"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 ]

"HELLRAISER"

A Screenplay by

Clive Barker

November 19, 1986 Draft



TITLE SEQUENCE

In the darkness, a blood-curdling cacophony: the squeal of
unoiled winches the rasp of hooks and razors being sharpened;
and worse, the home of tormented souls. Above this din one
particular victim yells for mercy -- a mixture of tears and
roars of rage.

By degrees, his incoherent pleas are drowned out by the
surrounding tumult, until without warning, his voice pierces
the confusion afresh -- this time reduced to a naked scream.

From the din, music. An unearthy rhythmical sound. And from
the darkness, in rhythm with the music, an image appears.

A house: NUMBER 55 LODOVICO STREET: an old, three storey,
late Victorian house, with gaunt trees lining its overgrown
garden. It's curtains are drawn, there is newspaper over
it's top window.

The image appears and is wiped off, again in rhythm with the
music. A second image, of the house again, only closer,
appears. Then darkness again. Then the house a third time,
from the driveway. So it continues, as the titles begin to
run. Images appearing from darkness, and then wiped off again,
all following the same slow tolling of the soundtrack.

The images now take us inside the house. First the hallway.
Then the staircase. Then the empty rooms. Number 55 has been
left unoccupied for many years, it seems, though much of
it's furniture remains, covered in dust-sheets. On the
mantelpiece of one room, a plaster saint. In the kitchen,
evidence of life here. Opened tins, bread, bottles of spirits;
a glass.

We move upstairs, the images still divided by darkness. We
see the upper landing. An open door, and through it, a
makeshift bed, blankets strewn. An open suitcase, and it's
contents; more liquor.

We move up a flight, and approach a room off the top landing,
the door of which is also slightly ajar. The light within
swings backwards and forwards, and for the first time we
understand the rhythm of image and then darkness, which has
taken us through the title sequence. It is the rhythm of the
light in this room, as it swings to and fro.

We move towards the door, as the final title is sucked through
the gap into the Torture Room beyond.

INT. TORTURE ROOM - NIGHT

The bare bulbs in the room we've entered swing violently,
disorienting us. There are chains -- dozens of them --
disappearing with the darkness of the ceiling: all are
swinging back and forth. Some end in hooks, with pieces of
skin and sinew adhering; some are serrated, others simply
drip blood.

The bell tolls on.

On the blood-spattered floor, a box, some six inches square,
which resembles an elaborate Chinese puzzle box. Later, we'll
learn its name and function. It's called the Lament
Configuration, and it's a way to raise Hell. LITERALLY. For
now, it remains an enigma.

A hand, its flesh systematically pierced with needles, reaches
down and picks the box up.

In close up we see just what an elaborate construction it
is, made up of sliding panels and mysterious chambers. It is
open at present, its polished innards exposed. Out of it, a
banal melody, played on a hidden mechanism. The hands, which
belong to one of the demons -- a CENOBITE -- move over the
box.

CENOBITE
(unseen)
It's over...

Delicately, the hands begin to reconstruct the box, sliding
the well-oiled parts back into place, the tune simplifying
with each manoeuvre.

The room is getting darker. The chains are disappearing into
the gloom.

We see tantalizing glimpses of other figures, turning from
the light and fading into the darkness. We catch sight of
monstrous faces, but only for the briefest of moments. Then
they're gone.

The box is almost returned to its unopened condition.

The last sounds to fade are the tune from the box, and the
bell.

It tolls on as the final panel of the box is slid into place.

The light stops swinging. The panel clicks. The tune stops.

At last, a long shot of the room. At the far end the window
is covered with yellowed newspapers. There is dust settling
through the air.

Otherwise it is empty.

The bell fades.

It's as if nothing ever happened here.

Except...

Somewhere, very quietly, a creaking that could be the sound
of floorboards, or the low, agonized gasp of a thing barely
alive.

INT. HALLWAY - DAY

The wind is blaring as we watch the door of Number 55. From
the doorstep, voices. One is that of LARRY COTTON, the other
his wife JULIA. Clearly LARRY is attempting to get inside.
We hear the sound of keys tried in the lock.

LARRY
It's ONE of these.

JULIA
We're going to freeze to death.

LARRY
O.K. O.K.

The sound of another key tried in the lock.

JULIA
Maybe somebody changed the lock.

LARRY
(slightly irritated)
Like who?

JULIA
Just a thought --

LARRY
Ah!

The key is turned.

LARRY
Success.

The door swings open.

LARRY
Voila!

We see the pair on the doorstep. LARRY is an American in his
early forties, an attractive man who has lost his edge in
recent years. He looks harassed; he smirks too much. A little,
but significant, corner of him is utterly defeated. JULIA,
his wife, is English: and looks perhaps ten years his junior.
She is beautiful, but her face betrays a barely buried
unhappiness. Life has disappointed her too, of late: and
LARRY has been a major part of their disappointment.

LARRY
Well. This is it.

They step over the threshold.

INT. UPPER LANDING - DAY

The door of the Torture Room creaks, as the wind blows it
opens an inch. From downstairs, we hear JULIA's voice.

JULIA
It smells damp.

LARRY
It's just been empty a while.

INT. HALLWAY - DAY

LARRY slams the front door.

INT. UPPER LANDING - DAY

The Torture Room door creaks closed again.

LARRY
(from below)
Besides, it's an old house.

INT. HALLWAY - DAY

He stands in the hallway, not certain which way to go from
here.

JULIA
How long since you were here?

LARRY
The best part of ten years.

LARRY picks up some mail -- circulars mostly -- from behind
the door, then leads JULIA through from the hallway to explore
the ground floor.

LARRY
I wanted to sell it off at one point,
after the old Lady died, but I
couldn't get Frank to agree.

He opens one of the doors, and looks inside.

LARRY
(with pleasure)
Christ. It's not been touched.

He continues along the passageway. He opens another door,
and steps into a large room. He opens one of the curtains.
Light pours in, dust-laden shafts falling on the sheeted
furniture.

LARRY
Look at this.

JULIA lingers in the doorway.

JULIA
Why didn't he want to sell it?

LARRY
(dismissively)
I don't know. Probably wanted a
hideaway.

He pulls a sheet off a chair.

LARRY
Look at this stuff.

The chair is ugly; old fashioned. JULIA is unimpressed.

JULIA
Not exactly modern.

LARRY
(shrugs)
We'll sell it. Sell everything.

JULIA
I thought half of it was your
brother's?

LARRY
He won't complain. He can pay off
some of his creditors.

LARRY is getting more enthusiastic about the place by the
moment. He leaves the room, moving past JULIA to explore
further.

LARRY
You know we have to let Kirsty see
this place, before we do anything to
it. She'll love it.

JULIA
You mean we're moving in?

LARRY pauses. Looks at her.

LARRY
You don't like it?

JULIA shrugs.

JULIA
It's better than Brooklyn.

She turns back down the hallway. He watches her, then follows.

LARRY
You're still blaming me.

JULIA
No. I'm not.

LARRY
You wanted to come back to London.
We came back.

We are hearing the tip of a debate they've had dozens of
times, which immediately annoys them both.

JULIA
All right.

LARRY
So what's the argument?

JULIA
(cold)
No argument.

LARRY
Oh Christ. Julia...

JULIA wanders back to the bottom of the stairs. Then starts
to climb.

LARRY
(exasperated, to
himself)
Shit.

INT. LANDING - DAY

JULIA climbs the stairs, her face charged with suppressed
feeling. She's sick of LARRY; his enthusiasm depresses her,
his compromises anger her. What's between them is stale,
like this house.

INT. TORTURE ROOM - DAY

The door opens a fraction.

INT. KITCHEN - DAY

LARRY has stepped into the kitchen, to find the remains of
the food we briefly glimpsed in the titles sequence, now
rotted and fungal. It smells, to judge the expression on his
face. It also puzzles him. Then, from above:

JULIA
Larry!

He leaves the kitchen and retraces his steps to the bottom
of the stairs.

JULIA
Larry!

LARRY
I hear you.

He starts up the stairs.

INT. LOWER LANDING - DAY

LARRY reaches the top of the stairs.

LARRY
Where are you?

JULIA
(out of sight)
In here.

LARRY follows JULIA's voice to the end of the corridor.

JULIA is standing in a doorway. Beyond, the 'bedroom' we saw
in the titles sequence, untouched since then.

JULIA
Squatters?

LARRY steps past her, and throws back the blankets.

Wood-lice scurry away. He goes to the suitcase, and starts
looking through it. Besides clothes there's a lot else that
speaks of its owner: bric-a-brac picked up in a lifetime of
adventuring; handful of bullets; fragments of an erotic
statue; coins and notes from a dozen countries. Amongst the
stuff, some photographs.

LARRY peers at them. One pictures a good-looking intense man
in his mid to late thirties, in bed with a naked Chinese
girl.

LARRY
Frank.

At the door, we see JULIA almost flinch at the name.

JULIA
He's here?

LARRY
He's BEEN here. There's stuff in the
kitchen. He must have made a hasty
exit.

The 'phone rings downstairs. JULIA jumps.

LARRY
That'll be Kirsty.

LARRY stands up and leaves the room, moving past JULIA in
the doorway, who is left to stare down at the bed FRANK has
slept in, and the suitcase of belongings. As we hear LARRY
clatter downstairs it seems JULIA's face is close to tears.

INT. DOWNSTAIRS ROOM - DAY

The 'phone continues to ring. LARRY steps through and picks
up the receiver.

LARRY
Hello...?

There's no answer.

LARRY
Hello...?

INT. FRANK'S 'BEDROOM' - DAY

JULIA goes to the open suitcase, and looks at the photographs.

INT. DOWNSTAIRS ROOM - DAY

LARRY
(on 'phone)
Is there anybody there?

He puts down the 'phone. He goes back out into the hall.

INT. FRANK'S 'BEDROOM' - DAY

Nervous that LARRY will return and see what she's doing,
JULIA is going through the photographs.

LARRY
(from below)
There's nobody there --

The sound of his foot on the stairs. Hurriedly, she selects
a photograph of Frank without the girl, and pockets it.

INT. STAIRS - DAY

LARRY is climbing the stairs.

LARRY
I'm surprised it's even connected...

The 'phone rings again.

LARRY
Shit.

INT. FRANK'S BEDROOM - DAY

Mission accomplished, JULIA leaves the bedroom, taking one
last glance at the sweat-stained sheet and the indented pillar
where Frank lay. A lone wood-louse crawls over the sheet,
navigating the folds. She closes the door on the sight.
Downstairs, the 'phone stops ringing.

INT. DOWNSTAIRS ROOM - DAY

LARRY has picked up the 'phone.

LARRY
Who's there?

KIRSTY
(barely audible)
Daddy?

CUT TO:

INT. KIRSTY'S ROOM - DAY

KIRSTY, the daughter of Larry's first marriage, and his only
child, on the 'phone. She is barely twenty, beautiful in an
unpretentious way: a dream of a girl-next-door. We can't see
much of the room she's in at the moment, the shot is too
tight.

LARRY (V.O.)
Kirsty?

KIRSTY
I got through.

LARRY (V.O.)
Where are you?

KIRSTY
I found a room.

INT. DOWNSTAIRS ROOM - DAY

LARRY
(on 'phone)
What did you say?

INT. KIRSTY'S ROOM - DAY

KIRSTY
I said: I found a room.

We begin to draw back from KIRSTY now, as she continues to
speak to her father. She's sitting on a battered chair by
the door. The room she's in is cramped and dirty.

From outside, the sound of trains going by.

LARRY (V.O.)
I thought you were going to stay
with us for awhile?

KIRSTY
(pained)
No Dad.

LARRY (V.O.)
You'd like the house.

KIRSTY
YOU'D like my room.

LARRY (V.O.)
Do you want me to come over?

KIRSTY

(hastily)
No, no. Not just yet. It needs...
re... some work.

That it does. The place, now we've got a good view of it, is
a total dump.

LARRY (V.O.)
Well I want you to see the house.

KIRSTY
I'm not going to change my mind,
Dad.

As she speaks she reaches forward to pull a picture, tacked
to the wall, of a orangutan, with breasts collaged onto it,
down. She succeeds. Beneath there's a large hole in the wall,
which the picture was there to conceal. Plaster falls from
it.

KIRSTY
(mouths the word)
Great.

LARRY (V.O.)
Well come over, will you? See the
place?

KIRSTY
Maybe later in the week. First I've
got to find myself a job.

LARRY (V.O.)
What for, honey? You know we can
look after you. You've made the
gesture --

KIRSTY
It's not a gesture. I want to do
this on my own. Come on, trust me a
little will you?

LARRY
I do. I'd just feel happier if you
were with us.

KIRSTY
I'll come over and see you in the
next few days. You can show me the
mansion. O.K.?

LARRY (V.O.)
You will keep in touch.

KIRSTY
Of course. Every day.

LARRY (V.O.)
O.K.

KIRSTY
Take care, Dad.

LARRY (V.O.)
Call me tomorrow.

KIRSTY
I will. See you.

She puts the receiver back, and looks towards the window.

A dog is barking outside: a lonely sound. Despite her bravura
while speaking to Larry, it's apparent from her expression
that it's taken some determination on her part to resist his
offer and she is a little anxious.

INT. HALLWAY OF LODOVICO STREET - DAY

JULIA is three steps from the bottom of the stairs

LARRY
Well?

JULIA
(resigned)
Why not?

LARRY
(smiles; he's pleased)
We'll move in Sunday.

INT. DOWNSTAIRS ROOM - DAY

A church bell rings. Off-screen, we hear voices: two men are
attempting to move a bed into the house with LARRY
masterminding the manoeuvres. We HEAR their efforts, but we
don't yet see them. Our interest is in JULIA, who is unpacking
a tea-chest in a room which is still full of draped furniture.

1ST MAN (O.S.)
We're not going to get it in.

2ND MAN (O.S.)
Tip it! Tip it!

LARRY (O.S.)
Wait! Wait! Watch the fucking paint
work.

1ST MAN (O.S.)
Look, do you want the bed in or not?

LARRY (O.S.)
Just take it slowly.

1ST MAN (O.S.)
Oh, sod you.

2ND MAN (O.S.)
Eh, Chas, slow it down like the man
says.

LARRY (O.S.)
It'll go in.

1ST MAN
Famous last fucking words.

