanc with a smile. They
walk down the hall and turn into a TEA ROOM where the two
women greet the OTHER TEACHERS and FACULTY.
INT. TEA ROOM -- NIGHT
Dr. Verdegast puts a BEAUTIFUL CLASSIC SONG on the record

player which drowns out their dialogue. They toast each other
and congregate with joy.
INTERCUT WITH...
EXT. PLAZA -- LATER
Pavlo walks drunkenly with his dog through a covered walkway,

passing some German SOLDIERS.
53.
SOLDIER #1
(in German)
Good evening.
Pavlo salutes them as he walks past.
PAVLO
(in German)
Gentlemen.
He burps loudly.
EXT. CENTRAL SQUARE -- MOMENTS LATER
Pavlo continues through the abandoned historical downtown.

His footsteps echo on the stone walkway. He stumbles through
the large open air courtyard as the wind picks up.
A FLOCK OF BIRDS can be heard circling above, wings fluttering

in a large group. - Sound enhanced.
Shadows speed past, along the surfaces of the buildings.

They go UNSEEN by this drunken man.
His dog stops and growls. Pavlo kneels to comfort him.
PAVLO
(in German)
Easy boy. What's the matter?
The wind grows. Pavlo turns. The sound of wings gets closer...
circling... somewhere out in the darkness.
The dog snarls and barks.
Pavlo tries to stand up and get away from it, but his knees
give out and he collapses. He shields his eye with his arm.
As the wings reach their peak, a mysterious impact violently

whips past Pavlo. We hear faint almost sub-conscious MURMURS
of a demonstration. It works into the wind and music.
Pavlo rubs his eyes and looks up. His pupils flutter back
and forth rapidly. He tries to stand again. The distant
fluttering returns from the opposite direction, this time
accompanied by ominous, undiscernible building WHISPERS.
PAVLO (CONT'D)
(in German)
I know who you are! Reveal yourself!
This is it! This is the moment you
rise to me! Take me you cowards!
Bring all of your strength.
CAMERA SWOOPS down around him as SOUNDS STORM... Bruno runs

away in fear.
54.
The wind dies down and all sounds drop out hard. A return to
silence. His eyes settle again.
GROTESQUE CHIMERAS stare down on the courtyard from their

high perch. A glint of light reflects off of a rooftop in
the distance. Pavlo slips out a wicked laugh.
PAVLO (CONT'D)
Is that all you have?!
TIGHT ON Pavlo as he whistles for his dog in the darkness.

He slowly calms down and stops to listen...
His dog GROWLS off screen. Pavlo looks around.
PAVLO (CONT'D)
(in German)
Come on, boy. Come to me.
The growling continues, somewhere in the darkness. He whistles

again. CAMERA STALKS AND SURROUNDS Pavlo.
The growling stops. Silence. His dog is nowhere.
PAVLO (CONT'D)
(in German)
Heeeere boy.
Suddenly, Bruno runs from the shadows, ATTACKING HIM. Pavlo

struggles to get the dog off of him as it devours him.
WIDER: From a distance we see Pavlo being butchered violently

by the dog. His screams echo throughout the courtyard.
The soldiers run in with efforts to help him.
INT. TEA ROOM -- NIGHT
SLOW MOTION: The faculty laughs and drinks and has a charm
amongst each other that we have never seen.
EXT. -- MORNING
Establishing shot.
INT. DINING HALL -- MORNING
Suzy sits with several girls. Miriam reads a newspaper. Girls

discuss the morning gossip.
MIRIAM
Poor Pavlo, torn to pieces.
Incredible.
55.
OLGA
I heard he was drunk, and you can
never put too much trust in wolf
hounds. They're crazy. He even bit
little Albert.
GIRL #1
Maybe there's a hex on the place.
OLGA
Let's call in an exorcist and have
the whole place purged.
Suzy looks at Sarah holding Patricia's diary. Sarah, clearly

upset, gathers her things and rushes away. Suzy follows her.
EXT. GARDENS -- MOMENTS LATER
Suzy walks swiftly to catch up with Sarah.
SUZY
Sarah, wait.
Sarah stops and turns to her and looks around suspiciously.
SARAH
Pavlo's dead?
SUZY
I know.
SARAH
I need to talk to you...
She looks up at a security camera.
SARAH (CONT'D)
But not here.
SURVEILLANCE MONITOR POV: She walks with Sarah.
INT. LOCKER ROOM -- DAY
Suzy and Sarah walk through the mist and steam of the locker
room. Voices and sounds echo through the room. They pass a
GROUP OF GIRLS standing naked with watchful eyes.
SARAH
(whispering)
We can not trust any of them.
Sarah stops herself as she makes eye contact with TWO GIRLS.
SARAH (CONT'D)
No one.
56.
INT. NATATORIUM -- MOMENTS LATER
Suzy and Sarah climb into the pool.
SARAH
I started reading Patricia's diary.
INTERCUT WITH:
IMAGES from under the water...
SARAH (CONT'D)
I can't even describe it. It was her
confessional, but as it went on she
was writing more and more about the
faculty. She was taking notes,
studying them. She was counting their
footsteps down the hall above her,
writing down their schedules, even
strange riddles and sketches.
BACK TO THE MOMENT:
Suzy and Sarah stop in the middle of the pool.
SARAH (CONT'D)
She was obsessed.
SUZY
Then what does it mean?
SARAH
I'm not sure. And reading it, there
is the strange sensation that she
was writing it for us. As if she
knew she was to die or something.
She didn't get expelled. She was
killed. And her death was part of a
greater plan.
SUZY
We need the police?
SARAH
No. I trust no one. The entire town
is afraid of the power Madame Blanc
might have.
Sarah reaches her hand out and Suzy takes it. She pulls her
close and whispers in her ear...
SARAH (CONT'D)
Do you believe in witches?
57.
EXT. GARDENS -- DAY
The garden is empty. Suzy sits on a bench, confused,

contemplating her encounter with Sarah. Her hair is still
wet. WE HEAR a rhythmic pounding. It begins to rain softly.
EXT. GREENHOUSE/WORK SHED -- MOMENTS LATER
Suzy approaches Christopher as he works out with a punching

bag that hangs from the ceiling. He sweats heavily and hits
aggressively. He notices her standing in the doorway. Trying
his best to ignore her, he wipes the sweat off and scatters
a cluster of chickens.
CHRISTOPHER
When I was younger, I was a tough
kid. Believe it or not. I had a bad
temper. Full of rage and frustration.
My father stuffed a mail bag and
hung it from a tree. I used to go
out in the yard and pretend it was
my sisters... or... whoever.
He swipes punches at the air, and occasionally hits a

breakable object, knocking it over.
I tell you, I could fight. Kids twice
my size. Didn't matter. And then I
got in an accident.
(laughs)
Smashed myself up good. My shoulder
has been out of sorts ever since.
Very little feeling in my left hand.
Severed a nerve.
SUZY
What happened?
CHRISTOPHER
I was driving an ice truck a few
years back. Making deliveries. It
was my first job. It was raining one
afternoon. A chain on the back gate
came loose. I pulled over to tie it
down. Stepped out of the truck. Out
into the street. Wasn't looking. And
I got hit.
SUZY
Oh my god. That's awful. You're lucky
you weren't killed.
CHRISTOPHER
I remember laying there on the ground
unconscious for a moment.
(MORE)
58.
And seeing Pavlo reach his hand down
for me, he held my head to bring me
to my senses. This man whom I'd never
met... lifted me with tears in his
eyes and took me here... where the
staff brought me back to health.
SUZY
That's how you came to work here?
CHRISTOPHER
(nods)
Since that day, I have not had a
violent thought or bone in my body.
I've been at peace with myself and
everyone around me. I can't explain
it. This place has a powerful effect
on the mind. Unusual for a boy that
used to slam the door shut just to
let everyone know he was home.
SUZY
I'm glad this place brings you calm.
CHRISTOPHER
It did. But since Pavlo died... All
I can think of is who is to blame.
Who do I strike down? That fire has
come back to me now, times ten.
He punches through a glass window.
SUZY
Your hand.
Christopher notices blood dripping down the side of his hand.
CHRISTOPHER
It's nothing.
She walks to him and inspects his wound.
INT. GREENHOUSE -- MOMENTS LATER
Suzy turns on the faucet of an old industrial sink.
Christopher washes blood off his hand as he watches Suzy

