Actor Point >> Movie Scripts >> Hellraiser 3: Hell on Earth Film Script

Hellraiser 3: Hell On Earth Movie Script

Writer(s) : Peter Atkins, Tony Randel

Genres : Fantasy, Horror

Search IMDb : Hellraiser 3 Hell On Earth


           
          
          
          
                          HELLRAISER III: HELL ON EARTH
          
          
          
                                   Written by
          
                                  Peter Atkins
          
          
          
                                Original Story by
                           Peter Atkins & Tony Randel
          
              
          
          
          
          
          
          
          
          
          
          
          1st Draft  May 8 1991                 Bobbi Thomson
          Revised   May 29 1991                 William Morris Agency
          Revised  June 13 1991                 151 El Camino Drive
          Revised  July 1 1991                  Beverly Hills CA 90212
          
          
                                                                      1
          
          EXT.   DERELICT STREET   TWILIGHT
          
          Night is falling in a forgotten part of the city.
          
          The street-lights are a joke - three out of four are dead.
          Only a large moon and some cloud-streaked stars illuminate this
          dark and derelict street.
          
          Once the hub of an industrial area, now the buildings are
          abandoned, the sidewalks choked with litter and debris.  Stores
          are boarded-up, windows are glassless, walls are graffitied.
          
          At various points, several BUMS warm their hands at trash-can
          fires.
          
          ANGLE ON TWO BUMS
          
           - as their eyes move, following something moving down the
          street.  Heard OFF is the sound of a smooth and powerful
          engine.
          
          ANGLE ON STREET
          
          Down this boulevard of decay and despair drives an
          incongruously expensive car - a Range Rover. A rich kid is
          going shopping.
          
          The car cruises the ruins until it pulls up outside the only
          open store on the block.
          
          ANGLE ON STORE
          
          A dim light bulb shines within - the only indicator that the
          store is still trading.  Its windows are grimy, its door
          defaced.  Above the door - barely legible through the accrued
          dirt of city years - a sign; CARDUCCI'S ANTIQUES AND CURIOS.
          
          ANGLE ON CAR
          
          The side door opens - helped on its way by the kick of an
          expensive leather boot - and JP MONROE steps out.
          
          JP is 24, rich, handsome, and spoiled. His hair is slick with
          designer-grease, his slim frame is wrapped in a $600 leather
          jacket.
          
          For a moment he surveys the store and casts contemptuous
          glances up and down the ruined street.  He shows no anxiety at
          being in this twilight part of town.  Cocooned in the
          confidence of wealth, he's never felt threatened in his life.
          Satisfied he's in the right place, he walks confidently through
          the doorway.
          
          
          
                                                                      2
          
          INT.   CARDUCCI'S ANTIQUES   NIGHT
          
          The store itself looks like an antique - old wood panelling and
          shelving, Victorian display cases, and faded wallpaper.  It is
          grimy, dusty, and dimly-lit - and apparently unattended.
          
          It is packed with merchandise - shelves and aisles overflow
          onto the floor making the place a maze to walk through.
          
          The stock is a strange surreal mix.  Discarded items from 50's
          America (Norge fridges, toasters, Frankie Lymon albums) share
          space with older items; framed pictures, Victorian automata,
          wax dolls, and (a specialty of the store?) items of punishment;
          stocks, iron boots, chastity belts, whips. Could that really
          be an Electric Chair glimpsed in the shadowed back of the room?
          
          ANGLE ON JP
          
          He wanders through the merchandise, casting appraising glances
          at some items.  Some he even runs his hands over - grimacing at
          the dust and grime they leave on his fingers.  But his manner
          suggests he is looking for something specific.
          
          Near the room's center is an old hoarding from the dead days of
          vaudeville and travelling shows.  It is tall and broad and is
          leaning against something behind it.
          
          ANGLE ON HOARDING
          
           - which is colorfully and garishly decorated and full of
          hyperbolic come-ons to long-dead punters:
          
          YOU WILL BE AMAZED! THEY SHOULDN'T BE ALIVE! FREAKS OF NATURE!
          AN EDUCATIONAL SHOW FOR ALL THE FAMILY PRESENTED UNDER THE
          AUSPICES OF PROFESSOR EMMANUEL BOCKLIN, TRAGEDIAN AND
          MENAGERIST.
          
          ANGLE ON JP
          
           - as he moves the hoarding aside.
          
                                     JP
                        Wow ...
          
          REVEALED is a six-foot tall black rectangular pillar, covered
          in beautifully detailed 3-D carvings all in the same matt-black
          finish as the pillar itself.  The pillar is extremely bizarre,
          as if a New York avant-garde sculptor has interpreted a Totem
          Pole for jaded modern tastes.  The carvings are of dead rats,
          copulating skeletons,  filigree-patterned boxes, and faces.
          
          One of these faces - recognizable to the audience but not to JP
          - is the ossified visage of PINHEAD, the demon from the first
          two HELLRAISER pictures.
          
                                                                      3
          
          ANGLE ON JP
          
           - as he leans in to study this face, already fascinated by its
          calm cruelty and promise of dark wisdom.
          
          A voice OFF startles him.
          
                                     BUM
                        You want it?
          
          JP whirls round in shock.  A BUM is standing close to him.
          
          ANGLE ON BUM
          
          He has long matted black hair and a similarly greasy beard.
          His eyes are a piercing, excited blue.  Otherwise he is
          indistinguishable from those we saw on the street outside -
          ragged, tatty clothes, features blackened with grime.
          
          ANGLE ON JP
          
           - as he glances round the store and past the bum to the door
          beyond; has this character just wandered in from the street?
          
                                     JP
                        Is it yours?
          
          ANGLE ON BOTH
          
          The Bum smiles, shaking his head knowingly.
          
                                     BUM
                        No.  Not mine.  Yours.
          
          JP nods, still a little uncertain.
          
                                     JP
                        How much do you want for it?
          
                                     BUM
                        Whatever you think its worth.
          
          JP digs a hand into his back pocket and pulls out a wad of
          cash.  Without counting or checking, he proffers it.
          
          The Bum's hand flies out and siezes JP's, pressing the money
          between their palms, making the exchange into a handclasp.
          
          In the background, OUT OF FOCUS, is Pinhead's face on the
          pillar.
          
                                     BUM (OFF)
                        Enjoy ...
          
          
                                                                      4
          
          The FOCUS switches so that the hands in foreground BLUR and
          Pinhead's frozen face becomes SHARP, as if he is silently
          watching this deal take place.
          
          The Bum's hand moves away with the money as we
          
          FADE TO BLACK
          
          
          INT.   HOSPITAL EMERGENCY ROOM   NIGHT
          
          BLACKNESS.   Voice OVER.
          
                                     JOEY
                        It's a mystery to me ...
          
          SMASH-CUT to full-frame VIDEO IMAGE image of JOANNE
          SUMMERSKILL, standing and looking directly into camera, as if
          we are watching a TV broadcast.  In shot behind her is a quiet
          hospital Emergency Room - no patients, no staff, just beds and
          intensive-care equipment.
          
          Joanne - or JOEY, as she prefers to be called - is 23 years
          old, an attractive and clever brunette, with a quiet sadness in
          her eyes that she usually manages to keep almost hidden.
          
          Dressed in the stylish but sedate garb of a TV newsperson, she
          holds a microphone marked with the logo of her station, W-QQY.
          
          Her direct address to the unseen TV camera continues.
          
                                     JOEY
                        Most nights this inner-city Emergency
                        Room would be a chaos of blood and panic
                        and grace under pressure.  But tonight,
                        as you see, it's like Death took a
                        holiday.  It's a mystery to me ... A
                        mystery how those assholes at
                        Assignments knew it.  This is Joey
                        Summerskill for W-QQY.  Emergency Room.
                        No story.  Really, really pissed off.
          
          Despite the nature of her last few words, Joey has ironically
          kept up the manner and delivery of a newscaster.  Now, she
          breaks mood, looks away from the camera, and, with a dismissive
          wave of the hand, begins to walk out of shot.
          
                                     JOEY
                        Ah, break it down, Doc.  It's a bust.
          
          CUT TO WIDE
          
           - to reveal that we are not watching a broadcast at all but
          are in the ER in real time.  As well as Joey, the room contains
          her cameraman ("DOC" FISHER) and an ER NURSE.
                                                                      5
          
          Doc - a 45 year old with a weight problem, a nicotine
          addiction, and a cynical attitude - lowers a shoulder-mounted
          Video camera and watches Joey walk to a water-cooler against a
          wall. His expression is a mix of exasperation and sympathy.
          
          The Nurse is a middle-aged woman of Asian ancestry.  She has a
          puzzled expression as she addresses Doc.
          
                                     NURSE
                        She can talk like this on television?
                        She can say this thing?  This assholes?
          
          Doc replies but keeps his eyes on Joey as he crosses to her.
          
                                     DOC
                        No sweat, sweetheart.  It's for the
                        European satellite ....  Joey; rein it
                        in, kid.  They couldn't've known.
          
          Joey sucks angrily at water from a paper-cup and then crushes
          and bins the cup like an act of revenge.
          
                                     JOEY
                        I know.  I know.  But it's just so ...
                        neat, isn't it?  The first gig that
                        isn't cute kids or diet gurus and it's
                        taken away from me.
          
                                     DOC
                        Yeah, well like you said - it's a
                        mystery.  But that's all it is.
                        Mystery.  Not malice.  What, you think
                        the station paid off every accident
                        victim in the city to ... ?
          
          Doc is interrupted by the RINGING of a cell-phone he has
          holstered at his waist.  He picks it up.
          
                                     DOC
                        Speak.
          
                                     CELLPHONE
                        Doc.  24th and Cedar.  Fast.  Hostage
                        situation.
          
                                     DOC
                        OK.  Listen - Joey's here.  Shall ...
          
                                     CELLPHONE
                        No need.  Martin's already there.
                        Hurry.  You've got ambulances to beat.
          
          The line goes dead.  Doc looks at Joey.  She heard it all.  He
          shrugs apologetically.
          
                                                                      6
          
                                     JOEY
                        Better hurry, Doc.  A real story.  With
                        a real reporter.
          
                                     DOC
                        Joey ....  Look, you wanna ride?  I can
                        go by your place.
          
                                     JOEY
                        You'd lose the money-shots.  No.  I'll
                        catch a bus.  Or a cab.  Don't worry
                        about it.  Go.
          
                                     DOC
                        OK.  Be careful.  And lighten up.  Story
                        of your life could be right round the
                        corner.
          
                                     JOEY
                        That is the story of my life.
          
          With a rueful smile, Joey watches Doc leave.
          
          Joey and the Nurse exchange glances - Joey's impassive but
          vaguely friendly, the Nurse's a little disapproving; if the
          camera's gone, what the hell are YOU still doing here?
          
          
          INT.   HOSPITAL CORRIDOR   NIGHT
          
          Joey makes her solitary way along a medium-length corridor
          that has two sets of double swing doors at either end, one set
          giving on to the ER, the other toward an exit.  Joey is heading
          for the latter, her mood sad and defeated.
          
          ANGLE ON EXIT DOORS
          
          Suddenly - SMASH! - the doors burst open from the other side.
          
          ANGLE ON CORRIDOR
          
          The mood is suddenly fast and urgent as a gurney is wheeled
          rapidly through the doors.
          
          Two PARAMEDICS, both male, both about Joey's age, are pushing
          the gurney at a run and talking rapidly to each other.  They
          completely ignore Joey and also ignore the TEENAGE GIRL who is
          running beside the gurney.
          
          The girl - TERRI - is 18 or 19.  She is a pale-faced blonde
          dressed as if for a Desperately-Seeking-Susan party and is
          keeping up a stream of chatter as if rehearsing excuses.
          
          
          
                                                                      7
          
          As Joey flattens herself against the corridor wall to let them
          pass, it is neither the paramedics nor Terri that get her
          attention.  It is the BOY on the gurney.
          
          ANGLE ON GURNEY/BOY
          
          The teenage boy lies flat on his back semi-conscious, his
          eyelids fluttering, his breathing shallow.
          
          Horribly, shockingly, dangling from his face and body are long,
          heavy chains that drag and rattle along the corridor floor.
          There are at least sixteen of them and they seem firmly buried
          in his skin.
          
          ANGLE ON CORRIDOR
          
          The DIALOGUE as the gurney is rushed to the ER doors is RAPID-
          FIRE and OVERLAPPED, the Paramedics responding only to each
          other and ignoring the two girls comments and questions.
          
                                     TERRI
                        It wasn't my fault.  It wasn't my fault.
          
                                     PARAMEDIC 1
                        10 milligram IV Valium stat.  How the
                        fuck did this happen ... ?!
          
                                     TERRI
                        It was outside.  I wasn't even with him.
          
                                     PARAMEDIC 2
                        You ever see anything like this before?
          
                                     TERRI
                        He must have stolen it.
          
                                     JOEY
                        What's going on?
          
                                     PARAMEDIC 1
                        Yeah, sure.  Five times a fucking day.
                        Just push!
          
          Once the gurney has passed her, Joey runs along behind it.
          
                                     TERRI
                        It was off the statue.  In the club.
          
                                     JOEY
                        What happened to him?
          
                                     PARAMEDIC 2
                        Think they'll get him back?
          
          
                                                                      8
          
                                     TERRI
                        It's nothing to do with me.
          
                                      PARAMEDIC 1
                        Worst case of status I've seen.  Even
                        money at best.
          
          The foot of the gurney slams into the ER doors and the
          Paramedics slide it rapidly through.
          
                                     JOEY
                        Wait!  I'm a reporter!  Tell me where he
                        was ...
          
          ANGLE ON ER THROUGH DOORS
          
          The Nurse and a middle-aged DOCTOR are seen through the doors
          preparing emergency equipment.  The Doctor already has
          fibrillator pads in his hands.
          
          The Paramedics follow the gurney through and, turning rapidly,
          push the doors closed from the inside.
          
          ANGLE ON CORRIDOR
          
          Joey and Terri are alone, excluded from the ER activity. Joey
          turns to speak but Terri is already halfway to the other doors.
          
          Joey runs after her.
          
                                     JOEY
                        Hold on.  Hold on, please.  I need
                        talk to you.
          
                                     TERRI
                               (over her shoulder)
                        It's nothing to do with me.  I wasn't
                        even with him.
          
          Joey catches up with her a couple of yards short of the doors.
          She grabs at her arm to slow her down.
          
          Terri turns, snatching her arm away in a sudden moment of fierce
          anger.  She backs toward the doors, making gestures of
          dismissal and denial with her hands.
          
                                     TERRI
                        Look, lady!  I told you!  It's not my
                        problem!  I was just there!
          
                                     JOEY
                        Where?
          
          
          
                                                                      9
          
                                     TERRI
                        Under The Underground.  Can I like GO
                        now?!
          
                                     JOEY
                        Under the Underground?  What's that?
                        Where is ...
          
          Suddenly, the conversation is interrupted by a shatteringly
          loud SCREAM, agonized and terrified, coming from the ER.
          
          Both girls freeze but then their reactions are very different:
          Joey turns instantly and runs back toward the ER.  Terri
          watches her for a beat and then heads through the other doors.
          
          The SCREAM continues, a howling horrible sound.
          
          Joey reaches the ER doors and throws them open.  And freezes in
          terrified shock.
          
          
          INT.  EMERGENCY ROOM   NIGHT
          
          THE DOCTOR
          
           - is on the floor, as if flung there by some powerful force.
          The fibrillator pads are still in his hands and his expression
          is awe-struck and disbelieving.
          
          THE NURSE
          
           - is cowering behind a mobile tray of surgical instruments,
          muttering to herself and making the gesture of the cross.
          
          THE TWO PARAMEDICS
          
           - are flattened against the far wall, terror on their faces.
          
          ANGLE ON TABLE
          
          The Boy is on the emergency table.  It's him that's screaming.
          His body is arched tight in shock, eyes and mouth wide open.
          
          He's wired up to an ECG and the MONITOR shows a heartbeat that
          should be measured on the Richter scale.
          
          The chains - all still connected to his face and his body - are
          rigid and tight, being pulled straight up into the air as if
          tugged taut by invisible hands.
          
          The boy's skin is stretched and pulled at those points where
          the chains are connected to him and it seems horribly possible
          that his flesh will burst if the pressure continues.
          
          
                                                                      10
          
          The scene is held for a terrible frozen moment.  Then suddenly
          the chains drop, the scream stops, and the boy's body slumps.
          
          There is a massive ELECTRICAL SURGE.  The ECG flat-lines before
          it and the other monitors go haywire, sparking and spluttering.
          
          CUT TO WIDE
          
          The lights in the room flicker and strobe.
          
          The fibrillator pads arc angrily. The Doctor flings them away.
          
          ELECTRIC ENERGY seems to run along the slumped chains and they
          disappear as if dissolved in some impossible electric meltdown.
          
          Lighting and machinery return to normal (ECG still flat-lining)
          and the medical staff stare thunder-struck at the dead boy.
          
          For the first time, the other people in the ER become aware of
          Joey's presence in the doorway.
          
                                     DOCTOR
                        Who's that?  Get her out of here!
          
          The Nurse heads for the doors.  Joey is already backing away.
          
          ANGLE THROUGH DOORS INTO CORRIDOR
          
           - as Joey backs away, an expression of numbed shock on her
          face.  The doors close over, blocking her out.
          
          ANGLE ON FIBRILLATOR PADS
          
           - still arcing.
          
          CROSS-FADE TO
          
          
          INT.   CROSS-TOWN BUS    NIGHT
          
          CLOSE on flickering neon light in the bus cabin.
          
          ANGLE ON JOEY
          
           - glancing at the light from her seat.
          
          JOEY'S POV - VARIOUS ANGLES
          
          The bus is almost deserted.  Three other passengers - A PUNK, A
          BAG LADY, and A WINO - are spread out around the interior.  All
          seem lost in worlds of their own but their vacant alienated
          stares highlight Joey's isolation and tension.  Fear has
          entered her life.
          
          
                                                                      11
          
          The bus moves through the neon-lit loneliness of downtown
          streets.
          
          ANGLE ON JOEY
          
           - her face, lit by reflected store-signs and street-lights, is
          lost and distant, as if she is submerged in some dream-sea of
          memory and sadness.
          
          INT.   TV STATION, EDITING SUITE   DAY
          
          A wall of TV monitors, each monitor showing Joey sitting on a
          couch with a painfully thin older woman - BRITTANY VERTUE.
          
          Brittany's probably 50 but her face is as tight and smooth as
          surgery can make it.  She is dressed in the standard uniform of
          the health-avatar; brightly-colored leotard over black tights.
          