JULIA's face through this has been almost devoid of
expression. She's holding so many feelings inside; deep
inside. Now she moves from one box to another, and opens it
to find it full of bathroom bric-a-brac.

She picks it up and goes through into the hallway.

The bell continues to ring.

INT. HALLWAY - DAY

The three sweating men have the bed wedged in the door.

LARRY
(not seeing Julia)
Alright, let's give it another try.

2ND MAN
(sees Julia)
Do you really need this bed, lady?

LARRY turns. Sees JULIA.

LARRY
How are you doing through there?

JULIA
It looks like a bomb's dropped.

2ND MAN
Got any beer?

JULIA
There's some in the 'fridge.

Nobody moves to get it. Certainly JULIA has no intention of
being waitress. She goes to the bottom of the stairs.

LARRY
I'll get it.

LARRY disappears through into the kitchen. JULIA starts up
the stairs, watched appreciatively by the two men in the
doorway. One leans over and whispers to the other, who laughs.
JULIA glances back at them. The whisperer licks his lips;
the meaning of the gesture perfectly apparent. JULIA heads
upstairs.

EXT. NUMBER 55 - DAY

KIRSTY arrives at the head of the drive. The two men are
drinking beers. The bed has not been moved.

She wanders down the drive towards the house.

EXT. DOORSTEP - DAY

2ND MAN
(seeing Kirsty)
It's my lucky day.

KIRSTY
Hi.

2ND MAN
Want to buy a bed?

KIRSTY
Not much.

She moves past them, attempting to insinuate herself between
the bed and the door-jamb. They watch, enjoying her efforts.

INT. HALLWAY - DAY

KIRSTY
Dad?

LARRY emerges from one of the rooms, looking harassed.

His face lightens as he sees his daughter.

LARRY
Honey!

They hug each other.

KIRSTY
Big house.

LARRY
You like?

KIRSTY
Me like.

Another hug.

LARRY
I'll show you around when we've got
this damn bed moved.

KIRSTY
Is Julia here?

LARRY
Upstairs.
(his voice lowers)
Treat her gently, huh? She hates
moving.

KIRSTY
(dryly)
Surprise.

LARRY
(a gently chiding
voice)
Kirsty.

KIRSTY
O.K. I'll be nice. You get on with
the muscle work. I'll make myself
some coffee.

LARRY
Kitchen's through on your left.

KIRSTY kisses LARRY, and goes through to the kitchen.

LARRY turns back to the door. The men have been watching
KIRSTY. LARRY clearly dislikes the scrutiny.

1ST MAN, out-stared by LARRY, looks away. The 2ND MAN is
unperturbed.

2ND MAN
That your daughter?

LARRY
Uh-huh.

2ND MAN
(grins oafishly)
Got her mother's looks.

LARRY
Her mother's dead.

2ND MAN's grin fades.

2ND MAN
Oh.

LARRY
Julia's my second wife.

2ND MAN
(weakly)
Lucky man.

LARRY
Damn right. Now are we going to move
the bed or not?

INT. KITCHEN - DAY

The kitchen is chaotic. Cutlery, crockery, utensils, pans
and foodstuffs have been heaped on every available surface.
KIRSTY has found the kettle, but is having difficulty turning
on the tap. She struggles with it. No joy. Just a rattling
sound in the pipes as the system lurches into action.

INT. LOWER LANDING - DAY

The pipes rattle and chug behind the plaster. The CAMERA
moves along the corridor, hugging the wall. At the end of
the corridor stands JULIA, in a patch of sunlight. She has
the photograph of FRANK in her hands.

She looks intently at it.

A CLOSE-UP of the photograph. Then FRANK's voice.

FRANK
Can I come in?

JULIA looks up from the photograph.

INT. JULIA'S FLASHBACK - DAY

A front door opens. On the step of another house stands FRANK,
with two suitcases. It's raining outside; HARD. The rain has
plastered his hair to his scalp, which only emphasizes his
raw good looks.

He's unshaven; his eyes are dark, and intense.

Again, the line she remembers:

FRANK
Can I come in?

The splash of rain on the step becomes a spurt of water, as
we

CUT BACK TO:

the present day.

INT. KITCHEN - DAY

The tap has come on suddenly, spraying KIRSTY with water.
She jumps back, soaked.

KIRSTY
Shit! Shit!

She reaches to turn the pressure down.

INT. HALLWAY - DAY

The men are struggling with the bed again.

LARRY
(calls through)
Are you O.K.?

KIRSTY
(from kitchen)
Sure.

INT. LOWER LANDING - DAY

Again, JULIA returns her gaze to the photograph.

INT. JULIA'S FLASHBACK - DAY

The same scene: FRANK in the doorstep. Now we

CUT TO:

the person who opened the door. It's JULIA; a younger JULIA,
her hair arranged differently, her clothes brighter. It is
two weeks before her marriage to LARRY. She looks at the man
on the doorstep without a trace of recognition on her face.

FRANK
You're Julia, right?

JULIA
That's right. Who are you?

FRANK
(a dazzling smile)
I'm brother Frank.

JULIA
(smiles)
Oh.

FRANK
I came for the wedding.

He looks at her, eyes glittering. His hold on her is almost
mesmeric.

FRANK
There is going to BE a wedding?

JULIA
Oh. Oh yes.

FRANK
Well can I come in or not?

JULIA
I'm sorry. Of course. You're very
welcome.

He steps inside. Now he is close to her, rain running down
his face. We can hear his breath; sense the almost
intimidating intimacy of his presence.

FRANK
That's nice to know.
(pause)
Have you got a towel?

INT. LOWER LANDING - DAY

JULIA stares down at the photograph. Off scrren, KIRSTY's
voice:

KIRSTY (O.S.)
Have you got a towel?

JULIA looks up. At the top of the stairs, KIRSTY soaked from
the tap. JULIA looks up, and hurriedly pockets the photograph.

JULIA
Kirsty.

KIRSTY
Hi. I got soaked.

JULIA
There's a towel in the bathroom.

KIRSTY
Which is where?

JULIA
Just to your left.

KIRSTY ducks into the bathroom. We

CUT BACK TO:

JULIA. It's clear the memory of her first meeting with FRANK
has affected her deeply. The tears that threatened earlier
are close.

INT. BATHROOM - DAY

KIRSTY has unbuttoned her blouse and is drying herself.

KIRSTY
Did Dad tell you I got a room, by
the way? Waterloo. Center of the
known universe.

Silence from outside.

KIRSTY
Julia?
(she puts her head
out of the bathroom)

INT. LOWER LANDING - DAY

JULIA has gone.

INT. UPPER LANDING - DAY

The door of the Torture Room is pushed open. JULIA steps
inside.

INT. LOWER LANDING - DAY

KIRSTY hears the creak of footsteps on the boards above.
JULIA's behaviour puzzles her, but she's not about to waste
time thinking too hard about it. She starts downstairs again.

INT. TORTURE ROOM - DAY

We have an odd, hovering point of view of JULIA, as she steps
inside the room. Something about the atmosphere distresses
her.

There is a scratching sound. She looks down. A wood-louse,
recalling Frank's foresaken bed, crawls along the edge of
the skirting board. She crosses to the window, and tears
away a little spy-hole in the aged newspaper.

From downstairs, the voices of the bed-movers.

1ST MAN
Have you got it?

2ND MAN
I've got it. I told you --

LARRY
Wait! Wait!

The light through the window falls on her eye.

The screen becomes a white-out, from which emerges:

INT. JULIA'S FLASHBACK - DAY

A bedroom, with afternoon sunlight pouring between the slats
of bamboo blinds. Outside we can hear children playing summer
games. Inside, a fly buzzes.

JULIA, the younger self, is holding her wedding dress in
front of her, displaying it.

JULIA
Well?

FRANK (O.S.)
I don't want to see the dress.

JULIA
But you said --

FRANK
I don't want to see the dress.

JULIA lets the dress drop a few inches in front of her. She
stares at FRANK.

FRANK
You know what I want.

Still she doesn't let the 'defence' that the dress offers --
a reminder of her imminent marriage -- fall. She stares
though, and there's an invitation in her eyes.

FRANK
I want you.

Now we

CUT TO:

FRANK. He is not so bedraggled as in the first scene, but
the heat of the day has brought a sheen of sweat to his face.
Standing half in shadow he looks almost dangerous.

Now JULIA lets the dress drop, putting it on the bed behind
her.

FRANK
That's better.

FRANK steps towards her.

JULIA
What about Larry --

FRANK
Forget him.

FRANK takes hold of her. She doesn't resist him, though there
is barely disguised fear on her face.

He puts his hand inside her blouse.

INT. TORTURE ROOM - DAY

In extreme CLOSE UP, JULIA blinks into the light through the
window, as LARRY's voice from downstairs calls her from her
reverie.

LARRY
Slowly, will you? Slowly!

Again, a white-CUT, from which emerges:

INT. JULIA'S FLASHBACK - DAY

The two are naked on the bed, both sweating now.

Beneath them, the wedding dress, crushed under their weight.

Their love-making is not straight-forward: there is an element
of erotic perversity in the way FRANK licks at her face,
almost like an animal, his hold on her too tight to be loving.
The sequence escalates into a series of strange details from
their locked bodies. Nails digging into palms; sweat rivulets
running down their torsos. And once in a while we see their
faces. JULIA watching FRANK, mesmerized and amused by his
intensity; FRANK almost pained by his desire to push the
experience TO THE LIMIT. Their passion is rendered stranger
still by the way the light through the window falls on their
bodies, making striped creatures of them.

At last, as their urgency increases, we move up until we're
looking directly down on the bed. From here it is JULIA's
face we can see, and the ecstasy of the moment has seized
her. Her arms are flung up over her head; her eyes are closed
as she murmurs:

JULIA
Oh my God. Oh my God. Oh my God.

The scene whites out.

INT. TORTURE ROOM - DAY

JULIA is still staring into the light. She sobs, very quietly.

JULIA
(a whisper)
Oh Frank...

INT. HALLWAY - DAY

Downstairs, LARRY and the men have moved the bed across the
hall to the bottom of the stairs.

All three are weary now, and getting careless.

As they start up the stairs we see trouble ahead for LARRY,
whose hand is moving closer and closer to a nail proturbing
from the woodwork of the bannister.

LARRY
(to Movers)
Will you take the weight while I
take a step up?

He backs towards the stairs -- and the nail.

LARRY
Damn it, will you take the --

The side of his hand is impaled by the nail. He cries out.
The weight of the bed, which he cannot relinquish, drives
the nail deeper, and gouges a long cut from the ball of his
thumb to his wrist. Blood pours out.

LARRY
Christ!

1ST MAN
What's the problem?

LARRY
My fucking hand!

He drops his edge of the bed, and disengages his hand from
the nail upon which he's injured himself. He lifts his hand,
from which blood is pouring.

LARRY
You fucking ass-holes.

1ST MAN
Who are you calling a fucking ass-
hole? It's this bastard bed that's
your fucking problem!

LARRY isn't listening. He's looking at the wound in his hand.
He hates the sight of his own blood. Any moment, he may faint.

LARRY
...Oh Christ...

But not in front of these bastards. He turns and starts up
the stairs, groggier by the moment.

LARRY
...oh... Christ...

INT. TORTURE ROOM - DAY

JULIA is standing in the middle of the room. A single dart
of light, through the hole she tore in the newspaper, strikes
her face. Softly on the soundtrack, the scrabbling noise of
the woodlice.

INT. HALLWAY - DAY

The bed has been put down. 1ST MAN and 2ND MAN are putting
on their coats. KIRSTY comes through from the kitchen.

KIRSTY
What's happening?

2ND MAN
We're leaving.

KIRSTY
Where's my father?

1ST MAN
He's fucked off.

2ND MAN
(mock chiding)
He... LANGUAGE.

1ST MAN
Sorry. He's gone upstairs. So we're
fucking off too.

2ND MAN takes a sheet of paper from his jacket.

2ND MAN
Will you sign for the bed?

KIRSTY
Sure.

INT. STAIRS - DAY

LARRY, his hand running with blood, climbs the last flight
of stairs.

LARRY
(weakly)
...Julia...

INT. TORTURE ROOM - DAY

JULIA hears him, and turns from her silent communing with
the room. She crosses towards the door. Too late.

It opens. LARRY steps inside, blood pouring from his right
hand, which he attempts to staunch with his left hand.

JULIA
What have you done?

LARRY
I cut myself.

Blood has started to drip, unnoticed by either of them, onto
the bare boards. Heavy splashes.

LARRY looks sick; his face clammy with sweat. She stares at
him without a trace of feeling for him on her face.

JULIA
Is it deep?

LARRY
I don't know, I haven't looked. You
know me and blood.

JULIA
You're NOT going to faint.

LARRY
(he leans against the
wall)
Shit.

JULIA
Let me see.

She goes to him. He looks away as she unglues one hand from
the other, and looks at the wound. Blood comes faster, hitting
the floor between them.

JULIA
It's probably going to need stitches.

LARRY
I'm going to throw up.

JULIA
No, you're not.

The blood keeps hitting the floor. Slap; slap; slap.

JULIA
We'll get you out into the fresh
air.

He is again clamping his hand over the wound, as JULIA helps
him to the door. They leave the Torture Room.

We hear their voices receding down the passageway, as we
again assume that hovering view point. The floor, is heavily
spattered with blood.

JULIA
Take it slowly.

LARRY
So damn stupid.

JULIA
You're done worse.

LARRY
I'll be scarred for life.

JULIA
No you won't.

INT. HALLWAY - DAY

KIRSTY is half way up the stairs, as JULIA and LARRY head
down.

KIRSTY
What happened?

JULIA
Just an accident. He's all right.
Will you drive? He needs stitches.

KIRSTY
Sure.

JULIA
The keys are in the kitchen.

KIRSTY heads back to the kitchen. JULIA helps LARRY towards
the front door.

The CAMERA swings away from them, upstairs, and begins to
track...

LAP-DISSOLVE TO:

INT. UPPER LANDING - DAY

...we continue to track, towards the Torture Room.

Downstairs, the front door slams.

LAP-DISSOLVE TO:

INT. TORTURE ROOM - DAY

From outside, the sound of a car door slamming. An engine
starts. The car drives away.

We move towards the blood on the floor. As we watch, it begins
to disappear, as if being absorbed by the room. We pan up to
the wall. The plaster is not quite smooth; indeed, it now
begins to grow restless, and cracks. Something begins to
move in the wall...

