"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]


Screenplay by

Peter Atkins

Based on a story by

Clive Barker

Second Draft

November 1, 1987



The screen is composed of large, straight-edge areas of black
and white that rest against each other in a manner that
suggests some kind of pattern, without making a final sense;
it is as if we are too close to something that, could we see
it from a distance, would be clear to us.

These areas shift and change -- both their own shape and
their relationship to their neighbors. New patterns are being
made, new solutions found -- but they are just beyond our
comprehension. The effect should be aesthetically pleasing
but simultaneously frustrating and, perhaps, a little

Shortly into this sequence, and subsequently inter-cut
throughout, we begin to see, in FLASHBACK, the story of
HELLRAISER. Arriving first as very short shock-images, these
brief sections eventually convey to the audience all the
necessary emotional and narrative information they will need
to understand the background to HELLBOUND.

Meanwhile, the black and white shapes are still moving, the
unseen patterns still shifting.

Over this constantly mobile background, the TITLES begin to

As the TITLES unroll, another change comes over the puzzle
pieces behind them. Where before they moved and related only
in two dimensions, gradually we see that they are now claiming
depth as well. The puzzle we are looking at is now a three-
dimensional one. The pieces are now solid blocks of various
geometric shapes, locking together, moving apart, finding
their final position.

Finally, as the TITLES come to their conclusion, the camera
pulls back until we can see clearly what we have been looking
at. As the final piece clicks into positions we see it is

The closed box rests before our eyes a moment and then the
circle in the centre of the side that faces us gives way to
an image of a dusty street with a market. Simultaneous to
this, the camera TRACKS into this image until it fills the


The TRACK continues up through the market and then turns
through the stalls to find a store behind them. As we TRACK
through the store's doorway, we pass through a beaded curtain
that momentarily reminds us of the TORTURE ROOM in HELLRAISER.


Once we are in the store itself, though, this impression
disappears. It is an ordinary, slightly seedy, junk shop.

The stall seems to sell an odd mixture of items; native
trinkets share space with second-hand items from European
colonists. These second-hand goods give us some sense of
period. They suggest the late 'twenties/early 'thirties.
This is reinforced by the sounds coming from one of them, an
old-fashioned mahogany-cased wireless. A foreign voice speaks
from it in a language we don't understand, though perhaps
the words "BBC world service" are discerned in the middle,
and then a dance-hall tune of the period begins to play.
(Depending on availability, it would be nice to have something
relevant - 'I'll follow my Secret Heart', perhaps, or 'Dancing
in the Dark'.)

Into shot comes an ENGLISH OFFICER. His uniform, too, suggests
the 'twenties, the last days of Empire. He is tall, thin,
and dark-haired, but at no stage do we see his face clearly.
He stands in front of the stall.

The TRADER suddenly stands behind the counter. He has been
crouched beneath it, as if checking or preparing something.
He is a big, impressive-looking black man. His face is totally
impassive as he stares at his customer.

Neither of the men speak. Obviously, a deal has already been
struck and today is the pay-off.

The OFFICER, a little arrogantly -- suggesting racist
contempt, slaps down a bag of gold on the stall's counter.

Keeping his eyes firmly on the OFFICER, he reaches beneath
him and brings something up from under the counter and places
it In the OFFICER'S outstretched hand. He is holding a LAMENT

The OFFICER turns and leaves. The camera TRACKS out of the
store, looking at the TRADER as he watches the departing


It is typical of temporary military quarters, complete with
a curved ceiling of corrugated material. It is stripped of
furniture. The blinds are down.

The OFFICER, still in uniform, sits cross-legged, the BOX
held before him.

He is already well into the solving process and very soon
after the shot begins the BOX begins to speed its own

Finally, two sections of the BOX shoot upwards and begin to
peel apart from each other, ready to reveal its secret.

The OFFICER, suddenly nervous, drops the BOX and scuttles
back across the floor to stare at it. The BOX lands upright,
its extended parts still open above it. For a beat of two,
nothing happens. We become aware of the OFFICER'S pulse,
throbbing excitedly on the soundtrack.



Lowly we, the camera, and the OFFICER, move towards the still,
silent, but menacing BOX.

We approach it until finally we are above it, looking down
into the opening it has made in itself. There is undefined
movement inside.

Suddenly, something flies up directly at us. We glimpse it
only briefly, but enough to see its nature. Unlike the hooks
that flew at FRANK in HELLRAISER, this is more organic than

Pink and flesh-like but on a long gray-blue stalk, it flies
upward, its lips peeling apart gapingly to reveal scores of
yellow, discoloured, and viciously sharp teeth-like hooks.

The OFFICER screams and the screen begins to take on a red
tint so that, just as the thing is about to fill the screen
with its hungry mouth, the entire screen turns red.

The red screen is held for a second and then suddenly becomes
complete blackness.


The black screen continues and, rising slowly from it and
falling back slowly into it, in a dream-like, surrealistic
manner, come various images of the OFFICER'S torment/pleasure
in Hell.

By various camera tricks, such as step-printing or optical
blurring, his face is still not clearly seen, but is seen
enough for us to see his sensual, almost orgasmic responses
to what is being done to him.

Cuts appear spontaneously across his face, leaving a grid
like crisscross pattern of wounds.

Finally, a disembodied hand gripping a hammer drives nails
into each corner formed by these wounds and, as the face
comes into full view for the first time, we realize who this

PINHEAD'S completed face floats on the blackness and stares
out at us.

(echoed & slow)
Kirsty, come to daddy.

The tiny silence following PINHEAD's words is shattered by a
piercing and terrified scream.


The scream continues, but the blackness is replaced by
KIRSTY's anguished face; it is she who is screaming. The
scream subsides, replaced by breathless panting accompanied
by rapid eye movement.

(off camera)
Ah, you're awake. Good.

We pull out to see that KIRSTY is sitting up, fully dressed,
on a hospital bed. RONSON, a police detective, sits on a
plain wooden chair, which is the only other piece of furniture
in the room.

The walls are bare save for a piece of primitive art on one
wall, and, on another, a circular barred window looking out.

RONSON stands up and walks to the foot of the bed. He rests
his hand on the bed's metal frame and smiles a perfunctory

Tell you what -- we'll make a deal.
I'll tell you what I know, then you
tell me what you know. O.K.?

KIRSTY is still re-orienting herself. She blinks a few times
and then focuses on RONSON's hands gripping the bed.


KIRSTY looks up at RONSON's face and then around at the room.

Where am I?

You're in the Malahide Institute.
It's a psychiatric hospital. But,
hey, don't feel judged -- it was
just the nearest place to bring you.
Remember? You and your boyfriend...?


Don't worry. He's O.K. We sent him
home hours ago. Jeez, what a story.

He puts a cigarette in his mouth and lights it.

What was it, kid? Smack? Angel dust?
Don't tell me acid's back in fashion?

What are you talking about? Who are

Oh, excuse me...

RONSON reaches in his jacket and flashes an I.D.

Ronson. Homicide. I'm this district's
slash and dash expert. Made a career
of the nasty ones. That's why I was
at your Dad's house. Jesus, what a

KIRSTY'S eyes prick with tears. She looks away from RONSON.

(to herself)


CORTEZ, a POLICE OFFICER, shifts some unpacked crates to
allow a closer look at the shriveled and deformed corpse of
one of FRANK and JULIA'S victims.


CORTEZ prods at the corpse with his night-stick, attempting
to turn it over. A stream of maggots pours from the mouth
and the cavity that used to be its throat.

CORTEZ jumps back in disgust and knocks against one of the
several wardrobes in the cluttered room. Another corpse flies
out at him, as decayed and flyblown as the first.

CORTEZ draws his gun and empties it blowing the corpse's
head off, scattering flesh, mucus, and bone -- but no blood --
everywhere before realizing it is already dead.

He realises what he has done and lowers his weapon sheepishly.

Oh. shit...


RONSON is sitting back in the chair, looking at the now
slightly calmer KIRSTY.

We got two missing people and a house
full of corpses.

He holds out his hand towards KIRSTY in a theatrical manner.

Talk to me.

KIRSTY swings her legs off the bad, but remains sitting on
it, her feet on the floor. She doesn't look directly at RONSON
but begins to take in the (few) details of the room for the
first time.

I thought Steve had talked to you?

Oh, pardon me. I obviously didn't
convey my hesitation to take his
story at face-value. No, YOU talk to
me. But -- do me a favor? -- none of
this DEMONS crap.

KIRSTY closes her eyes, almost wincing, as memory comes.

KIRSTY opens her eyes. Consciously, she slows the rhythm of
the dialogue down.

He talked about Demons, huh?


KIRSTY turns her head to look directly at RONSON.

It's true. All of it. It's all true.

RONSON stares at her, impressed by her conviction and

There is a second of shared silence.

Suddenly, a shocking ELECTRONIC CRACKLE shatters the mood.
RONSON starts, then realises it is the radio at his belt. He
snatches it up and speaks into it.



Another OFFICER, KUCICH, is standing, radio in hand, by the
blood-stained mattress. CORTEZ stands beside him, gun now
safely re-holstered.

Kucich here, sir. We just found
another one, though it suffered a

KUCICH looks at CORTEZ, who looks embarrassed.

...er, accidental damage in discovery.
Anyway, just about the only portable
evidence we've got here -- apart
from human remains -- is the mattress.
Looks like someone was messed up
real bad on it.


Can we send it downtown?

RONSON throws KIRSTY a look of exasperation with his

The camera stays on KIRSTY's face as RONSON speaks.

What the hell are you asking me for?
Tag it. Move it.

The mattress... The mattress... JULIA.

Without waiting for a reply, RONSON switches the radio off
and clips it back to his belt.


We are looking at the mattress. KUCICH has left the room.

CORTEZ draws a pad from his packet. The pad is stapled, and
the staple has been badly inserted and is not closed property.

In the act of tearing a label from the pad, CORTEZ catches
his thumb on the staple.


The label is adhesive-backed. CORTEZ licks it and presses it
on the mattress. He writes on it - 55L/E1. As he stands up
from doing this, a single drop of blood from his thumb lands
on the mattress. (It is important that we see it is only a
single drop -- and nothing like the amount LARRY spilled on

CORTEZ leaves the room to fetch a colleague to help him move
the mattress. We move in to see the drop of blood disappear
very quickly into the mattress, as if it is being sucked in.

As this happens, we hear on the soundtrack the faintest


A somewhat antiquated and frightening operating room, filled
with machines, monitors, and surgical instruments. The corners
of the room fall away to shadow.

Sitting upright in the centre of the room is a FEMALE PATIENT.
She is awake and staring out at the camera. Twin probes/clamps
are in each of her ears to hold her in place. Her head is
shaved and the skin on the back of her head has been cut
open and peeled apart. The flaps of the skin are held away
from the area being worked on by four clamps. (we never
actually see round to the exposed brain itself)

Immediately behind her, and probing with professional skill
and coolness into her exposed brain, is DOCTOR MALAHIDE. He
is in his late forties and looks like all the great doctors
look -- rational, civilized, competent, and powerful. There
is an intensity in his eyes and the lines of his face though
that suggests something more than normal.

The room has several attentive listeners and observers, but
the one nearest to MALAHIDE is his personal student/assistant
KYLE MACRAE, young, conventionally good-looking, with an
open, friendly, face.

MALAHIDE is holding forth on the secrets of his trade, several
times looking away from his patient while still working on
her, to make sure his audience understand his points.

We can bring them back properly more
often than scientific orthodoxy
dictates, ladies and gentlemen. And
the knife, far from the enemy of of
analysis, is often its greatest ally
in solving the puzzles of psychosis.
Analysis isolates and massages.
Surgery pinpoints and corrects...
though you've got to know what you're
doing, of course...

Polite laughter from several students.

Some things are obvious. Here, for

He prods in at a specific area.

...are the optical motor nerve control

The PATIENT begins to blink in time with MALAHIDE'S prodding.
The affect is half-comical, half-distressing. Perhaps MALAHIDE
carries it on just that half-second too long for innocent
demonstration. But the students give impressed murmurs anyway.

Now. This case. A deeply-buried
psychosis severe enough to produce
frighteningly frequent hysteria and
aggression. Incurable. Say others.
Not so. Analysis isolates. The knife
exposes. Medication controls.

As he speaks, MALAHIDE injects a syringe directly into the
PATIENT's brain. Her face spasms momentarily.

MALAHIDE stands back slightly. His face is serene, calm, and

He takes a small, motorised drill and sets to work on the

And then, ladies and gentlemen, we
REBUILD. With all the care and
knowledge that our years of training
have given us...

He looks around at them all, smiling slightly.


The students murmur their approval. Perhaps they even applaud.

MALAHIDE acknowledges their reaction with a modest nod.

Suddenly, an intercom on the wall cuts in.

Dr. Malahide, the new arrival is
awake, and appears very distressed.

MALAHIDE steps back briskly and begins to peel his cloves

He nods at a nearby student.

My part in this is over. You may
tidy up for me. Kyle, you come with

MALAHIDE and KYLE leave the room.


KIRSTY has her hands over her face and is shaking. RONSON
stands and crosses to her. He takes her hand from her face
and calms her.

Easy, easy. Whatever happened,
whatever you saw, it's not here now.

I saw it... him. But I got away. And
I took the box. And I solved it. And
they came.


The Cenobites.

She stares directly at RONSON, daring him to disbelieve.

The Demons.

RONSON stares back, perhaps a glimmer of belief in his eyes.

On the soundtrack, the sudden and shocking sound of a door
being slammed open and hitting the wall.

KIRSTY screams. Even RONSON is startled.

In the doorway are DOCTOR MALAHIDE and KYLE. MALAHIDE advances
into the room, smiling apologetically as he does so.

Sorry. Must get that door fixed.
Detective Ronson?

MALAHIDE holds his hand out, as RONSON nods in response.

I am Doctor Malahide.

The man shake hands. MALAHIDE gestures behind him.

My assistant, Kyle Macrae. And this
must be Kirsty?

MALAHIDE speaks quickly, as if to get the formalities out of
the way. As he says her name, he smiles benignly at KIRSTY
who, still distraught from her memories and shocked at the
slamming of the door, simply stares at him.

MALAHIDE turns his attention back to RONSON, drawing him
away and speaking to him in a lower voice.

Meanwhile, KYLE walks over to KIRSTY and smiles at her --
long enough to embarrass her into smiling back.

I've read the boy's statement. Quite
the adventure they believe they had.
I'd like to talk to her alone. Do
you think...?

RONSON looks over his shoulder at KIRSTY. He then looks
carefully at MALAHIDE and then nods slowly.

Mmmm. O.K. Frankly, I think she's
more your territory than mine. Shame.

RONSON looks back at KIRSTY.

Kirsty. Doctor Malahide's going to
look after you now. Maybe we could
talk some more tomorrow.

KIRSTY nods vaguely and then, just as RONSON reaches the
door, calls out to him.

Wait! The mattress. You've got to
destroy it. She DIED on it, you see.
The mattress. It's haunted now. She
can come back... like Frank. SHE CAN

RONSON smiles helplessly at her, then glances at MALAHIDE
with a "you see what I mean" expression, and leaves the room.

The mattress...

MALAHIDE stares at her briefly, with a strange expression on
his face and then abruptly follows RONSON through the door.

KIRSTY is too absorbed to notice this odd behavior, but KYLE
stares incredulously as MALAHIDE leaves the room.

Uh... excuse me a moment.

He follows to the door and stands in the doorway, looking
down the corridor.


RONSON stands before a set of double-doors, talking to a

MALAHIDE comes into view, walking swiftly, and instantly
talks over their conversation.

Detective. I'll be able to help this
girl. But I need your assistance...


Looking back at the corridor, we see the door to KIRSTY'S
room ajar, and KYLE standing by it looking down.


A LONG SHOT of MALAHIDE and RONSON. KYLE, and we, are too
far away to hear what is said, but MALAHIDE in nodding and
gesturing emphatically, as if persuading RONSON of something.


KYLE returns into the room and closes the door. His expression
is puzzled, troubled. Then he remembers there is a patient
here and he smiles.

So... You're Kirsty, huh?

You a doctor, too?

KYLE smiles again.

Nearly a doctor. I'm Kyle Macrae.
Call me Kyle.

KIRSTY draws a deep breath, temporarily calmed. She even
manages a smile.

Hi, Kyle.

MALAHIDE re-enters the room.

Now, Kirsty...

