李三开车撞死了举报自己家的好朋友敖丙，超视自己也四肢分离的死了。他的身体被太乙带回实验室重组，超视重组后的李三就生活在了末栈。还与正常的人艾尔相恋。李三接待了伊一接待过的客人，马优，吴雨欣，郭四。但他们却都被杀死在了自己的屋子里。黑猫白猫调查这几件杀人案，并判定凶手就是末栈中众人的其中一人。黑猫白猫认为艾尔是凶手，李三不相信。他们将艾尔绑起来，卢舍施了法术使李三不能带走艾尔。晚上李三发现了身体中的另一个人——敖丙，死去的酒店顾客都是敖丙利用李三的身体杀的，并扬言杀死所有与李三有关的人。原来太乙重组李三时将敖丙身体的部分也加在了李三的身体里。李三努力克制自己，最后自残而死，艾尔为了救李三被太乙变成了布偶艾尔。伊一一直在问所有人我是谁都得不到答案。最后像是想起来一样，叫卢舍爸爸，询问卢舍妈妈在哪。突然末栈倾倒，伊一又从睡梦中醒来，变得一无所知，来到了完好的末栈。
回复 :与Stefan Uher和Elo Havatta一样，Eduard Grecner也是60年代斯洛伐克新浪潮电影的缔造者之一。他的三部影片《一周七天》（1964）《尼绒月亮》（1965）和这部《徳拉克的回归》都是斯洛伐克新浪潮电影的代表作。这部叙事方法独特带有明显意识流风格的黑白影片甚至间接影响到了后来法国导演格里耶在捷克拍摄的两部影片《说谎的人》和《Eden and After》。A special place in the development of feature films is reserved for Eduard Grecner, the creator of just one good film, Dragon Returns (Drak sa vracia, 1967), titled after the nickname of the lead character. After his initial work with Uher, Grecner made his mark as a proponent of the so-called "intellectual" film, the antithesis of the sociologically, or rather, socially critical film. Grecner's great role model was Alan Resnais, a young French filmmaker who sought to introduce Slovakia to the idea of film as a labyrinth in which meanings are created not by stories, but by complex configurations of dialogue, shots, and various layers of time, thus differentiating film from both literature and theater. In Dragon Returns―the story of a solitary hero who is needed by villagers living far in the mountains, but who is rejected by them at the same time because of his detachment―Grecner brought the tradition of lyricized prose to life through a whole series of formal aesthetic techniques. Alain Robbe-Grillet immediately developed this idea in the film shot in Bratislava The Man Who Lies (Slovak: Muz, ktory luze; French title: L'homme qui ment; 1968), and perfected it in Eden and After (Eden a potom, 1970).
回复 :女主相亲前一天晚上把闹钟定错了，结果第二天误打误撞的和另外一个男士约会，他们却意外地谈得来，但是当他们发现这一切都是巧合，两人的爱情又将何去何从？
邓一君
回复 :一个自称是灵媒的江湖骗子被一个精神错乱的男人绑架，但是他决定借此出名，结果造成了破坏性的后果。