WEDDING SCENE (FLASHBACK)

The screen is white, until a veil is lifted from it and we
are staring into LARRY's smiling face. Off-screen, the
Priest's voice:

PRIEST
You may kiss the bride.

As LARRY leans forward to do so, we cut round to JULIA, the
recipient of this kiss. Though she smiles as she receives
the kiss, her glance strays towards the front pews. Her gaze
first settles on her maid-of-honour KIRSTY, then behind KIRSTY
to FRANK who is standing tapping his fingers on the pew. Now
he looks up at her, his glance lethal. Then, he breaks into
a smile that displays his utter contempt for the ritual in
hand, and with it JULIA's glance returns to LARRY, whom she
embraces.

The scene whites out.

INT. LOUNGE - DAY (ADDITIONAL FLASHBACK)

We cut to a room in LARRY's house, littered with wedding
presents and cards, celebrating the imminent wedding. JULIA
is standing beside the window, watching FRANK, who walks
around the room like a caged animal.

LARRY enters, with a bottle and glasses, his manner jovial.
He fails to notice the glances between JULIA and FRANK.

He sets the bottle in the middle of the table.

LARRY
You should have called.

FRANK
I didn't know if I'd get here.

LARRY
Well, we're pleased you did.
(to JULIA)
Aren't we, sweetheart?

JULIA smiles.

LARRY
Look, I'm going to have to leave you
guys to keep each other company.

JULIA
Larry....

LARRY
Anyway, it's bad luck to see too
much of the bride before the wedding.

He exits. As he does so, FRANK moves to the table, his eyes
on JULIA all the time. As he pours a glass of whisky, we
hear an outer door slam.

FRANK
What shall we drink to?

He lifts the glass.

FRANK
(ironic)
Wedded bliss?

JULIA
(defensively)
I'm very happy.

FRANK
Sure you are.

He crosses to her.

INT. DINING ROOM - NIGHT

An explosion of laughter. We

CUT TO:

the remains of a rack of lamb, its gravy now congealed, scraps
of meat adhering to the bone here and there. This is the
centre-piece of the table reduced to a battlefield by the
guests who are laughing off-screen.

We pass along the table, taking in dirty plates and cutlery,
napkins, glasses and emptied wine bottles. Finally we reach
JULIA, who is still sitting at the table, while the others
have retired to more comfortable seats. She looks utterly
miserable, and a little drunk.

The room has been spruced up for the party. Candles are
burning on tables and mantelpiece, there are pictures on the
walls. But this is essentially cosmetic. The place has not
been refurnished or redecorated.

We move to the party guests. Two we recognise: KIRSTY, and
LARRY, who is presently entertaining the gathering with an
account of his accident. The others are new faces. An American
couple: BILL UNDERWOOD and his wife EVELYN, who are of an
age with LARRY, and a younger bespectacled man -- a work
colleague of LARRY's -- STEVE O'DONNELL.

One other man is seated at the table - he may be a colleague
of LARRY's. (Much of the following dialogue is to be
improvised). All are drunk.

A brandy bottle sits on the table between them, and half a
dozen other liqueur bottles besides. STEVE, it soom becomes
apparent, has his eyes on KIRSTY.

LARRY is half-way through his hospital story, gesticulating
wildly as he goes through the tale, much to the pleasure of
the rest. His hand and lower arm are heavily bandaged.

LARRY
-- always hated the sight of my own
blood. I go out like a light. Anybody
else's? No problem. But mine... you
know... goes straight to my head.
Anyhow, damn doctor's poking around
and I'm saying: I'm going to pass
out, and he's saying, no you're not,
no you're not. Next thing I know --

We

CUT BACK TO:

JULIA, who watches her husband, unamused.

LARRY
-- I wake up on the floor.

Gales of laughter at this.

LARRY
And it was HIM who was looking sick.

While the following dialogue runs we see that STEVE has
claimed one of the paper serviettes from the table and is
tearing it -- a litter of pieces surrounding his chair --
into a pattern, much to KIRSTY's amusement. He looks up from
his concentration to see her looking at him. They smile at
each other.

BILL
Probably thought you'd sue.

LARRY
I should do it!

EVELYN
Doctors --

LARRY
I know. And he's saying: I'm sorry.
I'm sorry.

BILL
HE'S sorry.

LARRY
Right...
(he has picked up the
brandy bottle)
Anyone for more ?

EVELYN
(protests)
No... no... I...

LARRY
Come on, you're only young once --

LARRY fills up her glass.

LARRY
(to Kirsty)
What are you drinking, love?

KIRSTY
(giggles)
I've forgotten.

LARRY
Steve?

STEVE
We're on the Cointreau.

KIRSTY
That's right. Cointreau.

STEVE picks up the bottle.

STEVE
I'll do it.

He fills up KIRSTY's glass.

KIRSTY
I won't be able to stand.

STEVE
So lie down.

She casts him a sly glance. He smiles. She smiles.

JULIA now stands up.

JULIA
Would you excuse me? I think I'm
going to go to bed.

LARRY
Are you O.K.?

JULIA nods.

BILL
(looks at his watch)
Christ. I think it's time we were
away --

He stands.

LARRY
Bill? Absolutely not. Sit down. We've
got celebrating to do.

JULIA looks frosty, but LARRY does not catch the look.

KIRSTY does however. BILL sits down.

STEVE
(to Julia)
It was a wonderful meal.

EVELYN
(gushing)
Oh it was. It was wonderful.

There's a chorus of approval. JULIA puts a smile on.

JULIA
I'm glad you enjoyed it.

EVELYN
See you again soon.

BILL
You must come round.

EVELYN
Yes. You must. We're so happy you're
back.

JULIA
(at the door)
That's nice. Well... goodnight.

She exits, to a chorus of goodnights. KIRSTY in particular
watches her as she makes her exit. JULIA's behaviour confounds
her. Meanwhile, the conversation has returned to LARRY's
'wound'.

EVELYN
Does it still hurt?

LARRY
Only when I laugh.

This wins another round of laughter.

INT. LOWER LANDING - NIGHT

JULIA walks along the landing, while the laughter -- muted
by distance -- wafts up from below.

From the floor above, she hears something more.

She stops, puzzled, then starts up the second flight of stairs
towards the Torture Room.

INT. UPPER LANDING - NIGHT

She approaches the Torture Room, and steps inside.

INT. TORTURE ROOM - NIGHT

The sound of laughter is considerably dimmed in here; it's
barely audible. But there is another sound, a shifting sound
in the corner of the room.

She reaches for the light switch, and turns it on. The bulb's
been broken however. She stares around the room, trying to
make sense of the shadows.

Nervously, she approaches the wall, on which four streaks of
light from the window fall. Now she looks towards the window
and realizes that the newspaper has been torn, as if by four
fingers. Her breath catches. Suddenly, she's afraid.

She stands absolutely still, eyes wide in the gloom.

JULIA
Who's there?

On the far side of the room, a movement in the shadows.

JULIA almost retreats, but something keeps her staring into
the murk, as SOMETHING -- the remnants of a human form made
of twisted, blistered strands of flesh, raises its head.
It's squatting against the wall, unable to lift itself into
a standing position. Its eyes, however, have life in them:
and hunger. This, though he's unrecognizable, is FRANK.

FRANK
(a pained whisper)
Julia.

JULIA
Oh my God.

FRANK
Don't look at me.

JULIA
Who are you?

FRANK
I said: don't look.

She looks away.

FRANK
Help me.

JULIA
Tell me who you are.

FRANK
Frank.

JULIA's face registers horror and disbelief.

JULIA
No. God no.

FRANK
Believe me. It's me. It's really me.

JULIA
What happened to you?

FRANK
His blood... on the floor... It
brought me back.

JULIA
Back from where?

FRANK
Just help, will you? Please God,
help me --

From downstairs, dimly, laughter.

INT. DINING ROOM - NIGHT

LARRY has just told another story. General drunken laughter.
KIRSTY stands up.

STEVE
You're not going?

KIRSTY
Just upstairs.

She staggers a little bit.

STEVE
Need any help?

KIRSTY
I AM house-trained.

Further hysteria.

STEVE
(covered in embarrass-
ment)
No... I meant...

LARRY
It's round on the left --

KIRSTY
I know.

She steps out into the hallway.

INT. HALLWAY - NIGHT

She starts up the stairs. She smiles to herself, thinking of
STEVE.

INT. TORTURE ROOM - NIGHT

FRANK, in the corner of the room, watches JULIA, who is still
at the door.

FRANK
...somebody...

JULIA
Ssh!

The sound of KIRSTY downstairs, closing the bathroom door.

FRANK
You can't let me stay like this.
Please. You can't.

JULIA
What do you want me to do.

FRANK
The blood brought me this far. I
need more of the same. Or I'll slip
back...

CUT BACK TO:

JULIA's lace as she stares at FRANK once more. She is appalled
at the choice before her.

FRANK
(a plea)
You have to heal me.

INT. BATHROOM - NIGHT

KIRSTY smiles at herself in the bathroom mirror, turns off
the tap, opens the door and steps out onto the landing.

INT. LOWER LANDING - NIGHT

She takes a step along the landing, then realizes that there's
somebody ahead of her, in the darkness.

She stops. From the floor above, a soft sigh.

KIRSTY
Hello?

JULIA moves out of shadow into a patch of patterned light
splashing up the stair well.The effect recalls her memory of
her lovemaking with FRANK. The light makes her look strange;
ominous.

KIRSTY
Oh, it's you.

JULIA doesn't smile Are you all right?

Do we read murder in JULIA's eyes? KIRSTY is uneasy.

Suddenly, a voice from the floor below.

STEVE
Kirsty?

KIRSTY is relieved at the interruption.

KIRSTY
(calls down)
I'm here.

STEVE
I thought we'd lost you.

KIRSTY
(calls down)
I'm coming!
(to Julia)
Sleep well.

JULIA is left on the landing, as KIRSTY heads downstairs.

EXT. TUBE STATION - NIGHT

The station is deserted, but for KIRSTY and STEVE, who are
sitting, waiting for the last train.

KIRSTY
You know I do know the way home.

STEVE
It's late.

KIRSTY
Not that late.

STEVE
Please. I want to see you home. All
right?

KIRSTY
(lightly)
All right.
(smiles)
No. That's nice.

STEVE
If there's a train.

KIRSTY
What do we do if there isn't?

STEVE
We walk.

EXT. A PEDESTRIAN TUNNEL, NEAR WATERLOO - NIGHT

KIRSTY and STEVE are walking.

STEVE
Why don't you stay at Larry's house?
There's plenty of room.

KIRSTY
Yeah, there's room. And there's Julia.

STEVE
I see.

KIRSTY
She's so damn... English.

STEVE
Meaning what?

KIRSTY
Oh, I don't know. Up-tight. Frigid.

STEVE stops walking.

STEVE
I beg your pardon?

KIRSTY
(lightly)
There ya go.
(imitates his tone)
I beg your pardon?

STEVE
We're not all frigid.

KIRSTY has turned to look at him. Both of them are aware
where the banter is leading; smiles play on their faces as
they speak.

KIRSTY
Oh no?

STEVE
Oh no.

KIRSTY
It's not what I heard.

STEVE
(moves closer to her)
Well you've just been talking to the
wrong people.

He kisses her, with considerable feeling.

INT. BEDROOM - NIGHT

LARRY snores loudly. JULIA lies beside him, wide awake,
staring at the ceiling.

LARRY turns over, muttering to himself.

INT. TORTURE ROOM - NIGHT

The door opens. JULIA is standing there, in her night-gown.

FRANK raises his wretched head.

FRANK
Well?

JULIA stares at the thing moving in the shadow.

JULIA
Yes.

EXT. NUMBER 55 - DAY

The door opens. JULIA steps out of the house, and starts
towards the street. As she does so, she glances round.

EXT. WINDOW OF TORTURE ROOM - DAY

We approach the window, knowing that FRANK watches behind
it.

EXT. NUMBER 55 - DAY

JULIA heads off down the street.

INT. PET SHOP - DAY

A monkey chatters, its wizened face grotesque. Then, the din
of a shop full of birds and animals floods the soundtrack:
parrots, canaries, dogs etc. We pan across the shop to KIRSTY,
who has been left alone at the counter. She is working in
the shop, but she doesn't have much grasp of the job so far.
There are several CUSTOMERS in the shop. One browsing amongst
the cages; a MOTHER and TWO CHILDREN peering at animals and
another at the counter. He has a lizard in a cardboard box.

KIRSTY
I'm afraid I don't know. I'm new
here.

CUSTOMER
Well who does? Isn't there anyone in
charge?

KIRSTY
He's out at lunch. Maybe if you come
back tomorrow --

It's clear that KIRSTY is as concerned about the others in
the shop as she is about the customer with the lizard.

Her eyes keep drifting away towards the children, who are
running their fingers up and down the cages.

CUSTOMER
You know what a hassle it was bringing
it here.

Somebody else enters the shop, only glimpsed by KIRSTY.

The newcomer is a DERELICT, with matted hair and beard, face
filthy. She catches sight of him moving behind the cages.
Meanwhile, the CUSTOMER is still complaining.

CUSTOMER
If it's dead by tomorrow --

KIRSTY
It looks quite healthy to me --

The CHILD is at KIRSTY's side. He tugs on her sweater.

KIRSTY
(to child)
What?

CUSTOMER
Well, I'd hoped for better service
than this, I must say --

The CHILD takes KIRSTY away from the counter. The CUSTOMER,
outraged to be ignored, leaves the shop.

The CHILD leads the way round the back of the cages.

There, KIRSTY finds the DERELICT, with his hand in a vivarium
of grasshoppers. He is chewing.

KIRSTY
What are you doing ?

The man drops the lid. He continues to chew.

She looks at the man's hand. He is holding several insects.
We can hear them, and see their legs between his fingers.

KIRSTY
Give those back.

The MOTHER meanwhile claims the CHILD, who starts to cry.
The DERELICT lifts the handful of insects and stuffs them,
open-palmed, into his mouth. Then, limbs twitching between
his clenched teeth, he retreats towards the door.

KIRSTY
Oh my God.

The DERELICT exits. The MOTHER is hurrying her CHILDREN away.

MOTHER
How disgusting.

KIRSTY
Oh God.

She turns and finds herself face to face with STEVE.

A monkey screams, accompanying her turn, makes her jump.

KIRSTY
Oh!

