text:  HELLRAISER A Screenplay by Clive Barker Paragan Film Productions Ltd C Clive Barker  Flood Street, London. SW - - 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, 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. 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. HALLWAY DAY The wind is blaring as we watch the door of Number . 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 .K. .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. 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. HALLWAY DAY LARRY slams the front door. UPPER LANDING DAY The Torture Room door creaks closed again. LARRY from below Besides, it's an old house. 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. 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. TORTURE ROOM DAY The door opens a fraction. 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. 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. DOWNSTAIRS ROOM DAY The 'phone continues to ring. LARRY steps through and picks up the receiver. LARRY Hello ...? There's no answer. Hello ...? FRANK'S 'BEDROOM' DAY JULIA goes to the open suitcase, and looks at the photographs. DOWNSTAIRS ROOM DAY LARRY on'phone Is there anybody there? He puts down the 'phone. He goes back out into the hall. 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. STAIRS DAY LARRY is climbing the stairs. LARRY I'm surprised it's even connected The 'phone rings again. Shit. 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. DOWNSTAIRS ROOM DAY LARRY has picked up the 'phone. LARRY Who's there? KIRSTY barely audible Daddy? CUT TO 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. .) Kirsty? KIRSTY I got through. LARRY V.O.) Where are you? KIRSTY I found a room. DOWNSTAIRS ROOM DAY LARRY on 'phone What did you say? 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. .) I thought you were going to stay with us for awhile? KIRSTY pained No Dad. LARRY V. .) You'd like the house. KIRSTY YOU'D like my room. LARRY V. .) 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. .) 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. .) Well come over, will you? See the place? KIRSTY Maybe tomorrow. I got to go look for a job. LARRY V. .) 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. 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. 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. ST MAN We're not going to get it in. ND MAN Tip it! Tip it! LARRY Wait! Wait! Watch the fucking paint work. ST MAN Look, do you want the bed in or not? LARRY .S.) Just take it slowly. ST MAN Oh, sod you. ND MAN Eh, Chas, slow it down like the man says. LARRY It'll go in. ST 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. HALLWAY DAY The three sweating men have the bed wedged in the door. LARRY not seeing Julia Alright, let's give it another try. ND 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. ND 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. NUMBER 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. DOORSTEP DAY ND MAN seeing Kirsty It's my lucky day. KIRSTY Hi. ND 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. 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. ST MAN, out-stared by LARRY, looks away. The ND MAN is unperturbed. ND MAN That your daughter? LARRY Uh-huh. ND MAN grins oafishly Got her mother's looks. LARRY Her mother's dead. ND MAN's grin fades. ND MAN Oh. LARRY Julia's my second wife. ND MAN weakly Lucky man. LARRY Damn right. Now are we going to move the bed or not? 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. 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. 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. 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. HALLWAY DAY The men are struggling with the bed again. LARRY calls through Are you O.K.? KIRSTY from kitchen Sure. LOWER LANDING DAY Again, JULIA returns her gaze to the photograph. 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? LOWER LANDING DAY JULIA stares down at the photograph. Off scrren, KIRSTY's voice: KIRSTY 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. 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 LOWER LANDING DAY JULIA has gone. UPPER LANDING DAY The door of the Torture Room is pushed open. JULIA steps inside. 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. 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. ST MAN Have you got it? ND 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: 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 .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. 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: 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. TORTURE ROOM DAY JULIA is still staring into the light. She sobs, very quietly. JULIA a whisper Oh Frank 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! ST 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. ST 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 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. HALLWAY DAY The bed has been put down. ST MAN and ND MAN are putting on their coats. KIRSTY comes through from the kitchen. KIRSTY What's happening? ND MAN We're leaving. KIRSTY Where's my father? ST MAN He's fucked off. ND MAN mock chiding Eh LANGUAGE. ST MAN Sorry. He's gone upstairs. So we're fucking off too. ND MAN takes a sheet of paper from his jacket. ND MAN Will you sign for the bed? KIRSTY Sure. STAIRS DAY LARRY, his hand running with blood, climbs the last flight of stairs. LARRY weakly Julia 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. 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- UPPER LANDING DAY we continue to track, towards the Torture Room. Downstairs, the front door slams. LAP- 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 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. 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. UPPER LANDING NIGHT She approaches the Torture Room, and steps inside. 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. 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. HALLWAY NIGHT She starts up the stairs. She smiles to herself, thinking of STEVE. 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. BATHROOM NIGHT KIRSTY smiles at herself in the bathroom mirror, turns off the tap, opens the door and steps out onto the landing. 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. 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. 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. BEDROOM NIGHT LARRY snores loudly. JULIA lies beside him, wide awake, staring at the ceiling. LARRY turns over, muttering to himself. 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. NUMBER DAY The door opens. JULIA steps out of the house, and starts towards the street. As she does so, she glances round. WINDOW OF TORTURE ROOM DAY We approach the window, knowing that FRANK watches behind it. NUMBER DAY JULIA heads off down the street. 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. ST CUSTOMER Excuse me, Miss - ND CUSTOMER I'd like some more lager. ST CUSTOMER Miss! KIRSTY In a moment. ND 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. ND CUSTOMER What do you have to do to get some service around here? STEVE Catch you later. 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. 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. DOORSTEP DAY JULIA opens the front door. She is still very nervous, fumbling with the keys. PRUDHOE stands a pace behind her. 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. 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. 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. 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. LOWER LANDING DAY She crosses the landing and climbs the stairs to the Torture Room. 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? HALLWAY DAY Shot from the stairs of LARRY. He looks up the flight. He takes a step towards the stairs. TORTURE ROOM DAY JULIA takes a step backwards, her foot hitting PRUDHOE's corpse. 