open a first aid kit attached to the wall.
He shrugs as she wipes the wound with gauze and gently places
a bandage over it. She stares him down with kind eyes.
CHRISTOPHER
I have to go.
59.
SUZY
Where?
CHRISTOPHER
I need to see Miss Tanner. She doesn't
like me to be late.
SUZY
Of course. You should go.
He hesitates. She smiles. He backs away...
CHRISTOPHER
Suzy, there's something...
SUZY
What?
CHRISTOPHER
I like you.
She shakes her head ashamed. He leans in and kisses her

softly, then pulls back.
They look at the rain. He touches her face. She looks shy.
He walks away, leaving her alone. She turns off the faucet.
INT. SUZY/OLGA'S DORM ROOM -- EVENING
Suzy opens the door to her dorm room. She sees Madame Blanc
sitting on her bed speaking with Olga.
MADAME BLANC
Good evening Suzy. Olga and I were
just discussing your health and your
progress here at the school. Where
have you been?
SUZY
Um... I was just... I went for a
swim.
MADAME BLANC
Yes, and then you were speaking with
Christopher in the work house.
SUZY
Yes... I was.
MADAME BLANC
Do not communicate to that foolish
boy. Dr. Verdegast has requested you
return to the clinic for psychological
evaluation and stay away from others
so you can be properly supervised.
60.
SUZY
I'm fine. I don't need to be
supervised.
MADAME BLANC
Let's leave that for the doctor to
decide. I'm not sure what has gotten
into you, but I find your behavior
and suspicions quite arrogant.
Suzy stares at her and steams.
Dr. Verdegast stands with Yapha at his side.
DR. VERDEGAST
We would like to more closely monitor
your state of mental health. Some of
the girls have informed us that you
are acting very paranoid and
entertaining wild allegations. As a
doctor, I know these delusions as
signs of stress. Trust me Suzy, you
need rest and then you will blossom
like a flower within our institution.
Yapha reaches into her pocket and SLAMS a pill jar down on
Suzy's nightstand.
YAPHA
These will help you sleep.
DR. VERDEGAST
Take one pill now, then one each
evening, just before bed. No more
nightmares.
SUZY
Okay.
DR. VERDEGAST
Good night.
He and Yapha leave, shutting the door behind them.
Suzy stares at the wine on a tray next to her, grabs it,

spits the pills out of her mouth and flushes it all down the
toilet.
INT. HALLWAY -- EVENING
VARIOUS ANGLES/CAMERA FLOATS down empty hallways of the

school.
61.
INT. SARAH'S DORM ROOM -- EVENING
Sarah studies at her desk, alone, unable to concentrate.
EXT. SARAH'S DORM ROOM -- CONTINUOUS
The CAMERA looks through the glass of her window. We see

Sarah as she paces reading the diary.
INT. SARAH'S DORM ROOM -- CONTINUOUS
Sarah closes her window blinds. She hears whispers coming

through the air ducts. She stands on her bed to listen.
The voices grow busier and louder.
-Sarah aggressively tapes the air vent shut.
-And covers the mirrors with tin foil.
-And tapes over the key-hole. She sweats.
-And under the light of a bedside lamp, she reads Patricia's

diary nervously.
The lights are out. Suzy is fast asleep. There is a quiet

knock at the door.
The door creaks open and Sarah enters wearing a nightgown

with Patricia's diary in hand. She pushes the door closed
and tiptoes to Suzy.
SARAH
(whispering)
Wake up. Wake up Suzy, wake up.
Suzy opens her eyes.
SARAH (CONT'D)
Helena Marcos is here. She's alive.
They're hiding her. We have to find
her.
She flips through the diary, paranoid.
SARAH (CONT'D)
I know you won't believe me, but I
need to tell you what I've read.
Patricia discovered the history of
this place. There was an architect,
a man named Varelli who built three
institutions for three sisters. One
of those institution was this school.
62.
She opens Sarah's diary and shows a picture of a man. She

reads from it...
SARAH (CONT'D)
"I met the Mothers and designed and
built for them three dwelling places
and failed to discover until too
late that from these three locations,
the Three Mothers would rule the
world with sorrow, tears, and
darkness... I built their horrible
houses, the repositories of all their
secrets." Suzy, listen to me. These
women are here to serve the devil.
INTERCUT: FOOTSTEPS WALKING DOWN THE HALL
SARAH (CONT'D)
Patricia wasn't crazy.
Suzy hears footsteps up above.
SUZY
They're coming!
The footsteps stop. Sarah slides the diary under her covers.
SARAH
Take this. Read it. We'll meet in
the morning and come up with a plan.
I'll find her Suzy... and then we'll
kill the Black Queen.
Suzy stares bewildered.
SARAH (CONT'D)
The Queen is preparing to trade the
devil a hundred girls for her
everlasting life. She takes the souls
of THREE for herself and she takes
the body of ONE to continue her reign
in the physical world. We don't have
much time.
Sarah walks quickly down a hallway. As she turns a corner,

she sees several UNRECOGNIZABLE FIGURES in black robes and
very realistic prosthetic masks. They stand in her dorm room
doorway looking into her room.
Unseen, Sarah turns quickly back the way she came... but
HEARS FOOTSTEPS. She opens a door and slips inside.
63.
INT. SPIRAL STAIRCASE -- CONTINUOUS
Sarah walks down the wooden stairs and looks out into the
building's cellar: A boiler room and storage space. Steam
pours from the old machine.
INT. CELLAR -- CONTINUOUS
At the bottom of the steps, Sarah hears voices and footsteps

approaching. She ducks around an antique chest and hides.
Shadows and sounds move down the staircase and more distorted
voices pass her. She is too afraid to look.
Veda and another GERMAN COOK march across the cellar floor
and disappear into the darkness. After a beat, light
illuminates the women as they walk into a refrigerated room.
Sarah looks wide-eyed as she hears the footsteps above.
Veda and her helper are in the large meat locker. We are
limited in our view. Large blocks of ice line the walls. And
IV BAGS FULL OF BLOOD. They grab lamb carcasses off the meat
hook.
They close the door and walk back past Sarah, then head up
the stairs.
Sarah rises and tip-toes up the staircase to follow. She

hesitates as she hears VOICES.
She peers through a crack in the door with a sliver of light.

She sees Albert's expressionless face staring at her on the
other side. He listens to unseen women in an argument.
Sarah dashes down the staircase tripping on her way and

gasping for breath. A calm voice transcends the door.
ALBERT (O.S.)
Who is it? Who's there?
He knocks slowly but forcefully.
ALBERT (CONT'D)
Who is it? Who's there?
She starts to cry, then looks to see Albert looking at her.
SARAH
(whispering through
tears)
Please... Please...
MISS TANNER (O.S.)