STEVE
Are you alright ?

KIRSTY
I've been better.

STEVE
Your father told me you were working
here.

KIRSTY
If I make it through the day.

STEVE
I'm sorry, I shouldn't have surprised
you.

KIRSTY
No, it's good to see you.

The monkey continues to chatter.

STEVE
Are you busy after work ?

KIRSTY
Just trying to get my apartment in
order.

STEVE
Can I lend you a hand?

KIRSTY
As long as you don't mind the smell
of fur --

STEVE
It's a fetish of mine.

She grins. He kisses her. The monkey bares it's teeth.

INT. BAR - DAY

By contrast, a quiet bar. Discreet music; a well-dressed
clientele. Several couples occupy booths. Other solitary
drinkers are at the bar.

Amongst them: JULIA.

Now we see her more closely, we realize she's gone to some
considerable effort to make herself ravishing. There's nothing
crude about the change; it's a subtle transformation which
shows off her considerable beauty. She drinks soda water.

She has an admirer. Sitting alone at one of the tables is a
middle-aged man by the name of PRUDHOE, a nervous, slightly
paunchy individual. She glances over at him. His eyes don't
leave her for a moment. He's trying his best to get the
courage to approach her.

She looks away, and concentrates on her drink. Now she takes
out a cigarette, fumbling for it. Her hands are trembling
slightly. She lights the cigarette, draws on it, and as she
does so she seems to make up her mind that she's not the
equal of it. She stubs the cigarette out, puts cash on the
bar for her drinks, and gets up to leave.

Suddenly, PRUDHOE's at her side.

PRUDHOE
Not much fun, is it?

JULIA
What?

PRUDHOE
Drinking alone.

JULIA
Not much.

PRUDHOE
I wonder, maybe...

He's so nervous he can barely speak.

PRUDHOE
...as we're both on our own... we
could have one drink together?

JULIA looks at him. He seems to almost be offering himself
to her. There's a long pause, while she tries to make up her
mind. Then:

JULIA
Why not?

She smiles. The smile works wonders. PRUDHOE's nerves diminish
somewhat. JULIA's simply increase, now that she's committed
herself. Again, she opens the pack of cigarettes, as PRUDHOE
calls the BARMAN over.

PRUDHOE
(to Julia)
What are you drinking?

JULIA
Just soda.

PRUDHOE
Plain soda?

JULIA
Please.

PRUDHOE
I try not to drink at lunch-time.
Makes me sleepy in the afternoon.
You like to keep a clear head, eh?
(to Barman)
One soda, one whisky.
(to Julia)
I do it anyway. No will-power. Got a
busy afternoon?

JULIA
(looking straight at
him)
That depends.

PRUDHOE
Oh?

He stares at her, not certain he interprets her correctly.
She stares back. Then: the tiniest of smiles, which he --
scarcely believing his luck -- returns.

INT. TORTURE ROOM - DAY

The CAMERA moves across the room. We can hear FRANK's ragged
breathing, and as we move in we see, on the floor beside
him, the box -- the Lament Configuration -- its sides
gleaming. FRANK, still squatting on the floor, taps a tattoo
on the bare boards with his skeletal fingers.

Then, voices outside: JULIA laughs.

He raises his head.

EXT. DOORSTEP - DAY

JULIA opens the front door. She is still very nervous,
fumbling with the keys. PRUDHOE stands a pace behind her.

INT. HALLWAY - DAY

They step inside. JULIA closes the door

PRUDHOE
You know it's not often I... you
know...

JULIA
There's a first time for everything.

PRUDHOE
I suppose that's right.

JULIA
You want something to drink?

PRUDHOE
I'm already way over my usual limit.
You know, it's funny. I feel like
I've known you for years.

He approaches her: his gestures made slightly clumsy by the
alcohol he's drunk. He kisses her. She presses him off her.

Suddenly she's no longer certain she can go through with
this. But his mood changes at her rejection. The drunkeness
becomes meanness.

PRUDHOE
What are you playing at?
(he takes hold of her
breast)
This is what you brought me here for
isn't it?

She stares at him.

PRUDHOE
Well, isn't it?

JULIA
I... suppose so, yes.

PRUDHOE
So, what's your problem? Let's get
to it.
(he kisses her,
sloppily)
You're not going to change your
fucking mind ?

JULIA
No. No. Let's go upstairs.

PRUDHOE
That's more like it.

INT. TORTURE ROOM - DAY

FRANK's view, from the corner of the room. We hear the sound
of JULIA and PRUDHOE's approach up the stairs.

PRUDHOE
Is this your place ?

JULIA
Do you care ?

PRUDHOE
No, not much.

JULIA
Let's keep it that way, shall we?

PRUDHOE
No personal details?

JULIA
That's right.

JULIA opens the door. PRUDHOE is smiling.

The smile drops as he stares at the bare, dark room.

PRUDHOE
This isn't the bedroom.

JULIA
No.

For an instant, he's thrown off tiller. He's suddenly anxious.

PRUDHOE
What's going on?

JULIA
We don't need a bed, do we?

He steps inside the room.

PRUDHOE
I suppose not.

JULIA
I prefer the floor.

He turns to her, aroused by this talk.

PRUDHOE
First time for everything.

JULIA
That's right.

JULIA moves towards him.

JULIA
Why don't you take off your jacket?
You're warm.

PRUDHOE
Yeah, why don't I?

She slips the knot of his tie. We can hear her pulse on the
soundtrack. She glances over PRUDHOE's shoulder. He follows
her gaze, but she diverts him with a peck on the cheek.

PRUDHOE
(takes over his
undressing)
Why don't you do the same?

JULIA
Maybe I will.

PRUDHOE, now starts to shed his jacket and trousers, trying
not to take his eyes off JULIA for an instant.

We watch from FRANK'S P.O.V. as he drops his underwear.

He still wears his shirt, which he starts to unbutton.

We move back into a tighter shot.

PRUDHOE
(voice slightly slurred)
You know, you're very beautiful.

JULIA
Am I?

PRUDHOE
You know you are. Loveliest woman I
ever set eyes on.

JULIA smiles.

PRUDHOE stops unbuttoning his shirt.

PRUDHOE
Oh Christ.

JULIA
What's wrong?

PRUDHOE
Too much drink. Better empty my
bladder.

She steps out of the way so that he can cross to the door.

PRUDHOE
I'll be a moment.

As he moves to the door, she throws a piece of cloth off a
hammer, which lies beside the wall. PRUDHOE takes hold of
the door handle. Turns it: it's stuck.

PRUDHOE
The door's stuck.

Before he can turn she hits him on the back of the head. He
doesn't fall, but the blow sends blood down the back of his
shirt. To avoid the following blow he stumbles blindly towards
the wall but JULIA's not going to be stopped now. He holds
the back of his head --- dazed, apologetic, pitiful -- while
she moves towards him.

PRUDHOE
Don't... I... please... I'm sorry...

She eclipses him.

PRUDHOE
...I'm so sorry...

She raises the hammer.

PRUDHOE
...I don't understand...

She strikes him. He slides down the wall, his jaw broken,
blood pouring from his face. He twitches. Then the twitches
stop.

She drops the hammer, and stares down at the corpse.

JULIA
Enough?

The room sighs. In the corner, FRANK's shadowy form leans
forward.

FRANK
Don't look at me.

JULIA backs towards the door, as the broken, skeletal form
crawls out of darkness to claim its sustenance.

INT. UPPER LANDING - DAY

JULIA steps out onto the landing and leans against the wall,
waves of sheer relief breaking over her.

In the room behind her, terrible sounds of feeding.

INT. BATHROOM - DAY

JULIA steps into the bathroom, and looks at herself in the
mirror. Blood is spattered on her face; her hands are
similarly stained. She is trembling from head to foot.

Stripping off her blouse, and flinging it over the side of
the bath, she douses her face, neck and breasts with cold
water. Then she stares up at her face again, examining it.
She can scarcely believe what she's done.

INT. LOWER LANDING - DAY

She crosses the landing and climbs the stairs to the Torture
Room.

INT. TORTURE ROOM - DAY

She opens the door.

As she does so FRANK retreats into the shadows. We are granted
a fleeting glimpse of him, his body fuller than before, but
still horribly vulnerable.

JULIA looks at PRUDHOE's corpse. A trail of blood leads away
from it into the darkness. The body itself is a grotesquely
misshapen husk now, the muscle and fat withered, the eyes
sunk into the skull, the lips drawn back to expose the gums.
A ghostly sight.

JULIA
Jesus Christ.

JULIA looks across at FRANK, who is no longer sitting, but
standing in the shadows.

FRANK
(his voice stronger)
Do I disgust you?

She doesn't reply.

He stretches his arm into a passage of light. His flesh
glistens and pulses.

FRANK
See? It's making me whole again.

He turns his arm over for her appreciation.

FRANK
Every drop of blood you spill puts
more flesh on my bones. And we both
want that don't we?

She nods.

FRANK
Good. Come here.

She stares, unable to move.

FRANK
Come here, damn you. I want to touch
you...

Still she doesn't move.

FRANK
(more softly)
Come to Daddy. I only want to touch...

She takes a step towards his outstretched arm. His fingers
touch her face. She steels herself against them. Now, he
starts to trace the line of her jaw, stroking her. Now her
lips, caressingly.

Suddenly, a sound from downstairs. The front door is opened.

LARRY
(from below)
Sweetheart?

JULIA withdraws from his touch.

LARRY
(from below)
Where are you?

INT. HALLWAY - DAY

Shot from the stairs of LARRY. He looks up the flight.

He takes a step towards the stairs.

INT. TORTURE ROOM - DAY

JULIA takes a step backwards, her foot hitting PRUDHOE's
corpse.

INT. HALLWAY - DAY

LARRY is still at the bottom of the stairs.

LARRY
Are you there?

For a moment it looks as though he's going to climb the
stairs, then he thinks better of it, and goes through to the
back of the house.

INT. TORTURE ROOM - DAY

JULIA has wrapped the corpse of PRUDHOE up in its clothes
and is now lifting it. The body is lighter now, having been
drained of nourishment. Its head lolls back and its dentures
drop out, hitting the floor loudly. She freezes. No sound
from below. She backs out of the room with her burden.

FRANK's arm reaches for the fallen dentures and peers at
them.

FRANK
Who's a pretty boy then?

Soft laughter from the darkness.

INT. JUNK ROOM - DAY

JULIA pushes the door of the Junk Room, which is on the upper
landing, open. Inside, a chaos of tea-chests and bric-a-brac.
She lays the body down.

INT. KITCHEN - DAY

LARRY has come through to look for JULIA. He hears a noise
above. He looks up.

LARRY
(quietly)
Julia?

He leaves the kitchen.

INT. HALLWAY - DAY

Again, LARRY Steps into the hallway, and gazes up the stairs.

LARRY
Are you there?

He starts up.

INT. LOWER LANDING - DAY

JULIA steps into the bathroom, and then locks the door behind
her.

LARRY ascends to the top of the stairs.

LARRY
Julia?

JULIA
(from bathroom)
I'm here.

LARRY
(at the door)
Sweetheart... I've been calling you.

He tries the door. It's locked.

LARRY
Are you all right?

JULIA
Just feeling a bit sick.

LARRY
Oh, babe...

INT. BATHROOM - DAY

JULIA, still trembling, sits on the edge of the bath.

JULIA
I'll be O.K. Just leave me be a while.

LARRY
Can I get you anything?

JULIA
Maybe a brandy.

LARRY
Sure.

JULIA
I'll be down in a minute

LARRY
O.K.

She listens as his footsteps recede down the landing and
stairs. Then she crosses to the mirror and tries to erase
the signs of panic. She puts a comb through her hair, and
adjusts her blouse. That done, she unbolts the door and steps
out into the landing. She doesn't go down however, but UP,
back to the Torture Room.

INT. TORTURE ROOM - DAY

She opens the door.

JULIA
(very softly)
Frank?

A crunching sound in the shadows. FRANK's hand opens, dropping
the pieces of PRUDHOE's dentures, which he has crushed, onto
the floor, in a rain of plastic teeth.

FRANK
I'm hurting

JULIA
Hurting.

FRANK
My nerves... are beginning to work
again.

JULIA
Good.

FRANK
One more. Maybe two --

JULIA's face registers no horror at this.

FRANK
-- to heal me completely. Then we
can be away from here, before they
come looking.

JULIA
Who?

FRANK
The Cenobites. It's only a matter of
time before they find I've slipped
them. I have to get away from here.

From downstairs, LARRY.

LARRY
Julia? Are you all right?

JULIA crosses to the door and calls down.

JULIA
Just a moment. Put on some music
will you babe?

LARRY
O.K.

She returns to her conversation with FRANK.

FRANK
Poor Larry. Obedient as ever.

JULIA
Keep your voice down.

She crosses to close the door. When she turns round, he's in
front of her, silhouetted against the window, his half-formed
face terrifying in the gloom. Suddenly he reaches out and
catches hold of her arm. She gasps in pain.

FRANK
Ssh. Don't want babe to hear.

JULIA
You're hurting.

FRANK
You won't cheat me will you? You'll
stay with me. Help me. Then we can
be together, the way we were before.
We belong to each other now, for
better or worse...

He lets go of her.

FRANK
...like love. Only real.

She goes to the door, and leaves him, locking it behind her.

We move close to FRANK's face. He licks his skinned lips
with a bloody tongue. Thunder rolls.

KIRSTY'S DREAM

The thunder carries over to a dream.

We are in the Dining Room of Number 55, except that everything
is once more shrouded in sheets.

We CUT to KIRSTY, moving through the room, her face pale,
her hair glued to her forehead with sweat.

Somewhere, a bell is ringing. Flies buzz. On the dinner table,
a form is covered in a sheet. It's clear that the shape is
human. She reaches the table, and looks at the body.

Suddenly, blood begins to seep through the shroud, beginning
at the head -- eyes and mouth -- then spreading across the
body. There are sobs beneath the shroud.

She reaches for it, to snatch it off the body.

The blood has almost turned the sheet scarlet.

She pulls.

We glimpse only a moment of what'd beneath: a naked body,
scarlet and shining with blood from head to foot.

She screams.

Her scream becomes louder, as we

CUT TO:

INT. KIRSTY'S ROOM - NIGHT

STEVE sits bolt upright in bed, while KIRSTY yells.