          Joey has a big paperback book - BEYOND HUNGER; THE BRITTANY
          VERTUE GUIDE TO HOLISTIC DIETING - which she holds to camera.
          She smiles and, turning to face Brittany, crosses her legs.
          
          The image freezes.  And replays.  Joey crosses her legs again.
          And again.  And again.
          
                                     BRAD
                                    (over)
                        See?  This is what I mean.  Your
                        technique is all wrong.
          
          CUT TO WIDE
          
          Joey (in real time) is sitting in an easy chair in the editing
          suite looking at the wall of monitors.
          
          BRAD, a techie in his late-twenties, and DOC FISHER are in
          swivel chairs immediately in front of the video console.
          
          All three are drinking coffee.  Doc is smoking a cigarette.
          
                                     JOEY
                                  (guardedly)
                        What do you mean?
          
                                     BRAD
                        I mean hardly any thigh.  I'm telling
                        you, Joey; shorter skirt, more lift on
                        the leg-cross ... and you're made.
          
          Doc chuckles in a half-friendly, half-sleazy way.
          
                                     JOEY
                        Fuck you.
          
          
                                                                      12 
          
                                     BRAD
                        What, you think I'm kidding?  I
                        guarantee it.  An inch more flank.  Boys
                        upstairs get hot.  Bingo, you're an
                        anchor-woman.
          
                                     JOEY
                                 (to herself)
                        Jesus Christ ...
          
                                     DOC
                        Ah, give her a break.
          
          Doc leans over and stops the tape.
          
                                     BRAD
                                   (to Doc)
                        What's with you?
          
          He swivels his chair round to face Joey.
          
                                     BRAD
                        C'mon, Joey.  I'm just trying to help
                        you hit a home run here.
          
                                     JOEY
                        Yeah?  Well, you just struck out.  It
                        may be a surprise to you, Brad, but I
                        want to do it the right way.  Not tight
                        skirts.  Tight stories.
          
                                     BRAD
                        Right.  Like last night's doozie.
          
                                     JOEY
                        I know what I saw.
          
                                     BRAD
                        And I believe what you say.  But this is
                        TV.  No pictures, no story.
          
                                     DOC
                        Yeah, too bad I had to go and ...
          
                                     BRAD
                        ... and cover something on Planet Earth.
                        See, you gotta remember, Joey; this is a
                        LOCAL station.  As in local to this
                        galaxy.
          
          Joey slams her coffee mug down and stands up.
          
                                     JOEY
                        There's a story out there.
          
                                                                      13
          
                                     BRAD
                               (jumping in warningly)
                        Not on station time.
          
                                     JOEY
                        No.  Not on station time.  My story.  My
                        time.
          
          Joey exits.  Brad watches her leave with a half-smile on his
          face then turns to Doc.
          
                                     BRAD
                        Lot of attitude there, Doc ...
          
          He starts up the video tape again and, on the monitors, Joey
          once again crosses her legs on the couch.
          
                                     BRAD
                        ... but great legs.
          
          
          INT.   UNDER THE UNDERGROUND   NIGHT
          
          CLOSE on a screaming male face, twisted as in pain or fury.
          
          PULL BACK rapidly to REVEAL the face belongs to the lead singer
          of THANATOS.  He is on a nightclub stage with the rest of the
          band, all of them dressed in that shit-poor-white-trash-on-dope
          look favored by all such rich young businessmen with guitars.
          
          A tatty banner across the back of the stage proclaims: UNDER
          THE UNDERGROUND PRESENTS THANATOS.
          
          The SCREAM ends, replaced with the roaring thunder of drums and
          guitars as Thanatos kick into some thrash-metal.
          
          The dance-floor of the club is packed with KIDS dancing to the
          incredibly fast, incredibly loud music.
          
          Many of the kids favor the same look as the band but it's not
          exclusive; college types are there too, along with some - male
          and female - sporting the glitz-meets-sleaze look of Terri.
          
          The club itself is of course dimly-lit and the basic decor is
          black.  Where it is distinguished from hundreds of others is in
          the bizarre sculptures and pieces of artwork that hang from the
          ceiling and walls, all in tones of black, silver and gray:
          
          VARIOUS ANGLES ON SCULPTURES
          
          A headless, armless torso wrapped in barbed wire.
          
          A pair of male and female heads.  Bonsai-like trees grow out of
          every orifice - eye-sockets, nostrils, ears, and mouths.
          
                                                                      14
          
          A human arm with the skin and flesh of its upper half peeled
          open and pinned out to reveal inside - instead of bone and
          sinew - an entire miniature metropolis, beautifully detailed.
          
          A black bird cage containing a fetal skeleton.
          
          VARIOUS ANGLES ON CLUB
          
          Kids also crowd the bar and the tables on the outskirts of the
          dance floor.  It is a hot, sweaty, faintly aggressive
          atmosphere - people jostling for position, shouting to be
          heard, etc etc.
          
          The camera finds Joey - incongruous by dress and demeanor -
          pushing her way among the crowd.
          
          The music is too loud and overpowering to hear Joey's voice but
          it is clear as she moves through the confines of the club that
          she is approaching various people and enquiring after Terri.
          
          FOUR KIDS AT A TABLE
          
          - shake their heads and shrug.
          
          A PUNK
          
          - stares blankly and blinks.
          
          TWO BIMBOS
          
          - giggle, purse their lips, shake their heads.
          
          JOEY
          
           - catches sight of a blonde figure moving across the dance
          floor and pushes through the crowd to follow.  She taps the
          figure's arm but, as it turns, she realizes it is a man - some
          70's revivalist GLITTER-ROCKER.  He looks quizzically at her.
          
          Joey's mouth moves and this time she seems to get some
          response.  The Glitter-Rocker mouths a name.
          
          Joey can't hear him.  She hands him a business card and a pen.
          
          He scrawls a name on the back of the card and Joey nods her
          thanks as he moves on.
          
          CLOSE ANGLE ON CARD
          
           - as Joey reads the name "Terri" on it.  She flips the card to
          reveal her name and number and writes "Terri - Please call!".
          
          ANGLE ON BAR
          
          
                                                                      15
          
           - as Joey pushes to the counter and hands the card to a BARMAN
          who looks at it, nods, and puts it beneath the counter.
          
          ANGLE ON EXIT
          
           - as Joey makes her way out.
          
          ANGLE ON DANCE FLOOR
          
          Camera moves into the tightly-packed throng on the dance floor,
          making its way slowly toward the previously unseen center.
          
          The crowd parts slightly to reveal, in the direct center of the
          floor, the tall black pillar from the opening sequence.
          
          The pillar is mounted on a plinth and spins as the clientele
          dance around it.  It seems very in keeping with the decor of
          the club but even so it is a strong unsettling presence.
          
          The pillar has been mounted upside down, so that it looks even
          odder than our first glimpse of it.  Near the bottom the
          inverted face of Pinhead, black and frozen, can be seen.
          
          The camera begins to spin around the pillar in contrary motion
          to the pillar's own movement and, as it does so, draws closer
          and closer making for a disorienting, vertiginous image.
          
          As this happens, the raucous sound of the band Thanatos begins
          to fade into a whirl of ECHO and to be replaced by a whirring,
          spinning, sound which we only recognize fully as we
          
          CUT TO
          
          
          EXT.   DENSE JUNGLE   DAY     (JOEY'S DREAM)
          
          The screen is filled with dense jungle foliage.
          
          The chugging spinning sound is now identifiable as the sound of
          Helicopter blades, one element of a SOUND MONTAGE conveying the
          sense and feel of a Jungle War; Helicopters in flight, machine
          gun fire, distant explosions, confused shouts and cries.
          
          A POV camera pushes its way through the lush, humid greenery.
          
          The camera seems to be searching for something, glancing this
          way and that, shoving leaves and tall grass aside.
          
          Voices begin to emerge clearly from the SOUND MASS off-screen
          as if the unseen seeker is getting nearer to his or her goal.
          
                                     SOLDIER 1
                                   (off)
                        Call for a Medi-Vac!
          
                                                                      16
          
                                     SOLDIER 2
                                   (off)
                        Don't die, man!  Don't fucking die!
          
          The dialogue prompts a more furious effort on the part of the
          POV camera.  Pushing frantically through the obscuring foliage,
          it finally gains a clearer view and stops, looking ahead.
          
          In a tiny clearing, ten feet from the camera, still partially
          obscured by the jungle, two camouflage-clad SOLDIERS lean over
          the prone body of a third.  It is unclear due to distance but
          there is a lot of blood on the Soldier's body and uniform.
          
          A new sound joins the SOUND MONTAGE - a persistent, rhythmic,
          ringing sound.  The other elements die away until only this is
          left and we recognize it as the sound of a telephone as we
          
          CUT TO
          
          
          INT.   BEDROOM, JOEY'S APARTMENT   NIGHT
          
          Joey jerks upright in bed as the ringing continues.  Confused
          and disoriented, her eyes fly around her darkened bedroom as if
          she's trying to understand where she is and what is happening.
          
          Finally, she registers the phone and leans toward her bedside
          table to pick it up.
          
          ANGLE ON BEDSIDE TABLE
          
           - favoring the luminous display of an alarm clock next to the
          phone.  Its warm green figures show the time is 2:35.
          
                                     JOEY
                               (off. Sleepily)
                        God.  This better be birth, marriage, or
                        death ...
          
          ANGLE ON JOEY
          
           - as she picks up the handset and puts it to her ear.
          
                                     JOEY
                        Uh-huh?
          
                                     TERRI
                               (on phone)
                        Uh ... Hi!  Is this ... er ... Joanne
                        Summerskill?
          
                                     JOEY
                        Joey.  Yeah, who is this?
          
          
                                                                      17
          
                                     TERRI
                        You like ... left me a card?  At the
                        club?
          
                                     JOEY
                        Right.  Right!
          
          Joey swings out of bed to sit on the edge, much more alert now.
          
                                     TERRI
                        Right ... So ... Well, what do you want?
          
                                     JOEY
                        I want to talk to you.  We met ... now,
                        listen, don't hang up, OK? ... We met at
                        the hospital last night.
          
                                     TERRI
                        Oh yeah.  Yeah.  Well ... Look, I'll
                        make a deal with you ... My boyfriend
                        threw me out, right?  I'll trade you.
                        You give me couch-space.  I'll give you
                        talk.  OK?
          
          Joey can't resist another glance at the clock.
          
                                     JOEY
                        Yeah.  Sure.  You mean ... tonight?
          
                                     TERRI
                               (Surprised at Joey's surprise.
                                Bit of a culture clash here)
                        Of course tonight.  Is that a problem?
                        Like, if you've got a guy there or
                        something ...
          
                                     JOEY
                        No.  No.  It's fine.  Come now.  I was
                        having bad dreams anyway.
          
          
          INT.   MAIN ROOM, JOEY'S APT.    NIGHT
          
          CLOSE on the front door of the apartment as it opens to reveal
          Terri leaning against the doorframe.
          
          Clad identically to how we last saw her, Terri clutches a well-
          stuffed leather bag, containing all her worldly possessions.
          
                                     TERRI
                        Hi.  How're you doing?
          
          Not waiting for either reply or invitation, she moves forward.
          
          CUT TO WIDE
                                                                      18
          
           - as Terri walks past the dressing-gowned Joey and heads
          straight for Joey's sofa and sprawls on it, laying her bag on
          the floor beside her.
          
                                     TERRI
                        You got anything to drink?
          
          Joey closes the door, raised eyebrows registering her slight
          disapproval at Terri's cavalier attitude.  Her voice, however,
          is polite.
          
                                     JOEY
                        I put some decaf on.  Er ... make
                        yourself comfortable.
          
                                     TERRI
                        Right.
          
          Joey walks past Terri and through to her kitchen, from where we
          hear the sound of COFFEE BEING POURED.
          
          Terri looks around at Joey's room.
          
          VARIOUS ANGLES ON ROOM
          
          The large and spacious room suggests that even if Joey is
          dissatisfied with her job she's at least being paid enough to
          make it bearable.  The room is very ordered, very neat, but
          stops short of being prissy.
          
          A very large picture window takes up all of one wall.  At the
          moment of course the drapes are closed.  Another wall is taken
          up by a huge shelf unit packed with books, videos, and CDs.
          Joey's obsession with "getting the whole story" seems to be
          true of her personal life as well as her professional.
          
          ANGLE ON TERRI
          
           - having finished her quick examination, she calls out.
          
                                     TERRI
                        So ... what was your bad dream?
          
          Joey re-enters, carrying two mugs of coffee.
          
                                     JOEY
                        What?
          
                                     TERRI
                        Your dream.  You said you were having a
                        bad dream.
          
                                     JOEY
                        Oh yeah ...
          
                                                                      19
          
          She hands one coffee to Terri and sits opposite her.
          
                                     JOEY
                        ... well, I've been having it for years.
                        It's not a nightmare or anything.  It's
                        ... well, I know what it is.
          
                                     TERRI
                        What is it?
          
                                     JOEY
                        Why are you so interested?
          
                                     TERRI
                        Sorry.
          
                                     JOEY
                        No.  No, it's OK.  I ... It's my father.
          
                                     TERRI
                               (sympathetic, knowing)
                        Oh, right.  Did he used to ... ?
          
                                     JOEY
                        God, no!  Nothing like that.  No, he
                        died before I was born.  He died in
                        Vietnam.  I never knew him.  Never met
                        him.  We don't even know the details.  I
                        dream of battlefields.  Of searching.
                        Of trying to find out.
          
                                     TERRI
                        That's great.
          
                                     JOEY
                        What?
          
                                     TERRI
                        No ... I mean, it's not like great about
                        your dad or anything.  It's just I don't
                        dream.  Never have.  ... Maybe it'd help
                        if I slept sometime ... Just kidding ...
                        No, so it's always neat for me to hear
                        about dreams.  I'm jealous.  It's like
                        everybody has another world except me.
                        You know what I mean?
          
                                     JOEY
                        I know what you're saying but ... Never?
                        You've never had a dream?  No, you know,
                        you do.  You must.  What you mean is you
                        don't remember them.
          
          
          
                                                                      20
          
                                     TERRI
                        Whatever.  All I know is - this is it
                        for me.  Just me, my bag, and a series
                        of shithead boyfriends.  It'd be good to
                        see something else.  Have a nighttime
                        life.  Be somebody different.
          
          Terri pauses, then smiles like she's just realized something.
          
                                     TERRI
                        Hey ... this is great, isn't it?  Just
                        girls talking.  Like having a
                        conversation?  Good coffee.  You got a
                        cigarette?
          
          Joey waits, letting herself catch up with Terri's good-natured
          but marginally strung-out personality.  She looks around the
          room as if trying to remember where there are cigarettes.
          
                                     JOEY
                        Uh ...  yeah.  Yeah, somewhere.  Wait a
                        minute.
          
          Joey crosses to the big shelf-unit and pulls out a concealed
          pack of cigarettes, a Zippo lighter, and an ashtray from behind
          a shelf of videos.  We notice that the videos are THE WORLD AT
          WAR, volumes 1 thru 26.  She brings the smokes to Terri.
          
                                     TERRI
                        Great.  Thanks.  You gonna have one?
          
                                     JOEY
                        I'm trying to quit.
          
                                     TERRI
                        Oh, go on.  Have one.  Fuck it.  You
                        think you're going to live forever?
          
          She smiles and proffers the pack to Joey who shrugs, smiles,
          and takes one.  Terri picks up the Zippo and sparks it. A huge
          FLAME leaps out of the lighter, producing an instant of terror
          from Terri.  Joey pulls the lighter back from Terri and closes
          the lid extinguishing the flame.  Terri draws a book of matches
          from her pocket shakily attempts to light her cigarette.
          
                                     JOEY
                        Sorry.  It was my father's.  It's
                        temperamental.
          
                                     TERRI
                        It's okay.  It's just someone burned me
                        once.
          
          
          
                                                                      21
          
          Joey takes the book of matches from Terri's hands and lights
          both cigarettes.  Terri takes a long, fearful look at the
          burning flame and then takes a deep, calming drag of her
          cigarette.
          
                                     TERRI
                        Wanna know how I look at it?  Way I see
                        it is ... you give up, right?  Three
                        days later, you get hit by a fucking
                        truck and you know - you just KNOW -
                        that your last thought as you go under
                        those wheels'd be "Jesus H. Christ, I
                        coulda smoked another three packs!"
          
          She lays the book of matches down.  Joey's eyes go to them.
          
          ANGLE ON MATCHES
          
          Black letters on the dark-grey cover: UNDER THE UNDERGROUND.
          
          ANGLE ON JOEY AND TERRI
          
          Terri's eyes flick to the match-book and her mood changes,
          becoming subdued and a little sullen.
          
                                     TERRI
                        Oh.  You wanna talk about that stuff.
          
                                     JOEY
                        Yes I do.  Terri, something awful
                        happened to that boy.  I have to find
                        out what it was.
          
                                     TERRI
                        But I don't know anything!  Really.  I
                        just came out of the club and the kid
                        was already in the street.  He ...
          
                                     JOEY
                        Did you know him?
          
                                     TERRI
                        No.  I'd seen him in there a few times
                        before.  He was just a punk.  I'd never
                        like danced with him or anything.
                        Anyway, he was a thief.  He must've
                        taken it from the statue.
          
                                     JOEY
                        Taken what?
          
                                     TERRI
                        The thing!  He was lying there in the
                        street, moaning.  But he pointed at it
                        ...
                                                                      22
          
                                     JOEY
                        Wait a minute.  He was already ...
                        wounded ... when you found him?
          
                                     TERRI
                        Yeah!  That's what I'm saying!  And it
                        was lying next to him.  And he pointed
                        at it before he passed out and ...
          
                                     JOEY
                        Wait.  Wait.  The chains.  Where did the
                        chains come from?
          
                                     TERRI
                        That's what I'm trying to tell you! ...
          
          Terri rummages in her bag, getting hold of something.
          
                                     TERRI
                        He said they came out of this.
          
          She holds her hand out and the camera TRACKS in to meet it.
          
          ANGLE ON TERRI'S HAND/BOX
          
          Resting on her palm is a black cube about 4 inches square.  It
          has the same matt-black carbonized look as the pillar and is
          recognizable as one of the "carvings" we saw on it.
          
          There is fine filigree pattern-work over each of its surfaces
          and, to audiences familiar with the HELLRAISER movies, the box
          is recognizable despite its black coating; it is the Lament
          Configuration, the puzzle box that opens the doors to Hell.
          