KIRSTY looks at him warily.

The cop. He didn't believe me.

I suspect not. But that doesn't
necessarily mean you're wrong, does

Do you believe me?

MALAHIDE offers a re-assuring laugh.

Well, I don't know yet. However,
you're not lying. YOU believe this
is the truth.

It IS the truth.

Suddenly, the door opens again. An INTERN is standing there.
For the briefest of moments, MALAHIDE looks furious and then,
catching himself, assumes his calm demeanor.


Sorry, Dr. Malahide. But it's Tiffany.
She's escaped... again.


Very Well.

He looks down at KIRSTY.

I'm sorry, Kirsty. Kyle will come
back with something to help you sleep.
We shall speak tomorrow.

MALAHIDE and KYLE follow the intern from the room, KYLE giving
a last friendly smile as the door closes behind them.


We are staring down the midway of a deserted carnival. On
either side, stalls and rides beckon to pleasures that their
locked doors and tarpaulin-draped entrances deny. A light
rain is falling.

A huge wooden cut-out of a grinning clown dominates one stall
while the sign beneath him seems to state the ethos of the
whole place; LOTS 'O' FUN.

Another has a banner proclaiming FREAK SHOW, with the

On the horizon in the distance, almost denying the reality
of what we are seeing, tower vast cranes of unimaginable
height while beyond them impossibly huge oil-drums squat
against the moon-bright but cloudy sky.

Into shot, and running down the midway, comes a girl, TIFFANY.

TIFFANY is a girl in her early teens but looks younger then
her years due to her boyish figure and her slightly over-
delicate features.

For the last months, TIFFANY has been finding ways out of
the institute and making her way here, where she has one
special obsession, which we will soon see.

Following her into shot, but many yards behind, come two
INTERNS from the Institute. They contrast each other almost
comically, one being tall and plump while the other is smaller
and thinner. They're not quite the Stan and Ollie of the
medical world but with some serious rehearsal they could get

Oh, Jesus -- she's gonna make it.

Even as the first INTERN says this, we see TIFFANY make a
sharp left turn into a stall entrance.


A front view of the stall into which TIFFANY has run. The
large sign above it proclaims 'HALL OF MIRRORS' and a smaller
sign perched above a distorting mirror to one side of the
entrance says 'YOU'LL BE AMAZED'.

The two INTERNS enter at a run.


There follows a hopelessly one-sided pursuit through the
mirror maze as TIFFANY effortlessly eludes the two INTERNS.

There are three major facets to this sequence; 1) Comic relief --
as the two interns make fools of themselves.

There could even be a room of distorting mirrors where the
thin INTERN becomes fat and the fat one thin.

2) TIFFANY'S ease and expertise with patterns and puzzles.

3) Confusion of the audience's sense of the real and the

This goes on long enough for us to realise the 1ST INTERN
was right to worry, how long TIFFANY could elude them. Then,
jarringly, as the screen is full of reflected TIFFANYS there
suddenly appears amongst them a single image of MALAHIDE.

Everything stops.

The image of MALAHIDE (and we shouldn't he sure yet if we're
looking at a reflection or the real man) puts its hands out,
palms up.

Tiffany. Come.

All the TIFFANYS move quietly toward him until they all
disappear from view. Then the real TIFFANY comes into shot,
her back to us, and walks toward what we now see to be the
real MALAHIDE, who is standing in a doorway deliberately
framed like a mirror to confuse the customers.

TIFFANY places her hands docilely on to MALAHIDE's
outstretched ones.


KIRSTY has been dozing fitfully, but is awakened by strange
noises. At first terrified, she slowly realises it is simply
someone being put in the room next door.

She waits until activity has ceased and then moves to her

It is unlocked. She moves out into the corridor.


Looking warily from side to side, KIRSTY edges out into the
corridor, along it, and then stops by the door of the
adjoining room.


A hand fits a piece of jig-saw puzzle into the space it

We know it is a jig-saw by the shape of the pieces, but it
is clearly not the conventional type -- a picturesque photo --
because all we can see at this close-up angle are large areas
of black and white.


We now see that the puzzle is on the floor of a room of a
similar size to KIRSTY'S. It is slightly more decorated; It
has curtains and wallpaper. And a tiled floor. Sitting cross-
legged on the floor next to the puzzle is TIFFANY.

The puzzle, which we can now see more clearly, is an intricate
abstract design in black and white. There are several pieces
still un-fitted but TIFFANY is working steadily, efficiently,
and with complete concentration.

On a wall behind her there is a visual record of her progress
over the last few months. Sealed in plastic by staff members
are. Puzzles she has solved, with dates marking her
advancement. They begin with the simplest wood block animals
usually given to very small children. passing through photo-
puzzles of increasing difficulty, and culminating in one or
two other examples of the kind of complicated pattern-work
she is involved in now.


We pull out to see that this is KIRSTY'S P.O.V. from the
glass panel in the door of TIFFANY'S room.

TIFFANY looks up at one point and eye-contact is made. KIRSTY
gives a tentative smile and a small wave. TIFFANY stares at

The stare is long but unresponsive and finally TIFFANY returns
to the puzzle.

KIRSTY has her back to us and the camera is quite close in
when a hand suddenly moves into shot and touches her shoulder.

KIRSTY jumps back in alarm, fear on her face. But it is only

KYLE raises his hand in apology.

Oh, Jesus, I'm sorry. God, if anyone
should know not to do that, it's me.
I'm sorry. O.K.?

KIRSTY nods and gives a nervous smile. KYLE, still embarrassed
by his foolishness and eager to change the subject, nods
towards the glass panel.

Sad, huh? She's been here six months.
Her name's TIFFANY.

What's the matter with her?

Almost complete withdrawal. She hasn't
said a word for nearly two years.

God, that's terrible.

Yeah. Doctor Malahide's got her doing
these jig-saws and things, though.
Says it's helping to bring her out.

KYLE ushers KIRSTY back into her own room.


As he closes the door to KIRSTY's room, KYLE reaches into
the pocket of his lab-coat and produces a small box of pills.

Anyway, let's concentrate on you for
a moment. Wanna suck on this for me?

KIRSTY looks up at him sharply. He is proffering a pill and
grinning facetiously.

Hey, good joke, Kyle. Do you always
come on to the mentally ill?

KYLE's face falls. He blushes. Pressing the pills into
KIRSTY's hand, he backs off to the door, apologising.

Shit. Sorry. Here's the pills. Red
face. Door. Bye.

He exits hurriedly, closing the door behind him. KIRSTY grins
despite herself. She looks at the pill for a second or two
and then puts it firmly back in the box. Realising there is
no bedside table, she puts the box on the wooden chair.

Jesus, I'm glad I'm not paying for
this place.

She is about to lie down on the bed, when she senses something
is wrong in the room.

KIRSTY is instantly tense again. She swings her head to the
side and tenses in horror, stifling a scream.

In the corner of the room, against the wall lying in a pool
of blood, is her skinned father LARRY.

KIRSTY emits a pained moan of pure anguish as she realises
what she is looking at.

(under her breath)

The thing in the corner raises its arm weakly from its side
and begins to write on the wall in its own blood.

It writes: I AM IN HELL; HELP ME.

KIRSTY covers her eyes with her hands and begins to sob.

KIRSTY takes her hands from her eyes.

The figure has gone. The pool of blood has disappeared. But,
on the wall the words remain.

KIRSTY makes herself rise from the bed and walk slowly across
the room.

Her eyes full of tears, she stretches out her arm and touches
the word 'I'.

As her fingers make contact, the words instantly disappear.

She presses her bloodied finger quickly to her lips before
that last trace of her father can vanish, too.


TIFFANY is still sitting up cross-legged, weeping. Her puzzle
is completed.


Basically an establishing shot to show it is the next morning
but it also serves to show MALAHIDE walking briskly to work.
His suit is tasteful and simple, but discreetly expensive-
looking. He walks with purpose and looks straight ahead,
acknowledging only with polite nods the respectful greetings
of various JUNIOR DOCTORS and NURSES he passes on his way.
He enters the institute.

We should also see several patients being walked, or wheeled,
around by STAFF during this shot.

And how are we feeling today...?


This is a large, traditional hospital ward with a line of
beds down each long wall and a wide central aisle.

Nearly all of the beds are occupied and, at the far end of
the ward, there is a male patient in a wheelchair.

All the PATIENTS' eyes turn immediately and happily to
MALAHIDE as he crosses the room, continuing his speech.

Better? Good.

He doesn't stop his progress but walks straight through the
room and into the corridor.

As the door closes behind him the WHEELCHAIR PATIENT scowls.

105 years and he still doesn't know
my name.


MALAHIDE walks swiftly down the corridor in which we saw him
talk to RONSON earlier, but this time the camera follows him
through the double doors and further down the corridor.

He enters an elevator and the doors close in front of him.


MALAHIDE exits the elevator into a lower corridor, one not
so carefully decorated.

We are in the area in which the more deeply disturbed of the
Institute's patients live.

The rooms are smaller, closer together, and there is an
observation panel set in each door.

MALAHIDE looks into the first four rooms.

In the first, a middle-aged, overweight woman sits completely
motionless in the middle of the floor. She is dressed in a
shapeless white robe and is sitting crosslegged. Her head is
shaven, her eyes are rolled completely up into the sockets
so that only white shows.

In the second, a very thin man of about thirty is pressed as
tight as he can be into one corner of the room. His hair is
long and he has a full beard. He is naked but not unadorned --
his body and much of his cell wall is smeared in excrement.

In the third, a man of about MALAHIDE'S age-stands in the
centre of the room. He is of normal build but his head is
shaved. His face, scalp, and hands are covered in self-
inflicted and amaterurish tattoos -- all of crosses. He is
dressed in T-shirt and jeans. With both hands he holds aloft
a silver crucifix, pointing it in all directions, as if under
constant siege by Devils. He mutters prayers and invocations

In the fourth, a man in his early twenties restrained in a
strait-jacket. He shuffles around on the call-floor, his
eyes twitching and flitting from one part of his body to

Get them off me. Get them off me.

Off-camera, we hear the sound of KIRSTY's sobbing -- which
bridges the CUT TO:


KYLE enters, having heard KIRSTY crying. She is sitting with
her legs over the side of the bed with her face in her hands.

KYLE immediately sits next to her and puts an arm around her
shoulder. He doesn't force her to speak. He lets her let the
tears out. Finally, she looks up.

I... I had a visitor.


Oh, Jesus. I can't explain. It's...
it's. I don't know how to help! I
have to save him and I don't know
how to help!

Kirsty, I'm sorry... don't understand.

I know. No-one can. But I have to
save him. Where's the other doctor?
He said He'd listen. He promised.

KYLE responds quickly to this. His faith in MALAHIDE is
strong, despite that curious incident of the previous night
when MALAHIDE followed RONSON out of the room.

Dr. Malahide. Yes. Look, I'll fetch
him. You take it easy. I'm sure he
can help.

KYLE stands up, making soothing motions with his hands, and
heads for the door.

Help. No, no-one can help. I just
want someone to listen or I WILL go

If anyone can help, HE can.

KIRSTY turns and gives KYLE a strange look as he opens the

Yeah? He got a ticket to Hell?


We TRACK with KYLE down the corridor, eventually reaching an
impressive door, which is slightly ajar. Even before we reach
it, we hear MALAHIDE's voice. He is clearly on the phone.
Because of the nature of what he is hearing, KYLE pauses
when he reaches the door, listening with a confused expression
on his face.

(gradually fading up)
Officer Kucich? Yes, Doctor Malahide.
You've spoken to Ronson? Yes... That's
right. The mattress... No, I'll meet
you by the side entrance. No, no, my
HOUSE. Yes, let me make that clear.
The house, NOT the hospital... Yes...
Fine, and thank you.

We hear the phone click. KYLE waits a moment and then walks
swiftly through the door, speaking as he does so.

Doctor Malahide...?


KIRSTY'S face fills the screen. Her voice is slightly dreamy,
as if she is still trying to understand herself the story
she is about to tell.

It must have been going on forever...

Her voice trails off. We pull out to see KIRSTY sitting up
on her bed. MALAHIDE on the wooden chair, and KYLE standing
by the door.

MALAHIDE's voice pulls her back.


KIRSTY snaps back and continues to speak in a more normal

But the part I know about, That must
have started with my Uncle Frank...

Then let us speak of it...



We TRACK in slowly towards a modern house that we will learn
is MALAHIDE'S, up the drive, towards the front door.



The TRACK continues along the hallway and into the OBSESSION


The TRACK continues.

The room is dim, lit only by stray shafts of moonlight.

On the floor in the centre of the room is the mattress.

The TRACK stops. A main light is clicked on and MALAHIDE
moves into shot. MALAHIDE pours himself a scotch from the
decanter that sits on the writing table and approaches the

He is clearly very, excited. He walks around the mattress
two or three times, never taking his eyes off it.

He walks back to the writing table, throws his drink back,
puts the glass down and leaves the room.


MALAHIDE leaves through his front door and walks toward the


After a few seconds silence we hear a repeated clicking sound,
as if something is being forced, followed by a louder snap
and the sound of a sash window being opened.

The curtains balloon inwards, part, and KYLE steps into the

He stands still for a moment, as if making sure he is alone,
and then begins to take in his surroundings.

The room is entirely devoted to MALAHIDE'S secret obsession --
with the Paranormal in general and the Lament Configuration
in particular.

It is a fair-sized, square shaped room. Prints, paintings,
and photographs cover the walls. All of these pictures relate
in some way to his obsession; photographs of ghost-sightings;
portraits of magicians from Cagliostro to Crowley; prints of
arcane symbols and pentagrams, etc.

Specifically, we recognize a print that resembles very closely
the jigsaw he has had TIFFANY recently solve. Also, there
are framed diagrams (which look very old) of the Lament
Configuration -- Both open and closed.

On a long, low table there are three glass cases. In each of
these cases is a Lament Configuration. On each case is a
small label giving a location, a date of acquisition, and a
number -- which we may assume to be the number of deaths
attributable to that specific box.

These labels read: CAIRO 3/4/'59 7
LYONS 6/2/'72 4
NEW YORK 12/3/'81 5

There are also, on a small desk-top bookshelf on a writing
table, editions of MALAHIDE'S own books. He seems to have
spent his career publicly denying what he is privately
obsessed with -- because the books titles include 'Possession:
Not Demons but Disease', 'The Myth of the Diabolic', and
'The Internal Inferno'.

Jesus Christ. Jee-sus-kerr-ist!

We assume he has visited MALAHIDE'S house before, but he has
clearly never seen this room.

He stares at the mattress with incredulity, as if he still
can't believe his superior has had it brought here. Then he
begins to look around the room in more detail. He approaches
the glass cases and bends slightly to look at their contents.

KYLE shakes his head.

Oh, shit.


MALAHIDE walks past a bank of meters and huge circuit breakers
on his way to the lower and of the corridor, by the cells of
the very disturbed. He stops by the cell of the man in the
strait-jacket. We hear from the outside the familiar muttering
of BROWNING. MALAHIDE enters the call.


As MALAHIDE enters, BROWNING looks at him. His eyes demand,
not plead, and he speaks through clenched teeth.

Get them off me. Get. Them. Off. Me.


KYLE is rooting through the drawers in the writing table.

Generally the contents are unremarkable -- handwritten notes,
a few patients case-files etc. -- but in one of the drawers
he finds a black ring-binder which he takes out and lays on
the table.

It is a book of faces. There are about fifteen sheets in the
binder. Some of them are genuine photographic prints, some
photocopies of original photos. They range widely in age,
race, and sex. They are all full-face portraits.
Chronologically, the range is extensive too. Some pictures
(generally photocopies) appear to date from the earliest
days of photography, the late 1880's, others have an Edwardian
appearance, or suggest the 1920's. Only one or two seem to
be less than thirty years old.

KYLE flicks back and forward in the book, wondering on the
significance of these people.

He is lost in the musings when the click of the front door
tells him MALAHIDE has returned.

KYLE closes the book and quickly slips it back into the

He heads rapidly for the window he came in through but
realises MALAHIDE is too close for him to open it and make
good his escape. Instead he stands between the window and
the curtains, pulling the latter closed over him.

MALAHIDE enters the room, leading BROWNING who is still strait-


We see KYLE standing very still in the limited space behind
the curtains. It is clearly seen that, given the thoroughness
with which he closed the curtains and his immobile position,
he is unable to see what is happening in the room. He can
hear, but not see.