The sheet is snatched off him. He looks across the room to
see KIRSTY at the end of the bed, with the sheet in her hand.

STEVE
What are you doing?

KIRSTY's eyes are still closed.

STEVE
Kirsty!

Her eyes open. She looks down at the sheet she's snatched
from the bed, and drops it in horror.

STEVE
Christ. What was that about?

KIRSTY, weak with fear, just shakes her head.

INT. HALLWAY, NUMBER 55 - NIGHT

A phone is ringing.

LARRY crosses the hallway, bleary-eyed, and disappears from
sight. The phone is picked up.

LARRY'S VOICE
Hello?

INT. BEDROOM - NIGHT

JULIA lies in bed, the pillow empty beside her. She's wide
awake, staring at the ceiling. Downstairs, the murmur of
LARRY's voice.

INT. TORTURE ROOM - NIGHT

FRANK stands in the corner of the room, breathing softly in
the shadows.

INT. TELEPHONE ROOM - NIGHT

LARRY is on the phone.

LARRY
I'm O.K., honey. It's all right...

INT. KIRSTY'S ROOM - NIGHT

KIRSTY is on the phone. STEVE sits up in bed, having reclaimed
the sheet.

KIRSTY
I just wanted to be sure you were
O.K.

INT. TELEPHONE ROOM - NIGHT

LARRY
Never better. You sleep well.

KIRSTY
(on phone)
Yeah.

LARRY
I love you, honey.

KIRSTY
I love you too.

LARRY puts down the phone.

INT. LOWER LANDING - DAY

LARRY returns to the bedroom.

JULIA (O.S.)
Who was it?

LARRY
Kirsty.

He goes into the bedroom.

We PAN up the second flight of stairs.

FRANK is sitting at the top, in the shadows.

FRANK
(soft as a breath)
Kirsty.

INT. HALLWAY - DAY

The front door is closed by JULIA. A man stands in the
hallway: another VICTIM. He is as nervous as PRUDHOE.

VICTIM
You're sure we're not going to be
interrupted --

JULIA
Quite sure.

VICTIM
Only I like to be careful.

INT. TORTURE ROOM - DAY

A shock CUT to the naked VICTIM, thrown back against the
wall from JULIA's hammer blow. Before he can even slide down
the wall, FRANK is upon him.

We don't linger, but CUT away to:

INT. LANDING - DAY

As JULIA closes the door, her face devoid of emotion, we see
the VICTIM's body on the floor, with FRANK's hands oh its
head, draining out its energies.

INT. DINING ROOM - DAY

JULIA sits, sipping a drink, her face still unreadable.

INT. TORTURE ROOM - DAY

FRANK is standing in the shadows. The VICTIM's body is in
the middle of the room. JULIA enters.

JULIA
Well?

FRANK
Better. Very much better. I'd like
something to wear. And some
cigarettes. Will you bring me some?

JULIA
Later.

FRANK
What?

JULIA
I want an explanation first. I want
to know what happened to you.

FRANK
Not know.

JULIA
Tell me, damn you.

FRANK watches her, his look dangerous.

FRANK
First, the cigarettes.

CUT TO:

INT. TORTURE ROOM - DAY

A lighter flame is touched to a cigarette. It's momentary
brightness illuminates the monster's face. JULIA watches
him.

He sits in a chair, dressed. He inhales, then exhales with
evident satisfaction.

FRANK
I can taste that. It's a long time
since I tasted anything.

She watches him with fascination and disgust in equal measure.

FRANK
A long time.

JULIA
You promised me an explanation.

FRANK lifts the box, which he has in his hand.

FRANK
This is what began it.

JULIA
A box?

FRANK
It's not any box. It's called the
Lament Configuration. It's a puzzle.

JULIA
(Reaching for it)
Let me see.

FRANK
Don't touch it. It's dangerous. It
opens doors.

JULIA
What kind of doors?

FRANK
To experience beyond anything ever
known. At least that's what I was
promised when I bought it. Pleasure
from Heaven or Hell. I didn't much
care which.

JULIA
Hell...

FRANK
I was bored. I'd done everything.
I'd gone to the limits. There was
nothing left to experience. At least
nothing I could buy on earth.

JULIA
And you came back here to solve the
puzzle --

FRANK
Sure. Somewhere safe.
(bitterly)
Safe. Christ! They tortured me here.
In this room.

JULIA
Who did?

FRANK
The Cenobites. The creatures the box
set free.
(a pause)
Sometimes I think they're still here.
Just behind the walls. Them and their
hooks and their beasts. Just waiting
to break out again. Except that I've
got the box.

JULIA
You're still afraid.

FRANK
You would be. They tore me apart.

JULIA
So you were cheated.

FRANK
No. They gave me experiences beyond
the limits. Pain and pleasure,
indivisible.

JULIA looks at the box. There is a flash of light in it.

We seem to be moving down the corridor, thick with smoke.

Suddenly, figures emerge from the smoke: the Cenobites.

She lets out a yell.

Another flash. They've gone. Now there are fresh appalling
images in the box. We see FRANK, naked, the shadows of hooks
falling over his body. Blood runs over his skin. The image
begins to distort.

JULIA wants to look away but she can't. The images become
more appalling still. Flesh is gouged and ploughed. And now
the hooks are in the skin, and the image is even more
distorted. We are no longer certain of what we're seeing. A
mouth opens in a soundless scream; then the image blacks
out. When FRANK speaks again his voice trembles.

FRANK
They took my body, but my spirit...
they left that here. In the boards,
in the walls. Watching the world,
but not able to TOUCH it.

JULIA
And the blood let you out?

FRANK
It gave me a little chance, and I
took it. They won't get me back. I'm
going to live, and you're going to
help me. Yes?

JULIA
Yes. They'll never find us.

There's a rumble of thunder.

JULIA
Not in the whole wide world.

INT. KIRSTY'S ROOM - NIGHT

Music from the radio: a love song. The radio is badly tuned:
the song sounds tinny. It fades, then comes back into focus
again. We move round the room, over an unfinished puzzle,
left on the bed; over a few pictures of LARRY, set lovingly
beside the bed, and finally, onto KIRSTY, who is drying her
hair after a shower.

The radio channel slips. The radio whines. Then, an
evangelist's voice on the air-waves.

EVANGELIST
The Devil is watching you. That's
the message I came here tonight to
bring you. The Devil is watching you
and he sees the corruption in your
hearts. He hears you! He sees you!
Every night, every day --

KIRSTY has got up now and is trying to change channels, but
the controls defeat her. She gets more and more annoyed.

KIRSTY
C'mon, damn you. C'mon.

EVANGELIST
The Devil knows your soul.

KIRSTY
No he doesn't! Damn thing!

Eventually, she pulls the back off the radio. The batteries
fall out.

KIRSTY
(to herself)
Nice going.

Thunder.

INT. DINING ROOM - NIGHT

More thunder, and the sound of heavy rain against the windows.

The television is on. LARRY and JULIA are sitting on the
couch. LARRY is watching a boxing match. He has consumed
several beers: the cans are beside his feet; and there's
another in his hand.

JULIA reads a magazine, glancing up at the screen to see the
match getting more heated. Blood is starting to flow.

LARRY
Is this upsetting you?

JULIA
I've seen worse.

LARRY looks at her.

LARRY
Are you all right?

JULIA
Fine.

LARRY
Only I'll turn it off --

There's a sudden raising of shouts from the screen, as one
of the boxers hits the canvas. LARRY turns his attention
back to the match.

COMMENTATOR
And he's down! He's down!

The thunder rolls on.

INT. TORTURE ROOM - NIGHT

The lightning finds its way through the holes in the
newspaper. FRANK is watching through the window, his face
occasionally washed with light. His hand, on the window frame,
taps out the same tattoo he's tapped out before. He turns
away from the window, and his foot catches the box. It rolls
across the floor.

INT. DINING ROOM - NIGHT

The boxing match is heating up again.

COMMENTATOR
And now he's in trouble, he's really
in trouble --

LARRY
What was that?

JULIA looks up from her magazine.

JULIA
Thunder.

The violence on the screen is horrific, as swollen faces
burst beneath punches.

LARRY
No. Something else.

LARRY stands up.

JULIA
Maybe I left a window open --

She gets up and crosses to the door.

JULIA
-- I'll go see.

LARRY
No. I'll do it.

He opens the door, and steps out into the hallway.

INT. UPPER LANDING - NIGHT

In such tight close up we can't sec that FRANK has in fact
left the Torture Room, we see his features register that
somebody is coming.

INT. STAIRWAY - NIGHT

LARRY is climbing the stairs. JULIA follows.

JULIA
It was nothing.

LARRY has reached the top of the stairs. He looks up the
next flight.

JULIA
Larry...

LARRY
What's wrong with you?

She's desperate to stop him climbing to the Torture Room.

JULIA
I just hate the thunder.

He crosses to her.

LARRY
I'm here.

He puts his arms around her. She responds.

LARRY
You're shaking.

He hugs her tight, kissing her lightly. The thunder shakes
the house.

LARRY
There's nothing to be afraid of.

He kisses her neck, his hands restless on her.

LARRY
I'll just go check upstairs...

He kisses her again. She, in order to distract him, kisses
him back. Her passion is artificial, but he doesn't register
that.

LARRY
Oh baby.

JULIA
Don't go upstairs.

LARRY
Come with me then.

He starts up the stairs.

JULIA
Please...

INT. UPPER LANDING - NIGHT

He reaches the top of the stairs. First he throws open the
Junk Room. Lightning flashes on boxes inside. Then he moves
towards the Torture Room.

The thunder rolls more loudly.

She follows him along the landing, desperate to stop him.

Too late. He throws open the door.

JULIA
Don't.

Lightning floods the room. It's empty. She stands beside him
at the door.

LARRY
We must have rats.

She looks back down the stairs. Where's FRANK gone?

LARRY turns to her, holding her again, on the threshold of
the Torture Room.

LARRY
See? Quite safe.

He kisses her, much harder this time; a sexual kiss.

LARRY
Let's go down. I'll make it better.

He kisses her again.

INT. BEDROOM - NIGHT

A shadow moves across the screen as the door opens, and LARRY
puts on the light. He has hold of JULIA's hand. He leads her
inside. She sits on the bed, illuminated by the light from
the landing, and the occasional flicker from the window.
LARRY kneels between her legs, and kisses her breasts, his
eyes closed.

JULIA glances into the shadows of the room. She senses FRANK's
presence.

LARRY
...oh babe...

He starts to unbutton her dress. She's distracted by her
suspicions; he has his hands against her almost before she
realizes what's happening.

We have her P.O.V. as she looks around the room. The dressing
table; the wardrobe; the curtains at the window. Does
something move in the shadows?

A flash of lightning. No. There's nothing.

LARRY gets onto the bed and draws her against him, kissing
her. This is not the intense, slightly dangerous love-making
she experienced with FRANK, but a fumbling, slightly foolish
exchange. LARRY is so wrapped in attempting to make the right
moves he doesn't register the fact that JULIA's attention is
elsewhere.

Now we have a P.O.V. from the far side of the room, of the
two figures on the bed, the only sound the thunder and LARRY's
murmured words of seduction, which we can barely make out.

LARRY
...I love you, honey... let me... oh
God... I love you...

Neither of them have undressed fully; there's just a tangle
of clothes around them which removes any trace of eroticism
from the scene.

A CLOSE UP of JULIA's head, laid on the pillow, shows just
how uninvolved she is -- while LARRY works, eyes closed.
JULIA looks down the length of her husband's body. The door
of the wardrobe swings open. FRANK is watching. She registers
horror. LARRY is oblivious to all of this, of course.

We have a CLOSE UP of FRANK watching the love-making.

Now he steps out of the wardrobe. JULIA makes a moan of
horror, which LARRY takes as enthusiasm.

LARRY
Oh baby... I love you...

From JULIA'S P.O.V., we see the form of FRANK shamble towards
the lovers.

From FRANK'S P.O.V. we see the lovers on the bed,

LARRY's back vunerable. JULIA seems to realize what he
intends.

JULIA
...no...

LARRY barely hears her.

FRANK is at the very end of the bed now, and JULIA becomes
highly agitated.

JULIA
No. No, you mustn't. PLEASE. No.

LARRY stops his love-making.

LARRY
(looks at her)
Huh?

JULIA
Please...

LARRY
What's wrong with you?

JULIA
(almost sobbing)
Please. I can't bear it...

LARRY is angered and utterly perplexed at this. He disengages
his arms from around her.

JULIA'S P.O.V., as FRANK retreats.

LARRY rolls off JULIA.

The wardrobe door closes. Click.

LARRY
I don't understand you. One moment
you're all over me, the next it's:
Don't touch me.

He sits on the edge of the bed.

LARRY
I just don't understand.

He gets up and leaves the bedroom. JULIA remains where she
is. We have a shot of the bed, and her upon it, from FRANK's
end of the room. She stares at the wardrobe. Through the
crack of the open door, FRANK stares back. A flicker of
lightning illuminates his face; his skeletal grin.

Softly, beneath the assault of the rain on the roof, we hear
laughter.

INT. A SMALL RESTAURANT - EVENING

KIRSTY and LARRY are sitting eating a meal together, in an
intimate restaurant. LARRY has little appetite, to judge by
his plate. He looks as if he hasn't slept for several nights.
KIRSTY, by contrast, is sparkling

LARRY
...maybe we should never have come
back.

KIRSTY
Maybe you should give it some time.

LARRY
I guess.

KIRSTY
(skirting her real
feelings)
She's not like Mom. She's... I don't
know... moody. I thought that was
what you liked about her.

LARRY
You don't like her at all do you?

The straight-forward question silences KIRSTY for a moment.
She wants to be delicate with her father's feelings, but
honest at the same time.

KIRSTY
I don't know her. She's so... sealed
up.

LARRY's face is full of the desire for reassurance.

KIRSTY tries to offer it.

KIRSTY
If YOU love her she must be worth
loving. Just give me some time.

LARRY nods, a weak smile on his face

LARRY
She doesn't even want to leave the
house.

KIRSTY
Really?

LARRY
It's like she's waiting for something.

KIRSTY
What?

LARRY
I don't know. I don't know. It's
beyond me.

A silence.

LARRY
(hesitant)
Would you... maybe call round
sometime? Try to make friends.

KIRSTY
Sure.

LARRY
Maybe all she needs is some company.

