HELLRAISER by CLive Barker - July 28, 1986 Draft



                         HELLRAISER


                        A Screenplay
                             by
                        Clive Barker
                        
                        
                                     Paragan Film Productions Ltd
(C)  Clive Barker 28.7.86            115 Flood Street,
                                     London.  SW3
                                     01-352-4195


1    TITLE SEQUENCE

     In darkness, a blood-curdling cacophony:  the squeal
     of unoiled winches, the rasp of hooks and razors
     being sharpened; and worse, the howl 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 naked scream.

     And with the sound, an image.

     A house:  NUMBER 55, LODOVICO STREET, an old, three
     storey, late Victorian house, with gaunt trees lining
     its overgrown garden.  Its curtains are drawn, there
     is newspaper over its top window.  The titles begin
     to run, as we approach the house down the driveway.

     We move inside, to the hallway.  The cries are
     louder now.

     Room by room, we explore the empty house, while the
     titles continue to run.  It has been left empty for
     many years, though much of its 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, gliding along the corridor of the
     lower landing.  The din is furious now.  On the
     floor of one room, a makeshift bed: blankets strewn;
     an open suitcase; more liquor.

     We move up a flight and approach a room off the upper
     landing, the door of which is ajar.  The light
     within swings backwards and forwards, spilling into
     the passageway.

     As we reach the door, the screams from within halt
     abruptly.

     We can hear a bell now, which has been pealing
     steadily throughout this opening sequence.

     As we move through the door, the titles end.


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?

                             KIRSTY
                       (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.

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

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

                             KIRSTY
                       (mouths the word)
                Great.

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

                             KIRSTY
                Maybe tomorrow.  I got to go
                look for a job.

                             LARRY (V.0.)
                O.K. Honey. Well you take care.
                I love you.

                             KIRSTY
                I love you too.

     She puts the receiver down.  As she does so the small
     table on which the 'phone is sitting collapses.  She
     covers her face with her hand.


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:

     INT.   UPPER LANDING   DAY

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

     Downstairs, the front door slams.

     LAP-DISSOLVE TO:

     INT.   TORTURE ROOM   DAY

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

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


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 a 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 re-
     decorated.

     We move to the party guests.  Two, we recognize:
     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.  All are drunk.
     A brandy bottle sits on the table between them, and
     half a dozen other liquer bottles besides.  STEVE,
     it soon becomes apparent, has his eyes on KIRSTY.

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

                             LARRY
                - always hated the sight of my
                own blood.  I go out like a light.
                Anybody else's?  no problem.  But
                mine ... you know ... goes straight
                to my head.  Anyhow, this 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.

                             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.   PIZZA RESTAURANT   DAY

     The din of a lunchtime restaurant, with all the tables
     full, and everyone hungry.   In the middle of the
     melee, KIRSTY is valiantly trying to do six things
     at once.  Somebody wants their order taken;  somebody
     else wants more lager;  somebody else is complaining.
     She's doing her best, but losing the battle.  She
     serves a table with their food, and then starts back
     to pick up another order.   As she does so she's
     harangued from every side.

                             1ST CUSTOMER
                Excuse me, Miss -

                             2ND CUSTOMER
                I'd like some more lager.

                             1ST CUSTOMER
                Miss!

                             KIRSTY
                In a moment.

                             2ND CUSTOMER
                Did you hear me?

     KIRSTY starts back to the counter.  As she does so
     somebody else's voice cuts through the din.

                             STEVE
                Hey, sex-bomb -

     She wheels round.

                             KIRSTY
                You keep your -
                       (sees Steve)
                Oh.
                       (smiles)
                Hi.

                             STEVE
                I just called in.  How about
                tonight?

                             KIRSTY
                I don't finish till twelve.

                             STEVE
                I'm a late riser.

     He grins.  She grins.

                             2ND CUSTOMER
                What do you have to do to get
                some service around here?

                             STEVE
                Catch you later.


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.

                             PRUDHOE
                Oh, come on.
                       (he takes hold of
                        her breast)
                It's what you brought me here
                for, isn't it?

                             JULIA
                Yes.  I just think we'd be
                better off upstairs.

                             PRUDHOE
                Oh.  Oh fine.


72   INT.  TORTUPE 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
                This your place?

                             JULIA
                Let's not talk about it.

                             PRUDHOE
                No personal details, right?

                             JULIA
                Right.

                             PRUDHOE
                You know, you're incredible -

     JULIA opens the door.

                             JULIA
                Come on in.  Make yourself at
                home.

     She steps inside.  PRUDHOE does as he's instructed.  He
     stares at the bare floor, as JULIA closes the door behind
     him.

                             PRUDHOE
                There's no bed.