MALAHIDE leads BROWNING across to the mattress. Standing
beside it, he unbuckles and removes the strait-jacket from
his patient.

BROWNING, beneath the strait-jacket, is naked to the waist.
His arms and cheat are a mass of scars of various age and

MALAHIDE gestures to the mattress. Now that his arms are
free, BROWNING is scratching furiously.

Mr. Browning. Please, lie down.

BROWNING lies down, still scratching, trust and hope in his


As if looking through BROWNING's eyes, we see his body
stretched out before us on the mattress.

The naked chest and arms are covered with raised lumps, red
and painful-looking.

As his scratching arms attack these lumps, they break open,
revealing vile black insects that have hatched beneath his
skin. BROWNING brushes these away while he scratches at the
remaining lumps.


BROWNING has already re-opened some of the more recent scars,
and blood slowly rises to the surface of his skin.

MALAHIDE walks over to his writing tableland goes into one
of the drawers.

He produces an old-fashioned cut-throat razor and walks back

Here. This will help.

He proffers the razor. BROWNING seizes it. MALAHIDE steps
back quickly, a mixture of anticipation and apprehension on
his face.

BROWNING slashes at his body and left arm with a short, sharp,
slicing motions. In his mind, he is lancing the cysts that
contain the tormenting insects. In reality, he is inflicting
horrifying damage on himself.

Blood pours from the multitude of wounds, running over his
body and down onto the mattress.

Suddenly, without any preliminaries, two painfully thin,
flayed, mucus-covered arms shoot out of the mattress, one on
either side of the still-busy BROWNING.

They wrap themselves tightly across his chest and crush him
tightly to the mattress, as a head, similarly wasted, oozes
out of the mattress to the side of BROWNING's head.

Beneath his delusions, BROWNING suddenly has an inkling of
what is happening to him. His eyes widen and his mouth opens
ready to emit a scream but the monster beneath him forces a
hand over his mouth as it buries its face into the soft flesh
of his neck.

Two legs now rise from the oozing slime that the bloodstains
on the mattress have become. They too wrap themselves around
BROWNING so that he is held tight.

Finally, with titanic effort, he gathers enough momentum to
roll completely free of the mattress and falls to the floor
beside it. The thing on his back now is pulling free from
the bed of bubbling, frothing slime that the mattress now is
with a sliding, slurping sound.

The monster's face is now deep in the flesh of his throat,
and even as BROWNING forces himself up first onto one knee
and then, very unsteadily, onto his feet, we can see him
wasting away -- his face losing its fullness and colour, his
chest sinking in on itself.

The creature, which is still wrapped around him and clinging
tight is, unlike him, growing in stature by the second.
Muscles are inflating, arteries pumping more vigorously, and
flesh itself filling out.

Its horrific thin-ness when it first appeared effectively
unsexed it but now, as its regeneration continues, the
fullness of its hips, the roundness of its thighs, and the
sacs of fat and muscle that bloom above its ribs confirm its
female nature. If there was any doubt that this was JULIA,
it is now disappearing.

BROWNING is now nearly a walking corpse and it is the strength
of his will alone that allows him to take a few faltering
steps with JULIA still enveloping him. With the desperate
strength with which she clings to him and the way her legs
are wrapped around his hips, it is like an obscenely perverse
parody of sexual passion.

MALAHIDE has been watching all this with an incredible mix
of emotions playing across his face. Still human enough to
feel both fear and disgust at what is happening he is
nevertheless awe struck and exhilarated. He has waited all
his life for such an irrefutable demonstration of the power
and the truth of the supernatural.

Similarly, the scientist in him is fascinated by the living
anatomy lessons that JULIA's regeneration and BROWNING rapid
decay offer.

With one last dying effort, the now-almost-husk-like BROWNING
breaks JULIA'S grip and makes a futile step forward as she
falls from him. He totters towards the curtains.

Just as the audience think he will pull them down with him,
revealing KYLE, JULIA grabs his ankle and pulls. He falls
back to the floor.


The loud noise of BROWNING's fall renews KYLE's resolve to
see what is going on. Carefully, he shifts his position so
that he can see through a small gap in the curtains.


KYLE may have heard one or two strange and unpleasant noises
but BROWNING has not screamed nor JULIA spoken; nothing has
prepared him for what he sees -- a skinned woman sucking out
what life remains from the dried husk of a psychotic man.


KYLE's head jerks back, shaking as if he's just had an
electric shock. His mouth moves but no sound emerges.

Jesus Christ!

His terror simultaneously urging speed and silence, KYLE
gingerly maneuvers himself out of the window.


JULIA lies back satisfied on the floor. She looks up weakly

Help me.

Her voice is perfect. MALAHIDE stares at her, his fascination
intense. He crosses the few yards that separate them. He
looks at her, lying beside the hollow shell that was BROWNING.
Her eyes stare back, brilliant, sparkling, alive.

Help Me.

MALAHIDE realises her temporary vulnerability; all the life
force she has absorbed from BROWNING has made up her body,
but it will take some moments for the strength to return to

Fascinated and sympathetic as he is however he cannot yet
quite brine himself to touch this creature. Instead he moves
the mattress nearer to her, allowing her to crawl back onto
it and lie down again.

MALAHIDE stares down at her. He attempts a smile, but is too
nervous to make it convincing. He is trembling slightly.
This contact with the beyond is something he has dreamt of
for years, but nevertheless the physical reality is

JULIA treats him to the approximation of a smile. She is far
from nervous.

She studies herself. Her figure is fully formed, her
womanliness undeniable. All she is missing is a skin. She
stretches her arms.

She lifts her legs. She writhes on the bed in pleasure, like
an X-ray photograph of a calendar girl.

MALAHIDE stares at her, following the sensual movements of
her body. He swallows, a little embarrassed by his response
to the naked display he is privileged to watch.

JULIA'S eyes twinkle at him.

Don't be embarrassed. You're my

She looks away and continues her stretching and wiggling,
more conscious of it now as an erotic display.

The strength has flooded through her body as she rises to
her feet, and stops off the mattress, smiling at MALAHIDE.

MALAHIDE backs away from her as she moves towards him, doing
his best to return her smile.

After a few steps, JULIA stops and simply stares into
MALAHIDE'S eyes. He too stops and returns the gaze. The camera
circles them slowly several times, studying them -- the
dressed, nervous man and skinned, confident woman.


MALAHIDE says nothing. Perhaps he swallows nervously. The
camera continues its circling movements. The scene FADES TO
BLACK and JULIA begins to laugh, small, sensual giggles at
first building finally as the blackness comes into an almost
hysterical crescendo of raucous joy.


KIRSTY is again lying on her back on top of the bed. She is
a stark contrast to JULIA. No display. No laughter.

Her eyes are open and red-rimmed from weeping now. There is
also complete silence.

All the more jarring, then, the sudden sound of someone
fumbling at the handle of KIRSTY'S door.

Her eyes widen in alarm and she flings herself off the bed,
scanning the room for anything that can be used as a weapon.

There is nothing but the chair and she she has all but lifted
it aloft when she sees that it is KYLE, who comes into the

Shit, Kyle. This is getting to be a
habit. What is it, some kind of shock-

She was angry, relieved, and amused when she realized it was
KYLE and all these showed in her voice and face. Now they
drop away completely, replaced by a nervous apprehension as
she becomes aware of the blank horror on his face.

Oh, Jesus. What is it?

KYLE opens his mouth a few times, as if unsure what to say.

It's all true.


TIFFANY walks around her room, staring at her completed
puzzles -- those on the wall and the one on the floor -- and
waiting for the next one.




A simple shot tells us it is the next morning.


MALAHIDE, dressed in a black suit, is in the room, staring
at the empty mattress. We TRACK with him through to his LIVING


In contrast to the secret and private obsession room, this
room is the tasteful and upmarket room of the successful

It is a long spacious room with modern furniture and white

The walls are mostly free of decoration save for two or three
large canvases of abstract art.

The longest wall is broken up only by a low circular table,
which rests against it about half way down. On this table is
a very simple black vase containing a spray of beautiful
white lilies.

Above this vase on the wall is a large frameless mirror.

As MALAHIDE enters, the first thing he sees is a bloody palm-
print on one of his white walls. He blinks at it and looks
down into the room. We CUT TO; JULIA. At first it seems she
is staring at the lilies, but as we TRACK around her, we
realise she is staring at the reflection of her skinned self.

Her face snarls at herself, she roars with rage, forms her
hand into a fist and shatters the mirror.

MALAHIDE rushes towards her. She swings round and freezes
him with a glance.

They hold their positions for a moment, MALAHIDE nervous and
JULIA furious, and then JULIA makes herself relax. She sighs,
takes a few deep breaths, and then speaks.

I'm cold.



CLOSE UP on a strangely Art Deco electric fan heater, with
bright red coils emitting waves of heat.

We pull out to see MALAHIDE standing by the table with the
flowers. There is now a half-full glass of wine on the table,
along with an ashtray where a cigarette burns away ignored.
A pack of cigarettes is now visible in the breast pocket of
MALAHIDE's jacket.

JULIA enters the room and closes the door behind her. She is
dressed in one of MALAHIDE'S suits. It is a light weight
suit of white linen, a suit for expensive holidays in hot

She crosses the room to the table; pausing slightly in the
centre of the room, to allow MALAHIDE to look at her.


MALAHIDE'S nervousness has retreated a little, he manages to
smile. He nods his head slowly a few times.

Yes... Yes. You look...

Surreal? Strange? Nightmarish?

No. You look...

He pauses, lost for words.

JULIA doesn't wait for an answer. She crosses to the table
and takes up his glass of wine. She downs it in one.

MALAHIDE stares at her, a little surprised.

Yes, I still like WINE...

She smiles strangely at him and then moves closer. Slowly,
keeping her eyes on his, she reaches into his breast pocket
for his packet of cigarettes and places one in her mouth.

...and more.

For a moment, MALAHIDE's face is stone. Then, slowly, he
returns her smile and, drawing his lighter, lights her


A large multi-level shopping complex obviously up-market and

We see MALAHIDE, riding up one on the central escalators,
looking around him as he does so, as if searching for a
specific shop.

He reaches the next level and begins to walk along one of
the several avenues that lead away from the central square
containing the escalators.

He walks past several shops, looking in their windows; a
chic specialty shop, a window full of clocks, a cutler's.
Finally, he stops in front of one. He stares at its display

The window is classily minimal. There is in fact only one
dress in it. It is an exquisite white cocktail gown. The
gown is full length but quite tight-fitting, merely flaring
a little from below the knee, and has a halter-neck.

MALAHIDE walks into the shop.


We are looking at a reflection of MALAHIDE in the large mirror
that covers the inside of his wardrobe door. His real hand
and his reflected hand come together at the edge of the door
and tip it slightly, changing the image that the mirror shows

Now we see JULIA. She is in the dress from the shop in the
mall. It is a perfect fit and shows her figure off very well.
Being a halter-neck, however, her skinned arms and shoulders
are completely bare. Also, it is quite low cut at the front,
exposing a fair degree of visceral cleavage, and at the back.

JULIA turns fully around in front of the mirror examining
herself from every angle. Her mood is unreadable until she

Close it.

MALAHIDE does so. He understands and tries to console her..

It's a beautiful dress...

I know.



CLOSE UP MALAHIDE'S hands applying wide, white, surgical
bandages to JULIA.

We pull out as MALAHIDE steps away from JULIA. They are both
standing in the middle of the living room floor.

JULIA'S arms, torso, and head are now completely enclosed in
neatly and professionally applied bandages. There are three
slits for her eyes and mouth but apart from these she is
completely covered. Over these she is still wearing the white


JULIA lifts her arms slightly to look at them and then touches
her bandaged face. She turns towards MALAHIDE. The camera
begins the same circling movement it made around them the
previous night.

MALAHIDE'S nervousness has practically disappeared. He has
helped this woman. He has bandaged her and dressed her. He
is slightly in awe of her, but it is now tinged with
excitement, not fear.

The camera's circling grows faster.


JULIA walks towards him, slowly raising her hands. When she
is close enough her hands cup his cheeks. She pulls him
towards her, and, tipping her head to one side, kisses him.
Her body moulds itself to his.

She leans her head back. Were they have kissed blood has
pressed up onto the bandage from her skinned flesh. It looks
like smeared lipstick.


MALAHIDE puts his arms around her waist. They kiss tenderly.

Slowly, almost nervously, he lowers his hands until they
rest on her buttocks and presses her in towards him. They
begin to spin themselves now, echoing the camera movements.

They cross the room, kissing blindly, until they come to
rest against the wall that bears JULIA's bloody palm print.
JULIA twists their bodies so that MALAHIDE is pressed against
the wall, and begins to move her hips forcefully and sensually
against MALAHIDE.

The camera is stationary now, watching without movement as
MALAHIDE begins to raise JULIA's dress up her legs, her hand
on his wrist, helping and encouraging.

About halfway up the thigh, the bandaging disappears and the
raw flesh is exposed.

The kissing and the fumbling continue until they are making
fast and violent love against the wall.

His hands clutch tightly at her hips and he pulls his face
away from the kissing to lean it on her shoulder so that we
see his face as it grimaces in ecstasy.

He cries out and shudders and slowly both their movements

He strokes at her back gently and their bodies relax.

(almost coyly)
Now all we need is a skin.


CLOSE UP on shower jets hitting KIRSTY's face and naked

Her eyes are closed, but she smiles in pleasure as the water
refreshes her.

A knocking is heard. KIRSTY moves her head out of the water's
path and shouts.



It is basically a studio apartment -- everything except the
bathroom facilities is in the one room. There is a sofa --
with sheets and blankets on it -- a bed, a dining/all-purpose
table with two chairs, shelves full of records and books,
and a small working desk against one of the walls. The desk
is weighed down by text books and notes and, tacked to the
wall above it, are medical prints, some of the brain and
central nervous system, but also two full-coloured anatomical
prints -- one of a man and one of a woman. They could almost
be portraits of JULIA and FRANK.

KYLE, fully dressed, is standing by the bathroom door, his
hand still in a knocking position.

You O.K.?


Kirsty? You O.K.?

The bathroom door opens and KIRSTY comes into the main room,
dressed in a toweling robe that is clearly a 'hers' not a

She crosses the room to a mirror, rubbing at her wet hair
with a towel.

No bad dreams.

So you slept O.K.?

KIRSTY gestures at the sofa.

As much as that bed of nails allowed.

KYLE glances meaningfully at the bed as he replies.

Well, the sofa isn't often used for
sleeping on...

Oh yeah? On your own a lot, Huh?

KYLE grins.

Like the robe?

KIRSTY returns the smile via the mirror.

KYLE crosses the room to sit at his dining table. Empty coffee
cups, the remnants of a loaf and some cheese suggests their
breakfast was simple and finished some time ago.

KIRSTY gathers her clothes from by the sofa and moves back
into the bathroom to dress.

KYLE waits a few moments and then speaks.

I think I need to talk. About what I

KIRSTY emerges, fully dressed, her hair still damp.

You thought I was crazy, didn't you?

KYLE spreads his hands wide.

Jesus, yes! What do you expect. I
mean, God, I still do! It's just
that now I'm crazy too.

He grins wryly. KIRSTY moves to the sofa and sits down.

And you're sure it was a woman?

God, I wish I could say no. This is
going to do terrible things to my
attitude, you know.

KIRSTY grins at him.

Don't worry about it. Your attitude
sucks anyway.

Hey, so for it. Don't let pity stop
you. I'm down. Nail me.

For a moment, they laugh together but then stop. KIRSTY stares
downward and then suddenly bursts into tears.

What can I do? How can I save him?

KYLE joins her on the sofa. He offers an arm but she shakes
it off.

The box. I need the box.

The box? Like in your story? Like in
his house?

KIRSTY's tears suddenly stop. She looks at KYLE.


The Boxes. In the House. I told you.

What do you mean?

The boxes! I TOLD you.

You DIDN'T tell me. Do you mean
Malahide's got...

Yeah. The things you were talking

KIRSTY heads instantly for KYLE'S door.

I'm going.

KYLE runs across the room and puts a restraining hand on his

Wait a minute. What do you mean,
'I'm going?' TO the HOUSE?

KIRSTY nods and pulls at the door handle.

Get out of the way.

Are you crazy?

I don't know, Kyle. You're the fucking
expert. Now get out of the way!


Because I'm going to get my father!