INT. STAIRCASE - DAY

FRANK is standing at the top of the stairs, dressed in his
stained suit. JULIA is a few steps down, staring up at him.

FRANK
You can't love him.

JULIA
I don't.

FRANK
So where's the harm?

JULIA
I said no.

FRANK
Then find me somebody else, before
they come looking.

JULIA nods.

FRANK
Tomorrow?

She looks at him.

EXT. LODOVICO STREET - DAY

A wind blows, carrying autumn leaves before it. And on the
wind, the distant pealing of bells.

EXT. DOORSTEP OF NUMBER 55 - DAY

JULIA is at the door, turning the key in the lock. Beside
her, a third sacrificial lamb, balding and excitable. His
name is SYKES.

JULIA opens the door.

EXT. LODOVICO STREET - DAY

At the corner of the street now: KIRSTY. She watches, puzzled.

EXT. DOORSTEP OF NUMBER 55 - DAY

long shot of the house, from KIRSTY'S P.O.V. The man on the
step seems to having second thoughts.

JULIA speaks with him. We can hear none of this exchange,
but JULIA manages to coax him inside. She closes the door
behind them.

EXT. LODOVICO STREET - DAY

KIRSTY stands, bewildered by what she's seen.

INT. LOWER LANDING - DAY

From the top of the stairs we watch JULIA lead SYKES upstairs.

SYKES
I get lonely sometimes.

JULIA
Everybody does.

EXT. STREET - DAY

KIRSTY starts towards the house.

INT. TORTURE ROOM - DAY

In the corner of the room FRANK stands, tapping out the rhythm
with his fingers. It's 'Colonel Bogey', and now he hums it
too. Outside the door, a footfall.

JULIA
Come in.

The humming stops.

JULIA opens the door.

EXT. FRONT OF HOUSE - DAY

KIRSTY starts down the path.

INT. TORTURE ROOM - DAY

SYKES is looking at JULIA.

SYKES
What is this? A game?

FRANK moves in the corner. SYKES catches the motion from the
corner of his eye. He turns.

SYKES
What?

FRANK steps from the shadows.

SYKES
Jesus Christ.

JULIA hits him with the hammer.

EXT. DOORSTEP - DAY

KIRSTY hears SYKES scream. She freezes. Then steps back from
the doorstep and looks up at the house.

INT. TORTURE ROOM - DAY

In the Room, pandemonium. SYKES, blood pouring down his face,
flails out at JULIA. The hammer flies from her hand. He lunges
for the door, but she manages to kick it closed.

SYKES
Christ help me!

EXT. HOUSE - DAY

KIRSTY makes her way around the back of the house.

INT. TORTURE ROOM - DAY

SYKES has taken hold of JULIA, and is using her as a shield
against FRANK, who is bearing down upon him. For the first
time we see FRANK's true colours where JULIA's concerned --

SYKES
(to Frank)
Don't!

Casually, FRANK throws JULIA aside. She falls, sobbing.

FRANK descends on SYKES.

SYKES
No!

INT. KITCHEN - DAY

SYKES' scream covers the sound of KIRSTY forcing the back
door open. She steps inside.

INT. TORTURE ROOM - DAY

FRANK has SYKES face to the wall. SYKES is sobbing now.

The room is covered in blood.

FRANK
(to Julia)
Get out of here.

She picks herself up.

SYKES
(to Julia)
Please... don't let him kill me...
please...

JULIA leaves, closing the door.

FRANK seizes hold of SYKE's neck, his fingers entering the
flesh either side of his neck vertebrae. SYKES screams.

INT. KITCHEN/DINGING ROOM/HALLWAY - DAY

KIRSTY moves through the house, and starts to climb the
stairs.

INT. LOWER LANDING - DAY

Half way up the stairs, the scream stops. She climbs the
rest of the way surrounded by a graveyard hush.

INT. TORTURE ROOM - DAY

A soundless, slowed shot, as SYKES, his face wasted by FRANK's
feeding, breaks from FRANK's hold and lunges for the door.

INT. LOWER LANDING - DAY

KIRSTY starts up the second flight of stairs.

INT. TORTURE ROOM - DAY

The same slowed, soundless horror, as SYKES reaches the door.
FRANK is a pace behind him.

INT. UPPER LANDING - DAY

KIRSTY reaches the top as --

INT. TORTURE ROOM - DAY

The door from inside the room. SYKES pulls it open --

INT. TORTURE ROOM FROM LANDING - DAY

In real time, and accompanied by the most horrific shriek,
SYKES flings himself from the Torture Room. The flesh is
hanging off his face; his eyes bulge in terror.

Seeing KIRSTY he starts towards her. Behind him, FRANK, his
body glistening. He catches hold of SYKES by the neck. SYKES'
shrieks stop. The eyes glaze over. The body judders as death
claims it. Then FRANK drops the corpse, and looks up at
KIRSTY.

KIRSTY
Oh my God.

She starts to back away down the stairs.

KIRSTY
(shouts)
Julia!

FRANK
Kirsty?

He takes a step towards her.

KIRSTY
Keep your fucking distance. Julia!
Where's Julia? Christ, what have you
done with her.

She's still backing away. He's still advancing.

FRANK
Kirsty. It's Frank. It's Uncle Frank.

KIRSTY
No.

FRANK
You remember.

KIRSTY
No.

FRANK
Come to Daddy.

Her puzzlement, however, has slowed her retreat, and now
FRANK reaches for her. At the last moment she backs away
again, but he's after her in a beat, and seizes hold of her.

KIRSTY
No. Get the fuck off me.

He drags her back up the stairs.

INT. TORTURE ROOM - DAY

He pushes her ahead of him, into the Torture Room. He closes
the door.

FRANK
You've grown. You're beautiful.

She has retreated as far from him as she can get. He advances
on her.

KIRSTY
Don't touch me. Or so help me --

FRANK
What? What will you do? What CAN you
do?
(pause)
There's nothing to be frightened of.

FRANK has closed in on her by now. He takes hold of her face.

FRANK
I bet you make your Daddy proud,
don't you? Beautiful.

KIRSTY
This isn't happening.

FRANK
I used to tell myself that. Used to
try and pretend I was dreaming all
the pain. But why kid yourself? Some
things have to be endured. Take it
from me. And that makes the pleasures
so much sweeter...

As he leans in to kiss her she snatches hold of the pus and
bloodstained shirt that's glued to his abdomen, and PULLS.
There's a flow of fluids.

FRANK's head is thrown back, and he screams.

She slips from beneath his grasp. But he's after her in a
moment, his hand catching her blouse. It tears. His fingers
rake her bare skin.

She stumbles, reaches out for the wall, which is slick with
SYKES' blood. Her hand slides over it. She falls, heavily.

Roaring, FRANK comes in pursuit of her.

On the floor in front of KIRSTY: the box. It's a poor weapon,
but it's all she's got. As he comes after her again, she
stands up and delivers a blow to his head with the box. He
howls. She races for the door. But he's after her. He strikes
her.

She's thrown against the wall. He's FURIOUS now.

Strikes her again. She cannot survive much more.

She raises the box to retaliate. FRANK sees what she's
holding. His attack stops.

FRANK
Give that to me.

She dimly realizes that she has a bargaining tool.

KIRSTY
(breathless)
No.

FRANK
One last time. Give me the box.

KIRSTY
You want it?

The monster's eyes glitter.

KIRSTY
Fucking have it!

She throws the box. It sails past FRANK and smashes through
the window.

FRANK
NO!

He goes to the window. She takes her chance. She's out of
the door in a moment.

FRANK
NO!

INT. UPPER LANDING - DAY

KIRSTY propels herself out of the Room, and down the stairs,
while FRANK vents his anger above her.

INT. HALLWAY - DAY

She flings open the front door, and pitches herself --
bleeding and bruised -- into the daylight beyond.

EXT. NUMBER 55 - DAY

As she stumbles away down the path, she sees the box at her
feet, in a litter of broken glass. She picks it up, and
continues to run.

EXT. LODOVICO STREET - DAY

series of shots from KIRSTY'S P.O.V., as she staggers along
the street. The soundtrack whines; the image threatens to be
eclipsed by darkness. People stare at her as she runs. A
child points.

Finally, the CAMERA slows. She stands still.

Voice, off camera:

VOICE (O.S.)
Are you all right?

The CAMERA swings giddily around in the direction of the
speaker. A WOMAN comes into view.

WOMAN
Do you need any help?

As she speaks, the picture fades to white.

KIRSTY'S DREAM (PART TWO)

The whiteness continues to fill the screen. Distant,
incoherent voices are heard, and the thump of blood in the
inner ear.

Then darkness seeps into the whiteness, patterns like
Rorschach inkblots: ambiguous, yet interpretable as sexual
or horrific imagery. With the darkness, soaking over the
scene like blood through the sheet in her first dream,
fragments of FRANK's previous dialogue.

FRANK
Come to Daddy.

KIRSTY
This isn't happening.

FRANK
Some things have to be endured...

The darkness is filling the screen.

FRANK
...take it from me...

Now, total darkness.

FRANK
...Come to Daddy...

And suddenly, she wakes.

INT. HOSPITAL ROOM - NIGHT

KIRSTY is lying in a bed in a private room. A television is
on in the corner of the room, the sound turned down to a
sibillant whisper. A NURSE sits in front of it, glassy-eyed.
On the screen, a wild-life programme. Animals are tearing
each other apart. KIRSTY groans. The NURSE stands up and
crosses to the bed.

NURSE
You're awake. Good girl.

KIRSTY
What happened to me?

NURSE
I'll get the doctor.

KIRSTY
Wait a moment --

The NURSE is already at the door.

KIRSTY
(agitated)
Who brought me in here?

NURSE
I won't be a moment.

As soon as she's gone KIRSTY throws the sheet aside and starts
to get out of bed. She feels sick; disorientated. The sound
of the animals on the television distresses her.

DOCTOR
Please. Get back into bed.

KIRSTY
(urgently)
I have to speak to my father.

DOCTOR
That's easily arranged. But first,
back into bed.

KIRSTY
It's important.

DOCTOR
You took quite a beating. You must
lie down.

The NURSE has now crossed to the bed and is now coaxing KIRSTY
back between the sheets. Unwillingly, she goes.

KIRSTY
Please listen to me --

DOCTOR
First things first. You can have a
telephone when we've talked. Do you
know who did this to you?

She looks at him balefully.

KIRSTY
No.

The DOCTOR takes the box from his pocket.

DOCTOR
What about this?

She looks at it.

DOCTOR
Ring any bells?

She shakes her head.

DOCTOR
You were holding onto it like grim
death.

KIRSTY
I don't remember.

DOCTOR
Well the police are going to want to
speak to you. You know that.

KIRSTY
Oh Christ.

DOCTOR
We'll get you a phone as long as you
promise to stay put.

She nods. The NURSE exits.

DOCTOR
In the meantime, maybe this'll jog
your memory --

He puts the box on the bed, then leaves. She waits until
he's gone, then gets out of bed and crosses to the door.
It's been locked. She struggles with the handle.

KIRSTY
Shit. Shit. Shit.

She's close to tears. She crosses back to the bed, while the
vultures on the television fight over a carcass. The box
lies on the bed. She picks it up, turning it over in her
hand.

INT. UPPER LANDING - NIGHT

FRANK is standing in the shadows. He is wearing a fresh shirt.
He smirks. JULIA watches him.

Downstairs, the telephone rings. JULIA is very nervous now;
desperate even.

JULIA
She'll tell them everything...

FRANK
I don't think so. She'll want Larry
first.

JULIA
That's probably her now. Or the
police.

FRANK
Maybe.

JULIA
Don't you care?

FRANK
There's very little I can do about
it.

JULIA
Maybe we should just leave --

FRANK
Like this? Look at me! LIKE THIS?

JULIA
Well we can't just stay here --

FRANK
I need a skin. Then we leave --

INT. HOSPITAL ROOM - NIGHT

KIRSTY puts down the receiver and puts the phone back on the
bedside table.

She still frets. In order to direct her attention from her
anxieties she picks up the box, and plays with it for a while,
scarcely thinking about what she's doing. Suddenly, a click.

Her face lights up with pleasure as she slides a part of the
box open. And to accompany the revelation, a twinkling tune.

She smiles.

The television picture flickers, but she doesn't notice.

The door opens. It's the NURSE.

NURSE
What a pretty tune.

KIRSTY
My father doesn't answer. I have to
go find him.

NURSE
I'm afraid you'll have to wait until
the police have spoken to you. Keep
trying your father; he'll answer
eventually.

KIRSTY
I called another friend of mine and
he's coming over. Will you let him
in?

NURSE
Of course. This isn't a prison you
know.
(She lowers her voice)
Look if you'd prefer to tell ME what
happened, instead of a policeman --

KIRSTY shakes her head.

KIRSTY
You wouldn't believe me.

NURSE
Try me.

For a moment it seems KIRSTY weakens. Then she thinks better
of it.

NURSE
Well, if you change your mind. What's
this friend's name?

KIRSTY
Steve.

The NURSE goes to the door. As she exits KIRSTY picks the
box up again, and at her ministrations it opens a little
wider.

EXT. NUMBER 55 - NIGHT

The front door closes.

LARRY
(inside)
Julia?

INT. HALLWAY - NIGHT

LARRY stands in the hall. JULIA comes down the stairs.

She looks pale; even ill.

LARRY
What's wrong?

JULIA
I don't know where to begin...

LARRY
What are you talking about?

JULIA
It's better you see for yourself --

She turns and starts up the stairs. He follows.

INT. HOSPITAL ROOM - NIGHT

KIRSTY has opened more of the box. The tune is more complex
now.

Somewhere a bell has started to ring. Now, she works the
final mechanism of the box. The bedside light flickers and
goes out.

The bell rings. Light pours out of the box. She drops it,
shocked.

The bedside light comes on again.

She looks up.

In the wall opposite the end of her bed, a very narrow doorway
has simply opened in the wall.

Leaving the box on the bed, she gets up and goes to the gap.
As she approaches she hears the distant, rhythmical sob of a
baby. She stands at the doorway.

INT. CORRIDOR TO HELL - NIGHT

We look back at her, a diminutive figure framed against a
shot of light, from way, way down the corridor.

INT. HOSPITAL ROOM - NIGHT

The sobbing goes on. KIRSTY stares down the corridor -- which
is lit brightly in some places, and is absolutely dark in
others -- not certain of whether to venture down it or not.