                             JULIA
                That's right.

                             PRUDHOE
                Huh?

                             JULIA
                I prefer the floor.

                             PRUDHOE
                First time for everything, right?

                             JULIA
                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.  Much better.  I'd
                like some clothes.  And maybe
                a cigarette.

                             JULIA
                Then you tell me ... you
                explain what happened to you?

                             FRANK
                Of course.


101  INT.   TORTURE ROOM   DAY

     We pan across the walls as FRANK speaks.

                             FRANK (O.S.)
                I wanted access to experiences ...
                pleasures ... that only they
                could offer ...

                             JULIA (O.S.)
                The Cenobites.

                             FRANK
                That's what they call themselves.
                They're not human.  Maybe they
                were once, but they're not now.
                They rearrange their own flesh
                for pleasure.

     We've moved across to FRANK now.  He is dressed,
     in loose fitting jacket and trousers, through which
     his blood is seeping.  He smokes, taking great
     pleasure in the experience.

                             JULIA
                And the box?

     FRANK picks up the box.  Vague, tantalizing forms
     move over the surface, like ghosts.

                             FRANK
                It cost me a fortune.  All I
                had.  It's a puzzle you see.
                You solve it, and the Cenobites
                come through ...

                             JULIA
                Where from?

                             FRANK
                God knows.  Sometimes I think
                they're just behind the walls ...

     He turns the box over.  The lacquer catches the light.

                             JULIA
                So they cheated you

     In the lacquer we see oiled bodies moving.  It's
     difficult to be sure what the forms signify.  Is
     this torture, or some elaborate pleasure?

                             FRANK
                Oh no.  They kept to their
                bargain.  They gave me
                experiences I'd never forget ...

     The images in the lacquer are becoming clearer, and
     they are APPALLING.  Flesh torn open; blood running
     across sweating flesh; hooks, and terrible machines.

                             FRANK
                But their pleasure was my pain.

     His voice has begun to tremble.  The images in the
     box are more horrific by the moment.  And flowing
     between them, highly distorted, the CENOBITE's
     faces, and that of FRANK, screaming and screaming.

                             FRANK
                Terrible pain.  Appalling ...

     He can't speak for a moment.  After a pause, he goes
     on, his voice heavy.

                My body was forfeit.  But my
                spirit ... they left that here.
                In the boards.  In the walls.
                Watching the world, but never
                able to touch it ...

                             JULIA
                And the blood let you out?

                             FRANK
                There are ways to resurrection.
                Blood's one of them.  I won't
                let them take me back, Julia.

     JULIA looks at the horrors in the box, and understands
     his desire.

                             FRANK
                I want to be whole, and then
                get out -

     He lifts the box up.

                I won't let them take me.

                             JULIA
                You won't have to.  We'll be
                gone.  Somewhere they'll
                never find us.

     There's a rumble of thunder.

                Not in the whole wide world.


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.

                             KIRSTY
                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

     KIRSTY is lying in a bed in a private room.  A NURSE
     is at her bedside, monitoring her condition.

                             NURSE
                You're awake.

     She goes to the door.

                I'll get the doctor.

     She exits.

     KIRSTY tries to sit up.  Her head hurts, badly.  As she
     achieves a sitting position, the door opens.  The
     NURSE returns, with a DOCTOR.

                             DOCTOR
                       (approaching the bed)
                So ... you're back with us.

                             KIRSTY
                I think so.

                             DOCTOR
                How are you feeling?

                             KIRSTY
                Tender.

                             DOCTOR
                You took quite a beating.  Do
                you remember what happened?

     She looks at him, uncertain of where to start.

                             KIRSTY
                I want to speak to my father ...

                             DOCTOR
                       (nods)
                Of course.  We'll bring you a
                telephone.

     The NURSE exits.  The DOCTOR brings the box from his
     pocket.

                Maybe this'll jog your memory.

     He lays it on the bed.  She stares at it, her expression
     betraying nothing.

                I had the Devil's own job
                getting it out of your hand.
                Does it ring any bells?

     She shakes her head.

                Do you want it left?

                             KIRSTY
                Why not?

     He offers her a reassuring smile.

                             DOCTOR
                Chin up.  There's no serious
                damage.  And you're safe here.

                             KIRSTY
                Um.

     He leaves the room.

     KIRSTY picks up the box, tentatively.  She turns it
     over in her hand, examining it.


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

     KIRSTY is sitting up in bed.  On the bedside table,
     a telephone.  She is now thoroughly engrossed in the
     problems of the box.  Her fingers speed over the
     surfaces, looking for some way in, testing its
     strength.

     Suddenly, a click.  Her face lights up with pleasure,
     as she slides a part of the box open, revealing new
     intricacies.  And to accompany the revelation, a
     tinkling tune.