Tears start to her eyes and she stares at KYLE defiantly.
Then she repeats, more softly;

I'm going to get my father.

There is a two-second silence between them as they stare at
each other.

Finally, Kyle backs away from the door, raising a finger.

Two seconds. Just two seconds. Don't

He rushes across the room, grabs a jacket, and moves back to
the door.

O.K. Let's go.

Kyle, you don't have...

I KNOW I don't have to. It's just my
time of the month to be a complete
fucking idiot. O.K.?

KIRSTY stares at him, her face at first blank then suffused
with emotion. She leans across and plants a chaste kiss on
his lips then pulls back. There is a beat while they simply
stare at each other and suddenly they are tight in each
other's arms, kissing fervently. But the kiss is fuelled,
not by passion, but by fear and their mutual need for human
solace in the face of the unknown.

As the kiss continues, the camera pulls back from them.


CLOSE UP as JULIA (still bandaged) and MALAHIDE come together
for a kiss. They part and, as JULIA moves across the room,
the camera begins a long TRACK around the room.

First, it reaches a naked GIRL. As catatonic as TIFFANY, she
says nothing but her eyes betray her terror. Her hands are
tied above her.

JULIA moves in towards the girl, her eyes glittering with an
alien hunger beneath their gauze mask. As she nears the girl,
the TRACK passes them and moves through the room.

MALAHIDE has done his mistress proud. It had been an empty
upstairs room (no furniture, bare floorboards) but now it
resembles a nightmarish cross between a butcher's shop and a

The camera slowly reveals, as it TRACKS, that there are seven
more people in the room. Seven dead people. Dried-out husks.

The TRACKING is now completing its circle around the room.
After the corpses, we return to JULIA and the GIRL -- but
the GIRL too is now a hollow, dried-out shell.

JULIA moves back into the centre of the room and stands still.

MALAHIDE crosses the room to her quickly, drawing a wicked-
looking kitchen knife from his pocket as he does so. He
reaches JULIA and raises the knife to her face.

With one swift, precise movement, he slices the bandages
across the side of her face. JULIA raises her hand and pulls
the mask away.

The camera sweeps in toward her as she does this until her
face is in CLOSE UP as the bandage-mask is pulled aside.

Her face is perfect.


MALAHIDE emerges from his front door. He is still in his
black suit and looks every inch the respectable professional.
He looks neither left nor right but moves straight off, a
busy man with things to do.

A few seconds after he has gone off-camera, KYLE and KIRSTY
emerge from around the corner of the house.

KYLE gestures to KIRSTY to follow him and leads her around
to the window he broke in through on the previous night.


The room is much as we saw it last.

The window slides up and KYLE pulls himself into the room.
He looks around it carefully. Sure that the monster he saw
the previous night is no longer in the room, he helps KIRSTY
in through the window.

KIRSTY's eyes go at once to the three LAMENT CONFIGURATIONS
in the glass cases. She crosses the room eagerly.

KYLE rushes after her and stops her opening one of the cases.

Wait! The... thing... I want to be
sure it's not here.

KIRSTY nods and KYLE leaves the room.


KYLE advances carefully, and slowly, from the stairs onto
the landing. He looks about him at every step he takes.

Ahead of him on the landing is a door, which is very slightly

He advances gingerly down the landing to the door.

When he reaches it, he pauses. We see his face working as he
ponders his choices -- should he push it open inch by slow
inch, or slam it inwards quickly?

Very slowly he moves his hand towards the door. The camera
matches his movement, moving in on his hand, the door, and
the space between.

His fingertips are less than an inch from touching the door
when another hand shoots into view and grabs his wrist.

JULIA has crept up beside him on the landing while all his
attention was on the door.

KYLE swings round in horror, his mouth opening to scream
when he sees that JULIA has her other hand to her mouth, her
finger at her lips in a silencing gesture.

There is of course, nothing for him to recognize from the
monstrous vision of the previous night. JULIA's arms, chest,
and face are completely re-skinned now. All KYLE sees is a
beautiful stranger in a white dress.

Sssh. I think it's still here.

What? The... The thing?

JULIA nods.

Yes. I had to stop you going in there
because I knew you'd cry out. Any
normal person would. It... It's just

Is it in there?

No. Not now.

KYLE swallows, nods, and gently, pushes the door open. He
walks into the room.


The camera follows KYLE into the room. He reaches the middle
before horror and disgust stop him.

He hears a click behind him and turns to see JULIA has come
into the room and closes the door behind her. She looks at

Was I right? Is it terrible?

KYLE stares all around him. All eight victims have been sucked
dry. He is surrounded by dead husks.

His face is ghastly. He looks like he is about to faint. He

His voice is a cracked whisper.

Yes. Yes, it's terrible.

JULIA crosses the room rapidly towards him. Her face is a
picture of concern.

Oh. You look awful. You poor boy.
Come here...

As she speaks, JULIA's arms are opening out to him. KYLE
sees the comfort offered and advances towards her, too.

As they come together, the camera moves around them and we
see, for the first time, that JULIA is still incomplete; Her
entire back is still glistening raw flesh, the naked bones
of the spine still clearly visible.

Their arms go around each other just as JULIA completes her

...Come to Mother...

As KYLE's hands touch the sticky, mucoid meat of her
shoulders, it is instantly clear to him what has happened.
For a moment he freezes in terror.

His arms fly from her and he throws his head back. But JULIA
is very strong now and her grip does not relax.

Kyle's expression is a mixture of terror and confusion as he
stares into the beautiful face of the monster.

JULIA smiles at him, a hungry, aroused smile.

What's your name?

KYLE can hardly speak for fear.



She raised one hand from his back to the back of his head
and presses his face to hers.

JULIA plays it exactly as a sensual, passionate kiss, her
mouth wide open, her head moving rhythmically and sinuously.

KYLE's reaction is somewhat different; his arms flail in
panic (though only from the elbow -- JULIA'S grip prevents
anything more) and his head makes jerking, backward movements
against her pressing hand.

The camera moves around the embracing couple until it is
behind JULIA.

The back of her gown, as we know, is extremely low. As the
kiss continues, we see skin creeping above the line of the
gown at the base of her spine and gradually flowing up her
back until finally it meets and blends perfectly with ragged
and raw edges of the skin at her neck and shoulders. JULIA
is complete again.

While this process has been going on, KYLE has been dying
slowly and horribly in her arms, his lifeforce being sucked
into her through their open mouths. His body, by the time
her back is completely formed, is shrunken, hollow, and dried

JULIA takes her arms from around the corpse of KYLE and steps
back, allowing the husk to fall to the floor.

JULIA licks her lips and looks down, not without affection,
at the dead KYLE. She smiles.

Thank you, Kyle.


KIRSTY has found the black ring-binder and laid it on the
writing table.

She has separated one of the photographs from the others and
laid it out on the table beside the binder. It is the ENGLISH
OFFICER from the opening sequence. KIRSTY has obviously
recognized something familiar in it but she can't quite grasp
it completely.

She is still puzzling over it when she suddenly realises
that several minutes have elapsed since KYLE left her there.
Her head straightens up and her puzzled look is replaced by
a slightly worried one.

(to herself)

She folds up the photograph and puts it in her pocket.

She crosses to the door and opens it. She does not go through
it immediately but stands in the doorway for a moment, her
hand still on the door, cocking her head slightly as if

(slightly louder)

She can't hear anything, but she regards that as a bad sign,
not a good one. She leaves the room.


KIRSTY makes her way up the stairs. Unlike KYLE a little
earlier she moves up them quite quickly and advances onto
the landing.

When she is on the landing and looking at the closed door to
JULIA's Boudoir she stops, standing still and staring at the

KIRSTY suppresses a shudder. She bites her lip, takes two or
three deep breaths, crosses to the door firmly, and flings
it open, moving into the room even as she does so.


KIRSTY moves three or four steps into the room and then stops
dead. The door swings shut behind her.

KIRSTY's eyes flick left and right, taking in the sickening
details of the room's contents, and then stare straight ahead,
focusing on the figure in white which is turning around to
face her.

JULIA completes her turn and looks at KIRSTY completely
impassively for a moment. Then her mouth opens up into a
smile of welcome -- but there is nothing but hate in her

Kirsty! How nice of you to drop in.

JULIA glances meaningfully at the dead thing that lies beside
her feet and then back at KIRSTY.

You have surprisingly good taste in

KIRSTY's fear and disgust are momentarily displaced by a
furious rage as she realises what JULIA has done. Her face
erupts into anger and she screams out.

Kyle! No! I'll kill you, you...

She flings herself across the room at JULIA even as she

JULIA is completely unphased by this attack and simply raises
one arm. She seizes the wrist of the arm that KIRSTY has
raised into a clenched fist and effortlessly throws KIRSTY
bodily back across the room. We realise for the first time
the immense physical strength that JULIA now possesses.

KIRSTY smashes into the door and falls to a sitting position
against it. She is shaken and slightly hurt enough not to
get to her feet immediately but she stares at JULIA with
undimmed hatred.

JULIA throws a look halfway between a smile and a sneer.

Oh, you can try it, you little bitch.
I'd love you to try it. But I'm not
just the woman I was.

What, you mean you're something more
than a whore with a vicious streak?

I mean I'm something more than human,
you little shit!

JULIA snaps this first line but then holds her anger in check.

She shakes her head and an amused smile plays across her

Oh, Kirsty. They didn't tell you,
did they? I'm afraid they've changed
the rules of the fairy tale; I'm no
longer just the wicked step-mother.

The smile disappears and she delivers the next line with an
utterly straight face. It is, after all, the truth.

Now I'm the Evil Queen.

The hatred and the heat returns to her voice.

So come on; Take your best shot,
Snow White.

KIRSTY scrambles to her feet and again charges at JULIA.

JULIA steps forward to meet her advance and delivers a single
back-handed swipe across KIRSTY's face with such force that
not only is the girl knocked off her feet but is actually
knocked unconscious.

KIRSTY rolls onto her back and lies at JULIA's feet.

JULIA stares down at the unconscious body. When it was awake,
it was KIRSTY and her attitude to it was based on personal

Now, it is simply another body and she judges it differently;
it is firm, full, healthy, and young. We see the expression
on her face change from hatred and triumph to pure appetite.
She licks her lips and her eyes glisten. She begins to bend
slightly towards it.


The door to the room opens. JULIA straightens up and looks
as MALAHIDE stands in the doorway. Her eyebrows question
this interruption.

A second later, and it is explained. He leads TIFFANY into
the room.



TIFFANY sits cross-legged in the middle of the floor. She
appears to be alone in the room. Cradled in her lap is a
Lament Configuration, taken from one of the glass cases on
the low table.

On a wall behind TIFFANY, one of the large prints that
previously hung there has been taken down.

Revealed in the space behind it is a large mirror. The camera
moves in towards this mirror.


MALAHIDE and JULIA stand in a tiny and completely bare room.
On the wall in front of them is a large window through which
we see a back-view of TIFFANY in the obsession room.


TIFFANY looks around the room generally and then turns her
attention completely to the LAMENT CONFIGURATION.

She picks it up and turns it around in her hands, studying
each of its faces intently.

She begins trying to move the interlinked pieces within it.
At first she has no success; the box appears to be one solid
construction with no internal movement possible.

She stops her attempts and studies it again for a moment,
her face still impassive. Then she gives a tiny smile and
begins again. Her movements are faster now, less tentative.

Suddenly, there is a click and one of the panels on-the box
slides out slightly. The little music-box tune begins to

To TIFFANY this is a marvelous reward - something the jigsaw
never offered -- and she lets out a little sound in response,
somewhere between a sigh and a delighted giggle. It tempts
her to even greater skill and her delighted fingers fly over
the box.

Another panel moves. Then two more. The tune is prettier and


MALAHIDE stares fixedly through the window, nervous but
terribly excited. He is breathing rapidly and shallowly.

Through the glass, TIFFANY's success continues. Small flashes
of intense blue light begin to buzz around the box. The room
grows darker and cracks begin to appear in its walls.

JULIA seems quietly amused -- both by what is going on in
the room and by MALAHIDE's heated response to it. She glances
from one to the other, her eyes twinkling.

You're sure this is what you want?

MALAHIDE doesn't take his eyes from the window.

It's what I've ALWAYS wanted. A view
of... beyond.

He pauses. Perhaps he is being ungallant. He turns slightly
towards JULIA and takes her hand.

You were almost enough, Julia but...
I have to see. I have to KNOW.

JULIA smiles indulgently. She nods.

Oh, I quite understand.


TIFFANY is completely engrossed in the box. She seems
blissfully unaware of the changes taking place in the room.

The cracks have widened in the walls and, in some places,
pieces of plaster have fallen away, revealing the slats

Blue light begins to stream into the room, ignoring the
geography of what should lie beyond its walls. Where the
light comes through the slats, it is as broad beams of light,
given contrast by the shadows of the slats. But it also comes
through the smaller cracks and enters the room in intensely
bright and very thin beams that criss-cross through the room
almost like a laser display.

Suddenly, TIFFANY's solution is complete. The central core
of the box rises up and twists itself around into its final


MALAHIDE takes an almost involuntary step backward. His
excitement has now reached the pitch where it is beyond
obvious physical manifestation. He is perfectly still, his
face perfectly impassive.

She's done it.

She certainly has.

It's coming.

It certainly is.

MALAHIDE turns away to meet her eyes.

There is a beat or two where absolutely nothing happens.

The mirror explodes inwards into the alcove.


The room is filled with smoke and suffused with blue light.

Two of the walls simply part physically, revealing entrances
into the corridors of Hell. These corridors are lined with
gray walls and seem to run for a great distance.

TIFFANY still sits cross-legged in the middle of the floor,
staring about her in astonishment.

Surrounding her, in various parts of the room, are the four

The FEMALE CENOBITE smiles and advances towards TIFFANY.

The leader of the CENOBITES, PINHEAD raises a hand.


The FEMALE stops and looks questioningly at PINHEAD.

PINHEAD, at a more leisurely pace, crosses towards TIFFANY
and looks down at her. She stares back at him, the remnants
of her insanity a temporary defense against fear, her face
registering nothing.

PINHEAD looks up.


The FEMALE looks across at him.


PINHEAD shakes his head.


He glances down at TIFFANY again.

It is not HANDS that call us...

He looks up and stares directly at the shattered two-way

...It is DESIRE.


The wall opposite the shattered mirror has also opened up to
reveal a way into Hell.

MALAHIDE and JULIA are no longer in the alcove.

We hear the ringing of their footsteps. They are making their
way down the corridor.


The four CENOBITES have gone.

TIFFANY looks around the room again. She stares from one
entrance to the other. Her manner is reminiscent of when she
is making decisions during her solving of puzzles.


KIRSTY is still on the floor in the boudoir of blood. This
room too is now suffused with blue light and smoke. There
are no gateways to Hell in the walls but there are several
cracks in the plaster and these appear to be spreading.

KIRSTY moans and opens her eyes gingerly. She puts a hand to
her face, rubbing at the place where JULIA hit her.

Still a little groggy, she lifts herself slowly to a sitting
position, her legs stretched out. Only when she has blinked
a few times, shaken her head, and rubbed her jaw again, does
full consciousness return -- at which point she looks quickly
about the room (possibly expecting another attack from JULIA)
and notices the light and the smoke.

She has been in this atmosphere before. She knows precisely
what it means. Her mouth opens and her eyes grow nervous

Oh, shit.

KIRSTY scrambles quickly to her feet and rushes through the
door to the stairs.


KIRSTY enters the room just as TIFFANY is about to go down
one of the corridors. KIRSTY screams at her.


TIFFANY stops, startled, and looks at the doorway and KIRSTY.

KIRSTY raises her hands in a placatory gesture and speaks
more softly.

Wait. Wait.

KIRSTY begins to move into the room slowly and shakes her
head gently.

Hey, remember me? From the hospital?
I was in the next room?

KIRSTY is rewarded with a small recognizing smile from
TIFFANY, KIRSTY returns the smile.

You don't want to go down there. You
REALLY don't want to go down there.

TIFFANY turns her head once more to look down the corridor
and then turns back to KIRSTY. For a second it looks as if
KIRSTY's persuasions have succeeded, but MALAHIDE's training
has been too thorough; TIFFANY knows a puzzle when she sees
one. She smiles once more at KIRSTY and then suddenly turns
and disappears into the corridor.

KIRSTY stands still for a moment, as if she can't quite
believe that TIFFANY has done it. She shakes her head --
half in disbelief and half in despair.