She glances towards the door of her room, from the other
side of which comes the reassuring sound of the hospital
going about its business. What's to fear?

INT. CORRIDOR TO HELL - NIGHT

She steps into the corridor. The walls rise into darkness on
either side of her, their surfaces like the interior of a
pyramid, pitted with age, and rotting away.

She starts towards the sobbing child, bare feet on the
impacted earth of the passageway.

The sobbing gets louder as she advances, her form disappearing
entirely as she passes through the intermittent darkness.

Once, she glances back towards the Hospital Room, to reassure
herself that it's still there. It is, though it's no more
than a sliver of light at the far end of the passageway.

She advances a few more paces. The atmosphere is growing
denser; smoke thickens the air.

Then, a light glows at the other end of the corridor.

The sound of the sobbing child ceases.

She stops walking.

Ahead, the smoke clears and the light brightens, and we see
a creature -- THE ENGINEER -- hanging in the space between
the walls. It is in silhouette against the light, but we can
see enough to know that it resembles no earthly animal. Its
vast black limbs hold it suspended above the corridor,
clinging to the stone. Its front limbs, vestigial by
comparison, hang down from beneath its vast head. Its tail
is curled over its back.

KIRSTY's expression registers this horror. THE ENGINEER moves
into the light. Its irises narrow to slits. From the tail a
vast sting, oozing pus - like venom, glides into view.

And then --

-- it comes at her, advancing along the corridor by bracing
its legs against the walls. Its breath is a growl in its
belly, until it moves into darkness, when all sound from it
ceases, only to erupt again as it finds the light.

KIRSTY turns, and starts to run.

It comes after her at speed. Darkness, light, darkness, light;
roars and silence --

Its jaws spill its thick saliva; its eyes gleam.

KIRSTY runs blindly down the corridor, back towards the safety
of the Hospital Room. But it's very close on her heels,
lingering --

As she comes within a few yards of the Room it closes on
her.

INT. HOSPITAL ROOM - NIGHT

She flings herself through the door with THE ENGINEER's breath
on her back, and turns --

The doorway has gone. The wall is sealed. She approaches the
wall. THE ENGINEER scratches on the other side...

Then, she realises that the bell is still ringing. And there's
a foul smell in the air.

She looks around.

She's not alone.

Standing across the room from her, lit by a strange
phosphorescence that has no visible source, are four
extraordinary figures.

They are CENOBITES. Each of them is horribly mutilated by
systems of hooks and pins. The garments they wear are
elaborately constructed to marry with their flesh, laced
through skin in places, hooked into bone.

The leader of this quartet has pins driven into his head at
inch intervals. At his side, a woman whose neck is pinned
open like a vivisection specimen. Accompanying them is a
creature whose mouth is wired into a gaping rectangle -- the
exposed teeth sharpened to points, and a fat sweating monster
whose eyes are covered by dark glasses.

When the lead CENOBITE speaks, we recognise the voice as
that of the creature from the beginning of the film.

KIRSTY stares in amazement.

KIRSTY
Where the hell did you come from?

The CENOBITE gestures. The box is lying on the bed.

CENOBITE
The box... you opened it. We came.

KIRSTY
It's just a puzzle box.

CENOBITE
It's a means to summon us -- it's
called the Lament Configuration.

KIRSTY
Who are you?

CENOBITE
Cenobites. Explorers in the further
regions of experience. Demons to
some. Angels to others.

KIRSTY
Well, I didn't mean to open that
thing. You can go back wherever you
came from.

FEMALE CENOBITE
We can't. Not alone.

At this, the creature with the wired open jaw chatters like
a mad monkey.

KIRSTY
This isn't for real.

CENOBITE
You solved the box. We came. Now you
must come with us. Taste our
pleasures.

The chattering CENOBITE steps towards her.

KIRSTY
Don't touch me!

The door opens. It's STEVE.

KIRSTY's face floods with relief. STEVE does not register
the CENOBITES' presence however.

KIRSTY
Steve. Thank God you came.

STEVE
What happened to you?

He steps between the CENOBITES.

KIRSTY
These THINGS... they want to take me --

STEVE
What things?

CENOBITE
(to Kirsty)
He doesn't see us, or hear us. We
belong to you, Kirsty. And you to
us.

KIRSTY
No!

STEVE
What's wrong?

KIRSTY
Don't let them take me, Steve --

STEVE
I won't let anybody take you.

He starts to walk towards her, but the creature in the dark
glasses takes a hooked rod from its back and puts the hook
to STEVE's neck. STEVE's hand moves to the place; he makes a
small sound of pain. The CENOBITE takes off its glasses, to
see its trick better. The eyes beneath are sewn shut. It
pulls a little more on the hook.

STEVE winces.

FEMALE CENOBITE
If he takes another step, we open
his throat.

KIRSTY
(to Steve)
Please go, Steve.

STEVE
What?

KIRSTY
Just go. PLEASE. I'll be O.K. I'm
going to go see Dad. He'll look after
me --

STEVE
(protesting)
What did I say?

KIRSTY
Will you GO, damn you?

Mystified, STEVE retreats a step.

STEVE
I'll come back later, huh?

KIRSTY
Sure. Why not?

Still puzzled, STEVE crosses to the door.

STEVE
'Bye.

KIRSTY
'Bye.

FEMALE CENOBITE
Good.

CENOBITE
It's time we were away.

KIRSTY
(almost crying)
Let me alone, will you?

CENOBITE
No tears please. It's a waste of
good suffering.

The chatterer comes for her. As it does so desperation brings
a plan to KIRSTY's head.

KIRSTY
Wait!

He stops.

CENOBITE
No time for argument.

KIRSTY
You did this before, right?

CENOBITE
Many times.

KIRSTY
To a man called Frank Cotton?

FEMALE CENOBITE
Oh yes.

KIRSTY
But he escaped you.

CENOBITE
Nobody escapes us.

KIRSTY
HE did. I've seen him.

FAT CENOBITE
Impossible.

KIRSTY
I swear it. He's alive. He doesn't
look much like Frank Cotton any more,
but it's him.

CENOBITE
Suppose he HAD slipped us. What
significance has that?

KIRSTY
I could lead you right to him. You
could take him back to Hell instead
of me.

FAT CENOBITE
Perhaps we'd prefer you.

CENOBITE
I want to hear him confess himself.
Then maybe... MAYBE.

FEMALE CENOBITE
But if you cheat us.

We hear the sound of the ENGINEER in the walls.

CENOBITE
We'll tear your soul apart.

We cut back to the cracking plaster, which cracks further.
We hear STEVE's voice, and pan back into an empty room. STEVE
is in the doorway, looking at the deserted bed.

The NURSE is with him.

STEVE
She was trembling from head to foot.

NURSE
I told you to wait with her.

STEVE
I thought she was going to collapse.

He approaches the bed.

NURSE
It was a trick. To get you out of
the room. I'll start looking for
her.

She exits.

STEVE
Maybe she's gone back --

He looks round. The NURSE has gone.

STEVE
-- to her father's house.

INT. STAIRWELL - NIGHT

KIRSTY is hurrying down an echoing hospital stairwell,
carrying the box wrapped up in a T-shirt.

EXT. NUMBER 55 - NIGHT

Lights burns in the house, upstairs and down.

INT. HALLWAY - NIGHT

Music is playing in the house. A slow, soft ballad which
drifts eerily along the corridor. The brief-case that LARRY
brought in with him and set down in the hallway when JULIA
led him upstairs, is still there. We take it in, then look
up the stairs, from whence the music comes. A naked, bloody
figure moves across the landing. Is it LARRY?

INT. BEDROOM - NIGHT

JULIA sits in front of the dressing table mirror. She has a
glass of whisky in front of her. She sips from it.

We've seen her in many moods through the story; now we see a
mingling of fear and exhilaration in her face.

The door opens.

We see a reflection in the dressing room mirror. It is the
figure we glimpsed on the landing.

She stands up, and turns to him.

We cannot see the details of the man as he approaches her,
but when he puts his fingers on her cheek he leaves a mark
there.

EXT. STREET - NIGHT

KIRSTY hurries down the street. The wind is chilly. Sometimes
we hear a bell in it.

EXT. STREET - NIGHT

STEVE gets into his car, and turns the ignition. He drives
off in pursuit of KIRSTY.

INT. BEDROOM - NIGHT

Two shadowy, naked figures stand face to face in the bedroom.
We can see no detail of their features. We move down their
bodies. They are standing in a shining pool of blood.

The male of the couple pads towards the bedroom door, leaving
a trail of blood behind him. We can still see very little of
the man.

SCENE DELETED

SCENE DELETED

EXT. LODOVICO STREET - NIGHT

KIRSTY turns the corner of the street, and starts down it.
The wind is strong now. It is full of sibilant whispers,
hurrying her along.

INT. BEDROOM - NIGHT

JULIA dresses.

EXT. DOORSTEP - NIGHT

KIRSTY reaches the doorstep. As she does so the whispers die
away completely. She beats on the door. No reply.

She beats again, more urgently.

KIRSTY
Please! Dad! It's me! It's Kirsty!

INT. LANDING - NIGHT

JULIA steps onto the landing. We can hear KIRSTY shouting on
the step.

JULIA
Damn her.

We hear a voice, off-screen. Is it FRANK or LARRY?

Impossible to be sure.

VOICE
Answer it.

EXT. DOORSTEP - NIGHT

KIRSTY still beats on the door.

KIRSTY
Please, answer me! Please --

The door is suddenly opened. JULIA is standing there.

JULIA
Kirsty? It's very late.

KIRSTY
Where's Daddy?

JULIA
What's the problem?

KIRSTY
(stepping inside)
I have to see my father.

JULIA
Of course. There's no need to shout.

INT. DINING ROOM - NIGHT

We pan across the table. At the end of the table sits LARRY.
The light is behind him. His features are shadowy. But we
can see that he is badly bruised.

We hear the womens' voices, off-screen.

JULIA
You look terrible. Have you had an
accident?

KIRSTY
I was here this afternoon.

JULIA
This afternoon.

KIRSTY
I saw everything.

JULIA
I'm sorry, I don't follow. What was
there to see?

KIRSTY doesn't answer, but walks through into the Dining
Room. KIRSTY sees LARRY at the table.

KIRSTY
Oh God. Thank God.
(she starts to sob)
I thought something might have...

She glances round at JULIA, who has also entered.

KIRSTY
(to Larry)
I have to talk to you.

LARRY
Of course.

LARRY leans forward, and into the pool of light over the
table. He looks much the worse for wear. His flesh is raw
and bruised. There is blood at his neck and hairline.

LARRY
It's all right, sweetheart. Julia's
told me everything; and it's all
right...

KIRSTY
No. You don't understand. Your brother --
Frank -- he's here in the house. And
he's --

LARRY
Whatever Frank did was his error.
And it's finished with now.

KIRSTY
Finished?

LARRY
(smiles)
He's gone.

KIRSTY
Gone?

JULIA
Dead.

LARRY
He was insane, baby: a mad dog. I
put him out of his misery --

KIRSTY stares at LARRY, while in her head she hears the
CENOBITE's voice.

CENOBITE
...we'll tear your soul apart...

LARRY
I'll go to the police, when I'm
feeling stronger. Try and find some
way to make them understand, though
God knows I don't really understand
myself. Did he hurt you?

KIRSTY is dumb with horror at her situation.

LARRY
(leans back)
Poor Frank. He's better off dead.

KIRSTY
I don't believe it.

LARRY
I'm afraid it's true.

KIRSTY
(tears in her eyes)
I want to see.

LARRY
No you don't.

KIRSTY
Yes!

LARRY
(to Julia)
Show her.

KIRSTY turns away from LARRY. JULIA leads her out into the
Hallway.

CUT TO:

LARRY, still sitting at the table. His fingers drum a familiar
tattoo. Beneath his breath, he hums 'Colonel Bogey'.

INT. UPPER LANDING - NIGHT

JULIA pushes open the door of the Torture Room. It creaks
wide. Lying on the floor in the middle of the room is a
skinned corpse, in a tangle of torn clothing.

It steams. There is blood everywhere. That too, steams.

KIRSTY is revolted. As she steps away from the door, it slams
behind her. She turns to try and wrestle it open again, but
it won't be budged. She turns again. The CENOBITES are
standing in the room, more shadow than substance.

CENOBITE
We want the man who did this --

KIRSTY
No. That wasn't the deal.

She turns, and starts to pull on the door. This time it opens.

KIRSTY
No!

She starts down the stairs again. The bell has begun to ring
again, distantly, and there is the sound of birds, thousands
of birds, beating on the other side of the hall.

JULIA
Where are you going?

KIRSTY ignores her and hurries down to LARRY.

KIRSTY
Get the fuck out of here.

LARRY
What's the problem?

KIRSTY
PLEASE. You're in danger.

LARRY
No. It's all over.

KIRSTY
It isn't. I know what's going on
here, and it isn't over --

INT. HALLWAY - NIGHT

KIRSTY descends the stairs. LARRY has stepped out of the
Dining Room and is moving to intercept her as she makes her
way to the front door.

The sound of wings, and bells -- and a terrible slow thunder
which underpins it all -- mounts in volume.

LARRY snatches at her arm.

LARRY
Where are you going?

KIRSTY
I have to get out.

She shrugs off his arm. The thunder is increasing.

LARRY
Stay with me --

JULIA is on the stairs, watching this exchange.

LARRY
-- it's all right. Really it is...

He touches her face, fondly.

KIRSTY
I can't stay.

She goes to the door.

LARRY
Come to Daddy.

She hesitates at the door, and turns.

INT. HALLWAY - NIGHT (KIRSTY'S P.O.V.)

The thunder fills KIRSTY's head, as she stares at LARRY, who
has opened his arms to her.

LARRY
Come to Daddy.

Her gaze moves up to JULIA, who is on the stairs.

JULIA
No, damn you --

INT. HALLWAY - NIGHT

KIRSTY
(mouths)
Oh my God.

Everything is slowing down. The bells and the thunder fill
the soundtrack.

LARRY smiles, as KIRSTY moves towards him. Tears have begun
to fill her eyes. She searches for him. His smile decays as
he realizes her objective. Her nails rake his cheek. The
flesh puckers, and tears along the brow. Blood flows. The
mask of stolen flesh he wears slips a little, and FRANK's
twisted features come into view.

JULIA
Frank!