          There is a stubby shard of material protruding from one side of
          the box - presumably where the boy from ER had broken it off
          the pillar.  Camera favors this jagged shard as we
          
          CROSS-FADE TO
          
          
          INT.   UNDER THE UNDERGROUND   NIGHT
          
          ANGLE ON PILLAR
          
          VERY CLOSE on its upper left section.  We are looking at a hole
          in the pillar that matches the pattern of the shard on the Box.
          
          CUT TO WIDE
          
          The club is empty.  The dim lighting of working hours has been
          replaced with the sickly gleam of one or two fluorescent tubes
          and the club has that eerie not-quite-right look that all night
          places have when subjected to a harsher light.
          
                                                                      23
          
          Two WORKERS are in the final stages of clearing the night's
          debris - emptying trash into big black plastic bags, wiping
          down tables and bars etc.
          
          Work completed, they head to the main exit.
          
          One of them hits the light switches so that the fluorescent
          clarity is again replaced by the more appropriate dim lighting.
          The other shouts across the apparently deserted club.
          
                                     WORKER
                        All done, Mr. Monroe.
          
          They stand a second but no response comes.  The first turns to
          the second and shrugs.
          
                                     WORKER
                               (mouthing silently)
                        Ass hole.
          
          His co-worker grins and they let themselves out.
          
          A beat.  Another door opens into the club and JP Monroe - the
          club's owner and the man we saw buy the pillar -  walks into
          the main room of the club from his private room at the back.
          
          JP walks out into the shadowed darkness of his small kingdom.
          He describes a circle around the dance floor, throwing glances
          at his odd sculptures, and finally walks into the center of the
          room to stand before the pride of his collection, the pillar.
          
          The pillar of course is stationary at this time, though it is
          still mounted upside down.
          
          JP smiles possessively at the pillar - and then registers the
          mutilation where the Box has been ripped away.
          
                                     JP
                        What the ... ?
          
          He leans in closer to stare at the hole.
          
          Suddenly, jarringly, there is a quiet but distinct SQUEAK that
          seems to come from within the hole.
          
          JP starts back a little, a small expression of anxiety on his
          normally supercilious face.  He glances to right and left, gets
          a grip, and leans forward again.
          
          ANGLE ON PILLAR/HOLE
          
           - as, again, the noise comes.  Is it a squeak - or is it the
          creaking shifting of hidden machinery, hidden chains?
          
          
                                                                      24
          
          JP's hand moves tentatively into shot, approaching the hole.
          Slowly, slowly, it reaches wrist-deep into the blackness.
          
          ANGLE ON JP
          
          VERY CLOSE on JP's face - quizzical, enquiring ... and suddenly
          contorted in pain!
          
                                     JP
                        Aaaaaahh!!
          
          ANGLE ON PILLAR/HOLE
          
           - as JP's hand whips out of the hole, shaking in shock and
          pain.  A rat is hanging on to one of JP's fingers, its sharp
          teeth buried in the flesh!
          
          JP swings his arm violently through the air, dislodging the rat
          with the force of his swing.  A spray of blood is seen to come
          from JP's wounded finger.
          
          ANGLE ON RAT
          
           - as it lands heavily in a shadowed corner of the club and
          scurries away deeper into the darkness, squeaking furiously.
          
          ANGLE ON JP
          
           - as he looks down at his finger, face snarling.
          
                                     JP
                        Son of a ...
          
          ANGLE ON FINGER
          
          VERY CLOSE.  Blood seeps from the tiny teeth marks.
          
                                     JP
                                   (off)
                        ... bi ...
          
          JP's voice is cut off by a strange SIZZLING NOISE heard OFF.
          
          JP's face moves up to look at the pillar.  A look of awe and
          shock crosses his face.
          
          ANGLE ON PILLAR
          
          Some small drops of blood stand out bright red on the blackness
          of the pillar.  The sizzling noise is coming from them.
          
          Suddenly the drops draw together magically into one large ruby
          of blood - already larger than possibility would allow.  Then
          it gets wierder; the blood suddenly dissipates into six or
          seven little rivulets that begin to run down the pillar.
                                                                      25
          
          The streams of blood don't simply fall straight.  They seem to
          follow some pre-gouged pattern, running down the pillar tracing
          the blackened organic contours of the carvings.
          
          They all culminate at the point of Pinhead's chin - and then
          separate again, running over his frozen black face along the
          carved scar lines that make a matrix across his features.
          
          When every canal line on the demon's face is filled neatly with
          blood, a BLUE LIGHT seems to glow from within the pillar
          through Pinhead's face, giving it temporarily the blue tone he
          had enjoyed in (un)life.
          
          ANGLE ON JP
          
          CLOSE on his awe-struck face - bathed in reflected blue light.
          
          ANGLE ON PINHEAD
          
           - as gradually the blueness subsides again, the visible blood
          vanishing with it, leaving the same frozen implacable blackness
          as before but charged now with a waiting power.
          
          FADE TO BLACK
          
          
          INT.   KITCHEN, JOEY'S APT.   DAY      (NEXT MORNING)
          
          BLACKNESS
          
                                     JOEY
                                    (off)
                        Oh my God ...
          
          CLOSE ON STOVE TOP
          
          A frying pan sits atop a burner.  it contains the ugliest mess
          of scrambled eggs you have ever seen ... or perhaps it's an
          omelette.  There are other ingredients in there but they're
          burnt so black they're unrecognizable.  At least half of the
          mixture lies all over the stove top instead of in the pan.
          
                                     JOEY
                                    (off)
                        Did I sleep through an earthquake?
          
          VARIOUS ANGLES
          
           - showing the chaos all around the kitchen: Spilled flour on
          work surfaces; Egg-shells on the linoleum; A knocked-over glass
          of orange juice, the juice soaking into a piece of kitchen
          roll; Coffee as black and thick as a mix of Indian ink and
          molasses.
          
          CUT TO WIDE
                                                                      26
          
          Joey, in her dressing-gown, stands in the doorway with a
          shocked expression on her face.
          
          Terri, in an oversized man's shirt, stands by the stove holding
          a fish-slice and smiling nervously.
          
                                     TERRI
                        I figured I'd make breakfast.
          
                                     JOEY
                        Right ... That's ... er ... that's nice
                        of you, Terri.  Can I ask?  Is it always
                        this ... exploratory?
          
                                     TERRI
                        Ha!  I don't know yet.  First time.
                        Kitchen virgin, that's me.
          
          Joey nods slowly, crossing to a cabinet and taking out some
          instant coffee.
          
                                     JOEY
                        I'll boil some water.
          
                                     TERRI
                        I'll do it!
          
                                     JOEY
                        No!  No, that's OK.  I like to.  I love
                        boiling water.  It's a specialty of
                        mine.  Why don't you go watch cartoons?
          
          Joey watches Terri walk out of the kitchen, sighs in relief,
          and grabs the kettle.
          
          
          INT.   MAIN ROOM, JOEY'S AP'T.
          
          Joey sits, drinking her coffee, as Terri walks round the room
          with hers.
          
                                     TERRI
                        This is great.  And it's yours?  You
                        like own it?
          
                                     JOEY
                        The bank owns it.  But I'm working on
                        it.
          
                                     TERRI
                        Jeez, I've never owned anything.  I
                        haven't even had a room of my own since
                        I was fifteen years old.
          
          
                                                                      27
          
                                     JOEY
                        How have you ... ?
          
                                     TERRI
                        Guys.  Sometimes friends.  Mostly guys.
          
          Terri walks past Joey's TV set (sound down, cartoons playing).
          
          ANGLE ON TV
          
          The Box is on top of the TV.  In the warm light of morning it
          seems innocuous and harmless, like just another ornament.
          
          DIFFERENT ANGLE
          
           - as Terri walks on, pausing by the shelves of books.
          
                                     TERRI
                        Wow.  Lotta books.  You read all these?
          
                                     JOEY
                        No.  I buy them to impress people.  Of
                        course I've read them.
          
                                     TERRI
                        Cool.  I read a book once.  It was like
                        all these people discovering who they
                        used to be.  You know, like
                        reincarnation?  It was really good.  You
                        ever read that?
          
                                     JOEY
                        I don't think so.  But it's a
                        fascinating subject.  Did you ...
          
          But Terri has already moved on.  She is by the big picture
          window.  The drapes are now open.
          
                                     TERRI
                        Great view!  Great view!  Look at this!
          
          Joey stands and walks to join Terri.
          
                                     JOEY
                        Actually, I'm pretty familiar with the
                        view ...
          
          GIRLS' POV - THROUGH WINDOW
          
          Joey's apartment is on a high floor and her window overlooks
          many lower buildings, giving a view of the city beyond.
          
          
          
          
                                                                      28
          
                                     JOEY
                                    (off)
                        ... but it is good.  You know, over to
                        the left, you can ...
          
                                     TERRI
                               (looking to right and pointing)
                        Who's that?
          
          On the flat roof of a nearby building, a RETARDED TEENAGE BOY
          sits motionless in an old rusty deck chair next to a small
          Jerry-built pigeon coop.  Its door is open and it is empty.
          
          The boy is some distance from the girls but his solitude, his
          stillness, and the empty coop beside him lend the scene an
          atmosphere of sadness and loss.
          
          As Joey tells his story, we INTERCUT between the POV of the
          roof and the girls at the window.
          
                                     JOEY
                        I don't know his name ...  I saw the
                        whole story.  A wounded bird was on his
                        roof.  I could hear its cries from here.
                        He went straight to it.  I couldn't've.
                        I'd be frozen between pity and fear.
                        But he wasn't.  Its pain spoke directly
                        to him.  He picked it up.  Nursed it.
                        Fed it.  And it got better.  Everyday
                        he'd watch the pigeon.  Everyday the
                        pigeon would watch him. I saw him learn.
                        Learn that there was one more thing he
                        had to do to make the rescue complete.
                        And one day, just as afternoon became
                        evening, he leaned over, opened the
                        cage, and walked away.  Didn't look
                        back.  But he heard the sound of its
                        wings.
          
                                     TERRI
                        And he still sits there?
          
                                     JOEY
                        Every day.
          
                                     TERRI
                        Maybe he thinks it'll come back.
          
                                     JOEY
                        No.  He knows it won't.  It was his
                        final act of love and part of him knows
                        that and part of him doesn't yet.
          
          
          
                                                                      29
          
                                     TERRI
                        Bullshit!  He should've kept it.  It'd
                        live longer!  It's dangerous out there!
                        People get hurt!
          
          ANGLE ON JOEY
          
           - as she realizes she has a wounded pigeon of her own.
          
                                     JOEY
                        What?  I wasn't talking about ... I ...
                        Do you want to stay?  You want to stay
                        here for a while?
          
          Terri shrugs, gives a nervous smile.
          
          Joey crosses to the TV, picks up the Box and weighs it in her
          hand.
          
                                     JOEY
                        OK.  OK.  It's a done deal.  But look -
                        you have to help me.  I've got to solve
                        this thing.  I've got to know what's
                        going on.
          
          Terri follows across the room and sits on the sofa.
          
                                     TERRI
                        But I don't know what's going on.
          
                                     JOEY
                        Maybe not.  But you know more than I do.
                        You know something about this box.
                        Something about a statue?
          
                                     TERRI
                        Yeah.  I found it.  I knew held like it
                        and I figured ...
          
                                     JOEY
                        Woah.  Wait a minute.  Who?  The kid?
          
                                     TERRI
                        No.  JP.  My last boyfriend?  He like
                        owns the club.  You know?  You were
                        there?  He bought the statue.
          
                                     JOEY
                        That you found.  What do you mean you
                        found it?
          
          
          
          
          
                                                                      30
          
                                     TERRI
                        I was downtown looking for a ... a
                        friend.  A guy I know.  Anyway, there
                        was this store.  Like real old?  Lotsa
                        weird shit in there.  I saw this statue.
                        Pillar.  Thing.  I knew he'd love it.
                        You've seen the club.
          
                                     JOEY
                        Would you know this store again?
          
                                     TERRI
                        Sure.  Why?
          
                                     JOEY
                        It's Saturday morning.  Let's go
                        shopping.
          
          
          EXT.   DERELICT STREET   DAY
          
          Joey's Mazda 323 drives down the street.
          
          The daylight street is still creepy but in a different way; No
          bums, no trash-can fires, nothing.  It has the feel of a ghost
          town, as if nothing has breathed here for years.
          
          ANGLE IN CAR
          
          Joey, at the wheel, has a disbelieving look on her face.
          
          Terri, smoking, flicks ash through her wound-down window.
          
                                     JOEY
                        Jesus.  Are you sure this is the street?
          
                                     TERRI
                        Yeah.  Happening, isn't it?
          
                                     JOEY
                        What on earth were you doing down here?
          
          An evasive silence.
          
                                     JOEY
                        Terri?
          
                                     TERRI
                        Buying some drugs, alright?
          
                                     JOEY
                        Oh, Terri ...
          
          
          
                                                                      31
          
                                     TERRI
                        For somebody else, alright?  Not for me.
                        I don't do that shit anymore.
          
                                     JOEY
                        Then you shouldn't even be around it.
                        You know, it's ...
          
                                     TERRI
                        Here!  Here!  Pull over!
          
          Joey brings the car to a halt outside the antique store.
          
          Terri scrambles out of the passenger door.
          
                                     TERRI
                        Yeah.  See.  I told you it was here.
          
          CLOSE ANGLE ON JOEY
          
           - as she looks at Terri from behind, her face worried for her
          new and screwed-up friend.
          
          
          INT.   CARDUCCI'S ANTIQUES   DAY
          
          Joey and Terri enter the store.
          
          The store is different, its selection of merchandise reduced.
          The 50's and 60's junk hardware is still there, along with some
          of the more mundane Victoriana, but it seems more "normal" -
          none of the odd items of punishment memorabilia are there.
          
          Also, because it is daylight, the store seems merely old,
          interesting, and musty, not creepy or odd.
          
          There seems to be no-one in attendance.
          
          ANGLE ON GIRLS
          
           - as they walk through the store.
          
                                     MAMA
                                    (off)
                        Can I help?
          
          The voice startles the girls and they jump around to face the
          counter as MAMA CARDUCCI moves into view from beneath it.
          
          Mama, an ancient and slightly eccentric Italian-American woman
          eyes the girls with the suspicion of somebody who hasn't had a
          customer in decades.  Not aggressive, just surprised.
          
          
          
                                                                      32
          
                                     JOEY
                        Yes.  Thank you.  We were wondering ...
                        Terri, show her the box.
          
          Terri removes the box from her purse and holds it up.
          
                                     MAMA
                        No.  Sorry.  Not interested.  Not for my
                        customers.  Have you tried ...
          
                                     JOEY
                        No.  No, you don't understand.  We're
                        not selling it.  It came from here.  We
                        want ...
          
                                     MAMA
                        Everything sold as is.  No guarantees.
                        No returns.
          
                                     JOEY
                        No.  We want ...
          
                                     MAMA
                        I took back everything bought on a whim,
                        I'd have no business.  I ...
          
                                     TERRI
                        Lady, will you shut the fuck up and give
                        her a break.
          
          A sudden silence.  Both Mama and Joey stare at Terri in
          surprise.
          
          Mama looks back at Joey.
          
                                     MAMA
                        Quite a mouth.  So what's the problem?
                        You tell me.  You I like.
          
          Joey smiles.  Terri raises her eyes to heaven.  Mama waits.
          
                                     JOEY
                        Thank you.  This came off a ... statue?
                        A pillar.  We wondered if you knew
                        anything about the piece.  About where
                        it came from.
          
          Mama squints at the box, as if trying to recognize it.
          
                                     MAMA
                        Oh ... yeah.  Yeah.  That thing.  Ugly.
                        Real ugly.  I sold that?
          
          Mama's eyes scan the store.
          
                                                                      33
          
                                     MAMA
                        Never mind.  I'm glad it's gone.  Made
                        the store feel strange.  Who'd make such
                        a thing?
          
                                     JOEY
                        Fine.  Fine.  But can you tell us
                        anything about it?
          
                                     MAMA
                        It was part of a job-lot.  Some loony-
                        bin they shut down.  Unclaimed stuff.
          
                                     JOEY
                        What else came with it?  Anything still
                        here?
          
                                     MAMA
                        Sure.  Just papers, photos.  Stuff
                        nobody'd ever want.
          
                                     JOEY
                        Can we see?
          
                                     MAMA
                        You gonna buy?
          
                                     JOEY
                        I don't know.  Maybe.
          
                                     MAMA
                        Right at the back there.  Middle
                        shelves.  Coupla folders.  Nice stuff.
                        I'd do you a good price.
          
          CUT TO:
          
          ANGLE ON REAR OF STORE
          
          Joey and Terri approach an old shelf unit along the rear wall.
          
          A shaft of sunlight throws a square of light on the wooden
          floor a few yards in front of the shelves.
          
          Joey takes up a big bulging manilla folder from the shelves and
          begins to look through it.
          
                                     JOEY
                        Terri, check out the other folder.
          
          Terri, still holding her purse and the box, looks around for
          somewhere to put them.  All the shelves are full.  She lays
          them on the floor in the square of sunlight and joins Joey at
          the shelves, grabbing up the second folder.
          
                                                                      34
          
                                     TERRI
                        What am I looking for?
          
                                     JOEY
                        God knows.  Anything.  Contacts.  Clues.
          
          Terri opens up the folder and begins to pace the floor as she
          flicks through the contents.
          
                                     TERRI
                        Jesus.  You're gonna pay her for this
                        shit?  It's like fucking business papers
                        for God's sake!
          
          Bored, Terri wanders off to lean against another shelf-unit.
          
          ANGLE OVER JOEY'S SHOULDER ON FOLDER
          
           - as she flicks through the contents.
          
          Terri's dismissive summary seems justified.  All Joey sees are
          obscure and meaningless case-notes and paperwork.  Each item is
          letter-headed THE CHANNARD INSTITUTE.
          
          Joey's hand reaches a large envelope.  Scrawled in hand across
          it is the phrase DR. CHANNARD - PERSONAL PAPERS.  Joey draws
          the contents out and begins to sift through them.
          
          The first item is a dusty, black-and-white photograph of an
          officer in English Army uniform, circa 1920.  Joey blows the
          dust from the photo.
          
          LOW ANGLE - ON BOX
          
           - which sits on the floor in the shaft of sunlight, the dust
          from the photo settling next to it.
          
          ON JOEY
          
          The next photo is that of a beautiful young woman.  Joey flips
          it over.  Gummed on the back is a type-written slip that says
          COTTON, KIRSTY  CASE NO.  5719.
          
          ON BOX
          
          The sounds of the girls flicking through papers is heard OFF
          and then FADES as something strange begins to happen.
          