Jesus Christ.

Pausing only to pick up the LAMENT CONFIGURATION from where
TIFFANY has left it on the floor, She heads straight for the
corridor and follows TIFFANY in.


We are looking straight down one of the very long corridors
of Hell.

It has the same architecture as the corridor that appeared
in the hospital room in HELLRAISER; walls of stained gray
stone broken up by vaguely medieval-looking arches.

KIRSTY comes into view, walking away from the camera. Ahead
of her, at an illogically far distance given that she entered
the corridor only seconds before KIRSTY, is TIFFANY.

KIRSTY breaks into a slight run, and calls out to the girl.

Tiffany. Wait!

Her voice has an unpleasant ring in the acoustics of these
corridors and echos horribly. KIRSTY pulls a face and doesn't
shout again. She increases her pace slightly.

Suddenly TIFFANY makes a sharp turn and enters an intersecting
corridor. KIRSTY is forced to increase her speed even more.

KIRSTY too makes the turn into another corridor. Even as she
does so, she sees TIFFANY disappearing again into yet another

KIRSTY follows and, again, the same thing happens.

This happens several times and, always, KIRSTY never quite
loses sight of TIFFANY but never quite catches up with her

In short, TIFFANY's instincts were absolutely right; this
too is another puzzle. The girls are lost in a concrete maze,
full of twists and turns and labyrinthine windings.

After enough turns have been made to completely confuse
KIRSTY's sense of direction, she makes a final turn into one
corridor and sees something different.

At the end of this corridor is a blinding white light. As
soon as KIRSTY sees the light, the air is filled with
beautiful birdsong.

TIFFANY disappears into the light as soon as KIRSTY sees it.

Despite the light, despite the birdsong, KIRSTY is still
suspicious and shouts out.

Tiffany! Don't trust it! Don't Trust

But it is too late. The girl is gone. KIRSTY follows and
vanishes into the light.


JULIA and MALAHIDE are seen in the corridors of the labyrinth.

MALAHIDE's face is full of delight. He is absolutely the
enchanted visitor.

JULIA, on the other hand, walks with the brisk assurance of
one on familiar territory.

The corridors that MALAHIDE sees are different to KIRSTY'S;
they are grotto-like, dotted with stalactites and stalagmites
and not immediately unattractive. The walls contain portals
of a glass-like substance at random intervals that emit
blooming lights of different colors and MALAHIDE peers eagerly
into several of these.

In one, the view is like an aquarium. An alien fish swims
past his eyes. Its body resembles a human brain but it has
pincer-like claws. MALAHIDE presses his hand against the
glass as the thing comes nearer.

Suddenly, from within its body, the thing produces a perfect
human forearm and hand and meets MALAHIDE's hand on the other
side of the glass.

MALAHIDE starts slightly but then keeps his hand there. He
is turning his head to call JULIA's attention to this marvel
when the thing suddenly forms a fist and begins to beat
against the glass with tremendous force.

MALAHIDE jumps back sharply, but the thing shatters the glass
and leaps out at him. He gasps and runs up the corridor, the
thing hopping after him on its one hand.

As they pass JULIA, she tuts with the slightly exasperated
but indulgent tone of a parent or a teacher. She steps on
the thing, squashing it flat. It emits a horrible death-cry.

Do be careful.


White light fills the screen and KIRSTY steps through it
into view. Instantly the White light contracts and disappears.

KIRSTY finds herself standing in a beautiful family sitting

The room is bathed in the warm light of a perfect summer's

The birdsong KIRSTY heard earlier continues but is, if
anything, even more melodic, even more sweet.

The room is vaguely Edwardian in its decor; real wood
furnishings and decorative porcelain ornaments. There is a
large wooden dresser, on top of which are many photographs
in old-fashioned brass frames.

Despite herself, KIRSTY cannot resist a smile of pure pleasure
at the appearance of the room.

She touches some of the furniture, as if to assure herself
it is real.

She approaches the dresser and picks up one of the large
framed photographs. She gasps in pleasure.

We see the photograph. It is a family group and looks to be
have been taken ten to twenty years ago. It is of a man, a
woman, and a young girl of four or five.

The man is clearly LARRY, albeit a younger version, and the
little girl has dark, thick, slightly curly hair -- just
like KIRSTY'S. The woman is beautiful and has similar hair
to her daughter.

KIRSTY's eyes prick with tears -- but they are clearly tears
of happy memories. She smiles.


KIRSTY puts down the photograph of her family and looks around
the room again. A troubled look crosses her face.

Despite the apparent Summer light in the room, KIRSTY suddenly
realises what it is that is odd.

She looks from wall to wall with mounting distress on her

There are no windows in the room. And no door.

At this point, the odd discordant note in the birdsong becomes
apparent. It is nothing too obvious at the moment -- the
total effect is simply less sweet than it was.

KIRSTY looks back at the photograph and snatches it up, with
a look of concern.

The photograph has changed. It is now a wedding photo. The
wedding of LARRY and JULIA.

Suddenly the photograph begins to bleed. Blood pours from
the paper itself, pressing up and smearing against the glass
so that it is momentarily framed blood, without a single
trace of the picture showing. The blood begins to escape out
of the frame, trickling over the lip that holds the glass in
place and dripping onto KIRSTY's fingers.

With a cry of horror, KIRSTY drops the frame. It lands on
the floor and the glass shatters. The blood continues to
flow. In fact, now that the glass does not restrain it, it
fairly fountains out, spreading across the floor.

KIRSTY steps back and glances at the dresser. Blood is flowing
from every frame, pooling on the dresser and overflowing
onto the floor.

By now, the discordant elements in the birdsong are very
much predominant and, as KIRSTY sweeps all the frames off
the dresser and onto the floor with a scream of anguish, the
birdsong gives way completely to a hideous, dissonant

KIRSTY throws her hands to her ears.


She rushes at one of the walls and begins beating it with
her fists.

The walls are soft and pulpy and give slightly as her fists
strike, like flabby flesh. KIRSTY stands back in disgust.

The wall visibly bruises before her eyes, swelling and

The light in the room, like the birdsong, has changed utterly.
It is not dark, but simply dull, featureless, and depressing.

KIRSTY turns away in disgust and finds that the whole room
has given in to decay. The sofas and chairs are mildewed and
rotten, the wooden furniture is ridden with woodworm and
rot. A skinned rat runs across the room beside the buckled
and chipped skirting board.

A rotten leg gives way under a small chest and the bottom
drawer spills out, freeing a whole family of quite large
spiders which run wildly across the floor.

Suddenly the room begins to fill with smoke, churned up by
an ever-increasing intensity of wind. The smoke obscures the


The smoke and wind subside but not entirely.

KIRSTY is standing in exactly the same position in a room of
exactly the same proportions, but which is completely empty
and which has walls of the same gray stone that the corridors

Suddenly, rising up from behind KIRSTY, comes PINHEAD.

Ah, Kirsty. And we thought we'd lost

KIRSTY swings round in terror. As the mist continues to clear,
she sees, advancing to join PINHEAD, the FEMALE CENOBITE and
the CHATTERER. Beyond them, it is now revealed, that this
chamber has no fourth wall; it gives directly onto the

So sweet of you to come back.

KIRSTY begins to work furiously at the BOX she has brought
from MALAHIDE's house. It sent them away at the end of

She obviously hopes it will work again.

PINHEAD raises a hand and the box simply flies out of KIRSTY's
hands and hovers in the air between them. KIRSTY stares,

How can it send us back, child?
We're already here. And so are you.

Suddenly PINHEAD works at the box himself -- by remote control
and with dazzling skill.

He turns the box rapidly through positions KIRSTY and we
have never seen before -- even opening it out at one stage
into a large, two-dimensional square. Finally, it closes
itself down -- but in a wholly new shape; a white, multi-
faceted, diamond shape -- and drops back into KIRSTY's hands.

He stares at KIRSTY and makes a small gesture with his brow.
It is ALMOST cute. If anything, it resembles the cocky, aren't-
I-clever look STEVE gave KIRSTY after swallowing the cigarette
in HELLRAISER. Then his face assumes its normal deadly

KIRSTY shakes her head dumbly and begins to back into a
corner, hoping that if they converge on her, she might just
be able to slip around them and get back to the labyrinth.

No! You... You can't! It wasn't me...
I didn't do it! I didn't open the

Didn't open the box. And what was it
last time? Didn't know what the box
was. And yet we DO keep finding each
other, don't we?

Oh, Kirsty; so eager to play, so
reluctant to admit it.

Perhaps you're teasing us. Are you
teasing us?

To some extent, KIRSTY's ploy is working. The CENOBITES are
moving closer together as they advance to the corner in which
she stands.

But I didn't open it! I didn't!

Then why are you here?

I've come for my father!

KIRSTY shouts this with brave defiance. PINHEAD laughs in
response, a very unattractive sound.

But he's in his own Hell, child. And
quite unreachable.

Suddenly KIRSTY makes her break shouting out as she does so.

I don't believe you!

It seems for a moment she has succeeded. She swings around
the side of the CENOBITES and begins to run across the
chamber. The CENOBITES do not move but suddenly, from nowhere
a hook flies across the room, attached to a metal chain. The
hook buries itself in the wall only inches in front of
KIRSTY's face, the chain pulled tight and barring her path.
The wall begins to bleed.

KIRSTY screams.

The CENOBITES turn to face her, but make no attempt to cross
the room to her new position.

But it's true, he is his own Hell.
Just as you are in yours.

And what about you?

PINHEAD almost smiles at the naivete of the question.

It's different for us.

We've always been here.

We have no more surprises.

Suddenly, as quickly as it came, the hook withdraws from the
wall and flies back into nothingness.

PINHEAD puts out his hand in an expansive gesture.

But, please; feel free. Explore.
We'll always be here...


KIRSTY can't quite believe this but she has no intention of
questioning it. She runs into the corridor and away, with
PINHEAD's last words echoing after her.

...we have Eternity to know your

Delighted CENOBITE laughter follows her back into the

KIRSTY drops the transformed BOX into her pocket as she begins
running through the corridors again. The labyrinth seems
tighter now -- the corridors shorter, the turns sharper.

Corner after corner we see KIRSTY turn.

Accompanying this tightening, the light in the corridors
becomes gradually murkier -- not quite dark, more like the
oppressive colourlessness that descends before a thunderstorm

Occasionally there are little hissing noises from the walls
themselves, which are accompanied by small jets of dull and
heavy smoke escaping between the bricks.

Over all this, there grows in volume on the soundtrack a
rhythmic, labored, resonant sound -- a sound somewhere between
breathing and machinery.

Suddenly, as KIRSTY turns one more corner, a hand reaches
out to touch her.

KIRSTY throws herself back against the far wall of the
corridor, unsure whether to fight or flee. Then her face
relaxes. It is TIFFANY.


In another corridor within the labyrinth, MALAHIDE and JULIA
are walking.

They too have found their way into the inner sections. They
too are in tighter, sharper corridors where the light is
distressing. They too hear the machine-like breathing noise.
And what is revealed behind the portals in the corridor walls
is less ambiguous in its unpleasantness; in one we see
CHATTERER in some Hell's equivalent of a beauty salon. He is
being re-made. This involves the scar tissue being manually
peeled from the upper part of his face to reveal beneath
small, vicious, human eyes.

MALAHIDE's attitude has begun to change, as well. His
nervousness now clearly outweighs his delight. He rushes on
to the next portal.

If the last room was a beauty salon, this is the orgy room.
But the orgy is very strange. It is a very dark room, filled
with a faint layer of smoke. In the background, a bound man
is having his chest licked by a kneeling woman. She pulls
her face back for a moment. Her tongue is horrifically long
and studded with short, sharp blades. The man's chest is
stripped of skin where she has been attending him. His face
is a picture of ecstasy.

In the foreground, three people are buried up to their waists
in the floor. They are naked. The one in the middle is a
woman, the other two, men. The one in front of her faces
her, the one behind has his back to her back. They are all
very close. The men have various hooks in their chests,
connected by chains to the unseen walls and their faces are
impassive. The woman is unwounded and her head flicks back
and forth, as if in the grip of a sexual climax of stunning
ferocity. The movements of her head keep the details of her
features blurred until, finally, it turns to give MALAHIDE a
three-quarter profile and holds its position, its mouth open,
its eyes half-closed in pleasure. It is JULIA's face.

MALAHIDE gasps and pulls back from the portal. The camera
TRACKS back to reveal that JULIA is still in the corridor,
just a few yards in front of him

Come. I have such sights to show

MALAHIDE shakes his head crazily from side to side and begins
to back away.

JULIA looks at him and walks toward him slowly. She smiles.
She strokes his cheek. She moves closer, gently slipping her
arms around him and molding her body to his. She extends her
tongue and licks lightly at his lower lip. He opens his mouth
and returns the kiss, pressing her body more firmly to him.
The kiss becomes quite passionate.


KIRSTY and TIFFANY are now walking together.

KIRSTY is talking to her as calmly as her sense of urgency
will allow.

Do you see? You were RIGHT. This IS
a puzzle, too. But WE'RE CAUGHT in
the puzzle.

KIRSTY stops walking and catches hold of TIFFANY's arm.
TIFFANY stops, looks at the hand holding her arm, and then
looks into KIRSTY's eyes.


TIFFANY smiles directly at KIRSTY and then returns her nod.


TIFFANY nods again, more emphatically.


KIRSTY throws her arms around TIFFANY and hugs her.


JULIA is leading MALAHIDE down a corridor which has
intersections every few yards on both of its sides.

JULIA walks past these shadowed entrances without pause,
without a single sidelong glance. She is clearly confident,
clearly back on her own turf.

MALAHIDE, on the other hand, glances nervously into every
one before moving on.

There is also one last portal he looks into. He is gazing
into a room where the floor is a vast, seething pool of
maggots. Suddenly, something breaks the surface. It would
doubtless scream were its mouth not full of maggots. It is
BROWNING. His nightmare has come true; his skin is producing
the maggots in a constant, spewing flow from numerous sores
that pack his face.

MALAHIDE turns away and calls to JULIA.

Enough. God, that's enough. We HAVE
to go back.

JULIA smiles at him.

Go back? What an earth makes you
think we can go back?

MALAHIDE's jaw drops.

I want to go back!

Sorry, friend. No day trips to Hell.
Here you are. Here you stay. And
forward the only way to go.

JULIA turns back and walks an down the corridor.

MALAHIDE, with a glance back at the maggot pool, turns after
the now departing JULIA.


KIRSTY and TIFFANY are walking warily along a corridor when,
suddenly, the corridor wall parts with a roar. Both girls
jump, and TIFFANY cries out.

A new, and very narrow corridor has been revealed. The GIRLS
stare down it. It culminates in a door. Despite being set in
a blank gray stone wall, the door is normal. But frightening --
because it is an exact replica of the front door of 55

Before KIRSTY can react to this, a voice issues from beyond
the door.


KIRSTY stops dead in her tracks. She looks at the door and
moves toward it, walking slowly down the corridor. TIFFANY

(Very Tentatively)

Only a low moan comes from behind the door.

Tiffany. Wait here. If I'm not back
real soon -- get out. Get home.

Leaving TIFFANY in the corridor, KIRSTY opens the door and
steps in.


The door that KIRSTY opens gives directly on to a room.

Like the SITTING ROOM earlier this appears to be an ordinary
room and not a stone wall chamber.

It's wall-papered walls were once white but are now yellowed
and old. Overhead there is an equally ancient four bladed
wooden fan that turns sluggishly.

In the middle of the floor is a small low table of vaguely
Eastern design.

On this table lie a hand of cards, face down, an empty and
cloudy tumbler, and a soiled ashtray.

Over by the far wall (the wall opposite to that containing
the door) there is a mattress on the floor. A body like shape
on this mattress is obscured by a heavy blanket that covers

To the side of the mattress a latticed wooden screen stands,
hiding whatever is behind it from those entering the room.
If the atmosphere of the room reminds us of anything it is
of the seedy bazaar where FRANK first bought the LAMENT

We are looking at the door as it opens inwards and KIRSTY
slowly and nervously walks into the room.

KIRSTY advances into the room. She stares at the mattress
ahead of her. Above it written in blood on the wall, is the
message she saw in her vision. I AM IN HELL: HELP ME.


A low moan comes from the far end of the room. KIRSTY assumes
it issues from the figure hidden beneath the blanket and
walks nearer, lifting her arm in readiness to remove the

Daddy. It's Kirsty...

