HELLRAISER


                        A Screenplay
                             by
                        Clive Barker



(C)  Clive Barker 28.7.86




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.