          Suddenly, the dust around the box begins to move as if blown by
          an invisible wind.  It is drawn up so that it forms an
          impossible spiral in the air.  Spinning like a miniature
          hurricane, it hovers over the box.  The sunlight seems to grow
          brighter.  Is it just reflections on the metalwork designs or
          is the box itself glowing and shining?
          
                                                                      35
          
          CLOSE ANGLE ON JOEY'S FACE
          
           - as her eyes flick back and forth as she scans ...
          
          Joey turns another item and her face registers surprise at what
          she is seeing ...
          
          The next item in the folder is a Xerox sheet, a reproduction of
          what appears to be an ancient document.
          
          It is a diagram, like a designer's drawing or plan.  And it is
          of the box seen from various angles.
          
          CLOSE ANGLE ON JOEY'S FACE
          
           - as she realizes what she is looking at.
          
                                     JOEY
                                  (softly)
                        Alright ...
          
          Joey turns, folder in hand, to look at the box on the floor and
          compare it to the diagram.
          
          Joey gasps.
          
          The miniature tornado of spiralling dust suddenly disappears
          inside the apparently sealed box as if sucked down into it.
          
          As if on cue, the shaft of sunlight disappears behind a cloud
          as the last particle of dust disappears into the box.
          
          Joey, mouth open in shock, lets the folder drop from her hand.
          The sound of its splayed contents hitting the floor alerts
          Terri, who walks back round from the other shelf unit.
          
          Terri looks at the dropped contents and then up at Joey.
          
                                     TERRI
                        Joey ... ?
          
                                     JOEY
                               (still staring at Box)
                        Help me pick 'em up, Terri.  I think
                        the lady just made a sale.
          
          
          INT.   MAIN ROOM, JOEY'S APT.   EARLY EVENING
          
          Joey is sitting behind a desk.  She has a phone in one hand and
          a pen in the other.
          
          Spread out over the desk are various documents - the photo of
          Kirsty, the diagram of the box, type-written transcripts etc -
          and a scratch-pad on which Joey has scrawled several numbers.
                                                                      36
          
          Joey is in mid-conversation on the phone.
          
                                     JOEY
                        Yeah ... yeah ... yeah ... No, it's
                        important that I speak to ... What?  No,
                        don't ...          (a beat)       Put.
                        Me.  On.  Hold.  You.  Stupid.  Bitch.
          
          Joey slams the phone down.
          
          She stares at the papers, at the scratch pad, takes a deep
          breath, and punches out a number on the phone.
          
          This time Joey's voice is different.
          
                                     JOEY
                        Hi.  Now listen.  And listen good.  I'm
                        the Station Manager at W-QQY.  For the
                        last half-hour you've been dicking
                        around with my assistant.  Let me tell
                        you something.  With or without your co-
                        operation we are making this expose.  I
                        assume you're smart enough to guess
                        which version is going to make you look
                        good.  Now, if you can't put one hand on
                        that cassette and the other on a FedEx
                        man's butt within thirty seconds then
                        you damn well better put me through to
                        somebody who can.
          
          A pause while somebody jumps through hoops at the other end.
          
          Joey's voice transmogrifies again; now it's a seductive,
          persuasive purr.
          
                                     JOEY
                        Dr.  Fallon?  How nice of you to take my
                        call.  I understand you're in charge of
                        video archive from the Channard
                        Institute ... ?
          
          
          INT.   UNDER THE UNDERGROUND   NIGHT
          
          Another night in Under The Underground
          
          Kids dance.
          
          Customers jostle at the bar.
          
          Couples neck in shadowed corners.
          
          Loud Metal music blasts out from speakers next to the various
          sculptures on the walls and ceiling.
          
                                                                      37
          
          The center of the dance-floor is packed.
          
          The pillar is missing.
          
          ANGLE ON BAR
          
          Sitting alone at a bar stool - though surrounded by tightly-
          packed customers - is SANDY, a very pretty teenage girl.  She
          is the same basic type as Terri; blonde, frail, young.  Too
          young, in fact, to be legally in a club like this.
          
          Sandy stares at her empty glass - and stares at it wistfully
          enough to suggest she doesn't have the money to get it
          refilled.  She is trying to keep up a cool impassive face but
          her eyes betray her basically vulnerable character.
          
          REVERSE ANGLE
          
          Sitting at the opposite end of the bar, his eye-line confirming
          he is looking at Sandy, is JP Monroe.
          
          The bar-stool beside JP is occupied by a TEENAGE BOY who has
          his back to the bar and is talking to a GROUP of his FRIENDS.
          
          JP has a speculative, predatory look on his face.  Without
          shifting his gaze, he raises his hand and within seconds the
          BARMAN is leaning over to hear his request.
          
          CLOSE on Sandy as a full glass is placed in front of her.  Laid
          alongside the glass is a beautiful long-stemmed red rose.
          
          Sandy looks surprised at the drink and then smiles in delight
          at the rose.  She raises her eyes and looks across the bar.
          
          JP returns the smile.
          
          He turns to the Boy beside him and murmurs something unheard.
          
          The boy glances round, as if ready to argue with whoever is
          speaking to him.  On recognizing JP, however, he vacates the
          seat without an argument and stands to join his friends.
          
          JP looks back across the bar at Sandy and gestures at the empty
          stool beside him, an attractive welcoming smile on his face.
          
          Sandy gets up and, carrying the drink and the rose, makes her
          way across to sit beside JP.
          
          ANGLE ON JP AND SANDY
          
          The deafening music playing in the club means that they have to
          lean in close to hear each other speak.
          
                                     JP
                        Welcome.
                                                                      38
          
                                     SANDY
                        You're JP Monroe, right?
          
                                     JP
                        Uh-huh.
          
                                     SANDY
                        And this is your club.  Great club.  I
                        really love it here.  Great club.
          
                                     JP
                        Thank you.
          
                                     SANDY
                        Thank you for the drink.  And the rose.
                        Wow.  That's ... really nice.
          
                                     JP
                        It's yours.  You won it.  It's a prize.
          
                                     SANDY
                        A prize?  For what?
          
                                     JP
                        You see, everyday I have my friend John
                        here bring ...
          
                                     SANDY
                        The barman?  I thought he was called
                        Rick?
          
                                     JP
                        He's a barman.  Whatever.  Do you mind
                        if I continue?
          
                                     SANDY
                        I'm sorry.
          
                                     JP
                        Everyday I have my friend Rick here
                        bring a newly-cut red rose in with him
                        and keep it behind the bar.  And I award
                        it to a woman of exceptional beauty.
          
                                     SANDY
                        Oh come on.  There're lots of girls here
                        who look better than ...
          
                                     JP
                        Don't do that!  Don't put yourself down.
                        If you have a quality, be proud of it...
          
          While talking, and without taking his eyes off Sandy, JP
          gestures at the barman and their glasses.
          
                                                                      39
          
                                     JP
                        ... Let it define you.  Whatever it is.
                        Most of the roses die behind the bar.
                        This is the first I've given out for
                        nearly a month.
          
                                     SANDY
                        No.  Really?
          
          Two full glasses join the still half-full ones on the bar.
          
                                     JP
                        Yes really.
          
                                     SANDY
                        Wow.  Thank you.
          
                                     JP
                        No.  Thank you.
          
          ANGLE ON GLASSES
          
          TIME-FADE
          
          ANGLE ON GLASSES
          
          Now there are six empty glasses on the bar and two half-full
          ones.
          
          ANGLE UP TO JP AND SANDY ...
          
           - except they're not there.  The two bar-stools are empty.
          
          
          INT.  JP'S PRIVATE ROOM   NIGHT
          
          The music OFF from the club is dull and muffled.
          
          JP1s private room is the size - and shares the general
          appearance of - an expensive studio apartment.
          
          His room looks like an annex to his club - black walls, black
          fittings, artworks of elegant cruelty - show that JP's taste
          for the bizarre is not just professional.
          
          Camera explores the room as the sound of BREATHING grows OFF.
          
          ANGLE ON PILLAR
          
           - now the right way up, it stands in a corner of the room.  As
          usual, it looks jarring and impressive but it doesn't really
          seem out of place in JP's room.
          
          The Breathing OFF becomes mixed with MOANS and SMALL CRIES.
          
                                                                      40
          
          ANGLE ON BED
          
          JP and Sandy, both naked, are on the bed making love.  Well,
          maybe Sandy's making love.  JP's having sex.
          
          It is a selfish, phallocentric scene, concentrating on JP's
          concern only for his own gratification.  It may be an erotic
          sight, but it's not a pretty one.
          
          JP is on top.  He has hold of both Sandy's wrists in one of his
          hands and his body is working away rhythmically.  He is half-
          upright, looking down at her.  No kissing.
          
          CLOSE on JP's face - his eyes open, staring down at Sandy.
          
          CLOSE on Sandy's face - her eyes closed, half in pleasure, half
          in shame.
          
          SMASH-CUT TO PILLAR
          
          CLOSE on Pinhead's face.  Suddenly, horribly, the monster's
          eyes fly open and his frozen face stares down at the lovers.  A
          BLUE LIGHT seems to pulse from within the pillar, lending color
          to Pinhead's face.
          
          Pinhead continues to watch the love-making until it comes to a
          climax.
          
          As JP GROANS out his orgasm and collapses forward onto Sandy's
          body, Pinhead's eyes close.  The BLUE LIGHT disappears and the
          pillar is just the pillar again.
          
          
          INT.  MAIN ROOM, JOEY'S APT.   NIGHT
          
          ANGLE ON DESK
          
           - FAVORING the telephone/answering machine, its red message
          light blinking in the darkness of the apartment.
          
          Heard OFF is the sound of Joey coming in to her apartment -
          doors opening and closing, bags being put down, footsteps etc.
          
          Joey's hand comes into frame and presses the message button.
          
          WIDER ANGLE
          
           - as Joey waits for her machine and glances around the room
          for Terri.
          
                                     JOEY
                        Terri?
          
          ANGLE ON SOFA - JOEY'S POV
          
                                                                      41
          
          The sofa is empty.
          
          Joey looks puzzled and is about to call again when the machine
          kicks in.
          
                                     FALLON
                                    (on ansafone)
                        Ms.  Summerskill.  Joanne.  Hello.  This
                        is Dr. Fallon.  Martin.  Your reference
                        material is on its way to you.  I very
                        much enjoyed talking to you and I hope
                        that if I'm ever in town you'll do me
                        the honor of (sqwaaaaalk)
          
          Joey has her finger on the fast forward button.
          
                                     JOEY
                        In your dreams, pal.
          
          The chipmunk-squeal of Fallon's voice is replaced by the
          warning-beep of a second message.  Joey lets it play.
          
                                     WOMAN
                                 (on ansafone)
                         ... your number from your resume.
                        Which was very impressive, by the way.
                        My name is Sharon Leech and you can
                        reach me here at K-YZY in Monterey, area
                        code 805 ... (sqwaaalk)
          
          Joey stops the tape.
          
                                     JOEY
                                 (to herself)
                        Shit. Why now? Why not last week? Oh ...
          
          She glances round at the empty room again, troubled by Terri's
          absence.  She crosses to her bedroom door.
          
          
          INT.   JOEY'S BEDROOM   NIGHT
          
          Joey enters the darkened room - and then stops a few feet from
          the door.
          
          Terri - lit only by the moonlight through the blinds - is lying
          on one side of Joey's bed fast asleep.  Apart from her shoes,
          which she has kicked off, she is fully dressed.
          
          Joey approaches the bed and watches her sleeping friend, her
          face sympathetic, affectionate, and troubled.
          
          Joey reaches over, takes one of the pillows from the other side
          of the bed, and lays it at the bottom end.
          
                                                                      42
          
          She slips off her shoes, shrugs off her jacket, and -
          delicately, carefully - climbs on to the other side of the bed,
          laying her head on the pillow she had moved.
          
                                     JOEY
                                  (whispered)
                        Goodnight, Terri ...
          
          
          INT.   JP'S PRIVATE ROOM   NIGHT
          
          JP, on his bed in his shorts enjoying a post-coital cigarette,
          blows smoke-rings at the ceiling and all but ignores Sandy.
          
          Sandy has put some of her clothes back on and is wandering
          around the room, admiring it and chattering.
          
                                     SANDY
                        So cool ...
          
          She approaches the pillar ... leans in close ... closer ... and
          ... nothing happens.
          
                                     SANDY
                        Radical.
          
          She walks on to look at a painting on one of the walls.
          
          ANGLE ON PAINTING
          
          It's a painstakingly rendered but crudely imagined piece.  The
          kind of crap you'd buy in a Melrose gallery.
          
          Perhaps it's called Biker Crucifixion.  Night-time, somewhere
          rural. A Hell's Angel, arms outstretched and stripped to the
          waist, is tied to a tree by cruelly-tight barbed wire wrapped
          around his body.  At the foot of the tree his biker friends
          party, drink, and fuck, Harleys parked in the distance.  The
          crucified Angel's eyes are raised to the Moon.  He's smiling.
          
          WIDER ANGLE ON SANDY AND PAINTING
          
                                     SANDY
                        Wow.  You've got great taste.  This ...
                        well ... this really says it, you know?
                        It's really ... dark.
          
          ANGLE ON JP
          
          Still staring at the ceiling, JP pulls a pained face - like
          he's heard this embarrassing shit a hundred times.
          
                                     SANDY
                        Don't you think?
          
                                                                      43
          
                                     JP
                        Mmn-hmnn.
          
          Sandy turns to look at JP, troubled by his unresponsiveness.
          
                                     SANDY
                        Do you mind me talking about your stuff?
          
                                     JP
                        Unh-unh.
          
          A beat.  Sandy stares at JP.  JP stares at the ceiling.
          
                                     SANDY
                        If it bothers you, just say so.
          
          JP sighs.
          
                                     JP
                        It doesn't bother me.  I'm just not
                        interested.
          
                                     SANDY
                        Oh.  Like I'm not an interesting person.
          
          JP blows a smoke ring at the ceiling.
          
          Sandy walks back across the room to stand at the foot of the
          bed.  ( And yes, fright fans, this does put her in front of the
          pillar - though hopefully the blossoming argument will distract
          audience attention.)
          
                                     SANDY
                        But you gave me a rose ...
          
                                     JP
                        And tomorrow I'll give one to somebody
                        else.  Get dressed.  Get out.
          
                                     SANDY
                        You shit.  Who do you think you are?
          
                                     JP
                        I'm JP Monroe, you stupid little bitch.
                        Now get the fuck out of my life.
          
                                     SANDY
                        You ... I can't fucking believe you, you
                        bastard!  You get me in here ...
          
                                     JP
                        Right.  Like you were hog-tied or
                        something.
          
          
                                                                      44
          
                                     SANDY
                        Look at you!  You think you're some God
                        damn Prince or something.  With your
                        shitty little Kingdom out there and all
                        this ugly shi ....
          
          Sandy is waving her arms to illustrate her point and, halfway
          through her last line, has turned to indicate the pillar.
          
          Suddenly - BAM! BIG SCARE MOMENT! - two blackened arms fly out
          from the center of the pillar and grab Sandy's gesturing arms.
          
          The BLUE LIGHT burns from within, illuminating Pinhead's face
          as his eyes open, filled with demonic glee and hunger.
          
          An impossible WIND begins to whistle through the room, as if an
          echoed glimpse of a storm in Hell.
          
          Sandy screams in mortal terror.
          
          JP jumps from the bed, cigarette falling to the floor.  He
          backs away to the opposite wall, face shocked, scared shitless.
          
                                     JP
                        Jesus Christ!
          
          Pinhead smiles sardonically.
          
                                     PINHEAD
                        Not quite.
          
          Pinhead's arms pull Sandy tight against the pillar and his
          face, stifling her scream.
          
          JP flattened against the far wall, watches in horror as Sandy,
          held tight against the pillar, suffers a horrible death:
          
          Sandy's life-force is sucked from her.  Drawn into the pillar.
          Into Pinhead.
          
          It is a matter of seconds only but, in those few seconds -
          
          Her body begins to collapse in on itself, turning grey and
          lifeless.  It is made worse by the fact that until the very end
          Sandy keeps struggling, writhing in the grasp of the monster.
          
          The wind keeps blowing through the room.
          
          Finally, a dry lifeless husk, she is dropped to the floor.
          
          The Blue Light fades from within the pillar. The wind
          disappears.
          
          
          
                                                                      45
          
          The pillar is again black and stationary.  But its contours are
          different, more rounded.  It looks more organic, as if shifting
          its raw material into new alignments, new configurations.  The
          pillar seems to be in a process of becoming.  And the obvious
          suggestion is that what it is becoming is Pinhead.
          
          Pinhead's head, arms, and torso now protrude from the pillar.
          They are not completely free and - now that the "eating" of
          Sandy is concluded - seem incapable of independent movement but
          there is plainly a lot more of him than there was before.
          
          Even though the blue light has faded, Pinhead's face is
          noticeably different.  It is blue-tinged and more fleshy in
          appearance.  Capable of movement.  And speech.
          
          ANGLE ON JP
          
           - who has sunk to the floor, staring at the pillar.
          
                                     JP
                        What ... What ... ?
          
          WIDER ANGLE
          
                                     PINHEAD
                        What did you see?  The same as I.
                        Appetite sated.  Desire indulged.  You
                        saw the working of the world in
                        miniature.
          
          JP shakes his head in denial.  But he's already a little more
          together than he was: after all, the pillar can't move and he's
          several yards from it.
          
                                     JP
                        That had nothing to do with the world.
                        Not this one, anyway.
          
                                     PINHEAD
                        On the contrary.  It has everything to
                        do with the world.  And our dreams of
                        how it will succumb to us.  You enjoyed
                        the girl?
          
                                     JP
                        Yes.
          
                                     PINHEAD
                        Good.  So did I.  And that's all ...
          
                                     JP
                        No!  No.  It's not the same ... I ... 
                        No.  What you did ... it was ... evil.
          
          Pinhead laughs.
                                                                      46
          
                                     PINHEAD
                        How uncomfortable that word must feel on
                        your lips.  Evil.  Good.  There is no
                        Good, Monroe.  There is no Evil.  There
                        is only the flesh and the patterns to
                        which we can submit it.  You will help
                        me to ...
          
          JP shakes his head in furious denial.
          
                                     JP
                        No.  No no no.  No fuckin' way.  I'm
                        gone ...
          
          Grabbing at his jeans, JP heads out of his room.  Rapidly.
          
          
          EXT.   CITY STREETS, OUTSIDE CLUB   NEXT DAY
          
          The sun is high.  It's about noon.
          
          Like most clubs of its type, Under The Underground's exterior
          is far from prepossessing.  It's set in an old brick warehouse
          in a run-down section of town.
          