There is no response. KIRSTY arrives at the mattress and
pulls the blanket back. She leaps backwards, her hand at her
mouth stifling a scream.

Lying on the bed is a husk like figure, vaguely female in
shape. Despite its appearance of long decay, it is dressed
in vaguely sexual garments of leather. Suddenly, the eyes
pop open, revealing a vague remnant of life.

Oh God.

KIRSTY hurriedly, throws the blanket back over it.

A voice issues into the room. It sounds like LARRY but, as
we shall see, it is not.

No. Over here. Behind the screen.

KIRSTY walks carefully around the screen, giving it a wide
berth in case of a trick.

There is a figure standing against the wall behind the screen.
It is deeply shadowed by the screen itself but is clearly

KIRSTY gulps back a sob and her eyes fill with tears.


The figure leans slowly into the light, speaking as he does

That's it, baby. Come to Daddy.

KIRSTY stands still. There is a second where her face
registers nothing. Then she screams.


It is her UNCLE FRANK, back in his skin and dressed in white
shirt and jeans.

FRANK chuckles. KIRSTY backs away from him into the room.
FRANK puts out his right hand in a placatory gesture. KIRSTY
realises he is not moving after her. She also sees that his
body is curiously angled, the left side still in the deep
shadow cast by the screen. Is there something else there?
Something she can't quite see? FRANK's voice stops her

What's the matter, Kirsty? It's only
Frank. It's only Uncle Frank.

KIRSTY's anger at being tricked wins over her fear and
distress and she shouts at FRANK in fury.

I should have known! I should've
known he wouldn't be here! This place
is only for filth like you!

FRANK sneers.

Oh, right. Daddy's died and gone to
heaven, eh?


Shit. Bull. Shit.

FRANK pauses and smiles. Then he begins to move more fully
into the room, shifting his weight as he does so and dragging
what was hidden into the light. KIRSTY screams again.

FRANK's white shirt is cut off at the left shoulder. His arm
is bare and, from the elbow down to the wrist, joined to
another forearm. The flesh is completely fused, like that of
siamese twins. As FRANK moves into the room, the owner of
the other arm is revealed. It is his brother, LARRY. KIRSTY's

LARRY, like his brother, is dressed in a white shirt (cut
off at one shoulder) and jeans and, like his brother, has
his skin back.

His face is frozen into a permanent expression of terror and
he seems incapable of any independent movement, simply being
pulled along by FRANK.

KIRSTY steps back in horror.

See? He's here. You should learn to
believe your Uncle Frank.

No! He SHOULDN'T be here! It SHOULD'VE
been a trick!

'Fraid not, baby. He belongs here.
With me. We're the same. Brothers.
Equal and opposite. Pure appetite.
Pure banality. Too much feeling.
None at all.

KIRSTY's fear of FRANK is now outweighed by her contempt for
his argument.

You're full of shit, Frank Cotton.
My Dad wasn't like that at all. He
could feel. He could love. He loved

KIRSTY's voice breaks.

He... he loved me.

Don't waste your tears. Look at him!

Her hatred for FRANK gives KIRSTY her strength back.

He loved me, you bastard! He loved
me, he loved my mother. He even loved
that bitch you betrayed him with!

FRANK begins to move towards KIRSTY again, LARRY dragging
behind him.

Ah, Julia. She hasn't been to see me
recently. That's why it's so nice to
have you here, baby. Daddy's little
girl. So pretty when she's upset.
Come to Daddy.

FRANK is very close to her, now. KIRSTY attempts to run across
the room. FRANK seizes her arm and throws her back against
the wall. He moves in close and presses against her. His
voice is midway between arousal and anger.

Now don't be naughty, Kirsty. Or
I'll have to punish you first.
Perhaps you'd like that. Would you
like that?

KIRSTY screams and stares pleadingly, at the still frozen

Daddy! Daddy! I love you! Help me!

I'm your Daddy now, Kirsty.

FRANK leans in to kiss the terrified KIRSTY.

Suddenly, a hand appears at FRANK's throat and hurls him off
KIRSTY. It is LARRY, roused by his daughter's cries.

Get your fucking hands off my
daughter, you bastard!

Suddenly, the room, previously full of slow movements and
tension, is full of furious, violent action as the fused
brothers kick, tear, and punch at each other in a paroxysm
of killing hatred.


MALAHIDE and JULIA are at the end of a corridor. They turn
into an open space. A vast open space. It is desert-like in
its expanse, almost vanishing into infinity at its furthest

It is criss-crossed by catwalks, on one of which MALAHIDE
and JULIA now stand. Beside these catwalks, the ground falls
away into mile-deep, dark, abysses.

Above the catwalks, dominating the huge space, is the master
of the labyrinth.

The master, LEVIATHAN, is a monumentally huge, white, multi-
faceted diamond, spinning on its own axis, entirely
unsupported by any physical means, above its territory.

Apart from its very immensity, the most unsettling thing
about LEVIATHAN are the beams of black light that shine out
from the corners of all its many facets. Due to the fast
spinning, these beams shoot and swoop around the chamber,
like a negative laser display of dazzling complexity.

The sound that has been in the corridors is now magnified.
It is the sound of LEVIATHAN's breath.

MALAHIDE has walked the last few yards like a man in shock.
Now a black beam strikes his face and images of horror flash
before his eyes at almost subliminal speed. His face suddenly
crumbles into an expression of incredulous terror, he makes
a noise halfway between screaming and retching, and drops to
his knees by the edge of the catwalk.

Unfortunately, this allows him to look down into LEVIATHAN's
pit. Looking down with him, we are given a sudden and
vertiginously sickening realization of Hell's immensities.
There is a drop of miles visible down the pit and, all the
way down, as far as the eye can see, there are other catwalks
cutting across the pit at various angles.

MALAHIDE looks back up, his scream renewed by his sight of
the pit. Two or three of the beams of black light flit across
his face, filling his eyes with more subliminal images of
horror as they pass; a child, a knife, and a dead animal; a
naked woman whose private parts are made of sharp, oily,
metal; perfect hands ending in crumbling, leprous fingers.

Suddenly, LEVIATHAN stops spinning. Effortlessly. Instantly.
Two more beams are projected at MALAHIDE but, as they come
within a few yards of him, they become writhing pink limbs
that fly out, seize MALAHIDE and lift him into the air. He
screams out.

No! No! Julia! Help me!

MALAHIDE is held in the air as JULIA replies.

But you WANTED this. You wanted to
SEE. You wanted to KNOW. And here it
is. The heart of Hell. Leviathan.

As she says this two of the thing's facets part to reveal a
raw and gaping cavity lined with angry, sore-looking purple
flesh directly behind the dangling MALAHIDE.

The purple and pink walls of this flesh gash peel apart and
open in various places to reveal blades, hooks and needles
at the end of various vestigial limbs.

The limbs holding MALAHIDE draw him back inexorably into
this cavity.

He has one last moment to meet JULIA's eyes.

Why do you think I was allowed to go
back? For YOU? No, it wanted souls.
And I brought you. And you wanted to
KNOW. Now you're both happy.

MALAHIDE is now held within the walls of the gash. He opens
his mouth for one final scream but one of the tiny needle-
topped limbs flies at his mouth and sews his lips together
with heavy blue wire before he can utter it.

His eyes widen in both agony and horror.

JULIA smiles.

Goodbye, Doctor. It's been real.

The gash heals itself, closing MALAHIDE within.

Despite the gash having closed over MALAHIDE, the leathery
flesh that covers that area is a mass of movement, ripples
and bumps.

Small rips and gashes appear and disappear on its surface,
allowing us occasional and partial glimpses of MALAHIDE and
what is happening to him.

At one stage MALAHIDE's hand and forearm appear. A long deep,
running cut has been made down the arm and the flesh peeled
and folded back, revealing the meat and the muscle beneath.
As we watch, two of the tiny operating limbs sew the flaps
of flesh, still folded back, to the rest of the arm, leaving
the wound open and un-healable.

Another gash opens and MALAHIDE's face is visible. Here too
the needles are at work, diving into and out of his flesh in
a complicated sewing pattern that is finally pulled together
beneath one ear, leaving MALAHIDE's features permanently
pulled out of shape and decorated with running stitches of
metal wire.

Again, MALAHIDE's torso appears, naked. Two large triangular
blades make deep parallel slashes down his chest. Two
different limbs appear but these have sucker-like tips rather
than metallic ones. They fasten onto the new cuts, as if
battening. Instead they are injecting -- as becomes apparent
when MALAHIDE's skin turns blue.

The blueness, the conscious disfigurement, and the almost
decorative open wounds should serve to convey that what is
happening to MALAHIDE is not simply torture; he is being
transformed into a CENOBITE.

JULIA watches with avid interest.


LARRY and FRANK are fighting furiously, tumbling around the
room. LARRY is fuelled by righteous anger and revenge but
FRANK has had more experience of dirty fighting.

At one stage their free hands each have hold of the other
man by the throat and are rolling along one of the walls,
each trying to establish the dominant grip.

They smash violently against one of the walls in the room.
It gives and they fall through into the next room.


This is a small square room. With the exception of the doorway
to the BROTHERS ROOM, every inch of the walls is covered
with sharp and deadly-looking double-bladed knives -- ie One
blade is buried in the wall up to a central hilt/handle and
the other blade juts out menacingly into the room.

The two brothers tumble into the room. Their grips loosened
by their fall through the wall, they land on the floor and
rise to their feet, staring at each other but taking in the
vicious nature of the room as well.

How convenient.

KIRSTY comes through and gasps as she sees the walls.

Stay there, baby. Don't come in.

Yes. Stay there. I'll be with you in
a minute.

LARRY and FRANK trade blows.

FRANK lands a powerful blow to LARRY's jaw. It straightens
LARRY up and FRANK slams the flat of his hand against his
brother's chest.

LARRY flies backwards. He flings out his arm to balance
himself but he is nearer to the wall than he thinks and the
impetus of his fall drives his arm onto the knives.

LARRY cries out. FRANK grins and prepares to force his wounded
brother completely onto the knives.

Suddenly KIRSTY flies across the room at FRANK and beats at
his back with her fists.

FRANK snarls and, without turning around completely, flings
her away from him. KIRSTY goes flying but lands just safely
short of the deadly walls.

LARRY, in the pause KIRSTY gave him and galvanized by her
example, has found more strength. He pulls his arm painfully
forward, clear of the knives, and throws himself to the side,
forcing FRANK onto the knives. With a vicious push, LARRY
impales his brother completely.

FRANK howls, loud and long.

Without pausing, LARRY pulls a knife free from the wall and,
with one vicious slice, separates himself from his brother.

LARRY rushes to KIRSTY and helps her to her feet. They

There is a cry of horror off-camera. We pull out. TIFFANY
has followed her friend. She stares in shock at LARRY's
wounded arm and at the impaled FRANK.


JULIA is being given more glimpses of the transforming

The major surgery seems to be complete. There are no spinning
blades of needles in sight as the gashes open. MALAHIDE's
head is completely bald and his face, like the rest of his
skin is blue. The only new sophistications are that his upper
and lower eyelids have been stretched wide and stapled to
his face and forehead, and that a new mouth has been sliced
into what was his cheek before his features were pulled
permanently to one side.

Over the sound of LEVIATHAN's breath and the CENOBITE
machinery still at work on MALAHIDE, FRANK's howl is heard.

JULIA's head turns to the direction of this new sound.


She turns away without a backward glance and moves back into
the corridors.


FRANK is still impaled on the knives, but his anguished howl
has become small whimpers of complaint (with, given his
history with the CENOBITES, perhaps the tiniest note of
pleasure in there, too)

KIRSTY, LARRY and TIFFANY are now gathered together to one
side of the room near the door that leads to the corridor.
They should leave, but a kind of sick fascination keeps them
watching FRANK.

FRANK realises only leverage will pull him free of the knives
and lifts his forearms up as much as they are free to.

He turns his palms to face the knives and, with a growl of
self-encouragement, drives them deeply onto the knives so
that he can begin to push the rest of his impaled body

It takes several seconds and much pain for him to succeed,
but succeed he does. He flops backwards into the room.

Several of the knives have stayed in him, rather than the
wall -- his chest is decorated, or armed, with many blades.

Just as FRANK begins to stand, and just as LARRY and the
girls snap out of it and are about to leave, the door from
the CONVEYOR BELT ROOM opens and JULIA walks into the room.

KIRSTY and LARRY gasp. FRANK gives a slow smile.

Well, well. All my family together
again. How very sweet.



I knew you'd come.

You knew?

Yes. You're a girl who remembers her

Oh, I do. I do.

FRANK grins, his grin taking in LARRY, KIRSTY and TIFFANY as
well as JULIA. He extends an arm to JULIA.

And I know how much I mean to you.
Come here.

JULIA does not move.

Come here. Kiss me. And then...

He glances meaningfully at the others, perhaps stroking a
blade of one of the knives in his chest.

...we'll have a real family re-union.

Suddenly, surprisingly, LARRY laughs. He is genuinely amused.

Jesus Christ, FRANK. I don't believe
you. You don't know her at all do
you? You still think you're in charge.

JULIA still has not moved.

Of course I am. She BELONGS to me.

JULIA begins to cross the room to him.

For God's sake! He KILLED you!

JULIA doesn't pause. FRANK grins.

She's forgiven me that. Haven't you?

JULIA is now next to him.

Do you really need to ask?

FRANK laughs.

Show them.

JULIA glances at the knives. FRANK shrugs.

Just a small inconvenience, babe.

JULIA shifts position so she is standing behind him. She
wraps her arms around him, one stroking his belly, the other
across his shoulders. FRANK leans his head back and twists
it slightly.

They kiss.

JULIA removes her arm from his stomach and slips it behind

Nothing happens for a second and then, suddenly, FRANK's
whole body spasms. We almost think it may be with pleasure
until he breaks from the kiss and we see the confused
expression on his face -- and the blood bubbling at his mouth.

There is a ripping, bursting sound and JULIA's hand emerges
from his chest, covered in his blood. Clutched in her hand
is his ruptured, still pumping heart.

Jesus! Out. Out!

He shepherds the girls quickly through the door to the

FRANK's body begins to twitch. JULIA holds it tightly.


They reach the end of the corridor. It terminates in a T-

TIFFANY automatically heads in one direction. KIRSTY makes
to follow, but LARRY hesitates.

Wait a minute. Why are we following
her? Who is this?

This is Tiffany...

KIRSTY shrugs.

...She's good at puzzles.


They take the turn TIFFANY has indicated.


JULIA still holds FRANK tight.

Slowly, she raises the hand which holds his heart until it
is in front of his face. FRANK's eyes are glassing over but
he can still see.

Nothing personal, babe.

Without ceremony, she bursts the heart with one quick squeeze.


LARRY, KIRSTY and TIFFANY come running toward the camera.

Initially oblivious to the fact that the corridor they were
running along has widened and the walls retreated. Suddenly,
they come to a stunned halt together, staring ahead of them
with awestruck faces.

Oh. My. God.

The camera moves around them to take in what they see. They
are of course in the central chamber of LEVIATHAN.

LEVIATHAN is spinning again, the black beams flying around
the chamber.

TIFFANY screams. KIRSTY grabs her.

Tiffany, listen. You've solved it.
But we've got to solve it the OTHER
way. See? See? We've got to get out.

TIFFANY is frozen.

Come on!

LEVIATHAN spins, the beams fly.

Please! Tiffany, Please! Get us out!
Take us home, please!

TIFFANY nods. They are just about to leave when LEVIATHAN
stops spinning.

A large beam flies down, carrying an object which lands on
the catwalk before the HUMANS, who all take a step or two

The beam withdraws.

The object at first resembles a large and bloody plastic
bag, but then internal movement begins to rip at this
covering. Hands appear out of the rips and complete the
removal. We realise that the bag-like thing was a kind of
caul, a membranous after-birth that some creatures produce
their young in.

The thing inside completes its escape and stands clear of
the shredded caul. Like a new-born child, it is stained and
soiled with amniotic fluids and blood. But it is not a new
born child.

It is a NEW CENOBITE. And it used to be MALAHIDE. The
transformation we caught glimpses of is now complete. Its
skin is entirely blue, its head entirely bald. The decorative
wounds and tortures we saw being applied are all present;
its flesh is peeled back in various places, its features are
threaded and distorted by, wire, its eyelids are stapled

For a second it stands and regards the HUMANS before it.