(calling)
Albert? Albert are you down there?!
64.
Albert turns to the staircase and then back to Sarah.
Sarah holds her finger up to her lips, pleading.
SARAH
Shhhh... Shhh... Please...
Albert stares at her without blinking.
MISS TANNER (O.S.)

What are you doing down there?! It's
past your bed time! Get up here this
instant!
Albert slowly turns and walks away, looking back over his
shoulder as he disappears up the staircase.
SARAH
Don't tell... Please don't tell...
INT. CLINIC -- CONTINUOUS
CAMERA OVERHEAD SLOWLY SPINS: Suzy reads the diary.
A CLOCK hangs on the wall. TICK, TICK, TICK...
Sarah runs through the empty hallway. LONG FLUID SHOTS lead
her around a corner and down corridors.
The PERSPECTIVE OF AN UNKNOWN FIGURE follows.
Sarah hears footsteps and sees a series of doorways. As she

reaches up to try the knobs, she finds each one locked. She
hears the footsteps getting CLOSER.
Finally, one of the knobs turns and the door opens. She
disappears inside.
CAMERA OVERHEAD TURNS SLOWER: Suzy holds her eyes wide open
in bed. She holds the diary. We get even closer. SOUND
OVERMODULATES as she gasps for air.
INT. WHITE ROOM -- CONTINUOUS
Sarah closes the door and flips down a small deadbolt lock
to secure it. She looks around.
It's a sparse white room with a small made bed and a stove
half embedded into the wall. A few wooden toys are scattered
on the ground. Wigs of dark human hair are on a nearby vanity.
We also find: A coil of razor wire, smashed computer parts
and electronics from the 1980's and 90's, and INSECTS flying
out of a half opened drawer.
65.
The footsteps continue. She puts her ear to the crack in the
door to listen closely. She can hear the stalker approaching
and breathing. She leans her back against the door to secure
it. The footsteps stop. We see shadows moving under the light
of the door. Sarah closes her eyes and gulps.
She looks to a narrow window toward the ceiling on the other

side of the room.
WE HEAR WHAT SHE HEARS... horrific pulsating sounds amplified

to match her rising heart rate.
She runs into the white wall behind her and slides backward.
She looks up to the window above and jumps for it. If she
puts the bedside table on the bed and stands on that, she
can reach it.
She slides the table under the window.
She balances and climbs up barely able to look out the window.
It is dark outside and she can not open it.
Her attacker pounds on the door. The hits are slow and
powerful, shaking the dresser.
She watches as the deadbolt is unfastened. The door opens

just slightly and lets a bright light in.
Sarah swallows a breath of cold air and then begins to

hyperventilate. This evolves into an episode of uncontrollable
torment as her body becomes possessed. It convulses and twists
in a psychotic fit. After a violent spell, she kneels on the
ground and milk begins to pour from the split, dry, cracks
around her mouth. Blood flows from her ears. She is surrounded
in fluids. She looks up as the door opens all the way.
She crawls back to the door which is half the size it was
when she entered. Wind begins to blow and the light from the
hallway dims. As she exits, she sees that she has a mountain
of RAZOR WIRE to climb in order to find the light that shines
down. She climbs violently up the slope of blades, greeting
the viscous gashes with exhaustion. She stops and surrenders.
The wire wraps around her in an embrace. She laughs as blood
pours from all of the gashes. A VOICE comes from the light
in a song.
VOICE
Smile from the cut of the great
mother. Now bleed for me.
And a BLOODY HORN from within pierces her heart and escapes
through her chest.
EXT. -- MORNING
A herd of sheep graze in the front of the academy.

66.
INT. CLINIC -- MORNING
Suzy wakes up. She goes to the window and watches the sheep.
INT. SARAH'S DORM ROOM -- MORNING
The room is empty. A KNOCK at the door. No response. The

door opens. Suzy peeks in. She looks around and sees that
Sarah's belongings have been scattered. Items on her bookshelf
knocked over and her wardrobe has been emptied out.
Suzy investigates with confusion.
OLGA (O.S.)
Looking for Sarah?
The voice startles Suzy. She turns to see Olga and an angry
Miss Tanner standing perfectly still in the doorway.
MISS TANNER
Sarah has disappeared. Madame Blanc
would like to speak with you in her
office immediately.
SUZY
Disappeared?
MISS TANNER
Why sneak off in the night like a
thief? It's a shame such talent and
beauty will go to waste.
SUZY
That's impossible. I was just talking
to her last night.
MISS TANNER
Did you do this to her room?
Suzy looks around.

ANSWER ME!
INT. MADAME BLANC'S OFFICE -- MORNING
Albert practices the piano with his bandaged hand.
A WALL OF PHOTOS: students and diplomats, moments of Blanc's

life over her career. Small stone artifacts give it the feel
of a museum. Madame Blanc sips a cup of tea where a table is
set up for a formal breakfast for two.
Miss Tanner arrives with Suzy. Madame Blanc stands.

67.
MADAME BLANC
That will be all for your lesson,
dear. Run along with Miss Tanner.
(to Miss Tanner)
I'd like a moment alone with Suzy.
Albert hops off the bench and runs to the door with Miss
Tanner. She nods and exits.
Suzy looks around the room at all the worldly artifacts.
Madam Blanc adopts a very authoritative tone.

Sit down. Breakfast is served.
SUZY
Thank you.
Suzy sits nervously and nibbles on the food in front of her.

Madame Blanc aggressively eats a plate of eggs and sausages.
MADAME BLANC
Sarah has gone. Sources tell me you
were the last person seen with her.
Is that correct?
Suzy is taken off guard.
SUZY
I don't know.
MADAME BLANC
Answer my question!
SUZY
I didn't do anything!
MADAME BLANC
Control your tone around me child!
You were with her last night. Are
you denying what I have been told?
SUZY
She did come to my room.
MADAME BLANC
And did she discuss going anywhere?
SUZY
No.
MADAME BLANC
What did you speak about?
68.
SUZY
Just... personal things mostly... I
don't remember.
MADAME BLANC
You don't remember? Don't lie to me!
SUZY
She was acting strange, but she didn't
say anything about leaving.
MADAME BLANC
Yes. Sarah is a very talented girl,
but she has a history of stress and
anxieties. I can assure you- Well,
let's just say she had some very bad
habits.
SUZY
I'm sorry. I'm just feeling
overwhelmed by all that's happening.
Blanc stands up from her desk and approaches Suzy.
MADAME BLANC
Suzy, you are here at a very difficult
time. This is hard on all of us.
Each and every student means the
world to me. There's something I'm
sure your aunt never told you. I
made personal efforts to gain custody
of you after your mother's passing,
but Vivica severed her affiliation
to the school and ignored my petition.
She ran away to America. That is why
we didn't speak for years. You are
very special to me.
SUZY
What?
She stands and puts her hand on Suzy's shoulder and then
combs her hair with her fingers. Suzy seems to come to life
with a burst of energy and understanding.
MADAME BLANC
I suggest you surrender any absurd
suspicions in your mind and open it
to greater possibilities. Learn from
us. Let us guide you. It is no
coincidence that you are here. You
were called to be here. I can feel
your strength and intelligence beneath
your obvious insecurities. You are
gifted as your mother was.
She STARES Suzy in the eye.

69.

