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Hellraiser (1987)

by Clive Barker.
Based on his novel "The Hellbound Heart".
Final script, 7/28/86

More info about this movie on IMDb.com


FOR EDUCATIONAL PURPOSES ONLY


1.    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.



2.    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.


3    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
	0.K.  0.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.

	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.


4    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.


5    INT.   HALLWAY   DAY

LARRY slams the front door.


6    INT.   UPPER LANDING   DAY

The Torture Room door creaks closed again.

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


7    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.

	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.


8    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.


9    INT.    TORTURE ROOM   DAY

The door opens a fraction.


10   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.

	Larry!

		LARRY
	I hear you.

He starts up the stairs.


11   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.

	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.


12   INT.   DOWNSTAIRS ROOM   DAY

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

		LARRY
	Hello ...?

There's no answer.

	Hello ...?


13   INT.   FRANK'S 'BEDROOM'   DAY

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


14   INT.   DOWNSTAIRS ROOM    DAY

		LARRY
		(on'phone)
	Is there anybody there?

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


15   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.


16   INT.   STAIRS   DAY

LARRY is climbing the stairs.

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

The 'phone rings again.

	Shit.


17   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.


18   INT.   DOWNSTAIRS ROOM   DAY

LARRY has picked up the 'phone.

		LARRY
	Who's there?

		KIRSTY
		(barely audible)
	Daddy?

						CUT TO


19   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 unpretensious 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.0.)
	Kirsty?

		KIRSTY
	I got through.

		LARRY   (V.O.)
	Where are you?

		KIRSTY
	I found a room.


20   INT.   DOWNSTAIRS ROOM   DAY

		LARRY
		(on 'phone)
	What did you say?


21   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.0.)
	I thought you were going to
	stay with us for awhile?

		KIRSTY
		(pained)
	No Dad.

		LARRY (V.0.)
	You'd like the house.

		KIRSTY
	YOU'D like my room.

		LARRY (V.0.)
	Do you want me to come over?

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

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

		     LARRY (V.0.)
	  Well I want you to see the house.

		     KRISTY
	  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 orang-utan, 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.

		     KRISTY
		    (mouths the word)
	  Great.

		     LARRY (V.0.)
	  Well come over, will you ?
	  See the place ?

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

		     LARRY (V.0.)
	  What for, honey ?  You know we can
	  look after you.  You've made the
	  gesture -

		     KRISTY
	  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.

		     KRISTY
	  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.

		     KRISTY
	  Of course.  Every day.

		     LARRY (V.O.)
	  O.K.

		     KRISTY
	  Take care, Dad.

		     LARRY (V.O.)
	  Call me tomorrow.

		     KRISTY
	  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.


22   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.


23   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 (0.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.


24   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.


25   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.


26   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.


27   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)
	Suprise.

		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?


28   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.


29   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.


30   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.


31   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.


32   INT.   HALLWAY   DAY

The men are struggling with the bed again.

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

		KIRSTY
		(from kitchen)
	Sure.


33   INT.   LOWER LANDING   DAY

Again, JULIA returns her gaze to the photograph.


34   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.

	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?


35   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 bath-
	room.

		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.


36   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.  Centre
	of the known universe.

Silence from outside.

	Julia?

		(she puts her head
		 out of the bathroom)


37   INT.   LOWER LANDING   DAY

JULIA has gone.


38   INT.   UPPER LANDING   DAY

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


39   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.


40   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:


41   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 (0.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 beraggled 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.


42   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:


43   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 torsoes.  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.


44   INT.   TORTURE ROOM   DAY

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

		JULIA
		(a whisper)
	Oh Frank ...


45   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.

	Damn it, will you take the -

The side of his hand is impaled bythe 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 ...


46   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.


47   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)
	Eh ... 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.


48   INT.   STAIRS   DAY

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

		LARRY
		(weakly)
	... Julia ...


49   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 againts
		 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.

	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.


50   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:

50A  INT.   UPPER LANDING    DAY

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

Downstairs, the front door slams.

LAP-DISSOLVE TO:

50B  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 ...


50C	 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.


50E    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.


51	  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 liquer bottles besides.  STEVE,
it soom becomes apparent, has his eyes on KRISTY.

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.

	  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 KRISTY'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.


52   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.


53   INT.   UPPER LANDING   NIGHT

She approaches the Torture Room, and steps inside.


54   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.

	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.


55   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.


56   INT.   HALLWAY   NIGHT

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


57   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.


58   INT.   BATHROOM   NIGHT

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


59   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.


60   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.


61   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.


62   INT.   BEDROOM   NIGHT

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

LARRY turns over, muttering to himself.


63   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.



64   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.


65   EXT.   WINDOW OF TORTURE ROOM    DAY

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


66   EXT.   NUMBER 55   DAY


JULIA heads off down the street.


67   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
KRISTY, 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.