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. 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. 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. 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. HALLWAY DAY Again, LARRY Steps into the hallway, and gazes up the stairs. LARRY Are you there? He starts up. 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 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. 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. KIRSTY'S DREAM The thunder carries over to a dream. We are in the Dining Room of Number, 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 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. HALLWAY, NUMBER NIGHT A phone is ringing. LARRY crosses the hallway, bleary-eyed, and disappears from sight. The phone is picked up. LARRY'S VOICE Hello? 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. TORTURE ROOM NIGHT FRANK stands in the corner of the room, breathing softly in the shadows. TELEPHONE ROOM NIGHT LARRY is on the phone. LARRY I'm O.K., honey. It's all right 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. 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. LOWER LANDING DAY LARRY returns to the bedroom. JULIA 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. 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. 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: 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. DINING ROOM DAY JULIA sits, sipping a drink, her face still unreadable. 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. TORTURE ROOM DAY We pan across the walls as FRANK speaks. FRANK I wanted access to experiences pleasures that only they could offer JULIA 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. 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. 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. 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. 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. 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 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. 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. 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. 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. LODOVICO STREET - DAY A wind blows, carrying autumn leaves before it. And on the wind, the distant pealing of bells. DOORSTEP OF NUMBER 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. LODOVICO STREET DAY At the corner of the street now: KIRSTY. She watches, puzzled. DOORSTEP OF NUMBER 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. LODOVICO STREET DAY KIRSTY stands, bewildered by what she's seen. LOWER LANDING DAY From the top of the stairs we watch JULIA lead SYKES upstairs. SYKES I get lonely sometimes. JULIA Everybody does. STREET DAY KIRSTY starts towards the house. 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. FRONT OF HOUSE DAY KIRSTY starts down the path. 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. DOORSTEP DAY KIRSTY hears SYKES scream. She freezes. Then steps back from the doorstep and looks up at the house. 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! HOUSE DAY KIRSTY makes her way around the back of the house. 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! KITCHEN DAY SYKES' scream covers the sound of KIRSTY forcing the back door open. She steps inside. 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. KITCHEN/DINGING ROOM/HALLWAY DAY KIRSTY moves through the house, and starts to climb the stairs. LOWER LANDING DAY Half way up the stairs, the scream stops. She climbs the rest of the way surrounded by a graveyard hush. 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. LOWER LANDING DAY KIRSTY starts up the second flight of stairs. TORTURE ROOM DAY The same slowed, soundless horror, as SYKES reaches the door. FRANK is a pace behind him. UPPER LANDING DAY KIRSTY reaches the top as - TORTURE ROOM DAY The door from inside the room. SYKES pulls it open - 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. 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! UPPER LANDING DAY KIRSTY propels herself out of the Room, and down the stairs, while FRANK vents his anger above her. HALLWAY DAY She flings open the front door, and pitches herself - bleeding and bruised - into the daylight beyond. NUMBER 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. 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 Are you all right? The CAMERA swings giddily around in the direction of the speaker. A WOMAN comes into view. WOMAN Do you need any help? As she speaks, the picture fades to white. KIRSTY'S DREAM PART TWO The whiteness continues to fill the screen. Distant, incoherent voices are heard, and the thump of blood in the inner ear. Then darkness seeps into the whiteness, patterns like Rorschach inkblots: ambiguous, yet interpretable as sexual or horrific imagery. With the darkness, soaking over the scene like blood through the sheet in her first dream, fragments of FRANK's previous dialogue. FRANK Come to Daddy. KIRSTY This isn't happening. FRANK Some things have to be endured The darkness is filling the screen take it from me Now, total darkness. Come to Daddy And suddenly, she wakes. 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. 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 - 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. NUMBER NIGHT The front door closes. LARRY inside Julia? 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. 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. CORRIDOR TO HELL NIGHT We look back at her, a diminutive figure framed against a shot of light, from way, way down the corridor. 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? CORRIDOR TO HELL NIGHT She steps into the corridor. The walls rise into darkness on either side of her, their surfaces like the 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. 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. NUMBER NIGHT Lights burn in the house, upstairs and down. 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. STEVE'S CAR NIGHT STEVE drives towards Lodovico Street, scanning the streets for sign of KIRSTY. 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. 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. DOORSTEP NIGHT He knocks on the door. There's no reply. 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. DOORSTEP NIGHT STEVE starts round the back of the house. 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. 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. BEDROOM NIGHT JULIA dresses. 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! 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. 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. 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'. 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 - 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. 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 - 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 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. 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. 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. 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. 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. 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. 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 - 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. 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. 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. 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. 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. 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. 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. 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. 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. 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 