Don't be afraid Dear. In time you
will find your comfort here. That
time is near.
INT. AUNT VIVICA'S LIVING ROOM -- MORNING
Vivica pulls a box out of a closet. She opens it and finds

mementos of her life with Theresa. She looks through the
photos with sentiment and then pulls out a long knife in a
leather sheath. She examines the blade. Beneath that is a
Satanic Book of prayer.
She throws the book into the burning fireplace.
INT. HALLWAY -- MORNING
Suzy walks quickly down the hallway and toward the main doors.
She looks outside at the YOUNG GIRLS who play.
TIGHT ON SUZY: her face nervous/suspicious, holding back

tears. ALL NATURAL SOUNDS HEIGHTENED. Footsteps...
Breathing... Heart beats... Wind...
VOICE (O.S.)
Suzy?
She turns sharply. Miss Ramsden stands in front of her. She

stares at Suzy with serious eyes.
MISS RAMSDEN
I am late for my activities. Please,
take a moment and help me organize
games for the girls.
EXT. WOODS -- DAY
Suzy and Miss Ramsden walk in the woods near the edge of the
school. CHILDREN dance and play Hide And Seek...
MISS RAMSDEN
That's right children. Run and play!
She holds Suzy by the hand and pretends to engage in the

activities as she speaks candidly.
INTERCUT WITH...
JUMP CUT IMAGES OF Suzy's Aunt Vivica in her apartment holding

the knife pacing... concerned... looking at her reflection
in the warped glass of a window and then sitting down for
tea at a table set FOR FOUR.
MISS RAMSDEN (O.S.) (CONT'D)

You are one of us.
(MORE)
70.
MISS RAMSDEN (O.S.) (CONT'D)

Your mother and your aunt had an
incident with Madame Blanc in their
youth, but have maintained their
influence. When your mother died,
your aunt severed her ties to the
institution all together. And remained
distant for many years.
SUZY
I don't understand.
CUT TO IMAGE OF: Vivica as she sees the three women through
the window of her front door. She opens the door for them.
Ramsden turns to Suzy with focus and clarity.
MISS RAMSDEN
I have committed my allegiance to
Mater Suspiriorum. You do not know
the true relationship your family
has with this place. You can run
beyond these woods, but you'll never
escape who you are. I encourage you
to confront your past and invite
your fate into the physical world.
That's the only way to achieve the
destiny that awaits you here.
SUZY
Why did my aunt send me here? Please
tell me.
MISS RAMSDEN
She was promised everlasting life or
the curse of torture and torment.
SUZY
What is this place? Who are you
people?!
CUT TO IMAGE: of Vivica pouring tea for the women. She watches
as they drink and then brutally and skillfully attacks the
three women with the knife. Blood is everywhere. A graphic
animalistic slaughter.
MISS RAMSDEN (O.S.)

Your Aunt did not send you here to
learn from us. She trained you to
hunt, to exist as grace and goodness
in the abstract world. To prepare
your mind for what is beyond our
reality. I believe she sent you here
to expose us.
A YOUNG SCHOOL GIRL hides behind a tree watching them and

laughing. Suzy looks overwhelmed.
71.

(to girl)
Run along now. I have said my peace
and sacrificed myself as a result.
Trust no one and no one can hurt
you. Trust a single soul and you
will find yourself exposed and forced
to confront the horrors of your
subconscious.
Ramsden ushers the young girl back to her group. Suzy walks
toward the school as she absorbs this cryptic advice.
CUT TO IMAGE: of Vivica covered in blood and looking at the

dead bodies of her victims and then to the fire in the
fireplace.
VIVICA (O.S.)
The hunt has begun.
INT. CLINIC -- MOMENTS LATER
Suzy lifts the bed and pulls the diary out from under the
mattress. She opens it slowly and sees a DRAWING on the front
page. A flower design within a symbolic satanic diagram. The
emblem of THEOSOPHY - TORN OUT PAGES and PHOTOS from text
books and ancient scrolls make collages among the essays.
Written on the next page is "The Black Queen". Followed by a

journal entry.
The NEXT PAGE says, "-Paranoia or Magic by Prof. Milius"

followed by another entry.
"Varelli, the Alchemist. Architect living in London designed

dwellings for 3 sisters. Houses for their secrets."
Images and text from the journal swim through Suzy's mind as
she takes it all in...
There is a KNOCK on the door. Suzy hides the journal under a

pillow.
SUZY
Who is it?
Christopher enters carrying a tray of food.
CHRISTOPHER
Suzy, it's me. I have-
SUZY
Take it away. I don't want it. Where
did she go?
CHRISTOPHER
Where did who go?
72.
SUZY
Sarah.
Suzy can't make eye contact. She goes to her window.
SUZY (CONT'D)
You are one of them, aren't you?
He walks up behind her and puts a comforting hand on her

shoulder. She pulls away.
SUZY (CONT'D)
Did you know Patricia?
CHRISTOPHER
Yes.
SUZY
She wasn't expelled, was she?
CHRISTOPHER
No. It was suicide.
He looks around suspiciously.
SUZY
Who is the Black Queen?
Christopher goes to Suzy and pushes her against the wall.

He covers her mouth and presses hard as tears fall from her
terrified eyes and down his hand. He pulls her close.
Suzy pushes him away with abnormal strength, her anger and
frustration hitting a boiling point. As he tries to subdue
her, she exhibits sophisticated fighting moves of both
aggression and restraint. He falls to the ground. She spins
him in a violent twist, lifts him by the throat and throws
him against the wall. Surprised by her own burst of strength,
Suzy drops him.
SUZY (CONT'D)
Patricia didn't kill herself. Pavlo
didn't just die randomly. Sarah didn't
run away. I don't believe them! I
don't believe anyone!
Suzy looks into his eyes. Christopher is visibly afraid.
CHRISTOPHER
Be quiet. I beg you. You MUST - NOT -
SAY - THESE - THINGS. Take this book
and escape now!
She clings to him for support, instantly exhausted.
SUZY
Why was I sent here?
73.
CHRISTOPHER
You have to go. You must leave this
place. I will find you and explain.
Just leave. Please. Listen to me.
Suzy settles and looks into his eyes.
SUZY
How will you find me?
CHRISTOPHER
I'll meet you in town under the
bridge. Run straight through the
woods until you get to town. Don't
let anyone see you. You must go now!
Christopher lifts open the window. Suzy nervously nods.
EXT. CLINIC -- DAY
Suzy climbs out her window onto a dead tree.
SUZY (O.S.)
(reading)
I am traveling and have never stopped.
I can not apologize. The only true
mystery is that our lives are governed
by the dead.
SECURITY CAMERAS tape the escape across school grounds from

various angles.
SOFT VOICES echo:
VOICES
Mater Suspiriorum... The Mother of
Sighs.
EXT. FOREST -- DAY
Suzy runs through the woods.
SUZY (O.S.)
As I write, I discover a fear that
defies verbal description. My research
leads me to Helena Marcos.
EXT. TOWN -- DAY
Suzy walks around the Kafkaesque vision of the town. She is

a face in the mysterious VILLAGERS... like a little girl
separated from her parents at a circus.
SUZY (O.S.)
I am held captive by the spirit of a
woman who breeds evil on a global
(MORE)
74.
SUZY (O.S.) (CONT'D)

scale. She is determined to take
over the minds of my fellow students
and replace ours with the devil.
This is the test in a hunt for the
new Black Queen. They must find a
youthful body to embrace this
congregation and breath satanic life
and his dark power.
EXT. BRIDGE -- DAY
CAMERA CIRCLES Suzy as she stands on a bridge overlooking a

river reading passages from the diary to herself:
SUZY
(reading)
I believe in the graces, the fates
and the furies... Responsible for
all human misery. My Mother is the
muse that oversees my hopelessness
and failure...
CAMERA SETTLES. A wind picks up and blows her hair.
A lone TRUMPET PLAYER makes music in the distance. It

accompanies the building motif of instrumental madness.
EXT. MARKET -- DAY
Suzy walks down the crowded pedestrian market of bars and

socialites... She looks suspiciously at everyone. Is everyone
looking at her, or is she paranoid?
LADY VILLAGER
Are you a student at that hideous
school? Evil exists. There is evil
within those walls.
Suzy turns and sees the woman walking away.
A poorly received radio station plays a Christian sermon in

German.
BEHIND A HOUSE: Suzy steals clothing from a clothesline and

changes out of his school attire.
ON THE STREETS: Every face has a disturbing expression that

makes her swim faster and faster through the sea of people...
SUZY (O.S.)
What of this discovery is my
imagination? Have I broken a mirror
and created this sickness, or have I
broken my mind by counting their
foot steps. One, two, three...
75.
INT. HALLWAY -- DAY
Footsteps of the institutional faculty march down the hall.