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

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

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

It's clear that KRISTY 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 KRISTY.
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 -

		     KRISTY
	  It looks quite healthy to me -

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

		     KRISTY
		    (to child)
	  What ?

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

The CHILD takes KRISTY 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, KRISTY finds the DERELICT, with his hand in a
vivarium of grasshoppers.  He is chewing.

		     KRISTY
	  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.

		     KRISTY

	  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.

		     KRISTY
	  Oh my God.

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

		     MOTHER
	  How disgusting.

		     KRISTY
	  Oh God.

She turns and finds herself face to face with STEVE.
A monkey screams, accompanying her turn, makes her
jump.

		     KRISTY
	  Oh !

		     STEVE
	  Are you alright ?

		     KRISTY
	  I've been better.

		     STEVE
	  Your father told me you were working here.

		     KRISTY
	  If I make it through the day.

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

		     KRISTY
	  No, it's good to see you.

The monkey continues to chatter.

		     STEVE
	  Are you busy after work ?

		     KRISTY
	  Just trying to get my apartment
	  in order.

		     STEVE
	  Can I lend you a hand ?

		     KRISTY
	  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.


68   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.

	 ... 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.


69    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.


70    EXT.  DOORSTEP   DAY

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


71    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 every-
	 thing.

		 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 meaness.

		     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.


72.  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.

	 ... I'm so sorry ...

She raises the hammer.

	 ... 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.


73    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.


74    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.


75    INT.  LOWER LANDING    DAY

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


76    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.

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

She nods.

	 Good.  Come here.

She stares, unable to move.

	 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?


77    INT.  HALLWAY    DAY

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

He takes a step towards the stairs.


78    INT.  TORTURE ROOM    DAY

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


79    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.


80    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.


81    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.


82    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.


83    INT.  HALLWAY     DAY

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

		 LARRY
	 Are you there?

He starts up.


84    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.

	 Are you all right?

		 JULIA
	 Just feeling a bit sick.

		 LARRY
	 Oh, babe ...


85    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.


86    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 horrer at this.

	 - 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.

	 ... 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.


87    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 shrounded 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

88    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.

	 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.


89    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?


90    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.


91    INT.  TORTURE ROOM   NIGHT

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


92    INT.  TELEPHONE ROOM   NIGHT

LARRY is on the phone.

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


93    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.


94    INT.  TELEPHONE ROOM    NIGHT

		 LARRY
	 Never better.  You sleep well.

		 KIRSTY (on phone)
	 Yeah.

		 LARRY
	 I love you, honey.

		 KIRSTY (on phone)
	 I love you too.

LARRY puts down the phone.


95    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.


96    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.


97    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:


98    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.


99    INT.  DINING ROOM    DAY

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


100  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:

101  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 tease 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.


101A	INT: KIRSTY'S ROOM  NIGHT


Music from the radio: a love song.  The radio is badly
tunded: 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.


102  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.


103  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.


104  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.

	- I'll go see.

		LARRY
	No.  I'll do it.

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


105  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.


106  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.

	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.

	You're shaking.

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

	There's nothing to be afraid
	of.

He kisses her neck, his hands restless on her.

	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 ...


107  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.

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

He kisses her again.


108  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.

	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.


109  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.

	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.


110  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.

	Tomorrow?

She looks at him.


111  EXT.   LODOVICO STREET - DAY

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


112  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.


113  EXT.   LODOVICO STREET   DAY

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


114   EXT.   DOORSTEP OF NUMBER 55   DAY

A 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.


115  EXT.   LODOVICO STREET   DAY

KIRSTY stands, bewildered by what she's seen.


116  INT.   LOWER LANDING   DAY

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

		SYKES
	I get lonely sometimes.

		JULIA
	Everybody does.


117  EXT.   STREET   DAY

KIRSTY starts towards the house.


118  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.


119  EXT.   FRONT OF HOUSE   DAY

KIRSTY starts down the path.


120  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.

	What ?

FRANK steps from the shadows.

	Jesus Christ.

JULIA hits him with the hammer.


121  EXT.   DOORSTEP   DAY

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


122  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!


123  EXT.   HOUSE   DAY

KIRSTY makes her way around the back of the house.


124  INT.   TORTURE ROOM   DAY

SYKES has taken hold of JULIA, and is using her as
a shield against FRANK, whos 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!


125  INT.   KITCHEN   DAY

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


126  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.


127  INT.   KITCHEN/DINGING ROOM/HALLWAY   DAY

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


128  INT.   LOWER LANDING   DAY

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


129  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.


130  INT.   LOWER LANDING   DAY

KIRSTY starts up the second flight of stairs.


131  INT.   TORTURE ROOM   DAY

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


132  INT.   UPPER LANDING   DAY

KIRSTY reaches the top as -


133  INT.   TORTURE ROOM   DAY

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


134  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.


135  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 Lakes 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.

	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.

	NO!


136  INT.   UPPER LANDING   DAY

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


137  INT.   HALLWAY   DAY

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


138  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.