     She smiles.  It's a musical box.

     The light beside the bed flickers, but she doesn't
     notice.

     The door opens.  It's the NURSE.

                             NURSE
                Comfortable?

                             KIRSTY
                       (smiles)
                Sure.

                             NURSE
                Any luck with your father?

                             KIRSTY
                       (shakes her head)
                He's probably got a meeting.
                I called a friend of mine.  He's
                coming; is that O.K.?

                             NURSE
                Of course.

     The NURSE exits.  As she does go the light flickers again.
     The box clicks.  A new facet is revealed ...

     KIRSTY smiles.


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.

                             KIRSTY
                But he escaped you.

                             CENOBITE
                Nobody escapes us.

                             KIRSTY
                HE did.  I've seen him.  He's
                alive.

                             CENOBITE
                Is that so?   And what are you
                proposing?

                             KIRSTY
                I'll take you to him.  Then you
                take him instead of me.  Back
                wherever you come from.

     The CENOBITE stares at her unblinking.

                             CENOBITE
                Perhaps ...

                             FEMALE CENOBITE
                But if you cheat us ...

     The sound of THE ENGINEER, scratching on the other side
     of the wall.  The plaster cracks, violently.

                             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 the room.

     The door opens.   KIRSTY and the CENOBITES have gone.

     STEVE is there, with the NURSE.

                             STEVE
                She was trembling all over.

                             NURSE
                I'd better go look for her.

     The NURSE heads for the door.

                             STEVE
                Maybe she's gone back to her -

     He looks round. The NURSE has gone.

                             STEVE
                - father.

     His eyes have alighted on the box, which is lying on
     the bed.

     He picks it up.


151  EXT.   NUMBER 55   NIGHT

     Lights burn in the house, upstairs and down.


152  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, studying her face in the mirror.  We've seen
     her in many moods through the story:  now we see a
     mingling of fear and exhilaration on her face.  She gets
     up.  Laid out on the bed is,of all things, her wedding
     gown.


153  INT.   STEVE'S CAR   NIGHT

     STEVE drives towards Lodovico Street, scanning the streets
     for sign of KIRSTY.


154  EXT.   STREET   NIGHT

     As his car drives past, KIRSTY turns a corner.  He does
     not see her.   KIRSTY hurries along the street.  The
     wind is chilly.   Sometimes she hears a bell in it.


155  EXT.   LODOVICO STREET   NIGHT

     STEVE drives up to the house.  The lights are still
     burning.  He gets out of the car, and hurries down the
     path.


156  EXT.   DOORSTEP   NIGHT

     He knocks on the door.  There's no reply.


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.


158  EXT.   DOORSTEP   NIGHT

     STEVE starts round the back of the house.


159  INT.   BEDROOM   NIGHT

     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.


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 inthe 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.  She steps away from the door, back
     down the landing.

     The bell has begun to ring again, distantly, and there
     is the sound of wings in the air - thousands of birds -
     beating on the other side of the wall.

     KIRSTY starts down the stairs again.

                             JULIA
                Where are you going?

     KIRSTY doesn't reply.  She merely hurries away.

                             JULIA
                       (calling after
                        her)
                You leave this to us, you
                hear me?   We'll deal with
                the police -


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

     KIRSTY lifts a cloth off one of the boxes.

     Staring up from the box is the corpse of PRUDHOE, his
     eyes and mouth open in a silent shriek.

     She reels back from the box, terrified, backing into the
     shadows.

     An arm reaches for her, taking hold of her and dragging
     her back into darkness as the door opens.  FRANK stands
     on the theshold.   His breath is thick.  He shambles
     forward, but he doesn't see her.

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

     Back to the door, which clicks closed.

     KIRSTY breaks cover, and so does her saviour.  It's
     STEVE.  He is sweating with terror.

                             KIRSTY
                       (a whisper)
                What are you doing here?

                             STEVE
                Got in downstairs.  Looking
                for you.  What's going on?

     She shakes her head.   STEVE brings the box from his
     jacket.

                             STEVE
                You forgot something -

     She doesn't see what he's produced.  She's already
     moving to the door.  She listens.


178  INT.  UPPER LANDING   NIGHT

     The landing is empty.   The door of the Junk Room opens.

     KIRSTY steps out.

     The house is strangely still.  The lights swing a little;
     but otherwise ... nothing.  She advances along the
     passageway.  STEVE follows.  They reach the top of the
     stairs in safety.

                             STEVE
                       (signalled more than
                       spoken)
                I'll go first -

     As he speaks, FRANK steps out of the Torture Room,
     knife in hand.