Madame Blanc appears intoxicated. Her hair is a mess and she
drinks a glass of scotch.
MADAME BLANC
Where has she gone? Find her at once!
Find the girl! She will die! She
will die!
FLASH CUTS in EXTREME CLOSE-UP: a horrible looking ancient

face of a woman gasping for breath.
EXT. BRIDGE -- DAY
Suzy on the bridge... reading what is written:
SUZY (O.S.)
Where do they go? What do they do
behind that door?
She ducks as she hears a flock of birds fly overhead.
SOFT VOICES echo:
VOICES
Suzy... Iameverywhere...
She sees Christopher in the shadows.
EXT. PARK -- NIGHT
They are alone on a public promenade.
SUZY
Tell me about Helena Marcos.
Christopher looks around cautiously.
CHRISTOPHER
She was one of three sisters. Her
mother was one of the founding members
of Theosophy, an occult science
organization. They were persecuted
by their village. Marcos witnessed
her mother's hanging after she was
accused of witchcraft. Over time the
sisters separated and Helena became
a novelist renowned throughout Europe
in self-healing of the mind, although
some accused her of teachings of the
occult.
SUZY
Witchcraft.
76.
CHRISTOPHER
She built this academy to educate
the youth. She believes if she
inspires their souls, she can live
forever.
SUZY
But she died years ago.
CHRISTOPHER
Helena Marcos is not dead I assure
you.
SUZY
She's alive?
CHRISTOPHER
She's very ill. Expected to die at
any time. She's a shadow of her former
self, but she still exists. Madame
Blanc is searching for the new queen.
A body to take over upon her passing.
SUZY
So it's true.
CHRISTOPHER
It's a ritual that will occur as
Madame Marcos takes her last breath.
The preparations are being made now.
INT. PUB -- NIGHT
Suzy and Christopher walk through the bodies of drunken

people. Strange faces everywhere.
INT. PUB -- NIGHT
A BARTENDER slides two glasses across to Suzy. They walk to

a corner and speak discretely. An OLD PRIEST has his eye on
them as he smokes a cigarette.
SUZY
Marcos is the Black Queen that
Patricia mentions?
CHRISTOPHER
Yes, the eldest sister, a hundred
times more powerful than the rest of
the coven. The power begins with the
bloodline of the reigning queen.
SUZY
What do I have to do with the
bloodline?
77.
CHRISTOPHER
Helena Marcos is your grandmother.
She had your mother killed when she
resisted and if you don't accept her
wishes she will kill you too.
Christopher looks, but Suzy does not notice OLGA's presence

at the other end of the bar. She goes to the priest and puts
her arm around him. Kisses him on the cheek.
(a whisper)
We should not have come here.
Music shifts its pitch.
The bartender watches out of the corner of his eye.
Faces of others distort... Laughing...
Hidden in the shadows, Christopher sees Yapha standing still

and watching from a corner.
You must leave now. I'm sorry. I'm
sorry I brought you here. Go out
through the back.
SUZY
What do you mean?
He kisses her passionately on the lips. She looks to see

Yapha approaching through the crowd. Her eyes locked on Suzy.
CHRISTOPHER
Please go! Tell the outside world
what you've learned.
SUZY
I don't want to leave you.
CHRISTOPHER
You must.
Suzy watches as Christopher approaches Yapha, then turns to

exit the back door. As she throws the door open, she sees
twenty young girls from the school standing in the darkness
staring at her. Suzy runs back inside.
INT. BATHROOM -- CONTINUOUS
Suzy is breathless as she locks herself inside the small,

filthy, bathroom. A BANGING BEGINS.
She holds her ears and closes her eyes as she hears a horrific
SCREAM through the door. All falls quiet. The doorknob slowly
turns. The door opens and Madame Blanc stands there.
78.
MADAME BLANC
Words can not express my
disappointment.
SUZY'S POV: As Suzy faints, the CAMERA crashes to the floor.
FADE TO BLACK:
As the music fades, the rhythmic pounding of footsteps rise...
INT. HALLWAY
CLOSE BEHIND: Mysterious heeled shoes walking. A group of

SIX in unison. WHISPERS are heard, but can not be understood.
INT. CLINIC BEDROOM -- LATE DAY
Suzy looks around. Things seem different. Her bed is under a

thin white veil. A syringe, towel and medication sit on a
tray on her nightstand. Flowers have long since died. Her
sheets are latex and she is strapped down. The colors of the
room are muted from what we've seen before.
There is an I.V. attached to her arm. She pulls it out. Her

clothing is stained. There's a tray of rotten food sitting
on the counter with an empty bottle of wine and a broken
glass. She sniffs a foul odor.
She struggles to untie herself, gets out of bed and stumbles,

a little off-balance.
INT. HALLWAY -- MOMENTS LATER
Suzy walks down the hall. Bedroom doors are open, but no one
is around. She stops and stands in the silence.
INT. LIBRARY -- LATE DAY
Suzy cries as she dials the OPERATOR in the empty library. A

VOICE answers in GERMAN.
SUZY
Hello?
VOICE
(in German)
Hello?
SUZY
Yes, I'm trying to call the police.
Can you help me?
VOICE
(in German)
Is this an emergency? Are you crying?
79.
SUZY
I don't understand. I don't know
what's happening. Everyone's gone.
I've been sleeping. No one is here.
VOICE
(in German)
I don't understand English. Let me
find someone who does.
THE VOICE TURNS TO LAUGHTER... STATIC, the line is dead...

Dial tone. Suzy hears footsteps overhead and looks up.
SUZY
One, two, three, four...
She mouths the rest of the numbers as she counts the steps.
VOICE (O.S.)
SUUUUZZEEEEE...
Suzy turns and jumps at the sight of...
PATRICIA, DECOMPOSING AND BLOODY, STANDING IN THE SHADOWS

with bloodshot eyes. She whispers...
PATRICIA
Queen of Satan calls to us. Queen of
Satan calls to us. Queen of Satan
calls to us. Sacred devil lend me
your light. I am the fate of the
Black Queen.
Suzy runs to the door and pauses...
PATRICIA (O.S.) (CONT'D)

What is the secret beyond the door?
She turns back around and Patricia is not there.
The footsteps above sound impossibly loud. Each one, a sudden

migraine. She opens the door.
INT. ANOTHER HALLWAY -- MOMENTS LATER
The hall is empty... We hear an EXHALE in the air. Suzy walks

cautiously.
Suzy walks past the doorway, then turns back and enters.
She surveys her surroundings, goes to a counter and pulls a

long CARBON STEEL CARVING KNIFE out of its sheath.
FOUR WOMEN FROM THE FACULTY walk down the hall, past the
kitchen. Suzy holds still.
80.
Albert opens the clinic door and sees that Suzy is not there.
INT. GREAT HALL -- CONTINUOUS
Suzy follows the women from a distance. She sees Albert run
by on the far side of the hallway. She looks to the painting
of Helena Marcos and sees the a tattoo similar to Miss Tanners
on her wrist.
INT. HALLWAY OUTSIDE MADAME BLANC'S OFFICE -- MOMENTS LATER
Suzy watches from around the corner as the women enter Madame
Blanc's office. As the women disappear, Suzy creeps toward
the door. She does not see Miss Ramsden step out behind her
and then step away.
Looking into the open door, she sees that the office is empty.
INT. MADAME BLANC'S OFFICE -- CONTINUOUS
It's impossible that those women would not be in here. Suzy

steps in suspiciously.
Suzy hears footsteps, panics and jumps behind a desk. She

contorts herself as best she can, trying not to breathe,
clutching her broken knife to her chest.
From her hiding spot she is able to get a glimpse of the

room through the reflection of a mirror on the wall.
Miss Ramsden enters, approaches the wall and picks up a key.

