Eli takes no pleasure in luring, attacking and killing human victims, preferring to let Håkan do the slaughter for her - a choice that may not be morally superior but is a measure nonetheless of his reluctance. She initially only kills when she is desperately thirsty, after Håkan fails to bring her the blood she survives on. Later, as he leans forward over Jocke's limp body, his posture conveys pain, remorse, and remorse, particularly dissimilar to Dracula's act of using Lucy. Eli's sense of justice, however, seems unmistakably vengeful, and far from demonstrating a sense of fairness derived from selflessly chosen principles like the new vampires. Eli's acts of vampirism are depicted as sexually unattractive, clumsy, but essential to his life as opposed to entertainment. As gruesome as his eating attacks are, they remain understandable. This can also be understood during the final pool scenes, when we see that Eli's violence is dark but well-intentioned. When Oskar is about to drown, Eli brutally intervenes. Zanger reveals that audiences sympathize with the lesser evil in recent vampire stories. In this film, however, since Eli saves Oscar from mutilation or death, the characters who die are the ones the audience becomes unsympathetic to, thus reversing the pattern of reader/viewer identification with the victims. From under water, a commotion is heard above the surface: then the severed head of the main bully appears, then his forearm and the hand that previously held Oskar under water. We root for Oskar and Eli as she pushes beneath the surface to gently lift Oskar to safety, which shows that their trust and loyalty to each other is unmistakably strengthened, much unlike the old vampire.