KIRSTY screams, as FRANK lunges for her. The lights in the
hallway flicker, and threaten to go out.

KIRSTY avoids FRANK's blow, but in doing so allows him to
get between her and the front door. She's trapped. His torn
face flapping, he opens his jacket (the interior of which is
blood-stained) and pulls a knife from the lining.

Suddenly, JULIA is behind her, gripping hold of her hair.

FRANK advances on KIRSTY, but in the last moment before the
fatal stab KIRSTY twists, avoiding the blow. JULIA shrieks
and stumbles forward, the knife gleaming as it's buried to
the hilt in her side.

KIRSTY slips from between them. JULIA collapses into FRANK's
arms. He holds her up.

KIRSTY makes a dive for the front door, but FRANK lets JULIA
slip and intercepts KIRSTY. JULIA falls back against the
wall, dying. KIRSTY retreats to the bottom of the stairs.
FRANK follows.

FRANK
You're not leaving now --

As he follows, JULIA reaches out and takes hold of his sleeve.

KIRSTY flees the only route she can, upstairs. The house is
creaking in every board and rafter now.

FRANK turns on JULIA, trapping her against the wall.

JULIA
Help me, Frank. For God's sake.

He puts his hands around her neck, and leans towards her. At
the last moment she seems to understand that he intends not
to kiss her but to steal what little life she has left.

JULIA
No, Frank --

From the stairs KIRSTY glimpses him battering upon her.

Then she looks away, and runs up the stairs.

When we look back JULIA is withering in FRANK's arms.

INT. LOWER LANDING - NIGHT

The landing is smoky. The lights have taken on a yellowish
tinge. The air is full of moans.

KIRSTY is desperate for a hiding place. She tries one of the
doors, but it's locked. She opens another, and the din of
birds' wings gets louder.

INT. BIRD ROOM - NIGHT

A P.O.V. shot, lunging towards KIRSTY in the doorway. She
slams the door in the face of whatever's coming for her.

INT. HALLWAY - NIGHT

FRANK hears the door slam. He drops JULIA to the ground.
She's dead, her flesh rotting on her face.

FRANK starts to climb the stairs, his eyes burning with
hunger.

INT. LOWER LANDING - NIGHT

KIRSTY is cornered. From below, FRANK's voice.

FRANK
Where are you, beautiful?

KIRSTY starts up the second flight of stairs, as FRANK's
shadow is thrown up on the wall below.

INT. UPPER LANDING - NIGHT

KIRSTY is faced with a choice. The Torture Room door is open,
but the skinned body is in there, so instead she heads for
the Junk Room, and opens the door.

INT. JUNK ROOM - NIGHT

Moonlight falls through the window, illuminating a chaos of
furniture and boxes. She crosses to the window, and tries to
get it open. It won't budge.

FRANK
(somewhere below)
Where are you, honey?

She looks around for a lever to open the window with --

INT. LOWER LANDING - NIGHT

FRANK reaches the landing and opens the bedroom door, calling
for her. Then he starts up the last flight of stairs.

FRANK
Come to Daddy.

INT. JUNK ROOM - NIGHT

KIRSTY lifts a cloth off one of the boxes. Staring up from
the box is the corpse of PRUDHOE, his eyes and mouth open in
a silent shriek.

She reels back from the box, terrified, and as she does so
the door opens. She backs into the shadows as FRANK shambles
into the room. He scans the chaos.

We CUT back to the shadows. KIRSTY'S eyes are wild with
terror.

FRANK sees nothing. He turns back to the door and shambles
away. The door closes. Click.

KIRSTY breaks cover. She crosses to the door and listens.

There's no sound. Cautiously, she opens the door. The landing
outside is deserted.

INT. UPPER LANDING - NIGHT

She steps onto the empty landing. The light swings, gently;
here is a subtle creaking in the walls. But no sign of FRANK.

She goes to the bannister, and looks down the stairwell, to
see if there's any sign of him on the floor below. Nothing.
Behind her the Torture Room door opens.

Suddenly FRANK lunges from the darkness of the room, knife
in hand. She flings herself out of the way of the swipe, but
he's upon her in seconds, cutting off her escape route to
the stairs.

She has no choice but to retreat towards the Torture Room.
He comes upon her, driving her backwards through the door,
with jabs of the knife.

INT. TORTURE ROOM - NIGHT

She backs into the room, in the middle of which lies her
father's corpse. She looks down at its skinned face.

KIRSTY
Oh my God.

FRANK
Don't mourn him. He was dead long
before we laid a finger on him.

KIRSTY has been pushed to the limits of endurance. She can
be terrorised and pushed no longer. Death looks easy by
comparison with more of FRANK'S horrors.

KIRSTY
You bastard --

FRANK
Poor baby.

KIRSTY
Bastard.

FRANK
Hush now. It's all right Frank's
here.

KIRSTY
Frank --

FRANK
That's right. This is Frank you're
talking to, remember? FRANK.

As he speaks the bell begins to toll again. FRANK hesitates
in his approach towards her.

FRANK
What's going on?

Light begins to pour through the walls of the room.

FRANK
(realising)
...no...

He starts towards the door. But he's too late. The CENOBITES
are moving through the light towards him. The CHATTERER
already stands in his way. Behind him, the lead CENOBITE
speaks.

CENOBITE
Frank.

FRANK
...no...

FEMALE CENOBITE
We had to hear it from your own lips.

CENOBITE
Frank.

FRANK turns on KIRSTY.

FRANK
You set me up! You bitch. You set me
up!

The pattern of light in the room has become more elaborate,
and the CENOBITES move through it towards FRANK.

CENOBITE
(to Kirsty)
This isn't for your eyes.

KIRSTY crosses towards the door. As she reaches for the handle
she hears FRANK roar behind her. She turns. He breaks between
the CENOBITES, knife in hand, but as he comes within striking
distance the air is full of whining sounds and he stops dead.

They have their hooks in him, we see. In his arms and legs;
in his back and sides; in his scalp and neck and temples.
Hooks attached to countless chains, which arrest his progress.
They plough through his flesh as he strives to reach her.
But at a gesture from the leader of the CENOBITES, the chains
are hauled in. He flings back his head, yelling. The knife
drops from his hand.

CENOBITE
(to Kirsty)
Out!

She turns back to the door and opens it. FRANK is hauled
back towards the centre of the room.

FRANK
Bitch!

The house is growling from basement to eaves now, as KIRSTY
steps onto the landing.

INT. UPPER LANDING - NIGHT

Behind her, FRANK howls.

She looks back.

They have him IN EXTREMIS, his body spread-eagled; hooks in
a hundred places, pulling at his flesh. He fights like a
wild animal, snarling and cursing. They pull the chains
tighter.

INT. TORTURE ROOM - NIGHT

A close up of FRANK's face. He suddenly stops fighting. He
raises his head, his eyes staring up at KIRSTY from beneath
a bleeding, sweating brow. He flicks his tongue over his
bloodied lips.

Then --

-- he comes apart.

INT. UPPER LANDING - NIGHT

The door slams as FRANK's body is torn apart in a welter of
blood and flesh fragments.

Something heavy thuds against the door.

KIRSTY turns and starts down the stairs.

INT. STAIRS - NIGHT

She hurries down the stairs, the walls creaking and groaning.

It's dark; the air full of groans.

EXT. LODOVICO STREET - NIGHT

STEVE drives up to the house. The sound of creaking is audible
to him too. He goes to the door, and knocks.

INT. STAIRS - NIGHT

As KIRSTY starts down the next flight of stairs she sees the
FEMALE CENOBITE on the half landing. She starts up towards
KIRSTY.

FEMALE CENOBITE
No need to leave so soon --

There is more knocking on the door.

KIRSTY
Keep away from me.

EXT. DOORSTEP - NIGHT

STEVE keeps beating on the door, and tries to shoulder it
open.

Useless. He backs away from the door. As he does so there's
a movement in the bushes; and a wind passes through the trees.

For a moment it seems something is about to jump out at him.

But there's nothing.

He starts off down the side of the house, while a baby sobs
distantly on the soundtrack.

INT. LOWER LANDING/BEDROOM - NIGHT

The sound of creaking is very loud now. There are falls of
plaster dust from the ceiling. We are aware that the house
is ready to fall around KIRSTY'S ears.

The FEMALE CENOBITE is on the Lower Landing now. KIRSTY
glances through to the bedroom, where the box sits on a chair
beside the door. She can see it in a patch of moonlight. She
crosses to the door and opens it, reaching for the box without
looking up.

The lead CENOBITE'S voice makes her look up however. He is
standing in the middle of the room, the sound of birds loud
around him. He is wiping his bloody hands on a sheet from
the bed, on which JULIA has sprawled, eyes wide and a staring
at the ceiling. There is a horrid implication in the position
of the corpse, and the state of its clothing. The sheet around
the body is soaked in blood.

CENOBITE
Just in time.

KIRSTY
Stay the fuck away from me.

She starts to manipulate the box.

CENOBITE
We've got such sights to show you --

KIRSTY
You can keep them.

The FEMALE CENOBITE has appeared at the door behind KIRSTY,
as she tries to manipulate the box. She starts to succeed
too.

CENOBITE
Don't do that!

The CENOBITE'S image starts to break up.

CENOBITE
(howled)
Damn you!

The CENOBITE'S howl fades, as he is claimed by darkness, his
image spiralling away into ether.

The FEMALE CENOBITE makes a sound of rage, and comes at
KIRSTY, but she has the knack of the box now. The FEMALE is
also sucked away into nothingnesss, her scream fading.

EXT. BACK DOOR - NIGHT

STEVE shoulders the door open. There is smoke in the kitchen.

Cups and saucers fall from the shelves as the house trembles.

All the cutlery rattles.

INT. STAIRS - NIGHT

KIRSTY starts down the stairs again, as the falls of dust
increase. At the bottom of stairs, an extraordinary sight: a
bride, heavily veiled. KIRSTY hesitates. The house grinds
around her. Suddenly, a voice.

STEVE
Is there anybody here?

She turns, as STEVE appears around the corner from the
kitchen.

The veil is suddenly snatched from the figure behind.

KIRSTY
Steve --

It's the CHATTERER at the back. It snatches at the box, its
hands closing around hers. But she manages to close another
portion of the box. STEVE moves towards her as the CHATTERER
is claimed by darkness. As STEVE moves away from the corner
of the passage we see that the last of the CENOBITES -- the
blind man -- is coming for him, weapon in hand. The hook
goes for STEVE'S throat. He cries out as the blood comes.

But suddenly the roof above the CENOBITE breaks open and a
fall of dust and filth buries the creature. The fall, which
misses STEVE by a hair's breadth, drives both he and KIRSTY
into the vestibule.

There is a further fall of rubble and timbers down the stairs,
effectively sealing off any escape route but the front door.

STEVE
Let's get the hell out of here.

STEVE crosses past her to the door. As he puts his hand on
the handle, KIRSTY looks down to see that the box in her
hand still has one piece unfinished.

KIRSTY
Don't!

Too late. He turns the handle. The door is flung open, and
THE ENGINEER, clinging to the sides of the door, swings down
into the hallway.

STEVE is flung backwards against KIRSTY. The box falls from
KIRSTY's hand. The beast moves to bite at STEVE, who scrambles
out of the way, leaving KIRSTY in the front line.

The box lies between KIRSTY and THE ENGINEER, which now uses
its forelegs to crawl over the hallway towards her, its legs
still bracing it in the door.

She snatches for the box. THE ENGINEER, its mouth oozing
fluids, almost catches her arm.

Again, she tries. This time one of its arms seizes hold of
KIRSTY and drags her towards its jaws.

Behind KIRSTY, STEVE snatches up a piece of plaster and flings
it in THE ENGINEER's face. It momentarily relaxes its grip
on KIRSTY, who slides her hand from its hold and claims the
box. She now has slime on her fingers. The box defies her
manipulations.

STEVE
Come on! Come on!

THE ENGINEER crawls towards them. Up above, the din of the
roof collapsing. Timbers and dust hurtle down the stairs.

KIRSTY
Shit. Shit. Shit.

THE ENGINEER is almost upon her. It rears up, its saliva
dropping on her.

And then, miraculously, the last piece of the box slots into
place.

The same vortex that seized the other CENOBITE seizes THE
ENGINEER. Howling its complaint, it is drawn out into the
darkness beyond the door, and disappears.

Its voice grows thin, and fades.

Finally, silence.

The house is still.

KIRSTY gets to her feet. STEVE does the same.

Together they move to the door, and out onto the step.

SCENE DELETED

EXT. NUMBER 55 - NIGHT

The roars and creaks from the house cease.

EXT. WASTELAND - NIGHT

The fire burns in a wasteland. KIRSTY and STEVE stand at a
distance watching it. Now KIRSTY starts towards it. STEVE
follows.

When she reaches the fire she throws the box into the flames.
They both watch it consumed. There is a look of satisfaction
in KIRSTY'S face: the damned thing is finally destroyed.

They leave the fire, heading off towards the street.

When they're some distance away a familiar figure, shambles
out of the darkness on the far side of the bonfire. It's the
DERELICT we first saw in the Pet Shop. He watches KIRSTY and
STEVE for a moment. Then he steps into the middle of the
fire.

The sound of the flames draws KIRSTY'S attention. She turns.

The DERELICT bends down and picks up something from the ashes.

KIRSTY
Steve...

STEVE now turns, and both of them watch as the DERELICT stands
up, burning from head to foot, with the box in his hand. It
is untouched by the flames.

We see the flames consume the DERELICT. The beard ignites
and burns away. The face crisps and curls, the flesh falls
away.

Beneath, blackness, in the midst of which we glimpse yellow
slits of eyes --

Then, a wind. The flames billow up around the figure, and
are just as suddenly extinguished.

The wind blows towards STEVE and KIRSTY, carrying ashes.

We have the P.O.V. of the ashes, rushing towards STEVE and
KIRSTY --

Suddenly, they, or the spirit in the wind, rises up over
KIRSTY and STEVE'S head. It climbs at a great rate, leaving
the two figures diminutive beneath,

And on the wind, the voice KIRSTY heard out of her radio,
the nameless evangelist --

EVANGELIST
The Devil hears you! The Devil sees
you! Every night, every day, the
Devil knows your souls!

DARKNESS

END CREDITS.

THE END

Contact | Disclaimer
Copyright © WeeklyScript.com | Scripts Copyright © their respective owners