     Roaring, he comes at them both.  KIRSTY flings herself
     out of the path of the knife.  FRANK swipes at STEVE,
     who falls backwards down the stairs.   He cries out,
     head hitting the stairs as he descends.

     The box falls from his unconscious hand.

     FRANK turns on KIRSTY, who avoids one slice of the knife,
     and another, but is driven back into the Torture Room.


179  INT.  TORTURE ROOM    NIGHT

     He's after her in a flash.

     She falls beside her father's body, her eyes meeting
     its skinned face.

                             KIRSTY
                God -

                             FRANK
                Don't cry for him.  He's dead.
                He always was.

     KIRSTY has been pushed to the limits of her endurance.
     She can be terrorized and pursued no longer.  Death
     looks an easy option by comparison with more of FRANK's
     horrors.

                             KIRSTY
                Go on.   Kill me.  I don't care.

                             FRANK
                Poor baby.

                             KIRSTY
                You bastard

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

                             KIRSTY
                Frank.

                             FRANK
                That's right.  Are you losing
                your mind, baby?  This is Frank
                you're talking to.  FRANK.

     As he speaks the bell begins tolling again.  FRANK looks
     puzzled.

                             FRANK
                What's going on?

     Light begins to pour through the walls of the room.

                No.

     He starts towards the door.  But he's too late.  The
     CENOBITES are standing in his way.  He backs off from
     them.

                             CENOBITE
                Frank -

                             KIRSTY
                       (to Cenobite)
                What took you so long?

                             FEMALE CENOBITE
                We had to hear it from his own
                lips -

     FRANK turns on KIRSTY.

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

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

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

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

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

                             CENOBITE
                       (to Kirsty)
                Out!

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

                             FRANK
                Bitch!

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


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.


183  INT.  STAIRS    NIGHT

     As she reaches the place where STEVE is half-sitting, half-
     lying, the house starts to growl as though its foundations
     are about to give way.  STEVE's nose is bleeding, and
     his face is bruised, but he's conscious.

                             KIRSTY
                We have to get out of here.
                They'll kill us for the fun of
                it.

     STEVE staggers to his feet.   KIRSTY picks up the box,
     which is on the lower landing. As she picks it up,
     the FEMALE CENOBITE steps from the shadows.

                             FEMALE CENOBITE
                Don't leave us yet -

     KIRSTY starts to try and manipulate the box in her hands.

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

     KIRSTY manages to slot one of the pieces of the box back
     into place.

                             FEMALE CENOBITE
                ... don't ...

     Her voice becomes a howl, and she's sucked away into
     darkness.

                             STEVE
                       (behind Kirsty)
                Jesus Christ.

     They start down to the half-landing.  There stands the
     CENOBITE in the dark-glasses, carrying the hooked rod
     he threatened STEVE with in the hospital.  Again,
     KIRSTY manipulates the box.  Again, the CENOBITE howls
     and is claimed by the darkness.


184  INT.  HALLWAY    NIGHT

     They hurry down to the hallway, half expecting another
     creature to step into their path.  Dust is falling from
     the ceiling, and there are cracks opening up  in the
     walls.  Any moment, surely, the whole place will be
     destroyed.

     JULIA's body has gone from the hallway;  a trail of blood
     leads into the dining room.

     As KIRSTY and STEVE stumble across the hallway, they hear
     JULIA's voice, off-screen, an eerie, ghostly voice.

                             JULIA
                Kirsty ...

     KIRSTY hesitates, and looks towards the door of the
     dining room.

     There stands the bride, her white dress soaked in blood,
     her veil covering her face.

                             KIRSTY
                Julia?

     KIRSTY takes a step towards her, but as she does so the
     veil rises of its own accord, and the chattering CENOBITE
     is beneath.

     KIRSTY slams the box closed.

     The CENOBITE howls, and disappears.

     STEVE heads for the door.  Turns the handle.

     As he does so, KIRSTY realizes there's one piece of the
     box 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  EXT.  DOORSTEP   NIGHT

     The door slams behind them, of its own accord.

     KIRSTY turns the sealed box over in her hand.

     There is a slit in it which has not quite closed.  Light
     suddenly pours from it, up into KIRSTY's face.  Her
     features are momentarily distorted, as if sucked towards
     the box.  From within:  shrieks, bells, music.

     Between the screams, FRANK's voice.

                             FRANK
                Come to Daddy!

     She slams the panel shut.  The distortions cease. So
     does the din.

                             KIRSTY
                       (quietly)
                Not tonight.

     A smile crosses her face, and she leaves the doorstep,
     making her way towards the street.  STEVE gazes at her,
     then follows.

     Their figures are erased by the darkness.

     Somewhere, a bell rings as ...