She walks to the stenciled artwork of an Iris drawn on the
wall.
Miss Ramsden glances around curiously, as if sensing

something, then presses one of the flower stencils. The flower
pops open and reveals a KEYHOLE, some kind of hidden
mechanism. She uses the key to unlock it. The wall begins to
move. She opens an ancient door, revealing a hidden passage...
A staircase leading DOWN BELOW the school.
Ramsden returns the key to its holder.
Through the mirror's reflection, Suzy watches Miss Ramsden

as she opens a locked cabinet full of historical guns. She
selects one, loads it and walks over to the mirror to look
herself in the eye.
MISS RAMSDEN
You have failed Suzy. You showed
promise, but you proved too resistant.
Just like the rest of your family.
Your only choice now is to fight for
your life. They will come for you.
(MORE)
81.

I have sacrificed myself to tell you
this.
With no emotion she raises the gun and takes aim at her
reflected image... BOOM! The mirror shatters and Ramsden
falls. Shot in the head by her reflection.
Suzy jumps from behind the desk and rushes to main door in
confusion... IT IS NO LONGER THERE. She runs her hands along
the wall, searching where the door once was. A distant voice
grabs her attention. She spins toward the hidden passage.
Christopher screams from somewhere within the dark entryway.
She has a change of heart. She inspects the sharpness of the
knife, then with a deep breath, follows the voices down INTO
THE HIDDEN PASSAGE.
INT. HIDDEN PASSAGE -- NIGHT
Suzy begins her dark journey. She passes through a blue velvet
curtain. She descends a crooked staircase.
White Latin words and symbols of the occult are carved all
over the catacombs. Vines with thorns and roses have grown
inside. It feels like Hell. A true nightmare of images within
the walls. The stairs lead to a corridor. The hallway defines
a decaying elegance. A mysterious garden planted a hundred
years ago, grown under the light of Black Magic. The music
and visuals complement Suzy's journey as a virtuoso exhibition
of complex mise-en-scene.
As she walks deeper into the forced perspective of the

catacombs, she hears voices up ahead... chanting, low and
methodical...
One of Suzy's arms is outstretched, touching the wall for

balance. The other holds her blade in preparation...
Something's wrong. She looks at her hand. It is covered in
BLACK MOLD from the wall. She wipes it off. The CHANTING
continues. She holds her breath and hides in the shadows as
she rounds a corner, afraid of what she might see...
From an obscured point-of-view, Suzy sees Madame Blanc

reclined on an 18th Century rococo chaise lounge in a
CEREMONIAL ROOM that looks like a rib cage supporting the
wet internal flesh of a belly of a whale. Daniel stands on
one side. Dr. Verdegast stands over Christopher who is on
his knees. Olga's limp body lies on the floor before them.
Albert whispers to her.
MADAME BLANC
Where is she?! WHERE IS THAT GIRL?!!!
Daniel kisses her.

Find her! Bring her to me!!
82.
Miss Tanner enters and kneels before Madame Blanc. In one

hand she holds a lit black candle; a silver goblet of wine
in the other. She raises the candle and Blanc blows it out.
Then she raises the goblet for Madame Blanc. The chanting
GETS FASTER as she raises it to her lips and drinks.
Verdegast cuts Christopher's restraint's loose and kicks him

to the floor.
Miss Tanner takes back the goblet and steps away as Madame
Blanc closes her eyes and raises her arms to the spirits.
She begins TO PREACH:

Our Lord, our Master, I acknowledge
thee as my God. I promise to observe
and obey thee as long as I shall
live. Banish the frailties of hope,
wither the relenting of love, scorch
the fountain of tears, curse them as
only thou canst curse. Plague their
hearts until we hath unfolded the
capacities of their spirits. And He,
this young idolater, I have seasoned
for thee, dear Sister of Sighs! Season
him for our dreadful misery. So shall
he rise again before he dies, and so
shall our commission be for your
spirit. I call retribution from the
other side! Helena, take their power!
Take their strength! Sickness.
Sickness! SICKNESS!!! Death. Step
forward! Come to us!!! For us to
live, you must DIE!!! You must DIE!
EVERYONE
Ave, Marcos hofamore! Ave, Marcos
hallinium! Ave, Marcos Helena!
As their chanting crescendos the sound of thunder rattles

the hall, but then with the same ferocity reverses and sucks
back up to the hell from which it escaped. All is silent.
Suzy is pressed up against the wall. She hides behind a stone
that gives her an obscured view.
Dr. Verdegast viciously grabs Christopher by the collar and

lifts him up.
Madame Blanc slaps him on the back of the head. She gets in
his face. Her eyes are bloodshot and her hair is disheveled.
MADAME BLANC
Your sorrow is your cure for the
secrets you revealed. Pati casum
tuum!
83.
DR. VERDEGAST
Your dignity will forever suffer!
MADAME BLANC
You will see Suzy again in the next
world. Remove him at once. Punish
the boy and suffer the children!
Dr. Verdegast grabs him by the neck and drags him out down
the hallway. Blanc approaches Daniel and caresses his face.

Daniel will share with us the bright
and early dawn that you discourage!
Come to us.
Suzy holds still as Blanc and Verdegast drag Christopher

down the hall past her screaming and down a dark unfinished
tunnel into the ground.
Albert turns and looks toward Suzy. He closes the green glass
door which distorts her view even further.
EXT. WOODS -- NIGHT
A pack of dogs runs through the woods barking.
INT. CEREMONIAL ROOM -- CONTINUOUS
Daniel kisses Olga on the chaise. ELDERLY WOMEN wearing formal

attire surround them, supervising. Olga's make-up is smeared
and she mumbles and looks INTO CAMERA.
OLGA
Come to us...
She holds her arm out loosely. Her voice sounds more like
Madame Blanc than the Olga we are familiar with.
DANIEL
Beautiful. Beautiful baby.
INT. HIDDEN PASSAGE -- CONTINUOUS
Suzy makes a quiet walk down the hallway and gets disoriented
in the labyrinth. Yapha and Veda are on the far end of the
hall. A large pile of dirt has collected beside a hole. Yapha
shovels dirt into the hole. Veda holds her belly and sighs.
She puts on an oxygen mask to catch her breath.
Slowly a figure emerges over Suzy's shoulder. Suzy turns

quickly and runs into MADAME BLANC.
MADAME BLANC
There you are. Do you know what you
have done?!
(MORE)
84.

You were chosen upon birth. You could
have been immortal. And you wasted
everything. Now you're going to die
like the rest.
Suzy closes her eyes as Madame Blanc squeezes her face.