TIFFANY gasps in recognition.

KIRSTY too knows what it was.


For some reason, KIRSTY draws from her pocket the photo she
took from the OBSESSION ROOM. She stares at it.

Jesus Christ! Of course...

The MALAHIDE CENOBITE stretches its arms and flexes its

And to think I hesitated...

It looks at the HUMANS again, its gaze finally settling on
the still shocked TIFFANY.

Tiffany. Come. I have a whole new
world of puzzles for you to enjoy...

It reaches out its hand to her.

A whole new world of pleasures for
you to endure.

TIFFANY, confused and used to obeying her doctor's voice,
tentatively stretches out her arm to meet the MALAHIDE

LARRY suddenly walks between TIFFANY and MALAHIDE. The
expression on his face is strange; it is not fear, nor

It is simpler than that. He is really, really pissed off.

No. I've had enough of this shit.
Who the hell are you?


LARRY waves a hand at her, but keeps his eyes on MALAHIDE.

Never mind. Never mind.

He points a finger at MALAHIDE's face, which is attempting a
version of PINHEAD's imposing glacial stars, but frankly,
isn't quite making it.

Fuck you and the horse you rode in

Suddenly, he forms a fist with his unwounded arm and smashes
it straight into MALAHIDE's face. MALAHIDE is completely

LARRY grabs TIFFANY by the shoulders and speaks urgently to

O.K. You've done it before. You can
do it again. GET US OUT OF HERE!

The three of them run back up the catwalk.

LEVIATHAN spins wildly and a myriad of black beams flow from

As they shine into the catwalk they become limbs like those
that captured MALAHIDE, but all with different tips; some
are organic, vicious mouths, some are hooks or blades, some
are faces, some are (as if LEVIATHAN Is too angry to be
thinking straight) beautiful flowers.

The limbs fly up the catwalk, but the HUMANS have gained too
great a start. The limbs retract rapidly into the black

MALAHIDE staggers to his feet, just as LEVIATHAN re-directs
its energy into forming and projecting one much fatter limb.
It is dirty pink and segmented, like a vast earthworm. The
end peels back as it flies toward MALAHIDE, revealing a cruel,
metallic, and rapidly-spinning surgical saw.

Just as MALAHIDE stands up straight, the limb smashes into
the back of his skull. There is a distressing WHIRRING noise
as the limb seals itself fleshily to MALAHIDE's skull and
the former surgeon twitches and dances in horrible involuntary
movements as LEVIATHAN takes over what little mind remains.


KIRSTY, TIFFANY and LARRY are running, TIFFANY making the
decisions as to direction.

Down one corridor, blades and knives jut out from the opposite
walls at random intervals and they have to weave at high
speed between them. They negotiate the corridor successfully
but, just as KIRSTY, bringing up the rear, emerges from it,
she stumbles and half-falls. The re-structured BOX falls
from her pocket and rolls back a few feet up the corridor.

TIFFANY, who is nearest to her, helps her to her feet and,
as she does so, catches sight of the BOX (or white diamond,
as it is now). She makes as it to go and get it. KIRSTY holds
her arm.

No. Come on. We have to get out of

TIFFANY moves away with KIRSTY, but not without a backward
glance and a puzzled expression.

They all make another turning. Suddenly, when they are about
halfway down this next corridor, a new gap opens up behind
them in the wall and a terrible sucking noise is heard.
Corridor debris disappears into the vacuum.

Luckily, LARRY has reached the end of the corridor and grasps
the corner with one hand, seizing KIRSTY's hand with the
other. KIRSTY grabs TIFFANY and the three of them flatten
themselves against the wall, fighting against the suction.
The force is tremendous and LARRY's finger are slowly losing


CLOSE UP on a hand picking up the re-structured BOX from the
corridor floor they have just left.


The sucking force is growing stronger by the second. Not
only is LARRY's right hand losing its grip on the edge of
the wall, but his left arm -- stretched tight as it clings
to KIRSTY and, via her, TIFFANY -- is bleeding profusely

Suddenly, JULIA appears at the top of the corridor next to

In her hand is the white diamond BOX that KIRSTY had let

She stays just out of range of the sucking wind. She stares
at LARRY's weakening fingers and smiles.

Oh, poor Larry. You never could hold
on to anything for very long, could

Suddenly, audaciously, his face set in a scowl of anger,
LARRY lets go of the wall. Before she realises what is
happening, he has grabbed JULIA's wrist and pulled her off
her feet into the corridor. He lets go almost immediately
and with a superhuman effort grabs at the corner again before
the wind can claim him and the girls.

JULIA is not so lucky; without support or foothold, she is
seized by the wind and hurtles to the gap in the wall.

She manages to brake herself by flinging her arms out to
either side of her. For a moment she is hold there and then
the pressure begins to draw her in.

In her left hand she still holds the BOX, but her right hand
is only a few inches from TIFFANY's left.

TIFFANY reaches her hand to her, not knowing JULIA as the
others do. Their fingers just manage to interlock when JULIA's
face registers a disbelieving shock.

There is a terrible ripping sound. JULIA's new skin, so
recently gained, is giving up its hold and has ripped right
up the spine. JULIA is drawn from it.


With a final, slurping sound, the skinned woman slips from
the skin and disappears down the new corridor.

The momentary break in tension allows LARRY to make one last
effort. He rounds the corner and pulls the girls after him.

TIFFANY, finally, realising what has happened, screams in
terror and disgust, especially when she looks at what she
has brought round the corner in her hand. She drops JULIA's
skin to the floor as the three of them scramble to their
feet and begin to run again.

Still clutched in the skin's hollow fingers is the white
diamond BOX.

As they turn another corner, they see, very far in the
distance, a glimmer of light. TIFFANY points excitedly.

My God, it's her room!

Let's go!

He starts urging the girls down the corridor -- a long and
very narrow one -- but KIRSTY shows some resistance.

No. No, there's something wrong...

Before they can discuss it, a new rushing sound is heard.
They look back.

Hurtling towards them is the ENGINEER from HELLRAISER.

TIFFANY screams.

Jesus. O.K. No more arguments. Just

They begin one last panic-fuelled run down the narrow
corridor, the ENGINEER at their heels.

The sequence is equivalent to KIRSTY's pursuit by the ENGINEER
in HELLRAISER, the twist here being that as they approach
the entrance into TIFFANY's room the walls of the corridor,
already thin, begin to close together.

LARRY is bringing up the rear (the corridor is now so narrow
only single file is possible) and he can almost feel the
ENGINEER'S breath on his neck.

Go. Go. Go. Go. Go!!

Finally, almost impossibly, they reach the gap in the wall.
TIFFANY tumbles through, then KIRSTY, and finally LARRY.
Less than a micro-second after LARRY has made it, the walls
seal themselves.


As we see clearly the room they have come into, we perhaps
share the feeling that KIRSTY expressed in the corridor;
something is wrong.

The tiles that make up the floor are patterned as before but
the individual tiles are larger. The room itself seems more
spacious, the ceiling higher.

There is a bowl of flowers by the window. The flowers were
in full bloom before their trip to Hell but now they seem
long dead.

The audience have to notice most of this for themselves
because LARRY, KIRSTY, and TIFFANY are too relieved by, and
tired from, their escape to take this in immediately. LARRY
seats himself in the chair, KIRSTY perches on the end of
TIFFANY's bed. TIFFANY however walks straight across to her
window. She is the first to notice anything. She stares at
the flowers.


KIRSTY rises from the bed and joins TIFFANY by the window.

But these were... Daddy?

LARRY rises to his feet. Just as he stands, a fleeting
expression of bewilderment crosses his face. He strokes at
his right arm with an unconscious gesture as he crosses the

KIRSTY doesn't look at her father right away.

These flowers. I saw them just...

She looks at her father. A sea of sweat has broken out on
his brow and face as he stares intensely at the flowers.
KIRSTY's voice slows, begins to trail off.

...the day... before... yesterday
Daddy? Daddy!

LARRY's eyes close. His entire face screws up as if an
excruciating pain just hit him. He clamps his arm across his
chest, the hands clutching his shoulders. He opens his eyes
and looks at KIRSTY for a second, his expression one of

Then his eyes roll up into the sockets and he collapses to
the floor.

TIFFANY has hardly had time to turn from the bowl of flowers
before KIRSTY is kneeling by her father.


LARRY is unconscious. TIFFANY gasps. KIRSTY looks up at her.

Get help.

TIFFANY's eyes widen. She rushes to the door and disappears
into the corridor. Within two seconds we hear an emergency
alarm go off and TIFFANY re-enters the room.

Pass me a pillow.

TIFFANY does so and KIRSTY places it under the head of LARRY,
whose lips are now blue and who is breathing very shallowly.

KIRSTY looks up at TIFFANY, despair in her eyes.

What do you do? I just don't know
what to do.

TIFFANY shakes her head helplessly.

Suddenly, the door to the room flies open and two INTERNS --
maybe Stan and Ollie from the carnival sequence -- come in,
complete with stretcher and gurney. They assess the situation
with a glance and it is serious enough to make one of them
break their professional silence.

Coronary arrest. Let's be quick.

They are good at their job -- within seconds LARRY is secured
on the gurney and they head for the door, KIRSTY and TIFFANY
behind them. The following exchanges are spoken on the move.

Is he going to be O.K.?

We just can't say. O.R.'s on standby.
They'll do what they can.

But it's bad?

The INTERNS exchange a glance and decide honesty is best.

(gently but flatly)
Yeah. It's bad.


The elevator is uncomfortably full, KIRSTY and TIFFANY
squashed up against the back while the INTERNS hold the gurney
in the centre.

The elevator is descending. The ride seems to take longer
than it should, even though they are going to basement level;
like the look of TIFFANY's room, it's ALMOST normal but just
different enough to make us slightly uneasy in an un-focused

Eventually, though, it does come to a stop. TIFFANY squeezes
KIRSTY's shoulder sympathetically (NOTE. RE: TIFFANY's
character -- it should be clear to the audience by this stage
that, though she is still mute, TIFFANY is now a responsive,
more rounded character)

The INTERNS wheel the gurney out of the elevator and the
girls follow.


The basement corridor is long, cavernous, and not very
pleasant. It has a grimier, more uncared-for look than the
upper floors and the high ceiling is covered with an intricate
system of naked pipes and conduits.

The INTERNS wheel LARRY down this corridor, going so fast
that KIRSTY and TIFFANY are continually breaking into a trot
to keep up with them.

At the far and of the corridor are a set of double doors.
The nearer they all get to these doors, the tackier the
corridor seems to become. The walls now have pipes running
over them, as well as the ceiling, and several of these pipes
are dripping water into small pools on the corridor floor.
The sound of these drips is artificially loud on the

Finally, the doors are reached and the INTERNS, LARRY, KIRSTY
and TIFFANY disappear through them.


This is a small ante-room to the operating room which is
beyond a further set of double doors. Without ceremony the
two INTERNS pass straight across this room to those doors
and wheel the gurney through, one of them throwing back a
parting remark to KIRSTY.

Wait out here. A doctor will talk to
you when we know more.

The double doors part and close, giving just a glimpse of
the operating room beyond, all lights, monitors and whirring
machinery, and the several gowned and masked experts attending

As the doors close, KIRSTY turns to TIFFANY, expecting a
long wait before anyone comes to speak to them. Surprisingly,
though, the doors open again almost immediately and two
figures step through. They, too, are masked and gowned in
surgical green and very little of them is visible.

Is he going to be all right?

(matter of factly)
No. He's not going to be all right.

KIRSTY staggers visibly, shocked by this bluntness.


No. He's going to die. He's got a
ruptured aorta. He's going to die in

As he makes this speech, the mask of his colleague stains
rapidly with blood, as if it is literally pouring from its

Simultaneously, his own mask is slowly pierced by a score of
nails bursting through from beneath.

TIFFANY screams.

The 1st GOWNED FIGURE pulls the mask and cap away from its
face --

It is PINHEAD. His colleague does the same. It is the FEMALE

Oh, Fuck.

She's had too much experience with these two to hesitate.
She grabs TIFFANY's arm and bursts through the double doors
to the corridor.


We are now looking along the corridor in the other direction --
back towards the elevator.

KIRSTY and TIFFANY come into shot, running rapidly along the

As they make their way, a rumbling, flatulent sound is heard
from the overhead pipes and they all begin to drip blood not

We hear the sound of the doors flying open behind them.

KIRSTY and TIFFANY reach the elevator. KIRSTY presses
frantically on the call button, while TIFFANY looks behind
them with frightened eyes.

C'mon. C'MON!

The sound of steadily-pacing, purposeful feet is heard coming
up the corridor, getting louder, coming closer.

KIRSTY begins hammering on the closed elevator doors. TIFFANY
stifles a cry with her hand.


Suddenly, the doors fly open. KIRSTY and TIFFANY tumble into
the elevator.


We see the door-frame of the elevator and the floor buttons
beside it and, looking down the corridor through the open
elevator doors, PINHEAD and the FEMALE CENOBITE marching
towards us.

We also see KIRSTY'S finger jabbing frantically at the floor
buttons. The doors are not closing. The CENOBITES are getting
very close.

Finally, just as PINHEAD breaks from his determined but medium-
paced stride and speeds up eagerly for the last two or three
yards, extending his arm as he does so, the door slams shut
across our vision and we hear the elevator machinery start


KIRSTY leans against the back wall of the elevator, breathing
heavily. TIFFANY stands very still in the middle, a frozen
expression of fear on her face.

Faster, you bastard, faster!

She slams her fist against the elevator wall. The elevator
stops. Its lights flicker.

Oh, Jesus. I'm sorry. I'm sorry. I
didn't mean it.

The elevator starts again.

It's O.K. They can't beat an elevator.
Not upstairs. It'll be O.K.

The lift stops, but this time it's where they want it.
KIRSTY's finger hesitates over the DOOR OPEN button.

It'll be O.K.

She presses the button.


We are looking at the closed elevator door. When it opens we
will be looking down the corridor on the main hospital floor --
the floor with the girls' rooms on.

The door flies open. CHATTERER II lunges in at them.

KIRSTY screams, but because of the eagerness of his lunge
they are able to get around him as his impetus carries him
to the back of the elevator.


The door begins to close as the girls straighten up in the
corridor and as CHATTERER II turns around to come back out
at them.

He tries to put his hand out to stop the door closing, but
succeeds only in trapping his fingers in the door.

KIRSTY, as soon as the doors began to close, had hit the
DOWN button. Now, she squeals with horror as she realises
what is about to happen.

The elevator begins to descend -- we can tell this because
CHATTERER II's fingers move down to the floor and are then
sliced off.

The GIRLS run off down the corridor.

This way. Short cut.

They turn into a set of double doors leading to a large ward.


KIRSTY and TIFFANY enter the ward at a run and then slow
down to a confused and horrified walk.

Every bed in the ward is occupied, some by men, some by women,
and every patient has in their hands, and is busily working

Despite this collective work-in, the BOXES obviously still
have the vicious characteristics they have previously
demonstrated when used individually -- as is witnessed by
the ten or so patients who are struggling on with their work
despite having one or two hooks and chains connecting their
flesh to their BOX.

KIRSTY and TIFFANY move slowly down the room, a look of
incredulity on both their faces.

Oh, Christ. This isn't just personal

TIFFANY nods slowly, her eyes flicking back and forth across
the ward.

Suddenly, the wheelchair patient from the earlier scene in
this ward, who has been between two of the beds on one side
of the ward, cuts across the GIRLS' path. He too has a BOX
on his lap. As he passes in front of them, he looks at them,
giggles in an unmistakably insane fashion, and gives them a
conspiratorial wink. Then he simply proceeds to the other
side of the ward.

A second or so after this, as the GIRLS edge down the middle
of the room, they hear a rushing sound behind the double
doors they are heading towards.

Suddenly, the doors slam open and revealed in the doorway is

But he is not standing there. He is hovering about two feet
off the floor. The umbilical limb that connects him to
LEVIATHAN is still at the back of his skull. His face is
contorted in a grin of manic glee as he floats three or four
feet into the ward.

The Doctor is in!

He laughs, and the sound is far from human. KIRSTY and TIFFANY
stare at him.

Oh, shit.

KIRSTY looks sharply at TIFFANY for a second, as if she is
about to comment on her re-found voice, but instead simply
nods. She takes her friend's hand and the GIRLS begin to
walk very slowly backwards to the far end of the ward.