          JP's Range Rover pulls up and JP gets out, carrying a long slim
          black bag.  He glances round the all-but-deserted street and
          enters the club.
          
          
          INT.  JP'S PRIVATE ROOM   DAY
          
          CLOSE on Pinhead's face; in repose, back to its statue-like
          state.
          
          The sound of the door OFF opens the monster's eyes.
          
          JP enters, closing the door behind him.
          
          He doesn't look at the pillar.  He stays by the door and keeps
          his eyes on the long black bag he has brought in with him.
          
          He unzips it.  His manner is that of a man who has made a
          decision and is not about to listen to contrary argument.
          
                                     PINHEAD
                               (off)
                        Another offering?
          
          JP doesn't respond.  He draws a double-barrelled shotgun from
          the bag, cocks it, and loads it.
          
          JP turns to face the pillar, drawing a bead on Pinhead.
          
          Pinhead's expression is wearily amused.
                                                                      47
          
                                     PINHEAD
                        I'm touched ... That is the gun you used
                        to kill your parents?
          
          JP visibly staggers as Pinhead lets slip this knowledge.
          
          Pinhead smiles.
          
                                     PINHEAD
                        I understand.  Their fortune was so
                        tempting, their affection so
                        conditional.  What else could you do?
          
                                     JP
                        Fuck you!
          
          He pulls the double trigger.
          
          A massive BLAST resounds around the room but that's about it;
          the 30 ott six is absorbed magically into the pillar.
          
                                     PINHEAD
                        Thank you.  Now, shall we talk sensibly?
          
          JP lets the useless gun fall from his hand.
          
                                     PINHEAD
                        Don't flee from yourself.  If you have a
                        quality, let it define you.  Cultivate
                        it.  It is you.  By helping me, you will
                        help yourse...
          
                                     JP
                        What!?  What are you talking about?  Why
                        should I help you?
          
                                     PINHEAD
                        Because you want to.  You've always
                        wanted to.  Look at your pictures.  Look
                        at your sculptures.  Look at those
                        tawdry representations and then ...
                        Imagine.  Imagine a world of the body as
                        canvas.  The body as clay.  Your will
                        and mine as the brush and the knife.
                        Oh, I have such sights to show you.
          
          It's working.  JP's eyes are glittering with excited interest.
          
                                     JP
                        What are you?
          
          
          
          
          
                                                                      48
          
                                     PINHEAD
                        A dark star rising.  I was bound to
                        another's system by a soul I once
                        possessed.  A friend relieved me of that
                        inconvenience.  Now I'm free.  Born
                        again of Blood and Desire.
          
                                     JP
                        Hey, that's what makes the world go
                        round.
          
          Pinhead raises an amused eyebrow at JP's little joke.
          
                                     PINHEAD
                        You see, we're not so dissimilar.
          
                                     JP
                        But how in God's name ...
          
                                     PINHEAD
                        God?  My God was diamond and black
                        light.  And I was his Dark Pope.  All
                        that is changed.  A terrible beauty is
                        born.  With a place at my right hand for
                        a man of your tastes.
          
          JP cruises the room, contemplating this.
          
                                     JP
                        How do we start?
          
                                     PINHEAD
                        It has already begun.
          
          
          INT.   TV STATION, EDITING SUITE   NIGHT
          
          ANGLE ON MONITORS
          
          Many screens fill the frame, all of them crackling with snow.
          
          CUT TO WIDE
          
          Joey is alone at the control desk.  She has a video tape in her
          hand and feeds it into the master machine.
          
          She looks up at the still-ghosting monitors and then presses a
          few buttons on the console.
          
          The snow is replaced by blackness on every monitor with a time
          code ticking away at the bottom of each screen.
          
                                     JOEY
                               (softly)
                        Alright ... Let's see what we got here.
                                                                      49
          
          The blackness on the monitors gives way to multiple images of
          KIRSTY, the girl in the picture in the antique store.
          
          The video image is primitive, shot with a non-professional
          camcorder, and is a simple medium long-shot of Kirsty, dressed
          in a simple white smock, sitting in a hospital room.
          
          Kirsty addresses the camera directly, though occasionally looks
          up to the side as if speaking to an unseen doctor.
          
          INTERCUT through Kirsty's monologue between: A single monitor
          image, the wall of monitors, and the watching and listening
          Joey.
          
                                     KIRSTY
                               (on video)
                        I don't know what the Box is.  But I
                        know what it does.  I ...    (looks up
                        to side)     I've said all this before.
                        Do you ...    (blinks, nods, as if
                        listening.  Looks back to camera)  I saw
                        it open.  I opened it.  I saw what came
                        out.  I don't know what else to call
                        them.  Demons.  Demons live in the box.
                        Or come through the box from somewhere
                        else.  It's a gateway to Hell.  Or the
                        South Bronx.     (smiles ruefully at her
                        own joke.  Looks up to side as if
                        chastised for kidding around.  Nods.
                        Continues)     I know you don't believe
                        me.  I know what it sounds like.  But
                        what else ... Jesus, talk to Ronson,
                        talk to the other cops.  They saw the
                        house.  They saw my ... my father ...
          
          Kirsty breaks down into sobs.
          
          QUICK-CUT TO JOEY
          
           - whose expression shows distressed sympathy.  She too has
          lost her father.
          
          ANGLE ON MONITORS
          
          The video image breaks up into white noise and then comes back
          in, as if the camcorder was turned off for a few moments.
          
          When the image returns, Kirsty is smoking a cigarette to help
          calm her.
          
          
          
          
          
          
                                                                      50
          
                                     KIRSTY
                               (on video)
                        Solving the puzzle means opening the
                        box.  Opening the box means opening
                        doors.  And there are some doors you
                        don't want to open.  And it may be
                        metaphorical to you, Doctor, but you
                        haven't had some blue-faced bastard come
                        at you with hooks and chains.  It isn't
                        delusion, it isn't psychosis.  It's
                        reality.  It's reality.     (Pause.
                        Long drag on the cigarette?)   Maybe not
                        this reality ... but there are others.
                        I've seen them.
          
          Joey's face shows horrified fascination at Kirsty's story.
          There is a conviction in the telling which is working on Joey.
          
          
          INT.   MAIN ROOM, JOEY'S APT.   NIGHT
          
          The room is dimly-lit.
          
          ANGLE ON FLOOR BY TV SET
          
          The floor is littered with video-boxes and tapes.  Other tapes
          are piled on top of the VCR.  It's like somebody has been
          viewing constantly for a week and hasn't put anything away.
          
          ANGLE ON SOFA AND COFFEE TABLE
          
          Many books are lying on the sofa, the table, and the floor.
          Some are lying open, most are closed.
          
          Also on the coffee table are three different soft-drink cans, a
          half- empty cup of coffee, and a very full ash-tray.
          
          ANGLE ON BOOKSHELFS
          
          Terri is standing by the bookshelfs, running her eyes and her
          finger along some titles.
          
          Now we understand the chaos in the room.  Terri's home alone.
          She's bored and trying to find something to hold her interest.
          
          She looks away from the shelves and walks idly over to the TV.
          
          The Box is back on top of the TV.  Terri's hand hovers near the
          on/off switch of the TV.  Then it hesitates and picks up the
          box instead.  Terri holds the box and looks at it.  Her face
          becomes puzzled and she crosses the room to flick on a LIGHT.
          She wanders back to the TV looking at the box.
          
          
          
                                                                      51
          
          It looks different.  Its edges are more sharply defined.  The
          shard where it was broken from the pillar is smaller, smoother.
          The detailed metal-work has some color back and is shining.
          
                                     TERRI
                        Jeez, Joey musta polished you up some.
                        Sometimes I think she's wierder than me.
          
          Terri's voice trails off as she continues to look at the box.
          She turns it in her hands, running her fingers over its
          filigree surfaces.
          
          TRACK in slowly as she cups it in both hands, her eyes moving
          from puzzlement to fascination and concentration.
          
          She rubs her thumbs over the designs.  TRACKING IN continues.
          It's tense.  Is she going to try and work the puzzle?
          
          Suddenly .... BRRRRRRRRR ... the phone rings.
          
          Terri jumps in shock, nearly dropping the box.
          
          She puts the box back on top of the TV and crosses to the
          phone.  She picks it up.
          
                                     TERRI
                        Joey?
          
                                     JP
                               (on phone)
                        Not quite.
          
                                     TERRI
                        JP?
          
                                     JP
                        Live and in the flesh.  How're you
                        doing, babe?
          
                                     TERRI
                        What do you want?
          
          
          INT.   JP'S PRIVATE ROOM   NIGHT
          
          CLOSE on JP's face as he speaks into a phone.
          
                                     JP
                        God, always questions.  What do I want?
                        I don't want anything.  Just concerned
                        about you.  Just checking in.
          
          INTERCUT BETWEEN ROOMS THROUGH CONVERSATION
          
          
                                                                      52
          
                                     TERRI
                        Yeah right.  How'd you get this number?
          
                                     JP
                        Will you relax?  Your little girlfriend
                        left a card, remember?
          
                                     TERRI
                        Oh.  Yeah.  Yeah.  Well ... I'm fine.
                        Things are great here.  Joey's going to
                        get me a job at the TV station.  I'm
                        meeting lotsa new people.  It's really
                        great.
          
                                     JP
                        Really?
          
                                     TERRI
                        Yeah really.  I'm ...
          
                                     JP
                        No.  I mean, really?  Because I'm
                        concerned for you, sweetheart.  I care
                        about you.  I guess I miss you.  I'm
                        sorry we split up.  I'm sorry I ...
          
                                     TERRI
                        You're apologizing?
          
                                     JP
                        Hey, it has been known.  C'mon Terri,
                        I'm not that bad a guy.  I have regrets.
                        I'd like to put things right.  Don't
                        tell me you haven't thought about me.
                        Huh?
          
                                     TERRI
                        Well ... of course I have.  I've
                        thought.  I've ... Oh, JP, you were so
                        horrible.  You really hurt me ...
          
                                     JP
                        I know.  I know.  It's bad.  I'm a bad
                        person.  But I try not to be, Terri.  I
                        really do.  And I really miss you.
          
                                     TERRI
                        I miss you too.
          
                                     JP
                        That's so good to hear, sweetheart.  It
                        really is. You know, I .. are you alone?
          
                                     TERRI
                        Yes.
                                                                      53
          
                                     JP
                        Good ... Good ... Look, why don't you
                        come over?  You know, nothing heavy,
                        little drink maybe, little talk.  Just
                        see how we both feel?
          
                                     TERRI
                        Oh, I don't ...
          
                                     JP
                        C'mon.  It'll be great.
          
          
          INT.   MAIN ROOM, JOEY'S APT.   NIGHT
          
          CLOSE on Terri's face - we can almost see her summon the will-
          power to refuse.
          
                                     TERRI
                        No!  No.  I can't.  I just can't.
          
          She slams the phone down quickly before he can persuade her.
          She takes a couple of deep breaths and walks away from the
          phone.
          
                                     TERRI
                        Shit.  Shit.  Shit.  Shit.  Shit.
          
          She looks around.  She looks at the books.  She looks at the
          videos.  She looks at the table.  She looks back at the phone.
          
          ANGLE ON PHONE
          
           - as it RINGS again.
          
          TERRI
          
           - shakes her head and turns the ansafone on.
          
          After two rings, the machine responds.
          
                                     JOEY
                               (ansafone message)
                        Hi.  You've reached Joanne Summerskill.
                        In spirit at least.  Please leave a
                        message.  Thanks.
          
          
          
          
          
          
          
          
          
          54
          
                                     WOMAN
                               (on phone)
                        Hello.  Ms. Summerskill, this is Sharon
                        Leech again from K-YZY in Monterey.
                        Sorry to call so late but I was
                        wondering if you got my other message?
                        Look, I probably shouldn't say this on
                        tape but what the hell ... there's a job
                        here if you want it.  Late-night news
                        reader.  We think you'd be marvelous ..
          
          The machine BEEPS and cuts her off, leaving the message light
          FLASHING.
          
          CLOSE on Terri's face - disappointed and sad.
          
          
          INT.   TV STATION, EDITING SUITE   NIGHT
          
          Joey is still at the desk watching the bank of monitors.
          
          As Kirsty speaks, INTERCUT between Joey and the monitors.
          
                                     KIRSTY
                        (Looks to side)  Again?  (Shrugs. Looks
                        back at camera)  The box.  I don't know
                        where it came from.  I don't know who
                        made it or why.  I only know what it
                        does.  It hurts.  It hurts.   (Looks off
                        to side as if listening.)  How?  (Looks
                        back)  I don't know.  It kind of opens
                        itself.  Your fingers move.  You learn.
                        It wants to open, that's the thing.  And
                        it knows when you want to open it.  And
                        it helps.  And it opens.  And then they
                        come.  The Cenobites.  The demons.
          
          ANGLE ON WALL OF MONITORS
          
          Multiple images of Kirsty speaking those last few lines.
          
          Suddenly, one - and only one - of the monitors suffers a WHITE
          NOISE WIPE-OUT.
          
          Joey glances up at the one ghosting monitor, puzzled - and then
          freezes in shock.
          
          ANGLE ON MONITORS
          
           - as, on the one monitor, a new image suddenly appears:
          
          A hazy, black-and-white image (very grainy, like early
          experimental TV images) of a thirtysomething man in early
          twentieth century military uniform.
          
                                                                      55
          
          The man - ELLIOTT - stares directly out of the monitor screen
          and, just as Kirsty finishes her last line ("The cenobites. The
          demons."), he speaks (in an English accent).
          
                                     ELLIOTT
                                   (on monitor)
                        She's telling the truth, Joey.
          
          Another BURST of WHITE NOISE and the image is gone.
          
          Kirsty is back on that monitor, just like all the others.
          
                                     KIRSTY
                        Look, you can have me tell this ...
          
          Joey remains staring at the haunted monitor, numb with shock.
          What the hell is going on?
          
          Kirsty's voice plays OFF as Joey stares.
          
                                     KIRSTY
                        ...  as often as you want.  There's not
                        going to be any breakthrough.  You might
                        think it's delusion, but it's not.  I
                        saw them.  I looked into their eyes and
                        they looked back at me.  Creatures from
                        Hell.
          
          
          INT.   24-HOUR DINER   NIGHT
          
          A late-night coffee-shop in the early hours of the morning.
          Classic American Diner.
          
          VARIOUS ANGLES
          
          Empty booths.
          
          A quiet counter.  A COP perches on a stool drinking coffee.
          
          A TRUCKER in a booth by himself bites methodically on a donut,
          his eyes staring off into the vacancy of the night.
          
          In a corner booth, FOUR KIDS nurse cokes and smoke cigarettes.
          
          ANGLE ON TABLE
          
          A black coffee sits by an ash-tray holding a burning cigarette.
          
          REVEAL TERRI
          
           - sitting at the table staring at the coffee.
          
          She waits.  She takes a drag on the smoke.  She waits.  She
          sips her coffee.  She waits.  She looks up across the diner.
                                                                      56
          
          TERRI'S POV
          
          The double doors of the diner's entrance.
          
          ANGLE ON TERRI
          
          She looks back down at her coffee.
          
          The sound of doors opening OFF.  Terri looks up again.
          
          ANGLE FROM DOORS - TERRI IN DISTANCE
          
          A WALKING POV as somebody approaches Terri, whose face breaks
          into a nervous, ambiguous smile of welcome.
          
          REVERSE ANGLE - TERRI'S POV
          
           - as JP walks confidently to her table, smiling.
          
                                     JP
                        Hey, babe.  Thanks for coming.
          
          JP sits down opposite her.  He reaches over and pats her hand.
          
          
          INT.   MAIN ROOM, JOEY'S APT.   NIGHT
          
          Joey enters the unlit main room.  She glances across at the
          sofa.  It's unoccupied.  Joey puts the light on.
          
          She grimaces at the chaos of the room - the piles of videos and
          books - and crosses the room to the bedroom door.  She opens
          the door and looks in.
          
                                     JOEY
                        Terri, we can't bunk up every night!
                        People will ...
          
          The bedroom is empty, nobody on the bed.
          
                                     JOEY
                                    (off)
                        ... talk.  ... Terri?
          
          Joey leaves the door and walks back into the main room.
          
          She looks around and then walks over to the phone.  Something
          has caught her eye.
          
          ANGLE BY PHONE
          
          A hand-scrawled note by the phone reads ENJOY MONTEREY, YOU
          LIAR.
          
          JOEY registers the note.
                                                                      57
          
                                     JOEY
                        Oh shit.
          
          Joey shakes her head sadly.  What can she do?  It's the early
          hours of the morning.  She has no idea where Terri is.  She
          walks back to the bedroom and closes the door behind her.
          
          
          EXT.   DENSE JUNGLE   DAY     (JOEY'S DREAM)
          
          Thick green jungle foliage obscures the view of a POV camera.
          
          The sounds of confused battle are heard OFF; helicopters, gun-
          fire, distant explosions, screams of the dying and the wounded
          
          Leaves and branches SMACK against the frame as the unseen
          dreamer rushes confusedly through the dense forest.
          
          The voices of the Soldiers - distant, echoed, repeated - are
          heard over the roar of battle.
          
                                     SOLDIER 1
                                        (off)
                        He's going.  He's going.  He's going ...
          
                                     SOLDIER 2
                                        (off)
                        We're losing him.  We're losing him.
                        We're losing him ...
          
          The sound of their voices seems to prompt the POV camera to
          more furious endeavor.
          
          It turns rapidly left and right, forcing its way through the
          greenery until suddenly, with one last push through foliage
          thick enough to be a single bush, the view changes completely.
          
          
          EXT.  FLANDERS FIELD (WW I)   DAY      (JOEY'S DREAM)
          
          The POV camera (Joey) walks out into another battlefield, one
          of a different character.
          
          It appears to be early morning.  The skies are grey and
          overcast.  In the distance plumes of black smoke spiral upward
          
          No jungle, no trees or grass.  The ground is baked mud
          disfigured with deep trenches, re-inforced by wooden slats.
          
          The atmosphere is post-conflict; guns are silent, there are no
          cries or sound of machinery.
          
          Scattered around are corpses of many khaki-clad soldiers.
          
          
                                                                      58
          
          Nothing moves.  No birds sing.  It is a horrible, desolate
          image from the bloody pages of history.  The fields of Flanders
          in World War One.
          
          A noise begins to be heard OFF.  A low angry BUZZING.
          
          ANGLE ON DEAD SOLDIER
          
          A cloud of buzzing flies are feeding on the flesh of his poor
          dead face.
          
                                     JOEY
                                     (off)
                        Noooooooooo .......
          