     THE CREDITS ROLLHELLRAISER


                        A Screenplay
                             by
                        Clive Barker
                        
                        
                                     Paragan Film Productions Ltd
(C)  Clive Barker 28.7.86            115 Flood Street,
                                     London.  SW3
                                     01-352-4195


1    TITLE SEQUENCE

     In darkness, a blood-curdling cacophony:  the squeal
     of unoiled winches, the rasp of hooks and razors
     being sharpened; and worse, the howl 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 naked scream.

     And with the sound, an image.

     A house:  NUMBER 55, LODOVICO STREET, an old, three
     storey, late Victorian house, with gaunt trees lining
     its overgrown garden.  Its curtains are drawn, there
     is newspaper over its top window.  The titles begin
     to run, as we approach the house down the driveway.

     We move inside, to the hallway.  The cries are
     louder now.

     Room by room, we explore the empty house, while the
     titles continue to run.  It has been left empty for
     many years, though much of its 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, gliding along the corridor of the
     lower landing.  The din is furious now.  On the
     floor of one room, a makeshift bed: blankets strewn;
     an open suitcase; more liquor.

     We move up a flight and approach a room off the upper
     landing, the door of which is ajar.  The light
     within swings backwards and forwards, spilling into
     the passageway.

     As we reach the door, the screams from within halt
     abruptly.

     We can hear a bell now, which has been pealing
     steadily throughout this opening sequence.

     As we move through the door, the titles end.


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?

                             KIRSTY
                       (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.

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

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

                             KIRSTY
                       (mouths the word)
                Great.

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

                             KIRSTY
                Maybe tomorrow.  I got to go
                look for a job.

                             LARRY (V.0.)
                O.K. Honey. Well you take care.
                I love you.

                             KIRSTY
                I love you too.

     She puts the receiver down.  As she does so the small
     table on which the 'phone is sitting collapses.  She
     covers her face with her hand.


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:

     INT.   UPPER LANDING   DAY

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

     Downstairs, the front door slams.

     LAP-DISSOLVE TO:

     INT.   TORTURE ROOM   DAY

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

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


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 a 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 re-
     decorated.

     We move to the party guests.  Two, we recognize:
     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.  All are drunk.
     A brandy bottle sits on the table between them, and
     half a dozen other liquer bottles besides.  STEVE,
     it soon becomes apparent, has his eyes on KIRSTY.

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

                             LARRY
                - always hated the sight of my
                own blood.  I go out like a light.
                Anybody else's?  no problem.  But
                mine ... you know ... goes straight
                to my head.  Anyhow, this 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.

                             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.   PIZZA RESTAURANT   DAY

     The din of a lunchtime restaurant, with all the tables
     full, and everyone hungry.   In the middle of the
     melee, KIRSTY is valiantly trying to do six things
     at once.  Somebody wants their order taken;  somebody
     else wants more lager;  somebody else is complaining.
     She's doing her best, but losing the battle.  She
     serves a table with their food, and then starts back
     to pick up another order.   As she does so she's
     harangued from every side.

                             1ST CUSTOMER
                Excuse me, Miss -

                             2ND CUSTOMER
                I'd like some more lager.

                             1ST CUSTOMER
                Miss!

                             KIRSTY
                In a moment.

                             2ND CUSTOMER
                Did you hear me?

     KIRSTY starts back to the counter.  As she does so
     somebody else's voice cuts through the din.

                             STEVE
                Hey, sex-bomb -

     She wheels round.

                             KIRSTY
                You keep your -
                       (sees Steve)
                Oh.
                       (smiles)
                Hi.

                             STEVE
                I just called in.  How about
                tonight?

                             KIRSTY
                I don't finish till twelve.

                             STEVE
                I'm a late riser.

     He grins.  She grins.

                             2ND CUSTOMER
                What do you have to do to get
                some service around here?

                             STEVE
                Catch you later.


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.

                             PRUDHOE
                Oh, come on.
                       (he takes hold of
                        her breast)
                It's what you brought me here
                for, isn't it?

                             JULIA
                Yes.  I just think we'd be
                better off upstairs.

                             PRUDHOE
                Oh.  Oh fine.


72   INT.  TORTUPE 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
                This your place?

                             JULIA
                Let's not talk about it.

                             PRUDHOE
                No personal details, right?

                             JULIA
                Right.

                             PRUDHOE
                You know, you're incredible -

     JULIA opens the door.

                             JULIA
                Come on in.  Make yourself at
                home.

     She steps inside.  PRUDHOE does as he's instructed.  He
     stares at the bare floor, as JULIA closes the door behind
     him.

                             PRUDHOE
                There's no bed.

                             JULIA
                That's right.