MALAHIDE is too enraptured of his new power to pay attention
to specific victims and so makes no move to stop the GIRLS'
slow retreat.

Suddenly his palms erupt into a writhing mass of tentacle-
like limbs as his head tips back to emit a wide band of
LEVIATHAN's black light at the ceiling, accompanied by,
renewed inhuman laughter.

Taking this as their cue, the GIRLS turn and bolt for the
doors at the far and of the ward and exit through them.

The limbs extrude from MALAHIDE's palms only twelve inches
or so and are all quite thin, but they all have independent
movement and they all have various surgical-like, gleaming
tips. MALAHIDE floats over to the nearest bed. He looks at
the patient and then looks at the bladed tips of his new
limbs and, as if addressing them, speaks.

I recommend amputation.

There is another burst of laughter as the limbs fly at the
patient, writhing, twitching, slashing, and slicing.


The GIRLS run wildly along the corridor, not knowing MALAHIDE
is working his way through his former patients. They come to
another door and pause. They look back down the corridor to
ensure they are not visible as they hide and KIRSTY pushes
the door open with the flat of her hand behind her. Carefully,
still looking down the corridor, they back into the room and
let the door close.


CLOSE UP on the GIRLS' faces as the door closes in front of
them. KIRSTY lets out a breath. Then they hear the rattling
sound behind them. They swing round and the camera pulls out
to take in the room.

It is like the TORTURE ROOM in HELLRAISER. The walls are
black, the floor slimy, and the room filled with chains,
hooks, and torture-pillars. And, in the room and staring at
the GIRLS, are the four CENOBITES.

PINHEAD glances theatrically around the room, as if checking

Oh. No Boxes. Such a shame.

No more delays, Kirsty. No more
teasing. Time to play.

Time to play.

KIRSTY looks at his unforgiving face and then her eyes
suddenly widen as she thinks Of something.


No more deals, Kirsty. It's your
flesh we want to experience, not
your skill at bargaining.

No deals! Just information.
Information. Free of charge. No
strings. Just information.

Go on. But trick us again, child,
and your suffering will be legendary
even in Hell.

Carefully, making no fast movements, KIRSTY reaches into her
pocket where she placed the photograph from MALAHIDE's
OBSESSION ROOM. She brings out the picture that she realized
earlier was of PINHEAD and hands it to him.

He takes hold of it and looks, his face registering nothing.

What is this? Someone else you think
escaped us, like Frank?

No, No, this one didn't escape. You
told me you'd always been in Hell.
You were wrong. Look at it. LOOK.

Nonsense, I...

It's you! You HAVEN'T always been as
you are. You were HUMAN. Remember.
Remember all your confusions. Think!

The FEMALE CENOBITE strides across the room.


She raises her hand towards KIRSTY. PINHEAD's arm flies out
and stops her.


He is staring at the photograph, that great immobile brow
finally puckering, as if something is stirring.

I... remember.

You were ALL human!

The other three CENOBITES stop moving and stare at KIRSTY.
Any advances they were making on KIRSTY or TIFFANY stop as
the same dim, distant, recollection begins to stir within

Suddenly, the door bursts open. MALAHIDE is there, still
floating, his voice still a mixture of hideous threat and
insane joy.

Tiffany. Come.

He turns his palms downwards, mirroring his gesture in the
hall of mirrors.

TIFFANY lets out a moan of terror and shakes her head.

One of the snake-like limbs from MALAHIDE's palms flies
towards TIFFANY's face. Before anybody can react, its scalpel
tip has sliced an inch or so off several strands of her hair.

Tiffany. Come.

KIRSTY throws her arms around the cowering TIFFANY and snarls
at her tormentor.

Leave her alone, you asshole!

MALAHIDE makes no reply, but suddenly several more limbs fly
towards the GIRLS and begin to weave in front of KIRSTY's
face like snakes awaiting their moment.

At this stage, the camera CUTS TO the watching PINHEAD. He
lets the photograph of his past life flutter to the floor.

MALAHIDE looks up at the tiny noise this makes and his eyes
meet PINHEAD'S. He turns more fully to face PINHEAD and the
other CENOBITES who are now standing with their leader, and
a strange smile crosses his face

Oh, good. A fight.

Suddenly, the air is full of flying chains. MALAHIDE is hooked
everywhere. It is like a high-speed version of FRANK's final
re-capture in HELLRAISER. The chains start tugging almost

Is MALAHIDE about to be ripped apart?

With contemptuous, dismissive speed, the limbs that ooze
from MALAHIDE's palms have sliced the chains to pieces and,
almost before we have time to realise that, three of them
have lengthened, thickened, and hardened and have skewered

The three limbs detatch themselves from MALAHIDE. The three
CENOBITES are all well above the floor, pinned and twitching
like the rats in FRANK's attic.

As they die, they suddenly revert; there are three human
corpses on the walls of the room. A woman, a fat man, and a
little boy.

MALAHIDE smiles. Be looks at PINHEAD again and advances.
Suddenly a heavy torture pillar smashes into him, knocking
him slightly off-balance.

PINHEAD is backing across the room, weaving pillars in front
of him as he moves. MALAHIDE moves forward, knocking them
out of the way. As each pillar is knocked aside, PINHEAD's
face is more and more human. Finally, when the face we see
is nearly that of the ENGLISH OFFICER from the opening, he
turns his head slightly away from the advancing MALAHIDE and
finds KIRSTY's eyes. A look passes between them.
Understanding? Gratitude? Friendship?

Whatever emotion lies beneath it, it is clearly a cue and
KIRSTY and TIFFANY make a break for it, bursting through the
door. Simultaneously to this, MALAHIDE and PINHEAD find each
other's eyes a final time. For a second, everything is still
then a single bladed limb flies across the space between
them and neatly and calmly slices PINHEAD's throat open. The
thin red line becomes a torrent of blood and the former lord
of Hell falls dead at the feet of his successor.


KIRSTY and TIFFANY burst out into the corridor and almost

So what, girls? It's O.K. for an ego-
trip but it doesn't got the job done.

Shaking their heads at the insanity, they run up the corridor.

TIFFANY looks slightly distracted and when she speaks it is
half to herself.

I have to go back. Or it'll never

What are you talking...

(to herself)
I've got to finish it.

Finish what?

Even as KIRSTY says this, TIFFANY has moved past her and is
resuming her run down the corridor.

Tiffany! Wait!

KIRSTY starts after her friend.

They turn back into the main section of the corridor that
contains their own rooms, TIFFANY still four or five yards
in front of KIRSTY.

TIFFANY reaches her room. The door is open. She goes in. A
second later, KIRSTY follows.


KIRSTY enters the room. It is as we last saw it except that
the walls have re-parted to give onto the corridors of Hell.

Carefully and slowly, KIRSTY moves across to the entrance
and looks down it. She is rewarded with the sight of TIFFANY
just disappearing at the far end of the first corridor. With
a grimace, KIRSTY follows her in.


TIFFANY's skill at finding her way through puzzles means the
GIRLS are soon in the murkier corridors close to the Centre.

Hell seems angrier now, steam is issuing in jets from the
corridor walls, the cries of children are heard faintly on
the soundtrack, LEVIATHAN's breathing is more dominant,
perhaps the light is even pulsing in time with it.

KIRSTY is still several yards behind TIFFANY. TIFFANY takes
a corner and is out of sight for a second or so. KIRSTY dashes
around the corner to find TIFFANY staring with distress at
something on the floor.

It is the skin ripped off JULIA by the vacuum tunnel earlier.

Oh, gross.

TIFFANY bends down and retrieves the white diamond BOX from
the empty fingers.

What are you doing? What are WE doing?

TIFFANY looks at the BOX in her hand. When she speaks, it is
not to KIRSTY but to herself.

I can't do it here. I have to go to


LEVIATHAN spins and fires light in the centre, his machine-
like breathing drowning all other sound. We are looking down
the catwalk as KIRSTY and TIFFANY approach its edge.

The beams of black light wash across their faces, as they
passed over MALAHIDE's in the earlier scene. Images of horror
freeze momentarily before them and then pass on, only to be
replaced by others.

I'm scared.

No. Don't let it. You've come this

The GIRLS press on. Whether LEVIATHAN is oblivious to their
presence or simply doesn't consider them a threat, the beams
stop striking the GIRLS' faces. Nevertheless, the mood remains
ominous. The audience should feel something is about to

They are six feet from the lip of the catwalk. TIFFANY kneels
and, holding the white diamond BOX in front of her, begins
to move her fingers over it. The music box tune begins to
play as the BOX begins to move.

That 'something' that the audience was waiting to happen,
suddenly does; MALAHIDE flies up from the abyss beside the
catwalk. The vastness of the limb that seals him to LEVIATHAN
is now directly apparent; instead of merging into black light,
the limb itself trails through the air over the huge distance
to LEVIATHAN itself.

One of the limbs from MALAHIDE's palms flies out and knocks
the BOX from TIFFANY's hands. It rolls perilously close to
the edge of the catwalk.

KIRSTY grabs TIFFANY and, dragging her to her feet, pulls
her further back down the catwalk as MALAHIDE floats to a
landing between them and the BOX.

Ah, girls. And how are we feeling

The blades on the end of his limbs twitch eagerly.

You have your whole lives behind you

The limbs fly forward. KIRSTY screams and both girls run up
the catwalk.

About halfway back up, however, TIFFANY stops, turns around,
and begins to walk back. KIRSTY calls out.

Tiffany! No!

The camera stays with TIFFANY as she makes her way back.
KIRSTY's voice stays on the soundtrack for a time, imploring
her friend to turn back and then simply stops. This should
be abrupt enough to make the audience notice but smooth enough
to avoid their attention leaving TIFFANY.

MALAHIDE waits, happy to see a patient so keen on the knife.

Very slowly, TIFFANY moves forward, inch by slow inch. This
is something she HAS to do; the expression on her face is
not determination but terror. And MALAHIDE is very happy to
encourage this.

Surgery is open, Tiffany. What was
today's agenda?

His scalpels flick in the air, making small slicing motions.

Ah, yes. Evisceration.

Still TIFFANY comes forward, closer and closer until she is
surely close enough to be grabbed.

Suddenly, she is grabbed. But from behind, and by a human

TIFFANY gasps, and turns to see who has seized her. She

It is JULIA.

The limbs retract into MALAHIDE's palms. He smiles.

Doctor. I've missed you.

JULIA, having presumably just replaced her skin, is not quite
as perfect as before; there are bloody lines like scars
beneath her ears and chin as if the skin required some
adjustment before being put on.

JULIA moves forward, her left arm still holding TIFFANY, her
smile returning MALAHIDE'S.

I knew you'd come back.

I'm a girl who keeps her promises.

JULIA is right next to MALAHIDE now. Smoothly, she releases
her grip on TIFFANY and embraces MALAHIDE sensuously. He
returns the embrace. They kiss.

Unseen, TIFFANY moves to the edge of the catwalk and picks
up the BOX. Her fingers move over it, finding its solution.
Suddenly, LEVIATHAN's breath becomes a roar of anger and

MALAHIDE breaks away from his kiss, his face a mixture of
confusion and rage. JULIA plants both hands in the middle of
his chest and pushes. He falls over the lip of the catwalk
but, almost before he drops from sight, he is suddenly pulled
backwards through the air, screaming, as LEVIATHAN's limb
retracts. JULIA jumps back. shouting.

Do it, Tiffany! Do it!

TIFFANY's fingers fly over the BOX and suddenly we see what
is happening. The mountain-like LEVIATHAN is following the
movements of the small replica in TIFFANY's hands. As TIFFANY
inverts the new configuration back towards a closed BOX,
LEVIATHAN too is being twisted and turned. Being closed.

The whole centre of Hell shakes as if suffering a mild
earthquake. JULIA and TIFFANY almost lose their footing, but
TIFFANY continues working. She is nearly, there. LEVIATHAN
is halfway between its white diamond, majesty and a huge
closed BOX.

TIFFANY takes her hands from the BOX. It is done. The larger
BOX operates a few seconds behind it's control, so that we
can intercut the final sliding and creaking into position
with the following human drama; As LEVIATHAN makes its final
closing, the mild tremors of before become larger. Hell shakes
violently and this time TIFFANY does lose her footing. She
looks set to tumble into the vast abyss to the side of the
catwalk but just manages to catch hold of the edge with one
hand. The small BOX flies from her hand and hurtles down
into the miles of blackness below. TIFFANY dangles over the
edge, her feet kicking wildly for a foothold that doesn't

Suddenly, a hand extends to her. She looks up. It is JULIA.
For a second, nothing happens.

Trust me.

TIFFANY lifts one hand off the edge and grabs at JULIA's
proffered wrist.

JULIA begins to pull up and for a moment it seems the crisis
is over. Then a terrible and familiar ripping noise is heard:
The skin of the arm that TIFFANY clings to begins to rip
free at the shoulder. Gradually, like a shirt's threads
unraveling, it comes off. TIFFANY's weight pulls it clear
like a very long and very tasteless evening glove and it
seems she will finally make the long drop. At the final
second, as the arm-skin comes off, the entire skin flies
from the body and falls with its arm into the abyss. TIFFANY
screams. She is going to die.

But suddenly the two arms that have just lost their skin fly
out again and catch her fingers. TIFFANY is hauled over the
edge and staggers to her feet, staring into the bloodied
face of KIRSTY, who had donned JULIA's skin to help her

The two girls share a quick and joyous embrace and then run
rapidly up the catwalk. The camera stays with LEVIATHAN.

The rumbling stops. And the mountainous BOX creaks into its
final, sealed position.




CLOSE UP on a bowl of beautiful flowers, sitting on a shelf
in the recovery room.

The camera TRACKS out to let us see LARRY, pale, drawn, but
basically okay, in the room's single bad. He is wired up to
various drips and monitors.

Sunlight is flooding into the room from a window and the
camera continues its TRACK up to and through this window to;


KIRSTY is kissing TIFFANY on the cheek. TIFFANY is dressed
in smart clothes and has a small traveling bag in her hand.

So. What're you going to do? Open up
a games-shop somewhere? Sell jigsaw

TIFFANY gives a smile.

Oh, yeah.

There is a slightly awkward pause.

Well... G'bye.

It's been Hell.

They share a rueful knowing smile, like the smile of soldiers
back from a war who say goodbye on a dockside and know they
will never meet again.

TIFFANY turns and walks down the long path to the hospital
gates. KIRSTY watches her for a few moments and then turns
and re-enters the institute.

The camera TRACKS back to the window of the RECOVERY ROOM
and we watch through the window as KIRSTY enters the room.
She bends to kiss her father's cheek. LARRY slips an arm
around her shoulders and they embrace. The camera moves away


The camera TRACKS slowly up MALAHIDE's hallway. The hallway
is lined with packing cases filled with items from the house.
A WORKMAN is shoving something into one of the cases. As the
camera moves past him, he speaks.

So whose was all this shit?

The camera reaches the doorway of the OBSESSION ROOM as an
answering voice is heard.

Not our problem...

The TRACK continues into --


and we see the 2ND WORKMAN. He is crouching over the mattress
which is still in the middle of the floor of the otherwise
empty room.

...Gimme a hand with this.

Almost faster than the eye can register it, a hand shoots
out from the mattress and grabs his wrist.

He has about half a second to issue a strangled shout and
then, hideously quickly, a matter of two seconds or so, his
body is drained of all life and the dried husk collapses to
the floor.

The first WORKMAN appears hurriedly in the doorway and then
freezes, an awestruck expression on his face.

JULIA is rising, headfirst and upright, from the centre of
the mattress. The movement is smooth, magical, unsettling.
It is graceful but not slow.

JULIA is fully fleshed, fully skinned, and fully dressed.
She is in a replica of the dress MALAHIDE bought for her,
but this one is jet black. She looks fabulous.

As the WORKMAN stands open-mouthed, her feet clear the

But they don't stop there. She slows to a graceful halt about
six inches above the mattress. She stretches and flexes her
arms sensually. Than her head swivels and her excited, aroused
eyes meet those of the WORKMAN.

I'm Julia. Love me.

Suddenly, her head tips back and, accompanied by JULIA's
delighted laughter, a wide beam of Hell's black light flies
at the ceiling from her open mouth. Instantaneously, it spills
across the ceiling and falls, like a fountain of blood, across
the screen.




Contact | Disclaimer
Copyright © WeeklyScript.com | Scripts Copyright © their respective owners