          The buzzing and Joey's anguished cry both CONTINUE OVER as we
          
          CUT TO
          
          
          INT.   JOEY'S BEDROOM   NIGHT
          
          Joey sitting up in bed, eyes wide, still screaming.
          
                                     JOEY
                        Nooooooooooo!
          
          The cry cuts off abruptly as Joey realizes where she is.
          
          She catches her breath and then freezes as she realizes that
          the buzzing sound from her dream is present in her bedroom.
          Are the flies still feeding?  She glances around her room.
          
          ANGLE ON BEDROOM TV - JOEY'S POV
          
          Her TV set is on.  The buzzing sound comes from white noise.
          
          Joey is puzzled and scared.
          
                                     JOEY
                        Is somebody here?  Is somebody here!?
                        Terri ... ?
          
          She half gets out of bed and then stops, transfixed, as the TV
          screen's white noise is replaced by an image.
          
          ANGLE ON TV
          
          As in the editing suite, the image is grainy black-and-white.
          
          The buzzing continues, now joined by HISSING and WHISTLING that
          fades in and out as if unseen hands are trying to tune into an
          impossibly distant station.
          
          
                                                                      59
          
          Somewhere in the sound-montage we can almost hear GHOSTLY
          VOICES whispering; "Joey, Joey, Joey ... "
          
          On the screen, an English Officer - Elliott - is sitting cross-
          legged on the floor of a Quonset hut.
          
          On the floor in front of him is something at which he stares -
          something that the image is not sharp enough to show.
          
          WIDER ANGLE - JOEY AND TV
          
          Fear vies with fascination in Joey's expression.
          
                                     JOEY
                        What ... What's going on?  What's
                        happening?
          
          ANGLE ON TV
          
          The image disappears in a burst of STATIC which in turn is
          replaced by another image, still monochrome and grainy; A head-
          and-shoulders of Elliott, staring directly out of the screen.
          
                                     ELLIOTT
                        You have to help me, Joey.
          
          A burst of STATIC and the image disappears completely. The TV
          is obviously not turned on.  The room is silent.
          
          Joey stares at her dead TV in numbed silence.
          
          She falls back into bed, pulling the covers protectively around
          her, staring at the ceiling.
          
          
          INT.   JP'S PRIVATE ROOM   NIGHT
          
          BLACKNESS
          
          A CLICK is heard OFF and the room is lit, REVEALING JP by the
          door, his finger by the light-switch.  He smiles into the room
          and walks in, looking behind as Terri hesitates by the door.
          
                                     JP
                        Come on in.
          
          Terri moves past him.
          
          JP locks the door with a key he draws from his pocket.
          
          Terri registers this.  JP calms her.
          
          
          
          
                                                                      60
          
                                     JP
                        Not a good neighborhood.  People
                        disappear.  (a beat)  Feel like home?
                        It's just like you left it.
          
          Terri moves into the room, glancing around herself cautiously.
          She registers the pillar.
          
          ANGLE ON PILLAR
          
          It's plainly different from the last time Terri saw it but -
          despite what the audience knows about it - it still seems
          inanimate; a black frozen carving, disturbing but harmless.
          
                                     TERRI
                        Not quite.  This wasn't here.
          
                                     JP
                        No.  But, as you can see, I'm having
                        some work done on it.  You found a real
                        treasure for me, Terri.  I hope I can
                        show you how grateful I am.
          
                                     TERRI
                        Yeah ... yeah, it looks different.
          
                                     JP
                        Yeah, a girl I know helped smarten it
                        up.  Put her heart and soul into it.
          
                                     TERRI
                        A girl?  Anyone I should know?
          
                                     JP
                        Not now, no.  I mean - now that you're
                        here, it's like she doesn't even exist,
                        you know what I mean?
          
          JP has been cruising the room as they speak.  Now he's standing
          close to the pillar.  Terri is still some distance from him.
          
                                     TERRI
                        Yeah right.  Look ...
          
                                     JP
                        Terri, listen.    (a beat)   Why don't
                        you come here and kiss me?  I mean, it's
                        probably ticking away in both our minds,
                        right?  Is it going to happen?  Isn't it
                        going to happen?  Let's get it out of
                        the way.  See how we feel.  Then we can
                        relax.  Talk.  You know.
          
          
          
                                                                      61
          
          A pause - a tense one for the audience who know that JP has
          obviously decided who Pinhead's next meal is.  Terri looks at
          JP, half suspicious, half attracted.
          
                                     TERRI
                        I don't think so.  Not yet.  I'm not
                        ready yet.
          
                                     JP
                        Sure.  Sure.  I understand.  It's cool.
                        I mean, we've got all night.
          
          JP smiles winningly and warmly.  A nice guy.  A nice smile.  A
          smile a girl can trust.
          
          The pillar stands behind him, its dark inhabitant still and
          silent, waiting for the sacrifice.
          
          
          INT.   UNDER THE UNDERGROUND   NIGHT
          
          Series of shots (maybe all CROSS-FADED) of kids dancing and
          drinking in the club to establish the passing of time - and to
          highlight the tension of the scene in JP's room by its
          proximity to this (relative) normality.
          
          
          INT.   JP'S PRIVATE ROOM   NIGHT    (MINUTES LATER)
          
          JP lounges against his wall, smoking, close to the pillar.
          
          Terri is sitting on the bed.  She's upset.  She's been telling
          JP about Joey and the phone message.
          
                                     JP
                        That's terrible.  What a bitch.  She was
                        obviously just using you, Terri.  Ready
                        to dump you the second she had what she
                        needed, interfering little whore.
          
                                     TERRI
                        No.  It isn't ... she wouldn't ... It's
                        like I must have done something wrong,
                        you know?  Freaked her out.  Just fucked
                        up something good again.
          
                                     JP
                        Hey, you didn't fuck it up with me.  You
                        know that.  It was my fault, babe, it
                        really was.  And you know I'm sorry.
                        And I'm sorry to see you upset now.  I
                        hate to see you in pain like this.
          
          Terri looks up at him, her eyes vulnerable, on the verge of
          tears.  She really wants to believe that he's being a nice guy.
                                                                      62
          
                                     TERRI
                        Really?
          
                                     JP
                        Yes!  God, yes.  I ... I just want to
                        hug you.  To hold you.  To tell you it's
                        alright.
          
          God, the bastard's good at this.  Terri breaks into small sobs
          and holds her arms out for him.
          
                                     JP
                        No.  No, sweetheart, you come to me.
                        It's not fair.  I come over there.  You
                        know.  We're on the bed.  I just ...
                        'cos you know how much you excite me.
                        God, just looking at you.  You're so
                        beautiful.  I come over there and I'd
                        just want to touch you.  Feel you.  Kiss
                        you.  And that isn't what this is about.
                        C'mon, babe, come to daddy.  Let me make
                        it better.
          
          Terri wipes her eyes, gives a small shy smile and stands up.
          
          She's walking toward JP.  And the pillar.
          
          JP puts a hand out.  He smiles.  Re-assuring.  Loving.
          
          Terri walks.  Vulnerable.  So in need of reassurance and love.
          
          WIDER ANGLE -JP, TERRI, PILLAR
          
          She's getting closer ... closer ... closer ...
          
          CLOSE ANGLE ON JP
          
           - as he blows it.  A sidelong glance at the pillar?  A sudden
          naked hunger in the smiling eyes?  A single bead of sweat?
          Some tiny little thing that takes the lid off his game.
          
          Terri stops dead.  She doesn't know what's happening but
          suddenly this doesn't feel right.
          
                                     TERRI
                        No ... Wait a ...
          
          EVERYTHING ERUPTS!
          
          JP, smiling mask wiped off, leaps at Terri.
          
          Terri flings herself backward, screaming in shock and fear.
          
          Pinhead: suddenly animate and furious; eyes wide open, face
          contorted in frustrated rage, black arms clawing at the air.
                                                                      63
          
                                     PINHEAD
                        Bring her to me, boy!
          
          A furious, confused scene of tension and struggle.
          
          JP has hold of Terri, trying to drag her to the monster.
          
          Terri fights back, screaming her disbelief and struggling and
          kicking against him.  They are perilously close to the pillar.
          
          Pinhead is furious - roaring, tearing at the pillar with his
          hands as if trying to physically rip himself. free of it.
          
          Slowly, JP's size and strength is telling; Terri is being
          dragged nearer and nearer to the demon.
          
          At the last possible second - when it seems it's all over, when
          Pinhead's snatching fingers are centimeters from Terri's flesh
          - Terri snatches up a heavy ornament from a shelf by the pillar
          and smashes JP right across the head with it.
          
          JP collapses semi-conscious at the foot of the pillar.
          
          Terri throws herself back from the monster's grabbing arms.
          
          Pinhead snarls in frustration, hands clenched in fists of rage.
          
          WIDER ANGLE
          
          Terri - safely feet away from the pillar - stands, shaking and
          breathless, eyes wide in horror and shock as she stares at this
          creature from nightmare.
          
          And suddenly Pinhead changes tack; he slides from the roaring
          beast of a moment before to his more usual persona - the glib,
          articulate Black Pope of Hell.
          
                                     PINHEAD
                        Wait!  Why run?  Where to?  Do you know
                        where you are?
          
                                     TERRI
                        I'm ... I'm ...
          
                                     PINHEAD
                        You're at the door of dreams.  And you
                        can open it.
          
                                     TERRI
                        What are you talking about?
          
          
          
          
          
                                                                      64
          
                                     PINHEAD
                        There are two keys in this room.  On is
                        in the pocket of this fool.  You could
                        take it out without me reaching you. (a
                        beat)  Probably.  And you could use it
                        to let yourself back in to the world you
                        know.  The world you've always known;
                        banal, hopeless, dreamless.
          
          Pinhead, as ever, is hitting the right buttons.  Terri, as we
          know, has dreamed of dreaming.
          
                                     TERRI
                        And ... like ... the other?
          
                                     PINHEAD
                        The other is the key to dreams.  To a
                        world of black miracles and dark wonder.
                        Another life of unknown pleasures.  It's
                        yours.  Complete the pattern.  Solve the
                        puzzle.  Turn the key.
          
          ANGLE ON TERRI
          
           - as she looks at the monster.  And smiles.
          
                                     TERRI
                        Where is it?
          
          Pinhead returns the smile.
          
                                     PINHEAD
                        It's lying bleeding at your feet.
          
          JP is on the floor, semi-conscious, bleeding from the head.
          
                                     JP
                               (delerious. Ad-lib)
                        Unhhh ... Terri ... what ... no ...
          
          Terri edges around the pillar to grasp one of JP's limp arms.
          
          INTERCUT CLOSE-UPS OF PINHEAD AND TERRI
          
           - as the bond between tempter and tempted is strengthened.
          
          Terri holds JP's arm out ...
          
          Pinhead stretches his own arm forward ...
          
          And JP finally - for one brief second of terrifying clarity -
          realizes what's happening.
          
          
          
                                                                      65
          
                                     JP
                                (screaming)
                        No! Terri! Please! I didn't mean to..!!
          
          Too late.  Pinhead's hand closes around his wrist.
          
          Terri leaps back out of harm's way.
          
          Pinhead - with awesome strength - yanks JP up to his feet and
          pulls him close.  He stares into the terrified face of JP.
          
                                     PINHEAD
                        I have such sights to show you.
          
          JP is sucked dry by Pinhead.
          
          And Terri watches, her face perversely excited by this - the
          first of the dark miracles that the monster had promised.
          
          MAJOR F/X SEQUENCE
          
           - as the transformation of pillar into Pinhead is completed.
          
          WIDER ANGLE
          
          Pinhead, fully-fleshed and incarnate, stands in the room.  At
          his feet are the dry husk that was JP and the steaming, hissing
          remnants of the pillar like a pool of black toxic oil.
          
          He turns and looks at Terri.  Slowly, elegantly, he walks
          toward her.
          
          Terri backs away across the room.  But she backs off slowly,
          sensuously, like an eager but nervous virgin bride ready for
          her groom.
          
          Camera moves in CLOSE on her glowing eyes and excited face.
          
          
          INT.   MAIN ROOM, JOEY'S APT.   NIGHT
          
          CLOSE on the Box.  A cloud of dust spirals out into the room in
          a reverse action of the dust in the antiques store.
          
          
          INT.   JOEY'S BEDROOM   NIGHT
          
          CLOSE on Joey's sleeping face.  REM shows beneath her eyelids
          and she murmurs in her sleep.
          
          Very faintly OFF is the sound of distant music.
          
          Joey's eyes snap open and glance from side to side.  She sits
          up in bed and registers the music, which seems to have grown in
          volume on her waking.
                                                                      66
          
          It is strange, old-fashioned music;  A palm-court string
          orchestra playing a sentimental waltz tune reminiscent of the
          1920's or earlier.
          
          Joey looks around the room.
          
          There is no-one in the room.
          
          The TV set is still dead.
          
          But ... the bedroom door is open a crack and a very strange DIM
          ORANGE LIGHT is creeping in from the main room.  And that seems
          to be from where the music is coming.
          
          ANGLE ON JOEY
          
           - as she gets out of bed.
          
          She's cautious and careful, moving slowly and quietly as she
          wraps a robe around herself and moves to the door.
          
          The music continues to play.
          
          She opens the door slowly and walks through.
          
          
          INT.   MAIN ROOM, JOEY'S APT.   NIGHT
          
          This room too is empty.
          
          The music is louder and the soft warm pulse of the orange light
          is more distinct, bathing the walls and the furniture.
          
          VARIOUS ANGLES - JOEY'S POV
          
           - as Joey tries to locate the source of the music and the
          light;
          
          The sofa.
          
          The bookshelfs.
          
          The TV - with the still and inactive Box.
          
          The closed drapes over the big picture window.
          
          Finally -
          
          ANGLE ON CLOSET DOOR
          
          Both the music and the light seem to be centered on the closet
          door across the room.  They're both coming from behind it.
          
          Joey approaches the closet, still tense, still careful.  She
          opens the closet door and looks in.
                                                                      67
          
          The closet is where Joey has stored her past.  But she's stored
          it neatly.
          
          Boxed and piled on shelves are old magazines, old greetings
          cards, old photographs, old soft-toys, college diplomas,
          clippings from small-town newspapers ("Death of a Local Hero:
          Tommy Summerskill lost in Vietnam", "Joanne Summerskill Class
          Valedictorian: looks to career in Media") etc etc.
          
          Also in there, stuffed away at the top of the closet, is an old
          radio - a big old wood-and-wire-grille valve driven beauty from
          which the lilting music is coming.
          
          At some stage in its life, part of its casing was smashed away
          and the pulsing orange light is its flickering vacuum tubes.
          
          It's an old mains-powered model and its mains cord dangles off
          the shelf of the closet.  This radio isn't plugged into
          anything except the paranormal.
          
          CLOSE on Joey; staring at this broadcast from the beyond.
          
                                     JOEY
                        How .... ?
          
          Joey reaches up and brings the radio down from the shelf and
          out into the main room.  She sets it down on the coffee table
          in front of the sofa.
          
          DIFFERENT ANGLE
          
          Formal, classical framing from a low angle - Joey and radio in
          foreground, big picture window and its closed drapes in the
          background.
          
          Joey kneels up in front of the table.
          
          She stares at the radio with the same kind of trapped
          fascination with which we have seen characters in the previous
          HELLRAISER movies stare at the Box.
          
          Her fingers are drawn to the tuning dial as if to a puzzle.
          She plays with the dial, moving through various "stations".
          
          Joey's face is open with expectation as she moves through them,
          as if she is waiting for clues.  Or instructions.
          
          The music gives way to various VOICES;
          
          An Indian voice giving some kind of commentary.  The English
          words "BBC" and "World Service" are heard amidst the punjabi.
          
          (Joey turns the dial)
          
          A tired sad English voice;
                                                                      68
          
                                     ENGLISH VOICE
                               ... and the King has sent a
                        personal message of sympathy to the
                        parents of those brave men who ...
          
          (Joey turns the dial)
          
          A resonant French voice;
          
                                     FRENCH VOICE
                        L'Oiseau chante avec ses doigts.  Deux
                        fois.
          
          (Joey turns the dial)
          
          Another burst of music, this time more raucous and syncopated.
          A ragtime tune from the birth of Jazz.
          
          (Joey turns the dial)
          
          Dead Air.  An ominous pause.  And Elliott's voice.
          
                                     ELLIOTT
                        Joey.  Look out your window.
          
          Joey shrinks back in nervous shock at this direct address.
          
          The radio goes dead.  The tubes stop glowing.  The room is now
          a dimly-lit place of shadow and suspense.
          
          Joey glances back over her shoulder at her closed drapes and
          then at the silent radio.
          
          She stands up slowly and crosses to the drapes.  The camera
          rises and TRACKS in as she walks, framing those drapes like
          curtains in a theater.
          
          With one strong gesture, Joey sweeps the drapes open.  And
          gasps.
          
          Instead of neighboring roof-tops and a view of the city, Joey
          is looking directly into the interior of a Quonset hut.
          
          It is the image from her TV set though full-size, full-color,
          and apparently real.
          
          At the far end, Elliott sits cross-legged on the floor.  In
          front of him on the floor is the puzzle box.
          
          Elsewhere in the hut; A camp-bed on which lie a gun-belt and an
          Officer's peaked cap.  And an old-fashioned radio - the same
          radio that is still in Joey's room.
          
          ANGLE ON JOEY
          
                                                                      69
          
           - as she stares beyond her window into this impossible scene.
          
                                     JOEY
                        Tell me ... Tell me ... Hello?
          
          CLOSER on the elements in the hut, as we (and Joey) realize
          that everything in there is frozen in time.  There is no
          movement, no sound.
          
          Wonderingly (but carefully) Joey stretches her arm out before
          her.  When her arm reaches the threshold of the Quonset hut, it
          disappears into the space once occupied by window glass.
          
          She pulls her arm back sharply with an intake of breath.  Maybe
          she even takes a half-step backward.
          
                                     JOEY
                        I'm seven floors up ... I'm seven floors
                        up! I can't ...
          
          But she can.
          
          She summons her courage, steps over the sill, and walks into
          the impossible.
          
          
          INT.   QUONSET HUT
          
          We are looking at a solid wall.  Then, through the wall, Joey
          walks into the Hut, still bewilderment by the sights around
          her.
          
          Still the image does not move.  Everything is very real, very
          present.  But frozen.
          
          Joey approaches the immobile Elliott and looks from him to the
          box and back again.
          
          (NB: Joey's speeches to the frozen Elliott are bravado; her
          face and body language betray her awed nervousness at the
          bizarre situation in which she finds herself.)
          
                                     JOEY
                        Now what?  I'm here.  Now what?  I just
                        walked into madness for you.  Talk!
          