This is real and it is only the
beginning.
Suzy regains her composure and stabs her knife into Madame
Blanc's shoulder. Blanc screams. Suzy attacks her full on,
stabbing her repeatedly in the chest.
In horror, Suzy runs down the hall, looking for another exit
as Blanc's dying words echo behind her. Doors are locked.
Dead end after dead end.

Run. Run. Run into the darkness!
Your fate will find you!
Suzy opens an old carved wooden door nearby and desperately

slams it shut behind her.
DARKNESS.
INT. MADAME MARCOS' BEDROOM -- CONTINUOUS
Chandeliers flicker, giving illumination to this antique and

decaying room. A neglected 1970's vision of 2012.
On the bed in dim purple light is a sleeping figure with

thin hair, withered flesh and legs which have been amputated
at the knee. An array of blood bags and a highly sophisticated
breathing machine keep her alive. We recognize it to be HELENA
MARCOS, The Black Queen.
Suzy grips her knife at her side. Terrified. She steps forward
bravely, but trips on a small glass table which causes a
dish of children's marbles to spill onto the floor with great
racket. The old lady sits up in bed with a gasp.
MADAME MARCOS
Who's there?! Who's there?!!!
Madame Marcos opens her eyes and turns to Suzy covered in

blood. Their voices echo through the environment of the room.
MADAME MARCOS (CONT'D)

(whispers)
Come closer my child.
85.
Suzy looks curiously at the glass statue of a peacock. It is

a vivid, disturbing icon that encompasses every color of the
spectrum in Suspiria.

Come to me Suzy. Do not fear me.
Suzy steps forward.

You've been looking for me and I've
been waiting for you. We knew you
would come. It's been so long.
Suzy sweats as she holds the knife steady... Helena reaches

her hand out and takes Suzy's finger.

Stay here with me. Pain and suffering
is not always evil. You know this as
we do. Fears manifest themselves in
different forms.
Suzy pulls away and slowly steps back. She looks to the door
and starts crying.

I heard your will was strong but all
I see is a scared little girl. You
are not the woman that was promised.
Suzy tightens her grip on the knife.
SUZY
I was never promised to you.
MADAME MARCOS
To carry on this life. This life...
SUZY
Whoever you are. Whatever this place
is. Your life is cursed.
And this BEAST begins to LAUGH. Her voice is suddenly filled

with youth and energy. The laugh gets louder and louder in
raw enjoyment of this psychological torture.
MADAME MARCOS
Careless girl! Why are you here? Did
you come to save me or kill me? You
have that power. You also have the
power to go back. Go BACK. GO BACK
TOWARD THE DOOR. HELL AWAITS YOU ON
THE OTHER SIDE. TO JOIN US YOU MUST
DIE!!!
86.
A long fingered hand slowly reaches in from outside the door.

Broken fingernails, chewed cuticles, cuts and punctures.
Blood smears on the wall beside it.
Suzy's eyes go WIDE.
The glass peacock EXPLODES. Suzy JUMPS.
Suzy turns sharp and slices the knife at the air around her.
ANOTHER LAUGH joins the madness. Suzy sees a disturbing

reflection in the mirror... THE HAND AT THE DOOR reveals
itself as SARAH, a nightmare of the UNDEAD standing in the
coffin shaped doorway. Her eyes rolled back in her head, her
entire face decomposing and speckled with bleeding wounds
from the razor wire.
In a panic Suzy throws a vase at the reflected horror. The

mirror SHATTERS the image into a hundred pieces.
She spins toward the door to see Sarah swinging a burning

wooden torch as she slowly approaches.
MADAME MARCOS (V.O.) (CONT'D)

(whispers)
Mommy...? MOMMY...? MOMMY...?!!!
Come to me children.
A NEW LAUGH from off camera. Suzy spins in complete confusion

to see Patricia again... crawling backwards in the corner,
her bloody body even more decomposed than when we last saw
her. She's speaking in strained whispers...
EXTREME CLOSE-UP:
Suzy steps back into a dresser knocking fragile items that

crash onto the floor. We follow her face in PANIC.

The power between us is a gift. Let
the mortal world collapse with me.
My family has now been chosen. My
grace, my fate, my fury.
She pulls a necklace out with three medallions on it. Each

with a different symbol on it.

Be with us as it burns and we will
rise as one in the next world. Come
to me.
Madame Marcos squeezes her fist and begins POUNDING it on

her bedside table.
THIS ARIA OF TERROR CONTINUES...

87.
DORMITORY HALLWAY:
The children's choir sings satanic songs as they march in a

single file line. The doors to all of the rooms are open and
the rooms themselves have been cleared out. Stripped, bound
and gagged STUDENTS who have been featured in various scenes
lay on the floor being eaten by dogs.
CORRIDOR:
Yapha standing above Veda putting on heavy mascara-
YAPHA
So pretty. So pretty. Into the jaws
of hell...
CAMERA SWISHES DOWN to find: THE DEAD BODY OF MADAME BLANC.

Veda shovels dirt onto the corpse. We hear the SOUND OF AN
ARMY MARCHING.
BEYOND THE SECRET DOOR:
Daniel is fucking Olga from behind as if seen through the

P.O.V. of poor resolution surveillance VIDEO. High pitched
feedback makes a deafening sound. Daniel wears a wig of long
black hair. Both of their eyes have demonic pupils as they
turn toward the camera. He mouths Madame Marcos' words:
MADAME MARCOS (O.S.)

SICKNESS!!! SICKNESS!!!
MADAME MARCOS' BEDCHAMBER:
Suzy takes a breath of meditation. Sarah gets closer.
SARAH
Witches!
Wind blows from the underground. She is caught in the storm.
With confidence Suzy turns and runs toward Marcos. Her knife
slashes the tubes connected to the withered body. Juices and
chemicals SPRAY.
Marcos cries in pain.
Suzy jumps on the bed. Knife held by two hands above her
head. Aimed down as the dagger promises to impale-
She plunges the dagger down into Madame Marcos with all her
strength. An unseen energy knocks the blade from her hands
in mid-air causing a blinding metallic glare.
Sarah stops suddenly and drops the torch. She falls to the
ground in a seizure.
88.
Suzy can not breathe. Marcos grasps at her throat with her
rotten hands of withered green tinted skin. Suzy tries to
reach the knife...
AT THE NATATORIUM:
An assembly of students in uniform stand in line for a ritual

drowning. Several bodies float face down. Dr. Verdegast holds
the girls under water one at a time as he preaches a SATANIC
SERMON IN LATIN.
CAMERA SWIRLS above him, ECHOES OF CHANTS OVERWHELM LIKE AN

OPERA, CAMERA DROPS under the water, sound falls out hard
and we see Miriam's face convulsing as the last air exits
her lungs. Verdegast's hands firm on her head and throat.
Girls climb through the water reaching for Verdegast; the

center of the swarm.
Christopher is on his knees praying and weeping as the Three

Mysterious Teachers beat him with sticks. He gets up and
struggles to fight his way back through the secret door.
CHRISTOPHER
Suzy!!
With a vicious blow to the head, Christopher is knocked out.
IN THE HALLWAY:
Albert sits without expression as he holds his dead rat. He

is curled up in the arms of Veda sitting in spilled mud of
the hallway.
ADMINISTRATION OFFICE:
Thousands of BLACK WIDOW SPIDERS pour up an office wall as

Miss Tanner types. Each of the keys hit the paper like
hammers... the verse of Robert Frost:
"And from that one intake of fire/All creatures still warmly

suspire."
MARCOS' ROOM:
Suzy cannot breathe. Her face has turned pale at the

horrendous hands of this demon witch.
In a final strain of strength, she stretches for the knife

and grabs it from the bedside. Both hands pressing it into
Madame Marcos' neck. The witch lets go. Suzy gasps for breath
and is consumed as all of her strength is restored.
With absolute madness, she saws away at Helena's head.