                             PRUDHOE
                Huh?

                             JULIA
                I prefer the floor.

                             PRUDHOE
                First time for everything, right?

                             JULIA
                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.  Much better.  I'd
                like some clothes.  And maybe
                a cigarette.

                             JULIA
                Then you tell me ... you
                explain what happened to you?

                             FRANK
                Of course.


101  INT.   TORTURE ROOM   DAY

     We pan across the walls as FRANK speaks.

                             FRANK (O.S.)
                I wanted access to experiences ...
                pleasures ... that only they
                could offer ...

                             JULIA (O.S.)
                The Cenobites.

                             FRANK
                That's what they call themselves.
                They're not human.  Maybe they
                were once, but they're not now.
                They rearrange their own flesh
                for pleasure.

     We've moved across to FRANK now.  He is dressed,
     in loose fitting jacket and trousers, through which
     his blood is seeping.  He smokes, taking great
     pleasure in the experience.

                             JULIA
                And the box?

     FRANK picks up the box.  Vague, tantalizing forms
     move over the surface, like ghosts.

                             FRANK
                It cost me a fortune.  All I
                had.  It's a puzzle you see.
                You solve it, and the Cenobites
                come through ...

                             JULIA
                Where from?

                             FRANK
                God knows.  Sometimes I think
                they're just behind the walls ...

     He turns the box over.  The lacquer catches the light.

                             JULIA
                So they cheated you

     In the lacquer we see oiled bodies moving.  It's
     difficult to be sure what the forms signify.  Is
     this torture, or some elaborate pleasure?

                             FRANK
                Oh no.  They kept to their
                bargain.  They gave me
                experiences I'd never forget ...

     The images in the lacquer are becoming clearer, and
     they are APPALLING.  Flesh torn open; blood running
     across sweating flesh; hooks, and terrible machines.

                             FRANK
                But their pleasure was my pain.

     His voice has begun to tremble.  The images in the
     box are more horrific by the moment.  And flowing
     between them, highly distorted, the CENOBITE's
     faces, and that of FRANK, screaming and screaming.

                             FRANK
                Terrible pain.  Appalling ...

     He can't speak for a moment.  After a pause, he goes
     on, his voice heavy.

                My body was forfeit.  But my
                spirit ... they left that here.
                In the boards.  In the walls.
                Watching the world, but never
                able to touch it ...

                             JULIA
                And the blood let you out?

                             FRANK
                There are ways to resurrection.
                Blood's one of them.  I won't
                let them take me back, Julia.

     JULIA looks at the horrors in the box, and understands
     his desire.

                             FRANK
                I want to be whole, and then
                get out -

     He lifts the box up.

                I won't let them take me.

                             JULIA
                You won't have to.  We'll be
                gone.  Somewhere they'll
                never find us.

     There's a rumble of thunder.

                Not in the whole wide world.


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.

                             KIRSTY
                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

     KIRSTY is lying in a bed in a private room.  A NURSE
     is at her bedside, monitoring her condition.

                             NURSE
                You're awake.

     She goes to the door.

                I'll get the doctor.

     She exits.

     KIRSTY tries to sit up.  Her head hurts, badly.  As she
     achieves a sitting position, the door opens.  The
     NURSE returns, with a DOCTOR.

                             DOCTOR
                       (approaching the bed)
                So ... you're back with us.

                             KIRSTY
                I think so.

                             DOCTOR
                How are you feeling?

                             KIRSTY
                Tender.

                             DOCTOR
                You took quite a beating.  Do
                you remember what happened?

     She looks at him, uncertain of where to start.

                             KIRSTY
                I want to speak to my father ...

                             DOCTOR
                       (nods)
                Of course.  We'll bring you a
                telephone.

     The NURSE exits.  The DOCTOR brings the box from his
     pocket.

                Maybe this'll jog your memory.

     He lays it on the bed.  She stares at it, her expression
     betraying nothing.

                I had the Devil's own job
                getting it out of your hand.
                Does it ring any bells?

     She shakes her head.

                Do you want it left?

                             KIRSTY
                Why not?

     He offers her a reassuring smile.

                             DOCTOR
                Chin up.  There's no serious
                damage.  And you're safe here.

                             KIRSTY
                Um.

     He leaves the room.

     KIRSTY picks up the box, tentatively.  She turns it
     over in her hand, examining it.


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

     KIRSTY is sitting up in bed.  On the bedside table,
     a telephone.  She is now thoroughly engrossed in the
     problems of the box.  Her fingers speed over the
     surfaces, looking for some way in, testing its
     strength.

     Suddenly, a click.  Her face lights up with pleasure,
     as she slides a part of the box open, revealing new
     intricacies.  And to accompany the revelation, a
     tinkling tune.