          Joey looks back behind her.
          
          ANGLE ON HUT WALL - JOEY'S POV
          
          There is no window back into the apartment, just a fourth wall.
          
          ANGLE ON JOEY AND ELLIOTT
          
          
                                                                      70
          
                                     JOEY
                        Great.  That's just great!  You bring me
                        here.  You freeze up on me.  And now
                        there's no way out.  I've had dates like
                        you before.  I ...
          
          A CREAK is heard OFF.  Joey looks up.
          
          JOEY'S POV
          
          At the far end of the Quonset Hut, behind Elliott, a door has
          creaked open an inch or two.
          
          Joey looks from the door back to the frozen Elliott.
          
                                     JOEY
                        Thanks.  I think.
          
          Joey crosses to the door and opens it.  She walks through.
          
          
          EXT.   FLANDERS FIELD   DAY
          
          Joey walks out onto the World War One battlefield of her most
          recent dream.  She stands there - an incongruous vulnerable
          figure in her nightdress and robe - amidst the corpses, the
          trenches, and the distant plumes of smoke.
          
                                     JOEY
                        What's going on?  Is this a dream?
          
          She glances back at the door of the hut she has just left.
          
          JOEY'S POV - THROUGH HUT DOOR
          
          Within the hut, the frozen Elliott still sits.
          
          ANGLE ON JOEY
          
           - as she turns from looking into the hut and gasps, her eyes
          wide in shock.
          
          Standing on a hillock, framed against the grey battlefield
          skies, is Elliott.
          
          Joey walks toward him.
          
          Elliott stands calmly and smiles at Joey.
          
                                     ELLIOTT
                        Joey.  How kind of you to come.
          
          A beat.  Joey (and the audience) take in Elliott's impossible
          presence, as she and he stand amidst the corpse-strewn field.
          
                                                                      71
          
                                     JOEY
                        Wait ... wait.  You ... you have to help
                        me.  I don't understand.  Am I dreaming
                        this?
          
                                     ELLIOTT
                        You have to help me.  You will
                        understand.  And no, you're not
                        dreaming.  Do you know where we are?
          
                                     JOEY
                        It's ... I don't know.  First World War,
                        right?
          
                                     ELLIOTT
                        Correct.  The fields of France.  And
                        many dead flowers ... Oh.  Forgive me.
                        My name was Spenser.  Elliott Spenser.
                        Captain.
          
          He extends his hand.
          
          Joey - slowly and nervously - puts her hand out to shake his.
          
                                     JOEY
                        Joey Summerskill.
          
          Elliott smiles understandingly as he releases her hand.
          
                                     ELLIOTT
                        Well done.  Brave girl.  You've probably
                        never shaken hands with a ghost before,
                        am I right?
          
                                     JOEY
                        Captain Spenser.  Elliott.  I ... What
                        the Hell is going on?
          
                                     ELLIOTT
                        Hell is precisely what is going on,
                        Joey.  And we have to stop it.  I
                        because of a special obligation, you
                        because you're the only person who can
                        help. And because you know what is
                        right, and just, and true.  Will you
                        walk with me a while?
          
          He gestures with his hand and they begin to walk.
          
          
          
          
          
          
          
                                                                      72
          
                                     ELLIOTT
                        There were days in this war, days right
                        on top of each other, when the newly
                        dead were numbered in the tens of
                        thousands.  They called it the war to
                        end all wars.  Though it didn't.  You
                        know that.  There were more wars.  More
                        dead.  Your father's war.  Your dream
                        search for your father led you here.  To
                        me.  Joey, we need to talk.
          
          Elliott does nothing dramatic - he doesn't clap his hands or
          snap his fingers - but somehow, magically, he and Joey, without
          moving or changing position are back in the Quonset hut.
          
          
          INT.   QUONSET HUT
          
          The frozen Elliott is still sitting on the floor before the
          box.  The mobile Elliott gestures at his frozen self as he
          speaks to the bemused Joey.
          
                                     ELLIOTT
                        The war pulled poetry out of some of us.
                        Others it affected differently.  This is
                        me a few years later.  We're in India,
                        by the way, and it's 1921.  I was like
                        many survivors. Lost souls with nothing
                        left to believe in but gratification.
                        We'd seen God fail, you see.  So many
                        dead.  For us God, too, fell at
                        Flanders.  We adjusted to the loss.  And
                        if we mourned, we mourned in silence.
                        Thousands drank themselves to death.
                        Others went further.  I went further.  I
                        thought I was a lost soul.  But, until
                        this frozen moment, I didn't even know
                        what the phrase meant.
          
                                     JOEY
                        And what is ... this frozen moment?
          
                                     ELLIOTT
                        The cusp of my life.  What I was, what I
                        am, what I will be ... past, present,
                        future, all bound here at this timeless
                        moment of decision.  I was an explorer
                        of forbidden vices and pleasures.
                        Opening the Box was my final act of
                        exploration, of discovery.
          
                                     JOEY
                        And what did you discover?
          
          
                                                                      73
          
                                     ELLIOTT
                        Something bad.
          
                                     JOEY
                        And why are you back?  Why are we here?
          
          Again, no signal from Elliott but the background changes
          magically once more;
          
          
          EXT.   FLANDERS FIELD   DAY
          
          Elliott is once again framed dramatically on the hillock, Joey
          standing close.
          
                                     ELLIOTT
                        Because something worse is coming.
          
                                     (a beat)
          
                        I opened the Box, Joey.  I found the
                        monster within it.  And it found the
                        monster within me.  For decades I served
                        Hell with no memory of my former life
                        until a friend released me.  You saw
                        her.
          
                                     JOEY
                        Kirsty Cotton.  Yes.  But ... if your
                        soul was freed, why are you back?
          
                                     ELLIOTT
                        Because - monster as I was - I was bound
                        by Laws.  The protocol of Hell.  The Box
                        had to be opened to let me out.  The
                        truly innocent were safe.  That's no
                        longer true.  The shell of the beast has
                        been fleshed.  What I was is out there,
                        Joey.  In your world.  Unbound.
                        Unstoppable.
          
                                     JOEY
                        What will he do?  What does he want?
          
                                     ELLIOTT
                        He'll do what he does best.  But he'll
                        do it unfettered.  He wants to walk the
                        Earth forever, indulging his taste for
                        all the myriad subtleties of human
                        suffering.
          
                                     JOEY
                        What can we do?
          
          
                                                                      74
          
                                     ELLIOTT
                        I like you, Joey.  You ask all the right
                        questions.  There is something we can do
                        but it will require great courage.
          
                                     JOEY
                        I don't know ...
          
          Elliott reaches out and strokes her cheek.  Gently.  Lovingly.
          We see in Joey's eyes that there is a response there.  A
          response beyond the comradely.
          
                                     ELLIOTT
                        Joey, you walked through your window
                        from one reality to another.  You're
                        stronger than you think.
          
                                     JOEY
                        Then tell me what to do.
          
                                     ELLIOTT
                        This is his first night on Earth.  He
                        wants to close the door behind him.
                        Like all Lieutenants, he covets command.
                        There's a gateway to Hell through which
                        he can be taken back.  He has to destroy
                        it.
          
                                     JOEY
                        So where is it?
          
                                     ELLIOTT
                        Your apartment.
          
          Joey gasps.
          
                                     JOEY
                        Wha .... ?
          
                                     ELLIOTT
                        The Box, Joey.  He wants the Box.
          
          
          INT.   UNDER THE UNDERGROUND   NIGHT
          
          Lights flash.  Music pounds.  Kids dance.  It's a wild night at
          Under The Underground and it's about to get wilder.
          
          The source music (thrash metal) builds and builds, as if
          heading for a climax.  And then the climax comes.
          
          ANGLE ON DOOR TO JP'S ROOM
          
          
          
                                                                      75
          
          The door BLASTS open explosively from within.  The pieces of
          the shattered door FLY across the dance-floor, accompanied by
          chunks of plaster and brick from the door-surround.
          
          VARIOUS ANGLES (QUICK CUTS)
          
          Flying wood and masonry hit people.
          
          One chunk SMASHES into the DJ console, bringing the music to a
          scratching, screeching end.
          
          Various SCREAMS are heard OFF through the ensuing silence.
          
          In the confusion, kids scramble for the main doorway.  Is it a
          bomb?  Is it a street-gang attack?
          
          The Main Doorway SLAMS supernaturally shut, bolts flying into
          place untouched by human (or inhuman) hand.
          
          Confused and frightened faces turn back to look at the source
          of the explosion.
          
          ANGLE ON DOORWAY TO JP'S ROOM
          
          Lit from behind by blinding beams of BLUE LIGHT, Pinhead
          emerges through the doorway.  Slow.  Elegant.  Terrifying.
          
          Pinhead surveys the scene before him and the terrified and awe-
          struck crowd look back at him.
          
          For the most part, the crowd are stunned into silence but there
          are a few murmurs from them;
          
                                     CROWD
                               (ad-lib)
                        Oh My God ...
          
                        Jesus Christ!
          
                        What the FUCK ... ?!
          
                        No no no no no no no ....
          
          Pinhead scans the club.
          
          He looks at the terrified humans.  The cruelly beautiful
          artworks.  The humans.  The artworks.  The humans.  The
          artworks.
          
          A small smile forms on his face.  He's just had an entertaining
          idea.
          
          
          
          
                                                                      76
          
          INT.   MAIN ROOM, JOEY'S APT.   NIGHT
          
          The view through the big picture window is entirely normal
          again; the cityscape by night.
          
          Suddenly, Joey seems to appear behind the glass - translucent,
          like a reflection - and comes through the window into her
          apartment, "solidifying" as she steps in.
          
          Her hands are at her head and she staggers forward a few steps.
          It's as if the enormity of her trip thru realities has just hit
          her.  She falls forward onto the floor of her room, unconscious.
          
          FADE OUT
          
          FADE IN
          
           - as the ringing of a phone grows in volume.
          
          Joey raises her head, bleary-eyed, and glances round the room
          trying to locate the source of the noise that has woken her.
          
          She crawls the few feet to the phone and snatches at it.  The
          hand-set falls and she has to gather it up from the floor.
          Maneuvering herself into a sitting position, she speaks.
          
                                     JOEY
                        Hello?
          
                                     DOC
                               (on phone)
                        You wanted a story.  You got it.  Turn
                        on the TV now.  And then get your ass
                        down here ... (click) ...
          
                                     JOEY
                        Doc?  ...  Doc ... Hello?
          
          She puts the phone down and rushes across to turn on the TV.
          
          
          TV IMAGE/DOC'S SHOULDERCAM:
          
          
          EXT.   CITY STREETS, OUTSIDE CLUB   NIGHT
          
          The images are confusing, with the rapid pans and temporary
          loss of focus or light that characterise raw news footage.
          
          Doc's Camera weaves amongst a mass of uniformed people, trying
          to catch clear pictures of-what's been happening.
          
          Sirens howl, red emergency lights flash.
          
          
                                                                      77
          
          It becomes clear we are looking at the aftermath of a disaster.
          Or a massacre.
          
          The club building looks like a bomb hit it.  Smoke and debris
          litter the street.  So do corpses.
          
          Some of the dead bodies are simply dead bodies.  Others -
          glimpsed fleetingly and tantalizingly as Doc is jostled and
          bustled - seem to be mutilated decoratively.  In fact they bear
          hideous similarities to the artworks that used to grace the
          club: armless torsos wrapped in barbed wire; flayed limbs with
          machinery inside instead of muscle.
          
                                     DOC
                               (off)
                        Judas Priest!  Will you look at ...
          
          Suddenly, the images are blocked by a very BURLY COP pushing at
          the camera and talking directly into it.
          
                                     BURLY COP
                        Move it!  Now!  No pictures!
          
                                     DOC
                               (off)
                        W-QQY.  I ...
          
                                     BURLY COP
                        I don't give a shit!  Move it or lose
                        it!
          
          
          INT.   MAIN ROOM, JOEY'S APT.   NIGHT
          
          CLOSE on Joey's face as she reacts in horror to what she is
          seeing.    (INTERCUT with Doc's footage)
          
                                     JOEY
                        Oh my God, it's happening ...
          
          
          BACK ON TV SCREEN
          
          Doc's camera pans around the area, past rubbernecking crowds,
          past shadowed alleys, past Police cars and ambulances vehicles
          ... and then whips back to an alley in the distance.
          
                                     DOC
                        I thought ... what's ... I think there's
                        something up there ...
          
          Joey's eyes widen in horror as she speaks uselessly to the
          screen.
          
          
                                                                      78
          
                                     JOEY
                        No!  No, Doc, don't ... don't ...
          
          
          EXT.   ALLEYWAY   NIGHT    BACK ON TV SCREEN
          
          The hubbub and noise has died away.  Doc's camera is advancing
          up a very dimly-lit alley.  Hardly any detail can be seen.  The
          camera creeps forward ... forward ... forward ...
          
          Then suddenly a barely-glimpsed movement very close to the side
          and the camera swings wildly toward it.
          
                                     DOC
                        Shit!  What was ...
          
          The face of Pinhead, almost lost to the darkness of the alley,
          is glimpsed on the screen as it looms toward the lens.
          
          The image disappears to darkness, over which Doc's SCREAM of
          mortal terror and agony can be heard before the blackness is
          suddenly replaced by a station identification card and then a
          very harried anchorperson at a studio desk.
          
                                     ANCHORPERSON
                        Well, we've ... er ... yes, we've
                        temporarily lost our pictures there and
                        ... and ...
          
          Joey has her hands at her mouth in horror.
          
                                     JOEY
                        Doc!  DOC!!
          
          Joey leaps to her feet, grabs the box from the TV, and stares
          at it in her hand.
          
          SMASH-CUT TO
          
          
          INT/EXT    JOEY'S CAR/CTTY STREETS   NIGHT
          
          Joey's hands grip her steering-wheel tightly.  Her face is
          drawn and grim.  The Box is on the seat beside her. She is
          driving very fast.
          
          She has to slam on the brakes at a red light.  She pounds at
          the dashboard in frustration.
          
                                     JOEY
                        C'mon.  C'mon!
          
          
          
          
                                                                      79
          
          EXT.   THE STREETS OF THE CITY   NIGHT
          
          CLOSE on a terrified face.
          
          The face belongs to EDDIE, a 20 year old runner for a drug
          gang.  His head is pressed tight against a brick wall.  His
          nose is bleeding and his eye is red and ready to bruise.
          
                                     EDDIE
                        I'll get it!  I promise!  I'll ...
          
          A fist slams into Eddie's face.
          
          WIDER ANGLE REVEALS -
          
          An alley.  Eddie is being held against the wall by two
          uniformed COPS, one in his 40's, one in his 20's.  The elder
          cop has just punched Eddie in the face.
          
                                     ELDER COP
                        Don't promise me shit, you little fuck!
                        You know what your promise is worth to
                        me?  Huh?  Fifty per cent of fuck-all!
          
                                     YOUNGER COP
                        Give him the money, Eddie.
          
                                     EDDIE
                        I don't ...
          
          A big back-handed slap from the Elder Cop.
          
                                     YOUNGER COP
                        Give him the money, Eddie.
          
                                     EDDIE
                        Just listen to me, Please!  I ...
          
          The Elder Cop gut-punches him and Eddie doubles up.
          
                                     ELDER COP
                        I'm done listening, shit-brain!  Where
                        you been all day?  They shut the school?
                        Kindergarten closed?  No customers?
                        Huh?  Huh?
          
                                     YOUNGER COP
                        Give him the money, Eddie.  Tell ya, I'm
                        gonna puke if he beats on you any more.
                        Just give him the ...
          
          The Younger Cop pauses, looking beyond them down the alley as a
          long black shadow falls over them.
          
          
                                                                      80
          
                                     YOUNGER COP
                        ... money.  What the ... ?
          
          The Elder Cop, at the change in his partner's tone, looks up.
          
          Standing in the center of the alley at its far end, light
          coming from behind him so that he is unclear, is Pinhead.
          
                                     ELDER COP
                               (Calm. Expecting obedience)
                        You, fuckoff.
          
          He turns back to Eddie.
          
                                     ELDER COP
                        Get your head outta your stinkin' ass
                        and look at me, boy.
          
                                     YOUNGER COP
                               (still looking down alley)
                        Hey ...
          
          Pinhead is moving up the alley towards the action.
          
          Elder Cop shoves Eddie away.
          
                                     ELDER COP
                               (to Eddie)
                        Get lost.
          
          Eddie doesn't waste time with questions.  He's gone.
          
          The Cops straighten up and start walking to meet Pinhead.
          
          Pinhead advances- still in the shadows, still just a black
          shape moving forward.
          
                                     ELDER COP
                        I have the distinct impression I told
                        you to fuckoff.  Unless I miss my guess,
                        you've just disobeyed an officer of the
                        law.
          
          Pinhead emerges into the (dim) light in the alley.
          
                                     PINHEAD
                        I am the Law.
          
          Cops halt in shock at this awesome presence, both of them
          instinctively drawing their guns.  And both instinctively
          beginning to back up.
          
                                     ELDER COP
                        You're one butt-ugly son of a bitch and
                        you're about to dead meat.
                                                                      81
          
                                     PINHEAD
                        I am the son of eternal night and you
                        are about to discover pain has no
                        ending.
          
          Well, that's enough of a direct threat for any officer of the
          law.  Both cops fire their guns.  Once.  Twice.  Three times.
          
          Pinhead keeps walking.  He spits out the bullets that his body
          has absorbed.
          
                                     YOUNGER COP
                        Oh shh ...
          
          They empty their guns - useless - and then they turn and run
          down the alley.  And then stop short.  There is a sudden wall
          of impenetrable blackness in front of them as if the world
          simply comes to a stop four yards from their feet.
          
          The cops turn, terrified, to look back.  Instinctively, they
          spread apart - each walking near to opposite walls.
          
          The younger cop is standing beneath a fire escape.  He glances
          up as if he might be able to jump up to safety.  No.  Too high.
          
          Pinhead's head flicks upward as if in a gesture of command.
          
          Suddenly, the Fire escape ladder zooms downward with impossible
          speed and force.
          
          The Younger Cop doesn't even have time to scream.  The ladder
          smashes right through his body, impaling him.
          
          His corpse stands there twitching and shuddering, wrapped
          around the ladder.
          
          Elder Cop stares in terror at his partner's fate.
          
                                     ELDER COP
                        No.  No.  No.  No.  No.  No.
          
          Pinhead stands very still and speaks very calmly.
          
                                     PINHEAD
                        Curb your tongue.
          
          The Elder Cop's body starts to move involuntarily.  His
          movements are jerky and spasmodic as if his mind is trying to
          fight what his body is trying to do.
          