139  EXT.   LODOVICO STREET   DAY

A series of shots from KIRSTY'S P.O.V., as she staggers
along the street.  The sound-track 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.

A 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.


140  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.

		KRISTY
	This isn't happening.

		FRANK
	Some things have to be endured ...

The darkness is filling the screen.

	... take it from me ...

Now, total darkness.

	... Come to Daddy ...

And suddenly, she wakes.


141  INT.     HOSPITAL ROOM   NIGHT

KRISTY 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.  KRISTY groans. The NURSE stands up and crosses to the
bed.

			  NURSE
		You're awake.  Good girl.

			  KRISTY
		What happened to me?

			  NURSE
		I'll get the doctor.

			  KRISTY
		Wait a moment -

The NURSE is already at the door.

			  KRISTY
		(agitated)
		Who brought me in here?

			  NURSE
		I won't be a moment.

As soon as she's gone KRISTY 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.

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

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

			  KRISTY
		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 KRISTY
back between the sheets.  Unwillingly, she goes.

			  KRISTY
		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.

			  KRISTY
		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.

			  KRISTY
		I don't remember.

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

			  KRISTY
		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.

			  KRISTY
		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.


142  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 -


143  INT.     HOSPITAL ROOM   NIGHT

KRISTY 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.

			  KRISTY
		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.

			  KRISTY
		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 -

KRISTY shakes her head.

			  KRISTY
		You wouldn't believe me.

			  NURSE
		Try me.

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

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

			  KRISTY
		Steve.

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

144  EXT.	NUMBER 55   NIGHT

The front door closes.

			  LARRY
		  (inside)
		Julia?


145  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 your-
	self -

She turns and starts up the stairs.  He follows.


146  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.


147  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.


148  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?


149  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.


150  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 Con-
	figuration.

		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.

			  KRISTY
		But he escaped you.

			  CENOBITE
		Nobody escapes us.

			  KRISTY
		HE did.  I've seen him.

			  FAT CENOBITE
		Impossible.

			  KRISTY
		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?

			  KRISTY
		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.


151  INT.     STAIRWELL   NIGHT

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


152  EXT.     NUMBER 55    NIGHT

Lights burns in the house, upstairs and down.


153  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?


154  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 exhiliration 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.


155  EXT.     STREET   NIGHT

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


156  EXT.     STREET   NIGHT

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


157  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.


158  SCENE DELETED



159  SCENE DELETED


160  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.


161  INT.   BEDROOM   NIGHT

JULIA dresses.


162  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!


163  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.


164  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.


165  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.
		(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'.


166  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 -

			  KRISTY
		No.  That wasn't the deal.

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

			  KRISTY
		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?

KRISTY ignores her and hurries down to LARRY.

			  KRISTY
		Get the fuck out of here.

			  LARRY
		What's the problem?

			  KRISTY
		PLEASE.  You're in danger.

			  LARRY
		No.  It's all over.

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


167  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.


168   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 -


169   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.


170   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.


171   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.


172   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.


173  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.


174  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.


175  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 -


176  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.


177  INT.     JUNK ROOM   NIGHT

KRISTY 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.  KRISTY'S eyes are wild with terror.

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

KRISTY breaks cover.  She crosses to the door and listens.
There's no sound.  Cautiously, she opens the door.  The landing
outside is deserted.


178  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.


179  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.

			  KRISTY
		Oh my God.

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

KRISTY 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.

			  KRISTY
		You bastard -

			  FRANK
		Poor baby.

			  KRISTY
		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 KRISTY.

		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.


180  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.


181  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.


182  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.


182A INT.	STAIRS   NIGHT

She hurries down the stairs, the walls creaking and groaning.
It's dark; the air full of groans.


182B 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.


183  INT.	STAIRS   NIGHT

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

			   FEMALE CENOBITE
		 No need to leave so soon -

There is more knocking on the door.

			   KRISTY
		 Keep away from me.


183A 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.


184  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 KRISTY'S ears.

The FEMALE CENOBITE is on the Lower Landing now.  KRISTY 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.

			 KRISTY
		 Stay the fuck away from me.

She starts to manipulate the box.

			 CENOBITE
		 We've got such sights to show you -

			 KRISTY
		 You can keep them.

The FEMALE CENOBITE has appeared at the door behind KRISTY, 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 KRISTY,
but she has the knack of the box now.  The FEMALE is also sucked
away into nothingnesss, her scream fading.


184A 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.


184B INT.	STAIRS   NIGHT

KRISTY starts down the stairs again, as the falls of dust
increase.  At the bottom of stairs, an extraordinary sight:
a bride, heavily veiled.  KRISTY 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.

			 KRISTY
		 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 KRISTY 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, KRISTY 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.


185	 SCENE DELETED.

185A	EXT.  NUMBER 55  NIGHT

The roars and creaks from the house cease.

186	 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 extinguised.

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.
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