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未来世界，人类突然变异，类似行尸走肉，一名科学家和一位教师踏上逃亡之路，他们身边有一个叫Melanie的小女孩，似乎拥有某种特殊而残忍的技能。
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故事发生在桃园高中之内，加贺良介（下野紘 配音）是学校里出了名的好色之徒，对美少女的一切都十分热衷。某日，良介偶遇了名为丽萨菈（远藤绫 配音）的神秘女子，其真实身份竟是出身名门的死神，在阴差阳错之下，良介和丽萨菈签订了契约，他所要付出的代价竟然是他的色欲之魂。 大仓美菜（石原夏织 配音）是良介青梅竹马的玩伴，美菜内心里一直喜欢着善良的良介，然而却选择将这份感情深深的埋藏在心底。丽萨菈的妹妹裘儿（西口杏里沙 配音）亦身处人间界，一心想要打败姐姐取而代之的她却最终成为了失败者因此丧失了魔力，于是，裘儿和美菜签订了契约，就此，一段复杂的四人关系拉开了序幕。
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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).