          Pinhead's head moves through various positions.  His face is
          calm, showing no particular pleasure at what he is doing but
          only a fascinated concentration as if experimenting with new-
          found skills.
          
                                                                      82
          
          The Elder Copts shaking puppet-like hands draw his handcuffs
          from his belt.
          
          His eyes show terror.  Everything else is beyond his control.
          
          He raises the cuffs to head level and springs one of them open.
          
          His mouth suddenly jerks open and his tongue protrudes.
          
          The fear in his eyes increases.
          
          He moves the open cuff over his tongue.  He's making panicked
          moaning noises as if trying to scream.
          
          SLAM!  He drives the cuff closed right through his tongue!
          
          And SCREAMS (as best he can).
          
          Pinhead looks beyond the Cop to the wall of blackness and makes
          another commanding gesture with his head.
          
          A Chain flies from the darkness and wraps itself around the
          other cuff.
          
          The chain pulls taut and then suddenly retracts into the
          darkness, hauling the Cop off his feet and dragging him along
          the alley into the blackness.
          
          The Cop screams and moans all the way until he is enveloped
          into the darkness and then the sounds suddenly stop dead.
          
          
          EXT.   CITY STREETS, NEAR CLUB   NIGHT
          
          A Paramedic is attempting to hold Joey back.  In the distance
          behind them is the wreckage of the club.  They are standing
          near the alley into which Doc's camera disappeared.
          
                                     JOEY
                        But I have to see him!  I'm his friend!
          
                                     PARAMEDIC
                        Lady, trust me!  You really don't want
                        to go ...
          
          But Joey has slipped past his obstructing arm and runs on into
          the alley.
          
          And pulls to a horrified stop.
          
                                     JOEY
                        No!  NO!!
          
          REVERSE ANGLE - JOEY'S POV
          
                                                                      83
          
          The scene is well-lit by Police emergency lights.  It is taped
          off by yellow DO NOT CROSS banners.  Paramedics and cops stand
          around in various states of shock or disgust.
          
          In the middle of it all is Doc.  Quite dead.
          
          The body is kneeling up, its cold hands resting on its lap and
          holding its severed head which stares up at its shoulders.  The
          camera has been shoved deep between the corpse's shoulder
          blades and is angled down as if filming its dead face.
          
          CLOSE on Joey's devastated face.
          
          
          EXT.   INNER-CITY CHURCH   NIGHT
          
          An establishing shot of a church at the top of a small hill.
          
          
          INT.   INNER-CITY CHURCH   NIGHT
          
          The Church is in semi-darkness.  Some candles at an offertory,
          some others on an altar, provide the only light.
          
          On the very front pew a PRIEST sits, head bent low in prayer.
          
          The Priest is a young man.  Probably a good man.  We're not
          really going to have the time to find out.
          
          A shadow seems to pass over the Priest's bowed head.
          
          At first, it seems he hasn't noticed.  Then he looks up, a
          little puzzled.  He looks to his right, his left, then shifts
          in the pew to look back along the central aisle.
          
          There are rows and rows of empty pews and, in the distance, the
          Church door ... which is ajar.
          
          The Priest stands, walks to the start of the aisle, and looks
          back along it again.
          
                                     PRIEST
                               (calling down aisle)
                        Is there anyone there?  Hello?
          
          Silence.  A beat.
          
          The Priest looks puzzled.  We see his mind work.  He's looked
          right, looked left, looked down ... How about ...?
          
          He turns right round to face the altar.
          
          PRIEST'S POV
          
          
                                                                      84
          
          To the Priest, it's an image of nightmarish blasphemy.  Even to
          us heathens, it's pretty shocking;
          
          Pinhead in all his dark glory is standing behind the altar.
          
                                     PRIEST
                        How dare you!
          
          It gets worse.  Pinhead, staring at the Priest all the while,
          reaches his hand to the back of his head and begins to extract
          one of the pins from his skull.
          
          The pin is horribly long and, sickeningly, the last few inches
          aren't metal at all but some kind of infernal worm - dark,
          slimy, and befanged.
          
          Pinhead presses the worm against his palm and it instantly
          burrows through his flesh pulling its pin-tail behind it.  He
          repeats the operation with the other palm.
          
          He turns his palms out to show the Priest in a blasphemous
          parody of Christ's stigmata.
          
                                     PINHEAD
                        I am the Way.
          
          The Priest rushes up to the altar to Pinhead.
          
                                     PRIEST
                        You'll burn in Hell for this!
          
          The Priest reaches him.  Pinhead's hand is on his throat
          instantly, squeezing silence from him.
          
                                     PINHEAD
                        Burn?  What a limited imagination.
          
          The choking Priest kicks and struggles as Pinhead forces him to
          his knees before him.
          
          Pinhead towers over the Priest.  He smiles.
          
          With his free hand he gouges out a piece of his own flesh from
          the decorative wounds on his chest.  He holds the bloody piece
          of meat up.
          
                                     PINHEAD
                        This is my body.  This is my blood.
                        Happy are they who come to my supper.
          
          Pinhead shoves the disgusting lump of blue and bloody flesh
          into the Priest's aghast mouth.
          
          Pinhead flings the priest away from him.
          
                                                                      85
          
          The Priest lands heavily on the floor.
          
          Pinhead walks forward, smashing the altar aside.
          
          All the candles flicker as if an unheard wind is blowing
          through the Church.
          
          Pinhead walks up the aisle toward the semi-conscious Priest.
          
          And all the candles go out.
          
          BLACKNESS
          
          
          INT/EXT   JOEY'S CAR/CITY STREETS   NIGHT
          
          Joey is driving again.  And this time she's not even stopping
          at red lights.  She steams across junctions, leaving cars
          swerving and horns honking in her wake.
          
          Something catches her eye and she throws a glance to her side.
          
                                     JOEY
                               (appalled)
                        Oh God ...
          
          JOEY'S (MOVING) POV
          
          Up a side street, atop a hill, is the Inner-city Church.  It's
          on fire.
          
          Joey swings the car up the hill.
          
          SMASH-CUT TO:
          
          Joey getting out of the car nearer the burning church.  Off to
          her side is a smaller building, the Church Hall.
          
          Joey shakes her head at the desecration.  She has no doubt
          who's responsible.
          
                                     JOEY
                        Having fun en route, you bastard.
          
          Suddenly, a CREAKING noise from behind her.
          
          Joey freezes in terror then slowly - very slowly - turns round.
          
          JOEY'S POV - SHOCK REVEAL
          
          The Priest - now mercifully dead - is crucified against the
          side wall of the smaller building.  Pinhead's nails protrude
          from his palms and his ankles.
          
          
                                                                      86
          
          EXT   CITY STREETS   NIGHT
          
          A SERIES of QUICK CUTS of Joey's car tearing through the
          darkness heading back to her apartment.
          
          
          INT.   CORRIDOR, JOEY'S APT. BLDG.   NIGHT
          
          Joey rushes down the corridor to her apartment door, hurriedly
          turns the lock and rushes in.
          
          
          INT.   MAIN ROOM, JOEY'S APT.   NIGHT
          
          Joey closes her door and switches on the light.  The mood is
          suddenly different after the frenzied drive across town.  It's
          very still, very slow, very quiet.
          
          Perhaps it's too quiet:  Joey moves into the room slowly,
          clutching the Box in her hands and glancing round.  Her manner
          makes the mood suddenly creepy.  Is the monster already in the
          house?
          
          Very slowly, very carefully, Joey begins to move round her
          apartment.  Hardly breathing, making no sudden movements, she
          checks her doors.  The kitchen ... empty.  The bedroom ...
          empty.  The bathroom ... empty.
          
          Joey stands back in the center of her main room, facing out to
          her big picture window.  Slowly, she lets out a big breath and
          then draws an equally slow one in.  Maybe it's alright ...
          maybe the monster isn't here ... maybe ...
          
          Magically, eerily, slowly, the Box begins to rise from Joey's
          hand.  Her eyes stare in horror as it ascends through the air.
          
                                     JOEY
                        Oh shit ...
          
          Maybe there's one place she hasn't checked.  Swallowing
          nervously, Joey tilts her head up and back, her eyes rising up
          in their sockets.
          
          The camera tilts low ... low ... lower ... taking in a wider
          view of the room and its ceiling and the ascending Box ...
          
          And the audience screams!
          
          Like a spider or a lizard, Pinhead is flat against the ceiling,
          arms stretched out for balance, his face staring down at Joey.
          
          Joey throws her hands to her mouth and screams.
          
          
          
                                                                      87
          
          Pinhead, angling down feet first, floats elegantly to the floor
          to stand facing Joey.  The Box lands in one of his outstretched
          hands.  He holds it out to show Joey ... and then suddenly
          closes his powerful hand on it, apparently crushing it.
          
          He flings the remnants from him and they land on Joey's floor -
          Chunks and splinters of wood, whirring and spinning machinery
          of gold and silver, and scores of tiny writhing worms.
          
                                     JOEY
                        No!
          
                                     PINHEAD
                        Watch.
          
          Thanks to the miracles of trick photography, the remnants
          suddenly come back together and reassemble themselves into the
          Box which sits there intact on the floor.
          
                                     PINHEAD
                        The Box can't be destroyed.  Like pain
                        or the poor, it is always with us.  But
                        as long as I have it, no-one can open
                        it.  Now come here and die.  You have
                        friends in Hell waiting to greet you.
          
          Joey begins to back across the room toward her window.
          
                                     JOEY
                        You'll have to come and get me, you ugly
                        bastard.
          
                                     PINHEAD
                        Spirited.  Good.  I'll enjoy making you
                        bleed.  I'll enjoy making you enjoy it.
          
          Pinhead starts across the room.
          
          Joey looks at her window.  It's the normal view ... with the
          normal seven-story drop.
          
          Pinhead closes.
          
          She bites her lip, goes for it: in a literal and metaphorical
          leap of faith she runs headlong at the window and jumps at it.
          
          The window shatters.
          
          Pinhead's arm reaches out after Joey as if to grab her and pull
          her back.
          
          SIDELONG ANGLE
          
          
          
                                                                      88
          
           - shows his arm entering the shattered window and also shows
          the night-time cityscape beyond the window.  What it doesn't
          show is the front of the monster's arm.  That's somewhere else.
          
          CUT TO
          
          
          INT.   QUONSET HUT
          
          CLOSE on Pinhead's arm, still clutching at the air.
          
          Suddenly, a khaki-uniformed arm moves into shot and grasps
          Pinhead's hand, arm-wrestling style.
          
          WIDER ANGLE (WITH OPTICAL F/X)
          
          Elliott literally pulls Pinhead through from one reality to
          another - we see parts of the monster appearing and
          disappearing in front of the Hut wall as if glimpsed through
          tears in reality.  It's like a tug-of-war which Elliott wins -
          Suddenly Pinhead's there on the floor of the Quonset hut.
          
          And his other self - Elliott - still has hold of his hand.
          
          Pinhead throws a glance around the Hut.  He recognizes it ...
          and the frozen figure at the top end perched before the Box.
          
                                     PINHEAD
                               (furious rage)
                        Aahhhh!!!
          
                                     ELLIOTT
                        Joey!  Back to the wall, quickly!
          
          Joey runs around then to the far wall - just in time because
          now the pyrotechnics start.
          
          Elliott tightens his grip and (with a nice series of INTERCUT
          CLOSE-UPS of these two alternative selves) the life-forces of
          Elliott and Pinhead begin to erupt.
          
          ELECTRIC BLUE LIGHT begins to play over both their bodies.
          It's apparently agonizing, both figures arching with the pain,
          both faces grimacing.
          
          Joey watches, wincing in sympathetic agony.
          
                                     JOEY
                        Elliott!  No!  What about you?!  Where
                        will you be?!
          
          Elliott grunts his answer through the agony.
          
          
          
                                                                      89
          
                                     ELLIOTT
                        Back with the damned.  No more hope of
                        heaven.  But I drag this monster back
                        with me!
          
                                     PINHEAD
                        You stupid interfering foo ... AAAAAH!
          
          VARIOUS ANGLES ON THE THREE SELVES - PINHEAD, ELLIOTT, AND THE
          SEATED OFFICER
          
          The essences of Pinhead and Elliott - drawn from their bodies
          as sweeping, glowing, spitting arcs of BLUE LIGHT - crackle in
          the air of the Hut like a miniature electrical storm ...
          
          Until they suddenly lock together in one more powerful arc
          which flies at the body of the seated Officer and disappears
          inside him in a BLINDING FLASH OF LIGHT.
          
          And suddenly, as vision returns, there is only the seated
          officer   (and, at the far end of the room, Joey).
          
          And, almost as suddenly, the frozen scene comes to life;
          
          The radio near the camp bed is playing.
          
          A bead of sweat falls down the Officer's face as he reaches
          forward to pick up the Box.
          
          The Officer, apparently completely unaware of Joey's presence,
          begins to work the Box.
          
          As the process works through, we INTERCUT CONSTANTLY BETWEEN
          
          1)  The Officer's hands and the movements of the Box here in
          the Hut in 1921.
          
          2)  EXACTLY MATCHING movements of the Box back on the floor of
          Joey's apartment in 1992.  Moving on its own, linked across the
          years to its earlier self.
          
          3)  Joey watching the movements in the Hut.
          
                                     JOEY
                        Elliott? ... Elliott? ... You can't
                        hear me, can you?  It's 1921.  I'm not
                        really here ...
          
          Suddenly, small patterns of BLUE LIGHT arc across the Box,
          shocking the Officer who drops the Box and then stares in shock
          and fascination as ...
          
          On the floor, the box begins to open.
          
          The Officer kneels up and leans over the Box ...
                                                                      90
          
          And the chains fly!  Shooting up from within and hooking
          themselves cruelly into the Officer's face and chest.
          
          CLOSE ON the Officer's face, howling in agony.
          
          CLOSE ON Joey's face, sobbing in distress.  She throws up her
          hands to hide the unbearable sight from herself and, when she
          lowers them, ...
          
          
          INT.   MAIN ROOM, JOEY'S APT.   NIGHT
          
          .. she's back in her room. Alone.  Window intact.  Normal view.
          
          Joey stares around, her face a mix of sadness and relief.
          
          The mood now is very down, post-cataclysmic, post-adventure.
          
          Joey takes a deep slow breath and crosses the room toward the
          kitchen door.
          
          She crosses the floor without glancing down at it.  Why should
          she?  Everything's over.  But we notice, even if she doesn't,
          that the Box is no longer there.  But we hardly have time to
          register this before ...
          
          Joey opens the kitchen door.
          
                                     JOEY
                        (SCREAMS!!!!)
          
          Pinhead is framed in the doorway.
          
          Behind him, instead of her kitchen, is the black space of Hell
          - like the Torture Rooms in HELLRAISER and HELLBOUND, it is
          full of shadowy pillars and chains.
          
                                     PINHEAD
                        Oh, no kiss of welcome after 70 years?
          
          Joey backs away, shaking her head in shocked denial.
          
          Pinhead moves forward, very leisurely.
          
                                     PINHEAD
                        This will be so good, Joey.  You loved
                        him, didn't you?  I can feel him inside,
                        weeping for you.  He can watch through
                        the centuries as we discover the things
                        that make you whimper.
          
          Joey's mood breaks and she turns and rushes for her front door.
          
          She reaches it, throws it open ... and screams.
          
                                                                      91
          
          JP Monroe is in the doorway - but he's only just recognizable.
          He's now a CENOBITE - blue-skinned, scarred, mutilated, and
          decorated with metal and leather.
          
                                     PINHEAD
                        You never met, did you?  This was JP
                        Monroe.
          
                                     JP CENOBITE
                        Have you seen what they did to me?  Have
                        you seen what they did?  You interfering
                        little whore!
          
          The JP Cenobite moves into the room.
          
          Joey, now near hysteria, rushes across the room again to the
          one remaining door - her bedroom.
          
          She throws that one open ...
          
          And Terri, the new FEMALE CENOBITE, walks out at her.  She has
          the open Box in her hand and several cigarette protruding from
          different holes in her cheek and face.
          
                                     JOEY
                        Terri?  Oh no!  NO!!  TERRI!!
          
                                     TERRI CENOBITE
                        Oh, go on.  Have one.  Fuck it.  You
                        think you're going to live forever?
          
          Pinhead and JP are advancing across the room toward Joey and
          Terri.  Joey only has seconds to act ...
          
                                     JOEY
                        Wanna light, you bitch?!
          
          Joey pulls her father's Zippo from her pocket and sparks it up
          as she swings it through the air close to Terri's face.
          
          A huge FLAME shoots out of the Zippo (as in the earlier scene)
          and scours across Terri's face.
          
          Terri howls in terror, throws her hands to her face ... and the
          Box flies from her hands.
          
          Joey catches it, spins it, closes it!
          
          An arc of BLUE LIGHT zaps across to Terri and she's gone ...
          
          Still in one movement, swinging on her heels, Joey twists the
          box again ...
          
          And another Arc of LIGHT zaps JP away ...
          
                                                                      92
          
          Joey completes her turn.  She's facing Pinhead.  She holds the
          Box before her like a weapon ... and she's got the monster in
          her sights ...
          
                                     PINHEAD
                        Wait!
          
          His hands are raised palms out.  He's stopped advancing.
          
          Joey holds the Box ready, breathing heavy, waiting ...
          
                                     PINHEAD
                        You can send me back.  But why?  I can
                        help you, Joey.  I can give you what you
                        want.
          
                                     JOEY
                        You'll never know what I want ...
          
          (Despite what she's said, we see Joey's face register every
          word of Pinhead's reply, every nuance, every promise ... )
          
                                     PINHEAD
                        Respect.  Power.  You and I can put your
                        name on the World's lips, your face on
                        it's screens ...
          
          Camera TRACKS closer to the Box in Joey's hands as Pinhead
          speaks.  Closer and closer until it's side fills the screen.
          
          CROSS-FADE
          
          
          INT.  MS. SUMMERSKILL'S OFFICE   DAY
          
          CLOSE on the face of the Box, still filling the screen.
          
          SLOW PULL BACK to reveal that the Box is mounted on a plinth
          within a glass bell-jar.
          
          PULL BACK continues.  The bell-jar stands on a tall thin wooden
          sculpture stand.
          
          PULL BACK continues.  The stand is next to a large impressive
          desk in an even larger even more impressive office.
          
          And seated behind the desk is ... well, we can't really call
          her Joey - she's far too impressive for that ... is Ms. Joanne
          Summerskill.
          
          Her hair is different.  Her make-up is different.  Her clothes
          are different.  Everything about this woman speaks of power and
          sophistication.