89.
CEREMONIAL CHAMBER:
The room rattles like an earthquake. Olga and Daniel hold

their necks as if fighting an invisible strangulation. Blood
cries from their eyes.
MADAME MARCOS' ROOM:
The room is a storm. Furniture shakes and slides. Wind picks

up and swirls. Mirrors explode! The flame of Sarah's torch
has climbed to burning furniture.
EXT. DORMITORY -- NIGHT
The sounds of applause and falling rain blurs. Lightning

flashes.
MARCOS' ROOM:
Madame Marcos spits blood and struggles desperately to get

Suzy off of her.
IN THE NATATORIUM:
The CHOIR enters. The water in the pool boils for this MASS
EXODUS. The doctor prays loudly in Latin.
MARCOS' ROOM...
Sarah's body simmers from its seizure. Back to a quiet death.
BEHOLD THE IMAGE of our urban beauty SUZY as she severs the
head of Helena Marcos and stands before us as an animal, the
dominant force above this coven. The beheading is an exorcism
of all that is evil. Suzy breathes deeply in relief. A
catharsis. A purification. A sick and violent magnificence.
She holds the witch's head up by the thin hair with a victory
YELL. Lighting effects consume the room.
FLASHES INTERCUT WITH:
Flames have now engulfed the bedchamber. She absorbs the

power of the head into her own spirit and then throws it
into the fire.
Suzy walks through a wall of fire and looks down burning

catacomb corridor.
NATATORIUM:
Dr. Verdegast screams a Latin prayer up to a deity as he

cries among the dead followers.
DR. VERDEGAST
Take me! Take me! Take me!
IN THE HALLWAY:
90.
Suzy runs down the hallway. It looks twice as long as before.

It shakes and she struggles for balance.
Walls ahead on both sides are ablaze. The ground is dirt.

Her feet sink into the mud beneath her. She throws back the
blue curtain...
Christopher is a bloody mess on the floor. Suzy enters from

the secret door. She kneels and touches her forehead to his.
He opens his eyes. She looks to him with conviction as the

room around them burns.
EXT. GARDENS -- NIGHT
The main doors blow off the building telepathically. Suzy

walks out the doors of the enflamed institution holding a
weakened and beaten Christopher. She walks him into the garden
with confidence and does not looks back.
EXT. BLACK FOREST -- NIGHT
They walk through the moon lit forest. Perhaps for the first
time we feel we are in the natural world. Music and all
cinematic devices are stripped to their most raw.
EXT. ROAD -- MOMENTS LATER
Suzy and Christopher run out of the forest into a moonlight

road that winds through the woods. Headlights approach. Suzy
holds him tight as they stumble to the middle of the road
and puts up her hands. The car stops.
Suzy reluctantly lets go of Christopher. From her pocket,

she pulls the necklace that Madame Marcos wore. She looks at
the three medallions and squeezes them dangling in her fist.
Exhausted, she falls to her knees.
Headlights blind her. A door opens. WE HEAR FEET step out of

the car and slowly walk toward her. Hard soled shoes on
pavement.
SUZY
Please.
VOICE
What will become of us?
Suzy nervously reaches out and takes the extended hand.
CLOSE-ON the hands. The blood and scars of horror have become
strength for Suzy.
THE VOICE IS REVEALED: Aunt Vivica looks down at Suzy with a

tear in her eye and complete understanding.
91.
She helps the young survivors into her car.
INT. CAR -- NIGHT
CLOSE ON SUZY as she rides into the night. Glances between

her and Vivica become a connection that blends the dried
blood of The Black Queen to the purity of her hunter.
The academy burns behind them.
FREEZE FRAME
TEXT SCROLLS: "You have been watching Suspiria."
CUT TO BLACK.
The End.

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Suspiria

by David Gordon Green and Chris Gebert

A piano chord strikes.

FEMALE VOICE (O.S.)

INT. MUSIC CLASSROOM -- DAY

A YOUTH CHOIR rehearses in a room with mirrored walls. A

Their choir director, VIVICA CRUM (35), watches over each

THERESA BANNON (30) sits watching their reflected IMAGES in

A SHARP GASP freezes the room as Theresa lifts herself to

Students WHISPER to each other with concern.

INT. TAXI -- MOMENTS LATER -- MOVING

A cab drives through the streets of MUNICH, GERMANY - breezing

Vivica rides with Theresa in the back seat. Theresa breathes

EXT. APARTMENT -- ESTABLISHING

An elegant, historical, apartment building.

INT. APARTMENT/HALLWAY -- MOMENTS LATER

Elevator doors open and a midwife, ROBERTA BLANC, greets our

The residence establishes a timeless elegance of well-to-do

INT. APARTMENT/BEDROOM -- LATER

Theresa moans in the throws of child birth. She holds onto

Vivica stands over her partner and wipes her forehead.

Madame Blanc kneels behind Theresa. Another WOMAN enters the

Theresa closes her eyes and breathes. A song somewhere near

A woman WHISPERS something in Vivica's ear. Vivica gently

CLOSE ON THEIR HANDS

MADAME BLANC (O.S.)

Theresa smiles... relieved. Vivica swells with tears.

CUT WIDE as Vivica turns to the new mother.

Theresa starts laughing awkwardly...

Madame Blanc swaddles the CRYING INFANT in a cloth. The CAMERA

She holds the infant protectively.

MADAME BLANC (CONT'D)

The women in the OTHER ROOM chant in hushed Latin phrases.

The Ancient Woman nods and then SINGS a wordless lullaby

Our frame SLOWLY PANS to reveal an ornate emblem mounted on

MADAME BLANC (O.S.) (CONT'D)

INT. AIRPLANE -- NIGHT

MADAME BLANC (O.S.)

EXT. FOREST -- NIGHT

Haunting landscape shots of the dark woods. Cutting through

CUTTING RIGHT TO THE ACTION:

AERIAL POV SHOTS race through the woods after her.

EXT. EDGE OF TOWN -- MOMENTS LATER

The frightened victim, PATRICIA (16), runs out of the woods.

Up ahead, a row of townhouses. Lights turn on in a window.

Through an elegant iron fence, the CAMERA WATCHES Patricia

The front door of a house opens and a kindly woman, ALMA,

Patricia trembles as she catches her breath. Her pretty face,

INT. HOUSE/BEDROOM -- NIGHT

CLOSE ON a hanging clock. Gentle thunder.

Patricia sits on a bed. She has bathed and wears a modest

BERNARD, an older man, stands across the room smoking a pipe.

Alma kneels at the foot of a bed with a bowl of water. She

Bernard takes notice of an oil painting depicting the Virgin

Patricia trembles. Alma takes her hand as if to read her

Alma quickly silences him.

She hands her some money from her pocket.

They lay her into bed. She is exhausted.

Patricia closes her eyes as Alma ushers Bernard out of the

A LONG SQUEAK awakens Patricia from her meditation. She looks

Patricia gets up and latches it shut. SILENCE.

Looking down, she realizes that she is on the fourth floor

She turns in apprehension and walks to her door. She locks

A light tapping on glass.

Suspiria (2018) (1-3-12) (Green & Gebert) (Unprod)

Suspiria (2018) (1-3-12) (Green & Gebert) (Unprod)