     She smiles.  It's a musical box.

     The light beside the bed flickers, but she doesn't
     notice.

     The door opens.  It's the NURSE.

                             NURSE
                Comfortable?

                             KIRSTY
                       (smiles)
                Sure.

                             NURSE
                Any luck with your father?

                             KIRSTY
                       (shakes her head)
                He's probably got a meeting.
                I called a friend of mine.  He's
                coming; is that O.K.?

                             NURSE
                Of course.

     The NURSE exits.  As she does go the light flickers again.
     The box clicks.  A new facet is revealed ...

     KIRSTY smiles.


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.

                             KIRSTY
                But he escaped you.

                             CENOBITE
                Nobody escapes us.

                             KIRSTY
                HE did.  I've seen him.  He's
                alive.

                             CENOBITE
                Is that so?   And what are you
                proposing?

                             KIRSTY
                I'll take you to him.  Then you
                take him instead of me.  Back
                wherever you come from.

     The CENOBITE stares at her unblinking.

                             CENOBITE
                Perhaps ...

                             FEMALE CENOBITE
                But if you cheat us ...

     The sound of THE ENGINEER, scratching on the other side
     of the wall.  The plaster cracks, violently.

                             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 the room.

     The door opens.   KIRSTY and the CENOBITES have gone.

     STEVE is there, with the NURSE.

                             STEVE
                She was trembling all over.

                             NURSE
                I'd better go look for her.

     The NURSE heads for the door.

                             STEVE
                Maybe she's gone back to her -

     He looks round. The NURSE has gone.

                             STEVE
                - father.

     His eyes have alighted on the box, which is lying on
     the bed.

     He picks it up.


151  EXT.   NUMBER 55   NIGHT

     Lights burn in the house, upstairs and down.


152  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, studying her face in the mirror.  We've seen
     her in many moods through the story:  now we see a
     mingling of fear and exhilaration on her face.  She gets
     up.  Laid out on the bed is,of all things, her wedding
     gown.


153  INT.   STEVE'S CAR   NIGHT

     STEVE drives towards Lodovico Street, scanning the streets
     for sign of KIRSTY.


154  EXT.   STREET   NIGHT

     As his car drives past, KIRSTY turns a corner.  He does
     not see her.   KIRSTY hurries along the street.  The
     wind is chilly.   Sometimes she hears a bell in it.


155  EXT.   LODOVICO STREET   NIGHT

     STEVE drives up to the house.  The lights are still
     burning.  He gets out of the car, and hurries down the
     path.


156  EXT.   DOORSTEP   NIGHT

     He knocks on the door.  There's no reply.


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.


158  EXT.   DOORSTEP   NIGHT

     STEVE starts round the back of the house.


159  INT.   BEDROOM   NIGHT

     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.


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 inthe 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.  She steps away from the door, back
     down the landing.

     The bell has begun to ring again, distantly, and there
     is the sound of wings in the air - thousands of birds -
     beating on the other side of the wall.

     KIRSTY starts down the stairs again.

                             JULIA
                Where are you going?

     KIRSTY doesn't reply.  She merely hurries away.

                             JULIA
                       (calling after
                        her)
                You leave this to us, you
                hear me?   We'll deal with
                the police -


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

     KIRSTY lifts a cloth off one of the boxes.

     Staring up from the box is the corpse of PRUDHOE, his
     eyes and mouth open in a silent shriek.

     She reels back from the box, terrified, backing into the
     shadows.

     An arm reaches for her, taking hold of her and dragging
     her back into darkness as the door opens.  FRANK stands
     on the theshold.   His breath is thick.  He shambles
     forward, but he doesn't see her.

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

     Back to the door, which clicks closed.

     KIRSTY breaks cover, and so does her saviour.  It's
     STEVE.  He is sweating with terror.

                             KIRSTY
                       (a whisper)
                What are you doing here?

                             STEVE
                Got in downstairs.  Looking
                for you.  What's going on?

     She shakes her head.   STEVE brings the box from his
     jacket.

                             STEVE
                You forgot something -

     She doesn't see what he's produced.  She's already
     moving to the door.  She listens.


178  INT.  UPPER LANDING   NIGHT

     The landing is empty.   The door of the Junk Room opens.

     KIRSTY steps out.

     The house is strangely still.  The lights swing a little;
     but otherwise ... nothing.  She advances along the
     passageway.  STEVE follows.  They reach the top of the
     stairs in safety.

                             STEVE
                       (signalled more than
                       spoken)
                I'll go first -

     As he speaks, FRANK steps out of the Torture Room,
     knife in hand.

     Roaring, he comes at them both.  KIRSTY flings herself
     out of the path of the knife.  FRANK swipes at STEVE,
     who falls backwards down the stairs.   He cries out,
     head hitting the stairs as he descends.

     The box falls from his unconscious hand.

     FRANK turns on KIRSTY, who avoids one slice of the knife,
     and another, but is driven back into the Torture Room.


179  INT.  TORTURE ROOM    NIGHT

     He's after her in a flash.

     She falls beside her father's body, her eyes meeting
     its skinned face.

                             KIRSTY
                God -

                             FRANK
                Don't cry for him.  He's dead.
                He always was.

     KIRSTY has been pushed to the limits of her endurance.
     She can be terrorized and pursued no longer.  Death
     looks an easy option by comparison with more of FRANK's
     horrors.

                             KIRSTY
                Go on.   Kill me.  I don't care.

                             FRANK
                Poor baby.

                             KIRSTY
                You bastard

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

                             KIRSTY
                Frank.

                             FRANK
                That's right.  Are you losing
                your mind, baby?  This is Frank
                you're talking to.  FRANK.

     As he speaks the bell begins tolling again.  FRANK looks
     puzzled.

                             FRANK
                What's going on?

     Light begins to pour through the walls of the room.

                No.

     He starts towards the door.  But he's too late.  The
     CENOBITES are standing in his way.  He backs off from
     them.

                             CENOBITE
                Frank -

                             KIRSTY
                       (to Cenobite)
                What took you so long?

                             FEMALE CENOBITE
                We had to hear it from his own
                lips -

     FRANK turns on KIRSTY.

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

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

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

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

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

                             CENOBITE
                       (to Kirsty)
                Out!

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

                             FRANK
                Bitch!

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


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.


183  INT.  STAIRS    NIGHT

     As she reaches the place where STEVE is half-sitting, half-
     lying, the house starts to growl as though its foundations
     are about to give way.  STEVE's nose is bleeding, and
     his face is bruised, but he's conscious.

                             KIRSTY
                We have to get out of here.
                They'll kill us for the fun of
                it.

     STEVE staggers to his feet.   KIRSTY picks up the box,
     which is on the lower landing. As she picks it up,
     the FEMALE CENOBITE steps from the shadows.

                             FEMALE CENOBITE
                Don't leave us yet -

     KIRSTY starts to try and manipulate the box in her hands.

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

     KIRSTY manages to slot one of the pieces of the box back
     into place.

                             FEMALE CENOBITE
                ... don't ...

     Her voice becomes a howl, and she's sucked away into
     darkness.

                             STEVE
                       (behind Kirsty)
                Jesus Christ.

     They start down to the half-landing.  There stands the
     CENOBITE in the dark-glasses, carrying the hooked rod
     he threatened STEVE with in the hospital.  Again,
     KIRSTY manipulates the box.  Again, the CENOBITE howls
     and is claimed by the darkness.


184  INT.  HALLWAY    NIGHT

     They hurry down to the hallway, half expecting another
     creature to step into their path.  Dust is falling from
     the ceiling, and there are cracks opening up  in the
     walls.  Any moment, surely, the whole place will be
     destroyed.

     JULIA's body has gone from the hallway;  a trail of blood
     leads into the dining room.

     As KIRSTY and STEVE stumble across the hallway, they hear
     JULIA's voice, off-screen, an eerie, ghostly voice.

                             JULIA
                Kirsty ...

     KIRSTY hesitates, and looks towards the door of the
     dining room.

     There stands the bride, her white dress soaked in blood,
     her veil covering her face.

                             KIRSTY
                Julia?

     KIRSTY takes a step towards her, but as she does so the
     veil rises of its own accord, and the chattering CENOBITE
     is beneath.

     KIRSTY slams the box closed.

     The CENOBITE howls, and disappears.

     STEVE heads for the door.  Turns the handle.

     As he does so, KIRSTY realizes there's one piece of the
     box 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  EXT.  DOORSTEP   NIGHT

     The door slams behind them, of its own accord.

     KIRSTY turns the sealed box over in her hand.

     There is a slit in it which has not quite closed.  Light
     suddenly pours from it, up into KIRSTY's face.  Her
     features are momentarily distorted, as if sucked towards
     the box.  From within:  shrieks, bells, music.

     Between the screams, FRANK's voice.

                             FRANK
                Come to Daddy!

     She slams the panel shut.  The distortions cease. So
     does the din.

                             KIRSTY
                       (quietly)
                Not tonight.

     A smile crosses her face, and she leaves the doorstep,
     making her way towards the street.  STEVE gazes at her,
     then follows.

     Their figures are erased by the darkness.

     Somewhere, a bell rings as ...

     THE CREDITS ROLL